Original subtitles

Play one of the best new FPS shooters, search Steam for PROJECT WARLOCK

♪ 'Cause I'll be leaving in the... ♪

♪ In the fairest ♪

♪ Of the seasons ♪

Oh.

Patricia.

♪ That I'll be leaving ♪

♪ In the fairest of the seasons ♪

♪ Do I stay or should I go? ♪

So, I have a patient that is coming in five minutes.

I can ask him to come back later.

Please.

♪ 'Cause I'll be leaving ♪

♪ In the fairest of the seasons ♪

♪ That I'll be leaving ♪

♪ In the... ♪

This song, it's stuck in my head, and it's so loud.

They're going to try to keep her alive after all.

Markos?

I have to tell Sara to get out of there.

She's the only girl I actually give a damn about.

If I leave without her,

they may pick her next.

Or Olga.

I should warn Olga, too.

Olga's already figured out things.

She saw how they groomed me.

There's more in that building than what you can see.

They've been underground since the war.

And you think they can hear you now?

At the beginning, they gave me things.

Perfect balance, perfect sleep.

Talking with our minds.

But they took my hair.

They took my urine. They...

They took my eyes.

Now she can see me.

♪ 'Cause I'll be leaving ♪

♪ In the fairest of the seasons ♪

♪ I'll be leaving... ♪

Mother Markos.

Oh, she wants to get inside of me.

I can feel her.

Oh, I thought I wanted it.

I let it happen.

If they find out I was here, they won't hesitate.

♪ This is what I was thinking ♪

♪ About our bodies ♪

♪ What they mean ♪

♪ For our salvation ♪

♪ Only the clothes that ♪

♪ We stand up in ♪

♪ Just the ground ♪

♪ On which we stand ♪

♪ Is the darkness ♪

♪ Ours to take? ♪

Okay, that's good. That's good.

♪ Bathed in lightning ♪

♪ Bathed in heat ♪

♪ All is well ♪

♪ As long as we keep spinning ♪

♪ Here now ♪

♪ Dancing behind the wall ♪

♪ Hear the old songs ♪

♪ And laughter within ♪

♪ When I arrive, will ♪

- Morning, Pastor. - ♪ You come and find me? ♪

Did the rain get your clothes all wet?

No, don't you worry. The girls just hung that all up.

- ♪ In a crowd ♪ - Two days of rain

is what I just heard on the radio.

- That'll just about do it. - Just about.

♪ Be one of them ♪

How is she today?

- ♪ Mother wants us ♪ - Much the same.

♪ Right beside her ♪

♪ No tomorrows ♪

♪ At peace. ♪

You're Miss Tanner?

Yes. Come in.

Nah?

I tried to call you at your hotel this morning

to ask you if you could reschedule.

- Why? - Company business.

It's not a good time just today.

But here you are.

And one, and two,

and three, and four,

and five,

and six, and seven,

and eight.

Elbows up. And one...

Come in, Susie.

Miss Millius and Miss Mandel are the company's repetiteurs.

And Veva Blanc?

I was told she would be here.

Oh, dear.

You have no formal training or references.

Your insistence to audition

happened to catch Madame Blanc on a good day.

But you really shouldn't be here at all.

Do you understand?

- Mm-hmm. - Yeah?

Good.

Uh...

I prefer dancing without music.

Danke schoen.

You can keep time in your head, yes?

Mm-hmm, and Hypnose.

And here we have...

a line between the elbows.

Face forward.

Perfect, and... Morphus.

And here, not so close to the face.

More like you're holding a bird or something.

They did it when we were in morning rehearsal.

They just put her things in shipping boxes.

You don't think she had to go underground, do you?

I don't care what happened.

I just want her to call.

I'm really worried.

Fraulein Bannion.

Kommen Sie.

I've just spoken with Madame Blanc.

Well done, Miss Bannion.

I imagine you will need to return home

to settle things and make arrangements

for moving to Berlin.

No. No, no.

I can start right now.

Good.

This is Miss Boutaher,

our technical director.

Guten Tag.

And this is Miss Vendegast.

- She acts as house mother... - Hello.

...for our dancers who reside here.

Where'd you come from?

Ohio.

We operate as a sort of Ruth Bré collective.

As we cannot pay our dancers a lot of money,

we offer dormitory-style rooms, rent-free.

You don't... you don't charge anything at all?

Not a mark.

In this company, we fully understand

the importance of a woman's financial autonomy.

Normally, it would be full at this time of year,

but we have had a room open.

Yeah. Patricia's.

Do you know Patricia?

Mmm...

No, I heard some girls talking

about her in the hall.

Ah.

Now that you're one of us, I won't be coy.

Patricia has just left the company

under sad circumstances.

We think she won't be back, so there's room if you want.

We'll send you one of our girls to help you with your luggage.

After lunch.

It's all right for you?

Yes.

It's-it... it's all...

Yes.

It's perfect.

Hello. Hi. I'm sorry I'm late.

- Hi. - It's the rain.

Whenever it rains in Berlin, everyone jumps in a cab,

and like an idiot, I just let ours go.

Hi. I'm Sara.

We're gonna have to take our chances on the street.

Do you have an umbrella?

Oh, when you weren't here by 6:00,

I had to take the room for another night.

Oh. God, Susie, I'm sorry.

Everything was a mess at the company today.

Why are you smiling?

I'm sor... I-I...

Um, uh, when you said Berlin a second ago,

you said "everyone in Berlin,"

and I just thought that... that includes me now.

I live in Berlin.

Yes. Congrats.

I heard you were a sensation today.

Have you called your family yet, to tell them?

Miss Blanc came into my audition.

But she left right after.

She's incredible.

The way she transmits her work, her energy.

When it shines on you, it's...

"addictive" is the word for it.

She's tough.

She kept the company alive through the war.

When the Reich just wanted women to shut off their minds

and keep their uteruses open,

there was Blanc.

Thank you.

La vraie chose.

What?

W-Was that French?

It's a bomb.

I can smell it.

There's a bank that way.

Don't you know what's happening here?

The hijackers are negotiating a release

of the Stammheim prisoners tonight.

The RAF.

Baader-Meinhof.

They kidnapped an executive.

During the war, he was a Nazi SS, an officer.

Now he runs the German Employers' Association.

You don't get how awful that is, do you?

Sorry.

I'm just worried about my friend.

Bedrooms are on the second floor.

Why don't you try speaking to me like you love me?

Huh?

For a change.

This is my room.

And here...

is yours.

We're neighbors.

You can knock on the wall if you ever need anything.

Good morning.

- Good morning. - Hello.

- Good morning. - Good morning.

- Hi. - Good morning. Good morning.

How's your knee? Okay?

It's wonderful you're here.

Thank you.

We have some happier company business today.

We have a new dancer.

This is Susie Bannion, who's joining us from America.

I was privileged to witness her audition yesterday.

We are very lucky to have her.

Would you like to say something, Susie?

Um...

I don't know.

Hello.

I feel like I'm not even here yet.

I don't know.

You join in whenever you feel ready,

but there's no rush.

Welcome to our little family.

I'm Susie.

Hi. Hi.

All right, so for today's rehearsal,

I want to pick up exactly where we left off with Volk.

I've spoken to Olga,

and she's going to dance Patricia's part.

And, Sara, I'd like you to dance Olga's part.

Is everyone happy with that?

Okay.

Good.

No, no, no, no, no, no, no, no. Music off, please.

One moment.

Okay, so...

And one, and two, and three.

You pull it from the ground.

All right? Gravity, remember.

And everybody from here, please.

And Tanner.

One and two and three.

And one, and two, and three.

Und eins, und zwei, und drei.

Und eins, und zwei, und drei.

Und eins, und zwei, und drei.

Und eins, und zwei, und drei.

Und eins, und zwei, und drei.

Und eins, und zwei, und drei.

Und eins, und zwei, und drei.

This is shit.

- Such shit. - Okay.

Why don't we all break for ten minutes.

You can't even be bothered to respect your own lies.

Miss Ivanova!

No, no, no, no, no, it's okay.

Let's face this.

Patricia is gone, Olga.

We don't know where.

If she's gone into hiding, she wouldn't have told us,

- would she? - She would have told someone.

We know that she had dealings

with people who are interested in targets.

And we know there was another bomb

in Kreuzberg last night.

She wouldn't do that.

She wanted to live her beliefs.

Who doesn't admire that?

And there's so much to change in the world.

If she wants to live in a cellar

filling bottles with petrol, that's her choice.

And who won't be heartbroken if she's shot by police?

You manipulate everything.

She didn't trust you because you're hypocrites.

Will you take Olga to her room, please, Tanner?

No, Miss Tanner!

Call Olga a cab.

She's had enough.

And is going to pack her things

and get the fuck out from this box of rabies!

I'm sorry about that.

It's a hot thing we do.

Okay, so... who will dance the protagonist?

Sonia?

I can't. Not yet.

Caroline?

Very well. We'll manage.

I suggest that we all take it from the top.

I'll dance.

I know it.

It's in the documentary.

I-I've seen it a hundred times at the library.

Sweetheart, we rehearsed this piece

for ten months before we performed it.

I've seen it in person, too.

First do it alone, then.

We don't want to put the others at risk.

The last thing we need

is someone to get kicked in the ribs.

All right?

Okay, stop. Stop, stop.

Stop.

All right.

Clear your head.

I want you to start over.

Have you stretched?

This is no joke.

Olga.

Olga.

Come.

Remember, you start on one with the music,

and if you feel ill at any time, just stop.

You start here.

And...

Lauter!

Bravo. Bravo, Susie.

It'll pass.

You're not the first dancer who lost the room.

I'm not usually dizzy.

An occasional collapse

is a vocational hazard, I'm afraid.

I-I didn't... I didn't collapse.

You're on the floor, and that's not where the dance ends.

I was trying not to throw up in your studio.

Susie, it's fine.

It was wonderful.

Sara, can you take her to her room, please?

You can rest for the rest of the day.

- How enlightening. - Okay, come on, girls.

Let's go.

And one, and two, and three.

And...

No, Susie.

We have to study America.

I said no.

Susanna.

You don't look better.

Or are you this pale all the time?

I will leave you.

Good night.

The Amish split

from the Mennonites in the 17th century.

They were worried the Mennonites

were becoming too liberal.

"They"? Not "we"?

You've left religious thinking behind you, then?

And you're not comfortable talking about these things.

I don't know why we are.

It's difficult not to be curious about you.

In two days, you've auditioned,

been accepted and danced a lead.

How did your journey towards us begin?

I went to New York.

To the Martha Graham Center.

I saw you there three times.

I went once by bus,

then I hitchhiked the other two.

That's risky.

Were you punished?

Yeah.

But I felt I had to see you.

What did it feel today

to dance Volkin front of the one who made it?

No, no. That's a vain question.

Let me ask you another.

When you were dancing, what did it feel like...

inside you, inside your body?

It felt like what I think it must feel like to fuck.

You mean to fuck a man?

No, I...

was thinking of an animal.

You looked...

I'm going to ask Caroline to work on your jumps with you.

Yours are nowhere near good enough yet.

We'll have to build you up.

So that I can dance the protagonist

when you perform it?

I'll need to see you dance at this level time and time again.

I can do it.

Olga made Volkseem like such heavy lifting.

She never understood the heart of Volk.

She lacked conviction.

I'm relieved she's gone.

Thank you for your help with that.

Madame Blanc...

wants me to dance the protagonist in Volk.

I didn't think it was gonna be like this.

She's so kind.

That's wonderful.

Are you all right?

I'm fine. I was just...

I was just thinking about what Olga said in rehearsal.

About Patricia.

What do you mean?

She was active in some political groups.

No one knows where she is, really.

If she's all right.

Was it true...

what Olga said?

Yes.

Patricia didn't trust the matrons.

And I never understood why.

If I asked you for a favor tomorrow, would you do it?

Yes.

We might get caught.

Okay.

Mother. Mother.

Mother.

Mother. Mother. Mother. Mother.

Mother. Mother.

Susanna.

- Guten Morgen. - Guten Morgen.

Morgen.

Guten Morgen.

Yeah, I know. It's crazy.

Okay, well, let's meet soon.

Yeah, no, I'm-I'm... I'm ready.

I'm almost out the door.

Okay. Yeah.

- I'll see you soon. - Marketa.

- Marketa, come on. - I'll see you soon.

Come on.

Come, come, come.

Are you sure no one's coming?

Oh, I'm sure. Don't worry.

Nobody comes here during the weekend.

Patricia's isn't here.

Try looking for Olga's.

Olga...

She's not here.

I just need a number.

For her parents or someone who can tell me for sure

she is or isn't in Berlin.

Hmm. How odd.

1961.

1955.

1949.

It's bizarre.

Here, kitty, kitty, kitty, kitty, kitty, kitty...

Here, kitty, kitty, kitty, kitty, kitty, kitty, kitty...

There's nothing.

Come on.

Sit down.

This morning,

we turn our instincts inward.

Miss Millius, Miss Mandel,

can you close the mirrors, please?

Miss Marks, no music.

I want to start work on a new piece.

A piece about rebirths.

The inevitable pull that they exert

and our efforts to escape them.

We'll learn it now, but, Susie,

you will improvise freely at its heart.

I'm interested in your instincts here.

The piece will be called Weider OÖffnen.

Open Again.

Allez.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One...

...two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One...

Did something happen?

- Hmm? - To you, during it?

N-No.

Did you... did you...

Did you feel something there?

Someone?

Or just something.

What made you say that?

I don't know.

Am I confusing you?

No, it's, um...

It's odd. It's the...

It's the sort of thing Patricia would say.

It's bizarre.

Come on.

Let's get changed, or Sonia will leave without us.

I've got a dress you can wear.

Double caposhi.

♪ ♪

Susie!

Oh, Susie!

Is it true?

Is it true?

I know who I am!

I know who I am!

It's all right.

It's okay.

Is she all right?

It's just a nightmare.

The Markos Company special.

I'm surprised it took this long.

Hey, let me know if she needs a Valium.

She's right. I dreamt of hairballs in toilets

for three weeks before I got a decent night of sleep here.

Move over.

I've only ever slept in bed with my sister.

We're sisters now.

Herr Klemperer?

And one, and two, and three.

And one, and two, and three.

And one, and two, and three.

And one, and two, and three.

One, and two, and three.

And one, and two, and three.

And one, and two, and three.

And one, and two, and three.

That's-that's okay.

Do you want to do the jumps?

Okay.

And...

one, and two, and three.

And one, and two, and three.

No.

Elbows higher.

All right, one moment.

Susie, part of the jump is muscle,

and that will develop as you condition,

but you seem to have an aversion to them,

and I don't quite see why.

Are you so happy to be stuck to the earth?

There's a yield before the push,

which I don't think you're quite understanding.

Caroline. Could you come and do a series for us, please?

Thank you.

And now you.

What I really want is to be on...

on the floor right now, anyway.

Well, of course.

That's because you're mistaking physical weakness

with artistic preference.

And because you're tired.

At this point,

the jumps are opposing the pull of the structure,

but...

it's soon for that, don't you think?

The floor work is... is keeping the other dancers pushed down.

So this...

this could echo that...

...on-on a slightly higher point of elevation.

If I stay close to the ground now

and go straight into the jumps where you have them later,

then that's more to the point.

The resistance is more...

emphatic.

Right?

I don't know how aware you are

of what times we lived through here 40 years ago.

Out of which this piece was made.

We learned at great cost through those years

the value of the balance of things.

Every arrow that flies feels the pull of the earth,

but we must aim upwards.

We need to get you in the air.

Leave her, leave her, leave her, leave her, leave...

Ja?

She hit her head hard.

I heard it. I hope...

I am... I'm looking for a dancer from your company.

Who are you looking for?

You are Sara.

Yes.

May I help you?

I am a friend from Patricia.

I don't know what to make of any of this.

I know the kind of thing she was involved with,

but I can't see how any of this

could be happening inside the company.

Well, she describes...

something like a revolutionary organization

in a crisis of leadership.

With Markos very ill...

I live there.

I have friends there.

I don't see any evidence of this at all.

No one has ever approached me

or any of the other girls, as far as I know.

Read this.

What is this?

This is Patricia's diary.

Mother Markos.

Mother Meinhof.

The dance rehearsal.

Political action.

These two areas in Patricia's life

were of equal importance.

This is how transference happens,

how delusion is made.

Delusion, Sara,

is a lie that tells a truth.

- This says "witches." - Mmm.

Maybe Patricia's fantasies about witches,

they are her way of processing some other form of intrigue.

The company's a family.

There's a lot of love there.

Love and manipulation...

they... they share houses very often.

They are frequent bedfellows.

Sorry, I don't see this.

Eat.

Eat.

Only...

maybe the police, they missed something.

And Patricia, she did spoke of...

whole hidden areas of the building.

Actual rooms that are secret.

I don't want to be disrespectful...

I don't... but you're asking me,

- and I'm telling you... - Oh, please.

It's a dance company.

We're not talking about anything else.

Sara.

Please, only look closer.

Thank you for caring for Patricia,

but I hope you don't come again.

- Good night. - Good night.

Sara, hurry up.

I'm tired. I need the bathroom.

- Good night, Doll. - Good night.

She hasn't come back yet?

Maybe she's seeing somebody.

Part of the issue always

is not being able to see your body in space.

One angle in one mirror or on film is not enough.

Movement is never mute.

It is a language.

It's a series of energetic shapes...

...written in the air

like words forming sentences.

Like poems.

Like prayers.

Spells?

When you jump, it's not the height

but the space beneath you that matters.

Every leap into the air must be a coup de foudre.

I don't understand.

A strike of lightning.

A bolt of love, in fact.

That's beautiful.

There are two things that dance can never be again:

beautiful and cheerful.

Today, we need to break the nose

of every beautiful thing.

And if you're going to be a dancer,

you must learn French.

When you dance the dance of another,

you make yourself in the image of its creator.

You empty yourself

so that her work can live within you.

Do you understand?

Yeah.

You're in a company now.

You have to find your right place.

You have to decide...

what is it you want to be for this company?

Is it the head?

The spine?

The sex?

The heart?

The hands.

I want to be this company's hands.

Higher.

Higher. Higher.

Higher.

Higher! Higher.

Higher.

Higher, higher, higher.

Higher.

Higher.

Higher. Higher.

Higher. Higher. Higher.

Sometimes I only need to be told twice.

33, 34, 35, 36,

37, 38, 39,

40, 41.

57, 58, 59,

60, 61, 62, 63.

65, 64, 63, 62.

23, 22, 21.

Ten, nine, eight,

seven, six.

Two, one.

Come with me! Quickly!

Patricia wrote about

"Three Mothers" lost in time,

predating all Christian invention.

Pre-God. Pre-Devil.

Mother Tenebrarum, Mother Lachrymarum

and Mother Suspiriorum.

Darkness, Tears and Sighs.

I saw images of that last night.

In porcelain, these very fine things.

You can tell they have money.

Patricia said that, uh, Markos

claims to be one of the Three.

But there is dissent amongst them.

She wrote about "Markosites" and "Blancites."

In-Internal division.

Madame Blanc's involved in this?

Do they believe they're witches?

You can give someone your delusion, Sara.

That's religion.

That was the Reich.

The Reich had these things.

Insignia.

Esoteric ritual.

These "Mothers," yeah, they could be

code names for founding members

with metaphoric histories.

I don't know.

But I do know you are living with dangerous people.

Patricia could still be in...

...in there.

They could be holding her.

In the building.

Well, I cannot promise that the authorities

will come back to, uh, inspect a cabinet

full of porcelain after all that has happened.

But we can try.

And in the meantime, you must, uh, take care of yourself.

Perhaps you should leave.

You have somewhere you can go?

I'll figure it out.

And I think you should put this back.

Or better still, you leave it here.

Not good for them to know that you have it.

Is anyone among you sick?

Let him call for the elders of the church;

and let them pray over him,

anointing him with oil in the name of the Lord.

And the prayer of faith shall save him that is sick,

and the Lord shall raise him up;

and if he has committed sins...

My daughter.

...they shall be forgiven him.

My last one.

She's my sin.

She's what I smeared on the world.

You're making some kind of deal with them.

I don't know what you're talking about.

How can you know

what they're going to ask you in return?

Sara, whatever you have in your mind,

nothing is wrong.

You just haven't seen the bill yet.

Nothing's wrong.

What's the matter with you?

Huh?

You don't be so afraid about the white, Susie.

They need to see you from the very back row.

Where is Sara?

She came early in the morning,

did her makeup and left.

Girls!

Vier minuten!

Four minutes!

Vier minuten!

Tak, tak.

Is it true?

Sara.

Sara.

Patricia.

Patricia. Patricia.

- I knew it. - They'll kill him.

I'm sorry it took me so long.

I'm so sorry.

What did they do to you?

I wake up here every day.

It's all over now. I'll get you out.

The performance is starting upstairs.

Everyone will be looking the other way.

Get up. Get up.

Patricia!

- Patricia, get up. - I'm trying.

Get up.

Get it off of me!

Sara!

Markos! Markos! Markos! Markos!

Marketa.

Where is Sara?

Sara?

I don't know.

- Is she upstairs? - No. I looked.

Just dance as if she's with you.

Sara!

Go!

No.

- No. - Sara, lie still.

- No! - Sara.

Please. Please...

No! No!

Sara!

Good.

Good. That's good.

I'm sorry I went off book.

This can't happen again.

You're only just starting to understand, Susie.

We brought Sara back upstairs

to try to complete the performance in time,

but then you derailed it.

Did I hurt those people?

Not this time.

They saw a dance.

That's all.

It's all a mess, isn't it?

The one out there.

The one in here.

The one that's coming.

Why is everyone

so ready to think the worst is over?

I could explain everything to you.

I think it would be wrong, though.

One, two, three, four.

One, two, three, four.

One, two, three, four.

- One, two, three, four. - ♪ Open again ♪

One, two, three, four.

One, two, three, four.

♪ We breathe again ♪

♪ Upon the other shore ♪

♪ Washed out ♪

♪ We live again ♪

♪ We're demons, all of us ♪

♪ We're open ♪

♪ Just say it ♪

♪ Just say the magic words. ♪

Herr Doktor.

I'm ready, Madame.

You look afraid.

She's afraid for you.

There will be nothing of you

left inside.

Only space for me.

I came here for this.

You've all waited long enough.

Ah!

It is happening.

It is happening!

Do you come here willingly?

Hmm?

Huh?

You must have no doubts, Susie.

If you do, I can take you back.

I can take all of this from your head.

You can forget everything.

I want this to be pure.

We all know what you want.

This isn't vanity.

This isn't...

art!

There is something wrong here.

Can you not feel it?

This is not right.

We have to stop this now.

We have been on

two sides of this

for too long now.

Markos! Markos! Markos!

Markos! Markos! Markos! Markos!

Markos! Markos! Markos!

Markos! Markos!

Markos! Markos! Markos!

Markos! Markos!

If you accept me,

you must put down the woman who bore you.

Think of that false mother now.

Reject her.

Expel her.

You have the only mother you need here.

Death to any other mother.

Say it.

Death to any other mother.

Who are you?

For whom were you anointed?

Which of the Three Mothers?

Mother...

Mother Suspiriorum.

I am she.

Markos.

Markos!

Markos!

Markos.

Death to any other mother.

Markos.

Markos!

♪ Come under my wings ♪

♪ Little bird ♪

♪ Come under ♪

Markos!

♪ My wings ♪

♪ Little bird ♪

♪ Come under my wings... ♪

Markos!

♪ Unmade ♪

♪ Unmade ♪

♪ I swear that there's nothing ♪

♪ Up my sleeve ♪

♪ Bring it back again ♪

♪ I swear there's nothing... ♪

I am the Mother.

What do you ask?

To die.

♪ Broken pieces ♪

Mother.

Mother, we're so tired.

♪ Unmade ♪

What do you ask?

To die.

I want to die.

♪ I swear there's nothing... ♪

Sweet girl.

What do you ask?

Die.

♪ Come under my wings ♪

♪ Come under my wings ♪

♪ Come under my wings ♪

- ♪ Under my wings. ♪ - Yes.

Dance. Dance.

Keep dancing.

It's beautiful.

It's beautiful.

It's beautiful.

Yeah. Okay.

Good. Good.

My God, what a night.

I definitely drank too much wine.

- Bonjour. - Bonjour.

- Guten Morgen. - Morning.

Good morning.

I regret what my daughters did to you.

I wasn't in a position to prevent it.

I believe you deserve to know the truth.

Your wife did try to make it south

to Teplice.

She was apprehended by border guards

in the woods just outside of Glashuütte.

She was then taken to Theresienstadt camp.

She lived there for 20 days.

On the 11th of November, 1943,

the commandant of the camp, a man named Burger...

...ordered all 40,000 detained there

stand outside in the cold for a census.

Hours and hours passed.

Some hundreds died of exposure.

Your wife had two women with her as she died.

Women she had befriended,

who made her feel that she was not alone.

Her final thoughts...

were of a birthday

when you took her to a concert as a surprise.

Chopin and Brahms.

It was the first time you held her hand.

She was cold when she died.

But she wasn't afraid.

She was thinking only of you.

Of Anke Meier...

...of Patricia Hingle...

...of Sara Simms...

...of Susanna Bannion,

of all the women of your undoing...

...every memory will vanish.

They will melt away in the sun

and be gone.

Herr Doktor.

Herr Doktor.

- Ja? - Ja.

♪ This is what I was thinking ♪

♪ About our bodies ♪

♪ What they mean ♪

♪ For our salvation ♪

♪ Only the clothes that ♪

♪ We stand up in ♪

♪ Just the ground ♪

♪ On which we stand ♪

♪ Is the darkness ♪

♪ Ours to take? ♪

♪ Bathed in lightning ♪

♪ Bathed in heat ♪

♪ All is well ♪

♪ As long as we keep spinning ♪

♪ Here now ♪

♪ Dancing behind the wall ♪

♪ Hear the old songs ♪

♪ And laughter within ♪

♪ All forgiven ♪

♪ Always or never be true ♪

♪ When I arrive, will ♪

♪ You come and find me? ♪

♪ In a crowd ♪

♪ Be one of them ♪

♪ Mother wants us ♪

♪ Right beside her ♪

♪ No tomorrows ♪

♪ At peace. ♪

Support us and become VIP member to remove all ads from OpenSubtitles.org