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THE AFTER HOURS	WALKING DISTANCE	TIME ENOUGH AT LAST	THE ODYSSEY OF FLIGHT 33	THE MONSTERS ARE DUE ON MAPLE ST.
THE MIDNIGHT SUN	NIGHT OF THE MEEK	A STOP AT WILLOUGHBY	DEATHS-HEAD REVISITED	IN THE EYE OF THE BEHOLDER

DEATHS-HEAD REVISITED Originally Broadcast November 10, 1961 FADE ON: 1. Standard road opening With vehicle smashing into letters, propulsion into starry night then PAN DOWN TO OPENING SHOT OF PLAY. 2. Film clip preferably aerial view a small German village [Day] What is highlighted here is the quiet and natural beauty of the place, so typically aged and traditional, valleys, woods, and small cameo look of the place nestled in the midst of forests and hills. DISSOLVE TO: 3. Front door a small village inn As it opens and Gunther Lutze comes into the FRAME and walks through the door into the tiny lobby. This is a big, graying man in his fifties. His bearing suggests a former strength which is now dissipated and slipped away. The CAMERA FOLLOWS HIM IN across the room over to the registration desk. The first definitive look we get of his face suggests a perpetually nervous, desperately haunted appearance. An elderly housefrau comes out through a curtain which leads to a back room, smiles at him professionally. Woman Yes, sir? Lutze I have just arrived in town. You have accommodations here? Woman (with a smile) I can give you a lovely front room overlooking the Square. Would you care to see it? Lutze pulls the registration book around and takes a pen out of the holder, starting to sign his name. Lutze I'm sure it will be satisfactory. He starts to sign his name and is suddenly aware of the woman staring at him. 4. Extremely tight two shot As he looks up to meet her eyes. Lutze There was something? Woman (hastily averting his look) No, sir. She turns abruptly, very ill at ease, her back to him to get a key from one of the cubbyholes behind her. 5. Different angle of her As she stops, holding onto the key. 6. Reverse angle looking toward Lutze Staring at her. 7. Close shot Woman She forces a smile as she walks back to the desk, hands him the key. Her eyes very slowly go down to study the name that he's written in the registration book. 8. Close shot registration book As seen upside down. 9. Angle shot looking up at woman As her eyes slowly rise. Woman Mr....Schmidt? 10. Two shot Lutze That's what I've written. Woman Of course, sir. Lutze Of course what? Woman (getting very flustered) I meant, sir...I just wondered...well, it was just that... Lutze (very tersely) You just wondered what? 11. Close shot Woman Her lips tremble almost imperceptibly. Woman It's just that...you remind me of someone, Mr. Schmidt. Lutze Oh? Woman (nods) During the war. Lutze Go on. Woman There were...there were S.S. stationed here. They used to come to the Inn very often when they were off duty. 12. Close shot Lutze As he stares at the woman, sizes her up, inventorying, testing with his eyes. He half smiles. Lutze I believe I'll take a walk around town. (a half smile) See the sights. 13. Different angle of him As he walks across the room and stares out the front window. Lutze Very quaint. Picturesque. Woman You'll be here long? Lutze (shrugs) A day or two perhaps. I don't really know. I'm on vacation. Woman And you've not been here before? 14. Close shot Lutze As he stares at her. 15. Close shot Woman As she stares back. 16. Med. close shot Lutze Turning away. Lutze No, I've never been here before. But I'm told the scenery is lovely and there is a wonderful old medieval castle that one can visit. Woman Oh yes, sir. Very old. 17. Close shot Lutze As he turns from the window. His eyes narrow. Lutze And other things? Other sights? What would you recommend for the tourist? 18. Close shot Woman As her eyes turn away. Woman Very little else, sir. Very little else of particular interest. 19. Another tight close shot Lutze Lutze I'm told, though, that the town was quite busy during the war. 20. Close shot Woman As she half turns away. Woman Busy, sir? It was like...well, it was like most places. 21. Full shot the room taking them both in Lutze I'm told that it was not like most places. I'm told that it had some special recommendations. (he looks off, obviously simulating thought) Was it a prison or something you had here? Woman (very softly) Something of the sort, sir. Lutze Was it a prison? Woman (putting her head down) A camp, sir. Lutze How's that? Woman (slightly louder) A camp, Mr. Schmidt. A...a...a concentration camp. Lutze (takes out a cigarette and lights it) A concentration camp. Really. (he blows out a thin stream of smoke) Now that's odd. I must be getting old. For the life of me I can't seem to recall the name of this town. Woman Sir? Lutze The name of this town. (he makes a gesture encompassing the window) What is the name of this town? 22. Whip pan to the woman As very slowly her eyes rise as if her head were tied down by heavy boulders and she had to exert a tremendous effort to lift it. Woman Dachau, sir. Dachau. 23. Whip pan back over to close shot Lutze As his smile fades and he looks out of two small, steely eyes that bespeak the coldness of the man. Lutze Dachau. To be sure - Dachau. 24. Close shot Woman As her face seems to turn white. 25. Close shot Lutze As he moves toward the door. Lutze The camp? It's that group of buildings up on the hill, isn't it? The woman nods. Woman It is indeed, sir. But most of us would like it burned to the ground. 26. Tighter close shot Lutze Lutze (with a smile) Oh? Or perhaps...turned into a shrine. PAN SHOT OVER TO the woman. Woman A shrine? It already is a shrine, sir. A million people were put to death in this camp. (she slowly turns to avert his stare, her voice soft) It already is a shrine, sir. 27. Tight close shot Lutze As he smiles quixotically, turns and walks out the door. The CAMERA FOLLOWS HIM from inside. He stands in front of the large plate glass window and lights another cigarette. Serling's Voice Mr. Schmidt, recently arrived in a small Bavarian village which lies eight miles northwest of Munich. A picturesque, delightful little spot one time known for its scenery... WHIP PAN OVER TO SERLING sitting in the lobby. But more recently related to other events having to do with some of the less positive pursuits of man. Human slaughter, torture, misery and anguish. Mr. Schmidt, as we will soon perceive, has a vested interest in the ruins of a concentration camp. For once...some eighteen years ago, his name was Gunther Lutze. He held the rank of a captain in the S.S. He was a black-uniformed, strutting animal whose function in life was to give pain. And like his colleagues of the time, he shared the one affliction most common among that breed known as Nazis: he walked the earth without a heart. 28. Pan back over to a shot of Lutze Standing on the sidewalk in front of the inn. Serling's Voice And now former S.S. Captain Lutze will revisit his old haunts, satisfied perhaps that all that is awaiting him in the ruins on the hill is an element of nostalgia. What he does not know, of course, is that a place like Dachau cannot exist only in Bavaria. By its nature...by its very nature...it must be one of the populated areas of...the Twilight Zone. FADE TO BLACK: OPENING BILLBOARD FIRST COMMERCIAL FADE ON: 29. Ext. Countryside favoring a shot of Dachau concentration camp An automobile approaches it on a once macadamed road now torn up and overgrown by disuse. The CAMERA FOLLOWS THE CAR as it approaches the outer gate of the camp, then PANS DOWN for a definitive SHOT of the camp itself. What remains is a long line of wooden compounds surrounded by a torn barbed wire fence. A few guard towers remain standing and these too are shabby remnants of what were, like spindly old men close to death. The car stops as we CUT TO: 30. Med. close shot the car As the driver reaches back through the interior and opens up one of the rear doors. Lutze gets out. 31. Different angle As the car pulls away leaving Lutze standing there, first watching him leave and then turning very slowly to survey the camp. 32. Track shot Lutze As he walks through the overgrown brush into the entrance of the camp. 33. Closer angle of him As he stops and looks down the length of remaining wooden compounds. 34. Extremely tight close shot his face As something happens to it. He has come home again now. This is his element. This is his hallowed ground because this is where he functioned and was victorious and this is the one remaining place on God's earth where, buttressed up by a political system, armored by a black uniform, and given the power of life and death by delegation, he was a god. 35. Close moving shot with him As he walks toward one of the compounds, walks up on its front porch, briefly stumbles on a rotten step and in the process of removing his foot, turns to look across toward the square. 36. Long shot over his shoulder of the square Where three posts still remain standing. 37. Close shot the posts 38. Close shot Lutze As he reacts to them. The CAMERA MOVES IN for an even TIGHTER SHOT of Lutze as his features work, his lips tremble, his eyes blaze. Gradually SUPERED OVER HIM is a SHOT of the same CLOSE SHOT of him, only this time as he was twenty years ago in black cap shouting out soundless orders. WHIP PAN OVER TO THE POSTS where in a brief instant SUPERED OVER THEM are the same posts with men hanging from them. 39. Close shot Lutze As he closes his eyes and shakes his head and the SUPER IS CLEARED and once again he's in the present. Now he turns and enters the building. 40. Int. Building Day Long shot down the long rectangular room A few bunk beds remain, wooden affairs, partially filled with straw, an overturned bucket with a few holes in it, empty gaping windows with just a few remnants of glass and cardboard protruding. The entire place a filthy, aged, dying thing giving into the years. 41. Full shot Lutze As he walks toward the CAMERA. SUPERED OVER THIS SHOT is a SHOT of him in his black uniform again as once he used to walk the length of this room, shiny black boots POUNDING on the wooden floor, a riding crop in one hand, and in this SUPER are vague, formless shadowy figures of his victims in their cots, half-starved, beaten things dangling precipitously on the edge of insanity. Lutze's VOICE, on ECHO, BOOMS out as he takes the imaginary walk along with his real one. Lutze's Voice All right, pigs, up. Time to greet the morning. On your feet, filth. We have a nice day ahead of us...It is snowing. The temperature's just slightly below zero. You will all assemble in the Square undressed. We will do some exercises, I and you. I and you. I and you. By this time Lutze has reached the CAMERA. The SUPER IS CLEARED and once again he stands in the present, slowly turning to survey the room which is once again empty. He now retraces his steps across the room and out the door. CUT TO: 42. Ext. Square As he walks slowly, almost sonorously, across the square, looking all around it, at the wooden compounds, the guard towers, the posts. He is obviously reveling in this, relishing the memories that flood back into his mind. 43. Different angle of him As he steps closer to another building. He looks slowly down at his foot, which has hit something hard. PAN DOWN TO HIS FOOT. He has uncovered the remnant of a painted wooden sign. He kicks the dust away from it and we see just one word, "Detention." 44. Angle shot looking up at Lutze As his eyes leave the sign and move over toward the building where the sign once used to hang. 45. Close shot front of the building Lutze's P.O.V. 46. Reverse angle looking toward Lutze As he smiles. Lutze (softly, aloud) Detention. Ah, yes...I remember you. We had good times...in this building! Such good times. He chuckles and then the chuckles give way to a loud, booming laugh. He walks up the rotting front steps and tries the door, which is locked, then gives it a kick and it caves in on rotten, rusting hinges to slam down on the floor inside. 47. Moving shot Lutze As he enters this building. It is bare except for an overturned, almost destroyed desk. 48. Different angle of him As he looks slowly around the room and as he does so we once again SUPER HIS FACE AS IT WAS years ago, still wearing the cap and more predominantly the look of youthful savagery and sadism that was as much a part of his uniform as what he wore on his body. The SUPERED FACE laughs loudly on echo then slowly looks down at the floor. We see a thin, naked tortured human being lying face down on the floor, but trying to get up and holding out a scrawny, skeletal hand. Victim's Voice Water...please...water...please. CUT TO: 49. Supered vision of Lutze's face As it glares down. Lutze's Face Water, pig? You'd like water. Unfortunately, we have no water. Not for you. Why should you care? It's only been five days since you've been fed. Only five days. (he booms out his laughter, the tears rolling out of his eyes with the glee of it and the delight of it, the pleasure) Only five days, pig. Five days. Five short days...filth. We CLEAR THE SUPER and once again Lutze stands in the present, devoid of his memories for an instant as he suddenly makes the adjustment back to reality. Now he wears no smile and looks somehow sad as if the poignance of remembering is just too much for him. He makes an almost unconscious shrug and walks back out into the daylight. CUT TO: 50. Ext. the square long shot of Lutze As he comes down the rotting steps again. He goes to the middle of the Square, looks all around, touches one of the posts, then pats it almost fondly. 51. Different angle of him As he slowly turns then suddenly stops. His eyes go wide, his face pales. WHIP PAN OVER to the first building that he entered. There in the broken window stands the trunk and the face of a man staring back at him. 52. Close shot Lutze And then ZOOMAR into an EXTREMELY TIGHT CLOSE SHOT as his mouth forms an "O" and he gasps. Both his fists go to his cheeks in a gesture of horror and surprise. He stumbles backwards against the post and stands there gaping. WHIP PAN OVER TO THE FACE IN THE WINDOW. It is that of a middle-aged man dressed in the uniform of a concentration camp inmate, the eyes hollowed, the face haggard and full of the lines or torment and anguish so common as imprints of misery in a place like this. ZOOMAR INTO FACE OF INMATE at the window. His name is Alfred Becker, and as he stares at the former S.S. captain a smile plays on his lips. A thin arm rises and then beckons across the Square toward Lutze. Becker Good afternoon, Captain. And welcome back. We've been waiting! 53. Close shot Lutze He stares at this apparition. His lips move soundlessly for a moment, then he suddenly whirls around, staring off toward the front gate, obviously seeking an escape. 54. Med. shot the gate As it slowly, inexorably closes. 55. Close shot the rusty bolt As it falls into place and locks. 56. Close shot Lutze As he surveys this, horrified, then whirls around and is suddenly aware of the fact that Becker is now out in the yard with him, standing just an arm's length away. Becker That's right, Captain. We've been waiting. For a long time...such a long time. 57. Close shot Lutze As he studies the man through slitted, fear-ridden eyes. Lutze You're...you're Becker. Alfred Becker. I remember you. 58. Close shot Becker As he smiles humorously. Becker And well you should! How well you should...Gunther Lutze. Captain in the S.S. FADE TO BLACK: END ACT ONE ACT TWO FADE ON: 59. Ext. Square [Day] Extremely tight close shot Lutze He stares at the apparition in front of him. The CAMERA PULLS BACK for MED. CLOSE SHOT taking in both men. Lutze looks Becker up and down, then moves from one side to the other as if examining him, and in the process reaffirming his reality, shaking his head from side to side incredulously. Lutze Becker! It is Becker. Becker half smiles, lowers his head as if in a partial respectful bow. Becker How kind of the Captain to remember me. Lutze (laughs shortly, a laugh that is partially blocked off somewhere down in his throat) Remember you, Becker? Remember you? Mr prize pupil...isn't that what I used to call you? (he laughs again and the cuts the laugh off abruptly as he stares at the other man) You...you don't look so bad, Becker. No. As a matter of fact, you look quite well. You don't seem to have changed at all. (then pouncing on this as if a clue) That's it. You haven't changed. Why it's been...it's been fifteen or sixteen years— Becker Seventeen. It's been seventeen years, Captain Lutze. It's been seventeen years since we last saw one another. Lutze Really. You're the... (he looks around the Square) You're the caretaker around here, aren't you? 60. Close shot Becker As he half smiles Becker In a manner of speaking. 61. Close shot Lutze Lutze Why, Becker...I must tell you...this is not only a surprise...it's rather a pleasant surprise. 62. Two shot the two men Becker (again nods as if in a partial deferential bow) For me too, Captain. Lutze reaches out with both hands to touch Becker's shoulders. The gesture is abrupt, studied, and painfully self-conscious, and the hands immediately drop to his sides once contact has been made. Lutze It is odd how paths cross again and we meet now under...under somewhat happier circumstances. 63. Close shot Lutze As he reacts to the sudden echo of LAUGHTER, a ghostly filtered WINDLIKE SOUND that suddenly sweeps the area. He turns, frightened, back toward Becker. Lutze What was that? It sounded like- 64. Two shot again Becker The wind, Captain. Perhaps it was the wind. Lutze Of course. Of course it was the wind. He wets his lips, twists up his face, desperately trying to think of something to say. 65. Different angle As he turns and, somewhat directionless, walks a few feet toward the compound. Then he whirls around abruptly to stare at Becker. His features contort. Lutze It was not the wind. It was...it was... 66. Reverse angle looking toward Becker Becker (softly) It was what, Captain? 67. Reverse angle looking toward Lutze As he suddenly shouts. Lutze Stop calling me Captain. I'm not a soldier anymore. There is the SOUND of a vast MURMURING of reaction that Lutze again reacts to, staring left and right, his face contorted in a spasm of fear. 68. Close shot Becker Becker You never were a soldier, Lutze! The uniform you wore cannot be stripped off one's body. It was a part of you. It was a part of your body, a piece of your mind. A tattoo. Captain. A skull and crossbones burned into your soul. Lutze (screams) I was a soldier, Becker! Becker (very softly) No, Captain Lutze, you were a sadist. You were a monster who derived pleasure from giving pain. 69. Close shot Lutze Lutze Listen to me, Becker. There is no war now. That's all over with. That's in the past. And there are no more camps. It is ridiculous. It is patently ridiculous to dwell on these things. You did as you thought best...and I...I functioned...as I was told. Again the whispering windlike MURMUR of VOICES inundates them. Lutze (screams) What is that noise? 70. Close shot Becker Who half smiles again. Becker Odd that is should disturb you. It never used to. (a pause) When your victims screamed... (he shakes his head) You weren't quite so sensitive. But now they are not screaming, Lutze. They are simply reacting. They are responding. They have just listened to you offer the apologia for all the monsters of our times. "We did as we were told." "We functioned as ordered." "We merely obeyed directives from superiors." (a pause again) Familiar, is it, Captain? It was the theme music at Nuremberg. The new lyrics to the Gotterdammerung. The plaintive litany of the master race as it lay dying. (he shakes his head) "We did not do - others did." "We did it, but others told us to." Or "Someone else did it...but we never knew it was done." (a long silence as he slowly nods his head) Captain Lutze...ten million human beings were tortured to death in camps like this. Women, children, tired old men. You burned them in furnaces. You shoveled them into the earth. You tore up their bodies in sadistic rage. And now you come back and wonder that the misery you planted has lived after you? 71. Close shot Lutze His face is ashen. Lutze There is no point in talking about this any longer. (he takes out a handkerchief and wipes off his face, his hands shaking like fluttering birds) I must leave you now, Becker. 72. Different angle As he turns and starts toward the gate, reaches it, tries to open it, shakes it, pushes at it, kicks it, then whirls around toward Becker. Lutze I told you I had to leave, Becker. Again a windlike MURMURING of VOICES, but this time louder and also, this time, in some vague way much angrier and far more accusative. 73. Different angle Becker As he walks toward Lutze. Becker Why did you come back, Captain Lutze. You changed your name. You were quite safe down there in South America. What could possibly have brought you back here? 74. Close shot Lutze Lutze One misses the Fatherland, his homeland, Becker. One grows nostalgic for the good old days. I had thought- (then correcting himself) I had hoped that with the passage of time sanity would have returned. People would be willing to forget the...little mistakes of the past. They would not succumb to these animal screams for vengeance- 75. Full shot Becker As he walks toward the camera. He stops just a few feet away, raises his right hand and points to Lutze. Becker Little mistakes! Little mistakes! You ask too much, Captain Lutze. You ask far too much. Why not ask for the Earth to stop revolving on its axis. Or for gravity to stop functioning. Don't ask the impossible. Don't ask forgiveness from those you've destroyed to a point past forgiveness. (a pause as his hand goes down) But time is short, Captain. We have something to accomplish here today. 76. Close shot Lutze White faced, shaking. Lutze And what's that? Becker It's time for your trial. The court is convening in Compound Six. Lutze (incredulously) The court? What is this nonsense? Is this a joke? Becker No...your trial, Captain. You will be tried for crimes against humanity. Lutze (screaming) By whom? Who will try me? (he backs away from Becker) You're insane, Becker. You were insane when I used to string you up and— He stops abruptly, biting his lip. 77. Closer shot Becker Becker When you used to string me up, Captain, suspended over a hot pipe and feed me salt water until my tongue swelled. Burn me with cigarette butts and laugh at me when I screamed for you to put an end to it, please. To have mercy and kill me. (he half smiles again) Your memory is quite good, Captain. Quite good indeed. (he extends his hand) Shall we go now? The court is waiting. 78. Different angle Lutze As he suddenly screams and starts to race across the Square. CUT TO: 79. Shot of Lutze As he races toward the camera. ABRUPT CUT TO: 80. Int. Compound Day The same shot of Lutze as he races toward the camera, this time inside the building and this time slamming against the wall in a bone-crushing loud SMASH. The force of it sends him sprawling backwards, dazed and in shocking, agonizing pain. The CAMERA MOVES so that it is shooting directly down on him. He slowly opens his eyes and listens once again to the MURMURING of VOICES. He slowly lifts his head so that he is looking down the length of the room. 81. Long shot top half of the compound As seen from Lutze's p.o.v. On either side of the room stand a line of concentration camp inmates. They are partially in shadow and also exist in a kind of shimmering, out of focus, but each bears the face and body of the legacy of Nazism — starved, tortured, beaten human beings who now stand quietly staring at the man on the floor. 82. Pan shot past these phantomlike apparitions In a complete 360º arc until we are once again on Lutze, who stumbles to his feet, looks left and right, whirls around with a gasp. 83. Close shot Becker Who stands there close to him. Becker Shall we proceed, Captain Lutze? 84. Close shot Lutze Trembling. Lutze Please, please, let me out of here. This is inhuman. I must get out of here. (then screaming as he runs toward the door) I must get out of here. 85. Different angle As he slams against the door, wrestles with it, tries to get out, then gives up the struggle and turns toward Becker. 86. Long shot across the room Of Becker, who stares at him, takes a sheet of paper folded up and starts to unroll it. Becker (reading) The inmates of Compound Six, Dachau Concentration Camp, versus Gunther Lutze, Captain, S.S...Indictment One: That he condemned to death without a trial eleven hundred human beings. Indictment Two: That he did main and torture without provocation... The CAMERA PANS OVER to Lutze leaning with his back against the door as Becker's voice continues underneath, a slow drone of charges, interspersed with the reacting ghostly MURMURING of VOICES as each indictment is met with a small gust of noise. DISSOLVE TO: 87.-91. Series of montage shots tilt angle Of Becker reading, the inmates reacting, and Lutze, his back against the door, listening. At intervals the voices of reaction grow louder and louder until they reach a WAILING CRESCENDO ending up on a CLOSE SHOT of Lutze as he screams and sinks to the floor. ABRUPT CUT TO: 92. The square outside the building Church bells RING in the distance as the CAMERA TAKES A SLOW PAN past the punishment posts back over to the compound. DISSOLVE THROUGH TO: 93. Int. Compound [Day] Med. close shot Lutze Who sits on the floor, head bent over, eyes closed, breathing heavily and irregularly. He slowly lifts his head and then opens his eyes, responding to the filtered light that comes through the broken shutters of the window. He slowly rises to his feet, pulls at the shutters until they break off their flimsy hinges and CLATTER to the ground. He stares out at the Square that is visible over his shoulder, then slowly turns and starts. CUT TO: 94. Long shot across the room Of Becker, who surveys him without emotion. 95. Different angle the two of them Lutze I...I fell asleep. Becker (shakes his head) You have been unconscious for a while. Lutze (rubs his eyes, looks to the left and right) I had such a dream— Becker You had no dream, Captain. Lutze Of course I had a dream. I dreamt... (he stops, looks off thoughtfully, then back toward Becker) There was a trial. There were people in this room. Ghostly figures... Becker (very softly) They are still here. They have never left. Lutze stares at him, eyes wide open. Becker nods. Becker (he shakes his head) They walk these buildings and the Square outside. You did not bury them deep enough, Captain. You did not cover them up with enough earth. Or the bullets were too small a caliber. Or the flames not sufficiently hot. Perhaps there was not enough gas. The CAMERA PANS OVER very slowly to Lutze. Lutze (in a whisper) Becker...Becker...who are you? Becker (very softly) The caretaker - did you forget? Lutze This trial—? Becker (nods) The trial is over. You have been found guilty. It's time to pronounce sentence. 96. Extremely tight close shot Lutze As he stares at the other man, then breaks into a grin, then into a loud, raucous, wild laugh that shakes him from top to bottom. Lutze (tears rolling down his face) You are going to pronounce sentence? This is what you have in mind now? You will pronounce sentence. And then you shall execute that sentence - is this correct? Still laughing riotously, he turns and with both fists breaks through the remaining glass in the window, smashing it, then holding out a pair of bleeding hands he calls out to the emptiness of the Square. Lutze Pigs! Filth! You will all assemble in the Square. You will pass sentence on Captain Lutze. You will all of you crawl out of your graves to see that justice is done. (then whirling around to Becker) Where are they? Where is the judge? Where is the jury? Where is the executioner? Shall I tell you where they are, Becker? They're in your mind. You have hatched them out of your hatred. You have planned your vengeance out of a crazy-quilt of your imagination. Sewed together with little thin threads of wishful thinking. (he lumbers forward to grab Becker, hands outstretched, but stops an arm's length away) Why didn't I kill you when I had the chance! Why didn't I- He stops abruptly as the CAMERA ZOOMS into his face. Lutze Becker, Becker, I did kill you. I killed you the night... 97. Close shot Becker Becker You killed me the night that the Americans came close to the camp. You tried to burn it down. You tried to kill everyone who was left. (then a pause) And in my case you succeeded. (then very simply, he shakes his head) So it would be a waste of time, wouldn't it? A waste of your precious time. A waste of what little time you have left...to try to murder me again. 98. Close shot Lutze As he lunges for the man, clawing at him with both hands. ABRUPT CUT TO: 99. Ext. Square Day Identical ANGLE of Lutze, only this time he grabs at empty air and is suddenly aware of the fact that he is standing outside now and is alone. He takes one deep convulsive sob as he turns around staring left to right. Becker (filling the air) Captain Lutze, you have been tried and found guilty of crimes against humanity. It is the unanimous judgment of this court that from this day on you shall be rendered insane. Lutze (screaming like some wounded animal) What is this nonsense? What is this gibberish? What is this idiocy? 100. Different angle of him As he races across the Square toward the locked gates. The figure of Becker immediately materializes by the gate. Becker At this gate you shot down hundreds of people with machine guns. Do you feel it now, Captain? Do you feel the bullets smashing into your body? Do you feel the agony of tearing lead? 101. Close shot Lutze As his face contorts in agony and he grabs his stomach and in a half-crawl, half-stumbling run, retraces his steps across the Square to slip and fall at the foot of one of the punishment posts. Again Becker materializes. Becker On these posts you hung up human beings to die. Do you feel their hunger, Captain? Do you feel their agony? 102. Different angle shot Lutze As he looks up from the ground, his lips dry and parched. 103. Different angle of him As again he starts the same stumbling run, this time to sprawl in front of the detention room where on the front steps Becker materializes. Becker In this room, Captain - the things you did to human beings are unmentionable. How does their torment feel? 104. Angle shot looking down at Lutze As he screams, clutching at the sides of his head, then at his body, then at his legs and feet, then he rolls around on the dust, the screams becoming moans of unbearable pain. They gradually diminish into just one low, whispered moan which comes from his face buried into the dust. The shadow of Becker moves across the prostrate form. PAN OVER FOR A SHOT OF BECKER. Becker Captain Lutze...if you can still reason. If there is any portion of your mind that can still function - take this thought with you. This is not hatred...this is retribution. This is not revenge - this is justice. And this is only the beginning, Captain Lutze. Only the beginning. Your final judgment will come from God. (a pause as he looks down at the figure on the ground) The CAMERA MOVES DOWN for a SHOT of Lutze lying on the ground. LAP DISSOLVE TO: 105. Ext. Square Day A police car has been backed into the Square, plus two other vehicles. A doctor is administering to Lutze on the ground. A policeman and the taxi driver stand close by. Taxi Driver (to policeman) I heard him screaming. (shaking his head in horror) Such screams. Like a...like a...wounded animal. The doctor, a middle-aged man with a pale face, looks from one to the other, then motions to two other men standing by to pick up Lutze and carry him over to the police car. Doctor He is so full of sedatives now that he doesn't know he is on Earth. (then to policeman) I want him in the hospital and I want him strapped to the bed. The policeman salutes and heads toward the car. Taxi Driver Doctor? What happened to him? I drove him up here myself not two hours ago. He was all right then. But his screams...oh...his screams- The CAMERA MOVES OVER for an EXTREMELY TIGHT CLOSE SHOT of the Doctor. His lips form a tight, grim, straight line. Doctor I have no idea. All I know is that he screams from pain. More than pain - agony. (a pause as he looks away) But there's not a mark on him. He's insane. A raving maniac. (then a pause) What could happen to a man in two hours to make him a raving maniac? Someone must tell me. 106. Different angle of him As he looks around the compound, the Square, the punishment posts. He shakes his head, moves toward his car, which is parked near the gate. Just prior to reaching it, he turns to survey the camp. 107. Pan shot his p.o.v. Of the compound, the Square and all the rest of it. Doctor (under his breath) Dachau! Why does it still stand? Why do we keep it standing? He shakes his head and heads toward his car. We hear the sounds of different cars starting and pulling away as the CAMERA PANS BACK over to a SHOT of the Square, the punishment posts, the guard towers. Over this tableau we hear Serling's voice. Serling's Voice There is an answer to the Doctor's question. All the Dachaus must remain standing. The Dachaus, the Belsens, the Buchenwalds, the Auschwitzes. All of them...they must remain standing because they are a monument to a moment in time when some men decided to turn the earth into a graveyard. Into it they shoveled all of their reason, their logic, their knowledge...but worst of all, their conscience. And the moment we forget this...the moment we cease to be haunted by its remembrance...then we become the gravediggers. Something to dwell on and to remember...not only in the Twilight Zone, but wherever men walk the earth. Fade to black.

THE AFTER HOURS	WALKING DISTANCE	TIME ENOUGH AT LAST	THE ODYSSEY OF FLIGHT 33	THE MONSTERS ARE DUE ON MAPLE ST.
THE MIDNIGHT SUN	NIGHT OF THE MEEK	A STOP AT WILLOUGHBY	DEATHS-HEAD REVISITED	IN THE EYE OF THE BEHOLDER