PLAYBACK

                              An original Screenplay

                                        by

                                 Raymond Chandler























                                                            Final Draft
                                                            March 24, 1949



               Property of Universal-MCA
               Hollywood, CA. USA



               FADE IN:

               EXT. OPEN LANDSCAPE WITH RAILROAD TRACKS -- DAY

               LONG SHOT

               A STREAMLINER coming TOWARDS CAMERA which is off to one 
               side of tracks. The landscape has pine and fir trees and 
               is a northern Washington landscape.

               As the streamliner passes, the CAMERA PANS around following 
               it and stops. The streamliner tears off into the distance 
               and in the foreground is WE SEE a RAILROAD SIGN --

                                    "EVERETT WASH"

                                                            DISSOLVE TO:

               INT. STREAMLINER IN MOTION - CORRIDOR -- DAY

               SHOWING OPEN DOORS OF FOUR ROOMETTES

               Through the windows can be seen the landscape through which 
               the train is passing. In the first roomette, counting from 
               the left, is a well-dressed, rather wise-looking FEMALE, 
               young, smart. She is making up her face.

               In the second is a middle-aged couple, a CANADIAN 
               IMMIGRATION INSPECTOR and a CANADIAN CUSTOMS INSPECTOR.

               In the third, BETTY MAYFIELD is seated near the window, 
               turning over the pages of a magazine. She is about 27 years 
               old, beautiful, blonde, and has a remote troubled 
               expression, as though her thoughts were far away.

               The fourth is empty. There is a man's suitcase in evidence 
               on the seat. LARRY MITCHELL enters from the left. He is 
               tall, good-looking, young, with superficial charm and rather 
               too much self-assurance.

               He glances in at the woman in the first roomette, stops in 
               the door and leans against it.

               We MOVE IN so this scene becomes a SHOT of a single 
               roomette. OVER SCENE is HEARD the voices of the Canadian 
               Immigration Officer.

                                     CANADIAN OFFICIAL (O.S.)
                         Good afternoon. You name, please.

                                     PASSENGER (O.S.)
                         George Olson.

                                     MITCHELL
                              (to the unknown 
                              woman)
                         Better stop while it's still 
                         perfect.

               She looks up at him with a slow stare.

                                     CANADIAN OFFICIAL (O.S.)
                         And where were you born, Mr. Olson?

                                     PASSENGER (O.S.)
                         Waukegan, Illinois.

                                     UNKNOWN WOMAN
                              (to Mitchell)
                         Is there something I can do for 
                         you?

                                     MITCHELL
                         There are a lot of things you could 
                         do for me.

                                     IMMIGRATION INSPECTOR (O.S.)
                         And this is your wife, Mr. Olson?

                                     PASSENGER (O.S.)
                         Yes. She was born in Waukegan, 
                         too. Same as Jack Benny, you know.

                                     OFFICER (O.S.)
                              (puzzled)
                         Jack Benny?

                                     UNKNOWN WOMAN
                              (to Mitchell)
                         Well, there is something you could 
                         do for me.

                                     MITCHELL
                         I'd be delighted.

                                     UNKNOWN WOMAN
                         You can move to one side. So my 
                         husband can get in.

               Mitchell glances back, then moves to one side with a smile.  
               He is quite unperturbed. A rather decrepit MAN creeps past 
               him into the roomette with the unknown WOMAN. She gives 
               Mitchell a quick flashing smile. Mitchell grins, turns 
               away.

               CAMERA PULLS BACK AND PANS HIM PAST THE NEXT ROOMETTE

               We now see the IMMIGRATION and CUSTOMS OFFICIALS and two 
               MIDDLE-AGED PASSENGERS.

                                     CUSTOMS OFFICIAL
                              (to Olson)
                         Any firearms? Dutiable articles of 
                         any kind, Mr. Olson?

               Olson shakes his head.

               CAMERA PANS Mitchell past this door to the door of better 
               Mayfield's roomette. He leans in this as he did in the 
               unknown Woman's roomette.

                                     MITCHELL
                              (to Betty)
                         Would you care to see the Seattle 
                         paper?

               Betty turns slowly, stares at him.

                                     BETTY
                         No thanks, I've seen Seattle.

                                     MITCHELL
                         My name's Larry Mitchell. I live 
                         in Vancouver.

               Betty says nothing.

                                     MITCHELL
                         Same as an hour ago. Remember?  
                         I'm the steady type.

                                     BETTY
                              (coldly)
                         I'm afraid there's nothing I can 
                         do about it, Mr. Mitchell.

               CAMERA NOW HAS MOVED IN CLOSE enough to exclude the other 
               roomettes completely.

                                     MITCHELL
                         You could tell me your name. And 
                         where you're going.

                                     BETTY
                         How far does this train go?

                                     MITCHELL
                         Vancouver, B.C.

                                     BETTY
                         I'm going to Vancouver, Mr.  
                         Mitchell.

               She picks up a magazine and opens it, ignoring him.

                                     MITCHELL
                         O.K. Be rugged.

               He turns, starts out, then looks back at her.

                                     MITCHELL
                         You're next for the Immigration 
                         and Customs. I trust your papers 
                         are all in order.

               Betty looks up quickly and cannot conceal a startled 
               expression. Mitchell reacts.

               CAMERA PULLS BACK as he comes out into corridor, looks 
               towards the roomette in which the officials are, then turns 
               towards the next roomette and goes into it. Fusses with 
               his suitcase.

               CAMERA PANS across to the officials coming out of Olson's 
               roomette. As they come out of Olson's roomette.

                                     CANADIAN IMMIGRATION OFFICIAL
                         I hope you will enjoy your stay in 
                         Canada, Mr. Olson.

                                     OLSON'S VOICE (O.S.)
                         Thanks.

               Canadian officials then go on to Betty's roomette, enter.

                                     CANADIAN IMMIGRATION OFFICIAL
                         Your name, please.

                                     BETTY
                         Betty.. Mayfield.

               There is a perceptible hesitation which immigration 
               officials notices.

                                     OFFICIAL
                         Betty Mayfield. Miss or Mrs.

               Mitchell is seen in his roomette, standing near the door 
               listening.

                                     BETTY
                         Miss Mayfield.

                                     OFFICIAL
                         And where were you born, Miss 
                         Mayfield?

                                     BETTY
                         New York, City.

               The official is a little suspicious. He looks down at 
               Betty's hands which are clasped in her lap.

                                     OFFICIAL
                         I see you are wearing a wedding 
                         ring.

                                     BETTY
                         I've been married. My Husband..
                              (she breaks off and 
                              bites her lip)

                                     INSPECTOR
                         Then I take it Mayfield was not 
                         your married name?

               He is very polite, but is building up to asking for some 
               identification papers. One this cue, Mitchell comes out of 
               his roomette, crosses, enters Betty's roomette.

               CAMERA MOVES IN

                                     MITCHELL
                         I've wired ahead to--

               He breaks off, turns to Inspector, recognizes him.

                                     MITCHELL
                         Inspector Gillette, Isn't it? I'm 
                         Larry Mitchell. We've met before, 
                         several times.

               He takes out wallet and holds it out to Inspector.

                                     MITCHELL
                         I cross the border so often I carry 
                         an identification card.

                                     INSPECTOR
                              (glancing at card)
                         Yes, I remember you, Mr.  Mitchell.
                              (glancing at Betty)
                         You know this lady?

                                     MITCHELL
                         Very well. Since 1940, at least.  
                         I met her--let me see--it was New 
                         York City, wasn't it Betty?

               Betty nods silently. Inspector turns back to her, handing 
               Mitchell's wallet back.

                                     INSPECTOR
                              (to Betty)
                         How long do you expect to be in 
                         Canada, Miss Mayfield?

                                     BETTY
                         Oh.. a month.

                                     INSPECTOR
                              (making up his mind)
                         Thank you. I hope you have a 
                         pleasant trip.

               He turns away, starts out.

                                     CUSTOMS INSPECTOR
                              (to Betty)
                         Any firearms? Dutiable articles of 
                         any kind?

                                     BETTY
                         No.

                                     CUSTOMS OFFICIAL
                         Thank you.

               He marks her baggage.

                                     MITCHELL
                              (to Customs Inspector)
                         My suitcases are open in the next 
                         room.

                                     CUSTOMS INSPECTOR
                              (to Mitchell)
                         Anything dutiable, Mr. Mitchell?

                                     MITCHELL
                         No. Nothing.

                                     CUSTOMS INSPECTOR
                         Thank you.

               Custom Inspector goes out. Mitchell sits down, looks at 
               Betty coolly. She avoids his eyes.

                                     MITCHELL
                         Better get rid of the wedding ring. 
                         That's what threw him.

               Betty looks out of the window, says nothing.

                                     MITCHELL
                         Trouble?

               Betty turns her head and looks at him without speaking. 
               Her face is empty of expression.

                                     MITCHELL
                         Or Reno?
                              (a beat)
                         They always throw them off the 
                         bridge there, I've heard.

                                     BETTY
                         Perhaps I don't take it so lightly.

                                     MITCHELL
                         Where are you staying in Vancouver 
                         Royal. It's pretty crowded you 
                         know.

                                     BETTY
                         Is it? I expected to go to the 
                         Vancouver Royal. Should I have a 
                         reservation?

                                     MITCHELL
                         I'll make one for you.
                              (a beat)
                         I live there.

                                     BETTY
                              (doubtfully)
                         Well..

                                     MITCHELL
                              (quietly)
                         A very small service. It doesn't 
                         even ask for thanks. How long for?

                                     BETTY
                         I really don't know.

                                     MITCHELL
                         Indefinitely?

                                     BETTY
                              (with a shrug)
                         I don't know.

                                     MITCHELL
                              (eyeing her 
                              thoughtfully)
                         You don't know.

               He turns and goes. She looks after him, puzzled and rather 
               attracted. Then his mood passes and she relapses again 
               into her listless, hopeless manner. She reaches for the 
               magazine and starts to leaf through its pages indifferently, 
               as we

                                                            DISSOLVE TO:

               EXT. ROYAL HOTEL -- DAY

               LONG SHOT

               It is a massive brick and sandstone building, set in 
               beautiful gardens which slope down towards Puget Sound.

               CLOSER SHOT - THE ENTRANCE

               A taxi drives up, Larry Mitchell and Betty get out, PORTER 
               comes forward, takes their luggage etc. Larry pays taxi 
               and they start in through entrance.

               INT. ROYAL HOTEL - LOBBY - THE DESK -- DAY

               Larry and Betty come up to it, BELLHOP carrying luggage.

                                     HOTEL CLERK
                         Good afternoon, Mr. Mitchell.  
                         Have a mice trip? Glad to see you 
                         back.

                                     MITCHELL
                         Fine, thanks. This is Miss Betty 
                         Mayfield. You have a reservation 
                         for her.

                                     CLERK
                         Miss Mayfield. Yes, indeed. A 
                         balcony room on the top floor, 
                         Magnificent view. Nothing above it 
                         but the penthouse.

               He pushes registration pad towards Betty, and she signs.  
               Mitchell turns, looks out across lobby. A malicious smile 
               move his lips.

               MITCHELL'S POV

               One side of the lobby is a glassed-in-terrace. It is tea 
               time and a couple of large tea wagons are being pushed 
               around among the guests by FOOTMEN in uniform. With each 
               tea wagon are two neat MAIDS, who set out cups, pass 
               sandwiches, cakes, etc., While the FOOTMAN pours the tea.

               CLOSER SHOT

               A tea wagon beside a table at which sit MR. CLARENDON and 
               MARGO WEST. Mr. Clarendon is elegant, white-haired, 
               aristocratic-looking, a cane and spats type. Margo is 
               handsome, thirty-ish, almost overpoweringly well-dressed.  
               Obviously money, obviously been around. Margo is studying 
               her face in a pocket mirror. Tea wagon and maids move away.

                                     MARGO
                         I'm getting positively haggard.  
                         In a couple of years people will 
                         be describing me as well preserved.

                                     CLARENDON
                              (looking off)
                         I see out friend Larry Mitchell is 
                         with us again.

               Margo's hand stops in mid-air, holding mirror. She looks 
               up slowly.

                                     MARGO
                         I couldn't care less.

               Just the same, she sees in which direction. Clarendon is 
               looking and starts to turn.

                                     CLARENDON
                         And with a very beautiful girl, if 
                         my eyes don't deceive me at this 
                         distance.

               Margo reacts and swings around, CAMERA PANNING.

               Larry and Betty have turned away from the desk and are 
               going towards elevators, BELLHOP behind them. Larry is 
               bending towards Betty intimately. Margo turns back to 
               Clarendon. Her face is frozen with a controlled emotion.

                                     MARGO
                         I don't think I want any tea.

               She picks up her bag and stands up. Goes out of shot.  
               Clarendon looks after her with a malicious smile.

                                                            DISSOLVE TO:

               INT. ROYAL HOTEL - MARGO'S SUITE - LIVING ROOM -- DAY

               Its is very spacious, obviously expensive. It is empty at 
               the moment. Margo unlocks door from outside, comes in, 
               shuts and cocks door, walks swiftly into room, throws her 
               bag viciously on the desk, yanks her hat off, throws it on 
               chair. She goes over to the balcony window, takes cigarette 
               out of box on the desk, her hand shakes as she lights it 
               with lighter. She puffs at it furiously, looking out of 
               window. After a moment, she snubs out in an ashtray, moves 
               across to telephone, picks it up.

                                     MARGO
                              (into phone)
                         Mr. Larry Mitchell, please
                              (a beat, she changes 
                              her mind)
                         No, never mind.

               She puts telephone back in cradle and goes back to cigarette 
               box, lights another cigarette in the same nervous, jerky 
               manner, and puffs again. There is a KNOCK ON THE DOOR. She 
               spins around, walks quickly to door, throws it open. 
               Mitchell comes in. She says nothing as he moves in past 
               her. She shuts the door.

                                     MITCHELL
                         I'm afraid you're not very glad to 
                         see me, Margo.

                                     MARGO
                              (between her teeth)
                         With your charm? How could I help 
                         it? Have a nice trip?

                                     MITCHELL
                         So-so.

                                     MARGO
                         Who's the girl?

                                     MITCHELL
                         Her name's Mayfield. Betty Mayfield.

                                     MARGO
                         Nice.

                                     MITCHELL
                         She's just a girl I met on the 
                         train. You don't mind do you?

                                     MARGO
                              (tartly)
                         Why should I mind?

                                     MITCHELL
                         You shouldn't. You washed me up 
                         very thoroughly.

                                     MARGO
                         As thoroughly as I could. It wasn't 
                         easy. But you are helping me.

                                     MITCHELL
                              (staring at her)
                         Margo, darling. You washed me up.  
                         Remember? We're just friends. You 
                         wanted it that way.

                                     MARGO
                              (ignoring this)
                         She's very beautiful. She's much 
                         younger than I am. And she's rich, 
                         I hope.

                                     MITCHELL
                         Rich? I haven't the faintest idea. 
                         Why?

                                     MARGO
                         You ought to know why.

                                     MITCHELL
                         I don't. My hunch is she's just 
                         torn up an unhappy marriage. I was 
                         able to do her a small favor.

                                     MARGO
                         Splendid. Now she can return the 
                         compliment.

               She crosses the desk, gets bag, gets keys out, unlocks the 
               desk drawer and jerks it open, takes something out and 
               turns, holding it in her hand. Two checks.

                                     MARGO
                         She can give you enough money to 
                         cover these... and the other bad 
                         checks you've given me.

               Mitchell comes up to her slowly, looks down at the checks.

                                     MITCHELL
                         I hoped to get enough to cover 
                         them before they cleared. I wasn't 
                         lucky.

                                     MARGO
                         You know what would happen to you 
                         if I turned these over to the 
                         police?

                                     MITCHELL
                              (quietly)
                         I have a rough idea.

                                     MARGO
                         You'd go to jail. For a long term.

                                     MITCHELL
                         Correct. I couldn't even afford to 
                         pay a lawyer to defend me.

               A beat. They stare at each other.

                                     MITCHELL
                         What'll we do about it, Margo?

                                     MARGO
                         She is much younger than I am.  
                         That's something I'm going to have 
                         to get used to. Isn't it, Larry? 
                         They'll all be much younger than I 
                         am. Here.
                              (she holds out the 
                              checks)
                         Tear them up.

               He takes them, puts them in his pocket and stands there 
               looking at her. A sob catches in her throat.

                                     MARGO
                         I guess I'm still in love with 
                         you, Larry. What an idiot!

               He reaches to take her in his arms. First she pushes him 
               off, then yields. He pulls her close and kisses her. Then, 
               as they come out of the kiss,

                                     MITCHELL
                         I've always been a heel. I guess I 
                         always will be.

                                     MARGO
                         You don't have to make a pose of 
                         it.

                                     MITCHELL
                         It's the only pose I have left.  
                         I'm sunk. Broke. I don't even have 
                         my hotel bill.

                                     MARGO
                              (a little sharply)
                         I seem to recognize this routine.  
                         First the kiss then the touch.
                              (she makes a hopeless 
                              gesture.)
                         Oh, what's the use. You're you.

               She turns and moves towards the desk.

                                     MARGO
                         I only have a couple of hundred.

               She picks her bag up, holds it out. He comes up beside 
               her.

                                     MARGO
                         I seem to remember that you like 
                         to help yourself.

                                     MITCHELL
                              (taking the bag)
                         That's not very kind.

                                     MARGO
                         Kind or not kind. What's the 
                         difference? It always ends up the 
                         same way.

               He gives her a twisted smile, opens the bag, rummages 
               through it, opens the zipper pocket inside and comes out 
               with some currency and looks over, puts it in his pocket.  
               Puts the bag down on the desk, glances into the open drawer. 
               His look becomes fixed.

               MITCHELL'S POV (what he sees), SHOOTING DOWN INTO THE 
               DRAWER, is a small, pearl-handled automatic, lying in the 
               corner. Mitchell's hand goes down into it, takes the gun.

               TWO-SHOT of Margo and Mitchell as his hand comes up with 
               the gun.

                                     MITCHELL
                              (almost amused)
                         What's this?

                                     MARGO
                         What does it look like?

                                     MITCHELL
                         How long have you had it?

                                     MARGO
                         Years, why?

                                     MITCHELL
                         It's against the law to cross the 
                         border with a gun. The Canadian 
                         police might like to know about 
                         this.

                                     MARGO
                              (very quietly)
                         You already have the checks, 
                         darling.

                                     MITCHELL
                         I didn't mean it that way
                              (he puts the gun 
                              back in the drawer, 
                              pushes the drawer 
                              shut.)
                         I'm sorry.

                                     MARGO
                         Oh, forget it. Clark Brandon's 
                         throwing a party up in his penthouse 
                         this evening. Take me?

                                     MITCHELL
                         Of course.

                                     MARGO
                         How about your new friend?

                                     MITCHELL
                              (with a laugh)
                         I told you she's just..

                                     MARGO
                              (cutting in sharply)
                         A girl you meet on the train.  
                         Excuse my bringing it up again.
                              (she glances at her 
                              wrist watch)
                         Be back in an hour. Right?

                                     MITCHELL
                         Right.

                                     MARGO
                         In an hour, Larry.

               Mitchell stares at her levelly for a moment, then goes 
               without a word.

               INT. ROYAL HOTEL - CORRIDOR OUTSIDE MARGO'S ROOM -- DAY

               Mitchell has just closed the door, stands with his hand on 
               the knob, a smile playing across his features. He starts 
               to whistle as he walks down the corridor. He takes a little 
               dance step perhaps, this is to indicate that his whole 
               attitude with Margo is just part of an act. He stops beside 
               the big sand jar, lights a cigarette, drops the match in 
               the jar, takes out the money from Margo's bag, flips it 
               with a smile on his face, puts it back in his pocket, takes 
               out the two checks Margo gave him, tears off the signatures, 
               places checks in his pocket, tears the signature fragments 
               into small pieces, drops them into the jar, goes on 
               whistling.

                                                            DISSOLVE TO:

               INT. ROYAL HOTEL - DESK AND ELEVATOR BANK -- DAY

               A couple of GUESTS at the desk. A CLERK is handing out 
               mail. CAMPBELL, the manager, is standing to one side. The 
               elevator comes down. Mitchell comes out, crosses to the 
               desk and addresses Campbell.

                                     MITCHELL
                         Good afternoon, Mr. Campbell.

                                     CAMPBELL
                              (coldly)
                         Mr. Mitchell.

                                     MITCHELL
                              (airily)
                         A little something on account 
                         perhaps?

                                     CAMPBELL
                         Rather more than a little something, 
                         Mr. Mitchell.

                                     MITCHELL
                         I'm afraid this is all for the 
                         moment.

               Campbell picks up the money, counts it, puts it down.

                                     CAMPBELL
                         I think we'd better discuss this 
                         in my office, Mr. Mitchell.

                                     MITCHELL
                         Nothing to discuss. Tomorrow the 
                         sun will shine even brighter. Be 
                         grateful for small mercies.

               Campbell shrugs, reaches for the money.

                                     MITCHELL
                         Oh, I forgot. I have a dinner 
                         engagement. Excuse me.

               He removes a couple of bills from the money.

                                     MITCHELL
                         Thank you, Mr. Campbell.

               He puts money in his pocket, turns away. Campbell looks 
               after him with cold anger. Mitchell dodges back into 
               elevator just as it is about to start up.

               INT. ROYAL HOTEL - BETTY'S ROOM -- DAY

               Hat and suitcase in sight. Light is on in the closet. Betty 
               is inside closet, hanging up clothes. As she comes out, 
               switching off light, DOOR BUZZER SOUNDS. She opens door, 
               Mitchell breezes on past her. She registers annoyance, 
               then closes door. Mitchell crosses to the open French door 
               of the balcony.

                                     MITCHELL
                         Nice room. Balcony and everything. 
                         Lovely view too.

                                     BETTY
                              (coolly)
                         Very nice Mitchell turns.

                                     MITCHELL
                         No thanks?

                                     BETTY
                              (same voice)
                         Thank you.

                                     MITCHELL
                              (frowning)
                         Suppose I hadn't known that 
                         immigration inspector? Hadn't put 
                         in a good word for you?

                                     BETTY
                         I'm supposing.

                                     MITCHELL
                         I think you're a nice girl. I like 
                         you. But I can read signs if the 
                         print is large enough. It was your 
                         manner more than the wedding ring 
                         that bothered the inspector.  A 
                         sort of tenseness, as if you were 
                         afraid of something.

               Betty just goes on looking at him.

                                     MITCHELL
                         I have a darned good idea you're 
                         name isn't Betty Mayfield at all.

                                     BETTY
                         Yes?

                                     MITCHELL
                         How about taking to Uncle Larry 
                         into the old firm? He's a useful 
                         guy to have on your side.

                                     BETTY
                              (no answer)

                                     MITCHELL
                              (slight change of 
                              pace)
                         Don't get me wrong, Betty. I'm not 
                         suggesting you murdered anybody, 
                         you know.

               Betty reacts. He sees the reaction. His smile broadens.  
               Then very casually,

                                     MITCHELL
                         Dine and dance tonight? I've got 
                         fifty bucks to throw away.

                                     BETTY
                         Not tonight.

                                     MITCHELL
                         What's the matter?

                                     BETTY
                         I'm not in the mood for dining and 
                         dancing.

                                     MITCHELL
                         We have some nice places around 
                         Vancouver.

                                     BETTY
                         I'm sure you have.

                                     MITCHELL
                              (puzzled a little)
                         Well, how about a breeze up to the 
                         penthouse about six o'clock?  A 
                         friend of mine is throwing a 
                         cocktail party up there.

                                     BETTY
                         I haven't been invited.

                                     MITCHELL
                         Nobody gets invited to Clark 
                         Brandon's parties. They just go.

                                     BETTY
                         Perhaps I'd better get you 
                         straightened out, Mr. Mitchell.  
                         You've been rather nice to me, in 
                         a couple of ways. And I'm grateful. 
                         But I don't think this entitles 
                         you to put me on a leash.

                                     MITCHELL
                         Nobody I'd rather have on a leash.

               Betty crosses to the door and opens it.

                                     BETTY
                         I'm awfully sorry, but I'd like to 
                         take a bath and get freshened up.

               Mitchell hesitates, then comes across slowly to the door.

                                     MITCHELL
                         The brush-off, huh?

                                     BETTY
                         I'm trying very hard to be polite 
                         about it.

               Mitchell grins, then suddenly reaches for her and kisses 
               her. She doesn't struggle, is quite impassive. After a 
               moment he let's go, steps back.

                                     MITCHELL
                         Don't I even get my face slapped?

                                     BETTY
                              (indicating the 
                              open door)
                         Would you mind?

                                     MITCHELL
                              (a little puzzled, 
                              confused by her 
                              attitude)
                         Okay. You win.

               HE STARTS OUT, TURNS TO SAY,

                                     MITCHELL
                         If you change your mind about the 
                         cocktail party, or anything else, 
                         give me a buzz.

                                     BETTY
                         If I change my mind.

               He goes. He closes the door. CAMERA MOVES IN ON HER FACE.  
               She wipes off her lips with her handkerchief, almost in an 
               absentminded way. The kiss didn't mean anything to her, 
               one way or another. There is great loneliness in her eyes.

                                                               FADE OUT:

               FADE IN:

               INT. ROYAL HOTEL - LOBBY -- NIGHT

               WIDE SHOT

               Showing a lot of activity, etc.

               The time is 6:00 P.M. Approximately, but this is June in 
               Canada and broad daylight, and will be for several hours 
               yet.

               In the background Betty comes in through glass doors from 
               the garden terrace, walks slowly across the lobby.  People 
               are looking at her with interest, specially the men.  As 
               she reaches the elevator bank, she glances off to one side, 
               past the desk. Her look becomes fixed.

               CAMERA PANS AROUND TO SHOW A NEON SIGN "TAVERN" this side 
               of an archway and people going in.

               She turns away from elevator, starts in that direction, 
               passes on beneath sign.

               INT. ROYAL HOTEL - TAVERN -- NIGHT

               As Betty come in, stands looking around. It is lighted 
               somewhat dimly. There are a number of small tables,. There 
               is a bar but it is only for the use of the waiters. Betty 
               looks around for a vacant table, then starts moving along 
               looking for one. None empty, but at one sits a MAN alone.  
               He is about 35, clean fine drawn type, with a saturnine 
               expression. He glances up. Betty meets his eyes, starts to 
               turn away. Man indicates the chair opposite him. His manner 
               of doing this is so completely indifferent to her as a 
               person, that she hesitates.

                                     BRANDON
                              (standing up)
                         You can have the table yourself, 
                         if you'd rather. I'm only killing 
                         time.

                                     BETTY
                         No, please.

                                     BRANDON
                         Sit down then. We often have a 
                         double up here.

                                     BETTY
                         I see.

               She pulls the chair back, sits down. Brandon sits down. He 
               lights a cigarette, doesn't offer her one. She is watching 
               him, a little puzzled, probably has had very few experiences 
               of men not trying to pick her up in such circumstances. 
               Betty looks around at the scurrying WAITERS who pay no 
               attention to her yet.

                                     BRANDON
                              (calling out sharply)
                         Oh waiter.

               WAITER turns, sees him, immediately comes to stand at his 
               side.

                                     WAITER
                         Yes sir.

               Brandon, without speaking, indicates Betty. Waiter turns 
               to her.

                                     WAITER
                         Yes, Miss.

                                     BETTY
                         I'd like a dry Martini. Very dry, 
                         please.

                                     WAITER
                         Sorry, Miss. Beer and ale only.  
                         Canadian law.

                                     BETTY
                              (surprised)
                         Beer?
                              (she shrugs)
                         Well, all right.

                                     WAITER
                         Beer or ale, Miss?

                                     BETTY
                         Ale. I don't mind.

                                     WAITER
                         Right, Miss.

               He turns away. Brandon is smiling at her faintly, She meets 
               his eyes, smiles back.

                                     BETTY
                              (to Brandon)
                         Your liquor laws..

                                     BRANDON
                              (cutting in)
                         Disgusting, aren't they? If you 
                         really want a Martini, I know where 
                         you can get one.

               Betty looks inquiringly at him and doesn't speak.

                                     BRANDON
                         A fellow named Brandon has a 
                         penthouse here. He's holding open 
                         house. I was up there. Too noisy.  
                         Bored.

                                     BETTY
                         I see.

                                     BRANDON
                              (indifferently)
                         It might be worth a Martini to 
                         you.

                                     BETTY
                         I don't need it that badly. I don't 
                         enjoy crashing other people's 
                         parties.

                                     BRANDON
                         It's open-house. No crashing 
                         involved. Anybody in the hotel's 
                         welcome.

                                     BETTY
                         What did you say his name was?

                                     BRANDON
                         Brandon. Clark Brandon. Fellow 
                         about my age. Lot of money... that 
                         he didn't make. Former American. 
                         Now naturalized in Canada. Social 
                         standing indeterminate. Manners 
                         not quite perfect. Scotch superb.

                                     BETTY
                         You don't sound as if you liked 
                         him very much.

                                     BRANDON
                              (quietly)
                         No.. not very well. And I like his 
                         friends even less. But..
                              (he waves his hand 
                              indifferently)
                         If you really want a good dry 
                         Martini..

                                     BETTY
                         As I said before...

                                     BRANDON
                         Sure. But I'd hate like the Dickens 
                         to be held to everything I've said 
                         before, wouldn't you?

               Betty suddenly laughs. The waiter brings the glass and the 
               bottle of bass ale, sets them down in front of her. Brandon 
               makes a motion and the waiter goes away without collecting.

                                     BETTY
                         You're not paying for this. It's 
                         quite enough that you let me sit 
                         at your table.

                                     BRANDON
                         I never pay for anything. They 
                         just keep me here to amuse the 
                         guests.

                                     BETTY
                         And do you amuse the guests?

                                     BRANDON
                         No.
                              (indicating her 
                              bottle of ale)
                         Are you really going to drink that 
                         stuff?

                                     BETTY
                         You're drinking it.

                                     BRANDON
                              (indicating his 
                              almost untouched 
                              glass)
                         I can be talked out of it. As a 
                         matter of fact, I'd like a dry 
                         Martini myself.

                                     BETTY
                         Would it make you anymore amusing?

                                     BRANDON
                         Whatever you say.

                                     BETTY
                         I didn't say anything.

                                     BRANDON
                              (standing up and 
                              putting money on 
                              the table)
                         I don't know you and you don't 
                         know me. I made a reasonably polite 
                         suggestion. But I'm sure you'd 
                         rather be alone.

                                     BETTY
                         I hate to be alone. But I've heard 
                         all the approaches there are... 
                         even yours.

               Brandon turns back, stares down at her coldly.

                                     BRANDON
                         Neatly said...but to the wrong 
                         man. The trouble with pretty girls 
                         is that they can't imagine anyone 
                         thinking of anything else but the 
                         fact they are pretty girls. I get 
                         tired of it.

                                     BETTY
                              (directly)
                         Do you think I don't?

                                     BRANDON
                              (interested)
                         Thanks for the fresh air. That 
                         felt good.

                                     BETTY
                              (standing up and 
                              taking her bag)
                         You're sure Mr. Brandon won't mind?

                                     BRANDON
                         He doesn't even know half the people 
                         who come up to drink his liquor.

                                                            DISSOLVE TO:

               EXT. ROYAL HOTEL - LOBBY/PENTHOUSE -- NIGHT

               An elevator comes up. Brandon and Betty come out. There is 
               a sound of revelry behind the penthouse door, opposite the 
               elevators. They cross. Brandon opens the door casually, 
               without bothering to ring, users Betty in.

               INT. ROYAL HOTEL - PENTHOUSE- LIVING ROOM -- NIGHT

               A big room, with French doors opening on a large terrace. 
               A few couples are dancing outside on the terrace and a few 
               more inside the room. There is a portable bar at one side 
               of the room and two WAITERS behind it. The dance music is 
               coming from a large Radio-Phonograph. Brandon and Betty 
               come in. Brandon shuts the door. There are eighteen or 
               twenty people around, with the usual alcoholic glitter in 
               their eyes and the usual strident voices and exaggerated 
               laughter.

               CAMERA PANS BRANDON AND BETTY OVER TOWARDS THE BAR, 
               DISCOVERING Mitchell leaning against it, staring morosely 
               into a drink. He drains the last of it.

                                     MITCHELL
                              (to bartender in a 
                              thick voice)
                         Another.

               BARTENDER takes a glass. Brandon and Betty come up to the 
               bar. Mitchell does not at first look up.

                                     BRANDON
                              (to bartender)
                         This lady would like a dry Martini. 
                         So would I.

                                     BARTENDER
                         Very good, sir.

               He turns away. Mitchell looks up, sees Betty, reacts.

                                     MITCHELL
                         Well well. Baby wouldn't come with 
                         me. Where did you pick her up?

               Brandon glances from Betty to Mitchell puzzled, shrugs.

                                     BRANDON
                         Hello, Mitchell. Having fun?

                                     MITCHELL
                         The liquors lovely. The rest of 
                         the party you can have.

               He moves towards Betty, puts an arm around her. Betty rises 
               tries to pull away.

                                     MITCHELL
                         What's the matter, baby. Don't you 
                         like me anymore?

                                     BRANDON
                              (to Mitchell)
                         Lay off, can't you?

                                     MITCHELL
                         Lay off what? This is my new girl 
                         friend. Met her on the train.  
                         She's very fond of me. Love at 
                         first sight. Wasn't it, baby?

               Brandon reacts. There is a certain contempt in his look at 
               Betty now. Bartender serves drinks impassively. Mitchell 
               grabs his, gulps half of it down. Betty quietly releases 
               herself and moves away from him.

                                     BRANDON
                         And I'd begun to think this was my 
                         lucky day.

               A liveried HOTEL SERVANT COMES INTO SHOT.

                                     SERVANT
                              (to Brandon)
                         You're wanted on the telephone, 
                         Mr. Brandon. Mrs. West.

               As the Servant says "Brandon", Betty reacts.

                                     BRANDON
                              (to servant)
                         Thanks.
                              (to Betty with brutal 
                              sarcasm)
                         If you are a friend of Larry 
                         Mitchell's I'm sure I leave you in 
                         good hands.

               He goes out of SHOT.

               She looks after him unhappily.

               CAMERA PANS BRANDON across his living room to an inner 
               door.  He starts through.

               INT. ROYAL HOTEL - PENTHOUSE - BEDROOM -- NIGHT

               Telephone on table, receiver down as Brandon enters, close 
               door against the noise.

                                     BRANDON
                              (into phone)
                         Hello Margo. Aren't you coming up?
                              (a beat)
                         Mitchell? Oh yes, he's here.
                              (he smiles a little 
                              grimly)
                         He came up alone, but it seems he 
                         has a new girl friend with him 
                         now.
                              (a beat)
                         Don't be theatrical, Margo. What 
                         do you care about Mitchell? Come 
                         on up and have a drink.

               INT. ROYAL HOTEL - MARGO'S LIVING ROOM -- NIGHT

               Margo on the phone.

                                     MARGO
                              (in a flat voice)
                         I haven't any intensions of being 
                         theatrical. Of course I'll come 
                         up. Goodbye.

               She hangs up, stand for a moment, staring at nothing, then 
               she turns, picks her wrap out of the chair, puts it on, 
               crosses to the desk for her handbag. She opens the bag, 
               pauses, then in SLOW MOTION, pulls open the drawer of the 
               desk.

               CAMERA IN CLOSE, studies her face as she looks down into 
               the drawer of the desk, which we do not see. But we already 
               know there is a gun there. Her body is quite motionless, 
               her expression frozen. When she moves we do not see whether 
               she takes the gun out of the drawer or not.  We HEAR the 
               SNAP of her bag shutting. The she turns away, starts across 
               the room to leave.

                                                            DISSOLVE TO:

               INT. ROYAL HOTEL - ELEVATOR IN MOTION UP -- NIGHT

               A quiet, gentlemanly-looking MAN is leaning against the 
               back wall of the elevator, wearing a trench coat and a 
               soft hat. He is a homicide dick named KILLAINE, but you'd 
               never think that to look at him. Elevator stops, doors 
               open, and Margo enters.

                                     ELEVATOR BOY
                              (very polite)
                         Did you have a nice day, Mrs.  
                         West?

                                     MARGO
                         I had a rotten day, if its any of 
                         your business.

                                     ELEVATOR BOY
                         I'm terribly sorry, Mrs. West.

                                     MARGO
                         Don't let it break you up.

                                     ELEVATOR BOY
                         Oh, I wouldn't do that, Mrs.  West.

               The man chuckles, Margo looks around at him.

                                     MARGO
                         What's so funny?

               Killaine wipes the smile off his face.

                                     KILLAINE
                              (imitating boy)
                         I'm terribly sorry, Mrs. West.

               As she stares at him, he takes his monocle out of his 
               pocket, polishes it, sticks it in his eye.

                                     MARGO
                         Oh, the Coldstream Guards.
                              (a beat)
                         Don't you take your hat off in 
                         elevators?

                                     KILLAINE
                              (pleasantly)
                         I never wear a hat.
                              (his face changes 
                              to consternation)
                         Oh, so I am. I forgot.
                              (he takes his hat 
                              off)
                         I guess I'm terribly sorry again, 
                         Mrs. West.

               Elevator stops.

                                     ELEVATOR BOY
                         Penthouse floor, please.

               Margo sweeps out, Killaine follows her.

               INT. ROYAL HOTEL - PENTHOUSE FLOOR - LOBBY -- NIGHT

               As they cross to the Penthouse door.

                                     KILLAINE
                         May I?

               He pushes the button.

                                     MARGO
                         May you what?

                                     KILLAINE
                         Oh nothing.

                                     MARGO
                         Are you always this witty?

               Killaine laughs as the door opens. Brandon stands in it.

                                     BRANDON
                         Hi Margo. Hello Killaine. You two 
                         come together?

                                     MARGO
                         In the same elevator. It is a public 
                         conveyance.

               CAMERA TAKES THEM INTO THE ROOM the door starts to close.

               INT. ROYAL HOTEL - PENTHOUSE - LIVING ROOM -- NIGHT

               Brandon, Killaine and Margo standing by the door.

                                     BRANDON
                         Let me introduce you. Mr.  Killaine, 
                         Mrs. West.

                                     MARGO
                              (not looking at 
                              Killaine)
                         Fascinated.

               Her eyes roam the room. She picks out Mitchell. Her 
               expression freezes.

               MARGO'S POV

               WHAT SHE SEES -- Betty is sitting in her chair in a corner 
               and Mitchell is standing over her, his hand on the back of 
               the chair. Her expression is wooden. His is a mixture of 
               insolence and pleading.

               CAMERA RETURNS TO MARGO, BRANDON AND KILLAINE as they cross 
               to the bar.

               At the same time Mitchell leaves Betty, also crosses to 
               the bar, reaches it about the same time as Margo. Margo 
               gives Mitchell a long, cool, empty stare. Mitchell smiles 
               a little sheepishly, embarrassed even in his drunkenness.

               At the same time Mitchell leaves Betty, also crosses to 
               the bar, reaches it about the same time as Margo. Margo 
               gives Mitchell a long, cool, empty stare. Mitchell smiles 
               a little sheepishly, embarrassed even in his drunkenness.

                                     BRANDON
                         What'll you have, Margo?

                                     MARGO
                              (without looking at 
                              him)
                         Martini.

                                     BRANDON
                              (to Killaine)
                         You, Killaine?

                                     KILLAINE
                         Scotch and plain water, I think.

                                     MARGO
                              (not looking at him)
                         Warm water, no doubt.

                                     BRANDON
                         What?

                                     KILLAINE
                         A private joke.

               He gets the monocle out and sticks it in his eye again.

                                     KILLAINE
                         It goes with this... cold houses 
                         and warm drinks...the effete 
                         Englishman.

                                     BRANDON
                         You're not English.

               Bartender serves drinks. Margo puts her bag down on the 
               bar. It makes a heavy CLUNKING SOUND. KILLAINE'S eyes go 
               to it, without too much expression. Mitchell reacts more. 
               To him the clunking sound has a meaning. He starts to reach 
               for the bag. Margo pointedly moves it away from him.

                                     MITCHELL
                              (to Margo thickly)
                         I'm sorry. I forgot about calling 
                         for you.

                                     MARGO
                         It's quite unimportant, Mr.  
                         Mitchell. After all, you got what 
                         you wanted.

                                     MITCHELL
                         Be nasty.

                                     MARGO
                         I have no intension of being nasty, 
                         Mr. Mitchell.

                                     MITCHELL
                         In that case, there's someone here 
                         I'd like to introduce to you. Over 
                         there.

               Margo looks towards Betty. She reacts.

                                     MARGO
                              (almost to herself)
                         She is beautiful. And young.
                              (she turns back to 
                              Mitchell)
                         No thank you.

                                     MITCHELL
                              (aggressively)
                         I say YES!

               Margo quietly turning her back on him and reaching for her 
               glass.

                                     MARGO
                         You're not the type to be masterful, 
                         darling. It takes character.

               Mitchell reaches for her shoulder and spins her around, 
               causing her to slop some of her drink out on the bar.

                                     MARGO
                              (with sudden deadly 
                              sweetness)
                         Of course, darling. Anything you 
                         say.

               She goes off with Mitchell. Killaine looks after then 
               puzzled. Brandon is indifferent.

                                     KILLAINE
                         That's what I like about cocktail 
                         parties. Everyone is so perfectly 
                         natural.

                                     BRANDON
                         How's life treating you?

                                     KILLAINE
                         The usual grind.

                                     BRANDON
                         Round of golf Saturday?

                                     KILLAINE
                         If I can get off.

               INT. ROYAL HOTEL - PENTHOUSE - LIVING ROOM -- NIGHT

               CORNER OF THE ROOM

               Betty is sitting alone as Margo and Mitchell COME INTO 
               SHOT.

                                     MITCHELL
                         Betty, this is Margo West. She 
                         wants to meet you. Miss Mayfield.

                                     BETTY
                         How do you do?

                                     MARGO
                              (staring at her)
                         You're very attractive, my dear.  
                         And you look very unsophisticated.

                                     MITCHELL
                         Unsophisticated?
                              (he laughs nastily)
                         If I knew about this babe...

               Betty stands up quickly.

                                     BETTY
                         I think I'd like to dance.

                                     MITCHELL
                         Why certainly, baby.

               He puts his arm around Betty and dances off with her, 
               leaving Margo standing.

               CAMERA FOLLOWS THEM as they dance.

               They pass Mr. Clarendon, who is sitting as usual with his 
               sliver-haired cane between his legs, paying no particular 
               attention to anything.

                                     BETTY
                              (to Mitchell as 
                              they dance)
                         Please be a little more careful 
                         how you talk, Mr. Mitchell.

                                     MITCHELL
                         How careful should I be?

                                     BETTY
                         I don't like being referred to as 
                         babe, or addressed as baby. I don't 
                         like your possessive attitude, nor 
                         your hints of secret knowledge. In 
                         fact, to be very frank, Mr. 
                         Mitchell, I don't think I like 
                         you.

                                     MITCHELL
                         Maybe you're going to have to like 
                         me.

               He disengages her left hand enough to hold it up and look 
               at it.

                                     MITCHELL
                         You've shed the ring, haven't you? 
                         Took my advice. That's the girl. 
                         Keep right on taking my advice and 
                         we'll get somewhere.

               Betty jerks away from him and stops.

                                     BETTY
                         I think you're drunk.

                                     MITCHELL
                         Just drunk enough.

               He puts his arm around her, pulls her close to him, and 
               tilts her head back. She struggles against him, silently.  
               He pushes her head back father and kisses her solidly on 
               the mouth. She finally breaks away from him with flashing 
               eyes.

                                     MITCHELL
                         What's the matter, baby? Don't you 
                         like being kissed?

                                     BETTY
                              (with cold fury)
                         Next time you try that, Mr.  
                         Mitchell...
                              (a beat, she takes 
                              a deep breath, 
                              then very pointedly)
                         ..don't. I'm warning you.

               BRANDON AND MARGO COME INTO SHOT FROM DIFFERENT DIRECTIONS

                                     BRANDON
                         Do me a favor, Mitchell. Find 
                         yourself a nice secluded park bench.

                                     MITCHELL
                              (airily)
                         Did I do something wrong?

                                     BRANDON
                         I wouldn't know. Just do it 
                         somewhere else. There is such a 
                         thing as good manners.

                                     MITCHELL
                         How would you know, Brandon?

                                     BRANDON
                              (harshly)
                         Want to walk out... or get thrown 
                         out?

                                     MITCHELL
                         You don't throw guests out, Brandon.

                                     BRANDON
                         Don't bet on it. I'm eccentric.

               The two men glare at each other. Mitchell finally shrugs 
               then goes towards the door.

                                     MARGO
                              (to Brandon, quietly)
                         It takes two to clinch.  Clark.  
                         Nice to have seen you.

               She starts towards the door. Brandon hurries quickly to 
               open it for her. She goes without looking at him, her mouth 
               tight. He shuts the door, looks back towards Betty, who 
               has remained standing perfectly still. She takes a 
               handkerchief out of her bag and scrubs her mouth off as 
               Brandon comes back to her. Clarendon stands up slowly.

                                     BRANDON
                              (to Betty, offhand)
                         Dance?

                                     BETTY
                         No thank you.

                                     CLARENDON
                              (to Brandon)
                         Where I come from, Mr. Brandon, 
                         the host tries to protect his guests 
                         from insult.

                                     BRANDON
                         I stopped him.

                                     CLARENDON
                         And if he fails, he at least has 
                         the good manners to apologize.

                                     BRANDON
                         I don't exactly regard Larry 
                         Mitchell's pick-ups...

               Clarendon turns back on him. Then--

                                     CLARENDON
                              (to Betty, with 
                              courtly gesture)
                         We haven't been introduced. But if 
                         you'll overlook that, I'm sure 
                         that between us we can contrive a 
                         graceful exit.

                                     BETTY
                              (smiling at him 
                              warmly)
                         Thank you very much.

               They go towards the door side by side.

               Brandon turns and CAMERA PANS HIM BACK TO BAR where Killaine 
               has remained motionless, his drink untasted.

                                     BRANDON
                         Would it have helped if I'd knocked 
                         him down?

                                     KILLAINE
                         Hardly. Who's the girl?

                                     BRANDON
                         Somebody Mitchell picked up on the 
                         train. I don't even know her name.

                                     KILLAINE
                         She doesn't look like a girl who 
                         would let herself be picked up on 
                         a train.

                                     BRANDON
                         That's what I thought, at first.
                              (a beat)
                         Maybe somebody else ought to have 
                         thrown this party.
                              (a beat)
                         With my liquor of course.

                                                            DISSOLVE TO:

               INT. ROYAL HOTEL - BETTY'S BEDROOM -- NIGHT

               CLOSE SHOT

               Face of traveling clock on a night table. Room is dark, 
               lit only by moonlight. Hands of the clock stand almost 
               11:15. Ticking is HEARD faintly. A little smoke drifts 
               across the face of the clock.

               CAMERA PANS BACK ALONG THE SMOKE to Betty lying in bed, 
               her eyes wide open. Somewhere outside a CHURCH CLOCK CHIMES 
               the quarter hour. The last strokes of the clock are drowned 
               out by a sudden peal of THUNDER. Betty jerks upright in 
               bed.  The thunder frightens her. There is another LOUDER 
               peal, this time preceded by a FLASH of LIGHTENING which 
               LIGHTS UP HER FACE. She shuts her eyes against it. The 
               THUNDERSTORM grows suddenly HEAVY. Repeated FLASHES of 
               LIGHTENING across her FACE and peals of THUNDER.

               CAMERA MOVES IN ON HER EYES which are frozen.

                                                              FLASHBACK:

               INT. COUNTY COURTHOUSE - GREENWATER NORTH CAROLINA -- 
               NIGHT

               CAMERA PULLS BACK VERY SLOWLY

               And everything has changed except Betty's expression. The 
               FLASHES go on, but they are now seen to be FLASHBULBS of 
               NEWSPAPER CAMERAMEN. Betty is dressed very soberly and is 
               standing just inside the door of a courtroom with a jail 
               matron beside her.

               The CAMERA KEEPS PULLING BACK AWAY FROM BETTY, and the 
               entire courtroom is seen.

               It is late at night in the county courthouse GREENWATER, 
               NORTH CAROLINA. There is an excited buzzing of conversation. 
               A BAILIFF is RAPPING for order.

               The JURY is sitting, grim faced and silent, in the box. 
               The Judge is not on the bench yet.

               Betty is led along the side corridor then through the bar 
               where DEFENSE ATTORNEY, a haggard, dark-haired young man, 
               stands waiting for her.

               (NOTE: All Southern accents except Betty's in this scene)

                                     BAILIFF
                              (shouting)
                         Everybody stand up! His Honor, 
                         Judge Hopkinson! Court now in 
                         session!

               Everybody stands up. Betty and the jail matron and the 
               young attorney face towards the bench.

               CAMERA SHOWS THE PROSECUTING ATTORNEY, also standing up at 
               his table.

               CAMERA PANS OVER TO THE DOOR OF THE JUDGES CHAMBERS. He 
               walks slowly to the bench, stands for a moment behind it, 
               looking out over the courtroom, then sits down. He is a 
               distinguished courtly Southerner of the best type, an old 
               man but very erect. When he sits, all the spectators and 
               lawyers sit down.

               The double doors at the back are closed and a BAILIFF stands 
               with his back to them. Suddenly, one of the doors is pushed 
               open, almost knocking the Bailiff out of the way.

               He turns angrily as HENRY KINSOLVING enters. The Bailiff 
               seeing who it is, stands aside. Henry Kinsolving is an 
               arrogant, bitter man about 60 years old, with the stamp of 
               power and authority. He marches down the center aisle of 
               the court through the bar, and sits at the table near the 
               PROSECUTOR. The Judge stares down at him coldly.

                                     JUDGE
                         Mr. Bailiff, please make room for 
                         Mr. Henry Kinsolving, outside the 
                         bar of the court.

               Henry Kinsolving springs to his feet and glares at the 
               Judge. Then he turns and goes through the gate of the bar 
               and sits down outside in a chair the Bailiff places for 
               him solicitously. There is a general shuffling of feet and 
               noise which subsides slowly.

                                     JUDGE
                              (slowly and 
                              impressively)
                         Before the Jury renders its verdict, 
                         the Court wishes to warn those 
                         present that there is to be no 
                         demonstrations of any kind. No 
                         person is to leave the courtroom 
                         until the Court rises.
                              (he glances towards 
                              press table)
                         I repeat... no one is to leave the 
                         courtroom.

               There is a silence, then the Judge turns towards the Clerk.

                                     JUDGE
                         You may proceed, Mr. Clerk.

                                     CLERK
                              (he stands and looks 
                              at Elizabeth)
                         The Defendant will rise and face 
                         the Jury.

               ELIZABETH stands up slowly and turns towards the Jury, who 
               do not look at her. They stare somewhere over her head. 
               The Clerk turns back to the Jury.

                                     CLERK
                         Gentlemen of the Jury, have you 
                         reached a verdict?

                                     FOREMAN
                              (standing)
                         We have.

                                     CLERK
                         And what is your verdict?

                                     FOREMAN
                         We the Jury, find the Defendant, 
                         Elizabeth Kinsolving, guilty of 
                         murder in the first degree.

               There is a surge of noise in the well of the court. The 
               Judge raps sharply with his gavel. A couple of PRESSMEN 
               start to get up, then look back and see that the doors are 
               guarded and sit down again. The Prosecutor looks grimly 
               satisfied; he glances at the DEFENDING COUNCIL with a half 
               smile. Defense Counsel, whose name is LEAMINGTON, is shocked 
               and pale. Elizabeth shows no reaction at all. Henry 
               Kinsolving draws his mouth a little tighter, and there is 
               a gleam in his eye. The Spectators look, for the most part, 
               very satisfied. Leamington comes to his feet.

                                     LEAMINGTON
                              (in a strangled 
                              voice)
                         Motion to pool the Jury, if it 
                         please the Court.

                                     JUDGE
                         So ordered.

               The Clerk now proceeds to poll the Jury, saying "Juror No. 
               1 what is your verdict?" And the Juror answering "Guilty 
               of murder in the first degree." "Juror No. 2, what is your 
               verdict?" Etc. This is covered by a series of CLOSE UPS 
               all answer clearly until the Clerk comes to Juror No. 7, 
               who mumbles in a low voice.

                                     CLERK
                              (to Juror No. 7)
                         Speak a little louder please.

               Juror No. 7 is staring hard at Elizabeth. His face is 
               twisted with emotion. He is the only Juror who has looked 
               at her. He swallows, doesn't answer, then his eyes go to 
               Henry Kinsolving. Henry Kinsolving glares at Juror No. 7.  
               Juror No. 7 wilts.

                                     JUROR NO. 7
                              (thickly and 
                              hesitatingly)
                         Guilty of murder in the first 
                         degree.

               The Clerk completes the polling of the Jury, then turns to 
               the Judge. The Judge nods and Clerk sits down. The courtroom 
               starts to get noisy again, and the Judge uses his gavel.

                                     BAILIFF
                         Order in the Court!

                                     JUDGE
                         The Court now has a statement to 
                         make.

               He glances towards Elizabeth, who is still standing rigidly.

                                     JUDGE
                              (gently)
                         Please sit down, Mrs. Kinsolving.

               Elizabeth sits, and clasps her hands in front of her.

                                     JUDGE
                         This court, like most courts, has 
                         occasionally been guilty of judicial 
                         error. Prior to the commencement 
                         of this trail, Mr.  Leamington, as 
                         attorney for the Defendant, made a 
                         motion for a change of venue on 
                         the ground that a fair trial could 
                         not be had by this Defendant in 
                         this jurisdiction. Most of you 
                         know why this motion was made.  
                         The Defendant was alleged to have 
                         been tried and convicted in the 
                         columns of the daily newspaper 
                         owned by her father-in-law, Mr.  
                         Henry Kinsolving, and as a result 
                         public opinion was said to have 
                         been prejudiced to the extent that 
                         it was doubtful twelve Jurors could 
                         be found with open minds. This 
                         Court regretfully denied the motion. 
                         It did not believe that a Jury 
                         with open minds could not be found. 
                         The members of this Jury declared 
                         on oath that their minds were open.  
                         The Court had no reason at that 
                         time to disbelieve them.

               The Judge looks at the Jury sternly, and they react in 
               various ways. The Judge's eyes go to Henry Kinsolving, who 
               stares back at him.

                                     JUDGE
                         Elizabeth Kinsolving has been tried 
                         and found guilty of murder of her 
                         husband, Lee Kinsolving.  Lee 
                         Kinsolving was the only son of our 
                         most prominent citizen.  Mr. 
                         Kinsolving controls, or is said to 
                         control, our leading bank, many of 
                         our business enterprises and our 
                         only daily newspaper. He affords 
                         employment to a large number of 
                         our citizens. His influence on our 
                         affairs is very great.
                              (dramatic pause)
                         Perhaps to great.

               There is an upsurge of noise in the Court and the Bailiff 
               shots for order. Prosecutor jumps to his feet.

                                     PROSECUTOR
                         Your Honor, I protest that 
                         statement!

                                     JUDGE
                         Sit down, Mr. Prosecutor. Your are 
                         out of order.

               Prosecutor swallows, looks back at Henry Kinsloving, shrugs 
               and sits down again. Leamington is leaning forward with a 
               gleam in his eye. Elizabeth is still deadpan.

                                     JUDGE
                         We all new Lee Kinsolving well, We 
                         watched him grow up.  We observed 
                         that he was proud and hot tempered, 
                         and had a strain of arrogance, not 
                         unlike others of his family.

               He looks meaningfully at Henry Kinsolving.

                                     JUDGE
                         From this town Lee Kinsolving went 
                         to fight for his country.  And to 
                         this town, before he went overseas, 
                         he brought the wife he had married 
                         up North. To us he returned a war 
                         hero badly wounded, condemned for 
                         the rest of his life to wear a 
                         heavy brace around his neck. 
                         Competent medical testimony has 
                         shown that without that brace a 
                         very slight movement might have 
                         been enough to snap his spinal 
                         cord. This injury humiliated and 
                         embittered Lee Kinsolving, made 
                         him morose and violent, and perhaps 
                         caused him to drink to excess. The 
                         Defendant has admitted that there 
                         were bitter quarrels between herself 
                         and her husband. Such a quarrel 
                         took place on the night of his 
                         death, Upon the manner of that 
                         death this entire proceeding rests.

               The Judge pauses and looks out over the courtroom, which 
               is very quiet now, He pours himself a glass of water and 
               takes a drink from it.

                                     JUDGE
                         In my summing up to the Jury I 
                         emphasized that the case for the 
                         prosecution was, as so many murder 
                         cases are, purely circumstantial. 
                         It was alleged that while Lee 
                         Kinsolving slept, perhaps in a 
                         drunken stupor and perhaps not, 
                         the Defendant removed the neck 
                         brace from his neck and jerked his 
                         head sufficiently to rupture the 
                         spinal cord and cause death. It is 
                         admitted that the Defendant was 
                         found holding the neck brace in 
                         her hand, and bending over her 
                         husband's body, which was lying on 
                         the bed. Not in the bed, mind you, 
                         but sprawled across it.  The 
                         Defendant has testified that lee 
                         Kinsolving himself removed the 
                         neck brace to torment her, as it 
                         were, with the great danger in 
                         which this placed him. Then he 
                         started to walk towards her, holding 
                         the brace in his hands, and that 
                         being unsteady on his feet, he 
                         stumbled and fell backwards across 
                         the bed. And this fall broke his 
                         neck, although at the time she did 
                         not know it. She has testified 
                         that she picked the brace up from 
                         the floor and was about to attempt 
                         to replace it on his neck when her 
                         father-in-law entered the room and 
                         found her in that position.
                              (a beat)
                         By its verdict the Jury declared 
                         that Elizabeth Kinsolving's account 
                         of the death of her husband to be 
                         impossible of belief.

               The Judge sips a little more water, then continues.

                                     JUDGE
                         In all murder trails, a motion by 
                         the Defense for a directed verdict 
                         of acquittal before the case goes 
                         to the Jury is more or less 
                         automatic. It is usually 
                         perfunctory, and for that reason 
                         immediately denied. The laws of 
                         this state, and a few other 
                         jurisdictions, confer upon a Court 
                         a right to reserve its ruling upon 
                         such a motion until after the Jury 
                         has rendered its verdict. In this 
                         proceeding, I, as presiding Judge, 
                         availed myself of this power. I 
                         most honestly hoped that the Jury 
                         in this case might act as 
                         impartially as it declared itself 
                         to be.

               The Prosecuting Attorney again jumps to his feet, then 
               changes his mind, sits down with a frustrated angry 
               movement. Kinsolving is leaning forward, glaring. The Jury 
               are now very uncomfortable. The is a BUZZ OF NOISE and the 
               Bailiff again shouts for order.

                                     JUDGE
                         Let me remind you that a Jury is 
                         the sole Judge of fact, and further 
                         let me remind you that the Jury 
                         must judge all the facts. It may 
                         not select nor create nor change 
                         facts. It may only interpret them. 
                         It may not declare something 
                         impossible which in fact is merely 
                         extremely difficult to believe.
                              (a beat)
                         Impossible is a very big word.
                              (another beat.)
                         If we believe Elizabeth Kinsolving's 
                         sworn testimony, we must also 
                         believe that Lee Kinsolving 
                         performed an act which was almost 
                         certain to cause his death. It is 
                         difficult... very difficult to 
                         believe. But is it impossible? Are 
                         we sure that he knew it would cause 
                         his death? Or that in his then 
                         state of mind, he even considered 
                         the consequences at all? Many people 
                         have attempted suicide as a result 
                         of domestic quarrels. Not all have 
                         succeeded, nor meant to succeed. 
                         And surely not all those who did 
                         succeed... fully intended to. Not 
                         all knew what they were doing and 
                         those who did know, there were 
                         surely a few whose desire to hurt 
                         others overcame their fear of 
                         hurting themselves.  We cannot 
                         know what was in Lee Kinsolving's 
                         Mind. Therefore, some element of 
                         doubt must infallibly remain. It 
                         was not necessary for this Jury to 
                         declare its belief in the 
                         Defendant's innocence, nor to 
                         declare its that Lee Kinsolving by 
                         accident or his own intent. It was 
                         necessary for the Jury to admit to 
                         themselves, as reasonable men, the 
                         possibility.... however slight... 
                         that Elizabeth Kinsolving's story 
                         was true. This possibility the 
                         Jury has refused to admit.
                              (dramatic pause)
                         It therefore becomes my duty to 
                         declare that such a possibility 
                         does in fact exist... and the Jury's 
                         refusal to recognize it was a 
                         failure to exercise it proper 
                         function.

               A rising, antagonistic sound begins to surge from the 
               spectators and Henry Kinsolving comes to his feet, slowly 
               and rigidly. The Judge ignore him and looks straight at 
               the foreman of the Jury, and speaks the rest of his speech 
               in a clear, ringing, dominating voice.

                                     JUDGE
                         The Court therefore rules that the 
                         motion of the Attorney for the 
                         Defense for a directed verdict of 
                         not guilty be now granted. The 
                         verdict of guilty brought by this 
                         Jury is herby set aside, and a 
                         verdict of not guilty is to be 
                         entered on the record.
                              (his voice bow rises 
                              almost to a shout)
                         And the Defendant, Elizabeth 
                         Kinsolving, is here with discharged 
                         from custody of the Sheriff of 
                         this county.

               PANDEMONIUM and UPROAR in the Court. The Bailiff shouts 
               for order. The Judge stands slowly, looks a moment out 
               over the Court, then looks at Elizabeth, smiles at her 
               faintly, turns, and starts back towards his chambers.

               CAMERA PANS over to Henry Kinsolving. He stands like a 
               statue, an icy rage, his face working, while behind him 
               the noise of the spectators goes on. Kinsolving turns his 
               head towards Elizabeth, then moves stiffly over to her.

               CAMERA PANNING, he comes over to her. Leamington, the 
               Defense Attorney, and the matron are standing beside her.

                                     KINSLOVING
                              (with restrained 
                              fury)
                         For four years I endured your 
                         presence in my house, although I 
                         well knew you were no fit wife for 
                         my son.. That he had married in 
                         haste, and that he would repent it 
                         bitterly if he survived the war. I 
                         had no thought that he would die 
                         under his own roof, nor that the 
                         reward of my patience would be to 
                         stand beside his grave. I have 
                         done my best to avenge him. So far 
                         I have failed.  But I have not 
                         finished. You are free to go where 
                         you will, but there will be another 
                         day of reckoning, somewhere, 
                         sometime.  And when that day comes, 
                         I will be there. And that time you 
                         will not escape.

               Elizabeth's eyes widen with horror. In the background the 
               crowd is still roaring, like peals of thunder.

               CAMERA MOVES IN CLOSE TO ELIZABETH'S EYES as at the 
               beginning of this flashback.

                                                          FLASH FORWARD:

               INT. ROYAL HOTEL - BETTY'S BEDROOM -- NIGHT

               CAMERA WITHDRAWS and find her sitting up in bed in the 
               ROYAL HOTEL. THUNDER is pealing outside, but now more 
               distantly. There is a sudden downpour of RAIN. Betty sweeps 
               the bedclothes aside. Reaches for a robe, and crosses to 
               close the French doors. Over her shoulder we see a portion 
               of the small balcony, a chaise, and as Betty starts to 
               close the door, she stops frozen. There is someone lying 
               on the chaise. She starts out into the rain.

               EXT. ROYAL HOTEL - BETTY'S BALCONY -- NIGHT

               As she comes out, approaches the chaise, leans down, the 
               rain beating on her. She shakes the shoulder of a man on 
               the chaise. He doesn't move. One of his hands drops limply 
               and swings a little. Horror shows in Betty's eyes. She 
               reaches out and touches the man's face and WE SEE for the 
               first time that this is Larry Mitchell, and we realize 
               that he is dead.

                                                            DISSOLVE TO:

               INT. ROYAL HOTEL - PORTER'S DESK/CORRIDOR/MAIN FLOOR -- 
               NIGHT

               The NIGHT PORTER is seated at his desk, reading a paper. 
               He is a middle-aged man in uniform and military bearing, 
               with a row or ribbons across his chest. Probably, in order 
               of seniority, a Military Medal, a Good Conduct Medal, the 
               Long Service Medal, and two or three campaign ribbons. 
               Betty, now fully dressed, COMES SLOWLY INTO THE SHOT and 
               stops by his desk. Porter lays down his paper and stands 
               up.

                                     PORTER
                         Good evening, Miss.

                                     BETTY
                         How soon can I get a plane to 
                         Seattle?

                                     PORTER
                         I'm afraid there's nothing more 
                         tonight, Miss. Unless you charter 
                         a plane.

                                     BETTY
                         How long would that take?

                                     PORTER
                         Well... they have to service the 
                         plane... and get a pilot down to 
                         the field, unless there's one 
                         hanging around there still... and 
                         then they have to get the 
                         immigration officer...

                                     BETTY
                         Immigration Officer?

                                     PORTER
                         Crossing the border this time of 
                         night they're a bit particular.  
                         You'd have to prove your identity, 
                         you know... unless you've got a 
                         passport. They might even want to 
                         know why you're in such a hurry.
                              (he grins)
                         Otherwise they might think...

               He breaks off, staring at her.

                                     BETTY
                         They might think I was running 
                         away from something.

                                     PORTER
                         Possibly, Miss.

               He smiles.

                                     BETTY
                         Thank you very much.

               She turns and exits. CAMERA FOLLOWS HER ALONG. She turns 
               the corner by the elevator bank, starts into the elevator.  
               Brandon is standing there in a light overcoat, with his 
               hat in his hand. She get's in without noticing him.

               INT. ROYAL HOTEL - ELEVATOR IN MOTION UP -- NIGHT

                                     BRANDON
                         Leaving us so soon, Miss Mayfield?

               She realizes his presence.

                                     BRANDON
                         I don't blame you.. For running 
                         away.

               Betty reacts sharply, controls herself, says nothing.  
               Elevator stops, doors open.

                                     ELEVATOR BOY
                         Good night, Miss.

                                     BETTY
                         Good night.

               She starts out. Brandon after her.

                                     ELEVATOR BOY
                         This isn't the penthouse floor, 
                         Mr. Brandon.

               Brandon keeps going.

               INT. ROYAL HOTEL - CORRIDOR OUTSIDE ELEVATOR -- NIGHT

               Betty is walking quickly down the corridor towards her 
               room. Brandon is following her. She seems unaware of him.

                                     BRANDON
                              (calling)
                         Miss Mayfield...

               Betty stops turns, and he comes up to her.

                                     BRANDON
                         I know it's a littler late for an 
                         apology.

                                     BETTY
                              (in a strained, un 
                              natural voice)
                         Much too late.

                                     BRANDON
                         Don't take it so big... it isn't a 
                         tragedy.

               Betty goes into a peal of hysterical laughter, Brandon 
               grabs hold of her arm and shakes it.

                                     BRANDON
                         What's the matter with you?

               Betty stops laughing just as suddenly as she began.

                                     BETTY
                         You said it wasn't a tragedy.

                                     BRANDON
                         What's funny about that? If you 
                         pick up people like Larry Mitchell 
                         other people are bound to get funny 
                         ideas about you. The world is full 
                         of Larry Mitchells.

                                     BETTY
                         There's one less tonight.

               Brandon reacts. Silently she holds out a key. He takes it.  
               It's a tabbed hotel room key.

                                                            DISSOLVE TO:

               INT. ROYAL HOTEL - BETTY'S ROOM -- NIGHT

               DOOR OPENS

               Brandon comes in, stands aside as Betty comes in. He shuts 
               and locks the door. The room is lighted up. Brandon looks 
               around swiftly.

                                     BETTY
                         Out on the balcony.

               CAMERA PANS Brandon across the room to the balcony door, 
               he steps out.

               EXT. ROYAL HOTEL - BETTY'S BALCONY -- NIGHT

               Brandon enters. He goes quickly to chaise, stares down, 
               bends, appears to pick something up. What is it not seen.

               INT. ROYAL HOTEL - BETTY'S ROOM -- NIGHT

               Betty is standing motionless in the middle of the floor.

                                     BRANDON
                         Through the heart, apparently.  
                         Very little blood. What's the story?

               Betty looks him straight in the eye.

                                     BETTY
                         There isn't one.. That anyone would 
                         believe. I went for a walk after 
                         dinner, down to the ocean...alone... 
                         I came up and went to bed. I didn't 
                         sleep very well. Then there was a 
                         thunderstorm. And it began to rain.  
                         I went across to close the French 
                         door. That's the first time I saw 
                         him out there.

                                     BRANDON
                         He got in here how?

                                     BETTY
                         Not with my consent, strange as it 
                         seems. I don't know how he got in. 
                         I don't know anything.

               Brandon brings his hand up.

                                     BRANDON
                         Ever see this before?

               Betty looks down. In his hand is an automatic with a pearl 
               handle.

                                     BETTY
                         No. And I've never fired a gun in 
                         my life, Aren't you supposed not 
                         to touch it?

                                     BRANDON
                         Sure... but somebody always does..

               He puts the gun down on the table carelessly, gets out a 
               cigarette case and offers her one. She takes it and he 
               lights it for her. Her hand is shaky. Their faces are very 
               close together. He holds the lighter close to her eyes.

                                     BRANDON
                              (quietly)
                         Lovely eyes... honest eyes..

               The light goes out.

                                     BRANDON
                         They'll know whether he killed 
                         himself.

                                     BETTY
                         I don't.

                                     BRANDON
                         How did you meet him?

                                     BETTY
                         On a train. He said he lived here, 
                         and he offered to make a reservation 
                         for me.

                                     BRANDON
                         Nice of him.

                                     BETTY
                         He knew the immigration officer.  
                         He eased himself in.

                                     BRANDON
                         He was a great boy for that. What 
                         else?

                                     BETTY
                         That's all there is.

               Brandon takes her by the shoulders and pulls her close, 
               looking into her eyes.

                                     BRANDON
                         They're still honest eyes... but 
                         there's something behind them.

               He pulls her closer, about to kiss her.

                                     BETTY
                         Go ahead...if you want to. It 
                         doesn't matter.

                                     BRANDON
                         I'd rather wait until it does 
                         matter.

               He lets go of her and starts across the room, picks up 
               telephone. Brandon turns with the telephone in his hand.

                                     BRANDON
                         You tried to run away.

                                     BETTY
                         There wasn't any plane.

                                     BRANDON
                         It's always a mistake to run away. 
                         Always.

               He begins to dial.

                                                               FADE OUT:

               FADE IN:

               INT. ROYAL HOTEL - PENTHOUSE - LIVING ROOM -- NIGHT

               Brandon is standing at the French window, a cup of coffee 
               in his hand. CAMERA PULLS BACK AS his eyes go over to Betty 
               who is in a chair with an untouched cup of black coffee on 
               the table beside her.

                                     BRANDON
                              (going towards her)
                         Want a spike in it?

                                     BETTY
                              (without looking at 
                              him)
                         No thanks.

               Her voice and expression are dead and exhausted. CAMERA 
               PULLS BACK FURTHER to SHOW Margo and Clarendon sitting 
               across the room from Betty. Margo is staring at Betty with 
               cold hostility. She is wearing slacks, but otherwise dressed 
               with care and finish. Clarendon is fully dressed and has 
               his silver-topped cane between his legs, but has slippers 
               on his feet.

                                     MARGO
                         You make friends quickly, don't 
                         you, Clark?

                                     BRANDON
                         Sometimes.

                                     MARGO
                         And without much discrimination.

                                     BRANDON
                         Leave that one lay.

                                     MARGO
                         They still hang women in Canada, 
                         I've heard.

                                     CLARENDON
                         So much less refined than frizzling 
                         them in the chair.

                                     MARGO
                         Oh, shut up!
                              (she looks down at 
                              his feet)
                         You haven't even got your spats 
                         on.

               Brandon crosses to coffee table, picks up coffee pot and 
               goes to Margo with it.

                                     MARGO
                         Think I'll have trouble staying 
                         awake?

               Brandon fills her cup silently. Margo chokes. Bites on her 
               handkerchief hard. She controls herself.

                                     MARGO
                         I'm sorry. This thing has just 
                         knocked me silly.  How long do we 
                         have to wait for this police 
                         character?

                                     BRANDON
                         Until he comes. He's a nice guy.  
                         You've met him.

                                     MARGO
                         That comedian?

               Betty looking across at Brandon with sudden interest.

                                     BRANDON
                         Don't let the eyeglass fool you.  
                         That's what it's for.

               DOOR BUZZER SOUNDS. Brandon crosses to open door. A plain-
               clothes Dick named HANDLEY is standing there.

                                     HANDLEY
                         You Mr. Brandon?

               Brandon nods.

                                     HANDLEY
                         Inspector Killaine's compliments.  
                         He'll be up in another ten minutes.

               Brandon nods again, and as Handley starts to turn away, 
               Brandon starts to close the door.

                                                                 CUT TO:

               EXT. ROYAL HOTEL - BETTY'S BALCONY -- NIGHT

               Portable lights have been rigged up and a POLICE 
               PHOTOGRAPHER is taking photographs of the body. As he 
               finishes, a sheet is thrown over it and the photographer 
               starts to dismantle his equipment and pack it up. A couple 
               of PLAIN-CLOTHES MEN are standing around, and one of them 
               named GORE, a detective sergeant, a big sore-head who 
               doesn't like anybody. As the photographer extinguishes one 
               of the lights and starts to wind up the cord, Gore looks 
               off and scowls.

               Killiane ENTERS SHOT briskly. He is wearing a trenchcoat 
               and no hat.

                                     GORE
                         You in charge here?

                                     KILLAINE
                         So it seems Sergeant.

                                     GORE
                         Right.

                                     KILLAINE
                         I hate to pull rank on you Sergeant, 
                         but once in a while...for moral 
                         purposes...you might address me as 
                         "Inspector". In moments of extreme 
                         desperation, you might even call 
                         me "sir".

               He goes over to the chaise, lifts the sheet off corpse, 
               looks down, replaces sheet, comes back to Gore.

                                     KILLAINE
                         I knew him. He was easy to dislike, 
                         poor chap.

                                     GORE
                         They tell me he'll be a great loss 
                         to the liquor trade. This Mayfield 
                         girl...

               He breaks off as Killaine reacts

                                     GORE
                         ... I supposed you knew her, too, 
                         Inspector.

                                     KILLAINE
                         I've met her.

                                     GORE
                         It's her room. She only got to the 
                         Hotel this afternoon,. With him.
                              (he indicates body 
                              on chaise)
                         I guess he took too much for 
                         granted. Here's the gun.

               He takes it out of his pocket and holds it out on a 
               handkerchief. Killaine takes the gun from him, handkerchief 
               and all.

                                     KILLAINE
                         Pearl-handled .25 Automatic, uh?
                              (he looks a little 
                              closer)
                         No, it's a Belgian gun... 6.6 mm.

                                     GORE
                         Correct, Inspector. A woman's gun. 
                         U.S. 125 caliber ammunition in it. 
                         It was on a table in there.

               He nods towards room. Killaine frowns.

                                     GORE
                         Nobody's been questioned yet. You 
                         noticed the wound entry?

               Killaine nods.

                                     GORE
                         Much too low for a suicide. Not 
                         conclusive, of course. But a woman 
                         of ordinary height, standing rather 
                         close to a tall man, such as he 
                         was...
                              (indicating corpse)
                         ...would be apt to shoot him about 
                         where he got shot.

               Killaine nods again.

                                     GORE
                         Then there's the shell.

               He takes out a small envelope, hands it to Killaine.

                                     GORE
                         This make of gun throws a shell 
                         backwards, high, and to the right. 
                         The chaise is only about four feet 
                         from the wall.

                                     KILLAINE
                         So the shell ought to have gone 
                         over?

                                     GORE
                         Unless the gun was slanted up.

                                     KILLAINE
                         So the wound and the shell give 
                         you the same answer.

                                     GORE
                         Right. A clean deduction from 
                         observed facts. They've got to be 
                         simple once in a while, Inspector.

                                     KILLAINE
                              (dryly)
                         I've always looked forward to it.  
                         All right, let's get him out of 
                         here and tidy up.

               He starts to turn away.

                                     GORE
                         I'd take a look in her clothes 
                         closet if I were you, Inspector.

               Killaine nods and exits scene.

               INT. ROYAL HOTEL - BETTY'S ROOM -- NIGHT

               Killaine enters from the balcony then stands a moment, 
               looking around, crosses to dressing table, looks down, and 
               we SEE traces of fingerprint powder on the toilet articles 
               and bottles. He doesn't touch anything. He crosses to 
               closet, opens door. A light goes on inside. He starts in.

               INT. ROYAL HOTEL - BETTY'S CLOSET -- NIGHT

               Killaine examines several garments, takes a sports coat 
               off hanger, opens it up at lining. His looks becomes fixed 
               and intent. He reacts. (What he sees is that the sewed-in 
               label has been removed from the garment.) Slowly he replaces 
               the coat, then takes down another garment, goes through 
               the same performance. He whistles very softly between his 
               teeth, stands a moment with a puzzled expression on his 
               face, replaces the garment. Exits closet. Light goes out.

                                                            DISSOLVE TO:

               INT. ROYAL HOTEL - PENTHOUSE - LOBBY -- NIGHT

               As elevator come up, Killaine exits elevator, crosses, 
               presses buzzer beside Brandon's door. Brandon opens it, 
               Killaine nods to him, passes him on the way in.

               INT. ROYAL HOTEL - PENTHOUSE - LIVING ROOM -- NIGHT

               As Killaine enters, stops, looking around.

                                     KILLAINE
                         I'm sorry to have kept you waiting, 
                         Mrs. West, Mr.  Clarendon.

               He turns to Betty.

                                     KILLAINE
                         Miss Mayfield. There's not much I 
                         can do tonight. But there is one 
                         thing.

               He moves across to Clarendon, takes gun and handkerchief 
               out of his pocket and holds it so only Clarendon can see 
               it.

                                     KILLAINE
                         Mr. Clarendon, have you ever seen 
                         this before?

                                     CLARENDON
                              (looking down)
                         I'm sorry, Inspector, I don't know 
                         much about..

                                     KILLAINE
                              (sharply)
                         Recently, then.

                                     CLARENDON
                              (slowly)
                         No, Not recently. I'm sure of that.

                                     KILLAINE
                         Thank you.

               He moves to Margo, holds gun in front of her.

                                     KILLAINE
                         Mr. West?

               Margo's eyes go down very slowly. She stares at the gun 
               for a long moment before speaking.

                                     MARGO
                              (in a choked voice)
                         I never saw it before.

                                     KILLAINE
                         Positive?

               Margo lifts her face to him and nods.

                                     KILLAINE
                         Thank you.

                                     BRANDON
                         Yes, I've seen it before.

               Killaine reacts sharply. Killaine catches the reaction 
               with the corner of his eye, but appears not to pay any 
               attention. Brandon obviously does see the reaction.  
               Killaine turns back to Brandon.

                                     KILLAINE
                         Where?

                                     BRANDON
                         On Miss Mayfield's balcony.. beside 
                         the chaise, I picked it up. Don't 
                         ask me why. I ought to know better.

                                     KILLAINE
                         Quite sure you had no motive?

               Killaine glances sidewise at Betty.

                                     BRANDON
                         Could be.

                                     KILLAINE
                         I rather thought so. And before 
                         that, had you ever seen the gun?

                                     BRANDON
                         No.

               Margo is seen to react with great relief which she tries 
               to conceal. Killaine gives another quick sidelong look.  
               Brandon has continued to watch her.

                                     KILLAINE
                              (to Brandon)
                         It was lying where on the balcony?

                                     BRANDON
                         Near his right hand. About a foot 
                         away. Perhaps more. Good heavens, 
                         one doesn't use a tape measure.

                                     KILLAINE
                         We do, when we get the chance.

               Killaine turns so that he faces Margo and Clarendon.

                                     KILLAINE
                         I needn't keep you any longer, Mr. 
                         Clarendon.

                                     CLARENDON
                              (standing up)
                         Thank you. It is rather late... 
                         and I'm not young anymore. Good 
                         night.

                                     MARGO
                         What about me?

                                     KILLAINE
                         Not quiet yet.

               He crosses and opens door. Clarendon goes out. Killaine 
               shuts door, goes to Margo.

                                     KILLAINE
                         You knew Mitchell pretty well, 
                         didn't you, Mrs. West?

                                     MARGO
                         I was in love with him... which 
                         shows you the quality of my brains.
                              (bursting out--
                              looking at Betty)
                         Why don't you ask her about the 
                         gun?

                                     KILLAINE
                         I shall. From your knowledge of 
                         Mitchell, would you say he would 
                         be likely to commit suicide?

                                     MARGO
                         Anybody could commit suicide, if 
                         he felt low enough. I've felt it 
                         myself.

                                     KILLAINE
                         Then why not give Miss Mayfield 
                         the benefit of the doubt?

                                     MARGO
                         I'd be delighted to... anytime you 
                         can show me the doubt. I'll wrap 
                         it up in tissue paper and put a 
                         Christmas seals on it for her.

                                     KILLAINE
                         Thank you very much, Mrs. West.

               Margo flounces to door, jerks it open before anybody can 
               get there to hold it for her, and goes out, banging the 
               door after her.

                                     BRANDON
                         How about a cup of coffee?

                                     KILLAINE
                         No thanks. I had some. How would 
                         you like to take a walk for, say, 
                         half and hour?

               Brandon glances at Betty, then back at Killaine, Shrugs.

                                     BRANDON
                         All right.

               He crosses, gets hat and coat, goes to door and out.  
               Killaine turns to Betty.

                                     KILLAINE
                         Mrs. West is a very emotional woman.

                                     BETTY
                         I don't know her.. or particularly 
                         want to.

                                     KILLAINE
                         You probably know the type. You 
                         find them in hotels and resorts 
                         all over the world. They always 
                         have clothes, and money, and usually 
                         have had three or four husbands. 
                         They dress and enamel themselves 
                         with great care. They worry a great 
                         deal about those little lines at 
                         the corner of the eyes.. And they 
                         demonstrate their incompetence at 
                         the art of living bet getting mixed 
                         up with people like Larry Mitchell.
                              (a beat)
                         Tell me about yourself, Miss 
                         Mayfield.

                                     BETTY
                         I was born in New York City. I 
                         grew up. And here I am.

                                     KILLAINE
                         I'll have to know a little more 
                         than that.

                                     BETTY
                         I'm sorry, that's all there is.

                                     KILLAINE
                         Miss Mayfield, the humor of the 
                         situation escapes me. Within 24 
                         hours I shall know officially 
                         whether Mitchell was murdered.  
                         Privately, I'm quite sure of it 
                         now. It happened in your room, and 
                         you came to Vancouver with him.. 
                         At any rate, he made your hotel 
                         reservation.. And you arrived 
                         together. Here in this room he 
                         behaved nastily to you, and you 
                         said something to him which might 
                         be taken as a threat.  A few hours 
                         later he was found dead on your 
                         balcony. Would it be too much too 
                         suggest that all these circumstances 
                         taken together are a little 
                         suspicious?

               Betty doesn't answer.

                                     KILLAINE
                         Please answer my question.

                                     BETTY
                         You didn't ask a question. You 
                         made a speech.

                                     KILLAINE
                         That's an evasion and you know it.

                                     BETTY
                         It is?

               Their eyes meet in a long stare.

               INT. ROYAL HOTEL - MARGO'S ROOM -- NIGHT

               There is some moonlight. In the foreground, the back of a 
               man seated in a chair. Door opens, Margo is silhouetted 
               against corridor light. She switches light on, shuts door, 
               turns, and reacts violently. Clarendon is sitting in chair 
               with his cane between his knees. CAMERA PANS her over to 
               Clarendon.

                                     MARGO
                              (tensely)
                         What are you doing here?

                                     CLARENDON
                         I don't think you locked your door.

                                     MARGO
                         What do you want?

                                     CLARENDON
                         See how easy it is? Perhaps Miss 
                         Mayfield left her door unlocked.  
                         Or if she didn't, there's a passkey 
                         on every floor in the linen room. 
                         The head porter has a passkey. The 
                         bell captain has a passkey. The 
                         hotel's full of passkeys.

                                     MARGO
                         Passkey?

                                     CLARENDON
                         Or--since one is a well-known and 
                         respected guest--one could go to 
                         the desk in the lobby and say "Miss 
                         Mayfield seems to have lost her 
                         room key--have you another"?  They 
                         always have another.

                                     MARGO
                         Don't be a fool. I loved him. He 
                         wasn't worth it, but I loved him.

                                     CLARENDON
                         And now that he's safe from all 
                         other women, you can go on loving 
                         him.

                                     MARGO
                         You nasty, sardonic--

                                     CLARENDON
                         Sardonic, if you will my dear.  
                         Bust nasty. You lied about the 
                         gun.

               Margo reacts, shocked. Clarendon gets slowly to his feet.

                                     CLARENDON
                         I'm a very observant man. You had 
                         something in your bag this 
                         afternoon, Something that causes 
                         you to hold it in a particular 
                         way. Something that made a 
                         particular sound when you put it 
                         down on the bar. You went out with 
                         Mitchell. None of us ever saw him 
                         again.

                                     MARGO
                              (desperately)
                         That's not enough.

                                     CLARENDON
                         I saw your face this evening when 
                         the detective showed you the gun.  
                         You lied. It was obvious.

                                     MARGO
                         He saw my face too.

                                     CLARENDON
                         So he did--but he hasn't told you 
                         what he saw. I have.

                                     MARGO
                         They'll arrest that girl.  
                         Everything points to her.

                                     CLARENDON
                         Convenient, isn't it?

               He starts towards the door.

                                     MARGO
                         One of these days, you're going to 
                         wake up in the middle of the night 
                         and find that you've cut your 
                         throat.

                                     CLARENDON
                         How clumsy. I'd never forgive 
                         myself. Good night my dear.

                                     MARGO
                         You could have got in that room, 
                         just as you got in here. How do I 
                         know you didn't kill Larry?

                                     CLARENDON
                         With what motive?

                                     MARGO
                         Nastiness. You're nasty with words. 
                         Why wouldn't you be nasty with 
                         deeds once in a while? You hated 
                         him--and I know why.

                                     CLARENDON
                         He was very easy to hate. If you'll 
                         look in your mirror, when you are 
                         in a better temper- you'll know 
                         why.

               Margo just stares at him.

                                     CLARENDON
                         Very silly of me, isn't it? I'm 
                         not as well-off as I was once- and 
                         I'm used to my little comforts.

               He exits. Margo looks after him, thunderstruck.

               EXT. ROYAL HOTEL - PENTHOUSE - TERRACE -- NIGHT

               Killaine is standing at wall, looking out over view. He is 
               smoking. He points up with cigarette.

                                     KILLAINE
                         That star up there is Alphard. 
                         "The lonely", they call him. I 
                         wonder why he's lonely? Perhaps 
                         he's a policeman--a celestial 
                         policeman?

               CAMERA PULLS BACK to include Betty, who is staring at him.  
               He turns slowly.

                                     KILLAINE
                         Well, that's not getting us 
                         anywhere. You won't tell me who 
                         you are, or give any account of 
                         yourself. You won't even give me 
                         your address in the United States. 
                         Why? Unhappy marriage?

                                     BETTY
                         Who told you I was married?

                                     KILLAINE
                         There's the clear mark of a wedding 
                         ring on your finger.

               She turns, walks abruptly away, then back into the living 
               room. Killaine follows.

               INT. ROYAL HOTEL - PENTHOUSE - LIVING ROOM -- NIGHT

               As Killaine enters. Betty is already inside. She sits down.

                                     BETTY.
                         I want a cigarette.

                                     KILLAINE
                         The room's full of cigarettes.  
                         But of course one would have to be 
                         handed to you.

               He goes to her, takes out sliver case, and opens it. She 
               takes one, is about to return the case to his pocket when:

                                     BETTY
                         Let me see that.

               He holds case out to her. There is an inlaid design on it.

                                     BETTY
                         Your family coat of arms, Mr.  
                         Killaine?

                                     KILLAINE
                              (crossly)
                         Regimental! Seaforth Highlanders.

                                     BETTY
                         I'm sorry.

                                     KILLAINE
                         Stop saying you're sorry. I want 
                         information, not regrets.

                                     BETTY
                         Would you be satisfied if I said I 
                         shot him?

               Killaine jerks the wrapped gun out of his pocket and thrusts 
               it in front of her.

                                     KILLAINE
                         What this?

                                     BETTY
                         Yes.

                                     KILLAINE
                         Where's you get it?

                                     BETTY
                         A graduation present.

               Killaine puts the gun back in his pocket.

                                     KILLAINE
                         That's a rather inferior grade 
                         humor. But since you're being so 
                         frank, would you mind telling me 
                         why all the labels have been removed 
                         from your clothes?

               Betty is jarred. She doesn't answer.

                                     KILLAINE
                         An unhappy marriage hardly seems a 
                         sufficient reason for that.

                                     BETTY
                         Why don't you arrest me and be 
                         done with it.

                                     KILLAINE
                         I probably shall--after I've 
                         tortured you a little more.

               SOUND OF ROOM DOOR OPENING OFF: Killaine looks towards it.  
               Brandon comes in and shuts door, throws hat and coat to 
               one side.

                                     BRANDON
                         How are you two getting along?

                                     KILLAINE
                         Delightfully. Every time Miss 
                         Mayfield says something, I know 
                         less than I did before.
                              (a beat)
                         Well, I may as well knock off for 
                         tonight.
                              (turns to Betty)
                         Good night, Miss Mayfield. Do let 
                         me thank you for your cooperation.

                                     BETTY
                         There's one thing I may as well 
                         tell you. You'll find it out anyhow. 
                         I tried to run away--when I found 
                         him out there on the balcony. There 
                         wasn't any plane.

                                     BRANDON
                         You didn't have to tell him that.

                                     KILLAINE
                              (dryly)
                         Why not?

               He picks up his trench coat and starts to put it on.

                                     KILLAINE
                         Especially as I already knew it.

               He goes out. They watch him leave. As the door closes, 
               Brandon turns to Betty.

                                     BRANDON
                         Bad?

                                     BETTY
                         Bad enough.

                                     BRANDON
                         He could hardly help suspecting 
                         you.

                                     BETTY
                         That's putting it mildly.

               She walks across to French doors and stands looking out.

                                     BETTY
                              (over shoulder)
                         What time is it?

                                     BRANDON
                              (looking at watch)
                         Quarter after one. Why?

                                     BETTY
                         There's a lot of night left to 
                         live through.

                                     BRANDON
                         So there is. You don't want to go 
                         to bed. I don't want to go to bed. 
                         Let's go somewhere and hear some 
                         music--have something to drink--
                         something to eat--even dance.

                                     BETTY
                         Dance? Tonight?

                                     BRANDON
                         Let's not pretend Mitchell meant 
                         anything to either of us.

                                     BETTY
                         Certainly not to me.

                                     BRANDON
                         Just who are you, anyway?

                                     BETTY
                         You, too?
                              (a beat)
                         My name is Betty Mayfield. I was 
                         born, and I am here. Message ends. 
                         That's what I told him. He didn't 
                         like it.

                                     BRANDON
                         I'm different. I like it fine.

                                                            DISSOLVE TO:

               INT. ROYAL HOTEL - LOBBY/DESK/ELEVATOR BANK -- NIGHT

               Killaine is standing at the desk, holding a registration 
               card in his hand. A clerk is across the desk from him.

                                     KILLAINE
                         Nice writing--but no information
                              (he hands the card 
                              back to clerk)
                         I didn't expect any.

               Elevator comes down, doors open. Betty and Brandon come 
               out. Killaine turns, sees them. Brandon crosses to Killaine.

                                     BRANDON
                         Miss Mayfield would like a little 
                         fresh air. Any objections?

               Killaine shakes his head.

                                     BRANDON
                         In case you want to have us 
                         followed.

                                     KILLAINE
                         I don't.

                                     BRANDON
                         Well--good night.

               Killaine looks past him at Betty. Their eyes meet. Killaine 
               turns away quickly. Brandon rejoins Betty and they start 
               out of scene.

               INT. ROYAL HOTEL - LOBBY -- NIGHT

               TRACKING SHOT - BRANDON AND BETTY WALKING

               Lobby is very empty. A short, thick-set MAN is trimming a 
               cigar in a chain. They pass in front of him. He looks up, 
               stares hard at Betty. Betty meets his glance, looks away 
               quickly. CAMERA STOPS AND HOLDS ON SEATED MAN. He looks 
               after them, puts away his pocket knife, lights cigar 
               leisurely, stands up, goes after them.

                                                            DISSOLVE TO:

               EXT. STREET - WATERFRONT -- NIGHT

               Mooring slips on one side, below a sea wall. On the other 
               side, a row of nondescript buildings, a few which have 
               electric signs, one of them an old-fashioned winking 
               electric sign. It is a run-down neighborhood and tough.  
               Brandon's convertible enters shot, pulls over to curb in 
               front of blinking sign.

               CLOSER SHOT

               Sign is now seen to be "CHARLIE'S" but the "R" is half 
               out, dead bulbs. Car stops, Brandon and Betty get out.

               EXT. SIDEWALK - CHARLIE'S BAR -- NIGHT

               CLOSE SHOT

               BRANDON AND BETTY ON SIDEWALK IN FRONT OF CHARLIE'S.

               Betty is shivering.

                                     BRANDON
                         Cold?

                                     BETTY
                         Is this the best you can do?

                                     BRANDON
                         At this time of night. It's not as 
                         bad as it looks.

               A little reluctantly, she crosses sidewalk with him, they 
               go into swinging double doors. As the doors open, sounds 
               of very bad dance music is heard. Doors swing shut again.

               CAMERA PULLS BACK AND PANS SLOWLY ACROSS THE STREET, as 
               the nondescript little car with dim lights comes up to 
               curb and stops some way behind Brandon's convertible. Lights 
               go out, and the short, tick-set man from the lobby of the 
               hotel gets out of car, walks along to Brandon's car, leans 
               in, pokes a small pencil flash at the registration on the 
               steering post, takes out a notebook, makes a note in it, 
               puts notebook and flash away, crosses to swinging doors, 
               starts in.

               INT. CHARLIE'S BAR - UPSTAIRS DINE AND DANCE ROOM -- NIGHT

               The decor is strictly Gas-house Gothic. There are booths 
               like horse stalls, also round scarred tables and hard 
               chairs. The dance band on plain wooden platform, composed 
               of five old young men, plays moodily and contemptuously.  
               There isn't a thing in the joint that could be damaged by 
               being dropped out of a third-story window. At one table 
               sits a NAVY SAILOR across from a BLOUSY GIRL. There is an 
               empty glass in front of him. He sits very straight, vacant 
               eyed, stupid drunk. A chunky grim-looking character in a 
               dinner jacket comes by table, pauses to glance at sailor, 
               makes a signal to girl, who nods. CAMERA PANS him across 
               to booth in which Brandon and Betty have just sat down. 
               The MAN in dinner jacket is MAGRUDER. He owns the joint.

                                     MAGRUDER
                         Nice to see you, Mr. Brandon--and 
                         the lady. What'll you take?

                                     BRANDON
                              (glancing at Betty)
                         Scotch?

               Betty nods lifelessly; to Magruder.

                                     BRANDON
                         Scotch. The kind you buy, Magruder, 
                         not the kind you make.

                                     MAGDRUDER
                         Only the best for you, Mr.  Brandon.

               He signals a waiter, goes out of shot. Band starts to play.  
               Betty looks out of booth.

               ANOTHER ANGLE - BRANDON'S POV - WHAT HE SEES

               Three couples start to lumber around the small dance floor.  
               The air is heavy with smoke. The soused sailor and blousy 
               girl come dancing into foreground. Sailor is dancing with 
               all the grace of a rhinoceros.

                                     BLOWSY GIRL
                         What you need is a drink, big boy.

                                     SAILOR
                              (suddenly pushing 
                              her away)
                         Aw, go blow your nose.

               He starts back to table. Girl shrugs resignedly, goes after 
               him.

                                     BRANDON AND BETTY
                         She is staring horrified at this.

                                     BETTY
                         Why did you bring me to such a 
                         place?

                                     BRANDON
                              (casually)
                         There isn't anywhere else.

               Waiter comes up and serves drinks. Brandon tastes it to 
               make sure he gets what he orders, nods his head. Betty 
               seizes glass almost convulsively and takes a long swallow.

                                     BRANDON
                         Want to dance?

                                     BETTY
                         Dance? Here?

                                     BRANDON
                         Why not?

                                     BETTY
                              (staring at him)
                         They know you here--know your name.

                                     BRANDON
                         I know everybody. I don't look at 
                         half of life, just the nice half, 
                         I look at all of it.

               Betty finishes off her drink, then in a reckless, half-
               wild voice,

                                     BETTY
                         All right, then, let's dance.

               They get up out of booth and about to start dancing when 
               Betty's gaze becomes fixed on something across the room.

               BRANDON'S POV - WHAT HE SEES

               Thick-set MAN from the lobby sitting alone at a table with 
               a bottle of beer in front of him. He is staring over at 
               Betty and Brandon.

               BACK TO BETTY AND BRANDON

                                     BETTY
                         That man over there. He was in the 
                         hotel lobby.

                                     BRANDON
                              (he looks across)
                         I didn't notice him.

                                     BETTY
                         We walked right passed him. He's 
                         following us.

                                     BRANDON
                         Killaine's not that sort of guy.  
                         He said no--he meant no.

                                     BETTY
                         Then he's got to be a detective.

                                     BRANDON
                         Couldn't be.

                                     BETTY
                         Then he's--
                              (she breaks off, 
                              stares rigidly)

               Brandon looks at her curiously, not getting it. Betty 
               swallows and then gets her voice.

                                     BETTY
                         Take me out of here, please.  Right 
                         away.
                              (Brandon just keeps 
                              looking at her.)
                         If you don't I'll go alone.

               Brandon reaches for her coat, puts it around her, throws 
               some money on the table. They start across room. Brandon 
               deliberately steers past the thick-set man, who is pouring 
               himself a glass of beer. He doesn't even look up. Brandon 
               and Betty reach the top of the stairs. Brandon looks back.

                                     BRANDON
                         Quite sure you saw him in the hotel 
                         lobby?

                                     BETTY
                         Absolutely sure.

                                     BRANDON
                              (his eyes narrow a 
                              little)
                         We'll find out.

               He turns, takes Betty's arm, they start down the stairs, 
               CAMERA PANS OVER TO MAN. He now looking after them with 
               half smile on his face. He lifts his glass of beer in 
               salute, drinks it down, stands up.

               FOOT OF STAIRS JUST INSIDE SWINGING DOORS

               It is pretty dark. It is not a solid stairway, there is a 
               space behind it. Brandon notes this.

                                     BRANDON
                         You go out and get in the car.

               Betty hesitates, then starts out. Brandon looks back 
               upstairs. SOUND OF DESCENDING STEPS OVER SHOT. Brandon 
               goes quickly around stairway almost out of sight. Thick-
               set man comes down the stairs. He is now trimming another 
               cigar. As he reaches the bottom of stairs, he stops, takes 
               out a match, and is about to strike it then Brandon steps 
               out.  The man looks at him unemotionally, cigar and match 
               in midair.

                                     BRANDON
                         The light's bad in here, but I 
                         seem to remember the face. What 
                         was the name?

               Man smiles, doesn't answer.

                                     BRANDON
                         All right, let's see the buzzer.

                                     MAN
                         What's a buzzer?

                                     BRANDON
                         So you're not a cop.

                                     MAN
                         Me a cop? What made you think that, 
                         Mr. Brandon?

                                     BRANDON
                         Who told you my name?

                                     MAN
                         I've got good ears.

               Brandon steps up close to him, grabs the lapels of his 
               coat, and twists a little.

                                     BRANDON
                              (tightly)
                         How are your teeth getting along?

                                     MAN
                              (smiling)
                         The new ones are fine. The last 
                         set I had gave me all kinds of 
                         trouble.

               He looks down at Brandon's hand, holding the lapels of his 
               coat.

                                     MAN
                         What's this in favor of?

                                     BRANDON
                         I don't like to be tailed. The 
                         lady I'm with doesn't like to be 
                         stared at. To put the matter in a 
                         couple of nutshells, I don't like 
                         you.

               Still smiling, the man brings his knee up hard. Brandon 
               reels away from him, groaning, doubles up against the wall.

                                     MAN
                         You wanna get tough, Mr. Brandon, 
                         you gotta know the technique.  
                         Next time, turn a little sideways, 
                         get your hip in the way. See what 
                         I mean? Good night.

               He goes through the double doors. CAMERA STAYS ON BRANDON.  
               He straightens up slowly, gets out handkerchief, mops his 
               forehead. He has been hurt pretty badly. After a while, he 
               stiffens himself by main force, walks to door, pushes it 
               open, starts out.

               EXT. STREET -- NIGHT

               He stands, breathing hard, looking off.

               BRANDON'S POV - WHAT HE SEES

               Thick-set man is getting into his car. He starts it up, 
               turns the light on, turns and goes out of shot.

               BACK TO BRANDON

               He crosses sidewalk slowly to his convertible. Betty is 
               waiting in it. Without a word, Brandon goes around, gets 
               in behind the wheel. He sits there with his hands on the 
               wheel, taking deep breaths.

                                     BETTY
                              (urgently)
                         Who is he?

               Brandon turns his head slowly to look at her. He speaks a 
               little quickly, still in pain.

                                     BRANDON
                         He's a fellow with a very hard 
                         knee, and he knows how to use it.

                                     BETTY
                         You don't know who he is?

                                     BRANDON
                         He's not a cop. A cop wouldn't 
                         have kneed me.

                                     BETTY
                              (slowly)
                         He was following us--but he's not 
                         a policeman.

                                     BRANDON
                         Us?

                                     BETTY
                         All right--following me.

                                     BRANDON
                         Why?

                                     BETTY
                         No matter. There's nothing I can 
                         do about it.

                                     BRANDON
                         Anything I can do about it?

                                     BETTY
                         Take me home--and forget you ever 
                         saw me. That's a silly remark isn't 
                         it?

                                     BRANDON
                         Try not talking.

               He puts an arm around her and pulls her close to him as if 
               to kiss her.

                                     BRANDON
                         It still doesn't matter if I kiss 
                         you?

                                     BETTY
                         Nothing matters.

                                     BRANDON
                         No use waiting, then.

               He kisses her on the mouth, hard. She doesn't resist and 
               she doesn't respond. He pulls his head away.

                                     BRANDON
                         That's the second round I've lost 
                         tonight.
                              (he moves and winces)
                         That fellow hurt me.

                                     BETTY
                         So have I.

                                     BRANDON
                         From you, I like it.

               He starts the car. It goes off down the street.

               FADE IN:

               INT. HOTEL - LOBBY -- DAY

               EXTREME WIDE SHOT

               Showing desk, elevator bank, guests reading morning papers 
               in chairs. In background the dining room entrance through 
               which can be seen part of the dining room, with waiters 
               moving back and forth etc. It is breakfast time. Betty 
               appears in dining room entrance, coming out.

               CLOSE SHOT - BETTY

               CAMERA PANS with her as she moves across lobby to desk.  
               Room clerk is checking in several new arrivals. Luggage, 
               bellboys, etc. Betty moves along the desk to far end, stands 
               waiting. Hotel manager comes up to her. He pretends not to 
               know her.

                                     MANAGER
                         Good morning. Can I do something 
                         for you?

                                     BETTY
                         I'm Miss Mayfield. Is Mr.  Campbell 
                         here?

                                     MANAGER
                         I'm Mr. Campbell, Miss Mayfield.
                              (slight pause)
                         Purely as a matter of routine, I 
                         want to ask the name of your bank.

                                     BETTY
                         Bank?

                                     MANAGER
                              (very smoothly)
                         Merely for our records, Miss 
                         Mayfield. It's usual for the guests 
                         who come here for the first time.

                                     BETTY
                              (opening her bag)
                         I'm carrying quite a large sum in 
                         Travelers checks. How much of a 
                         deposit would you like?

                                     CAMPBELL
                         I wouldn't dream if questioning 
                         your credit. Purely a matter of 
                         routine, for the hotel records.  
                         Just the name of your bank--

               He breaks off, glances over to one side.

               CLOSE REVERSE SHOT - BETTY

               She notices the glance and turns her head, looks off in 
               the same direction, reacts, looks back at Campbell.

                                     BETTY
                              (sharply)
                         The Hotel records, Mr. Campbell?

               TWO SHOT - CAMPBELL AND BETTY

                                     CAMPBELL
                              (brightly)
                         I'm afraid I've been clumsy.  Please 
                         overlook it, Miss Mayfield.

               With a quick nod Betty turns away. CAMERA PANS her over to 
               extreme end of desk. Killaine stands there idly, with an 
               elbow on the desk. Betty comes up to him. She is angry.

                                     BETTY
                         Good morning, Mr. Killaine. I'm 
                         sorry I can't give you the name of 
                         my bank--because I have no bank at 
                         the moment.
                              (pause)
                         That was a crude trick.

                                     KILLAINE
                         They're all crude, when they don't 
                         work. Had breakfast?

               She nods.

                                     KILLAINE
                         Care for a stroll outside?  
                         Beautiful morning. The air is like 
                         wine, the sky is a deep blue.

                                     BETTY
                              (contemptuously)
                         Deep blue? I'd call it grey-blue.

                                     KILLAINE
                         You must come from pretty far South.

               She bites her lips.

                                     KILLAINE
                         FLorida?

                                     BETTY
                         I've never been to Florida.

               Killaine smiles and moves away from desk, and she falls in 
               beside him.

                                                            DISSOLVE TO:

               EXT. BRANDON'S OFFICE BUILDING - DOOR -- DAY

               CLOSE-UP - AN OFFICE DOOR

               Metal lettering on it reads CLARK BRANDON ENTERPRISES.  
               Below that to one side ENTER.

               INT. BRANDON'S OFFICE BUILDING - RECEPTION ROOM -- DAY

               A middle-aged SECRETARY is at a desk. a MAN sitting over 
               to one side, reading a newspaper. He is short, thick-set, 
               wears heavy glasses. These are phony glasses--they just 
               look heavy--there is a clear spot in the middle. DOOR OPENS 
               OFF. Brandon enters shot, goes across to desk.

                                     SECRETARY
                         Good morning, Mr. Brandon.

                                     BRANDON
                         Morning. Any calls?

                                     SECRETARY
                         Mr. Reed would like you to call 
                         him.

                                     BRANDON
                         All right. Get him.

                                     SECRETARY
                              (looking off)
                         And there's a Mr. Goble to see 
                         you. Says his business is personal.

                                     BRANDON
                         Who's Goble?

               CAMERA PANS OVER TO MAN with glasses. He puts his newspaper 
               away, stands up, crosses to Brandon, CAMERA PANNING HIM 
               BACK.

                                     MAN
                         I'm Goble.

               Brandon looks at him. Nothing in his face shows recognition.

                                     GOBLE
                         I'd like a few words with you, in 
                         private.

                                     BRANDON
                         I'm not interested in blind dates.

               Goble takes his glasses off, puts then away, and stares at 
               Brandon, who reacts just enough to show he has recognized 
               Goble. During this, secretary has dialed

                                     SECRETARY
                              (into phone)
                         Mr. Reed, please, for Mr.  Brandon.
                              (pause)
                         Very well. Have him call. Mr.  
                         Brandon is in his office now.
                              (she hangs up)
                         Mr. Reed stepped out, Mr.  Brandon.

                                     BRANDON
                              (to Goble)
                         This way.

               He crosses to door, opens it, goes in, leaving Goble to 
               follow.

               INT. BRANDON'S OFFICE - PRIVATE OFFICE -- DAY

               Brandon round desk, takes off hat, stands looking down at 
               some letters on his desk. DOOR CLOSES BEHIND Goble, who 
               has entered. Goble crosses calmly to chair, sits down. 
               Brandon gets cigarette out and lights it with desk lighter, 
               without offering Goble one, and blows a little smoke.

                                     BRANDON
                         All right. Talk it up.

               Goble gets a card out of his wallet, hands it across.

                                     BRANDON
                              (reading)
                         "Martin Goble. Insurance Adjuster."

               He drops card on desk, smiles.

                                     BRANDON
                         Nice friendly approach you've got. 
                         Goble. I could hardly walk when I 
                         got out of bed this morning.

                                     GOBLE
                         You asked for it.

                                     BRANDON
                         I'm still asking. What do you want?

                                     GOBLE
                         I'm not sure I want anything from 
                         you. You might want something from 
                         me.

                                     BRANDON
                         Name it.

                                     GOBLE
                         Information--protection--you might 
                         even want to hire me to go home 
                         and listen to the radio.  That's 
                         the funny part of my business--
                         once in a while, I get hired not 
                         to work.
                              (pause)
                         Nice girl you were with last night. 
                         Known her long?

               Brandon picks the card off the desk, tosses it into waste 
               paper basket.

                                     BRANDON
                         Private eye?

                                     GOBLE
                         You guessed it. The card's phony.  
                         I got plenty of 'em. Different 
                         names, different jobs. I work out 
                         of San Francisco. Go anywhere, do 
                         anything. All it takes is the 
                         folding.

                                     BRANDON
                         What are your rates?

                                     GOBLE
                         $40 a day and expenses. Expenses 
                         run pretty high on a case like 
                         this. I'm a long way from home. I 
                         don't have a B.C. Licence. I'd 
                         need about $500 for a retainer.

                                     BRANDON
                         What have you got on Miss Mayfield?

                                     GOBLE
                         Mayfield? Oh, that girl you were 
                         with last night. You haven't hired 
                         me yet. Mr. Brandon.

               Brandon moves quickly around the desk, grabs Goble, and 
               jerks him to his feet.

                                     BRANDON
                              (with cold savagery)
                         That's a nice hard knee you've 
                         got, Goble. How'd you like to trade 
                         it for a broken neck?

                                     GOBLE
                              (calmly)
                         Quit trying to scare me, Mr.  
                         Brandon, I'm neurotic.

                                     BRANDON
                         I don't know whether to knock your 
                         teeth down your throat--or call 
                         the police--or just give you twenty 
                         bucks to go out and buy yourself a 
                         clean nose.

               Brandon hurls him away. Goble staggers back, without losing 
               his balance. He smiles. Brandon stares back at him savagely 
               for a moment, then goes back around his desk and sits down.

                                     GOBLE
                         You hurt my feelings. I ought to 
                         raise the price to be a thousand.

                                     BRANDON
                         If I call the police, your price 
                         will go down to a minus sign.

                                     GOBLE
                         Bluff. You've waited too long.

                                     BRANDON
                         For five hundred, what do I get?

                                     GOBLE
                         I go home and paint the kitchen.

                                     BRANDON
                         For two hundred?

                                     GOBLE
                         I stick around and wait for the 
                         five hundred.

                                     BRANDON
                         You mentioned information.

                                     GOBLE
                         Sorry. Another client paid for 
                         that. You can hire me not to use 
                         it.

                                     BRANDON
                         A thousand.

                                     GOBLE
                              (hesitates--then)
                         Got it on you?

                                     BRANDON
                         Got the information on you?

                                     GOBLE
                         Get it in half an hour.

               Brandon takes out his wallet, takes some bills out of it, 
               throws then across the desk.

                                     BRANDON
                         There's two hundred. I'll meet you 
                         in an hour--where we met last night

                                     GOBLE
                         Why not here?

                                     BRANDON
                         I don't like your perfume in my 
                         office. Make it somewhere else if 
                         you don't like Charlie's.

                                     GOBLE
                         Charlie's suits me fine. I don't 
                         scare.

               He reaches for the money, stands up and puts it in his 
               pocket.

                                     GOBLE
                         You pay the check, you pick the 
                         joint. See you.

               He exits scene.

                                                                WIPE TO:

               EXT. HOTEL - FOOT OF THE GARDENS/WALL -- DAY

               Betty and Killaine are learning on a wall, looking out 
               over Puget Sound.

                                     KILLAINE
                         Down below's Stanley Park. On the 
                         other side of the trees, there's a 
                         beach. You can see it.
                              (points over to 
                              left)
                         Steveston's over there. Coast Guard 
                         station.
                              (points to right)
                         There's the Yacht Club, and beyond 
                         it, the docks. The over on the 
                         other side of the inlet, there's 
                         Grouse Mountain. It's about 4000 
                         feet high. There's a restaurant on 
                         top of it. Very nice restaurant.
                              (he turns to Betty)
                         I'm sorry we couldn't have met in 
                         pleasanter circumstances, Miss 
                         Mayfield.

                                     BETTY
                         We wouldn't have met at all.

                                     KILLAINE
                         True. I was a bit irritable last 
                         night. I apologize.

                                     BETTY
                         You were a galahad, compared to 
                         some cops I've known.

                                     KILLAINE
                              (pouncing--but very 
                              quietly)
                         You've had dealings with the police 
                         before?

                                     BETTY
                         Who hasn't--one way or another?

                                     KILLAINE
                         But not in the investigation of a 
                         major crime, I hope.

                                     BETTY
                         Is it a crime?

                                     KILLAINE
                         We're 98 per cent certain Mitchell 
                         was murdered. There are a lot of 
                         reasons.
                              (pause)
                         Was he very drunk when you last 
                         saw him?

                                     BETTY
                         You were there when I last saw 
                         him.

                                     KILLAINE
                         I'd like to believe that. It's not 
                         too easy.

               Betty says nothing. Killaine looks away again.

                                     KILLAINE
                         I've been talking to the Immigration 
                         Inspector who passed you across 
                         the border. He was a little 
                         suspicious of you.  Mayfield isn't 
                         really your name, is it?

               Betty looks straight ahead, doesn't answer.

                                     KILLAINE
                         I'll find out, you know. Perhaps 
                         not today--perhaps not tomorrow.  
                         But in the end, I'll find out.

                                     BETTY
                         The police always do, don't they?

                                     KILLAINE
                         You've has an experience that you 
                         don't want to talk about. An unhappy 
                         marriage, for example.

               Betty turns away quickly.

                                     KILLAINE
                         I wouldn't make you talk about it. 
                         My job is the death of Marry 
                         Mitchell.  Why can't you give me 
                         your confidence?

                                     BETTY
                         You--or the Vancouver Police 
                         Department?

                                     KILLAINE
                         We try to be decent.

                                     BETTY
                         You're a police officer. A very 
                         nice one--but you have a job to 
                         do. I'm a girl who's in a jam, and 
                         it's your job to keep me there. 
                         Don't go considerate on me. I might 
                         start to bawl.

               Their eyes meet in a long look.

                                     KILLAINE
                         You won't tell me who you are?  
                         You won't even give me a chance to 
                         help you?

                                     BETTY
                         Nobody can help me. You, least of 
                         all.

                                     KILLAINE
                              (suddenly)
                         If I understand what you meant by 
                         that.

                                     BETTY
                         You understand perfectly.

                                     KILLAINE
                         Then there isn't much I can do, is 
                         there?

                                     BETTY
                         There isn't anything you can do.

               He moves towards her, then turns abruptly and goes.

                                                                WIPE TO:

               INT. CHARLIE'S PLACE -- DAY

               Chairs are piled up on the tables. A MAN with a mop is 
               going over the floor. STEPS ARE HEARD. Goble, the private 
               eye comes into the SHOT slowly. His eyes are very wary. He 
               has a hand in his pocket.

                                     GOBLE
                         I came here to see Mr. Brandon.

                                     MAN WITH MOP
                         Who?

                                     GOBLE
                         Brandon. I was to meet him here.

                                     MAN WITH MOP
                         Okay. Ask the boss.

               He jerks his thumb backwards, and Goble moves off in that 
               direction.

               INT. CHARLIE'S PLACE - DOOR OPENING/SMALL DARK HALL -- DAY

               CAMERA FOLLOWS GOBLE

               Though open door. He stands a moment, looking along the 
               hallway, listening. There is no sound at all. He reaches a 
               door CAMERA PANS AROUND to show small plate on the door 
               with the word MANAGER. Goble listens again, takes the gun 
               out of his pocket, looks at it, puts it back, keeping his 
               hand on it, opens the door, and stars in.

               INT. CHARLIE'S PLACE - MANAGER'S OFFICE -- DAY

               It is what you would expect. Magruder is at a desk, doing 
               some bookkeeping work. He looks up indifferently as Goble 
               ENTERS.

                                     GOBLE
                         I'm looking for Mr. Brandon.

                                     MAGRUDER
                         The joint's not open, Mac.  Who's 
                         Brandon?

               Goble comes up to the desk.

                                     GOBLE
                         I have an appointment with him, 
                         right here, right now.

                                     MAGRUDER
                         Go live in a tent.

                                     GOBLE
                         It'll be a tough dollar when guys 
                         like you learn the alphabet.

                                     MAGRUDER
                              (grinning)
                         Talk English.  How do I know you're 
                         you?

               Goble reaches a hand into his pocket, throws a card on the 
               desk.  Magruder picks it up, reads it.

                                     MAGRUDER
                         Mr. Brandon couldn't be here.  He 
                         might have left something for you.  
                         What would it look like?

                                     GOBLE
                         One of those nice long manila 
                         envelopes--sealed.  Not too fat-
                         not too thin.

                                     MAGRUDER
                         What do I get for it?

                                     GOBLE
                         You get it's brother.

                                     MAGRUDER
                         Sounds like a fair swap.  Let's 
                         take a look.

               He jerks open the drawer of his desk.  Gobble stiffens, 
               his hand on the gun.  Magruder takes out a long sealed 
               envelope, throws it on the desk.

                                     MAGRUDER
                         I need a receipt.  Sign your name 
                         across the flap.

                                     GOBLE
                         Open it and count it.

                                     MAGRUDER
                         When you sign for it, you count 
                         it.  It's your dough.

               He picks up a desk pen, holds it out.  Goble hesitates, 
               then takes his right hand holding the gun out of his pocket, 
               lays the gun down on the desk beside the envelope.  He 
               takes the pen, leans down to write.  At that instant, 
               Magruder lunges up swiftly, grabs Goble's right wrist with 
               his left hand and jerks him forward hard.  Goble tries to 
               reach the gun with his left hand.  Magruder grabs an old-
               fashioned round ebony ruler up off the desk and smacks 
               Goble's hard on the head with it twice.  Goble sprawls 
               across the desk, limp.  Magruder takes the gun, puts it in 
               his pocket, picks up the envelope, tears it open, and shakes 
               out the money, counts it.

                                     MAGRUDER
                         Eight hundred bucks.  Ice cream 
                         for dinner.

               Magruder picks the gun up, balances it on his hand.

               MOVE IN ON THE GUN

               It is a .32 caliber revolver, with part of the barrel sawed 
               off to make it a belly gun.  It has no front sight.

               Magruder stares down at it.  PULL AWAY as he turns, pulls 
               open desk drawer, puts gun in it, shuts drawer.  He rounds 
               the desk, reaches inside Goble's pocket, pulls out a thick 
               manila envelope, stands looking down at it, speculating, 
               tries the flap to see if it will come loose.

               MOVE IN TO SHOW THERE IS NO WRITING ON THE ENVELOPE

               He picks up the envelope which contained money.  It is 
               also manila and about the same size.  With a quick decision, 
               Magruder tears open GOBLE'S ENVELOPE, draws out a sheaf of 
               blank paper.  Magruder whistles lightly between his teeth, 
               turns his head to state at Goble who is still limp, sprawled 
               across the desk.

                                     MAGRUDER
                              (softly)
                         You had it coming, didn't you, 
                         baby?
                              (reaches across, 
                              shakes Goble's 
                              shoulders)
                         Come on.  You're not that sick.

               Goble does not respond.  Magruder pulls his head and 
               shoulder up on the desk.  The head sags to one side.  
               Magruder presses a thumb against one of Goble's eyeballs.  
               No reaction.  Magruder bends close, stares, and is suddenly 
               stiff with fear.

                                     MAGRUDER
                              (hoarsely)
                         Don't tell me you had a glass head, 
                         baby.  Oh no--not in your business.  
                         How could you live so long?

               He lets go of Goble who sways sideways in the chair, his 
               head hanging like that of a broken doll.  As Magruder stares 
               down at him, with very much the sort of frozen horror as 
               we saw on Betty's face when she found Mitchell's body on 
               the balcony.

                                                                WIPE TO:

               INT. VANCOUVER POLICE HEADQUARTERS -  KILLAINE'S OFFICE -- 
               DAY

               Small bare room, empty.  Door opens.  Sergeant Gore users 
               Margo in through a side door.

                                     GORE
                         Sit down, Mrs. West.  Inspector 
                         Killaine will be along in a minute.

                                     MARGO
                         Thank you.

               Gore sits down in a hard wooden chair by Killaine's desk.  
               She is nervous, lights a cigarette, looks at her watch, 
               gets up suddenly as if to leave before Killaine gets back, 
               then shrugs and sits down again, Door opens and Killaine 
               enters, glances at Margo, goes behind his desk, sits down 
               with his hat on, presses dictagraph key.

                                     KILLAINE
                              (into dictagraph)
                         Killaine here.  I want a radio 
                         contact to work with Handley.  A 
                         motorcycle officer will do.

                                     VOICE FROM DICTAGRAPH
                         Right away, Inspector.

               Killaine disconnects, turns to face Margo, removing his 
               hat.

                                     KILLAINE
                         Remember that time, didn't I?  
                         Good morning Mrs. West.  Does your 
                         visit here mean you've changed 
                         your mind?

                                     MARGO
                              (startled)
                         How did you know?
                              (Killaine smiles 
                              slightly, doesn't 
                              answer)
                         Clarendon.
                              (Killaine still 
                              doesn't answer)
                         You cops never tell anybody 
                         anything, do you.

                                     KILLAINE
                         Other people always know so much 
                         more than we know--so much more 
                         than they're willing to tell us.

                                     MARGO
                         It was Clarendon.  He knew I had 
                         the gun in my bag.

               Killaine just stares

                                     MARGO
                         You couldn't possible have traced 
                         it this soon--not possibly.

                                     KILLAINE
                              (dryly)
                         Of course not.  Thanks for telling 
                         me.  I haven't seen Mr. Clarendon.

                                     MARGO
                         I am a fool.

                                     KILLAINE
                         That depends upon your motive.  
                         You were in love with Mitchell, 
                         weren't you?

                                     MARGO
                         Yes--and he's already becoming 
                         vague to me.  Funny!  Last night I 
                         was furiously jealous.  Jealous of 
                         what?  I out that gun in my bag 
                         deliberately.  Who was I going to 
                         kill with it?  A girl I didn't 
                         even know?  A man I knew to be a 
                         thief and a forger?  A half-man?  
                         A gigolo?  It's already ludicrous.  
                         Love!  What a comedy!

                                     KILLAINE
                         You didn't play it for laughs last 
                         night.

                                     MARGO
                         Did you ever have a serious 
                         operation?

                                     KILLAINE
                         Mortar shells are not funny, either.

                                     MARGO
                         At first, it doesn't hurt at all.  
                         That's shock.  Then it hurts 
                         terribly--you wouldn't believe 
                         such pain could exist--and six 
                         months later you can't remember 
                         what pain felt like.
                              (pause)
                         It hasn't taken six months this 
                         time.  It hasn't even taken twenty-
                         four hours.  Is that a beastly 
                         thing to say?

                                     KILLAINE
                         Not if it clears the air.

                                     MARGO
                         It does.  May I go now?
                              (she stands up)

                                     KILLAINE
                         I'll investigate Mr. Clarendon's 
                         financial position--

                                     MARGO
                         I don't understand.

                                     KILLAINE
                         Perhaps a rich widow would have 
                         solved all his problems.

                                     MARGO
                         Now, you're being beastly.

                                     KILLAINE
                         Sure.  You didn't come here in 
                         person just to tell me about the 
                         gun.  You wanted me to be looking 
                         across the desk at you while you 
                         talked about Mitchell.
                              (he pauses; Margo 
                              nods--admiration 
                              in her eyes)
                         If I believe you, it would be 
                         psychologically impossible for you 
                         to have killed him last night.

                                     MARGO
                         And if you didn't believe me?

                                     KILLAINE
                         You would still have planted 
                         information that Clarendon knew 
                         about the gun--and not as an 
                         accusation, but in the process of 
                         defending yourself by making a 
                         confession.  Very neat.  Good 
                         morning, Mrs. West.

               Her expression changes.  She gives him an icy stare, and 
               goes out quickly.  Dictagraph BUZZES.  He depressed key.

                                     KILLAINE
                              (into speaker)
                         Killaine here.

                                     SUPT. MCKECHNIE'S VOICE (ON DICTAGRAPH)
                         Come into my office, please, 
                         Killaine.

                                     KILLAINE
                              (into speaker)
                         Right away, sir.

               He releases the key, starts out

               INT. VANCOUVER POLICE HEADQUARTERS - CORRIDOR -- DAY

               As Killaine comes out of his office, walks along briskly, 
               comes to a door, stops.

               CLOSE SHOT OF DOOR

               It is lettered SUPERINTENDENT J. McKECHNIE.

               Killaine KNOCKS, then starts in without waiting for an 
               answer.

               INT. VANCOUVER POLICE HEADQUARTERS - MCKECHNIE'S OFFICE -- 
               DAY

               McKechnie is at his desk.  He is a military-looking Scotch-
               Canadian, with a white mustache.  Beside the desk sits an 
               elderly, prim-looking man in a dark suit with a black tie.  
               Killaine comes up to desk.

                                     MCKECHNIE
                         Killaine, this is Mr. Mitchell, 
                         Senior.  Young Mitchell's father.  
                         He just flew in from Toronto.

                                     KILLAINE
                              (to Mitchell)
                         How do you do, sir.

               Mitchell nods.

                                     MCKECHNIE
                         I've explained the situation to 
                         Mr. Mitchell up to a point.  Now 
                         about this Mayfield girl?

                                     KILLAINE
                         She's a suspect, naturally.  But 
                         not the only one.

                                     MCKECHNIE
                              (harshly)
                         She's the only one who had a dead 
                         man in her room.  The only one who 
                         won't give an account of herself.  
                         The only one who tried to run away.  
                         And the only one, so far, I've 
                         been told, who went to such lengths 
                         to disguise her identity that she 
                         even removed the labels from her 
                         clothes.  What more do you want?

                                     MITCHELL, SR.
                         She should have been arrested last 
                         night.

                                     MCKECHNIE
                         That's as may be.
                              (to Killaine)
                         We've ample grounds to detain her 
                         for questioning.  You can't deny 
                         that, surely.

                                     KILLAINE
                         No.

                                     MCKECHNIE
                         I hear she's a very pretty girl.

                                     KILLAINE
                         Which forces me to arrest her 
                         against my better judgment.

                                     MCKECHNIE
                         Aye.  You have a point there.

                                     MITCHELL, SR.
                         If so, I must say that it escapes 
                         my attention.  It is my son who 
                         has been murdered.  He was not 
                         always a good son--but he was my 
                         son.  I want his murderer punished.  
                         The girl's obviously a criminal of 
                         some sort.  Otherwise, she'd give 
                         an account of herself.  Arrest 
                         her, and you'll find out soon 
                         enough.

                                     MCKECHNIE
                              (eyeing Killaine)
                         I think he's right.

                                     KILLAINE
                              (standing up)
                         Am I to interpret that as an order 
                         to arrest Miss Mayfield?

                                     MCKECHNIE
                         When I give an order, you'll not 
                         need it interpreted.
                              (glances up at clock 
                              on wall)
                         You have an hour to make your mind 
                         up.
                              (he turns to 
                              Mitchell, Sr.)
                         Well, are ye satisfied, Mr. 
                         Mitchell? 

                                     MITCHELL, SR.
                         I'll be satisfied when my son's 
                         murderer is convicted and hanged.
                              (pause--his 
                              expression softens 
                              a little)
                         You've given this young man a very 
                         difficult choice.

                                     MCKECHNIE
                         Aye.  That was the point you said 
                         you didn't get.
                              (he turns back to 
                              Killaine)
                         That's all.
                              (makes a gesture of 
                              dismissal)

                                     KILLAINE
                         Very good, sir.

               He turns.  We PAN HIM TO THE DOOR, he starts out.

               INT. VANCOUVER POLICE HEADQUARTERS - CORRIDOR -- DAY

               Killaine comes from Mckechnie's office.  Starts back to 
               towards his own office.

               Another plain clothes cop, DRISCOLL, is walking towards 
               Killaine.  They meet just outside Killaine's office.  
               Driscoll is a tall, solemn-looking Irishman.

                                     DRISCOLL
                         May I have a moment, Inspector?

               Killaine stops.

                                     DRISCOLL
                         The Harbor police have just picked 
                         up a dead man out of the water.

                                     KILLAINE
                         Floater?

                                     DRISCOLL
                         Not a floater.  Only just dead.

                                     KILLAINE
                              (starting to turn 
                              away)
                         You're the waterfront specialist.  
                         Find out about it.  I've got a 
                         murder to investigate.

                                     DRISCOLL
                         You have two murders to investigate.  
                         This man's head was beaten in.  
                         And there's nothing in his pockets.

                                     KILLAINE
                         Drunk-rolling job.  They hit him 
                         too hard.

                                     DRISCOLL
                              (annoyed with his 
                              manner)
                         I've been on the waterfront detail 
                         for twelve years.  This man hadn't 
                         been dead an hour.  He wasn't killed 
                         last night.  He was killed today.  
                         In broad daylight.  That's no drunk-
                         rolling job.

                                     KILLAINE
                              (starting to turn 
                              away again)
                         Let me know when you've identified 
                         him

               Driscoll gives him a somber look and starts to leave.

                                     KILLAINE
                              (calling after him)
                         And don't get too logical, Driscoll.  
                         In police business it doesn't work.  
                         I wish it did.  But it doesn't

                                     DRISCOLL
                              (looking back)
                         I'm an Irishman, sir.  An Irishman 
                         is always logical.

               Killaine frowns, then starts into his own little office.

               EXT. PARLIAMENT BUILDING - SIDEWALK -- DAY

               CLOSE SHOT -- A PORTION OF A TALL, SPEAR TOPPED IRON RAILING 
               ALONG THE SIDEWALK

               A MAN in a business suit is leaning against it, He is a 
               plain-clothes dick by the name of HANDLEY.  Other PEOPLE 
               are standing near him, looking through the railing, as if 
               waiting for something to happen.  Handley is looking in 
               the other direction, along the sidewalk.  In the background, 
               SOME TRAFFIC NOISE, and far off, BLAST OF A TUG WHISTLE.  
               Handley gets a cigarette out and lights it, with his eyes 
               still looking off to the side.

               CAMERA PANS SLOWLY ALONG THE RAILING, showing people 
               standing in groups looking through.  CAMERA PICKS UP BETTY 
               AMONG THEM.  Near at hand there is a SHARP WHISTLE BLAST, 
               and immediately snare drums are HEARD, first in spaced 
               tap, then going into a tattoo.

               EXT. VANCOUVER - PARLIAMENT BUILDINGS -- DAY

               LONG SHOT -- GRAVELED OR PAVED SPACE IN FRONT OF MILITARY 
               OFFICIAL-LOOKING BUILDING

               Built of stone, with broad steps.  The Union Jack flies 
               from a flagpole.  On the space in front of the building, 
               two small groups of soldiers is in battle-dress, and the 
               band, which marches it, is a bugle and drum band, also in 
               battle-dress.  The other group is in the dress uniform of 
               the Seaforth Highlanders, with kilts, Glengarry's, etc., 
               and their band is a piper's band, in kilts.  What is taking 
               place is a guard mount.  The old guard is stood at attention 
               and inspected by the outgoing officer of the day; and during 
               this inspection the drums and bugle band march up and down 
               in front of them, playing.  The inspection over, the old 
               guard will be formed into a marching column, the drum and 
               bugle band will take position ahead of them, and the whole 
               outfit will march across the parade ground and back again 
               while the new guard stands at attention, its band silent.  
               The old guard will then be halted, and faced towards the 
               new guard, and will present arms.  Then it will march off 
               behind its band, while the kiltie guard is called to 
               attention and presents arms.  The outgoing and incoming 
               officers of the day will salute each other.  As the old 
               guard marches off, their band will stop playing, and the 
               pipers will march and start playing the bagpipes.  This 
               will continue while the new guard is inspected.  The new 
               guard will be marched will be marched off behind the pipes, 
               and the ceremony is over.  This is the background of the 
               following scenes, and is going on all the time.  Whatever 
               portion of it is to be shown in immaterial, but the sound 
               of it will be heard always, louder, not so loud, not loud 
               at all, according to what is going on and how far off the 
               bands are.

               Betty is staring through the railing as the drum and bugle 
               band goes into its tattoo and starts marching.  A moment 
               later, the bugles join in.

                                                                 CUT TO:

               CLOSE-UP OF HANDLEY

               He is looking off in the other direction, makes a signal.

               WHAT HE SEES

               A motorcycle officer standing beside the curb, bears his 
               motorcycle which has a side-car.

               CLOSE SHOT -- RADIO DISPATCHER IN COMMUNICATIONS DIVISION 
               OF POLICE HEADQUARTERS

                                     DISPATCHER
                              (into mike)
                         Go ahead, three-eight-six.

                                     VOICE FROM LOUDSPEAKER
                         Party I am detailed to observe is 
                         watching guard mount in front of 
                         Parliament Buildings.  Sergeant 
                         Handley is standing by.

               (NOTE: There is no Parliament Buildings in Vancouver.  
               They are in Victoria, so some substitute must be found.)

                                     DISPATCHER
                              (into mike)
                         Message received.  Stand by.  One-
                         two-five.

               He scribbles something on a pad, tears off and holds out 
               behind him without looking.  A uniformed POLICE OFFICER 
               takes it.

               CLOSE SHOT OF BETTY -- WATCHING THROUGH RAILING

               WHAT SHE SEES -- A PORTION OF GUARD MOUNT THROUGH RAILING

               CLOSE SHOT OF HANDLEY

               Standing by railing, watching Betty.  DRUM AND BUGLE MUSIC 
               OVER SCENE.

               EXT. PARLIAMENT BUILDING - STREET -- DAY

               LONG SHOT

               A crowd against railing, Motorcycle Officer in foreground.  
               A CAR ENTERS SHOT, stops behind motorcycle.

               CLOSE SHOT -- CAR

               Killaine gets out, crosses to Motorcycle Officer, who 
               salutes him, then points out a scene.

                                     KILLAINE
                         I'll take over now.  Wait for 
                         Handley.

               He starts walking CAMERA WITH HIM, comes up with Handley, 
               leans against the railing beside him.

                                     KILLAINE
                         I'm relieving you, Handley.  Carry 
                         on with Gore at the hotel.

               Handley gives Killaine a curious look.

                                     HANDLEY
                         Very good, sir.

               He goes out of shot.  Killaine watches him, then moves 
               along the railings (the guard mount ceremony is continuing 
               all this time), comes up beside Betty.

                                     KILLAINE
                         This isn't a very good place to 
                         talk.

                                     BETTY
                         I don't want to talk.

                                     KILLAINE
                         I've come here to arrest you for 
                         murder.

               DRUM AND BUGLE MUSIC IN BACKGROUND STOPS.

                                     VOICE OF COMMAND
                              (over scene -- very 
                              sharp and military)
                         Guard HALT!

               A SOUND OF STAMPING FEET, THEN SILENCE.

                                     VOICE OF COMMAND
                         Right TURN!

               A SOUND OF FEET, A STAMP, A SLAPPING OF HANDS AGAINST RIFLE 
               SLINGS as guard brings its arms to order.  Betty turns her 
               head to look at Killaine.

                                     BETTY
                         I expected nothing else.

                                     KILLAINE
                         I might be able to save you.  If I 
                         knew enough.

                                     BETTY
                         You wouldn't even try
                              (Killaine reacts, 
                              hurt)
                         There must be some copper in you, 
                         or you wouldn't be an inspector.

                                     KILLAINE
                         There must be-- but when I'm with 
                         you I can't find it.

                                     VOICE OF COMMAND
                              (over scene)
                         Guard, Present ARMS!

               APPROPRIATE SOUNDS ARE HEARD, THEN A ROLL STARTS ON THE 
               TAP DRUMS.

                                     KILLAINE
                              (turning and looking 
                              through railing)
                         Everybody loves a guard mount--
                         except the guard.
                              (looks back)
                         My boss gave me an hour to make up 
                         my mind.  The time's almost up.

               For the first time in the scene, Betty turns and faces 
               him.

                                     KILLAINE
                         I'm about to be very silly.  A man 
                         passes a girl on the street--a 
                         very lovely girl--his eyes meet 
                         her eyes, and something reaches 
                         out and takes hold of his heart--
                         and then she goes on and is lost 
                         in the crowd--and he says to 
                         himself, "There goes my lost love"--
                         and it's true--if he never sees 
                         her again, it's still true.  Of 
                         course, after a while, he forgets--
                         or almost forgets--because after a 
                         while we forget almost everything.
                              (Betty is silent, 
                              staring at him)
                         But this man is a copper.  He gets 
                         orders--routine orders--to go to a 
                         place and investigate a murder--
                         and everything points to a certain 
                         girl.

                                     BETTY
                         Points very straight to her.

                                     KILLAINE
                         He looks at the girl, looks into 
                         her eyes--

                                     BETTY
                         What does he see?

                                     KILLAINE
                         Palm trees against a sunset--waves 
                         breaking on a coral reef--the Taj 
                         Mahal by moonlight--roses in an 
                         English garden, just after a shower--
                              (he grins wryly)
                         Clichés, one and all--but good 
                         ones, with a lot of mileage left 
                         in them--there's one thing he does 
                         not see--murder--and murder was 
                         what he was sent to find.  Pretty 
                         ridiculous, isn't it? 

                                     BETTY
                         Very ridiculous.

                                     KILLAINE
                         That's my hard luck--I'm man enough 
                         to tell you about it--and not be 
                         sorry.

                                     BETTY
                         What do your friends call you?--
                         The ones that know you well?--and 
                         like you very much?

                                     KILLAINE
                         They call me Jeff.

                                     BETTY
                         Jeff.  Shall we go now, Jeff, and 
                         get it over with?

                                     KILLAINE
                         Not quiet yet.
                              (pause)
                         We know who the gun belonged to.  
                         Margo West.  She told us this 
                         morning.
                              (pause)
                         It doesn't mean much.  Mitchell 
                         took it away from her.  He had a 
                         habit of going through her bag.

                                     BETTY
                         Looking for peanuts, I suppose.

                                     KILLAINE
                         So Mitchell had handled it.  
                         Afterwards, Brandon picked it up.
                              (he glances at her)
                         There's no indication you handled 
                         it.

                                     BETTY
                         I always wear gloves when I shoot 
                         people.  A bad joke--but better 
                         than tears.

                                     KILLAINE
                              (glancing at his 
                              watch again)
                         Time's up.  I'm off the case.
                              (he takes a deep 
                              breath)

                                     BETTY
                         They'll only find someone else--
                         who won't be so kind.

                                     KILLAINE
                         That's something I can't spare 
                         you.  But I won't do it myself.

                                     BETTY
                         Because you think your in love 
                         with me?

                                     KILLAINE
                         I'm enough of a copper to do my 
                         duty.  My boss made it tough for 
                         me.  If I don't arrest you, I've 
                         gone soft.  If I do, it's to save 
                         my face.  I don't play those rules.

               He breaks off.  PIPE MUSIC SOUNDS OVER SCENE.  Killaine 
               raises his voice.

                                     KILLAINE
                         You've got a couple of hours, maybe.

                                     BETTY
                         To do what?

                                     KILLAINE
                         I can't answer that.

                                     BETTY
                         What will they do to you?

                                     KILLAINE
                         That's they're business.  Can I 
                         drop you somewhere?

                                     BETTY
                         You're still a police officer, 
                         Jeff.
                              (pause)
                         I saw you send those two men away.  
                         I know they were watching me.

               Killaine stares at her silently.

                                     BETTY
                         What are you going to do--toss 
                         your job into Puget Sound?  Because 
                         I make you think of magnolias?  I 
                         thought policeman was something 
                         like a soldier.  That his duty 
                         came first.  However much he might 
                         happen hate it.

                                     KILLAINE
                              (steadily)
                         I've been a soldier too.  There is 
                         a difference.  A policeman, like a 
                         judge, has a right to disqualify 
                         himself on proper grounds.

                                     BETTY
                         What proper grounds?
                              (pause, Killaine 
                              doesn't answer)
                         You can't be in love with me.  You 
                         hardly know me.  I'm not in love 
                         with you.

                                     KILLAINE
                         I know that.

                                     BETTY
                         But even if you were in love with 
                         me.

                                     KILLAINE
                              (almost rudely)
                         There's an empty taxi across the 
                         street.  If you're so anxious, 
                         take it.  He'll know the way to 
                         the police headquarters.

                                     BETTY
                         You do things the hard way, don't 
                         you?

                                     KILLAINE
                         Sometimes.

                                     BETTY
                         Not sometimes.  Always.  Just 
                         because it is the hard way.  You're 
                         that kind of man, Jeff.

                                     KILLAINE
                         Goodbye, Betty.

               Betty doesn't answer.  She shakes her head slightly, stands 
               with a little smile on her face.  He turns, goes quickly 
               out of scene.  The guard mount ceremony ends.  The crowd 
               begins to break up.  Betty glances across the street, then 
               starts out.

               CLOSE SHOT -- AN EMPTY TAXICAB, THE FLAG UP

               The driver is parked by the curb.  He has been watching 
               the guard mount and is ow waiting for a fare.  He sees 
               one, gets quickly out of the cab, opens the door as Betty 
               COMES INTO SHOT.  She gets into the cab.

                                     CAB DRIVER
                         Where to, Miss?

                                     BETTY
                         Downtown somewhere--anywhere.

                                     CAB DRIVER
                         Right you are, Miss.

               Shuts a door, starts around his car, as we

                                                            DISSOLVE TO:

               INT. VANCOUVER POLICE HEADQUARTERS - MCKECHNIE'S OFFICE -- 
               DAY

               McKechnie behind his desk.  Killaine standing across from 
               him.  (We enter the middle of scene)

                                     MCKECHNIE
                         Are you a policeman or a soft-headed 
                         nincompoop?

                                     KILLAINE
                         A little of both, sir, and perhaps 
                         not quiet enough of either.

                                     MCKECHNIE
                         It won't look pretty good on your 
                         record, Killaine.  Where's the 
                         girl now?

                                     KILLAINE
                         I don't know, sir.

                                     MCKECHNIE
                         Well, find out.  Who's covering 
                         her?

                                     KILLAINE
                         Nobody's covering her, I detached 
                         the officer assigned to that duty.

               McKechnie comes slowly to his feet.  His voice is very 
               quiet, and very dangerous.

                                     MCKECHNIE
                         This girl is a murderess, Killaine.

                                     KILLAINE
                         I disagree, sir.  As Inspector in 
                         charge of the case I have the right 
                         to form that opinion, the right to 
                         act on it.

                                     MCKECHNIE
                         Ye have, have ye?

                                     KILLAINE
                         We lifted seven fairly good prints 
                         from Miss Mayfield's toilet 
                         articles.  Washington ought to 
                         teletype us within a few hours.

                                     MCKECHNIE
                              (in the same deadly 
                              quiet voice)
                         And in the meantime this girl goes 
                         where she pleases, does what she 
                         pleases?

                                     KILLAINE
                         Yes, sir.

               McKechnie's eyes go down to his desk.  His hand goes over 
               slowly to a yellow telegraph form, face down.  He turns it 
               over, then lifts it and reads in a quiet, measured voice:

                                     MCKECHNIE
                              (reading our loud)
                         "Superintendent J. Mckechnie, 
                         Vancouver Police Department.  
                         Vancouver B.c. Replaying To Your 
                         E.P. teletype classification No.  
                         2684 incomplete.  We advise 
                         identification possible.  Elizabeth 
                         Kinsolving, arrested Greenwater, 
                         North Carolina, January 8, 1948, 
                         on a charge of murder.  Signed, 
                         FBI., Washington, D.C. H. Cleary, 
                         Inspector in charge."
                              (McKechnie looks up 
                              and meets Killaine's 
                              eyes)
                         Have ye any comment, Killaine?

                                     KILLAINE
                         Identification on possible, Sir.  
                         Not conclusive.

                                     MCKECHNIE
                              (reading out loud)
                         "Superintendent J. McKechnie, 
                         Vancouver Police Department.  
                         Replying your inquiry Elizabeth 
                         Kinsolving.  Subject was indicted, 
                         first degree murder her husband, 
                         Lee Kinsolving, January this year.  
                         Guilty verdict set aside by 
                         presiding judge.  Prisoner 
                         discharged, Whereabouts now unknown.  
                         Fingerprint classification"--
                              (he holds up the 
                              other telegram and 
                              looks at Killaine)
                         And exact correspondence, Killaine.

               Killaine stands white and silent.

                                     MCKECHNIE
                              (dropping the F.B.I 
                              telegram and 
                              continuing to read 
                              the other)
                         "Physical description: Age 26, 
                         Height 5  1 3/4 inches: Weight, 
                         188 pounds: Light brown hair: Deep 
                         blue eyes: Small, perfectly formed 
                         features: Ears and earlobes small: 
                         Slender build: Wears size 4 AA 
                         shoe: Quiet refined manner: New 
                         York accent: No charges pending.  
                         No prior criminal record.  Mayfield, 
                         Mother's name.  Air-mailing you 
                         photographs today.  Signed Hubert 
                         Tollison, Chief of Police, 
                         Greenwater, North Carolina."
                              (slowly McKechnie 
                              drops this wire on 
                              top of the other -- 
                              to Killaine)
                         She bleached her hair, or course.
                              (pause)
                         Would your sensibilities be 
                         offended, if I sent out a general 
                         alarm to pick up this girl?

                                     KILLAINE
                         I think you'd be entirely justified, 
                         sir.

                                     MCKECHNIE
                              (with a sudden roar)
                         But you still think she's innocent.

                                     KILLAINE
                         I do.

               he reaches into his pocket, takes out his badge, places it 
               on the desk, on top of the two telegrams

                                     KILLAINE
                         I think you'd like to have this.

               McKechnie looks down at it without expression, speaks very 
               slowly,

                                     MCKECHNIE
                         I believe you won decorations during 
                         the war.

                                     KILLAINE
                         Two.

               McKechnie picks up the badge and holds it on the flat of 
               his hand, looking down at it.

                                     MCKECHNIE
                         There are people in this world who 
                         don't think a police badge is a 
                         badge of honor.  I'm not one of 
                         them.

                                     KILLAINE
                         Nor I. This is why I gave it to 
                         you.

                                     MCKECHNIE
                              (same tone)
                         You're a young man.  You're 
                         romantic.  You think a pretty face 
                         and a clean conscience go together.  
                         You think a soft voice means a 
                         soft heart.  You'll grow out of 
                         that.

                                     KILLAINE
                         Not too far, I hope.

                                     MCKECHNIE
                              (suddenly very 
                              Scotch, the harsh 
                              and eloquent 
                              Covenanter)
                         This badge is not an old newspaper 
                         you can cast down on the desk.  It 
                         is not a thing you can give up as 
                         of no value.  It may be taken from 
                         you--and you may die defending it.  
                         But you'll not use it to make cheap 
                         dramatic gesures with.
                              (pause; Killaine is 
                              rocked back on his 
                              heels)
                         It's a naked steel of the sword of 
                         Justice.  Put it back in your pocket 
                         and hold tight to it--and someday 
                         you might grow into a worthiness 
                         ye lack now.

               Killaine reaches out and takes the badge.  He looks down 
               at it, his face bitter and ashamed.

                                     MCKECHNIE
                         Get out of here!

                                     KILLAINE
                         What are my orders, sir?

                                     MCKECHNIE
                         You think I'm wrong about this bit 
                         of a girl.  Go out and prove it 
                         against me!

               Killaine steps back, salutes, wheels about and exits scene.  
               McKechnie looks after him, expressionlessly.  The door 
               CLOSES off.  He presses a button.  A uniformed OFFICER 
               enters, McKechnie holds the two telegrams toward him.

                                     MCKECHNIE
                         Condense these for an immediate 
                         all-stations pick-up order.

               INT. VANCOUVER POLICE HEADQUARTERS -  KILLAINE'S OFFICE -- 
               DAY

               As he enters.  Crosses to his desk, takes a small, steel 
               mirror out of drawer and examines his chin.

               CAMERA MOVES TO AN OVER-THE-SHOULDER SHOT

               He moves the mirror back until his face is seen in it.  
               There is a bitter smile on his mouth.

                                     KILLAINE
                         Kid Galahad.  The Knight of the 
                         White Plume.  Jess Holmes, the 
                         fool killer.  Boy, you look 
                         wonderful in a tank--with the turret 
                         closed.

               During the speech, a door is OPENED off.  Killaine looks 
               up.  Driscoll is standing inside the room.

               We are now

               PULLED BACK INTO A WIDER SHOT

                                     DRISCOLL
                         Got a moment, Inspector?

                                     KILLAINE
                         I've got a year.  Or a second.  
                         I'm not sure which.

                                     DRISCOLL
                         You told me when we'd identified 
                         this fellow--

               Killaine nods.

                                     DRISCOLL
                         We've done that.  He's a San 
                         Francisco private eye.  Name Martin 
                         J. Goble, G-O-B-L-E.  Had initials 
                         in his hat and for once he lived 
                         where he bought it.  Goble and 
                         Greer is the firm name.

                                     KILLAINE
                              (still a bit nasty)
                         Swimming with his hat on?  That's 
                         original.

                                     DRISCOLL
                         If you'd seen the blood on his 
                         head--and some body had to carry 
                         him out to sea--

                                     KILLAINE
                         I understand.  Pity to mess up a 
                         nice clean boat.

                                     DRISCOLL
                              (registering 
                              controlled anger 
                              at Killaine's manner)
                         I got through to Greer, his partner 
                         in the detective business.  Greer 
                         won't give out.

                                     KILLAINE
                              (leaning back in 
                              his chair, half-
                              closing his eyes)
                         I'd suggest a telegram.  Something 
                         like this: Chief of Police, San 
                         Francisco.  A licensed private 
                         detective named named Martin J. 
                         Goble, address so-and-so, has been 
                         found murdered within our 
                         jurisdiction.  His partner, name 
                         something-something Greer, refuses 
                         to give us any information.  
                         Correction.  Refuses information 
                         necessary to our investigation.  
                         Can you assist?  Signed Detective 
                         Sergeant Driscoll, Vancouver, 
                         British Columbia, Police.
                              (Killaine opens his 
                              eyes, looks at 
                              Driscoll)

                                     DRISCOLL
                         Send that?

                                     KILLAINE
                              (indifferently)
                         Would you?

                                     DRISCOLL
                              (after a pause)
                         If you're asking my opinion, no.  
                         I'd read it to Greer over the phone.  
                         Ask him if he had any objections.

               Killaine stands up, glances at his wristwatch.

                                     KILLAINE
                         Catch me at the Vancouver Royal if 
                         it's important.

                                     DRISCOLL
                         How important would it have to be?  
                         It's only murder, Inspector.

               Killaine goes close to him, suddenly smiles. 

                                     KILLAINE
                         The Super's just given me the 
                         sweetest dressing down I've ever 
                         had.  I'm still reeling from it.  
                         And believe me, I had it coming.  
                         I apologize.  What you think is 
                         important--I think is important.

                                     DRISCOLL
                              (answering his smile)
                         Thanks, Inspector.  What are your 
                         orders about this wire to San 
                         Francisco?

                                     KILLAINE
                         Men like you don't need orders.

               He turns, exits scene.  Driscoll is now smiling broadly.

                                                            DISSOLVE TO:

               INT. ROYAL HOTEL - BRANDON'S LIVING ROOM -- DAY

               The door opens, Brandon comes in, crosses in the direction 
               of the bedroom.

               INT. ROYAL HOTEL - BRANDON'S BEDROOM -- DAY

               Brandon comes in from the living room, crosses to wall 
               safe.  His expression is tight, business-like, his movements 
               quick, as if he had a lot to do and didn't intend to waste 
               any time.  Opens wall safe, takes a wad of currency from 
               it, stuffs currency into breast pocket, re-locks safe.  A 
               door buzzer SOUNDS to the door of his apartment.  Brandon 
               reacts, starts to exit.

               INT. ROYAL HOTEL - BRANDON'S LIVING ROOM -- DAY

               Brandon enters from bedroom.  Door buzzer SOUNDS again.  
               He picks up his hat and coat, goes to door, opens it.  
               Killaine come past Brandon into room, closing the door.

                                     KILLAINE
                         Time for a little chat?

                                     BRANDON
                         If it doesn't take too long.  Drink?

                                     KILLAINE
                         Thanks.  I don't mind.

               Brandon throws hat and coat on couch, crosses to liquor 
               cabinet, begins to mix a couple of drinks; his back is now 
               turned to Killaine, who saunters across room to French 
               doors, exits terrace.  Brandon turns with the glasses in 
               his hands, then starts after Killaine.

               EXT. ROYAL HOTEL - PENTHOUSE TERRACE -- DAY

               Killaine is standing against the wall corner, looking down 
               at the point where the terrace overlooks Betty's balcony.  
               Brandon enters from living room carrying glasses, reacts 
               again, controls himself, crosses to Killaine.

                                     BRANDON
                         Here you are.

               Killaine turns, takes a glass.

                                     KILLAINE
                         Thanks.  Lovely view you have, 
                         haven't you?

                                     BRANDON
                         I never notice the view after the 
                         first week.

                                     KILLAINE
                         I would.  Fancy waking up every 
                         morning with that in your lap.
                              (he gestures towards 
                              the view)
                         Wonderful thing, money is.  Remember 
                         what Somerset Maugham said about 
                         it ?

                                     BRANDON
                         I wouldn't know.

                                     KILLAINE
                         "Money is a sort of sixth sense 
                         that gives meaning to all the 
                         others." Very appealing, especially 
                         to a poor man.

                                     BRANDON
                         Could we discuss that some other 
                         time?

                                     KILLAINE
                         Sure.  Let's discuss Betty Mayfield.
                              (pause)
                         How long since you saw her?

                                     BRANDON
                         A couple of hours.

                                     KILLAINE
                         I have a warrant for her arrest.

                                     BRANDON
                         That must hurt.

                                     KILLAINE
                         I've always thought you were a 
                         pretty nice guy, Brandon.  I'd 
                         like to go on thinking so.  If you 
                         tried to help her get away--

                                     BRANDON
                         Would that make me a heel?

                                     KILLAINE
                         You'd be breaking the law.

                                     BRANDON
                         Doesn't answer the question.

                                     KILLAINE
                         The only answer I have for you.

                                     BRANDON
                         You passed up a dozen chances to 
                         arrest her.  What toughened you 
                         up?

                                     KILLAINE
                         Information.

                                     BRANDON
                         Don't kid me.  You don't think she 
                         murdered Mitchell.

                                     KILLAINE
                         It could have been an accident.

                                     BRANDON
                         That COULD BE TOLD.

                                     KILLAINE
                         Not if she knew she wouldn't be 
                         believed.

                                     BRANDON
                         Your concentrating too hard, 
                         Killaine.  What about Margo West?  
                         She had a motive.  I guess you 
                         know by this time whose gun it 
                         was?

               Killaine nods.

                                     BRANDON
                         And old man Clarendon?  He had a 
                         motive, too.  Margo and her money.

                                     KILLAINE
                         Mitchell was killed down here.
                              (he points)
                         How could Clarendon get in to do 
                         it?
                              (pause)
                         Or Margo for that matter.

                                     BRANDON
                         How could Mitchell?  After that 
                         act he put on up here, is it likely 
                         she'd let him in?

                                     KILLAINE
                         She didn't have to.  He could have 
                         climbed down from here.

               Brandon looks down over the wall.  He turns, deadpan.

                                     BRANDON
                         Mitchell was too drunk.

                                     KILLAINE
                         Or just drunk enough.  He was with 
                         her when she registered.  He knew 
                         where her room was.  You were out 
                         most of the evening.  There was a 
                         lot of mess to clean up . Waiters 
                         coming and going, the door standing 
                         open.  Suppose Mitchell came in to 
                         grab a drink for himself, then 
                         wandered out on this balcony, then 
                         realized betty's balcony was just 
                         below yours.

                                     BRANDON
                         Romeo in reverse.  Uh-uh.  No sale, 
                         Killaine.

                                     KILLAINE
                         You don't buy it.  Okay.  So I 
                         still want Betty Mayfield.  Where 
                         is she?

                                     BRANDON
                         No idea.

               Phone rings off, in the living room.

                                     BRANDON
                         Excuse me.  My phone.

               He turns, exits scene.  Killaine stands a moment, looking 
               down from the edge of the terrace, then follows Brandon.

               INT. ROYAL HOTEL - BRANDON'S LIVING ROOM -- DAY

               Brandon is just lifting the receiver.

                                     BRANDON
                         Hello.

               His expression tightens, he glances quickly towards the 
               French doors as Killaine appears in them and strolls into 
               the living room.  Brandon turns his back to Killaine.

                                     BRANDON
                              (into phone)
                         Sorry.  It's not very convenient 
                         just now.

               INT. HUDSON BAY COMPANY'S DEPARTMENT STORE - WAITING ROOM -- 
               DAY

               SHOPPERS, MEN, WOMEN and CHILDREN, etc., sitting around.  
               In the background a line of phone booths.  CAMERA PICKS 
               OUT  a deadpan, nondescript-looking MAN who might be a 
               dick as he stands up from a chair, crosses towards phone 
               booths, CAMERA WITH HIM.  Phone booths are all full.  He 
               stops before a booth, through the glass door of which Betty 
               can be seen on the phone.  She catches his eye, turns away 
               quickly.  The Man nonchalantly lights a cigarette, leans 
               against the booth.

               CLOSE SHOT

                                     BETTY
                              (into phone in booth)
                         I had no right to call you anyway.  
                         I've made you enough trouble.  I--
                         I think I know what to do--if 
                         they'll let me.

               Her eyes turn to look at the man outside the booth.  He is 
               not looking at her.

                                                                 CUT TO:

               INT. ROYAL HOTEL - BRANDON'S LIVING ROOM -- DAY

               BRANDON ON PHONE

               Killaine, behind him in a chair; has picked up a magazine.

                                     BRANDON
                              (casual voice)
                         It sounds like a fair location.  
                         Could you be a little more exact?

                                                                 CUT TO:

               INT. DEPARTMENT STORE - PHONE BOOTH -- DAY

               BETTY ON PHONE

                                     BETTY
                         I'm in the Hudson Bay Company's 
                         store.  That man last night--the 
                         one that followed me--

                                                                 CUT TO:

               INT. BRANDON'S LIVING ROOM -- DAY

                                     BRANDON
                         I don't think that's on the market 
                         anymore.  I'd like something much 
                         closer to the water.

               Killaine is listening, but he does not look up.

                                     BRANDON
                         Cant be too close for me.  Right 
                         across the street from it suits 
                         me.  Anything else listed?

               INT. PHONE BOOTH -- DAY

               BETTY ON PHONE

                                     BETTY
                              (into phone, low 
                              penetrating voice, 
                              her mouth very 
                              close to the 
                              mouthpiece)
                         There's another man--right outside 
                         the booth here.  I never saw him 
                         Before.

                                                                CUT TO: 

               INT. BRANDON'S LIVING ROOM -- DAY

                                     BRANDON
                         You're probably mistaken about 
                         that.  Let's get together sand 
                         talk it over.  There's always a 
                         solution to these problems.  But 
                         it must be near the water.  Quite 
                         near--
                              (pause)
                         Yes, if you don't mind waiting.

                                                                 CUT TO:

               INT. PHONE BOOTH -- DAY

               BETTY ON PHONE 

               Showing the Man is still standing outside the booth.  He 
               glances in casually.  Betty turns her head into phone.

                                     BETTY
                         Close to the water.  Like last 
                         night.  I'll try.  Goodbye.

               She hangs up, stands a moment as if mustering her courage, 
               then turns.

               INT. WAITING ROOM NEAR BETTY'S PHONE BOOTH -- DAY

               The Man is standing there, smoking.  Betty opens the door, 
               comes out past him, not looking at him, then turns with a 
               quick decision and faces him.

                                     BETTY
                              (to man)
                         I'm sorry I kept you waiting.

               He has his hand on the knob of the booth door, holding it. 
               He smiles quickly

                                     MAN
                         Don't give it a thought, Miss.  
                         Matter of fact, waiting is my trade.

               A BIG WOMAN pushes past them, starts to leave herself into 
               the booth he is about to enter.  The man reacts smoothly.

                                     MAN
                              (to big woman)
                         Pardon me, Madam.  Is that your 
                         handkerchief?

               He points to a spot on the floor behind her.  She steps 
               back and turns.  He glides into the booth, draws the door 
               shut, winks at Betty through the glass.  Betty hides her 
               face as she turns away.  The Big Woman is  furious.

                                                                 CUT TO:

               INT. BRANDON'S LIVING ROOM -- DAY

               He has just left the phone and crossed to make another 
               drink, Killaine tosses the magazine aside and stands up.

                                     KILLAINE
                         No more for me, thanks.  Remember 
                         what I said.  I can't interfere 
                         with the law.

                                     BRANDON
                         Where would she go, anyway.  Don't 
                         tell me you haven't got her covered.

               Killaine just looks at him, then nods, turns away.

                                     BRANDON
                         Mitchell was a heel.  We both know 
                         that.  Why take it for granted 
                         that somebody in the hotel knocked 
                         him off?

               Killaine doesn't answer.

                                     BRANDON
                         You forgetting the gag line, 
                         Killaine.  The police don't take 
                         anything for granted.

                                     KILLAINE
                         I'm afraid they do.  Far too often.  
                         So long.

                                     BRANDON
                         Wait a minute.  I'll go with you.

               Crosses, picks up hat and coat, reaches Killaine at the 
               door, they start out.

                                                            DISSOLVE TO:

               INT. ROYAL HOTEL - ELEVATOR -- DAY

               BRANDON AND KILLAINE

                                     KILLAINE
                              (casually)
                         You do a lot of real estate trading, 
                         Brandon?

                                     BRANDON
                         Now and then.  Mostly just for the 
                         fun of it.

                                     KILLAINE
                         I tried it once.  I lost my shirt.

                                     BRANDON
                              (with a faint smile)
                         I buy my shirts by the dozen.  
                         Fortunately.

                                     KILLAINE
                              (glancing at the 
                              elevator operator)
                         Where did it all come from?  Or is 
                         that a permissible question?

               Elevator stops.  OTHER PEOPLE get in.  Elevator starts 
               down again.

                                                                WIPE TO:

               INT. HOTEL LOBBY - BY ELEVATOR -- DAY

               Elevator reaches lobby floor, doors open, people come out.  
               Killaine and Brandon separately.  Brandon first.  He waits 
               for Killaine.

                                     BRANDON
                         I had a father who knew how to 
                         steal.

                                     KILLAINE
                              (puzzled)
                         What?

                                     BRANDON
                         You asked me where it all came 
                         from.

                                     KILLAINE
                              (smiles)
                         Oh.  That was just one of those 
                         idle questions.  One doesn't expect 
                         an answer.

               Brandon nods, turns towards the desk, Killaine following.  
               Campbell the manager, is behind the desk, and a clerk.  
               The clerk, seeing Brandon, reaches mail out of the box, 
               hands it to Brandon, who stands looking over.

                                     KILLAINE
                              (to Campbell)
                         I think I'd like to take another 
                         look at Mr. Mitchell's room.

               Brandon glances at him quickly, then back to his mail.

                                     KILLAINE
                         I don't know why.  As a matter of 
                         fact, I don't know anything.

                                     CAMPBELL
                              (polite but rather 
                              cold)
                         It's about time you did--know 
                         something.

                                     KILLAINE
                         I agree with you perfectly.  But 
                         when did time ever help a fool?

               Brandon gives another quick glance, then strolls off along 
               the lobby towards the main Hotel entrance, still looking 
               at his mail as he walks.  Killaine looks after him.

               ANOTHER ANGLE

               Killaine goes over to where Handley is sitting, drops into 
               a chair beside him, takes out his crested cigarette case, 
               takes a cigarette, then with an after-thought, offers case 
               to Handley, which brings then close together, as Handley 
               takes cigarette.

                                     HANDLEY
                         Nothing.  She hasn't shown.

                                     KILLAINE
                         Check the boat?

                                     HANDLEY
                         Gore's out doing it now.

               Killaine gives him a light.  They both puff.  Killaine 
               pits cigarette case away.

                                     KILLAINE
                              (pretending to stifle 
                              a yawn)
                         Must be almost tea-time
                              (moves to get up)
                         I'll be in Mitchell's room.

               Handley nods slightly.  Killaine gets up, starts to move 
               back to the desk.  Campbell stands there waiting for him.

                                                            DISSOLVE TO:

               EXT. STREET - WATERFRONT -- DAY

               BETTY WALKING CAMERA FOLLOWING

               Her hands are deep in the pockets of her coat, head bent 
               forward.  She comes under a street sign, looks up.  The 
               sign says: FRONT STREET

               SOUND of a car coming up behind her.  SOUND indicates it 
               is breaking to stop.  Betty becomes rigid, then very slowly 
               turns her head, as though she expected to find a police 
               car had come up behind her.

                                     BRANDON (O.S.)
                         Hop in.

               ANOTHER ANGLE

               Showing Brandon's convertible, Brandon leaning out.  Betty 
               crosses the sidewalk, gets into the car.  HOLD ON THE CAR 
               as it starts up, SHOOTING FROM A NATURAL ANGLE.

                                     BETTY
                         I hated to go to that place.  I 
                         almost went to the police station 
                         instead.

                                     BRANDON
                         No percentage in that.

                                     BETTY
                         They're going to arrest me.

                                     BRANDON
                         I know.  Killaine has a warrant.

                                     BETTY
                              (as the car turns 
                              into Ford Street)
                         I have my own warrant.  Stop a 
                         minute, please.

               Brandon looks at her, puzzled, brings the car to a stop; 
               sits staring at her.  Background of harbor ships, Betty 
               draws something out of her pocket--a paper--and hands it 
               to him.  He takes it, opens it, reads it aloud, in a low 
               voice.

                                     BRANDON
                              (reading aloud)
                         "Dear Inspector Killaine: This is 
                         goodbye.  You were right, I had a 
                         secret.  You were right, I changed 
                         my name.  I tried to hide from the 
                         past and I walked into almost the 
                         same situation that I had run away 
                         from.  I didn't kill Larry Mitchell, 
                         but I can't prove it.  I couldn't 
                         prove it the other time, either.  
                         Where I am going, nothing has to 
                         be proved.  There's a lot of water 
                         between Vancouver and the U.S.A. 
                         In  that, and in you.  Vancouver 
                         has been kind to me.  I think you 
                         will understand.  Betty Mayfield.

               Brandon stops reading, his face is tight, and grim.  Slowly 
               he refolds the note and turns to look at Betty.

                                     BRANDON
                         If you meant it, you wouldn't show 
                         it to me, Betty.
                              (pause)
                         Or am I supposed to deliver it to 
                         dear Inspector Killaine?

                                     BETTY
                              (in a half-wild 
                              tone)
                         Wrote it in the waiting room of 
                         the Hudson Bay Store.  With 
                         somebody's Pekingese trying to 
                         climb into my lap.  Perhaps you're 
                         right.  Perhaps I didn't mean it.  
                         All I know is that I'm licked.

                                     BRANDON
                              (very slowly)
                         There's a lot of water between 
                         Vancouver and the U.S.A. This note 
                         is a suicide note.  After you're 
                         gone where would they look for 
                         you?
                              (long pause)
                         Why would they look for you?  
                         Darkness, and open water, and a 
                         fast cabin cruiser.  And I have a 
                         pocket full of money.  And if I 
                         helped you, I'd be committing a 
                         crime, or so they tell me.

                                     BETTY
                         That wasn't why I called you.  Why 
                         did I hope--when I hadn't any right 
                         to hope?

                                     BRANDON
                         How bad is it?  Bad enough for--
                              (he taps pointing 
                              to the note)

                                     BETTY
                         Yes.  I've never been very far 
                         from it, for a long time.  Will 
                         you do something for me?

               Brandon nods.

                                     BETTY
                         Take me where I haven't the courage 
                         to take myself.

                                     BRANDON
                         How bad is the other thing?  The 
                         secret?

                                     BETTY
                         I was tried for murdering my 
                         husband.  Guilty.  The judge set 
                         the verdict aside.  There was one 
                         man on the jury--
                              (she pauses, shakes 
                              her head)
                         --but he was afraid.  They were 
                         all afraid--of my father-in-law.  
                         That man followed me last night--
                         he came from him of course.  My 
                         father-in-law will never give up.  
                         Never.  He promised me that.
                              (she laughs a little)
                         So I came to Vancouver, B.C. As 
                         far away as I can get from North 
                         Carolina.  And it happens all over 
                         again.  Almost the same thing.  
                         Almost the same way.  Do you wonder 
                         about this--

               She reaches to take the note from his hand.  He pulls it 
               away from her.

                                     BRANDON
                         This is the ace, Betty.  But not 
                         of spades.  They'll find out about 
                         the other.  They might know already.  
                         And when they get this--
                              (he holds up the 
                              note again)
                         What would they look for?  Where?  
                         Out there somewhere?
                              (he points towards 
                              the open water 
                              beyond the ships)

                                     BETTY
                         They'll look for you.

                                     BRANDON
                         I run over to Victoria.  Play some 
                         golf with some people I know.  Do 
                         it all the time.  That's why I 
                         have a cabin cruiser.  Custom-
                         built.Forty knots.  Mr Clark Brandon 
                         an almost gentleman of almost 
                         complete leisure.  Member of six 
                         golf clubs.  Broke 70 once on the 
                         Shaughnessy Heights Course.  You 
                         have to be good to do that, And if 
                         you look out of a front window of 
                         the Empress Hotel in Victoria, in 
                         a few hours you can look right 
                         down on Mr. Brandon's boat, the 
                         Valkyrie.  Came alone?  Sure.  He 
                         always comes alone.  Mr Brandon's 
                         a rather lonely man.

                                     BETTY
                              (staring at him, 
                              fascinated)
                         And Betty Mayfield--

                                     BRANDON
                         Blonde, beautiful, and sad--and 
                         nowhere.  Of course she might have 
                         run away--if she knew how.  And 
                         where to go.  She might have dyed 
                         her hair.  Bleached it before 
                         probably.
                              (Betty nods)
                         And changed her name again.  But 
                         look at this note.
                              (he holds it up)
                         And look at her room in the hotel.  
                         Her stuff is all there.  Hasn't a 
                         rag except what she stood up in.  
                         You don't run away like that.  Not 
                         if you are young and beautiful.  
                         No chance.

                                     BETTY
                              (catching a little 
                              enthusiasm from 
                              him)
                         But that's what I'm doing.  Couldn't 
                         they think of that?

                                     BRANDON
                         If they had any reason to.  Why 
                         make it tough for themselves?  Why 
                         go to all that trouble?  Here's an 
                         open book.  Close it.  No reason 
                         to keep it open.  She was a nice 
                         girl, anyway.  And perhaps she 
                         didn't kill him on purpose.  Perhaps 
                         she didn't kill the other one.  
                         You never know.  Give her the 
                         benefit of the doubt.  Leave her 
                         stay where she is.  Close the book.  
                         Finis.

                                     BETTY
                         Killaine...

                                     BRANDON
                         The best interference runner we've 
                         got.  He thinks he's in love with 
                         you--and he's a gentleman.  Come 
                         here, baby.

               He pulls her towards him, holds her in his arms, and kisses 
               her.

                                     BRANDON
                         I'm not.  Or I wouldn't be doing 
                         this right now.
                              (softly)
                         Even if I didn't like you, I'd 
                         have to do it.  Like the guy that 
                         was dealt thirteen spades in a 
                         bridge hand.  Or filled an ace-
                         high flush.  You couldn't get him 
                         out of that game to give him the 
                         Pulitzer Prize.

               They pull apart.  Brandon starts the car again.  As it 
               gets into motion, he looks forward through the windshield, 
               brakes suddenly, with a grim expression.

               WHAT HE SEES

               SHOOTING FORWARD THROUGH THE WINDSHIELD OF THE CAR

               Along the block, at the end of which is Charlie's Place.  
               The sign can be made out vaguely.  A police car stands in 
               front of the door.

               BACK TO BRANDON AND BETTY

                                     BRANDON
                              (with forced 
                              carelessness)
                         Must be raid day at Magruder's.  
                         They always raid him before he 
                         opens, so he won't lose any 
                         business.

               WIDER SHOT - EXTERIOR OF THE CAR

               As Brandon turns it in a fast U-Turn, CAMERA PANS IT OUT F 
               SIGHT IN THE OPPOSITE DIRECTION, THEN PANS BACK TO PICK UP 
               THE POLICE CAR IN FRONT OF MAGRUDER'S.

               CLOSE SHOT of the Police car - uniformed CHAUFFEUR at the 
               wheel.  One of the car doors is standing open.

               EXT. CHARLIE'S PLACE -- DAY

               PAN TO THE ENTRANCE OF CHARLIE'S

               Another uniformed COP is standing at the door.  He pushes 
               the door open, looks inside, up the staircase.

               CAMERA PANS TO SHOOT UP THE DARK, EMPTY STAIRS

                                                                WIPE TO:

               INT. CHARLIE'S PLACE -- DAY

               As seen before, except that the place is now tidied up, 
               the tables are in order, arranged for the night.  A door 
               at the back opens and a PLAIN CLOTHES DICK, one we have 
               not yet seen, comes through, starts walking rapidly in the 
               direction of the street stairs.  Through the open door we 
               HEAR Driscoll's voice.

                                     DRISCOLL (O.S.)
                              (not too loud)
                         I want a man from the I-Bureau 
                         down here as soon as possible.  
                         There's some stuff in the waste 
                         basket I'm afraid to handle.

                                                                 CUT TO:

               INT. CHARLIE'S PLACE - MAGRUDER'S OFFICE -- DAY

               As Driscoll replaces phone, turns to face Magruder, who is 
               handcuffed, with a Man standing beside him.  Magruder is 
               scowling.  Driscoll brings up his left hand, showing on a 
               spread handkerchief the sawed-off belly gun that Magruder 
               took away from Goble and put in his desk drawer.

                                     DRISCOLL
                         What always throws me about people 
                         like you is that you're so stupid.  
                         Don't you know these things have 
                         numbers on them?  And that they 
                         have to be registered if they're 
                         owned legally?  And that if we 
                         find a man dead with his pocket's 
                         empty--and identify him and find 
                         out he's a private detective from 
                         San Francisco--

                                     MAGRUDER
                              (tough)
                         It needs music.

                                     DRISCOLL
                              (ignoring him and 
                              continuing right 
                              on)
                         All we have to do is call the San 
                         Francisco Police and get numbers 
                         for his guns.  For the love of the 
                         Saints, Magruder, if you're going 
                         into the murder business, why don't 
                         you learn a few rules?  You must 
                         have been pretty desperate to move 
                         him out of here in broad daylight.

               Magruder reacts.  This one catches him right square on the 
               point of the chin.

                                     DRISCOLL
                              (softly)
                         Don't you know we have people down 
                         in the district working for us?  
                         They might look like tramps to 
                         you, and some of them are.  But 
                         they have eyes.

                                     MAGDRUDER
                              (hoarsely)
                         The guy pulled a gun on me.  I 
                         thought it was a stick-up.  I hit 
                         him with a sap.  Why wouldn't I?  
                         Maybe I hit him too hard, and it 
                         scared me.  I wanted to get him 
                         away from here.  A guy like me 
                         don't always get believed by guys 
                         like you.

                                     DRISCOLL
                         You had over sixteen hundred dollars 
                         in your pocket, a thousand of them 
                         in twenty-dollar bills.  With a 
                         kind of new look about them at 
                         that.  Would you be interested in 
                         what I think about this, Magruder?

               Magruder doesn't answer.  He is beginning to look very 
               groggy.

                                     DRISCOLL
                              (sharply to the 
                              other dick)
                         Hold him.  He's trying to sag on 
                         us.

               The other dick straightens Magruder up, pushes him against 
               the wall.  Magruder's eyes are rolling in his head.

                                     DRISCOLL
                              (mercilessly)
                         This man Goble rented the car, 
                         gave a false name.  He had no 
                         licence, no identification.  But 
                         he put up a sufficient deposit.  
                         He was a suspicious man.  He was 
                         on a dubious errand.  He had a gun 
                         in his pocket and I'm thinking one 
                         of these manila envelopes--
                              (he points to the 
                              waste basket)
                         Contained those sheets of blank 
                         paper which he was going to sell 
                         for money.  And get out before 
                         anybody looked at what he'd sold.  
                         You had the money, Magruder.  But 
                         you didn't give it to him.  You 
                         killed him instead.

               Magruder starts to sag again.

                                     DRISCOLL
                              (more gently)
                         Perhaps you didn't mean to kill 
                         him.  But here he was dead, and 
                         his car was outside in the street.  
                         So you brought it around to the 
                         alley and you carried the man down 
                         to it, and you drove him away.  
                         And what happened to him after 
                         that, nobody knows until he was 
                         picked out of the water of the 
                         Sound, dead.  But not long dead.  
                         Where did you leave the car, 
                         Magruder?  Who helped you?  What 
                         boat did you have?
                              (pauses. His voice 
                              changes to a dry 
                              business-like tone 
                              addressing the 
                              other dick)
                         All right.  Take him in.  Set him 
                         down.  Give him what he wants to 
                         make him comfortable.  And get a 
                         stenographer.  And warn him.  And 
                         don't rough him.  He's a nice little 
                         man.  All he wants is to collect 
                         his thoughts.  And then he'll tell 
                         us the whole story in his own words.
                              (his voice becomes 
                              positively corny)
                         Won't you, Magruder, darling?

               Magruder pitches forward to the floor in a dead faint.  
               The two detectives stand looking at him.

                                     DRISCOLL
                              (somberly)
                         He'll be giving the priest a bad 
                         time, this one.  Maybe You'd better 
                         call an ambulance.  He might have 
                         a wonky ticker.

               EXT. VANCOUVER YACHT CLUB BUILDING PARKING SPACE IN FRONT -- 
               DAY

               CAMERA PICKS OUT BRANDON'S SEDAN which has just parked.  
               Brandon and Betty are getting out.

               CLOSER SHOT - ON BRANDON AND BETTY

                                     BRANDON
                         Over this way.

               They start towards the corner of the building away from 
               the entrance.

               EXT. NARROW WOODEN WALK ALONG THE SIDE OF THE YACHT CLUB 
               BUILDING -- DAY

               Brandon stops at the padlocked door, unlocks it, opens it.  
               They start through.

               INT. VANCOUVER YACHT CLUB - BOATHOUSE -- DAY

               The seaward end is open, a big cabin cruiser is moored in 
               the slip, a wooden ladder going down to it.  Brandon goes 
               down the ladder to deck of cruiser, steadies it by pulling 
               on the line, helps Betty down, then down into the cockpit.

               INT. CABIN CRUISER VALKYRIE - COCKPIT -- DAY

               SHOOTING DOWN THE SHORT COMPANIONWAY

               Brandon loads Betty down the companionway to the cabin of 
               the cruiser.  It is paneled, with curtained windows, 
               luxurious.

                                     BRANDON
                         You'll be safe here.  I won't be 
                         long.
                              (puts a bunch of 
                              keys on the table)
                         Help yourself to anything you want.  
                         The galley's through there.
                              (he points to a 
                              door up forward)
                         You can make coffee if you like.

                                     BETTY
                              (looking around 
                              here)
                         This must have cost a fortune.

                                     BRANDON
                         It did, but it never paid off--
                         until now.
                              (he looks at his 
                              watch)
                         I ought to be back within an hour.  
                         We can't leave until near dark 
                         anyway.

                                     BETTY
                         Do you have to leave the note?

                                     BRANDON
                         It's the frame on the picture.  
                         But not if you say so.

               He takes the note out of his pocket and holds it out.  
               Betty doesn't touch it.

                                     BRANDON
                         I'd still go through--even if I 
                         ended up in jail.

                                     BETTY
                         You wouldn't like it.  I've been 
                         there.

                                     BRANDON
                              (quietly)
                         My father died in jail, and he was 
                         twice the man I am.

               Betty just stares at him.

                                     BRANDON
                              (holding up the 
                              letter)
                         Well?

                                     BETTY
                              (in a choked voice)
                         You leave it.

               She turns away quickly, Brandon stands a moment, looking 
               at her, then turns back and EXITS SCENE.

                                                                WIPE TO:

               INT. POLICE CAR IN MOTION -- DAY

               SHOOTING FORWARD THROUGH POLICE CAR WINDSHIELD

               Police radio is on.  From it we HEAR:

                                     VOICE (FROM RADIO)
                         C.V.P.L. Vancouver Police 
                         Department.  Repeating.  All points 
                         Bulletin No.  611.  General alarm.  
                         Wanted for questioning.  A young 
                         woman.  American.  Using the name 
                         Betty Mayfield, formerly Elizabeth 
                         Kinsolving of Greenwater, North 
                         Carolina.  Height five feet one 
                         and a half inches.  Weight 118 
                         pounds.  Hair blonde, may be dyed 
                         darker.  Blue eyes.  Slender build.  
                         Size 4AA shoes.  Quiet refined 
                         manner.  Any person answering this 
                         description should be held, 
                         Communicate immediately with 
                         Superintendent J. McKechnie, 
                         Vancouver City Police, Vancouver, 
                         B.C., for F.P. Classification.

                                                                 CUT TO:

               INT. VANCOUVER ROYAL HOTEL - MITCHELL'S ROOM -- DAY

               A handsome table radio, Gore standing beside it.  The 
               continuation of broadcast in previous scene, without break, 
               but with a difference in tone, due to the different 
               instrument.

                                     VOICE (FROM RADIO)
                         Outlying cities and towns please 
                         rebroadcast.  Coast Guard stations 
                         please rebroadcast.  Suspect may 
                         attempt to cross border.  C.V.P.L. 
                         Vancouver City Police, Vancouver, 
                         B.C. I will repeat this bulletin.

               Gore reaches across, shuts the radio off, turns, CAMERA 
               PULLS BACK TO A WIDER SHOT OF MITCHELL'S ROOM which is not 
               typical, not very expensive hotel room, but with some 
               personal furniture such as table lamps, a shelf of books, 
               a few indications that this has become the home of someone.

               Gore moves towards the bed, Killaine is going through the 
               contents of a suitcase.  He has underwear, shirts, socks, 
               etc., spread out all around the bed cover.

                                     GORE
                         She didn't seem the type to lam 
                         out--even if she got the chance.  
                         That stuff was all gone through 
                         last night.  Anything special you're 
                         looking for, Inspector?

                                     KILLAINE
                         I'll know when I find it.

                                     GORE
                         I guess I'm just ballast around 
                         here.

               Killaine doesn't answer.  He straightens up with a very 
               fancy thin gold cigarette case in his hand.  He opens it.

                                     GORE
                         You get those from rich women--if 
                         you are the kind of guy Mitchell 
                         was.

               Killaine dumps the cigarettes out of the case and holds 
               the inside against the light.  His gaze becomes fixed.

                                     KILLAINE
                              (reading)
                         "G.G. Market one-eight-four-two."

                                     GORE
                         Gigi, huh?  Sounds French--one of 
                         those fancy ladies.  Must have 
                         been very fancy, if he scratched 
                         her phone number in gold.

                                     KILLAINE
                              (ignoring him, 
                              speaking to himself)
                         Market... It seems to me that's a 
                         San Francisco exchange.

               INT. BEER TAVERN - BASEMENT -- DAY

               Brandon is seated at a small table, with a bottle and glass 
               of beer in front of him.  He takes Betty's suicide note 
               out his pocket, reads it.

               CAMERA MOVES IN ENOUGH TO SHOW WHAT HE IS READING

               He refolds it, holds it a moment, lost in thought, then 
               puts it away in his pocket, glances at his wrist watch, 
               stands up, starts out of scene, leaving beer almost 
               untasted.

               INT. THE ROYAL VANCOUVER HOTEL - BETTY'S ROOM -- DAY

               As Killaine comes in He moves noiselessly around the room, 
               glancing at this and that, goes closet, comes back with an 
               over-night case, which he puts on the bed.  It is locked.  
               He gets out a bunch of keys, tried two or three, opens it.  
               He searches inside the over-night bag and comes up with a 
               packet of travelers checks.

               CLOSE ON THE PACKET OF TRAVELERS CHECKS TO SHOW THE 
               DENOMINATIONS OF $500 EACH AND THAT THE PACKET IS QUITE A 
               THICK WAD

               Killaine replaces them in the over-night bag, re-locks it, 
               puts it back  in the closet, starts out towards balcony.

               INT. CABIN CRUISER VALKYRIE -- DAY

               Betty is stretched out on a bunk, smoking, NOISE is HEARD 
               off, CREAKING WOOD STEPS.  She jumps to her feet, starts 
               towards the companionway.

               EXT. CABIN CRUISER VALKYRIE - COCKPIT -- DAY

               As Brandon comes down off ladder and Betty comes up 
               companionway.

                                     BRANDON
                              (tightly)
                         Killaine's wise.  We can't wait 
                         any longer.  Here, put this on.
                              (he opens locker, 
                              picks out an oilskin 
                              coat, hand sit to 
                              her)
                         But stay out of sight until we 
                         clear the harbor.  I'll tell you 
                         when.
                              (gets another oilskin 
                              out of the locker, 
                              puts it on himself)

                                     BETTY
                         Killaine's wise to what?

               Without answering, Brandon slips past her, down 
               companionway.

               INT. CABIN CRUISER VALKYRIE -- DAY

               As Brandon enters, peeling off his overcoat and jacket, 
               tosses overcoat and hat aside, opens locker with push-back 
               door, hangs jacket up inside, takes out a heavy sweater 
               which he slips on, then a seamen's pea-jacket which he 
               also puts on.  He reaches far in and comes out holding a 
               .38 automatic, slips it into the inside pocket of the pea 
               jacket, pulls locker door closed, starts out.

               EXT. CABIN CRUISER VALKYRIE - COCKPIT -- DAY

               Betty has put on her oilskin coat as Brandon comes up 
               companionway, slips behind the wheel and starts the motors.  
               He yells something at her, but the roar of the motors drowns 
               it out.  He points. She nods, goes back down companionway.  
               Brandon casts off, cruiser starts to back out of the slip.

               EXT. YACHT ANCHORAGE -- DAY

               Cruiser backs in towards CAMERA, swings around, starts in 
               a wide curve towards the harbor entrance, moving very fast.  
               Brandon alone is seen.  The cruiser picks up still more 
               speed and head off into the distance.

                                                                WIPE TO:

               INT. ROYAL HOTEL - OUTSIDE BRANDON'S PENTHOUSE -- DAY

               Elevator comes up, opens, Campbell and Gore come out.  
               Campbell crosses to penthouse door, presses bell, then 
               turns to Gore.

                                     CAMPBELL
                         I'm getting a little tired of this, 
                         Sergeant.  Mr. Brandon's a valued 
                         guest in this hotel.  We've known 
                         him for a long time.  I don't like 
                         this prowling into people's rooms.

               He presses the bell again.

                                     GORE
                         How many people in your hotel know 
                         a man was murdered here, 
                         Mr.Campbell?  Apart from you and 
                         the people questioned?

                                     CAMPBELL
                              (shortly)
                         None, as far as I know.

                                     GORE
                         And you don't like our methods, 
                         huh?

               Campbell gives him a look, takes out the passkey, and 
               unlocks door, starts in.  Gore moves past him, turns and 
               blocks him.

                                     GORE
                         That's all.  Thanks, Mr. Campbell.

                                     CAMPBELL
                         I insist--

                                     GORE
                         That's all.  Thanks, Mr. Campbell.

               He pushes the door shut, pushing Campbell out with it.  He 
               puts on the night latch, grins and starts across living 
               room to French doors to terrace.

                                                                 CUT TO:

               EXT. THE VANCOUVER ROYAL HOTEL - BETTY'S ROOM - BALCONY -- 
               DAY

               Killaine standing, looking up at end wall towards the wall 
               of the penthouse terrace.  He looks down at the chaise on 
               which Mitchell's body was found.  He goes to it, wheels it 
               over so it is close to the end wall.  His eyes measure the 
               distance from the chaise up to the top of the parapet wall 
               of the penthouse terrace.  Gore appears IN THE SHOT ABOVE.  
               He looks down.

                                     KILLAINE
                              (calling up to him)
                         I'm coming up.

               He goes down to the corner of the balcony wall, steps up 
               on it, steadying himself with a hand against the steep end 
               wall.  He turns his body so that he is standing sideways, 
               rather unsteadily, and reaches up.  His hands are about 
               two feet short of being able to reach the top of the wall 
               at which Gore stands.  Killaine gathers himself for a jump, 
               springs, catches the top of the wall with one hand, swings 
               outwards, glances down.

               WHAT HE SEES

               Sheer drop of 100 feet to the stone terrace outside the 
               hotel lobby.

               ANGLE UP SHOWING KILLAINE DANGLING BY ONE HAND FROM TERRACE 
               ABOVE

               Gore reaching down for him.  Killaine's body swings in 
               again.  With a jerk he gets the other hand up, laboriously 
               pulls himself up, and walks up the wall, CAMERA FOLLOWS 
               HIM.  Gore reaches to help him.

                                     KILLAINE
                              (tightly, straining 
                              with effort)
                         I'm all right.

               He gets a leg over the penthouse wall, breathing hard.

               EXT. PENTHOUSE BALCONY -- DAY

               REVERSE SHOT ANGLE DOWN LOOKING DOWN FROM THE TERRACE TO 
               THE VIEW BELOW

               Gore is standing by the wall, Killaine astride of it.  He 
               gets over to the balcony floor, stands up, wipes his hands 
               off.

                                     GORE
                              (shaken)
                         That's pretty risky business, 
                         Inspector.

                                     KILLAINE
                         Somebody did it twice last night--
                         in the dark.

               He points down.  Gore looks over the wall, downwards.

               WHAT HE SEES.

               Portion of Betty's balcony and the chaise almost directly 
               below him.

                                     KILLAINE (O.S.)
                         Once to put that in the position 
                         where it is now.  And the second 
                         time to move it where we found it.

               TWO SHOT - KILLAINE AND GORE

               On the balcony.

                                     KILLAINE
                         Not too hard, is it?

                                     GORE
                              (staring at him)
                         Maybe we've been pretty dumb--

                                     KILLAINE
                              (quietly)
                         There wasn't any motive...let's 
                         try out the act.

               Gore steps back.  Killaine puts his hand in his pocket and 
               brings out a gun, which looks very like the death gun.

                                     KILLAINE
                         I have a gun.  It's not loaded.  
                         Pretend it is.  I'm drunk.  I took 
                         the gun away from Margo West.  Now 
                         I've said something to you that 
                         you don't like.  I don't like the 
                         look in your eyes, either.  I've 
                         pulled the gun.  Take it away from 
                         me.  And while you're taking it 
                         away from me, it goes off.  Ready?

               Gore nods.

                                     KILLAINE
                         Let's go.

               Gore suddenly swarms him.  There is a brief sharp struggle.  
               Gore gets his hand over the gun.  It goes down as they 
               fight for it.  Gore turns it in toward Killaine's body.  
               There is a sharp click.  Gore steps back with the gun in 
               his hand.

                                     KILLAINE
                         Was that about the right angle?

                                     GORE
                         I think so.

                                     KILLAINE
                         Where's the shell?

                                     GORE
                         Should be over there.

               Points to the angle of the wall.

                                     KILLAINE
                         Pick it up.  Put it in your pocket.

               Gore pretends to do so.

                                     KILLAINE
                         The same with the gun.

               Gore puts the gun in his pocket.

                                     KILLAINE
                         You've got a dead man on your hands.  
                         You killed jim--even if it wasn't 
                         murder.  What are you going to do 
                         about it?

                                     GORE
                         If I've got any sense I'm going to 
                         call headquarters.

                                     KILLAINE
                         They'll probably believe you.  But 
                         they'll want to know what you were 
                         fighting about.  Why Mitchell had 
                         a gun.  You'll tell them a simple 
                         story.  They'll pretend it sounds 
                         all right to them.  Now you're 
                         headquarters.  How does it sound 
                         to you?

                                     GORE
                         Before I took the story and closed 
                         the case, I'd want to know a lot 
                         more about these people.  I'd want 
                         to know just about everything about 
                         them.

                                     KILLAINE
                              (nodding)
                         Exactly.  Now I'm the killer.  And 
                         there's something I don't want you 
                         to know.  Something that would 
                         destroy my comfortable life, rob 
                         me of my friends, my position.

                                     GORE
                         Such as?

                                     KILLAINE
                         Assume there is something to hid.  
                         I go to a lot of trouble.  What do 
                         I do?  What would you do?

                                     GORE
                         Do I know who lives down there?

                                     KILLAINE
                         You can find out.

                                     GORE
                         Do I know that she's out of the 
                         room?  Likely to be out of it for 
                         some time?

                                     KILLAINE
                         You can find out the first part.  
                         The second part you have to take a 
                         chance on.

                                     GORE
                         Pretty big chance, huh?

                                     KILLAINE
                         You've got a dead man on your hands.  
                         Like this.

               He allows himself to collapse down on the floor, against 
               the wall.

                                     GORE
                         Right--

               He bends down over Killaine, gets a fireman's lift on him--
               get's him up, drapes him over the wall, half on one side 
               and half on the other, his head and shoulders on the inside.  
               He straightens up, takes a firm grip on Killaine's wrists, 
               and eases him down over the wall.  Gore's head and shoulders 
               follow until he is lying across the wall on his stomach.

               ANGLE UP - UPWARD REVERSE SHOT FROM BETTY'S BALCONY

               Showing Killaine's body dangling directly over the chair.  
               Gore comes as far down as he can.  Killaine has only a few 
               feet to fall.  Killaine looks down, then up at Gore.

                                     KILLAINE
                         Let go.

               Gore releases his wrists.  Killaine sprawls down on the 
               chaise, almost rolls over it, saves himself, lies down on 
               his side.  Gore climbs over the wall, lowers himself, hangs 
               by his hands, looks down, lets go with one hand, drops, 
               lands rather heavily on the balcony near the chaise, goes 
               down on his hands and knees.  He stands up, dusts himself 
               off, lifts the chaise with Killaine on it, and wheels it 
               about six feet away to the position where it was found 
               with Mitchell's body.  Killaine stands up off the chaise.

                                     KILLAINE
                         Next?

               Gore reaches into his pocket, takes out the gun and a match.

                                     GORE
                              (holding the match 
                              up)
                         This is the shell.
                              (tossing it over in 
                              the corner)
                         What about the gun?

                                     KILLAINE
                         Well.  What about it?

                                     GORE
                         I've handled it.  Mitchell's handed 
                         it.  If I wipe it off, no suicide.  
                         If I take it out and lose it, no 
                         suicide.  If I leave it here....no 
                         suicide.

                                     KILLAINE
                         So?

                                     GORE
                         I've got to find a way to handle 
                         it, openly.  Like Brandon.

               Killaine nods.

                                     GORE
                              (doubtful again)
                         How did he know he'd get the chance?  
                         He couldn't have arranged it.

                                     KILLAINE
                         He could have tried.  If he was up 
                         there in the dark, listening, he'd 
                         know when she came home, know when 
                         she found Mitchell dead, know what 
                         she did about it.  If she 
                         telephoned, he'd probably hear 
                         that.

                                     GORE
                         And she did give him the chance, 
                         the way it worked out.

                                     KILLAINE
                         If she didn't--if luck was against 
                         him--he wipes the gun off, reaches 
                         the wall up there--drops it on the 
                         chaise.

                                     GORE
                         No suicide.

                                     KILLAINE
                         Did we ever really think it was 
                         suicide?

                                     GORE
                         You win, Inspector.  You win all 
                         along the line.  Why didn't we 
                         think of Brandon before--or did we--
                         some of us.
                              (pause, then 
                              answering himself)
                         Yeah.  Of course you did.  When a 
                         suspect thinks he's safe, you go 
                         on letting him think he's safe.  
                         Wait for a mistake.

                                     KILLAINE
                         And a motive--which we haven't 
                         got.  So this could all be a dream.

               Gore nods silently.  Killaine reaches in his pocket, takes 
               out Mitchell's thin gold case, opens it, looks down.

                                     KILLAINE
                         Market one-eight-four-two.

               He looks up at Gore.

                                     GORE
                         Greer and Goble in the Call 
                         Building, San Francisco.  Just 
                         like you thought...Two murders in 
                         two days.  Different places, 
                         different methods, different people.  
                         Nothing connects them, but a 
                         telephone number.

                                     KILLAINE
                              (softly)
                         A think wire---but very, very 
                         strong.  Let's get out of here.

               As they start out.

                                                                WIPE TO:

               INT. THE SEA - OPEN WATER -- NIGHT

               LONG SHOT

               Cabin cruiser coming into SHOT at high speed.

               CLOSER SHOT - CABIN CRUISER

               Brandon is behind the wheel, Betty beside him.  She is 
               looking back over her shoulder.

                                     BRANDON
                         See anything?

                                     BETTY
                         I can still see the shoreline.  
                         The moon is rising.

                                     BRANDON
                         There would be a moon tonight.

               Betty shivers a little.

                                     BRANDON
                         Cold?

                                     BETTY
                         Frozen.

                                     BRANDON
                         Go down into the cabin and get 
                         yourself a drink.  Careful how you 
                         go, we're hitting the swell now.

               Betty starts to move from the seat towards the companionway.

               INT. CABIN CRUISER VALKYRIE -- NIGHT

               As Betty comes in.  The cruiser has begun to pitch and 
               roll.  She makes her way along the cabin.  The cruiser 
               gives a lurch, Betty is thrown off balance.  She grabs a 
               door handle.  Door is pulled open.  Clothes are seen hanging 
               inside.  The cruiser gives another lurch and Betty is thrown 
               the other way, almost into the closet.  Her hand plunges 
               in among  the clothes.  Her expression shows she has touched 
               something that startles her.

               SHOT REVEALING INSIDE THE CLOSET

               Betty separates clothes and we SEE an empty gun holster 
               hanging on a hook against the back wall of the closet.  
               She stands motionless, staring at it, then notices Brandon's 
               jacket hanging untidily on a hook with the inside pocket 
               exposed and a corner of her own suicide note showing.

               CLOSE ON THE INSIDE OF THE JACKET POCKET AND THE EXPOSED 
               CORNER OF THE ENVELOPE.  BETTY'S HAND ENTERS THE SHOT 

               and she draws the envelope from the pocket.

               INT. CABIN CRUISER VALKYRIE -- NIGHT

               As Betty closes the closet door, crosses to bunk.  The 
               cruiser is pitching.  She stands holding the suicide note 
               envelope finally turns it over, draws out the note, replaces 
               it.  Then with a quick movement, she starts towards 
               companionway.

               EXT. CABIN CRUISER VALKYRIE - COCKPIT -- NIGHT

               ANGLE ON BACK TOWARDS THE BOILING WAKE

               Brandon is staring straight ahead of him, tight-lipped.  
               There is a DISTANT SOUND OF A PLANE.  Brandon looks up, 
               searching the sky without changing expression.  Betty comes 
               back up the companionway, sits down in a corner of the 
               seat.

                                     BETTY
                         I decided I didn't want a 
                         drink...I'm beginning to wonder.

                                     BRANDON
                         Wonder what?

                                     BETTY
                         If you're doing all this just for 
                         me.

                                     BRANDON
                         That, and the fun of it.

                                     BETTY
                         I thought you had to be back to 
                         the hotel.  To leave my--my note.

                                     BRANDON
                         That's right.

               Silently, Betty takes out the note and holds it towards 
               him.  Brandon glances at it.  He cocks his ear towards the 
               PLANE NOISE.

                                     BRANDON
                         See anything up there?

               As betty looks up, he lets go of the wheel, and makes a 
               sudden grab for the wrist of the hand holding the note.  
               There is a short, sharp struggle.  Brandon has the note.  
               The wheel swings wildly and the cabin cruiser keels over 
               into a hard turn.  Brandon thrusts the note into his pocket, 
               grabs the wheel, wrenches it around, gets the cruiser going 
               on course again.  Betty leans in a corner of a seat, away 
               from him.

                                     BETTY
                         Funny, I never thought of you that 
                         way.  You were so close too.  We 
                         were all pretty stupid about you.

                                     BRANDON
                              (tightly)
                         Including Killaine.

                                     BETTY
                              (softly)
                         Including Killaine...I still can't 
                         think of you that way.

                                     BRANDON
                              (staring straight 
                              ahead)
                         I told you my father died in jail.  
                         He stole a fortune.  Most of it 
                         pretty dirty money.  I don't care 
                         to have that known.

                                     BETTY
                              (same tone)
                         Larry Mitchell found out.  So you 
                         killed him.

                

                                     BRANDON
                         In a way.

                                     BETTY
                         If it was an accident, you could 
                         have told the truth.

                                     BRANDON
                         So could you.  But our records 
                         were a little against us.

                                     BETTY
                         What your father did doesn't condemn 
                         you.

                                     BRANDON
                         Nobody believed I wasn't in on it.  
                         I was just a dumb-smart collage 
                         boy, and he was my father.  I 
                         thought it was a legitimate 
                         business.  He was a politician, 
                         with fingers in a lot of pies.  I 
                         never saw the pies.  They had names.  
                         For the record.  Innocent names.
                              (he shrugs)
                         You know where that kind of money 
                         comes from, don't you?

                                     BETTY
                         The money that makes you Mr. Clark 
                         Brandon.  Let's you live in a 
                         penthouse, on top of the Vancouver 
                         Royal.  Lets you own a cruiser.  
                         Lets you do as you please, go where 
                         you please.  You big, open-handed, 
                         generous guy.  That's the kind of 
                         money it takes, isn't it?

               The PLANE NOISE is a little LOUDER.  Brandon looks up at 
               it without much interest, then looks at Betty.

                                     BRANDON
                         It buys things, just like any other 
                         kind.

                                     BETTY
                         That man that was following us 
                         last night--he didn't come back 
                         this morning.  I'm beginning to 
                         wonder about him, too.  Was he 
                         really following me--or you?

                                     BRANDON
                         No.  I paid him off.

                                     BETTY
                         He'll come back...They always come 
                         back when you give them money.

                                     BRANDON
                         Not this one.  And not Mitchell.

                                     BETTY
                              (recoiling)
                         You-killed-him?

                                     BRANDON
                              (with a twisted 
                              smile)
                         Magruder obliged me.  No use my 
                         saying it wasn't planned that way.  
                         I had to clean up.  I'm not a dumb-
                         smart college boy anymore.
                              (he takes a deep 
                              breath)
                         Nobody in the world would believe 
                         I didn't plan the whole thing.

                                     BETTY
                         I guess I'm a little screwy.  Maybe 
                         I could believe it.  Should I try?

                                     BRANDON
                         Don't go soft on me, baby.  I've 
                         got your note in my pocket.  You 
                         wrote it, all by your own self.  
                         And I have to use it.  It has to 
                         be found in exactly the right place.

                                     BETTY
                         So that I will never be found.

               Brandon turns his head and stares full at her.  He swallows.  
               He can't speak.

                                                                WIPE TO:

               INT. POLICE HEADQUARTERS - I-BUREAU - PROJECTION ROOM -- 
               NIGHT

               The room is dark except for a strong white light over a 
               desk.

               In the background there is a projection screen and a 
               comparison projector.  The police technician is bending 
               over the desk looking at something through a magnifying 
               glass, as Killaine enters.

                                     KILLAINE
                         Got anything on the Goble case 
                         yet?

               The Technician puts down a magnifying glass.

                                     TECHNICIAN
                         Yes, I think so.  Here are two 
                         glazed manila envelopes.
                              (he holds them up)
                         One is the bag type.  The other 
                         one had the money in it.  Don't 
                         ask me how I know.  I know.

                                     KILLAINE
                         I'm interested in who handled it.

                                     TECHNICIAN
                         Four different people, Inspector.  
                         Three men and a women.  I've made 
                         slides for two.  They handled both 
                         envelopes.

               He fits two slides into the projector and switches on the 
               light.  Focuses a couple of separate images on the screen.  
               One is a complete fingerprint, the other a portion such as 
               would be made by a tip of a finger.

                                     TECHNICIAN
                         Goble.  Second finger on left hand.  
                         On the left, the morgue print.  On 
                         the right, print lifted from the 
                         envelope.

               He turns another knob and the two fingers draw together, 
               overlap, and coincide, so that the incomplete image 
               disappears altogether.

                                     TECHNICIAN
                         No doubt about that one.

                                     KILLAINE
                         How about Magruder?

                                     TECHNICIAN
                         He checks too.

                                     KILLAINE
                         That leaves two strangers.

                                     TECHNICIAN
                         So far.

                                     KILLAINE
                         Try Betty Mayfield.  The Mitchell 
                         case.

                                     TECHNICIAN
                              (surprised)
                         Mayfield?  She fit into this?

                                     KILLAINE
                              (deadpan)
                         She might.

               Technician opens a file drawer and takes out a fingerprint 
               card.  Lays it on the desk and picks up the magnifying 
               glass.

                                     TECHNICIAN
                         You'll have to take my word for 
                         it.  We don't make slides until we 
                         have perfect prints for comparison.

                                     KILLAINE
                         I'll take your word.

               The Technician places another card beside the one he took 
               from the drawer, bends over, examines them through the 
               magnifying glass, straightens up and shakes his head.

                                     TECHNICIAN
                         Not a chance.  Whorl and plain 
                         arch. Different as salt and sand.

               Killaine puts his hand in his pocket and takes out another 
               fingerprint card.

                                     KILLAINE
                         Try this one for the second 
                         stranger.

               Technician takes the card, looks at it, pushes the other 
               cards to one side.

                                     TECHNICIAN
                         Gun permit, huh?
                              (he lines up two 
                              cards, studies 
                              them)
                         Another Whorl--man size.

               He studies the prints a moment longer, then faces Killaine.

                                     TECHNICIAN
                         This gun permit was issued to Clark 
                         Brandon?

                                     KILLAINE
                         The card says so, doesn't it?

                                     TECHNICIAN
                         Brandon handled the money envelope.

               Killaine turns instantly, and starts out, CAMERA FOLLOWING 
               As he opens the door, he meets Driscoll coming in.  Driscoll 
               backs away, Killaine exits.

               EXT. POLICE HEADQUARTERS - I-BUREAU - CORRIDOR -- NIGHT

                                     KILLAINE
                         What's the face for, Driscoll?

                                     DRISCOLL
                         Magruder's conked out.  Adrenaline 
                         injections, oxygen tent.  He may 
                         come out of it and he may not.  As 
                         a source of quick information, we 
                         can't forget him.

                                     KILLAINE
                         We don't need him.

               He opens door of I-Bureau.

                                     KILLAINE
                         Go on in.  See what they've got.  
                         All I need now is a warrant and a 
                         pair of wings.

               He goes out of SHOT quickly.  Driscoll looks after him, 
               then starts into I-Bureau.

                                                            DISSOLVE TO:

               EXT. COAST GUARD STATION - STEVENSTON, B.C. -- NIGHT

               There is an armed guard at the entrance and a Canadian 
               Coast Guard flag flies over the building.  A Vancouver 
               police car drives up at high speed and squeals to a stop 
               beside the sentry.  Killaine leans out of the window, shows 
               the sentry his badge.

                                     KILLAINE
                         Inspector Killaine.  Vancouver 
                         City Police.  Commander Goodwin's 
                         expecting me.

                                     SENTY
                         Very good, sir.

               He steps back.  The police car speeds on.

                                                                WIPE TO:

               INT. COAST GUARD CONTROL ROOM -- NIGHT

               Radio operator at set.

                                     RADIO OPERATOR
                              (into mike)
                         C.G.L. at all cutters and patrol 
                         planes on station.  Vancouver Police 
                         Department bulletin.  Wanted for 
                         murder.  Clarke Brandon.  A 
                         naturalized Canadian citizen.  Age 
                         34-35.  Height six feet, one inch.  
                         Weight 190 pounds.  Muscular build.  
                         Dark hair.  American accent.  Now 
                         probably at sea in cabin cruiser 
                         Valkyrie.  Will probably attempt 
                         to cross International line under 
                         cover of darkness.

                                                                WIPE TO:

               EXT. COAST GUARD CUTTER LYNX - AT BERTH -- NIGHT

               Engines idling.  A rating stands by to cast off.  Killaine 
               and a Coast Guard officer come rapidly down ramp, jump on 
               board.  Rating casts off.  Lynx, a converted P.T. boat, 
               without torpedo tubes, moves off from berth, picking up 
               speed rapidly.

               EXT. OPEN WATER - VALKYRIE -- NIGHT

               Traveling at high speed in open water.

               PLANE NOISE high overhead.

               EXT. CABIN CRUISER VALKYRIE - COCKPIT -- NIGHT

               Brandon at wheel.  Betty pressed into corner of a seat 
               watching him.  Spray drifts over them.

               MED.  SHOT -- COAST GUARD PLANE IN FLIGHT

               A converted Hudson bomber.

               CLOSER ON THE PLANE

               The pilot and co-pilot can be seen through the Plexiglas.  
               They are searching the water below with their eyes.

               INT. HUDSON BOMBER - COCKPIT -- NIGHT

               SHOOTING PAST PILOT AND CO-PILOT

               Pilot pushes the wheel forward and the plane goes into a 
               steep dive.

               REVERSE SHOT FROM PILOT'S ANGLE

               WHAT HE SEES

               The cabin cruiser is seen far below, moving fast through 
               the water.  Or rather its wake is seen.  The cruiser itself, 
               at this height, is almost invisible.

               INT. HUDSON BOMBER - COCKPIT -- NIGHT

               Betty is looking up at the plane.  Brandon reaches inside 
               his coat.  His hand comes out with a heavy automatic, which 
               we have seen before.

                                     BRANDON
                              (tightly)
                         Get down in the cabin, Betty.

               Her eyes go down.  She sees the gun, reacts.  A bitter 
               smile moves her lips.

                                     BETTY
                         Why?  To love ten minutes longer?  
                         And in the meantime, protect you?
                              (her voice becomes 
                              taunting)
                         Why don't you shoot me now and get 
                         it over with--

               she looks up towards the PLANE NOISE.

                                     BETTY
                         If you think you have the time.

               REVERSE SHOT BEHIND BRANDON

               A fog bank about a mile ahead.

                                     BRANDON
                              (as if to himself)
                         Always some fog out here.

               He looks up in the direction of the PLANE NOISE which is 
               increasing.

                                     BRANDON
                         There better be.

               INT. HUDSON BOMBER - COCKPIT -- NIGHT

               SHOT THROUGH THE PLEXIGLAS HEAD AND SHOULDERS OF THE PILOT 
               AND Co-PILOT.

               The cruiser down on the water is getting rapidly larger, 
               but still cannot be seen who is in the cockpit, or even 
               how may persons.  The co-pilot puts a pair of binoculars 
               to his eyes.

               EXT. CABIN CRUISER VALKYRIE - COCKPIT -- NIGHT

               Brandon with one hand on the wheel, the other holding the 
               gun.  He is staring up towards the plane.  Betty is not in 
               the cockpit.  Brandon turns towards where she was, reacts 
               sharply, seeing she has disappeared.  An expression of 
               frustration and despair shows on his face for a moment.  
               The NOISE OF THE PLANE in the power dive becomes furiously 
               LOUD.  Brandon's head goes around again.

               REVERSE ANGLE -- THE PLANE DIVING DIRECTLY ON THE VALKYRIE

               Brandon sees it.  It dives down almost into the CAMERA.

               MED.  LONG SHOT -- FROM WATER LEVEL

               The Valkyrie and the plane.  At the last moment, the plane 
               pulls out of the dive, only thirty or forty feet above the 
               Valkyrie, and goes into a climbing bank.

               MED.  LONG SHOT - VALKYRIE - SHOOTING FROM BEHIND

               The fog bank is dead ahead.  The coast Guard plane is 
               climbing off to the left.  The Valkyrie reaches the fog 
               bank, plunges into it, and becomes invisible.

               INT. CABIN CRUISER VALKYRIE - COCKPIT IN FOG -- NIGHT

               Brandon is steering straight ahead.  He reaches to cut off 
               the engines.  The Valkyrie slows down.  Betty's head emerges 
               from the companionway.  Her eyes meet Brandon's.  Brandon 
               is silent.

                                     BETTY
                         You hoped I'd jumped overboard, 
                         didn't you?

               Brandon does not answer, just stares at her.

                                     BETTY
                         But I wouldn't make it that easy 
                         for you.

               LONG SHOT - COAST GUARD CUTTER LYNX TRAVELING AT HIGH SPEED

               CLOSE SHOT - BRIDGE OF LYNX

               Coast Guard Lt. in command.  Killaine beside him, a talker 
               with a head-set standing nearby.  He is receiving a message.

                                     TALKER
                              (into his mouthpiece)
                         Bearing one-three-five.
                              (to Coast Guard 
                              officer)
                         Bearing one-three-five, sir.

               Coast Guard officer nods.

                                     COAST GUARD OFFICER
                              (to helmsman)
                         Get it?

                                     HELMSMAN
                         One-three-five, sir.

               He turns his wheel a little.  The Lynx changes course, 
               heeling over.  Coast Guard officer puts binoculars to his 
               eyes, wings them in a slow arc.  They come to a stop, fixed.

                                     COAST GUARD OFFICER
                              (pointing)
                         There!

               Killaine follows his pointing finger.

               WHAT THEY SEE - LONG SHOT ACROSS OPEN EMPTY WATER - A FLARE 
               HANGING IN THE SKY AND FALLING

               As it falls, it is swallowed in a bank of fog.

               EXT. BRIDGE OF CUTTER LYNX -- NIGHT

                                     KILLAINE
                              (tensely)
                         Fog!

                                     COAST GUARD OFFICER
                         We got a lot of it out here.

                                     KILLAINE
                         Brandon will have counted on that.

                                     COAST GUARD OFFICER
                         No doubt.  We have something he 
                         may not have counted on.

                                                                 CUT TO:

               EXT. CLOSE SHOT -- CABIN CRUISER VALKYRIE IN FOG -- NIGHT

               NOISE OF THE PLANE overhead, loud but diminishing.  Brandon 
               sits listening, his hand on the wheel.

                                     BETTY
                              (contempt in her 
                              voice now)
                         You'll never make it.  You've out-
                         smarted yourself.

                                     BRANDON
                              (QUIETLY)
                         I'm still on course to Victoria.  
                         Nobody saw you get on board, nobody 
                         seen you since.

               The Valkyrie has now stopped on the swell.  It rocks a 
               little.  There are confused NOISES in the distance.  PLANE 
               NOISE, possibly some other kind of ENGINE NOISE.  In the 
               fog you can't tell what it is.

                                     BETTY
                         You didn't leave the note.

               Brandon puts the gun down close to his body, and pats his 
               pocket.

                                     BRANDON
                         It wasn't the time or place.  Don't 
                         worry about the note, baby.  I'm 
                         playing for my neck now.

                                     BETTY
                         And I'm begging for my life--and 
                         yours.

                                     BRANDON
                              (startled)
                         Mine?

                                     BETTY
                         Yes.  Yours.  You haven't murdered 
                         anybody.  You killed Mitchell.  
                         Wasn't that an accident?  It must 
                         have been.  If you kill a 
                         blackmailer, you kill him dead--so 
                         that he can't talk anymore.

                                     BRANDON
                         Mitchell was dead enough.

                                     BETTY
                         And that nasty man that followed 
                         us last night.  You didn't kill 
                         him.

                                     BRANDON
                         Who'd believe it but you?  I took 
                         him out to sea and threw him in 
                         the water.  Even if they find him, 
                         what connects him with me?

                                     BETTY
                         Magruder does.

                                     BRANDON
                         You think Magruder wants to hang 
                         beside me?

                                     BETTY
                         But the next one is murder.  First 
                         the little step, then the longer 
                         step , and then the step you can 
                         never take back.  You could tell 
                         about Mitchell.  You could tell 
                         about Magruder--and the detective.  
                         It would hurt, but you could do 
                         it.  You could never tell about 
                         me.

                                     BRANDON
                         Would I want to?

                                     BETTY
                         Every day of your life you'll want 
                         me.  You'll never get over it.  
                         Every time you see your face in 
                         the mirror--

                                     BRANDON
                              (with a sudden burst 
                              of fury)
                         Shut up!  Cut it out!  Even if I 
                         have to kill both of us--

               He breaks off with a disgusted gesture.  A faint smile 
               shows on Betty's lips.

                                                                 CUT TO:

               EXT. BRIDGE OF CUTTER LYNX -- NIGHT

               Killaine and the Coast Guard officer are peering ahead 
               into the thick fog.  The Lynx is just drifting.  The 
               helmsman is standing on hand on the wheel.  The Coast Guard 
               officer turns to the Talker.

                                     COAST GUARD OFFICER
                         Nothing yet?

               The Talker shakes his head, then:

                                     TALKER
                              (SUDDENLY)
                         Just a minute, sir.  I believe--

               RADAR SCREEN BELOW THE BRIDGE

               A blob of light takes the form in one corner of it.  CAMERA 
               PULLS BACK TO INCLUDE THE RADAR OPERATOR.  He reaches for 
               a mike.

                                     OPERATOR
                              (into mike)
                         Change course about five degrees 
                         south

               After a moment the blob of light on the radar screen moves 
               towards the center of the screen.

                                     OPERATOR
                              (into mike)
                         Your dead on now.  Hold it there.

               EXT. BRIDGE OF CUTTER LYNX -- NIGHT

               The four MEN on it are now tensely staring straight ahead.

               EXT. CABIN CRUISER VALKYRIE - COCKPIT -- NIGHT

               Brandon is listening again.  Far away there is a faint 
               SOUND OF DIESEL ENGINES, but growing rapidly louder.  He 
               stands up and twists his body, still holding the gun, looks 
               back, then slips quickly behind the wheel again.

                                     BRANDON
                         Radar.

               He guns the motor and the cabin cruiser shoots forward 
               into high speed.  Betty has to hang on.  He swings the 
               cruiser around on another course and guns for it for all 
               its worth for a moment or two, then abruptly cuts the motors 
               again.  Cruiser slows down, once more drifts.  The ENGINE 
               SOUND has now stopped.  Brandon turns to face Betty, who 
               is now standing up.

                                     BRANDON
                         This is it, Betty.  They'll find 
                         us again, fog or no fog.

                                     BETTY
                              (speaking slowly, 
                              with difficulty)
                         If it has to be--do you mind if I 
                         do it myself?
                              (pause, then quickly)
                         Oh, I don't mean with the gun.  
                         This is no trick.  When I wrote 
                         that note you have in your pocket--
                         that was no trick either.  It's 
                         not so hard for me as you think.  
                         I'm not crying about it, I've been 
                         skating close to it for quite some 
                         time.  The water is cold down there--
                              (she gives a little 
                              shrug)
                         But so is everything else.  And 
                         there's you.

                                     BRANDON
                              (startled)
                         Me?

                                     BETTY
                         Yes.  You.  You're not really a 
                         murderer yet.

               QUICK SHOT OF RADAR SCREEN

               A Blob of light slides into it from another corner.

                                                                 CUT TO:

               EXT. BRIDGE OF CUTTER LYNX -- NIGHT

                                     TALKER
                              (into his mouthpiece)
                         Bearing one-eight-one.
                              (to Coast Guard 
                              officer)
                         One-eight-one, sir.  Changed course 
                         due South.

                                     OFFICER
                              (to helmsman)
                         One-eight-one..

                                     HELMSMAN
                         One-eight-one, sir.

               Helmsman swings the wheel around.  The Lynx veers, heeling 
               over, comes level again.

               OVERHEAD SHOT - DOWN ON LYNX (FROM HELICOPTER)

               Following at an equal speed, then the Lynx gradually pulls 
               away into the fog and disappears.  The NOISE OF ITS ENGINES 
               is still heard for a few moments.

               EXT. CABIN CRUISER VALKYRIE - COCKPIT -- NIGHT

               Still motionless on the water idling.  There is a SOUND OF 
               THE CUTTER'S MOTORS, far off, but increasing.  Brandon is 
               paying no attention.  He is staring at Betty.

                                     BRANDON
                              (thickly)
                         I'm not a murderer yet, you said.  
                         Come here.  Come closer.  Let me 
                         look at you.

               Betty holds off, then slowly comes towards him along the 
               seat, until their faces close.  He searches her eyes.

                                     BRANDON
                              (quietly)
                         I think you mean that.

                                     BETTY
                         Do you think I was faking?

                                     BRANDON
                              (thickly)
                         If I did-I don't-now.

               He puts his arms around her, pulls her close.  There is 
               kind of wonder in his eyes.  Hers stare back at him, calm 
               and level.  He kisses her hard on the mouth, let's her go.  
               She pulls away from him, along the seat.  She doesn't know 
               what to think of him.  She is terrified, resigned, and at 
               the same time, he still has an attraction for her.

                                     BRANDON
                         The kiss of death.
                              (laughs)
                         With a new twist.

               He lifts the gun in his hand, looks at it, tosses it 
               overboard.  He reaches inside his coat, takes out the 
               suicide note.

                                     BRANDON
                              (reading)
                         "Dear Inspector Killaine.  This is 
                         goodbye.  You were right.  I had a 
                         secret."

               The DIESEL ENGINE SOUND has grown louder.  Brandon looks 
               up from the note.

                                     BRANDON
                         A secret, Betty---as who hasn't

               He crumples the note and envelope in his hand, drops them 
               over the side of the boat.  Opens the engine full throttle 
               and the power of the cruiser almost tears it out from under 
               them.  Betty is thrown violently against the seat.  He 
               reaches out and straightens her up.  There is a mad light 
               in his eyes.  His face is no longer hard.

               SERIES OF HELICOPTER SHOTS

               Of the chase, alternating with the Cabin Cruiser and the 
               Lynx, as the Lynx gradually closes in.  During these shots 
               Cabin Cruiser and the Lynx both come out of the fog bank 
               into moonlit water, but there is another fog bank half a 
               mile or so ahead.

               EXT. CABIN CRUISER VALKYRIE - COCKPIT -- NIGHT

               SHOT FROM BACK OF CRUISER

               The Lynx is moving up fast, and the Coast Guard officer 
               can be seen on the bridge, with binoculars to his eyes.  A 
               rating, hanging on tight, is stripping the canvas off a 
               twin machine gun mount.

                                     BRANDON
                              (above the roar of 
                              the motors)
                         Stand up!  Let them take a good 
                         look at you.  Be sure they see 
                         you.  That fellow back there has 
                         night glasses.  Then jump---well 
                         out to the side.  Just as far as 
                         you can.

               Betty does what he tells her.  She waves.  There is an 
               answering wave from the bridge of the Lynx.  We can't see 
               who's waving.  Betty sets herself to jump.  She tries to 
               speak to Brandon, but nothing comes out.  There is a great 
               deal of NOISE from motors.  Gravely, Brandon lifts his 
               hand and salutes her.  She jumps.

               FOLLOWING SHOT AS BETTY HITS THE WATER AND THE CRUISER 
               PULLS AWAY RAPIDLY

               Towards another fog bank beyond the clear space.

                                                                 CUT TO:

               EXT. BRIDGE OF CUTTER LYNX -- NIGHT

                                     COAST GUARD OFFICER
                         Full speed astern.

                                     TALKER
                         Full speed astern.

               The cutter heaves on reversed engines, nearly stands on 
               its tail in the water, drifts past Betty, comes to a stop, 
               then moves forward slowly, swinging around to get close to 
               her.

               EXT. CABIN CRUISER VALKYRIE - COCKPIT -- NIGHT

               HIGH SHOT of Cabin Cruiser as it reaches the fog and plunges 
               into it.  HELICOPTER WITH CAMERA plunges into fog at the 
               same time.

               EXT. COAST GUARD CUTTER LYNX -- NIGHT

               CLOSE SHOT

               Stopped on the swell.  Betty in the water, fighting her 
               way towards it.  A life belt and rope are dropped neatly 
               beside her.  She grabs it and is drawn towards the side of 
               the lynx.  Coast Guard officer, Killaine, and a rating put 
               rope ladder over the side.  Killaine starts down the rope 
               ladder.

               REVERSE SHOT -- DOWN FROM THE DECK OF THE LYNX

               Past Killaine on the rope ladder to water, as Betty is 
               pulled to foot of ladder.  Killaine reaches down, gets her 
               hand.  She grasps rope ladder, Killaine helps her up onto 
               it.  Business of getting her on board cutter.

               EXT. CABIN CRUISER VALKYRIE - COCKPIT -- NIGHT

               Brandon staring straight ahead of him, gripping the wheel 
               hard, giving the cruiser everything it has, driving as if 
               he had a clear, open course.  HEARS A FOGHORN, somewhere 
               of the fog.  Cocks his head, tries to gauge the direction.  
               Turns the wheel a little.

               EXT. COAST GUARD CUTTER LYNX - DECK -- NIGHT

               As Betty comes over the side, Killaine holding her up, 
               Betty is shivering with cold.  The rating hauls up the 
               rope ladder and the life belt.  Coast Guard signals the 
               bridge ad the Lynx starts moving ahead again.

                                     COAST GUARD OFFICER
                              (to Betty)
                         Better get those wet clothes off 
                         in a hurry, Miss.  My cabin's at 
                         your disposal.

                                     BETTY
                         Thank you.  Thank you very much.

               He salutes, turns away, after giving a quick look at 
               Killaine.

                                     BETTY
                              (to Killaine)
                         He could have killed me a dozen 
                         times.  You'd never have known.

                                     KILLAINE
                         We know everything.

                                     BETTY
                              (almost passionately)
                         No, Jeff.  You don't.  He's not a 
                         murderer, I tell you.  He;s not a 
                         murderer.

                                     KILLAINE
                              (same tone)
                         I hope he can prove it.  Come on.  
                         You don't want to get pneumonia.

               He takes her arm, starts to push her along.  She is still 
               shivering, but still determined to  defend Brandon.

                                     BETTY
                         But I tell you---if you'd only 
                         understand.

                                     KILLAINE
                              (gently)
                         I understand, Betty.  I understand 
                         perfectly.

               He puts his arm around her.  Their eyes meet in a long 
               look.

               EXT. CABIN CRUISER VALKYRIE - COCKPIT -- NIGHT

               The cruiser is moving at high speed in the fog.  The FOG 
               HORN SOUND is louder, but seems to come from all directions.  
               Brandon is leaning forward, tensely, trying to see ahead.  
               He turns the wheel first one way, and then another.  There 
               is a sudden blast of the FOGHORN, very LOUD.

               Brandon turns the wheel violently and the cruiser keels 
               over.  But he is now quick enough.  Suddenly above looms 
               the enormous bow of the Puget Sound Ferry, as big as an 
               ocean liner.  It is ablaze with light.  CAMERA PANS UP to 
               show it crashing down into the lens as it were.


               THE CABIN CRUISER VALKYRIE

               Thrown out of the water almost, it is up-ended on its stern.  
               The ferry tears on through, filling the screen.

                                                                 CUT TO:

               EXT. A CORNER OF THE PASSENGER DECK ON THE FERRY -- NIGHT

               A couple of PASSENGERS in overcoats leaning against the 
               rail looking out into the fog.  One of them is lighting a 
               cigarette, cupping his hands around the lighter.

                                     FIRST PASSENGER
                         You always have this kind of weather 
                         up here?

                                     SECOND PASSENGER
                         Certain times of the year.  Always 
                         a lot of fog.  But they never hit 
                         anything, somehow.

                                                                 CUT TO:

               EXT. BRIDGE ON THE FERRY -- NIGHT

               At the end of the bridge an OFFICER is leaning down, staring 
               towards the water.  He shakes his head, straightens up, 
               turns away.

                                     OFFICER
                              (speaking off)
                         An old packing case, I guess.

               A BIG SEARCHLIGHT

               Its beam is turned down on the water.  The beam moves a 
               little, back towards the stern.  CAMERA FOLLOWS THE BEAM 
               DOWN THROUGH THE FOG.  Empty water only is SEEN.  The 
               searchlight is switched off.

                                                                WIPE TO:

               DARK FOGGY SHOT CLOSE TO SURFACE OF WATER

               A broken piece of the cabin cruiser's bow floats by, closer 
               and closer to THE CAMERA, until on it the name VALKYRIE 
               stands out, then it whirls past.  There is nothing left 
               but the foggy surface of the Sound.

                                                               FADE OUT:

               THE END