IN THE HOTEL ROOM

NARRATOR:
Only a few minutes ago Harry learned that he might not be the only person in the universe who's in a time warp. A mysterious woman, probably stuck in time like himself, has given him a note. After that she's just disappeared. His hands are trembling as he reads over and over again the message she's given him.

HARRY:
'Harry Walkott! Du bist nicht allein. Vertraue niemandem! Er will dich töten!'

NARRATOR:
Well, Harry, do you know it by heart yet?

HARRY:
Hold on a minute. Even a hard-bitten old tough guy like me has to come to terms with a piece of news like this. I am not alone! Ich bin nicht allein.

NARRATOR:
Eine gute Nachricht. But as so often, the bad news is right behind.

HARRY:
'Vertraue niemandem. Er will dich töten.'

NARRATOR:
Someone wants to kill you.

HARRY:
I am not alone. Ich bin nicht allein.

NARRATOR:
Harry, where are you going?

HARRY:
Frühstücken!

NARRATOR:
Im Schlafanzug?

HARRY:
And why should I bother to get dressed? By tomorrow everyone will have forgotten the way I looked anyway.

NARRATOR:
Your brain seems to have been a bit affected by everything you've gone through recently.

IN THE BREAKFAST ROOM

HARRY:
Guten Morgen!

GUEST 1:
Maria, Maria! Sieh mal! Der Mann im Schlafanzug!

NARRATOR:
Everybody's staring at you. Everybody's whispering.

GUEST 2:
Vielleicht ist das in seiner Heimat so üblich.

GUEST 1:
Quatsch! Der ist verrückt!

WAITRESS:
Sie wollen so frühstücken, ja?

HARRY:
Wie bitte?

WAITRESS:
Sie wollen im Schlafanzug frühstücken?

HARRY:
Warum nicht? Aber heute bitte Cornflakes mit Milch. Dazu ein Glas Orangensaft und einen Milchkaffee. Always the same old rolls; I'm getting rather sick of them.

WAITRESS:
Wie Sie meinen. Der Kunde ist König ... Spinner!

HARRY:
She didn't repeat my order today. My German must be getting better all the time.

NARRATOR:
She thinks you're completely bonkers.

HARRY:
Do you see that guy over there – the one in the black suit?

NARRATOR:
I've never noticed him before.

HARRY:
Nor me. He's new here. That means, he's ...

NARRATOR:
... stuck in the time warp like you.

HARRY:
He's coming closer!

NARRATOR:
Watch out! Maybe he's the murderer!

ANDERSON:
Guten Morgen, darf ich mich setzen?

NARRATOR:
He's asking if he may sit down.

HARRY:
Why does he ask when he's doing it anyway?

NARRATOR:
He's using darf from dürfen. "May" is another modal verb.

ANDERSON:
Mein Name ist Anderson, Doktor Holger Anderson.

HARRY:
Walkott, Harry Walkott.

NARRATOR:
Anderson. That was the name of the doctor whom your psychiatrist phoned from the hospital. The one who's interested in time travellers!

ANDERSON:
Herr Walkott, Sie und ich, wir haben viel gemeinsam.

HARRY:
What does he mean – gemeinsam? I've got nothing in common with him. Look at those staring eyes and that twitching mouth. Spooky.

ANDERSON:
Wir müssen uns treffen! Reden!

HARRY:
Tut mir leid. Ich verstehe Sie nicht.

NARRATOR:
He wants to meet you. To talk to you.

HARRY:
I know … but he's very odd.

ANDERSON:
Unter vier Augen, nur Sie und ich!

NARRATOR:
Just you and him.

HARRY:
I wouldn't like to be alone with him for even one moment.

ANDERSON:
Ich weiß, Sie sind intelligent, ein kluger Kopf.

NARRATOR:
He’s flattering you. He's saying you're intelligent, Harry.

ANDERSON:
Wir müssen reden, Herr Walkott.

HARRY:
Herr Anderson ...

ANDERSON:
Wann können wir uns treffen?

HARRY:
Heute habe ich keine Zeit.

ANDERSON:
Heute ist der 31. April. Den Tag gibt es nicht.

HARRY:
Ich muss leider gehen – in Fitness-Studio.

NARRATOR:
in das Fitness-Studio – or if you want to say it more quickly: ins Fitness-Studio – to the gym. You use the preposition in – to mean to if you're entering a building.

HARRY:
Ja, ich gehe ins Fitness-Studio.

ANDERSON:
Aber, aber Herr Walkott, die Pinguine! Sie sehen auch die Pinguine!

HARRY:
Ich habe jetzt keine Zeit.

ANDERSON:
Gut. Und heute Nachmittag?

HARRY:
This afternoon?

ANDERSON:
So gegen 15 Uhr?

HARRY:
3 o'clock?

ANDERSON:
Ich hole Sie ab!

HARRY:
Abholen? Pick me up? Oh no! Ich habe keine Zeit. Ich gehe zu Kino.

NARRATOR:
in das Kino, ins Kino – into the building.

ANDERSON:
Und heute Abend? Um 19 Uhr?

HARRY:
Das geht leider auch nicht. Ich gehe ins Theater. "Faust" von Goethe. Literatur! And that lasts the whole night.

ANDERSON:
Wo gehen Sie ins Theater?

HARRY:
Berlin.

NARRATOR:
When you're talking about countries and cities that you're travelling to, you use nach – to, for example: to Berlin – nach Berlin.

HARRY:
Ich fahre nach Berlin.

ANDERSON:
Ich komme mit nach Berlin.

HARRY:
Oh God, he wants to come with me. Tut mir leid. Äh, das Theater ist … sold out, how do you say that again … das Theater ist ausverkauft.

ANDERSON:
Wann können wir uns treffen?

HARRY:
When we can meet? How about tomorrow evening? Morgen Abend am 1. Mai. Am 1. Mai habe ich Zeit!

ANDERSON:
Es gibt keinen 1. Mai für uns. Aber warum?

HARRY:
Tut mir leid.

ANDERSON:
Warten Sie!

HARRY:
Auf Wiedersehen, Herr Anderson!

NARRATOR:
Perhaps Anderson is just looking for the way out of the time warp, like you. And perhaps he knows more about it and ...

HARRY:
... and if this Anderson just wants to do me in? No thank you.

Meeting people in your spare time