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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. 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FRANCES How's Miss Jacqueline? MARY I don't know. That's why I came to see Mrs. Redi. I'm trying to find her. FRANCES You mean Miss Jacqueline's gone, and you don't know where she is? Mary nods. Frances beckons to Mary, and they pass through a side door into a corridor that connects the plant with the street. INT. CORRIDOR - LA JEUNESSE COSMETICS, INC. - DAY It is a narrow, gloomy passage. The two girls come into it from the side door. Frances fishes a package of cigarettes from her pocket, takes one, lights it as she speaks. FRANCES I don't get this. Miss Jacqueline was always so fond of you -- she was always talking about you -� had your picture in her office. MARY I know. For the first time I'm beginning to be frightened. I almost feel as if I'd never known my sister. FRANCES Nothing's happened to her. It's just that I can't understand her not getting in touch with you. MARY I can't understand it at all. FRANCES Well, don't worry. I saw Miss Jacqueline only a week ago. I saw her at a little restaurant the boy friend took me to -- an Italian place down in the Village �- "The Dante." MARY "The Dante?" FRANCES It's on Peary Street. Just ask the people who run it. They'll remember her. (with reminiscent pride) People who see Miss Jacqueline never forget her. MARY I'll try there. She starts to return to the salon, but Frances indicates to her there is a short cut to the street by means of the long hallway. The two girls smile at each other. Frances turns back into the salon and Mary starts down the corridor. EXT DISPLAY WINDOW & SIDE ENTRANCE - LA JEUNESSE COSMETICS, INC.- DAY Mary comes out of the side entrance and passes the display window. She looks up for a moment at the words "La Jeunesse" and at the peculiar trade-mark of the company. It is on this peculiar trade�mark, a geometric figure, that the scene DISSOLVES EXT.STREET CORNER - PEARY STREET - GREENWICH VILLAGE It is after three o'clock, and the street is alive with children. A covey of them flash past on roller skates, tailed by one poor urchin with only one skate, who strives desperately to keep up with the tail end of the procession. Mary, coming around the corner, has to draw back half a step to got out of his way. A horse�drawn laundry truck stands at the curb on the opposite side of the street, and a man is busily lifting down bundles of soiled wash. On the other side Of the street is the Dante. It is an Italian restaurant, a half-flight below the street level. The name and the word "Restaurant" are written on the glass in gold letters. In the lower left hand corner of the window is a cardboard sign, hand-lettered to read "Rooms for Rent". Above the doorway is a poly-chrome bust of Dante. Mary crosses the street to enter the Dante. A young man, Jason Hoag, comes around the corner. He is a man about thirty-five years old, and rather poorly dressed in an ordinary business suit and trench coat Under one arm he carries a load of books. He stops and looks at Mary with interest. She continues on, going down the steps, under the Dante statue, and into the restaurant. Jason looks after her. INT DINING ROOM - DANTE RESTAURANT - DAY This is a fairly good-sized room, with benches along the walls and many small tables. Along one wall is a crudely painted mural, a reproduction of the famous painting which shows Dante's first meeting with Beatrice. Dante is passing along the cobbled street, and Beatrice, with two companions, large, flourishing wenches, is casting him a coy look over her shoulder in passing. Directly under the feet of the poet is a small table for one patron. On a back counter stands an enormous, shining metal coffee machine. This is a patented contraption for making coffee. The entire machine is contrived to serve only one small purpose ��to make a cup of coffee by driving steam through ground coffee. Near this machine and flanking the door into the kitchen are fake palms in wooden tubs. There is a door leading to the house hallway, and through this door we can see the newel post of the stairway leading to the rooms above. On most of the tables, platters of antipasto have been arranged in readiness for the dinner hour. When Mary enters, the restaurant is empty, but echoes to the sound of a rich female voice singing with great sentimental emphasis the words of "Care Mio Ben." Mary looks around, hesitates a moment, and then starts toward the back of the restaurant, as if following the source of the singing. At the swinging door which separates the restaurant from the kitchen Mary hesitates a moment, then knocks timidly. The singing continues, and realizing that her knock will not be heard above it, Mary shyly pushes open the door. INT. KITCHEN - DANTE RESTAURANT - DAY This is a cluttered, busy, steaming kitchen. In one corner at a little table Mr. Romari, the proprietor, in a waiter's uniform, is busily folding napkins. Mrs. Romari herself from whose bosom come the sounds of "Caro Mio Ben," can be seen through a cloud of steam behind a boiling, kettle of spaghetti. She is a tall, gracious Italian of sentiment and humor. Her pet pigeon in close attendance at her feet. This bird follows her wherever she goes, hopping about the floor at her heels. As Mrs. Romari wants to lift a kettle of spaghetti from the stove and carry it to a center table, she softly kicks the pigeon out on her way with a practiced backward sweep of her slippered foot. Her turn brings her face to face with Mary as she enters. Both the Romaris look at her questioningly. MARY I'm worry to bother you. I want to ask you about my sister. ROMARI (getting up) Yes? MARY I thought you might know her. She was seen here about a week ago. Her name is Jacqueline Gibson. ROMARI (shrugging) I don't know no Gibson. This is a restaurant. Many people come here. MARY She's very beautiful. Romari shrugs again. MARY (CONT'D) I wish I could tell you what she looked like -- I know you'd remember her, She is tall --with dark hair -- Romari shrugs. This all means nothing to him. MARY Once you'd seen my sister you'd never forget her. MRS. ROMARI (interrupting; to Romari) Giacomo -- la bellisslina madonna �- ROMARI Maybe. MRS. ROMARI (to Mary) Let me look at you -- you could be her sister MARY (smiling) Yes �� yes, if she made that much impression on you, I'm sure it was Jacqueline. MRS. ROMARI She's not been here for a long time. MARY But she was here? MRS. ROMARI Oh yes, yes. One day a beautiful car comes here. This beautiful lady in furs gets out. There is a handsome man with her, and the chauffeur The lady rents one of our upstairs rooms. The chauffeur changes the lock on the door. Then the lady never comes back --not to live, anyhow. She came back three, four times, but always alone and just to eat. Mary shakes her head in puzzlement. MARY You mean she just came here, rented the room, locked it, and left? MRS. ROMARI Yes -- and pays the rent every month. MARY Could you let me see that room? If it is hers, there might be something there to help me find my sister. ROMARI (shaking his head) No -- the rent in paid. The lady asked us to promise, I wouldn't open the door. MARY Please. Romari shakes his head. MARY (CONT'D) (turning to Mrs. Romari, pleading) It's important Mrs. Romari looks at her kindly. DISSOLVE INT. UPPER HALLWAY - DAUTE - DAY Mary and the Romaris. It is a bleak hallway with a narrow strip of worn carpet running down the exact middle of the floor space. A picture of St. Francis of Assisi, surrounded by fluttering white birds, hangs on the wall, a little bit askew. Mrs. Romari and Mary stand near the stairway railing, with the pigeon in close attendance on Mrs. Romari. Romari, with a toolbox at his feet, is at the door, on which is the number "7". He has taken off the bottom hinge and is now striking a last few blows to remove the pin from the top hinge. 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�B�T�31�z�?�B��,���p�!���N�N?z�Q�υ2|3/�0�����#4��g�ؐ�2�!�u��1��?���I�%Dt����)�XZi(���`��� ` IΜ�F*��X��q�8d���EwI�h�p"q�ܒCI)� ��F����X%��Le�%�S������I�g�g$~x����<c5��=I�y�Q4�{�J�(}��&���f�T�LJ��l�O$n e��Q�i<M��3��(�2T���������t!�Uϩ�%.U뇐����g�)������i��J�zyZ�>�1����C/��})��XgZQT&�[���*�1s����M�A��^�/z/rƊpW�7���uA�MT��h`e�8t+G��M�+r��Y����f��B����8�jެŞ����h3\�%��p��"_�_�����3֭��A/��A�^��P��5��;m �)Ʉ����z)o<�ڿ~T P��#B��4���8��7��%����c��&�P��9a�$Z�x!���Ұ�>J����%8'z�*i��S�>�T��@�� �<����o�X��i d?��t��J�Y$*�ðG}8�0*�֮l�u弪�͉���O�N}S�� g(H/: ���A,���BC;��L�m�P��8� i 1��4";^}\%a��o�~i8�3�d�f��ϊ��cC��A��v�/zohB� .��P�oU�z&�N���D�k�3���Ճ1���N(X�ꒂ��:eE�_����� C�fV��Kom�MD&�¿�B�w��� i��i�p%����j���������P�C��&!���ͺ^�)K�|��v�ۢ�1L�>3`A���M8�s���8Sp�a�*�>��.�{��A ��Jp�G @�Er�^�z��8����Ax&�8��oB��ҷ �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, pain�gripped fashion, slowly and unsteadily, toward the light. They are engulfed in the darkness. MED. CLOSE SHOT - August and Mary from the street angle, as they come out of the darkness. Mary is very agitated and worried. August still continues to plod blindly forward. Mary reaches out to touch his shoulder. MARY Mr. August -- Her hand touches his shoulder. Almost as if unable to bear this trifling weight, he collapses suddenly at her foot. She looks down. CLOSEUP of Irving August's arm on the floor. It is sprawled awkwardly out The sleeve is darkly stained, and there is a widening stain of blood upon the floor. Mary's slippered foot step back so that the blood will not touch her. Mary screams. The narrow hallway rings, echoes and reechoes with the sound. Mary runs wildly toward the door, fumbles with the knob and pulls it brusquely open. As she does so, the beam of the night watchman's searchlight comes in from the loft. O.S. a wild bell starts to ring madly as Mary bolts in panic. EXT. STREET IN FRONT OF LA JEUNESSE - NIGHT Mary comes out of tin deer and starts running down the street. Behind her the lights of both the hall and the salon blaze. The bell rings o.s. she looks ever her shoulder and continues running. EXT. SUBWAY ENTRANCE - NIGHT Mary, still running, comes down the street. She looks back for a moment and then goes down the stairs to the subway. The CAMERA REMAINS on the subway entrance a moment so that it can be clearly seen that this entrance is marked: FOURTEENTH STREET DISSOLVE INT. SUBWAY CAR - NIGHT It is late, and this particular car is almost empty. There is Mary, .sitting huddled in one corner under the map of the route which the I.R.T. so thoughtfully provides. Mary sits, still and white, obviously shaken. Her coat collar is drawn protectively against her throat. Opposite her are a pair of young lovers, their hands clasped, who look blissfully into each others eyes. The conductor comes shambling into the car. 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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 stock�still 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 re�enters 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 turned�away 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@̌� �ޥ�Ԕ�Wh���3�b^���.�&#�د��!�|ߗ�E���F�0�L��LƦd�D�����6��d�CB�nB~�����W����c/�q�>_�$~��z�H?���S�V^~vP3���2�ȁ%1��� H$�u�ϗ�/��X�����&@pXwǚ=�Z�K�bG�V%����0g��O��˥���.�V=��Pq�mOf)���0Y��J��d��z��Sd����oFK9�-8��P���°��981�y�.�9\*���@5�>G~�Q�P�N��~�0!�#�;!x�>S��`�ʋ��r��v=7ψ�����~��mT:��� ����*�V����^�yr+�[L����ܯ���/gGH���uE�ޱ���}Ku�ʎ��h%r��S^�{��Z��ֳ�Vt2�]���WW9�3������&PCo�\�q�xt��*���i��!I�N�VV�U��c\����I���|no� v/���~�ߖ��"�u�)&�Ѭ�{*�����n0��e�V 1��n���0�+���� }=�V\?�����>�d�F'=�K���E�rʹ�%1"n����(p�Op^.0�xR���m��T x}V��c�W9;��k��WNޓ�G�N\�'�H6��z?���߄����O3�Hm<�x�vݜgJ��kb:ݨ)�j0 ��h���'O��Y�Gy���2�h�����NuQz�%��2�����s�P�-8�B�q�nV����Çq���`0D`Y\㬀�?���%��`��·�wɁMSK�JȋF<����L�xi�a#^�n�߿��|��a (�CU���S~s����14.�� ��H5Ip����P��bO�i�8�g�&�qVR6�80_�riUXVl���x�j�Dc�i^�R��am�y� Uxd�R��:lȅʨ� 4kq"������`����#�##﷿!ڪ�g��}(=�X���W�l���-gy2eg@Ä�����$p�O�����l�&��y�U/�wG�cX&�p�ԢS#���4fNl�yH�S�D�>��辪T>���1It��#ԁ���+��I�A�\����=੍�!�;ޝ�- V���V�gTza�d�0��pڮ�#��"+QƯ)c�<��|E��Y�B��e�ʄ�P�z��x"2L%�h�Q�*���W�z����;u��;�9+���AL���=ₜㅻ�YyW��[O��.��j�v�?裒��[������.�?�D�'�k���z�xc�����1�3�?�����+�����UA��AO�_f@;�w3�?�u�_���r�5Z�[Ri)~/XoG�G����ƁO�8#��dZ�0�Н�����<��^}���>w�����%-����h�_$�<�Q ��J�?˽��߂���~�n{���Z,���39��G�n@�i9��*��/x��}�R��v�c���s]8K�r�t 'd���U��PH/Ma ���Qvƾ�{p�gh)�`38��N\$x3���h�����!��<�����=vD�2�q1 ��z�|�Uj����{�:��.��w�,����Ɨ%�����+�ne���YH�6xl ��S���`��ADA�Z�qD<�,n"$�ig�7d���/�����o� ��z��.���pi|Z���'��y�.x�������y�"X!w��D�>Q�Idx���*%>b�o,c^�����01wb����d%�d�^U; 4�, �$ImWL�/Ȣ�(�� ��my"\��u� ץ"F�b���$ɺ��V��u�- ��v!���Ʊ]_ �����4�9F�ƍ���k�Ȑ@4�Lbzۡp����Gw�=��0��������(Iwhr�zZ���sqt�~��^ה]5� ��S�:��C��nVY/\��#�ܢ���V��H���%�$?1E*��)C'����FC� �� �@�FZ���U$W������Od��S����ےVS��)��5�.�{(b��V������Q(e����*���O������������W���tTP��.#G��cI[U%ci�e��4 �3Z��3ڍ�B�%E)@�}g00dc�����!%<�^��\P ���tZ��� g��Z�>�z�)%_��ҺӰzZ�һҔ�u���&Ps*�E�"5J�uK"8�����N��q:�KT/Z�����C�� g��Jqׁ���j�bC��dӀ�QjDU4���ګ2Ԫck�wI��Z�ON���{�@�`��` Az��ԌZ�"��r�h0�Wp�'K�� ����S�ao�)�PA〉��D �^^���J��2�^>�{�)Z�����TA�0d����c**��Q�0> �(��n��@��)��#�s�P3;���P�A@�?��h0�\�2u@Ñ�]:���ে���z>`GT�ϖO��(Mi���8�ã)~q�i rt���05�N������&�ސ���� ��:�n����9Xf���j��1�7�HR$�#��F��Srz��~tT>� �j�����@C/��p 8�%�%�N���"��.��jm���h���@��O����U�����z������0b-w��pظy�O�^u f���Aw���J�a}��F��!��e~x@U�c���Q��M������}(�'��Jt�Ҕ�(XϼhP)�>q.E0�J���։T�*Z�B@�2D���5 �A� �c_���3�Q�p� ��n#::<q�5��x|AA}�@�&��决���n��Ɣ}�A�p��u�^�z��H�V���x1Z��D���G�#�0 �>o��DJ�U�+�P�K0pt,��)@G��;iH�NCcg�n몢uQ�P䚝,��EFt܈��@�&��^j�J�0|K��D>�돢 ��q��xe��:U.�<�� �)�?�U� �C�p\�� a�� ��`���ix���0��F3{L*S�s�ڼFaX�>��$���e�S�ԥ)K2Y�5���v��q��Qcb!��aYT�����\�A��M*�x�q��=4\?x�PG(�����^PV� � ��ɩ�����]�ΫS�0#2`|0X� :wMC� p/��k$��(��1��7�}0g���|�x��j���y�8�4��ʘ�H`�"X�G�K"I0�Y +��VP��W�>?�v����|J����\(/���(<�P�����p���;�`"#�Wb+**鲂�,�R:��|A�>wC1����1@��G��Q`��Ƃ��+�!0�`�1�\6=?,��sOp�@(��Y�$�vA����*���Z�qX1E�\��eP2�>�ClR��������\GGk�� J7����gs|yx��t 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. 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pۙ9a����(�WW��=@����t�j��z?�/4�V'��g�0�Jv��DGJ�m��L3��&t��TʵbR�J�$�n(F�� ]<��@����;�n[�OWX�d�f��H^�T"���gw���"��7b�$y�����?�� �D���bZL����,\���>�6GC� ���*��L���'��Ǽ>.�8d��s�e�E2 =��r�dB��z���%�W~y]�z�����R�(�x���{X����E8�O� ?��r-���ɻ���������ޗE�G:�ԉ����r0c$ĭ�g�*f�{N�h�sJCٯkL_s��mr�R��|����¦,]:�}z���X��:)�N�j�,?�ը|�j�W�3%c%&!�&�t�<������] �cq���q���8�:x3\��oL}�����/߰�k&:J��ND����-E������y���=Tes�c4��&�ݝn�B�Z~ �?��2�Į�z�����Q|O,��mX��� DO� �s���t��x e�sF3�o߁��0�T��/Q ��+G�7�V�n�;��P+������_Ƀ?�r����]�Ve�T��WS.{E�Xz����@��O������L3��͞��|n.uj퀌e��S���Vz����]�z��ؽ�Dž_/��pT��W��>Um�&
�z7S�w�ϑ��Z�����3�$�T�JF�e �z�F�C Ĥa@Y��2�Q^��o*}��W�,3]��t�E/�k��My�j���x)���$I�R*GsG`�|d��Y�B���v���i/� X9ߟT����:#*V���;`a蔪TL�Sƙ :���� �!B�8��w;�J�Ԯ�R"�r}$�!=�g3�P�3=_��_�g�{�ג�y,Y�8#�"?M����H�¥d�z�3"?�u;�� ���[J)�UG��Q[��f�����b.Ϧ�-F(1i���9[�iP����X�1����A./Q*����~����;W ×O`�M���ȭ/��X�*��AP�v��æ� @Dc��p� �y�&ିπ�;/\������г������wdǹ�{T��G~�M!${�H9[ۚ~x�xf��a�-U_�u�D5�SDM��K��=>n�:���T�/����`�AR����ױ�Z�,�<�����7�p��wT���О�X��J.JO(� �둆3��o�Lj���S��ۘk����,�L�=늹��gR}F����>�v����=O'ܸF����Ém��zz�j��CC��w��c�p�Cc8��N����ի�0�P-�=�FM��gt�ى��NSa_8��3��h�}���õG3��强�� <�&!�fSg�����G��3#��"�c�h4�8���֞����;#oH���0g�o/�e�B��r�/� ��p�g/�>\��*,͙L��TxJ.�7r��>AJأsX��^�r�-��$^���c3�z�8��������H�d s�/��s����bm��{̟u��̕c�A�D�P�J%�.U��d���:�.k��[�b=����0I�"vF�����F�����#6��`1º�b ]女���]S��N���Fq����ް볦��J�&�kTy��n�SPi�nѕ`��U���� �іށ��� DISSOLVE 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 ill�advised 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. 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Judd leans against the banister, watching. Finally, they break from their embrace. Mary is crying and Jacqueline is half-laughing, half-crying. She holds Mary off at arm's length, looking at her. JACQUELINE Mary! She sees the two men in the doorway, and starts back fearfully. Gregory steps forward. GREGORY Jacqueline. She stands quite still, looking at him nervously. GREGORY It's all right. Jacqueline turns back to Judd and moves a little in his direction. Judd continues to lean against the banister, smiling. GREGORY You're safe. Nothing is going to hurt you. JUDD Your husband seems very sure of that. Again she looks from one to the other. GREGORY Yes. I'm very sure there's only one way to protect you -- to help you you've got to come with us-- let me do all that I can as a lawyer to straighten out Irving August's death. JACQUELINE You know? GREGORY Yes. MARY You must come with us, darling. You must let us help you. Mary extends her arms to her sister and Jacqueline goes into them. JUDD (to Jason) For me -� this seems to be the end of a delightful relationship. Judd smiles and shrugs his shoulders. DISSOLVE INT. JASON'S APARTMENT - NIGHT There is a bright fire in the fireplace. Jason is crouched before the fire. He has a coffee pot set up on the edges of three bricks inside the fireplace, and on the hearth is a reflector baker with biscuits baking in it. A bottle of cream and other oddments and endments of his culinary art are strewn about on the hearth. Jacqueline is seated before the fire in an armchair with Mary at her feet. Mary's head is resting against Jacqueline's knee. Gregory sits on a straight chair, a little uncomfortable, and facing them from the other side of the fire. Judd lounges on the bed. Jason wraps a tea towel around his hand and reaches in the fireplace for the coffee pot. He pours out a cup of coffee and then with the same wrapped hand snatches a biscuit from the baker, and puts it on the edge of the coffee saucer. He hands it to Jacqueline. Her hand trembles as she takes it. JASON (as he passes the coffee) Here, this will put some life into you. JACQUELINE (looking fixedly into the fire) It's like coming back to life. GREGORY Jacqueline, it would be so much easier if you would tell me just what happened. I'd know what to do for you. Jacqueline shakes her head, MARY Please, Jacqueline. JACQUELINE You know about the Palladists -- you know who they are -- what they are. I was one of them. She pauses, and Judd in moving from his place on the bed, speaks. JUDD Jacqueline was always a sensationalist, trying to seize onto something -- anything -- in order to find happiness. Through Mrs. Redi she stumbled onto the Palladist movement �- it appealed to her. JACQUELINE (shuddering) I wasn't happy with them -- wanted to break away �� was miserable. I went to Louis for help. They felt that I had betrayed them. They wanted me to die -- to kill myself. They kept me locked up at La Jeunesse. I was there such a long time. She stops. JUDD You can Imagine the effect of such imprisonment on Jacqueline. JACQUELINE I was terrified. The darkness in the corners of the room --the little noises. Then one night the door opened -- a man came in �� tip�toeing in. I had a scissors in my hand -- I struck at him, I ran away. He was lying in the hall with the blood around him. She shudders. MARY (comforting her) Don't. We know what happened. Don't go on. GREGORY Any court in the land would understand. We'll wait a few days -- let you rest -- then we'll go to the police. MARY It will all be over in such a little while, Jacqueline, and everything will be all right again. Drink your coffee. Jacqueline raises the cup to her lips and sips. Jason busies himself at the fire again. GREGORY I thought I might close up the apartment -- maybe get a place in Connecticut. MARY You'd love that, Jackie. 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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 over�turned 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