|| Вид лиро-эпической поэзии; небольшое сюжетное стихотворение, в котором поэт передает не только свои чувства, мысли, но и изображает то, что вызывает эти переживания
|| Большая форма лиро-эпической поэзии; крупное стихотворное произведение с повествовательным или лирическим сюжетом, основанное на сочетании повествовательной характеристики действующих лиц, событий и их раскрытии через восприятие и оценку лирического героя, повествователя
|| Вид драмы, в основе которого лежат острые, непримиримые жизненные конфликты; характер героя раскрывается в неравной, напряженной борьбе, обрекающей его на гибель
|| Вид драмы, в котором характеры, ситуации представлены в смеховых, комических формах, обличающих человеческие пороки и раскрывающих негативные стороны жизни
* Комедия положений — источником смешного служат события, хитроумная интрига.
* Комедия характеров — источником смешного служат четко типизированные характеры героев.
* Комедия идей — источник смешного — идея писателя.
* Трагикомедия — смех сочетается с сознанием несовершенства человека и его жизни.
* Фарс — западноевропейская народная комедия XIV–XVI веков, обладающая основными признаками народных представлений: массовостью, сатирической направленностью, буффонадой
|| Литературное произведение, которое изображает серьезный конфликт, борьбу между действующими лицами
|| Вид драмы, легкая пьеса с песнями-куплетами, занимательной интригой, романсами и танцами
|| Небольшая комическая пьеса или сцена, разыгрываемая между действиями основной пьесы, а иногда в тексте самой пьесы.
* Самостоятельный жанр народного театра в Испании.
* Галантно-пасторальные сцены в Италии.
* Вставная комическая или музыкальная сцена в спектакле в России
FADE IN ON TITLE: PROLOGUE LONDON, 1920. DISSOLVE TO: 1 INT. MUSEUM OF IVAN IGOR where he exhibits groups and individuals done in wax. The figures are of historic characters and events. The place is almost in darkness as the steel blinds are drawn on the windows facing the street. Through the back and side windows we see and hear a pouring rain. At the fade in we hear the distant rumbling of thunder, and shortly thereafter there is a blinding flash of lightning through the unshuttered windows showing in clear relief a brutal, sinister face, the black hood and cowl suggesting a medieval monk. We see, lying at the foot of the monkish figure, a seminude figure of a woman whose back is sadly lacerated. She is lying face down. In the monk's hand is a knout or cat-o'-nine-tails, as though he had been punishing her. In the background of this shot we see a workbench and a work light. The vague figure of Igor is seen, at work on a nearly completed bust. DOLLY UP TO A CLOSE-UP of Igor's hands. We see that they are the sensitive, fine hands of an artist, dexterous in their delicate occupation. CUT TO: 2 FULL FIGURE OF IGOR as he steps back from the bench. Evidently satisfied, he goes to a basin of water and puts his hands in it and stands as though resting them. 3 EXT. STREET LONG SHOT MUSEUM IN BACKGROUND It is raining and we see an occasional flash of lightning. The figure of Worth on the opposite side of street from museum, walking rapidly AWAY FROM CAMERA, comes to a point diagonally opposite museum and glances furtively about, starts toward the entrance. When a policeman appears, he darts quickly to a doorway, concealing himself. The officer crosses the street and disappears along an intersecting street. Worth makes a second endeavor to approach the museum, when a hansom cab draws up to the curb and Dr. Rasmussen and Golatily alight and cross the sidewalk toward door. Worth slinks back to his hiding place. The cab draws away. 4 CLOSE SHOT GOLATILY AND RASMUSSEN ON STEPS GOLATILY (glancing at watch) A beastly hour to disturb the fellow. RASMUSSEN Not at all. He works late and he'll be delighted. They knock at door. 5 INT. MUSEUM CLOSE SHOT OF IGOR washing hands. He straightens up and glances toward door, showing annoyance, then starts toward door. The knock is repeated. 6 EXT. MUSEUM Rasmussen is pressing his face to glass, looks through, and we see, through the glass panel of the door, Igor approaching. When he glimpses his visitors, his expression changes from annoyance to one of extreme pleasure, and hastening his stride he opens the door quickly. IGOR (with slight foreign accent) Well, well, my friend, this is an unexpected pleasure. RASMUSSEN (shaking hands with Igor) I shouldn't have thought of disturbing you but it happens the friend I told you of is leaving tomorrow to supervise some new excavations in Egypt, and he was anxious to look at your collection before going away. May I present Mr. Golatily? IGOR It is a great pleasure. I have heard so much about you. 7 INT. MUSEUM The three men enter museum, Igor closing the door and locking it. Igor laughs. IGOR My children will become conceited that so distinguished a critic has thought them interesting enough to review. 8 EXT. MUSEUM FROM OPPOSITE SIDE OF STREET Worth, standing in doorway opposite museum, waiting impatiently. 8A INT. MUSEUM Igor throws light switches, one at a time, each circuit illuminating a different group. He names them as he throws each switch. IGOR Sidney Carton on the Guillotine. 9 CLOSE SHOT of the figure. We hear Golatily's voice. GOLATILY'S VOICE Very interestingly done. CAMERA PANS TO figure of Sir Walter Raleigh as the lights are thrown on this figure. We hear Igor's voice. IGOR'S VOICE Sir Walter Raleigh. RASMUSSEN'S VOICE I was particularly interested in this one. See the fineness with which he has mounted that beard. CAMERA PANS TO figure of Joan d'Arc, as lights are thrown on it and we hear Igor's voice. IGOR'S VOICE Joan d'Arc. GOLATILY'S VOICE It's a pity to race through such an exhibition. One should have time to really study them. CAMERA PANS TO figure of Voltaire. The lights are thrown on and we hear Igor's voice. IGOR'S VOICE Voltaire. The two visitors are standing at the moment beside the figure of Voltaire. Golatily backs away from it, half closing his eyes and studying it critically. GOLATILY You could almost expect him to speak. I wonder what he'd say after all these years. Igor joins them, laughing. IGOR You would be astonished. He is more difficult now, to those in authority, than even the records show. He was a very stubborn person, I assure you. RASMUSSEN Stubborn? IGOR Unbelievably. For days I argued with this fellow before I could get him as I wanted him. But always I triumphed ... (he laughs) ... and few people triumphed over Voltaire. And here ... (he throws light switch on a peasant mother and child) ... we have something that pleases me, though of no historic importance. It was done because I love to model children. The group is a peasant mother, two children playing at her feet and a nursing babe at her breast. 9A EXT. STREET IN FRONT OF MUSEUM Worth, as he throws away cigarette impatiently and takes new place of concealment. 10 INT. MUSEUM The three men are strolling toward the figure of Marie Antoinette. GOLATILY But you have no right to hide such genius in a side street museum. IGOR (goes to light switch) You are too gracious. These things have some merit, I suspect ... but this-- (throws switch) ... I am convinced, is fine. (Joining the group.) GOLATILY (leaning close to figure) Even those delicate veins, the texture of this flesh -- I have never seen anything more exquisite. IGOR (laughing) My partner believes that I should build a horror chamber, immortalizing the hideous crimes and criminals of London. At such times Marie Antoinette has reassured me, she has promised me recognition for the devotion I gave to her. GOLATILY She will undoubtedly keep her promise. If you'll grant me the privilege, I'd like to submit this work to the Royal Academy when I get back. IGOR (delighted) You will have won the undying gratitude of us all. (Glancing over his shoulder.) Is that not so, Marie Antoinette? GOLATILY (as they cross to door) I regret I can't spend the time I'd like with your exhibition, but I'm going to worry the life out of you when I come back. (The three laugh.) IGOR It will always afford me great pleasure to see you. (They shake hands.) GOLATILY Good night, sir. IGOR Good night. (To Rasmussen.) And I am very grateful to you. 11 EXT. MUSEUM MAIN ENTRANCE Door opens. Golatily and Rasmussen come through door. Igor is speaking. IGOR Thank you so much for your visit and encouragement. They bid each other good night cordially and the two stroll away, as Igor closes the door and pulls the blind. 12 EXT. MUSEUM The two men pass the spot where Worth has concealed himself. He peers after them from the shadows, then crosses street toward museum and walks toward door of entrance. 13 INT. MUSEUM Igor, with the exuberance of a delighted child, runs to the figure of Marie Antoinette and caresses her. IGOR You heard what he said. You heard this man who is very celebrated, what he said of you? (He backs away from the figure, laughing.) Ho-ho-ho, of course, you would say that. You always told me so, of course. (Then extending arms to include all the figures in the gallery.) And you, my friends -- Robespierre, Danton, Marat, Maximilian, Savonarola, all of you, how will you feel to be famous again? These figures, whom he has addressed individually in the last speech, are all on a raised platform or balcony, and he has turned and gestured toward each one as he named them. He now turns to Voltaire. Walking toward the figure and shaking his finger at it. IGOR And even you, who scoffed at immortality, who wrote so eloquently against the thought of immortality, you are experiencing it in spite of yourself. We hear the door open and Igor turns. IGOR (surprised, questioningly) Hello! What are you doing here so late? We hear footsteps of someone approaching him as the CAMERA SWINGS and Worth walks into picture. WORTH (brusquely) I came back for some of the books. I am trying to straighten out the accounts. I don't hope to impress you, but I may as well tell you: We haven't a farthing! IGOR (mildly, with no great concern) That is unfortunate. 14 CLOSE-UP WORTH He is furious. WORTH You're right it's unfortunate! Fifteen thousand pounds it's cost me! And you say it's unfortunate, as though I'd spilled a spot of grog on my waistcoat. CAMERA ANGLE WIDENS TO A 15 CLOSE SHOT OF THE TWO IGOR (returning to workbench, followed by Worth; Igor shrugs) Your money may have been well invested, my friend. Something important may come of all this. WORTH Something important has got to come of it! Do you know that the rent on this place isn't paid? IGOR (sits at bench and starts to work) Is that a fact? WORTH (angrily) No -- I'm lying to amuse myself! (Leaning over bench confidentially.) Now look here, I've an idea that will get us out of all this. We haven't twopence between us, but we've got these. (Draws papers from pocket, slaps them on desk before Igor. Igor glances at them, then up at Worth in surprise.) IGOR Fire insurance! WORTH Yes, there's our way out. A fire in this place would give us ten thousand pounds. Igor rises slowly, unable to believe what he hears. IGOR A fire! Is this your idea of humor, my friend? WORTH (grimly) I want the money back I've thrown into this rubbish heap. IGOR You are asking to burn these people ... you are asking? ... (Growing excited, takes a few steps away from bench.) 16 INT. MUSEUM MED.SHOT Igor makes a sweeping gesture that takes in the entire room. IGOR ... to destroy all this? WORTH I'm not asking you anything. I'm telling you what I'm going to do! IGOR And you think I will permit this, my friend? WORTH You've got to permit it! Whose fault is it that no one comes here? The museum at Walston Lane does well enough, and why? They've got Jack the Ripper, Burke and Hare, the Mad Butcher, the Demon Barber of Fleet Street and things people pay to see. IGOR And they are welcome to them. To perpetuate such creatures is to celebrate their crimes. WORTH Well, what do you think I'm in this for? (Indicating figures, changing tone and attempting to cajole Igor.) Think of it, man, a match -- a cigar stub -- and ten thousand pounds to divide between us! IGOR You're insane. WORTH Not at all -- let me show you how easily it can be done. (He strikes match and starts toward one of the figures.) Igor springs and whirls him about. Worth strikes Igor viciously and they have a terrific struggle, in the course of which Worth seizes a spirit lamp used for warming wax and hurls it at Igor. He misses his mark, but the lighted lamp falls into the folds of the draperies of one of the figures standing next to that of Marie Antoinette. Igor screams his terror as he dashes to extinguish the flames, and Worth, springing on his back, overpowers him. By this time the fire is spreading to one of the other groups. Worth quickly snatches some of the flaming cloth from this group and tosses it at the feet of other figures. The figures are shown to be melting, gradually losing form, and finally the liquid wax itself ignites with a flash that is almost an explosion. Igor is seen to stir, and Worth, seizing a heavy staff from the hands of one of the figures, strikes him several times. Apparently satisfied that Igor is helpless, Worth now hurries to a rear door and makes his exit. 17 EXT. AREAWAY BACK OF MUSEUM We see Worth come through door, panting and disheveled. He starts away and then returns and locks door, after which he runs from scene. 18 INT. MUSEUM Igor, dazed and weak, is struggling to his feet. He looks toward the figure of Marie Antoinette, its draperies now a mass of flame. He dashes toward it, catching it up in his arms, attempting to beat out the fire. The whole room now resembles the inside of a furnace, and as Igor, carrying the flaming figure, struggles toward the door, a portion of the ceiling collapses, barring his progress. He turns and staggers toward the rear. His clothes are blazing. He runs to a small iron trap in floor, near which is a group tableau of Sidney Carton on the Guillotine. Lifting the cover, he discloses an empty drain barely large enough to permit the passage of his body. As he disappears through trap, the rope suspending the blade of the guillotine burns through and the knife falls, decapitating the figure, and the head rolls across the floor." FADE OUT FADE IN ON 19 SKYLINE OF NEW YORK (miniature) On a building in the foreground is an electric sign, the full width of the building, which reads New York Express. There is a huge illuminated clock dial someplace beneath the sign. The clock shows one minute of twelve. As the picture fades in and the minute hand jumps abruptly to exactly twelve, another electric sign showing the numerals 1932 in red appears immediately beneath the sign New York Express. Simultaneous with this we hear the shrieks of sirens, the honking of automobile horns, the screech of boat whistles in the harbor, the ringing of bells, the rapid firing of a pistol somewhere in the distance, the shouting of the crowd, indicating the passing of the old year. These sounds, in varying degrees, continue all through the following scenes. As this shot dissolves, the tone dissolves with it to the single scream of a siren as we see 20 STREET CORNER A CROWD OF PEOPLE An ambulance driving around the corner. DISSOLVE TO: 21 EXT. OF APARTMENT BUILDING with all the windows lighted. Some windows still have Christmas ornaments in them. The CAMERA ON CRANE MOVES UP TO various windows. As the screaming of the siren and arrival of ambulance evidently attract the attention of the dwellers, several people open their windows and look out curiously. Some of them are holding cocktail glasses, and as the windows are opened we hear the strains of radio music and other sounds of joyous celebrating. In the last window we see Igor in his legitimate make-up -- not as a horror person -- looking at something across the street. CUT TO: 22 EXT. OF OTHER APARTMENT HOUSE AT CORNER The ambulance parked in front of it and a number of curious people standing about. The door of the apartment house is opened by a man in uniform, and we see a doctor carrying a medical case coming out of the house. A newspaper reporter runs up the steps to meet him and says: REPORTER Anything new, Doc? DOCTOR Nothing we didn't tell you this afternoon. The coroner confirmed our opinion -- it was suicide. During this dialogue, two internes carrying a stretcher descend the steps, pass the doctor and place stretcher in ambulance, close door of ambulance, get on ambulance, drive away, and again we hear the noise of the siren. DISSOLVE TO: INSERT Of newspaper heading: THE NEW YORK EXPRESS WISHES ITS READERS A HAPPY NEW YEAR. Single column article: BEAUTIFUL JOAN GALE A SUICIDE (then in smaller type) Show Girl Found Dead On Eve of New Year. (then the story) While the Broadway she loved prepared to celebrate the New Year, Joan Gale, beautiful show girl, lay dead by her own hand, it was discovered late yesterday afternoon. A maid at the Denton Hotel, where the butterfly girl occupied an expensive suite, entered her apartment at noon and found her clad in pajamas, etc., etc. (single column picture of Joan Gale) All through reading paper we hear New York celebration noises. DISSOLVE TO: 23 NARROW DOWNTOWN STREET (probably West Broadway) NIGHT With elevated road extending full width of street. An old-fashioned, disreputable brick building, with an iron grating along the edge of walk, beyond which is an areaway and a flight of stone steps, leading to basement door. There is also a door on the street level. The figure of a man approaches the house. The CAMERA SEES only his back. We hear the distant sound of the New York celebration, and two girls, passing the man who is walking AWAY FROM CAMERA, blow horns at him and throw confetti on him. He does not answer. He passes them and admits himself to house with latchkey. 24 INT. WORTH HOUSE CAMERA FOLLOWS him through a corridor into a room as dilapidated and forbidding as the exterior of the house. The room, evidently used as an office, is furnished with an ancient, battered desk and chairs. The walls are bare, and in places the paper, and even bits of plaster, have been torn away. The figure of the man enters and throws on the lights. He goes to the desk, picks up a phone and dials a number, sitting in swivel chair with his back to CAMERA. He gets his number. MAN Hello, is that you, Tim? ... Tim, I'm sorry but I've got to have that tonight ... I've got to have it. CAMERA TRAVELS TOWARD him as he slowly turns to face it. MAN No, I need it right away. By this time we get a 25 CLOSE-UP OF WORTH'S FACE and we see that it is the man who burned the museum. All through the phone conversation we hear the muffled shouts, the horns, etc. of the New Year celebration. MAN Who's on at the gate? ... you say Joe? ... Well, then you can get it out all right. I'll have the truck right down there. The harness bull down there is oke. I fixed that this afternoon. DISSOLVE TO: 26 STREET OUTSIDE THE MORGUE A policeman walking leisurely along his beat reaches the iron gate and glances up at the sign above the arch, which reads Morgue. We hear the distant shouting, singing, trumpeting. After the officer has disappeared, an upper window of the building opens and the hideous face of the Monster appears as he leans out of the window following the progress of the policeman along the street. 27 INT. MORGUE FULL SHOT (It is necessary to give this business in detail, but it will be played quickly as the Monster moves with astonishing rapidity.) The room is almost in darkness, the only light coming from a window well upstage and at one side. We see dimly a row of slabs mounted on wheels. They are all occupied, the bodies being covered with sheets. The Monster glides quickly among them with a flashlight, turning down the sheets and inspecting the faces, finally locating the one he seems to have been in search of. CAMERA COMES TO A 28 CLOSE SHOT OF MONSTER bending over slab as he examines figure illuminated by flashlight. We do not see the features of the corpse. As the Monster straightens up, he utters a horrible gurgling, retching murmur of joy, and we see him clearly for the first time. 29 CLOSE-UP MONSTER A black-cloaked figure, disproportionate and grotesque, the face a horrible formless mass of scarred tissue. He has practically no forehead. His face is a shriveled bald pate of seared skin and bone, which recedes to a pointed cranium of unnatural contour. His eyes are alight with fanaticism and insanity. The face is a blot of drawn, unwholesomely colored, hairless skin. He is lipless, noseless, and what traces of human features remain are frightfully distorted. CAMERA RECEDES TO 30 MED. SHOT and TRAVELS WITH him as he pushes the carriage quickly to the back window and places it against the sill, feet first. 31 CLOSE SHOT AT WINDOW He opens the window, which has a single bar from top to bottom dividing its center. He leans out and whistles. During all of this we have been hearing the joyous shouts of the merrymakers. In answer to his signal there is a single whistle from someplace below. He throws the sheet aside and fastens a rope around and under the arms of the corpse, which he pushes slowly across the sill into space. After lowering the body, there is a whistle from below. He throws the remainder of the coil of rope out the window, but on the opposite side of the upright bar, so that the rope forms a double strand outside, permitting him to slide to ground level. CAMERA ANGLE WIDENS and we PAN WITH the Monster as he returns the slab to its original position. He hears someone approaching and stretches out at length on the slab, covering himself with the sheet. The voices grow louder and the CAMERA SWINGS, PICKING UP TWO attendants and FOLLOWING them as they enter. One of them throws on the lights, and they wheel another body into place beside the slab on which the Monster is concealed. FIRST ATTENDANT New Year's Eve ain't what it used to be. This is only the second one tonight. SECOND ATTENDANT Yeah, times are sure tough. FIRST ATTENDANT What happened to this one? SECOND ATTENDANT Husband slapped her full of lumps ... said she talked too much. The men turn and start out of the scene. The body, having just been embalmed, has a muscular reflex and rises to a rigid semisitting posture. FIRST ATTENDANT (frightened) What's that? SECOND ATTENDANT Embalming fluid makes 'em jump. He returns coolly and pushes the body into its proper position. The action causes a horrible rasping sound, peculiar to corpses. SECOND ATTENDANT (coldly) Ain't that just like a woman ... always has to have the last word. CAMERA FOLLOWS the two men as they exit in the direction from which they came, throwing off the lights and shutting the door after them. CAMERA PANS BACK to the Monster as he springs from the slab, and FOLLOWS him as he crosses to the window, climbs through and lowers himself over the sill. INSERT Showing base of upright bar of window with rope looped over. Evidently safe on the ground, the Monster pulls one end of rope, and we see it running around bar until the end disappears. During this insert, we hear a crescendo of horns, shouts, etc., finally dominated by the clack of a wooden noisemaker, that blends gradually with the myriad clicking of a number of typewriters, as we DISSOLVE TO: 32 CLOSE-UP OF TYPEWRITER AND HANDS OPERATING MACHINE CAMERA PULLS BACK: 33 COMPOSING ROOM OF THE NEW YORK EXPRESS NIGHT CAMERA PICKS UP a door at the end of a line of tables, with typewriters, where rewrite men are busy on copy, copy boys bringing them assignments, carrying away completed stories, etc. Sign on door reads Managing Editor. CAMERA SWINGS the length of the lane, PICKS UP door at opposite end of room, and with a sudden, terrific blast of steam whistles, etc., the door opens and the girl, Florence (Glenda Farrell), appears through door, obviously squiffy, leading a nondescript mongrel dog. She carries a long, cheap tin horn. The man nearest the door glances up from his work. FLORENCE Gentlemen of the Daily Grind: 1932 salutes you with a fanfare of golden brass! (Takes hand from behind her and blows on rubber "Bronx cheer" rattler.) The men laugh. Florence produces a bottle of Scotch. FIRST MAN (pointing significantly toward managing editor's door) Save your breath. Hard-Tack wants to see you. FLORENCE I don't want to see him -- he hurts my eyes. FIRST MAN No kiddin', he's sore as a dog. FLORENCE (to dog) Move over Kelly. I'm in the dog house! MAN (laughs) Where'd you get the stag hound? FLORENCE He's not a stag hound. His name is Kelly and he's a police dog. MAN (patting the pup; others gather around also stroking him) What do you mean police dog? FLORENCE Plain-clothes man. (Addressing room.) Come on, slaves, drink and be merry for tomorrow you might be appointed correspondent to Washington ... a fate worse than death. MAN Listen, Flo, cut it out. Hard-Tack is pretty sore. FLORENCE (laughs) Ain't that something. The mad monk of Manhattan. Here goes nothing. (Crosses to door lettered Managing Editor and, as she exits through it, shouts over shoulder.) Listen to the animal cracker roar like a lion. 34 INT. EDITOR'S OFFICE The managing editor (Frank McHugh), a man of about thirty-five, not physically unattractive, but rather grim, is seated at his desk -- an intense worker, plainly impatient with anyone who loafs on the job. (In the following scene we establish that, while he quarrels continually throughout the picture with the girl, there is an underlying and very strong bond of friendship and respect between the two.) The door opens and, as Florence appears, we hear the last few words of her preceding speech. She closes the door, leaning against it. FLORENCE As I live and breathe and wear spats ... the prince. EDITOR (looking up angrily) Been doing experiments with Scotch and soda again? FLORENCE (disheveled and obviously with an "edge") Where did you get the news item? (Sarcastically.) From a little bird? EDITOR Yeah. (Discards sheaf of papers and looks up.) Have a pleasant vacation? FLORENCE Charming. More delightful people crippled. EDITOR Great. Consider yourself crippled -- financially. See if you can jar your charming friends loose from enough to eat on. FLORENCE Meaning what? EDITOR That you're a sure bet to place in the bread line. There's no room on this rag for the purely ornamental. You're easy on the eyes and pretty conceited about it. He returns to his work. CAMERA FOLLOWS Florence and comes to a 35 CLOSE SHOT OF FLORENCE as she walks down and puts her arm over editor's shoulder. FLORENCE Is mama's dumpling getting tough? He pushes her away from him. EDITOR I'm through clowning. You're all washed up. Get out! FLORENCE (straightening up) What do you mean, you poor ham! This is New Year's! EDITOR All right, what about it? We get out a paper just the same. Did you ever stop to think of that? FLORENCE Well, is it my fault if nothing happens? He rises and, taking Florence angrily by the arm, almost drags her to the window. He points to the street below. There is an alternating red and green light through the window, as though it came from an electric sign across the street. EDITOR Look down there! Nothing happening! Out of that insane mob you say there's nothing happening? There's a story in every person down there. Florence giggles. FLORENCE (With elaborate sarcasm) And how does one go about getting these human documents, may I inquire? EDITOR (caustically) That is none of our business. (Pushing her suddenly so that she stumbles to door.) But you bring me something for the next edition if it's only a recipe for spaghetti! (Turns quickly and sneers at her.) FLORENCE (turning to door, shouts) Quick, Watson, the cookbook! She exits and slams door. He looks after her angrily, as he returns to his desk. 36. INT. COMPOSING ROOM FULL SHOT as Florence reenters. Sits on desk of last man she spoke to. FLORENCE What a sense of humor that guy has. Thinks a hangover is a Jewish holiday. I'm fired! MAN I told you he was a sore. FLORENCE Stories scarcer than caviar at a street cleaner's banquet, and he says, bring me a yarn. All I have to do is get a story. MAN Here's a wow. He whispers to her. She straightens up and looks at him contemptuously. She crosses to door. Turning back, she sees the mongrel she brought in and calls. FLORENCE Hey, come here, Kelly. I don't want you hanging around with that guy. He's been reading naughty stories. She and the dog exit. DISSOLVE TO: INSERT: CLOSE-UP OF COVER OF MAGAZINE entitled "Naughty Stories." Shows scantily attired figure of a girl dancer. CAMERA DRAWS BACK TO 37 CLOSE-UP OF DESK SERGEANT ABSORBED IN MAGAZINE at 47th Street Police Station. 38 FULL SHOT POLICE STATION RECEPTION ROOM Several uniformed men seated, reading late editions, etc. Florence enters with gay, almost rowdy camaraderie and thumps one of the officers on the back. FLORENCE Happy New Year, Ambrose! He straightens and looks up. OFFICER Hello, Mrs. Dempsey. I don't see how they're ever going to settle that heavyweight argument while you're around. (Rubbing shoulder.) 39 CLOSE SHOT DESK Florence crosses to desk and, reaching over, pulls the magazine out of the sergeant's hand. FLORENCE Happy New Year, sweetheart. How's your sex life? (Glances at magazine.) Oh-oh! (Hands it back to him.) SERGEANT (shouts) Call the Homicide Squad! FLORENCE How's every little thing? SERGEANT Fine. You're the first reporter in here for two hours. You people seeing the old year out? FLORENCE I'm people which the old year saw out. I'm canned, fired! SERGEANT No kiddin'. FLORENCE I've got to make news, if I have to bite a dog. (Looks around suddenly.) Hey, Kelly! Oh, mi gosh, even he walked out on me. SERGEANT I've got a story for you. You know the Joan Gale girl? FLORENCE (unenthusiastically) Yes, she committed suicide yesterday. That's not news. I heard about it last year. SERGEANT (mimicking her) Oh, yeah? Maybe she didn't commit suicide. She may have been murdered! FLORENCE (startled) No foolin' -- any suspect? SERGEANT Do you know George Winton? FLORENCE Old Howard Winton's cub? SERGEANT That's the one. FLORENCE (aghast) They don't suspect him
? SERGEANT Don't they? He's down at The Tombs right now. FLORENCE (threateningly) Say, if you're stringin' me, Old-Timer ... SERGEANT (snaps) Why would I string y'? They were sweeties until a month ago. FLORENCE What does that prove? SERGEANT Nothing. Only she may have tried to blackmail him. You know such things have happened. Anyway, he was at her apartment a few hours before she was found dead. FLORENCE (enthusiastically) Hotcha! Saved, one job! She reaches for the telephone on the sergeant's desk. He snatches it away from her. SERGEANT Press room for yours. 40 FULL SHOT POLICE STATION RECEPTION ROOM as Florence starts to door. SERGEANT But hold everything. Let me give you the rest of the dirt. She turns in door. FLORENCE Make it snappy, Colonel. SERGEANT There's an autopsy ordered at Bellevue immediately. You better skip over there. FLORENCE (starting through door) Don't give this to anybody else, will you? SERGEANT It's all yours. FLORENCE Thanks. As she exits, she throws switch, leaving the entire room in darkness. There is a shout of protest from the men, which blends with the sound of an elevated train as we DISSOLVE TO: 41 EXT. WORTH HOUSE A small covered truck drives up and stops. A man riding beside the driver jumps down and, glancing quickly up and down the street, runs down the basement steps and rings bell. 42 CLOSE SHOT BASEMENT DOOR Lattice is drawn aside and a man peers out. DOOR TENDER Get it all right? DRIVER'S COMPANION Yes ... let's get it off the truck. Lend us a hand. The door opens. DOOR TENDER (calling over his shoulder) Hey, Sparrow -- come on! Another figure appears, a furtive little man who occasionally, throughout the picture, rubs hand across nose as cocaine fiends are known to do. He seems to be in a very nervous state. Together, the four men remove a large oblong case from the truck and carry it downstairs into the basement. 43 INT. A LARGE, SPARSELY FURNISHED BASEMENT ROOM There are a number of crates and boxes piled in one corner, and on a plain kitchen table, center, there are a number of bottles, glasses, etc. The four men enter and deposit the case, which is marked Fragile -- Handle with Care, on the floor. DOOR TENDER How about a little shot? As the men approach the table, CAMERA MOVES UP and we get a CLOSE-UP, separately, of each of the four men as they drink. They are all of the urban criminal type. As CAMERA PULLS BACK, the truck driver and his companion start toward door. TRUCK DRIVER Happy New Year! DRIVER'S COMPANION See you some more! The two exit. 44 FULL SHOT OF BASEMENT ROOM as the two men exit. Door tender turns toward Sparrow and CAMERA MOVES UP TO A 45 CLOSE SHOT OF THE TWO DOOR TENDER No use of your hangin' around here. He told me not to give you anything tonight. SPARROW (obviously in highly nervous state) Where is he? Call him down, willya? I've got to talk to him. A door upstage opens. The two turn and CAMERA PULLS BACK as Worth enters. WORTH (to Sparrow) I thought I told you to stay out of here! Sparrow crosses eagerly toward Worth. SPARROW Hello, Joe. I wouldn't bother you, but I'm all in. My nerves are all shot. WORTH (contemptuously) Your nerves are not all that are going to be shot, you sneaky rat -- you've been talking again! Worth hits Sparrow and knocks him down. WORTH (to door tender) Give him a deck. CAMERA PULLS BACK TO 46 FULL SHOT OF BASEMENT ROOM as door tender extracts a small parcel from drawer in table and tosses it to Sparrow, who grabs it eagerly and struggles to his feet. WORTH (threateningly) And understand this, you get nothing more from me until you show me something! And the next time you speak out of turn, you're going to have bad luck. As Worth finishes speech, he slaps Sparrow's face. SPARROW (conscious only of the package given him) Thanks ... thanks. FADE OUT FADE IN 47 TOP OF TABLE PITCHER OF ICE WATER, GLASSES NIGHT Florence approaches table, pours a glass of ice water and, before drinking it, presses it to her forehead and temple. CAMERA SWINGS showing rest of room, which is evidently a morgue surgery. There are several officials, internes, a nurse, two doctors, two or three plain-clothes men and a policeman in uniform who is standing guard at the door. One of the plain- clothes men, who evidently knows Florence, crosses and speaks to her. DETECTIVE Feelin' tough? FLORENCE I've got a case of jitters that will cop the Pulitzer prize. If they drag this out too long, they'll have another corpse on their hands. CAMERA SWINGS TO: 48 CLOSE SHOT OF TWO DOCTORS FIRST DOCTOR When I was called, doctor, the girl had been dead for possibly three or four hours. My examination showed clearly that she died of laudanum poisoning. I thought at first it might have been an accident, an overdose. Her eyes indicated that she used narcotics frequently. SECOND DOCTOR What was the police theory? FIRST DOCTOR Suicide. SECOND DOCTOR Leave any message? FIRST DOCTOR No. That's why I thought death might have been accidental. One of the plain-clothes men joins the two doctors. FIRST DOCTOR Who got the information about Winton, Flannery? DETECTIVE Everyone knows they was livin' together. But the way they fought you'd of thought they was married. FIRST DOCTOR Been separated quite some time, hadn't they? DETECTIVE Yeah. He was playin' up to some other twist. Winton's in bad because he left there just before she folded up. SECOND DOCTOR Well, if she committed suicide, with laudanum, she probably took it in its crude form, and we'll find it in that or very close to that state. If someone gave it to her, it would be diluted. DETECTIVE How could he give it to her? FIRST DOCTOR In a cup of coffee or a glass of whiskey. The door bursts open and one of the attendants rushes in and, going directly to the two doctors, speaks. ATTENDANT The Gale body is gone! FIRST DOCTOR Gone? What are you talking about? SECOND DOCTOR (speaking almost simultaneous with the first) The body gone! Absurd! DETECTIVE Wait a minute. (To the attendant.) What happened? What do you mean the body's gone? ATTENDANT Just that. It's gone -- vanished -- disappeared! DETECTIVE You mean somebody stole the body! FLORENCE No. It got up and walked down to the cemetery to dig up a date. Detectives give Florence a dirty glance. ATTENDANT (excitedly) We went for the body and found the slab empty and the window to the alley open. FLORENCE Hot dog, death on a holiday! DETECTIVE (calling to other plain-clothes man) Come on, Flannery! They leave the room hurriedly, followed by the attendant. Florence, her hand to her head, sways. FLORENCE Boy, oh boy! And he asked for a story. Is his face red! She looks around, sees phone, grabs it up and calls for a number. FLORENCE Bryant two six two six. She waits a moment and then jiggles the receiver impatiently. FLORENCE (shouting) Operator! (Operator answers. Florence, sarcastically.) My, my, how you have grown. (Quickly.) Will you get that number, Mrs. Van Winkle! 49 EDITOR'S OFFICE The phone on his desk is ringing. He picks it up. EDITOR (barks) Hello! 50 CLOSE-UP FLORENCE IN PHONE BOOTH FLORENCE (into phone) Hello, Slug ... kill that Winton story for this! Joan Gale's body, not John Brown's ... Joan Gale's body was snatched from the morgue two minutes ago! I'm here now! Yeah, there were nine or ten witnesses! Nope, they didn't talk! They're pretty stiff. No, dope, not drunk, they're dead! 51 EDITOR'S DESK CLOSE SHOT EDITOR INTO PHONE EDITOR Can the clowning! Great! Great! Tear down to The Tombs and get to Winton! I'll have Harry write the first flash! (Something she says evidently angers him to the point that he holds the telephone away from him. Half angry, as though it were responsible, he barks.) A cow does that ... and gives milk besides. (He slams up receiver.) DISSOLVE TO: 52 CLOSE-UP PRINTING PRESSES IN LARGE NEWSPAPER PLANT The papers being pushed out on rack as they are delivered from press. CAMERA PULLS BACK as foreman picks up a copy to examine it for type. INSERT: CLOSE-UP OF NEWSPAPER showing scare headline describing arrest of George Winton who is held in jail and an autopsy ordered. On front page is a photograph of Winton. CAMERA HOLDS for a moment on photograph, which DISSOLVES TO: 53 CLOSE SHOT OF WINTON BEHIND BARS 54 INT. CELL IN THE TOMBS Winton seated on the edge of his cot. CAMERA SWINGS AROUND to reveal the cell door being opened by a guard. Florence enters and goes to boy. He is a rather handsome, but weak, dissipated type, who arouses our sympathy without winning our respect. FLORENCE How do you do. I'm from the Express. Winton looks up. When he speaks, his sentences are halting and broken. He's badly frightened. WINTON Yeah. I suppose you people will crucify me for something I didn't do. (His voice rising almost to falsetto.) I didn't! You understand that! ... I didn't do it! She -- tried before -- (Buries his face in hands, choking sob.) FLORENCE (Sits on cot beside him, pats his shoulder) Come on, old man, that won't do. You know you're innocent until proven guilty. WINTON (springing to feet and pacing back and forth) Yes, sure, that's fine. While I'm proving my innocence, you people are going to uncover every petty kid trick I ever did ... you're going to write editorials about every cocktail I ever drank. Anything that any sane, normal person might have done will have a sinister meaning, if I did it. (He is almost crying at this point, sitting on cot.) Go on! Get out! I don't want to talk to you! (He rises and crosses quickly as though to open door, then, realizing that he is locked in, leans, face against the bars, fighting to control tears.) Florence follows him and places her hand on his shoulder. FLORENCE Listen, kid. You're in a tough spot, and you can make it a whole lot easier for yourself if you cut out the cry-baby stuff -- WINTON (whirling, faces her) Cry-baby? FLORENCE That's what I said. WINTON (angrily) My lawyers will be on the job in a little while, and I warn you people anything you print about me you've got to prove. Dad won't stand for-- FLORENCE Your dad has stood for plenty. Now let's get down to cases. When did you see the Dale girl last? WINTON For a few minutes the afternoon before -- before -- FLORENCE Hmmm. Why didn't you tell that to the police? WINTON (hysterically) They didn't give me a chance. We had a couple of drinks and she was all right then. She seemed happy. FLORENCE Uh-huh. Do you remember what she said? What did you talk about? WINTON She laughed and told me that we were being silly, that we didn't care for each other any more but we needn't hate each other ... (He sobs through the finish of this speech.) ... She said she wanted to be friends. FLORENCE I see. Was that all she said? WINTON (recovering self-control to some degree) We planned a trip for her. I was going to send her to Bermuda. FLORENCE You weren't going with her? WINTON No. (Paces floor, pounding palm of hand with fist desperately.) Why didn't I take her out somewhere? But she was laughing and seemed so happy. FLORENCE Well, let's get back to the case in hand. They ordered an autopsy and discovered her body had been stolen from the morgue. WINTON (his nerves quite shattered) Stolen! What are you trying to do to me? ... You're working with the police! ... You're trying to make me say something that can be used against me! You're trying ... FLORENCE Hold on, hold on. I'm trying to help you, if you're on the square, and I think you are. WINTON Then why are you telling me a crazy lie? ... FLORENCE That happens to be the truth. WINTON Who'd steal her body? FLORENCE That's what they're going to ask you. Winton seems stunned. Guard appears in door. GUARD Time's up. FLORENCE Be right with you. (Turning, pats Winton on shoulder.) Keep a stiff upper lip, kid. I think you'll come out okay. The guard opens the door and as she exits, we DISSOLVE TO: 55 CLOSE SHOT OF EDITOR AT HIS DESK He is leaning back in swivel chair, listening attentively. We hear Florence's voice, but do not see her. FLORENCE'S VOICE The whole thing sounded on the up and up to me. The poor kid is too scared to lie. He's getting a raw deal. CAMERA PULLS BACK to include Florence, seated in chair close to editor's desk. EDITOR (sarcastically) Well, ain't that a shame. Nice little chappie that wouldn't harm a fly ... everybody picking on the little fellow. FLORENCE If this kid was some unknown soda jerker, they wouldn't have pinched him. But he's George Winton and they're playing him up. It's a Roman holiday for every paper hat editor in New York. EDITOR (glancing from desk where he has been idly scratching with a pencil) Why the goose pimples? If he wasn't social register -- if it was somebody like me, you'd be trying to hang him. FLORENCE I wouldn't be trying, beloved. I would hang him! And another thing, all this gaga about the body disappearing. Eight bodies have been stolen in New York within the last eighteen months. Doesn't it seem more reasonable to hook this up from that angle? EDITOR (laughs) And ruin a perfectly good story? Don't be silly. FLORENCE No, I mean it. I think this kid's entitled to a break. EDITOR He's getting a break, ain't he? He's front page. FLORENCE You give me a pain! EDITOR I'm glad to hear it. When did you go in for crusading in the cause of justice? This lousy mug, with all the money in the world, has had two or three nasty affairs. He's kept out o' print because his great- grandfather was smarter than the Indians. FLORENCE Well, anyway, he couldn't have copped that body -- he was in jail. EDITOR You don't think he'd be sap enough to do the job himself. I hope they give him the works. Even if he didn't kill the kid, he's responsible for her death, and they can fry him any time without making me sore. FLORENCE (rising angrily) Well, I won't work on it from that angle. EDITOR Oh, you won't -- you were pretty tough about Judge Ramsey -- a little while ago -- FLORENCE And they never proved anything against him. EDITOR Except that he disappeared when things got too hot. FLORENCE Or was bumped off by someone who was afraid of him. EDITOR Whooey -- he took a run-out powder. FLORENCE Well, that's got nothing to do with this case. Can I handle this my way? EDITOR You cannot. I'm still editor of this sheet. FLORENCE All right, you said I was fired. Well, I quit! Give the assignment to somebody else. (Starts toward door.) EDITOR (laughs) Hey, come here, Sob-sister! FLORENCE Nope, I'm through! Her hand is on the knob. CAMERA FOLLOWS editor who rises and, following, embraces her roughly and pats her on shoulder as he releases her. EDITOR Go ahead, screwy! Do it your own way. As he returns to desk, she takes a step after him. FLORENCE On the square, Jimmy, if you'd seen Winton down there -- I'm not holding a brief for him -- maybe he's a dirty pup, but he's scared and hysterical -- and so kinda dumb and worthless ... EDITOR Great! ... If he's worthless we'll give him away as a bridge prize. Come on -- beat it. It's five o'clock. You need some sleep. FLORENCE (going through door) No, there's another point I want to iron out. EDITOR Sleep on it ... we'll get it tomorrow. Holds picture that he drew away from him, looking at it critically. Florence moves back of him to glance at it. He hands it to her. EDITOR Your portrait. INSERT: OF PICTURE which is a crude sketch of Mickey Mouse on horseback, charging a windmill with a long lance. FLORENCE Which one is me? The horse? EDITOR (throws tobacco pouch at her) Get out of here. Florence dodges it, and exits laughing. FADE OUT FADE IN DAY 56 CLOSE-UP OF THREE CITY STREET-SWEEPERS' PUSH BROOMS held end to end, pushing ahead of them a large quantity of confetti, bits of paper and refuse of the hilarious night before. CAMERA PULLS BACK, revealing three street- sweepers. In the background we see the sign: LONDON WAX MUSEUM -- GRAND OPENING TONIGHT FIRST TIME IN AMERICA and in front of the place, as CAMERA MOVES UP AGAIN TO the entrance, we see a janitor sweeping off the sidewalk. He is a strange, unwholesome-looking character. He has swept most of the sidewalk, pushing the collected debris into a pile in the gutter, when his attention is caught by the protruding end of a whiskey bottle which shows in the pile. He picks up the bottle and sees that there is a little bit of liquid left in it, and he drains it, drop by drop, into his mouth. He stoops to examine the pile further. IGOR'S VOICE (off scene) Otto! Otto! Get in here! CAMERA FOLLOWS him as he turns and goes into the museum. 57 INT. MUSEUM MED. SHOT OF IGOR In background we see a veritable beehive of activity. A number of workmen, including painters, carpenters, are busy building and designing screenlike backgrounds for the various exhibits, placing figures on platforms, etc. In the center of the room, watching them, is Ivan Igor. CAMERA MOVES TO A 58 CLOSE SHOT OF IGOR He is much changed, but still recognizable as the man we knew before the fire. His beard and hair are almost white and have been permitted to grow to far greater length, but the features are essentially the same, except that when he speaks or moves his face is strangely immobile. He is seated in a wheelchair, which is propelled by sprocket wheels on the arms of the chair. In order to manage this, there is a special cup or basket attached to the handles, as his hands are hideously deformed and practically useless for the purpose. He is impatient and angry with the workers, venting his anger immediately the janitor appears. Igor propels the chair forward. 59 MED. SHOT IGOR AND JANITOR Igor, stopping, points angrily at floor immediately surrounding some of the groups, where shavings, excelsior and other packing material and debris are scattered. IGOR (to janitor) Does it take you all morning to sweep that patch of sidewalk? Come, clean up this mess, and don't try to sweep this trash behind those screens. I want it removed. JANITOR Yes, sir. Starts to clean up around nearest group. Igor wheels toward another group, FOLLOWED BY CAMERA, and addresses workmen angrily. IGOR Come, look, you fellows. You spend two days on something that should have taken two hours. One of the workmen turns angrily. WORKMAN Say, listen, Old-Timer, they abolished slavery in this country a long time ago. IGOR Is it slavery to do what you're being paid for? I have announced the opening of this museum tonight. Wheels angrily away. The workman laughs. CAMERA FOLLOWS Igor as he wheels to end of museum where Hugo and Ralph are at work putting the finishing touches on two individual figures. Hugo is a man of middle age, with an insane, crafty face, unkempt hair and several days growth of beard. He smiles continually to himself as though some secret of his own amused him. He is deaf and dumb and when excited or angry emits strange terrifying growls similar to the noises we heard the Monster utter. Ralph is rather a nice-looking youngster and seems engrossed in what he is doing. CLOSE SHOT Igor comes to a stop near Ralph and sits inspecting his work. IGOR (bitingly) If my curiosity is not too great, would you mind telling me what manner of animal this is you are designing? RALPH One of the maids-in-waiting for that Elizabethan group. IGOR (raising his hands to heaven) And he isn't struck dead! This man, he lives! It would be interesting to know, young man, where and when you studied anatomy. RALPH (steps back a little and looks critically at the figure) That doesn't seem so bad to me. What is wrong with it? IGOR Everything, my friend. And you hope to be a great sculptor -- (laugh) A great sculptor. Look -- this forearm is at least two inches too long. RALPH But the composition as a whole -- I've tried to keep a sketchy freedom. IGOR If it is freedom to represent people with limbs that don't match -- cripples -- you have achieved your purpose. Anatomy! Heaven forgive you. You must have studied with a sideshow of freaks! CAMERA SWINGS as Igor whirls chair and sees Hugo's piece. IGOR And this fellow! Look, I ask you ... look what this cobbler is doing! Ralph grins. Igor takes one of the crutches that ride beside him on chair and, reaching out, pokes Hugo's shoulder. Hugo turns with a startled growl. IGOR (pointing with crutch to figure which looks not unlike Hugo himself -- shouts) What is this? Are you so beautiful that you make everything in your own likeness? Hugo utters an uncanny sound identified with deaf-mutes. Igor, realizing that Hugo doesn't hear him, just waves him back to work. IGOR It's a great mercy of Providence that this fellow cannot hear. (Turning back to Ralph, suddenly extends two horribly maimed, clawlike hands toward Ralph.) Look! Look at those claws! If I had those hands of yours, I would show you the meaning of what you are trying to do. All those beautiful things that were destroyed I could restore. It is a great irony that you people without souls should have hands. 61 EXT. ALLEY ENTRANCE REAR OF MUSEUM We see a truck backing in, and Sparrow, whom we first saw at Worth's house, climbs down from the driver's seat and enters museum. 62 INT. MUSEUM Igor is still speaking. IGOR But go on, go back to work. It is hopeless to talk to such people. He suddenly stops and turns his head. CAMERA SWINGS TO FOLLOW his line of vision and PICKS UP rear entrance as door opens and Sparrow enters. Igor wheels chair rapidly toward Sparrow, CAMERA FOLLOWING. IGOR (eagerly) Have you got it? Is it completed? SPARROW Yes, sir, it's here on the truck, but it's pretty heavy -- I'll need help. IGOR (turns and shouts) Otto! You and one of those other fellows! Come help Professor Darcey. Janitor comes forward, followed by two workmen. JANITOR Yes, sir. IGOR And hurry, please. This figure has still to be mounted and dressed. Sparrow exits with three men, leaving door open. Igor wheels back toward Ralph and Hugo. He laughs delightedly, addressing Ralph. IGOR And now, my friend, you are to see something that one can in truth describe as art. Professor Darcey doesn't try to keep freedom and sketchiness in his figures. He is an artist. He works at home, hours, when such people as you are loafing. He is an artist. The four men carry in a long, narrow box similar to the one that was delivered to Worth. SPARROW Shall we unpack it? IGOR Yes. One of the workmen takes a claw hammer from strap in overalls and starts removing the lid as Igor wheels himself quickly toward Sparrow and the workers. CAMERA FOLLOWS and, as the lid of the box is removed, some burlap and other packing materials lifted out, and the box raised on end, we see the head, shoulders and one arm of a beautiful, lifelike figure of a girl. We identify the face immediately as that of Joan Gale. As the workers go about removing the rest of the packing, Igor whirls and addresses the other workers who have advanced and stand admiring the figure. IGOR Get back to work! You will have plenty of time to look at this. As the workers return to their various jobs, one of them grins. WORKER Some mama! (Note: The museum is, in all essentials, identical with the institution in London, the one figure missing from the restored ensemble being that of Marie Antoinette.) 63 CLOSE SHOT OF IGOR AND SPARROW close to wall on which hangs a photo of Igor as a young man standing beside statue of Marie Antoinette. IGOR It is exquisite -- almost as beautiful as the original. (points to picture on wall.) I hope one day to have you restore Marie Antoinette. (Sparrow is in a highly nervous state, which Igor detects.) SPARROW I'd be glad to, Mr. Igor. (Leaning close to Igor -- in subdued tone.) I think I'll have somethin' to tell you soon. IGOR You have done well, and now I, too, have something for you. Come. 64 TELEPHONE BOOTH NEAR ENTRANCE OF MUSEUM Ralph approaches and enters it. We see him dial for a number. 65 CLOSE SHOT OF HALL PHONE which rings and Charlotte Duncan (Fay Wray) enters scene and answers it. We see that in stature and face she is almost identical with the lost figure of Marie Antoinette. CHARLOTTE (into phone) Hello. (Laughs.) Oh, hello, dear. I was just thinking of you. ... I was, too ... no, I haven't forgotten. CUT TO: 66 RALPH AT PHONE RALPH (laughs) You better not forget or I'll cut you out of my will. But listen, we'll have to go somewhere close. I'll only have a few minutes. 67 CHARLOTTE At PHONE CHARLOTTE We'll go to that Little Bohemian place... . Yes, I like the food there.... All right, then, at twelve. She hangs up receiver. CAMERA TRUCKS RACK TO 68 INT. LIVING ROOM OF SMALL APARTMENT A modestly furnished room. There is a studio couch, right, on which Florence has been sleeping. She straightens up, rubs her eyes, yawning, as Charlotte turns away from phone. FLORENCE (as Charlotte turns away from phone) Who was it? Penny ante? CHARLOTTE Yes, why? FLORENCE I wondered. Did he invite you to lunch, or did you invite him? CHARLOTTE I wish you wouldn't be so sarcastic about Ralph. He's the sweetest kid I know. Florence throws herself on bed, full-length, laughing. CHARLOTTE What are you laughing at? FLORENCE I just had a picture of you telling a landlady some day that you didn't have the rent, but Ralph is awful sweet. CHARLOTTE I don't see any big-moneyed boys running after you. FLORENCE I met one last night ... all the money this side of Peoria. CHARLOTTE Did you? Where? FLORENCE In the can. (Charlotte starts.) The hoosegow! Mrs. Winton's little boy. The Pawk Avenue Wintons, you know ... and plenty of do-re-mi. (Goes smoothly into melody of "Jail-house Blues." Singing.) He's in the jail-house now ... LAP DISSOLVE TO: 69 CLOSE SHOT AT HALL DOOR AT TOMBS OPENING Young Winton comes through and is led away by turnkey. TURNNKEY (addressing Winton) Come on. Bring your stuff, you're goin' out. 70 INT. OFFICE OF THE TOMBS Two prosperous middle-aged lawyers are seated near a desk talking to the official in charge. One of them is presenting a court order for Winton's release to the official. The door opens and a turnkey leads young Winton into the room. Winton crosses quickly to the attorneys, both of whom rise, and, shaking hands with one, he laughs weakly. WINTON Mister, when I say I'm happier to see you than I ever was to see anybody in my life, you know that it comes from the heart. (Nodding to other man.) How are you, Mr. Gates? SECOND ATTORNEY (shaking hands with Winton) Splendid, my boy, splendid. What do you think you've been up to? WINTON Not a thing. FIRST ATTORNEY (laughs) I hope your father accepts that statement. WINTON Is Dad here? SECOND ATTORNEY No. I talked to him long distance this morning. WINTON Was he pretty sore? FIRST ATTORNEY Well, he wasn't exactly overjoyed. WINTON What did he say? SECOND ATTORNEY He said to get you out of trouble and then hire someone to punch your head off. (All three laugh.) FIRST ATTORNEY Have you had lunch? WINTON No. FIRST ATTORNEY Well, come on, we'll get something to eat. They cross toward door. WINTON (to official behind desk) Good morning. OFFICIAL Hope to see you again soon. WINTON I hope you don't. They exit, laughing. The guard who brought Winton in looks after the departing men. GUARD (as door closes behind them) I'd give a year's pay to work on that puppy! OFFICIAL But you don't shellac a guy when he can put up a hundred thousand dollar bail. DISSOLVE TO: 71 INT. OF TAXI CAB Florence and Charlotte occupy the cab. Charlotte seems indignant but Florence is amused. CHARLOTTE Well, I don't want to offend you, but, frankly, it's none of your business. I don't interfere in your affairs. FLORENCE I don't have any affairs. What do you mean? CHARLOTTE I don't think you could have a real affair. You couldn't care for anyone. FLORENCE I've been in love so many times my heart is calloused ... but I've never hit one with dough. This love-in-an-attic isn't my idea of a way to spend a pleasant afternoon. CHARLOTTE I don't agree with you. FLORENCE All right, you raise the kids -- I'll raise the roof. I'd rather die with an athletic heart from shaking cocktails and bankers, than expire in a pan of dirty dish water. CHARLOTTE You would. FLORENCE He can look like a chimpanzee and act like an igorot but he must have dough -- plenty of dough. CHARLOTTE You think money is the only requisite. It happens that the poor people are happier. FLORENCE Then marry Ralph ... you'll be the happiest couple in the world. DISSOLVE TO: 72. INT. MUSEUM A SHOT AT WINDOW as Ralph, consulting his watch, approaches window and looks out. Through window we see a cab arriving. The two girls emerge from cab. Florence stops to pay driver. As Ralph turns from window and starts for his hat and coat, CAMERA PULLS BACK TO A FULL SHOT. Ralph gets hat and coat and starts toward door. Igor, who has been near the front of museum, wheels out in front of Ralph. IGOR And where do you think you are going, my good friend? RALPH To lunch. IGOR To lunch, you say. I am having coffee and sandwiches sent in. We are not leaving until we have everything ready for the opening. RALPH But I have some friends waiting. IGOR That is unfortunate. They will have to wait. RALPH I will only be gone about half an hour. IGOR If you leave before the work is done, you will be gone for a much longer period ... you will be gone for good. RALPH All right, I'll tell them. They're right here in front. Ralph exits and CAMERA FOLLOWS him through the door. 73 EXT. MUSEUM ENTRANCE CLOSE THREE SHOT as Ralph enters to Charlotte and, taking both her hands, kisses her lightly on cheek. He speaks to Florence, who is standing beside Charlotte. RALPH Hello, Florence. How are you? FLORENCE Fine, thanks. RALPH Gee, honey-bunch, I'm sorry -- I'm going to have to disappoint you. FLORENCE Don't worry -- she'll get used to it. She strolls up toward museum door, looking through it at interior. CHARLOTTE Disappoint me? Why, what do you mean, dear? RALPH Well, you see, the old chap is pretty anxious to open on schedule. All of his advertising announced the opening tonight. As Ralph continues his explanation to Charlotte, CAMERA TRUCKS UP BEHIND Florence, and OVER HER SHOULDER THROUGH glass panel we see interior of museum with the various figures. Close to door we see the janitor carrying on his shoulder the Joan Gale figure which he places on a pedestal in foreground. He carries the figure in such a position that we see the back of it first, and as he places it on the pedestal he turns it around so that we see the face. CAMERA CONCENTRATES for several minutes on this figure. 74 CLOSE-UP FLORENCE Florence stares at it, puzzled. Then recognition dawns. Ralph enters PAST CAMERA and goes to door. He is about to hurry into museum, when Florence detains him by a hand on his arm. As she turns, we get the two in profile. Her expression is one of excitement. FLORENCE Listen, Genius, what're the chances for me to slip in and give this place the once over? IGOR'S VOICE (heard through partly opened door) Ralph! Burton! Are you going to stay out there all day? RALPH (drawing door to quietly and lowering his tone) I don't know ... the old man's pretty peppery right now. Why don't you look in tonight? FLORENCE He might get some publicity out of it. RALPH No use. He's a crab, I tell you. FLORENCE (looks through glass panel to Igor) Who? Old Santa Claus there? That's easy for anyone with my sex appeal. He's a pushover. Watch me stand that old dodo on his ear. She pushes past Ralph and enters museum, followed by Ralph. RALPH Nix, Flo -- he won't let you in and you'll only get me in Dutch. FLORENCE Horsefeathers! 75 INT. MUSEUM Igor sees a stranger entering with Ralph and wheels chair rapidly toward them, speaking as he goes. IGOR No visitors allowed! You people will have to get out! FLORENCE Aw, listen, Beaver, I'm from-- IGOR (interrupting curtly) I don't care where you're from, young woman. I have said no visitors! He suddenly looks up and sees Charlotte, who enters museum a bit hesitatingly. Igor stops speaking abruptly and sits, staring. 76 CLOSE-UP CHARLOTTE FROM IGOR'S ANGLE We see Charlotte, smiling slightly. Then DOUBLE-EXPOSED over her figure comes the costume worn by Igor's Marie Antoinette in the London museum. This FADES IMMEDIATELY and we see Charlotte as she is, smiling at Igor. 77 CLOSE-UP IGOR staring, fascinated. CAMERA DRAWS BACK to include the group again and Ralph notices something strange in Igor's manner. RALPH What's the matter, Mr. Igor? IGOR (as though coming out of a trance) Nothing -- nothing at all, my boy. I should like to meet your friend. Florence, taking advantage of the introduction, slips away, as CAMERA ANGLE WIDENS, and, to avoid suspicion, looks carefully at several figures during the following conversation, finally arriving before the Joan Gale figure, where she stops and studies the figure carefully. RALPH Why, certainly, sir. My fiancйe. Charlotte, may I present Mr. Igor. CHARLOTTE Delighted, I'm sure. (Igor extends hand to her.) IGOR If you will forgive this poor, crippled stump, my dear, I am very happy to know you. CHARLOTTE Thank you. IGOR (laughs whimsically) Although you would be amused if I were to tell you that I knew you before you were born. Before this terrible thing happened to me ... (His voice quavers.) ... I made a very beautiful statue. Even if I had not met with this disaster, I could never have hoped to do anything finer, probably nothing quite so fine. And, my child, you are that figure come to life. I wonder, some time, would you pose for one of my sculptors who does very excellent work? CHARLOTTE I'd love to, at any time. Florence, who seems to have satisfied herself as to the identity of the figure, turns abruptly and comes toward them. FLORENCE Well, I'm a woman who craves nourishment. Let's ankle out of here and find a beanery. Come on, Moon-struck. (Takes Charlotte by the arm.) Let's get going. Sparrow, who has been hovering in the background, approaches the group and stands just behind Igor's chair. As Florence and Charlotte cross to door, Charlotte smiles back at Igor. CHARLOTTE We'll be coming to the opening. IGOR At any time. You will always be welcome. FLORENCE (to Igor) So long, Pop, see you in jail. Sparrow starts perceptibly. RALPH Until this evening. The two girls exit. 78 EXT. IN FRONT OF MUSEUM The two girls come from building and are starting toward corner when Florence, seeing a cab, signals to it. It swings in to curb. FLORENCE Listen, Kid, I'm going to leave you flat. I just thought of something and I've got to get to the office. CHARLOTTE (running a few steps after her as Florence approaches cab) But what about lunch? FLORENCE I'll have it for supper. (Climbs into cab.) So long. Cab swings away from curb. Charlotte