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Rewriting is endless. As soon as you alter even one section, scene, or speech an entire portion of the play may have to be rewritten. Below are two endings of the play. The first had a generally positive response. But it certainly would leave the audience with little hope of mankind ever achieving the next level of our existence (whatever that may be). Instead, it becomes a searing indictment of the Bush Administration (I guess my personal hatred for government and “elected” leaders really starts to show) but leaves poor Gustav and Alexander in the cold. Is this really what I wanted the audience to hear? After all none of this was dialogue I composed. However, it is still a good bit of drama.

(The lights fade on the cell and come up on the podium area. There will be a screen at center stage to project the following images: The burning of books by the Nazis; pictures of concentration camps; Adolf Hitler; Josef Goebbels; Mao-Tse-Tung; photo of Vietnamese child running from American soldiers; Vietnamese officer killing a Vietcong soldier; nuclear bomb testing; Ronald Reagan; Pohl Pot; Joseph Stalin; Margaret Thatcher; Tony Blair; Che Guevara; George W. Bush.)

GOEBBELS: Things are happening all too quickly. The years are filled with dramatic events. They are so exciting and intense that we sometimes are not able to appreciate them individually. Hardly is one political problem resolved and along comes another. We often fail to be thankful enough to our age and to ourselves. Given the rapid pace in which history is happening, we incline all too easily to forget the difficulties that were involved. We can easily consider the government's successes as obvious, things that had to be.

(The following are various statements and speeches made by George W. Bush. The actor portraying Goebbels must not change his vocal pattern or accent to accommodate; rather, he will remain as Goebbels. This will give an even more dramatic effect. It will become apparent that he is no longer giving his own speeches but those of Bush. Subsequent productions may want to indicate that he is quoting Bush by using projections to do so. I believe, however, that audiences will quickly pick up the significance of this change: We must be careful who we put in charge.)

We are now in the early hours of this struggle between tyranny and freedom. In cells and camps, terrorists are plotting further destruction and building new bases for their war against civilization. And our greatest fear is that terrorists will find a shortcut to their mad ambitions when an outlaw regime supplies them with the technologies to kill on a massive scale. In one place, in one regime, we find all these dangers in their most lethal and aggressive forms…Saddam Hussein's regime is a grave and gathering danger. This crusade, this war on terrorism, is going to take a while. And the American people must be patient. Ich werde geduldig sein. But I can assure the American people I am determined, I'm not going to be distracted, I will keep my focus to make sure that not only are these brought to justice, but anybody who's been associated will be brought to justice. Those who harbor terrorists will be brought to justice. It is time for us to win the first war of the 21st century decisively, so that our children and our grandchildren can live peacefully into the 21st century. Our nation is chosen by God and commissioned by history to be a model to the world. Every nation in every region now has a decision to make. Either you are with us, or you are with the terrorists. It is time for us to win the first war of the 21st century. Heil Hitler!

(Lights will fade on Goebbels giving the Nazi salute. Eventually the set lights will fade to black except for one beam of light which will focus on the hiding place of the documents Gustav hid in the wall. Then the spotlight will fade. The rain will continue to fall.)

-END-

So it was back to the drawing board. I didn’t seem to get the response I desired from my first ending, so I tried something that coincided with one of the elements of the play: using speeches, lyrics and dialogues from other sources. I chose a different speech by Goebbels (highlighted in yellow) which completely addresses his belief about propaganda and its abilities to enlighten the populace, and combined it with famous quotes from prominent politicians, philosophers, even songwriters (highlighted in blue) which also smacks of propaganda. The result, for me, was very dramatic and thought provoking. However, the problem soon became apparent: What do I really want the audience to leave the theatre thinking? With the following, it was obvious you wouldn’t leave concerned about man’s inhumanity to man or the possibility of Gustav perhaps surviving, etc., rather, it might be “Who said: ‘Nattering nabobs of negativism’ anyway?” Of course, once again, this isn’t what I wanted. But I do still believe this ending is equally as powerful and could be substituted for the current ending.

(The lights fade on the cell and come up on the podium area.)

GOEBBELS:

There is no theoretical way of determining what kind of propaganda is more effective and what kind is less effective. Therefore, it is beside the point to say your propaganda is too crude, too mean, too brutal, or too unfair. The moment I have recognized some truth or other and begin to speak about it in the tram, I am making propaganda. This is the moment when I begin to search for others who, like myself, have recognized the same truth. Propaganda is always a means to an end. You are either a propagandist, or you are not. Propaganda is an art which can be taught to the average person, like playing the violin. But then there comes a point which you say: “This is where you stop. What remains to be learned can only be achieved by a genius.” If they say, “But you are only propagandists,” you should answer them: “And what else was Jesus Christ? Did he not make propaganda? Did he write books or did he preach? And what about Mohammed? Did he write sophisticated essays or did he go out to the people and tell them what he wanted? Were not Buddha and Zoroaster propagandists? Look at our own century. Was Mussolini a scribbler, or was he a great speaker? When Lenin went from Zurich to St. Petersburg, did he rush from the station into his study to write a book, or did he speak before the multitude?” Only the great speakers, the great creators of words have made Bolshevism and Fascism. There is no difference between the speaker and the politician.

(The following are various statements and quotes from a generous array of individuals. The actor portraying Goebbels will now drop his German accent and begin using a very distinctive and soft speech pattern, drawing the audience into his world. This will give an even more dramatic effect. The result: We must be careful who we put in charge of ourselves.)

I read the news today, oh boy. So what difference does it make to the dead, the orphans, and the homeless, whether the mad destruction is wrought under the name of totalitarianism or the holy name of liberty and democracy? For I have a dream which includes these nattering nabobs of negativism. And we will answer and say to them: Did you ever talk to Brother Malcolm? Did you ever touch him, or have him smile at you? Did you ever really listen to him? Did he ever do a mean thing? Was he ever himself associated with violence or any public disturbance? For if you did you would know him. And if you knew him you would know why we must honor him. For in my father’s house, there are many mansions. Each one is glistening in the sun, oozing with vanity because all truly wise thoughts have been thought already thousands of times; but to make them truly ours, we must think them over again honestly, till they take root in our personal experience. The best and most beautiful things in the world cannot be seen or even touched. They must be felt within the heart. For I am a propagandist: I never teach my pupils. I only attempt to provide the conditions in which they can learn. What do I advocate? Let us discuss, briefly, the soft bigotry of low expectations. It is legitimate and necessary to ask oneself if homosexuality is not perhaps part of a new ideology of evil, perhaps more insidious and hidden, which attempts to pit human rights against the family and against man. Either you are with us, or you are with the(se) terrorists. For when it is dark enough you can see the stars. Remember, one cloud is enough to eclipse all of the sun. I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones. Ich bin ein Berliner. I have a Dream!

(Lights will fade on Goebbels and eventually the set lights will fade to black except for one beam of light which will focus on the hiding place of the documents Gustav hid in the wall. Then the spotlight will fade. The rain will continue to fall.)

-END-

Below is another sample of the editing process. All strikethrough text was eliminated and replaced by the text in red. Also, additional text (in red) was added to the dialogue. Simple things, such as changing “no” and “yes” to “nein” and “ja”, adds a unique and compelling flavor to the script as well.

MILO: (He is startled awake. He raises himself up to a sitting position.) Das war so kalt.

BUREL: Ja. Cold. (He crosses to the table, sits, and takes out a cigarette and smokes.) So my little piglet (…Herr Milo). What do you have to say for yourself? Tell me.

MILO: I barely moved since you left. I tried to walk, but...

BUREL: You have already forgotten why we have been holding you for questioning? What a pity. What is the code, Herr Milo, to Hirschfeld’s safe?

MILO: Where is your friend, Sgt. Stein(Wo is Ihr Freund, Sgt. Stein)?

BUREL: Never mind about Stein. Tell me the combination code. I have been patient up until now, but my patience is wearing thin.(Oh, would you like me to call him for you? You are truly a masochist).

(MILO: Please, sir, Sgt. Stein need not be present for now.

BUREL: I agree with you, Herr Milo. So let us see what else we can agree upon. Tell me the combination code and Hirschfeld’s hiding place.

MILO: Surely you have not lost track of Dr. Hirschfeld so quickly? You know where his office is located. Why not post some of your thugs outside his office building? Then you can kill two birds with one stone.

BUREL: Ja...lay in wait. The Jew is a slippery snake. Gut idea. I will take your suggestion.

MILO: That is not what I meant, Lt.

BUREL: Oh, have I misunderstood? It is usually unusual for me to misconstrue the meaning of words.

MILO: I was just... (He takes in a deep breath.) You will have to forgive me. I’m not exactly thinking too clearly.

BUREL: I can see you are not. Sgt. Stein is a man with a lot of brawn. I would think that would appeal to you. (Pause.) Alright, let us discuss something else, shall we? Tell me about your arrest, Herr Milo.)

MILO: I was at the Schwanenburg Cabaret with some friends. We were watching the show. You and your...fellow Brownshirts crashed the proceedings. The next thing I remember is waking up with a large welt on my head in another room in this prison.

BUREL: Your friends. Let us begin there(Lassen Sie uns dort anfangen). How many friends do you have? Hmm?

MILO: I haven’t ever counted the number of friends I have. We all have friends, Lieutenant(Leutnant), all of us. But what their politics may be, or who they sleep with, have congress with, is really none of my concern. Or of your concern either. I have many friends.

BUREL: Oh yes (ja) we know. Friends can be, oh how shall I say this, ...influential. They can persuade, or be persuaded. You, my good (gut) man, have many, many friends. I have a list here of all your friends. (An impressive list, I must say.) Shall I read this list to you? (He takes a list of names out of his breast pocket and places it on the table and smoothes it out.)

MILO: That won’t be necessary.

BUREL: No (Nein) ?

MILO: No (Nein) I know why you want me to name names. So you can use the information you gain against me to suit your own twisted purposes.

BUREL: (Herr Milo, I do think you have the wrong impression of me. Here we are having a pleasant conversation and then the accusations start.)Oh, and w(W)hat might my twisted purposes be, Herr Milo? Do tell me. You have my rapt attention.

MILO: I’m certain I don’t know.

BUREL: Oh, but you just told me I have twisted purposes. Could it be you have forgotten so quickly about your relationship with Hirschfeld?

MILO: I told you before I’ve only seen Dr. Hirschfeld in the lobby of a hotel, or perhaps walking down the street. Nowhere else.

BUREL: Please do not lie to me anymore. I can prove you not only know the kike doctor, but you worked for him as well.

MILO: You have a vivid imagination, Lt.

BUREL: Maybe you need to be coerced into revealing information you are trying to keep hidden? (Obviously pain and pleasure excite you equally.) Perhaps a little nipple-twisting will change your perspective? Or how about some toenail pulling? (Sgt. Stein should be back by now.) Get up and come with me...

(He reaches down to pull Milo up, but Milo pushes himself away from Burel’s arm.)