Analecta
BEING PUT
EWARD
BROKEN GLASS
lST PLACE - DRAMA
JEDEDIAH WALLS
•oETRY
~N
PAGE ONE (five panels)
Panel 1. The rooftops of a Jewish ghetto in the middle of Germany.
Calm atmosphere. The main character, LARS, is speaking off panel.
LARS (NARRATIVE):
NOVEMBER 9TH, 1938.
Panel 2. The buildings are ripped through with a giant explosion.
LARS (NARRATIVE):
KRISTALLNACHT.
Panel 3. A close up of an older, fat German man with a look of scorn on
his face, in the middle of rioting and taken by mob-lust.
I WITNESSED ON THAT NIGHT,
LARS (NARRATIVE) 1:
EVERYTHING I HAD KNOWN RENT ASUNDER.
LARS (NARRATIVE) 2:
THE ENTIRE NATION OF GERMANY
THREW ITS LOT IN WITH THE DEVIL, DANCING ON THE
GRAVES OF JEWS IN CELEBRATION OF ITS EVIL.
Panel 4. A line up of SS Soldiers leading a row of Jews to certain
destruction. Homes, presumably those of the Jews, lay in tatters, behind
the soldiers a Nazi flag waves sullenly.
WHAT HORRIBLE DESPERATION
LARS (NARRATIVE) 1:
CAUSED THIS HATRED TO HAPPEN? WHAT DISEASE SWEPT
THROUGH OUR SPIRIT, WAITING IN US LIKE CANCER UNTIL IT
ERUPTED IN BLOODLUST?
LARS (NARRATIVE) 2:
WHAT LED TO THIS MADNESS?
TITLE:
BROKEN GLASS
CREDITS:
[AS NEEDED]
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Panel 4. Silhouette the two embraci
on the bed.
PAGE TWO (four panels)
Panel 1. Cut Scene. While LARS lies on a tin and brass bed in the background; His lover CASSANDRA, with an elegant gesture, turns on a
phonograph for the both of them to enjoy. The reader should only see
Cassandra's arm and torso. She is wearing a red dress. Lars is a young
man sculpted in the Aryan ideal; blond haired and blue eyed, handsome.
The bed, the room and Cassandra's dress are all very reminiscent of the
thirties. Cassandra is also very German in appearance, large-boned and
beautiful.
CASSANDRA 1:
... AND SO YOU INDULGE ME WITH YOUR
IDEALS OF LOVE AND THESE WANTON FANTASIES OF
TOGETHERNESS ...
CASSANDRA 2:
AN.
PAGE THREE (five panels)
Panel 1. Cut Scene. A young Jewisl
street in Darmstadt, holding books i
towards school.
Panel 2. As he rounds a corner, fou
They do not notice him.
WHY LARS, YOU'RE A REGULAR BOHEMIPanel 3. The boy turns and runs.
Panel 2. Angle on CASSANDRA as she walks towards the bed. She's
looking at Lars with wide eyes and a smart-alee smile, enjoying the conversation she's having. Lars is resting on the bed with a casual smile on
his face. Cassandra has red hair and matching make-up, another ideal of
the thirties German culture.
LARS: IF I WERE THAT CASSANDRA, I WOULD BE DROWNING
AWAY IN ABSINTHE!
LARS (NARRATIVE):
SHE WAS A FINE GERMAN, FULLBLOODED GERMAN, THE IDEAL THAT THE REST OF GERMANY
SHOULD BE. SHE MADE ME THE ENVY OF EVERY PASSERBY IN
DARMSTADT.
LARS: I SIMPLY FEEL THAT THERE IS A HIGHER VIRTUE IN
LOVE, THAT IN ORDER TO FIND THEMSELVES, ONE MUST
LEARN TO LOVE EVERYONE.
Panel 3. Worm's eye view of CASSANDRA, as Lars (off-panel) look up
at her from the bed. She looks stern in this panel, serious.
CASSANDRA:
LARS: EVERYONE, LOVE.
EVEN THE JEWS?
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Panel 4. He runs down an alleywa)
scattering them everywhere.
Panel 5. He hides in the alley, hug!
looking back to make sure he wasn
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Panel 4. Silhouette the two embracing, holding each other while resting
on the bed.
on a tin and brass bed in the backh an elegant gesture, turns on a
joy. The reader should only see
.ring a red dress. Lars is a young
i haired and blue eyed, handsome.
~ss are all very reminiscent of the
n in appearance, large-boned and
U INDULGE ME WITH YOUR
NTON FANTASIES OF
LARS: EVERYONE, LOVE.
PAGE THREE (five panels)
Panel 1. Cut Scene. A young Jewish boy walks down a cobblestone
street in Darmstadt, holding books in his hands looking like he is heading
towards school.
Panel 2. As he rounds a corner, four SS officers are walking toward him.
They do not notice him.
OU'RE A REGULAR BOHEMIPanel 3. The boy turns and runs.
he walks towards the bed. She's
mart-alee smile, enjoying the con:m the bed with a casual smile on
atching make-up, another ideal of
~A.
Panel 4. He runs down an alleyway frantically, dropping his books and
scattering them everywhere.
Panel 5. He hides in the alley, hugging the wall and breathing heavy;
looking back to make sure he wasn't followed.
I WOULD BE DROWNING
SA FINE GERMAN, FULLTHE REST OF GERMANY
jNVY OF EVERY PASSERBY IN
~HAT
~ rs A HIGHER VIRTUE IN
HEMSELVES, ONE MUST
~DRA,
as Lars (off-panel) look up
this panel, serious.
VS?
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PAGE FOUR (five panels)
PAGE FIVE (four panels)
Panel 1. Cut scene. LARS looks at himself in a mirror. He is dressed in
the Hitler Youth Uniform, smiling and sizing up his reflection. In one
hand, he holds a small globe.
Panel 1. Front view. LARS opens t
ow.
LARS (NARRATIVE):
CASSANDRA WAS OF A HIGHER
SOCIAL STANDING THAN MY FAMILY; SO I WAS ALWAYS
GOING THROUGH DIFFICULT LENGTHS TO IMPRESS HER.
Panel 2. Angle on the gift - It's a snow globe with a young boy-angel,
blond haired and blue eyed, swimming inside.
LARS (NARRATIVE):
HER.
I WE
Panel 2. The Jewish family inside
form. The father, a large bearded rr
her. LARS is unsure what to do or
Panel 3. BAKER COHEN looks t1
Panel 3. A close up on Cassandra's snow globe. The angel is flying out
of the window of a Cathedral, with shards of snow reflecting like crystal.
The way his hand is outstretched, it almost looks like he's falling.
LARS (NARRATIVE):
BRING IT TO HER.
I GOT HER A GIFT, AND DECIDED TO
Panel 4. LARS walks down an alleyway ....
LARS (NARRATIVE):
ROMANCE ...--
I LEFT EXPECTING A NIGHT OF
Panel 5.... and walks into a riot! Everywhere, mobs of Germans are
looting Jewish stores, pulling Jews out of broken windows, beating Jews
with sticks or with their bare hands. Smashed objects, broken glass, and
the signs of riot litter the streets.
LARS (NARRATIVE):
NIGHT OF TRAGEDY!
LARS (NARRATIVE) 1:
HE l
"PLEASE, LARS, WE-WE KNOV
FRIEND!"
-- AND INSTEAD FOUND A TERRIBLE
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I RE
LARS (NARRATIVE) 2:
THE BEAST LET LOOSE ON Tl
ONE BE SO SCARED OF A MAJ
Panel 4. LARS is standing outsid<
of angry mobsters. With his youth
Soldier.
LARS : DON'T YOU COME NEP
HAS BEEN SOLD TO ARYANS,
WILL BE RESPONSIBLE FOR!!
ec ta
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PAGE FIVE (four panels)
timself in a mirror. He is dressed in
d sizing up his reflection. In one
LNDRA WAS OF A HIGHER
lMILY; SO I WAS ALWAYS
NGTHS TO IMPRESS HER.
w globe with a young boy-angel,
tg inside.
now globe. The angel is flying out
tards of snow reflecting like crystal.
lmost looks like he's falling.
Panel 1. Front view. LARS opens the door to house, concealed in shadow.
LARS (NARRATIVE):
HER.
I WENT TO BAKER COHEN TO FIND
Panel 2. The Jewish family inside cowers from the sight of him in uniform. The father, a large bearded man, holds his small daughter to protect
her. LARS is unsure what to do or say.
Panel 3. BAKER COHEN looks to him fearfully, unsure.
HE LOOKED AT ME FEARFULLY.
LARS (NARRATIVE) 1:
"PLEASE, LARS, WE-WE KNOW EACH OTHER, YOU ARE MY
FRIEND!''
IBR A GIFf, AND DECIDED TO
vay . ...
EXPECTING A NIGHT OF
erywhere, mobs of Germans are
t of broken windows, beating Jews
mashed objects, broken glass, and
LARS (NARRATIVE) 2:
I REALIZED THEN THE NATURE OF
THE BEAST LET LOOSE ON THE STREET, FOR HOW COULD
ONE BE SO SCARED OF A MAN HE HAS KNOWN FOR SO LONG?
Panel 4. LARS is standing outside of the front door, shouting at a group
of angry mobsters. With his youth uniform on, he looks almost like a SS
Soldier.
LARS : DON'T YOU COME NEAR THIS PLACE! THIS PROPERTY
HAS BEEN SOLD TO ARYANS, ANY DAMAGE YOU DO, YOU
WILL BE RESPONSIBLE FOR!!
INSTEAD FOUND A TERRIBLE
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PAGE SIX (six panels)
PAGE SEVEN (six panels)
Panel 1. LARS looks back on the family, gravely. He did them a good
deed.
Panel 1. They wave torches and ho
ENSEMBLE SFX:
HUND! SCH
Panel 2. Flash an image of the Cohen family, hushed and afraid.
LARS (NARRATIVE):
URGENTLY.
"WHERE'S CASSANDRA?" I SAID
LARS (NARRATIVE):
THE I
YEARS, WAITING UNTIL THE H
ING.
Panel 3. Flash in on the snow globe.
Panel 2. LARS stands by the door,
Panel 4. Cut to the outside of the Jewish synagogue.
LARS: PLEASE ... NO!
LARS (NARRATIVE):
Panel 3. CASSANDRA looks back
rage; holding onto the boy contemp
Germans. She, with the rest of the r
the window.
" ... AT OUR SYNAGOGUE ... "
Panel 5. Inside the synagogue, on the top floor, Jews are wailing and
running for cover from angry Germans. One group of rioters hold a small
boy ominously close to the main window. It's large and yellow, bearing
the Star of David. The boy has a very Semitic look to him; he has the
beady eyes and longer nose of a Jew. Make sure he's wearing yamakah ..
Panel 6. LARS is running through the mad streets of Darmstadt towards
the synagogue.
LARS (NARRATIVE):
HIS VOICE WAS FILLED WITH A
TREPIDATION THAT I COULD NOT FATHOM. I HURRIED TO THE
PLACE TO FIND HER.
LARS (NARRATIVE):
I KN1
SEE CASSANDRA AGAIN. SHE •
FOREVER LOST HER TO THE H
Panel 4. The boy looks in horror a:
Arms all around him prepare for m
window.
LARS (NARRATIVE) 1:
MAN.
SHE
Panel 5. The window shatters.
LARS (NARRATIVE) 2:
-- Bl
FOR I KNEW I WOULD SPEND
HER--
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PAGE SEVEN (six panels)
mily, gravely. He did them a good
Panel 1. They wave torches and hoist the boy to the window's edge.
ENSEMBLE SFX:
HUND! SCHNELL!
:n family, hushed and afraid.
RE'S CASSANDRA?" I SAID
LARS (NARRATIVE):
THE BEAST RESTED IN US FOR
YEARS, WAITING UNTIL THE HORRIBLE DAY OF ITS AWAKENING.
Panel 2. LARS stands by the door, shouting out in warning!
~ish
synagogue.
OUR SYNAGOGUE ...
LARS: PLEASE ... NO!
II
~top
floor, Jews are wailing and
is. One group of rioters hold a small
fow. It's large and yellow, bearing
Semitic look to him; he has the
Make sure he's wearing yamakah ..
Panel 3. CASSANDRA looks back at him with a mixture of shock and
rage; holding onto the boy contemptuously alongside her fellow
Germans. She, with the rest of the mob, is about to throw the boy out of
the window.
LARS (NARRATIVE):
I KNEW THEN THAT I COULD NEVER
SEE CASSANDRA AGAIN. SHE EMBRACED THE BEAST, AND I
FOREVER LOST HER TO THE HATRED IN US.
e mad streets of Darmstadt towards
)ICE WAS FILLED WITH A
T FATHOM. I HURRIED TO THE
Panel 4. The boy looks in horror as the window reflects in his eyes.
Arms all around him prepare for murder. Bleed into a close up of the
window.
1
LARS (NARRATIVE) 1:
MAN.
SHE WAS THE EPITOME OF THE GER-
Panel 5. The window shatters.
LARS (NARRATIVE) 2:
-- BUT NOW MY HEART DESPAIRED,
FOR I KNEW I WOULD SPEND THE REST OF MY LIFE WITHOUT
HER--
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Panel 6. Flash back and show a panel of the gift that Lars got her. The
angel in the snowball looks just like the little boy, flying through the air,
with snowflakes reflecting like shards of broken glass.
LARS (NARRATIVE):
--AND I FOUND THAT HORRIBLE
DESPERATION INSIDE ME, TOO.
END
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