Cornel1801.com  

Grand Hotel (1932) script

by William A. Drake
based on the novel Menschen im Hotel by Vicki Baum
 
				PROLOGUE

Berlin.

Season is March.

Action of the picture takes place in approximately 36 hours.

Picture commences at approximately 12:35 in the day.

Time: The Present.



EXTERIOR REVOLVING DOOR

Show general natural action of people going in and people 
coming out but in it is the definite inference of people 
arriving and people leaving the big hotel.

MOVE INSIDE THROUGH THE REVOLVING DOOR -- very quickly. CAMERA 
PAUSES ON THE THRESHOLD like a human being, seeing and 
hearing.

DISSOLVE OUT.

DISSOLVE INTO: Clock. It is twenty minutes to one -- and 
then moves slowly into the crowd of busy mid-day business 
jumble.

CAMERA pushes through crowd and passes by the foot of the 
steps that lead up to the restaurant. In its journey, it 
passes Kringelein looking up. He is not pointed.

THE CAMERA then saunters -- getting a slow profile movement 
across -- near Senf's desk. Senf is very busy. THE CAMERA 
now passes -- profile -- the desk of Senf. General action. 
Senf stands before his background of slots and keys. WE 
PROCEED until we are facing the elevator.

At that moment the elevator is opening. Among the people who 
emerge is Suzette, who moves too quickly for us to distinguish 
who she is.

THE CAMERA PANS quickly with her and in the distance we hear 
her saying to Senf:

			SUZETTE
	Madam Grusinskaya will not want her 
	car.

This line is only just above the general clatter of action 
but it is picked-up sharply first by Senf then by Bell-Captain -- 
and as the CAMERA SLOWLY TURNS AROUND, we see the boy going 
towards the door and we hear the voice in the distance, 
saying:

			VOICE
	Cancel Madam Grusinskaya's car.

The CAMERA now backs away from the scene into the BAR. (a 
section.) It backs to the back of the bar and proceeds -- in 
profile -- behind the backs of the barmen. A mixed crowd of 
people drinking before their lunch.

We pick up the Doctor, leaning his head upon his hands, 
looking into space. The woman next to him, a noisy blonde, 
is laughing. The doctor glances up at her -- she glances at 
the doctor. She and the audience see the scarred side of his 
face -- the laugh dies on her lips and she turns suddenly to 
her companion, who is the Baron. We do not get much of a 
chance to see him because at that instant he is glancing at 
his watch, his shoulders are turning away from THE CAMERA 
and he moves out towards the lobby.

BACK UP a few feet and LAP DISSOLVE as you move into the 
main aisle of busy room in restaurant. Great activity of 
waiters. The bustle and activity of fashionable lunchtime. A 
string orchestra is playing.

Among other things, we pick up the smiling face of the pompous 
Maitre d'hotel, he has apparently just shown someone important 
to a table.

THE CAMERA watches his face and follows him. His face just 
as CAMERA reaches service table. The pompous Maitre d'hotel 
now becomes a thing of drama as he demands of a waiter:

			MAITRE D'HOTEL
	Where is that gentleman's soup?

The waiter, frightened and perspiring, doesn't bother to 
argue -- he tears off quickly (CAMERA FOLLOWING HIM) to 
another service table. The waiter seizes buss-boy's arm:

			WAITER
	Where's that soup?

Boy goes off at great rate of speed, CAMERA FOLLOWS HIM, 
into service room of kitchen. Boy stops at soup chef's 
counter. He is not the only waiter wanting soup at that 
moment. He pushes his way to the front and puts his ticket 
forward.

			BOY
	Quick -- come on -- come on...

The soup chef, used to impatient waiters, makes no exception 
of the young man. He looks at him as much as to say: "I'll 
slap you on the mouth." At the same time he is pulling over 
a cauldron of soup.

							CUT TO:

CAULDRON OF SOUP being pulled over -- it dislodges a small 
cauldron that is near the edge. We see the soup fall and 
hear the scream of a woman before showing her agonized face -- 
She has been scalded. General steamy confusion. The chef has 
filled the plate. WE PROCEED the buss-boy out. Half way down 
the aisle, the waiter takes it from him.

THE CAMERA follows the waiter who places the soup before Mr. 
Preysing. Preysing has been waiting, with his serviette 
carefully tucked in his collar. His spoon is in his hand. A 
horrible man, ready for action. The soup is in front of him, 
he tastes it, pushes it away, frowns, we feel he is going to 
tear the place down.

			WAITER
		(anxious voice)
	Yes.

			PREYSING
		(grimly)
	Cold.

			VOICE
		(near Preysing's elbow)
	Mr. Preysing...

			PREYSING
		(in same voice)
	Yes...

			BELLBOY
	Telephone -- from Fredersdorf --

Preysing rises, struts from restaurant. CAMERA FOLLOWS HIM -- 
He walks out through the door...

				DISSOLVE OUT AND INTO:

Between two operators heads. Odd effect at board. CAMERA 
TILTS UP as Preysing's head looks right down at girl.

Bellboy is with Preysing.

			BELLBOY
	Mr. Preysing from Fredersdorf -- his 
	call.

			GIRL
	Yes, Mr. Preysing --

Preysing begins drumming his fingers on the top of 
switchboard.

			GIRL
		(nervously)
	They've gone -- Just a moment, sir...

			PREYSING
		(to boy)
	You told me it was on -- you said 
	the call was through.
		(he waits irritably)

			SECOND GIRL
		(to first)
	Who's in number three?

			FIRST GIRL
	Senf -- the hall porter.
		(Girl looks off at...)

							CUT TO:

SENF IN TELEPHONE BOOTH

			SENF
	Yes, it's Senf, the head porter, 
	Grand Hotel... Are you at the 
	Clinic?,... How's my wife?,... Is 
	she in pain?,... Isn't the child 
	coming soon?,... Patience! It's easy 
	for you to talk... Get away?,... No, 
	I can't -- I'd lose my job. It's 
	like being in jail. Oh, I hope the 
	child comes along all right.

At the conclusion of Senf's speech, CAMERA MOVES TO NEXT 
BOOTH. Thru the glass door we see Preysing approaching from 
desk. He enters booth and commences conversation:

			PREYSING
	Hello! Long Distance?,... Get off 
	the wire... No... I was talking to 
	Fredersdorf... What?,... Oh... 
	Hello!... Is that you dear?... How 
	is everything at home?... What do 
	you hear from the factory?... No... 
	How are the children?... I left my 
	shaving set at home... Yes, is your 
	father there?... Hello, father?... 
	Our stock has gone down twenty-three 
	points. If our merger with the Saxonia 
	doesn't go through -- I don't know 
	what we can do... Hello, hello... 
	yes, papa. Rely on me -- everything 
	depends on Manchester... If they 
	refuse to come in -- well, we will 
	be in bad shape... no... Rely on me, 
	I'll make it go through -- I'll make 
	it go through... Waiting?... Yes, 
	I'm still speaking...

THE CAMERA THEN PANS TO Suzette. Suzette is already in the 
booth and she is waiting for Mr. Meierheim to come on.

			SUZETTE
		(starting to speak)
	Hello, Mr. Meierheim?... Is that, 
	Mr. Meierheim?... This is Suzette... 
	Suzette, Madam Grusinskaya's maid... 
	No... Madam Grusinskaya will not go 
	to the rehearsal... No... Madam is 
	in a terrible state, she didn't sleep 
	all night -- She's very tired... No, 
	I'm speaking from a booth -- I didn't 
	want to speak in front of her... I 
	gave her a tablet of veronal... She's 
	sleeping now... You had better come 
	to the hotel, I'm afraid...

PAN TO BARON just entering booth. He is lighting a cigarette. 
(receiver down - trick)

			BARON
		(speaking into 
		telephone)
	Baron Gaigern speaking. Yes, Baron 
	Gaigern himself. Where are you?,... 
	Good... No -- first, I need money. I 
	need it right now. I have to make a 
	showing... That's my business. I 
	hope to do it tonight... at the 
	theatre or after the show... But 
	money -- for the hotel bill, for 
	tips... I don't need advice, I need 
	money!... Now, listen...

PAN TO KRINGELEIN - booth.

			KRINGELEIN
	Who is that, This is... Hello, 
	hello!... Who is that... Heinrich? 
	This is Kringelein. Hello, Heinrich. 
	This is Otto Kringelein. Hello! Can 
	you hear me?... I've got to speak 
	very quickly. Every minute costs two 
	marks ninety... What?... Otto 
	Kringelein! Yes, I'm in Berlin, 
	staying at the best hotel, the Grand 
	Hotel... No, don't you understand? I 
	want to explain, but I must do so 
	quickly, it costs so much. Please 
	don't interrupt me -- hello? Hello! 
	Listen! You know that will I made 
	before my operation? I gave it to 
	you. I want you to tear it up. Destroy 
	it. Because, listen, I came to Berlin 
	to see a great specialist about that 
	old trouble of mine... It's pretty 
	bad, Heinrich. The specialist says I 
	can't live much longer.
		(louder)
	I haven't long to live! That's what's 
	the matter! Hello, hello. Are you on 
	the line? No, it isn't nice to be 
	told a thing like that. All sorts of 
	things run through your head. I am 
	going to stay here in Berlin. I am 
	never coming back to Fredersdorf. 
	Never! I want to get something out 
	of life, too. You plague, and bother, 
	and save -- and all of a sudden you 
	are dead. Heinrich... You don't say 
	anything. I am in the Grand Hotel, 
	do you understand, the most expensive 
	hotel in Berlin? I'm going to get a 
	room here. The very best people stay 
	here. Our big boss, Preysing, too. I 
	saw him -- not five minutes after I 
	was here. Sometime, I'd like to tell 
	him exactly what I think of him. 
	Listen, Heinrich -- I have taken all 
	my savings; my life insurance, too; 
	I cashed in all my policies, the 
	sick benefit fund, the old age 
	pension, the unemployment insurance, 
	the burial fund and everything... 
	What's that, miss?... Hello, Heinrich. 
	I have to hang up now. I have to pay 
	three times overcharge. Just think, 
	Heinrich! There's music here all day 
	long. And in the evening, they go 
	around in full dress... Yes, sometimes 
	I have pain, but I can stand it. 
	Everything is frightfully expensive 
	here. You can imagine, the Grand 
	Hotel... What? Time's up...

Near the conclusion of Kringelein's speech, we see the Doctor 
approaching through Kringelein's booth. He is looking down 
at something.

							CUT TO:

COMPLETE REVERSE - MATCH SHOT - SHOOT THEM BOTH TOGETHER

Doctor is looking down at parcel. Kringelein's voice on same 
track. CAMERA BACKS UP. Show doctor as he passes various 
booths -- voices of respective people come up sharply.

			KRINGELEIN
	I'm a sick man -- Heinrich -- Hello - 
	hello -- Operator -- every minute 
	two marks ninety.

Doctor passes Baron's booth next.

			BARON
	Dangerous?... That's my business... 
	I'll do it tonight -- ...I'll do it 
	alone.

Doctor passes Suzette's booth.

			SUZETTE
	Madam is afraid -- she will never 
	dance again -- there was no applause 
	last night --

Doctor passes Preysing's booth.

			PREYSING
	Yes -- the merger -- Manchester -- 
	it is my business as much as yours -- 
	we've already lost eighty-five 
	thousand --

Doctor passes Senf's booth.

			SENF
	I'm on duty -- I can't leave the 
	Grand Hotel -- it's like being in 
	prison -- the baby --

Doctor crosses to telephone operator:

			DOCTOR
		(to operator)
	Any calls?

			GIRL
	No, Doctor.

			DOCTOR
		(half to himself)
	Grand Hotel -- people -- coming -- 
	going... Who cares... nothing ever 
	happens.

FADE OUT.

		SEQUENCE "#1"

FACADE OF HOTEL

showing electric sign -- odd angle -- THE GRAND HOTEL -- 
unlighted.

							CUT TO:

ELECTRIC CONTROL ROOM

small section -- Engineer pulling down lever.

FACADE OF HOTEL

sign flashes on.

							DISSOLVE OUT:

DISSOLVE INTO: EXTERIOR HOTEL

Shooting directly on swinging door -- normal crowd action. 
Tea-dansant at this hour is daily rendezvous for smart demi-
mondaines, gigolos, out-of-town travelers, etc. -- These 
types indicated.

In the distance we hear music.

							DISSOLVE SUDDENLY TO:

YELLOWROOM - NEAR SHOT OF BAND

This same music is being played by the Eastman Jazz Band in 
the Yellow Room of the hotel.

THE CAMERA does not wait but backs down the room. It is the 
hour of the tea-dansant.

As the CAMERA IS BACKING OUT OF THE ROOM which is in reality 
the restaurant converted -- the tall figure of the Baron -- 
he proceeds through the door of the restaurant --

Note: Question here as to whether Yellow Room will be the 
restaurant converted, or not. In which case it will be 
necessary to add scene of Baron walking through corridor 
upstairs -- giving sense of distance.

The Baron is whistling the tune of the orchestra, he proceeds 
through the lobby as if on a mission. He glances at a pretty 
woman who passes and nods good evening to the Doctor, who is 
seated in his chair, not far from the desk. He enters.

							CUT TO:

FLORIST SHOP

Pretty girl is there, she has seen him coming. She turns 
from the door and hands him a box of orchids, already tied 
in ribbon.

			BARON
	Good little girl -- nice ones?

			GIRL
	Yes, Baron.

The Baron would stay and flirt but he has a mission; he 
leaves.

							CUT TO:

LOBBY

In the lobby we pick up the Baron leaving the florists with 
small box of flowers -- he crosses quickly to Senf's desk.

SHOT OVER SENF'S HEAD as the Baron puts the flowers down. 
Senf is busy.

The Baron is whistling gaily -- tapping his fingers on the 
flower box -- he is good-natured and patient.

			SENF
		(to Clerk -- as 
		telephone bell rings)
	Is that for me?

			CLERK
	No -- Madam Grusinskaya's car is to 
	be brought.
		(he replaces the 
		receiver)

			SENF
		(to one of the bellboys)
	Madam Grusinskaya's car is to be 
	brought.

Boy leaves. We hear his voice out of scene at the door.

			BELLBOY'S VOICE
	Madam Grusinskaya's car... to be 
	brought.

			SENF
	Good evening, Baron.

			BARON
		(amiably)
	Good evening. Will you send these up 
	to Madam Grusinskaya?

			SENF
	Yes, Baron.
		(he hands the box of 
		flowers to the clerk)
	Madam Grusinskaya.

Clerk hands box to bellboy.

			CLERK
	Room one-seventy -- Madam Grusinskaya.

			BARON
		(to Senf)
	Have you my tickets for the theatre?

			SENF
	Oh yes, Baron --
		(to Clerk)
	Baron von Gaigern's seats for Madam 
	Grusinskaya.

Telephone rings again. Clerk picks it up.

			SENF
		(to Clerk)
	For me?

			CLERK
		(at telephone -- shakes 
		his head)
	No -- Madam Grusinskaya's car is not 
	to be brought.

			SENF
		(to boy)
	Madam Grusinskaya's car is not to be 
	brought.

The Clerk hands Senf the tickets which Senf hands to the 
Baron.

			BARON
	Charge them...

As the Baron is picking up his tickets he looks around quickly 
as he hears the voice of Pimenov, who has arrived apparently 
from his afternoon walk from the rehearsal at the theatre.

			PIMENOV
		(to Senf)
	Good evening -- my key -- one sixty-
	eight.

			BARON
	Good evening, Mr. Pimenov.

			PIMENOV
	Oh -- good evening, Baron.

			BARON
	How's the beautiful lady?

			PIMENOV
	Grusinskaya -- well, to tell the 
	truth, Baron -- tonight we are a 
	little bit nervous. Were you at the 
	theatre last night?

			BARON
	Certainly -- always when Grusinskaya 
	dances.

			PIMENOV
	Well -- last night was not so good.

			BARON
	I thought she was splendid!

			PIMENOV
	Yes -- but the audience.

At that moment they are interrupted by a vehement little 
Japanese with his wife. They are arguing with the Clerk. The 
Japanese speaks in Japanese to his wife.

			CLERK
		(to Japanese)
	The parquot loges are behind the 
	parquet chairs.

			JAPANESE
	Then they've put me back and I want 
	to be up in front. How is that, chairs 
	in front of loges?

Senf is speaking to a lady at the same time.

			SENF
	The train leaves at seven-thirty, 
	Madam. That is the only through train -- 
	the dining car goes along.

The Baron and Pimenov exchange glances as the little Japanese 
speaks volubly to his wife.

			BARON
		(sarcastically)
	It's always so quiet here.

			PIMENOV
	If you occupied the room next to 
	Madam Grusinskaya, you would 
	appreciate the quiet of a hotel lobby.

			BARON
	My dear sir, I would gladly change 
	rooms with you.

			PIMENOV
		(effeminately)
	No doubt you would, Baron. But do 
	you know, I'm quite indispensable to 
	her. I'm her ballet master and her 
	nurse. I hardly belong to myself 
	anymore. But, there you are, it's 
	Grusinskaya -- you can't help adoring 
	her.

At that moment, Zinnowitz pushes past them.

			ZINNOWITZ
	Pardon me.
		(addressing Senf)
	Is Mr. Preysing in -- I am Doctor 
	Zinnowitz.

			SENF
		(to bellboy)
	Mr. Preysing -- from Fredersdorf --

			BELLBOY
		(quickly -- paging)
	Mr. Preysing --

Preysing steps quickly into scene.

			PREYSING
	Ach! Here you are, Doctor Zinnowitz.

			ZINNOWITZ
	Have I kept you waiting?

			PREYSING
	Waiting -- I'm waiting for news from 
	Manchester.

			ZINNOWITZ
	No news yet?

			PREYSING
	No. No word.

			ZINNOWITZ
	Everything depends on the Manchester 
	merger.

			PREYSING
	I know -- I know.

			ZINNOWITZ
	I saw Gerstenkorn at lunch -- and as 
	your lawyer I made it my business to 
	broach the matter ---

As they begin to move out of scene, Zinnowitz calls back to 
Senf.

			ZINNOWITZ
	I'm expecting a young woman -- a 
	stenographer -- she will ask for Mr. 
	Preysing. Ask her to wait.

			SENF
	Yes, Doctor Zinnowitz.

As they move out of scene, telephone bell goes.

			SENF
		(to Clerk)
	For me?

			CLERK
	No -- letters to two-eighty.

			SENF
		(to Clerk)
	If a young woman, a stenographer, -- 
	etc.

This just covers the scene.

The Baron and Pimenov are laughing at something one of them 
has said which brings our attention to them again.

At that moment the Doctor enters the scene.

			DOCTOR
	Any letters?

			SENF
	No, Doctor.

			DOCTOR
	Telegrams?

			SENF
	No, Doctor.

			DOCTOR
	Anyone asked for me?

			SENF
	Nobody, Doctor.

The Doctor turns slowly away, taking out a cigarette with 
his one hand.

			BARON
		(glancing at Doctor)
	The war.

			PIMENOV
		(looking up from his 
		letter -- glances 
		off at the doctor)
	That is Doctor Otternschlag -- You 
	know him?

			BARON
	Yes -- He always seems to be waiting 
	for something -- and nothing ever 
	comes.

			PIMENOV
	The war dropped him here and forgot 
	him.

			BARON
		(beams)
	Yes, I was in the war.

CUT IN: FLASH OF DOCTOR --

He turns as he hears the Baron say this.

He pulls at his cigarette and looks grimly at the Baron... 
then he looks off at Kringelein -- who is trying to get 
Rohna's attention (the reception Clerk) -- at the reception 
desk, which adjoins that of Senf's.

			KRINGELEIN'S VOICE
	Please -- please pay some attention 
	to me -- I have no time.

Pan back to desk:

			ROHNA
		(engaged with a lady 
		and gentleman, who 
		have just arrived)
	If you will wait one moment, sir.

			KRINGELEIN
	I won't wait -- I can't wait -- I 
	waited three days before I got a 
	room at all and what a room that is.

			ROHNA
	It's a very nice room and inexpensive, 
	sir.

			KRINGELEIN
	Did I say I wanted a cheap room to 
	live in -- when I came here did I 
	ask for a cheap room? Did I?

Rohna, sensing a scene with this strange dirty little 
gentleman, looks furtively around for the manager.

			ROHNA
	Just one moment, sir.

			KRINGELEIN
	No, I won't wait -- I can't -- Every 
	day is precious -- every hour -- 
	Every minute.

Second Clerk is looking straight at him.

Kringelein turns his attention directly to this man and 
proceeds:

			KRINGELEIN
	I came here because I wanted to live 
	here, two weeks, maybe three -- God 
	only knows -- I've told you I'll pay -- 
	I'll pay anything you ask. I'm tired -- 
	I'm ill -- I can't wait.

As he finishes the Doctor draws into the scene -- he is 
watching.

Assistant Manager enters.

			ASSISTANT MANAGER
	Has the gentleman a complaint?

Rohna and Kringelein speak together.

			ROHNA
	The gentleman is dissatisfied with 
	room number five fifty-nine.

			KRINGELEIN
	I certainly have a complaint -- and 
	a fair one.

He senses an audience and warms up. The Baron and Pimenov 
enter the scene. The lady and gentleman have turned. The 
bellboy stands watching curiously and even Senf pauses and 
looks up.

			KRINGELEIN
		(continuing)
	I came here from a long distance to 
	stay at the Grand Hotel. I want a 
	room -- a big room -- like you would 
	give General Director Preysing -- 
	I'm as good as Mr. Preysing -- I can 
	pay like Mr. Preysing -- would you 
	give him a little room, way up in 
	the corner with the hot water pipes 
	going -- bang -- bang -- bang...
		(he bangs at the desk 
		with his fist)

			DOCTOR
	This gentleman can have my room.

			KRINGELEIN
		(turning)
	Oh!

			DOCTOR
	Send his bags up to my room.

			KRINGELEIN
	Oh -- but -- I --

			DOCTOR
	You're tired. I can see that.

			KRINGELEIN
	Yes -- yes -- I am tired. I have 
	been ill...

			DOCTOR
	You are ill.

During this scene the manager has been talking with Rohna 
quietly. The manager how turns.

			MANAGER
	Mr. Kringelein will take room number 
	one-seventy-six, one of our most 
	expensive rooms. It is large and on 
	the front with bath.

			KRINGELEIN
		(subdued -- exhausted --)
	Does that mean that the bath is my 
	own? --- Private?

			MANAGER
	Certainly, sir.

			KRINGELEIN
	Well, now, that's very kind -- thanks. 
	That's what I want -- a large room 
	on the front with a private bath -- 
	Yes, that's what I want. I can pay 
	now if you like.

He takes out his wallet and nervously commences to extract 
money.

			DOCTOR
	That will not be necessary.

The manager is instructing the bellboy to take Kringelein to 
the new room.

Kringelein accidentally drops a bill -- the Baron, who has 
noticed the money, stoops to pick it up.

In bending himself, Kringelein drops his hat.

Baron picks up the hat and considerately brushes it with his 
sleeve.

			KRINGELEIN
	Thank you, sir.

			BARON
		(amused)
	Not at all, sir.
		(he beams)

			KRINGELEIN
		(finding a friendly 
		face)
	Permit me -- my name is Kringelein -- 
	from Fredersdorf.

			BARON
	I'm Baron von Gaigern.

			KRINGELEIN
	Oh, a Baron!
		(he is impressed)

Baron catches the mood of making this gentleman suddenly 
popular.

			BARON
	And this is Doctor Otternschlag.

			KRINGELEIN
		(turning to Doctor)
	Oh -- Doctor -- you are a Doctor -- 
	I am --

			DOCTOR
	I know -- I know -- when a man's 
	collar is an inch too big for him -- 
	I know he is ill.

			KRINGELEIN
	Yes -- Oh -- oh -- yes, --
		(his finger goes 
		nervously to his 
		collar)

Zinnowitz passes through scene quickly on his way out.

At that moment, Pimenov returns from the news-stand, where 
he has bought the evening papers.

			PIMENOV
	Well, Baron -- I must go and dress.

			KRINGELEIN
		(to doctor)
	Is this gentleman a Baron, too?

			PIMENOV
		(laughing)
	Unfortunately no.

The Manager comes into scene.

			MANAGER
	Will Mr. Kringelein kindly register.

			KRINGELEIN
	Again?

			MANAGER
	Please.

Kringelein turns to the desk. The Doctor turns up with him.

At that moment the Baron's chauffeur touches his arm.

			CHAUFFEUR
	Have you a minute now?

			BARON
	No -- I told you not to come in this 
	lobby.

			CHAUFFEUR
	Time's getting short.

			BARON
	I've told you a hundred times not to 
	speak to me with a cigarette in your 
	mouth.

Chauffeur takes the cigarette out of his mouth -- but still 
holds it in his hand.

			CHAUFFEUR
	I want to speak --

			BARON
	Not now.

			CHAUFFEUR
	Yes, sir.

The Baron leaves.

General moving off, towards elevator, of Baron, Pimenov, 
Kringelein and the Doctor.

SENF'S DESK

On another shot, shooting profile onto Senf's desk, bring in 
Flaemmchen. Flaemmchen enters. Her back to CAMERA.

			FLAEMMCHEN
		(we hear her ask)
	Mr. Preysing.

			SENF
	Will you wait please.

			CLERK
	The stenographer is to go up -- Mr. 
	Preysing telephoned.

			SENF
	Mr. Preysing -- one sixty-four.

			FLAEMMCHEN
	Thanks --
		(calling off to 
		elevator)
	Heigh! -- Wait!

She crosses to elevator.

THE CAMERA RUSHES UP BEHIND HER, ALMOST PUSHING INTO ELEVATOR 
WITH HER.

As she enters the elevator and the gate shuts, she turns 
around, back pressed against the Baron -- who is looking 
down at her. The look on her face is the look we often see 
on Flaemmchen's in elevators when they are pressed.

NOTE: Good introduction, for Flaemmchen.

The lift ascends.

UPPER CORRIDOR

Flaemmchen steps out of the lift. She is looking around for 
the numbers. She moves out of scene.

The Doctor, Kringelein and the bellboy with the bag, move 
straight down the hall.

Pimenov is chatting volubly.

			PIMENOV
		(to Baron)
	Poor Grusinskaya -- how can she 
	receive anyone. She can't -- theatre, 
	trains, hotels -- hotels, trains 
	theatre.

We see Flaemmchen being directed by the floor clerk to Mr. 
Preysing's room.

			PIMENOV
		(continuing)
	I must go and dress -- she'll be 
	waking up and calling for me.

He proceeds up the passage, pompously, humming the air of 
his ballet.

At that moment, Flaemmchen, who has been directed to 
Preysing's door, by floor clerk, passes the Baron and there 
is an amusing exchange of glances between them.

Flaemmchen knocking at Preysing's door hears a voice.

			PREYSING'S VOICE
	Come in.

She opens the door.

							CUT TO:

PREYSING'S ROOM

Preysing has had a bath and is actually steaming from it. He 
stands before a long mirror, rubbing himself with a towel.

He sees her through the mirror, wraps the towel around him 
very cutely, for a big man, and turns upon her.

			PREYSING
	What...! --

			FLAEMMCHEN
	I'm the stenographer.

			PREYSING
	Then you will please wait outside.

He is very much affronted.

Flaemmchen, who has seen many large gentlemen in the 
altogether --

			FLAEMMCHEN
		(lightly)
	Don't hurry -- take your time.

She goes out of the room and shuts the door.

							CUT TO:

UPPER CORRIDOR

Flaemmchen emerges from Preysing's room.

Baron loitering in the hall. (Whistling as outlined). Baron 
approaches, he is also whistling -- the same tune that 
Flaemmchen is whistling. She glances at him, as he continues 
whistling with an amusing dance step, as much as to say: 
"Are you mad?"

			BARON
	Like dancing?

			FLAEMMCHEN
	Not with strangers.

Baron glances back up the passage; it is apparent that he is 
going to make conversation here with this girl, in order to 
keep legitimately in the passage until Grusinskaya comes 
out.

			BARON
		(turning to Flaemmchen)
	Never?

			FLAEMMCHEN
	You're a fool!

			BARON
	Yes, I am rather.

He glances down the passage again, his hands in his pockets.

She glances impatiently at her watch.

			BARON
	He must be very nice.

			FLAEMMCHEN
	Who?

			BARON
		(gallantly)
	Whoever is keeping you waiting.

			FLAEMMCHEN
		(indicating Preysing's 
		door)
	Have you seen it?

			BARON
	Oh, my large and noisy neighbor -- 
	really? That?
		(indicating Preysing's 
		door)

			FLAEMMCHEN
	That.

			BARON
		(with meaning)
	You?

			FLAEMMCHEN
		(quickly)
	Oh -- work!!

			BARON
		(with meaning)
	Oh!

			FLAEMMCHEN
	Dictation.
		(she twittles her 
		fingers)
	You know...

			BARON
	Oh... poor child. If you were free, 
	I'd ask you to come and have some 
	tea -- but --

			FLAEMMCHEN
	Tea would spoil my dinner.
		(lightly)
	One meal a day, I'd hate to spoil 
	it.

			BARON
	Reducing?

			FLAEMMCHEN
		(she turns invitingly)
	No -- why? -- should I?

			BARON
	Lord no -- charming -- but why one 
	meal a day?

			FLAEMMCHEN
		(laughing in his face)
	Money -- Ever heard of it?

			BARON
	Yes -- yes indeed -- but you are 
	a...
		(moves fingers)
	...a stenographer. Don't little 
	stenographers earn little pennies?

			FLAEMMCHEN
	Very little.

			BARON
	Too bad.

			FLAEMMCHEN
	Did you ever see a stenographer with 
	a decent frock on? -- One that she'd 
	bought herself?

			BARON
	Poor child --
		(enthusiastically)
	I wish I were free tonight -- we 
	could --

			FLAEMMCHEN
		(with invitation)
	Aren't you?

			BARON
		(quickly)
	What?

			FLAEMMCHEN
	Free --

			BARON
		(glancing up passage)
	Unfortunately no -- to bad -- tomorrow 
	though.

			FLAEMMCHEN
	Tomorrow? What time tomorrow?

			BARON
	Shall we say five o'clock -- 
	downstairs?

			FLAEMMCHEN
	Where downstairs?

			BARON
	Yellow Room where they dance --
		(business)

			FLAEMMCHEN
	You're very funny --

			BARON
		(with great meaning)
	Yes? -- Tomorrow?

			FLAEMMCHEN
	Of course.

			BARON
	Really?

Flaemmchen laughs at him.

			BARON
	We'll dance.

			FLAEMMCHEN
		(slowly)
	All right. We'll dance.

At that moment we hear Kringelein's voice calling from his 
doorway at the end of the passage.

			KRINGELEIN'S VOICE
	Baron -- Oh, Baron!

The Baron turns and looks off at ---

KRINGELEIN

Kringelein is in his door in the distance -- radiant. He 
waves.

			KRINGELEIN
	If I could trouble the Baron to come 
	and see this beautiful room. I have 
	ordered champagne. Perhaps the 
	Baroness could join us.

							CUT BACK TO:

FLAEMMCHEN, BARON AND KRINGELEIN

			KRINGELEIN
	Waiter, oh waiter! Wait a minute!
		(to Baron and 
		Flaemmchen)
	We are having caviar -- it's expensive 
	but that makes no difference -- I 
	see the Baroness is laughing.

			FLAEMMCHEN
	Have caviar if you like, but it tastes 
	like herring to me.

At that moment Grusinskaya's door opens suddenly and Suzette 
comes out into the hall.

			SUZETTE
	Ssshh! Please! Madam is asleep.

			KRINGELEIN
	Oh!

By this time the others are entering Kringelein's room. The 
Baron turns back for a moment.

			BARON
		(calling back quietly 
		to Suzette)
	Asleep? -- Ssshhh -- sorry!

Suzette turns back into the room.

							CUT TO:

GRUSINSKAYA'S ROOM

It is typical hotel. Half-open trunks, etc. Curtains are 
drawn -- room is in semi-darkness. There is a sense of 
silence, except for distant music coming from the Yellow 
Room below.

In Suzette's hands we see one of Grusinskaya's ballet slippers 
which she has been mending.

She is about to tiptoe to her seat when she stops suddenly 
and looks off dramatically at...

GRUSINSKAYA

Shot from her angle. She is sleeping beneath a Chinese robe, 
on the chaise-lounge.

Apparently she has changed her position, because the hand 
which is outside the robe moves.

The CAMERA, as though it were Suzette, moves up towards 
Grusinskaya. Her eyes are closed. Suzette crosses to the 
chaise-lounge and is looking down.

Grusinskaya's eyes open suddenly. She looks at the ceiling 
and then her eyes turn and look straight at Suzette.

			SUZETTE'S VOICE
		(quietly and reverently -- 
		almost a whisper)
	Madam has slept well.

			GRUSINSKAYA
	No, I have been awake -- thinking -- 
	thinking.

			SUZETTE'S VOICE
	It is time for the performance.

			GRUSINSKAYA
	The performance?

			SUZETTE
	It is time.

Like a soldier called to attention Grusinskaya sits suddenly 
upright --

			GRUSINSKAYA
	Always the performance -- every day 
	the performance -- time for the 
	performance.
		(she pauses and droops 
		suddenly)
	I think, Suzette, I have never been 
	so tired in my life.
		(she takes the bottle 
		of veronal which is 
		nearby)
	Veronal didn't even help me to sleep.
		(laughs a little)

			SUZETTE
		(speaking into 
		telephone)
	Madam Grusinskaya's car is to be 
	brought.

While she is speaking Grusinskaya rises -- with the grace of 
a dancer she picks up the Chinese robe that has fallen to 
the floor and although there is only one other woman in the 
room -- she holds the robe around her.

She crosses to the mirror and looks at her face, running her 
fingers through her hair. She gently massages under her eyes 
and the CAMERA sees Grusinskaya for the first time.

There is silence in the room -- neither of the women speak.

Suzette gets madam's clothes ready. She crosses, puts the 
case of pearls down on the dressing table and opens them.

Grusinskaya looks into space -- silence -- dead silence.

Suzette kneels as if to put Madam's stockings on for her. 
Grusinskaya pulls her foot away.

			GRUSINSKAYA
	I can't dance tonight --

			SUZETTE
	It will pass -- it will pass -- come.

			GRUSINSKAYA
	Let us cancel the engagement.

			SUZETTE
	But, Madam. cannot do that.

			GRUSINSKAYA
	Now is the time to cancel to stop 
	entirely. I feel it -- everything 
	tells me -- enough -- enough.

She leans forward against the dressing-table and her hands 
unconsciously touch the pearls.

			GRUSINSKAYA
		(very quietly)
	The peals are cold -- everything is 
	cold -- finished -- it seems so far 
	away -- so threadbare -- the Russians -- 
	St. Petersburg -- the Imperial Court -- 
	the Grand Duke Sergei --
		(long pause as though 
		she were reliving 
		incidents of the 
		past)
	-- Sergei -- dead -- Grusinskaya -- 
	it's all gone.

She throws the pearls away, down upon the floor.

			SUZETTE
	Mon Dieu -- the pearls -- if they 
	were to break --

			GRUSINSKAYA
	The pearls won't break -- they hold 
	together and bring me bad luck ---- 
	I hate them!

Suzette crosses replacing the pearls.

			SUZETTE
	Orchids come again, Madam -- no card -- 
	I think perhaps they are from the 
	same young man -- he is at the end 
	of the corridor -- tall -- he walks 
	like a soldier -- Madam must have 
	noticed how often he is in the 
	elevator with us. Last night for 
	instance --

			GRUSINSKAYA
	Oh, Suzette -- Suzette -- Sshh -- 
	quiet.

Grusinskaya's eyes are looking off into space -- she is away 
in Russia -- she does not look --

Telephone rings -- Suzette crosses to telephone.

			SUZETTE
	Ah, oui -- the car is here for Madam.

			GRUSINSKAYA
	Send it away -- I shan't need it.

There is a knock at the door -- a certain kind of knock.

			GRUSINSKAYA
	Come in.

She picks up the telephone and as she does so Pimenov enters. 
Suzette quickly gives Pimenov a signal that there is trouble. 
As Pimenov is closing the door we hear Grusinskaya speak 
into telephone.

			GRUSINSKAYA
		(authoritatively)
	Madam Grusinskaya will not require 
	her car -- no -- she will not be 
	going to the theatre.
		(she turns)

Pimenov (at heart a clown) makes a grand comedy bow. He will 
deliberately try to tease Madam out of her mood.

She glances at him, without smiling, crosses to the dressing-
table and sits.

			PIMENOV
	It is time for the performance.

			GRUSINSKAYA
		(under her breath)
	The performance -- the performance -- 
	the performance.
		(during this scene 
		the orchids fall to 
		the floor)

It is a hysterical out-burst. It is not a woman who is just 
temperamental, it is something deeper than that. She is very 
near a nervous breakdown. We, the audience, must feel with 
her a revulsion against the word performance.

			PIMENOV
		(tenderly -- as he 
		touches her shoulder 
		gently)
	Poor little Lisevata -- she still 
	has her stage frights -- it will 
	pass.

Pimenov kneels by Grusinskaya -- he is chafing her hands, he 
attempts to soothe her.

Now Grusinskaya draws her hands suddenly away.

			GRUSINSKAYA
	It is not stage fright -- it's 
	something more --

			PIMENOV
		(tenderly)
	What -- what is it? Last night...

			GRUSINSKAYA
	Last night?... There was no applause.

			PIMENOV
		(quickly)
	There was -- there was.

			GRUSINSKAYA
	That theatre -- half empty -- dancing 
	for those few -- I was frantic -- I 
	finished -- the last beat and...
		(she reclines her 
		head as the swan 
		finishing the dance)
	...I waited -- I listened -- but the 
	applause didn't come -- nothing. A 
	man in the box -- and just the claques 
	behind -- it is passed, Pimenov. We 
	are dead -- it's finished.

There is a sudden knocking at the door.

			PIMENOV
	Meierheim --

The door opens suddenly. Meierheim bursts into the room.

			MEIERHEIM
	What is this that you have cancelled 
	your car? Who am I that I should 
	wait like a fool at the door? And 
	here on a whim, you cancel your car. 
	Have you forgotten there is a 
	performance? Do you know the time? 
	Or, are we all mad? Am I your 
	manager?... Have we a contract? Have 
	we obligations? Am I blind?
		(glances at his watch)
	...Or is that the time?

			GRUSINSKAYA
	I'm cancelling the engagement.

			MEIERHEIM
	Oh!

Business of Pimenov signaling to him.

			MEIERHEIM
	Oh! Madam is cancelling the 
	engagement. Madam has chosen a funny 
	time for such a funny joke. Ha, ha, 
	ha -- hurry, come on. Tonight -- 
	there's a line in front of the theatre 
	since six o'clock. The house is jammed 
	to the roof.

			GRUSINSKAYA
	The house is not full -- Is it really 
	full?

			MEIERHEIM
	Packed to the ceiling. Hurry -- get 
	dressed. And what an audience -- the 
	French Ambassador -- American 
	Millionaires -- Princess Ratzville -- 
	er -- er --

			GRUSINSKAYA
		(to Suzette)
	Oh -- but it can't be.

			SUZETTE
	Oh, come, Madam -- please come.
		(she holds up her 
		frock)

			GRUSINSKAYA
		(changed mood)
	All right, Suzette -- quickly -- 
	hurry.

			PIMENOV
	We will wait.

			MEIERHEIM
	You are late. Hurry.

Meierheim goes over to telephone, he picks up receiver and 
says:

			MEIERHEIM
	Tell Madam Grusinskaya's chauffeur 
	to bring the car.

Show few feet of Grusinskaya getting dressed.

							CUT TO:

BY ELEVATOR

Pimenov and Meierheim.

Meierheim is pushing the bell.

			PIMENOV
	How is the house?

			MEIERHEIM
	Terrible. After this, no more ballets 
	for me. Jazz --
		(snaps his fingers)
	Just jazz.

			PIMENOV
	If the house is empty again, I don't 
	know --

			MEIERHEIM
	When she gets her paint on and hears 
	the music -- she'll be all right. I 
	know these people.

They are walking towards Kringelein's room. They are pacing 
rather like men who walk the deck on a liner. They turn almost 
together, but when they turn back past the CAMERA the CAMERA 
PROCEEDS on into Kringelein's room. The CAMERA ENTERS THE 
ROOM to a burst of laughter. Champagne bottles open, caviar, 
smoke, etc.

In the room are the Doctor, Kringelein, the Baron, Flaemmchen, 
and a very fat waiter -- comedian.

			KRINGELEIN
	You may laugh. Caviar and champagne 
	may mean nothing to you, but to me -- 
	they mean a great deal. You see, I'm 
	ill and all of a sudden I got a fear 
	of missing life. I don't want to 
	miss life -- do you understand?

			FLAEMMCHEN
	You are funny. You speak of life as 
	if it were a train you wanted to 
	catch.

			KRINGELEIN
	Yes -- and for me, it's going to 
	leave at any minute. Let's drink.

The Baron offers Flaemmchen a glass of champagne. She shakes 
her head.

			KRINGELEIN
	I'm sure this beautiful room must 
	appeal to your taste -- distinctive, 
	don't you think? Velvet upholstery -- 
	'A-number one'. I'm in the textile 
	trade and I know.
		(he has a slight case 
		of hiccups from the 
		champagne. He touches 
		the drapes)
	And these are real silk drapes.

			FLAEMMCHEN
		(amusedly)
	Silk -- think of that -- silk -- 
	they are, too.

			KRINGELEIN
		(who hasn't stopped 
		talking)
	Have you seen the bathroom? -- Hot 
	and cold running water -- You see, I 
	can get a bath whenever I like.

At that moment Preysing's voice is heard calling to the Floor 
Clerk.

			PREYSING
	The stenographer!

Flaemmchen, hearing this, turns and looks off, apparently 
through the door. Her manner changes, she puts down her glass.

			FLAEMMCHEN
	Her master's voice!
		(turns to Baron)
	I must go now -- goodbye -- thanks.

			KRINGELEIN
	Oh, don't go.

			FLAEMMCHEN
	I'm engaged for the evening.

			KRINGELEIN
	Oh, can anyone engage you for the 
	evening?

			FLAEMMCHEN
	To take dictation -- a Mr. Preysing --
		(to Baron)
	Goodbye, you -- tomorrow at five 
	o'clock.
		(she is moving out)

Kringelein's optimism has left him for a moment, he stands 
looking out of door undecided, he is drooped suddenly, as 
though years had returned to him.

			BARON
	What's the matter, Mr. Kringelein?

			KRINGELEIN
		(to himself)
	General Director Preysing!
		(possibly he turns to 
		Baron)
	Baron, when I was sixteen years old, 
	I started as an office boy in that 
	man's factory --

			BARON
	Then you know him?

			KRINGELEIN
	Do I know him -- I know him through 
	and through.

They start to leave. Oh, gentlemen, please don't go.

			BARON
	I must -- I hope to see you again, 
	Mr. Kringelein.

Baron leaves.

			KRINGELEIN
	You will stay, Doctor -- if you have 
	nothing better to do?

			DOCTOR
	I have nothing better to do, Mr. 
	Kringelein.

They move into the room.

							CUT TO:

NO SCENES: 24 and 25 Sequence omitted from original script.

NEAR ELEVATOR

Pimenov and Meierheim are standing there.

Meierheim is pushing the elevator button.

The Baron stands near and pauses, he is now a changed man. 
He looks off as he hears the voice of Grusinskaya, off in 
the distance.

Grusinskaya's Voice Hurry, Suzette.

GRUSINSKAYA

Shot from the Baron's angle. Grusinskaya is sweeping down 
the corridor, followed by Suzette.

							CUT BACK TO:

BARON, PIMENOV AND MEIERHEIM

			BARON
	Perhaps you could present me now, 
	Mr. Pimenov.

			PIMENOV
	Please, Baron -- forgive me -- not 
	now -- here she is.

Grusinskaya sweeps into scene.

The Baron leans forward quickly and pushes the bell with a 
glance at her.

They look at each other. He fixes his eyes on her 
characteristically. She glances at him. This is the first 
time they have met in the picture.

She is impatient. As if to break an awkward silence, she 
turns to Suzette.

			GRUSINSKAYA
	My coat.

Suzette is carrying the coat over the pearls. As she takes 
the coat off her arm, Grusinskaya glances down at the jewel 
case.

			GRUSINSKAYA
	Suzette -- I told you not to bring 
	the pearls. I will not wear them 
	tonight.

			MEIERHEIM
	Why not?

			GRUSINSKAYA
	Take them back, Suzette.

			MEIERHEIM
	You haven't time.

Suzette hesitates.

			GRUSINSKAYA
	Hurry, Suzette.

			MEIERHEIM
	Such nonsense.

Suzette toddles off with the pearls.

The elevator opens, collects its passengers, all except the 
Baron and descends.

FLASH IN

A shot of Grusinskaya's eyes as she goes down, glancing up.

FLASH IN

A shot of the reverse of him looking down.

The Baron pauses, hesitates, thinks. We are interested in 
his action. For the first time he becomes furtive.

HOTEL LOBBY - FROM ELEVATORS

Music swells up from the Yellow Room. A great deal of noise, 
confusion and activity as the elevator stops to emit 
Grusinskaya, followed by Pimenov, Meierheim and some other 
people who are rather excited to be in the elevator with the 
great Grusinskaya.

			MEIERHEIM
		(off scene)
	The car for Madam Grusinskaya.

The bellboy hears it and passes the word around. It seems to 
be echoed through the lobby.

People turn, as Grusinskaya's spirit seems to rise with the 
attention she is getting.

THE CAMERA precedes her through the revolving door, as she 
sweeps outside of the hotel.

The Baron's chauffeur, Schweinke, is seen to watch her go. 
He looks furtively around and enters the hotel.

							CUT BACK TO:

UPPER CORRIDOR - CLOSEUP OF BARON

As he watches Suzette returning from Grusinskaya's room. She 
is about to push lift button - then decides to run downstairs.

IMPORTANT CLOSEUP OF BARON

					FADE OUT:

			END OF SEQUENCE "#1"

PREYSING'S ROOM

Zinnowitz and Preysing are standing by door.

			PREYSING
	No news from Manchester yet -- Do 
	you think we ought to postpone the 
	conference?

			ZINNOWITZ
	Good heavens no. That'd create the 
	very worst impression. You must be 
	optimistic. You must convince them. 
	You know as well as I do that the 
	merger must go through.

			PREYSING
	Yes -- the merger must go through -- 
	But I am used to making my deals on 
	a solid basis. I am not a liar. I am 
	an honest business man -- a good 
	husband and father -- I have a sense 
	of honor -- I have nothing to conceal. 
	I couldn't live happily otherwise.

			ZINNOWITZ
	Well, don't get excited about it. We 
	agreed that the merger with the 
	Saxonia people must go through.

			PREYSING
	I want to dictate my statement for 
	tomorrow. I can't speak without notes. 
	I like to have things down before me 
	in black and white.

			ZINNOWITZ
	I'll see you in the morning then, at 
	the conference. Everything'll be all 
	right, Preysing... Don't worry. 
	Goodnight.

			PREYSING
	Good night.

Zinnowitz leaves.

		SEQUENCE "#2"

FADE IN ON BLACKNESS OF PREYSING'S ROOM

We hear the distant voice of Preysing and the keys of the 
typewriter rattling. The reason for the blackness is that 
Preysing's back is flat into the camera. His hands are behind 
his back and his fat fingers are moving restlessly. It is an 
odd effect. We don't know quite what it is.

			PREYSING'S VOICE
	Both parties have fully agreed that 
	this merger can result only in mutual 
	advantages.

Preysing moves forward showing that we are in Preysing's 
room.

The change of light shows us plainly the time lapse.

Flaemmchen is seated at a small table typing. Preying strides 
forward As he strides he says:

			PREYSING
	Moreover --

			FLAEMMCHEN
		(repeating)
	Moreover --

Preysing paces the room.

			PREYSING
		(repeating)
	Moreover --
		(he pauses, thinking. 
		Picks up telephone 
		quickly -- into 
		telephone)
	Is there a telegram for me yet?... 
	Oh -- when it does, send it up.

During this, Flaemmchen, who is tired sits back and rubs her 
fingers that have been over-worked. She glances at her wrist-
watch.

Preysing comes and stands behind Flaemmchen.

			PREYSING
	Now, where was I?
		(he looks over the 
		sheet in her 
		typewriter -- 
		accidentally his arm 
		touches her neck)
	Oh -- sorry.
		(he puts his cigar in 
		his mouth and walks 
		away. As he walks 
		away)
	Where was I?

As he turns, he catches a down shot on her from behind as 
she stretches back showing her busts. Seeing his face looking 
down on her she pulls herself together and seats herself at 
attention.

			FLAEMMCHEN
	Moreover...

			PREYSING
	Moreover...

It seems a silly kind of lull.

			PREYSING
	Do you work in Justice Zinnowitz' 
	office?

			FLAEMMCHEN
	No -- only occasional jobs.
		(she yawns suddenly)

			PREYSING
	Tired?

			FLAEMMCHEN
	You pay me.

			PREYSING
	You're a very unusual stenographer --

			FLAEMMCHEN
	Moreover...

			PREYSING
	Moreover...
		(as he paces the room, 
		it is obvious that 
		he is trying to 
		collect his thoughts)

She looks at him, waits a moment and then begins 
characteristically to, change the sheet of paper.

			FLAEMMCHEN
	I don't see why it's unusual for a 
	stenographer to be pretty -- if she 
	does her work well, -- seems so silly. 
	I don't know why they don't like 
	girls like me in offices. Personally, 
	I hate offices -- I'd much rather be 
	in the movies.

			PREYSING
	Movies?

			FLAEMMCHEN
	Yes, I photograph very well. Look --

She tosses magazine -- as if it were nothing at all over to 
him.

He looks down at it without touching it.

			PREYSING
	What is this?

			FLAEMMCHEN
	I got ten marks for that.

He picks it up.

			PREYSING
	You...

			FLAEMMCHEN
		(without looking up)
	Me.

As he looks at picture -- he lowers his voice two notes.

			PREYSING
	You...

			FLAEMMCHEN
		(reading)
	Moreover...

			PREYSING
		(quickly)
	What?

			FLAEMMCHEN
		(reading)
	Only in mutual advantages -- moreover.

			PREYSING
	What brown hands you have.

			FLAEMMCHEN
	That's from skiing.

			PREYSING
	Skiing?
		(he holds her hands)

			FLAEMMCHEN
		(natural -- unabashed)
	Yes... A man I know took me to 
	Switzerland last month...

He drops her hand suddenly.

			PREYSING
	A man? -- To Switzerland? -- That 
	must have been nice -- for him.

			FLAEMMCHEN
		(reading)
	Only in mutual advantages -- 
	moreover...

Preysing paces the room trying to get his thoughts back to 
the work in hand.

			PREYSING
	Moreover... He was a lucky man -- 
	that man.

			FLAEMMCHEN
	Perhaps.
		(she waits at attention)

He paces back and forth again.

			PREYSING
	Don't misunderstand me. I'm a married 
	man -- with grownup daughters. Uh --

			FLAEMMCHEN
	Moreover -- Do you mind if I smoke?
		(she takes cigarette)
	I went to Florence once, too.

			PREYSING
	With the same friend?

By this time she is smoking her cigarette.

			FLAEMMCHEN
		(without looking at 
		him)
	No.

			PREYSING
		(quickly)
	Moreover, the possibility of the 
	successful termination of negotiations 
	now pending with the Manchester Cotton 
	Company...

			FLAEMMCHEN
	Not too quickly.

			PREYSING
	What?

			FLAEMMCHEN
	You're a little too fast.

			PREYSING
	Can't you understand me?

			FLAEMMCHEN
	I understand you perfectly.

			PREYSING
	Have you got it now?

			FLAEMMCHEN
		(typing)
	Cotton Company --

			PREYSING
	Should throw a great weight into the 
	balance...

			FLAEMMCHEN
		(as he turns his back 
		looks at him 
		significantly)
	...weight into the balance...

There is a sudden knock at the door.

			PREYSING
	Come in.

Boy enters with telegram.

			BOY
	Telegram for Mr. Preysing.

With almost hysterical speed, Preysing snatches the telegram -- 
opens it. Flaemmchen powders her nose.

IMPORTANT CLOSEUP OF PREYSING

it is bad news. He wipes the perspiration from his forehead.

			PREYSING
	Oh -- oh.
		(he throws the telegram 
		away from him, onto 
		her desk. Paces the 
		room.)

Flaemmchen, believing the telegram to be something that she 
must copy, picks it up quite naturally and reads it.

			FLAEMMCHEN
	Deal with Manchester Cotton Company 
	definitely off.

Preysing turns and snatches the telegram from her.

			FLAEMMCHEN
	Sorry.

Preysing paces the room with the telegram.

Flaemmchen rises, stretches. Quite naturally she glances at 
the pictures on Preysing's dressing-table.

			FLAEMMCHEN
	How nice -- your daughters?

			PREYSING
	My daughters -- yes, my daughters.
		(he is talking more 
		to himself)

			FLAEMMCHEN
	Is that Mrs. Preysing.

			PREYSING
		(to himself)
	Definitely off.

			FLAEMMCHEN
	Oh -- too bad. Did you quarrel?
		(she is looking at 
		picture of Mrs. 
		Preysing)

			PREYSING
		(turns, speaks quickly -- 
		definitely)
	That'll be all -- be here tomorrow 
	at nine o'clock.
		(he turns, goes out 
		onto balcony with 
		telegram)

Flaemmchen, delighted and with alacrity, crosses, piles up 
her papers and is prepared to leave.

							CUT TO:

FLASH OF CORRIDOR

Trim Flaemmchen out of Preysing's room. Take her down to 
elevator.

At the same time, CAMERA PANS OVER and shows the Baron's 
chauffeur knocking at the Baron's door.

			BARON'S VOICE
		(calling)
	Come in!

Trim the chauffeur into the Baron's room.

BARON'S ROOM

Baron is busy changing his clothes. Chauffeur steps in, he 
closes the door behind him and stands there with an 
inquisitive look.

			CHAUFFEUR
	You are late -- the dancer's gone to 
	the theatre.

			BARON
		(very nonchalantly)
	Well?

			CHAUFFEUR
	She's gone to the theatre -- don't 
	you know?

			BARON
		(very nonchalantly)
	Yes.

			CHAUFFEUR
		(ready to explode)
	And what are you going to do?

			BARON
	The pearls are in her room.

			CHAUFFEUR
		(threateningly)
	Now listen to me. The others are 
	getting suspicious of you. I was on 
	the telephone to Amsterdam today, 
	they think you're scared.

			BARON
	I've been careful, I've been waiting 
	my chance.

			CHAUFFEUR
	You've been waiting your chance. 
	You're too much of a gentleman -- 
	that's the trouble with you.

			BARON
	I told you I'll get the pearls 
	tonight.

			CHAUFFEUR
	Need any help?

			BARON
	No.

			CHAUFFEUR
	Have you got that skeleton key?

He takes the skeleton key out of his pocket and produces it 
to the Baron.

			BARON
	No --

			CHAUFFEUR
	Why?

			BARON
	The floor clerk is out there in the 
	corridor -- she sees everything ---

			CHAUFFEUR
		(contemptuously)
	I could take care of her.

			BARON
	How?

			CHAUFFEUR
	Chloroform on a handkerchief from 
	behind -- while you...

			BARON
	No -- no -- no -- no...

			CHAUFFEUR
	Why?

			BARON
	Poor girl -- chloroform would give 
	her a rotten headache... I know -- I 
	had it in the war. Besides, she's 
	very pretty -- not young but --

			CHAUFFEUR
	You're no good for this business. 
	It's just a joke to you...

			BARON
		(swings suddenly on 
		him)
	I don't like your tone.

			CHAUFFEUR
		(comes up to him -- 
		face to face)
	No --

Baron is suddenly seized with uncontrollable temper -- twists 
his wrists -- backs him to door, speaks quietly.

			BARON
	Get out and leave it to me... be 
	ready to leave on the night train 
	for Amsterdam...

			CHAUFFEUR
	With the pearls?

			BARON
	With the pearls --

The Chauffeur leaves.

The moment he is gone -- Baron looks the door -- business ad 
lib.

Crosses to window.

FACADE OF HOTEL

The Baron peeps out onto balcony -- it seems to be clear. He 
proceeds along and peeps into Preysing's room. Preysing is 
apparently in the bathroom. Baron skips nimbly past the room.

Working at thrill of pass through to Grusinskaya's room.

GRUSINSKAYA'S BALCONY

Baron is pretty shaken by jump.

							CUT TO:

GRUSINSKAYA'S ROOM

Darkness -- light from transom and building opposite.

Business of finding key and getting pearls. INTERCUT Preysing 
coming out onto his balcony, bringing out with him, loud 
speaker of radio -- which announces noisily as follows:

			LOUD SPEAKER
	'You are listening to the music of 
	the Eastman Jazz Band, in the famous 
	Yellow Room of the Grand Hotel.'

							CUT TO:

GRUSINSKAYA'S ROOM

Baron starts suddenly -- when he hears voice and with pearls 
in his hand, looks cautiously out of window -- only to see:

							CUT TO:

SHOT FROM HIS ANGLE ONTO PREYSING'S BALCONY:

Preysing seating himself upon his balcony -- Radio loud 
speaker seen. Possibly Preysing commences dinner scene 
bullying waiter.

GRUSINSKAYA'S BALCONY

The Baron knows he is trapped, if he jumps onto Preysing's 
balcony, Preysing is the man that will cause the alarm.

Quickly he moves across the room -- tries the door -- it is 
locked securely. He looks for skeleton key and then remembers 
refusing it from the chauffeur. He is trapped in an absurd 
way.

As he moves back from the door, he knocks the telephone off 
of the table. He watches it for a moment, realizing that the 
operator must now know that there is someone in Grusinskaya's 
room.

He picks up the telephone, replaces the receiver, wipes finger 
prints off with his handkerchief.

He is moving back to window when telephone starts to ring 
suddenly. The thought crosses his mind they they will want 
to know who is in the room. He lets the telephone ring. 
Crosses to the door again.

Above the din of the telephone we hear the chambermaid's 
voice singing an absurd song.

He listens. She is coming in.

The key turns in the door.

Quickly he hides behind the curtains.

Slowly and amusingly the chambermaid, tired and dragging, 
enters the room.

He is looking for an opportunity to dash through the door. 
After all, this maid should be an easy person to get around. 
We have a feeling he wishes to dash through the door.

The chambermaid might be singing the same tune that we hear 
from Preysing's radio.

The telephone commences ringing. Chambermaid does not answer 
it but continues her duties.

At last, because of the noise of the telephone, she picks it 
up and speaks.

			CHAMBERMAID
	No -- no -- there is no one here.
		(she replaces the 
		receiver)

At that moment, the Inspectress, a large stout woman, appears 
at the open door.

			INSPECTRESS
		(to Chambermaid)
	You're late... What have you been 
	doing?

			CHAMBERMAID
		(grumbling)
	Everyone -- all the time says, 'Come 
	back - come back.' They won't get 
	out of their rooms.

The Inspectress, in a very businesslike way, proceeds around 
the room, coming nearer and nearer the Baron. She is looking 
at ashtrays and running her fingers over the woodwork looking 
for dust. She tries the door to the next room, to see if it 
is locked.

Telephone bell rings again.

Inspectress picks it up quickly.

			INSPECTRESS
	No, Madame Grusinskaya is not here... 
	The Western Theater?... No...

Suddenly, out of scene, we hear the voice of Suzette.

Suzette is calling out to the night clerk in the passage.

			SUZETTE'S VOICE
	Have you seen Madame?

			CLERK'S VOICE
		(replying)
	Isn't she at the theatre?

Suzette comes in and hurries to telephone.

			SUZETTE
	Hello, hello, Mr. Pimenov? Yes... 
	Mr. Pimenov, have they found her?... 
	No, she is not here... Yes, I'm at 
	the hotel.

INTERCUT

With the Baron watching.

GRUSINSKAYA'S BALCONY

During this action the Inspectress has waven the chambermaid 
out of the room. Business ad lib.

Meierheim enters, he has heard the word 'Pimenov' on the 
telephone -- he takes the receiver from Suzette.

			MEIERHEIM
		(into telephone)
	Pimenov?... What's happening?... No, 
	I haven't found her. Is Desprez 
	dancing?... How is it?... Oh, all 
	right. Keep the show going.
		(bangs down receiver)
	Wait till I see her, she'll pay for 
	this -- this little trick is going 
	to cost Grusinskaya a suit for breach 
	of contract.

			SUZETTE
	Madame is ill -- her nerves...

			MEIERHEIM
	Her nerves... What about my nerves?... 
	Who is she anyway? Where does she 
	think she is -- Russia? Those days 
	have passed.

He turns and sees Grusinskaya standing at the door. She is 
in costume, very pale, very beautiful. Her coat, over one 
shoulder, is ragging, she lets it drop and moves slowly into 
the center of the room. Her hair, dressed for the dance, 
make-up is on her face -- she is breathless.

			SUZETTE
	Madame --

			MEIERHEIM
	Well?

			GRUSINSKAYA
	I want to be alone.

The other women in the room draw out, leaving Suzette to 
pick up the robe that has fallen to the floor.

			MEIERHEIM
	Where have you been?

			SUZETTE
	Should I -- Does madame wish...

			GRUSINSKAYA
	Suzette, please go, I want to be 
	alone.

Suzette obediently crosses to door and pauses on threshold, 
waiting for Meierheim.

Meierheim approaches Grusinskaya.

			MEIERHEIM
	I suppose I can cancel the Vienna 
	engagement.

			GRUSINSKAYA
	I wish to be alone.

			MEIERHEIM
	You'll be very much alone, my dear 
	madame. This is the end.
		(he stamps out)

Suzette, with a frightened look through the door, closes it 
on Meierheim's exit.

DURING THIS SCENE, INTERCUT SHOTS OF BARON.

It is some time before Grusinskaya moves. She crosses to 
door -- turns the key -- takes the key out of the lock and 
throws it away from her -- out upon the floor. She crosses 
slowly to the mirror, regards herself, silently. We hear the 
strains from Preysing's radio playing a light Viennese waltz.

Grusinskaya begins suddenly to sob.

FLASH OF BARON

Watching her.

GRUSINSKAYA

Quite suddenly -- as if with resolution she begins to undress. 
Then she becomes weary again.

With a garment in her hand, she moves slowly toward the 
curtain -- where the Baron is standing.

BARON

We see him tense himself.

GRUSINSKAYA

She drops the garment listlessly to the floor -- moves out 
of scene.

CLOSEUP OF BARON

He peeps around the curtains.

							CUT TO:

GRUSINSKAYA

She is in a thin robe. She sits before mirror -- looks 
steadily at her face. Her head goes down suddenly in her 
hands and we hear her say:

			GRUSINSKAYA
	The end -- over -- finished --

Suddenly she moves quickly across the room. Goes to bathroom.

Baron half starts out toward door. He watches -- darts across 
the room as if towards the door. He hears her coming and 
darts quickly into the half open door of the closet.

She re-enters -- carrying a glass of water. She crosses, 
places the glass down beside the bed -- her movements are 
quick and furtive -- then she crosses, picks up the telephone -- 
asks for the theatre.

			GRUSINSKAYA
	The Western Theatre --

She leaves receiver down -- crosses quickly to mirror -- 
stands there and brushes back her hair -- crosses back to 
telephone speaks:

			GRUSINSKAYA
	Western Theatre?

She glances up at the clock.

			GRUSINSKAYA
	The stage -- Mr. Pimonov -- the ballet 
	master... Grusinskaya -- hurry -- 
	hurry.

Again she puts the receiver down -- picking up a pencil she 
commences hastily to scribble a note. She writes frantically. 
Her other hand goes up and picks up the receiver.

			GRUSINSKAYA
	Yes -- yes, I'm waiting.

She finishes the note -- commences suddenly to speak into 
the telephone --

			GRUSINSKAYA
	Hello, Pimenov? -- I'm at the hotel. 
	I couldn't go on -- I couldn't... 
	No, no don't --
		(long pause)
	...Just alone... Good night, good 
	night, my dear -- goodbye... Pimenov, 
	how is it going, badly?... Uh?... 
	Who's dancing?... Desprez?... Oh -- 
	and how is it?... Oh, -- oh, I see -- 
	they didn't miss me?... They didn't 
	miss me.
		(she lets her hand 
		drop with the receiver 
		and goes on talking 
		into the air)
	They didn't miss me -- good night, 
	Pimenov...

She is about to replace the receiver. She sits with it in 
her hand, unreplaced.

The music has stopped. The room is strangely silent. Behind 
her the Baron peers from the closet.

Her head sinks down upon her hands.

A funny, singing noise comes from the telephone. She lifts 
the receiver to her ear. In a very strange voice, the voice 
of Opehlia, she speaks:

			GRUSINSKAYA
		(with great humility)
	Oh -- I'm sorry, yes... I have 
	finished.
		(she replaces the 
		receiver)

The foregoing scene is much better played than described. It 
is in fact, ballet.

Quite calmly, Grusinskaya finishes the notes on the table. 
She folds it up and places it in a prominent place on the 
table, or hangs it over the telephone.

She crosses to the window pulls back the curtains -- the 
Baron has been hiding behind a few minutes before.

We see the Baron watching. He glances at the door quickly. 
"No, there is not time." She is returning calmly. She crosses 
to the dressing table and takes the veronal out of a drawer. 
She looks at it thoughtfully, her lips are trembling a little. 
She moves to the radiator as if to seek warmth.

She sinks into a chair and her head droops over her folded 
hands which contain the veronal, she seems to pray.

The Baron comes from the closet -- now is his chance, he 
looks at the door but can't make it. Looks on the floor for 
the key which Grusinskaya has previously thrown there, his 
eyes fall upon the note on the telephone -- he reads it.

It is a death farewell note to Suzette -- do not insert it.

At this moment she has finished, the Baron returns to his 
hiding place. She makes the sign of a cross and goes to her 
bed.

She looks around nervously, apprehensively -- like a deer 
who has heard something, then reassured. She places the 
veronal on the night table beside the glass of water. She is 
quiet and deliberate. She arranges the pillows under her 
head and lies down. She reaches for the bottle of veronal 
and empties it generously in her hand. She has to lean away 
upon one elbow, from the Baron's position, in order to balance 
herself.

The Baron steps like a cat from his hiding place. He goes to 
the bedside noiselessly and stands there.

She reaches for the glass-her hand stretches out for the 
glass. The Baron takes her wrist suddenly.

She turns quickly looking at him. The glass falls to the 
floor with a crash and breaks. As she moves, the veronal 
falls out of her hands upon the bed. She struggles up to a 
sitting position.

			BARON
	Please, do not be alarmed, Madam.

She glances up at him. She is bewildered. She seems to be 
coming out of a trance. Again she wants to jump from the 
bed.

			BARON
	Careful -- there's broken glass on 
	the floor.

Now she becomes conscious of almost nakedness. She draws her 
kimono tightly around her, glances across the wide expanse 
of bed. We see her consider passing over that way, but she 
is now a woman again -- a woman of the earth -- it would be 
a silly movement.

			BARON
	There.
		(takes a pillow from 
		the bed throws it 
		upon the floor over 
		the glass, steps 
		back)

She gets up quickly and crosses, putting on her robe which 
was lying across the back of a chair.

Her first movement is not one of alarm but of -- shame. She 
draws her robe more closely around her and looks at the Baron 
puzzled. She thinks, dreamily, "What is this?" She glances 
back at the veronal and the bed showing us plainly that this 
man must have watched her preparation for bed. We get a sense 
of relief with her. She is trembling.

The Baron has controlled his nerves perfectly. He senses his 
danger. He is caught red-handed with five hundred thousand 
marks worth of pearls in his pocket. He is wondering if she 
will ring the bell. For an instant he thinks of escape. He 
could dash for the balcony. He could strike her dead or 
silence her with threats. There is in the room an intoxicating 
sense of romance and danger. (It should be in the scene.)

			BARON
	Please do not be frightened, Madam.

			GRUSINSKAYA
		(after a silence)
	What do you want here?

			BARON
	Nothing -- only to be here.

			GRUSINSKAYA
	Why do you hide in my room?

			BARON
	But surely you must know -- because 
	I love you.

			GRUSINSKAYA
	Because you love me -- you love me?

She looks at him for a few moments and then suddenly she 
throws herself upon the bed and begins to weep more and more 
passionately.

			BARON
		(going over to her)
	Poor little Grusinskaya! Does it do 
	you good to cry? Are you afraid? 
	Shall I go?

			GRUSINSKAYA
	I was so alone -- always alone -- 
	and suddenly you were there and said 
	that.
		(sitting up)
	No. I am not afraid. It is strange.

			BARON
	Don't cry -- it tears my heart to 
	see you sob like that.

			GRUSINSKAYA
		(regaining control)
	Nerves -- just nerves. You must 
	forgive me. I have had a bad evening. 
	I am very tired. Do you know what it 
	is to be tired -- tired of a routine 
	existence?

			BARON
	I'm afraid not -- I usually do just 
	what I feel like doing at the moment.

A look in his eyes reminds her of the strangeness of the 
situation. She rises with returning dignity and pulls her 
robe around her -- she is becoming the Grusinskaya of Imperial 
Russia; she is the woman Grand Dukes have fought for. She 
sweeps across the room.

			GRUSINSKAYA
	So you feel like coming into a lady's 
	room -- and you come... What now?

			BARON
		(following her)
	I'd like to smoke a cigarette.

			GRUSINSKAYA
	Certainly.

She gets her cigarette box from the writing table and holds 
it out to him. He takes a cigarette and lights it. She watches 
him curiously. She smiles, as she watches him greedily inhale 
the smoke. She crosses and sits before her looking glass. 
She brushes her hair back and powders her face. She looks 
into the mirror, we feel that she has regained a desire to 
live. He crosses and looks at her in the mirror. He smiles.

			GRUSINSKAYA
	Why do you look at me like that?

			BARON
	I did not know you were so 
	beautiful... and --

			GRUSINSKAYA
		(bitterly)
	And then --?

			BARON
	No irony. You're so appealing -- so 
	soft -- so tired. I feel like taking 
	you in my arms and not letting 
	anything more happen to you -- ever.

			GRUSINSKAYA
		(involuntarily closing 
		her eyes)
	And -- and --

			BARON
	How tired you are!

			GRUSINSKAYA
	Yes -- tired...

			BARON
	So alone.

			GRUSINSKAYA
	Alone. All alone.
		(whispers in Russian)
	Oh, you strange -- strange creature.

			BARON
	You mustn't talk Russian to me.

			GRUSINSKAYA
	Strange man...

			BARON
	Am I quite strange to you?

			GRUSINSKAYA
	Not quite strange now. It is as if I 
	had been expecting you. You know, 
	once when the Grand Duke was alive, 
	I found a man hiding in my room -- a 
	young officer --

			BARON
	And...?

			GRUSINSKAYA
	He disappeared. Later he was found 
	dead.

			BARON
	I never knew it was so dangerous to 
	hide in a woman's room when she's 
	alone.
		(he embraces her)

			GRUSINSKAYA
	Go away. Who are you --?

			BARON
	A man who could love -- that is all, 
	who has forgotten everything else 
	for you.

			GRUSINSKAYA
	You could love me. It is so long 
	since I have heard that word. Nobody 
	has loved me for a long time. It is 
	so icy-cold to be famous. One is so 
	cruelly alone. How is it that you -- 
	Let me look at you. Your hands. Your 
	eyes. Why could you love me?

			BARON
	I saw you just now -- then I saw you 
	cry -- and now I see you in the mirror -- 
	Grusinskaya...

			GRUSINSKAYA
	Grusinskaya... Oh -- oh if you knew 
	how I slaved and slaved for 
	Grusinskaya -- for the success of 
	Grusinskaya -- for the triumph of 
	Grusinskaya... and what is she now? 
	Just someone who has found that on 
	the day success ceases life ceases -- 
	Are you listening to me -- Do you 
	understand? -- I want you to 
	understand.

			BARON
	Yes -- I do understand.

			GRUSINSKAYA
	I think you must go now -- the key 
	is on the floor.

			BARON
	I'm not going -- You know I'm not 
	going -- Let me stay here?

			GRUSINSKAYA
	I want to be alone.

			BARON
	That is not so -- you don't want to 
	be alone.
		(he looks back at the 
		bed as if remembering 
		the suicide.)

			GRUSINSKAYA
	I want to be alone --

			BARON
	No -- You don't want to be alone at 
	all -- You were in despair before -- 
	If I left you, you'd feel worse than 
	you did before, You must not be alone -- 
	You mustn't cry -- you must forget... 
	Tell me that I can stay with you -- 
	tell me.

			GRUSINSKAYA
		(whispering)
	Just for a minute then.

Outside the distant noise of Kringelein is heard --

			BARON
	What? Say it again -- I didn't hear.

She whispers.

			GRUSINSKAYA
	You -- man...

The way she says it, the word goes home. It hurts him. She 
has looked into his eyes for a moment with a strangely melting 
and almost happy expression. She gets up suddenly.

(NOTE: The other side of the bed -- not where the glass is)

She reaches with her feet for her slippers. She puts one on. 
She can't find the other.

Business as he gets other slipper for her.

He kisses her ankle and looks up at her. She smiles down.

			GRUSINSKAYA
	Thank you -- you are gallant.
		(she turns, her mood 
		has changed)
	What a sentimental scene. Grusinskaya 
	weeping is a sight worth seeing. It 
	is many years since she did such a 
	thing... You frightened me -- badly. 
	You're responsible for this -- painful 
	scene.

He watches her.

The sound of her own voice reassures her. She is generating 
warmth. Her cry has done her good, she speaks quickly, 
volubly.

			GRUSINSKAYA
	The stage frays one's nerves... the 
	discipline -- it's so exacting. 
	Discipline means doing what you don't 
	want to do and take no pleasure in 
	doing. Do you know what I mean? Have 
	you ever experienced the weariness 
	that comes from discipline?

			BARON
	I? -- Oh, no. I do only what I take 
	pleasure in doing.

Grusinskaya turns, she is graceful again.

			GRUSINSKAYA
	I see -- you do only what you take 
	pleasure in doing. You take pleasure 
	in coming into a woman's bedroom and 
	you come. You take pleasure in a 
	dangerous climb onto a balcony, so 
	you do it... And what is your pleasure 
	now?

			BARON
		(naive as he says 
		frankly)
	I should like to smoke.

She rises. She had expected something else. His reply strikes 
her as chivalrous and considerate. She crosses to the writing 
table brings back her little cigarette box which she holds 
out to him. He takes a cigarette and lights it. She watches 
him curiously. She smiles, as she watches him greedily inhale 
the smoke. She crosses and sits before her looking glass. 
She brushes her hair back and powders her face. She looks 
into the mirror, we feel that she has regained a desire to 
live. He crosses and looks at her in the mirror, he smiles.

			GRUSINSKAYA
	Why do you smile?

			BARON
	Because I can see something in the 
	mirror that you cannot. My dear --
		(he pauses suddenly)

			GRUSINSKAYA
	What can you see?

			BARON
	You are beautiful!

			GRUSINSKAYA
	No.

			BARON
	Beautiful but so sad. I did not know 
	it was so dangerous to look into a 
	woman's bedroom.

Suddenly he stoops, takes her shoulder in his hands and kisses 
it. A long tender and sincere embrace.

Her eyes close. A tremor passes through her. Suddenly his 
whole being is aware of her. She turns, rises and disengages 
herself.

			GRUSINSKAYA
	I think you had better go now. The 
	key is on the floor.

He glances back. He speaks suddenly with an air of command.

			BARON
	I'm not going... You know that I'm 
	not going... Do you think I could 
	leave you alone here? After that --?

			GRUSINSKAYA
	What?

			BARON
	The veronal -- you. I'm going to 
	stay here with you.

			GRUSINSKAYA
	I want to be alone.

			BARON
	That is not the truth.
		(he catches her wrists)
	You do not want to be alone -- you're 
	afraid of being alone -- I know you're 
	afraid. I know you. You were 
	desperate, just now, if I go away 
	you'll be more desperate than ever. 
	Say I am to stay with you... say it.
		(he almost shakes her)

Her head falls slowly on his breast.

			GRUSINSKAYA
		(whispers)
	For just a minute then.
		(she pulls away, 
		crosses the room, 
		quickly to the door, 
		with almost a cry. 
		She looks around for 
		the key to the door)
	No -- oh, no!

He crosses quickly to her and holds her in his arms.

			BARON
	Just for a minute, Grusinskaya --

Outside the distant noise of Kringelein and the doctor.

FRONT ON SHOT OF KRINGELEIN

approaching the CAMERA with the Doctor.

They are returning from the bar and are passing Grusinskaya's 
room. THE CAMERA precedes them. The Doctor is 
characteristically drunk. He is silent, tense, cynical. A 
distinct contrast to Kringelein, whose soul is warmed for 
the first time by alcohol.

Kringelein's hat, the same, eccentric one, is twisted upon 
his head jauntily. The carnation is in his buttonhole.

THE CAMERA backs into Kringelein's room and pauses, because 
the Doctor has paused at the door.

			KRINGELEIN
	Oh, but Doctor. Isn't this wonderful. 
	To live -- to live -- in the Grand 
	Hotel.

			DOCTOR
		(with a deprecating 
		gesture)
	The Grand Hotel.

			KRINGELEIN
	Oh, but Doctor. The music -- the 
	champagne -- girls when they dance -- 
	all the shining ice in those big 
	silver things -- That's life --

			DOCTOR
	Life! -- Mr. Kringelein, you are 
	drunk -- good night.
		(he leaves)

			KRINGELEIN
		(to doctor)
	But Doctor --

But the Doctor has gone.

Kringelein re-enters his beautiful room. He crosses to the 
mirror, regards himself. Business ad lib.

He looks at himself in the mirror and raises his hat. 
Imitating the doctor, he repeats:

			KRINGELEIN
	Mr. Kringelein -- you are drunk -- 
	good night.

He puts his hat on the knob of the bed.

He takes off his coat, holds it up and carefully takes the 
carnation out of his buttonhole. With the coat over his arm 
and the carnation in his hand he looks around for a glass 
and some water which he sees standing on the night table by 
his bed.

He puts the carnation in the glass, having filled it with 
water and then his eyes fall upon his small group of medicine 
bottles.

His demeanor changes. He immediately becomes a thing of pain.

He glances at his watch -- it is long past his medicine time -- 
his spirit droops -- he might almost be in pain.

He picks up a small bottle and carefully counts eight drops 
into the glass. He is about to take it, he smells it, a sudden 
impulse of well-being surges over him. He flings the medicine 
away.

With a great wave of optimism he commences to sing the song 
that we have heard during the evening -- the chambermaid 
song - the Preysing radio song -- the love song. He saunters 
around the room, undressing.

							DISSOLVE OUT:

DISSOLVE INTO PASSAGE

His voice is still heard in the passage.

Rows of shoes outside the doors. The dozing night clerk hears 
the voice and looks up, startled.

							DISSOLVE OUT:

DISSOLVE INTO A WATCHMAN

with his clock, hears the voice.

							DISSOLVE OUT:

DISSOLVE INTO A CORNER OF DOCTOR'S ROOM

He is dozing in a chair with his clothes on. He looks up 
suddenly, hearing the voice.

							DISSOLVE OUT:

DISSOLVE INTO PREYSING'S ROOM

He is snoring. The distant voice disturbs him. He turns in 
his sleep.

							DISSOLVE OUT:

DISSOLVE INTO GRUSINSKAYA'S ROOM

A beautiful picture -- the distant voices -- shadows.

			BARON'S VOICE
	I've never been as happy.

			GRU'S VOICE
	What did you say?

			BARON'S VOICE
	I've never been as happy!

			GRUSINSKAYA'S VOICE
	Say it again -- say it!

			BARON'S VOICE
	I have never been so happy!

							DISSOLVE OUT:

DISSOLVE INTO KRINGELEIN'S ROOM

He is now dressed in an absurd night dress. He crosses to 
the bed, still singing, climbs into the huge bed -- the great 
pillows. His hand goes out -- he pulls out the light. He 
might be an Emperor as he turns with a happy, tired sigh.

DISTANT CLOCK CHIMES.

					FADE OUT:

			END OF SEQUENCE "#2"

		SEQUENCE "#3"

FADE IN:

TELEPHONE ROOM

It is the first time we have seen it. There are about eight 
girls very busy. Morning confusion. (parts to be written)

We pick up essential lines as we PAN DOWN SHOOTING AT THE 
GIRL'S FACES, assuming the CAMERA to be the board.

			GIRL ONE
	Grand Hotel -- good morning -- no, 
	Baron von Gaigern's room does not 
	answer... Yes,... all right... Baron 
	von Gaigern's chauffeur calling.

CAMERA PANS TO:

			GIRL THREE
	Good morning, nine-thirty Doctor 
	Otternschlag... No, Doctor, no 
	messages... No, Doctor.

CAMERA PANS TO:

			GIRL FIVE
	Grand Hotel -- good morning... who 
	is calling Madam Grusinskaya?... Oh, 
	Mr. Pimenov. Madam Grusinskaya is 
	not to be disturbed, sir... no, sir... 
	yes, sir --

The word passes down repeated.

			VOICE
	Mr. Preysing's calls to one sixty 
	two for today.

CAMERA PANS TO:

			GIRL EIGHT
	-- good morning... Mr. Preysing --
		(she plugs through)

							CUT TO:

CONFERENCE ROOM

Telephone bell ringing.

General shot.

Gerstenkorn, an old business man and Doctor Waitz, counsel 
for the Saxonia organization are sitting at a gree table, 
smoking and waiting.

			GERSTENKORN
		(glances at watch)
	Nine-thirty, Mr. Preysing keeps us 
	waiting.

			SCHWEIMANN
		(who has returned)
	He likes to play the great man.

			WAITZ
		(glancing at market 
		report from table)
	The Preysing stock is holding its 
	own today on the market.

			SCHWEIMANN
	Ask Preysing what it's costing him 
	to keep it up.

			GERSTENKORN
	And ask me what it's costing us to 
	hammer it down.

			WAITZ
	Exactly.

			GERSTENKORN
	If the Preysing people get the 
	Manchester contract, we shall 
	certainly merge with the Preysing 
	company -- but if they haven't they're 
	ruined -- Preysing will have to 
	declare himself.

			WAITZ
	Shhh -- here he is now.

The door opens and Flaemmchen enters. She is agreeably 
surprised to see the room full of men. She likes men.

			FLAEMMCHEN
		(beams)
	Good morning, gentlemen -- Mr. 
	Preysing will be here in a minute.

Business of Schweimann and Flaemmchen.

Gerstenkorn, making notes, glances at his watch again.

Door opens suddenly.

			PREYSING
		(enters)
	Good morning, gentlemen.

			MEN
	Good morning.

			PREYSING
	Sorry I'm late, I've been waiting 
	for Justice Zinnowitz, my legal 
	advisor.

			WAITZ
	Oh -- ho -- you want legal aid against 
	us? -- The whole thing seems to me 
	to be very simple.

			GERSTENKORN
	Very simple -- I've always liked the 
	way you dressed, Preysing -- English, 
	isn't it?

			PREYSING
		(disturbed)
	What?

			GERSTENKORN
		(quickly)
	They turn out marvelous material in 
	Manchester.

			PREYSING
	Manchester -- yes. Yes, yes, they 
	do. Yes -- Now gentlemen shall we 
	begin at the beginning? -- Have we 
	cigars -- water and everything?

Flaemmchen, who has been busy preparing her little table for 
work is seen in several CLOSEUPS:

			SCHWEIMANN
		(with a wink to 
		Gerstenkorn)
	Manchester is a very interesting 
	city, don't you think so, Preysing?

			PREYSING
		(stalling)
	Manchester -- yes -- yes. A man in 
	the textile industry naturally has 
	to know Manchester.

			GERSTENKORN
	There's a lot of business to be done 
	with the Manchester Cotton Company. 
	They've the whole English market 
	right in their hands. Have you any 
	connections with -- Manchester?

			PREYSING
		(quickly)
	We have a good many connections in 
	England, naturally.

			GERSTENKORN
	I mean with the Manchester people?

			PREYSING
		(looking at Gerstenkorn 
		impudently)
	We are here to discuss our merger. 
	Naturally I can make no statement at 
	this time. We must begin at the 
	beginning.

			GERSTENKORN
		(winking at Schweimann)
	All right.

			PREYSING
		(far-away commencing 
		to read his report)
	Since, on the eleventh of June, this 
	year -- when the first negotiations 
	for a merger between our respective 
	firms was entered into -- both parties 
	have fully agreed that this merger 
	can result only in mutual advantages.

INTERCUT this speech, which if played by Beery will be 
interesting, with signals, winks and signs between the other 
three men.

			GERSTENKORN
	Oh -- yes -- I beg your pardon!

			PREYSING
	I'm laying before you the last general 
	statement of our concern. Active 
	capital, plant and machinery, raw 
	material and finished product -- for 
	instance -- mop rags --

			GERSTENKORN
	Mop rags --!

Business between Preysing and Flaemmchen finding papers on 
'Mop Rag' report.

			GERSTENKORN
	What we want to know about is 
	Manchester.

			WAITZ
	Yes, Mr. Preysing -- that's what we 
	want to know.

			PREYSING
	I'd like to wait for Justice 
	Zinnowitz, before I commit myself.

			GERSTENKORN
	Oh -- Preysing, Preysing --

			PREYSING
	No water -- What a place!

			GERSTENKORN
	All you have to do is phone for it.

Flaemmchen, who is on her toes and busy every minute, rushes 
to the telephone and gives an order -- her conversation is 
heard over the conversation of the men in the room -- CAMERA 
HOLDS ON FLAEMMCHEN:

			FLAEMMCHEN
	Water -- seltzer, three or four 
	bottles and cigars -- good ones.

			WAITZ
	I can see this session is going to 
	be exhaustive.

			PREYSING
	Now to proceed with the projected 
	merger, the advantages for the Saxonia 
	are so obvious...

			GERSTENKORN
	Oh -- now let's talk like adults. 
	You want to tell us now a along story 
	of what your factory can do. We know 
	all that you could tell us and if 
	you tell the truth it wouldn't sound 
	so good. When you first approached 
	us...

			PREYSING
	We did not approach you.

			WAITZ
		(quickly looking 
		through the papers)
	Letter on file September fourteenth 
	would show that you approached...

			PREYSING
		(snatching the document 
		from his hand -- 
		losing his temper)
	It isn't so -- this was a response 
	to a tentative feeler of your own.

			GERSTENKORN
		(snatching the document 
		violently away)
	Tentative my foot -- a month before 
	this your old father-in-law came 
	very privately and scratched at my 
	door.

			PREYSING
	Scratched --
		(he nearly chokes)
	We did not take the initiative.

			GERSTENKORN
	Of course you took the initiative.

Zinnowitz enters the room.

			ZINNOWITZ
	Good morning, gentlemen -- I see the 
	conference is already underway.

			PREYSING
	Oh, here you are, Justice Zinnowitz -- 
	I'm at cross-purposes with these 
	gentlemen -- will you clear up the 
	situation?

			ZINNOWITZ
	But the situation is perfectly clear, 
	If you will allow me --
		(he clears his throat)

			GERSTENKORN
	How clear is Manchester?

			ZINNOWITZ
	Foggy -- frightfully foggy, always, 
	I'm told.
		(to Preysing)
	Have you said anything about 
	Manchester, Mr. Preysing?

			PREYSING
	I can make no statement about 
	Manchester at this time.

			ZINNOWITZ
	Well -- gentlemen.

There is dead silence for a moment -- he clears his throat, 
commences in almost the same tone as Preysing.

			ZINNOWITZ
	Since, on the eleventh of June of 
	this year -- when the first 
	negotiations for a merger...

			GERSTENKORN
		(over Zinnowitz's 
		voice -- with a sigh -- 
		sits back)
	Thank God we're beginning at the 
	beginning.

			ZINNOWITZ
		(stops suddenly -- 
		takes glasses from 
		his nose -- he is 
		speaking, not reading)
	As you remember it -- when you 
	approached us...

			GERSTENKORN
		(bangs the paper down)
	We did not approach you.

			PREYSING
	I know you did -- I said you did --

			GERSTENKORN
	And I said we didn't.

			WAITZ
	And I know we didn't.

During all this commotion Flaemmchen is paying no attention 
whatsoever. She is calmly spraying herself with a perfume 
atomizer and smiling at a gentleman. The noise continues 
over her.

							CUT TO:

NO SCENE 61

Sequence omitted from original script.

GRUSINSKAYA'S ROOM

The atmosphere has changed, the sun shines. Grusinskaya is 
reclining on the chaise-lounge -- her Chinese robe drawn 
about her. She speaks voluably.

			GRUSINSKAYA
	Oh -- I was ambitious then -- ambition 
	was in my blood -- no rest, no 
	stopping. We were drilled like little 
	soldiers -- We danced in the school 
	of the Imperial Ballet, in St. 
	Petersburg. I was little and slim 
	but hard as diamond -- a duty machine -- 
	No rest, no stopping. And then -- I 
	became famous and whoever is famous 
	is alone... But why should I be 
	telling you this? Last night I did 
	not know you at all -- who are you, 
	really? -- I do not even know your 
	name.

			BARON
	I am Felix Benvenuto von Gaigern. My 
	mother called me Flix.

			GRUSINSKAYA
	Flix. -- And how do you live? What 
	kind of a person are you?

			BARON
	I'm a prodigal son, the black sheep 
	of a white flock -- I shall die on 
	the gallows.

			GRUSINSKAYA
	Really?

			BARON
	Really, I haven't a bit of character. 
	None at all.

			GRUSINSKAYA
	No?

			BARON
	When I was a little boy I was taught 
	to ride and be a gentleman -- at 
	school, it was a monastery, I learned 
	to pray and lie -- and ---

			GRUSINSKAYA
	And?

			BARON
	And then, in the war, to kill and 
	hide. That's all.

			GRUSINSKAYA
	And what do you do -- now?

			BARON
	I'm a gambler -- I'm running at large 
	like a happy pig, devouring anything 
	of life that pleases me, I really 
	belong in jail

			GRUSINSKAYA
	Oh! What a picture -- and what else?

			BARON
		(seriously)
	I'm also a criminal and a hotel thief.
		(he turns away)

			GRUSINSKAYA
	That's a silly joke.

			BARON
		(turns -- takes both 
		her hands)
	Please look at me. You must believe 
	me -- you must believe that I love 
	you -- that I have never known what 
	love is -- until last night.
		(he releases her hands 
		and turns away again.)

			GRUSINSKAYA
	What is the matter?

He does not answer.

			GRUSINSKAYA
	Flix!

The Baron takes the pearls out of his pocket and lays them 
before her.

			BARON
	There.

			GRUSINSKAYA
		(with a little cry of 
		pain)
	Oh --
		(in the silence 
		Grusinskaya puts her 
		head in her hands 
		and thinks)

The Baron makes a gesture as if to stroke her hair and then 
holds back.

			GRUSINSKAYA
		(softly)
	Did you come here just -- just for 
	that? Oh -- it's horrible.

Pause.

She is suddenly cold.

			GRUSINSKAYA
	You may keep the pearls -- I don't 
	want them any more -- I'll make you 
	a present of them.

			BARON
		(passionately)
	I don't want them now.

			GRUSINSKAYA
		(broken)
	I'll not denounce you.

			BARON
	I know.

			GRUSINSKAYA
	So --

			BARON
	Yesterday I was a thief -- but now, --

			GRUSINSKAYA
	But now, you must go... I give you 
	the pearls. But now you must go ---

			BARON
	I wanted money desperately -- Can 
	you understand? -- That's why I wanted 
	the pearls. I was threatened -- I 
	was desperately in need of a certain 
	big sum of money. I've been following 
	you -- I've admired you. But I have 
	forced myself not to think about you -- 
	Last night, at last, I managed to 
	came into your room and -- and now.

			GRUSINSKAYA
		(softly)
	And now?

			BARON
	I couldn't go through with it.
		(his head goes down 
		into her lap -- he 
		sighs:)
	Remarkable.

His hand touches her hair -- tenderly.

			BARON
	Do you understand?

			GRUSINSKAYA
	Yes -- yes -- yes.

There is a sudden knock at the door.

			GRUSINSKAYA
	Quickly -- here.

With a quick gesture Grusinskaya beckons the Baron to the 
bathroom. He disappears into the bathroom. She opens the 
door, after finding the key and radiantly addresses Suzette.

			GRUSINSKAYA
	Good morning, Suzette.

			SUZETTE
		(delighted to see her 
		in a good mood)
	Good morning, Madam.

She puts the coffee down on the table.

Charming piece of business as Suzette, in putting the coffee 
down on the table must necessarily push back the heavily 
crested cigarette case of the Baron.

			SUZETTE
	Madam has slept well?

			GRUSINSKAYA
		(enthusiastically)
	Oh, yes, Suzette.

			SUZETTE
	Madam will dress now, it is late.

			GRUSINSKAYA
	Five minutes, Suzette, come back in 
	five minutes. I'll ring.

			SUZETTE
	Yes, madam Suzette knows all about 
	it.

She is a French woman. She is pleased.

			SUZETTE
	Madam is beautiful this morning.

As Grusinskaya hurries Suzette to the door she says:

			GRUSINSKAYA
	Yes, Suzette.

Suzette goes out. Quickly Grusinskaya crosses and flings 
open the bathroom door. The Baron comes out.

			GRUSINSKAYA
	You must go now.

As she speaks the telephone goes. She gives the telephone a 
dirty look. Telephone rings again. She pulls him across to 
the telephone.

			GRUSINSKAYA
	There -- it begins.

With a hand in his she lifts the telephone receiver and 
speaks.

			GRUSINSKAYA
	Hello -- hello -- Meierheim? Yes...

During this scene the Baron is touching her shoulder. A 
charming light moment. She continues to speak into telephone. 
His touch probably tickles her, she laughs -- quickly covers 
the receiver so that Meierheim will not hear her laugh.

			GRUSINSKAYA
		(to Baron)
	No --

During this scene she is listening to Meierheim. She frowns 
suddenly --

			GRUSINSKAYA
	What?... Cancel Vienna?... Are you 
	mad? We always have great success in 
	Vienna... Certainly not. Come here 
	and see me... yes... good-bye.

She turns to the Baron and their arms go around each other.

The telephone rings again.

			GRUSINSKAYA
		(quickly)
	There -- the day begins... I must go 
	to rehearsal.

She lets the telephone ring.

			BARON
	Grusinskaya --

			GRUSINSKAYA
	Yes.

			BARON
	You do believe that I really love 
	you?

			GRUSINSKAYA
	Yes -- If I didn't believe that, I'd 
	die after last night.

			BARON
	I want to be good to you -- madly 
	good.

			GRUSINSKAYA
	Suzette will be back here in a minute.

			BARON
	I'll go -- good-bye.

			GRUSINSKAYA
	Shall I see you again?

			BARON
	I --

Telephone bell rings again.

			GRUSINSKAYA
	Suzette will be back here any minute.

			BARON
	When are you leaving Berlin?

			GRUSINSKAYA
	Very early in the morning.

			BARON
	For Vienna?

			GRUSINSKAYA
	Can't -- can't you -- Couldn't you 
	come too -- I think it would be better -- 
	for us -- for us both.

			BARON
	Oh -- yes but -- later.

			GRUSINSKAYA
	Why later?

			BARON
	I have no money now -- I must get 
	some first -- I must get some.

			GRUSINSKAYA
	I'll give you what you need -- I 
	have money.

			BARON
	Oh no -- that would spoil everything. 
	I'll -- I will manage somehow -- 
	I'll manage myself. I will go with 
	you. When does the train leave?

			GRUSINSKAYA
	Six twenty-seven in the morning... 
	But the money?

			BARON
	Never mind -- I'll get it. I have a 
	whole day. I'll be on that train.

They move towards the door.

			GRUSINSKAYA
	I shall dance and you'll be with me 
	and then -- listen -- After that you 
	will come with me to Lake Como, I 
	have a villa there. The sun will be 
	shining. I will take a vacation -- 
	six weeks -- eight weeks. We'll be 
	happy and lazy. And then you will go 
	with me to South America -- oh!

Telephone starts ringing.

			GRUSINSKAYA
	You must go now. Be careful on your 
	way to your room.

			BARON
	I'll go. -- I love you.
		(he kisses her)
	I'll be on that train. I'll get the 
	money.

She holds him back. The telephone is ringing.

			GRUSINSKAYA
	Don't do anything foolish -- I'm 
	alarmed about you.

			BARON
	Don't worry. I'll be on the train.
		(he kisses her)
	He leaves.

Alone with the telephone bell ringing, Grusinskaya breathes 
deeply, stretches herself. She goes to the glass and looks 
at herself -- smiling. Happily she takes the pearls, kisses 
them, drops them into the casket -- picks up the telephone.

			GRUSINSKAYA
		(speaking into 
		telephone)
	Yes, Pimenov... Yes... where are 
	you, in your room? Come, I will see 
	you now... hurry.

She rises from the telephone flutteringly, she is humming a 
tune. She crosses to the mirror, pulls back her hair happily, 
she is indeed younger.

Suzette is putting out a dark dress.

			GRUSINSKAYA
	Not that dark dress -- something 
	light -- bright -- it's a sunny 
	morning, Suzette.

Suzette happily glances at her.

There is a knock at the door.

			GRUSINSKAYA
	Come in.
		(sings)

Pimenov enters, before he can speak --

			GRUSINSKAYA
	Good morning, Pimenov.

			PIMENOV
		(a little puzzled at 
		change in her)
	Good morning, Gru -- your --

Before he can start speaking of last night she quickly speaks:

			GRUSINSKAYA
	Pimenov, I have an idea -- a new 
	ballet -- it must have mad music -- 
	I'll explain it to you later. But 
	now, hurry to the theatre -- I want 
	full rehearsal -- properties -- full 
	ballet and some musicians. Hurry -- 
	Quickly. I will be there --

During this scene Grusinskaya has not looked at him, she is 
busy in the glass. Nice photography on hair and face.

Side scene between Suzette and Pimenov, as Suzette shows him 
the cigarette case on the table.

As he goes through the door Grusinskaya crosses and almost 
sweeps Suzette to the door with him.

			PIMENOV
	Gru -- you are positively radiant.

			GRUSINSKAYA
	Yes, Pimenov.
		(quickly to Suzette)
	One minute, Suzette, I will call 
	you.

They leave.

Grusinskaya shuts the door. She sweeps happily to the 
telephone.

			GRUSINSKAYA
		(very very softly - 
		her voice is like 
		music to operator)
	Hello -- will you -- will you get me 
	Baron von Gaigern, please... yes... 
	Baron von Gaigern -- yes...

While she waits, she moves with a sense of dance.

			GRUSINSKAYA
		(again into telephone)
	Will you get me Baron von Gaigern, 
	please...
		(she speaks quietly)
	Cherie... yes... it is you... 
	nothing... good morning, good morning, 
	cherie... nothing... no... just to 
	tell you I'm happy.

				FADE OUT SLOWLY:

Bring music up.

			END OF SEQUENCE "#3"

		SEQUENCE "#4"

EXT. HOTEL - SIGN

Music effect over sign "Grand Hotel." Precisely the same 
angle as before. The sign lights.

							DISSOLVE TO:

LOBBY - BY SENF'S DESK

The music comes up on the DISSOLVE into the original key 
shot of the lobby.

Senf is busy.

The Baron's chauffeur is standing impatiently by his desk. 
Business ad lib of Senf. He turns to the chauffeur who is 
barring the way of an important looking alien.

			SENF
	Step back please.

Chauffeur makes no effort to move. Against the normal busy, 
happy traffic of the evening he is a sinister figure. He 
does not move but glares at Senf.

			SENF
	I've told you three times -- Baron 
	von Gaigern is out.

			CHAUFFEUR
	Did he leave any message for me?

			SENF
	No, he did not -- there is no message.

This whole scene is played in a very low key, almost in a 
whisper, it is interrupted by the entrance of the Doctor.

			DOCTOR
		(to Senf)
	Any letters?

			SENF
	No, doctor.

During this short scene the chauffeur saunters off.

Kringelein comes to the doctor.

			KRINGELEIN
	Oh, Doctor, such a day -- such a 
	day!

They move away from the scene.

Kringelein's voice diminishes as the CAMERA MOVES following 
the chauffeur.

The chauffeur saunters unthoughtfully past the florist shop 
and out of the door. As we pass the florist shop we see the 
back of the Baron in the shot.

CAMERA PANS chauffeur out to door. He has not seen the Baron 
in the florist shop. THE CAMERA PANS back to florist shop 
waits for the Baron who emerges carrying his usual box of 
orchids. CAMERA FOLLOWS BARON back to Senf's desk. Key shot.

			BARON
		(to Senf)
	Madam Grusinskaya.

			SENF
		(taking the flowers 
		and handing them to 
		clerk)
	For Madam Grusinskaya.

			CLERK
		(to page boy)
	Madam Grusinskaya -- at once --

			SENF
		(to Baron)
	Your chauffeur's been waiting, Baron.

			BARON
		(Quickly -- shortly)
	All right.
		(he glances around 
		apprehensively)

Kringelein is speaking to the doctor.

The Baron approaches them.

			KRINGELEIN
	Baron, we must have gone a hundred 
	miles an hour, at least...

			BARON
	Yes, quite.

			KRINGELEIN
		(to doctor)
	We've been together all day... and 
	in an aeroplane.

			DOCTOR
	Life is changing you, Mr. Kringelein.

			KRINGELEIN
	Yes, thanks to the Baron. The best 
	shops, the very best. Look, Doctor, 
	silk -- feels so nice on the skin... 
	a London hat, see -- made in England, 
	that's silk, too -- fifty marks... 
	Look, the price is on it. That was 
	half my salary before. The Baron is 
	a very fine gentleman -- no one in 
	my life has been so nice to me as 
	the Baron.

The Baron smiles. He slaps his gauntlets on his dusty coat.

			BARON
	I'm going to change and we'll meet 
	for a drink in the Yellow Room.

			KRINGELEIN
	In the Yellow Room, where the music's 
	playing and the ladies are?

			BARON
		(amused)
	Where the music's playing and the 
	ladies are...

The Baron leaves.

			DOCTOR
	No pain, Mr. Kringelein?

			KRINGELEIN
	Pain? Oh, no, Doctor. I think if I 
	had pain I'd be too happy to notice 
	it...

NOTE: Find cut here.

While Kringelein is talking, they move away from the CAMERA.

							CUT TO:

FLASH OF BARON'S ROOM

The Baron enters, throws his gloves down on the bed, turns 
up the light, picks up a piece of paper that's been pushed 
under the door, glances at it.

FLASH INSERT OF THE PAPER

In scrawl: "I HAVE BEEN WAITING ALL DAY. WILL BE OUTSIDE OR 
AT THE GARAGE." "S"

							CUT BACK TO:

BARON

We again see the apprehension on the Baron's face. He crosses, 
closes the window. As he does so we hear the noise from the 
conference room.

Bring up noise from the conference room.

							CUT TO:

CONFERENCE ROOM

We must have the feeling that these men have been arguing 
all day. Cognac bottles, cigar ends, selzer water, remains 
of some sandwiches. In other words it is a business 
battlefield. Preysing is drawn and tired. Zinnowitz is on 
his feet. Flaemmchen is fast asleep in her chair, making a 
pretty picture.

			ZINNOWITZ
	...and let me say again for the tenth 
	time...
		(he is hoarse and 
		tired)
	...you people were quite ready for 
	the merger. You declared yourselves... 
	fully agreed on all the terms -- Why 
	should the signing of these articles 
	be suddenly held up?

			GERSTENKORN
	I've admitted that at one time we 
	had reason for desiring ther merger -- 
	What reason have we now? The Preysing 
	Company has fallon upon evil days, 
	very evil days.

Preysing jumps to his feet.

			PREYSING
	Evil days -- I've shown you here --
		(he bangs the paper)
	-- my company exports to the Balkans 
	alone, sixty-five thousand marks 
	worth of mop rags a year.

			GERSTENKORN
	Mop rags -- mop rags -- we're 
	interested in something quite 
	different!

			PREYSING
	What?

			SCHWEIMANN
		(to Gerstenkorn -- 
		with a sigh)
	Shall I tell them again?

			GERSTENKORN
		(glancing at his watch)
	Why waste time -- it's getting late.

			SCHWEIMANN
	You see -- what we are interested in --

			GERSTENKORN
		(interrupting)
	Ah, come on -- we're going home.

Due to the long tedious session the men's collars are wilted.

			ZINNOWITZ
		(rising)
	Mr. Preysing has too scrupulous a 
	regard for certainties...

			GERSTENKORN
	You've talked enough today, you're 
	hoarse now.

IMPORTANT CLOSEUP OF PREYSING

His hand goes to his pocket. Slowly he takes out the telegram 
and glances at it. The following scene is played over this 
closeup.

			GERSTENKORN
	Sorry, Preysing.
		(he gets his hat)

			PREYSING
		(nervously)
	You've decided against the merger?

			GERSTENKORN
	Yes --

			PREYSING
	Then, it's all over?

			GERSTENKORN
	Yes --

			WAITZ
		(to Zinnowitz)
	Well -- well -- You could call my 
	office.

There is a general movement to go.

FLASH OF TELEGRAM

Trembling in Preysing's hand. "DEAL WITH MANCHESTER DEFINITELY 
OFF."

GENERAL SHOT OF ROOM

Gerstenkorn crosses to Preysing.

			GERSTENKORN
	Goodbye, Preysing, I hope you pull 
	through. This is a very bad time to 
	be in such a crisis. We've...

			PREYSING
		(interrupting)
	Why talk -- it's over -- it's over -- 
	it's finished. You've broken off 
	negotiations. You did it. You're 
	calling them off. You had nothing on 
	your mind all day, but Manchester, -- 
	Manchester -- Manchester.
		(he develops almost a 
		passion)
	You don't suppose for one moment 
	that I'm such a fool as not to have 
	something that I could say definitely 
	about Manchester.
		(he is generating 
		almost a passion)

			GERSTENKORN
	What?

			PREYSING
	Oh no -- no -- the session is over. 
	Let's go, it's off. Thank you, 
	gentlemen.
		(he starts packing up 
		his papers.)

			GERSTENKORN
	If you actually have news from 
	Manchester then...

			PREYSING
	Gentlemen, I am now free to 
	announce...
		(he is perspiring, 
		his hands are 
		trembling)
	...that the deal between my firm and 
	the Manchester Cotton Company has 
	been successfully negotiated.

			GERSTENKORN
	Preysing, you're joking with us.

			SCHWEIMANN
	You're a deep one.

QUICK CLOSEUP OF ZINNOWITZ 

GENERAL SHOT OF ROOM

			GERSTENKORN
	In that case give us the articles. 
	We'll sign at once. We know all the 
	details...

			PREYSING
		(smiling, slowly folds 
		up the telegram and 
		puts it back in his 
		pocket)
	I thought we'd suspended negotiations, 
	gentlemen.

			GERSTENKORN
	Under these circumstances it's quite 
	a different matter.

			PREYSING
	Under these circumstances we might 
	refuse to sign.

By this time, Waitz and Zinnowitz have the articles out upon 
the table.

Preysing is perspiring.

Gerstenkorn puts his arms around Preysing's shoulders.

			GERSTENKORN
	Come on -- business is business -- 
	Come on --

Preysing stands, looking ahead of him.

Gerstenkorn picks up the papers glances at them, looks at 
Waitz.

Flaemmchen is awakening.

			GERSTENKORN
	Here's my signature -- here Preysing, 
	sign here.

			ZINNOWITZ
	What a session this has been.

While Preysing is signing.

			SCHWEIMANN
	It's twenty-five to six.

			WAITZ
	We should celebrate this with a bottle 
	of wine.

			GERSTENKORN
		(with his hat and 
		coat)
	See you soon, Preysing. Next week 
	we'll meet and discuss further 
	details.

			PREYSING
	Next week.

Hasty hand-shaking, business of exits.

Waitz, Gerstenkorn and Schweimann out.

Preysing has not moved.

Zinnowitz takes the agreement and waves it in the air to dry 
the signature.

			PREYSING
		(to himself)
	Next week.

			ZINNOWITZ
	You let me talk till I'm hoarse and 
	you had Manchester sewed-up all the 
	time. Why?

Preysing does not answer.

Zinnowitz amiably shrugs his shoulders.

			ZINNOWITZ
	Well -- the deal has been put through.

Preysing commences to laugh suddenly with increasing violence.

			PREYSING
	Yes, it has been put through -- it 
	has been put through.

During this scene, Flaemmchen has risen, piled up her papers, 
glanced at her watch. During this action Flaemmchen motions 
to Zinnowitz that she is going down to dance, etc., Preysing 
is unaware of this action. Flaemmchen leaves the room trying 
not to attract attention.

			ZINNOWITZ
		(to Preysing)
	What's the matter with you?

			PREYSING
		(hysterically)
	Bluff -- Bluff -- all bluff.

			ZINNOWITZ
	What's bluff?

			PREYSING
		(throwing the telegram 
		on the table)
	That.

			ZINNOWITZ
		(reading at out loud)
	'Deal with Manchester definitely 
	off! "Preysing, oh -- I'd never have 
	thought it of you.

			PREYSING
	No one would have thought it of me. 
	I've been getting rusty in 
	Fredersdorf. Well, if bluff is what 
	the world wants I guess I can put up 
	as big a bluff as anyone. From now 
	on...
		(he turns away)

			ZINNOWITZ
	You must go to Manchester at once 
	yourself and really see it through.

			PREYSING
	Yes -- I must go to England -- I was 
	desperate -- Now I don't care -- 
	This sort of thing goes to a man's 
	head.

			ZINNOWITZ
	What you need is some relaxation.

			PREYSING
	Yes -- that's what I want -- I'd 
	like to tear loose -- I'd like a 
	drink. I'd like to go down to that 
	dancing place. I'd like to start 
	something.

			ZINNOWITZ
	I can understand that -- after your -- 
	uh --

			PREYSING
	Say it -- say it -- my lie -- it's 
	the first time in thirty years that 
	I've ever... Where's that 
	stenographer? Miss Flaemm...

			ZINNOWITZ
	What do you want with her?

			PREYSING
	I want to see her, I want to do some 
	dictating -- report of the conference 
	for my father-in-law.

			ZINNOWITZ
	She had an engagement in the Yellow 
	Room at five o'clock -- she was in a 
	hurry.

			PREYSING
	Zinnowitz, would you say she was 
	pretty?

			ZINNOWITZ
	Pretty as a picture.

			PREYSING
	Let's go down and find her -- I need 
	a drink -- Come along Zinnowitz.
		(he is picking up 
		papers)
	I don't know anything about women -- 
	been married for twenty-six years.

			ZINNOWITZ
	Bluff does it, Preysing, bluff does 
	it. Goodnight.

Preysing is very excited, they start to leave -- at that 
moment the telephone rings.

			PREYSING
	Aeh!

He crosses to the telephone.

			PREYSING
		(into telephone)
	Hello... Father-in-law?... Is that 
	you?... The agreement is signed -- I 
	did it... yes, father-in-law... but 
	now I must go to Manchester.

When he picks the telephone up his hands are shaking -- 

					DISSOLVE HANDS INTO:

COCKTAIL SHAKER

-- which shakes more. Music crashes up --

							DISSOLVE OUT:

DISSOLVE INTO BAR

Kringelein and the Doctor are just entering. Kringelein is 
changed. His hair has been cut short and his moustache is 
gone, he looks almost saucy.

			DOCTOR
		(to barman)
	Barman -- whiskey --
		(to Kringelein)
	For you, Mr. Kringelein?

			KRINGELEIN
	For me? -- Oh, please, something 
	sweet and cold.

			BARMAN
	A Louisiana flip, sir?

			KRINGELEIN
	A Louisiana flip, that sounds very 
	nice -- sweet, eh? --

During the following speech Kringelein keeps reaching for 
the moustache that is not there. He is thoroughly happy.

			DOCTOR
	What do you do in the Grand Hotel? 
	Eat -- sleep -- loaf around -- do 
	business -- flirt a little -- dance 
	a little. A hundred doors to one 
	hall and nobody knows anything about 
	the person next to him. When you 
	leave another takes your room and 
	lies in your bed -- the end.

At that moment Flaemmchen enters.

			FLAEMMCHEN
	Good evening, Mr. Kringelein -- 
	Where's the Baron?

			KRINGELEIN
	I'm waiting for him here. The Baron 
	and I have been together all day. A 
	hundred miles an hour -- in a motor 
	car -- and in an aeroplane -- It was 
	marvelous --

			FLAEMMCHEN
	Mr. Kringelein -- How you have 
	changed, you look so nice.

			KRINGELEIN
	Oh, thank you, Miss Flaemm. Oh, 
	please, Miss Flaemm -- Permit me, 
	Miss Flaemm, won't you have something 
	sweet -- a Louisiana flip.
		(to barman)
	A Louisiana flip.

			FLAEMMCHEN
		(to barman)
	No - absinthe.

			KRINGELEIN
		(amazed)
	Yes -- that --

Kringelein is beating time to the music -- a little carried 
away.

Flaemmchen laughs.

			FLAEMMCHEN
	You like music?

			KRINGELEIN
	Yes -- it's stimulating -- a man 
	might --

			FLAEMMCHEN
		(mischievously)
	A man might what?

			KRINGELEIN
	I don't know -- I'd like to do 
	anything --

			FLAEMMCHEN
		(very quietly)
	Oh -- you would!

The Baron enters quickly.

			BARON
		(to Flaemmchen)
	Hello -- sorry I'm late.

			KRINGELEIN
	Oh -- here you are, Baron. A drink -- 
	A Louisiana flip?

			BARON
	Hello, Mr. Kringelein. How do you 
	feel now?

			KRINGELEIN
	A little strange, Baron.

			FLAEMMCHEN
	I'd given you up.

			BARON
		(to Flaemmchen)
	Sorry.

			KRINGELEIN
	A drink, Baron -- A Louisiana flip?

			BARON
	No thanks -- keeping my head clear.

			FLAEMMCHEN
	Dance then?
		(they exit)

			KRINGELEIN
		(to Doctor)
	She's beautiful -- isn't she?

			DOCTOR
		(to Kringelein)
	Oh -- there are plenty of women.

BARON AND FLAEMMCHEN DANCING

			FLAEMMCHEN
	What have you been doing all day?

			BARON
	Chasing around.

			FLAEMMCHEN
	Chasing what?

			BARON
	Money.

They dance a few steps, in silence.

			FLAEMMCHEN
	You were very different yesterday.

			BARON
	Yesterday -- yes -- that was 
	yesterday.

They dance into the crowd.

							CUT BACK TO:

BAR

			DOCTOR
	Well, Mr. Kringelein, are you getting 
	what you're looking for?

			KRINGELEIN
	What, Doctor?

			DOCTOR
	A masculine paradise -- drink, the 
	ladies, dancing...

			KRINGELEIN
	I had a very good opportunity, a 
	young lady asked me to dance -- I 
	ought to be able to dance, it seems 
	to be very important.

			DOCTOR
	You must learn as quickly as your 
	time allows -- Believe me Mr. 
	Kringelein, a man who isn't with a 
	woman is a dead man.

			KRINGELEIN
	Haven't you anyone -- Haven't you 
	anybody -- you -- I mean -- Are you 
	all alone in the world.

			DOCTOR
		(quietly)
	I'm always alone -- I have been 
	everything.

			KRINGELEIN
	Everything?

			DOCTOR
	I was sent as a military surgeon to 
	South Africa. Stinking climate. Taken 
	prisoner. Home on parole not to fight. 
	I was a surgeon in the Great War 
	till the end. Grenade in the face. 
	Carried diphtheria bacilli in the 
	wound until 1920. Isolated two years.
		(pause)
	I've been everything.

The music has stopped.

							CUT TO:

BARON AND FLAEMMCHEN ON DANCE FLOOR

			FLAEMMCHEN
	That was lovely.

			BARON
	Will you do me a big favor?

			FLAEMMCHEN
	I'll do anything for you.

			BARON
	Would you like to make a man happy?

			FLAEMMCHEN
		(quietly)
	Yes -- I'd love to.

			BARON
	Then dance the next number with 
	Kringelein.

			FLAEMMCHEN
	Why?

			BARON
	I feel sorry for him.

			FLAEMMCHEN
	You're not a bit like you were 
	yesterday.

			BARON
	I fell in love last night -- the 
	real thing.

			FLAEMMCHEN
	Oh -- there's no real thing -- it 
	doesn't exist.

			BARON
	I thought that, too -- but I found 
	that it does. Come along, dance with 
	Kringelein.

			FLAEMMCHEN
	Anything for you.

They move off. As they approach the bar, happily Preysing 
pushes into scene, touches Flaemmchen's arm.

			PREYSING
	Miss Flaemm.

			FLAEMMCHEN
	Hello!

			PREYSING
	I must speak with you, Miss Flaemm.

			FLAEMMCHEN
		(with the Baron)
	Presently, Mr. Preysing.

			PREYSING
	It's urgent.

			BARON
	Pardon me, the lady has urgent 
	business here with me.

			PREYSING
		(to himself)
	Insolent -- Berlin manners.

At that moment Kringelein has descended from the stool and 
crosses to Preysing.

			KRINGELEIN
	I wish you a very good evening, Mr. 
	Preysing. You are staying here, too, 
	Mr. Preysing?

			PREYSING
	I don't know you.

			KRINGELEIN
	Oh -- you must know me -- Kringelein 
	at the plant. Assistant bookkeeper, 
	building C, room twenty-three -- 
	third floor.

			FLAEMMCHEN
		(quickly)
	Come and dance with me, Mr. 
	Kringelein.

			PREYSING
	I must speak to you, Miss Flaemm -- 
	business.

			FLAEMMCHEN
		(lightly)
	Tomorrow morning.

			PREYSING
	No -- now.

			FLAEMMCHEN
	Do you gentlemen know each other, 
	Mr. Kringelein -- Mr. Preysing -- 
	Baron von Gaigern.

They bow stiffly.

			PREYSING
	Mr. Kringelein will be a good friend 
	and not accept your invitation to 
	dance.

			KRINGELEIN
	I could not think of not accepting.

			PREYSING
	You say that you are employed by us 
	in Fredersdorf, and here you are in 
	Berlin, indulging in diversions which 
	ill befit your position and which 
	are very much beyond your means -- 
	Quite extraordinary, Mr. Kringelein, 
	I think we will look into your books.

Kringelein stands watching Preysing, his eyes narrowing.

			FLAEMMCHEN
	Now, children, no fighting -- save 
	that for the office. Let's have our 
	dance.
		(her arms go around 
		Kringelein. They 
		dance off)

			PREYSING
	I'll remember you, Mr. Kringelein.

			BARON
	Oh, let the poor devil alone.

			PREYSING
	I did not ask your advice.

The two men eye each other; for a moment there might be a 
fight.

			BARON
	I think it would be much better if 
	you went away.

			PREYSING
	We shall see who remains here the 
	longer.

			BARON
		(shrugging his 
		shoulders)
	As you will.

Preysing leans against the bar, orders a cognac. The Baron 
turns his back to him, watching the dancing.

							CUT TO:

FAEMMCHEN AND KRINGELEIN ON FLOOR

			FLAEMMCHEN
	You must look at my face and not at 
	the floor.

			KRINGELEIN
	Yes.

			FLAEMMCHEN
	You're trembling.

			KRINGELEIN
	I never danced before -- in public.

			FLAEMMCHEN
	You dance splendidly.

			KRINGELEIN
	I'm happy, Miss Flaemm.

			FLAEMMCHEN
	Really?

			KRINGELEIN
	For the first time in my life, I'm 
	happy.

Kringelein shows signs of exhaustion.

Flaemmchen watches him quickly.

			FLAEMMCHEN
	Let's stop -- I'm tired.

It is obvious that she has stopped because of Kringelein's 
distress.

			KRINGELEIN
	Thank you, Miss Flaemm.

They move back to the bar. Preysing catches Flaemmchen's 
arm.

			PREYSING
	Well now, Miss Flaemm, we can talk.

			KRINGELEIN
	Some champagne, Miss Flaemm?

			PREYSING
	You may go, Mr. Kringelein.

			KRINGELEIN
	Does the world belong to you, Mr. 
	Preysing?

			PREYSING
	What is this insolence?

			KRINGELEIN
	Do you think you have free license 
	to be insulting? Believe me you have 
	not. You think you're superior, but 
	you're quite an ordinary man.

			PREYSING
	Go away -- go away.

			FLAEMMCHEN
	Please -- please!

			KRINGELEIN
	You don't like to see me enjoying 
	myself.

			PREYSING
	Who are you? -- An embezzler most 
	likely.

			KRINGELEIN
	An embezzler -- you're going to take 
	that back, right here in the presence 
	of this young lady -- who do you 
	think you're talking to? You think 
	I'm dirt, if I'm dirt, you're a lot 
	dirtier, Mr. Industrial Magnate 
	Preysing.

			PREYSING
	You're discharged.

			KRINGELEIN
	Me?

			PREYSING
	Yes you -- shut your mouth -- get 
	out -- you're discharged.

Kringelein's hat has fallen from the stool upon the floor. 
Flaemmchen picks it up, brushes it.

Kringelein starts to laugh.

The Baron steps into the scene.

The Doctor slowly comes from the bar.

			KRINGELEIN
	You can't discharge me -- I'm my own 
	master now -- at last. I'm ill, I'm 
	going to die -- do you understand? 
	I'm going to die very soon. Nothing 
	can happen to me now. Nobody can do 
	anything any more to me. By the time 
	you can have discharged me I shall 
	have been dead already.
		(his laugh becomes a 
		convulsive sob)

The Baron steps between the two looking straight into 
Preysing's face.

			DOCTOR
	Come, Mr. Kringelein.
		(he pulls him out of 
		the scene towards 
		the bar)

			PREYSING
		(his fists clenched, 
		between his teeth)
	The man's insane -- he acts as if he 
	is glad he is going to die...
		(hesitates -- to 
		Flaemmchen)
	I shall see you in the lobby in half 
	an hour.

				END SEQUENCE "#4"

		SEQUENCE "#5"

FADE IN:

KEY SHOT OF LOBBY OVER SENF'S HEAD

General activity.

The house detective, later identified, is talking to the 
chauffeur. He leaves the chauffeur and crosses to Senf.

			HOUSE DETECTIVE
	Better let him stay -- I've sent for 
	the Baron... How's your wife coming 
	along?

			SENF
	I was at the hospital all night 
	walking up and down the corridor. 
	They wouldn't let me in to see her. 
	She has the pains, but the child 
	doesn't come and I have to stay here 
	chained to this desk.

			HOUSE DETECTIVE
	It will be all right.

			SENF
	I hope so.

At that moment Preysing enters.

			PREYSING
	Did you send that page?

			SENF
	The young lady's there, sir.

Preysing glances off to see Flaemmchen standing looking 
around.

Preysing crosses to Flaemmchen.

			FLAEMMCHEN
	Oh, yes, Mr. Preysing?

			PREYSING
	Sit here.
		(calls to a boy)
	Cognac -- for you?

			FLAEMMCHEN
	Nothing.

At that moment the Baron and Kringelein pass.

Preysing glances up at Kringelein as he passes.

			PREYSING
	I'm going to keep an eye on that 
	Kringelein fellow. I'll find out 
	where he gets the money to hang around 
	the Grand Hotel.

			FLAEMMCHEN
	Well -- you want me?

			PREYSING
		(looks straight at 
		her)
	Yes.

			FLAEMMCHEN
	Well?

			PREYSING
	I must go to England -- at once.

			FLAEMMCHEN
	Well?

			PREYSING
	You see, I'd like to take a secretary 
	with me for my correspondence and --
	humm -- humm -- for company on the 
	trip -- I'm nervous -- I need somebody -- 
	I don't know if you quite understand 
	me. You said you have travelled with 
	gentlemen -- and I mean --

			FLAEMMCHEN
	I understand perfectly.

			PREYSING
	What do you think your salary would 
	be -- for such a trip?

			FLAEMMCHEN
	Wait -- I must figure it up.
		(she smokes and thinks)
	First, I'll need -- clothes -- shoes -- 
	it's cold in England in March, I'll 
	need a suit... You'd want me to look 
	nice?

			PREYSING
	Of course -- of course.
		(he is fidgeting)

			FLAEMMCHEN
	A thousand marks --
		(she waits anxiously 
		thinking it might be 
		too much)

			PREYSING
	It's agreed -- I will get a room 
	here for you.

She is looking away.

			PREYSING
	I can get a room here in the Grand 
	Hotel for you.

She still looks away.

			PREYSING
	Can you pay some attention to me?

			FLAEMMCHEN
	Oh, yes.

			PREYSING
		(looking off)
	Insolent young cub!

			FLAEMMCHEN
	You mean Baron von Gaigern?

			PREYSING
	Baron!

			FLAEMMCHEN
	Well, he's a gentleman!

THE BARON

Who is leaning against a chair by a pillar with Kringelein.

THE CAMERA APPROACHES THEM.

They are not speaking. The Baron is looking off at:

FLASH A SHOT FROM HIS ANGLE OF CHAUFFEUR

Sauntering between the door and Senf's desk.

				BACK TO:

THE BARON

He slumps on the arm of the chair.

			KRINGELEIN
		(watching him)
	The Baron is tired?

			BARON
	No, Kringelein, not tired, -- just --
		(he shrugs his 
		shoulders)
	Well -- well --

			KRINGELEIN
	Perhaps this evening, Baron, we could 
	go to the Casino -- the place we 
	passed with the marvelous bright 
	lights?

			BARON
	I'd like to Kringelein, but I can't -- 
	I am broke!

			KRINGELEIN
	Broke -- A Baron? But, Baron --

The Baron looks off, sees the chauffeur --

							CUT IN:

FLASH OF CHAUFFEUR

Arguing with Senf.

							CUT BACK TO:

BARON

			BARON
	Excuse me, Mr. Kringelein.
		(he strides off)

Keep the CAMERA on Kringelein as he watches the Baron.

He takes out his pocket-book and looks at his money commencing 
to count it. The thought is in his mind of offering the Baron 
money. Charming scene.

							CUT TO:

BARON AND CHAUFFEUR

Moving into position. They are talking.

			BARON
		(quietly)
	I've quit.

			CHAUFFEUR
	You can't.

			BARON
	I'm not going to get those pearls 
	and neither are you.

			CHAUFFEUR
	What about the money?

			BARON
	I'll pay you back.

			CHAUFFEUR
	How?

			BARON
	I have an idea working in my head...
		(he glances at 
		Kringelein)

			CHAUFFEUR
	You might find a bullet through that 
	head...

			BARON
	If you did that, you'd get nothing 
	except the police after you. If you 
	wait -- I'll give you your six 
	thousand back --

At that moment a voice is heard.

			VOICE
	Madam Grusinskaya's car -- Madam 
	Grusinskaya's car.

It is passed along.

			INSIDE PORTER
		(calls through his 
		little telephone)
	Madam Grusinskaya's car --

			MEGAPHONE
		(outside)
	Madam Grusinskaya's car --

			BARON
		(quickly to chauffeur)
	Later.
		(Chauffeur exits with 
		bad grace.)

Baron looks off...

FULL SHOT -- FROM HIS ANGLE

Like a pageant Grusinskaya sweeps forward -- pretty shot. 
Music comes up.

Grusinskaya is followed by Suzette, Pimenov and Meierheim. 
People turn to look at her. She sweeps forward.

As she gets to the door she faces the Baron. She steps quickly 
aside to him. Pimenov and Meierheim pause.

			GRUSINSKAYA
		(to them)
	Go on please -- go on, Suzette.

She and the Baron are alone.

			BARON
		(quietly)
	Bless you...

			GRUSINSKAYA
	Are you coming to the theatre? Oh -- 
	I shall dance tonight -- How I shall 
	dance -- I want to feel that you are 
	in the theatre.

			BARON
	I can't.

			GRUSINSKAYA
	No?

			BARON
	No! I can't explain now. Oh, look -- 
	the pearls. You wear them now...

			GRUSINSKAYA
	Why do you think --

			BARON
	Why?

			GRUSINSKAYA
	They've brought me such good luck -- 
	you --

He takes her hand, kisses it quietly.

			GRUSINSKAYA
	I'm worried about you.

			BARON
	Don't.

			GRUSINSKAYA
	On the train?

			BARON
	Yes -- I will be on the train.

			GRUSINSKAYA
	Till then.

			BARON
	Bless you --

During this scene Kringelein has been hovering nearby. As 
Grusinskaya turns away and exits, Kringelein approaches the 
Baron, who is standing perfectly still, looking off, -- his 
mind miles away.

			KRINGELEIN
	Was the Baron joking, or is it really 
	true that the Baron is -- in financial 
	straits.

			BARON
		(lightly)
	Absolutely true, Kringelein and I 
	have to raise some money immediately.

			KRINGELEIN
	If the Baron -- if you would permit 
	me --

The Baron looks at him suddenly.

			BARON
	What?

			KRINGELEIN
	I would be awfully glad to oblige, 
	you've been so decent to me. Three 
	hundred?

			BARON
	If I could get into a game I might 
	win some.

			KRINGELEIN
	Gambling! I'd like that. I have over 
	six thousand eight hundred marks 
	with me.

			BARON
	If we could scare up some men to 
	play.

			KRINGELEIN
	We could come to my room.

			BARON
		(with enthusiasm)
	Good!

At that moment Flaemmchen passes.

			BARON
	Going?

			FLAEMMCHEN
	Yes --

Flaemmchen hesitates as though she wanted to say something 
that is on her mind.

A curious little scene.

She doesn't speak, she just turns suddenly through the door. 
The Baron glances after her a little puzzled, turns back to 
Kringelein.

			BARON
	Ready, Kringelein?

			KRINGELEIN
	Ready, Baron.

They move off and are last in the crowd.

					FADE OUT:

			END OF SEQUENCE "#5"

		SEQUENCE "#6"

No scenes 88-93 inclusive

Sequence omitted from original script.

					DISSOLVE INTO:

KRINGELEIN'S ROOM

Possibly ten men are gathered about a green table. They are 
playing cards. There are champagne bottles, glasses, etc., 
on the table -- a great deal of smoke. Good atmosphere. The 
game is [...] fer. There is a dead silence except for the 
monotonous words of the players.

White faced, the Baron has the bank.

Otternschlag is seen to close the door quietly and approach 
the table.

Kringelein's back is to us.

They are smart people, not professional gamblers.

There is a tension in the room. The men are gathered around 
tightly. We do not see the cards.

The following voices are heard:

			BARON'S VOICE
	All right, gentlemen.

			VOICES
	I play -- I play -- Here -- Up -- 
	Playing --

			KRINGELEIN'S VOICE
	Yes -- me.

Several men glance at Kringelein and the size of his stake.

			KRINGELEIN
	Is that too much, Baron?

			BARON
		(glances down at his 
		own money)
	No -- not at all.

			KRINGELEIN
	All right then.

			BARON
	All right then.

There is tension in the room. The Baron deals two cards. 
Kringelein takes cards.

			A MAN
		(quickly)
	Don't show them.

Kringelein turns it down. He is like a little boy learning a 
new game.

The Baron deals himself a card.

			KRINGELEIN
		(to Baron)
	What do I do now?

The Baron is serious. There is enough money on the table to 
take him to Vienna.

			A MAN
		(next to Kringelein)
	Turn 'em up.

			KRINGELEIN
	Oh yes -- that's right -- look! I 
	win, don't I --
		(he turns the card up)

The Baron rises.

			BARON
	There you are gentlemen.

			A MAN
		(to Kringelein)
	Will you take the bank, sir?

			KRINGELEIN
	Yes -- I'll take everything gentlemen -- 
	please, let us drink -- champagne ---
	champagne is expensive and good. I'm 
	winning more than I used to earn in 
	a year -- double what I used to earn.
		(he is counting his 
		money)

They hand him the cards.

Kringelein kisses the Baron -- he looks around.

			KRINGELEIN
	Where is the Baron -- where are you, 
	Baron?

At the side table the Baron is standing -- he is drinking -- 
his face is white -- he has lost.

			KRINGELEIN
		(rising quickly)
	Excuse me, gentlemen.

			DOCTOR
		(sitting down in 
		Kringelein's place)
	I'll take the bank -- All right, 
	gentlemen.

Kringelein has come to the Baron.

			BARON
	That was my last.

			KRINGELEIN
	You've lost everything?

			BARON
	I've no luck.

			KRINGELEIN
	Pardon me, Baron. Permit me again...
		(he puts bills in 
		Baron's hand.)

Baron pours out a glass of champagne -- he has been drinking 
plenty -- he hands glass to Kringelein.

			BARON
	Drink to me, Kringelein -- it's my 
	last chance.

			KRINGELEIN
		(earnestly)
	I do drink, Baron -- I drink to you, 
	Baron and to win.
		(he drinks)
	It's good, -- come along, Baron.

They both move back to the table where the Doctor holds the 
bank.

			BARON
	I take five hundred.

			KRINGELEIN
	All of that at once, Baron?

The Baron picks cards, shows them to Kringelein who doesn't 
understand.

			BARON
	Eight.
		(he is triumphant.)

			DOCTOR'S VOICE
		(rings in background)
	Nine.

The Baron throws the cards into the middle of the table and 
turns to Kringelein:

			BARON
	That's it. The luck's with you.
		(he walks away.)

			VOICES
	Come along, Mr. Kringelein. Sit here.

			KRINGELEIN
	I'm having luck for the first time 
	in my life.

			A MAN
	Your bank, Mr. Kringelein.

Kringelein seats himself, puts his glass of champagne down 
on the table.

Doctor leaves table, crosses to Baron who is pouring another 
drink.

			DOCTOR
	Out, Baron?

			BARON
		(bitterly)
	For a while -- I'll recover -- in 
	ten or twenty years.
		(he points)
	Look at that.

He has pointed and turned off because we hear Kringelein's 
voice:

			KRINGELEIN'S VOICE
	I've won again, Baron -- I've won 
	again.

Baron moves out of scene followed by Doctor. As Baron 
approaches table.

			KRINGELEIN
	Baron, I drink and win -- I drink 
	and win -- I win and drink!
		(he is pulling money 
		towards him, counting 
		it, eagerly, 
		frantically, not the 
		movement of a miser, 
		not a greedy movement, 
		but the movement of 
		an excited child 
		liberated. Money has 
		become so much mad 
		paper to him.)

During the foregoing scene, one of the men at the table has 
answered the ringing of the telephone bell, he comes back 
now.

			A MAN
	There are complaints in the hotel 
	about the noise.

			VOICES
	What time is it? Getting late? Let's 
	break it up!
		(to Kringelein)
	You've been very lucky... Where's my 
	coat? Let's go. He's drunk anyway!... 
	Goodnight, Baron. Let's wind up the 
	game, I'm broke and tired; you can't 
	play against him. I put my hat down 
	here, somewhere. I think I'll have a 
	drink before I go. By the way, I've 
	got to see you tomorrow morning. 
	How've you been, Doctor?

Business ad lib. General business of slow normal exit.

Kringelein looks up from counting his money. He has been 
like a little boy with a Christmas stocking. He looks up 
suddenly, sees men are leaving --

			KRINGELEIN
	Oh, don't go, gentlemen! -- Stay a 
	while.
		(he stands to his 
		feet)
	Be my guests!

By this time the men are pausing by the door.

			KRINGELEIN
	I oughtn't to presume, but I --
		(he is a little drunk)
	I'm so grateful to you -- it's been 
	so marvelous. The first time in my 
	life I have gambled -- I've danced! 
	Oh, you can laugh, gentlemen, but 
	it's the first time in my life I've 
	ever tasted life!

			A MAN
		(slapping him on back)
	Splendid!

There is a general feeling in the room that although this 
man is drunk he is terribly sincere, and that there is no 
wish to embarrass themselves or him. In fact, there is a 
nervous impatient movement among the men. But Kringelein has 
reached an emotional pitch.

			KRINGELEIN
	Life, gentlemen, is wonderful, but 
	very dangerous. You must have courage 
	for it, then it's wonderful. You 
	gentlemen don't know that because 
	you are all healthy and happy, but I -- 
	believe me -- a man must know death 
	and not until then does a man know 
	anything about life.

			A MAN
		(sings)
	Rejoice in life while yet the small 
	lamp burns.

General noise among men, some are ribald, others are serious. 
Two men come and shake hands with Kringelein, bidding him 
goodnight.

The Baron puts his hand restrainingly on Kringelein's 
shoulder.

Kringelein almost staggers towards the sideboard. The men 
are nearing the door.

			A MAN
		(starts singing)
	It's a short life and a gay one...

			KRINGELEIN
		(seizing a glass of 
		champagne)
	Every glass high to life -- the 
	splendid, dangerous, mighty, brief --
	brief life -- and the courage to 
	live it.
		(turns to Baron)
	Baron, you know -- I've only lived 
	since last night -- but that little 
	while seems longer than all the time 
	before -- all the --
		(he collapses suddenly 
		onto the floor)

Business ad lib.

The doctor is there quickly. The Baron next.

			MAN
	Drunk.

			ANOTHER MAN
	Poor fellow.

General normal business ad lib between the men. Perhaps three 
of them help him up, including the Baron. They carry 
Kringelein to the bed.

			VOICES
		(of players mingling)
	Drunk? No, he's ill. Looks ill.
		(well paused over:)
	He's a doctor -- The doctor's here -- 
	He's just drunk!

			DOCTOR
	Gentlemen, this man is ill -- very 
	ill -- if you will leave.

			VOICES
	Certainly, Doctor. Goodnight! 
	Goodnight, Baron! Bad luck!

			DRUNKEN MAN
	He's not used to champagne -- why 
	does he drink it?

Little comedy on exit. Ad lib.

INTERCUT FOR RELIEF -- Kringelein's face -- white, drawn, 
tragic.

One man, perhaps, remains.

			MAN
	Can I help, doctor?

			DOCTOR
	No, the Baron will stay.

			BARON
	Certainly.

Man leaves. During this scene the Baron has been carefully 
making Kringelein comfortable on the bed, bolstering pillows 
behind his head. Kringelein's eyes are shut tightly, his 
hands are limp.

By the business of the Baron, although we do not of course 
know it, this is the time that he takes the wallet from 
Kringelein and puts it in his own pocket.

We might perhaps remember a sudden turn away in which we see 
his back and his right hand raised as though reaching in his 
inside pocket --

He stands looking down at Kringelein.

			DOCTOR
		(drops Kringelein's 
		hand)
	It will be over in a minute.

Kringelein's eyes flutter. His voice sounds hoarsely:

			KRINGELEIN
	Over -- over so soon -- it has just 
	begun.
		(he closes his eyes 
		suddenly)
	Oh, the pain.

			DOCTOR
	Try and sleep, Kringelein, don't be 
	afraid.

			KRINGELEIN
		(mutteringly)
	I'd like to live a little longer but -- 
	I'm not afraid to die -- I'm not...

			BARON
		(touching his shoulder 
		gently)
	You'll be all right, Kringelein.
		(he moves from the 
		bed -- takes out a 
		cigarette, moves to 
		the table. He seizes 
		his drink)

			KRINGELEIN'S VOICE
		(out of scene)
	My pocketbook... my money in it...

			DOCTOR'S VOICE
	What do you say -- what?

We watch Baron's face, he looks back over his shoulder.

			DOCTOR'S VOICE
	You what -- Oh, isn't it there?

			KRINGELEIN'S VOICE
	No -- But no I -- Baron, I've lost 
	my pocketbook.

Baron turns in this scene. He walks forward toward them.

The Doctor's hands are on Kringelein's coat.

			DOCTOR
	There is no pocketbook here... On 
	the floor probably.
		(He glances down)

			KRINGELEIN
		(starting up suddenly)
	More than fourteen thousand marks... 
	were in that pocketbook.

			DOCTOR
		(looking at Baron)
	Fourteen thousand marks... One can 
	travel -- one's happiness might depend 
	on fourteen thousand marks -- don't 
	you think so, Baron?

			BARON
		(with a shrug)
	Quite possibly.

At that moment, Kringelein, who has been staring up at the 
ceiling, his hands clenching and reclenching, starts up.

			KRINGELEIN
	Oh, I've got to find it.

			DOCTOR
	Stay where you are.

			KRINGELEIN
	No -- I must find it --
		(he starts talking)
	Fourteen thousand two hundred marks.
		(he pulls himself to 
		the side of the bed)

The doctor goes to restrain him.

			KRINGELEIN
	I'm all right, Doctor. There's no 
	pain now -- only you don't know what 
	that money means to a man like me.

He is suddenly on his hands and knees, crawling along the 
floor, looking for it, like a little boy; his drunkenness, 
his condition, makes the situation tragic. He actually gets 
under the card table.

The Doctor looks at the Baron.

The Baron only watches Kringelein. He follows him, fascinated.

			KRINGELEIN
		(talking at intervals 
		as he crawls looking 
		for money)
	You don't know, because you've never 
	lived like a dog -- in a hole -- and 
	saved and scrimped. My life hangs 
	upon that money, Baron. Nobody gives 
	you anything. You have to buy 
	everything and pay cash for it. I 
	wanted to pay for my last days with 
	that money. Every hour costs money. 
	I've nothing -- nothing but that 
	pocketbook.
		(he crawls along the 
		floor on his hands 
		and knees talking to 
		the carpet as he 
		looks)
	I must have it back.
		(he pauses breathless -- 
		like an animal along 
		the wall -- looking 
		up at the men)

The foregoing speech is intercut with the following action 
in which Kringelein's voice is heard throughout -- thus it 
is not a long speech:

The Baron watches. He throws his cigarette away -- he bites 
his lip -- sweat breaks out upon his forehead; again he is a 
thief. When he wanted pearls the love of a woman stopped 
him. Now he wants this money and pity, a slow growing pity 
for this tragic, dying thing is stopping him -- and all the 
time the Doctor watches.

The one, whole eye pierces into the Baron's melting 
conscience.

Twice during the speech at a spot, through and during 
rehearsal, to be selected, the Doctor's voice, droning but 
piercing, says:

			DOCTOR
	He must find his money, Baron.
		(next time)
	Mr. Kringelein should find his 
	pocketbook, Baron, shouldn't he?

These are two interjections.

And now, Kringelein lies upon the floor, a troubled little 
sack of pain, his head down.

The Baron turns away. He bends down as though he were looking 
for the pocketbook. We see him take it from his pocket and 
turn. There is a very light, almost triumphant ring in his 
voice as he says:

			BARON
	Here -- here it is. Here's your 
	pocketbook, Kringelein.

			KRINGELEIN
		(his head coming up)
	Oh -- yes -- that's it -- you found 
	it -- you found it for me, Baron.

			BARON
		(quickly)
	Goodnight, Kringelein.
		(he moves towards the 
		door.)

			KRINGELEIN
	No -- no please -- oh, don't go -- 
	don't go -- don't leave me alone, 
	Baron.

			DOCTOR
	You've nothing to fear, Kringelein

			KRINGELEIN
	No.

			BARON
	Come, get up -- come let me help 
	you.

NOTE: If he is a strong actor he can pick Kringelein up -- 
If not, he and Doctor lift Kringelein to bed.

			BARON
	You're all right now -- it's very 
	late -- goodnight, Kringelein.

			KRINGELEIN
	Oh, no, stay here, Baron -- stay.

Baron bites his lip. It is the first and only time in the 
play that we see a tear near -- the strong man almost breaks.

			DOCTOR'S VOICE
	Goodnight, Baron.

			BARON
	Goodnight.
		(his hand presses on 
		Kringelein's shoulder -- 
		he exits)

							CUT OUT INTO:

CORRIDOR

Baron shuts door and pauses. In front of him is the door of 
the woman he loves. Down beyond is his own empty room. In 
his pockets nothing. In his CLOSEUP he makes the audience 
feel his problem with him.

This man who has lived and whistled and love through the 
play becomes a tragic, lonely, harrassed figure. The Baron 
has broken. His fists dig into his eyes -- he brushes his 
hair back.

Over this comes with almost an impertinence, a tiny whistle. 
He looks up and away down the corridor. The figure of 
Flaemmchen stands there, a small black bag in her hand. The 
Baron pulls himself together and smiles characteristically. 
He walks down the corridor.

			BARON
	Flaemmchen, what are you doing here 
	in the middle of the night.

			FLAEMMCHEN
	Looking for my room -- one sixty-
	six.

			BARON
	You live here?

			FLAEMMCHEN
	For tonight.
		(she points to door -- 
		she looks at him a 
		long time)

			BARON
	Oh!

			FLAEMMCHEN
	Yes -- oh!

			BARON
	Well -- such is life, Flaemmchen.

			FLAEMMCHEN
	And Baron, thanks so much for 
	everything.

They both go into their respective rooms.

Here are our two gay young characters. The gay, fresh 
Flaemmchen and the debonair Baron, crucified for lack of 
funds. Both trying to smile, both trying to be light about 
themselves. Yet, each about to involve themselves tragically 
for the want of a little money.

FLAEMMCHEN'S ROOM

Flaemmchen enters her room cautiously. Except for one lamp 
burning the room is in darkness and empty. From the adjoining 
door to Preysing's room a thin stream of light. She puts 
down her bag quickly, tiptoes through the bathroom to his 
door. She peeps through.

							CUT TO:

FLASH OF PREYSING'S ROOM

from her angle.

Preysing stretched on bed flat, his stomach a mountain and 
on it the magazine that he has been reading with Flaemmchen's 
picture. He is looking at the ceiling. She knows he is awake 
because a thin stream of smoke comes from his cigar in his 
hand.

FLASH OF FLAEMMCHEN

An idea occurs to her. She could possibly sneak into bed and 
he would go to sleep and there would be nothing that night.

CAMERA FOLLOWS HER as she tiptoes to her room. She closes 
the door noiselessly and listens. She throws off her hat and 
takes off her coat. Opens her bag and takes out night dress, 
lingerie, etc. The lid of her bag falls suddenly. She starts 
at the noise. "Has it awakened him." She looks off.

SHOT AT BATHROOM DOOR

The thin stream of light is filled suddenly, the door of the 
adjoining room opens and back-lighted from the other room 
the huge form of Preysing appears. In this odd lighting he 
is a little more than Preysing. He comes forward. He speaks 
hoarsely, quietly.

			PREYSING
	Flaemmchen!
		(he seizes her to him)

She goes to his arms passively. He rubs his face in her hair. 
She is passive -- cold.

			PREYSING
		(breathlessly)
	You are late. I've been waiting for 
	you -- waiting.

			FLAEMMCHEN
	I had to arrange about the trip.

			PREYSING
	You're sweet.

			FLAEMMCHEN
	You think so?

He holds her again, trying to kiss her. She deliberately 
avoids his kiss.

			PREYSING
		(awkwardly)
	Come here.
		(he sits heavily on 
		the bed, sitting on 
		her night dress.)

			FLAEMMCHEN
	Here, hold up!

Preysing rises while she pulls her night dress from under 
him.

He draws her to him.

			FLAEMMCHEN
	Oh -- careful, Mr. Preysing.

			PREYSING
	Call me -- do you know -- would you -- 
	would you like to call me by my first 
	name?

			FLAEMMCHEN
		(pulling away, glad 
		of an excuse for 
		conversation)
	Oh, no.

			PREYSING
	Why not?

			FLAEMMCHEN
	I couldn't do that, you're a stranger 
	to me.

			PREYSING
	You're a funny little creature, 
	Flaemmchen. I can't make you out.

			FLAEMMCHEN
	It's not funny at all. One can't get 
	intimate just off hand. I could go 
	to England with you and everything 
	like that -- supposing I met you 
	next year and I said: 'How do you 
	do, Mr. Preysing! And you said:
		(she imitates him)
	'That was the young lady who was my 
	secretary in Manchester'.

Preysing laughs. She laughs.

			FLAEMMCHEN
	That's all quite proper.
		(she is happy again. 
		She would rather 
		talk than be squeezed)
	But supposing I met you when you 
	were with your wife and I called 
	out: "Hello you big baby -- remember 
	Manchester?' And you with your wife, 
	how would you like that?

There is a pause for a moment.

			PREYSING
	Please, Flaemmchen -- we'll leave my 
	wife out of this.

Flaemmchen yawns straight in his face.

			FLAEMMCHEN
	All right. I'll get undressed -- get 
	out.

He moves towards the windows which are open. She pushes his 
fat body out, almost playfully, through the doors and onto 
the balcony.

Preysing stands out on the balcony. He looks down in the 
street below, then off. He starts suddenly because he sees a 
shadow over the railing of his own balcony. He is puzzled. 
Shadow crosses again. "Who can be in his room?" He moves 
forward and peeps through the window. One side of the French 
window is closed. From his angle we see the Baron furtively 
searching the room. He is now wearing an overcoat, the collar 
is turned up. Business ad lib. He finds Preysing's wallet. 
He stuffs this in his overcoat pocket. Preysing's face 
watching him. As Baron turns to exit, Preysing surges forward, 
pulling the window after him. The two men face each other.

			PREYSING
	Aha! -- The Baron. What do you want 
	here?

			BARON
	I must have made a mistake.

			PREYSING
	Made a mistake -- remarkable. We 
	shall soon see if you made a mistake.
		(the Baron starts to 
		leave.)
		(bellowing)
	Stay here... Give me that money.

The Baron hands him the pocketbook without a word.

			PREYSING
	So that's how we stand, Baron.

			BARON
	Look here, sir -- I'm completely at 
	your mercy -- I'm desperate -- it's 
	a matter of life or death -- I had 
	to get some money -- tonight.

			PREYSING
	Indeed you must, Baron -- you must. 
	Humm -- humm, but you must go to 
	jail, Baron, you're a thief.

			BARON
	Be quiet.

			PREYSING
	I'm going to call the police. I'm 
	going to watch you play the great 
	Baron with the police. Aristocrat! 
	Aristocrat!
		(he picks up the 
		telephone)

The Baron makes for the door on the other side of the room, 
pulls at the knob.

			PREYSING
	The door is locked, Baron.

The Baron makes one dive across the room. Preysing grasps at 
his coat and tears it. With one hand holding the telephone, 
(the receiver dropping on its cord towards the ground) and 
one hand holding the Baron.

			PREYSING
		(into telephone)
	Hello! Hello! --

			BARON
	Don't do that.
		(he tries to snatch 
		the telephone from 
		Preysing.)

Preysing wrenches the telephone suddenly away from the Baron. 
The action excites him.

			PREYSING
	Strike me, would you? Attack me would 
	you? Attack me --

With a terrific lunge, Preysing brings the telephone down 
upon the Baron's head. The Baron sways, stunned. (as in book). 
In his mad rage, Preysing, hits again with the telephone.

			PREYSING
	I'll strike you -- I'll strike you -- 
	I'll strike you -- Strike me!

By this time the Baron is a heap on the floor. We see Preysing 
come out of his blind trance. He even repeats again.

			PREYSING
	I strike you --
		(with telephone 
		foolishly in his 
		hand, he looks down 
		at what he has done.)

							CUT TO:

DOWNSTAIRS TELEPHONE ROOM

Sharp sound of buzzing.

Dozing night girl plugs in, lazily.

			NIGHT GIRL
	Yes -- yes -- Operator -- Operator --
		(she listens -- says 
		to herself)
	They are having a nice little game 
	up there with the telephone.

With nonchalance she flicks plug out again, as she does so:

							CUT TO:

PREYSING'S ROOM

New angle. Preysing is on his feet. He has replaced the 
receiver on the telephone, he is putting it back slowly. He 
is terrified.

Door opens behind him.

Flaemmchen, with a dressing gown on, light, filmy thing, 
crosses and looks down at the Baron, without a word. Preysing 
seizes her.

Her hand goes to her head, her eyes roll; for a moment we 
think she is going to faint right on top of the Baron. She 
is trying to collect her senses, it cannot be true. We can 
hear nothing but the heavy breathing of Preysing and the 
traffic below.

Suddenly a motor horn in the street below sounds strident, 
it is the first time we have been conscious of it.

With a swift movement, Flaemmchen dashes towards the door. 
It is locked. She rushes back as if to cut through her own 
room. He reaches for her and rips her dressing gown from 
her, leaving her almost naked. He lunges after her. She tears 
through her own room.

							CUT TO:

CORRIDOR

Flaemmchen enters from her room. She looks this way and that. 
After all, it is Flaemmchen and not Lillian Gish, running 
across the ice in "Way Down East," -- it is Flaemmchen, a 
Berlin girl. She pauses to try and clear her brain. "What 
the hell is this -- what is it." The impulse naturally is to 
scream in alarm. She doesn't -- Flaemmchen's don't. She looks 
around. At the end of the passage is Kringelein's room. She 
will go there. We watch her run down the passage uncertainly. 
Without knocking she pushes open Kringelein's door.

							CUT TO:

KRINGELEIN'S ROOM

It is in darkness. The only light comes through the windows. 
The form of Kringelein lies prone upon the bed, the Doctor 
had just thrown a coat over him. He is still in his trousers 
and shirt.

Like a ghost, Flaemmchen, the shreds of her filmy clothes 
hanging to her, crosses.

			FLAEMMCHEN
		(hoarse whisper)
	Mr. Kringelein -- Mr. Kringelein -- 
	where are you?

She sweeps to bed. She shakes him. Kringelein starts up.

			FLAEMMCHEN
	Quick -- Mr. Kringelein.

			KRINGELEIN
	Oh -- what -- what --
		(he is looking up at 
		what seems to be a 
		ghost.)

She pulls on the light by the bed, it flames up on their 
faces.

			KRINGELEIN
	Oh -- oh, Miss Flaemmchen. It's you --

			FLAEMMCHEN
	Quick -- something awful -- awful 
	has happened. Go -- go at once, -- 
	Mr. Preysing --

			KRINGELEIN
	Preysing?

It occurs to him that this girl with her torn clothes must 
have been roughly treated by Preysing. He suddenly assumes a 
strength.

			FLAEMMCHEN
	Oh, don't wait -- go -- it's awful -- 
	it's awful.

She slides down to the floor, by the side of the bed.

Kringelein climbs out of bed, tries to help her up.

			KRINGELEIN
	Stay here.

She waves him away.

			FLAEMMCHEN
	Don't wait now -- go -- Preysing.

Kringelein assumes suddenly a strength. He is a man for a 
crisis -- he forgets that he was ever ill -- he leaves.

WE GO WITH HIM. CUT HIM DOWN CORRIDOR QUICKLY. He pauses 
outside Preysing's door, uncertain of the rooms, then he 
knocks.

			KRINGELEIN
		(calling)
	Mr. Preysing -- Oh, Mr. Preysing --

He feels there must be a mistake -- he steps back, sees 
Flaemmchen's door open next to it. He enters.

				CUT HIM THROUGH:

FLAEMMCHEN'S ROOM

He enters. Looks around. Looks through bathroom. Goes quickly 
forward.

					CUT INTO REVERSE:

PREYSING'S ROOM

Preysing is still leaning against the table, his mouth is 
open, he is gaping -- stunned. The two hundred and four pounds 
has collapsed and sagged. He is staring, his victim lying -- 
a heap upon the floor, very still and quiet. His eyes come 
around as Kringelein enters.

Kringelein crosses, looks down. Touches the Baron's hand.

			KRINGELEIN
	Oh -- the Baron -- the Baron.

			PREYSING
	He tried to rob me -- he is dead --

			KRINGELEIN
	My best friend -- poor, Baron -- 
	dead -- just like that.

			PREYSING
	-- We must do something...

			KRINGELEIN
		(quickly)
	Yes, the police must be called.

			PREYSING
	No -- no -- wait -- the man was a 
	burglar -- he was going to steal my 
	money.

			KRINGELEIN
	Oh, no -- no -- not the Baron.

			PREYSING
		(suddenly)
	Where is that girl -- she was working 
	with him -- she enticed me into her 
	room.

			KRINGELEIN
	Her room -- oh -- I see, Mr. Preysing -- 
	I understand, Mr. General Director 
	Preysing.

			PREYSING
		(frantically)
	I can answer for this, it was self-
	defense -- I can answer for this -- 
	but that girl -- the scandal -- my 
	wife -- my daughters, you know them?

			KRINGELEIN
	Yes, I know them --

			PREYSING
	The scandal -- we are men -- you -- 
	you could take that affair of the 
	young lady upon yourself -- take her 
	and hold your tongue. Then you can 
	travel -- I'll give you anything -- 
	anything -- she was with you.

			KRINGELEIN
	We must call the police, your 
	excellency.

Preysing takes him by the shoulders.

			PREYSING
	How much -- how much do you want -- 
	you need money -- you have nothing.

			KRINGELEIN
	Don't worry about me, Mr. General 
	Director Pryesing -- worry about 
	yourself.
		(he picks up receiver)
	There has been a murder -- this is 
	room one sixty-four.

							CUT TO:

TELEPHONE ROOM

Telephone girl plugs in.

			GIRL
	Hello -- hurry up... hurry up... 
	someone in one sixty-four says there 
	has been a murder.

							CUT TO:

HALL PORTER

The scene gradually grows intense. Porter calls night man.

			PORTER
	Here - quick - here -- go to one 
	sixty-four immediately.
		(calls back on 
		telephone)
	Give me Mr. Rohna -- Rohna the 
	manager.

							CUT TO:

ROHNA'S ROOM

Darkened room. Bell ringing. Rohna sits up in bed, turns on 
light, picks up telephone; on his face we see him hear the 
news.

			ROHNA
	Where?... murder?... who?... all 
	right, I'm coming. Wait a minute.
		(speaks in a monotone)
	Instruct everyone to use the utmost 
	tact -- we must have no scandal in 
	the Grand Hotel. Answer no questions, 
	I'm coming now -- inform the police.

(he replaces the telephone commences dressing quickly)

							CUT TO:

GRUSINSKAYA'S ROOM

Trunks standing around everywhere. Suzette is finishing 
packing. Grusinskaya is sitting in front of the mirror in a 
loose night wrap -- she is doing her hair.

			SUZETTE
	Madam should sleep.

			GRUSINSKAYA
	I've done my hair differently -- do 
	you like that?

			SUZETTE
	When a lady falls in love she does 
	her hair differently.

			GRUSINSKAYA
		(rising)
	In the middle of the night -- those 
	flowers make me think of a funeral. 
	Laurels and tube-roses.
		(she pushes the window 
		closed, shivers, it 
		is chilly. She crosses 
		the room turning out 
		one of the lights)
	Oh, think, Suzette -- the Villa and 
	the sun at Tremezzo -- quiet -- simple -- 
	happy -- we'll have a guest, Suzette.

			SUZETTE
		(quietly)
	Yes, Madam. And now Madam will sleep. 
	It is not long 'till the train.

			GRUSINSKAYA
	Goodnight, Suzette.

Suzette leaves -- turning out a light.

Alone, Grusinskaya goes to the telephone. She raises the 
receiver.

			GRUSINSKAYA
	Hello -- can you tell me if Baron 
	von Gaigern is in his room -- ring 
	him.
		(talking to herself)
	Cherie, I must wake you or you'll 
	miss the train.
		(into phone)
	...yes... are you ringing, he may be 
	asleep.
		(to herself)
	Cherie, you must get up and fetch me 
	from my room -- I'm longing for you, 
	Cherie -- I have not been to sleep -- 
	I kept thinking you would come to 
	me.
		(into phone)
	...Oh, but he must answer. Ring -- 
	ring -- ring.

CUT IN HERE at discretion the:

BARON'S EMPTY ROOM

Telephone is ringing.

							CUT BACK TO:

GRUSINSKAYA'S ROOM

			GRUSINSKAYA
		(to herself)
	Cherie, hurry -- hurry -- hurry. 
	Answer the phone -- what is the 
	matter.
		(into phone)
	Ring him -- ring him.
		(to herself)
	Where are you -- where are you, 
	Cherie? Why don't you answer?
		(into phone)
	Well, ring him -- please -- please.

				FADE OUT SLOWLY:

			END OF SEQUENCE "#6"

		SEQUENCE "#7"

Music up as we --

FADE IN ON:

DISSOLVE INTO - EXTERIOR SERVICE ENTRANCE OF HOTEL

The trees and the milk cart effect and other curious signs 
of dawn, which we remember after the climax of the first 
sequence.

Music cold and eerie.

							DISSOLVE OUT:

General early morning bustle and activity.

From one van, fruit and vegetables are being unloaded. From 
another, huge hind quarters of beef are being carried in and 
in a monotonous way a baker throws two loaves at a time, to 
another man, from a van backed up --

			BAKER
		(counting)
	Forty-two -- forty-four -- forty-six -- 
	forty-eight -- fifty -- fifty-two --

Waiters coming to work. A noisy racket.

Sandwiched between the bread and butcher vans, is backed a 
hearse.

At the moment we come upon it, the men are pausing in their 
work to glance. The men take off their caps, as; proceeded 
by the hotel detective and others, who will be there, the 
corpse of the Baron in the basket, used at such time, is 
brought out and placed in the hearse, which drives noisily 
away. A policeman rides with the driver on the box.

By this time the man with the bread is counting: 

			BAKER
	One hundred and eight -- one hundred 
	and ten -- one hundred and twelve...

Stay with him for a moment.

							DISSOLVE OUT:

DISSOLVE INTO - EXTERIOR FRONT OF HOTEL

Shooting onto door - day lighting.

A man comes out and signals a black closed limousine, which 
pulls forward.

							DISSOLVE OUT:

DISSOLVE INTO - MAIN HOTEL LOBBY

Early morning. Sense of chill and desolation. Some chairs 
stand on tables. A vacuum cleaner is at work on the carpets. 
Newspaper boys are delivering papers at the news stand. The 
various shops are slowly being opened, the windows being 
cleaned.

The general feeling of the beginning of another day.

THE CAMERA waits at a distance shooting from door as Preysing, 
with a plain clothes man on either side of him, leaves, moving 
towards THE CAMERA. He is grim, his hat is drawn over his 
eyes. His hands deep in his pockets. When he has passed the 
CAMERA MOVES FORWARD TO:

SENF'S DESK

(the old shot) Meierheim is entering quickly goes through 
the door.

He crosses now to Pimenov. They talk eagerly out of earshot. 
But it is apparent that Meierheim is, as usual, in a hurry.

Rohna is there too. One of the men carries a telephone stand, 
wrapped loosely in paper. But we know it's the telephone 
stand.

Senf comes on duty, looks around, it is apparent that he is 
late.

			CLERK
	The night clerk has already gone -- 
	you are late.

			SENF
	Man -- I was at the clinic the whole 
	night -- there are no words to 
	describe what my wife suffered.

			CLERK
	And the child isn't coming?

			SENF
	No -- no -- not yet. Well, I mustn't 
	let it interfere with my duty. Any 
	news here?

			CLERK
	News? Yes -- killing in number one-
	sixty-four.

			SENF
	What? -- Who? -- Whom?

			CLERK
	The big manufacturer killed Baron 
	von Gaigern.

			SENF
	Good heavens. What for?

			CLERK
	I don't know.

			SENF
	Man -- that's terrible. He was a 
	nice fellow -- I am sorry about him.

			CLERK
	It seems that he was a thief and an 
	imposter.

			SENF
	I don't believe it -- he was a real 
	gentleman. I know people... I'm so 
	tired I can hardly see out of my 
	eyes. No sleep for two nights and so 
	many duties and now this killing in 
	the hotel -- that means a lot of 
	work. But it's too bad about the 
	Baron, you always felt better when 
	he came along -- always friendly -- 
	such an agreeable fellow.

			CLERK
	Most imposters are --

A number of bellboys march up and form a line. Senf comes 
from behind the desk and inspects them.

			SENF
	Good morning.

			BOYS
		(in chorus)
	Good morning.

			SENF
	Show your hands.

They show their hands.

			SENF
		(to one boy)
	You have dirty nails -- you little 
	pig -- you're no good... Caps off! -- 
	Let's see your hair.
		(Boys take off their 
		caps)
	Good -- caps on!
		(Boys put on their 
		caps)
	Where is number seven?... Not here?
		(to clerk)
	Take his name -- if he comes late 
	again today, he's fired. Dismissed!

The boys sit down on the bench.

THE CAMERA MOVES TO KRINGELEIN.

Kringelein and the police officer move towards the desk in 
ear shot.

			KRINGELEIN
	Please, officer.

			OFFICER
	That will be sufficient for the 
	present, sir, you may travel in peace.

Kringelein exits.

							CUT TO:

CORRIDOR BY ELEVATOR

As Kringelein emerges from the elevator, Suzette speaking to 
the Floor Clerk.

			SUZETTE
	And they've taken him away.

			FLOOR CLERK
	Yes -- it's terrible.

			SUZETTE
	Madam must not know -- you understand -- 
	Madam must not know.

			FLOOR CLERK
	I will tell the maids. I cannot answer 
	for downstairs --

Suzette hurries down corridor. By this time Kringelein has 
arrived at his door, he opens it.

							CUT TO:

KRINGELEIN'S ROOM

Kringelein opens the door and enters. Flaemmchen is looking 
into space. A lovely picture. Morning light over her hair, 
she is dressed.

			KRINGELEIN
	What's the matter?

			FLAEMMCHEN
	Oh -- I was thinking -- Poor Baron -- 
	Lying there, his eyes so open.

			KRINGELEIN
	You loved the Baron, didn't you?

			FLAEMMCHEN
	Yes --

			KRINGELEIN
	So did I. He was friendly to me as 
	no man ever was.

			FLAEMMCHEN
	Perhaps he really was a burglar -- 
	But they don't kill a man for that.

			KRINGELEIN
	He was in desperate straits. He'd 
	been trying to raise money all day. 
	He laughed -- Poor devil! And then a 
	man like Preysing kills him.

			FLAEMMCHEN
		(naively)
	I didn't like Preysing right off.

			KRINGELEIN
	Then why did you have anything to do 
	with him?

			FLAEMMCHEN
		(simply)
	Money!

			KRINGELEIN
	Yes, of course, -- money!

			FLAEMMCHEN
	You don't understand that do you?

			KRINGELEIN
	Of course I do -- I never knew what 
	money really meant till I started 
	spending it. Do you know --
		(he is silent a moment)
	I can hardly believe that anything 
	so beautiful should come to me from 
	Preysing -- I'll take care of you. 
	Will -- will you let me?

			FLAEMMCHEN
	What?

			KRINGELEIN
	You'll have a good time with me. 
	Want to? I've got enough money. Ten 
	thousand two hundred in my pocketbook. 
	Three thousand four hundred that I 
	won. It will last a long time. I can 
	win more -- we'll travel.

			FLAEMMCHEN
	Yes -- to Paris? I wanted to go there 
	always.

			KRINGELEIN
	Wherever you like. Here I'll give 
	you the money I won, three thousand 
	four hundred. Later you can have 
	more.

			FLAEMMCHEN
	Later?

			KRINGELEIN
	When I -- I'm ill, Flaemmchen -- It 
	will not be long -- I'll not last 
	long. Will you stay with me until...

			FLAEMMCHEN
	Nonsense! We'll find a great doctor, 
	he'll cure you. They can cure anything 
	these days.

			KRINGELEIN
	Do you believe that you will have a 
	better time with me than you would 
	with Preysing?

			FLAEMMCHEN
	Oh yes, of course.

			KRINGELEIN
		(takes her hands)
	Do you like me better?

			FLAEMMCHEN
	You're a good man, Mr. Kringelein -- 
	a very good man.

Kringelein straightens, happy, inspired, a smile on his face. 
He assumes in his gestures. Takes the telephone.

			KRINGELEIN
		(into telephone)
	When is the next train leaving for 
	Paris? -- Yes... Get two tickets for 
	me... and my bill please... and the 
	lady's -- Miss Flaemm's.
		(puts down telephone)
		(to Flaemmchen)
	We have to hurry let's pack -- we'll 
	have breakfast on the train.

							CUT TO:

CORRIDOR

The figure of Grusinskaya is standing at her door, there is 
no one with her. Suzette steps out.

			SUZETTE
	Madam, it is Mr. Meierheim -- he is 
	waiting downstairs.

			GRUSINSKAYA
	Where is Pimenov? Where is Pimenov?
		(she looks off.)

FLASH OF PIMENOV

coming out of the elevator.

Grusinskaya hurries down to Pimenov -- they meet.

			PIMENOV
		(breathlessly)
	He will be on the train.

			GRUSINSKAYA
	But when did he go? How do you know?

She crosses and looks in the Baron's room. A maid is there 
changing the bedding. The room is unoccupied otherwise.

			GRUSINSKAYA
	Baron von Gaigern has left?

The maid nods.

			GRUSINSKAYA
	When? How long ago?

Maid shrugs her shoulders.

			VOICE OF FLOOR CLERK
	The Baron left about half an hour 
	ago, Madam.

			PIMENOV
	Oh -- Gru -- come, come -- we'll 
	lose the train.

While they are waiting for the elevator Grusinskaya is like 
a live electric wire.

The elevator arrives. They are stepping in.

							CUT TO:

LOBBY

General activity. We hear the cry go up:

			VOICE
	Madam Grusinskaya's car...

Grusinskaya comes out of the elevator followed by Suzette 
and Pimenov. Meierheim meets her.

			MEIERHEIM
	Come along, oh, Madam, come along. 
	The train will be going.

			GRUSINSKAYA
	Wait a minute. I've got to ask myself.

			PIMENOV
	What's the use of asking, Gru -- he 
	is at the train -- He will be there.

			MEIERHEIM
	The troupe, the scenery, everything -- 
	all on board, waiting. You have a 
	rehearsal in Vienna tomorrow morning. 
	Come, Madam, are you mad?

Grusinskaya crosses to the desk. She speaks to Senf.

			GRUSINSKAYA
	Have you seen Baron von Gaigern?

			ROHNA
		(comes over quickly)
	The Baron is not here, Madam.

			GRUSINSKAYA
	He is gone?

			ROHNA
	Yes, Madam.

			MEIERHEIM
	Four minutes past. Please come.

			PIMENOV
	Come, Lisaveta, he will be there -- 
	he will be there.

			MEIERHEIM
		(calling)
	Madam Grusinskaya's car.

Grusinskaya, followed by the others, sweeps out towards the 
door.

							CUT TO:

EXTERIOR HOTEL

Grusinskaya emerges, followed by the others. The sunlight 
hits them.

			GRUSINSKAYA
	Oh, the sun -- it will be sunny in 
	Tremezzo --

			MEIERHEIM
	Every seat for the opening has been 
	sold at Vienna. Sold out for three 
	days.

			GRUSINSKAYA
	I know -- I know -- but it will be 
	sunny in Tremezzo. We'll have a guest 
	then.

			SUZETTE
		(knowingly)
	Yes, Madam.

			VOICE
	Madam Grusinskaya's car.

Grusinskaya moves forward.

							CUT TO:

LOBBY

			SENF
		(at telephone)
	Grand Hotel, Head Porter. What? 
	There's been -- a child born? A boy! 
	Yes! My child born! It is healthy... 
	and my wife? Doing well -- all well!
		(to Clerk)
	The child has come. They are both 
	alive. My child...

							CUT TO:

BY ELEVATOR

At this moment Kringelein and Flaemmchen are coming out of 
the elevator, Kringelein is carrying his suitcase.

A bellboy attempts to take his bag but Kringelein, still 
confused draws his hand with the suitcase away from the 
bellboy.

			FLAEMMCHEN
	Let him take it.

			BELLBOY
	Your bag, your Excellency --

Hearing the word 'Excellency' Kringelein goes through a 
transformation. He stands and with a flourish hands the 
suitcase over to the boy. He is a big man now.

			KRINGELEIN
		(very definitely to 
		boy)
	Cab please!

			BELLBOY
	Cab, for his Excellency, Mr. 
	Kringelein!

			KRINGELEIN
		(to Flaemmchen)
	And now we travel, Flaemmchen... 
	Glad?

			FLAEMMCHEN
	Am I!

			KRINGELEIN
		(to Senf)
	Is the bill ready -- the lady's too?

			SENF
	At once. Any forwarding address, Mr. 
	Kringelein?

			KRINGELEIN
	Yes, Paris -- Grand Hotel.

			FLAEMMCHEN
	How do you know there is a Grand 
	Hotel?

			KRINGELEIN
	Oh, there must be one in Paris... 
	They have everything in Paris.

			SENF
	Your bill, Your Excellency.

Kringelein pays and taking Flaemmchen's arm starts to move 
away from the desk, General business ad lib of tipping. Boys 
line up, making a deep bow. There is almost a triumphant 
march as Kringelein and Flaemmchen move towards the door.

			SENF CLERK BOYS
		(in chorus)
	Come again, your Excellency.

With head erect, happy smile on his face, Kringelein leaves 
the lobby. Normal activity in lobby, reminding us of opening 
scene. Doctor comes up to desk.

			DOCTOR
	Was that Mr. Kringelein leaving?

		THE END

 
A B C D E F
 
G H I. J K L
 
M N O P R S
 
T U V W Y Z