Mystery of the Wax Museum

 

	FADE IN ON
	TITLE: PROLOGUE  LONDON, 1920.
 
						DISSOLVE TO:
 
1	INT. MUSEUM OF IVAN IGOR
	where he exhibits groups and individuals done in wax. 
	The figures are of historic characters and events. 
	The place is almost in darkness as the steel blinds 
	are drawn on the windows facing the street. Through 
	the back and side windows we see and hear a pouring 
	rain. At the fade in we hear the distant rumbling of 
	thunder, and shortly thereafter there is a blinding 
	flash of lightning through the unshuttered windows 
	showing in clear relief a brutal, sinister face, the 
	black hood and cowl suggesting a medieval monk. We 
	see, lying at the foot of the monkish figure, a 
	seminude figure of a woman whose back is sadly 
	lacerated. She is lying face down. In the monk's hand 
	is a knout or cat-o'-nine-tails, as though he had 
	been punishing her.

	In the background of this shot we see a workbench and 
	a work light. The vague figure of Igor is seen, at 
	work on a nearly completed bust. DOLLY UP TO A 
	CLOSE-UP of Igor's hands. We see that they are the 
	sensitive, fine hands of an artist, dexterous in 
	their delicate occupation.

						CUT TO:
 

2	FULL FIGURE OF IGOR as he steps back from the bench.
	Evidently satisfied, he goes to a basin of water and 
	puts his hands in it and stands as though resting them.
 

3	EXT. STREET  LONG SHOT  MUSEUM IN BACKGROUND
	It is raining and we see an occasional flash of 
	lightning. The figure of Worth on the opposite side 
	of street from museum, walking rapidly AWAY FROM 
	CAMERA, comes to a point diagonally opposite museum 
	and glances furtively about, starts toward the 
	entrance. When a policeman appears, he darts quickly 
	to a doorway, concealing himself. The officer crosses 
	the street and disappears along an intersecting 
	street. Worth makes a second endeavor to approach the 
	museum, when a hansom cab draws up to the curb and 
	Dr. Rasmussen and Golatily alight and cross the 
	sidewalk toward door. Worth slinks back to his hiding 
	place. The cab draws away.
 

4	CLOSE SHOT  GOLATILY AND RASMUSSEN ON STEPS 

				GOLATILY 
			(glancing at watch)
		A beastly hour to disturb the fellow.
 
				RASMUSSEN
		Not at all. He works late and he'll be 
		delighted.
 
	They knock at door.
 

5 	INT. MUSEUM  CLOSE SHOT OF IGOR 
	washing hands. He straightens up and glances toward
	door, showing annoyance, then starts toward door. 
	The knock is repeated.
 

6	EXT. MUSEUM
	Rasmussen is pressing his face to glass, looks 
	through, and we see, through the glass panel of the 
	door, Igor approaching. When he glimpses his 
	visitors, his expression changes from annoyance to 
	one of extreme pleasure, and hastening his stride he 
	opens the door quickly.
 
				IGOR 
			(with slight foreign accent) 
		Well, well, my friend, this is an 
		unexpected pleasure.
 
				RASMUSSEN 
			(shaking hands with Igor)
 		I shouldn't have thought of disturbing 
		you but it happens the friend I told you 
		of is leaving tomorrow to supervise some 
		new excavations in Egypt, and he was 
		anxious to look at your collection 
		before going away. May I present Mr. 
		Golatily?
 
				IGOR
		It is a great pleasure. I have heard so 
		much about you.
 

7	INT. MUSEUM
 	The three men enter museum, Igor closing the door and 
	locking it. Igor laughs.
 
				IGOR
		My children will become conceited that so 
		distinguished a critic has thought them 
		interesting enough to review.
 

8	EXT. MUSEUM FROM OPPOSITE SIDE OF STREET 
	Worth, standing in doorway opposite museum, waiting
	impatiently.
 

8A	INT. MUSEUM
	Igor throws light switches, one at a time, each 
	circuit illuminating a different group. He names them 
	as he throws each switch.
 
				IGOR
		Sidney Carton on the Guillotine.
 

9	CLOSE SHOT 
	of the figure. We hear Golatily's voice.
 
				GOLATILY'S VOICE
		Very interestingly done.
 
	CAMERA PANS TO figure of Sir Walter Raleigh as the 
	lights are thrown on this figure. We hear Igor's 
	voice.
 
				IGOR'S VOICE
		Sir Walter Raleigh.
 
				RASMUSSEN'S VOICE
		I was particularly interested in this one. 
		See the fineness with which he has mounted 
		that beard.
 
	CAMERA PANS TO figure of Joan d'Arc, as lights are 
	thrown on it and we hear Igor's voice.
 
				IGOR'S VOICE
		Joan d'Arc.
 
				GOLATILY'S VOICE
		It's a pity to race through such an 
		exhibition. One should have time to 
		really study them.
 
	CAMERA PANS TO figure of Voltaire. The lights are 
	thrown on and we hear Igor's voice.
 
				IGOR'S VOICE
		Voltaire.
 
	The two visitors are standing at the moment beside the 
	figure of Voltaire. Golatily backs away from it, half 
	closing his eyes and studying it critically.
 
				GOLATILY
		You could almost expect him to speak. I 
		wonder what he'd say after all these years.
 
	Igor joins them, laughing.
 
				IGOR 
		You would be astonished. He is more 
		difficult now, to those in authority, 
		than even the records show. He was a very 
		stubborn person, I assure you.
 
				RASMUSSEN
		Stubborn?
 
				IGOR 
		Unbelievably. For days I argued with 
		this fellow before I could get him as I 
		wanted him. But always I triumphed ... 
			(he laughs) 
		... and few people triumphed over 
		Voltaire. And here ... 
			(he throws light switch on 
			a peasant mother and child) 
		... we have something that pleases me, 
		though of no historic importance. It was 
		done because I love to model children.
 
	The group is a peasant mother, two children playing at 
	her feet and a nursing babe at her breast.
 

9A	EXT. STREET IN FRONT OF MUSEUM
	Worth, as he throws away cigarette impatiently and 
	takes new place of concealment.
 

10	INT. MUSEUM
	The three men are strolling toward the figure of 
	Marie Antoinette.
 
				GOLATILY
		But you have no right to hide such genius 
		in a side street museum.
 
				IGOR 
			(goes to light switch)
		You are too gracious. These things have 
		some merit, I suspect ... but this--
			(throws switch) 
		... I am convinced, is fine. 
			(Joining the group.)
 
				GOLATILY
			(leaning close to figure)
		Even those delicate veins, the texture of 
		this flesh -- I have never seen anything 
		more exquisite.
 
				IGOR 
			(laughing)
		My partner believes that I should build a 
		horror chamber, immortalizing the hideous 
		crimes and criminals of London. At such 
		times Marie Antoinette has reassured me, 
		she has promised me recognition for the 
		devotion I gave to her.
 
				GOLATILY
		She will undoubtedly keep her promise. If 
		you'll grant me the privilege, I'd like to 
		submit this work to the Royal Academy when 
		I get back.
	
				IGOR 
			(delighted)
 		You will have won the undying gratitude 
		of us all. 
			(Glancing over his shoulder.) 
		Is that not so, Marie Antoinette?
 
				GOLATILY
			(as they cross to door)
		I regret I can't spend the time I'd like 
		with your exhibition, but I'm going to 
		worry the life out of you when I come 
		back. 
			(The three laugh.)
 
				IGOR
 		It will always afford me great pleasure 
		to see you. 
			(They shake hands.)
 
 				GOLATILY
		Good night, sir.
 
				IGOR
		Good night. 
			(To Rasmussen.) 
		And I am very grateful to you.
 

11	EXT. MUSEUM  MAIN ENTRANCE 
	Door opens. Golatily and Rasmussen come through door. 
	Igor is speaking.
 
				IGOR
		Thank you so much for your visit and 
		encouragement.
 
	They bid each other good night cordially and the two 
	stroll away, as Igor closes the door and pulls the 
	blind.
 

12	EXT. MUSEUM
	The two men pass the spot where Worth has concealed 
	himself. He peers after them from the shadows, then 
	crosses street toward museum and walks toward door of 
	entrance.
 

13	INT. MUSEUM
	Igor, with the exuberance of a delighted child, runs 
	to the figure of Marie Antoinette and caresses her.
 
				IGOR
 		You heard what he said. You heard this 
		man who is very celebrated, what he said 
		of you? 
			(He backs away from 
			the figure, laughing.) 
		Ho-ho-ho, of course, you would say that. 
		You always told me so, of course. 
			(Then extending arms to include 
			all the figures in the gallery.) 
		And you, my friends -- Robespierre, 
		Danton, Marat, Maximilian, Savonarola, all 
		of you, how will you feel to be famous 
		again?
 
	These figures, whom he has addressed individually in 
	the last speech, are all on a raised platform or 
	balcony, and he has turned and gestured toward each 
	one as he named them. He now turns to Voltaire. 
	Walking toward the figure and shaking his finger at 
	it.
 
				IGOR
		And even you, who scoffed at immortality, 
		who wrote so eloquently against the 
		thought of immortality, you are 
		experiencing it in spite of yourself.
 
	We hear the door open and Igor turns. 

				IGOR 
			(surprised, questioningly)
		Hello! What are you doing here so late?
 
	We hear footsteps of someone approaching him as the 
	CAMERA SWINGS and Worth walks into picture.
 
				WORTH 
			(brusquely)
 		I came back for some of the books. I am 
		trying to straighten out the accounts. I 
		don't hope to impress you, but I may as 
		well tell you: We haven't a farthing!
 
				IGOR 
			(mildly, with no great concern)
		That is unfortunate.
 

14	CLOSE-UP  WORTH
	He is furious.
 
				WORTH 
		You're right it's unfortunate! Fifteen
		thousand pounds it's cost me! And you say 
		it's unfortunate, as though I'd spilled a 
		spot of grog on my waistcoat.
 
	CAMERA ANGLE WIDENS TO A
 

15	CLOSE SHOT OF THE TWO 

				IGOR 
			(returning to workbench, 
			followed by Worth; Igor 
			shrugs) 
		Your money may have been well invested, 
		my friend. Something important may come 
		of all this.
 
				WORTH
		Something important has got to come of 
		it! Do you know that the rent on this 
		place isn't paid?
 
				IGOR 
			(sits at bench and 
			starts to work)
		Is that a fact?
 
				WORTH 
			(angrily)
		No -- I'm lying to amuse myself! 
			(Leaning over bench 
			confidentially.) 
		Now look here, I've an idea that will get 
		us out of all this. We haven't twopence 
		between us, but we've got these. 
			(Draws papers from pocket, 
			slaps them on desk before 
			Igor. Igor glances at them, 
			then up at Worth in surprise.)
 
				IGOR 
 		Fire insurance!
 
				WORTH
		Yes, there's our way out. A fire in this 
		place would give us ten thousand pounds.
 
	Igor rises slowly, unable to believe what he hears.
 
				IGOR 
		A fire! Is this your idea of humor, my 
		friend? 

				WORTH 
			(grimly)
 		I want the money back I've thrown into 
		this rubbish heap.
 
				IGOR
		You are asking to burn these people ... 
		you are asking? ... 
			(Growing excited, takes a 
			few steps away from bench.)
 

16	INT. MUSEUM  MED.SHOT
	Igor makes a sweeping gesture that takes in the entire 
	room.
 
				IGOR
		... to destroy all this?
 
				WORTH 
		I'm not asking you anything. I'm telling 
		you what I'm going to do!
 
				IGOR
		And you think I will permit this, my 
		friend?
 
				WORTH 
		You've got to permit it! Whose fault is it 
		that no one comes here? The museum at 
		Walston Lane does well enough, and why? 
		They've got Jack the Ripper, Burke and 
		Hare, the Mad Butcher, the Demon Barber 
		of Fleet Street and things people pay to 
		see.
 
				IGOR
		And they are welcome to them. To 
		perpetuate such creatures is to celebrate 
		their crimes.
 
				WORTH 
		Well, what do you think I'm in this for? 
			(Indicating figures, changing 
			tone and attempting to cajole 
			Igor.) 
		Think of it, man, a match -- a cigar stub 
		-- and ten thousand pounds to divide 
		between us!
 
				IGOR
		You're insane.
 
				WORTH
		Not at all -- let me show you how easily 
		it can be done. 
			(He strikes match and starts 
			toward one of the figures.)
 
	Igor springs and whirls him about. Worth strikes Igor 
	viciously and they have a terrific struggle, in the 
	course of which Worth seizes a spirit lamp used for 
	warming wax and hurls it at Igor. He misses his mark, 
	but the lighted lamp falls into the folds of the 
	draperies of one of the figures standing next to that 
	of Marie Antoinette. Igor screams his terror as he 
	dashes to extinguish the flames, and Worth, 
	springing on his back, overpowers him. By this time 
	the fire is spreading to one of the other groups. 
	Worth quickly snatches some of the flaming cloth from 
	this group and tosses it at the feet of other figures. 
	The figures are shown to be melting, gradually losing 
	form, and finally the liquid wax itself ignites with 
	a flash that is almost an explosion. Igor is seen to 
	stir, and Worth, seizing a heavy staff from the hands 
	of one of the figures, strikes him several times. 
	Apparently satisfied that Igor is helpless, Worth now 
	hurries to a rear door and makes his exit.
 

17	EXT. AREAWAY BACK OF MUSEUM
	We see Worth come through door, panting and disheveled. 
	He starts away and then returns and locks door, after 
	which he runs from scene.
 

18	INT. MUSEUM 
	Igor, dazed and weak, is struggling to his feet. He 
	looks toward the figure of Marie Antoinette, its 
	draperies now a mass of flame. He dashes toward it, 
	catching it up in his arms, attempting to beat out 
	the fire. The whole room now resembles the inside of 
	a furnace, and as Igor, carrying the flaming figure, 
	struggles toward the door, a portion of the ceiling 
	collapses, barring his progress. He turns and 
	staggers toward the rear. His clothes are blazing. He 
	runs to a small iron trap in floor, near which is a 
	group tableau of Sidney Carton on the Guillotine. 
	Lifting the cover, he discloses an empty drain barely 
	large enough to permit the passage of his body. As he 
	disappears through trap, the rope suspending the blade 
	of the guillotine burns through and the knife falls, 
	decapitating the figure, and the head rolls across the 
	floor."

						FADE OUT
 
	FADE IN ON

19	SKYLINE OF NEW YORK (miniature)
	On a building in the foreground is an electric sign, 
	the full width of the building, which reads New York 
	Express. There is a huge illuminated clock dial 
	someplace beneath the sign. The clock shows one
	minute of twelve. As the picture fades in and the 
	minute hand jumps abruptly to exactly twelve, another 
	electric sign showing the numerals 1932 in red 
	appears immediately beneath the sign New York Express. 
	Simultaneous with this we hear the shrieks of sirens, 
	the honking of automobile horns, the screech of boat 
	whistles in the harbor, the ringing of bells, the 
	rapid firing of a pistol somewhere in the distance, 
	the shouting of the crowd, indicating the passing of 
	the old year. These sounds, in varying degrees, 
	continue all through the following scenes. As this 
	shot dissolves, the tone dissolves with it to the 
	single scream of a siren as we see
 

20	STREET CORNER   A CROWD OF PEOPLE 
	An ambulance driving around the corner.
 
						DISSOLVE TO:


21	EXT. OF APARTMENT BUILDING 
 	with all the windows lighted. Some windows still have 
	Christmas ornaments in them. The CAMERA ON CRANE 
	MOVES UP TO various windows. As the screaming of the
	siren and arrival of ambulance evidently attract the 
	attention of the dwellers, several people open their 
	windows and look out curiously. Some of them are 
	holding cocktail glasses, and as the windows are 
	opened we hear the strains of radio music and other 
	sounds of joyous celebrating. In the last window we 
	see Igor in his legitimate make-up -- not as a horror 
	person -- looking at something across the street.
 
						CUT TO:

 
22	EXT. OF OTHER APARTMENT HOUSE AT CORNER 
	The ambulance parked in front of it and a number of 
	curious people standing about. The door of the 
	apartment house is opened by a man in uniform, and we 
	see a doctor carrying a medical case coming out of 
	the house. A newspaper reporter runs up the steps to 
	meet him and says:
 
 				REPORTER
		Anything new, Doc?
 
				DOCTOR
 		Nothing we didn't tell you this 
		afternoon. The coroner confirmed our 
		opinion -- it was suicide.
 
	During this dialogue, two internes carrying a 
	stretcher descend the steps, pass the doctor and 
	place stretcher in ambulance, close door of ambulance, 
	get on ambulance, drive away, and again we hear the 
	noise of the siren. 

						DISSOLVE TO:
 

	INSERT
	Of newspaper heading:

			THE NEW YORK EXPRESS 
			WISHES ITS READERS 
			A HAPPY NEW YEAR. 

	Single column article:
 
			BEAUTIFUL JOAN GALE 
				A SUICIDE
 
	(then in smaller type)
 
			Show Girl Found Dead 
			On Eve of New Year.
 
	(then the story) 

		While the Broadway she loved prepared 
		to celebrate the New Year, Joan Gale,
		beautiful show girl, lay dead by her own 
		hand, it was discovered late yesterday 
		afternoon. A maid at the Denton Hotel, 
		where the butterfly girl occupied an 
		expensive suite, entered her apartment
		at noon and found her clad in pajamas, 
		etc., etc.

	(single column picture of Joan Gale)
 
	All through reading paper we hear New York celebration 
	noises.

						DISSOLVE TO:
 

23	NARROW DOWNTOWN STREET (probably West Broadway) NIGHT
	With elevated road extending full width of street. An 
	old-fashioned, disreputable brick building, with an 
	iron grating along the edge of walk, beyond which is 
	an areaway and a flight of stone steps, leading to 
	basement door. There is also a door on the street level. 
	The figure of a man approaches the house. The CAMERA 
	SEES only his back. We hear the distant sound of the 
	New York celebration, and two girls, passing the man 
	who is walking AWAY FROM CAMERA, blow horns at him and 
	throw confetti on him. He does not answer. He passes 
	them and admits himself to house with latchkey.
 
 
24	INT. WORTH HOUSE
	CAMERA FOLLOWS him through a corridor into a room as
	dilapidated and forbidding as the exterior of the 
	house. The room, evidently used as an office, is 
	furnished with an ancient, battered desk and chairs. 
	The walls are bare, and in places the paper, and even 
	bits of plaster, have been torn away.

	The figure of the man enters and throws on the lights. 
	He goes to the desk, picks up a phone and dials a 
	number, sitting in swivel chair with his back to 
	CAMERA. He gets his number.
  
				MAN
		Hello, is that you, Tim? ... Tim, I'm 
		sorry but I've got to have that tonight 
		... I've got to have it. 

	CAMERA TRAVELS TOWARD him as he slowly turns to face it.
 
				MAN
		No, I need it right away. 

	By this time we get a
 

25	CLOSE-UP OF WORTH'S FACE 
	and we see that it is the man who burned the museum. 
	All through the phone conversation we hear the muffled 
	shouts, the horns, etc. of the New Year celebration.
 
				MAN
		Who's on at the gate? ... you say Joe? 
		... Well, then you can get it out all right. 
		I'll have the truck right down there. The 
		harness bull down there is oke. I fixed that 
		this afternoon.

						DISSOLVE TO:
 
26	STREET OUTSIDE THE MORGUE
	A policeman walking leisurely along his beat reaches 
	the iron gate and glances up at the sign above the 
	arch, which reads Morgue. We hear the distant 
	shouting, singing, trumpeting. After the officer has 
	disappeared, an upper window of the building opens 
	and the hideous face of the Monster appears as he 
	leans out of the window following the progress of 
	the policeman along the street.
 

27	INT. MORGUE FULL SHOT
	(It is necessary to give this business in detail, but 
	it will be played quickly as the Monster moves with 
	astonishing rapidity.) 

	The room is almost in darkness, the only light coming 
	from a window well upstage and at one side. We see 
	dimly a row of slabs mounted on wheels. They are all 
	occupied, the bodies being covered with sheets. The 
	Monster glides quickly among them with a flashlight, 
	turning down the sheets and inspecting the faces, 
	finally locating the one he seems to have been in 
	search of. CAMERA COMES TO A
 

28	CLOSE SHOT OF MONSTER
	bending over slab as he examines figure illuminated by 
	flashlight. We do not see the features of the corpse.  
	As the Monster straightens up, he utters a horrible 
	gurgling, retching murmur of joy, and we see him 
	clearly for the first time.
 

29	CLOSE-UP  MONSTER
	A black-cloaked figure, disproportionate and 
	grotesque, the face a horrible formless mass of 
	scarred tissue. He has practically no forehead. His 
	face is a shriveled bald pate of seared skin and bone, 
	which recedes to a pointed cranium of unnatural 
	contour. His eyes are alight with fanaticism and 
	insanity. The face is a blot of drawn, unwholesomely 
	colored, hairless skin. He is lipless, noseless, and 
	what traces of human features remain are frightfully 
	distorted. CAMERA RECEDES TO
 

30	MED. SHOT
	and TRAVELS WITH him as he pushes the carriage 
	quickly to the back window and places it against the 
	sill, feet first.
 

31	CLOSE SHOT AT WINDOW
	He opens the window, which has a single bar from top 
	to bottom dividing its center. He leans out and 
	whistles. During all of this we have been hearing the 
	joyous shouts of the merrymakers. In answer to his 
	signal there is a single whistle from someplace below. 
	He throws the sheet aside and fastens a rope around 
	and under the arms of the corpse, which he pushes 
	slowly across the sill into space. After lowering the 
	body, there is a whistle from below. He throws the 
	remainder of the coil of rope out the window, but on 
	the opposite side of the upright bar, so that the 
	rope forms a double strand outside, permitting him 
	to slide to ground level. CAMERA ANGLE WIDENS and we 
	PAN WITH the Monster as he returns the slab to its 
	original position. He hears someone approaching and 
	stretches out at length on the slab, covering 
	himself with the sheet. The voices grow louder and 
	the CAMERA SWINGS, PICKING UP TWO attendants and 
	FOLLOWING them as they enter. One of them throws on 
	the lights, and they wheel another body into place 
	beside the slab on which the Monster is concealed.
 
				FIRST ATTENDANT
		New Year's Eve ain't what it used to be. 
		This is only the second one tonight.
 
				SECOND ATTENDANT
		Yeah, times are sure tough.
 
				FIRST ATTENDANT
		What happened to this one?
 
				SECOND ATTENDANT
		Husband slapped her full of lumps ... said she 
		talked too much.
 
	The men turn and start out of the scene. The body, 
	having just been embalmed, has a muscular reflex and 
	rises to a rigid semisitting posture. 
 
				FIRST ATTENDANT
			(frightened)
		What's that?
 
				SECOND ATTENDANT
		Embalming fluid makes 'em jump.
 
	He returns coolly and pushes the body into its proper 
	position. The action causes a horrible rasping sound, 
	peculiar to corpses.
 
				SECOND ATTENDANT
			(coldly) 
		Ain't that just like a woman ... always 
		has to have the last word.
 
	CAMERA FOLLOWS the two men as they exit in the 
	direction from which they came, throwing off the 
	lights and shutting the door after them. CAMERA PANS 
	BACK to the Monster as he springs from the slab, and 
	FOLLOWS him as he crosses to the window, climbs 
	through and lowers himself over the sill.
 
	INSERT
	Showing base of upright bar of window with rope 
	looped over. Evidently safe on the ground, the 
	Monster pulls one end of rope, and we see it running 
	around bar until the end disappears.

	During this insert, we hear a crescendo of horns,
	shouts, etc., finally dominated by the clack of a 
	wooden noisemaker, that blends gradually with the 
	myriad clicking of a number of typewriters, as we 

						DISSOLVE TO: 


32	CLOSE-UP OF TYPEWRITER AND HANDS OPERATING MACHINE 
	CAMERA PULLS BACK:

 
33	COMPOSING ROOM OF THE NEW YORK EXPRESS  NIGHT
 	CAMERA PICKS UP a door at the end of a line of tables, 
	with typewriters, where rewrite men are busy on copy, 
	copy boys bringing them assignments, carrying away 
	completed stories, etc. Sign on door reads Managing 
	Editor. CAMERA SWINGS the length of the lane, PICKS 
	UP door at opposite end of room, and with a sudden, 
	terrific blast of steam whistles, etc., the door 
	opens and the girl, Florence (Glenda Farrell), 
	appears through door, obviously squiffy, leading a 
	nondescript mongrel dog. She carries a long, cheap 
	tin horn. The man nearest the door glances up from 
	his work.
 
				FLORENCE
		Gentlemen of the Daily Grind: 1932 
		salutes you with a fanfare of golden 
		brass! 
			(Takes hand from behind her 
			and blows on rubber "Bronx 
			cheer" rattler.)
 
	The men laugh. Florence produces a bottle of Scotch.
 
				FIRST MAN
			(pointing significantly toward 
			managing editor's door)
		Save your breath. Hard-Tack wants to see you. 
 
				FLORENCE
		I don't want to see him -- he hurts my eyes.
 
				FIRST MAN
		No kiddin', he's sore as a dog.
 
				FLORENCE
			(to dog) 
		Move over Kelly. I'm in the dog house!
 
				MAN 
			(laughs) 
		Where'd you get the stag hound?
 
				FLORENCE 
		He's not a stag hound. His name is Kelly 
		and he's a police dog.
 
				MAN 
			(patting the pup; others gather 
			around also stroking him) 
		What do you mean police dog?
 
				FLORENCE 
		Plain-clothes man. 
			(Addressing room.) 
		Come on, slaves, drink and be merry for 
		tomorrow you might be appointed 
		correspondent to Washington ... a fate 
		worse than death.
 
				MAN 
		Listen, Flo, cut it out. Hard-Tack is 
		pretty sore.
 
				FLORENCE 
			(laughs)
		Ain't that something. The mad monk of 
		Manhattan. Here goes nothing. 
			(Crosses to door lettered 
			Managing Editor and, as she 
			exits through it, shouts over 
			shoulder.) 
		Listen to the animal cracker roar like a 
		lion.
 

34	INT. EDITOR'S OFFICE
	The managing editor (Frank McHugh), a man of about 
	thirty-five, not physically unattractive, but rather 
	grim, is seated at his desk -- an intense worker, 
	plainly impatient with anyone who loafs on the job. 
 
	(In the following scene we establish that, while he 
	quarrels continually throughout the picture with the 
	girl, there is an underlying and very strong bond of 
	friendship and respect between the two.) 

	The door opens and, as Florence appears, we hear the 
	last few words of her preceding speech. She closes 
	the door, leaning against it.
 
				FLORENCE
		As I live and breathe and wear spats ... 
		the prince.
 
				EDITOR 
			(looking up angrily)
		Been doing experiments with Scotch and 
		soda again?
 
				FLORENCE 
			(disheveled and obviously 
			with an "edge")
		Where did you get the news item? 
			(Sarcastically.) 
		From a little bird?
 
				EDITOR
		Yeah. 
			(Discards sheaf of papers 
			and looks up.) 
		Have a pleasant vacation?
 
				FLORENCE
		Charming. More delightful people crippled.
 
				EDITOR
		Great. Consider yourself crippled -- 
		financially. See if you can jar your 
		charming friends loose from enough to eat 
		on.
 
				FLORENCE
		Meaning what?
 
				EDITOR
		That you're a sure bet to place in the 
		bread line. There's no room on this rag 
		for the purely ornamental. You're easy on 
		the eyes and pretty conceited about it.
 
	He returns to his work. CAMERA FOLLOWS Florence and 
	comes to a
  

35	CLOSE SHOT OF FLORENCE 
	as she walks down and puts her arm over editor's 
	shoulder.
 
				FLORENCE
		Is mama's dumpling getting tough?
 
	He pushes her away from him.
 
				EDITOR
		I'm through clowning. You're all washed 
		up. Get out!
 
				FLORENCE
			(straightening up)
 		What do you mean, you poor ham! This is 
		New Year's!
 
				EDITOR
		All right, what about it? We get out a 
		paper just the same. Did you ever stop to 
		think of that?
 
				FLORENCE
		Well, is it my fault if nothing happens?
 
	He rises and, taking Florence angrily by the arm, 
	almost drags her to the window. He points to the 
	street below. There is an alternating red and green 
	light through the window, as though it came from an 
	electric sign across the street.
 
				EDITOR
		Look down there! Nothing happening! Out of 
		that insane mob you say there's nothing 
		happening? There's a story in every person 
		down there.
 
	Florence giggles.
 
				FLORENCE
			(With elaborate sarcasm)
		And how does one go about getting these 
		human documents, may I inquire?
 
				EDITOR 
			(caustically)
 		That is none of our business. 
			(Pushing her suddenly so 
			that she stumbles to door.) 
		But you bring me something for the next 
		edition if it's only a recipe for 
		spaghetti! 
			(Turns quickly and 
			sneers at her.)
 
				FLORENCE
			(turning to door, shouts)
		Quick, Watson, the cookbook!
 
	She exits and slams door. He looks after her angrily, 
	as he returns to his desk.
 

36. 	INT. COMPOSING ROOM  FULL SHOT 
	as Florence reenters. Sits on desk of last man she 
	spoke to.
 
				FLORENCE
		What a sense of humor that guy has. Thinks 
		a hangover is a Jewish holiday. I'm fired!
 
				MAN
		I told you he was a sore.
 
				FLORENCE
		Stories scarcer than caviar at a street 
		cleaner's banquet, and he says, bring me 
		a yarn. All I have to do is get a story.
 
				MAN
		Here's a wow.
 
	He whispers to her. She straightens up and looks at 
	him contemptuously. She crosses to door. Turning 
	back, she sees the mongrel she brought in and calls.
 
				FLORENCE
		Hey, come here, Kelly. I don't want you 
		hanging around with that guy. He's been 
		reading naughty stories.
 
	She and the dog exit.  
 
						DISSOLVE TO:
 

	INSERT: CLOSE-UP OF COVER OF MAGAZINE
	entitled "Naughty Stories." Shows scantily attired 
	figure of a girl dancer.
 
	CAMERA DRAWS BACK TO 
 
 
37	CLOSE-UP OF DESK SERGEANT ABSORBED IN MAGAZINE
	at 47th Street Police Station.
 

38	FULL SHOT  POLICE STATION RECEPTION ROOM 
	Several uniformed men seated, reading late editions, 
	etc. Florence enters with gay, almost rowdy 
	camaraderie and thumps one of the officers on the 
	back.
 
				FLORENCE
		Happy New Year, Ambrose!
 
	He straightens and looks up.
 
				OFFICER
		Hello, Mrs. Dempsey. I don't see how 
		they're ever going to settle that 
		heavyweight argument while you're around. 
			(Rubbing shoulder.)
 

39	CLOSE SHOT DESK
	Florence crosses to desk and, reaching over, pulls 
	the magazine out of the sergeant's hand.
 
				FLORENCE
		Happy New Year, sweetheart. How's your 
		sex life? 
			(Glances at magazine.) 
		Oh-oh! 
			(Hands it back to him.)
 
				SERGEANT 
			(shouts)
		Call the Homicide Squad!
 
				FLORENCE
		How's every little thing?
 
				SERGEANT
 		Fine. You're the first reporter in here 
		for two hours. You people seeing the old 
		year out?
 
				FLORENCE
		I'm people which the old year saw out. 
		I'm canned, fired!
 
				SERGEANT 
		No kiddin'.
 
				FLORENCE
		I've got to make news, if I have to bite a 
		dog. 
			(Looks around suddenly.) 
		Hey, Kelly! Oh, mi gosh, even he walked 
		out on me.
 
				SERGEANT
		I've got a story for you. You know the 
		Joan Gale girl?
 
				FLORENCE 
			(unenthusiastically) 
		Yes, she committed suicide yesterday. 
		That's not news. I heard about it last 
		year.
 
				SERGEANT 
			(mimicking her)
		Oh, yeah? Maybe she didn't commit suicide. She 
		may have been murdered!
 
				FLORENCE 
			(startled)
		No foolin' -- any suspect?
 
				SERGEANT 
		Do you know George Winton?
 
				FLORENCE
		Old Howard Winton's cub?
 
				SERGEANT
		That's the one.
 
				FLORENCE 
			(aghast)
		They don't suspect him?
 
				SERGEANT 
		Don't they? He's down at The Tombs right 
		now.
 
				FLORENCE 
			(threateningly)
		Say, if you're stringin' me, Old-Timer ...
 
				SERGEANT 
			(snaps)
		Why would I string y'? They were sweeties 
		until a month ago.
 
				FLORENCE
		What does that prove?
 
				SERGEANT 
		Nothing. Only she may have tried to 
		blackmail him. You know such things have
		happened. Anyway, he was at her apartment 
		a few hours before she was found dead.
 
				FLORENCE 
			(enthusiastically)
		Hotcha! Saved, one job!
 
	She reaches for the telephone on the sergeant's desk. 
	He snatches it away from her.
 
				SERGEANT 
		Press room for yours.
 

40	FULL SHOT  POLICE STATION RECEPTION ROOM 
	as Florence starts to door.
 
				SERGEANT 
		But hold everything. Let me give you the 
		rest of the dirt.
 
	She turns in door.
 
				FLORENCE 
		Make it snappy, Colonel.
 
				SERGEANT
		There's an autopsy ordered at Bellevue 
		immediately. You better skip over there.
 
				FLORENCE 
			(starting through door)
		Don't give this to anybody else, will you?
 
				SERGEANT
		It's all yours.
 
				FLORENCE
		Thanks.
 
	As she exits, she throws switch, leaving the entire 
	room in darkness. There is a shout of protest from the 
	men, which blends with the sound of an elevated train 
	as we

						DISSOLVE TO:
 

41	EXT. WORTH HOUSE
	A small covered truck drives up and stops. A man 
	riding beside the driver jumps down and, glancing 
	quickly up and down the street, runs down the basement 
	steps and rings bell.
 

42	CLOSE SHOT  BASEMENT DOOR
	Lattice is drawn aside and a man peers out.
 
				DOOR TENDER 
		Get it all right?
 
				DRIVER'S COMPANION 
		Yes ... let's get it off the truck. Lend 
		us a hand.
 
	The door opens.
 
				DOOR TENDER 
			(calling over his shoulder)
		Hey, Sparrow -- come on!
 
	Another figure appears, a furtive little man who 
	occasionally, throughout the picture, rubs hand 
	across nose as cocaine fiends are known to do. He 
	seems to be in a very nervous state. Together, the 
	four men remove a large oblong case from the truck 
	and carry it downstairs into the basement.
 

43	INT. A LARGE, SPARSELY FURNISHED BASEMENT ROOM 
	There are a number of crates and boxes piled in one 
	corner, and on a plain kitchen table, center, there 
	are a number of bottles, glasses, etc. The four men 
	enter and deposit the case, which is marked Fragile 
	-- Handle with Care, on the floor.
 
				DOOR TENDER 
		How about a little shot?
 
	As the men approach the table, CAMERA MOVES UP and we 
	get a CLOSE-UP, separately, of each of the four men as 
	they drink. They are all of the urban criminal type. As 
	CAMERA PULLS BACK, the truck driver and his companion 
	start toward door.
 
				TRUCK DRIVER 
		Happy New Year! 

				DRIVER'S COMPANION
		See you some more! 

	The two exit.
 

44	FULL SHOT OF BASEMENT ROOM 
	as the two men exit. Door tender turns toward Sparrow 
	and CAMERA MOVES UP TO A
 

45	CLOSE SHOT OF THE TWO
 
				DOOR TENDER
 		No use of your hangin' around here. He 
		told me not to give you anything tonight.
 
				SPARROW 
			(obviously in highly 
			nervous state)
		Where is he? Call him down, willya? I've 
		got to talk to him.
 
	A door upstage opens. The two turn and CAMERA PULLS 
	BACK as Worth enters.
 
				WORTH 
			(to Sparrow) 
		I thought I told you to stay out of here! 

	Sparrow crosses eagerly toward Worth.
 
				SPARROW
 		Hello, Joe. I wouldn't bother you, but 
		I'm all in. My nerves are all shot.
 
				WORTH 
			(contemptuously) 
		Your nerves are not all that are going to 
		be shot, you sneaky rat -- you've been 
		talking again!
 
	Worth hits Sparrow and knocks him down.
 
				WORTH 
			(to door tender)
		Give him a deck.
  
 	CAMERA PULLS BACK TO
 

46	FULL SHOT OF BASEMENT ROOM 
	as door tender extracts a small parcel from drawer in 
	table and tosses it to Sparrow, who grabs it eagerly 
	and struggles to his feet. 

				WORTH 
			(threateningly)
 		And understand this, you get nothing more 
		from me until you show me something! And 
		the next time you speak out of turn, 
		you're going to have bad luck. 

	As Worth finishes speech, he slaps Sparrow's face. 

				SPARROW 
			(conscious only of 
			the package given him)
		Thanks ... thanks.

						FADE OUT
 

	FADE IN

47	TOP OF TABLE  PITCHER OF ICE WATER, GLASSES  NIGHT
	Florence approaches table, pours a glass of ice water 
	and, before drinking it, presses it to her forehead 
	and temple. CAMERA SWINGS showing rest of room, which 
	is evidently a morgue surgery. There are several 
	officials, internes, a nurse, two doctors, two or 
	three plain-clothes men and a policeman in uniform 
	who is standing guard at the door. One of the plain-
	clothes men, who evidently knows Florence, crosses and 
	speaks to her.
 
				DETECTIVE 
		Feelin' tough?
 
				FLORENCE
		I've got a case of jitters that will cop 
		the Pulitzer prize. If they drag this out 
		too long, they'll have another corpse on 
		their hands.
 
	CAMERA SWINGS TO:
 

48	CLOSE SHOT OF TWO DOCTORS
 
				FIRST DOCTOR 
		When I was called, doctor, the girl had 
		been dead for possibly three or four 
		hours.  My examination showed clearly 
		that she died of laudanum poisoning. I 
		thought at first it might have been an 
		accident, an overdose. Her eyes indicated 
		that she used narcotics frequently.
 
				SECOND DOCTOR 
		What was the police theory?
 
				FIRST DOCTOR 
		Suicide.
 
				SECOND DOCTOR 
		Leave any message?
 
				FIRST DOCTOR 
		No. That's why I thought death might have 
		been accidental.
 
	One of the plain-clothes men joins the two doctors.
 
				FIRST DOCTOR 
		Who got the information about Winton, 
		Flannery?
 
				DETECTIVE 
		Everyone knows they was livin' together. 
		But the way they fought you'd of thought 
		they was married. 
 
				FIRST DOCTOR 
		Been separated quite some time, hadn't 
		they?
 
				DETECTIVE 
		Yeah. He was playin' up to some other 
		twist. Winton's in bad because he left 
		there just before she folded up.
  
				SECOND DOCTOR 
		Well, if she committed suicide, with 
		laudanum, she probably took it in its 
		crude form, and we'll find it in that or 
		very close to that state. If someone gave 
		it to her, it would be diluted.
 
				DETECTIVE 
		How could he give it to her?
 
				FIRST DOCTOR 
		In a cup of coffee or a glass of whiskey.
 
	The door bursts open and one of the attendants rushes 
	in and, going directly to the two doctors, speaks.
 
				ATTENDANT 
		The Gale body is gone!
 
				FIRST DOCTOR 
		Gone? What are you talking about?
 
				SECOND DOCTOR 
			(speaking almost simultaneous 
			with the first) 
		The body gone! Absurd!
 
				DETECTIVE 
		Wait a minute. 
			(To the attendant.) 
		What happened? What do you mean the 
		body's gone?
 
				ATTENDANT 
		Just that. It's gone -- vanished --
		disappeared!
 
				DETECTIVE 
		You mean somebody stole the body!
 
				FLORENCE
		No. It got up and walked down to the 
		cemetery to dig up a date.
 
	Detectives give Florence a dirty glance.
 
				ATTENDANT 
			(excitedly) 
		We went for the body and found the slab 
		empty and the window to the alley open.
 
				FLORENCE
		Hot dog, death on a holiday! 
 
				DETECTIVE 
			(calling to other 
			plain-clothes man)
		Come on, Flannery!

	They leave the room hurriedly, followed by the 
	attendant. Florence, her hand to her head, sways.
 
				FLORENCE
		Boy, oh boy! And he asked for a story. Is 
		his face red! She looks around, sees phone, 
		grabs it up and calls for a number.
 
				FLORENCE
		Bryant two six two six.
 
	She waits a moment and then jiggles the receiver 
	impatiently.
 
				FLORENCE
			(shouting)
		Operator! 
			(Operator answers. 
			Florence, sarcastically.) 
		My, my, how you have grown. 
			(Quickly.) 
		Will you get that number, Mrs. Van Winkle!
 

49	EDITOR'S OFFICE 
	The phone on his desk is ringing. He picks it up.
 
				EDITOR 
			(barks)
		Hello!
 

50	CLOSE-UP  FLORENCE IN PHONE BOOTH
 
				FLORENCE
			(into phone) 
		Hello, Slug ... kill that Winton story 
		for this! Joan Gale's body, not John 
		Brown's ... Joan Gale's body was snatched 
		from the morgue two minutes ago! I'm here 
		now! Yeah, there were nine or ten
		witnesses! Nope, they didn't talk! 
		They're pretty stiff. No, dope, not 
		drunk, they're dead!
  

51	EDITOR'S DESK   CLOSE SHOT   EDITOR INTO PHONE
 
				EDITOR
		Can the clowning! Great! Great! Tear 
		down to The Tombs and get to Winton! I'll 
		have Harry write the first flash! 
			(Something she says evidently 
			angers him to the point that 
			he holds the telephone away 
			from him. Half angry, as though 
			it were responsible, he barks.) 
		A cow does that ... and gives milk besides. 
			(He slams up receiver.) 

						DISSOLVE TO:
 

52	CLOSE-UP   PRINTING PRESSES IN LARGE NEWSPAPER PLANT
	The papers being pushed out on rack as they are 
	delivered from press. CAMERA PULLS BACK as foreman 
	picks up a copy to examine it for type. 

	INSERT: CLOSE-UP OF NEWSPAPER 
	showing scare headline describing arrest of George 
	Winton who is held in jail and an autopsy ordered. On 
	front page is a photograph of Winton. CAMERA HOLDS 
	for a moment on photograph, which DISSOLVES TO:
 

53	CLOSE SHOT OF WINTON BEHIND BARS
 
             
54	INT. CELL IN THE TOMBS
	Winton seated on the edge of his cot. CAMERA SWINGS
	AROUND to reveal the cell door being opened by a guard. 
	Florence enters and goes to boy. He is a rather 
	handsome, but weak, dissipated type, who arouses our 
	sympathy without winning our respect.
 
				FLORENCE
		How do you do. I'm from the Express. 

	Winton looks up. When he speaks, his sentences are 
	halting and broken. He's badly frightened.
 
				WINTON 
		Yeah. I suppose you people will crucify 
		me for something I didn't do. 
			(His voice rising 
			almost to falsetto.)
		I didn't! You understand that! ... I 
		didn't do it! She -- tried before --
			(Buries his face in 
			hands, choking sob.)
 
				FLORENCE
			(Sits on cot beside him, 
			pats his shoulder)
		Come on, old man, that won't do. You know 
		you're innocent until proven guilty.
 
 				WINTON 
			(springing to feet and 
			pacing back and forth)
		Yes, sure, that's fine. While I'm proving 
		my innocence, you people are going to 
		uncover every petty kid trick I ever did 
		... you're going to write editorials about 
		every cocktail I ever drank. Anything that 
		any sane, normal person might have done 
		will have a sinister meaning, if I did it. 
			(He is almost crying at 
			this point, sitting on 
			cot.) 
		Go on! Get out! I don't want to talk to 
		you! 
			(He rises and crosses quickly 
			as though to open door, then, 
			realizing that he is locked in, 
			leans, face against the bars, 
			fighting to control tears.)
 
	Florence follows him and places her hand on his shoulder.
 
				FLORENCE
 		Listen, kid. You're in a tough spot, and 
		you can make it a whole lot easier for 
		yourself if you cut out the cry-baby 
		stuff --
 
				WINTON 
			(whirling, faces her)
		Cry-baby?
 
				FLORENCE
		That's what I said.
 
				WINTON 
			(angrily) 
		My lawyers will be on the job in a 
		little while, and I warn you people 
		anything you print about me you've 
		got to prove. Dad won't stand for--
 
				FLORENCE
		Your dad has stood for plenty. Now let's 
		get down to cases. When did you see the 
		Dale girl last?
 
				WINTON  
		For a few minutes the afternoon before 
		-- before --
 
				FLORENCE
		Hmmm. Why didn't you tell that to the 
		police?
 
				WINTON 
			(hysterically)
		They didn't give me a chance. We had a 
		couple of drinks and she was all right 
		then. She seemed happy.
 
				FLORENCE
		Uh-huh. Do you remember what she said? 
		What did you talk about?
 
				WINTON 
		She laughed and told me that we were 
		being silly, that we didn't care for 
		each other any more but we needn't 
		hate each other ... 
			(He sobs through the 
			finish of this speech.) 
		... She said she wanted to be friends.
 
				FLORENCE
		I see. Was that all she said?
 
				WINTON 
			(recovering self-control 
			to some degree)
		We planned a trip for her. I was going to
		send her to Bermuda.
 
				FLORENCE 
		You weren't going with her?
 
				WINTON 
 		No. 
			(Paces floor, pounding palm of 
			hand with fist desperately.) 
		Why didn't I take her out somewhere? But 
		she was laughing and seemed so happy.
 
				FLORENCE
		Well, let's get back to the case in hand. 
		They ordered an autopsy and discovered 
		her body had been stolen from the morgue.
 
				WINTON 
			(his nerves quite shattered) 
		Stolen! What are you trying to do to me? 
		... You're working with the police! ... 
		You're trying to make me say something 
		that can be used against me! You're 
		trying ...
 
 				FLORENCE
		Hold on, hold on. I'm trying to help you, 
		if you're on the square, and I think you 
		are.
 
				WINTON 
		Then why are you telling me a crazy lie? ...
 
				FLORENCE
		That happens to be the truth.
 
				WINTON
		Who'd steal her body?
 
 				FLORENCE
		That's what they're going to ask you. 

	Winton seems stunned. Guard appears in door.
 
				GUARD	
		Time's up.
 
				FLORENCE
		Be right with you. 
			(Turning, pats Winton 
			on shoulder.) 
		Keep a stiff upper lip, kid. I 
		think you'll come out okay.
 
	The guard opens the door and as she exits, we
 
                                               DISSOLVE TO: 


55	CLOSE SHOT OF EDITOR AT HIS DESK 
	He is leaning back in swivel chair, listening 
	attentively. We hear Florence's voice, but do not see 
	her.
 
				FLORENCE'S VOICE 
		The whole thing sounded on the up and up 
		to me. The poor kid is too scared to lie.
		He's getting a raw deal.
 
	CAMERA PULLS BACK to include Florence, seated in chair 
	close to editor's desk.
 
 				EDITOR 
			(sarcastically) 
		Well, ain't that a shame. Nice little 
		chappie that wouldn't harm a fly ... 
		everybody picking on the little fellow.
 
				FLORENCE
		If this kid was some unknown soda jerker,
		they wouldn't have pinched him. But he's 
		George Winton and they're playing him up. 
		It's a Roman holiday for every paper hat 
		editor in New York.
 
				EDITOR 
			(glancing from desk where 
			he has been idly scratching 
			with a pencil)
		Why the goose pimples? If he wasn't 
		social register -- if it was somebody 
		like me, you'd be trying to hang him.
 
				FLORENCE
		I wouldn't be trying, beloved. I would 
		hang him! And another thing, all this 
		gaga about the body disappearing. Eight 
		bodies have been stolen in New York 
		within the last eighteen months. Doesn't 
		it seem more reasonable to hook this up 
		from that angle?
 
				EDITOR 
			(laughs) 
		And ruin a perfectly good story? Don't be 
		silly.
 
				FLORENCE
		No, I mean it. I think this kid's 
		entitled to a break.
 
				EDITOR
		He's getting a break, ain't he? He's 
		front page.
 
				FLORENCE
		You give me a pain!
 
				EDITOR
		I'm glad to hear it. When did you go in 
		for crusading in the cause of justice? 
		This lousy mug, with all the money in the 
		world, has had two or three nasty affairs. 
		He's kept out o' print because his great-
		grandfather was smarter than the Indians.
 
				FLORENCE 
		Well, anyway, he couldn't have copped 
		that body -- he was in jail.

				EDITOR
		You don't think he'd be sap enough to do 
		the job himself. I hope they give him the 
		works. Even if he didn't kill the kid, 
		he's responsible for her death, and 
		they can fry him any time without 
		making me sore.
 
				FLORENCE
			(rising angrily) 
		Well, I won't work on it from that angle.
 
				EDITOR
		Oh, you won't -- you were pretty tough 
		about Judge Ramsey -- a little while ago --
 
				FLORENCE
		And they never proved anything against 
		him.
 
				EDITOR
		Except that he disappeared when things 
		got too hot.
 
				FLORENCE
		Or was bumped off by someone who was 
		afraid of him.
 
				EDITOR
		Whooey -- he took a run-out powder.
 
				FLORENCE
		Well, that's got nothing to do with this 
		case. Can I handle this my way?
 
				EDITOR
		You cannot. I'm still editor of this sheet.
 
				FLORENCE
		All right, you said I was fired. Well, I 
		quit! Give the assignment to somebody 
		else. 
			(Starts toward door.)
 
 				EDITOR 
			(laughs)
     		Hey, come here, Sob-sister!
 
				FLORENCE
		Nope, I'm through!
 
	Her hand is on the knob. CAMERA FOLLOWS editor who 
	rises and, following, embraces her roughly and pats 
	her on shoulder as he releases her.
 
				EDITOR
		Go ahead, screwy! Do it your own way. 

	As he returns to desk, she takes a step after him.
 
				FLORENCE
		On the square, Jimmy, if you'd seen 
		Winton down there -- I'm not holding a 
		brief for him -- maybe he's a dirty pup, 
		but he's scared and hysterical -- and so 
		kinda dumb and worthless ...
 
				EDITOR
		Great! ... If he's worthless we'll give 
		him away as a bridge prize. Come on -- 
		beat it. It's five o'clock. You need 
		some sleep.
 
				FLORENCE 
			(going through door) 
		No, there's another point I want to iron 
		out.
 
				EDITOR
		Sleep on it ... we'll get it tomorrow.
 
	Holds picture that he drew away from him, looking at 
	it critically. Florence moves back of him to glance at 
	it. He hands it to her.
 
				EDITOR
		Your portrait.
 
	INSERT: OF PICTURE
	which is a crude sketch of Mickey Mouse on horseback, 
	charging a windmill with a long lance.
 
				FLORENCE
		Which one is me? The horse?
 
				EDITOR 
			(throws tobacco pouch at her)
		Get out of here.

	Florence dodges it, and exits laughing.
 
 						FADE OUT


	FADE IN   				DAY 

56	CLOSE-UP OF THREE CITY STREET-SWEEPERS' PUSH BROOMS
	held end to end, pushing ahead of them a large quantity 
	of confetti, bits of paper and refuse of the hilarious 
	night before. CAMERA PULLS BACK, revealing three street-
	sweepers. In the background we see the sign: 

		LONDON WAX MUSEUM -- GRAND OPENING 
				TONIGHT 
			FIRST TIME IN AMERICA 

	and in front of the place, as CAMERA MOVES UP AGAIN 
	TO the entrance, we see a janitor sweeping off the 
	sidewalk. He is a strange, unwholesome-looking 
	character. He has swept most of the sidewalk, pushing 
	the collected debris into a pile in the gutter, when 
	his attention is caught by the protruding end of a 
	whiskey bottle which shows in the pile. He picks up 
	the bottle and sees that there is a little bit of 
	liquid left in it, and he drains it, drop by drop, 
	into his mouth. He stoops to examine the pile further.
 
				IGOR'S VOICE 
			(off scene)
		Otto! Otto! Get in here!
 
	CAMERA FOLLOWS him as he turns and goes into the museum.
 

57	INT. MUSEUM  MED. SHOT OF IGOR
	In background we see a veritable beehive of activity. 
	A number of workmen, including painters, carpenters, 
	are busy building and designing screenlike backgrounds 
	for the various exhibits, placing figures on platforms, 
	etc. In the center of the room, watching them, is Ivan 
	Igor. CAMERA MOVES TO A
 
 
58	CLOSE SHOT OF IGOR
	He is much changed, but still recognizable as the man 
	we knew before the fire. His beard and hair are almost 
	white and have been permitted to grow to far greater 
	length, but the features are essentially the same, 
	except that when he speaks or moves his face is 
	strangely immobile. He is seated in a wheelchair, 
	which is propelled by sprocket wheels on the arms of 
	the chair. In order to manage this, there is a special 
	cup or basket attached to the handles, as his hands 
	are hideously deformed and practically useless for 
	the purpose. He is impatient and angry with the 
	workers, venting his anger immediately the janitor 
	appears. Igor propels the chair forward.
 

59	MED. SHOT  IGOR AND JANITOR
	Igor, stopping, points angrily at floor immediately 
	surrounding some of the groups, where shavings, 
	excelsior and other packing material and debris are 
	scattered.
 
				IGOR 
			(to janitor)
		Does it take you all morning to sweep 
		that patch of sidewalk? Come, clean up 
		this mess, and don't try to sweep this 
		trash behind those screens. I want it 
		removed.
 
				JANITOR 
		Yes, sir.
 
	Starts to clean up around nearest group. Igor wheels 
	toward another group, FOLLOWED BY CAMERA, and 
	addresses workmen angrily.
 
				IGOR
		Come, look, you fellows. You spend two 
		days on something that should have taken 
		two hours.
 
	One of the workmen turns angrily.
 
				WORKMAN 
		Say, listen, Old-Timer, they abolished 
		slavery in this country a long time ago.
  
				IGOR 
		Is it slavery to do what you're being paid 
		for? I have announced the opening of this 
		museum tonight.
 
	Wheels angrily away. The workman laughs. CAMERA FOLLOWS 
	Igor as he wheels to end of museum where Hugo and Ralph 
	are at work putting the finishing touches on two 
	individual figures. Hugo is a man of middle age, with 
	an insane, crafty face, unkempt hair and several days 
	growth of beard. He smiles continually to himself as 
	though some secret of his own amused him. He is deaf 
	and dumb and when excited or angry emits strange 
	terrifying growls similar to the noises we heard 
	the Monster utter. Ralph is rather a nice-looking 
	youngster and seems engrossed in what he is doing.
 
	CLOSE SHOT Igor comes to a stop near Ralph and sits 
	inspecting his work.
 
				IGOR 
			(bitingly) 
		If my curiosity is not too great, would 
		you mind telling me what manner of animal 
		this is you are designing?
 
				RALPH
 		One of the maids-in-waiting for that 
		Elizabethan group. 
 
				IGOR 
			(raising his hands to heaven) 
		And he isn't struck dead! This man, he 
		lives! It would be interesting to know, 
		young man, where and when you studied 
		anatomy.
 
				RALPH 
			(steps back a little and 
			looks critically at the 
			figure)
 		That doesn't seem so bad to me. What is wrong 
		with it?
 
				IGOR
		Everything, my friend. And you hope to be a 
		great sculptor -- 
			(laugh) 
		A great sculptor. Look -- this forearm is at 
		least two inches too long.
 
				RALPH 
		But the composition as a whole -- I've 
		tried to keep a sketchy freedom.
 
				IGOR
		If it is freedom to represent people with 
		limbs that don't match -- cripples -- you 
		have achieved your purpose. Anatomy! 
		Heaven forgive you. You must have studied 
		with a sideshow of freaks!
 
	CAMERA SWINGS as Igor whirls chair and sees Hugo's 
	piece.
 
				IGOR
		And this fellow! Look, I ask you ... 
		look what this cobbler is doing!
 
	Ralph grins. Igor takes one of the crutches that ride 
	beside him on chair and, reaching out, pokes Hugo's 
	shoulder. Hugo turns with a startled growl.
 
				IGOR
			(pointing with crutch to 
			figure which looks not unlike 
			Hugo himself -- shouts)
		What is this? Are you so beautiful that 
		you make everything in your own likeness?
 
	Hugo utters an uncanny sound identified with deaf-mutes. 
	Igor, realizing that Hugo doesn't hear him, just waves 
	him back to work.
 
				IGOR
		It's a great mercy of Providence that this 
		fellow cannot hear. 
			(Turning back to Ralph, 
			suddenly extends two horribly 
			maimed, clawlike hands toward 
			Ralph.) 
		Look! Look at those claws! If I had those 
		hands of yours, I would show you the 
		meaning of what you are trying to do. All 
		those beautiful things that were destroyed 
		I could restore. It is a great irony that 
		you people without souls should have hands.
 

61	EXT. ALLEY ENTRANCE  REAR OF MUSEUM
	We see a truck backing in, and Sparrow, whom we first 
	saw at Worth's house, climbs down from the driver's 
	seat and enters museum.
 

62	INT. MUSEUM
 	Igor is still speaking.
 
 				IGOR
 		But go on, go back to work. It is hopeless 
		to talk to such people.
 
 	He suddenly stops and turns his head. CAMERA SWINGS TO
	FOLLOW his line of vision and PICKS UP rear entrance 
	as door opens and Sparrow enters. Igor wheels chair 
	rapidly toward Sparrow, CAMERA FOLLOWING.
 
				IGOR 
			(eagerly) 
		Have you got it? Is it completed?
 
				SPARROW
 		Yes, sir, it's here on the truck, but it's 
		pretty heavy -- I'll need help.

				IGOR 
	 		(turns and shouts) 
		Otto! You and one of those other fellows! 
		Come help Professor Darcey.
 
	Janitor comes forward, followed by two workmen.
 
				JANITOR
     		Yes, sir.
  
				IGOR
		And hurry, please. This figure has still 
		to be mounted and dressed.
 
 	Sparrow exits with three men, leaving door open. Igor 
	wheels back toward Ralph and Hugo. He laughs 
	delightedly, addressing Ralph.
 
 				IGOR
 		And now, my friend, you are to see 
		something that one can in truth describe 
		as art. Professor Darcey doesn't try to 
		keep freedom and sketchiness in his 
		figures. He is an artist. He works at 
		home, hours, when such people as you are 
		loafing. He is an artist.
 
	The four men carry in a long, narrow box similar to 
	the one that was delivered to Worth.
 
 				SPARROW
		Shall we unpack it?
 
				IGOR
		Yes.
 
	One of the workmen takes a claw hammer from strap in 
	overalls and starts removing the lid as Igor wheels 
	himself quickly toward Sparrow and the workers. CAMERA 
	FOLLOWS and, as the lid of the box is removed, some 
	burlap and other packing materials lifted out, and the 
	box raised on end, we see the head, shoulders and one 
	arm of a beautiful, lifelike figure of a girl. We 
	identify the face immediately as that of Joan Gale. As 
	the workers go about removing the rest of the packing, 
	Igor whirls and addresses the other workers who have 
	advanced and stand admiring the figure.
 
				IGOR
		Get back to work! You will have plenty 
		of time to look at this.
 
 	As the workers return to their various jobs, one of 
	them grins.
 
 				WORKER
		Some mama!
 
	(Note: The museum is, in all essentials, identical 
	with the institution in London, the one figure 
	missing from the restored ensemble being that of 
	Marie Antoinette.)
 

63	CLOSE SHOT OF IGOR AND SPARROW
	close to wall on which hangs a photo of Igor as a 
	young man standing beside statue of Marie Antoinette.
 
				IGOR
		It is exquisite -- almost as beautiful as the 
		original. 
			(points to picture on wall.) 
		I hope one day to have you restore Marie 
		Antoinette. 
			(Sparrow is in a highly nervous 
			state, which Igor detects.)
 
				SPARROW 
		I'd be glad to, Mr. Igor. 
			(Leaning close to Igor -- 
			in subdued tone.)
		I think I'll have somethin' to tell you 
		soon.
 
 				IGOR
 		You have done well, and now I, too, have 
		something for you. Come.
 
 
64	TELEPHONE BOOTH NEAR ENTRANCE OF MUSEUM 
	Ralph approaches and enters it. We see him dial for a 
	number.
 
 
65	CLOSE SHOT OF HALL PHONE
	which rings and Charlotte Duncan (Fay Wray) enters 
	scene and answers it. We see that in stature and face 
	she is almost identical with the lost figure of Marie 
	Antoinette.
 
				CHARLOTTE 
			(into phone)
 		Hello. 
			(Laughs.) 
		Oh, hello, dear. I was just thinking of 
		you. ... I was, too ... no, I haven't 
		forgotten.
 
						CUT TO:

66	RALPH AT PHONE

				RALPH 
			(laughs)
		You better not forget or I'll cut you out 
		of my will. But listen, we'll have to go 
		somewhere close. I'll only have a few 
		minutes.
 

67	CHARLOTTE At PHONE
 
				CHARLOTTE
		We'll go to that Little Bohemian place... . 
		Yes, I like the food there.... All right, 
		then, at twelve.
 
	She hangs up receiver. CAMERA TRUCKS RACK TO
 

68	INT. LIVING ROOM OF SMALL APARTMENT
	A modestly furnished room. There is a studio couch, 
	right, on which Florence has been sleeping. She 
	straightens up, rubs her eyes, yawning, as Charlotte 
	turns away from phone.
 
				FLORENCE 
			(as Charlotte turns 
			away from phone)
		Who was it? Penny ante?
 
				CHARLOTTE 
		Yes, why?
 
				FLORENCE
		I wondered. Did he invite you to lunch, 
		or did you invite him?
 
				CHARLOTTE 
		I wish you wouldn't be so sarcastic about 
		Ralph. He's the sweetest kid I know.
 
 	Florence throws herself on bed, full-length, laughing.
 
 				CHARLOTTE
		What are you laughing at?
 
 				FLORENCE
		I just had a picture of you telling a 
		landlady some day that you didn't have 
		the rent, but Ralph is awful sweet.
 
 				CHARLOTTE
		I don't see any big-moneyed boys running 
		after you.
 
 				FLORENCE
		I met one last night ... all the money 
		this side of Peoria.
 
 				CHARLOTTE
		Did you? Where?
 
				FLORENCE 
		In the can. 
			(Charlotte starts.) 
		The hoosegow! Mrs. Winton's little boy. 
		The Pawk Avenue Wintons, you know ... 
		and plenty of do-re-mi. 
			(Goes smoothly into melody 
			of "Jail-house Blues." Singing.) 
		He's in the jail-house now ...
 
						LAP DISSOLVE TO:
 

69	CLOSE SHOT AT HALL DOOR AT TOMBS OPENING
 	Young Winton comes through and is led away by turnkey.
 
				TURNNKEY 
			(addressing Winton)
		Come on. Bring your stuff, you're goin' 
		out.
 

70	INT. OFFICE OF THE TOMBS 
	Two prosperous middle-aged lawyers are seated near a
	desk talking to the official in charge. One of them is 
	presenting a court order for Winton's release to the 
	official.
   
	The door opens and a turnkey leads young Winton into 
	the room. Winton crosses quickly to the attorneys, 
	both of whom rise, and, shaking hands with one, he 
	laughs weakly.
 
				WINTON
		Mister, when I say I'm happier to see 
		you than I ever was to see anybody in my 
		life, you know that it comes from the 
		heart. 
			(Nodding to other man.) 
		How are you, Mr. Gates?
 
				SECOND ATTORNEY 
			(shaking hands with Winton)
		Splendid, my boy, splendid. What do you 
		think you've been up to?
 
 				WINTON
		Not a thing.
 
				FIRST ATTORNEY 
			(laughs)
		I hope your father accepts that statement.
 
				WINTON 
		Is Dad here?
 
				SECOND ATTORNEY 
		No. I talked to him long distance this 
		morning.
 
 				WINTON
		Was he pretty sore?
 
				FIRST ATTORNEY 
		Well, he wasn't exactly overjoyed.
 
				WINTON 
		What did he say?
 
				SECOND ATTORNEY 
		He said to get you out of trouble and 
		then hire someone to punch your head off. 
			(All three laugh.)
 
				FIRST ATTORNEY 
		Have you had lunch?
 
				WINTON
		No.
 
 				FIRST ATTORNEY
		Well, come on, we'll get something to eat.
 
	They cross toward door.

				WINTON 
			(to official behind desk)
		Good morning.
 
 				OFFICIAL
		Hope to see you again soon.

 				WINTON
     		I hope you don't.
 
 	They exit, laughing. The guard who brought Winton in 
	looks after the departing men.
 
 				GUARD 
			(as door closes behind them)
		I'd give a year's pay to work on that 
		puppy!
 
				OFFICIAL 
		But you don't shellac a guy when he can 
		put up a hundred thousand dollar bail.

						DISSOLVE TO: 
 

71	INT. OF TAXI CAB
	Florence and Charlotte occupy the cab. Charlotte seems 
	indignant but Florence is amused.
 
 				CHARLOTTE
		Well, I don't want to offend you, but, 
		frankly, it's none of your business. I 
		don't interfere in your affairs.
 
				FLORENCE
		I don't have any affairs. What do you 
		mean?
 
 				CHARLOTTE 
		I don't think you could have a real 
		affair. You couldn't care for anyone.
 
 				FLORENCE
		I've been in love so many times my heart 
		is calloused ... but I've never hit one 
		with dough. This love-in-an-attic isn't 
		my idea of a way to spend a pleasant 
		afternoon.
 
 				CHARLOTTE 
		I don't agree with you.
 
 				FLORENCE
		All right, you raise the kids -- I'll 
		raise the roof. I'd rather die with an 
		athletic heart from shaking cocktails and 
		bankers, than expire in a pan of dirty 
		dish water.
 
 				CHARLOTTE
		You would.
 
 				FLORENCE
		He can look like a chimpanzee and act 
		like an igorot but he must have dough --
		plenty of dough.
 
 				CHARLOTTE
		You think money is the only requisite. It 
		happens that the poor people are happier.
 
 				FLORENCE
		Then marry Ralph ... you'll be the 
		happiest couple in the world.

						DISSOLVE TO:
 

72.	INT. MUSEUM  A SHOT AT WINDOW 
	as Ralph, consulting his watch, approaches window and
	looks out. Through window we see a cab arriving. The 
	two girls emerge from cab. Florence stops to pay driver. 
	As Ralph turns from window and starts for his hat and 
	coat, CAMERA PULLS BACK TO A FULL SHOT. Ralph gets hat 
	and coat and starts toward door. Igor, who has been 
	near the front of museum, wheels out in front of Ralph.
 
				IGOR
		And where do you think you are going, my 
		good friend?
 
 				RALPH
		To lunch.
 
				IGOR
		To lunch, you say. I am having coffee and 
		sandwiches sent in. We are not leaving 
		until we have everything ready for the 
		opening.
 
				RALPH
		But I have some friends waiting.
 
				IGOR 
		That is unfortunate. They will have to 
		wait.

				RALPH 
		I will only be gone about half an hour.

 				IGOR
		If you leave before the work is done, you 
		will be gone for a much longer period ... 
		you will be gone for good.
 
				RALPH
		All right, I'll tell them. They're right 
		here in front.
 
	Ralph exits and CAMERA FOLLOWS him through the door. 
 

73	EXT. MUSEUM ENTRANCE  CLOSE THREE SHOT
	as Ralph enters to Charlotte and, taking both her 
	hands, kisses her lightly on cheek. He speaks to 
	Florence, who is standing beside Charlotte.
 
				RALPH
		Hello, Florence. How are you?
 
				FLORENCE
		Fine, thanks.
 
 				RALPH
		Gee, honey-bunch, I'm sorry -- I'm going 
		to have to disappoint you.
 
 				FLORENCE
     		Don't worry -- she'll get used to it.
 
 	She strolls up toward museum door, looking through it 
	at interior.
 
 				CHARLOTTE
		Disappoint me? Why, what do you mean, 
		dear?
 
 				RALPH
		Well, you see, the old chap is pretty 
		anxious to open on schedule. All of his 
		advertising announced the opening tonight.
 
	As Ralph continues his explanation to Charlotte, CAMERA
	TRUCKS UP BEHIND Florence, and OVER HER SHOULDER THROUGH 
	glass panel we see interior of museum with the various 
	figures. Close to door we see the janitor carrying on his 
	shoulder the Joan Gale figure which he places on a 
	pedestal in foreground. He carries the figure in such a 
	position that we see the back of it first, and as he 
	places it on the pedestal he turns it around so that we 
	see the face. CAMERA CONCENTRATES for several minutes 
	on this figure.


74	CLOSE-UP  FLORENCE
	Florence stares at it, puzzled. Then recognition dawns. 
	Ralph enters PAST CAMERA and goes to door. He is about 
	to hurry into museum, when Florence detains him by a 
	hand on his arm. As she turns, we get the two in 
	profile. Her expression is one of excitement.
 
 				FLORENCE
 		Listen, Genius, what're the chances for me 
		to slip in and give this place the once 
		over?
 
				IGOR'S VOICE
			(heard through partly opened door)
		Ralph! Burton! Are you going to stay out 
		there all day?
 
				RALPH 
			(drawing door to quietly 
			and lowering his tone)
		I don't know ... the old man's pretty 
		peppery right now. Why don't you look in 
		tonight?
 
				FLORENCE
		He might get some publicity out of it.
 
				RALPH
		No use. He's a crab, I tell you.
 
				FLORENCE 
			(looks through glass 
			panel to Igor)
		Who? Old Santa Claus there? That's easy 
		for anyone with my sex appeal. He's a 
		pushover. Watch me stand that old dodo
		on his ear.
  
	She pushes past Ralph and enters museum, followed by Ralph.
 
				RALPH
		Nix, Flo -- he won't let you in and 
		you'll only get me in Dutch.
 
				FLORENCE
		Horsefeathers!
 

75	INT. MUSEUM 
	Igor sees a stranger entering with Ralph and wheels 
	chair rapidly toward them, speaking as he goes.
 
				IGOR
		No visitors allowed! You people will have 
		to get out!
 
 				FLORENCE
		Aw, listen, Beaver, I'm from--
 
				IGOR
		 	(interrupting curtly) 
		I don't care where you're from, young 
		woman. I have said no visitors!
 
	He suddenly looks up and sees Charlotte, who enters 
	museum a bit hesitatingly. Igor stops speaking abruptly 
	and sits, staring.
 

76 	CLOSE-UP  CHARLOTTE FROM IGOR'S ANGLE 
	We see Charlotte, smiling slightly. Then DOUBLE-EXPOSED 
	over her figure comes the costume worn by Igor's Marie 
	Antoinette in the London museum. This FADES IMMEDIATELY 
	and we see Charlotte as she is, smiling at Igor.
 

77	CLOSE-UP  IGOR 
	staring, fascinated. CAMERA DRAWS BACK to include the 
	group again and Ralph notices something strange in 
	Igor's manner.
  
 				RALPH
		What's the matter, Mr. Igor?

				IGOR 
			(as though coming 
			out of a trance)
		Nothing -- nothing at all, my boy. I 
		should like to meet your friend.
 
	Florence, taking advantage of the introduction, slips 
	away, as CAMERA ANGLE WIDENS, and, to avoid suspicion, 
	looks carefully at several figures during the 
	following conversation, finally arriving before the 
	Joan Gale figure, where she stops and studies the 
	figure carefully.
 
				RALPH
		Why, certainly, sir. My fiancée. Charlotte, 
		may I present Mr. Igor.
 
				CHARLOTTE 
		Delighted, I'm sure. 
			(Igor extends hand to her.)
 
				IGOR
		If you will forgive this poor, crippled 
		stump, my dear, I am very happy to know 
		you.
 
				CHARLOTTE 
		Thank you.
 
				IGOR 
			(laughs whimsically)
		Although you would be amused if I were 
		to tell you that I knew you before you 
		were born. Before this terrible thing 
		happened to me ... 
			(His voice quavers.) 
		... I made a very beautiful statue. Even 
		if I had not met with this disaster, I 
		could never have hoped to do anything 
		finer, probably nothing quite so fine. 
		And, my child, you are that figure come 
		to life. I wonder, some time, would you 
		pose for one of my sculptors who does 
		very excellent work?
 
				CHARLOTTE
		I'd love to, at any time. 
 
	Florence, who seems to have satisfied herself as 
	to the identity of the figure, turns abruptly 
	and comes toward them.
  
				FLORENCE
		Well, I'm a woman who craves nourishment. 
		Let's ankle out of here and find a beanery. 
		Come on, Moon-struck. 
			(Takes Charlotte by the arm.) 
		Let's get going.
 
	Sparrow, who has been hovering in the background, 
	approaches the group and stands just behind Igor's 
	chair. As Florence and Charlotte cross to door, 
	Charlotte smiles back at Igor.
 
				CHARLOTTE 
		We'll be coming to the opening.
 
				IGOR
		At any time. You will always be welcome. 

				FLORENCE 
			(to Igor) 
		So long, Pop, see you in jail. 

	Sparrow starts perceptibly.
 
				RALPH
		Until this evening.
 
	The two girls exit. 
 

78	EXT. IN FRONT OF MUSEUM
	The two girls come from building and are starting toward 
	corner when Florence, seeing a cab, signals to it. It 
	swings in to curb.
 
				FLORENCE
		Listen, Kid, I'm going to leave you flat. 
		I just thought of something and I've got 
		to get to the office.
 
				CHARLOTTE 
			(running a few steps after her 
			as Florence approaches cab) 
		But what about lunch?
 
				FLORENCE
		I'll have it for supper. 
			(Climbs into cab.) 
		So long.

	Cab swings away from curb. Charlotte stands looking 
	after it, bewildered.
 

79	INT. MUSEUM
	Hugo and Ralph return to work. Sparrow stands beside 
	Igor, who is addressing Ralph.
 
				IGOR
		And you, young man, it is a matter to 
		astonish one. You are engaged to that 
		beautiful girl, who was just here. You 
		have lived close to that beautiful 
		creature, and yet you produce such 
		caricatures as this. 
			(Indicating Ralph's work.)
 
				RALPH
		Charlotte is lovely, isn't she?
 
	Igor, who seems to be in much better temper than we 
	have seen him for some time, laughs.
 
				IGOR
		Exquisite! But I am going to rechristen 
		her for you, my friend. She is not to be 
		Charlotte any more, she is Marie 
		Antoinette.
 
	Igor points to picture of himself and the figure of 
	Marie Antoinette.

	Sparrow, who has been standing near them, comes closer 
	to Igor, as CAMERA MOVES UP TO CLOSE SHOT. A look of 
	extreme cunning appears on his face.
 
				SPARROW 
		She is exactly like that statue?
 
	Picture clearly shown on wall.
 
				IGOR
		She is the soul of that statue.
 
				SPARROW
		I wonder if I could have her pose for me.
 
	CAMERA ANGLE WIDENS as Hugo laughs knowingly. Sparrow 
	turns quickly and looks at him suspiciously.
 
				SPARROW
		What are you laughing at?
 
				IGOR
		He can't hear you.
 
	Tapping himself on forehead, Igor indicates that Hugo is 
	a little balmy. 

						DISSOLVE TO:
 

80	EDITOR'S OFFICE
	Florence enters.
 
				FLORENCE
		Hello, Light-o'-my-life!
 
				EDITOR 
			(looking up)
		Come in, Prussic Acid. What's on your mind?
 
				FLORENCE
		I want to see the original pictures of 
		Joan Gale.
 
				EDITOR 
			(into Dictaphone) 
		Hey, Mattie, dig into the morgue and send 
		up all the art you have on Joan Gale.
 
				A VOICE 
			(answering through Dictaphone)
		Right, Chief.
 

81	A LONG METAL FILING CABINET
	A girl opens compartment marked Ga. Running through files, 
	she extracts a number of photographs and walks out of 
	scene.
 
 
82	EDITOR'S OFFICE

				EDITOR 
			(to Florence, who is sitting 
			on edge of his desk)
		Well, why so mysterious! Come on, spill it.
 
				FLORENCE
		So you can give me an argument and tell 
		me I'm wrong. Don't be sil, Kid.
 
	The girl filing clerk enters and deposits pictures on 
	desk.
 
				EDITOR
		Thanks, Mattie.
 
				MATTIE 
		Yes, sir.

	Florence has snatched the pictures from the desk and 
	examines them carefully. Suddenly drops them on desk. 

				FLORENCE 
			(getting to her feet)
		I am right! I know I'm right!
 
				EDITOR 
		Well, no one would ever suspect it. You 
		don't sound right.
 
	Florence draws chair beside desk, drops into it and 
	leans over, talking excitedly.
 
 				FLORENCE
		Listen, Jim -- and if you wisecrack while 
		I'm talking I'll crown you with the inkwell.
 
				EDITOR
		All right, wise guy. Go ahead. Spill it.
 
				FLORENCE
		Jim, there's a little hokey-pokey wax 
		museum opening up down on 14th Street.
 
				EDITOR
		Now don't that call for an extra!
 
				FLORENCE
		I asked you to keep your trap shut!
 
				EDITOR
		Well, you can't blame a guy for getting a 
		little breathless with a scoop like that.
 
 				FLORENCE 
			(rises indignantly)
 		All right, you poor baboon, you can guess 
		the rest of it!
 
 				EDITOR
		No kiddin'. What's your idea?
 
 				FLORENCE
		Just this -- I got a look at that dump a 
		little while ago and if they haven't got 
		a wax figure of Joan Gale in that line-up, 
		then I'm crazy.
 
 				EDITOR
		We'll grant that.

 				FLORENCE 
		What!

				EDITOR 
			(impatiently) 
		About the Gale girl, I mean. Where do we 
		go from there? What of it?
 
				FLORENCE
		Listen, Jo-jo. Does this mean anything to 
		you? Joan Gale's body swiped from the 
		morgue -- Did you ever hear of such a 
		thing as a death mask?
 
				EDITOR
		I used to be married to one.
 
				FLORENCE
		And it came to life and divorced you. I 
		know all about that. Now my idea is this: 
		Somebody swipes the girl's body, takes 
		impression, makes a mold, produces wax 
		figure ... Bingo! ... Peddles it to this 
		old skate down there!
 
 				EDITOR
		Work that up into a comic strip and 
		syndicate it.

				FLORENCE
		Let it go.

				EDITOR
		Come down to earth. Do you think they 
		would dare do anything like that? Don't 
		you think they'd know that figure would 
		be recognized? Shake your head real hard
		-- you'll be all right.
 
				FLORENCE
		All right, Master Mind. 
			(Starts toward door.) 
		But there's something cockeyed about that 
		joint and I'm going to find out what it is.
 			(She gets to the door.)
 
 				EDITOR
		Oh, by the way, another pet theory of yours 
		just blew up.

 				FLORENCE
		What do you mean?
 
 				EDITOR
		That dear, innocent Judge Ramsey that you 
		were so sure got bumped off for knowing 
		too much has been located in South America.
 
 				FLORENCE 
			(With hand on knob)
		No kiddin'?
 
 				EDITOR
		Almost certain.
 
 				FLORENCE 
			(laughs -- opens door) 
		Almost! I'll still bet I'm right, and let 
		you write your own ticket.

	She exits.
 
 						FADE OUT
 
  
	FADE IN
83	EXT. STREET IN GREENWICH VILLAGE 
	Charlotte turns a corner and walks briskly TOWARD 
	CAMERA, finally turning into an apartment about a 
	quarter of the way down the block. As she disappears 
	into the building, Sparrow appears around the corner 
	and, walking past the building she entered, stops and 
	lights a cigarette, inspecting the building immediately 
	adjoining the apartment house. There is a large For 
	Sale or Rent sign on the front of the building, giving 
	the name and address of the agent handling the property. 
	Sparrow goes to a basement door and tries it, finding it 
	locked. He is investigating one of the windows when he 
	sees that he is observed by a passer-by, and, taking a 
	notebook from his pocket, apparently copies the name 
	and address of the realty firm from the sign, and walks 
	back in the direction from which he came, whistling. 
 
						FADE OUT 

	FADE IN 
84	INT. LIVING ROOM  WINTON'S BACHELOR SUITE
	Worth is standing near door. Winton, crossing to him, 
	hands him a sum of money.
 
				WINTON 
			(as he counts money 
			into Worth's hand)
		Well, that squares everything.
 
 				WORTH
		Yep. Everything settled.
 
 				WINTON
   		Good. Well, I'll be seeing you.
 
 				WORTH
			(as he crosses to door)
		I'm glad they didn't hold you downtown.
 
				WINTON 
		They didn't have a leg to stand on. 
		There's no case against me. It's a 
		clumsy thing to have happen, but 
		nothing to worry about.
 
 				WORTH 
		Well, any time I can do anything for 
		you --
 
 				WINTON
		Thanks.

	We hear the telephone ring and Winton crosses to answer 
	it.

 				WORTH
		See you later. Good-by.
 
	Worth exits.
 
				WINTON
		So long. 
			(Into phone.) 
		Hello.
 
 
85	CLOSE SHOT  TELEPHONE BOOTH
 
				FLORENCE 
			(into phone)
		Hello. Is this Convict 87 thousand 412 
		-- and a half? -- Ho-ho, don't swoon. --
		This is the voice of the New York Express 
		broadcasting.
 

86	A SHOT OF WINTON AT TELEPHONE
 
				WINTON 
		Oh, hello there. Say, I'm awfully glad 
		you phoned. I wanted to thank you for 
		trying to cheer me up last night.
 

87	A SHOT OF FLORENCE IN PHONE BOOTH
 
 				FLORENCE
		How do you feel by now? ... Yeh ... Well, 
		listen, if you're grateful, you can prove 
		it and maybe do yourself a good turn at 
		the same time ... Righto. Now at about 
		8:30 tonight you be in your car at--

						DISSOLVE TO:


88	EXT. VACANT BUILDING (WIND)  NIGHT
 	we saw Sparrow inspecting. Florence passes in front 
	of building and enters the apartment house adjoining. 
	CAMERA TRAVELS UP the front of the vacant building to 
	the roof.
 
 
89	EXT. ROOF OF VACANT BUILDING
	We see a skylight forced open, the Monster clambers 
	out onto the roof and creeps stealthily to edge, 
	peering into lighted window of apartment house. CAMERA 
	FOLLOWS him. SHOOTING PAST him into room beyond, we see
 	Charlotte just putting the final touches to her toilette, 
	preparing to put on dress. The Monster, gauging the 
	distance carefully, springs across space separating 
	buildings and clings to fire escape ladder like a huge 
	monkey. He leans out from ladder and is about to raise 
	window sash when the door of the room opens and Florence 
	enters.
 
 
90	INT. APARTMENT HOUSE ROOM
 	Charlotte is dressing.
 
 				FLORENCE 
		Come on, beautiful, leap into that 
		loin cloth.
 
				CHARLOTTE
		There's no hurry. It's early.
 
				FLORENCE 
			(patting stomach)
 		I can't convince the inner woman that we 
		can wait. She's howling for a bit of 
		ground beef before we drop in on Santa 
		Claus and the other dummies. I've only 
		had a cup of coffee since last night.
 
				CHARLOTTE
		Why didn't you eat last night?
 
				FLORENCE
		Ouch! Eat? You can do a solo if you don't 
		step on it. I'm going to bow out on you.
 
				CHARLOTTE 
		What's the rush? There's no first act. 
		They'll all be there and we don't have to 
		appear at any particular time.
 
				FLORENCE
		I'm hungry. I'll eat the first child I 
		see. And I've an appointment with young 
		Winton at 8:30.

				CHARLOTTE 
			(seriously)                                                   
		You wouldn't get mixed up with that 
		little rotter, would you?

				FLORENCE 
 		No? Give me a chance, baby. Money is 
		music in my ears, and when his old man 
		kicks off there'll be a million dollar 
		tune.
 
 				CHARLOTTE 
			(disgusted)
		If you're going to be indiscreet, I wish 
		you'd be a little more discreet about it. 
		Rich men, like Winton, love you and leave 
		you.
 
 				FLORENCE
		Yeah, but they leave you plenty.
 

91	EXT. ROOF OF VACANT BUILDING
 	The Monster has returned to the roof of vacant 
	building. He shows a blind fury at the chance lost,
	and finally descends through skylight.

						FADE OUT
 
 	FADE IN 
92	EXT. MUSEUM
 	Standing beside the door is what appears to be a wax 
	doorman in uniform. There are a number of curious people 
	looking at the lobby display.
 
 				ONE OF THE VISITORS
     		Look at him now. Isn't that as real as life?
 
	Now the figure suddenly moves his fingers, jerkily, as 
	if he were a wax figure, then speaks.
 
				SPIELER 
			(walking up and down)
 		Step right up, ladies and gentlemen. You 
		can't afford to miss this exhibition that 
		has thrilled the monarchs of the world. 
		For the first time, America is privileged 
		to see the collection pronounced by art 
		lovers to be the finest in the world!
 
	During this speech Florence and Charlotte enter the 
	picture and start toward museum door. 
  

93	INT. MUSEUM 
	We hear music coming from a modern victrola that changes 
	records by itself. Igor, in wheelchair, is in front of 
	statue of Sir Walter Raleigh, kneeling on a spreading 
	velvet cloak on ground before the figure of Queen 
	Elizabeth, who is smiling at him graciously.
 
				IGOR
	 	The history of these figures, my friends, 
		is more interesting, perhaps, when I tell 
		you that the originals were destroyed 
		twelve years ago in a fire in London, and 
		restored only after years of arduous toil. 
		To reproduce the figures destroyed I spent 
		years training men to do the work that I 
		can no longer do. Some of my workmen have 
		trained for years before I would let them 
		undertake a single figure of these groups 
		that you have been looking at tonight. 
 
	This has been a close shot of Igor and we assume that 
	he has been addressing a rather large gathering, but as 
	CAMERA SWINGS we see a pitifully small audience of not 
	more than ten people.
 

94	MAIN ENTRANCE OF MUSEUM 
	where Ralph is standing near door to receive visitors. 
	CAMERA MOVES UP TO A
 

95 	CLOSE SHOT OF RALPH 
	as Charlotte and Florence enter, he takes a step forward 
	to meet them.
 
 				RALPH
		Hello, hello. You're late. 
			(Takes a step back from 
			Charlotte and looks at 
			her admiringly.) 
		Gee, that's a pretty dress. Have I 
		ever seen that before?
 
				CHARLOTTE 
		I think so.

				FLORENCE 
		Well, thank goodness, that's settled.
 
 	She walks directly to the figure she suspects, CAMERA 
	TRUCKING after her.


96	EXT. STREET IN FRONT OF 
	about four or five buildings removed from entrance. 
	Winton, in roadster, pulls up to curb and looks up and 
	down street expectantly. The barker is continuing his 
	announcement through megaphone.


97	INT. MUSEUM
	Igor has ended his lecture, and Ralph is escorting a 
	group of visitors to the door.
 
				RALPH 
 		We hope you have enjoyed seeing these 
		things tonight. I hope you will tell your 
		friends for we believe we have something 
		here of genuine public interest. 
			(As the last of the visitors 
			file through the door.) 
		Good night. Thank you. Call again. 
 
98	CLOSE SHOT OF FLORENCE
	as she inspects the Joan Gale figure. We see that all 
	doubt has been dispelled and that she is absolutely 
	sure of her ground. Glancing about quickly, to be sure 
	she is not observed, she stealthily sticks a pin into 
	the arm of the figure as if convincing herself it is 
	made of wax.
 

99	SHOT OF IGOR
	As the last of the visitors are leaving, Sparrow comes 
	down behind him and, leaning over back of his chair, 
	whispers something to him. Igor turns sharply.
 
				IGOR 
			(in intense, hushed tone) 
		Are you sure of that? Are you sure?
 
				SPARROW
		I'd know him anywhere. 
 
				IGOR
 		Don't lose sight of him. This is the 
		most important thing in my life.
 
 	Sparrow sees Charlotte and Ralph approaching and signals 
	Igor to silence. As Sparrow walks away, Ralph and 
	Charlotte walk toward Igor smiling.
 
 				RALPH 
			(in a rather encouraging tone)
 		I wouldn't feel too disappointed at the 
		slimness of your audience tonight, Mr. 
		Igor. The weather was against you, and 
		the people are tired and getting over 
		their celebration and preparing to go to 
		work tomorrow.
 
 				IGOR
		Quite so. Quite so. 
			(Extending hand to 
			Charlotte who has been 
			close beside Ralph.) 
		And you, my little friend, my little 
		Marie Antoinette. It is kind of you to be 
		present.
 
 				CHARLOTTE
		But I think these things are beautiful.
 
 				IGOR
		They are. 
			(To Ralph.) 
		My boy, I think you are right. Everyone 
		is tired out today and now that we have 
		seen my doors open in a new country, I 
		am beginning to realize that I am a 
		little tired myself. You can call that 
		fellow in from the front. I think we'll 
		close for the night.
 
				RALPH
		Yes, sir.

	Ralph walks away toward the front door and CAMERA MOVES 
	UP TO
  
100	A CLOSE SHOT OF IGOR AND CHARLOTTE
 
 				IGOR
 		I think I should have felt a little 
		discouraged tonight but now everything 
		seems quite as it should be. You know, 
		to find just one person who appreciates 
		my beautiful children here changes 
		everything for me.
			(He glances about to see 
			that he is not observed, 
			and continues.) 
		You must come some time in the morning 
		when there are no crowds about and I 
		can give you more of my time.

	Florence enters and breaks up the conversation.
 
 				FLORENCE
		Good evening, Mr. Igor. I've been 
		admiring your works. Properly illuminated, 
		they are more impressive than they were 
		this morning.
 
 				IGOR
		Yes, for a time I despaired of ever 
		achieving the same effects I had abroad. 
		And then lighting came to my rescue.
 
 				FLORENCE
		I was particularly interested in that 
		group over there. 

	She points and CAMERA SWINGS TO
 

101	CLOSE SHOT OF CHARLOTTE CORDAY BENDING OVER FIGURE OF MARAT
 
				IGOR'S VOICE
		Yes, that one is very fine. Its drama 
		seems to interest people.
 
				FLORENCE'S VOICE
		And this one, this single figure of 
		Joan of Arc.
 
	CAMERA SWINGS TO
  
102	CLOSE SHOT OF THE JOAN GALE FIGURE 

				IGOR'S VOICE
 		That? Yes, that was the most recently 
		completed. It only arrived this morning.
 

103	OTHER CORNER OF SET 
	Ralph crosses in front of Sparrow. 
 

104	SHOT OF IGOR, FLORENCE AND CHARLOTTE
	Showing length of museum and front entrance.
 
				FLORENCE
		You did this yourself?
 
				IGOR
		No, no, my friend. Never since these 
		hands were burned have I created 
		anything. I have only been able to 
		direct the work of others.
 
				FLORENCE
		But who did it?

	Sparrow, who has been standing in background during 
	the preceding dialogue, listening nervously, now shows 
	extreme uneasiness as Igor replies.
 
 				IGOR 
			(pointing)
		Professor Darcey. He has been my 
		hands for years.
 

105	CLOSE-UP SPARROW
	He shifts nervously and laughs self-consciously.
 

106 	INT. CLOAKROOM  REAR OF MUSEUM 
	The deaf and dumb man on scene as Ralph enters. Ralph, 
	slipping into overcoat, scarf, etc., slaps him on the 
	back. 

				RALPH 
			(yelling)
		Good night!
 
	The mute chuckles inanely as Ralph makes his exit. 
	After Ralph is gone, Hugo takes a black, loose ulster
	-- a couple of sizes too large -- and hat from the 
	hook, his clothes resembling those worn by the 
	Monster. Slipping into them, he exits from cloakroom 
	and disappears through a rear door.
 

110	INT. MUSEUM 
	The janitor comes up the steps from Igor's private 
	workroom. He looks to the entrance to the street and 
	we see 

108	IGOR 
	just bidding good night to Florence, Charlotte and Ralph.

109	THE JANITOR 
	glancing about and feeling that he is unobserved, crosses 
	quickly to the statue of Joan Gale and raises his hand 
	as though to caress it, when Sparrow appears from behind 
	another figure, grinning evilly.
 
 				SPARROW
    		Good night.
 
	The janitor starts guiltily and slinks quickly out 
	through rear door.
 
110 	EXT. STREET IN FRONT OF MUSEUM 
	Sparrow comes from museum and turns to the right out of 
	picture, but calls to the others who are still standing 
	in doorway.
 
				SPARROW
		Good night.
 
	Florence shows agitated concern in looking after the 
	retreating figure of Sparrow.
 

111	EXT. STREET NEAR MUSEUM 
	Winton, seated in roadster. He catches sight of Florence 
	and sounds the auto horn. She sees him and waves.
  

112	EXT. ENTRANCE OF MUSEUM
 
				FLORENCE 
			(to Ralph and Charlotte)
		You people will have to struggle along 
		without me. There's my heavy date. No 
		fouling in the clinches!
 
 	She runs toward car.
 
 
113	EXT. STREET   WINTON'S CAR
	Florence getting into roadster.
 
				FLORENCE 
			(breathlessly)
		Hurry up! Tail that little runt down 
		the street!
 
 	In extreme background we see Sparrow turning a corner, 
	then we see the car follow quickly and turn the corner 
	after him.
 

114 	EXT. STREET NEAR MUSEUM  CHARLOTTE AND RALPH 
	CAMERA FOLLOWS them as they walk down the street.
 
				RALPH
		I wish you'd cut her out and get a 
		place by yourself. 
			(Looking after Florence.)
 
 				CHARLOTTE
		But why? She's the best friend I've got.
 
 				RALPH
		She isn't anybody's friend, and I don't 
		like you living with her. She's a bad 
		influence.
 
 				CHARLOTTE
		Nonsense. She's one of the nicest 
		girls I know.
 
 				RALPH
		What's nice about her? ... a hard-boiled 
		little gold digger.
 
 				CHARLOTTE 
			(heatedly)
     		I won't let you say that!

 				RALPH
 		Well, I do say it.
 
 				CHARLOTTE
		She thinks it's funny to talk the 
		way she does, but--
 
 				RALPH 
			(interrupting)
		Don't kid yourself -- she means it.
 
				CHARLOTTE
		Are we going to have the same quarrel 
		over again?
 
 				RALPH
		I'm not quarreling, only ... 
 
 						DISSOLVE TO:
 

115	EXT. STREET THAT SPARROW IS TRAVERSING
	The car, with Winton and Florence, loafing a block in 
	the rear.


116	CLOSE SHOT  WINTON'S CAR
 
				FLORENCE
		Don't ask any questions right now. I 
		think we're on the trail of hot news.

						DISSOLVE TO:
 

117	EXT. STREET   CHARLOTTE AND RALPH
	Their argument has grown rather heated.
 
				CHARLOTTE
		Yes, certainly I would. And I'd be 
		terribly disappointed if you were stupid 
		enough to object to it.
 
				RALPH 
		You wouldn't have said that before 
		you met her.
 
 				CHARLOTTE
		I'd call it stupid at any time.

				RALPH 
		Well, that's just how stupid I am. When 
		you go riding, it will be with me. And 
		if it's with someone else, you can make 
		it a permanent arrangement.

 				CHARLOTTE 
			(stops and draws her 
			arm away from him)
		So that's the way it is?
 
				RALPH 
		That's the way I feel about it.

				CHARLOTTE 
		I'm glad you told me. Good night, Mr. 
		Burton.
 
	Turning, she walks rapidly away. Ralph stands, looking 
	after her.
 
						DISSOLVE TO: 


118	EXT. WORTH'S HOME
	where we saw the mysterious box delivered. Sparrow walks 
	into picture and rings bell beside door on street level. 
	After a short pause, the door is opened and he disappears 
	through it. The car carrying Winton and Florence passes 
	the house and, going to the next corner, stops.
 
				WINTON
		Don't you think this would be as good a 
		time as any to break the news to me? 
		What's it all about?
 
 				FLORENCE
 		Well, as one of the interested parties, I 
		suppose I might as well tell you the glad 
		tidings. I think the fellow we've been 
		following had something to do with the 
		robbery at the morgue.
 
	Winton shows nervousness and distaste.
 
				WINTON 
		Now look here. It's not up to us to do 
		our own detective work. I've had enough 
		trouble over this matter. I don't want 
		anything more to do with it.
 
				FLORENCE
		Not even if it gives you a clean bill of 
		health?

				WINTON 
		Not even then. The police are the proper 
		people to conduct this affair. Now if 
		you've got any suspicions I'll drive you 
		to the nearest police station.
 
				FLORENCE
		What! And let every rag in town grab a 
		red-hot story? Not so you could notice it!
		Now, look, I want you to drive me around 
		the corner and wait for me.
 
				WINTON
		I told you I didn't want to mix in it.
 
				FLORENCE
			(jumping from car)
		All right, brother. Then you can go to 
		some nice warm place, and I don't mean 
		California.
 
	She starts back toward Worth's house. Winton overtakes 
	her.
 
 				WINTON 
		Please. I'm sorry. I'll see it through. 
		What do you want me to do?
 
				FLORENCE
		I told you what to do. Drive around the 
		corner out of sight of the house. I want 
		to get a closer look at the place.
 
	He starts back toward car.
 

119	INT. WORTH'S OFFICE IN HOUSE
	Worth is seated at the desk and Sparrow is standing in 
	front of him. Worth is speaking.
 
				WORTH
		You're yellow to the core -- just yellow. 
 
				SPARROW 
			(whimpering)
 		No, I'm not. But I've had the uncanniest 
		feelin' that someone's been watchin' me.
 
				WORTH 
			(laughs)
    		Nobody's watching you. You're yellow and 
		your nerves are gone. And let me tell you, 
		I'll do nothing to help your nerves until 
		it's delivered, and you might as well get 
		that through your head.
 
 				SPARROW
      	All right, then, I'll phone.
 
 	He reaches for the phone on Worth's desk. Worth snatches 
	it away from him.
 
 				WORTH 
		Not over this phone, you fool! Get 
		outside to make the call.
 
 				SPARROW
     		Okay, Boss.
 
 	Sparrow turns, walks TOWARD CAMERA.
 

120	EXT. FRONT OF WORTH'S HOUSE
	Florence comes in and pauses and, glancing quickly up 
	and down the street, runs down steps to basement door, 
	which she tries cautiously. Finding it locked, she tries 
	to peer through window, and finally tries lower sash, 
	which opens. She climbs through window to basement.
 

121	EXT. CORNER OF STREET
	where Winton is waiting. The street door of house opens 
	and Sparrow appears, starting away in opposite 
	direction from corner where Winton waits.
 

122	INT. BASEMENT ROOM IN WORTH'S HOUSE
	Florence is feeling her way about. She passes in front 
	of mirror, sees her own reflection, jumps back, startled, 
	trips and sits down heavily on a pine box that might 
	contain a coffin. She gasps and springs to her feet, 
	terrified.
 

123	EXT. CORNER OF STREET 
	Two plain-clothes men approach Winton and address him.
  
 				FIRST DETECTIVE
		Well, buddy, what's the stall?

				WINTON
		I'm waiting for someone.
 
 				FIRST DETECTIVE
		Yeah, for who?
 
 				WINTON
		I don't think it concerns you.
 
 				SECOND DETECTIVE
 		Come on, Winton. Cut out the bluffing. 
		We've been watching you ever since you 
		left The Tombs and you've done some 
		pretty suspicious things. Now what are 
		you doing here!
 
 				WINTON
		What have I done that's suspicious?
 
 				FIRST DETECTIVE
		For one thing, you had a visitor at your 
		apartment today, not exactly the kind of a 
		person I'd expect you to entertain ... a 
		person who lives in this block.
 
 
124	INT. BASEMENT IN WORTH'S HOUSE
 	Florence is raising up from inspection of box when she 
	sees the reflection of the Monster in mirror and drops 
	down behind the box. The figure of the Monster glides 
	into the room, stands as though listening for a moment 
	and then disappears in shadows. We hear someone 
	ascending a flight of rickety stairs.
 
 
125	EXT. CORNER OF STREET  WINTON AND TWO DETECTIVES
 
 				WINTON 
			(pointing down the 
			street excitedly) 
		I've got to follow that fellow, I tell 
		you. I've reason to believe he knows 
		what became of Joan Gale's body. You've 
		no right to stop me.
  
 				FIRST DETECTIVE
		Hang onto him, Paul. I'll get the other 
		bird.
 
 	He starts off in the direction Winton had pointed. In 
	extreme background we see Sparrow occasionally as he 
	passes under an arc lamp. The detective follows him, 
	walking rapidly. As detective passes Worth's house, 
 
						CUT TO: 


126	CLOSE SHOT OF BASEMENT WINDOW 
	Florence clambering through and hurrying up the stairs. 
	She is chattering with fright. She gets to the top of 
	the stairs, stands and sways, almost falls.
 

127	EXT. CORNER OF STREET  LONG SHOT
	Florence running toward Winton and detective. CAMERA
	FOLLOWS her to a
 

128	CLOSE SHOT OF THE THREE
	Florence grabs Winton by the shoulders and speaks 
	hysterically.
 
 				FLORENCE
     		I found it! I found the body!
 
 				DETECTIVE
     		What! What are you talking about?

 				FLORENCE
		The body of Joan Gale!
 
				DETECTIVE 
			(getting a look at Florence)
		Hello, Express. What's the idea, trying 
		to outsmart the police?
 
				FLORENCE 
			(seriously)
		I'm not kidding. Joan Gale's body is 
		packed in the box in the basement, and 
		I saw the most horrible thing down there.
  
				DETECTIVE
		Are you giving me this straight?
 
				FLORENCE
 		Don't take my word for it. Get down there 
		yourself and give a look.
 
	The officer blows police whistle.


129	CLOSE SHOT OF SPARROW
 	just coming under street lamp. We hear a police whistle 
	back of him. He turns, looks back, terrified, and darts 
	away at a quick run.
 
 
130	CLOSE SHOT OF OFFICER
	back of him, also breaking into a run. We hear the sound 
	of night stick being struck against the sidewalk and 
	police whistles from different directions and at various 
	distances.
 
 
131	EXT. STREET IN FRONT OF WORTH'S HOUSE
	The detective, Winton and Florence are approaching. 
	Several uniformed policemen are running toward them 
	from both intersecting streets. There is an ad lib 
	confused babble of voices as a number of curious 
	people approach the house from several directions.
 
				FIRST DETECTIVE 
			(to Winton)
 		Get this skirt out of here! We don't need 
		hysterics. This thing has to be handled 
		smoothly.
 
	Winton tries to take Florence away. She tears loose.
 
				FLORENCE
		Listen, copper, get a load of this. While 
		you're chinning yourself on a bar rail, I 
		run down this story ... my story. Consider 
		yourself my assistant.
 
				DETECTIVE
		What do you think I am?
 
				FLORENCE
			(shrugging) 
		Whatever you are, you're the only one of 
		it.
 
 				DETECTIVE
			(producing police card)
		It happens that I'm the law.
 
				FLORENCE 
		How quaint. But I can go any place you 
		can. 
			(Shows her credentials.)
 

132	INT. OFFICE IN WORTH'S HOUSE
	We see Worth cross the room and go through a door into 
	an adjoining room. Then we hear a doorbell ring rapidly. 
	The Monster appears through the door Worth just made an 
	exit through, comes to the center of the room and stands 
	listening. Evidently they become tired of ringing, with 
	no response, for we hear them start to batter in the 
	door. The Monster turns and vanishes quickly the way he 
	came. We hear the door shattered and, after a moment's 
	pause, an officer appears stealthily, with drawn 
	revolver, around the hall door of the room.
 
 				OFFICER
     		Nobody here, Chief.
 
				FIRST DETECTIVE 
			(peering through door)
		Well, take it easy. Let's get some light 
		on here. 
			(Officer flashes flashlight 
			in search of switch.)
 
				FIRST DETECTIVE 
			(calls into hallway)
		A couple of you fellows get upstairs!
 
				VOICES 
			(Off scene)
		Yes, sir.
 
 	We hear them ascending the stairs. Officer crosses and 
	gingerly opens door of room that the Monster disappeared 
	through, flashes light about and enters.
 

133	INT. ROOM ADJOINING WORTH'S OFFICE 
	There is only the one entrance door, and the window 
	of the room, when the officer examines it with flashlight, 
	appears to be flat against the brick wall of the 
	adjoining house. The room is empty.
  

134	INT. WORTH'S OFFICE
	The detective, evidently finding switch, has thrown on 
	lights. He is talking to Florence and Winton.
 
				DETECTIVE
		Can you give me a description of the 
		person you saw?
 
 				FLORENCE
		Not a very good one, I guess. He wasn't 
		like anything human. He hobbled and swayed 
		like a monkey, and the face, from the 
		glimpse I got of it in the light from the 
		street, was like an African war mask.
 
				DETECTIVE
		You mean he was colored?
 
				FLORENCE
		I don't know what he was, but he made 
		Frankenstein look like a lily!  
 
	The officer comes in from the adjoining room.
 
				OFFICER 
		Well, there's nothing on this floor.
 
	We hear the men descending stairs from floor above. The 
	detective steps to the door.
 
				DETECTIVE 
			(calling)
		Did you find anything up there? 

				A VOICE 
			(off scene -- as of 
			someone approaching)
		No -- not even any furniture up there -- 
		a lot of old papers and junk.
 
	The two uniformed policemen enter from hall.
 
				DETECTIVE
		Is there any rear entrance to this place?
 
				POLICEMAN
		I couldn't find any.
 
				DETECTIVE
		Well, let's give the basement a look.
 

135 	INT. HALL IN WORTH'S HOUSE
	The officers and detective, with Florence and Winton, 
	approach basement door and cautiously start to descend 
	steps to basement.
 

136	INT. BASEMENT OF WORTH'S HOUSE 
	Two uniformed men enter and flash lights everywhere. One 
	of them tries door to rear room. It opens. They turn back 
	and shout. 
 
				POLICEMAN 
		No one here.
 
	Lights come on as though switch were thrown on other 
	side of partition. Florence, Winton and two detectives 
	enter, followed by the two uniformed policemen.
 
				FLORENCE 
			(points to the box) 
		There she is! You'll find Joan Gale in 
		that box.
 
 				WINTON 
			(sinks back against 
			wall and gasps)
		No -- No -- I -- I -- I don't want to see it. 
			(Starts toward door. )
 
 				DETECTIVE
 		Wait a minute! You stay right where you are. 
			(To one of the policemen 
			as he sees a small hatchet 
			on a table.) 
		Get that hatchet and open this up.
 
 	One officer gets the hatchet and the others drag the 
	box a little nearer the center of the room and they 
	start to pry off the lid. As they pull one nail, it 
	comes out with a mournful shriek. Florence almost falls 
	over a smaller box in her effort to get away.
 
				FLORENCE
		Oh, what wouldn't I give for a slug of gin!

	With a terrific ripping sound, they finally succeed in 
	removing the lid. Everybody crowds forward to peer at 
	what they believe to be a corpse, as CAMERA COMES TO A
 

137	CLOSE-UP OF THE BOX
	its contents revealed to be row on row of bottles of 
	Scotch whiskey. An officer's hand comes in and lifts out 
	a bottle. CAMERA DRAWS BACK TO
 

138 	MED. SHOT OF THE ROOM 

				FLORENCE 
			(sinking back onto box, 
			extending hands and
 			wiggling fingers)
    		Oh, gimme, gimme!
 
	There is a general shout of laughter and the basement 
	door opens and the second detective enters, driving 
	Sparrow ahead of him.
 
				SPARROW 
			(blubbering)
 		I ain't done nothin' -- you ain't got no 
		right to arrest me! What's the charge 
		against me?
 
 	The detective slaps his face.
 
 				DETECTIVE
		Now, who owns this layout? Come on, spill 
		it.
 
 				SPARROW
		I don't know. I was never here before 
		tonight.
 
 				DETECTIVE 
			(slaps him again)
 		You don't know, oh ... You don't know 
		anything about it.
 
 				SPARROW
		No. All I know is there was a fellow 
		named Worth--
 
				WINTON
		Worth!
 
 				SPARROW
		Yes, sir, that was his name.
 
 				WINTON 
	 	That's my bootlegger's name! Was he a 
		heavyset fellow, with a stubby moustache?
 
 				SPARROW
		Yes, sir, that's the bird.
 
 				WINTON 
			(laughs)
 		I hope he delivered the stuff I paid him 
		for this afternoon. 
			(Then, remembering -- 
			to detective.)
		I told you it was a bootlegger you saw 
		at my place.
 
 				DETECTIVE 
			(to one of the 
			uniformed policemen)
		Here, take this fellow in.

	One of the policemen leads Sparrow out roughly.
 
 				SPARROW 
			(as he goes)
 		I ain't done nothin'. I wouldn't even 
		deliver some stuff for him.
 
	Florence starts piling bottles of whiskey on her arm 
	like an armload of cordwood.
 
				DETECTIVE
		Hey, what do you think you're doing? Put 
		that stuff back!
 
				FLORENCE
		Nothing doing. This is my percentage. You 
		birds are going to get yours. And anyhow, 
		I found this dump. 

	She exits, followed by Winton. There is a general laugh. 

						DISSOLVE TO:
 

139	LARGE WHITE BULB AT ENTRANCE OF POLICE STATION 
	SHOWING PRECINCT NUMERALS
	CAMERA PULLS BACK showing Winton seated in car near
	entrance. A policeman is taking Sparrow up the steps. 
	CAMERA FOLLOWS them in.
  

140 	INT. POLICE SERGEANT'S OFFICE
	Sergeant looks up as policeman and Sparrow enter.
 
				SERGEANT
		Junky, eh.
 
				POLICEMAN
		Yeh -- peddling. 
			(To Sparrow.) 
		Put up your hands!
 
	Sparrow holds up his hands. The policeman searches him, 
	laying articles from his pocket on desk before sergeant. 
	Among the articles is a very handsome watch. The 
	sergeant looks at it.
 
				SERGEANT
		A classy turnip. Must have dipped it.
 
 	Lays it on desk with a pile of other things.
 

141 	INT. POLICE CAPTAIN'S OFFICE
	Captain is seated at desk. He is laughing heartily at 
	Florence.
 
 				FLORENCE
		Imagine my embarrassment. The razzing I'm 
		going to get is nobody's business. I tail 
		a corpse and stumble on a box full of 
		spirits and not a dead one in the layout. 
 
				CAPTAIN
		They tell me your managing editor is 
		poison.
 
 				FLORENCE
     		Poison! It takes a sturdy person to look 
		at him!
 
 	They are both laughing as the door opens and the 
	policeman enters, leading Sparrow.
 
 				POLICEMAN
		You want to talk to this fellow, Captain?
 
				CAPTAIN 
			(glancing at Sparrow 
			contemptuously)
		No, that's all right, Denny. He's a junky. 
		He'll talk in a little while. Just lock 
		him up.

 				POLICEMAN
		Yes, sir. 
			(To Sparrow.) 
		Come on. 

	He leads Sparrow out.
 
 						DISSOLVE TO:
 

142	INT. HORROR CHAMBER
	We have not seen, up to this point, anything that would 
	give us a clue as to the location of this room, which 
	we now see for the first time. It is a stone room, with 
	apparently but one opening through a trap in the ceiling, 
	which is approached by a spiral stairway. There are 
	several huge vats of some steaming liquid, a few pieces 
	of dilapidated furniture and an embalming table in the 
	center of the room.

	The Monster descends steps, carrying the body of a man, 
	wrapped in burlap. He places it on table. 

						DISSOLVE TO:
 
 
143	INT. POLICE STATION  CAPTAIN'S OFFICE
 
 				FLORENCE 
			(rising)
 		Well, the season's best catch is out 
		there waiting in his Rolls-Royce. I 
		guess I'll breeze.
 
				CAPTAIN
	 	Well, you ought to get a good laugh 
		story out of it, anyhow.
 
 	The door opens. A man in uniform, but hatless, enters 
	quickly and, coming to desk, lays the watch taken from 
	Sparrow before the captain.
 
				OFFICER 
		What do you think this is?
 
				CAPTAIN 
			(grinning)
		Looks like a watch.
 
 				OFFICER
		Yeh, but do you know whose watch?

				FLORENCE
 		Let's break down and confess -- we don't 
		know anything about it.
 
	Officer opens the back of the watch and holds it so 
	that she can read the inscription on inner case.
 
				OFFICER 
		Judge Ramsey's! That's all!
 
				CAPTAIN 
			(reaching out for it quickly)
		What!
 
 				FLORENCE
		You're not kiddin?
 
 				CAPTAIN
		Where did this come from?
 
 				OFFICER
		Just took it off that junky.
 
 				CAPTAIN
		Great! Get him down here.
 
				FLORENCE
		Now you're talking.
 
						DISSOLVE TO:


144	EXT. STREET IN FRONT OF POLICE STATION
	Winton seated in car. Florence runs down steps and 
	climbs into car.
 
				FLORENCE
		The office! There's not much traffic -- 
		you can step on it!
 
				WINTON 
			(as car pulls away from curb)
		You like taking chances, don't you!
 
 
145	INT. CAR RACING UP BROADWAY  CLOSE SHOT

				FLORENCE 
		Why?
 
				WINTON 
		You go in for dangerous things. 
 
				FLORENCE
		Darned if I don't! 
			(Reaches over quickly with 
			left hand and pulls 
			steering wheel.)
 
 
146	REVERSE ANGLE  THROUGH WINDSHIELD
 	Showing narrowly averted collision.
 
 				FLORENCE'S VOICE
		Slow down to ninety. I said the office, 
		not the cemetery.
 

147	INT. OF CAR   CLOSE SHOT
 
				WINTON 
		No, really. I mean what I'm saying. I 
		never believed there were women like you 
		in the world. You're game and decent.
 
	They narrowly miss striking another car.
 
				FLORENCE
		--and so determined to live that I'm 
		going to get out and take a taxi if you 
		don't watch where you're going.
 
				WINTON
		I suppose this is going to sound absurd. 
		I've only known you twenty-four hours, but 
		I'm in love with you.
 
				FLORENCE
		It doesn't usually take that long, but 
		I'll forgive you -- you were in a tough 
		spot when I met you.
 
				WINTON 
		No, really -- I'm crazy about you.
 
				FLORENCE
		Oh, is that what caused it?
 
				WINTON 
 		You don't believe me. You think I'm 
		just talking. Will you marry me?
 
				FLORENCE
		How much money have you got?
 
				WINTON 
		Heaven knows. A lot.
 
				FLORENCE
		Well, that being the case, I'll take it 
		up with the board of directors. Hey, 
		listen, aviator, here we are! 

	The car swings into the reporter's entrance of the 
	Express Building.
 
				FLORENCE
		Hold everything. I'll be right back.
 

148	INT. EDITOR'S OFFICE
	The editor is just finishing phone conversation.
 
				EDITOR
		All right. Give that a four-point head. 
		No, that's all it's worth ... All right, 
		you can play it up later if ... 

	Door opens and Florence comes in, breathless, extends 
	hand.
 
 				FLORENCE
		Mit me, kid. I've got a classic.
 
				EDITOR 
			(looking at her with a 
			melancholy expression)
		You here again like an evil spirit to 
		mar my happiness?
 
				FLORENCE
		This one's a story, but I'm not going to 
		tell you what it is. Every time I tell 
		you anything it goes haywire.
 
				EDITOR 
			(laughs)
 		What do you mean -- haywire? You start 
		out after murderers and come back with 
		three-for-a-dime bootleggers. You start 
		to solve murder mysteries and break up 
		crap games. You're grand! I'm for you! 
		Stupendous!
 
				FLORENCE 
			(steps toward his desk 
			belligerently)
		Say, you're always razzing everything I 
		do, but this is one time I'm in. 
 
				EDITOR
		Go on, little girl, take your troubles 
		somewhere else. I don't feel like 
		talking to you.
 
 				FLORENCE
		Was there any art on Judge Ramsey?
 
 				EDITOR 
			(laughs)
 		What goofy idea have you got now? Don't 
		tell me you suspect Judge Ramsey of 
		stealing the body.
 
				FLORENCE 
			(goes to door) 
		I'm going to make you eat dirt, you soap 
		bubble! I'm going to make you beg for 
		somebody to help you let go!

						FADE OUT
 
	FADE IN 
149	INT. POLICE STATION  CAPTAIN'S OFFICE
	Sparrow is seated in the center of the room, quivering 
	for want of the drug. A number of detectives, in 
	shirt-sleeves, evidently worn and tired themselves, 
	are circling about the room.
 
				FIRST DETECTIVE
		So you found the watch in a taxi cab three 
		months ago. Is that right?
 
 				SPARROW
		Yes, sir. I got in the cab and it was 
		layin' there on the floor.
 
				FIRST DETECTIVE
		Where were you going when you got in 
		that cab?
 
				SPARROW 
		I don't remember. Not so very far--
 
				FIRST DETECTIVE
		Don't remember what day that was, do you?
 
				SPARROW 
		No, sir. About three months ago.
 
				SECOND DETECTIVE
		Remember what kind of a cab it was?
 
				SPARROW 
		No, sir. Just a cab.
 
				FIRST DETECTIVE
		You didn't happen to be going to Worth's 
		place, did you?
 
				SPARROW 
		No, sir, I'm sure it wasn't there.
 
				FIRST DETECTIVE
		You used to go to Worth's place a whole 
		lot. What makes you sure it wasn't there?
 
				SPARROW
		Well, maybe it was. I don't remember. 
			(Sparrow slips from chair 
			to knees, sobbing.) 
		You got to do something for me, I can't 
		stand it any longer -- I can't!
 

150	NEAR WINDOW TWO DETECTIVES STANDING CLOSE SHOT
 
				ONE OF THE DETECTIVES 
		He's beginning to break now -- he'll talk 
		pretty soon.
 
				OTHER DETECTIVE
		I don't know about that -- he's been 
		begging all night.
 
 	Looks out of window and we see that it is almost daylight.
  
				OTHER DETECTIVE
		Nearly half past eight. I never saw a 
		junky hold out like this before.

						FADE OUT
 

	FADE IN 

151	EXT. MUSEUM  THE NEXT MORNING
	The people passing are of the type who would be hurrying 
	to report for some office or clerical job around nine 
	o'clock. Charlotte walks into picture, glances up and 
	down street as though looking for someone, then glances 
	at watch and goes to museum door, peering through panel. 
	She tries the door and finds it open and enters.
 
152	INT. WAX MUSEUM LONG SHOT
	Nobody is in scene. Charlotte enters, looks about. 
 
				CHARLOTTE 
			(calling)
		Ralph! Are you here?
 
	There is no answer and she starts down the length of 
	the museum, occasionally calling "Ralph." As she passes 
	a niche in the wall that contains a half figure of Dante 
	on the platform, the CAMERA MOVES TO CLOSE-UP of that 
	figure. The artificial lids are raised and we see the 
	eyes of a living person peering through and watching 
	her progress. Over this we hear her calling "Ralph" 
	again, but the call is growing fainter. The lids drop 
	back into place.

						CUT TO:
 
                    
153	CLOSE SHOT  NEAR PORTIERES 
	Charlotte is near portieres which conceal door to 
	workshop at rear. She draws curtains aside and steps 
	into workshop.

						CUT TO:
  
154	INT. WORKROOM AT REAR
	Hugo is at work. Charlotte has advanced several steps into 
	the room before she becomes aware of his presence. She 
	stops, startled.

				CHARLOTTE
		I beg your pardon -- Is Ralph here?
 
	There is no response as Hugo does not hear her. She 
	advances a step farther, when he turns and grins at 
	her.
 
				CHARLOTTE
		I'm looking for Ralph.
 
	Hugo, still grinning, takes a step toward her and makes 
	the hideous sound identified with deaf-mutes. She starts 
	to back away from him, terrified. Backing toward portieres, 
	followed by Hugo, she suddenly turns and darts through the 
	curtains. Her momentum carries her almost to Igor, who is 
	approaching in wheelchair. She extends both her hands to 
	him delightedly. He starts to respond, then, catching sight 
	of his crippled claws, drops them into his lap.
 
				CHARLOTTE
		Oh! Mr. Igor! -- I'm so glad you're here 
		-- I don't know why I should be, but I was 
		a little bit afraid.
 
				IGOR
		Oh! So, my little friend, you have honored 
		me by accepting my invitation of last night.
 
				CHARLOTTE
		No -- I -- wanted to speak to Ralph. We 
		had a silly argument last night and I said 
		something unkind.
 
				IGOR 
			(laughs in a tender, 
			fatherly way)
		Oh, you children, you happy children. 
		You've quarreled and now you're going to 
		be friends again. And that is as it should 
		be. Never let any stupid misunderstandings 
		come between you.
 
				CHARLOTTE
		But it was really my fault.
 
				IGOR 
			(laughs)
		And he will probably demand the life of 
		anyone who agrees with you. Let him think 
		it was his fault ... He should be along 
		very shortly .. . But be very stern 
		before you forgive him, especially if it 
		is your fault  ...  While you're waiting 
		for your friend, would you like to see 
		some new figures I have downstairs? 
 
				CHARLOTTE
		I'd love to.
 
	CAMERA FOLLOWS them as Igor wheels to top of stairs 
	leading to studio and workshop below. He takes crutches 
	and struggles painfully to his feet.
 
				CHARLOTTE
		Oh, please, Mr. Igor, I'm terribly ashamed.
		I shouldn't have put you to so much 
		trouble.
 
				IGOR 
			(chuckles gently) 
		It is no trouble at all, my child. This 
		is the strange, vicarious pleasure that 
		remains for me -- to see others enjoy 
		the beauty I used to create. 
			(He attempts to descend 
			first step, then says, 
			good-naturedly.) 
		My footing is not too secure.
 
	Charlotte rushes to his assistance.
 
				CHARLOTTE
		Oh, let me help you, please.
 
	Charlotte helps him descend stairs. 
 

155	SHOT PHOTOGRAPHED THROUGH OPEN DOOR OF BASEMENT 
	WORKSHOP TOWARD STAIRS 
	We see Charlotte and Igor finish descending steps.
 
				IGOR
		Thank you -- thank you, my dear.
 
	Charlotte precedes Igor into room and stands glancing 
	about. Igor enters, closes the door quickly and locks it. 
 
156	INT. WORKROOM 
	Igor instantly drops his crutches and sweeps Charlotte 
	into his arms, lifting her clear off the floor.
 
				IGOR
		Marie Antoinette.
 
	Charlotte screams and struggles.
 
				CHARLOTTE 
		Let me go! Let me go!
 
				IGOR 
		We have found immortality, you and I. 
		You must not be afraid.
 
				CHARLOTTE 
			(screams)
		Ralph! Ralph!
 
	She tears at Igor's face and rips away the mask and 
	beard, which bring with them the skillfully designed 
	wig that is attached to them, revealing the horribly 
	mutilated face of the Monster. Charlotte screams and 
	faints. Igor deposits her tenderly on a couch and 
	kneels beside her.
 

157	INT. WORKROOM  CLOSE SHOT 
	Igor, kneeling beside the girl, speaks.
 
				IGOR
		Poor, frightened child. The only common 
		objective of all living things is death 
		... and she is afraid. 
 

158	EXT. FRONT ENTRANCE OF MUSEUM 
	Janitor is sweeping walk. Ralph comes into picture, 
	glances into museum and, assuming that he is the 
	first to arrive, takes a last puff on a cigarette 
	before entering. He throws it away and starts to 
	enter when we hear Florence's voice off scene.
 
				FLORENCE
		Hey -- Ralph!
  
	He looks up and we see that he recognizes someone 
	approaching, as Winton's car whirls up to the curb 
	and Florence jumps out, followed by Winton. 
 
				RALPH
		What are you people doing out in the 
		middle of the night?
 
				FLORENCE 
			(crossing to him) 
		I'm after news, as usual. I wonder if it 
		would be all right for me to slip in and 
		look around your factory?
 
				RALPH
		I guess so. But wouldn't it be better for 
		you to wait until the old man's here?
 

159	CLOSE SHOT  RALPH AND FLORENCE
 
				FLORENCE 
		Well, I'll tell you a secret. I kinda 
		like the old gent and I'm trying to 
		build a special Sunday Magazine story 
		out of him. It might help him a whole 
		lot. But that's a side issue -- something 
		I do on my own time.
 
 				RALPH 
			(boyishly)
 		Gee, that's great. After the bad opening 
		that night the old boy was pretty blue. 
		This will pep him up. Have you told him 
		about it?
 
				FLORENCE
		No. I wanted to do it without saying 
		anything. I think he's worth it.
 
160	EXT. MUSEUM  A SHOT OF WINTON'S CAR
	A policeman walks up to car and calls over to group.
 
				POLICEMAN 
		Whose car is this?
  
 				WINTON
		Mine.

				POLICEMAN
		Well -- You can't park there. You'll 
		have to take it down the street.
 
				WINTON 
			(going to car and 
			climbing back to wheel)
		Okay, brother. 
			(Shouts to Florence.) 
		Flo, I've got to find a place to park. 
		I'll be right back. 

	CAMERA ANGLE WIDENS taking in Ralph and Florence at
	museum door.
 
				FLORENCE 
			(waves to Winton -- calls)
		Don't deceive me or I'll come back and 
		haunt you. 

	Winton's car moves away. Ralph unlocks the door, and 
	he and Florence enter the museum. Ralph throws away 
	cigarette. Janitor picks it up and stands leaning on 
	broom, puffing it.
 
161	INT. MUSEUM
	Florence takes from her bag a photograph of Judge Ramsey.

	INSERT: CLOSE-UP OF PHOTOGRAPH 
	Showing bust picture of man whose features are strikingly 
	like those of Voltaire, although he has a moustache, 
	wears glasses and is dressed in modern clothes.
 
	CAMERA TRUCKS AFTER her as she goes from one figure to
	another, finally stopping in front of the figure of 
	Voltaire. This she studies, in profile, full-face 
	three-quarter view, etc., and finds by comparison 
	that the two are identical. (We CUT back and forth 
	several times from the photograph to the statue.)
 
				FLORENCE 
			(studying the photo and 
			wax figure; she is
			nervously biting her 
			fingernails)
		Ralph, come here a minute, will you?
 
				RALPH 
			(crossing to her and 
			notices her biting nails)
		Better cut that out. 
			(Points to figure of 
			Venus de Milo.) 
		That's what happens to girls who bite 
		their nails. 
			(Florence ignores the remark.) 
		What's wrong?
 
 	Hugo passes them at this moment. Florence watches 
	Hugo suspiciously as if she did not want him to know 
	what she is referring to. She waits until he has 
	passed into the cloakroom.
 
				FLORENCE
		Look at this photograph, will you? 
			(Handing Ralph photograph.)
 

162	INT. POLICE STATION  CAPTAIN'S OFFICE
	Sparrow suddenly springs to his feet, screaming.
 
				SPARROW
		All right -- I'll talk! I'll tell you 
		what I know! 
			(He is a madman.) 
		Ramsey was murdered because he looked 
		like Voltaire! 
			(He laughs wildly.) 
		Because he looked like Voltaire! You want 
		to know what became of him! He's a statue
		-- a silly wax statue! 
			(Laughs.)
 
				CAPTAIN 
		You killed him! 
			(Catches Sparrow roughly, wheels 
			him around, slaps his face.) 
		Come on with the rest of it. You killed 
		him!
 
				SPARROW
		No -- I didn't. It was Igor at the 
		waxworks.
 
 				CAPTAIN 
			(slapping him again)
		But you were in on it -- you worked for him.
 
				SPARROW
		No -- the only thing I did for him was 
		to keep track of the man named Worth 
		that runs the place where you arrested 
		me tonight.
 
				CAPTAIN 
		You lie!
 
				SPARROW
		It's Igor at the Wax Museum! You'll find 
		your judge embalmed in wax! He's a statue 
		of Voltaire, with all the other corpses! 
		The whole place is a morgue -- do you 
		hear? -- a morgue! 
			(Laughs.)
 

163	INT. HORROR CHAMBER
	Charlotte is crouched, terrified, in a corner, while 
	Igor, now a raving maniac, tries to calm her.
 
				IGOR
		My child, why are you crouched there? 
		So pitifully afraid. Immortality has been 
		the dream, the inspiration of our kind, 
		and I am going to give you the only 
		guarantee of immortality you have ever
		had.
 
	Charlotte shrinks further into the corner.
 
				CHARLOTTE 
			(gasping) 
		Please, oh, please, I haven't done 
		anything to hurt you.

				IGOR 
			(in bewildered, 
			plaintive tone) 
		And I have no desire to hurt you. You 
		will always be beautiful. Think, my 
		child, in a thousand years you will 
		be as lovely as you are now.
 

164	INT. MUSEUM
 
	Ralph is holding the photograph, and he and Florence 
	stand looking at the figure. We see that the features 
	of the two are identical. Then we hear a muffled scream. 
	Florence and Ralph look at each other inquiringly and 
	stand waiting for the scream to be repeated.
 

165	INT. HORROR CHAMBER
	The Monster is pleading with Charlotte.
 
				IGOR
		My child, my child, if you will just 
		listen to me, then you will not be 
		afraid. Don't you understand, dear, 
		that I love you? Don't you know that 
		at times when I have wanted to die --
		I could not die because I had not 
		saved you. And now you are here, to 
		be given, a thing of delight, to all 
		the world. I am trying to grant you 
		immortality. 

	Charlotte is just a terrified, half-hypnotized, crumpled 
	mass.
 
 				CHARLOTTE 
			(almost whispering)
		You fiend! You fiend!
 
 	Igor backs away from her, gesturing with his arms as 
	if to ward off a blow.
 
 				IGOR
		Oh, my Marie Antoinette, you must not 
		say that to me. There was a fiend, of 
		that you may be sure. There was a fiend
		--
			(suddenly extends 
			hands toward her)
		and this is what that monstrous person 
		did to me.
 

166	CLOSE SHOT OF CHARLOTTE 
	as she drops her head on her knees, sobbing.
  

167	EXT. POLICE STATION 
	Officers pour out and climb into two cars. They 
	commandeer a couple of taxis and all race down the 
	street, with sirens screaming.
 

168	INT. HORROR CHAMBER  FULL SHOT
	Igor standing over Charlotte pityingly, wringing his hands. 
	Then he whirls toward curtained cabinet in rear.
 
				IGOR
			(screaming)
 		You! ... You did this! 
			(To Charlotte, as he 
			crosses toward cabinet.) 
		These terrible broken hands -- this 
		terrible living dead man -- for twelve 
		years, twelve awful years, has hunted 
		for the fiend, the fiend who brought 
		us here tonight! But the account is 
		closed. 
			(He sweeps aside 
			curtain covering cabinet.) 
		He is here!
 
 	In the cabinet, full length, erect, is the wax-embalmed 
	figure of Worth, which falls forward stiffly, landing 
	with a thud. Charlotte gives a piercing, terrified 
	scream.
 

169	INT. MUSEUM 
	Florence and Ralph hear scream repeated and rush to 
	stairs. CAMERA FOLLOWS them as they run to stairs and 
	start down. They find door locked. Ralph throws his 
	full weight against the door several times. When the 
	door shatters he stumbles into room.
 

170	INT. WORKSHOP
	They look around, startled. It is apparently untenanted. 
	As they stand looking at each other in bewilderment, the
	scream is repeated. Ralph gestures, "Wait a minute," 
	then, with emphasis:
 
 				RALPH
		It did come from under our feet!
 
 	Searching about, he finds a trap door, which he opens 
	and looks down, and sees:
 

171	SHOT FROM RALPH'S ANGLE 
	We see Charlotte on operating table. The Monster is 
	stirring a huge vat of boiling wax. Hearing the trap 
	door open, he looks up, sees Ralph and screams his 
	rage. Ralph passes CAMERA and starts downstairs toward 
	him.
 

172	INT. WORKSHOP   CLOSE SHOT OF FLORENCE
	Standing at trap, looking down, horrified. She whirls 
	and dashes, screaming, upstairs toward the museum.


173	INT. HORROR CHAMBER 
	Ralph and the Monster having a furious struggle, the 
	Monster attempting to force the boy backward into one 
	of the vats of boiling wax.
  

174	INT. MUSEUM
	Florence appears at head of stairs from below, just as 
	Winton enters door. She runs to him.
 
				FLORENCE 
			(screaming)
		Come on! Quick! Help! 

	As they descend the stairs.
 
 				WINTON
		What is it? What happened?
 
 				FLORENCE
		Don't ask any questions. Come on!
 

175	INT. HORROR CHAMBER
	The Monster succeeds in striking Ralph over the head 
	with some heavy object. As Ralph sinks, stunned, to 
	the floor, the Monster dashes up the steps.
 

176	SHOT FROM HORROR CHAMBER  CAMERA TIPPED UP SHARPLY
	Showing trap at head of stairs. When the Monster has 
	negotiated three-quarters of the ascent, we see Winton 
	appear in the trap door above, blocking his escape. 
	Now we hear the screaming of the sirens of approaching 
	police cars. Seeing his passage barred, the Monster, 
	no longer coherent, stands jabbering like an infuriated 
	ape at the man above him.
  
 
177	INT. WORKSHOP
	Winton at edge of trap, looking down, horrified.
 
				FLORENCE
		Do something! Can't you? Do something!
 
	Winton draws back. Florence turns, runs back toward 
	museum, screaming. We hear the tramping of feet on the 
	floor above and then see the feet and legs of first 
	officer descending stairs.
 

178	SHOT UPWARD FROM HORROR CHAMBER
	As Winton draws from trap, the Monster starts to advance. 
	A policeman in uniform appears above him, with drawn 
	revolver.
 
				POLICEMAN
		Get 'em up! Don't move!
 
	He commences a cautious descent of the stairs. CAMERA
	PULLS BACK TO
 

179	FULL SHOT
	We see Ralph, who has recovered, gather Charlotte in 
	his arms and whirl her so that his body would shield 
	her from a possible stray bullet. The Monster, who is 
	backing, still defiant, before the policeman, misses 
	his footing and, with an agonizing scream, whirls 
	downward into a vat of boiling wax. 
 

180	EXT. STREET IN FRONT OF MUSEUM
	A great crowd is collecting. The police are holding 
	them back. They lead the janitor and Hugo from the 
	building.
 
				CAPTAIN OF DETECTIVES 
		I don't think these mugs mean anything, 
		but take them around and get a statement 
		from them.
 
 	An officer leads them away. Florence runs through crowd 
	with Winton.
 

181	EXT. STREET   WINTON'S CAR 
	as Florence and Winton scramble in.
 
 				FLORENCE
		Come on, pal, get me uptown! 
			(Breathlessly.) 
		Don't stop for lights -- don't stop for--
 

182	EXT. STREET IN FRONT OF MUSEUM
	Ralph is leading Charlotte, still hysterical, through 
	door.

						DISSOLVE TO:
  

183	INT. COMPOSING ROOM  NEW YORK EXPRESS
	Before the room is clearly discernible, we hear the 
	clatter of typewriters. A scene of feverish activity. 
	Copy boys are dashing back and forth. The place is 
	seething with excitement. Florence, seated at machine 
	nearest CAMERA, is typing frantically. She evidently 
	just completes the last line of story, jerks sheet 
	from machine and hands it to a copy boy.
 
				FLORENCE
		Take it away, Hennessy. 
			(Springs to her feet.)
 
 	She is bedraggled, hair hanging in her eyes, evidently 
	exhausted. She reels toward the editor's room. Several 
	desk workers spring up and surround her, traveling a 
	part of the distance with her. They are thumping her 
	playfully on the back and talking.
 
				FIRST MAN 
		My hat's off to you, kid. What a scoop!
 
				SECOND MAN 
		This story makes history.
 
				THIRD MAN 
		Congratulations, Flo. You've got the 
		other papers bleeding.
 
				FLORENCE 
			(laughing)
     		Now I'm going to scramble this egg.
 
 	Points toward door marked Managing Editor.
 
 
184	INT. EDITOR'S OFFICE
 	He looks up as Florence enters room. She is gloating.
 
				FLORENCE 
		Well, Poison Ivy, how about it? Was that 
		a story? 

	He looks up sourly.
 
 				EDITOR
		Lousy! You had a million dollars worth 
		of luck. 

	She looks at him indignantly.
 
				FLORENCE
		Listen, stupid, could I do anything 
		that would possibly meet with your 
		approval?
 
				EDITOR
		Yes, you could. Cut out this rotten 
		business and act like a lady. Marry me. 
 
	She hears the honking of an automobile in the street 
	below and walks to the window, looks down for a moment.
 

185	SHOT FROM FLORENCE'S ANGLE  WINTON IN CAR 
	in front of the Express Building, honking impatiently.
 

186	INT. EDITOR'S OFFICE
	Florence turns back from window, grins at editor.
 
				FLORENCE
		Marry you?
 
				EDITOR
		That's what I said.
 
				FLORENCE
		I'm going to get even with you, you dirty 
		stiff! I'll do it!
 
	He rises and catches her in his arms. As they embrace, 
	we hear the raucous "honk-honk" of the car in the street 
	below.

						FADE OUT
 
 

				THE END
 
 
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