Plot
In the first few episodes, Franz Meersdonk (Manfred Krug) is a trucker working for the Munich-based company, "Mittermann Haulage", driving mostly the Germany-Iran route. The company is run by Sylvia Mittermann (Monica Bleibtreu), who is friendly with Franz. One day, she lands a big delivery to Tehran, but Franz is the only driver she has left. Franz gets to know a washed up racing driver, Günther Willers (Rüdiger Kirschstein) and talks him into teaming up for the new assignment. All does not go smoothly, however. First, Franz's lorry is inadvertently switched for a stolen one, then a hitchhiker causes problems. Shortly before arriving, Günter's cab bursts into flames. But at long last, the goods are delivered successfully (although this is not depicted).
Back in Munich, the company has gone bankrupt, and the pair have to scramble to find new jobs. Just before Meersdonk is forced to sell his lorry, they connive to land another delivery run. Once an insurance fraud is cleared up in a later episode, they finally get the money together to form their own company: International Transport in Munich.
Season 5 takes place entirely in Turkey. Willers quits (the first of several times that the Willers character departs the series). Meersdonk establishes a branch of the company in Turkey.
Most of the episodes involve auto theft, cargo scams, dubious acquaintances, or smuggling. Meersdonk and Willers get themselves into jams and get themselves back out. Trying to make successful deals, the good natured heroes are regularly taken advantage of or they get roughed up. So they remain what they are -- truckers, even if they are their own bosses.
Read more about this topic: Auf Achse (TV Series)
Famous quotes containing the word plot:
“There saw I how the secret felon wrought,
And treason labouring in the traitor’s thought,
And midwife Time the ripened plot to murder brought.”
—Geoffrey Chaucer (1340?–1400)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)