heres the screenplay for schindlers list.

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: NO IDEA WHY IM POSTING THIS HERE: : : SCHINDLER'S LIST : : Screenplay by : STEVEN ZAILLIAN : : Based on the novel by : THOMAS KENEALLY : : Directed by : STEVEN SPIELBERG : First Revision : March, 1990 : 1. IN BLACK AND WHITE: 1. : TRAIN WHEELS grinding against track, slowing. FOLDING TABLE LEGS : scissoring open. The LEVER of a train door being pulled. NAMES : on lists on clipboards held by clerks moving alongside the : tracks. : CLERKS (V.O.) : ... Rossen ... Lieberman ... Wachsberg ... : BEWILDERED RURAL FACES coming down off the passenger train. : FORMS being set out on the folding tables. HANDS straightening : pens and pencils and ink pads and stamps. : CLERKS (V.O.) : ... When your name is called go over there ... : take this over to that table ... : TYPEWRITER KEYS rapping a name onto a list. A FACE. KEYS typing : another name. Another FACE. : CLERKS (V.O.) : ... you're in the wrong line, wait : over there ... you, come over here... : A MAN is taken from one long line and led to the back of another. : A HAND hammers a rubber stamp at a form. Tihgt on a FACE. KEYS : type another NAME. Another FACE. Another NAME. : CLERKS (V.O.) : ... Biberman ... Steinberg ... Chilowitz ... : As a hand comes down stamping a GRAY STRIPE across a registration : card, there is absolute silence ... then MUSIC, the Hungarian : love song, "Gloomy Sunday," distant ... and the stripe bleeds : into COLOR, into BRIGHT YELLOW INK. : : 2. INT. HOTEL ROOM - CRACOW, POLAND - NIGHT. 2. : The song plays from a radio on a rust-stained sink. : The light in the room is dismal, the furniture cheap. The : curtains are faded, the wallpaper peeling ... but the clothes : laid out across the single bed are beautiful. : The hands of a man button the shirt, belt the slacks. He slips : into the double-breasted jacket, knots the silk tie, folds a : handkerchief and tucks it into the jacket pocket, all with great : deliberation. : A bureau. Some currency, cigarettes, liquor, passport. And an : elaborate gold-on-black enamel Hakenkreuz (or swastika) which the : gentleman pins to the lapel of his elegant dinner jacket. : He steps back to consider his reflection in the mirror. He likes : what he sees: Oskar Schindler - salesman from Zwittau - looking : almost reputable in his one nice suit. : Even in this awful room. : : 3. INT. NIGHTCLUB - CRACOW, POLAND - NIGHT. 3. : A spotlight slicing across a crowded smoke-choked club to a small : stage where a cabaret performer sings. : It's September, 1939. General Sigmund List's armored divisions, : driving north from the Sudetenland, have taken Cracow, and now, : in this club, drinking, socializing, conducting business, is a : strange clientele: SS officers and Polish cops, gangsters and : girls and entrepreneurs, thrown together by the circumstance of : war. : Oskar Schindler, drinking alone, slowly scans the room, the : faces, stripping away all that's unimportant to him, settling : only on details that are: the rank of this man, the higher rank : of that one, money being slipped into a hand. : A WAITER SETS DOWN DRINKS : in front of the SS officer who took the money. A lieutenant, : he's at a table with his girlfriend and a lower-ranking officer. : WAITER : From the gentleman. : The waiter is gesturing to a table across the room where : Schindler, seemingly unaware of the SS men, drinks with the best- : looking woman in the place. : LIEUTENANT : Do I know him? : His sergeant doesn't. His girlfriend doesn't. : LIEUTENANT : Find out who he is. : The sergeant makes his way over to Schindler's table. There's a : handshake and introductions before - and the lieutenant, : watching, can't believe it - his guy accepts the chair : Schindler's dragging over. : The lieutenant waits, but his man doesn't come back; he's : forgotten already he went there for a reason. Finally, and it : irritates the SS man, he has to get up and go over there. : LIEUTENANT : Stay here. : His girlfriend watches him cross toward Schindler's table. : Before he even arrives, Schindler is up and berating him for : leaving his date way over there across the room, waving at the : girl to come join them, motioning to waiter to slide some tables : together. : : WAITERS ARRIVE WITH PLATES OF CAVIAR : and another round of drinks. The lieutenant makes a half-hearted : move for his wallet. : LIEUTENANT : Let me get this one. : SCHINDLER : No, put it away, put it away. : Schindler's already got his money out. Even as he's paying, his : eyes are working the room, settling on a table where a girl is : declining the advances of two more high-ranking SS men. : : A TABLECLOTH BILLOWS : as a waiter lays it down on another table that's been added to : the others. Schindler seats the SS officers on either side of : his own "date" - : SCHINDLER : What are you drinking, gin? : He motions to a waiter to refill the men's drinks, and, returning : to the head of the table(s), sweeps the room again with his eyes. : : A ROAR OF LAUGHTER : erupts from Schindler's party in the corner. Nobody's having a : better time than those people over there. His guests have : swelled to ten or twelve - SS men, Polish cops, girls - and he : moves among them like the great entertainer he is, making sure : everybody's got enough to eat and drink. : Here, closer, at this table across the room, an SS officer : gestures to one of the SS men who an hour ago couldn't get the : girl to sit at his table. The guy comes over. : SS OFFICER 1 : Who is that? : SS OFFICER 2 : (like everyone knows) : That's Oskar Schindler. He's an old : friend of ... I don't know, somebody's. : : A GIRL WITH A BIG CAMERA : screws in a flashbulb. She lifts the unwieldy thing to her face : and focuses. As the bulb flashes, the noise of the club suddenly : drops out, and the moment is caught in BLACK and WHITE: Oskar : Schindler, surrounded by his many new friends, smiling urbanely. : : 4. EXT. SQUARE - CRACOW - DAY. 4. : A photograph of a face on a work card, BLACK and WHITE. A typed : name, black and white. A hand affixes a sticker to the card and : it saturates with COLOR, DEEP BLUE. : People in long lines, waiting. Others near idling trucks, : waiting. Others against sides of buildings, waiting. Clerks : with clipboards move through the crowds, calling out names. : CLERKS : Groder ... Gemeinerowa ... Libeskind ... : : 5. INT. APARTMENT BUILDING - CRACOW - DAY. 5. : The party pin in his lapel catches the light in the : hallway. : SCHINDLER : Stern? : Behind Schindler, the door to another apartment closes softly. A : radio, somewhere, is suddenly silenced. : SCHINDLER : Are you Itzhak Stern? : At the door of this apartment, a man with the face and manner of : a Talmudic scholar, finally nods in resignation, like his number : has just come up. : STERN : I am. : Schindler offers a hand. Confused, Stern tentatively reaches for : it, and finds his own grasped firmly. : : 6. INT. STERN'S APARTMENT - DAY. : 6. : Settled into an overstuffed chair in a simple apartment, : Schindler pours a shot of cognac from a flask. : SCHINDLER : There's a company you did the books for : on Lipowa Street, made what, pots and pans? : Stern stares at the cognac Schindler's offering him. He doesn't : know who this man is, or what he wants. : STERN : (pause) : By law, I have to tell you, sir, I'm a Jew. : Schindler looks puzzled, then shrugs, dismissing it. : SCHINDLER : All right, you've done it - : good company, you think? : He keeps holding out the drink. Stern declines it with a slow : shake of his head. : STERN : It did all right. : Schindler nods, takes out a cigarette case. : SCHINDLER : I don't know anything about enamelware, : do you? : He offers Stern a cigarette. Stern declines again. : STERN : I was just the accountant. : SCHINDLER : Simple engineering, though, wouldn't : you think? Change the machines around, : whatever you do, you could make : other things, couldn't you? : Schindler lowers his voice as if there could possibly be someone : else listening in somewhere. : SCHINDLER : Field kits, mess kits ... : He waits for a reaction, and misinterprets Stern's silence for a : lack of understanding. : SCHINDLER : Army contracts. : But Stern does understand. He understands too well. Schindler : grins good-naturedly. : SCHINDLER : Once the war ends, forget it, but for now : it's great, you could make a fortune. : Don't you think? : STERN : (with an edge) : I think most people right now have : other priorities. : Schindler tries for a moment to imagine what they could possibly : be. He can't. : SCHINDLER : Like what? : Stern smiles despite himself. The man's manner is so simple, so : in contrast to his own and the complexities of being a Jew in : occupied Cracow in 1939. He really doesn't know. Stern decides : to end the conversation. : STERN : Get the contracts and I'm sure you'll do : very well. In fact the worse things get : the better you'll do. It was a "pleasure." : SCHINDLER : The contracts? That's the easy part. : Finding the money to buy the company, : that's hard. : He laughs loudly, uproariously. But then, just as abruptly as : the laugh erupted, he's dead serious, all kidding aside - : SCHINDLER : You know anybody? : Stern stares at him curiously, sitting there taking another sip : of his cognac, placid as a large dog. : SCHINDLER : Jews, yeah. Investors. : STERN : (pause) : Jews can no longer own businesses, sir, : that's why this one's for sale. : SCHINDLER : Well, they wouldn't own it, I'd own it. : I'd pay them back in product. They can : trade it on the black market, do whatever : they want, everybody's happy. : He shrugs; it sounds more than fair to him. But not to : Stern. : STERN : Pots and pans. : SCHINDLER : (nodding) : Something they can hold in their hands. : Stern studies him. This man is nothing more than a salesman with : a salesman's pitch; just dressed better than most. : STERN : I don't know anybody who'd be : interested in that. : SCHINDLER : (a slow knowing nod) : They should be. : Silence. : : 7. EXT. CRACOW - NIGHT. 7. : A mason trowels mortar onto a brick. As he taps it into a place : and scrapes off the excess cement, the image DRAINS OF COLOR. : Under lights, a crew of brick-layers is erecting a ten-foot wall : where a street once ran unimpeded. : : 8. EXT. STREET - CRACOW - DAY. 8. : A young man emerges from an alley pocketing his Jewish armband. : He crosses a street past German soldiers and trucks and climbs : the steps of St. Mary's cathedral. : : 9. INT. ST. MARY'S CATHEDRAL - DAY. 9. : A dark and cavernous place. A priest performing Mass to : scattered parishioners. Lots of empty pews. : The young Polish Jew from the street, Poldek Pfefferberg, kneels, : crosses himself, and slides in next to another young man, : Goldberg, going over notes scribbled on a little pad inside a : missal. Pfefferberg shows him a container of shoe polish he : takes from his pocket. Whispered, bored - : GOLDBERG : What's that? : PFEFFERBERG : You don't recognize it? Maybe that's : because it's not what I asked for. : GOLDBERG : You asked for shoe polish. : PFEFFERBERG : My buyers sold it to a guy who sold it to : the Army. But by the time it got there - : because of the cold - it broke, the whole : truckload. : GOLDBERG : (pause) : So I'm responsible for the weather? : PFEFFERBERG : I asked for metal, you gave me glass. : GOLDBERG : This is not my problem. : PFEFFERBERG : Look it up. : Goldberg doesn't bother; he pockets his little notepad and : intones a response to the priest's prayer, all but ignoring : Pfefferberg. : PFEFFERBERG : This is not your problem? Everybody : wants to know who I got it from, : and I'm going to tell them. : Goldberg glances to Pfefferberg for the first time, and, greatly : put upon, takes out his little notepad again and makes a notation : in it. : GOLDBERG : Metal. : He flips the pad closed, pockets it, crosses himself as he gets : up, and leaves. : : 10. INT. HOTEL - DAY. : 10. : Pfefferberg at the front desk of a sleepy hotel with another : black market middleman, the desk clerk. Both are wearing their : armbands. Pfefferberg underlines figures on a little notepad of : his own - : PFEFFERBERG : Let's say this is what you give me. : These are fees I have to pay some guys. : This is my commission. This is what I : bring you back in Occupation currency. : The clerk, satisfied with the figures, is about to hand over to : Pfefferberg some outlawed Polish notes from an envelope when : Schindler comes in from the street. The clerk puts the money : away, gets Schindler his room key, waits for him to leave so he : can finish his business with Pfefferberg ... but Schindler : doesn't leave; he just keeps looking over at Pfefferberg's : shirt, at the cuffs, the collar. : PFEFFERBERG : That's a nice shirt. : Pfefferberg nods, Yeah, thanks, and waits for Schindler to leave; : but he doesn't. Nor does he appear to hear the short burst of : muffled gunfire that erupts from somewhere up the street. : SCHINDLER : You don't know where I could find : a shirt like that. : Pfefferberg knows he should say 'no,' let that be the end of it. : It's not wise doing business with a German who could have you : arrested for no reason whatsoever. But there's something : guileless about it. : PFEFFERBERG : Like this? : SCHINDLER : (nodding) : There's nothing in the stores. : The clerk tries to discourage Pfefferberg from pursuing this : transaction with just a look. Pfefferberg ignores it. : PFEFFERBERG : You have any idea what a shirt : like this costs? : SCHINDLER : Nice things cost money. : The clerk tries to tell Pfefferberg again with a look that this : isn't smart. : PFEFFERBERG : How many? : SCHINDLER : I don't know, ten or twelve. That's : a good color. Dark blues, grays. : Schindler takes out his money and begins peeling off bills, : waiting for Pfefferberg to nod when it's enough. He's being : overcharged, and he knows it, but Pfefferberg keeps pushing it, : more. The look Schindler gives him lets him know that he's : trying to hustle a hustler, but that, in this instance at least, : he'll let it go. He hands over the money and Pfefferberg hands : over his notepad. : PFEFFERBERG : Write down your measurements. : As he writes down the information, Pfefferberg glances to the : desk clerk and offers a shrug. As he writes - : SCHINDLER : I'm going to need some other things. : As things come up. : : 11. EXT. GARDEN - SCHERNER'S RESIDENCE - 11. : CRACOW - DAY. : As Oberfuhrer Scherner and his daughter, in a wedding gown, dance : to the music of a quartet on a bandstand, the reception guests : drink and eat at tables set up on an expansive lawn. : CZURDA : The SS doesn't own the trains, : somebody's got to pay. Whether it's : a passenger car or a livestock car, : it doesn't matter - which, by the way, : you have to see. You have to set aside : an afternoon, go down to the station : and see this. : Other SS and Army officers share the table with Czurda. : Schindler, too, nice blue shirt, jacket, only he doesn't seem to : be paying attention; rather his attention and affections are : directed to the blonde next to him, Ingrid. : CZURDA : So you got thousands of fares that : have to be paid. Since it's the SS that's : reserved the trains, logically they : should pay. But this is a lot of money. : (pause) : The Jews. They're the ones riding the : trains, they should pay. So you got Jews : paying their own fares to ride on : cattle cars to God knows where. They : pay the SS full fare, the SS turns around, : pays the railroad a reduced excursion : fare, and pockets the difference. : He shrugs, There you have it. Brilliant. He glances off, sees : something odd across the yard. Two horses, saddled-up, being led : into the garden by a stable boy. : SCHINDLER : (to Ingrid) : Excuse me. : Schindler gets up from the table. Scherner, his wife and : daughter and son-in-law stare at the horses; they're beautiful. : Schindler appears, takes the reins from the stable boy, hands one : set to the bride and the other to the groom. : SCHINDLER : There's nothing more sacred than : marriage. No happier an occasion than : one's wedding day. I wish you : all the best. : Scherner hails a photographer. As the guy comes over with his : camera, so does just about everybody else. Scherner insists : Schindler pose with the astonished bride and groom. : Big smiles. Flash. : : 12. INT. STOREFRONT - CRACOW - DAY. 12. : A neighborhood place. Bread, pastries, couple of tables. At one : sits owner and a well-dressed man in his seventies, Max Redlicht. : OWNER : I go to the bank, I go in, they tell me : my account's been placed in Trust. : In Trust? What are they talking about, : whose Trust? The Germans'. I look : around. Now I see that everybody's : arguing, they can't get to their money : either. : MAX REDLICHT : This is true? : OWNER : I'll take you there. : Max looks at the man not without sympathy. He's never heard of : such a thing. It's really a bad deal. But then - : MAX REDLICHT : Let me understand. The Nazis have : taken your money. So because they've : done this to you, you expect me to go : unpaid. That's what you're saying. : The owner of the place just stares at Redlicht. : MAX REDLICHT : That makes sense to you? : The man doesn't answer. He watches Max get up and cross to the : front door where he says something to two of his guys and leaves. : The guys come in and start carting out anything of any value: : cash register, a chair, a loaf of bread ... : : 13. EXT. CRACOW STREET - DAY. : 13. : Max strolls along the sidewalk, browsing in store windows. : People inside and out nod hello, but they despise him, they fear : him. : Just as he's passing a synagogue, some men in long overcoats : cross the street. Einsatzgruppen, they are an elite and wild : bunch, one of six Special Chivalrous Duty squads assigned to : Cracow. : : 14. INT. STARAR BOZNICA SYNAGOGUE - 14. : SAME TIME - DAY. : The Sabbath prayers of a congregation of Orthodox Jews are : interrupted by a commotion at the rear of the ancient temple. : Several non-Orthodox Jews from the street, including Max : Redlicht, are being herded inside by the Einsatz Boys. : They're made to stand before the Ark in two lines: Orthodox and : non. One of the Einsatzgruppen squad removes the parchment Torah : scroll while another calmly addresses the assembly: : EINSATZ NCO : I want you to spit on it. I want you to : walk past, spit on it, and stand over there. : No one does anything for a moment. The liberals from the street : seem to say with their eyes, Come on, we're all too sophisticated : for this; the others, with the beards and sidelocks, silently : check with their rabbi. : One by one then they file past and spit on the scroll. The last : two, the rabbi and Max Redlicht hesitate. They exchange a : glance. The rabbi finally does it; the gangster doesn't. after : a long tense silence. : MAX REDLICHT : I haven't been to temple must be : fifty years. : (to the rabbi) : Nor have I been invited. : The Einsatz NCO glances from Max to the rabbi and smiles to : himself. This is unexpected, this rift. : MAX REDLICHT : (to the rabbi) : You don't approve of the way I : make my living? I'm a bad man, : I do bad things? : Max admits it with a shrug. : MAX REDLICHT : I've done some things ... but I won't : do this. : Silence. The Einsatz NCO glances away to the others, : amused. : EINSATZ NCO : What does this mean? Of all of you, there's : only one who has the guts to say no? : One? And he doesn't even believe? : (no one, of course answer him) : I come in here, I ask you to do something : no one should ever ask. And you do it? : (pause) : What won't you do? : Nobody answers. He turns to Max. : EINSATZ NCO : You, sir, I respect. : He pulls out a revolver and shoots the old gangster in the head. : He's dead before he hits the floor. : EINSATZ NCO : The rest of you ... : ... are beneath his contempt. He turns and walks away. The : other Einsatz Boys pull rifles and revolvers from their coats and : open fire. : : 15. EXT. CRACOW - DAY. 15. : In BLACK AND WHITE and absolute silence, a suitcase thrown from a : second story window arcs slowly through the air. As it hits the : pavement, spilling open - SOUND ON - and, returning to COLOR - : Thousands of families pushing barrows through the streets of : Kazimierz, dragging mattresses over the bridge at Podgorze, : carrying kettles and fur coats and children on a mass forced : exodus into the ghetto. : Crowds of Poles line the sidewalks like spectators on a parade : route. Some wave. Some take it more soberly, as if sensing they : may be next. : POLISH GIRL : Goodbye, Jews. : : 16. EXT. GHETTO GATE - DAY. : 16. : The little folding tables have been dragged out and set up again, : and at them sit the clerks. : Goldberg, of all people, has somehow managed to elevate himself : to a station of some authority. Armed with something more : frightening than a gun - a clipboard - he abets the Gestapo in : their task of deciding who passes through the ghetto gate and who : detours to the train station. : PFEFFERBERG : What's this? : Pfefferberg, with his wife Mila, at the head of a line that seems : to stretch back forever, flicks at Goldberg's OD armband with : disgust. : GOLDBERG : Ghetto Police. I'm a policeman now, : can you believe it? : PFEFFERBERG : Yeah, I can. : They consider each other for a long moment before Pfefferberg : leads his wife past Goldberg and into the ghetto. : : 17. INT. APARTMENT BUILDING, GHETTO - NIGHT. 17. : Dismayed by each others' close proximity, Orthodox and liberal : Jews wait to use the floor's single bathroom. : : 18. INT. GHETTO APARTMENT - NIGHT. 18. : From the next apartment comes the liturgical solo of a cantor. : In this apartment, looking like they can't bear much more of it, : sit some non-Orthodox businessmen, Stern and Schindler. : SCHINDLER : For each thousand you invest, you take : from the loading dock five hundred kilos : of product a month - to begin in July : and to continue for one year - after : which time, we're even. : (he shrugs) : That's it. : He lets them think about it, pours a shot of cognac from his : flask, offers it to Stern, who brought this group together and : now sits at Schindler's side. The accountant declines. : INVESTOR 1 : Not good enough. : SCHINDLER : Not good enough? Look where you're : living. Look where you've been put. : "Not good enough." : (he almost laughs at : the squalor) : A couple of months ago, you'd be right. : Not anymore. : INVESTOR 1 : Money's still money. : SCHINDLER : No, it isn't, that's why we're here. : Schindler lights a cigarette and waits for their answer. It : doesn't come. Just a silence. Which irritates him. : SCHINDLER : Did I call this meeting? You told : Mr. Stern you wanted to speak to me. : I'm here. Now you want to negotiate? : The offer's withdrawn. : He caps his flask, pockets it, reaches for his top coat. : INVESTOR 2 : How do we know you'll do what you say? : SCHINDLER : Because I said I would. What do you : want, a contract? To be filed where? : (he slips into his coat) : I said what I'll do, that's our contract. : The investors study him. This is not a manageable German. : Whether he's honest or not is impossible to say. Their glances : to Stern don't help them; he doesn't know either. : The silence in the room is filled by the muffled singing next : door. One of the men eventually nods, He's in. Then another. : And another. : : 19. INT. FACTORY FLOOR - DAY. : 19. : A red power button is pushed, starting the motor of a huge metal : press. The machine whirs, louder, louder. : : 20. INT. UPSTAIRS OFFICE - SAME TIME - DAY. 20. : Schindler, at a wall of a windows, is peering down at the lone : technician making adjustments to the machine. : STERN : The standard SS rate for Jewish skilled : labor is seven Marks a day, five for : unskilled and women. This is what you : pay the Economic Office, the laborers : themselves receive nothing. Poles you : pay wages. Generally, they get a little : more. Are you listening? : Schindler turns from the wall of glass to face his new : accountant. : SCHINDLER : What was that about the SS, the rate, : the ... ? : STERN : The Jewish worker's salary, you pay it : directly to the SS, not to the worker. : He gets nothing. : SCHINDLER : But it's less. It's less than what I would : pay a Pole. That's the point I'm trying to : make. Poles cost more. : Stern hesitates, then nods. The look on Schindler's face says, : Well, what's to debate, the answer's clear to any fool. : SCHINDLER : Why should I hire Poles? : : 21. INT. FACTORY FLOOR - DAY. : 21. : Another machine starting up, growling louder, louder - : : 22. EXT. PEACE SQUARE, THE GHETTO - DAY. 22. : To a yellow identity card with a sepia photograph a German clerk : attaches a blue sticker, the holy Blauschein, proof that the : carrier is an essential worker. At other folding tables other : clerks pass summary judgment on hundreds of ghetto dwellers : standing in long lines. : TEACHER : I'm a teacher. : The man tries to hand over documentation supporting the claim : along with his Kennkarte to a German clerk. : CLERK : Not essential work, stand over there. : Over there, other "non-essential people" are climbing onto trucks : bound for unknown destinations. The teacher reluctantly : relinquishes his place in line. : : 23. EXT. PEACE SQUARE - LATER - DAY. 23. : The teacher at the head of the line again, but this time with : Stern at his side. : TEACHER : I'm a metal polisher. : He hands over a piece of paper. The clerk takes a look, is : satisfied with it, brushes glue on the back of a Blauschein and : sticks it to the man's work card. : CLERK : Good. : The world's gone mad. : : 24. INT. FACTORY FLOOR - DAY. : 24. : Another machine starting up, a lathe. A technician points things : out to the teacher and some others recruited by Stern. The motor : grinds louder, louder. : : 25. INT. APARTMENT - DAY. 25. : Schindler wanders around a large empty apartment. There's lots : of light, glass bricks, modern lines, windows looking out on a : park. : : 26. INT. THE APARTMENT - NIGHT. 26. : The same place full of furniture and people. Lots of SS in : uniform. Wine. Girls. Schindler, drinking with Oberfuhrer : Scherner, keeps glancing across the room to a particularly good- : looking Polish girl with another guy in uniform. : SCHERNER : I'd never ask you for money, you know that. : I don't even like talking about it - : money, favors - I find it very awkward, : it makes me very uncomfortable - : SCHINDLER : No, look. It's the others. They're the : ones causing these delays. : SCHERNER : What others? : SCHINDLER : Whoever. They're the ones. They'd : appreciate some kind of gesture from me. : Scherner thinks he understands what Schindler's saying. Just in : case he doesn't - : SCHINDLER : I should send it to you, though, don't : you think? You can forward it on? : I'd be grateful. : Scherner nods. Yes, they understand each other. : SCHERNER : That'd be fine. : SCHINDLER : Done. Lets not talk about it anymore, : let's have a good time. : : 27. INT. SS OFFICE - DAY. 27. : Scherner at his desk initialing several Armaments contracts. The : letters D.E.F. appear on all of them. : : 28. EXT. FACTORY - DAY. 28. : Men and pulleys hoist a big "F" up the side of the building. : Down below, Schindler watches as the letter is set into place - : D.E.F. : : 29. INT. FACTORY OFFICES - DAY. 29. : The good-looking Polish girl from the party, Klonowska, is shown : to her desk by Stern. It's right outside Schindler's office. : This girl has never typed in her life. : : 30. INT. FACTORY FLOOR - DAY. : 30. : Flames ignite with a whoosh in one of the huge furnaces. The : needle on a gauge slowly climbs. : : 31. EXT. CRACOW - DAY. 31. : A garage door slides open revealing a gleaming black Mercedes. : Schindler steps past Pfefferberg and, moving around the car, : carefully touches its smooth lines. : : 32. INT. FACTORY - DAY. 32. : Another machine starts up. Another. Another. : : 33. EXT. PEACE SQUARE - DAY. : 33. : Stern with a woman at the head of a line. The clerk affixes the : all-important blue sticker to her work card. : : 34. INT. FACTORY DAY - DAY. : 34. : Three hundred Jewish laborers, men and women, work at the long : tables, at the presses, the latches, the furnaces, turning out : field kitchenware and mess kits. : Few glance up from their work at Schindler, the big gold party : pin stuck into his lapel, as he moves through the place, his : place, his factory, in full operation. : He climbs the stairs to the offices where several secretaries : process Armaments orders. He gestures to Stern, at a desk : covered with ledgers, to join him in his office. : : 35. INT. SCHINDLER'S OFFICE - CONTINUOUS - DAY. 35. : The accountant follows Schindler into the office. : SCHINDLER : Sit down. : Schindler goes to the wall of windows, his favorite place in the : world, and looks down at all the activity below. He pours two : drinks from a decanter and, turning back, holds one out to Stern. : Stern, of course, declines. Schinder groans. : SCHINDLER : Oh, come on. : He comes over and puts the drink in Stern's hand, moves behind : his desk and sits. : SCHINDLER : My father was fond of saying you need : three things in life. A good doctor, a : forgiving priest and a clever accountant. : The first two ... : He dismisses them with a shrug; he's never had much use for : either. But the third - he raises his glass to the accountant. : Stern's glass stays in his lap. : SCHINDLER : (long sufferingly) : Just pretend for Christ's sake. : Stern slowly raises his glass. : SCHINDLER : Thank you. : Schindler drinks; Stern doesn't. : : 36. INT. SCHINDLER'S APARMENT - MORNING. 36. : Klonowska, wearing a man's silk robe, traipses past the remains : of a party to the front door. Opening it reveals a nice looking, : nicely dressed woman. : KLONOWSKA : Yes? : A series of realizations is made by each of them, quickly, : silently, ending up with Klonowska looking ill. : SCHINDLER (O.S.) : Who is it? : : 37. INT. SCHINDLER'S APARTMENT - MORNING. 37. : Schindler sets a cup of coffee down in front of his wife. Behind : him, through a doorway, Klonowska can be seen hurriedly gathering : her things. : SCHINDLER : She's so embarrassed - look at her - : Emilie begrudges him a glance to the bedroom, catching the girl : just as she looks up - embarrassed. : SCHINDLER : You know what, you'd like her. : : EMILIE : Oskar, please - : SCHINDLER : What - : EMILIE : I don't have to like her just because : you do. It doesn't work that way. : SCHINDLER : You would, though. That's what : I'm saying. : His face is complete innocence. It's the first thing she fell in : love with; and perhaps the thing that keeps her from killing him : now. Klonowska emerges from the bedroom thoroughly self- : conscious. : KLONOWSKA : Goodbye. It was a pleasure meeting you. : She shakes Emilie's limp hand. Schindler sees her to the door, : lets her out and returns to the table, smiling to himself. : Emilie's glancing around at the place. : EMILIE : You've done well here. : He nods; he's proud of it. He studies her. : SCHINDLER : You look great. : : 38. EXT. SCHINDLER'S APARTMENT BUILDING - NIGHT. 38. : They emerge from the building in formal clothes, both of them : looking great. It's wet and slick; the doorman offers Emilie : his arm. : DOORMAN : Careful of the pavement - : SCHINDLER : - Mrs. Schindler. : The doorman shoots a glance to Schindler that asks, clearly, : Really? Schindler opens the passenger door of the Mercedes for : his wife, and the doorman helps her in. : : 39. INT. RESTAURANT - NIGHT. : 39. : A nice place. "No Jews or Dogs Allowed." The maitre 'd welcomes : the couple warmly, shakes Schindler's hand. Nodding to his date : - : SCHINDLER : Mrs. Schindler. : The maitre 'd tries to bury his surprise. He's almost : successful. : : 40. INT. RESTAURANT - LATER - NIGHT. 40. : No fewer than four waiters attend them - refilling a glass, : sliding pastries onto china, lighting Schindler's cigarette, : raking crumbs from the table with little combs. : EMILIE : It's not a charade, all this? : SCHINDLER : A charade? How could it be a charade? : She doesn't know, but she does know him. And all these signs of : apparent success just don't fit his profile. Schindler lets her : in on a discovery. : SCHINDLER : There's no way I could have known this : before, but there was always something : missing. In every business I tried, I see : now it wasn't me that was failing, it was : this thing, this missing thing. Even if : I'd known what it was, there's nothing I : could have done about it, because you can't : create this sort of thing. And it makes all : the difference in the world between : success and failure. : He waits for her to guess what the thing is. His looks says, : It's so simple, how can you not know? : EMILIE : Luck. : SCHINDLER : War. : : 41. INT. NIGHTCLUB - NIGHT. : 41. : "Gloomy Sunday" from a combo on a stage. Schindler and Emilie : dancing. Pressed against her - both have had a few - he can feel : her laugh to herself. : SCHINDLER : What? : EMILIE : I feel like an old-fashioned couple. : It feels good. : He smiles, even as his eyes roam the room and find and meet the : eyes of a German girl dancing with another man. : : 42. INT. SCHINDLER'S APARTMENT - LATER - NIGHT. 42. : Schindler and Emilie lounging in bed, champagne bottle on the : nightstand. Long silence before - : EMILIE : Should I stay? : SCHINDLER : (pause) : It's a beautiful city. : That's not the answer she's looking for and he knows it. : EMILIE : Should I stay? : SCHINDLER : (pause) : It's up to you. : That's not it either. : EMILIE : No, it's up to you. : Schindler stares out at the lights of the city. They look : like jewels. : EMILIE : Promise me no doorman or maitre 'd : will presume I am anyone other than : Mrs. Schindler ... and I'll stay. : He promises her nothing. : : 43. EXT. TRAIN STATION - DAY. : 43. : Emilie waves goodbye to him from a first-class compartment : window. Down on the platform, he waves goodbye to her. as the : train pulls away, he turns away, and the platform of the next : track is revealed - soldiers and clerks supervising the boarding : of hundreds of people onto another train - the image turning : BLACK AND WHITE. : CLERKS : Your luggage will follow you. Make sure : it's clearly labeled. Leave your luggage : on the platform. : : 44. EXT. D.E.F. LOADING DOCK - DAY. : 44. : As workers load crates of enamelware onto trucks - back to COLOR : - Stern and Schindler and the dock foreman confer over an : invoice. : More to Stern - : FOREMAN : Every other time it's been all right. : This time when I weigh the truck, : I see he's heavy, he's loaded too much. : I point this out to him, I tell him to : wait, he tells me he's got a new : arrangement with Mr. Schindler - : (to Schindler) : - that you know all about it and : it's okay with you. : SCHINDLER : It's "okay" with me? : On the surface, Schindler remains calm; underneath, he's livid. : Clearly it's not "okay" with him. : STERN : How heavy was he? : FOREMAN : Not that much, just too much for it : to be a mistake - 200 kilos. : Stern and Schindler exchange a glance. Then - : SCHINDLER : (pause) : You're sure. : The foreman nods. : : 45. INT. GHETTO STOREFRONT - DAY. : 45. : Pfefferberg and Schindler bang in through the front door, : startling a woman at a desk. : WOMAN AT DESK : Can I help you? : They move past her without a word and into the back of the place, : into a storeroom. They stride past long racks full of enamelware : and other goods. : A man glances up, sees them coming. He's one of Schindler's : investors, the one who questioned the German's word. The man's : teenage sons rush to their father's defense, but Pfefferberg : grabs him and locks an arm tightly around his neck. : Silence. Then, calmly - : SCHINDLER : If you or anyone acting as an agent : for you comes to my factory again, : I'll have you arrested. : INVESTOR : It was a mistake. : SCHINDLER : It was a mistake? What was a mistake? : How do you know what I'm talking about? : INVESTOR : All right, it wasn't a mistake, but : it was one time. : SCHINDLER : We had a deal, you broke it. One : phone call and your whole family : is dead. : He turns and walks away. Pfefferberg lets the guy go and : follows. The investor's sons help their father up off the floor. : Gasping, he yells. : INVESTOR : I gave you money. : - but Schindler and Pfefferberg are already gone, coming through : the front office and out the front door - : : 46. EXT. STOREFRONT - CONTINUOUS - DAY. 46. : - to the street. Pfefferberg looks a little shaken from the : experience. Schindler straightens his friend's clothes. : SCHINDLER : How you feeling, all right? : PFEFFERBERG : Yeah. : SCHINDLER : What's the matter, everything : all right at home? : (Pfefferberg nods) : Mila's okay? : PFEFFERBERG : She's good. : Well, then, Schindler can't imagine what could be wrong. He pats : Pfefferberg on the shoulder and leads him away. : SCHINDLER : Good. : : 47. INT. FACTORY FLOOR - DAY. : 47. : The long tables accommodate most of workers. The rest eat their : lunch on the floor. Soup and bread. : : 48. INT. SCHINDLER'S OFFICE - SAME TIME - DAY. 48. : An elegant place setting for one. Meat, vegetables, glass of : wine, all untouched. Schindler leafing through pages of a report : Stern has prepared for him. : SCHINDLER : I could try to read this or I could eat : my lunch while it's till hot. We're : doing well? : STERN : Yes. : SCHINDLER : Better this month than last? : STERN : Yes. : SCHINDLER : Any reason to think next month : will be worse? : STERN : The war could end. : No chance of that. Satisfied, Schindler returns the report to : his accountant and starts to eat. Stern knows he is excused, but : looks like he wants to say something more; he just doesn't know : how to say it. : SCHINDLER : (impatient) : What? : STERN : (pause) : There's a machinist outside who'd : like to thank you personally for : giving him a job. : Schindler gives his accountant a long-suffering look. : STERN : He asks every day. It'll just take : a minute. He's very grateful. : Schindler's silence says, Is this really necessary? Stern : pretends it's a tacit okay, goes to the door and pokes his head : out. : STERN : Mr. Lowenstein? : An old man with one arm appears in the doorway and Schindler : glances to the ceiling, to heaven. As the man slowly makes his : way into the room, Schinder sees the bruises on his face. And : when he speaks, only half his mouth moves; the other half is : paralyzed. : LOWENSTEIN : I want to thank you, sir, for : giving me the opportunity to work. : SCHINDLER : You're welcome, I'm sure you're : doing a great job. : Schindler shakes the man's hand perfunctorily and tells Stern : with a look, Okay, that's enough, get him out of here. : LOWENSTEIN : The SS beat me up. They would have : killed me, but I'm essential to the : war effort, thanks to you. : SCHINDLER : That's great. : LOWENSTEIN : I work hard for you. I'll continue to : work hard for you. : SCHINDLER : That's great, thanks. : LOWENSTEIN : God bless you, sir. : SCHINDLER : Yeah, okay. : LOWENSTEIN : You're a good man. : Schindler is dying, and telling Stern with his eyes, Get this guy : out of here. Stern takes the man's arm. : STERN : Okay, Mr. Lowenstein. : LOWENSTEIN : He saved my life. : STERN : Yes, he did. : LOWENSTEIN : God bless him. : STERN : Yes. : They disappear out the door. Schindler sits down to his meal. : And tries to eat it. : : 49. EXT. FACTORY - DAY. 49. : Stern and Schindler emerge from the rear of the factory. The : Mercedes is waiting, the back door held open by a driver. : Climbing in - : SCHINDLER : Don't ever do that to me again. : STERN : Do what? : Stern knows what he means. And Schindler knows he knows. : SCHINDLER : Close the door. : The driver closes the door. : : 50. EXT. GHETTO GATE - DAY. : 50. : Snow on the ground and more coming down. A hundred of : Schindler's workers marching past the ghetto gate, as is the : custom, under armed guard. Turning onto Zablocie Street, they're : halted by an SS unit standing around some trucks. : : 51. EXT. ZABLOCIE STREET - DAY. 51. : Shovels scraping at snow. The marchers working to clear it from : the street. A dialog between one of the guards and an SS officer : is interrupted by a shot - and the face of the one-armed : machinist falls into the frame. : : 52. INT. OFFICE, SS HEADQUARTERS - DAY. 52. : Herman Toffel, an SS contact of Schindler's who he actually : likes, sits behind his desk. : TOFFEL : It's got nothing to do with reality, : Oskar, I know it and you know it, : it's a matter of national priority to : these guys. It's got a ritual significance : to them, Jews shoveling snow. : SCHINDLER : I lost a day of production. I lost a : worker. I expect to be compensated. : TOFFEL : File a grievance with the Economic : Office, it's your right. : SCHINDLER : Would it do any good? : TOFFEL : No. : Schindler knows it's not Toffel's fault, but the whole situation : is maddening to him. He shakes his head in disgust. : TOFFEL : I think you're going to have to put up : with a lot of snow shoveling yet. : Schindler gets up, shakes Toffel's hand, turns to leave. : TOFFEL : A one-armed machinist, Oskar? : SCHINDLER : (right back) : He was a metal press operator, : quite skilled. : Toffel nods, smiles. : : 53. EXT. FIELD - DAY. : 53. : From a distance, Stern and Schindler slowly walk a wasteland that : lies between the rear of DEF and two other factoreis - a radiator : works and a box plant. : Stern's doing all the talking, in his usual quiet but persuasive : manner. Every so often, Schindler, glancing from his own factory : to the others, nods. : : 54. INT. SCHINDLER'S OFFICE - DAY. : 54. : The party pins the two other German businessmen wear are nothing : compared to the elaborate thing in Schindler's lapel. He sits at : his desk sipping cognac, a large portrait of Hitler hanging : prominently on the wall behind him. : SCHINDLER : Unlike your radiators - and your boxes - : my products aren't for sale on the open : market. This company has only one : client, the German Army. And lately : I've been having trouble fulfilling my : obligations to my client. With your : help, I hope the problem can be solved. : The problem, simply, is space. : Stern, who has been keeping a low profile, hands the gentlemen : each a set of documents. : SCHINDLER : I'd like you to consider a proposal which : I think you'll find equitable. I'd like you : to think about it and get back to me : as soon as - : KUHNPAST : Excuse me - do you really think this is : appropriate? : The man glances to Stern, and back to Schindler, his look saying, : This is wrong, having a Jew present while we discuss business. : If Schindler catches his meaning, he doesn't admit it. Kuhnpast : almost sighs. : KUHNPAST : I can appreciate your problem. If I had : any space I could lease you, I would. : I don't. I'm sorry. : HOHNE : Me neither, sorry. : SCHINDLER : I don't want to lease your facilities, : I want to buy them. I'm prepared to : offer you fair market value. And to let : you stay on, if you want, as supervisors. : (pause) : On salary. : There's a long stunned silence. The Germans can't believe it. : After the initial shock wears off, Kuhnpast has to laugh. : KUHNPAST : You've got to be kidding. : Nobody is kidding. : KUHNPAST : (pause) : Thanks for the drink. : He sets it down, gets up. Hohne gets up. They return the : documents to Stern and turn to leave. They aren't quite out the : door when Schindler wonders out loud to Stern: : SCHINDLER : You try to be fair to people, they walk : out the door; I've never understood : that. What's next? : STERN : Christmas presents. : SCHINDLER : Ah, yes. : The businessmen slow, but don't look back into the room. : : 55. EXT. SCHERNER'S RESIDENCE - CRACOW - MORNING. 55. : Pfefferberg wipes a smudge from the hood of an otherwise pristine : BMW Cabriolet. As Scherner and his wife emerge from their house : in robes, Scherner whispers to himself - : SCHERNER : Oskar ... : : 56. EXT. KUHNPAST'S RADIATOR FACTORY - DAY. 56. : Workers high on the side of the building toss down the letters of : the radiator sign as others hoist up a big "D." Under armed : guard, others unload a metal press machine from a truck. : : 57. INT. RADIATOR FACTORY / DEF ANNEX - DAY. 57. : Technicians make adjustments to presses already in place. Others : test the new firing ovens. Kuhnpast is being forcibly removed : from the premises. : : 58. INT. GHETTO EMPLOYMENT OFFICE - DAY. 58. : Crowded beyond belief, the place is like a post office gone mad. : Stern, moving along one of the impossibly crowded lines, pauses : to speak with an elderly couple. : : 59. EXT. PEACE SQUARE - DAY. : 59. : A hand slaps a blue sticker on a work card. Slap, another. And : another. And another. : : 60. INT. D.E.F. FRONT OFFICE - DAY. : 60. : Christmas decorations. Klonowska at her desk, her eyes closed : tight. : SCHINDLER : All right. : She opens her eyes and smiles. Schindler is holding a poodle in : his arms. She comes around to kiss him. He sets the dog on the : desk. Stern, across the room, watches blank-faced. : GESTAPO (O.S.) : Oskar Schindler? : Schindler, Stern and Klonowska turn to the voice. Two Gestapo : men have entered unannounced. : GESTAPO : We have a warrant to take your : company's business records with us. : And another to take you. : Schindler stares at them in disbelief. Stern quietly slips one : of the ledgers on his desk into a drawer. : SCHINDLER : Am I permitted to have my secretary : cancel my appointments for the day? : He doesn't wait for their approval. He scribbles down some names : - Toffel, Czurda, Reeder, Scherner. Underlining Scherner, he : glances to Klonowska. She understands. : : 61. INT. OFFICE, SS HEADQUARTERS, CRACOW - DAY. 61. : : A humorless middle-level bureaucrat sits behind a desk and : D.E.F.'s ledgers and cashbooks. : GESTAPO CLERK : You live very well. : : The man slowly shakes his head 'no' to Schindler's offer of a : cigarette. Schindler tamps it against the crystal of his gold : watch. : GESTAPO CLERK : This standard of living comes entirely : from legitimate sources, I take it? : Schindler lights the cigarette and drags on it, all but ignoring : the man. : GESTAPO CLERK : As an SS supplier, you have a moral : obligation to desist from blackmarket : dealings. You're in business to support : the war effort, not to fatten - : SCHINDLER : (interrupting) : You know? When my friends ask, : I'd love to be able to tell them you : treated me with the utmost courtesy : and respect. : The quiet matter-of-fact tone, more than the comment itself, : throws the bureaucrat off his rhythm. His eyes narrow slightly. : There's a long silence. : : 62. INT. HALLWAY/ROOM - SS HEADQUARTERS - DAY. 62. : The two who arrested him lead Schindler down a long hallway. : They reach a door, have him step inside and close the door after : him. : : 63. INT. SS "CELL" - EVENING. : 63. : Schindler knocks on the inside of the door. A Waffen SS man : opens it. The "prisoner" peels several bills from a thick wad. : SCHINDLER : Chances of getting a bottle of vodka : pretty good? : He hands the young guard five times the going price. : WAFFEN GUARD : Yes, sir. : The guard turns to leave. : SCHINDLER : Wait a minute. : He peels off several more bills and hands them over. : SCHINDLER : Pajamas. : : 64. INT. SS "CELL" - MORNING. : 64. : Perched on the side of the bed in pajamas, Schindler works on a : breakfast of herring and eggs, cheeses, rolls and coffee. : Someone has also brought him a newspaper. There's an apologetic : knock on the door before it opens. : GUARD : I'm sorry to disturb you, sir. : Whenever you're ready, you're : free to leave. : : 65. INT. FOYER, SS HEADQUARTERS - MORNING. 65. : : Schindler, the Gestapo clerk and one of the arresting officers : cross the foyer. : GESTAPO CLERK : I'd advise you not to get too comfortable. : Sooner or later, law prevails. No matter : who your friends are. : Schindler ignores the man completely. Reaching the front doors, : the clerk turns over the D.E.F. records to their owner and offers : his hand. Schindler lets it hang there. : SCHINDLER : You expect me to walk home, or what? : GESTAPO CLERK : (tightly) : Bring a car around for Mr. Schindler. : : 66. EXT. D.E.F. FACTORY - DAY. : 66. : A Gestapo limousine pulls in through the gates of the factory, : parks near the loading docks. The driver, the same SS officer, : waits for Schindler to climb out, but he doesn't; he waits for : the SS man to come around and open the door for him. : SCHINDLER : If you'd return the ledgers to my office : I'd appreciate it. : There are no less than forty able-bodied Jewish laborers working : on the docks, any one of which would be better suited to the : task. The Gestapo man calls to one of them. : SCHINDLER : Excuse me - hey - : (the guy turns) : They're working. : The guy just stares. Finally he heads off with the ledgers. The : poodle bounds out past him and over to Schindler. He gives the : dog a pat on the head. : : 67. EXT. SCHINDLER'S BUILDING - EVENING. 67. : Elegantly dressed for a night out, Schindler and Klonowska emerge : from the building. As they're escorted to the waiting car, : Schindler hesitates. A nervous figure in the shadows of an : alcove is gesturing to him, beckoning him. : Schindler excuses himself. Klonowska watches as he joins the man : in the alcove. Their whispered conversation is over quickly and : the man hurries off. : : 68. EXT. PROKOCIM DEPOT - CRACOW - LATER - NIGHT. 68. : From the locomotive, looking back, the string of splatted : livestock carriages stretches into darkness. There's a lot of : activity on the platform. : Guards mill. Handcards piled with luggage trundle by. People : hand up children to others already in the cars and climb aboard : after them. the clerks are out in full force with their lists : and clipboards, reminding the travelers to label their suitcases. : Climbing from his Mercedes, Schindler stares. He's heard of : this, but actually seeing the juxtaposition - human and cattle : cars - this is something else. Recovering, he tells Klonowska to : stay in the car and, moving along the side of the train, calls : Stern's name to the faces peering out from behind the slats and : barbed wire. : AN ENORMOUS LIST OF NAMES - : - several pages-worth on a clipboard; a Gestapo clerk : methodically leafing through them. : SCHINDLER (0.S.) : He's essential. Without him, everything : comes to a grinding halt. If that happens - : CLERK : Itzhak Stern? : (Schindler nods) : He's on the list. : SCHINDLER : He is. : The clerk shows him the list, points out the name to him. : SCHINDLER : Well, let's find him. : CLERK : He's on the list. If he were an essential : worker, he would not be on the list. : He's on the list. You can't have him. : SCHINDLER : I'm talking to a clerk. : Schindler pulls out a small notepad and drops his voice to a hard : murmur, the growl of a reasonable man who isn't ready - yet - to : bring out his heavy guns: : SCHINDLER : What's your name? : CLERK : Sir, the list is correct. : SCHINDLER : I didn't ask you about the list, : I asked you your name. : CLERK : Klaus Tauber. : As Schindler writes it down, the clerk has second thoughts and : calls to a superior, an SS sergeant, who comes over. : CLERK : The gentleman thinks a mistake's been made. : SCHINDLER : My plant manager is somewhere on this train. : If it leaves with him on it, it'll disrupt : production and the Armaments Board will : want to know why. : The sergeant takes a good hard look at the clothes, at the pin, : at the man wearing them. : SERGEANT : (to the clerk) : Is he on the list? : CLERK : Yes, sir. : SERGEANT : (to Schindler) : The list is correct, sir. There's nothing : I can do. : SCHINDLER : May as well get your name while you're here. : SERGEANT : My name? My name is Kunder. : Sergeant Kunder. What's yours? : SCHINDLER : Schindler. : The sergeant takes out a pad. Now all three of them have lists. : He jots down Schindler's name. Schindler jots down his and flips : the pad closed. : SCHINDLER : Sergeant, Mr. Tauber, thank you very much. : I think I can guarantee you you'll both be in : Southern Russia before the end of the month. : Good evening. : He walks away, back toward his car. The clerk and sergeant : smile. But slowly, slowly, the smiles sour at the possibility : that this man calmly walking away from them could somehow arrange : such a fate ... : ALL THREE OF THEM - : - Schindler, the clerk and the sergeant - stride along the side : of the cars. Two of them are calling out loudly - : CLERK & SERGEANT : Stern! Itzhak Stern! : Soon it seems as if everybody except Schindler is yelling out the : name. As they reach the last few cars, the accountant's face : appears through the slats. : SCHINDLER : There he is. : SERGEANT : Open it. : Guards yank at a lever, slide the gate open. Stern climbs down. : the clerk draws a line through his name on the list and hands the : clipboard to Schindler. : CLERK : Initial it, please. : (Schindler initials the change) : And this ... : As Schindler signs three or four forms, the guards slide the : carriage gate closed. Those left inside seem grateful for the : extra space. : CLERK : It makes no difference to us, you understand - : this one, that one. It's the inconvenience to : the list. It's the paperwork. : Schindler returns the clipboard. The sergeant motions to another : who motions to the engineer. As the train pulls out, Stern tries : to keep up with Schindler who's striding away. : STERN : I somehow left my work card at home. : I tried to tell them it was a mistake, : but they - : Schindler silences him with a look. He's livid. Stern glances : down at the ground. : STERN : I'm sorry. It was stupid. : (contrite) : Thank you. : Schindler turns away and heads for the car. Stern hurries after : him. They pass an area where all the luggage, carefully tagged, : has been left - the image becoming BLACK and WHITE. : : 69. EXT/INT. MECHANICS GARAGE - NIGHT. 69. : Mechanics' hood-lamps throw down pools of light through which me : wheel handcarts piled high with suitcases, briefcases, steamer : trunks - BLACK and WHITE. : Moving along with one of the handcarts into a huge garage past : racks of clothes, each item tagged, past musical instruments, : furniture, paintings, against one wall - children's toys, sorted : by size. : The cart stops. A valise is handed to someone who dumps and : sorts the contents on a greasy table. The jewelry is taken to : another area, to a pit, one of two deep lubrication bays filled : with watches, bracelets, necklaces, candelabra, Passover : platters, gold in one, silver the other, and tossed in. : At workbenches, four Jewish jewelers under SS guard sift and sort : and weigh and grade diamonds, pearls, pendants, brooches : children's rings - faltering only once, when a uniformed figure : upends a box, spilling out gold teeth smeared with blood - the : image saturating with COLOR. : : 70. EXT. COUNTRYSIDE - DAY. : 70. : Fractured gravestones like broken teeth jut from the earth of a : neglected Jewish cemetery outside of town. Down the road that : runs alongside it comes a German staff car. : : 71. INT. STAFF CAR - MOVING - DAY. : 71. : In the backseat, Untersturmfuhrer Amon Goeth pulls on a flask of : schnapps. His age and build are about that of Schindler's; his : face open and pleasant. : GOETH : Make a nice driveway. : The other SS officers in the car - Knude, Haase and Hujar - : aren't sure what he means. He's peering out the window at the : tombstones. : : 72. EXT. GHETTO - DAY. 72. : The staff car passes through the portals of the ghetto and down : the trolley lines of Lwowska Street. : : 73. INT. STAFF CAR - MOVING - DAY. : 73. : As the car slowly cruises through the ghetto, Knude, like a tour : guide, briefs the new man, Goeth - : KNUDE : This street divides the ghetto just about : in half. On the right - Ghetto A: civil : employees, industry workers, so on. On the : left, Ghetto B: surplus labor, the elderly : mostly. Which is where you'll probably : want to start. : The look Goeth gives Knude tells him to refrain, if he would, : from offering tactical opinions. : KNUDE : Of course that's entirely up to you. : : 74. EXT. PLASZOW FORCED LABOR SITE - DAY. 74. : Outside of town, a previously abandoned limestone quarry lies : nestled between two hills. The stone and brick buildings look : like they've been here forever; the wooden structures, those that : are up, are built of freshly-cut lumber. : There's a great deal of activity. New construction and : renovation - foundations being poured, rail tracks being laid, : fences and watchtowers going up, heavy segments of huts - wall : panels, eaves sections - being dragged uphill by teams of : bescarved women like some ancient Egyptian industry. : Goeth surveys the site from a knoll, clearly pleased with it. : But then he's distracted by voices - a man's, a woman's - arguing : down where some barracks are being erected. : The woman breaks off the dialog with a disgusted wave of her hand : and stalks back to a half-finished barracks. The man, one from : the car, Hujar, sees Goeth, Knude and Haase coming down the hill : and moves to meet them. : HUJAR : She says the foundation was poured wrong, : she's got to take it down. I told her it's a : barracks, not a fucking hotel, fucking Jew : engineer. : Goeth watches the woman moving around the shell of the building, : pointing, directing, telling the workers to take it all down. he : goes to take a closer look. She comes over. : ENGINEER : The entire foundation has to be dug up : and repoured. If it isn't, the thing will : collapse before it's even completed. : Goeth considers the foundation as if he knew about such things. : He nods pensively. Then turns to Hujar. : GOETH : (calmly) : Shoot her. : It's hard to tell which is more stunned by the order, the woman : or Hujar. Both stare at Goeth in disbelief. He gives her the : reason along with a shurg - : GOETH : You argued with my man. : (to Hujar) : Shoot her. : Hujar unholsters his pistol but holds it limply at his side. The : workers become aware of what's happening and still their hammers. : HUJAR : Sir... : Goeth groans and takes the gun from him and puts it to the : woman's head. Calmly to her - : GOETH : I'm sure you're right. : He fires. She crumples to the ground. He returns the gun to his : stunned inferior and, gesturing down at the body, addresses the : workers. : GOETH : That's somebody who knew what they : were doing. That's somebody I needed. : (pause) : Take it down, repour it, rebuild it, : like she said. : He turns and walks away. : : 75. EXT. STABLES - DAWN. 75. : Stable boys lead two horses into the pre-dawn light. The : animals' hoofs shatter tufts of weeds like fingers of glass; fog : plumes from their nostrils. : : 76. EXT. PARK, CRACOW - DAWN. : 76. : In addition to the exhaust from idling trucks and the curling : smoke from the Sonderkommando units' cigarettes, there is : excitement in the chilly pre-dawn air. : : 77. EXT. GHETTO - DAWN. 77. : An empty street. Rooftops against a lightening sky. A few of : the windows in the buildings are lighted, glowing amber; the : majority are still dark. : : 78. EXT. STABLES - DAWN. 78. : The stable boys hoist saddles onto the horses, cinch the straps. : Leaning against the hood of the Mercedes, Schindler and Ingrid, : in long hacking jackets, riding breeches and boots, share cognac : from his flask. : : 79. EXT. PARK, CRACOW - DAWN. : 79. : Untersturmfuhrer Goeth, soon to be Commandant Goeth, stands : before the assembled troops with a flask of cognac in his hand. : He looks out over them proudly; they're good boys, these, the : best. He addresses them - : GOETH : Today is history. The young will ask : with wonder about this day. Today is : history and you are a part of it. : : 80. EXT. PEACE SQUARE, GHETTO - DAWN. 80. : A fourteen year old kid hurries across to the square pulling on : his O.D. armband. Several others of the Jewish Ghetto Police, : Golberg among them, are already assembled there. The clerks, the : list makers, scissor open their folding tables, set out their ink : pads and stamps. : GOETH (V.O.) : When, elsewhere, they were footing the : blame for the Black Death, Kazimierz the : Great, so called, told the Jews they could : come to Cracow. They came. : : 81. EXT. STABLES - DAWN. 81. : Ingrid climbs onto one of the horses, Schindler onto the other. : As the animals gallop away with their riders toward a wood, the : stable boys wave. : GOETH (V.O.) : They trundled their belongings into this : city, they settled, they took hold, : they prospered. : : 82. EXT. PARK, CRACOW - DAWN. : 82. : The fresh young faces of the Sonderkommandos, listening to their : commander. : GOETH : For six centuries, there has been a : Jewish Cracow. : : 83. EXT. WOODS - DAWN. 83. : The horses panting hard. Their hoofs hammering at the ground, : climbing a hill. Riding boots kicking at their flanks. : : 84. EXT. PARK, CRACOW - DAWN. : 84. : The boots of Amon Goeth slowly pacing. He stops. Tight on his : face, smiling pleasantly. : GOETH : By this weekend, those six centuries, : they're a rumor. They never happened. : Today is history. : : 85. EXT. HILLTOP CLEARING - DAWN. : 85. : The galloping horses break through to a clearing high on a hill. : The riders pull in the reins and the hoofs rip at the earth. : Schindler smiles at the view, the beauty of it with the sun just : coming up. From here, all of Cracow can be seen in striking : relief, like a model of a town. : He can see the Vistula, the river that separates the ghetto from : Kazimierz; Wawel Castle, from where the National Socialist : Party's Hans Frank rules the Government General of Poland; beyond : it, the center of town. : He begins to notice refinements: the walls that define the : ghetto; Peace Square, the assembly of men and boys. He notices a : line of trucks rolling east across the Kosciuscko Bridge, and : another across the bridge at Podgorze, a third along Zablocie : Street, all angling in on the ghetto like spokes to a hub. : : 85. EXT. GHETTO - DAY. 85. : The wheels of the last truck clear the portals at Lwowska Street : and the Sonderkommandos jump down. : : 86. INT. APARTMENT BUILDINGS - DAWN. 86. : Families are routed from their apartments. An appeal to be : allowed to pack is answered with a rifle butt; an unannounced : move to a desk drawer is countered with a shot. : : 87. EXT. STREETS, GHETTO - DAWN. 87. : Spilling out of the buildings, they're herded into lines without : regard to family consideration; some other unfathomable system is : at work here. The wailing protests of a woman to join her : husband's line are abruptly cut off by a short burst of gunfire. : : 88. EXT. HILLTOP - DAWN. 88. : From here, the action down below seems staged, unreal; the rifle : bursts no louder than caps. Dismounting, Schindler moves closer : to the edge of the hill, curious. : His attention is drawn to a small distant figure, all in red, at : the rear of one of the many columns. : : 89. EXT. STREET - DAWN. 89. : Small red shoes against a forest of gleaming black boots. A : Waffen SS man occasionally corrects the little girl's drift, : fraternally it seems, nudging her gently back in line with the : barrel of his rifle. A volley of shots echoes from up the : street. : : 90. EXT. HILLTOP - DAWN. 90. : Schindler watches as the girl slowly wanders away unnoticed by : the SS. Against the grays of the buildings and street she's like : a moving red target. : : 91. EXT. STREET - DAWN. 91. : A truck thundering down the street obscures her for a moment. : Then she's moving past a pile of bodies, old people executed in : the street. : : 92. EXT. HILLTOP - DAWN. 92. : Schindler watches: she's so conspicuous, yet she keeps moving - : past crowds, past dogs, past trucks - as though she were : invisible. : : 93. EXT. STREET - DAWN. 93. : Patients in white gowns, and doctors and nurses in white, are : herded out the doors of a convalescent hospital. The small : figure in red moves past them. Shots explode behind her. : : 94. EXT. HILLTOP - DAWN. 94. : Short bursts of light flash throughout the ghetto like stars. : Schindler, fixated on the figure in red, loses sight of her as : she turns a corner. : : 95. INT. APARTMENT BUILDING - DAWN. 95. : She climbs the stairs. The building is empty. She steps inside : an apartment and moves through it. It's been ransacked. As she : crawls under the bed, the scene DRAINS of COLOR. : The gunfire outside sounds like firecrackers. : : 96. EXT. HILLTOP - NIGHT. 96. : Night. Silence. Schindler and Ingrid are gone. : Below, the ghetto lies like a void within the city, its perimeter : and interior clearly distinguishable by darkness. Outside it, : the lights of the rest of Cracow glimmer. : : 97. INT. D.E.F. FACTORY - NIGHT. : 97. : Tables and tools and enamelware scrap. The metal presses and : lathes, still. The firing ovens, cold. The gauges at zero. : Against the wall of windows overlooking the empty factory floor : stands a figure, Schindler, in silhouette against the glass, : black against white, not moving, just staring down. : : 98. EXT. FOREST - PLASZOW - MORNING. 98. : Bloody wheelbarrows, stark against the tree line of a forest : above the completed forced labor camp, PLASZOW. : : 99. EXT. PLASZOW FORCED LABOR CAMP - MORNING. 99. : Names on lists. Names called out. Tight on faces. : Goldberg at one of several folding tables. The gangster-turned- : ghetto-cop is now the Lord of Lists inside Plaszow. He and other : listmakers call out names, accounting for those thousands who : survived the liquidation of the ghetto and now stand before them : in long straight rows. : : 100. INT. GOETH'S BEDROOM, PLASZOW - MORNING. 100. : Amon Goeth stirs, wakes, glances at the woman asleep beside him. : Hungover, he drags himself slowly out of bed. : : 101. EXT. GOETH'S BALCONY - MOMENTS LATER - 101. : MORNING. : Goeth steps out onto the balcony in his undershirt and shorts and : peers out across the labor camp, his labor camp, his kingdom. : Satisfied with it, even amazed, he's reminiscent of Schindler : looking down on his kingdom, his factory, as he loves to do, from : his wall of glass. : Life is great. Goeth reaches for a rifle. : : 103. EXT. PLASZOW SAME TIME - MORNING. 103. : Workers loading quarry rock onto trolleys under Ukrainian guard : and a low morning sun. Every so often, one glances with : anticipation to the balcony of Goeth's "villa" - which is in fact : nothing more than a two-story stone house perched on a slight : rise in the dry landscape. : : 104. EXT. GOETH'S BALCONY - CONTINUED - MORNING. 104. : The butt of the rifle against his shoulder, Goeth aims down at : the quarry - at this worker, at that one - indiscriminately, : inscrutably. He fires a shot and a distant figure falls. : : 105. INT. GOETH'S BEDROOM - SAME TIME - 105. : MORNING. : The woman in bed groans at the echoing shot. She's used to it : but she still hates it; it's such an awful way to be woken. : MAJOLA : (mutters) : Amon ... Christ ... : She buries her head under a pillow. Goeth reappears. He pads to : his bathroom, goes inside and urinates. : : 106. EXT. PLASZOW - DAY. 106. : Schindler's Mercedes winds through the camp, past warehouses and : workshops, trucks full of furs and furniture, work details, : barracks, guard blocks. A man standing alone wears a sign around : his neck - "I am a potato thief." : : 107. EXT. GOETH'S VILLA - PLASZOW - DAY. : 107. : The Mercedes pulls in next to some other nice cars parked on a : driveway made of tombstones from the Jewish cemetery. : : 108. EXT. PATIO, GOETH'S VILLA - DAY. : 108. : A patio table set with crystal, china, silver. Goeth and Hujar : are there, in pressed SS uniforms, and two industrialists, Bosch : and Madritsch. One chair is empty. : HUJAR : Your machinery will be moved and installed : by the SS at no cost to you. You will pay : no rent, no maintenance - : Hujar glances off, interrupted by Schindler's arrival. Although : he's never been here, the industrialist comes in like he owns the : place. All but Goeth rise. : SCHINDLER : No, no, come on, sit - : He works his way around the table, patting Bosch and Madritsch on : the back - he knows them - shaking Hujar's hand, who he doesn't : know. He reaches Goeth. : SCHINDLER : How you doing? : Goeth takes a good long look at the handsomely dressed : entrepreneur and allows him to shake his hand. : GOETH : We started without you. : SCHINDLER : Good. : Schindler takes a seat, shakes a napkin onto his lap, nods to the : servant holding out a bottle of champagne to him. : SCHINDLER : Please. : Goeth watches him. The others watch Goeth. : SCHINDLER : I miss anything important? : HUJAR : I was explaining to Mr. Bosch and : Mr. Madritsch some of the benefits of : moving their factories into Plaszow. : SCHINDLER : Oh, good, yeah. : Schindler clearly doesn't care, but nods as though he did. He : drinks. Goeth just watches him with what seems to be growing : amusement. He nods to Hujar to continue. : HUJAR : Since your labor is housed on-site, : it's available to you at all times. You can : work them all night if you want. Your : factory policies, whatever they've been : in the past, they'll continue to be, : they'll be respected - : Schindler laughs out loud, cutting Hujar off. Hujar glances over : to Goeth nonplussed. : SCHINDLER : I'm sorry. : He's not sorry at all, and starts in on the plate of food that's : set down in front of him. : GOETH : You know, they told me you were : going to be trouble - Czurda and Scherner. : SCHINDLER : You're kidding. : Goeth slowly shakes his head no ... then smiles. : GOETH : He looks great, though, doesn't he? : I have to know - where do you get a : suit like that? what is that, silk? : (Schindler nods) : It's great. : SCHINDLER : I'd say I'd get you one but the guy who : made it, he's probably dead, I don't know. : He shrugs like, Those are the breaks, too bad. Goeth just : smiles. The others watch the two of them, unsure how they're : supposed to react. : : 109. INT. GOETH'S OFFICE - PLASZOW - LATER - DAY. 109. : The others have gone. It's just Goeth and Schindler now. Goeth : pours glasses of cognac. : GOETH : Something wonderful's happened, do you : know what it is? Without planning it, we've : reached that happy point in our careers : where duty and financial opportunity meet. : Schindler nods pensively, perhaps in agreement, perhaps at some : other thought. There's a silence, broken finally by - : SCHINDLER : I go to work the other day, there's nobody : there. Nobody tells me about this, I have to : find out, I have to go in, everybody's gone - : GOETH : They're not gone, they're here. : SCHINDLER : They're mine! : His voice echoes into silence. An acquiescent shrug from Goeth : finally. And a nod; Schindler's right. : SCHINDLER : Every day that goes by, I'm losing money. : Every worker that is shot, costs me : money - I have to get somebody else, : I have to train them - : GOETH : We're going to be making so much money, : none of this is going to matter - : SCHINDLER : (cutting him off) : It's bad business. : GOETH : (shrugs) : Some of the boys went crazy, : what're you going to do? You're right, : it's bad business, but it's over with, : it's done. : (pause) : Occasionally, sure, okay, you got to : make an example. But that's good : business. : Schindler pours himself another shot from the bottle, nurses it. : He's in a foul mood. They study each other, trying to determine : perhaps who's more powerful. Eventually - : GOETH : Scherner told me something else about you. : SCHINDLER : Yeah, what's that? : GOETH : That you know the meaning of the word : gratitude. That it's not some vague thing : with you like with some guys. : SCHINDLER : True. : Goeth tries to put the situation in perspective: : GOETH : You want to stay where you are. You got : things going on the side, things are good, : you don't want anybody telling you what : to do - I can understand all that. : (pause) : What you want is your own sub-camp. : Schindler admits it by not disagreeing. Goeth thinks about it, : nods to himself again, then frowns. : GOETH : Do you have any idea what's involved? : The paperwork alone? Forget you got to : build it all, getting the fucking permits, : that's enough to drive you crazy. Then the : engineers show up. They stand around : and they argue about drainage - I'm : telling you, you'll want to shoot somebody, : I've been through it, I know. : SCHINDLER : Well, you've been through it. You know. : You could make things easier for me. : Goeth mulls it over, his shrug saying "maybe, maybe not." A : silence before - : SCHINDLER : I'd be grateful. : There's the word Goeth was waiting to hear. : : 110. EXT. D.E.F. SUBCAMP SITE - DAY. : 110. : An SS surveyor, with even paces, measures a distance of the bare : field adjacent to the factory. He sticks a little flag into the : ground. : : 111. EXT. D.E.F. SUBCAMP SITE - DAY. : 111. : A watchtower, half-erected, the little flag still in the ground. : Laborers hammer at it while others roll out barbed wire fencing. : A surveyor supervises the placement of a post and carefully : measures its heights; it has to be nine feet, exactly. : At a folding table in the middle of the field, Schindler signs : checks made out to the Construction Office, Plaszow - : requisitioning more lumber, cement and hardware. : : 112. EXT. CONSTRUCTION OFFICE, PLASZOW - DAY. 112. : Plaszow prisoners load the requisitioned building supplies - the : lumber, cement and hardware - onto trucks. : : 113. EXT/INT. WAREHOUSE, CRACOW - DAY. 113. : The trucks parked not at Schindler's sub-camp, but at the loading : dock of Goeth's private warehouse in Cracow. Inside the building : can be glimpsed all kinds of Plaszow goods: clothes, food, : construction equipment, furniture. : Checkbook laid out on the hood of his Mercedes, Schindler pays : for the requested materials a second time - this time with a : check made out to Amon Goeth personally - and hands it over to : his bagman, Hujar. : : 114. EXT. D.E.F. SUBCAMP FIELD - DAY. : 114. : Some SS architects groan over a set of blueprints. Schinlder and : an SS officer walk by. : SS OFFICER : You have the Poles beat the Czechs, : you have the Czechs beat the Poles, : that way everybody stays in line. : SCHINDLER : All I have is Jews. : He shrugs, Too bad, what're you going to do? The SS guy has to : think. Yeah, that's a problem. Two huge leashed dogs yank : another SS man across their path. : : 115. EXT. D.E.F. - DAY. : 115. : As five hundred Plaszow prisoners are marched back onto the : grounds of D.E.F., any hope they may have had of a more lenient : environment is quickly dashed. The place - completed - looks : like a fortress: barbed-wire, towers, SS guards and dogs. : : 116. INT. D.E.F. FACTORY - DAY. : 116. : Where once they glimpsed the not too threatening figure of Oskar : Schindler strolling through the factory, the workers who dare : glance up now find armed guards moving past. And further up, : behind the wall of windows, Schindler moving around, entertaining : SS officer. : : 117. INT. GOETH'S VILLA - NIGHT. : 117. : The Rosner brothers in evening clothes, Leo on accordion, Henry : on violin, playing a Strauss melody, trying to keep it muted, : inoffensive. Few of the guests pay attention, which is fine with : them. An SS officer chats with Schindler. : LEO JOHN : - she's seventy years old, she's been : there forever - they bomb her house. : Everything's gone. The furniture, : everything. : SCHINDLER : (well aware the man : is lying) : Thank God she wasn't there. : ' : Schindler, with yet another girl on his arm, endures the : officer's lies while sweeping the room with his eyes. : LEO JOHN : I was thinking maybe you could help : her out. Some plates and mugs, some : stew pots, I don't know. Say half a : gross of everything? : Schindler looks at him for the first time, knowingly. : SCHINDLER : She run an orphanage, your aunt? : LEO JOHN : She's old. What she can't use maybe : she can sell. : Schindler's girl excuses herself to get a drink. : SCHINDLER : You want it sent directly to her or : through you? : LEO JOHN : Through me, I think. I'd like to : enclose a card. : Schindler nods, Done. Both watch his date across the room : getting a drink. As usual, she's the best-looking on there. : LEO JOHN : Your wife must be a saint. : Whatever tolerance Schindler's had up to this point with John : leaves his face; the looks he gives him now is pure contempt. : SCHINDLER : She is. : : 118. INT. GOETH'S VILLA - LATER - NIGHT. : 118. : Goeth's girl tonight, a Pole, eighteen, nineteen, places a hand : on Schindler's sleeve. They're at the important end of the large : table with Goeth, along withCzurda and Leo John and their : girlfriends. : GOETH'S GIRL : You're not a soldier? : SCHINDLER : No, dear. : CZURDA : There's a picture. Private Schindler? : Blanket around his shoulders over in Kharkov? : Everyone laughs. : GOETH : Happened to what's his name - up in Warsaw - : and he was bigger than you, Oskar. : CZURDA : Toebbens. : GOETH : Happened to Toebbens. Almost. Himmler : goes up to Warsaw, tells the armament guys, : "Get the fucking Jews out of Toebbens' : factory and put Toebbens in the army," and - : "and sent him to the Front." I mean, the : Front. : Everybody laughs. : GOETH : It's true. Never happen in Cracow, though, : we all love you too much. : SCHINDLER : I pay you too much. : Another round of laughs, only this time it's forced. Everybody : knows it's true, but you don't say it out loud, and Schindler : knows better. Goeth gives him a look; they'll talk later. : : 119. EXT. GOETH'S VILLA - LATER - NIGHT. : 119. : Goeth finds Schindler alone outside smoking a cigarette. : Schindler acknowledges him, but that's about it. Finally - : SCHINDLER : You held back Stern. You held back the : one man most important to my business. : GOETH : He's important to my business. : SCHINDLER : What do you want for him, I'll give it to you. : GOETH : I want him. : (turning back) : Come on, let's go inside, let's have : a good time. : Goeth heads back inside. Schindler stays outside, finishing his : cigarette. : : 120. EXT. PLASZOW - LATER - NIGHT. : 120. : A folding table outside the prisoners' barracks. At it, playing : cards, two night sentries. A figure appears out of the darkness. : Schindler. He sets down on the table a fifth of vodka. : : 121. EXT. BARRACKS - LATER - NIGHT. : 121. : Stern, summoned from his barracks, watches as Schindler digs : through his coat pockets. Nearby, at the table, drinking now, : the sentries. From the hill, the villa, the Rosners' music, : faint, can be heard. : SCHINDLER : Here. : He discreetly hands over to the accountant some cigars scavenged : from the party. From another pocket, he retrieves and hands over : some tins of food - all valuable commodities. From another : pocket, perhaps not so valuable, but then who knows, a gold : lighter. Regarding this last item - : SCHINDLER : This, I don't know, maybe you can : trade it for something. : STERN : Thank you. : Schindler shrugs, It's the least I can do. The two stand around : a moment more before Schindler shrugs again, Sorry I can't do : more. He reaches out, pats Stern on the shoulder, and, turning : to leave. : SCHINDLER : I got to go, I'll see you. : STERN : Oskar - : Schindler comes back, but, out of embarrassment or - maybe he : wants to get back to the party - waits with some impatience for : Stern to tell whatever it is he wants to tell him. Lowering his : voice - : STERN : There's a guy. This thing happened. : Goeth came into the metalworks - : CUT TO: : : 122. INT. METALWORKS - PLASZOW - DAY. 122. : Goeth moves through the crowded metalworks like a good-natured : foreman, nodding to this worker, wishing that one a good morning. : He seems satisfied, even pleased, with the level of production. : Goldberg is with him. They reach a particular bench, a : particular worker, and Goeth smiles pleasantly. : GOETH : What are you making? : Not daring to look up, all the worker sees of Goeth is the : starched cuff of his shirt. : LEVARTOV : Hinges, sir. : The rabbi-turned-metalworker gestures with his head to a pile of : hinges on the floor. Goeth nods. And in a tone more like a : friend than anything else - : GOETH : I got some workers coming in tomorrow ... : Where the hell they from again? : GOLDBERG : Yugoslavia. : GOETH : Yugoslavia. I got to make room. : He shrugs apologetically and pulls out a pocket watch. : GOETH : Make me a hinge. : As Goeth times him, Rabbi Levartov works at making a hinge as : though his life depended on it - which it does - cutting the : pieces, wrenching them together, smoothing the edges, all the : while keeping count on his head of the seconds ticking away. He : finishes and lets it fall onto the others on the floor. Forty : seconds. : GOETH : Another. : Again the rabbi works feverishly - cutting, crimping, sanding, : hearing the seconds ticking in his head - and finishing in : thirty-five. Goeth nods, impressed. : GOETH : That's very good. What I don't understand, : though, is - you've been working since what, : about six this morning? Yet such a small : pile of hinges? : He understands perfectly. So does Levartov; he has just crafted : his own death in exactly 75 seconds. Goeth stands him against : the workshop wall and adjusts his shoulders. He pulls out his : pistol, puts it to the rabbi's head and pulls the trigger ... : click. : GOETH : (mumble) : Christ - : Annoyed, Goeth extracts the bullet-magazine, slaps it back in and : puts the barrel back to the man's headk. He pulls the trigger : again ... and again there's a click. : GOETH : God damn it - : He slams the weapon across Levartov's face and the rabbi slumps : dazed to the floor. Looking up into Goeth's face, he knows it's : not over. As Goeth walks away - : CUT BACK TO: : : 123. EXT. BARRACKS - CONTINUED - NIGHT. 123. : Tight on Schindler, a pensive nod, then a shrug. : SCHINDLER : The guy can turn out a hinge in less : than a minute? Why the long story? : : 124. INT. D.E.F. - DAY. : 124. : Rabbi Levartov, brought over to D.E.F., works at a table with : several others. As Schindler strolls by, the rabbi dares to : speak - : LEVARTOV : Thank you, sir. : Schindler has to think a moment before he can figure out who the : grateful man is. : SCHINDLER : Oh, yeah. You're welcome. : : 125. EXT. PLASZOW - DAY. 125. : A dead chicken dangling from Hujar's hand, evidence of some kind. : Goeth slowly pacing before a work detail of twenty or so men : standing still, silent, in a row. : GOETH : Nobody knows who stole the chicken. : A man walks around with a chicken, : nobody notices this. : No one confesses. Goeth nods, All right, takes a rifle from a : guard and shoots one of the workers at random. With this added : incentive, he waits for someone to tell him who stole the : chicken. No one does. : GOETH : Still nobody knows. : He shrugs, Okay, points the rifle at another worker - and a boy : of fourteen, shuddering and weeping, steps out of line. : GOETH : There we go. : Goeth goes over to the boy, and, like a distant relative to a : small child, tries to get him to look at his face. : GOETH : It was you? You committed this crime? : BOY : No, sir. : GOETH : You know who, though. : The boy nods, weeps, screams - : BOY : Him! : He's pointing at the dead man. And Goeth astonishes the entire : assembly of workers and guards by believing the boy. He returns : the rifle to the guard and walks away. Hujar stares after him, : then knowingly at the boy. : : 126. EXT. PLASZOW - DAY. 126. : A truck being loaded with supplies. Schindler signs for it and, : appearing as rushed as he always does, returns the clipboard to : Stern. : SCHINDLER : Yeah, sure, bring him over. : : 127. INT. D.E.F. - DAY. : 127. : Schindler comes down the stairs with Klonowska. As they're : crossing through the factory - : BOY : Thank you, sir. : SCHINDLER : (distracted) : That's okay. : : 128. INT. MECHANICS' GARAGE - PLASZOW - DAY. 128. : A mechanic peering under the hood of Goeth's Adler. Leaning in : he accidentally knocks a wrench off the radiator into the fan and : there's an awful clatter before the engine dies. The mechanic : glances up horrified. : : 129. EXT. GOETH'S VILLA - DAY. : 129. : As servants hoist a heavy, elaborately tooled saddle from : Schindler's trunk - a gift for Goeth - Schindler sees Stern : coming toward him and glances skyward long-sufferingly. : : 130. INT. D.E.F. - DAY. : 130. : The mechanic, making adjustments to a metal press, glances up as : Schindler moves past. : MECHANIC : Thank - : SCHINDLER : Yeah, yeah, yeah. : : 131. EXT. D.E.F. FACTORY - DAY. : 131. : Across the street stands a nervous young woman in a faded dress. : She seems to be trying to summon the courage to cross over and : onto the factory grounds. : : 132. INT. D.E.F. FACTORY - DAY. : 132. : Just inside the factory, she waits as a guard telephones : Schindler's office. She can see the wall of windows from where : she's standing, and Schindler himself as he appears at it, phone : to his ear. He glances down at her disapprovingly and the guard : hangs up. : GUARD : He won't see you. : : 133. INT. APARTMENT - CRACOW - DAY. : 133. : The woman alone in a dismal room pulling on nylon stockings. At : a mirror, she applies make-up. She slips into a provocative : dress. Puts on heels. A Parisian hat. And looks in the mirror. : : 134. INT. D.E.F. - DAY. : 134. : Schindler waits for her on the landing of the stairs. He doesn't : recognize her, but smiles to counter the unfortunately : possibility she's some old girlfriend he's forgotten. Reaching : him, she offers her hand. : SCHINDLER : Miss Krause. : MISS KRAUSE : How do you do? : He can tell now she doesn't know him. He seems relieved. : He : leads her past Klonowska's desk and into his office. : : 135. INT. SCHINDLER'S OFFICE - DAY. : 135. : He arranges a chair for her, goes to his liquor cabinet. : SCHINDLER : Pernod? Cognac? : MISS KRAUSE : No, thank you. : He pours himself a drink, warms it in his hands, smiles, clearly : take with her. : SCHINDLER : So. : The grace with which she's carried herself up to this point seems : to evaporate as she struggles to find the words she wants. : MISS KRAUSE : They say that no one dies here. : They say your factory is a haven. : They say you are good. : Schindler's face changes like a wall going up, a mask of : indifference like in the portrait of Adolf Hitler on the wall : behind him. : SCHINDLER : Who says that? : MISS KRAUSE : Everyone. : Schindler glances away from her. He seems weary suddenly, : depressed. : MISS KRAUSE : My name is Regina Perlman, not : Elsa Krause. I've been living in Cracow : on false papers since the ghetto massacre. : (pause) : My parents are in Plaszow. They're old. : They're killing old people in Plaszow now. : They bury them up in the forest. I have : no money. I borrowed these clothes. : Will you bring them here? : Schindler glances back at her, his face hard, cold, and studies : her for a long, long moment before - : SCHINDLER : I don't do that. You've been misled. : I ask one thing: whether or not a worker : has certain skills. That's what I ask and : that's what I care about, get out of my : office. : She stares at him, frightened and bewildered. She feels tears : welling up. : SCHINDLER : Cry and I'll have you arrested, : I swear to God. : She hurries out. : : 136. INT. ADMINISTRATION BUILDING - PLASZOW - DAY. 136. : : Schindler barges into Stern's office. In a foul and aggressive : mood, he dispenses with pleasantries in order to admonish the : accountant - : SCHINDLER : People die, it's a fact of life. : Stern has hardly had time to look up from the work on his : desk. : SCHINDLER : He wants to kill everybody? Great. : What am I supposed to do, bring everybody : over? Is that what you think? Yeah, send : them over to Schindler, send them all. : His place is a "haven," didn't you know? : It's not a factory, it's not an enterprise : of any kind, it's a haven for people with no : skills whatsoever. : Stern's look is all innocence, but Schindler knows better. : SCHINDLER : You think I don't know what you're doing? : You're so quiet all the time? I know. : STERN : (with concern) : Are you losing money? : SCHINDLER : No, I'm not losing money, that's not the point. : STERN : What other point is - : SCHINDLER : (interrupts; yells) : It's dangerous. It's dangerous, to me, : personally. : Silence. Schindler tries to settle down. Then - : SCHINDLER : You have to understand, Goeth's under : enormous pressure. You have to think of it : in his situation. He's got this whole place : to run, he's responsible for everything that : goes on here, all these people - he's got a lot : of things to worry about. And he's got the : war. : Which brings out the worst in people. Never : the good, always the bad. Always the bad. : But in normal circumstances, he wouldn't : be like this. He'd be all right. There'd be : just the good aspects of him. Which is a : wonderful crook. A guy who loves good food, : good wine, the ladies, making money... : STERN : And killing. : SCHINDLER : I'll admit it's a weakness. I don't think : he enjoys it. : (pause) : All right, he does enjoy it, so what? : What do you expect me to do about it? : STERN : There's nothing you can do. I'm not : asking you to do anything. You came : into my office. : But it isn't Stern who needs convincing; it's Schindler himself. : It's doubtful he even realizes this, but it's clear to Stern. : Schindler sighs either at the predicament itself, or at the fact : that he's allowed Stern to place him right in the middle of it. : He turns to leave, hesitates. He conducts a mental search for a : name and eventually comes up with it: : SCHINDLER : Perlman, husband and wife. : He unstraps his watch, hands it to Stern. : SCHINDLER : Give it to Goldberg, have him send them over. : He leaves. : : 137. EXT. BALCONY - GOETH'S VILLA - NIGHT. 137. : Distant music, Brahms' lullaby, from the Rosner Brothers way down : by the women's barracks calming the inhabitants. Up here on the : balcony, Schindler and Goeth, the latter so drunk he can barely : stand up, stare out over Goeth's dark kingdom. : SCHINDLER : They don't fear us because we have the power : to kill, they fear us because we have the power : to kill arbitrarily. A man commits a crime, he : should know better. We have him killed, we : feel : pretty good about it. Or we kill him ourselves : and we feel even better. That's not power, : though, that's justice. That's different than : power. Power is when we have every : justification to kill - and we don't. That's : power. : That's what the emperors had. A man stole : something, he's brought in before the emperor, : he throws himself down on the floor, he begs : for mercy, he knows he's going to die ... and : the emperor pardons him. This worthless man. : He lets him go. That's power. That's power. : It seems almost as though this temptation toward restraint, this : image Schindler has brush-stroked of the merciful emperor, holds : some appeal to Goeth. Perhaps, as he stares out over his camp, : he imagines himself in the role, wondering what the power : Schindler describes might feel like. Eventually, he glances over : drunkenly, and almost smiles. : SCHINDLER : Amon the Good. : : 138. EXT. STABLES - PLASZOW - DAY. : 138. : A stable boy works to ready Goeth's horse before he arrives. He : sticks a bridle into its mouth, throws a riding blanket onto its : back, drags out the saddle Schindler bought Goeth. Before he can : finish, though, Goeth is there. The boy tries to hide his panic; : he knows others have been shot for less. : STABLE BOY : I'm sorry, sir, I'm almost done. : GOETH : Oh, that's all right. : As Goeth waits, patiently it seems, whistling to himself, the : stable boy tries to mask his confusion. : : 139. EXT. PLASZOW - DAY. 139. : Goeth gallops around his great domain holding himself high in the : saddle. But everywhere he looks, it seems, he's confronted with : stoop-shouldered sloth. He forces himself to smile benevolently. : : 140. INT. GOETH'S VILLA - DAY. : 140. : Goeth comes into his bedroom sweating from his ride. A worker : with a pail and cloth appears in the bathroom doorway. More to : the floor - : WORKER : I have to report, sir, I've been unable to : remove the stains from your bathtub. : Goeth steps past him to take a look. The worker is almost : shaking, he's so terrified of the violent reprisal he expects to : receive. : GOETH : What are you using? : WORKER : Soap, sir. : GOETH : (incredulous) : Soap? Not lye? : The worker hasn't a defense for himself. Goeth's hand drifts : down as if by instinct to the gun in his holster. He stares at : the worker. He so wants to shoot him he can hardly stand it, : right here, right in the bathroom, put some more stains on the : porcelain. He takes a deep breath to calm himself. Then : gestures grandly. : GOETH : Go ahead, go on, leave. I pardon you. : The worker hurries out with his pail and cloth. Goeth just : stands there for several moments - trying to feel the power of : emperors he's supposed to be feeling. But he doesn't feel it. : All he feels is stupid. : : 141. EXT. GOETH'S VILLA - MOMENTS LATER - DAY. 141. : The worker hurries across the dying lawn outside the villa. He : dares a glance back, and at that moment, a hand with a gun : appears out the bathroom window and fires. : : 142. EXT. BARRACKS, PLASZOW - NIGHT. 142. : The sentries at their little table again, drinking Schindler's : vodka. Nearby, Schindler and Stern outside Stern's barracks. : The accountant's tone is hushed: : STERN : If he didn't steal so much, I could hide it. : If he's steal with some discretion... : CUT TO: : 143. STERN'S OFFICE, PLASZOW - DAY. : 143. : Goldberg delivers a stack of requisitions and invoices, and : leaves without a word. Behind his desk, Stern takes a cursory : look at them and shakes his head in dismay. : : 144. INT. GOLDBERG'S OFFICE, PLASZOW - 144. : MINUTES LATER - DAY. : Stern comes in with the requisitions. Now it's Goldberg's turn : to shake his head in dismay; he doesn't want to hear it - : STERN : There are fifteen thousand people here - : GOLDBERG : Goeth says there's twenty-five. : STERN : There are fifteen. He wants to say sixteen, : seventeen, all right, maybe he can get away : with it, but ten thousand over? It's stupid. : GOLDBERG : Stern, do me a favor, get out of here. : You want to argue about it, go tell Goeth. : : 145. LOADING DOCK, PLASZOW - DAY. 145. : Stern watches truck being unloaded of bags of flour, rice and : other supplies. Goeth nods to Hujar. Hujar calls a halt. The : workers climb down, close up the trucks. And, still half-full, : the trucks rumble off. : STERN (V.O.) : The SS auditors keep coming around, : looking over the books - Goeth knows this - : : 146. EXT. CRACOW - DAY. 146. : The trucks at the loading dock of Goeth's private warehouse. : Polish workers, under Hujar's supervision, throwing down the : "surplus" bags of flour and rice - the supplies for the phantom : 10,000 prisoners. : STERN (V.O.) : - you'd think he'd have the common sense : to see what's coming. No, he steals with : complete impunity. : CUT BACK TO: : : 147. BARRACKS - CONTINUED - NIGHT. 147. : They can see Goeth's villa up on the hill; figures moving around : behind the windows. There's another party going on up there. : down here, as he nurses a drink from his flask, Schindler thinks : about what Stern has told him, and eventually shrugs, Fine, fuck : him. : SCHINDLER : So you'll be rid of him. : But Stern slowly shakes his head 'no.' : STERN : If Plaszow is closed, they'll have to send us : somewhere else. Where - who knows? : Gross-Rosen maybe. Maybe Auschwitz. : There's the irony - bad as it is, evil as Goeth is, it could get : worse. Schindler understands. : SCHINDLER : I'll talk to him. : STERN : I think it's too late. : SCHINDLER : Well, I'll talk to somebody. I'll take care of : it. : He hands over to Stern some negotiable items and leaves. : : 148. INT. NIGHTCLUB - CRACOW - NIGHT. 148. : Schindler and Senior SS Officers Toffel and Scherner share a : table in same smoke-filled nightclub they met in. : SCHINDLER : What's he done that's so bad - take money? : That's a crime? Come on, what are we : here for, to fight a war? We're here to make : money, all of us. : TOFFEL : There's taking money and there's taking : money, you know that. He's taking money. : SCHERNER : The place produces nothing. I shouldn't : say that - nothing it produces reaches : the Army. That's not all right. : SCHINDLER : So I'll talk to him about it. : SCHERNER : He's a friend of yours, you want to help him : out. : Tell me this, though - has he ever once shown : you his appreciation? I've yet to see it. : Never a : courtesy. Never a thank you note. He forgets : my wife at Christmas time - : SCHINDLER : He's got no style, we all know that. : So, we should hang him for it? : TOFFEL : He's stealing from you, Oskar. : SCHINDLER : Of course he's stealing from me, we're in : business together. What is this? I'm sitting : here, suddenly everybody's talking like this : is something bad. We take from each other, : we take from the Army, everybody uses : everybody, it works out, everybody's happy. : SCHERNER : Not like him. : Schindler glances away to the floor show, nods to himself. : Glancing back again, he considers the SS men with great sobriety. : SCHINDLER : Yeah, well, in some eyes it doesn't matter : the amount we steal, it's that we do it. : Each of us sitting at this table. : His thinly veiled threat of exposure escapes neither SS man. The : air seems thicker suddenly. : SCHERNER : He doesn't deserve your loyalty. More : important, he's not worth you making : threats against us. : SCHINDLER : Did I threaten anybody here? I stated : a simple fact. : The threat still stands, despite Schindler's assurance otherwise, : and they all know it. So does Scherner's threat back to him, and : they all know that, too. But Schindler just grins, and, glancing : away - : SCHINDLER : Come on, let's watch the girls. : : 149. INT. D.E.F. FACTORY - DAY. : 149. : In addition to the mid-day soup and break, there are bowls of : fruit on the long work tables. At one of them, several workers : are debating which of them will go upstairs to thank Schindler. : : 150. INT. UPSTAIRS OFFICES, D.E.F. - SAME TIME - DAY. 150. : In honor of Schindler's birthday, Goeth has brought over Stern : and the Rosners - the musicians, at the moment, accompanying the : best baritone in the Ukrainian garrison. : Surrounded by his friends and lovers, Schindler cuts a cake. He : receives congratulations from the many SS men present and the : embraces, in turn, of Ingrid and Klonowska an dGoeth. From Stern : he gets a handshake. : A Jewish girl from the shop floor is admitted and timidly : approaches the drunken group around Schindler. The SS men : consider her as a curiosity; Schindler, as he would any beautiful : girl. The music breaks and out of the silence comes a small : nervous voice: : FACTORY GIRL : ... On behalf of the workers ... sir ... : I wish you a happy birthday ... : She hesitates. She's surrounded by SS uniforms and swastikas and : holstered guns. Schindler smiles; this is a beautiful girl. : SCHINDLER : Thank you. : He kisses her on the mouth. The smiles on the faces around them : strain. Stern glances to heaven. Amon cocks his head like a : confused dog. The kiss is broken, finally, and Schindler smiles : again with impunity. : SCHINDLER : Thank them for me. : The girl backs away nodding anxiously; all she wants now is out : before someone - her, Schindler, both of them - gets shot. Henry : Rosner nudges Leo and they begin another song. : And the party tries to resume. : : 151. EXT. APPELLPLATZ - PLASZOW - DAWN. 151. : Were they not asleep in their barracks, the prisoners would no : doubt shudder at the sight: the clerks are setting up their : folding tables. : Other figures move around the parade ground in the murky dawn : light: these raising a banner, those wheeling filing cabinets : across the Appellplatz, this one wiring a phonograph, that one : saturating a pad with ink from a bottle. : Goldberg, Lord of Lists, moves from table to table handing out : carbons of lists and sharing morning pleasantries with the : clerks. : Some men in white appear like ghosts. A doctor's kid is opened, : a stethoscope removed. Another cleans the lenses of his glasses. : Someone sharpens a pencil. : : 152. EXT. DEPOT - PLASZOW - DAWN. 152. : A trainman waving a lantern guides an engineer who's slowly : backing an empty cattle car along the tracks. It couples to : another empty slatted car with a harsh clank. : : 153. EXT. APPELLPLATZ - PLASZOW - DAY. 153. : The needle of the phonograph is set down on a pocked 78. The : first scratchy note of a Strauss waltz blare from the camp : speakers. : : 154. EXT. BALCONY - GOETH'S VILLA - DAY. : 154. : In his undershirt and shorts Goeth calmly smokes his first : cigarette of the morning as he listens to the music wafting up : from down below. Down there on the Appellplatz, the entire : population of the camp has been concentrated, some fifteen : thousand prisoners. : : 155. EXT. APPELLPLATZ - PLASZOW - DAY. 155. : Though the music and banners struggle to evoke a country fair, : the presence of the doctors belie it. A sorting out process is : going on here, the healthy from the unhealthy. : A physician wipes at his brow with his handkerchief as several : prisoners run back and forth, naked, before him. He makes his : selections quickly: this one into this line, that one into that, : and Goldberg moves them recording the names. : Other groups of people run naked in front of other doctors and : clerks. Notations are made and lines are formed. The sun beats : down and the music lies. : : 156. EXT. DEPOT - PLASZOW - DAY. 156. : Some still pulling their clothes back on, the first wave of the : "unfit" is marched onto the platform. A guard slides open the : gate of a cattle car and this first unlucky group climbs aboard. : : 157. EXT. APPELLPLATZ - PLASZOW - DAY. 157. : Behind the camouflage of other women prisoners, Mila Pfefferberg : rubs a beet against her cheeks in desperate hope of adding a : little color to her skin. : Amon Goeth, his shirtsleeves uncharacteristically rolled up, : chats with one of the doctors as another group strips. Whether : the topic is this Health Aktion or the unseasonable weather is : unclear, but he nods approvingly. : PFEFFERBERG (O.S.) : Commandant, sir. : Goeth glances up, finds Poldek among the group taking off their : clothes. Pfefferberg appeals to him with a look that asks, Do I : really have to go through this, and Goeth turns to a clerk. : GOETH : My mechanic. : Pfefferberg is motioned away from the others; he's okay, he : doesn't have to be put through this indignity. He calls out to : the Commandant again- : PFEFFERBERG : What about my wife? : Goeth thinks about it a moment before he nods, Yeah, okay, sure. : A clerk accompanies Pfefferberg and, making a notation on the : way, finds Mila. : : 158. EXT. DEPOT - PLASZOW - DAY. 158. : The sun is higher, the cattle cars hotter. Prisoners' arms : stretch out between the slats offering diamonds in exchange for a : sip of water. : : 159. EXT. PLASZOW - LATER - DAY. 159. : The needle of the phonograph is set down on another record, a : children's song, "Mammi, kauf mir ein Pferdchen" (Mommy, buy me a : pony). : Children are yanked from the arms of their parents. Wailing : protests quickly escalate to brawls with the guards. Revolvers : and rifles aim at the sun and fire. Music, shots, wails. : : 160. INT. BARRACKS - SAME TIME - DAY. 160. : Guards traipse through a deserted barracks peering up at the : rafters, pulling planks from the floor, upending cots, looking : for some children. : : 161. EXT. BARRACKS - SAME TIME - DAY. 161. : A small figure in red sprints across to another barracks, past : it, to a crude wooden structure beyond it. : : 162. INT. MEN'S LATRINES - SAME TIME - DAY. 162. : An arm held out to either side, the small girl lowers herself : into a pit into which men have defecated. She works her way : slowly down, trying to find knee- and toeholds on the foul walls, : ignoring the flies invading her ears, her nostrils. : Reaching the surface of the muck she lets her feet submerge, then : her ankles, her shins, her knees, before finally touching harder : ground. As she struggles to slow her breathing, her racing : heart, she hears a hallucinatory murmur - : BOY'S VOICE : This is our place. : She sees eyes in the darkness; five other children are : already there. : : 163. EXT. DEPOT - PLASZOW - LATER - DAY. : 163. : Waves of heat rise from the roofs of the long string of cattle : cars. Inside, those who "failed" the medical exams bake as they : wait for the last cars to be filled. : Schindler's Mercedes pulls up. He climbs out and stares : transfixed. He notices Goeth then, standing with the other : industrialists, Bosch and Madritsch, and strolls over to them. : GOETH : I tried to call you, I'm running a little late, : this is taking longer than I thought. Have a : drink. : SCHINDLER : What's going on? : GOETH : I got a shipment of Hungarians coming in, I got : to : make room for them. It's always something. : He glances away at the train. The idling engine only partially : covers the desperate pleas for water coming from inside the : slatted cars. : GOETH : They're complaining now? They don't know : what complaining is. : He grins. Schindler watches as another car is loaded. It's like : they're climbing into an oven. : SCHINDLER : What do you say we get your fire brigade : out here and hose down the cars? : Goeth stares at him blankly, then with a What-will-you-think-of- : next? kind of look, then laughs uproariously and calls over to : Hujar - : GOETH : Bring the fire trucks! : HUJAR : What? : Hujar heard him, he just doesn't get it. Finally he turns to : another guy and tells him to do it. : STREAM OF WATER CASCADE onto the scalding rooftops. The fire : trucks are there, the hoses firing the cold water at the cars on : the people inside who are roaring their gratitude. : GOETH : This is really cruel, Oskar, you're : giving them hope. You shouldn't do that, : that's cruel. : And amusing, not just to Goeth, but to the other SS officers : standing around as well. Oskar moves away to talk with one of : the firemen. At full extension, apparently the hoses still only : reach halfway down the long line of cars. He returns to Goeth. : SCHINDLER : I've got some 200-meter hoses back at D.E.F., : we can reach the cars down at the end. : Goeth finds this especially sidesplitting, and hollers - : GOETH : Hujar! : THE D.E.F. HOSES have arrived and are being coupled to Plaszow's. : As the water drenches the cars further back, the people inside : loudly voice their thanks, and the guards and officers outside : grin at the spectacle. : GUARD : What does he think he's saving them from? : The joke takes on new dimension when, from the back of the D.E.F. : trucks, boxes of food are unloaded. Accompanied by the laughter : of the SS, Schindler moves along the string of cars pushing : sausages through the slats. : GOETH : Oh, my God. : Goeth is almost hysterical. But slowly then, slowly, the : amusement on his face fades. His friend moving along the cars : bringing futile mercy to the doomed in front of countless SS men, : laughing or not, is not just behaving recklessly here, it's as : though he were possessed. : The water rains down on the last car. : : 165. EXT. D.E.F. - DAY. : 165. : A German staff car pulls in across the factory gate, blocking it. : Two Gestapo men climb out. : : 166. INT. D.E.F. FACTORY - DAY. : 166. : The girl who brought Schindler best wishes on his birthday : glances up from her work to the Gestapo crossing through the : factory. They climb the stairs to the upstairs offices and, : moments later, appear behind Schindler's wall of glass. : : 167. INT. SCHINDLER'S OFFICE - DAY. : 167. : Schindler leaning against his desk, drink in his hand, calmly : tries to assess his humorless arresters. : SCHINDLER : I'm not saying you'll regret it, but you might. : I want you to be aware of that. : GESTAPO 1 : We'll risk it. : Schindler glances beyond them to a point outside his office, to : Klonowska. She nods, she knows what to do, she'll make the phone : calls, call in the favors. : SCHINDLER : All right, sure, it's a nice day, : I'll go for a drive with you guys. : He snuffs out his cigarette. : : 168. INT. GESTAPO CAR - MOVING - DAY. 168. : Settled comfortably in the backseat, Schindler glances idly out : the window. As the car makes a turn, though, he looks back. : Apparently he expected it to turn the other way. : SCHINDLER : Where are we going? : The guys up front don't answer. Concern, for the first time, : registers on Schindler's face. The car approaches a building : block long with an ominous sameness to the windows. : : 169. INT. MONTELUPICH PRISON - CRACOW - DAY. 169. : Schindler is made to empty his pockets, his money, cigarettes, : everything. Around him clerks speak in whispers, as if raised : voices might set off head-splitting echoes along the narrow : monotonous corridors. : : 170. INT. MONTELUPICH PRISON - DAY. 170. : He's led down a flight of stairs into a claustrophobic tunnel. : He's taken past darkened cells. Past shadowy figures crouched in : corners and on the floor. : : 171. INT. CELL, MONTELUPICH PRISON - DAY. 171. : A water bucket. A waste bucket. No windows. This is not a cell : for dignitaries; this arrest is different. : Schindler, incongruous with the dank surroundings in his double- : breasted suit, slowly paces back and forth before his cellmate, a : soldier who looks like he's been here forever, his greatcoat : pulled up around his ears for warmth. : SCHINDLER : I violated the Race and Resettlement Act. : Though I doubt they can point out the actual : provision to me. : (pause) : I kissed a Jewish girl. : Schindler forces a smile. His cellmate just stares. Now there's : a crime; much more impressive, much more serious, than his own. : : 172. INT. OFFICE - MONTELUPICH PRISON - DAY. 172. : In a stiff-backed chair sits a very unlikely defender of racial : improprieties - Amon Goeth. To an impassive SS colonel behind a : desk, Goeth tries to highlight extenuating circumstances: : GOETH : He likes women. He likes good-looking women. : He sees a good-looking woman, he doesn't think. : This guy has so many women. They love him. : He's married, he's got all these women. All : right, : she was Jewish, he shouldn't have done it. But : you didn't see this girl. I saw this girl. : This girl : was very good-looking. : Goeth tries to read the guy behind the desk, but his face : is like a wall. : GOETH : They cast a spell on you, you know, the Jews. : You work closely with them like I do, you see : this. They have this power, it's like a virus. : Some of my men are infected with this virus. : They should be pitied, not punished. They : should receive treatment, because this is as : real as typhus. I see this all the time. : Goeth shifts in his chair; he knows he's not getting anywhere : with this guy. He switches tacts: : GOETH : It's a matter of money? We can discuss that. : that'd be all right with me. : In the silence that follows, Goeth realizes he has made a serious : error in judgment. This man sitting soberly before him is one of : that rare breed - the unbribable official. : SS COLONEL : You're offering me a bribe? : GOETH : A "bribe?" No, no, please come on ...a : gratuity. : Suddenly the man stands up and salutes, which thoroughly confuses : Goeth since Goeth is his inferior in rank. But he isn't saluting : Goeth, he's saluting the officer who has just stepped into the : room behind him. : SCHERNER : Sit down. : The colonel sits back down. Scherner pulls up a chair next : to Goeth. : SCHERNER : Hello, Amon. : GOETH : Sir. : Scherner smiles and allows Goeth to shake his hand, but it's : clear, even to Goeth himself, that he has fallen from grace. : : 173. INT. GOETH'S VILLA - PLASZOW - NIGHT. 173. : A tall, thin, gray Waffen SS officer has a request for the Rosner : brothers. : SS OFFICER : I want to hear "Gloomy Sunday" again. : He's drunk, morose; it seems unlikely he'll be on his feet much : longer. Indeed, as Henry and Leo Rosner begin the son - an : excessively melancholy tale in which a young man commits suicide : for love - the field officer staggers over to a chair in the : corner of the crowded room and slumps into it. : SCHERNER : We give you Jewish girls at five marks a day, : Oskar, you should kiss us, not them. : Goeth laughs too loud, drawing a weary glance from Scherner. : Schindler smiles good-naturedly. He's out, a little worse for : wear perhaps, a little more subdued than usual. Taking him away : from the others, taking him into his confidence - : GOETH : God forbid you ever get a real taste for Jewish : skirt. There's no future in it. No future. : They : don't have a future. And that's not just good : old-fashioned Jew-hating talk. It's policy : now. : THE THIN GRAY SS OFFICER is back in front of the musicians, : swaying precariously, a drink in his hand - : SS OFFICER : "Gloomy Sunday" again. : Again they play the song. Again he staggers across the crowded : room to his chair in the corner, paying no attention to the : visiting Commandant from Treblinka or anybody else - : TREBLINKA GUY : - We can process at Treblinka, if everything : is working? I don't know, maybe two thousand : units a day. : He shrugs like it's nothing, or with modesty, it's unclear. : Goeth is dully impressed; Schindler, only politely so. : TREBLINKA GUY : Now Auschwitz. Now you're talking. : What I got is nothing, it's like a...a machine. : Auschwitz, though, now there's a death factory. : There, they know how to do it. There, : they know what they're doing. : AGAIN THE GRAY OFFICER wavering before Henry and Leo. This time : they don't wait for him to ask for it - : LEO ROSNER : "Gloomy Sunday." : As the man stumbles back to his chair, the Rosners not only play : the song again, they play with it, and him, this one somber man : in the corner staring at them almost gratefully, wrenching from : the song all the sentimentality they can, as if they could : actually drive him to kill himself. : No one else in the room is aware of the exchange going on between : them - this man and this music - which the brothers play as if it : were an invocation. Eventually, though, someone does become : aware, if not of the intention, at least of the repetition, and : interrupts the spell - : GOETH : Enough - Jesus - God - : The music falls apart. The brothers find Goeth in the crowd : looking at them like, Come on, for Christ's sake play something : else. Which they do - defeated - some innocuous Von Suppe. : Goeth turns back to one of his guests. : Glancing back, as they play, to the corner, the Rosners see the : gloomy SS officer getting slowly up from his chair. He stands : there for a moment, staring at nothing, then slowly makes his way : out onto the balcony where he stands in the night air, absolutely : still, in silhouette to the Rosners. : And, ruining a perfectly good party, he takes out a gun and : shoots himself in the head. : : 174. EXT. D.E.F. - DAY. : 174. : From a distance, Schindler can be seen arguing with an SS officer : who's trying to hand him papers, orders of some kind, which the : irate industrialist refuses to accept. : Here, closer, carrying blankets and bundles, Schindler's workers : are marched under heavy guard out of the factory and its annexes : and across the fortified yard. : His people are being taken. Where, is unclear. Schindler : abruptly breaks off the discussion with the SS man, climbs into : his car and drives off. : : 175. EXT. FOREST - PLASZOW - LATER - DAY. : 175. : A creek flowing gently through marshy ground under an umbrella of : trees. Leo John and his five year old son, on their knees : catching tadpoles, seem unaware of, or at least not distracted : by, a ghastly endeavor going on beyond them: : Bodies being exhumed out of the earth, out of the mass graves in : the forest. The dead lay everywhere, victims of the ghetto : massacre, victims of Plaszow. : Arriving, Schindler sees Goeth standing up at the tree line. : Approaching him, furious, he hesitates. He sees a wheelbarrow : trundled by Pfefferberg, a corpse in it. He fears the body is : Mila's, but then sees her trundling another barrow, another : corpse in it. Goeth calls to Schindler - : GOETH : Can you believe this? : Goeth shakes his head, dismayed. Schindler joins him and stares : at a pyre of bodies built by masked and gagging workers, layer : upon layer. : GOETH : I'm trying to live my life, they come up : with this? I got to find every body buried : up here? And burn it? : It's always something. He glances off. The pyre has reached the : height of a man's shoulder. The workers move around it dousing : it with gasoline. : SCHINDLER : You took my workers. : GOETH : (indignant) : They're taking mine. When I said they : didn't have a future I didn't mean tomorrow. : (pause) : Auschwitz. : SCHINDLER : When? : GOETH : I don't know. Soon. : He sighs at the unfairness of it all, the dissolution of his : kingdom. His glance finds his man, Leo John, over at the stream. : GOETH : This is good. I'm out of business and he's : catching tadpoles with his son. : Tight on the gleeful boy with a tadpole in his hand. Behind him, : smoke from the pyre rises into the sky. : : 176. INT. D.E.F. FACTORY - NIGHT. : 176. : Schindler, in silhouette against the wall of glass, stares down : at his deserted factory, his silent machines, the dark empty : spaces. : : 177. INT. SCHINDLER'S APARTMENT - DAY. 177. : Light pouring in through the windows. White sheets over the : furniture like shrouds over the dead. Schindler's personal : things are gone. : : 178. EXT. POLAND/CZECHOSLOVAKIA BORDER - EVENING. 178. : Schindler's Mercedes, the backseat piled high with suitcases. A : border guard returns his passport to him. The barrier is lifted : and he crosses into Czech countryside. : : 179. INT. SQUARE, BRINNLITZ, CZECHOSLOVAKIA - 179. : MORNING. : : A church in the main square of a sleepy hamlet. A priest and his : parishioners, including Emilie Schindler, emerging from it, : morning Mass over. : Some guys outside a bar/café, hanging gout, drinking, notice the : elegantly dressed gentleman outside the town's only hotel. They : recognize him. They come over. : SCHINDLER : Hey, how you doing? : BRINNLITZ GUY 1 : Look at this. : Schindler, the clothes, the car, the suitcases, the great : difference between their respective stations in life. Somehow : their old ne'er-do-well friend has managed to do quite well, and : it amazes them. : Across the square, Emilie has noticed him; and he, her. But : neither makes a move toward the other. Finally she walks away; : which Schindler interprets correctly to mean, Yes, check into the : hotel. He tips the porter extravagantly and turns back to the : guys from the bar. : SCHINDLER : Let me buy you a drink. : : 180. INT. BAR - BRINNLITZ - NIGHT. : 180. : Except for the clothes of the working class clientele, the scene : is reminiscent of the SS nightclub in Cracow: Schindler, the : great entertainer, working his way around the tables making sure : everybody's got enough to drink, making sure everybody's happy. : A guy at a table with a girl gestures him over. : BRINNLITZ GUY 2 : Oskar - my friend Lena. : SCHINDLER : How do you do? : (to them both) : What can I get you, what're you drinking? : BRINNLITZ GUY 2 : Nothing's changed. Then again, something : has changed, hasn't it? : SCHINDLER : Things worked out. I made some money : over there, had some laughs, you know. : It was good. : BRINNLITZ GUY 2 : Now you're back. : SCHINDLER : Now I'm back, and you know what I'm : going to do now? I'm going to have a : good time. So are you. : He gestures to the bartender to refill his friend's and his : date's drinks, pats the guy on the shoulder and wanders over to : the next table. : GIRL : Who is he? : The guy has to think; not because he doesn't know, but because : his old friend Oskar is so many things it's hard to know which : description to use. Finally - : BRINNLITZ GUY 2 : He's a salesman. : : 181. INT. HOTEL ROOM - BRINNLITZ - NIGHT. 181. : A woman asleep in the bed. The girl from the bar. In his robe, : at the window, Schindler calmly smokes as he stares out at the : night. : : 182. EXT. BRINNLITZ - DAWN. 182. : The town, off in the distance, nestled against the mountains. : The sun, just coming up. Closer, here, ramshackle structures, a : long abandoned factory of some kind. : Schindler, in leather riding gear, climbs down off a Moto-Guzzi : motorcycle. He slowly wanders around, peers in through broken : windows, wanders around some more. : Tight on his face, torn between conflicting choices, or realizing : there's no choice, or only one choice, and hating it. : SCHINDLER : Goddamn it. : : 183. EXT. BALCONY, GOETH'S VILLA - PLASZOW - DAY. 183. : Schindler and Goeth on the balcony of the villa, drinking. : GOETH : You want these people. : SCHINDLER : These people, my people, I want my people. : Goeth considers his friend, greatly puzzled. Below them lies the : camp, still operating, at least for now, until the shipments can : be arranged. : GOETH : What are you, Moses? What is this? : Where's the money in this? What's the scam? : SCHINDLER : It's good business. : GOETH : Oh, this is "good business" in your opinion. : You've got to move them, the equipment, : everything to Czechoslovakia - it doesn't : make any sense. : SCHINDLER : Look - : GOETH : You're not telling me something. : SCHINDLER : It's good for me - I know them, I'm : familiar with them. It's good for you - : you'll be compensated. It's good for : the Army. You know what I'm going to : make? Artillery shells. Tank shells. : They need that. Everybody's happy. : GOETH : Yeah, sure. : Goeth finds this whole line of reasoning impossible to believe. : He's sure Schindler's got something else going on here he's not : telling him. : GOETH : You're probably scamming me somehow. : If I'm making a hundred, you got to be : making three. : Schindler admits it with a shrug. : GOETH : If you admit to making three, then it's four, : actually. But how? : SCHINDLER : I just told you. : GOETH : You did, but you didn't. : Goeth studies him, searching for the real answer in his face. He : can't find it. : GOETH : Yeah, all right, don't tell me, I'll go along : with it, it's just irritating to me I can't : figure it out. : SCHINDLER : All you have to do is tell me what it's : worth to you. What's a person worth to you. : Goeth thinks about it in the silence. Then a slow nod to : himself. He's going to make some money out of this even if he : can't figure it out. He smiles. : GOETH : What's one worth to you? : That's the question. : HARD CUT TO: : : 184. : 184. : THE KEYS OF A TYPEWRITER slapping a name onto a list - : LEVARTOV - the letters the size of buildings, the sound as loud : as gunshots - : TIGHT ON THE FACE OF A MAN - Rabbi Levartov - the hinge-maker : Goeth tried to kill with a faulty revolver - : THE KEYS HAMMER another name - PERLMAN - : TIGHT ON TWO ELDERLY FACES - a man, a woman - the parents of : "Elsa Krause." : IN HIS SMALL CLUTTERED PLASZOW OFFICE - Stern transcribes D.E.F. : workers' names from a Reich Labor Office document to the list in : his typewriter, Schindler's List. : A NAME - A FACE - NAME - FACE - NAME - : TIGHT ON SCHINDLER slowly pacing the six or seven steps Stern's : cramped office allows, nursing a drink. : SCHINDLER : Poldek Pfefferberg ... Mila Pfefferberg ... : THE KEYS typing 'PFEFFE- : PFEFFERBERG'S face, tight. MILA'S face, tight. : CURRENCY, hard Reichmarks, in a small valise. As Goeth looks at : it, he mumbles to himself - : GOETH : A virus... : MOVING DOWN THE LIST of names, forty, fifty. The sound of the : keys. Stern pulls the sheet out of the machine, rolls in : another, types a name. : EQUIPMENT BEING LOADED onto trucks outside Madritsch's Plaszow : factory. : SCHINDLER : You can do the same thing I'm doing. : There's nothing stopping you. : Madritsch is shaking his head 'no' to Schindler's appeal to make : his own list, to get his workers out. : MADRITSCH : I've done enough for the Jews. : THE KEYS typing another name - : A FACE, a man, A FACE, a woman, A FACE, a child - : COGNAC SPILLING into a glass. The glass coming up to Schindler's : mouth, hesitating there. : SCHINDLER : The investors. : A NAME - A FACE - one of the original D.E.F. investors. : ANOTHER NAME - ANOTHER FACE - another of the Jewish investors. : SCHINDLER : All of them. Szerwitz, his family. : STERN GLANCES UP with a look that asks Schindler if he's sure : about this one. He is. The keys type SZERWITZ - : TIGHT ON THE FACE of the investor who stole from Schindler, the : one he threatened to have killed by the SS, and the faces of his : sons - : THREE OR FOUR PAGES of names next to the typewriter. Stern, : trying to count them, estimates - : STERN : Four hundred, four fifty - : SCHINDLER : More. : THE TRUNK OF SCHINDLER'S MERCEDES yawning open. He takes a small : valise from it and heads for Goeth's villa. : THE KEYS typing ROSNER - : TIGHT ON Henry Rosner, the violinist. TIGHT ON his brother, Leo, : the accordionist. : SCHINDLER AND BOSCH, the other Plaszow industrialist. The same : appeal Schindler made to Madritsch; the same answer, 'no.' : MOVING DOWN another page of names. : STERN (O.S.) : About six hundred - : SCHINDLR (O.S.) : More. : THE SOUND OF THE KEYS OVER the face of a boy, the "chicken : thief." Over THE FACE OF A GIRL, the one who hid in the pit of : excrement. Over the FACES we've never seen. : STERN (O.S.) : Eight hundred, give or take. : SCHINDLER : (angrily) : Give or take what, Stern - how many - : count them. : STERN RUMS HIS FINGER down the pages of names, trying to count : them more precisely. : BLACKJACK, dealt by GOETH. They're betting diamonds, he and : Schindler. A queen falls and Goeth groans his misfortune. : THE FACE OF Goeth's maid. : GOETH SWEEPS his hold card against the table, is thrown a four, : sweeps it again and gets a jack. : A NAME we don't recognize is typed. : A FACE we don't recognize. : : 185. INT. STERN'S OFFICE - PLASZOW - NIGHT. 185. : : Schindler leafing through the page of names, counting them, : drinking, to the sound of the typewriter. Eventually, quietly to : himself - : SCHINDLER : That's it. : Stern heard him and stops typing, glances over. : SCHINDLER : You can finish that page. : Stern resumes where he left off, but then hesitates again. : There's something he doesn't understand. : STERN : What did Goeth say? You just told him : how many you needed? : It doesn't sound right. And Schindler doesn't answer. He's : avoided telling Stern the details of the deal struck with Goeth, : and balks telling him now. Finally awkwardly - : SCHINDLER : I'm buying them. I'm paying him. : I give him money, he gives me the people. : (pause) : If you were still working for me I'd expect : you to talk me out of it, it's costing me : a fortune. : Stern had no idea. And has no idea now what to say. Schindler : shrugs like it's no big deal, but Stern know it is. : SCHINDLER : Give him the list, he'll sign it, he'll get : the people ready. I have to go back to : Brinnlitz, to take care of things on that end, : I'll see you there. : Stern is really overcome by what this man is doing. What he : can't figure out is why. Silence. And then - : SCHINDLER : Finish the page. : Stern turns back, does as he's told. Schindler drinks. Nothing : but the sound of the typewriter keys. And then nothing at all. : The page is done. The rest will die. : 186. INT. TOWN COUNCIL HALL - BRINNLITZ - NIGHT. 186. : Schindler in front of a large assembly, party pin in his lapel, : as usual, imposing SS guards on either side of him. : SCHINDLER : This is my home. : He looks out over his audience, the citizens of Brinnlitz, local : government officials, many of them appearing bewildered by him or : the "situation" that has arisen. : SCHINDLER : I was born here, my wife was born here, : my mother is buried here, this is my home. : His estranged wife is there. So are the guys he was : drinking with. : SCHINDLER : Do you really think I'd bring a thousand : Jewish criminals into my home? : Everyone seems to breathe sighs of relief as if they've been : waiting for him to say this, to dispel the disturbing rumors : they've heard. : SCHNDLER : These are skilled munitions workers - : they are essential to the war effort - : The noise begins, his audience's angry reaction. Raising pitch : of his own voice - : SCHINDLER : - It is my duty to supervise them - : and it is your duty to allow me - : He barely gets it all out before the protests drown him out. The : uproar reaches such a clamoring level there's no point in his : continuing. : : 187. GOETH'S VILLA - PLASZOW - DAY. : 187. : Goeth, at his writing desk, endures the bureaucratic tedium of : signing memoranda, transport orders, requisitions. He comes to : Schindler's list, initials each page and signs the last with no : more interest than the others. He hands the whole stack of : paperwork to Marcel Goldberg, Personnel Clerk, Executor of Lists, : Gangster. : : 188. INT. OFFICE, ADMINISTRATION BUILDING - 188. : PLASZOW - DAY. : Goldberg has the signature page of the list in a typewriter. He : carefully aligns it and types his own name in a space allowed by : the bottom margin. : : 189. EXT. SCHINDLER'S BRINNLITZ FACTORY SITE - DAY. 189. : At a folding table in the middle of the field, Schindler signs : his name to Reich Main Office directives, Evacuation Board and : Department of Economy form, Armaments contracts. : Around him, the new camp is taking shape: Electric fences are : going up, watchtowers, barracks; shipments of heavy equipment, : huge Hilo machines, are being off-loaded from flatbed train cars; : SS engineers stand around frowning at the lay of the land, some : drainage problem no doubt. : : 190. EXT. DEPOT - PLASZOW - DAY. 190. : A train full of people destined for Auschwitz pulls away from the : platform. As Goldberg gathers his paperwork, a prisoner : approaches him. : PRISONER : Am I on the list? : GOLDBERG : What list is that? : He knows what the prisoner means and the prisoner knows he knows. : He means Schindler's List. : GOLDBERG : The good list? Well, that depends, doesn't it? : The prisoner knows that, too, and discreetly turns over to : Goldberg a couple of diamonds from the lining of his coat. : : 191. INT. GOLDBERG'S OFFICE - PLASZOW - NIGHT. 191. : Names on a notepad, the first few crossed out. Goldberg types : the next name onto a page of The List, squeezing it into the : upper margin, and crosses that one out on the pad. : He rolls the page down, types another name, tires of the exacting : task, tears the handwritten page of names from the notepad, : crumples it and throws it away. : : 192. EXT. BRINNLITZ - NIGHT. : 192. : Schindler, on his way back to his hotel after a night of : drinking, is jumped by three guys, wrestled to the ground and : brutally kicked. : As the forms of his attackers move away, he catches a glimpse of : one of them -his "friend" who admired his car when he first : arrived back in town. : : 193. INT. MECHANICS GARAGE - PLASZOW - DAY. 193. : Pfefferberg, his head under the hood of a German staff car, : adjusting the carburetor. Goldberg comes in. : GOLDBERG : Hey, Poldek, how's it going? : (Pfefferberg ignores him) : You know about the list? You're on it. : PFEFFERBERG : Of course I'm on it. : GOLDBERG : You want to stay on it? What do you : got for me? : Pfefferberg glances up from his work and studies the : blackmailing collaborator for a long moment. : PFEFFERBERG : What do I got for you? : GOLDBERG : Takes diamonds to stay on this list. : Pfefferberg suddenly attacks him with the wrench in his hand, : beating him across the shoulders and head with it. : PFEFFERBERG : I'll kill you, that's what I got for you. : Goldberg goes down, tries to scramble away on his knees, the : blows coming down hard on his back. : GOLDBERG : All right, all right, all right. : He makes it outside the garage and runs. : : 194. EXT. DEPOT - PLASZOW - DAY. 194. : A cattle car is coupled to another, the pin dropped into place. : On the platform, clerks at folding tables shuffle paper while : others mill around with clipboards, calling out names. : Thousands of prisoners on the platform, some climbing onto : strings of slatted cars on opposing tracks. Some already in them, : most standing in lines, changing lines, the end of one virtually : indistinguishable from the beginning of another. : Paperwork. Lists of names. Pens in hands checking them off. : Some bound for Brinnlitz, the rest for Auschwitz, if they can be : properly sorted from one another. : A boy is allowed to remain in a line with his father; his mother : is taken to another line composed of women and girls. This : segregation is the only recognizable process going on; the : others, if they exist, are apparent only to the clerks and : guards, and maybe not even to them. It is chaos. : : 195. EXT. COUNTRYSIDE - NIGHT. : 195. : : A train snakes across the dark landscape. : : 196. INT. CATTLE CAR - MOVING - NIGHT. 196. : Stern, wedged into a corner of an impossibly crowded car. This : train may be headed for Schindler's hometown, but it is no more : comfortable than the others on their way to Auschwitz-Birkenau. : : 197. EXT. CROSSING - POLAND - DAY. : 196. : The train idles at a crossing in the middle of nowhere. Moving : across the faces peering out from between the slats, it becomes : apparent there are only male prisoners aboard. : Below, on a dirt road, a lone Polish boy stands watching. Just : before an empty train roars past from the other direction : obscuring him, his hand comes up and across his neck making the : gesture of a throat being slit. : : 197. EXT. DEPOT - BRINNLITZ - DAY. : 197. : The train pulls into the small quiet Brinnlitz station. The : doors are opened and the prisoners begin climbing down. At the : far end of the platform, flanked by several SS guards, stands : Schindler. To his customary elegant attire he has added a : careless accouterment, a Tyrolean hat. : : 198. EXT. BRINNLITZ - DAY. 198. : Leading a procession of nine hundred male Jewish "criminals" : through the center of town, Schindler ignores the angry taunts : and denouncements and the occasional rock hurled by the good : citizens of Brinnlitz lining the streets. : : 199. INT. BRINNLITZ MUNITIONS FACTORY - DAY. 199. : Under the towering Hilo machines, a meal of soup and bread awaits : the workers. As they're sitting down to it, Schindler addresses : them - : SCHINDLER : You'll be interested to know I received a cable : this morning from the Personnel Office, : Plaszow. The women have left. They should : be arriving here sometime tomorrow. : He sees Stern among the workers, smiles almost imperceptibly, : turns and walks away. : : 200. EXT. RURAL POLAND - DAY. : 200. : A train backs slowly along the tracks toward an arched gatehouse. : The women inside the cattle cars don't need a sign to tell them : where they are, they've seen this place in nightmares. Pillars : of dark smoke rise from the stacks into the sky. : It's Auschwitz. : : 201. EXT. AUSCHWITZ - DAY. 201. : The stunned women climb down from the railcars onto an immense : concourse bisecting the already infamous camp. As they're : marched across the muddy yard by guards carrying truncheons, Mila : Pfefferberg stares at the place. It' so big, like a city, only : one in which the inhabitants reside strictly temporarily. To : Mila, under her breath - : WOMAN : Where are the clerks? : So often terrified by the sight of a clerk with a clipboard, it : is the absence of clerks which unsettles the woman now, as though : there remains no further reason to record their names. Mila's : eyes return to the constant smoke rising beyond the birch trees : at the settlement's western end. : : 202. INT. OFFICES - BRINNLITZ FACTORY - DAY. 202. : Schindler comes out of his office and, passing Stern's : desk, mumbles - : SCHINDLER : They're in Auschwitz. : Before Stern can react, Schindler is out the door. : : 203. EXT. BRINNLITZ FACTORY - MOMENTS LATER - DAY. 203. : As he strides across the factory courtyard toward his motorcycle, : Schindler is intercepted by some Gestapo men who have just : emerged from their car. : GESTAPO : Your friend Amon Goeth has been arrested. : SCHINDLER : (pause) : I'm sorry to hear that. : GESTAPO : There are some things that are unclear. : We need to talk. : SCHINDLER : I'd love to, it'll have to wait until I : get back. I have to leave. : The looks on their faces tell him he's not going anywhere. : SCHINDLER : All right, okay, let's talk. : GESTAPO : In Breslau. : SCHINDLER : Breslau? I can't go to Breslau. Not now. : These guys are serious. : : 204. EXT. AUSCHWITZ - DAY. 204. : A young silver-haired doctor moves slowly along rows of : Schindler's women, considering each with a pleasant smile even as : he makes his selections, with tiny gestures, for the death : chambers. He pauses in front of one. : YOUNG DOCTOR : How old are you, Mother? : She could lie, and he'd have killed her for it. She could tell : the truth, and he'd have her killed for that, too. : WOMAN : (pause) : Sir, a mistake's been made. We're not : supposed to be here, we work for : Oskar Schindler. We're Schindler Jews. : The doctor nods pensively, understandingly, it seems. Then : - : YOUNG DOCTOR : And who on earth is Oskar Schindler? : He glances around hopelessly. One of the SS guards who : accompanied the women from Plaszow speaks up - : PLASZOW GUARD : He had a factory in Cracow. Enamelware. : The doctor nods again as if the information were valuable, as if : it meant something to him. It doesn't. : YOUNG DOCTOR : A potmaker? : He smiles to himself and gets on with the "examination," this : woman to this line, this other one to that. : : 205. INT. CELL - SS PRISON, BRESLAU - DAY. : 205. : In a dank cell, in uniform, Amon Goeth waits. Schindler is on : his way, hopefully. Maybe he's already here. Schindler will : vouch for him. Schindler will straighten this out. : : 206. INT. SS PRISON, BRESLAU - DAY. : 206. : In a large room, Schindler sits before a panel of twelve sober : Bureau V investigators and a judge of the SS court. : INVESTIGATOR : Everything you say will be held in : confidence. You are not under investigation. : You are not under investigation. Mr. Goeth is. : He is being held on charges of embezzlement : and racketeering. You're here at his request : to corroborate his denials. Our information : onto his financial speculations comes from : many sources. On his behalf there is only you. : We know you are close friends. We know : this is hard for you. But we must ask you - : SCHINDLER : He stole our country blind. : : 207. INT. BRINNLITZ FACTORY - DAY. : 207. : In Schindler's absence, the workers attempt to operate the : unfamiliar machines, to figure out the unfamiliar process of : manufacturing artillery shells. There's movement, there's noise, : the machines are running, but little is being produced. : Untersturmfuhrer Jose Liepold, the Commandant of Schindler's new : subcamp, moves through the factory conducting an impromptu : inspection. He points out to a guard a kid no more nine, sorting : casings at a work table, and another boy, ten or eleven, carrying : a box. : : 208. EXT. BARRACKS - AUSCHWITZ - NIGHT. 208. : Mila and another woman cross back toward their barracks carrying : a large heavy pot of broth. Not more than a hundred meters away : stand the birch trees and crematoria, the smoke pluming even now, : at night. : Out of the darkness appear "apparitions," skeletal figures which : surround the two women, or rather the soup pot between them, : dipping little metal cups into it, over and over. : Too startled to speak, Mila can only stare. The apparitions : clamor around the pot a moment more, than furtively slip back : into the same darkness from which they came. Mila and the other : woman exchange a glance. The pot is empty. : MILA : Where's Schindler now? : : 209. INT. HOSS' HOUSE - AUSCHWITZ - NIGHT. 209. : In his en, over cognac, Auschwitz Commandant Rudolf Hoss : considers the documents Schindler has brought: the list, the : travel papers, the Evacuation Board authorization. Hoss nods at : them, then at Schindler. : HOSS : You're right, a clerical error has bee made. : (pause) : Let me offer you this in apology for the : inconvenience. I have a shipment coming in : tomorrow, I'll cut you three hundred from it. : New ones. These are fresh. : Schindler seems to think about the offer as he nurses his drink. : It's "tempting." : HOSS : The train comes, we turn it around, it's yours. : SCHINDLER : I appreciate it. I want these. : The ones on the list in Hoss' hand. Silence. Then: : HOSS : You shouldn't get stuck on names. : Why, because you get to know them? Because you begin to see them : as human beings? Schindler suddenly has the awful feeling that : the women are already dead. Hoss misinterprets the look. : HOSS : That's right, it creates a lot of paperwork. : : 210. EXT. CONCOURSE - AUSCHWITZ - DAY. 210. : A large assembly of women. Guards calling out names from a list. : As each woman steps out of line, a guard unceremoniously brushes : a swathe of red paint across her clothes. New columns are : formed. : : 211. EXT. TRAIN YARD - AUSCHWITZ - DAY. 211. : : Schindler, standing at the end of the platform stone-faced, : watches the women whose names he is "stuck on," whose clothes are : slashed with red paint, climbing onto the cattle cars. : As the cars fill, a train on another track arrives. The "fresh" : ones Schindler turned down. As the gates are closed on the : women's cars, the gates of the others are opened and the people : spill out. : A horrified cry suddenly breaks through the noise of the engines. : One of Schindler's women, locked in, has seen her son among those : coming down off the train on the opposing track. : Another cry erupts, and another, another, as the women spot their : children, confiscated from the Brinnlitz factory, brought here. : Schindler becomes aware of what's happening and, passing over : other children, tries to corral these particular boys, many of : whom have noticed their mothers now and are echoing their : tortured cries with their own. : Schindler manages to gather them together, the fifteen or twenty : boys, and, in the middle of the crowded platform, appears to a : guard: : SCHINDLER : These are mine. They're on the list. : These are my workers. They should be : on the train. : He points across to the women's train, then down to the : boys. : SCHINDLER : They're skilled munition workers. : They're essential. : The guard glances from the frantic gentleman to the anxious brook : around him. These are essential workers? : GUARD : They're boys. : SCHINDLER : Yes. : Schindler is nodding his head, trying to think. The women are : shrieking their sons' names. The guard, who heard it all, every : excuse imaginable, is just turning away when Schindler thrusts : his smallest finger at him. : SCHINDLER : Their fingers. They polish the insides of : shell casings. How else do you expect me to : polish the inside of a 45 millimeter shell : casing? : The guard stares at him dumbly. This he hasn't heard. : : 213. EXT. BRINNLITZ CAMP - DAY. : 213. : Like a mirage in the distance they appear - the women, the : children, guards, Schindler, marching across a field toward the : factory. : At the perimeter of the camp, at the wire, the men watch the : approaching procession. It appears to them that the women are : covered in blood - or - could it be paint? They're walking, : they're fine, some are even smiling. : Liepold isn't smiling. Neither is Schindler; at least not on the : outside. : : 214. INT. BRINNLITZ FACTORY - DAY. : 214. : The machines are silent, the people are not. Women are in their : husbands' arms, sons in their fathers'. There's food on the : tables but it's largely ignored, the reunion taking precedence. : : 215. INT. SS MESS HALL - SAME TIME - DAY. : 215. : Schindler stands before the assembled camp guards. They are : seated at the long tables, their food getting cold, waiting for : him to say whatever it is he has to say. : SCHINDLER : Under Department W provisions, it is unlawful : to kill a worker without just cause. Under the : Businesses Compensation Fund I am entitled to : file damage claims for such deaths. If you : shoot : without thinking, you go to prison and I get : paid, : that's how it works. So there will be no : summary : executions here. There will be no interference : of any kind with production. In hopes of : ensuring that, guards will no longer be allowed : on the factory floor without my authorization. : His eyes meet Liepold's, hold his icy stare, then return to the : guards, most of whom look like tired middle-aged reservists. : SCHINDLER : For your cooperation, you have my gratitude. : As he steps away he gestures to some kitchen workers. They tear : open cases of schnapps and begin setting the bottles out on the : tables. : : 216. INT. BRINNLITZ FACTORY - DAY. : 216. : Schindler strolls through his factory looking over the shoulders : of the workers, nodding his approval. The place is in full : operation, finally; the people, having figured out the : complicated Hilos, turning out shells by the caseload. Schindler : pauses at one of the machines. : SCHINDLER : How's it going? : WORKER : Good. It's taken a while to calibrate the : machines, but it's going good now. : SCHINDLER : Good. : Schindler nods. Then frowns. He leans down and taps at the : crystal of one of the gauges. : SCHINDLER : This isn't right, is it? : The worker kneels down, takes a look. It looks right to him. : Reaching over, Schindler changes the calibration of the machine : with an cavalier adjustment to a knob - and all the gauge : readings shift. : SCHINDLER : There. That looks right. : He wanders off. The worker stares after him. He's just screwed : up settings that took weeks to get right. : Schindler comes up to another worker, Levartov, the hinge-maker. : He's at a machine buffing shells. : SCHINDLER : How's it going, Rabbi? : LEVARTOV : Good, sir. : Schindler nods, watches him work, eventually glances away. : SCHINDLER : Sun's going down. : Levartov, following Schindler's gaze, nods uncertainly. : SCHINDLER : It is Friday, isn't it? : LEVARTOV : Is it? : SCHINDLER : You should be preparing for the Sabbath, : shouldn't you? What are you doing here? : Levartov just stares. It's been years since he's been allowed, : indeed inclined, to perform Sabbath rites. : SCHINDLER : I've got some wine in my office. Why don't we : go over there, I'll give it to you. Come on, : let's go. : Schindler heads off. The rabbi keeps staring. Schindler : gestures back to him, offering casually - : SCHINDLER : Come on. : Levartov looks around. Finally, he hangs up his goggles and : follows after Schindler. : : 217. INT. WORKERS BARRACKS - NIGHT. 217. : Under the shadow of a watchtower, among the roof-high tiers of : bunks strung with laundry, Levartov recites Kiddush over a cup of : wine to workers gathered around him. : : 218. INT. GUARDS BARRACKS - NIGHT. : 218. : On their bunks, the guards relax with schnapps, cards and : magazines. One of them becomes distracted by a distant sound. : Some of the others begin to hear it. : GUARD : What is that? : Conversations cease. The barracks gradually becomes quiet, : silent, all the guards straining to hear. It sounds like ... : singing. It sounds like Yiddish singing. : : 219. EXT. BRINNLITZ CAMP - SAME TIME - NIGHT. 219. : On a watchtower, a night sentry, unsure where it's coming from, : listens to the distant singing. It seems like it's emanating : from the surrounding hills, from the trees. : : 220. INT. LIEPOLD'S QUARTERS - SAME TIME - NIGHT. 220. : At his small desk, Liepold is typing a letter, denouncing : Schindler most likely. The pounding keys bury all other sounds : but when he pauses to reread what he's typed, he hears it, the : singing, faint, far away. He goes to his window, peers out, : listens for a moment more, then hears nothing. Only the night : creatures. : : 221. INT. APATMENT BUILDING - BRINNLITZ - NIGHT. 221. : The door to an apartment opens from the inside revealing Emilie : Schindler. She cooly considers the visitor on her doorstep, her : estranged husband, looking great as usual, bottle of win in his : hand, smiling as if nothing is wrong between them, as if nothing : is wrong in the entire world. : : 222. INT. EMILIE'S APARTMENT - NIGHT. 222. : The two of them at the kitchen table in a modest apartment, : drinking, at least he is. He's trying to ask her something, but : he's not sure how to put it, he wants to get it right. Finally : the words just tumble out - : SCHINDLER : I want you to come work for me. : There, he's said it. But the bewildered look on Emilie's face : wonders, That's what was hard for you to say? : SCHINDLER : You don't have to live with me, : I wouldn't ask that. : (pause) : It's a nice place. You'd like it. : It looks awful. You get used to that. : She's the only woman he's even known who could make him nervous : just sitting across a table from him, saying nothing. : SCHINDLER : All right - : (now he'll be honest) : We can spend time together that way. : We can see each other, see how it goes - : without the strain of - whatever you want : to call it when a man, a husband and a wife : go out to dinner, go have a drink, go to a : party, you know. This way we'll see each : other at work, there we are, same place, : we see how it goes... : His voice trails off. A shrug adds, What do you think? She : doesn't answer, but she does love him. He loves her, too. It : really is a shame they're not right for each other and never will : be. : : 223. INT. OFFICES - BRINNLITZ FACTORY - DAY. 223. : Stern glances up from his work; Schindler and Emilie have come in : and are walking toward the accountant's desk. He gets up. : SCHINDLER : Itzhak Stern, Emilie Schindler. My wife. : Like the doormen and waiters of Cracow, Stern too never imagined : Schindler was married and has trouble hiding his astonishment : now. He extends his hand to her. : STERN : How do you do? : EMILIE : How do you do? : STERN : Stern is my accountant and friend. : It sounds strange to Stern hearing Schindler actually say it. : He's never said it before. : SCHINDLER : Emilie's offered to work in the clinic. : To ... work there. : He's not sure what she's going to do there, she's not a : nurse or a doctor. : STERN : (to her) : That's very generous of you. : SCHINDLER : Yes. : Schindler nods, looks around, shrugs, offers his arm to his wife, : perhaps to take her on a tour of the place. : STERN : It was a pleasure meeting you. : EMILIE : Pleasure meeting you. : The Schindlers leave. Stern sits back down at his desk and : smiles. he's never seen Schindler so uncomfortable. : : 224. INT. MACHINE SHOP - BRINNLITZ FACTORY - DAY. 224. : Schindler comes in carrying a radio. He sets it down on a bench : where Pfefferberg's working on the frame of a machine motor with : a blow torch. : SCHINDLER : Can you fix it? : The radio. : PFEFFERBERG : What's wrong with it? : SCHINDLER : How should I know? It's broken. : See what you can do. : He leaves. Pfefferberg plugs it into an outlet and switches it : on. It works perfectly. A waltz. : : 225. INT. BARRACKS - BRINNLITZ CAMP - NIGHT. 225. : In a male barracks, a group of workers including Pfefferberg : huddle in a corner around the radio, straining to hear through : heavy static a broadcast by the BBC, the Voice of London, a : sketchy report of an Eastern offensive by Allied Russian forces. : : 226. INT. CLINIC - BRINNLITZ CAMP - DAY. : 226. : As a camp doctor attends to sufferers of dysentery, Schindler and : Emilie sort pairs of prescription glasses from a parcel, shipped : from Cracow. Stern comes in. : STERN : We need to talk. : SCHINDLER : Stern. : Schindler sifts through the glasses still in the box, comes up : with a particular pair and holds them proudly. Not quite sure : what he's seeing is real - : STERN : They arrived. : SCHINDLER : They arrived, can you believe it? : Stern allows himself a smile, a rare thing for him. Schindler : carefully slips the new glasses onto the accountant's face. He : looks around the clinic, Stern, eventually settling on Emilie, : crystal clear, standing near a picture on the wall which, in : other circumstances, he'd find less than reassuring: Jesus, his : heart exposed and in flames. : : 227. INT. CLINIC - LATER - DAY. : 227. : In a quiet corner of the clinic, Schindler concentrates on the : disquieting news Stern has brought him: : STERN : We've received a complaint from the : Armaments Board. A very angry complaint. : The artillery shells, the tank shells, : rocket casings - apparently all of them - : have failed quality-control tests. : Schindler nods soberly. Then dismisses the problem with a : shrug. : SCHINDLER : Well, that's to be expected. They have to : understand. These are start-up problems. : This isn't pots and pans, this is a precise : business. I'll write them a letter. : STERN : They're withholding payment. : SCHINDLER : Well, sure. So would I. So would you. : I wouldn't worry about it. We'll get it : right one of these days. : But Stern is worried about it. : STERN : There's a rumor you've been going around : miscalibrating the machines. : (Schindler doesn't deny it) : I don't think that's a good idea. : SCHINDLER : (pause) : No? : Stern slowly shakes his head 'no.' : STERN : They could close us down. : Schindler eventually nods, in agreement it seems. : SCHINDLER : All right. Call around, find out where : we can buy shells and buy them. We'll : pass them off as ours. : Stern's not sure he sees the logic. Whether the shells are : manufactures here or elsewhere, they'll still eventually reach : their intended destination, into the hearts and heads of : Germany's enemies. : STERN : I know what you're saying, but I don't : see the difference. : SCHINDLER : You don't? I do. I see a difference. : STERN : You'll lose money. : That's one difference. : SCHINDLER : Fewer shells will be made. : That's another difference. The main one. The only one Schindler : cares about. Silence. Then: : SCHINDLER : Stern, if this factory ever produces a shell : that can actually be fired ... I'll be very : unhappy. : : 228. INT. BRINNLITZ FACTORY - DAY. : 228. : A nineteen year old boy with his hands in the air stands : terrified before Commandant Liepold and the revolver he wields. : Workers, trying to reduce the likelihood of getting hit by a : stray bullet when Liepold fires on the boy - which seems a : certainty - scramble out of the way. : SCHINDLER (O.S.) : Hey. : Liepold swings the gun around at the voice, pointing it for a : moment at Schindler, who is striding toward him, then aims the : barrel back at the boy's head, and yells - : LIEPOLD : Department W does not forbid my presence : on the factory floor. That is a lie. : He waves a document at Schindler, throws it at him. Schindler : doesn't bother picking it up. Instead, pointing at the boy, he : yells to Liepold - : SCHINDLER : Shoot him. Shoot him! : Liepold is so startled by the command, he doesn't shoot. He : doesn't lower the gun, though, either. : SCHINDLER : Shoot him without a hearing. Come on. : His finger is on the trigger, Liepold is torn, frustrated, hating : the situation he has created. As the moments without a blast : stretch out, both and Schindler begin t settle down. : LIEPOLD : He sabotaged the machine. : Schindler glances to the boy. Then at the silent Hilo beside : him. Part of it is blackened from an electrical fire. To the : boy, concerned - : SCHINDLER : The machine's broken? : The boy, too terrified to speak,nods. : LIEPOLD : The prisoner is under the jurisdiction of : Section D. I'll preside over the hearing. : SCHINDLER : But the machine. : Liepold glances to him. He seems almost distraught by the : destruction of the machine, Schindler. : SCHINDLER : The machine is under the authorization of : the Armaments Inspectorate. I will preside : over the hearing. : Liepold isn't sure that's correct, but he has no documentation, : at least not on him, to refute it. : : 229. INT. FACTORY - NIGHT. 229. : In the machine-tool section, a "judicial table" has been set up. : At it sit Schindler, Liepold, two other SS officers, and an : attractive German girl, a stenographer. The "saboteur," the boy, : Janek, stands before the court. : JANEK : I'm unfamiliar with the Hilo machines. : I don't know why I was assigned there. : Commandant Liepold was watching me : trying to figure it out. I switched it on : and it blew up. I didn't do anything. : All I did was turn it on. : Gone tonight is Schindler's usual shop-floor familiarity. He : studies the boy solemn-faced. : SCHINDLER : If you're not skilled at armaments work, : you shouldn't be here. : JANEK : I'm a lathe operator. : Schindler dismisses the defensive comment with a wave of his hand : and gets up. He comes around and paces slowly before the boy. : Eventually, Janek dares to speak again - : JANEK : Sir? : Schindler glances up at him distractedly. : JANEK : I did adjust the pressure controls. : Schindler stops, looks to the panel, and back to the boy. : SCHINDLER : What? : JANEK : I know that much about them. Somebody : had set the pressure controls wrong. I had : to adjust - : Schindler slams the back of his hand so hard across Janek's face, : the boy almost falls. He's stunned. So are the others at the : table. They've never seen such violence from the Direktor. He : roars - : SCHINDLER : The stupidity of these people. I wish they : were capable of sabotaging a machine. : Schindler's hand comes up again and Janek recoils, expecting : another blow. Schindler manages to hold it. : SCHINDLER : Get him out of my sight. : A guard escorts the prisoner away. The panel members glance : among themselves. Is that it? Schindler faces them and groans : in dismay. : : 230. INT. LIEPOLD'S QUARTERS - NIGHT. 230. : Liepold at his desk, typing again. This time there is no doubt : he is composing a letter denouncing Schindler. : : 231. INT. HOUSE - BRINNLITZ - NIGHT. : 231. : Schindler and Emilie, her arm in his, stand around like unwanted : guests at the party. They probably are. Him anyway. The other : guests include local politicians who fought and failed to keep : his camp out of Brinnlitz. Whenever his glance meets one of : theirs, they smile tightly. : SCHINDLER : (to Emilie) : Isn't this nice. : It's not at all nice. He feels out of place, a feeling he's not : accustomed to. Fortunately, a man in uniform, someone Schindler : can relate to, approaches cheerfully, his hand outstretched. : RASCH : Oskar, good of you to come. : SCHINDLER : Are you kidding, I never miss a party. : Police Chief Rasch, my wife Emilie. : RASCH : How do you do? : EMILIE : You have a lovely home. : It is nice. Big. The man lives well. : RASCH : Thank you. : SCHINDLER : I need a drink. : RASCH : Oh, God, you don't have a drink? : SCHINDLER : (to Emilie) : Wine? : She nods. Schindler goes off in search of the bartender. Rasch : watches after him. : RASCH : Your husband's a very generous man. : EMILIE : (wry) : He's always been. : : 232. INT. RASCH'S STUDY - LATER - NIGHT. : 232. : Rasch and Schindler sharing cognac in the privacy of the Police : Chief''s study. Beyond the closed doors, the party continues, : the sounds filtering in. : SCHINDLER : I need guns. : Rasch calmly nurses his drink, his eyes revealing nothing of : what's going on behind them, except that the statement requires : some elaboration. : SCHINDLER : One of these days the Russians are going to : show up unannounced at my gate. I'd like the : chance to defend myself. I'd like my wife : to have that chance. My civilian engineers. : My secretary. : RASCH : (pause; then, philosophically) : We're losing the war, aren't we. : SCHINDLER : It kind of looks that way. : RASCH : (blithely) : Pistols? : SCHINDLER : Pistols, rifles, carbines ... : (long pause) : I'd be grateful. : Rasch smiles faintly. Yes, he's familiar, as are officials : throughout much of Europe, with the gratitude of Oskar Schindler. : : 233. INT. MACHINE SHOP - BRINNLITZ CAMP - NIGHT. 233. : Poldek Pfefferberg holds up a pistol, feels its weight, : points it. : SCHINDLER : (calmly) : Careful. : Pfefferberg smiles, lowers the gun, kneels beside an open crate : of weapons: a couple of revolvers and rifles, an old carbine. : : 234. INT. FACTORY - DAY. 234. : : From high above the factory, Stern can be seen among the machines : talking with a worker. The man points up and returns to his : work. : Stern stares up, puzzled. He locates a ladder that connects the : shop-floor to a series of overhead planks and, with trepidation, : climbs. : He reaches a shaky landing high above the machines, navigates the : primitive catwalks with great care, comes to a large water tank : near the workshop ceiling. : SCHINDLER : Stern. : Above the rim of the tank, amid rising steam, Schindler's head : appears. Then disappears. Stern climbs a set of rungs on the : tank, reaches the top and finds inside, lolling in the steaming : water, Schindler and the blonde stenographer from the trial. : STERN : Excuse me. : Neither Schindler nor the blonde seems the least bit embarrassed. : Only Stern. He tries hard to pretend the girl isn't there, but : he just can't. : STERN : I'll talk to you later. : SCHINDLER : No, no, what, what is it? : Schindler floats over closer to him, waits for him to report : whatever it is he has come to report, leans closer. Finally, : quietly - : STERN : Do you have any money I don't know about? : Hidden away someplace? : Schindler thinks long and hard ... : SCHINDLER : No. : Silence except for the gently lapping water. Half-joking - : SCHINDLER : Why, am I broke? : Stern glances away, doesn't answer, just stares off. And a : slight, slight smile, a gambler's philosophical smile upon being : purged of his wealth, appears on Schindler's face. : : 235. EXT. RURAL BRINNLITZ - DAY. 235. : In the distance, a lone boxcar, stark against the winter : landscape. There are patches of snow on the ground. A cold wind : blows through bare trees. : SCHINDLER (V.O.) : Poldek. : : 236. INT. MACHINE SHOP - BRINNLITZ CAMP - DAY. 236. : Tight on Poldek Pfefferberg's eyes behind a welder's mask. He : turns from his work to the voice, welding torch in his hand. : : 237. EXT. RURAL BRINNLITZ - DAY. 237. : The torch firing at ice as hard as metal, blue flame, white : steam. Pfefferberg's eyes behind the mask again, concentrating. : Around the abandoned boxcar, in the gruesome cold, stand : Schindler, Emilie, a doctor, some workers and some SS guards, : watching, waiting. : Pfefferberg steps back. Sledge hammers pound at locks. Hands : pull at levers. The doors begin to slide. : Out of darkness, from inside the boxcar as the doors slide open, : Schindler's face is revealed, tight. He stares for an : interminable moment before walking slowly away. : Inside the boxcar is a tangle of limbs, a pyramid of corpses, : frozen white. : From a distance, a tableau: the boxcar, the workers and guards : and Emilie outside it, Schindler, off to himself several steps : away, all of them still as statues. : : 238. EXT. CATHOLIC CEMETERY - OUTSIDE BRINNLITZ - 238. : DAY. : Beyond a country church, among the stone markers of a small : cemetery, walk Schindler and a priest. : SCHINDLER : It's been suggested I cremate them in my : furnaces. As a Catholic I will not. As a : human being I will not. : The priest nods; he seems relatively empathic. He offers : an alternative - : PRIEST : There's an area beyond the church reserved : for the burial of suicides. Maybe I can : convince : the parish council to allow them to be : buried there. : SCHINDLER : These aren't suicides. : The priest knows that. But he also knows that the provisions of : Canon Law regarding who can and cannot be buried in consecrated : ground are narrow. : SCHINDLER : These are victims of a great murder. : : 239. INT. BRINNLITZ FACTORY - DAY. : 239. : In a corner of the factory, workers hammer at pine lumber. They : are building coffins. : : 240. EXT. BRINNLITZ FACTORY - DAY. : 240. : As workers harness horses to carts, others hoist the coffins into : them. Schindler is there, watching. He glances up at one of the : guard towers, expecting, perhaps, to be felled by a bullet. : : 241. EXT. BRINNLITZ FACTORY - DAY. : 241. : Beyond the wire, Rabbi Levartov leads the horse-drawn carts. : Around him walk a minyan - a quorum of ten males necessary for : the rite. A few guards lag behind. : : 242. INT. BRINNLITZ FACTORY - SAME TIME - DAY. 242. : Work continues, but it's apparent in their eyes they are only : physically here; in spirit they are all walking alongside the : carts, one great moral force. : The roar of a machine suddenly, inexplicably, dies. Then : another. And another. Schindler, standing at the main power : panel, pulls the last of the switches, and the factory plunges : into absolute silence. : : 243. EXT. CATHOLIC CEMETERY - DAY. : 243. : : Just beyond the perimeter of the Catholic cemetery, the minyan : quickly and quietly recites Kaddish over the dead as their : coffins are lowered into individual graves. : Then, there is only a low breathing of wind. : : 244. EXT. BRINNLITZ CAMP - ANOTHER DAY. 244. : Amon Goeth, in civilian clothes, emerges from a car. His eyes, : sallow from inadequate sleep, sweep across the fortified compound : with envy. It's a nice place Oskar's got here. : : 245. INT. OFFICE - BRINNLITZ FACTORY - 245. : SAME TIME - DAY. : Stern, at a window, stares down at Goeth beside his car. Softly, : gravely - : STERN : What's he doing here? : : Schindler appears beside Stern, glances down. he's lost weight, : Goeth. The old suit he wears seems too big for him. Alone down : there he seems disoriented. : : SCHINDLER : Probably looking for a handout. : : 246. INT. BRINNLITZ FACTORY - DAY. : 246. : Workers glance up at a horrible apparition from the pit of their : foulest dreams - Amon Goeth crossing through the factory. : Schindler, his arm around the killer's shoulder as if he were a : long lost brother, leads him across the shop-floor, proudly : pointing out to him the huge thundering Hilo machines. : 247. INT. OFFICES, BRINNLITZ FACTORY - DAY. 247. : Schindler takes an old suitcase from his office closet, sets it : on his desk, snaps it open revealing clothes, Goeth's uniforms, : his medals. The ex-Oberstrumfuhrer touches the fabric gently, : then glances up gratefully to his friend. : GOETH : Thank you. : : 248. INT. OUTER OFFICES - BRINNLITZ FACTORY - DAY. 248. : Beyond the frosted glass of Schindler's office door, Stern can : see the wavering forms of the two Nazi Party members sharing : cognac and stories. : : 249. INT. BRINNLITZ FACTORY - DAY. : 249. : Warmed by cognac and friendship, Goeth comes through the factory : again carrying the suitcase, Schindler at his side, steering him : to some degree. : Goeth's hand comes up to his cheek as if to brush away a : bothersome fly. But it isn't a fly. One of the workers has spit : on him. He turns in disbelief. : Silence as his hand drops to his side, to the holster he forgets : isn't there. he glances around for SS guards ... who aren't : there. He looks to Schindler, thoroughly confused, and whispers : - : GOETH : Where are the guards? : SCHINDLER : The guards aren't allowed on the factory floor. : They make my workers nervous. : Goeth stares at him bewildered. Then again at the worker who : spit. Then at other workers, the resolve in their eyes. They : know he has no power here, and sense he has no power anywhere. : His own eyes drift to a woman with yarn in her lap, knitting : needles in her hands. Is this a dream? : SCHINDLER : I'll discipline him later. : Schindler good-naturedly throws an arm around Goeth's shoulder : and leads him away. The workers watch as the two Germans : disappear out the factory doors. : : 250. INT. GUARDS' BARRACKS - EVENING. 250. : A guard slowly turns the dial of a radio, finding and losing in : static several different voices in several languages, none of : them lasting more than a moment. : Depression hangs over the barracks. Most of the guards are : straining to hear the news they've been fearing for some time : now, some on their bunks just staring, one at a window peering : out at the black face of a forest as if expecting, at any moment, : to see Russian or American troops appear. : : 251. INT. WORKER'S BARRACKS - SAME TIME - EVENING. 251. : Another radio. Workers, like the guards, straining to hear. The : dial finds, faint, mired in static, the idiosyncratic voice of : Winston Churchill. : : 252. INT. LIEPOLD'S QUARTERS - SAME TIME - EVENING. 252. : Schindler on Liepold's doorstep. The two men considering each : other across the threshold. Radio static filters out from : Liepold's room. The word "Eisenhower" cuts through before the : speaker's voice is buried again. : SCHINDLER : It's time the guards came into the factory. : He turns and walks away. : : 253. INT. BRINNLITZ FACTORY - NIGHT. 253. : All twelve hundred workers and all the guards are gathered for : the first time on the factory floor. Tension and uncertainty : surround them. It's ominously quiet. Then - : SCHINDLER : The unconditional surrender of Germany : has just been announced. At midnight : tonight the war is over. : It is not his intention to elicit celebration. Indeed, his : words, echoing and fading in the factory, echo the doubts they : all feel. : SCHINDLER : Tomorrow, you'll begin the process of looking : for survivors of your families. In many cases : you won't find them. After six long years of : murder, victims are being mourned throughout : the world. : Not by Untersturmfuhrer Liepold. He stands with his men, dying : to lift his rifle and fire. : SCHINDLER : We've survived. Some of you have come up : to me and thanked me. Thank yourselves. : Thank your fearless Stern, and others among : you, who, worrying about you, have faced : death every moment. : (glancing away) : Thank you. : He's looking at the guards, thanking them, which thoroughly : confuses the workers. Just when they thought they knew where his : sentiments lay, he's thanking guards. : SCHINDLER : You've shown extraordinary discipline. : You've behaved humanely here. You : should be proud. : Or is he attempting to adjust reality, to destroy the SS as : combatants, to alter the self-image of both the guards and the : prisoners? Moving across the SS men's faces, they remain : inscrutable. Schindler turns his attention back to the workers, : and, not at all like a confession, but rather like simple : statements of fact: : SCHINDLER : I'm a member of the Nazi party. I'm a : munitions manufacturer. I'm a profiteer : of slave labor, I'm a criminal. At midnight, : you will be free and I will be hunted. : (pause) : I'll remain with you until five minutes : after midnight. After which time, and : I hope you'll forgive me, I have to flee. : That worries the workers. Whenever he leaves, something terrible : always seems to happen. : SCHINDLER : In memory of the countless victims : among your people, I ask us to observe : three minutes of silence. : In the quite, in the silence, drifting slowly across the faces of : the workers - the elderly, the lame, teenagers, wives beside : husbands, children beside their parents, families together - it : becomes clear, if it wasn't before, that both as a prison and a : manufacturing enterprise, the Brinnlitz camp has been one long : sustained confidence game. : Schindler has never stood still so long in his life. He does : now, though, framed by his giant Hilo machines, silent at the : close of the noisiest of wars, his head bowed, mourning the many : dead. : When he finally does look up he sees that he is the last to do : so. The faces, few of which he recognizes, are all looking at : him. He turns to speak to the guards along the wall again. : SCHINDLER : I know you've received orders from our : Commandant - which he has received : from his superiors - to dispose of the : population of this camp. : : Apprehension spreads across the factory like a wave. Pfefferberg : tightens his grip on the pistol under his coat. His ragtag : irregulars do the same, the rest of their ersatz "arsenal" : concealed behind a machine. To the guards: : SCHINDLER : Now would be the time to do it. They're : all here. This is your opportunity. : The guards hold their weapons, as they have from the moment they : arrived here tonight, at attention, waiting it seems, to be given : the official order from their Commander, Liepold, who appears : ready to give it. : SCHINDLER : Or ... : (he shrugs) : ... you could leave. And return to your : families as men instead of murderers. : Long, long silence. Finally, one of the guards slowly lowers his : rifle, breaks ranks and walks away. Then another. And another. : And another. Another. : When the last is gone, the workers consider Liepold. He appears : more an oddity than a threat. He is more an oddity than a : threat. And he knows it. He turns and leaves. : : 254. EXT. BRINNLITZ CAMP - NIGHT. 254. : A watchtower. Abandoned. The perimeter wire. No sentries. The : guard barracks. Deserted. The SS is long gone. : : 255. EXT. COURTYARD - BRINNLITZ CAMP - NIGHT. 255. : Schindler and Emilie emerge from his quarters, each carrying a : small suitcase. In the dark, some distance away from his : Mercedes, stand all twelve hundred workers. As Schindler and his : wife cross the courtyard to the car, Stern and Levartov approach. : The rabbi hands him some papers. : LEVARTOV : We've written a letter trying to explain : things. In case you're captured. Every : workers has signed it. : Schindler sees a list of signatures beginning below the : typewritten text and continuing for several pages. He pockets : it, this new list of names. : SCHINDLER : Thank you. : Stern steps forward and places a ring in Schindler's hand. It's : a gold band, like a wedding ring. Schindler notices an : inscription inside it. : STERN : It's Hebrew. It says, 'Whoever saves : one life, saves the world.' : Schindler slips the ring onto a finger, admires it a moment, nods : his thanks, then seems to withdraw. : SCHINDLER : (to himself) : I could've got more out ... : Stern isn't sure he heard right. Schindler steps away from him, : from his wife, from the car, from the workers. : SCHINDLER : (to himself) : I could've got more ... if I'd just ... I don't : know, if I'd just ... I could've got more... : STERN : Oskar, there are twelve hundred people who : are alive because of you. Look at them. : He can't. : SCHINDLER : If I'd made more money ...I threw away : so much money, you have no idea. : If I'd just ... : STERN : There will be generations because of : what you did. : SCHINDLER : I didn't do enough. : STERN : You did so much. : Schindler starts to lose it, the tears coming. Stern, too. The : look on Schindler's face as his eyes sweep across the faces of : the workers is one of apology, begging them to forgive him for : not doing more. : SCHINDLER : This car. Goeth would've bought this car. : Why did I keep the car? Ten people, : right there, ten more I could've got. : (looking around) : This pin - : He rips the elaborate Hakenkreus, the swastika, from his lapel : and holds it out to Stern pathetically. : SCHINDLER : Two people. This is gold. Two more people. : He would've given me two for it. At least one. : He would've given me one. One more. One : more person. A person, Stern. For this. : One more. I could've gotten one more person : I didn't. : He completely breaks down, weeping convulsively, the emotion he's : been holding in for years spilling out, the guilt consuming him. : SCHINDLER : They killed so many people ... : (Stern, weeping too, : embraces him) : They killed so many people ... : From above, from a watchtower, Stern can be seen down below, : trying to comfort Schindler. Eventually, they separate, and : Schindler and Emilie climb into the Mercedes. It slowly pulls : out through the gates of the camp. And drives away. : : 256. EXT. BRINNLITZ - NIGHT. : 256. : A panzer emerges from the treeline well beyond the wire of the : camp and just sits there growling like a beast. Suddenly it : fires a shell at nothing in particular, at the night - an : exhibition of random spite - then turns around and rolls back : into the forest. : : 257. EXT. BRINNLITZ CAMP - SAME TIME - NIGHT. 257. : From a watchtower, a couple of workers, having witnessed the : tank's display of impotent might, can make little sense of it. : Below, many of the workers mill around the yard, waiting to be : liberated. No one seems to know what else to do. : : 258. EXT. BRINNLITZ - DAY. 258. : Some Czech partisans emerge from the forest. They come down the : hill and casually approach the camp. Reaching the wire, they're : met by Pfefferberg and some other workers, rifles slung over : their shoulders. Through the fence - : PARTISAN : It's all over. : PFEFFERBERG : We know. : PARTISAN : (pause) : So what are you doing? You're free to go home. : PFEFFERBERG : When the Russians arrive. Until then : we're staying here. : The partisan shrugs, Suit yourself, and wanders back toward the : trees with his friends. : : 259. EXT. BRINNLITZ CAMP - NIGHT. 259. : Five headlights appear out of the night, five motorcycles marked : with the SS Death's-head insignia. They turn onto the road : leading to the camp gate and park, the riders shutting off the : engines. : SS NCO : Hello? : Shapes materialize out of the darkness within the camp. Several : armed and dangerous Jews. : : 260. EXT. BRINNLITZ CAMP - LATER - NIGHT. 260. : As the cyclists fill their tanks with gasoline borrowed from the : camp, the workers keep their rifles pointed at them. The NCO in : charge lines the gas cans neatly back up against the wire. : NCO IN CHARGE : Thank you very much. : He climbs onto his motorcycle. The others climb onto theirs. : And drive away. : : 261. EXT. BRINNLITZ CAMP - DAWN. 261. : A lone Russian officer on horseback, tattered coat, rope for : reins, emerges from the forest. As he draws nearer, it becomes : apparent to the workers assembling on the camp yard, that the : horse is a mere pony, the Russian's feet in stirrups nearly : touching the ground beneath the animal's skinny abdomen. : He reaches the camp, climbs easily down from the horse and, in a : loud voice, addresses the hundreds of workers standing at the : fence: : RUSSIAN : You have been liberated by the Soviet Army. : This is it? This one man? The workers wait for him to say more. : He waits for them to move, to leave, to go home. Finally - : RUSSIAN : What's wrong? : A few of the workers come out from behind the fence to talk : with him. : WORKER : Have you been in Poland? : RUSSIAN : I just came from Poland. : WORKER : Are there any Jews left? : The Russian has to think. Eventually he shrugs, 'no,' not that : he saw, and climbs back onto his pony to leave. : WORKER : Where should we go? : RUSSIAN : I don't know. Don't go east, that's for sure, : they hate you there. : (pause) : I wouldn't go west either if I were you. : He shrugs and gives his little horse a kick in the ribs. : WORKER : We could use some food. : The Russian looks confused, glances off. The quiet hamlet of : Brinnlitz sits there against the mountains not half a mile away. : RUSSIAN : Isn't that a town over there? : Of course it is. But the idea that they could simply walk over : there is completely foreign to them. The Russian rides away. : : 262. EXT. BRINNLITZ - DAY. 262. : All twelve hundred of them, a great moving crowd coming forward, : crosses the land laying between the camp, behind them,, and the : town, in front of them. : Tight on the FACE of one of the MEN. : Tight on TYPEWRITER KEYS rapping his NAME. : Tight on A PEN scratching out the words, "METAL POLISHER" on a : form. : Tight on the KEYS typing, "TEACHER." : Tight on his FACE in the crowd. : Tight on the face of a woman in the moving crowd. The keys : typing her name. The pen scratching out "LATE OPERATOR." The : keys typing "PHYSICIAN." Tight on her face. : Tight on a man's face. His name. Pen scratching out : "ELECTRICIAN." Keys typing "MUSICIAN." His face. : A woman's face. Name. Pen scratching out "MACHINIST." Keys : typing "MERCHANT." Face. : "CARPENTER." Face. "SECRETARY." Face. "DRAFTSMAN." Face. : "PAINTER." Face. "JOURNALIST." Face. "NURSE." Face. : "JUDGE." Face. Face. Face. Face. : HARD CUT TO: : : 263. EXT. FRANKFURT - DUSK (1955). : 263. : A street of apartment buildings in a working class neighborhood : of the city. : : 264. INT. APARTMENT BUILDING - DUSK. 264. : The door to a modest apartment opens revealing Oskar Schindler. : The elegant clothes are gone but the familiar smile remains. : SCHINDLER : Hey, how you doing? : It's Poldek Pfefferberg out in the hall. : PFEFFERBERG : Good. How's it going? : SCHINDLER : Things are great, things are great. : Things don't look so great. Schindler isn't penniless, but he's : not far from it, living alone in the one room behind him. : PFEFFERBERG : What are you doing? : SCHINDLER : I'm having a drink, come on in, we'll have a : drink. : PFEFFERBERG : I mean where have you been? : Nobody's seen you around for a while. : SCHINDLER : (puzzled) : I've been here. I guess I haven't been out. : PFEFFERBERG : I thought maybe you'd like to come over, : have some dinner, some of the people : are coming over. : SCHINDLER : Yeah? Yeah, that'd be nice, let me get my : coat. : Pfefferberg waits out in the hall as Schindler disappears inside : for a minute. The legend below appears: : AMON GOETH WAS ARRESTED AGAIN, : WHILE A PATIENT IN AN SANITARIUM : AT BAD TOLZ. : GIVING THE NATIONAL SOCIALIST : SALUTE, HE WAS HANGED IN : CRACOW FOR CRIMES AGAINST : HUMANITY. : Schindler reappears wearing a coat, steps out into the hall, : forgets something, turns around and goes back in. : OSKAR SCHINDLER FAILED AT : SEVERAL BUSINESSES, AND : MARRIAGE, AFTER THE WAR : IN 1958, HE WAS DECLARED A : RIGHTEOUS PERSON BY THE : COUNCIL OF THE YAD VASHEM : IN JERUSALEM, AND INVITED TO : PLANT A TREE IN THE AVENUE : OF THE RIGHTEOUS. : IT GROWS THERE STILL. : He comes back out with a nice bottle of wine in his hand, and, as : he and Pfefferberg disappear down the stairs together - : He comes back out with a nice bottle of wine in his hand, and, as : he and Pfefferberg disappeaer down the stairs together - : SCHINDLER'S VOICE : Mila's good? : PFEFFERBERG'S VOICE : She's good. : SCHINDLER'S VOICE : Kids are good? Let's stop at a store on the : way so I can buy them something. : PFEFFERBERG'S VOICE : They don't need anything. They just : want to see you. : SCHINDLER'S VOICE : Yeah, I know. I'd like to pick up something : for them. It'll only take a minute. : Their voices face. Against the empty hallway appears a faint : trace of the image of the factory workers, through the wire, : walking away from the Brinnlitz camp. And the legend: : THERE ARE FEWER THAN FIVE : THOUSAND JEWS LEFT ALIVE : IN POLAND TODAY. : THERE ARE MORE THAN SIX THOUSAND : DESCENDANTS OF THE SCHINDLER JEWS. : 1

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