Kuhle Wampe or: Who Owns the World?
[a.k.a. "Kuhle Wampe oder: Wem gehört die Welt?"]
1 TITLE: One unemployed worker less
FADE IN
FAST MONTAGE accompanied by rapid staccato music:
2 Brandenburg Gate (Berlin)
DISSOLVE TO
3 FACTORY YARD - four smokestacks in foreground.
4 LONG SHOT - STREET
Factory buildings on right and left sides of street,
connected by a closed bridge; the Spree River in the
background.
5 PAN RIGHT - a train moves into the frame from the left
towards camera; the smoke envelops the windows of a
nearby apartment building.
6-13 WORKING CLASS DISTRICT - BERLIN
Brief views of large apartment buildings and back
courtyards.
14-30 MONTAGE
of front-page newspaper headlines:
'20 instead of 26 Weeks'
(Vossische Zeitung, 2 October 1931)
'Westfalia South splits off'
(Deutsche Allgemeine Zeitung, 5 March)
'Spy war of the Iron Front ... against the officials'
(Völkischer Beobachter)
'Against the Bötz-Pension'
(Lokal-Anzeiger. 24 October 1930)
'Japan accepts' (Germania, 1 March)
'Unity London-Paris'
(Vorwärts, Berliner Volksblatt, 24 January 1931)
'One Billion and 800 Million'
(Die Rote Fahne, 5 June 1931)
'... urtius on his foreign policy'
(Berliner Tageblatt und Handelszeitung,
11 February 1931)
Rapid shots of entire front pages that roll upward out
of the image frame:
'2.5 million without work, the result of Mr Schacht's
policies'
'3/4 million unemployed!'
'Four million! Increase of unemployed under pressure
of young'
'Unemployment increases! 2,700,000 seeking jobs in
June'
'4.1 million unemployed. Rapid increase in
unemployment in August'
'Almost 4.5 million unemployed / Increase of 180,000
in second half of December'
'Almost 5 million unemployed / On 15 November
4,844,000 / Increase since 1 November is 220,000'
'Over 5 million unemployed & part-time workers /
Unemployment increases again'
'315,000 unemployed in Berlin 100,000 unemployed
without support'
Music ends.
FADE OUT
FADE IN
31 NEWSPAPER TITLE:
'Employment Classifieds'
Berliner Lokal-Anzeiger (free)
FADE OUT
FADE IN
32 LONG SHOT - STREET (music begins)
Street with pillar covered in advertising posters,
street workers in the background; pedestrians and
bikers enter from both sides, park their bikes, greet
one another, wait or walk away; the young Bönike is
the third to enter; he stands with his bike to the
right of the column.
33 MED. SHOT - WORKERS
Unemployed workers waiting with their bikes; people
on foot join them and build a group.
34 LONG SHOT - STREET
The entire street is now filled with unemployed
people.
35 MED. SHOT - CROWD
A biker enters from the right with newspapers, gets
off the bike and distributes the papers; the
unemployed push to grab a copy from his hands and try
to get out of the crowd.
36 CLOSE-UP - CROWD
The unemployed push up to the newspaper seller.
37 CLOSE-UP - BÖNIKE
Young Bönike scans the classifieds quickly but
carefully; others read in the background.
38 CLOSE-UP - NEWSPAPER SELLER
The seller gives away the last copy and waves away
the others; the unemployed move off, among them a
helpless, heavy woman.
39 MED. SHOT - WORKERS
The unemployed sit on their bikes and read the
classifieds; young Bönike puts the paper in his pocket
and takes off on his bike.
40 FULL SHOT - STREET
Several men from the group follow Bönike on their bikes
41 FULL SHOT - BIKERS
The bikers go from right to left past houses, cars,
streetcars
42 MED. SHOT - BIKES
(Camera in front of bikes). Bikes going from right to
left, framed so that only the feet pumping the pedals
are seen.
43 MED. SHOT - BIKERS
The bikers pass apartment buildings; the first three
pass by, with Bönike in the middle.
44 MED. SHOT - BIKES (Same as 42)
Downhill the bikers do not have to pump so much.
45 FULL SHOT - BIKERS
Bikers enter back right, a horse-drawn wagon passes in
the foreground; the approaching bikers pass through a
building entry as camera PANS LEFT
46 FULL SHOT - BUILDING COURTYARD
On a window the sign 'Gatekeeper'; pushing his bike,
Bönike goes to the window where we see the
gatekeeper's face; apparently he gives a negative
answer; Bönike exits the frame; the next biker enters,
gets off and after hearing 'no', drives off again;
gatekeeper hangs a sign in the window; the third biker
hardly pauses and the fourth rides right by.
47 CLOSE-UP - SIGN
A sign in the window written in chalk:
Workers will not be hired
48 FULL SHOT - BUILDING COURTYARD
Two bikers ride right by the window.
49 CLOSE-UP - BIKERS
Traveling shot with bikers from left to right.
50 MED. SHOT - BÖNIKE
Traveling shot: Bönike in foreground on bike, in the
background buildings and street traffic.
51 CLOSE-UP - BIKERS
Traveling shot: bikers as in 49; front wheel and
handlebars of bike.
52 FULL SHOT - FACTORY YARD
Six unemployed bikers with Bönike in the lead ride in
quickly from the left through an arch in the
background; SLOW PAN UP TO rows of windows on the
six-floor building; QUICK PAN DOWN TO bikers who race
out of the yard, Bönike now in third position.
53 CLOSE-UP - BIKE WHEELS
View from in front of the fast-moving bike wheels;
feet pumping fast.
54 EXTREME CLOSE-UP - BÖNIKE
Bönike's head, its movements suggest the fast rhythm
of the bikers; he looks back at his "pursuers" ...
55 CLOSE-UP - BIKE WHEELS
56 LONG SHOT - STREET
A street leads from the background into the
foreground, on the right a building with the half-
covered sign: 'Glass...'; the six bikers ride towards
the camera and we PAN RIGHT with them as they turn
into a factory yard where a truck cab and trailer are
standing; in the background an outdoor elevator.
Another biker with a piece of glass under his arm
crosses in the opposite direction the path of the
group of six; shortly thereafter the bikers return,
pushing their bikes; young Bönike crushes the
newspaper into a wad and tosses it; in the background
they meet up with others who are pushing a wheelbarrow
with crates in it.
MUSIC ends.
Reel 2
57 FULL SHOT - STREET
MUSIC from far away: polka medley. The bikers enter
from the right pushing their bikes along the street;
young Bönike nods to an older unemployed worker and
enters an apartment building.
58 LOW ANGLE - BUILDING
MUSIC louder. Courtyard façade of a back wing of the
building.
59 FULL SHOT - BACK COURT
In the small back court two street musicians (harmonium
and saw) play with their backs to the camera; in the
background a crumbling façade and a basement apartment
entry; Bönike enters right, pushing his bike, pauses
to watch and listen to the musicians, then exits left.
60 MED. SHOT - LIVING ROOM
Bönike family's living-room; Mr Bönike lies on the
sofa covered with lace, reading a newspaper; a
certain article interests him, he sits up, puts the
paper on the table, takes his pencil stub from a
jacket pocket and writes a note on it; a plate is
placed on the table; he looks up at the mother, who
is setting the table.
MR BÖNIKE
The boy won't get support at all
any more.
She doesn't answer.
MR BÖNIKE
You don't care about anything any
more, do you?
He puts the pencil away and continues reading.
61 MED. SHOT - YOUNG BÖNIKE
In the foreground a bicycle hangs from the ceiling;
young Bönike is tying the pulley rope to a nail; the
music outside breaks off; he takes off his cap and
exits right
62 MED. SHOT - LIVING ROOM
Young Bönike enters the living room and we PAN WITH
him as he goes to the table, sitting down across from
his father; he looks at his father and then looks
away blankly; his father looks him over and then
turns away, playing with his spoon; a soup terrine
is put on the table, the cover raised, soup is
ladled into the father's bowl.
63 MED. SHOT
The mother, only half in the frame, serves the soup;
the door to the kitchen in the background opens and
Anni enters.
ANNI
Hello!
She removes her hat, takes a comb out of her purse
and combs her hair.
ANNI
The welfare office is going to pay
the back rent for the Schulzes next
door.
64 FULL SHOT - FAMILY
Father and son eat while the mother puts another
plate on the table;
MRS BÖNIKE
(to Anni)
They won't pay a penny for us.
MR BÖNIKE
You never know. At the welfare
office they take it as it comes.
Mother closes the soup terrine and sits down; Anni
enters from left and sits down with her back to the
camera.
65 CLOSE-UP - MOTHER
Eating soup.
MRS BÖNIKE
'The early bird gets the worm.' If
you don't try anything, how can you
be surprised things go to pot.
66 LONG SHOT - BIKERS
Unemployed workers riding their bikes at high speed
on a street, following the camera.
67 MED. SHOT - OVER THE SHOULDER - OF SON TO FATHER
MR BÖNIKE
And the boy doesn't even bother to
greet the building manager.
68 MED. SHOT - OVER SHOULDER - OF MOTHER TO ANNI & FATHER
Anni continues to eat.
ANNI
Greeting won't help when you haven't
paid the rent in six months.
MR BÖNIKE
(angry)
He can damn well say hello.
Unemployed and impolite to boot --
no one can afford that.
69 MED. SHOT - OVER THE SHOULDER - OF SON TO MOTHER
MRS BÖNIKE
(sternly to her son)
That's not the way to get a job.
70 MED. SHOT - OVER SHOULDER - OF MOTHER TO ANNI & FATHER
MR BÖNIKE
(to son on)
Not that way, not impolite.
ANNI
Not when polite either!
71 MED. SHOT - OVER SHOULDER - OF MOTHER TO ANNI
ANNI
There are no jobs.
72 MED. SHOT - BIKES
(Camera in front of bikes). The unemployed on their
bikes, pumping the pedals.
73 MED. SHOT - ANNI & FATHER
Between mother and son to Anni and the father, who
gesticulates wildly with his spoon.
MR BÖNIKE
(to Anni)
You can be poor, you can have bad
luck. But there are also people who
don't have bad luck seven months in
a row.
ANNI
You think the boy is especially
lazy?
MR BÖNIKE
Yes, that's what I think.
74 FULL SHOT - FAMILY
The mother from behind, the son on the left, Anni on
the right, the father frontal.
ANNI
(provocatively)
And you? How far did you get? You've
got no more than the dole in your
pocket, too.
Mr Bönike stands up, rests his hands on the table and
shouts at Anni:
MR BÖNIKE
You don't have to waste your time at
the unemployment office the whole
day and then come home with your
lip. Hard-working people get on.
Mr Bönike exits right.
MR BÖNIKE
(to her husband)
Good God. What will the neighbors
think?
75 MED. SHOT - FATHER
Mr Bönike agitatedly pulls on his jacket in front of
the kitchen door and looks angrily at his family.
76 MED. SHOT - YOUNG BÖNIKE
Young Bönike sits and stares blankly at the table and
the empty plates.
77 MED. SHOT - FATHER
Mr Bönike goes to the kitchen and exits left.
78 CLOSE-UP - MOTHER
Mrs Bönike scrapes the leftovers onto a plate. PAN TO
her face.
MRS BÖNIKE
Every day the same fight.
79 FULL SHOT - STAIRWELL
Sound of footsteps. Mr Bönike descends stairs.
80 FULL SHOT - ANNI & HER BROTHER
Anni and her brother, who still stares blankly, sit
silently at the table; the mother cleans up, folds the
tablecloth and places a bowl on the table.
81 CLOSE-UP - ANNI
Anni looks up and smiles at her brother.
82 CLOSE-UP - OVER THE SHOULDER OF ANNI TO BROTHER
He stares impenetrably into the void.
83 CLOSE-UP - ANNI
Anni smiles and then looks serious.
84 FULL SHOT - KITCHEN
Mrs Bönike cleans up in the kitchen, removes her
apron and exits left.
85 FULL SHOT - ANNI & HER BROTHER
Young Bönike sits at the table in the foreground;
Anni stands at the mirror in the background and puts
on make-up; someone whistles, we PAN WITH Anni as she
turns, moves off left and bends out of the window.
ANNI
Coming!
We PAN WITH Anni as she returns to the mirror,
finishes her make-up, puts the lipstick in her purse
and exits right.
86 FULL SHOT - WALL HANGING
A wall-hanging above the kitchen table with a proverb
and embroidered flowers:
Don't blame the morn that brings
hardship and work. It's wonderful
to care for those one loves.
87 MED. SHOT - YOUNG BÖNIKE
Sitting at the table, young Bönike listens to the
receding footsteps of his sister; when he hears no
more, he rises, and we PAN WITH him as he goes to the
window, opens both casements abruptly, and grips them
with both his hands; he looks at his left arm with
the watch, turns to the left, removes it slowly and
carefully puts it on the chest of drawers; he turns to
the window again, places the flower pot to the side,
and climbs onto the sill. Camera DOLLIES IN to a
CLOSE-UP of the wristwatch.
88 FULL SHOT - STAIRWELL
Mrs Bönike slowly climbs the steps, carrying a heavy
bag.
89 CLOSE-UP - YOUNG BÖNIKE
Young Bönike's left hand holds onto to the upper
window frame; as he jumps, his head and left shoulder
appear in the image; the hand lets go and a horrible
scream is heard from below.
90 CLOSE-UP - WINDOW
The window sill with the displaced flower pot.
91 EXTREME CLOSE-UP - WRISTWATCH
Showing six o'clock.
92 MED. SHOT - BIKES
(Camera in front of bikes). The unemployed on their
bikes, pumping the pedals.
93 MED. SHOT - YOUNG BÖNIKE'S BIKE
The bike suspended from the ceiling, over a metal
bedframe.
94 LONG SHOT - HIGH ANGLE - FROM WINDOW - CROWD
Excited people gathered round Bönike's body, which is
covered with a tarpaulin.
95 FULL SHOT - CROWD
Part of the group (a woman, a worker, a child, a cop);
in the background a woman and two children look out of
the window; Anni and her boyfriend Fritz push through
the crowd from the left; he looks at the covered body,
then at the cop. We hear the voices of playing
children.
96 MED. SHOT - ANNI & FRITZ
Fritz and Anni look down, at each other and then at
the covered body.
FRITZ
(to the cop)
What have you done now?
A WOMAN
Jumped from the window.
Children's voices.
97 FULL SHOT - LOW ANGLE - WOMEN
Two women on a stairwell landing; a third goes up to
join them.
1ST WOMAN
And he put the wristwatch on the
table first.
2ND WOMAN
Of course, it would have been ruined,
from the fourth floor.
98 MED. SHOT - EXTREME LOW ANGLE - CHILDREN
Three children (silhouettes against the sky) look up,
a corner of the building in the upper right corner of
the image.
CHILD ON LEFT
Which window was it?
CHILD ON RIGHT
That one!
CHILD IN MIDDLE
(pointing)
Nah, not that one. There.
Children's voices from afar.
99 CLOSE-UP - WOMAN
A woman on the stairwell landing.
WOMAN
One unemployed worker less.
100 FULL SHOT - HIGH ANGLE - STAIRWELL
Five women in the stairwell.
1ST WOMAN
Such a young man.
2ND WOMAN
And the father doesn't know a thing
yet.
101 MED. SHOT - BAR
Mr Bönike standing with another man at a bar, each
with a half-full glass of beer; they drink chasers and
smoke.
MR BÖNIKE
They've got seven million unemployed
in America too.
MAN
Well, before they used to drive to
work in a car and now they're
demonstrating because of
unemployment.
MR BÖNIKE
But on foot!
Man nods in agreement.
102 CLOSE-UP - OVER THE SHOULDER - OF POLICE OFFICER TO COP
Behind them are the heads of the crowd
OFFICER
Motive for the deed?
COP
Unknown!
103 CLOSE-UP - OLD WOMAN IN STAIRWELL
OLD WOMAN
Such a young man. He had his best
years still to come.
104 FULL SHOT - AMBULANCE
A police ambulance on the street; the driver noisily
slams the door and we PAN WITH him as he moves left to
get in the car; the ambulance drives off and turns
right.
Reel 3
105 TITLE: The best years of a young man
106-
121 MONTAGE - DISSOLVES from one brief shot to the next:
forest paths, forest in sunshine, grasses and trees
waving in the wind; the wind increases, MUSIC growing
more agitated with the wind as it shakes the grass and
makes waves on a lake.
122 MED. SHOT - COURT
A judge sits behind his bench covered with files at
his right; he takes one, pages through it and reads
the judgment.
JUDGE
(slowly)
In the matter of the building owner ...
(fast, monotone)
... Gustav Stephan, plaintiff,
against, one, Franz Bönike, (two)
his wife Greta, née Mohr, accused,
due to non-payment of rent, the court
has decided ...
123 FULL SHOT - LIVING ROOM
Mrs Bönike stands on a ladder in the empty living room
removing the hanging light from the ceiling; she
descends and exits left with the lamp; sun shines
through the window in the background. During this, we
hear the judge's voice continuing to read his verdict:
JUDGE'S VOICE
... accused are sentenced to abandon
apartment to the plaintiff. Although
the accused has been unemployed a
long period, the Bönike couple could
have paid the overdue rent with a
bit of good will. Their current
difficulties must be seen as their
own fault.
124 MED. SHOT - COURT
The judge takes another file from his pile.
JUDGE
In the name of the people.
125 CLOSE-UP - SIGN
On a door a white sign printed in black letters, with
the numbers pasted on:
Court 234
Division: Rental Issues
126 MED. SHOT - OVER THE SHOULDER - ANNI TO AN OFFICIAL
The official sits at a desk, behind him a file case
full of files; he reads, looks up at Anni and makes
gestures regretfully with his hand.
127 LONG SHOT - CORRIDOR
The courthouse corridor, Anni shuts the door where
the above sign is hanging, and exits right.
128 FULL SHOT - ANNI ON THE STREET
A parallel traveling shot; Accompanied by street
noise, Anni walks quickly on the sidewalk, often
masked by parked cars; in the background are
storefronts and other pedestrians.
129 CLOSE-UP - SIGN
Welfare Office Room 15
130 MED. SHOT - WELFARE OFFICE
Anni sits on a bench; on the left a door opens, an
official enters halfway and hands Anni a piece of
paper with a regretful gesture.
131 FULL SHOT - ANNI ON THE STREET
Another parallel traveling shot on a different street.
132 MED. SHOT - OVER THE SHOULDER - ANNI TO MANAGER
Anni and the fat building manager who looks out of his
door with an unfriendly mien; he closes the door with
a sign reading 'To the Building Manager' ...
133 CLOSE-UP - ANNI
A parallel traveling shot of Anni as she walks along
a street with store fronts.
134 CLOSE-UP - SIGN
Doorbell sign: Braun, Bailiff, 5-7 p.m.
135 CLOSE-UP - MAN
The head of an older man framed in a door; has a look
of regret on his face.
136 CLOSE-UP - ANNI
Another parallel traveling shot of Anni as she walks
along a street, other pedestrians in the background.
137 MED. SHOT - PHONE BOOTH
Anni enters from right and opens the door of the booth.
138 MED. SHOT - GARAGE
A noisy car repair shop; Fritz is in the pit under a
car, spray-washing the engine.
VOICE
Fritz, telephone!
He puts aside the hose and exits.
139 FULL SHOT - GARAGE
Gas tanks, ads for Shell Oil on the wall, etc.; Fritz,
dressed in work clothes, walks towards the back of
the shop to a door with a shelf on which the telephone
sits; takes off his cap and lifts the receiver.
140 CLOSE-UP - ANNI
Anni's head through a glass pane of the telephone booth,
the receiver pressed to her ear.
141 MED. SHOT - FRITZ
Fritz leans on his left elbow while talking on the phone.
ANNI'S VOICE
It's come the eviction now. The
bailiff was just there. The furniture is
out on the street.
FRITZ
(matter-of-factly)
Yes, and now what?
ANNI'S VOICE
Yes, and now what?
FRITZ
Then you'll just have to come out
to my place at Kuhle Wampe.
ANNI'S VOICE
Is that possible?
FRITZ
(laughing)
Naturally. I'll bring a car for the
furniture.
FADE OUT
FADE IN
142 EXTREME CLOSE-UP -
Spare tire on the back hood of an open convertible
that drives away from the camera as we PAN SLIGHTLY to
reveal the Bönike's street; the open car - loaded with
furniture and household appliances - turns right at the
corner.
COMMENTATOR'S VOICE
(o.s., shots 142-148)
About one hour by bus from
metropolitan Berlin, set among the
grass and woods on...
DISSOLVE TO:
143 CLOSE-UP - FRITZ
Fritz, in a black suit with white shirt and tie, sits
at the steering wheel, Anni is next to him, holding a
coffee grinder.
COMMENTATOR'S VOICE
...the inviting shores of the
Müggel Lake, not far from the Müggel
hills, is the tent colony...
DISSOLVE TO:
144 FULL TRAVELING SHOT - FRONT OF CAR
Busy city street; the open car looks like a hay wagon
overflowing with an entire household.
COMMENTATOR'S VOICE
... Kuhle Wampe, Germany's oldest
weekend colony. It was established
in 1913 with ten or twenty tents.
After the War it...
DISSOLVE TO:
145 MED. SHOT - OVER CAR'S RADIATOR
through the windshield, Fritz and Anni with furniture
piled behind them.
COMMENTATOR'S VOICE
...expanded to such an extent that
it now comprises ninety-three tents
in which three ...
DISSOLVE TO:
146 FULL TRAVELING SHOT - IN FRONT OF CAR
The car turns right; street traffic with cars and
bicycles.
COMMENTATOR'S VOICE
...hundred persons are housed. The
pedantic cleanliness within the
colony and in its surroundings is
remarkable. The ...
DISSOLVE TO:
147 MED. SHOT - CAR
The car drives on a road through a forest.
COMMENTATOR'S VOICE
...colony 'Kuhle Wampe Club
Supporters' is a member of the
Central Organization of ...
DISSOLVE TO:
148 LONG SHOT - CAR
In the background the car turns into a sandy forest
path and drives towards the camera.
COMMENTATOR'S VOICE
... Beach Clubs, Inc. The Club's
relationship with the authorities is
currently a good one.
149 TRAVELING SHOT - SIGN
MUSIC starts: 'Schwarzenberg March' as we see an oval
sign hanging between two trees:
Kuhle Wampe Club Supporters
150 HIGH ANGLE - FULL SHOT - PATH
A descending path seen through branches; Fritz, Anni,
Mr and Mrs Bönike carry furniture and household goods.
151 MED. SHOT - MRS. BÖNIKE
Mrs Bönike comes with a chair under her left arm
towards the camera; PAN TO reveal Mrs Bönike from
behind carrying a washbowl stand and folding stool
with her right arm.
152 CLOSE-UP - TABLE
On the table next to two cups and flowers is a radio
with a large, horn-shaped loudspeaker; on the right a
seated woman. MUSIC on radio ends.
VOICE ON RADIO
You just heard the "Schwarzenberg
March," written in 1814, in our
program of "Army Marches Old and
New" ...
153 FULL SHOT - ROW OF TENTS
On the right, a row of large, neat living tents with
sun shades and flower pots in front of the windows.
VOICE ON RADIO
Now you will hear the march "Deutsche
Kaiserklänge" ...
The German Imperial Tune begins as Fritz enters
from the right with the Bönike family; they place
furniture next to a tent; Fritz helps Mr Bönike move a
chest of drawers and they go back on the same path,
leaving Mrs Bönike behind.
154 LONG SHOTS - MORE TENTS
Large tents in the forest; a man with a backpack
pushes his bike, followed a woman in long trousers.
155 FULL SHOT - THE TENT COLONY
People working on their tents, sitting down, running
by, etc.
156 MED. SHOT
Two men and a woman carry a boat.
157 FULL SHOT
People on reclining chairs, strollers in bathing suits.
158 FULL SHOT - ROW OF TENTS
Fritz and Mr Bönike come with a sofa; Mrs Bönike and
Anni carry a small table into the tent
159 FULL SHOT - SIGN
Between the tents, a sign points the way.
160 MED. SHOT - GRAVESTONE
A gravestone in the sand with a wreath in front of it.
An inscription reads: Here rests our last hope for
work: "Kuhle Wampe"
161 FULL SHOT - TENT
A bicycle, folding table and kitchen utensils at the
entry to the tent.
162 MED. SHOT - MAN
A shirtless man in a reclining chair smokes a cigar.
163 CLOSE-UP
The head of a young man reading the paper.
164 MED. SHOT
Group of people playing cards.
165 MED. SHOT
Two chess players, a third man watches.
166 MED. SHOT
A woman sitting next to a tent is embroidering. MUSIC
on radio ends.
VOICE ON RADIO
Attention, Berlin! You just heard
the march "Deutsche ...
167 MED. SHOT
A man sitting in a tent, cleaning mushrooms.
VOICE ON RADIO
... Kaiserklänge." That completes
today's morning program ...
168 FULL SHOT
A man sits near a tent and peels potatoes.
VOICE ON RADIO
...from the Berlin Broadcast Hour.
169 MED. SHOT
Seen through the entry to a tent a woman is busy
cooking.
170 CLOSE-UP
Three hotplates with pots.
171 CLOSE-UP
Over-the-shoulder of a man who lifts a spoon to his
mouth, he blows it and shakes his head.
FADE OUT
FADE IN
172 FULL SHOT - TENTS
A second tent has been added in front of Fritz's tent;
he pounds at a stake for the new tent, grabs a new
rope and pounds that stake into the ground; Anni
hands him the third rope; Fritz looks at Anni, pounds
some more and then stops to look at her again.
173 MED. SHOT - INSIDE TENT
Anni stands in front of the mirror in a slip and combs
her hair; she takes a pencil from her purse, leans
towards the mirror and darkens her eyebrows. We hear
orchestral music: "Das Frühjahr" -- The Spring.
174 FULL SHOT - OUTSIDE TENT
Fritz paces back and forth in front of his tent;
after a while Anni comes out in a dress with a cap on
her head and a purse under her arm; Fritz takes her
arm and they exit right.
175 LONG SHOT - FOREST
Forest bathed in sunshine; As Helene Weigel sings the
ballad "Spring," accompanied by orchestra, Anni and
Fritz enter from left, walking on a path which they
then leave; at first Fritz has his hands in his
pockets, then he puts his arm round Anni's waist; they
disappear behind some trees.
SINGER
The play of the sexes renews itself
Each spring. That's when the lovers
Come together. The gently caressing hand
Of her lover brings a tingle to the
girl's breast.
Her fleeting glance seduces him.
The countryside in spring
Appears to the lovers in a new light.
The air is already warm.
The days are getting long and the fields
Stay light a long time.
176-
186 NATURE MONTAGE
Leaves and grass moving in the wind, the forest, a
meadow, a tall birch, a tree silhouetted against the
sky.
SINGER
Boundless is the growth of trees and grasses
In spring.
Incessantly fruitful
Is the forest, are the meadows, the fields.
And the earth gives birth to the new
Heedless of caution.
187 LONG SHOT - FOREST
Fritz and Anni come out of the forest and go back, he
with his hands in his pockets, she following at some
distance; he looks back over his shoulder at her; they
exit left.
FADE OUT
Reel 4
FADE IN
188 MED. SHOT - INSIDE TENT
Mr and Mrs Bönike sit in the tent; a nearby petroleum
lamp is on a small table; Mr Bönike holds a cigar in
his right hand and a newspaper in his left from which
he reads aloud slowly, sometimes spelling out words;
across from him on the right Mrs Bönike sits on a
metal-frame bed with a pencil in her hand, unnoticed
by her husband.
MR. BÖNIKE
(reads)
I am a courtesan but not a spy, a
courtesan who was paid well for her
love, who demanded and got five
thousand, even thirty thousand as
the just price for her favors. That
was the refrain of Mata Hari's
defense...
Mr Bönike inhales his cigar.
189 EXTREME CLOSE-UP
Mrs. Bönike's worried face.
MR. BÖNIKE'S VOICE
Among her favorites were...
190 CLOSE-UP - NOTEBOOK
Mrs Bönike calculates her household expenses in the
notebook: bread 45, potatoes 15, margarine 30, cheese
15, liverwurst 20, onions 15, cabbage 38, herring 25,
cigars 30, salt 15, fat 45; she draws a line.
MR. BÖNIKE'S VOICE
... also, as it was put, the
one-time ...
191 CLOSE-UP - LIVERWURST
With a price-tag: 1/4 lb. liverwurst - 20 pfennigs.
MR. BÖNIKE'S VOICE
... police president of Berlin,
Jagow ...
192 MED. SHOT - POTATOES
With a price-tag: l0 lbs. - 20 pfennigs.
MR. BÖNIKE'S VOICE
... the Prince of Braunschweig ...
193 MED. SHOT
Mrs Bönike's hand writes.
MR. BÖNIKE'S VOICE
... Mr von Jagow got to know Mata
Hari when...
194 MED. SHOT - MR. BÖNIKE
Now sitting upright, he holds the paper in front of
his eyes.
MR. BÖNIKE
... she performed at the Winter
Garden. He visited her backstage to
see how the nude dance ... Mata
Hari... and whether everything ...
195 EXTREME CLOSE-UP
Mrs Bönike's head.
MR. BÖNIKE'S VOICE
... was legal. She was called the
Queen of Dance...
196 CLOSE-UP - PACKAGE
Rendered fat with price-tag: 1/2 lb. excellent veal
fat home-style 45.
MR. BÖNIKE'S VOICE
... but known as the Queen of
Sensual Pleasures ...
197 CLOSE-UP - HERRING
With price-tag: Special sale! Best German herring,
12 pieces 50 pfennigs, about 2 lbs.
MR. BÖNIKE'S VOICE
The rich connoisseurs admired her as
a delicacy of the rarest kind ...
198 MED. SHOT
Mr Bönike holds the newspaper comfortably again; Mrs
Bönike continues to write her accounts in the
notebook; in the background, the "hardship and work"
wall hanging from the previous apartment can be seen.
MR. BÖNIKE
... The effect of her dances came
especially from the veils and nudity,
from the snake-like and lustful
movements, in short, the ...
(sounds it out
phonetically)
... symbolism of love or-gies, as
seen indeed...
199 EXTREME CLOSE-UP
Mrs Bönike's handwriting.
MR. BÖNIKE'S VOICE
... in the expressive dances of the
most primitive...
200 CLOSE-UP - ONIONS
With the price-tag: onions 15/lb.
MR. BÖNIKE'S VOICE
... and oriental peoples...
201 MED. SHOT - OVER FATHER'S SHOULDER TO MOTHER
Mrs. Bönike writes, deep in thought.
MR. BÖNIKE'S VOICE
... Only her small breasts were
covered by small, chiseled copper
plaques. The upper arms and ankles
were decorated with bracelets set
with gleaming jewels. Otherwise she
was naked, from her fingertips to
her toes ...
He puffs smoke.
202 CLOSE-UP - BREAD
With price-tag: bread 45.
MR. BÖNIKE'S VOICE
... The dance revealed her flexible
and firm structure in its an-
androgynous agility. Between the
arching lines reaching from her
open under...
203 CLOSE-UP - MARGARINE
With price-tag margarine 1/2 lb. 30 pfennigs.
MR. BÖNIKE'S VOICE
... arm below her raised hands ...
204 CLOSE-UP - CHEESE
With price-tag: best farmer's mountain cheese 1/2 lb.
30 pfennigs.
MR. BÖNIKE'S VOICE
... to the depression at her waist ...
205 MED. SHOT - MRS. BÖNIKE
From behind Mr Bönike.
MR. BÖNIKE
... The legs were an ideal shape
and were raised like two fine
columns of a pagoda. The knee caps
were like two round lily buds.
Everything had a delicate am-amber
color. Everywhere gold and pink
lights played.
Anni enters, takes off her cap and sits down next to
her mother, dejected.
MR. BÖNIKE
Born on the column's capital of
long, softly arched thighs the
ivory-colored stomach...
ANNI
Hi!
PAN TO Anni who looks at Mrs Bönike and then turns
away.
SLOW FADE OUT
FADE IN
206 FULL SHOT - OUTSIDE TENT
In front of the tent Fritz and Anni are leaning on a
table, silently standing next to each other; Fritz
mutters something incomprehensible. Mrs Bönike comes
out and goes round the two to the back of the tent;
Anni and Fritz watch her go, then lower their heads
again.
207 EXTREME CLOSE-UP
The serious faces of Fritz and Anni.
FRITZ
Were you there?
ANNI
It's too dirty there.
(pause)
I'm not going to ruin my life.
FADE OUT
FADE IN
208 FULL SHOT - INSIDE TENT
Anni and Mr Bönike sit at the table in front of the
window; both are eating.
MR. BÖNIKE
(threatening)
If anything happens ...
(very loud)
... I'll beat you to a pulp.
Anni jumps up, throws something on the floor, grabs
her cap and purse and exits right. Mr Bönike watches
her and pushes his chair angrily to the side.
FADE OUT
FADE IN
209-
211 VARIOUS SHOTS - FACTORY
Women workers sit near each other at an assembly line;
they take a part, do their task rapidly, and place it
back on the conveyor belt; an intercut shot shows a
single woman who works at the line on an electrical
unit then the working line again with the women's
rapid movements. We hear factory noise.
212 MED. SHOT - WORKERS
We PAN FROM an electrical testing device serviced by
women and girls to Anni in a work apron behind a
protective grille, back-to-back with her colleague
Gerda; the space between their two work tables is
closed off by a rope with a sign hanging from it:
High voltage! Danger! Life-threatening!
213 CLOSE-UP - ANNI
She tests various contacts of an object with two wired
poles; in the background there are other women.
214 MED. SHOT - ANNI AND GERDA
GERDA
(turned towards Anni)
Don't lie, something is the matter
with you.
ANNI
Don't make trouble here at work,
otherwise I'll be fired tomorrow.
Both continue working on the assembly line.
215 CLOSE-UP - GERDA
She tests an object reading off the measurement; Anni
in the background.
216 MED. SHOT - ANNI AND GERDA
ANNI
I can't stand it any more. If it
goes on, I'm moving away from out
there.
217 FULL SHOT - FACTORY
218 MED. SHOT - SINGLE WOMAN
Working on an electrical unit. Factory noise stops.
219 MED. SHOT - RADIATOR
A car radiator over a pit; PAN DOWN TO Fritz who
sprays the engine, another repairman is busy greasing
it.
220 EXTREME CLOSE-UP - THE RADIATOR
221 MED. SHOT - FRITZ AND REPAIRMAN
REPAIRMAN
(turned to Fritz)
Paying alimony and single taxes,
you might as well get married.
FRITZ
(looking at him briefly)
Nonsense.
Fritz continues his work.
FRITZ
(after a pause)
I want my freedom.
222 MED. SHOT - FRITZ
He continues working, silently.
FADE OUT
FADE IN
223 INSIDE FRITZ'S TENT
Anni sits at the coffee table, Fritz stands next to
it; he takes his jacket; finishes his cup of coffee.
ANNI
Where are you going?
FRITZ
I still have to wash a car tonight.
ANNI
(reproachfully)
You wanted to talk with Father
tonight.
FRITZ
But I can do it tomorrow too.
He exits quickly left, followed by Anni
224 MED. SHOT - ANNI AND FRITZ
They walk along a path, followed by the camera; a
group of children comes their way.
225 EXTREME CLOSE-UP - ANNI
She looks down at the children
226 LONG SHOT
Children passing by
227 EXTREME CLOSE-UP - ANNI
Anni's face.
228-
256 MONTAGE - ANNI'S VISIONS
Simultaneous dissolves accompanied by increasingly
rapid music (motifs from the film and children's songs):
Children's faces circle around Anni; her head
gradually fades out; children's faces, a baby,
children's faces; a sign reads: Dr med. Dohmeyer,
Gynaecology 4-6; poster ad with nursing mother; the
children passing by; cod liver oil ad with a man
carrying a fish on his back; pre-printed pink slip
filled in with reason for layoff "no work";
children's faces; a baby basket; ad for Nivea baby
soap; shop window with baby shoes; waving baby with
pacifier in a carriage; ad for Nestle's sweetened
milk and children's pap.
Interspersed throughout are various signs and
advertisements: Free office consultation and advising
for pregnant mothers, hours Monday, Tuesday, Thursday
9-10; Scott's emulsion for our children; Strieber,
midwife; No waiting! No medical exam! Under state
control WORRY-FREE Funeral Insurance Group Inc.,
Cremation.
Decorated coffins in a shop; identity card from the
employment office with the following information:
Anna Bönike, born 28 June 1911, in Berlin; residence
in Berlin, 27 Trift St, single, occupation - worker,
group 52, date 11 January 1932, form no. 4879, payday
- Wednesday.
Courtyard façade at the Bönikes' old building - group
of people surrounding the covered body of Anni's
brother with ambulance next to it; the driver closes
the ambulance door.
Coffins in a shop window with a sign that reads:
Entire burial costs 99.50 Marks; from inside the
coffin shop looking at the street; dolls; baby dolls;
dolls; children's toys.
257 EXTREME CLOSE-UP - ANNI
Frontal shot of Anni walking along the path with a
worried expression.
258 MED. SHOT - FOREST PATH
Parallel traveling shot of Anni and Fritz walking next
to each other.
259 FULL SHOT - FOREST AREA
In the foreground is the end-of-the-line for a
streetcar; two men get on; Fritz takes leave from the
streetcar door - shakes Anni's hand; streetcar bell
rings and another man jumps on the moving streetcar;
Anni exits left, another streetcar pulls in.
260 LONG SHOT - A FOREST PATH
Anni enters from the side and disappears along the
path.
261 FULL SHOT - MOVIE POSTERS
Street noise; a pop song 'Life without Love' comes
from loudspeaker; A young man passes by; Fritz and
his friend Kurt enter, look at the posters. One
reads "Nie weider Liebe" ["Never Love Again" (1931
starring Lilian Harvey.)]
262 MED. SHOT - FRITZ AND KURT
They stand in front of a showcase with film stills;
Fritz looks at the photos.
KURT
What are you going to do with Anni?
FRITZ
Marriage is out of question. I'm not
going to ruin my life.
KURT
What will happen the girl?
FRITZ
(turning away)
Very unfortunate.
263 FULL SHOT - OUTSIDE CINEMA
In front of the cinema; Fritz goes to the cashier and
pays; he and Kurt exit left.
FADE OUT
FADE IN
264 FULL SHOT - INSIDE TENT - NIGHT
Fritz and Mr Bönike sit at the table in the tent; both
are smoking heavily; they avoid looking at each other.
MR BÖNIKE
Now you're in a spot!
FRITZ
Why? It happens in the best of
families.
MR BÖNIKE
(after a moment's pause)
Are you going to marry the girl?
FRITZ
I guess I don't have much choice.
MR BÖNIKE
(after a pause)
When do you want the engagement party?
FRITZ
Pretty soon, I guess.
Reel 5
FADE IN
265 CLOSE-UP - SIGN
An oval sign, partially covered by fir tree branches,
reads:
Congratulations
PAN TO a festive table with flowers. We hear voices.
Mr Bönike wears a black suit with white bow tie;
sitting on his right is bald Uncle Otto and his wife
and other guests.
266 MED. SHOT - ANNI
Anni stands at the table, she looks down and laughs,
plays with her hands; in the background a white
porcelain clock and furniture.
267 CLOSE-UP
Mr Bönike, seated next to a man with a dark bow tie,
looks over his guests and smokes.
268 MED. SHOT - ANNI
Anni notices his look and, embarrassed, plays with a
fake flower on her belt; she laughs bashfully and
looks away.
269 CLOSE-UP - GUESTS
A girl with a pearl necklace, seated between two young
men, smiles at Anni.
270 MED. SHOT - ANNI
Anni takes something from the table and looks at it.
271 MED. SHOT - GUESTS
Uncle Otto, his wife, a young man and the girl with
the pearl necklace in conversation.
272 MED. SHOT
Anni smiles at Kurt and Gerda who are sitting next to
each other; they also smile, then turn away and start
talking.
273 FULL SHOT - GUESTS
The entire long table with the seated guests, Mr
Bönike in the background; on the left Kurt who takes
something from the table and puts it in Gerda's mouth.
274 MED. SHOT - MRS. BÖNIKE IN ANOTHER ROOM
Standing in a separate room, she hands in stacks of
plates.
275 FULL SHOT - OVER THE SHOULDER - MR. BÖNIKE TO TABLE
In the background Anni takes the plates from Mrs Bönike
and puts them on the table.
276 MED. SHOT - MRS. BÖNIKE IN ANOTHER ROOM
Mrs Bönike hands in a cake.
277 CLOSE-UP - THE CAKE
Hands grab for the cake slices until the plate is empty.
278 FULL SHOT - OVER THE SHOULDER - MR. BÖNIKE TO TABLE
The guests drink coffee, Mrs Bönike as well; only Anni
is standing in the background.
279 MED. SHOT - ANNI AND KURT
Anni stands next to Kurt with cake and a coffee cup in
her hand, both eating.
280 MED. SHOT - GERDA AND KURT
Kurt and Gerda drink coffee, eat cake and smile at one
another.
281 MED. SHOT - MRS. BÖNIKE IN ANOTHER ROOM
Mrs Bönike hands in another pot of coffee.
WIPE TO:
282 MED. SHOT - LATER
Chain-gang style, Mrs Bönike, Anni and Kurt hand each
other beer bottles.
283 FULL SHOT - OUTSIDE TENT
Light shines from the tent onto the ground in front of
it; through the tent's entry one sees the table
extended into the front room; Fritz enters with a
crate full of beer bottles on his shoulder, places it
on a stack of other crates next to the tent, brushes
the dust off his black suit, heaves a crate of empty
bottles onto his shoulder and exits the way he came,
with his left hand in his pocket.
284 MED. SHOT - ANNI
Anni winds up a gramophone in the corner near the
clock, sets the needle on the record and turns to the
left. Music starts: "Entry of the Gladiators"
285 MED. SHOT - MRS. BÖNIKE IN ANOTHER ROOM
Mrs Bönike hands in a plate with food.
286 FULL SHOT - OUTSIDE TENT
287 MED. SHOT
Mrs Bönike, Anni, Kurt and beer bottles.
288 CLOSE-UP - A GUEST
A moustached guest eats his food.
289 FULL SHOT - OVER THE SHOULDER - MR. BÖNIKE TO TABLE
Anni eats while standing, bent over the table.
290 CLOSE-UP - ANOTHER GUEST
The man with the dark bow tie pokes at a bone on his
plate with his fork; after greedily eating the meat,
he puts the bone on the plate.
291 CLOSE-UP - PLATTER
Pieces of meat on bones are placed on the platter and
immediately picked up with forks or hands till the
platter is empty.
292 MED. SHOT - GUESTS
Two empty beer bottles in front of him, Uncle Otto
chews on a large bone he holds in his hands; his wife
eats with knife and fork. March music ends.
WIPE TO:
293 MED. SHOT - UNCLE OTTO
Uncle Otto has shed his jacket and tie and opened his
shirt, nine empty beer bottles in front of him;
toasting Mr Bönike to the left, he drinks a pint in
one gulp; Mr Bönike sets his smaller glass on the
table.
294 MED. SHOT - GUESTS
The girl with the pearl necklace drinks from a beer
glass; the young man with tousled hair on her right
drinks from a bottle; he bends the girl back and
kisses her; the second young man clinks glasses with
his partner while looking at his neighbor kissing.
295 MED. SHOT - OUTSIDE TENT
Fritz once again brings in a crate of beer, puts it
down and brushes the dust off his jacket; Anni comes
out of the tent
ANNI
Can I help you?
FRITZ
(turns round briefly)
No need.
ANNI
Want to come in?
FRITZ
(cleaning his trousers)
What for?
296 CLOSE-UP - ANNI
ANNI
Wait a minute ...
(short pause)
You don't want this whole engagement,
right?
297 CLOSE-UP - FRITZ
FRITZ
Of course not!
298 CLOSE-UP - ANNI
She turns away.
ANNI
Hm ...
(pause)
Why are you doing it then?
299 CLOSE-UP - FRITZ
Fritz puts a handkerchief in his pocket and then
shoves his hands in his pockets.
FRITZ
I have no choice.
300 FULL SHOT - OUTSIDE TENT
Fritz bends down, takes a beer and opens it; Anni
exits left; in the background the entrance to the tent
with the guests inside.
301 CLOSE-UP - FRITZ
Fritz drinks from the bottle and looks at Anni; the
guests sing the song "Ein Prosit..." from inside the
tent.
302 FULL SHOT - GUESTS INSIDE TENT
PAN TO right and back as the guests stand at the table
singing and rocking back and forth, especially Otto's
wife; some partners have changed places; there are now
also children among the guests.
303 EXTREME CLOSE-UP - GRAMOPHONE
The gramophone needle is placed on a record.
304 FULL SHOT - GUESTS INSIDE TENT
Song starts: "Schöner Gigolo, armer Gigolo" ...
The guests again sit at the table; in the middle of
the image is Otto's wife and one of the young men on
whom the girl with the pearl necklace leans; she sings
along with the gramophone record; Otto's wife and
others join in; in the background is the Bönikes'
wall-hanging:
Don't blame the morn that brings
hardship and work. It's wonderful
to care for those one loves.
305 MED. SHOT - UNCLE OTTO AND MR. BÖNIKE
Mr Bönike again takes a beer bottle and pours some for
Otto.
306 MED. SHOT - GUESTS
The man with the bow tie, with sweaty face, drinks from
the bottle; on his right, Mr Bönike gets a bottle from
under the table and drinks.
307 PAN ACROSS the singing and drinking guests.
308 LONG SHOT - OUTSIDE TENT
MUSIC: the record continues. Fritz sits, smoking a
cigarette to the right of the open tent. Kurt comes
out.
309 MED. SHOT - GUESTS INSIDE TENT
Otto's wife has grabbed the head of the man next to
her, kisses him, then slaps his face; the second man
has put his arm round the girl with the pearl necklace
while another girl lays her head on his shoulder.
310 LONG SHOT - OUTSIDE TENT
Kurt goes to Fritz.
311 MED. SHOT - GUESTS INSIDE TENT
Everyone sways to the music which now ends.
312 MED. SHOT - OUTSIDE TENT
Kurt and Fritz watch a male guest who comes out of the
tent and walks behind them.
FRITZ
(to Kurt, off the man)
Nothing to eat, but he's got to have
patent leather shoes.
313 FULL SHOT - DARK CAMPING AREA
The man walks to a tree.
314 MED. SHOT - OUTSIDE TENT
FRITZ
Unbelievable.
KURT
Well, if you're celebrating this kind
of engagement, how can you be surprised
that people get drunk?
315 FULL SHOT - GUESTS INSIDE TENT
Uncle Otto, completely drunk and with a cigar in his
mouth, gets up and totters along the table, pushing
over plates and glasses; his wife threatens him, also
gets up and follows him; Otto falls variously on the
seated guests and the table; his wife pushes him from
the side; PAN TO the young man and the girl with pearl
necklace kissing in the background.
316 FULL SHOT - UNCLE OTTO
Uncle Otto can barely hold himself up, clinging to
the head of one of the guests;
OTTO'S WIFE
Otto! Otto!
(with authority)
Come back right away!
He totters, holds himself up on a post and finally
falls flat in front of the tent, bringing down a
stool with a tub;
OTTO'S WIFE
Oh!
KURT'S VOICE
Let'm alone! If he wants to go
swimming, it's good for him!
PAN TO include Kurt and Fritz.
OTTO'S WIFE
Otto, you're going to be the death
of me yet.
Otto tries to stand up with the help of his wife; he
curses to himself; she tries to hold him by his
suspenders while he tries to move forward, swaying
dangerously.
OTTO'S WIFE
Otto, you stay here and be done.
(upset)
Swimming at night with a belly full
of beer.
UNCLE OTTO
My body belongs to me.
PAN WITH Otto as he pulls himself free, falls forward
against the beer crates and pulls down the dishes from
a table nearby; his wife follows him with raised arms,
warning and cursing him; he falls in the grass; Kurt
watches him while Fritz has been staring blankly the
whole time.
317 FULL SHOT - ANNI AND GERDA
In front of two tents Anni and Gerda are adjusting a
blanket over a fully packed handcart; in the
background are drunken, tottering guests.
318 MED. SHOT - FRITZ AND KURT
Mr Bönike totters over to Fritz and Kurt, who are
still in front of the tent.
MR. BÖNIKE
What's up with the beer, Fritz?
FRITZ
Just whistle and I'll run!
(to Bönike who disappears
behind them)
Just whistle!
(sharply)
Whistle!
319 FULL SHOT - ANNI AND GERDA
Bönike enters from the right.
MR. BÖNIKE
What are you up to?
ANNI
Get Mother and your things! We're
moving away from here.
Gerda goes to the cart's drawbar.
MR. BÖNIKE
Gerda put a bee in your bonnet?
Gerda and Anni exit pulling the handcart; Mr Bönike
remains standing with his hand on his chin.
320 MED. SHOT - FRITZ AND KURT
Kurt looks over Fritz to the tent.
321 MED. SHOT
Anni, Gerda, Mrs and Mr Bönike stand in front of the
tents around the handcart.
MR. BÖNIKE
Where can we go?
MRS. BÖNIKE
We're not just gypsies on the road
in the middle of the night. You've
gone nuts!
Mr and Mrs Bönike exit right with the handcart; Anni
and Gerda turn abruptly in the other direction and
leave.
322 FULL SHOT - OUTSIDE TENTS
From the left Mr Bönike pulls and Mrs Bönike pushes
the cart in an arc to the tent; the party guests and
Fritz stand in front of the tent; the Bönikes stop in
front of them.
323 MED. SHOT
Over the cart to Fritz and Kurt, on the right Mrs
Bönike, on the left Mr Bönike and two guests.
MRS. BÖNIKE
You've got to be really ashamed.
MR. BÖNIKE
(puts his arms on
Fritz's shoulders)
She's gone nuts. Simply ran away.
MRS. BÖNIKE
Don't worry, Fritz, we'll stay with
you.
FRITZ
(sarcastically)
What a joke.
Mr Bönike takes the steering rod again and they exit
left with the cart.
FADE OUT
FADE IN
324 FULL SHOT - STAIRWELL
Gerda and Anni are standing in a stairwell in front
of an apartment door.
GERDA
So, now you're going to live with me,
next Sunday you'll come with me to
the athletic games and you can forget
Fritz.
Anni nods.
FADE OUT
Reel 6
FADE IN
325-
340 MONTAGE
To rhythmic music that quotes "Solidarity Song" we
see cranes, coal piles, silos, dollies, wagons on steel
bridges, chimneys spewing smoke, large factories.
FADE OUT
FADE IN
341 FULL SHOT - CLUBROOM
A large clubroom in a wooden building, on the wall in
the background hangs a banner which reads:
Worker athletes against the race for
records: become a worker-athlete.
Young people and children, some in the uniform of the
Fichte Hikers (or Fichte-Wandersparte, organized clubs
of working class youth who combined political militancy
with leisure-time sports activities), are busy with
various jobs to prepare the athletics festival; on the
left, some others are waiting behind a wooden barrier;
in the foreground a young boy distributes printed
leaflets, calling out the names of city districts and
checking off their names on a list; PAN WITH HIM as he
goes to the left with the leaflets and hands them out.
DISTRIBUTOR
Wedding!
YOUNG MAN'S VOICE
Here!
DISTRIBUTOR
Two hundred.
(hands them over)
Reinickendorf!
2ND YOUNG MAN'S VOICE
Here!
DISTRIBUTOR
Eighty.
(hands them over)
Charlottenburg!
3RD YOUNG MAN'S VOICE
Here!
DISTRIBUTOR
One hundred and twenty... Friedrichshain!
4TH YOUNG MAN'S VOICE
Here!
DISTRIBUTOR
One hundred and fifty ... Pankow! ...
not here... Mitte!
5TH YOUNG MAN'S VOICE
Here!
DISTRIBUTOR
Schöneberg!
YOUNG WOMAN'S VOICE
Here!
DISTRIBUTOR
One hundred ...Tempelhof!
6TH YOUNG MAN'S VOICE
Here!
DISTRIBUTOR
Eighty. . . Wilmersdorf!
7TH YOUNG MAN'S VOICE
Here!
DISTRIBUTOR
Eighty... Prenzlauer Berg!
8TH YOUNG MAN'S VOICE
Here!
TRAVELING SHOT, CONTINUING RIGHTWARD
A group of young people work with an offprint machine;
a table where Gerda and another girl stir paint; Kurt
enters from the right and teases her by holding the
mixing stick to her nose; Gerda laughs and Kurt
continues to the right, kneels, puts the paint can on
a piece of paper and begins to paint on a huge piece
of white paper spread on the floor; a group sits at a
table and works on banners; in the background a young
man puts small flags on a city map hanging on the
wall.
342 FULL SHOT - TABLE
Gerda sits at a table mixing paint in the foreground;
Kurt kneels on the floor behind her and paints large
letters.
KURT
Where is Anni today?
GERDA
She's coming, had to go to the printer.
KURT
What's up with her?
GERDA
What do you mean? She's still living
with me.
343 CLOSE-UP - KURT
DOLLY IN on Kurt as he raises his head.
KURT
That is really inconvenient for her,
she broke up with Fritz right at
this time.
344 FULL SHOT - TABLE
A long table where young people and children are
working; in the background a sign reads:
Sports equipment room
PAN RIGHT TO a medium shot of a young man pasting;
a young woman in a uniform brings a roll of cloth
and spreads it out next to him on the table.
YOUNG MAN
(irritated)
I didn't even get home last night,
I've got to sleep sometime. Tomorrow
I'm supposed to compete in the
swimming marathon.
YOUNG WOMAN
(hits the table with
her fist, insistently)
No. you've to finish the banner.
Look, it'll be done pretty soon.
YOUNG MAN
(shouting at her)
Yeah, and when am I supposed to sleep?
She exits right; he pushes the cloth aside and turns
back to his work.
345 MED. TRAVELING SHOT
A door with two posters:
[Poster left]: Wrestling match
[Poster right]: 'Major Sports Meet
of the All Workers' Sports Sunday.
12 June. Swimming, Rowing, Motorcycle,
Bicycle Races Begin at 9 a.m.
Fritz enters and goes to Gerda; in the background a
bulletin board with more posters. Gerda cleans off
her hands and adjusts her skirt.
FRITZ
Hi Gerda, so Anni's living here now?
GERDA
Yes, sure.
FRITZ
I've been looking her the whole
week. Where is she running around
till late at night?
Kurt enters from the right with a can of paint that
he places on the table.
KURT
She's not running around. She's with
us and works here.
GERDA
She was here before, too, before you
came along and took her from us.
Kurt with a look at Gerda that indicates his critical
attitude towards Fritz.
FRITZ
I convinced her that she didn't
have the stuff for your athletics.
(pause)
In my view some women don't have
what it takes.
(forcefully)
Some do and some don't.
GERDA
I think she feels fine here with us.
346 MED. SHOT - A GROUP
A group of young people
1ST YOUTH
I can't come tomorrow. I'm out of
money.
2ND YOUTH
I have only twenty pfennigs too.
Can't you give us something?
3RD YOUTH
(laughing)
Sure.
They get some money.
347 MED. SHOT -
Gerda on the left, straightening her blouse, next to
her Kurt and Fritz;
FRITZ
By the way, I was laid off yesterday.
KURT
That's bad.
(puts on his cap)
GERDA
(points to a poster)
Look at that! And if you want to
talk to Anni, come on out with us
tomorrow.
Kurt pulls Fritz up to the bulletin board where the
poster is hanging
KURT
The competitions are in the
afternoon. There you can hear a few
things that won't do you any harm.
DISSOLVE TO:
348 FULL SHOT - STREET
A meeting point for motorcyclists, who line up their
bikes.
349 EXTREME CLOSE-UP - KURT
Kurt, in leather clothing, starts his motorcycle.
350 FULL SHOT - STREET
Other racers follow Kurt's example
351 ANOTHER VIEW
The motorcyclists drive by a group of uniformed
children and young people.
352 FULL SHOT - CORNER
Motorcyclists with and without sidecars turn the
corner.
353-
358 MONTAGE
The worker-athletes march through the streets
whistling and singing an early version of the
'Solidarity Song'
WORKER-ATHLETES
Forward, without forgetting
Where our strength is now to be!
When starving or when eating
Forward, not forgetting
Our solidarity!
Forward, without forgetting
Our street and our field
Forward, without forgetting
Whose street is the street
Whose world is the world?
Motorcyclists and bicyclists pass them by; Anni
marches together with a group of women athletes in a
forest area; tent residents watch them pass by.
359-
392 MONTAGE
Accompanied by 'Athletics Song' - sung by Ernst Busch
in solo with orchestra.
ERNST BUSCH
Coming out of the crowded flats
The darkened streets of embattled cities
You come together
To struggle together.
And learn to win.
And learn to win.
You bought boats
From the pennies you sacrificed
And you saved the bus fare by starving.
Learn to win!
Learn to win!
After grueling struggle for the necessities
For a few hours
You come together again
To struggle together.
And learn to win!
The starting signal for the motorcyclists is given at
the race course; in the background are banners that
read "Buckow Triangle Race" and "Derop Petroleum"; on
the right there are many bicycles; the motorcycle race
gets underway; signal for the start of the women's
regatta and swimmers; short takes of the motorcycle,
rowing (close-up of Gerda in boat) and swimming
competitions; Kurt (#48) is almost always in the lead
among the motorcyclists, who are now arriving at the
finish; the swimmers in the end spurt; the rowboats
finish.
393 FULL SHOT
The motorcyclists at the goal; Kurt is the winner and
is surrounded by well-wishers, who applaud him.
394 MED. SHOT - GERDA
Gerda is sitting in a boat and laughing.
395 FULL SHOT - KURT
Surrounded by the crowd.
Reel 7
396 MED. SHOT - FLAG
A flag waving in the breeze
397 FULL SHOT - CROWD
Spectators stand close together in front of a dais for
the winners with a huge banner -- reading "Solidarity"
-- spanned across it; PAN OVER the winners who go up
to the tribune on the left and form a line from the
right.
398 MED. SHOT - KURT
The happy winner.
399 MED. SHOT - GERDA
Gerda and another woman athlete; the applause ends; a
sharp whistle followed by the call "Hey!"
400-
412 MONTAGE
The agit-prop theatre group "Das rote Sprachrohr" sings
and plays "The Song of the Red Unity Front" the group
introduces itself as a 'voice of the masses' and, while
whistling, moves in a choreographed pattern around the
stage until they form a half-circle.
ACTORS
We are the 'red megaphone'.
Megaphone of the masses we are.
We speak what oppresses you.
We speak what oppresses you
We are the 'red megaphone'
Megaphone of the masses we are.
They act out a scene of eviction both spoken in solo
voice and sung in chorus using large, clear gestures;
the eviction is so rough that the evicted man is
thrown into the audience; the entire scene has a
strong rhythm, is very disciplined and stylized in
its presentation.
ACTORS
Köslin Street, Wedding district,
back building.
The landlord throws out an old
renter. He brings along the
furniture mover:
'Go ahead and load up junk.'
'Wait a minute. You must've made a
mistake. We've lost our welfare
benefits, Mr Landlord.'
'You're half a year behind in rent
God knows, my patience has run out.'
Patience, patience - that's a crazy
thing. The neighbors, proles, are
building a circle. The furniture
mover asks, he discusses, until
even... the last one understands.
At the end the actors dance to the music of their song;
the spectators, among them Fritz and Anni in the first
row, applaud.
413-
435 MONTAGE - SOLIDARITY SONG
The theatre group Red Megaphone stands in a line on
stage and begins singing the "Solidarity Song"; the
crowd of thousands joins in; the audience and the
winners on the dais; the crowd in front of the stage;
young athletes, older workers, audience with banners
and the flag from shot 396.
EVERYBODY
Forward, without forgetting
Where our strength is now to be!
When starving or when eating
Forward, not forgetting
Our solidarity!
First we are not all here now
Second it is but one day
When the work of one week's time
Still is heavy in our bones.
Forward, without forgetting
Where our strength is now to be!
When starving or when eating
Forward, not forgetting
Our solidarity!
First we are not all here now
Second it is but one day
And now those lying in the meadow
Otherwise are in the streets.
Forward, without forgetting
Our street and our field.
Forward, without forgetting:
Whose street is the street
Whose world is the world?
436 MED. SHOT - CROWD
Mixed voices continue as we PAN LEFT ACROSS the
demonstrators dispersing, the winners leaving the
dais, the crowd dissolving.
437 FULL SHOT - CROWD
The crowd pushes towards a campsite located in the
woods, among them Kurt and Gerda (he in leather, she
in a sporty dress) Gerda lays her arm on Kurt's
shoulder.
438 MED. SHOT - ACTORS
The theatre group packs up instruments on the stage.
439 MED. SHOT - KURT AND GERDA
Kurt and Gerda stand next to a man selling newspapers;
Kurt reads a brochure called "Birth Control"
KURT
(returning the brochure)
I have that one already.
He buys the magazine "Factory and Union"; they move on.
440 FULL SHOT - GROUP
A large group of athletes sits in a meadow; others
stand around them; they laugh as a young woman tries to
stand on her head.
441 MED. SHOT - CROWD
Women athletes sit on the grass and laughing; one of
them eats an apple; a second one takes it and eats it.
442 MED. SHOT - SWIMMERS
Swimmers lie on the grass. Two of them read a newspaper.
443 MED. SHOT
Many parked bicycles, some leaning against trees.
444 CLOSE-UP
Front wheels of racing bicycles.
445 MED. SHOT
Empty rowing boats in the water.
446 MED. SHOT
Sterns of three paddle boats.
447 MED. SHOT - HIGH, OBLIQUE ANGLE - YOUNG MEN
Three young men lie on the grass, their heads bent
over a book; one reads aloud:
YOUNG MAN
Listen, I'll read it again now: 'A
real state,' says Hegel, 'and a real
state government emerge only when
there are already distinct classes,
when wealth and poverty increase
greatly and when the situation is
such that a large number can no
longer satisfy in the accustomed
way.'
448 FULL SHOT - ANNI AND FRITZ
In front of a tent, Anni and Fritz lie on the grass,
resting on their elbows; they are looking straight
ahead; Fritz looks over to Anni; behind them another
man is lying in the same posture, reading a newspaper
that another one is reading as well over his shoulder;
in the background are other worker-athletes standing,
lying and talking.
449 MED. TRAVELING SHOT - KURT AND GERDA
Gerda and Kurt walk by the tents; a group of young
people march by them; worker-athletes sitting, lying,
playing, singing and laughing everywhere.
VOICE FROM A TENT
Now hold still!
GERDA
Fritz always wanted to have his
freedom.
KURT
At 13 Marks 20 a week, freedom is
worth shit.
GERDA
Well, then he can marry Anni.
KURT
I'm sure he'll do it.
GERDA
At least she is earning money.
450 FULL SHOT - ANNI AND FRITZ
They look into each other's eyes.
FRITZ
You may be right.
451-
457 MONTAGE
Athletes put their boats in the water and get in;
motorcycles with sidecars are driving along a forest
road; several groups of bicyclists follow them, some
with flags; a tight group of young athletes and
workers some with backpacks precede the camera down
the stairs and through a tunnel into a subway station.
Throughout, we hear the "Solidarity Song" drowned out
by crowd noise.
458 MED. SHOT - CROWD
The crowd coming down stairs; noise in tunnel grows
louder and louder.
Reel 8
459 FULL SHOT - SUBWAY
The festival participants push their way into the
subway car, some seat themselves and others remain
standing as it fills up. We hear the voices of
passengers and sounds of the train.
460 MED. SHOT - ON THE TRAIN
A man with a goatee reads the newspaper; he shows his
unease as the crowd streams in, adjusts his hat and
continues reading.
CONDUCTOR'S VOICE
Attention! Doors closing!
Sound of train accelerating.
461 MED. SHOT - ON THE TRAIN
Passengers standing in the middle aisle.
462 TWO SHOT - KURT AND GERDA
Gerda standing on the left, Kurt turned towards her,
standing in the aisle.
463 CLOSE-UP - FRITZ AND ANNI
Fritz and Anni are seated; his arm is round her
shoulders and he gently tousles her hair.
464 FULL SHOT - PASSENGERS
High angle looking down through a luggage net of
seated and standing passengers
GOATEED MAN
(casually from the newspaper)
In Brazil, they burned 24 million
pounds of coffee.
VOICE OF
A MAN ON THE LEFT
(surprised with disbelief)
What did they do with the coffee?
GOATEED MAN
They burned it, pure and simple.
STARCHED COLLAR MAN
24 million pounds of coffee burned?
465 CLOSE-UP - PASSENGERS
STARCHED COLLAR MAN
That is no more than demagogy.
466 MED. SHOT - PASSENGERS
An older man with glasses sits next to a woman;
above them is a worker in shirt sleeves leaning on
the seat back.
OLDER MAN WITH GLASSES
I read that too but I don't believe
it.
467 CLOSE-UP - MAN IN WHITE HAT
Among the standing passengers is a man with a white
hat, a well-trimmed beard and a bow tie.
MAN IN WHITE HAT
(with a contemptuous,
pedantic tone)
Anyone with common sense knows
that is simply not possible.
468 MED. SHOT - PASSENGERS
Seated and standing passengers.
GOATEED MAN
(reads from the newspaper)
'Burned coffee - Madness of the
World Market.' See? There you have
it: 'In Santos, the world's largest
coffee port, there is more coffee in
the warehouses than the world ...
um... can buy... All together 12 to
15 million sacks... more than an
entire year's production from
Brazil, so... And because more and
more coffee is added...
469 MED. SHOT - HIGH ANGLE - PASSENGERS
The passengers grouped round the reader.
GOATEED MAN
'... the government has the
surplus burned.'
MAN IN WHITE HAT
You don't have to read that. We know
about that nonsense.
GOATEED MAN
We have expensive wheat and
unemployed industrial workers while
Argentina has expensive industrial
goods and unemployed farmers. And
it is all called the world market
and is a crying shame.
470 MED. SHOT - PASSENGERS
Passengers standing.
SHIRT-SLEEVED WORKER
24 million pounds of coffee burned.
That is really a crying shame!
471 CLOSE-UP - WORKER
SWEATERED WORKER
They can do that to us!
472 CLOSE-UP - MAN IN WHITE HAT
MAN IN WHITE HAT
(raised forefinger)
Quite right!
473 MED. SHOT
OLDER MAN WITH GLASSES
I don't understand a thing! Burned
coffee! What's the purpose anyway?
474 CLOSE-UP - FRITZ AND ANNI
ANNI
That is pure malice on the part of
those people.
FRITZ
Malice? They can't be malicious if
they don't ...
(with thumb and forefinger
makes a gesture of
counting money)
VOICE OF
BLACK-HAIRED MAN
So you want to defend the guys, huh?
475 MED. SHOT - BLACK-HAIRED MAN
The head of the man with black appears over the
separating wall.
BLACK-HAIRED MAN
You think it's okay that they burn
the expensive coffee?
476 CLOSE-UP - MAN IN WHITE HAT
MAN IN WHITE HAT
(shaking his head and with
raised finger)
Permit me, the man didn't say that at
all. The man said quite clearly...
(turning to the side)
What is it you said again, neighbor?
477 MED. SHOT - TWO WOMEN
Two elder women with high hats pulled over their
foreheads.
CHECKERED DRESS WOMAN
(to the woman across)
You know, you should never actually
boil coffee, I tell you.
(to the woman on the left
with a coral necklace)
Coffee should never boil.
(leaning back exhausted)
Once it boils, it is ruined.
CORAL NECKLACE WOMAN
(to the checkered
dress woman)
And don't even think of pouring the
coffee into a tin pot because the
aroma just disappears.
478 MED. SHOT - PASSENGERS
GOATEED MAN
(pointing to his newspaper)
It's all in here. Why did they do
it? Because they wanted to keep the
price of coffee high.
STARCHED COLLAR MAN
You see!
GOATEED MAN
'You see!' We have to pay the high
price!
479 MED. SHOT - PASSENGERS
Several standing passengers.
STARCHED COLLAR MAN
And why do we pay the high price?
Because our hands are tied.
International politics!
MAN IN WHITE HAT
(behind him)
Quite right!
STARCHED COLLAR MAN
(lecturing the passengers,
with his hat in his hand)
If we had a fleet, then we'd have
colonies too. If we had colonies,
then we'd have coffee too. And if
we had coffee...
VOICE OF
GOATEED MAN
Yeah, what then, in your esteemed
opinion? ...
480 MED. SHOT - PASSENGERS
GOATEED MAN
Go ahead and say it. Then prices
will go down, huh?
STARCHED COLLAR MAN
No, they shouldn't. But then...
481 MED. SHOT - REVERSE ANGLE
The man with the starched collar in foreground; Kurt
stands behind him with other passengers.
STARCHED COLLAR MAN
(bends down to the goateed man)
... we'll cut the deal!
KURT
(looks over his shoulder to
the starched collar man)
I keep hearing 'we'. Who is that:
we? You and me?
(looking in the other
direction)
And that gentleman there?
(another direction)
And the lady there?
(another direction)
And the funny man there? So, 'we'
cut a deal.
(to the starched collar man)
Come on, man, you don't really
believe that!
482 MED. SHOT - PASSENGERS
A man with a gray hat, sitting next to a woman in a
white blouse, writes figures on a sheet of paper,
pencil in hand.
GRAY HAT MAN
24 million pounds. 36 times 24...
carry the zero ... another zero.
Then they threw away 86 million?
That's supposed to be a deal?
VOICE OF
WOMAN OPPOSITE
That's no deal!
GRAY HAT MAN
If one pound costs 3 Marks 60...
WHITE BLOUSE WOMAN
(excited)
What, 3.60? Hey, you must be used
to a superior brand.
483 MED. SHOT
over Kurt and other passengers to starched collar man.
STARCHED COLLAR MAN
(talking in various directions)
Gentlemen, I say it again: so long as
the people can't save their pennies,
they'll never get a head.
MAN IN WHITE HAT
(nodding in the background)
Quite true!
Starched collar man nods to him.
KURT
Yeah, you really look like you save
your pennies.
484 MED. SHOT - PASSENGERS
Group sitting around Gray Hat Man writing figures.
GRAY HAT MAN
(pencil in hand)
Okay: one pound costs 3 Marks 60...
WHITE BLOUSE WOMAN
But why 3.60? For 2.40 you can get
very good coffee.
VOICE OF
WOMAN OPPOSITE
I even bought some for 2 Marks.
GRAY HAT MAN
(to the woman opposite)
Really? Let's say 3 Marks. That's not
the point.
WHITE BLOUSE WOMAN
Now wait a minute! I say 2.50 and
he says 3 Marks and there's
supposed to be no difference?
GRAY HAT MAN
(looks up in protest)
24 million times 300...
485 MED. SHOT - FRITZ AND ANNI
FRITZ
(to Anni)
That's nonsense, what he's figuring
there.
(to those speaking
on his left, sharply)
They earn nothing on the stuff they
throw away but rather on the stuff
they keep and sell to us at a high
price.
486 CLOSE-UP - GERDA AND OTHER PASSENGERS
SWEATERED WORKER
(to his right)
You've always got to have less than
is needed. Otherwise there's no deal!
GERDA
(next to him)
You can only make a deal when there
are people who need something and
don't get it.
The Sweatered Worker nods.
487 MED. SHOT - TWO WOMEN
CORAL NECKLACE WOMAN
They're on welfare but they drink
coffee by the pound; you can smell it
in the stairwell. I don't know
nothing, but I always said to my
husband: 'William, you know, there's
something fishy there.'
488 CLOSE-UP - HIGH ANGLE - GROUP WITH GERDA AND KURT
MAN IN WHITE HAT
Coffee is a luxury in any case. The
common people never drank coffee
before.
KURT
(looking over his shoulder)
Before the people used to travel in
carriages.
Another passenger laughs.
489 MED. SHOT - EXTREME HIGH ANGLE - PASSENGERS
The aisle with standing passengers. Camera pans
several times from one side to another.
STARCHED COLLAR MAN
(sharply)
I forbid is political agitation!
KURT
(next to him)
What do you mean 'agitation'? You're
the one who's campaigning!
Kurt turns his back to him.
STARCHED COLLAR MAN
(turns suddenly to
him, agitated)
Just keep your temper, young man!
KURT
(turning quickly)
I'm not your young man!
A brief scuffle ensues between Kurt and Starched
Collar Man; Kurt pushes him away; Fritz stands up
behind the man and taps his finger on his temple to
signal 'you're crazy' ...
STARCHED COLLAR MAN
(right next to Kurt)
It's quite obvious that you never
served.
KURT
And you? You were probably an NCO,
huh?
SWEATERED WORKER
(friendly)
Kurt, belt him one!
WORKER BEHIND KURT
(provoking)
Give the fool an orange and send him
to the orphanage!
STARCHED COLLAR MAN
(threatening with his hand)
You!
KURT
Close your trap or sawdust will come
out!
Passengers laugh.
STARCHED COLLAR MAN
(close to Kurt)
I warn you! Your insult costs 40
Marks.
KURT
Oh man, don't ruffle feathers!
STARCHED COLLAR MAN
(yelling)
Since when do you talk to me like
that? They didn't raise us in the
same stall!
MAN IN WHITE HAT
(slowly)
Quite right!
Starched Collar Man turns round and shakes the man's
hand.
WORKER BEHIND KURT
Bow-legged and can't hold a gun!
ANOTHER WORKER
Stupid fathead!
WORKER BEHIND KURT
Other people've got a head but
you've got a pimple!
Loud laughter. Starched Collar Man turns round in a
huff towards the speaker.
490 MED. SHOT - GROUP
Group around the older man with glasses
OLDER MAN WITH GLASSES
(rises)
But gentlemen, I must insist that
you quiet down! You are not alone in
the train! You keep talking about
coffee in Brazil. Now I ask you,
gentlemen: what is it to you what
happens to the coffee in Brazil?
MAN IN WHITE HAT
Quite right! What's more it's Sunday
today.
KURT
Okay, if you're not interested in
coffee, then I have another question
for you: you do eat bread, right,
neighbor? What do you say to the
wheat they're using in America to
fuel the boilers?
GERDA
And what about the cotton?
492 MED. SHOT - PASSENGERS
A very fat, bald passenger sits on the left and
dozing; a man in a coat stands next to him.
MAN IN COAT
(talking to the fat man
while tapping his arm)
Ya see, we don't even need that much
coffee. We Germans are thrifty
people. The main thing is stay free
of those foreigners. Ya know, we
should be growing our own coffee in
Germany. They grow so many grapes
along the Rhine, why not some
coffee? Ya see? We could even buy
wine in France. And then we'd have
peace in Europe, ya see?
FAT PASSENGER
(phlegmatic, resigned)
Yea, the two of us, we're not going
to change the world either!
KURT'S VOICE
Right...
493-
494 CLOSE-UPS
The head of the fat passenger looking in the
direction of the voice; the man in the coat looks to
his left over his shoulder.
KURT'S VOICE
...You won't change the world.
495 CLOSE-UP - KURT
KURT
And the lady there...
496 CLOSE-UP - CORAL NECKLACE WOMAN
KURT'S VOICE
... will not change it either. And
the man...
497 CLOSE-UP - DOZING MAN WITH GLASSES
KURT'S VOICE
...will not either...
498 CLOSE-UP - KURT
KURT
(turned towards the left)
...and an unpolitical person like
you...
499 CLOSE-UP - MAN IN WHITE HAT
KURT'S VOICE
...not by a long shot...
500 CLOSE-UP - KURT
KURT
(turning his head straight
contemptuously)
And this man here ...
501 EXTREME CLOSE-UP - STARCHED COLLAR MAN
KURT'S VOICE
... he too will not change the
world. He is satisfied the way it
is now.
STARCHED COLLAR MAN
(provoking, stressing each word)
And who will change it?
502 CLOSE-UP - GERDA
GERDA
(agitating)
Those who are not satisfied!
503 FULL SHOT - SUBWAY STATION TUNNEL
Passengers with backpacks, bicycles and lunch bags
precede the camera through the tunnel, the 'Solidarity
Song' in background.
CHORUS
Forward, without forgetting
Where our strength is now to be!
When starving or when eating
Forward, not forgetting!
Our solidarity!
ERNST BUSCH
If we saw the sun was shining
On the street and on the field
We could never really think that
This was truly our own world.
CHORUS
Forward, without forgetting
Where our strength is now to be!
When starving or when eating
Forward, not forgetting!
Our solidarity!
ERNST BUSCH
For we know well it is but one
Drop into the bucket
Yet it cannot clean up!
Anything at all for us.
CHORUS
Forward, without forgetting
Our street and our field.
Forward, without forgetting:
Whose street is the street
Whose world is world?
FADE OUT
*****ALTERNATE LYRICS******
Solidarity Song
Forward, without forgetting
Where our strength can be seen now to be!
When starving or when eating
Forward, not forgetting
Our solidarity!
Peoples of the world, together
Join to serve the common cause!
So it feeds us all for ever
See to it that it's now yours.
Forward....
Black or white or brown or yellow
Leave your old disputes behind.
Once you're talking with your fellow
Men, you'll soon be of one mind.
Forward....
If you want to make this certain
We'll need you and your support.
It's yourselves you'll be deserting
If you rat on your own sort.
Forward....
All the gang of those who rule us
Hope our quarrels never stop
Helping them to split and fool us
So they can remain on top.
Forward....
Workers of the world, uniting
That's the way to lose your chains.
Mighty regiments are fighting
That no tyranny remains!
Forward, without forgetting
Till the concrete question is hurled
When starving or when eating:
Whose tomorrow is tomorrow?
And whose world is the world?