СЕКИРА СТАРОГО ТОРИРА
The RKO TITLE and CREDITS are SUPERIMPOSED over a tall stained glass window as shown from the inside of a building. There are two maidenly figures worked into the stained glass window: one, older and slightly taller, dressed in van colored garments, leads by the hand a younger and smaller girl, dressed in a simple flowing, white robe. Through the lighter colored pieces of glass in the window the branches of a tree can be seen stirring in a light wind.
The last credit FADES from the screen.
INT. STAIRWAY - HIGHCLIFFE ACADEMY - DAY
The CAMERA HOLDS ON the stained glass window. Beneath the painted figures is a scroll, and on the scroll, a part of the stained glass window, is an inscription:
I RUNNE TO DEATH AND DEATH MEETS ME AS FAST, AND ALL MY PLEASURES ARE LIKE YESTERDAY. -
John Donne, Holy Sonnets VI.
As the CAMERA CONTINUES TO HOLD, the jumbled sound of classroom recitations can be heard.
GIRL'S VOICE (o.s. from classroom above camera level) Amo, arias, amat, amamus, amatis, amant.
SECOND GIRL'S VOICE (o.s. from classroom below camera level) One times nine is nine. Two times nine is eighteen. Three times nine is twenty-seven. Four times nine is thirty-six
THIRD GIRL'S VOICE (o.s. from classroom above camera level, singing) Do, no, mi, Pa, sol, la, ti, do.
These classroom sounds, although they can be heard clearly, should not disturb the serenity of the stairway or of the painted figures on which the CAMERA IS LEVELED.
Suddenly, from overhead, a gong rings with a harsh, jarring noise. Doors are heard opening, feet scuffling over the floor and the light, high sound of girls' voices chattering. A moment later a cascade of uniformed schoolgirls of all ages pours down the stairs past the camera. Against this tide one single girl makes her way.
The CAMERA PANS WITH her up the remainder of the short flight of stairs and across the hallway to a door marked, PRINCIPAL. The girl knocks and from inside an over— cultured woman's voice is heard in response,
MRS. LOWOOD'S VOICE Come in, please.
CLOSE SHOT - Mary Gibson at the door. She hesitates before opening it. She is young and her youth gives her prettiness, but something in the quiet serenity of her face and the clear candor of the eyes show the innate niceness of the girl; a quality of character which will give her real beauty as she grows older. At the moment she is somewhat perplexed by her unexpected summons by the Head Mistress.
MED. CLOSE SHOT of Mary as she opens the door and looks expectantly toward the desk. No one is there.
MRS. LOW0OD'S VOICE Here we are, Mary.
MED. LONG SHOT as Mary walks into the room. It is a large room and every effort has been made to invest it with authority. A large Sheraton desk with side trays stands at one end. On the wall behind this desk hangs a gloomy, dour visaged portrait of the founder of the school. The wall opposite the door is pierced by a large window. There are several bookcases with dull-looking volumes; books of reference and encyclopedia. On top of one of these cases is the white, plaster head of Athena. The walls are covered with enormous framed, sepia-tinted prints of the Acropolis, the Colosseum, Trajan's Column and other celebrated ruins.
Mrs. Lowood, the Principal, a solidly built lady with iron gray hair and her assistant, Miss Gilcrist, a slim, frail lady of indeterminate age, are at a small table at the end of the room. They are cutting out paper hearts. As Mary comes up to them, Mrs. Lowood finishes cutting out a paper heart and lays down the scissors with an air of satisfaction. With Mary close behind her, she starts toward the desk. Miss Gilcrist follows. The CAMERA PANS WITH them as they cross the room.
MRS. LOWOOD I have a most painful matter to discuss with you, Mary.
Mary looks concerned.
Mrs. Lowood has reached her desk, while Mary stands wondering what might come next. Mrs. Lowood deliberately seats herself and puts her fingertips together firmly. Over this Gothic arch she speaks to Mary. Miss Gilcrist takes her accustomed place beside her.
MRS. LOWOOD Your sister - - have you heard from her lately?
MARY No, Mrs. Lowood, she doesn't write often.
MRS. LOWOOD Have you any other relatives, Mary?
Mary shakes her head.
MARY No. Jacqueline brought me up. (smiling) Somehow I never felt I needed other relatives.
Mrs. Lowood nods.
MRS. LOWOOD That makes it all the more difficult ——
MARY (a little alarmed) Difficult? Has anything happened to Jacqueline?
MRS. LOWOOD We don't know, Mary. We've been unable to get in touch with your sister.
MARY (relieved) Sometimes she can be quite careless. Why don't you try Mrs. Redi?
MRS. LOWOOD I have written repeatedly to Mrs. Redi. She vouchsafes no information whatsoever. (pauses) It is six months since your tuition has been paid, Mary. Naturally, it is impossible for you to stay on here as a paying pupil.
MARY (in a small voice) Of course.
MRS LOWOOD Miss Gilcrist and I have talked it over. You can remain here and work with the younger children as a sort of assistant teacher. These Valentine cut-outs for instance —- (holds one up) -- it's something you could do.
She starts to get up as if everything were decided.
MARY But, Mrs. Lowood, I can't just stay here not knowing what's happened to my sister. Maybe if I went to New York -- if I saw Mrs. Redi myself --
MRS. LOWOOD I doubt if you'll get anything out of that woman. But if (shrugging) you'd like to try, I'll advance you the money to make the trip to New York. Of course, my dear, if you don't find your sister, you can always come back here.
NARY (catching the note of high minded dismissal) Thank you.
She turns and starts for the door. Miss Gilcrist goes with her.
INT. HALLWAY OUTSIDE MRS. LOWOOD'S OFFICE - DAY
Mary comes out of Mrs. Lowood's office, closely followed by Miss Gilcrist, who closes the door softly behind her.
MISS GILCRIST Mary, don't come back. No matter if you never find your sister -— no matter what happens to you -- don't come back.
Mary looks at her in surprise.
MISS GILCRIST (in a kindly, more explanatory tone) My parents died when I was a pupil. I left, as you are leaving, but I didn't have courage -- one must have courage to really live in the world -- I came back.
The two stand looking at each other for a moment, while Mary realizes what her future may be -- what Miss Gilcrist is -- then suddenly the ringing notes of Mrs. Lowood's voice come from the other side of the door.
MRS. LOWOOD'S VOICE Gilcrist!
Miss Gilcrist starts, turns automatically to open the door, then looks back at Mary. With a fond glance, she pats her arm before opening the door and going on into Mrs. Lowood's office.
DISSOLVE
INT. STAIRWAY - HIGHCLIFFE ACADEMY - LATE AFTERNOON
The stained glass window. The rain pours against the glass, and the boughs of the tree beat back and forth. Mary comes down the stairs dressed in plain travelling clothes. She carries her bag in one hand. She hears the familiar sound of daily classroom recitations.
FRENCH STUDENT'S VOICE Je cherche Tu cherches Ell cherahe Nous cherohons Vous cherchez Elba cherohent
The French lesson dies away and we hear Mrs. Lowood's voice.
MRS. LOWOOD'S VOICE Agnes ---! John Quincy Adams did not follow John Adams as President.
Mary smiles. In the distance some young girl's fingers falter awkwardly over the melancholy chords of Traumerei. Mary reaches the bottom of the stairway and passes the big, fumed oak grandfather's clock which stands with majestic infinity of time, reminding all tardy students that it is later than they know. As she passes it, it rings the hour. She looks at its friendly, familiar face, and gives it a little pat of farewell. O.S. we hear a sweeping girl's voice reciting the final verse of "The Chambered Nautilus."
GIRL'S VOICE Build thee more stately mansions, 0 my soul, As the swift seasons roll; Leave thy low-vaulted past! Let each new temple, nobler than the last Shut thee from heaven with a dome more vast, Till thou at length art free, Leaving thins outgrown shell by life's unresting sea;;
With this burst of poetic encouragement, Mary crosses the hallway, opens the door and passes out of Highcliffe Academy, closing the door behind her.
FADE OUT
FADE IN
INT. FACTORY - LA JEUNESSE COSMETIC COMPANY - DAY
MED. CLOSEUP of a column of white powder falling from an oscillating sifter. The powder falls into a large barrel, but the column of powder and its attendant dust hide from view the three figures behind it. We hear the throaty voice of Mrs. Redi.
MRS. REDI'S VOICE That's enough.
There is a click as the apparatus is turned off. The powder stops falling. Three people are disclosed. Mary, still in her travelling suit; Mrs. Redi, a neat, businesslike woman, with firm features and a steady eye.
Her hair is extremely well coifed. Not a strand is out of place. Her clothes are covered by a long, white surgeon' s coat of immaculate linen. The third person is a workman, dressed in a white smock and wearing a long, snouted, inhalator mask, which he removes, revealing a benign and smiling face.
Mrs. Redi rubs a bit of the powder on the palm of her hand. She examines it critically.
MRS. REDI (to Joseph) It seems all right, Joseph. (turning to Mary with a strained smile) You see, we do keep up the quality of La Jeunesse products in spite of Jacqueline's absence.
She and Mary start down the line of machines toward a funnel and tube arrangement set up for filling bottles. The CAMERA DOLLYS WITH them.
MARY (as they go, evidently resuming a previous discussion) But you must know someone who has seen or heard of my sister.
MRS. REDI (coldly) I'm afraid not.
They reach the bottle-filling apparatus. Mrs. Redi lifts one of the bottles and holds it up to the light.
MRS. REDI Your sister had many friends --but they were not my friends. I was only the manager of her plant.
She sets down the bottle and they move on. The CAMERA GOES WITH them. Mary, embarrassed, looks at her. They have reached a machine which pours luke-warm cleansing cream into great jars. As one of the jars slides out from the machine, Mrs. Redi picks it up, rubs a bit of cream from the top of the jar onto the back of her hand, and judges the rapidity with which the cream dissolves at body temperature. Evidently it meets with her approval, for she passes on and goes toward her office.
Mary goes with her. At the door they stop a moment.
MARY Mrs. Redi, there's one thing —-with Jacqueline gone, how do you carry on the business? What do you do with the receipts? How do you sign checks--?
MRS. REDI (smiling) Mary, I'm amazed. Didn't Jacqueline tell you? She sold the business to me at least eight months ago. It's my business now.
MARY I didn't know.
MRS. REDI (still smiling) Yes —— and I must say I've done very well with it -- perhaps even better than Jacqueline.
They move on toward Mrs. Redi's office.
INT. SALON - LA JEUNESSE -DAY.
8Mary and Mrs. Redi come into the salon. Beauty operators are at work on patrons in several of the booths. The modernistic glass walls, some patterned with stripes, the mirrors, and the gleaming gadgets make of this ordinary room a rather fantastic and distorted place.
MARY There's nothing you can think of -- old letters, anything, that might give me some hint as to where I might find Jacqueline?
MRS. REDI Leave me your address, and if I find anything, I'll get in touch with you.
MARY I'm stopping at the Chatsworth.
MRS. REDI (with an air of dismissal) Thank you, my dear.
Mrs. Redi puts her hand on the knob of the door marked "OFFICE." Mary starts off.
INT. SALON — LA JEUNESSE COSMETICS, INC. - DAY
Mary passes through the salon. As she passes one booth, a young woman in the white smock of an operator comes out. This is Frances, a tense, nervous young woman, with bleached blond hair and excited, nervous eyes..
FRANCES (with great friendliness) Why, Mary --
MARY Hello, Frances.
FRANCES How's Miss Jacqueline?
MARY I don't know. That's why I came to see Mrs. Redi. I'm trying to find her.
FRANCES You mean Miss Jacqueline's gone, and you don't know where she is?
Mary nods. Frances beckons to Mary, and they pass through a side door into a corridor that connects the plant with the street.
INT. CORRIDOR - LA JEUNESSE COSMETICS, INC. - DAY
It is a narrow, gloomy passage. The two girls come into it from the side door. Frances fishes a package of cigarettes from her pocket, takes one, lights it as she speaks.
FRANCES I don't get this. Miss Jacqueline was always so fond of you -- she was always talking about you -— had your picture in her office.
MARY I know. For the first time I'm beginning to be frightened. I almost feel as if I'd never known my sister.
FRANCES Nothing's happened to her. It's just that I can't understand her not getting in touch with you.
MARY I can't understand it at all.
FRANCES Well, don't worry. I saw Miss Jacqueline only a week ago. I saw her at a little restaurant the boy friend took me to -- an Italian place down in the Village —- "The Dante."
MARY "The Dante?"
FRANCES It's on Peary Street. Just ask the people who run it. They'll remember her. (with reminiscent pride) People who see Miss Jacqueline never forget her.
MARY I'll try there.
She starts to return to the salon, but Frances indicates to her there is a short cut to the street by means of the long hallway. The two girls smile at each other. Frances turns back into the salon and Mary starts down the corridor.
EXT DISPLAY WINDOW & SIDE ENTRANCE - LA JEUNESSE COSMETICS, INC.- DAY
Mary comes out of the side entrance and passes the display window. She looks up for a moment at the words "La Jeunesse" and at the peculiar trade-mark of the company. It is on this peculiar trade—mark, a geometric figure, that the scene
DISSOLVES
EXT.STREET CORNER - PEARY STREET - GREENWICH VILLAGE
It is after three o'clock, and the street is alive with children. A covey of them flash past on roller skates, tailed by one poor urchin with only one skate, who strives desperately to keep up with the tail end of the procession. Mary, coming around the corner, has to draw back half a step to got out of his way.
A horse—drawn laundry truck stands at the curb on the opposite side of the street, and a man is busily lifting down bundles of soiled wash. On the other side Of the street is the Dante. It is an Italian restaurant, a half-flight below the street level. The name and the word "Restaurant" are written on the glass in gold letters.
In the lower left hand corner of the window is a cardboard sign, hand-lettered to read "Rooms for Rent". Above the doorway is a poly-chrome bust of Dante. Mary crosses the street to enter the Dante. A young man, Jason Hoag, comes around the corner. He is a man about thirty-five years old, and rather poorly dressed in an ordinary business suit and trench coat Under one arm he carries a load of books. He stops and looks at Mary with interest. She continues on, going down the steps, under the Dante statue, and into the restaurant. Jason looks after her.
INT DINING ROOM - DANTE RESTAURANT - DAY
This is a fairly good-sized room, with benches along the walls and many small tables. Along one wall is a crudely painted mural, a reproduction of the famous painting which shows Dante's first meeting with Beatrice. Dante is passing along the cobbled street, and Beatrice, with two companions, large, flourishing wenches, is casting him a coy look over her shoulder in passing. Directly under the feet of the poet is a small table for one patron. On a back counter stands an enormous, shining metal coffee machine. This is a patented contraption for making coffee. The entire machine is contrived to serve only one small purpose ——to make a cup of coffee by driving steam through ground coffee. Near this machine and flanking the door into the kitchen are fake palms in wooden tubs. There is a door leading to the house hallway, and through this door we can see the newel post of the stairway leading to the rooms above. On most of the tables, platters of antipasto have been arranged in readiness for the dinner hour. When Mary enters, the restaurant is empty, but echoes to the sound of a rich female voice singing with great sentimental emphasis the words of "Care Mio Ben." Mary looks around, hesitates a moment, and then starts toward the back of the restaurant, as if following the source of the singing. At the swinging door which separates the restaurant from the kitchen Mary hesitates a moment, then knocks timidly. The singing continues, and realizing that her knock will not be heard above it, Mary shyly pushes open the door.
INT. KITCHEN - DANTE RESTAURANT - DAY
This is a cluttered, busy, steaming kitchen. In one corner at a little table Mr. Romari, the proprietor, in a waiter's uniform, is busily folding napkins. Mrs. Romari herself from whose bosom come the sounds of
"Caro Mio Ben," can be seen through a cloud of steam behind a boiling, kettle of spaghetti. She is a tall, gracious Italian of sentiment and humor. Her pet pigeon in close attendance at her feet. This bird follows her wherever she goes, hopping about the floor at her heels. As Mrs. Romari wants to lift a kettle of spaghetti from the stove and carry it to a center table, she softly kicks the pigeon out on her way with a practiced backward sweep of her slippered foot. Her turn brings her face to face with Mary as she enters. Both the Romaris look at her questioningly.
MARY I'm worry to bother you. I want to ask you about my sister.
ROMARI (getting up) Yes?
MARY I thought you might know her. She was seen here about a week ago. Her name is Jacqueline Gibson.
ROMARI (shrugging) I don't know no Gibson. This is a restaurant. Many people come here.
MARY She's very beautiful.
Romari shrugs again.
MARY (CONT'D) I wish I could tell you what she looked like -- I know you'd remember her, She is tall --with dark hair --
Romari shrugs. This all means nothing to him.
MARY Once you'd seen my sister you'd never forget her.
MRS. ROMARI (interrupting; to Romari) Giacomo -- la bellisslina madonna —-
ROMARI Maybe.
MRS. ROMARI (to Mary) Let me look at you -- you could be her sister
MARY (smiling) Yes —— yes, if she made that much impression on you, I'm sure it was Jacqueline.
MRS. ROMARI She's not been here for a long time.
MARY But she was here?
MRS. ROMARI Oh yes, yes. One day a beautiful car comes here. This beautiful lady in furs gets out. There is a handsome man with her, and the chauffeur The lady rents one of our upstairs rooms. The chauffeur changes the lock on the door. Then the lady never comes back --not to live, anyhow. She came back three, four times, but always alone and just to eat.
Mary shakes her head in puzzlement.
MARY You mean she just came here, rented the room, locked it, and left?
MRS. ROMARI Yes -- and pays the rent every month.
MARY Could you let me see that room? If it is hers, there might be something there to help me find my sister.
ROMARI (shaking his head) No -- the rent in paid. The lady asked us to promise, I wouldn't open the door.
MARY Please.
Romari shakes his head.
MARY (CONT'D) (turning to Mrs. Romari, pleading) It's important
Mrs. Romari looks at her kindly.
DISSOLVE
INT. UPPER HALLWAY - DAUTE - DAY
Mary and the Romaris. It is a bleak hallway with a narrow strip of worn carpet running down the exact middle of the floor space. A picture of St. Francis of Assisi, surrounded by fluttering white birds, hangs on the wall, a little bit askew. Mrs. Romari and Mary stand near the stairway railing, with the pigeon in close attendance on Mrs. Romari. Romari, with a toolbox at his feet, is at the door, on which is the number "7". He has taken off the bottom hinge and is now striking a last few blows to remove the pin from the top hinge.
As he works, a girl -- Mimi -- crosses in the background from one hallway door to another. She is a tall, thin blonde and is wearing a faded bathrobe. She has a handkerchief over her lips, and is coughing dismally. She closes the door behind her.
ROMARI Fo come ti pare. To desiderare sempre di vedere che cosa c'era in quella stanza.
MARY (turning to Mrs. Romari) What did he say?
MRS. ROMARI (translating) He says he always wanted to see the inside of that room anyway.
The top hinge comes off. Mr. Romari opens the door, and the three press forward.
INT. JACQUELINE'S ROOM - DAY
The CAMERA IS SHOOTING OVER the shoulders and PAST the half lost profiles of Mary and the Romaris, as they look into the room. It is a room that is empty except for two objects. From a pipe overhead is suspended a hangman's noose and beneath it stands a little gilt chair. There is nothing else.
DISSOLVE
INT. DINING ROOM - DANTE - DAY
MED. SHOT of Jason Hoag. He is standing shyly beside the coffee machine while Mr. Romari draws a cup of the coffee. Jason watches Romari while he pulls the various levers, releases the clouds of steam and finally pulls out the little demi—tass and puts it on a little tray. While Jason watches, he listens to conversation going on nearby.
POLICEMAN'S VOICE I tell you, young lady, when a thing like this comes up, you've got to go to the police. What do you think people pay taxes for? I ain't just to keep us chasing after crooks and regulating traffic. We're supposed to help everybody. You gotto go to the police about your sister, Miss.
Romari starts out of scene with the little cup of coffee. The CAMERA PANS with him as he brings the coffee to Mary who is seated with Mrs. Romari at one of the tables under the mural. A policeman stands beside them. The policeman is in a heavy blue sweater, with his coat over his arm, his uniform cap on the back of his belt and all the metal weight of his impedimenta can be seen hanging from his belt, handcuffs, revolver, billy, etc. Jason comes hesitantly into the scene. He addresses the policeman.
JASON I've had some experience with the Bureau of Missing Persons
POLICEMAN Yeah -- well, Mr. Hoag, lost persons are the concern of the Missing Persons Bureau.
ROMARI You're a poet, Jason. You stick to your poetry.
JASON In a way that makes everything my business.
MARY (a little hesitantly to Jason) Were you going to make a suggestion?
JASON Yes. I was going to tell you to look into your own heart -- do you really want to find your sister?
Mary looks affronted. Mrs. Romari bursts out laughing in rich good humor.
MRS. ROMARI Ah, my Jason -- always laughing -- always trying to help others. (to Mary) He's a good boy, Miss -- he just talks that way.
JASON (with a little smile to Mary) I'm a good boy, but no one listens to what I say.
POLICEMAN You do what I tell you, young lady, and go to the Missing Persons Bureau for your sister.
MARY (turning from Jason to the policeman and starting to rise) If you'll give me the address.
INT. BUREAU OF MISSING PERSONS - DAY
FULL SHOT. A long counter divides the room in half. On one side are the filing cabinets, records, and office equipment used by the policemen who service this heartbreak house. Behind the desk, protected by steel wickets, sit half a dozen policemen taking down dates.
CAMERA DOLLIES SLOWLY FORWARD parallel to the counter. As it moves along, we hear the voice of the petitioners describing their loved ones. The same flat, unemotional professional voice seems to ask the routine questions at each of the different wickets.
FIRST VOICE (A MAN) She was only sixteen --
FIRST POLICEMAN'S VOICE Had she ever run away before?
SECOND POLICEMAN'S VOICE What did he have on when last seen?
SECOND VOICE (A WOMAN) (tearfully) He went out without his hat or his coat. It's very cold for such an old man -—
THIRD POLICEMAN'S VOICE Any identifying marks or characteristics, scars, amputations, tattoo marks, speech impediments?
THIRD VOICE (A MAN) No, none.
CAMERA DOLLIES UP to the last wicket where Mary stands.
POLICEMAN'S VOICE Any further details?
MARY She sold her business about eight months ago to Mrs. Esther Redi.
POLICEMAN What relation are you to the missing person?
MARY Sister.
POLICEMAN Sign here.
Mary starts to sign.
REVERSE ANGLE - on the other side of the wicket. Two men stand in the f.g., but not together. In the b.g. we see Mary's back as she signs the police report. The man in the center is Paul Radeau, a big man with iron-gray hair. He appears entirely oblivious of everything around him. The second man is Irving August, a skip-trace artist. His derby is dulled by the mists of many winters, and his dark eyes are fastened upon Mary. It is obvious that he has been listening as she made out her report. Mary finishes signing the report and turns away from the wicket. She takes scarcely more than a single step when she finds herself confronted by Irving August, who smiles at her.
AUGUST I'm Irving August, private investigator. I think I can help you. Here's my card.
He produces a business card which he hands to Mary. Mary takes the card and glances at it as August continues.
AUGUST The name may not mean anything to you, young lady, but say the word and I'll have your sister for you in forty-eight hours.
MARY (impressed) You can?
AUGUST (gesturing expansively) Look, sister', Manhattan is only nine miles long and four and one half miles wide. I ain't never been off it. I know it like you know your own back yard. You get me a small retainer --say fifty bucks, and I'll get your sister for you. I guarantee
MARY I haven't any money but I'll get a job and --
Irving August's enthusiasm vanishes.
AUGUST Lady, this kind of work costs money. I got to cover all the hospitals, the morgue -- that's the first place you got to go and it ain't pleasant -- the morgue -—
He finishes his speech by shaking his head. Mary turns away and goes out of scene. August is standing, staring disgustedly after her when a hand touches him on the shoulder and he turns to face Paul Radeau.
RADEAU You know who I am, August?
AUGUST (suddenly tense and cautious) Sure I do.
RADEAU Then you know that if I give you a little advice, it'll be good advice.
AUGUST Yeah —- sure.
RADEAU That girl was looking for Jacqueline Gibson. I'd forget it if I were you.
AUGUST Okay, Mr. Radeau, it's forgot.
Radeau nods appreciatively and goes ponderously away. Irving August watches him go, his eyes sharp with avarice and suspicion. With quick steps, August crosses to the wicket where Mary had given her report.
AUGUST Hey, Danny, get me the file on Jacqueline Gibson, will you?
The policeman turns to the file.
DISSOLVE IN
EXT. BELLEVUE HOSPITAL MOHMJE - DAY
The bulwarks and gangplank are in the f.g. The street and wharf at river level. Beyond that there are the sidewalk and the two doors leading into the morgue. The river is not seen, although the sound of tugboat and barge whistles comes o.s. The street and sidewalk are wet, as if a drizzling rain had recently fallen, One of these doors is open and from it comes a procession of dock workers carrying cheap pine coffins. The other door is closed, Above both doors are printed the words:
NEW YORK CITY MORGUE
Over the door from which the pine boxes are being taken is another legend carved into the stone:
HE CALLETH ALL HIS CHILDREN BY THEIR NAME.
Out of the second door Mary emerges. Her face is white and drawn. With a shudder she wraps her coat about her and starts walking, bracing herself against the fresh, cold gusts of wind blowing from the river. A barge whistle sounds o.s. dismally.
DISSOLVE
INT RECEPTION ROOM - FORTESCUE, HOLLOWAY & WARD - DAY
MED. SHOT Mary Gibson and Miss Summers, the receptionist, Miss Summers wears horn—rimmed glasses and a oriijp white shirtwaist. In front of her is a plaque with the inscription:
FORTESCUE, HOLLOWAY & WARD ADMIRALTY LAWYERS
Miss Summers is reading questions from a form reception pad and filling out the answers.
MISS SUMMERS Whom do you wish to see?
MARY Mr. Gregory Ward, please.
MISS SUMMERS And what is it about, Miss Gibson?
MARY (her voice almost a whisper) A personal matter —— I was given Mr. Ward's name --
MISS SUMMERS May I ask who gave you his name?
Mary thinks a moment, and as she thinks all the horror of her trip to the morgue and what she has seen is reflected in her face and voice.
MARY The morgue ——
Miss Summers looks up at her in surprise, but already Mary is beginning to faint. As she crumples, we IRIS OUT.
INT. GREGORY WARD'S PRIVATE OFFICE - DAY
IRIS IN on a CLOSEUP of Mary's face as seen through a
glass of water which she is sipping, Gregory Ward is holding the glass and over the shot we hear his voice.
GREGORY'S VOICE Do you feel all right?
CAMERA PULLS BACK to include Gregory Ward seated beside Mary, who is reclining on a couch in his office. He is a man in his middle thirties, handsome and well—dressed in a quietly, professional way. He takes the glass away from Mary's lips and passes it to Miss Summers who is beside him.
MARY I feel like an idiot —— fainting in a stranger's office.
Miss Summers, with a considerate look to see that Mary is all right, starts out of the room with the glass of water.
GREGORY (smiling) We're not exactly strangers, Mary. Jacqueline spoke about you often. I suppose she told you about me,
MARY No...At the morgue they told me a Mr. Gregory Ward had made inquiries about Jacqueline.
GREGORY The Morgue? No wonder you fainted. (he pauses) I wish you had come to me first.
MARY Then you know where Jacqueline is?
GREGORY (shakes his head negatively) But I'd give a great deal to know.
MARY (spunkily) Why?
GREGORY (smiling) I love your sister, Mary. I love her very much.
There is a little silence while Mary looks at him steadily, then she half smiles. He leans over and pats her hand.
GREGORY It's easy to understand now, isn't it?
Mary nods.
GREGORY (speaking in a low voice, almost as if to himself) A man would look anywhere for her, Mary. There is something exciting and unforgettable about her -— something you never get hold of —- something that keeps a man following after her.
MARY Because I loved Jacqueline I thought I knew her. Today I found out such strange things ——frightening things. I saw a hangman's noose that she had hanging -— waiting —— I feel as if I'd never known her.
GREGORY (smiling) At least I can explain that, Mary. Your sister had a feeling about life —— that it wasn't worth living unless one could end it. I helped her get that room.
MARY Weren't you afraid?
GREGORY Afraid she might commit suicide? (he shakes his head) People who commit suicide don't talk about it. That room made her happy in some strange way I couldn't understand. She lived in a world of her own fancy. She didn't always tell the truth. In fact -— I'm afraid she didn't know what the truth was. (he pauses for a moment, and looks at Mary) There were many things about Jacqueline I didn't understand, and yet, without understanding, I had to be with her —— to see her —— to touch her —— in order to be happy. It's hard to explain to a youngster.
MARY (a little sharply) I'm not a youngster. I can understand.
He looks at her.
GREGORY The colors returning to your cheeks. You look as if you were coming back to life. Are you sure you didn't faint because you were hungry?
Mary looks astonished, and then laughs to herself.
MARY You know...I didn't have lunch.
He looks at his wristwatch, and chuckles.
GREGORY It's nearly six. Time for dinner, I'd say.
He extends his hand to her to help her up. She takes it.
DISSOLVE
EXT CHATSWORTH HOTEL FOR WOMEN - NIGHT
DOLLY SHOT of Mary and Gregory Ward as they come up along the street in front of the hotel. There is a very heavy mist and Ward carries an umbrella.
MARY Thank you. It was a lovely dinner.
GREGORY Good.
MARY (thoughtfully) But I reel guilty. It doesn't seem right for me to enjoy myself with Jacqueline gone.
Gregory looks at her.
GREGORY You can't make it your life's work looking for Jacqueline. (with a smile)) You'll have to do other things... live...get some enjoyment out of life. I hope you'll let me help you.
MARY (smiling) Thank you...goodnight.
GREGORY Goodnight, Mary.
He tips his hat and turns away, as she starts in to the hotel.
TNT LOBBY CHATSWORTH HOTEL - NIGHT
It is a conventional hotel lobby. Mary comes in, and as she crosses the lobby, flrving August rises from a straight back chair set against a pillar, and comes to meet her.
AUGUST I've been waitin' for you Miss Gibson. I want you to know I've decided to take your case.
MARY Mr. August, I'm not at all sure -
AUGUST (interrupting) Look. Don't say a word. I've taken an interest in you and I'm willin' to put up my time to help you. Besides, I think I know where to find your sister.
MARY Where?
AUGUST Wait a minute. This has got a lot of angles. You've got to take it easy. Do you know a Mrs. Redi?
MARY Yes. She bought my sister's business.
AUGUST That's what she told you. I looked it up at the Hall of Records. Your sister deeded her the business as an outright girt.
MARY Why would Mrs. Redi lie to me?
AUGUST That's what I tried to find out. I went to La Jeunesse —— (he mispronounces as badly as he can) -- used a phony health inspector's badge —— they let me go through the works -- all but one room. That room was locked. I'd like to see the inside of that room.
MARY You think my sister is there?
AUGUST You can't tell.
MARY Can we go there now?
AUGUST Sister, you can't just go breaking into places. There's a night watchman down there and locks on the door.
MARY If my sister's in that room, it won't make any difference about warrants- and things, I want to go there.
AUGUST (thoughtfully) I don't know if I want to go with you or not.
Mary starts out and, a little reluctantly, August follows her.
EXT. STREET NEAR LA JEUNESSE - NIGHT
Mary and August come across tho street and look in the windows of the cosmetic company. Only the night lights are burning in the salon. August tries the door rather perfunctorily. He shakes his head, and with Mary, moves on to the side door leading into the passageway. From his pocket he takes a bunch of keys and tries one after another. Finally one key works and the door swings open. Mary stops in ahead of August.
INT. PASSAGEWAY LA JEUNESSE - NIGHT
TWO SHOT of Mary and August. August softly closes the door behind him. The street light shines through the glass upper ha-if of the door and invades the dark hallway for a short distance. They walk softly forward to the place where this light ends abruptly in the darkness. Here Mary pauses. August looks at her.
AUGUST I don't like this.
MARY Which room is it?
AUGUST It's the last door at the end of this hall.
Mary starts forward a step or two, the shadows closing around her until only her face is still in the light. August follows her. She stops and looks off into the darkness.
AUGUST You scared?
MARY Yes.
AUGUST Let's get out of here.
MARY No.
They stand a moment in silence.
MARY You could go on, Mr. August. You could open the door. I'd stay right here.
August shakes his head.
MARY It's only a little way, Mr. August.
AUGUST I'd like to get out of here.
MARY No.
They stand again silently looking down the dark corridor.
AUGUST We can't stand here all night.
MARY You could go and open the door.
AUGUST Listen ——
Realizing the futility of argument, he breaks off what he was going to say, shrugs, and starts down the dark passage. Mary watches him and retreats a stop or two toward the street in order to have the comforting light around her again. She stands there while August's footsteps recede in the darkness.
EXT. ENTRANCE OF THE SALON - NIGHT
A night watchman, an old man wearing a worn corduroy Norfolk jacket and a battered hat, with his time clock hanging from a broad strap around his neck, comes out of a neighboring store, a flower shop. He carefully closes the door behind him and goes to the entrance of La Jeunesse. From a key ring hanging from the leather clock strap he selects one key and begins to open the door.
INT. PASSAGEWAY - NIGHT
Mary still stands in the patch of light near the doorway. Abreast of her is the doorway leading from the hall to the salon. Through the glass upper half of the door, she sees a gleam of light in the other room and tiptoes up to the door and looks out.
EXT. SALON LA JEUNESSE - NIGHT
From Mary's angle, shooting through the window, can be soon the night watchman, the beam of his flashlight coursing ahead of him as he makes his way to a time clock. Ho rings in his clock.
MED. CLOSE SHOT — Mary, nervous and apprehensive, looks through at the night watchman. She makes a decision and starts off along the hallway to warn August. She disappears in the blackness of the unlit portion of the hallway.
REVERSE SHOT. At the far end of the hallway the illuminated square of the street door can be seen, and the little patch of light near it Nearer the CAMERA a broad streak of light from a partially open door is between the darkness and the CAMERA. Mary comes out of tho darkness and into this light. At the same moment, August comes out of the partially opened door, blocking out the light for a minute. His shadow goes ahead of him - contorted and strange. He stands a moment before Mary; both of his hands clenched tightly against his stomach. She speaks to him in a whisper.
MARY Mr. August -- the night watchman
August makes no answer, but starts walking blindly, swaying a little, toward the street door. Mary goes with him, walking at his side, trying to peer into his face.
MARY The night watchman -- he is in the salon.
Still August pays no attention.
MARY Mr. August, what is it? What's the matter?
There is no answer. Ho continues to walk in the same jerky, pain—gripped fashion, slowly and unsteadily, toward the light. They are engulfed in the darkness.
MED. CLOSE SHOT - August and Mary from the street angle, as they come out of the darkness. Mary is very agitated and worried. August still continues to plod blindly forward. Mary reaches out to touch his shoulder.
MARY Mr. August --
Her hand touches his shoulder. Almost as if unable to bear this trifling weight, he collapses suddenly at her foot. She looks down.
CLOSEUP of Irving August's arm on the floor. It is sprawled awkwardly out The sleeve is darkly stained, and there is a widening stain of blood upon the floor. Mary's slippered foot step back so that the blood will not touch her.
Mary screams. The narrow hallway rings, echoes and reechoes with the sound.
Mary runs wildly toward the door, fumbles with the knob and pulls it brusquely open. As she does so, the beam of the night watchman's searchlight comes in from the loft. O.S. a wild bell starts to ring madly as Mary bolts in panic.
EXT. STREET IN FRONT OF LA JEUNESSE - NIGHT
Mary comes out of tin deer and starts running down the street. Behind her the lights of both the hall and the salon blaze. The bell rings o.s. she looks ever her shoulder and continues running.
EXT. SUBWAY ENTRANCE - NIGHT
Mary, still running, comes down the street. She looks back for a moment and then goes down the stairs to the subway.
The CAMERA REMAINS on the subway entrance a moment so that it can be clearly seen that this entrance is marked:
FOURTEENTH STREET
DISSOLVE
INT. SUBWAY CAR - NIGHT
It is late, and this particular car is almost empty. There is Mary,.sitting huddled in one corner under the map of the route which the I.R.T. so thoughtfully provides. Mary sits, still and white, obviously shaken. Her coat collar is drawn protectively against her throat. Opposite her are a pair of young lovers, their hands clasped, who look blissfully into each others eyes.
The conductor comes shambling into the car. He leeks at Mary and takes a step toward her, teetering on practiced tees, disdaining the overhead strap.
CONDUCTOR You know where you're going, lady?
Mary nods.
CONDUCTOR You've been to the end of the line and back again -- hope you enjoyed the ride.
He passes on. Mary looks after him, frightened. As he reaches the end of the car, the subway train begins to come to a step. The two lovers get up, their hands still tightly clasped.
INSERT A SIGN reading: "14TH STREET"
BACK TO SCENE. The train comes to a stop. Mary glances up. The subway door glides open. The two lovers sidle crab-wise through it, never relinquishing their clasps on each other's hands, and through this same door come three men, three convivial drunks.
GROUP SHOT of the three drunks as they seat themselves opposite Mary. The middle drunk carries the heaviest load. The ether two support him, laughing and rearing as they make him comfortable between them. All three wear top hats and dark overcoats The hat of tin man in the middle is tilted over one eye.
MED. CLOSE SHOT of Mary as she looks at the three men across from her. Over this shot comes the sound of the subway train stopping.
THREE SHOT of the three men. One of them leans across the supposedly drunken man between them to offer a light for the ether's cigarette. The man in the middle lolls awkwardly, swaying- between them.
CLOSEUP of Mary as she stares at the man in the middle. Some familiar chord of memory is touched in her mind.
THREE SHOT of the three men.. The car jolts and the hat slides off the middle man's head. We see that the man is Irving August, and that he is dead. One of the men quickly reaches down, picks up the hat and puts it back on August's head.
CLOSEUP of Mary. Her fear is confirmed. Looking around her cautiously, she gets up and starts down the aisle. At the end of the car she leeks back.
FULL SHOT - the three men sitting at the opposite end of the car. One of the men is whispering to the other man pointing to Mary.
FULL SHOT of Mary as she quickly opens the door and goes into the next car. She walks down the length of the car. A man is sleeping. She shakes his shoulder.
MARY Please --- please ——
The man only mutters something in his sleep. Mary continues down the car's length to where a drunken girl sits, her head lolling.
MARY I want your help, please.
The drunken woman merely looks at her blankly. The cars are coming to a stop again. The door opens and the conductor comes through. Mary seizes his arm.
MARY These men in there —— don't let them get out.
CONDUCTOR What's the matter now?
MARY One of them has been murdered!
The conductor looks at her dubiously. The cars have come to a stop. He looks into the next car and then glances down at her.
CONDUCTOR (crossly) What men?
Mary turns and looks back toward the car she just left.
LONG SHOT of the car as Mary sees it. It is completely deserted.
TWO SHOT - Mary and the conductor. The subway train is starting to move again.
MARY But they were there.
The conductor looks at her and merely observes.
CONDUCTOR Yeah.
DISSOLVE IN
EXT. REVOLVING DOORS OF COOPER BUILDING - DAY
MED. CLOSE SHOT of a newspaper vender calling:
VENDOR Wuxtra! Murder! Murder! Read all about it!
He is standing directly in front of the revolving doors and behind him, through the glass of the doorway, we can see Mary waiting, her face anxious and strained as she peers out onto the street. A constant stream of passersby goes by the building. Out of this stream Gregory Ward emerges, goes through the revolving doors, and we see him met by Mary, who begins excitedly to talk to him. He shakes his head, takes her arm and walks her off.
INT COFFEE COUNTER — DAY
This is a very small counter and stand with a few tables near the window -- the sort of restaurant that is open only for breakfast and lunch and is patronized by office workers who can content themselves with a sandwich and a cup of coffee. The scene opens on the newsboy as he comes into the restaurant and goes up to the counter. The waiter behind the counter buys a paper and brings it with an order of one cup of coffee and a glass of milk to Mary and Ward, who are sitting at a small table. The newsboy goes on outside and over the scene from time to time we hear his voice crying, "Murder! Read all about it!"
Gregory Ward takes the glass of milk and slides it down the counter in front of Mary. He opens up the paper and scans it carefully. Mary watches him anxiously, and turns to him.
GREGORY This is about another murder —— a woman at Fifty Second Street
MARY But you do believe me?
GREGORY (after a little pause) The important thing is, the police won't believe you.
MARY I saw him on the floor. He was cut -— (indicates her own belly) --here. The blood was running out. He was dead. I'm sure of it. Then on the subway I saw him —— white —— and the men holding him up between them.
Gregory takes a sip of his coffee and speaks gently, but unable to hide his disbelief.
GREGORY Yes, of course —— but the police would say you'd probably had a bad dream.
MARY He was a kind little man in his way —— and I made him go down that hall into the darkness. I made him do it.
GREGORY Drink your milk.
Mary looks up, startled at this note of command.
MARY I don't like to be ordered to do anything.
Gregory looks at her for a moment.
GREGORY I'm sorry. I didn't intend to treat you like a child.
MARY But you have treated me that way.
GREGORY I won't do it again. We're friends. I'll never order you about again.
He puts out his hand and Mary takes it.
GREGORY (smiling) However, I won't say that I'll not take charge occasionally, and I'm going to take charge new. I've a job for you.
MARY A job?
GREGORY You told me you were pretty good with youngsters. Today I bumped into an old friend of mine, Mrs. Wheeler She runs a settlement house down in the Village and is looking for a kindergarten teacher.
M
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