The Day the Clown Cried Page #25

Sergeant Hoffmann is walking his post beside the open door

of the boxcar. Inside we can see Helmut and the children

and HEAR their laughter.

The CAMERA PANS over to the staff car, where Scharff sits in

the front seat smoking a cigarette and waiting.

DISSOLVE TO:

EXT. RAILROAD SIDING - FULL SHOT - AFTERNOON

It is perhaps two hours later. Sergeant Hoffman is now

leaning wearily against the boxcar near the door. The

CAMERA PANS over to the staff car, where Scharff is dozing

in the back seat.

MED. SHOT - SERGEANT HOFFMAN

From within the boxcar we can HEAR Helmut SINGING softly to

the children. Sergeant Hoffman is listening. Finally he

takes something from his pocket, goes to the door of the

boxcar and sticks his head inside.

INT BOXCAR:

The children are scattered about, either sleeping or near

sleep, many of them cuddled close to Helmut, who sits near

the door with his back against the side of the car,

crooning.

SERGEANT HOFFMAN

(whispering)

Clown. Clown, can you play one of these?

He holds out a harmonica. Helmut leans over to get it,

being careful not to disturb the children.

SERGEANT HOFFMAN

I got it to send home to my boy ...

but if it'll help ...

TWO SHOT - HELMUT, HOFFMAN

HELMUT:

It will. It will.

(he takes it)

SERGEANT HOFFMAN

You won't say anything to the Lieutenant.

HELMUT:

I promise.

He leans back and looks at the harmonica, then he has a

sudden thought as Hoffman's head disappears. He leans back

toward the door.

HELMUT:

Guard ... guard.

Hoffman reappears at door.

HELMUT:

It's going to be dark soon.

The little ones may be afraid.

Do you think ... well ... could you get

some kind of a light for in here?

SERGEANT HOFFMAN

(angry)

Want to get me in trouble?

Helmut nods that he understands Hoffman's situation.

SERGEANT HOFFMAN

(trying to justify himself)

I would if I could.

HELMUT:

I know. I know you would.

Again Hoffman's face disappears. Helmut leans back and

begins experimenting with the harmonica. Actually he can

play it only slightly, but he manages to get some sort of

soft tune out of it. The CAMERA PULLS BACK SLOWLY to

include the children, most of who are resting peacefully,

secure in Helmut's presence. But suddently a little dark

haired, dark-eyed girl of about six, sits upright and cries

out, frightened by a bad dream. Helmut reacts. The child

looks around the boxcar as if she can't remember how she got

there and begins crying inconsolably. Some of the other

children stir. Helmut quickly but carefully disengages

himself from the tots around him and picks his way over to

the girl. He kneels beside her, and the CAMERA MOVES UP to

--

TIGHT TWO SHOT - HELMUT, DARK-EYED GIRL

The child continues crying, but more softly, he wide wet

eyes on Helmut.

HELMUT:

(gently)

What's the matter?

(she only stares at him)

It's all right -- just a bad dream.

He tries to put a comforting arm around her, but she shrinks

away continuing to sob softly. Realizing that words won't

help, he turns to the harmonica for communication,

serenading her with a soft but sprightly tune of his own

improvisation. It is hardly a masterpiece, but it has the

desired effect. The girl stops sobbing, and when Helmut

finishes the tune he makes a real funny face and she

timorously puts a hand up to touch his make-up, but pulls it

back quickly. With an affectionate smile, Helmut takes her

hand and runs it over his face, pretending that her touch

tickles him. As he laughs, the child begins to smile

faintly. He shows her the traces of chalk make-up on her

fingers, and she giggles. His conquest is all but complete.

He picks the youngster up, and holding her like a dancing

partner, pretends to dance with her to a little tune he

hums. She loves this and laughs outright. When Helmut

finally puts her down, he kisses her on the cheek and turns

his cheek in an unspoken request for a return kiss. The

girl shyly and quickly gives Helmut's cheek a peck.

Grinning, Helmut pats the spot where she kissed him to show

his appreciation for her wonderful gift.

WIDER ANGLE:

The older girl we saw earlier calls to him in a hushed

voice.

OLDER GIRL:

Doork.

Helmut moves over and squats down beside her and the CAMERA

MOVES IN to --

CLOSE TWO SHOT - HELMUT, OLDER GIRL

OLDER GIRL:

Where are they sending us?

HELMUT:

(shaking his head)

Don't know.

OLDER GIRL:

Do you have children?

Helmut looks around at the children. He smiles sadly.

HELMUT:

I do now.

DISSOLVE TO:

INT. STAFF CAR - NEAR DUSK

Scharff, dozing in the back seat, is awakened by the SOUND

of an approaching train o.s. He listens, glances at his

watch, shakes his head and gets out of the car.

EXT. RAILROAD SIDING - NEAR DUSK

As Scharff strides to the boxcar, where Sergeant Hoffman has

also hear the locomotive. He salutes as Scharff comes up,

the CAMERA FOLLOWING him.

SCHARFF:

It finally got here.

SERGEANT HOFFMAN

Yes, sir.

SCHARFF:

Help them get the car coupled on.

We want to move it out of here as

fast as possible. Be sure the doors

are locked. And, get the clown off.

Hoffman salutes, and Scharff moves off toward the

approaching locomotive and freight cars being backed up to

the boxcar.

FULL SHOT - FREIGHT TRAIN - (STOCK)

It is backing down the siding toward the boxcar.

MED. SHOT - SERGEANT HOFFMAN

With a cautious look around, he reaches under the waiting

boxcar and brings out a box-type, battery operated lantern.

He goes to the boxcar door and peers inside.

SERGEANT HOFFMAN

(calling)

All right, clown, time to get off.

Helmut appears at the door and looks down.

HELMUT:

What is it?

SERGEANT HOFFMAN

Train is here.

They are hooking it up now.

(he hoists the lantern inside)

Here. Tell them not to light it up

until the doors are closed.

Helmut gives him a look of deep gratitude.

SERGEANT HOFFMAN

(curtly)

And get off right now.

Just then the boxcar is jolted as the locomotive makes

contact and Hoffman runs off toward the front of the car.

INT. BOXCAR - EVENING

The jolt has awakened several of the children, who gather

around Helmut in the dimness of the car, frightened and

bewildered.

CHILDREN:

We're moving.

What's happening?

What was the noise?

Doork, where are we going?

HELMUT:

(forced gaiety)

It's nothing. You're going for a train ride.

What do you think of that? A real train ride.

CHILDREN:

(pressing close -- sensing his anxiety)

Is it far?

Are you coming, too?

I don't want a train ride.

HELMUT:

Oh, it'll be fun. I would like to come,

but I don't think I can.

CHILDREN:

(pleading)

Please come, Doork.

Please. Please. Please.

HELMUT:

I can't. They want me to stay here.

There are cries from the children, whose pleading eyes make

Helmut terribly uncomfortable. He backs toward the door.

HELMUT:

But ... I'll come to see you.

Soon as I can. And, I want you all to

promise me to be very good. No crying.

The children stare at him silently, their eyes unconciously

accusing. With him goes all their security. Helmut knows

it, but he has no choice. When he reaches the door ...

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