The entire crowd of drinkers observes the incident, and the police are called, with Franz being arrested. When the elderly gentleman dies of his concussions a few days later, Franz is tried and sentenced, despite his clear record, to three years imprisonment.
If you’re highly religious or homophobic you will likely agree with the Sunday priest’s sermon arguing that the locked-away men should not give into temptation. But at that very moment, Alfred is too busy writing his and Franz’s name together in a beautifully florid hand to even notice what the speaker is imploring.
Alfred is finally released and returns home to what is evidently a male friend who either resides nearby or is living in his apartment. Yet, he remains loyal to Franz and can’t wait for his release. When his friend suggests that if Franz is wealthy he might be able to obtain a lot of money from their friendship (a sly reference to blackmail allowed the German law against homosexual acts, Paragraph 175), Alfred looks disgusted and walks off. He, it is clear still loves his prison compatriot.
Dieterle directs the last scenes rather interestingly. The moment Franz reenters his home, he opens the front door and walks out, returning the next moment, and repeating the action numerous times. Obviously, he is utterly delighted simply by being able to come and go inside and out at his own will. But there is also something almost maniacal in his visual repetend. We are not surprised, accordingly, when he finally turns to wife to say, through an intertitle: “Now I can come and go whenever I wish—but no longer to you!”