"GRAND HOTEL" Screenplay by Béla Balázs Based on the play "Menschen im Hotel" By Vicki Baum American version By William A. Drake SHOOTING DRAFT 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