by Wes Anderson
Cut to:
Agatha swinging by one hand from a broken trellis off the end of a terrace three flights below. She hangs onto the wrapped painting with her other hand. She notices something on it and frowns.
Insert:
The dangling package. A section of the wrapping paper has torn away, and the corner of a pale-pink envelope is visible pasted to the back of the picture.
Zero stares down at Agatha, horrified. He mutters to himself:
ZERO
310-bis! (Shouting to Agatha.) Hang on! Here I come!
Zero races back through the hail of bullets. He darts past Henckels and down the stairwell. He descends three flights. He crosses the corridor and stops in front of a door labeled ‘310-bis’. A sign on the knob reads: ‘Do Not Disturb’.
Zero hesitates an instant.
He raps briskly, retreats back across the corridor, lowers his shoulder, and charges with all his strength.
Just as he reaches the door, it swings open to reveal a small, bearded man in a long nightgown. He sidesteps Zero.
Zero stumbles full speed through the sitting room and out the wide-open terrace doors. He slams against the balcony railing and flips over it. Agatha releases the package and grabs Zero’s shirt as he somersaults over her.
Zero’s weight jerks Agatha down with a jolt. They fall together.
Four floors down, Zero and Agatha punch through the canvas roof of the back of the Mendl’s van and disappear inside. Silence.
INT. VAN. DAY
Zero sits up among the chaotic pile of scattered and upturned pink, cardboard pastry-boxes. He gasps and digs for Agatha. She surfaces.
ZERO
Agatha! Are you all right?
AGATHA
(dazed)
I think so.
Zero embraces Agatha. He kisses her passionately. He looks into her eyes. She says, woozy:
Something’s on the back of the picture.
ZERO
(confused)
What?
Agatha holds a piece of the torn and crumbled wrapping paper. She and Zero both look straight up.
Cut to:
Zero and Agatha’s point-of-view through the hole punched in the roof of the van. Seven floors up, M. Gustave, Henckels, and M. Chuck lean out the window staring down at them, frozen, while other officers lean out other windows all across the facade. Four floors up, ‘Boy with Apple’, unwrapped, hangs upside-down from a wire below the balcony. It swings gently.
Insert:
The painting, upside-down. A pair of hands flips it over to reveal the pale-pink envelope on the reverse.
Title:
PART 6:
‘THE SECOND COPY OF THE SECOND WILL’
INT. DINING ROOM. DAY
The entire, vast assembly of officers and soldiers stands crowded, murmuring, around a table in the restaurant where M. Gustave, Zero, and Dmitri, all in handcuffs, sit across from Henckels. Agatha stands behind Zero. Marguerite, Laetizia, and Carolina stand behind Dmitri. M. Chuck stands behind Henckels.
Henckels carefully peels the envelope loose from the back of the canvas. He slits it open with a pocket knife and removes a handwritten letter on pale-pink paper. He skims it, then looks to M. Gustave.
MR. MOUSTAFA
(voice-over)
She left everything to M. Gustave, of course.
INT. COURTROOM. DAY
M. Gustave on the witness stand. He wears his concierge uniform and is immaculate. The jury listens, enraptured by his testimony. The judge sniffs the air. He looks irritated.
MR. MOUSTAFA
(voice-over)
The mansion, known as Schloss Lutz; the factories, which produced weapons, medicine, and textiles; an important newspaper syndicate; and (perhaps you’ve already deduced) this very ‘institution’ – the Grand Budapest Hotel.
Zero, Agatha, Herr Becker, Mr. Mosher, and Anatole watch, entertained, from the gallery.
Insert:
The front page of the Trans-Alpine Yodel. Headline: CLEARED OF ALL CHARGES. A photograph shows M. Gustave with the entire staff posing in front of the Grand Budapest. A column below the fold reads, ‘Son of Murdered Countess Disappears without Trace.’
Cut to:
Zero behind the concierge desk. He now wears a uniform identical to M. Gustave’s. He rattles off instructions to Mr. Mosher, Herr Becker, Anatole, and M. Chuck.
MR. MOUSTAFA
(voice-over)
He anointed me his successor; and, as the war continued, I served my adopted country from the narrow desk still found against the wall in the next room.
Across the lobby, M. Gustave sits drinking a cocktail with a beautiful, begemmed, ninety-year-old woman. His hand rests on her thigh.
He was the same as his disciples: insecure, vain, superficial, blonde, needy. In the end, he was even rich.
EXT. MOUNTAIN RANGE. DAY
The facade of the Grand Budapest at sunset. The camera glides along the path through the plot of edelweiss and buttercups.
MR. MOUSTAFA
(voice-over)
He did not succeed, however, in growing old – nor did my darling Agatha. She and our infant son would be killed two years later by the Prussian grippe. (An absurd little disease. Today, we treat it in a single week; but, in those days, many millions died.)
The camera comes to a stop as it reveals the view from the iron-lattice terrace over the crevasse alongside the cascade.
Zero and Agatha hold hands while M. Gustave reads from a Bible, officiating. The other witnesses are the staff of the hotel and the concierges of the Society of the Crossed Keys.
INT. TRAIN COMPARTMENT. DAY
A first-class state room on the express to Lutz. M. Gustave, Zero, and Agatha each hold a glass of chilled, white wine.
MR. MOUSTAFA
(voice-over)
On the first day of the occupation, the morning the independent state of Zubrowka officially ceased to exist, we traveled with M. Gustave to Lutz.
M. Gustave checks the color of the wine in the light. It is excellent. Pause.
M. GUSTAVE
In answer to your earlier question, by the way: of course.
Zero looks slightly puzzled. M. Gustave explains, aside, to Agatha:
M. GUSTAVE
Zero asked me about my humble beginnings in the hotel trade. (To Zero and Agatha both.) I was, perhaps, for a time, considered the best lobby boy we’d ever had at the Grand Budapest. I think I can say that. This one – (pointing to Zero) finally surpassed me. Although, I must say, he had an exceptional teacher.
ZERO
(with great affection)
Truly.
AGATHA
(reciting)
‘Whence came these two, radiant, celestial brothers, united, for an instant, as they crossed the stratosphere of our starry window? One from the East, and one from the West.’
M. GUSTAVE
(impressed)
Very good.
M. Gustave kisses Agatha’s hand. Zero frowns.
ZERO
Don’t flirt with her. (Suddenly.) Why are we stopping at a barley field again?
The train has, in fact, again come to a halt in the middle of nowhere – but, this time, outside the window, there are tanks, trucks, and a hundred soldiers in black uniforms with long coats. M. Gustave, Zero, and Agatha stare out at them, uneasy.
M. GUSTAVE
I find these black uniforms very drab. I suppose they’re meant to frighten people, but –
Three soldiers appear in the compartment doorway. They are stocky, thick-necked, and armed with carbine rifles. M. Gustave says with his usual air of fancy-meeting-you-here:
M. GUSTAVE
Well, hello there, chaps. We were just talking about you.
SOLDIER 1
(blankly)
Documents, please.
M. GUSTAVE
With pleasure – as always.
M. Gustave and Agatha withdraw their passports and present them to the soldier. Th
e soldier flips through them.
M. GUSTAVE
You’re the first of the enemy forces to whom we’ve been formally introduced. How do you do?
The soldier ignores this comment. He returns the passports to M. Gustave and Agatha and looks to Zero. Zero nervously hands him his little scrap of paper. The soldier frowns and studies it. M. Gustave smiles. He says lightly:
M. GUSTAVE
Plus ça change, am I right? (To the soldier.) That’s a Migratory Visa with Stage Three Worker Status, darling. Read this.
M. Gustave hands the soldier Henckels’ special document. The soldier shows it to his associates. They confer rapidly at a whisper. There is some debate. Before M. Gustave can work his magic – the soldier rips the special document to shreds.
Pause.
M. Gustave looks to Zero. Zero and Agatha are both stunned and frightened. M. Gustave seems to smile very slightly, reassuring them, and somehow sends a sincere, private message:
M. GUSTAVE
Good luck.
M. Gustave’s jaw hardens. He pegs his glass of wine at the soldier, shattering it, and explodes:
You filthy, goddamn, pock-marked, fascist assholes!
M. Gustave is instantly on his feet, tussling. Zero jumps up to intervene, trying to calm everyone down – and is immediately bashed in the face with the stock of a rifle and dropped to the floor, out cold. M. Gustave shouts and struggles. Agatha screams.
MR. MOUSTAFA
(voice-over)
There are still faint glimmers of civilization left in this barbaric slaughterhouse that was once known as humanity.
INT. CORRIDOR. DAY
The three soldiers whisk M. Gustave, now in handcuffs, out of the compartment and manhandle him down the length of the coach while he shouts furiously, berating them:
M. GUSTAVE
I give you my word: I’ll see all three of you dishonorably discharged, locked-up in the stockade, and hanged by sundown! (Screaming in rage.) Where is your commanding officer?
Cut to:
Zero with his head out the window of the once-again speeding train.
A significant volume of blood runs from his forehead around his eye and down into his shirt collar, soaked deep red. He clutches his little scrap of paper in his fist. The wind rustles against his neck. His mouth is open. His face is frozen. Tears stream down his cheeks.
MR. MOUSTAFA
(voice-over, re: ‘glimmers of civilization’)
He was one of them. What more is there to say?
Agatha, also in tears, pulls Zero back inside.
Cut to:
The dining room. Mr. Moustafa and the author sit in front of their desserts: Courtesans au chocolat. They are the last remaining guests in the giant restaurant. A waiter sets places for breakfast at tables in the background.
Two glasses of sweet wine are served. Mr. Moustafa and the author sip them. The author asks gently:
AUTHOR
What happened in the end?
MR. MOUSTAFA
(shrugs)
In the end, they shot him. (Pause.) So it all went to me.
Mr. Moustafa smiles sadly. He and the author begin to eat their confections in silence. They appear to enjoy them very much.
INT. LOBBY. NIGHT
The room is deserted, and the lights have been dimmed. Mr. Moustafa and the author wait at the concierge desk. It is not occupied.
AUTHOR
(voice-over)
After dinner, we went to collect the keys to our rooms – but M. Jean had abandoned his post.
Mr. Moustafa looks around. He shrugs. He says, bittersweet:
MR. MOUSTAFA
I expect he’s forgotten all about us.
Mr. Moustafa winks at the author and slips around behind the concierge desk.
AUTHOR
(voice-over)
In recent years, of course, such properties and holdings as the Grand Budapest had with very few exceptions become – common property.
Mr. Moustafa takes great pleasure as he: opens a drawer and tidies up its contents slightly; pulls a stack of envelopes out of a slot, flips through them, and hands one to the author; straightens ‘Boy with Apple’ slightly; then takes two keys off their hooks.
AUTHOR
(voice-over)
While the precise terms of his negotiation with the new government had never been announced, the result was an open secret: Zero Moustafa had traded a great and important fortune in exchange for one costly, unprofitable, doomed hotel. Why?
Insert:
The author’s room key as Mr. Moustafa places it onto the desk. It is labeled M. GUSTAVE SUITE.
AUTHOR
(voice-over)
Was it merely sentimental?
Mr. Moustafa holds the author by the arm with two hands as the author walks him the length of the room to the elevator.
It was quite forward of me and a bit out of character, but I felt I must know – for my health, I suppose. I took the plunge.
Cut to:
One minute later. Mr. Moustafa and the author stand at the entrance to the elevator facing each other. Silence. The author says suddenly, slightly worried:
AUTHOR
Forgive me for asking. I hope I haven’t upset you.
MR. MOUSTAFA
(dismissing it)
Of course, not.
AUTHOR
(long pause)
Is it simply your last connection to that – vanished world? His world, if you will?
MR. MOUSTAFA
(doubtful)
His world?
Mr. Moustafa considers this. He shakes his head slowly.
No, I don’t think so. You see, we shared a vocation. It wouldn’t have been necessary. He’s always with me. (Pause.) No, the hotel – I keep for Agatha.
Mr. Moustafa pulls up his lapel slightly and shows the author Agatha’s crossed-keys pendant pinned to his jacket. He hides it away again.
MR. MOUSTAFA
We were happy here. For a little while.
The author nods solemnly. Mr. Moustafa presses a button to call the elevator. It immediately opens. He starts to enter – but puts up his hand to hold the door as he stops, turns back, and says:
To be frank, I think his world had vanished long before he ever entered it – but, I will say: he certainly sustained the illusion with a marvelous grace! (Pause.) Are you going up?
AUTHOR
(politely)
No, I’ll sit for a little while. Good night.
MR. MOUSTAFA
Good night.
Mr. Moustafa steps inside. He presses a button and the doors close. The author stands still, staring into space. He sniffs the air. He smiles sadly.
AUTHOR
(voice-over)
The next week, I sailed for a cure in South America and began a long, wandering journey abroad. I did not return to Europe for many years.
EXT. HOTEL. NIGHT
The entrance at midnight. A doorman sweeps the steps below the front door. Only one room’s light is illuminated: a little window at the far edge of the top floor.
AUTHOR
(voice-over)
It was an enchanting old ruin – but I never managed to see it again.
The light goes out.
Cut to:
The lobby. The author sits alone in an armchair in the deserted room writing in a small notebook. Cut to: The study. The author (at seventy-five) sits in an armchair writing in an identical small notebook. The six-year-old boy plays with an army of metal soldiers on the floor beside him.
Cut to:
The park. The girl in the trench-coat and beret sits on a bench near the statue of the author. She is just finishing the final chapter of:
THE GRAND BUDAPEST HOTEL
The Grand Budapest Hotel
CHARACTER SKETCHES BY JUMAN MALOUF
Young Author
M. Jean
M. Gustave H.
Madame D.
Zero
Mr. Moustafa<
br />
Agatha
Henckels
Dmitri
Jopling
Deputy Kovacs
Ludwig
About the Author
Wes Anderson is the writer/director of Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, Darjeeling Limited, Fantastic Mr Fox and Moonrise Kingdom.
Also by Wes Anderson from Faber
RUSHMORE
THE ROYAL TENENBAUMS
MOONRISE KINGDOM
Copyright
First published in 2014
by Faber and Faber Limited
Bloomsbury House
74–77 Great Russell Street
London WC1B 3DA
This ebook edition first published in 2014
Published in the USA in 2014 by OPUS,
a division of Subtext Inc.
44 Tower Hill Loop, Tuxedo Park
NY 10987
All rights reserved
© Wes Anderson and Hugo Guinness, 2014
Character sketches © 2014 Juman Malouf
Cover and interior film artwork ‘THE GRAND BUDAPEST HOTEL’ © 2014 Twentieth Century Fox Film Corporation. All rights reserved.
The rights of Wes Anderson and Hugo Guinness to be identified as authors of this work has been asserted in accordance with Section 77 of the Copyright, Designs and Patents Act 1988
