THE THIN MAN
Screenplay by
Frances Goodrich and Albert Hackett
Based on the novel by Dashiell Hammett
Shooting Draft, 1935
Property of M.G.M
FADE IN:
EFFECT SHOT: THE SHADOW OF THE THIN MAN!
The shadow, grotesquely thin, is cast by one strong light
which reflects itself against a white cement wall. When
we first see the shad-ow, it is standing upright, examining
some- thing which it holds in its hands. Now the shadow
bends down and as it does so, CAMERA PULLS BACK TO REVEAL
CLYDE WYNANT in his work-shop. He is a tall, thin man of
about fifty-five, with white hair. He has a fine, sensi-
tive face. He is a very successful inventor.
A man who is capable of sudden fits of anger which he
forgets almost immediately, but which are quite terrifying
while they last. Just now he is utterly absorbed in what
he is doing -- working on a delicately-wired part which
has to do with a new form of combustion engine that he has
invented. (Through the entire scene, from the first shadow
effect, we hear the engine in operation as he is working
over it.) Wynant is dressed in overalls, and possibly a
long shade over his eyes. The shop itself is in the base-
ment of a small warehouse building, in the thirties between
First Avenue and the East River, in New York. It is a
long and narrow machine shop, full of interest and character
in its mechanical layout. Miniatures of engine-models of
various kinds -- vats of molten lead -- carbon racks --
welding instruments -- delicate light bulbs, and such other
apparatus as composes a combination shop and laboratory of
this machine type. WE HOLD A MOMENT on Wynant in the midst
of an experiment over the combustion engine. Then from the
background a workman named Tom, also dressed in overalls,
a man of about thirty-five, comes in from an adjoining
shop. He comes toward Wynant.
TOM
(hesitant -- in a mild tone)
Your daughter's here, Mr. Wynant.
(then, as Wynant
doesn't seem to
hear him, he speaks
louder)
Mr. Wynant!
Wynant, startled out of his absorption, drops a delicate
piece of metal (or whatever fragile wiring or part he would
be holding), and turns furiously on Tom.
Wynant Haven't you any more sense than to shout at me like
that!
TOM
I'm sorry... but...
WYNANT
(picking up the
little piece --
its edges are
spoiled)
Two weeks work gone for nothing.
TOM
I just wanted to tell you...
WYNANT
(interrupting)
I don't care what you wanted to
tell me. You're through! Get
your things and get out!
The workman shrugs his shoulders and starts away. WE PAN
Wynant to a bench on which there are several acetylene
torches. He is examining the part as he goes, muttering
and growling to himself.
WYNANT
It's a good thing I'm going away --
no peace -- no quiet. Everybody
interrupting me --
PANNING SHOT -- DOOR TO SHOP.
DOROTHY WYNANT comes to the door and looks in. Tom is
seen taking off his overalls, preparatory to leaving.
DOROTHY
Can we come in?
Tom looks up as she speaks to him.
DOROTHY
Did you tell him?
TOM
Sorry, Miss Wynant. He didn't
give me a chance.
Dorothy comes in, followed by ANDREW READE. She is a young
girl of about twenty-one, spirited and high-tempered like
her father. She has great natural beauty and distinction
... the crisp product of a strict finishing school. She
is dressed in smart, simple street dress, with a fur coat
over it.
Andrew Reade is a good-looking boy fresh from college. He
gives an impression of reliability and common sense. CAMERA
PANS WITH THEM as they go toward the workbench and Wynant.
DOROTHY
Dad!
Wynant straightens up, and as he looks and sees that it is
his daughter, his whole expression changes. He forgets
his anger. he is delighted to see her.
WYNANT
Why didn't they tell me you were
here?
Dorothy kisses him.
DOROTHY
I'm sorry to interrupt your work,
but this is important.
Wynant looks over at Andrew standing behind Dorothy. Andrew
smiles at him.
ANDREW
How are you?
WYNANT
(to Dorothy - as he
turns off the
combustion engine)
Another young man.
ANDREW
It's the same one.
DOROTHY
(as if she were
speaking to a child
who didn't remember
his lessons)
It's been the same one for three
months.
WYNANT
Forgive me.
(he shakes Andrew's
hand)
How are you?
DOROTHY
Take a good look at him, Dad.
(Wynant looks at
Andrew and smiles)
Now please try to remember him...
'cause he's going to be your son-
in-law.
Wynant's look changes to one of serious interest.
WYNANT
(surprised)
Well!
ANDREW
(to Wynant -- feeling
that Dorothy has
spoken too bluntly)
That is, if it's all right with
you.
WYNANT
And if it isn't?
DOROTHY
(to the front!)
He'll still be your son-in-law!
WYNANT
(to Andrew, with
humor)
You see how much we have to say.
DOROTHY
(puts her hand on
her father's arm)
Dad, this is what I really wanted
to ask you....
Andrew, knowing that she wants to talk to her father alone,
interrupts.
ANDREW
Mind if I look around?
WYNANT
Help yourself.
(he turns and calls
off)
Oh, Tom, show this gentleman...
(he stops as he
sees Tom is ready
to leave)
FULL SHOT -- INCLUDING TOM AT DOOR
Tom is dressed in his street suit, ready to go out. Wynant
stares at him in amazement.
WYNANT
Where are you going?
TOM
(dryly)
Home!
WYNANT
Home?
TOM
I'm fired.
WYNANT
(indignantly)
Who fired you?
TOM
You did.
Dorothy laughs, Wynant shamefacedly joins her.
WYNANT
Oh, forget it -- forget it. Here
... show this gentleman around...
Tom beams at Wynant and starts to take his coat and hat
off as he speaks to Andrew.
TOM
Right this way, sir.
Andrew follows him out.
CLOSE SHOT -- WYNANT AND DOROTHY
She pulls her father down beside her on a bench, or possibly
she climbs up on the long work bench -- shoves the acetylene
torches to a distance -- and with her arms around him affec-
tionately, continues:
DOROTHY
Mother's set her heart on a big
church wedding.
WYNANT
(parenthetically)
Yes, she would.
DOROTHY
I hate all that fuss. But I'll do
it on one condition -- that you're
there to give me away.
WYNANT
(chuckling)
What would your mother say to that?
DOROTHY
(obstinately)
This is my wedding.
WYNANT
Wouldn't it be a little embarrassing
... all of us there ... your
other and me and your stepfather?
DOROTHY
(she evidently has
no love for her
stepfather)
He can stay home. Please, Dad,
won't you?
WYNANT
(doubtful)
If you think it'll be all right.
Dorothy jumps down from the bench happily. She kisses
him, delighted to have won him over
WYNANT
Wait a minute. When is it going
to be? I'm leaving town tonight.
DOROTHY (SURPRISED)
Where are you going?
WYNANT
It's a secret. I can't even tell
you, my dear. I've got an important
idea to work on.
DOROTHY
A new invention?
WYNANT
Yes.
(then significantly,
and with measured
tone)
And I don't want anybody to steal
it from me.
DOROTHY
(disappointed)
We were planning to be married
right after Christmas.
WYNANT
Oh, I'll be back before Christmas.
DOROTHY
(brightening again)
It's a promise?
WYNANT
That's one thing I won't forget.
(he looks at his
watch)
Where's Macaulay? I ought to be
starting.
Dorothy takes his watch while he starts to take off his
overalls. There is an odd chain attached to the watch,
with links of gold, copper, and silver. As he slips off
the overalls, he speaks to Dorothy without looking at her,
trying to keep a casual note in his voice. CAMERA IS
PANNING DURING THE SCENE.
WYNANT
How's your brother?
DOROTHY
(she looks at her
father
affectionately,
sorry for him)
He's all right.
WE EITHER PAN NOW ON WYNANT, OR GO TO A FULL SHOT -- as he
goes to a washstand to clean up a bit. The basin is on
the side of the room. The washstand could, if desired, be
in a small closet, and the following dialogue is played
back and forth during this business.
WYNANT
I'd like to see him. Why don't
you bring him down?
DOROTHY
(dangling the watch
chain)
You know how it is, Dad. He's
sort of under Mother's thumb.
WYNANT
(brushing his hair
a bit)
I know -- I know --
DOROTHY
(still monkeying
with the watch --
winding it)
You're not missing much. He's
cuckoo.
Wynant comes back from the washstand -- CAMERA MOVING UP
FOR A CLOSEUP ON THE TWO.
WYNANT
Like all the rest of us.
(he leans closer to
Dorothy, speaking
humorously)
Has this fellow...
(he indicates Andrew
with a nod of his
head)
...has he seen the whole family?
DOROTHY
(nodding and smiling)
And he still wants to marry me!
WYNANT
He's a brave man.
They look off as Andrew enters the shop again.
MEDIUM SHOT --
Andrew comes over to them with added interest and
admiration.
ANDREW
(TO WYNANT)
I didn't know you invented that
Smelting Process.
DOROTHY
(she holds the watch
and chain toward
Andrew)
Look -- those are the first metals
that came through.
(she indicates the
links in the chain)
Andrew looks interestedly at them as she dangles the chain
before him. Wynant is feeling his shin bone. He gives a
little grunt of pain. Dorothy turns sympathetically to
him.
DOROTHY
Poor Dad, does that still bother
you?
WYNANT
Only in bad weather.
DOROTHY
But it isn't bad weather now.
WYNANT
Better get home before it is.
DOROTHY
(kissing Wynant)
Goodbye, darling. Don't you dare
forget... December 30th.
WYNANT
(to Andrew, with a
warm friendliness)
Goodbye, my boy. Take care of
Dorothy. Show her that there is
such a thing as a happy marriage.
ANDREW
(sincerely)
I'll do my best.
Dorothy and Andrew start out, saying last goodbye's to
Wynant and Tom. WE TRUCK ON THEM
AS THEY GO OUT TO:
STAIRWAY FROM BASEMENT TO FIRST FLOOR - TRUCKING.
ANDREW
All settled?
(Dorothy nods)
Grand!
(then, after a second)
Why did your mother ever divorce
him? He's swell.
DOROTHY
Wel-l-l, it seems he has a
secretary.
ANDREW
((understanding)
Oh.
(he turns to Dorothy,
smiling)
I'll do my own typing!
They have reached the top of the stairs now and are in a
long and narrow corridor, a service elevator at one end,
and a door leading to the street at the other.
DOROTHY
(looking to street
... it is snowing)
Dad's a good barometer...
(she sees a taxi
draw up in front
of the building)
Quick! -- Here's a cab.
They exit to street.
EXTERIOR STREET -- LATE AFTERNOON -- BLIZZARD
It is a shabby, dreary street with warehouse and a deserted
brewery. There is a driving snow-storm. Dorothy and Andrew
come out as the cab is pulling up at the curb, and with
difficulty against the wind and driving sleet, they go
forward ready to take it. The cab door opens and an
umbrella comes out and is opened, almost in their faces.
The umbrella completely covers the upper part of the man
who is carrying it. He turns to pay the driver. Dorothy
recognizes Macaulay and pulls up the umbrella to speak to
him under it.
DOROTHY
Hello, there, Mr. Macaulay.
CLOSEUP AT CURB -- THE GROUP
Macaulay raises the umbrella, surprised. He is a fussy
little bald-headed man of about forty, wearing glasses.
He recognizes Dorothy and beams.
MACAULAY
How are you?
(then as the snow
pelts down, he
starts to hold his
umbrella over her)
Here. Get under this.
DOROTHY
Thanks... we're taking your cab.
Dorothy climbs into the cab. Andy follows her. She
snuggles close against him, cold.
Macaulay hands the driver a bill.
MACAULAY
(to Dorothy)
Is your father still in there?
DOROTHY
He's waiting for you.
MACAULAY
Did he tell you where he was going?
DOROTHY
He wouldn't say.
MACAULAY
Tch-tch-tch --
(shutting the cab
door)
Well, goodbye, Miss Wynant.
(then speaking to
the driver as the
driver is giving
him his change)
You wouldn't drive slowly, so you
don't get a tip.
DRIVER
(grinning)
That's okay -- I took it!
He grins again and swings off, leaving Macaulay looking
down at the change in his hand, indignant. THEN WE PAN
WITH HIM as he enters the building.
CORRIDOR FROM BASEMENT -- FULL SHOT.
Wynant comes up the stairway and starts for the service
elevator as Macaulay comes in from outside. Wynant is now
in a business suit, but has no hat or overcoat on. He
doesn't see Macaulay. He pulls open the door of the service
elevator. Macaulay starts to run toward Wynant with little
fast steps, his bulky umbrella hanging from his arm.
MACAULAY
Mr. Wynant... Mr. Wynant!
Wynant turns, his hand holding open the elevator door.
WYNANT
Hello, there! Come on up with me.
Macaulay follows Wynant into the elevator, panting a little.
SERVICE ELEVATOR -- WYNANT AND MACAULAY.
Wynant pushes the button and the elevator starts slowly
up. The elevator shaft is visible through the wooden bars
of the elevator. Wynant stands looking down at Macaulay,
amused and friendly.
WYNANT
Did you get my money?
MACAULAY
(he pulls a wallet
out of his pocket
and takes out a
sheaf of new bills.
He talks plaintively
as he does so)
I do wish you'd tell me where you're
going.
WYNANT
I'm not telling anyone.
MACAULAY
(protesting)
But suppose some business comes
up...
WYNANT
That's just why I'm going.
Macaulay starts to count out the bills into Wynant's hand.
MACAULAY
One hundred... two hundred...
three...
WYNANT
(takes the sheaf of
bills, impatient)
Never mind.
MACAULAY
I wish you'd count them. There's
a thousand dollars there.
WYNANT
(stuffing them
carelessly in his
pocket)
I trust you.
MACAULAY
Isn't there anything else I can do
for you? Have you bought your
ticket?
WYNANT
No.
MACAULAY
(there is a good-
humored gleam in
his eye. He sees
a chance of finding
out where Wynant
is going)
Well, let me do that for you.
WYNANT
You might do that. Get me a ticket
for...
(he stops suddenly
as he looks at
Macaulay and sees
the eager look in
his eye -- realizes
that he is about
to give himself
away)
No, you don't!
They smile at each other. The elevator has reached the
third floor by this time. It stops. Wynant gets out.
THIRD FLOOR CORRIDOR -- CLOSE AT ELEVATOR.
Macaulay prepares to follow Wynant, but Wynant closes the
door of the elevator, leaving him in it.
WYNANT
Thanks, and goodbye.
MACAULAY
What'll I do if something comes
up?
WYNANT
Settle it yourself. What have I
got a lawyer for?
MACAULAY
Is Julia going with you?
WYNANT
No.
Wynant reaches through the bar of the elevator door and
pushes the button inside. The elevator starts going down
during the following dialogue. Macaulay stands inside,
bewildered and worried.
MACAULAY
But what if you need more money?
WYNANT
I left instructions with Julia.
She'll get it from you. Goodbye.
Wynant strides out of the scene. The elevator is beginning
to disappear, carrying Macaulay.
MACAULAY
(with his face
upturned, he goes
on pleading until
he disappears out
of sight -- he is
calling up)
You don't tell me a thing. I don't
know where you're going. I don't
know when you're coming back. I
don't know how to reach you if any
business turns up...!
And the elevator goes down out of sight, his voice trailing
as it does so.
WYNANT'S OFFICE -- TRUCKING AND PANNING ON WYNANT --
As we pick him up leaning down in front of a small safe,
opening it. He is talking to his bookkeeper, Tanner, as
he does so. Tanner is a little man with a quick eye and
an eager manner. He has his hat and coat on preparatory
to leaving for the day. He is closing and locking some
cabinets as the scene ensues.
(Wynant's office is of a solid rather old-fashioned type
such as would be found in a building of this kind. It
should, in fact, have windows through which a display room
given to machinery can be seen)
WYNANT
(as he opens the
safe)
My daughter's going to be married,
Tanner. Nice young man. She just
brought him.
Tanner listens preoccupied. He seems a little nervous
about Wynant looking in the safe.
TANNER
Well, congratulations.
WYNANT
(talking right on)
I'm going to give her a wedding
present. Thought I'd better do it
now, before I forget it. I can
drop them on my way to...
(by this time Wynant
has pulled out a
box and is puzzled
to see it empty)
That's funny....
(he leans down and
hunts through the
different papers
in the safe. He
doesn't find what
he wants. He turns
to Tanner)
Where are those bonds?
TANNER
Bonds, sir?
WYNANT
I know I left them there.
TANNER
Maybe Miss Wolf has them.
WYNANT
(still worried --
wonders why Julia
took them)
Maybe she has.
TANNER
(picking up a baggage
check from the
table)
You're forgetting the check for
your suitcase.
(Wynant takes it
from him preoccupied)
It's at the Grand Central.
WYNANT
(still preoccupied)
Oh, yes -- yes -- that's right --
(he goes out)
As soon as Wynant goes out, Tanner looks after him. He
seems worried. He looks apprehensively back toward the
safe.
DISSOLVE TO:
A RADIO IN A NEW YORK APARTMENT -- CLOSEUP.
This is Julia Wolf's apartment, a fashionable penthouse
furnished in very new modernistic style, but we do not
reveal it as we dissolve in. We are merely HOLDING ON THE
RADIO AND A MAN -- JOE MORELLI -- who sits in front of it,
in his shirt sleeves. Morelli is a tough looking gangster.
He has the radio on. He is looking at a copy of Vogue. A
woman's voice comes over the scene from off stage.
JULIA'S VOICE
How do you want it?
MORELLI
Straight.
(turning a page of
Vogue -- holding
it up to the light.
Through the
transparent page,
the corsets show
through under the
evening gowns)
Do women really wear them things?
Suddenly there is the sound of a key in the door. Morelli
looks up quickly, his hand going To what we know is his
gun, in his hip pocket --
AS CAMERA PULLS BACK RAPIDLY TO REVEAL:
FULL SHOT OF THE APARTMENT -- A PENTHOUSE -- PROCESS
GLASS.
WE HOLD FOR A MOMENT as Morelli rises noiselessly and stands
there, alert and ready for anyone. NOW CAMERA SWINGS
RAPIDLY OVER TO THE:
DOOR -- CLOSE SHOT ON WYNANT.
As he enters, having used his own key. He still seems
occupied, and doesn't see Morelli as he comes through.
CAMERA SWINGS RAPIDLY BACK TO:
CLOSEUP ON MORELLI -- BEFORE THE RADIO.
He stands there, quietly menacing, his hand on his hip.
MORELLI
You're in the wrong place, mister.
BACK TO:
FLASH WYNANT -- CLOSEUP.
Wynant looks off at him, surprised and angry.
WYNANT
(sarcastically)
Am I?
BACK TO:
FLASH MORELLI -- CLOSEUP.
AS WE PAN HIM FORWARD a few steps. He gives Wynant a savage
double-O.
MORELLI
What's on your mind? What do you
want?
JULIA'S VOICE (O.S.)
Who is it, Joe?
MORELLI
(watching Wynant)
That's what I want to know.
MEDIUM SHOT -- THE APARTMENT.
As Julia comes into the room, with two drinks in her hand.
She is a woman of about thirty.
She is in very elaborate lounging pajamas, her hair is too
well waved, her nails too red, her eyebrows too delicately
arched. But she has the look of a hard businesswoman
underneath it all. She looks disturbed as she sees it is
Wynant.
JULIA
We're just having a little drink.
WYNANT
(dryly)
So I see.
Morelli looks from one to the other. In Wynant's attitude
of displeased proprietorship, he gets his hint of who he
is. he reaches for his coat over the chair and starts to
put it on.
JULIA
(her eyes still on
Wynant)
See you later, Joe.
Morelli looks from one to the other, and then slowly gets
his hat and starts out.
MORELLI
Sorry. I didn't know I was talking
to the boy friend. S'long.
He walks carelessly and arrogantly out of the door, slamming
it after him.
CAMERA MOVES IN FOR A CLOSE SHOT OF JULIA AND WYNANT. She
puts the drinks down. She tries to ignore Wynant's very
evident displeasure.
WYNANT
Who's that man?
JULIA
He's not anybody. Just a fellow I
used to know.
WYNANT
I thought you'd given up that sort
of friend.
JULIA
This is the first time I've seen
him in years. I didn't want him
to think I was high-hatting him.
WYNANT
I don't like him.
JULIA
(moving over to
him, trying to
conciliate him)
Don't worry. You won't see him
again.
(she tries to take
Wynant's coat and
hat)
What happened? Did you change your
mind about going?
WYNANT
No. I just came back for a second.
I wanted to get those bonds.
JULIA
(she controls her
fear under an air
of ignorance)
What bonds?
WYNANT
The government bonds. The ones
you took from the office safe.
JULIA
(smoothly lying)
Oh yes. Why, you told me to sell
them a long time ago.
WYNANT
(in a level tone)
I'd never tell you to sell those.
I bought them for my daughter.
JULIA
Don't you remember....
WYNANT
(interrupting her)
Now see here, Julia. You're
counting a little too much on my
being absent-minded. You've been
taking a little here and there for
some time, and I haven't said
anything about it. But this is
fifty thousand dollars!
JULIA
(flying into a temper
to try to hide her
guilt)
Do you realize that you're accusing
me of ....
WYNANT
No one else had the combination of
that safe. You took them. What
did you do with them?
JULIA
(in a fury)
What if I did take them? I'm sick
and tired of seeing you hand out
thousands of dollars to that family
of yours....
WYNANT
(cutting in)
That's my business.
JULIA
(going on without
listening to him)
supporting that gang of loafers!
There's not one of them that cares
a damn for you. A wife who threw
you out the first time your foot
slipped. They wouldn't raise a
hand to help you. And I've given
my whole life for you. If you
kicked off tomorrow, where'd I be?
Out in the gutter!
(then defiantly)
Sure I took those bonds. Who has
a better right -- ?
WE HOLD A MOMENT. There is a slight pause, then Wynant
quietly, and unheeding all that she has said, starts for
the phone. WE PAN HIM OVER AND HOLD as he picks up the
phone (but not the receiver as yet) and speaks off to Julia:
WYNANT
(quietly)
I want that money right now, or
I'll hand you over to the police.
JULIA (O.S.)
(not believing that
he will do it)
Go ahead!
WYNANT
(lifts phone from
receiver now --
still quietly)
They'll be pretty rough with
you....with your record.
CAMERA PULLS BACK, and Julia hurries into the scene.
JULIA
(contemptuous)
That's a fine thing to throw up to
me after all I've been to you....
WYNANT
(in phone)
Hello .... give me ....
(Julia grabs the
telephone from
him, in a fury.
She puts it down.
Puts the receiver
in place. They
stand facing each
other)
Well .... ?
JULIA
(in a surly tone)
I'll give it back to you .... all
I've got ....twenty-five thousand...
WYNANT
(he takes her by
the wrists, gripping
her hard, trying
to force the truth
from her)
You're going to return every cent
of it!
JULIA
(flashing again)
I can't! I haven't got it!
WYNANT
(quickly)
What did you do with the rest?
JULIA
I never had it.
THE TELEPHONE RINGS.
WYNANT
Then someone was in with you. Who
was it? -- Who was it?
(Julia makes a move
to answer the phone
which rings again
insistently)
I'll answer that --
(he picks up the
phone)
Hello ... hello ...
CUT TO:
TELEPHONE BOOTH -- PUBLIC PAY STATION.
A weasel-faced little man, Nunheim, is in the booth at the
phone, but as he hears WYNANT'S VOICE say "hello", he very
quietly pulls down the hook for the receiver and places
the receiver gently on it. He turns away.
CUT BACK TO:
JULIA'S APARTMENT -- CLOSE SHOT AT PHONE AGAIN.
Wynant is clicking the receiver up and down, as he repeats
several times, sharply:
WYNANT
Hello ... hello ... hello ...
HELLO ....
Then, evidently hearing the sound of the receiver being
replaced, he impatiently puts the telephone down and turns
back to Julia.
WYNANT
You don't need to tell me. I have
a pretty good idea.
And with this WE PAN HIM as he puts on his hat and starts
to walk out of the apartment -- with determination and a
menacing purpose in his face.
JULIA (O.S.)
What are you going to do?
Wynant turns at the door and smiles - a terrifying smile -
and walks out. The CAMERA SWINGS QUICKLY BACK TO JULIA.
She looks after him terrified as we
CUT OR DISSOLVE TO:
A STREET AT NIGHT -- LIGHTING EFFECT.
Wynant strides down the street, his long, lean, narrow
form casting a long shadow on the snowy pavement. THE
CAMERA HOLDS IN A RUNNING SHOT ON THE SHADOW as it elongates
still further, and finally disappears.
FADE OUT:
(NOTE: We should get the above shadow effect through heavy
snow, (via reflection of street lamps). The idea and mood
here of the shadow of the "thin man" as it strides rapidly
through the night is purposely intended for a necessary
effect.)
FADE IN:
CLOSEUP OF A CHRISTMAS WREATH.
The wreath is enormous, and under the conventional greeting:
"A MERRY CHRISTMAS", which is in silver across it, there
is a current unconventional greeting also in silver, which
reads:
(This slogan to come)
On sound track behind the shot an orchestra is playing
gaily. Possibly an arrangement that Lombardo would make
on "JINGLE BELLS, JINGLE BELLS". There is also the sound
of gay chatter and jingles of many cocktail shakers. NOW
CAMERA PULLS BACK TO REVEAL THE BAR OF A SPEAKEASY, or, to
be more up to date, the bar of a Biltmore or a Waldorf
Astoria Hotel. It was against the glass of the bar that
the Christmas wreath was first shown. It is about three
o'clock in the afternoon. Almost all of the people sitting
on the high stools in front of the bar are women. Several
bartenders are shaking cocktails. The music, which, by
the way, comes from an adjoining tea dansant room,
continues. There is a holiday air about the whole place.
A sophistication and a gaiety belonging to thirsty New
York of the present moment. CAMERA RUNS DOWN THE LINE OF
THE BAR AND HOLDS AT THE END, where a bartender is placing
two cocktails on a tray held by a waiter. WE TRUCK ON THE
WAITER as he takes the tray into the adjoining room. The
room is quite filled with the afternoon tango crowd, and
several couples are dancing on the floor. WE HOLD as the
waiter stops at a small table along the wall. Dorothy and
Andrew are seated there. Dorothy is looking very glum.
ANDREW
(putting his hand
on hers)
Cheer up, darling.
DOROTHY
I'm sorry.
Dorothy tries to smile, but it's a dreary attempt. The
waiter puts down the cocktails and leaves.
ANDREW
(holds up his glass)
Here's to us!
He drinks his cocktail. Dorothy takes a sip of hers.
Andrew goes on talking, trying to get her out of the
doldrums.
ANDREW
By this time next year, we'll be
two old married people ... trimming
the tree ... hanging up the
stockings for the children ...
(then as she looks
up)
... well, the child, then.
Dorothy tries to smile, but she is worried, and cannot
enter into his fun. She puts her drink down.
ANDREW
What's the matter, darling ...
not sweet enough?
DOROTHY
(listlessly)
It's all right.
(NOTE TO VAN: If you want them to get up and join the
dancers, it can be done at this point. After Dorothy says,
"It's all right", Andrew says, "Come on, let's dance.
I've got to get you out of the dumps somehow" -- and pulls
her to her feet. The following scene continues now, as
follows, in a PANNING SHOT OF THEM DANCING.)
ANDREW
(leaning forward --
serious now)
Darling, your father's all right.
He'll turn up in time.
DOROTHY
(turns to him --
suddenly distraught)
But tonight is Christmas Eve!
ANDREW
He's just forgotten. You know he
forgets everything.
DOROTHY
He's never forgotten a promise to
me. I'm worried about him. I
know something's happened to him.
She looks off scene toward the bar. Suddenly her attention
is riveted on someone.
ANDREW
What could happen to him, darling?
You mustn't worry....
(then as he half
rises, he continues)
What is it?
DOROTHY
Just a minute...
She leaves the table -- her eyes still fixed eagerly on
the man she has seen. WE TRUCK AND PAN WITH HER as she
goes forward to the bar. And as she comes in, we see her
react eagerly as she confronts a good-looking man of about
thirty-five, tall, casual, and worldly wise, who is standing
in front of the bar, his face reflected in the mirror.
This is NICK CHARLES.
NICK
(to the bartender)
Another Martini --
DOROTHY
Hello, there!
CLOSEUP AT THE BAR -- NICK AND DOROTHY
Nick Charles turns to her. He smiles at her.
He hasn't the faintest idea who she is, but he's not going
to discourage such a pretty girl.
NICK
(very cordially)
Hello!
(then over his
shoulder to the
bartender)
Make it two!
(then back to Dorothy)
How are you?
Dorothy realizes that he hasn't any remembrance of her.
DOROTHY
You know, we know each other.
NICK
(heartily)
Of course we do! We've been friends
for years.
DOROTHY
(inspecting him)
Aren't you Nick Charles?
NICK
(his face changes.
He realizes that
she does know him)
Yes.
DOROTHY
You don't remember me..... I'm
Dorothy Wynant.
The bartender sets the drinks on the bar before Nick, who
looks at Dorothy puzzled, trying to realize that this is
the child he used to know.
NICK
Not that scrawny little....?
(he puts out his
hand as if measuring
a little girl's
height)
DOROTHY
(smiling)
Yes.
NICK
How did you ever remember me?
DOROTHY
(intently)
was fascinated with you.... a
real live detective.... You used
to tell me the most wonderful
stories. Were they true?
NICK
Probably not.
Andrew comes up to them. Dorothy turns to introduce him.
DOROTHY
Andy... this is Nick Charles. He
worked on a case for father.
NICK
(shaking hands with
Andrew)
Yes. Some nut who wanted to kill
him.
(then to Dorothy)
How is your father?
DOROTHY
That's what I was going to ask
you. he's disappeared!
NICK
Disappeared!
ANDREW
(to Dorothy)
Now don't say that -- he's just
off somewhere working.
DOROTHY
(to Nick)
I can't find him. I've tried
everything. I thought you might
know.
NICK
(chuckling)
I don't know anything -- I've been
in California for four years.
What about his lawyer? Used to be
a guy named Mac-- something.
DOROTHY
Macaulay.
NICK
That's it... Herbert Macaulay.
DOROTHY
tried him once -
NICK
Why don't you try him again?
ANDY
(digging in his
pocket)
Here's a nickle.
Andrew gives her a nickle and she goes off.
Now that she has gone Andrew drops his pretense of
minimizing her father's failure to appear. he steps up
close to Nick.
ANDREW
She's got me worrying, too.
NICK
(easily, as he
reaches for his
cocktail NOTE:
During the entire
play, Nick is always
reaching for a
cocktail!)
Don't start worrying about him.
He's a good guy, but screwy.
ANDREW
(impressed by what
he has just heard)
Why did that man want to kill him?
NICK
Said he stole his invention.
ANDREW
Do you suppose..... ?
The bartender is placing more drinks in front of Nick.
NICK
(to Andrew)
What?
ANDREW
(deciding he is
silly to get so
worried)
Nothing.
NICK
You better take a drink.
He hands him one of the cocktails.
As they start to drink, a commotion is heard offscene ...
a dog barking ... men's voices raised in protestation ...
and a a woman's voice above it all. It is NORA, Nick's
wife.
NORA'S VOICE (O.S.)
Asta! Where are you going? Asta!
Bartenders, as well as Nick and Andrew, look off toward
the commotion.
CUT TO:
ENTRANCE OF THE BAR -- FROM THE CLOAK ROOM OR CORRIDOR.
NORA CHARLES, Nick's wife, is coming through. She is a
woman of about twenty-six... a tremendously vital person,
interested in everybody and everything, in contrast to
Nick's apparent indifference to anything except when he is
going to get his next drink. There is a warm understanding
relationship between them. They are really crazy about
each other, but undemonstrative and humorous in their
companionship. They are tolerant, easy-going, taking drink
for drink, and battling their way together with a dry humor.
Just now Nora has been shopping. Her arms are full of
small packages. Her hat is askew. She is pulled along
bodily by a small white Sealingham on a leash. A doorman
and a hat-check clerk are following her, protesting at her
bringing the dog into this fashionable hotel. The dog is
exitedly barking.
DOORMAN
Madame, you can't bring that dog
in here!
NORA
I'm not bringing him. He's bringing
me!
(then to the dog)
Asta! Asta!
But the dog pays no attention. He pulls her like a streak
out of the scene toward the bar.
Nora's packages are left in a trail behind her as she
stumbles after him. The attendants follow after her,
picking up the parcels and protesting vehemently.
ATTENDANTS
But Madame... dogs aren't
allowed.... It isn't only your
dog... but if we started....
Madame, you dropped your package....
etc.
BAR -- CLOSE SHOT
As Asta, the dog, rushes in, still with Nora on the other
end of the leash. The dog makes a bee-line for Nick, pulls
away and -- ker-plunk! -- he leaps clear up into Nick's
arms. He is barking with delight. He seems to have a
particular desire to lick Nick's nose. Nora, more
dishevelled than ever and breathless, enters, panting.
She realizes that this was Asta's objective.
NORA
So it's you he was after!
NICK
Hello, baby.
NORA
(indicating the dog)
He's dragged me into every gin
mill on the block.
NICK
(in explanation)
I had him out this morning.
NORA
I thought so. He even tried to
drag me into the gentlemen's --
NICK
(stopping her to
introduce Andrew)
Oh, this is Andy --
Nora and Andy smile at each other.
NORA
How're you, Andy?
(hastening to add)
I don't usually look this way, but
I've been Christmas shopping.
One of the attendants who followed Nora comes up. He hands
Nora several of her packages.
ATTENDANT
Madame, I'm afraid you'll have
to....
NICK
(interrupting)
It's all right, Joe. It's my dog...
(and as an
afterthought, waving
his hand at Nora)
....and my wife.
NORA
You might have mentioned me first.
NICK
(to Joe)
He's well-trained. He'll behave
himself.
NORA
As long as there isn't a fire
hydrant. What I've gone through --
ATTENDANT
He might bite someone.
NICK
He's all right.
(He puts Asta down
on the floor. He
speaks to the dog)
Now lie down.
(Asta looks up at
him, wagging his
tail, but making
no move to obey
him. Nick speaks
with more authority)
Lie down!
(still Asta looks
fondly up at him,
without obeying)
Well then, stand up!
(then triumphantly
to Joe)
See?
The attendant laughs and moves off.
Dorothy comes toward them from the telephone booth. She
seems a little more cheerful. Andrew watches her anxiously.
ANDREW
Any luck?
DOROTHY
He's just around the corner.
NICK
Your father?
DOROTHY
No. The lawyer -- I'm going to
see him.
Nick realizes that Dorothy and his wife have not met. He
makes the introduction very casually, waving his hand to
indicate Nora.
NICK
Oh, my wife -- Dorothy Wynant.
The two women smile in acknowledgment. Nora looks at
Dorothy with warm interest.
DOROTHY
How do you do? I'm sorry we have
to rush.
NICK
We're at the Normandie for a couple
of weeks. Why don't you drop
around?
DOROTHY
Thanks. We will. Goodbye.
ANDREW
Goodbye.
The two go quickly off. Nora looks after them.
NORA
Pretty girl.
NICK
If you like 'em like that.
NORA
(grinning at him)
You got types?
NICK
Only you, darling... lanky
brunettes with wicked jaws.
NORA
Who is she?
NICK
I was hoping I wouldn't have to
tell you. Dorothy is really my
daughter. You see, it was Spring
in Venice, and I was so young. I
didn't know what I was doing. We
were all like that on my father's
side.
NORA
By the way, how is your father's
side?
NICK
Much better, thanks.
NORA
How many drinks have you had?
NICK
Six Martinis.
NORA
(to the waiter,
ordering)
Six Martinis.
(then to Nick)
You're not going to have anything
on me.
As she hugs the bar, her foot on the rail, in imitation of
Nick
DISSOLVE TO:
CLOSEUP OF AN ICE BAG.
Nick's hands are screwing the cover on the ice bag. CAMERA
PULLS BACK TO reveal him in the bathroom of his suite at
the Normandie. He has just filled the bag from the wash
basin which is full of ice. THE CAMERA TRUCKS with him as
he goes into the bedroom and over to the bed.
CLOSE UP OF ASTA.
He is sitting on the foot of the bed, his head cocked,
looking anxiously at Nora at the other side of the bed.
CLOSE SHOT - AT BED.
Nora is lying on the bed, dressed as we saw her in the
last scene, except for her hat.
Nick comes in and puts the ice bag on her head. Nora opens
her eyes and speaks feebly to Nick.
NORA
What hit me?
NICK
(grinning at her)
That last Martini.
Asta, delighted that Nora is all right, rushes to her, and
licks her face.
NORA
(struggling to get
up)
I can't lie here. I've got to get
up and trim that darned Christmas
tree.
NICK
Take it easy.
The doorbell of the apartment rings. Nick starts into the
next room. Nora looks off perturbed. She doesn't feel up
to visitors.
NORA
Who's that?
NICK
(as he walks out)
Santa Claus.
CUT TO:
LIVING ROOM OF SUITE - (SKYLINE THROUGH WINDOWS)
In one corner of the living room is an enormous Christmas
tree, without any ornaments on it. The room is a mass of
boxes and excelsior. Nick comes from the bedroom and opens
the outer room. Macaulay stands outside, his eyes blinking
behind their glasses, in friendly welcome. CAMERA MOVES
UP FOR CLOSE SHOT ON THE TWO.
MACAULAY
How are you?
NICK
(he is surprised
but recognizes him
after a second and
is cordial)
Hello, Macaulay. Come in.
MACAULAY
(as he comes in)
Dorothy told me you were here. I
was going to telephone but....
NICK
That's all right. What are you
drinking?
WE PAN Nick over to a table where there are bottles of
Scotch and ice and syphons of seltzer.
MACAULAY
Nothing, thank you. Nothing.
(Nick pours himself
a drink as Macaulay
sits down)
I wanted to see you... What's
Mimi up to, Charles?
NICK
Mimi?
(for a minute he
doesn't realize
who Mimi is)
... Oh, Dorothy's mother. Does
she have to be up to something?
MACAULAY
She usually is. Trying one way or
another to get money out of Wynant.
I wanted to find out if you
were er - er -
(he hints for the
word)
--sleuthing for her.
NICK (DRYLY)
I haven't been a detective for
four years.
MACAULAY
You don't say --
NICK
(pressing syphon of
seltzer)
My wife's father died and left her
a lumber mill and a narrow guage
railroad and a couple of other
things. And I'm looking after
them.
MACAULAY
I see. I see.
NICK
(coming over to him)
What's all the fuss about? Is he
in hiding?
MACAULAY
You know as much about it as I do.
I haven't seen him in three months.
NICK
No word at all?
MACAULAY
He sends word through Julia Wolf
when he wants money... I give it
to her and she gives it to him.
The telephone rings. Nick goes over to it, speaking to
Macaulay as he goes.
NICK
So that's still on?
(he picks up the
phone)
NORA'S VOICE (O.S.)
(Answered the phone
in the next room)
Hello.... just a minute.
Nick, who has listened on the phone, holds it out toward
Macaulay.
NICK
It's for you.
(Macaulay gets up
and starts for the
phone)
Your office.
Macaulay takes the telephone. Nora appears in the doorway
to the bedroom. She has a box of Christmas tree ornaments
in her hand. The ice bag is tied on her head, slightly
askew.
She is followed by Asta.
NORA
Is there a Mr. Macaulay in the
house?
(she looks over and
sees Macaulay at
the phone)
Oh, it's you.
MACAULAY
(into the telephone)
Yes?
Then he turns to Nora. In his desire to be polite, he
almost misses both the introduction to Nora, and his
telephone call.
NICK
My wife.
MACAULAY
(to Nora)
How do you do?
(he turns hastily
back to the
telephone. Nora
walks out of the
scene, toward the
Xmas tree)
What did you say?.... He is?....
Where is he? Very well.
(he hangs up and
turns to Nick)
He's back in town....
(then as Nick looks
mystified, he adds:)
Wynant. Thank heaven. He's waiting
for me now.
(then realizing
that Nora doesn't
know what he is
talking about)
Forgive me, Mrs. Charles... but
I've been so upset. It's no joke
working for a man like that. I
must be off.
(he starts for the
door, which Nick
opens for him)
Goodbye.... Goodbye,
NICK
S'long.
Macaulay shuts the door after him only to open it again.
MACAULAY
(sticking his head
in)
Merry Christmas!
He shuts the door again.
During the above, Nora has started to decorate the tree.
She is standing on a chair, a couple of Xmas ornaments in
her hand, reaching toward the top or the tree.
NORA
If anyone says "Merry Christmas"
once more, I'll kill 'em.
Nick starts to the telephone directory.
NICK
I'm going to telephone that poor
kid.
(he searches in the
directory for a
number)
At least she'll be glad to know
he's alive.
Asta is sniffing around the bottom of the tree.
CLOSE SHOT OF NORA.
She has two different ornaments in her hand, trying to
decide which to put on the top of the tree.
NORA
Shall I use this.... or this?
(she looks down at
Asta, who is out
of sight. She
speaks sharply)
Asta! Asta!
(she returns to her
trimming, muttering
indignantly)
Our nice Christmas tree.
CLOSE SHOT OF NICK - PHONE.
He has dialed his number. He speaks into the telephone.
NICK
May I speak to Dorothy ----
CUT TO:
MEDIUM SHOT - JORGENSEN APARTMENT.
Mimi Jorgensen, formerly Mrs. Clyde Wynant, is at the phone.
She is a slightly faded, but still very pretty woman of
about forty-one or two. She is utterly feminine, with
bright, little ways of talking and moving. She distrusts
all women, even her daughter Dorothy, and treats all men
with a flirtatious condescension, as if they were children.
The only thing she really has any emotion about is her
present husband, who she adores. She is terrified that he
will leave her, knowing, although she won't admit it, that
he married her for her money.
The living room of her expensive apartment reflects her
personality. It is a modernized Victorian, full or
alabaster lamps, curved soft chairs and gleaming satin.
Mimi is answering the telephone. Dorothy stands in the
doorway, listening to her mother as she takes off her hat
and coat. She is dressed in the same clothes in which we
saw her at the hotel.
MIMI
(as she hears that
it is Nick Charles,
her voice takes on
a flirtatious note)
How are you?.... Oh, I'm Mrs.
Jorgensen now....
(she sees Dorothy
out of the corner
of her eye, but
pretends that she
doesn't know she
is there)
No, she isn't here.
(Dorothy moves toward
the telephone)
Is it about her father? Well, can
I take the message?
DOROTHY
(taking the phone
from her mother)
Give it to me.
MIMI
(into the phone,
pretending surprise)
Oh, here she is.
Reluctantly she gives the phone to Dorothy.
She stands close to Dorothy, trying to hear the
conversation.
BACK TO:
CLOSEUP NICK - PHONE.
NICK
I just wanted to relieve your mind.
Your father's alive and all right.
BACK TO:
JORGENSEN'S - CLOSE AT PHONE.
DOROTHY
(her face lights up
with relief)
Oh, thank heaven.
MIMI
(whispering to
Dorothy)
What is it? Has he found him?
DOROTHY
(into the phone,
not paying attention
to her mother)
Do you know where he's living?
(for a moment she
cannot help but
feel hurt)
Oh....
(then she realizes
how selfish her
feeling is)
Well, at least I'm glad he's all
right. Thank you for calling.
Goodbye.
She hangs up. Mimi eagerly questions her,
MIMI
What is it?
DOROTHY
Nothing.
Gilbert comes into the room. He is a boy of about seventeen
or eighteen. He wears spectacles. He is slight in build.
The two women don't notice him.
MIMI
That isn't true. It was about
your father. Where is he?
DOROTHY
He's all right. Isn't that enough?
MIMI
No.
DOROTHY
You just want money -- and you
haven't any right to any more. He
made a big settlement on you.
MIMI
That's gone long ago. I've got to
see him. Where is he?
DOROTHY
I won't have you hounding him any
more for money.
GILBERT
(to his mother)
I'll tell you.
DOROTHY
(turning on him acccusingly)
You've been listening again on
that extension.
GILBERT
(very simply)
Of course. What's an extension
for?
MIMI
(to Gilbert, who is
evidently her
favorite of the
two children)
What is it, Gilbert? Tell mother!
What did he say?
GILBERT
He said that father's in town.
He's been seeing Julia right along.
MIMI (BITTERLY)
That woman!
GILBERT
She could tell you where father
is.
DOROTHY
Mother .... you couldn't do that.
You couldn't go to her.
MIMI
I didn't say I would. But we've
got to have money.
DOROTHY
Did it ever occur to you that Chris
might work?
MIMI
(looking fearfully
off scene)
Shush!
CAMERA SWINGS RAPIDLY OVER TO:
BACK OF A SOFA
BIG CLOSEUP
From the sofa a man rises with languid dignity. It is
Chris Jorgensen. He is younger than Mimi. A very handsome
man, but one whom you could know at first sight that you
could not trust.
MIMI'S VOICE (O.S.)
Chris!
Chris Jorgensen pays no attention to Mimi. He throws
Dorothy a deadly glance and walks with hurt dignity out of
the room, carrying the newspaper he has been reading.
CAMERA PULLS BACK FOR THE GROUP AGAIN:
DOROTHY, MIMI AND GILBERT
Mimi looks after Jorgensen, fearfully. She turns to
Dorothy.
MIMI
(sharply)
You've hurt his feelings!
She hurries out of the room after Jorgensen. Dorothy looks
after them, disgusted. Gilbert watches Dorothy with
detached, scientific interest.
GILBERT
You know, you have an Oedipus
complex and you won't admit it.
DOROTHY
(this is the last
straw)
Oh, please, Gilbert!
She starts out of the room but Gilbert continues to talk
to her, although she is not paying any attention.
GILBERT
The trouble with you is that you
won't face facts. I know I have a
mother fixation... but it's
slight...... it hasn't yet reached
the point of...
DOROTHY
Oh stop it! Stop it!
Dorothy walks out. Gilbert looks after her, bewildered by
her lack or scientific interest.
JORGENSEN'S BEDROOM - MEDIUM
Jorgensen is standing in front of the mirror, adjusting
his tie. Mimi comes in, very much perturbed. She goes to
him affectionately.
Jorgensen realizes his power over her and uses it.
MIMI
Don't mind what she says, Chris.
JORGENSEN
How can I help but mind? I'm
constantly humiliated... just
because I haven't money.
MIMI
(eagerly)
I'll get some.
JORGENSEN
You've said that for weeks.
MIMI
I know.
JORGENSEN
Why don't you go to see Julia?
She handles his money.
MIMI
(protesting)
Chris!
JORGENSEN
All right. All right.
MIMI
I couldn't go near that woman.
JORGENSEN
I said all right!
He picks up his hat and coat from a chair.
Mimi watches him anxiously.
MIMI
What are you going to do?
JORGENSEN
(easily)
Just what I said I'd do.
MIMI
(in a panic, she
pleads)
You wouldn't do that... you
wouldn't!
JORGENSEN
(coldly - quietly)
Wouldn't I. Just watch me.
MIMI (ALMOST CRYING)
Chris -- Chris -- !
But Jorgensen walks out.
OUTSIDE JORGENSEN'S DOOR - HALL.
Jorgensen strides out of the door and down the hall. Mimi
comes to the door.
MIMI
Chris!
But Chris pays no attention. Mimi, distraught, goes back
into his room. As she closes the door, we see Gilbert
come out from behind the open door, where he has been
listening.
JORGENSEN'S ROOM AGAIN.
Mimi stands irresolute for a minute, then goes to the
telephone and dials a number.
MIMI
(on telephone)
Miss Wolfe? Well this is Mrs.
Jorgensen... I wonder if I may
see you?
CUT TO:
JULIA'S APARTMENT - CLOSEUP AT PHONE
Julia is evidently very much startled by Mrs. Jorgensen's
calling her.
JULIA
(hesitatingly)
Why yes .... yes.....
She puts down the telephone, thinking hard, worried by the
idea or Mrs. Jorgensen's impending visit. Suddenly she
makes up her mind and hastily dials a number.
BACK TO:
MIMI'S LIVING ROOM
Mimi gets up from the telephone. There is a look of grim
determination on her face.
DISSOLVE TO:
DESK OF JULIA WOLFE'S APARTMENT HOUSE.
There is a clerk, standing behind the desk, and a telephone
operator at a small switchboard.
Mimi is standing in front of the desk.
MIMI
What is Miss Wolfe's apartment
number?
CLERK
Nine A.
Mimi turns and walks across the lobby. The CAMERA TRUCKS
with her. As she goes toward the elevator, Albert Nunheim
is seen coming down the last steps of the stairs, out of
her sight. He is a weasel-faced, little man with a long
nose, weak mouth, and a shifty look in his eye. The clerk's
voice comes over the SOUND TRACK calling after Mimi.
CLERK'S VOICE (O.S.)
Who shall I say?
CLOSEUP OF NUNHEIM ON STAIRS.
MIMI'S VOICE (O.S.)
(shortly)
Miss Wolf expects me.
As Mimi says "Miss Wolfe", Nunheim stiffens and pulls back
against the wall. He waits there until he hears the sound
of the elevator door closing.
He is evidently terrified by something that he has seen.
He waits to be sure that Mimi has gone up in the elevator
and then, with a furtive glance at the desk, CAMERA PULLS
BACK AND PANS WITH HIM as he sneaks out and down the stairs
on the other side of the elevator shaft leading down to
the basement.
NINTH FLOOR OF THE APARTMENT HOUSE - TRUCKING SHOT
Mimi gets out of the elevator and goes to the door of the
apartment 9-A across the hall. She rings the doorbell.
There is no response. She rings again, a lock or grim
determination on her face.
EXT. OF BASEMENT ENTRANCE OF APT. HOUSE
Nunheim comes out of the entrance, looks furtively up and
down the street. He takes out a cigarette, lights it, and
then, with a pretense of being casual, walks off down the
street.
BACK TO:
EXT. OF DOOR OF APT. 9-A
Getting no response to her ringing, Mimi is knocking on
the door. She is furious with Julia for not letting her
in. Still getting no answer, she tries the door. She is
surprised to find it is open. She looks up and down the
hall and then decides to investigate. She walks in.
LIVING ROOM OF JULIA'S APT. -
TRUCKING AND PANNING;
Mimi comes into the room. She shuts the door slowly behind
her. She looks curiously around the room, interested to
see what kind of a place her ex-husband has furnished for
Julia.
Seeing no one in the room, she goes through it toward the
bedroom. As she gets to the door and looks curiously in,
she stiffens and screams.
JULIA'S BEDROOM - FROM MIMI'S ANGLE
On the floor of the ornate bedroom, Julia Wolfe's dead
body lies, stretched out. She has been shot. She is
dressed as she was when she answered Mimi's telephone call.
BACK TO:
REVERSE CLOSEUP - MIMI IN DOORWAY
For a minute, Mimi stands in the doorway looking down at
the body, rooted to the spot with horror. Then she looks
around for the telephone, sees it beside the bed, and rushes
to it, CAMERA PANNING.
MIMI
(telephoning)
Quick! Quick! Send somebody up
here right away. Something terrible
has happened!
She replaces the receiver. For a second, she stands still,
her back to the body. But her curiosity finally overcomes
her terror, and she goes slowly back toward the body.
She stands looking down at Julia, a million speculations
and suspicions going through her mind. Suddenly her eye
fastens on something in the dead woman's outflung hand.
Her eyes widen with horror. She makes up her mind to take
the object, which we do not see. Looking around quickly to
see if no one has come in, she reaches down, takes it from
the girl's hand, and stuffs it in her hand bag. She
straightens up, CAMERA PANNING QUICKLY UP FOR:
CLOSEUP OF MIMI.
She stands clutching her bag, her eyes wide with horror at
the realization of what that piece of evidence means. She
is trying to formulate a plan of action as we:
SLIDE OVER TO:
HOMICIDE BUREAU - POLICE HEADQUARTERS.
Several officers are sitting around talking.
1ST OFFICER
The way these dames get by with
things makes me sick.
The telephone rings. Another officer answers the telephone.
2ND OFFICER
Yeah? -- Julia Wolfe, 145 West 55.
(as he hears the
address he writes
it down)
1ST OFFICER
(sitting up)
That's me.
2ND OFFICER (O.S.)
(He replaces the
receiver and turns
to the other officer)
Here you are.
He gives the officer the paper.
1ST OFFICER
What is it?
2ND OFFICER
A dame -- murdered.
1ST OFFICER
That's more like it.
The 1st officer goes quickly out.
SLIDE OVER TO:
MACAULAY'S LAW OFFICE - CLOSE SHOT.
Macaulay is sitting at a flat desk, with some papers in
front of him. A stenographer is taking dictation. The
inter-office communicator buzzes. Macaulay leans over
pulls the switch and listens. A girl's voice comes over
the communicator.
GIRL'S VOICE (O.S.)
Telephone, Mr. Macaulay.
MACAULAY
((frowning in
annoyance at the
interruption-)
Who is it?
GIRL'S VOICE (O.S.)
The police.
With a puzzled frown, Macaulay picks up the phone.
MACAULAY
Hello...
(then with an awed
surprise)
Murdered! ... Yes, yes, I'll be
right over.
He gets up.
SLIDE OVER TO:
SPEAKEASY - CLOSE SHOT OF NUNHEIM AND MARIAN.
They are in a booth at a speakeasy. Marian is a big-boned,
full-fleshed, red-haired woman of about twenty-eight,
handsome in a rather brutal, sloppy way. Nunheim has a
satisfied smile on his face.
MARIAN
Where you been?
A waiter comes and puts two beers in front of them. He
stands waiting to be paid.
NUNHEIM
Out making some money.
MARIAN
(holding out her
hand)
Let's see it.
NUNHEIM
I haven't got it yet.
Marian gives him a dirty look and takes a quarter out of
her purse and throws it down to pay the waiter for the
beers.
SLIDE OVER TO:
HALL - OUTSIDE JULIA'S APARTMENT
Two old wispy cleaning women in aprons with pass keys on
thin belts are standing talking with their heads together
outside of Julia's apartment.
1ST CLEANING WOMAN
(almost whispering)
What're you goin' to tell 'em?
2ND CLEANING WOMAN
(wiping her forehead
with a dust cloth)
I guess you got to tell 'em
everything.
1ST CLEANING WOMAN
Do you think Mr. Wynant....?
2ND CLEANING WOMAN
All I know's they had an awful
fight a while ago.
A police officer comes to the door of the apartment. He
beckons to them.
POLICE OFFICER
All right, girls.
Without realizing the humor of the "girls", they start in.
SLIDE OVER TO:
STUDSY'S CABARET - FULL SHOT.
It is in a flashy Broadway cabaret. On the dance floor
about ten girls in practice clothes are rehearsing a new
routine. A man is mechanically playing the piano for them.
Several waiters are decorating the room with greens and
Christmas wreaths. It is late afternoon, and the place
has no customers in it. The chairs are piled on the tables.
Morelli is sitting at a table. The waiter is placing a
bottle of Scotch and a glass before him. Studsy comes up
to the table. Studsy is a powerfully built man of about
fifty who looks forty. He is a little fat now, but not
soft. Morelli looks up as he comes to the table. CAMERA
MOVES UP FOR CLOSE SHOT ON THEM.
MORELLI
How'yer, Studsy.
He starts to pour a drink.
STUDSY
(looking at Morelli
very closely)
Diden you know Julia Wolfe?
MORELLI
(a guarded tone in
his voice)
Yeah.
STUDSY
Somebody just bumped her off I
thought you'd like to know.
Studsy walks away. Morelli slowly drinks his liquor, his
eyes fixed on space, thinking hard.
SLIDE OVER TO:
JULIA'S BEDROOM AGAIN - MEDIUM SHOT.
The Medical Examiner, Dr. Walton, is leaning over Julia's
body. An officer is sitting in front of Julia's desk,
looking through her papers and letters and throwing them
to one side as he reads them. John Guild, a burly, laconic,
Special Investigator is in charge of the investigation.
He is questioning Macaulay, who is sitting facing him.
GUILD
When was the last time you gave
her money for Wynant?
MACAULAY
Yesterday. I gave her a thousand
dollars.
GUILD
(calling over his
shoulder to the
other officer at
the desk)
Seen any signs of it, Bill?
BILL
Nope.
MACAULAY
(helpfully)
Perhaps it was a robbery.
GUILD
And her with that sparkler on her
hand, and thirty dollars in her
purse? Looks to me like our friend
Wynant came to collect and ran
into a little trouble.
BILL
They say downstairs they haven't
seen him in three months.
GUILD
(sarcastically)
There's a lot of things they don't
see in this place.
(he turns back to
Macaulay)
And you say you haven't seen him
or heard from him in that time?
MACAULAY
(meticulously honest)
I said he hadn't written me.
GUILD
Oh, then you did hear from him?
MACAULAY
(he hesitates to
tell something
which seems to
incriminate Wynant)
Well....
GUILD
(impatiently)
Well, what?
MACAULAY
He telephoned me today.
GUILD
(leaning forward
eagerly)
He did!
MACAULAY
I wasn't in. My secretary took
the message. He left word for me
to meet him at the Plaza.
GUILD
When was that?
MACAULAY
About three.
GUILD
Did you go?
MACAULAY
Yes. But he didn't show up.
An officer comes from the living room.
OFFICER
(to Guild)
His house and his shop is closed.
And he ain't at any hotel.
GUILD
(sarcastically)
You're not going to stop at that,
are you?
OFFICER
(sullenly)
No, sir.
The officer goes out again. Guild turns back to Macaulay.
MACAULAY
(eagerly defending
Wynant)
I know he'll turn up as soon as he
sees this in the papers. You can't
think he had anything to do with
it, Mr. Guild. He wasn't the kind
of man that....
GUILD
(interrupting)
Do you know what they fought about
that night he went away?
MACAULAY
(frowning as he
realizes that this
sounds bad)
I didn't know they had a fight.
GUILD
(dismissing Macaulay)
Well, thanks. We'll call you when
we need you again.
Macaulay gets up to go.
CLOSEUP - MEDICAL EXAMINER
He is leaning over Julia's body.
MEDICAL EXAMINER
Mr. Guild, here's something very
interesting...
As Guild walks into the shot, we:
DISSOLVE TO:
MEDIUM SHOT - JORGENSEN'S LIVING ROOM.
Mimi is in the midst of telling her experience.
Gilbert, Dorothy and Jorgensen are listening.
Mimi still has her hat and coat on. She has just come in.
She is seated, on the edge of her chair, enjoying the
recital. Jorgensen stands at the window.
MIMI
and there she was lying dead. The
police said she'd probably been
killed about ten minutes before I
got there.
JORGENSEN
(turning around -
speaking with quiet
anger)
I thought you said you weren't
going there.
MIMI
(flustered)
Why, you said...
JORGENSEN
(sharply interrupting)
Never mind.
GILBERT
(who is tremendously
interested)
Did they find any clues... a gun
or fingerprints or anything?
MIMI
(very glibly -
remembering what
she has in her
purse)
Not a thing.
GILBERT
Was there much blood?
DOROTHY
(distressed)
Don't. It's horrible.
MIMI
Nonsense! She got at she deserved.
GILBERT
(to Mimi, not
accusingly, but
with scientific
detached interest)
Did you kill her?
MIMI
Gilbert!
GILBERT
Why not? You had a perfectly good
motive.
MIMI
I hope you won't talk that way to
the police when they come here.
CLOSEUP OF JORGENSEN.
There is a guarded look of terror in his eyes.
JORGENSEN
The police. I thought you said
they'd finished with you.
MIMI'S VOICE (O.S.)
They said they'd finished for the
present.
The thought that the police might come to the apartment
increases his fear.
MEDIUM SHOT INCLUDING MIMI, DOROTHY AND GILBERT.
Mimi is watching Jorgensen anxiously.
GILBERT
Well, I've got my alibi. I was at
the Public Library.
(To Jorgensen)
Where were you?
MIMI
(hastily, with her
eyes still on
Jorgensen)
Children, will you go into the
next room? I want to talk to Chris
alone.
At that minute the front door bell rings.
Mimi looks toward the door, wondering who it is.
GILBERT
(going out to answer
the ring)
I'll go.
JORGENSEN
I'll be in my room.
He goes quickly out.
HALLWAY OUTSIDE JORGENSEN APARTMENT.
Guild and Bill are standing outside the door of the
Jorgensen's apartment. Gilbert opens the door of the
apartment.
GUILD
Is Mrs. Jorgensen in?
GILBERT
(delighted to see
then)
Yes, come right in!
The two officers go in and the door closes behind them.
From a door beyond, the service door of the apartment,
Jorgensen comes out, putting on his hat and coat as he
comes. He doesn't wait for the elevator but starts down
the stairs.
LIVING ROOM - JORGENSEN'S APARTMENT
Guild is seated uncomfortably on one of Mimi's delicate
chairs, opposite Mimi. Gilbert is standing, listening
eagerly. Dorothy sits nearby, her mind deeply occupied.
Mimi is a little frightened, but she hides it under a
pretense of wanting to do all she can to help. Dorothy
sits listening.
GUILD
(as scene picks up)
There are a few things we want to
check up on.
MIMI
I see.
GUILD
You say you were in the room with
the body from the time you
discovered it 'til we came?
MIMI
Why yes.
GUILD
Did you see anything in Miss Wolfe's
hand?
MIMI
No.
GUILD
Are you sure you didn't leave the
room... that one of the bellhops
or maids might not have been in
there alone?
MIMI
(grabbing at the
opening he has
given her)
I don't think so. Of course I was
terribly upset... I hardly knew
what I was doing.
GUILD
The Medical Examiner seems to think
that the body was touched. He
says it looks as if the girl's
hand had been forced open after
she was killed....
CLOSEUP OF DOROTHY
She is listening intently.
GUILD'S VOICE (O.S.)
(Continued)
And we just found out she had a
thousand dollars the night before.
Dorothy looks toward her Mother, her eyes wide with horror.
MIMI'S VOICE (O.S.)
I'm sorry I can't help you.
BACK TO:
MEDIUM SHOT OF GROUP
Guild rises and starts for the door. Bill turns to follow
him.
GUILD
That's all right.
(slight pause --
His eyes swiftly
scrutinize the
group)
Well, we'll be going.
MIMI
(tonelessly)
Goodbye.
GUILD
(dryly)
Goodbye.
Guild and the officer go out.
HALLWAY OUTSIDE JORGENSEN APARTMENT
Guild and Bill come out, followed by Gilbert.
Guild goes to the elevator and rings the bell.
GILBERT
Could I go down and see the body?
I've never seen a dead body.
GUILD
(for a minute he is
curious, thinking
there may be some
reason)
Why do you want to?
GILBERT
(very serious)
I've been studying psychopathic
criminology. I have a theory.
Perhaps this as the work of a sadist
or a paranoiac. If I saw it, I
might be able to tell.
The elevator comes up.
GUILD
(pretending to be
as serious as
Gilbert)
That's a good idea. But don't you
bother to come down. We'll bring
the body right up here.
(he gets into the
elevator)
Come on, Bill.
They leave Gilbert, uncertain whether he is being kidded
or whether they mean it.
MIMI'S BEDROOM - PANNING SHOT
The door is closed behind her. She goes to a small wall
safe and opens it. Then she opens her bag and is about to
put the thing she took from Julia's hand wrapped in a
handkerchief, into the safe, when she is startled by
Dorothy's voice.
DOROTHY'S VOICE (O.S.)
What have you got there?
MIMI
(she turns in the
direction of
Dorothy's voice)
None of your business.
Dorothy comes up to her mother and speaks accusingly.
DOROTHY
You took that money from Julia's
hand.
MIMI
I didn't.
DOROTHY
Then what are you hiding?
MIMI
(with malicious
relish)
It's a piece of evidence that's
worth a great deal more than that.
DOROTHY
(with bitter contempt
for her other)
You hand that over to the police.
MIMI
I'll do nothing of the sort.
DOROTHY
All right, then. I'll tell them.
MIMI
(very sure of her
ground)
I don't think you will. It's your
father's.
DOROTHY
(shocked)
I don't believe it! You're lying!
MIMI
(viciously pleased
at breaking
Dorothy's faith in
her father)
There!
She holds out the broken end of the watch chain that we
saw Wynant carry, wrapped in a handkerchief which is spotted
with blood. Dorothy looks at it, and recognizes it with
horror.
DOROTHY
(covering her face)
Oh!
MIMI
(triumphantly)
Now do you believe me!
FAST DISSOLVE TO:
LIVING ROOM - NICK'S APARTMENT.
It is eight o'clock the same night... about two hours
later.
There is a party in full swing. It is an odd assortment
of people. There is a police captain there, a reminder of
Nick's old life. A little prizefight manager with a big
fighter in tow. Quinn, a dissipated looking man of about
thirty-five, and his wife, a rather faded woman of about
thirty-two, very jealous of Friend Husband. Quinn is a
broker, and the only one in evening clothes. Then there
is Foster, a big fat man, who sits near the radio, a glass
in his hand. With every sip, he grows more sentimental,
as he listens to the program of Christmas carols that are
coming over the radio. There is an improvised bar with
everything in the way of liquors and necessary
accompaniments on it. Nick is moving among the people,
seeing that they are served. Nick goes over to Mrs. Quinn,
giving her one of the drinks he is carrying. Mrs. Quinn
is looking around rather fearfully at the curious assortment
of people in the room.
NICK
(giving her a drink)
How are you doing?
MRS. QUINN
(looking around
disapprovingly)
Who are they, Nick?
NICK
(easily)
All my old friends.
He smiles and passes on to another group. Among them is a
very rough looking man with a battered face. He turns to
grin at Nick showing a mouth with several teeth missing.
THE MAN
Hey, Nick. I think your wife's
great.
NICK
Thanks. I wanted you to see her...
and I wanted her to see you.
Nick goes on to speak to the Police Captain who is standing
talking to a very distinguished looking woman, in evening
clothes.
POLICE CAPTAIN
(to Nick)
It's like old times, Nick. Remember
the fun we used to have when we
were both flat broke?
NICK
Do I!
POLICE CAPTAIN
(with a sentimental
sigh)
Those were the good old days.
NICK
Don't kid yourself. These are the
good old days.
Nick goes on his way to another group.
The CAMERA PANS OVER TO NORA at the door.
She opens it to admit Face Peppler. He is a tough-looking
ex-convict. He looks eagerly around the room.
PEPPLER
Nick Charles here?
NORA
Yes.
(calling Nick)
Nick!
PEPPLER
You his wife?
NORA
Yes.
PEPPLER
(giving her an
approving pat on
the posterior)
He's a good guy.
(his eyes are eagerly
searching the room
for Nick)
He sent me up the river once.
(he sees Nick coming
toward him