Free Inglourious Basterds by Quentin Tarantino Page A

as her escort, lucky devil. She’ll also have the premiere tickets for the other two. Got the gist?
LT. HICOX
    I think so, sir. Paris when it sizzles.
    The three British bulldogs laugh.
    EXT—CINEMA ROOFTOP—DAY
    Shosanna and Marcel are on the rooftop of their cinema literally making a movie.
    Marcel is behind an old (even then) BOLEX 35MM MOVIE CAMERA, positioned low, looking up.
    Shosanna, the camera subject, stands on boxes looking down into it.
    A old-timey MICROPHONE is positioned out of frame.
    As they always do, and always will, they speak FRENCH SUBTITLED into you know what.
MARCEL
    We need a sync mark.
SHOSANNA
    What is a sync mark?
MARCEL
    An action and noise put together, So we can sync up the picture and sound.
SHOSANNA
    How do we do that?
MARCEL
    Clap your hands.
    She does.
MARCEL
    In frame, imbecile.
    She claps her hands in front of her face.
MARCEL
    Ready?
    Shosanna takes a deep breath, then:
SHOSANNA
    Ready.
MARCEL
    Action.
    WE CUT, BEFORE SHE SPEAKS, TO…
    THE SCENE EARLIER BETWEEN MARCEL AND SHOSANNA IN THE LOBBY, ON THE STAIRS, TALKING ABOUT BURNING DOWN THE CINEMA.
    Big difference. This time, it’s in COLOR.
MARCEL
    But how do we get it developed? Only a suicidal idiot like us would develop that footage. How do we get a 35mm print with
     a soundtrack?
SHOSANNA
    Do you know one person who can do both things?
MARCEL
    Of course, Gaspar. Very nice man, took care of all the experimental filmmakers. But nobody in their right mind would strike
     a print of what you’re talking about. If the Nazis found out, their life wouldn’t be worth this.
    He snaps his fingers.
SHOSANNA
    In a wolf fight, you either eat the wolf or the wolf eats you. If we’re going to obliterate the Nazis, we have to use their
     tactics.
MARCEL
    What does that mean?
SHOSANNA
    We find somebody who can develop and process a 35mm print. And we make them do it or we kill them. Once we tell them what
     we want to do if they refuse, we have to kill them anyway or they’ll turn us in.
MARCEL
    Would you do that?
SHOSANNA
    Like that.
    Snaps her fingers.
    INT—SMALL FILM-PROCESSING LAB—LATE NIGHT
    A old mom-and-pop film processing lab circa the thirties. Late late at night.
    GASPAR, the fatherly figure of all the experimental French filmmakers in the decade before German rule, takes a SAVAGE BEATING
     at the hands of his friend Marcel.
    Shosanna watches, pitiless.
SHOSANNA
    Bring that fucker over here! Put his head down on that table.
    Marcel holds Gaspar’s arm behind him as he forces his head flat against the tabletop.
    Shosanna brings a HATCHET DOWN DEEP into the table, just by his face.
SHOSANNA
    You either do what the fuck we tell you to, or I’ll bury this ax in your collaborating skull.
GASPAR
    I’m not a collaborator!
SHOSANNA
    Then prove it! Or does your manhood go no deeper than standing to piss? Marcel, do his wife and children know you?
MARCEL
    Oui.
SHOSANNA
    Then after we kill this dog for Germans, we’ll go and silence them.
    She lifts up the hatchet, raises it high…
SHOSANNA
    Prepare to die, collaborator fucker!
    CUT TO
    GASPAR
    hands the couple a SMALL SILVER CAN OF 35MM FILM, Outside the shop window, it’s morning.
    INT—PROJECTION ROOM
    WE SEE the five heavy silver film cans of Fredrick Zoller’s life story, “Nation’s Pride” (clearly marked), on the floor of
     the projection booth.
    The can for REEL 4 is open and empty.
    Shosanna’s at the editing bench. REEL 4 is up on the rewinds…
    Shosanna SPLICES her and Marcel’s footage into REEL 4 of Fredrick’s film, rewinds it, puts it back in the can, and puts a
     piece of RED TAPE on the REEL 4 CAN.
    She walks out of the booth, turning off the lights behind her, PLUNGING THE SCREEN INTO DARKNESS.
    BLACK FRAME
    FROM BLACK DISSOLVE TO
    EXT—LA LOUISIANE (TAVERN)—NIGHT
    We see a small basement tavern with an old rustic sign out front that reads “La Louisiane.”
    A SUBTITLE APPEARS:
    “The village of Nadine, France”
    TWO SHOT LT. HICOX and LT. ALDO