London After Midnight


TITLE:

	In rural England--
	a forsaken garden--
  
1.
FADE IN:
EXT. BALFOUR GARDEN (NIGHT) PERAMBULATOR SHOT 
The camera is stationary as the fade comes in: through a 
tangle of brush can be seen in the night, four dark 
figures, one of them carrying a lantern. They are 
evidently searching for something. They come toward 
camera through a garden long neglected ... gone into ruin. 
As they reach foreground the camera moves with them. They 
are men of the English servant class: a gardener and some 
hostlers. The gardener; who carries the lantern searches 
the ground ahead of them as they stumble forward, 
frightened. It isn't a job that they relish.
 
				LAP DISSOLVE INTO:
 
EXT: BALFOUR GARDEN AND HOUSE (NIGHT)  LONG SHOT 
A Newcomb shot of the house of the English country type in 
a state of decay quite as sad as that of the garden. 
Windows are broken, shutters loose; it is bleak, desolate. 
The dim figures of the men with their lantern are 
approaching from b. g. a corner of the house.
 
				LAP DISSOLVE INTO:
 
EXT. CORNER HOUSE  (NIGHT)  CLOSE SHOT 
The men coming into scene, stop suddenly, startled.
 
INSERT:
 
	CLOSEUP, a shutter hanging loose 
	on rusty hinges, banging back and 
	forth in a gust of wind.

BACK TO SCENE: The men as they shudder. One of them trying 
to conquer the fear that holds them, points up, telling 
them it was only a shutter in the wind. The gardener with 
the lantern indicates for them to press forward. They start,
around the corner of the house.
 
2.
EXT. BALFOUR HOUSE  (NIGHT)  MEDIUM SHOT 
Around corner, lying crumpled, still and lifeless in f.g.
is the body of a man. The men come around the corner with 
the lantern. They stop short in horror. The man with the 
lantern leans over the body. The others huddle with scared 
faces around him.

3.
EXT. BALFOUR  (NIGHT)  CLOSEUP
The men, with the body below frame line. The gardener, 
holding the lantern so that he can see, looks down and out 
of scene as though at the face of the dead man. He looks up 
at the others and says in an awed whisper:
 
TITLE:
 
	"It's 'im. It's 'arry Balfour" 

BACK TO SCENE: The men look at each other in awe. One of 
them shakes his head slowly and says:
 
TITLE:
 
	"This'll break 'is sister 
	Lucy's 'eart"
 
BACK TO SCENE. There is solemn assent to this.
 
TITLE:
 
	"And 'ow about Sir James? 
	Him as loved 'em both like 
	they was 'is own children."
 
BACK TO SCENE: Again there is solemn assent.
 
				QUICK FADE OUT

4.
QUICK FADE IN:  EXT. HAMLIN HOUSE  (NIGHT)  LONG SHOT
A Newcomb shot of another English country house, this one 
with lighted windows and well-kept grounds, a distinct 
contrast to the ruin just seen. Run only a few feet for 
swift, impressionistic effect and
 
				LAP DISSOLVE INTO:
 
INT. HAMLIN MUSIC ROOM   (NIGHT)   FULL SHOT
Again the sense of contrast. Here are warmth, wealth, 
comfort. Seated at a piano is Lucy Balfour, a pretty English 
girl in her early twenties. Standing listening to her, as 
she plays, is Sir James Hamlin, a dignified, kindly country 
gentleman in his late forties.
 
				LAP DISSOLVE INTO:
 
INT. HAMLIN MUSIC ROOM   (NIGHT)  CLOSE SHOT
Lucy and Sir James, as she finishes playing and looks up at 
him with a wistful smile. He indicates for her to play 
something more. She selected a piece and is startled when a 
little worried look crosses her face and she looks up at 
him and says:

TITLE:
 
 	"I simply can't understand, 
	Sir James, why Harry went 
	away without saying anything."
 
				CUT FROM TITLE TO:
 
5.
INT HAMLIN MUSIC ROOM  (NIGHT)  CLOSEUP
Lucy as she finishes title, a pretty puzzlement in her 
expression. It is apparent that she is not greatly worried, 
just perplexed.
 
6.
INT. HAMLIN MUSIC ROOM  (NIGHT)  CLOSE UP
Sir James, as he smiles down at her gravely, a deep 
affection in his eyes, and says:
 
TITLE:
 
	"There is nothing to worry about, 
	Lucy, my dear."
 
				CUT FROM TITLE TO:

7.
INT HAMLIN MUSIC ROOM SHOT  (NIGHT)  CLOSE
The two at the piano, as Sir James finishes reaching over 
and patting Lucy's hand affectionately. After a moment she 
resumes her playing. He stands watching her, then turns 
thoughtfully and goes out of scene.
 
8.
INT. HAMLIN MUSIC ROOM  (NIGHT)  CLOSE SHOT
By arched entrance to hall, as Sir James comes thoughtfully 
in and pulls a long bell-cord. A butler enters. With a look 
off toward Lucy, Sir James gives a quiet order to the 
butler.

TITLE:
 
	"Have my secretary come here."
 
BACK TO SCENE: The butler exits. Sir James looks again off 
toward Lucy. In a moment his secretary enters -- a young 
man of the serious type, a student. Sir James asks him 
quietly:
 
TITLE:
 
	"Any word, Mr. Hibbs?"

BACK TO SCENE: Hibbs is about to answer, but looks off 
toward Lucy and then gets over in pantomime that perhaps 
they had better step into the hall. Sir James nods. They 
exit.
 
9.
INT. HAMLIN HALL  (NIGHT)  CLOSE SHOT
Other side of doorway as Sir James and Hibbs come in. Now 
Hibbs tells him earnestly:
 
TITLE:
 
	"I insisted, sir, on their 
	searching the grounds over 
	at the old Balfour place--"
 
BACK TO SCENE: Sir James nods gravely to this, indicating 
that the secretary acted wisely, that that was the right 
thing to do. Hibbs goes on.
 
TITLE:
 
	"Weird things have happened 
	there in the last five years--
	ever since Miss Lucy's father--"
 
BACK TO SCENE: Sir James checks him with a gesture. Both 
look off sharply down the hall.
 
10 
INT. HAMLIN HALL  (NIGHT)  MEDIUM SHOT 
A maid, Miss Smithson, is standing at an open door, staring 
out and down in horror. She screams, drawing back.
 
11 
INT. HAMLIN HALL  (NIGHT)  CLOSE SHOT
Sir James and Hibbs, staring. They run out.
 
12 
INT. HAMLIN HALL  (NIGHT)  CLOSE SHOT 
Lucy. She stops playing, listens in sudden fright, then 
rises and exits.

13 
INT. HAMLIN HALL  (NIGHT)  MEDIUM SHOT 
At door, Sir James, Hibbs, Miss Smithson, the gardener and 
a hostler. The gardener and the hostler are just 
straightening up from having placed below frames line in 
f.g. the body of the dead Harry Balfour. Sir James, leaning 
over, straightens up gravely. The body is not seen.
 
14 
INT. HAMLIN HALL  (NIGHT)  CLOSE SHOT
At entrance to music room, as Lucy comes through, looks off, 
screams and starts forward.
 
15 
INT. HAMLIN HALL  (NIGHT)  MEDIUM SHOT 
At door, as before, as Lucy comes in from down the hall, 
staring in horror at the body out of scene. "Harry! Harry!" 
she cries. Sir James put an arm about her comfortingly for 
a moment, leading her away a little, indicating for the 
maid to take her away. Miss Smithson leads Lucy out of 
scene. Sir James turns and gives an order to the butler, 
who exits quickly. Sir James turns to the hostler and 
others and gives orders. Hibbs, looking off after Lucy,  
exits in that direction.  Sir James starts quickly up the 
stairs.
 
16 
INT. HAMLIN LIBRARY  (NIGHT)  MEDIUM SHOT
Lucy, on a couch, being comforted by the maid. Hibbs comes 
slowly in, standing for a moment looking at them. At a 
gesture from Hibbs, the maid quickly withdraws. Hibbs sits 
on the couch beside Lucy.
 
17 
INT. LIBRARY CLOSEUP SHOT
Hibbs and Lucy, as he sits on the couch beside her. She is 
staring off with tragic face. Hibbs feels terribly about it 
all. He would like to be able to speak a consoling word to 
her, but he does not know just what to say or how to say it.
Hesitatingly, he says:
 
TITLE:
 
	"Miss Balfour, I-----" 

BACK TO SCENE: She turns away to the end of the couch and 
bursts into uncontrollable sobbing. Hibbs sits and looks at 
her with the deepest sympathy and a sort of pathetic 
helplessness.

				FADE OUT

[Scenes 18 through 51 OMITTED]

FADE IN:

INSERT:

	CLOSE UP  (NIGHT)  a broken shutter
	with broken window
	pane. A bat fluttering
	against the pane. The shutter
	bangs in a gust of wind.

				LAP DISSOLVE FROM INSERT TO:

52.
EXT. BALFOUR HOUSE  (NIGHT)  LONG SHOT
Two men are seen dimly, standing under a tree. A jaunting 
cart is driving slowly in, with the gardener and Miss 
Smithson. The cart stops as they look off towards the 
house. (The cart is loaded with trunks, baggage.)

				LAP DISSOLVE INTO:

INT. BALFOUR HOUSE  (NIGHT)  FULL SHOT
Grand Staircases. Coming down the stairs are two figures, a 
man and a woman. The man, who carries a lamp, is as strange 
a creature as the eyes ever beheld. He wears a black beaver 
hat and a black Inverness coat and his face has on it the 
pallor of death. There is, indeed, something not of this 
Earth in his appearance. Nor is the woman with him less 
strange. Her face also is of an unearthly pallor. She is 
garbed all in black, with long black sleeves to her cloak 
that look like wings. They come the long walk down the 
stairs. He hands the lamp to the woman. No word is spoken 
between them. She starts off toward a side room. The man 
goes slowly toward the front door.
 
				LAP DISSOLVE INTO
 
EXT. BALFOUR HOUSE  (NIGHT)  LONG SHOT
The jaunting cart in f.g., the two men at side under a tree. 
A light passes a downstairs window. The Man in the Beaver 
Hat comes out the front door. The gardener suddenly whips up 
his steed and the cart goes out of scene pellmell.
 
53 
EXT. GARDEN  (NIGHT)  CLOSE SHOT 
The two men under the tree, two business-like Britishers, 
one of whom has a legal document in his hand. The Man in the 
Beaver Hat enters to them. One of the two men says to him:
 
TITLE:
 
	"You'll pardon us, sir, for 
	not going in with you, but..."
 
BACK TO SCENE: He shudders a little, expressively. THE MAN 
IN THE BEAVER HAT indicates the legal document without 
speaking. The other man unfolds it. The Man in the Beaver 
Hat takes out a fountain pen, indicating that he will sign. 
The first man tells him:
 
TITLE:
 
	"Understand, sir, the 
	owner will make no repairs."
 
BACK TO SCENE: The Man in the Beaver Hat nods solemnly to 
this and, without speaking, leans over and starts to sign 
the document. The two look at him curiously, drawing back 
from him a little, instinctively.
 
54 
EXT. HAMLIN HOUSE   (NIGHT)   LONG SHOT
The jaunting cart with the gardener and maid driving 
pellmell in, around the driveway, toward rear of house.
 
55 
INT. SERVANTS HALL  (NIGHT)  MED. SHOT
Hibbs, the secretary, is giving some orders to the butler. 
Two or three other servants are present. Run a few feet. 
Then the rear door is flung open and Miss Smithson, the 
maid, comes excitedly in, starting at once to tell the 
secretary and butler what she saw at the Balfour House. The 
gardener follows. He nods a pop-eyed assent to everything 
the maid is telling. Everybody present is much impressed, 
including Hibbs, the secretary, who starts to question Miss 
Smithson.  Suddenly all stop, tense, listening.
 
INSERT:
 
	CU bell indicator on wall. 
	Bell is ringing. An arrow 
	has dropped, indicating from 
	what room.
 
BACK TO SCENE: There is a sigh of relief. It was only a 
call for the butler. He exits. Hibbs asks a couple of more 
suggestions of Miss Smithson, then follows the butler out.
 
56 
INT. HAMLIN HALL   (NIGHT)   SEMI FULL SHOT
Sir James and chauffeur. The chauffeur is closing the door, 
depositing Sir James' bag on the floor as the butler comes 
in. He is helping Sir James off with his coat as Hibbs, the 
secretary, comes in. The Butler takes the coat and bag and 
is about to start out with them when a ring is heard at the 
front door. The butler puts down the bag and coat and opens 
the front door, admitting the two agents seen under the 
tree at the Balfour house. Sir James at the door to the 
library, turns in some surprise. One of the agents, holding 
up the lease, tells him:
 
TITLE:
 
	"It's about a tenant, sir, 
	for the old Balfour place."
 
BACK TO SCENE: "A tenant?" Sir James is really surprised. 
He indicates for the two men to step into the library. They 
do so, followed by Hibbs.
 
57 
INT. LIBRARY   (NIGHT)   SEMI FULL SHOT
Sir James goes to desk and sits down. The agent hands him 
the lease. Hibbs stands at one side, in case he might be 
needed. Sir James unfolds the document. One of the agents 
says: 

TITLE:
 
	"I told him, sir, you'd make 
	no repairs."
 
				CUT FROM TITLE TO:
 
58 
INT. LIBRARY  (NIGHT)  CLOSE SHOT
At desk, as the agent finishes title. Sir James nods that 
that was the right thing to do. Now, with the lease 
unfolded, he scans down it with a business-like eye. 
Suddenly he frowns, staring in astonishment down at the 
document.
 
INSERT:
 
	Signature on lease:
 
		ROGER BALFOUR
 
				CUT FROM INSERT TO:
 
59 
INT. LIBRARY  (NIGHT)  CLOSE UP
Sir James, staring down at the signature. He looks up, his 
lips forming the name: "Roger Balfour!" He looks up slowly. 
Then, indicating the signature with a forefinger, he says, 
slowly:
 
TITLE:
 
	"This is the name of the man 
	who committed suicide in that 
	house five years ago!" 

BACK TO SCENE: He finishes title, in awe and wonder.
 
60 
INT. LIBRARY  (NIGHT)  CLOSE UP SHOT 
The two agents, staring in astonishment.
 
61 
INT. LIBRARY  (NIGHT)  CLOSE UP
Hibbs, the secretary, as he says, involuntarily:
 
TITLE:
 
	"Lucy's father!"
 
				CUT FROM TITLE TO:
 
62 
INT. LIBRARY  NIGHT  MED. SHOT
of group as they stare at each other.
 
63 
INT. HAMLIN HALL  NIGHT CLOSE SHOT
At front door. The butler is opening the door. Burke of 
Scotland Yard, with a bag, stands there.
 
TITLE:

	"Tell Sir James an old friend -- 
	just back from India -- has come 
	to visit him."
 
BACK TO SCENE: Burke comes in; The butler closes the door 
and exits toward the library.
 
64
INT. LIBRARY  NIGHT  SEMI FULL SHOT
The group as before. The butler, stepping in from the 
entrance hall, gives Sir James the Message. "An old 
friend?" Sir James says, trying to recall who it might be; 
and then, "Show him in." The butler exits. After a moment 
he returns with Burke. Sir James rises from the desk. They 
stand looking at each other for a moment, then Sir James 
comes forward and they greet each other with the warmth and 
cordiality of old friends long parted. Sir James then turns 
to the others and says:
 
TITLE:
 
	"Colonel Yates, gentlemen"
 
				CUT FROM TITLE TO:
 
65 
INT. LIBRARY   NIGHT   MED. SHOT
of group as Sir James finishes title. The introduction is 
acknowledged with a bow, in which Burke allows his gaze to 
rest in rather long scrutiny on Hibbs, the secretary, so 
that the young man is beginning to be uncomfortable. Sir 
James, picking up the lease, turns with it to Burke, with 
a return of his excitement of a moment ago.
 
66 
INT. LIBRARY   NIGHT   CLOSE SHOT
Sir James and Burke, as Sir James tells him swiftly of the 
name signed to the lease. Burke smiles dryly and says:
 
TITLE:
 
	"A coincidence, Sir James -- it 
	could be nothing more."
 
BACK TO SCENE: This is what Sir James wants to believe and 
is relieved when Burke says it. Burke turns to the two 
agents out of scene and says:
 
TITLE:
 
	"I knew Roger Balfour well. 
	What did this man look like?"
 
				CUT FROM TITLE TO:
 
67 
INT. LIBRARY   NIGHT   CLOSE SHOT
Group as Burke finishes question. The two agents exchange a 
look. Then one of them says:
 
TITLE:
 
 	"That's hard to say, sir.
	There was something weird about 
	him -- that made you feel creepy --"
 
				CUT FROM TITLE TO:
 
68 
INT. LIBRARY   NIGHT   CLOSE UP
The two agents as the first one finishes title in awe. The 
other one goes on: 

TITLE:

	"Something like he wasn't of 
	this Earth.... something unholy--"
 
BACK TO SCENE: He finishes title. The other nods in 
agreement to this.
 
69 
INT. LIBRARY   NIGHT   CLOSE SHOT
Burke, looking out of scene at them for a moment with 
penetrating glance. Then he laughs and says: 

TITLE:
 
 	"Nonsense!"

70 
INT. LIBRARY   NIGHT   MED. SHOT
Of group, as Burke finishes title, laughing. Sir James is 
now a bit more at ease, but still nervous and upset. The 
two agents look shamefaced and foolish. One of them gets 
over to Sir James and says that if they are not needed any 
more they'll be going. Sir James nods goodnight to them, 
turning and indicating to Hibbs to show them out. Hibbs 
exits with the two agents. Sir James sinks into his seat at 
the desk. Burke draws up a chair.
 
71 
INT. LIBRARY   NIGHT   CLOSE SHOT
Sir James and Burke at the desk as Burke sits down. Sir 
James stares for a moment, frowning at the signature on the 
lease. Then, with a sudden thought, he rummages in a drawer 
of the desk and gets out a packet of papers. With nervous 
fingers, he slips the rubber band off and examines the 
signature attached. He places this beside the other and 
shows the two of them to Burke.
 
INSERT:
 
	Two signatures, "Roger Balfour", 
	along side each other. They very 
	closely resemble each other.
 
BACK TO SCENE: The two men look up from the document 
seriously. For a moment, not a word is spoken between them. 
Then Sir James says, in awe: 

TITLE:
 
	"The signatures are the same!" 

BACK TO SCENE: Burke nods solemnly. "Yes."
 
72 
INT. MUSIC ROOM   NIGHT   MED. SHOT
The room is dark, except for a shaft of moonlight from the 
window. In this moonlight, Lucy, pale and beautiful in a 
white dress, stands looking out into the garden. Hibbs 
enters to her. She does not turn for a moment. Hibbs stands 
looking at her for a moment, worried. Then he speaks to her, 
softly. She turns, startled. Then, seeing it is Hibbs, she 
says:
 
TITLE:
 
	"I thought I heard a voice calling 
	to me from the garden -- ever so 
	softly: 'Lucy--'"
 
BACK TO SCENE: Hibbs stares at her for a moment, then turns 
and looks out into the garden. He turns back to her, 
closing the casement window and tells her: 

TITLE:
 
	"There s no one there --
	You're nervous, dear--"
 
BACK TO SCENE: He finishes title. She smiles wanly. "Yes, 
I'm nervous." He turns and starts to close the windows.

73 
INT. LIBRARY   NIGHT   CLOSE SHOT 
Sir James and Burke, as Sir James talks to him, earnestly. 
Burke, with a cynical smile, interrupts, saying: 

TITLE:
 
	"You mean a ghost, Sir James?" 

BACK TO SCENE: Sir James shakes his head, solemnly. They 
look at each other for a moment, then Sir James answers: 

TITLE:
 
 	"Not a ghost, no! Worse than 
	that--"
 
				CUT FROM TITLE TO:
 
74 
INT. LIBRARY   NIGHT   MED. SHOT
Sir James, finishes title, rises and takes down two or three 
ancient looking books from the bookcases that line the 
walls. He puts these on the desk, opens one of them, finds 
a passage and shows it to Burke.
 
75 
INT. MUSIC ROOM  NIGHT  MED. SHOT
Hibbs and Lucy, as Hibbs turns on a light switch by the 
door to hall and the room is flooded with light. They go 
over and sit down on a settee, as he talks to her seriously.
 
76 
INT. LIBRARY  NIGHT  CLOSE SHOT
Sir James and Burke at desk, as Burke looks up from passage 
he was reading and says: 

TITLE:
 
	"We're not living in the Middle 
	Ages, Sir James."

CUT TO SCENE: Sir James is deeply thoughtful. He ponders 
this for a moment, then says:
 
TITLE:
 
	"Just the same, I'd like to have 
	a look at the vault where Roger 
	Balfour was buried!" 

BACK TO SCENE. He finishes title. They sit looking at each 
other solemnly.

				FADE OUT
 
TITLE:
MIDNIGHT 

FADE IN

77 
EXT. CEMETERY   NIGHT   SEMI LONG SHOT 
A Newcomb shot, weird, eerie; bare-limbed, queer trees; in 
semi f.g. a mausoleum. Run a few feet for the effect and

				LAP DISSOLVE TO: 

EXT. MAUSOLEUM   NIGHT   CLOSE SHOT 
The open door of the mausoleum. Sir James and Burke stagger 
backward out the door of the mausoleum. Burke has a pocket 
flashlight in his hand. He clicks it off. They stare at 
each other aghast. Then Sir James mutters, incredulously, 
in horror:
 
TITLE: 

	"The coffin was empty!" 

BACK TO SCENE: He finishes title. Burke nods slowly, 
solemnly. Suddenly Sir James clutches at Burke's arm and 
both men are tense, listening.
 
INSERT:
 
	CLOSE UP owl on bare limb of tree. 
	It opens its beak.

TITLE:
 
	"HOO!......HOO!" 

BACK TO INSERT: It closes beak.
 
BACK TO SCENE: Sir James, trembling, gets over "Let's get 
out of here." Burke looks up and off, telling him: "It's 
only an owl." They turn to go.
 
78 
EXT. BALFOUR HOUSE AND GARDEN NIGHT  SEMI LONG SHOT
The house and the ruined garden in weird lighting. At the 
gate stand the Man in the Beaver Hat, the girl in black 
with the sleeves that look like wings. These two are 
welcoming three others -- three men as queer in appearance 
as the man in the Beaver Hat and his companion. Not a word 
is spoken. The whole effect is odd, fantastic. They start 
toward the house, slowly, in solemn procession.
 
 				FADE OUT

FADE IN 

INSERT:

	Vignetted passage of the printed 
	page of an old book, the paper of 
	a parchment-like quality, aged, 
	the print in an Old English type:
 
	"--the undead, the vampyrs: dead 
	bodies which leave their graves 
	at night to suck the blood of the 
	living."
 
				LAP DISSOLVE INTO FROM INSERT:
 
79 
INT. HAMLIN LIBRARY  (NIGHT)  MEDIUM SHOT
Hibbs, Sir James and Burke. The Secretary is reading from 
one of the old books to the other two men. Both of whom 
seem to be profoundly impressed. He turns the page and is 
instantly struck by what he encounters there. He spreads 
the book open on the desk and calls their attention to it. 
They lean over, seeing:
 
INSERT:
 
	PAGE illustrating from book 
	done in old wood-cut fashion 
	depicting a vampire.
 
				CUT FROM INSERT TO:
 
80 
INTERIOR HAMLIN LIBRARY  (NIGHT)  CLOSE UP
Sir James and Burke, looking down at the illustration. 
Burke looks up from it, in his eyes the faintest suggestion 
of a cynical smile. Sir James looks at the page facing the 
illustration and reads on for a few lines. There is a 
strange excitement in his manner as he indicates to Burke 
to read what he has just read. Burke looks down at the 
page:

INSERT:
 
 	Extract from book:
 
 	"Men who have died by suicide 
	frequently become vampyrs. 
	They come out of their graves 
	at night, rush upon people 
	sleeping in their beds--"
 
BACK TO SCENE: Burke looks up from the page. Sir James says 
to him slowly, with deep significance:

TITLE:
 
	"Roger Balfour died a suicide!"
 
				CUT FROM TITLE TO:
 
81 
INTERIOR LIBRARY  (NIGHT)  CLOSE UP
Sir James, as he finishes title, awed, looking out of scene 
at Burke.
 
82 
INTERIOR LIBRARY  (NIGHT)  CLOSE UP 
Burke, as he realizes the significance of this. There is a 
moment when he seems deeply impressed. Then, with a sudden 
change of manner, he says, vehemently:
 
TITLE:
 
 	"My God, man, this is the 
	twentieth century -- and 
	here we are almost believing 
	it!"
 
				CUT FROM TITLE TO:
 
83 
INTERIOR LIBRARY  (NIGHT)  CLOSE SHOT 
The three men, as Burke finishes title, indicating the book 
on the table. Hibbs tells him rather hotly:
 
TITLE:

	"I believe it!"
 
BACK TO SCENE: Burke turns a cold gaze on Hibbs. For a 
moment it seems as if his eyes would bore through the 
secretary. Then, with something of contempt in his final 
appraisement, he turns to Sir James, who shrugs his 
shoulders, as though to get over, "What can we believe?" 
Suddenly all three are tense, listening. Burke says in a 
whisper:

TITLE:
 
 	"What was that?"
 
BACK TO SCENE: They listen, tense, not moving a muscle. 
Suddenly Hibbs cries out: 

TITLE:
 
	"A scream -- a woman's scream!"
 
				CUT FROM TITLE TO:
 
84 
INTERIOR LIBRARY  (NIGHT)  MEDIUM SHOT
The three men, as Hibbs finishes title, indicating upward. 
The three men rush out through the door to the hall.
 
85 
INTERIOR HAMLIN HALL  (NIGHT)  LONG SHOT
The three men running out from the library, run to the 
stairs. As they start up, 

				ONE FOOT LAP DISSOLVE INTO:
 
86 
INTERIOR UPPER HALL  (NIGHT)  SEMI LONG SHOT
The three men coming into scene up the stairs. They stop in 
f.g., listening, tense. Hibbs cries out, pointing off toward 
a door, wildly--
 
TITLE:
 
	"It's from Lucy's room!" 

BACK TO SCENE: They rush over to the door indicated.
 
87 
INTERIOR UPPER HALL  (NIGHT)  CLOSE SHOT
At door to Lucy's room as Hibbs, first in, tries the door. 
It is locked. He pounds upon the door. "Lucy! Lucy!" "Break 
it open!" commands Sir James in wild excitement.

88 
INTERIOR LUCY'S ROOM  (NIGHT)  MEDIUM SHOT
Miss Smithson, the maid, is backing away toward the door. 
She has her hand clutched to her throat and is staring in 
terror out of scene. She hears the hammering on the door. 
She reaches the door, frantically turns the key. The door 
is flung open. Hibbs, Sir James and Burke plunge into the 
room. The maid has her hand to her throat in pain. They 
stop, looking around the room out of scene. Sir James 
cries out:
 
TITLE:
 
	"Where's Lucy?" 

BACK TO SCENE: Taking a hand from her throat, Miss Smithson 
points wildly off saying: 

TITLE:
 
 	"I -- locked her in there--"
 
BACK TO SCENE: Sir James and Hibbs rush out, Miss Smithson 
sinking into a chair.
 
89
INTERIOR LUCY'S ROOM  (NIGHT)  CLOSE SHOT
Door to dressing room. Sir James, Hibbs, rushing in. Hibbs 
turns the key in the door. Lucy, weak and faint from 
fright, steps out. Sir James puts an arm about her, 
supporting her. Speaking comfortingly to her, he starts out 
with her toward an open window, out of scene. Hibbs looks 
off after them, deep concern in his eyes.
 
90
INTERIOR LUCY'S ROOM  (NIGHT)  CLOSE SHOT
By open window. Sir James, leading in Lucy, seats her by 
the open window, leaning over her, speaking comfortingly to 
her. In response to a question, she assures him that she is 
all right. He looks up and off, as though spoken to out of 
scene.
 
91
INTERIOR LUCY'S ROOM  (NIGHT)  CLOSE SHOT 
Burke leaning over Miss Smithson, whose throat is exposed. 
He has evidently been looking at her neck. He is calling 
off to Sir James. Hibbs comes in from the dressing room 
door. Sir James enters from the window. Burke leans over 
and looks at it.

INSERT:
 
 	CU neck, with two small wounds, 
	from which blood is trickling 
	slowly.
 
BACK TO SCENE: Sir James looks up slowly, gravely. He 
indicates for Hibbs to look. The secretary does so. He 
looks up and he and Sir James stare at each other for a 
solemn moment. "Well?" says Burke. Sir James tells him:

TITLE:
 
 	"Those are the marks found 
	on the neck of young Harry 
	Balfour."

BACK TO SCENE: Burke nods. He thought so. Turning to Miss 
Smithson, he says:

TITLE:
 
	"Tell us what happened." 

BACK TO SCENE: Miss Smithson puts a handkerchief to her 
throat, covering the wound, and says: 

TITLE:
 
 	"Miss Lucy was getting ready 
	for bed. I went down to the 
	linen closet--"
 
				CUT FROM TITLE TO:
 
92 
INTERIOR LUCY'S ROOM  (NIGHT)  CLOSE UP
Miss Smithson, as she pauses, then goes on talking. As she 
talks,
 
 				LAP DISSOLVE INTO:
 
INTERIOR UPPER HALL  (NIGHT)  SEMI LONG SHOT
In f.g. Miss Smithson is getting bath towels from the linen 
closet. Around a turn in the hall in b.g., walking slowly 
toward her, comes the Man in the Beaver Hat. She does not 
see him for a moment. He is midway down to her, when she 
looks up, sees him and runs.
 
				LAP DISSOLVE INTO: 
 
INTERIOR LUCY'S ROOM  (NIGHT)  CLOSE UP
Miss Smithson, fright in her eyes at the recollection of it. 
She gulps, then goes on: 

TITLE:

	"I ran in here, 
	locked the door."
 
BACK TO SCENE: She goes on talking.
 
				LAP DISSOLVE INTO:
 
INTERIOR LUCY'S ROOM  (NIGHT)  FULL SHOT
Miss Smithson, locking door, turns, hurries Lucy into the 
dressing room, locks that door, then turns staring at the 
door to the hall.
 
93 
INTERIOR LUCY'S ROOM  (NIGHT)  CLOSE UP
Miss Smithson, staring in horror as she sees:
 
94
INTERIOR LUCY'S ROOM  (NIGHT)  CLOSE UP
On door, a vapor starts to come through the keyhole.
 
95 INTERIOR LUCY'S ROOM  (NIGHT)  CLOSE UP
Miss Smithson open-mouthed, eyes bulging, as she draws back 
in terror, staring out of scene toward the door.
 
96
INTERIOR LUCY'S ROOM  (NIGHT)  MEDIUM SHOT
at door. The vapor coming through the keyhole forms itself 
into the shape of a man. The vapor slowly disappears and, 
standing there, is the Man in the Beaver Hat.
 
He starts forward. THE CAMERA MOVES WITH HIM until backed 
against the bed, Miss Smithson comes into scene. The Man in 
the Beaver Hat seizes her and puts his teeth against her 
neck.
 
 				LAP DISSOLVE INTO:
 
INTERIOR LUCY'S ROOM  (NIGHT)  CLOSE UP
Miss Smithson talking as she says: 

TITLE:
 
 	"I screamed. Maybe for a 
	minute I fainted. He was 
	gone."
 
				CUT FROM TITLE TO:
 
97
INTERIOR LUCY'S ROOM  (NIGHT)  CLOSE SHOT
Miss Smithson, Sir James, Burke and Hibbs as she finishes 
title, sinking back in the chair all but overcome. There is 
a profound silence for a moment upon the three men. Then 
Burke says to Sir James calmly:
 
TITLE:
 
 	"This is a case of nerves -- 
	of hysteria -- of overwrought 
	imagination--
 
BACK TO SCENE: There is no response from Sir James or 
Hibbs. Sir James indicates the wound in the neck. "How do 
you account for that?" They all turn, sharply, looking off 
toward Lucy at the window.

98 
INTERIOR LUCY'S ROOM  (NIGHT)  CLOSE SHOT
Lucy at window. She is rising from her chair, staring out 
the window and down toward the garden, a little cry of fear 
on her lips.
 
99 
EXT. GARDEN  (NIGHT)  SEMI LONG SHOT 
Gunning down from Lucy's angle. The Man in the Beaver Hat 
going softly away from camera through the trees.
 
100 
INT. LUCY'S ROOM  (NIGHT)  CLOSE SHOT
Lucy as Sir James and Burke crowd in staring off and down, 
seeing:
 
101 
EXT. GARDEN   (NIGHT)  SEMI LONG SHOT
Continuation of previous scene with the Man in the Beaver 
Hat disappearing behind some brush toward the garden wall, 
reappearing again, going out the gate.

102 
INT. LUCY'S ROOM  (NIGHT)  CLOSE SHOT
Lucy, Sir James and Burke staring out and down. Sir James 
cries out:

TITLE:
 
	"By God, that's not imagination!"

BACK TO SCENE: He finishes title, clutching Burke's arm, 
pointing wildly off. Lucy draws back out of picture. Burke 
and Sir James turn and stare at each other. Burke, with a 
nod of his head, indicating for Sir James to follow, turns 
out of scene.
 
103 
INT. LUCY'S ROOM  (NIGHT)  SEMI FULL SHOT
Burke leads the way out of the room for Sir James. Lucy 
Hibbs and Miss Smithson stand staring off after them, as if 
in a momentary daze, held in the spell of the recent 
amazing adventure.
 
104 
INT. UPPER HALL  (NIGHT)  CLOSE SHOT
Burke and Sir James, as Sir James closes the door behind 
him. Burke says to him crisply:
 
TITLE:

	"Sir James, two pair of 
	eyes are better than one--"
 
BACK TO SCENE: Sir James looks at him, only half guessing 
his meaning, getting over: "I saw it, too!" Burke says:
 
TITLE:
 
 	"We'll have a look at 
	the old Balfour House."
 
				CUT FROM TITLE TO:
 
105 
INT. UPPER HALL  (NIGHT)  MED. SHOT
Burke finishes title, Sir James nods in solemn acquiescence. 
They start out down the stairs. Miss Smithson comes out the 
door, looks off a moment after them, fearfully, then exits 
in the opposite direction, down the hall.

106 
INT. LUCY'S ROOM  (NIGHT)  MED. SHOT
Lucy and Hibbs as Hibbs closes the casement window and 
locks it tight, then turns toward her solicitously.
 
107 
INT. UPPER HALL  (NIGHT)  CLOSE SHOT
At a corner or jog in the hall, Miss Smithson stopping, 
looks back for a moment, then peering around the corner 
fearfully, she exits around the corner.
 
108 
INT. LUCY'S ROOM  (NIGHT)  CLOSE SHOT
Hibbs and Lucy, as Hibbs makes her comfortable in easy 
chair, trying to calm her, although it is quite evident 
that if one of them is excited, it is Hibbs. He tells her:
 
TITLE:
 
	"Now, we mustn't get nervous 
	or excited--"
 
BACK TO SCENE: And he proceeds to knock over a vase which 
causes him far more alarm than it does Lucy.
 
109 
INT. SERVANTS' QUARTERS  (NIGHT)  SEMI FULL SHOT
All the servants attached to the house-hold are huddled 
together. It is evident that they have heard the screams, 
that the night's fear is upon them. Miss Smithson entering, 
her hand to her throat, sinks into a chair, weakly glad to 
have attained this haven of human company. They crowd 
around her.

110 
INT. SERVANT'S QUARTERS (NIGHT)  CLOSE SHOT
Miss Smithson and group of servants, as she starts to tell 
them the story of the attack. Working up to her subject, she 
rises, enacting the horrible scene. They draw back, agape, 
eyes popping.
 
INSERT:
 
	A row of pans under a sink. 
	A black cat walks under the 
	pans, knocking one of them 
	down with a clatter. The 
	cat leaps out of scene.
 
				CUT FROM INSERT TO:
 
111 
INT. SERVANTS' QUARTERS  (NIGHT)  SEMI FULL SHOT
The entire group, in a highly-strung state of nerves from 
Miss Smithson's narrative, jumps away from her wildly at 
the clatter of the pans -- a FLASH.
 
112
INT. SERVANTS' QUARTERS  (NIGHT)  CLOSE SHOT
The groom backs against a hot stove -- FLASH
 
113 
INT. SERVANTS' QUARTERS  (NIGHT)  CLOSEUP
On wall shelf -- the cat leaps up and in, knocking over 
some glass jars -- FLASH
 
114 
INT. SERVANTS' QUARTERS  (NIGHT)  SEMI FULL SHOT
FLASH: the room in a panic, running into each other, trying 
to get out of the way of they know not what.

115 INT. SERVANTS' QUARTERS  (NIGHT)  CLOSEUP 
The cat leaps off the shelf--
 
116
INT. SERVANTS' QUARTERS  (NIGHT)  CLOSEUP
Miss Smithson, as the cat lands on her head -- she lets out 
an unearthly scream--

117 
INT. LUCY'S ROOM  (NIGHT)  MED. SHOT
Hibbs and Lucy. They hear the scream! "There it is again!" 
His first thought is for Lucy's safety. He rushes to the 
door, locks it then listens, tense.
 
118 
INT. SERVANTS' QUARTERS  (NIGHT)  SEMI LONG SHOT
The place a wreck -- chairs overturned, people on the floor 
-- crawling under the table -- any place for safety.
 
119 
EXT. BALFOUR HOUSE  (NIGHT)  LONG SHOT
A faint light flickers from the upper windows. The place is 
weird, ghostly. Approaching the gate are Burke and Sir 
James. They stop at the gate. Run a few feet for the mood 
of the scene. Burke and Sir James step softly over to the 
shelter of a tree.
 
120 
EXT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
Burke and Sir James, under a tree. A deadly solemnity is 
upon them both. They look up toward the upper windows. Sir 
James clutches Burke's arm as they see:
 
121 
INTERIOR UPPER ROOM BALFOUR HOUSE (NIGHT)  TRICK SHOT
Through broken window pane, a shadow is thrown on the 
ceiling of a giant bat flying slowly.
 
122 
EXTERIOR BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
Burke and Sir James under the tree. The two men turn and 
exchange a look. Burke indicates the tree, getting over in 
whispered pantomime that they must see what is with in that 
upper room. Burke starts from a low branch to climb the 
tree. He goes up out of scene. Sir James stares off and up 
at the house for a moment, then with a firm decision to see 
it through, starts to climb the tree.
 
123 
EXT. UPPER BRANCHES OF TREE  (NIGHT)  CLOSE SHOT
Burke coming into position in the upper branches of the 
tree. He looks off toward the house seeing:
 
124 
INT. UPPER ROOM BALFOUR HOUSE  (NIGHT)  FULL SHOT
Framed through broken window. Sitting facing the window is 
one of the men shown arriving earlier one of those welcomed 
at the gate by the Man in Beaver Hat and his strange woman 
companion. He is watching with profound interest what 
appears to be a giant bat flying slowly near the ceiling. 
This comes into better view and it is seen to have the face 
of the Girl in Black.  Sitting with his back to the scene 
is the Man in the Beaver Hat.
 
125 
EXT. UPPER BRANCHES  (NIGHT)  CLOSE SHOT
Burke staring off. Sir James coming into scene up the tree. 
He waits until Sir James is in position and then indicates 
gravely off. Sir James sees:

126 
INT. UPPER ROOM BALFOUR HOUSE  (NIGHT)  FULL SHOT
Another cut of the scene with the Bat Girl flying slowly. 
But the stranger facing the window doesn't watch her any 
more. He sits tense, listening, as though he might have 
heard them in the tree.
 
127 
EXT. UPPER BRANCHES  (NIGHT)  CLOSE UP 
Sir James staring, a strange excitement in his eyes.
 
128 
INT. UPPER ROOM  (NIGHT)  FULL SHOT 
The scene as before for a very few feet. Then it:
 
				DISSOLVES QUICKLY INTO: 

CLOSEUP the Stranger, listening tensely. There is a bullet 
wound in his temple. On his face is a deathlike pallor, but 
his eyes are tense, alert.
 
129 
EXT. UPPER BRANCHES  (NIGHT)  CLOSEUP
Sir James, staring. He licks his lips with a dry tongue, 
then reaches over and touches Burke's hand in scene.
 
130 
EXT. UPPER BRANCHES  (NIGHT)  CLOSE SHOT
Burke and Sir James as Burke turns to him coolly. Sir James 
indicates off, whispering hoarsely: 

TITLE:
 
 	"The man sitting facing us 
	is Roger Balfour!"
 
BACK TO SCENE: Burke looks at him searchingly for a moment, 
then off toward the house. Sir James follows his gaze, 
fascinated.
 
131 
INT. UPPER ROOM  (NIGHT)  CLOSEUP
The Stranger, as he grows more tense, listening now as 
though he were certain he heard something.

132 
EXT. UPPER BRANCHES  (NIGHT)  CLOSE SHOT
Sir James and Burke.  Sir James is in such a state of 
nervous excitement now that when he pantomimes: "Let's get 
down out of here." Burke nods assent. Sir James starts down. 
Burke turns and looks off again toward the house. Then 
starts down after him.
 
133
EXT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
Under the tree, as Sir James lets himself to the ground, 
Burke following. Sir James starts immediately for the gate. 
Burke stops a moment, then follows.
 
134
EXT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
At gate, as Sir James waits nervously looking off toward the 
house. Burke comes softly in:

TITLE:
 
	"That was Lucy's father. He 
	shot himself in that house 
	five years ago!"
 
BACK TO SCENE: Burke frowns, shaking his head slowly, still 
the doubter, as though it couldn't be. Sir James, in a 
terrible state of mind, insists: 

TITLE:
 
 	"Did you see the bullet 
	hole in his temple?"

135 
EXT. BALFOUR HOUSE (NIGHT)  CLOSE UP
Sir James as he finishes title, a fever amounting almost to 
a mania, in his eyes.

136
EXT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
Burke profoundly thoughtful says, "Yes," then--
 
TITLE:
 
 	"Frankly, Sir James, I am 
	baffled."
 
				CUT FROM TITLE TO:
 
137
EXT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
Both, as Burke finishes title, Sir James urges him in 
whispered pantomime to come away from the accursed place. 
Burke looks off toward the house, then says:
 
TITLE:
 
	"There is nothing we can do 
	but take every precaution -- 
	and wait."
 
BACK TO SCENE: They start out.

138 
EXT. BALFOUR HOUSE  (NIGHT)  LONG SHOT
The two men go out over the sideline. As soon as they have 
gone, the figure of the Stranger who was identified as 
Lucy's father, appears at an upstairs window. The long shot 
is weird, ghostly. The Stranger opens the broken window, 
peering out into the night.
 
139
EXT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
At window as the Stranger opens the window, peering out. He 
calls softly:
 
TITLE:
 
	"Lucy....Lucy!" 

BACK TO SCENE: He finishes title, looking out as if he 
expected to see her.
 
140
INT. LUCY'S ROOM  (NIGHT)  MEDIUM SHOT
Hibbs and Lucy as he gets a comforter and a blanket and 
brings it down to her in her easy chair and leans over with 
it, starting to wrap it around her.
 
141 
INT. LUCY'S ROOM  (NIGHT)  CLOSE UP
Hibbs and Lucy as he wraps the blanket around her, telling 
her:

TITLE:
 
 	"There won't be much sleep 
	in this house tonight."
 
BACK TO SCENE: He sits down beside her as though to watch 
over her should she fall asleep.
 
 				FADE OUT.

TITLE:
 
	Morning
 
142 
FADE IN
EXT. BALFOUR HOUSE  LONG SHOT  DAY
The old house, for the first time in the light of day. 
There is no sign of life about it; and somehow with its 
ruined garden and its broken windows, it is even more 
desolate than at night.
 
				LAP DISSOLVE INTO:

INT. BALFOUR HOUSE   FULL SHOT
Downstairs room. Sir James and Burke are coming down the 
stairs, slowly looking about them. They reach the foot of 
the stairs and stop.
 
				LAP DISSOLVE INTO:
 
INT. BALFOUR HOUSE  CLOSE SHOT 
Burke and Sir James, as Burke says to him: 

TITLE:
 
	"Empty, every room -- empty."
 
BACK TO SCENE: Sir James looks off around the great room. 
His gaze lifts toward the ceiling. He gives a start as he 
sees:
 
INSERT:
 
 	Five bats huddled together, 
	clinging to the ceiling, asleep.
 
BACK TO SCENE: Sir James points. Burke looks. Then the two 
men look at each other. Then Burke says quickly:
 
TITLE:
 
	"I know what you're thinking -- 
	don't say it." 

BACK TO SCENE: Burke looks off around the room, 
speculatively. Then he turns to Sir James and says:

TITLE:
 
	"This is the room in which Roger 
	Balfour committed suicide?" 

BACK TO SCENE: Sir James tells him that it is. Burke asks:
 
TITLE:
 
	"Where was the body found?"
 
			CUT FROM TITLE TO:
 
143
INT. BALFOUR HOUSE   SEMI FULL SHOT
Burke finishes question. Sir James steps over to a table, 
turns a chair a little to put it into the position in which 
the body was found, then indicates a position on the floor,
as though the body has slouched out from the chair to the 
floor. Burke comes over to him.

144 
INT. BALFOUR HOUSE   CLOSE SHOT
Sir James as Burke comes into him. Burke looks down at the 
table, the chair, studying. Then he looks up and says:

TITLE:
 
 	"I want you to tell me all 
	you know about the circumstances."
 
BACK TO SCENE: Sir James nods willingly. He says: 

TITLE:
 
	"I came to see Roger Balfour earlier 
	in that evening. It was about 8:30. 
	I came in that door--"
 
				CUT FROM TITLE TO
 
145
INT. BALFOUR HOUSE  SEMI FULL SHOT
Sir James, finishing title, crosses and indicates a side 
door. He goes on telling the story of his visit, Burke 
listening intently. Sir James crosses to the table, Burke 
following.
 
146 
INT. BALFOUR HOUSE  CLOSE SHOT
At table, as Sir James indicates a chair at the end of the 
table, saying: 

TITLE:
 
	"Miss Lucy was here when I 
	called. She was about 
	thirteen -- hair down her 
	back, a beautiful child--"
 
BACK TO SCENE: Sir James sighs a little at the recollection.
 
147 
EXT. HAMLIN GARDEN (DAY) LONG SHOT
Lucy and Hibbs coming into the garden. They go over to a 
pretty spot in the garden and Lucy sits down. Hibbs stands 
looking at her.
 
148 
INT. BALFOUR HOUSE  SEMI FULL SHOT
Sir James is finishing his story. Burke thanks him, looks 
at his watch and they exit.

149 
EXT. HAMLIN GARDEN  CLOSE SHOT
Hibbs and Lucy as he looks at her long and fondly, then 
says:
 
TITLE:

	"I want the right to protect 
	you, Lucy--"
 
 				CUT FROM TITLE TO:

150 
EXT. GARDEN  CLOSEUP
Hibbs as he finishes title, leaning over, his earnestness 
in his eyes.
 
151 
EXT. GARDEN  CLOSEUP
Lucy as she looks up at him, wistfully.
 
152 
EXT. GARDEN  CLOSE UP
Hibbs as he says: 

TITLE:
 
	"I know it's asking a lot --
	since I've got my way to make 
	in the world--"
 
 				CUT FROM TITLE TO:
 
153 
EXT. GARDEN  CLOSE SHOT
Both, as Hibbs finishes title. Her trust and her faith in 
him are in her eyes as she looks up at him. She says: 

TITLE:
 
 	"You'll make your way, too, 
	Jerry--"
 
BACK TO SCENE: She pauses, then rises and he takes her 
hands in his. They stand, look into each others eyes. 
Finally, she says:
 
TITLE: 

	"You see, Jerry, I love you."
 
BACK TO SCENE: He gathers her into his arms.

154 
EXT. HAMLIN GATE  MED. SHOT
Burke and Sir James turning in at the gate, slowly, 
thoughtfully.
 
155 EXT. GARDEN  CLOSE SHOT 
Lucy and Hibbs, in each other's arms, as they draw apart 
and Hibbs says: 

TITLE:
 
	"I'll tell Sir James--"

BACK TO SCENE: She protests: 

TITLE:
 
	"No, no, not yet, Jerry --
	he has been so good and kind --
	I wouldn't hurt him for the 
	world--" 

BACK TO SCENE: She finishes title.
 
156 
EXT. GARDEN   MED. SHOT 
Another part of garden, as Sir James and Burke come in and 
stop. They look off seeing:
 
157 
EXT. GARDEN  SEMI LONG SHOT 
Hibbs and Lucy, a beautiful shot, oblivious of everything 
but themselves as they stand facing each other.
 
158 
EXT. GARDEN  CLOSE SHOT 
Burke and Sir James as Burke indicates off and says: 

TITLE:
 
	"Secretaries and servants 
	sometimes talk too much--" 

BACK TO SCENE: Sir James frowns, looking curiously at Burke, 
as though wondering if by any chance Burke suspects Hibbs, 
the secretary. Burke says: 

TITLE:
 
	"Better dictate a letter to 
	Scotland Yard, asking them 
	to send four men for 
	tonight."

BACK TO SCENE: Sir James nods, then calls out of scene: 
"Mr. Hibbs."

159 
EXT. GARDEN  CLOSE SHOT
Hibbs and Lucy as they turn. Hibbs hearing himself called, 
turns to Lucy. Quickly, she makes a signal of silence to 
him, getting over that he is not to tell Sir James. He nods 
agreement and exits. She looks off after him fondly.
 
160 
EXT. GARDEN  MED.SHOT
Burke and Sir James, as Hibbs comes into them, Sir James 
gets over that he wants some work done and Hibbs and Sir 
James exit to the house. Burke looks off a moment toward 
Lucy, then exits toward her.
 
161 
EXT. GARDEN   MED. SHOT
Lucy looking off expectantly. After a moment, Burke enters, 
hat in hand. He stands for a moment, gravely looking at her. 
Then he says:
 
TITLE:
 
	"Miss Balfour, you don't know 
	me....but whatever happens 
	I want you to have complete 
	trust in me!"
 
162 
EXT. GARDEN   CLOSE UP
Burke as he finishes title, gravely, looking out of scene 
at her.
 
163 
EXT. GARDEN  CLOSE UP
Lucy, suddenly quite serious, staring at him out of scene.
 
164 
EXT. GARDEN  CLOSE UP
Burke, as he studies her for a moment with grave eyes, then 
says:

TITLE:
 
 	"Mine is a hard life, Miss 
	Balfour, cast in ways not 
	always pleasant--"
 
				CUT FROM TITLE TO:
 
EXT. GARDEN  CLOSE SHOT
Burke and Lucy, as he pauses, then goes on talking to her, 
with growing interest.
 
166 
INT. MUSIC ROOM   MED. SHOT
Sir James dictating a letter to Hibbs, who is sitting a 
little distance from a window, his steno book on his knee. 
Sir James pauses. Hibbs slides his chair over so that he 
can see out of the window. He looks out and sees:
 
167 
EXT. GARDEN   SEMI LONG SHOT
Burke, talking earnestly to Lucy, as she listens deeply 
engrossed in what he is saying.
 
168 
INT. MUSIC ROOM  CLOSE UP
Hibbs, looking out of the window. He frowns. What can this 
stranger be talking about to her?

169 
INT. MUSIC ROOM   CLOSE UP
Sir James. He turns, says something, then speaks sharply to Hibbs.
 
170 
INT. MUSIC ROOM   MED. SHOT
Sir James and Hibbs, as Hibbs, recalled to himself, turns 
suddenly and starts again to take Sir James' dictation.
 
171 
EXT. GARDEN  CLOSE SHOT
Burke and Lucy, as he stops talking and they look into each 
other's eyes. Then she says: 

TITLE:
 
 	"I do trust you -- in 
	anything!"
 
BACK TO SCENE: He bows his head a little. Then, with girlish 
impulsiveness, she tells him: 

TITLE:
 
	"I think you're wonderful!" 

BACK TO SCENE: She finishes title, looking at him with eyes 
radiant with admiration.
 
172 
INT. MUSIC ROOM   CLOSE UP
Hibbs, writing in his note book at window, as he turns, 
taking a glance at the window. He sees:
 
173 
EXT. GARDEN  SEMI LONG SHOT
Burke and Lucy as she reaches up in sudden impulsiveness 
and kisses him on the cheek.
 
174 
INT. MUSIC ROOM  MEDIUM SHOT
Sir James and Hibbs, as Sir James has recalled his 
secretary, who is staring out the window. Hibbs is now very 
plainly perturbed.
 
175 
EXT. GARDEN  CLOSE SHOT
Burke and Lucy, as Lucy nods to some things he is telling 
her, then turns and runs out of scene toward the house.
 
176 
EXT. GARDEN  CLOSE UP
Burke, looking off after her. Fondly he puts his hand to 
his cheek where she had kissed him and we have a feeling 
that if his life were to be lived over again he would have 
romance in it -- romance with a girl not unlike Miss Lucy 
Balfour.
 
177 
INT. MUSIC ROOM  MEDIUM SHOT
Sir James, finishing letter, dismisses Hibbs, who exits to 
the hall.
 
178 
INT. LOWER HALL  MEDIUM SHOT
Hibbs, coming out of music room, meets Lucy, coming in the 
front door. He stops her, tells her that she saw her kiss 
the guest, wanting to know what she means.
 
179 
INT. LOWER HALL  CLOSE UP
Hibbs and Lucy, as he angrily demands of her an explanation. 
She is much perturbed. She says finally:
 
TITLE:
 
 	"I can't tell you -- please 
	don't ask me--"
 
				CUT FROM TITLE TO:
 
180 
INT. LOWER HALL  CLOSE UP
Lucy, as she finishes title, much worried, as though she 
would like very much to tell if she could.
 
181 
INT. LOWER HALL  CLOSE UP 
Hibbs, frowning his displeasure at her.

182 
INT. LOWER HALL  CLOSE UP
Lucy, looking out of scene at him, anxiously. Finally, with 
a thought, she says:
 
TITLE:
 
 	"I'm going to Sir James -- NOW -- 
	and tell him that we love each other--"
 
				CUT FROM TITLE TO:
 
183 
INT. LOWER HALL  MEDIUM SHOT
Lucy and Hibbs, as she finishes title. He can only stare at 
her for a moment. "Are you?" he says breathlessly. 
Everything must be all right if that is what she is going to 
do. "Yes," she tells him, and turns and goes into the music 
room. He stands staring after her, then goes down the hall 
a little way.
 
184
INT. MUSIC ROOM  SEMI FULL SHOT
Sir James is pacing the floor, deep in thought, as Lucy 
comes in. She is about to say something to him, but he 
stops her, then indicates a settee. We have the feeling 
that he is going to tell her about her father and doesn't 
quite know how to go about it. He turns, finally, and sits 
down beside her.
 
185 
INT. MUSIC ROOM  NIGHT  CLOSE SHOT
Lucy and Sir James, on settee, as he sits down. A tremulous 
excitement is upon Lucy now that the moment has come for her 
to tell him of her love for Hibbs. Now the problem of how to 
begin has become her problem. Sir James sits, deeply 
thoughtful, staring at the floor. She turns to him and is 
about to tell him in a rush when he looks up and says:
 
TITLE:
 
	"Lucy, there is something I 
	have to tell you--"
 
BACK TO SCENE: He pauses. She looks at him, big-eyed, 
inquiringly. He clears his throat and goes on:
 
TITLE:
 
	"Ever since you were a little 
	girl, Lucy, I've waited--"
 
				CUT FROM TITLE TO:
 
186 
INT. MUSIC ROOM  NIGHT  CLOSEUP
Sir James as he pauses, hesitating--

187 
INT. MUSIC ROOM  NIGHT  CLOSEUP
Lucy staring at him big-eyed, breathlessly, beginning to 
guess the truth.
 
188
INT. MUSIC ROOM  NIGHT  CLOSEUP 
Sir James, as he turns to her, a life long love for her in 
his eyes and says: 

TITLE:
 
 	"It may seem a strange time to 
	speak, Lucy, but--"
 
 				CUT FROM TITLE TO:

189 
INT. MUSIC ROOM  CLOSE SHOT  NIGHT 
Sir James and Lucy as he pauses, then says fervently: 

TITLE:
 
 	"I love you, Lucy -- I 
	want you to marry me."
 
BACK TO SCENE: He finishes title, taking her hands gently. 
Lucy, looking at him aghast, at the devotion in his eyes, 
knows that this is no time to tell him. So she falters:
 
TITLE:
 
 	"I--I must have time--
	to--to think it over--"
 
BACK TO SCENE: He nods gravely, patting her hand gently. 
She starts to draw away, to rise.
 
190 
INT. MUSIC ROOM  MED. SHOT  NIGHT
Lucy, rising, stands for a moment, uncertainly. Sir James 
rises, turns toward her. Suddenly Lucy bursts into a sob 
and runs from the room. Sir James takes a step after her 
and stops, thinking.
 
191 
INT. LOWER HALL  MED. SHOT
Hibbs is waiting in the hall as Lucy comes out. Burke is 
coming in the front door. Hibbs glares at him as Lucy, 
sobbing a little, goes to Hibbs. Burke turns in at the 
library. Hibbs and Lucy go out to the veranda.
 
192 
INT. LIBRARY  FULL SHOT
Burke, coming in, stands for a moment, then steps over to 
the desk and picks up one of the volumes on vampires. With 
this in his hand, he goes over to a chair by the window, 
where the sunlight is coming in and sits down.
 
193 
EXT. VERANDA  CLOSE SHOT
Lucy and Hibbs, as she tells him what happened. Hibbs gets 
over: "I'll go to him, tell him." She holds his arm. "No, 
no you can't."
 
194 
INT. LIBRARY  CLOSE SHOT
Burke, turning and looking out of the window. Then, with a 
little sigh for his advancing age and his incapacity for 
romance, he takes out his glasses, puts them on and starts 
to read from the book. After a moment, he glances up from 
the book into the room.
 
195 
INT. LIBRARY  MED. SHOT
Sir James has come into the library. Burke, looking up, 
tells him he has been reading something about protective 
measures. He shows a passage in the book to Sir James:
 
INSERT:
 
	Page in Old English:
 
	A wreath of tube-roses at the 
	window, a sword across the door 
	will make it impossible for the 
	vampyr to enter a sleeping room 
	at night.
 
				FADE OUT ON INSERT
 
196 
FADE IN 
INT. LUCY'S ROOM  FULL SHOT  NIGHT
Burke, Sir James, Hibbs and Lucy. Hibbs is reading from one 
of the ancient books at a table. Lucy is placing a wreath 
of tube-roses at the window. There is a sword on the table. 
Lucy turns and tells them: "That's done," coming down to 
the table. Hibbs, picking up the sword and the book, rises. 
He and Burke start toward the door. Sir James turns to say 
good night to Lucy.
 
197 
INT. LUCY'S ROOM  CLOSE SHOT  NIGHT
Sir James saying good night to Lucy, saying it tenderly, 
his devotion in his eyes.
 
198 
INT. LUCY'S ROOM  CLOSE SHOT  NIGHT
Hibbs and Burke at the open door, waiting. It is evident 
that Hibbs, who is looking back, sees Sir James' tenderness, 
his love for Lucy. Hibbs is troubled.
 
199 
INT. LUCY'S ROOM  CLOSE SHOT  NIGHT
Sir James and Lucy, as he bends over and kisses her gently, 
with a fatherly kiss, and turns and exits. Lucy turns away, 
back into the room with bowed head.
 
200 
INT. LUCY'S ROOM  CLOSE SHOT  NIGHT
At the door, as Sir James comes in, going out of the door 
after Burke. Hibbs looks back in the room toward Lucy, 
troubled, his love in his eyes, then turns and goes out, 
starting to close the door behind him.
 
201 
INT. UPPER HALL  MED. SHOT  NIGHT
Outside door to Lucy's room, as Sir James says good night 
to Burke in f.g., while Hibbs fastens the sword to the door 
over the keyhole. Hibbs turns to Burke and they exit 
together toward Hibbs' room.
 
202 
INT. UPPER HALL  MED. SHOT  NIGHT
At door to Hibbs' room, as Burke and Hibbs come in. Hibbs 
opens the door and turns to say good night. Burke indicates 
that he would like to talk to him. Hibbs says "Come in," 
and they exit to Hibbs' room.
 
203 
INT. HIBBS' ROOM  FULL SHOT  NIGHT
The room is dark as Hibbs and Burke come in. There is a 
shaft of moonlight through a window upon the bed. Hibbs 
switches on the electric light. They go over and sit on the 
bed.
 
204 
INT. HIBBS' ROOM  NIGHT  CLOSE SHOT
The two men as they sit on the bed. Burke says to him:
 
TITLE:
 
	"Now about you and Miss Lucy's 
	brother, Harry--"
 
BACK TO SCENE: Hibbs turns sharply, staring at Burke. Burke 
goes on regardless:

TITLE:
 
 	"You didn't like each other
	very much did you?"
 
BACK TO SCENE: Hibbs is about to resent this question, but 
there is a force in Burke's direct gaze that he cannot 
resist. So, after a moment, he answers:
 
TITLE:
 
	"He objected to my caring for Lucy. 
	He thought I wasn't good enough 
	for her--"
 
 				CUT FROM TITLE TO:
 
205 
INT. HIBBS' ROOM  NIGHT  CLOSE UP 
Hibbs, as he finishes title, looking out of scene at Burke.
 
206 
INT. HIBBS' ROOM  CLOSE UP  NIGHT 
Burke staring steadily at him, an intense light in his eyes.
 
207 
INT. HIBBS' ROOM  NIGHT  CLOSE UP
Hibbs, unable to stand unflinching the direct gaze, looks 
away, looks down at his wristwatch.
 
INSERT:
 
	WRISTWATCH. Time -- 10:13
 
BACK TO SCENE: He looks up again at Burke.
 
208 
INT. HIBBS' ROOM  NIGHT  LARGE CLOSE UP
Burke, with eyes lighted so that they seem to dart fire. 
The eyes start now to revolve, slowly.
 
 				FADE OUT

209 
FADE IN 
INT. HIBBS' ROOM  CLOSE SHOT  NIGHT
The electric light is out. Burke is lying on the bed in the 
shaft of moonlight, asleep. He stirs a little, turns over,
into the shadow. A dim figure back to the camera, tips in, 
leaning over the bed. Burke turns back again into the light. 
The figure withdraws. Burke sits up, suddenly staring off 
scene, whips up a pistol from the bed and fires out of 
scene. (Burke wears pajama jacket. Otherwise, he is 
completely dressed.)
 
210 
INT. HIBBS' ROOM  MED. SHOT  NIGHT
A dim figure back to camera, disappearing through the open 
door.
 
211 
INT. HIBBS' ROOM  MED. SHOT  NIGHT
At bed, as Burke leaps to his feet, pistol in hand, and 
rushes out of scene.
 
212 
INT. UPPER HALL  SEMI FULL SHOT  NIGHT
The hall is empty. Burke, rushing out from Hibbs' room, 
pistol in hand, stops, looking around. The door to Sir 
James' room is suddenly thrown open and Sir James rushes 
out, demanding: "What is it? What's the matter?" Burke goes
quickly down to him.
 
213 
INT. UPPER HALL  CLOSE SHOT  NIGHT
Sir James, as Burke comes in. Sir James demanding "What 
happened?" Sir James is in a bathrobe, which he now ties 
around him, as though he had been suddenly awakened and had 
slipped it on very hurriedly before rushing out. Burke 
tells him about something that came into the room, where he 
was sleeping. Sir James is aghast. Burke to calm him, says:
 
TITLE:
 
	"Probably my imagination, 
	Sir James. Go back to bed."
 
BACK TO SCENE: Burke opens the door to Sir James and ushers 
Sir James in. He closes the door, turns, with pistol ready, 
and exits from scene, down the hall.
 
214 
INT. UPPER HALL  MED. SHOT  NIGHT
Burke, coming in, looking at the floor, suddenly kneels to 
the floor.
 
215 
INT. UPPER HALL  CLOSE UP  NIGHT
Burke, kneeling on floor, inspecting the floor. 

INSERT:
 
	Some drops of blood on floor.
 
BACK TO SCENE: Burke puts his finger in one of the drops 
and holds it up. Fresh blood. He thinks a moment, then 
starts to rise.
 
216 
INT. UPPER HALL  (NIGHT)  MED. SHOT
Burke, rising, exits through the open door back to Hibbs'
room.
 
217 
INT. HIBBS' ROOM  (NIGHT)  FULL SHOT
Burke, coming in from hall, switches on the light. It is 
now seen that he has Hibbs in a hypnotic trance, lying 
covered by a blanket on a couch in a corner. Burke goes 
over, looks at Hibbs a moment, then straightens out the bed 
that he had himself occupied, takes off his pajama jacket 
and put on his coat. Then he steps over, speaks to Hibbs. 
Hibbs rises and goes over to the bed and sits on it, just 
as he was sitting before the last fade out. Burke sits 
down beside him.
 
218 
INT. HIBBS' ROOM  (NIGHT)  CLOSE SHOT
Burke and Hibbs are on the bed as Burke looks at him with 
piercing eyes. Hibbs is staring straight ahead of him. Now 
Burke speaks to him sharply. Hibbs starts, and a 
transformation takes place. He comes out of the hypnotic 
trance, realizes his surroundings, looks at Burke and says:
 
TITLE:
 
	"I must have fallen asleep."
 
BACK TO SCENE: Burke nods "yes" and then gets over to him 
that he'd better be getting to bed. Saying this Burke rises.
 
219 
INT. HIBBS' ROOM  (NIGHT)  SEMI FULL SHOT
Burke, rising, says good night and goes out the door. Hibbs, 
still a little dazed, rubs his eyes, gets up and goes over 
to a dresser.
 
220 
INT. HIBBS' ROOM  (NIGHT)  CLOSE UP
Hibbs at the dresser. He stands there for a moment thinking. 
He stifles a yawn. Then he looks at his wristwatch.
 
INSERT:
 
	CU wristwatch   Time: 2:30
 
BACK TO SCENE: Hibbs is puzzled. He must have slept hours. 
That's queer. He stands thinking a moment, then dismisses 
the problem with a shrug and reaches into a drawer of the 
dresser and gets out a photograph. He looks at it.
 
INSERT:
 
	Photograph of Lucy.
 
BACK TO SCENE: Hibbs looks at the picture fondly, greatly 
troubled. He decides to see if she is all right. He turns, 
puts the picture back into the drawer and starts out.
 
221 
INT. HIBBS' ROOM  (NIGHT)  FULL SHOT 
Hibbs, going softly, but quickly, out the door.
 
222 
INT. UPPER HALL  (NIGHT)  SEMI FULL SHOT
Hibbs, coming out of his door, tiptoes quickly over to the 
door to Lucy's room.
 
223 
INT. UPPER HALL  (NIGHT)  CLOSE SHOT
At Lucy's door, as Hibbs comes in. The sword has gone from 
its place over the keyhole where Hibbs himself placed it. 
This he notices now with a start of alarm. He looks down to 
see if it has fallen. No sword. In genuine anxiety now, he 
knocks on the door and calls:
 
TITLE:
 
	"Lucy!"
 
BACK TO SCENE: He waits. No answer. He knocks harder. He 
calls again, more loudly. Frantic, he tries the door, 
banging it, calling to her in a loud voice. He throws his 
shoulder against the door. It gives a little.
 
224 
INT. UPPER HALL  (NIGHT)  MED. SHOT
Taking in doors to Sir James' and Burke's rooms. Both doors 
open and Burke and Sir James appear. They start forward, in 
excitement. (Both are fully dressed.)
 
225 
INT. UPPER HALL  (NIGHT)  MED. SHOT
Hibbs throwing his weight against the door. It crashes open 
as Burke and Sir James come into scene. Hibbs rushes into 
the room.
 
226 
INT. LUCY'S ROOM  (NIGHT)  FULL SHOT
The room in darkness, Hibbs rushing in. Sir James and Burke 
follow. Burke switches on the light. The room is empty. 
Hibbs rushes to the dressing room door, looks in there, 
turns back: "Empty!"
 
227
INT. BALFOUR HOUSE  (NIGHT)  SEMI FULL SHOT
The great room downstairs. The Stranger, the man identified 
as Roger Balfour, is sitting in the chair at the table. 
Sitting with his back to the camera is the Man in the 
Beaver Hat. Lucy, in a white thin negligee, is being led 
into the room by the Bat Girl. She starts toward the 
Stranger at the table with uncertain steps, then stops.
 
228 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP 
Lucy, staring out of scene, her lips trembling.
 
229
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
The Stranger at the table, looking out of scene at her with 
large, spectral eyes, a bullet wound in his temple, the 
pallor of death on his face.
 
230 
INT. BALFOUR HOUSE  (NIGHT)  MED. SHOT
The two of them, motionless for a few feet. Then Lucy 
starts suddenly forward, kneeling at the Stranger's feet.
 
231
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
The Stranger, looking down at her with eyes of pity, saying 
no word. 

232 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
Lucy, looking up tremulously. When she raises her eyes, as 
if in a prayer, and says:
 
TITLE:
 
	"Father! Father! I'm doing 
	this for you!"
 
BACK TO SCENE: She finishes title.
 
233 
INT. BALFOUR HOUSE  (NIGHT)  SEMI FULL SHOT 
The Stranger puts his hand on Lucy's head, the Bat Girl at 
one side, the Man in the Beaver Hat sitting watching them. 
The whole effect is strange, fantastic, creepy.
 
234 
INT. LUCY'S ROOM  (NIGHT)  MED. SHOT
The three men, Burke, Sir James, Hibbs. Burke is at the 
open window, looking out, as though for something he might 
be expecting. Hibbs is talking wildly to Sir James. He 
cries out:

TITLE:

	"They're vampyrs, I tell you, 
	and I'm going to destroy them -- 
	the way the book says--"
 
BACK TO SCENE: He finishes title and turns and runs madly 
out of the scene, for the time being a maniac. Burke turns 
quickly down from the window to Sir James, indicates off 
and says:
 
TITLE:
 
 	"They're coming!"
 
				CUT FROM TITLE TO:
 
235 
INT. LUCY'S ROOM  (NIGHT)  CLOSE SHOT
Burke and Sir James, as Burke finishes title, indicating 
off toward the window. "Who?" gasps Sir James in his 
astonishment. Burke replies quickly, his manner brisk and 
business like.
 
TITLE:
 
	"The Scotland Yard men you 
	wrote for."
 
BACK TO SCENE: He finishes title. Sir James' relief is 
prodigious. They start out toward the door.
 
236 
EXT. HAMLIN HOUSE  (NIGHT)  SEMI LONG SHOT
An English car, turning in at the gate, drives toward the 
house.
 
237 
INT. HIBBS' ROOM  (NIGHT)  MED. SHOT
Hibbs, feverishly fingering the pages of the ancient book 
until he finds what he wants, reads:
 
INSERT:

	Page in old English:

	The one certain method, which never 
	fails, is to drive a hickory stake 
	through the heart of the vampyr.

BACK TO SCENE: Hibbs looks up, looks wildly around the room, 
as though there might be a hickory stake there somewhere, 
then turns and runs out the door.
 
238 
INT. LOWER HALL HAMLIN HOUSE  (NIGHT)  MED. SHOT 
Burke, opening the door, admitting four burly Scotland Yard 
men. With Sir James, they all exit to the library.
 
239 
INT. SERVANTS QUARTERS  (NIGHT)  SEMI FULL SHOT
Miss Smithson and the other servants are huddled together, 
scared half to death. They turn and scream as the door is 
flung open and Hibbs, wild-eyed and breathless, bursts into 
the room. Seeing who it is they subside. He tells them that 
he has got to have an ax and a hickory stake. One of the 
men hands him a hand-ax from the wood box by the stove. He 
looks at a chair -- it isn't hickory. Wildly, he turns to 
the table, inspecting it. With the ax he starts to knock 
one of the legs off the table.
 
240 
INT. LIBRARY  (NIGHT)  MED. SHOT
Sir James sitting at the desk, the four Scotland Yard men 
and Burke standing, as Burke is crisply telling them of the 
extraordinary events. They listen like good soldiers, but 
solid as they are, they cannot escape a gasp or two of 
surprise.
 
241 
INT. SERVANTS QUARTERS  (NIGHT)  MED. SHOT
Hibbs, finishing sharpening the end of a table leg to a 
point. With this in one hand and the ax in the other, he 
runs out the back door. Miss Smithson slams it after him 
and nervously fixes the latch.
 
242 
INT. SERVANTS HALL  (NIGHT)  CLOSE UP
Miss Smithson nervously fixing the latch. Her hand shakes 
so that she has to make two or three attempts before she 
gets it. Then she turns, sinks back against the door, 
breathing deeply, her eyes bulging. Her whole attitude 
conveys that she thinks she had a narrow escape while the 
door was open.
 
243 
INT. LIBRARY  (NIGHT)  MED. SHOT
Burke turns from the four Scotland Yard men to Sir James at 
the desk, drawing up a chair to the end of the desk so that 
they are facing each other.
 
244 
INT. LIBRARY  (NIGHT)  CLOSE UP
Burke and Sir James, as Burke sits down, facing Sir James. 
He studies Sir James for a moment, then says: 

TITLE:

	"Have you got a gun?" 

BACK TO SCENE: For answer, Sir James reaches into a drawer 
of the desk and takes out a large Army revolver. Burke 
looks at it and puts it aside, saying: 

TITLE:
 
 	"You've got to have one 
	you can be sure will shoot."
 
				CUT FROM TITLE TO:
 
245 
INT. LIBRARY  (NIGHT)  MED. SHOT
The group, as Burke finishes title, rising and turning to 
the four Scotland Yard men. One of them takes an automatic 
pistol from his pocket and hands it to Burke. Burke gives 
this to Sir James and tells him to put it in his pocket. 
Sir James does so. Burke starts to sit down again.
 
246 
INT. LIBRARY  (NIGHT)  CLOSE UP
Burke and Sir James, as Burke sits down, facing Sir James. 
Burke starts to talk to him and as he talks his eyes take 
on an intense piercing quality. He stops talking, holding 
Sir James' gaze with his own for a few feet while neither 
man moves a muscle. Then Burke turns easily away, leaning 
back for a moment, relaxed.
 
James continues to sit without moving. Burke then reaches 
over and picks up a desk clock. He turns the hands back and 
sets it down on the desk again. Sir James looks at it.
 
INSERT:
 
	DESK CLOCK   Time: 8:15
 
BACK TO SCENE: Sir James looks up from the clock. Burke 
tells him:
 
TITLE:
 
	"At 8:25, leave here and come 
	to the side door of Balfour 
	House."
 
BACK TO SCENE: He finishes title, studying Sir James for a 
moment, and then rises.
 
247 
INT. LIBRARY  (NIGHT)  SEMI FULL SHOT
Burke, rising, pays no further attention to Sir James, who 
sits staring at the clock. With a gesture to the men to 
follow, Burke exits briskly from the library. The four 
Scotland Yard men go out after him.
 
248 
EXT. BALFOUR HOUSE  (NIGHT)  SEMI LONG SHOT
With gate in f.g., as Hibbs, carrying his stake and ax, 
comes in, stops for a moment, looking in toward the house 
and all around the garden, then starts in toward the house, 
slipping from clump to clump of shrubbery.
 
249 
EXT. BALFOUR GARDEN  (NIGHT)  CLOSE SHOT
Hibbs, coming behind a clump of shrubbery, drops down 
suddenly, as though hearing something off toward the house.
 
250
EXT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
Door to the side veranda, as it starts slowly to open. 
Lucy appears in the doorway, behind her the ominous figure 
of the Stranger, with face so white and the bullet wound in 
his temple. She stops in the doorway. He stops.
 
251 
EXT. BALFOUR GARDEN  (NIGHT)  CLOSE UP
Hibbs, in the clump of brush, as he cautiously raises 
himself and looks off. He stares, suddenly seeing:
 
252 
EXT. DOOR  (NIGHT)   MED. SHOT
Lucy standing in the doorway, looking out into the night. 
The Stranger directly behind her. She does not move. But 
the Stranger takes a step closer to her and leans over with 
his face close to hers.
 
253 
EXT. DOOR  (NIGHT)  CLOSE UP
Lucy and the Stranger, as his ghastly face comes very close 
to hers. Still she does not move, but looks off into the 
night.
 
254 
EXT. GARDEN  (NIGHT)  CLOSE UP
FLASH Hibbs staring off. His grip tightens on his stake and 
ax, and the look in his eyes is terrible to see.
 
255 
EXT. DOOR  (NIGHT)  CLOSE UP
Lucy and the Stranger, with his face just behind hers and 
very close to her. He whispers in her ear.
 
TITLE:
 
	"Tell him to go, Lucy. Only 
	harm can come to him here."
 
BACK TO SCENE: He finishes title. Lucy nods solemnly.
 
256 
EXT. GARDEN  (NIGHT)  CLOSE SHOT 
FLASH of Hibbs staring. He starts forward.
 
257 
EXT. DOOR AND VERANDA  (NIGHT)  MED. SHOT
The Stranger draws back quickly into the room as Lucy steps 
out onto the veranda. The Stranger closes the door. Hibbs 
comes in below her, on the ground, calling: "Lucy! Lucy!"
 
258 
EXT. GARDEN NIGHT  CLOSE UP
Hibbs, looking up at her, saying her name, softly but with 
tragic earnestness.
 
259 
EXT. VERANDA  (NIGHT)  CLOSE UP
Lucy, looking down at him, a large pity in her eyes, as she 
tells him:
 
TITLE:
 
	"Go!........Go!"
 
BACK TO SCENE: She finishes title.
 
260 
EXT. GARDEN  (NIGHT)  CLOSE UP 
Hibbs, staring up at her, saying the same. "Lucy! Lucy!"
 
261 
EXT. VERANDA  (NIGHT)  MED. SHOT
The door opens and the Bat Girl, in her black dress, with 
her face so white, comes out softly to Lucy, puts an arm 
around her shoulder and slowly starts back into the house 
with her.
 
262 
EXT. GARDEN  (NIGHT)  CLOSE UP 
Hibbs, he can only stare at this -- powerless for the 
moment to act. His eyes follow them to the door.
 
263 
EXT. DOOR  (NIGHT)  CLOSE UP
Lucy and the Bat Girl going slowly through the door. It 
closes behind them.
 
264
EXT. GARDEN  (NIGHT)  MED. SHOT
Hibbs, standing motionless, staring after them as one from 
whom the power to move had been taken. Suddenly he starts 
out through the brush, along the side of the house.

265 
INT. HAMLIN LIBRARY  (NIGHT)  CLOSE SHOT
Sir James, sitting just as we left him staring at the desk 
clock.
 
INSERT:
 
	DESK CLOCK   Time 8:25
 
BACK TO SCENE: Sir James starts to rise.
 
266 
INT. HAMLIN LIBRARY  (NIGHT)  FULL SHOT
Sir James, rising, goes directly out the door.
 
267 
INT. LOWER HALL HAMLIN HOUSE  (NIGHT)  MED. SHOT
The butler is waiting with Sir James' hat and stick, very 
evidently by arrangement with Burke. Sir James, coming out 
from the library, takes his hat and stick from the butler, 
saying:
 
TITLE:
 
	"I am going over to call 
	upon my old friend Roger 
	Balfour."
 
BACK TO SCENE: The butler bows solemnly to this, holding 
the door open while Sir James goes out.
 
268 
EXT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
Burke slipping in a back door of the house.
 
269 
EXT. BALFOUR HOUSE  (NIGHT)  MED. SHOT
Hibbs, coming cautiously around a corner of the house, 
looking up toward the windows.
 
270 
INT. UPPER ROOM OF HOUSE   (NIGHT)  MED.SHOT
Man with Beaver Hat, back to camera, Burke comes in. The 
Man with the Beaver Hat turns and is now seen to be a 
different person from the man that rented the house. 
Without a word he whips off the Inverness coat and hat and 
hands them to Burke. Burke starts to make himself up as the 
other character -- The Man in the Beaver Hat, as we first 
saw him face to face, when he rented the house.
 
271 
EXT. BALFOUR HOUSE  (NIGHT)  MED. SHOT
Hibbs, climbing up a side of the house to look in through a 
window. He sees:
 
272 
INT. BALFOUR HOUSE  (NIGHT)  MED. SHOT
Lucy and the Bat Girl alone in the great room. The Bat Girl 
is starting to undo Lucy's dress at the neck.
 
273
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
Hibbs, looking in through the broken window. To him, this 
can mean only one thing -- the girl in black is a vampyr 
-- she is going to put those sharp teeth in Lucy's 
throat -- ! With the stake, he smashes at the window.
 
274 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
Lucy and the Bat Girl, as they wheel, staring off toward 
the window.
 
275 
INT. BALFOUR HOUSE  (NIGHT)  MED.SHOT
Hibbs plunging in through the window.
 
276 INT. BALFOUR HOUSE  (NIGHT)  SEMI FULL SHOT
The Great Room, as the Bat Girl quickly rushes Lucy off 
behind some portieres. As Hibbs rushes in that direction, 
the three men of the Balfour House entourage leap out from 
places of hiding and seize him. They have ropes and a gag.
 
277
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
Hibbs, struggling in the grip of the three men. Hibbs is a 
maniac and the struggle is brief but fierce. They wrench 
the stake and ax from him, hurling them to one side. They 
start to bind him.
 
278
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
Lucy and the Bat Girl behind portieres. The Bat Girl is 
holding her, telling her not to interfere. But Lucy must 
see. She pulls the portiere aside a little, looking out. 

279
INT. BALFOUR HOUSE  (NIGHT)  MED. SHOT
The three men and Hibbs. They have him on the floor, 
binding him tight, putting a gag in his mouth.
 
280
INT. BALFOUR HOUSE  (NIGHT) CLOSE SHOT
Lucy and the Bat Girl, behind the portieres. Lucy turns 
back, hiding her face with her hands. The Bat Girl, her 
manner business-like, starts again to undo Lucy's dress 
from the shoulder.

281 
INT. BALFOUR HOUSE  (NIGHT)  FULL SHOT
Of the Great Room, as the three men carry Hibbs out of the 
room. As they exit, at the top of the stairs appears the 
Man in the Beaver Hat. He starts slowly down the stairs.
 
282
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
With traveling camera, of the Man in the Beaver Hat as he 
comes slowly, with awful purpose in his eyes, down the 
steps. He stops at the landing, his eyes searching the 
room.
 
283 
INT. BALFOUR HOUSE  (NIGHT)  MED. SHOT
Door or portiered exit through which Hibbs was taken by 
the three men. The three now reappear. They stop, looking 
off toward the stairs.
 
284
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
The Man in the Beaver Hat, staring out of scene at them 
with piercing eyes. He gives an order.
 
285 
INT. BALFOUR HOUSE  (NIGHT)  SEMI FULL SHOT
There is sudden activity on the part of the three men. The 
Stranger moves over to the table, fixing the chairs there 
in exactly the right position, then sitting down. (The 
bullet wound does not appear on his temple now, though we 
make no point of its not being there.) Another of the three 
men slips on a butler's coat and takes up a position by the 
side door. The third man withdraws. The Man in the Beaver 
Hat, who has been watching this from the landing of the 
stairs, now comes down and views the setting, suggesting a 
change or two, perhaps here and there.
 
286 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
Behind portieres, as the Bat Girl finishes hooking up a 
simple little dress (the sort that would be worn by a girl 
of thirteen or so) on Lucy. Lucy's hair is now down, as a 
child would wear it.
 
287
INT. BALFOUR HOUSE  (NIGHT)  SEMI FULL SHOT
Everything appears to be to the satisfaction of the Man in 
the Beaver Hat now. He steps over to the portiere.
 
288 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
At portieres, as the Man in the Beaver Hat speaks softly. 
Lucy appears through the portieres, looking now like a girl 
of thirteen, in her child's dress with her hair down. She 
looks at the Man in the Beaver Hat, unafraid. Gravely he 
nods. That is the way he wants her to appear. They start 
out from scene.
 
289 
EXT. BALFOUR GATE  (NIGHT)  MEDIUM SHOT
Sir James, coming in, turns at the gate, and without even 
looking up at the house or without faltering in the 
slightest, starts toward the veranda and side door.
 
290 
INT. BALFOUR HOUSE  (NIGHT) SEMI FULL SHOT
The Man in the Beaver Hat is coming down from the portieres 
with Lucy. He places her at an end of the table and gives 
her a book to look at.
 
291 EXT BALFOUR VERANDA  (NIGHT)  MED. SHOT
Sir James coming with unhesitating steps along the veranda, 
works the knocker on the door.
 
292 INT. BALFOUR HOUSE  (NIGHT)  SEMI FULL SHOT
All inside hear the knocker and turn. With a gesture, The 
Man in the Beaver Hat waves all out of the room except the 
Stranger and Lucy at the table and the man in the butler's 
coat. Then he (the Man in the Beaver Hat) ducks quickly 
behind the portieres. The butler goes to the door.
 
293 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
At door, as the butler opens it and Sir James steps in, he 
hands his hat and stick to the butler with a grave nod and 
exits into the room.
 
294 
INT. BALFOUR HOUSE  (NIGHT)  MEDIUM SHOT
The Stranger and Lucy at the table. The Stranger says: 
"Good evening, James" Lucy gets up and comes to Sir James 
in f.g. He turns and puts his arm around her saying:
 
TITLE:
 
	"My! My! What a big girl 
	you're getting to be, Lucy."
 
				CUT FROM TITLE TO:
 
295
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
Sir James and Lucy, as he finishes title, stroking her 
hair, looking down at her fondly.
 
296
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
At portieres, as they part slightly and the Man in the 
Beaver Hat peers out with piercing eyes.
 
297 
INT. BALFOUR HOUSE  (NIGHT)  MED. SHOT
Sir James, the Stranger and Lucy, as Sir James holds Lucy 
off at arm's length, looking at her, at the sweet girlhood 
of her. The Stranger watches them morosely. Sir James turns 
to him says:
 
TITLE:
 
	"You seem despondent, Roger."
 
BACK TO SCENE: The Stranger nods. Lucy steps quickly, 
impetuously over to him, putting an arm around him.
 
298
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
Lucy and the Stranger, as she puts her arm over him, 
lovingly, kissing him on the forehead. He pats her hand, 
tells her it's nothing.
 
299
INT. BALFOUR HOUSE   (NIGHT)   CLOSE UP
Sir James, watching them, his eyes narrowing as he looks, 
a little.
 
300 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP 
Lucy and the Stranger, as he tells her, gently:
 
TITLE:
 
	"It's getting late, Lucy --
	say good night to Sir James."
 
				CUT FROM TITLE TO:
 
301 
INT. BALFOUR HOUSE  (NIGHT)  MED.SHOT
The three of them as the Stranger finishes title. Lucy 
gives him a good night kiss, then steps over to Sir James, 
holding up her lips to him. Sir James kisses her and she 
runs out of scene. Sir James stands looking off after her. 
The Stranger watches him sullenly. Sir James turns back now 
to the Stranger, drawing up the chair, and sitting down at 
the table, facing him.
  
302
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
The Man in the Beaver Hat peering through the portieres. He 
parts them a little more, bringing his whole face into view 
-- the face with the pallor of death, as expressionless as a 
mask.

303
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
Sir James and the Stranger at the table. Sir James leans 
over and says:
 
TITLE:
 
	"You may as well understand, 
	Roger, that as soon as she 
	comes of age, I mean to 
	have her."
 
BACK TO SCENE: The Stranger pounds his fist on the table 
and says: "No, by God!" They look straight into each 
other's eyes for a moment, then the Stranger says:
 
TITLE: 

	"I trusted you, James Hamlin, 
	and you've stolen from me 
	right and left."
 
				CUT FROM TITLE TO:
 
304 INT. BALFOUR HOUSE   (NIGHT)   MED. SHOT
The two men, as the Stranger, finishing the title, starts 
to rise. Before he can do so, Sir James has leaped to his 
feet and drawn his pistol. They rush into a clinch, a 
struggle.
 
305 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP 
At portieres, the Man in the Beaver Hat -- FLASH
 
306 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
Sir James and the Stranger, as the Stranger falls out of 
scene. Sir James stands with smoking pistol in his hand. He 
stares down at him. He leans down out of scene.
 
307 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
The Stranger on the floor as dead. Sir James leaning into 
scene with pistol in his hand. He takes out a handkerchief, 
wipes off the handle of the pistol and puts it into the 
Stranger's right hand. He starts up again.
 
308 INT. BALFOUR HOUSE  (NIGHT)  SEMI FULL SHOT
The body on the floor, Sir James backing away to the 
portieres behind which the Man in the Beaver Hat was 
hiding.
 
309 
INT. BALFOUR HOUSE  (NIGHT)  MED. SHOT
At portieres as Sir James backs in. He is about to back 
through the portiere when two Scotland Yard men step out 
and grab him. The Man in the Beaver Hat comes out, steps up 
to Sir James, facing him.
 
310 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
The Man in the Beaver Hat and Sir James, as the man speaks 
to him sharply. Sir James goes quickly through the 
transformation of coming out of a hypnotic trance. He 
stares at the Man in the Beaver Hat, saying dazedly:
 
TITLE:
 
	"Have I been asleep?"
 
				CUT FROM TITLE TO:
 
311 
INT. BALFOUR HOUSE  (NIGHT) CLOSE UP
Sir James as he finishes title dazedly.
 
312 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
The Man in the Beaver Hat, as he says, crisply: 

TITLE:
 
	"No, and neither have I."
 
				CUT FROM TITLE TO:
 
313
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
The two of them as the Man in the Beaver Hat finishes title 
and reaches over and rips up the sleeve of Sir James' coat. 
The Man in the Beaver Hat says, dryly:
 
TITLE:
 
	"I thought I clipped you one tonight."
 
				CUT FROM TITLE TO:
 
314
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
The Man in the Beaver Hat, as he finishes title, and 
through his make-up comes an expression that is undeniably 
that of Burke, the detective.
 
315
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
Sir James, staring at him, getting who he is slowly. He 
blurts out:

TITLE:
 
	"BURKE OF SCOTLAND YARD!"
 
				CUT FROM TITLE TO:
 
316
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
The two of them, as Burke takes off his wig and bows: "At 
your service."
 
317 
INT. BALFOUR HOUSE  (NIGHT)  MED. SHOT
The Stranger getting up from the floor, unhurt, inspecting 
the gun in his hand with a grin, exiting.
 
318 
INT. UPPER ROOM  (NIGHT)  MED. SHOT
The Bat Girl and the butler, with a trunk in f.g. plainly: 
"Lunette, the Flying Woman, Theatre". She is packing the 
trunk. The man is taking down wires from the ceiling. She 
looks up at him and says:
 
TITLE:

	"It's back to the music 
	'alls, Jimmy, me bye." 

BACK TO SCENE: He answers: 

TITLE:
 
 	"And I'll sye this is the 
	goofiest engigement we 
	ever played."
 
BACK TO SCENE: They go back to their work briskly.
 
319 
INT. BALFOUR HOUSE  (NIGHT)  MED. SHOT
In Great Room downstairs, as Sir James, on the orders of 
Burke, sits down at the table and starts to write a 
confession. Lucy and Hibbs, with Miss Smithson, come in at 
the end of the table. The Scotland Yard men are at the b.g.
 
320 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
Burke and Sir James, as Burke tells him crisply: 

TITLE:
 
	"A full confession, Sir James -- 
	including the murder of young 
	Harry Balfour."
 
BACK TO SCENE: Burke finishes title and exits toward Lucy.
 
321
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
Hibbs, Lucy, Miss Smithson, as Burke comes in Miss 
Smithson laughs, saying: 

TITLE:
 
	"That was sure a whopper, chief, 
	you had me tell about the 
	keyhole."
 
BACK TO SCENE: Burke laughs, then turns to Hibbs and Lucy. 
They are looking at him in wonder. Lucy is radiant. After a 
moment, Burke taps Hibbs on the shoulder and says:
 
TITLE:
 
 	"My advice to you, Mr. Hibbs, is --
	stay away from vampires."
 
				CUT FROM TITLE TO:
 
322 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP 
Burke, as he pauses, looking at Hibbs quizzically.
 
323
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
Hibbs and Lucy, his arm about her, Hibbs looks a little 
foolish.
 
324
INT. BALFOUR HOUSE  (NIGHT)  CLOSE UP
Burke, as he says: 

TITLE:
 
 	"I don't mean the kind of vampires 
	you mean, either--"
 
				CUT FROM TITLE TO:
 
325 
INT. BALFOUR HOUSE  (NIGHT)  CLOSE SHOT
The three of them as Burke finishes title, smiling dryly, 
and adding:

TITLE:
 
 	"This is the 
	twentieth century."
 
BACK TO SCENE: He finishes title, the two looking at him in 
wonder and admiration, as
 
 				FADE OUT
 
 




 

2nd draft - July 16, 1927
[a.k.a. "The Hypnotist"]
Story by Tod Browning
Scenario by Waldemar Young

1