New Cambridge had been colonized

DR.ISAH'S LEGACY



(Galactic Chronicles : Stories of the Galaxy) by Vanessa Ravencroft © 2012



1



New Cambridge had been colonized now for over 2000 years. The Planet was not far from Blue Moon and classified as a Garden World. It deserved that classification like few other worlds. As it was deep green with forests, grassy planes fresh water and deep oceans. Local life was abundant but nothing was really dangerous to human life.

The world was famous for its long fall and winter seasons.

The original Colonists were well aware of the beauty of their world and placed many restrictions on what Industries they allowed and while they did harvest many different nature products they imposed quotas and invested in efficient modern farming methods.

It is a pleasant sophisticated world with a bustling metropolis called Camelot.

Two thousand years is a long time in human terms and enough time to create traditions and reputations. Camelot was home to an University and students from all over the Union came to add this prestigious name to their education resumes.

Dr. Clyde Pullman was a tall, thin man aged seventy five years and since he cared little about his or anyone elses appearance he did nothing to stop his hair to turn gray.

He was a historian and had spend most of his life researching and investigating the lives of the so called Immortals. He was an authority in that field and the unrivaled expert when it came to the live and works of Dr. Isah.

According to Union Central time it was the ninth month but according to the old and still preferred human calendar it was December and it was a nice coincidence that winter on the northern half of New Cambridge was coldest during this time.

A steady northern wind was seeping from the planes into the man made canyons of Camelot City bringing along big fluffy flakes of snow.

On a Hill to the east were the extensive facilities of Camelot University, quite a little city in its own rights.

Pullman was known of fits of anger which he usually forgot right away and as usualhe was completely absorbed in what he was doing. Sitting on a large desk in his study, littered withPDD's film and paper print outs, articles and writing utensils.

A Serv Matic that truly belonged into a Museum as it had made the trip form Earth aboard the Colonist Arks, still worked and happily produced the ocational puff of steam right, served tea and tea only. It once supposed to be able to serve coffee and even something called Ovaltine. It still had the coresponding buttons but they had quit working about 500 years before it found its way into Clyde's study.

Someone had claimed it belonged to Dr. Isah himself and that is why the University had purchased it in the first place. That Dr.Isah only drank Carrot Juice and Carrot juice only was of course the reason this machine could not have been owned by Isah.


 * He was wearing special gloves and before him on a raised force field plat form floated an unusal object. It had two glass lenses mounted in a metal frame.

It was shaped exactly like the Sunglasses, Terrans liked to wear but the glasses were not dark but were actual convex shaped lenses.

These were the glasses of Dr. Isah. But for what purpose he had yet to understand.

Clyde was wearing a science council overcoat, completley worn out but he refused to have it replaced. He said it took him a very long time to get it to fit just right.

His study was located in the basement of the historical faculty and down here he had his peace and quitet at least most of the time.

In the study with him was Tom, dressed very similar but 40 years younger.

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 --

2 PANNING SHOT -- DOOR TO SHOP.

DOROTHY WYNANT comes to the door and looks in.

Tom is seen taking off his overalls, prepara-

tory 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 pro-

duct 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 impor-

tant.

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)

3 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 (drily)

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.

4 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 de-

sired, be in a small closet, and the fol-

lowing 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.

5 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

goodbyes to Wynant and Tom. WE TRUCK ON THEM

AS THEY GO OUT TO:

6 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.

7 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.

8 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.

9 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 to-

ward 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.

10 SERVICE ELEVATOR -- WYNANT AND MACAULAY.

Wynant pushes the button and the elevator

starts slowly up. The elevator shaft is vis-

ible 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.

11 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.

12 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 prepara-

tory 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

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 apprehen-

sively back toward the safe.

DISSOLVE TO:

13 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:

14 FULL SHOT OF THE APARTMENT -- A PENTHOUSE --

PROCESS GLASS.

WE HOLD FOR A MOMENT as Morelli rises noise-

lessly and stands there, alert and ready for

anyone. NOW CAMERA SWINGS RAPIDLY OVER TO THE:

15 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:

16 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:

17 FLASH WYNANT -- CLOSEUP.

Wynant looks off at him, surprised and

angry.

Wynant

(sarcastically)

Am I?

BACK TO:

18 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.

19 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 under-

neath it all. She looks disturbed as she sees

it is Wynant.

Julia

We're just having a little drink.

Wynant

(drily)

So I see.

Morelli looks from one to the other. In

Wynant's attitude of displeased propietorship,

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)

Thats 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 re-

ceiver 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:

20 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 re-

ceiver gently on it. He turns away.

CUT BACK TO:

21 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 re-

ceiver 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 terrify-

ing smile - and walks out. The CAMERA SWINGS

QUICKLY BACK TO JULIA. She looks after him

terrified as we

CUT OR DISSOLVE TO:

22 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.)

23 FADE IN:

CLOSEUP OF A CHRISTMAS WREATH.

The wreath is enormous, and under the conven-

al greeting: "A MERRY CHRISTMAS", which is

in silver across it, there is a current uncon-

ventional 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 chat-

ter 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 danicng 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 cock-

tails 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 stock-

ings 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 re-

act 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!

24 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 remem-

brance 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)

I was fascinated with you.... a real live detec-

tive.... 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 dis-

appeared!

Nick

Disappeared!

Andrew (to Dorothy)

Now don't say that -- he's just off somewhere work-

ing.

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

I 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:

25 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 tre-

mendously vital person, interested in every-

body 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 compan-

ionship. They are tolerant, easy-going, taking

drink for drink, and battling their way to-

gether 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.

26 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, with-

out 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:

27 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.

28 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.

29 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:

30 LIVING ROOM OF SUITE - (SKYLINE THROUGH

WINDOWS)

In one corner of the living room is an enor-

mous 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 wel-

come. 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.)(she has

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 intro-

duction 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, reach-

ing 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

Iím 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.

31 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.

32 CLOSE SHOT OF NICK - PHONE.

He has dialed his number. He speaks into the telephone.

Nick

May I speak to Dorothy

CUT TO:

33 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 condes-

cension, 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:

34 CLOSEUP NICK - PHONE.

Nick

I just wanted to relieve your mind. Your father's

alive and all right.

BACK TO:

35 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:

36 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:

37 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 con-

tinues 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.

38 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 humiliat-

ed... 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.

39 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, distrait,

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.

40 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:

41 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 impend-

ing visit. Suddenly she makes up her mind

and hastily dials a number.

BACK TO:

42 MIMI'S LIVING ROOM

Mimi gets up from the telephone. There is a

look of grim determination on her face.

DISSOLVE TO:

43 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?

44 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.

45 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.

46 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:

47 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 sur-

prised to find it is open. She looks up and

down the hall and then decides to investigate.

She walks in.

48 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.

49 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:

50 REVERSE CLOSEUP - MIMI IN DOORWAY

For a minute, Mimi stands in the doorway look-

ing down at the body, rooted to the spot with

horror. Then she looks around for the tele-

phone, 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. Look-

ing 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:

51 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:

52 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 (he replaces the re-

ceiver 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:

53 MACAULAY'S LAW OFFICE - CLOSE SHOT.

Macaulay is sitting at a flat desk, with some

papers in front of him. A stenographer is tak-

ing 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 interrupt-

tion)

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:

54 SPEAKEASY - CLOSE SHOT OF NUNHEIM AND MARIAN.

They are in a booth at a speakeasy. Marian

is a big-boned, full-fleshed, red-haired wo-

man 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:

55 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:

56 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, think-

ing hard.

SLIDE OVER TO:

57 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

Aand 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.

58 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:

59 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.

60 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.

61 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.

62 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.

63 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....

64 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:

65 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.

66 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.

67 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:

68 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 cap-

tain 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 lis-

tens 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 distin-

guished 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, and

with the greatest good will and

enthusiasm, he greets him)

Hey, Nick!

Nick

Hello, Face!

Peppler

It's a long time I don't see you.

Nick

A long time.

Peppler

Well, I needed the rest.

Nora (to Peppler - indicating Nick)

Was he a good detective?

Peppler

I wouldn't know. That time he caught me was a

accident. I led with my right.

Nick (laughing)

Come on. Have a drink.

He takes Peppler by the arm out of the

scene as WE PAN NORA TO THE TELEPHONE. She

picks up the receiver, her eyes on the odd

mixture of people assembled.

Nora (in phone - philosophically)

Don't bother to announce any more. Just send any-

body right up.

(then as the clerk evidently tries to

protect her)

I know. But it's all right. They're his friends,

69 TABLE - CLOSE SHOT

Nick is pouring a drink for Face. The little

prizefight manager comes up to him with a

great hulk of a fighter in tow. (The contrast

in sizes is amusing.)

Manager

Like to buy a piece of this pug, Nick? I'll sell

you twenty-five percent of him for five grand.

Nick

Is he good?

Manager

He's been knocking 'em cold. He ain't afraid of

nobody.

(the fighter reaches for a drink. The

manager turns on him fiercely)

Drop that, or I'll slug you.

The fighter, cowed, meekly puts down the

drink. Nick laughs, hands Peppler a drink.

Nick (to Peppler)

Here you are -- it's good stuff -- I got it before

repeal.

The girl in very beautiful evening clothes

with a string of pearls around her neck comes

over to Nick and Peppler. She holds out the

pearls for Nick's attention.

Girl

Look, Nick. Remember? These are the ones you got

back for me.

Peppler looks at them with a professionally

avaricious eye.

Peppler

Them real?

Nick (to Peppler, warningly)

Ugh-ugh! This is your night off.

Suddenly the music of the radio stops as it

is switched to another station. The voice of

a news broadcaster comes over.

Announcer (o.s.)

--32 degrees below in Utica. Here's the latest

news of the Julia Wolf murder.

(Nick turns as he tears this. The CAMERA

TRACKS with him as he goes toward the

radio. The police captain is listening

there... he is the one who has changed the

station)

The police have found out that the beautiful blonde

secretary was once a gangster's girl. They are now

looking for the gangster. Clyde Wynant, the girl's

employer is still missing. This case will....

(By this time, Nick reaches the radio.

He abruptly turns the switch, changing

back to a musical program.)

Nick (to the captain)

Can't you fellows ever forget business?

He hands the captain a drink.

Captain

Good case for you, Nick.

Nick (smiling)

Haven't you heard the news? I'm a gentleman now.

Nora's Voice (o.s.)

Nick! Reporters!

Nick turns.

70 DOORWAY - MEDIUM SHOT

Nora has admitted two young newspaper men

who are standing in the doorway. Nick walks

over to them.

1st Reporter

I'm from the American, Mr. Charles.

2nd Reporter

Mirror.

1st Reporter

We wanted to know if you'd give us a statement.

We hear you're here to work on the Julia Wolf case.

Nick

Sorry. I don't know anything about it.

1st Reporter

Come on, gimme a break.

Nick

I never tried to kid you reporters -- I'm telling

you the truth.

2nd Reporter

Then why are you in town?

Nick (confidentially)

My wife's on a bender. I'm trying to sober her up.

Nora sticks up her nose, laughs, goes over to

the table. WE PAN as Nick leads the reporters

there too. Quinn and one or two of the others

also are imbibing.

Nick (as they get to the table)

Come on -- relax --

(then to Nora)

Give them a drink.

Nora

We need ice.

Nick picks up a drink, already poured for

himself.

Nick (looking at the glass in his

hand)

What small glasses you have, Grandma.

He goes off toward the service pantry with

the drink in his hand.

1st Reporter (to Nora)

Listen, isn't he working on a case?

Nora

Sure. He's working on a case of Scotch. Pitch

in and help him.

She goes off toward the service pantry.

Mrs. Quinn comes up with her glass. Quinn

looks appreciatingly after Nora.

Quinn (to is wife, indicating Nora)

Isn't she grand? I take off my hat to her.

Mrs, Quinn (acidly)

Your hat! You're getting conservative!

71 SERVICE PANTRY

It is a tiny room with cupboards, a sink and

a miniature Frigidaire. Nick is getting ice

cubes out of a tray. Nora comes in with a

glass in her hand.

Nora

I'd better order some food.

(to Nick - as she takes receiver)

That sounds like an interesting case. Wouldn't

you like to take it?

Nick

I haven't the time. I'm much too busy seeing that

you don't lose any of the money I married you for.

Nora (to phone)

Room service, please -

She talks to Nick as she waits to get the

connection. She watches him covertly as she

she is sure that he would love to go

back to "sleuthing", and she'd enjoy being

in on it with him...she is trying to sound

him out.

Nora

Sounds like a good case. Girl mysteriously murder-

ed. No one knows who did it. They haven't found

any clues yet -- no gun -- no fingerprints --

Nick (with a gleam of interest)

I wonder if they've --

(He looks at Nora and suddenly realizes

that he is getting interested. He jerks

himself out of it)

I don't want to hear anything about it.

He picks up the ice and Nora's drink.

Nora

Isn't that my drink?

Nick

What are you drinking?

Nora

Rye.

Nick drains the glass and puts it down.

Nick

Yeah -- that's yours.

He walks out as Nora turns laughing to the

telephone.

Nora (in phone)

Listen - I want a whole flock or sandwiches --

72 LIVING ROOM.

Nick comes in with the ice. The doorbell

rings. Nick puts down the ice and starts for

the door. As the CAMERA TRUCKS with him he

passes the telephone table. Foster is sitt-

ing there. The radio music has put him in a

sentimental mood.

Foster (at telephone - to Nick)

I'd like to telephone my mother... wish her a

Merry Christmas.

Nick (easily)

Go ahead, Foster.

Foster

'Fraid I can't pay --

Nick

Forget it.

CAMERA CONTINUES TO PAN WITH HIM as he goes

on to the door. Just as he is about to open

it, he hears Foster's voice, o.s.

Foster (to phone)

Long distance -- give me San Francisco --

Nick looks off, winces a little, good-humored-

ly. Then he opens the door and is surprised

to see Dorothy Wynant standing there. She

is white-lipped, miserable and desperate.

Nick looks at her, a little worried by her

harassed look.

Nick

Come on in.

Dorothy

I've got to see you alone!

Nick realizes that something is definitely

the matter.

Quinn (voice o.s.)

Hello, beautiful!

Nick turns as he hears Quinn's voice.

73 FULL SHOT -- GUESTS AND REPORTERS.

Quinn is coming toward them, a drink in his

hand. His eyes are fixed on Dorothy. The

two reporters also are coming forward. Their

curiosity quite different from Quinn's, for

they realize her identity and the possibili-

ties of a story.

Nick (rushing her toward the bedroom)

Go on in there.

He opens the door and she goes in. Nick is

about to follow her when Quinn stops him.

Quinn

Who's the little blonde?

Nick

Used to bounce it on my knee.

Quinn

Which knee? Could I touch it?

Nick laughs and enters the bedroom. Quinn

tries to follow, as do the reporters who have

come up, but Nick shuts the door in their

faces. Quinn, startled, knocks on the door.

Quinn (knocking)

House detective!

74 BEDROOM.

Dorothy is standing near the bed. She holds

herself taut and stiff. She is determined

that she is going to sacrifice herself to

save her father. Nick comes up to her.

Dorothy

You heard about Julia Wolf?

Nick

Yes.

Dorothy (she pulls a gun from her

muff)

There.

(she throws it on the bed. Nick looks

at it, and then back at her. His look

is very cool and unexcited)

Nick

What are you trying to tell me? That you did it?

Dorothy (she has her story all set

and she speaks with very convincing

fervor)

Yes. I hated her for coming between my mother

and father. She kept me from seeing my father. I

went down there to ask her where he was. She

wouldn't tell me, and I shot her.

Nick (with sudden professional

briskness)

Where did you hit her?

Dorothy (she hesitates)

Why... in the heart.

Nick

Pretty good shot you are. What did she do?

Dorothy

She fell down.

Nick

Did she make any sound? Didn't scream?

Dorothy

(the horror of it makes her inarticulate)

I don't know.

Nick

Which way did she fall?

Dorothy

She... she fell over backwards.

Nick

Oh, yeah? People fall toward a shot, you know...

not back from it. I knew you were lying.

Dorothy breaks down, realizing that her

attempt to take the blame is futile. Nick

goes and holds her comfortingly in his arms.

Nick

Where did you get this gun?

Dorothy

I bought it in a pawn shop.

Nick

Don't lie to me.

Dorothy

That's the truth.

At this point Nora enters. She holds a drink

in her hand. Nick looks up -- makes a little

grimace at Nora. Dorothy turns and sees her.

She pulls away a little.

Dorothy

This is awful of me -- to make a nuisance of myself.

Nora (easily)

Don't be a dope. Have a drink?

Dorothy tries wanly to smile.

Dorothy

No thanks.

She fumbles in her bag to find her powder.

Nick is looking curiously at the gun, turn-

ing it over in his hand.

Nora (to Dorothy -- pointing to dressing table)

There's powder and stuff over there.

Dorothy walks toward the table.

Nick (looking up -- indicating drink Nora has)

Make her take that.

Nora sees the gun now, is amazed.

Nora

Where did you get that?

Nick (indicating Dorothy)

She brought it in.

(slips it into the drawer of a table)

Trying to make me believe she did it.

Nora (as he puts the gun away)

What are you going to do with it?

Nick

Nothing, 'til I find out if it's the gun Julia

Wolf was killed with.

(he starts for the door to the living

room)

Keep her in here, and don't let those reporters

see her. They might believe her.

He goes out the door, and closes it hastily

behind him. Nora goes toward Dorothy.

75 LIVING ROOM

There is a hotel service table, piled high

with food, in the room. The people here all

eating, standing around with drinks in their

hands. As soon as Nick opens the door to come

out, the reporters pounce on him.

First Reporter

Isn't that Dorothy Wynant?

Nick

Yes.

(the first reporter makes a move to go

past Nick to the bedroom, Nick bars the

way)

Here...here. She doesn't know anything about it.

Second Reporter

And you said you weren't on the case.

He goes off quickly toward the telephone.

Nick

I'm not. I don't know a thing about it, and I don't

care a thing about it. All I want is a drink.

Foster has at last been able to get his

mother in San Francisco.

Foster (on the phone)

Hello, Ma.

The reporter comes rapidly into the shot. He

tries to take the telephone from the other man.

Reporter

Give me that.

Foster (holding on to it, protesting)

But I just got San Francisco ...

(into phone)

How are you, Ma?

Reporter (taking the phone from

him, he speaks into it)

Get off the line, will you, Ma? I got some business.

(he jiggles the hook for the operator)

Give me Drydock 4 - 8000.

BACK TO:

77 CLOSE SHOT AT TABLE

Quinn is standing beside Nick. The doorbell

rings.

Nick

(to reporter over at telephone)

Hey, don't do that!

(he is pouring a drink)

Now don't tell your paper that I'm working on

anything, 'cause I'm not.

Nick goes offscene toward the door. The

bell rings again.

Quinn

He's just working on that little gal.

78 FULL SHOT.

Nick opens the door. Mimi and Gilbert are

outside. Mimi instantly rushes in greets him

effusively. Gilbert is left standing in the

door.

Mimi

Oh, Nick... Nick!

Nick

Hello, Mimi.

Mimi

I want to talk to you about something very im-

portant.

The first reporter has forgotten his telephone

call. He is all ears. Nick looks around

desperately, and takes Mimi roughly by the

arm and rushes her into a doorway next to the

door of the bedroom.

Nick

Come on in here.

79 BATHROOM.

As Nick brings Mimi into the bathroom, she

looks around; bewildered.

Nick

Sorry. This is the only place we can be alone;

Won't you sit down?

He waves airily off scene, presumably toward

the seat, Mimi follows the line of his hand,

looks, starts and gives him a cutting look.

80 DOORWAY OF LIVING ROOM.

Gilbert is standing hesitantly in the door-

way. The first reporter suddenly sees him.

He hasn't noticed him before. He goes quick-

ly to him.

First Reporter

How do you do, Mr. Wynant.

(he takes Gilbert cordially but firmly

by the arm and brings him into the room)

My name is Diamond. Come on in and have a drink.

Gilbert

I don't drink.

First Reporter

As a matter-of-fact, I don't either. I'd much rather talk...

He starts for a quiet corner -

BACK TO:

81 BATHROOM.

Mimi and Nick are sitting on the edge of the

tub.

Mimi

Clyde Wynant's crazy... absolutely crazy to stay

away at a time like this. No wonder the police think

he has something to do with it.

Nick

What do you think?

Mimi

Oh, I know he didn't, but I wish I could find him...

I have something very important to tell him.

Macaulay won't help at all. He thinks I just

want money.

Nick (smiling at her)

Well, don't you?

Mimi

(choosing to regard this as a joke)

You're always teasing.

The door of the bathroom opens. Foster starts

to come in. He stops suddenly as he sees Mimi.

Foster

I beg your pardon.

He backs hurriedly out. Mimi moves closer

to Nick, takes his arm.

Mimi

Nick, you will help me find Clyde -- won't you?

Nick

Now, Mimi, there are a thousand detectives in

New York. Hire one of them.

Mimi (persuasively)

But he knows you. All you have to do is get in

touch with him, and tell him that Mimi says every-

thing is all right... but that I've got to see him.

Nick

I tell you again, I don't want any part of it.

(he goes and opens the door which

connects with the bedroom)

Now you take Dorothy home and...

Mimi (furious)

Dorothy! Is she here?

Nick (startled by her tone)

Yes...

Mimi pushes into the bedroom, past him.

82 BEDROOM - MEDIUM GROUP

Dorothy and Nora are sitting on the bed.

Asta is between them. Dorothy is patting

Asta, still looking very subdued and unhappy.

Nora holds out the glass toward her.

Nora

If you finish this, you'll feel better.

In the mirror in back of them, we see Mimi

coming toward Dorothy, a look of fury on her

face. Dorothy looks up at her Mother as she

comes into the scene, a little terrified by

her Mother's expression. Mimi comes right

to Dorothy and stands over her. She is sure

that Dorothy has told Nick about the watch

chain.

Mimi

What did you tell him? What did you tell him?

Dorothy doesn't answer. Her Mother slaps

her viciously, repeating the question. Nick

comes up from behind Mimi and pulls her away.

Nora puts a protecting arm around Dorothy.

There is a second of silence as Dorothy and

Mimi face each other, all of their mutual

antagonism in their eyes. Asta starts bark-

ing. Nora quiets him.

Nick

She didn't tell me a thing.

Nora (drily to Mimi)

Too bad you didn't bring your whip.

Mimi (recovering herself)

I'm so excited I didn't know what I was doing.

Come on, Dorothy, we'll go home.

Nora (sharply to Mimi)

She'll go home if she wants to.

(she turns with warm affection to Dorothy)

You can stay here you know. There's plenty of

room and we'd love to have you.

Dorothy

Thanks. But I'll go home.

She stands up to go. Mimi looks around.

Mimi

Where's Gilbert?

Nick

(this is the last straw)

Gilbert! Is he here too?

(he starts toward the living room)

We might as well be living in the lobby.

Gilbert is sitting in a corner of the

room with the two reporters. They

have their pencils out, taking down the

rapid flow of words that come from Gil-

bert.

Gilbert

There's a physiological as well as a psychological

angle in my father's relationship with Julia

Wolf that the police have overlooked. And I

think it explains everything. You see, my

father was a sexogenarian.

1st Reporter

(deeply interested, not knowing the

meaning of the word)

He was?

Gilbert

Yes. He admitted it.

1st Reporter

(speaking very solemnly - thinking it is

some sex perversion)

Sexogerarian, eh? Yes. Yes. But I can't put

that in the paper.

Gilbert

Why not?

1st Reporter

You know how they are... sex...

Gilbert

Then just say he was sixty years old.

1st Reporter

Is that what it means?

Gilbert

Of course.

The reporter gets up, furious. He throws

his pad to the floor. Nick comes into the

scene. He goes to Gilbert.

Nick

(to Gilbert - amused at the reporter's

discomfort)

Come on, son.

He takes Gilbert by the arm and pushes him

into the bedroom and closes the door on him.

The telephone starts to ring. The two reporters

follow Nick as he goes toward the telephone.

2nd Reporter

Come on.... give me a break. You owe it to me

after that.

Nick

I swear I haven't a thing to do with it.

(He picks up the telephone. The 2nd

reporter listens, unashamed)

Hello?

CUT TO:

84 BIG CLOSEUP - NUNHEIM AT A TELEPHONE.

He is in a room telephoning. The background

is not distinguishable. He is evidently

talking for the effect on someone else in the

room whom we do not see. He looks at the

man out of the corner or his eye as he

talks.

Nunheim

Mr. Charles, I'd like to lay a proposition before

you. I can't discuss it over the telephone, but

if you'll give me half an hour of your time... it's

about the Julia Wolf....

At that a hand comes in, covers the mouth-

piece, preventing any further conversation.

Nunheim, still in this big closeup, looks

o.s, at the invisible man and grins sardoni-

cally.

BACK TO:

85 NICK AT THE TELEPHONE

Nick

(frowning)

Hello... hello...

Then as he gets no answer, he hangs up.

The 2nd reporter jumps to him.

2nd Reporter

What was it?

Nick

Just a man trying to sell me insurance.

86 WIDE ANGLE - THE ROOM

Nora comes out of the bedroom door. Quinn

comes up to her. Mrs. Quinn, starts listen-

ing.

Quinn

Where's that girl?

Nora

She's gone.

1st Reporter

How'd they go?

Nora

Out the back way.

The two reporters, without a word, grab

their hats and coats and rush out. Quinn,

too, brazenly starts to breeze past his

wife and follow them. Mrs. Quinn steps

in front of him, slaps his face. Foster, again

at the phone, whines out: "Hello, Ma!"

And simultaneously, during this confusion,

the radio starts to play "Silent Night,

Peaceful Night" -- as the police captain, the

pug, Face Peppler, and all others immediately

join in with the song. They are all pretty

tight by this time and sing at the top of

their lungs. The effect desired is a screwy

climax to what has been quite a hectic, screwy

situation. CAMERA PANS WITH NORA as she takes

it all in at a quick glance and walks over

to Nick. She puts her arms around him. He

looks down at her, amused.

CAMERA MOVES UP FOR A BIG CLOSEUP OF THE TWO.

Nora

I love you, Nickie, 'cause you know such lovely

people!

As we DISSOLVE TO:

87 CLOSE SHOT OF BED - EFFECT SHOT.

It is about an hour later the bedroom is dark

for a second. Then, Nora on one side of the

big double bed, pulls on the light on the small

table beside her. She sits up a little and

looks over at Nick. He is soundly sleeping, his

face toward her. She has Dorothy on her mind

and can't sleep and she wants company.

Nora (softly)

Nick!

(he doesn't stir)

Nick!

(he looks sleepily at her)

Are you asleep?

Nick

Yes.

Nora

Good. I want to talk to you.

Nick

That's jolly.

Nora

Don't you think you'd like to go back to detecting

once in a while, just for the fun of it?

Nick

Can't you get to sleep?

Nora

No.

Nick (sitting up in bed)

Maybe a drink would help you.

Nora

No thanks.

Nick

Maybe it would if I took it.

CAMERA PULLS BACK as he gets up out of bed and

goes to the bureau where there is a bottle and

a glass. Asta jumps down and follows him. Nick

pours himself a drink. Asta stands there,

licking Nick's bare feet.

Nora

Everybody says you were a grand detective.

Nick (taking his drink)

They were kidding you.

Nora

I'd like to see you work.

Nick

Tomorrow I'll buy you a whole lot of detective

stories.

Nora is determined to get Nick to help Dorothy.

She tries another approach.

Nora

That poor girl is in a tough spot.

Nick (coming back to the bed)

There's nothing I can do to help her.

Asta jumps on the bed, goes and curls himself

up at their feet.

Nora

She thinks you can. It wouldn't hurt you to find

out if you could, would it?

Nick

(getting back into the bed)

Darling, my guess is that Wynant killed Julia and

Dorothy knows it. And the police'll catch him

without my help.

Nora

I think I would like that drink.

(Nick gets up again and goes to get her

a drink)

I'll give you your Christmas present now if you'll

give me mine.

Nick (pouring a drink)

At breakfast.

He brings her the drink. She takes it from

him and he gets into bed.

Nora

But it's Christmas now.

Nick (briefly, as he prepares

to go beck to sleep)

Breakfast.

Nora

What are you going to give me? I hope I don't like

it.

Nick

You'll have to keep them anyway. The man at the

Aquarium said that he wouldn't take them back.

Nora looks over at him, disgusted. She puts

down the drink and pulls out the light.

After a second, there is a knock heard from the

next room. Nora pulls on the light. She turns

to Nick.

Nora

Did you hear a knock?

Nick looks up. The knock comes again. Nora gets

up, takes a robe from the foot of the bed, pulls

it on and goes out. As she does so, Nick

reaches over, takes her drink and finishes it,

then turns over again to go to sleep.

88 DOOR OF LIVING ROOM,

Nora has put on the lights as she came through

the room. She opens the door. Joe Morelli is

standing outside. He wears a black derby hat,

which he doesn't remove and he has his hands

in the pockets of his close fitting black over-

coat. Nora looks at him with lively curiosity.

She is too fond of adventure as well as too brave

to scream when she sees his menacing figure.

Morelli

Mr. Charles here?

Nora

Yes.

Morelli

(his manner is very urgent)

I gotta talk to him... that's all. But I gotta do

that.

Nora looks at him for a second.

Nora

You wait here. I'll tell him.

She goes toward the bedroom.

CUT TO:

89 THE BEDROOM.

Nora enters, calling to Nick.

Nora

Nick! Nick!

(Nick stirs and opens his eyes)

There's someone to she you,

Nick

(sitting up)

That's great. I was afraid I'd have to go to sleep.

But as Nora moves away to get back into bed,

we see Morelli has followed her into the

bedroom and is standing pointing a gun directly

at Nick, with a menacing intentness in his

whole body.

90 WIDE ANGLE - THE GROUP.

Nora, entirely unconscious of Morelli's

presence and the gun in his hand, swings

into bed beside Nick. Nick is looking

fixedly at the gun. Nora looks at him,

amused by his expression, not knowing the

cause.

Nora

You've got the funniest look on your face.

She follows the line of Nick's gaze, and her

eyes pop with amazement as she sees Morelli

with the gun.

91 REVERSE ANGLE - CLOSEUP ON MORELLI.

He holds the gun leveled at Nick.

Morelli

I gotta talk to you. I want you to tell me

something and I want you to give it to me

straight. Get me?

92 REVERSE CLOSEUP - NICK AND NORA

Nick

Do you mind putting that gun away? My wife

doesn't care, but I'm in a delicate condition.

CUT TO:

93 MEDIUM SHOT AGAIN - GROUP

Nora looks at Nick, appreciating his humor

in the midst of his danger.

Nora

(to Nick)

You idiot!

(Asta begins barking at Morelli)

Asta! Stop that! Get down!

(she chases him off the bed. Asta jumps

down out of sight. Morelli still has

his pistol pointed at Nick.)

Now, stay there.

Nick

(to Morelli - seeing that Asta is down)

All right... shoot!

(then realizing the double meaning, he

corrects himself)

I mean... what's on your mind?

Morelli

You don't need to tell me you're tough. I heard

about you.

(He puts the gun in his overcoat pocket)

I'm Joe Morelli.

Nora watches the scene between the two

men. She is excited, but apparently not

frightened.

Nick

I've never heard about you.

Morelli

I didn't knock Julia off.

Nick

All right - you didn't.

Morelli

I haven't seen her in three months. We were all

washed up.

Nick

Why tell me?

Morelli

I wouldn't have any reason to hurt her. She was

always on the up and up with me. But that dirty

little Nunheim -- he got sore cause I clicked with

her and he didn't, so he put the finger on me.

Nick

That's all swell. Only you're peddling your fish

in the wrong market. I've got nothing to do with

it.

Morelli

(his intense excitement increasing)

Listen. "Studsy" Burke told me you used to be

O.K. That's why I'm here. Do they....

Nick

(in a tone of polite enquiry)

How is Studsy? I didn't know he was out of stir.

Morelli

(conversationally)

He's all right. He'd like to see you. But listen...

What's the law doing to me? Do they think I did it,

or is it just something else to pin on me?

Nick

I'd tell you if I knew. But I'm not in this. Ask

the police.

Morelli

(sarcastically)

That'd be very smart. That'd be the smartest thing

I ever did. Me that a police captain's been in a

hospital three weeks on account we had an argument.

The boys would like to have me come in and ask

questions. They'd like it right down to the end of

their blackjacks. Now I come to you on the level.

Studsy says you're on the level. Be on the level.

Nick

I am on the level. If I knew anything I'd....

Over the SOUND TRACK there is a sound of

knuckles rapping sharply on the door.

Morelli's gun is in his hand before the

rapping stops. His eyes seem to move in

all directions at once.

Morelli

(with a snarl to Nick)

What's that?

Nick

(shrugging his shoulders)

This is your party.

The sound of the knuckles come again, and

someone speaks outside.

Guild's voice (o.s.)

Open up. Police.

Morelli

(as he raises his gun to fire at Nick)

You two-timing --

Nick shoves Nora's face, knocking her out of

bed and across the room with his left hand, and

throws a pillow at Morelli with his right just

as Morelli fires. Nick sprawls out of bed,

making a dive for Morelli and catching his

ankle. The two men fall to the floor. Morelli

clubs Nick with his revolver, and Nick fights

him with his one free hand.

Guild, two policemen, and the hotel manager rush

into the room. They pitch in and drag Nick

and Morelli apart.

94 CLOSE SHOT -- NORA ON FLOOR

She is in a faint as Nick, comes quickly up

to her. The hotel manager follows him and

stands looking down solicitously. Nick

leans down over her.

Nick

Nora.....Nora!

She doesn't move.

Hotel Manager

What knocked her out?

Nick

I did. She was in the line of fire.

(turns, points to liquor bottle)

Hand me that bottle.

(turns back to Nora, begins working on her)

Better get a doctor.

The hotel manager goes quickly out. Nick

tries to get Nora to take a drink of whisky.

She opens her eyes. She puts her hand up to

her cheek where Nick hit her. Then, as Nick

watches her anxiously:

Nora (indignantly)

You darn fool -- you didn't have to knock me out.

I knew you'd take him, but I wanted to see you do

it!

95 FULL SHOT -- INCLUDING GUILD, MORELLI AND

TWO OFFICERS

Morelli is standing handcuffed between the

officers. Guild looks admiringly at Nora as

Nick is helping her to her feet.

Guild

There's a gal with hair on her chest.

As Nick pulls Nora up, she looks at the coat

of his pyjamas, where a streak of blood has

started to come through.

Nora (for the first, time horrified)

Nick... you're...

Nick follows her eyes down. For the first time

he realizes that the bullet has touched him.

Nick

It's all right. It just grazed me.

Nora

Someone get a doctor.

Nick

There's one coming.

Nora

Well, quick -- get into bed. Are you all right?

Nick (going toward the bed)

Sure -- I don't even feel it.

Nora

I'll get some towels.

(she goes quickly into the bathroom)

Nick gets into bed. Guild comes over - looks

at the wound. The CAMERA PANS AWAY from

Morelli.

Guild

Well, it was close, but you're all right.

Morelli's voice (o.s.)

Tough luck.

Policeman's voice (o.s.)

Shut up!

Over the SOUND TRACK we hear the policeman

slap Morelli's mouth.

Nora comes back from the bathroom with some

towels. Nick puts a towel over the wound,

and sits propped up in bed.

Nick

I'll be all right. Don't let's fuss till the

doctor comes.

Nora

Want a drink?

Nick

Yeah.

Nora goes out of the scene.

Nick (to Guild)

How'd you people happen to pop in?

Guild

We hear this is getting to be sort of a meeting

place for the Wynant family, so we figure we'll

stick around in case the old man himself shows

up. Then we seen him...

(he points to Morelli)

...sneak in and we decide to come up. And pretty

lucky for you.

Nick

(drily)

Yes. I might not have been shot.

Guild

We were looking for this bird.

Morelli

That little rat Nunheim --

Guild

Shut up!

(then to Nick - indicating Morelli)

This guy a friend of yours?

Nick

I never saw him before.

Guild

What's he want of you?

Nick

Wanted to tell me he didn't kill Julia Wolf.

Guild

What's that to you?

Nick

Nothing.

Guild

What'd he think it was to you?

Nick

Ask him. I don't know.

Guild

I'm asking you.

Nick

Keep on asking.

Guild (to one of the policemen)

We'll frisk the dump.

Nick

Not without a warrant.

Guild

So you say -

(to policeman)

Go on, Bob.

The policeman starts to search the room.

Guild decides to change his tactics.

Guild

Listen, Mr. Charles. I guess we're both of us going

about this wrong. I don't want to get tough with you,

and I guess you don't want to get tough with me.

There's just one one question I want to ask you. Are

you going to swear to the complaint of him shooting

you?

Nick

That's another one I can't answer right now. Maybe

it was an accident.

Nora comes over with the drink for Nick. She

hands it to him, as she speaks.

Nora (to Guild, indicating Bob)

What's that man doing in my drawers?

Nick, hearing this, chokes on his drink.

96 BUREAU - CLOSEUP.

Bob is searching in the drawers of the bureau.

He finds the pistol that Nick left there and

brings it to Guild. CAMERA PANS HIM OVER.

Bob

Here you are, Lieutenant.

Guild takes the gun, looks at it and turns to

Nick. Nick - not knowing whether or not the gun

is evidence, is slightly apprehensive. He watches

Guild closely.

Guild

Have you got a pistol permit?

Nick

No.

Guild

Ever heard of the Sullivan Act?

Nora (a little confused about the

different acts)

That's all right. We're married.

Guild gives her a sharp look, and turns

again to Nick.

Guild

This gun yours?

Nick

No.

Guild

Who's is it?

Nick

I'll have to try to remember.

Guild

Oke. There's plenty of time. I guess we got to ask

you a lot more questions than we counted on. We'll

come up tomorrow when you're feeling better.

(He turns to the officers and Morelli)

Come on.

The four men go out. CAMERA MOVES UP FOR

CLOSEUP OF NICK AND NORA. She is sitting

beside Nick on the bed.

Nora

I wish that doctor'd come. How do you feel?

Nick

He'll be here. Give him time to get his trousers

on. Where's Asta?

(calling)

Asta! Asta!

CUT TO:

97 FOOT OF BUREAU - PANNING ON ASTA.

As the dog comes slowly out from under the

bureau, looking a little scared and shame-

faced. He comes toward Nick, jumps on the

bed beside him and licks his face.

Nick

(to Asta)

You're a fine watch dog.

Nora

He's got more sense than you have. Thank Heaven

you're not on this case.

Nick

On it! I'm in it ... They think I did it!

Nora

Well, didn't you?

Nick throws a pillow at her.

QUICK FADE.

98 FADE IN:

CLOSEUP OF CHRISTMAS TREE.

It is noon. The sun is streaming in. Most of

the bells on the Christmas tree have been

broken. There is one large ball still intact.

Over the SOUND TRACK we hear the pop of an

air rifle. The big ball splinters.

The CAMERA PULLS BACK to show Nick lying on

the sofa in a dressing gown, with the air rifle

in his hand. He uses only his right hand on

the rifle. Across his chest, on the left,

there is the indication of bandaging underneath

his pajamas. On the floor beside him are piles

of newspapers. The telephone is on a table

near his hand. The room is littered with

tissue paper and ribbon from the opened

Christmas presents. There is a breakfast table

at one side, with the emptied dishes covered

by a napkin. Nora is sitting smoking. She is

wearing a very lovely fur coat over her

negligee. She is reading a tabloid newspaper,

the headlines and pictures of which exploit

the Julia Wolf murder.

Nick

(looking fondly at the rifle)

This is the nicest present I ever had.

Nora puts down her paper. She comes over to

Nick on the sofa. She has a bunch of holiday

telegrams in her hand. She starts to pick up

the newspapers which almost cover Nick. She

has a very lovely wrist watch on. Nick sees

it -- takes her hand and examines it.

Nick

I never saw that before.

Nora

No. It's a Christmas present.

Nick

Who gave it to you?

Nora

You did.

Nick

You must admit I have good taste.

Nora laughs.

Nora

(indicating newspapers)

Finished with these?

Nick

Yes. I know all they know about the murder. And

I'm a great hero. The Tribune said I was shot

twice.

As he talks, Nora throws the papers to the

floor and sits down at the other end of the

couch, putting her slippered feet comfortably

in Nick's lap. She starts to open, the

telegrams.

Nora

I read you were shot five times in the tabloids.

Nick

That's not true. He never came near my tabloids.

(he takes aim again with his gun)

That's one thing I always protect... my tabloids.

As he is just ready to shoot, the CAMERA PANS

over to his target. It is a large balloon

that Asta is chasing around the room. We hear

the "pop" of the rifle and the balloon ex-

plodes, to Asta's astonishment and chagrin.

Asta starts looking for the lost balloon.

BACK TO:

99 NICK AND NORA - CLOSEUP.

The telephone rings - Nick reaches over and

picks it up.

Nick

(in phone)

Hello... send him up.

Nora

Who's that?

Nick

Macaulay.

Nora reads the telegrams and hands them to

Nick at the other end of the sofa as she

finishes. He takes them as she gives them to

him, and throws them on the floor without

looking at them.

Nora

(as she reads one)

Season's Greetings. The Mallorys.

(she hands it to Nick. She is distressed)

I forgot all about them.

She opens another telegram. Nick throws the

first to the floor. He looks at Nora in her

fur coat.

Nick

Aren't you hot in that?

Nora

I'm stifling, but it's so pretty.

(she hands him another telegram)

The Kirbys.

Nick

(taking it and dropping it on the floor)

Is that another Christmas present?

Nora

(smiling at him)

Yes.

Nick

Did I give it to you?

Nora

Yes.

Again this is news to Nick, but he takes it

philosophically.

Nick

I'm spoiling you.

She tickles him with her foot. Then she

hands him another telegram, which suffers the

same fate. Nick cocks his gun again, prepar-

ing to shoot. Nora has opened another tele-

gram. Her manner changes.

Nora

Nick, listen. From Clyde Wynant!

(Nick puts down his rifle, all attention.

Nora reads it aloud)

"Will you take charge of investigation on Julia

Wolf murder. Communicate with Herbert Macaulay".

Nick

(putting out his hand for it)

Let's see. Where's it from?

Nora

(looking at it as she hands it over)

Philadelphia.

(Nick is examining the telegram. The

doorbell rings. Nora starts for the

door, talking as she goes)

Then he didn't do it, did he, Nick?

Nick

(thoughtfully)

I don't know.

Nora

(still on way to door)

He wouldn't ask you to handle it if he were

guilty.

Nick

Your guess is as good as mine.

Nora

Oh take it! Please take it!

By this time she is at the door. She opens

the door to Macaulay.

Nora

Oh, hello. Come on in.

Macaulay

Good morning. I'm afraid this isn't a very

"Merry Christmas" for you.

Nora

Oh, he's sitting up.

Macaulay

Good.

Macaulay comes in and goes to Nick.

Nick

How are you?

Macaulay

I hate to bother you when you're laid up.

Nick

That's all right.

Asta, delighted to see a visitor, jumps all

over Macaulay. Macauley is a little discon-

certed by all this attention.

Nora

Asta! Asta! Come here.

She throws a ball and the dog chases it out

of the scene. Macaulay sits down near Nick.

Asta comes back into the scene. He deposits

the ball near Macaulay's chair and stands

looking eagerly up at him.

Nora

Asta - don't bother Mr. Macaulay.

Macaulay

That's all right.

He leans down and throws the ball for Asta.

Beside him on the floor is a miniature fire

hydrant He looks down at it.

Macaulay

What a delightful toy.

Nick looks down and sees it for the first

time.

Nick

Oh, it's a fire hydrant.

Nora

Yes. It's Asta's Christmas present.

Macaulay, a little troubled, looks down at

it, and then unostentatiously moves his leg

and his chair out of the danger zone. Asta

returns, playfully and affectionately, with

the ball again. Macaulay, with a forced

smile, throws it for him again. Then Macaulay

turns to Nick, reaching in his pocket for a

telegram.

Macaulay

I got word from Wynant this morning...

Nora

So did we.

(correcting herself - indicating Nick)

I mean, Sherlock here.

Nick hands Macaulay his telegram from Wynant.

Macaulay reads it and looks at Nick.

Macaulay

What are the chances of getting you to do what he

wants?

Nick

Slim.

Nora

Oh, please, Nick.

Macaulay

Would it help any if I could persuade him to meet

you?

Nick

It might.

Macaulay

He gave me a code message to insert in the Times,

in case I wanted to get in touch with him.

Nick

It wouldn't hurt to put it in.

Nora beams. The telephone rings. Nick

picks it up.

Macaulay

I've done that already. He should appear, you

know. It doesn't look well... his staying away

at a time like this.

Nick

(in telephone)

Hello.... oh, just a minute.

(holding out the phone to Macaulay)

Police departent

Macaulay

(he looks surprised but takes the phone)

Hello....

(his face changes... he is startled)

Where? In Allentown.

(he consults his watch)

Yes... When is the next train? Right - I'll get

that.

(he slowly puts up the phone and turns

to Nick and Nora)

Wynant's tried to commit suicide. They want me to

come down and identify him.

(slowly he picks up his hat)

I guess this changes the whole story,

doesn't it? That looks like an admission of

guilt. And I had such hopes. I thought if you got

on the case, you'd be able to clear him. I thought

that Mimi.... the way she acted... I was sure that....

(he sighs)

Oh, well, well... it's no use thinking of it now.

I'm sorry to have wasted so much of your time.

He goes quickly out. Nora looks after him,

and then turns to Nick. She is evidently

depressed.

Nora

Well, that's that.

(Nick starts to get up off the sofa)

Stay there, Nick!

Nick (paying no attention)

It's not going to hurt me to get up.

Nora (sharply)

Sit down!

Nick (with mock dignity)

You talk as if I were Asta.

Nora

All right, hard guy. Get up and bleed on the rugs.

Nick walks over to pour a drink. Nora sits

down and Asta comes and puts his head on her

knees looking sadly up at her.

Nora

(patting Asta)

What's the trouble, Asta? Your balloon busted?

So's mine.

Nick (to Nora)

What's the matter with you?

Nora

The mystery's all gone. And I wanted you to find

out who did it.

Nick

(over his drink, casually, as is

characteristic)

Maybe I will.

Nora

(surprised)

But Wynant --- ?

Nick

I don't believe he did it.

Nora

Why don't you?

Nick

No reason. Just a hunch. But I'm going to find

out.

(he starts to untie his robe)

I'm tired of being pushed around.

Nora

(feeling her jaw - standing up suddenly)

So am I.

Nick

Come on, Watson, we're going places.

As he strides into the bedroom, Nora striding

in perfect imitation after him.

DISSOLVE TO:

100 EXTERIOR ENTRANCE, NORMANDIE HOTEL.

Nick and Nora come through the door. They

have Asta on a leash. Guild steps up to

them.

Guild

(beaming at Nora)

Good morning --

Nora

Good morning, Lieutenant -

(Asta pulls her violently toward the curb.

She goes after him, out of the scene,

calling back apologetically)

Sorry.

Guild and Nick follow Nora more slowly to the

curb.

Guild

(to Nick)

You oughtn't to play this trick on me. Running

out when I was giving you time to rest up before

I asked you those questions.

Nick

You mean about that gun?

Guild

That ain't a gun any more. The firing pin's busted -

the -

(he breaks off)

Don't waste time talking about that.

They join Nora. She listens eagerly, not

taking her eyes from Nick and Guild. Through

the whole scene, as they walk down the block,

when Asta pulls on the leash Nora stops with

him, and the two men, as a matter of course,

stop and wait for Nora, none of them ever

looking at Asta. (IT IS A TRUCKING SHOT ALL

THE WAY)

Guild

Man to man, Mr. Charles, are you working on this

case?

Nick

Man to man, I'm not.

Nora

But he's interested!

Guild

I don't mind telling you I'd rather have you

working with us than against us.

Nick

So would I.

Guild

It's a bargain then. Anything you want to know?

The leash tightens up and starts to pull Nora

ahead. The two men quicken their steps to

keep pace with her. (They are walking along

a quiet street in the East Fifties, so that

there is not much traffic, and not many

people.)

Nick

What about the suicide?

Guild

Oh, that's a phoney. The men didn't even have

to go down.

Nick

I thought it might be. From now on, they're

going to think that every thin man over six

feet with white hair is Wynant.

Again the leash pulls Nora over to the

curb. The three, without interrupting

their conversation, stand still, waiting.

Nora

Do you think that Wynant did it?

Guild

Looks like he planned, something. He shut

up his apartment and his shop.

Nick

You've been there?

Guild

Yeah. Couldn't find a thing. This is the way we

figure it. Wynant goes to Julia's apartment. He

finds Morelli there... sees she's two-timing him.

They have a fight. But he figures he don't want

to do anything then.... Morelli might squeal. So

he goes away. He don't let his lawyer know any-

thing has happened... he lets him go ahead and

and hand over money to Julia to give to him, so that

Julia will think it's all blown over. Then, when

she don't expect it... he lets her have it.

Asta completes his investigation and starts off

down the street again the three follow.

Nick

No proof?

Guild

Nothing yet to cinch it.

Nick

Fifty will get you a hundred that he didn't do it.

Guild

What do you mean?

Nick

For one thing, he was too absent-minded to hold a

grudge.

Guild

Who's your candidate?

Nick

I haven't got that far yet. But I don't think

that everything points to Wynant. What about

the alibis?

Guild

They're all O.K. Mrs. Jorgensen, the boy,

Dorothy, Macaulay... even Morelli... we had to let

him go.

Nick

What about Jorgensen?

Guild

I'll check on that.

(he turns to Nora)

I'm afraid this is kinder dull for you.

Nora

Dull... I'm sitting on the edge of my chair!

Asta sees another hydrant and makes for it.

But Nora is too interested to stop. She

drags him on.

Nick

What about this Nunheim?

Guild

Oh, he's all right. We know all about him. He does

a little stooling for us every once in a while.

Nick

Did you know he was hanging around Julia?

Guild

No.

Nick

He's holding out on you.

Guild

(hadn't thought of this)

Let's go and see.

(he motions to a passing taxi)

Taxi!

A taxi drives up. Nora starts to get in.

Nick

This may be a little rough - you'd better let us

go alone.

Nora

Catch me letting you go alone!

She climbs determinedly in, pulling Asta

after her. Guild starts to follow, but

Nick pulls him away. He closes the door

of the taxi and speaks to the driver:

Nick

(to driver)

Grant's Tomb.

The cab starts off. Nora shakes her fist

back at Nick. Nick charmingly lifts his hat

and throws her a kiss, as Guild hails another

passing cab.

DISSOLVE TO:

101 OUTSIDE DOOR OF NUNHEIM'S APARTMENT.

It is the fourth floor of a dark, damp building.

The noise of the Sixth Avenue El can be heard

even in the hallway. Guild and Nick come to

the door. Guild knocks. There are sounds of

hurried movement inside the room, then a

voice calls, in an irritated tone.

Nunheim's Voice (o.s.)

Who is it?

Guild

John.

Nunheim hastily unlocks and opens the door.

He has no coat on - he is evidently frighten-

ed.

Nunheim

I wasn't expecting you, Lieutenant. You said

you'd phone.

Guild touches Nick's elbow with his hand,

and they go in.

102 LIVING ROOM OF APARTMENT.

The room is shabby and dirty, with clothing,

newspapers and dirty dishes sitting around.

Through an open door, the bedroom, with an

unmade bed, can be seen. In an alcove there

is a sink and a stove. Marian is standing

there with a sizzling skillet in her hand.

She is wearing a rumpled pink kimono and

frayed pink mules with lop-sided bows on them.

She stares sullenly at Guild and Nick as they

come in. Guild does not introduce Nick to

Nunheim, or even look at Marian. He keeps his

hat on, and Nick, seeing him, follows his

example. Guild pushes some clothing out of

the way to make a place for himself at the

end of the sofa.

Guild

(to Nick)

Sit down.

Nick removes some newspaper from a rocking

chair and sits down. Nunheim goes over to

a table where there is about two inches of

whiskey in a pint bottle.

Nunheim

Have a shot?

Guild

What's the idea of telling me you just knew

the Wolfe girl by sight?

Nunheim

That's all I did, Lieutenent. That's the God's

truth. Maybe I said hello to her or how are you

or something like that when I saw her, but that's

all I knew her. That's the truth.

(Marian laughs once, derisively. But

there is no mirth in her face. Nunheim

twists around to face her)

All right. Put your mouth in and I'll pop a tooth

out of it.

Marian

Is that so!

She swings her arm around and lets the

skillet fly at his head. It misses, crashing

into the wall. Nunheim starts after her.

Marian picks up a paring knife. Nick puts

his foot out, without rising, and trips him.

Nunheim falls to the floor.

Guild

Cut it out. We didn't come here to watch you

two rough-house.

Nunheim slowly gets up. Marian starts for

the bedroom without looking at any of them.

Nunheim

She drives me nuts. She's been ragging me all

day.

Guild

Maybe if you quit running around after other

women you wouldn't have so much trouble with

this one.

Nunheim

(for Marian's benefit - loud)

That's a lie, Lieutenant... Anybody that says

that is a liar.

Guild

(to Nick)

Want to take a poke at him?

Nunheim

(scared, to Nick)

I didn't mean you, Mister.

Marian goes into the bedroom and shuts the

door.

Nick

Come on, now -- she can't hear you -

Nunheim

Well...

(looking toward the door of the bedroom)

You know how it is. A guy knocking around....

Guild

You'd done better to have told me that in the be-

ginning. Where were you the afternoon she was

knocked off?

Nunheim

(terrified)

You don't think I had anything to do with it?

Guild

Where were you?

Marian comes out. She is in street clothes

and is carrying a suitcase.

Nunheim

Marian!

Marian

I don't like crooks and even if I did, I wouldn't

like crooks that are stool pigeons, and if I did

like crooks that are stool pigeons, I still wouldn't

like you.

Marian starts for the outer door. Nunheim

tries to follow Marian, but Guild catches his

arm.

Guild

Where were you?

Nunheim

Marian! Marian! Don't go! I'll behave!

I'll do anything! Don't go, Marian!

Marian goes out and shuts the door, paying no

attention to Nunheim.

Nunheim (to Guild)

Let me go! Let me bring her back. I can't get along

without her. I'll bring her right back and I'll tell

you anything you want to know. Let me go!

Guild

Sit down! We didn't come here to watch you and

that broad dance around a May pole. Where were you

the afternoon the girl was killed?

Nunheim puts his hand over his face and be-

gins to cry.

Nunheim

I can't remember offhand, Lieutenant. Maybe I was

over at Charlie's shooting pool. Maybe I was here.

She'd remember.

Guild

How'd you like to be thrown in the can on account of

not remembering?

Nunheim

Just give me a minute.... I'll remember. I'm not

stalling, Lieutenant. You know I always come clean

with you.

(he has his head in his hands trying to

remember. Guild looks at Nick and winks.

Nunheim looks up, relieved. He snaps his

fingers)

Gee, it'd serve me right if you had pinched me...

that's the afternoon I was.... wait, I'll show you...!

He gets up and quickly goes into the bedroom.

Nick goes to the telephone and starts to dial.

Guild starts to search the room.

Guild

Well, what'd you think?

Nick

I think we're on the right track.

Guild

Who're you calling?

Nick

I'm calling your office so you can send out a man to

trail him. I want to see where he goes.

Guild (astonished)

Trail him! Trail who?

Nick

Nunheim!

Guild looks at Nick, who is grinning. He then

grasps what he means and makes a bee line for

the bedroom. In a second he cones back. He

takes the phone from Nick.

Guild (sharply in phone)

Bill, tell the boys to pick up Nunheim. He just

left here - went out the fire escape

(then, as Bill evidently laughs, Guild

speaks with hurt dignity)

What's funny about that?

(he hangs up and looks sheepishly over

towards Nick.)

FAST DISSOLVE TO:

103 CLOSEUP OF NUNHEIM -

A TELEPHONE BOOTH.

Nunheim is talking into the telephone. As

he talks, he watches the outside of the

telephone booth to be sure that no one

is listening. His voice is quiet but there

is a menacing urgency in his tone.

Nunheim

Listen. They been questionin' me again. Asking

me what more I know. Where I was that day....

Wait a minute. I ducked out on 'em. Now if you

want me to play dumb, I want fi' thousand more...

Fi' grand and I'll skip town today.... Where?

O.K... Right away... See that you're there and have

it with you.

He hangs up and turns to go out.

DISSOLVE TO:

104 STREET IN THE WEST FORTIES.

Nunheim jumps out of cab, pays the driver.

It drives off. The street is deserted. By

this time it is about five o'clock and the

early winter twilight has fallen. WE TRUCK

AND PAN as Nunheim looks at the numbers of

the houses. A little way up the street he

finds the number he has been looking for.

He walks into a dark doorway. Just as he steps

in, there is the crack of a pistol shot and

the flash of fire from the gun. Nunheim

throws up his hands, staggers forward to the

street, his hand clutching his heart. Here

he pitches forward -- dead. The CAMERA

stays on the body.

DISSOLVE TO:

105 INSERT -- A BUNDLE OF CLOTHES -- ALL THAT IS

LEFT OF ONE ARTHUR NUNHEIM!

The hands of Nick and Guild are examining the

clothes as we come in. Nick has taken a

card from the inside coat pocket.

Nick's Voice

(over insert of card he holds)

"Arthur Nunheim -- Honorary member --"

CAMERA PULLS BACK RAPIDLY NOW TO REVEAL

GUILD'S OFFICE AT POLICE HEADQUARTERS.

Guild is throwing down some letters and

stuff he has extricated.

Guild

Not a thing.

Bob, the policeman, comes in.

Guild

(looking up)

Find out about that bullet yet?

Bob

Yes, sir. It's from the same gun that killed

Julia Wolf.

There is a second of silence. Guild and

Nick look at each other.

Nick

And how are your folks?

The telephone rings. Guild picks it up.

His face beams.

Guild (in phone)

How are you? -- No, we didn't get a thing.

(he hands the phone to Nick)

It's your wife.

Nick reaches for the phone, smiling.

106 CLOSEUP - NORA AT PHONE

She is in the Jorgensen apartment, but in a

room by herself. She speaks softly. She

thinks she is still talking to Guild.

Nora.

Well, I've got something, Lieutenant. I've been

doing a little detective work of my own. That

flat foot I married thinks he's smart -- but I'm

one jump ahead of him.

BACK TO:

107 CLOSEUP ON NICK.

He plays straight in his best manner.

Nick (kidding her)

Um?

Nora's Voice (through receiver)

Do you hear me?

Nick (grinning)

How's Grant's tomb?

BACK TO:

108 CLOSEUP OF NORA -- PHONE.

She starts at this, recognizing Nick's voice.

Again she sticks up her nose, a little

characteristic of hers in matters concerning

Nickie. Then she snaps:

Nora

It's lovely. I'm having a copy made for you --

BACK TO:

109 CLOSE TWO SHOT - NICK AND GUILD.

Nick laughs, then -- seriously:

Nick

What have you got?

Nora's voice comes through, but she is

evidently speaking in a low whisper and

the words are inaudible.

Nick

Can't hear you -- little lou --

(an alert look comes into his eyes as he

listens closer, getting what she is saying.

Guild, too, is interested.)

We'll be right up!

(Nick puts down the phone and turns to Guild)

She's up at Mimi's. Jorgensen has disappeared.

The two men rise.

FAST DISSOLVE TO:

110 CLOSEUP ON MIMI -- HER BEDROOM.

She is seated facing Nick in her bedroom, al-

though in this opening dissolve we do not

reveal him. WE HOLD ON MIMI as she speaks

hysterically.

Mimi

Chris may be at the club -- or somewhere -- I

don't see that it's important --

Nick (voice o.s.)

You should have told them he'd disappeared.

CAMERA PULLS BACK TO REVEAL THE ROOM NOW as

Mimi jumps up. Nick is seated, questioning

her. Dorothy hovers behind Nick.

Mimi

(her manner and tone more distrait)

But he has nothing to do with it!

Nick

That's not for you to decide. Everybody's under

suspicion - especially running off like this --

(he picks up a picture of Jorgensen

from the bureau)

The police will want his description. Is this

a picture of him?

Mimi tries to take the picture.

Mimi

I tell you -- he didn't do it.

Nick

They'll want more than your word for that.

Mimi

(coming forward and speaking slowly)

All right, then -- I'll tell them who did do it!

Dorothy (with horror in her voice)

Mother!

Mimi (paying no attention)

And I'll give then proof!

Dorothy turns and goes quickly from the

room.

111 HALLWAY OF APARTMENT.

Dorothy comes out of the bedroom, blind with

horror at what her Mother is doing. For a

minute she stands there, trying to collect

herself. Andy comes from the living room,

where he has been waiting for her. He goes

to her and takes her in his arms. She looks

up at him.

Andy

(with tremendous pity in his voice)

Dorry!

For a minute she clings to him, crying,

Dorothy

Oh, Andy.

Andy

Don't cry.

Dorothy

I can't help it. You don't know.....

Andy (protectively)

Darling, you can't go through any more of this.

Now you get together your clothes and your skates

and we'll go out to my family's in the country.

Dorothy (she stops crying)

I can't.

Andy

You've got to get your mind off this.

Dorothy (she pulls herself together)

You're sweet, but the only thing that you can do

for me is to go.

Andy

Go!

Dorothy

And don't ever try to see me again.

Andy

What are you talking about?

Dorothy (with rising excitement)

Please! You can't get mixed up in this.

Andy

Do you think I care

Dorothy

You don't understand. You don't know what's going

to happen.

Andy

I only know I want to marry you... right now,

and --

Dorothy

I can't marry you! I can't ever marry you!

Andy

Dorothy!

Dorothy (hysterically)

How would you like to have a couple of little

murderers for your children? It'd be fun,

wouldn't it? Maybe they'd murder each other...

keep it all in the family. That's what Father

should have done. He should have killed me and

Gilbert... then we wouldn't have had this to go

through.

Andy

You're talking like a crazy person,

Dorothy

Why not? I am crazy....the whole family's crazy.

Andy

Dorothy.... listen to me. I love you. Don't you

understand that? I love you.

Dorothy

Go away!

CUT TO:

112 LIVING ROOM - SHOOTING TOWARD HALL.

Nora and Guild are waiting for Nick. Gil-

bert is sitting with a large book open in

his hand. Dorothy's voice comes through.

The three in the living room cannot help but

hear.

Dorothy's Voice (o.s.)

Go away!

A door slams. Andy is seen walking slowly

past the living room door, on his way out

of the apartment. Gilbert gets up and

goes quickly out. Nora looks at Guild and

sighs.

Nora

Sleuthing isn't all fun, is it? I feel so sorry

for that poor girl -

Nick comes in with the photograph of Jorgen-

sen, which he has taken from the frame.

Guild

Get anything?

Nick

She's ready to talk.

(he hands Guild Jorgensen's photograph)

It won't do any harm, though - to find out where

he is.

CUT TO:

113 DOROTHY'S BEDROOM.

Dorothy is lying on the bed, face down.

Gilbert walks up to her, his big book still

in his hand.

Gilbert

You know, you're wrong about all of your children

being murderers... I've studied the Mendelian Law

of inheritance and their experiments with sweet

peas, and according to their findings... and they've

been pretty conclusive... only one out of four of

your children will be a murderer. So the thing for

you to do would be to have just three children...

(then as a thought comes to him)

... no, no. That might not work The first one

might be the bad one. I'll have to look that up.

By this tine Dorothy gets up. She has a

defiant look on her face.

Dorothy

You needn't look it up. I'm not going to get

married and I'm not going to have any children.

From now on, I'm just out for the ride!

BACK TO:

114 LIVING ROOM - MEDIUM ON GROUP.

Mimi is showing Guild the watch chain. Nick

is watching her closely. Nora is tense

with interest.

Mimi

(her voice quivering with forced emotion)

I took this from her hand. It's Mr. Wynant's

watch chain.

(Guild takes it from her)

I wanted to protect him.

She breaks into tears. Nick looks over at

her sardonically. Guild watches her with

evident sympathy. Guild gets up, putting

the watch chain carefully in his handkerchief.

Guild

I guess that cinches it, eh, Mr. Charles? He

killed them both - Julia Wolf and Nunheim.

Nick

Fifty will still get you a hundred.

Guild

This is enough for me.

FAST DISSOLVE TO:

115-119 SERIES OF QUICK DISSOLVES:

(a) POLICE RADIO ANNOUNCER AT MICROPHONE

Announcer

Calling all cars - calling all cars - cover all

roads leaving city - pick up Clyde Wynant -

Clyde Wynant drag-net - pick up - etc.

(b) GATE - GRAND CENTRAL STATION.

A policeman stands at the gate scanning the

passengers as they go through. (Through

this and ensuing vignettes, the dull voice

of the Police Announcer continues over the

flashes. Entire effect designed to ex-

citingly dramatize the spreading of the

net for the capture of Clyde Wynant.)

(c) A PRINTING PRESS.

It is running off police placards announcing

the reward for the capture of Clyde Wynant.

(d) TELETYPE MACHINE.

Over the machine is coming:

"Wynant wanted -- watch all

stations -- boats and roads --

description - thin man -- six

feet -- white hair, etc., etc."

(e) NEWSPAPER TRUCK -- STREET CORNER.

Newsboys are crowded around the back of the

truck. A man is hurling packs of LATE

EXTRAS down to the boys. They immediately

begin calling out:

NEWSBOYS

"Extra -- extra -- Wynant wanted in second murder --"

"Five Star Final" -- Wynant's ex-wife produces mur-

der evidence -- "

"Extra - extra -- double murder charge against

Wynant --"

Pictures of Wynant, most of them full

length (for the desired effect of the tall,

thin man) cover the front pages. Second and

third trucks can back into the scene, if

desired. Necessary, dramatically, to kick

up the idea that the chase for the killer

is increasing to fever heat.

DISSOLVE TO:

120 CLOSE SHOT ON NORA - AT WINDOW.

She is at the window of their bedroom in the

hotel Normandie again. We process through

the window to get a background of Central

Park, South. On SOUND TRACK from below we

get a carry-over of the newsboys' "Extra!

Extra!" from preceding effects. One shrill

voice is heard in relief against the others.

It is shouting: "Extra -- extra -- police

hunt Wynant --" Nora listens for a second and

then shuts the window, turning away from it.

Nora

I wish they'd stop that. It makes me fidgety. Do

you think they'll find him, Nick? He must be in

New York....

(she stops short as CAMERA PULLS BACK

and she sees Nick is in his overcoat,

bending over Asta with a leash)

Where do you think you're going?

Nick

I'm going to take Asta for a walk.

Nora

He's just been for a walk.

Nick

We're going sightseeing -- aren't we, Asta?

He starts to go -- but Nora puts a hand on a

bulge in his overcoat pocket.

Nora

What's that?

(she puts her hand in and pulls out a

bunch of skeleton keys)

What are you up to?

(she puts her hand in and and pulls out

a pistol - she unconsciously holds it,

pointing at him)

Nickie - what is this?

Nick (putting his hands up)

Looks like a hold-up!

Nora

What are you going to do?

Nick

I've got hunch. I'm going down to look at Wynant's

shop, I want to find out why it's closed.

Nora

Why shouldn't be close it? He went away.

Nick

He went away lots of times when I knew him - but he

never closed his shop. I've got a hunch something is

up.

Nora

You mean, he might be hiding there?

Nick

I don't know... This thing has got my goat. I've got

to find out.

Nora

Nick - I won't have you going down there.

Nick

Say you're the one who got me in this!

Nora

I know but this is different. He's a crazy man. He

might kill you.

Nick

I'll be all right. I've got Asta to protect me.

Nora (waving him out)

Go on - go on - see if I care. But it's a dirty

trick bringing me all the way to New York just to

make me a widow.

Nick (kidding her)

You wouldn't be a widow long.

Nora

You bet I wouldn't.

Nick

Not with all your money!

Nora

You dog!

Nick (kissing her)

Goodbye, darling.

Nora (clinging to him and for

the first time really serious)

Nickie, take care of yourself won't you?

Nick (lightly)

Sure I will.

Nora

Don't say it that way. Say it as if you meant it.

Nick (with mock solemnity)

Why, I believe the little woman cares.

Nora

I don't care - I'm just used to you, that's all --

(Nick gives her an affectionate hug and a

kiss. He calls to Asta. Nora turns to the

dog, trying to hide her emotion under a

pretense of clowning)

If you let anything happen to him, you'll never wag

that tail again!

DISSOLVE TO:

121 EXT. OF WYNANT'S SHOP - LIGHTING EFFECT

The street is deserted. The light from the

street lamps is very dim. A cab drives up before

the shop. The door of the cab opens and Asta

jumps out, and makes a bee-line for a hydrant.

Nick follows him, still in his evening clothes.

He turns to pay he driver, who is looking

dubiously at the neighborhood.

Driver

Sure this is the place you want?

Nick

This is it.

Driver

(looking apprehensively at the street)

You don't want me to wait, do you?

Nick

No thanks.

(Nick pays him)

Driver

(with a last look, he says dubiously)

Well .... good luck!

He drives off. The street is quiet. Nick

turns toward the shop. Nick stands for a

second looking at the building, then turns

to Asta.

Nick

(to Asta)

Ready? Well, let's go.

He goes to the front door of the shop. He

tries it. It is locked. From his pocket he

takes out a ring with skeleton keys on it.

Holding his flashlight on the key hole, he

finally finds the key that opens it. He

pushes the door slowly open. He holds it

open, looking back at Asta.

Nick

You keep quiet now. Come on.

But Asta doesn't like the looks of the place.

He doesn't move. Nick snaps his fingers for

him to come and Asta finally, reluctantly

follows him.

122 INTERIOR BUILDING -- TRUCKING AND PANNING

On Nick as he makes his way down the narrow

little hall, guided by his flashlight. Asta

trails, still reluctantly. Nick is

familiar with the old building so that he

does not lose time in reaching the rear,

where he goes down the steps, cautiously, to

the basement.

123 MACHINE SHOP AND STOREROOM IN BASEMENT -

LONG SHOT. (This room leads to Wynant's

private work-shop as established earlier.)

Nick moves stealthily through the storeroom,

flashing his light here and there on crates,

boxes of machinery, etc. It is a weird scene,

at any moment you must feel that Wynant, or

some foe will spring from behind the objects.

(His figure is mostly in silhouette during,

the scene. He flashes his light in quick

short flashes.)

Nick sees a moving shadow. Asta starts to

growl. Nick whips out his gun. The throws

the light of his flashlight onto a pile of

[sorry -- page missing. The "moving shadow"

turns out to be a cat.]

124 CONTINUED

nothing that will help him. He is starting

out, when he misses Asta. He calls him

softly. We hear the dog whine.

Nick (to Asta)

Well, come along, then...

Still the dog does not come. We hear him

whine again. Nick flashes his light around

until it lights on the dog. Asta is in the

center of the floor. He has his ears back.

He is sniffing at the floor. Nick keeping

his flashlight on Asta, comes back. He leans

down to the floor, running his hand over

the cement.

Nick (softly)

You're not a Scottish Terrier. You're a police

dog. New cement.

He gets up briskly and looks around, using

his flashlight, to find a tool. He finds an

iron bar. Placing the light so that it falls

on the floor. Nick takes the iron bar. He

pounds on the floor. Over the place where

Asta was whining, the cement gives out a

hollow sound. Nick takes the bar in both

hands, throws his whole strength into it,

trying to force it through the floor. It

finally goes through. Nick leans down, and

a startled, horrified look comes in his face.

He puts down the bar, picks up Asta, who is

flattened on the floor, watching him, takes

his flashlight and goes quickly toward the

stairs. He climbs rapidly.

125 CRANE SHOT -- FLIGHT OF STAIRS LEADING TO

WYNANT'S OFFICE ON SECOND FLOOR. (AS EARLIER

ESTABLISHED.)

He uses his flashlight to find his way. The

stairway, being as old as the building, creaks

as he walks. WE CONTINUE TO CRANE until he

reaches the second floor and cautiously enters

the old office.

126 WYNANT'S OFFICE - FULL SHOT.

All is pitch dark as he follows his flashlight

to the telephone, dials the number, then

extinguishes the light.

Nick (in telephone)

Hello, Lieutenant Guild, please... John? This is

Charles. I'm up in Wynant's shop. Well, I've found

something... it's a body.

He puts down the telephone. Using his

flashlight, he goes to the desk and begins

to look through the papers there.

127 EFFECT SHOT -- CAMERA AT BOTTOM OF STAIRWAY,

SHOOTING UP.

On the figure of a man as it is quietly

going up the same stairway that Nick took,

slowly going toward the office. He has no

light, but by his unhesitating steps, we gather

that he is familiar with the building. The

steps creak a little.

BACK TO:

128 WYNANT'S OFFICE - CLOSE SHOT ON NICK.

He is still rummaging over the desk. Sudden-

ly he stands rigid. He has heard a step.

He puts out his flashlight and whirls around

to face the door. At this instant, CAMERA

SWINGS OVER TO:

129 THE DOOR

As the man's figure appears. As he starts

to come in, Nick's flashlight is thrown

full on his face, blinding him. We see

that it is Tanner.

Nick's Voice (o.s.)

Stick 'em up!

Tanner, terrified by the light and the sharp

command from the darkness, puts up his

hands. Asta begins to bark. Keeping the

light full on Tanner's face, Nick swiftly

searches him. Satisfied that Tanner has

no gun, Nick goes to an electric light

switch.

Nick (as he does this)

Don't make a move or that dog will tear you to

shreds!

He switches on the light. Tanner looks in,

blinking amazement and fear, first at Nick,

and then at --

130 BIG CLOSEUP OF ASTA

He has crawled under the desk and lies there,

looking out fearfully.

BACK TO:

131 MEDIUM ON NICK AND TANNER

Nick grins a little at Asta's fear and

Tanner's bewilderment.

Nick (to Asta)

Come on out, now. He won't hurt you.

(then to Tanner, with a return of his

brisk, professional tone)

Back to your old tricks, eh, Tanner?

Tanner

No, Mr. Charles.

Nick

How did you get in here?

Tanner

I had a key. I worked here... till they closed the

shop.

Nick

You worked here?

Tanner

Yes, sir. Julia Wolf got me a job as bookkeeper.

Nick

Well, that's a hot one. You a bookkeeper! When

were you ever a bookkeeper?

Tanner

That time you sent me up last ... I learned book-

keeping at Sing Sing. I figured it might be an in

for me somewheres.

Nick

Somewheres where they might go out and leave the

safe open?

Tanner

Honest, Mr, Charles. I never touched that safe.

Them bonds that were missing... Julia took them.

Nick

Trying to put it off on her?

Tanner

Mr. Charles - she did - that's why he got sore at

her and killed her. Listen, Mr. Charles --

(he pulls out some bills)

I did do a little chiseling. I come to bring it

back and fix up the books. I didn't want him to

find out and come after me -

Nick

You can save that and tell it to the police.

They'll be here in a minute.

Tanner

(a hunted look comes into his face)

Police!

He shrinks back, aghast, as at this moment we

hear the sound of sirens from police cars

arriving outside. Asta crawls back under

the desk.

132 EXTERIOR WYNANT'S SHOP - STREET - NIGHT.

There is a rising crescendo of sirens as

Guild's police car, and the Medical Examiner's

car swing around the corner, accompanied by a

motorcycle escort. They pull to a stop at

the front of the shop. The police and Dr.

Walton, with his assistant, get out of the

cars and go to the door of the building.

There are police photographers with them.

Nick, with Tanner in his custody, is waiting

at the door of the shop.

DISSOLVE TO:

133 WYNANT'S SHOP - BASEMENT.

The floor is dug up more than in the last

scene, so that the body is exposed enough for

the photographers. Guild, Nick, Dr. Walton,

Tanner and the rest of the police stand aside

as the photographers take their flashlight

pictures from different angles. Guild is

putting on a pair of gloves. Dr. Walton is

preparing to do his work. Nick, in his

evening clothes and his casual air, is an

incongruous note in the midst of all the

professional excitement. As the photographers

finish, Guild steps up to the hole in the

floor. He turns to Tanner, who is watching,

horrified.

Guild (to Tanner)

You didn't know anything about all this?

Tanner

No, sir....

Guild (to one of the police)

Take him down to the can. I'll see him later.

The policeman goes out with Tanner. Guild

looks down into the hole.

Guild (he gives a low whistle)

I wonder what Wynant had against this one?

Quick lime. Well at least the clothes weren't

touched.

The Medical Examiner comes up and stands be-

side him.

Guild

Mind if I take those out, Doc?

Dr. Walton

Go ahead.

Guild stoops down and takes out a bundle of

clothes. The CAMERA PANS with him as he

takes them over to a work table and starts

to open them up. Nick strolls over and stands

watching him.

Nick

(looking at the bundle of clothes)

Just rolled them up and threw them in.

Guild

Lucky thing for us they weren't in that lime.

Nick

Extraordinarily lucky.

Guild pulls a coat from the bundle. It is

a large coat, slightly eaten by the lime.

Guild picks it up and examines it for a

tailor's label.

Guild

No - no identification -

(he holds the coat up)

Must have weighed two hundred and fifty if he

weighed an ounce.

Bob (o.s.)

Here's something,

Bob comes into the scene. He hands Guild

a walking stick. Guild takes it and examines

it.

Guild (looking at the stick)

Rubber tip. He must have been lame.

Bob

Who wouldn't be.... carrying that weight around.

Guild takes the trousers and stretches

them out.

Guild (to Doctor)

Standing straight he'd be about five foot,

eleven, wouldn't he?

Doctor's Voice (o.s.)

About.

There is a belt attached to the trousers -

Guild looks at it. He finds some initials

engraved on the silver buckle.

Guild (reading from the buckle)

"D.W.R."

(turns to Nick)

That case you worked on... the guy who threatened to kill

Wynant... what what was his name?

Nick

Rosebreen.

Guild

Could this be him?

Nick

I never saw him. I don't think anyone saw him.

Guild

He said Wynant tried to steal an invention.

Nick

Yes. But we figured it was just blackmail...

Guild

Just the same, Wynant wouldn't mind having him

out of the way, would he?

(he turns to the Doctor)

How long should you say this body'd been here,

Doc?

The Doctor comes into the scene taking

off his gloves.

Dr. Walton

I can't say offhand. At least a couple of months...

Guild

Couple of months. That's just when he closed the

shop. The way I figure it is... he kills this guy

and plants him here. Julia knows about it, so he

kills her. And Nunheim caught him at that, so he

he had to bump off Nunheim.

(he makes a bundle of the clothes)

Well, we'll be going along.

(to Nick)

You done a swell job. You wouldn't like to pay

me that hundred now?

Nick (smiling)

Wait 'till you catch Wynant.

Nick walks over to the Medical Examiner who

is putting on his coat, preparatory to going.

The Medical Examiner speaks to his assistant,

indicating the wrapped up body, out of the

scene.

Dr. Walton

You can take that out to the car.

Nick

Going to run him through the floroscope?

Dr. Walton

Yes.

Nick

Do you mind if I come down and see it?

Dr. Walton

Not at all.

Nick

I'm very interested in that body.

By this time Guild is ready to go. He turns

to Nick, the bundle of clothes under his arm.

Guild

Give my best to your wife.

He turns to go out, almost bumping into a

figure in the semi-darkness. It is apparently

a slender boy, his coat collar high about his

neck, and his hat pulled down over his eyes.

Nick spies him at the same time and comes

toward him. Guild speaks sharply to the boy.

Guild (to the boy)

What're you doing here?

Nick

(to Guild - knowing who it is)

I'll take care of him.

Guild grunts and continues on his way. Nick

takes the boy by the arm, and unceremoniously

hustles him out. Nick has Asta under his

other arm.

CUT TO:

133A EXT. OF BUILDING

Nick hustles the boy into a taxicab, and

follows him in, speaking to the driver as he

gets in.

CUT TO:

133B CLOSEUP OF NICK

Nick is seated in the cab. He is looking with

a disapproving scowl at his companion.

Nick

What do you think you are?

The CAMERA PANS to his companion. We see that

it is Nora. She is dressed in Nick's clothes.

She has even used some of her hair to make

a mustache. She looks at Nick with a twinkle

in her eye, and strokes the points of her

mustache in imitation of him as she speaks.

Nora

I'm a 'de-tect-uf'.

DISSOLVE TO:

134 CLOSEUP OF FLOROSCOPE. (Police Laboratory)

The light of the floroscope comes through

the skeleton of the body. The Medical

Examiner's hand comes into the shot, point-

ing to a dark spot in the left side of the

body, near the heart.

Dr. Walton's Voice (o.s.)

There's the bullet he was killed with. See?

Nick's Voice (o.s.)

What's this?

His hand comes into the shot, pointing to a

smaller speck in the shin bone. THE CAMERA

NOW PULLS back to show the two men in Dr.

Walton's laboratory looking at the body under

the floroscope. Dr. Walton looks closer.

Dr. Walton

Oh, just an old piece of shrapnel.

An idea comes to Nick. He is piecing things

together in his mind.

Nick

Shrapnel!

Dr. Walton (still inspecting)

Must have been in the war. That might account for

the cane and his limp.

Nick (thinking of something else)

Yes... yes.

AS WE ARE DISSOLVING TO:

135-139 SERIES OF EFFECT FLASHES -- THIRD MURDER --

POLICE DRAGNET

In terrific tempo, with the elongated shadow

of the Thin Man behind the flashes, we bring

in, kaleidoscopically, police teletypes --

radio broadcasts -- telephone and telegraph --

wireless -- radio cars, etc. Chief among

these effects are superimposed closeups of

police and detective chiefs as they talk

into phones, firing their orders. By the

nature of the uniforms worn by the police

captains, we must achieve the idea that the

man-hunt is NATION WIDE. Also superimposed

are newspaper headlines, tabloids, etc.,

screaming out: "WYNANT HUNTED IN THIRD MUR-

DER --" "WYNANT VICTIM BURIED IN BASEMENT --"

"HORROR MURDER LAID TO WYNANT --" "WYNANT

BODY NUMBER THREE DUG UP IN CEMENT --" etc.,

etc. Also, on SOUND TRACK, through radio

and telephone, we hear continuous voices as

they report: "WYNANT SEEN HERE -- WYNANT

SEEN THERE --" etc.

These are Vorkapich shots, and conclude with

thrilling flashes of automobiles being stopp-

ed on roads by traffic officers, squad cars

racing to and fro from headquarters, etc.

DISSOLVE TO:

140 CLOSEUP OF ASTA.

The dog is standing on a table. The CAMERA

PULLS BACK to show the living room of Nick's

suite. The reporters are on Nick's trail

again. The floor is littered with newspapers.

Nora, in negligee, is being interviewed

by a 'sob sister'. Nick is near the table

where the drinks are surrounded by reporters.

A newspaper photographer is taking Asta's

picture as he stands on the table.

Photographer

(snapping his fingers down near

the floor)

Hey... doggie, doggie. Look down at the body!

Look down at the body!

(Asta looks down at the man's hand and

the flashlight flares up. The photo-

grapher hurriedly goes to Nick)

Now, Mr. Charles --

1st Reporter (to photographer)

Get that out of here.

Photographer

Just one family group.

Sob Sister

It'd be lovely for the woman's page.

Nick goes to stand beside Nora, and the

photographer puts Asta in Nora's arms. The

reporters follow Nick, asking him questions.

1st Reporter

Have the police got any idea where Wynant is?

Nick

No.

2nd Reporter

Do you think they'll I find him?

Nick

I know they will.

The flashlights flare again. Nick moves away.

3rd Reporter

Got anything else to say about the case?

Nick

Yes. It's put me way behind in my drinking.

He starts for the table where the liquor is.

1st Reporter

What about this Rosebreen?

Nick (pouring himself a drink)

Sorry. Don't know a thing.

2nd Reporter (to photographer)

Come on, let's get it in.

(to Nick)

Thanks, Nick.

The reporters all start for the door.

1st Reporter

What's your next step, Nick?

Nick

Right back to California. We've got to go home

and rest up from our vacation.

1st Reporter

We'll see you before you go.

They all go out. CAMERA MOVES IN FOR

CLOSE PANNING SHOT.

Nora (disappointed)

Back to California

Nick

My soul, woman. I give you three murders and

you aren't satisfied.

Nora

I want you to stay and find Wynant.

Nick

(out of a clear sky - over his highball)

I did find him!

Nora

What do you mean?

Nick (between swallows)

He was down in the shop.

Nora

Nick!

Nick

It was his body that was buried there.

Nora

Nick, you'd better lay off that liquor.

Nick

That's a fact.

Nora (unable to believe her ears)

Wynant's body?

Nick (mixing another drink)

Yup. Don't you want something to eat?

Nora

But they all said it was Rosebreen's.

Nick (going to telephone)

That's what they think... Guild and all of them.

They take it for granted that it's just another

of Wynant's victims.

(he takes up telephone)

Guild's hot-footing it around now, looking for

Wynant. That's all that troubles him.

Nora

What makes you so sure it's Wynant's body?

Nick

Several things.

(speaks into the telephone)

Hello, Fred. We're hungry again. Yeah, and lots

of onions. Oh, and coffee.

Nora

Nick, you'll drive me crazy. What things?

Nick (putting up the receiver)

Huh?

Nora

What things made you so sure?

Nick

Oh. Well, the clothes for instance. They were

carefully preserved, and the body was just as

carefully destroyed. The person who killed him

counted on one thing... that all skeletons look

alike.

Nora

Well, don't they?

Nick

Sure.

He takes a drink from the glass in his hand.

Nora goes to him and takes his drink from

him.

Nora

You don't get another swallow 'til you really open up.

Nick (speaking quickly, anxious to

get his drink back)

I remembered that Wynant had some shrapnel in

his shin. It often bothered him. So I looked

for it and I found it.

(he reaches out his hand for the glass)

Gimme.

Nora mechanically gives him back his drink,

her mind on the significance of what he has

told her.

Nora

How long has he been dead?

Nick

Couple of months anyway.

Nora

Then he couldn't have committed those other mur-

ders.

Nick

Smart gal.

Nora (hardly able to believe it)

Wynant dead?

(with a sudden thought)

Does Dorothy know?

Nick

No. Nobody but you.

Nora starts for the telephone.

Nora

I'm going to tell her.

Nick

Hey... hey.

(Nora stops)

Don't do that.

Nora (protesting)

But the poor kid's going crazy. She'd rather

know her father was dead than that...

Nick (interrupting)

I can't help it. I can't tell a soul. I didn't

even tell Guild.

Nora

Why not?

Nick

I want to lie low till I get the whole dope. I

don't want to go off half-cocked.

Nora

What are you going to do?

Nick

I'm going to get the real murderer. I've got

an idea. Want to see me take him?

Nora (thrilled)

Yes!

Nick

Got a nice evening dress?

Nora (impatient)

Now Nick, what's that got to do with it?

Nick (insisting)

Got a nice evening dress?

Nora

I've got a lulu -- why?

Nick

I'm going to give a party, and invite all of

the suspects.

Nora

The suspects! They won't come.

Nick

Oh, they'll come. I'll have Guild issue the

invitations.

(he starts to telephone)

Nora

Who do you think did it?

Nick

Mimi...

Nora

Mimi!

Nick

Mimi, Jorgensen, Morelli, Tanner.....

(to Nora)

What were you doing on the ninth of June?

He grins into the phone.

FAST DISSOLVE TO:

141 PRIVATE DINING ROOM IN HOTEL.

Music of a small string orchestra is com-

ing from the adjoining balcony. A table

is set in the background for fourteen people.

The waiters are quietly putting the the last

touches to the table. The head waiter is

passing around a last tray of cocktails.

The CAMERA TRUCKS with him as we pick up

the different people. He goes first to Andrew

who is standing by himself, very forlorn

looking. Then to Mimi, Tanner and Gilbert

who are a little isolated group.... not know-

ing what is going on, and looking very

suspiciously at the other guests. He goes

on to a group made up of Nora, Guild, Marian

and Morelli. Nora is hanging on to the two

men's words. The head waiter goes on to

Nick and Macaulay.

Head Waiter (to Nick)

Shall I serve dinner now?

Nick

Just a minute -

Nick looks toward the door. He breaks away

from Macaulay and goes to the door. The

CAMERA PANS with him as he goes. A detec-

tive is just coming in the door.

Detective (to Nick)

We got 'em. Picked 'em up at the Pennsylvania

Station.

(he turns to the door)

Come on in.

Dorothy and Quinn come into the room. They

have both been drinking. Quinn is angry

and reluctant to come in. Quinn has a suit-

case and Dorothy a little dressing-case in

her hand. Dorothy is defiantly gay. She

has quite thoroughly carried out her threat

to go "out for the ride" -

Nick

Hello, Dorothy.

(Nick reaches out and takes her bag)

Dorothy

Hello, Nick!

(she looks around the room)

And a party - celebrating father's third murder -

(her tone is bitter)

Mimi's Voice (o.s.)

Dorothy!

Dorothy

And cocktails!

She walks toward the drinks out of the scene.

Nick (to Quinn)

Why the bags?

Quinn

None of your business.

Detective

They were trying to make a get-away,

Quinn (drunk and belligerent)

We were doing nothing of the sort. What's the

idea of this?

Nick

Didn't he...

(he indicates the detective)

...give you my invitation?

Quinn

You can't get away with this.

The detective is closing in on him.

Nick

You're perfectly right.

(to the detective)

Take the gentleman's coat and bag.

The detective starts, not too gently to

take Quinn's coat from him.

142 CLOSE SHOT - DOROTHY AND ANDY

Dorothy takes a drink from the waiter. Andy

starts toward her.

Dorothy (to Andy)

This is a pretty dead bunch, isn't it?

Andy

You're high enough.

Dorothy

Why not?

Nick comes up to her.

Dorothy (to Nick)

You know, you interrupted me at a very important

point in my life. I was about to take my first

false step.

(calling to Quinn)

Come on, Quinny. Let's dance -

She walks away from Andy and Nick.

Andy (to Nick)

I'm getting out of here.

Nick

No - I need you here.

Andy (glowering at Quinn)

If I stay, I know I'll take a poke at him.

Nick

Then I insist that you stay.

CUT TO:

143 MORELLI, GUILD AND MARIAN

Marian

I want some more of that tiger milk.

She starts off to get another drink. Morelli

looks after her admiringly.

Morelli (to Guild)

I think somebody could do something with that cl[]

if they took hold of her right.

Guild (drily)

Yeah - by the throat!

CUT TO:

144 MEDIUM SHOT NEAR TABLE.

Nora is near the dinner table with Guild

beside her. Marian, Macaulay, Mimi, Gilbert,

Tanner and Morelli are nearby.

Nora

I think we may as well sit down.

Guild (looking around)

I guess all the suspects are here.

There is a second of stunned amazement on

the people's faces.

Nora

Mr. Guild means guests!

(counting noses)

Oh, there are two more to come.

Guild

They'll be here. Don't worry. My men are pick-

ing them up.

Nora (beaming at him)

You're a great help to a hostess. I wish I

always had you for my dinner parties.

Nora starts to seat the guests.

Mimi (looking toward the door)

Chris!

She walks rapidly out of the scene, and

WE PAN WITH HER TO THE:

145 DOORWAY.

Jorgensen and a woman have come in the door.

She is a hard-faced, common woman, who looks

as if she could handle any situation. They

are standing there angry and belligerent.

There are a couple or plain-clothesmen with

them.

Nick

I'm Nick Charles. How do you do?

Mimi rushes up to Jorgensen.

Mimi

Chris, where have you been?

She stops as she sees the other woman. One

of the plain-clothesmen speaks to Nick.

Plain-clothesman

Sorry we're late. But they had to break down

the door.

Mimi bristles at this. She gives the

woman a withering look and walks out of

the scene. Nick watches with great amusement.

Nick (to Jorgensen and the woman)

Won't you come in?

The two reluctantly follow him further into the

room. Nick follows them, rubbing his hands

with delighted anticipation of the scene to

follow. The CAMERA PANS WITH HIM as goes

to the table. The people are all seated

with the exception of Mimi, Jorgensen and the

woman with him, and Nick. Nora is watching

the new arrivals with eager interest. Nick

looks at her and gives her a broad wink.

Nick (turning to Jorgensen)

Mr. Jorgensen, you sit next to Andrew, and Mrs.

Jorgensen on your right.

Both Mimi and the woman who came in with

Jorgensen, start for the chair which Jor-

gensen is holding. As they find themselves

both going for the same chair, Mimi draws

herself up with great dignity.

Mimi

I'm Mrs. Jorgensen.

Mimi starts to sit.

The woman (drily, as she points to

an empty chair across the table)

Put it over there. I was Mrs. Jorgensen before

you were.

Mimi looks at Jorgensen, bewildered. But he

refuses to meet her eye. The other woman

sits down firmly in the chair. Nick, from

the head of the table, calls to Mimi.

Nick

Mimi.... you're here on my right.

He holds her chair for her as she comes and

sits down. The waiters start in immediately

to serve dinner.

CUT TO:

146 CLOSE SHOT: NICK AND NORA.

Nick holds Nora's chair for her.

Nora

You give such charming parties, Mr. Charles.

Nick

Thank you, Mrs. Charles.

Nora sits - she whispers to Nick.

Nora

I can't wait any longer. Tell me, do you think

one of them did it?

Nick

Yes.

Nora

I wish you'd tell me who.

Nick

I wish you'd tell me.

Nick sits down at the head of the table.

CUT TO:

147 MEDIUM SHOT: TABLE.

NOTE: The seating of the table is as follows:

Nick

Mimi Nora

Quinn Macaulay

Dorothy Tanner

Gilbert 1st Mrs. Jorgensen

Morelli Jorgensen

Marian Andy

Guild

Nick looks up and down the table.

Mimi

This is all very pleasant but why are here?

Nick

I've got some very important news - I've seen

Wynant.

They all turn and look at him with curiosity.

Guild looks amazed. Mimi is very composed.

Guild

You did!

Mimi

That's nothing. I saw him myself.

Nick and Nora exchange looks. Nora is be-

wildered.

Nick

You did... where?

Mimi (drily)

Last night. He came to see me at my apartment.

Nick (with mock sincerity)

Oh, did he? What did he say?

Mimi

He didn't say very much. Wanted to know how I was

and how the children were.

Guild (infuriated that Wynant slip-

ped through his fingers)

What kind of clothes was he wearing?

Mimi

A brown suit, brown shoes and a white shirt and a

grayish tie with red, or reddish brown figures on

it.

Guild (over his shoulder to Bob,

who is standing behind his chair)

Tell 'em.

(Bob goes quickly out)

Gilbert

I saw him too... he was wearing a green suit with

a white tie...

Mimi

What are you talking about, Gilbert? You weren't there!

Gilbert

I know. But I saw him -

Guild (to Gilbert)

Where did you see him?

Gilbert

I was gazing in my crystal.

Nora (to waiter)

Serve the nuts - I mean, serve the guests the

nuts.

Nick

I'm afraid you're lying, Mimi. You see, I really

did see Wynant last night.

Guild (amazed)

Are you kidding?

Nick

No.

Guild

Why didn't you tell me? .... Why didn't you hold

him?

Nick

Because I found out for certain that he didn't

commit the murders.

Dorothy (sobering)

He didn't do it -- Nick!

Macaulay (puzzled)

What do you mean?

Gilbert

Then who did?

Tanner

Do you mean to say...? etc.

Mimi

That's ridiculous.

Guild

Let him have his say out.

Nick

Morelli -

(Morelli jumps, startled. Everybody

looks at him)

You knew Julia. Was she gypping Wynant?

Morelli (somewhat relieved)

She don't say she is, but I figure she is -

Nick

Why do you say that?

Morelli

Once I wanted five grand --

(snaps his fingers)

Cash -

Nick

Thank you. Now I'll tell you why I know Wynant

didn't commit those murders -

(he turns to Morelli)

Three months ago - the night that he caught you

in Julia's apartment, he found out that Julia was

cheating him, and was splitting with some man.

He went to find the man. That man was.... Tanner,

don't you...?

(but poor Tanner, thinking that Nick

is naming him as the man, spills his

soup over everything. Everybody

turns and looks suspiciously at him.

Nick sees that he has startled him and

apologizes)

I'm sorry. Tanner, don't you want some wine?

Tanner (turning and seeing the waiter

in back of him)

No... no.

The waiter moves on.

Nora (to Nick)

You're going to drive me crazy!

Nick (returning to his subject)

Let's see... where was I? Oh, yes. He went to

find the man. That man was desperate! He knew

that he was caught dead to rights -- and with

prison staring him in the face, he took the only

way out. He killed Wynant.

(Nick turns to Dorothy and speaks

gently, trying to soften the blow)

It's terrible to tell you this way but your

father's dead, Dorothy.

Dorothy (at first she cannot grasp

it)

Dead?

Nick

He's been dead for three months.

She breaks down and cries. She gets up

from the table. Nora starts to go to her.

but Andy is there before her. He takes

Dorothy in his arms, oblivious of the other

people in the room and comforts her.

Andy

Darling, don't cry. Please. I know it's

terrible. But isn't it really better this way?

Dorothy

(putting her arms around Andy)

Oh, Andy, Andy!

Nora comes to them.

Nora (to Andy)

You'd better take her home. Your home.

Andy looks over at Nick. Nick motions him

to take her away.

Andy

Come on, darling.

With his arms around her, he starts out of

the room. Dorothy clings to him as they go

out. Quinn gets up to follow. There is a

silence in the room for a minute after they

go.

Nora (to Quinn)

If she's going wrong now, she's going wrong right.

Nick comes into the scene.

Nick (to Quinn)

I don't think we need you any more now. I'm

deeply sorry that I spoiled your trip.

Quinn grabs his hat and coat and bag - goes

out. Nick and Nora return to the table.

Nick

Come on, everybody. Eat up. You're not eating.

It hasn't affected Mimi's appetite.

Mimi

Because I don't believe that Clyde's dead! Why,

you said yourself you saw him last night.

Nick

So I did. I saw him lying buried in his shop.

Guild

You mean that body-?

Nick

--was Wynant's.

Mimi

Perfectly absurd.

Nick

And the murderer is right here in this room to-

night... he's sitting at this table.

(to waiter)

You may serve the fish.

The CAMERA PANS around the table... to all the

frightened faces of the people. Morelli

jumps up and starts out of the door... but he

is stopped by the police.

Morelli

You're not going to pin this one on me.

Plain-clothesman

Get back there!

Morelli (sitting down)

What am I? The fall guy?

Nick (to the table full of people)

I hope you won't let this news spoil

your dinner.

(he turns to Nora)

Nice food, isn't it?

Nora (all eyes)

It's the best diner I ever listened to -

Gilbert

You're not going to keep us in the dark, are

you? Tell us -- who is it?

Nick

I don't know.

(There is more consternation at that)

But I thought if we all had a little get-together

we might be able to find out. I'll tell you as

much as I know. Go right on eating. This murder-

er is a very clever. He studied this thing out

very carefully. You'd understand that, wouldn't

you, Gilbert?

Gilbert (startled)

What? Yes - no -

Nick

He planned the whole thing beautifully. After he

killed Wynant he wired Macaulay, using Wynant's

name and told him to shut up the shop. He

destroyed all of Wynant's clothes, with the ex-

ception of his watch chain. He figured that some

day that might come in handy. Then he took

Wynant's body and buried it in the shop with

another man's clothes to throw us off the track.

He even put a belt buckle with an "R" on it, hop-

ing that we'd think it was Rosebreen -- an old

enemy of Wynant's who dropped out of sight years

ago.

(He looks over at Morelli)

Morelli - would you mind holding your knife

another way? You're worrying Gilbert.

(Morelli, who has been holding his knife

as if it were a dagger, gives Gilbert a

disdainful look, and shifts his knife)

Nora (softly to Nick)

If that knife is missing, I'll look for it in your

back.

Nick

After our hero had killed Wynant, he got a

brilliant idea. He realized that he and Julia could

still collect money. Wynant was supposed to be on

a trip - no one knew where - so our dinner guest

wrote letters to Macaulay, signing Wynant's name,

so that Macaulay would continue to send the money

to Julia. He even telephoned Macaulay --

(to Macaulay)

Do you remember?.... the first day that you came

to see me... he telephoned that he was in town?

Macaulay (puzzled)

But it must have been Wynant. I should have known

if it weren't his voice.

Nick

Oh he as clever about that. He called when you

were out. That same afternoon, Julia telephoned to

him. She said that you were coming, Mimi, to ask

about Wynant. He got terrified. He was afraid that

Julia would break down and tell... so he went to

Julia and killed her and left Wynant's watch chain

in her hand.

CUT TO:

148 CLOSE SHOT - NICK AND NORA.

Nora (close -- whispering)

Is that true?

Nick

I don't know.

Nora

Why are you saying it?

Nick

It's the only way it makes sense.

Nora

I hope you're well.

BACK TO:

149 MEDIUM SHOT OF TABLE

Nick

His plan was still working beautifully. Wynant

was established as being in town. The watch

chain was handed over....

(with a look at Mimi)

...with a slight delay...to the police. The only

hitch was a man named Nunheim who had found out

something. Our hero paid Nunheim once to keep

his mouth shut, and when Nunheim threatened him

again, he bumped him off.

CUT TO:

150 CLOSE SHOT MORELLI AND MARIAN

Marian (to Morelli)

And I don't blame you.

Morelli (terrified)

What do you say that to me for?

Guild (to both)

Shut up.

BACK TO

151 TABLE FULL AGAIN - GUNNING DOWN.

Nick (to the people)

You see, he'd been very clever. Everybody,

even our astute friend Guild, thought that Wynant

was alive and that he was the murderer. But

our hero had just one weak link in his chain.

The telegrams, wires and telephones were all very

well - but no one had seen Wynant. So he picked

on poor Mimi here to strengthen his case. Mimi

is the only one at the table who can tell us

who the real murderer is.

(everybody looks at Mimi)

Mimi, who was it that told you to say you'd seen

Wynant?

Mimi

Nobody told me. I did see him!

Nick

What did he pay you, Mimi, to stick to that story?

Mimi

It isn't a story - it's true. I did see Wynant.

He's not dead.

Nick

You're lying, Mimi. But then, you'd do anything

for money. You're getting a good price for say-

ing you saw Wynant and you figure you won't get

anything if he's dead.

Mimi

I'm lot going to stay here to be insulted -

(she starts to go - but stops to listen

to Nick as he continues)

Nick (to Macaulay)

Macaulay, you drew up Wynant's will. Mimi was

cut off, wasn't she, if she re-married?

Macaulay

I have no right to answer that.

Nick

What about it, Tanner. Isn't that the truth?

Tanner

That's what Mr. Wynant said to me. If she re-

married, all the money was to go to the children.

Nick

You shouldn't let that keep you from telling

truth, Mimi. Mrs. Jorgensen -

(he speaks to the woman with Jorgensen)

Were you ever divorced from Chris Jorgensen ?

The Woman

No.

Nick (the bombshell bursts)

So you see, Mimi, under the law, you haven't re-

married. You're still one of the heirs. What

are you holding out for? A few crummy dollars

that that man gave you when you can get the whole

estate? Remember the other two who were in with

him on this... Julia and Nunheim. When he thought

they might spill something he bumped them off.

You ought to know damn well that he's not going

to take any chances on you. What do you want to

do? Be next on his list?

Mimi (furious - to Macaulay)

You dirty son of a b- !

A crash of china drowns out the end of her

speech as Macaulay rises to his feet. Nick

is on his feet in a minute. He knocks

Macaulay out. Guild rises and stands look-

ing down in stunned amazement at Macaulay.

Nora and all the others leap up in amaze-

ment as the murderer is revealed.

Nick (to Guild)

What do you want me to do? Wrap him in cellophane?

FAST FADE.

152 FADE IN:

CLOSE UP - FOUR CHAMPAGNE GLASSES

A small travelling Victrola is playing a gay

tune. The glasses are held up by four hands.

WE DISSOLVE THROUGH them to show the drawing

room of a train. Dorothy and Nora are

sitting facing each other, dressed in robes

and lounging pajamas, and Andy and Nick

are sitting beside them, also in robes and

pajamas. Nick is pouring champagne from a

bottle into the four glasses. The drawing

room is full of flowers. Nick puts down

the bottle and holds up his glass in a toast.

Nick (speaking)

To you two.

Andy

And to you two too.

OVER THE SOUND TRACK we hear the train whistle

go "Toot-toot" at a crossing. The four raise

their glasses in a toast and drink. There is

a buzz at the door.

Andy

Come!

A good-natured colored porter sticks his

head in the door and speaks to Nick.

Porter

Your room's ready, sir.

Nick

Thanks. You can take Asta now.

[...]

where Asta is lying asleep. She picks him

up.

Nora (to Asta)

You're going to your nice little bed in the

baggage car.

She hands the dog to the porter. As the por-

ter is starting out, he sees Dorothy's

bridal bouquet in the bracket in the corner

of the drawing room.

Porter

(to Dorothy, pointing to the bridal bouquet)

Shall I keep them fresh for you?

Dorothy

Please, if you will.

The porter takes the flowers and Asta and

goes out. There is a pause. Simultaneously,

Andy and Nick sneak a look at the wrist

watches. Andy looks up and catches Nick

looking at his. Nick is embarrassed but

determined to call Nora's attention to the

late hour.

Nick

Might as well set it ahead now.

Nick starts to set his watch. Nora leans

over, is startled to see how late it is.

Nora

Gracious! One o'clock. We'd better go.

She leans over Dorothy and kisses her

affectionately.

Nora

Good night.

Dorothy clings to Nora for a minute.

Dorothy

I can never thank you enough for all you've

done.

Nora (affectionately)

Forget it.

Nick (to Andy and Dorothy)

Goodnight. Goodnight.

There are mingled "good nights" as Nick and

Nora go out the door. As soon as the door

closes, Andy takes Dorothy in his arms.

Andy (smiling -- shy)

I thought they'd never leave.

He kisses Dorothy affectionately.

CUT TO:

153 NICK AND NORA'S DRAWING ROOM.

Nick is closing the door of their room. As

soon as it snaps shut.... they are in each

other's arms.

Nick (smiling... but not shy)

I thought you'd never leave.

They kiss.

CUT TO:

154 BAGGAGE CAR -- PANNING ON PORTER.

As he enters, Asta on one arm, flowers in

the other. He is about to put Asta down

on the blanket for the night when he stops --

looks o.s. CAMERA PANS OVER to show another

dog of the same breed as Asta in a small

crate. The dog is looking up at Asta eager-

ly. And Asta's ears go up and his tail

begins to wag as he anticipates the possi-

bilities of a transcontinental romance.

Porter

(getting it)

Asta -- meet Fifi --

And he puts Asta into the crate with

Fifi .... places the BRIDAL BOUQUET on

top of the crate ... turns and shuffles

out as we are --

FADING OUT.

-THE END-