Stattin Station by David Downing Page B

your husband will be the other, and he hasn't been cast yet. He's an SS Standartenfuhrer. The film begins with the two of you meeting. You are beautiful and full of life, and neither he nor the audience has any idea that you're Jewish. He takes to you immediately, and so do his friends. You seduce him - though it doesn't become clear until later how manipulative you have been - and get pregnant. He almost begs you to marry him, and the child is born. The years go by - the film starts in 1933, by the way - and you're enjoying the high life to the full, in fact rather too much for his taste, but he's still willing to forgive you almost anything. He dotes on his son, or at least wants to - there's something wrong there, but the only reason he can think of is that he's away so much on the Fuhrer's business, preparing for the war in the East. In the meantime you use his absences to conduct affairs with other men. And then, out of the blue, someone from your past turns up, a Jew who demands money for not exposing you. Twice you get the money from your husband, telling him it's for other things, but on the third occasion he refuses, suspecting, wrongly as it turns out, that you're having an affair. The Jew then goes to him, tells him he's married to a Jewess and has a mischling son, and demands money for not disgracing him. Your husband gives him the money, and of course realises what's been happening. The whole history of your relationship suddenly makes sense - the distance he feels from his son, your inveterate flirting and love of material things. The writers haven't decided how it ends. You'll have to die, of course. Either the husband will kill you in a fit of rage, or you'll die in a suitably appropriate accident.'
    Effi was almost lost for words. 'What happens to the mischling child?'
    'The writers haven't decided, but they're leaning towards killing him in the same accident.'
    Effi raised one hand, fingers splayed. 'I can't do a film like this,' she almost shouted.
    He was all sympathy. 'I understand. As I said at the beginning - you don't have to take this part. We do appreciate how risky it would be for you.'
    Risky? Oh God, she thought, he was worried that playing the part would damage her career, that the great German public would see her as a Jew, and assume she really was one. What greater sacrifice could anyone make for their art?
    She placed a hand over his. 'I'm sorry,' she said. 'I know I must think of the wider picture. Of my country. Let me have some time to think this through.'
    'Of course, my dear,' Marssolek agreed. 'But I do hope you will do it.' Russell finished his article around four. With an hour and a half to wait before the afternoon press conference at Promi, another visit to the bar seemed in order.
    It was crowded with correspondents who had made the same calculation, and there was only one available seat - opposite Patrick Sullivan at one of the tables for two. Russell hesitated, but decided what the hell - of all the American nationals who staffed Goebbels' USA Zone, Sullivan was probably the least offensive.
    Since long before the war Radio Berlin had been broadcasting Goebbels' messages across the world from its transmitter at Zeesen, some thirty kilometres south of the city. The stars of the 'USA Zone' were the small collection of American nationals who provided their countrymen and women across the Atlantic with a German's-eye view of the world. At present, if Russell remembered correctly, there were six of them, four men and two women. He knew them all by sight, but like all the real American correspondents - and most of the neutrals - he avoided them whenever possible. All but Sullivan were Americans of German ancestry, and their betrayal, if that was indeed what their activities amounted to, seemed at least understandable. But listening, as he occasionally did, to their broadcasts, Russell felt an instinctive revulsion. They made the obvious points - why, for example, should Americans join