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Seventh Victim, The (1943)

by Charles O'Neal and DeWitt Bodeen.

More info about this movie on IMDb.com

FOR EDUCATIONAL PURPOSES ONLY

The RKO TITLE and CREDITS are SUPERIMPOSED over a tall
stained glass window as shown from the inside of a building.
There are two maidenly figures worked into the stained glass
window: one, older and slightly taller, dressed in van
colored garments, leads by the hand a younger and smaller
girl, dressed in a simple flowing, white robe. Through the
lighter colored pieces of glass in the window the branches of
a tree can be seen stirring in a light wind.


The last credit FADES from the screen.


INT. STAIRWAY - HIGHCLIFFE ACADEMY - DAY

The CAMERA HOLDS ON the stained glass window. Beneath the
painted figures is a scroll, and on the scroll, a part of the
stained glass window, is an inscription:


I RUNNE TO DEATH AND DEATH MEETS ME AS FAST,
AND ALL MY PLEASURES ARE LIKE YESTERDAY. -

John Donne, Holy Sonnets VI.


As the CAMERA CONTINUES TO HOLD, the jumbled sound of
classroom recitations can be heard.

			GIRL'S VOICE
		(o.s. from classroom above
		camera level)
	Amo, arias, amat, amamus, amatis,
	amant.

			SECOND GIRL'S VOICE
		(o.s. from classroom below
		camera level)
	One times nine is nine.
	Two times nine is eighteen.
	Three times nine is twenty-seven.
	Four times nine is thirty-six

			THIRD GIRL'S VOICE
	(o.s. from classroom above camera
	level, singing)
	Do, no, mi, Pa, sol, la, ti, do.

These classroom sounds, although they can be heard clearly,
should not disturb the serenity of the stairway or of the
painted figures on which the CAMERA IS LEVELED.

Suddenly, from overhead, a gong rings with a harsh, jarring
noise. Doors are heard opening, feet scuffling over the floor
and the light, high sound of girls' voices chattering. A
moment later a cascade of uniformed schoolgirls of all ages
pours down the stairs past the camera. Against this tide one
single girl makes her way.

The CAMERA PANS WITH her up the remainder of the short flight
of stairs and across the hallway to a door marked, PRINCIPAL.
The girl knocks and from inside an over cultured woman's
voice is heard in response,

			MRS. LOWOOD'S VOICE
	Come in, please.

CLOSE SHOT - Mary Gibson at the door. She hesitates before
opening it. She is young and her youth gives her prettiness,
but something in the quiet serenity of her face and the clear
candor of the eyes show the innate niceness of the girl; a
quality of character which will give her real beauty as she
grows older. At the moment she is somewhat perplexed by her
unexpected summons by the Head Mistress.

MED. CLOSE SHOT of Mary as she opens the door and looks
expectantly toward the desk. No one is there.

			MRS. LOW0OD'S VOICE
	Here we are, Mary.

MED. LONG SHOT as Mary walks into the room. It is a large
room and every effort has been made to invest it with
authority. A large Sheraton desk with side trays stands at
one end. On the wall behind this desk hangs a gloomy, dour
visaged portrait of the founder of the school. The wall
opposite the door is pierced by a large window. There are
several bookcases with dull-looking volumes; books of
reference and encyclopedia. On top of one of these cases is
the white, plaster head of Athena. The walls are covered with
enormous framed, sepia-tinted prints of the Acropolis, the
Colosseum, Trajan's Column and other celebrated ruins.

Mrs. Lowood, the Principal, a solidly built lady with iron
gray hair and her assistant, Miss Gilcrist, a slim, frail
lady of indeterminate age, are at a small table at the end of
the room. They are cutting out paper hearts. As Mary comes up
to them, Mrs. Lowood finishes cutting out a paper heart and
lays down the scissors with an air of satisfaction. With Mary
close behind her, she starts toward the desk. Miss Gilcrist
follows. The CAMERA PANS WITH them as they cross the room.

			MRS. LOWOOD
	I have a most painful matter to
	discuss with you, Mary.

Mary looks concerned.

Mrs. Lowood has reached her desk, while Mary stands wondering
what might come next. Mrs. Lowood deliberately seats herself
and puts her fingertips together firmly. Over this Gothic
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			MARY
	Hello, Frances.

			FRANCES
	How's Miss Jacqueline?

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

			FRANCES
	You mean Miss Jacqueline's gone,
	and you don't know where she is?

Mary nods. Frances beckons to Mary, and they pass through a
side door into a corridor that connects the plant with the
street.

INT. CORRIDOR - LA JEUNESSE COSMETICS, INC. - DAY

It is a narrow, gloomy passage. The two girls come into it
from the side door. Frances fishes a package of cigarettes
from her pocket, takes one, lights it as she speaks.

			FRANCES
	I don't get this. Miss Jacqueline
	was always so fond of you -- she
	was always talking about you - had
	your picture in her office.

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

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

			MARY
	I can't understand it at all.

			FRANCES
	Well, don't worry. I saw Miss
	Jacqueline only a week ago. I saw
	her at a little restaurant the boy
	friend took me to -- an Italian
	place down in the Village -	"The
	Dante."

			MARY
	"The Dante?"

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

			MARY
	I'll try there.

She starts to return to the salon, but Frances indicates to
her there is a short cut to the street by means of the long
hallway. The two girls smile at each other. Frances turns
back into the salon and Mary starts down the corridor.

EXT  DISPLAY WINDOW & SIDE ENTRANCE - LA JEUNESSE COSMETICS,
INC.- DAY

Mary comes out of the side entrance and passes the display
window. She looks up for a moment at the words "La Jeunesse"
and at the peculiar trade-mark of the company. It is on this
peculiar trademark, a geometric figure, that the scene

						DISSOLVES

EXT.STREET CORNER - PEARY STREET - GREENWICH VILLAGE

It is after three o'clock, and the street is alive with
children. A covey of them flash past on roller skates, tailed
by one poor urchin with only one skate, who strives
desperately to keep up with the tail end of the procession.
Mary, coming around the corner, has to draw back half a step
to got out of his way.

A horsedrawn laundry truck stands at the curb on the
opposite side of the street, and a man is busily lifting down
bundles of soiled wash. On the other side Of the street is
the Dante. It is an Italian restaurant, a half-flight below
the street level. The name and the word "Restaurant" are
written on the glass in gold letters.

In the lower left hand corner of the window is a cardboard
sign, hand-lettered to read "Rooms for Rent". Above the
doorway is a poly-chrome bust of Dante. Mary crosses the
street to enter the Dante. A young man, Jason Hoag, comes
around the corner. He is a man about thirty-five years old,
and rather poorly dressed in an ordinary business suit and
trench coat  Under one arm he carries a load of books. He
stops and looks at Mary with interest. She continues on,
going down the steps, under the Dante statue, and into the
restaurant. Jason looks after her.

INT  DINING ROOM - DANTE RESTAURANT - DAY

This is a fairly good-sized room, with benches along the
walls and many small tables. Along one wall is a crudely
painted mural, a reproduction of the famous painting which
shows Dante's first meeting with Beatrice. Dante is passing
along the cobbled street, and Beatrice, with two companions,
large, flourishing wenches, is casting him a coy look over
her shoulder in passing. Directly under the feet of the poet
is a small table for one patron. On a back counter stands an
enormous, shining metal coffee machine. This is a patented
contraption for making coffee. The entire machine is
contrived to serve only one small purpose to make a cup of
coffee by driving steam through ground coffee. Near this
machine and flanking the door into the kitchen are fake palms
in wooden tubs. There is a door leading to the house hallway,
and through this door we can see the newel post of the
stairway leading to the rooms above. On most of the tables,
platters of antipasto have been arranged in readiness for the
dinner hour. When Mary enters, the restaurant is empty, but
echoes to the sound of a rich female voice singing with great
sentimental emphasis the words of "Care Mio Ben." Mary looks
around, hesitates a moment, and then starts toward the back
of the restaurant, as if following the source of the singing.
At the swinging door which separates the restaurant from the
kitchen Mary hesitates a moment, then knocks timidly. The
singing continues, and realizing that her knock will not be
heard above it, Mary shyly pushes open the door.

INT. KITCHEN - DANTE RESTAURANT - DAY

This is a cluttered, busy, steaming kitchen. In one corner at
a little table Mr. Romari, the proprietor, in a waiter's
uniform, is busily folding napkins. Mrs. Romari herself from
whose bosom come the sounds of

"Caro Mio Ben," can be seen through a cloud of steam behind a
boiling, kettle of spaghetti. She is a tall, gracious Italian
of sentiment and humor. Her pet pigeon in close attendance at
her feet. This bird follows her wherever she goes, hopping
about the floor at her heels. As Mrs. Romari wants to lift a
kettle of spaghetti from the stove and carry it to a center
table, she softly kicks the pigeon out on her way with a
practiced backward sweep of her slippered foot. Her turn
brings her face to face with Mary as she enters. Both the
Romaris look at her questioningly.

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

			ROMARI
		(getting up)
	Yes?

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

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

			MARY
	She's very beautiful.

Romari shrugs again.

			MARY (CONT'D)
	I wish I could tell you what she
	looked like -- I know you'd
	remember her, She is tall --with
	dark hair --

Romari shrugs. This all means nothing to him.

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

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

			ROMARI
	Maybe.

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

			MARY
		(smiling)
	Yes  yes, if she made that much
	impression on you, I'm sure it was
	Jacqueline.

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

			MARY
	But she was here?

			MRS. ROMARI
	Oh yes, yes. One day a beautiful
	car comes here. This beautiful lady
	in furs gets out. There is a
	handsome man with her, and the
	chauffeur  The lady rents one of
	our upstairs rooms. The chauffeur
	changes the lock on the door. Then
	the lady never comes back --not to
	live, anyhow. She came back three,
	four times, but always alone and
	just to eat.

Mary shakes her head in puzzlement.

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

			MRS. ROMARI
	Yes -- and pays the rent every
	month.

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

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

			MARY
	Please.

Romari shakes his head.

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

Mrs. Romari looks at her kindly.

DISSOLVE

INT. UPPER HALLWAY - DAUTE - DAY

Mary and the Romaris. It is a bleak hallway with a narrow
strip of worn carpet running down the exact middle of the
floor space. A picture of St. Francis of Assisi, surrounded
by fluttering white birds, hangs on the wall, a little bit
askew. Mrs. Romari and Mary stand near the stairway railing,
with the pigeon in close attendance on Mrs. Romari. Romari,
with a toolbox at his feet, is at the door, on which is the
number "7". He has taken off the bottom hinge and is now
striking a last few blows to remove the pin from the top
hinge.

As he works, a girl -- Mimi -- crosses in the background from
one hallway door _R;	D

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2}/Rand a battered hat, with his time clock hanging from a
broad strap around his neck, comes out of a neighboring
store, a flower shop. He carefully closes the door behind him
and goes to the entrance of La Jeunesse. From a key ring
hanging from the leather clock strap he selects one key and
begins to open the door.

INT. PASSAGEWAY - NIGHT

Mary still stands in the patch of light near the doorway.
Abreast of her is the doorway leading from the hall to the
salon. Through the glass upper half of the door, she sees a
gleam of light in the other room and tiptoes up to the door
and looks out.

EXT. SALON LA JEUNESSE - NIGHT

From Mary's angle, shooting through the window, can be soon
the night watchman, the beam of his flashlight coursing ahead
of him as he makes his way to a time clock. Ho rings in his
clock.

MED. CLOSE SHOT  Mary, nervous and apprehensive, looks
through at the night watchman. She makes a decision and
starts off along the hallway to warn August. She disappears
in the blackness of the unlit portion of the hallway.

REVERSE SHOT. At the far end of the hallway the illuminated
square of the street door can be seen, and the little patch
of light near it  Nearer the CAMERA a broad streak of light
from a partially open door is between the darkness and the
CAMERA. Mary comes out of tho darkness and into this light.
At the same moment, August comes out of the partially opened
door, blocking out the light for a minute. His shadow goes
ahead of him - contorted and strange. He stands a moment
before Mary; both of his hands clenched tightly against his
stomach. She speaks to him in a whisper.

			MARY
	Mr. August -- the night watchman

August makes no answer, but starts walking blindly, swaying a
little, toward the street door. Mary goes with him, walking
at his side, trying to peer into his face.

			MARY
	The night watchman -- he is in the
	salon.

Still August pays no attention.

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

There is no answer. Ho continues to walk in the same jerky,
paingripped fashion, slowly and unsteadily, toward the
light. They are engulfed in the darkness.

MED. CLOSE SHOT - August and Mary from the street angle, as
they come out of the darkness. Mary is very agitated and
worried. August still continues to plod blindly forward. Mary
reaches out to touch his shoulder.

			MARY
	Mr. August --

Her hand touches his shoulder. Almost as if unable to bear
this trifling weight, he collapses suddenly at her foot. She
looks down.

CLOSEUP of Irving August's arm on the floor. It is sprawled
awkwardly out  The sleeve is darkly stained, and there is a
widening stain of blood upon the floor. Mary's slippered foot
step back so that the blood will not touch her.

Mary screams. The narrow hallway rings, echoes and reechoes
with the sound.

Mary runs wildly toward the door, fumbles with the knob and
pulls it brusquely open. As she does so, the beam of the
night watchman's searchlight comes in from the loft. O.S. a
wild bell starts to ring madly as Mary bolts in panic.

EXT. STREET IN FRONT OF LA JEUNESSE - NIGHT

Mary comes out of tin deer and starts running down the
street. Behind her the lights of both the hall and the salon
blaze. The bell rings o.s. she looks ever her shoulder and
continues running.

EXT. SUBWAY ENTRANCE - NIGHT

Mary, still running, comes down the street. She looks back
for a moment and then goes down the stairs to the subway.

The CAMERA REMAINS on the subway entrance a moment so that it
can be clearly seen that this entrance is marked:

FOURTEENTH STREET

DISSOLVE

INT. SUBWAY CAR - NIGHT

It is late, and this particular car is almost empty. There is
Mary, .sitting huddled in one corner under the map of the
route which the I.R.T. so thoughtfully provides. Mary sits,
still and white, obviously shaken. Her coat collar is drawn
protectively against her throat. Opposite her are a pair of
young lovers, their hands clasped, who look blissfully into
each others eyes.

The conductor comes shambling into the car. He leeks at Mary
and takes a step toward her, teetering on practiced tees,
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VFIkP2NN0lH2?].n@@Gg"FqaR2t׏X	%ȭǪ/Ee{hOcz}:#S @WZpX&]_5LqwZjP c >")!%K#.1CrM=lz\4?kV^w/1Tx|zٌ3'쬜HƸ`ϤB@ "	Ϊ]A!#s	]o~0ے֡MB-=X%XkT P`q takes a hand mirror out of the fitted case and holds it
up. A big swirling monogram on the back is immediately
visible. The letters are: "J. G." Mary puts it down. In a
little ash tray beside the dressing case a cigarette is
smoldering. Mary points to it. Judd looks at it, then quickly
crosses the room to a door obviously leading to a bathroom.
He knocks, and receiving no answer, opens it and turns back
to the room.

			JUDD
	She's gone. She's left me to
	meet them alone. I can't.

Mary stands looking at him, amazed at this sudden transition:
the almost palpable fear of this smooth, easy, sneering man.

			MARY
		(softly)
	What makes you so nervous, Dr.
	Judd. Who are they?

Judd pays no attention to her. He walks quickly to the other
end of the room, then turns to face her.

			JUDD
	I can't stay here. I'll have
	to leave you.

Without any further word he strides quickly to the entrance
door, fumbles furiously with the chain and lock; opens it and
goes out, closing the door behind him.

Mary stands in the center of the room, completely at a loss.
She turns back to the desk and snuffs out the cigarette
thoughtfully. Again she examines the mirror or some other
article in the dressing case, As she stands there, looking at
her sister's initials, there is a soft knock at the door.
Mary crosses the room quickly and opens it.

TNT. HALLWAY OUTSIDE JUDD'S APT. - LATE AFTERNOON

MED. CLOSE SHOT - Jacqueline Gibson, dressed for the street
in a mink coat and a smart fur toque to match; an impressive,
beautiful, unforgettable woman, stands in this mean hallway.

TWO SHOT - Mary and Jacqueline in doorway.

			MARY
		(from doorway)
	Jacqueline!

Jacqueline lifts her hand and puts her forefinger stealthily
across her lips to indicate silence. They stand facing each
other this way for a single, breathing moment. Then suddenly
Jacqueline pulls the door shut.

TNT. JUDD'S APT. - LATE AFTERNOON

CLOSE SHOT of Mary, surprised and shocked by this sudden
move, stands stockstill for half a second. Then she rouses
herself. She starts tugging at the door. She gets it open and
starts out.

INT. HALLWAY OUTSIDE JUDD'S APT. - LATE AFTERNOON

Mary comes out into the hall, looks first toward the left
stairway. There is no one there.

REVERSE SHOT. Apparently Mary looks to the right and again
sees that the hallway and the head of the second flight of
stairs is empty. She hesitates for a moment and then starts
off to the right.

TNT. FLANDERS APT.	STAIRWAY - LATE AFTERNOON

Mary runs down the stairs.

TNT. FOYER - FLANDERS APT. - LATE AFTERNOON

Mary comes down the stairs. The foyer is empty. She crosses
to the other stairs and looks up, sees no one, turns and goes
out the street door.

EXT. FLANDERS	APT. - LATE AFTERNOON

Mary comes out and looks up and down the street. The street
is empty except for a few men passing by. She stands for a
moment, the wind blowing her skirt against her legs and
tugging at her hair. She turns and goes back into the
building.

INT. FOYER - FLANDERS APT. - LATE AFTERNOON

Mary comes in and starts to mount the stairs.

						DISSOLVE

INT. HALLWAY IN FRONT OF JUDD' S AFT.	LATE AFTERNOON

Mary comes up to the hallway. The door of the apartment is
still open. She turns and enters.

INT. JUDD'S APT. - LATE AFTERNOON

Mary reenters the room. She goes over to the dressing table
where she had left her purse and picks it up. As she does
this something in the mirror attracts her attention, and a
look of terror comes into her face. In the mirror can be seen
the back of a large chair near the bureau. Over the top of
this chair floats a rising column of cigar smoke. Mary turns.

ANOTHER ANGLE. A man enters from the left of the scene and
seizes Nary's arm. From the armchair another man rises. It is
Paul Radeau, the man with Irving August at the Missing
Persons Bureau.

			MAN
		(to Radeau)
	Is this her?

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

			MARY
		(frightened)
	I don't know.

			RADEAU
	She was just here. Where's she
	gone?

			MARY
	I tell you I don't know.

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

			MARY
	I don't know.

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

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

Radeau pulls an official looking document from his pocket.

			RADEAU
	Young lady, I've got all the right
	in the world. I'm Paul Radeau,
	private investigator, and I have
	been hired to find your sister by
	her husband, Gregory Ward.

CLOSEUP of Mary's face as the full realization of what he has
said comes to her.

			MARY
		(almost in a whisper)
	Husband --

						DISSOLVE

INT. DINING ROOM - DANTE - NIGHT

The restaurant is full, cheerful and noisy with the merry
sound of people eating, drinking and talking.

MED. CLOSE SHOT of Jason Hoag seated at the feet of Dante. A
small quarto volume is opened at his left hand and he is
reading as he eats his antipasto. Without looking he takes
the last forkful from the plate scrabbles about with his fork
for another forkful but finds only emptiness, and he turns
his attention from his book to his plate. He puts down his
fork and looks off beyond the camera, calling out at the same
time.

			JASON
		(in Italian)
	What ho, wench! Would you keep
	a benighted traveller waiting?

REVERSE SHOT - kitchen door. Mrs. Romari, a beaming smile on
her face, comes from the kitchen bearing an enormous platter
of spaghetti. She weaves her way through the tables, holding
the platter high over the heads of the customers. She passes
a table at which Mary is seated with Gregory Ward. As it is a
wall table, they sit side by side. Both look miserable, their
faces averted, Gregory is talking eagerly to Mary's
turnedaway profile. Mrs. Romari passes them and advances
toward the table where Jason sits.

MED. CLOSE SHOT - Jason at his table. Mrs. Romari	comes into
the scene beaming, puts the platter on the	table before
Jason.

			MRS. ROMARI
		(in Italian)
	Jason, my pet 

			JASON
	Bella Romari	If I were not
	seated, I would embrace you in
	three movements like a sonata.
		(in very bad Italian)
	Ah, my wonderful one. Fly with me
	tonight. We will take your coffee
	machine and live with the gypsies.

Mrs. Romari giggles with delight and translates Jason's
atrocious Italian to two maiden ladies who are gawking at
this unrestrained conversation.

			MRS. ROMARI
		(in Italian)
	Oh, this funny man.
		(in English)
	He is a very funny man, but I
	love him.

While she is talking, Jason has been appreciatively sniffing
the aroma of the spaghetti. As she turns back to him, he
points to his wine glass.

			JASON
	What are you thinking of, Bella?
	Can I eat dry?

			MRS. ROMARI
	Oh, the wine. I have forgotten
	the wine.

Mrs. Romari goes toward the kitchen.

The CAMERA DOLLIES WITH her. As she passes the table where
Gregory and Mary are sitting, the CAMERA STOPS, FOCUSING on
them.

			GREGORY
	Look, Mary, just because I kept a
	secret from you doesn't make me a
	monster. Please look at me, Mary.

Mary pays no attention, but busies herself by taking a sip of
water and pretends to be very interested in Mrs. Romari's
further progress through the dining room.

			GREGORY
	Can't I make you understand? The
	secret wasn't mine in the first
	place. It was Jacqueline's. I don't
	know why. She never wanted anything
	from me -- not even my name 

Mary still looks obstinately away. Gregory shakes his head,
pauses, and then goes on.

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

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

			GREGORY
		(exasperated)
	Who the devil is he?

			MARY
	A poet. He's sitting right over
	there. That's his table  the one
	at the feet of Dante.

She half turns to indicate Jason's position.

MED. CLOSE SHOT of Jason. He sees Mary looking toward him. He
smiles and nods to her.

MED. CLOSE SHOT of Mary and Gregory. Mary nods back to Jason.

			GREGORY
		(looking off at Jason)
	He seems all right.
		(then resuming his former
		conversationM@̌
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+VPW>?v|J\(/(<Pp;`"#Wb+**鲂,R:|A>wC11@GQ`Ƃ+!0`1\6=?,sOp@(Y$vA*ZqX1E\eP2>ClR\GGk J7gs|yxt doesn't make good
	sense.

Jason turns to Mary.

			JASON
	Mary, when you first came here, I
	told you to look into your heart.
	You didn't listen to me. You
	listened to the policeman instead.
	You didn't find your sister, did
	you?

			GREGORY
		(protesting)
	Look here, just because Mrs. Romari
	asked you to amuse us.

Jason rises and takes Mary's hand.

			JASON
	This city is my world. I know every
	rat-infested corner of my world and
	every starlit chamber of its purity
	and greatness.

He half draws Mary to her feet.

			GREGORY
	You don't even know where to start -
	-

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

			JASON
	One starts by beginning.
	Beginnings lead to an end.

Ward is forced to rise and go with them.

						DISSOLVE

EXT. STREET WASHINGTON MEWS - NIGHT

Jason and Ward with Mary between them, cross the street
toward the north side of Washington Mews. To their right is
the mews, the little houses one next to the other in an
orderly row. They stop for a moment at the street corner.

			GREGORY
	Well?

			JASON
		(disregarding his
		question)
	This is the part of New York I
	love. It is old. It has memories.
	If you listen, the houses will
	speak to you. Walt Whitman...Edna
	St. Vincent Millay... Eugene
	O'Neill...in their time they've all
	lived here.

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

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

			JASON
		(as if it explained
		everything)
	I'm looking for a party -- a merry
	party.

			GREGORY
	Well, that's illuminating.

Even Mary looks concerned and puzzled. They have stopped
before the next house and again Jason has taken the attitude
of one listening. The sound of a violin can be heard playing
Abenlied.

			JASON
	Only music. It leads, but we cannot
	follow.

He starts off again. Ward and Mary follow him.

			GREGORY
		(shaking his head)
	Riddles now.

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

			JASON
	Wait. This is a party.

			WOMAN'S VOICE
		(from interior of house)
	Now, if you'll all take your seats,
	Miss Randall will show us the
	slides she took of Woods Hole
	Marine Institute this summer.

			JASON
	Sounds dull, doesn't it? My ear is
	perfectly trained. I can tell the
	brand of liquor and the quality of
	the guests from the noise they
	make.

From the next house comes the sound of revelry, laughter and
a burst of jazz music from a phonograph which obscures the
milder noises of the house in front of which they stand.

			JASON
		(excitedly)
	That sounds more like it. Come on.

He grabs hold of Mary's hand and draws her along. They go up
to the door. Ward follows them.

INT. NATALIE CORTEZ' HOUSE - NIGHT

CLOSE SHOT of Natalie Cortez. She is seated at a small card
table, shuffling a pack of cards with one hand, and
surrounded by a small group of her guests in evening clothes.
Natalie is a very beautiful woman of early middle age. It is
apparent why she uses only one hand to shuffle her cards. She
has but one arm. A	little cape of gold lame covers her
shoulders and hangs down over the missing arm.

			JUDD'S VOICE
	Shuffle the cards well, Natalie.
	This is a trick of telepathy not
	card manipulation

ANOTHER SHOT of the same group to include Judd, who stands a
little distance away with his back purposely turned to the
card table. Mrs. Cortez is finishing shuffling the cards. The
door knocker sounds.

			JUDD
	Now pass me the cards.

The knocker sounds again and Mrs. Cortez hands the cards to
Gladys, a big, gushy girl, full of hormones and cocktail gin.

			MRS. CORTEZ
		(rising)
	Gladys, you hand the deck to Louis
	while I answer the door.

Gladys takes the cards and crosses to Judd, who still stands
with his back to his audience, while Mrs. Cortez turns and
walks in the other direction.

REVERSE SHOT - toward the door. For the first time Mrs.
Cortez' living quarters can be seen. The house was formerly a
stable on the Mews and in remodeling it for living purposes
Mrs. Cortez has allowed the stalls and general architecture
of the stable to remain. She uses one of the two stalls as a
little dining nook, although above it the name of the horse,
"Apocalypse" is still printed on a placard. The next stall
has been converted into a little escritoire, and over this
stall is the name "Morning Star." The place is lit with
electrified stable and carriage lamps and furnished with
harness and horse adornments which contrast with the rich
piled carpet, the lovely square piano of rosewood and the
beautiful modern prints with plain wood frames. Book shelves
cover the largest portion of the walls.

Mrs. Cortez wends her way through little groups of her guests
and goes to the door.

MED. CLOSE SHOT of the door as Mrs. Cortez opens it revealing
Mary, Ward and Jason on the threshold.

			MRS. CORTEZ
	Jason! How nice to see you.

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

			MRS. CORTEZ
	Of course.

			JASON
	Mrs,. Cortez, Mary Gibson and Mr.
	Ward.

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

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

			JASON
	You'll have to excuse me.

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

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

There is a murmur of admiration from the little group.

			GLADYS
	How do you ever do it, Louis?

Jason makes his way through the group and faces Judd.

			JUDD
	Hello, Jason.

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

			JASON
		(sotto voce)
	Where is Jacqueline Gibson?

			JUDD
		(smiling)
	What a peculiar question.

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

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

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

			JASON
	Wait. Look over there.

He half turns so that Judd faces the door.

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

			JUDD
	But why come to me?

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

			JUDD
	She was my patient.

He pauses.

			JUDD
	What was she to you?

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

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

			JASON
	I've lost my knack.

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

Jason looks away.

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

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

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

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

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

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

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

			JUDD
		(imperturbably)
	Hello, Ward.

He makes a half bow to Mary.

			JUDD
	My dear Miss Gibson --

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

			GLADYS
	Gibson? Are you Jacqueline's
	sister?

			MARY
	Yes. Do you --

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

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

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

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

The two men stare fixedly at each other.

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

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

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

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

Judd grins. He wanders off. Gregory stands scowling after
him.

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

			JASON
	You see, Mary, I'm not quite a
	fool.

Mary nods.

			MARY
	At least you knew about Dr. Judd.

			JASON
	Yes.

			MARY
	And you knew he'd be here.

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

			MARY
	I want you to look for Jacqueline.

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

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

						DISSOLVE

INT. PUBLIC LIBRARY - DAY

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

			JASON
		(admiringly)
	You have such lovely hands, Miss
	Gottschalk. So slim and capable --

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

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

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

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

Jason nods.

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

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

			MISS GOTTSCHALK
	And the other was Judd?

			JASON
	Yes, Dr. Louis Judd.

			MISS GOTTSCHALK
	It's here, too.

She hands it over to Jason.

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

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

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

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

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

			MISS GOTTSCHALK
		(relenting)
	Well, since, you're over twenty
	one

Giggling, she turns to go.

DISSOLVE

INT. UPSTAIRS HALLWAY- DANTE - DAY

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

			JASON
		(waving to her)
	Mimi!

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

			MARY'S VOICE
	Come in.

Jason turns the knob and throws the door open. Through the
open door Mary's room can be seen. It is a small, dismal
cubicle like the room with the noose. There is a day bed, a
dresser, a little desk, an armchair, an old fashioned rocker
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INT. NATALIE CORTEZ' APT. - LATE EVENING

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

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

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

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

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

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

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

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

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

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

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

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

			MRS. CORTEZ
	Cream or lemon, Frances?

			FRANCES
	Lemon.

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

			MRS. CORTEZ
	Miss Rowan, do you take cream?

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

			MRS. REDI
	Please, Natalie, would you mind
	pouring?

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

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

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

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

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

			FRANCES
	But I can't understand it.

Mrs. Redi turns to her.

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

			FRANCES
	Yes.

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

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

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

			MRS. REDI
	But he also wrote --

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

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

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

			MRS. CORTEZ
	But she betrayed us, Frances.

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

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

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

			FRANCES
	She didn't betray us!

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

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

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

			MRS. REDI
	What about Judd -- he knows about
	us.

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

			MR. BRUNS
	And Jacqueline's sister?

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

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

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

INT. JASON'S ROOM - NIGHT

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

			JASON
		(pulling her into the
		room)
	Mary!

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

			JASON
	Mary This is so wonderful!

Mary looks at him questioningly.

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

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

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

			MARY
		(smiling)
	But it's a small room, Jason.

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

He waves at the bookcase.

			JASON
	My books --

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

			JASON
	My furniture --

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

			JASON
	My window - - through which I see
	the world.

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

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

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

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

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

			MARY
	I have to go -

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

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

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

			MARY
	Don't make me tell you, Jason.

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

Mary tu"y<Д
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HCg)|oMn%p%#QJHV-D<58ʩbiBpjѥRKΒG+]#;J ,G0+ܔKYrhb_I{the empty hall. From downstairs
can be heard the sound of Mrs. Romari singing. Then Mimi's
door opens and Mimi sweeps out, dressed in a black dress,
gleaming with sequins, her hair piled high, her walk proud
and steady. She comes down the hall toward the camera. Just
as she reaches the door of #7, there is the sound of an
overturned chair falling. She pauses and looks toward the
door. There is the creaking sound of the rope. She listens
for an instant, and failing to comprehend, sweeps on past the
camera.

INT. DANTE RESTAURANT - MORNING

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

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

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

			MARY
	I keep telling myself that.

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

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

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

Jason looks at him across Mary and shakes his head.

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

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

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

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

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

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

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

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

He turns to her, forcing a smile.

						FADE OUT

THE END
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