The Thin Man


		FADE IN:

1 		EFFECT SHOT:  THE SHADOW OF THE THIN MAN!
 
		The shadow, grotesquely thin, is cast by one 
		strong light which reflects itself against a 
		white cement wall.  When we first see the shad-
		ow, it is standing upright, examining some-
		thing which it holds in its hands.  Now the 
		shadow bends down and as it does so, CAMERA 
		PULLS BACK TO REVEAL CLYDE WYNANT in his work-
		shop.  He is a tall, thin man of about fifty-
		five, with white hair.  He has a fine, sensi-
		tive face.  He is a very successful inventor.  
		A man who is capable of sudden fits of anger 
		which he forgets almost immediately, but which 
		are quite terrifying while they last.  Just now 
		he is utterly absorbed in what he is doing -- 
		working on a delicately-wired part which has to 
		do with a new form of combustion engine that he 
		has invented.  (Through the entire scene, from 
		the first shadow effect, we hear the engine in 
		operation as he is working over it.)  Wynant is 
		dressed in overalls, and possibly a long shade 
		over his eyes.  The shop itself is in the base-
		ment of a small warehouse building, in the thir-
		ties between First Avenue and the East River, 
		in New York.  It is a long and narrow machine 
		shop, full of interest and character in its 
		mechanical layout.  Miniatures of engine-models 
		of various kinds -- vats of molten lead -- car-
		bon racks -- welding instruments -- delicate 
		light bulbs, and such other apparatus as com-
		poses a combination shop and laboratory of this 
		machine type.  WE HOLD A MOMENT on Wynant in
		the midst of an experiment over the combustion
		engine. Then from the background a workman 
		named Tom, also dressed in overalls, a man of 
		about thirty-five, comes in from an adjoining 
		shop.  He comes toward Wynant.
	
			Tom (hesitant -- in a mild tone)
	Your daughter's here, Mr. Wynant.
		(then, as Wynant doesn't seem to 
		hear him, he speaks louder) 
	Mr. Wynant!
 
		Wynant, startled out of his absorption, drops a 
		delicate piece of metal (or whatever fragile 
		wiring or part he would be holding), and turns 
		furiously on Tom.
 
			Wynant 
	Haven't you any more sense than to shout at me 
	like that!
 
			Tom 
	I'm sorry...  but...
 
			Wynant (picking up the little piece -- 
		its edges are spoiled)
	Two weeks work gone for nothing.  

			Tom 
	I just wanted to tell you...


			Wynant (interrupting)
	I don't care what you wanted to tell me.  You're 
	through!  Get your things and get out!

		The workman shrugs his shoulders and starts 
		away.  WE PAN Wynant to a bench on which there 
		are several acetylene torches.  He is examining 
		the part as he goes, muttering and growling to 
		himself.

			Wynant 
	It's a good thing I'm going away -- no peace -- no 
	quiet.  Everybody interrupting me --

 
2 		PANNING SHOT -- DOOR TO SHOP.
 
		DOROTHY WYNANT comes to the door and looks in.  
		Tom is seen taking off his overalls, prepara-
		tory to leaving.
 
			Dorothy 
	Can we come in?
 
		Tom looks up as she speaks to him.
 
			Dorothy 
	Did you tell him?

			Tom
	Sorry, Miss Wynant.  He didn't give me a chance.

		Dorothy comes in, followed by ANDREW READE.  She 
		is a young girl of about twenty-one, spirited 
		and high-tempered like her father.  She has great 
		natural beauty and distinction ...  the crisp pro-
		duct of a strict finishing school.  She is 
		dressed in smart, simple street dress, with a 
		fur coat over it.

		Andrew Reade is a good-looking boy fresh from 
		college.  He gives an impression of reliability 
		and common sense.  CAMERA PANS WITH THEM as they 
		go toward the workbench and Wynant.

			Dorothy 
	Dad!

		Wynant straightens up, and as he looks and sees 
		that it is his daughter, his whole expression 
		changes.  He forgets his anger.  he is delighted 
		to see her.

			Wynant
	Why didn't they tell me you were here?
 
		Dorothy kisses him.
 
			Dorothy 
	I'm sorry to interrupt your work, but this is impor-
	tant.
 
		Wynant looks over at Andrew standing behind 
		Dorothy.  Andrew smiles at him.
 	
			Andrew
	How are you?
 
			Wynant (to Dorothy - as he turns off 
		the combustion engine)
	Another young man.
 
			Andrew
	It's the same one.
 
			Dorothy (as if she were speaking to a 
		child who didn't remember his lessons) 
	It's been the same one for three months.
 
			Wynant
	Forgive me.
		(he shakes Andrew's hand)
	How are you?
  	
			Dorothy 
	Take a good look at him, Dad.
		(Wynant looks at Andrew and smiles) 
	Now please try to remember him...  'cause he's going to 
	be your son-in-law.
 
		Wynant's look changes to one of serious interest.

			Wynant (surprised)
	Well!

			Andrew (to Wynant -- feeling that 
		Dorothy has spoken too bluntly) 
	That is, if it's all right with you.
 
			Wynant 
	And if it isn't?
 
			Dorothy (to the front!)
 	He'll still be your son-in-law!
 
			Wynant (to Andrew, with humor)
 	You see how much we have to say.
 
			Dorothy (puts her hand on her father's 
		arm)
 	Dad, this is what I really wanted to ask you....
 
		Andrew, knowing that she wants to talk to 
		her father alone, interrupts.
 
			Andrew 
	Mind if I look around?
 
			Wynant 
	Help yourself.
		(he turns and calls off)
 	Oh, Tom, show this gentleman...  
		(he stops as he sees Tom is ready to leave)
 
3 		FULL SHOT -- INCLUDING TOM AT DOOR

		Tom is dressed in his street suit, ready to 
		go out.  Wynant stares at him in amazement.

			Wynant 
	Where are you going?

			Tom (drily)
	Home!

			Wynant 
	Home?

			Tom 
	I'm fired.
	
			Wynant (indignantly)
	Who fired you? 

			Tom
	You did.
 
		Dorothy laughs, Wynant shamefacedly joins her.
 
			Wynant
	Oh, forget it -- forget it.  Here ...  show this
	gentleman around...

		Tom beams at Wynant and starts to take his coat 
		and hat off as he speaks to Andrew.
 
			Tom
	Right this way, sir.

		Andrew follows him out.

4 		CLOSE SHOT -- WYNANT AND DOROTHY

		She pulls her father down beside her on a bench, 
		or possibly she climbs up on the long work 
		bench -- shoves the acetylene torches to a 
		distance -- and with her arms around him affec-
		tionately, continues:

			Dorothy 
	Mother's set her heart on a big church wedding.

			Wynant (parenthetically)
	Yes, she would.

			Dorothy 
	I hate all that fuss.  But I'll do it on one 
	condition -- that you're there to give me away.
 
			Wynant (chuckling) 
	What would your mother say to that?
 
			Dorothy (obstinately) 
	This is my wedding.
 
			Wynant 
	Wouldn't it be a little embarrassing ...  all of us 
	there ...  your other and me and your stepfather?
 
			Dorothy (she evidently has no love 
		for her stepfather) 
	He can stay home.  Please, Dad, won't you?
	
			Wynant  (doubtful) 
	If you think it'll be all right.

		(Dorothy jumps down from the bench 
		happily.  She kisses him, delighted to 
		have won him over)	
	
			Wynant  
	Wait a minute.  When is it going to be? I'm 
	leaving town tonight.
 
			Dorothy (surprised) 
	Where are you going?
 
			Wynant 
	It's a secret.  I can't even tell you, my dear.  
	I've got an important idea to work on.
 	
			Dorothy
	A new invention?
 
			Wynant 
	Yes.
		(then significantly, and with measured 
		tone)
	And I don't want anybody to steal it from me.
 
			Dorothy (disappointed) 
	We were planning to be married right after Christmas.
 
			Wynant 
	Oh, I'll be back before Christmas.
 
			Dorothy (brightening again)
	It's a promise?
 
			Wynant 
	That's one thing I won't forget.  
		(he looks at his watch) 
	Where's Macaulay?  I ought to be starting.
 
		Dorothy takes his watch while he starts to 
		take off his overalls.  There is an odd chain 
		attached to the watch, with links of gold, 
		copper, and silver.  As he slips off the 
		overalls, he speaks to Dorothy without looking 
		at her, trying to keep a casual note in his 
		voice.  CAMERA IS PANNING DURING THE SCENE.
	
			Wynant 
	How's your brother?

			Dorothy (she looks at her father 
		affectionately, sorry for him)
	He's all right.

		WE EITHER PAN NOW ON WYNANT, OR GO TO A 
		FULL SHOT -- as he goes to a washstand to 
		clean up a bit.  The basin is on the side 
		of the room.  The washstand could, if de-
		sired, be in a small closet, and the fol-
		lowing dialogue is played back and forth
		during this business.

			Wynant 
	I'd like to see him.  Why don't you bring him 
	down?
 
			Dorothy 
		(dangling the watch chain) 
	You know how it is, Dad.  He's sort of under 
	Mother's thumb.
 
			Wynant (brushing his hair a bit)
	I know -- I know --
 
			Dorothy (still monkeying with the 
		watch -- winding it)
	You're not missing much.  He's cuckoo.
 
		Wynant comes back from the washstand --
		CAMERA MOVING UP FOR A CLOSEUP ON THE TWO.

			Wynant 
	Like all the rest of us.
		(he leans closer to Dorothy, speaking 
		humorously)
	Has this fellow...
		(he indicates Andrew with a nod 
		of his head)
	...  has he seen the whole family?

			Dorothy (nodding and smiling)
	And he still wants to marry me!

			Wynant 
	He's a brave man.

		They look off as Andrew enters the shop again.

5 		MEDIUM SHOT --

		Andrew comes over to them with added interest 
		and admiration.

			Andrew (to Wynant)
	I didn't know you invented that Smelting Process.

			Dorothy (she holds the watch and 
		chain toward Andrew)
	Look -- those are the first metals that came 
	through.
		(she indicates the links in the chain)

		Andrew looks interestedly at them as she 
		dangles the chain before him.  Wynant is 
		feeling his shin bone.  He gives a little 
		grunt of pain.  Dorothy turns sympathetically 
		to him.
	
			Dorothy 
	Poor Dad, does that still bother you?

			Wynant 
	Only in bad weather.

			Dorothy 
	But it isn't bad weather now.

			Wynant 
	Better get home before it is.

			Dorothy (kissing Wynant)
	Goodbye, darling.  Don't you dare forget...  
	December 30th.

			Wynant (to Andrew, with a warm 
		friendliness)
	Goodbye, my boy.  Take care of Dorothy.  Show her 
	that there is such a thing as a happy marriage.

			Andrew (sincerely) 
	I'll do my best.

		Dorothy and Andrew start out, saying last 
		goodbyes to Wynant and Tom.  WE TRUCK ON THEM 
		AS THEY GO OUT TO:

6 		STAIRWAY FROM BASEMENT TO FIRST FLOOR - TRUCKING.

			Andrew
	All settled?
		(Dorothy nods)
	Grand!
		(then, after a second)
	Why did your mother ever divorce him?  He's swell.

			Dorothy 
	Wel-l-l, it seems he has a secretary.

			Andrew (understanding)
	Oh.
		(he turns to Dorothy, smiling)
	I'll do my own typing!

		They have reached the top of the stairs now and 
		are in a long and narrow corridor, a service 
		elevator at one end, and a door leading to the 
		street at the other.

			Dorothy (looking to street ...  it is 
		snowing)
	Dad's a good barometer...
		(she sees a taxi draw up in front of the 
		building)
	Quick! -- Here's a cab.

		They exit to street.

7 		EXTERIOR STREET -- LATE AFTERNOON -- BLIZZARD

		It is a shabby, dreary street with warehouse 
		and a deserted brewery.  There is a driving 
		snow-storm.  Dorothy and Andrew come out as 
		the cab is pulling up at the curb, and with 
		difficulty against the wind and driving sleet, 
		they go forward ready to take it.  The cab 
		door opens and an umbrella comes out and is 
		opened, almost in their faces.  The umbrella 
		completely covers the upper part of the man 
		who is carrying it.  He turns to pay the driver.  
		Dorothy recognizes Macaulay and pulls up the 
		umbrella to speak to him under it.

			Dorothy 
	Hello, there, Mr. Macaulay.


8 		CLOSEUP AT CURB -- THE GROUP

		Macaulay raises the umbrella, surprised.  He 
		is a fussy little bald-headed man of about 
		forty, wearing glasses.  He recognizes Dorothy 
		and beams.

			Macaulay
	How are you?
		(then as the snow pelts down, he starts 
		to hold his umbrella over her)
	Here.  Get under this.

			Dorothy 
	Thanks...  we're taking your cab.

		Dorothy climbs into the cab.  Andy follows 
		her.  She snuggles close against him, cold.  
		Macaulay hands the driver a bill.

			Macaulay (to Dorothy)
	Is your father still in there?

			Dorothy
	He's waiting for you.

			Macaulay 
	Did he tell you where he was going?

			Dorothy
	He wouldn't say.

			Macaulay 
	Tch-tch-tch --
		(shutting the cab door)
	Well, goodbye, Miss Wynant.
		(then speaking to the driver as the 
		driver is giving him his change)
	You wouldn't drive slowly, so you don't get a tip.

			Driver (grinning)
	That's okay -- I took it!

		He grins again and swings off, leaving 
		Macaulay looking down at the change in his 
		hand, indignant.  THEN WE PAN WITH HIM as 
		he enters the building.

9 		CORRIDOR FROM BASEMENT -- FULL SHOT.

		Wynant comes up the stairway and starts for 
		the service elevator as Macaulay comes in from 
		outside.  Wynant is now in a business suit, 
		but has no hat or overcoat on.  He doesn't see 
		Macaulay.  He pulls open the door of the 
		service elevator.  Macaulay starts to run to-
		ward Wynant with little fast steps, his bulky 
		umbrella hanging from his arm.

			Macaulay 
	Mr. Wynant...  Mr. Wynant!

		Wynant turns, his hand holding open the 
		elevator door.

			Wynant 
	Hello, there! Come on up with me.

		Macaulay follows Wynant into the elevator, 
		panting a little.

10 		SERVICE ELEVATOR -- WYNANT AND MACAULAY.

		Wynant pushes the button and the elevator 
		starts slowly up.  The elevator shaft is vis-
		ible through the wooden bars of the elevator.  
		Wynant stands looking down at Macaulay, amused 
		and friendly.  

			Wynant 
	Did you get my money?

			Macaulay (he pulls a wallet out of 
		his pocket and takes out a sheaf of new 
		bills.  He talks plaintively as he does so)
	I do wish you'd tell me where you're going.

			Wynant 
	I'm not telling anyone.

			Macaulay (protesting)
	But suppose some business comes up...

			Wynant 
	That's just why I'm going.

		Macaulay starts to count out the bills into 
		Wynant's hand.

			Macaulay 
	One hundred...  two hundred...  three...

			Wynant (takes the sheaf of bills, 
		impatient)
	Never mind.

			Macaulay 
	I wish you'd count them.  There's a thousand 
	dollars there.

			Wynant (stuffing them carelessly in 
		his pocket)
	I trust you.

			Macaulay 
	Isn't there anything else I can do for you? Have 
	you bought your ticket?

			Wynant 
	No.

			Macaulay (there is a good-humored 
		gleam in his eye.  He sees a chance of 
		finding out where Wynant is going)
	Well, let me do that for you.

			Wynant 
	You might do that.  Get me a ticket for...
		(he stops suddenly as he looks at
		Macaulay and sees the eager look in
		his eye -- realizes that he is about
		to give himself away)
	No, you don't!

		They smile at each other.  The elevator has
		reached the third floor by this time.  It
		stops.  Wynant gets out.
	
11		THIRD FLOOR CORRIDOR -- CLOSE AT ELEVATOR.

		Macaulay prepares to follow Wynant, but 
		Wynant closes the door of the elevator,
		leaving him in it.

			Wynant 
	Thanks, and goodbye.
	
			Macaulay 
	What'll I do if something comes up?
	
			Wynant 
	Settle it yourself.  What have I got a lawyer for?
	
			Macaulay 
	Is Julia going with you?
	
			Wynant 
	No.

		Wynant reaches through the bar of the
		elevator door and pushes the button
		inside.  The elevator starts going down during
		the following dialogue. Macaulay stands
		inside, bewildered and worried.

			Macaulay 
	But what if you need more money?
	
			Wynant 
	I left instructions with Julia.  She'll get it
	from you.  Goodbye.
	
		Wynant strides out of the scene.  The elevator
		is beginning to disappear, carrying Macaulay.

			Macaulay (with his face upturned, he
		goes on pleading until he disappears out
		of  sight -- he is calling up)
	You don't tell me a thing.  I don't know where 
	you're going.  I don't know when you're coming back.  
	I don't know how to reach you if any business turns 
	up...!

		And the elevator goes down out of sight, his
		voice trailing as it does so.


12		WYNANT'S OFFICE -- TRUCKING AND PANNING ON
		WYNANT --

		As we pick him up leaning down in front of a
		small safe, opening it.  He is talking to his 
		bookkeeper, Tanner, as he does so.  Tanner is 
		a little man with a quick eye and an eager 
		manner.  He has his hat and coat on prepara-
		tory to leaving for the day.  He is closing 
		and locking some cabinets as the scene ensues.  
		(Wynant's office is of a solid rather old-
		fashioned type such as would be found in a 
		building of this kind.  It should, in fact, 
		have windows through which a display room 
		given to machinery can be seen)

			Wynant (as he opens the safe)
	My daughter's going to be married, Tanner.  Nice 
	young man.  She just brought him.

		Tanner listens preoccupied.  He seems a little
		nervous about Wynant looking in the safe.
	
			Tanner
	Well, congratulations.

			Wynant (talking right on)
	I'm going to give her a wedding present.  Thought
	I'd better do it now, before I forget it.  I can
	drop them on my way to...
		(by this time Wynant has pulled out a
		and is puzzled to see it empty)
	That's funny....
		(he leans down and hunts through the 
		different papers in the safe.  He doesn't 
		find what he wants.  He turns to Tanner)
	Where are those bonds?

			Tanner
	Bonds, sir?
	
			Wynant
	I know I left them there.

			Tanner
	Maybe Miss Wolf has them.

			Wynant (still worried -- wonders why
		Julia took them)
	Maybe she has.

			Tanner (picking up a baggage check 
		from the table)
	You're forgetting the check for your suitcase.
		(Wynant takes it from him preoccupied)
	It's at the Grand Central.

			Wynant (still preoccupied)
	Oh, yes -- yes -- that's right --
		(he goes out)

		As soon as Wynant goes out, Tanner looks after 
		him.  he seems worried.  He looks apprehen-
		sively back toward the safe.

						DISSOLVE TO:


13		A RADIO IN A NEW YORK APARTMENT -- CLOSEUP.

		This is Julia Wolf's apartment, a fashionable
		penthouse furnished in very new modernistic
		style, but we do not reveal it as we dissolve
		in.  We are merely HOLDING ON THE RADIO AND
		A MAN -- JOE MORELLI -- who sits in front of
		it, in his shirt sleeves. Morelli is a tough 
		looking gangster.  He has the radio on.  He 
		is looking at a copy of Vogue.  A woman's 
		voice comes over the scene from off stage.

			Julia's Voice
	How do you want it?

			Morelli
	Straight.
		(turning a page of Vogue -- holding 
		it up to the light.  Through the transparent 
		page, the corsets show through under the
		evening gowns.)
	Do women really wear them things?
	
		Suddenly there is the sound of a key in the
		door.  Morelli looks up quickly, his hand going
		to what we know is his gun, in his hip pocket --
		AS CAMERA PULLS BACK RAPIDLY TO REVEAL:


14		FULL SHOT OF THE APARTMENT -- A PENTHOUSE --
		PROCESS GLASS.

		WE HOLD FOR A MOMENT as Morelli rises noise-
		lessly and stands there, alert and ready for 
		anyone.  NOW CAMERA SWINGS RAPIDLY OVER TO THE:


15		DOOR -- CLOSE SHOT ON WYNANT.

		As he enters, having used his own key.  He still
		seems occupied, and doesn't see Morelli as he 
		comes through.  CAMERA SWINGS RAPIDLY BACK TO:


16		CLOSEUP ON MORELLI -- BEFORE THE RADIO.

		He stands there, quietly menacing, his hand
		on his hip.

			Morelli
	You're in the wrong place, mister.

						BACK TO:


17		FLASH WYNANT -- CLOSEUP.

		Wynant looks off at him, surprised and
		angry.

			Wynant
		(sarcastically)
	Am I?

						BACK TO:


18		FLASH MORELLI -- CLOSEUP.

		AS WE PAN HIM FORWARD a few steps.  He gives
		Wynant a savage double-O.

			Morelli
	What's on your mind? What do you want?

			Julia's Voice
		(o.s.)
	Who is it, Joe?

			Morelli
		(watching Wynant)
	That's what I want to know.


19		MEDIUM SHOT -- THE APARTMENT.

		As Julia comes into the room, with two drinks 
		in her hand.  She is a woman of about thirty.  
		She is in very elaborate lounging pajamas, 
		her hair is too well waved, her nails too red, 
		her eyebrows too delicately arched.  But she 
		has the look of a hard businesswoman under-
		neath it all.  She looks disturbed as she sees 
		it is Wynant.

			Julia
	We're just having a little drink.

			Wynant
		(drily)
	So I see.

		Morelli looks from one to the other.  In
		Wynant's attitude of displeased propietorship,
		he gets his hint of who he is.  he reaches for
		his coat over the chair and starts to put it
		on.

			Julia
		(her eyes still on Wynant)
	See you later, Joe.

		Morelli looks from one to the other, and then 
		slowly gets his hat and starts out.
 
			Morelli
	Sorry.  I didn't know I was talking to the boy
	friend.  S'long.

		He walks carelessly and arrogantly out of 
		the door, slamming it after him.

		CAMERA MOVES IN FOR A CLOSE SHOT OF JULIA
		AND WYNANT.  She puts the drinks down.
		She tries to ignore Wynant's very evident
		displeasure.

			Wynant
	Who's that man?

			Julia
	He's not anybody.  Just a fellow I used to know.

			Wynant
	I thought you'd given up that sort of friend.

			Julia
	This is the first time I've seen him in years.  I
	didn't want him to think I was high-hatting him.

			Wynant
	I don't like him.

			Julia
		(moving over to him, trying to 
		conciliate him)
	Don't worry.  You won't see him again.
		(she tries to take Wynant's coat and 
		hat)
	What happened? Did you change your mind about 
	going?

			Wynant
	No.  I just came back for a second.  I wanted to
	get those bonds.

			Julia
		(she controls her fear under an air 
		of ignorance)
	What bonds?

			Wynant
	The government bonds.  The ones you took from the 
	office safe.

			Julia
		(smoothly lying)
	Oh yes.  Why, you told me to sell them a long time 
	ago.

			Wynant
		(in a level tone)
	I'd never tell you to sell those.  I bought them
	for my daughter.

			Julia
	Don't you remember....

			Wynant
		(interrupting her)
	Now see here, Julia.  You're counting a little too 
	much on my being absent-minded.  You've been taking 
	a little here and there for some time, and I haven't 
	said anything about it.  But this is fifty thousand
	dollars!

			Julia
		(flying into a temper to try to hide
		her guilt)
	Do you realize that you're accusing me of ....

			Wynant
	No one else had the combination of that safe.  You
	took them.  What did you do with them?

			Julia (in a fury)
	What if I did take them? I'm sick and tired of 
	seeing you hand out thousands of dollars to that 
	family of yours....

			Wynant
		(cutting in)
	That's my business.

			Julia
		(going on without listening to him)
	-- supporting that gang of loafers! There's not one
	of them that cares a damn for you.  A wife who threw
	you out the first time your foot slipped.  They
	wouldn't raise a hand to help you.  And I've given
	my whole life for you.  If you kicked off tomorrow,
	where'd I be? Out in the gutter!
		(then defiantly)
	Sure I took those bonds.  Who has a better right -- ?

		WE HOLD A MOMENT.   There is a slight pause,
		then Wynant quietly, and unheeding all that she
		has said, starts for the phone.  WE PAN HIM
		OVER AND HOLD as he picks up the phone (but not
		the receiver as yet) and speaks off to Julia:

			Wynant (quietly)
	I want that money right now, or I'll hand you over 
	to the police.

			Julia
		(o.s.  -- not believing that he will do it)
	Go ahead!

			Wynant
		(lifts phone from receiver now --
		still quietly)
	They'll be pretty rough with you....with your record.

		CAMERA PULLS BACK, and Julia hurries into the 
		scene.

			Julia (contemptuous)
	Thats a fine thing to throw up to me after all 
	I've been to you....
	
			Wynant (in phone)
	Hello ....  give me ....
		(Julia grabs the telephone from him, in
		a fury.  She puts it down.  Puts the re-
		ceiver in place.  They stand facing each
		other)
	Well ....  ?

			Julia (in a surly tone)
	I'll give it back to you ....  all I've got ....
	twenty-five thousand ....

			Wynant 
		(he takes her by the wrists, gripping her 
		hard, trying to force the truth from her)
	You're going to return every cent of it!

			Julia (flashing again)
	I can't! I haven't got it!
	
			Wynant (quickly)
	What did you do with the rest?

			Julia
	I never had it.

		The telephone rings.

			Wynant
	Then someone was in with you.  Who was it? -- Who
	was it?
		(Julia makes a move to answer the phone
		which rings again insistently)
	I'll answer that --
		(he picks up the phone)
	Hello ...  hello ...

						CUT TO:


20		TELEPHONE BOOTH -- PUBLIC PAY STATION.

		A weasel-faced little man, Nunheim, is in the
		booth at the phone, but as he hears Wynant's
		voice say "hello", he very quietly pulls down
		the hook for the receiver and places the re-
		ceiver gently on it.  He turns away.

						CUT BACK TO:


21		JULIA'S APARTMENT -- CLOSE SHOT AT PHONE AGAIN.

		Wynant is clicking the receiver up and down, 
		as he repeats several times, sharply:

			Wynant
	Hello ...  hello ...  hello ...  HELLO ....

		Then, evidently hearing the sound of the re-
		ceiver being replaced, he impatiently puts the 
		telephone down and turns back to Julia.

			Wynant
	You don't need to tell me.  I have a pretty good idea.

		And with this WE PAN HIM as he puts on his hat
		and starts to walk out of the apartment -- with
		determination and a menacing purpose in his face.

			Julia (o.s.)
	What are you going to do?

		Wynant turns at the door and smiles - a terrify-
		ing smile - and walks out.  The CAMERA SWINGS
		QUICKLY BACK TO JULIA.  She looks after him
		terrified as we

						CUT OR DISSOLVE TO:


22		A STREET AT NIGHT -- LIGHTING EFFECT.

		Wynant strides down the street, his long,
		lean, narrow form casting a long shadow on
		the snowy pavement.  THE CAMERA HOLDS IN A 
		RUNNING SHOT ON THE SHADOW as it elongates
		still further, and finally disappears.

						FADE OUT.

		(NOTE: We should get the above shadow effect 
		through heavy snow, (via reflection of street 
		lamps).  The idea and mood here of the shadow 
		of the "thin man" as it strides rapidly through 
		the night is purposely intended for a necessary 
		effect.)


23		FADE IN:
		CLOSEUP OF A CHRISTMAS WREATH.

		The wreath is enormous, and under the conven-
		al greeting: "A MERRY CHRISTMAS", which is
		in silver across it, there is a current uncon-
		ventional greeting also in silver, which
		reads:

			(This slogan to come)

		On sound track behind the shot an orchestra
		is playing gaily.  Possibly an arrangement that
		Lombardo would make on "JINGLE BELLS, JINGLE 
		BELLS".  There is also the sound of gay chat-
		ter and jingles of many cocktail shakers.  NOW 
		CAMERA PULLS BACK TO REVEAL THE BAR OF A 
		SPEAKEASY, or, to be more up to date, the bar 
		of a Biltmore or a Waldorf Astoria Hotel.  It
		was against the glass of the bar that the 
		Christmas wreath was first shown.  It is about
		three o'clock in the afternoon.  Almost all of
		the people sitting on the high stools in front
		of the bar are women.  Several bartenders are
		shaking cocktails.  The music, which, by the
		way, comes from an adjoining tea dansant room, 
		continues.  There is a holiday air about the
		whole place.  A sophistication and a gaiety 
		belonging to thirsty New York of the present 
		moment.  CAMERA RUNS DOWN THE LINE OF THE BAR 
		AND HOLDS AT THE END, where a bartender is
		placing two cocktails on a tray held by a 
		waiter.  WE TRUCK ON THE WAITER as he takes
		the tray into the adjoining room.  The room
		is quite filled with the afternoon tango
		crowd, and several couples are danicng on the
		floor.  WE HOLD as the waiter stops at a small 
		table along the wall.  Dorothy and Andrew are
		seated there.  Dorothy is looking very glum.

			Andrew (putting his hand on hers)
	Cheer up, darling.

			Dorothy 
	I'm sorry.

		Dorothy tries to smile, but it's a dreary
		attempt.  The waiter puts down the cock-
		tails and leaves.

			Andrew (holds up his glass)
	Here's to us!

		He drinks his cocktail.  Dorothy takes a
		sip of hers.  Andrew goes on talking,
		trying to get her out of the doldrums.

			Andrew
	By this time next year, we'll be two old married
	people ...  trimming the tree ...  hanging up the stock-
	ings for the children ...
		(then as she looks up)
	...  well, the child, then.

		Dorothy tries to smile, but she is worried,
		and cannot enter into his fun.  She puts her
		drink down.

			Andrew
	What's the matter, darling ...  not sweet enough?

			Dorothy (listlessly)
	It's all right.

		(NOTE TO VAN: If you want them to get up and 
		join the dancers, it can be done at this 
		point.  After Dorothy says, "It's all right", 
		Andrew says, "Come on, let's dance.  I've got 
		to get you out of the dumps somehow" -- and 
		pulls her to her feet.  The following scene 
		continues now, as follows, in a PANNING SHOT 
		OF THEM DANCING.)

			Andrew
		(leaning forward -- serious now)
	Darling, your father's all right.  He'll turn up in
	time.

			Dorothy 
		(turns to him -- suddenly distraught)
	But tonight is Christmas Eve!

			Andrew
	He's just forgotten.  You know he forgets everything.

			Dorothy 
	He's never forgotten a promise to me.  I'm worried
	about him.  I know something's happened to him.

		She looks off scene toward the bar.  Suddenly
		her attention is riveted on someone.

			Andrew
	What could happen to him, darling? You mustn't
	worry....
		(then as he half rises, he continues)
	What is it?

			Dorothy 
	Just a minute...

		She leaves the table -- her eyes still fixed
		eagerly on the man she has seen.  WE TRUCK
		AND PAN WITH HER as she goes forward to the 
		bar.  And as she comes in, we see her re-
		act eagerly as she confronts a good-looking
		man of about thirty-five, tall, casual, and
		worldly wise, who is standing in front of the 
		bar, his face reflected in the mirror.  This
		is NICK CHARLES.

			Nick (to the bartender)
	Another Martini --

			Dorothy 
	Hello, there!


24		CLOSEUP AT THE BAR -- NICK AND DOROTHY

		Nick Charles turns to her.  He smiles at her.
		He hasn't the faintest idea who she is, but
		he's not going to discourage such a pretty 
		girl.  

			Nick
		(very cordially)
	Hello!
		(then over his shoulder to the bartender)
	Make it two!
		(then back to Dorothy)
	How are you?

		Dorothy realizes that he hasn't any remem-
		brance of her.

			Dorothy 
	You know, we know each other.

			Nick
		(heartily)
	Of course we do! We've been friends for years.

			Dorothy 
		(inspecting him)
	Aren't you Nick Charles?

			Nick
		(his face changes.  He realizes that
		she does know him)
	Yes.

			Dorothy 
	You don't remember me.....  I'm Dorothy Wynant.

		The bartender sets the drinks on the bar
		before Nick, who looks at Dorothy puzzled,
		trying to realize that this is the child 
		he used to know.

			Nick
	Not that scrawny little....?
		(he puts out his hand as if measuring
		a little girl's height)

			Dorothy 
		(smiling)
	Yes.

			Nick
	How did you ever remember me?

			Dorothy 
		(intently)
	I was fascinated with you....  a real live detec-
	tive....  You used to tell me the most wonderful 
	stories.  Were they true?

			Nick
	Probably not.

		Andrew comes up to them.  Dorothy turns to
		introduce him.

			Dorothy 
	Andy...  this is Nick Charles.  He worked on a case 
	for father.

			Nick
		(shaking hands with Andrew)
	Yes.  Some nut who wanted to kill him.
		(then to Dorothy)
	How is your father?

			Dorothy 
	That's what I was going to ask you.  he's dis-
	appeared!

			Nick
	Disappeared!

			Andrew (to Dorothy)
	Now don't say that -- he's just off somewhere work-
	ing.

			Dorothy (to Nick)
	I can't find him.  I've tried everything.  I
	thought you might know.

			Nick
		(chuckling)
	I don't know anything -- I've been in California
	for four years.  What about his lawyer? Used
	to be a guy named Mac-- something.

			Dorothy 
	Macaulay.

			Nick
	That's it...  Herbert Macaulay.

			Dorothy 
	I tried him once -

			Nick
	Why don't you try him again?

			Andy
		(digging in his pocket)
	Here's a nickle.

		Andrew gives her a nickle and she goes off.
		Now that she has gone Andrew drops his 
		pretense of minimizing her father's failure 
		to appear.  he steps up close to Nick.

			Andrew
	She's got me worrying, too.

			Nick
		(easily, as he reaches for his cocktail)
		(NOTE: During the entire play, Nick
		is always reaching for a cocktail!)
	Don't start worrying about him.  He's a good guy,
	but screwy.

			Andrew
		(impressed by what he has just heard)
	Why did that man want to kill him?

			Nick
	Said he stole his invention.

			Andrew
	Do you suppose.....  ?

		The bartender is placing more drinks in 
		front of Nick.

			Nick
		(to Andrew)
	What?

			Andrew
		(deciding he is silly to get 
		so worried)
	Nothing.

			Nick
	You better take a drink.

		He hands him one of the cocktails.
		As they start to drink, a commotion is
		heard offscene ...  a dog barking ...  men's
		voices raised in protestation ...  and a
		a woman's voice above it all.  It is NORA,
		Nick's wife.

			Nora's Voice
		(o.s.)
	Asta! Where are you going? Asta!

		Bartenders, as well as Nick and Andrew, 
		look off toward the commotion.

						CUT TO:


25		ENTRANCE OF THE BAR -- FROM
		THE CLOAK ROOM OR CORRIDOR.

		NORA CHARLES, Nick's wife, is coming through.
		She is a woman of about twenty-six...  a tre-
		mendously vital person, interested in every-
		body and everything, in contrast to Nick's 
		apparent indifference to anything except when 
		he is going to get his next drink.  There is a 
		warm understanding relationship between them.  
		They are really crazy about each other, but 
		undemonstrative and humorous in their compan-
		ionship.  They are tolerant, easy-going, taking 
		drink for drink, and battling their way to-
		gether with a dry humor.  Just now Nora has 
		been shopping.  Her arms are full of small 
		packages.  Her hat is askew.  She is pulled 
		along bodily by a small white Sealingham on a 
		leash.  A doorman and a hat-check clerk are 
		following her, protesting at her bringing the 
		dog into this fashionable hotel.  The dog is 
		exitedly barking.

			Doorman
	Madame, you can't bring that dog in here!

			Nora
	I'm not bringing him.  He's bringing me!
		(then to the dog)
	Asta!  Asta!

		But the dog pays no attention.  He pulls her 
		like a streak out of the scene toward the bar.  
		Nora's packages are left in a trail behind her 
		as she stumbles after him.  The attendants 
		follow after her, picking up the parcels and 
		protesting vehemently.

			Attendants
	But Madame...  dogs aren't allowed....
	It isn't only your dog...  but if we started....
	Madame, you dropped your package....  etc.


26		BAR -- CLOSE SHOT

		As Asta, the dog, rushes in, still with Nora 
		on the other end of the leash.  The dog makes 
		a bee-line for Nick, pulls away and -- ker-
		plunk! -- he leaps clear up into Nick's arms.  
		He is barking with delight.  He seems to have 
		a particular desire to lick Nick's nose.  Nora, 
		more dishevelled than ever and breathless, 
		enters, panting.  She realizes that this was 
		Asta's objective.

			Nora
	So it's you he was after!

			Nick
	Hello, baby.

			Nora
		(indicating the dog)
	He's dragged me into every gin mill on the block.

			Nick
		(in explanation)
	I had him out this morning.

			Nora
	I thought so.  He even tried to drag me into the 
	gentlemen's --

			Nick
		(stopping her to introduce Andrew)
	Oh, this is Andy --

		Nora and Andy smile at each other.

			Nora
	How're you, Andy?
		(hastening to add)
	I don't usually look this way, but I've been
	Christmas shopping.

		One of the attendants who followed Nora comes
		up.  He hands Nora several of her packages.

			Attendant
	Madame, I'm afraid you'll have to....

			Nick (interrupting)
	It's all right, Joe.  It's my dog...
		(and as an afterthought, waving 
		his hand at Nora)
	....and my wife.

			Nora
	You might have mentioned me first.

			Nick
		(to Joe)
	He's well-trained.  He'll behave himself.

			Nora
	As long as there isn't a fire hydrant.  What I've 
	gone through --

			Attendant
	He might bite someone.

			Nick
	He's all right.
		(He puts Asta down on the floor.
		He speaks to the dog)
	Now lie down.
		(Asta looks up at him, wagging his tail,
		but making no move to obey him.  Nick speaks
		with more authority)
	Lie down!
		(still Asta looks fondly up at him, with-
		out obeying)
	Well then, stand up!
		(then triumphantly to Joe)
	See?

		The attendant laughs and moves off.

		Dorothy comes toward them from the telephone
		booth.  She seems a little more cheerful.  Andrew 
		watches her anxiously.

			Andrew
	Any luck?

			Dorothy
	He's just around the corner.

			Nick
	Your father?

			Dorothy
	No.  The lawyer -- I'm going to see him.

		Nick realizes that Dorothy and his wife have not
		met.  He makes the introduction very casually,
		waving his hand to indicate Nora.

			Nick
	Oh, my wife -- Dorothy Wynant.

		The two women smile in acknowledgment.  nora
		looks at Dorothy with warm interest.

			Dorothy
	How do you do?  I'm sorry we have to rush.
	
			Nick
	We're at the Normandie for a couple of weeks.  Why
	don't you drop around?
			Dorothy
	Thanks.  We will.  Goodbye.

			Andrew
	Goodbye.

		The two go quickly off.  Nora looks after them.

			Nora
	Pretty girl.

			Nick
	If you like 'em like that.

			Nora (grinning at him)
	You got types?

			Nick
	Only you, darling...  lanky brunettes with wicked 
	jaws.

			Nora
	Who is she?

			Nick
	I was hoping I wouldn't have to tell you.  Dorothy
	is really my daughter.  You see, it was Spring in
	Venice, and I was so young.  I didn't know what I
	was doing.  We were all like that on my father's 
	side.

			Nora
	By the way, how is your father's side?

			Nick
	Much better, thanks.

			Nora
	How many drinks have you had?

			Nick
	Six Martinis.

			Nora (to the waiter, ordering)
	Six Martinis.
		(then to Nick)
	You're not going to have anything on me.

		As she hugs the bar, her foot on the rail,
		in imitation of Nick

						DISSOLVE TO:


27		CLOSEUP OF AN ICE BAG.

		Nick's hands are screwing the cover on the
		ice bag.  CAMERA PULLS BACK TO reveal him in
		the bathroom of his suite at the Normandie.
		He has just filled the bag from the wash
		basin which is full of ice.  THE CAMERA 
		TRUCKS with him as he goes into the bedroom
		and over to the bed.

28		CLOSE UP OF ASTA.

		He is sitting on the foot of the bed, his
		head cocked, looking anxiously at Nora at
		the other side of the bed.

29		CLOSE SHOT - AT BED.

		Nora is lying on the bed, dressed as we saw
		her in the last scene, except for her hat.
		Nick comes in and puts the ice bag on her
		head.  Nora opens her eyes and speaks feebly
		to Nick.

			Nora
	What hit me?

			Nick (grinning at her)
	That last Martini.

		Asta, delighted that Nora is all right, rushes 
		to her, and licks her face.

			Nora (struggling to get up)
	I can't lie here.  I've got to get up and trim that
	darned Christmas tree.

			Nick
	Take it easy.

		The doorbell of the apartment rings.  Nick
		starts into the next room.  Nora looks off
		perturbed.  She doesn't feel up to visitors.

			Nora
	Who's that?

			Nick (as he walks out)
	Santa Claus.

						CUT TO:

30		LIVING ROOM OF SUITE - (SKYLINE THROUGH
		WINDOWS)

		In one corner of the living room is an enor-
		mous Christmas tree, without any ornaments on
		it.  The room is a mass of boxes and excelsior.
		Nick comes from the bedroom and opens the outer
		room.  Macaulay stands outside, his eyes
		blinking behind their glasses, in friendly wel-
		come.  CAMERA MOVES UP FOR CLOSE SHOT ON THE
		TWO.

			Macaulay
	How are you?

			Nick (he is surprised but recognizes
		him after a second and is cordial)
	Hello, Macaulay.  Come in.
	
			Macaulay (as he comes in)
	Dorothy told me you were here.  I was going to 
	telephone but....

			Nick
	That's all right.  What are you drinking?

		WE PAN Nick over to a table where there are
		bottles of Scotch and ice and syphons of
		seltzer.

			Macaulay
	Nothing, thank you.  Nothing.
		(Nick pours himself a drink as Macaulay sits
		down)
	I wanted to see you...  What's Mimi up to, Charles?

			Nick
	Mimi?
		(for a minute he doesn't realize who 
		Mimi is)
	...  Oh, Dorothy's mother.  Does she have to be up 
	to something?

			Macaulay
	She usually is.  Trying one way or another to get 
	money out of Wynant.  I wanted to find out if you 
	were er - er -
		(he hints for the word)
	--sleuthing for her.

			Nick (dryly)
	I haven't been a detective for four years.

			Macaulay
	You don't say --

			Nick
		(pressing syphon of seltzer)
	My wife's father died and left her a lumber mill
	and a narrow guage railroad and a couple of other 
	things.  And I'm looking after them.

			Macaulay
	I see.  I see.

			Nick (coming over to him)
	What's all the fuss about? Is he in hiding?

			Macaulay
	You know as much about it as I do.  I haven't 
	seen him in three months.

			Nick
	No word at all?

			Macaulay
	He sends word through Julia Wolf when he wants 
	money...  I give it to her and she gives it to 
	him.

		The telephone rings.  Nick goes over to
		it, speaking to Macaulay as he goes.

			Nick
	So that's still on?
		(he picks up the phone)

			Nora's Voice (o.s.)(she has
		answered the phone in the next room)
	Hello....  just a minute.

		Nick, who has listened on the phone, holds
		it out toward Macaulay.

			Nick
	It's for you.
		(Macaulay gets up and starts for the
		phone)
	Your office.

		Macaulay takes the telephone.  Nora appears 
		in the doorway to the bedroom.  She has a box 
		of Christmas tree ornaments in her hand.  The 
		ice bag is tied on her head, slightly askew.  
		She is followed by Asta.

			Nora
	Is there a Mr. Macaulay in the house?
		(she looks over and sees Macaulay at the 
		phone)
	Oh, it's you.

			Macaulay (into the telephone)
	Yes?
 
 		Then he turns to Nora.  In his desire to be 
		polite, he almost misses both the intro-
		duction to Nora, and his telephone call.
 
			Nick
	My wife.
 
			Macaulay (to Nora)
	How do you do?
		(he turns hastily back to the telephone.
		Nora walks out of the scene, toward the
		Xmas tree)
	What did you say?....  He is?....  Where is he?  Very
	well.
		(he hangs up and turns to Nick) 
	He's back in town....
		(then as Nick looks mystified, he adds:) 
	Wynant.  Thank heaven.  He's waiting for me now.  
		(then realizing that Nora doesn't know 
		what he is talking about) 
	Forgive me, Mrs. Charles...  but I've been so upset.  
	It's no joke working for a man like that.  I must
 	be off.  
		(he starts for the door, which Nick opens 
		for him) 
	Goodbye....  goodbye,
 
			Nick 
	S'long.
 
		Macaulay shuts the door after him only to 
		open it again.
 
 			Macaulay (sticking his head in)
 	Merry Christmas!
 
 		He shuts the door again.
 
 		During the above, Nora has started to decorate 
		the tree.  She is standing on a chair, a 
		couple of Xmas ornaments in her hand, reach-
		ing toward the top or the tree.
 
			Nora  
	If anyone says "Merry Christmas" once more, I'll 
	kill 'em.
 
 		Nick starts to the telephone directory.
 
			Nick 
	Iím going to telephone that poor kid.  
		(he searches in the directory for a 
		number) 
	At least she'll be glad to know he's alive.
 
		Asta is sniffing around the bottom of the 
		tree.
 
 
31		CLOSE SHOT OF NORA.
 
 		She has two different ornaments in her 
		hand, trying to decide which to put on the 
		top of the tree.
 
			Nora
	Shall I use this....  or this?
		(she looks down at Asta, who is out of  
		sight.  She speaks sharply)
 	Asta! Asta!
 		(she returns to her trimming, muttering 
		indignantly)
	Our nice Christmas tree.
 

32 		CLOSE SHOT OF NICK - PHONE.
 
 		He has dialed his number.  He speaks into the telephone.
 
			Nick
	May I speak to Dorothy ----
 
 						CUT TO:
 

33		MEDIUM SHOT - JORGENSEN APARTMENT.
 
 		Mimi Jorgensen, formerly Mrs. Clyde Wynant, 
		is at the phone.  She is a slightly faded, 
		but still very pretty woman of about forty-
		one or two.  She is utterly feminine, with
 		bright, little ways of talking and moving.  She
		distrusts all women, even her daughter Dorothy,
		and treats all men with a flirtatious condes-
		cension, as if they were children.  The only 
		thing she really has any emotion about is her 
		present husband, who she adores.  She is 
		terrified that he will leave her, knowing, 
		although she won't admit it, that he married 
		her for her money.
 
 		The living room of her expensive apartment 
		reflects her personality.  It is a modernized
		Victorian, full or alabaster lamps, curved 
		soft chairs and gleaming satin.
 
 		Mimi is answering the telephone.  Dorothy 
		stands in the doorway, listening to her 
		mother as she takes off her hat and coat.  She 
		is dressed in the same clothes in which we 
		saw her at the hotel.
 
			Mimi 
		(as she hears that it is Nick Charles, her 
		voice takes on a flirtatious note) 
	How are you?....  Oh, I'm Mrs. Jorgensen now....  
		(she sees Dorothy out of the corner of 
		her eye, but pretends that she doesn't 
		know she is there) 
	No, she isn't here.
		(Dorothy moves toward the telephone) 
	Is it about her father?  Well, can I take the message?

			Dorothy
		(taking the phone from her mother)
	Give it to me.
 
			Mimi
		(into the phone, pretending surprise)
	Oh, here she is.
 
		Reluctantly she gives the phone to Dorothy.  
		She stands close to Dorothy, trying to hear 
		the conversation.

						BACK TO:
 
34		CLOSEUP NICK - PHONE.
 
			Nick
	I just wanted to relieve your mind.  Your father's 
	alive and all right.
 
						BACK TO:

 
35		JORGENSEN'S - CLOSE AT PHONE.
 
			Dorothy 
		(her face lights up with relief)
	Oh, thank heaven.
 
			Mimi (whispering to Dorothy)
	What is it? Has he found him?
 
			Dorothy (into the phone, not paying 
		attention to her mother)
	Do you know where he's living?
		(for a moment she cannot help but feel hurt)
	Oh....
		(then she realizes how selfish her feeling 
		is)
	Well, at least I'm glad he's all right.  Thank you
	for calling.  Goodbye.
 
		She hangs up.  Mimi eagerly questions her,
 
			Mimi
	What is it?
 
			Dorothy 
	Nothing.
 
		Gilbert comes into the room.  He is a boy of
 		about seventeen or eighteen.  He wears 
		spectacles.  He is slight in build.  The two 
		women don't notice him.
 
			Mimi 
	That isn't true.  It was about your father.  Where 
	is he?

			Dorothy
 	He's all right.  Isn't that enough?
 
			Mimi
	No.

			Dorothy 
	You just want money -- and you haven't any right to 
	any more.  He made a big settlement on you.
 
			Mimi
	That's gone long ago.  I've got to see him.  Where 
	is he?

			Dorothy 
	I won't have you hounding him any more for money.
 
			Gilbert (to his mother)
	I'll tell you.

			Dorothy (turning on him acccusingly)
	You've been listening again on that extension.
 
			Gilbert (very simply) 
	Of course.  What's an extension for?
 
			Mimi (to Gilbert, who is evidently 
		her favorite of the two children)
	What is it, Gilbert? Tell mother! What did he 
	say?
 
			Gilbert
	He said that father's in town.  He's been seeing 
	Julia right along.
 
			Mimi (bitterly)
	That woman!

			Gilbert
	She could tell you where father is.
 
			Dorothy 
	Mother ....  you couldn't do that.  You couldn't go
	to her.

			Mimi
	I didn't say I would.  But we've got to have money.
 
                Dorothy 
	Did it ever occur to you that Chris might work?
 
			Mimi (looking fearfully off scene)
	Shush!
 
		CAMERA SWINGS RAPIDLY OVER TO:
 

36 		BACK OF A SOFA
		BIG CLOSEUP
 
		From the sofa a man rises with languid 
		dignity.  It is Chris Jorgensen.  He is 
		younger than Mimi.  A very handsome man, but 
		one whom you could know at first sight that 
		you could not trust.

			Mimi's Voice (o.s.)
	Chris! Chris
 
 		Jorgensen pays no attention to Mimi.  He 
		throws Dorothy a deadly glance and walks with 
		hurt dignity out of the room, carrying the 
		newspaper he has been reading.  CAMERA PULLS 
		BACK FOR THE GROUP AGAIN:
 

37		DOROTHY, MIMI AND GILBERT
 
		Mimi looks after Jorgensen, fearfully.  She 
		turns to Dorothy.
 
			Mimi (sharply)
	You've hurt his feelings!
 
		She hurries out of the room after Jorgensen.  
		Dorothy looks after them, disgusted.  Gilbert 
		watches Dorothy with detached, scientific 
		interest.

			Gilbert 
	You know, you have an Oedipus complex and you won't 
	admit it.

			Dorothy (this is the last straw)
 	Oh, please, Gilbert!
 
 		She starts out of the room but Gilbert con-
		tinues to talk to her, although she is not 
		paying any attention.
 
			Gilbert
	The trouble with you is that you won't face facts.  
	I know I have a mother fixation...  but it's 
	slight......  it hasn't yet reached the point of...
 
			Dorothy
	Oh stop it!  Stop it!
 
		Dorothy walks out.  Gilbert looks after her, 
		bewildered by her lack or scientific interest.
 

38		JORGENSEN'S BEDROOM - MEDIUM
 
		Jorgensen is standing in front of the mirror,
		adjusting his tie.  Mimi comes in, very much
		perturbed.  She goes to him affectionately.  
		Jorgensen realizes his power over her and 
		uses it.

			Mimi
 	Don't mind what she says, Chris.
 
			Jorgensen
	How can I help but mind? I'm constantly humiliat-
	ed...  just because I haven't money.
 
			Mimi (eagerly)
	I'll get some.
 
			Jorgensen 
	You've said that for weeks.
 
			Mimi
	I know.  

			Jorgensen 
	Why don't you go to see Julia?  She handles his money.

			Mimi (protesting) 
	Chris!

			Jorgensen
	All right.  All right.
 
			Mimi
	I couldn't go near that woman.
 
			Jorgensen
	I said all right!
 
		He picks up his hat and coat from a chair.  
		Mimi watches him anxiously.
 
			Mimi
	What are you going to do?
 
			Jorgensen (easily)
	Just what I said I'd do.
 
			Mimi (in a panic, she pleads)
	You wouldn't do that...  you wouldn't!
 
			Jorgensen (coldly - quietly)
	Wouldn't I.  Just watch me.
 
			Mimi (almost crying)
	Chris -- Chris -- !
 
		But Jorgensen walks out.
 

39		OUTSIDE JORGENSEN'S DOOR - HALL.
 
		Jorgensen strides out of the door and down 
		the hall.  Mimi comes to the door.
 
			Mimi
	Chris!
 
		But Chris pays no attention.  Mimi, distrait, 
		goes back into his room.  As she closes the
		door, we see Gilbert come out from behind
		the open door, where he has been listening.

 

40		JORGENSEN'S ROOM AGAIN.
 
		Mimi stands irresolute for a minute, then 
		goes to the telephone and dials a number.
 
			Mimi (on telephone) 
	Miss Wolfe?  Well this is Mrs. Jorgensen...  I 
	wonder if I may see you?
 
						CUT TO:


41		JULIA'S APARTMENT - CLOSEUP AT PHONE
 
		Julia is evidently very much startled by Mrs. 
		Jorgensen's calling her.
 
			Julia (hesitatingly)
	Why yes ....  yes.....
 
		She puts down the telephone, thinking hard, 
		worried by the idea or Mrs. Jorgensen's impend-
		ing visit.  Suddenly she makes up her mind 
		and hastily dials a number.
 
						BACK TO:
 

42		MIMI'S LIVING ROOM

		Mimi gets up from the telephone.  There is a 
		look of grim determination on her face.

						DISSOLVE TO:
 

43		DESK OF JULIA WOLFE'S APARTMENT HOUSE.
 
		There is a clerk, standing behind the desk, and 
		a telephone operator at a small switchboard.  
		Mimi is standing in front of the desk.
 
			Mimi 
	What is Miss Wolfe's apartment number?
 
 			Clerk
	Nine A.

		Mimi turns and walks across the lobby.  The 
		CAMERA TRUCKS with her.  As she goes toward
		the elevator, Albert Nunheim is seen coming 
		down the last steps of the stairs, out of her
		sight.  He is a weasel-faced, little man with
		a long nose, weak mouth, and a shifty look
 		in his eye.  The clerk's voice comes over the
		SOUND TRACK calling after Mimi.

			Clerk's Voice (o.s.)
	Who shall I say?
 

44		CLOSEUP OF NUNHEIM ON STAIRS.
 
			Mimi's Voice (o.s.) 
		(shortly) 
	Miss Wolf expects me.
 
		As Mimi says "Miss Wolfe", Nunheim stiffens 
		and pulls back against the wall.  He waits
		there until he hears the sound of the elevator 
		door closing.
 
		He is evidently terrified by something that 
		he has seen.  He waits to be sure that Mimi
		has gone up in the elevator and then, with a 
		furtive glance at the desk, CAMERA PULLS BACK 
		AND PANS WITH HIM as he sneaks out and down 
		the stairs on the other side of the elevator 
		shaft leading down to the basement.
 

45		NINTH FLOOR OF THE APARTMENT HOUSE -
		TRUCKING SHOT.

		Mimi gets out of the elevator and goes to the
		door of the apartment 9-A across the hall.  
		She rings the doorbell.  There is no response.
		She rings again, a lock or grim determination 
		on her face.
 

46 		EXT.  OF BASEMENT ENTRANCE OF APT.  HOUSE
 
		Nunheim comes out of the entrance, looks 
		furtively up and down the street.  He takes
		out a cigarette, lights it, and then, with a 
		pretense of being casual, walks off down the 
		street.

						BACK TO:
 

47		EXT.  OF DOOR OF APT.  9-A
 
		Getting no response to her ringing, Mimi is 
		knocking on the door.  She is furious with 
		Julia for not letting her in.  Still getting 
		no answer, she tries the door.  She is sur-
		prised to find it is open.  She looks up and 
		down the hall and then decides to investigate.  
		She walks in.
 

48		LIVING ROOM OF JULIA'S APT.  -
		TRUCKING AND PANNING;

		Mimi comes into the room.  She shuts the door 
		slowly behind her.  She looks curiously around 
		the room, interested to see what kind of a 
		place her ex-husband has furnished for Julia.  
		Seeing no one in the room, she goes through it 
		toward the bedroom.  As she gets to the door 
		and looks curiously in, she stiffens and screams.
 

49		JULIA'S BEDROOM - FROM MIMI'S ANGLE
 
		On the floor of the ornate bedroom, Julia 
		Wolfe's dead body lies, stretched out.  She
		has been shot.  She is dressed as she was
		when she answered Mimi's telephone call.
 
						BACK TO:
 

50 		REVERSE CLOSEUP - MIMI IN DOORWAY
 
		For a minute, Mimi stands in the doorway look-
		ing down at the body, rooted to the spot with 
		horror.  Then she looks around for the tele-
		phone, sees it beside the bed, and rushes 
		to it, CAMERA PANNING.
 
			Mimi (telephoning) 
	Quick! Quick! Send somebody up here right away.
	Something terrible has happened!
 
		She replaces the receiver.  For a second, she
		stands still, her back to the body.  But her 
		curiosity finally overcomes her terror, and 
		she goes slowly back toward the body.
 
		She stands looking down at Julia, a million 
		speculations and suspicions going through her  
		mind.  Suddenly her eye fastens on something
		in the dead woman's outflung hand. Her eyes
		widen with horror.  She makes up her mind to 
		take the object, which we do not see. Look-
		ing around quickly to see if no one has come 
		in, she reaches down, takes it from the girl's 
		hand, and stuffs it in her hand bag.  She
		straightens up, CAMERA PANNING QUICKLY UP FOR:
 

51		CLOSEUP OF MIMI.

		She stands clutching her bag, her eyes wide 
		with horror at the realization of what that 
		piece of evidence means.  She is trying to 
		formulate a plan of action as we:
 
						SLIDE OVER TO:
 

52 		HOMICIDE BUREAU - POLICE HEADQUARTERS.

		Several officers are sitting around talking.
 
			1st Officer
	The way these dames get by with things makes me  
	sick.

		The telephone rings.  Another officer answers 
		the telephone.
 
			2nd Officer 
	Yeah? -- Julia Wolfe, 145 West 55.
		(as he hears the address he writes it
		down)

			1st Officer (sitting up)
	That's me.

			2nd Officer (he replaces the re-
		ceiver and turns to the other officer)
	Here you are.
 
		He gives the officer the paper.

			1st Officer
	What is it?
 
			2nd Officer 
	A dame -- murdered.

 			1st Officer
	That's more like it.
 
		The 1st officer goes quickly out.
 
						SLIDE OVER TO: 


53 		MACAULAY'S LAW OFFICE - CLOSE SHOT.
 
		Macaulay is sitting at a flat desk, with some 
		papers in front of him.  A stenographer is tak-
		ing dictation.  The inter-office communicator
		buzzes.  Macaulay leans over pulls the switch
		and listens.  A girl's voice comes over the
		communicator.
 
			Girl's Voice (o.s.)
	Telephone, Mr. Macaulay.
 
			Macaulay (frowning in annoyance at the interrupt-
		tion)
	Who is it? 

			Girl's Voice (o.s.)
	The police.
 
		With a puzzled frown, Macaulay picks up the phone.

			Macaulay 
	Hello...
		(then with an awed surprise)
	Murdered! ...  Yes, yes, I'll be right over.
 
		He gets up.
 
						SLIDE OVER TO:
 

54		SPEAKEASY - CLOSE SHOT OF NUNHEIM AND MARIAN.
 
		They are in a booth at a speakeasy.  Marian 
		is a big-boned, full-fleshed, red-haired wo-
		man of about twenty-eight, handsome in a 
		rather brutal, sloppy way.  Nunheim has a
		satisfied smile on his face.
 
			Marian
	Where you been?

		A waiter comes and puts two beers in front 
		of them.  He stands waiting to be paid.
 
			Nunheim
	Out making some money.
 
			Marian (holding out her hand)
	Let's see it.  
 
			Nunheim
	I haven't got it yet.
 
		Marian gives him a dirty look and takes a 
		quarter out of her purse and throws it down 
		to pay the waiter for the beers.
 
						SLIDE OVER TO:
 

55		HALL - OUTSIDE JULIA'S APARTMENT 
 
		Two old wispy cleaning women in aprons with 
		pass keys on thin belts are standing talking 
		with their heads together outside of Julia's
		apartment.
 
			1st Cleaning Woman
 		(almost whispering) 
	What're you goin' to tell 'em?
 
			2nd Cleaning Woman
		(wiping her forehead with a dust cloth) 
	I guess you got to tell 'em everything.
 
			1st Cleaning Woman
	Do you think Mr. Wynant....?
 
			2nd Cleaning Woman
	All I know's they had an awful fight a while ago.
 
		A police officer comes to the door of the 
		apartment.  He beckons to them.
 
			Police Officer
	All right, girls.
 
		Without realizing the humor of the "girls", 
		they start in.
 
 						SLIDE OVER TO:
 

56		STUDSY'S CABARET - FULL SHOT.

		It is in a flashy Broadway cabaret.  On the 
		dance floor about ten girls in practice 
		clothes are rehearsing a new routine.  A man 
		is mechanically playing the piano for them.
		Several waiters are decorating the room with
		greens and Christmas wreaths.  It is late 
		afternoon, and the place has no customers in
		it.  The chairs are piled on the tables.  
		Morelli is sitting at a table.  The waiter is 
		placing a bottle of Scotch and a glass before 
		him.  Studsy comes up to the table.  Studsy 
		is a powerfully built man of about fifty who
		looks forty.  He is a little fat now, but not 
		soft.  Morelli looks up as he comes to the
		table.  CAMERA MOVES UP FOR CLOSE SHOT ON 
		THEM.
 
			Morelli
	How'yer, Studsy.
 
		He starts to pour a drink.
 
			Studsy 
		(looking at Morelli very closely)
	Diden you know Julia Wolfe?
 
			Morelli
		(a guarded tone in his voice)
	Yeah.
 
			Studsy 
	Somebody just bumped her off  I thought you'd
	like to know.
 
 		Studsy walks away.  Morelli slowly drinks
		his liquor, his eyes fixed on space, think-
 		ing hard.

						SLIDE OVER TO:
 
 
57		JULIA'S BEDROOM AGAIN - MEDIUM SHOT.
 
		The Medical Examiner, Dr. Walton, is leaning 
		over Julia's body.  An officer is sitting in
		front of Julia's desk, looking through her 
		papers and letters and throwing them to one 
		side as he reads them.  John Guild, a burly, 
		laconic, Special Investigator is in charge
		of the investigation.  He is questioning 
		Macaulay, who is sitting facing him.
 
			Guild
	When was the last time you gave her money for 
	Wynant?
 
			Macaulay
	Yesterday.  I gave her a thousand dollars.
 
			Guild 
		(calling over his shoulder to the other 
		officer at the desk)
	Seen any signs of it, Bill?

			Bill
	Nope.
 
			Macaulay 
		(helpfully)
	Perhaps it was a robbery.
 
			Guild
	Aand her with that sparkler on her hand, and thirty 
	dollars in her purse?  Looks to me like our 
	friend Wynant came to collect and ran into a
	little trouble.
 
			Bill
	They say downstairs they haven't seen him in three
	months.
 
			Guild
		(sarcastically)
	There's a lot of things they don't see in this
	place.
		(he turns back to Macaulay) 
	And you say you haven't seen him or heard from him 
	in that time?
 
			Macaulay 
		(meticulously honest) 
	I said he hadn't written me.
 
			Guild
	Oh, then you did hear from him?
 
			Macaulay 
		(he hesitates to tell something which 
		seems to incriminate Wynant)
	Well....
 
			Guild
		(impatiently)
	Well, what?
 
			Macaulay 
	He telephoned me today.
 
			Guild
		(leaning forward eagerly)
	He did!
 
			Macaulay 
	I wasn't in.  My secretary took the message.  He 
	left word for me to meet him at the Plaza.

			Guild
	When was that?

			Macaulay 
	About three.
 
			Guild
	Did you go?
 
			Macaulay 
	Yes.  But he didn't show up.  

		An officer comes from the living room.
 
			Officer 
		(to Guild) 
	His house and his shop is closed.  And he ain't 
	at any hotel.
 
			Guild
		(sarcastically)
	You're not going to stop at that, are you?
 
			Officer
		(sullenly)
	No, sir.
 
		The officer goes out again.  Guild turns back
		to Macaulay.
 
			Macaulay 
		(eagerly defending Wynant) 
	I know he'll turn up as soon as he sees this in
	the papers.  You can't think he had anything to do
	with it, Mr. Guild.  He wasn't the kind of man 
	that....
 
			Guild
		(interrupting)
	Do you know what they fought about that night he
 	went away?
 
			Macaulay 
		(frowning as he realizes that this 
		sounds bad) 
	I didn't know they had a fight.
 
			Guild
		(dismissing Macaulay)
	Well, thanks.  We'll call you when we need you 
	again.
 
		Macaulay gets up to go.
 

58		CLOSEUP - MEDICAL EXAMINER 

		He is leaning over Julia's body.
 
			Medical Examiner
	Mr. Guild, here's something very interesting...
 
		As Guild walks into the shot, we:
 
						DISSOLVE TO:
 

59		MEDIUM SHOT - JORGENSEN'S LIVING ROOM.
 
		Mimi is in the midst of telling her experience.
		Gilbert, Dorothy and Jorgensen are listening.  
		Mimi still has her hat and coat on.  She has 
		just come in.  She is seated, on the edge of her
		chair, enjoying the recital.  Jorgensen stands
		at the window.
 
			Mimi 
	---- and there she was lying dead.  The police said 
	she'd probably been killed about ten minutes before
	I got there.
 
			Jorgensen 
		(turning around - speaking with 
		quiet anger) 
	I thought you said you weren't going there.
 
			Mimi 
		(flustered)
	Why, you said...
 
			Jorgensen
		(sharply interrupting)
	Never mind.
 
			Gilbert 
		(who is tremendously interested) 
	Did they find any clues...  a gun or fingerprints or
 	anything?
 
			Mimi 
		(very glibly -  remembering what 
		she has in her purse) 
	Not a thing.  

			Gilbert
	Was there much blood?
 
			Dorothy  
		(distressed) 
	Don't.  It's horrible.
 
			Mimi
	Nonsense! She got at she deserved.  

			Gilbert 
		(to Mimi, not accusingly, but with 
		scientific detached interest)
 	Did you kill her?
 
			Mimi
	Gilbert! 

			Gilbert
	Why not? You had a perfectly good motive.
 
			Mimi
	I hope you won't talk that way to the police when
	they come here.
 

60		CLOSEUP OF JORGENSEN.

		There is a guarded look of terror in his eyes.
 
			Jorgensen 
	The police.  I thought you said they'd finished with
 	you.

			Mimi's voice (o.s.)
	They said they'd finished for the present.
 
		The thought that the police might come
		to the apartment increases his fear.
 

61		MEDIUM SHOT INCLUDING MIMI, 
		DOROTHY AND GILBERT.

		Mimi is watching Jorgensen anxiously.  

			Gilbert 
	Well, I've got my alibi.  I was at the Public Library.
		(To Jorgensen)
 	Where were you?
 
			Mimi
		(hastily, with her eyes still on Jorgensen) 
	Children, will you go into the next room? I want to 
	talk to Chris alone.
 
		At that minute the front door bell rings.  
		Mimi looks toward the door, wondering who 
		it is.
 
			Gilbert 
		(going out to answer the ring)
	I'll go.

			Jorgensen
	I'll be in my room.
 
		He goes quickly out.
 

62		HALLWAY OUTSIDE JORGENSEN APARTMENT.

		Guild and Bill are standing outside the 
		door of the Jorgensen's apartment.  Gilbert 
		opens the door of the apartment.
 
			Guild 
	Is Mrs. Jorgensen in?
 
			Gilbert 
		(delighted to see then)
	Yes, come right in!
 
		The two officers go in and the door closes 
		behind them.  From a door beyond, the service 
		door of the apartment, Jorgensen comes out,
		putting on his hat and coat as he comes.  He
		doesn't wait for the elevator but starts 
		down the stairs.



63		LIVING ROOM - JORGENSEN'S APARTMENT 
 
 		Guild is seated uncomfortably on one of 
		Mimi's delicate chairs, opposite Mimi.  
		Gilbert is standing, listening eagerly.  
		Dorothy sits nearby, her mind deeply 
		occupied.
 
		Mimi is a little frightened, but she hides 
		it under a pretense of wanting to do all
		she can to help.  Dorothy sits listening.
 
			Guild
		(as scene picks up)
	There are a few things we want to check up on.
 
			Mimi 
	I see.
 
			Guild 
	You say you were in the room with the body 
	from the time you discovered it 'til we came?
 
			Mimi 
	Why yes.

			Guild
	Did you see anything in Miss Wolfe's hand?
 
			Mimi 
	No.
 
			Guild
	Are you sure you didn't leave the room...  that one 
	of the bellhops or maids might not have been 
	in there alone?
 
			Mimi 
		(grabbing at the opening he has
		given her)
	I don't think so.  Of course I was terribly 
	upset...  I hardly knew what I was doing.
 
			Guild 
	The Medical Examiner seems to think that the body 
	was touched.  He says it looks as if the girl's 
	hand had been forced open after she was killed....
 

64		CLOSEUP OF DOROTHY

		She is listening intently.
 
			Guild's Voice (o.s.  continued) 
	And we just found out she had a thousand dollars 
	the night before.
 
		Dorothy looks toward her Mother, her eyes 
		wide with horror.
 
			Mimi's Voice (o.s.)
	I'm sorry I can't help you.
 
 						BACK TO:


65		MEDIUM  SHOT OF GROUP
 
		Guild rises and starts for the door.  Bill 
		turns to follow him.
 
			Guild
	That's all right.
		(slight pause -- His eyes swiftly
		scrutinize the group)
	Well, we'll be going.
 
			Mimi
		(tonelessly)
 	Goodbye.

			Guild
		(dryly)
	Goodbye.
 
		Guild and the officer go out.
 

66		HALLWAY OUTSIDE JORGENSEN APARTMENT

		Guild and Bill come out, followed by Gilbert.
		Guild goes to the elevator and rings the bell.
 
			Gilbert
	Could I go down and see the body? I've never 
	seen a dead body.
 
			Guild
		(for a minute he is curious, thinking 
		there may be some reason)
	Why do you want to?
 
			Gilbert 
		(very serious)
	I've been studying psychopathic criminology.  I 
	have a theory.  Perhaps this as the work of a 
	sadist or a paranoiac.  If I saw it, I might be 
	able to tell.
 
		The elevator comes up.
 
			Guild
		(pretending to be as serious as Gilbert)
	That's a good idea.  But don't you bother to come
	down.  We'll bring the body right up here.  
		(he gets into the elevator) 
	Come on, Bill.
 
		They leave Gilbert, uncertain whether he 
		is being kidded or whether they mean it.
 

67		MIMI'S BEDROOM - PANNING SHOT
 
		The door is closed behind her.  She goes to
		a small wall safe and opens it.  Then she
 		opens her bag and is about to put the thing 
		she took from Julia's hand wrapped in a 
		handkerchief, into the safe, when she is 
		startled by Dorothy's voice.
 
			Dorothy's Voice (o.s.)
 
	What have you got there?
 
			Mimi 
		(she turns in the direction of
		Dorothy's voice)
	None of your business.
 
		Dorothy comes up to her mother and speaks 
		accusingly.
 
			Dorothy
	You took that money from Julia's hand.
 
			Mimi 
	I didn't.
 
               Dorothy 
	Then what are you hiding?
 
			Mimi 
		(with malicious relish) 
	It's a piece of evidence that's worth a great 
	deal more than that.
 
			Dorothy 
		(with bitter contempt for her other) 
	You hand that over to the police.
 
			Mimi
	I'll do nothing of the sort.
 
			Dorothy
	All right, then.  I'll tell them.  
 
			Mimi
		(very sure of her ground)
	I don't think you will.  It's your father's.
 
			Dorothy 
		(shocked) 
	I don't believe it! You're lying!
 
			Mimi
		(viciously pleased at breaking 
		Dorothy's faith in her father)
	There!

		She holds out the broken end of the watch 
		chain that we saw Wynant carry, wrapped in 
		a handkerchief which is spotted with blood.
		Dorothy looks at it, and recognizes it 
		with horror.

			Dorothy 
		(covering her face)
	Oh!
  
			Mimi
		(triumphantly)
	Now do you believe me!
 
						FAST DISSOLVE TO:

 
68		LIVING ROOM - NICK'S APARTMENT.  
 
		It is eight o'clock the same night...  about
		two hours later.
 
		There is a party in full swing.  It is an odd
		assortment of people.  There is a police cap-
		tain there, a reminder of Nick's old life.  
		A little prizefight manager with a big 
		fighter in tow.  Quinn, a dissipated looking 
		man of about thirty-five, and his wife, a 
		rather faded woman of about thirty-two, very
		jealous of Friend Husband.  Quinn is a broker,
		and the only one in evening clothes.  Then 
		there is Foster, a big fat man, who sits near
		the radio, a glass in his hand.  With every 
		sip, he grows more sentimental, as he lis-
		tens to the program of Christmas carols that 
		are coming over the radio.  There is an 
		improvised bar with everything in the way
 		of liquors and necessary accompaniments on 
		it.  Nick is moving among the people, seeing
		that they are served.  Nick goes over to 
		Mrs. Quinn, giving her one of the drinks
		he is carrying.  Mrs. Quinn is looking 
		around rather fearfully at the curious 
		assortment of people in the room.
 
			Nick 
		(giving her a drink)
	How are you doing?
 
			Mrs. Quinn
		(looking around disapprovingly)
	Who are they, Nick?
 
			Nick
		(easily) 
	All my old friends.
 
		He smiles and passes on to another group.  
		Among them is a very rough looking man with 
		a battered face.  He turns to grin at Nick 
		showing a mouth with several teeth missing.
 
			The man 
	Hey, Nick.  I think your wife's great.
 
			Nick
	Thanks.  I wanted you to see her...  and I wanted her 
	to see you.

		Nick goes on to speak to the Police Captain 
		who is standing talking to a very distin-
		guished looking woman, in evening clothes.
 
			Police Captain 
		(to Nick) 
	It's like old times, Nick.  Remember the fun 
	we used to have when we were both flat broke?
 
			Nick
	Do I!
 
			Police Captain 
		(with a sentimental sigh)
	Those were the good old days.
 
			Nick
	Don't kid yourself.  These are the good old days.
 
		Nick goes on his way to another group.  
		The CAMERA PANS OVER TO NORA at the door.  
		She opens it to admit Face Peppler.  He is a
		tough-looking ex-convict.  He looks eagerly 
		around the room.
 
			Peppler
	Nick Charles here?
 
			Nora
	Yes.
		(calling Nick) 
	Nick!
 
			Peppler
	You his wife?
 
			Nora
	Yes.
 
			Peppler (giving her an approving
		pat on the posterior)
	He's a good guy.
		(his eyes are eagerly searching the
		room for Nick)
	He sent me up the river once.
 		(he sees Nick coming toward him, and
		with the greatest good will and
		enthusiasm, he greets him)
	Hey, Nick!
 
			Nick
	Hello, Face!
 
			Peppler 
	It's a long time I don't see you.
 
			Nick
	A long time.
 
			Peppler
	Well, I needed the rest.
 
			Nora (to Peppler - indicating Nick)
	Was he a good detective?
 
			Peppler 
	I wouldn't know.  That time he caught me was a
	accident.  I led with my right.
 
			Nick (laughing)
	Come on.  Have a drink.
 
		He takes Peppler by the arm out of the 
		scene as WE PAN NORA TO THE TELEPHONE.  She 
		picks up the receiver, her eyes on the odd 
		mixture of people assembled.
 
			Nora (in phone - philosophically)
	Don't bother to announce any more.  Just send any-
	body right up.  
		(then as the clerk evidently tries to 
		protect her) 
	I know.  But it's all right.  They're his friends,
 

69		TABLE - CLOSE SHOT
 
		Nick is pouring a drink for Face.  The little 
		prizefight manager comes up to him with a 
		great hulk of a fighter in tow.  (The contrast 
		in sizes is amusing.)
 
			Manager
	Like to buy a piece of this pug, Nick? I'll sell 
	you twenty-five percent of him for five grand.
 
			Nick
	Is he good?

			Manager 
	He's been knocking 'em cold.  He ain't afraid of
	nobody.
		(the fighter reaches for a drink.  The 
		manager turns on him fiercely) 
	Drop that, or I'll slug you.
 
		The fighter, cowed, meekly puts down the 
		drink.  Nick laughs, hands Peppler a drink.
 
			Nick (to Peppler) 
	Here you are -- it's good stuff -- I got it before
	repeal.
 
		The girl in very beautiful evening clothes 
		with a string of pearls around her neck comes 
		over to Nick and Peppler.  She holds out the 
		pearls for Nick's attention.
 
			Girl
	Look, Nick.  Remember?  These are the ones you got
	back for me.

		Peppler looks at them with a professionally
		avaricious eye.

			Peppler
	Them real?

			Nick (to Peppler, warningly)
	Ugh-ugh!  This is your night off.

		Suddenly the music of the radio stops as it 
		is switched to another station.  The voice of 
		a news broadcaster comes over.
 
			Announcer (o.s.) 
	--32 degrees below in Utica.  Here's the latest 
	news of the Julia Wolf murder.
		(Nick turns as he tears this.  The CAMERA
		TRACKS with him as he goes toward the 
		radio.  The police captain is listening 
		there...  he is the one who has changed the 
		station) 
	The police have found out that the beautiful blonde
 	secretary was once a gangster's girl.  They are now
 	looking for the gangster.  Clyde Wynant, the girl's 
	employer is still missing.  This case will....  
		(By this time, Nick reaches the radio.  
		He abruptly turns the switch, changing 
		back to a musical program.)
 
			Nick (to the captain) 
	Can't you fellows ever forget business?
 
		He hands the captain a drink.
 
			Captain 
	Good case for you, Nick.
 
			Nick (smiling) 
	Haven't you heard the news?  I'm a gentleman now.
 
			Nora's Voice (o.s.) 
	Nick!  Reporters! 

		Nick turns.
 


70		DOORWAY - MEDIUM SHOT
 
		Nora has admitted two young newspaper men 
		who are standing in the doorway.  Nick walks 
		over to them.

			1st Reporter 
	I'm from the American, Mr. Charles.
 
 			2nd Reporter
	Mirror.

			1st Reporter
	We wanted to know if you'd give us a statement.  
	We hear you're here to work on the Julia Wolf case.
 
			Nick 
	Sorry.  I don't know anything about it.
 
 			1st Reporter
	Come on, gimme a break.
 
			Nick
	I never tried to kid you reporters -- I'm telling 
	you the truth.
 
 			2nd Reporter
	Then why are you in town?
 
			Nick (confidentially)
	My wife's on a bender.  I'm trying to sober her up.
 
		Nora sticks up her nose, laughs, goes over to 
		the table.  WE PAN as Nick leads the reporters 
		there too.  Quinn and one or two of the others 
		also are imbibing.
 
			Nick (as they get to the table)
	Come on -- relax --
		(then to Nora)
	Give them a drink.
 
 			Nora
	We need ice.
 
		Nick picks up a drink, already poured for 
		himself.  

			Nick (looking at the glass in his
		hand)
	What small glasses you have, Grandma.
 
		He goes off toward the service pantry with 
		the drink in his hand.
 
			1st Reporter (to Nora) 
	Listen, isn't he working on a case?
 
			Nora
	Sure.  He's working on a case of Scotch.  Pitch 
	in and help him.
 
		She goes off toward the service pantry.  
		Mrs. Quinn comes up with her glass.  Quinn 
		looks appreciatingly after Nora.
 
			Quinn (to is wife, indicating Nora)
	Isn't she grand?  I take off my hat to her.
 
			Mrs, Quinn (acidly) 
	Your hat!  You're getting conservative!
 

71		SERVICE PANTRY

		It is a tiny room with cupboards, a sink and 
		a miniature Frigidaire.  Nick is getting ice
		cubes out of a tray.  Nora comes in with a 
		glass in her hand.
 
			Nora
	I'd better order some food.
		(to Nick - as she takes receiver) 
	That sounds like an interesting case.  Wouldn't 
	you like to take it?
 
			Nick
	I haven't the time.  I'm much too busy seeing that 
	you don't lose any of the money I married you for.
 
			Nora (to phone)
	Room service, please - 
 
		She talks to Nick as she waits to get the
		connection.  She watches him covertly as she
		she is sure that he would love to go
		back to "sleuthing", and she'd enjoy being
		in on it with him...she is trying to sound
		him out.
 
			Nora 
	Sounds like a good case.  Girl mysteriously murder-
	ed.  No one knows who did it.  They haven't found
 	any clues yet -- no gun -- no fingerprints --
 
			Nick (with a gleam of interest) 
	I wonder if they've -- 
		(He looks at Nora and suddenly realizes 
		that he is getting interested.  He jerks 
		himself out of it) 
	I don't want to hear anything about it.
 
		He picks up the ice and Nora's drink.

			Nora
	Isn't that my drink?
 
			Nick
	What are you drinking?
 
			Nora
	Rye.
 
		Nick drains the glass and puts it down.

			Nick
	Yeah -- that's yours.
 
		He walks out as Nora turns laughing to the
 		telephone.
 
			Nora (in phone) 
	Listen - I want a whole flock or sandwiches --
 

72		LIVING ROOM.

		Nick comes in with the ice.  The doorbell
		rings.  Nick puts down the ice and starts for 
		the door. As the CAMERA TRUCKS with him he
		passes the telephone table.  Foster is sitt-
		ing there.  The radio music has put him in a 
		sentimental mood.
 
			Foster (at telephone - to Nick) 
	I'd like to telephone my mother... wish her a 
	Merry Christmas.
 
			Nick (easily)
	Go ahead, Foster.

			Foster 
	'Fraid I can't pay --
 
			Nick 
	Forget it.
 
		CAMERA CONTINUES TO PAN WITH HIM as he goes
		on to the door.  Just as he is about to open
		it, he hears Foster's voice, o.s.
 
			Foster (to phone) 
	Long distance -- give me San Francisco --
 
		Nick looks off, winces a little, good-humored-
		ly. Then he opens the door and is surprised 
		to see Dorothy Wynant standing there.  She
		is white-lipped, miserable and desperate. 
		Nick looks at her, a little worried by her 
		harassed look.
 
			Nick 
	Come on in.

			Dorothy 
	I've got to see you alone!
 
		Nick realizes that something is definitely 
		the matter. 
 
			Quinn (voice o.s.)
	Hello, beautiful!
 
		Nick turns as he hears Quinn's voice.
 

73		FULL SHOT -- GUESTS AND REPORTERS.

		Quinn is coming toward them, a drink in his
 		hand.  His eyes are fixed on Dorothy.  The
		two reporters also are coming forward.  Their 
		curiosity quite different from Quinn's, for
		they realize her identity and the possibili-
		ties of a story.

 			Nick (rushing her toward the bedroom)
	Go on in there.
 
		He opens the door and she goes in.  Nick is
		about to follow her when Quinn stops him.
 
			Quinn
	Who's the little blonde?
 
			Nick 
	Used to bounce it on my knee.
 
			Quinn
	Which knee?  Could I touch it?
 
		Nick laughs and enters the bedroom.  Quinn 
		tries to follow, as do the reporters who have
		come up, but Nick shuts the door in their 
		faces.  Quinn, startled, knocks on the door.
 
			Quinn (knocking)
	House detective!
 
 
74		BEDROOM. 
 
		Dorothy is standing near the bed.  She holds 
		herself taut and stiff.  She is determined 
		that she is going to sacrifice herself to 
		save her father.  Nick comes up to her.
 
			Dorothy
	You heard about Julia Wolf?
 
			Nick 
	Yes.
 
			Dorothy (she pulls a gun from her 
		muff)
	There.
		(she throws it on the bed.  Nick looks 
		at it, and then back at her. His look 
		is very cool and unexcited)
 
			Nick
	What are you trying to tell me?  That you did it?
 
			Dorothy (she has her story all set 
		and she speaks with very convincing 
		fervor)
	Yes.  I hated her for coming between my mother
	and father.  She kept me from seeing my father.  I
 	went down there to ask her where he was.  She 
	wouldn't tell me, and I shot her.
 
			Nick (with sudden professional
		briskness)
	Where did you hit her?
 
			Dorothy (she hesitates)
	Why... in the heart.
 
			Nick 
	Pretty good shot you are. What did she do?
 
			Dorothy
	She fell down.
 
			Nick
	Did she make any sound?  Didn't scream?
 
			Dorothy
		(the horror of it makes her inarticulate)
	I don't know.
 
			Nick
	Which way did she fall?
 
			Dorothy 
	She... she fell over backwards.
 
			Nick
	Oh, yeah?  People fall toward a shot, you know...
	not back from it.  I knew you were lying.
 
		Dorothy breaks down, realizing that her
		attempt to take the blame is futile.  Nick 
		goes and holds her comfortingly in his arms.
 
			Nick 
	Where did you get this gun?
 
			Dorothy 
	I bought it in a pawn shop.
 
			Nick
	Don't lie to me.
 
			Dorothy
 	That's the truth.
 
		At this point Nora enters.  She holds a drink
		in her hand.  Nick looks up -- makes a little
 		grimace at Nora.  Dorothy turns and sees her.
		She pulls away a little.
 
			Dorothy
	This is awful of me -- to make a nuisance of myself.
 
			Nora (easily) 
	Don't be a dope.  Have a drink?
 
		Dorothy tries wanly to smile.

			Dorothy
	No thanks.
 
 		She fumbles in her bag to find her powder.
		Nick is looking curiously at the gun, turn-
		ing it over in his hand.
 
			Nora (to Dorothy -- pointing to dressing table) 
	There's powder and stuff over there.
 
		Dorothy walks toward the table.
 
			Nick (looking up -- indicating drink Nora has)
	Make her take that.
 
		Nora sees the gun now, is amazed.
 
			Nora
	Where did you get that?
 
			Nick (indicating Dorothy) 
	She brought it in.
		(slips it into the drawer of a table) 
	Trying to make me believe she did it.

			Nora (as he puts the gun away) 
	What are you going to do with it?
 
			Nick
	Nothing, 'til I find out if it's the gun Julia 
	Wolf was killed with.
		(he starts for the door to the living
		room)
	Keep her in here, and don't let those reporters 
	see her. They might believe her.

		He goes out the door, and closes it hastily 
		behind him.  Nora goes toward Dorothy.
 

75		LIVING ROOM 

		There is a hotel service table, piled high 
		with food, in the room.  The people here all 
		eating, standing around with drinks in their 
		hands.  As soon as Nick opens the door to come 
		out, the reporters pounce on him.

			First Reporter
	Isn't that Dorothy Wynant? 

			Nick
	Yes.
 		(the first reporter makes a move to go 
		past Nick to the bedroom, Nick bars the
		way)
	Here...here.  She doesn't know anything about it.
 
			Second Reporter 
	And you said you weren't on the case. 

		He goes off quickly toward the telephone.
 
			Nick
	I'm not.  I don't know a thing about it, and I don't
	care a thing about it.  All I want is a drink.
 
		Foster has at last been able to get his 
		mother in San Francisco.
 
			Foster (on the phone)
	Hello, Ma.
 
		The reporter comes rapidly into the shot.  He 
		tries to take the telephone from the other man.
 
			Reporter
	Give me that.
 
			Foster (holding on to it, protesting)
	But I just got San Francisco ...
		(into phone) 
	How are you, Ma? 

			Reporter (taking the phone from 
		him, he speaks into it) 
	Get off the line, will you, Ma?  I got some business.
		(he jiggles the hook for the operator) 
	Give me Drydock 4 - 8000.
 
 						BACK TO:


77		CLOSE SHOT AT TABLE

		Quinn is standing beside Nick.  The doorbell
		rings.

			Nick
		(to reporter over at telephone)
	Hey, don't do that! 
		(he is pouring a drink) 
	Now don't tell your paper that I'm working on 
	anything, 'cause I'm not.
 
		Nick goes offscene toward the door.  The
 		bell rings again.
 
			Quinn
	He's just working on that little gal.
 

78		FULL SHOT.
 
		Nick opens the door.  Mimi and Gilbert are 
		outside. Mimi instantly rushes in greets him
		effusively. Gilbert is left standing in the 
		door.
 
			Mimi
	Oh, Nick... Nick!

			Nick
	Hello, Mimi.

			Mimi
 	I want to talk to you about something very im-
	portant.

		The first reporter has forgotten his telephone 
		call. He is all ears.  Nick looks around
		desperately, and takes Mimi roughly by the 
		arm and rushes her into a doorway next to the
		door of the bedroom.

			Nick
	Come on in here.
 

79		BATHROOM.

		As Nick brings Mimi into the bathroom, she 
		looks around; bewildered.
 
			Nick
	Sorry.  This is the only place we can be alone;
 	Won't you sit down?

		He waves airily off scene, presumably toward 
		the seat, Mimi follows the line of his hand, 
		looks, starts and gives him a cutting look.
 

80		DOORWAY OF LIVING ROOM.
 
		Gilbert is standing hesitantly in the door-
		way. The first reporter suddenly sees him. 
		He hasn't noticed him before.  He goes quick-
		ly to him.
 
			First Reporter
	How do you do, Mr. Wynant.
		(he takes Gilbert cordially but firmly 
		by the arm and brings him into the room)
	My name is Diamond. Come on in and have a drink.
 
			Gilbert 
	I don't drink.

			First Reporter
	As a matter-of-fact, I don't either. I'd much rather talk...
 
		He starts for a quiet corner -
 
 						BACK TO:

81		BATHROOM.

		Mimi and Nick are sitting on the edge of the 
		tub.

			Mimi
	Clyde Wynant's crazy... absolutely crazy to stay
	away at a time like this. No wonder the police think 
	he has something to do with it.
 
			Nick
	What do you think?
 
			Mimi
	Oh, I know he didn't, but I wish I could find him... 
	I have something very important to tell him.
	Macaulay won't help at all.  He thinks I just
	want money.

			Nick (smiling at her) 
	Well, don't you?
 
			Mimi
		(choosing to regard this as a joke)
	You're always teasing.
 
		The door of the bathroom opens.  Foster starts 
		to come in. He stops suddenly as he sees Mimi.
 
			Foster
	I beg your pardon.
 
		He backs hurriedly out.  Mimi moves closer
		to Nick, takes his arm.
 
			Mimi
	Nick, you will help me find Clyde -- won't you?
 
			Nick
	Now, Mimi, there are a thousand detectives in
	New York.  Hire one of them.
 
			Mimi (persuasively)
	But he knows you.  All you have to do is get in
	touch with him, and tell him that Mimi says every-
	thing is all right... but that I've got to see him.
 
			Nick
	I tell you again, I don't want any part of it. 
		(he goes and opens the door which 
		connects with the bedroom) 
	Now you take Dorothy home and...
 
			Mimi (furious)
	Dorothy!  Is she here?
 
			Nick (startled by her tone)
	Yes...
 
		Mimi pushes into the bedroom, past him.
 

82		BEDROOM - MEDIUM GROUP
 
		Dorothy and Nora are sitting on the bed. 
		Asta is between them.  Dorothy is patting 
		Asta, still looking very subdued and unhappy.
		Nora holds out the glass toward her.
 
			Nora
	If you finish this, you'll feel better.
 
		In the mirror in back of them, we see Mimi
 		coming toward Dorothy, a look of fury on her
		face.  Dorothy looks up at her Mother as she
		comes into the  scene, a little terrified by 
		her Mother's expression.  Mimi comes right 
		to Dorothy and stands over her.  She is sure 
		that Dorothy has told Nick about the watch 
		chain.

			Mimi 
	What did you tell him?  What did you tell him?
 
		Dorothy doesn't answer.  Her Mother slaps 
		her viciously, repeating the question.  Nick
		comes up from behind Mimi and pulls her away.
		Nora puts a protecting arm around Dorothy. 
		There is a second of silence as Dorothy and
		Mimi face each other, all of their mutual
		antagonism in their eyes.  Asta starts bark-
		ing.  Nora quiets him.
 
			Nick
	She didn't tell me a thing.
 
			Nora (drily to Mimi)
	Too bad you didn't bring your whip.
 
			Mimi (recovering herself)
	I'm so excited I didn't know what I was doing. 
	Come on, Dorothy, we'll go home.

			Nora (sharply to Mimi) 
	She'll go home if she wants to.
		(she turns with warm affection to Dorothy)
	You can stay here you know.  There's plenty of
	room and we'd love to have you.
 
			Dorothy 
	Thanks.  But I'll go home.
 
		She stands up to go.  Mimi looks around.

			Mimi 
	Where's Gilbert?
 
			Nick
		(this is the last straw)
 	Gilbert!  Is he here too?
		(he starts toward the living room)
	We might as well be living in the lobby.
 
		Gilbert is sitting in a corner of the 
		room with the two reporters.  They 
		have their pencils out, taking down the 
		rapid flow of words that come from Gil-
		bert.
 
			Gilbert 
	There's a physiological as well as a psychological
	angle in my father's relationship with Julia
	Wolf that the police have overlooked.  And I 
	think it explains everything.  You see, my 
	father was a sexogenarian.
 
			1st Reporter 
		(deeply interested, not knowing the 
		meaning of the word)
	He was?
 
			Gilbert 
	Yes.  He admitted it.
 
			1st Reporter
		(speaking very solemnly - thinking it is
		some sex perversion) 
	Sexogerarian, eh?  Yes.  Yes.  But I can't put
	that in the paper.
 
			Gilbert 
	Why not?
 
			1st Reporter 
	You know how they are... sex...
 
			Gilbert 
	Then just say he was sixty years old.
 
			1st Reporter
	Is that what it means?
 
			Gilbert 
	Of course.
 
		The reporter gets up, furious.  He throws
		his pad to the floor.  Nick comes into the
		scene.  He goes to Gilbert.
 
			Nick
 		(to Gilbert - amused at the reporter's 
		discomfort)
	Come on, son.
 
		He takes Gilbert by the arm and pushes him 
		into the bedroom and closes the door on him. 
		The telephone starts to ring. The two reporters
		follow Nick as he goes toward the telephone.

			2nd Reporter
	Come on.... give me a break.  You owe it to me
	after that.
 
			Nick
	I swear I haven't a thing to do with it.
		(He picks up the telephone.  The 2nd
		reporter listens, unashamed) 
	Hello?

						CUT TO:
 
 

84		BIG CLOSEUP - NUNHEIM AT A TELEPHONE.
 
		He is in a room telephoning.  The background 
		is not distinguishable.  He is evidently 
		talking for the effect on someone else in the 
		room whom we do not see.  He looks at the 
		man out of the corner or his eye as he 
		talks.
 
			Nunheim 
	Mr. Charles, I'd like to lay a proposition before 
	you.  I can't discuss it over the telephone, but
	if you'll give me half an hour of your time... it's
	about the Julia Wolf....
 
 		At that a hand comes in, covers the mouth-
		piece, preventing any further conversation. 
		Nunheim, still in this big closeup, looks 
		o.s, at the invisible man and grins sardoni-
		cally.
 
 						BACK TO:


85		NICK AT THE TELEPHONE

 			Nick
		(frowning)
	Hello... hello...	

		Then as he gets no answer, he hangs up. 
		The 2nd reporter jumps to him.
 
			2nd Reporter
	What was it?
 
			Nick 
	Just a man trying to sell me insurance.
 


86		WIDE ANGLE - THE ROOM

		Nora comes out of the bedroom door.  Quinn 
		comes up to her.  Mrs. Quinn, starts listen-
		ing.

			Quinn
	Where's that girl?
 
 			Nora
	She's gone.

			1st Reporter
	How'd they go?
 
 			Nora
	Out the back way.
 
		The two reporters, without a word, grab 
		their hats and coats and rush out. Quinn,
		too, brazenly starts to breeze past his 
		wife and follow them.  Mrs. Quinn steps
		in front of him, slaps his face. Foster, again
		at the phone, whines out:  "Hello, Ma!" 
		And simultaneously, during this confusion,
		the radio starts to play "Silent Night,
		Peaceful Night" -- as the police captain, the
		pug, Face Peppler, and all others immediately
		join in with the song.  They are all pretty
		tight by this time and sing at the top of
		their lungs.  The effect desired is a screwy
		climax to what has been quite a hectic, screwy
		situation. CAMERA PANS WITH NORA as she takes
		it all in at a quick glance and walks over
		to Nick. She puts her arms around him.  He
 		looks down at her, amused.
 
		CAMERA MOVES UP FOR A BIG CLOSEUP OF THE TWO.
 
			Nora
	I love you, Nickie, 'cause you know such lovely
	people!
 
							As we DISSOLVE TO:


87		CLOSE SHOT OF BED - EFFECT SHOT.
 
		It is about an hour later the bedroom is dark 
		for a second. Then, Nora on one side of the
		big double bed, pulls on the light on the small
		table beside her. She sits up a little and
		looks over at Nick. He is soundly sleeping, his 
		face toward her. She has Dorothy on her mind
		and can't sleep and she wants company.
 
			Nora (softly)  
	Nick!
		(he doesn't stir)  
	Nick!
		(he looks sleepily at her)
 	Are you asleep?
 
			Nick
	Yes.
 
			Nora  
	Good. I want to talk to you.
 
			Nick
	That's jolly.
 
			Nora
	Don't you think you'd like to go back to detecting 
	once in a while, just for the fun of it?
 
			Nick
	Can't you get to sleep?
 
			Nora
	No.
 
			Nick (sitting up in bed)
	Maybe a drink would help you.
 
			Nora
	No thanks.

			Nick
	Maybe it would if I took it.
 
		CAMERA PULLS BACK as he gets up out of bed and 
		goes to the bureau where there is a bottle and 
		a glass. Asta jumps down and follows him. Nick 
		pours himself a drink. Asta stands there, 
		licking Nick's bare feet.
 
			Nora
	Everybody says you were a grand detective.
 
			Nick (taking his drink)
	They were kidding you.
 
			Nora
	I'd like to see you work.
 
			Nick
	Tomorrow I'll buy you a whole lot of detective
	stories.
 
		Nora is determined to get Nick to help Dorothy. 
		She tries another approach.
 
			Nora
	That poor girl is in a tough spot.
 
			Nick (coming back to the bed) 
	There's nothing I can do to help her.
 
		Asta jumps on the bed, goes and curls himself 
		up at their feet.
 
			Nora
	She thinks you can. It wouldn't hurt you to find
	out if you could, would it?
 
			Nick
		(getting back into the bed)
	Darling, my guess is that Wynant killed Julia and 
	Dorothy knows it. And the police'll catch him
	without my help.
 
			Nora 
	I think I would like that drink.
		(Nick gets up again and goes to get her 
		a drink)
	I'll give you your Christmas present now if you'll
	give me mine.
 
			Nick (pouring a drink) 
	At breakfast.
 
		He brings her the drink.  She takes it from 
		him and he gets into bed.
 
			Nora
	But it's Christmas now.
 
			Nick (briefly, as he prepares
		to go beck to sleep)
	Breakfast.
 
			Nora
	What are you going to give me?  I hope I don't like 
	it.
 
			Nick 
	You'll have to keep them anyway. The man at the 
	Aquarium said that he wouldn't take them back.
 
		Nora looks over at him, disgusted. She puts 
		down the drink and pulls out the light.
		After a second, there is a knock heard from the
		next room. Nora pulls on the light. She turns
		to Nick.			
 
			Nora
	Did you hear a knock?
 
		Nick looks up.  The knock comes again.  Nora gets 
		up, takes a robe from the foot of the bed, pulls 
		it on and goes out.  As she does so, Nick 
		reaches over, takes her drink and finishes it, 
		then turns over again to go to sleep.
 

88		DOOR OF LIVING ROOM,
 
		Nora has put on the lights as she came through 
		the room.  She opens the door. Joe Morelli is
 		standing outside. He wears a black derby hat, 
		which he doesn't remove and he has his hands 
		in the pockets of his close fitting black over-
		coat. Nora looks at him with lively curiosity. 
		She is too fond of adventure as well as too brave 
		to scream when she sees his menacing figure.
 
			Morelli
	Mr. Charles here?
 
			Nora
	Yes.
 
			Morelli 
		(his manner is very urgent) 
	I gotta talk to him... that's all.  But I gotta do 
	that.
 
 		Nora looks at him for a second.
 
			Nora
	You wait here.  I'll tell him.
 
		She goes toward the bedroom.
 
						CUT TO:

89		THE BEDROOM.

		Nora enters, calling to Nick.
 
 			Nora
	Nick!  Nick!
            (Nick stirs and opens his eyes) 
	There's someone to she you,
 
			Nick 
		(sitting up)
	That's great.  I was afraid I'd have to go to sleep.
 
		But as Nora moves away to get back into bed, 
		we see Morelli has followed her into the
		bedroom and is standing pointing a gun directly
		at Nick, with a menacing intentness in his
		whole body.

 
90		WIDE ANGLE - THE GROUP.

		Nora, entirely unconscious of Morelli's 
		presence and the gun in his hand, swings
		into bed beside Nick.  Nick is looking
		fixedly at the gun.  Nora looks at him, 
		amused by his expression, not knowing the 
		cause.
 
			Nora
	You've got the funniest look on your face.
 
		She follows the line of Nick's gaze, and her 
		eyes pop with amazement as she sees Morelli 
		with the gun.
 

91		REVERSE ANGLE - CLOSEUP ON MORELLI.

		He holds the gun leveled at Nick.
 
			Morelli
	I gotta talk to you.  I want you to tell me 
	something and I want you to give it to me
	straight.  Get me?
 

92		REVERSE CLOSEUP - NICK AND NORA
 
 			Nick
  	Do you mind putting that gun away?  My wife 
	doesn't care, but I'm in a delicate condition.
 
						CUT TO:
 
93		MEDIUM SHOT AGAIN - GROUP

		Nora looks at Nick, appreciating his humor 
		in the midst of his danger.
 
			Nora
		(to Nick)
	You idiot!
 		(Asta begins barking at Morelli)
 	Asta! Stop that!  Get down!
		(she chases him off the bed.  Asta jumps
		down out of sight. Morelli still has 
		his pistol pointed at Nick.)
	Now, stay there.
 
			Nick
		(to Morelli - seeing that Asta is down) 
	All right... shoot! 
		(then realizing the double meaning, he 
		corrects himself) 
	I mean... what's on your mind?
 
			Morelli 
	You don't need to tell me you're tough.  I heard
	about you.
		(He puts the gun in his overcoat pocket) 
	I'm Joe Morelli.
 
		Nora watches the scene between the two 
		men.  She is excited, but apparently not 
		frightened.
 
			Nick
	I've never heard about you.
 
			Morelli 
	I didn't knock Julia off.
 
			Nick 
	All right - you didn't.
 
			Morelli 
	I haven't seen her in three months.  We were all
	washed up.
 
			Nick 
	Why tell me?
 
			Morelli 
	I wouldn't have any reason to hurt her.  She was 
	always on the up and up with me.  But that dirty 
	little Nunheim -- he got sore cause I clicked with 
	her and he didn't, so he put the finger on me.
 
			Nick
	That's all swell.  Only you're peddling your fish 
	in the wrong market. I've got nothing to do with
 	it.

			Morelli 
		(his intense excitement increasing) 
	Listen.  "Studsy" Burke told me you used to be
	O.K. That's why I'm here. Do  they....
 
			Nick 
		(in a tone of polite enquiry) 
	How is Studsy?  I didn't know he was out of stir.
 
			Morelli 
		(conversationally)
	He's all right. He'd like to see you. But listen... 
	What's the law doing to me?  Do they think I did it, 
	or is it just something else to pin on me?
 
			Nick 
	I'd tell you if I knew. But I'm not in this.  Ask
	the police.
 
			Morelli
		(sarcastically)
	That'd be very smart.  That'd be the smartest thing
	I ever did. Me that a police captain's been in a 
	hospital three weeks on account we had an argument.
	The boys would like to have me come in and ask 
	questions.  They'd like it right down to the end of
	their blackjacks.  Now I come to you on the level.
	Studsy says you're on the level.  Be on the level.

			Nick 
	I am on the level. If I knew anything I'd....
 
		Over the SOUND TRACK there is a sound of 
		knuckles rapping sharply on the door. 
		Morelli's gun is in his hand before the 
		rapping stops.  His eyes seem to move in 
		all directions at once.
 
			Morelli 
		(with a snarl to Nick)
	What's that?
 
			Nick 
		(shrugging his shoulders)
	This is your party.
 
		The sound of the knuckles come again, and 
		someone speaks outside.

			Guild's voice (o.s.)
	Open up.  Police.
 
			Morelli 
		(as he raises his gun to fire at Nick)
	You two-timing --

		Nick shoves Nora's face, knocking her out of 
		bed and across the room with his left hand, and 
		throws a pillow at Morelli with his right just 
		as Morelli fires.  Nick sprawls out of bed, 
		making a dive for Morelli and catching his 
		ankle. The two men fall to the floor. Morelli 
		clubs Nick with his revolver, and Nick fights 
		him with his one free hand.
 
		Guild, two policemen, and the hotel manager rush 
		into the room.  They pitch in and drag Nick 
		and Morelli apart.

 
94	 	CLOSE SHOT -- NORA ON FLOOR
 
		She is in a faint as Nick, comes quickly up 
		to her.  The hotel manager follows him and 
		stands looking down solicitously. Nick
		leans down over her.
 
			Nick
	Nora.....Nora!
 
 		She doesn't move.
 
			Hotel Manager
	What knocked her out?
 
			Nick
	I did. She was in the line of fire. 
		(turns, points to liquor bottle)
	Hand me that bottle.
		(turns back to Nora, begins working on her)
	Better get a doctor.
 
		The hotel manager goes quickly out. Nick 
		tries to get Nora to take a drink of whisky.
		She opens her eyes. She puts her hand up to 
		her cheek where Nick hit her.  Then, as Nick
		watches her anxiously:
 
			Nora (indignantly) 
	You darn fool -- you didn't have to knock me out. 
	I knew you'd take him, but I wanted to see you do
	it!
 

 
95		FULL SHOT -- INCLUDING GUILD, MORELLI AND 
		TWO OFFICERS
 
 		Morelli is standing handcuffed between the
 		officers.  Guild looks admiringly at Nora as
 		Nick is helping her to her feet.
 
			Guild
	There's a gal with hair on her chest.
 
		As Nick pulls Nora up, she looks at the coat 
		of his pyjamas, where a streak of blood has 
		started to come through.
 
			Nora (for the first, time horrified)
	Nick... you're...
 
		Nick follows her eyes down. For the first time 
		he realizes that the bullet has touched him.
 
			Nick
	It's all right.  It just grazed me.
 
			Nora
	Someone get a doctor.
 
			Nick
	There's one coming.
 
			Nora
	Well, quick -- get into bed.  Are you all right?
 
			Nick (going toward the bed)
	Sure -- I don't even feel it. 
 
			Nora 
	I'll get some towels.
		(she goes quickly into the bathroom)
 
		Nick gets into bed.  Guild comes over - looks
		at the wound.  The CAMERA PANS AWAY from 
		Morelli.
 
			Guild 
	Well, it was close, but you're all right.
 
			Morelli's voice (o.s.)
	Tough luck.
 
			Policeman's voice (o.s.)
	Shut up!
 
		Over the SOUND TRACK we hear the policeman 
		slap Morelli's mouth.
 
		Nora comes back from the bathroom with some 
		towels.  Nick puts a towel over the wound, 
		and sits propped up in bed.
 
			Nick
	I'll be all right. Don't let's fuss till the 
	doctor comes.
 
 			Nora
	Want a drink?
 
			Nick
	Yeah.
 
		Nora goes out of the scene.
 
			Nick (to Guild)
	 How'd you people happen to pop in?
 
			Guild 
	We hear this is getting to be sort of a meeting 
	place for the Wynant family, so we figure we'll 
	stick around in case the old man himself shows
	up.  Then we seen him...
		(he points to Morelli)
	...sneak in and we decide to come up.  And pretty 
	lucky for you.
 
			Nick
		(drily) 
	Yes.  I might not have been shot.
 
			Guild 
	We were looking for this bird.
 
			Morelli
 	That little rat Nunheim --
 
			Guild 
	Shut up!
 		(then to Nick - indicating Morelli)
	This guy a friend of yours?
 
			Nick
	I never saw him before.
 
			Guild
	What's he want of you?
 
			Nick
	Wanted to tell me he didn't kill Julia Wolf.
 
			Guild 
	What's that to you?
 
			Nick
	Nothing.
 
			Guild
	What'd he think it was to you?
 
			Nick
	Ask him.  I don't know.
 
			Guild
	I'm asking you.
 
 			Nick
	Keep on asking.
 
			Guild (to one of the policemen)
	We'll frisk the dump.

			Nick
	Not without a warrant.
 
			Guild
	So you say -
 		(to policeman) 
	Go on, Bob.

		The policeman starts to search the room.
		Guild decides to change his tactics.
 
			Guild
	Listen, Mr. Charles.  I guess we're both of us going 
	about this wrong.  I don't want to get tough with you, 
	and I guess you don't want to get tough with me. 
	There's just one one question I want to ask you. Are 
	you going to swear to the complaint of him shooting 
	you?
 
			Nick
	That's another one I can't answer right now. Maybe
	it was an accident.
 
		Nora comes over with the drink for Nick.  She 
		hands it to him, as she speaks.
 
			Nora (to Guild, indicating Bob) 
	What's that man doing in my drawers?
 
		Nick, hearing this, chokes on his drink.
 

96		BUREAU - CLOSEUP.

		Bob is searching in the drawers of the bureau. 
		He finds the pistol that Nick left there and 
		brings it to Guild. CAMERA PANS HIM OVER.
 
			Bob 
	Here you are, Lieutenant.
 
		Guild takes the gun, looks at it and turns to
		Nick.  Nick - not knowing whether or not the gun 
		is evidence, is slightly apprehensive.  He watches 
		Guild closely.
 
			Guild
	Have you got a pistol permit?
 
			Nick
	No.

			Guild 
	Ever heard of the Sullivan Act?
 
			Nora (a little confused about the 
				different acts)
 	That's all right.  We're married.
 
		Guild gives her a sharp look, and turns 
		again to Nick.

			Guild
	This gun yours? 
 
			Nick
	No.

			Guild
	Who's is it?

			Nick
	I'll have to try to remember.
 
			Guild 
	Oke.  There's plenty of time. I guess we got to ask
	you a lot more questions than we counted on.  We'll 
	come up tomorrow when you're feeling better.
		(He turns to the officers and Morelli)
	Come on.
 
		The four men go out. CAMERA MOVES UP FOR 
		CLOSEUP OF NICK AND NORA.  She is sitting
		beside Nick on the bed.
 
			Nora
	I wish that doctor'd come.  How do you feel?

			Nick
	He'll be here.  Give him time to get his trousers
	on.  Where's Asta? 
		(calling)
	Asta!  Asta!

						CUT TO:

 
97		FOOT OF BUREAU - PANNING ON ASTA.
 
		As the dog comes slowly out from under the 
		bureau, looking a little scared and shame-
		faced.  He comes toward Nick, jumps on the
		bed beside him and licks his face.
 
			Nick
		(to Asta)
	You're a fine watch dog.
 
			Nora
	He's got more sense than you have.  Thank Heaven
	you're not on this case.
 
			Nick
	On it!  I'm in it ... They think I did it!
 
 			Nora
	Well, didn't you?
 
		Nick throws a pillow at her.
 
						QUICK FADE.
 

98		FADE IN:
		CLOSEUP OF CHRISTMAS TREE.
 
		It is noon. The sun is streaming in. Most of
		the bells on the Christmas tree have been
 		broken. There is one large ball still intact.
		Over the SOUND TRACK we hear the pop of an
		air rifle.  The big ball splinters.
 
		The CAMERA PULLS BACK to show Nick lying on 
		the sofa in a dressing gown, with the air rifle 
		in his hand.  He uses only his right hand on
 		the rifle.  Across his chest, on the left,
		there is the indication of bandaging underneath 
		his pajamas. On the floor beside him are piles
		of newspapers.  The telephone is on a table 
		near his hand. The room is littered with
		tissue paper and ribbon from the opened 
		Christmas presents. There is a breakfast table 
		at one side, with the emptied dishes covered 
		by a napkin.  Nora is sitting smoking.  She is
		wearing a very lovely fur coat over her 
		negligee.  She is reading a tabloid newspaper,
		the headlines and pictures of which exploit 
		the Julia Wolf murder.
 
			Nick
		(looking fondly at the rifle) 
	This is the nicest present I ever had.
 
		Nora puts down her paper.  She comes over to 
		Nick on the sofa.  She has a bunch of holiday
		telegrams in her hand. She starts to pick up
		the newspapers which almost cover Nick.  She 
		has a very lovely wrist watch on.  Nick sees 
		it -- takes her hand and examines it.
 
			Nick
	I never saw that before.
 
			Nora
	No.  It's a Christmas present.
 
			Nick
	Who gave it to you?
 
			Nora
	You did.
 
			Nick
	You must admit I have good taste.
 
		Nora laughs.
 
      		Nora
 		(indicating newspapers)
	Finished with these?
 
			Nick
	Yes.  I know all they know about the murder. And 
	I'm a great hero.  The Tribune said I was shot
 	twice.

		As he talks, Nora throws the papers to the
		floor and sits down at the other end of the
		couch, putting her slippered feet comfortably
		in Nick's lap. She starts to open, the
		telegrams.
 
			Nora 
	I read you were shot five times in the tabloids.
 
			Nick
	That's not true.  He never came near my tabloids. 
		(he takes aim again with his gun) 
	That's one thing I always protect... my tabloids.
 
		As he is just ready to shoot, the CAMERA PANS
		over to his target.  It is a large balloon
		that Asta is chasing around the room.  We hear
		the "pop" of the rifle and the balloon ex-
		plodes, to Asta's astonishment and chagrin. 
		Asta starts looking for the lost balloon.
 
						BACK TO:
 

99		NICK AND NORA - CLOSEUP.
 
		The telephone rings - Nick reaches over and 
		picks it up.
 
			Nick
		(in phone) 
	Hello... send him up.
 
			Nora
	Who's that?
 
			Nick
	Macaulay.
 
		Nora reads the telegrams and hands them to 
		Nick at the other end of the sofa as she 
		finishes.  He takes them as she gives them to
		him, and throws them on the floor without 
		looking at them.
 
			Nora
		(as she reads one)
	Season's Greetings.  The Mallorys. 
		(she hands it to Nick. She is distressed) 
	I forgot all about them.

		She opens another telegram.  Nick throws the
		first to the floor.  He looks at Nora in her
		fur coat.
 
			Nick 
	Aren't you hot in that?
 
			Nora  
	I'm stifling, but it's so pretty.
		(she hands him another telegram)
 	The Kirbys.

			Nick 
		(taking it and dropping it on the floor) 
	Is that another Christmas present?
 
			Nora 
		(smiling at him)
	Yes.

			Nick 
	Did I give it to you?
 
			Nora 
	Yes.

		Again this is news to Nick, but he takes it 
		philosophically.
 
			Nick 
	I'm spoiling you.
 
		She tickles him with her foot.  Then she 
		hands him another telegram, which suffers the 
		same fate.  Nick cocks his gun again, prepar-
 		ing to shoot.  Nora has opened another tele-
		gram.  Her manner changes.
 
			Nora
	Nick, listen.  From Clyde Wynant!
		(Nick puts down his rifle, all attention.
		Nora reads it aloud) 
	"Will you take charge of investigation on Julia 
	Wolf murder.  Communicate with Herbert Macaulay".
 
			Nick
		(putting out his hand for it)
	Let's see.  Where's it from?
 
			Nora
		(looking at it as she hands it over) 
	Philadelphia.
		(Nick is examining the telegram.  The
		doorbell rings.  Nora starts for the
		door, talking as she goes)
	Then he didn't do it, did he, Nick?
 
			Nick 
		(thoughtfully)
	I don't know.
 
			Nora 
		(still on way to door)
	He wouldn't ask you to handle it if he were 
	guilty.
 
			Nick 
	Your guess is as good as mine.
 
			Nora
	Oh take it!  Please take it!
 
		By this time she is at the door. She opens
		the door to Macaulay.

			Nora
	Oh, hello.  Come on in.
 
			Macaulay
	Good morning. I'm afraid this isn't a very
	"Merry Christmas" for you.
 
			Nora
	Oh, he's sitting up.
 
			Macaulay
	Good.

		Macaulay comes in and goes to Nick.

			Nick
	How are you?
 
			Macaulay 
	I hate to bother you when you're laid up.
 
			Nick
	That's all right.
 
		Asta, delighted to see a visitor, jumps all
		over Macaulay. Macauley is a little discon-
		certed by all this attention.
 
			Nora
	Asta!  Asta!  Come here.
 
		She throws a ball and the dog chases it out
		of the scene. Macaulay sits down near Nick.
		Asta comes back into the scene. He deposits
		the ball near Macaulay's chair and stands
		looking eagerly up at him.

			Nora
	Asta - don't bother Mr. Macaulay.
 
			Macaulay
	That's all right.
 
		He leans down and throws the ball for Asta.
		Beside him on the floor is a miniature fire 
		hydrant  He looks down at it.
 
			Macaulay
	What a delightful toy.
 
		Nick looks down and sees it for the first
		time.
 
			Nick 
	Oh, it's a fire hydrant.
 
			Nora 
	Yes.  It's Asta's Christmas present.
 
		Macaulay, a little troubled, looks down at
		it, and then unostentatiously moves his leg
		and his chair out of the danger zone.  Asta 
		returns, playfully and affectionately, with
		the ball again.  Macaulay, with a forced 
		smile, throws it for him again.  Then Macaulay
		turns to Nick, reaching in his pocket for a 
		telegram.
 
			Macaulay 
	I got word from Wynant this morning...
 
			Nora 
	So did we.
		(correcting herself - indicating Nick)
	I mean, Sherlock here.
 		
		Nick hands Macaulay his telegram from Wynant. 
		Macaulay reads it and looks at Nick.
 
			Macaulay
	What are the chances of getting you to do what he 
	wants?

			Nick 
	Slim.
 
			Nora
	Oh, please, Nick.
 
			Macaulay 
	Would it help any if I could persuade him to meet
	you?

			Nick 
	It might.
 
			Macaulay 
	He gave me a code message to insert in the Times, 
	in case I wanted to get in touch with him.
 
			Nick
	It wouldn't hurt to put it in.
 
		Nora beams. The telephone rings.  Nick
		picks it up.
 
			Macaulay 
	I've done that already. He should appear, you 
	know.  It doesn't look well... his staying away
	at a time like this.
 
			Nick
		(in telephone)
	Hello.... oh, just a minute.
		(holding out the phone to Macaulay)
	Police departent
 
			Macaulay
		(he looks surprised but takes the phone)
	Hello.... 
		(his face changes... he is startled)
	Where?  In Allentown.
		(he consults his watch)
	Yes... When is the next train?  Right - I'll get
	that.
		(he slowly puts up the phone and turns 
		to Nick and Nora)
	Wynant's tried to commit suicide. They want me to
	come down and identify him.
		(slowly he picks up his hat)
	I guess this changes the whole story, 
	doesn't it?  That looks like an admission of 
	guilt.  And I had such hopes.  I thought if you got 
	on the case, you'd be able to clear him.  I thought 
	that Mimi.... the way she acted... I was sure that.... 
		(he sighs)
	Oh, well, well... it's no use thinking of it now.
	I'm sorry to have wasted so much of your time.
 
		He goes quickly out.  Nora looks after him, 
		and then turns to Nick.  She is evidently
		depressed.
 
			Nora
	Well, that's that.
		(Nick starts to get up off the sofa)
	Stay there, Nick!
 
			Nick (paying no attention) 
	It's not going to hurt me to get up.
 
			Nora (sharply)
	Sit down!
 
			Nick (with mock dignity)
	You talk as if I were Asta.

			Nora 
	All right, hard guy.  Get up and bleed on the rugs.
 
		Nick walks over to pour a drink.  Nora sits
		down and Asta comes and puts his head on her 
		knees looking sadly up at her.

			Nora 
		(patting Asta)
	What's the trouble, Asta?  Your balloon busted? 
	So's mine.
 
			Nick (to Nora)
	What's the matter with you?
 
			Nora 
	The mystery's all gone. And I wanted you to find 
	out who did it.
 
			Nick
		(over his drink, casually, as is 
		characteristic)
	Maybe I will.
 
			Nora 
		(surprised)	
	But Wynant --- ?
 
			Nick
	I don't believe he did it.
 
			Nora 
	Why don't you?
 
			Nick
	No reason.  Just a hunch.  But I'm going to find
	out.
		(he starts to untie his robe) 
	I'm tired of being pushed around.
 
			Nora
		(feeling her jaw - standing up suddenly)
	So am I.
 
			Nick
	Come on, Watson, we're going places.
 
		As he strides into the bedroom, Nora striding 
		in perfect imitation after him.
 
						DISSOLVE TO:
 
100		EXTERIOR ENTRANCE, NORMANDIE HOTEL.
 
		Nick and Nora come through the door.  They
		have Asta on a leash.  Guild steps up to
		them.
 
			Guild
		(beaming at Nora)
	Good morning --
 
			Nora 
	Good morning, Lieutenant -
		(Asta pulls her violently toward the curb.
		She goes after him, out of the scene,
		calling back apologetically)
	Sorry.
 
		Guild and Nick follow Nora more slowly to the 
		curb. 

			 Guild 
		(to Nick) 
	You oughtn't to play this trick on me.  Running 
	out when I was giving you time to rest up before 
	I asked you those questions.
 
			Nick
	You mean about that gun?
 
			Guild
	That ain't a gun any more.  The firing pin's busted -
	the -
		(he breaks off) 
	Don't waste time talking about that.
 
		They join Nora.  She listens eagerly, not
 		taking her eyes from Nick and Guild. Through
		the whole scene, as they walk down the block,
		when Asta pulls on the leash Nora stops with
		him, and the two men, as a matter of course,
		stop and wait for Nora, none of them ever
		looking at Asta. (IT IS A TRUCKING SHOT ALL
		THE WAY)
 
			Guild
	Man to man, Mr. Charles, are you working on this
	case?
 
			Nick
	Man to man, I'm not.
 
			Nora
	But he's interested! 
 
			Guild
	I don't mind telling you I'd rather have you 
	working with us than against us.
 
			Nick
	So would I.
 
			Guild 
	It's a bargain then.  Anything you want to know?

		The leash tightens up and starts to pull Nora
		ahead.  The two men quicken their steps to 
		keep pace with her.  (They are walking along 
		a quiet street in the East Fifties, so that
		there is not much traffic, and not many
		people.)
 
			Nick 
	What about the suicide?
 
			Guild
	Oh, that's a phoney.  The men didn't even have 
	to go down.

			Nick
	I thought it might be.  From now on, they're 
	going to think that every thin man over six 
	feet with white hair is Wynant.
 
	Again the leash pulls Nora over to the 
	curb.  The three, without interrupting
	their conversation, stand still, waiting. 

			Nora
 	Do you think that Wynant did it?
 
			Guild
	Looks like he planned, something.  He shut 
	up his apartment and his shop.
 
			Nick
	You've been there?
 
			Guild
	Yeah. Couldn't find a thing. This is the way we
	figure it.  Wynant goes to Julia's apartment. He
	finds Morelli there... sees she's two-timing him.
	They have a fight. But he figures he don't want
	to do anything then.... Morelli might squeal.  So
	he goes away. He don't let his lawyer know any-
	thing has happened... he lets him go ahead and
	and hand over money to Julia to give to him, so that
	Julia will think it's all blown over. Then, when 
	she don't expect it... he lets her have it.
 
		Asta completes his investigation and starts off 
		down the street again the three follow.
 
			Nick
	No proof?

			Guild
	Nothing yet to cinch it.
 
			Nick
	Fifty will get you a hundred that he didn't do it.
 
			Guild
	What do you mean?
 
			Nick
	For one thing, he was too absent-minded to hold a 
	grudge.
 
			Guild
	Who's your candidate?
 
			Nick
	I haven't got that far yet.  But I don't think 
	that everything points to Wynant.  What about 
	the alibis?

			Guild 
	They're all O.K.  Mrs. Jorgensen, the boy, 
	Dorothy, Macaulay... even Morelli... we had to let 
	him go. 

			Nick 
	What about Jorgensen?
 
			Guild 
	I'll check on that.
		(he turns to Nora) 
	I'm afraid this is kinder dull for you.
 
			Nora
	Dull... I'm sitting on the edge of my chair!
 
		Asta sees another hydrant and makes for it. 
		But Nora is too interested to stop.  She
		drags him on.

			Nick
	What about this Nunheim?

			Guild
 	Oh, he's all right.  We know all about him.  He does
	a little stooling for us every once in a while.
 
			Nick
	Did you know he was hanging around Julia?
 
			Guild
	No.

			Nick 
	He's holding out on you.
 
			Guild 
		(hadn't thought of this)
	Let's go and see.
		(he motions to a passing taxi)
	Taxi!
 
		A taxi drives up.  Nora starts to get in.
 
			Nick
	This may be a little rough - you'd better let us
	go alone.
 
			Nora
	Catch me letting you go alone!
 
		She climbs determinedly in, pulling Asta 
		after her.  Guild starts to follow, but 
		Nick pulls him away.  He closes the door 
		of the taxi and speaks to the driver:
 
			Nick
		(to driver)
	Grant's Tomb.
 
		The cab starts off.  Nora shakes her fist
		back at Nick. Nick charmingly lifts his hat
		and throws her a kiss, as Guild hails another 
		passing cab.
 
						DISSOLVE TO:
 

101		OUTSIDE DOOR OF NUNHEIM'S APARTMENT.
 
		It is the fourth floor of a dark, damp building. 
		The noise of the Sixth Avenue El can be heard 
		even in the hallway.  Guild and Nick come to
		the door.  Guild knocks.  There are sounds of
		hurried movement inside the room, then a 
		voice calls, in an irritated tone.
 
			Nunheim's Voice (o.s.)
	Who is it?
 
			Guild
	John.
 
		Nunheim hastily unlocks and opens the door.
		He has no coat on - he is evidently frighten-
		ed.
 
			Nunheim 
	I wasn't expecting you, Lieutenant.  You said 
	you'd phone.
 
		Guild touches Nick's elbow with his hand, 
		and they go in.
 

102		LIVING ROOM OF APARTMENT.
 
		The room is shabby and dirty, with clothing, 
		newspapers and dirty dishes sitting around.
		Through an open door, the bedroom, with an
	 	unmade bed, can be seen.  In an alcove there 
		is a sink and a stove.  Marian is standing
  		there with a sizzling skillet in her hand.
		She is wearing a rumpled pink kimono and
		frayed pink mules with lop-sided bows on them.
		She stares sullenly at Guild and Nick as they
		come in.  Guild does not introduce Nick to
		Nunheim, or even look at Marian.  He keeps his 
		hat on, and Nick, seeing him, follows his
		example.  Guild pushes some clothing out of
		the way to make a place for himself at the 
		end of the sofa.
 
			Guild
		(to Nick)
	Sit down.
 
		Nick removes some newspaper from a rocking
		chair and sits down.  Nunheim goes over to
		a table where there is about two inches of
		whiskey in a pint bottle.
 
			Nunheim
	Have a shot?
 
			Guild
	What's the idea of telling me you just knew 
	the Wolfe girl by sight?

			Nunheim
	That's all I did, Lieutenent. That's the God's
	truth.  Maybe I said hello to her or how are you
	or something like that when I saw her, but that's
	all I knew her. That's the truth.
		(Marian laughs once, derisively. But
 		there is no mirth in her face. Nunheim 
		twists around to face her)
	All right.  Put your mouth in and I'll pop a tooth
	out of it.
 
			Marian
	Is that so!
 
		She swings her arm around and lets the 
		skillet fly at his head.  It misses, crashing 
		into the wall.  Nunheim starts after her.
		Marian picks up a paring knife.  Nick puts 
		his foot out, without rising, and trips him.
		Nunheim falls to the floor.
 
			Guild 
	Cut it out.  We didn't come here to watch you 
	two rough-house.
 
		Nunheim slowly gets up.  Marian starts for 
		the bedroom without looking at any of them.
 
			Nunheim 
	She drives me nuts.  She's been ragging me all 
	day.
 
			Guild 
	Maybe if you quit running around after other 
	women you wouldn't have so much trouble with 
	this one.
 
			Nunheim 
		(for Marian's benefit - loud) 
	That's a lie, Lieutenant...  Anybody that says
	that is a liar.
 
			Guild 
		(to Nick) 
	Want to take a poke at him?
 
			Nunheim 
		(scared, to Nick) 
	I didn't mean you, Mister.
 
		Marian goes into the bedroom and shuts the
 		door.
 
			Nick
	Come on, now -- she can't hear you -

			Nunheim
	Well...
		(looking toward the door of the bedroom)
	You know how it is. A guy knocking around....
 
			Guild 
	You'd done better to have told me that in the be-
	ginning.  Where were you the afternoon she was
 	knocked off?
 
			Nunheim
		(terrified) 
	You don't think I had anything to do with it?
 
			Guild 
	Where were you?
 
		Marian comes out.  She is in street clothes
		and is carrying a suitcase.
 
			Nunheim
	Marian!

			Marian 
	I don't like crooks and even if I did, I wouldn't
	like crooks that are stool pigeons, and if I did 
	like crooks that are stool pigeons, I still wouldn't 
	like you.
 
		Marian starts for the outer door.  Nunheim 
		tries to follow Marian, but Guild catches his 
		arm.
 
 			Guild
	Where were you?
 
			Nunheim
	Marian!  Marian! Don't go! I'll behave!
	I'll do anything!  Don't go, Marian!
 
		Marian goes out and shuts the door, paying no
		attention to Nunheim.
 
			Nunheim (to Guild)
	Let me go!  Let me bring her back. I can't get along
 	without her. I'll bring her right back and I'll tell
	you anything you want to know.  Let me go!
 
			Guild
	Sit down!  We didn't come here to watch you and 
	that broad dance around a May pole.  Where were you 
	the afternoon the girl was killed?
 
		Nunheim puts his hand over his face and be-
 		gins to cry.

			Nunheim
	I can't remember offhand, Lieutenant.  Maybe I was 
	over at Charlie's shooting pool. Maybe I was here.
	She'd remember.
 
			Guild
	How'd you like to be thrown in the can on account of 
	not remembering?
 
			Nunheim
	Just give me a minute....  I'll remember. I'm not
	stalling, Lieutenant.  You know I always come clean
	with you.
		(he has his head in his hands trying to
		remember. Guild looks at Nick and winks.
 		Nunheim looks up, relieved.  He snaps his 
		fingers) 
	Gee, it'd serve me right if you had pinched me...
 	that's the afternoon I was.... wait, I'll show you...!
 
		He gets up and quickly goes into the bedroom.
		Nick goes to the telephone and starts to dial.
		Guild starts to search the room.
 
			Guild 
	Well, what'd you think?
 
			Nick
	I think we're on the right track.
 
			Guild
	Who're you calling?
 
			Nick
	I'm calling your office so you can send out a man to
	trail him. I want to see where he goes.
 
			Guild (astonished)
 	Trail him!  Trail who?
 
			Nick
	Nunheim!
 
		Guild looks at Nick, who is grinning.  He then
		grasps what he means and makes a bee line for 
		the bedroom.  In a second he cones back. He
		takes the phone from Nick.
 
			Guild (sharply in phone) 
	Bill, tell the boys to pick up Nunheim.   He just 
	left here - went out the fire escape 
		(then, as Bill evidently laughs, Guild 
		speaks with hurt dignity) 
	What's funny about that?
		(he hangs up and looks sheepishly over 
		towards Nick.)
 
						FAST DISSOLVE TO:


103		CLOSEUP OF NUNHEIM -
		A TELEPHONE BOOTH.

		Nunheim is talking into the telephone.  As
		he talks, he watches the outside of the 
		telephone booth to be sure that no one
		is listening.  His voice is quiet but there
		is a menacing urgency in his tone.

			Nunheim
	Listen.  They been questionin' me again.  Asking
	me what more I know. Where I was that day....
	Wait a minute.  I ducked out on 'em.  Now if you
	want me to play dumb, I want fi' thousand more...
	Fi' grand and I'll skip town today.... Where?
 	O.K... Right away... See that you're there and have 
	it with you.

		He hangs up and turns to go out.
 
						DISSOLVE TO:
 

104		STREET IN THE WEST FORTIES.

		Nunheim jumps out of cab, pays the driver.
		It drives off. The street is deserted. By 
		this time it is about five o'clock and the 
		early winter twilight has fallen.  WE TRUCK
		AND PAN as Nunheim looks at the numbers of
		the houses.  A little way up the street he
		finds the number he has been looking for.
		He walks into a dark doorway.  Just as he steps
		in, there is the crack of a pistol shot and
		the flash of fire from the gun. Nunheim
		throws up his hands, staggers forward to the
		street, his hand clutching his heart.  Here
		he pitches forward -- dead.  The CAMERA 
		stays on the body.

						DISSOLVE TO:

105		INSERT -- A BUNDLE OF CLOTHES -- ALL THAT IS
		LEFT OF ONE ARTHUR NUNHEIM!

		The hands of Nick and Guild are examining the 
		clothes as we come in. Nick has taken a 
		card from the inside coat pocket.

			Nick's Voice
		(over insert of card he holds)
	"Arthur Nunheim -- Honorary member --"

		CAMERA PULLS BACK RAPIDLY NOW TO REVEAL
		GUILD'S OFFICE AT POLICE HEADQUARTERS.
		Guild is throwing down some letters and
		stuff he has extricated.

			Guild
	Not a thing.
 
		Bob, the policeman, comes in.

			Guild
	 	(looking up) 
	Find out about that bullet yet?
 
			Bob 
	Yes, sir.  It's from the same gun that killed
	Julia Wolf.
 
 		There is a second of silence.  Guild and 
		Nick look at each other.
 
			Nick
	And how are your folks?
 
		The telephone rings.  Guild picks it up. 
		His face beams.
 
			Guild (in phone)
 	How are you? -- No, we didn't get a thing.
		(he hands the phone to Nick) 
	It's your wife.
 
		Nick reaches for the phone, smiling.
 

106		CLOSEUP - NORA AT PHONE
 
		She is in the Jorgensen apartment, but in a 
		room by herself. She speaks softly.  She 
		thinks she is still talking to Guild.
 
			Nora.
	Well, I've got something, Lieutenant.  I've been 
	doing a little detective work of my own.  That 
	flat foot I married thinks he's smart -- but I'm
	one jump ahead of him.
 

 						BACK TO:


107		CLOSEUP ON NICK.

		He plays straight in his best manner. 

			Nick (kidding her)
	Um?

 			Nora's Voice (through receiver)
	Do you hear me?
 
			Nick (grinning)
	How's Grant's tomb?
 
						BACK TO:


108		CLOSEUP OF NORA -- PHONE.

		She starts at this, recognizing Nick's voice.
		Again she sticks up her nose, a little
		characteristic of hers in matters concerning
		Nickie.  Then she snaps:
 
			Nora
	It's lovely.  I'm having a copy made for you --
 
						BACK TO:
 

109		CLOSE TWO SHOT - NICK AND GUILD.
 
		Nick laughs, then -- seriously:

			Nick 
	What have you got?
 
		Nora's voice comes through, but she is
		evidently speaking in a low whisper and
		the words are inaudible. 
 
			Nick
	Can't hear you -- little lou --
		(an alert look comes into his eyes as he 
		listens closer, getting what she is saying. 
		Guild, too, is interested.) 
	We'll be right up! 
		(Nick puts down the phone and turns to Guild) 
	She's up at Mimi's.  Jorgensen has disappeared.
 
		The two men rise.
 
						FAST DISSOLVE TO:
 

110		CLOSEUP ON MIMI -- HER BEDROOM.
 
 		She is seated facing Nick in her bedroom, al-
		though in this opening dissolve we do not 
		reveal him.  WE HOLD ON MIMI as she speaks 
		hysterically.
 
			Mimi 
	Chris may be at the club -- or somewhere -- I
 	don't see that it's important --
 
			Nick (voice o.s.) 
	You should have told them he'd disappeared.
 
		CAMERA PULLS BACK TO REVEAL THE ROOM NOW as 
		Mimi jumps up.  Nick is seated, questioning 
		her.  Dorothy hovers behind Nick.

			Mimi
		(her manner and tone more distrait) 
	But he has nothing to do with it!
 
			Nick
	That's not for you to decide. Everybody's under
 	suspicion - especially running off like this --
		(he picks up a picture of Jorgensen 
		from the bureau) 
	The police will want his description.  Is this
	a picture of him?

		Mimi tries to take the picture.
 
			Mimi
	I tell you -- he didn't do it.
 
			Nick
	They'll want more than your word for that.

			Mimi
 		(coming forward and speaking slowly) 
	All right, then -- I'll tell them who did do it!
 
			Dorothy (with horror in her voice)
	Mother!

			Mimi (paying no attention)
	And I'll give then proof!
 
		Dorothy turns and goes quickly from the
		room.
 

111 		HALLWAY OF APARTMENT.
 
		Dorothy comes out of the bedroom, blind with
		horror at what her Mother is doing.  For a
		minute she stands there, trying to collect
		herself.  Andy comes from the living room, 
		where he has been waiting for her.  He goes
		to her and takes her in his arms. She looks
		up at him.
 
			Andy
		(with tremendous pity in his voice)
	Dorry!
 
		For a minute she clings to him, crying,
 
			Dorothy
 	Oh, Andy.
 
			Andy
	Don't cry. 

			Dorothy 
	I can't help it.  You don't know.....

			Andy (protectively)
	Darling, you can't go through any more of this.
	Now you get together your clothes and your skates
	and we'll go out to my family's in the country.

			Dorothy (she stops crying)
 	I can't.
 
			Andy 
	You've got to get your mind off this. 
 
			Dorothy (she pulls herself together) 
	You're sweet, but the only thing that you can do 
	for me is to go.
 
			Andy
	Go! 

			Dorothy 
	And don't ever try to see me again.
 
			Andy
	What are you talking about?
 
			Dorothy (with rising excitement) 
	Please!  You can't get mixed up in this.
 
			Andy 
	Do you think I care
 
			Dorothy 
	You don't understand.  You don't know what's going
	to happen.

			Andy 
	I only know I want to marry you... right now, 
	and --

			Dorothy 
	I can't marry you!  I can't ever marry you! 

			Andy
	Dorothy!

			Dorothy (hysterically) 
	How would you like to have a couple of little 
	murderers for your children?  It'd be fun,
 	wouldn't it?  Maybe they'd murder each other...
 	keep it all in the family.  That's what Father
 	should have done.  He should have killed me and
 	Gilbert... then we wouldn't have had this to go
 	through.       

			Andy
 	You're talking like a crazy person,
 
			Dorothy 
	Why not? I am crazy....the whole family's crazy.
 
			Andy 
	Dorothy.... listen to me. I love you.  Don't you
 	understand that?  I love you.
 
               Dorothy
	Go away!
 
						CUT TO:
 

112		LIVING ROOM - SHOOTING TOWARD HALL.

		Nora and Guild are waiting for Nick.  Gil-
		bert is sitting with a large book open in
		his hand.  Dorothy's voice comes through.
		The three in the living room cannot help but
		hear.

			Dorothy's Voice (o.s.)
	Go away!

		A door slams.  Andy is seen walking slowly
		past the living room door, on his way out
		of the apartment.  Gilbert gets up and
		goes quickly out.  Nora looks at Guild and
		sighs.

			Nora
 	Sleuthing isn't all fun, is it?  I feel so sorry
	for that poor girl -  

		Nick comes in with the photograph of Jorgen-
		sen, which he has taken from the frame.
 
			Guild 
	Get anything?

			Nick 
	She's ready to talk.
		(he hands Guild Jorgensen's photograph) 
	It won't do any harm, though - to find out where
	he is.
 
						CUT TO:
 

113 		DOROTHY'S BEDROOM.
 
		Dorothy is lying on the bed, face down. 
		Gilbert walks up to her, his big book still 
		in his hand.
 
			Gilbert 
	You know, you're wrong about all of your children
	being murderers...  I've studied the Mendelian Law
	of inheritance and their experiments with sweet 
	peas, and according to their findings... and they've 
	been pretty conclusive... only one out of four of 
	your children will be a murderer.  So the thing for 
	you to do would be to have just three children...
		(then as a thought comes to him)
	... no, no.  That might not work  The first one
	might be the bad one.  I'll have to look that up.
 
		By this tine Dorothy gets up. She has a 
		defiant look on her face.
 
			Dorothy 
	You needn't look it up.  I'm not going to get
	married and I'm not going to have any children. 
	From now on, I'm just out for the ride!
 
                                                BACK TO:

 
114		LIVING ROOM - MEDIUM ON GROUP.

		Mimi is showing Guild the watch chain.  Nick 
		is watching her closely. Nora is tense 
		with interest.

			Mimi
		(her voice quivering with forced emotion)
	I took this from her hand.  It's Mr. Wynant's
 	watch chain.
		(Guild takes it from her) 
	I wanted to protect him.
 
		She breaks into tears.  Nick looks over at
		her sardonically. Guild watches her with
		evident sympathy.  Guild gets up, putting
		the watch chain carefully in his handkerchief.
 
			Guild 
	I guess that cinches it, eh, Mr. Charles?  He 
	killed them both - Julia Wolf and Nunheim.
 
			Nick 
	Fifty will still get you a hundred.
 
			Guild 
	This is enough for me.
 
						FAST DISSOLVE TO:
 

115-119	SERIES OF QUICK DISSOLVES:

 		(a) POLICE RADIO ANNOUNCER AT MICROPHONE
 
			Announcer
	Calling all cars - calling all cars - cover all
	roads leaving city - pick up Clyde Wynant -
	Clyde Wynant drag-net - pick up - etc.
 
		(b) GATE - GRAND CENTRAL STATION.
 
		A policeman stands at the gate scanning the 
		passengers as they go through. (Through 
		this and ensuing vignettes, the dull voice 
		of the Police Announcer continues over the 
		flashes.  Entire effect designed to ex- 
		citingly dramatize the spreading of the 
		net for the capture of Clyde Wynant.)
 
		(c) A PRINTING PRESS.
 
		It is running off police placards announcing 
		the reward for the capture of Clyde Wynant.

		(d) TELETYPE MACHINE.

		Over the machine is coming:

			"Wynant wanted -- watch all
			stations -- boats and roads --
			description - thin man -- six
			feet -- white hair, etc., etc."
 
		(e) NEWSPAPER TRUCK -- STREET CORNER.

		Newsboys are crowded around the back of the 
		truck.  A man is hurling packs of LATE
		EXTRAS down to the boys.  They immediately
		begin calling out:

			NEWSBOYS
	"Extra -- extra -- Wynant wanted in second murder --"
	"Five Star Final" -- Wynant's ex-wife produces mur-
	der evidence -- "
	"Extra - extra -- double murder charge against 
	Wynant --"
 
		Pictures of Wynant, most of them full
		length  (for the desired effect of the tall,
		thin man) cover the front pages.  Second and
		third trucks can back into the scene, if
		desired.  Necessary, dramatically, to kick
		up the idea that the chase for the killer 
		is increasing to fever heat.
 
 						DISSOLVE TO:
 

120	 	CLOSE SHOT ON NORA - AT WINDOW.
 
		She is at the window of their bedroom in the 
		hotel Normandie again.  We process through 
		the window to get a background of Central 
		Park, South.  On SOUND TRACK from below we 
		get a carry-over of the newsboys' "Extra! 
		Extra!" from preceding effects.  One shrill 
		voice is heard in relief against the others. 
		It is shouting: "Extra -- extra -- police
		hunt Wynant --" Nora listens for a second and
		then shuts the window, turning away from it.
 
			Nora
	I wish they'd stop that.  It makes me fidgety. Do
	you think they'll find him, Nick?  He must be in
	New York....
		(she stops short as CAMERA PULLS BACK 
		and she sees Nick is in his overcoat, 
		bending over Asta with a leash) 
	Where do you think you're going?
 
			Nick
	I'm going to take Asta for a walk.

			Nora
	He's just been for a walk.

			Nick
	We're going sightseeing -- aren't we, Asta?

		He starts to go -- but Nora puts a hand on a 
		bulge in his overcoat pocket.

			Nora
	What's that?
		(she puts her hand in and pulls out a
		bunch of skeleton keys) 
	What are you up to?
		(she puts her hand in and and pulls out
		a pistol - she unconsciously holds it,
 		pointing at him) 
	Nickie - what is this?
 
			Nick (putting his hands up)
	Looks like a hold-up!
 
			Nora
	What are you going to do?
 
			Nick 
	I've got hunch.  I'm going down to look at Wynant's 
	shop, I want to find out why it's closed.
 
			Nora
	Why shouldn't be close it? He went away.
 
			Nick
	He went away lots of times when I knew him - but he
	never closed his shop. I've got a hunch something is 
	up.
 
			Nora
	You mean, he might be hiding there?
 
			Nick
	I don't know...  This thing has got my goat. I've got 
	to find out.
 
			Nora
	Nick - I won't have you going down there.
 
			Nick
	Say you're the one who got me in this!
 
			Nora
	I know but this is different.  He's a crazy man. He
	might kill you.
 
			Nick
	I'll be all right.  I've got Asta to protect me.
 
			Nora (waving him out)
	Go on - go on - see if I care.  But it's a dirty 
	trick bringing me all the way to New York just to
	make me a widow.
 
			Nick (kidding her) 
	You wouldn't be a widow long.
 
			Nora 
	You bet I wouldn't.

 			Nick
	Not with all your money!
 
			Nora
	You dog!
 
			Nick (kissing her)
	Goodbye, darling.
 
			Nora (clinging to him and for
		the first time really serious)
	Nickie, take care of yourself won't you?

			Nick (lightly)
 	Sure I will.

			Nora
	Don't say it that way. Say it as if you meant it.
 
			Nick (with mock solemnity) 
	Why, I believe the little woman cares.
 
			Nora
	I don't care - I'm just used to you, that's all --
		(Nick gives her an affectionate hug and a
		kiss. He calls to Asta. Nora turns to the 
		dog, trying to hide her emotion under a 
		pretense of clowning) 
	If you let anything happen to him, you'll never wag
	that tail again!

						DISSOLVE TO:
 

121		EXT. OF WYNANT'S SHOP - LIGHTING EFFECT
 
 		The street is deserted. The light from the 
		street lamps is very dim.  A cab drives up before
		the shop.  The door of the cab opens and Asta
		jumps out, and makes a bee-line for a hydrant.
		Nick follows him, still in his evening clothes.
		He turns to pay he driver, who is looking 
		dubiously at the neighborhood.
 
           		Driver 
	Sure this is the place you want?
 
			Nick
	This is it.
 
			Driver 
		(looking apprehensively at the street) 
	You don't want me to wait, do you?
 
			Nick
	No thanks.
		(Nick pays him)
 
			Driver 
		(with a last look, he says dubiously)
	Well .... good luck!

		He drives off.  The street is quiet.  Nick 
		turns toward the shop.  Nick stands for a
		second looking at the building, then turns
		to Asta.
 
			Nick
		(to Asta)
	Ready?  Well, let's go.
 
		He goes to the front door of the shop.  He
		tries it.  It is locked.  From his pocket he
		takes out a ring with skeleton keys on it.
		Holding his flashlight on the key hole, he
		finally finds the key that opens it.  He 
		pushes the door slowly open.  He holds it 
		open, looking back at Asta.
 
			Nick
	You keep quiet now. Come on.
 
		But Asta doesn't like the looks of the place.
 		He doesn't move.  Nick snaps his fingers for
		him to come and Asta finally, reluctantly
 		follows him.
 

122		INTERIOR BUILDING -- TRUCKING AND PANNING

		On Nick as he makes his way down the narrow
		little hall, guided by his flashlight.  Asta 
		trails, still reluctantly.  Nick is 
		familiar with the old building so that he 
		does not lose time in reaching the rear, 
		where he goes down the steps, cautiously, to 
		the basement.
 

123 		MACHINE SHOP AND STOREROOM IN BASEMENT -
		LONG SHOT.  (This room leads to Wynant's 
		private work-shop as established earlier.)
 
		Nick moves stealthily through the storeroom, 
		flashing his light here and there on crates, 
		boxes of machinery, etc.  It is a weird scene, 
		at any moment you must feel that Wynant, or 
		some foe will spring from behind the objects. 
		(His figure is mostly in silhouette during,
		the scene.  He flashes his light in quick 
		short flashes.)
 
		Nick sees a moving shadow.  Asta starts to 
		growl.  Nick whips out his gun.  The throws 
		the light of his flashlight onto a pile of


		[sorry -- page missing. The "moving shadow" 
		 turns out to be a cat.]


124		CONTINUED

		nothing that will help him. He is starting 
		out, when he misses Asta. He calls him
		softly. We hear the dog whine.

			Nick (to Asta)
	Well, come along, then...

		Still the dog does not come. We hear him
		whine again.  Nick flashes his light around
		until it lights on the dog.  Asta is in the
		center of the floor.  He has his ears back.
		He is sniffing at the floor. Nick keeping 
		his flashlight on Asta, comes back.  He leans
		down to the floor, running his hand over 
		the cement.
 
			Nick (softly) 
	You're not a Scottish Terrier.  You're a police 
	dog.  New cement.
 
		He gets up briskly and looks around, using 
		his flashlight, to find a tool.  He finds an
		iron bar.  Placing the light so that it falls
		on the floor.  Nick takes the iron bar.  He
		pounds on the floor.  Over the place where 
		Asta was whining, the cement gives out a 
		hollow sound.  Nick takes the bar in both 
		hands, throws his whole strength into it, 
		trying to force it through the floor.  It 
		finally goes through.  Nick leans down, and
 		a startled, horrified look comes in his face. 
		He puts down the bar, picks up Asta, who is 
		flattened on the floor, watching him, takes 
		his flashlight and goes quickly toward the 
		stairs.  He climbs rapidly.
 

125		CRANE SHOT -- FLIGHT OF STAIRS LEADING TO 
		WYNANT'S OFFICE ON SECOND FLOOR.  (AS EARLIER
		ESTABLISHED.)
 
		He uses his flashlight to find his way. The
		stairway, being as old as the building, creaks
  		as he walks.  WE CONTINUE TO CRANE until he
		reaches the second floor and cautiously enters 
		the old office.

 
126		WYNANT'S OFFICE - FULL SHOT.
 
		All is pitch dark as he follows his flashlight
		to the telephone, dials the number, then
		extinguishes the light.
 
			Nick (in telephone)
	Hello, Lieutenant Guild, please... John?  This is 
	Charles.  I'm up in Wynant's shop.  Well, I've found
	something... it's a body.
 
		He puts down the telephone.  Using his 
		flashlight, he goes to the desk and begins 
		to look through the papers there.
 

127		EFFECT SHOT -- CAMERA AT BOTTOM OF STAIRWAY,
		SHOOTING UP.
 
		On the figure of a man as it is quietly 
		going up the same stairway that Nick took, 
		slowly going toward the office.  He has no 
		light, but by his unhesitating steps, we gather 
		that he is familiar with the building. The 
		steps creak a little.

						BACK TO:
 

128		WYNANT'S OFFICE  - CLOSE SHOT ON NICK.
 
		He is still rummaging over the desk.  Sudden-
		ly he stands rigid.  He has heard a step. 
		He puts out his flashlight and whirls around 
		to face the door.  At this instant, CAMERA
		SWINGS OVER TO:
 

129		THE DOOR
 
		As the man's figure appears.  As he starts 
		to come in, Nick's flashlight is thrown 
		full on his face, blinding him.  We see 
		that it is Tanner.
 
			Nick's Voice (o.s.)
	Stick 'em up!
 
		Tanner, terrified by the light and the sharp 
		command from the darkness, puts up his
		hands.  Asta begins to bark.  Keeping the
		light full on Tanner's face, Nick swiftly 
		searches him.  Satisfied that Tanner has 
		no gun, Nick goes to an electric light 
		switch.
 
			Nick (as he does this) 
	Don't make a move or that dog will tear you to 
	shreds!
 
		He switches on the light.  Tanner looks in,
		blinking amazement and fear, first at Nick, 
		and then at --
 

130		BIG CLOSEUP OF ASTA

		He has crawled under the desk and lies there,
		looking out fearfully.
 
						BACK TO:


131		MEDIUM ON NICK AND TANNER

		Nick grins a little at Asta's fear and 
		Tanner's bewilderment.
 
			Nick (to Asta) 
	Come on out, now.  He won't hurt you.
		(then to Tanner, with a return of his 
		brisk, professional tone) 
	Back to your old tricks, eh, Tanner?
 
			Tanner
	No, Mr. Charles.
 
			Nick
	How did you get in here?
 
			Tanner
	I had a key. I worked here... till they closed the
	shop.
 
			Nick
	You worked here?
 
			Tanner 
	Yes, sir.  Julia Wolf got me a job as bookkeeper.
 
			Nick
	Well, that's a hot one.  You a bookkeeper!  When 
	were you ever a bookkeeper?
 
			Tanner 
	That time you sent me up last ... I learned book-
	keeping at Sing Sing.  I figured it might be an in 
	for me somewheres.
 
			Nick
	Somewheres where they might go out and leave the
	safe open?

			Tanner 
	Honest, Mr, Charles.  I never touched that safe. 
	Them bonds that were missing... Julia took them.
 
			Nick
	Trying to put it off on her?
 
			Tanner
	Mr. Charles - she did - that's why he got sore at 
	her and killed her.  Listen, Mr. Charles --
		(he pulls out some bills) 
	I did do a little chiseling.  I come to bring it 
	back and fix up the books.  I didn't want him to 
	find out and come after me -
 
			Nick 
	You can save that and tell it to the police.
	They'll be here in a minute.
 
			Tanner 
		(a hunted look comes into his face)
	Police!
 
		He shrinks back, aghast, as at this moment we 
		hear the sound of sirens from police cars 
		arriving outside.  Asta crawls back under 
		the desk.
 

132		EXTERIOR WYNANT'S SHOP - STREET - NIGHT.
 
		There is a rising crescendo of sirens as 
		Guild's police car, and the Medical Examiner's 
		car swing around the corner, accompanied by a 
		motorcycle escort.  They pull to a stop at
		the front of the shop.  The police and Dr.
		Walton, with his assistant, get out of the 
		cars and go to the door of the building. 
		There are police photographers with them. 
		Nick, with Tanner in his custody, is waiting
 		at the door of the shop. 

						DISSOLVE TO:
 

133 		WYNANT'S SHOP - BASEMENT.
 
		The floor is dug up more than in the last
		scene, so that the body is exposed enough for
		the photographers.  Guild, Nick, Dr. Walton,
		Tanner and the rest of the police stand aside 
		as the photographers take their flashlight 
		pictures from different angles.  Guild is 
		putting on a pair of gloves.  Dr. Walton is 
		preparing to do his work.  Nick, in his 
		evening clothes and his casual air, is an 
		incongruous note in the midst of all the
		professional excitement.  As the photographers
		finish, Guild steps up to the hole in the 
		floor.  He turns to Tanner, who is watching,
		horrified.
 
			Guild (to Tanner) 
	You didn't know anything about all this?
 
			Tanner
	No, sir....

			Guild (to one of the police) 
	Take him down to the can.  I'll see him later.
 
		The policeman goes out with Tanner. Guild 
		looks down into the hole.
 
			Guild (he gives a low whistle) 
	I wonder what Wynant had against this one?
	Quick lime. Well at least the clothes weren't
	touched.
 
		The Medical Examiner comes up and stands be-
		side him.
 
			Guild
	Mind if I take those out, Doc?
 
			Dr. Walton
	Go ahead.
 
		Guild stoops down and takes out a bundle of 
		clothes.  The CAMERA PANS with him as he 
		takes them over to a work table and starts 
		to open them up.  Nick strolls over and stands 
		watching him.
 
			Nick
		(looking at the bundle of clothes) 
	Just rolled them up and threw them in.
 
			Guild 
	Lucky thing for us they weren't in that lime.
 
			Nick 
	Extraordinarily lucky.
 
		Guild pulls a coat from the bundle.  It is 
		a large coat, slightly eaten by the lime. 
		Guild picks it up and examines it for a 
		tailor's label.
 
			Guild 
	No - no identification -
		(he holds the coat up) 
	Must have weighed two hundred and fifty if he 
	weighed an ounce.
 
			Bob (o.s.)
	Here's something,
 
		Bob comes into the scene.  He hands Guild
		a walking stick.  Guild takes it and examines
		it.
 
			Guild (looking at the stick) 
	Rubber tip.  He must have been lame.
 
			Bob 
	Who wouldn't be.... carrying that weight around.
 
		Guild takes the trousers and stretches 
		them out.
 
			Guild (to Doctor)
	Standing straight he'd be about five foot,
 	eleven, wouldn't he?

			Doctor's Voice (o.s.)
	About.

    		There is a belt attached to the trousers -
		Guild looks at it. He finds some initials
		engraved on the silver buckle.
 
			Guild (reading from the buckle)
	"D.W.R." 
		(turns to Nick)
	That case you worked on... the guy who threatened to kill
	Wynant... what what was his name?
 
 			Nick
	Rosebreen.
 
			Guild
	Could this be him?
 
			Nick 
	I never saw him.  I don't think anyone saw him.
 
			Guild
	He said Wynant tried to steal an invention.
 
			Nick 
	Yes.  But we figured it was just blackmail...
 
			Guild 
	Just the same, Wynant wouldn't mind having him 
	out of the way, would he?
		(he turns to the Doctor) 
	How long should you say this body'd been here,
	Doc?
 
		The Doctor comes into the scene taking 
		off his gloves.
 
			Dr. Walton 
	I can't say offhand.  At least a couple of months...
 
			Guild 
	Couple of months.  That's just when he closed the
	shop.  The way I figure it is... he kills this guy 
	and plants him here.  Julia knows about it, so he 
	kills her.  And Nunheim caught him at that, so he 
	he had to bump off Nunheim.
		(he makes a bundle of the clothes)
	Well, we'll be going along.
		(to Nick) 
	You done a swell job.  You wouldn't like to pay
	me that hundred now? 

			Nick (smiling)
 	Wait 'till you catch Wynant.
 
		Nick walks over to the Medical Examiner who
		is putting on his coat, preparatory to going.
		The Medical Examiner speaks to his assistant, 
		indicating the wrapped up body, out of the
		scene.
 
			Dr. Walton
	You can take that out to the car.
 
			Nick 
	Going to run him through the floroscope?
 
			Dr. Walton
	Yes.
 
			Nick
	Do you mind if I come down and see it?
 
			Dr. Walton
	Not at all.
 
			Nick 
	I'm very interested in that body.
 
		By this time Guild is ready to go.  He turns 
		to Nick, the bundle of clothes under his arm.
 
			Guild 
	Give my best to your wife.
 
 		He turns to go out, almost bumping into a 
		figure in the semi-darkness. It is apparently
		a slender boy, his coat collar high about his 
		neck, and his hat pulled down over his eyes. 
		Nick spies him at the same time and comes 
		toward him.  Guild speaks sharply to the boy.
 
			Guild (to the boy)
	What're you doing here?

			Nick
		(to Guild - knowing who it is)
 	I'll take care of him.
 
		Guild grunts and continues on his way.  Nick 
		takes the boy by the arm, and unceremoniously 
		hustles him out.  Nick has Asta under his
		other arm.

						CUT TO:
 

133A		EXT. OF BUILDING
 
		Nick hustles the boy into a taxicab, and 
		follows him in, speaking to the driver as he 
		gets in.
 
						CUT TO:
 

133B		CLOSEUP OF NICK

		Nick is seated in the cab.  He is looking with 
		a disapproving scowl at his companion.
 
			Nick
	What do you think you are?
 
		The CAMERA PANS to his companion.  We see that 
		it is Nora.  She is dressed in Nick's clothes. 
		She has even used some of her hair to make
		a mustache.  She looks at Nick with a twinkle
		in her eye, and strokes the points of her 
		mustache in imitation of him as she speaks.
 
			Nora
	I'm a 'de-tect-uf'.
 
						DISSOLVE TO:
 

134		CLOSEUP OF FLOROSCOPE.  (Police Laboratory)
 
		The light of the floroscope comes through
		the skeleton of the body.  The Medical
		Examiner's hand comes into the shot, point-
		ing to a dark spot in the left side of the
		body, near the heart.
 
			Dr. Walton's Voice (o.s.) 
	There's the bullet he was killed with.  See?
 
 			Nick's Voice (o.s.)
	What's this?
 
		His hand comes into the shot, pointing to a
		smaller speck in the shin bone.  THE CAMERA 
		NOW PULLS back to show the two men in Dr.
		Walton's laboratory looking at the body under 
		the floroscope.  Dr. Walton looks closer.
 
			Dr. Walton 
	Oh, just an old piece of shrapnel.
 
		An idea comes to Nick.  He is piecing things 
		together in his mind.

 			Nick
	Shrapnel!
 
			Dr. Walton (still inspecting)
	Must have been in the war.  That might account for
	the cane and his limp.

 			Nick (thinking of something else)
	Yes... yes.

						AS WE ARE DISSOLVING TO:
  

135-139	SERIES OF EFFECT FLASHES -- THIRD MURDER --
		POLICE DRAGNET
 
		In terrific tempo, with the elongated shadow 
		of the Thin Man behind the flashes, we bring
		in, kaleidoscopically, police teletypes --
		radio broadcasts -- telephone and telegraph --
		wireless -- radio cars, etc.  Chief among 
		these effects are superimposed closeups of 
		police and detective chiefs as they talk 
		into phones, firing their orders.  By the
		nature of the uniforms worn by the police
		captains, we must achieve the idea that the
		man-hunt is NATION WIDE. Also superimposed
		are newspaper headlines, tabloids, etc.,
		screaming out: "WYNANT HUNTED IN THIRD MUR-
		DER --" "WYNANT VICTIM BURIED IN BASEMENT --"
		"HORROR MURDER LAID TO WYNANT --" "WYNANT
		BODY NUMBER THREE DUG UP IN CEMENT --" etc.,
		etc. Also, on SOUND TRACK, through radio
		and telephone, we hear continuous voices as 
		they report: "WYNANT SEEN HERE -- WYNANT 
		SEEN THERE --" etc.

		These are Vorkapich shots, and conclude with
		thrilling flashes of automobiles being stopp-
		ed on roads by traffic officers, squad cars
		racing to and fro from headquarters, etc.

						DISSOLVE TO:

140		CLOSEUP OF ASTA.
 
		The dog is standing on a table. The CAMERA
		PULLS BACK to show the living room of Nick's 
		suite.  The reporters are on Nick's trail 
		again.  The floor is littered with newspapers. 
		Nora, in negligee, is being interviewed 
		by a 'sob sister'.  Nick is near the table
		where the drinks are surrounded by reporters. 
		A newspaper photographer is taking  Asta's 
		picture as he stands on the table.
 
			Photographer
		(snapping his fingers down near 
		the floor)
	Hey... doggie, doggie.  Look down at the body!
	Look down at the body!
		(Asta looks down at the man's hand and
		the flashlight flares up. The photo-
		grapher hurriedly goes to Nick)
	Now, Mr. Charles --

			1st Reporter (to photographer)
	Get that out of here.
 
			Photographer
	Just one family group.
 
			Sob Sister 
	It'd be lovely for the woman's page.
 
		Nick goes to stand beside Nora, and the 
		photographer puts Asta in Nora's arms. The 
		reporters follow Nick, asking him questions.
 
			1st Reporter 
	Have the police got any idea where Wynant is?
 
			Nick
	No. 

			2nd Reporter 
	Do you think they'll I find him?
 
			Nick
	I know they will.
 
		The flashlights flare again.  Nick moves away.
 
			3rd Reporter 
	Got anything else to say about the case?
 
			Nick
	Yes.  It's put me way behind in my drinking.

		He starts for the table where the liquor is.
 
			1st Reporter 
	What about this Rosebreen?
 
			Nick (pouring himself a drink)
	Sorry.  Don't know a thing.
 
			2nd Reporter (to photographer)
	Come on, let's get it in. 
		(to Nick)
	Thanks, Nick.
 
		The reporters all start for the door.
 
			1st Reporter
	What's your next step, Nick?

			Nick
	Right back to California.  We've got to go home
	and rest up from our vacation.
 
			1st Reporter
	We'll see you before you go.

		They all go out.  CAMERA MOVES IN FOR 
		CLOSE PANNING SHOT.

			Nora (disappointed)
	Back to California
 
			Nick 
	My soul, woman.  I give you three murders and 
	you aren't satisfied.
 
			Nora 
	I want you to stay and find Wynant.
 
			Nick
		(out of a clear sky - over his highball) 
	I did find him!
 
			Nora
	What do you mean?
 
			Nick (between swallows)
	He was down in the shop.
 
			Nora
	Nick!

			Nick
	It was his body that was buried there.
 
			Nora 
	Nick, you'd better lay off that liquor.
 
			Nick
	That's a fact.
 
			Nora (unable to believe her ears)
	Wynant's body?
 
			Nick (mixing another drink) 
	Yup.  Don't you want something to eat?
 
			Nora
	But they all said it was Rosebreen's.

			Nick (going to telephone)
 	That's what they think... Guild and all of them.
	They take it for granted that it's just another
	of Wynant's victims.
		(he takes up telephone)
	Guild's hot-footing it around now, looking for
	Wynant. That's all that troubles him.

			Nora
	What makes you so sure it's Wynant's body?
 
			Nick
	Several things.
		(speaks into the telephone) 
	Hello, Fred.  We're hungry again.  Yeah, and lots
	of onions.  Oh, and coffee.
 
			Nora 
	Nick, you'll drive me crazy.  What things?
 
			Nick (putting up the receiver)
	Huh?

			Nora 
	What things made you so sure?
 
			Nick
	Oh.  Well, the clothes for instance. They were 
	carefully preserved, and the body was just as 
	carefully destroyed.  The person who killed him 
	counted on one thing... that all skeletons look 
	alike.
 
			Nora 
	Well, don't they?
 
			Nick
	Sure.
 
		He takes a drink from the glass in his hand. 
		Nora goes to him and takes his drink from
		him.
 
			Nora
	You don't get another swallow 'til you really open up.
 
			Nick (speaking quickly, anxious to
 		get his drink back)
	I remembered that Wynant had some shrapnel in
	his shin.  It often bothered him.  So I looked
	for it and I found it. 
		(he reaches out his hand for the glass)
	Gimme.
 
		Nora mechanically gives him back his drink, 
		her mind on the significance of what he has 
		told her.
 
			Nora
	How long has he been dead?
 
			Nick
	Couple of months anyway.
 
			Nora
	Then he couldn't have committed those other mur-
	ders.

			Nick
	Smart gal.
 
			Nora (hardly able to believe it)
	Wynant dead? 
		(with a sudden thought)
	Does Dorothy know?
 
			Nick 
	No.  Nobody but you.

		Nora starts for the telephone.

			Nora 
	I'm going to tell her.
 
			Nick 
	Hey... hey.
 		(Nora stops)
	Don't do that.
 
			Nora (protesting)
	But the poor kid's going crazy.  She'd rather
	know her father was dead than that...
 
			Nick (interrupting)
	I can't help it. I can't tell a soul.  I didn't 
	even tell Guild.
 
			Nora
	Why not?

			Nick 
	I want to lie low till I get the whole dope.  I 
	don't want to go off half-cocked.
 
			Nora
	What are you going to do?
 
			Nick
	I'm going to get the real murderer.  I've got 
	an idea.  Want to see me take him?
 
			Nora (thrilled)
	Yes!

			Nick 
	Got a nice evening dress?
 
			Nora (impatient) 
	Now Nick, what's that got to do with it? 

			Nick (insisting) 
	Got a nice evening dress?
 
			Nora  
	I've got a lulu -- why?
 
			Nick
	I'm going to give a party, and invite all of
	the suspects.
 
			Nora 
	The suspects!  They won't come.
 
			Nick
	Oh, they'll come.  I'll have Guild issue the
	invitations.
		(he starts to telephone)

			Nora
 	Who do you think did it?
 
			Nick
	Mimi...

			Nora
	Mimi!

			Nick
	Mimi, Jorgensen, Morelli, Tanner.....
		(to Nora) 
	What were you doing on the ninth of June?
 
		He grins into the phone.
 
						FAST DISSOLVE TO:

 
141		PRIVATE DINING ROOM IN HOTEL.

		Music of a small string orchestra is com-
		ing from the adjoining balcony.  A table
		is set in the background for fourteen people. 
		The waiters are quietly putting the the last 
		touches to the table.  The head waiter is
		passing around a last tray of cocktails. 
		The CAMERA TRUCKS with him as we pick up
		the different people.  He goes first to Andrew
		who is standing by himself, very forlorn
		looking.  Then to Mimi, Tanner and Gilbert 
		who are a little isolated group.... not know-
		ing what is going on, and looking very 
		suspiciously at the other guests.  He goes 
		on to a group made up of Nora, Guild, Marian
		and Morelli.  Nora is hanging on to the two
		men's words. The head waiter goes on to
		Nick and Macaulay.
 
			Head Waiter (to Nick)
	Shall I serve dinner now?
 
			Nick 
	Just a minute -
 
		Nick looks toward the door.  He breaks away 
		from Macaulay and goes to the door.  The
		CAMERA PANS with him as he goes.  A detec-
		tive is just coming in the door.

			Detective (to Nick) 
	We got 'em.  Picked 'em up at the Pennsylvania 
	Station.
		(he turns to the door)
	Come on in.
 
		Dorothy and Quinn come into the room.  They
		have both been drinking.  Quinn is angry 
		and reluctant to come in.  Quinn has a suit-
		case and Dorothy a little dressing-case in
		her hand.  Dorothy is defiantly gay.  She 
		has quite thoroughly carried out her threat
		to go "out for the ride" -
 
			Nick
	Hello, Dorothy.
 		(Nick reaches out and takes her bag)

			Dorothy
	Hello, Nick!
		(she looks around the room) 
	And a party - celebrating father's third murder -
		(her tone is bitter) 

			Mimi's  Voice (o.s.)
	Dorothy!

			Dorothy
	And cocktails!
 
		She walks toward the drinks out of the scene.

			Nick (to Quinn)
	Why the bags?
 
			Quinn 
	None of your business.
 
			Detective
	They were trying to make a get-away,
 
			Quinn (drunk and belligerent) 
	We were doing nothing of the sort.  What's the 
	idea of this?
 
			Nick
	Didn't he...
 		(he indicates the detective)
	...give you my invitation?
 
			Quinn
	You can't get away with this.
 
		The detective is closing in on him.
 
			Nick
	You're perfectly right.
		(to the detective) 
	Take the gentleman's coat and bag.
 
 		The detective starts, not too gently to
		take Quinn's coat from him.


142		CLOSE SHOT - DOROTHY AND ANDY
 
		Dorothy takes a drink from the waiter.  Andy
		starts toward her.

			Dorothy (to Andy) 
	This is a pretty dead bunch, isn't it?
 
			Andy 
	You're high enough.

			Dorothy
	Why not?
 
		Nick comes up to her.
 
			Dorothy (to Nick) 
	You know, you interrupted me at a very important 
	point in my life.  I was about to take my first 
	false step.
		(calling to Quinn) 
	Come on, Quinny. Let's dance -
 
		She walks away from Andy and Nick.
 
			Andy (to Nick) 
	I'm getting out of here.
 
			Nick
	No - I need you here.
 
			Andy (glowering at Quinn)
	If I stay, I know I'll take a poke at him.
 
			Nick
	Then I insist that you stay.
 
						CUT TO:

143		MORELLI, GUILD AND MARIAN
 
			Marian 
	I want some more of that tiger milk.
 
		She starts off to get another drink.  Morelli 
		looks after her admiringly.

			Morelli (to Guild)
	I think somebody could do something with that cl[]
	if they took hold of her right.
 
			Guild (drily)
	Yeah - by the throat!
 
						CUT TO:
 

144		MEDIUM SHOT NEAR TABLE.

		Nora is near the dinner table with Guild
		beside her.  Marian, Macaulay, Mimi, Gilbert,
		Tanner and Morelli are nearby.
 
			Nora
	I think we may as well sit down.
 
			Guild (looking around) 
	I guess all the suspects are here.
 
		There is a second of stunned amazement on
		the people's faces.
 
			Nora
	Mr. Guild means guests! 
		(counting noses) 
	Oh, there are two more to come.
 
			Guild
	They'll be here.  Don't worry.  My men are pick-
 	ing them up.
 
			Nora (beaming at him) 
	You're a great help to a hostess.  I wish I 
	always had you for my dinner parties.
 
		Nora starts to seat the guests.
 
			Mimi (looking toward the door)
	Chris!
 
		She walks rapidly out of the scene, and
		WE PAN WITH HER TO THE:
 

145		DOORWAY.
 
		Jorgensen and a woman have come in the door. 
		She is a hard-faced, common woman, who looks
		as if she could handle any situation.  They 
		are standing there angry and belligerent.
		There are a couple or plain-clothesmen with
		them.

			Nick
 	I'm Nick Charles. How do you do?
 
		Mimi rushes up to Jorgensen.
 
			Mimi
	Chris, where have you been?
 
		She stops as she sees the other woman.  One
		of the plain-clothesmen speaks to Nick.
 
			Plain-clothesman 
	Sorry we're late.  But they had to break down 
	the door.
 
		Mimi bristles at this.  She gives the
		woman a withering look and walks out of 
		the scene. Nick watches with great amusement.
 
			Nick (to Jorgensen and the woman)
	Won't you come in?
 
		The two reluctantly follow him further into the 
		room.  Nick follows them, rubbing his hands
		with delighted anticipation of the scene to 
		follow.  The CAMERA PANS WITH HIM as goes 
		to the table.  The people are all seated
		with the exception of Mimi, Jorgensen and the
		woman with him, and Nick.  Nora is watching
		the new arrivals with eager interest.  Nick
		looks at her and gives her a broad wink.
 
			Nick (turning to Jorgensen)
	Mr. Jorgensen, you sit next to Andrew, and Mrs. 
	Jorgensen on your right.
 
		Both Mimi and the woman who came in with 
		Jorgensen, start for the chair which Jor-
		gensen is holding.  As they find themselves
		both going for the same chair, Mimi draws
		herself up with great dignity.
 
			Mimi
	I'm Mrs. Jorgensen. 

 		Mimi starts to sit.
 
			The woman (drily, as she points to 
		an empty chair across the table) 
	Put it over there.  I was Mrs. Jorgensen before 
	you were.
 
		Mimi looks at Jorgensen, bewildered.  But he 
		refuses to meet her eye.  The other woman
		sits down firmly in the chair.  Nick, from
		the head of the table, calls to Mimi.
 
			Nick
	Mimi.... you're here on my right.
 
		He holds her chair for her as she comes and
		sits down.  The waiters start in immediately
 		to serve dinner.
 
						CUT TO:
 

146		CLOSE SHOT:  NICK AND NORA. 

		Nick holds Nora's chair for her.
 
			Nora
	You give such charming parties, Mr. Charles.
 
			Nick
	Thank you, Mrs. Charles.

		Nora sits - she whispers to Nick.
 
			Nora
	I can't wait any longer.  Tell me, do you think
	one of them did it?

			Nick
	Yes.
 
			Nora
	I wish you'd tell me who.
 
			Nick 
	I wish you'd tell me.
 
		Nick sits down at the head of the table. 

						CUT TO:
 
147		MEDIUM SHOT:  TABLE.

		NOTE:  The seating of the table is as follows:
 
			Nick
		Mimi        Nora
		Quinn       Macaulay
		Dorothy     Tanner
		Gilbert     1st Mrs. Jorgensen
		Morelli     Jorgensen
		Marian      Andy
			Guild
 
		Nick looks up and down the table.
 
			Mimi
	This is all very pleasant but why are here?
 
			Nick
	I've got some very important news - I've seen 
	Wynant.

		They all turn and look at him with curiosity.
		Guild looks amazed. Mimi is very composed.
 
			Guild
	You did! 

			Mimi
	That's nothing.  I saw him myself.
 
		Nick and Nora exchange looks.  Nora is be-
		wildered.
 
			Nick 
	You did... where?

			Mimi (drily)
	Last night.  He came to see me at my apartment.
 
			Nick (with mock sincerity)
	Oh, did he?  What did he say?

			Mimi 
	He didn't say very much.  Wanted to know how I was 
	and how the children were.
 
			Guild (infuriated that Wynant slip-
		ped through his fingers)
	What kind of clothes was he wearing?
 
			Mimi 
	A brown suit, brown shoes and a white shirt and a
	grayish tie with red, or reddish brown figures on 
	it.
 
			Guild (over his shoulder to Bob, 
		who is standing behind his chair)
	Tell 'em.
		(Bob goes quickly out)
 
			Gilbert 
	I saw him too... he was wearing a green suit with 
	a white tie...
 
			Mimi
	What are you talking about, Gilbert?  You weren't there!

			Gilbert 
	I know.  But I saw him -
 
			Guild (to Gilbert)
	Where did you see him?
 
			Gilbert 
	I was gazing in my crystal.
 
			Nora (to waiter) 
	Serve the nuts - I mean, serve the guests the
	nuts.

			Nick
	I'm afraid you're lying, Mimi.  You see, I really
	did see Wynant last night.
 
			Guild (amazed)
	Are you kidding?
 
			Nick
	No. 

			Guild 
	Why didn't you tell me? .... Why didn't you hold 
	him?

			Nick
	Because I found out for certain that he didn't
	commit the murders.

			Dorothy (sobering)
	He didn't do it -- Nick!

			Macaulay (puzzled))
	What do you mean?			)
                                    )
			Gilbert		)  Together.
	Then who did?                 )
                                    )
			Tanner		)
	Do you mean to say...?  etc.  )

			Mimi
	That's ridiculous.
 
			Guild 
	Let him have his say out.
  
			Nick
	Morelli -
		(Morelli jumps, startled.  Everybody
		looks at him)
	You knew Julia.  Was she gypping Wynant?
 
			Morelli (somewhat relieved) 
	She don't say she is, but I figure she is -
 
			Nick
	Why do you say that?
 
			Morelli
	Once I wanted five grand --
		(snaps his fingers)
	Cash -

			Nick
	Thank you.  Now I'll tell you why I know Wynant
	didn't commit those murders -
		(he turns to Morelli) 
	Three months ago - the night that he caught you 
	in Julia's apartment, he found out that Julia was 
	cheating him, and was splitting with some man.  
	He went to find the man.  That man was.... Tanner,
	don't you...?
		(but poor Tanner, thinking that Nick 
		is naming him as the man, spills his 
		soup over everything.  Everybody 
		turns and looks suspiciously at him. 
		Nick sees that he has startled him and 
		apologizes)
	I'm sorry.  Tanner, don't you want some wine?
 
			Tanner (turning and seeing the waiter
		in back of him)
	No... no.
 
		The waiter moves on.
 
			Nora (to Nick)
	You're going to drive me crazy! 
 
			Nick (returning to his subject) 
	Let's see... where was I?  Oh, yes.  He went to
	find the man.  That man was desperate!  He knew
	that he was caught dead to rights -- and with 
	prison staring him in the face, he took the only
	way out.  He killed Wynant.
		(Nick turns to Dorothy and speaks
		gently, trying to soften the blow) 
	It's terrible to tell you this way but your 
	father's dead, Dorothy.
 
			Dorothy (at first she cannot grasp 
		it)
	Dead?
 
			Nick
	He's been dead for three months.
 
		She breaks down and cries.  She gets up
		from the table.  Nora starts to go to her.
		but Andy is there before her.  He takes
  		Dorothy in his arms, oblivious of the other 
		people in the room and comforts her.
 
			Andy
	Darling, don't cry.  Please.  I know it's 
	terrible.  But isn't it really better this way?
 
			Dorothy
		(putting her arms around Andy)
	Oh, Andy, Andy!
 
		Nora comes to them.
 
			Nora (to Andy) 
	You'd better take her home.  Your home.
 
		Andy looks over at Nick.  Nick motions him 
		to take her away.
 
			Andy
	Come on, darling.
 
		With his arms around her, he starts out of
		the room.  Dorothy clings to him as they go
		out.  Quinn gets up to follow.  There is a
		silence in the room for a minute after they
		go.
 
			Nora (to Quinn) 
	If she's going wrong now, she's going wrong right.
 
		Nick comes into the scene.
 
			Nick (to Quinn) 
	I don't think we need you any more now.  I'm 
	deeply sorry that I spoiled your trip.
 
		Quinn grabs his hat and coat and bag - goes 
		out.  Nick and Nora return to the table.

			Nick
	Come on, everybody. Eat up. You're not eating.  
	It hasn't affected Mimi's appetite.
 
			Mimi
	Because I don't believe that Clyde's dead!  Why,
	you said yourself you saw him last night.
 
			Nick
	So I did.  I saw him lying buried in his shop.
 
			Guild
	You mean that body-----?
 
			Nick
	--was Wynant's.
 
			Mimi
	Perfectly absurd.
 
			Nick 
	And the murderer is right here in this room to-
	night... he's sitting at this table. 
		(to waiter) 
	You may serve the fish.

		The CAMERA PANS around the table... to all the 
		frightened faces of the people.  Morelli 
		jumps up and starts out of the door... but he 
		is stopped by the police. 

 			Morelli
	You're not going to pin this one on me.
 
			Plain-clothesman
	Get back there!
 
 			Morelli (sitting down)
	What am I?  The fall guy?
 
			Nick (to the table full of people) 
	I hope you won't let this news spoil 
	your dinner.
		(he turns to Nora)
	Nice food, isn't it?
 
			Nora (all eyes)
	It's the best diner I ever listened to -
 
			Gilbert 
	You're not going to keep us in the dark, are
	you?  Tell us -- who is it?

			Nick
	I don't know.
           (There is more consternation at that)
 	But I thought if we all had a little get-together
	we might be able to find out.  I'll tell you as 
	much as I know.  Go right on eating.  This murder-
	er is a very clever.  He studied this thing out
	very carefully.  You'd understand that, wouldn't 
	you, Gilbert? 
 
			Gilbert (startled) 
	What?  Yes - no -
 
			Nick
	He planned the whole thing beautifully. After he
	killed Wynant he wired Macaulay, using Wynant's
	name and told him to shut up the shop.  He
	destroyed all of Wynant's clothes, with the ex-
	ception of his watch chain.  He figured that some 
	day that might come in handy.  Then he took 
	Wynant's body and buried it in the shop with 
	another man's clothes to throw us off the track. 
	He even put a belt buckle with an "R" on it, hop-
	ing that we'd think it was Rosebreen -- an old 
	enemy of Wynant's who dropped out of sight years
	ago. 
		(He looks over at Morelli)
	Morelli - would you mind holding your knife 
	another way?  You're worrying Gilbert. 
		(Morelli, who has been holding his knife
		as if it were a dagger, gives Gilbert a 
		disdainful look, and shifts his knife)
 
			Nora (softly to Nick) 
	If that knife is missing, I'll look for it in your
	back. 

			Nick
 	After our hero had killed Wynant, he got a
 	brilliant idea.  He realized that he and Julia could
 	still collect money.  Wynant was supposed to be on
 	a trip - no one knew where - so our dinner guest
 	wrote letters to Macaulay, signing Wynant's name, 
	so that Macaulay would continue to send the money 
	to Julia.  He even telephoned Macaulay --
		(to Macaulay) 
	Do you remember?.... the first day that you came
	to see me... he telephoned that he was in town?
 
			Macaulay (puzzled)
 
	But it must have been Wynant.  I should have known
	if it weren't his voice.
 
			Nick 
	Oh he as clever about that.  He called when you 
	were out.  That same afternoon, Julia telephoned to
 	him. She said that you were coming, Mimi, to ask
	about Wynant.  He got terrified. He was afraid that 
	Julia would break down and tell... so he went to 
	Julia and killed her and left Wynant's watch chain 
	in her hand.

						CUT TO:

 
148		CLOSE SHOT - NICK AND NORA.

			Nora (close -- whispering) 
	Is that true?

			Nick
	I don't know.

			Nora 
	Why are you saying it?
 
			Nick
	It's the only way it makes sense.
 
			Nora 
	I hope you're well.
 
						BACK TO:
 
149		MEDIUM SHOT OF TABLE

			Nick
	His plan was still working beautifully. Wynant 
	was established as being in town.  The watch
	chain was handed over....
		(with a look at Mimi) 
	...with a slight delay...to the police. The only
	hitch was a man named Nunheim who had found out
	something.  Our hero paid Nunheim once to keep 
	his mouth shut, and when Nunheim threatened him 
	again, he bumped him off.
 
						CUT TO:


150		CLOSE SHOT MORELLI AND MARIAN

			Marian (to Morelli) 
	And I don't blame you.
 
			Morelli (terrified)
	What do you say that to me for? 

			Guild (to both) 
	Shut up.
 
						BACK TO
 
151		TABLE FULL AGAIN - GUNNING DOWN.
 
			Nick (to the people)
	You see, he'd been very clever. Everybody, 
	even our astute friend Guild, thought that Wynant
	was alive and that he was the murderer.  But 
	our hero had just one weak link in his chain.
	The telegrams, wires and telephones were all very 
	well - but no one had seen Wynant.  So he picked
	on poor Mimi here to strengthen his case.  Mimi
	is the only one at the table who can tell us 
	who the real murderer is.
		(everybody looks at Mimi)
	Mimi, who was it that told you to say you'd seen 
	Wynant?

			Mimi
	Nobody told me.  I did see him!

			Nick
	What did he pay you, Mimi, to stick to that story?
 
			Mimi 
	It isn't a story - it's true.  I did see Wynant.
	He's not dead.
 
			Nick
	You're lying, Mimi.  But then, you'd do anything 
	for money.  You're getting a good price for say-
	ing you saw Wynant and you figure you won't get 
	anything if he's dead.
 
			Mimi 
	I'm lot going to stay here to be insulted -
		(she starts to go - but stops to listen 
		to Nick as he continues)
 
			Nick (to Macaulay)
	Macaulay, you drew up Wynant's will.  Mimi was
	cut off, wasn't she, if she re-married?
 
			Macaulay
	I have no right to answer that.
 
			Nick
	What about it, Tanner.  Isn't that the truth?
 
			Tanner
	That's what Mr. Wynant said to me.  If she re-
	married, all the money was to go to the children.
 
			Nick
	You shouldn't let that keep you from telling 
	truth, Mimi.  Mrs. Jorgensen -
		(he speaks to the woman with Jorgensen) 
	Were you ever divorced from Chris Jorgensen ?
 
			The Woman 
	No.

			Nick (the bombshell bursts)
	So you see, Mimi, under the law, you haven't re-
	married.  You're still one of the heirs.  What 
	are you holding out for?  A few crummy dollars 
	that that man gave you when you can get the whole 
	estate?  Remember the other two who were in with
	him on this... Julia and Nunheim.  When he thought
	they might spill something he bumped them off.
	You ought to know damn well that he's not going 
	to take any chances on you. What do you want to 
	do?  Be next on his list?
 
			Mimi (furious - to Macaulay)
	You dirty son of a b----- !

		A crash of china drowns out the end of her 
		speech as Macaulay rises to his feet.  Nick 
		is on his feet in a minute.  He knocks 
		Macaulay out.  Guild rises and stands look-
		ing down in stunned amazement at Macaulay.  
		Nora and all the others leap up in amaze-
		ment as the murderer is revealed.
 
			Nick (to Guild)
	What do you want me to do?  Wrap him in cellophane?
 
						FAST FADE.


152		FADE IN:
		CLOSE UP - FOUR CHAMPAGNE GLASSES
 
		A small travelling Victrola is playing a gay 
		tune.  The glasses are held up by four hands.
		WE DISSOLVE THROUGH them to show the drawing 
		room of a train.  Dorothy and Nora are 
		sitting facing each other, dressed in robes 
		and lounging pajamas, and Andy and Nick 
		are sitting beside them, also in robes and 
		pajamas.  Nick is pouring champagne from a
		bottle into the four glasses.  The drawing
		room is full of flowers.  Nick puts down
		the bottle and holds up his glass in a toast.
 
			Nick (speaking)
	To you two.

			Andy
 	And to you two too.
 
		OVER THE SOUND TRACK we hear the train whistle 
		go "Toot-toot" at a crossing.  The four raise
		their glasses in a toast and drink.  There is
		a buzz at the door.
 
 			Andy
 	Come!

		A good-natured colored porter sticks his
		head in the door and speaks to Nick.

			Porter
	Your room's ready, sir.

			Nick
	Thanks.  You can take Asta now.

		[...]
		where Asta is lying asleep.  She picks him 
		up.

			Nora (to Asta)
	You're going to your nice little bed in the 
	baggage car.

		She hands the dog to the porter.  As the por-
		ter is starting out, he sees Dorothy's
		bridal bouquet in the bracket in the corner
		of the drawing room.

			Porter
		(to Dorothy, pointing to the bridal bouquet)
	Shall I keep them fresh for you?

			Dorothy
	Please, if you will.

		The porter takes the flowers and Asta and
		goes out.  There is a pause.  Simultaneously, 
		Andy and Nick sneak a look at the wrist
		watches.  Andy looks up and catches Nick
		looking at his.  Nick is embarrassed but
		determined to call Nora's attention to the 
		late hour.

			Nick
	Might as well set it ahead now.

		Nick starts to set his watch.  Nora leans
		over, is startled to see how late it is.

			Nora
	Gracious!  One o'clock.  We'd better go.

		She leans over Dorothy and kisses her 
		affectionately.

			Nora
 	Good night.
 
		Dorothy clings to Nora for a minute.
 
			Dorothy 
	I can never thank you enough for all you've 
	done.
 
			Nora (affectionately)
	Forget it.

			Nick (to Andy and Dorothy)
	Goodnight.  Goodnight.

		There are mingled "good nights" as Nick and 
		Nora go out the door.  As soon as the door 
		closes, Andy takes Dorothy in his arms.

			Andy (smiling -- shy)
	I thought they'd never leave.

		He kisses Dorothy affectionately.

						CUT TO:

153		NICK AND NORA'S DRAWING ROOM.

		Nick is closing the door of their room.  As
		soon as it snaps shut.... they are in each 
		other's arms.

			Nick (smiling... but not shy)
	I thought you'd never leave.

		They kiss.

						CUT TO:


154		BAGGAGE CAR -- PANNING ON PORTER.

		As he enters, Asta on one arm, flowers in
		the other.  He is about to put Asta down
		on the blanket for the night when he stops --
		looks o.s.  CAMERA PANS OVER to show another
		dog of the same breed as Asta in a small
		crate.  The dog is looking up at Asta eager-
		ly.  And Asta's ears go up and his tail
		begins to wag as he anticipates the possi-
		bilities of a transcontinental romance.

			Porter 
		(getting it)
	Asta -- meet Fifi --

		And he puts Asta into the crate with
		Fifi .... places the BRIDAL BOUQUET on
		top of the crate ... turns and shuffles
		out as we are --

						FADING OUT.


			-THE END-






Screenplay by Frances Goodrich and Albert Hackett
Based on the novel by Dashiell Hammett

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