Info Try 1000+ Magazines--FREE! Dangerous Corner FADE IN on a TITLE CARD: This is a story of what really happened ..... and what might have happened. CUT TO: INT. ANN BEALE'S APARTMENT - MORNING A woman's hand organizes and lines up a series of books on a table. We see from the spines that the titles are pretty cheesy ("Paradise for Two," "Burnt Wings," etc.) and the author's name is Maude Mockridge. We PULL BACK to reveal ANN BEALE doing the organizing, in the living room of her small but comfortable high-rise Manhattan apartment. Ann is a pretty, sophisticated blonde who possesses a good deal of humor and self-confidence, but very little outward passion for anything other than her work. She straightens the books and turns to call to her maid. ANN BEALE Is breakfast nearly ready, Catherine? THE MAID Yes, Miss Beale. Ann checks her watch as she moves toward the apartment's balcony (overlooking a New York City skyline) where the maid lays a table for two. ANN BEALE Miss Mockridge will be here any minute now. She's terribly prompt. THE MAID I'm just going to get the kippers now. ANN BEALE Don't forget the marmalade in the cupboard -- and the strong black English tea. THE MAID Yes, Miss Beale. ANN BEALE (dryly) And the thin, blue English milk. THE MAID (laughs) Yes, Miss Beale. CHARLES STANTON, a handsome, mustachioed man who can't resist a wisecrack even in the darkest situation, arrives at Ann's front door with a manuscript under his arm and a bouquet in his hand. He presses the doorbell which BUZZES. ANN BEALE (to the maid) There she is now. The maid hurries to answer the door. Ann follows, pausing only to check her hair in the mirror. The maid starts to open the door. ANN BEALE Oh, Miss Mockridge, how nice to see you. The door opens, revealing a grinning Charles. ANN BEALE (surprised, but also grinning) Oh... Charles. Charles enters and hands Ann the small bouquet. CHARLES STANTON How nice to see you. ANN BEALE (sniffs the bouquet) Oh, how lovely. CHARLES STANTON Well, aren't you going to ask me in? ANN BEALE Hardly seems necessary. What brings you here so early? CHARLES STANTON Oh, now don't worry. I have an excuse. There's a kid who thinks he wrote a book. The manuscript's been lying on my dresser for about a month but this morning I said to myself, "Charles Stanton, you promised to read that poor boy's manuscript." (hands Ann the manuscript) So here it is -- read it. ANN BEALE Huh! Thanks so much. (sets the manuscript on table) Seems to me you might have waited and brought it to me at the office. CHARLES STANTON Oh, now. ANN BEALE Well, haven't I enough homework? Charles takes Ann's arm and leads her to the balcony. CHARLES STANTON Now stop scolding... and walk with me into the friendly sunshine. ANN BEALE Oh, really, Charles, I can't-- CHARLES STANTON Now, let's not argue, it's much too early in the day. (sees the table laid for two) Ah, breakfast for two! You were expecting me. How nice. ANN BEALE As a matter of fact, I wasn't. CHARLES STANTON Hmm? ANN BEALE But do stay. I'm having a lady novelist to breakfast. CHARLES STANTON (disappointed) Oh. ANN BEALE An English lady novelist. CHARLES STANTON (even more disappointed) Oh. (chuckles) Who is she? ANN BEALE Maude Mockridge. CHARLES STANTON (suddenly interested) Maude Mockridge? Author of "The Scarlet Flower," "Paradise for Two," et cetera, et cetera, et cetera? ANN BEALE Yes. Will you stay? CHARLES STANTON (suddenly uninterested) No. ANN BEALE Her last book sold into six editions, you know. Our firm could stand another author like that. CHARLES STANTON (insistent) No. ANN BEALE If we handle her right, she might sign with us today. Why don't you stay and lend a note of masculine charm? CHARLES STANTON Ah. I refuse to interfere. (ironic) Besides, I want you to get all the credit for this. ANN BEALE (matching his irony) Oh, yes, that's very sweet of you. CHARLES STANTON Hmm. (clears his throat) What are you going to do after Mockridge? ANN BEALE Go to the office, of course. CHARLES STANTON What? Spend a beautiful day like this in a stuffy office? Well, you're not. You and I are going to forget all about business and drive out somewhere. Out among the daffodils and detours. ANN BEALE Oh, Charles, I'd love to. But I can't. I've got a million people to see today. CHARLES STANTON So have I. That makes two million. But I must see you. ANN BEALE Well, we see each other every day at the office and at lunch-- CHARLES STANTON I'm tired of sharing you with office boys and busboys. You spend your days with authors and your nights with books. You're burning the publishing business at both ends. ANN BEALE Really, Charles, if you're not going to stay for breakfast, I think you ought to run along now. CHARLES STANTON That's right. Throw me out. ANN BEALE No, but it wouldn't do for Miss Mockridge to come to my apartment and find a man leaving before breakfast. You know her books. CHARLES STANTON But, darling, I'm under your spell. I can't go. ANN BEALE You've got to go. CHARLES STANTON (reluctant but wry) Well, if you've gotta go, you've gotta go. The maid brings a covered dish of kippers, sets them on the table, and departs. CHARLES STANTON (lifts the cover) Ooh -- what are those nasty little brown things? ANN BEALE They're kippers. Kippers for breakfast. Isn't it awful? CHARLES STANTON (replaces the cover) Don't spurn the humble kipper. He's put the British Empire where it is. ANN BEALE (pushing him toward the door) Hurry, Charles, now, please, really ... CHARLES STANTON Huh? But the doorbell has already begun to BUZZ. The maid heads for the door. ANN BEALE There now, you see? Oh, well. Stand in the middle of the room and look innocent. CHARLES STANTON Yeah, that's our great trouble. We are innocent. All we ever do is stand in the middle of a room. Ann waves at him dismissively and turns to greet MAUDE MOCKRIDGE, everyone's image of a successful but eccentric English romance novelist, who enters and shakes hands vigorously. ANN BEALE Miss Mockridge, how nice to see you. MAUDE MOCKRIDGE How nice to see you. Miss Mockridge catches sight of handsome Charles and shows immediate interest. ANN BEALE Uh, may I present Mister Stanton? Miss Mockridge. MAUDE MOCKRIDGE How d'you do? (shakes hands) Husband? CHARLES STANTON No. Just trying. ANN BEALE Mister Stanton is a partner in the firm of Whitehouse-Chatfield. He sometimes drops in for early morning conferences. MAUDE MOCKRIDGE Oh, how fortunate for Whitehouse-Chatfield to have such an enterprising young partner, up so early, working so hard. CHARLES STANTON (amused, gives Ann a look) Yes. ANN BEALE (averts her eyes) Hm, yes. MAUDE MOCKRIDGE (sensing their uneasiness) Never mind, children, never mind. I quite understand. (grandly) I came in a moment too early -- he lingered a moment too late in fond farewell. ANN BEALE (appalled; protests) No, really, Miss Mockridge-- MAUDE MOCKRIDGE You Americans! You make such a fuss about nothing. (a little too enthusiastically) I simply adore emotional experiments. Charles wrinkles his brow at this outburst. Miss Mockridge calms down a bit. MAUDE MOCKRIDGE Oh, of course, I-I have my own moral code. It's quite simple: "Two baths a day and mind your manners." Ann and Charles laugh. ANN BEALE Well! CHARLES STANTON That's a good line, Miss Mockridge. I'd use it if I were you. MAUDE MOCKRIDGE (dead serious) Oh, I have used it, Mister Stanton. CHARLES STANTON Oh. Oh, well, excuse me, I-I must be on my way. ANN BEALE Won't you stay to breakfast, Mister Stanton? MAUDE MOCKRIDGE Oh, yes. Do stay. CHARLES STANTON No, really, I can't. There's a manuscript I've been promising to read for a month. You know how it is. ANN BEALE That's right, Charles. Here it is. (hands manuscript back to Charles) You almost forgot it. CHARLES STANTON Huh? Oh. Oh, yes, yes. (ironic) Thanks awfully. CHARLES STANTON (shakes hands) Goodbye, Miss Mockridge. MAUDE MOCKRIDGE Goodbye, Mister Stanton. CHARLES STANTON (mock stern) I'll see you later, Miss Beale. ANN BEALE (mock pleasant) Goodbye. Charles exits. MAUDE MOCKRIDGE My dear, what an attractive man. I do congratulate you. ANN BEALE Yes, isn't he? (leads her to the balcony) Shall we go to breakfast and discuss your new novel? (points out a chair) Won't you sit there, Miss Mockridge? MAUDE MOCKRIDGE Thank you. How enchanting. They sit and the maid brings some more food. ANN BEALE Yes, isn't it? By the way, what are you calling your new novel? MAUDE MOCKRIDGE "Ecstasy." Oooh -- kippers! ANN BEALE Yes. Do you like them? MAUDE MOCKRIDGE I adore them. Don't you? ANN BEALE Oh, I'm simply lost without them. (takes a gulp of water) Do you know, Miss Mockridge, we've been tremendously interested in your work for years? My firm of Whitehouse-Chatfield is prepared to make you a proposition that I feel sure ... DISSOLVE TO: INT. OFFICES OF WHITEHOUSE-CHATFIELD - LATER THAT MORNING The sign on the door reads "ROBERT CHATFIELD" -- Charles arrives and KNOCKS before immediately entering and moving toward a man seated at a desk: ROBERT CHATFIELD, a successful, fair-haired executive, lacking in self-awareness and perspective but otherwise an intelligent guy. CHARLES STANTON Hello, Robert. ROBERT CHATFIELD Morning, Charles. CHARLES STANTON (shakes hands) Congratulations. ROBERT CHATFIELD (puzzled) I've been elected something? CHARLES STANTON Well, just five years ago today you were elected Freda's husband. ROBERT CHATFIELD (stunned) That's right. My anniversary. (wryly) I was thinking about it only last week. CHARLES STANTON (amused) I'll bet Freda's thinking about it right now. ROBERT CHATFIELD Gee, this is serious. What am I going to do? CHARLES STANTON Well, here's an out. Just tell Freda you pretended to forget. I'll get Betty and Gordon and Martin and we'll give a surprise party for Freda here this afternoon. You leave it to me. I'll attend to everything. You're no man to be trusted alone with an anniversary. ROBERT CHATFIELD Maybe you're right. CHARLES STANTON (laughs) By the way, have you got a present? ROBERT CHATFIELD Well, as a matter of fact, I was thinking of getting her, uh, er, a wristwatch. CHARLES STANTON Well, don't just think about it. Go and go get it. Charles exits while Robert rises urgently. DISSOLVE TO: INT. OFFICES OF WHITEHOUSE-CHATFIELD - THAT AFTERNOON A wristwatch on a lady's hand. We PULL BACK to reveal that we are in ROBERT'S OFFICE (now gaily decorated with flowers for the occasion) and that the watch is worn by Robert's wife, FREDA CHATFIELD. She and BETTY WHITEHOUSE admire it while Charles and Robert look on. Freda, a dark-haired beauty and a shrewd judge of character, contrasts with Betty, a younger and less wise blonde. BETTY WHITEHOUSE (off the watch) Freda, darling, it's simply adorable. FREDA CHATFIELD It's ideal. Beautiful, expensive-looking. You can take it everywhere you go. CHARLES STANTON Except in swimming. FREDA CHATFIELD (grinning) Idiot. ROBERT CHATFIELD I'm glad you like it, dear. FREDA CHATFIELD Oh, I do. (to Gordon who is not present) Gordon, look. (realizes Gordon is not in the office) Oh, where is he? CHARLES STANTON (points) You'll find your handsome brother in Martin's office doing things with a cocktail shaker. FREDA CHATFIELD (she should have known) Ohhh. Heh. Freda heads into MARTIN'S OFFICE where her younger brother (and Betty's husband), GORDON WHITEHOUSE, mixes drinks at a well-stocked bar. His hair is as dark as Freda's but he lacks her maturity and is, frankly, the kind of shallow, obnoxious jerk that gives former frat boys a bad reputation. GORDON WHITEHOUSE Oh, hello, sis. FREDA CHATFIELD (shows off her new watch) Look, I'm overcome. GORDON WHITEHOUSE Ohhh, nice. FREDA CHATFIELD Mm hmm. Gordon starts to mix drinks in an oversized carafe. FREDA CHATFIELD Easy. We have a long, gay evening ahead of us at the country club. GORDON WHITEHOUSE Uh huh. A secretary, Miss Clark, enters with a container of ice and brings it to Gordon. GORDON WHITEHOUSE Oh, thanks, Miss Clark. Gordon takes the ice and Miss Clark turns to leave. Freda stops her. FREDA CHATFIELD Oh, Miss Clark, will you let us know when it's quarter to six? We're taking the six ten home. MISS CLARK Yes, Mrs. Chatfield. Miss Clark exits. Robert and Betty watch as a mildly annoyed Charles joins Freda and Gordon in Martin's office. CHARLES STANTON I say, the party's in Robert's office. GORDON WHITEHOUSE I'd say the party's in here where the liquor's handy. (pours a glass and hands it to Freda) Here, sis. Try this. Not bad? FREDA CHATFIELD Not bad for me, I hope. Gordon chuckles as Freda drinks. Charles returns to Robert and Betty in ROBERT'S OFFICE. CHARLES STANTON They want to have the party in Martin's office. BETTY WHITEHOUSE Well, why not? CHARLES STANTON 'Cause I just finished decorating this one. BETTY WHITEHOUSE Well, let's begin to decorate that one. Betty grabs a flower-filled vase and hands it to Robert. CHARLES STANTON Don't do that, Betty. You're spoiling the effect. Betty grabs a humongous bunch of flowers and moves toward Martin's office. BETTY WHITEHOUSE You shouldn't get set in your ways, Charles. Come on, we're keeping my husband waiting. It wouldn't matter but he's got the gin. Robert obediently follows Betty out of the room. ROBERT CHATFIELD (deadpan, to Charles) Come along. Charles resignedly snags a tiny vase and shuffles behind the others into MARTIN'S OFFICE to join Freda and Gordon. GORDON WHITEHOUSE Hello, Betty, my pet. BETTY WHITEHOUSE (off the flowers in her hands) Just a little nosegay I picked for you as I came through the fields, my sweet. GORDON WHITEHOUSE How thoughtful. Gordon leans over to kiss Betty but the massive bunch of flowers between them make this difficult. After a moment, they manage to lock lips. Betty sets the flowers down. GORDON WHITEHOUSE (hands her a drink) Here's something for you to spend on yourself, my child. BETTY WHITEHOUSE (accepts the drink happily) Ahhh. Gordon sees Robert and Charles arriving, flowers in hand. GORDON WHITEHOUSE Well, can I do something for you gentlemen or are you with the little girl? ROBERT CHATFIELD (sets his flowers down) No. We're on our own. GORDON WHITEHOUSE (hands Robert a drink) Try this, Robert. ROBERT CHATFIELD Thank you. Charles quickly joins Gordon at the bar. CHARLES STANTON (trades flowers for a drink) I'll give you this for that. GORDON WHITEHOUSE Well, who wouldn't? We catch a only glimpse of Miss Clark as she opens a door to let Ann Beale into Martin's office. ANN BEALE (to all) Hello, there. BETTY WHITEHOUSE (to Ann) Where on earth have you been? ROBERT CHATFIELD (to Ann) Well, how did you make out with the Mockridge? ANN BEALE I made out an agreement -- and she signed it. Here it is. Ann brings the agreement to Robert. ROBERT CHATFIELD You mean it? ANN BEALE If you behave yourselves, you'll have all Maude Mockridge's purple masterpieces for the next three years. CHARLES STANTON What? GORDON WHITEHOUSE Grand! ROBERT CHATFIELD Great! ANN BEALE "Ecstasy" delivered next month. "Embers of Passion" in six months. And "Sleeping Dog" in a year. CHARLES STANTON Whoooo! ANN BEALE What a day I've had! Well, do I rate a drink? CHARLES STANTON (grabbing a glass for her) Do you rate one?! GORDON WHITEHOUSE (off the giant carafe) It's all yours. Ann flops in a chair. Charles holds the glass while Gordon pours the drink. GORDON WHITEHOUSE We'll just sit back and admire you. ROBERT CHATFIELD Good girl, Ann! FREDA CHATFIELD Grand! ANN BEALE (takes drink from Charles) By the way, where's Martin? It's not like him to miss any fun. GORDON WHITEHOUSE Oh, Martin has an appointment. He's going to join us later at the country club. It's lucky I had the keys to his bar. Miss Clark enters and approaches Robert with a telegram. MISS CLARK Excuse me, Mister Chatfield. (hands Robert the telegram) Here's a cable from Mister McIntyre. He wants us to send him his money. ROBERT CHATFIELD Oh, yes. I'll get it right away. It's in the safe. FREDA CHATFIELD Oh, do it tomorrow. We haven't time now. ROBERT CHATFIELD No, no, dear. This thing's been lying around here too long. Get it for me, will you, Charles? I want to send it off now. Charles nods, pulls a set of keys from his pocket, and heads off for Robert's office. GORDON WHITEHOUSE Well, how'd you get the old girl to sign, Ann? ANN BEALE Charles dropped in at my place this morning -- and she fell in love with him! Everyone laughs. BETTY WHITEHOUSE (to Ann) That's something you ought to try sometime. Ann makes a face, then turns serious, and addresses Freda. ANN BEALE Freda, you should be very happy today. FREDA CHATFIELD (beaming) I am, my dear. Freda and Robert exchange loving looks. GORDON WHITEHOUSE (mock serious) Betty, smile and show your teeth so they'll know there's nothing wrong with our marriage. Betty and Gordon grin like idiots, to everyone's amusement. Charles returns from Robert's office. CHARLES STANTON Robert! ROBERT CHATFIELD What is it, Charles? CHARLES STANTON Did you say that bond was in the safe? ROBERT CHATFIELD Yes. CHARLES STANTON Well, it's not there now. ROBERT CHATFIELD Why, it's got to be there. CHARLES STANTON I can't find it. GORDON WHITEHOUSE The devil you can't. ROBERT CHATFIELD Well, it's got to be there. CHARLES STANTON All right. Look for yourself. The three men exit into Robert's office leaving the three women behind. FREDA CHATFIELD Well, that's where we stand, girls. ANN BEALE Where? FREDA CHATFIELD Men may have wine, women and, well, flowers -- but mention money and the party's over. BETTY WHITEHOUSE Not for me. Betty heads for the bar and starts to pour another drink. Meanwhile, in ROBERT'S OFFICE, the three men stand next to an open wall safe. ROBERT CHATFIELD Well, it was lying right there on top in plain sight. GORDON WHITEHOUSE Well, look underneath. It might have slipped down. ROBERT CHATFIELD I'll take everything out. Robert starts to remove items from the safe. CHARLES STANTON What about your desk, Robert? ROBERT CHATFIELD It's never been in my desk. GORDON WHITEHOUSE Well, we'd better be sure. Charles and Gordon move to the desk and rifle through the drawers. Robert empties the safe. CHARLES STANTON Nothing here. GORDON WHITEHOUSE Must be here. ROBERT CHATFIELD (joins them at the desk) Well, it's no use, boys -- it's gone. CHARLES STANTON Why, Robert, that's impossible. ROBERT CHATFIELD Well, no one's ever had a key except us. CHARLES STANTON And Martin. GORDON WHITEHOUSE That's so. He might have taken it to the bank. ROBERT CHATFIELD Right. (picks up phone, speaks into it) Uh, get me Mister Martin Chatfield at the [?] Club. The three women enter. FREDA CHATFIELD Aren't you men ever--? The women stop when they see Robert sitting at his desk, phone to his ear, flanked by Charles and Gordon. All wear grim expressions. The light- heartedness that characterized the early scenes has entirely vanished. FREDA CHATFIELD (sees their faces) Oh... [?] GORDON WHITEHOUSE Sh! He's phoning Martin. Betty confers quietly with Gordon. BETTY WHITEHOUSE What's it all about? GORDON WHITEHOUSE The Goldsmith Prize. It was awarded to one of our authors. BETTY WHITEHOUSE Well? GORDON WHITEHOUSE We were holding it for him while he's in the South Seas. BETTY WHITEHOUSE But Robert said something about a bond. GORDON WHITEHOUSE Yes, I know. He had us convert the cash into a government bond and now we can't find it. The financial wizard didn't believe in banks. BETTY WHITEHOUSE Oh. Robert waves at them for silence. Everyone looks on with concern as the phone call progresses: ROBERT CHATFIELD (into the phone) Hello, Martin? Robert. You don't know anything about McIntyre's bond, do you? (beat) Yes, I know. Well, it's not in the safe. Have you ever seen it anywhere else? (beat) No, we've looked everywhere. (beat) Well, it's gone. (beat) Have you your key to the safe? (beat) All right. All right. Robert hangs up the phone. ROBERT CHATFIELD He doesn't know anything about it. CHARLES STANTON Martin said he had his key, didn't he? ROBERT CHATFIELD Yes, he's got it with him. GORDON WHITEHOUSE Could one of us have lost his key? (pulls his key from his pocket) Here's mine. ROBERT CHATFIELD Mine's always with me. (puts his key on the desk) There it is. Robert and Gordon look at Charles. CHARLES STANTON (gestures toward the safe) Mine's in the lock. ANN BEALE It'll surely turn up. It's just been misplaced. GORDON WHITEHOUSE Bonds don't walk out of locked safes. CHARLES STANTON Mmm, not even government bonds. GORDON WHITEHOUSE (upset, to Charles) There's nothing funny about this! Only four of us have keys to that safe! ROBERT CHATFIELD Oh, stop it. Don't be ridiculous, Gordon. No one of us could have taken that bond. Miss Clark enters. MISS CLARK It's after six, Mrs. Chatfield. You'll miss your train if you don't hurry. FREDA CHATFIELD (worried, distracted) Never mind. Doesn't matter now. Everyone slumps tensely into office chairs as we FADE OUT FADE IN EXT. CHATFIELD MANSION - TERRACE - SUNDAY MORNING - FOUR DAYS LATER A secluded, finely-appointed back yard, out in the country -- lots of tall trees, etc. Betty and Freda sit at a handsomely-laid breakfast table. Gordon is in the distance playing a solitary game of croquet. FREDA CHATFIELD Coffee, Betty? BETTY WHITEHOUSE No, thanks. We had breakfast at home. Betty checks to make sure Gordon can't hear, then turns urgently to Freda. BETTY WHITEHOUSE Freda, who took that money? FREDA CHATFIELD Please, Betty... BETTY WHITEHOUSE But the last four days have been frightful. I can't stand it much longer. FREDA CHATFIELD Seems to me you'll have to stand it. We'll all have to stand it, until... BETTY WHITEHOUSE Until we find out which one of the men we love and trust is a liar and a thief. FREDA CHATFIELD Don't, Betty. BETTY WHITEHOUSE But I don't even see how-- FREDA CHATFIELD (hears someone coming) Sh! Robert enters from the house, tiredly rubbing the back of his head. ROBERT CHATFIELD Oh, morning, Betty. BETTY WHITEHOUSE Good morning. ROBERT CHATFIELD (kisses Freda) Good morning, dear. FREDA CHATFIELD Morning, Robert. Robert picks up the morning paper from the table. FREDA CHATFIELD Eggs, Robert? ROBERT CHATFIELD (uninterested, as he sits) Anything. GORDON WHITEHOUSE (joining them at the table) Hello, Robert. ROBERT CHATFIELD Morning, Gordon. What, haven't the others come yet? GORDON WHITEHOUSE Not yet. BETTY WHITEHOUSE Who's coming? ROBERT CHATFIELD Charles is bringing Martin. There's, well, there's something we have to talk over. DISSOLVE TO: EXT./INT. MARTIN'S COTTAGE - DAY Charles gets out of a car parked outside of Martin's cozy cottage in the country. Charles goes up to the front door and KNOCKS. No answer. He KNOCKS again. Still no answer. Charles tries the door. It's unlocked. He steps inside and calls out: CHARLES STANTON Martin?! Oh, Martin! Charles takes a few more steps into the living room and calls up to the second floor. CHARLES STANTON Martin, Robert said ten-thirty -- we're late! No answer. Charles laughs at the thought of fun-loving Martin sleeping off the last night's partying and starts up the stairs. Suddenly, Charles stops at the sight of something on the living room floor. Evidently, it's Martin. CHARLES STANTON Martin? Charles moves forward, then pauses, staring wide-eyed in disbelief. CHARLES STANTON Martin...! DISSOLVE TO: EXT. CHATFIELD MANSION - TERRACE - A FEW MINUTES LATER Robert and Freda and Betty and Gordon sit in silence around the breakfast table. Freda drinks coffee. Robert reads the paper. Gordon breaks the silence abruptly. GORDON WHITEHOUSE Robert? ROBERT CHATFIELD (startled) What? GORDON WHITEHOUSE Oh, I'm sorry. I was just going to ask you for part of your paper. ROBERT CHATFIELD Oh. 'Fraid I'm a little nervous. (tosses part of paper to Gordon) Not enough sleep lately, I guess. (checks his pocket watch) It's ten thirty-five. They ought to be here now. Robert's butler enters with a telephone which he places on the table and plugs into a handy wall jack. THE BUTLER You're wanted on the telephone, Mister Chatfield. It's Mister Stanton. He says it's very urgent. ROBERT CHATFIELD (into the phone) Hello? Oh, yes, Charles. (beat) Well? Robert listens intently, then drops his paper. ROBERT CHATFIELD What did you say? (beat) What?! FREDA CHATFIELD Robert, what is it? ROBERT CHATFIELD (into phone) Oh, it can't be true -- can't be! (beat) Where are you? GORDON WHITEHOUSE What is it? BETTY WHITEHOUSE What's he saying? ROBERT CHATFIELD Oh, yes. Right away. (hangs up, to the others) It's Martin. FREDA CHATFIELD (rises, already hysterical) Martin? Something's happened. What is it? GORDON WHITEHOUSE (rises) Robert, tell us what's happened. ROBERT CHATFIELD (finds it hard to believe) Martin shot himself. He's dead. FREDA CHATFIELD (devastated) Oh, no! No! ROBERT CHATFIELD Charles found him when he went to get him. (starts to lose it) I don't believe it! He wouldn't do that! He couldn't! GORDON WHITEHOUSE Robert, get hold of yourself. FREDA CHATFIELD We must go to him. Maybe we can still do something -- maybe -- ROBERT CHATFIELD No, no, Freda, you stay here with Betty. Come on, Gordon. Robert and Gordon exit, leaving Betty and Freda behind. FREDA CHATFIELD (as much to herself as Betty) Oh, Martin! I can't stay here. I must go. Freda rushes off, leaving Betty alone. An odd look crosses Betty's face. BETTY WHITEHOUSE (darkly, to herself) So Martin took that money. Betty picks up the phone and speaks into it. BETTY WHITEHOUSE Plaza-three-nine-seven-four-oh. DISSOLVE TO: INT. ANN'S APARTMENT - BEDROOM - MOMENTS LATER Ann lies in bed looking as though she hadn't slept a wink all night. She talks listlessly into a telephone. ANN BEALE Yes, Betty? (beat) I'll come right out. (beat) All right, dear. (beat) Goodbye. Ann, looking distraught, slowly hangs up the phone. FADE OUT FADE IN NEWSPAPER MONTAGE A newspaper headline reads: JURY FINDS PUBLISHER SUICIDE VERDICT IS RETURNED AFTER WITNESSES TESTIFY TO FINDING BODY The date above the headline reads: Friday, Sept. 15, 1933. SUPERIMPOSE flipping newspaper pages as we DISSOLVE TO another paper's date, one year later: Sept. 15, 1934. In the paper's "quote-of-the-day" box we read: "TIME is the great physician; it dissolves all troubles, and tames the strongest grief." -- Aristotle FADE OUT FADE IN INT. CHATFIELD MANSION - LIVING ROOM - NIGHT A mostly unassembled jigsaw puzzle lies on a small table. A woman's hands try to fit two pieces together unsuccessfully. We PULL BACK to reveal that the woman is Betty. Ann, reading a magazine, and Maude Mockridge, eating a buttered pastry, sit nearby. After the grimness of the last few scenes, the lighthearted gaiety that characterized the earlier scenes has returned. BETTY WHITEHOUSE Oh, dear, I wonder if there are two pieces that fit together. Ann laughs. MAUDE MOCKRIDGE (off her food) Mmmm. Good. Can't I persuade someone to share this European dainty? BETTY WHITEHOUSE No, thanks. Freda's dinner's put me beyond temptation. Freda enters from the dining room. BETTY WHITEHOUSE Aren't the men ever coming in? FREDA CHATFIELD They're sampling Robert's old brandy. BETTY WHITEHOUSE Then I ought to rescue Gordon. MAUDE MOCKRIDGE My dear, no. Don't ever come between a man and his brandy. The women laugh. MAUDE MOCKRIDGE Oh, this place is so enchanting. I shall remember you when I get back to England. Just as you are tonight. Such a snug little group. Everybody so happy. FREDA CHATFIELD Are we? I wonder. MAUDE MOCKRIDGE Well, aren't you? FREDA CHATFIELD (smiling a meaningless smile) Yes, I guess so. ANN BEALE Is there anything I can do to help before you sail, Miss Mockridge? MAUDE MOCKRIDGE Thank you, dear, no. Well, yes. You might do something about Charles. He seems so, um, so at loose ends. Couldn't you marry him or something? ANN BEALE (taken aback) Oh, well... MAUDE MOCKRIDGE But, my dear, I find him so utterly charming. Why don't you? ANN BEALE Well, the world's full of charming people. MAUDE MOCKRIDGE Ah, you're entirely mistaken. It isn't. Besides, I like a neat pattern. Now, there's Freda and Robert, Betty and Gordon -- and if you'd interest yourself in Charles, there'd be perfect symmetry. ANN BEALE Well, right now I'm interested in that mysterious white bird you were telling us about, Freda. Any chance of seeing it? FREDA CHATFIELD Yes, I-I think we might get a glimpse of him. Comes into the garden every night about this time. MAUDE MOCKRIDGE What mysterious white bird? What do you mean? What does it look like? FREDA CHATFIELD Well, I suppose it's a white owl but it looks like a ghost of a bird. MAUDE MOCKRIDGE A ghost bird! Oh, my dear. How thrilling. Miss Mockridge rises and the the women move toward the terrace. FREDA CHATFIELD Come along, Betty. Freda opens a door to reveal the Chatfield's terrace. The women stand in a group at the doorway looking out into the back yard. FREDA CHATFIELD Wait, I'll turn the lights down. Freda turns off the lights. The room darkens. We PUSH IN toward the backs of the four women, silhouetted in the doorway, as they peer out into the night at the moonlit terrace. Time itself seems to slow down for a few seconds thanks to a subtle and momentary SLOW MOTION effect. Suddenly, a GUNSHOT rings out. One of the women SCREAMS. All four turn in terror to their right, to the sound of the shot which seems to them unnervingly close by. FREDA CHATFIELD Robert! Freda runs off to the right, through the darkened room, and pushes open a door to reveal a well-lit DINING ROOM. She enters and looks in the direction of the terrace. FREDA CHATFIELD Robert! What on earth are you doing? Robert, Charles, and Gordon stand at another wide-open terrace door. Robert has a pistol in his hand. The men appear mildly surprised at Freda's arrival. ROBERT CHATFIELD (casually, approaching Freda) Hm? Oh. I was just showing the boys this new gun, dear. Took a crack at that flower pot. FREDA CHATFIELD You must be crazy, firing a gun out the window! (laughs in relief) You might hit someone. ROBERT CHATFIELD (with an embarrassed grin) Yes, it was stupid of me, wasn't it? (genuinely) Hope I didn't frighten anybody. FREDA CHATFIELD (completely relieved) Oh, that's all right. As long as no one's hurt. ROBERT CHATFIELD Sorry, darling. Freda returns to the LIVING ROOM, turns on the lights, and adopts a "boys- will-be-boys" attitude with Ann, Betty, and Miss Mockridge: FREDA CHATFIELD (laughing, to the women) Those idiots. Firing a revolver out the window! MAUDE MOCKRIDGE Oh, dear. BETTY WHITEHOUSE Frightened the life out of me. I hate guns. Betty and Ann move off but Miss Mockridge confers with Freda. MAUDE MOCKRIDGE (to Freda, impulsively) You must miss your brother-in-law. FREDA CHATFIELD (a little startled) What made you think of Martin? MAUDE MOCKRIDGE Oh, just being here, I suppose. (sorry to have mentioned Martin) Oh, I am sorry. FREDA CHATFIELD (realizes what led to Martin) It was the pistol shot. Miss Mockridge is aghast at having been so insensitive. MAUDE MOCKRIDGE No, no. FREDA CHATFIELD Oh, you needn't feel upset, Miss Mockridge. We talk about Martin a lot. Surely you remember him? There's his picture. A framed photo of a grinning Martin Chatfield sits on a nearby table. MAUDE MOCKRIDGE Why, dear, of course. FREDA CHATFIELD One can't afford to forget anyone so gay and charming and handsome. (quietly, with feeling) Yes. We do miss him. Gordon and Charles enter and hear these last few words. GORDON WHITEHOUSE Miss whom? BETTY WHITEHOUSE Not you, sweetheart. GORDON WHITEHOUSE Ha! You liar. Gordon goes to Betty (who has returned to her jigsaw puzzle) and kisses her. Charles goes to Ann, wishing he could get the same kind of action. CHARLES STANTON (to Ann) Did you miss me? ANN BEALE (mockingly) If it pleases you, my dear. CHARLES STANTON It does, very much. GORDON WHITEHOUSE (idly) I wonder if there's any good dance music on. Gordon heads over to a huge radio in a corner of the room. Robert, who has followed Charles and Gordon into the living room, grabs a seat next to Betty and her jigsaw puzzle. ROBERT CHATFIELD (to Gordon) Well, I hope not. Let's have a little quiet. (to the women) What have you people been talking about? BETTY WHITEHOUSE Wouldn't you like to know? CHARLES STANTON (straightens a pillow for Miss Mockridge) I do know. Either you've been talking about us or Miss Mockridge's new novel, "The Sleeping Dog." ANN BEALE Wrong, both times. It was a bird instead. BETTY WHITEHOUSE "The Sleeping Dog." That's a curious title. What does it mean? ANN BEALE It was taken from an old proverb, Betty: "Let sleeping dogs lie." Ann rolls her eyes -- either at Betty's lack of knowledge or Miss Mockridge's choice of inspiration or both. ROBERT CHATFIELD (to Miss Mockridge) Great book. MAUDE MOCKRIDGE Thank you. ROBERT CHATFIELD Even though I don't agree with its premise. FREDA CHATFIELD And what is its premise? ROBERT CHATFIELD Well, the "sleeping dog" is the Truth -- which the chief character, the husband, insisted on disturbing. (chuckles) With strange and disastrous results. CHARLES STANTON Truth's always strange. It's never what you expect. ROBERT CHATFIELD Well, strange or not, I'm all for its coming out. It's healthy. CHARLES STANTON I think telling the truth's about as healthy as skidding around a corner at sixty -- and life's got too many dangerous corners. (turns to Ann, sitting nearby) You're looking awfully wise, Ann. What do you think? ANN BEALE Truth is something that ... well, there's truth and truth. GORDON WHITEHOUSE (obnoxiously) I see. Something and something. CHARLES STANTON Go on, Ann. ANN BEALE Well, the real truth -- that is, every single little thing with nothing missing at all -- wouldn't be dangerous. I suppose that's God's truth. But what most people mean by truth is only half the real truth. It doesn't tell you all that went on inside everybody, everything they really thought and felt. It simply gives you a lot of facts that were hidden away. And perhaps... were a lot better hidden away. Gordon finds some dance MUSIC on the radio. CHARLES STANTON (to Ann) Right you are. It's treacherous stuff. ROBERT CHATFIELD I don't agree. I'm always ready to welcome what you call the truth. The facts. FREDA CHATFIELD You would be, Robert. ROBERT CHATFIELD What do you mean by that, Freda? FREDA CHATFIELD (smiling her meaningless smile) Anything, nothing. Gordon stands by the radio, reading a program guide. RADIO ANNOUNCER This is station BPFY! Time signal! (a tone sounds) It is now one minute past nine o'clock! Suddenly, the radio makes a hideous SCREECHING noise. Everyone glances over at it. Gordon checks the rear of the radio cabinet and sees one of the radio's tubes burning out. There's a massive CLOSE-UP of the tube as the sparks fly. FREDA CHATFIELD Gordon, what is the matter? GORDON WHITEHOUSE The tube's burnt out. You have any spares? FREDA CHATFIELD Look and see. There may be one in the cabinet. Gordon opens a cabinet drawer. Empty. He opens a second drawer. Also empty. He turns back to Freda. GORDON WHITEHOUSE Nothing doing. Well, no tubes, no music. I guess we'll have to talk. FREDA CHATFIELD Who wants a drink? Robert, fix some highballs, will you? ROBERT CHATFIELD (rises, moves to fix drinks) All right. Freda offers an oddly-shaped cigarette box to Miss Mockridge. FREDA CHATFIELD Cigarette, Miss Mockridge? MAUDE MOCKRIDGE No, thanks. I'm a slave to my own brand. FREDA CHATFIELD Ann? ANN BEALE Oh, I've seen that box before. Plays a tune, doesn't it? Freda lifts the top of the box revealing some cigarettes. The box plays a tinkly version of a highly recognizable tune. ANN BEALE Oh, yes, it's "The Wedding March." Ann and Charles each take a cigarette. GORDON WHITEHOUSE (still fussing with the radio) Well, I'm glad something around here plays. FREDA CHATFIELD (to Ann) It can't have been this box you remember. It's the first time I've had it out. ANN BEALE It belonged to Martin, didn't it? He showed it to me. FREDA CHATFIELD Martin couldn't've shown you this box. He hadn't it when you saw him last. CHARLES STANTON How do you know, Freda? FREDA CHATFIELD Well, that doesn't matter. I know. Martin couldn't've shown you this box. ANN BEALE Couldn't he? Perhaps I'm mistaken. (not too convincingly) I must have seen a box like this somewhere else and thought perhaps... ROBERT CHATFIELD Ann, I'm going to be rather rude. You know, you suddenly stopped telling the truth then, didn't you? You're absolutely sure that's the box Martin showed you, just as Freda's equally sure it isn't. ANN BEALE Oh, well, does that matter? ROBERT CHATFIELD Oh, perhaps not. But I'm still curious. FREDA CHATFIELD Well, as a matter of fact, Robert, the box was Martin's. (turns to Ann) But Martin couldn't have shown it to you, Ann, because you said at the inquest last time you were at his cottage was that Saturday afternoon about week before he passed away. And Martin didn't have the box then. CHARLES STANTON Well, you seem to know a lot about the box, Freda. GORDON WHITEHOUSE (to Freda) Yes, that's just what I was going to say. Why are you so grand and knowing about it all? BETTY WHITEHOUSE (to Freda) I know why. You gave it to him. ROBERT CHATFIELD Did you, Freda? FREDA CHATFIELD (long beat) Yes, I gave it to him. ROBERT CHATFIELD Well, that's queer. I don't mean it's queer your giving him the box. After all, why shouldn't you? But your never mentioning it. (friendly, but very curious) When'd you give it to him? Where'd you get it? FREDA CHATFIELD (increasingly uneasy) Oh, I saw it in a shop one day. It was amusing and rather cheap so -- so I bought it and sent it parcel post to Martin. That was on a ... Friday. Just two days before-- ROBERT CHATFIELD Oh. Oh, so he never got it till that last Saturday then? FREDA CHATFIELD Yes. ROBERT CHATFIELD Oh. Well, that's that. (hands a drink to Betty) Betty, my dear. GORDON WHITEHOUSE (after a thoughtful pause) I'm sorry, Freda, but it's not quite so simple. Robert gives Gordon a puzzled look. GORDON WHITEHOUSE You see, I was with Martin at the cottage that very Saturday morning. ROBERT CHATFIELD Well, what about it? GORDON WHITEHOUSE I was there when the mail came. I remember he received a package of books. I don't forget anything about that morning. You wouldn't either if you were dragged through that hellish inquest as I was. But no cigarette box came that morning and there is no afternoon mail out there. Freda, I don't think you sent that box at all. You took it to Martin yourself. You did, didn't you? FREDA CHATFIELD (realizes she's trapped) Well, if you must know... I did. ROBERT CHATFIELD Freda! GORDON WHITEHOUSE I thought so. ROBERT CHATFIELD Freda, if you went to the cottage to give Martin that box, after Gordon had left, you must have seen him later than anybody, only a few hours before he shot himself. FREDA CHATFIELD (flatly) I did. I saw him shortly before dinner. ROBERT CHATFIELD But why have you never said anything about it? Why didn't you come forward at the inquest? You could have testified. FREDA CHATFIELD But why? If it would have helped Martin, I'd have gone gladly. But what good would it have done? CHARLES STANTON No good at all. You were quite right. ROBERT CHATFIELD Yes, but why have you never said anything to me about it? Why'd you keep it to yourself all this time? You were the last person to see Martin. FREDA CHATFIELD Was I the last person? ROBERT CHATFIELD You must have been. FREDA CHATFIELD Well, what about Ann? ROBERT CHATFIELD Ann? Freda points. Robert looks down to see the oddly-shaped musical cigarette box. ROBERT CHATFIELD Oh, yes. The cigarette box. FREDA CHATFIELD Yes, of course. The cigarette box. I only gave Martin that box late Saturday afternoon. And Ann admitted that he showed it to her. (to Ann) So you must have been at the cottage that Saturday night. ANN BEALE (reluctantly) Yes. He did show it to me. It was after dinner, about nine o'clock. ROBERT CHATFIELD (completely floored) You were there?! Oh, but this is crazy. First Freda, now you. And neither of you said anything about it. ANN BEALE I'm sorry, Robert. But I couldn't. ROBERT CHATFIELD Why were you there? ANN BEALE I'd been worrying about something for days. I felt I had to see Martin to ask him about it. Nobody saw me come and nobody saw me leave. And, like Freda, I thought it would serve no good purpose to tell it -- so I didn't. That's all. ROBERT CHATFIELD But you can't dismiss it like that. You were the last person to talk to Martin. You must know something about it. ANN BEALE (rises, upset) Please, Robert, let's leave it alone. It's all over. ROBERT CHATFIELD I'm sorry, Ann. I don't like mysteries. You said you were worried about something. Had that something to do with the missing money? GORDON WHITEHOUSE (loses his cool) Oh, must we go over all that again?! Martin's gone! Let him alone, can't you?! And shut up about the rotten money! FREDA CHATFIELD Gordon! I'm sure we must be boring Miss Mockridge with all this. MAUDE MOCKRIDGE Oh, no, no. I'm enjoying it very much. GORDON WHITEHOUSE (composing himself) I'm sorry. I beg your pardon, Miss Mockridge. FREDA CHATFIELD I think we'd better change the subject, Robert. MAUDE MOCKRIDGE No, no. Not at all, not at all. I think I'd better be going. It must be late. FREDA CHATFIELD Oh, no. MAUDE MOCKRIDGE Oh, yes, I really must. It's getting quite late. ROBERT CHATFIELD (exiting) I'll have the chauffeur bring your car. MAUDE MOCKRIDGE Thank you. Thank you, very much. (to all) It's been delightful seeing you all again. Goodbye. Miss Mockridge and the others exchange "Goodbyes" and "Good Nights." FREDA CHATFIELD I'll get your wrap for you. MAUDE MOCKRIDGE Thank you. Freda and Miss Mockridge exit. Ann, hand to her head, moves unsteadily to an adjacent room, watched by a sympathetic Charles. Gordon moves near Betty and takes a needed drink. GORDON WHITEHOUSE (to Betty) I'm glad she's gone. BETTY WHITEHOUSE So am I. I can't stand that woman. She reminds me of a geometry teacher I used to have. CHARLES STANTON I've always suspected your geometry, Betty. At this, Betty chokes on her drink, to Gordon's amusement. Charles wanders away into the ADJACENT ROOM to look after Ann. He finds her at a door to the back yard, staring sullenly up at the night sky. He sticks his nose in her face to provoke her into smiling. She manages a weak grin. ANN BEALE Doesn't seem quite real, does it? CHARLES STANTON (glancing at the moonlit yard) But what a perfect setting for a romantic scene. ANN BEALE Oh, don't be silly, Charles. I meant, I feel as though none of us were quite real tonight... as though we might wake up any minute ... to find that all the things we're doing and saying ... are just a dream. Did you ever feel that way? CHARLES STANTON Once or twice... when you've smiled at me. ANN BEALE (laughs) Oh, Charles, you're hopeless. Betty and Gordon, drinks in hand, join Ann and Charles. BETTY WHITEHOUSE (to Ann and Charles) Star-gazing? CHARLES STANTON Yes. ANN BEALE No! Betty and Gordon grab a seat together on a chair in one corner of the room. Robert and Freda enter. Freda stands apart, looking distinctly uncomfortable. ROBERT CHATFIELD Well, now we can thrash this thing out. ANN BEALE Oh, no, please, Robert. ROBERT CHATFIELD (confronts Ann) I'm sorry, Ann. There's something very queer about all this. First Freda going to see Martin and never saying a word about it, then you. It won't do. You've both been hiding things. It's about time some of us began telling the whole truth for a change. GORDON WHITEHOUSE Is this going to be another inquest? ROBERT CHATFIELD Well, it wouldn't be necessary if we'd heard more of the truth when there was one. It's up to you, Ann. You were the last person to see Martin. Why did you go? Was it about the missing money? ANN BEALE Yes, it was. ROBERT CHATFIELD Did you know then that -- that Martin had taken it? ANN BEALE I thought there was a possibility he had. GORDON WHITEHOUSE You were all pretty ready to think that. BETTY WHITEHOUSE Gordon, I want to go home now. GORDON WHITEHOUSE So soon, Betty? BETTY WHITEHOUSE (rises) I'm going to have an awful headache if I stay any longer. (insistent) I'm going home. GORDON WHITEHOUSE (rises) All right, dear. Just a minute. ROBERT CHATFIELD What's the matter, Betty? BETTY WHITEHOUSE I don't know. I'm just stupid, I suppose. GORDON WHITEHOUSE All right, then, sweet. We'll go now. Betty bolts from the room. Gordon looks around at the group, puzzled. GORDON WHITEHOUSE Well, good night, everybody. CHARLES STANTON (to Gordon) I'll go along with you. The group exchanges "Good nights," then Charles and Gordon exit together, leaving just Ann, Freda, and Robert. Robert confronts Ann again. ROBERT CHATFIELD Now, Ann, you can tell me just why you rushed off to see Martin that way about the missing money. ANN BEALE (hesitates) We're all being truthful now, aren't we? You too, Robert? ROBERT CHATFIELD Great heavens, yes, of course. I loathe these silly mysteries. But you haven't answered my question. ANN BEALE But, first, I'm going to ask you a question. I've been waiting to do it for some time and I never quite dared to. Now I don't care -- it might as well come out. Robert. Did you take that money? ROBERT CHATFIELD Did I take it? ANN BEALE Yes. ROBERT CHATFIELD Why, of course not, Ann. You must be crazy. Martin took it, of course. We all know that. ANN BEALE Oh... (deeply relieved) Oh, what a fool I've been. ROBERT CHATFIELD But I don't understand. You -- you can't have been thinking all this time that I did it. ANN BEALE Yes, I have. I've been torturing myself with it. ROBERT CHATFIELD But I -- why, it doesn't make sense. I suppose I might have taken that money. We're all capable of that under certain circumstances. But how on earth did you think I'd be capable of letting Martin take the blame for it? I thought you were a friend of mine, Ann. One of my best and oldest friends. FREDA CHATFIELD (cold as ice) You might as well know, Robert -- and how you can be so dense baffles me -- that Ann is not a friend of yours. ROBERT CHATFIELD Why, of course she is. FREDA CHATFIELD She's not. She's a woman who's in love with you. A very different thing. She's been in love with you for ages. ANN BEALE Oh, Freda, that's unfair. It's cruel. FREDA CHATFIELD He wanted the truth. Let him have it. ROBERT CHATFIELD I'm terribly sorry, Ann. I-- ANN BEALE (rises, turns her back on Freda) Oh, it's unforgivable. You've no right to say that. FREDA CHATFIELD But it's true, isn't it? I've been aware of it for the last eighteen months. Wives are always aware of these things. And I think you're a fool, Robert, for not being aware of it yourself -- and not having responded to it. It's not given to many people to really love someone -- and I think they're fools not to cherish it... before it's too late. ANN BEALE (turns to Freda) Freda. I understand now. FREDA CHATFIELD Understand what? ANN BEALE About you. I ought to have understood before. ROBERT CHATFIELD If you mean by that that Freda doesn't care for me very much, you're right. We haven't been very happy together. Somehow our marriage hasn't worked out. But nobody knows. FREDA CHATFIELD (amused) Of course they know. People don't have to be told such things. ROBERT CHATFIELD But Ann has just said that she understood about it for the first time. ANN BEALE Oh, no. I knew about that before, Robert. It's something else I've just-- ROBERT CHATFIELD Well, what is it? ANN BEALE I'd rather not explain. FREDA CHATFIELD No, you needn't be noble now, Ann. We're past that. But you've got to go on about the money. You said you believed all along that Robert had taken it. ANN BEALE I thought he must have. ROBERT CHATFIELD Why didn't you say something? FREDA CHATFIELD Oh, Robert, can't you see why? She was shielding you. ROBERT CHATFIELD (beat) Ann, I had no idea. Though it's fantastic you could think I was that kind of man and yet care enough not to say anything. ANN BEALE Oh, no. It's not fantastic at all. FREDA CHATFIELD If you're in love with somebody, you're in love with them -- and they can do anything to you and you'll forgive them... Or just not bother about it. At least, some women will. ROBERT CHATFIELD But I don't see that in you, Freda. FREDA CHATFIELD Don't you? (chuckles) But there are a lot of things about me you don't see. (to Ann) But if you thought Robert had taken the money, then you knew all along that Martin hadn't. And yet you let us go on thinking he had. ANN BEALE It didn't seem to matter then. It couldn't hurt Martin anymore. ROBERT CHATFIELD Martin must have taken it. That's why he shot himself. ANN BEALE (unusually insistent) No, it wasn't. You must believe me. I'm positive Martin never touched that money. FREDA CHATFIELD I always thought it strange that he should. I knew he could be wild and rather cruel sometimes but it wasn't like him to steal. ROBERT CHATFIELD He was pretty badly in debt. FREDA CHATFIELD He didn't mind owing money. He could have cheerfully gone on being in debt. Money simply didn't matter. ROBERT CHATFIELD But, Ann, how could you think that I did it? ANN BEALE From Martin himself. ROBERT CHATFIELD From Martin? But, hang it all, how would he think that? FREDA CHATFIELD You thought he'd been the thief. ROBERT CHATFIELD We were all convinced of it when he shot himself. ANN BEALE Charles wasn't. He and Martin had talked it over. Martin told me so himself. ROBERT CHATFIELD Charles! So Stanton was in on this. He had to put in his oar. Why, he may even have told Martin I was the thief. ANN BEALE Why, I didn't say that. ROBERT CHATFIELD But it looks that way. Where else would Martin get the idea? Besides, from what you've just said, Stanton knew all along that Martin hadn't taken the money. And yet he let me go on thinking that he had. FREDA CHATFIELD Then it may have been Charles himself who took that money. ROBERT CHATFIELD It must have been. ANN BEALE That doesn't follow. FREDA CHATFIELD Then why was he willing for Martin and Robert to suspect each other? Because it was a way of covering his own tracks. ROBERT CHATFIELD No wonder he objected to all this questioning. He had too much to hide. ANN BEALE Oh, we've all got too much to hide. ROBERT CHATFIELD Then we're going to let some daylight into this for once, even if it kills us. Stanton's got to explain this. Robert moves toward the telephone. FREDA CHATFIELD Not tonight, Robert! ROBERT CHATFIELD Tonight. Robert walks to the phone, lifts the receiver, and begins to dial. FADE OUT FADE IN INT. CHATFIELD MANSION - LIVING ROOM - A FEW MINUTES LATER Freda turns mischievously from the fireplace to try to lighten the mood as Ann and Robert sit somberly nearby. FREDA CHATFIELD I wish I knew what to do. ROBERT CHATFIELD About what? FREDA CHATFIELD (deadpan) You'd hardly understand, Robert, but I'm now facing the most urgent problem. The sort of problem that only women have to face. If a man has been dragged back to your house to be told he's a liar, a cad, and a possible thief, oughtn't you make a few sandwiches for him? ROBERT CHATFIELD He'll get no sandwiches from me. FREDA CHATFIELD "No sincerity, no sandwiches." That's your motto, is it? No? Oh, dear, how heavy we are without Martin. And how he'd have adored all this. He'd've invented the most extravagant and incredible things to confess to. Oh, don't look so dreadfully solemn, you two. ROBERT CHATFIELD I'm afraid we haven't your light touch, my dear Freda. FREDA CHATFIELD I suppose-- The doorbell RINGS. FREDA CHATFIELD There they are. You'll have to let them in yourself, Robert. Robert exits to answer the door, leaving Freda and Ann alone. ANN BEALE Freda? FREDA CHATFIELD Yes. ANN BEALE How long have you really known? FREDA CHATFIELD A long time. And I've often wanted to say something to you about it. ANN BEALE What would you have said? FREDA CHATFIELD I don't quite know. Something idiotic. But friendly. Very friendly. ANN BEALE This is all quite mad, isn't it? FREDA CHATFIELD Yes, and rapidly getting madder. But I don't care, do you? It's rather a relief. ANN BEALE Yes, it is, in a way. Rather frightening, too. Like being in a car when the brakes are gone. FREDA CHATFIELD (nods) Mmm. Ann and Freda see Gordon, Charles, and Robert entering the room. GORDON WHITEHOUSE Well, what's it all about? ROBERT CHATFIELD Chiefly about the money. GORDON WHITEHOUSE I thought as much. Why can't you let Martin alone? ROBERT CHATFIELD Now, wait a minute, Gordon. Martin didn't take that money. GORDON WHITEHOUSE What? Are-are you sure? Is that true? FREDA CHATFIELD Yes. CHARLES STANTON You really believe Martin didn't take that money? Well, if he didn't, who did? ROBERT CHATFIELD We don't know. We're hoping that you can tell us, Stanton. CHARLES STANTON Being funny, Robert? ROBERT CHATFIELD Not a bit. I wouldn't have dragged you back here to be funny. You let me believe Martin took that bond, didn't you? CHARLES STANTON Let you? You believed it yourself, didn't you, after what happened? ROBERT CHATFIELD But you knew it wasn't true. CHARLES STANTON Did I? FREDA CHATFIELD If you didn't, why did you tell Martin you thought Robert had done it? CHARLES STANTON Don't be ridiculous, Freda. Of course I didn't. FREDA CHATFIELD Martin told Ann. CHARLES STANTON Ann? (to Ann) Are you in this too, Ann? ANN BEALE Yes. Yes, I am. I told Robert what Martin had said. That you and he thought Robert had taken the money. ROBERT CHATFIELD You better tell the truth now, Stanton. You let Martin and me suspect each other. Now, why? FREDA CHATFIELD There can be only one explanation. Because he took it himself. GORDON WHITEHOUSE You didn't, did you, Stanton? A long pause as Charles looks the group over. Finally, he speaks. CHARLES STANTON (casually) Yes, I did. The group reacts in shock. GORDON WHITEHOUSE (upset) Then you're a rotten swine. Not that I care about the money but you let Martin take the blame! You let us all believe that he was a thief! CHARLES STANTON Don't be a young fool. ROBERT CHATFIELD Keep quiet, Gordon. GORDON WHITEHOUSE I won't keep quiet. You let-- CHARLES STANTON I didn't let Martin take the blame, as you call it. He wasn't the sort to take the blame. You ought to know that. It happened that in the middle of all this fuss about the money Martin shot himself. You all jumped to the conclusion that it was because he had taken the money and was afraid of being found out. I let you go on thinking it, that's all. You might as well think he shot himself for that as for anything else. Besides, where he's gone, it doesn't matter whether people here think you've stolen money or not. ROBERT CHATFIELD But you deliberately told Martin that I-- CHARLES STANTON No, I didn't. You were holding your daily conferences and investigations and we were pretty fed up. One day, I made some remark about them to Martin. I don't even remember what I said but he took it to mean I had something on you which I wasn't divulging. He inferred that because he wanted to, because it struck his fancy. I was in too tight a spot to explain. GORDON WHITEHOUSE A low, sneaking trick. CHARLES STANTON Maybe it was. But I took that bond because I needed some money quickly. And I didn't know where to turn. I knew I could square it up in a week. ROBERT CHATFIELD Then why didn't you? CHARLES STANTON Well, it -- it all came up so unexpectedly I had to play for time. But I hadn't the least intention of letting you or Martin or anyone else be punished for what I'd done. If it had come to a showdown, I was prepared to tell the truth. As it happened, it was unnecessary. Until tonight. GORDON WHITEHOUSE I don't believe that. CHARLES STANTON Oh, don't go thinking there was any deep-laid plot. There wasn't. It was all improvised, and haphazard, and stupid. ROBERT CHATFIELD Then why didn't you confess to all this before? CHARLES STANTON Why the devil should I? After Martin's suicide, you all wanted to drop the whole thing. "Dear Martin must have done it, so we won't mention it." But if I'd confessed you would have kicked me out in a minute and yelled for the police. ROBERT CHATFIELD Huh! You're right. CHARLES STANTON Of course I am. I didn't get into the firm because I had the right university and social background. I had to work my way up from the bottom. Don't forget, I used to be a clerk in the office. It makes a difference I can tell you. FREDA CHATFIELD But to let us go on believing--? CHARLES STANTON Why not? It was all over. Why open it up again? Robert, Gordon, and I were all doing well together in the firm. Where are we now? Who's better off because of this? FREDA CHATFIELD (passionately) You're not. But Martin is. And the people who cared about him. CHARLES STANTON Are they? FREDA CHATFIELD At least we know now he wasn't a thief. CHARLES STANTON He must have had some reason for doing what he did. And you're probably a lot better off not knowing what that reason was. ROBERT CHATFIELD Perhaps he did it because he felt I'd taken the money. CHARLES STANTON (chuckles) If you think Martin shot himself because he thought you'd taken some money, then you didn't know Martin. It amused him to think you a thief. A lot of things amused that young man. ANN BEALE That's true -- I know. He didn't care -- he didn't care at all. ROBERT CHATFIELD Look here, do you know why Martin did shoot himself? CHARLES STANTON (choosing his words carefully) I can imagine reasons. FREDA CHATFIELD (offended) What do you mean by that? CHARLES STANTON I mean, he was that sort. He'd got his life into a mess and I don't blame him. FREDA CHATFIELD (angrily) You don't blame him! Who are you to blame him or not to blame him?! ROBERT CHATFIELD (darkly, to Charles) Yes. The less you say now, the better. CHARLES STANTON The less we all say, the better. I told you as much before you began dragging out all this stuff. Like a fool, you wouldn't leave well enough alone. And now you've got what you asked for. FREDA CHATFIELD One thing more we'll ask for is to be rid of you. GORDON WHITEHOUSE Yes. Do you think you'll stay on with the firm after this? CHARLES STANTON No, I suppose not. At least I'll be leaving a lot of hard work. For the last few years the burden of running this business has been on Ann and me. Well, now you can find someone else to elevate to a partnership to relieve you of the necessity of working. GORDON WHITEHOUSE Well, at least it'll be a pleasure to try. You've never liked us and you hated Martin. I knew it. CHARLES STANTON I had my reasons. FREDA CHATFIELD (fiercely) Reasons? You're not fit to mention his name. You never even knew the real Martin-- CHARLES STANTON (to Freda) Not as well as you did, perhaps, but well enough. ROBERT CHATFIELD (sharply) Does that mean anything? CHARLES STANTON It means exactly what I said. ANN BEALE Robert, Charles, let's have no more of this! CHARLES STANTON I'm sorry, Ann. I've tried to stay out of this. ROBERT CHATFIELD I'm waiting for your explanation, Stanton. FREDA CHATFIELD Don't you see? He's getting at me. ROBERT CHATFIELD Is that true? Were you trying to imply--? CHARLES STANTON No, I'm not trying to get at anybody, even though it seems to be the fashion this evening. ROBERT CHATFIELD Then you'd better take that back-- CHARLES STANTON I'll take nothing back. If there's any more explaining, Freda will have to do it. FREDA CHATFIELD Robert, please! Leave him alone. Don't push this thing any further. Freda sinks into a chair. ROBERT CHATFIELD (confronting Freda) Freda, what's the matter? It isn't true, is it? I must know -- because if it isn't, I'm going to kick Stanton out of the house. CHARLES STANTON Don't talk like a man in a melodrama. You're not going to kick me out of the house. I'll go out in the ordinary way, thank you. ROBERT CHATFIELD Freda, is this true? A pause. FREDA CHATFIELD (weakly, but with relief) Yes. ROBERT CHATFIELD (after a pause, quietly) Has that been the trouble, all along? FREDA CHATFIELD Yes. All along. ROBERT CHATFIELD (tenderly) When did it begin? FREDA CHATFIELD A long time ago. It seems a long time ago. Ages. ROBERT CHATFIELD Before we were married. FREDA CHATFIELD Yes. I thought I could get him out of my mind then. And I did for a little time. But the old feeling was always there. ROBERT CHATFIELD (genuinely) I wish you'd told me. Why didn't you? FREDA CHATFIELD I tried to, hundreds of times. I said the [opening?] words to myself so often sometimes I've hardly known whether I didn't actually say them out loud to you. ROBERT CHATFIELD I wish you had. Why didn't I see it for myself? All seems so plain now. It began when we were all up at the lake that summer, didn't it? FREDA CHATFIELD Yes. That lovely, lovely summer. Nothing's ever been quite real since then. But it didn't mean much to Martin. A sort of experiment, that's all. ROBERT CHATFIELD Didn't he care? FREDA CHATFIELD No. Not really. I tried to forget him, in fairness to you. And I thought it would be all right. But it wasn't. It was hopeless. You don't know how hopeless it was. Oh, Martin. Martin. Freda turns away, breaks down and cries. The room is quiet except for her sobbing. After a moment, Ann can take no more. ANN BEALE Oh, Freda, don't! Ann walks away from the group and goes to a window. CHARLES STANTON (sadly) That's how it goes on, you see? A good evening's work. ANN BEALE (turning from the window) Robert! Somebody's out there! Charles and Robert join Ann in peering out into the darkness. But there's no one in sight. ROBERT CHATFIELD There's no one there now. ANN BEALE I'd swear there was somebody there. They've been listening. CHARLES STANTON Well, they couldn't've chosen a better night for it. The doorbell RINGS. FREDA CHATFIELD (standing at the fireplace) See who it is. And don't let them interrupt us, whoever they are. CHARLES STANTON (wryly) The interruption's about an hour late. Robert exits to answer the door. The room is silent. Freda keeps her back to the group. After a long pause, Robert returns with Betty, much to everyone's surprise. BETTY WHITEHOUSE (to all) You've been talking about me. Haven't you? GORDON WHITEHOUSE (concerned) Betty, I thought you'd gone to bed. What's the matter? BETTY WHITEHOUSE I wanted to go to bed. I started to -- but I couldn't. I had to come back. FREDA CHATFIELD You're wrong. As a matter of fact, you're the one person we haven't been talking about. BETTY WHITEHOUSE Is that true? ROBERT CHATFIELD Of course, Betty. BETTY WHITEHOUSE (confused) Well, then, what have you been talking about? GORDON WHITEHOUSE The money. Martin didn't take it. Stanton did. He's admitted it. BETTY WHITEHOUSE Admitted it? Charles. Surely, that's impossible. CHARLES STANTON Sounds impossible, doesn't it, Betty? But it isn't. BETTY WHITEHOUSE (slowly) If Martin didn't take the money, then why did he shoot himself? GORDON WHITEHOUSE That's what we want to know. CHARLES STANTON Haven't you dug up enough muck? Why go on and on? ROBERT CHATFIELD You can stand there and talk like that when you're really responsible? CHARLES STANTON It's all nonsense. FREDA CHATFIELD It isn't! Don't you see what you've done? CHARLES STANTON No. Because I don't know what you're talking about. GORDON WHITEHOUSE You don't want to, that's all. CHARLES STANTON Oh, talk sense, man! Can't you see that Martin must have had his own reasons? ROBERT CHATFIELD No. What drove him to suicide was my stupidity and your letting him think I'd taken that money. There couldn't've been anything else. So that settles it once and for all. CHARLES STANTON You're not in a state now to settle anything. ROBERT CHATFIELD (confronts Charles) Now, listen to me, Stanton-- CHARLES STANTON Oh, drop it, man! Robert and Gordon raise their voices and gang up on Charles. GORDON WHITEHOUSE You've got to [?] -- ! ROBERT CHATFIELD I'll never forgive you for telling Martin what you did! CHARLES STANTON You've got it all wrong! GORDON WHITEHOUSE No, we haven't, you liar! You made Martin shoot himself! ANN BEALE (interrupts, o.s.) Wait a minute, Gordon! A long pause as Ann looks the group over. ANN BEALE (quietly) Martin didn't shoot himself. FREDA CHATFIELD Martin didn't shoot himself? An eerie moment as Ann turns her head ever so slowly, as if in a trance, and steels herself. ANN BEALE No. (coolly) I shot him. FREDA CHATFIELD Ann! ROBERT CHATFIELD That's impossible. She must be hysterical. CHARLES STANTON Ann's not hysterical. She means it. (moves to Ann, tenderly) You might as well tell us exactly what happened now, Ann. And I might as well tell you before you begin, I'm not at all surprised. I suspected this from the first. ANN BEALE You suspected I'd done it? CHARLES STANTON Yes. ANN BEALE But why? CHARLES STANTON Never mind now. It was an accident, wasn't it? ANN BEALE Yes. It really was an accident. But it's all so muddled and horrible. But I'll try to tell the complete truth. I went to see Martin about the money. I don't think I'd ever seen him as bad as he was that Saturday night. He wasn't really sane. I arrived there about nine- thirty... Ann FLASHES BACK to the night of Martin's death, over a year ago. DISSOLVE TO: INT. MARTIN'S COTTAGE - FLASHBACK - NIGHT MARTIN CHATFIELD looks like his photograph -- a handsome, grinning, partying kind of a guy. He answers the front door and lets Ann in. He is energetic, too energetic. In fact, he's wired -- a combination of alcohol and an illegal substance or two. Ann senses he's drunk but, preoccupied with the money, she doesn't realize at first how far gone he is. MARTIN CHATFIELD This is an unexpected honor. A charming young lady calling at this time of night. Martin takes Ann's coat and they walk into the living room. ANN BEALE I came to talk to you seriously, Martin. MARTIN CHATFIELD I was afraid there was a catch. What have I done this time? ANN BEALE I don't know. Have you done something? MARTIN CHATFIELD Huh! Many things. Should you like to hear about them? (drops her coat on a chair) Or can I offer you a drink first? ANN BEALE No, thanks. MARTIN CHATFIELD Cigarette? ANN BEALE Yes. Martin offers Ann the oddly-shaped cigarette box. He opens it and it plays "The Wedding March." Ann takes a cigarette. ANN BEALE (delighted at the tune) Oh! Martin closes the box. The music stops. MARTIN CHATFIELD Amusing, isn't it? Martin opens the box again. More music. ANN BEALE Where'd you get it? Martin closes the box with finality. MARTIN CHATFIELD (nonchalant) Present. Martin lights Ann's cigarette, then picks up a half-full glass. MARTIN CHATFIELD Sure you won't have a drink? ANN BEALE Don't drink that yet. MARTIN CHATFIELD I need it. You look as though you were going to stand me in a corner and ask impertinent questions. Are you? ANN BEALE I want to ask you one question. Martin, who took that money? At the office, I mean. The Goldsmith award. MARTIN CHATFIELD (cheerfully) Who do you think took it? ANN BEALE (dead serious) I think you did. MARTIN CHATFIELD (laughs heartily) You're all wrong, Ann. But then you always were. Why, you don't have to try to dodge me. ANN BEALE Are you all right? You seem strange -- different -- tonight. MARTIN CHATFIELD I feel great. It's you. You seem so sad. So ordinary. I could do something about that look of yours if you'd let me. ANN BEALE (turning her face from him) Martin! MARTIN CHATFIELD Ann, how do you manage to live without ever a thrill? I'm sorry for you. You seem so bleak. Ann, wouldn't you like just once to lose yourself? To break out of that -- that hard little shell of yours and become a happy pagan? ANN BEALE Are you crazy? MARTIN CHATFIELD Ann, life offers you fun and you won't take it. Foolish, stupid, ungrateful Ann. ANN BEALE (moves to leave) Perhaps I'd better go. MARTIN CHATFIELD I'll be good. Let me show you some new etchings I've bought. ANN BEALE You've been buying a lot of things lately. Where did you get all this money? MARTIN CHATFIELD Ha ha! I didn't steal it. ANN BEALE If you didn't, who did? MARTIN CHATFIELD Robert. ANN BEALE (offended) How dare you accuse Robert? You all had keys to that safe. MARTIN CHATFIELD But nobody ever opened it but Robert. Robert takes care of all the money. Always has. Ask Stanton if you don't believe me. (rubs it in, with a sneer) Robert, your idol, is a sneak thief. And Martin, the bad boy, is shielding him. Isn't that amusing? Huh? (laughs hysterically) Huh? Yes, Robert -- your little tin god hero -- is a thief! And I, Martin, am shielding him! Martin and his laughter are out of control. Ann looks on, horrified and hurt. ANN BEALE Stop it! MARTIN CHATFIELD You came here to get a confession. Instead, you got the truth. Well, how do you like it? ANN BEALE Why would -- why would Robert do such a thing? MARTIN CHATFIELD How should I know? (chuckling) Perhaps he's got a girl somewhere. Ann scoffs. MARTIN CHATFIELD Well, he doesn't have much fun at home, does he? Or did you think your schoolgirl crush would satisfy him? ANN BEALE My what? MARTIN CHATFIELD Oh, you've been in love with him since you were a kid. Too engrossed in worshiping the dream of a plaster saint to be aware of the flesh-and- blood men who could love you and make you happy. ANN BEALE (he has struck an nerve) Oh, how I hate you! MARTIN CHATFIELD (closing in on her) Marvelous! You have feelings! Spinster of the parish! Beautiful, beautiful spinster! ANN BEALE (savagely) Don't come near me! I could kill you! MARTIN CHATFIELD You could?! Martin freezes. A sick idea enters his head. He silently wags a finger at Ann and moves to a nearby table from which he pulls a pistol. Ann looks on worriedly. MARTIN CHATFIELD (talks to himself in a daze) It would be so easy. Martin all alone except for Ann. Nothing nearer than Stanton's house. Stanton would do anything to protect Ann. (to Ann, off the gun) But first you'd have to take the gun away from me. (insistent) Take the gun away from me, Ann. Martin holds the gun only inches from a nervous Ann. She breathes hard. MARTIN CHATFIELD It'll be exciting. Almost anything might happen. (insistent) Try to take it away from me! ANN BEALE Oh, you're insane! MARTIN CHATFIELD It's so difficult to find a new thrill. It's loaded. Honestly, it is. ANN BEALE (trembling) Martin, you're frightening me! MARTIN CHATFIELD Good! I'm frightened too. But only a little. I wonder how it would feel to be dead. ANN BEALE No, don't! Don't! Ann tries to pull away but Martin stops her and pulls her back. MARTIN CHATFIELD Oh, it's too soon for you. I don't think I should mind. But first, Ann... you shouldn't die young... Martin presses himself up against Ann. She panics. ANN BEALE Oh, Martin! Leave me alone! Leave me alone! They struggle violently. Ann SCREAMS. The gun FIRES. Ann SCREAMS again. Martin SLUMPS to the floor dead. ANN BEALE Martin! Martin! Ann runs away from Martin's body and tries to compose herself. She moves to the chair where her coat lies, grabs the coat, and hurries for the door as the FLASHBACK ENDS and we DISSOLVE TO: INT. CHATFIELD MANSION - RESUME SCENE Ann finishes recounting the night's events. The group listens solemnly. ANN BEALE When I realized what had happened, I rushed out and sat in my car for I don't know how long. I couldn't move a finger. I just sat on and on in the car... shivering. And it was so quiet in the cottage. So horribly quiet. ROBERT CHATFIELD (after a pause) You can't be blamed, Ann. CHARLES STANTON Of course she can't be blamed. ANN BEALE May I have a cigarette, Robert? Robert gives Ann a cigarette. Charles lights it. GORDON WHITEHOUSE It's a pity we can't all be as calm and businesslike about this as you are, Stanton. CHARLES STANTON I suspected long ago that something like this happened. ROBERT CHATFIELD I don't see how you could. All the evidence pointed to suicide. CHARLES STANTON Not quite all. You know I went over to Martin's cottage early the next morning -- before anybody else had arrived. And I found something on the floor. (pulls out his wallet) I've kept it ever since. Charles takes out a small piece of ripped fabric. Ann recognizes it. ANN BEALE Yes. That's part of the dress I was wearing. Must have been torn in the struggle we had. So that's how you knew. CHARLES STANTON Yes. ANN BEALE But why didn't you say something? GORDON WHITEHOUSE He didn't say anything because he wanted everyone to think that Martin shot himself. CHARLES STANTON No. There happened to be another reason. I knew that if Ann had been connected with Martin's death, something like this must have happened. And so Ann couldn't be blamed. You see, I knew her better than any of you... and I ... I trusted her. She's about the only person I would trust. She knows all about that. I've told her often enough. She's not interested -- but there it is. ANN BEALE (seeing Charles in a new light) And you never even hinted about it to me. CHARLES STANTON Surprising, isn't it? (wryly) What a chance I missed to capture your interest for a few minutes. (serious again) But I couldn't take that line with you, Ann. ANN BEALE You know, I nearly did take you into my confidence. CHARLES STANTON When? ANN BEALE When I left Martin's house that night. I felt I had to tell somebody. CHARLES STANTON But you didn't come to my place that night. ANN BEALE Yes, I did. Freda watches Betty grow increasingly agitated as Ann says: ANN BEALE It was about eleven o'clock. I left my car at the bottom of the hill. Then I walked up to the cottage. And then ... I walked back again. Robert notices the uneasy expression on Betty's face, too. ROBERT CHATFIELD What's the matter, Betty? BETTY WHITEHOUSE Why ... nothing. GORDON WHITEHOUSE Betty, what do you know about this? Were you there? ROBERT CHATFIELD Betty? Why, that's impossible. (to Betty) Tell him it's a lie. GORDON WHITEHOUSE It's true, isn't it? See? She can't deny it! ANN BEALE Leave the child alone! BETTY WHITEHOUSE That's just the mistake you've all made. I'm not a child. ROBERT CHATFIELD (incredulous) You weren't there... Freda watches Robert with concern. BETTY WHITEHOUSE (nods grimly) Yes. I was. Now I'll tell you the rest of it. I went there all right. But he wouldn't let me stay. A good joke on me, wasn't it? (to Ann) If you'd waited a few minutes longer, you would have seen him show me the door. GORDON WHITEHOUSE You little liar. BETTY WHITEHOUSE It's true. He played a perfectly beautiful Sir Galahad. You know, Charles, I've never really quite forgiven you for that. ROBERT CHATFIELD (in disbelief) Betty... BETTY WHITEHOUSE I don't think you need be quite so shocked, Robert. ROBERT CHATFIELD But why? BETTY WHITEHOUSE Because Gordon was driving me mad. This marriage of ours that you all get so sentimental about -- it's the biggest sham that's ever been. It's nothing but pretense, pretense, pretense. "Betty, darling" and "Gordon, darling" -- our marriage was all a mistake. FREDA CHATFIELD It seems to be the sort of mistake we make in our family. Gordon holds his head in his hand, listening. BETTY WHITEHOUSE I was in love with him when we were married. I thought everything was going to be marvelous. Gordon and I have nothing in common. And Charles was the one person who understood it all. If I presumed too much on his sympathies, then that's my mistake. He's been a good friend to me. GORDON WHITEHOUSE (sneering) A fine friendship. BETTY WHITEHOUSE Well, at least when I got in a jam he was ready to help me out. GORDON WHITEHOUSE Help you? BETTY WHITEHOUSE Yes. I lost a lot of money at a gambling place. Not a very nice one. I had to pay up quickly or there'd've been a scandal. And Charles gave me the money. Robert can't take it anymore. He moves to the bar to mix a drink. GORDON WHITEHOUSE (to Betty) Why didn't you come to me? BETTY WHITEHOUSE A lot of good that would've done. You couldn't even be generous. A pause as something finally dawns on Betty. She confronts Charles. BETTY WHITEHOUSE Ohhh... Charles! That was why you took the money, wasn't it? Charles nods and tries to suppress a smile. CHARLES STANTON (quietly philosophical) Queer how it all works out, isn't it? BETTY WHITEHOUSE Charles, I didn't know. I'm terribly sorry. CHARLES STANTON Oh, that's all right, Betty. Betty sees Robert drinking by the bar. She moves to him and tries to force some cheerfulness into her voice. BETTY WHITEHOUSE (to Robert) I could do with a drink myself. ROBERT CHATFIELD (regards Betty coldly) I thought you were better than the rest of us. Something fine and real. I even thought you and Gordon were happy together. BETTY WHITEHOUSE Yes. We put up a good show, didn't we? ROBERT CHATFIELD You did. GORDON WHITEHOUSE (to Betty) We'd go on pretending long enough, we might have been happy together sometime. It often happens like that. BETTY WHITEHOUSE (bitterly) Never. ANN BEALE (despairingly) Yes, it does. That's why all this is so wrong, really. The real truth is something so deep you can't get at it this way. And all this half-truth does is to blow everything up. Oh, it isn't civilized. CHARLES STANTON I agree. ROBERT CHATFIELD You agree! You might as well! CHARLES STANTON You'll get no sympathy from me. ROBERT CHATFIELD Sympathy from you! I never want to set eyes on you again, Stanton. You're a liar and a thief. CHARLES STANTON And you're a fool! You won't face things. You've been living in a fool's paradise. And now having gotten yourself out of it by tonight's efforts, all you're doing -- you're busy building yourself a fool's hell to live in. ROBERT CHATFIELD We've heard enough from you, Stanton. Get out! Charles starts to head out but stops and turns to Ann. CHARLES STANTON Good night, Ann. I'm sorry about all this. ANN BEALE So am I. Good night. CHARLES STANTON Good night, Freda. FREDA CHATFIELD Good night. GORDON WHITEHOUSE Remember, we expect your resignation, Stanton. CHARLES STANTON (to Gordon) With pleasure. Good night. Charles looks at Robert, then at the others -- and realizes that no one is going to show him to the door. CHARLES STANTON (mock polite, to all) Oh, don't bother. I can find my way out. Charles exits the room and the house. ANN BEALE (after a pause) If Charles goes, the firm will suffer. ROBERT CHATFIELD Don't worry, the firm's smashed to bits now. Robert moves to the bar and pours himself yet another drink. Gordon brings Betty her wrap. GORDON WHITEHOUSE (darkly ironic) Come on, Betty, darling. I think we'd better return to our happy little home. BETTY WHITEHOUSE Oh, don't, Gordon. FREDA CHATFIELD (to Gordon) I'll let you out. Gordon exits. BETTY WHITEHOUSE (moves to Robert) Goodbye, Robert. ROBERT CHATFIELD (shakes his head, coldly) I can't say goodbye to you. I don't know you. Hurt, Betty walks off. She and Freda exit, leaving Ann alone with Robert. He slumps in a chair and keeps right on drinking. ANN BEALE Don't drink any more tonight, Robert. I know how you feel but it'll only make you worse. ROBERT CHATFIELD What's it matter? I'm finished anyway. ANN BEALE It won't seem so bad tomorrow. It never does. ROBERT CHATFIELD No, this isn't going to be any better tomorrow. Then again, you see, I don't care anymore. Nothing happens ... (touching his chest) ... here inside. That's the awful, cruel thing. Nothing happens. Freda breezes into the room. FREDA CHATFIELD I'm sure it's not at all the proper thing to say at such a time but the fact remains that I'm rather hungry. What about you, Ann? (Ann looks away) Robert? Or have you been drinking too much? ROBERT CHATFIELD (nods) Yes, I've been drinking too much. FREDA CHATFIELD (takes his glass away from him) Well... it's very silly of you. ROBERT CHATFIELD (absently) Yes. FREDA CHATFIELD And you did ask for all this, you know. ROBERT CHATFIELD I asked for it. (bitterly) And I got it. FREDA CHATFIELD Though I doubt if you minded very much until it came to Betty. Robert and Freda sit in chairs next to the unfinished jigsaw puzzle. ROBERT CHATFIELD No, that isn't true. Though I can understand your thinking so. You see, as more and more of this stuff came out ... well, there was only one person left I felt I could depend on. Heh. Betty. And some lovely quality of life she stood for. FREDA CHATFIELD You can always build up another image to fall in love with. ROBERT CHATFIELD (rises) No, you can't. That's the trouble. You lose the capacity. You run short of the stuff that creates beautiful illusions. Just as if a gland stopped working. ANN BEALE You'll have to learn to live without illusions. ROBERT CHATFIELD Can't be done. I've lived too long among them. FREDA CHATFIELD Then why didn't you leave them alone? ROBERT CHATFIELD Because I'm a fool. Stanton was right. I had to meddle. I began this evening with everything to keep me going. And now I ... He is completely shaken and the women sense it. FREDA CHATFIELD Robert, please... ANN BEALE No, no, Robert. It won't seem like this tomorrow. ROBERT CHATFIELD Tomorrow, tomorrow... I'm through, I tell you. I'm through. There can't be a tomorrow. Robert stares in horror at Ann and Freda, then abruptly bolts from the room. The women panic as he disappears into the dining room. ANN AND FREDA Robert! Robert! There is a FAST FADE TO BLACK ... And then the crack of a GUNSHOT. A huge puff of gun smoke clears to reveal a CUT TO a TITLE CARD: This is what might have happened ..... this is what did happen ..... CUT BACK TO the clearing gun smoke. We quickly IRIS OUT of the smoke to reveal a darkened, familiar scene: INT. CHATFIELD MANSION - LIVING ROOM - NIGHT We PUSH IN toward the backs of four women, silhouetted in a doorway, as they peer out into the night at a moonlit terrace. One of the women SCREAMS. All four turn in terror to their right, to the sound of a shot which seems to them unnervingly close by. We have FLASHED BACK to the moment earlier in the evening when Robert had fired his gun harmlessly at a flower pot. The same events now play themselves out again with minor differences in dialogue, staging, and camera placement. FREDA CHATFIELD Robert! Freda runs off to the right, through the darkened room, and pushes open a door to reveal a well-lit DINING ROOM. She enters and looks in the direction of the terrace. FREDA CHATFIELD Robert! What are you doing? Robert, Charles, and Gordon stand at another terrace door. Robert has a pistol in his hand. The men appear mildly surprised at Freda's arrival. ROBERT CHATFIELD (casually, approaching Freda) Oh, I'm sorry, dear. I was just showing the boys this gun. I took a crack at one of the flower pots. FREDA CHATFIELD You must be crazy, firing a gun out the window! You might hit someone. ROBERT CHATFIELD (with an embarrassed grin) Yes, it was stupid of me, wasn't it? Well, I hope I didn't frighten anybody. FREDA CHATFIELD It's all right. Long as no one's hurt. ROBERT CHATFIELD Sorry, darling. Freda returns to the living room. ROBERT CHATFIELD (to Charles and Gordon) I guess that was a mistake. In the LIVING ROOM, Freda turns on the lights, and adopts a "boys-will-be- boys" attitude with Ann, Betty, and Miss Mockridge: FREDA CHATFIELD (laughing, to the women) Those idiots. Firing a revolver out the window. MAUDE MOCKRIDGE Oh. BETTY WHITEHOUSE Frightened the life out of me. I hate guns. Betty and Ann move off but Miss Mockridge confers with Freda. MAUDE MOCKRIDGE (to Freda, impulsively) You must miss your brother-in-law. BETTY WHITEHOUSE What made you think of Martin? MAUDE MOCKRIDGE Just being here, I suppose. (sorry to have mentioned Martin) Oh, I am sorry. BETTY WHITEHOUSE Oh, you needn't feel upset Miss Mockridge. We talk about Martin a lot. One can't afford to forget anyone so gay and charming and handsome. (quietly, with feeling) Yes. We do miss him. Gordon and Charles enter and hear these last few words. GORDON WHITEHOUSE Miss whom? BETTY WHITEHOUSE Not you, sweetheart. GORDON WHITEHOUSE (laughs) Liar. Gordon goes to Betty (who now sits by her unfinished jigsaw puzzle) and kisses her. Charles goes to Ann, wishing he could get the same kind of action. CHARLES STANTON (to Ann) Did you miss me? ANN BEALE (mockingly) If it pleases you, my dear. CHARLES STANTON It does, very much. GORDON WHITEHOUSE (idly) I wonder if there's any good dance music on. Gordon heads over to a huge radio in a corner of the room. Robert, who has followed Charles and Gordon into the living room, grabs a seat next to Betty and her jigsaw puzzle. ROBERT CHATFIELD (to Gordon) I hope not. Let's have a little quiet. (to the women) Well, what have you people been talking about? BETTY WHITEHOUSE Wouldn't you like to know? Gordon finds some dance MUSIC on the radio. CHARLES STANTON (straightens a pillow for Miss Mockridge) I do know. Either you've been talking about us or Miss Mockridge's new novel, "The Sleeping Dog." ANN BEALE Wrong, both times. It was a bird instead. BETTY WHITEHOUSE "Sleeping Dog." That's a curious title. What does it mean? ANN BEALE It was taken from an old proverb, Betty. "Let sleeping dogs lie." ROBERT CHATFIELD (to Miss Mockridge) Great book. MAUDE MOCKRIDGE Thank you. ROBERT CHATFIELD Even though I don't agree with its premise. FREDA CHATFIELD And what is its premise? ROBERT CHATFIELD Well, the "sleeping dog" is the Truth -- which the chief character, the husband, insisted on disturbing. (chuckles) With strange and disastrous results. CHARLES STANTON I think telling the truth's about as healthy as skidding around a corner at sixty. (turns to Ann, sitting nearby) You're looking awfully wise, Ann. What do you think? ANN BEALE I agree with you. I think telling everything is dangerous because what most people mean by everything is only half the real truth. Gordon stands by the radio, holding a program guide. RADIO ANNOUNCER This is station BPFY! Time signal! (a tone sounds) It is now one minute past nine o'clock! Suddenly, the radio makes a hideous SCREECHING noise -- one of the radio's tubes is burning out. There's a massive CLOSE-UP of the tube as the sparks fly. FREDA CHATFIELD (rises, hands over her ears) Gordon, what is the matter? GORDON WHITEHOUSE (pulls tube from rear of radio) The tube's burnt out. Do you have any spares? FREDA CHATFIELD Look and see. There may be one in the cabinet. Gordon turns to look in the cabinet. Freda offers an oddly-shaped cigarette box to Ann. FREDA CHATFIELD Cigarette, Ann? ANN BEALE Oh, I remember that box. Plays a tune, doesn't it? Freda lifts the top of the box revealing some cigarettes. The box plays a tinkly version of a highly recognizable tune. ANN BEALE Oh, yes, it's "The Wedding March." Gordon opens a cabinet drawer. Empty. He opens a second drawer. Inside are a couple of spare tubes. "The Wedding March" abruptly ends... Gordon pulls out one of the spare tubes. GORDON WHITEHOUSE Ah, here we are. The fates are with us. Now we'll have music and laughter. Gordon inserts the tube and the dance MUSIC resumes. GORDON WHITEHOUSE There you are. (to Betty) How 'bout a dance, sweetheart? BETTY WHITEHOUSE Love to. Betty and Gordon dance. Robert brings drinks. ROBERT CHATFIELD (hands a drink to Miss Mockridge) Miss Mockridge? (hands a drink to Freda) Darling? FREDA CHATFIELD (hands Robert the cigarette box) Thank you. Robert kisses Freda's free hand lovingly. Miss Mockridge watches Betty and Gordon dancing. They seem very happy together. ROBERT CHATFIELD (proposing a toast) Miss Mockridge? Here's to the success of "The Sleeping Dog." FREDA CHATFIELD Yes. MAUDE MOCKRIDGE Thank you so much. They drink. Meanwhile, Gordon and Betty chat quietly as they dance. GORDON WHITEHOUSE Well, if Freda hadn't had that spare radio tube, there wouldn't've been any dance music and then... (chuckles) Well, anything might have happened. BETTY WHITEHOUSE What, for instance? GORDON WHITEHOUSE Oh, we might have had to listen to Mockridge tell about the time she was a guest in the harem of the Sultan of [Baldebon?]. BETTY WHITEHOUSE For the twentieth time. I don't believe yet he was that anxious to have her stay. They both laugh. CUT TO: EXT. CHATFIELD MANSION - TERRACE - CONTINUOUS Ann stands on the terrace staring up at the night sky. Charles joins her. CHARLES STANTON Hello. Aren't we dancing? ANN BEALE (sadly) No. I don't feel like dancing tonight. CHARLES STANTON (looking up) Oh, there's a full moon tonight. Well, I'm afraid I'll have to propose to you again. The moon, you know. By this time it's become a tradition with us. ANN BEALE Again, Charles? CHARLES STANTON For the last time -- again -- Ann, what's the answer? This time? A long pause. Then, finally: ANN BEALE Yes. CHARLES STANTON (stunned) What did you say? ANN BEALE I said, "yes." CHARLES STANTON But... But this is so sudden. I mean, you can't do things like that to me. Don't you know I've got a weak heart? ANN BEALE (grinning at his reaction) You brought it all on yourself. CHARLES STANTON But, Ann, for years and years and years, every time there was a lull in the conversation, I proposed to you. I've come to depend on it. Now I'll have nothing to talk about for the rest of my life. What shall I do? ANN BEALE Well, some men kiss you. At least they do in books. Charles takes Ann in his arms and is about to kiss her when he stops. CHARLES STANTON Thank goodness you can read. (beat, dead serious) But, Ann, what made you change your mind like that? ANN BEALE (emotionally) Tonight that cigarette box brought back-- Well, I really seemed to see you first the time. CHARLES STANTON "The Wedding March" did that? ANN BEALE Perhaps. Or something it reminded me of. It made me see what a fool I'd been all these years -- wasting my life and yours. CHARLES STANTON I don't understand. ANN BEALE Never mind now. Charles, are you happy? CHARLES STANTON (overcome with emotion) Oh, darling-- I'd better not try to tell you, Ann. I might cry or do something silly. I've waited for you so long. I'd really given up hope. (beat) Hey, you're not doing this for the sake of the firm, are you? ANN BEALE (matching his irony) No, I'm doing it just to please Miss Mockridge. They laugh and kiss. We hear a few notes of "The Wedding March" before we FADE OUT This page hosted by Get your own Free Home Page