(Pfuit) Not since before the war.
FREDRICK
So if you had one big engagement, that would help you out?
SHOSANNA
Of course, but that’s not likely to happen.
TWO MORE GERMAN SOLDIERS and their TWO FRENCH DATES approach the table. They ask for Fredrick’s autograph, and he signs it for them. One of the French girls says, in FRENCH, how exciting it is to meet a real live German war hero. Shosanna hears it. They leave. So that’s it, she thinks.
SHOSANNA
So you’re a war hero? Why didn’t you tell me?
FREDRICK
Everybody knows that. I liked that you didn’t.
SHOSANNA
What did you do?
He takes a sip of beer.
FREDRICK
I’ve shot the most enemy soldiers in World War Two… so far.
You bet your sweet ass that got her attention.
SHOSANNA
Wow.
FREDRICK
I was alone in a bell tower in a walled-off city in Russia. It was myself and a thousand rounds of ammo in a bird’s nest, against three hundred Soviet soldiers.
SHOSANNA
What’s a bird’s nest?
FREDRICK
A bird’s nest is what a sniper would call a bell tower. It’s a high structure, offering a three-hundred-and-sixty-degree view. Very advantageous for marksmen.
SHOSANNA
How many Russians did you kill?
FREDRICK
Sixty-eight.
(beat)
The first day. A hundred and fifty the second day. Thirty-two the third day. On the fourth day, they exited the city. Naturally my war story received a lot of attention in Germany. That’s why they all recognize me. They call me the German Sergeant York.
SHOSANNA
Maybe they’ll make a film about your exploits.
FREDRICK
Well, that’s just what Joseph Goebbels thought. So he did. It’s called “Nation’s Pride,” and guess what, they wanted me to play myself, so I did. They have posters for it in kiosks all over Paris. That’s another reason for all the attention.
SHOSANNA
“Nation’s Pride” is about you? “Nation’s Pride” is starring you?
FREDRICK
I know, comical, huh?
SHOSANNA
Not so comical. So what are you doing in Paris, enjoying a rest?
FREDRICK
Hardly. I’ve been doing publicity, having my pictures taken with different German luminaries, visiting troops, that sort of thing. Goebbels wants the film to premiere in Paris, so I’ve been helping them in the planning.
Joseph is very keen on this film.
He’s telling anybody who will listen that when “Nation’s Pride” is released I’ll be the German Van Johnson.
Shosanna isn’t falling for the young German by any stretch. However, his exploits, as well as his charming manner, can’t help but impress. But his referring to Goebbels as “Joseph,” like they’re friends, is all she needs to get on the right side of things. This young man is trouble with a capital T, and she needs to stay far fucking away from him.
She abruptly rises and says:
SHOSANNA
Well, good luck with your premiere, Private. I hope all goes well for Joseph and yourself. Au revoir.
And with that, she disappears, leaving the perplexed private alone.
EXT—CINEMA MARQUEE—DAY
It’s the next day.
Shosanna and Marcel are changing the letters on the marquee.
Marcel excuses himself to visit the toilet.
Shosanna is alone outside the little cinema, perched up on her ladder.
WHEN…
… A BLACK NAZI SEDAN pulls up in front of the little cinema.
A GERMAN MAJOR in a black Gestapo uniform steps out of the back of the sedan.
The DRIVER, a German private, steps out as well.
Yelling to the young girl up high on the ladder:
Both GERMAN and FRENCH will be SUBTITLED IN ENGLISH.
GESTAPO MAJOR
Mademoiselle Mimieux?
SHOSANNA
Oui?
Telling his driver in German to ask her in French:
GESTAPO MAJOR
Ask her if this is her cinema.
In French the driver asks Shosanna:
DRIVER
Is this your cinema?
SHOSANNA
Oui.
GESTAPO MAJOR
Tell her to come down.
DRIVER
Come down, please.
She climbs down the ladder.
The driver opens the back door of the sedan, indicating for her to get in.
SHOSANNA
I don’t understand. What have I done?
DRIVER
(to major)
She wants to know what she’s done?
GESTAPO MAJOR
Who says she’s done anything?
DRIVER
Who says you’ve done anything?
Then in her best imitation of Mademoiselle Mimeux’s arrogant manner.
SHOSANNA
Then I demand to know what this is about, and where do you propose to take me?
The driver begins to translate when the Gestapo major holds up his hand, telling him not to bother. The major looks at the young French girl and tells her in German:
GESTAPO MAJOR
Get your ass in that car.
No translation necessary. She climbs into the back of the car, followed by the Germans. The sedan takes off.
INT—SEDAN (MOVING)—DAY
The Nazi sedan drives through the early-afternoon Paris streets.
WE HOLD SHOSANNA IN TIGHT CU
the whole ride, never showing her Nazi oppressor sitting beside her. We just hold on her face trying not to reveal anything.
The sedan stops.
The car door opens, and the driver offers Shosanna his hand.
EXT/INT—MAXIM’S (FAMOUS PARIS CAFÉ)—DAY
She steps out of the car and is led into a Paris café by the Gestapo officer. It takes the young Jewess a moment or two before she realizes she’s not being led to a Gestapo interrogation room, a railroad car, or a concentration camp, but to lunch.
The best table at Maxim’s. Three people, and two dogs, sit at it: Germany’s minister of propaganda and the number-two man in Hitler’s Third Reich, JOSEPH GOEBBELS; his female French translator (and mistress), FRANCESCA MONDINO; and young Private Zoller. TWO BLACK FRENCH POODLES belonging to Mademoiselle Mondino sit together in another chair at the table.
We join the in mid-conversation:
They all speak GERMAN, SUBTITLED IN ENGLISH;
GOEBBELS
—it’s only the offspring of slaves that allows America to be competitive athletically. American Olympic gold can be measured in Negro sweat.
Shosanna is led through the French eatery by the Gestapo major. Private Zoller sees her and stands up, excuses himself, and greets her before she reaches the table.
Fredrick says in French, SUBTITLED IN ENGLISH;
FREDRICK
Good you came. I wasn’t sure whether or not you’d accept my invitation.
SHOSANNA
Invitation?
THEN…
… Goebbels’s voice says OFFSCREEN:
GOEBBELS (OS)
Is that the young lady in question, Fredrick?
Private Zoller turns in his direction, takes Shosanna by the arm, and leads her to him.
FREDRICK
Yes, it is, Herr Goebbels. Emmanuelle, there is somebody I want you to meet.
Joseph Goebbels, remaining seated, looks up at the young French girl, scrutinizing her as he spoons crème brûlée into his mouth.
The excited Fredrick introduces Shosanna to the propaganda minister formally.
FREDRICK
Emmanuelle Mimieux, I’d like to introduce you to the minister of propaganda, the leader of the entire German film industry, and n
ow I’m an actor, my boss, Joseph Goebbels.
Goebbels offers up his long, spiderlike fingers for Shosanna to shake. She does.
GOEBBELS
Your reputation precedes you, Fräulein Mimieux.
He looks to Francesca to translate, but she’s just taken a big bite of tiramisu.
They all laugh.
Frederick jumps in…
FREDRICK
And normally, this is Herr Goebbels’s French interpreter, Mademoiselle Francesca Mondino.
FRANCESCA
looks up at Shosanna.
NARRATOR’S VOICE comes on soundtrack:
NARRATOR (VO)
Francesca Mondino is much more than Goebbels’s French interpreter.
She’s also Goebbels’s favorite French actress to appear in his films… . .
FLASH ON
FRENCH CLIP
from one of Francesca’s B/W Goebbels produced productions.
Francesca, dressed as a French peasant girl, with a YOUNG GERMAN (MOVIE) SOLDIER.
She speaks in FRENCH, SUBTITLED IN ENGLISH:
FRANCESCA/PEASANT GIRL
I love you, I can’t help it. My country or my heart, which do I betray?
A SUBTITLE APPEARS below naming the film’s title:
“SENTIMENTAL COMBAT” (1943)
FLASH ON
Francesca and Goebbels having sex in her boudoir, on her red velvet bed.
NARRATOR (VO)
And Goebbels’s favorite French mistress, to act in his bed.
WE SEE JUST A SUPER-QUICK SHOT OF Goebbels FUCKING Francesca DOGGY-STYLE.
FRANCESCA
(animal-like)
Do it! Do it! Fuck me—fill me!
BACK TO FRANCESCA
looking at Shosanna.
FRANCESCA
Bonjour.
SHOSANNA
Bonjour.
FREDRICK
And you’ve met the major.
The Gestapo officer steps up and says to Fredrick in German:
GESTAPO MAJOR
Actually, I didn’t introduce myself.
(to Shosanna)
Major Dieter Hellstrom of the Gestapo, at your service, Mademoiselle.
(he clicks his heels)
Please allow me. Have a seat.
The Gestapo officer pulls out a chair for the young lady to sit down. Shosanna takes the hot seat. Seated to her right is Pvt. Zoller. To her left are the two curly, pampered poodles. Major Hellstrom pours Shosanna a glass of red wine from a small carafe on the table.
MAJOR HELLSTROM
Try the wine, Mademoiselle. It’s quite good.
Goebbels looks across the table at her.
GOEBBELS
Well, I must say, you’ve made quite an impression on our boy.
Francesca interprets Goebbels’s German for Shosanna.
GOEBBELS
I must say, Fräulein, I should be rather annoyed with you.
Francesca interprets…
GOEBBELS
I arrive in France, and I wish to have lunch with my star…
Francesca interprets…
GOEBBELS
Little do I know he’s become the toast of Paris, and now he must find time for me.
Francesca interprets…
GOEBBELS
People wait in line hours, days, to see me. For the Führer and Private Zoller, I wait.
Francesca interprets…
GOEBBELS
So finally, I’m granted an audience with the young private, and he spends the entire lunch speaking of you and your cinema.
Francesca interprets…
GOEBBELS
So Fräulein Mimieux, let’s get down to business.
Private Zoller interrupts—
FREDRICK
Herr Goebbels, I haven’t informed her yet.
GOEBBELS
Unless the girl’s a simpleton, I’m sure she’s figured it out by now. After all, she does operate a cinema. Francesca, tell her.
Francesca tells Shosanna in French:
FRANCESCA
What they’re trying to tell you, Emmanuelle, is Private Zoller has spent the last hour at lunch, trying to convince Monsieur Goebbels to abandon previous plans for Private Zoller’s film premiere and change the venue to your cinema.
Zoller reacts.
FRANCESCA
(FRENCH to Zoller)
What?
FREDRICK
I wanted to inform her.
FRANCESCA
Shit. I apologize, Private. Of course you did.
GOEBBELS
(GERMAN to Francesca)
What’s the issue?
FRANCESCA
The young soldier wanted to inform the mademoiselle himself.
GOEBBELS
Nonsense. Until I ask a few questions, he has nothing to inform. Let the record state, I have not agreed to a venue change.
MAJOR HELLSTROM
Duly noted.
Goebbels speaks German to Shosanna:
GOEBBELS
You have opera boxes?
SHOSANNA
Oui.
GOEBBELS
How many?
SHOSANNA
Three.
GOEBBELS
More would be better. How many seats in your auditorium?
SHOSANNA
Three hundred and fifty.
GOEBBELS
That’s almost four hundred less than The Ritz.
Fredrick jumps in…
FREDRICK
But Herr Goebbels, that’s not such a terrible thing. You said yourself you didn’t want to indulge every two-faced French bourgeois taking up space currying favor. With less seats it makes the event more exclusive. You’re not trying to fill the house, they’re fighting for seats.
FREDRICK
(CON’T)
Besides, to hell with the French. This is a German night, a German event, a German celebration. This night is for you, me, the German military, the High Command, their family and friends. The only people who should be allowed in the room are people who will be moved by the exploits onscreen.
Goebbels listens silently, then after a bit of a pause:
GOEBBELS
I see your public speaking has improved. It appears I’ve created a monster. A strangely persuasive monster. When the war’s over, politics awaits.
Table chuckles.
GOEBBELS
Well, Private, though it is true I’m inclined to indulge you anything, I must watch a film in this young lady’s cinema before I can say yes or no.
(to Shosanna)
So, young lady, you are to close your cinema tonight and have a private screening for me.
Francesca interprets…
GOEBBELS
What German films do you have?
Francesca asks…
SHOSANNA
My cinema, on German night, tends to show older German classics.
Francesca interprets…
GOEBBELS
Why not my films?
Francesca asks… ?
SHOSANNA
I draw an older German audience in my cinema that appreciates the nostalgia of an earlier time.
Francesca interprets…
GOEBBELS
That’s nonsense, Fräulein. We Germans are looking forward, not backward.
That era of German cinema is dead.
The German cinema I create will not only be the cinema of Europe, but the world’s only alternative to the degenerate Jewish influence of Hollywood.
Fredrick jumps in…
FREDRICK
Along with being a cinema owner, Emmanuelle is quite a formidable film critic.
He chuckles, but alone.
GOEBBELS
So it would appear. Unfortunately for the Fräulein, I’ve outlawed film criticism.
Inglourious Basterds Page 6
