THE SEVENTH VICTIM
Screen Play
by
Charles O'Neal and DeWitt Bodeen
The RKO TITLE and CREDITS are SUPERIMPOSED over a tall
stained glass window as shown from the inside of a building.
There are two maidenly figures worked into the stained glass
window: one, older and slightly taller, dressed in van
colored garments, leads by the hand a younger and smaller
girl, dressed in a simple flowing, white robe. Through the
lighter colored pieces of glass in the window the branches of
a tree can be seen stirring in a light wind.
The last credit FADES from the screen.
INT. STAIRWAY - HIGHCLIFFE ACADEMY - DAY
The CAMERA HOLDS ON the stained glass window. Beneath the
painted figures is a scroll, and on the scroll, a part of the
stained glass window, is an inscription:
I RUNNE TO DEATH AND DEATH MEETS ME AS FAST,
AND ALL MY PLEASURES ARE LIKE YESTERDAY. -
John Donne, Holy Sonnets VI.
As the CAMERA CONTINUES TO HOLD, the jumbled sound of
classroom recitations can be heard.
GIRL'S VOICE
(o.s. from classroom above
camera level)
Amo, arias, amat, amamus, amatis,
amant.
SECOND GIRL'S VOICE
(o.s. from classroom below
camera level)
One times nine is nine.
Two times nine is eighteen.
Three times nine is twenty-seven.
Four times nine is thirty-six
THIRD GIRL'S VOICE
(o.s. from classroom above camera
level, singing)
Do, no, mi, Pa, sol, la, ti, do.
These classroom sounds, although they can be heard clearly,
should not disturb the serenity of the stairway or of the
painted figures on which the CAMERA IS LEVELED.
Suddenly, from overhead, a gong rings with a harsh, jarring
noise. Doors are heard opening, feet scuffling over the floor
and the light, high sound of girls' voices chattering. A
moment later a cascade of uniformed schoolgirls of all ages
pours down the stairs past the camera. Against this tide one
single girl makes her way.
The CAMERA PANS WITH her up the remainder of the short flight
of stairs and across the hallway to a door marked, PRINCIPAL.
The girl knocks and from inside an over— cultured woman's
voice is heard in response,
MRS. LOWOOD'S VOICE
Come in, please.
CLOSE SHOT - Mary Gibson at the door. She hesitates before
opening it. She is young and her youth gives her prettiness,
but something in the quiet serenity of her face and the clear
candor of the eyes show the innate niceness of the girl; a
quality of character which will give her real beauty as she
grows older. At the moment she is somewhat perplexed by her
unexpected summons by the Head Mistress.
MED. CLOSE SHOT of Mary as she opens the door and looks
expectantly toward the desk. No one is there.
MRS. LOW0OD'S VOICE
Here we are, Mary.
MED. LONG SHOT as Mary walks into the room. It is a large
room and every effort has been made to invest it with
authority. A large Sheraton desk with side trays stands at
one end. On the wall behind this desk hangs a gloomy, dour
visaged portrait of the founder of the school. The wall
opposite the door is pierced by a large window. There are
several bookcases with dull-looking volumes; books of
reference and encyclopedia. On top of one of these cases is
the white, plaster head of Athena. The walls are covered with
enormous framed, sepia-tinted prints of the Acropolis, the
Colosseum, Trajan's Column and other celebrated ruins.
Mrs. Lowood, the Principal, a solidly built lady with iron
gray hair and her assistant, Miss Gilcrist, a slim, frail
lady of indeterminate age, are at a small table at the end of
the room. They are cutting out paper hearts. As Mary comes up
to them, Mrs. Lowood finishes cutting out a paper heart and
lays down the scissors with an air of satisfaction. With Mary
close behind her, she starts toward the desk. Miss Gilcrist
follows. The CAMERA PANS WITH them as they cross the room.
MRS. LOWOOD
I have a most painful matter to
discuss with you, Mary.
Mary looks concerned.
Mrs. Lowood has reached her desk, while Mary stands wondering
what might come next. Mrs. Lowood deliberately seats herself
and puts her fingertips together firmly. Over this Gothic
arch she speaks to Mary. Miss Gilcrist takes her accustomed
place beside her.
MRS. LOWOOD
Your sister - - have you heard from
her lately?
MARY
No, Mrs. Lowood, she doesn't write
often.
MRS. LOWOOD
Have you any other relatives, Mary?
Mary shakes her head.
MARY
No. Jacqueline brought me up.
(smiling)
Somehow I never felt I needed other
relatives.
Mrs. Lowood nods.
MRS. LOWOOD
That makes it all the more
difficult ——
MARY
(a little alarmed)
Difficult? Has anything happened to
Jacqueline?
MRS. LOWOOD
We don't know, Mary. We've been
unable to get in touch with your
sister.
MARY
(relieved)
Sometimes she can be quite
careless. Why don't you try Mrs.
Redi?
MRS. LOWOOD
I have written repeatedly to Mrs.
Redi. She vouchsafes no information
whatsoever.
(pauses)
It is six months since your tuition
has been paid, Mary. Naturally, it
is impossible for you to stay on
here as a paying pupil.
MARY
(in a small voice)
Of course.
MRS LOWOOD
Miss Gilcrist and I have talked it
over. You can remain here and work
with the younger children as a sort
of assistant teacher. These
Valentine cut-outs for instance —-
(holds one up)
-- it's something you could do.
She starts to get up as if everything were decided.
MARY
But, Mrs. Lowood, I can't just stay
here not knowing what's happened to
my sister. Maybe if I went to New
York -- if I saw Mrs. Redi myself --
MRS. LOWOOD
I doubt if you'll get anything
out of that woman. But if
(shrugging)
you'd like to try, I'll advance you
the money to make the trip to New
York. Of course, my dear, if you
don't find your sister, you can
always come back here.
NARY
(catching the note of high
minded dismissal)
Thank you.
She turns and starts for the door. Miss Gilcrist goes with
her.
INT. HALLWAY OUTSIDE MRS. LOWOOD'S OFFICE - DAY
Mary comes out of Mrs. Lowood's office, closely followed
by Miss Gilcrist, who closes the door softly behind her.
MISS GILCRIST
Mary, don't come back. No matter if
you never find your sister -— no
matter what happens to you -- don't
come back.
Mary looks at her in surprise.
MISS GILCRIST
(in a kindly, more
explanatory tone)
My parents died when I was a pupil.
I left, as you are leaving, but I
didn't have courage -- one must
have courage to really live in the
world -- I came back.
The two stand looking at each other for a moment, while Mary
realizes what her future may be -- what Miss Gilcrist is --
then suddenly the ringing notes of Mrs. Lowood's voice come
from the other side of the door.
MRS. LOWOOD'S VOICE
Gilcrist!
Miss Gilcrist starts, turns automatically to open the door,
then looks back at Mary. With a fond glance, she pats her arm
before opening the door and going on into Mrs. Lowood's
office.
DISSOLVE
INT. STAIRWAY - HIGHCLIFFE ACADEMY - LATE AFTERNOON
The stained glass window. The rain pours against the glass,
and the boughs of the tree beat back and forth. Mary comes
down the stairs dressed in plain travelling clothes. She
carries her bag in one hand. She hears the familiar sound of
daily classroom recitations.
FRENCH STUDENT'S VOICE
Je cherche
Tu cherches
Ell cherahe
Nous cherohons
Vous cherchez
Elba cherohent
The French lesson dies away and we hear Mrs. Lowood's voice.
MRS. LOWOOD'S VOICE
Agnes --- ! John Quincy Adams did
not follow John Adams as President.
Mary smiles. In the distance some young girl's fingers falter
awkwardly over the melancholy chords of Traumerei. Mary
reaches the bottom of the stairway and passes the big, fumed
oak grandfather's clock which stands with majestic infinity
of time, reminding all tardy students that it is later than
they know. As she passes it, it rings the hour. She looks at
its friendly, familiar face, and gives it a little pat of
farewell. O.S. we hear a sweeping girl's voice reciting the
final verse of "The Chambered Nautilus."
GIRL'S VOICE
Build thee more stately mansions,
0 my soul,
As the swift seasons roll;
Leave thy low-vaulted past!
Let each new temple, nobler than
the last
Shut thee from heaven with a dome
more vast,
Till thou at length art free,
Leaving thins outgrown shell by
life's unresting sea;;
With this burst of poetic encouragement, Mary crosses the
hallway, opens the door and passes out of Highcliffe Academy,
closing the door behind her.
FADE OUT
FADE IN
INT. FACTORY - LA JEUNESSE COSMETIC COMPANY - DAY
MED. CLOSEUP of a column of white powder falling from an
oscillating sifter. The powder falls into a large barrel, but
the column of powder and its attendant dust hide from view
the three figures behind it. We hear the throaty voice of
Mrs. Redi.
MRS. REDI'S VOICE
That's enough.
There is a click as the apparatus is turned off. The powder
stops falling. Three people are disclosed. Mary, still in her
travelling suit; Mrs. Redi, a neat, businesslike woman, with
firm features and a steady eye.
Her hair is extremely well coifed. Not a strand is out of
place. Her clothes are covered by a long, white surgeon' s
coat of immaculate linen. The third person is a workman,
dressed in a white smock and wearing a long, snouted,
inhalator mask, which he removes, revealing a benign and
smiling face.
Mrs. Redi rubs a bit of the powder on the palm of her hand.
She examines it critically.
MRS. REDI
(to Joseph)
It seems all right, Joseph.
(turning to Mary with a
strained smile)
You see, we do keep up the quality
of La Jeunesse products in spite of
Jacqueline's absence.
She and Mary start down the line of machines toward a funnel
and tube arrangement set up for filling bottles. The CAMERA
DOLLYS WITH them.
MARY
(as they go, evidently
resuming a previous
discussion)
But you must know someone who has
seen or heard of my sister.
MRS. REDI
(coldly)
I'm afraid not.
They reach the bottle-filling apparatus. Mrs. Redi lifts one
of the bottles and holds it up to the light.
MRS. REDI
Your sister had many friends --but
they were not my friends. I was
only the manager of her plant.
She sets down the bottle and they move on. The CAMERA GOES
WITH them. Mary, embarrassed, looks at her. They have reached
a machine which pours luke-warm cleansing cream into great
jars. As one of the jars slides out from the machine, Mrs.
Redi picks it up, rubs a bit of cream from the top of the jar
onto the back of her hand, and judges the rapidity with which
the cream dissolves at body temperature. Evidently it meets
with her approval, for she passes on and goes toward her
office.
Mary goes with her. At the door they stop a moment.
MARY
Mrs. Redi, there's one thing —-with
Jacqueline gone, how do you carry
on the business? What do you do
with the receipts? How do you sign
checks--?
MRS. REDI
(smiling)
Mary, I'm amazed. Didn't Jacqueline
tell you? She sold the business to
me at least eight months ago. It's
my business now.
MARY
I didn't know.
MRS. REDI
(still smiling)
Yes —— and I must say I've done
very well with it -- perhaps even
better than Jacqueline.
They move on toward Mrs. Redi's office.
INT. SALON - LA JEUNESSE -DAY.
8Mary and Mrs. Redi come into the salon. Beauty operators are
at work on patrons in several of the booths. The modernistic
glass walls, some patterned with stripes, the mirrors, and
the gleaming gadgets make of this ordinary room a rather
fantastic and distorted place.
MARY
There's nothing you can think of --
old letters, anything, that might
give me some hint as to where I
might find Jacqueline?
MRS. REDI
Leave me your address, and if I
find anything, I'll get in touch
with you.
MARY
I'm stopping at the Chatsworth.
MRS. REDI
(with an air
of dismissal)
Thank you, my dear.
Mrs. Redi puts her hand on the knob of the door marked
"OFFICE." Mary starts off.
INT. SALON — LA JEUNESSE COSMETICS, INC. - DAY
Mary passes through the salon. As she passes one booth, a
young woman in the white smock of an operator comes out. This
is Frances, a tense, nervous young woman, with bleached blond
hair and excited, nervous eyes..
FRANCES
(with great friendliness)
Why, Mary --
MARY
Hello, Frances.
FRANCES
How's Miss Jacqueline?
MARY
I don't know. That's why I came to
see Mrs. Redi. I'm trying to find
her.
FRANCES
You mean Miss Jacqueline's gone,
and you don't know where she is?
Mary nods. Frances beckons to Mary, and they pass through a
side door into a corridor that connects the plant with the
street.
INT. CORRIDOR - LA JEUNESSE COSMETICS, INC. - DAY
It is a narrow, gloomy passage. The two girls come into it
from the side door. Frances fishes a package of cigarettes
from her pocket, takes one, lights it as she speaks.
FRANCES
I don't get this. Miss Jacqueline
was always so fond of you -- she
was always talking about you -— had
your picture in her office.
MARY
I know. For the first time I'm
beginning to be frightened. I
almost feel as if I'd never known
my sister.
FRANCES
Nothing's happened to her. It's
just that I can't understand her
not getting in touch with you.
MARY
I can't understand it at all.
FRANCES
Well, don't worry. I saw Miss
Jacqueline only a week ago. I saw
her at a little restaurant the boy
friend took me to -- an Italian
place down in the Village —- "The
Dante."
MARY
"The Dante?"
FRANCES
It's on Peary Street. Just ask the
people who run it. They'll remember
her.
(with reminiscent pride)
People who see Miss Jacqueline
never forget her.
MARY
I'll try there.
She starts to return to the salon, but Frances indicates to
her there is a short cut to the street by means of the long
hallway. The two girls smile at each other. Frances turns
back into the salon and Mary starts down the corridor.
EXT DISPLAY WINDOW & SIDE ENTRANCE - LA JEUNESSE COSMETICS,
INC.- DAY
Mary comes out of the side entrance and passes the display
window. She looks up for a moment at the words "La Jeunesse"
and at the peculiar trade-mark of the company. It is on this
peculiar trade—mark, a geometric figure, that the scene
DISSOLVES
EXT.STREET CORNER - PEARY STREET - GREENWICH VILLAGE
It is after three o'clock, and the street is alive with
children. A covey of them flash past on roller skates, tailed
by one poor urchin with only one skate, who strives
desperately to keep up with the tail end of the procession.
Mary, coming around the corner, has to draw back half a step
to got out of his way.
A horse—drawn laundry truck stands at the curb on the
opposite side of the street, and a man is busily lifting down
bundles of soiled wash. On the other side Of the street is
the Dante. It is an Italian restaurant, a half-flight below
the street level. The name and the word "Restaurant" are
written on the glass in gold letters.
In the lower left hand corner of the window is a cardboard
sign, hand-lettered to read "Rooms for Rent". Above the
doorway is a poly-chrome bust of Dante. Mary crosses the
street to enter the Dante. A young man, Jason Hoag, comes
around the corner. He is a man about thirty-five years old,
and rather poorly dressed in an ordinary business suit and
trench coat Under one arm he carries a load of books. He
stops and looks at Mary with interest. She continues on,
going down the steps, under the Dante statue, and into the
restaurant. Jason looks after her.
INT DINING ROOM - DANTE RESTAURANT - DAY
This is a fairly good-sized room, with benches along the
walls and many small tables. Along one wall is a crudely
painted mural, a reproduction of the famous painting which
shows Dante's first meeting with Beatrice. Dante is passing
along the cobbled street, and Beatrice, with two companions,
large, flourishing wenches, is casting him a coy look over
her shoulder in passing. Directly under the feet of the poet
is a small table for one patron. On a back counter stands an
enormous, shining metal coffee machine. This is a patented
contraption for making coffee. The entire machine is
contrived to serve only one small purpose ——to make a cup of
coffee by driving steam through ground coffee. Near this
machine and flanking the door into the kitchen are fake palms
in wooden tubs. There is a door leading to the house hallway,
and through this door we can see the newel post of the
stairway leading to the rooms above. On most of the tables,
platters of antipasto have been arranged in readiness for the
dinner hour. When Mary enters, the restaurant is empty, but
echoes to the sound of a rich female voice singing with great
sentimental emphasis the words of "Care Mio Ben." Mary looks
around, hesitates a moment, and then starts toward the back
of the restaurant, as if following the source of the singing.
At the swinging door which separates the restaurant from the
kitchen Mary hesitates a moment, then knocks timidly. The
singing continues, and realizing that her knock will not be
heard above it, Mary shyly pushes open the door.
INT. KITCHEN - DANTE RESTAURANT - DAY
This is a cluttered, busy, steaming kitchen. In one corner at
a little table Mr. Romari, the proprietor, in a waiter's
uniform, is busily folding napkins. Mrs. Romari herself from
whose bosom come the sounds of
"Caro Mio Ben," can be seen through a cloud of steam behind a
boiling, kettle of spaghetti. She is a tall, gracious Italian
of sentiment and humor. Her pet pigeon in close attendance at
her feet. This bird follows her wherever she goes, hopping
about the floor at her heels. As Mrs. Romari wants to lift a
kettle of spaghetti from the stove and carry it to a center
table, she softly kicks the pigeon out on her way with a
practiced backward sweep of her slippered foot. Her turn
brings her face to face with Mary as she enters. Both the
Romaris look at her questioningly.
MARY
I'm worry to bother you. I want to
ask you about my sister.
ROMARI
(getting up)
Yes?
MARY
I thought you might know her. She
was seen here about a week ago. Her
name is Jacqueline Gibson.
ROMARI
(shrugging)
I don't know no Gibson. This is a
restaurant. Many people come here.
MARY
She's very beautiful.
Romari shrugs again.
MARY (CONT'D)
I wish I could tell you what she
looked like -- I know you'd
remember her, She is tall --with
dark hair --
Romari shrugs. This all means nothing to him.
MARY
Once you'd seen my sister you'd
never forget her.
MRS. ROMARI
(interrupting; to Romari)
Giacomo -- la bellisslina madonna —-
ROMARI
Maybe.
MRS. ROMARI
(to Mary)
Let me look at you -- you could be
her sister
MARY
(smiling)
Yes —— yes, if she made that much
impression on you, I'm sure it was
Jacqueline.
MRS. ROMARI
She's not been here for a long
time.
MARY
But she was here?
MRS. ROMARI
Oh yes, yes. One day a beautiful
car comes here. This beautiful lady
in furs gets out. There is a
handsome man with her, and the
chauffeur The lady rents one of
our upstairs rooms. The chauffeur
changes the lock on the door. Then
the lady never comes back --not to
live, anyhow. She came back three,
four times, but always alone and
just to eat.
Mary shakes her head in puzzlement.
MARY
You mean she just came here, rented
the room, locked it, and left?
MRS. ROMARI
Yes -- and pays the rent every
month.
MARY
Could you let me see that room? If
it is hers, there might be
something there to help me find my
sister.
ROMARI
(shaking his head)
No -- the rent in paid. The lady
asked us to promise, I wouldn't
open the door.
MARY
Please.
Romari shakes his head.
MARY (CONT'D)
(turning to Mrs. Romari,
pleading)
It's important
Mrs. Romari looks at her kindly.
DISSOLVE
INT. UPPER HALLWAY - DAUTE - DAY
Mary and the Romaris. It is a bleak hallway with a narrow
strip of worn carpet running down the exact middle of the
floor space. A picture of St. Francis of Assisi, surrounded
by fluttering white birds, hangs on the wall, a little bit
askew. Mrs. Romari and Mary stand near the stairway railing,
with the pigeon in close attendance on Mrs. Romari. Romari,
with a toolbox at his feet, is at the door, on which is the
number "7". He has taken off the bottom hinge and is now
striking a last few blows to remove the pin from the top
hinge.
As he works, a girl -- Mimi -- crosses in the background from
one hallway door to another. She is a tall, thin blonde and
is wearing a faded bathrobe. She has a handkerchief over her
lips, and is coughing dismally. She closes the door behind
her.
ROMARI
Fo come ti pare. To desiderare
sempre di vedere che cosa c'era in
quella stanza.
MARY
(turning to Mrs. Romari)
What did he say?
MRS. ROMARI
(translating)
He says he always wanted to see the
inside of that room anyway.
The top hinge comes off. Mr. Romari opens the door, and the
three press forward.
INT. JACQUELINE'S ROOM - DAY
The CAMERA IS SHOOTING OVER the shoulders and PAST the half
lost profiles of Mary and the Romaris, as they look into the
room. It is a room that is empty except for two objects. From
a pipe overhead is suspended a hangman's noose and beneath it
stands a little gilt chair. There is nothing else.
DISSOLVE
INT. DINING ROOM - DANTE - DAY
MED. SHOT of Jason Hoag. He is standing shyly beside the
coffee machine while Mr. Romari draws a cup of the coffee.
Jason watches Romari while he pulls the various levers,
releases the clouds of steam and finally pulls out the little
demi—tass and puts it on a little tray. While Jason watches,
he listens to conversation going on nearby.
POLICEMAN'S VOICE
I tell you, young lady, when a
thing like this comes up, you've
got to go to the police. What do
you think people pay taxes for? I
ain't just to keep us chasing after
crooks and regulating traffic.
We're supposed to help everybody.
You gotto go to the police about
your sister, Miss.
Romari starts out of scene with the little cup of coffee. The
CAMERA PANS with him as he brings the coffee to Mary who is
seated with Mrs. Romari at one of the tables under the mural.
A policeman stands beside them. The policeman is in a heavy
blue sweater, with his coat over his arm, his uniform cap on
the back of his belt and all the metal weight of his
impedimenta can be seen hanging from his belt, handcuffs,
revolver, billy, etc. Jason comes hesitantly into the scene.
He addresses the policeman.
JASON
I've had some experience with the
Bureau of Missing Persons
POLICEMAN
Yeah -- well, Mr. Hoag, lost
persons are the concern of the
Missing Persons Bureau.
ROMARI
You're a poet, Jason. You stick to
your poetry.
JASON
In a way that makes everything my
business.
MARY
(a little hesitantly to
Jason)
Were you going to make a
suggestion?
JASON
Yes. I was going to tell you to
look into your own heart -- do you
really want to find your sister?
Mary looks affronted. Mrs. Romari bursts out laughing in rich
good humor.
MRS. ROMARI
Ah, my Jason -- always laughing --
always trying to help others.
(to Mary)
He's a good boy, Miss -- he just
talks that way.
JASON
(with a little smile to
Mary)
I'm a good boy, but no one listens
to what I say.
POLICEMAN
You do what I tell you, young lady,
and go to the Missing Persons
Bureau for your sister.
MARY
(turning from Jason to the
policeman and starting to
rise)
If you'll give me the address.
INT. BUREAU OF MISSING PERSONS - DAY
FULL SHOT. A long counter divides the room in half. On one
side are the filing cabinets, records, and office equipment
used by the policemen who service this heartbreak house.
Behind the desk, protected by steel wickets, sit half a dozen
policemen taking down dates.
CAMERA DOLLIES SLOWLY FORWARD parallel to the counter. As it
moves along, we hear the voice of the petitioners describing
their loved ones.
The same flat, unemotional professional voice seems to ask
the routine questions at each of the different wickets.
FIRST VOICE (A MAN)
She was only sixteen --
FIRST POLICEMAN'S VOICE
Had she ever run away before?
SECOND POLICEMAN'S VOICE
What did he have on when last seen?
SECOND VOICE (A WOMAN)
(tearfully)
He went out without his hat or his
coat. It's very cold for such an
old man -—
THIRD POLICEMAN'S VOICE
Any identifying marks or
characteristics, scars,
amputations, tattoo marks, speech
impediments?
THIRD VOICE (A MAN)
No, none.
CAMERA DOLLIES UP to the last wicket where Mary stands.
POLICEMAN'S VOICE
Any further details?
MARY
She sold her business about eight
months ago to Mrs. Esther Redi.
POLICEMAN
What relation are you to the
missing person?
MARY
Sister.
POLICEMAN
Sign here.
Mary starts to sign.
REVERSE ANGLE - on the other side of the wicket. Two men
stand in the f.g., but not together. In the b.g. we see
Mary's back as she signs the police report. The man in the
center is Paul Radeau, a big man with iron-gray hair. He
appears entirely oblivious of everything around him. The
second man is Irving August, a skip-trace artist.
His derby is dulled by the mists of many winters, and his
dark eyes are fastened upon Mary. It is obvious that he has
been listening as she made out her report. Mary finishes
signing the report and turns away from the wicket. She takes
scarcely more than a single step when she finds herself
confronted by Irving August, who smiles at her.
AUGUST
I'm Irving August, private
investigator. I think I can help
you. Here's my card.
He produces a business card which he hands to Mary. Mary
takes the card and glances at it as August continues.
AUGUST
The name may not mean anything to
you, young lady, but say the word
and I'll have your sister for you
in forty-eight hours.
MARY
(impressed)
You can?
AUGUST
(gesturing expansively)
Look, sister', Manhattan is only
nine miles long and four and one
half miles wide. I ain't never been
off it. I know it like you know
your own back yard. You get me a
small retainer --say fifty bucks,
and I'll get your sister for you. I
guarantee
MARY
I haven't any money but I'll get a
job and --
Irving August's enthusiasm vanishes.
AUGUST
Lady, this kind of work costs
money. I got to cover all the
hospitals, the morgue -- that's the
first place you got to go and it
ain't pleasant -- the morgue -—
He finishes his speech by shaking his head. Mary turns away
and goes out of scene. August is standing, staring
disgustedly after her when a hand touches him on the shoulder
and he turns to face Paul Radeau.
RADEAU
You know who I am, August?
AUGUST
(suddenly tense
and cautious)
Sure I do.
RADEAU
Then you know that if I give you a
little advice, it'll be good
advice.
AUGUST
Yeah —- sure.
RADEAU
That girl was looking for
Jacqueline Gibson. I'd forget it if
I were you.
AUGUST
Okay, Mr. Radeau, it's forgot.
Radeau nods appreciatively and goes ponderously away. Irving
August watches him go, his eyes sharp with avarice and
suspicion. With quick steps, August crosses to the wicket
where Mary had given her report.
AUGUST
Hey, Danny, get me the file on
Jacqueline Gibson, will you?
The policeman turns to the file.
DISSOLVE IN
EXT. BELLEVUE HOSPITAL MOHMJE - DAY
The bulwarks and gangplank are in the f.g. The street and
wharf at river level. Beyond that there are the sidewalk and
the two doors leading into the morgue. The river is not seen,
although the sound of tugboat and barge whistles comes o.s.
The street and sidewalk are wet, as if a drizzling rain had
recently fallen, One of these doors is open and from it comes
a procession of dock workers carrying cheap pine coffins. The
other door is closed, Above both doors are printed the words:
NEW YORK CITY MORGUE
Over the door from which the pine boxes are being taken is
another legend carved into the stone:
HE CALLETH ALL HIS CHILDREN BY THEIR NAME.
Out of the second door Mary emerges. Her face is white and
drawn. With a shudder she wraps her coat about her and starts
walking, bracing herself against the fresh, cold gusts of
wind blowing from the river. A barge whistle sounds o.s.
dismally.
DISSOLVE
INT RECEPTION ROOM - FORTESCUE, HOLLOWAY & WARD - DAY
MED. SHOT Mary Gibson and Miss Summers, the receptionist,
Miss Summers wears horn—rimmed glasses and a oriijp white
shirtwaist. In front of her is a plaque with the inscription:
FORTESCUE, HOLLOWAY & WARD
ADMIRALTY LAWYERS
Miss Summers is reading questions from a form reception pad
and filling out the answers.
MISS SUMMERS
Whom do you wish to see?
MARY
Mr. Gregory Ward, please.
MISS SUMMERS
And what is it about, Miss Gibson?
MARY
(her voice almost a
whisper)
A personal matter —— I was given
Mr. Ward's name --
MISS SUMMERS
May I ask who gave you his name?
Mary thinks a moment, and as she thinks all the horror of her
trip to the morgue and what she has seen is reflected in
her face and voice.
MARY
The morgue ——
Miss Summers looks up at her in surprise, but already Mary is
beginning to faint. As she crumples, we IRIS OUT.
INT. GREGORY WARD'S PRIVATE OFFICE - DAY
IRIS IN on a CLOSEUP of Mary's face as seen through a
glass of water which she is sipping, Gregory Ward is holding
the glass and over the shot we hear his voice.
GREGORY'S VOICE
Do you feel all right?
CAMERA PULLS BACK to include Gregory Ward seated beside Mary,
who is reclining on a couch in his office. He is a man in his
middle thirties, handsome and well—dressed in a quietly,
professional way. He takes the glass away from Mary's lips
and passes it to Miss Summers who is beside him.
MARY
I feel like an idiot —— fainting in
a stranger's office.
Miss Summers, with a considerate look to see that Mary is all
right, starts out of the room with the glass of water.
GREGORY
(smiling)
We're not exactly strangers, Mary.
Jacqueline spoke about you often. I
suppose she told you about me,
MARY
No...At the morgue they told me a
Mr. Gregory Ward had made inquiries
about Jacqueline.
GREGORY
The Morgue? No wonder you fainted.
(he pauses)
I wish you had come to me first.
MARY
Then you know where Jacqueline is?
GREGORY
(shakes his head
negatively)
But I'd give a great deal to know.
MARY
(spunkily)
Why?
GREGORY
(smiling)
I love your sister, Mary. I love
her very much.
There is a little silence while Mary looks at him steadily,
then she half smiles. He leans over and pats her hand.
GREGORY
It's easy to understand now, isn't
it?
Mary nods.
GREGORY
(speaking in a low voice,
almost as if to himself)
A man would look anywhere for her,
Mary. There is something exciting
and unforgettable about her -—
something you never get hold of —-
something that keeps a man
following after her.
MARY
Because I loved Jacqueline I
thought I knew her. Today I found
out such strange things
——frightening things. I saw a
hangman's noose that she had
hanging -— waiting —— I feel as if
I'd never known her.
GREGORY
(smiling)
At least I can explain that, Mary.
Your sister had a feeling about
life —— that it wasn't worth living
unless one could end it. I helped
her get that room.
MARY
Weren't you afraid?
GREGORY
Afraid she might commit suicide?
(he shakes his head)
People who commit suicide don't
talk about it. That room made her
happy in some strange way I
couldn't understand. She lived in a
world of her own fancy. She didn't
always tell the truth. In fact -—
I'm afraid she didn't know what the
truth was.
(he pauses for a moment,
and looks at Mary)
There were many things about
Jacqueline I didn't understand, and
yet, without understanding, I had
to be with her —— to see her —— to
touch her —— in order to be happy.
It's hard to explain to a
youngster.
MARY
(a little
sharply)
I'm not a youngster. I can
understand.
He looks at her.
GREGORY
The colors returning to your
cheeks. You look as if you were
coming back to life. Are you sure
you didn't faint because you were
hungry?
Mary looks astonished, and then laughs to herself.
MARY
You know...I didn't have lunch.
He looks at his wristwatch, and chuckles.
GREGORY
It's nearly six. Time for dinner,
I'd say.
He extends his hand to her to help her up. She takes it.
DISSOLVE
EXT CHATSWORTH HOTEL FOR WOMEN - NIGHT
DOLLY SHOT of Mary and Gregory Ward as they come up along the
street in front of the hotel. There is a very heavy mist and
Ward carries an umbrella.
MARY
Thank you. It was a lovely dinner.
GREGORY
Good.
MARY
(thoughtfully)
But I reel guilty.
It doesn't seem right for me to
enjoy myself with Jacqueline gone.
Gregory looks at her.
GREGORY
You can't make it your life's
work looking for Jacqueline.
(with a smile) )
You'll have to do other things...
live...get some enjoyment out of
life. I hope you'll let me help
you.
MARY
(smiling)
Thank you.. .goodnight.
GREGORY
Goodnight, Mary.
He tips his hat and turns away, as she starts in to the
hotel.
TNT LOBBY CHATSWORTH HOTEL - NIGHT
It is a conventional hotel lobby. Mary comes in, and as she
crosses the lobby, flrving August rises from a straight back
chair set against a pillar, and comes to meet her.
AUGUST
I've been waitin' for you Miss
Gibson. I want you to know I've
decided to take your case.
MARY
Mr. August, I'm not at all sure -
AUGUST
(interrupting)
Look. Don't say a word. I've taken
an interest in you and I'm willin'
to put up my time to help you.
Besides, I think I know where to
find your sister.
MARY
Where?
AUGUST
Wait a minute.
This has got a lot of angles.
You've got to take it easy. Do you
know a Mrs. Redi?
MARY
Yes. She bought my sister's
business.
AUGUST
That's what she told you. I looked
it up at the Hall of Records. Your
sister deeded her the business as
an outright girt.
MARY
Why would Mrs. Redi lie to me?
AUGUST
That's what I tried to find
out. I went to La Jeunesse ——
(he mispronounces as badly
as he can)
-- used a phony health inspector's
badge —— they let me go through the
works -- all but one room. That
room was locked. I'd like to see
the inside of that room.
MARY
You think my sister is there?
AUGUST
You can't tell.
MARY
Can we go there now?
AUGUST
Sister, you can't just go breaking
into places. There's a night
watchman down there and locks on
the door.
MARY
If my sister's in that room, it
won't make any difference about
warrants- and things, I want to go
there.
AUGUST
(thoughtfully)
I don't know if I want to go with
you or not.
Mary starts out and, a little reluctantly, August follows
her.
EXT. STREET NEAR LA JEUNESSE - NIGHT
Mary and August come across tho street and look in the
windows of the cosmetic company. Only the night lights are
burning in the salon. August tries the door rather
perfunctorily. He shakes his head, and with Mary, moves on to
the side door leading into the passageway. From his pocket he
takes a bunch of keys and tries one after another. Finally
one key works and the door swings open. Mary stops in ahead
of August.
INT. PASSAGEWAY LA JEUNESSE - NIGHT
TWO SHOT of Mary and August. August softly closes the door
behind him. The street light shines through the glass upper
ha-if of the door and invades the dark hallway for a short
distance. They walk softly forward to the place where this
light ends abruptly in the darkness. Here Mary pauses. August
looks at her.
AUGUST
I don't like this.
MARY
Which room is it?
AUGUST
It's the last door at the end of
this hall.
Mary starts forward a step or two, the shadows closing around
her until only her face is still in the light. August follows
her. She stops and looks off into the darkness.
AUGUST
You scared?
MARY
Yes.
AUGUST
Let's get out of here.
MARY
No.
They stand a moment in silence.
MARY
You could go on, Mr. August.
You could open the door. I'd stay
right here.
August shakes his head.
MARY
It's only a little way, Mr. August.
AUGUST
I'd like to get out of here.
MARY
No.
They stand again silently looking down the dark corridor.
AUGUST
We can't stand here all night.
MARY
You could go and open the door.
AUGUST
Listen ——
Realizing the futility of argument, he breaks off what he was
going to say, shrugs, and starts down the dark passage. Mary
watches him and retreats a stop or two toward the street in
order to have the comforting light around her again. She
stands there while August's footsteps recede in the darkness.
EXT. ENTRANCE OF THE SALON - NIGHT
A night watchman, an old man wearing a worn corduroy Norfolk
jacket and a battered hat, with his time clock hanging from a
broad strap around his neck, comes out of a neighboring
store, a flower shop. He carefully closes the door behind him
and goes to the entrance of La Jeunesse. From a key ring
hanging from the leather clock strap he selects one key and
begins to open the door.
INT. PASSAGEWAY - NIGHT
Mary still stands in the patch of light near the doorway.
Abreast of her is the doorway leading from the hall to the
salon. Through the glass upper half of the door, she sees a
gleam of light in the other room and tiptoes up to the door
and looks out.
EXT. SALON LA JEUNESSE - NIGHT
From Mary's angle, shooting through the window, can be soon
the night watchman, the beam of his flashlight coursing ahead
of him as he makes his way to a time clock. Ho rings in his
clock.
MED. CLOSE SHOT — Mary, nervous and apprehensive, looks
through at the night watchman. She makes a decision and
starts off along the hallway to warn August. She disappears
in the blackness of the unlit portion of the hallway.
REVERSE SHOT. At the far end of the hallway the illuminated
square of the street door can be seen, and the little patch
of light near it Nearer the CAMERA a broad streak of light
from a partially open door is between the darkness and the
CAMERA. Mary comes out of tho darkness and into this light.
At the same moment, August comes out of the partially opened
door, blocking out the light for a minute. His shadow goes
ahead of him - contorted and strange. He stands a moment
before Mary; both of his hands clenched tightly against his
stomach. She speaks to him in a whisper.
MARY
Mr. August -- the night watchman
August makes no answer, but starts walking blindly, swaying a
little, toward the street door. Mary goes with him, walking
at his side, trying to peer into his face.
MARY
The night watchman -- he is in the
salon.
Still August pays no attention.
MARY
Mr. August, what is it? What's the
matter?
There is no answer. Ho continues to walk in the same jerky,
pain—gripped fashion, slowly and unsteadily, toward the
light. They are engulfed in the darkness.
MED. CLOSE SHOT - August and Mary from the street angle, as
they come out of the darkness. Mary is very agitated and
worried. August still continues to plod blindly forward. Mary
reaches out to touch his shoulder.
MARY
Mr. August --
Her hand touches his shoulder. Almost as if unable to bear
this trifling weight, he collapses suddenly at her foot. She
looks down.
CLOSEUP of Irving August's arm on the floor. It is sprawled
awkwardly out The sleeve is darkly stained, and there is a
widening stain of blood upon the floor. Mary's slippered foot
step back so that the blood will not touch her.
Mary screams. The narrow hallway rings, echoes and reechoes
with the sound.
Mary runs wildly toward the door, fumbles with the knob and
pulls it brusquely open. As she does so, the beam of the
night watchman's searchlight comes in from the loft. O.S. a
wild bell starts to ring madly as Mary bolts in panic.
EXT. STREET IN FRONT OF LA JEUNESSE - NIGHT
Mary comes out of tin deer and starts running down the
street. Behind her the lights of both the hall and the salon
blaze. The bell rings o.s. she looks ever her shoulder and
continues running.
EXT. SUBWAY ENTRANCE - NIGHT
Mary, still running, comes down the street. She looks back
for a moment and then goes down the stairs to the subway.
The CAMERA REMAINS on the subway entrance a moment so that it
can be clearly seen that this entrance is marked:
FOURTEENTH STREET
DISSOLVE
INT. SUBWAY CAR - NIGHT
It is late, and this particular car is almost empty. There is
Mary, .sitting huddled in one corner under the map of the
route which the I.R.T. so thoughtfully provides. Mary sits,
still and white, obviously shaken. Her coat collar is drawn
protectively against her throat. Opposite her are a pair of
young lovers, their hands clasped, who look blissfully into
each others eyes.
The conductor comes shambling into the car. He leeks at Mary
and takes a step toward her, teetering on practiced tees,
disdaining the overhead strap.
CONDUCTOR
You know where you're going, lady?
Mary nods.
CONDUCTOR
You've been to the end of the line
and back again -- hope you enjoyed
the ride.
He passes on. Mary looks after him, frightened. As he reaches
the end of the car, the subway train begins to come to a
step. The two lovers get up, their hands still tightly
clasped.
INSERT A SIGN reading: "14TH STREET"
BACK TO SCENE. The train comes to a stop. Mary glances up.
The subway door glides open. The two lovers sidle crab-wise
through it, never relinquishing their clasps on each other's
hands, and through this same door come three men, three
convivial drunks.
GROUP SHOT of the three drunks as they seat themselves
opposite Mary. The middle drunk carries the heaviest load.
The ether two support him, laughing and rearing as they make
him comfortable between them. All three wear top hats and
dark overcoats The hat of tin man in the middle is tilted
over one eye.
MED. CLOSE SHOT of Mary as she looks at the three men across
from her. Over this shot comes the sound of the subway train
stopping.
THREE SHOT of the three men. One of them leans across the
supposedly drunken man between them to offer a light for the
ether's cigarette. The man in the middle lolls awkwardly,
swaying- between them.
CLOSEUP of Mary as she stares at the man in the middle. Some
familiar chord of memory is touched in her mind.
THREE SHOT of the three men. . The car jolts and the hat
slides off the middle man's head. We see that the man is
Irving August, and that he is dead. One of the men quickly
reaches down, picks up the hat and puts it back on August's
head.
CLOSEUP of Mary. Her fear is confirmed. Looking around her
cautiously, she gets up and starts down the aisle. At the end
of the car she leeks back.
FULL SHOT - the three men sitting at the opposite end of the
car. One of the men is whispering to the other man pointing
to Mary.
FULL SHOT of Mary as she quickly opens the door and goes into
the next car. She walks down the length of the car. A man is
sleeping. She shakes his shoulder.
MARY
Please --- please ——
The man only mutters something in his sleep. Mary continues
down the car's length to where a drunken girl sits, her head
lolling.
MARY
I want your help, please.
The drunken woman merely looks at her blankly. The cars are
coming to a stop again. The door opens and the conductor
comes through. Mary seizes his arm.
MARY
These men in there —— don't let
them get out.
CONDUCTOR
What's the matter now?
MARY
One of them has been murdered!
The conductor looks at her dubiously. The cars have come to a
stop. He looks into the next car and then glances down at
her.
CONDUCTOR
(crossly)
What men?
Mary turns and looks back toward the car she just left.
LONG SHOT of the car as Mary sees it. It is completely
deserted.
TWO SHOT - Mary and the conductor. The subway train is
starting to move again.
MARY
But they were there.
The conductor looks at her and merely observes.
CONDUCTOR
Yeah.
DISSOLVE IN
EXT. REVOLVING DOORS OF COOPER BUILDING - DAY
MED. CLOSE SHOT of a newspaper vender calling:
VENDOR
Wuxtra! Murder! Murder! Read all
about it!
He is standing directly in front of the revolving doors and
behind him, through the glass of the doorway, we can see Mary
waiting, her face anxious and strained as she peers out onto
the street. A constant stream of passersby goes by the
building. Out of this stream Gregory Ward emerges, goes
through the revolving doors, and we see him met by Mary, who
begins excitedly to talk to him. He shakes his head, takes
her arm and walks her off.
INT COFFEE COUNTER — DAY
This is a very small counter and stand with a few tables near
the window -- the sort of restaurant that is open only for
breakfast and lunch and is patronized by office workers who
can content themselves with a sandwich and a cup of coffee.
The scene opens on the newsboy as he comes into the
restaurant and goes up to the counter. The waiter behind the
counter buys a paper and brings it with an order of one cup
of coffee and a glass of milk to Mary and Ward, who are
sitting at a small table. The newsboy goes on outside and
over the scene from time to time we hear his voice crying,
"Murder! Read all about it!"
Gregory Ward takes the glass of milk and slides it down the
counter in front of Mary. He opens up the paper and scans it
carefully. Mary watches him anxiously, and turns to him.
GREGORY
This is about another murder —— a
woman at Fifty Second Street
MARY
But you do believe me?
GREGORY
(after a little pause)
The important thing is, the
police won't believe you.
MARY
I saw him on the floor. He
was cut -—
(indicates her own belly)
--here. The blood was running out.
He was dead. I'm sure of it.
Then on the subway I saw him ——
white —— and the men holding him up
between them.
Gregory takes a sip of his coffee and speaks gently, but
unable to hide his disbelief.
GREGORY
Yes, of course —— but the police
would say you'd probably had a bad
dream.
MARY
He was a kind little man in his way
—— and I made him go down that hall
into the darkness. I made him do
it.
GREGORY
Drink your milk.
Mary looks up, startled at this note of command.
MARY
I don't like to be ordered to
do anything.
Gregory looks at her for a moment.
GREGORY
I'm sorry. I didn't intend to
treat you like a child.
MARY
But you have treated me that
way.
GREGORY
I won't do it again. We're friends.
I'll never order you about again.
He puts out his hand and Mary takes it.
GREGORY
(smiling)
However, I won't say that I'll
not take charge occasionally,
and I'm going to take charge
new. I've a job for you.
MARY
A job?
GREGORY
You told me you were pretty good
with youngsters. Today I bumped
into an old friend of mine, Mrs.
Wheeler She runs a settlement
house down in the Village and is
looking for a kindergarten teacher.
MARY
I'd like that.
GREGORY
It's not much money, but it's
enough to live on. You'd have to
move out of that hotel and into a
furnished room.
MARY
Maybe the Romaris might have
a room. They seem nice.
GREGORY
The people at the restaurant?
MARY
Yes.
Gregory starts getting up, looks at his watch.
GREGORY
If you want, I've time to take you
down to see Mrs. Wheeler right now.
Mary gets up. They stay for a moment while he gets change out
of his pocket and gives it to the counter man.
FADE OUT
FADE IN
INT. RECEPTION R0OM - FORTESQUE, HOLLOWAY AND WARD OFFICE- DAY
A dark, handsome man with bold, insolent eyes lounges
carelessly before the reception desk. Miss Summers puts down
the phone and smiles up at him.
MISS SUMMERS
Mr. Ward will see you in just a
few minutes. Won't you wait, Dr.
Judd?
DR. JUDD
Thank you.
He takes out his cigarette case, selects a cigarette, but has
no matches. Miss Summers gives him her lighter. He lights his
cigarette and crosses the room to sit down on the waiting
room couch. Throughout the scene he toys with the lighter in
his hand. Miss Summers looks across et him for a moment, and
then, after a little hesitancy, she speaks.
MISS SUMMERS
Dr. Judd?
Judd looks up.
MISS SUMMERS
Are you Dr. Louis Judd?
DR. JUDD
Yes.
MISS SUMMERS
I read your book. The one in
which you wrote about the cure
for drinking.
DR. JUDD
You're not a dipsomaniac at your
age?
MISS SUMMERS
No. It's my father -- I wanted to
talk to you -- you wrote about
cures --
Judd silences her by raising his hand.
DR. JUDD
I'm sorry. I don't practice any
more. I find it easier to write
about mental illness and leave the
cure of it to others.
The buzzer sounds and Miss Summers brings the phone receiver
to her ear.
MISS SUMMERS
(looking up from the
phone)
Mr. Ward is free now, Doctor.
Judd gets up and saunters toward the door.
DR. JUDD
(as he walks)
There are any number of other
psychiatrists who can help your
father -- dipsomania is rather
sordid.
He smiles charmingly at her, and deliberately pockets her
lighter.
MISS SUMMERS
(as he goes through the
door, disappointment in
her voice)
Thank you.
She reaches for a cigarette, then realizes that Judd has
usurped her lighter. With a blank expression, she turns and
looks at the closed door.
INT. GREGORY WARD'S OFFICE - DAY
Dr. Judd comes in and walks calmly across the room.
DR. JUDD
(as he crosses)
I've come from Jacqueline. She
needs money.
GREGORY
I thought you told me you didn't
know where she was.
DR. JUDD
(sprawling into)
(a chair)
I didn't. She came to me a few days
ago. To put it delicately her care
imposes a financial burden upon me.
She thought you might lighten that
burden.
GREGORY
If Jacqueline wants money she
can come to me herself.
DR. JUDD
I'm afraid she can't do that,
Ward. It would endanger her.
GREGORY
What sort of danger?
JUDD
I'd like to tell you. I would tell
you, but I'm fond of Jacqueline, I
don't want her to run any risks.
GREGORY
This is nonsense! Unless I know
where Jacqueline is, and how she
is, I won't give you any money.
DR. JUDD
(almost musingly)
You're a curious man. You're
willing to jeopardize Jacqueline's
life in order to satisfy your own
curiosity.
GREGORY
You come to me with some wild story
about her being in danger -
naturally I want to know what kind
of danger. I want to know where she
is.
Gregory Ward rises and starts around the desk toward Dr.
Judd.
GREGORY
It's not just for myself I'm
asking. Her sister is here. The
kid's half crazy with anxiety.
DR. JUDD
As a man, you distrust me —-
perhaps you believe me as a
physician.
Judd looks coolly at Gregory and Gregory nods grudgingly.
DR. JUDD
Well, then I can tell you that in
addition to other dangers, there is
a grave danger of Jacqueline losing
her sanity. I would advise against
you seeing her.
GREGORY
But why? She's been ill --erratic,
but I've never heard of anything
like that!
JUDD
I told you I was speaking as her
physician -- not as anything
else -- You can believe me or
not, just as you choose.
Gregory looks at him a moment, then turns and sits down in
his chair with an air of resignation.
GREGORY
(wearily)
How much does she want?
DR. JUDD
She could use a hundred dollars.
GREGORY
(making a motion toward
his desk)
I'll give you a check.
DR. JUDD
(shaking his head)
She can only use cash.
Ward takes out a billfold and examines its contents.
GREGORY
I haven't got that much in cash.
DR. JUDD
How much have you got?
GREGORY
About forty-five dollars.
DR. JUDD
For the time being, I imagine
that must do.
Ward, frowning, hands over the money reluctantly.
GREGORY
Tell me, how is Jacqueline?
DR. JUDD
(rising)
Oh, as beautiful as ever.
Judd starts for the door.
GREGORY
But tell me --
DR. JUDD
(shrugging)
She's nervous, naturally, under
the circumstances.
GREGORY
What circumstances?
Judd has reached the door. He turns and grins.
DR. JUDD
You know that I can't tell you.
He starts to open the door, pauses and looks back.
DR. JUDD (CONT'D)
(insolently, with the door
half open)
As her physician and I am speaking
as her friend now, too, I warn you
that it would be extremely
dangerous to attempt to see her.
The door closes behind Judd. Ward stands for a moment looking
at the closed door, then crosses resolutely to a halltree in
the corner, takes his hat and coat and strides out.
INT. DAY NURSERY CLASSROOM - DAY
It is the rest hour and the children are lying in a neat row
on the floor, each wrapped in his own little blanket. In the
middle of the row, one black-haired little girl keeps poking
up her head to watch Mary and Gregory Ward. Ward, with his
overcoat on, and hat in hand, is seated on the corner of
Mary's desk, his back to the children, talking to her. Mary
sits at her desk watching.
MARY
What brought you down here, Greg?
GREGORY
(a little evasively)
Oh, I had business with a man...
but I missed him -—
MARY
Well, I'm glad you came to see me.
The little girl in the center of the room sits up.
NANCY
Can I wake up now, Miss Gibson?
NARY
You first have to go to sleep,
Nancy. Then you can wake up.
(to Gregory)
We'll have to talk quietly.
Ward turns to look around the bright, sunny room.
GREGORY
Happy here?
Mary nods.
MARY
Everything has turned out so well
for me - - I have a nice job
-- friends - - except the one thing
I came to New York for - -to find
Jacqueline --
Gregory nods.
MARY
It's not knowing that makes it so
hard. This way, whenever I walk
along the streets I think I see
her. I see some woman,
peer into her face and find a
stranger. I dream of her at
night. It's terrible to say --
but if she were dead it would
be easier. There would be
some certainty about it.
Ward patiently pats her shoulder, and looks at her with
understanding and sympathy. They face each other for a moment
In the b.g. Nancy again rises from her neat fold of blanket.
NANCY
Miss Gibson, I'm tired of resting.
MARY
Sh-h-h Nancy. The other children.
Nancy gives her a dirty look and subsides.
MARY
(turning)
(back to Ward)
What have you done about Irving
August?
GREGORY
(a little guiltily)
Oh, I'm making investigations.
MARY
You've never believed a word I
told you about Mr. August.
GREGORY
Look, Mary, now that I know you
better, I think I can be more frank
with you. I don't believe you. I
still can't understand the reason
for such a wild tale. It's like
some of Jacqueline's stories.
MARY
Greg, it isn't a wild tale. It's
true. If there were only some way --
GREGORY
There is a very simple way.
Got a telephone book?
Mary reaches into her desk drawer and pulls out the New York
telephone directory. He takes it and thumbs through it
rapidly, then dials. While he is doing this, Nancy pokes up
her head again.
NANCY
Is it fifteen minutes yet?
MARY
No, Nancy. You've got to sleep two
more minutes.
Nancy lets herself relax on the hard floor in quiet
desperation. By this time Ward has finished dialing his
number. Someone has evidently answered.
GREGORY
(into phone)
May I speak to Mr. Irving August?
From the telephone comes the sound of unintelligible
conversation in an explanatory note. Ward listens, frowning.
GREGORY (CONT'D)
(into phone)
I'm very sorry. Thank you..
He hangs up the receiver and turns to Mary.
GREGORY
You were right. Irving August
has been missing for three weeks.
DISSOLVE
EXT. DAY NURSERY - DAY
Mary is saying good-bye to the children. They are being
called for by their mothers. Most of the women are Italian,
Irish, Bohemian or Jewish New York women who collect their
offspring and move out with them through the little wicket
gate. The children are carrying bits of childish craft which
they have manufactured during the day - paper baskets,
crayola drawings. Each of the children shows off what he has
done during the day to his fond mama.
CHILD
Mama, see. Miss Gibson helped
me. It's a table.
MOTHER
Beautiful. We show it to papa
tonight.
SECOND MOTHER
Did Michele eat her soup today?
MARY
She's been an angel.
A little boy comes running out of the building. He is the
last and is late.
CHILD
(yelling)
Mama. Wait for me.
The drop seat of his little suit is hanging open. Mary runs
after him.
MARY
Angelo. Wait.
She catches up with him, buttons his suit, gives him a
playful pat on the bottom, and he runs after the others. Mary
turns to re—enter the nursery when Mrs. Wheeler comes out.
Mrs. Wheeler is a middle—aged woman with a generous, benign
smile on her face.
MRS. WHEELER
Well, Mary, aren't you the popular
one. You've a visitor again.
Mary turns to walk toward the building with Mrs. Wheeler.
MARY
Mr. Ward?
MRS. WHEELER
No, not this time. It's a
gentleman called Judd -- Dr. Judd.
MARY
I don't know anyone by that
name.
MRS. WHEELER
He asked for you, my dear.
The two women go beck into the building.
TNT. DAY NURSERY CLASSROOM - DAY
Judd, wearing a dark overcoat and carrying his hat, is
walking up and down. The door opens and Mary comes in.
MARY
Dr. Judd?
JUDD
Yes, Miss Gibson. I've come
to take you to your sister.
Mary stops, startled, and looks at him. He smiles.
JUDD
Don't be so amazed. It's a very
ordinary matter. I'm Jacqueline's
physician... Mr. Ward told me
you were in town and Jacqueline
has sent me to bring you to her.
MARY
You know where she is?
JUDD
(smiling even more
broadly)
If I didn't know where she was,
could I take you to her? Get your
hat and coat. We haven't much time.
He starts for the door, stumbles over a toy. Mary looks down
at his feet. He catches the glance.
JUDD
It's my cloven hoof. It trips
me up sometimes.
MARY
Cloven hoof?
JUDD
Yes. You know the devil and all his
minions are marked that way.
Mary looks at him in astonishment as they exit through the
door.
DISSOLVE
INT. FOYER FLANDERS APTS. - DAY
This is a marble, gilt, and plaster horror of the General
Grant rococo period. Glass and gilt iron doors give entrance
to the hallway, which is floored with soiled marble slabs. At
either side of the hall twin stairs rise to the apartments
above, going upward with an accompaniment of gilt iron
handrails. Some mail boxes, a worn velvet bench, and moth
eaten moose head complete this charming and delicate
interior.
A young woman is laboriously getting a baby carriage out from
under one of the stairways and stowing her infant safely in
its wicker hold. She has tucked him In, steered the carriage
out from behind the stairway, and is crossing the hallway
when the door opens to admit Judd and Mary.
JUDD
(holding the door open for
Mary)
It's amid such marble splendors as
these that Jacqueline dwells.
Mary looks around.
JUDD
You can take either stairway --
I prefer the left —- the sinister
side.
They go toward the left and start ascending the left
stairway.
INT. HALLWAY IN FRONT OF JUDD'S APT- AFTERNOON
Mary and Judd come up the stairs. Judd is fumbling for a key.
He goes to his door, inserts the key, twists it and swings
the door open, allowing Mary to precede him.
INT. JUDD'S APT. - LATE AFTERNOON
It is a cheap, furnished apartment. An Aubusson carpet is on
the floor. The furniture is Grand Rapids Sheraton and the
pictures on the wall are representative of hotel art at its
worst, colored prints showing French canals, poplar trees and
old towers. An incongruous picture, however, a huge chrome in
an ornate fretwork frame dominates one wall. This is the
famous picture of the guardian angel which shows a little
child, gowned in white, who is about to fall over a precipice
wore it not for the benign hand of her guardian angel, a
figure complete with white robe and white wings. Under this
picture is a bureau. It has been converted to a writer's
needs by the simple expedient of removing one drawer and
re—inserting it so that the bottom of the drawer can be used
as a base for a typewriter. On this overturned drawer stand a
portable typewriter, a box full of paper, some loose
manuscript and a marmalade jar full of pencils. Between a
pair of bookends are about four volumes with the author's
name — Louis Judd — plainly evident on the dust jackets. They
are the only books in the room. At the end of the room is a
small, useless sort of desk. This has been made into a
dressing table by putting a fitted toilet case on top and
opening it. Through a double doorway, without doors, can be
seen a square cubicle containing an unmade bed. Mary comes
into this room and looks around anxiously. Judd follows her,
carefully bolts the door behind him and puts it on the chain.
JUDD
(calling softly)
(toward bedroom)
Jacqueline.
There is no answer and he strides across the room and looks
in. He turns back to Mary.
JUDD
(with genuine surprise)
She's not here. She's gone.
Mary looks around her a little apprehensive at the thought of
being alone with this stranger. However, his own nervousness
at Jacqueline's absence is very genuine. As Mary crosses the
room to the desk he continues to talk excitedly.
JUDD
I don't know why she left. She
knows she shouldn't have.
Mary takes a hand mirror out of the fitted case and holds it
up. A big swirling monogram on the back is immediately
visible. The letters are: "J. G." Mary puts it down. In a
little ash tray beside the dressing case a cigarette is
smoldering. Mary points to it. Judd looks at it, then quickly
crosses the room to a door obviously leading to a bathroom.
He knocks, and receiving no answer, opens it and turns back
to the room.
JUDD
She's gone. She's left me to
meet them alone. I can't.
Mary stands looking at him, amazed at this sudden transition:
the almost palpable fear of this smooth, easy, sneering man.
MARY
(softly)
What makes you so nervous, Dr.
Judd. Who are they?
Judd pays no attention to her. He walks quickly to the other
end of the room, then turns to face her.
JUDD
I can't stay here. I'll have
to leave you.
Without any further word he strides quickly to the entrance
door, fumbles furiously with the chain and lock; opens it and
goes out, closing the door behind him.
Mary stands in the center of the room, completely at a loss.
She turns back to the desk and snuffs out the cigarette
thoughtfully. Again she examines the mirror or some other
article in the dressing case, As she stands there, looking at
her sister's initials, there is a soft knock at the door.
Mary crosses the room quickly and opens it.
TNT. HALLWAY OUTSIDE JUDD'S APT. - LATE AFTERNOON
MED. CLOSE SHOT - Jacqueline Gibson, dressed for the street
in a mink coat and a smart fur toque to match; an impressive,
beautiful, unforgettable woman, stands in this mean hallway.
TWO SHOT - Mary and Jacqueline in doorway.
MARY
(from doorway)
Jacqueline!
Jacqueline lifts her hand and puts her forefinger stealthily
across her lips to indicate silence. They stand facing each
other this way for a single, breathing moment. Then suddenly
Jacqueline pulls the door shut.
TNT. JUDD'S APT. - LATE AFTERNOON
CLOSE SHOT of Mary, surprised and shocked by this sudden
move, stands stock—still for half a second. Then she rouses
herself. She starts tugging at the door. She gets it open and
starts out.
INT. HALLWAY OUTSIDE JUDD'S APT. - LATE AFTERNOON
Mary comes out into the hall, looks first toward the left
stairway. There is no one there.
REVERSE SHOT. Apparently Mary looks to the right and again
sees that the hallway and the head of the second flight of
stairs is empty. She hesitates for a moment and then starts
off to the right.
TNT. FLANDERS APT. STAIRWAY - LATE AFTERNOON
Mary runs down the stairs.
TNT. FOYER - FLANDERS APT. - LATE AFTERNOON
Mary comes down the stairs. The foyer is empty. She crosses
to the other stairs and looks up, sees no one, turns and goes
out the street door.
EXT. FLANDERS APT. - LATE AFTERNOON
Mary comes out and looks up and down the street. The street
is empty except for a few men passing by. She stands for a
moment, the wind blowing her skirt against her legs and
tugging at her hair. She turns and goes back into the
building.
INT. FOYER - FLANDERS APT. - LATE AFTERNOON
Mary comes in and starts to mount the stairs.
DISSOLVE
INT. HALLWAY IN FRONT OF JUDD' S AFT. LATE AFTERNOON
Mary comes up to the hallway. The door of the apartment is
still open. She turns and enters.
INT. JUDD'S APT. - LATE AFTERNOON
Mary re—enters the room. She goes over to the dressing table
where she had left her purse and picks it up. As she does
this something in the mirror attracts her attention, and a
look of terror comes into her face. In the mirror can be seen
the back of a large chair near the bureau. Over the top of
this chair floats a rising column of cigar smoke. Mary turns.
ANOTHER ANGLE. A man enters from the left of the scene and
seizes Nary's arm. From the armchair another man rises. It is
Paul Radeau, the man with Irving August at the Missing
Persons Bureau.
MAN
(to Radeau)
Is this her?
RADEAU
Nope.
(turning to Mary, removing
his cigar from his mouth)
Where's Jacqueline Gibson?
MARY
(frightened)
I don't know.
RADEAU
She was just here. Where's she
gone?
MARY
I tell you I don't know.
RADEAU
That's funny. You went out with
her, came back alone, and don't
know where she went.
MARY
I don't know.
There is a pause while Radeau studies her and Mary's courage
comes back to her.
MARY
Why do you want Jacqueline? What
right have you to question me?
Radeau pulls an official looking document from his pocket.
RADEAU
Young lady, I've got all the right
in the world. I'm Paul Radeau,
private investigator, and I have
been hired to find your sister by
her husband, Gregory Ward.
CLOSEUP of Mary's face as the full realization of what he has
said comes to her.
MARY
(almost in a whisper)
Husband --
DISSOLVE
INT. DINING ROOM - DANTE - NIGHT
The restaurant is full, cheerful and noisy with the merry
sound of people eating, drinking and talking.
MED. CLOSE SHOT of Jason Hoag seated at the feet of Dante. A
small quarto volume is opened at his left hand and he is
reading as he eats his antipasto. Without looking he takes
the last forkful from the plate scrabbles about with his fork
for another forkful but finds only emptiness, and he turns
his attention from his book to his plate. He puts down his
fork and looks off beyond the camera, calling out at the same
time.
JASON
(in Italian)
What ho, wench! Would you keep
a benighted traveller waiting?
REVERSE SHOT - kitchen door. Mrs. Romari, a beaming smile on
her face, comes from the kitchen bearing an enormous platter
of spaghetti. She weaves her way through the tables, holding
the platter high over the heads of the customers. She passes
a table at which Mary is seated with Gregory Ward. As it is a
wall table, they sit side by side. Both look miserable, their
faces averted, Gregory is talking eagerly to Mary's
turned—away profile. Mrs. Romari passes them and advances
toward the table where Jason sits.
MED. CLOSE SHOT - Jason at his table. Mrs. Romari comes into
the scene beaming, puts the platter on the table before
Jason.
MRS. ROMARI
(in Italian)
Jason, my pet ——
JASON
Bella Romari If I were not
seated, I would embrace you in
three movements like a sonata.
(in very bad Italian)
Ah, my wonderful one. Fly with me
tonight. We will take your coffee
machine and live with the gypsies.
Mrs. Romari giggles with delight and translates Jason's
atrocious Italian to two maiden ladies who are gawking at
this unrestrained conversation.
MRS. ROMARI
(in Italian)
Oh, this funny man.
(in English)
He is a very funny man, but I
love him.
While she is talking, Jason has been appreciatively sniffing
the aroma of the spaghetti. As she turns back to him, he
points to his wine glass.
JASON
What are you thinking of, Bella?
Can I eat dry?
MRS. ROMARI
Oh, the wine. I have forgotten
the wine.
Mrs. Romari goes toward the kitchen.
The CAMERA DOLLIES WITH her. As she passes the table where
Gregory and Mary are sitting, the CAMERA STOPS, FOCUSING on
them.
GREGORY
Look, Mary, just because I kept a
secret from you doesn't make me a
monster. Please look at me, Mary.
Mary pays no attention, but busies herself by taking a sip of
water and pretends to be very interested in Mrs. Romari's
further progress through the dining room.
GREGORY
Can't I make you understand? The
secret wasn't mine in the first
place. It was Jacqueline's. I don't
know why. She never wanted anything
from me -- not even my name ——
Mary still looks obstinately away. Gregory shakes his head,
pauses, and then goes on.
GREGORY
Please —- I can't explain things
like this to your right ear.
MARY
Last night in this very restaurant
Mr. Jason Hoag paid a very pretty
compliment to my right ear.
GREGORY
(exasperated)
Who the devil is he?
MARY
A poet. He's sitting right over
there. That's his table —— the one
at the feet of Dante.
She half turns to indicate Jason's position.
MED. CLOSE SHOT of Jason. He sees Mary looking toward him. He
smiles and nods to her.
MED. CLOSE SHOT of Mary and Gregory. Mary nods back to Jason.
GREGORY
(looking off at Jason)
He seems all right.
(then resuming his former
conversation)
Look, Mary. It was something I
couldn't tell you. Remember how you
came to my office that first day,
frightened and broken up? I asked
you if she had spoken about me. You
said "no." Then how could I tell
you that we were married -- and
afterwards -- I couldn't tell you
because --
Mrs. Romari comes past them.. She is carrying a bottle of
Chianti. She smiles at Mary as she passes, but Mary is too
absorbed in her own thoughts to see her.
The CAMERA DOLLIES WITH Mrs. Romari.
MED. CLOSE SHOT of Jason. Mrs. Romari comes into the scene
and starts pouring a glass of wine.
JASON
(in bad Italian)
Why do you bring me wine,
beautiful ones when you yourself
are intoxicating.
Mrs Romari laughs heartily.
JASON
(in English)
You're my favorite audience, Bella.
Mrs. Romari has finished pouring the wine. She puts the wine
bottle on the table and is about to start off toward the
kitchen when she catches a glimpse of Gregory and Mary.
Mary's face is still averted from Gregory and both of them
look dreadfully unhappy.
MED. SHOT of Jason and Mrs. Romari.
MRS. ROMARI
Why can't everyone be happy like we
are -- laugh and have good times.
Look at that poor little one — so
sad because she can't find her
sister. And that man with her -— he
doesn't make her laugh —— he just
sits and talks.
JASON
(almost seriously)
We are happy, Mrs. Romari, because
you have everything —— and I am
happy because I have nothing to
lose.
MRS. ROMARI
But you should make her laugh,
Jason. Come, make jokes for her.
I'll bring your food to their
table.
Before Jason can protest she has leaned over and taken his
plate.
MED. SHOT - Mary and Gregory. Their relative positions have
not changed.
MARY
You could have told me any time
you were Jacqueline's husband.
GREGORY
Things changed, Mary. The reasons
for finding Jacqueline changed. I
want to find Jacqueline to settle
things.
MARY
(startled, turns for the
first time to Ward)
What things? Why?
It is at this moment and before he can answer that Mrs.
Romari comes into the scene leading Jason.
MRS. ROMARI
You two are so sad. Your food will
not digest, and your wine will
sour. You must laugh to eat well. I
have brought Jason to make you
laugh.
Mary looks at Ward. He is obviously annoyed at this
interruption. She, too, wishes that Mrs. Romari and Jason had
not interrupted, but feels it incumbent upon her to be
gracious.
MARY
Mr. Hoag, this is Mr. Ward.
The two men shake hands. Ward with the air of one making an
empty invitation, hoping that Jason will not accept,
indicates the char on the opposite side of the table.
Jason stands smiling for a moment, completely aware of the
situation and uncertain as to whether to accept or take
himself off. Mrs. Romari settles the matter by pulling out
the chair and forcing him to seat himself.
MRS ROMARI
Sit down. I'll get the rest of your
dinner.
JASON
I'm under orders to make you laugh.
In Mrs. Romari's mind my poetry and
humor have some strange affinity
which they don't have in fact. She
wants me to play the fool for you,
and suddenly, Miss Gibson, I feel
as sad as you do.
MARY
(smiling)
Well,then I have spoiled your
dinner -- "your food won't digest,
and your wine will sour."
JASON
You will have to make all the
jokes, because I'm going to be very
serious.
He pauses, and the two look rather questioningly at him after
this preamble. He looks first at one and then at the other
before speaking.
JASON
I'm going to find your sister.
GREGORY
I don't think that's a good subject
for jokes, Mr. Hoag.
JASON
But I'm not joking.
GREGORY
Don't be ridiculous. For months
I've had the best private detective
in New York looking for Miss
Gibson.
JASON
But I'm better than a detective. I
have an understanding of people -
and a love of them -- an
understanding of the city - -
GREGORY
You don't even know Jacqueline
Gibson.
JASON
But I understand her. That may be
more important.
GREGORY
It may make very fine poetry, Mr.
Hoag, but it doesn't make good
sense.
Jason turns to Mary.
JASON
Mary, when you first came here, I
told you to look into your heart.
You didn't listen to me. You
listened to the policeman instead.
You didn't find your sister, did
you?
GREGORY
(protesting)
Look here, just because Mrs. Romari
asked you to amuse us.
Jason rises and takes Mary's hand.
JASON
This city is my world. I know every
rat-infested corner of my world and
every starlit chamber of its purity
and greatness.
He half draws Mary to her feet.
GREGORY
You don't even know where to start -
-
Jason takes Mary along with him, starting for the door.
JASON
One starts by beginning.
Beginnings lead to an end.
Ward is forced to rise and go with them.
DISSOLVE
EXT. STREET WASHINGTON MEWS - NIGHT
Jason and Ward with Mary between them, cross the street
toward the north side of Washington Mews. To their right is
the mews, the little houses one next to the other in an
orderly row. They stop for a moment at the street corner.
GREGORY
Well?
JASON
(disregarding his
question)
This is the part of New York I
love. It is old. It has memories.
If you listen, the houses will
speak to you. Walt Whitman...Edna
St. Vincent Millay... Eugene
O'Neill...in their time they've all
lived here.
He goes on to the next house and they follow. The CAMERA
DOLLIES WITH them.
GREGORY
All very nice but, what are you
going to do - listen at every house
in New York for Jacqueline's voice?
JASON
(as if it explained
everything)
I'm looking for a party -- a merry
party.
GREGORY
Well, that's illuminating.
Even Mary looks concerned and puzzled. They have stopped
before the next house and again Jason has taken the attitude
of one listening. The sound of a violin can be heard playing
Abenlied.
JASON
Only music. It leads, but we cannot
follow.
He starts off again. Ward and Mary follow him.
GREGORY
(shaking his head)
Riddles now.
By this time they have come to the third house and again
Jason has paused.
JASON
Wait. This is a party.
WOMAN'S VOICE
(from interior of house)
Now, if you'll all take your seats,
Miss Randall will show us the
slides she took of Woods Hole
Marine Institute this summer.
JASON
Sounds dull, doesn't it? My ear is
perfectly trained. I can tell the
brand of liquor and the quality of
the guests from the noise they
make.
From the next house comes the sound of revelry, laughter and
a burst of jazz music from a phonograph which obscures the
milder noises of the house in front of which they stand.
JASON
(excitedly)
That sounds more like it. Come on.
He grabs hold of Mary's hand and draws her along. They go up
to the door. Ward follows them.
INT. NATALIE CORTEZ' HOUSE - NIGHT
CLOSE SHOT of Natalie Cortez. She is seated at a small card
table, shuffling a pack of cards with one hand, and
surrounded by a small group of her guests in evening clothes.
Natalie is a very beautiful woman of early middle age. It is
apparent why she uses only one hand to shuffle her cards. She
has but one arm. A little cape of gold lame covers her
shoulders and hangs down over the missing arm.
JUDD'S VOICE
Shuffle the cards well, Natalie.
This is a trick of telepathy not
card manipulation
ANOTHER SHOT of the same group to include Judd, who stands a
little distance away with his back purposely turned to the
card table. Mrs. Cortez is finishing shuffling the cards. The
door knocker sounds.
JUDD
Now pass me the cards.
The knocker sounds again and Mrs. Cortez hands the cards to
Gladys, a big, gushy girl, full of hormones and cocktail gin.
MRS. CORTEZ
(rising)
Gladys, you hand the deck to Louis
while I answer the door.
Gladys takes the cards and crosses to Judd, who still stands
with his back to his audience, while Mrs. Cortez turns and
walks in the other direction.
REVERSE SHOT - toward the door. For the first time Mrs.
Cortez' living quarters can be seen. The house was formerly a
stable on the Mews and in remodeling it for living purposes
Mrs. Cortez has allowed the stalls and general architecture
of the stable to remain. She uses one of the two stalls as a
little dining nook, although above it the name of the horse,
"Apocalypse" is still printed on a placard. The next stall
has been converted into a little escritoire, and over this
stall is the name "Morning Star." The place is lit with
electrified stable and carriage lamps and furnished with
harness and horse adornments which contrast with the rich
piled carpet, the lovely square piano of rosewood and the
beautiful modern prints with plain wood frames. Book shelves
cover the largest portion of the walls.
Mrs. Cortez wends her way through little groups of her guests
and goes to the door.
MED. CLOSE SHOT of the door as Mrs. Cortez opens it revealing
Mary, Ward and Jason on the threshold.
MRS. CORTEZ
Jason! How nice to see you.
JASON
(taking her hand)
I have brought some friends,
Natalie. May we all come to your
party?
MRS. CORTEZ
Of course.
JASON
Mrs,. Cortez, Mary Gibson and Mr.
Ward.
MRS. CORTEZ
(to Mary)
It's so nice