"THE THIRD MAN"
by
Graham Greene
HIGH ANGLE - FULL SHOT - CITY OF VIENNA
The title VIENNA SUPERIMPOSED FADES OUT - commentary commences.
COMMENTATOR
I never knew the old Vienna before
the war, with its -
MED. SHOT - STATUE OF A VIOLINIST
There is snow on it.
COMMENTATOR
Strauss music, its glamour and easy
charm...
MED. SHOT - ROW OF STONE STATUES
ornamenting the top of a building. In the b.g. the top of a
stone archway. They are snow-sprinkled.
COMMENTATOR
Constantinople suited...
MED. SHOT - SNOW-COVERED STATUE
Trees in b.g.
COMMENTATOR
me better. I really got to know it
in the...
CLOSE SHOT - TWO MEN
talking in the street.
COMMENTATOR
- classic period of the black...
CLOSEUP - SUITCASE
opens toward camera, revealing contents consisting of tins
of food, shoes, etc. The hands of a man come in from f.g.
to take something out.
COMMENTATOR
- market. We'd run anything...
CLOSEUP - HANDS OF TWO PEOPLE
standing side by side in the street. The person CL running
hands through a pair of silk stockings.
COMMENTATOR
- if people wanted it enough.
CLOSEUP - HANDS OF TWO PEOPLE
A woman's hands CL wearing a wedding ring - a man's hands CR
holding in RH two small cartons - hands them over to her in
exchange for some notes which she hands him.
COMMENTATOR
- and had the money to pay.
CLOSE SHOT - FIVE WRIST WATCHES
on a man's wrist from which the coat sleeve is turned back.
COMMENTATOR
Of course a situation like that -
LONG SHOT - CAPSIZED SHIP
in shallow water with a drowned body floating on the water
CR of it.
COMMENTATOR
- doesn't tempt amateurs...You
know, they can't stay the course
like a professional.
MED. LONG SHOT - THROUGH STONE ARCHWAY
with Church seen in b.g. through it. A large board in R.
f.g., CS reading:
"ENTERING AMERICAN ZONE"
COMMENTATOR
Now the city is divided -
CLOSE SHOT - BOARD
in CR f.g. - gateway CL of it reading:
"BRITISH ZONE"
COMMENTATOR
- into four zones, you know -
CLOSE SHOT - A LARGE BOARD TOP
CR of an ornamental double gateway - wrought iron gates.
The inscription is in Russian - corresponding to the two
previous zone boards.
COMMENTATOR
- each occupied by a power.
CLOSE SHOT - A LARGE BOARD
bearing the words:
"DEBUT ZONE FRANCAIS"
COMMENTATOR
American, British, Russian and the
French.
CLOSE SHOT - FOUR SHIELDS
resting on a ledge at the top of a building. From CL
American, British, French and Russian Provost Marshals shields.
COMMENTATOR
But the center of the city, that's -
MED. CLOSE SHOT
An American officer CL and Russian officer CR. They are
facing each other in profile. They exchange salutes.
CAMERA PANS RL with the American as they turn away from each
other - losing the Russian. The former is on the move RL as
we:
COMMENTATOR
- international, policed by an
international patrol, one member of
each of the four powers...
LONG SHOT
of a parked row of American-type patrol wagons. M.P.'s of
the four occupying powers lined up in front of them, waiting
for orders.
COMMENTATOR
Wonderful! What a hope they had.
All strangers to the place...
MED. LONG SHOT - PATROL WAGON
nearest camera drives away from the parked line toward
camera, LR M.P.'s dispersed round the remaining wagons.
COMMENTATOR
- and none of them could speak the
same language...
CLOSE SHOT - THE FOUR REPRESENTATIVE M.P.'S
of the International patrol seated in patrol wagon (open).
Driving LR through streets of Vienna.
COMMENTATOR
Except of course a smattering of
German. Good fellows on the whole.
Did their best, you know.
LONG SHOT - SQUARE IN VIENNA
Bomb damaged buildings in R of picture.
COMMENTATOR
Vienna doesn't really look...
LONG SHOT - CITY OF VIENNA
Tower of a church scaffolded in repair in b.g. Woman
crosses f.g. RL.
COMMENTATOR
- any worse than...
MED. SHOT - MONUMENT
with buildings of the city in b.g. and bomb damaged roof in
R of picture.
COMMENTATOR
- a lot of other European cities.
LONG SHOT - MAN
walking over the rubble of a bombed building.
COMMENTATOR
Bombed about a bit...
CLOSE SHOT
Front rank of uniformed American soldiers on parade rifles
and bayonets at "present arms" position. They are at
attention in R profile.
COMMENTATOR
Oh, I was going to tell you...
LONG SHOT - A GROUP OF AMERICAN AND RUSSIAN OFFICERS
standing at attention at the salute on the steps of a large
building. At the top of the steps, in b.g. behind them,
other Russian soldiers seen.
COMMENTATOR
I was going to tell you about Holly
Martins.
CLOSE SHOT
Front rank of a parade of Russian soldiers, rifles at the
"present arms" in front of them. They are in L profile.
CAMERA PANS RL slightly to reveal the roadway in front of them.
COMMENTATOR
- an American came all the way here
to visit a friend of his - the name...
MED. SHOT - COMPANY OF RUSSIAN SOLDIERS
with rifles and fixed bayonets marching LR.
COMMENTATOR
- was Lime. Harry Lime. Now -
CLOSE SHOT - STEAM ENGINE
at a standstill, puffing. On wall behind it in large
letters - WIEN-WEST-BHF
COMMENTATOR
Martins was broke and Lime had
offered him some sort - I don't
know - some sort of a job.
CLOSE SHOT - STEAM ENGINE
moving downstage RL as if to exit past CL. Music crescendo.
COMMENTATOR
Anyway, there he was, poor chap.
Happy as a lark, and without a cent.
CLOSE SHOT - TRAIN CARRIAGE WINDOW
pulling into station RL. Holly Martins' head out of the
window, looking off CL. Train draws to a standstill.
Martins opens the door of the compartment and pulling down
his grip from the rack, gets out, and exits CL.
MED. SHOT - MARTINS
making his way down the platform, toward the ticket barrier
in f.g. Train stationary CL far side of barrier. M.P.'s
(British and Russian) CL near side of barrier. American M.P.
CR.
U.S.M.P.
Passport, please.
MARTINS
Oh.
Martins hands his passport to M.P. CAMERA TRACKS IN to
CLOSE TWO SHOT.
U.S.M.P.
What's the purpose of your visit here?
CAMERA STOPS TRACKING.
MARTINS
A friend of mine offered me a job
here.
U.S.M.P.
Where are you staying?
MARTINS
With him. Fifteen Stiffgasse.
U.S.M.P.
His name?
He looks off CL.
MARTINS
Lime. Harry Lime.
U.S.M.P.
Okay.
MARTINS
I thought he'd be here to meet me.
DISSOLVE TO:
------------------------------------------------------------------
CLOSE SHOT - PORTER
on landing above - candle bracket CR of him, looking down
off L for Martins.
PORTER
Das ist niemand mein hier. Sie
lauten un sonst.
LONG SHOT - MARTINS
on the floor below, from Porter's viewpoint. He is looking
up off past CR from Porter.
MARTINS
Speak English?
PORTER (O.S.)
English?
CLOSE SHOT - PORTER
looking down off L for Martins. He steps forward to
bannister rail from candles.
PORTER
Little, little. Sie kommen zehn
minuten zu spat. Ten minutes too
late.
CLOSE SHOT - MARTINS
looking off R for the Porter.
PORTER (O.S.)
Already gone.
MARTINS
Who?
CLOSE SHOT - PORTER
leaning on bannister rail and looking down off L for Martins.
PORTER
His friends and - er - the coffin.
CLOSE SHOT - MARTINS
looking up off R for Porter.
MARTINS
Coffin?
PORTER (O.S.)
Mr. Lime's. Accident...
CLOSE SHOT - PORTER
looking down off L for Martins.
PORTER
Knocked over by a car, here in
front of the house.
LONG SHOT - MARTINS
from Porter's eye line, on the floor below, looking up off R
for him.
PORTER (O.S.)
Have seen it myself, killed at
once, immediately.
CLOSE SHOT - PORTER
looking down L for Martins off.
PORTER
Already in hell or in heaven.
CLOSEUP - MARTINS
looking up off R for Porter. CAMERA TRACKS in to BIG CLOSEUP.
PORTER (O.S.)
I'm sorry for the grave diggers.
Hard work in this frost.
DISSOLVE TO:
LONG SHOT - CEMETERY
Music starts. Martins walking down roadway CR of it to
camera. Peasant woman in L of picture, putting some flowers
on a grave. He exits CL.
MED. SHOT - GROUP OF MOURNERS
in black, round a newly dug grave. Priest reading over the
service in L profile in f.g.
CLOSE SHOT - CALLOWAY
Martins discovered in picture, moves downstage to stand CL
of him.
MARTINS
Can you tell me whose...
CALLOWAY
Fellow called Lime.
Martins exits CL f.g.
LONG SHOT - MARTINS
moving upstage through the cemetery, toward the group round
the grave.
MED. SHOT - THE MOURNERS
round the grave. Priest reading from his book. Anna
discovered CR.
PRIEST
Gelitten unter Pontius Pilatus...
CLOSE SHOT - KURTZ AND DR. WINKEL
looking off CR.
PRIEST
- gekreuzuget, gestorben und
begraben. Abestiengen zu...
CLOSE SHOT - ANNA
near the grave. Martins moving downstage, taking off hat,
stands just behind her CR.
PRIEST (O.S.)
- der hoelle am dritten tage.
Wieder auferstanden von den toten.
Aufgerfahren in den Himmel siszet
zur rechten...
CLOSE SHOT - KURTZ AND DR. WINKEL
looking off CR.
PRIEST (O.S.)
- hand gottes des allmaechtigen vater.
KURTZ
Wer ist das?
PRIEST (O.S.)
Von dannen er kommen wird zu
richten die lebendigen toten...
CLOSEUP - MARTINS
looking off past CR, reacting to the service.
PRIEST (O.S.)
Ich glaube an den heiligen geist
die heilige katholische...
CLOSE SHOT - KURTZ AND DR. WINKEL
looking off, CR, reacting to the service.
PRIEST (O.S.)
- kirche. Gemeinschaft der heiligen.
CLOSEUP - MARTINS
looking off, CR, reacting to service.
PRIEST (O.S.)
...Ablass der sueden. Auferstehung
des fleisches.
CLOSEUP - ANNA
in L profile, her eyes lower from Martins' eye line.
PRIEST (O.S.)
Ein ewiges leben. Herr...
CLOSEUP - MARTINS
looking off CL at Anna.
PRIEST (O.S.)
...gib ihner die ewige ruhe.
MED. SHOT - PRIEST
with the graveyard attendant in L profile beside him.
MEN
Und das ewige licht leuchte ihnen.
PRIEST
Im namen des vater des sohnes und
des heiligen geistes. Amen.
Priest sprinkles some earth on the grave and moves as if to
exit DR. Sound of music.
CLOSE SHOT - KURTZ AND DR. WINKEL
looking off CR.
MED. SHOT - PRIEST
moving upstage, back to camera, to Anna and Martins CR of
her. He touches her, hands sympathetically, then moves on
upstage between the two of them.
CLOSE SHOT - GRAVE DIGGER
looking off CL.
CLOSE SHOT - ANNA AND MARTINS
standing side by side. Anna turns away and moves upstage,
back to camera. Martins moves forward.
MED. CLOSE SHOT - GRAVE DIGGER
Martins enters from CR. The former gives him a spoonful of
earth and Martins sprinkles it on the grave CL out of
picture. He exits CR. Kurtz standing behind him, takes spoon
from grave digger. Winkel standing behind CL of him looking
after Martins CR.
MED. SHOT - MARTINS
puts on his hat, and makes his way upstage, back to camera,
through the graves LR.
CLOSE SHOT - CALLOWAY
looking off CL for Martins. He exits CL.
CLOSE SHOT - DR. WINKEL
taking spoon from grave digger. Kurtz CR of him, holding
wreath and looking off past CR after Martins. CAMERA PANS R
as Dr. Winkel hands back spoon and moves LR to Kurtz to take
wreath. He stoops down to lay the wreath on the grave off L
below frame - and Kurtz steps forward as:
LONG SHOT - CEMETERY
Martins making his way downstage through cemetery, followed
by Calloway. They exit CR.
LONG SHOT - THE ROADWAY
outside the cemetery, which is in L picture. Martins
followed by Calloway enters from CL; he is moving upstage LR.
CALLOWAY
Like a lift?
He turns round as Calloway calls to him.
MED. SHOT - MARTINS
looks off past CL for Calloway.
CALLOWAY
...to town?
CLOSE SHOT - CALLOWAY
looking off CR for Martins.
CALLOWAY
I've got a car here.
LONG SHOT - THE ROAD
outside the cemetery. Calloway moves downstage LR to car
parked in R f.g. Martins follows him.
MARTINS
Thanks.
CLOSE SHOT - PAINE
in R profile in jeep, magazine in hand. He is looking off R
reacting to Calloway. He puts down the magazine and makes a
move as if to start the car.
LONG SHOT - DOOR OF CALLOWAY'S CAR
closes and it drives off upstage.
MED. SHOT - PAINE
driving his jeep, moves out of picture LR.
CLOSE SHOT - MARTINS AND CALLOWAY
seated in the back of the car. Martins' CL - both full face.
CALLOWAY
My name is Calloway.
MARTINS
Martins.
CALLOWAY
You a friend of Lime's?
MARTINS
Yes.
CALLOWAY
Been here long?
MARTINS
No.
MED. CLOSE SHOT - ANNA
walking along the road at the side of the cemetery in R
profile, from Calloway's eye line in the car. CAMERA TRAVELS
BACK at speed of car, Anna receding into LONG SHOT, still
walking. In b.g., CL Paine's jeep is seen slowly following
the car.
CLOSE SHOT - MARTINS AND CALLOWAY
seated in the back of the car traveling LR.
CALLOWAY
You've had a bit of a shock,
haven't you? You could do with a
drink.
MARTINS
Could you buy me one. I haven't got
any Austrian kroners. Thanks.
CALLOWAY
Schmolka!
Music stops.
DISSOLVE TO:
MED. SHOT - MARTINS
CL, and Calloway seated at a table in the Kartnerstrasse bar.
A bottle is on the table, and each has a glass in front of him.
MARTINS
I guess nobody knew Harry like he
did - I did.
He reaches for the bottle and pours Martins another
CALLOWAY
How long ago?
CAMERA TRACKS IN to CLOSE TWO SHOT.
MARTINS
Back in school. Never so lonesome
in my life till he showed up.
CALLOWAY
When did you see him last?
MARTINS
September '39.
CLOSE SHOT - CALLOWAY
past Martins in L f.g.
CALLOWAY
When the business started?
Martins drinks from his glass.
MARTINS
Mmmm.
Putting a cigarette to his mouth.
CALLOWAY
See much of him before that?
MARTINS
Once in a while.
CLOSE SHOT - MARTINS
past Calloway in R f.g. Martins has glass in hand.
MARTINS
Best friend I ever had.
CLOSE SHOT - CALLOWAY
past Martins in L f.g.
CALLOWAY
That sounds like a cheap novelette.
CLOSE SHOT - MARTINS
past Calloway in R f.g.
MARTINS
Well, I write cheap novelettes.
CLOSE SHOT - CALLOWAY
past Martins in L f.g.
CALLOWAY
I'm afraid I've never heard of you.
What's your name again?
MARTINS
Holly Martins.
CALLOWAY
No, sorry.
CLOSE SHOT - MARTINS
past Calloway in L f.g., who is drinking.
MARTINS
Did you ever hear of "The Lone
Rider of Santa Fe?"
CALLOWAY
I can't say that I have.
MARTINS
"Death at the Double X Ranch" - Ra-
a-nch.
CALLOWAY
No.
CLOSE SHOT - CALLOWAY
past Martins in L f.g. People seen through the window,
passing in b.g.
MARTINS
Must have known I was broke. Even
sent me an airplane ticket. It's a
shame.
CALLOWAY
What?
MARTINS
Him dying like that.
CALLOWAY
Best thing that ever happened...
CLOSEUP - MARTINS
looking off CR for Calloway.
CALLOWAY (O.S.)
...to him.
MARTINS
What are you trying to say?
CALLOWAY (O.S.)
He was...
CLOSEUP - CALLOWAY
looking off past CL for Martins.
CALLOWAY
...about the worst racketeer who
ever made a dirty living in this city.
CLOSEUP - MARTINS
looking off CR for Calloway.
MARTINS
Policeman, eh?
CLOSEUP - CALLOWAY
looking off CL for Martins.
CALLOWAY
Come on, have another drink.
CLOSEUP - MARTINS
looking off CR for Calloway.
MARTINS
No...I never did like...
CLOSEUP - CALLOWAY
looking off CL for Martins.
MARTINS (O.S.)
...policemen. I have to call them
sheriffs.
CALLOWAY
Ever seen one?
MARTINS
Pin it on a...
CLOSEUP - MARTINS
looking off CR for Calloway.
MARTINS
Dead man.
CLOSE SHOT - PAINE
seated at table in the bar, looking at a magazine. He looks
up from it off CR, reacting to the conversation between
Martins and Calloway.
MARTINS (O.S.)
Some petty racket with gasoline or
something.
CLOSEUP - MARTINS
looking off CR for Calloway.
MARTINS
Just like...
CLOSEUP - CALLOWAY
looking off CL for Martins.
MARTINS (O.S.)
...a cop. You're a real cop I suppose.
CALLOWAY
It wasn't petrol.
CLOSEUP - MARTINS
looking off CR for Calloway. He gets to his feet, CAMERA
PANS UP with him.
MARTINS
So, it wasn't petrol. So it was...
CLOSE SHOT - PAINE
seated at the table looking off CR for Martins. He gets to
his feet as we:
MARTINS
...tires, or saccharin...
CLOSEUP - CALLOWAY
looking off past CL for Martins.
MARTINS (O.S.)
Why don't you catch a few murderers
for a change?
CALLOWAY
Well, you could say that murder was
part...
MED. CLOSE SHOT - MARTINS
slightly under the influence of drink, standing behind the
table.
CALLOWAY
...of his racket.
He leans forward to CR to strike Calloway. As he does so, a
hand comes in from L of picture and swings him back RL,
CAMERA PANNING with him, revealing Paine CL of him - and he
swings Martins round. The latter grabs the post at the
corner of the bench and swings round with it and sits down
on far side, losing his balance.
CALLOWAY
It's all right.
MED. CLOSE SHOT - CALLOWAY
CAMERA HOLDING him as he gets to his feet, looking off CL
for Paine.
CALLOWAY
Paine.
CAMERA PANS RL with him, revealing Paine and Martins seated
DR of him on far side of bench in L profile. He crosses to
them.
CALLOWAY
He's only a scribbler with too much
drink in him. Take Mr. Holly home.
He exits in CS CAMERA L. The other two look after him.
PAINE
Holly Martins, sir?
CLOSE TWO SHOT - PAINE
standing CL looking down at Martins seated in R f.g.
PAINE
The writer? The author of "Death at
the Double X Ranch?"
MED. CLOSE SHOT - WAITER AND CALLOWAY
who is three-quarters back to camera, taking money out of
his pocket to pay the bill. He looks back, reacting to Martins.
MARTINS (O.S.)
Listen, Callaghan.
CALLOWAY
Calloway - I'm English, not Irish.
CLOSE SHOT - PAINE
standing CL of Martins, seated in L profile R f.g. They are
looking off CL after Calloway.
MARTINS
You're not going to close your
files at a dead man's...
CLOSE SHOT - CALLOWAY
cigarette in hand, looking off past CR for Martins. Takes
his change from off L.
MARTINS (O.S.)
...expense.
CALLOWAY
Going to find me the real criminal?
It sounds like one of your stories.
Takes change.
MARTINS (O.S.)
When I've finished with you...
CLOSE SHOT - PAINE
standing CL looking down at Martins seated in L profile. R
f.g., looking off CL for Calloway.
MARTINS
...you'll leave Vienna, you'll look
so silly.
MED. SHOT - CALLOWAY
standing CR of the waiter at the far side of the table, his
change in his hands. He leaves the waiter, crossing back to
Martins, who is revealed with Paine in R of picture. CAMERA
PANS LR losing the waiter.
CALLOWAY
(he stuffs some notes
into Martins' outside
overcoat pocket)
Here's some army money. Should see
you through tonight at Sacher's
Hotel, if you don't drink too much
at the bar. We'll keep a seat for
you on tomorrow's plane.
He exits CR in CS.
MED. SHOT - PAINE
and Calloway re-enters from CR to him and Martins. Calloway
crosses screen RL his hat now on, and as he passes, Martins
gets to his feet and grabs him, ready to strike him, but
Paine, standing behind them, strikes him on the jaw and he
jerks back LR, as we -
CUT TO:
MED. SHOT - MARTINS
staggers back between the table CL and the bench. Paine
enters from CL f.g. and helps him to his feet, and sits him
down on the bench CR - CAMERA PANNING UP with them.
PAINE
Please be careful, sir. Up we come.
Written anything lately?
CALLOWAY (O.S.)
Take him to Sacher's.
MED. CLOSE SHOT - CALLOWAY
looking off CR for Martins. He turns and walks away upstage
toward the door of the cafe in b.g.
CALLOWAY
Don't hit him again if he behaves.
(looking back over
his shoulder for Martins)
You go carefully there.
CLOSE SHOT - MARTINS
seated in L profile L f.g. Paine full face CR of him.
CALLOWAY
It's a military hotel.
PAINE
I'm so glad to have met you, sir.
I've read quite a few of your books.
Paine leans toward camera and brings Martins' grip up into
picture from off R. Martins gets up, helped by Paine.
CAMERA PANS UP RL with them as they move to central aisle
and toward the door, backs to camera, revealing waiter
standing in b.g.
WAITER
Auf wiedersehn meine herren.
PAINE
I like a good western.
LONG SHOT - MARTINS
entering the lobby of Sacher's hotel, followed by Paine.
CAMERA TRACKS back with them as they move down the corridor.
Paine catches him up.
PAINE
That's what I like about them, sir.
You can pick them up and put them
down any time.
Paine calls to Hartman as he crosses picture RL and the
reception desk and clerk are revealed in L of picture. He
approaches it, followed by Martins.
PAINE
Oh, Mr. Hartman...
PORTER
Yes, sir?
PAINE
Major Calloway says this gentleman's
got to have a room for tonight.
He'll be off tomorrow.
PORTER
Passport, please.
MED. CLOSE SHOT - CRABBIN
leading a lady through the swing doors from the lounge into
the lobby.
CRABBIN
I can't very well introduce you to
everybody.
They move to exit CR.
CLOSE SHOT - PAINE - CL - AND MARTINS
at the hotel reception desk.
PORTER
Would you mind filling this in?
MED. CLOSE SHOT - CRABBIN AND GIRL
with him. Paine enters from CR to them. CAMERA PANS L,
slightly, as girl friend crosses picture, RL, and stands on
L edge of frame, back to camera.
PAINE
Mr. Crabbin.
CRABBIN
What is it, Sergeant?
PAINE
Mr. Holly Martins, sir.
CRABBIN
Who?
PAINE
The author. Thought you might be
interested.
CRABBIN
Never heard of him.
PAINE
Oh, he's very goad, sir. I've read
quite a few of his books.
CRABBIN
Have you, Sergeant? Author -
Martins. Thank you, Sergeant.
Raising his R index finger, cautioningly to the girl with
him - CL - he exits past CR.
CLOSE SHOT - MARTINS - PAINE CR
Crabbin moves downstage RL to him as he is writing in the
hotel register. He stands CR of Martins.
CRABBIN
Oh, Mr. Martins, my name is Crabbin.
I represent the C.R.S. of G.H.Q.
He continues registering.
MARTINS
You do!
CRABBIN
Yes, Cultural re-education Section
Propaganda. Very important in a
place like this. We do a little
show each week. Last week we did
"Hamlet" and the week before we had
something...
PAINE
Striptease, sir.
CRABBIN
Yes, Hindu dances, thank you,
Sergeant. This is the first
opportunity we've had of making an
American author welcome.
MARTINS
Welcome?
CRABBIN
I'll tell you what, Mr. Martins. On
Wednesday night at our institute,
we are having a little lecture on
the contemporary novel...I thought
perhaps you'd like to speak.
Martins puts his handkerchief to his sore jaw - looks at
Crabbin.
MARTINS
They wouldn't know me.
CRABBIN
Nonsense. Your novels are very
popular here. Aren't they, Sergeant?
PAINE
Very popular, sir.
CRABBIN
Very popular. Are you staying long?
MARTINS
How long can one stay here on this
stage money?
CRABBIN
Listen, Mr. Martins, if you'd agree
to be our guest, we'd be delighted
to have you.
CLOSEUP - MARTINS
looking off CR for Crabbin.
MARTINS
Would you?
CLOSE SHOT - PAINE AND CRABBIN CR
looking off CL for Martins.
CRABBIN
For as long as you care to stay.
CLOSEUP - MARTINS
looking off CR for Crabbin.
PAINE
But he's due to...
CLOSE SHOT - PAINE - CRABBIN CR
They are looking off CL for Martins.
PAINE
...leaving tomorrow, sir.
CRABBIN
Excuse me, have you got tooth...
CLOSEUP - MARTINS
looking off CR - a man entering through b.g. CL.
CRABBIN (O.S.)
...ache.
PORTER (O.S.)
Number eight, Mr. Martins.
MARTINS
Come upstairs a moment.
CRABBIN
I know a very good dentist.
MARTINS
I don't need a dentist. Somebody
hit me, that's all.
LONG SHOT - RECEPTION DESK
The Porter ushers Martins downstage with Crabbin, Paine
following.
PORTER
Bitte.
Martins and Paine walk forward to CS. CAMERA TRACKS, back
with them, PANNING LR, to reveal staircase, and losing Paine
out of picture CL.
CRABBIN
Goodness, we must report that to
the police. Did they try to rob you?
Martins takes off his hat.
MARTINS
It was just a soldier. I was trying
to punch his major in the eye.
CRABBIN
No, a major, were you really?
MARTINS
Heard of Harry Lime?
CRABBIN
I've heard of him, of course, but I
didn't exactly know him.
They reach the stairs and start up them.
MARTINS
I was going to stay with him, but
he died Thursday.
CRABBIN
Goodness, that's awkward.
MARTINS
Is that what you say to people
after death? "Goodness that's
awkward..."
RECEPTION PORTER (O.S.)
Mr. Martins.
CLOSE SHOT - RECEPTION PORTER
holding up telephone, off receiver.
PORTER
Excuse me. Telephone.
MED. SHOT - MARTINS
on the staircase - Crabbin CR of him - both turn back to
look off L for reception desk.
MARTINS
Who is it?
CLOSE SHOT - RECEPTION PORTER
behind desk. Martins enters from CR f.g. to him.
PORTER
Baron Kurtz.
MARTINS
Must be some mistake.
CLOSE SHOT - BACK OF MARTINS' HEAD
as he speaks into the phone.
MARTINS
Yes.
BARON (O.S.)
I was a friend of Harry Lime.
He turns round into full face position, talking into the phone.
MARTINS
I would very much like to meet you,
Baron. Come around.
BARON (O.S.)
Austrians aren't allowed in your
hotel. Couldn't we meet at the
Mozart cafe?
MARTINS
Where?
BARON (O.S.)
Just around the corner.
MARTINS
How will I know you?
BARON (O.S.)
I'll carry a copy of one of your
books. Harry gave it to me.
He puts down the receiver. He looks off CR for Crabbin.
MARTINS
I'll be there in a moment. Wait a
minute, if I do...
MED. SHOT - CRABBIN
in R f.g. Martins enters from CL and stands in R profile,
looking at him.
MARTINS
...this lecture business, you'll
put me up here a while?
CRABBIN
Certainly.
CAMERA PANS RL and TRACKS FORWARD very slightly, revealing
Paine and the swing doors in b.g.
MARTINS
It's a deal. Did you ever read a
book of mine called "The Lone Rider
of Sante Fe?"
Martins starts walking to them, as does Crabbin CR and Paine.
PAINE
No, not that one, sir.
MARTINS
It's a story of a man who hunted
down a sheriff who was victimizing
his best friend.
Martins exits through the swing doors, and turns round to
re-enter through the other one.
CRABBIN
Seems exciting.
MARTINS
It is, and I'm gunning just the
same way for your Major Callaghan.
PAINE
Sounds anti-British, sir.
Martin goes out through the door.
DISSOLVE TO:
EXT. MOZART CAFE - LONG SHOT
Cafe tables are outside on the pavement. Baron Kurtz is
discovered moving downstage to tables in f.g. book in his
hand. Music starts. Traffic noise is heard.
CLOSE SHOT - MARTINS
coming through a swing door.
LONG SHOT - BARON
holding the book prominently in his hand to show cover,
moving downstage between the tables looking to right and left.
CLOSEUP - BOOK
in the Baron's hand. The cover depicting a cowboy holding a
revolver and titled: "OKLAHOMA KID."
MARTINS
Baron Kurtz?
MED. SHOT - KURTZ
Martins enters from CL. They shake hands. CAMERA PANS RL as
they move to a table. Waiter with tray in his hands is
revealed on the far side of the table. Martins sit down at
the table.
KURTZ
Mr. Martins. Delighted to meet you.
Come let's sit down here. Ober!
Zwei. What would you like. Tea?
Coffee?
MARTINS
Coffee.
KURTZ
Zwei zwartze.
CLOSE SHOT - KURTZ
who sits into picture full face, past Martins in L f.g.
Kurtz is still holding the book.
KURTZ
It's wonderful how you keep the
tension.
MARTINS
Tension?
KURTZ
Suspense.
CLOSE SHOT - MARTINS
SHOOTING PAST Kurtz in R. f.g.
MARTINS
You really liked it?
KURTZ
At the end of every chapter --
CLOSE SHOT - KURTZ
SHOOTING PAST Martins in L. f.g. He is looking at Martins.
KURTZ
You are left guessing what he'll be
up to next.
CLOSE SHOT - MARTINS
Past Kurtz in R. f.g.
MARTINS
So you were a friend of Harry's?
CLOSE SHOT - KURTZ
Past Martins in L. f.g.
KURTZ
I think his best, except for you,
of course.
CLOSE SHOT - MARTINS
Past Kurtz in R. f.g.
MARTINS
The police have a crazy notion that
he was mixed up in some sort of
racket.
CLOSE SHOT - KURTZ
Past Martins in L. foreground. Traffic noise is heard.
KURTZ
Everyone in Vienna is. We all sell
cigarettes and that kind of thing.
I tell you I've done things that
would have seemed unthinkable
before the war. Once, when I was
hard up, I sold some tires on the
black market. I wonder what my
father would have said.
CLOSE SHOT - MARTINS
Past Kurtz in R. foreground.
MARTINS
I'm afraid the police meant more
than that.
CLOSEUP - KURTZ
Looking off CL for Martins
KURTZ
They get rather absurd ideas
sometimes. He's somewhere now, he
won't mind about that.
CLOSEUP - MARTINS
Looking off CR for Kurtz.
MARTINS
Even so, I'm not going to leave it
at this. Will you help me?
CLOSEUP - KURTZ
Looking off CR for Martins.
KURTZ
I wish I could, but you know I am
an Austrian. I have to be careful
with the police. I'm afraid I can't
help you, except with advice of
course. Advice...
The music stops.
DISSOLVE TO:
LONG SHOT - KURTZ - CL - MARTINS
walking down the street outside the building of Harry's
flat, which is CR.
They start to cross road, CAMERA PANNING RL with them. They
stop in the middle of the road. He stops and points out as
he speaks. He is holding a small dachshund in his arm.
Traffic noise is heard over scene.
KURTZ
We came out of his place like this,
and were walking this way. A friend
of his called to him from over
there. Harry went across and from
up there came the truck. It was
just about here.
MARTINS
Here?
CLOSE SHOT - PORTER
sweeping the road in front of Harry's apartment. He glances
up from his work to look off L at Martins and Kurtz.
KURTZ (O.S.)
Yes.
MED. SHOT - MARTINS AND KURTZ
who is CR standing talking in the center of the street.
KURTZ
His friend and I picked him up,
carried him across over here.
They turn and start to cross to other side. Car honks.
CLOSE SHOT - PORTER'S WIFE
cleaning windows of apartment. She is looking off CL for
Martins and Kurtz.
KURTZ (O.S.)
It was a terrible thing. Terrible.
MED. SHOT - MARTINS - CL
Kurtz CR backs to camera walking upstage across the pavement.
KURTZ
We laid him down just about here.
And this is where he died.
They stop and Kurtz, the dog still in his arm, leans back
against a dustbin CR in L. profile, looking at Martins who
is facing him.
CLOSEUP - KURTZ
looking off CL for Martins.
KURTZ
Even at the end, his thoughts...
CLOSEUP - MARTINS
looking off CR for Kurtz - in R. profile.
KURTZ (O.S.)
...were of you.
MARTINS
What did he say?
CLOSEUP - KURTZ
looking off CL for Martins. CAMERA PANS UP slightly as he
gets up from leaning position.
KURTZ
I don't remember the exact words,
Holly...I may call you Holly,
mayn't I? He always called you that
to us.
(dog whimpers)
He was anxious that I look after
you when you arrived. To see that
you got safely home. Tickets...
CLOSEUP - MARTINS
looking off CR for Kurtz - in R. profile.
KURTZ (O.S.)
...you know and all that.
MARTINS
But he said he died instantaneously.
CLOSEUP - KURTZ
looking off L.
MED. LONG SHOT - PORTER
sweeping road outside Harry's apartment, from Kurtz' eye line.
CLOSEUP - KURTZ
looking off CL for Martins. He glances off CR at the Porter.
KURTZ
Well he died before the ambulance
could reach us.
CLOSEUP - MARTINS
in R. profile looking off CR for Kurtz.
MARTINS
Well, there was only you, and this
friend of his. Who is he?
KURTZ (O.S.)
A Roumanian.
CLOSEUP - KURTZ
looking off CL for Martins.
KURTZ
Mr. Popescu.
CLOSEUP - MARTINS
looking off CR for Kurtz, in R. profile.
MARTINS
I'd like to talk to him.
CLOSEUP - KURTZ
Looking off CL for Martins.
KURTZ
He's left Vienna.
CLOSEUP - MARTINS
He steps forward and out of picture CR.
CLOSEUP - KURTZ
Martins enters from CL crossing screen LR and exiting CR.
Kurtz looks after him. Dog whimpers.
EXT. HARRY'S APARTMENT - LONG SHOT
The porter, finished sweeping, is just going inside the door.
Martins moves upstage back to camera toward him.
MARTINS
Excuse me!
PORTER (O.S.)
Yes, sir.
CLOSE SHOT - PORTER
in doorway. Martins enters to him from'CL and stands CL of
him in R. profile.
MARTINS
Did you know Mr. Lime well?
PORTER
Mr. Lime - yes.
MARTINS
You remember me? Upstairs...
PORTER
Yes, yes, I remember you.
CLOSEUP - KURTZ
looking off past CR for Martins and Porter, he moves to exit
CR.
MARTINS (O.S.)
Well, who used to visit Mr. Lime?
CLOSE SHOT - MARTINS AND PORTER
at door. Kurtz enters from f.g. and stands CR looking at them.
PORTER
Visit? Was will er wissen?
KURTZ
Er will wissen wer hier verkehrt.
PORTER
So, es kommen so viele lauter
heir - sie - den der...
CLOSE SHOT - PORTER'S WIFE
at window. She turns away into the room.
PORTER (O.S.)
...Popescu...
MED. CLOSE SHOT - MARTINS, PORTER AND KURTZ CR
PORTER
und ich kann nicht alle kennen.
MARTINS
What does he say?
KURTZ
He says he doesn't know everybody.
WIFE (O.S.)
Carl.
CLOSE SHOT - PORTER'S WIFE
at the door, looking off CL for the Porter.
WIFE
Kannst due einen moment zu mir
herein kommen?
CLOSEUP - PORTER
past Kurtz tipping R edge of frame. He glances over his L
shoulder off CR for his wife. He turns back full face.
PORTER
Ein moment.
MED. SHOT - PORTER'S WIFE
moves downstage.
WIFE
Du musst zum telefon.
CLOSEUP - PORTER
past Kurtz tipping R edge of frame. He turns away to exit CR.
PORTER
Excuse me.
MED. SHOT - PORTER'S WIFE
The Porter comes in from CL; she shepherds him through the
door and inside.
CLOSE SHOT - MARTINS
looking CR for Kurtz.
MARTINS
Who was at the funeral besides...
CLOSE SHOT - KURTZ
past Martins in L f.g.
MARTINS (O.S.)
...you.
KURTZ
Only his doctor, Dr. Winkel.
CLOSE SHOT - MARTINS
looking off CL for Kurtz.
MARTINS
Wasn't there a girl there?
CLOSE SHOT - KURTZ
past Martins in L f.g. He steps forward. Dog whines.
KURTZ
Some girl of the Josefstadt theatre.
Well you know what Harry was. You
oughtn't to speak to her. It would
only cause her pain.
CLOSE SHOT - MARTINS
past Kurtz in R f.g. The latter steps up to Martins who
moves upstage -- slightly close to the wall of the building.
CAMERA TRACKS IN slightly and Martins takes up his position
CR of Kurtz, CAMERA HOLDING them in CLOSE SHOT.
MARTINS
Not necessarily. She'd probably
want to help.
KURTZ
What's the good of another post
mortem? Suppose you dig up
something - well - discreditable to
Harry?
MARTINS
Will you give me...
CLOSEUP - KURTZ
past Martins in L f.g.
MARTINS (O.S.)
...your address?
KURTZ
I live in the Russian sector, but
you'll find me at the Casanova Club
every night. One has to work...
CLOSEUP - MARTINS
past Kurt in R f.g.
KURTZ (O.S.)
...the best way one can, you know.
MARTINS
What's the name of this girl?
CLOSEUP - KURTZ
past Martins in L f.g.
KURTZ
I don't know. I don't think I ever
heard it.
CLOSEUP - MARTINS
past Kurtz in R f.g.
MARTINS
But you did mention the theatre.
CLOSEUP - KURTZ
past Martins in L f.g.
KURTZ
The Josefstadt. But I still think
it won't do Harry any good. You'd
do better to think of yourself.
CLOSEUP - MARTINS
past Kurtz in R f.g. He smiles at Kurtz.
MARTINS
I'll be all right.
CLOSEUP - KURTZ
past Martins in L f.g.
KURTZ
I'm so glad to have met you.
He crosses f.g. RL and exits CL in front of Martins.
MED. LONG SHOT - KURTZ AND MARTINS
backs to camera walking along the pavement with the building
of Harry's apartment CR of them.
Kurtz holds up Martins' book. CAMERA TRACKS with them. They
pass a commissionaire moving downstage who passes between them.
KURTZ
A master of suspense. Such a good
cover, I think.
DISSOLVE TO:
MED. SHOT - PAINE AND MARTINS
at the reception desk of the hotel, Martins CR. The
Reception Porter far aside.
MARTINS
Number 8, please.
Holding up ticket in hand.
PAINE
Major Calloway's compliments, sir,
and here's the ticket for the plane
tomorrow.
MARTINS
Tell the Major, I won't need it.
He turns from the desk to leave, to camera crossing f.g. LR
in CS. CAMERA PANNING with him, losing Paine. He calls back
to the Porter.
MARTINS
Oh, and Porter, order me a ticket
tonight for the Josefstadt theatre.
He starts to mount the stairs revealed in f.g., moving up
them back to camera. Crabbin, with his girl friend CR of him
is revealed coming down the CR side.
CRABBIN
Oh, Mr. Martins, good evening.
MARTINS
Good evening Mr. Crabbin.
Paine enters from CL f.g. and Crabbin and the girl with him
exit past him RL.
PAINE
He said I was to drive you to the
airfield or take you to the bus,
whichever you prefer.
Paine holds up the ticket to Martins a few steps up looking
down CL at him.
MARTINS
Didn't you hear Mr. Crabbin offer
me the hospitality of the H.Q.B.M.T.?
DISSOLVE TO:
INT. JOSEFSTADT THEATRE - LONG SHOT - THE STAGE
over the backs of the heads of audience in darkened theatre
in f.g. A costume play is in progress. The stage is crowded
with actors bewigged and actresses in powdered wigs and
crinolines. Music starts.
ACTORS
(on stage)
Ich bitte dich. Ich bitte dich. Ich
bitte dich. Ferisiche uns jetzt nur
nicht streng zu kommen...
CLOSE SHOT - MARTINS
seated in stalls, L profile favoring camera. He is opening
his program to study it.
ACTORS (O.S.)
...sonze sagen wir alles der Frau
Mama.
CLOSE SHOT - ANNA
in L profile in powdered wig and costume on stage, performing.
CAMERA PANS RL with her as she, laughing, steps back to join
other actors revealed in L of picture.
ACTOR
Um gotteswillem. Nein, nein, nur
das nicht mein herzensguten wenn
ich der Mama nicht zage das
stubenmaedshen nich eimmer in die
wange zwekst. Laesse du nich dann
den Wolfgang Heiraten.
CLOSE SHOT - MARTINS
in L proflle looking at program then to stage.
ACTOR (O.S.)
Jas das ist ja glatte expressung.
CLOSEUP - ANNA
on stage.
ACTORS
Ja, ja, ja, - also - also.
ACTOR
Ja, ja, ja, na wenn ich drei
madelen nicht nat' dakonnt' ich mir
auch drei...
CLOSE SHOT - MARTINS
gets up from his seat at the end of the row to leave. He
exits CL.
ACTOR (O.S.)
krenzottern halten. Giftiger -
kommen die auch nicht stechen. au...
MED. LONG SHOT - MARTINS
enters from CR moving upstage back to camera, along a
corridor to backstage. A man crosses the corridor LR from
door to door in front of Martins. Hand clapping and music is
heard.
MED. SHOT - ANNA
backstage, she moves downstage to CS. CAMERA PANNING RL with
her as she leans against pillar in L f.g.
MED. SHOT - MARTINS
looking off CR for Anna. He moves forward into CLOSEUP fully
opening the door - part opening through which we have seen him.
CLOSEUP - ANNA
in R profile leaning by pillar, looking down, adjusting her
costume. Other artists around her.
CLOSEUP - MARTINS
at open door, looking in CR at her.
MARTINS
I was a friend of Harry Lime's.
CLOSEUP - ANNA
as she looks up, reacting to him off CL. Other artists
around her.
ANNA
Afterwards.
LONG SHOT - ANNA
makes her way on stage from the wings, moving upstage, back
to camera. Girls laughing on stage.
Actor on stage speaks over the laughter.
ACTOR
Ich habe gleich fier mid geniesse
das ehelebon in vierfacher auflage.
CLOSE SHOT - ANNA
on stage curtseying, looking laughingly up off L for her
actor partner. Laughing, on stage.
CLOSEUP - MARTINS
at door looking off CL for Anna. Music over. Chatter from
stage.
CLOSEUP - ANNA
on stage looking off CR for Martins in wings. She gets to
her feet from curtseying position, helped by her partner's
hand from off L.
ACTOR
Kind das nene chiffonk leid furdich
ist bestellt.
CLOSE SHOT - MARTINS
at open door of Anna's dressing room. Anna's maid exits past
him through door.
MAID
Good night.
ANNA
Good night.
CLOSE SHOT - ANNA
seated in L profile at her dressing table, she is removing
the jewelry from her costume. Jewelry drops onto dressing
table. Music stops.
CLOSEUP - MARTINS
in open doorway looking off CL into the dressing room for Anna.
MARTINS
Miss Schmidt?
CLOSE SHOT - ANNA
seated at dressing table, looks up off R for Martins at the
door. She gets up out of picture LR as we cut.
ANNA
Oh, come in.
MED. SHOT - ANNA
comes into picture from CL to Martins who moves downstage
slightly to her from the door. Girl enters from CL and exits
through door. CAMERA PANS L slightly as they move to
dressing table.
MARTINS
Thank you.
ANNA
Sit down.
MARTINS
Thank you. I enjoyed the play very
much.
GIRL
(exiting)
Guten nacht, Anna.
ANNA
Guten nacht.
Martins sits down at the dressing table.
MARTINS
You were awfully good.
ANNA
Do you understand German?
MARTINS
No, no...oh...excuse me.
He gets up, realising he has been sitting on something,
crushable. He stands in R f.g. so that we shoot past his L
shoulder to CLOSE SHOT of Anna standing with her back to the
dressing table.
MARTINS
But I could follow it fine. Perhaps
Harry told you about me. My name's
Holly Martins.
ANNA
No, he never told me about his
friends. Would you like some tea?
She has picked up a packet of tea, and is holding it up in
her hand.
MARTINS
Thank you.
CAMERA PANS RL as she crosses over to small stove - losing
Martins. She stands in front of it and glances off R for
Martins.
ANNA
Someone threw me a packet last week.
Sometimes the British do, instead
of flowers you know, on the first
night.
She picks up a bottle and holds it up, showing it to him.
ANNA
There was a bouquet too, from an
American. Would you rather have a
whiskey?
CLOSE SHOT - MARTINS
standing, looking off CL for Anna.
MARTINS
Tea's fine.
CLOSE SHOT - ANNA
in L profile at stove.
ANNA
Good, I wanted to sell it. Oh,
there's some tea left.
CLOSE SHOT - MARTINS
looking off CL for Anna, he moves forward.
MARTINS
Had you known him - some time?
CLOSE SHOT - ANNA
holding cup and saucer in hand, looking CR for Martins off.
ANNA
Yes.
Martins enters from CR and CAMERA PANS LR slightly to center
them in a TWO SHOT.
CLOSE SHOT - MARTINS
past Anna in L f.g. She hands him the cup and saucer and he
holds it in both hands. She offers him an open tin of milk.
MARTINS
I wanted to talk to you. - No,
thank you. I wanted to talk to you
about him.
CLOSE SHOT - ANNA
past Martins in R f.g.
ANNA
There's nothing really to talk
about, is there? Nothing.
She moves forward as if to exit CR.
MED. SHOT - ANNA
moves into her chair in front of the dressing table in
profile. Martins is seen upstage of her - standing at her R
side full face looking down at her. She takes off her wig.
MARTINS
Well, I saw you at the funeral.
ANNA
I'm so sorry, I didn't notice much.
MARTINS
You were in love with him, weren't
you?
ANNA
I don't know. How can you know a
thing like that afterwards. I don't
know anything any more.
CLOSEUP - ANNA
in L profile seated in front of dressing table taking off
her false eye-lashes.
ANNA
Except that I want to be dead too.
Some more tea?
She looks up at him off CL.
CLOSEUP - MARTINS
looking down off CR for Anna, seated.
MARTINS
No, not tea. Would you like a
cigarette?
CAMERA PANS LR with him as he moves to offer her one from a
packet.
CLOSE SHOT - ANNA
seated at dressing table. Martins standing upstage of her at
her R side, facing camera (head out of picture above frame).
She takes one of the cigarettes he offers her. She runs her
fingers through her hair. He sits down into picture upstage
of the corner of the dressing table in R profile, looking at
her.
ANNA
Oh, American, thank you. I like them.
MARTINS
I was talking to another friend of
Harry's. A Baron Kurtz - do you
know him?
He lights her cigarette.
ANNA
No.
MARTINS
He has a little dog.
ANNA
Oh, yes, yes.
Anna puts her cigarette down. She picks up the wig block at
her side and mounts her wig on it.
MARTINS
Don't understand what Harry saw in
a fellow like that.
ANNA
That was the man that brought me
some money when Harry died. He said
Harry had been anxious at the last
moment.
Anna starts to work on the curls of the wig. Re-dressing it.
MARTINS
He said he remembered me too. Seems
to show he wasn't in much pain.
ANNA
Dr. Winkel told me that.
MARTINS
Dr. Winkel? Who is he?
ANNA
The doctor Harry used to go to. He
was passing just after it happened.
MARTINS
His own doctor?
ANNA
Yes.
MARTINS
Were you at the inquest?
Still working on the wig.
ANNA
Yes. They said it wasn't the
driver's fault. Harry often said
what a careful driver he was.
MARTINS
He was Harry's driver?
ANNA
Mmmm.
He starts to get up from chair.
MARTINS
I don't get it...
MED. SHOT - MARTINS
makes last move up from chair, and moves away back to camera
upstage. He walks up and down as he speaks.
MARTINS
All of them there. Kurtz, this
Roumanian, Popescu, his own driver
knocking him over. His own doctor
passing by. No strangers there...
CLOSEUP - ANNA
working on the curls on her wig.
MARTINS (O.S.)
...at all.
ANNA
I know. I wondered about it a
hundred times, if it really was an
accident.
CLOSEUP - MARTINS
back to camera, swings round full face to look off past CR
at Anna, reacting to her remark. Music crescendo.
CLOSEUP - ANNA
working on wig, looking up off CL for Martins.
ANNA
What difference does it make? He's
dead, isn't he?
MED. SHOT - MARTINS
looking off CR for Anna.
MARTINS
Well, if it wasn't an acci...
MANAGER (O.S.)
Miss Schmidt!
MED. CLOSE SHOT - ANNA
at dressing table, working at wig. She looks up off CR,
reacting to Manager's summons.
ANNA
Ja, herr Hogan. I must hurry. They
don't like us to use the light.
She gets up and moves to exit CL.
CLOSE SHOT - MARTINS
looking off CL for Anna.
MARTINS
The porter saw it happen.
CLOSE SHOT - ANNA
undoing the back of her dress, partly concealed behind her
dressing table, which she is using as a screen.
ANNA
Then why worry?
CLOSE SHOT - MARTINS
looking at his watch.
MARTINS
Do you know that porter?
CLOSE SHOT - ANNA
behind dressing table looking off CR for Martins. She
hesitates before she answers.
ANNA
Yes.
DISSOLVE TO:
INT. LIVING ROOM - HARRY'S APARTMENT - MED. SHOT
The Porter moves upstage to the closed windows followed by
Anna, CL and Martins. He opens them.
PORTER
Sehen sie da gleich da unter. Da
unten ist est passiert. Passiert -
English.
MARTINS
What's he saying?
ANNA
He says it happened right down there.
CLOSE SHOT - PORTER AND MARTINS
CR in L profile looking at him.
PORTER
Happened...Yes happened right down
there.
MARTINS
You saw it?
PORTER
Not saw, heard...heard. I heard the
brakes. Wham! And I got to the
window and saw them carry the body
to the other side of the er...er
Joseph...that's Joseph Emperor
Joseph Statue.
MARTINS
Why didn't they bring him in the
house?
LONG SHOT - ANNA
moves through the open doors from the living room into the
bedroom and switches on the light. In the b.g. Porter and
Martins can still be seen, standing together at the window,
talking.
CAMERA TRACKS BACK with her. She takes off hat and moves to
sit down at dressing table.
CLOSE SHOT - ANNA
sits into position at the dressing table, and taking comb
from dressing table drawer starts to comb her hair.
CLOSE SHOT - PORTER AND MARTINS
who is CR - both in profile, talking to each other.
MARTINS
Could he have been conscious?
PORTER
Conscious? Cas soll ich auch noch
wissen?
MARTINS
Oh, er - oh...was he - was he still
alive?
PORTER
Er, alive? He couldn't have been
alive, not with his head in the way
it was.
MARTINS
I was told that he did not die at
once.
PORTER
Ah, er war gleich tot - I mean, sie
war gleich tot - brauchen kein
angst zu. Ein moment...Wart ein
bissel...Wartein bissel. Fraulein
Schmidt!
LONG SHOT - PORTER
walking through the living room downstage toward the bedroom.
Martins enters from the window CL b.g. and follows after him.
PORTER
Wis sagt men in English gleich tot?
CLOSE SHOT - ANNA
combing her hair at the dressing table in R profile.
ANNA
He was quite dead.
LONG SHOT - PORTER
in living room facing camera, looking off into bedroom. He
turns round to left and right looking for Martins, then
discovers him behind him.
PORTER
He was quite dead.
CLOSE SHOT - ANNA
at dressing table in R profile looking into the mirror off R.
MARTINS (O.S.)
But that sounds crazy. If he was...
CLOSEUP - INSERT
Anna picks up a photograph without a frame, of herself
standing at the open door of a car, waving.
MARTINS (O.S.)
...killed at once, how could he
have talked about me, and this lady
here, after he was dead?
CLOSE SHOT - ANNA
seated at dressing table in R profile. She puts the
photograph in the drawer of the dressing table.
MARTINS (O.S.)
Why didn't you say all this at the
inquest?
MED. SHOT - MARTINS
past Porter in L f.g. He walks to Martins and stands CL of
him L profile favoring.
PORTER
It is better not to be mixed up in
things like this.
CLOSEUP - MARTINS
past Porter in L f.g.
MARTINS
Things like what?
CLOSEUP - PORTER
past Martins in R f.g.
PORTER
I was not the only one who did not...
CLOSEUP - MARTINS
past Porter in L f.g.
PORTER (O.S.)
...give evidence.
MARTINS
Who else?
CLOSEUP - PORTER
past Martins in R f.g.
PORTER
Three men helped to carry your
friend to the statue.
CLOSEUP - MARTINS
past Porter in L f.g.
MARTINS
Kurtz.
PORTER
Yes.
MARTINS
The Roumanian?
PORTER
Yes.
MARTINS
And?
CLOSEUP - PORTER
past Martins in R. f.g.
PORTER
There was a third man - he didn't
give evidence.
MARTINS
You don't mean that doctor?
PORTER
No, no. He came late after they
carried him to the Joseph Statue.
CLOSEUP - MARTINS
past Porter in L f.g.
MARTINS
What did this man look like?
CLOSEUP - PORTER
past Martins in R f.g.
PORTER
I didn't see his face...
CLOSEUP - MARTINS
past Porter in L f.g. He exits CL.
PORTER
He didn't look up.
CLOSEUP - PORTER
looking off CR after Martins.
PORTER
He was quite - gewernlich...ordinary.
MED. SHOT - MARTINS
moves RL to the open window CL and stands looking out of it
to the street below.
PORTER (O.S.)
He might have been...
LONG SHOT
the lamp lit street below from Martins eye line as he looks
out of the window.
PORTER (O.S.)
Just anybody...
CLOSEUP - MARTINS
in L profile looking down off L out of the window.
MARTINS
Just anybody.
The telephone rings off.
MED. CLOSE SHOT - ANNA
sits into position LR on the bed CL of bedside table. She
picks up the phone to answer it. In the b.g. in living room
beyond we see the Porter. As she answers - she idly opens
the lid of a box at the side of the bed on the table, and
taking dice and shaker from it starts to throw them. Martins
comes into picture from CL in living room in b.g.
ANNA
Hullo...hullo. Wer ist da? Hullo?
Warum antworten sie nicht? Hullo?
MED. SHOT - MARTINS
with Porter CR of him from Anna's eye line. They are both
looking off CR for Anna. She replaces phone on hook.
MARTINS
Who was that?
CLOSE SHOT - ANNA
seated on the bedside table rolling dice.
ANNA
I don't know. They didn't answer.
MARTINS (O.S.)
I was told there were only two men
there.
MED. SHOT - MARTINS
walks upstage a few steps to stand close CL of the Porter in
R profile, talking to him.
MARTINS
You gotta tell your story to the
police.
PORTER
Police? Why police? Das ist alles
blodsum was sie da sangen. No, no.
It is all nonsense; it was an
accident.
MARTINS
You don't know it was an accident.
You only saw a dead man and three
men carry him.
PORTER
Der ami macht mich noch ganz
deppert. I should have listened to
my wife. She said you were up to no
good. Gossip.
MARTINS
Suppose I take...
CLOSE SHOT
floor between wide open double doors from living room to
landing beyond. A large, child's rubber ball rolls through
them into the room.
MARTINS (O.S.)
...your evidence to the police?
CLOSE SHOT
on to landing through wide open doors. A woolly mitten
appears round the CR door, and then slowly the face of a
small boy, dressed for the street, appears round the corner
of the door. He looks off CL, reacting to the two men's
angry words.
PORTER (O.S.)
Fer von mir aus gehen sie zur
gansalt aber mich lassen sie aus
mit der politzei.
MARTINS (O.S.)
Now, hold on.
PORTER (O.S.)
Das hat man davon wenn man
freundlich ist mit den auslandern...
LONG SHOT
CAMERA TILTED at an angle, from the boy's eye line. Porter
CL in the living room - and Martins CR - Martins back to
camera.
PORTER
I have no evidence. I saw nothing.
I said nothing. It's not my business.
MARTINS
Well make it your business.
CLOSE SHOT - HANSEL
in the doorway looking off CL for the two men.
PORTER (O.S.)
Ach jetzt hates aber zwolte
geschlagen. Jetzt heh'ma aber.
LONG SHOT
CAMERA TILTED - Porter with Martins CR. Anna enters from
bedroom in b.g. putting out light. She moves downstage to
the two men. The Porter picks up the rubber ball and throws
it off CL to the boy.
PORTER
...Fr lein Schmidt...ebs sie waren
mir mier sympatische. I have always
liked you but you must not bring
this gentleman here again. You must
go at once please. Sonst fergesseich
meinen wienerischen charm. Please.
MED. SHOT - HANSEL
picks up ball as it rolls into picture and runs off with it
upstage along the corridor outside the room.
DISSOLVE TO:
LONG SHOT
Anna CL and Martins walking side by side along the wet
lamplit street. Buildings CL of the pavement. CAMERA TRACKS
BACK with them. They stop in CS in f.g.
ANNA
You shouldn't get mixed up in this.
MARTINS
Well, if I do find out something,
can I look you up again?
ANNA
Why don't you leave this town - go
home?
MED. CLOSE SHOT - LANDLADY
eider-down wrapped round her shoulders over clothes - hair
unkempt, calling to Anna who enters from R f.g.
WOMAN
Wo unglaublich stecken sie denn
Fraulein Schmidt. Die Politzei is
oben.
She opens the wrought iron doorway.
CLOSEUP - ANNA
looking up off CL at the building.
WOMAN (O.S.)
Sie suchen nach papieron.
CLOSE SHOT - MARTINS
CL and Anna looking up off CL to the building's higher stories.
WOMAN (O.S.)
Une lesen alle ihre briefe.
LONG SHOT
the lighted windows above from Anna and Martins eye line.
WOMAN (O.S.)
Als wenn man ein werbrecher ware.
CLOSE SHOT - MARTINS AND ANNA
looking off CL for the Landlady.
MARTINS
What is it?
CLOSE SHOT - LANDLADY
looking off CR for Martins and Anna
WOMAN
Was will die politzei von ihnen?
CLOSE SHOT - MARTINS AND ANNA
looking up off CL. Anna turns away. Martins looks after her
then off CL for Landlady.
ANNA
Ich weiss nicht.
WOMAN
Das mussen sie doch wissen. Ich
meine ohne grund wird die politzei
doch nicht ins Hans komme Fraulein
Schmidt, ein schande...
MARTINS
What's she talking about?
ANNA
The police. They're searching my
room. Sie mussen doch wissen.
MED. SHOT - LANDLADY
in doorway. Anna and Martins enter from CR f.g., and
crossing in front of her enter the building.
WOMAN
Une was es sich handelt, Mein Eott
das ist doch ichrecklich.,..
LONG SHOT
from top of stairs Anna comes through archway at bottom of
stone stairs followed by Martins and the Landlady.
WOMAN
Man ist ja nicht mehr herr in
seinem eigenen Hans.
MED. SHOT - OLD LADY
looking through the iron bannister rails off R. at Martins
and Anna as they mount the stairs.
WOMAN
Wein es noch die Oesterreichische
politzei ware...
LONG SHOT - MARTINS
led by Anna walking along corridor from stone stairs. CAMERA
PANS LR with them revealing a marble corridor and they walk
upstage along this, backs to camera.
WOMAN (O.S.)
...einen nach rechtzatig.
LONG SHOT
Anna's room, the Police of the International Patrol, with
the Austrian police, are searching it. Opening drawers,
turning things over, etc. Anna followed by Martins enters
from CR and moves downstage to Calloway in f.g.
MARTINS
What the devil?
CALLOWAY
Getting around, Martins.
MARTINS
Oh, pinning things on girls now.
CLOSE SHOT - CALLOWAY
past Anna in L f.g. MP's of the patrol seen in b.g.
CALLOWAY
Miss Schmidt, I should like to see
your papers, please.
MED. CLOSE SHOT - ANNA
past Calloway in R f.g. - Martins enters CR of her just
behind her L shoulder.
MARTINS
Don't give him anything.
Anna takes out her passport and hands it to Calloway.
Martins turns away.
CALLOWAY
Thank you.
CLOSE SHOT - CALLOWAY
past Anna in L f.g. He looks at her passport.
CALLOWAY
You were born in Graz of Austrian...
CLOSE SHOT - ANNA
Calloway in R f.g.
CALLOWAY
...parents.
ANNA
Yes.
CLOSE SHOT - CALLOWAY
past Anna in L f.g.
CALLOWAY
Paine.
He takes a step LR CAMERA PANNING WITH HIM to reveal Paine,
and lose Anna. He shows Paine the passport. They stand
together - Paine CR looking at it. Paine holds it up to the
light.
CALLOWAY
Hmmm.
CLOSEUP - ANNA
looking off CR for Paine and Calloway.
CLOSE SHOT - CALLOWAY AND PAINE
PAINE
It's very good sir, isn't it?
Calloway looks off CL for Anna.
CALLOWAY
How much did you pay...
CLOSEUP - ANNA
looking off CR for Calloway.
CALLOWAY
...for this?
CLOSE SHOT - CALLOWAY AND PAINE
looking at passport, then off CL for Anna.
CALLOWAY
I'm afraid I'll have to keep this -
CLOSEUP - ANNA
looking off CR for them.
CALLOWAY
- for a while Miss Schmidt.
MED. CLOSE SHOT - MARTINS
looking off CR for Calloway. Soldiers in b.g. still
searching room.
MARTINS
How do you expect her to live in
this city without papers?
CLOSE SHOT - CALLOWAY AND PAINE
Calloway hands passport to Paine who exits CL - and Calloway
moves away upstage - CAMERA PANNING RL slightly, and
revealing Anna and holding her in CLOSE SHOT. In b.g.
Martins is discovered; he follows Calloway to the back of
the room.
CALLOWAY
Write her out a receipt, Paine.
Give her a receipt for these
letters too.
PAINE
This way, miss.
Anna exits quickly CL.
MARTINS
I suppose it wouldn't interest you
to know that Lime was murdered?
You're too busy. You haven't even
bothered to get complete evidence.
MED. SHOT - PAINE
In L f.g. seated at a table, he is holding a few letters in
his hands. Anna walks up to the table CR of him.
CLOSE SHOT - PAINE
seated at table, letters in hand. Anna enters from CL to
stand at his side, CAMERA TRACKS IN to hold them in CLOSE SHOT.
ANNA
Must you take those?
PAINE
They'll be returned, miss.
ANNA
They are - private - letters.
PAINE
That's all right, miss, don't worry.
We're used to it - like doctors.
MED. SHOT - CALLOWAY AND MARTINS
CR of him. Police around them still carrying an the search.
There is a slight commotion.
MARTINS
And there was a third man there. I
suppose that doesn't sound peculiar
to you.
CALLOWAY
I'm not interested in whether a
racketeer like Lime was killed by
his friends or by accident. The
only important thing is that he's
dead.
CLOSE SHOT - ANNA
looking off CR reacting to his remark.
CALLOWAY (O.S.)
I'm sorry.
CLOSE SHOT - CALLOWAY
Martins steps up beside him CL.
MARTINS
Tactful too, aren't we, Callaghan?
CALLOWAY
Calloway.
Anna enters from CL, CAMERA TRACKS BACK PANNING LR losing
Martins - Calloway stops in f.g. in CLOSE SHOT having walked
downstage a little way - Anna walks beside him and stops
beside him CL - and they are held in CLOSE SHOT TOGETHER.
ANNA
Must you take those letters?
CALLOWAY
Yes, I'm afraid so.
ANNA
They're Harry's.
CALLOWAY
That's the reason.
ANNA
You won't learn anything from them.
They are only love letters. There
are not many of them.
CALLOWAY
They'll be returned to you, Miss
Schmidt, as soon as they've been
examined.
ANNA
There's nothing in them.
CLOSE SHOT - ANNA
past Calloway in R f.g.
ANNA
Harry never did any thing. Only a
small thing once, out of kindness.
CLOSE SHOT - CALLOWAY
past Anna in L f.g.
CALLOWAY
And what was that?
CLOSE SHOT - ANNA
past Calloway in R f.g.
ANNA
You've got it in your hand.
CLOSE SHOT - CALLOWAY
past Anna. He reacts off L as the M.P. calls him.
M.P. (O.S.)
Mr. Calloway!
CLOSE SHOT - AMERICAN M.P.
past Russian M.P. in L f.g. and Austrian policemen in R of
picture.
AMERICAN M.P.
Finished?
CALLOWAY (O.S.)
Yes.
AMERICAN M.P.
Okay.
He signals to his partners that the search is over and
throws some papers back in a drawer that has been taken out.
Moves to exit CR.
CLOSE SHOT - CALLOWAY
past Anna in L f.g.
CALLOWAY
You'll have to come with us...
CLOSEUP - ANNA
looking off CR.
CALLOWAY (O.S.)
Miss Schmidt.
MARTINS (O.S.)
You're not locking her up?
Anna moves to exit CL.
CALLOWAY (O.S.)
Go home, Martins, like a sensible
chap. You don't know what you're
mixing in.
MED. SHOT - MARTINS AND CALLOWAY
who turns away and walks behind Martins RL. CAMERA PANS RL
SLIGHTLY with him. Policemen cross f.g. RL. CAMERA PANS LR
again. Calloway moves downstage again CR and in front of
Martins who looks after him. He moves to exit.
CALLOWAY
Get the next plane.
MARTINS
As soon as I get to the bottom of
this, I'll get the next plane.
CALLOWAY
Death is at the bottom of
everything, Martins. Leave death to
the professionals.
MARTINS
Do you mind if I use that line in
my next Western? You can't chuck me
out, my papers are in order.
MED. CLOSE SHOT - ANNA
in kitchen alcove with Paine CR of her. He has the letters
in his hand which he passes to her.
PAINE
There you are, miss, your receipt
for the letters.
ANNA
I don't want it.
PAINE
Well, I've got it when you want it,
miss.
He moves away upstage back into the main part of the room
again. Martins enters to her from the room, and stands CR of
her.
MARTINS
Anything really wrong with your
papers?
ANNA
They're forged.
MARTINS
Why?
ANNA
The Russians would claim me. I come
from Czechoslovakia.
MED. SHOT - GERMAN LANDLADY
with police searching the room around her. She is clutching
the eiderdown about her. She speaks to a Russian soldier in
L f.g. who ignores her.
WOMAN
Wie die Vandalen! Ja sie wo
schlep - wo schleppen sie schlon
das wieder hir! Mein gott sie
kommen doch nicht das gause Hans
auf den Kopf stellen S...Monsieur
och versteht er auch nicht - Mensch
zimmer einer-dame.
CAMERA PANS R with her as she moves LR to a British soldier
revealed in R f.g., who moves across screen RL paying no
attention to her. CAMERA PANS RL again with her revealing an
American MP in CLOSE SHOT in L f.g. going over the content
of a box in his hands. He ignores her and exits CL putting
down the box. She looks off CL for Anna.
WOMAN
Fraulein Schmidt - erklaren sie
doch...
MED. CLOSE SHOT - ANNA
looking off CR for the Landlady. Martins CR of her turns his
head to look at Anna then off R for the Landlady.
WOMAN (O.S.)
Den leuten.
ANNA
Ja, ja, ja.
WOMAN
Sayen sie ed our den Leuten damit
sie es auch wissen.
MARTINS
What did she say?
CLOSE SHOT - LANDLADY
looking off. CL for Anna.
WOMAN
Hier sind fruher Fursten ans unt
eingeganger. Hier hat sogar ein
Metternich verkehrt...
CLOSE SHOT - ANNA AND MARTINS
ANNA
Give her some cigarettes.
WOMAN (O.S.)
Das worren nooh zeiten.
MED. SHOT - LANDLADY
soldiers in b.g.
WOMAN
Da hut man sich noch austandig
benomen da war?
Martins enters from CL and holds out a packet of cigarettes
to her.
MARTINS
Cigarette?
Paine enters from CR. She takes one.
WOMAN
Danke, danke.
MARTINS
Please take some more.
Calloway is seen behind and between Martins and the Landlady.
WOMAN
...sehr liebernsurdig danke, danke,
danke vielmals sie sind wieklich
der einsige austandige Mensch hier...
Calloway calls off CL to Anna, and Paine in R f.g. watches him.
CALLOWAY
Miss Schmidt...
CLOSE SHOT - ANNA
standing at the window. A kitten seen on the window sill
outside.
CALLOWAY (O.S.)
Ready?
She turns to look back over her L shoulder CR for Calloway.
Martins enters from CR f.g. to stand CL of her.
MARTINS
Look, look, I'll straighten out all
this nonsense about Harry. You'll
be all right.
CLOSEUP - ANNA
looking off CL for Martins. She turns and exits CR.
ANNA
Sometimes he said I laughed too much.
MED. SHOT - DOORWAY
crowded with police exiting through it. Anna comes through
the door escorted by two Austrian police, with Paine seen
behind her CL. CAMERA TRUCKS BACK as they come out of the
door. Martins pushes his way through the group behind Anna,
and makes his way to side of CR policemen and calls across
him to Anna RL.
MARTINS
Oh, what was the name of that
doctor? Harry's doctor?
ANNA
Dr. Winkel.
She exits CL and as the doorway clears of police, Calloway
appears in it behind Martins and CL of him.
CALLOWAY
What do you want to see a doctor
for, huh?
MARTINS
A bruised lip.
Calloway exits CL into the corridor, after Anna and Paine.
As he does so, the Landlady appears in the open doorway.
LONG SHOT
of the hall, Anna escorted, in b.g. moving upstage along the
corridor back to camera, followed by Paine, and Calloway
enters from CR calling to Martins off.
PAINE
Good!
DISSOLVE TO:
CLOSE SHOT
a drawer taken out of its chest resting on Calloway's desk.
Music starts. It contains some papers - boxes of powder, etc.
Some hands from CR replace some things - another soldier's
hands from off L put some papers back in the drawer.
CALLOWAY (O.S.)
Laboratory?
CLOSE SHOT - ANNA
looking off CR for Calloway and other soliders.
CALLOWAY (O.S.)
We're coming right down.
LONG SHOT- THREE M.P.'S
group round Calloway's desk. Calloway is standing behind it.
CAMERA PANS RL as carrying the drawer the soldiers followed
by Calloway cross the room, revealing Anna.
CALLOWAY
You wait here, Miss Schmidt.
The soldier exits through door CL followed by Calloway. She
walks downstage to CLOSE SHOT. CAMERA TRUCKING BACK WITH HER.
She looks out of the window which looks on to the corridor -
and a soldier passes along it.
LONG SHOT
from Anna's eye line of a wide open door to an office on
opposite side of the corridor. An Austrian policeman showing
a Russian officer some papers. The open door bears the
inscription: "RUSSIAN LIAISON OFFICER."
The policeman moves towards door as if to exit.
CLOSEUP - ANNA
looking through window into the corridor off CL.
CLOSE SHOT - RUSSIAN
leaving the Russian office walking RL CAMERA TRACKING BACK
with him and PANNING DOWN to CLOSE SHOT of Anna's passport
which he is looking at held open in his hands - we see her
photograph.
CLOSEUP - ANNA
looking out of the window CR watching for the policeman off.
DISSOLVE TO:
LONG SHOT - MARTINS
walking down dark street, buildings on CR and CL. He is
smoking. Music stops. Footsteps are heard on pavement and a
tug hoots...
CLOSE SHOT - CHICKEN
being carved on a plate - from CR.
WINKEL (O.S.)
Haben sie lieber den flugel oder
das bein?
CLOSE SHOT
the closed front door, past Martins in R f.g. The door opens
a little and a maid appears, she looks out at Martins.
MAID
Die sprechstund zwischen is von
drei bis funf...
MARTINS
Dr. Winkel - I'm sorry I don't
speak German.
MAID
Nein.
MARTINS
Please, won't you say that I'm a
friend of Harry Lime...
CLOSE SHOT - CHICKEN
being carved from off CR.
WINKEL (O.S.)
Hilda!
MAID (O.S.)
Ja.
WINKEL (O.S.)
Fuhren sie den herre herein.
MED. CLOSE SHOT - MAID
in doorway past Martins in R f.g. Martins steps forward back
to camera, and taking off his hat enters past her.
MAID
Bitte.
LONG SHOT - MARTINS
comes into the living room ushered by the maid. She closes
the double doors behind him exiting. We hear a clock chiming.
MAID
Bitte sir.
CLOSE SHOT - WINKEL
looking through glass door into room at Martins off CR.
LONG SHOT - MARTINS
in the living room turns looking around him.
CLOSE SHOT - WINKEL
moves round the glass door and moves forward exiting CR, to
enter the living room.
WINKEL
Guton...
CLOSE SHOT - MARTINS
turns round full face and looks off CL for Winkel reacting
to hearing his voice.
WINKEL (O.S.)
...abend.
CLOSE SHOT- WINKEL
Martins enters from CR f.g. and we shoot past him in R f.g.
CAMERA TRACKS BACK slightly.
MARTINS
Dr. Winkel?
WINKEL
Vinkel.
MARTINS
Vinkel...You've got quite a
collection of er-collection.
WINKEL
Yes.
CLOSE SHOT - DACHSHUND
looking up off CR for his master. Dog yelps.
CLOSEUP - MARTINS
looking down CR for dog.
WINKEL (O.S.)
Was wilst du hier?
CLOSE SHOT - WINKEL
looking down CL for the dog.
WINKEL
Du hast hier earnichts verloren
mach dass du rauskommst. Ja, komm,
komm, komm, komm, komm, hier...
CLOSE SHOT - DOG
sitting on carpet looking up off CR. He exits CR.
WINKEL (O.S.)
Komm, sei brav nu sei bray ja...
CLOSEUP - MARTINS
looking down off CL for the dog.
WINKEL (O.S.)
Nu mach schon - mach schon.
CLOSE SHOT - GROUND
between open doors. Winkel's foot hustles the dog through it
LR.
WINKEL
Mach schon. So, so is gut.
CLOSE SHOT - MARTINS
looking off CL for Winkel. He steps forward.
MARTINS
Is that your dog?
MED. SHOT - WINKEL
walking down stage from the door. Martins enters from CR and
crosses to stand CL of him.
WINKEL
Yes. Would you mind...er...er....
CAMERA TRACKS BACK as Winkel walking to camera pulls forward
a chair for Martins in R f.g.
MARTINS
Martins.
WINKEL
Coming to the point, please.
MARTINS
Thank you.
WINKEL
I have guests waiting.
Martins crosses in front of Winkel and sits down in chair in
L profile - Winkel standing CL of him looking down at him.
MARTINS
We were both friends of Harry Lime.
CLOSE SHOT - MARTINS
seated in chair, past Winkel in L f.g.
MARTINS
I want to find out all I can.
CLOSE SHOT - WINKEL
standing looking down at Martins in R f.g.
WINKEL
Find out?
MARTINS
Hear the details.
WINKEL
I can tell you very little. He was
run over by a car. He was dead when
I arrived.
CLOSE SHOT - MARTINS
seated, past Winkel in L f.g.
MARTINS
Who was with him?
CLOSE SHOT - WINKEL
past Martins in R f.g.
WINKEL
Two friends of his.
CLOSE SHOT - MARTIN
past Winkel in L f.g.
MARTINS
Sure, two?
CLOSE SHOT - WINKEL
past Martins in R f.g. He exits CL.
WINKEL
Quite sure.
MED. CLOSE SHOT - MARTINS
seated in chair, looking off CL for Winkel.
MARTINS
Could he have been at all conscious?
WINKEL (O.S.)
I understand...
CLOSE SHOT - WINKEL
entering from CR moving RL in L profile. He stops in front
of a candle stick and pulls at the unlighted wick. He turns
his head to look off CR for Martins.
WINKEL
...he was. Yes, for a short time,
while they carried him across the
road.
MARTINS (O.S.)
In great pain?
WINKEL
Not necessarily.
MED. CLOSE SHOT - MARTINS
seated looking off CL for Winkel.
MARTINS
Well, could he have been capable of
making plans...
MED. CLOSE SHOT - DR. WINKEL
pacing up and down in a small area. He walks downstage RL
into CLOSE SHOT. CAMERA PANNING WITH HIM and stops behind a
small ornamental statue on a table.
MARTINS (O.S.)
...for me and others, just...just
during those few moments? I
understand he left some instruction
before he died.
He blows some imaginary dust off the statue.
WINKEL
I cannot give any opinion. I was
not there. My opinion is limited as
to the cause of death.
He looks off R for Martins.
WINKEL
Have you any reason to be
dissatisfied?
CLOSE SHOT - MARTINS
seated in chair looking off CL for Winkel.
MARTINS
Was - is it possible that his death
might have been - not accidental?
CLOSEUP - WINKEL
looking off CR for Martins.
MARTINS (O.S.)
Could he have been...could he have
been...
CLOSE SHOT - MARTINS
looking off CL for Winkel.
MARTINS
pushed, Dr. Winkel?
CLOSE SHOT - WINKEL
looking off CR for Martins.
WINKEL
I cannot give an opinion, the
injuries to the head and skull
would have been the same.
DISSOLVE TO:
MED. SHOT - ANNA
CAMERA PANNING RL with her as she walks along the glass
partition of Calloway's office overlooking the corridor.
Calloway comes into picture from CL walking toward the door.
As he opens the door we see the Russian Officer in the
opposite office, papers in hand, looking at Calloway.
RUSSIAN
Major, may I see you for a moment,
please?
Calloway turns back.
CALLOWAY
Certainly, Brodsky.
CLOSE SHOT - BRODSKY
Calloway enters from CR and stands in L profile CR of him as
Russian turns over pages of passport.
CALLOWAY
What is it?
RUSSIAN
This is forgery. It is very clever.
MED. CLOSE SHOT - ANNA
behind CR side of open glass door to Calloway's office
looking off CL for him.
RUSSIAN (O.S.)
We are interested in this case.
Have you arrested the girl?
CALLOWAY (O.S.)
No, not yet.
CLOSE SHOT - BRODSKY AND CALLOWAY
The former gives Calloway the passport.
RUSSIAN
Please keep this passport to
yourself, until I make some
inquiries, will you, Major?
CALLOWAY
Yes, of course.
RUSSIAN
Thank you.
Brodsky exits into his office again.
MED. SHOT - CALLOWAY
enters from CL to Anna in R f.g. CAMERA TRACKS AND PANS LR,
as he crosses screen then exits CR - but holding Anna in
CLOSEUP.
CALLOWAY
Right. Sit down Miss Schmidt, we
will send your letters and things
back to you.
ANNA
And my passport?
MED. CLOSE SHOT - CALLOWAY
behind his desk.
CALLOWAY
We will need that for a while longer.
CLOSE SHOT - ANNA
turns away.
MED. LONG SHOT - BRODSKY
in his office taking down a file from the cabinet - across
the corridor, from Anna's eye line.
CLOSE SHOT - ANNA
in L profile looking off CL for the Russian.
ANNA
What does he mean?
CLOSE SHOT - CALLOWAY
at his desk looking off CL for Anna. He picks up a photo
from his desk and moving round it CAMERA PANNING RL with him
in CLOSEUP - Anna is revealed. He stops in profile Anna CR
of him - and we hold them in a CLOSE SHOT.
CALLOWAY
You know as much as I do, Miss
Schmidt - you were intimate with
Lime, weren't you?
ANNA
We loved each other, do you mean that?
He holds a photograph of a man up to her.
CALLOWAY
Do you know this man?
ANNA
I have never seen him.
CLOSE SHOT - CALLOWAY
past Anna in R f.g. He is holding up the photograph to her.
CALLOWAY
Joseph Harbin...
ANNA
No.
CALLOWAY
He works in a military hospital.
ANNA
No.
CALLOWAY
It's stupid to lie to me, Miss
Schmidt. I'm in a position to help
you.
He turns away and exits CR. Anna turns in R profile and
looks after him CR.
ANNA
I'm not lying. You're wrong about
Harry - you are wrong about
everything.
MED. CLOSE SHOT - CALLOWAY
hands in pockets standing behind his desk looking off CL for
Anna.
CALLOWAY
In one of his letters he asked you
to telephone - a good friend of his
called Joseph. He gave you the
number of the Casanova Club. That
is where a lot of friends of Lime
used to go.
CLOSEUP - ANNA
ANNA
It wasn't important.
CLOSEUP - CALLOWAY
looking off CL for Anna.
CALLOWAY
What was the message?
CLOSEUP - ANNA
looking off CR for Calloway.
ANNA
Something about meeting Harry at
his home.
CLOSEUP - CALLOWAY
looking off CL for Anna.
CALLOWAY
Harbin disappeared the day you
telephoned. We've got to find him.
CLOSEUP - ANNA
looking off CR for Calloway.
CALLOWAY (O.S.)
You can help us.
ANNA
What can I tell you but that you
have got everything upside down.
CLOSEUP - CALLOWAY
looking off CL for Anna. He turns to window CAMERA PANNING
LR slightly with him.
CALLOWAY
Okay. That American friend of yours
is still waiting for you.
LONG SHOT - THE STREET - FROM CALLOWAY'S EYE LINE
Martins pacing on the far corner - looking up at the window.
Tram passes LR.
CALLOWAY
He won't do you much good.
CLOSE SHOT - CALLOWAY
at the window. He turns baok to look off CL for Anna. Music
starts.
CALLOWAY
Thank you, Miss Schmidt. We will
send for you when we want you.
He moves over to CL window CAMERA PANNING RL slightly with
him. Tram running along.
CLOSEUP - ANNA
in R profile eyes lowered. She turns away.
DISSOLVE TO:
CLOSE SHOT - NEON SIGN
over club entrance reading: CASANOVA REVUE BUHNE BAR.
Traffic noise.
MED. SHOT - ANNA
entering the club RL past a commissionaire, followed by
Martins.
DOORMAN
Bitte schoen.
CAMERA PANS RL as they leave door and move into hall losing
the door, and revealing Crabbin and his girl friend. Anna
exits. Martins stands CL of Crabbin, they shake hands - the
girl stands CR of Crabbin waiting for him.
CRABBIN
Hello - Mr. Martins, we tried to
get you at your hotel. We have
arranged that lecture for tomorrow.
MARTINS
What about?
CRABBIN
On the modern novel - you remember
what we arranged and we want you to
talk on the Crisis of Faith.
Crabbin's friend exits CR and Martins hands his hat and coat
to the hat check girl.
MARTINS
What's that?
CRABBIN
Oh, I thought you would know,
you're a writer. Of course you do.
Good night, old man.
He starts to exit CR then turns back.
CRABBIN
Oh, I've forgotten my hat. I'll let
you know the time later.
Crabbin exits CR and CAMERA TRACKS BACK as Martins walks
forward to CLOSE SHOT. CAMERA PANS RL with him as he turns
to his R and walks through archway into the empty bar
revealed beyond. Anna the only customer is seated back to
camera on a stool at the bar - the barman CR of her. She is
the only customer. Martins walks upstage to her, back to
camera.
CLOSE SHOT - ANNA
seated in R profile at the bar. Martins comes to stand at
her R side - looks at her for a moment - then turns to lean
with his back against the bar facing her - in L profile.
MARTINS
Drink?
ANNA
Whiskey.
To bartender off R.
MARTINS
Two whiskeys.
CLOSE SHOT - FAT WOMAN CUSTOMER
at a table in restaurant - past man with her in R f.g.
opposite side of the table. She is eating soup. Kurtz is
standing CR of her - leaning over her serenading with a violin.
CLOSE SHOT - ANNA AND MARTINS
Barman puts drinks on the counter in front of them in f.g.
from o.s. R .
BARMAN (O.S.)
Zwei whiskeys.
MARTINS
How much?
BARMAN (O.S.)
Zwanzig schillings.
ANNA
They don't take army money here.
Anna starts rummaging in her handbag for money - in the
process some of the contents tumble out on to the counter
including a photograph. Martins picks it up.
MARTINS
Harry?
ANNA
Yes. He moved his head, but the
rest is good, isn't it?
She takes back the photo and puts it in her bag again.
CLOSEUP - WOMAN CUSTOMER
at the table, with Kurtz bending down close CR of her -
smiling and playing the violin. He suddenly reacts to
sighting Martins off CR. He finishes playing and straightens
up CAMERA PANNING UP LR with him and losing the woman
customer - and we HOLD HIM IN CLOSEUP looking off CR still.
CLOSE SHOT - POPESCU
seated at table reading a paper, and smoking a cigar.
CLOSEUP - KURTZ
nods off R at Popescu, then narrowing look off closer to
camera for Martins moves forward to exit CR.
CLOSE SHOT - POPESCU
looks off wider CR for Martins paper still in hand.
CLOSE SHOT - ANNA AND MARTINS
CR of her. Kurtz moves downstage to stand between them full
face.
KURTZ
Good evening, Miss Schmidt.
Martins puts down his glass.
ANNA
Good evening.
KURTZ
So, you have found out my little
secret. A man must live.
(to Martins)
How goes the investigation? Have
you proved to the police they are
wrong?
CLOSEUP - MARTINS
looking off CL for Kurtz.
MARTINS
Not yet.
KURTZ (O.S.)
But you will.
CLOSEUP - KURTZ
past Martins in R f.g.
KURTZ
Our friend Dr. Winkel said you had
called. Wasn't he helpful?
CLOSEUP - MARTINS
past Kurtz in L f.g.
MARTINS
Well, he was - er - limited.
CLOSEUP - KURTZ
past Martins in R f.g.
KURTZ
Mr. Popescu is here tonight.
MARTINS (O.S.)
The Roumanian?
KURTZ
Yes. The man who helped carry him.
CLOSEUP - MARTINS
past Kurtz in L f.g.
MARTINS
I thought he left Vienna?
CLOSEUP - KURTZ
past Martins in R f.g.
KURTZ
He is back now.
CLOSEUP - MARTINS
past Kurtz in L f.g.
MARTINS
I'd like to meet all of Harry's
friends.
CLOSEUP - KURTZ
past Martins in R f.g. He exits CR.
KURTZ
I'll bring him to you.
CLOSEUP - ANNA
looking off CR for Martins.
ANNA
Haven't you done enough for tonight?
CLOSEUP - MARTINS
CAMERA PANNING DOWN RL to bring in Anna as he leans down on
bar CR of her full face.
MARTINS
The porter said three men carried
the body - and two of them are here.
LONG SHOT
from Martins' eye line some members of the International
Patrol appear in the doorway to the bar.
MED. CLOSE SHOT - ANNA AND MARTINS
CR leaving on the bar. Behind them in the reflection of the
wall mirror Martins watches the International Patrol as they
enter bar. An American M.P. followed by a Russian enter from
CL crossing screen behind Anna and Martin LR. As they go
Martins turns back to the bar.
MARTINS
Who are you looking for now?
ANNA
Sssh. Don't. Don't, please.
MARTINS
Silly looking bunch.
MED. LONG SHOT - KURTZ
followed by Popescu making their way through the tables and
some members of the patrol CAMERA TRACKING BACK with them
and PANNING RL revealing Anna and Martins at the bar in f.g.
They stop facing them - Kurtz CL.
Kurtz introduces Popescu.
KURTZ
Mr. Popescu - Mr. Martins.
MARTINS
How do you do.
POPESCU
Any friend of Harry's is a friend
of mine.
KURTZ
I'll leave you together.
Kurtz exits CR.
POPESCU
Good evening, Miss Schmidt. You
remember me?
ANNA
Of course.
POPESCU
I helped Harry fix her papers, Mr.
Martins...
MARTINS
Oh, you did.
POPESCU
Not the sort of thing I should
confess to a total stranger, but
you have to break the rules
sometimes. Humanity's duty.
He puts a cigarette in his mouth from a packet in his hand
and offers it to Anna.
POPESCU
Cigarette, Miss Schmidt?
ANNA
Thank you.
POPESCU
Keep the packet.
CLOSE SHOT - MARTINS
past Popescu in L f.g.
MARTINS
I understand you were with...
CLOSE SHOT - POPESCU
past Martins in R f.g.
MARTINS
Harry...
POPESCU
Two double whiskeys. Was wunschen sie?
He looks off CL for Anna.
ANNA (O.S.)
Nichts danke. Kein.
POPESCU
Entschuldigen sie. It was a
terrible thing.
CLOSEUP - ANNA
holding glass looking down thoughtfully.
POPESCU (O.S.)
I was just crossing the road to go
to Harry.
MED. SHOT - POPESCU AND MARTINS
crossing bar into restaurant. CAMERA PANNING AND TRACKING LR
with them and revealing the almost empty tables beyond. They
move upstage backs to camera, and stop in the center of the
room.
POPESCU
He and the Baron were on the
sidewalk. If I hadn't started to
cross the road it wouldn't have
happened. I can't help blaming
myself and wishing things had been
different. Anyway he saw me, and
stepped off the sidewalk to meet
me, and the truck...
CLOSE SHOT - POPESCU
past Martins in R f.g. Martins walks forward and stands CR
of him in L profile.
POPESCU
It was terrible, Mr. Martins -
terrible. I have never seen a man
killed before.
He lights a cigarette.
MARTINS
I thought there was something funny
about the whole thing.
POPESCU
Funny?
MARTINS
Something wrong.
POPESCU
Of course there was. Some ice for
Mr. Martins.
A tray with two drinks comes into picture from CL and they
each take one.
MARTINS
You think so, too?
Martins walks round Popescu RL.
POPESCU
It was so terrible for a man like
Harry to be killed in an ordinary
street accident.
Martins is now CL of him in L f.g.
MARTINS
That's all you meant?
POPESCU
What else?
CLOSEUP - MARTINS
past Popescu in R f.g. Music stops.
MARTINS
Who was the third man?
CLOSEUP - GLASS
to his lips, lowers it smiling - past Martins in L f.g.
POPESCU
I oughtn't to drink it. It makes me
acid. What man would you be
referring to, Mr. Martins?
CLOSEUP - MARTINS
past Popescu in R f.g.
MARTINS
I was told that a third man helped
you and Kurtz to carry the body.
CLOSEUP - POPESCU
past Martins in L f.g.
POPESCU
I don't know how you could have
heard that here. The finding of the
body was in the police report.
There was just the two of us - me
and the Baron. Who could have told
you a story like that?
CLOSEUP - MARTINS
past Popescu in R f.g. He raises glass to drink.
MARTINS
The Porter at Harry's place - he
was cleaning the window at the time.
CLOSEUP - POPESCU
past Martins drinking from his glass in L f.g.
POPESCU
And saw the accident.
CLOSEUP - MARTINS
past Popescu in R f.g.
MARTINS
No, no. He didn't see the accident -
but he saw three men carrying the
body.
CLOSEUP - POPESCU
past Martins in L f.g.
POPESCU
Wasn't he at the police inquiry?
MARTINS
He didn't want to get involved.
POPESCU
Will we never teach these Austrians
to be good citizens. It was his
duty to give the evidence.
Popescu moves away LR upstage back to camera, CAMERA PANNING
with him, and losing Martins. He sits down in a chair.
POPESCU
Even so - he remembered wrong.
MED. CLOSE SHOT - MARTINS
moves down stage to CL of Popescu seated in L profile R f.g.
at a table smoking. CAMERA PANS LR with Martins as he
crosses in front of Popescu.
POPESCU
What else did he tell you?
MARTINS
That Harry was dead before you got
him to that statue.
Martins sits down CAMERA PANNING DOWN SLIGHTLY with him as
he sits CR of Popescu and we SHOOT PAST him in R f.g., to
the former.
MARTINS
He probably knows a lot more than
that. Somebody's lying.
POPESCU
(he drinks)
Not necessarily.
CLOSEUP - MARTINS
looking off CL for Popescu.
MARTINS
The police say he was mixed up in
some racket.
CLOSEUP - POPESCU
looking off CR for Martins.
POPESCU
Oh, that's quite impossible. He had
a great sense of duty.
CLOSEUP - MARTINS
looking off CL.
MARTINS
Your friend Kurtz, seems to think
it was possible.
CLOSEUP - POPESCU
looking off CR.
POPESCU
I understand how an Anglo-Saxon
feels. The Baron hasn't travelled,
you know.
CLOSEUP - MARTINS
looking off CL. He looks away for a moment.
MARTINS
He seems to have been around a bit.
Do you know a man called - er -
Harbin?
CLOSEUP - POPESCU
looking off CR for Martins.
POPESCU
No.
MARTINS
Joseph Harbin.
POPESCU
Joseph Harbin? No...no.
CLOSEUP - POPESCU
looking off CL - he looks off CR for Anna.
POPESCU
That's a nice girl that, but she
ought to go careful in Vienna.
Everybody ought to go careful in a
city like this.
Music starts.
DISSOLVE TO:
CLOSE SHOT - POPESCU
seated in chair talking into phone. He replaces the receiver.
POPESCU
You will meet us at the bridge. Good.
DISSOLVE TO:
CLOSE SHOT - KURTZ
coming out of a door of a house into the street.
DISSOLVE TO:
LONG SHOT - STREET
Dr. Winkel comes out of a passage in a building CR wheeling
a bicycle RL. CAMERA PANS SLIGHTLY with him.
DISSOLVE TO:
CLOSE SHOT - POPESCU
comes out of door into street.
DISSOLVE TO:
LONG SHOT - SUSPENSION BRIDGE
Center of this in far b.g. are discovered Winkel, Kurtz and
Popescu in a group. They start to move away off upstage.
LONG SHOT - HIGH ANGLE
down onto the bridge, the three men walking away upstage RL.
DISSOLVE TO:
LONG SHOT - MARTINS
outside Harry's apartment building. He starts to cross the
road RL.
CLOSE SHOT - MAN
looking off CL for Martins.
LONG SHOT - MARTINS
in the middle of the road. He turns away to walk upstage but
is arrested by a call and reacts to it.
PORTER (O.S.)
Hullo!
MED. LONG SHOT - PORTER
at the upstairs window from Martins' eye line. He is looking
down off L for Martins.
PORTER
Hey - is it so very important for you?
LONG SHOT - MARTINS
standing in the middle of the road looking up off CR for the
Porter.
MARTINS
Yes, it is.
PORTER (O.S.)
I am not a bad man.
MED. SHOT - PORTER
at the open window looking down past CL.
PORTER
I would like to tell you something.
LONG SHOT - MARTINS
standing in the deserted street looking up CR for the Porter
off.
MARTINS
Tell me, how did a car...
MED. SHOT - PORTER
at window, looking down off L for Martins.
PORTER
Come tonight. My wife goes out...
LONG SHOT - MARTINS
in the street looking up off R for the Porter.
MARTINS
All right, I'll come back, but...
MED. SHOT - PORTER
at window - he holds his finger to his lips - then goes back
into the room.
PORTER
Ssh! Tonight.
CLOSE SHOT - PORTER
as he closes the windows and turns back into the room full
face. He suddenly looks fearfully off past CR and CAMERA
TRACKS INTO CLOSEUP - he is transfixed. Music crescendo.
DISSOLVE TO:
CLOSE SHOT - ANNA
seated on the bed in her room. There is a knock at the door.
ANNA
Wer ist da?
MED. CLOSE SHOT - MARTINS
enters through door from CR into Anna's room. He looks off
CL for her.
MARTINS
That mean come in?
CLOSE SHOT - ANNA
seated on bed looking ott CR for Martins. She gets up out of
picture.
ANNA
Oh, yes, yes. Come in.
MED. SHOT - MARTINS
in CR f.g., Anna picks up a bundle of clothes and crosses in
front of him LR CAMERA PANNING with her. She puts things in
a chest of drawers.
MARTINS
The Porter is going to talk to us
tonight.
ANNA
Need we go through it all again?
Martins CL of her who has been standing behind a pile of
boxes picks up a script on the top of them and looks at it.
MARTINS
Might as well I suppose. Are you busy?
ANNA
Just another part I've got to learn.
CAMERA PANS RL with Anna as she moves to CR of Martins.
MARTINS
Can I hear you?
ANNA
In German?
MARTINS
I can try. Is it comedy, or tragedy?
ANNA
Comedy. I don't play tragedy.
He puts down his coat.
MARTINS
Do I...
ANNA
Well you read this.
She moves upstage towards the window. Martins moves forward
to lean in CLOSE SHOT on boxes looking at the script.
MARTINS
Gestern bein heurigen...
ANNA
What's that?
MARTINS
"Ein hurigan" - I guess.
CLOSE SHOT - MARTINS
Anna enters from CL and stands beside him and we HOLD THEM
BOTH IN CLOSE SHOT.
MARTINS
H-E-Z-T...
ANNA
Oh, let me see. No, no that's not
the cue. It means she has to sit down.
She exits CL and CAMERA PANS LR slightly to center on Martins.
MARTINS
Well, Frau Housman...
CLOSE SHOT - ANNA
at end of bed standing in L profile. She sits down on the
end of the bed CAMERA CENTERING HER.
ANNA
No` no. It's no good.
MED. CLOSE SHOT - MARTINS
looking off CL for Anna - script still in hand.
MARTINS
Bad day?
CLOSE SHOT - ANNA
seated on bed R profile favoring camera. She is looking off
CR for Martins.
ANNA
It is always bad about this time.
He used to look in around six; I've
been frightened at being alone
without friends and money. But I've
never known anything like this.
Please talk.
MED. CLOSE SHOT - MARTINS
looking off CL for Anna.
ANNA (O.S.)
Tell me about him.
MARTINS
Tell you what?
CLOSE SHOT - ANNA
seated on bed, R profile favoring camera.
ANNA
Oh, anything - just talk. When did
you see him last?
MED. CLOSE SHOT - MARTINS
lowering script - not looking at her.
ANNA
When...what did you do?
MARTINS
Oh, we didn't make much sense.
Drank too much. Once he tried...
CLOSE SHOT - ANNA
seated on end of bed looking off CR for Martins.
MARTINS
...to steal my girl.
ANNA
Where is she?
MED. CLOSE SHOT - MARTINS
throws down script. CAMERA PANS RL with him as he moves
upstage, revealing Anna seated on end of bed back to camera,
and the window in b.g.
MARTINS
Oh, that was many years ago.
ANNA
Tell me more.
MARTINS
Oh, it's very difficult. You know
Harry...we didn't do...
CLOSE SHOT - MARTINS
at the window standing full face - not looking at Anna off.
MARTINS
...anything very amusing. He just
made everything seem like such -
er - fun.
CLOSE SHOT - ANNA
seated on bed looking off CL for Martins.
ANNA
Was he clever when he was a boy?
CLOSE SHOT - MARTINS
standing full face CR of the window.
MARTINS
I suppose so - he could fix anything.
CLOSE SHOT - ANNA
looking off CL for Martins.
ANNA
What sort of things?
CLOSE SHOT - MARTINS
lights a match.
MARTINS
Oh, little things. How to put your
temperature up before an exam...the
best cribs. How to avoid this and
that.
He lights his cigarette.
CLOSE SHOT - ANNA
looking up off CL for Martins.
ANNA
He fixed my papers for me. He heard
that the Russians were repatriating
people like me who came from
Czechoslovakia. He knew the right
person straight away, for forging
stamps.
CLOSE SHOT - MARTINS
at the window. He looks off R for Anna - then off left out
of the window. Blows out match.
MARTINS
Yes.
CLOSE SHOT - MARTINS
moves closer to the window - looks at window box.
MARTINS
When he was fourteen, he taught me
the three card trick. That's
growing up fast.
CLOSEUP - ANNA
looking off CL for Martins.
ANNA
He never grew up. The world grew up
round him that's all.
MED. SHOT - MARTINS
standing by the window - cigarette in hand looking off CR
for Anna back to window.
ANNA
...and buried him.
MARTINS
Anna.
CLOSEUP - ANNA
looks up off CR for Martins.
MED. SHOT - MARTINS
looking off CR for Anna.
MARTINS
You'll fall in love again.
CLOSEUP - ANNA
looking off CL for Martins - she gets up CAMERA PANNING UP
with her and turns away back to camera.
ANNA
Can't you see I don't want to. I
don't ever want to.
MED. SHOT - MARTINS
at window looking off R for Anna.
MARTINS
Come on out and have a drink.
CLOSEUP - ANNA
looking off for Martins.
ANNA
Why did you say that?
MED. SHOT - MARTINS
picks up coat. Anna moves to his side in the corner of the
room and CAMERA TRACKS IN AND HOLDS THEM IN CLOSE SHOT.
Martins puts down her coat instead of helping her on with it.
MARTINS
Seemed like a good idea.
ANNA
It's just what he used to say.
MARTINS
Well, I didn't learn that from him.
ANNA
If we have to see the Porter we'd
better go.
MARTINS
What's the hurry? Can't we talk
quietly for a couple of minutes?
ANNA
I thought you wanted...
MARTINS
A moment ago you said you didn't
want to see the Porter.
ANNA
We're both in it, Harry.
MARTINS
Holly.
ANNA
I'm so sorry.
MARTINS
It's all right.
He exits CR.
CUT TO:
MED. CLOSE SHOT - MARTINS
enters from CL picking up coat and hat.
MARTINS
You might get the name right.
MED. CLOSE SHOT - ANNA
at door looking off CR for Martins.
ANNA
Do you know - you ought to find
yourself a girl.
She opens the door and Martins enters from CR. Music stops.
DISSOLVE TO:
LONG SHOT - ANNA AND MARTINS
CL walking down side of wet dark street toward camera which
is TRACKING BACK WITH THEM. They stop in f.g. in CLOSE SHOT.
MARTINS
His English is very bad. We'll let
him talk German. You'll just be
good enough to trans...
Anna looks off RL.
ANNA
Look!
LONG SHOT - GROUP OF PEOPLE
clustered round the doorway of the entrance to Harry's
apartment. An ambulance is parked outside its doors open
toward camera.
MARTINS (O.S.)
That's Harry's place, isn't it?
ANNA (O.S.)
Yes.
MED. CLOSE SHOT - ANNA AND MARTINS
She backs away and CAMERA TRACKS IN A LITTLE as he follows her.
ANNA
Let's go away.
MARTINS
What's the matter?
ANNA
Let's not get into any more trouble.
MARTINS
Wait here.
He moves to exit CL. Sound of airplane engine.
LONG SHOT - MARTINS
enters from CR f.g. and moves upstage toward group outside
the apartment.
MED. SHOT - GROUP OF PEOPLE
gathered outside the doorway.
CLOSE SHOT - MAN
outside CR side of door and Martins in L profile CR of him.
MARTINS
What's the matter - er - What is loos?
MAN
De Porter ist um gebracht worden.
CLOSE SHOT - HANSEL
holding his father's hand, from Martins' eye line down to him.
MARTINS (O.S.)
I don't understand.
MAN
The Porter.
CLOSE SHOT - MAN
past Martins in R f.g.
MAN
Dead.
CLOSE SHOT - ANOTHER MAN
past Martins in R profile in L f.g.
MAN
Kaput - he's murdered. The Porter
is - odraht - kaput -
Makes a slitting movement with his hand across his throat.
CLOSEUP - HANSEL
looking up off CL for his father.
HANSEL
Papa...papa...
MED. CLOSE SHOT - MARTINS
CL and father of Hansel, who looks down CR for him off.
FATHER
Was willst den Hansel?
CLOSEUP - HANSEL
pointing off CR.
HANSEL
Papa der war's.
CLOSE SHOT - MARTINS AND HANSEL'S FATHER
looking down off R for Hansel. Martins turns his head to
look off CL toward the door. Hansel's Father points at
Martins still looking off R.
FATHER
Was den herr da?
CLOSEUP - HANSEL
holding ball, looking up off CL for his father.
HANSEL
Ja, papa. Ich hab's doch g'sehen!
CLOSEUP - MAN
in the street looking off CR for the boy.
HANSEL (O.S.)
Papa der ist der murder.
MED. CLOSE SHOT - MARTINS
looking back over his shoulder for Anna. Hansel's father CR
of him who looks at him.
LONG SHOT - ANNA
standing close to the wall of the building CL of her on the
pavement looking off CL.
HANSEL (O.S.)
Murder! Murder!
MED. CLOSE SHOT - MARTINS
looking off CL with Hansel's father CR of him. The latter
taps him on the shoulder.
FATHER
Sagen sie haben sie einen streit
gehabt mit dem portier.
He exits CL.
MARTINS
I don't understand.
CLOSE SHOT - HANSEL
looking up off CR.
HANSEL
Hey, vo gest due mir?
CLOSE THREE SHOT
a woman and man either side of Hansel's father looking off CL.
CLOSE SHOT - HANSEL
moving among the legs of the spectators outside the house,
making his way to camera. He stops in f.g. tugging at the
sleeve of Martins' coat which is in R of picture and looking
up off R for him.
HANSEL