The Cheaters
FADE IN
1 EXT. RAMBLING OLD COUNTRY HOUSE - NIGHT
It is a dark, hulking monstrosity from which a single
light shows from an upstairs window. SOUND: Wind finger-
ing loose shutter, rustling through the skeleton of a
bare tree.
KARLOFF'S VOICE
When a man shuts himself off
from his neighbors ... when he
conducts mysterious experiments
behind locked doors, there is
bound to be talk. Especially
if the time is the mid-Eighteenth
Century and the town is in the
heart of New England.
2 INT. VAN PRINN'S LIBRARY-LABORATORY - NIGHT
It is a cavernous room; book-lined, smelling from the
fumes of an acid bath and cooking chemicals. All manner
of apparatus is dimly seen by the light of a small furnace,
the door of which is open, and from which old DIRK VAN
PRINN is extracting, with great care, a small metal tray.
KARLOFF'S VOICE
There were those who whispered
that old Dirk Van Prinn was a
sorcerer.. and worse. But, of
course, we moderns reject such
superstitious nonsense. We
know Van Prinn for what he really
was... a harmless eccentric who
dabbled in alchemy and the occult
sciences. He might never have
been remembered had not his
research led him to the discovery
of a most unusual formula for
making glass....
3 INSERT - TRAY
On it are two small, square pieces of yellowish glass.
SOUND: Knock on door.
4 BACK TO SCENE
Startled by the sharp sound, Van Prinn looks up from the
object of his labor. Another KNOCK.
MRS. AMES (o.s.)
(calls)
Mr. Van Prinn, it's Mrs. Ames.
VAN PRINN
What do you want?
MRS. AMES (o.s.)
The silversmith left a package
for you.
VAN PRINN
Leave it outside the door, please.
5 INT. HALLWAY - NIGHT - MRS. AMES
the slatternly, full-bosomed housekeeper hesitates, curi-
ous about the small package she is holding.
MRS. AMES
(at length)
Can I bring up your supper now,
Mr. Van Prinn?
VAN PRINN (o.s.)
Never mind. Just leave the house.
She won't be so easily dismissed.
MRS. AMES
You ought to take something,
Mr. Van Prinn. I'll fetch up
some nourishing soup before I
go ----
Van Prinn has opened the door a crack and is fixing her
with his piercing eyes. She is frightened, but not so
frightened that she doesn't try to glance past him into
the mysterious room, as:
MRS. AMES (contd)
It's really no trouble. You
haven't had a bite all day.
VAN PRINN
Good night, Mrs. Ames.
It is a not-too-subtle dismissal as he takes the package
from her hands.
MRS. AMES
(grudgingly)
Yes, sir. Good night.
He waits while she leaves, then closes the door, locks it.
6 INT. LIBRARY-LAB - NIGHT -- VAN PRINN
with suppressed excitement now moves quickly to a huge
ornately carved desk where he unwraps the package and ex-
tracts a simple silver eye glasses frame. He holds the
frame up to the firelight and reads:
7 INSERT - EYEGLASSES FRAME - FEATURE NOSE BRIDGE
across which is engraved "VERITAS."
8 BACK TO SCENE
Seemingly well satisfied, Van Prinn, using forceps and
great care, fastens the two square pieces of yellowish
glass into the frame. His hand is trembling, his fore-
head beaded with perspiration as he completes the opera-
tion. Leaving the spectacles on the desk, he then lights
a lamp and places it beside a large mirror which he has
positioned against a wall, ready and waiting for the
experiment which we are about to see. Facing it, ready
also, is an armchair. Van Prinn now returns to the desk,
gets the spectacles, returns to the chair, sits. For a
moment he hesitates, studying his gaunt face in the mirror,
and for a moment he almost loses his nerve as he slowly
brings the spectacles up to his face. Then, closing his
eyes, he puts them on. His hands grasp the arms of the
chair as CAMERA MOVES IN for FULL SCREEN CLOSEUP as he
slowly opens his eyes.
9 P.O.V. SHOT
His reflection in the mirror is blurred, swimming weirdly.
10 CLOSE SHOT - VAN PRINN
He squints, strains to adjust his eyes. Gradually, he
begins to see his reflection...and what he sees fills him
with such revulsion and horror that his cry of torture
is only a choked rasping moan. As he claws the spectacles
from his face, the moan builds to one piercing, anguished
scream. CAMERA ZIP PANS to DISCOVER Karloff watching.
KARLOFF
Dirk Van Prinn hanged himself
before dawn. His story might
have ended right there...if he
had had the courage to smash
those spectacles. But like many
another scientist he could not
bear to destroy his own creation.
Too bad. Because years later
others tried them on. A junkman
named Joe Henshaw, played by
___________. A little, old-fashioned
lady named Marian Olcott, played
by ____________. Her nephew,
Percy Dean, played by __________.
And finally a man who discovered
the real purpose of the spectacles,
Sebastian Grimm, played by ________.
What they saw through those yellowed
old lenses they never forgot.
And neither will you, my friends...
because as sure as my name's Boris
Karloff...this is a thriller!
FADE OUT
(FIRST COMMERCIAL BREAK)
ACT I
FADE IN
TIME: PRESENT
11 INT. SECOND-HAND STORE LIVING QUARTERS - DAY - CLOSE SHOT
JOE HENSHAW, a stoop-shouldered, heavy-set middle-aged
man. He has the dusty, musty smell and look of his pro-
fession -- a junkman. On his puffed, florid face is a look
of weary resignation as CAMERA PULLS SLOWLY BACK and he
listens to:
MAGGIE (o.s.)
(bitterly, caustically)
What do you want to load up on
more junk for?! The store's
full of it now! Get yourself a
lot of raggedy old clothes and
some busted furniture. That's
what you'll get!
We now see her. She is perhaps ten years younger than
Joe and almost attractive in a hard, obvious sort of way.
She is serving his breakfast from a battered old range
which must have been salvaged from some fire sale like
all the rest of the furniture in the room.
MAGGIE
How much did you bid?
Joe speaks with a faint Armenian accent.
JOE
Not much.
MAGGIE
How much Joe?
He glances up into her angry face and sees that she will
not be put off.
JOE
(at length)
A hundred dollars.
MAGGIE
A hundred dollars...! You promised
me we'd unload this crummy place!
Get into a decent business!
The SOUND of the customer's doorbell in the shop has taken
Joe's glance through the curtained doorway.
JOE,
Take it easy, Maggie. That kid's
coming.
MAGGIE
I don't care who's coming! How're
we ever gong to get out of here
if you keep spending every dime
on more junk?
Suddenly Joe is gripping her waist.
JOE
(quietly, deadly)
No more! Not in front of the
kid again. You hear?
She is frightened but by no means silenced, as CHARLIE
enters. He is younger than Maggie, tall, slender, almost
good-looking. He is not a kid, but his crooked, boyish
grin and mop of curly black hair give him the appearance
of youth. Beside Joe he is an Adonis and Maggie is crazy
about him. He is carrying four pieces of mail.
CHARLIE
(breezily)
Hi, Joe. Hi, Maggie.
Joe hardly glances up at Charlie as he shovels the last
scraps of his bacon and eggs into his mouth.
MAGGIE
Morning, Charlie.
CHARLIE
Here's your mail, Joe.
He drops the mail on the table beside Joe. Joe squints
at it myopically. He needs glasses but his pride won't
allow him to admit it.
MAGGIE
Why don't you admit it, Joe...
and get yourself a pair of
glasses.
Joe flushes, shoves the unopened mail to one side.
JOE
(resentfully; stubbornly)
I can see what I need to see...
MAGGIE
(cryptically)
Yeah... maybe we ought to leave
it that way...
Her glance goes to Charlie, lingers possessively, as:
MAGGIE (cont'd)
Sit down, Charlie... and I'll
pour you some coffee...
CHARLIE
Thanks. Didn't have time to
stop for breakfast---
As Charlie starts to sit:
JOE
You eat on your own time. Go
bring the truck.
CHARLIE
Sure, Joe. Where're we going?
MAGGIE
Joe's bought another blind lot
from the city.
JOE
Maggie....
MAGGIE
(spitefully)
Paid a hundred dollars. And
I'll bet no other salvage operator
bothered to bid on it. But my
Joe's got sporting blood. My
Joe's a gambler.
Joe burns, but he remains silent under her derisive ob-
servations.
CHARLIE
Where is the stuff?
MAGGIE
The old Bleeker house.
CHARLIE
Why that dump's over two hundred
years old! It's been padlocked
since before the first war!
JOE
(explodes)
You keep your mouth shut, you
hear?! You do your work and
let me run my business!
CHARLIE
(injured innocence)
Joe...! I didn't say a thing.
What'd I say, Maggie?!
Maggie quickly steps between them, facing Joe, her eyes
aflame.
MAGGIE
You leave Charlie alone. You wanna
pick on somebody, pick on me!
JOE
(dangerously)
I warned you...not in front of
the kid!
CHARLIE
Hey, you two! Knock it off. Maybe
Joe made a good deal, Maggie.
MAGGIE
Fat chance!
CHARLIE
I heard of a salvager who found
half a million dollars worth of
war bonds in an old house.
Confederate war bonds.
No one but Charlie is amused.
JOE
(to Charlie)
I told you to get the truck.
As Charlie goes:
MAGGIE
Keep your eye on him, Charlie.
If he finds anything in that dump,
I want to know about it.
JOE
Some nice talk for a wife.
She turns her back on him, busies herself with the dishes.
JOE (contd)
(at length)
Listen, Maggie... I bid that place
because Delahanty down at City
Hall tipped me off. Delahanty
said that upstairs there's all
kinds of old furniture I figure
there might be some real antique
pieces.
SOUND of truck horn honking.
MAGGIE
Charlie's waiting.
JOE
You got to take a chance once in
a while, Maggie! Maybe our luck
will change.
MAGGIE
From bad to worse.
JOE
What's got into you?! Ever since
I hired that kid, you been treatin'
me like dirt ---
MAGGIE
Don't start that again!
She is facing him, her eyes flashing with anger.
JOE
(at length)
All right. We'll settle this
when I get back.
He leaves.
12 EXT. J. HENSHAW'S SECOND-HAND STORE - DAY - SHOT
to CATCH Joe coming out of the store, getting into the
waiting old truck with Charlie. As Charlie drives off,
we:
FAST DISSOLVE
13 EXT. RAMBLING OLD HOUSE - DAY - SHOT
to CATCH Joe and Charlie driving up in the truck, getting
out and moving through the weeds and debris to the front
door.
14 CLOSER SHOT
A weather-stained old sign on the front door announces
that the place is condemned city property. Joe takes a
key which has a city identification tag on it and forces
open the rusty old padlock. Charlie shoves and kicks at
the hoary door until it finally swings open with a GROAN,
showering them with dust.
15 INT. FOYER OF OLD HOUSE - DAY - JOE AND CHARLIE
enter. The place is layered with dust and cobwebs
and choked with old broken furniture and debris.
Silently they pick their way through the debris
checking the rooms on either side, examining things,
all of which crumble under their touch.
16 CLOSE SHOT - CHARLIE
glances over to JOE noting disappointed reaction.
CHARLIE
Nothing but rubbish. At least
four truck loads. It's gonna
cost us to dump it, Joe.
JOE
Did I ask you to worry?
He heads up the rickety staircase, CHARLIE follows.
17 INT. UPSTAIRS HALLWAY - DAY - SHOT
to catch JOE and CHARLIE reaching the top of the stair-
case where they pause to look down the dust choked hall
way. JOE opens the nearest door.
18 INT. BEDROOM - DAY
Another debris-filled room. Cob-webbed broken-bed,
rotting mattress, closet full of rags and rat-chewed
shoes, etc. Joe pokes around, finding nothing of value.
Charlie, meanwhile, explores the other rooms.
19 INT. HALLWAY - DAY - CHARLIE
moves down the hallway, forcing warped doors open and
looking into the other rooms.
20 ANOTHER ANGLE - JOE
comes into the hallway, his disappointment now verging on
bitter anger. CHARLIE has disappeared into one of the other
rooms.
CHARLIE (o.s.)
Hey, Joe! Get a load of this!
As Joe hurries toward the room, CHARLIE re-appears in the
hallway, holding a beaded, spangled Prohibition-era dress
up to his chest.
CHARLIE
Wait'll Maggie sees this!
Hot momma!
He begins to do jerky little Charleston steps, swaying his
hips and his shoulders to make the short skirt come alive.
Suddenly a thread breaks and the dress disintegrates in a
shower of glass beads.
CHARLIE
(grins)
Care for a game of marbles,
Joe?
Joe isn't amused. He brushes past Charlie and tries the
door at the end of the hallway. It is locked. Instantly
his hopes rise. He tries to force the lock, as:
CHARLIE
Hey....! Maybe the valuable
stuff's in there!
Together they put their shoulders to the door and after
several tries force it open. Pitch darkness inside. Joe
pulls a flashlight from his hip pocket and snaps it on,
picking out:
21 INT. STUDY - DAY - CLOSE SHOT - A HUMAN SKULL
grinning evilly at us, a feather quill protruding from
the top. It sits on Van Prinn's old desk.
22 BACK TO JOE AND CHARLIE
Both have been startled by the macabre discovery.
CHARLIE
(laughs uneasily)
Must have forgot to take his
vitamins...
Joe brushes past him, enters the study, crossing to the
heavily curtained windows. He grasps the rotted velvet
and they fall away from the windows, revealing the room.
23 INT. STUDY - DAY
The room is empty except for the books and Van Prinn's
ornately carved desk. Dust and cobwebs layer everything,
but otherwise the room is in order.
CHARLIE
Lookit all them books, Joe....!
Maybe some rare editions!
They quickly cross to the books. Joe picks up one. It
crumbles in his hand. Charlie tries another. It disinte-
grates. Another. And another. Joe tries the shelf above,
but as he pulls down some of the books, the rotting shelving
creaks, collapses. The higher shelves give way and hundreds
of books cascade in a shower of dust and debris. Charlie
barely manages to pull Joe back out of the way. As Joe
stands there, staring bitterly at the worthless heap:
CHARLIE
Another truckload for the dump.
Hey! Maybe we can get a few
bucks for this old desk --
He has pulled out a drawer which falls apart in his hands.
CHARLIE
Some deal...! You ought to sue
the city, Joe.
JOE
Advice from you I don't need.
CHARLIE
(at length:
enjoying Joe's defeat)
Maggie's sure gonna froth and
foam when she hears about this...!
JOE
Then you go and tell her. Go on!
Get out!
CHARLIE
(injured innocence again)
Don't you wanna start shoveling
this stuff out of here?
Joe doesn't reply. His attention has returned to the
pile of rubble at his feet.
CHARLIE
(at length)
Okey. I'll hike on back to the
shop.
Charlie leaves, and as soon as he is gone, Joe gives
vent to his pent-up fury. He kicks the desk, smashing
the front panel. The impact springs open a hidden com-
partment near the bottom. For a moment, Joe is almost
afraid to look inside. When he does, his hopes are again
dashed. The only article inside the secret compartment
is Van Prinn's spectacles. Joe examines the curious look-
ing eyeglasses, squinting to read the engraving.
24 INSERT - SPECTACLES, with the legend "VERITAS" engraved
on the nose bridge.
25 BACK TO JOE
He tries them on, testing the lenses with a page from
one of the old books.
26 P.O.V. SHOT - THE PAGE
is blurred. It swims weirdly, then slowly the center
of the lenses into sharp focus, the perimeter
remaining fuzzy.
27 ANOTHER ANGLE
JOE glances around the room through the spectacles, en-
joying the sensation of clear vision for the first time
in years, as we:
DISSOLVE
28 INT. SECOND HAND STORE LIVING QUARTERS - NIGHT - SHOT
to catch JOE entering. He has been drinking, but he is
not drunk. He is surprised to find MAGGIE all dolled
up and the table set with a fancy cloth and the best
china. There is even a bowl of flowers (artificial) in the
center. The smell of good cooking comes from the range.
JOE
(suspiciously)
What's all this?
Maggie gives him a kiss on the cheek, as:
MAGGIE
Happy Birthday, darling.
JOE
It ain't my birthday.
MAGGIE
Please don't spoil it, Joe dear.
I know your birthday was last week
and I forgot. Now I want to make
it up to you.
(appealingly)
And, Joe...I'm sorry for the way
I acted this morning.
JOE
You? Sorry? What happened?
Did the kid tell you I found a
mattress full of diamonds in that
old house?
MAGGIE
Charlie said there was nothing but
rubbish. And all of a sudden I
realized how disappointed you
must have been...and how rotten
I've been. Rotten and selfish,
Joe. And I am sorry.
Joe melts as much as his fierce pride will allow.
JOE
Maybe I ain't so easy to live
with either...
She kisses him.
MAGGIE
Go wash up now. Dinner will
be ready in a little while.
Joe is still a little puzzled at the transformation as
Maggie goes back to her cooking, humming softly. As he
starts for the bathroom, he notices the still unopened
mail. Three envelopes.
29 CLOSE SHOT - JOE
He squints at them, then remembering the spectacles he
puts them on.
MAGGIE (o.s.)
Where'd you get those funny old
cheaters, Joe?
JOE
At the Bleeker house.
MAGGIE (o.s.)
You'll ruin your eyes wearing
somebody else's glasses.
30 P.O.V. SHOT - (THROUGH THE SPECTACLES)
The THREE LETTERS.
JOE
Where's the other letter? There
were four this morning.
CAMERA (JOE) PANS UP TO MAGGIE
Her back is to him as:
MAGGIE
It was only a bill from the gas
company. I took care of it for you.
She turns to face him now, a hateful little smile on her
face, as we hear:
MAGGIE'S VOICE
(filtered) (her mouth not
moving)
You old fool. If you hadn't
been too cheap to buy a pair of
glasses I'd have lost the pleasure
of fleecing you.
31 CLOSE SHOT - JOE
Startled, he shoves the spectacles up on his forehead.
JOE
What'd you say?
32 ANOTHER ANGLE - MAGGIE
wears the same smile, except the hate does not show there now.
MAGGIE
I said, if you hadn't been too
busy to buy a pair of glasses,
I'd have lost the pleasure of
spoiling you.
Joe lowers the glasses.
33 P.O.V. SHOT - (THROUGH THE SPECTACLES) - MAGGIE
MAGGIE'S VOICE
(filtered) (her mouth not moving)
Enjoy it while you can, Joe.
Tomorrow you'll be dead.
34 ANOTHER ANGLE
Again, Joe shoves the spectacles up on his forehead. He
is alarmed about his sanity now, as:
JOE
Huh?..
MAGGIE
I said, enjoy it while you can,
dear. Tomorrow you'll be dead-
tired from hauling all that rubbish.
Joe is beginning to suspect the strange power of the
spectacles now as he lowers them again, and:
JOE
What kind of a bill did you say
it was, Maggie...?
MAGGIE
From the gas company.
35 P.O.V. SHOT - (THROUGH THE SPECTACLES) - MAGGIE
MAGGIE'S VOICE
(filtered)
They want to buy this property,
Joe. For a lot of money.
36 ANOTHER ANGLE
to catch CHARLIE entering. He is dressed up and carries
a large, ribbon-tied bottle of wine. Grinning he crosses
to Joe and presents him with the wine.
CHARLIE
Happy birthday, Joe! I brought
you a jug of your favorite poison.
37 P.O.V. SHOT - (THROUGH SPECTACLES) - CHARLIE
There is an evil cast to his grin now as:
CHARLIE'S VOICE
(filtered)
And if this doesn't kill you,
I will, ape man.
38 ANOTHER ANGLE
Joe shoves the spectacles up.
JOE
What'd you say?
CHARLIE
I said, if this doesn't fill
you, I will flip, man. It cost
me a bundle!
Charlie and Maggie laugh. Joe remains grimly silent.
CHARLIE
What's the matter, Joe? You sick?
What you need is a little drinkie!
Okay, Maggie?
MAGGIE
I don't know, Charlie. The doctor
said....
CHARLIE
Oh, c'mon. It's his birthday.
MAGGIE
Just one then.
Charlie has already uncorked the bottle and now is filling
three water glasses. Joe lowers the spectacles to take an
'inside' look at them.
39 P.O.V. SHOT (THROUGH SPECTACLES) - MAGGIE and CHARLIE
There is open conspiracy in their faces as their eyes meet.
CHARLIE'S VOICE
(filtered)
You should have been an actress,
baby.
MAGGIE'S VOICE
(filtered)
Fill his right to the top, honey.
The quicker we get him drunk, the
quicker we can get him over to the
old house.
40 ANOTHER ANGLE - CHARLIE
passes Joe the full glass. He and Maggie raise their
glasses as:
CHARLIE
Here's pie in your face, Joe!
MAGGIE
Many happy returns, darling.
41 BACK TO P.O.V. SHOT (THROUGH SPECTACLES)
As CHARLIE and MAGGIE drink to him.
CHARLIE'S VOICE
(filtered)
The three of us are going on a
midnight treasure hunt, Joe.
MAGGIE'S VOICE
(filtered)
And you're going to have a nasty
accident, darling.
CHARLIE'S VOICE
(filtered)
If a tumble down the stairs don't
kill you, I'll clobber you with a
board. It'll leave the same kind
of marks.
42 ANOTHER ANGLE
Joe slowly drains his glass. Charlie quickly refills it.
MAGGIE
Charlie...! I said just one.
CHARLIE
Don't be a party pooper, Maggie.
43 P.O.V. SHOT (THROUGH SPECTACLES) - MAGGIE and CHARLIE
Their eyes linger on each other.
MAGGIE'S VOICE
(filtered)
Honey, this is one party I wouldn't
spoil for the world...!
CHARLIE'S VOICE
(filtered)
You're beautiful, Maggie. In
a few hours you'll be all mine.
MAGGIE'S VOICE
(filtered)
I never thought it would be so
exciting. I love you, Charlie!
44 ANOTHER ANGLE
JOE removes the spectacles, his glance lingering on the
engraving, as:
JOE
You had an education, Charlie.
What does V...E...R...I...T...A...S
mean?
CHARLIE
Veritas. That's Latin. It means
Truth. Why do you ask?
Joe doesn't reply. He simply drains the wine glass and
gets to his feet. He makes his way unsteadily toward the
shop, taking the spectacles and placing them on a table
just inside the doorway, as:
MAGGIE
Where're you going, Joe?
JOE
To put the truck in the garage.
CHARLIE
Sit down and have another belt.
I'll take care of the truck, Joe.
JOE
No. You got your fancy clothes on.
(cryptically)
Too bad.
He leaves. They wait until they hear the CUSTOMER DOOR
BELL SOUND and the front DOOR CLOSE. Then:
CHARLIE
What did he mean - "too bad" I got
my fancy clothes on?
MAGGIE
Who knows what that crazy old
coot means?
45 INT. SECOND HAND STORE - NIGHT - SHOT
to discover Joe, standing, listening, in the shadows just
inside the front door. Across the street, unnoticed by
Joe, we see a cop walking his heat. He stops at a
call-box, checks in as CAMERA MOVES IN CLOSE to record
Joe's reaction to:
CHARLIE (O.S.)
I don't like the way he's acting,
Maggie.
MAGGIE (O.S.)
You losing your nerve?
CHARLIE (O.S.)
No, no! It's only that --
MAGGIE (O.S.)
(provocatively)
It's only what, darling?...
CHARLIE (O.S.)
(at length; sotto;
passionately)
Maggie...! Maggie...! What
you do to me...!
A long, significant SILENCE.
46 CLOSE SHOT - JOE'S HAND
curls around a crowbar lying among other tools on a
nearby table, CAMERA PANS WITH crowbar as Joe moves
slowly, silently back to the curtained doorway. With
one swift motion, he rips the curtains aside.
46A INT. LIVING QUARTERS - NIGHT - CLOSE TWO SHOT
Maggie and Charlie in a clinch. Startled, they break
apart.
CHARLIE
Joe...!
(a horrified beat)
JOE!
46B REVERSE ANGLE - JOE
lunges for them (CAMERA), the crowbar raised.
46C SERIES OF QUICK CLOSE SHOTS
thru as Charlie reels back to avoid the blow, knocking
46F Maggie over and crashing into the table. Dishes shatter,
furniture splinters as he tries in vain to dodge the
death blows. When Charlie is finished, Joe turns his
wrath on Maggie, catching her and dragging her down as
she attempts to flee into the store.
46G INT. SECOND HAND STORE - NIGHT
The COP at the call-box across the street HEARS Maggie's
piercing SCREAM. He bolts across the street, into the
store, knocking over a table of small tools etc. in the
dark as he rushes toward the curtained doorway.
47 INT. LIVING QUARTERS - NIGHT - SHOT
to catch the cop entering. He checks, reacts to the
bloody horror (unseen by Camera) which greets his eyes.
His glance directs CAMERA to Joe who is leaning back
against the wall, dazed, utterly exhausted and blood-
spattered from head to foot.
COP
Joe...! Why...?!
The cop is between Joe and the object of his attention --
the spectacles.
JOE
(almost incoherently)
(rasps)
The cheaters...the cheaters....
48 QUICK CLOSE SHOT - SPECTACLES
49 MED. SHOT
COP
You don't do a thing like this
because your wife is cheating
on you, Joe!
JOE
(an anguished cry)
THE CHEATERS!!
He raises the crowbar intending to smash them. But as he
lunges forward the Cop thinks the blow is meant for him
and he empties his revolver point blank into Joe's chest.
Joe sinks down, his last dying gesture is an attempt to
reach the spectacles, which the cop doesn't even notice.
FADE OUT
END - ACT 1
FADE IN
50 INT. MIRIAM OLCOTT'S BEDROOM - DAY - CLOSE
on the little, old-fashioned lady who seems highly
agitated as she speaks a rapid-fire stream into the
phone. CAMERA PULLS BACK to discover that she is
propped up in bed, an untouched luncheon tray nearby.
It is a large room with a fireplace, well furnished and
far more cheerful than its occupant.
MIRIAM
(into phone)
But I'm not imagining it,
Clarence! She's put something
in my tea.
(a beat)
My dear Clarence....I'm not a
complete fool no matter what
Olive and Edward think! I know
when my tea's been drugged.
(a beat)
Because it's Thursday! Her
bridge club meets downstairs
every Thursday and every
Thursday after lunch I get so
sleepy I have to stay in bed!
As the voice on the other end replies, Miriam sniffs at
the tea, makes a face and dumps it into a nearby flower
vase.
MIRIAM
Well, any simpleton can see why
she's doing it. She doesn't want
me around when her friends are
here. Afraid I might speak my
mind.
As the voice rebuts, Miriam nibbles on a piece of dry
toast which she finds utterly tasteless.
MIRIAM
(cuts in; indignantly)
I am not being ungrateful! And
I am well aware of the sacrifice
Olive and Edward made to come
and take care of me when Mr.
Olcott died. But that doesn't
excuse them for keeping me a
prisoner in my own house
(childishly)
And I'm hungry, Clarence!
(a beat)
Diet! Pah! My heart's perfectly
normal. I just get a little short
of breath sometimes --
The SOUND OF APPROACHING FOOTSTEPS catches her attention.
MIRIAM
(sotto)
She's coming! Please! Promise
you'll drop by tonight.
(a beat)
Bless you, Clarence. At least
I have one friend left --
She hangs up an instant before OLIVE enters. Olive is a
soft-spoken patient woman who seems genuinely concerned
for the irascible, senile old lady. She smiles warmly
as she approaches the bed.
OLIVE
Enjoy your lunch, Mother
Olcott?
Miriam sniffs. Olive inspects the tea pot as she removes
the tray.
OLIVE
I see you drank all your tea.
MIRIAM
(pointedly)
Wouldn't you be disappointed
if I didn't?
OLIVE
Dr. Richards would be disappointed
dear. You know what he said
about keeping up your liquid
intake.
Miriam pouts childishly.
OLIVE
Sleepy?
MIRIAM
(contrarily)
No.
She slips down under the covers, allows Olive to pump
her pillows etc., as:
OLIVE
Well, try closing your eyes
for a little while. If you
can't nap just ring and I'll
help you downstairs.
MIRIAM
I wouldn't dream of intruding
on your bridge party, Olive.
OLIVE
You'd be an asset to any party,
Mother Olcott.
She smiles indulgently, and kisses the old lady on the
cheek. CAMERA HOLDS ON MIRIAM as she watches Olive
leave. The moment she has gone, the old lady struggles
out of bed, goes to the door, cracks it.
51 CLOSE SHOT
As Miriam eases her door shut, a devilishly exciting
idea comes into her mind.
FAST DISSOLVE
52 INT. FOYER - DAY - CLOSE ON SIDE TABLE
which now holds the hats of a dozen or more women. From
the partially closed drawing room, we HEAR the sounds
of the bridge party as CAMERA PANS to pick up Miriam
sneaking down the stairs. She is dressed in turn-of-the-
century fashion, all lace and billows with an eagle's
nest harpooned to her hair with a long, wicked-looking
pin; high-button shoes, a moth eaten fur jacket, etc.
She is carrying a large, old-fashioned reticule. At
the bottom of the stairs she pauses to catch her breath,
her glance falling on the guests' hats. A devilishly
spiteful look crosses her face. Cautiously she manages
to get past the drawing room door and over to the hats
without being seen. She picks up the one with a large
feather and deliberately snaps the feather at the base,
so that it dangles loosely, utterly ruining the chic
flair of the hat. Then, delighted with her mischief,
she quietly goes out the front door.
52A EXT. OLCOTT HOUSE - DAY
As Miriam heads up the street, a neighbor's prize rose
bush catches her eye. Without a moment's hesitation she
crosses the lawn, picks herself the choicest bloom, tucks
it into her old fur piece, and goes on her way.
FAST DISSOLVE
53 EXT. CITY STREET - DAY - SHOT
As Miriam heads up the street, chin high, people turn to
stare at the caricature of yesteryear. Miriam is aware of
their rude attention and it makes her all the more prideful.
CAMERA FOLLOWS HER as she pauses before a small store window.
54 CLOSER SHOT - MIRIAM
eyes the bright, expensive items with growing
excitement. Then, spotting something irresistible,
she goes inside.
55 INT. BOUTIQUE SHOP
Miriam enters, crosses to a counter displaying colorful
imported scarfs. A SALES GIRL approaches, trying hard
not to show her amusement at the old lady's attire.
SALES GIRL
May I help you?
MIRIAM
(handling the scarfs)
These are very lovely But I
don't see the color I require.
SALES GIRL
What color are you looking for?
MIRIAM
Yellow. Bright yellow.
SALES GIRL
I'll see if there are any in
stock.
The girl turns away, opens a stock drawer, finds the
required color. Her eyes are off Miriam only moment,
but in that moment, Miriam drops three scarfs into the
voluminous reticule. The theft is committed with the
swift expertness of a long-time shop-lifter. The old
lady is the picture of innocent dignity when the girl
displays the yellow scarfs.
MIRIAM
Oh, my, no! What a horrid
shade. Thank you, I'll look
elsewhere.
She heads for the door, pausing at a counter displaying
cosmetics.
56 CLOSER SHOT
The saleslady is waiting on another CUSTOMER. Miriam
waits her chance, pops an expensive bottle of perfume
into her reticule. Then, tingling with excitement, she
makes a very proper exit.
FAST DISSOLVE
57 MONTAGE - SERIES OF STREET SHOTS
Miriam coming out of various stores, her reticule gradually
filling to the bulging point.
58 INT. HENSHAW'S SECOND HAND STORE - DAY - MIRIAM
pauses at the window, her glance fixing on a fine
old escritoire. Across the window is painted the
bold legend: "DEMOLITION SALE - EVERYTHING HALF PRICE".
Henshaw's old truck is at the curb and BURGIN, a shrewd,
pinch-faced junkman, and his BOY are loading it with
stuff out of the shop. As Miriam enters the shop,
Burgin is right on her heels.
59 INT. SECOND HAND STORE - DAY - MIRIAM
goes directly to the escritoire, Burgin after her.
MIRIAM
My, what a lovely old escritoire
How much are you asking for it,
Mr. Henshaw?
BURGIN
It's sold, lady. An' my name's
Burgin. Henshaw's dead.
MIRIAM
Oh...?
BURGIN
Don't you read the papers?
Brained his wife and her boy
friend. Cop shot him.
MIRIAM
Oh, dear me!
BURGIN
The gas company owns this place
now. Bought it from Henshaw's
relatives. They're gonna put
up an office building. I
bought his inventory.
MIRIAM
Yes...well, I'll just browse
around, if may.
BURGIN
Sure, lady.
Miriam's attention is attracted by a table containing
ceramics and other odd lot items. She moves over to
it.
60 CLOSER SHOT - MIRIAM
A small figurine excites her fancy. Shielding the
business with her body, she open her bulging reticule.
But as she is about to reach for the figurine,
61 ANOTHER ANGLE - BURGIN
is wise to her and has come round from the other side.
BURGIN
Something you like, lady?
Startled, guilt-laced, she grasps the first item her
hand touches:
MIRIAM
Oh! Yes...how much is this?
BURGIN
Two bits.
She drops the item in her reticule, pays him and hurries
out.
62 EXT. HENSHAW'S SHOP - DAY MIRIAM
comes out, hurries up the street, pauses in a doorway
to inspect her purchase.
63 CLOSER SHOT
She discovers she has purchased a pair of spectacles -
(Van Prinn's). Curiously she examines the tarnished
silver frames, reading the engraving.
MIRIAM
Veritas...Truth...
(sniffs)
Truth, indeed! If the truth
were known this country is
being ruined by dishonest
merchants. Twenty-five cents
for such trash!
Righteously she pops the spectacles back into her reticule
and moves off as we:
DISSOLVE
64 INT. ENTRANCE FOYER - NIGHT - MIRIAM
enters to find Olive and Edward waiting for her. Both
are dressed in evening clothes, Edward's jacket taut
across his dumpy, Franklinesque figure. His balding
head glistens with nervous perspiration and he is
slightly less able to conceal his irritation than is
Olive.
OLIVE
Mother Olcott! We've been so
worried! It's almost seven
o'clock!
EDWARD
You know what the doctor said
about your going out alone --
OLIVE
Where have you been?
MIRIAM
If you must know I went
downtown to be fitted for a
pair of glasses.
She has extracted the spectacles from the reticule and
now puts them on. She blinks, tries to focus as Olive
and Edward exchange looks of covered amusement.
OLIVE
My...aren't they attractive...
Don't you think so, Edward?
EDWARD
Yes.... very unusual...
65 POV SHOT (THROUGH SPECTACLES) - EDWARD
comes into focus, his expression derisive as:
EDWARD'S VOICE
(filtered) (mouth not moving)
The perfect touch for that
Halloween costume the old bat's
wearing.
66 ANOTHER ANGLE
Reacting, Miriam pulls the spectacle down and peers
at Edward over the rim.
MIRIAM
What did you say..?!
EDWARD
I said the perfect touch for
that custom look everyone's
wearing.
OLIVE
I see you've been shopping again.
Miriam pushes the spectacles back up.
67 POV SHOT - THROUGH SPECTACLES - OLIVE
Her sweet smile is overlayed with contempt.
OLIVE'S VOICE
(filtered) (mouth not moving)
You doddering old thief. Now
Edward will have to return all
the junk you've stolen.
68 CAMERA PANS TO EDWARD.
EDWARD'S VOICE
(filtered)(mouth nt moving)
It'll be the last time you'll
make trouble for me, old girl.
Your next trip will be to the
mortuary.
69 ANOTHER ANGLE - MIRIAM
is too stunned, too alarmed by the revelation to speak.
EDWARD
You look so pale. Mother Olcott?
Let me help you up to bed.
She shrinks back from his touch.
MIRIAM
No. No...!
(recovering her poise)
I can manage, thank you.
As she mounts the staircase.
OLIVE
Darling, we're already late.
You won't mind if Clarence
brings up your tray. He
phoned to say he was on his
way.
EDWARD
We'll wait for him if you feel
nervous about being alone, Mother
Olcott.
Miriam doesn't reply.
OLIVE
(at length to Edward)
I think we should wait.
EDWARD
(for Miriam's benefit)
She'll be alright. She'll
probably make old Clarence
take her night clubbing.
Olive joins Edward's warm little laugh. Miriam is at
the top of the stairs now and she turns to view Edward
through the spectacles.
69 POV SHOT - (THROUGH THE SPECTACLES) - EDWARD
His smile is malignant as:
EDWARD'S VOICE
(filtered)
Goodbye, Mother Olcott...sweet
dreams. They'll be your last
after tonight.
70 CLOSE SHOT - MIRIAM
Frightened, she turns and hurries into her room, slamming
the door and locking it.
71 TWO SHOT - OLIVE AND EDWARD
are puzzled at her strange behavior.
FAST DISSOLVE
72 INT. MIRIAM'S BEDROOM - NIGHT - MIRIAM
is lying on her bed, fully clothed. The room is in
semi-darkness. There is a KNOCK ON THE DOOR. Startled,
afraid, she sits up, listens. The door is tried, found
locked. ANOTHER KNOCK.
CLARENCE'S VOICE
Miriam. Miriam, it's Clarence
Relieved, she hurries to the door, unlocks it, admits
Clarence. He comes in with her supper tray and a broad,
warm smile. He is an older man, silver-haired, with the
look of bearing of affluence.
CLARENCE
How's my best girl tonight?
Hear you were out on the town
this afternoon.
MIRIAM
Clarence! They're going to
kill me!
Clarence indulges her as if she were a small child,
gently, almost fatherly, as:
CLARENCE
Now, Miriam...that's no way to
talk.
MIRIAM
I tell you it's true!
Clarence has set down the tray and uncovered the hot food.
CLARENCE
Say...? This looks delicious.
MIRIAM
Clarence! As trustee of my
late husband's estate, you have
a duty to listen to me!
CLARENCE
Where would you like to sit?
How about over here by the fire?
He takes the tray over to a table near the fireplace,
pulls up a chair for her, etc., as:
MIRIAM
I heard them say it, Clarence!
I mean, I heard them think it.
I don't know how, but it has
something to do with these
spectacles.
CLARENCE
After you've had your supper,
let's go downstairs and watch
TV. Come along now, young lady.
Miriam has found the spectacles. As Clarence turns to
beckon her, she puts them on.
73 POV SHOT (THROUGH SPECTACLES) - CLARENCE
His warm smile is gone, replaced by a deadly calculating
CLARENCE'S VOICE
(filtered)(mouth not moving)
Come get your last meal.
74 ANOTHER ANGLE
Miriam lifts the spectacles from her eyes, stares at
her trusted friend, unable to believe it.
CLARENCE
No appetite? I know just the
thing to whet your palate. A
little brandy. If you promise
not to tell on me, I'll go
downstairs and find Edward's
decanter.
She lowers the spectacles.
75 POV SHOT - (THROUGH SPECTACLES) - CLARENCE
CLARENCE'S VOICE
(filtered)
I'm going to need a drink before
I shove you down the stairs,
you senile old scarecrow.
76 ANOTHER ANGLE
Miriam fights down her panic as:
MIRIAM
Clarence...who inherits when
I'm gone...?
CLARENCE
What an odd question to ask.
MIRIAM
Who?
CLARENCE
You know. Edward and Olive -
provided they maintain you in
this house for as long as you
live.
77 POV SHOT - (THROUGH SPECTACLES) - CLARENCE
CLARENCE'S VOICE
(filtered)
...which won't be long, Miriam.
And for "arranging your fatal
accident" they're giving half
to me.
78 TWO SHOT
Miriam pales, clutches the bedpost for support, sinks
down to a sitting position.
CLARENCE
You're ill! You do need a
stimulant. I'll be right back.
He rushes out. CAMERA HOLDS ON Miriam, stunned, helpless,
as she awaits the return of her murderer. She is almost
resigned. Then, gradually, she is aware of the hat pin
under her hand.
79 CLOSE SHOT - THE EAGLE'S NEST HAT
run through with the long, wicked pin.
80 CLOSE SHOT - MIRIAM
sees her salvation.
81 BACK TO HAT
She slowly withdraws the pin.
82 INT. HALLWAY - NIGHT - ANGLE
to catch Clarence hurrying up stairway carrying a brandy
decanter.
83 INT. MIRIAM'S BEDROOM - NIGHT - ANGLE OVER MIRIAM'S
SHOULDER
to pick up Clarence as he enters, heads over to the fire-
place mantel where several antique crystal goblets are
displayed. As he fills two goblets making a little
ceremony of it:
CLARENCE
One thing I've always admired
about Edward...he keeps excellent
brandy. A status symbol for him,
I suppose. A pity he never
touches it. If I've said it
once, I've said it a hundred
times: "Unbend a little, Edward.
Live!"
He has turned to offer her a glass.
CLARENCE (contd)
Well! You won't let your
generation down, will you,
Miriam? You know how to live!
83A P.O.V. SHOT (THROUGH SPECTACLES) - CLARENCE
CLARENCE'S VOICE
(filtered)
But you're overdoing it, you
old hag.
83B ANOTHER ANGLE - MIRIAM
slides back on the edge of the bed, recoiling from the
extended glass.
CLARENCE
What's wrong, Miriam? Aren't
you going to join me?
Miriam's back is against the bedhead now. There is no
further retreat.
CLARENCE (contd)
(hurt)
Miriam...! You can't let an
old friend drink by himself.
83C P.O.V. SHOT - (THROUGH SPECTACLES) - CLARENCE
CLARENCE'S VOICE
(filtered)
Take it. I don't want any
trouble shoving you down the
stairs.
83D ANGLE OVER CLARENCE'S SHOULDER
As he bends over her, the brandy glass extended, the hat
pin concealed in the folds of her dress (concealed from
CAMERA) comes up and plunges into his chest. CAMERA
FOLLOWS HIM as he reels back, a look of utter astonishment
on his face.
CLARENCE (contd)
(sotto)
Miriam --- !
Slowly he sinks down against the hearth, his mouth twist-
ing open in a grotesque attitude of speech as he dies,
seated in a life-like position, eyes staring. CAMERA
PULLS BACK to include Miriam who is again her old con-
fident self, taking quite a kick out of her macabre
triumph. Taking one of the glasses from his hand, she
proposes a toast.
MIRIAM
To what is most precious between
friends, Clarence...the truth.
She drains the glass, gasping a little as the burning
liquid goes down. But the warmth it affords is pleasant
and she refills her glass as we:
DISSOLVE
84 INT. BEDROOM - NIGHT - CLOSE ON BRANDY DECANTER
almost empty. CAMERA PULLS BACK to discover Miriam seated
very near the fire facing her dead guest who still sits
in life-like attendance clutching his brandy
glass. She is happily, gloriously potted and singing
a soft off-key little ditty as she refills, her glass.
MIRIAM
(thickly)
Clarence...! You're not
saying a word. Dear, sweet
Clarence. Always ready to
listen to an old lady's troubles.
(she giggles girlishly)
Ohhh! Everything is spinning
around...! Around and around
and around... and... around...
She quietly passes out, the brandy-filled goblet tipping
in her limp hand, spilling onto the hearth and trickling
into the fire. It ignites and as the blue flame crawls
back along the rivulet and catches on to the hem of
Miriam's skirt, we:
FADE OUT
END OF ACT II
FADE IN
85 INT. OLIVE'S AND EDWARD'S BEDROOM - NIGHT - OLIVE
is getting into a 16th Century courtesan's costume.
Edward is in the dressing room.
OLIVE
I hope you didn't choose a
toreador's costume...or something
that will make you look equally
ridiculous.
No reply from the dressing room.
OLIVE (contd)
What did you choose?
86 INTERCUT - DRESSING ROOM - NIGHT - CLOSE SHOT - EDWARD
We do not see what costume he is getting into as:
EDWARD
You'll see.
OLIVE
(at length)
Edward. I'm frightened. All
those important people coming
tonight...the Thorgensens...
Judge Pfluger....
EDWARD
There's only one that counts...
Thorgensen.
OLIVE
I still think we're rushing
things.
EDWARD
Nonsense. It's been nearly a
year since...since Clarence and
the old lady died. People have
found other things to talk about.
OLIVE
I wonder....
EDWARD
They all accepted, didn't they?
OLIVE
They'd come once -- out of
curiosity, if for no other reason.
EDWARD
I couldn't care less -- as long
as Thorgensen enjoys himself.
He doesn't know it yet, Olive,
but he's going to sponsor me into
the Gentry Club. I intend to
be somebody in this town, and
Thorgensen will be my advocate.
(a beat, then)
That's why I invited Sebastian
Grimm and his wife.
He is prepared for her shocked reaction as:
OLIVE
Sebastian Grimm!...That writer...?
He's nothing but a...a....
EDWARD
(chuckling at her
indignation)
A "dissolute bounder." That's
how dear, sweet Mother Olcott
would have characterized him.
Well, he's a necessary evil to
my plan for the evening. He's
just bad mannered enough to get
bored with our party and suggest
a poker game. Thorgensen's
weakness.
OLIVE
But you hate gambling.
EDWARD
Nevertheless, I intend to show
Thorgensen that I know how to
lose like a gentleman. A
thousand...two thousand...five,
if necessary. He's always
saying "It takes a game of poker
to separate the men from the
boys." An asinine idea.
(broadly)
However, the King must be served.
He has emerged from the dressing room -- a startling copy
of Benjamin Franklin -- and he now executes a low, pseudo
humble bow, his lace handkerchief sweeping the floor.
OLIVE
Edward...you look positively....
She can't find the word. He struts and turns for her,
vastly pleased with her reaction, as:
EDWARD
Like Benjamin Franklin...? The
symbol of stability and wisdom?
OLIVE
Yes...!
EDWARD
Exactly the impression I wish
to create ---
SOUND of DOOR BELL. Olive reacts.
EDWARD (contd)
Don't panic my dear. We have
more money than most of them
now...and very soon they'll be
courting our favors. Your
servant, Madam.
With a courtly gesture, he offers his arm. As they
exit, we:
DISSOLVE
87 INT. LIVING ROOM - NIGHT - WIDE ANGLE SHOT
The party is in progress, the GUESTS costumed in mid-1700
garb, each according to his status vis a vis Thorgensen
who is costumed as a king. He is a big man, with a big
smile, a big booming voice and an enormous ego. Judge
Pfluger is a wigged magistrate; the tall, handsome
Sebastian Grimm is a court dandy, his plain, mousey little
wife Ellen is a scullery maid. No one is having a very
good time except for Thorgensen who is enjoying the
sound of his own voice and the attention of the other
men -- among whom is Edward. All are drinking, except
Edward.
88 OMIT
89 TWO SHOT - SEBASTIAN AND ELLEN
across the room. He is drinking rather heavily and as
usual, she is concerned about his behavior.
SEBASTIAN
Look at them -- sucking up to
Thorgensen like leeches on a
hog. What a stupid party.
ELLEN
You were the one who insisted
we come, Sebastian.
SEBASTIAN
My dear, status seekers are my
particular pets. I thought it
would be amusing to watch a new
one make his bid tonight.
ELLEN
I think I like Mr. Dean....
SEBASTIAN
(a charming little smile)
Why not? You see the good in
everyone, Ellen. Even me.
As he drains his glass she looks at him helplessly,
unhappily.
SEBASTIAN (contd)
How much is in the checking
account?
ELLEN
Only a few hundred.
SEBASTIAN
Wish me luck.
He starts off. She grasps his sleeve.
ELLEN
Sebastian. I can't cover your
losses again. There's nothing
more to draw on.
He caresses her cheek and she melts under his touch as
he looks into her eyes with a patronizing little smile.
SEBASTIAN
You'll find something, Ellen.
You always do.
He leaves her absolutely defeated, and crosses to the
group around Thorgensen, who are laughing dutifully at the
King's bon mot.
90 CLOSER SHOT - GROUP
Their laughter dies as Sebastian comes on.
SEBASTIAN
Dean...your costume is very
impressive.
EDWARD
(flattered)
Thank you.
SEBASTIAN
I'd swear I was in the presence
of the industrious Benjamin
Franklin himself...except for one
flaw.
EDWARD
What's that, Mr. Grimm...?
SEBASTIAN
Any schoolboy knows that Franklin
wore glasses.
Edward flushes, tries not to show his resentment.
THORGENSEN
(chuckles)
He's got you there, Dean. Ben
Franklin without his specs is
like F.D.R. without a cigarette
holder.
EDWARD
(lies rather badly)
Yes... that's what I said to the
costumer. Would you believe it,
he actually gave me an argument.
As you were saying earlier Mr.
Thorgensen..there's no pride of
history any more.
Olive has heard the glasses discussion, having been passing
a tray of drinks among the men. Edward passes.
BROOKS
Not drinking, Dean?
EDWARD
I rarely touch it, Judge. Not
that I have any objection to
others enjoying themselves...
SEBASTIAN
I'm glad to hear that because
I'm bored. How about getting
off someplace where we can
indulge in Thorgensen's favorite
form of larceny?
EDWARD
(feigns ignorance)
Sir...?
SEBASTIAN
Poker...
THORGENSEN
(amused, magnanimous)
Still smarting over the last
licking I gave you, eh, Grimm?
Want another lesson?
SEBASTIAN
I'm a difficult student, it
seems.
PFLUGER
Only the ignorant despise
education.
SEBASTIAN
Ahh... His Honor is a scholar,
I see. He quotes Pubiluis
Syrus. Do you recall this
maxim, Judge? "Let a fool hold
his tongue and he will pass for
a sage."
PFLUGER
(flushes angrily)
Now look you here, young fellow --
Thorgensen takes an open delight at Pfluger's reaction.
THORGENSEN
(a rumbling laugh)
You asked for that one Pfluger.
OLIVE
Edward. Why don't you men
use the library.
EDWARD
(seemingly reluctant)
All right. I think I can find a
deck of cards and some chips.
This way, please, gentlemen.
As Edward indicates the way and they precede him, he
exchanges a pleased little look with Olive.
DISSOLVE
91 INT. LIBRARY - NIGHT - CLOSE ON POKER TABLE - A FULL HOUSE
is being fanned out over a large pot by Thorgensen and
CAMERA PULLS BACK to discover that Edward was bucking him
with three of a kind.
THORGENSEN
Sorry, Dean.. Aces full.
As Thorgensen rakes in the pot, we note from the chips in
front of them that Pfluger is holding his own.
Sebastian and Edward are heavy losers. Sebastian is quite
drunk now.
EDWARD
(the good sport)
Well. I was positive I had you
beat that time, Mr. Thorgensen.
Thorgensen chuckles, well pleased with himself, as usual.
SEBASTIAN
You lose your money like it had
small pox.
EDWARD
It's the contest I enjoy, Mr.
Grimm. The give and take.
Winning or losing is secondary.
SEBASTIAN
(caustically)
Spoken like a gentleman, Dean.
Here. Let's see what alcohol
does to that civilized veneer.
He pours Edward a stiff drink. Edward obviously does not
want it. Thorgensen glances across the table at Edward
and Edward knows he is being tested again, as:
SEBASTIAN (contd)
(toasting him)
Damnation to despoilers of our
American heritage...and sore
losers.
THORGENSEN
I'll drink to that.
Following Thorgensen's cue they all drink -- including
Edward, although reluctantly. Meanwhile, Olive enters
with a tray of "small" sandwiches.
OLIVE
I thought you men might like
something from the buffet.
She sets down the tray on the table and:
OLIVE (contd)
And Edward... look what I found
among Mother Olcott's things.
She exhibits the spectacles, then slips them on Edward.
He blinks, tries to adjust to the lenses as the others
appraise him.
THORGENSEN
Well, I'll be damned....!
PFLUGER
Remarkable....!
OLIVE
Does that satisfy your sense of
historical accuracy, Mr. Grimm?
SEBASTIAN
(broadly)
Madam, I am flabbergasted!
92 CLOSE SHOT - EDWARD
still cannot see very much through the thick lenses, but
their remarks (and the liquor) warm his ego. He is trying
to focus on the chips in front of him, as:
EDWARD
Can't see much.
SEBASTIAN
(acidly)
Might improve your game, Benjie.
How about dealing, Thorgensen?
EDWARD
I believe I'll need some more
chips, Judge.
He hands Pfluger some money. As Pfluger counts out the
chips:
93 POV SHOT (THROUGH SPECTACLES) - PROCESS
His normally sage countenance is touched with a hatefully
superior light.
PFLUGER'S VOICE
(no movement of mouth)
Delighted to take your money, you
fat little fool.
94 ANOTHER ANGLE - EDWARD
blinks, startled. He pulls the spectacles down on his nose
and:
EDWARD
I beg your pardon...
PFLUGER
I said, delighted...
Edward shoves the glasses back up again as Pfluger passes
him a stack of chips.
95 POV SHOT - (THROUGH SPECTACLES) - PFLUGER
PFLUGER'S VOICE
(filtered)
It will take more than a patriot's
costume to cloak your intentions,
you tedious little poseur.
96 CLOSE SHOT - EDWARD
Like Joe Henshaw and Miriam Olcott, he fears for his
sanity. Hand trembling, he gulps his drink, then:
EDWARD
What did you say, Judge....?
97 OMIT
98 WIDER ANGLE
Before Pfluger can reply, Sebastian reaches over and
pulls the spectacles off Edward's nose.
SEBASTIAN
Those things affecting your
hearing? Here's a laugh
These specs are engraved with
the word "Veritas."
THORGENSEN
Huh ?
SEBASTIAN
Latin for "truth". Probably
made with His Honor in mind.
The truth is supposed to be
your calling, isn't it, Pfluger?
Pfluger flushes angrily as he picks up the cards which
Thorgensen is dealing.
PFLUGER
And what exactly is your calling,
Mr. Grimm?
SEBASTIAN
(broadly)
I'm an unpublished author. Unsung.
Unfulfilled. A soul in search of
the eternal verities of life!
(disgustedly)
And a decent hand.
Sebastian has picked up his first three cards and doesn't
like what he sees.
99 SHOT FEATURING EDWARD
whose glance has been fixed on the spectacles. It has
dawned on him that maybe... almost furtively now, he reaches
out for the spectacles and puts them on. The players are
concentrating on their hands now.
100 POV SHOT - (THROUGH SPECTACLES) - SEBASTIAN
picks up his last card and his expression of disgust
changes.
SEBASTIAN'S VOICE
(filtered)
Three nines..! That's more like
it! This time I'll give them a
run for their money.
His glance directs CAMERA TO PFLUGER.
PFLUGER'S VOICE
(filtered)
Humph! Not even a miserable pair.
I'd better stay in for one bet
though. Make Thorgensen think
he's forcing me out.
(glances to Thorgensen)
How can such a stupid man be so
damned lucky...?
CAMERA PANS TO THORGENSEN
THORGENSEN'S VOICE
(filtered)
The jerks. They're all waiting
for me to clobber them.
(chuckles)
It they only knew I've held out
a pair of aces from the last hand!
101 CLOSE SHOT - EDWARD
reacts.
102 CLOSE SHOT - THORGENSEN
grins across the table at him.
THORGENSEN
Aren't you going to look at your
hand, Dean?
103 BACK TO EDWARD
He picks up his hand but he hardly sees the cards he is so
perturbed. He takes another gulp of his drink, then glances,
almost furtively, back across at Thorgensen.
104 POV SHOT - (THROUGH SPECTACLES) - THORGENSEN
studies his cards as:
THORGENSEN'S VOICE
(filtered; chuckles)
Wait'll I tell the boys at the
Club how the stupid little climber
pretended to lose like a gentleman!
Ha glances up at Edward (CAMERA)
THORGENSEN'S VOICE (contd)
(filtered)
Wonder if he really did do away
with the old lady...? What's
he staring at me for? Can he
see the cards under my arm?
105 ANOTHER ANGLE
EDWARD
Yes, Mr. Thorgensen, I see them.
Under your arm. Two aces.
Everyone is startled at Edward's suddenly harsh,
positive tone. Thorgensen's big, amiable face freezes
into a fixed, almost innocent grin as:
THORGENSEN
(slowly)
What did you say....?
EDWARD
You held them out from the
last hand.
PFLUGER
Are you accusing Mr. Thorgensen
of cheating....?!
EDWARD
I'm simply stating a fact.
PFLUGER
You'd better retract that
accusation, Dean...if you know
what's good for you.
THORGENSEN
That's all right, Judge. It's
the liquor talking. Let's go
on with the hand.
EDWARD
No! You can't come into my
house, take my money and laugh
at me! Oh, no! Because I see
you for what you really are.
All of you! Raise your arm,
Thorgensen. Go on! Raise it!
There isn't a flicker of reaction in Thorgensen's face
as he slowly raises his arm.
106 CLOSE SHOT - TABLE UNDER THORGENSEN'S ARM
No cards.
107 CLOSE SHOT - EDWARD
is stunned.
EDWARD
(sotto)
But there were two cards under
your arm...! There! There
they are!
He is pointing to the floor.
109 CLOSE SHOT - TWO ACES
on the floor between Edward's and Thorgensen's chairs.
110 WIDER ANGLE
EDWARD
He got rid of them when we
weren't looking!
SEBASTIAN
What do you say, Thorgensen?
THORGENSEN
(at length)
What can I say...without being
a bad guest?
PFLUGER
Do you mean... Dean?
THORGENSEN
Of course. He collected the
cards from the last hand.
He held out those two with
the idea of trying to embarrass
me. I can't imagine why.
EDWARD
That's not true! You're lying!
THORGENSEN
Am I? Did you see me hide those
cards under my arm?
EDWARD
No, but ---
THORGENSEN
Then how did you know they were
aces?
For a moment, Edward is stopped cold. Then, realizing how
ridiculous it is going to sound.
EDWARD
These spectacles.. I'm not certain
what there is about them but..I..
I just knew...
THORGENSEN
(laughing)
Judge, I leave the verdict to you.
PFLUGER
I think we all know who the
cheater is.
EDWARD
No..! No! I tell you he held
those cards out! He's the
cheater. Admit it! Tell them!
Edward has advanced on Thorgensen, murderous fury in his
face. Alarmed, Thorgensen has backed away until:
EDWARD (contd)
TELL THEM!!
He flings himself at Thorgensen's throat. There ensues an
EXTENDED ACTION struggle in which Pfluger and Sebastian try
in vain to drag the now insane Edward off Thorgensen
who is being strangled. Pfluger finally ends it by smash-
ing (from behind) a heavy china candelabra over Edward's head.
Edward staggers back, releasing Thorgensen. Slowly, he
turns to CAMERA and we get one quick, shock glimpse of
his bloody face and hair. As he falls:
111 ANGLE TO EXCLUDE EDWARD - PFLUGER AND THORGENSEN
bend over him.
PFLUGER
I didn't mean to hit him so hard..
Thorgensen! Do something! He'll
bleed to death...
BROOKS
(at length)
It's too late.
During the above, Sebastian has picked up the spectacles from
the floor.
112 CLOSE SHOT - SEBASTIAN
As he examines the spectacles we:
FADE OUT
( END OF ACT III )
113 INT. SEBASTIAN GRIMM STUDY - NIGHT - CLOSE SHOT
THE SPECTACLES resting on the edge of his desk. CAMERA
PULLS BACK SLOWLY to discover SEBASTIAN and ELLEN gazing
down on them. Sebastian is gripped by an excitement
which he is barely able to suppress as:
SEBASTIAN
I'll admit that when I picked
them up from the floor I was
merely curious. The engraving...
"Veritas"... intrigued me. Also
the exchange between Dean and
Thorgensen when Thorgensen
asked: "Did you see me hide
those cards?" Dean said, "No."
"Then how did you know they were
aces?" Thorgensen asked.
ELLEN
What did Dean say?
SEBASTIAN
(carefully quoting)
"These spectacles...I'm not
certain what there is about
them but I just knew..." Ellen,
I tell you I'm on to something!
He pours himself a stiff drink as:
SEBASTIAN (Cont'd)
Oh, I know what you're thinking.
This is just another hairbrained
project that he'll get bored with
in a few weeks. But you're wrong.
Dead wrong. Look.
He unlocks a drawer, takes out a sheaf of typewritten
paper.
SEBASTIAN (cont'd)
A rough draft of my new book --
complete except for the last
chapter.
ELLEN
(very pleased)
Sebastian...!
SEBASTIAN
(picking up the spectacles)
And here is the villain...or the
hero, if you prefer. The cheaters.
That's the title, Ellen. "The
Cheaters."
ELLEN
A book about a pair of glasses...?
SEBASTIAN
These are no ordinary glasses.
I'm convinced that because they
were mis-used, five people met
violent deaths.
ELLEN
Five people...!
SEBASTIAN
I have it all documented, Ellen.
Remember the Henshaw murders?
ELLEN
Yes...
SEBASTIAN
The police officer who shot
Henshaw testified that when he
came at him with the crowbar,
he was screaming "The Cheaters!
The Cheaters!"
ELLEN
Wasn't that supposed to be the
motive for the murders.
Infidelity?
SEBASTIAN
Yes. But I don't think Henshaw
was referring to his wife and
her lover. And he wasn't attacking
the cop. He was trying to
destroy the cheaters.
He indicates the spectacles. Her reaction is openly
skeptical.
SEBASTIAN (contd)
Don't be so quick to reject the
idea. I looked up the testimony
at the Olcott inquest. Olive
Dean stated that on the day the
old lady put a hat pin into
Clarence Cramer's chest she'd
been downtown. Among the things
she brought home was a pair of
funny old glasses. I checked
with the man who took over
Henshaw's store, Ellen. He
remembers selling these same
cheaters to Miriam Olcott for
twenty-five cents!
ELLEN
I till don't see the
significance of them,
Sebastian.
SEBASTIAN
(grimly)
I believe that these glasses
enable the wearer to know the
naked, absolute truth about
anything or anybody.
ELLEN
That's nonsense.
SEBASTIAN
Is it? How else do you explain
the brutal thing that Henshaw
did? Only an unbearable truth
could have driven him that mad.
And how do you account for a
harmless old lady suddenly
murdering her dearest friend?
Or Dean's behavior at that
poker game? Imagine, Ellen!
Being able to read minds...to
see behind a face into the
depths of someone's soul...!
Ellen is chilled by the idea. Sebastian has picked up
the spectacles
ELLEN
(at length)
Have you tried them?
SEBASTIAN
No...
ELLEN
Why not?
SEBASTIAN
Because they weren't intended
for mind reading. Oh, don't
think I'm afraid to find out
what people think of me.
(an ironic little laugh)
I've had lots of occasion to
learn that -- the hard way.
ELLEN
People could like you, Sebastian...
if you gave them half a chance.
SEBASTIAN
I don't give a damn for people!
The truth is the only thing
worth knowing. The truth about
one's self. That's the real
purpose of these spectacles,
Ellen. That's what Van Prinn
was after when he discovered
the secret of this funny yellow
glass.
ELLEN
Van Prinn...?
SEBASTIAN
According to the local historical
society he built that old house
out on Bleeker road. His
neighbors thought he was a
sorcerer. Wonder what they'd
have called Edison...or Einstein...
or Ferme.
(speculatively)
Know thyself...
ELLEN
Put them away, Sebastian.
SEBASTIAN
(a cruel little smile)
What's the matter, Ellen?
Afraid I'll put them on and see
you for what you really are?
Let's have a look.
He raises the spectacles toward his face but she quickly
stops his hand.
ELLEN
No...! Don't!
SEBASTIAN
Darling...what have you got
to hide...you, of all people?
ELLEN
Please, Sebastian...!
SEBASTIAN
(a dark little laugh)
Don't worry. When I put them
on, it will be for something
important. Get your hat and
coat.
ELLEN
Where are we going?
SEBASTIAN
To the old house on Bleeker
Road.
ELLEN
What for?
SEBASTIAN
Atmosphere, darling. I want
the authentic atmosphere when
I report Van Prinn's experiment.
You see, I'm calling the last
chapter of my book, "Know
Thyself."
On her reaction, we:
DISSOLVE
114 EXT. VAN PRINN HOUSE - NIGHT - SHOT
to catch car parking on the road. Sebastian and Ellen
get out. He is carrying a pair of lanterns and he leads
the way up to the front door. An icy wind MOANS through
the trees, RATTLES A SHUTTER, PLAYS through the loose
shingles.
115 CLOSER SHOT
The front door hangs grotesquely open on a single rusted
hinge. Inside is a cavern of blackness. As Sebastian
pauses to light the lanterns:
SEBASTIAN
The city was supposed to tear
the old place down last year.
Lucky for me they didn't get
around to it...
ELLEN
Sebastian...?
SEBASTIAN
What is it?
ELLEN
What happened to Van Prinn when
he tried on the glasses...?
SEBASTIAN
What difference does it make?
ELLEN
I want to know.
He doesn't reply. The lanterns are now lit and he leads
the way inside.
116 INT. HOUSE - NIGHT - SEBASTIAN AND ELLEN
pause in the center of the cavernous, dust-and-cobweb
choked living room. Their lanterns cast weird light
patterns.
ELLEN
You haven't answered my question,
Sebastian. What happened to
Van Prinn?
SEBASTIAN
His old desk is still upstairs,
Ellen. And the mirror he used...
ELLEN
You've been here before?
SEBASTIAN
This morning. To answer your
question... he hanged himself.
Wait here.
He crosses to the foot of the staircase, pauses. Suddenly,
he seems apprehensive, as:
SEBASTIAN
(a forced little smile)
I know you think this is a fool
thing to do, Ellen...but it
appeals to my twisted sense of
the dramatic. You understand,
don't you?
ELLEN
Let's get out of here, Sebastian.
SEBASTIAN
No. I've come this far...
ELLEN
You don't have to prove yourself
to me -- or anybody!
SEBASTIAN
Darling...how would it look if
I ended my book by saying I
lost my nerve?
Suddenly she is rushing into his arms, clinging to him
desperately, as:
ELLEN
(sotto)
Sebastian! Please, let's go
home! This is wrong! It's...
it's unholy!
He has tensed under her kisses and now breaks her embrace
forcibly, as:
SEBASTIAN
I imagine that's what Van Prinn's
ignorant neighbors said. "It's
unholy." Well... if the devil's
waiting up there, so be it.
He breaks away from her and starts slowly, deliberately,
up the stairs. Ellen sinks down, watching him go, helpless
to stop him. When he gets to the top of the stairs,
he pauses.
SEBASTIAN
Ellen.
ELLEN
(hopefully)
Yes...?
SEBASTIAN
Did you know that the greatest
men in every century were hated
and ridiculed by people like
Thorgensen and Judge Pfluger.
Van Prinn knew that.
ELLEN
Sebastian...please come down!
SEBASTIAN
So he made the cheaters to see
if he was one of the great ones.
(an ironic little laugh)
Evidently he was disappointed.
Wish me luck, darling.
He disappears up the hall.
116A INT. HALLWAY - NIGHT - SEBASTIAN
moves down the hall to the door of Van Prinn's study. He
reaches for the doorknob. It is missing. He pushes the door.
It resists. He puts his shoulder to it.
117 INT. VAN PRINN'S STUDY - NIGHT - SEBASTIAN
shoves open the CREAKING old door, enters. His lantern
throws tortured fingers of light across the room, picking
out Van Prinn's old desk, the skull with its protruding
goose quill pen, and behind it, the mirror. As Sebastian
surveys the room, a sudden SHRILL DRAFT catches the door
and slams it shut with a BOOM which echoes through the
old house like a cannon shot. Startled, he has to make
an effort to recover his determination. When he does,
he crosses to the desk and sets down the lantern. Then,
positioning himself before the mirror, he takes the
spectacles from his pocket. He hesitates, takes a deep
breath, then slowly puts them on, his hands trembling
slightly with excitement? ..... fear? ....
118 FULL SCREEN CLOSE SHOT - SEBASTIAN
Slowly he opens his eyes, blinks, strains to focus.
119 POV SHOT - (THROUGH SPECTACLES) - HIS REFLECTION
The lantern is to one side and as the focus slowly
clears, the reflection is only barely discernible.
SEBASTIAN'S VOICE
(filtered)
(a chilling, malignant
little chuckle)
120 MED. CLOSE SHOT - SEBASTIAN
reacts, looks around behind him.
SEBASTIAN
Who's there?
(at length)
Who's in this room?!
121 POV SHOT - (THROUGH SPECTACLES) - THE ROOM
SEBASTIAN'S VOICE
(filtered)
Just you, Sebastian Grimm.
CAMERA (SEBASTIAN) ZIP PANS BACK TO MIRROR, HOLDS
on dim, unidentifiable reflection.
SEBASTIAN'S VOICE (cont'd)
(filtered)
You're not afraid of your own
voice, are you?
122 CLOSE SHOT - SEBASTIAN
SEBASTIAN
No...
123 POV SHOT (THROUGH SPECTACLES)
SEBASTIAN'S VOICE
(filtered)
So... you want to know the truth
about yourself...
124 CLOSE UP - SEBASTIAN
SEBASTIAN
Yes...
125 POV SHOT (THROUGH SPECTACLES)
SEBASTIAN'S VOICE
(filtered)
The junkman...the old lady...
and Edward Dean read only the
minds of others. Think of the
agony they suffered...
126 CLOSE UP - SEBASTIAN
SEBASTIAN
They were afraid. They let
their emotions get out of
control.
127 POV SHOT (THROUGH SPECTACLES)
SEBASTIAN'S VOICE
(filtered)
But you are different. You can
master your emotions. You even
dare to look into your own
mind...
128 CLOSE UP - SEBASTIAN
SEBASTIAN
Yes.
129 POV SHOT (THROUGH SPECTACLES)
SEBASTIAN'S VOICE
(filtered)
Very well then...bring the light
closer.
CAMERA (SEBASTIAN) PANS to the lantern, brings it slowly
over and up to illuminate the reflection in the mirror.
The figure we see is hardly human. It is a nightmare
of unutterable filth, cruelty and decay (see Portrait of
Dorian Gray), the seeds of madness lurking in the hideous
eyes, the mouth twisted as if in a perpetual curse.
130 CLOSE SHOT - SEBASTIAN
voices a protest which builds from a horrified whisper
to a blood-curdling scream as he claws the cheaters from
his face and smashes them onto the desk. As his fist
pounds them into rubble, his protesting screams continue.
131 INT. HALLWAY - NIGHT - SHOT
to catch Ellen racing for the study door, Sebastian's
mad screams and pounding fist echoing and re-echoing
through the vast emptiness of the old house. Ellen
hurls herself against the door. It is jammed. As she
beats on it and screams his name, we:
FADE OUT
THE END
This was a THRILLER!