Previously on Babylon Berlin...
Should it come to light that Betty Winter was murdered,
the insurance won't pay a penny.
I was supposed to sabotage the shoot. Cause trouble, but not kill anyone.
Is it inflamed?
Greta Overbeck and I are close.
She doesn't give us that impression.
-Why ever not? -She expressly refuses to see anybody.
-Do you desire the woman you live with? -Yes.
-No. -If not, why not?
-I don't know. -If not, then why not?
Because I'm lying to her.
Didn't we want to get married at some point?
Yes.
He's come between us again.
Gereon.
There you are.
Ready for the next session?
Yes.
A way to free the injured soul of all suffering...
by making it impregnable.
Morning.
Where have you been all night long?
You don't want to say.
Gereon?
Talk to me, please.
Gereon, if...
If you don't say anything, then...
Then I'll go.
Then I'll walk through this door and won't come back.
Moritz, come.
Which round? Last one? Good. Start talking, I'll dictate.
One hundredth and last round. Caracciola attacks.
Top speed--
TEMPO EDITORIAL OFFICE
Dietrich? Hello? Oh, the line is interrupted, I only hear static.
-I read it. -And?
It's first-class teaser material, but not for today.
Yes, I can hear you. What?
And now Bouriano is closing the gap. Last curve before the home stretch.
And, no! The Belgian overtakes our Karratsch!
Three hours, 56 minutes, 11 seconds. Bouranio is second.
Rudolf Caracciola in third place. This is the end of the first Grand Prix of Monaco.
I dictate. A new world sensation, a breakneck course
through the stony canyons of a metropolis.
Gasoline and speed, expressing our accelerated time.
Right. Do you have that? Printing in 45 minutes. Starting now.
May I ask why my article can't be a teaser for today?
Firstly, we need concrete evidence
if we insinuate that Lufthansa is helping the Reichswehr
with their illegal armament of the German air force.
Evidence? What evidence?
-Secondly-- Jacoby! -Coming!
Because his Betty Winter story is doubling our circulation.
-Miss? - Go ahead.
Yes, please give me W46-37.
-Morning. - Certainly.
-Have you had breakfast, gentlemen? -I...
I don't really care for hard-boiled eggs.
God. What's going on with the Betty Winter story?
-There's a second body. -Marvelous. Another dancer?
-No. - Law office Litten, Seegers speaking.
This is Heymann, Tempo editorial office.
-Mr. Litten asked me to return his call. -Hans Litten, the lawyer?
So not a dancer, what a pity. Who was it?
The gaffer was shot in the open street.
That's good, too. So Winter really was murdered?
At any rate, the police are investigating intensely.
Sensational! Let's do it: "She was looking for glamour, he found death."
No. I'm sorry, not you, Mr. Advocate.
- I need to see you ASAP. -Right now?
- At the Café Romanche. -I'm flying.
Going back to my article,
I have lots of evidence. My conversation notes, my informers, what else do you want?
Something that makes it more graphic for the reader.
-I also wanted-- -Images,
documents that prove that your informer is no daydreamer.
-You probably can't use his name. -Of course not.
But I can hardly walk around Staaken airfield with a camera
and take pictures of top secret, heavily guarded military operations.
-How do you figure that? -Why ever not?
Take a leaf out of your colleague's book.
Excellent picture material. This drawing. How did you get ahold of that?
-Good sources. They're essential. -See? That's what you need.
So, Jacoby, how do you want to do this?
"Murders in the factory of dreams"?
"Human abysses. Heated sentiments. A star burns out."
Very good.
It's about the inner turmoil of modern man.
Ignes fatui between archaic blood sausage and high sophistication.
It's of Shakespearean dimension.
-Yes. -Shakespeare!
Print my article on page one and you have something relevant.
Enough already.
I thought that's what your publication is about.
Stop it!
I want an article about the colorful world of film and its abysses
without a theoretical overhang.
Our readers are interested in the same things as everyone else--
sex and money and memorable catchwords.
Vice, debauchery, intrigues, jealousies, the full program.
-That's Shakespeare. -Yes.
And you get something official
which proves Lufthansa's collaboration with the military. We need pictures.
-I'm a political journalist, not a-- -Without photographs,
I can't print your article. Katelbach, those days are gone.
You know that.
We have you to thank for that nonsense with images.
-Pardon? -Don't look at me like that.
It's the dictatorship of the yellow press.
We used to have readers, now we have lookers.
If people want to see pictures, they should go to the cinema. Goodbye.
I don't want to disturb you.
Too late.
We have a ballistic result for the murder weapon in the Krempin case.
-And? -A Roth-Steyr M07, 8 millimeters.
My colleague and I will check the profile of the projectiles
and compare it with the weapons registered with us.
Please come back when you have the result.
Certainly.
Which letter are you at?
"C."
I'll start with "F." We might get to "H" by lunchtime.
Not in a million years.
It's no good.
My name is Sebald, Berlin PD, department one.
I need to check the birth files of January and February of this year.
PROTESTANT ORPHANAGE BERLIN-FROHNAU
What's the name of the mother in question?
Overbeck, Greta.
DOB 14-6-1907 in Gröningshusen on Darss.
Overbeck...
Oh, yes.
The child is alive.
Male.
Born on 24-2-29.
And I see we have found a family for him.
The Flechtheims from Wilmersdorf.
The new parents will pick up the little one at the end of the week.
You'll have to postpone.
-Pardon? -By order of Councilor Wendt,
my office has taken over legal agency for the infant.
-But... -This is by superior authority.
Greta Overbeck's child will not leave this house without official permission.
Have a nice day.
Hello, Mrs. Kasabian. Mr. Bellman is expecting you.
He'll kill me, your husband.
-Or his wannabe. -I'm telling you, they won't kill you.
What about this?
I'm sorry.
Esther, for the sake of all that connects us, you have to rescue me from this beast.
Stop it.
When you needed the money for your film...
you sounded differently.
I know.
What am I supposed to do?
We've shot three-quarters of the film.
-Do you know how much the set alone-- -I know it's expensive.
But it was your dream and...
the beast made it possible for you.
You knew who he was when you took it.
Put in a good word for me.
If not a good word, any word. They want me to keep shooting.
He needs to give me time.
What if he doesn't have any?
-Pardon? -He borrowed the money himself.
Why?
Your husband needed this film to launder one million of black money.
The money is from the bank.
It's all kosher.
Oh, God.
All right...
Tell him I'll think of something.
-You know I always think of something. -Yes.
Like back then in Vienna, remember?
-When you replaced the entire orchestra... -With the theremin.
Right, you remember.
I remember.
And back then...
I had an idea of how we could change the libretto, remember?
Of course.
And the theremin was only possible because I had this idea.
You're right.
We were a great duet.
-You'll talk to him. -Yes.
I'll talk to him.
But first you show me the material.
All of it.
So you don't think the gaffer had anything to do with Betty Winter's murder?
He was a stooge.
Apparently, it was about criminal mischief.
-He washed his hands of the murder. -Sure.
He was ready to spill the beans.
Did one of those responsible in Babelsberg confirm those acts of sabotage?
I spoke with the producer on the phone.
-Bellman? -Yes.
Film material was destroyed,
cameras were stolen, technical equipment damaged.
However, he downplayed the whole affair.
He's still holding out for an insurance case.
There's a lot of money in that film.
I see.
-What about the pathology report? -Still outstanding.
-Ballistics? -The weapon has been identified.
-Ulrich is checking the registration. -Any similarity with the suspect you saw?
The silhouette, definitely.
What about the victim's husband?
Tristan Rot has been abroad, allegedly.
According to Bellman, the studio is expecting him today. I'll talk to him.
Statistically, most of the perpetrators come from the victim's environment.
Here you are.
Thank you.
What's the connecting element of these two deaths?
Indeed, the anatomy of the two cases is strikingly different.
What is your hypothetical motive?
In the case of the actress, competition, envy, jealousy, anything is imaginable.
The murder of Krempin, however, the way it was conducted,
points to organized structures in the background.
Since I took over this panel, jealousy has been the third most frequent motive.
It's all in there. The pile on the right.
CRIME TELEPATHY
No, not that one.
Also interesting, crime telepathy.
I'm reading up on it at the moment.
No, right at the bottom. The blue notebook.
It's my annual crime analysis.
Come on.
I don't like to keep the press waiting.
You never know what they might be able to do for us.
-Right? -True.
You're Catholic, aren't you?
Yes.
Well, then you know all about it.
About what?
The deadly sins.
They are still the most frequent motives for capital crime in our city.
Avarice is on top of the list.
But only since last year. It is followed by revenge in second place,
jealousy in third.
What's new this year is lust in fourth place.
But this is only the case here in Berlin, ladies and gentlemen.
Sex crime is on the rise,
but it hasn't reached the heights we had in the first five years after the war.
Cowardice is in fifth place.
Notably pushed down and rather very exotic
is pride in sixth place.
It's neglectable.
And as you can see,
gluttony is the only deadly sin
which doesn't bear any weight for our department.
Ladies and gentlemen, thank you.
Do you know more about the Betty Winter case?
-What role does Tristan Rot play? -Any details about Betty Winter?
No comment at present. We're in the middle of our investigation.
Criminal Counselor, a picture with you and your closest staff.
Who is paying for this?
A friend.
Well, a posh pad.
Can be done.
-Hello. -Hello. My name is Seeling.
I'd like to speak with Mr. Böhm.
-Yes? -Mr. Böhm?
My name is Seeling, I'm with the financial auditing office.
We're conducting a survey among investors at the stock market.
Would you have a few minutes for some general questions?
-Yes, come in. -Thank you.
This way.
Off you go, children.
We just finished.
Can I offer you something?
No, thank you, this will only take a minute.
-Please take a seat. -Thank you.
What's this about?
You have shares in a raw materials equity stake, correct?
Yes, yes.
-You bought shares of property funds? -That's correct.
-You bought automobile shares? -Yes.
What kind of sum, if I may ask, did you invest?
What do you mean?
How much money did you pay for the shares?
Some 5,000 marks or so.
-11,000 reichsmarks. -15,500.
21,500 marks.
And you had the capital to finance this?
-You what? -You had saved the money?
Was it in an account?
Am I made of money?
Would be nice.
Where did you get the money from?
-From the bank. -From the credit institute.
There was a friendly gentleman at the bank. He gave us the money.
On credit. I borrowed it.
What are the repayment conditions for this loan?
When I get the revenue from the shares, I'll pay it back.
You can follow it, share prices are going up daily.
At the end, you just pocket the money.
Minus the loan, of course.
Of course.
Why do you ask?
It's part of the survey.
All walks of life, all classes are involved.
But the crucial point is that almost all of these investors,
be it a butcher or police officer, invested far beyond their means.
So none of them can cover that capital.
No. Most of them paid multiples of what they will earn in all their life
because they are convinced or were convinced
that they will receive their investment many times over in revenue.
The scale of it is ludicrous.
You will understand how disturbing this research was for me.
It will all implode.
What do you mean?
Prices will fall again.
The increases are already disproportional now.
But I fear this will go on for a while
before it all collapses like a house of cards.
That won't be necessary.
-I'll wait outside. -Thank you.
-Miss Overbeck-- -I have nothing to add to my statement.
It's not about you adding something to your statement.
This is about an adjustment of the facts.
Very well.
At least come into the sun for a moment.
Come.
Come into the sun before it goes down.
Open your eyes.
Open your eyes, you have a visitor.
No.
Please don't. Please...
Not my child.
No!
CONFIRMATION OF REGISTRATION
Bingo!
-Where's the detective? -With Gennat.
You can leave it with us.
...compulsory craving for recognition in other countries again
-and again-- -Excuse me, Criminal Counselor.
We're having a conference. Don't you see?
But I have the most urgent, newest insights
in the Betty Winter case, I mean, Felix Krempin.
It's Detective Rath's case.
-Correct. I was told-- -Is this so urgent
that you have to interrupt our session?
Is there an acutely imminent crime to be prevented?
No. I wanted--
There's a system, Mr. Ulrich.
And the system has a purpose. This purpose requires a form.
This form is an information-processing chain
with strict parameters.
Right now in this moment, you are undermining this form.
I beg your pardon.
-You didn't find anything, either? -Nothing.
Where are you at?
"K." I'm at "K," yes.
OK.
Do you believe in coincidence, Weisshaupt?
No.
Interesting. Neither do I.
-I believe in the system. -That's why you work with me.
Newspaper.
CAFÉ ROMANCHE BERLIN-CHARLOTTENBURG
Steirischer Kurier and Folha da Manhã , please.
They're being read at the moment, Mr. Katelbach.
Politely ask the gentleman if he would let me have the paper.
-My name should suffice. -Very well.
And give me the Vossische .
-Here you are. -Thank you.
-Here you go. -Thank you.
SECRET
Say...
How do you know Tilly Brooks?
I thought you never go to the pictures.
First of all, I go to the pictures.
And secondly, you don't have to know actresses from films, do you?
Screen test, Betty Winter. Are all candidates here?
Please form one line.
Excuse me.
Her.
Not her.
Her, yes.
Yes.
No. Yes.
Yes. No.
No. For crying out loud, can you at least pretend to make an effort?
That's not even Betty's hair color. Get out! Tristan!
-Tristan! -Tristan...
-No. -Tristan, thanks for coming.
Thanks for taking this on.
If it's at all conceivable that one of these girls turns into Betty,
then only through you, through your eyes, through your...
You are crazy. You demand inhuman things from me.
Tristan, we are forced to keep shooting.
It can be one of them.
-Trust me. -What you demand of me is superhuman.
I do understand you. Tristan. What choice do I have?
Cancel. Pulp it. Burn it down.
-Betty wouldn't have wanted that. -What would you know?
-Tristan, please. -You moldy soul. Vermin!
You mustn't--
-Tristan Rot? -Yes.
Rath, CID.
Where can we talk in private for a moment?
Can't you do this later? This is a critical moment.
Now.
Follow me.
Vera?
It's me, Charlotte.
Oh, it's sassy Lotty.
-That's me. -What are you doing here? Screen test?
No, I'm just looking around.
Oh, yeah, you switched sides. It's all official now, right?
Have you got a badge, too?
Wow. And now you hunt down felons?
But you're an easy girl.
First of all, I was. Secondly, secret.
Gotcha.
-I'll take a look around. -You do that.
-What about you? -I'll be the new Winter, all going well.
BETTY WINTER MURDERED AFTER ALL?
Sorry, but this development doesn't leave me any leeway.
What does that mean?
It means if the shoot of your planned film is canceled due to foul play,
particularly due to murder,
my insurance will not be financially liable for this loss.
I told you.
That's why I think it's best if--
What's an insurance contract with all sorts of guarantees for
if it's worth shit when it counts?
Walter.
Walter!
Mr. Salb...
We need to stay calm. You can't do this.
I didn't lie on the roads for a year just to come into a scrapped port.
What are you trying to say?
That this place was blooming when I left.
-Yes? -This is Bellman.
-The police are at the studio. -Who?
Detective Rath.
Edg--
Edgar, what is this, God damn it--
Between us...
no seed of discord must blossom.
Not an iota of mistrust must soil our bond.
Go get your coat. We're going to the studio.
Did you know Felix Krempin?
Also known as Peter Glaser?
Who?
The gaffer.
Did you know each other?
Well?
No.
But we had some...
common interests.
Namely?
This world is just one side of the mirror.
The other one is the other world.
Can you be more specific?
Not everyone has the ability to resist the temptations of the other world.
But Felix Krempin...
Why, do you think he murdered Betty?
Where...
Where did you get this from?
What are you doing here in the dark?
The seam is untidy.
Shoulders straight.
CID, my name is Ritter.
Tristan.
Ewald.
Have you seen this?
Yes. This is my design.
-Oh, it's a costume. -Why, of course. Look.
For Mr. Rot.
-A murderer is amongst us. -Who are you?
This gentleman is the stand-in.
We're doing the fitting for exactly this costume.
Adrian, sit down. Gisela, go ahead.
Are there several copies of this costume?
Two. One for Mr. Rot and one for his stand-in.
And they are both still here?
-Of course. -Are you sure?
What kind of question is this?
It's a very simple question.
Gisela, go check.
There is none here.
-Of course it's here. -Well, one is gone.
You're such a klutz, Gisela.
Here it is.
No.
It's not here.
It has disappeared.
Gisela, please, what's the matter now?
He didn't want to harm anyone.
Felix was really generous.
And always posh places.
They even served bubbly.
Yes. Where did Krempin suddenly get the money from?
He-- he let himself be hired by someone.
-By who? -I don't know.
I don't know.
What was he supposed to do?
He was supposed to disrupt the shoot.
Damage the film. But...
But he felt it became too dangerous and he backed out.
Why do you believe he didn't murder Betty Winter?
Because he ran away.
No, it's over! I told you I'm not up to this!
Felix?
Who was that?
The same day, hours before the spotlight came down.
May I introduce you?
Tilly, this is Tristan.
Right, let's try the duet.
Adrian, on my cue, your entrance.
Any blind cripple can see that Brooks is not Betty Winter.
You have to do it. You're a better dancer, too.
-Thanks. -The duet of Elsa and Balthasar
with the demon. Go on, kids, we have to go.
-Please, we're rolling. -Camera!
Wait! The sound.
-Sound. -Sound is running.
Action.
I didn't forget about you
And yet it's too presumptuous
There is no turning back
No turning back...
Detective Rath?
My name is Walter Weintraub.
Could I talk to you in private?
...dare Since how many long days
And nights without any sleep...
Enter the demon.
And now... Tristan.
I have to go. I'll see you later.
What...? I'll stay and have another look around, OK?
We need to keep shooting right away.
-That's what we're doing. -Those are screen tests.
-We need to find out who-- -We don't have time for screen tests.
This place is full of people who cost us money every day. No more.
We're losing a fortune at the moment.
You'll cast the role now. Here and now.
Miss Brooks? You have the role.
Go on, get your costume.
The entire crew on stage. We'll reshoot the second part of the pedestal scene.
We'll start in an hour. Get your costume, Tilly.
I'll be right back.
Jo, don't I get a say at all now?
What am I supposed to do?
You know how much I wanted this!
Get a grip. I have other things to worry about now.
Detective.
What's the matter?
As you know, me and my partner have invested
in very different places in the city.
Some of those businesses are not doing well for us right now.
Particularly our stake in a film project.
You invested in Demon of Passion ?
There are very specific points of contact
between my and your activities.
Let's start with you telling me who would be interested in harming you.
I was hoping you could answer that for me.
My investigation is confidential.
But I think we should pool our forces.
Our mutual mentor would approve.
We used to be cripples addicted to drugs, Detective.
He healed us.
But the healing has its price.
And you have to be prepared to pay this price.
28 SEPTEMBER
In a minute!
What is it?
Vera, I'm sorry.
Oh, God, I'm so excited.
You'll be OK, Tilly.
You think?
I feel sick.
We need to shoot! Where is Miss Brooks?
Where is she, damn it?
No one has a clue here.
Vera.
We'll use her, then.
Come on, girl, it's your chance.
Quiet, please!
-Miss... -Lohmann, Vera.
Miss Lohmann, please get ready to shoot.
God be with us.
We'll go back to the stage part of "We Have Long Lost Each Other,"
take two, get to work, please.
Vera!
Let me out!
Help.
Help!
I don't see where you are going
When there is silence, and loneliness
Is heavy on my mind, and there...
-Have you seen Tilly Brooks? -No. Probably stage fright.
You don't want to tell me where
Ask the question you are posing
It was looming inside of me for a long time
It was pressing inside of me for a long time
The longing that I once had
Indignation has displaced it now
We have long lost each other...
-The girl has pizzazz. -But she can't sing.
We have long lost each other
We've grown apart in our hearts
We are the tail of yesterday's magic
And in our souls pain alone is burning
Subtitles by Stephanie Geiges