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Authors: Quentin Tarantino
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the auditorium roof. Also I want to go to the Louvre, pick up a few Greek
nudes, and just scatter them about the lobby.
MONTAGE
We see a quick series of shots that show all that happening.
The chandelier being removed from the ceiling of Versailles.
Greek nude statues being hand-trucked out of the Louvre.
A truck driving through the French countryside with the enormous crystal chandelier in the back.
The lobby of Shosanna’s cinema, pimped out in Nazi iconography. WORKERS buzz around decorating. The Greek statues are moved
into place.
We see workers trying with incredible difficulty to hoist the huge, heavy, and twinkingly fragile chandelier in Shosanna’s
auditorium, which now resembles something out of one of Tinto Brass’s Italian B-movie ripoffs of Visconti’s “The Damned.”
SHOSANNA
watches all this from an opera box. She shakes her head in disbelief.
BACK TO SHOSANNA AND THE NAZIS
in the lobby, post screening of “Lucky Kids.” She’s soundlessly escorting them to the door as they make their good-byes.
NARRATOR (VO)
As they left the little French cinema that night, all the Germans were very happy…
We see Pvt. Zoller hanging back, so he can say good-bye.
NARRATOR (VO)
None more so than Fredrick Zoller.
She closes the door on him, watching the Nazis walk into Paris night. Their shadows for a moment on the wall, look like grotesque
Nazi caricatures.
The Nazis are gone.
Marcel sits at the top of the staircase of the lobby, looking down at Shosanna.
They speak in FRENCH SUBTITLED IN ENGLISH:
MARCEL
What the fuck are we supposed to do?
SHOSANNA
It looks like we’re supposed to have a Nazi premiere.
MARCEL
Like I said, what the fuck are we supposed to do?
SHOSANNA
Well, I need to speak with you about that.
MARCEL
About what?
SHOSANNA
About these Hun swine, commandeering our cinema.
MARCEL
What about it?
She slowly walks up the stairs to Marcel. She makes him part his legs and sits on the lower step, between his legs, her back
up against his chest, his arms around her shoulders, Shosanna has only known this type of intimacy with Marcel.
SHOSANNA
Well, when I was watching that Boche
(said in English)
Capra-corn abomination,
(back to French)
I got an idea.
MARCEL
I’m confused. What are we talking about?
SHOSANNA
Filling the cinema with Nazis and their whores, and burning it down to the ground.
MARCEL
I’m not talking about that. You’re talking about that.
SHOSANNA
No, we’re talking about that, right now. If we can keep this place from burning down by ourselves, we can burn it down by ourselves.
MARCEL
Shosanna—
SHOSANNA
No, Marcel, just for the sake of argument, if we wanted to burn down the cinema for any number of reasons, you and I could
physically accomplish that, no?
MARCEL
Oui, Shosanna, we could do that.
SHOSANNA
And with Madame Mimieux’s three hundred and fifty nitrate film print collection, we wouldn’t even need explosives, would we?
MARCEL
You mean we wouldn’t need any more explosives?
SHOSANNA
Oui, that’s exactly what I mean.
She begins kissing his hands.
SHOSANNA
(CON’T)
I am going to burn down the cinema on Nazi night.
One of his fingers probes her mouth.
SHOSANNA
(CON’T)
And if I’m going to burn down the cinema, which I am, we both know you’re not going to let me do it by myself.
The back of her head presses up hard against him, as his hand both caresses and grips her lovely neck.
SHOSANNA
(CON’T)
Because you love me. And I love you. And you’re the only person on this earth I can trust.
She then TWISTS around so she’s straddling him. They are now face to face.
SHOSANNA
(CON’T)
But that’s not all we’re going to do. Does the filmmaking equipment in the attic still work? I know the film camera does.
How about the sound recorder?
MARCEL
Quite well, actually. I recorded a new guitarist I met in a café last week. It works superb. Why do we need filmmaking equipment?
SHOSANNA
Because Marcel, my sweet,
nudes, and just scatter them about the lobby.
MONTAGE
We see a quick series of shots that show all that happening.
The chandelier being removed from the ceiling of Versailles.
Greek nude statues being hand-trucked out of the Louvre.
A truck driving through the French countryside with the enormous crystal chandelier in the back.
The lobby of Shosanna’s cinema, pimped out in Nazi iconography. WORKERS buzz around decorating. The Greek statues are moved
into place.
We see workers trying with incredible difficulty to hoist the huge, heavy, and twinkingly fragile chandelier in Shosanna’s
auditorium, which now resembles something out of one of Tinto Brass’s Italian B-movie ripoffs of Visconti’s “The Damned.”
SHOSANNA
watches all this from an opera box. She shakes her head in disbelief.
BACK TO SHOSANNA AND THE NAZIS
in the lobby, post screening of “Lucky Kids.” She’s soundlessly escorting them to the door as they make their good-byes.
NARRATOR (VO)
As they left the little French cinema that night, all the Germans were very happy…
We see Pvt. Zoller hanging back, so he can say good-bye.
NARRATOR (VO)
None more so than Fredrick Zoller.
She closes the door on him, watching the Nazis walk into Paris night. Their shadows for a moment on the wall, look like grotesque
Nazi caricatures.
The Nazis are gone.
Marcel sits at the top of the staircase of the lobby, looking down at Shosanna.
They speak in FRENCH SUBTITLED IN ENGLISH:
MARCEL
What the fuck are we supposed to do?
SHOSANNA
It looks like we’re supposed to have a Nazi premiere.
MARCEL
Like I said, what the fuck are we supposed to do?
SHOSANNA
Well, I need to speak with you about that.
MARCEL
About what?
SHOSANNA
About these Hun swine, commandeering our cinema.
MARCEL
What about it?
She slowly walks up the stairs to Marcel. She makes him part his legs and sits on the lower step, between his legs, her back
up against his chest, his arms around her shoulders, Shosanna has only known this type of intimacy with Marcel.
SHOSANNA
Well, when I was watching that Boche
(said in English)
Capra-corn abomination,
(back to French)
I got an idea.
MARCEL
I’m confused. What are we talking about?
SHOSANNA
Filling the cinema with Nazis and their whores, and burning it down to the ground.
MARCEL
I’m not talking about that. You’re talking about that.
SHOSANNA
No, we’re talking about that, right now. If we can keep this place from burning down by ourselves, we can burn it down by ourselves.
MARCEL
Shosanna—
SHOSANNA
No, Marcel, just for the sake of argument, if we wanted to burn down the cinema for any number of reasons, you and I could
physically accomplish that, no?
MARCEL
Oui, Shosanna, we could do that.
SHOSANNA
And with Madame Mimieux’s three hundred and fifty nitrate film print collection, we wouldn’t even need explosives, would we?
MARCEL
You mean we wouldn’t need any more explosives?
SHOSANNA
Oui, that’s exactly what I mean.
She begins kissing his hands.
SHOSANNA
(CON’T)
I am going to burn down the cinema on Nazi night.
One of his fingers probes her mouth.
SHOSANNA
(CON’T)
And if I’m going to burn down the cinema, which I am, we both know you’re not going to let me do it by myself.
The back of her head presses up hard against him, as his hand both caresses and grips her lovely neck.
SHOSANNA
(CON’T)
Because you love me. And I love you. And you’re the only person on this earth I can trust.
She then TWISTS around so she’s straddling him. They are now face to face.
SHOSANNA
(CON’T)
But that’s not all we’re going to do. Does the filmmaking equipment in the attic still work? I know the film camera does.
How about the sound recorder?
MARCEL
Quite well, actually. I recorded a new guitarist I met in a café last week. It works superb. Why do we need filmmaking equipment?
SHOSANNA
Because Marcel, my sweet,
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