The Mystery of the Jamaica Bar

  
Act I

 	'The honorable Mr Paduk invites 
	you to his reception at the Pier 
	Plantation.'
 
1: 
Vestibule.
Half hidden behind a curtain 'Hawk' and Paduk watch a glass 
door and the stairs leading up to it. Couples and solitary 
gentlemen pass through the door; a black boy takes their 
coats. Paduk comments on certain charms of the female guests 
with slightly exaggerated gestures: a pretty foot, a deeply 
cut décolleté in back, swaying hips ... A few times he mocks 
their flaws.
 
2: 
Close-up of the voyeurs.
Paduk rubs his hands. 'Hawk' pulls out his watch; 'Condor' 
and 'Griffin' join them, elegantly dressed in frock coats.
 
3: 
Same as shot 1.
Hawk leaves quickly through a winged door that the servant 
closes. Condor and Griffin exit at the side. Paduk enters 
behind his guests.
 
4: 
Pier.
Dark and slender with his collar turned up, Hawk walks on 
the moonlit, white pier.
 
5: 
Reception hall.
Paduk greets his guests too sincerely. Dissolve. 

	'Meanwhile the overture began at 
	the Opera ...'
 
6: 
Lobby for the box seats with the coat check.
A grotesque old coat-check lady brings Mrs Melvil to her box 
seat in an overly obsequious manner. Then she waddles 
upstairs to the public telephone and calls. Dissolve.
 
7: 
Dining-room.
Paduk and his guests at the table. A black boy brings the 
table telephone. Paduk writes something quickly on his cuff, 
leaves quickly ...
 
8: 
At the Opera.
On stage the ballet. Curtain closes, the auditorium is 
illuminated. Hawk, standing near the stage, scans the box 
seats.
 
9: 
Close-up of the box. 

	'Mrs Melvil.'
 
10: 
Close-up of Mrs Melvil.
Nervously reads a note she removes from her handbag.
 
	Note: Use the enclosed ticket to the 
	Opera and you will learn where your 
	husband spends his evenings ...
 
11: 
Same as shot 9.
Hawk enters, bows. Mrs Melvil stands up, follows him. The 
coat-check lady is waiting already with her coat. Dissolve.
 
12: 
Plantation.
Guests standing at the window. View to the water. Fireworks. 
An illuminated motorboat glides by. The ladies go into the 
garden, the gentlemen into the club rooms. At the head is 
Gayo Perl, the fat millionaire.
 
13: 
Card room.
Card tables. Wide windows with thick drapery. Gayo Perl 
holds the bank; the game begins ... Vases shake [First, 
gentle rotating of the revolving stage!].
 
14: 
Garden bench.
The ladies climb into the motorboat. Short tour. Paduk 
watches, smiling ironically.
 
15: 
Pier.
Condor walks on the pier with a turned-up collar.
 
16: 
Interior of a coach. 

	'Brown eating dinner.'

The coachman sits in the coach eating cheese and reading the 
newspaper. Hawk's elegant silhouette appears in the coach 
window. Brown is startled, packs up his things, crawls out. 
Mrs Melvil appears at the coach door.
 
17: 
Motorboat.
Black boy steers. Ladies tease him: a foolish game. Dissolve.
 
18: 
Elegant hall.
Condor has been gambling, stands up with a lady: 

	'Would you like to join me in the 
	Jamaica Bar ...?
 
19: 
Shore.
Paduk waves broadly. The boat lands. Paduk:

	'I just noticed that the club rooms 
	are empty. The gentlemen must have 
	moved on to the next house.'
 
20: 
Stairs.
The ladies hurry eagerly up the stairs. They glance into the 
empty club rooms. Amused, the ladies feign comic horror. 
Paduk strikes his forehead and grins:
 
	'Perhaps a small, innocent orgy in 
	the Jamaica Bar across the way.' 

The ladies storm Paduk with questions, who smiles cunningly. 
He motions to the boy, who precociously stands by, to keep 
silent and holds back the ladies, who try to coax the boy 
away with them. All exit except Paduk, who looks at his 
watch: 

	Watch face: Five minutes to eleven.
 
21: 
Interior of a coach. Watch face:
Five minutes to eleven. Mrs Melvil and Hawk inside; the city 
glides by nocturnally.
 
22: 
Pier.
The black boy leads the ladies, who are walking by threes, 
arm in arm.
 
23: 
Interior of a coach.
The Jamaica Bar's many lights appear in the window. The 
door is open, all windows lit up.
 
24: 
Club room.
Short scene of the inebriated gentlemen. Gayo Perl, 
completely sober, wins.

	'Why in the devil do you always 
	win, Perl' 

	'Why in the devil do you always 
	drink, gentlemen?' 

Perl pulls a card from his cuff, throws it on the table, and 
pushes his winnings back to the center. The gentlemen stare, 
Perl is amused. The gentlemen drink on. Laughing. Dissolve.
 
25: 
In front of the bar.
The coach halts. A dispute between Brown and Hawk. 

	'Come back and fetch us in an hour, 
	coachman!' 

Mrs Melvil taps impatiently with her foot, then goes with 
Hawk into the bar. The coach drives off.
 
26: 
Entry to the empty club rooms. 
Paduk stands at the entry and pulls out his watch. 

	'Eleven o'clock.'
 
27: 
Same as shot 25.
A car drives up, Condor leads the woman into the bar.
 
28: 
Club rooms.
Vases shake, the gentlemen notice nothing, but Perl has 
noticed. 

	'Well, are the vases in this house 
	drunk too? It already seemed as if 
	an earthquake ...'
 
Exaggerated playfulness: the gentlemen pour whiskey in his 
mouth. Paduk enters, plays at being excited, motions the 
gentlemen out.
 
29: 
Same as shot 25.
The black boy and the ladies in front of the bar: the boy 
makes a deep bow, the ladies enter. Dissolve.
 
30: 
Window with view of the lake. 
Parallel to shot 19: Paduk:
   
	'The ladies have gone one house 
	further ...'
 
Drunk, the gentlemen look at the empty garden and the gently 
swaying motorboat. They exit to the garden, Paduk remains 
where he is.
 
31: 
Lake.
The gentlemen are looking for the ladies, one falls in the 
lake.
 
32: 
Interior of the bar.
The ladies look through the window: the road is still 
visible.
 
33:

	'Three hours later' 

Street. 
A coach is driving along the street. Arrives at the place 
where previously the bar was located. A wall is standing 
here between trees on the left side and water on the right. 
The coachman's growing dismay: close-up. 

	'So where's the damned bar?' 

Drives on slowly, searching.
 
34: 
Plantation.
Completely perplexed, the gentlemen take leave in a 
momentarily sobered state from the apparently 
uncomprehending Paduk, who extends his hand to each one 
individually.
 
35: 
Winter garden at the plantation.
Gayo Perl playing chess [with Paduk]: small in a large 
room. Later Hawk will join him.
 
36:
The gentlemen meet up with the coachman - melancholy 
parallel to shot 22, they interrogate him. Dialogue:

	'Have you seen six ladies, coachman?' 

	'Nah, but haven't you seen a bar?' 

	'You're already drunk, coachman!'
 
37: 
Mr Webbs' morning outing.
Newspaper boy. Webbs reads a newspaper while riding his 
horse. Looks up suddenly: Mr Melvil has stepped in front of 
the horse. He speaks excitedly:
 
	'My wife has been missing since 
	yesterday evening, help me, Mr 
	Webbs!' 

Webbs points to the newspaper, where he reads:
 
Printed: ... sensational disappearance of 
	six society ladies ... 

Webbs looks back and forth from Mr Melvil to the report. 
Close-up of Melvil's knees, which begin to tremble. 

	'Mr Melvil, I'll be expecting you in 
	one hour at my house!' 

Webbs gallops off. Mr Melvil continues to tremble. Dissolve.
 
Act II

38: 
Winter garden.
Perl and Paduk are playing chess. Paduk feigns exhaustion, 
would like to be alone, looks at his watch, goes to the 
window ... Perl doesn't let him out of sight. Hawk enters:
surprised at Perl's presence. Chess game; Hawk watches 
stiffly and indignantly. Annoyed at Perl's obstinacy, in 
wild anger Paduk finally throws the chess board in the air 
with the tip of his foot. Hawk calms him overzealously, 
Paduk grins with a forced excuse. Perl looks at Paduk 
close-up - suspiciously and tensely. Fade-out.
 
39: 
Fade-in. Bar.
Morning in the - rotated! - bar. The drapes are closed. The 
six ladies conclude with their hair arrangements, a rather 
primitive morning dress ritual, nonetheless worthy of a 
more elegant space. The bar is a grimy tavern decorated 
with a trashy velvet sofa. The black boy chases fleas in 
the corner. Movement when the door opens and the coat-check 
lady from shot 6 enters. She waddles in, mops the floor. 
Mrs Melvil is sitting apart, still sleeping on a velvet-
covered stool. The ladies watch her warily. They storm the 
coat-check lady with questions, she threatens them 
grotesquely with her mop. One of the ladies jumps over the 
wet spot on the floor to the window, holding her dress up. 
She wants to look out. The coat-check lady and the boy 
adroitly prevent her, but the pail of water is overturned. 
The ladies storm over to the window. The boy and coat-check 
lady cannot hold them back from all the windows.
 
40: 
Shot from the window of the pier and lake.
 
41: Same shot as 39.
The woman clasp their heads. 'Where are we?' Mrs Melvil is 
awakened by the noise, calmly joins them. Dissolve.
 
42: 
The city.
Webbs rides through the city to the plantation. At the wall 
he finds Brown the coachman, who is looking for the bar in 
front of it while his horse is grazing.  The coachman, 
unsure because of his nocturnal adventure, addresses Webbs:

	'Sir, I have to make a visit to the 
	wall there ... Could you please keep 
	an eye on the coach for a minute ...'

With great contempt Webbs climbs on the coach-box, 
apparently amused by the impertinence. The coachman marches 
over towards the pier, glances around occasionally, Webbs 
nods to him.

43: 
Lobby of the winter garden.
The black boy greets the coachman distrustfully. 

	'Is this place a wine bar, boy, or 
	is it not?' 

The boy exaggeratedly mimics Paduk: throws with one eye a 
sharp, distrustful glance towards Brown, marches out full of 
his own dignity. The coachman tosses an insult after him.
 
44: 
Winter garden.
Unannounced, the coachman enters behind the boy. Hawk, 
recognizing the coachman, disappears backwards. Perl toys 
around with the goldfish aquarium ... Paduk watches Hawk 
with surprise, the coachman asks Paduk: 

	'Are you the innkeeper?' 

Paduk shakes his head. The coachman says more impertinently: 

	'Hand over the woman or I'll call 
	the police!'
 
45: 
Interior of the coach.
Webbs finds the note and the theater ticket (cut briefly to 
the note from shot 10), puts both in his pocket. Looks at 
his watch. Ties ...
 
46:
... the coach to the wall, same as shot 42 - after climbing 
out he attaches a note to the whip, sticks the whip in the 
ground, harnesses his horse to the coach horse, and drives 
off in a rush.
 
47: 
Same as shot 44.
Paduk shows the coachman out with an imperious gesture, 
follows him.
 
48: 
Pier.
The coachman trots along in a straight line without looking 
round while Paduk talks to him in an exaggerated but 
friendly way with large gestures. They move into the 
distance.
 
49: 
Same as shot 44.
Perl moves dreamily around the winter garden. Discovers a 
door, ascends a circular staircase, encounters the coat-
check lady, goes down a corridor with windows and suddenly 
halts to look outside with great interest. Hawk follows him, 
watching closely.
 
50: 
Shot from above. Pier.
Interrupted by laughing cramps, Paduk continues to talk to 
the coachman; then Brown discovers the whip stuck in the 
ground in place of the disappeared coach.
 
51: 
Close-up of the whip with the note:

	'Don't have any room at home for 
	your coach, expect you at 34 Long 
	Street. Webbs'
 
52: From below, larger, same as shot 50: pier.
Paduk turns serious. Paduk fixes the coachman briefly with 
his eyes, then deserts him, hurrying straight back to the 
plantation. Perplexed, worried, the coachman watches him, 
turns round, marches toward the city, scratching his head 
and turning the whip in his hand, discouraged.
 
53: 
Staircase at 34 Long Street. 
Melvil rings and rings. Dissolve.
 
54: 
Winter garden.
Paduk enters in a rush, rings, the coat-check lady enters 
and says: 

	'Quite relaxed now, the dove ...'
 
55:
Paduk interrupts her, gives an order. Gayo Perl and Hawk 
come down the stairs from shot 49, Hawk and Paduk exchange 
looks. The coat-check lady brings Paduk his hat and cane. 
Paduk leaves with Perl.
 
56: 
Theater.
Webbs drives up with the team of horses, disappears into the 
theater entrance.
 
57: 
Watchman's office.
Webbs shows the note from shot 10. The watchman recognizes 
the handwriting, shows and compares the receipt book, 
points to an address.

	'Kitty Smith, box-seat usher, 7 Pier 
	Street.' 

Webbs thanks him, exits. The watchman shakes his head.

58: 
34 Long Street.
The coachman and Melvil ringing ... Melvil sits down on the 
steps. Paduk arrives. Close-up of the three waiting for 
Webbs. The coachman is meek and plagued by his bad 
conscience, Melvil is reserved, reads his newspaper, Paduk 
is lost in thought. Then Paduk attempts without success to 
appear witty:

	'Funny to find here a coachman 
	without a coach, and at the theater 
	a coach without a coachman.
   
	Mr Webbs, who lives here, seems to 
	be a funny bird ...' 

The coachman stands up immediately while cursing. Paduk 
holds him back:

	'Your address?' 

The coachman screams it out and stumbles off. They wait. 
Perl appears as well. Dissolve.
 
59: 
Bar.
The sequestered women. The somewhat corpulent Condor treats 
the ladies very circumspectly, takes a mirror from his 
pocket, which one of the ladies uses first tentatively and 
then with great eagerness. The others are won over after 
Condor elegantly serves morning coffee. Mrs Melvil, who is 
the last to get the mirror, throws it angrily away. It 
breaks. Condor thanks her with an ironic bow.
 
60: 
34 Long Street, the façade.
Webbs drives up. Pats the horses. Enters the house, the 
stall boy unharnesses the riding horse.
 
61: 
Webbs' workroom.
A formal scene: Paduk introduces himself as the owner of the 
pier platform, Webbs introduces him to Mr Melvil, Perl 
introduces himself with a bow to Webbs. Conversation. Paduk 
leads.
 
62: 
Close-up, split screen.
In the left half shots 50/51 repeat quickly in small format. 
Paduk gesticulates wildly, Webb speaks: shot 46. Melvil 
listens silently and aghast, then follows quickly shot 44 
with the intertitle, then Paduk says:

	'I beg of you, Mr Webbs, please 
	solve the disappearance of my 
	guests by any means ... My entire 
	fortune is at your disposal! The 
	coachman has already tried to 
	blackmail me. The man looks 
	harmless, but ...' 

Perl protests.
   
	'The man has an honest face, 
	Mr Webbs!' 

Webbs laughs:
   
	'The arguments speak against him, 
	Mr Perl!"
 
Perl makes a disdainful gesture:
 
	'An honest face is worth more than 
	all the arguments in the world.'
 
They both smile at each other obligingly. Fade-out.
 
63: 
Theater square.
The coachman searches, the coach is not there, he turns back 
desperately. A moving shot. He sees Long Street from afar, 
his coach halts, he runs there ...
 
64: 
Same as shot 62. Fade-in.
Webbs speaks, stops suddenly, rushes to the window.
 
65: 
From above.
The coachman is just charging off.
 
66: 
Same as shot 62.
Paduk nods meaningfully to Webbs. Webbs reflects a moment 
and asks:

	'Do you know the man's address?' 

Paduk thinks a moment, shakes his head briskly, takes his 
leave: 

	'Then I can expect you at 9 Pier 
	Street?' 

Webbs looks at him more attentively for a second and 
accompanies him politely out the door; he returns, thinks to 
himself. 

	'7 Pier Street .. . 9 Pier Street.'
 
67: 
Coin telephone on the street. Paduk is calling.
   
	'You simply buy his house.'
 
68: 
The coachman's apartment.
A miserable house. The coachman is discouraged, lost in 
thought. A vision: alternately the wall ... the bar ... the 
wall ... the bar.
 
69: 
Winter garden.
The police are searching the winter garden. Perl is 
directing them, the police are not very enthusiastic.
 
70: 
Pier.
The coat-check lady waddles along the pier.
 
71: 
Same as shot 69.
Paduk enters, looks at Perl hostilely, who introduces the 
men, Paduk with a cold, exaggerated gesture: 

	'Search to your hearts' content!'
 
72: 
Pier.
Encounter between the unsuccessful police who are leaving, 
with Perl at their head, and Webbs, who is just arriving. 
Handshakes. Shoulder-shrugging in the first instance and 
Webbs' laughter as he enters.
 
73: 
Entry hall.
Excited, Paduk greets Webbs.
   
	'You see, now I am supposed to have 
	stolen my own guests ...' 

Webbs calms him, looks around.
 
74: 
Coachman's apartment. Same as shot 68.
The coat-check lady enters, lively conversation. Brown shows 
her around apathetically, writes a note finally that says: 

	'I sell the house - it costs eight 
	thousan ...' 

The coat-check lady and he laugh slyly, she says: 

	'Much too cheap!' 

Which the coachman then doubts. Webbs appears outside the 
window.
 
75: 
A comfortable room.
A lady and gentleman at breakfast. Among the morning mail a 
letter with handwriting similar to that on Mrs Melvil's 
note. 

	'Do you have weapons? Protect your 
	wife. At five o'clock tomorrow 
	climb into the coach at the theater 
	whose coachman is wearing a white 
	carnation in his hat. Arm yourself 
	as much as you can.' 

The gentleman hides the letter, his wife exits, he watches 
after her, crumples the letter, smoothes it out again, and 
reads it once more, groaning.
 
76: 
Same as shot 68.
The coat-check lady waddles off pleased. Webbs climbs in 
through the window. Interrogates the startled coachman, who 
shakes his head, swallows, perspires. Webbs exits, smiling 
mockingly.
 
77: 
On the roof of the plantation.
Perl is smoking a water pipe under a huge umbrella. Giving 
in to a sudden idea, Paduk kicks the chess board and rushes 
off.
 
78: 
Street.
The coat-check lady waddles down the street. She is smiling 
broadly. The sun is shining. Webbs follows her, also 
pleased, he also suns himself...
 
79: 
Theater square.
The coat-check lady negotiates with a coachman.
 
	'Be here at five o'clock and drive 
	the gentleman who climbs in to Road 
	Fly. You must have a white carnation 
	in your hat, so that he recognizes 
	you.'

She runs off quickly. Webbs approaches the coachman. 
Dissolve.
 
80: 
Same as shot 68.
The sorrowful coachman. Paduk enters. Conversation. Paduk 
mockingly:
 
	'Be at the platform at seven o'clock. 
	Show me the bar that you are talking 
	about.'
 
81: 
Shoot in the direction of the plantation. 
Car. Inside, Webbs.
 
82: 
Market hall.
Perl follows the black boy, who is pulling a handcart. The 
coat-check lady goes in, buys with intense enjoyment geese 
and beef roasts, sausages and veal thighs, a lot of meat. 
The handcart can hardly hold all the food. Perl is pleased.

	'Does that old, scrawny Paduk eat 
	all that? He must have boarders!'

83: 
Plantation.
Webbs is greeted by Condor, masquerading as a house servant. 
Shows his identification, searches the plantation. The 
camera follows him around the winter garden (shot 35), full 
tour, Webbs on the wall, the wall ledge breaks off, Webbs 
falls in the water.
 
84: 
In front of the wall.
Returning, Paduk sees Webbs' car. Sees Webbs in the water. 
Fishes him out with Condor, handles him with great care, 
provides him with dry but, of course, much too tight 
clothing.
 
85: 
In the countryside.
Perl arrives at a farmhouse, negotiates with the farmer, 
pays. 

	'So what if it is only a shed - now 
	I live right next to my friend 
	Paduk.' 

Perl exits. The farmer rubs his hands together.
 
86: 
Same as shot 35. 
Paduk and Condor confer.
   
	'They must leave the house, 
	otherwise we'll be in trouble.'
 
87: 
Bar.
The black boy enters with the handcart full of vegetables. 
The ladies begin their feverish activities: peeling 
potatoes, cutting beans, cleaning asparagus, peeling 
carrots, etc. At times, however, a knife will lapse in a 
busy hand, then the yearning eyes focus on a distant point 
... Dissolve.
 
Act III

88: 
Webbs' apartment.
He is gathering women's clothing from the cupboards and ties 
it together in a bundle. Dissolve.
 
89:
   
	'Five o'clock.' 

Theater square.
Coachman with a white carnation in his hat on the coach-box 
of coach 1, waiting stoically. Coach 2 comes round the 
corner, coachman 1 becomes nervous: coachman 2 also has a 
white carnation in his hat. An angry dialogue, threatening 
cracks of the whips. Finally coachman 1 drives off cursing. 
Soon the gentleman from shot 75 enters, climbs in coach 2, 
which drives off.
 
90: 
In front of the shed (across from the plantation). 
A delivery car stops. Perl and a servant (in work clothes) 
unload a huge number of books.
 
91: 
Interior of the shed.
Both of them hand books through the window and pile up the 
entirety of knowledge so hastily in the tiny, narrow room 
that everything gets mixed up.

92: 
Country road.
Coach with the gentleman from shot 89 drives along. The 
gentleman looks out.
 
93: 
Winter garden.
The coat-check lady gives Paduk the coachman's note, which 
is inserted very briefly. The police are again there. Paduk 
shows the note to the gentlemen.

	'The man wants to come at seven.' 

One of the gentlemen nods 'aha', Condor (dressed as a 
servant) approaches, the other police officer laughs: 

	'He is fetching the ransom for 
	holding his trap.' 

Condor rolls up his sleeves threateningly.
 
94: 
Bar.
The ladies are bored. Chase flies. Mrs Melvil taps the walls 
while the others laugh at her.
 
95: 
Small room.
Condor changes his clothes: the servant becomes a cavalier.
 
96: 
Bar.
Condor as cavalier sails in, bows to the ladies, who have 
already become friendlier, a short round of roulette. 
Gaming. Condor exits. Mrs Melvil opens a low, secret door 
while no one is observing her and sneaks out, unnoticed.
 
97: 
Room as in shot 75.
A lady sewing in front of a sewing basket. A maid lets in 
the curtsying coat-check lady. The lady is surprised, 
somewhat disgusted.
 
	'Your husband has left? You don't 
	know where. You will find out at 
	the Opera. You are an unfortunate 
	woman.' 

The lady's anxiety. She nods to the coat-check lady to wait, 
exits.
 
98: 
In front of a rural inn. 
Coach from shot 89 halts.
 
99: 
Interior of the coach. 
The gentleman cocks his pistol.

100: 
Same as shot 98.
The gentleman descends. The coachman remains sitting in his 
box. The gentleman looks up quizzically: 

	'What now?' 

The coachman's surprise. Conversation. The gentleman angrily 
pulls his pistol. The coachman as well; he removes his beard 
with the words:

	'Allow me to remove my beard.' 

To the gentleman's surprise, it is Webbs. With consternation 
the gentleman gives him the letter. Webbs reads, laughs, 
takes the gentleman by the arm, looks at his watch, jumps on 
the box, drives away at full speed. The gentleman remains 
standing there ...
 
101: 
Same as shot 97.
The lady puts on her coat, the coat-check lady wants to help 
her, the lady coolly moves back. Dissolve.
 
102: 
Forest.
On the way to the city Webbs glues back his beard while 
riding at full speed.
 
103: 
City. Housefront.
The lady leaves the house with the coat-check lady, Webbs 
and the coach are just coming round the corner. The coat-
check lady waves, he halts, both climb in. Sitting straight 
and seriously on the coach-box, Webbs drives off.
  
104: 
Same as shot 68.
The coachman holds a lamp to the clock. 

	'Half past six.' 

Puts on his hat and leaves.
 
105:
   
	'Evening reception.' 

Room in shed.
Perl has arranged things more or less comfortably. Greets 
friends who look for seats in vain. They climb on the 
bookshelves. Standing at the window, Perl throws an oblique 
glance now and again at their sometimes unsuccessful 
climbing talents.
 
106: 
Winter garden.
Paduk once again greets the police. The gentlemen walk over 
to the...
 
107: 
Pier.
...wall side of the pier and hide in the bushes.
 
108: 
Small ballroom.
Dancing course. Griffin is stuffing pralines into the mouths 
of two teenage girls. They push their way to the door, 
giggling.
 
109: 
Street at the pier.
The coachman is walking along. He weaves somewhat.

110: 
Theater square.
Webbs drives the coach up. The lady descends from the coach 
with the coat-check lady. The lady pays, the coat-check lady 
rushes ahead. Webbs:

	'Be careful! Your mistrust towards 
	your husband will get you in 
	trouble. When you are picked up, go 
	first into the salon.' 

The lady nods. Webbs climbs into the coach, draws the 
curtain.
 
111: 
Box as in Act I.
The coat-check lady curtsies and lets the lady enter. Hawk 
approaches the lady. Dissolve.
 
112: 
Interior of the coach.
Webbs changes his clothes: women's clothing.
 
113: 
Plantation.
Narrow hallway. Mrs Melvil walks along, touches and taps the 
walls. Then she climbs up a ladder leaning against the wall.
 
114: 
In front of the wall.
The coachman stumbles around. He has been drinking. From the 
bushes the beam of a flashlight catches him, policemen 
approach, he is arrested. Perl emerges from a bush at the 
side. Paduk looks at him quizzically, he answers:
   
	'From this evening on we are 
	neighbors, Mr Paduk!' 

The unimpressed Paduk plays along: 

	'Enchanted.' 

Short interrogation of the coachman, who speaks in his 
drunken state with large gestures. It is clear what he is 
saying ...
 
115:
...the moving wall, the bar, everything like visions in a 
fog ...
 
116: 
Same as shot 114.
Paduk shakes the hand of the police commander; the police 
take the coachman with them. Perl wants to stop them: 

	'He's not lying, he has an honest 
	face.' 

The men laugh loudly. Perl is insulted. Dissolve.
 
117: 
Theater. The salon in half-light. 
The lady on the arm of the elegant Hawk. 

	'May I quickly have our coats 
	brought?' 

Hawk exits. Webbs (dressed as a woman, now Mrs Webbs) enters. 

	'Go home immediately. Your husband 
	is waiting for you with great 
	longing.' 

The lady nods, backs away. Webbs lets himself be helped into 
the coat of the lady by the remaining Hawk.
 
118: 
In front of the theater.
Mrs Webbs lets Hawk accompany her to a coach.
 
119: 
Perl's room in the shed.
Crowded with friends, drinking liqueurs. Perl, always at the 
window observing, explains.

	'The coachman is an honorable man.' 

Laughter. Dissolve.
 
120: 
Dancing club.
Griffin with the teenagers, his finger on his mouth. 

	'Really a wonderful bakery. Whipped 
	cream and liqueur. But the gentlemen 
	should not notice a thing.' 

Whispers. Agreement.
 
121: 
Interior of the coach.
Mrs Webbs sitting stiffly next to Hawk in the coach.
 
122: 
A square.
The teenagers wait under a lantern. Griffin arrives with two 
cars, loads them in, drives off.
  
123:

	'The theoretician.' 

Room in the shed, same as shot 119. Perl lectures.
   
	'Simply observe, my dears, nothing 
	but sharp observation ...' 

They tease him, pull him away from the window, he resists.
 
124:
   
	'The practitioner.'

Interior of the coach. 
Framed in the window: façade of the bar.
 
125: 
In front of the bar.
Mrs Webbs climbs out, enters the bar with Hawk.
 
126: 
Small room, same as shot 95. 
Condor changes his clothes, becomes the cavalier.
 
127: 
Interior of the bar (side room).
Webbs is immediately bound and carried to the corner.
 
128: 
In front of the bar.
Griffin's two cars arrive with the teenagers. Giggling they 
enter the bar. Dissolve.
 
129: 
Room in the shed.
Perl detaches himself from his friends, runs to the window, 
the friends follow him. They see ...
 
130:
...the plantation wall. Dissolve. 

Act IV
 
131: 
Plantation. Low roof.
Mrs Melvil clambers out of a roof window and looks around 
observantly.
 
132: 
Room in the shed.
The friends, clearly showing the effects of the ample 
liqueur, are taking leave. Perl shows them out and returns 
to his observation point. He sees:
 
133: 
Same as shot 131.
Mrs Melvil on the roof, waving with her long veil. 

134: 
Small room in the plantation.
Paduk and Condor spy through a peephole in the wallpaper. 

	'Who is the long bean pole? - A 
	true cavalryman.'
 
135: 
Bar.
The ladies and the teenagers are pressed closely together, 
the latter still bound, like Mrs Webbs too, who towers over 
all of them by a head. Griffin's pralines don't quite work 
any longer . ..
 
136: 
Same as shot 134.
Paduk makes a gesture to 'throw someone out', but Condor 
calms him. Hawk enters hastily, reports something. Paduk 
exits quickly.
 
137: 
Winter garden.
Perl is waiting, tells Paduk gently when he enters:

	'A lady is sitting on your roof, 
	Mr Paduk, and is waving and 
	screaming!' 

Paduk is startled, controls himself, and smiles weakly. 
Hurries out, brings Perl the wrong hat, in order to keep him 
there, then presses him to sit down ...
 
138: 
Hallways. 
Hawk hurries through.
 
139: 
Same as shot 131.
Hawk sticks his head out of a roof window. Conversation with 
Mrs Melvil.
 
140: 
Small room.
Hawk hurries in, hollers through the peephole.
 
141: 
Bar.
Griffin listens, exits. Mrs Webbs breaks a mirror and rubs 
the ropes with fragments of glass.
 
142:
Roof.
Hawk climbs out, chases Mrs Melvil, who escapes but then 
falls into the water from the pier.
 
143: 
Same as shot 107, the pier.
Condor and Griffin fish Mrs Melvil out. They bind her and 
pull her into the bushes.
 
144: 
Winter garden.
Tired of the delays in shot 137, Perl puts a hat on Paduk 
and accompanies him out. They see ...
 
145:
... the empty roof.
 
146: 
Pier.
Paduk shakes his head angrily, Perl unbelievingly. 

	'Do you often suffer from these 
	hallucinations, Mr Perl?'
 
147: 
Bar.
The young girls, released by Webbs, comb their hair. Webbs, 
gathering up his skirts, leaves the room through the low, 
hidden door.
 
148: 
Same as shot 1.
Paduk alone, musing. Then Griffin enters from the club rooms. 
They look at one another silently. Gambling. Condor and 
Griffin bring the wet and bound Mrs Melvil. The coat-check 
lady, waddling more quickly than usual, hurries in, cries 
out what must be a warning, for Condor and Griffin pull Mrs 
Melvil hastily away. The police enter. Dissolve.
 
149: 
Bar.
A lady sneaks behind Webbs through the hidden door. The 
coat-check lady enters, the ladies hide the door like a 
flock of hens.
 
150: 
Winter garden.
Paduk, leading the police, gesticulates:
   
	'The only person who lives in the 
	area is a certain Perl ...'
 
151: 
Hallway, leading downwards. 
The lady traverses it, finds herself in a small...
 
152: 
...cellar room.
Its door closes automatically behind her. Rats are crawling 
on the floor, sniff at her; she pulls her skirts together, 
jumps with a scream on a bed. Dissolve.
 
153: 
Winter garden.
Paduk is becoming nervous, the police listen. Someone bends 
down to the floor.

	'Didn't someone scream there?' 

Paduk smiles weakly, shakes his head slowly.
 
154: 
Bar.
The coat-check lady listens, rushes through the hidden door, 
leaving behind terrified faces. 

155: 
Cellar room, same as shot 152.
With astonishing speed and grotesqueness the coat-check lady 
masters simultaneously the rats and the screaming lady. She 
leads her out while holding her mouth closed.
 
156: 
Winter garden.
The police are still listening. In vain. Paduk shows the men 
out.
 
157: 
Room in the shed.
Perl at his post at the window, tired. There is a knock, the 
door opens. Police. Perl is arrested, handcuffs.
 
158: 
Small room.
Paduk, the Paduk gang. Animated discussion. Paduk: 

	'I'd have to have too many people 
	arrested. The whole bunch must be 
	gotten rid of.'
 
159: 
In front of the shed.
A police car stops. Policeman load the bound, fat Perl.
 
160: 
Roof.
Webbs' head emerges from the roof window. Looks around. He 
sees:
 
161: 
From above. The pier.
Condor and Griffin start up the motorboat.
 
162: 
From above. The shed, from afar. 
The police car drives off.
 
163: 
From above. In front of the plantation.
The women are loaded into a zoo cage on wheels. Condor 
directs the loading of the cage with a rifle, assisted by 
the coat-check lady. The cage on wheels rolls on its own 
from the hill down to the beach.
 
164: 
Close-up, concave mirror shot. 
Webbs' face becomes longer and longer. 

	'And from the roof with sly and cunning 
	Looks Mr Webb, half-man, half-woman.'
 
165: 
Beach.
The cage on wheels stops, the women are loaded into the 
motorboat.
 
166: 
Same as shot 160.
Webbs sets the wig straight, climbs desperately out of the 
window on to the roof, getting caught up in his skirts.
 
167: 
On board the motorboat.
Condor and the women look up at the roof in horror.
 
168: 
Roof.
Mrs Webbs' giant hulk. Waves violently with her white scarf.
 
 	'By God, there is another one who 
	wants to come along!'
 
169:
The motorboat turns around, docks. The coat-check lady goes 
back to the plantation.
 
170: 
Beach.
Hawk and Griffin lead the weakly resisting Mrs Webbs to the 
arms of the coat-check lady.
 
171:
The motorboat taking off. 
Mrs Webbs towers over the other women by a head and a half. 
Day breaks.
  
Act V
 
172:
   
	'It is dawn.'

Motorboat, the interior of the tiny cabin.
Through the window one sees the boat is moving. The 
kidnapped women, pressed together, are wringing their hands, 
Mrs Webbs wrings her hands as well.
 
173: 
Same as shot 172, but shot from inside. 
Consultation. Webbs:
   
	'We can't get out, so we must turn 
	back.' 

Condor is piloting; while he looks away for a moment and the 
women look at Webbs with astonishment and expectation, he 
throws a mirror against the boat's back wall; Condor jumps 
to the spot, from where he cannot see into the cabin. Webbs 
grabs an anchor and slams it quickly and violently against 
the flooring. Condor rushes in, Mrs Webbs points to the hole 
in the floor through which water is already leaking.
 
174: 
Hallway at the plantation.
Paduk watches through a window the boat moving away. 

	'Thank God, they are safe.' 

Suddenly he is shocked because he sees ...
 
175: 
Water.
... the boat is turning around.
 
176: 
Boat.
It fills quickly with water; the women surround Mrs Webbs, 
once again wringing their hands. Condor gets the situation 
under control:

	'Don't scream so god-awfully! You 
	will all be rescued!' 

Webbs agrees and points straight ahead:
 
177: 
Front of the plantation.
Very small above the surface of the water, but growing 
quickly.
 
178: 
Look-out at the plantation.
Paduk's observation is interrupted by the coat-check lady, 
who waddles in. He hurries out with her, she points through 
a window.
 
179: 
The beach, from above.
Paduk sees from the window in the wall that the husbands of 
the kidnapped women from Act I are marching towards the 
plantation. He leaves with the small whistle in his mouth.
 
180: 
Motorboat is sinking.
Condor pulls off his jacket, the ladies are fighting for the 
only lifebelt.
 
181: Harbor pier, from below.
Paduk greets the gentlemen with compliments, guides them 
somewhat hastily into the house, enters last himself, 
looking back at the water. He just catches a glance of...
 
182: 
The motorboat landing.
Griffin and Condor, pulling their revolvers, force the women 
into the cage on wheels.
 
183: 
Winter garden.
Paduk guides his guests in. Gambling.
 
184: 
Interior of the cage. 

Mrs Webbs whispers to Mrs Melvil: 

	'Wait for me on the roof.' 

She nods. In front of the cage's bars the three 'birds' are 
negotiating excitedly. Condor points to Mrs Webbs, who is 
fished out somewhat more impolitely than usual.
 
185: 
Winter garden.
The gentlemen want to leave. Paduk tries to stop them, 
sweating profusely. The black boy brings in huge trays with 
liqueurs. They push their way out.
 
186: 
A club room.
Mrs Webbs is being bound, rolled in a white sheet and tied 
to a board.
  
187: 
In the front room.
The gentlemen at the windows, where Paduk does not wish them 
to be.

	'What kind of wild animal cage is 
	that, Paduky? Do you have such 
	large animals at the plantation?' 

Paduk makes a face, trying to smile. He goes with the 
gentlemen - the camera travels along - through the hallway 
into the club room of Act I.
 
188: Beach.
With great effort the 'birds' push the wheeled cage up the 
beach. The coat-check lady at the shaft of the cage succeeds 
in steering with abundant comical effects.
 
189: 
Club room, same as shot 187.
The gentlemen lose patience and demand to be let out. Paduk 
backs off through the glass door, outside a heavy drape 
falls down and conceals him. The gentlemen tear away the 
window drapery and see a smooth, white wall ... Ceiling 
lights are turned on by an invisible hand. The gentlemen 
look at each other. Dissolve.
 
190: 
Entry hall.
Paduk gives instructions to the 'birds', who are just 
dragging in the women.
 
191: 
Club room 2, same as shot 186.
Mrs Webbs unwinds herself from the linen sheet and ropes. 
Takes off her woman's clothing, is now Mr Webbs again, 
bundles up the clothes, goes to the window, passes through 
the glass door.
 
192: 
Police headquarters.
Perl is being interrogated. He describes what he saw; vision 
of shot 133. The police laugh.
   
	'Fraud, my good man! You are the 
	suspect, not Mr Paduk!' 

Perl is led out.
 
193: 
Hallway.
Paduk sees with a shock that Mr Webbs is approaching him 
slowly from behind.
 
	'Ah, Mr Paduk, could you accompany 
	me to the exit? You can really get 
	lost here!' 

Worried, Paduk leads him first to wall-hangings, but Webbs 
smiles and pushes him on. Paduk looks through a window.
 
194: 
From above, the small entry.
The last women are being brought in by the 'birds'. The 
coat-check lady is sitting on the wheeled cage and directs 
it down to the boat storage.
 
195: 
Docking point.
Relieved, Paduk leads Webbs out. Webbs examines the boat, 
points to the leak.
   
	'May I help you a bit with the 
	repair?' 

Paduk thanks him but shakes his head energetically. Webbs 
takes his leave, the bundle under his arm. He leaves slowly, 
smiling. Close-up of Paduk: hate, mistrust, satisfaction: 

	'Thank God, I have got rid of him!'
 
196: 
Bar.
The women are being pushed as quickly as possible into the 
bar. Hidden behind a group of them, Mrs Melvil immediately 
crawls through the hidden door.
 
197: 
Pier.
Webbs strolls over to the pier, smoking.
 
198: 
Same as shot 196.
The coat-check lady pushes her way through the women, locks 
with a murderously large key the hidden door. A smile 
lightens up several of the women's tear-stained faces.
 
199:
Mrs Melvil climbs out of the roof window. Waves.
 
200: 
Pier.
Webbs looks around, goes to the water, wades, swims over to 
the wall. Between the wall and the water a willow is growing 
on a narrow piece of earth. Webbs climbs it and pushes 
himself up to the roof where Mrs Melvil is waiting. He 
changes clothes with Mrs Melvil, exactly as follows: Webbs 
steps behind the chimney, Mrs Melvil crawls into the 
fireplace. The clothes fly in and out from the top of the 
chimney, then Mrs Melvil steps out disguised as Webbs and 
greets with great seriousness Mrs Webbs.
 
201: 
Small room.
Paduk, the 'birds'. Rapid scene: consultation.
 
	'As soon as the boat is clear, we'll 
	beat it. The plantation will blow 
	up ...'

The 'birds' exit quickly. Paduk alone, grins desperately, 
pockets a revolver.
 
202: 
Split screen:
on the left Webbs - dressed again as Mrs Webbs - climbs as a 
lady back through the roof window, same as shot 199; on the 
right, clothed as a man, Mrs Melvil jumps into the water and 
swims to the pier.
 
203:

	'That evening.' 

The boathouse, interior.
The 'birds' repair the boat completely. Exit. The cage on 
wheels opens, Mrs Webbs slips out gracefully. Seems not to 
take things so tragically any longer and with pleasure 
drives another hole through the boat with the anchor.
 
204: 
Beach.
The 'birds' are walking up to the house immersed in a lively 
conversation.
 
205: 
Shed.
Perl's friends arrive, speak with the guard posted there, 
learn of Perl's arrest, laugh uncontrollably. 

	'Arrested?'
 
206: 
Pier.
Mr Melvil crosses the pier.
 
207: 
Club room 2, same as shot 186.
Paduk enters, does not see Mrs Webbs, is startled, goes to 
the window, sees from above:
 
208: 
Same as shot 204. 
Mrs Webbs comes up the beach.
 
209: 
Hallway.
Paduk comes running, meets up with the 'birds', pushes them, 
runs on, they follow.
 
210: 
Beach.
Webbs sees the four of them coming from the plantation 
running towards him, turns round, goes to the right. Chase 
in the evening dusk. Back to the boathouse, they follow, 
Webbs jumps in the water, wades, swims. Hawk and Condor 
follow. He arrives at the same place seen in shot 200, 
climbs the tree, jumps on to the roof, which Hawk and Condor 
do not see because they are swimming more slowly. They climb 
up on the pier: 

	'She couldn't have gone into the 
	plantation!'

Consultation:
   
	'She wouldn't dare!' 

They stand on the pier, perplexed. Dissolve.
 
211:
Beach.
Paduk shakes Griffin by the shoulders, who plucks at his 
beard while musing.
 
	'I am sick and tired! Away with 
	them! I'd rather guard a sack of 
	fleas than half a dozen women!' 

They walk away.
 
212:
Mrs Melvil in Webbs' clothes walks along the wall toward the 
city. Dissolve.
  
Act VI
 
213: 
Club room 1.
The gentlemen are investigating the floor, walls and ceiling, 
kneeling, crawling, climbing on each other's shoulders.
 
214: 
Boathouse.
The 'birds' want to float the boat, they see the leak, go 
back to work cursing.

215: 
A narrow shaft.
Following a complicated system of cables that she does not 
touch, Mrs Webbs lowers herself on a rope.
 
216: 
Police headquarters.
Mrs Melvil enters in Webbs' clothes. Explains the situation 
quickly.
 
	'Webbs says that you are to land a 
	police boat at the water's edge.' 

The police chief leaves with Mrs Melvil. Perl enters, led in 
by a policeman. He has been released! Looks around in 
amazement, slowly exits, lost in thought. 

217: 
Same as shot 205.
Perl's friends drinking liqueurs with the guards, a car 
drives up. Perl enters breathing heavily. They surround him, 
he shakes them off, goes stiffly to the window, takes up his 
position there, looks straight ahead out the window.
 
218: 
Wooden tunnels (traveling camera!).
Dressed in Mrs Melvil's torn evening dress, Webbs crawls 
through, hops over rolls of cable, comes to the control 
room.
 
219: 
Beach.
The coat-check lady and Condor are pulling the wheeled cage 
up the beach again.

220: 
In front of police headquarters.
A police car leaves. Mrs Melvil is seated next to the 
driver. 

221: 
Traveling shot: bar, hallways, winter garden. The coat-check 
lady and Condor lead the girls out of the bar into the 
winter garden. Suddenly there are too many: some of them 
remain in the bar. Paduk joins those in the winter garden. 
The following is seen through a mirror: 

222: 
Same as shot 218.
Webbs sees Paduk with the girls through a telescopic mirror. 
He pushes various levers. 

223: 
Boathouse beach.
The 'birds' leave the boathouse, carefully lock the door and 
hurry to the plantation.
 
224: 
Plantation wall.
The police car drives up. Police go to the pier. Mrs Melvil 
is not with them!
 
225: 
Club room 2, same as shot 186.
The gentlemen break the window panes, find only white walls, 
are shocked, begin to fight with each other.
 
226: 
City pier.
A police boat takes off. Next to the pilot stands Mrs Melvil, 
in woman's clothes.
 
227: 
Telescopic mirror.
Webbs sees, as in shot 222, the 'birds' enter the winter 
garden. They wave; like a school class the troupe of girls 
begins to move together with the coat-check lady. Webbs 
smiles calmly, moves a large lever. Dissolve.
 
228: 
Shed.
Perl at the window starts, looks more closely, waves his 
friends over. Through the window:
 
229: 
Framed in the window.
The bar, rotating gently, appears. The illuminated windows 
pass by and disappear, punctually like the blinking light of 
a lighthouse. It is a majestic view.
 
230: 
Water.
The police boat shoots through the evening dusk.
 
231: 
Winter garden (directly).
Paduk suddenly stops in his tracks, then the 'birds' too. 
They grasp their heads, stand motionless. Dissolve.
 
232: 
Club room 1.
With shock the men watch the wall move away, a view of the 
front room from shot 1 appears and then passes by.
 
233: 
The front of the plantation.
Police push their way in, and, reaching the entry hall, they 
see how ...
 
234:
... the illuminated club room glides by. 

235: 
Telescopic mirror, same as shot 222.
Webbs watches the pillars of salt in the winter garden. 
Laughs. 

236: 

Winter garden (directly).
The ladies scream. Paduk rushes to the door. The 'birds' 
follow. 

	'The devil take it! That's Webbs! 
	We'll never get out!' 

237: 
Shed.
Perl runs out without his hat.
 
238: 
View from the shed window.
The plantation carousel turns faster. (Possibly from this 
point on instead of a slowly turning trick shot, a model 
that also shows the roof construction of the plantation!)
 
239: 
Beach.
The police boat docks. The police run to the plantation.
 
240: 
Hallways.
Everything is shaking, trembling, pictures are swinging on 
the walls, fall off. The Paduk gang and Paduk himself 
stumble through the hallways.
 
241: 
Hallway between the front room and the carousel. 
The police bump into each other.
   
	'We can't go in as long as the 
	carousel turns like this!' 

They see:
 
242:
Behind the flying windows the Paduk gang runs by. Close-up - 
their pale faces stare straight ahead.
 
243: 
Hallways.
Paduk and his gang rush through.
 
244: 
Roof rim of the bar.
Wall ledge; the Paduk gang balances along it.
 
245: 
Deep in the tunnel. Webbs is thinking to himself:
 
	'Have the police arrived yet? This 
	little carousel of mine is running 
	damned fast by now!'
 
246: 
Shoot in front of the plantation.
Perl runs in. He sees: the bar with the women sails by, club 
room 1 with the men sails by. He is startled when he 
suddenly feels a heavy hand on his shoulder: coachman Brown 
is standing behind him. Dissolve.
 
247: 
Deep in the tunnel, same as shot 245. 
Yellow clouds of smoke are rising from the machines. 

	'The ball-bearings are 
	overheating!' 

Webbs grasps at his collar, he works the levers, he is 
frightened.
 
248: 
Small room.
Paduk is working feverishly at the control panel. It doesn't 
work! His face is distorted.
 
249: 
Hallway between the club room and the front room. 
Perl meets up with the police, confers and leaves with a 
small troop.
 
250: 
Deep in the tunnel.
Surrounded by yellow clouds, Webbs works like a possessed 
man at the levers.
 
251: 
Trick shot.
Short circuit! The fuses blow in the control room, the spark 
travels along the cables, sparks fly from everywhere, there 
is crackling throughout the plantation.
 
252: 
View from the shed. The carousel turns more slowly.
 
253: 
Street.
Perl with the police. They see how the carousel slowly stops. 
They hide in the bushes.
 
254: 
Hallway.
The police. The carousel has stopped!
 
255: 
Club room 1.
The gentlemen, some frozen by fear in their club chairs, 
some gesticulating excitedly, crawl out the broken windows 
as the police at the same time push their way in.
 
256:
Webbs in the control room, almost suffocated.
 
257: 
Hallways. Bar.
The Paduk gang runs through; they are caught by the police 
as they go outside. The women crawl after them out of the 
bar.
 
258: 
Winter garden.
As they exit, the women meet up with Mrs Melvil, who enters 
at the head of the policemen. They explain something to her, 
gesturing wildly:
   
	'Webbs is in danger!'
 
259: 
Plantation.
Begins to fill up with smoke. Wild search of the rooms for 
Webbs. The women compete with the police, that is, they get 
in the way.
 
260: 
Deep in the tunnel.
Webbs climbs up a ladder, half unconscious he keeps falling 
back.
 
261: 
Side wing of the plantation.
Begins to smoke threateningly. The police boat sprays thick, 
short streams that naturally do not reach.
 
262: 
At the bottom of the shaft.
Fighting for air, Webbs is showered with water by the women 
from above, then pulled up by a rope. 

	'The women rescue their rescuer.'
 
263: 
Winter garden.
The men and women sink into each other's arms with laughter 
and weeping. With a bright and a tearful eye they examine 
their more or less ruined evening clothes. In the center of 
the confusion Webbs, the most ragged of all in the torn, 
dripping gown borrowed from Mrs Melvil, shakes each of his 
female rescuers' hands while half choking and coughing. The 
fat Perl comes towards him, pulling coachman Brown with him, 
and says:
 
	'An honest face is worth more than 
	all the arguments in the world!' 

Brown grins.
 
264:
Beach.
The cage on wheels rolls down, above the policemen, with the 
worthy Mr Paduk and his 'birds' inside. Behind, however, led 
by the largest policeman, the melancholy black boy trots 
along and the coat-check lady waddles after, completely 
disconcerted.
 
The end.
 


Unproduced 1921 screenplay by Bert Brecht





1