Introduction
The first scene of this screenplay
adaptation of "The Jewish Wife" by Bertolt Brecht starts at essentially
the same point where the play itself begins. The beginnings of both
consist of the "Jewish Wife"--Judith Keith--contacting various people before
she departs for her trip out of the country. Although Judith Keith
contacts the same people in both the screenplay and the play, the main
difference between the two is that the wife in the play sits in one place
and contacts them by phone while in the screenplay the wife takes to traversing
the city streets to run her errands and tell certain people that she is
leaving. Because film has a more expansive palate from which to work,
I decided to get Judith Keith out of the apartment so that one could film
her in various settings about the city, making the story more visually
interesting. Since most plays have to work with limited space and
props, I thought that it was important to take advantage of the aspect
of film where one can utilize great expanses of space, occupied or not,
and use more people to create a realistic atmosphere. Thus, this
part of the screenplay could and should be filmed in a real German city,
or any particular city really as long as it looked busy and foreign and
also could in part be converted temporarily to look like that period in
history.
Before this part in the
screenplay, one would have seen the gradual changes of the life of Judith
Keith. First, one would have seen Judith and Fritz happy together,
living a pleasant and comfortable life. We then see certain political
events and perhaps hear or see excerpts of speeches or writings that indicate
the commencement of the reign of Hitler, and the growth of Anti-Semitism
that spawned from that regime. One may see Judith's first real encounters
of prejudice, as well as her husband beginning to witness the effects of
the movement. A combination of some of these instances will be portrayed
before this part of the screenplay in order to show factors that led up
to Judith Keith's decision to leave the country. At this point in
the screenplay, Judith Keith has realized that the loss of friends, the
stares of strangers, the strange treatment at various places, etc., are
all becoming inherently worse each day. Even in this part of the
screenplay she witnesses unusual treatment for being Jewish in Nazi Germany;
however, she does not yet directly address it.
1. EXT. DAY. BUSY CITY STREET (HAMBURG, GERMANY)
Camera follows a dark-haired woman, JUDITH KEITH, briskly walking among the hustle and bustle of a city afternoon. JUDITH clutches a few packages that she has been carrying, walking with a somewhat tense look on her face. The camera takes the place of JUDITH walking for a few moments, and from a first person point of view do we begin to see and feel some people's stares. A couple of POLICEMEN walk by giving cold gazes into the camera, as well as some other, apparently non-Jewish looking PEOPLE. The camera cuts back to following JUDITH, who is becoming more aware of the looks from some passersby, -is walking a bit faster until she comes to the outside of a bank where she stops, hesitates, but finally decides to enter.
2. INT. BANK.
Inside, the bank is elegantly decorated -with a deep wine-colored floor covering, Several plush chairs, a large counter, and some heavy wood-carved desks at one end. A few BUSINESSMEN talk in low voices amongst each other. JUDITH walks in unnoticed, sets her packages on the table and sits down in a chair to look at some papers in her purse. The camera cuts to the other end of the bank where two men---DR. HANS SCHULTZ and a banker, ERNST LINDTBERG--come out of an office in amiable conversation.
HANS SCHULTZ: It was a lovely dinner party, wasn't it? Thekla has always amazed me by those culinary skills of hers, even after all these years! Every time we have occasions like these she insists on sending Fran home early so she can have the kitchen all to herself.
ERNST LINDTBERG: Helene can't stop talking about how wonderful it was. By the way, are you and Thekla up for a game on Friday evening? I believe Helene has been inspired to play host now after that dinner of yours.
HANS SCHULTZ: Friday evening you say? Certainly! Thekla's always up for good competition. Perhaps around seven?
HANS and ERNST continue talking and making plans while the camera turns back to JUDITH who has now stopped what she was doing, recognizing HANS who does not see her. JUDITH quickly gathers up her things and heads for the door, hoping HANS does not notice her. She stops just before the door though, sighs, and then slowly turns around and walks in the direction of HANS, who is still at the other end of the bank. This time when JUDITH walks, HANS does see her, and he appears suddenly a bit pale and shifts nervously.
HANS: Judith!
JUDITH: (placing a strained smile on her face) Good afternoon, Doctor.
HANS: (reluctantly walking toward her) What a surprise to see you on this side of town! I just stopped in here to say hello to a friend, Ernst Lindtberg. Do you know him? (motioning towards the office from which he came)
JUDITH: No.
HANS: Oh. (looking around growing more uncomfortable) Well. (glances at his pocket watch). I do believe I should be getting back to the clinic. I must say we've certainly been very busy lately. Terribly busy. In fact, I believe .1 am late as it is. I really should be getting back. I don't want to keep you from your errands . . .
JUDITH: Oh, you are certainly not, Doctor! I'm just doing a little banking. (Then seizing the moment) But I've been meaning to telephone you these last few days . . .
HANS: Oh? (a hint of apprehension in his eyes)
JUDITH: I'm terribly sorry to say that you will have to be looking for a new bridge partner. I'm going away for a bit to visit some friends, you see.
HANS: (relieved) A pity! Where are you going?
JUDITH: I'm going to Amsterdam. I won't be gone long, but no less than a couple of weeks. I've been putting the trip off for a while, actually, but now I must . . .
HANS: I hear spring in Amsterdam is absolutely lovely.
JUDITH: Yes, so I have heard. It will be nice to see some old friends. Doctor, I hope this won't cause too much of an inconvenience for you. It's a shame that we all couldn't get together to play these last few weeks.
HANS: (a pinch defensive) Well, with Thekla's cold and all...
JUDITH: Certainly! Fritz has had a rather awful cold lately too. How is Thekla's mother coming along?
HANS: Her mother?
JUDITH: Is she feeling better?
HANS: Ah . . . I believe she is still feeling under the weather. Thekla has been staying with her often now. It seems like neither of us is ever home these days . . . (not looking her in eves)
JUDITH: Oh, I know. We have been quite busy ourselves. I thought I would make this little trip now before I get really swamped with things I need to do!
HANS: Well, it sounds lovely. I suppose we will have to call off our movie date?
JUDITH: Yes . . . But please tell Thekla that I say hello. I'm sure Fritz would like to hear from you. Perhaps you will call him on Sundays sometimes?
HANS: Why, yes! Of course. Take care, Judith.
JUDITH: Take care, Doctor. So long.
JUDITH quickly gathers up her packages and walks briskly out the door. HANS watches her leave, his smile fades, and a troubled shadow casts over him. The camera follows her out into the busy street. She walks fast for a few blocks, stops in front of a telephone cubicle, retrieves a small black book out of her purse and hastily steps inside...
3. INT. TELEPHONE BOOTH OFF OF STREET/ FRAU SCHOECK'S HOUSE
JUDITH clears her throat and dials. The camera cuts to a MAID answering the ringing telephone in the foyer of a house. The camera continues to alternate between the two settings as each character speaks.
MAID: Guten abend, Schoeck's residence.
JUDITH: Judith Keith speaking. I'd like to speak to Frau Schoeck please.
MAID: One moment--
The MAID disappears around the corner and soon a pleasant-looking woman older than Judith comes to the telephone.
LOTTE SCHOECK: Yes?
JUDITH: Lotte? This is Judith.
LOTTE: Judith! It's lovely to hear from you. How are you doing, dear?
JUDITH: I've been well, Lotte. Actually I was just calling to say that I'm go--
LOTTE: How is Fritz doing, dear? Why, Maxwell here has had this unusual foot pain for a few days now and he hasn't stopped talking about it since! Perhaps Fritz could come and took at it? Max thinks its a condition of some sort but I think he just hit it on the foot of the bathtub or something along those lines. It's funny that his foot mysteriously begins to hurt more whenever I need him to do some--
JUDITH: Actually, Lotte" I'm so sorry to interrupt but I just wanted to say a quick goodbye. I'm going to be leaving soon for a time.
LOTTE: Oh! You are? Are you doing alright, dear? Are you not feeling well?
JUDITH: Oh, no, it's nothing like that. I just want to see a couple of new faces. But, what I wanted to say was that Fritz is bringing the professor here for the evening next Tuesday, and perhaps you could come too. I'm leaving tonight so--
LOTTE: You're leaving tonight? Are you sure there is nothing wrong?
JUDITH: No, of course not. But, as I was saying, I thought
that you and perhaps Max would enjoy the professor's
company. It's next Tuesday.
LOTTE: Why that would be lovely. It's a pity you won't be there! It's been quite a while now since I've seen you, dear.
JUDITH: I know, Lotte. (pause) I am glad, though, to hear that you and Max--if he's up to it-- can come, Fritz will be pleased to see you. However, I should be going since I'm leaving tonight and I must--
LOTTE: (Her tone growing more serious and sincere) Judith.
JUDITH: --get some things together so that I can--
LOTTE: Judith.
JUDITH: What is it, Lotte?
LOTTE: I know why you're leaving, Judith. I know this whole
mess here is getting
worse by the minute. Worse for you. Oh! You know
I'm not like them, don't you, Judith?
JUDITH: I know you are not like that, Lotte. Even if you were, these are troubled times, and everybody's careful. But--I really should be going. You'll come then, next Tuesday?
LOTTE: (sensing that Judith is not going to open up to her, she does not try to pursue the conversation and quietly sighs) Surely, Judith. Tuesday.
JUDITH: Great. Well, I must hang up now.
LOTTE: Have a safe trip, dear.
JUDITH: Fine. Goodbye.
We see JUDITH hang up, then LOTTE who stares at the phone for a moment, then hangs up also. JUDITH steps out of the phone cubicle and back out on the...
4. EXT. OUT IN THE BUSY STREET
We follow JUDITH down the busy city street again . A few blocks later, she comes to antique shop, peers in the window, hesitates, then enters.
5. INT. ANTIQUE SHOP.
Bells attached to the door make a gentle jingle as JUDITH enters
the shop. When she walks in, there is no one behind the front
counter at the moment. She wanders slowly around the store, examining
a small doll when a WOMAN from the back room comes up behind her.
GERTRUDE: (icily) Oh. It's you.
A bit startled, JUDITH turns around quickly, almost dropping the doll.
JUDITH: Hello, Gertrude! I hope I'm not disturbing you from your work. I just stopped in to talk for a moment. How is the shop doing?
GERTRUDE: Fine. What do you want, Judith?
JUDITH: Well, I thought I could ask a favor of you, perhaps. I was wondering if you could look after Fritz. I'm going away for a couple of months. I thought that you as his sister would want--
GERTRUDE: Well, he certainly could have called me himself.
JUDITH: You know how he is, though. Now, I know you and I didn't get on too well together, but I hope that if you can't do this as a favor to me, then do this for Fritz.
GERTRUDE: Well . . . . I suppose I can do that. For Fritz.
JUDITH: (appearing not to notice Gertrude's rudeness) It shouldn't be too much. The apartment is pretty much in order, although it is too big.
GERTRUDE: Eh, what about that study of his? That is always a mess.'
JUDITH: Oh, Ida knows how to look after it, just leave that to her.
GERTRUDE: You have another maid?
JUDITH: (again ignoring her rudeness) We hired Ida a few weeks ago. I find her quite intelligent, and Fritz has quickly become used to her. I need to tell you a few things. First--and please don't misunderstand me--he doesn't like to talk before dinner, would you remember that? I've always avoided it.
GERTRUDE: Avoided talking to him?
JUDITH: Well . . . yes. I don't want to discuss it now because my train is going to leave soon and I still have to finish packing. You will do this, surely?
GERTRUDE: I suppose.
JUDITH: Let's see. What else? Oh, I need you to look after his suits and remind him that he has to go to the tailor--he's ordered a coat. Take care that his bedroom is well-heated, he always sleeps with an open window and it's too cold
GERTRUDE: Perhaps he likes it that way. He probably should get used to it.
JUDITH: (gritting her teeth not to snap back) Well, no, I do not think that he needs to get used to it. I really must go now. Thank you so much, Gertrude. I will write you. Goodbye.
GERTRUDE says nothing as JUDITH leaves the shop quickly and goes down the street.
6. EXT. OUTSIDE OF JUDITH AND FRITZ'S APARTMENT.
Camera shows Judith entering an old but well-kept apartment building.
7. INT. STAIRWAYS AND HALLWAY INSIDE APARTMENT BUILDING
JUDITH walks up the stairs carrying her packages. As she is walking up, the camera cuts to TWO NEIGHBORS who are having a friendly conversation near the end of her hall. Their voices get a little louder as JUDITH gets nearer to the top of the stairs. Almost at the top of the stairs, the camera cuts to the neighbors at the end of the hall --who see her before she sees them. They suddenly stop talking and look at each other. Reaching the top of the stairs, JUDITH is looking down, shifting the packages which are falling out of her arms. When she looks up again, her hall is deserted though she had just heard voices. She quickly unlocks her door, but before she enters she takes a long pause, looking down the empty hall comprehending everything.
8. INSIDE JUDITH AND FRITZ'S APARTMENT
The room she enters is clean with dark mahogany furniture and some other embroidered sitting chairs. There are large carved bookcases filled from floor to ceiling with all kinds of books, including many medical journals. JUDITH stands just inside the door, surveying the room as if for the first time. She stands there in deep thought, letting the packages slowly slide out from under her arms onto a small table near the door. JUDITH snaps out of her troubled thoughts and moves to hang up her coat. In the corner of her eye she catches her reflection in the ornate mirror across the room. Instinctively she goes to smooth down some of her stray hairs that have slipped out of her tightly wrapped bun. She stops fixing her hair and we close up on her face which darkens as she looks at her reflection. She then takes the pins out of her hair, letting the dark tresses fall to her shoulders. JUDITH touches her hair, her face, slowly examining all of her features. She stares for some time, then her face tightens into a look of resolution. She turns around and stalks briskly into the bedroom down the hall, yanks out a large suitcase from under the bed and starts to pack quickly. Her pace becomes slower as she grows more indecisive in her selections. JUDITH sits down on the bed and lights a cigarette, staring for a long time at the picture of her husband that she is holding, then puts it back on the dressing table instead of packing it in her suitcase.
After this part of the screenplay,
Judith Keith will have the same confrontation (or lack thereof rather)
with her husband when he comes home as in the play. An important
aspect of the closing scene, if portrayed in the screenplay, one can use
the camera to zoom in on the husband handing Judith the fur coat that represents
so much, or one could possibly show Judith on the train perhaps clutching
the fur coat in her lap, which could be the last shot also.