Grand Hotel

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)

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