Woman in the Dark


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 
	the road. 

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 
	the hill. 

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 
	the door. 

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 
	table. 

17	She forces the door shut and leans against it.

				WOMAN
		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.

				MAN
		It's all right. I'll be through in a 
		minute.

	He does not rise from his chair. The edge of the 
	knife in his hand rasps inside the brier bowl of his 
	pipe.

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.

				WOMAN
		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: 

				MAN
		Hey, Evelyn. 

	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. 

				MAN
		This, uh...   

				WOMAN
			(interrupts)
		My name is Luise Fischer.

				MAN
		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: 

				EVELYN
		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. 

				MAN
		No use hurrying. There's no train 
		till six.

	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.

				MAN
			(to Evelyn)
		Why don't you help her with her 
		leg?

				LUISE
		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.

				EVELYN
			(stammering contritely)
		I -- I didn't think. Forgive me.

	She puts an arm around Luise and helps her into the 
	chair.

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.

				EVELYN
		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 
		minute.

	She pulls the torn red skirt down over the bare leg. 
	Luise smiles politely. 

				LUISE
		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. 

				MAN
		Smoke? 

				LUISE
		Thank you.

	She takes a cigarette, puts it between her lips, and 
	looks at his hand when he holds a match to it. 

				MAN
			(merely conversational)
		Bang it up much? 

				LUISE
		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 
	forefinger. 

				LUISE
			(earnestly)
		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 
	turn toward:

25	EVELYN as she hides her eyes with lowered lids and 
	joins them.

				EVELYN
		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.

				LUISE
		There is not a train before it is
		morning?

				EVELYN
		No.

28	The MAN shuts the door.

				MAN
		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.

				LUISE
		You are very kind.

				EVELYN
			(murmurs) 
		It's nothing.

	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 
	voice: 

				MAN
		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. 

				GRAY TWEED
		So this is where you landed? 

	His smile vanishes as he sees her leg and the 
	bandages. 

				GRAY TWEED
		What happened? 

	He is perhaps forty years old, well groomed, graceful 
	of carriage. He pushes the dog aside and takes Luise's 
	hand.

				LUISE
			(cool, unsmiling)
		It is not serious, I think. I 
		stumbled in the road and twisted my 
		ankle. These people have been 
		very-- 

37	GRAY TWEED turns to the man with the pipe, holding 
	out his hand.

				GRAY TWEED
			(briskly)
		Thanks ever so much for taking care 
		of Fraulein Fischer. You're Brazil, 
		aren't you? 

	The man nods. 

				BRAZIL
		And you'd be Kane Robson.

				ROBSON
		Right.

	Robson jerks his head at the man standing just inside 
	the door. 

				ROBSON
		Mr. Conroy.

	Brazil nods his acknowledgement to:

38	CONROY -- who is taller than Robson, some ten years 
	younger, broad-shouldered, and lean. He advances 
	toward Luise.

				CONROY
			(to Brazil)
		How do you do?
			(smiling down at Luise)
		Your idea of a lark's immense.

39	LUISE ignores Conroy and addresses Robson.

				LUISE
		Why have you come here?

40	ROBSON smiles amiably, raises his shoulders a little. 

				ROBSON
		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.
			(beat)
		Well, we were right.

41	Nothing in LUISE's face responds to his smile. 

				LUISE
		I am going to the city. Now you 
		know.

42	ROBSON is good natured.

				ROBSON
		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. 

				BRAZIL
		Six.

44 	ROBSON joins LUISE.

				ROBSON
			(blandly)
		You see? There's plenty of time.

	Luise looks down at her clothes and seems to find 
	them satisfactory. 

				LUISE
		I go like this.

				ROBSON
			(reasonably)
		Now, look here, Luise. You've got 
		hours before train time -- time 
		enough to get some rest and a nap 
		and to --

				LUISE
		I have gone.

	Robson grimaces impatiently, half humorously, and 
	turns his palms out in a gesture of helplessness. 

				ROBSON
		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.

				LUISE
			(calmly)
		Is it too much?

46	BRAZIL shakes his head carelessly. 

				BRAZIL
		Uh-uh.
 
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. 

				LUISE
			(with an air of finality)
		So.

50	Conroy looks questioningly at ROBSON, who sighs 
	wearily.

 				ROBSON
		Your mind's made up on this, Luise?

				LUISE (o.s.)
		Yes.

 				ROBSON
			(gravely) 
		You always know what you want. 

	He starts to turn away toward the door, then stops.

 				ROBSON
		Have you got enough money? 

	One of his hands goes into the inner breast pocket of 
	his dinner jacket. 

				LUISE (o.s.)
		I want nothing.

 				ROBSON
		Right. If you want anything later, 
		let me know. 
			(to Conroy)
		Come on, Dick.

	He goes to the door, opens it, twists his head 
	around in Brazil's direction.  

 				ROBSON
			(briskly, to Brazil)
		Thanks, good night.

	Robson goes out.
 
51	CONROY touches Luise's forearm lightly.

				CONROY
		Good luck.

	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.

				LUISE
		You will be wise to lock your door.

55	BRAZIL stares at her for a long moment, brooding.

				BRAZIL
		No. I won't lock it.

56	LUISE's eyebrows go up a little, but she says nothing.  

57	EVELYN AND BRAZIL

				EVELYN
			(emphatic) 
		They were drunk.

				BRAZIL
		They've been drinking.

	He looks thoughtfully at her, apparently only now 
	noticing her perturbation. 

				BRAZIL
		You look like a drink would do you
		some good. 

	She becomes confused. Her eyes evade his. 

				EVELYN
		Do -- do you want one?

				BRAZIL
		I think so.

	He looks inquiringly at:

58	LUISE, who nods.

				LUISE
		Thank you.

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 
	impressive: 

				LUISE
		Do not make the mistake of thinking 
		Mr. Robson is not dangerous.

61	BRAZIL seems to weigh this speech almost sleepily.

				BRAZIL
			(slight curiosity)
		I've made an enemy? 

62	LUISE nods with certainty.

63 	BRAZIL accepts that with a faint grin, offering her 
	his cigarettes again.

				BRAZIL
		Have you?

64	LUISE stares through him as if studying some distant 
	thing.

				LUISE
		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 
	mix drinks.

	Brazil finishes lighting his cigarette.

				BRAZIL
		Leaving him for good? 

66	For a moment, LUISE stares haughtily at him ... but 
	suddenly her face is distorted by an expression of 
	utter hatred.

				LUISE
			(venomous)
		Ja!

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 
	something else.

	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. 

				BRAZIL
		Hello ... Yes ... Yes, Nora ... 
		Just a moment.

	He re-enters the room.

				BRAZIL
			(to Evelyn)
		Nora wants to talk to you.

	Evelyn enters the bedroom and Brazil shuts the door 
	behind her.

68	LUISE and BRAZIL 

				LUISE
		You cannot have lived here long if 
		you did not know Kane Robson before 
		tonight.

				BRAZIL
		A month or so; but, of course, he 
		was in Europe till he came back 
		last week...
			(beat)
		... with you. 
			(beat)
		Matter of fact, he is my landlord.

				LUISE
		Then you -- 

	She breaks off as:

69 	The bedroom door opens. EVELYN stands in the doorway, 
	hands to breast

				EVELYN
		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

				BRAZIL
		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. 

				EVELYN
			(her lip quivers)
		But you won't -- won't fight with 
		him. Promise me you won't.

				BRAZIL
		I 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. 

				BRAZIL
		It'll only take me five minutes.

	He goes out the front door.

72	LUISE and EVELYN

				LUISE
		Your father does not approve?

	Evelyn shakes her head miserably. Then suddenly she 
	turns to Luise, holding her hands out in an appealing 
	gesture.

				EVELYN
		You'll be here. Don't let them 
		fight. They mustn't.
 
	Luise takes Evelyn's hands and puts them together 
	between her own.

				LUISE
		I will do what I can, I promise you.

				EVELYN
		He mustn't get in trouble again. He 
		mustn't. 

	Luise doesn't know quite what to make of that.

					DISSOLVE TO:

73	INT. HOUSE - FIVE MINUTES LATER
	The door opens, revealing a downpour, and Brazil 
	comes in. 

				BRAZIL
			(cheerfully)
		That's done.

	He takes off his raincoat, drops it on a chair, and 
	puts his damp hat on it. 

				BRAZIL
		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. 

				BRAZIL
			(to Evelyn)
		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.

				EVELYN
		Yes, I guess so.

	She smiles timidly, pleadingly, at Luise, hesitates, 
	and touches Brazil's sleeve with her fingers. 

				EVELYN
		You -- you'll behave?

	He does not stop preparing his drinks.

				BRAZIL
		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.

				LUISE
		Your little friend. She loves you 
		very much.

				BRAZIL
			(doubtful)
		Oh, she's just a kid.

				LUISE
		But her father ... he is not nice, 
		eh? 

				BRAZIL
			(carelessly)
		He's cracked.
			(becoming thoughtful)
		Suppose Robson phoned him?

				LUISE
		Would he know?

				BRAZIL
		In a place like this everybody 
		knows all about everybody.

				LUISE
		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.

				BRAZIL
			(calls out)
		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.

				BEARDED MAN
			(a deep, powerful voice)
		Where is my daughter?

79	BRAZIL's face is a phlegmatic mask. 

				BRAZIL
		Hello, Grant.

80  	GRANT steps forward. 

				GRANT
		Where is my daughter?

81 	The DOG growls and shows its teeth. 

82	LUISE admonishes the dog: 

				LUISE
		Franz!

83	The DOG looks at her and quiets down.

84	FULL SHOT - the room.

				BRAZIL
		Evelyn's not here.

	Grant glares at him. 

				GRANT
		Where is she? 

				BRAZIL
		I don't know.

				GRANT
		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. 

				GRANT
			(calls out)
		Evelyn?!

86	LUISE smiles as if entertained by Grant's rage.

				LUISE
		It is so, Mr. Grant. There is 
		nobody else here.

87	GRANT glances briefly at her, with loathing in his 
	mad eyes. 

				GRANT
		Bah! The strumpet's word confirms 
		the convict's!

	He strides to the bedroom door and disappears inside.

88	BRAZIL grins at LUISE. 

				BRAZIL
		See? He's cracked. He always talks 
		like that -- like a guy in a bum 
		book.

				LUISE
			(smiles) 
		Be patient.

				BRAZIL
			(dryly)
		I'm being.

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. 

				BRAZIL
		There'll be more fireworks when he 
		comes back.

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 
	Brazil: 

				GRANT
		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. 

				BRAZIL
		Cracked. Absolutely cracked.

93	A look of concern on LUISE's face.

				LUISE
		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. 

				BRAZIL
		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 -- 
			(shrugs)
		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 
	serviceable. 

96	LUISE notices that her hands and arms are still dirty 
	from the road and, exploring, enters the bedroom to
	find a bathroom. 

					CUT TO:

97	IN THE BATHROOM - Luise hums a tune to herself while 
	she washes her arms in the sink.

					CUT TO:

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. 

				LUISE
			(calls out)
		I am here!

	She limps into the other room. 

100	IN THE MAIN ROOM
	LUISE enters the main room.

				LUISE
		I am here --

	She gasps, startled to see:

101	ROBSON AND CONROY 
	The men stand inside the door. Robson smiles at her.

				ROBSON
		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. 

				LUISE
			(bluntly)
		What do you want?
 
103  	ROBSON looks around. 

				ROBSON
		Where's Brazil?

104	LUISE stands her ground.

				LUISE
		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, 
	watching them.

107	ROBSON AND LUISE

				ROBSON
		Well, it's like this, Luise: 
		you're going back home with me.

				LUISE
		No.

	Robson wags his head up and down, grinning.

				ROBSON
		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. 

				LUISE
			(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 
	Luise again.

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 
	pocket. 

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.

				ROBSON
			(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

				ROBSON
		All right. Now, are you ready to 
		go?

	She makes no attempt to free her wrist. She draws 
	herself up straight.

				LUISE
		My friend, you do not know me yet 
		if you think I am going with you. 

				ROBSON
			(chuckles) 
		You don't know me if you think 
		you're not.

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. 

				BRAZIL
		What the hell is this? Visitor's 
		day? Am I supposed to be running a 
		roadhouse?

118	FULL SHOT - the room.

				ROBSON
		We are going now. Frulein Fischer's 
		going with us.

	Brazil looks at the dead dog, annoyed. 

				BRAZIL
			(indifferently)
		That's all right if she wants to.

				LUISE
		I am not going.

				BRAZIL
			(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 
	his foot. 

				BRAZIL
			(grumbles)
		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, 
	drunken face.

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 
	floor.

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.

				BRAZIL
		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. 

				BRAZIL
		Try that again, baby, and I'll 
		break your arms. Drop it! 

	Robson hesitates, lets the pistol clatter down on the 
	floor. 

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 
	pocket.

127	CONROY moves one leg, his eyelids flutter sleepily, 
	and he groans. 

128	BRAZIL jerks a thumb at him and addresses Robson.

				BRAZIL
			(curtly)
		Take Mr. Conroy and get out.

129	ROBSON goes over to Conroy, stoops to lift his head 
	and shoulders a little, shakes him.

				ROBSON
			(irritably)
		Come on, Conroy, wake up. We're 
		going.

				CONROY
			(mumbles)
		I'm a' ri' ...

	Conroy tries to lie down again.

				ROBSON
			(snarling)
		Get up, get up. 

	Robson slaps Conroy's cheeks. Conroy shakes his head.

				CONROY
		Don' wanna.

	Robson slaps his face again. 

				ROBSON
		Come on, get up, you louse.

	Conroy groans and mumbles something unintelligible.

130	FULL SHOT - the room.

				BRAZIL
			(impatiently)
		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 
	stands up. 

				LUISE
			(gravely)
		I am sorry. I did not mean to bring 
		to you all this.

				BRAZIL
			(carelessly)
		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 
	glasses.
 
133	BRAZIL joins LUISE, looking her up and down 
	reflectively as they drink.

				BRAZIL
		You walked out just like that?

	She looks down at her clothes and nods yes. He seems 
	amused. 

				BRAZIL
		What are you going to do?

				LUISE
		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.

				BRAZIL
		You mean you haven't any money at 
		all? 

				LUISE
		That is it.

				BRAZIL
		Not even enough for your ticket?

	She shakes her head no, raises her eyebrows a little, 
	and her calmness is almost insolence. 

				LUISE
		Surely that is a small amount you 
		can afford to lend me.

				BRAZIL
		Sure.
			(laughs)
		But you're a pip.

	She does not seem to understand him. He drinks again, 
	then leans forward. 

				BRAZIL
		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 
		out in?

	She studies his face carefully.

				LUISE
		If it is not too much trouble for you.

				BRAZIL
		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: 

				BRAZIL
		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. 

				BRAZIL
		There's a name for it -- 
		claustrophobia -- and that doesn't 
		make it any better.

				LUISE (o.s.)
		I am sorry. Was it very long ago?
 
				BRAZIL
			(dryly)
		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 
		to do.

				LUISE (o.s.)
			(softly)
		And?

				BRAZIL
		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.

				BRAZIL
			(growls)
		Stop it. If you don't want to play, 
		you don't want to play, that's all.

				LUISE
			(furiously)
		That is exactly all.

				BRAZIL
		Fair enough.

	No change in his face, none in his voice. 

					DISSOLVE TO:

138	INT. HOUSE - LATER THAT NIGHT
	The CLOCK reads after midnight.

139	LUISE and BRAZIL sit quietly, smoking.

				LUISE
		That man -- your little friend's 
		father -- called me a strumpet. Do 
		people here talk very much about 
		me?

				BRAZIL
		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 --

				LUISE
		And what do they say about me?

				BRAZIL
			(grins)
		The worst, of course. What do you 
		expect? They know him.

				LUISE
		And what do you think?

				BRAZIL
		About you?

	She nods. Her eyes are intent on his.

				BRAZIL
		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.

				LUISE
		I did not altogether. And I was 
		stranded in a little Swiss village.

				BRAZIL
		Actress?

				LUISE
			(nods)
		Singer.

	The telephone bell rings.

140	LUISE watches as Brazil rises and moves unhurriedly 
	into the bedroom. His unemotional voice comes out: 

				BRAZIL (o.s.)
		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 
	rises. 

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.

				BRAZIL
		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 
		fireplace. 
 
142	LUISE comes to him with her hands out. 

				LUISE
		But you are not to blame. They 
		can't -- 

				BRAZIL
		You don't get it ...

143	BRAZIL turns away from her toward the front door, 
	walking mechanically. 

				BRAZIL
		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

				BRAZIL
		It was manslaughter that time. 
		They'll make it murder if this guy 
		dies. See? I'm on record as a 
		killer.
			(puts a hand up to his chin)
		It's airtight.

	Luise stands close to him and takes one of his hands.

				LUISE
		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 
		cannot-- 

	He laughs with bitter amusement, and quotes Grant: 

				BRAZIL
		"The strumpet's word confirms the 
		convict's." 

	She looks grave.

				BRAZIL
		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. 

				BRAZIL
		Let's get out of here. I'll go 
		screwy indoors tonight.

				LUISE
			(eagerly)
		Yes. We will go.

	She puts a hand on his shoulder, watching his face 
	with eyes half frightened, half pitying. 

				BRAZIL
		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. 

				LUISE
		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 
	exits. 

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.

					FADE OUT
 
	FADE IN:
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) 
	travels.

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 
	road ahead.

				LUISE (o.s.)
		Have I slept long?

	He smiles at her. 

				BRAZIL
		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.

				LUISE 
		Yes. Will we be much longer? 

153	BRAZIL AND LUISE

				BRAZIL
		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. 

				LUISE
		What will you do?

				BRAZIL
		Hide out till I see what's what.

	She glances sidewise at his placid face.

				LUISE
		You too feel better.

	He grins somewhat shamefacedly. 

				BRAZIL
		I lost my head back there, all 
		right.

	She pats the back of his hand once, gently.

				LUISE
		We are going to those friends of 
		whom you spoke?

				BRAZIL
		Yes.

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 
	from sight.

160	LUISE and BRAZIL
	She touches his hand again, approvingly.

				BRAZIL
			(explaining)
		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 
	deeply.

				BRAZIL
		Want to stop for coffee?

				LUISE
		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 
	Brazil's car.

166	LUISE and BRAZIL

				BRAZIL
			(unconcerned)
		Maybe it'd be safer to get under 
		cover as soon as we can; but if 
		you're hungry-- 

				LUISE
			(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

				LUISE
		If the police should find you, 
		would -- would you fight?

				BRAZIL
			(gloomily)
		I don't know. That's what's the 
		matter with me. I never know ahead 
		of time what I'll do. 
			(brightening)
		There's no use worrying. I'll be 
		all right.

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.

					DISSOLVE TO:

174	INT. BRAZIL'S AUTO - LATER
	Brazil and Luise travel down a suburban street.

				LUISE
		They -- your friends will not 
		dislike our coming to them like 
		this?

				BRAZIL
		No, they've been through things 
		themselves.

	Luise looks out her window at ...

175	... the HOUSES along the suburban street: cheap and 
	mean. 

					DISSOLVE TO:

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.

				BRAZIL
		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.

				BRAZIL
		Next floor.

	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 
	masculine voice: 

				VOICE
		Who's there?

	Brazil puts his head close to the door and keeps his 
	voice low: 

				BRAZIL
		Brazil.
 
	The fastenings of the door rattle. A small man of 
	about forty in crumpled pajamas and bare feet opens
	the door, smiling. 

				SMALL MAN
		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.

				BRAZIL
		Miss Fischer, this is Mr. Link.

				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. 

				LINK
		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.

				LINK
		Take off your things and set down, 
		Miss Fischer.

	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. 

				WOMAN
		My God, look who's here! 

				BRAZIL
			(puts his arms around her)
		Hello, Fan.
			(turns to Luise)
		Fan, this is Miss Fischer, Mrs. Link.

	Fan goes to Luise with her hand out. 

				FAN
			(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.
 
				LUISE
			(sitting down)
		You are very kind.

				LINK
			(exiting)
		Sure, sure.

187	FAN AND BRAZIL

				FAN
		Been up all night?

				BRAZIL
			(sitting on sofa)
		Yes. Driving most of it. 

	Fan looks sharply at him. 

				FAN
		Anything the matter you'd just as 
		lief tell me about? 

	Brazil nods. 

				BRAZIL
		That's what we came for.

	Link, in bathrobe and slippers now, comes in with a 
	bottle of whiskey and some glasses.

				BRAZIL
		The thing is, I slapped a guy down 
		last night and he didn't get up.

				FAN
		Hurt bad?

				BRAZIL
		Maybe dying.

	Link whistles.

				LINK (o.s.)
		When you slap 'em, boy, they stay 
		slapped.

				BRAZIL
			(scowls at Link)
		He cracked his head on the fireplace.

				FAN
		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 
		booze.
			(to Luise) 
		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. 

				LINK
		Anybody see it?

				BRAZIL
			(nods)
		Uh-huh -- the wrong people.
			(sighs wearily)
		I want to hide out a while, Donny, 
		till I see how it's coming out.

				LINK
		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. 

				LINK
		Want a chaser?

				LUISE
		No, I thank you. This is very good. 
		I caught a little cold from the 
		rain.
 
	She holds the glass in her hand, but does not drink 
	again.

191	LINK, BRAZIL AND LUISE

				BRAZIL
		I left my car out front. I ought to 
		bury it.

				LINK
		I'll take care of that, kid.

				BRAZIL
		And I'll want somebody to see 
		what's happening up Mile Valley way.

				LINK
		Harry Klaus is the mouthpiece for 
		you. I'll phone him.

				BRAZIL
		And we both want some clothes.

				LUISE
		First I must sell these rings.

192	LINK's eyes glisten at the sight of the rings. He 
	moistens his lips. 

				LINK
		I know the -- 

				BRAZIL (o.s.)
		That can wait a day. They're not 
		hot, Donny. You don't have to 
		fence them. 

	Link seems disappointed. 

193	LUISE AND LINK

				LUISE
		But I have no money for clothes 
		until -- 

				BRAZIL (o.s.)
		We've got enough for that.

	Link, watching Luise, addresses Brazil: 

				LINK
		And you know I can always dig up 
		some for you, kid.

194	BRAZIL AND LINK
	Brazil holds out his empty glass, Link pours.

				BRAZIL 
		Thanks. We'll see. Hide the car, 
		Donny.

				LINK
		Sure.

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. 

				BRAZIL 
		Tired?

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.

				BRAZIL 
			(chuckles)
		Had enough trouble with drunks last 
		night?

				LUISE
			(unsmiling)
		Yes.

	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.

				LINK
		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? ... 
		Right.
 
	Link hangs up the receiver and turns back to the 
	others.

				LINK
		Voily!

	Fan's voice calls from elsewhere in the flat.

				FAN
		Donny!

				LINK
		Coming! 

	Link goes out.

198	BRAZIL AND LUISE
	Brazil leans toward Luise and speaks in a low voice. 
	She puts her face close to his.

				BRAZIL
		Don't give him the rings.

	She stares at him in surprise. 

				LUISE
		But why?

				BRAZIL
		He'll gyp you to hell and gone.

				LUISE
		You mean he will cheat me?

	Brazil nods, grinning.

				LUISE
		But you say he is your friend. You 
		are trusting him now.

				BRAZIL
		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 
		worth.

				LUISE
		Then he is a ...? 

				BRAZIL
		A crook. We were cellmates a while.
 
				LUISE
			(frowning) 
		I do not like this.

	In the b.g., Fan comes to the door, smiling.

				FAN
		Breakfast is served.

					CUT TO:

199	DINING ROOM - LATER
	Brazil, Luise and Link sit at a table, eating. Fan is absent.

				LINK
			(mouth full)
		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?

				BRAZIL
			(unenthusiastic) 
		I remember.

				LINK
		Well, Ben was in a place called 
		Finehaven once and--

				BRAZIL
		He was in a place called the pen 
		when we knew him.

				LINK
		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--

				BRAZIL
		That can wait. We've got enough to 
		go on a while.

				LINK
		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. 

				FAN
			(to Luise)
		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. 

				LUISE
		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:

				LINK
		Shuffling Ben Devlin.

	Brazil gives him a look. Link nods. Brazil rolls his 
	eyes.

					CUT TO:

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 
	the door. 

				FAN
		If there's anything else you need, 
		just sing out. The bathroom's just 
		across the hall and I turned the 
		water on.

				LUISE
		Thank you, you are very kind. I am 
		imposing on you most.

	Fan pats her shoulder. 

				FAN
		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 
	lips. 

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 
	cold. 

				LUISE
		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 
		me --  

	She shrugs.

211	BRAZIL turns from the window without haste. His eyes 
	and face are expressionless. 

				BRAZIL
		Okay.

	He rubs the fire of his cigarette out in an ashtray 
	on the dressing table and comes around the bed to 
	her.

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 
	slowly. 

				BRAZIL
		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 
	at ...

214	... BRAZIL and LUISE as they step apart.

215	LINK grins.

				LINK
		I just phoned Klaus. He'll be over 
		in a few minutes.

				BRAZIL (o.s.)
		Okay. Thanks.

	Link, still leering, withdraws, shutting the door.

216	BRAZIL AND LUISE

				LUISE
		Who is this Klaus?

				BRAZIL 
			(absent-mindedly)
		Lawyer.
			(scowls thoughtfully 
			at floor)
		I guess he's our best bet, though 
		I've heard things about him that-- 
			(abruptly) 
		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.

				LUISE
		Let us go away from here. I do not 
		like these people. I do not trust 
		them.

	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.

				LINK (o.s.)
			(guarded)
		Who is it?

	The answer cannot be heard. 

				LINK (o.s.)
			(a little louder) 
		Who?

	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. 

				LINK
			(whispers)
		Bulls. Take the window.

218	BRAZIL AND LUISE
	Luise pushes Brazil toward the window.

				LUISE
		Go! I will be all right.

219	Link joins them as ALL THREE move to the window.

				LINK
		Sure. Me and Fan'll take care of 
		her. Beat it, kid, and slip us the 
		word when you can. Got enough 
		dough? 

				BRAZIL
		Uh-huh.

	Brazil stops to kiss Luise.

				LUISE
			(gasps)
		Go, go! 

220	BRAZIL, as phlegmatic as ever, is at the window.

				BRAZIL
			(laconic) 
		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. 

				LINK
		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: 

				VOICE (o.s.)
		Open up! 

	Link sneers in the general direction of the front door. 

				LINK
			(lightly)
		I guess I better let 'em in or 
		they'll be making toothpicks of my 
		front gate.

	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.

				LINK
			(defensively)
		Look -- I love the guy. I love him!

	The pounding on the front door becomes louder.

				VOICE (o.s.)
		Open up! 

				LINK
		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.

				HUGE MAN
		Where's he at?

	She looks up at him with the same expression she uses 
	on her fingernails. 

				LUISE
		Who?

				HUGE MAN
			(sighs wearily)
		Brazil.

	He moves to a closet door, opens it. 

				HUGE MAN
		You the Fischer woman?

	He shuts the door and moves toward the window, 
	looking around the room, not at her, with little 
	apparent interest.

				LUISE
		I am Luise Fischer.
   
231	The HUGE MAN raises the window and leans out, calling 
	to someone below.  

				HUGE MAN
		How's it, Tom?

	Whatever answer he receives is inaudible in the room.
	
232	The HUGE MAN turns and moves uncomfortably close to 
	LUISE. 

				HUGE MAN
		I ain't had breakfast yet.

	They regard one another unflinchingly throughout the 
	following:

	Link's voice comes through the doorway from another 
	part of the flat:

				LINK (o.s.)
		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.)
			(disagreeably)
		I bet you!

	The sound of a blow.

				LINK (o.s.)
		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.
 
				FAN (o.s.)
			(shrill with anger)
		Stop that, you --

233	The HUGE MAN goes to the bedroom door and calls
	toward the front of the flat: 

				HUGE MAN
		Never mind, Ray.

234	The HUGE MAN re-joins LUISE.

				HUGE MAN
		Get some clothes on.

				LUISE
			(coolly)
		Why?

				HUGE MAN
		They want you back in Mile Valley.

				LUISE
		For what?

				HUGE MAN
		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. 

				LUISE
		But they didn't. He bought them 
		for me in Paris and -- 

				HUGE MAN
		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?
 
				LUISE
		I do not know.

				HUGE MAN
		Nobody ever does.

				LUISE
		Is he --?

				HUGE MAN
			(interrupts)
		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.

				HUGE MAN
		Shake it up. I ain't had breakfast 
		yet.

	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.

				HUGE MAN
			(patiently)
		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. 

				FAN
			(shrill)
		What're you picking on her for? 
		She didn't do anything. Why don't 
		you -- 

				HUGE MAN
			(wearily)
		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.

				LUISE
			(with dignity)
		It is all right, Mrs. Link. It will 
		be all right.

				FAN
		But you can't go like that.
			(to the huge man)
		You got to let her put on some 
		decent clothes.

				HUGE MAN
			(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.

				LUISE
		Brazil too is charged with larceny? 

				HUGE MAN
			(spiritlessly)
		Maybe one thing, maybe another.

				LUISE
		He has done nothing.

				HUGE MAN
		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.

				HUGE MAN
		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 
	bedroom. 

					PAN OVER TO:

244	A CORNER OF THE ROOM hidden from the HUGE MAN, where
	LUISE changes her clothes, with FAN's assistance.

				FAN
			(whispers)
		Did they catch him?
 
				LUISE
		I do not know.

				FAN
		I don't think they did.

				LUISE
		I hope they did not.

245	FAN kneels in front of LUISE, putting on her 
	stockings. 

				FAN
			(whispers rapidly)
		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 
		right.
			(looks up abruptly)
		You didn't cop them, did you?

246	LUISE looks surprised.

				LUISE
		Steal the rings?  

247	FAN grins.

				FAN
		I didn't think so. So you won't 
		have to -- 

				HUGE MAN (o.s.)
			(wearily)
		Come on -- cut out the barbering 
		and get into the duds.

				FAN
		Go take a run at yourself, you fat 
		fuck.

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.

				FAN
		You look swell.

				HUGE MAN (o.s.)
		Come on.

	Luise turns to Fan. 

				LUISE
		Goodbye, and I--
 
	Fan puts her arms around Luise. 

				FAN
		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.

				LINK
		Don't let them worry you, baby. 
		We'll --

	A tall man in brown puts a hand over Link's face and 
	pushes him back on the sofa.

					CUT TO:

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 
	man.

253	LUISE maintains her dignity as she gets into the car.

254	The HUGE MAN and the POLICEMAN get into the car 
	behind LUISE. 

				POLICEMAN
			(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. 

				HUGE MAN
		God, I'm schwach!

	LUISE gives him a look, then stares out the window.

					CUT TO:

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. 

				HUGE MAN
		It's that Luise Fischer for Mile 
		Valley.

	He takes a hand from a pocket and tosses her rings on 
	the desk. 

				HUGE MAN
		That's the stuff, I guess.

				BALD MAN
		Nice picking. Get the guy? 

				HUGE MAN
		Hospital, I guess.

	Luise turns to him.

				LUISE
		Was he -- was he badly hurt?

				HUGE MAN
		I don't know about it. Can't I guess?

				BALD MAN
			(calls to jailer)
		Luke!
 
	LUKE, a thin, white-mustached policeman, comes in.

				BALD MAN
		Put her in the royal suite.

258	LUISE stands her ground.

				LUISE
		I wish to see my lawyer.

259	The THREE MEN look unblinkingly at her.

260	LUISE is just as unblinking.

				LUISE
		His name is Harry Klaus. I wish to 
		see him.

261	The THREE MEN show no emotion.

				LUKE
			(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 
	go through. 

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.

				LUISE
		I wish to see my lawyer.

	Without haste, LUKE shuts the door on her and locks 
	it. 

					DISSOLVE TO:

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. 

				LUISE (o.s.)
		I wish to see my --

				LUKE
			(irritably)
		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 
	greedily.

					DISSOLVE TO:

266	CLOSE - LUISE'S TRAY - She's eaten everything.

267	THE SMALL ROOM - LATE AFTERNOON 
	LUKE opens the door.

				LUKE
		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 
	and coat.

				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. 

					CUT TO:

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.

				LUISE
		I wish to see my lawyer. His name 
		is Harry Klaus.

	The older man beside her chews gum, making noises 
	with his lips.

				OLD PLAINCLOTHESMAN
			(politely enough)
		We can't stop now.

	Without turning his head, the driver addresses Luise.

				THICK PLAINCLOTHESMAN 
		How come Brazil socked him? 

				LUISE
			(quickly)
		It was not his fault. He was--

	The older man, addressing the man at the wheel, 
	interrupts.

				OLD PLAINCLOTHESMAN 
		Let it alone, Pete. Let the D.A. do 
		his own work.

				THICK PLAINCLOTHESMAN 
		Oke.

270	LUISE turns to the OLD PLAINCLOTHESMAN beside her. 

				LUISE
		Was -- was Brazil hurt?

	He studies her face for a long moment, then nods 
	slightly. 

				OLD PLAINCLOTHESMAN
		Stopped a slug, I hear.

				LUISE
			(eyes widening)
		He was shot?

	He nods again. She puts both hands on his forearm. 

				LUISE
		How badly?

	He shakes his head. 

				OLD PLAINCLOTHESMAN
		I don't know.

	Her fingers dig into his arm. 

				LUISE
		Did they arrest him?

				OLD PLAINCLOTHESMAN
		I can't tell you, miss. Maybe the 
		District Attorney wouldn't like me 
		to.

	He smacks his lips over his gum-chewing.

				LUISE
		But, please. I must know.

	He shakes his head again. 

				OLD PLAINCLOTHESMAN
		We ain't worrying you with a lot of 
		questions. Don't be worrying us.
 
	He blows a huge, goofy-looking bubble.

					CUT TO:

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. 

				PASTY FACE
		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. 

				KLAUS
		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. 

				KLAUS
			(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? 

				DESK MAN
		All right, all right.
			(to the plainclothesmen)
		If Tuft's Office is empty, let 'em 
		use that.

				KLAUS
		Thanks.

	Klaus picks up a brown briefcase from a chair, takes 
	Luise's elbow in his hand, and turns her to follow the 
	thick plainclothesman.

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. 

				THICK PLAINCLOTHESMAN	
		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. 

				KLAUS
			(cheerfully)
		A lot of whittlers. We'll stand them 
		on their heads.

	He tosses his briefcase on the desk. 

				KLAUS
		Sit down.

				LUISE
		Brazil? He is -- ?

	His shrug lifts his shoulders almost to his ears. 

				KLAUS
		I don't know. Can't get anything 
		out of these people.

				LUISE
		Then?

				KLAUS
		Then he got away.

				LUISE
		Do you think he did?

	He shrugs his shoulders again. 

				KLAUS
		We can always hope.

				LUISE
		But one of those policemen told me 
		he had been shot and --

				KLAUS
		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 
	it.

				KLAUS
		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. 

				LUISE
		But you told me everything -- 

				KLAUS
		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.
			(beat)
		You want to help Brazil, don't you?

				LUISE
		Yes.

				KLAUS
		That's the stuff.

	He pats her knee again, and his hand remains on it. 

				KLAUS
		Now, give me everything, from the 
		beginning.

				LUISE
		You mean from when I first met Kane 
		Robson?

	He nods. She crosses her knees, dislodging his hand. 
	She stares at the opposite wall as if not seeing it. 

				LUISE
		Neither of us did anything wrong. It 
		is not right that we should suffer.

				KLAUS
			(light, confident)
		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.

				LUISE
		I will not have to stay here 
		tonight?

				KLAUS
		I don't think so. It oughtn't to 
		take them more than an hour to 
		grill you...

	He drops his hand to her knee. 

				KLAUS
		... and the sooner we get through 
		here, the sooner you'll be through 
		with them.

	She takes a deep breath and sits back in her chair. 

				LUISE
		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 
	her knee. 

				LUISE
		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 
	knee.

				LUISE
		He brought me over here then 
		and ...
 
	Luise casually puts the burning end of her cigarette 
	on the back of Klaus' hand.

				LUISE
		... I stayed at his -- 

	Klaus snatches his hand from her knee to his mouth
	and starts sucking the back of his hand. 

				KLAUS
			(muffled by the hand 
			to his mouth)
		What's the matter with you?! 

	He lowers the hand and looks at the burn. 

				KLAUS
		If there's something you don't 
		like, you can say so, can't you?! 

				LUISE
			(unsmiling)
		I no speak Inglis good.
			(beat)
		I stayed at his house for two weeks 
		-- not quite two weeks -- until -- 

				KLAUS
			(talking over her)
		If it wasn't for Brazil, you could 
		take your troubles to another 
		lawyer! 

				LUISE
			(calmly)
		... 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 ... 

					DISSOLVE TO:
 
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.

				KLAUS
		Hello? ... Yes ... Just a couple 
		of minutes more ... That's right. 
		Thanks.
			(hangs up, turns)
		They're getting impatient.

283	LUISE rises from her chair.

				LUISE
		I have finished. Then the police 
		came and he escaped through the 
		window and they arrested me about 
		those rings.

				KLAUS (o.s.)
		Did you do any talking after they 
		arrested you?

				LUISE
			(shakes her head)
		They would not let me. Nobody would 
		listen to me. Nobody cared.

	Luise looks off with unseeing eyes.

					CUT TO:

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. 

				YOUNG MAN
		Mith Fither, I'm from the Mile 
		Valley Potht. Can you -- ?

				KLAUS
			(smiling)
		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. 

				KLAUS
		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. 

				YOUNG MAN
		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.

				KLAUS
			(shaking hands) 
		Glad to know you.

	Luise nods and smiles, and they go down the street.

285	EXT. STREET - LUISE, KLAUS AND YOUNG MAN

				KLAUS
		How's Conroy? Still unconscious?

				YOUNG MAN
		He hathn't come to yet. They don't 
		know yet how bad it ith.

				KLAUS
		Where is he?

				YOUNG MAN
		Thtill at Robthon'th. They're 
		afraid to move him.

	They turn a corner. 

				KLAUS
		Any news of Brazil? 

				YOUNG MAN
		I thought you'd know.

				KLAUS
		Know what?

				YOUNG MAN
		What -- whatever there wath to know. 
		Thith ith it.

	The young man leads them into a white-tiled 
	restaurant.

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. 

				LUISE
		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.

				YOUNG MAN
		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.

				KLAUS
		He's a nice boy.

				LUISE
		We must telephone the Links. They 
		have surely heard from Brazil.

				KLAUS
			(frowns)
		You can't trust these county-seat 
		telephone exchanges.

				LUISE
		But --  

				KLAUS
		Have to wait till tomorrow. It's 
		late anyhow.

	He looks at his watch and yawns. 

				KLAUS
		Play this kid. Maybe he knows 
		something.

	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.

				KLAUS
		Anything new?

	The young man shakes his head violently. 

				YOUNG MAN
			(with emphasis)
		Oh, no.

	A waiter comes to their table. 

				LUISE
		Soup, onion. Steak, medium. Mashed
		potatoes, asparagus, the house salad, 
		cheese ... and coffee. 

				KLAUS
		Scrambled eggs ... and coffee.

				YOUNG MAN
		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 
	hat. 

295	LUISE, without removing her gaze from Robson, 
	addresses KLAUS in a low voice: 

				LUISE
		It's Robson.

	Klaus does not turn his head. 

				KLAUS
		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 
	eyes glitter. 

297	Luise is smoking by the time he reaches THE TABLE. 

				ROBSON
		Hello, darling.

	He sits in the empty chair facing her across the 
	table. He turns his head to the young man for an 
	instant.

				ROBSON
			(carelessly)
		Hello, Dunne. 

				LUISE
		This is Mr. Klaus. Mr. Robson.
 
	Robson does not look at Klaus. 

				ROBSON
			(to Luise)
		Get your bail fixed up all right?

				LUISE
		As you see.

				ROBSON
			(smiles mockingly)
		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. 

				LUISE
		I shall send for my clothes in the 
		morning. Will you have Ito pack 
		them?

				ROBSON
		Your clothes?
			(laughs)
		You didn't have a stitch besides 
		what you had on when I picked you 
		up. Let your new man buy you new 
		clothes.

	The young man blushes and looks at the tablecloth in 
	embarrassment. Klaus's face is, except for the 
	brightness of his eyes, expressionless. 

				LUISE
			(softly)
		Your friends will miss you if you 
		stay away too long.

				ROBSON
		Let them. I want to talk to you, 
		Luise.
			(impatiently, to the others)
		Why don't you two go play in a 
		corner somewhere?

	The young man jumps from his chair, stammering.

				YOUNG MAN
		Th-thertainly, Mr. Robthon.

	Klaus looks questioningly at Luise. Her nod is barely 
	perceptible. He rises and leaves the table with the 
	young man.

298	LUISE AND ROBSON. 
	Robson slides into a chair next to Luise.

				ROBSON
		Come back with me and I'll call off 
		all this foolishness about the rings.

				LUISE
			(curiously)
		You want me back, knowing I despise 
		you?

				ROBSON
			(nods, grinning)
		I can get fun out of even that.

	She narrows her eyes, studying his face. 

				LUISE
		I am told Mr. Conroy is still 
		unconscious.

				ROBSON
			(nods, with wry malice)
		Yeah. He's in a bedroom at my place.
		And he's not dying fast enough.

				LUISE
			(surprised)
		You hate him?

				ROBSON
		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 
		that.

				LUISE
			(smiling contemptuously)
		So. Then suppose I go back with 
		you. What?

				ROBSON
		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. 

				ROBSON
		There's no bargaining about your 
		boyfriend, Brazil. He takes what he 
		gets.

	Her face shows nothing of what she might be thinking. 
	She leans a little toward him. 

				LUISE
			(carefully)
		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.

				ROBSON
			(quickly)
		Maybe you've got something to learn.

	Then, recovering his consciously matter-of-fact tone: 

				ROBSON
		Well, what's the answer?

				LUISE
		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.

				ROBSON
		If I'll have you.

	She shrugs her shoulders. 

				LUISE
		Yes, certainly that.
 
	They stare at each other for a long moment.

					CUT TO:

299	INT. LINKS' FLAT - LATE NEXT MORNING - DAY
   	Fan opens the door to reveal Luise and Klaus. She 
	puts her arms around Luise. 

				FAN
		See, I told you Harry would get you 
		out all right.
			(to Klaus)
		You didn't let them hold her all 
		night?

				KLAUS
		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.

				EVELYN
		It's my fault. It's all my fault!

	Her already red and swollen eyes begin to cry again.

				EVELYN
		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:

				LINK
		Shut up. Stop it. Pipe down.
			(to Klaus)
		She's been doing this for an hour. 
		She's got me screwy.

	Fan takes Evelyn to the sofa and soothes her.

				FAN
			(to Link)
		Lay off the kid. She feels bad.

				LINK
		She ought to.
			(smiles at Luise)
		Hello, baby. Everything okay?

				LUISE
		How do you do? I think it is.
 
	Link looks at her hands. 

				LINK
		Where's the rings?

				LUISE
		We had to leave them up there.

				LINK
			(bitter)
		I told you! I told you you'd ought 
		to let me sold them.
			(to Klaus)
		Can you beat that?

	Klaus says nothing.
   
				LUISE
		Have you heard from -- ?   

				LINK
		Brazil? 
			(nods) 
		Yep. He's okay.

	Link glances over his shoulder at the girl on the 
	sofa, then speaks rapidly in a low voice. 

				LINK
		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. 

				LUISE
		But he -- Dr. Ralph Barry? 

302	LUISE, LINK AND KLAUS
	Link wags his head up and down. 

				LINK
		Yes. He's a good guy. He'll --

				LUISE
		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 
	him. 

				LUISE
		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.

				LINK
		Aw, maybe it's okay. Doc's a good 
		guy. I don't think he -- 

				KLAUS
		Cut it out! This is serious -- 
			(to Luise)
		No chance of a mistake on this?

				LUISE
		No.

	Evelyn thrusts herself between the two men to confront 
	Luise. She is crying again, but angry now. 

				EVELYN
		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. 
		You -- 

304	LINK AND EVELYN
	Link touches Evelyn's shoulder. 

				LINK
		I think I'll take a sock at you.
 
	She cringes away from him.

305	KLAUS, LUISE AND LINK

				KLAUS
			(to Luise)
		Didn't Robson say anything to you 
		about it last night?
 
	She shakes her head.

				LINK
		Well, listen. We got to get him out 
		of there. It don't --

				KLAUS
			(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 
		see him? 

				LINK
		Sure.

				KLAUS
		Then go. Wise him up -- find out 
		what the layout is.

				LUISE
			(to Link)
		And I am coming with you.

	Link looks at Luise and then at Klaus who shrugs.

					CUT TO:

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.

				LINK
		We want to see Mr. Lee. He's 
		expecting us.

	The nurse moistens her lips nervously.
 
				DESK NURSE
		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. 

				LINK
		This is it. 

	He opens a door without knocking and waves Luise 
	inside. 

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. 

				HUGE MAN
		I oughtn't to let you people see 
		him. 

309	BRAZIL half rises in bed and stretches a hand out 
	toward Luise. 

310	LUISE goes around the huge man to the bed and takes 
	Brazil's hand. 

				LUISE
			(murmuring)
		Oh, I'm sorry -- sorry. 

	Brazil grins without pleasure. 

				BRAZIL
		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.
 
				LINK
		Listen, Brazil. Is there -- ? 

	The HUGE MAN puts out a hand and wearily pushes Link 
	back. 

				HUGE MAN 
		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. 

				BRAZIL
			(to Link)
		Look after her, will you, Donny? 

				LINK (o.s.)
		Sure. 

313	LINK AND THE HUGE MAN

				LINK 
			(to Brazil)
		And don't let them worry you. I'll 
		send Harry over to see you and -- 

				HUGE MAN
			(to Link)
		Is this going to keep you all day?

	The huge man takes Luise's arm and puts her and Link 
	out.

					CUT TO:

314	EXT. SANITORIUM
	Luise and Link walk in silence down to the sedan, and 
	get in. 

315	INT. SEDAN
	Luise and Link sit silently for a moment.

				LUISE
		Will you kindly lend me ten dollars?

				LINK 
		Sure. 

	Link feels in his pants pocket, and gives her two 
	five-dollar bills.

				LUISE
		I wish to go to the railroad station.

				LINK 
		What for?

				LUISE
		I want to go to the railroad station.

					CUT TO:

316	EXT. RAILROAD STATION
	Link's sedan halts in front of the station.

317	INT. SEDAN
	Link looks at Luise curiously.

				LUISE
		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 
	cigarettes. 

320	LUISE enters a telephone booth, picks up the phone 
	and deposits the necessary coin.

				LUISE
		Long distance, please. Mile Valley.

	She shuts the door to the booth.

321	After a moment, LUISE speaks into the phone.

				LUISE
		Hello, Ito? ... Is Mr. Robson 
		there? This is Frulein Fischer. ... 
		Yes.
			(pause)
		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.

				LUISE
		A ticket to Mile Valley -- one-way 
		-- please.
 
					CUT TO:

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 
	fireplace.

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.

				ROBSON
		And you are making a great mistake, 
		my dear, in being too sure of 
		yourself.

326	LUISE yawns. 

				LUISE
		I slept very little last night. I am 
		too sleepy to be frightened.
 
327	ROBSON rises, grinning at her. 

				ROBSON
		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. 

				NURSE
		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

				ROBSON
		Phone Dr. Blake. He'll want to know 
		right away.

	The nurse nods and leaves. Robson turns to Luise. 

				ROBSON 
		I'll run up and stay with him till 
		she is through phoning.

330	LUISE rises.

				LUISE
		I'll go with you.

331	ROBSON purses his lips. 

				ROBSON 
		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.

				ROBSON 
		No. I think you'd better stay here.

334	LUISE lowers her brows.

				LUISE
		I will not.
 
335	ROBSON pauses, thinks it over, shrugs. 

				ROBSON 
			(too casually)
		Suit yourself.

	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 
	see ...

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 
	to Luise. 

				ROBSON
			(softly)
		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.

				ITO
		A Mr. Brazil to see Frulein Fischer.

343	Into ROBSON's face little by little comes the 
	expression of one considering a private joke. 

				ROBSON
		Show Mr. Brazil into the living room. 
		Frulein Fischer will be down 
		immediately. Phone the deputy 
		sheriff.

344	ITO nods and leaves as ROBSON smiles at LUISE.

				ROBSON
		Well?

	Luise says nothing.
  
				ROBSON
		A choice?
   
	The NURSE comes in. 

				NURSE
			(to Robson)
		Dr. Blake is out, but I left word.

345	LUISE and the NURSE

				LUISE
			(to the nurse)
		I do not think Mr. Conroy should be 
		left alone.

	The nurse looks at ...

346	... ROBSON who, after a dark glance at Luise, nods 
	his assent.

347	LUISE exits.

					CUT TO:

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 ...

349	LUISE 
	She stands in the living room door, the stairs
	in view behind her.

350	BRAZIL, advancing unsteadily.

				BRAZIL
			(hostile)
		They told me you'd come back. I had 
		to see it.

351	LUISE crosses her arms.

				LUISE
		Do not be a fool. I -- 

	She breaks off as the nurse passes the doorway. 

				LUISE
			(sharply)
		Miss George, what are you doing?

352	The NURSE turns to Luise, innocently.

				NURSE
		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 
	pillow.

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 
	sees ...

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:

				LUISE
		Brazil!

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.

				LUISE
		Thank you.

				BRAZIL
			(slight grin)
		'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 
	at ...

372	... the TALL MAN who chuckles.

				TALL MAN
		Well, well, well ... if it isn't Mr. 
		Brazil.
			(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 
	on worriedly.

372	2ND PLAINCLOTHESMEN, NURSE and CONROY
	A 2nd Plainclothesman joins Conroy at bedside.

				2ND PLAINCLOTHESMEN
		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.

				CONROY
			(weakly)
		Brazil? It wasn't Brazil. It was 
		Robson. 

373	LUISE's eyes glitter.

374	BRAZIL's eyes search the floor, puzzled.

375	The 2ND PLAINCLOTHESMEN's eyes narrow.

				2ND PLAINCLOTHESMEN
		Brazil didn't hit ya and knock you 
		into his fireplace?

376	CONROY thinks for a second.

				CONROY
		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. 
			(to Luise) 
		He said it was my fault you ran out 
		on him. Something about parasites 
		not mixing.

377	LUISE stares in disbelief.

378	2ND PLAINCLOTHESMAN AND CONROY

				2ND PLAINCLOTHESMAN
		Will you put that in a statement?

				CONROY
			(nods weakly)
		Sure.

	The 2nd Plainclothesman moves off.

				2ND PLAINCLOTHESMAN
		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.

				BRAZIL
		The guy was screwy, wasn't he? 

	She puts an arm around him and laughs with a cooing 
	sound in her throat. 

				LUISE
		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 ...

					FADE OUT
 
 





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