Cross of Iron Page #12

Synopsis: Cross of Iron is a British-German 1977 war film directed by Sam Peckinpah, featuring James Coburn, Maximilian Schell, James Mason and David Warner. The film is set on the Eastern Front in World War II during the Soviets' Caucasus operations against the Wehrmacht's Kuban bridgehead on the Taman Peninsula in late 1943.
Genre: Drama, War
Production: AVCO Embassy Pictures
  2 wins.
 
IMDB:
7.5
Rotten Tomatoes:
80%
R
Year:
1977
119 min
1,003 Views


the steep decline and racing across the trampled, rutted

width of the road toward the edge of the woods which rise

like a dark wall against the further mountains.

122. MED. SHOT - STEINER

He is standing about 100 yards in the forest, looking toward

the highway. The men can be seen running towards him.

In a few seconds, they reach Steiner. As they fight to

catch their breaths, Steiner looks at them, triumph in his

eyes.

KERN:

Well --

Steiner holds up his hand for quiet. They listen. The

rumble of vehicles can be HEARD from the highway.

KRUGER:

(grinning)

Now that we're here that sounds

like music to me.

STEINER:

(dryly)

I think it's a little early for

congratulations.

(picks up his gear)

We're ready.

ZOLL:

Sergeant --

Steiner turns to regard him.

ZOLL:

Before we start, there's a matter

I'd like to bring up. The matter

of your treatment of a comrade,

Private Kern.

Steiner looks at him closely.

ZOLL:

One soldier of the Fuhrer is just

as -- good as --

He wilts under Steiner's gaze, stops.

STEINER:

(coldly)

Please continue. Just as good as

what?

ZOLL:

(weakening)

Anyway -- I believe I speak for

all the others --

Steiner looks at the others.

KERN:

(to Zoll)

Why don't you mind your own lousy

business! It was idiotic of me

to light that cigarette. Now,

let's go.

Steiner looks at Zoll, then, without a word, turns and

starts walking. The others follow.

DISSOLVE TO:

123. STREET - IN KRIMSKAYA - DAY

The scene is one of great bustle and activity. Trucks are

unloading. Anti-aircraft guns are being set up on empty

lots between houses. A Staff car speeds INTO the SCENE,

jolts to a stop before one of the houses. Captain Kiesel

alights, taking a salute from the SENTRY, ENTERS one of

the houses.

124. INT. HOUSE - STRANSKY AND TRIEBIG

are supervising the installation of phones. Kiesel comes

RUNNING IN.

KIESEL:

You're slow with those phones,

Captain. Regiment has been trying

to speak to you.

STRANSKY:

They'll be in any minute, Captain

Kiesel.

KIESEL:

with the Russians breathing down

our necks, the Colonel wants a

patrol out front. I think Steiner's

the most experienced --

STRANSKY:

Sorry, Captain. I haven't the

faintest idea of the whereabouts

of Steiner and his platoon.

KIESEL:

What do you mean by that?

(stares at Stransky)

You mean you didn't pull him out

of line and bring him back? You

had your orders.

STRANSKY:

I tried to contact Steiner immediately

-- wasn't that so, Lieutenant?

TRIEBIG:

Yes, Captain.

STRANSKY:

But he had already moved his platoon

from the bunker.

KIESEL:

Why? He had orders not to move till

dark.

STRANSKY:

(shrugging)

You know Steiner Disobeying orders

is a speciality of his.

KIESEL:

How the devil is he going to get

back here? He's got the whole

Russian army to get through.

STRANSKY:

He had his orders--he disregarded

them.

KIESEL:

It doesn't sound like Steiner.

He'd risk his own neck, not a

whole platoon's --

(looks at Stransky

closely)

I think I can promise you a full

investigation, Captain Stransky,

when Steiner gets back. If he

gets back.

He turns and walks OUT rapidly. The telephone men are

still in the room, so Stransky and Triebig can only exchange

covert congratulatory glances. The CAMERA MOVES to the

window, THROUGH IT to an open field and as it MOVES EAST...

DISSOLVE TO:

125. OVERHEAD SHOT - THICK WOODS - DAY

The CAMERA MOVES DOWN through thorny undergrowth until

it picks up Steiner's platoon, fighting their weary way

through. The undergrowth has ripped the men's uniforms

and scratched their hands and faces. Sweat is pouring

from their faces. They are almost continually s lapping at

almost invisible stinging mites which hover about them.

The CAMERA PANS DOWN to two pair of boots slogging through

the marsh. It is evident that they are suffering a great

deal.

126. LONG SHOT - THE SUN LOW IN THE SKY

It will be dark in a little while. From THIS ANGLE the

CAMERA ZOOMS DOWN into the forest. It picks out Steiner

trudging in water that is halfway up to his knees.

There is no one in sight behind him. Suddenly, from the

rear there are HOARSE SHOUTS. Steiner stops, turns,

listens. The SHOUTS are HEARD again. Steiner starts

back, CAMERA TRUCKING with him. There is a slight rise

in the terrain, which is firm and dry. Most of the men

are stretched out on the ground.

STEINER:

What's the trouble?

SCHNURRBART:

You'll have to call a rest, Rolf.

STEINER:

(tersely)

We're not even half way yet.

SCHNURRBART:

I know, but what can't be done

can't be done.

STEINER:

(reluctantly)

All right.

He notices Zoll, who is lying on his stomach off to one

side, his head pillowed in his arms.

STEINER:

Where are your ammunition boxes?

The others become attentive. Zoll doesn't stir. Steiner

digs the toe of his boot into Zoll's side.

STEINER:

Didn't you hear me?

ZOLL:

(a grunt)

Leave me alone.

KRUGER:

He had them ten minutes ago. The

swine must have dumped them.

STEINER:

Then he'll go back for them.

Zoll still doesn't move, so Steiner grips him by his

cartridge belt and pulls him to his feet. Face twisted

with fury, Zoll whirls, snatches up his rifle, brandishes

it.

ZOLL:

(hoarsely)

Keep your dirty paws off me.

If you touch me again.

Steiner looks into Zoll's rabid face with a sort of

curiosity.

STEINER:

(quietly)

You're too much of a coward.

Watch!

He drops his tommy gun and gestures Schnurrbart and Kruger

back. They watch worriedly as Steiner steps so close to

Zoll that the barrel of his rifle touches his stomach.

Quietly he reaches out, grasps the rifle by the barrel and

takes it from Zoll's hands. A sort of relieved sigh goes

up from the men. Zoll stands motionless, his face re-

flecting fear, rage and shame. Steiner picks up his tommy

gun.

STEINER:

Get those boxes.

Zoll hesitates for just a second. Then he turns and walks

off INTO the brush. The men look after him grimly.

127. MED. SHOT - STEINER - IN A TREE

making his way to the top. When he nears it, he pushes

aside two branches to give himself a view.

128. LONG SHOT - FROM STEINER'S POV

An enormous expanse of reeds cuts a swath across the

woods. Brown water shimmers along the thick stems. Then

there is a hundred yard width of muddy water, then more

weeds.

129. MED. SHOT - STEINER

He looks grim as he starts his descent.

130. FULL SHOT - THE MEN

as they wait for Steiner.

KERN:

I bet this is the only dry spot

for miles around. Why don't we

just stay here?

ANSELM:

Don't be silly. They won't know

where to send our pay. Ah --

For Steiner has dropped out of the tree.

SCHNURRBART:

Well -- ?

STEINER:

Reeds, swamp, open water, more reeds,

more swamp. Worse than I thought

it would be.

Steiner spreads the map on the ground. The men look over

his shoulders. Steiner points to something on the map.

STEINER:

(nods)

Tomorrow morning we'll start

before dawn.

KRUGER:

(querulously)

Straight into the creek?

STEINER:

Shut up! We'll march north to the

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Julius J. Epstein

Julius J. Epstein (August 22, 1909 – December 30, 2000) was an American screenwriter, who had a long career, best remembered for his screenplay – written with his twin brother, Philip, and Howard E. Koch – of the film Casablanca (1942), for which the writers won an Academy Award. It was adapted from an unpublished play, Everybody Comes to Rick's, written by Murray Bennett and Joan Alison. more…

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