Screen Play


                             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.


               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:


               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,

                                   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?

                         No, Mrs. Lowood, she doesn't write

                                   MRS. LOWOOD
                         Have you any other relatives, Mary?

               Mary shakes her head.

                         No. Jacqueline brought me up.
                         Somehow I never felt I needed other

               Mrs. Lowood nods.

                                   MRS. LOWOOD
                         That makes it all the more
                         difficult ——

                             (a little alarmed)
                         Difficult? Has anything happened to

                                   MRS. LOWOOD
                         We don't know, Mary. We've been
                         unable to get in touch with your

                         Sometimes she can be quite
                         careless. Why don't you try Mrs.

                                   MRS. LOWOOD
                         I have written repeatedly to Mrs.
                         Redi. She vouchsafes no information
                         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.

                             (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.

                         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
                         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.

                             (catching the note of high
                              minded dismissal)
                         Thank you.

               She turns and starts for the door. Miss Gilcrist goes with


               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

               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



               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


               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.

                             (as they go, evidently
                              resuming a previous
                         But you must know someone who has
                         seen or heard of my sister.

                                   MRS. REDI
                         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

               Mary goes with her. At the door they stop a moment.

                         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

                                   MRS. REDI
                         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.

                         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.

                         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.

                         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.


               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..

                             (with great friendliness)
                         Why, Mary --

                         Hello, Frances.

                         How's Miss Jacqueline?

                         I don't know. That's why I came to
                         see Mrs. Redi. I'm trying to find

                         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


               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.

                         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.

                         I know. For the first time I'm
                         beginning to be frightened. I
                         almost feel as if I'd never known
                         my sister.

                         Nothing's happened to her. It's
                         just that I can't understand her
                         not getting in touch with you.

                         I can't understand it at all.

                         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

                         "The Dante?"

                         It's on Peary Street. Just ask the
                         people who run it. They'll remember
                             (with reminiscent pride)
                         People who see Miss Jacqueline
                         never forget her.

                         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.

               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



               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.


               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.


               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.

                         I'm worry to bother you. I want to
                         ask you about my sister.

                             (getting up)

                         I thought you might know her. She
                         was seen here about a week ago. Her
                         name is Jacqueline Gibson.

                         I don't know no Gibson. This is a
                         restaurant. Many people come here.

                         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. 

                         Once you'd seen my sister you'd
                         never forget her.

                                   MRS. ROMARI
                             (interrupting; to Romari)
                         Giacomo -- la bellisslina madonna —-


                                   MRS. ROMARI
                             (to Mary)
                         Let me look at you -- you could be
                         her sister

                         Yes —— yes, if she made that much
                         impression on you, I'm sure it was

                                   MRS. ROMARI
                         She's not been here for a long

                         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.

                         You mean she just came here, rented
                         the room, locked it, and left?

                                   MRS. ROMARI
                         Yes -- and pays the rent every

                         Could you let me see that room? If
                         it is hers, there might be
                         something there to help me find my

                             (shaking his head)
                         No -- the rent in paid. The lady
                         asked us to promise, I wouldn't
                         open the door.


               Romari shakes his head.

                                   MARY (CONT'D)
                             (turning to Mrs. Romari,
                         It's important

               Mrs. Romari looks at her kindly.


               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

               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

                         Fo come ti pare. To desiderare
                         sempre di vedere che cosa c'era in
                         quella stanza.

                             (turning to Mrs. Romari)
                         What did he say?

                                   MRS. ROMARI
                         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.


               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.

                         I've had some experience with the
                         Bureau of Missing Persons

                         Yeah -- well, Mr. Hoag, lost
                         persons are the concern of the
                         Missing Persons Bureau.

                         You're a poet, Jason. You stick to
                         your poetry.

                         In a way that makes everything my

                             (a little hesitantly to
                         Were you going to make a

                         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.

                             (with a little smile to
                         I'm a good boy, but no one listens
                         to what I say.

                         You do what I tell you, young lady,
                         and go to the Missing Persons
                         Bureau for your sister.

                             (turning from Jason to the
                              policeman and starting to
                         If you'll give me the address.


               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)
                         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

                                   THIRD VOICE (A MAN)
                         No, none.

               CAMERA DOLLIES UP to the	last wicket where Mary stands. 

                                   POLICEMAN'S VOICE
                         Any further details?

                         She sold her business about eight
                         months ago to Mrs. Esther Redi.

                         What relation are you to the
                         missing person?


                         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.

                         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.

                         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.

                         You can?

                             (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

                         I haven't any money but I'll get a
                         job and --

               Irving August's enthusiasm vanishes.

                         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.

                         You know who I am, August?

                             (suddenly tense
                             and cautious)
                         Sure I do.

                         Then you know that if I give you a
                         little advice, it'll be good

                         Yeah —- sure.

                         That girl was looking for
                         Jacqueline Gibson. I'd forget it if
                         I were you.

                         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.

                         Hey, Danny, get me the file on
                         Jacqueline Gibson, will you?

               The policeman turns to the file.

                                                       DISSOLVE IN


               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:


               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.



               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:
               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?

                         Mr. Gregory Ward, please.

                                   MISS SUMMERS
                         And what is it about, Miss Gibson?

                             (her voice almost a
                         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.

                         The morgue ——

               Miss Summers looks up at her in surprise, but already Mary is
               beginning to faint. As she crumples, we IRIS OUT.


               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.

                         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.

                         We're not exactly strangers, Mary.
                         Jacqueline spoke about you often. I
                         suppose she told you about me,

                         No...At the morgue they told me a
                         Mr. Gregory Ward had made inquiries
                         about Jacqueline.

                         The Morgue? No wonder you fainted.
                             (he pauses)
                         I wish you had come to me first.

                         Then you know where Jacqueline is?

                             (shakes his head
                         But I'd give a great deal to know.


                         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.

                         It's easy to understand now, isn't

               Mary nods.

                             (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.

                         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.

                         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.

                         Weren't you afraid?

                         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

                             (a little
                         I'm not a youngster. I can

               He looks at her.

                         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

               Mary looks astonished, and then laughs to herself.

                         You know...I didn't have lunch.

               He looks at his wristwatch, and chuckles.

                         It's nearly six. Time for dinner,
                         I'd say.

               He extends his hand to her to help her up. She takes it.



               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.

                         Thank you. It was a lovely dinner.


                         But I reel guilty.
                         It doesn't seem right for me to
                         enjoy myself with Jacqueline gone.

               Gregory looks at her.

                         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

                         Thank you.. .goodnight.

                         Goodnight, Mary.

               He tips his hat and turns away, as she starts in to the


               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.

                         I've been waitin' for you Miss
                         Gibson. I want you to know I've
                         decided to take your case.

                         Mr. August, I'm not at all sure -

                         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.


                         Wait a minute.
                         This has got a lot of angles.
                         You've got to take it easy. Do you
                         know a Mrs. Redi?

                         Yes. She bought my sister's

                         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.

                         Why would Mrs. Redi lie to me?

                         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.

                         You think my sister is there?

                         You can't tell.

                         Can we go there now?

                         Sister, you can't just go breaking
                         into places. There's a night
                         watchman down there and locks on
                         the door.

                         If my sister's in that room, it
                         won't make any difference about
                         warrants- and things, I want to go

                         I don't know if I want to go with
                         you or not.

               Mary starts out and, a little reluctantly, August follows


               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.


               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.

                         I don't like this.

                         Which room is it?

                         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.

                         You scared?


                         Let's get out of here.


               They stand a moment in silence.

                         You could go on, Mr. August.
                         You could open the door. I'd stay
                         right here.

               August shakes his head.

                         It's only a little way, Mr. August.

                         I'd like to get out of here.


               They stand again silently looking down the dark corridor.

                         We can't stand here all night.

                         You could go and open the door.

                         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.


               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.


               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

               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.

                         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.

                         The night watchman -- he is in the

               Still August pays no attention.

                         Mr. August, what is it? What's the

               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.

                         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.


               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.


               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


               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.

                         You know where you're going, lady?

               Mary nods.

                         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

               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

               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

               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.

                         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

                         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.

                         These men in there —— don't let
                         them get out.

                         What's the matter now?

                         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

                         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

               TWO SHOT	- Mary and the conductor. The subway train is
               starting to move again.

                         But they were there.

               The conductor looks at her and merely observes.


                                                       DISSOLVE IN


               MED. CLOSE SHOT of a newspaper vender calling:

                         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.

                         This is about another murder —— a
                         woman at Fifty Second Street

                         But you do believe me?

                             (after a little pause)
                         The important thing is, the
                         police won't believe you.

                         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.

                         Yes, of course —— but the police
                         would say you'd probably had a bad

                         He was a kind little man in his way
                         —— and I made him go down that hall
                         into the darkness. I made him do

                         Drink your milk.

               Mary looks up, startled at this note of command.

                         I don't like to be ordered to
                         do anything.

               Gregory looks at her for a moment.

                         I'm sorry. I didn't intend to
                         treat you like a child.

                         But you have treated me that

                         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.

                         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.

                         A job?

                         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.

                         I'd like that.

                         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.

                         Maybe the Romaris might have
                         a room. They seem nice.

                         The people at the restaurant?


               Gregory starts getting up, looks at his watch.

                         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


               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.

                                   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

                                   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

                                   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
                         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

               He smiles charmingly at her, and deliberately pockets her

                                   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.


               Dr. Judd comes in and walks calmly across the room.

                                   DR. JUDD
                             (as he crosses)
                         I've come from Jacqueline. She
                         needs money.

                         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

                         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.

                         What sort of danger?

                         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.

                         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

                         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

               Gregory Ward rises and starts around the desk toward Dr.

                         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

               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.

                         But why? She's been ill --erratic,
                         but I've never heard of anything
                         like that!

                         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.

                         How much does she want?

                                   DR. JUDD
                         She could use a hundred dollars.

                             (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.

                         I haven't got that much in cash.

                                   DR. JUDD
                         How much have you got?

                         About forty-five dollars.

                                   DR. JUDD
                         For the time being, I imagine
                         that must do.

               Ward, frowning, hands over the money reluctantly.

                         Tell me, how is Jacqueline?

                                   DR. JUDD
                         Oh, as beautiful as ever.

               Judd starts for the door.

                         But tell me --

                                   DR. JUDD
                         She's nervous, naturally, under
                         the circumstances.

                         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.


               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.

                         What brought you down here, Greg?

                             (a little evasively)
                         Oh, I had business with a man...
                         but I missed him -—

                         Well, I'm glad you came to see me.

               The little girl in the center of the room sits up.

                         Can I wake up now, Miss Gibson?

                         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.

                         Happy here?

               Mary nods.

                         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.

                         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.

                         Miss Gibson, I'm tired of resting.

                         Sh-h-h Nancy. The other children.

               Nancy gives her a dirty look and subsides.

                             (back to Ward)
                         What have you done about Irving

                             (a little guiltily)
                         Oh, I'm making investigations.

                         You've never believed a word I
                         told you about Mr. August.

                         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.

                         Greg, it isn't a wild tale. It's
                         true. If there were only some way --

                         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.

                         Is it fifteen minutes yet?

                         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.

                             (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.

                         You were right. Irving August
                         has been missing for three weeks.


               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.

                         Mama, see. Miss Gibson helped
                         me. It's a table.

                         Beautiful. We show it to papa

                                   SECOND MOTHER
                         Did Michele eat her soup today?

                         She's been an angel.

               A little boy comes running out of the building. He is the
               last and is late.

                         Mama. Wait for me.

               The drop seat of his little suit is hanging open. Mary runs
               after him.

                         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.

                         Mr. Ward?

                                   MRS. WHEELER
                         No, not this time. It's a
                         gentleman called Judd -- Dr. Judd.

                         I don't know anyone by that

                                   MRS. WHEELER
                         He asked for you, my dear.

               The two women go beck into the building.


               Judd, wearing a dark overcoat and carrying his hat, is
               walking up and down. The door opens and Mary comes in.

                         Dr. Judd?

                         Yes, Miss Gibson. I've come
                         to take you to your sister.

               Mary stops, startled, and looks at him. He smiles.

                         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.

                         You know where she is?

                             (smiling even more
                         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.

                         It's my cloven hoof. It trips
                         me up sometimes.

                         Cloven hoof?

                         Yes. You know the devil and all his
                         minions are marked that way.

               Mary looks at him in astonishment as they exit through the


               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

               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.

                             (holding the door open for
                         It's amid such marble splendors as
                         these that Jacqueline dwells.

               Mary looks around.

                         You can take either stairway --
                         I prefer the left —- the sinister

               They go toward the left and start ascending the left


               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.

                             (calling softly)
                             (toward bedroom)

               There is no answer and he strides across the room and looks
               in. He turns back to Mary.

                             (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.

                         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.

                         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.

                         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.

                         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.


               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.

                             (from doorway)

               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.


               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.


               Mary runs down the stairs.


               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.


               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


               Mary comes in and starts to mount the stairs.



               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.

                             (to Radeau)
                         Is this her?

                             (turning to Mary, removing
                              his cigar from his mouth)
                         Where's Jacqueline Gibson?

                         I don't know.

                         She was just here. Where's she

                         I tell you I don't know.

                         That's funny. You went out with
                         her, came back alone, and don't
                         know where she went.

                         I don't know.

               There is a pause while Radeau studies her and Mary's courage
               comes back to her.

                         Why do you want Jacqueline? What
                         right have you to question me?

               Radeau pulls an official looking document from his pocket.

                         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.

                             (almost in a whisper)
                         Husband --


               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

                             (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

                                   MRS. ROMARI
                             (in Italian)
                         Jason, my pet ——

                         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.

                         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

                         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.

                         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.

                         Please —- I can't explain things
                         like this to your right ear.

                         Last night in this very restaurant
                         Mr. Jason Hoag paid a very pretty
                         compliment to my right ear.

                         Who the devil is he?

                         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.

                             (looking off at Jason)
                         He seems all right.
                             (then resuming his former
                         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.

                             (in bad Italian)
                         Why do you bring me wine,
                         beautiful ones when you yourself
                         are intoxicating.

               Mrs  Romari laughs heartily.

                             (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.

                             (almost seriously)
                         We are happy, Mrs. Romari, because
                         you have everything —— and I am
                         happy because I have nothing to

                                   MRS. ROMARI
                         But you should make her laugh,
                         Jason. Come, make jokes for her.
                         I'll bring your food to their

               Before Jason can protest she has leaned over and taken his

               MED. SHOT - Mary and Gregory. Their relative positions have
               not changed.

                         You could have told me any time
                         you were Jacqueline's husband.

                         Things changed, Mary. The reasons
                         for finding Jacqueline changed. I
                         want to find Jacqueline to settle

                             (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

               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

                         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

                         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.

                         Well,then I have spoiled your
                         dinner -- "your food won't digest,
                         and your wine will sour."

                         You will have to make all the
                         jokes, because I'm going to be very

               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.

                         I'm going to find your sister.

                         I don't think that's a good subject
                         for jokes, Mr. Hoag.

                         But I'm not joking.

                         Don't be ridiculous. For months
                         I've had the best private detective
                         in New York looking for Miss

                         But I'm better than a detective. I
                         have an understanding of people -
                         and a love of them -- an
                         understanding of the city - -

                         You don't even know Jacqueline

                         But I understand her. That may be
                         more important.

                         It may make very fine poetry, Mr.
                         Hoag, but it doesn't make good

               Jason turns to Mary.

                         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

                         Look here, just because Mrs. Romari
                         asked you to amuse us.

               Jason rises and takes Mary's hand.

                         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.

                         You don't even know where to start -

               Jason takes Mary along with him, starting for the door.

                         One starts by beginning.
                         Beginnings lead to an end.

               Ward is forced to rise and go with them.



               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.


                             (disregarding his
                         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' their time they've all
                         lived here.

               He goes on to the next house and they follow. The CAMERA
               DOLLIES WITH them.

                         All very nice but, what are you
                         going to do - listen at every house
                         in New York for Jacqueline's voice?

                             (as if it explained
                         I'm looking for a party -- a merry

                         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

                         Only music. It leads, but we cannot

               He starts off again. Ward and Mary follow him.

                             (shaking his head)
                         Riddles now.

               By this time they have come to the third house and again
               Jason has paused.

                         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.

                         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

               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.

                         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.


               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.

                         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
                         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.

                             (taking her hand)
                         I have brought some friends,
                         Natalie. May we all come to your

                                   MRS. CORTEZ
                         Of course.

                         Mrs,. Cortez, Mary Gibson and Mr.

                                   MRS. CORTEZ
                             (to Mary)
                         It's so nice to meet you.

               Jason has been looking about trying to peer over the heads of
               various other guests. Suddenly he turns back to Mrs. Cortez
               and Mary.

                         You'll have to excuse me.

               ANOTHER ANGLE - Jason emerges between two groups of people.
               The CAMERA PICKS him up and DOLLIES WITH him up to the group
               around Judd. Judd has turned and is facing them with the
               cards in his hands.

                         Mrs. Freeman, yours was the Jack of
                         Spades. Gladys, yours was the Seven
                         of Diamonds, and Mrs. Gosden, the
                         Queen of Hearts -—

               There is a murmur of admiration from the little group.

                         How do you ever do it, Louis?

               Jason makes his way through the group and faces Judd.

                         Hello, Jason.

               Jason takes his arm and draws him away a few feet from the

                             (sotto voce)
                         Where is Jacqueline Gibson?

                         What a peculiar question.

                         I saw you with her last week. I
                         knew you'd be here tonight. Where
                         is she?

                         My dear fellow, it's neither your
                         business to ask, nor mine to tell.

               He tries to move away. Jason takes his arm again.

                         Wait. Look over there.

               He half turns so that Judd faces the door.

                         See that girl? That's Jacqueline's
                         sister. It's because of her I ask.

                         But why come to me?

                         Because there was another girl—
                         years ago -- a nice girl. She lived
                         on Barrow Street. I saw her with
                         you once -— I saw her with you
                         twice and then I never saw her
                         again. That's why.

                         She was my patient.

               He pauses.

                         What was she to you?

                         I don't think that you would
                         understand if I told you.

                         I think I understand without your
                         telling me. I know something of
                         your history, Jason. I know that
                         you haven't written for ten years.

                         I've lost my knack.

                         After that wonderful first book —-
                         after all the adulation and the
                         good reviews?

               Jason looks away.

                         I would have given anything if I
                         could have written that book. You
                         had all my admiration and respect —

               MED. SHOT - Mary, Mrs. Cortez and Ward.

                                   MRS. CORTEZ
                         Now that you know me, you must feel
                         free to come often.

               Over this shot comes the sound of Jason's voice calling Mary.
               Mary smiles at Mrs. Cortez and looks off.

               LONG SHOT from Mary's ANGLE of the group around Judd and
               Jason. Jason is beckoning to her.

               THREE SHOT - Mary, Mrs. Cortez and Ward. Mary gives Mrs.
               Cortez a smile of apology and starts toward Jason. Ward takes
               her arm to lead her through the party throng.

               MED. CLOSE SHOT - the group around Jason and Judd as Mary and
               Ward come in.

                         Hello, Ward.

               He makes a half bow to Mary.

                         My dear Miss Gibson --

               It is at this point that Gladys comes bursting back. She
               picks up the name "Gibson" and rushes ever to Mary.

                         Gibson? Are you Jacqueline's

                         Yes. Do you --

                             (not letting her finish)
                         Know her! My dear, we were
                         intimate! The times we used to have
                         together! I bet she never told you
                         about that -- you're too young.

                         I'm afraid you don't understand.
                         Miss Gibson's sister is missing ——

                         Missing? Well, no wonder. When she
                         took up with Louis Judd she went
                         out of circulation, like that!

               She snaps her fingers. Mary looks from Judd to Ward.

               The two men stare fixedly at each other.

                             (to Mary)
                         My dear, have I said something?

                             (to Gladys in a low voice)
                         No. You've just turned the dagger
                         in the wound - - a beautiful job.

               He looks quickly over to Mary, sees tears coming to her eyes,
               takes her elbow and leads her to another part of the room.
               Gladys' attention is attracted by laughter from another group
               of the party and she drifts off. Ward and Judd are left

                             (to Ward)
                         There are too many people here. I
                         think Jacqueline may be lonely --?
                         for me.

               Judd grins. He wanders off. Gregory stands scowling after

               TWO SHOT - Jason and Mary. They have seated themselves in the
               little breakfast nook built in the horses' stall.

                         You see, Mary, I'm not quite a

               Mary nods.

                         At least you knew about Dr. Judd.


                         And you knew he'd be here.

                         Yes. And now that I've shown
                         you that I know that much, and can
                         guess more -- will you trust me to
                         look for Jacqueline?

                         I want you to look for Jacqueline.

               He takes her hand across the table and holds it firmly.

                         I'm a terrible failure, Mary, -- a
                         book clerk by day and a poet by
                         night, and not a very good one -
                         but if you'll trust me -- at this
                         one thing I won't fail --I'll find
                         your sister.


               INT. PUBLIC LIBRARY - DAY

               CLOSE SHOT of Jason leaning on a file counter in the library.
               Beside him is an enormous file of cards and right under his
               nose, two pretty white hands ruffle the cards.

                         You have such lovely hands, Miss
                         Gottschalk. So slim and capable --

               The CAMERA PULLS BACK to show us Miss Gottschalk. The face
               doesn't match the hands.

                                   MISS GOTTSCHALK
                         Oh, Mr. Jason. I really shouldn't
                         be doing this, you know. It's
                         against the rules.
                         When did you say you wanted them?

                         I want to see what they read so
                         I'll know what kind of books to
                         give my friends as presents.
                         There's nothing nicer for a gift
                         than a book.

                                   MISS GOTTSCHALK
                         Who was the first one -- Mrs. Redi?

               Jason nods.

                                   MISS GOTTSCHALK
                             (ruffling through the
                         N - o - p - q - r - r - Redi.
                         Here it is.

               She takes the card out of the file and hands it to Jason. 

                                   MISS GOTTSCHALK
                         And the other was Judd?

                         Yes, Dr. Louis Judd.

                                   MISS GOTTSCHALK
                         It's here, too.

               She hands it over to Jason.

                         Would it be asking too much, Miss
                         Gottschalk, for you to get me these

                                   MISS GOTTSCHALK
                             (gurgling again)
                         No, not at all, Mr. Jason.

               She takes the cards and glances at the numbers and stops.

                                   MISS GOTTSCHALK
                         Why, Mr. Jason. Most of these books
                         are on the closed shelf. You have
                         to get permission.

                             (using Miss Gottschalk's
                         I wouldn't want to take them out. I
                         just want to look at them.

                                   MISS GOTTSCHALK
                         Well, since, you're over twenty

               Giggling, she turns to go.



               Jason comes up the stairs whistling. As he reaches the
               landing, Mimi comes out of her door at the end of the
               corridor and goes across to the bathroom. She is in her
               soiled dressing gown, her hair lank about her shoulders. She
               carries a towel over one arm.

                             (waving to her)

               She turns toward him and is about to speak when a fit of
               coughing takes her. She passes on, goes through the doorway
               to the bath. Jason goes on to a door halfway down the hall,
               #lO. He knocks on the door. Mary's voice can be heard bidding
               him enter.

                                   MARY'S VOICE
                         Come in.

               Jason turns the knob and throws the door open. Through the
               open door Mary's room can be seen. It is a small, dismal
               cubicle like the room with the noose. There is a day bed, a
               dresser, a little desk, an armchair, an old— fashioned rocker
               and light curtains at the window. There are a few odd—shaped
               pillows on the day bed and some other evidences of Mary's
               attempts to make this place bright and livable. On the
               dresser top stands a large framed photograph of Jacqueline.

               As the door opens, Mary can be seen washing a pair of white
               gloves in a little basin set in the corner of the room.	

               As the scene progresses,, she can be seen washing the gloves
               on her hands, removing them, rinsing out the soap and then
               tacking them up on the open window sash to dry. Jason pulls a
               rose from his pocket. A withered blossom. He offers it. Mary
               holds up her white-gloved hands to indicate that she can't
               take the flower. He picks up a tumbler, fills it with water,
               puts the rose in it, and sets the whole mess on the window

                         It's terribly sweet of you, Jason.

                         I have something even better.

               He fishes through his pockets and brings out a ragged worn
               piece of paper; crossing over to her he carefully smooths out
               this paper beside the wash basin.

                         What is it?

               INSERT	THE PARALLELOGRAM traced on thin paper.

                                   JASON'S VOICE
                         A parallelogram with a split
                         triangle in its very center.

                                                       BACK TO SCENE:

                         But for what, Jason?

                         To unlock mysteries -- to unravel
                         the thread that leads to

               Mary looks helpless and bewildered.

                             (with mock patience)
                         I suppose I'll have to explain. Go
                         on with your washing.

               He seats himself on the edge of the day bed.

                         I have been at the library.

                         But you're always at the library.

                         I went as a detective. I found out
                         that Mrs. Redi reads the same books
                         as Dr. Judd.

                         I don't think that's so revealing.

                         But who is Judd, a psychiatrist.
                         It's quite natural that he should
                         read books on the history of old
                         religious societies. But why should
                         Mrs. Redi, a woman with a beauty
                         parlor --?

                         I don't know.

                         That's it. And this figure --she
                         traced it. The book I saw at the
                         library had been marked "perfect"
                         by the library inspector in March.
                         Mrs. Redi had it out in April. No
                         one else had read it since.

                         I'm at sea, Jason.

                             (with even more patience)
                         Such a simple matter. This figure
                         is the symbol of the Palladists.

                             (lightly mocking)
                         It's all clear to me now -- so

                         I thought it would be, but just to
                         be sure, I'll tell you that the
                         Palladists are a society of Devil
                         worshippers --

                         Devil worshippers!

               She bursts out laughing.

                         Look. I'm serious. It's a real and
                         vary earnest society -- a dangerous

                             (still laughing)
                         I can imagine.

                         Some time before those nice white
                         gloves are dry you're going to go
                         and find out a few things about
                         Mrs. Redi.

               Mary chuckles to herself and, taking up one of the gloves,
               blows into it, laughing in spite of herself as she does so.
               In a playful mood, she brushes the blown-up glove against the
               back of Jason's neck. He starts nervously. Like a young
               child, Mary is thrown into a fit of laughter.

                         Oh, Jason, I scared you. Maybe I
                         could scare some information out of
                         Mrs. Redi or perhaps Frances.

               She laughs gaily.



               This is a mirror shot. In the glass Mary can be seen seated
               in the chair with Frances Fallon behind her brushing her

                         I can't see much fun in teaching
                         school. Why don't you go into the
                         beauty business.

                         But I like teaching school.

                         Well, if it's fun for you, it's all
                         right. I get a kick out of my work
                         when the customers aren't too

                         Is Mrs. Redi nice to work for?

                         Redi's all right.

                         She seems rather an odd woman to

                         She's a pretty good sort.

                         What does she do with herself after
                         business hours?

               Frances shrugs.

                         It always seemed to me she was sort
                         of lonely and unhappy.

                         I guess most people are.

               Frances finishes brushing her hair and pats it into place.

                                   FRANCES (CONT'D)
                         Well, that's it.

               While Mary gets up and collects her handbag and other
               belongings, Frances makes out the check and hands it to Mary.

                         In the old days, it would have been
                         on the house.

               Mary hands her a coin which Frances refuses, pushing her hand

                         The tip is, anyhow. I like to work
                         on your hair.

                         Thank you.

               Mary takes a piece of paper from her bag and shows it to

                         Do you know what this is, Frances?

                             (smiling broadly)
                         I ought to know.

                         What is it?

               Frances reaches back of her, takes a bottle of La Jeunesse 
               perfume and holds it up to Mary.

               INSERT	BOTTLE OF LA JEUNESSE PERFUME. On the front of it is
               the parallelogram with split triangle.

                                   FRANCES' VOICE
                             (over shot)
                         It's Mrs. Redi's new trademark.

                                                       BACK TO SCENE:

                         Of course, I should have known.
                         That figure has been puzzling me.

               She passes into the main portion of the salon and Frances
               follows her. Mrs. Redi, passing by, stops.

                                   MRS. REDI
                         Hello, Mary. It's nice to see you.
                         No news of Jacqueline?

               Mary shakes her head.

                         I'm afraid not.

                                   MRS. REDI
                         That's too bad.

               Mary goes on toward the cashier's desk, and pays her check,
               As Mrs. Redi and Frances stand talking, Mary gets her change
               and leaves in the background.

                                   MRS. REDI
                         What did she want?

                         I did her hair.

                                   MRS. REDI
                         What were you talking about?


                                   MRS. REDI
                         Nothing! That's absurd. I heard you
                         laughing and talking, She was
                         asking questions.

                         She was just asking about you -
                         Whether it was nice to work for you
                         or not.

                                   MRS. REDI
                         And that was all?

                         No. She asked about the trademark.

                                   MRS. REDI
                         What did she want to know?

                         She showed me a drawing.

                                   MRS. REDI
                             (in anger)
                         You	fool! That symbol is us -- us.
                         She was asking about us.

               She looks off toward the door opening on the street.

                                   MRS. REDI
                         But I'll stop her questions ——



               Judd, dressed in a dressing gown, is seated on the straight
               chair before the makeshift desk, talking with Mrs. Cortez who
               is dressed in street clothes and who has perched herself on
               the arm of a large, overstuffed chair. They have evidently
               been talking for some time. The scene opens with a slight
               lull in the conversation, while Judd takes a cigarette and
               lights it, blows out the first inhalation of smoke and looks
               squarely at Mrs. Cortez.

                         I know the others -- Redi, Fallon,
                         Leo, Bruns. But I would never have
                         guessed it of you, Natalie.

                                   MRS. CORTEZ
                         One believes -— it's like any other

                         I'd hardly describe It that way —-
                         The worship of evil is a pretty
                         dreadful and special thing.

                                   MRS. CORTEZ
                         It seems right to us.

                         I know the theory behind the
                         movement. If one believes in good
                         one believes in evil. If one
                         believes in God, one must believe
                         in the devil. And an intelligent
                         person can make his own choice ——
                         that's it, isn't it?

                                   MRS. CORTEZ
                         Because you are intelligent --
                         that's why they sent me to you --

                         I think I can give you a more
                         practical reason for your kind
                         invitation. I know too much. I was
                         Jacqueline's psycho-analyst.

                                   MRS. CORTEZ
                         I always thought it was a more
                         intimate relationship.

               Judd shrugs.

                         Perhaps, Natalie, this is a bargain
                         you're offering me --I am being
                         allowed to join -- to buy safety by
                         betraying Jacqueline -- is that it?

                                   MRS. CORTEZ
                         I haven't said anything of the

                         But you would like to know where
                         she is?

                                   MRS. CORTEZ
                         Yes. There are certain punitive

                         I can imagine. But you did say you
                         came to me as my friend --that you
                         were concerned for me.

               Natalie nods.

                                   MRS. CORTEZ
                         I'm afraid you have mistaken my
                         motive, Louis. I thought you might
                         understand and sympathize.

                         I have no sympathy for either good
                         or evil. I have only curiosity -- a
                         professional curiosity. What
                         unhappy people most of you are!

                                   MRS. CORTEZ
                         Are we?	I thought I was very gay.

                         A gay lot -— Redi, for instance.  I
                         don't know what her sorrow is,	but
                         her life's an empty one. She's had
                         to have this to cling to. Frances
                         Fallon, with her worship of
                         Jacqueline, has had to follow like
                         a sheep. And Bruns, the fanatic.
                         And you...

               He looks at her empty sleeve. She looks down, and her mouth
               twists in a smile.

                                   MRS. CORTEZ
                         I was a great dancer...

                         A strange collection. You're like
                         the false god you worship... fallen
                         angels, all of you.

                                   MRS. CORTEZ
                         Life has betrayed us. We've found
                         there is no heaven on earth, so we
                         must worship evil for evil's own
                         sake. We're not wicked. We commit
                         no violence, unless...

                             (smiling, close to her)
                         Unless what?

                                   MRS. CORTEZ
                             (a pause, then smiling,
                              sure of herself)
                         No, you draw no secrets from me, as
                         you drew them from Jacqueline. You
                         are not one of us yet. You're
                         clever, Louis, but I recognize your
                         interest in me for what it is
                         worth. You are only curious. You
                         have never loved a woman who had
                         but one arm.

                         It would be a charming experience.
                         She might only protest half as

                                   MRS. CORTEZ
                         You're very flippant and perhaps
                         wise, but not wise enough to see
                         the truth, Louis.

               Judd walks with Mrs. Cortez to the door.

                             (very sincerely)
                         What is truth?

               Mrs. Cortez looks at him from the doorway in surprise.

                                   MRS. CORTEZ
                         Those are the first words I have
                         ever heard you say without mockery
                         and contempt.

               Judd smiles.


               INT. KITCHEN - DANTE - DAY

               Mrs. Romari, with the pigeon on the table in front of her, is
               shelling beans. As she shells them she sings an Italian song,
               her voice ringing out merrily.

                                                     QUICK WIPE UP TO:

               INT. MARY'S BATHROOM - DAY

               Mary is in the shower. It is an old-fashioned affair	in a tub
               with a round pipe rail above it from which a translucent
               curtain is hanging to keep the water from splashing. Mary's
               head, neck, shoulders and a portion of her back can be seen.
               She is wearing a shower cap. The warm water is streaming over
               her, making a comfortable fog of steam. Mary is humming or
               whistling the song that Mrs. Romari was singing downstairs.
               She lifts her hand to soap the back of her neck. A dark and
               threatening shadow falls athwart the curtain, and through the
               steam and water a figure can be dimly seen standing there. It
               is a moment or two before this figure speaks.

                                   MRS. REDI'S VOICE

               Mary looks toward the shower curtain and sees the grim
               indeterminate bulk of someone standing there. She brings her
               hands and arms up protectively huddling all her forces
               together in embarrassment.

                             (her voice weak and

                                   MRS. REDI
                         This is Mrs. Redi, Mary.

                             (reaching for the faucet)
                         I'll be out in a minute.

                                   MRS. REDI
                         That won't be necessary. I haven't
                         much to say.

               Mary turns the water off and stands listening.

                                   MRS. REDI
                         If I were you, Mary -- I'd go back
                         to school. I'd make no further
                         attempt to find Jacqueline.


                                   MRS. REDI
                         It will make you unhappy to find
                         Jacqueline. It would put her in
                         danger --- great danger --

               There is a little silence.

                                   MRS. REDI
                         I can almost feel your doubt about
                         what I'm saying, Mary.

                         I can't give up looking for her,
                         Mrs. Redi, no matter what you're
                         hinting at.

                                   MRS. REDI
                         I have no intention whatsoever of
                         hinting. Your sister, Mary, is a
                         murderess. She killed Irving August
                         -- stabbed him out of fright when
                         he discovered where she was hiding.

                         I don't believe it.

                                   MRS. REDI
                         I had to help get rid of the body.
                         You saw it on the subway. And I
                         warn you, Mary -- go back -- you
                         don't know what you're doing, or
                         what dreadful things you might
                         bring about by looking for your
                         sister. You go back to school - -
                         go back and forget Jacqueline.

               The shadow of Mrs. Redi's figure leaves the curtain. The door
               clicks shut behind her. Mary moves her hand out to part the

               CLOSE UP of Mary's face as seen from the other side of the
               shower curtain as she opens it. She is looking off at the
               door through which Mrs. Redi has passed.



               LONG SHOT  There is a fire burning in the fireplace. The
               lamps have been lit, although outdoors there is still a gray,
               cold light in the street. The room looks bright and warm.
               There are about a dozen people who are	standing and sitting,
               smoking and chatting. Before the sofa a tea service has been
               set on the coffee table. An alcohol stove keeps the tea water
               hot and a slight steam rises from the tea kettle.

               Among the guests can be seen certain familiar faces. Frances
               Fallon stands near the door talking with a young man, Mr.
               Durk, who can be recognized as one of the two drunks who
               supported the body of Irving August on the subway. The other
               of the two drunks, Mr. Leo, is seated by himself in an
               armchair looking through a record album. In his street
               clothes, chatting with a very lovely, white-haired woman, is
               Joseph, the workman at La Jeunesse.

               Mrs. Cortez is opening the door, as the scene opens, to admit
               Mrs. Redi, who is dressed in exactly the same clothes she
               wore in the previous scene.

                                   MRS. REDI
                             (starting to remove her
                         I'm sorry to be late, Natalie.

                                   MRS. CORTEZ
                             (taking the furs and
                              hanging them over the
                              back of a chair)
                         We haven't even begun tea yet.

               The two women cross to the sofa and sit down. On the way
               across the room, Mrs. Redi nods to several of the people
               standing about. She and Mrs. Cortez seat themselves.

                                   MRS. CORTEZ
                         Won't you pour, Mrs. Redi?

               Mrs. Redi pours out a cup of tea. Her hand trembles and she
               moves rather awkwardly.

                                   MRS. REDI
                         Sorry. I'm nervous. This is very
                         trying for me.

                                   MRS. CORTEZ
                         I know. You introduced Jacqueline
                         to us -- but how could you tell —-

                                   MRS. REDI
                         I should have known. She had no
                         sincerity —- no real belief.

               Mrs. Cortez pats Mrs. Redi's hand comfortingly, then turns
               and calls out,

                                   MRS. CORTEZ
                         Cream or lemon, Frances?


               Frances comes forward and Mr. Durk comes with her. They stand
               beside the sofa near Mrs. Redi. Mrs. Redi pours another cup
               of tea. Mrs. Cortez poises the cream pitcher over it. She
               turns to a tall dark-haired woman who is standing near the

                                   MRS. CORTEZ
                         Miss Rowan, do you take cream?

               Miss Rowan, without bothering to answer, strides across the
               room and takes the teacup from her hand. She seats herself in
               a small chair facing the sofa. Mrs. Redi starts to pour
               another cup of tea, but has a slight mishap. There is a

                                   MRS. REDI
                         Please, Natalie, would you mind

               Mrs. Cortez takes the teapot in her hand and begins pouring.

                                   MISS ROWAN
                         You shouldn't be nervous. There is
                         nothing personal or vengeful in
                         what we are about to do. We have
                         only to make a decision.

               A tall quiet woman has come up to the table. She speaks 
               to Mrs. Cortez.

                                   MRS. SWIFT
                         But it can be such a horrible
                         decision. I found peace here. I
                         know that a large portion of that
                         peace came because we are all
                         pledged to non-violence. Now this --

                                   MISS ROWAN
                         Our founder must have known when he
                         wrote these seemingly contradictory
                         rules -— the rule of non-violence
                         and the law that whoever betrays us
                         must die -- he must have known.

                         But I can't understand it.

               Mrs. Redi turns to her.

                                   MRS. REDI
                         Some of us, Frances, must believe
                         without understanding.


               As she speaks, a mature, handsome, forceful man dressed in a
               dark business suit, Mr. Bruns, comes forward.

                                   MRS. REDI
                         I went back through the history
                         last night. I read about Johann
                         Rozenquartz -- I read what he 
                         wrote --

                                   MR. BRUNS
                         I can quote it fully, Mrs. Redi.
                         "We will avoid violence. For once
                         undertaken, violence becomes its
                         own master and can lead to either
                         good or evil."

                                   MRS. REDI
                         But he also wrote --

                                   MR. BRUNS
                         I can quote that too; "Those who
                         shall go out into the market place
                         and let their tongues speak of us,
                         and give knowledge of our being and
                         our deeds, whom-so-ever doeth this
                         shall die."

                                   MRS. SWIFT
                         Since the founding of our order
                         there have been six betrayals and
                         six deaths. And now there is
                         Jacqueline —— she is the seventh.

                         You can't do anything to her--
                         you mustn't hurt her!

                                   MRS. CORTEZ
                         But she betrayed us, Frances.

                         She never betrayed us. She was only
                         going to a doctor -- a

                                   MRS. REDI
                         But she told him, Frances. She told
                         him about us.

                                   MR. BRUNS
                             (to Frances)
                         I know this is difficult for you. I
                         know that you love her.

                         She didn't betray us!

                                   MR. BRUNS
                         Even if I believed that, I would
                         still consider her dangerous. There
                         is the matter of Irving August's
                         death. Without consulting me, Mrs.
                         Redi was ill—advised enough to have
                         the body removed by Leo and Durk.
                         This makes us all a party to the
                         crime. What if there is a trial?
                         What if Jacqueline is asked how the
                         body was removed? Do you think,
                         Frances, she would keep silent?

               There is a long pause. He looks around the circle.

                                   MR. BRUNS
                         It is a very real danger and one
                         which forces our decision.

                                   MRS. REDI
                         What about Judd -- he knows about

                                   MRS. CORTEZ
                         He will come to us of himself ——
                         the man is evil.

                                   MR. BRUNS
                         And Jacqueline's sister?

                                   MRS. REDI
                         I have taken care of Mary. I've
                         spoken to her. She's going back to

                                   MR. BRUNS
                         Then it is decided. Leo and Durk
                         and I will make our plans.

               Frances Fallen begins to cry. Outside the streetlights go on.

               INT. JASON'S ROOM - NIGHT

               It is a small room with a skylight. There are no curtain on
               the skylight. Behind it the night sky can be seen, and
               occasionally the beam of a searchlight cuts across. There is
               a bed, an easy chair and a desk with a typewriter stand
               beside it. The walls of the room are almost hidden by
               bookcases and books, and even the mantel bears a burden of
               numerous volumes. Jason is seated at his desk, turned toward
               the typewriter. He types a line, reads it inaudibly and at
               the same time beats out the rhythm with his left hand on the
               desk top. Evidently it scans, because he types another line
               and is about to repeat the rhythmic test on it, when there is
               a small knock on the door. He gets up, crosses the room and
               opens the door. Mary stands outside. She is dressed in the
               little traveling suit she wore in the first sequence and
               wears a hat.

                             (pulling her into the

               He shuts the door behind her, then stands to watch her as she
               looks around the room. He smiles happily.

                         Mary This is so wonderful!

               Mary looks at him questioningly.

                         Your being here -- your coming so
                         unexpectedly -— it's a wish come
                         true --

               He takes her hand and leads her further into the room. 

                         I want you to see my room. I want
                         you to see all of it.

                         But it's a small room, Jason.

                         It's grown big with time -- I've
                         lived here with the Romari's for
                         ten years -- the room's become part
                         of me. I want you to see it —— to
                         know me better.

               He waves at the bookcase.

                         My books --

               He leads forward a step and bends down to touch a battered
               little tavern table of old maple wood.

                         My furniture --

               He draws her forward still another step toward the desk and
               points to the window.

                         My window - - through which I see
                         the world.

                             (looking toward the night
                         It's beautiful -- that searchlight 
                         - the stars --

                         It's not a searchlight —— it's a
                         sword blade cutting the blue cloak
                         of a prince —- not stars --

                             (interrupting; turning to
                              face him)
                         Jason, I'm going back to
                         Highcliffe. I came to say good-by.

               Jason looks at her. He is silent, but his face shows her his

                         I thought your coming up here to
                         the third floor to see me —-that it
                         was your advent into my world. It
                         turns out to be good-by. Why?

                         I have to go —-

                         But you're happy here -- you like
                         your work —-

               He suddenly senses the compulsion that had been in her words.

                         It isn't that -- you said, "have to
                         go." What could compel you --

                         Don't make me tell you, Jason.

                         I thought myself your friend, Mary.
                         Just good-bye isn't enough for a

               Mary turns away, close to tears. Jason stands looking at her.

                             (in a low voice)
                         I had begun to write again -—that's
                         whet I was doing when you came in.

                         It's because of Jacqueline —— I
                         can't go on looking for her --

                         You went to see Mrs. Redi... She
                         told you something -- what was it?

                         Jacqueline is a murderess she
                         killed a man.

                         And you believe that?

                         I have to. It was Irving August --
                         everything Mrs. Redi said -— it
                         fits in with what I saw -— she even
                         knew I'd seen his body on the

               Jason thinks for a moment.

                         If it is true — there's all the
                         more reason for you to find

                         And Gregory -- he loves her.

                         He loves you, Mary, and you'll have
                         to tell him.

                         He's Jacqueline's husband. I can't

               She begins to cry. Jason puts his arm about her shoulders.

                         You can't tell him -- you can't
                         even dream of loving him --	you
                         feel guilty for not having had love
                         enough for Jacqueline to save her
                         from whatever it was that took her
                         away -- I know that feeling.

               They stand for a moment silently.

                         But you've got to tell him about
                         Jacqueline —- if only for the
                         practical reason that he's a lawyer
                         and will know what to do. I'm going
                         to phone him.

               Jason drops his arms from her shoulder and starts for the


               INT. JASON'S ROOM - NIGHT

               Gregory Ward is striding up and down the room. He seems
               greatly perturbed. He speaks and the CAMERA PULLS BACK to
               show Mary and Jason, both seated and both watching him as he

                         She's got to be found. That's the
                         first step. She's got to be found
                         so that she can give herself up to
                         the police.

                         We've tried so long to find her.

                         Judd could tell us -- if he would.

               Gregory stops in front of Jason.

                         Do you think he knows about this?

                             (shaking his head)
                         I don't know.

                         He's clever and he's cautious in
                         his way. If he knew I think he'd
                         advise her to do what I want —-
                         surrender herself to the police ——
                         stand trial —— I don't think he

                         We could tell him.

               Gregory strides on again to the end of the room, then turns
               to Jason.

                         Could you find him?

                         I suppose so. I can pick him up

               Jason picks up his overcoat from the foot of the bed, and
               takes his hat in his hand.

                         Jason, I sometimes wonder ——you're
                         so sweet to me —- so kind and
                         sympathetic -- I don't know how I
                         can ever thank you.

               Jason looks at her for a moment.

                         Thank me? You don't need to thank

               He looks at her again and then at Gregory Ward. Evidently
               some idea has passed through his mind, because he turns from
               Mary, crosses to the table, picks up a manuscript and puts it
               into a large Manila envelope.

                         What's that?

                             (with a smile)
                         Verse -- verse that I wrote. I need

               He puts the envelope under his arm and starts toward the



               Judd walks along unconcerned and seemingly unaware that on
               the opposite side of the street Jason is patiently following
               him. He sees his image reflected in a weighing machine mirror
               and turns to him. The two men wave a friendly "hello." Jason
               ducks out of sight around a corner for a moment and then
               takes up Judd's trail again. Judd passes into a small
               apartment house. Jason follows a moment later.


               There is a self—service elevator. Jason comes in and sees
               that the elevator is in use and the sign "in use" is glowing,
               and the fourth floor button is red. He waits patiently for
               the elevator to stop and presses the "down" button. When it
               returns to the first floor he opens the outer door, then the
               inner grill, and is about to step in when Judd suddenly
               appears from the other side of the elevator, reaches in and
               taps him on the shoulder. Jason turns around, surprised.

                         Don't bother going up. I can do
                         this all night, Jason. Watch.

               He draws Jason out of the elevator, lets the grill door slide
               shut, passes his hand through the grillwork, pushes the
               button and sends the elevator up	empty. Jason grins and shakes
               his head. Judd takes a cigarette packet from his pocket and
               passes it to Jason.

                         Following me to find Jacqueline?


                         Well, it won't work. Love and
                         understanding won't make a good
                         detective out of a recalcitrant

                         Actually I want to ask two favors
                         of you -- one as a poet ——	one as
                         a detective.

                         It sounds strange, and I'm going to
                         be very wary.

               Jason reaches into his overcoat pocket and pulls out the
               Manila envelope containing the manuscript.

                         Some time ago you spoke about my
                         writing again. I want your help.
                         I'd like you to bring this to your

               Judd takes the envelope and starts to open it, looking up at

                         This is curious, Jason. Half the
                         time you talk as if Shakespeare
                         were not fit to tie your
                         shoe—laces; now this sudden

                         I should like people to read what
                         I've written.

               Judd looks at him and taps the envelope.

                         And this poetry —— like the poetry
                         you wrote before extols the passion
                         and beauty of life?

                         It goes beyond that. It praises the
                         goodness of God and the greatness
                         of all His works.

                             (looking at him
                         I hope it finds as much favor as
                         your other book -- but somehow I
                         doubt it -- the time is out of

                         Why not let your publisher judge

               Judd starts for the door, but Jason takes a quick step after
               him and lays hold of his arm.

                         Wait —- there is that other

                         I'd forgotten.

                         Tell me where Jacqueline is -—
                         we've got to find her.

                         You don't expect me to do that do

                         Yes. When I tell you.

                             (scornfully interrupting)
                         Tell me what?

                         You'll have good enough sense to
                         tell us where she is -— when you
                         know she's a murderess. She killed
                         a man.

                                                       DISSOLVE OUT

                                                       DISSOLVE IN

               EXT. STREET - CHERRY LANE - NIGHT

               Mary, Gregory, Jason and Judd come around the corner and
               start up the lane. Gregory and Mary walk together and Judd
               walks with Jason behind them. Mary and Gregory go past the

               As Judd and Jason come abreast of the CAMERA IT DOLLIES WITH

                         Tell me, why this sudden desire to
                         publish — to awaken like Byron and
                         find yourself famous.

                         I think it's time.

                         No other reason —— no woman ——not
                         the little Miss Gibson?

               Jason walks on without answering.


                             (very sincerely)
                         I'll do all I can to help. I'll go
                         to my publisher tomorrow.


               The little group of people come up to it. It is a mean little
               house. Mary looks up at the dark windows, glances at the
               garbage can full of refuse near the door, and shudders.

               Dr. Judd takes a key from his pocket and opens the front
               door. The hallway is dimly lit by a bare electric bulb. At
               the back can be seen an angular stairway.

                         Wait. I'll call her.

               He goes into the house and the rest stand together on the
               stoop looking in through the open door. Judd crosses the hall
               and standing at the front of the stairs, calls up to

                         Jacqueline, this is Judd.

               There is no answer. He waits a moment, then calls again.


               There is a frightened strained voice, that answers; a voice
               that seems to have come up through layers of heavy sleep,
               emerging only to be frightened.

                                   JACQUELINE'S VOICE
                         Who is it?

                         Judd. I'm here with your sister.
                         Come on down.

               Judd goes forward and stands by the banister. Mary stands at
               one side with Jason, and Gregory at the other side. They

               Very slowly Jacqueline comes down the stairs. She has on her
               nightgown and over it a fur coat. Her hair is loose about her
               shoulders, her eyes are wide and apprehensive. Judd puts out
               his hand to help her down the last few steps. Mary goes into
               the lighted hall. The two sisters look at each other for a
               moment, then go into each others arms. Judd leans against the
               banister, watching. Finally, they break from their embrace.
               Mary is crying and Jacqueline is half-laughing, half-crying.
               She holds Mary off at arm's length, looking at her.


               She sees the two men in the doorway, and starts back
               fearfully. Gregory steps forward.


               She stands quite still, looking at him nervously.

                         It's all right.

               Jacqueline turns back to Judd and moves a little in his
               direction. Judd continues to lean against the banister,

                         You're safe. Nothing is going to
                         hurt you.

                         Your husband seems very sure of

               Again she looks from one to the other.

                         Yes. I'm very sure there's only one
                         way to protect you -- to help you
                         you've got to come with	us-- let
                         me do all that I can as a lawyer to
                         straighten out Irving August's

                         You know?


                         You must come with us, darling. You
                         must let us help you.

               Mary extends her arms to her sister and Jacqueline goes into

                             (to Jason)
                         For me -— this seems to be the end
                         of a delightful relationship.

               Judd smiles and shrugs his shoulders.



               There is a bright fire in the fireplace. Jason is crouched
               before the fire. He has a coffee pot set up on the edges of
               three bricks inside the fireplace, and on the hearth is a
               reflector baker with biscuits baking in it. A bottle of cream
               and other oddments and endments of his culinary art are
               strewn about on the hearth.

               Jacqueline is seated before the fire in an armchair with Mary
               at her feet. Mary's head is resting against Jacqueline's
               knee. Gregory sits on a straight chair, a little
               uncomfortable, and facing them from the other side of the
               fire. Judd lounges on the bed.

               Jason wraps a tea towel around his hand and reaches in the
               fireplace for the coffee pot. He pours out a cup of coffee
               and then with the same wrapped hand snatches a biscuit from
               the baker, and puts it on the edge of the coffee saucer. He
               hands it to Jacqueline. Her hand trembles as she takes it.

                             (as he passes the coffee)
                         Here, this will put some life into

                             (looking fixedly into the
                         It's like coming back to life.

                         Jacqueline, it would be so much
                         easier if you would tell me just
                         what happened. I'd know what to do
                         for you.

               Jacqueline shakes her head,

                         Please, Jacqueline.

                         You know about the Palladists --
                         you know who they are -- what they
                         are. I was one of them.

               She pauses, and Judd in moving from his place on the bed,

                         Jacqueline was always a
                         sensationalist, trying to seize
                         onto something -- anything -- in
                         order to find happiness. Through
                         Mrs. Redi she stumbled onto the
                         Palladist movement —- it appealed
                         to her.

                         I wasn't happy with them -- wanted
                         to break away —— was miserable. I
                         went to Louis for help. They felt
                         that I had betrayed them. They
                         wanted me to die -- to kill myself.
                         They kept me locked up at La
                         Jeunesse. I was there such a long

               She stops.

                         You can Imagine the effect of such
                         imprisonment on Jacqueline.

                         I was terrified. The darkness in
                         the corners of the room --the
                         little noises. Then one night the
                         door opened -- a man came in ——
                         tip—toeing in. I had a scissors in
                         my hand -- I struck at him, I ran
                         away. He was lying in the hall with
                         the blood around him.

               She shudders.

                             (comforting her)
                         Don't. We know what happened. Don't
                         go on.

                         Any court in the land would
                         understand. We'll wait a few days --
                         let you rest -- then we'll go to
                         the police.

                         It will all be over in such a
                         little while, Jacqueline, and
                         everything will be all right again.
                         Drink your coffee.

               Jacqueline raises the cup to her lips and sips. Jason busies
               himself at the fire again.

                         I thought I might close up the
                         apartment -- maybe get a place in

                         You'd love that, Jackie. Remember
                         that last summer with Mother in the
                         Berkshires? You used to help the

                         Yes. You could become a country
                         wife -- fool around with petunias
                         and pullets.

                         It will be fun meeting Gregory
                         every night at the station.

               Jason looks at her.


                         All right Jacqueline, I thought
                         you'd like it. We could just stay
                         on at the apartment.

                         I never liked the apartment.

                         I like it. I've always loved the
                         story -- man, knowing that he
                         couldn't have the woman he
                         loved and wooing her for his
                         friend. We're friends, aren't we,

               Gregory turns away self-consciously. Jacqueline continues to
               look into the fire without answering. Judd looks over at
               Jason. He sees what plan lies in the poet's mind. Getting to
               his feet, he crosses to Jacqueline and Mary.

                         It's been a hard evening for both
                         of you. Perhaps you'd better take
                         Jacqueline to your room, Mary.

               She takes the cup from Jacqueline's hand and puts it on the
               mantel. Jacqueline rises; Mary puts her arm around her waist,
               and they start for the door.

                         Good night, Jacqueline -- good
                         night, Mary.

                         Good night.

               Jacqueline does not answer. The two girls pass out of the
               door, and Mary closes the door behind her.

                             (turning to Jason)
                         I'm afraid this is no time to play
                         Cyrano, my friend. What was in your

                         I wanted to get things clear for
                         Jacqueline. Let her know --

                         Let her know what?

                         That you love Mary.

               Gregory shakes his head.

                         She'll have to know some time.

                         Not from me.

               He moves off toward the door. Judd lingers for a moment.

                         I suppose, Jason, that you'll speak
                         for your friend --
                             (indicating Gregory)
                         -- and your poetry will speak for


                                                       FADE OUT

                                                       FADE IN


               The house door opens, and Mary comes out onto the stoop
               dressed for the street. Jacqueline is with her, but remains
               in the doorway. Jacqueline is dressed in a negligee.

               Mary steps into the bright morning sunlight. Somewhere down
               the street a hurdy-gurdy is playing, and along the sidewalk
               pass children on their way to school, their faces fresh
               scrubbed, books under their arms. Mary kisses Jacqueline.

                         Good-bye, darling. I'll only be
                         gone until three.


                         If you get lonely, go down and see
                         Mrs. Romari. I told her you were
                         staying with me.

                         I won't get lonely.

               Mary runs down the stairs. At the foot of the stairs she
               turns to smile at Jacqueline. Jacqueline smiles back sadly.
               Mary turns, walks off a few steps, then turns back again.

                         You'll be all right?


               Mary waves and goes off.



               The CAMERA IS FIXED at the spot in the apartment where the
               Palladists had grouped themselves during the meeting. 
               There is no one present, but the chairs are still in the same
               disorderly pattern to which they had been pulled during the

               There is the sound of a door buzzer, and the light tread of
               feet as someone crosses the room at the other end and answers
               the door. The door can be heard opening.

                                   MRS. CORTEZ' VOICE
                         Louis Judd! I'm amazed to see you.

                                   JUDD'S VOICE 
                         I'm sorry, Natalie. I wouldn't have
                         disturbed you if it weren't for a
                         matter of grave concern to me.

               Mrs  Cortez and Judd come into the scene  She is in negligee.
               He is dressed in street clothes with his overcoat over his
               arm and hat in band. He stops and looks moodily at the oddly
               spaced collection of chairs. Mrs. Cortez seats herself on the
               arm of the sofa.

                                   MRS. CORTEZ
                         I thought nothing concerned you,

               He stands silently staring.

                                   MRS. CORTEZ
                         Is it about Jacqueline?

                             (with the air of one who
                              dismisses a trivial
                         No. She's no longer under my care.

               Mrs. Cortez looks at him in astonishment. He is too absorbed
               to notice this start on her part.

                         I don't know how to begin this,
                         Natalie. Perhaps it's best to just
                         plunge in. I want to join you.

                                   MRS. CORTEZ
                         We always knew you'd come to us,

                         But I'm not coming to you out of
                         deep conviction, I'm coming to you
                         out of loss. I no longer can
                         believe in the power and the
                         rightness of things that are called

                                   MRS. CORTEZ
                         I never thought you did.

                         I've talked nonsense. I've scoffed
                         and hooted -- but somewhere very
                         deep down in me, I always felt that
                         good held the balance of power.

                                   MRS. CORTEZ
                         You're even sentimental about it.
                         What made you change your mind?

               Judd holds up a large Manila envelope.

                         These. They're Jason's poems, and
                         they've been rejected by m

               Mrs. Cortez laughs.

                                   MRS. CORTEZ
                         This is incredible I It must be
                         some sort of a joke.

                         I'm very, very serious.

                                   MRS. CORTEZ
                             (quite seriously)
                         But you have never liked Jason. You
                         always laughed at him - -quarreled
                         with him --

                         And I love and admire him more than
                         any man I ever knew. I read these
                         poems. He's lost his talent and his
                         was a really great gift. What I
                         have to do today -- to bring him
                         this rejected manuscript -—will be
                         the most disheartening thing I have
                         ever done and the most

               Judd starts for the door. Mrs. Cortez goes with him.

                                   MRS. CORTEZ
                             (smiling, still quite
                         This is the most amusing thing I
                         have ever heard and with a bit of
                         gossip to season it —— your failure
                         with Jacqueline. Has she returned
                         to her husband?

                         No, she's with her sister,

               Judd leaves. Mrs. Cortez watches him go.



               Mary is seated on a straight-back chair, and the children
               around her in a circle, some seated on the floor, some
               standing in the second row. They are singing.

                                   MARY AND CHILDREN'S VOICES
                         Oranges and lemons
                         Say the bells of St. Clemens
                         You owe me five farthings
                         Say the bells of St. Martin
                         When will you pay me
                         Say the bells of St. Bailey
                         That I don't know
                         Says the great bell of Bow.

               The children laugh delightedly and are so busy with their
               mirth that they forget to sing the next verse. Mary, smiling
               at their glee, goes on alone. The telephone at her desk

                         Here comes a candle
                         To light you to bed
                         Here comes a chopper
                         To chop off your head.

               Mary, still singing, crosses the room and mimics the chopping
               gesture of the last phrase as she reaches for the phone.

                             (into phone)
                         Yes, this is Mary...

               She listens.

                         But she couldn't have gone out. No.
                         Are you sure it wasn't Jason she
                         went with, or Mr. Ward? Two men?

               As she speaks, it can be seen she is greatly excited. She
               listens a moment.

                         I'll get home as soon as I can, Mr.

               She puts down the telephone and crosses over to where the
               children are grouped.

                         Children, I want you to be very
                         good and very quiet while I see
                         Mrs. Wheeler a moment. She's going
                         to take over this class for a


                         Because I have something very
                         important to do.


                         I'll be right back with Mrs.


               Mary goes out the door.

                                                       DISSOLVE TO:


               Jacqueline is seated in a high-backed chair. The light
               from the window shines directly into her face. Before her is
               a little tabouret on which stands a single glass containing
               some colorless liquid. Her face is very white.

               Around her, some seated, and some standing, are the
               Palladists. Bruns stands near her chair, looking down at her.

                         The acceptance of a secret is an
                         obligation and in this case my
                         dear, the obligation carried with
                         it the necessity of dying if one
                         betrayed that secret. You
                         understand that don't you?

                         Yes, I understand.

                         Then, you also understand that you
                         must die.


               Bruns shrugs.

                                   MRS. CORTEZ
                         Jacqueline, you have spoken so
                         often of ending it all, I can't
                         understand why this should be so
                         difficult for you. You have only to
                         drink a little.

                                   MRS. REDI
                         Yes, Jacqueline. You were always
                         talking suicide - - of ending your
                         life when you wanted to.

                         When I wanted to.

                         It doesn't matter. You want to now.
                         You should want to. It's your
                         obligation, your duty.

                                   MRS. REDI
                         You have only to stretch out your
                         hand, take up the glass and drink a

                                   MRS. CORTEZ
                         It won't hurt.

                             (firmly spacing her words;
                              evenly but not
                         No. No. No.


               Jason stares at the window looking at the darkening sky. Judd
               is still wearing his overcoat and sitting on the bed, staring
               at him.

                         Both Harrison and Conroy read your
                         stuff. They felt as I did --old
                         fashioned sentiment -- weak --

               The two men are silent for a moment.

                         You take this all very well, Jason.
                         I thought you'd be much more
                         bitter, but tell me -— why is it
                         you were suddenly moved to publish?
                         You wanted to bring fame to lay at
                         her feet. And now?

               Jason shrugs.

                         I don't suppose you'll ever tell
                         her, will you?

                         She is very young -- I have an old
                         habit of failure. It would be a bad
                         habit to bring to a marriage.

                         A book of successful verse might
                         have changed that, eh?

                         It might have.

               There is a long silence.

                         You have a strange kind of courage,
                         Jason. Perhaps you have courage
                         enough to hear what I have been
                         keeping from you all these years.

               Jason looks up.

                         That girl you loved -— that other
                         patient of mine -— she didn't
                         disappear. She's in an asylum -—a
                         horrible, raving thing. I never
                         wanted you to know.

               Jason looks at him for a long moment.

                         -——and all the while you've been my

               Judd nods.



               The room is almost dark. The lamps have not yet been lighted.
               Only Jacqueline's white and tortured features catch the last
               cold light from the window. The rest of the Palladists are in
               darkness. At the piano someone sits playing. It is Mrs.
               Cortez. She plays with only one hand, with a deadly monotony
               and a curious unevenness.

                             (who is weak and tired)
                         May I have some water? I'm thirsty.



                         You won't get any water and you
                         won't get any rest. You may as well

               Jacqueline makes no answer.

                                   MRS. REDI
                         There's nothing to live for.
                         Jacqueline. Remember —— you gave me
                         La Jeunesse.


                                   MRS. CORTEZ
                         It may not mean anything to you,
                         Jacqueline but what about your
                         youth, your beauty? It's all going,
                         and you were proud. Prouder than I
                         ever was of my dancing Jacqueline.
                         I remember when this happened -—
                             (touches her arm)
                         This robbed me of my dancing 
                         —robbed me of my skill. I remember
                         how lost I was until I found peace.
                         You have lost that peace,
                         Jacqueline. You have betrayed evil.
                         There's nothing left.

                         There's my husband.

                                   MRS. REDI
                         Little you care about him.

               Jacqueline shudders. Mrs. Redi bends over the little tabouret
               and pushes the glass of poison closer to Jacqueline.
               Jacqueline shrinks away, screaming hysterically.

                         No. No.

               Mrs. Cortez turns back to play the piano and drown her out.

                                                       DISSOLVE TO:


               Jason and Judd come out of the house and start down tho
               stairs  When they are midway down the stairs the restaurant
               door opens and Mary comes out and goes across the little open
               space toward the street steps. Judd and Jason arc talking as
               they go.

                         If you like, I'll go with you to

                         I'd like that.

               Mary hears his voice and looks up.


               The two men turn toward the stair rail and bend over it
               toward Mary.

                         I can't find Gregory. I've been
                         trying to find him.

                         What's wrong, Mary?

                         Jacqueline. Mr. Romari phoned me.
                         She went out this afternoon with
                         two men he'd never seen before.

                         They may have been friends of hers.

                         No, She wouldn't have gone with
                         anyone unless she were compelled.
                         All these months of hiding have
                         made her frightened of the streets
                         and people. I wonder --

               Jason comes down to the street level and takes Mary's hand


                         They may have found her.
                             (he thinks a minute)
                         Mrs. Cortez -— this morning I told
                         her Jacqueline was no longer under
                         my care.

                         Would they hurt her?

                         I don't know.

                         You'd better go to your room,
                         Mary and wait for us.

               He takes Mary's arm and turns her toward the stairs.

                                                       DISSOLVE OUT

                                                       DISSOLVE IN:


               Only two lamps are lit, one a small table lamp and the other
               a tall standing lamp which throws a pool of light around
               Jacqueline. The beams of the other lamp gleam on the eyes in
               the dark faces around her. There is a deep silence in the
               apartment. After a moment, Bruns' voice, grown hoarse, can be
               heard speaking from the shadows.

                                   BRUNS' VOICE
                         Go ahead, Jacqueline Go ahead!

               The words drop into the silence like stones in a pool of
               still water, and the silence closes over them, Jacqueline
               moves her position a little bit. Her movements are slow and
               she moves without disturbing the stillness of the room. Mrs.
               Cortez' light voice comes in.

                                   MRS. CORTEZ
                         It is late -—

               Again there is silence, end again Jacqueline shifts her
               position just a little bit. Suddenly the stillness of the
               scene, the almost tableau arrangement of the character, is
               shattered. Frances Fallon jumps hysterically to her feet.

                             (hysterically; completely
                         Drink Jacqueline! Drink! You've got
                         to drink. There's nothing else.
                         Drink! Drink! Drink! I can't stand
                         this. You've got to.

               Very slowly Jacqueline's hand goes forward and seizes the
               stem of the glass. Slowly she brings it up to her lips.
               Frances, suddenly, knocks the glass from her hand. It goes
               crashing to the floor. Frances, sobbing, falls at
               Jacqueline's feet, embracing her knees and weeping bitterly.

                         No, no. I couldn't see you die. You
                         were so good to me -— so good to
                         me. I was never happier than when I
                         worked for you —— never.

               Mrs  Cortez reaches back of her and snaps on the wall lights.
               The whole room is filled with a hard, white light. Jacqueline
               has not moved. Frances continues to sob at her knee. The rest
               get up stiffly and move awkwardly about. Bruns and Leo
               whisper together. Bruns comes over to Jacqueline end stands
               before her.

                         You can go. The decision was
                         against violence. There may be
                         another decision —— today -
                         —tomorrow —— and we will find you,
                         but now you can go.

               Jacqueline makes no move to rise, but continues to sit with a
               dead, set face, looking ahead of her, with Frances still
               weeping at her knee. Bruns takes her arm roughly and pulls
               her to her feet. In the background Leo can be seen going out
               of the room.

                         I told you you could go.

               She seems to be aware of what he has said for the first time.
               She starts for the door, almost stumbling as she walks.
               Jacqueline goes through the front door without looking back
               and without closing the door behind her. Mrs. Cortez walks
               forward and shuts the door.



               Jacqueline comes out of Mrs. Cortez' apartment and stands for
               a moment in a broad patch of light thrown by the open door.
               Behind her this door closes and she is suddenly in darkness.
               She looks apprehensively into the shadows and then quite
               hesitantly begins to walk to the right. At the end of the
               street the brighter lights of Fifth Avenue can be seen.
               Washington News, itself, is full of dark shadows.

               She is exhausted and unnerved. She walks slowly. She passes
               one place where the out—jutting of the building casts a
               deeper shadow on the sidewalk. A garbage can is set behind
               the out—jutting, this and the bough of an old ailanthus
               combine to cast a man-like shadow beside the shadow of the
               building. Jacqueline pauses, peers intently into the shadow,
               then summons up courage enough to pass. She walks quickly
               past the out-jutting building. Somewhat relieved, she walks a
               little bit more confidently. Suddenly, there is a clatter and
               bang of metal behind her. She gasps, startled, and whirls

               A white dog with a long bony tail slinks away from a garbage
               can. The lid of this can is still oscillating from its fall
               and roll.

               Jacqueline draws her coat more closely about her and goes on.
               Ahead of her, thrown by the thin light from a transom above a
               door, is the enormously long shadow of a man across the
               sidewalk and across the street. She hesitates then starts to
               cross the street diagonally, looking back all the while at
               the doorway. From the center of the street it can be seen
               that a man stands there. With him stands a woman, her figure
               somewhat lost in the doorway. They are saying good night. On
               the opposite side of the street, Jacqueline hurries toward
               the Avenue.

               EXT. THE AVENUE - NIGHT

               With evident relief, Jacqueline comes out of the darkness of
               Washington News to the more brightly lighted avenue. Traffic
               is passing and people are all about her. She starts off up
               the avenue with confidence. Then some premonition makes her
               turn. Only a few paces behind her is Leo, and there is a grin
               on his lean, satyr-like face.

               She hurries her step. Behind her Leo quickens his pace. It
               She peers into the faces of passers-by, seeking some
               unpreoccupied person who might be sympathetic and helpful.
               People pass her, intent on their own business and without
               concern. She begins to run. Leo merely lengthens his stride.
               It is easy for him to keep up with her. A few people turn
               their heads to watch her run, but Leo's long strides attract
               no attention. Suddenly, in desperation, she dashes across the
               street. A cab narrowly misses hitting her and a bus, coming
               from the other direction, has to stop with an appalling
               scream and roar of brakes.

               Jacqueline, shaken, out of breath and trembling, reaches the
               other corner of the- street. She pauses for a moment to take
               a deep breath. She looks back of' her. There is no sign of
               Leo. Again she starts on and from the shadow of a light
               standard a deeper shadow detaches itself and steps out behind
               her. It is Leo and he is grinning. She sees him and begins to
               run down the cross street. She runs wildly. Leo, at first
               lengthens his stride, and then suddenly breaks into a lope -—
               a lope that will bring him up to her within an instant.

               She ducks into an alley and is lost in the darkness. She
               hides in a corner amid some debris, crouching back out of the
               light. Leo plunges ahead in pursuit. Jacqueline stands a
               moment as the sound of his footsteps diminish, then turns
               back and begins running down the street. Ahead of her, a dark
               slim figure, not unlike Leo's, is walking up the street
               toward her.

               She dodges into the next alley. This is an alley behind a
               theatre. It is cluttered with all sorts of strange
               impedimenta; flats, crates, etc. There is an overhead lamp
               burning in the center of the alley, but the periphery of the
               light beneath it, does not extend to the walls of the alley.
               The area immediately adjacent to these walls is heavy with
               darkness and strange shadows. Jacqueline stands in the middle
               of the pool of light and listens. It seems to her that she
               can hear in the darkness the soft tap-tap of someone walking
               on his toes. She shrinks back from the bright light into the
               darkness and begins to grope her way along the wall, She is
               going from left to right. A sound at her right attracts her
               attention and she looks off, but continues to grope her way
               along the wall to the left. Her hand passes from the
               roughness of the wall to the smoothness of cloth and a split
               second later, Leo, whom she has touched, grins as he seizes
               her wrist. She screams and then silently struggles to free
               herself. Still smiling he holds her firmly with his right
               band. With his left hand he draws something from his pocket.
               He presses a button on this and a four-and a-half inch knife
               blade flashes out. Jacqueline stands stock still with fright.
               Leo's hand goes back for the blow.

               At the opposite side of the alley a door is suddenly thrown
               wide open and a great patch of light is thrown on Jacqueline
               and Leo. He puts the knife behind his back.

               Out of the door come half a dozen people in costumes. They
               are members of a ballet company performing in the theatre.
               Also there emerges the sound of loud and merry music.

               The actors are in a gay mood laughing and shouting. One of
               them breaks into a half dance step. It is infectious and the
               rest join in, making a sort of Carmagnole that sweeps down
               the alley. Jacqueline breaks from Leo's hand-hold on her
               wrist and runs in among them.

               One of the dancers is an enormous man dressed in Roman half
               armor to represent the god Gambrinus, with gilded hop blooms
               as a garland about his shoulders and wearing a papier mache
               mask, surmounted by crown of similarly gilded hop leaves and
               wheat. The face of the mask is a grinning, jolly, rubicund
               visage.  It is next to this enormous man that Jacqueline
               finds herself. In sportive mood the giant dancer sweeps her
               up with one arm, forcing her to dance his grotesque steps.

                         Please. Please. Let me down.
                         There's a man following me.

                             (in a booming voice)
                         I shouldn't wonder, Babe. I
                         shouldn't wonder.

                         I'm serious —— help me.

                         I'll help you to a beer and a
                         sandwich. Come along, babe, come

               The whole party of dancers with Jacqueline among them, go
               roaring out of the alley.

               EXT. STREET CORNER - NIGHT

               On the street corner is a beer saloon. The dancers, some of
               them still skipping and dancing, come around and go into the
               brilliantly lit saloon. The dancer with Jacqueline tries to
               pull her into the saloon. She fights away from him. Laughing
               and slapping his thigh in mirth, he leaves her and passes
               into the saloon. She is left alone in the street. She makes a
               half—hearted movement to adjust her disarranged clothing.
               Slowly, with great weariness, she begins to walk away from
               the saloon, going further and further into the darkness. She
               looks around. The darkness frightens her. She looks back.
               There is the warm glow of light from the saloon windows. She
               starts to go back. From the lighted end of the street a man
               crosses to the same side of the street as Jacqueline. His
               silhouette somewhat resembles the silhouette of Leo. She
               turns, runs and is lost in the darkness.

                                                       DISSOLVE OUT

                                                       DISSOLVE IN


               The Palladists, with the exception of Leo, are all here and
               all seated. Judd, still wearing his overcoat, is seated in a
               small chair facing them and beside him stands Jason.

                         Now that you've hounded and worried
                         her half to death, you don't oven
                         know where she is. At least tell
                         me, has she been here?

                                   MR. BRUNS
                         She was here for a little while.

                         And what happened?

                                   MR. BRUNS
                         Nothing. She left here an hour or
                         so ago. She may even be home now.
                         Why don't you try it?

                         All right, Jason.

               Judd gets up and they start for the door. Half-way to the
               door, Jason stops and turns around. Judd also turns.

                             (looking around the room
                              and peering at each
                              person in turn)
                         The devil worshipers -- the lovers
                         off evil. It's a joke-—a pathetic
                         little joke.

                                   MR. BRUNS
                         We've not asked your opinion.

                         I propose to give it to you anyway.
                         You're a poor, wretched group of
                         people who have taken the wrong

                                   MR. BRUNS
                         Wrong? Who knows what is right or

                         I can prove you wrong so simply
                             (he bows his head and
                              recites very quietly)
                         Our father who art in heaven
                         Hallowed be thy name
                         Thy kingdom come, thy will be done
                         On earth as it is in heaven.
                         Give us this day, our daily bread
                         Forgive us our trespasses as we
                         Forgive those who trespass against
                         Lead us not into temptation
                         But deliver us from evil
                         For thine is the kingdom, the power
                         And the glory forever. Amen.

               As he prays, the CAMERA MOVES FROM one off the Palladists to
               another. Tears form in Frances Fallon's eyes. Mrs. Redi turns
               her head. Even Bruns, the ardent and fanatical believer,
               chokes back a sob.

               Both men turn and go. The CAMERA HOLDS ON the Palladist



               Jacqueline, still running, comes into the scene and goes up
               the steps. She opens the front door and lets herself in.


               The gas light has been turned down so that there is only a
               tiny flame to illuminate the hall. The draft in the hallway
               stirs this little flame and the shadows move with it.
               Jacqueline comes up the stairs. Now that she can be seen more
               closely, it can be seen also that she is exhausted, her eyes
               wild, her hair in disorder. She almost staggers as she
               reaches the landing and goes slowly supporting herself on the
               banisters, toward Mary's door. Her way brings her past Room
               #7, the room with the noose. For a moment she stands weakly
               staring at the door, then goes on. She has reached Mary's
               room, has crossed the narrow hallway and her hand is almost
               on the knob when Mimi's door opens and Mimi, white
               night—gowned, comes out into the eerie gas light. Jacqueline
               looks at her face which is distorted and horrible in the
               moving shadows and flickering light. She stifles a scream.
               The other girl is also frightened. The two stand staring at
               each other for a moment.

                         Who are you?

                         I'm Mimi -- I'm dying.


                         Yes. It's been quiet, oh ever so
                         quiet. I hardly move, yet it keeps
                         coming all the time -—closer and
                         closer. I rest and rest and yet I
                         am dying.

                         And you don't want to die. I've
                         always wanted to die -- always.

                         I'm afraid.

               Jacqueline shakes her head.

                                   MIMI (CONT'D)
                         I'm tired of being afraid -— of

                         Why wait?

                             (with sudden
                         I'm not going to wait. I'm going
                         out -- laugh, dance --do all the
                         things I used to do.

                         And then?

                         I don't know.

                             (very softly end almost
                              with envy)
                         You will die.

               But Mimi has already turned back into her room. Jacqueline
               stands watching until the light snaps on in Mimi's room and
               then the door closing, plunges the hall into weird half light
               again. In this semi-darkness, she turns away from Mary's door
               and walks down the hall toward room #7. She opens the door
               and goes in. For a brief moment the light from the hall casts
               the shadow of a noose against the further wall of the room
               and then the door closes behind her.

               INT. MARY'S ROOM - NIGHT

               The room is lit by a single little lamp on the dressing table
               — Mary herself stands near the window, looking out. Gregory
               is talking over the telephone. From downstairs we hear Mrs.
               Romari singing. The song comes faintly to this upper story.
               She is singing an Italian song. The words are Dante's:

                                   MRS. ROMARI'S VOICE
                         Death, why hast thou made life so
                         hard to bear,
                         Taking my lady hence? East thou
                         no whit or shame?
                         The youngest flowers and the most
                         Thou hast pluck'd. away and the
                         world wanteth it.

               Gregory puts down the telephone and crosses to the window.

                         That was Dr. Judd. He was phoning
                         to say that, Jacqueline is on her
                         way here -

                         Gregory ——
                             (pauses then goes on)
                         you'd better take Jacqueline with
                         you tonight.

                         It's what I should have done
                         yesterday. I'll take her away
                         somewhere where she can rest.

               Mary turns back toward the window. Gregory stands watching


               She turns toward him. He puts his hands on her shoulders and
               turns her back to the window.

                         No. Stay that way. I want to talk
                         to you. I love you -— you know

                             (in a choked voice )

                         Perhaps, later, when things are
                         settled, when Jacqueline's well
                         again -- maybe we can arrange
                         things differently.

               Mary turns and faces him.

                         I've never loved any one before,
                         Gregory, and I do love you -— you
                         must know it -- but Jacqueline's my
                         sister —— whom I had lost and have
                         found again....
                             (breaks off,)
                             (shaking her)

                         I know —— I shouldn't have told

                         No, I'm least I've heard
                         you say it...

               Mary shakes her head, turns back toward the window. They
               stand together for a moment. From below comes the sound of
               Mrs. Romari's singing.



               The CAMERA IS LEVELED on the empty hall. From downstairs
               can be heard the sound of Mrs. Romari singing. Then Mimi's
               door opens and Mimi sweeps out, dressed in a black dress,
               gleaming with sequins, her hair piled high, her walk proud
               and steady. She comes down the hall toward the camera. Just
               as she reaches the door of #7, there is the sound of an
               over—turned chair falling. She pauses and looks toward the
               door. There is the creaking sound of the rope. She listens
               for an instant, and failing to comprehend, sweeps on past the


               It is a bright day and the sunlit street can be seen through
               the windows. Children are hurrying by on their way to school,
               At a table near the window Mary sits with Gregory. She has
               been crying and has her sodden handkerchief in her hand.
               Gregory has a pre-occupied air and is tracing figures on the
               table cloth with his fork.

               Jason comes in bearing a small tray with three tiny cups of
               coffee on it. He puts a cup in front of each of them and
               keeps one for himself. He sips his coffee.
               Neither Mary nor Gregory touch theirs Jason pushes Mary's cup
               toward her to attract her attention, She picks it up and
               brings it to her lips.

                         I hate people who try to peddle
                         comfort. But,Mary, you shouldn't
                         mourn for Jacqueline. Life for her
                         was full of the agony of a
                         disordered mind. It's better this

                         I keep telling myself that.

                         Well, tell yourself, Mary, that
                         this is a world that doesn't pass
                         with the passing of any one of us.
                         All three of us are going to start

               He looks up and across at Jason with a meaningful glance at

                         You and I have new hopes —— and new
                         plans can come from them ——

               Jason looks at him across Mary and shakes his head.

                         Not I —- I am alive, yet every hope
                         I had is dead,
                             (turns to Mary)
                         Death can be good. Death can be
                         happy.. If I were really dying I
                         could speak like Cyrano -— "My
                         courage like a white plume" — and
                         all the other lovely words with
                         which he greeted death. Then
                         perhaps you might understand,

                             (reaching over to touch 
                             (his band)
                         I understand.

                         Good. We all understand each other.
                         You, Gregory and I. We all know.
                         There is sunlight in the streets
                         and work to do. Both of you -—
                         you're off to work.

               He gets up and takes Mary's arm, helping her to rise.

                         Off with you. You can't sit here in
                         this cellar with the sun shining.

               He hustles her toward the door and Gregory follows. Mary and
               Gregory ascend the steps to the street level.

               Jason steps back a pace or two so that he is backgrounded by
               the mural of Dante. He stands there, and the smile leaves his
               face. His whole body reflects his hopelessness and despair.
               It is at this moment that Mrs. Romari comes hustling in from
               the kitchen.

                                   MRS. ROMARI
                         Ah! Good! They have all gone! Now
                         you and I can laugh and joke again.

               He turns to her, forcing a smile.

                                                       FADE OUT

               THE END