Grand Hotel Page #19

The foregoing speech is intercut with the following action

in which Kringelein's voice is heard throughout -- thus it

is not a long speech:

The Baron watches. He throws his cigarette away -- he bites

his lip -- sweat breaks out upon his forehead; again he is a

thief. When he wanted pearls the love of a woman stopped

him. Now he wants this money and pity, a slow growing pity

for this tragic, dying thing is stopping him -- and all the

time the Doctor watches.

The one, whole eye pierces into the Baron's melting

conscience.

Twice during the speech at a spot, through and during

rehearsal, to be selected, the Doctor's voice, droning but

piercing, says:

DOCTOR:

He must find his money, Baron.

(next time)

Mr. Kringelein should find his

pocketbook, Baron, shouldn't he?

These are two interjections.

And now, Kringelein lies upon the floor, a troubled little

sack of pain, his head down.

The Baron turns away. He bends down as though he were looking

for the pocketbook. We see him take it from his pocket and

turn. There is a very light, almost triumphant ring in his

voice as he says:

BARON:

Here -- here it is. Here's your

pocketbook, Kringelein.

KRINGELEIN:

(his head coming up)

Oh -- yes -- that's it -- you found

it -- you found it for me, Baron.

BARON:

(quickly)

Goodnight, Kringelein.

(he moves towards the

door.)

KRINGELEIN:

No -- no please -- oh, don't go --

don't go -- don't leave me alone,

Baron.

DOCTOR:

You've nothing to fear, Kringelein

KRINGELEIN:

No.

BARON:

Come, get up -- come let me help

you.

NOTE:
If he is a strong actor he can pick Kringelein up --

If not, he and Doctor lift Kringelein to bed.

BARON:

You're all right now -- it's very

late -- goodnight, Kringelein.

KRINGELEIN:

Oh, no, stay here, Baron -- stay.

Baron bites his lip. It is the first and only time in the

play that we see a tear near -- the strong man almost breaks.

DOCTOR'S VOICE

Goodnight, Baron.

BARON:

Goodnight.

(his hand presses on

Kringelein's shoulder --

he exits)

CUT OUT INTO:

CORRIDOR:

Baron shuts door and pauses. In front of him is the door of

the woman he loves. Down beyond is his own empty room. In

his pockets nothing. In his CLOSEUP he makes the audience

feel his problem with him.

This man who has lived and whistled and love through the

play becomes a tragic, lonely, harrassed figure. The Baron

has broken. His fists dig into his eyes -- he brushes his

hair back.

Over this comes with almost an impertinence, a tiny whistle.

He looks up and away down the corridor. The figure of

Flaemmchen stands there, a small black bag in her hand. The

Baron pulls himself together and smiles characteristically.

He walks down the corridor.

BARON:

Flaemmchen, what are you doing here

in the middle of the night.

FLAEMMCHEN:

Looking for my room -- one sixty-

six.

BARON:

You live here?

FLAEMMCHEN:

For tonight.

(she points to door --

she looks at him a

long time)

BARON:

Oh!

FLAEMMCHEN:

Yes -- oh!

BARON:

Well -- such is life, Flaemmchen.

FLAEMMCHEN:

And Baron, thanks so much for

everything.

They both go into their respective rooms.

Here are our two gay young characters. The gay, fresh

Flaemmchen and the debonair Baron, crucified for lack of

funds. Both trying to smile, both trying to be light about

themselves. Yet, each about to involve themselves tragically

for the want of a little money.

FLAEMMCHEN'S ROOM

Flaemmchen enters her room cautiously. Except for one lamp

burning the room is in darkness and empty. From the adjoining

door to Preysing's room a thin stream of light. She puts

down her bag quickly, tiptoes through the bathroom to his

door. She peeps through.

CUT TO:

FLASH OF PREYSING'S ROOM

from her angle.

Preysing stretched on bed flat, his stomach a mountain and

on it the magazine that he has been reading with Flaemmchen's

picture. He is looking at the ceiling. She knows he is awake

because a thin stream of smoke comes from his cigar in his

hand.

FLASH OF FLAEMMCHEN

An idea occurs to her. She could possibly sneak into bed and

he would go to sleep and there would be nothing that night.

CAMERA FOLLOWS HER as she tiptoes to her room. She closes

the door noiselessly and listens. She throws off her hat and

takes off her coat. Opens her bag and takes out night dress,

lingerie, etc. The lid of her bag falls suddenly. She starts

at the noise. "Has it awakened him." She looks off.

SHOT AT BATHROOM DOOR

The thin stream of light is filled suddenly, the door of the

adjoining room opens and back-lighted from the other room

the huge form of Preysing appears. In this odd lighting he

is a little more than Preysing. He comes forward. He speaks

hoarsely, quietly.

PREYSING:

Flaemmchen!

(he seizes her to him)

She goes to his arms passively. He rubs his face in her hair.

She is passive -- cold.

PREYSING:

(breathlessly)

You are late. I've been waiting for

you -- waiting.

FLAEMMCHEN:

I had to arrange about the trip.

PREYSING:

You're sweet.

FLAEMMCHEN:

You think so?

He holds her again, trying to kiss her. She deliberately

avoids his kiss.

PREYSING:

(awkwardly)

Come here.

(he sits heavily on

the bed, sitting on

her night dress.)

FLAEMMCHEN:

Here, hold up!

Preysing rises while she pulls her night dress from under

him.

He draws her to him.

FLAEMMCHEN:

Oh -- careful, Mr. Preysing.

PREYSING:

Call me -- do you know -- would you --

would you like to call me by my first

name?

FLAEMMCHEN:

(pulling away, glad

of an excuse for

conversation)

Oh, no.

PREYSING:

Why not?

FLAEMMCHEN:

I couldn't do that, you're a stranger

to me.

PREYSING:

You're a funny little creature,

Flaemmchen. I can't make you out.

FLAEMMCHEN:

It's not funny at all. One can't get

intimate just off hand. I could go

to England with you and everything

like that -- supposing I met you

next year and I said: 'How do you

do, Mr. Preysing! And you said:

(she imitates him)

'That was the young lady who was my

secretary in Manchester'.

Preysing laughs. She laughs.

FLAEMMCHEN:

That's all quite proper.

(she is happy again.

She would rather

talk than be squeezed)

But supposing I met you when you

were with your wife and I called

out:
"Hello you big baby -- remember

Manchester?' And you with your wife,

how would you like that?

There is a pause for a moment.

PREYSING:

Please, Flaemmchen -- we'll leave my

wife out of this.

Flaemmchen yawns straight in his face.

FLAEMMCHEN:

All right. I'll get undressed -- get

out.

He moves towards the windows which are open. She pushes his

fat body out, almost playfully, through the doors and onto

the balcony.

Preysing stands out on the balcony. He looks down in the

street below, then off. He starts suddenly because he sees a

shadow over the railing of his own balcony. He is puzzled.

Shadow crosses again. "Who can be in his room?" He moves

forward and peeps through the window. One side of the French

window is closed. From his angle we see the Baron furtively

searching the room. He is now wearing an overcoat, the collar

is turned up. Business ad lib. He finds Preysing's wallet.

He stuffs this in his overcoat pocket. Preysing's face

watching him. As Baron turns to exit, Preysing surges forward,

pulling the window after him. The two men face each other.

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