TAKING SIDES
by Ronald Harwood
adapted from the play by
Ronald Harwood
Final Draft, 1988
FADE IN:
INT. BERLIN CONCERT HALL (1944) - NIGHT
A man conducting Beethoven. Air raid in progress. Bombs
falling nearby. The orchestra continues to play. Suddenly
the lights go out. The music stops.
INT. BACKSTAGE CORRIDOR, CONCERT HALL - NIGHT
A beam from a torch, bouncing, making shadows. An
ATTENDANT, carrying the torch, hurries down the corridor.
The air raid continues.
He comes to a door, knocks, opens it and looks in.
ATTENDANT
(agitated)
Dr. Furtwängler, the Reichsminister.
The sound of heavy footsteps approaching. The attendant
turns his torch to light the way for three men in Nazi
uniform, also with attendants and torches, marching down
the corridor.
The attendant bows deeply as the REICHSMINISTER and his
aide go through the door. The other man remains in the
corridor on guard.
INT. CONDUCTOR'S ROOM - NIGHT
Candles light the room where the conductor shakes hands
with the Reichsminister.
REICHSMINISTER
Dr. Furtwängler, I want to apologise
personally for this power failure.
I was so enjoying the performance.
In times like these we need
spiritual nourishment.
A bomb explodes nearby.
REICHSMINISTER
But I welcome this unexpected
opportunity of talking to you.
(with great care)
When you came on to the platform
tonight, I thought you weren't
well. You looked tired,
(a warning)
Get away from this bombing.
Away from the war. Yes, you look
tired...
(a crooked smile)
Even in this light.
INT. RUINED CINEMA - DAY
Dark. ON A SCREEN: scenes from Leni Riefenstahl's triumph
of the will. Over this:
A MAN'S VOICE
Look at them. Men, women, kids.
Boy, did they love him. You see,
Steve, Adolf Hitler touched
something deep, real deep and savage
and barbaric, and it won't just go
away overnight. It's got to be
rooted out. You know what I think?
I think they were all Nazis. And
let's face it, their leaders, those
bastards now on trial in Nuremberg,
couldn't have done it alone. It's
these people, they gave all the
help that was needed. Willingly.
The film changes with a scratchy music soundtrack - Wagner.
SHOTS of high-ranking Nazis in an audience including Josef
Goebbels, listening. And they're listening to and watching
Wilhelm Furtwängler conducting. At the appropriate moment:
THE MAN'S VOICE
That's him. Furtwängler. Wilhelm
Furtwängler.
The Nazis applaud. Goebbels shakes hands with Furtwängler.
The film ends.
Sitting in the ruined cinema are two men: GENERAL WALLACE,
with files on the table, and, beside him, MAJOR STEVE
ARNOLD. A PROJECTIONIST is standing in the door of the
projection room.
WALLACE
So, you never heard of him.
STEVE
Nope.
WALLACE
Do you know who Arturo Toscanini
is?
STEVE
Sure.
WALLACE
He's as big as Toscanini, maybe
even bigger. In this neck of the
woods, he's probably Bob Hope and
Betty Grable rolled into one.
STEVE
Jeez, and I never heard of him.
Wallace glances at the file.
WALLACE
You were in insurance before the
war.
STEVE
Right. Claims assessor.
WALLACE
Conscientious, determined, dogged.
STEVE
(amused)
They said I was dogged?
WALLACE
Well, they say here that when you
went on a case, you stayed on it.
(looks up at Steve.)
Now we can't take every Nazi in
this country to trial, although I
would like to; it's an
impossibility. So we're going for
the big boys in industry, education,
law, culture.
STEVE
Like this bandleader.
WALLACE
(a smile)
Well, he's more than just a
bandleader, Steve. He's a great
conductor, a gifted artist. But we
believe that he sold himself to
the devil. Your number one priority
from this moment on is to connect
him to the Nazi Party. Don't be
impressed by him. I want the folks
back home to understand why we
fought this war. Find Wilhelm
Furtwängler guilty. He represents
everything that was rotten in
Germany.
Steve wants to rise, but Wallace puts a hand on his shoulder
to make him sit again.
WALLACE
Stay put, Steve. There is some
other stuff that I'd like for you
to see here. Background.
He nods to the projectionist, then starts to go, but stops.
WALLACE
Oh, one thing that may be a problem.
Our Occupation Authorities in
Wiesbaden have a duty to help these
poor unfortunates with their
defence. They keep repeating: 'We
must be just, we must be seen to
be just.' Well, I've only one thing
to say to the liberals in Wiesbaden:
fuck 'em.
(as he goes)
You answer to no one but me. Is
that understood?
(to the projectionist
in the door)
Show him the film.
PROJECTIONIST
Yes, sir. Roll it.
Wallace goes. The projectionist starts the next reel.
ON THE SCREEN: a Berlin sequence. Bombs falling. Ruins, a
city devastated, empty. Flags of the four allied nations.
Posters of Truman, Stalin, Churchill.
ARCHIVE FILM VOICE
That is the hand that dropped the
bombs on defenceless Rotterdam,
Brussels, Belgrade. That is the
hand that destroyed the cities,
villages and homes of Russia. That
is the hand that held the whip
over the Polish, Yugoslav, French
and Norwegian slaves. That is the
hand that took their food.
Steve watches expressionless.
WALLACE
Next reel, please.
ON THE SCREEN: SHOTS of camp survivors. Then SHOTS of
emaciated corpses being bulldozed into mass graves.
ARCHIVE FILM
Sanitary conditions were so
appalling that heavy equipment had
to be brought in to speed the work
of cleaning up. This was Bergen
Belsen.
The moment this appears, Steve rises and goes quickly.
ON THE SCREEN: piles of cadavers.
INT. MAJOR STEVE ARNOLD'S BEDROOM (I945) - NIGHT
Steve having a nightmare, twisting, turning, moaning. He
wakes with a cry. He is sweating. He turns on the light,
looks at a clock, reaches for a cigarette, lights it. He
smokes. He stares at the ceiling.
Later:
Early morning. Cold. Steve is at the basin in his small
room, shaving. A radio on a shelf.
AMERICAN RADIO VOICE
Remember, men, no fraternisation.
In a German town, if you bow to a
pretty girl or pat a blond child,
you bow to all that Hitler stood
for. You bow to his reign of blood.
You caress the ideology that meant
death and destruction. You never
know who was a member of the Nazi
Party. Don't be fooled. Don't
fraternise.
EXT. STEVE'S OFFICE BUILDING, BERLIN - DAY
Steve's car swerves round the corner and comes to a halt.
A small crowd watch workmen on ladders hammering away at a
stone swastika above the portico. American soldiers
supervise. Steve gets out of the car, carrying an attache
case, and he, too, watches as the stone swastika falls and
crashes into pieces on the road. One or two people clap,
most just stare.
The American soldiers immediately hoist the Stars and
Stripes. Steve goes into the building. The sentry salutes.
The driver of the car goes to the trunk and takes out a
labelled duffel bag, cans of film, a case which holds a 16-
mm projector. A small BOY sidles up to him:
BOY
Cigarettes, chewing gum?
INT. WAITING ROOM - DAY
Steve and Sergeant Adams ascending a grand, winding but
damaged staircase to the rear of a spacious entrance hall.
A once impressive building. Signs of bomb damage everywhere.
German workmen doing repairs. American military personnel
coming and going, saluting Steve, who barely acknowledges
them.
They reach the landing. Adams opens double doors and they
go through.
ADAMS
We're gonna have the heating fixed
by tonight.
A few gilt chairs, a workman trying to repair the stove.
Adams opens another door for Steve.
INT. STEVE S OFFICE - DAY
EMMI is hanging the standard photograph of President Truman
on the wall. She turns to see Steve and Adams and is covered
with confusion. She gives Steve a little curtsey.
ADAMS
Fräulein, this is Major Arnold.
Sir, this is your secretary,
Fräulein Emmi Straube. Her file's
on your desk. They sent her over
from Admin. I'll leave you to it.
He goes. Steve scrutinises Emmi. She's embarrassed, keeps
her eyes downcast. Steve goes to his desk, opens a file,
reads.
STEVE
You live here, in Berlin?
EMMI
Yes.
STEVE
You do shorthand and typing?
EMMI
Yes.
He nods, goes on reading.
STEVE
Okay, let's see. How long were you
in the camp for?
EMMI
Three months.
STEVE
Says here because of your father.
What's that mean?
EMMI
My father was one of the officers
in the plot against Hitler. They
arrested the plotters and their
families.
STEVE
Your mother, too.
EMMI
Yes. She suffered longer. She was
in Ravensbruck.
STEVE
And your father was executed.
She nods, keeps her eyes averted. He smiles sympathetically.
STEVE
I'm gonna call you Emmi, you're
gonna call me Steve. Okay?
No response.
STEVE
I got a list of stuff here I'd
like you to get for me.
He searches his pockets.
ADAMS
If you need anything, let me know.
EMMI
Major...
STEVE
Steve.
EMMI
There have been messages for you.
(She consults the
pad.)
A Lieutenant David Wills called
from the Allied Kommandatura
Cultural Affairs office in
Wiesbaden. I don't know who he is.
Steve starts to unpack his attache case.
EMMI
Then there have been three calls
from Dr. Furtwängler wanting to
know when you wish to see him. I
did not speak to him personally...
She hands Steve a typewritten sheet. He ignores it, finds
a list which he hands to her. He waits for her to read,
then:
STEVE
Think you can get me any of that?
EMMI
(pleased)
Oh yes, Major, I have recordings
of all his symphonies. I kept them
safe during the bombing. My
favourite is the Seventh Symphony.
STEVE
Mine's the Eleventh.
EMMI
(puzzled)
But... he only wrote nine, Major.
STEVE
I'm kidding, Emmi. What about a
record player? You have that, too?
EMMI
No. Ours was damaged.
STEVE
(surveys the room)
What's in those files?
EMMI
The names of the members of the
Berlin Philharmonic Orchestra since
1934 together with their
questionnaires. Major, what am I
to tell Dr. Furtwängler?
STEVE
You tell him nothing, Emmi. If he
calls again, you say you know
nothing. We're gonna keep him
waiting while I get acquainted
with his case and with the
witnesses. And, God help me, with
Beethoven.
He smiles. She tries to smile back.
EXT. FLEA MARKET, BERLIN - DAY
Freezing weather. A narrow street, crowded, busy, noisy.
Some makeshift stalls set out, trestle tables, open
suitcases, people buying and selling every imaginable
commodity.
Emmi wanders through the crowd, passing a violinist, Helmuth
Rode, wrapped up against the cold, playing Handel's Air on
a G String, a bowl for money at his feet. A passer-by drops
a cigarette butt in it. Immediately, Rode retrieves the
butt.
Emmi comes to a stall selling piles of gramophone records.
She asks the stallholder a question. He points to another
stall across the way.
INT. STEVE'S OFFICE - DAY
Steve at his desk, paging through files. A knock on the
door.
STEVE
Yeah.
Lieutenant DAVID WILLS, aged twenty-four, enters, comes to
Steve's desk, stands to attention, salutes.
DAVID
Lieutenant Wills reporting to Major
Arnold. Sir.
STEVE
For Chrissakes I hate that shit,
cut it out.
DAVID
I'm very sorry.
STEVE
I'm Steve. What's your name?
DAVID
David. David Wills. I'm your liaison
officer with the Allied Kommandatura
Cultural Affairs Committee. Sir.
STEVE
Sounds a lot of run.
(studies David.)
So they sent the big guns to check
up on me. We recruiting children
now?
DAVID
(smiles')
I guess so, sir.
STEVE
You call me sir again and I'll
make you listen to Beethoven.
David half-smiles.
STEVE
Where you from, David?
DAVID
was born here, in Leipzig. I escaped
in '36. My parents, they sent me
to my uncle in Philadelphia. They
were to follow. But they delayed
and...
Breaks off. Nothing from Steve.
DAVID
Our family name was Weill. But
that doesn't sound well in English.
My uncle changed it to Wills and...
The door opens and Emmi enters carrying a record player,
sees David and starts to back out.
EMMI
I'm sorry.
STEVE
Come in, Emmi, this is your office,
too. Emmi, this is Lieutenant David
Wills.
They nod briefly.
STEVE
He is here to watch over us.
A flick from Emmi.
STEVE
I guess you admire musicians.
DAVID
Some.
STEVE
Don't. This is like a criminal
investigation, David. Musicians,
morticians, doctors, lawyers,
butchers, clerks. They're all the
same.
For Emmi's benefit too. She becomes still, listens.
STEVE
We have a duty, a moral duty.
David takes a few files, sits and starts to look through
them. Steve returns to his files. Emmi, by now, has put on
a record and starts to play it: the opening of Beethoven's
Fifth Symphony blasts out.
The two men look up, startled. Emmi beams:
EMMI
It works! Hallelujah!
INT. STEVE'S OFFICE - DAY
Emmi at the door. Steve at his desk. David present.
EMMI
Herr Rudolf Werner.
WERNER enters, bows to Steve and David. Emmi goes to her
desk.
STEVE
Sit down, Werner.
Indicates the upright chair; Werner sits.
STEVE
I want you to understand why you're
here. This is an investigation
into Wilhelm Furtwängler, former
Prussian Privy Councillor, banned
from public life under Control
Council Directive No 24 and who's
applied to come before the Tribunal
of Artists of the Denazification
Commission. I'm interested in what
he was up to from 1933 to the end
of the war, understood?
Werner nods.
STEVE
Rudolf Otto Werner. Wind section
since 1936. What instrument did
you play?
WERNER
First oboe.
STEVE
I have your questionnaire here. It
says you were never a member of
the Nazi Party.
WERNER
Absolutely not.
Long silence; Steve watches him. Werner is made more
anxious. At last, in a rush:
WERNER
No, I was never a Nazi, I have no
interest in politics, I'm a musician -
STEVE
Hey, hey, slow up, Fraulein Straube
has to take down what you say.
Werner swivels round to look at Emmi.
WERNER
Straube? Any relation to Colonel
Joachim Straube?
EMMI
My father.
WERNER
It's a great honour to meet you,
Fraulein. Your father was a great
patriot.
Brief silence.
WERNER
Dr. Furtwängler is a great musician.
He actively opposed the Nazis and
later on he helped many Jews to
escape.
STEVE
Then how do you explain him being
made a Prussian Privy Councillor?
WERNER
It was Hermann Goering. I was told
he just made the maestro his Privy
Councillor, no questions asked.
Although Dr. Furtwängler stood up
to him. And to Dr. Goebbels.
STEVE
He also conducted for Hitler, didn't
he?
WERNER
Yes, that's true, but he refused
to give the Nazi salute. He kept
his baton in his right hand. In
Hitler's presence. That was a brave
act...
STEVE
Brave? To celebrate Hitler's
birthday with some heroic piece by
Wagner but without the Nazi salute?
Bravo.
WERNER
It was Beethoven's Ninth.
STEVE
Do you really think it was brave?
Didn't he bow to him and shake his
hand?
INT. STEVE'S OFFICE - DAY
Another man, SCHLEE, is in the chair. Only Steve and Emmi
now. Pale, yellow electric light. Silence. Schlee, too, is
very nervous. At last:
SCHLEE
No, no, no, I give you my word. I
was never a member of the Nazi
Party. Never. I am in the percussion
section. I play the timpani.
Steve just stares at him.
SCHLEE
Anyway, they would never have
allowed it. My brother was married
to a Jewess, may she rest in peace.
And Goebbels said...
(to Emmi)
...please take this down carefully,
because it's most important,
Fraulein?
EMMI
Straube.
SCHLEE
(acting surprised)
Straube? Are you by any chance
related to Colonel Joachim Straube?
EMMI
My father.
SCHLEE
He was... he was a great hero.
Steve lights a cigarette.
SCHLEE
Goebbels, yes, Josef Goebbels said,
'There's not a single filthy Jew
left in Germany on whose behalf
Dr. Furtwängler has not intervened.'
No, no one could have been less of
a Nazi than Dr. Furtwängler.
STEVE
But this was the same guy who
conducted for Adolf on his birthday.
SCHLEE
He was forced to do that. But he
refused to give the Nazi salute in
front of Hitler. He kept his baton
in his hand, you can't salute with
a baton in your hand.
DAVID
And what about the Nuremberg Rally?
SCHLEE
No, we...we played on the evening
before the Rally.
STEVE
(straight-faced)
Oh! The evening before, I see...
SCHLEE
Yes, Dr. Furtwängler was absolutely
clear about this: politics and art
must be kept separate.
STEVE
Politics and art must be kept
separate. I'll remember that. But
let me see if you can help me with
something I just don't understand.
I'd really like to know why all
you guys are so crazy about him.
What's his secret?
Schlee tries to find words.
SCHLEE
Well, it's hard to explain. I can
only tell you from my own
experience. Soon after I joined
the orchestra, we were rehearsing
the Third Symphony of Beethoven,
the Eroica. There are several rather
difficult passages for the timpani.
One particular crescendo. During
the break, I asked how he wanted
it played. He was studying his
score. He didn't look up. He said,
'Just watch me.' So, of course, I
did. I never stopped watching him.
The moment came. And suddenly, he
turned to me and our eyes were
locked. There was something in his
look that... that simply demanded
the crescendo. I shall never forget
his look. It was a moment of... of
magic.
Steve nods, thinks for a moment. Then:
STEVE
You ever seen Adolf Hitler's eyes
when he was making a speech? I've
seen 'em on films.
SCHLEE
Yes.
STEVE
Was looking at Furtwängler like
that?
SCHLEE
I don't know what you mean, Major.
STEVE
When you got to the crescendo.
Schlee looks at him bewildered.
INT./EXT. CAR (TRAVELLING), LAKESIDE AND MANSION - DAY
In the back, David and Steve. Military driver. The car's
making its way along a road that skirts a lake towards a
grand mansion from which fly the four Allied flags.
STEVE
You think a whole orchestra, what,
a hundred and forty or so guys,
could be orchestrated?
DAVID
I guess it's possible.
STEVE
So, what does the Russki want?
DAVID
Colonel Dymshitz asked specially
to see you.
STEVE
'Dim-shits'?
INT. THE MANSION - DAY
A huge, cavernous room, once the ballroom.
In the centre, a table with four chairs. To one side,
antique furniture, objets d'art, paintings. Four Allied
officers are surveying the treasures: COLONEL DYMSHITZ,
COLONEL GREEN (American), MAJOR RICHARDS (British) and
CAPTAIN VERNAY (French). What they say is barely audible,
low mumbles. They're accompanied by aides with clipboards,
taking notes.
Beyond, and some distance away, a row of gilt chairs for
observers where David and Steve take their seats.
STEVE
What the hell are they doing?
DAVID
(whispered)
They're trying to sort out some of
the works of art the Nazis stole
from occupied territories. Who
really owns what? That's Colonel
Dymshitz, on the far side.
Dymshitz, small, intelligent face, cunning eyes.
DAVID'S VOICE
art historian, head of the famous
Leningrad Museum of Art. He is an
expert on German culture.
Green, correct, formal, precise, immaculate. Richards,
bespectacled and nondescript. Vernay, upright, proud.
VERNAY
(suddenly raising
his voice)
Je suis navré, Colonel, cette
peinture n'est pas la propriété de
I'union soviétique mats bien cette
de la France.
GREEN
What's he saying? Henri, what is
you saying?
AMERICAN AIDE
He's saying that picture is the
property of France
VERNAY
C'est un Braque qui avec Picasso
était un des pionniers du cubisme.
DYMSHITZ
(in French)
I know who Georges Braque is,
Captain.
AMERICAN AIDE
(almost
simultaneously)
It's a Barque.
FRENCH AIDE
We can produce the provenance of
this Braque, you say provenance?
INT./EXT. SALON OFF THE BALLROOM AND TERRACE - DAY
Outside the club room for the participants. Buzz of
conversation, clink of glasses, cups. The terrace is
deserted.
A waiter carries a tray with various refreshments to a
quiet corner where Dymshitz, Green, Vernay, his aide
LIEUTENANT SIMON, Steve and David sit in comfortable
armchairs. The waiter serves them. During this:
DYMSHITZ
Hello, Major, my name is Dymshitz.
I'm glad to see you.
STEVE
Colonel. Pleasure.
DYMSHITZ
So, Major, tell me, have you
questioned Dr. Furtwängler?
STEVE
Not yet.
DYMSHITZ
I've had two meetings with him.
He's a great musician. Maybe the
greatest conductor in the world.
His Brahms, Beethoven, Schubert -
unequalled.
Steve makes a non-committal gesture.
DYMSHITZ
I'll come straight to point. I've
offered him a very attractive
position. Conductor of the
Staatsoper Unten den Linden. He
refused. But I want him. I want
him badly. And I want your help.
GREEN
Hey, just a moment, you should
have discussed this with me first.
DYMSHITZ
I'm discussing it with you now.
Major, I want you to drop your
investigation, save everybody time
and trouble.
GREEN
We can't drop a case just like
that.
DYMSHITZ
I'll give you another conductor in
exchange or writer, musician, actor
what...what do you care? But I
like Furtwängler. He's my favourite
conductor.
(chuckles.)
Mine and Hitler's. He's our
favourite conductor.
INT. WAITING ROOM - DAY
Rode is seated, waiting. Nervous, tense. The sound of
laughter, David's laughter from the office. It makes him
even more uncomfortable.
INT. STEVE'S OFFICE SUITE - DAY
Emmi and David laughing.
DAVID
I clicked my heels, saluted and
bowed at the same time.
He demonstrates. She laughs again.
EMMI
That's because you had a proper
upbringing.
DAVID
That's right. I was raised very
strictly. So don't speak before
you are spoken to!
EMMI
Oh! And don't wave your hands about!
DAVID
Respect your elders and your
betters!
EMMI
And no elbows on the table!
DAVID
Eating is eating... and...
EMMI
And talking is talking! Well, I
think we better get on.
DAVID
Right. So, this is going to be
very formal, too, now. Lieutenant
David Wills requests die pleasure
of die company of Fraulein Emmi
Straube at dinner any night she
cares.
She smiles just as Steve bursts in. He's in a bright,
cheerful, energetic mood.
David draws back guiltily. Emmi, embarrassed, hesitates
then turns to the typewriter and types furiously. Seeing
this, Steve stops, but just for a brief moment. Then, as
he goes to his desk:
STEVE
David, need to ask you something.
You heard this rumour the British
found something called the Hinkel
Archive?
DAVID
Yes.
STEVE
So what is it?
DAVID
The British occupy the building
where this guy, Hinkel, ran the
Nazi Ministry of Culture and it
seems they've... they've discovered
his secret archive.
STEVE
What's that mean?
DAVID
I don't know, but the British are
excited about it, I know that. The
rumour is Hinkel kept a file on
every artist working in the Third
Reich.
STEVE
Jeez. And you think the British'll
share it with their Allies?
DAVID
Major Richards said he'd call to
let us know.
STEVE
That's big of him.
He looks from David to Emmi as if trying to work out
something. Then:
STEVE
Okay, better question the next
witness. I bet you a bottle of
French champagne he tells us the
baton story inside ten minutes.
DAVID
Five minutes.
STEVE
It's a bet. You're the witness,
Emmi.
Later.
Rode in the witness chair. Steve studying the file. David
and Emmi ready to take notes.
STEVE
Helmuth Alfred Rode. Second
violinist since 1935. What's it
mean, second violinist?
RODE
It means I wasn't good enough to
be a first violinist.
He chuckles, looks around for approval. Steve grins
encouragingly.
STEVE
Good, and according to your
questionnaire, Helmuth, you never
joined the Nazi Party.
RODE
Me? Never. Never.
Long silence.
RODE
I... I know everyone now says they
were never Nazis but in my case it
is absolutely one hundred per cent
true. I am a Catholic, it would
have been totally against my
conscience.
Silence.
Steve lights a cigarette; Rode eyes it hungrily.
RODE
Is it true you're going to interview
Dr. Furtwängler today?
STEVE
I'll ask the questions, Helmuth.
RODE
Excuse me. Did you know that he
refused to give the Nazi salute
when Hitler was present in the
audience?
Steve flicks David a glance, waggles his finger like a
baton.
RODE
The problem was how could he avoid
giving the Devil's salute when
Satan was actually sitting there.
(modestly taps his
chest with his
thumb.)
And, I said, 'Dr. Furtwängler, why
not enter with the baton in your
right hand? Hitler will be sitting
in the front row. If you give the
salute with the baton in your right
hand it'll look like you're going
to poke his eyes out.'
Chuckles. David mouths I win to Steve.
RODE
He was...He was really grateful to
me for that. After the concert,
I... I stole that baton as a memento
of a great act of courage. I still
have it. I should have brought it
to show you. I hope I'm not going
too fast for you, Fraulein?-
EMMI
Straube.
Steve and David exchange a brief look.
RODE
Straube. Any relation to Colonel
Joachim Straube?
EMMI
My father.
RODE
(standing)
I am deeply honoured to be in your
presence, Fraulein Straube. Your
father was a true patriot, a man
of God.
He crosses himself. Silence. David raises a discreet finger.
STEVE
You have a question for Helmuth,
David?
DAVID
Yes. What was the orchestra's
reaction when they asked you to
play for Hitler's birthday?
RODE
Oh, we didn't play for his birthday,
we played the evening before - it
was the 19th of April not the 20th.
STEVE
Do you know Hans Hinkel?
RODE
(alarmed)
Do I know Hans Hinkel?
STEVE
That's what I asked.
RODE
Do I know Hans Hinkel?
STEVE
You seem to understand the question,
now how about answering it?
RODE
Hans Hinkel was in the Ministry of
Culture; how could I know such a
man? I
Brief silence; a smile.
RODE
I hear the British have his... his
archive, files, records.
STEVE
Do you know what's in this archive?
RODE
How could I know what's in the
archive?
Steve nods, smiles.
STEVE
Okay, you can go now, Helmuth. Get
out.
Rode stands and bows.
INT. STEVE'S OFFICE - NIGHT
The final bars of the Fifth Symphony. Snowing. Dim light.
There is more furniture now: two chairs, one comfortable,
the other upright. A sitting area by the window with the
telephone extension. The 16-mm projector set up in another
corner.
Steve, at his desk, wrapped up against the cold, going
through files, making notes. He stops, seems to listen,
then goes to the window, looks out.
The music ends. The record hisses. Steve just stares out
at the night and the snow. The record continues to hiss.
INT./EXT TRAM, BERLIN (TRAVELLING) - DAY
The tram packed to overflowing. Then, a sudden stir among
the passengers as people push through trying to find space.
One of them is FURTWÄNGLER. He's recognised. Whispering.
He stares ahead or keeps his eyes downcast. An elderly man
tugs at his coat, half-rises, offering his seat.
Furtwängler manages a smile and shakes his head. The tram
rattles on.
INT. HALL, STEVE'S BUILDING - DAY
Furtwängler approaches Adams at his desk.
He crosses to the stairs. German workmen stop what they
are doing to let him pass. One of them bows.
On the upper landing, Emmi is making her way to Steve's
office.
She stops, sees Furtwängler on the stairs and then dashes
to Steve's door.
FURTWÄNGLER
Furtwängler.
INT. STEVE'S OFFICE - DAY
Emmi bursts in on Steve and David. She's overawed:
EMMI
Major, Major... he's here ...
STEVE
Shut the door, Emmi. Sit down,
Emmi. We're going to keep him
waiting, too.
Emmi glances out again and reluctantly closes the door,
Steve sits calmly, relaxed.
STEVE
Emmi, get us some coffee, will
you? And, Emmi, don't offer him
coffee. Don't even greet him, okay?
INT. WAITING ROOM - DAY
Furtwängler sits, waiting. Emmi, deeply embarrassed, hurries
through.. Furtwängler is about to ask her something, but
she's gone. He waits.
INT. STEVE'S OFFICE - DAY
Steve and David preparing papers.
INT. WAITING ROOM - DAY
Furtwängler waiting. Emmi enters from the landing door
carrying a tray and three mugs of coffee. She hurries
towards the office door, eyes downcast.
FURTWÄNGLER
Fraulein?
Emmi stops.
FURTWÄNGLER
How long am I to be kept waiting?
Emmi bites her lip and, without looking at him, disappears
into the office. Furtwängler closes his eyes, breathes
deeply.
He stands, goes to the window, looks out.
INT. STEVE'S OFFICE - DAY
Silence. Steve studying his notes. David watching him.
Emmi staring forlornly into space.
STEVE
Okay, Emmi, go get him.
Emmi rises, opens the door, nods, turns back to Steve.
EMMI
Dr. Furtwängler.
Furtwängler enters. As he passes her, Emmi gives him a
small curtsey. David nods. Steve doesn't look up.
Furtwängler waits a moment, glances round, sees the more
comfortable chair and sits in it. Steve looks up.
STEVE
I didn't hear anyone invite you to
sit down.
Furtwängler stands. Steve points to the other chair.
STEVE
Sit there.
Furtwängler sits.
STEVE
I want you to understand why you're
here. You're automatically banned
from public life under Control
Council Directive No 24. We're
here to look into your case before
you appear in front of the Tribunal
for Artists of the Denazification
Commission. You understand that?
FURTWÄNGLER
I have already been cleared by a
Denazification Tribunal in Austria.
STEVE
What they do in Austria doesn't
interest me one little bit. Okay?
I have your questionnaire here,
(reading)
Gustav Heinrich Ernst Martin Wilhelm
Furtwängler, born Berlin, January
1886. Orchestral conductor. And
you say here you were never a member
of the Nazi Party.
FURTWÄNGLER
That is correct.
A very long silence. When the silence is unbearable Steve
speaks.
STEVE
Could you tell us about being made
a Prussian Privy Councillor. How
did that happen to a non-Party
member?
FURTWÄNGLER
I received a telegram from Hermann
Goering informing me that he had
made me a Privy Councillor. I was
not given the opportunity either
to accept or refuse. After the
dreadful events of November 1938,
the violent attacks on the Jews, I
stopped using the title.
STEVE
What about Vice-President of the
Chamber of Music, you used that
title didn't you? But then I suppose
you had no choice there either,
because I suppose Dr. Goebbels
just sent you a telegram saying,
Dear Mr. Vice-President.
FURTWÄNGLER
I don't think Dr. Goebbels sent me
a telegram. I was simply told. In
a letter, I believe. I don't
remember exactly.
STEVE
Goebbels and Goering were sure
heaping honours on you. One makes
you a Privy Councillor, the other
makes you Vice-President of the
Chamber of Music, and you weren't
even a member of the Party, how do
you explain that?
FURTWÄNGLER
Well, there was a constant battle
between Goering and Goebbels as to
which of them would control German
culture. I was simply a pawn.
Anyway, I resigned from the
Musikkammer at the same time I
resigned as Musical Director of
the Berlin Philharmonic Orchestra.
In 1934.
David puts up a hand. Steve nods.
DAVID
Why was that? Why did you resign,
Dr. Furtwängler?
FURTWÄNGLER
I wrote an open letter to the
newspapers condemning what they
were doing to music, making these
distinctions between Jews and non-
Jews. For my part, the only divide
in art is between good and bad.
Eventually, Goebbels summoned me
and told me I could leave the
country if I wanted to but under
no condition would I ever be allowed
to return. I always believe that
you have to fight from the inside
not from without. I asked myself,
what's the duty of an artist, to
stay or to leave? And then Goebbels
demanded that I acknowledge Hitler
as solely responsible for cultural
policy. Well, that was a fact and
it seemed pointless to deny it. I
simply acknowledged that Hitler
and the Minister of Culture
appointed by him were solely
responsible for the cultural policy
of the Reich. What I wanted to
express was that I, personally,
had no responsibility whatsoever
for their cultural policy. I have
always had the view that art and
politics should... should have
nothing to do with each other.
STEVE
Then why did you conduct at one of
their Nuremberg rallies?
FURTWÄNGLER
(flaring)
I did not conduct at at the rally,
I conducted on the evening before
the rally.
STEVE
That sounds like the small print
in one of our insurance policies,
Wilhelm. And what about April 19,
1942? The eve of Hitler's fifty-
third birthday, the big celebration;
you conducted for Hitler, didn't
you? Was that in keeping with your
view that art and politics have
nothing to do with each other?
FURTWÄNGLER
(flustered)
That... that was a different matter,
I... I was tricked.
STEVE
How come?
FURTWÄNGLER
Could I have a glass of water,
please? Please, Fraulein?
EMMI
Straube.
Steve looks expectant but Furtwängler remains silent. Steve
nods to Emmi, who gets the water. Furtwängler drinks.
Steve waits.
FURTWÄANGLER
Thank you. I was in Vienna,
rehearsing the Ninth Symphony of
Beethoven, when Goebbels called
and said I had to conduct at
Hitler's birthday. I'd always
managed to wriggle out of such
invitations, pleading previous
engagements, illness, having my
doctors state I was not well and
so on and so on. I was also
fortunate that Baldur von Shirach,
who controlled Vienna, hated Dr.
Goebbels and would do anything to
thwart his wishes. But this time
Goebbels got to my doctors before
me; they were frightened off, and
von Schirach was threatened, bullied
and gave in. So, I had no
alternative but to conduct for
Hitler. Believe me, I knew I had
compromised, and I deeply regret
it.
STEVE
(playing with him)
Doesn't sound much of a trick to
me. Sounds like you made a deal.
FURTWÄNGLER
I made no deal!
STEVE
I don't buy that.
FURTWÄNGLER
It's the truth.
Silence. Steve paces. Then suddenly turns on Furtwängler.
STEVE
I keep hearing you helped a lot of
Jews to escape. How did you do
that?
FURTWÄNGLER
I don't remember in detail, there
were so many.
STEVE
Did you call someone you knew?
FURTWÄNGLER
I may have, as... as I said, I
simply don't remember.
STEVE
Let me me help you, then. You picked
up the phone and made a call -
(Mimes a telephone.)
'Hello, Adolf? Wilhelm speaking.
Listen, old pal, there's a Jew-boy
musician I want you to help. He
needs a permit to get to Paris.'
Emmi sticks her fingers in her ears and shuts her eyes
tight.
STEVE
Or maybe you called Goebbels or
Goering? You were so close you
were in the same shithouse as them.
FURTWÄNGLER
May I ask a question?
STEVE
Sure.
FURTWÄNGLER
When will my case be heard by the
Tribunal?
STEVE
Your guess is as good as mine.
FURTWÄNGLER
I need to work. I need to make my
living. I live off the generosity
of friends...
STEVE
Tough, tough!
FURTWÄNGLER
(now more and more
agitated)
Then why is it, please, that another
conductor who was actually a member
of the Party, who used to play the
Horst Wessel before his concerts,
has already been cleared and is
working again while I have to wait
and wait and wait?
STEVE
I don't know, he wasn't my case.
Why did you escape to Switzerland
just before the war ended?
FURTWÄNGLER
It was because I learned that the
Gestapo was about to arrest me.
STEVE
Why were they going to arrest you?
FURTWÄNGLER
I believe it was because of another
letter I'd written to Goebbels
lamenting the decline of musical
standards due to racial policies.
STEVE
You didn't complain about the racial
policies, just about the musical
standards, is that right?
No response.
STEVE
So, how did you learn that the
Gestapo was out to get you?
FURTWÄNGLER
During an enforced hour-long
interval because of a power failure
at a concert here in Berlin, Albert
Speer, the Minister of Armaments,
said to me, 'You look very tired
Dr. Furtwängler, you should go
abroad for a while.' I knew exactly
what he meant.
STEVE
You sure knew a lot of people in
high places.
FURTWÄNGLER
It would be truer to say, I think,
that a lot of people in high places
knew me.
STEVE
You were real close to all of them,
to Adolf, to Hermann, to Joseph,
to Baldur, and now Albert,
(flaring)
So, let's hear the truth, let's
come clean. What was your Party
number?
FURTWÄNGLER
If you are going to bully me like
this, Major, you had better do
your homework. You obviously have
no idea how impertinent and stupid
your questions are.
Steve is stung. His eyes narrow dangerously.
STEVE
David, you remember I said I had a
question that he wouldn't be able
to answer? Well, I'm gonna ask it
now. You ready for this, Wilhelm?
It's a tough one. Why didn't you
get out right at the start when
Hitler came to power in 1933? Why
didn't you leave Germany?
No response.
STEVE
I have a list of names here, people
in your profession, who got out in
'33. Bruno Walter, Otto Klemperer,
Arnold Schoenberg, Max Reinhardt...
FURTWÄNGLER
They were Jews, they had to leave.
They were right to leave.
(He breathes deeply,
summons strength.)
I could not leave my country in
her deepest misery. After all, I
am a German. I... I stayed in my
homeland. Is that my sin in your
eyes?
STEVE
See, David? He can't answer the
question. I'll ask it again,
Wilhelm, and don't give me any
more airy-fairy, intellectual
bullshit!
The telephone rings. No one moves. Then Emmi picks up the
telephone.
EMMI
Major Arnold's office. Yes, he is.
Offers the phone to David.
EMMI
It's Major Richards for Lieutenant
Wills.
David takes the telephone.
DAVID
David Wills. Yes, sir.
(listens.)
Well, you want me to tell him?
Okay,
(to Steve)
Major Richards wants a word with
you, sir.
Steve indicates he'll take the call on the extension.
Furtwängler stands. As Steve crosses to the extension:
STEVE
(muttering)
Why can't he just ask for me? Why
does he have to ask for you first?
Goddamn British, so correct!
He picks up the extension. Emmi puts down her receiver.
STEVE
Steve Arnold...
FURTWÄNGLER
I've had enough of this, I'm
leaving.
He goes quickly. David dashes after him.
INT. WAITING ROOM - DAY Furtwängler is at the door when
David reaches him.
DAVID
Dr. Furtwängler! Dr. Furtwängler!
Please, please...
(a warning)
Don't. It's not advisable.
The sound of Steve laughing with delight. Furtwängler
hesitates.
Emmi comes to the waiting-room door, watches, as if on
guard.
David comes round to face Furtwängler.
DAVID
(he gathers courage)
When I was a child, my father, he
took me to... he took me to one of
your concerts. I remember you
conducted Beethoven's Fifth
Symphony. I was deeply moved. And
I've loved music ever since. I was
grateful to you. And I've admired
you. How could you... how could
you serve those criminals?
He falls silent.
INT. STEVE'S OFFICE - DAY
Emmi, at the open door, has been listening. She's shocked,
turns away to see Steve, on the extension, chuckling,
grinning from ear to ear.
STEVE
How many? Jesus, that's dynamite!
Okay.
INT. WAITING ROOM - DAY
David and Furtwängler haven't moved. Both are looking
towards Steve's office and Emmi in the doorway.
Again the sound of Steve's laugh. Then Emmi steps into the
room, approaches Furtwängler.
EMMI
Dr. Furtwängler.
He gives her a wonderful smile. And, suddenly, Steve stands
in the doorway, smiling.
STEVE
Well now. Aren't we all sociable?
The others are made awkward.
STEVE
I've got to hand it to the British,
David. You know what those guys
are? Decent.
(He sits, crosses
his legs.)
Tell me, Herr Dr. Furtwängler, do
you know Hans Hinkel?
FURTWÄNGLER
Yes, a despicable human being. He
was in the Ministry of Culture.
His job was to get rid of Jews in
the arts.
STEVE
Yup, that's him, that's the guy.
You know what else the little creep
did? He kept files, close on 250,000
files. And you know what's in those
files?
FURTWÄNGLER
Certainly not, but I knew he had
informers everywhere. Even in my
orchestra there was someone
STEVE
Who?
FURTWÄNGLER
I wasn't told. I just knew it.
STEVE
How?
FURTWÄNGLER
(uneasy)
I was warned.
STEVE
Who warned you?
FURTWÄNGLER
(lowering his head)
Goering. Because Hinkel was working
for Goebbels.
STEVE
What did Goering say?
FURTWÄNGLER
He told me to be careful as one of
Goebbels' men was watching me. He
read a report on me - everything I
said was quoted word by word.
STEVE
Oh boy, you're gonna love this.
Take your time with this now. Those
files contain the details of every
working artist in this country.
Those files are gonna tell us who
joined the Party, who informed and
who was helpful.
Furtwängler goes to the door. David opens it for him.
Furtwängler nods, then turns to Emmi, bows to her and
smiles. He goes.
INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - DAY
SECURITY
Your name, please.
DAVID
David Wills.
SECURITY
Over there.
There is a long trestle table running the length of the
room, with chairs, as if in a library. A notice requests
'Silence'.
British and American servicemen, a Russian and a French
officer studying papers, making notes. At the furthest
end, Steve, David and Emmi.
STEVE
Fantastic! The only condition is
we have to do the work here. I
want you to collect all the files
on the boys in the band.
INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - NIGHT
David discovers that the archive room was originally a
synagogue. He is moved. He lays stones on the rail of what
was once the ark.
INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - DAY
Emmi and David surrounded by files, sifting through, making
notes. They examine the Hinkel Archive.
INT. BRITISH INTELLIGENCE HQ, ARCHIVE ROOM - DAY
Another day.
Sunshine pouring in. Steve seated as before, but Emmi and
David again in different places.
Emmi rises, goes to Steve, shows him something.
EMMI
Maybe you can have a look at this.
He reads. He is not pleased. He writes furiously. Emmi
returns to her place. Suddenly, a movement causes Steve to
look up.
STEVE AND HIS POV: David slides a note across to Emmi.
Emmi reads the note. David watches her. She looks at him.
She almost smiles, nods surreptitiously.
DAVID
(a whisper)
Schubert.
She feels Steve's eyes on her, and returns quickly to her
work.
Steve is displeased and even more suspicious.
EXT. PARTLY RUINED CHURCH - EVENING
Summer evening. The first movement of Schubert's String
Quintet in C Major, D956, played by three men and two women
to a large audience packed into the ruins, partly open to
the sky, Dymshitz among them.
At the rear of the church, Emmi and David, enraptured,
seated side by side.
The first movement ends and the Adagio begins. After the
music gathers momentum:
Rain. Thunder and lightning. The musicians continue to
play, unperturbed. They are coming to the end of the
Quintet.
David and Emmi huddled together. Some umbrellas up and
then movement which catches David's attention. He nudges
Emmi, I indicates with his chin.
People have moved to reveal Furtwängler: seated, wearing a
hat, still I' as a statue, soaked, listening,
expressionless.
Much applause. The musicians bow. The audience start to
leave.
Emmi and David emerge from the ruins. Furtwängler passes
them.
They nod awkwardly. He doesn't respond but is about to
walk on when Dymshitz pushes through, nods to David, who
salutes. Dymshitz catches up with Furtwängler. They are
near to Emmi and David.
DYMSHITZ
Dr. Furtwängler -
Furtwängler stops.
DYMSHITZ
Moving, you agree? Whenever I hear
Schubert I am moved. You agree?
FURTWÄNGLER
The tempi were a little too correct
for my taste. But I expect that is
because of the rain.
He nods politely, is about to go -
DYMSHITZ
(also for David's
benefit)
Wait, Doctor, I understand you
have difficulties with the
Americans. I want you to know, I
am your champion. We can help.
Furtwängler allows himself a faint smile, tips his hat,
and then hurries off into the night. Dymshitz goes, too.
David and Emmi watch them. Then:
EMMI
(frowning, worried)
What does he mean, too correct?
DAVID
I don't know.
Huddled under their umbrella, they dash off.
INT. STEVE'S BEDROOM, GRAND HOTEL - NIGHT
Steve, fully dressed, lies on the bed in his small, shabby
room, staring into space. He is suddenly startled by a
loud roll of thunder and then a fierce crack of lightning.
He goes to the window, watching the rain. He stands
motionless for a second, then makes a decision. He grabs
his cap, a raincoat from the back of the door. Another
loud thunderclap.
INT. US OFFICERS' CLUB - NIGHT
Dancers jitterbugging and jiving. Among them, David and
Emmi also dancing, imitating the others and having a good
time. The music ends. Scattered applause. The band leaves
the platform. The dancers return to tables or the bar.
Later:
David and Emmi at their table, eating. She eats voraciously,
eyes glazed, all her concentration on the food in front of
her. David is fascinated, can't stop watching her.
Steve enters the club, makes his way to the bar, orders a
drink.
Steve turns to survey the room, almost at once spots David
and Emmi, their backs to him. He observes them.
David and Emmi at their table: They have finished their
meal. Emmi is silent now, staring at her empty plate.
Steve is suddenly at their table.
STEVE
Well, what is this, the office
party?
David and Emmi are frozen with embarrassment.
STEVE
May I join you?
(sits down, beams.)
So, what have you two been up to
tonight? Hey. Don't I owe you a
bottle of French champagne?
Tries to get a waiter's attention but fails. • No response.
STEVE
You know, David, you're a lucky
guy. I invited Emmi here but she
turned me down. You must've hidden
depths, David...
he band starts to play; he stands, holds out a hand.
STEVE
C'mon, Emmi, let's dance. I'll
teach you how to jive.
She is horribly embarrassed, doesn't move. David suddenly
stands and takes Emmi by the arm.
DAVID
I'm very sorry, Major, but I
promised her mother, we have to
go.
They leave quickly.
Steve watches them. He sinks down, angry and jealous.
INT. HALL, STAIRWAY, STRAUBE APARTMENT BLOCK - NIGHT
David and Emmi enter the hall, each locked in their own
thoughts. They reach the foot of the stairs and pause.
They want to kiss but both are too awkward. She starts up
the stairs.
EMMI
Don't see me to my door, there's
no need.
DAVID
But I promised your mother.
She stops, turns.
EMMI
Well, sleep well.
She continues on her way.
INT. ARCHIVE ROOM - DAY
Steve and Emmi at work on the files. One or two BRITISH
OFFICERS present, and David, who is working at the far end
of the table. He has a cold.
Emmi, who also has a cold, opens a file and is immediately
alert. She reads. She blows her nose. She is uncertain.
She looks up at Steve. She makes a decision. She rises,
takes the file to Steve.
EMMI
Excuse me, Major. I found this on
Helmuth Rode. You remember? The
second violinist? Look, he's
Austrian not German. But it's this
that's more important, I think...
She points to something. Steve laughs loudly.
AN OFFICER
Sssh!
David looks up at them, puzzled. Then a British SERGEANT
comes into the doorway.
SERGEANT
Lieutenant Wills, telephone -
David rises and as he goes:
THE OFFICER
(exasperated)
What is this, a railway station?
INT. LOBBY, ARCHIVE BUILDING - DAY
In a booth near the front desk, David is on the telephone.
DAVID
(into telephone)
David. Wills. Hello? Who? Who in
Wiesbaden?
Irritated, he taps the receiver but the line's gone dead.
EXT. LAKESIDE, BERLIN - DAY
Steve lies, shirt off, taking the sun. Children playing.
Noise behind him of someone in the bushes. Steve doesn't
move.
Rode, carrying a slender leather case, pushes through to
Steve, who remains with his eyes closed.
RODE
Major.
STEVE
(eyes still closed)
Helmuth.
RODE
Guess what I am holding in my hand.
You like guessing games?
STEVE
Love 'em, Helmuth. I give up. What
are you holding in your hand?
Rode takes from the case a conductor's baton. Steve opens
one eye.
RODE
It's Dr. Furtwängler's baton, which
I stole.
STEVE
The one he kept in his right hand.
Yes, you remember.
RODE
Yes, you remember.
STEVE
How could I forget?
Sits up, takes the baton. Somewhere a child laughs; suddenly
Steve thrusts the baton at Rode.
STEVE
Show me.
RODE
Show you?
STEVE
Yeah, show me, I want to see you
do it. Pretend I'm Adolf. You're
the maestro, and you have the baton
in your right hand, but you give
me the salute just the same.
RODE
Not here, Major, there are people,
if anybody should see... please,
please, Major...
STEVE
Do it, Helmuth.
After nervous looks over his shoulder Rode, salutes half-
heartedly.
STEVE
Do it right.
Rode thrusts his hand out in the Nazi salute.
People by the lake:
Mostly elderly, but some younger ones see Rode saluting.
Some turn away. Others stare.
STEVE'S VOICE
You look great doing that.
Rode and Steve:
Rode looks around nervously, lowers his arm.
STEVE
And I see what you mean. You nearly
poked my eyes out.
RODE
Exactly. Replaces the baton, gives
Steve the case.
STEVE
Don't worry, Helmuth, it'll be our
secret.
A ball comes bounding towards them. Steve catches it. Then
a BOY runs in, looks hopeful.
BOY
Mister, mister, here, here,
mister!!!
Steve tosses the ball back to him.
STEVE
Great catch, kid. The boy runs
off.
RODE
So. You wanted to see me.
Steve pats the spot next to him and Rode sits.
RODE
You usually don't work on Sunday,
Major?
STEVE
All in the cause of humanity,
Helmuth. Or should I call you one-
zero-four-nine-three-three-one?
RODE
What?
STEVE
One-zero-four-nine-three-three-
one. Or d'you mind if I just call
you 'one'?
Rode makes an attempt to go but Steve grabs him.
STEVE
You know what I say you are,
Helmuth? I say you're a piece of
shit.
Rode suddenly starts to retch.
RODE
That bastard!
People by the lakeside:
Faces turning at Rode's sobs. Impassive. Blank.
Steve and Rode:
STEVE
Who's the bastard, Helmuth? Hinkel?
Rode nods.
STEVE
Why? He promised to remove your
file?
Rode vomits.
STEVE
And what about before that? What
were you a member of in Austria?
After a moment:
STEVE
Was a member of...? Speak up?
RODE
(barely audible)
I was a member of the Communist
Party. I was a communist. That's
what Hinkel had over me. He knew
everything. He held that over me.
That's how he made me co-operate.
STEVE
Oh, I see, he made you co-operate.
And now are you a communist again?
RODE
(angry)
You don't know what it's like to
wake up every single morning of
your life terrified, you don't
know that -
(he stops.)
Brief silence. Steve stands.
Further along the lakeside:
Steve and Rode walk. People about. Boats on the lake.
RODE
I would never, in my wildest dreams,
have ever been a second violinist
in the Berlin Philharmonic. When
they got rid of the... the Jews in
the orchestra, it gave people like
me a chance.
EXT. LAKE - DAY
Rode rowing Steve in a small boat. Rode, exhausted, stops.
The boat drifts. Steve watches him for a moment, then:
STEVE
Helmuth, you ever heard of plea-
bargaining?
Rode, trying to catch his breath, shakes his head.
STEVE
Talk about power, I have the power
to give you work, make your life
easier. Your past won't be
mentioned. I could give you a job
tomorrow but I have to get something
in return. See, Helmuth? That's
plea-bargaining.
No response. Rode keeps his head bowed.
STEVE
I can give you freedom of movement,
freedom to work, freedom, Helmuth.
But I need something in return.
RODE
Major, we're discussing a man of
genius, I don't want...
STEVE
Fuck that, Helmuth. You want to
discuss symbols here? This guy
was a front man. He was the piper,
but he played their tune, you get
my philosophical meaning? I'm not
interested in small fish, I'm after
Moby Dick. Come on, Helmuth. Hard
facts.
Silence. Then Rode slowly raises his head.
RODE
The only thing I know is he's an
anti-Semite.
STEVE
Of course. You, too. Like everyone
else in this goddamn country.
EXT. WOOD, LAKESIDE - DAY
Rode and Steve walking. Rode suddenly turns to him:
RODE
I've remembered something else...
STEVE
Yeah?
RODE
Furtwängler sent Hitler a telegram
for his birthday.
STEVE
He did?
RODE
One of your people told me.
STEVE
One of my people?
They start to walk away from the water.
RODE
Yes. A corporal. US Army. A Jew.
He said he'd seen the telegram in
the Chancellery.
STEVE
Son-of-a-gun. We'll find the
corporal and we'll find the
telegram.
He stops, takes out a cigarette, offers one to Rode, lights
them both, gives Rode the packet. They smoke for a moment.
STEVE
But I need documentary proof. You
know of anything like that?
RODE
No. But that's why we hated him.
We admired him as a conductor but
we all hated him too because he
didn't have to join the Party and
yet he had a better life than any
of us. He didn't have to go and
deliver a report after every trip
abroad. He got everything from
them, everything. He was filthier
than any of us Party members.
The sun is setting. Rode stops suddenly.
RODE
There's a rumour... I don't know
if it's true or not... but ask him
about von der Null.
STEVE
Never heard of him, who is he?
RODE
Edwin von der Null. Music critic.
He gave Furtwängler terrible reviews
while he raved about Herbert von
Karajan.
STEVE
Who's he?
RODE
Also a conductor. Very brilliant.
Young. Von der Null called him
'The Miracle von Karajan'.
Furtwängler was outraged and they
say he had von der Null conscripted
into the army. The same thing
happened to another critic. True
or not, it's not such a bad idea.
Critics give you bad reviews, you
have them sent to the Russian front.
(Chuckks.)
But if you really want to get
Furtwängler, ask him about Herbert
von Karajan.
STEVE
The Miracle Kid.
RODE
Yes, yes you may notice that he
cannot even bring himself to utter
his name, he... he refers to him
as K.
Rode tries to make up his mind about something, then
decides. He reaches into an inside pocket and takes out a
small black notebook.
RODE
And ask him about his private life.
STEVE
His private life?
Rode hesitates, then he hands Steve the black book.
RODE
Yes, it's all in here. His women.
INT. ARCHIVE ROOM - DAY
Steve going along the shelves filled with files. He's at
the H, then I, then J. He stops at the letter K. With his
forefinger, he runs down the files. He stops, pulls out a
fat file:
'KARAJAN,H.VON'
He opens the file.
INSERT: - the file:
ID PHOTOGRAPHS of an energetic-looking young man and two
Nazi Party membership booklets.
INT. CAFETERIA - DAY
David makes his way from the counter. He carries a tray
with two cups of coffee. He goes to a table where CAPTAIN
MARTIN sits, papers and files spread before him. David
gives him his coffee, then sits across from him, blows his
nose.
Silence while they sugar and milk their coffee. David aware
of Martin's eyes on him.
MARTIN
Where do you stand on all this?
DAVID
On all what?
MARTIN
On Furtwängler.
DAVID
I don't know.
He breaks off.
MARTIN
You represent the United States
now. We have a moral duty to be
just and we have to be seen to be
just.
DAVID
Major Arnold believes he has a
moral duty, too.
MARTIN
Our duty is to help Furtwängler
with his defence,
(carefully)
That's why I want you to look at
this...
(he selects papers
from the table.)
These are part of the transcripts
of the trial at Nuremberg. We can't
get them translated fast enough.
But I guess you understand German,
right?
Passes papers across to David.
MARTIN
That's the evidence of a guy named
Dahlerus. He's a Swede. Friend of
Hermann Goering. I want you to
study it. And I want you to use
it.
David tries to sneeze but fails; he starts to read.
MARTIN
We're going to find more stuff to
feed you. We'll have some other
suggestions. We need to build a
case for the defence - based not
on feelings, not on prejudice, but
on facts.
He watches David read. David is engrossed. Almost
imperceptibly, he shakes his head.
EXT. BERLIN STREET - DAY
A half-ruined café with tables on the sidewalk. WERNER,
the timpanist, SCHLEE, the oboist, and two others seated
at one of the tables, drinking coffee.
David carries an attaché case and walks towards the café.
He scans the people at the tables, sees the musicians and
approaches. They stand.
WERNER
Lieutenant Wills.
David nods
WERNER
Herr Schlee, timpanist, Herr Romer,
cello and Herr Schmidt, viola.
They are willing to help. We have
already ordered ourselves coffee.
I hope you...
DAVID
Yeah, of course.
WERNER
The whole orchestra will vouch for
him. He was always there to support
us.
DAVID
We need names, if possible with
addresses, because it's urgent.
Names of musicians saved by Dr.
Furtwängler, people he helped to
escape abroad. Let's go somewhere
public.
David leaves money on the table and then walks off with
the four men. They talk as they make their way down a side
street.
INT. DYMSHITZ'S VILLA - NIGHT
Steve and Dymshitz sit opposite each other and clink vodka
glasses. They have been drinking but are not yet drunk.
DYMSHITZ
To co-operation.
They drink. Dymshitz pours more vodka.
STEVE
I was in Vienna. I had with me an
Austrian chauffeur, Max his name
was, he spent time in the camps.
We were looking at these Viennese
cleaning up the bomb damage,
scavenging for rotting food, butt
ends, anything. I said, 'To think
a million of these people came out
to welcome Adolf on the day he
entered the city, a million of
'em, and now look at 'em.' And
Max said, 'Oh, not these people,
Major. These people were all at
home hiding Jews in their attics.'
You get the point, Colonel? The
point is they're all full of shit.
DYMSHITZ
Furtwängler's in a different
category.
STEVE
We're dealing with degenerates
here.
He is still for a moment, then grabs the bottle and pours
himself a drink, downs it. Dymshitz watches him, then:
DYMSHITZ
Degenerates?
INT. ANOTHER ROOM, DYMSHITZ'S OFFICE SUITE - NIGHT
German modern paintings stacked untidily.
Dymshitz, carrying a vodka bottle and his glass, shows
Steve the paintings. Steve, too, has a glass.
DYMSHITZ
A great artist will have great
privileges in a Russian zone.
STEVE
That's why he didn't get the hell
out of here when he had the chance!
I put that to him, he couldn't
answer. Why didn't he go and direct
in America, like that Italian,
Toscanini.
Dymshitz pours vodkas, raises his glass, drinks. So does
Steve. Now, their moods swing with the drink.
Dymshitz drinks; then sits, sinks into his own world.
DYMSHITZ
(lost for a moment)
Perhaps... perhaps he believed he
could at least try to preserve
something important, things like
an orchestra, a school. That's his
country. Maybe he has an old mother
who can't be left alone. Maybe he
has brothers, sisters... you
can't...
A forlorn look at Steve. His eyes are misty, he is visibly
drunk.
STEVE
(a wry smile)
Colonel. He had no sisters, no
brothers, only a lot of love
affairs.
DYMSHITZ
Anyway, Major, why should he leave
his country, his mother tongue,
his family, his history, his past,
his future, just because now,
suddenly, there is a dictatorship?
Why?
STEVE
But what... before that turns
rotten... What if they surround
the space with barbed wire, Colonel?
DYMSHITZ
(suddenly exploding)
Don't talk about things you know
nothing about. He was in a
dictatorship!
STEVE
(dismissive)
Yeah, yeah, art and politics, yeah,
yeah, I heard all about that.
DYMSHITZ
(angry)
In a dictatorship, art belongs to
the Party. If you want to be a
conductor, you have to have an
orchestra. And you can only get an
orchestra if you have contact with
the power. All over the world you
need the right contacts and you
have to make the right compromises.
STEVE
This is what I'm saying. He must
have had Party contacts.
DYMSHITZ
There are good Party members who
help, and there are dirty non-Party
members who inform on you. Of
course, they gave him privileges.
Pause.
DYMSHITZ
And suddenly, Steve, suddenly you
notice that they like you. They
honour you, suddenly you are the
director of the best museum in the
world, for example.
STEVE
What museum?
DYMSHITZ
I'm sorry. Museum? Not... I said
orchestra. Sorry. Believe me.
(another sudden
change of mood to
earnest, intimate)
Help me, Steve. You say you answer
for someone from high up. I, too,
have orders from high up. Very
high up. We want Furtwängler. I'll
give you in return the whole
orchestra, four, five conductors.
I need him, Steve.
STEVE
No can do.
DYMSHITZ
Let Furtwängler go. Please.
STEVE
I have a duty.
DYMSHITZ
(flaring)
Duty? I am sorry, duty? Duty fucking
duty. Trouble is, you Americans
want everybody to live like you.
We liberated Berlin, Major Steve,
not you. Our duty also is to bring
back the best of German culture.
Dymshitz bursts out laughing.
Stung, Steve advances on him, almost as if he's about to
attack him physically. He stops, sways a little, then,
after a moment, drops down in a chair near to Dymshitz.
They drink. Intimate:
STEVE
I'm gonna get that fucking
bandleader, Colonel. No deal. No
fucking deal.
DYMSHITZ
Then you're going to kill me.
INT. STEVE'S OFFICE - NIGHT
Drunk, Steve is clumsily, almost frantically, threading
film into the 16-mm projector.
He switches off the lights then stumbles back to the
projector, turns it on and directs its beam towards a blank
square of watt.
It's an American military propaganda film.
ARCHIVES
You'll see ruins, you'll see
flowers, you'll see some mighty
pretty scenery, don't let it fool
you. You are in enemy country. The
Nazi party may be gone, but Nazi
thinking, Nazi training and Nazi
trickery remain. Somewhere in this
Germany are two million ex-Nazi
officials. Out of power but still
in there and thinking, thinking
about next time. Remember that
only yesterday every business,
every profession was part of
Hitler's system. Practically every
German was part of the Nazi network.
They believed they were born to be
masters. Don't argue with them.
You are not being sent Germany as
educators. You're a soldier on
guard. You will observe their local
laws, respect their costumes and
religion and you will respect their
property rights. You will not be
friendly. You will be aloof,
watchful and suspicious.
Steve, swaying slightly, watches, with the film continuing.
EXT. FLEA MARKET - DAY
Bright summer's day. Emmi pushing her way through the
crowded market. She comes to the stall with gramophone
records.
David is with her, staying behind a little so as not to
disturb her.
She starts to look through the records, blowing her nose
from time to time. Then she finds a box of records, opens
it, is delighted. She bargains with the stallholder, and
she hands over money.
She shows her purchase to David happily. They struggle on
in the crowd. David suddenly stops. He has spotted a tandem.
The bicycle with two seats is old and rusty but seems to
be in working order. David steps up to it, touches it.
EXT. WOODLAND - DAY
Two persons, Emmi and David, riding the tandem. Emmi in
the front, pedalling, David behind. The road going up into
the hills is full of potholes. They change seats. David is
in the front, Emmi at the back. Suddenly the road begins
to descend. They change again, Emmi sits in the front,
David at the back. They speed down the hill.
INT. BURNT-OUT DEPARTMENT STORE - DAY
The tandem, ridden by Emmi and David, rolls into a huge
building, black and burnt out.
In the middle of the vast hall, surrounded by the staircase,
there is a Christmas tree, almost burnt to cinder. Emmi
and David stare at it, mesmerised.
DAVID
Yesterday I read that Furtwängler
was asked to lead the New York
Philharmonic back in '36, Toscanini
suggested it. Had he accepted, he
would have become the most
celebrated conductor in America.
EMMI
When he made his decision, he
couldn't have known everything.
Especially not the way people like
you do, who've returned from exile
and feel that you have a right to
pass judgement. Because you are
blameless, you think you know best
who is a sinner and who deserves
forgiveness. But you have no idea
how people lived here.
DAVID
When he met Hitler at his birthday
and shook hands with him, was he
pleased?
EMMI
I don't know. But you and I already
know that he has saved lives.
INT. STEVE'S OFFICE - DAY
Steve and David studying files in silence. Furtwängler's
baton is on Steve's desk. Steve drinks black coffee.
Emmi enters. Curt nods of greeting. She goes to her desk,
then takes the Bruckner record to Steve. Steve looks at
the record, then glances up at Emmi. He does his best to
exclude David, who tries to hear what is said.
Emmi glances at David. She's embarrassed.
EMMI
Bruckner's Seventh, Major.
STEVE
Do you know where the Adagio begins?
EMMI
Of course.
STEVE
Put it on ready to play, and I'll
tell you when to play it.
He returns to his desk. Emmi looks through the album for
the appropriate record.
INT. STEVE'S OFFICE - DAY
Steve by the open window, looking at his wristwatch, smoking
a cigarette. David and Emmi both watch him. The door opens
and Furtwängler bursts in.
FURTWÄNGLER
It is now nine o'clock precisely.
I do not intend to be kept waiting
again.
STEVE
(dangerously calm)
Don't talk to me like I was a second
violinist. Go back into the waiting
room. Miss Straube will come and
get you when I am ready to see
you.
Furtwängler goes out.
STEVE
Jesus God, who the hell does he
think he is? Who the hell does he
think he is?
David and Emmi gaze at him as he tries to regain control.
INT. WAITING ROOM - DAY
The door to the landing is open and Rode is there pretending
to sweep. He looks in to see Furtwängler sitting, holding
his handkerchief over his nose and mouth.
RODE
Would you perhaps like to have a
glass of water, Herr Professor?
Furtwängler doesn't seem to hear. Rode hesitates, then
continues to sweep.
INT. STEVE'S OFFICE - DAY
David and Emmi look at him, puzzled.
She goes to the door, opens it, nods. Rode quickly
disappears. Furtwängler looks at Emmi.
FURTWÄNGLER
What is this man doing here?
Emmi doesn't answer. All eyes on the door. Furtwängler
enters.
STEVE
Dr. Furtwängler! Come in, come
in, sit down.
Furtwängler, deeply suspicious, goes for the uncomfortable
chair.
STEVE
No, no, take this one, it's more
comfortable
He holds the other chair for Furtwängler, who sits.
STEVE
If it's too hot, open your tie.
FURTWÄNGLER
(interrupting)
I wish to say something.
STEVE
Go ahead, be my guest.
Furtwängler takes from his pocket a piece of paper with
notes. He blows his nose. The room is warming up. It will
become like an airless court room, a pressure cooker.
FURTWÄNGLER
When I last saw you, I was
unprepared. I did not know what to
expect. In these past weeks, I
have been thinking more carefully
and making some notes.
(glances at the
notes.)
You have to understand who I am
and what I am. I am a musician and
I believe in music. I am an artist
and I believe in art. Art in
general, and music, in particular,
has for me mystical powers which
nurture man's spiritual needs. I
must confess, however, to being
extremely naive. I insisted for
many years on the absolute
separation of art and politics. My
entire life was devoted to music
because, and this is very important,
because I thought that I could,
through music, do something
practical.
STEVE
And what was that?
FURTWÄNGLER
Maintain liberty, humanity and
justice.
STEVE
Gee, that's a thing of beauty,
honest to God, a real thing of
beauty. I'm going to try to remember
that. Liberty, humanity and justice.
Beautiful. But you used the word
'naive'. Are you now saying you
think you were wrong? That art and
politics can't be separated?
FURTWÄNGLER
I believe art and politics should
be separate, but that they weren't
kept separate I learned to my cost.
STEVE
And when did you first learn that -
when you sent the telegram? Was
that the surrender signal, the
waving of the white flag?
FURTWÄNGLER
What telegram?
STEVE
'Happy birthday, dear Adolf, love
Wilhelm.' Or words to that effect.
That sounds to me like you were
dropping on your knees and saying,
'Okay, Adolf, you win. You're the
number one man. Have a swell party.'
FURTWÄNGLER
I have no idea what you're talking
about.
STEVE
The birthday greetings you sent to
your old pal, Adolf Hider.
FURTWÄNGLER
I never sent him any birthday
greetings or any other kind of
greetings.
STEVE
Think carefully, Wilhelm... maybe
not in your own name, but as Privy
Councillor or Vice-President.
FURTWÄNGLER
I don't have to think carefully.
This is utterly ridiculous.
David and Emmi exchange the briefest of looks. David raises
his hand.
STEVE
Yes, David?
DAVID
Why not show Dr. Furtwängler the
evidence. It may refresh his memory?
FURTWÄNGLER
You won't find it because no such
telegram exists.
STEVE
Well, I tried, you got to admit I
tried. I thought I might just trap
you there, Wilhelm, but David here
was too quick for me. Smart move,
David, smart move. No, I don't
have the telegram, but I know it
exists. And I want you to know,
Wilhelm, we're going to keep looking
for it because I believe you sent
it.
FURTWÄNGLER
Then you are wrong.
STEVE
Art and politics, yeah, art and
politics. Let's look at that. You
and the Berlin Philharmonic toured
the Third Reich, played in countries
the Nazis had conquered. Are you
saying that conducting in occupied
territories from 1939 on wasn't a
commercial for Adolf and all he
stood for?
FURTWÄNGLER
We never, never officially
represented the regime when we
played abroad. We always performed
as a private ensemble. As I think
I already told you, I was a
freelance conductor.
STEVE
You know something? You should've
written our insurance policies for
us because you got more exclusion
clauses than Double Indemnity.
What do you imagine people thought?
The Berlin Philharmonic's taken
over by Doctor Goebbels and his
Propaganda Ministry but Wilhelm is
a freelance, so art and politics
are now entirely separate? Is that
what you believed ordinary people
thought?
FURTWÄNGLER
have no idea what ordinary people
thought.
STEVE
No!
FURTWÄNGLER
No, because I had only one
intention. My only intention
whatever I did was to show that
music means more than politics.
STEVE
Tell me about von der Null.
FURTWÄNGLER
(taken off-guard)
Von der Null?
STEVE
Yes, von der Null.
FURTWÄNGLER
Von der Null?
STEVE
How long's this going to go on,
Wilhelm? I say von der Null, you
say von der Null, I say von der
Null, you say von der Null, we
could go on all day. You know who
von der Null is, don't you? Edwin
von der Nuell, music critic.
FURTWÄNGLER
Yes, I know who he is.
STEVE
Isn't it true that because he gave
you bad reviews and praised this
young guy, Von Karajan, called him
a goddamn miracle, said he was a
better conductor than you, then
you had von der Null conscripted
into the army and no one's heard
from him since?
FURTWÄNGLER
That's an outrageous lie!
STEVE
You sure you didn't call one of
your close buddies and say, God in
heaven, did you see what that guy
von der Null wrote about me? The
greatest conductor on earth. I
want him out the way. He had the
nerve to accuse me I am not playing
enough modern music. Send him to
Stalingrad. Isn't that what you
did? You don't like criticism, do
you, Wilhelm? You surely didn't
like them saying there was another
conductor who was better than you...
Are you saying the name von der
Null was never mentioned in your
talks with Goebbels?
FURTWÄNGLER
(uncomfortable)
Well. Once he said he'd read what
this man wrote about me.
STEVE
And what did he say?
FURTWÄNGLER
He said, 'Don't mind him. His job
is to criticise, your job is to
conduct.'
STEVE
And what happened to Von der Nul?
FURTWÄNGLER
I have no idea.
STEVE
You've really no idea? I'll tell
you what happened. He died in
Stalingrad.
FURTWÄNGLER
I'm sorry.
STEVE
Now, that young conductor what's
his name?
(playing with
Furtwängler)
That miracle kid, you know who I
mean. Von Karajan! But you called
him something else. C'mon. What
did you call von Karajan?
Silence.
STEVE
Say it.
Silence.
STEVE
I'll say it, then. 'Little K.' Is
that right? You couldn't even bear
to say his name!
Furtwängler rises angrily and starts to pace.
FURTWÄNGLER
Please stop playing these games
with me. Why you should bring up
the name of another conductor is
beyond my understanding.
STEVE
I'll tell you why. You remember we
talked about you playing for
Hitler's birthday? And you told
me that Goebbels got to your doctors
first, that you were tricked?
FURTWÄNGLER
Yes, that's what happened.
He sits heavily, wipes his brow. He is sweating now.
STEVE
I have a different story to tell.
I don't think you were tricked.
Not in the way you describe. I
believe something else happened.
I've seen the Hinkel Archive, I've
seen records of phone calls, and
putting it all together, this is
what I think happened. I think
Goebbels said, 'Wilhelm, if you
won't conduct for Adolf's birthday,
we'll get the Miracle Kid, the guy
that critic, von der Null, thinks
is the greatest conductor in the
world. He's not just willing to
conduct for Adolf, he's offered to
sing "Happy Birthday" as a solo.'
Silence.
STEVE
Come on, admit it. K worried you,
didn't he? He always worried you.
In 1942, he's thirty-four years
old, you're already fifty-six. And
Goebbels and Goering keep saying
to you, 'If you don't do it, little
K will.' Never mind art and politics
and symbols and airy-fairy bullshit
about liberty, humanity and justice
because I don't care how great you
are. It's the oldest story in the
book,
(a wry look at David)
The ageing Romeo jealous of the
young buck. The real reason you
didn't leave the country when you
knew you should have was that you
were frightened that, once you
were out of the way, you'd be
supplanted by the Miracle Kid, the
Party's boy twice over, flashy,
talented little K.
FURTWÄNGLER
This is absolute nonsense!
STEVE
Well, I'm just beginning to develop
my theme. Isn't that what you call
it in classical music, developing
your theme? Okay, so they played
on your insecurity. That's human,
understandable. But, there is one
guy who doesn't like little K as
much as he likes you - yeah, the
number one man your old pal, Adolf.
He thinks you're the greatest, and
when he says, I want Wilhelm for
my birthday, boy, they better go
out get Wilhelm. So, Josef calls
and threatens you with little K.
And you said to hell with the Ninth
in Vienna, I'll give it to Adolf
as a birthday present in Berlin.
That's the trick they played, they
got you by the balls and they
squeezed. Hard. Why did you stay?
Why did you play for them? Why
were you the flag-carrier for their
regime? Jealousy?
FURTWÄNGLER
(interrupting)
Of course there was a conspiracy
against me, a campaign - even
abroad.
Brief silence; all eyes on him.
STEVE
You see, Wilhelm, I'm talking about
ordinary, everyday reasons. Which
is why I want to discuss your
private life. How many illegitimate
children do you have?
DAVID
Major, I don't see how this line
of questioning could...
STEVE
David, what are you Counsel for
the Defence now? (
(to Furtwängler)
Did you hear the question?
FURTWÄNGLER
(barely audible)
I have illegitimate children.
STEVE
What?
FURTWÄNGLER
I said I have illegitimate children.
I don't know how many.
STEVE
You like the women, don't you,
Wilhelm?
No response.
STEVE
Isn't it true that before every
concert you got a woman in your
dressing room and gave her the old
conductor's baton, isn't that true?
DAVID
(indicating EmmI)
Major, this is deeply offensive
and repugnant!
STEVE
You bet.
DAVID
and totally irrelevant.
STEVE
(continuing to
Furtwängler)
Not so, Counsellor. That secretary
of yours, she wasn't just your
secretary, she procured women for
you, didn't she? As many and as
often as you wanted.
FURTWÄNGLER
Stop this, please, stop this now!
STEVE
No, I'm not going to stop it. Hitler
himself offered you a beautiful
house and a personal bomb shelter.
FURTWÄNGLER
I absolutely refused the house and
the bomb shelter.
STEVE
But you see what I'm getting at?
You get a gorgeous house, you're
highly paid. What are you gonna
do, stay or leave? One voice comes
back at me: stay!
DAVID
Major, that's not a good argument.
If Dr. Furtwängler did indeed enjoy
all these... these privileges, he
enjoyed them because of who he is
and what he is. That's true of any
leading artist in any country in
the world.
STEVE
But it still doesn't make them
saints. They still have to get up
and piss in the middle of the night,
don't they? They can still be
vindictive and envious and mean
just like you and me. Well, just
like me. Can't they?
No response. To Furtwängler:
STEVE
Okay, Wilhelm, go home now. Go
home and think about these past
twelve years.
FURTWÄNGLER
I don't understand what you mean.
STEVE
No, that's your problem, Wilhelm.
You understand nothing. We'll call
you. Go!
Furtwängler leaves.
DAVID
Major.
Steve goes to his desk and, as Furtwängler rises
uncertainly:
STEVE
What?
DAVID
Your manner.
STEVE
My manner? Why don't you go
downstairs, get a cup of coffee
and calm down? What's the matter,
Emmi? What's going on with you?
What's wrong?
EMMI
I'm sorry but I have to leave.
I'll find other work. You'll have
to get someone else, that's all.
STEVE
What is this, Emmi?
EMMI
I can't do this. It's not right.
STEVE
What's not right?
EMMI
I have been questioned by the
Gestapo just like that. Just like
you questioned him.
STEVE
Emmi, stop! I want to show you
something. Let me show you something
and then if you want to leave, you
can leave, please please. His
friends, they did this. And he
gave them birthday concerts.
EMMI
But he had no idea, a lot of people
had no idea. I only realised what
was really going on when I got
arrested.
STEVE
If he had no idea, why did the
Jews need saving? This is the
question, Emmi, to all Germans:
Why did the Jews need saving in
this country? Why, if people had
no idea?
EMMI
I would like to go now, please.
But Steve turns on the projector and the Bergen-Belsen
film flickers into life.
INT. US OFFICERS' CLUB - NIGHT
Band playing. Couples dancing. David and Steve at the bar,
each with a drink in front of them, lost in their own
thoughts. Then:
Steve signs to the barkeeper to fill their glasses but
David puts a hand over his glass. Then:
DAVID
Can I ask you a favour, Major?
STEVE
Yeah.
DAVID
When you question him again, could
you treat him with more respect?
STEVE
With more what? More what?
DAVID
Major, he may just be the greatest
conductor of this century and that
merits respect.
STEVE
(flaring, hissing)
David, I don't understand a thing
about you. You're a Jew. Are you a
Jew?
DAVID
Yes, I'm a Jew. But I like to think
first I'm a human being.
STEVE
A human being, oh, good, I'm
relieved, I thought you were going
to say you were a music lover.
This man, this great artist has
made anti-Semitic remarks like you
wouldn't believe. I got letters.
DAVID
Major, show me someone who hasn't
made an anti-Semitic remark and
I'll show you the gates of paradise.
STEVE
(over-reacting and
overlapping)
What is it with you, David? Where
are your feelings? Where's your
hatred, your disgust? Where's your
fucking outrage, David?
He starts to go, then comes back to them.
STEVE
Think of your parents, David, and
then think of him conducting 'Happy
Birthday, dear Adolf'. I mean, for
Chrissake, whose side are you on?
Grow up! Just grow the fuck up!
The customers stare at him as he stalks out. The band plays.
CUT TO:
INT. STRAUBE APARTMENT - EVENING
David and Emmi, sitting.
DAVID
I want you to come back to the
office. May I come in? If you are
there you can influence what
happens. What good can you do by
leaving. If you go, you are giving
up and how can you help Furtwängler
or me? Don't think about leaving.
Stay.
INT. STEVE'S OFFICE - DAY
Hot, Windows closed. Furtwängler seated. David and Emmi
present. Steve looks up from his notes.
STEVE
Everybody says what a great
benefactor you were to the Jews.
But--
(holds up a sheaf
of papers.)
I have things here you said and
wrote. Listen to this: 'The Jew
composer Schonberg is admired by
the Jewish International.' And
what about this: 'Jewish musicians
lack a genuine affinity with our
music.' 'Jewish musicians are good
businessmen with few scruples,
lacking roots.' You deny you said
these things?
FURTWÄNGLER
Those attitudes do not exist in
me.
STEVE
I believe that. But just answer
the question, don't give me
explanations.
FURTWÄNGLER
Speaking to Party members I used
their language, of course I did,
everyone did.
DAVID
(with some irony)
Major, sorry to interrupt, but
maybe we have to... maybe we have
to balance those things against
his assistance to his Jewish
colleagues.
Steve tenses.
DAVID
This is a transcript of the
proceedings at Nuremberg.
A Swedish businessman, Birger
Dahlerus, testified in cross-
examination that he had several
meetings with Hermann Goering. 'I
first saw Goering,' Dahlerus
testified, 'embroiled in a stormy
interview with Wilhelm Furtwängler,
the famous conductor of the Berlin
Philharmonic, who was vainly seeking
permission to keep his Jewish
concert master.
Holds up his package of letters and dumps them on Emmi's
desk.
DAVID
Emmi, pick one of these, any one,
read it out loud.
Emmi is uncertain. Steve shrugs indifferently.
She picks an envelope and takes out the letter.
EMMI
(reading)
'Please remember that Dr.
Furtwängler risked his life to
help anyone who asked him. I
personally testify to having seen
literally hundreds of people lined
up outside his dressing room after
concerts to ask for his help. He
never turned anyone away. After he
heard me play... I am a violinist...
he gave me money because I was
unable to feed myself or my family
and then he helped me to escape to
Sweden. He helped countless people
in similar ways.'
DAVID
And this, only one of these letters,
Major. I have lots of them.
STEVE
(smiling)
How many times have I got to tell
you I was in insurance? You think
I can't smell a phoney policy when
it's shoved under my nose? Sure,
he helped Jews, but that was just
insurance, his cover, because all
the while he was maestro of all he
surveyed,
(turning on
Furtwängler)
See, Wilhelm, I think you're their
boy, their creature. You were like
an advertising slogan for them:
this is what we produce, the
greatest conductor in the world.
And you went along with it. The
truth of the matter is, Wilhelm,
you didn't need to be a member of
the Party. I made a mistake when I
asked you for your Party number. I
should've asked you for your non-
Party number. Just like some other
well-known artists.
(suddenly, to Emmi)
Emmi, put that record on.
Emmi puts on the record of the Adagio from Bruckner's
Seventh Symphony. After a moment:
STEVE
Do you know what that is?
FURTWÄNGLER
Of course I know what that is.
STEVE
Okay, so what is it?
FURTWÄNGLER
Bruckner's Seventh. The Adagio.
STEVE
Who's conducting?
FURTWANGLBR
I am.
STEVE
You know the last time it was played
on these air waves?
FURTWÄNGLER
How can I know such a thing?
STEVE
I'll tell you, then. The last time
this music was played on these air
waves was after they announced
that your pal Hitler had shot
himself. Listen to it. They listen.
Did they pick little K's recording?
Did they pick some other conductor?
No, they picked you, and why?
Because you represented them so
beautifully. When the Devil died,
they wanted his bandleader to
conduct the funeral march. You
were everything to them.
The music plays.
FURTWÄNGLER
(near to breakdown
but struggling for
control)
I have always tried to analyse
myself carefully and closely. In
staying here, I believed I walked
a tightrope between exile and the
gallows. You seem to be blaming me
for not having allowed myself to
be hanged.
David takes the record off.
FURTWÄNGLER
I didn't directly oppose the Party
because I told myself, that was
not my job. If I had taken any
active part in politics I could
not have remained here. But as a
musician, I am more than a citizen.
I am a citizen of this country in
that eternal sense to which the
genius of great music testifies. I
know that a single performance of
a great masterpiece was a stronger
and more vital negation of the
spirit of Buchenwald and Auschwitz
than words.
An uncontrollable surge of anger wells up in Steve, causing
him to pace alarmingly. He grabs the baton from his desk,
stands trembling before Furtwängler, and snaps it in half.
He pushes his face close to Furtwängler, who recoils,
terrified. David half-stands, ready to intervene physically.
During this Emmi puts her fingers in her ears.
STEVE
(quiet, terrifying)
Have you ever smelled burning flesh?
I smelt it four miles away. Four
miles away, I smelt it. Have you
ever seen the gas chambers, the
crematoria? Have you seen the mounds
of rotting corpses? You talk to me
about culture, art and music? You
putting that in the scales, Wilhelm?
You setting culture, art and music
against the millions put to death
by your pals? They had orchestras
in the camps. They played Beethoven,
Wagner. The hangmen were playing
chamber music at home with their
families. I don't understand the
Germans' relationship with music.
What do you need music for? Your
pals you could call to save a few
Jews when millions of them were
being annihilated? Yes, I blame
you for not getting hanged, I blame
you for your cowardice. You strutted
and swaggered, you fucking piece
of shit, king-pin in a shithouse.
You talk to me about walking a
tightrope between exile and the
gallows, and I say to you, lies!
FURTWÄNGLER
(breaking down)
I love my country, I believe in
music, what was I to do?
STEVE
Look around you. See the country
you served. Look at people who had
real courage, who took risks, who
risked their lives. Like Emmi's
father.
He sees Emmi has her fingers in her ears, yells at her.
STEVE
Emmi, take your fingers out of
your ears!
She does so.
STEVE
I'm talking about your father.
She screams. Stillness. All eyes on her.
EMMI
My father only joined the plot
when he realised that we could not
win the war. She cries quietly.
FURTWÄNGLER
(desperate)
What kind of a world do you want,
Major? What kind of world are you
going to make? Do you honestly
believe that the only reality is
the material world, so you will be
left nothing, nothing but
feculence... more foul-smelling
than that which pervades your
nights...
(near to breakdown)
How was I to understand, how was I
to know what they were capable of?
No one knew. No one knew.
He breaks down, buries his face in his hands, weeps.
FURTWÄNGLER
I don't want to stay in this
country. Yes, I should have left
in 1934, it would have been better
if I'd left...
He is suddenly overtaken by nausea and faintness, stands,
a hand to his mouth. Emmi goes to him.
STEVE
Get him out of here.
Emmi helps Furtwängler out. Steve strides to the window,
opens it, puts his head out into the fresh air.
INT. WAITING ROOM - DAY
Emmi helps Furtwängler to a chair. She watches him
solicitously. He breathes deeply.
FURTWÄNGLER
Thank you, Fraulein. You have been
most kind.
(he rises.)
He smiles at her. She is
embarrassed.
INT. STEVE'S OFFICE - DAY
Steve is trying to get a number on the telephone. David is
packing up his papers.
David turns to the records, starts to son through until he
finds what he's looking for. He removes the Bruckner and
puts another record on the turntable.
STEVE
(into the telephone)
Major Arnold. Get me General
Wallace. General? Major Arnold,
about Furtwängler. I don't know if
we've got a case that'll stand up,
but sure as hell we can give him a
hard time.
At full volume the sound of the subdued opening of
Beethoven's Ninth Symphony.
STEVE
(to David)
Hey, turn that down, would you?
Can't you see I'm on the phone?
(into the telephone)
Never mind, we got a journalist
who'll do whatever we tell him.
But David ignores him, sits, implacable, listening.
INT. STEVE'S BUILDING - DAY
Furtwängler walks slowly down the stairs, a broken man
struggling to regain his composure. Emmi watches him.
INT. STEVE'S OFFICE - DAY
The music at full blast. David, at an open window, keeps
his back to Steve, still on the telephone.
STEVE
Turn it off!
EXT. STEVE S BUILDING - DAY
Furtwängler, on the stairs, stops, hearing the music echoing
through the building.
Furtwängler left hand begins to tremble, but it is only
his way of sensing the tempo.
Furtwängler slowly continues down the stairs.
STEVE'S VOICE
We handed Wilhelm Furtwängler over
to the civil authorities and he
was charged with serving the Nazi
regime, with uttering anti-Semitic
slurs, performing at an official
Nazi Party function and with being
a Prussian Privy Councillor. Dr.
Furtwängler was acquitted. I didn't
nail him. But I sure winged him.
And I know I did the right thing.
Furtwängler resumed his career but
he was never allowed to conduct in
the United States. He died in 1954.
Little K succeeded him as head of
the Berlin Philharmonic.
INT. CONCERT HALL (ARCHIVE)
Furtwängler conducting. Goebbels and other high-ranking
Nazis in the audience. When the music finishes, Furtwängler
turns and bows. Goebbels rises and shakes hands with him.
Furtwängler takes his handkerchief and wipes his hands.
The film replays this gesture several times - Furtwängler
wiping his hands.
FADE OUT:
THE END