1 EXT. ROAD - NIGHT
A WOMAN'S RIGHT ANKLE turns under her and ...
2 ... the WOMAN falls. The wind blowing downhill from
the south, whipping the trees beside the road, makes
a whisper of her exclamation and snatches her scarf.
3 The SCARF flies away into the darkness.
4 The WOMAN sits up slowly, palms on the gravel pushing
her up, and twists her body sidewise to release the
leg bent beneath her. We notice the rings on her
fingers. She looks around at:
5 Her right SLIPPER lying in the road close to her feet.
6 The WOMAN grabs the slipper, puts it on and finds its
heel is missing. She peers around, then begins to hunt
for the heel, hunting on hands and knees uphill into
the wind, wincing a little when her right knee touches
7 The WOMAN gives up and tries to break the heel off her
left slipper, but cannot. She replaces the slipper and
rises with her back to the wind, leaning back against
the wind's violence and the road's steep sloping. Her
red gown clings to her back, fluttering out before her.
Hair lashes her cheeks. Walking high on the ball of her
right foot to make up for the missing heel, she hobbles
down the hill.
8 At the bottom of the hill, she crosses a WOODEN BRIDGE.
9 Beyond the bridge she comes to a FORK IN THE ROAD, with
a sign that cannot be read in the darkness. She halts
there, not looking at the sign but around her, shivering
now, though the wind has less force than it had had on
10 FOLIAGE to her left moves to show and hide yellow light.
She takes the left-hand fork.
11 She comes to a GAP in the bushes beside the road and
sufficient light to show a path running off the road
through the gap. She sees:
12 The light comes from the thinly curtained window of a
HOUSE at the other end of the path.
13 She goes up the PATH to the door and knocks.
14 When there is no answer she knocks on the DOOR again.
A hoarse, unemotional masculine voice says: "Come in."
She puts her hand on the latch; hesitates. No sound
comes from within the house. Outside, the wind is
noisy everywhere. She knocks once more, gently. The
voice says, exactly as before: "Come in." She opens
15 INT. HOUSE - CONTINUOUS
The wind blows the DOOR in sharply, her hold on the
latch dragging her with it so that she has to cling
to the door with both hands to keep from falling.
16 The wind blows past her into the ROOM, to balloon
curtains and scatter the sheets of a newspaper on a
17 She forces the door shut and leans against it.
I am sorry.
She takes pains with her words to make them clear
notwithstanding her accent.
18 A MAN sits at a hearth, cleaning a pipe. His
copperish eyes are as impersonal as his hoarse voice.
It's all right. I'll be through in a
He does not rise from his chair. The edge of the
knife in his hand rasps inside the brier bowl of his
19 The WOMAN leaves the door and comes forward, limping,
examining him with perplexed eyes under brows drawn a
little together. A tall woman, she carries herself
proudly, for all she is lame and the wind has tousled
her hair and the gravel of the road has cut and
dirtied her and her gown.
I must go to the railroad. I have
hurt my ankle on the road.
20 The MAN looks up from his work. His face is not
definitely hostile or friendly. He looks at:
21 Her FACE.
22 The MAN lowers his eyes to look at:
23 Her torn SKIRT.
24 The MAN does not turn his head to call:
A GIRL -- slim maturing body in tan sport clothes
-- comes into the room through a doorway behind him.
The man does not look around at her. He nods at the
woman in red.
My name is Luise Fischer.
She's got a bum leg.
Evelyn's eyes shift their focus from Luise to the
man -- she can't see his face -- and to Luise again.
She smiles and speaks hurriedly:
I'm just leaving. I can drop you at
Mile Valley on my way home.
25 LUISE seems about to smile, gazing curiously at:
26 EVELYN who suddenly blushes, her face becoming defiant
while it reddens.
27 The MAN blows through his pipe, forcing out a small
cloud of black powder.
No use hurrying. There's no train
He looks up at:
28 The CLOCK on the mantelpiece. It says ten-thirty-three.
29 LUISE, the MAN, and EVELYN -- lit by the firelight.
Why don't you help her with her
No, it is not necessary. I --
Luise puts her weight on her injured leg and flinches,
steadying herself with a hand on the back of a chair.
Evelyn hurries to her.
I -- I didn't think. Forgive me.
She puts an arm around Luise and helps her into the
30 The MAN stands up to put his pipe on the mantelpiece,
beside the clock. He clicks his knife shut and puts it
in his pocket before turning to look at:
31 EVELYN AND LUISE
Evelyn is on her knees in front of Luise, pulling off
her right stocking, making sympathetic clucking
noises, chattering nervously.
You've cut your knee too. Tch-tch-tch!
And look how your ankle's swelling.
You shouldn't've tried to walk all
that distance in these slippers. Now,
sit still and I'll fix it up in a
She pulls the torn red skirt down over the bare leg.
Luise smiles politely.
You are very kind.
Evelyn runs out of the room.
32 The MAN joins LUISE with a paper package of
cigarettes in his hand. He shakes it until three
cigarettes protrude half an inch and holds them
out to her.
She takes a cigarette, puts it between her lips, and
looks at his hand when he holds a match to it.
Bang it up much?
I hope I have not.
She draws up her skirt to look first at her ankle,
then at her knee. The ankle is not greatly swollen;
the knee is cut once deeply, twice less seriously.
She touches the edges of the cuts gently with a
I do not like pain.
The man stares at her leg.
33 EVELYN comes in with a basin of steaming water,
cloths, a roll of bandage, salve. Her eyes widen at:
34 The MAN looking at Luise's bare leg. Their faces
25 EVELYN as she hides her eyes with lowered lids and
I'll fix it now. I'll have it all
fixed in a minute.
She kneels in front of Luise again, nervous hand
sloshing water on the floor, body between Luise's leg
and the man.
26 The MAN goes to the door and looks out, holding the
door half a foot open against the wind.
27 EVELYN bathes Luise's ankle.
There is not a train before it is
28 The MAN shuts the door.
It'll be raining in an hour.
29 The MAN puts more wood on the fire, then stands --
legs apart, hands in pockets, cigarette dangling from
one side of his mouth watching Evelyn attend to
Luise's leg. His face is placid.
30 EVELYN dries the ankle and begins to wind a bandage
around it, working with increasing speed, breathing
more rapidly now.
31 Once more LUISE seems about to smile at her.
You are very kind.
Three sharp KNOCKS sound on the door.
LUISE starts, drops her cigarette, looks swiftly
around the room with frightened eyes.
32 EVELYN does not raise her head from her work.
33 The MAN, with nothing in his face or manner to show
he had noticed Luise's fright, turns his face toward
the door and calls in his hoarse, matter-of-fact
All right. Come in.
34 The DOOR opens and a spotted Great Dane comes in,
followed by two tall men in dinner clothes.
35 The dog walks straight to LUISE and nuzzles her hand.
She looks at the two men who have just entered with
no timidity, no warmth in her gaze.
36 One of THE MEN pulls off his cap -- a gray tweed,
matching his topcoat -- and comes to LUISE, smiling.
So this is where you landed?
His smile vanishes as he sees her leg and the
He is perhaps forty years old, well groomed, graceful
of carriage. He pushes the dog aside and takes Luise's
It is not serious, I think. I
stumbled in the road and twisted my
ankle. These people have been
37 GRAY TWEED turns to the man with the pipe, holding
out his hand.
Thanks ever so much for taking care
of Fraulein Fischer. You're Brazil,
The man nods.
And you'd be Kane Robson.
Robson jerks his head at the man standing just inside
Brazil nods his acknowledgement to:
38 CONROY -- who is taller than Robson, some ten years
younger, broad-shouldered, and lean. He advances
How do you do?
(smiling down at Luise)
Your idea of a lark's immense.
39 LUISE ignores Conroy and addresses Robson.
Why have you come here?
40 ROBSON smiles amiably, raises his shoulders a little.
You said you weren't feeling well
and were going to lie down. When
Helen went up to your room to see
how you were, you weren't there. We
were afraid you had gone out and
something had happened to you.
Well, we were right.
41 Nothing in LUISE's face responds to his smile.
I am going to the city. Now you
42 ROBSON is good natured.
All right, if you want to. But you
can't go like that. We'll take you
back home, where you can change your
clothes and pack a bag and --
(turns to Brazil)
When's the next train?
43 The dog is sniffing at BRAZIL's legs.
44 ROBSON joins LUISE.
You see? There's plenty of time.
Luise looks down at her clothes and seems to find
I go like this.
Now, look here, Luise. You've got
hours before train time -- time
enough to get some rest and a nap
and to --
I have gone.
Robson grimaces impatiently, half humorously, and
turns his palms out in a gesture of helplessness.
But what are you going to do?
You're not going to expect Brazil
to put you up till train time and
then drive you to the station?
45 LUISE looks at Brazil with level eyes.
Is it too much?
46 BRAZIL shakes his head carelessly.
47 ROBSON AND CONROY turn together to look at Brazil.
There is considerable interest in their eyes, but
no visible hostility.
48 BRAZIL bears the inspection placidly.
49 LUISE's face is impassive.
(with an air of finality)
50 Conroy looks questioningly at ROBSON, who sighs
Your mind's made up on this, Luise?
You always know what you want.
He starts to turn away toward the door, then stops.
Have you got enough money?
One of his hands goes into the inner breast pocket of
his dinner jacket.
I want nothing.
Right. If you want anything later,
let me know.
Come on, Dick.
He goes to the door, opens it, twists his head
around in Brazil's direction.
(briskly, to Brazil)
Thanks, good night.
Robson goes out.
51 CONROY touches Luise's forearm lightly.
He bows to Evelyn and Brazil and follows Robson out.
52 The DOG raises his head to watch the two men go out.
53 EVELYN stares at the door with despairing eyes and
works her hands together.
54 LUISE looks to Brazil.
You will be wise to lock your door.
55 BRAZIL stares at her for a long moment, brooding.
No. I won't lock it.
56 LUISE's eyebrows go up a little, but she says nothing.
57 EVELYN AND BRAZIL
They were drunk.
They've been drinking.
He looks thoughtfully at her, apparently only now
noticing her perturbation.
You look like a drink would do you
She becomes confused. Her eyes evade his.
Do -- do you want one?
I think so.
He looks inquiringly at:
58 LUISE, who nods.
59 EVELYN, after looking from Luise to Brazil, goes out
of the room.
60 LUISE leans forward a little to look intently up at
Brazil. Her voice is calm enough, but the deliberate
slowness with which she speaks make her words
Do not make the mistake of thinking
Mr. Robson is not dangerous.
61 BRAZIL seems to weigh this speech almost sleepily.
I've made an enemy?
62 LUISE nods with certainty.
63 BRAZIL accepts that with a faint grin, offering her
his cigarettes again.
64 LUISE stares through him as if studying some distant
Yes, but I have lost a worse friend.
65 FULL SHOT - Evelyn comes in, carrying a tray that
holds glasses, mineral water, and a bottle of whiskey.
Her eyes, glancing from man to woman, are inquisitive,
somewhat furtive. She goes to the table and begins to
Brazil finishes lighting his cigarette.
Leaving him for good?
66 For a moment, LUISE stares haughtily at him ... but
suddenly her face is distorted by an expression of
67 BRAZIL sets his glass on the mantelpiece and goes to
the door. He goes through the motions of looking out
into the night; yet he opens the door a bare couple
of inches and shuts it immediately, and his manner is
so far from nervous that he seems preoccupied with
He returns to the mantelpiece, picks up his glass,
and drinks. Then, his eyes focus contemplatively on
the lowered glass. He is about to speak when a
telephone bell RINGS behind a door facing the
fireplace. He opens the door, and as soon as he
passes out of sight his hoarse, unemotional voice
can be heard.
Hello ... Yes ... Yes, Nora ...
Just a moment.
He re-enters the room.
Nora wants to talk to you.
Evelyn enters the bedroom and Brazil shuts the door
68 LUISE and BRAZIL
You cannot have lived here long if
you did not know Kane Robson before
A month or so; but, of course, he
was in Europe till he came back
... with you.
Matter of fact, he is my landlord.
Then you --
She breaks off as:
69 The bedroom door opens. EVELYN stands in the doorway,
hands to breast
Father's coming -- somebody phoned
him I was here.
She hurries across the room to pick up hat and coat
from a chaiir.
70 BRAZIL and EVELYN
Wait. You'll meet him on the road
if you go now. You'll have to wait
till he gets here, then duck out
back and beat him home while he's
jawing at me. I'll stick your car
down at the foot of the back road.
He drains his glass and starts for the bedroom door.
(her lip quivers)
But you won't -- won't fight with
him. Promise me you won't.
71 BRAZIL goes into the bedroom, returns almost
immediately with a hat on his head and one of his
arms in a raincoat.
It'll only take me five minutes.
He goes out the front door.
72 LUISE and EVELYN
Your father does not approve?
Evelyn shakes her head miserably. Then suddenly she
turns to Luise, holding her hands out in an appealing
You'll be here. Don't let them
fight. They mustn't.
Luise takes Evelyn's hands and puts them together
between her own.
I will do what I can, I promise you.
He mustn't get in trouble again. He
Luise doesn't know quite what to make of that.
73 INT. HOUSE - FIVE MINUTES LATER
The door opens, revealing a downpour, and Brazil
He takes off his raincoat, drops it on a chair, and
puts his damp hat on it.
I left it at the end of the fence.
Evelyn and Luise watch as he picks up Luise's empty
glass and his own and goes to the table.
Better slide out to the kitchen in
case he pops in suddenly.
He begins to pour whiskey into the glasses.
74 EVELYN wets her lips with her tongue and joins Brazil.
Yes, I guess so.
She smiles timidly, pleadingly, at Luise, hesitates,
and touches Brazil's sleeve with her fingers.
You -- you'll behave?
He does not stop preparing his drinks.
Sure. I'll call you up tomorrow.
She smiles at Luise, moves reluctantly toward the
door and leaves.
75 BRAZIL and LUISE
Brazil gives Luise her glass, pulls a chair around to
face her more directly, and sits down.
Your little friend. She loves you
Oh, she's just a kid.
But her father ... he is not nice,
Suppose Robson phoned him?
Would he know?
In a place like this everybody
knows all about everybody.
Then about me ... you --
She is interrupted by a pounding on the door that
shakes it on its hinges.
76 The DOG gets up, stiff-legged on its feet.
77 BRAZIL gives Luise a brief grim smile.
All right. Come in.
78 The door opens violently. A BEARDED MAN in a
glistening black rubber coat enters. One fist grips a
heavy applewood walking stick.
(a deep, powerful voice)
Where is my daughter?
79 BRAZIL's face is a phlegmatic mask.
80 GRANT steps forward.
Where is my daughter?
81 The DOG growls and shows its teeth.
82 LUISE admonishes the dog:
83 The DOG looks at her and quiets down.
84 FULL SHOT - the room.
Evelyn's not here.
Grant glares at him.
Where is she?
I don't know.
That's a lie!
85 GRANT's eyes dart their burning gaze around the room.
The knuckles of his hand holding the stick are white.
86 LUISE smiles as if entertained by Grant's rage.
It is so, Mr. Grant. There is
nobody else here.
87 GRANT glances briefly at her, with loathing in his
Bah! The strumpet's word confirms
He strides to the bedroom door and disappears inside.
88 BRAZIL grins at LUISE.
See? He's cracked. He always talks
like that -- like a guy in a bum
89 GRANT comes out of the bedroom and stamps across to
the rear door, opens it, and disappears through it.
90 BRAZIL empties his glass and puts it on the floor
beside his chair.
There'll be more fireworks when he
91 GRANT abruptly returns to the room, stalks in silence
to the front door, pulls it open, and, holding the
latch with one hand, banging the ferrule of his
walking stick on the floor with the other, roars at
For the last time, I'm telling you
not to have anything to do with my
daughter! I shan't tell you again!
He goes out, slamming the door.
92 BRAZIL exhales heavily and shakes his head.
Cracked. Absolutely cracked.
93 A look of concern on LUISE's face.
He called me a strumpet. Do people
here -- ?
94 But BRAZIL isn't listening to her. He leaves his
chair and picks up his hat and coat.
I want to slip down and see if she
got away all right. If she gets home
first she'll be okay. Nora -- that's
her stepmother -- will take care of
her. But if she doesn't --
I won't be long.
He goes out the back way.
95 Left alone, LUISE stares at her feet for a moment,
then kicks off her remaining slipper and stands up,
experimenting with her weight on her injured leg.
Three tentative steps prove her leg stiff but
96 LUISE notices that her hands and arms are still dirty
from the road and, exploring, enters the bedroom to
find a bathroom.
97 IN THE BATHROOM - Luise hums a tune to herself while
she washes her arms in the sink.
98A IN THE BEDROOM
LUISE combs her hair ...
98B ... brushes her clothes ...
98C ... studies her reflection in a tall looking-glass.
99 She hears the outer door opening. Her face brightens.
I am here!
She limps into the other room.
100 IN THE MAIN ROOM
LUISE enters the main room.
I am here --
She gasps, startled to see:
101 ROBSON AND CONROY
The men stand inside the door. Robson smiles at her.
So you are, my dear.
He is paler than before and his eyes are glassier,
but he seems otherwise unchanged. Conroy, however,
is somewhat disheveled; his face flushed and
obviously rather drunk.
102 LUISE recovers her composure.
What do you want?
103 ROBSON looks around.
104 LUISE stands her ground.
What do you want?
105 ROBSON looks past her at the open bedroom door, grins,
and crosses to it. When he turns from the empty room
she sneers at him.
106 CONROY has gone to the fireplace, where the Great
Dane lies, and stands with his back to the fire,
107 ROBSON AND LUISE
Well, it's like this, Luise:
you're going back home with me.
Robson wags his head up and down, grinning.
I haven't got my money's worth out
of you yet.
He takes a step toward her. She retreats to the
table, catches up the whiskey bottle by its neck.
(cold with fury)
Do not touch me ...
108 The DOG rises, growling.
109 ROBSON's eyes jerk sidewise to focus on the dog,
then on Conroy -- one eyelid twitches -- then on
110 CONROY -- with neither tenseness nor furtiveness to
alarm woman or dog -- puts his right hand into his
overcoat pocket, brings out a black pistol, puts its
muzzle close behind one of the dog's ears, and shoots
the dog through the head.
111 LUISE spins around at the sound of the shot.
112 The DOG falls on its side; its legs stir feebly.
113 CONROY, smiling foolishly, returns the pistol to his
114 Horrified, LUISE raises the bottle to hurl it at
Conroy, but Robson catches her wrist with one hand,
wrenches the bottle away with the other. He grins.
(in a bantering voice)
No, no, my sweet.
He puts the bottle on the table again, but keeps
his grip on her wrist.
115 The DOG's legs stop moving.
116 ROBSON AND LUISE
All right. Now, are you ready to
She makes no attempt to free her wrist. She draws
herself up straight.
My friend, you do not know me yet
if you think I am going with you.
You don't know me if you think
117 The front door opens and BRAZIL comes in. His face is
phlegmatic, though there is a shade of annoyance in
his eyes. He shuts the door carefully behind him,
then addresses his guests. His voice is that of one
who complains without anger.
What the hell is this? Visitor's
day? Am I supposed to be running a
118 FULL SHOT - the room.
We are going now. Frulein Fischer's
going with us.
Brazil looks at the dead dog, annoyed.
That's all right if she wants to.
I am not going.
(still looking at the dog)
That's all right too.
(with more interest)
But who did this?
119 BRAZIL AND CONROY
Brazil walks over to the dog and prods its head with
Blood all over the floor.
Then, without raising his head, without the slightest
shifting of balance or stiffening of his body, he
drives his right fist up into Conroy's handsome,
120 CONROY falls away from the fist rigidly, with upbent
knees, turning a little as he falls. His head and one
shoulder strike the stone fireplace, and he tumbles
forward, rolling completely over, face upward, on the
121 BRAZIL whirls to face Robson.
122 ROBSON drops the woman's wrist and tries to get a
pistol out of his overcoat pocket. But Luise flings
herself on his arm, hugging it to her body, hanging
with her full weight on it, and he can't free it,
though he tears her hair with his other hand. Brazil
goes around behind Robson, strikes his chin up with a
fist so he can slide his forearm under it across the
taller man's throat. Brazil tightens his forearm
there and wraps his other hand around Robson's wrist.
All right. I've got him.
123 LUISE releases the man's arm and falls back on her
haunches. Except for the triumph in it, her face is
as businesslike as Brazil's.
124 BRAZIL AND ROBSON
Brazil pulls Robson's arm up sharply behind his back.
The pistol comes up with it, and when the pistol is
horizontal Robson pulls the trigger. The bullet goes
between his back and Brazil's chest, to splinter the
corner of a bookcase in the far end of the room.
Try that again, baby, and I'll
break your arms. Drop it!
Robson hesitates, lets the pistol clatter down on the
125 LUISE scrambles forward on hands and knees to pick it
up. She sits on a corner of the table, holding the
pistol in her hand.
126 BRAZIL pushes Robson away from him and crosses the
room to kneel beside the man on the floor, feeling
his pulse, running hands over his body, and rising
with Conroy's pistol, which he thrusts into a hip
127 CONROY moves one leg, his eyelids flutter sleepily,
and he groans.
128 BRAZIL jerks a thumb at him and addresses Robson.
Take Mr. Conroy and get out.
129 ROBSON goes over to Conroy, stoops to lift his head
and shoulders a little, shakes him.
Come on, Conroy, wake up. We're
I'm a' ri' ...
Conroy tries to lie down again.
Get up, get up.
Robson slaps Conroy's cheeks. Conroy shakes his head.
Robson slaps his face again.
Come on, get up, you louse.
Conroy groans and mumbles something unintelligible.
130 FULL SHOT - the room.
Get him out anyway. The rain'll
bring him around.
Robson starts to speak, changes his mind, picks up
his hat from the floor, puts it on, and bends over
Conroy again. He pulls him up into something
approaching a sitting position, draws one limp arm
over his shoulder, gets a hand around Conroy's back
and under his armpit, and rises, slowly lifting the
other on unsteady legs beside him.
131 AT THE FRONT DOOR
Brazil holds the front door open. Half dragging, half
carrying Conroy, Robson goes out. Brazil shuts the
door, leans his back against it, and shakes his head
in mock resignation .
132 LUISE and BRAZIL
Luise puts Robson's pistol down on the table and
I am sorry. I did not mean to bring
to you all this.
That's all right. I go on like this
all the time. God! I need a drink.
She turns swiftly to the table and begins to fill
133 BRAZIL joins LUISE, looking her up and down
reflectively as they drink.
You walked out just like that?
She looks down at her clothes and nods yes. He seems
What are you going to do?
When I go to the city? I shall sell
these things ...
(she moves her hands to
indicate her rings)
... and then -- I do not know.
You mean you haven't any money at
That is it.
Not even enough for your ticket?
She shakes her head no, raises her eyebrows a little,
and her calmness is almost insolence.
Surely that is a small amount you
can afford to lend me.
But you're a pip.
She does not seem to understand him. He drinks again,
then leans forward.
Listen, you're going to look funny
riding the train like that. Suppose
I drive you in and I've got some
friends that'll put you up till you
get hold of some clothes you can go
She studies his face carefully.
If it is not too much trouble for you.
That's settled, then. Want to catch
a nap first?
He empties his glass and goes to the front door.
134 BRAZIL opens the door and makes a pretense of looking
out at the night. As he turns from the door he sees:
135 LUISE frowning at him, curious.
136 BRAZIL smiles, his voice mockingly apologetic:
I can't help it. They had me away
for a while in prison, I mean --
and it did that to me. I've got to
keep making sure I'm not locked in.
His smile becomes more twisted.
There's a name for it --
claustrophobia -- and that doesn't
make it any better.
I am sorry. Was it very long ago?
Plenty long ago when I went in but
only a few weeks ago that I got out.
That's what I came up here for --
to try to get myself straightened
out, see how I stood, what I wanted
And what? Have I found out where I
stand, what I want to do? I don't
know. I suppose I've just been
waiting for something to turn up,
something I could take as a sign
which way I was to go. Well, what
turned up was you. That's good
enough. I'll go along with you.
137 BRAZIL approaches Luise, leans down, lifts her to her
feet, and kisses her savagely. For a moment she is
motionless. Then she angrily squirms out of his arms
and strikes at his face. He catches her hand and
pushes it down carelessly.
Stop it. If you don't want to play,
you don't want to play, that's all.
That is exactly all.
No change in his face, none in his voice.
138 INT. HOUSE - LATER THAT NIGHT
The CLOCK reads after midnight.
139 LUISE and BRAZIL sit quietly, smoking.
That man -- your little friend's
father -- called me a strumpet. Do
people here talk very much about
You know how it is. The Robsons
have been the big landowners, the
local gentry, for generations, and
anything they do is big news.
Everybody knows everything they do
and so --
And what do they say about me?
The worst, of course. What do you
expect? They know him.
And what do you think?
She nods. Her eyes are intent on his.
I can't very well go around panning
people ... only I wonder why you
ever took up with him. You must've
seen him for the rat he is.
I did not altogether. And I was
stranded in a little Swiss village.
The telephone bell rings.
140 LUISE watches as Brazil rises and moves unhurriedly
into the bedroom. His unemotional voice comes out:
Hello? ... Yes, Evelyn ... Yes.
(a long pause)
Yes, all right, and thanks.
Brazil returns to the main room as unhurriedly as
he had left, but at the sight of him Luise half
141 BRAZIL's face is pasty, yellow, glistening with sweat
on forehead and temples, and the cigarette between
the fingers of his right hand is mashed and broken.
That was Evelyn. Her father's
justice of the peace. Conroy's got
a fractured skull -- dying. Robson
just phoned he's going down to swear
out a warrant. That damned
142 LUISE comes to him with her hands out.
But you are not to blame. They
You don't get it ...
143 BRAZIL turns away from her toward the front door,
This is what they sent me up for
the other time. It was a drunken
free-for-all in a roadhouse, with
bottles and everything, and a guy
died. I couldn't say they were
wrong in tying it on me.
He opens the door, makes his automatic pretense of
looking out, shuts the door, and moves back toward her.
144 BRAZIL AND LUISE
It was manslaughter that time.
They'll make it murder if this guy
dies. See? I'm on record as a
(puts a hand up to his chin)
Luise stands close to him and takes one of his hands.
No, no. It was an accident that his
head struck the fireplace. I can
tell them that. I can tell them
what brought it all about. They
He laughs with bitter amusement, and quotes Grant:
"The strumpet's word confirms the
She looks grave.
That's what they'll do to me. If he
dies I haven't got a chance. If he
doesn't, they'll hold me without
bail till they see how it's coming
out -- assault with intent to kill
or murder. What good'll your word
be? Robson's mistress leaving him
with me? Tell the truth and it'll
only make it worse. They've got me.
His eyes jerk around toward the door. Then he raises
his head with a rasping noise in his throat that
might be a laugh.
Let's get out of here. I'll go
screwy indoors tonight.
Yes. We will go.
She puts a hand on his shoulder, watching his face
with eyes half frightened, half pitying.
You'll need a coat.
He heads into the bedroom.
145 LUISE finds her slippers, puts on the right one, and
holds the left one out to Brazil as he returns.
Will you break off the heel?
146 BRAZIL drapes the overcoat he carries over Luise's
shoulders, takes the slipper from her, wrenches
off the heel with a turn of his wrist and hands it
back to her. He moves toward the front door and
147 LUISE puts her foot in the slipper, moves to the
front door, glances swiftly once around the room and
exits, closing the door behind her.
148 INT. BRAZIL'S AUTOMOBILE - EARLY NEXT MORNING
In the passenger seat, LUISE awakens and opens her
eyes, squinting in the daylight.
149 The auto's WINDOWS AND WINDSHIELD AND HOOD have been
rained on but the wipers are not in use. Beyond them
is a country road down which the auto (a coupe)
150 Without moving much, LUISE looks at:
151 BRAZIL who sits low and lax on the seat beside her,
one hand on the steering wheel, the other holding
a cigarette on his knee. His face is placid and there
is no weariness in it. His eyes are steady on the
Have I slept long?
He smiles at her.
An hour this time. Feel better?
He raises the hand holding the cigarette to switch
off the headlights.
152 LUISE sits up a little, yawning.
Yes. Will we be much longer?
153 BRAZIL AND LUISE
An hour or so.
He puts a hand in his pocket and offers her
cigarettes. She takes one, leans forward and uses
the electric lighter in the dashboard.
What will you do?
Hide out till I see what's what.
She glances sidewise at his placid face.
You too feel better.
He grins somewhat shamefacedly.
I lost my head back there, all
She pats the back of his hand once, gently.
We are going to those friends of
whom you spoke?
154 LUISE watches the road ahead with alarm as ...
155 ... a POLICE CAR with two uniformed policemen in it
comes toward them on the opposite side of the road.
156 LUISE looks sharply at:
157 BRAZIL whose face is expressionless.
158 LUISE screws her head around to follow ...
159 ... the POLICE CAR passing and disappearing
160 LUISE and BRAZIL
She touches his hand again, approvingly.
I'm all right outdoors. It's walls
that get me.
(off the police)
They didn't mean anything.
He lowers the window on his side and drops his
cigarette out. Fresh air blows in and Brazil breathes
Want to stop for coffee?
Had we better?
161 LUISE looks behind her to see ...
162 ... a black SEDAN overtaking them.
163 The sedan crowds Brazil's AUTOMOBILE to the edge of
the road in passing, and quickly shoots ahead,
traveling well over the speed limit.
164 LUISE watches the sedan pass and sees ...
165 ... four men in the SEDAN, one of whom looks back at
166 LUISE and BRAZIL
Maybe it'd be safer to get under
cover as soon as we can; but if
(staring at the sedan)
No. I too think we should hurry.
167 LUISE'S POV:
The SEDAN disappears around a bend in the road.
168 LUISE and BRAZIL
If the police should find you,
would -- would you fight?
I don't know. That's what's the
matter with me. I never know ahead
of time what I'll do.
There's no use worrying. I'll be
169 EXT. BRAZIL'S AUTO - DAY
The AUTO passes through a crossroads settlement of a
dozen houses ...
170 ... bumps over railroad tracks ...
171 ... and turns into a long straight stretch of road
paralleling the tracks.
172 LUISE'S POV:
Halfway down the level stretch, the SEDAN that had
passed them is parked on the edge of the road. A
policeman stands beside it -- between it and his
motorcycle -- and stolidly writes on a leaf of a
small book while the man at the sedan's wheel
talks and gestures excitedly.
173 INT. BRAZIL'S AUTO - CONTINUOUS
Luise and Brazil exchange relieved grins.
174 INT. BRAZIL'S AUTO - LATER
Brazil and Luise travel down a suburban street.
They -- your friends will not
dislike our coming to them like
No, they've been through things
Luise looks out her window at ...
175 ... the HOUSES along the suburban street: cheap and
176 LUISE'S POV as the car turns into a shabby city
street where grimy buildings with cards saying
"Flats to Let" in their windows stand among equally
grimy factories and warehouses.
177 EXT. BRAZIL'S AUTO
The car stops in front of a four-story red brick
building with broken brownstone steps.
178 INT. BRAZIL'S AUTO
Brazil and Luise regard the building.
This is it.
Luise stares at the building's unlovely face as Brazil
gets out and walks around the car, opening the door
on her side.
179 EXT. STREET
LUISE gets out. Her face is inscrutable as she sees ...
180 ... three dirty CHILDREN who stop playing with the
skeleton of an umbrella to stare at ...
181 ... LUISE as she goes with Brazil up the broken steps.
182 The street door opens when BRAZIL turns the knob,
letting them into ...
183 INT. BUILDING
... a stuffy HALLWAY where a dim light illuminates
stained wallpaper of a once-vivid design, ragged
carpet, and a worn brassbound staircase.
Luise goes up the stairs, Brazil behind her.
184 Facing the head of the stairs is a DOOR shiny with
new paint. Brazil and Luise stand at this door. Brazil
pushes the bell button four times -- long, short,
long, short. The bell rings noisily just inside the
door. After a moment of silence, vague rustling
noises come through the door, followed by a cautious
Brazil puts his head close to the door and keeps his
The fastenings of the door rattle. A small man of
about forty in crumpled pajamas and bare feet opens
the door, smiling.
Come in, kid. Come in.
His eyes appraise Luise from head to foot while he
steps back to make way for them. Brazil puts a hand
on Luise's arm and urges her forward.
Miss Fischer, this is Mr. Link.
Pleased to meet you.
Luise bows to him. Link shuts the door behind them.
185 INT. FLAT
FULL SHOT - Link slaps Brazil on the shoulder.
I'm glad to see you, kid. We were
wondering what had happened to you.
Come on in.
Link leads them into a living room. Articles of
clothing lie around, sheets of newspaper here and
there, a few not quite empty glasses and coffee cups,
and a great many cigarette stubs.
Link takes a vest off a chair and throws it across
the back of another.
Take off your things and set down,
Luise takes off her coat as ...
186 ... a blonde full-bodied WOMAN in her late twenties,
wearing a pink wrapper over a pink silk nightgown and
green mules decorated with yellow feathers, runs to
Brazil with wide arms, hugs him violently and kisses
him on the mouth.
My God, look who's here!
(puts his arms around her)
(turns to Luise)
Fan, this is Miss Fischer, Mrs. Link.
Fan goes to Luise with her hand out.
(shaking hands warmly)
Glad to know you. You look tired,
both of you. Sit down and I'll get
you some breakfast, and maybe
Donny'll get you a drink after he
covers up his nakedness.
You are very kind.
187 FAN AND BRAZIL
Been up all night?
(sitting on sofa)
Yes. Driving most of it.
Fan looks sharply at him.
Anything the matter you'd just as
lief tell me about?
That's what we came for.
Link, in bathrobe and slippers now, comes in with a
bottle of whiskey and some glasses.
The thing is, I slapped a guy down
last night and he didn't get up.
When you slap 'em, boy, they stay
(scowls at Link)
He cracked his head on the fireplace.
Well, there's no sense worrying
about it now. The thing to do is
get something in your stomachs and
get some rest. Come on, Donny, pry
yourself loose from some of that
You just sit still and I'll have
some breakfast in no time at all.
Fan hurries out of the room.
188 LINK, BRAZIL AND LUISE
Link pours whiskey. Link looks at Luise whenever
she's not looking at him.
Anybody see it?
Uh-huh -- the wrong people.
I want to hide out a while, Donny,
till I see how it's coming out.
This dump's yours.
LINK carries glasses of whiskey to Luise and Brazil.
189 BRAZIL empties his glass with a gulp.
190 LUISE AND LINK
Luise sips and coughs.
Want a chaser?
No, I thank you. This is very good.
I caught a little cold from the
She holds the glass in her hand, but does not drink
191 LINK, BRAZIL AND LUISE
I left my car out front. I ought to
I'll take care of that, kid.
And I'll want somebody to see
what's happening up Mile Valley way.
Harry Klaus is the mouthpiece for
you. I'll phone him.
And we both want some clothes.
First I must sell these rings.
192 LINK's eyes glisten at the sight of the rings. He
moistens his lips.
I know the --
That can wait a day. They're not
hot, Donny. You don't have to
Link seems disappointed.
193 LUISE AND LINK
But I have no money for clothes
We've got enough for that.
Link, watching Luise, addresses Brazil:
And you know I can always dig up
some for you, kid.
194 BRAZIL AND LINK
Brazil holds out his empty glass, Link pours.
Thanks. We'll see. Hide the car,
195 LINK, BRAZIL AND LUISE
Link goes to a telephone in an alcove and calls a
number. Brazil empties his glass and looks at Luise.
196 LUISE AND BRAZIL
Luise rises, goes over to him, takes the whiskey glass
out of his hand, and puts it on the table with her
own, which is still almost full.
Had enough trouble with drunks last
Luise returns to her chair.
197 LINK, BRAZIL AND LUISE
Luise and Brazil regard each other silently while, in
the background, Link speaks into the telephone.
Hello, Duke? ... Listen, this is
Donny. There's a ride standing
outside my joint. Will you stash it
for me? ... Yes, right out front
... Better switch the plates too.
... Yes, right away, will you? ...
Link hangs up the receiver and turns back to the
Fan's voice calls from elsewhere in the flat.
Link goes out.
198 BRAZIL AND LUISE
Brazil leans toward Luise and speaks in a low voice.
She puts her face close to his.
Don't give him the rings.
She stares at him in surprise.
He'll gyp you to hell and gone.
You mean he will cheat me?
Brazil nods, grinning.
But you say he is your friend. You
are trusting him now.
He's okay on a deal like this. He'd
never turn anybody up. But dough's
different. Anyhow, even if he didn't
trim you, anybody he sold them to
would think they were stolen and
wouldn't give half of what they're
Then he is a ...?
A crook. We were cellmates a while.
I do not like this.
In the b.g., Fan comes to the door, smiling.
Breakfast is served.
199 DINING ROOM - LATER
Brazil, Luise and Link sit at a table, eating. Fan is absent.
Now, for instance, you take the
case of Shuffling Ben Devlin. You
remember Ben? He was in the
carpenter shop. Remember? The big
guy with the gam?
Well, Ben was in a place called
Finehaven once and--
He was in a place called the pen
when we knew him.
Sure, that's what I'm telling you.
It was all on account of Ben thought
he wouldn't need no getaway stake.
That's why I say, if you're gonna
sell them rings, I can--
That can wait. We've got enough to
go on a while.
Maybe, but it's just as well to
have a getaway stake ready in case
you need it all of a sudden. And
you can't have too big a one.
Fan comes in.
Got you a hot bath ready and fixed
your bed, 'cause I know you're all
in and'll be ready to fall over as
soon as you're done. Everything's
ready whenever you are.
Luise puts down her coffee cup and rises.
It is a lovely breakfast but I am
too tired to eat much.
Link watches Luise as she and Fan exit. Brazil
sits silently, looking at his food. After a moment,
Link looks over at Brazil and, as if imparting one of
the Darkest Secrets of the Known Universe, says:
Shuffling Ben Devlin.
Brazil gives him a look. Link nods. Brazil rolls his
200 BEDROOM - in the rear of the flat. A wide wooden bed
with smooth white covers turned down. A white
nightgown and a red wrapper lie on the bed. On the
floor: a pair of slippers. Fan and Luise stand in
If there's anything else you need,
just sing out. The bathroom's just
across the hall and I turned the
Thank you, you are very kind. I am
imposing on you most.
Fan pats her shoulder.
No friend of Brazil's can ever
impose on me, darling. Now, you get
your bath and a good sleep, and if
there's anything you want, yell.
She goes out and shuts the door. Luise, standing just
inside the door, looks slowly, carefully around the
cheaply furnished room, and then, going to the side
of the bed, begins to take off her clothes.
201 LUISE, wearing the red wrapper and the slippers and
carrying the nightgown over her arm, crosses the
hallway to the bathroom.
202 The BATHROOM - warm with steam. Luise runs cold water
into the tub while she takes the bandages off her
knee and ankle.
203 LUISE in the tub, eyes closed.
204 After bathing, LUISE finds fresh bandages in the
cabinet over the basin.
205 LUISE rewraps her knee (but not her ankle).
206 LUISE, wearing nightgown, wrapper, and slippers,
returns to the bedroom. As she enters, she pauses at
the sight of:
207 BRAZIL, standing with his back to her, looking out a
window. He does not turn around. Smoke from his
cigarette drifts back past his head.
208 LUISE shuts the door slowly and leans against it, the
faintest of contemptuous smiles curving her mobile
209 BRAZIL does not move.
210 LUISE goes slowly to the bed and sits on the side
farthest from him. She does not look at him but at a
picture of a horse on the wall. Her face is proud and
I am what I am, but I pay my debts.
I brought this trouble to you. Well,
now, if you can find any use for
211 BRAZIL turns from the window without haste. His eyes
and face are expressionless.
He rubs the fire of his cigarette out in an ashtray
on the dressing table and comes around the bed to
212 BRAZIL AND LUISE
She stands up straight and tall, awaiting him. He
stands close to her for a moment, looking at her with
eyes that weigh her beauty as impersonally as if she
were inanimate. Then he pushes her head back rudely
and kisses her. She makes neither sound nor movement
of her own, submitting completely to his caress, and
when he releases her and steps back, her face is as
unaffected, as mask-like, as his. He shakes his head
No, you're no good at your job.
She laughs softly and falls into his arms. He kisses
her mouth and cheeks and eyes and forehead.
213 LINK opens the door and comes in. He leers knowingly
214 ... BRAZIL and LUISE as they step apart.
215 LINK grins.
I just phoned Klaus. He'll be over
in a few minutes.
Link, still leering, withdraws, shutting the door.
216 BRAZIL AND LUISE
Who is this Klaus?
I guess he's our best bet, though
I've heard things about him that--
When you're in a jam you have to
take your chances. And the best you
can expect is the worst of it.
She takes his hand.
Let us go away from here. I do not
like these people. I do not trust
His face clears and he puts an arm around her again,
but turns his attention to the door when the
doorbell rings beyond it. They freeze up.
Who is it?
The answer cannot be heard.
(a little louder)
A long pause.
217 At the DOOR, a creaking floorboard breaks the silence
just outside the bedroom door. Link opens the door,
his pinched face a caricature of alertness.
Bulls. Take the window.
218 BRAZIL AND LUISE
Luise pushes Brazil toward the window.
Go! I will be all right.
219 Link joins them as ALL THREE move to the window.
Sure. Me and Fan'll take care of
her. Beat it, kid, and slip us the
word when you can. Got enough
Brazil stops to kiss Luise.
220 BRAZIL, as phlegmatic as ever, is at the window.
Be seeing you.
He pushes up the window. His foot is over the sill by
the time the window is completely raised. His other
foot follows the first immediately, and, turning on
his chest, he lowers himself, grinning cheerfully at
Luise for an instant before he drops out of sight.
221 LUISE runs to the window and looks down at...
222 ... BRAZIL rising from among weeds in the unkempt
back yard. His head turns quickly from right to left.
Moving with a swiftness that seems mere unhesitancy,
he goes to the left-hand fence, up it, and over into
the next-door yard.
223 LINK AND LUISE
Link takes her arm and pulls her from the window.
Stay away from there. You'll tip
his mitt. He's all right, though
Christ help the copper he runs into
-- if they're close.
Something heavy pounds on the flat's front door. A
heavy, authoritative voice comes through:
Link sneers in the general direction of the front door.
I guess I better let 'em in or
they'll be making toothpicks of my
Luise stares at him with blank eyes. He seems to be
enjoying the situation. He looks at her, looks at
the floor and at her again.
Look -- I love the guy. I love him!
The pounding on the front door becomes louder.
I guess I better.
Link goes out.
224 Through the open window comes the sound of a shot.
LUISE runs to the window and, hands on sill, leans
far out. She sees:
225 Fifty feet to the left, on the top of a fence that
divides the long row of back yards from the alley
behind, BRAZIL, poised, crouching. Another shot
sounds and Brazil falls down out of sight into the
alley behind the fence.
226 LUISE catches her breath with a sob. The pounding on
the flat's front door suddenly stops.
227 LUISE draws her head in through the window. She takes
her hands from the sill. Her face is an automaton's.
She pulls the window down without seeming conscious
of what she's doing.
228 A tired-faced HUGE MAN in wrinkled clothes appears in
the doorway and sees ...
229 ... LUISE standing in the center of the room, looking
critically at her fingernails.
230 The HUGE MAN eyes LUISE.
Where's he at?
She looks up at him with the same expression she uses
on her fingernails.
He moves to a closet door, opens it.
You the Fischer woman?
He shuts the door and moves toward the window,
looking around the room, not at her, with little
I am Luise Fischer.
231 The HUGE MAN raises the window and leans out, calling
to someone below.
How's it, Tom?
Whatever answer he receives is inaudible in the room.
232 The HUGE MAN turns and moves uncomfortably close to
I ain't had breakfast yet.
They regard one another unflinchingly throughout the
Link's voice comes through the doorway from another
part of the flat:
I tell you I don't know where he's
gone to. He just dropped the dame
here and hightailed. He didn't tell
me nothing. He --
A METALLIC VOICE (o.s.)
I bet you!
The sound of a blow.
If I did know I wouldn't tell you,
you big crum! Now sock me again.
METALLIC VOICE (o.s.)
If that's what you want.
The sound of another blow.
(shrill with anger)
Stop that, you --
233 The HUGE MAN goes to the bedroom door and calls
toward the front of the flat:
Never mind, Ray.
234 The HUGE MAN re-joins LUISE.
Get some clothes on.
They want you back in Mile Valley.
I don't know. This ain't my job.
We're just picking you up for them.
Something about some rings that
belonged to a guy's mother and
disappeared from the house the
same time you did.
She holds up her hands and stares at the rings.
But they didn't. He bought them
for me in Paris and --
Well, don't argue with me about it.
It's none of my business. Where was
this fellow Brazil meaning to go
when he left here?
I do not know.
Nobody ever does.
Is he --?
Get your clothes on. Better let me
take care of the junk.
He holds his hand out. She hesitates, then slips the
rings from her fingers and drops them into his hand.
Shake it up. I ain't had breakfast
He goes out and shuts the door.
235 Alone, LUISE kicks off her slippers and strips off
her nightgown and wrapper, revealing her pale body.
She dresses hurriedly in the clothes she had taken
off a short while before, save for the one stocking
she had worn down from Brazil's house.
236 Fully dressed, she goes quietly, with a backward
glance at the closed door, to the window, and begins
slowly, cautiously, to raise the sash. She turns in
time to see...
237 ... the tired-faced HUGE MAN opening the door.
238 LUISE stares at him.
239 The HUGE MAN stares back.
Good thing I was peeping through
the keyhole. Now come on.
240 LUISE glares at him contemptuously.
241 FAN comes into the room behind the HUGE MAN.
What're you picking on her for?
She didn't do anything. Why don't
Stop it, stop it. I'm only a copper
told to bring her in on a larceny
charge. I got nothing to do with
it, don't know anything about it.
242 LUISE joins FAN and the HUGE MAN.
It is all right, Mrs. Link. It will
be all right.
But you can't go like that.
(to the huge man)
You got to let her put on some
(sighs and nods)
Anything, if you'll only hurry it
up and stop arguing with me.
Fan hurries out.
243 LUISE and the HUGE MAN.
Brazil too is charged with larceny?
Maybe one thing, maybe another.
He has done nothing.
Well, I haven't neither.
FAN comes in with some clothes, a blue suit and hat,
dark slippers, stockings, and a white blouse. The HUGE
MAN looks them over.
Just keep the door open.
He goes out of the room and stands leaning against an
opposite wall, where he can see the windows in the
PAN OVER TO:
244 A CORNER OF THE ROOM hidden from the HUGE MAN, where
LUISE changes her clothes, with FAN's assistance.
Did they catch him?
I do not know.
I don't think they did.
I hope they did not.
245 FAN kneels in front of LUISE, putting on her
Don't let them make you talk till
you've seen Harry Klaus. You tell
them he's your lawyer and you got
to see him first. We'll send him
down and he'll get you out all
(looks up abruptly)
You didn't cop them, did you?
246 LUISE looks surprised.
Steal the rings?
247 FAN grins.
I didn't think so. So you won't
have to --
HUGE MAN (o.s.)
Come on -- cut out the barbering
and get into the duds.
Go take a run at yourself, you fat
248 LUISE carries her borrowed hat to the bedroom mirror
and puts it on; then, smoothing down the suit, looks
at her reflection. The clothes do not fit her so badly
as might have been expected. FAN joins her.
You look swell.
HUGE MAN (o.s.)
Luise turns to Fan.
Goodbye, and I--
Fan puts her arms around Luise.
There's nothing to say, and you'll
be back here in a couple of hours.
Harry'll show those saps they can't
put anything like this on you.
Fan steers Luise toward the door.
249 LUISE joins the HUGE MAN and they walk together
toward the front of the flat.
250 As LUISE and the HUGE MAN pass the living-room door,
LINK, rising from the sofa, calls cheerfully.
Don't let them worry you, baby.
A tall man in brown puts a hand over Link's face and
pushes him back on the sofa.
251 EXT. STREET
LUISE and the HUGE MAN exit the building.
252 LUISE'S POV
A police department automobile stands in front of the
building where Brazil had left his coup. A dozen or
more adults and children stand around it, solemnly
watching Luise. A uniformed POLICEMAN pushes some of
them aside to make passageway for her and the huge
253 LUISE maintains her dignity as she gets into the car.
254 The HUGE MAN and the POLICEMAN get into the car
(calls to the driver)
Let her go, Tom.
The car drives off.
255 INT. POLICE CAR - HUGE MAN AND LUISE
The HUGE MAN shut his eyes and groans softly.
God, I'm schwach!
LUISE gives him a look, then stares out the window.
256 EXT./INT. POLICE STATION - MINUTES LATER
The car halts in front of a square red brick building
on a corner. The HUGE MAN helps LUISE out of the
automobile and takes her between two large frosted
globes into the building ...
257 ... and into a room where a fat BALD MAN in uniform
sits behind a high desk.
It's that Luise Fischer for Mile
He takes a hand from a pocket and tosses her rings on
That's the stuff, I guess.
Nice picking. Get the guy?
Hospital, I guess.
Luise turns to him.
Was he -- was he badly hurt?
I don't know about it. Can't I guess?
(calls to jailer)
LUKE, a thin, white-mustached policeman, comes in.
Put her in the royal suite.
258 LUISE stands her ground.
I wish to see my lawyer.
259 The THREE MEN look unblinkingly at her.
260 LUISE is just as unblinking.
His name is Harry Klaus. I wish to
261 The THREE MEN show no emotion.
(pleasantly, to Luise)
Come back this way.
262 LUISE follows LUKE down a bare corridor to the far
end, where he opens a door and stands aside for her to
263 The SMALL ROOM into which the door opens - furnished
with cot, table, two chairs, and some magazines. Also,
a large window fitted with a heavy wire grating.
In the center of the room, LUISE turns to LUKE.
I wish to see my lawyer.
Without haste, LUKE shuts the door on her and locks
264 THE SMALL ROOM - TWO HOURS LATER
LUISE lies on the cot, slippers off, staring at the
ceiling. As the door unlocks and opens, she sits up.
265 LUKE enters with tray: a bowl of soup, some cold meat
and a slice of bread on a plate, and a cup of coffee.
I wish to see my --
Don't start that again. We got
nothing to do with you. Tell it to
them Mile Valley fellows when they
come for you.
He puts the food on the table and leaves. LUISE slides
into a chair and, after a pause, begins to eat
266 CLOSE - LUISE'S TRAY - She's eaten everything.
267 THE SMALL ROOM - LATE AFTERNOON
LUKE opens the door.
There you are.
Luke stands aside to let two PLAINCLOTHESMEN enter.
Both wear dull clothes, one thick-chested and florid,
the other less heavy, older. The thick-chested,
florid one grins admiringly at ...
268 ... LUISE, who does not grin back.
OLD PLAINCLOTHESMAN (o.s.)
We want you to come back to the
Valley with us, Miss Fischer.
She rises from her chair and begins to put on her hat
OLD PLAINCLOTHESMAN (o.s.)
That's it. Don't give us no trouble
and we don't give you none.
She looks curiously at them.
269 INT. PLAINCLOTHESMENS' CAR - DAY
The thick-chested man drives. Luise Fischer sits
behind him, beside the older man. They retrace the
route she and Brazil took that morning.
I wish to see my lawyer. His name
is Harry Klaus.
The older man beside her chews gum, making noises
with his lips.
We can't stop now.
Without turning his head, the driver addresses Luise.
How come Brazil socked him?
It was not his fault. He was--
The older man, addressing the man at the wheel,
Let it alone, Pete. Let the D.A. do
his own work.
270 LUISE turns to the OLD PLAINCLOTHESMAN beside her.
Was -- was Brazil hurt?
He studies her face for a long moment, then nods
Stopped a slug, I hear.
He was shot?
He nods again. She puts both hands on his forearm.
He shakes his head.
I don't know.
Her fingers dig into his arm.
Did they arrest him?
I can't tell you, miss. Maybe the
District Attorney wouldn't like me
He smacks his lips over his gum-chewing.
But, please. I must know.
He shakes his head again.
We ain't worrying you with a lot of
questions. Don't be worrying us.
He blows a huge, goofy-looking bubble.
271 INT./EXT. PLAINCLOTHESMENS' CAR - NIGHT
CLOSE - the dial on the dashboard: it's nearly nine
o'clock and quite dark.
272 LUISE awakens and stares out the window as ...
273 ... the CAR passes a large square building whose
illuminated sign says: "Mile Valley Lumber Co." and
turns in to what is definitely a town street, though
its irregularly spaced houses are not many.
274 LUISE stares glumly out the window.
275 The CAR comes to rest at the curb in front of a gray
court house. The driver gets out. The older man holds
the door open for Luise.
276 INT. COURT HOUSE
A ground-floor room in the gray building. Three men
in the room: A sad-faced desk man. A pasty-faced
young man, straddling a chair. And a third man, not
far past thirty, flashily dressed, who stands with his
back to the window.
So the traveling salesman asked
the farmer if he could put him up
for the night and --
277 LUISE and the PLAINCLOTHESMEN come in.
278 The third man advances swiftly toward Luise,
showing white teeth in a smile.
I'm Harry Klaus. They wouldn't let
me see you down there, so I comes
on up to wait for you.
(rapidly and with assurance)
Don't worry. I've got everything fixed.
The PLAINCLOTHESMEN look at Klaus with obvious
disapproval. Klaus smiles again with complete assurance.
(to the plainclothesmen)
You know she's not going to tell
you anything at all till we've
talked it over, don't you? Well,
what the hell, then?
All right, all right.
(to the plainclothesmen)
If Tuft's Office is empty, let 'em
Klaus picks up a brown briefcase from a chair, takes
Luise's elbow in his hand, and turns her to follow the
279 The THICK PLAINCLOTHESMAN leads KLAUS and LUISE down
the corridor a few feet to an office similar to the
one they've just left. He does not go in with them.
Come on back when you're finished.
When they've gone in, he slams the door.
280 KLAUS AND LUISE
Klaus jerks his head at the door.
A lot of whittlers. We'll stand them
on their heads.
He tosses his briefcase on the desk.
Brazil? He is -- ?
His shrug lifts his shoulders almost to his ears.
I don't know. Can't get anything
out of these people.
Then he got away.
Do you think he did?
He shrugs his shoulders again.
We can always hope.
But one of those policemen told me
he had been shot and --
That don't have to mean anything
but that they hope they hit him.
He puts his hands on her shoulders and pushes her
down into a chair.
281 KLAUS AND LUISE
He draws another chair up close to hers and sits in
There's no use of worrying about
Brazil till we know whether we've
got anything to worry about. Let's
worry about you now. I want the
works -- no song and dance -- just
what happened the way it happened.
She draws her brows together in a puzzled frown.
But you told me everything --
I told you everything was all
fixed, and it is.
(pats her knee)
I've got the bail all fixed so you
can walk out of here as soon as
they get through asking you
questions. But we've got to decide
what kind of answers you're going
to give them.
You want to help Brazil, don't you?
That's the stuff.
He pats her knee again, and his hand remains on it.
Now, give me everything, from the
You mean from when I first met Kane
He nods. She crosses her knees, dislodging his hand.
She stares at the opposite wall as if not seeing it.
Neither of us did anything wrong. It
is not right that we should suffer.
Don't worry. I'll get the pair of
you out of it.
He offers her cigarettes in a shiny case. She takes a
cigarette, leans forward to hold its end to the flame
from his lighter.
I will not have to stay here
I don't think so. It oughtn't to
take them more than an hour to
He drops his hand to her knee.
... and the sooner we get through
here, the sooner you'll be through
She takes a deep breath and sits back in her chair.
There is not a lot to say. I met
him in a little place in
Switzerland. I was without any
money at all, any friends. He liked
me and he was rich.
(gestures with the cigarette)
So I said yes.
Klaus nods sympathetically and his fingers move on
He bought me clothes, those jewels,
in Paris. They were not his mother's
and he gave them to me.
Klaus nods again and his fingers move again on her
He brought me over here then
Luise casually puts the burning end of her cigarette
on the back of Klaus' hand.
... I stayed at his --
Klaus snatches his hand from her knee to his mouth
and starts sucking the back of his hand.
(muffled by the hand
to his mouth)
What's the matter with you?!
He lowers the hand and looks at the burn.
If there's something you don't
like, you can say so, can't you?!
I no speak Inglis good.
I stayed at his house for two weeks
-- not quite two weeks -- until --
(talking over her)
If it wasn't for Brazil, you could
take your troubles to another
... until last night, when I could
stand him no longer. We quarreled
and I left. I left just as I was,
in evening clothes, with ...
282 INT. COURT HOUSE - MINUTES LATER
LUISE'S POV: On a desk, a TELEPHONE rings. KLAUS goes
to the desk and speaks into the phone.
Hello? ... Yes ... Just a couple
of minutes more ... That's right.
(hangs up, turns)
They're getting impatient.
283 LUISE rises from her chair.
I have finished. Then the police
came and he escaped through the
window and they arrested me about
Did you do any talking after they
(shakes her head)
They would not let me. Nobody would
listen to me. Nobody cared.
Luise looks off with unseeing eyes.
284 EXT. COURT HOUSE - LATER THAT EVENING
LUISE AND KLAUS leave the building. A YOUNG MAN in
blue clothes that needs pressing comes up to them. He
takes off his hat and tucks it under an arm.
Mith Fither, I'm from the Mile
Valley Potht. Can you -- ?
There's nothing now. Look me up at
the hotel in the morning and I'll
give you a statement.
He hands the reporter a card and clears his throat.
We're hunting food now. Maybe
you'll tell us where to find it --
and join us.
The young man's face flushes. He looks at the card
in his hand and then up at the lawyer.
Thank you, Mithter Klauth, I'll be
glad to. The Tavern'th jutht around
the corner. It'th the only plathe
that'th any good that'th open now.
My name'th George Dunne.
Glad to know you.
Luise nods and smiles, and they go down the street.
285 EXT. STREET - LUISE, KLAUS AND YOUNG MAN
How's Conroy? Still unconscious?
He hathn't come to yet. They don't
know yet how bad it ith.
Where is he?
Thtill at Robthon'th. They're
afraid to move him.
They turn a corner.
Any news of Brazil?
I thought you'd know.
What -- whatever there wath to know.
Thith ith it.
The young man leads them into a white-tiled
286 INT. RESTAURANT
By the time they are seated at a table, the dozen or
more people at the counter and tables are staring at
Luise and whispering among themselves.
287 LUISE, sitting in a chair the young man pulls out for
her, taking one of the menus from the rack on the
table, seems neither disturbed by nor conscious of
anyone's interest in her.
I am very hungry.
288 As they sit, KLAUS and the YOUNG MAN look at LUISE,
each other, and their menus.
289 A PLUMP MAN with a beard, sitting three tables away,
catches the young man's eye and beckons with a jerk
of his head.
290 The YOUNG MAN rises.
Pardon me -- it'th my both.
He goes over to the plump man's table.
291 KLAUS AND LUISE
Klaus watches the young man go.
He's a nice boy.
We must telephone the Links. They
have surely heard from Brazil.
You can't trust these county-seat
Have to wait till tomorrow. It's
He looks at his watch and yawns.
Play this kid. Maybe he knows
Klaus inspects his menu as Luise stares at him.
292 THE THREE
The YOUNG MAN comes back to them. His face is flushed
and he seems embarrassed.
The young man shakes his head violently.
A waiter comes to their table.
Soup, onion. Steak, medium. Mashed
potatoes, asparagus, the house salad,
cheese ... and coffee.
Scrambled eggs ... and coffee.
Apple pie ... and, uh, milk.
The young man glances at his tablemates sheepishly.
When the waiter steps back from the table, the young
man's eyes open wide.
293 LUISE turns her head to follow the young man's gaze.
294 FRONT DOOR
Kane Robson enters the restaurant with two men. One
of them -- a fat, pale man --- smiles and raises his
295 LUISE, without removing her gaze from Robson,
addresses KLAUS in a low voice:
Klaus does not turn his head.
That's all right.
Klaus holds his cigarette case out to her. Still
staring at Robson, she takes a cigarette.
296 LUISE'S POV: ROBSON - When he sees Luise, he raises
his hat and bows. Then he says something to his
companions and, leaving them, comes toward her. His
297 Luise is smoking by the time he reaches THE TABLE.
He sits in the empty chair facing her across the
table. He turns his head to the young man for an
This is Mr. Klaus. Mr. Robson.
Robson does not look at Klaus.
Get your bail fixed up all right?
As you see.
I meant to leave word that I'd put
it up if you couldn't get it
anywhere else, but I forgot.
There is a moment of silence.
I shall send for my clothes in the
morning. Will you have Ito pack
You didn't have a stitch besides
what you had on when I picked you
up. Let your new man buy you new
The young man blushes and looks at the tablecloth in
embarrassment. Klaus's face is, except for the
brightness of his eyes, expressionless.
Your friends will miss you if you
stay away too long.
Let them. I want to talk to you,
(impatiently, to the others)
Why don't you two go play in a
The young man jumps from his chair, stammering.
Th-thertainly, Mr. Robthon.
Klaus looks questioningly at Luise. Her nod is barely
perceptible. He rises and leaves the table with the
298 LUISE AND ROBSON.
Robson slides into a chair next to Luise.
Come back with me and I'll call off
all this foolishness about the rings.
You want me back, knowing I despise
I can get fun out of even that.
She narrows her eyes, studying his face.
I am told Mr. Conroy is still
(nods, with wry malice)
Yeah. He's in a bedroom at my place.
And he's not dying fast enough.
You hate him?
I don't hate him -- I don't love
him. You and he were too fond of
each other. I won't have any male
and female parasites mixing like
So. Then suppose I go back with
I explain to these people that it
was all a mistake about the rings,
that you really thought I had given
them to you. That's all.
He watches her closely.
There's no bargaining about your
boyfriend, Brazil. He takes what he
Her face shows nothing of what she might be thinking.
She leans a little toward him.
If you were as dangerous as you
think you are, I would be afraid to
go back with you -- I would rather
go to prison. But I am not afraid
of you. You should know by this
time that you will never hurt me
very much, that I can take very
good care of myself.
Maybe you've got something to learn.
Then, recovering his consciously matter-of-fact tone:
Well, what's the answer?
I am not a fool. I have no money, no
friends who can help me. You have
both, and I am not afraid of you. I
try to do what is best for myself.
First I try to get out of this
trouble without you. If I cannot,
then I come back to you.
If I'll have you.
She shrugs her shoulders.
Yes, certainly that.
They stare at each other for a long moment.
299 INT. LINKS' FLAT - LATE NEXT MORNING - DAY
Fan opens the door to reveal Luise and Klaus. She
puts her arms around Luise.
See, I told you Harry would get you
out all right.
You didn't let them hold her all
No, but we had a late dinner and
missed the last train and had to
stay at the hotel.
They go into:
300 THE LIVING ROOM
Evelyn Grant rises from the sofa. She comes to Luise.
It's my fault. It's all my fault!
Her already red and swollen eyes begin to cry again.
Brazil had told me about this place
-- and I thought he'd come here and
I tried to phone him and Papa caught
me and told the police. And I only
wanted to help him --
Link snarls from the doorway:
Shut up. Stop it. Pipe down.
She's been doing this for an hour.
She's got me screwy.
Fan takes Evelyn to the sofa and soothes her.
Lay off the kid. She feels bad.
She ought to.
(smiles at Luise)
Hello, baby. Everything okay?
How do you do? I think it is.
Link looks at her hands.
Where's the rings?
We had to leave them up there.
I told you! I told you you'd ought
to let me sold them.
Can you beat that?
Klaus says nothing.
Have you heard from -- ?
Yep. He's okay.
Link glances over his shoulder at the girl on the
sofa, then speaks rapidly in a low voice.
He's at the Hilltop Sanatorium,
outside of town -- supposed to
have D.T.'s. You know he got plugged
in the side. He's okay, though --
Doc Barry'll keep him under cover
and fix him up good as new. He --
301 LUISE's eyes grow large. She puts a hand to her throat.
But he -- Dr. Ralph Barry?
302 LUISE, LINK AND KLAUS
Link wags his head up and down.
Yes. He's a good guy. He'll --
But he is a friend of Kane Robson's!
I met him there, at Robson's house.
(turns to Klaus)
He was with him in the restaurant
last night, the fat one.
The men stare at her. She grabs Klaus's arm and shakes
That is why he was there last night
-- to see Kane -- to ask him what
he should do.
303 LIVING ROOM - FULL SHOT
Fan and Evelyn have risen from the sofa and listen.
Aw, maybe it's okay. Doc's a good
guy. I don't think he --
Cut it out! This is serious --
No chance of a mistake on this?
Evelyn thrusts herself between the two men to confront
Luise. She is crying again, but angry now.
Why did you have to get him into
all this? Why did you have to come
to him with your troubles? It's
your fault that they'll put him in
prison -- and he'll go crazy in
prison! If it hadn't been for you,
none of this would have happened.
304 LINK AND EVELYN
Link touches Evelyn's shoulder.
I think I'll take a sock at you.
She cringes away from him.
305 KLAUS, LUISE AND LINK
Didn't Robson say anything to you
about it last night?
She shakes her head.
Well, listen. We got to get him out
of there. It don't --
(with heavy sarcasm)
That's easy. If this Dr. Barry is
hooked up with Robson then
whatever's going to happen to
Brazil has happened already. We've
got to find out. Can you get to
Then go. Wise him up -- find out
what the layout is.
And I am coming with you.
Link looks at Luise and then at Klaus who shrugs.
306 EXT. SANITORIUM
Link and Luise walk from a parked sedan in front of
a white building and under a black-and-gold sign
that says "Hilltop Sanatorium" ...
307 INT. SANITORIUM
Link and Luise approach a nurse at a desk.
We want to see Mr. Lee. He's
The nurse moistens her lips nervously.
It's two hundred and three, right
near the head of the stairs.
307 SANITORIUM - SECOND FLOOR
Link and Luise emerge from a dark flight of stairs to
the second floor.
This is it.
He opens a door without knocking and waves Luise
308 BRAZIL'S ROOM
Besides Brazil, lying in bed, his face a sickly
pale-yellow, there are two men in the room. One of
them is the huge man who had arrested Luise.
I oughtn't to let you people see
309 BRAZIL half rises in bed and stretches a hand out
310 LUISE goes around the huge man to the bed and takes
Oh, I'm sorry -- sorry.
Brazil grins without pleasure.
Hard luck, all right.
She leans over and kisses him.
HUGE MAN (o.s.)
Come on, now. You got to get out.
I'm liable to catch hell for this.
311 LINK takes a step toward the bed.
Listen, Brazil. Is there -- ?
The HUGE MAN puts out a hand and wearily pushes Link
Go 'way. There's nothing for you to
hang around here for.
312 BRAZIL AND LUISE
The huge man puts a hand on Luise's shoulder.
HUGE MAN (o.s.)
Go ahead, please, will you? Say
goodbye to him now -- and maybe you
can see him afterwards.
She kisses Brazil again and stands up.
Look after her, will you, Donny?
313 LINK AND THE HUGE MAN
And don't let them worry you. I'll
send Harry over to see you and --
Is this going to keep you all day?
The huge man takes Luise's arm and puts her and Link
314 EXT. SANITORIUM
Luise and Link walk in silence down to the sedan, and
315 INT. SEDAN
Luise and Link sit silently for a moment.
Will you kindly lend me ten dollars?
Link feels in his pants pocket, and gives her two
I wish to go to the railroad station.
I want to go to the railroad station.
316 EXT. RAILROAD STATION
Link's sedan halts in front of the station.
317 INT. SEDAN
Link looks at Luise curiously.
Thank you very much. Do not wait for
me. I will come over later.
Luise gets out.
318 EXT. RAILROAD STATION
Luise walks into the station as the sedan pulls away.
319 INT. RAILROAD STATION
Luise approaches a newsstand and buys a package of
320 LUISE enters a telephone booth, picks up the phone
and deposits the necessary coin.
Long distance, please. Mile Valley.
She shuts the door to the booth.
321 After a moment, LUISE speaks into the phone.
Hello, Ito? ... Is Mr. Robson
there? This is Frulein Fischer. ...
Hello, Kane ... Well, you have won.
You might have saved yourself the
delay if you had told me last night
what you knew.... Yes ... Yes, I am.
She puts the receiver on its prong and stares at it
for a long moment. Then she leaves the booth.
322 LUISE at the ticket window.
A ticket to Mile Valley -- one-way
323 INT. ROBSON'S HOUSE - NIGHT
THE LIVING ROOM
A wide, high-ceilinged room with Jacobean furniture.
Somewhere in the house a clock strikes midnight.
Kane Robson sprawls comfortably in a deep chair. At
his elbow: a small table with a crystal-and-silver
coffee service, a crystal-and-silver decanter --
half full -- some glasses, cigarettes, and an
ashtray. His eyes glitter in the light from a
324 Ten feet away, partly facing him, partly facing the
fireplace, LUISE sits, more erectly, in a smaller
chair. She wears a pale negligee and pale slippers.
A distant window reveals the night sky.
325 ROBSON waits for the clock to stop striking.
And you are making a great mistake,
my dear, in being too sure of
326 LUISE yawns.
I slept very little last night. I am
too sleepy to be frightened.
327 ROBSON rises, grinning at her.
I didn't get any either. Shall we
take a look at the invalid before
we turn in?
326 A NURSE -- a scrawny middle-aged woman in white --
comes into the room, panting.
Mr. Robson! Mr. Robson! It's Mr.
Conroy. He's recovering consciousness.
327 ROBSON's mouth tightens, and his eyes, after a
momentary flickering, became steady.
328 LUISE watches Robson with concern.
329 ROBSON and the NURSE
Phone Dr. Blake. He'll want to know
The nurse nods and leaves. Robson turns to Luise.
I'll run up and stay with him till
she is through phoning.
330 LUISE rises.
I'll go with you.
331 ROBSON purses his lips.
I don't know. Maybe the excitement
of too many people -- the surprise
of seeing you back here again --
might not be good for him.
332 LUISE stares at Robson incredulously.
333 ROBSON starts out.
No. I think you'd better stay here.
334 LUISE lowers her brows.
I will not.
335 ROBSON pauses, thinks it over, shrugs.
He leaves the room.
336 LUISE, following, watches as ...
337 ... ROBSON walks briskly up the stairs.
338 Concerned, LUISE goes up the stairs behind Robson,
but not with his speed.
339 LUISE arrives at the sickroom doorway just in time to
340 ... the look of utter fear in CONROY's eyes, before
they close, as his bandaged head falls back on the
pillow. Robson, standing just inside the door, turns
Ah, he's passed out again.
Robson's eyes are unwary.
341 LUISE's eyes are probing.
342 LUISE AND ROBSON stand there and stare at each other
until ITO, the Japanese butler, comes to the door.
A Mr. Brazil to see Frulein Fischer.
343 Into ROBSON's face little by little comes the
expression of one considering a private joke.
Show Mr. Brazil into the living room.
Frulein Fischer will be down
immediately. Phone the deputy
344 ITO nods and leaves as ROBSON smiles at LUISE.
Luise says nothing.
The NURSE comes in.
Dr. Blake is out, but I left word.
345 LUISE and the NURSE
(to the nurse)
I do not think Mr. Conroy should be
The nurse looks at ...
346 ... ROBSON who, after a dark glance at Luise, nods
347 LUISE exits.
348 THE LIVING ROOM
Brazil stands in the center of the living room,
balancing himself on legs spread far apart. He holds
his left arm tight to his side, straight down. He
wears a dark overcoat buttoned high against his
throat. His face is a ghastly yellow mask in which
his eyes burn redly. He turns to see that he's being
watched by ...
She stands in the living room door, the stairs
in view behind her.
350 BRAZIL, advancing unsteadily.
They told me you'd come back. I had
to see it.
351 LUISE crosses her arms.
Do not be a fool. I --
She breaks off as the nurse passes the doorway.
Miss George, what are you doing?
352 The NURSE turns to Luise, innocently.
Mr. Robson said he thought I might
be able to reach Dr. Blake on the
phone at Mrs. Webber's.
353 A dark look crosses LUISE's face. She turns, pauses
to kick off her slippers, and runs up the steps on
stockinged feet. Halfway up, she looks down at ...
354 ... the NURSE and BRAZIL who stare up at her, confused.
355 LUISE continues up, seeing ...
356 ... the door to Conroy's room is shut.
357 LUISE approaches and flings it open. She sees ...
358 ROBSON leaning over CONROY. His hands are on Conroy's
bandaged head, holding it almost face down in the
359 LUISE gasps.
360 ROBSON's thumbs press the back of Conroy's skull. All
his weight seems to be on his thumbs. His face is
twisted, insane. His lips are wet. He looks up and
361 ... LUISE who turns and looks down the stairs at ...
362 ... BRAZIL and the NURSE who stand together at the
bottom of the stairs, puzzled.
363 LUISE screams:
364 THE SICKROOM
Luise flings herself at Robson and tries to pull him
away. He savagely kicks her.
365 LUISE falls to the floor but scrambles back, clawing
at Robson's legs. He's forced to let go of Conroy's
head. Luise turns her head and sees ...
366 ... BRAZIL who bursts into the room, lurching blindly,
his left arm tight to his side. He swings his right
fist and misses Robson's head by a foot.
367 ROBSON strikes Brazil twice in the face, to no effect.
368 The NURSE enters and tends to CONROY who tries to sit
up in bed, tears streaming down his face.
368 BRAZIL puts his right fist into Robson's belly. Luise's
grip on Robson's ankles keep him from recovering his
balance and he goes down heavily. Brazil goes down
with him but, unlike Robson, stays conscious.
369 BRAZIL and LUISE, both out of breath on the floor,
look at each other over Robson's unconscious body.
'S'okay. I enjoyed it.
Luise, unsmiling, looks up to see that ...
370 ... IN THE DOORWAY, Ito leads three PLAINCLOTHESMEN
from the sheriff's office into the room. The tallest
one looks at ...
371 ... the unconscious ROBSON. LUISE and BRAZIL look up
372 ... the TALL MAN who chuckles.
Well, well, well ... if it isn't Mr.
(to the other men)
There's our lad that don't like
hospitals. It's a good thing he
didn't escape from a gymnasium or
he might've hurt somebody.
371 LUISE AND BRAZIL
Brazil tenses up. He knows he's caught. Luise looks
372 2ND PLAINCLOTHESMEN, NURSE and CONROY
A 2nd Plainclothesman joins Conroy at bedside.
Hello, Conroy. Glad you're awake.
We could use a statement from you
before we lock up Brazil for good.
What did he do, come up here to
finish you off?
Conroy looks confused.
Brazil? It wasn't Brazil. It was
373 LUISE's eyes glitter.
374 BRAZIL's eyes search the floor, puzzled.
375 The 2ND PLAINCLOTHESMEN's eyes narrow.
Brazil didn't hit ya and knock you
into his fireplace?
376 CONROY thinks for a second.
Well, he did. But it was Robson ...
It was Robson who stumbled over a
piece of wood while he was helping
me back to the car ... and he hit
me over the head with it. I was too
drunk to stop him.
He said it was my fault you ran out
on him. Something about parasites
377 LUISE stares in disbelief.
378 2ND PLAINCLOTHESMAN AND CONROY
Will you put that in a statement?
The 2nd Plainclothesman moves off.
Son of a bitch.
379 LUISE has BRAZIL sitting up on the floor with his
back to a wall, wiping his face with her handkerchief.
He opens one eye to Luise.
The guy was screwy, wasn't he?
She puts an arm around him and laughs with a cooing
sound in her throat.
All men are.
She glances down at Robson as she pulls at her fingers,
taking off her rings. With a look of triumph, she
places them ...
380 ... ON THE FLOOR beside Robson's left foot. We hold on
this image for a moment before we ...