Sally has acquired a new admirer, the bisexual Maximillian Von Heune, who attempts and tantalises her with extravagant gifts, including a fur coat, andentertains? both Sally and Brian at a family estate. Upon their return to the boarding house, Brian berates Sally for her lack of breeding and brazen avarice. When Sally retorts that she is sleeping with Max, Brian retaliates that he also has shared the pleasures of Max's bed. In response to his self-disgust, and angered by the increasing public arrogance and brutality of the Nazis, Brian deliberately starts a fight with some Storm Troopers, and gets himself beaten to a pulp.
As Sally nurses his wounds, they resume their relationship and she confesses that she is pregnant but does not know to whom. Deeply moved and briefly deluded, Brian offers to marry Sally and for short, idyllic days, they plan their new life together. Reluctant to forgo, however hollow and hopeless, her dreams of stardom and unwilling to settle fir the conventional happiness offered by Brian, Sally sells her fur coat from Max and has an abortion. Brian decides to leave Berlin admitting that he could never really fulfil all of Sally's needs. Sally sees him off at the station, kisses him goodbye, and without turning back, heads to the Kit Kat Club waiting for her big break.
But as a musical, Cabaret appears to conform to the traditional musical scenario. Cabaret is a consummate illustration of the routines intended to glorify song, dance, and even show business itself. During the Cabaret numbers we recognise all the quintessential, generic trappings of the musical number: song, dance, chorus girls in scant costumes and insinuative humour. However these all have a somewhat squalid and sleazy demeanour to them that serves to undermine those generic expectations.
The musical attempts to establish a diegetic world, one in which the viewer comfortably sanctions song and dance as valid and customary modes of expression.
