Cross of Iron Page #8

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
995 Views


of the lucky ones, you sure don't

seem anxious to go.

Steiner doesn't even look at Muller who evidently sees someone

at the west trucks.

MULLER:

Hey, you there -- let me see your

Orders --

He runs off, almost colliding with Inge. She looks complacent.

INGE:

Goodbye, Sergeant Steiner.

STEINER:

I'm touched. Up this early just

to say goodbye to me. Or are you

waiting to welcome the new batch

coming in?

INGE:

No. I just thought somebody

should say goodbye to you.

(smiles as Steiner looks

at her)

Gertrud is not coming, Sergeant.

He stares at her. She takes ah envelope out of her pocket.

INGE:

This is for you.

As he snatches it out of her hand.....

INGE:

That's all right. I've already

read it.

STEINER:

You're a pig.

(looks at the envelope, but

doesn't open it)

INGE:

I'll be happy to read it to you.

She takes the envelope from him. He just stands there,

neither objecting nor assenting. Inge's tone, as she

reads, is not as triumphantly smug as might have been

expected.

INGE:

(reads)

"Dearest Rolf -- I can't face you

this morning. How can you and

I know what we feel for each

other? We hate so quickly and

easily, maybe we fall in love

too quickly and easily, too.

There are things I even needed

to tell you about.....

Steiner snatches the letter from Inge. crumples it in

his hand. His face is his usual steel mask again.

He stands still for a moment, then the SOUND of the trucks

MOTORS causes him to look up. The trucks bound for the

front have started slowly off. Steiner looks at the

crumpled letter in his hand, throws it away, runs for the

trucks.

92. MED. SHOT - MULLER

as Steiner runs past him. He stares in amazement as

Steiner jumps onto the back of the last truck heading east.

MULLER:

(almost screaming)

No! No! Steiner -- wrong truck!

You're going home. That one's

going to the front! Steiner --

Steiner -- !

But in the b.g. the truck has disappeared around the corner.

FADE OUT:

FADE IN :

93. LONG SHOT - ROAD SKIRTING A ROW OF BUNKERS - DAY

A truck is seen coming to a stop. A lone figure jumps off the

back, waves to the driver. The truck drives on.

94. MED. SHOT - STEINER

standing in the road, looking about him with some curiosity.

Then, CAMERA TRUCKING with him, he starts to walk. He

passes several SOLDIERS. We can tell by the cursory glances

they exchange that they are strangers to each other.

Steiner enters the bunker.

95. LIEUTENANT TRIEBIG

rounding a corner near the bunker. He HEARS SHOUTS from the

bunker and stops. Then he HEARS a half dozen voices CRYING

in unison, "Steiner! Steiner! Steiner!" Triebig's face

sets. He stands a moment, immobile, then turns, hurries

away in the opposite direction.

96. INT. BUNKER

Kruger, Kern, Schnurrbart and Anselm are grouped around

Steiner. A NEWCOMER stands off to the side a bit. Steiner

is opening a beer bottle.

KRUGER:

You're an idiot, Rolf. Why didn't

you go home when you could have?

STEINER:

(stony-faced)

Heard it was safer here.

KERN:

(nodding)

I was home for two weeks.

THE NEWCOMER:

(angrily)

I wish this kind of talk would stop.

It's -- it's gross exaggeration -- and

what's more, it has a terrible effect

on the morale of the troops at the

front!

Everyone turns to look at the newcomer. Steiner regards him

coolly.

STEINER:

What's your name?

ZOLL:

(defiantly)

Zoll.

STEINER:

Thank you, Herr Zoll for worrying

about my morale.

The men laugh.

SCHNURRBART:

Zoll is a Party member. He's con-

vinced we're winning the war, and

anybody who doesn't think so, he's

quite willing to turn in to the

Storm Troops.

STEINER:

(to Zoll)

My name is Rolf Steiner -- and please

memorize my correct serial number.

I wouldn't want them to come for

the wrong man.

The PHONE RINGS. Zoll answers it.

ZOLL:

(very snappy)

Second Platoon. Zoll speaking.

STEINER:

God, isn't it wonderful hearing a

real soldier speaking again.

ZOLL:

(through the men's

laughter)

Yes, sir -- yes, sir --

(hangs up, turns

to Steiner

Captain Stransky wants to see you

in his bunker.

STEINER:

When?

ZOLL:

Right away.

STEINER:

Good. I missed my Captain Stransky.

97. CLOSE SHOT - STRANSKY'S FACE

The CAMERA PULLS BACK and we SEE that we are in what is

evidently Stransky's bunker. Triebig is facing Stransky.

It is now dark.

STRANSKY:

I'll soften him up, don't worry.

How long have we kept him waiting?

TRIEBIG:

About half an hour.

STRANSKY:

All right. Send him in.

Triebig, still looking worried, goes OUT. Stransky stands

for a moment, moves another chair to the table, then sits

opposite it. The door opens and Steiner comes IN. He looks

at Stransky, his face devoid of expression.

98. MED. SHOT - STRANSKY - AT TABLE

with Steiner in b.g. Stransky's demeanor is carefully

matter-of-fact.

STRANSKY:

Welcome back, Sergeant. Please sit

down.

(impatiently, as

Steiner remains

standing)

You may sit down.

STEINER:

If you order me to.

STRANSKY:

Consider it an order.

Reluctantly, Steiner sits down facing Stransky, who moves the

kerosene lamp so that he himself is sitting in darkness.

STRANSKY:

Are you quite recovered from your

wound?

STEINER:

Quite.

STRANSKY:

Good. Now that you're back, I'm

willing to make a fresh start.

I excuse your past behavior. There

are several important matters I

wish to discuss with you.

STEINER:

(his face shows that

he knows what Stransky

has in mind l there is

a pause before he

speaks)

Certain things can be talked about

only man to man, not superior to

subordinate.

STRANSKY:

(an attempt at a smile)

You would naturally think that.

But, you know, don't you, that

in civilian life, too, a distinction

is made between people and personalities?

For a fleeting moment Steiner's expression darkens, but he

quickly composes his features. His tone is ingenuous.

STEINER:

I don't. But I'm'sure you can

explain that distinction to me.

STRANSKY:

(smoothly)

I can. The difference is a matter

of ethical and intellectual super-

iority and is caused, whether you

like it or not, by class difference.

Those who are reared in dirt will

never or rarely emerge from it

because they have never learned

to see dirt as dirt. Isn't that

self - evident?

STEINER:

(swiftly and quietly)

I disagree. Talent, sensitivity

and character are not privileges

of the upper class.

STRANSKY:

(voice less urbane)

I see. May I ask which of the

two categories you count yourself?

It is an open challenge. Steiner sits up in his seat.

STEINER:

Is this conversation taking place

between two equal human beings, or

between a superior and his sub-

ordinate?

STRANSKY:

(haughtily)

I see no reason to throw the weight

of my rank into the balance.

STEINER:

(quietly)

In that case, I am free not to

answer your tactless question.

There is e silence as fury mounts in Stransky's eyes, but

he controls his voice.

STRANSKY:

You are forgetting yourself, Steiner.

STEINER:

(coldly)

If you feel insecure about standing

on your grounds of equality, we

can easily go back to our regular

Rate this script:3.0 / 4 votes

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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