Mystery of the Wax Museum
FADE IN ON
TITLE: PROLOGUE LONDON, 1920.
1 INT. MUSEUM OF IVAN IGOR
where he exhibits groups and individuals done in wax.
The figures are of historic characters and events.
The place is almost in darkness as the steel blinds
are drawn on the windows facing the street. Through
the back and side windows we see and hear a pouring
rain. At the fade in we hear the distant rumbling of
thunder, and shortly thereafter there is a blinding
flash of lightning through the unshuttered windows
showing in clear relief a brutal, sinister face, the
black hood and cowl suggesting a medieval monk. We
see, lying at the foot of the monkish figure, a
seminude figure of a woman whose back is sadly
lacerated. She is lying face down. In the monk's hand
is a knout or cat-o'-nine-tails, as though he had
been punishing her.
In the background of this shot we see a workbench and
a work light. The vague figure of Igor is seen, at
work on a nearly completed bust. DOLLY UP TO A
CLOSE-UP of Igor's hands. We see that they are the
sensitive, fine hands of an artist, dexterous in
their delicate occupation.
2 FULL FIGURE OF IGOR as he steps back from the bench.
Evidently satisfied, he goes to a basin of water and
puts his hands in it and stands as though resting them.
3 EXT. STREET LONG SHOT MUSEUM IN BACKGROUND
It is raining and we see an occasional flash of
lightning. The figure of Worth on the opposite side
of street from museum, walking rapidly AWAY FROM
CAMERA, comes to a point diagonally opposite museum
and glances furtively about, starts toward the
entrance. When a policeman appears, he darts quickly
to a doorway, concealing himself. The officer crosses
the street and disappears along an intersecting
street. Worth makes a second endeavor to approach the
museum, when a hansom cab draws up to the curb and
Dr. Rasmussen and Golatily alight and cross the
sidewalk toward door. Worth slinks back to his hiding
place. The cab draws away.
4 CLOSE SHOT GOLATILY AND RASMUSSEN ON STEPS
(glancing at watch)
A beastly hour to disturb the fellow.
Not at all. He works late and he'll be
They knock at door.
5 INT. MUSEUM CLOSE SHOT OF IGOR
washing hands. He straightens up and glances toward
door, showing annoyance, then starts toward door.
The knock is repeated.
6 EXT. MUSEUM
Rasmussen is pressing his face to glass, looks
through, and we see, through the glass panel of the
door, Igor approaching. When he glimpses his
visitors, his expression changes from annoyance to
one of extreme pleasure, and hastening his stride he
opens the door quickly.
(with slight foreign accent)
Well, well, my friend, this is an
(shaking hands with Igor)
I shouldn't have thought of disturbing
you but it happens the friend I told you
of is leaving tomorrow to supervise some
new excavations in Egypt, and he was
anxious to look at your collection
before going away. May I present Mr.
It is a great pleasure. I have heard so
much about you.
7 INT. MUSEUM
The three men enter museum, Igor closing the door and
locking it. Igor laughs.
My children will become conceited that so
distinguished a critic has thought them
interesting enough to review.
8 EXT. MUSEUM FROM OPPOSITE SIDE OF STREET
Worth, standing in doorway opposite museum, waiting
8A INT. MUSEUM
Igor throws light switches, one at a time, each
circuit illuminating a different group. He names them
as he throws each switch.
Sidney Carton on the Guillotine.
9 CLOSE SHOT
of the figure. We hear Golatily's voice.
Very interestingly done.
CAMERA PANS TO figure of Sir Walter Raleigh as the
lights are thrown on this figure. We hear Igor's
Sir Walter Raleigh.
I was particularly interested in this one.
See the fineness with which he has mounted
CAMERA PANS TO figure of Joan d'Arc, as lights are
thrown on it and we hear Igor's voice.
It's a pity to race through such an
exhibition. One should have time to
really study them.
CAMERA PANS TO figure of Voltaire. The lights are
thrown on and we hear Igor's voice.
The two visitors are standing at the moment beside the
figure of Voltaire. Golatily backs away from it, half
closing his eyes and studying it critically.
You could almost expect him to speak. I
wonder what he'd say after all these years.
Igor joins them, laughing.
You would be astonished. He is more
difficult now, to those in authority,
than even the records show. He was a very
stubborn person, I assure you.
Unbelievably. For days I argued with
this fellow before I could get him as I
wanted him. But always I triumphed ...
... and few people triumphed over
Voltaire. And here ...
(he throws light switch on
a peasant mother and child)
... we have something that pleases me,
though of no historic importance. It was
done because I love to model children.
The group is a peasant mother, two children playing at
her feet and a nursing babe at her breast.
9A EXT. STREET IN FRONT OF MUSEUM
Worth, as he throws away cigarette impatiently and
takes new place of concealment.
10 INT. MUSEUM
The three men are strolling toward the figure of
But you have no right to hide such genius
in a side street museum.
(goes to light switch)
You are too gracious. These things have
some merit, I suspect ... but this--
... I am convinced, is fine.
(Joining the group.)
(leaning close to figure)
Even those delicate veins, the texture of
this flesh -- I have never seen anything
My partner believes that I should build a
horror chamber, immortalizing the hideous
crimes and criminals of London. At such
times Marie Antoinette has reassured me,
she has promised me recognition for the
devotion I gave to her.
She will undoubtedly keep her promise. If
you'll grant me the privilege, I'd like to
submit this work to the Royal Academy when
I get back.
You will have won the undying gratitude
of us all.
(Glancing over his shoulder.)
Is that not so, Marie Antoinette?
(as they cross to door)
I regret I can't spend the time I'd like
with your exhibition, but I'm going to
worry the life out of you when I come
(The three laugh.)
It will always afford me great pleasure
to see you.
(They shake hands.)
Good night, sir.
And I am very grateful to you.
11 EXT. MUSEUM MAIN ENTRANCE
Door opens. Golatily and Rasmussen come through door.
Igor is speaking.
Thank you so much for your visit and
They bid each other good night cordially and the two
stroll away, as Igor closes the door and pulls the
12 EXT. MUSEUM
The two men pass the spot where Worth has concealed
himself. He peers after them from the shadows, then
crosses street toward museum and walks toward door of
13 INT. MUSEUM
Igor, with the exuberance of a delighted child, runs
to the figure of Marie Antoinette and caresses her.
You heard what he said. You heard this
man who is very celebrated, what he said
(He backs away from
the figure, laughing.)
Ho-ho-ho, of course, you would say that.
You always told me so, of course.
(Then extending arms to include
all the figures in the gallery.)
And you, my friends -- Robespierre,
Danton, Marat, Maximilian, Savonarola, all
of you, how will you feel to be famous
These figures, whom he has addressed individually in
the last speech, are all on a raised platform or
balcony, and he has turned and gestured toward each
one as he named them. He now turns to Voltaire.
Walking toward the figure and shaking his finger at
And even you, who scoffed at immortality,
who wrote so eloquently against the
thought of immortality, you are
experiencing it in spite of yourself.
We hear the door open and Igor turns.
Hello! What are you doing here so late?
We hear footsteps of someone approaching him as the
CAMERA SWINGS and Worth walks into picture.
I came back for some of the books. I am
trying to straighten out the accounts. I
don't hope to impress you, but I may as
well tell you: We haven't a farthing!
(mildly, with no great concern)
That is unfortunate.
14 CLOSE-UP WORTH
He is furious.
You're right it's unfortunate! Fifteen
thousand pounds it's cost me! And you say
it's unfortunate, as though I'd spilled a
spot of grog on my waistcoat.
CAMERA ANGLE WIDENS TO A
15 CLOSE SHOT OF THE TWO
(returning to workbench,
followed by Worth; Igor
Your money may have been well invested,
my friend. Something important may come
of all this.
Something important has got to come of
it! Do you know that the rent on this
place isn't paid?
(sits at bench and
starts to work)
Is that a fact?
No -- I'm lying to amuse myself!
(Leaning over bench
Now look here, I've an idea that will get
us out of all this. We haven't twopence
between us, but we've got these.
(Draws papers from pocket,
slaps them on desk before
Igor. Igor glances at them,
then up at Worth in surprise.)
Yes, there's our way out. A fire in this
place would give us ten thousand pounds.
Igor rises slowly, unable to believe what he hears.
A fire! Is this your idea of humor, my
I want the money back I've thrown into
this rubbish heap.
You are asking to burn these people ...
you are asking? ...
(Growing excited, takes a
few steps away from bench.)
16 INT. MUSEUM MED.SHOT
Igor makes a sweeping gesture that takes in the entire
... to destroy all this?
I'm not asking you anything. I'm telling
you what I'm going to do!
And you think I will permit this, my
You've got to permit it! Whose fault is it
that no one comes here? The museum at
Walston Lane does well enough, and why?
They've got Jack the Ripper, Burke and
Hare, the Mad Butcher, the Demon Barber
of Fleet Street and things people pay to
And they are welcome to them. To
perpetuate such creatures is to celebrate
Well, what do you think I'm in this for?
(Indicating figures, changing
tone and attempting to cajole
Think of it, man, a match -- a cigar stub
-- and ten thousand pounds to divide
Not at all -- let me show you how easily
it can be done.
(He strikes match and starts
toward one of the figures.)
Igor springs and whirls him about. Worth strikes Igor
viciously and they have a terrific struggle, in the
course of which Worth seizes a spirit lamp used for
warming wax and hurls it at Igor. He misses his mark,
but the lighted lamp falls into the folds of the
draperies of one of the figures standing next to that
of Marie Antoinette. Igor screams his terror as he
dashes to extinguish the flames, and Worth,
springing on his back, overpowers him. By this time
the fire is spreading to one of the other groups.
Worth quickly snatches some of the flaming cloth from
this group and tosses it at the feet of other figures.
The figures are shown to be melting, gradually losing
form, and finally the liquid wax itself ignites with
a flash that is almost an explosion. Igor is seen to
stir, and Worth, seizing a heavy staff from the hands
of one of the figures, strikes him several times.
Apparently satisfied that Igor is helpless, Worth now
hurries to a rear door and makes his exit.
17 EXT. AREAWAY BACK OF MUSEUM
We see Worth come through door, panting and disheveled.
He starts away and then returns and locks door, after
which he runs from scene.
18 INT. MUSEUM
Igor, dazed and weak, is struggling to his feet. He
looks toward the figure of Marie Antoinette, its
draperies now a mass of flame. He dashes toward it,
catching it up in his arms, attempting to beat out
the fire. The whole room now resembles the inside of
a furnace, and as Igor, carrying the flaming figure,
struggles toward the door, a portion of the ceiling
collapses, barring his progress. He turns and
staggers toward the rear. His clothes are blazing. He
runs to a small iron trap in floor, near which is a
group tableau of Sidney Carton on the Guillotine.
Lifting the cover, he discloses an empty drain barely
large enough to permit the passage of his body. As he
disappears through trap, the rope suspending the blade
of the guillotine burns through and the knife falls,
decapitating the figure, and the head rolls across the
FADE IN ON
19 SKYLINE OF NEW YORK (miniature)
On a building in the foreground is an electric sign,
the full width of the building, which reads New York
Express. There is a huge illuminated clock dial
someplace beneath the sign. The clock shows one
minute of twelve. As the picture fades in and the
minute hand jumps abruptly to exactly twelve, another
electric sign showing the numerals 1932 in red
appears immediately beneath the sign New York Express.
Simultaneous with this we hear the shrieks of sirens,
the honking of automobile horns, the screech of boat
whistles in the harbor, the ringing of bells, the
rapid firing of a pistol somewhere in the distance,
the shouting of the crowd, indicating the passing of
the old year. These sounds, in varying degrees,
continue all through the following scenes. As this
shot dissolves, the tone dissolves with it to the
single scream of a siren as we see
20 STREET CORNER A CROWD OF PEOPLE
An ambulance driving around the corner.
21 EXT. OF APARTMENT BUILDING
with all the windows lighted. Some windows still have
Christmas ornaments in them. The CAMERA ON CRANE
MOVES UP TO various windows. As the screaming of the
siren and arrival of ambulance evidently attract the
attention of the dwellers, several people open their
windows and look out curiously. Some of them are
holding cocktail glasses, and as the windows are
opened we hear the strains of radio music and other
sounds of joyous celebrating. In the last window we
see Igor in his legitimate make-up -- not as a horror
person -- looking at something across the street.
22 EXT. OF OTHER APARTMENT HOUSE AT CORNER
The ambulance parked in front of it and a number of
curious people standing about. The door of the
apartment house is opened by a man in uniform, and we
see a doctor carrying a medical case coming out of
the house. A newspaper reporter runs up the steps to
meet him and says:
Anything new, Doc?
Nothing we didn't tell you this
afternoon. The coroner confirmed our
opinion -- it was suicide.
During this dialogue, two internes carrying a
stretcher descend the steps, pass the doctor and
place stretcher in ambulance, close door of ambulance,
get on ambulance, drive away, and again we hear the
noise of the siren.
Of newspaper heading:
THE NEW YORK EXPRESS
WISHES ITS READERS
A HAPPY NEW YEAR.
Single column article:
BEAUTIFUL JOAN GALE
(then in smaller type)
Show Girl Found Dead
On Eve of New Year.
(then the story)
While the Broadway she loved prepared
to celebrate the New Year, Joan Gale,
beautiful show girl, lay dead by her own
hand, it was discovered late yesterday
afternoon. A maid at the Denton Hotel,
where the butterfly girl occupied an
expensive suite, entered her apartment
at noon and found her clad in pajamas,
(single column picture of Joan Gale)
All through reading paper we hear New York celebration
23 NARROW DOWNTOWN STREET (probably West Broadway) NIGHT
With elevated road extending full width of street. An
old-fashioned, disreputable brick building, with an
iron grating along the edge of walk, beyond which is
an areaway and a flight of stone steps, leading to
basement door. There is also a door on the street level.
The figure of a man approaches the house. The CAMERA
SEES only his back. We hear the distant sound of the
New York celebration, and two girls, passing the man
who is walking AWAY FROM CAMERA, blow horns at him and
throw confetti on him. He does not answer. He passes
them and admits himself to house with latchkey.
24 INT. WORTH HOUSE
CAMERA FOLLOWS him through a corridor into a room as
dilapidated and forbidding as the exterior of the
house. The room, evidently used as an office, is
furnished with an ancient, battered desk and chairs.
The walls are bare, and in places the paper, and even
bits of plaster, have been torn away.
The figure of the man enters and throws on the lights.
He goes to the desk, picks up a phone and dials a
number, sitting in swivel chair with his back to
CAMERA. He gets his number.
Hello, is that you, Tim? ... Tim, I'm
sorry but I've got to have that tonight
... I've got to have it.
CAMERA TRAVELS TOWARD him as he slowly turns to face it.
No, I need it right away.
By this time we get a
25 CLOSE-UP OF WORTH'S FACE
and we see that it is the man who burned the museum.
All through the phone conversation we hear the muffled
shouts, the horns, etc. of the New Year celebration.
Who's on at the gate? ... you say Joe?
... Well, then you can get it out all right.
I'll have the truck right down there. The
harness bull down there is oke. I fixed that
26 STREET OUTSIDE THE MORGUE
A policeman walking leisurely along his beat reaches
the iron gate and glances up at the sign above the
arch, which reads Morgue. We hear the distant
shouting, singing, trumpeting. After the officer has
disappeared, an upper window of the building opens
and the hideous face of the Monster appears as he
leans out of the window following the progress of
the policeman along the street.
27 INT. MORGUE FULL SHOT
(It is necessary to give this business in detail, but
it will be played quickly as the Monster moves with
The room is almost in darkness, the only light coming
from a window well upstage and at one side. We see
dimly a row of slabs mounted on wheels. They are all
occupied, the bodies being covered with sheets. The
Monster glides quickly among them with a flashlight,
turning down the sheets and inspecting the faces,
finally locating the one he seems to have been in
search of. CAMERA COMES TO A
28 CLOSE SHOT OF MONSTER
bending over slab as he examines figure illuminated by
flashlight. We do not see the features of the corpse.
As the Monster straightens up, he utters a horrible
gurgling, retching murmur of joy, and we see him
clearly for the first time.
29 CLOSE-UP MONSTER
A black-cloaked figure, disproportionate and
grotesque, the face a horrible formless mass of
scarred tissue. He has practically no forehead. His
face is a shriveled bald pate of seared skin and bone,
which recedes to a pointed cranium of unnatural
contour. His eyes are alight with fanaticism and
insanity. The face is a blot of drawn, unwholesomely
colored, hairless skin. He is lipless, noseless, and
what traces of human features remain are frightfully
distorted. CAMERA RECEDES TO
30 MED. SHOT
and TRAVELS WITH him as he pushes the carriage
quickly to the back window and places it against the
sill, feet first.
31 CLOSE SHOT AT WINDOW
He opens the window, which has a single bar from top
to bottom dividing its center. He leans out and
whistles. During all of this we have been hearing the
joyous shouts of the merrymakers. In answer to his
signal there is a single whistle from someplace below.
He throws the sheet aside and fastens a rope around
and under the arms of the corpse, which he pushes
slowly across the sill into space. After lowering the
body, there is a whistle from below. He throws the
remainder of the coil of rope out the window, but on
the opposite side of the upright bar, so that the
rope forms a double strand outside, permitting him
to slide to ground level. CAMERA ANGLE WIDENS and we
PAN WITH the Monster as he returns the slab to its
original position. He hears someone approaching and
stretches out at length on the slab, covering
himself with the sheet. The voices grow louder and
the CAMERA SWINGS, PICKING UP TWO attendants and
FOLLOWING them as they enter. One of them throws on
the lights, and they wheel another body into place
beside the slab on which the Monster is concealed.
New Year's Eve ain't what it used to be.
This is only the second one tonight.
Yeah, times are sure tough.
What happened to this one?
Husband slapped her full of lumps ... said she
talked too much.
The men turn and start out of the scene. The body,
having just been embalmed, has a muscular reflex and
rises to a rigid semisitting posture.
Embalming fluid makes 'em jump.
He returns coolly and pushes the body into its proper
position. The action causes a horrible rasping sound,
peculiar to corpses.
Ain't that just like a woman ... always
has to have the last word.
CAMERA FOLLOWS the two men as they exit in the
direction from which they came, throwing off the
lights and shutting the door after them. CAMERA PANS
BACK to the Monster as he springs from the slab, and
FOLLOWS him as he crosses to the window, climbs
through and lowers himself over the sill.
Showing base of upright bar of window with rope
looped over. Evidently safe on the ground, the
Monster pulls one end of rope, and we see it running
around bar until the end disappears.
During this insert, we hear a crescendo of horns,
shouts, etc., finally dominated by the clack of a
wooden noisemaker, that blends gradually with the
myriad clicking of a number of typewriters, as we
32 CLOSE-UP OF TYPEWRITER AND HANDS OPERATING MACHINE
CAMERA PULLS BACK:
33 COMPOSING ROOM OF THE NEW YORK EXPRESS NIGHT
CAMERA PICKS UP a door at the end of a line of tables,
with typewriters, where rewrite men are busy on copy,
copy boys bringing them assignments, carrying away
completed stories, etc. Sign on door reads Managing
Editor. CAMERA SWINGS the length of the lane, PICKS
UP door at opposite end of room, and with a sudden,
terrific blast of steam whistles, etc., the door
opens and the girl, Florence (Glenda Farrell),
appears through door, obviously squiffy, leading a
nondescript mongrel dog. She carries a long, cheap
tin horn. The man nearest the door glances up from
Gentlemen of the Daily Grind: 1932
salutes you with a fanfare of golden
(Takes hand from behind her
and blows on rubber "Bronx
The men laugh. Florence produces a bottle of Scotch.
(pointing significantly toward
managing editor's door)
Save your breath. Hard-Tack wants to see you.
I don't want to see him -- he hurts my eyes.
No kiddin', he's sore as a dog.
Move over Kelly. I'm in the dog house!
Where'd you get the stag hound?
He's not a stag hound. His name is Kelly
and he's a police dog.
(patting the pup; others gather
around also stroking him)
What do you mean police dog?
Come on, slaves, drink and be merry for
tomorrow you might be appointed
correspondent to Washington ... a fate
worse than death.
Listen, Flo, cut it out. Hard-Tack is
Ain't that something. The mad monk of
Manhattan. Here goes nothing.
(Crosses to door lettered
Managing Editor and, as she
exits through it, shouts over
Listen to the animal cracker roar like a
34 INT. EDITOR'S OFFICE
The managing editor (Frank McHugh), a man of about
thirty-five, not physically unattractive, but rather
grim, is seated at his desk -- an intense worker,
plainly impatient with anyone who loafs on the job.
(In the following scene we establish that, while he
quarrels continually throughout the picture with the
girl, there is an underlying and very strong bond of
friendship and respect between the two.)
The door opens and, as Florence appears, we hear the
last few words of her preceding speech. She closes
the door, leaning against it.
As I live and breathe and wear spats ...
(looking up angrily)
Been doing experiments with Scotch and
(disheveled and obviously
with an "edge")
Where did you get the news item?
From a little bird?
(Discards sheaf of papers
and looks up.)
Have a pleasant vacation?
Charming. More delightful people crippled.
Great. Consider yourself crippled --
financially. See if you can jar your
charming friends loose from enough to eat
That you're a sure bet to place in the
bread line. There's no room on this rag
for the purely ornamental. You're easy on
the eyes and pretty conceited about it.
He returns to his work. CAMERA FOLLOWS Florence and
comes to a
35 CLOSE SHOT OF FLORENCE
as she walks down and puts her arm over editor's
Is mama's dumpling getting tough?
He pushes her away from him.
I'm through clowning. You're all washed
up. Get out!
What do you mean, you poor ham! This is
All right, what about it? We get out a
paper just the same. Did you ever stop to
think of that?
Well, is it my fault if nothing happens?
He rises and, taking Florence angrily by the arm,
almost drags her to the window. He points to the
street below. There is an alternating red and green
light through the window, as though it came from an
electric sign across the street.
Look down there! Nothing happening! Out of
that insane mob you say there's nothing
happening? There's a story in every person
(With elaborate sarcasm)
And how does one go about getting these
human documents, may I inquire?
That is none of our business.
(Pushing her suddenly so
that she stumbles to door.)
But you bring me something for the next
edition if it's only a recipe for
(Turns quickly and
sneers at her.)
(turning to door, shouts)
Quick, Watson, the cookbook!
She exits and slams door. He looks after her angrily,
as he returns to his desk.
36. INT. COMPOSING ROOM FULL SHOT
as Florence reenters. Sits on desk of last man she
What a sense of humor that guy has. Thinks
a hangover is a Jewish holiday. I'm fired!
I told you he was a sore.
Stories scarcer than caviar at a street
cleaner's banquet, and he says, bring me
a yarn. All I have to do is get a story.
Here's a wow.
He whispers to her. She straightens up and looks at
him contemptuously. She crosses to door. Turning
back, she sees the mongrel she brought in and calls.
Hey, come here, Kelly. I don't want you
hanging around with that guy. He's been
reading naughty stories.
She and the dog exit.
INSERT: CLOSE-UP OF COVER OF MAGAZINE
entitled "Naughty Stories." Shows scantily attired
figure of a girl dancer.
CAMERA DRAWS BACK TO
37 CLOSE-UP OF DESK SERGEANT ABSORBED IN MAGAZINE
at 47th Street Police Station.
38 FULL SHOT POLICE STATION RECEPTION ROOM
Several uniformed men seated, reading late editions,
etc. Florence enters with gay, almost rowdy
camaraderie and thumps one of the officers on the
Happy New Year, Ambrose!
He straightens and looks up.
Hello, Mrs. Dempsey. I don't see how
they're ever going to settle that
heavyweight argument while you're around.
39 CLOSE SHOT DESK
Florence crosses to desk and, reaching over, pulls
the magazine out of the sergeant's hand.
Happy New Year, sweetheart. How's your
(Glances at magazine.)
(Hands it back to him.)
Call the Homicide Squad!
How's every little thing?
Fine. You're the first reporter in here
for two hours. You people seeing the old
I'm people which the old year saw out.
I'm canned, fired!
I've got to make news, if I have to bite a
(Looks around suddenly.)
Hey, Kelly! Oh, mi gosh, even he walked
out on me.
I've got a story for you. You know the
Joan Gale girl?
Yes, she committed suicide yesterday.
That's not news. I heard about it last
Oh, yeah? Maybe she didn't commit suicide. She
may have been murdered!
No foolin' -- any suspect?
Do you know George Winton?
Old Howard Winton's cub?
That's the one.
They don't suspect him?
Don't they? He's down at The Tombs right
Say, if you're stringin' me, Old-Timer ...
Why would I string y'? They were sweeties
until a month ago.
What does that prove?
Nothing. Only she may have tried to
blackmail him. You know such things have
happened. Anyway, he was at her apartment
a few hours before she was found dead.
Hotcha! Saved, one job!
She reaches for the telephone on the sergeant's desk.
He snatches it away from her.
Press room for yours.
40 FULL SHOT POLICE STATION RECEPTION ROOM
as Florence starts to door.
But hold everything. Let me give you the
rest of the dirt.
She turns in door.
Make it snappy, Colonel.
There's an autopsy ordered at Bellevue
immediately. You better skip over there.
(starting through door)
Don't give this to anybody else, will you?
It's all yours.
As she exits, she throws switch, leaving the entire
room in darkness. There is a shout of protest from the
men, which blends with the sound of an elevated train
41 EXT. WORTH HOUSE
A small covered truck drives up and stops. A man
riding beside the driver jumps down and, glancing
quickly up and down the street, runs down the basement
steps and rings bell.
42 CLOSE SHOT BASEMENT DOOR
Lattice is drawn aside and a man peers out.
Get it all right?
Yes ... let's get it off the truck. Lend
us a hand.
The door opens.
(calling over his shoulder)
Hey, Sparrow -- come on!
Another figure appears, a furtive little man who
occasionally, throughout the picture, rubs hand
across nose as cocaine fiends are known to do. He
seems to be in a very nervous state. Together, the
four men remove a large oblong case from the truck
and carry it downstairs into the basement.
43 INT. A LARGE, SPARSELY FURNISHED BASEMENT ROOM
There are a number of crates and boxes piled in one
corner, and on a plain kitchen table, center, there
are a number of bottles, glasses, etc. The four men
enter and deposit the case, which is marked Fragile
-- Handle with Care, on the floor.
How about a little shot?
As the men approach the table, CAMERA MOVES UP and we
get a CLOSE-UP, separately, of each of the four men as
they drink. They are all of the urban criminal type. As
CAMERA PULLS BACK, the truck driver and his companion
start toward door.
Happy New Year!
See you some more!
The two exit.
44 FULL SHOT OF BASEMENT ROOM
as the two men exit. Door tender turns toward Sparrow
and CAMERA MOVES UP TO A
45 CLOSE SHOT OF THE TWO
No use of your hangin' around here. He
told me not to give you anything tonight.
(obviously in highly
Where is he? Call him down, willya? I've
got to talk to him.
A door upstage opens. The two turn and CAMERA PULLS
BACK as Worth enters.
I thought I told you to stay out of here!
Sparrow crosses eagerly toward Worth.
Hello, Joe. I wouldn't bother you, but
I'm all in. My nerves are all shot.
Your nerves are not all that are going to
be shot, you sneaky rat -- you've been
Worth hits Sparrow and knocks him down.
(to door tender)
Give him a deck.
CAMERA PULLS BACK TO
46 FULL SHOT OF BASEMENT ROOM
as door tender extracts a small parcel from drawer in
table and tosses it to Sparrow, who grabs it eagerly
and struggles to his feet.
And understand this, you get nothing more
from me until you show me something! And
the next time you speak out of turn,
you're going to have bad luck.
As Worth finishes speech, he slaps Sparrow's face.
(conscious only of
the package given him)
Thanks ... thanks.
47 TOP OF TABLE PITCHER OF ICE WATER, GLASSES NIGHT
Florence approaches table, pours a glass of ice water
and, before drinking it, presses it to her forehead
and temple. CAMERA SWINGS showing rest of room, which
is evidently a morgue surgery. There are several
officials, internes, a nurse, two doctors, two or
three plain-clothes men and a policeman in uniform
who is standing guard at the door. One of the plain-
clothes men, who evidently knows Florence, crosses and
speaks to her.
I've got a case of jitters that will cop
the Pulitzer prize. If they drag this out
too long, they'll have another corpse on
CAMERA SWINGS TO:
48 CLOSE SHOT OF TWO DOCTORS
When I was called, doctor, the girl had
been dead for possibly three or four
hours. My examination showed clearly
that she died of laudanum poisoning. I
thought at first it might have been an
accident, an overdose. Her eyes indicated
that she used narcotics frequently.
What was the police theory?
Leave any message?
No. That's why I thought death might have
One of the plain-clothes men joins the two doctors.
Who got the information about Winton,
Everyone knows they was livin' together.
But the way they fought you'd of thought
they was married.
Been separated quite some time, hadn't
Yeah. He was playin' up to some other
twist. Winton's in bad because he left
there just before she folded up.
Well, if she committed suicide, with
laudanum, she probably took it in its
crude form, and we'll find it in that or
very close to that state. If someone gave
it to her, it would be diluted.
How could he give it to her?
In a cup of coffee or a glass of whiskey.
The door bursts open and one of the attendants rushes
in and, going directly to the two doctors, speaks.
The Gale body is gone!
Gone? What are you talking about?
(speaking almost simultaneous
with the first)
The body gone! Absurd!
Wait a minute.
(To the attendant.)
What happened? What do you mean the
Just that. It's gone -- vanished --
You mean somebody stole the body!
No. It got up and walked down to the
cemetery to dig up a date.
Detectives give Florence a dirty glance.
We went for the body and found the slab
empty and the window to the alley open.
Hot dog, death on a holiday!
(calling to other
Come on, Flannery!
They leave the room hurriedly, followed by the
attendant. Florence, her hand to her head, sways.
Boy, oh boy! And he asked for a story. Is
his face red! She looks around, sees phone,
grabs it up and calls for a number.
Bryant two six two six.
She waits a moment and then jiggles the receiver
My, my, how you have grown.
Will you get that number, Mrs. Van Winkle!
49 EDITOR'S OFFICE
The phone on his desk is ringing. He picks it up.
50 CLOSE-UP FLORENCE IN PHONE BOOTH
Hello, Slug ... kill that Winton story
for this! Joan Gale's body, not John
Brown's ... Joan Gale's body was snatched
from the morgue two minutes ago! I'm here
now! Yeah, there were nine or ten
witnesses! Nope, they didn't talk!
They're pretty stiff. No, dope, not
drunk, they're dead!
51 EDITOR'S DESK CLOSE SHOT EDITOR INTO PHONE
Can the clowning! Great! Great! Tear
down to The Tombs and get to Winton! I'll
have Harry write the first flash!
(Something she says evidently
angers him to the point that
he holds the telephone away
from him. Half angry, as though
it were responsible, he barks.)
A cow does that ... and gives milk besides.
(He slams up receiver.)
52 CLOSE-UP PRINTING PRESSES IN LARGE NEWSPAPER PLANT
The papers being pushed out on rack as they are
delivered from press. CAMERA PULLS BACK as foreman
picks up a copy to examine it for type.
INSERT: CLOSE-UP OF NEWSPAPER
showing scare headline describing arrest of George
Winton who is held in jail and an autopsy ordered. On
front page is a photograph of Winton. CAMERA HOLDS
for a moment on photograph, which DISSOLVES TO:
53 CLOSE SHOT OF WINTON BEHIND BARS
54 INT. CELL IN THE TOMBS
Winton seated on the edge of his cot. CAMERA SWINGS
AROUND to reveal the cell door being opened by a guard.
Florence enters and goes to boy. He is a rather
handsome, but weak, dissipated type, who arouses our
sympathy without winning our respect.
How do you do. I'm from the Express.
Winton looks up. When he speaks, his sentences are
halting and broken. He's badly frightened.
Yeah. I suppose you people will crucify
me for something I didn't do.
(His voice rising
almost to falsetto.)
I didn't! You understand that! ... I
didn't do it! She -- tried before --
(Buries his face in
hands, choking sob.)
(Sits on cot beside him,
pats his shoulder)
Come on, old man, that won't do. You know
you're innocent until proven guilty.
(springing to feet and
pacing back and forth)
Yes, sure, that's fine. While I'm proving
my innocence, you people are going to
uncover every petty kid trick I ever did
... you're going to write editorials about
every cocktail I ever drank. Anything that
any sane, normal person might have done
will have a sinister meaning, if I did it.
(He is almost crying at
this point, sitting on
Go on! Get out! I don't want to talk to
(He rises and crosses quickly
as though to open door, then,
realizing that he is locked in,
leans, face against the bars,
fighting to control tears.)
Florence follows him and places her hand on his shoulder.
Listen, kid. You're in a tough spot, and
you can make it a whole lot easier for
yourself if you cut out the cry-baby
(whirling, faces her)
That's what I said.
My lawyers will be on the job in a
little while, and I warn you people
anything you print about me you've
got to prove. Dad won't stand for--
Your dad has stood for plenty. Now let's
get down to cases. When did you see the
Dale girl last?
For a few minutes the afternoon before
-- before --
Hmmm. Why didn't you tell that to the
They didn't give me a chance. We had a
couple of drinks and she was all right
then. She seemed happy.
Uh-huh. Do you remember what she said?
What did you talk about?
She laughed and told me that we were
being silly, that we didn't care for
each other any more but we needn't
hate each other ...
(He sobs through the
finish of this speech.)
... She said she wanted to be friends.
I see. Was that all she said?
to some degree)
We planned a trip for her. I was going to
send her to Bermuda.
You weren't going with her?
(Paces floor, pounding palm of
hand with fist desperately.)
Why didn't I take her out somewhere? But
she was laughing and seemed so happy.
Well, let's get back to the case in hand.
They ordered an autopsy and discovered
her body had been stolen from the morgue.
(his nerves quite shattered)
Stolen! What are you trying to do to me?
... You're working with the police! ...
You're trying to make me say something
that can be used against me! You're
Hold on, hold on. I'm trying to help you,
if you're on the square, and I think you
Then why are you telling me a crazy lie? ...
That happens to be the truth.
Who'd steal her body?
That's what they're going to ask you.
Winton seems stunned. Guard appears in door.
Be right with you.
(Turning, pats Winton
Keep a stiff upper lip, kid. I
think you'll come out okay.
The guard opens the door and as she exits, we
55 CLOSE SHOT OF EDITOR AT HIS DESK
He is leaning back in swivel chair, listening
attentively. We hear Florence's voice, but do not see
The whole thing sounded on the up and up
to me. The poor kid is too scared to lie.
He's getting a raw deal.
CAMERA PULLS BACK to include Florence, seated in chair
close to editor's desk.
Well, ain't that a shame. Nice little
chappie that wouldn't harm a fly ...
everybody picking on the little fellow.
If this kid was some unknown soda jerker,
they wouldn't have pinched him. But he's
George Winton and they're playing him up.
It's a Roman holiday for every paper hat
editor in New York.
(glancing from desk where
he has been idly scratching
with a pencil)
Why the goose pimples? If he wasn't
social register -- if it was somebody
like me, you'd be trying to hang him.
I wouldn't be trying, beloved. I would
hang him! And another thing, all this
gaga about the body disappearing. Eight
bodies have been stolen in New York
within the last eighteen months. Doesn't
it seem more reasonable to hook this up
from that angle?
And ruin a perfectly good story? Don't be
No, I mean it. I think this kid's
entitled to a break.
He's getting a break, ain't he? He's
You give me a pain!
I'm glad to hear it. When did you go in
for crusading in the cause of justice?
This lousy mug, with all the money in the
world, has had two or three nasty affairs.
He's kept out o' print because his great-
grandfather was smarter than the Indians.
Well, anyway, he couldn't have copped
that body -- he was in jail.
You don't think he'd be sap enough to do
the job himself. I hope they give him the
works. Even if he didn't kill the kid,
he's responsible for her death, and
they can fry him any time without
making me sore.
Well, I won't work on it from that angle.
Oh, you won't -- you were pretty tough
about Judge Ramsey -- a little while ago --
And they never proved anything against
Except that he disappeared when things
got too hot.
Or was bumped off by someone who was
afraid of him.
Whooey -- he took a run-out powder.
Well, that's got nothing to do with this
case. Can I handle this my way?
You cannot. I'm still editor of this sheet.
All right, you said I was fired. Well, I
quit! Give the assignment to somebody
(Starts toward door.)
Hey, come here, Sob-sister!
Nope, I'm through!
Her hand is on the knob. CAMERA FOLLOWS editor who
rises and, following, embraces her roughly and pats
her on shoulder as he releases her.
Go ahead, screwy! Do it your own way.
As he returns to desk, she takes a step after him.
On the square, Jimmy, if you'd seen
Winton down there -- I'm not holding a
brief for him -- maybe he's a dirty pup,
but he's scared and hysterical -- and so
kinda dumb and worthless ...
Great! ... If he's worthless we'll give
him away as a bridge prize. Come on --
beat it. It's five o'clock. You need
(going through door)
No, there's another point I want to iron
Sleep on it ... we'll get it tomorrow.
Holds picture that he drew away from him, looking at
it critically. Florence moves back of him to glance at
it. He hands it to her.
INSERT: OF PICTURE
which is a crude sketch of Mickey Mouse on horseback,
charging a windmill with a long lance.
Which one is me? The horse?
(throws tobacco pouch at her)
Get out of here.
Florence dodges it, and exits laughing.
FADE IN DAY
56 CLOSE-UP OF THREE CITY STREET-SWEEPERS' PUSH BROOMS
held end to end, pushing ahead of them a large quantity
of confetti, bits of paper and refuse of the hilarious
night before. CAMERA PULLS BACK, revealing three street-
sweepers. In the background we see the sign:
LONDON WAX MUSEUM -- GRAND OPENING
FIRST TIME IN AMERICA
and in front of the place, as CAMERA MOVES UP AGAIN
TO the entrance, we see a janitor sweeping off the
sidewalk. He is a strange, unwholesome-looking
character. He has swept most of the sidewalk, pushing
the collected debris into a pile in the gutter, when
his attention is caught by the protruding end of a
whiskey bottle which shows in the pile. He picks up
the bottle and sees that there is a little bit of
liquid left in it, and he drains it, drop by drop,
into his mouth. He stoops to examine the pile further.
Otto! Otto! Get in here!
CAMERA FOLLOWS him as he turns and goes into the museum.
57 INT. MUSEUM MED. SHOT OF IGOR
In background we see a veritable beehive of activity.
A number of workmen, including painters, carpenters,
are busy building and designing screenlike backgrounds
for the various exhibits, placing figures on platforms,
etc. In the center of the room, watching them, is Ivan
Igor. CAMERA MOVES TO A
58 CLOSE SHOT OF IGOR
He is much changed, but still recognizable as the man
we knew before the fire. His beard and hair are almost
white and have been permitted to grow to far greater
length, but the features are essentially the same,
except that when he speaks or moves his face is
strangely immobile. He is seated in a wheelchair,
which is propelled by sprocket wheels on the arms of
the chair. In order to manage this, there is a special
cup or basket attached to the handles, as his hands
are hideously deformed and practically useless for
the purpose. He is impatient and angry with the
workers, venting his anger immediately the janitor
appears. Igor propels the chair forward.
59 MED. SHOT IGOR AND JANITOR
Igor, stopping, points angrily at floor immediately
surrounding some of the groups, where shavings,
excelsior and other packing material and debris are
Does it take you all morning to sweep
that patch of sidewalk? Come, clean up
this mess, and don't try to sweep this
trash behind those screens. I want it
Starts to clean up around nearest group. Igor wheels
toward another group, FOLLOWED BY CAMERA, and
addresses workmen angrily.
Come, look, you fellows. You spend two
days on something that should have taken
One of the workmen turns angrily.
Say, listen, Old-Timer, they abolished
slavery in this country a long time ago.
Is it slavery to do what you're being paid
for? I have announced the opening of this
Wheels angrily away. The workman laughs. CAMERA FOLLOWS
Igor as he wheels to end of museum where Hugo and Ralph
are at work putting the finishing touches on two
individual figures. Hugo is a man of middle age, with
an insane, crafty face, unkempt hair and several days
growth of beard. He smiles continually to himself as
though some secret of his own amused him. He is deaf
and dumb and when excited or angry emits strange
terrifying growls similar to the noises we heard
the Monster utter. Ralph is rather a nice-looking
youngster and seems engrossed in what he is doing.
CLOSE SHOT Igor comes to a stop near Ralph and sits
inspecting his work.
If my curiosity is not too great, would
you mind telling me what manner of animal
this is you are designing?
One of the maids-in-waiting for that
(raising his hands to heaven)
And he isn't struck dead! This man, he
lives! It would be interesting to know,
young man, where and when you studied
(steps back a little and
looks critically at the
That doesn't seem so bad to me. What is wrong
Everything, my friend. And you hope to be a
great sculptor --
A great sculptor. Look -- this forearm is at
least two inches too long.
But the composition as a whole -- I've
tried to keep a sketchy freedom.
If it is freedom to represent people with
limbs that don't match -- cripples -- you
have achieved your purpose. Anatomy!
Heaven forgive you. You must have studied
with a sideshow of freaks!
CAMERA SWINGS as Igor whirls chair and sees Hugo's
And this fellow! Look, I ask you ...
look what this cobbler is doing!
Ralph grins. Igor takes one of the crutches that ride
beside him on chair and, reaching out, pokes Hugo's
shoulder. Hugo turns with a startled growl.
(pointing with crutch to
figure which looks not unlike
Hugo himself -- shouts)
What is this? Are you so beautiful that
you make everything in your own likeness?
Hugo utters an uncanny sound identified with deaf-mutes.
Igor, realizing that Hugo doesn't hear him, just waves
him back to work.
It's a great mercy of Providence that this
fellow cannot hear.
(Turning back to Ralph,
suddenly extends two horribly
maimed, clawlike hands toward
Look! Look at those claws! If I had those
hands of yours, I would show you the
meaning of what you are trying to do. All
those beautiful things that were destroyed
I could restore. It is a great irony that
you people without souls should have hands.
61 EXT. ALLEY ENTRANCE REAR OF MUSEUM
We see a truck backing in, and Sparrow, whom we first
saw at Worth's house, climbs down from the driver's
seat and enters museum.
62 INT. MUSEUM
Igor is still speaking.
But go on, go back to work. It is hopeless
to talk to such people.
He suddenly stops and turns his head. CAMERA SWINGS TO
FOLLOW his line of vision and PICKS UP rear entrance
as door opens and Sparrow enters. Igor wheels chair
rapidly toward Sparrow, CAMERA FOLLOWING.
Have you got it? Is it completed?
Yes, sir, it's here on the truck, but it's
pretty heavy -- I'll need help.
(turns and shouts)
Otto! You and one of those other fellows!
Come help Professor Darcey.
Janitor comes forward, followed by two workmen.
And hurry, please. This figure has still
to be mounted and dressed.
Sparrow exits with three men, leaving door open. Igor
wheels back toward Ralph and Hugo. He laughs
delightedly, addressing Ralph.
And now, my friend, you are to see
something that one can in truth describe
as art. Professor Darcey doesn't try to
keep freedom and sketchiness in his
figures. He is an artist. He works at
home, hours, when such people as you are
loafing. He is an artist.
The four men carry in a long, narrow box similar to
the one that was delivered to Worth.
Shall we unpack it?
One of the workmen takes a claw hammer from strap in
overalls and starts removing the lid as Igor wheels
himself quickly toward Sparrow and the workers. CAMERA
FOLLOWS and, as the lid of the box is removed, some
burlap and other packing materials lifted out, and the
box raised on end, we see the head, shoulders and one
arm of a beautiful, lifelike figure of a girl. We
identify the face immediately as that of Joan Gale. As
the workers go about removing the rest of the packing,
Igor whirls and addresses the other workers who have
advanced and stand admiring the figure.
Get back to work! You will have plenty
of time to look at this.
As the workers return to their various jobs, one of
(Note: The museum is, in all essentials, identical
with the institution in London, the one figure
missing from the restored ensemble being that of
63 CLOSE SHOT OF IGOR AND SPARROW
close to wall on which hangs a photo of Igor as a
young man standing beside statue of Marie Antoinette.
It is exquisite -- almost as beautiful as the
(points to picture on wall.)
I hope one day to have you restore Marie
(Sparrow is in a highly nervous
state, which Igor detects.)
I'd be glad to, Mr. Igor.
(Leaning close to Igor --
in subdued tone.)
I think I'll have somethin' to tell you
You have done well, and now I, too, have
something for you. Come.
64 TELEPHONE BOOTH NEAR ENTRANCE OF MUSEUM
Ralph approaches and enters it. We see him dial for a
65 CLOSE SHOT OF HALL PHONE
which rings and Charlotte Duncan (Fay Wray) enters
scene and answers it. We see that in stature and face
she is almost identical with the lost figure of Marie
Oh, hello, dear. I was just thinking of
you. ... I was, too ... no, I haven't
66 RALPH AT PHONE
You better not forget or I'll cut you out
of my will. But listen, we'll have to go
somewhere close. I'll only have a few
67 CHARLOTTE At PHONE
We'll go to that Little Bohemian place... .
Yes, I like the food there.... All right,
then, at twelve.
She hangs up receiver. CAMERA TRUCKS RACK TO
68 INT. LIVING ROOM OF SMALL APARTMENT
A modestly furnished room. There is a studio couch,
right, on which Florence has been sleeping. She
straightens up, rubs her eyes, yawning, as Charlotte
turns away from phone.
(as Charlotte turns
away from phone)
Who was it? Penny ante?
I wondered. Did he invite you to lunch,
or did you invite him?
I wish you wouldn't be so sarcastic about
Ralph. He's the sweetest kid I know.
Florence throws herself on bed, full-length, laughing.
What are you laughing at?
I just had a picture of you telling a
landlady some day that you didn't have
the rent, but Ralph is awful sweet.
I don't see any big-moneyed boys running
I met one last night ... all the money
this side of Peoria.
Did you? Where?
In the can.
The hoosegow! Mrs. Winton's little boy.
The Pawk Avenue Wintons, you know ...
and plenty of do-re-mi.
(Goes smoothly into melody
of "Jail-house Blues." Singing.)
He's in the jail-house now ...
LAP DISSOLVE TO:
69 CLOSE SHOT AT HALL DOOR AT TOMBS OPENING
Young Winton comes through and is led away by turnkey.
Come on. Bring your stuff, you're goin'
70 INT. OFFICE OF THE TOMBS
Two prosperous middle-aged lawyers are seated near a
desk talking to the official in charge. One of them is
presenting a court order for Winton's release to the
The door opens and a turnkey leads young Winton into
the room. Winton crosses quickly to the attorneys,
both of whom rise, and, shaking hands with one, he
Mister, when I say I'm happier to see
you than I ever was to see anybody in my
life, you know that it comes from the
(Nodding to other man.)
How are you, Mr. Gates?
(shaking hands with Winton)
Splendid, my boy, splendid. What do you
think you've been up to?
Not a thing.
I hope your father accepts that statement.
Is Dad here?
No. I talked to him long distance this
Was he pretty sore?
Well, he wasn't exactly overjoyed.
What did he say?
He said to get you out of trouble and
then hire someone to punch your head off.
(All three laugh.)
Have you had lunch?
Well, come on, we'll get something to eat.
They cross toward door.
(to official behind desk)
Hope to see you again soon.
I hope you don't.
They exit, laughing. The guard who brought Winton in
looks after the departing men.
(as door closes behind them)
I'd give a year's pay to work on that
But you don't shellac a guy when he can
put up a hundred thousand dollar bail.
71 INT. OF TAXI CAB
Florence and Charlotte occupy the cab. Charlotte seems
indignant but Florence is amused.
Well, I don't want to offend you, but,
frankly, it's none of your business. I
don't interfere in your affairs.
I don't have any affairs. What do you
I don't think you could have a real
affair. You couldn't care for anyone.
I've been in love so many times my heart
is calloused ... but I've never hit one
with dough. This love-in-an-attic isn't
my idea of a way to spend a pleasant
I don't agree with you.
All right, you raise the kids -- I'll
raise the roof. I'd rather die with an
athletic heart from shaking cocktails and
bankers, than expire in a pan of dirty
He can look like a chimpanzee and act
like an igorot but he must have dough --
plenty of dough.
You think money is the only requisite. It
happens that the poor people are happier.
Then marry Ralph ... you'll be the
happiest couple in the world.
72. INT. MUSEUM A SHOT AT WINDOW
as Ralph, consulting his watch, approaches window and
looks out. Through window we see a cab arriving. The
two girls emerge from cab. Florence stops to pay driver.
As Ralph turns from window and starts for his hat and
coat, CAMERA PULLS BACK TO A FULL SHOT. Ralph gets hat
and coat and starts toward door. Igor, who has been
near the front of museum, wheels out in front of Ralph.
And where do you think you are going, my
To lunch, you say. I am having coffee and
sandwiches sent in. We are not leaving
until we have everything ready for the
But I have some friends waiting.
That is unfortunate. They will have to
I will only be gone about half an hour.
If you leave before the work is done, you
will be gone for a much longer period ...
you will be gone for good.
All right, I'll tell them. They're right
here in front.
Ralph exits and CAMERA FOLLOWS him through the door.
73 EXT. MUSEUM ENTRANCE CLOSE THREE SHOT
as Ralph enters to Charlotte and, taking both her
hands, kisses her lightly on cheek. He speaks to
Florence, who is standing beside Charlotte.
Hello, Florence. How are you?
Gee, honey-bunch, I'm sorry -- I'm going
to have to disappoint you.
Don't worry -- she'll get used to it.
She strolls up toward museum door, looking through it
Disappoint me? Why, what do you mean,
Well, you see, the old chap is pretty
anxious to open on schedule. All of his
advertising announced the opening tonight.
As Ralph continues his explanation to Charlotte, CAMERA
TRUCKS UP BEHIND Florence, and OVER HER SHOULDER THROUGH
glass panel we see interior of museum with the various
figures. Close to door we see the janitor carrying on his
shoulder the Joan Gale figure which he places on a
pedestal in foreground. He carries the figure in such a
position that we see the back of it first, and as he
places it on the pedestal he turns it around so that we
see the face. CAMERA CONCENTRATES for several minutes
on this figure.
74 CLOSE-UP FLORENCE
Florence stares at it, puzzled. Then recognition dawns.
Ralph enters PAST CAMERA and goes to door. He is about
to hurry into museum, when Florence detains him by a
hand on his arm. As she turns, we get the two in
profile. Her expression is one of excitement.
Listen, Genius, what're the chances for me
to slip in and give this place the once
(heard through partly opened door)
Ralph! Burton! Are you going to stay out
there all day?
(drawing door to quietly
and lowering his tone)
I don't know ... the old man's pretty
peppery right now. Why don't you look in
He might get some publicity out of it.
No use. He's a crab, I tell you.
(looks through glass
panel to Igor)
Who? Old Santa Claus there? That's easy
for anyone with my sex appeal. He's a
pushover. Watch me stand that old dodo
on his ear.
She pushes past Ralph and enters museum, followed by Ralph.
Nix, Flo -- he won't let you in and
you'll only get me in Dutch.
75 INT. MUSEUM
Igor sees a stranger entering with Ralph and wheels
chair rapidly toward them, speaking as he goes.
No visitors allowed! You people will have
to get out!
Aw, listen, Beaver, I'm from--
I don't care where you're from, young
woman. I have said no visitors!
He suddenly looks up and sees Charlotte, who enters
museum a bit hesitatingly. Igor stops speaking abruptly
and sits, staring.
76 CLOSE-UP CHARLOTTE FROM IGOR'S ANGLE
We see Charlotte, smiling slightly. Then DOUBLE-EXPOSED
over her figure comes the costume worn by Igor's Marie
Antoinette in the London museum. This FADES IMMEDIATELY
and we see Charlotte as she is, smiling at Igor.
77 CLOSE-UP IGOR
staring, fascinated. CAMERA DRAWS BACK to include the
group again and Ralph notices something strange in
What's the matter, Mr. Igor?
(as though coming
out of a trance)
Nothing -- nothing at all, my boy. I
should like to meet your friend.
Florence, taking advantage of the introduction, slips
away, as CAMERA ANGLE WIDENS, and, to avoid suspicion,
looks carefully at several figures during the
following conversation, finally arriving before the
Joan Gale figure, where she stops and studies the
Why, certainly, sir. My fiancée. Charlotte,
may I present Mr. Igor.
Delighted, I'm sure.
(Igor extends hand to her.)
If you will forgive this poor, crippled
stump, my dear, I am very happy to know
Although you would be amused if I were
to tell you that I knew you before you
were born. Before this terrible thing
happened to me ...
(His voice quavers.)
... I made a very beautiful statue. Even
if I had not met with this disaster, I
could never have hoped to do anything
finer, probably nothing quite so fine.
And, my child, you are that figure come
to life. I wonder, some time, would you
pose for one of my sculptors who does
very excellent work?
I'd love to, at any time.
Florence, who seems to have satisfied herself as
to the identity of the figure, turns abruptly
and comes toward them.
Well, I'm a woman who craves nourishment.
Let's ankle out of here and find a beanery.
Come on, Moon-struck.
(Takes Charlotte by the arm.)
Let's get going.
Sparrow, who has been hovering in the background,
approaches the group and stands just behind Igor's
chair. As Florence and Charlotte cross to door,
Charlotte smiles back at Igor.
We'll be coming to the opening.
At any time. You will always be welcome.
So long, Pop, see you in jail.
Sparrow starts perceptibly.
Until this evening.
The two girls exit.
78 EXT. IN FRONT OF MUSEUM
The two girls come from building and are starting toward
corner when Florence, seeing a cab, signals to it. It
swings in to curb.
Listen, Kid, I'm going to leave you flat.
I just thought of something and I've got
to get to the office.
(running a few steps after her
as Florence approaches cab)
But what about lunch?
I'll have it for supper.
(Climbs into cab.)
Cab swings away from curb. Charlotte stands looking
after it, bewildered.
79 INT. MUSEUM
Hugo and Ralph return to work. Sparrow stands beside
Igor, who is addressing Ralph.
And you, young man, it is a matter to
astonish one. You are engaged to that
beautiful girl, who was just here. You
have lived close to that beautiful
creature, and yet you produce such
caricatures as this.
(Indicating Ralph's work.)
Charlotte is lovely, isn't she?
Igor, who seems to be in much better temper than we
have seen him for some time, laughs.
Exquisite! But I am going to rechristen
her for you, my friend. She is not to be
Charlotte any more, she is Marie
Igor points to picture of himself and the figure of
Sparrow, who has been standing near them, comes closer
to Igor, as CAMERA MOVES UP TO CLOSE SHOT. A look of
extreme cunning appears on his face.
She is exactly like that statue?
Picture clearly shown on wall.
She is the soul of that statue.
I wonder if I could have her pose for me.
CAMERA ANGLE WIDENS as Hugo laughs knowingly. Sparrow
turns quickly and looks at him suspiciously.
What are you laughing at?
He can't hear you.
Tapping himself on forehead, Igor indicates that Hugo is
a little balmy.
80 EDITOR'S OFFICE
Come in, Prussic Acid. What's on your mind?
I want to see the original pictures of
Hey, Mattie, dig into the morgue and send
up all the art you have on Joan Gale.
(answering through Dictaphone)
81 A LONG METAL FILING CABINET
A girl opens compartment marked Ga. Running through files,
she extracts a number of photographs and walks out of
82 EDITOR'S OFFICE
(to Florence, who is sitting
on edge of his desk)
Well, why so mysterious! Come on, spill it.
So you can give me an argument and tell
me I'm wrong. Don't be sil, Kid.
The girl filing clerk enters and deposits pictures on
Florence has snatched the pictures from the desk and
examines them carefully. Suddenly drops them on desk.
(getting to her feet)
I am right! I know I'm right!
Well, no one would ever suspect it. You
don't sound right.
Florence draws chair beside desk, drops into it and
leans over, talking excitedly.
Listen, Jim -- and if you wisecrack while
I'm talking I'll crown you with the inkwell.
All right, wise guy. Go ahead. Spill it.
Jim, there's a little hokey-pokey wax
museum opening up down on 14th Street.
Now don't that call for an extra!
I asked you to keep your trap shut!
Well, you can't blame a guy for getting a
little breathless with a scoop like that.
All right, you poor baboon, you can guess
the rest of it!
No kiddin'. What's your idea?
Just this -- I got a look at that dump a
little while ago and if they haven't got
a wax figure of Joan Gale in that line-up,
then I'm crazy.
We'll grant that.
About the Gale girl, I mean. Where do we
go from there? What of it?
Listen, Jo-jo. Does this mean anything to
you? Joan Gale's body swiped from the
morgue -- Did you ever hear of such a
thing as a death mask?
I used to be married to one.
And it came to life and divorced you. I
know all about that. Now my idea is this:
Somebody swipes the girl's body, takes
impression, makes a mold, produces wax
figure ... Bingo! ... Peddles it to this
old skate down there!
Work that up into a comic strip and
Let it go.
Come down to earth. Do you think they
would dare do anything like that? Don't
you think they'd know that figure would
be recognized? Shake your head real hard
-- you'll be all right.
All right, Master Mind.
(Starts toward door.)
But there's something cockeyed about that
joint and I'm going to find out what it is.
(She gets to the door.)
Oh, by the way, another pet theory of yours
just blew up.
What do you mean?
That dear, innocent Judge Ramsey that you
were so sure got bumped off for knowing
too much has been located in South America.
(With hand on knob)
(laughs -- opens door)
Almost! I'll still bet I'm right, and let
you write your own ticket.
83 EXT. STREET IN GREENWICH VILLAGE
Charlotte turns a corner and walks briskly TOWARD
CAMERA, finally turning into an apartment about a
quarter of the way down the block. As she disappears
into the building, Sparrow appears around the corner
and, walking past the building she entered, stops and
lights a cigarette, inspecting the building immediately
adjoining the apartment house. There is a large For
Sale or Rent sign on the front of the building, giving
the name and address of the agent handling the property.
Sparrow goes to a basement door and tries it, finding it
locked. He is investigating one of the windows when he
sees that he is observed by a passer-by, and, taking a
notebook from his pocket, apparently copies the name
and address of the realty firm from the sign, and walks
back in the direction from which he came, whistling.
84 INT. LIVING ROOM WINTON'S BACHELOR SUITE
Worth is standing near door. Winton, crossing to him,
hands him a sum of money.
(as he counts money
into Worth's hand)
Well, that squares everything.
Yep. Everything settled.
Good. Well, I'll be seeing you.
(as he crosses to door)
I'm glad they didn't hold you downtown.
They didn't have a leg to stand on.
There's no case against me. It's a
clumsy thing to have happen, but
nothing to worry about.
Well, any time I can do anything for
We hear the telephone ring and Winton crosses to answer
See you later. Good-by.
85 CLOSE SHOT TELEPHONE BOOTH
Hello. Is this Convict 87 thousand 412
-- and a half? -- Ho-ho, don't swoon. --
This is the voice of the New York Express
86 A SHOT OF WINTON AT TELEPHONE
Oh, hello there. Say, I'm awfully glad
you phoned. I wanted to thank you for
trying to cheer me up last night.
87 A SHOT OF FLORENCE IN PHONE BOOTH
How do you feel by now? ... Yeh ... Well,
listen, if you're grateful, you can prove
it and maybe do yourself a good turn at
the same time ... Righto. Now at about
8:30 tonight you be in your car at--
88 EXT. VACANT BUILDING (WIND) NIGHT
we saw Sparrow inspecting. Florence passes in front
of building and enters the apartment house adjoining.
CAMERA TRAVELS UP the front of the vacant building to
89 EXT. ROOF OF VACANT BUILDING
We see a skylight forced open, the Monster clambers
out onto the roof and creeps stealthily to edge,
peering into lighted window of apartment house. CAMERA
FOLLOWS him. SHOOTING PAST him into room beyond, we see
Charlotte just putting the final touches to her toilette,
preparing to put on dress. The Monster, gauging the
distance carefully, springs across space separating
buildings and clings to fire escape ladder like a huge
monkey. He leans out from ladder and is about to raise
window sash when the door of the room opens and Florence
90 INT. APARTMENT HOUSE ROOM
Charlotte is dressing.
Come on, beautiful, leap into that
There's no hurry. It's early.
I can't convince the inner woman that we
can wait. She's howling for a bit of
ground beef before we drop in on Santa
Claus and the other dummies. I've only
had a cup of coffee since last night.
Why didn't you eat last night?
Ouch! Eat? You can do a solo if you don't
step on it. I'm going to bow out on you.
What's the rush? There's no first act.
They'll all be there and we don't have to
appear at any particular time.
I'm hungry. I'll eat the first child I
see. And I've an appointment with young
Winton at 8:30.
You wouldn't get mixed up with that
little rotter, would you?
No? Give me a chance, baby. Money is
music in my ears, and when his old man
kicks off there'll be a million dollar
If you're going to be indiscreet, I wish
you'd be a little more discreet about it.
Rich men, like Winton, love you and leave
Yeah, but they leave you plenty.
91 EXT. ROOF OF VACANT BUILDING
The Monster has returned to the roof of vacant
building. He shows a blind fury at the chance lost,
and finally descends through skylight.
92 EXT. MUSEUM
Standing beside the door is what appears to be a wax
doorman in uniform. There are a number of curious people
looking at the lobby display.
ONE OF THE VISITORS
Look at him now. Isn't that as real as life?
Now the figure suddenly moves his fingers, jerkily, as
if he were a wax figure, then speaks.
(walking up and down)
Step right up, ladies and gentlemen. You
can't afford to miss this exhibition that
has thrilled the monarchs of the world.
For the first time, America is privileged
to see the collection pronounced by art
lovers to be the finest in the world!
During this speech Florence and Charlotte enter the
picture and start toward museum door.
93 INT. MUSEUM
We hear music coming from a modern victrola that changes
records by itself. Igor, in wheelchair, is in front of
statue of Sir Walter Raleigh, kneeling on a spreading
velvet cloak on ground before the figure of Queen
Elizabeth, who is smiling at him graciously.
The history of these figures, my friends,
is more interesting, perhaps, when I tell
you that the originals were destroyed
twelve years ago in a fire in London, and
restored only after years of arduous toil.
To reproduce the figures destroyed I spent
years training men to do the work that I
can no longer do. Some of my workmen have
trained for years before I would let them
undertake a single figure of these groups
that you have been looking at tonight.
This has been a close shot of Igor and we assume that
he has been addressing a rather large gathering, but as
CAMERA SWINGS we see a pitifully small audience of not
more than ten people.
94 MAIN ENTRANCE OF MUSEUM
where Ralph is standing near door to receive visitors.
CAMERA MOVES UP TO A
95 CLOSE SHOT OF RALPH
as Charlotte and Florence enter, he takes a step forward
to meet them.
Hello, hello. You're late.
(Takes a step back from
Charlotte and looks at
Gee, that's a pretty dress. Have I
ever seen that before?
I think so.
Well, thank goodness, that's settled.
She walks directly to the figure she suspects, CAMERA
TRUCKING after her.
96 EXT. STREET IN FRONT OF
about four or five buildings removed from entrance.
Winton, in roadster, pulls up to curb and looks up and
down street expectantly. The barker is continuing his
announcement through megaphone.
97 INT. MUSEUM
Igor has ended his lecture, and Ralph is escorting a
group of visitors to the door.
We hope you have enjoyed seeing these
things tonight. I hope you will tell your
friends for we believe we have something
here of genuine public interest.
(As the last of the visitors
file through the door.)
Good night. Thank you. Call again.
98 CLOSE SHOT OF FLORENCE
as she inspects the Joan Gale figure. We see that all
doubt has been dispelled and that she is absolutely
sure of her ground. Glancing about quickly, to be sure
she is not observed, she stealthily sticks a pin into
the arm of the figure as if convincing herself it is
made of wax.
99 SHOT OF IGOR
As the last of the visitors are leaving, Sparrow comes
down behind him and, leaning over back of his chair,
whispers something to him. Igor turns sharply.
(in intense, hushed tone)
Are you sure of that? Are you sure?
I'd know him anywhere.
Don't lose sight of him. This is the
most important thing in my life.
Sparrow sees Charlotte and Ralph approaching and signals
Igor to silence. As Sparrow walks away, Ralph and
Charlotte walk toward Igor smiling.
(in a rather encouraging tone)
I wouldn't feel too disappointed at the
slimness of your audience tonight, Mr.
Igor. The weather was against you, and
the people are tired and getting over
their celebration and preparing to go to
Quite so. Quite so.
(Extending hand to
Charlotte who has been
close beside Ralph.)
And you, my little friend, my little
Marie Antoinette. It is kind of you to be
But I think these things are beautiful.
My boy, I think you are right. Everyone
is tired out today and now that we have
seen my doors open in a new country, I
am beginning to realize that I am a
little tired myself. You can call that
fellow in from the front. I think we'll
close for the night.
Ralph walks away toward the front door and CAMERA MOVES
100 A CLOSE SHOT OF IGOR AND CHARLOTTE
I think I should have felt a little
discouraged tonight but now everything
seems quite as it should be. You know,
to find just one person who appreciates
my beautiful children here changes
everything for me.
(He glances about to see
that he is not observed,
You must come some time in the morning
when there are no crowds about and I
can give you more of my time.
Florence enters and breaks up the conversation.
Good evening, Mr. Igor. I've been
admiring your works. Properly illuminated,
they are more impressive than they were
Yes, for a time I despaired of ever
achieving the same effects I had abroad.
And then lighting came to my rescue.
I was particularly interested in that
group over there.
She points and CAMERA SWINGS TO
101 CLOSE SHOT OF CHARLOTTE CORDAY BENDING OVER FIGURE OF MARAT
Yes, that one is very fine. Its drama
seems to interest people.
And this one, this single figure of
Joan of Arc.
CAMERA SWINGS TO
102 CLOSE SHOT OF THE JOAN GALE FIGURE
That? Yes, that was the most recently
completed. It only arrived this morning.
103 OTHER CORNER OF SET
Ralph crosses in front of Sparrow.
104 SHOT OF IGOR, FLORENCE AND CHARLOTTE
Showing length of museum and front entrance.
You did this yourself?
No, no, my friend. Never since these
hands were burned have I created
anything. I have only been able to
direct the work of others.
But who did it?
Sparrow, who has been standing in background during
the preceding dialogue, listening nervously, now shows
extreme uneasiness as Igor replies.
Professor Darcey. He has been my
hands for years.
105 CLOSE-UP SPARROW
He shifts nervously and laughs self-consciously.
106 INT. CLOAKROOM REAR OF MUSEUM
The deaf and dumb man on scene as Ralph enters. Ralph,
slipping into overcoat, scarf, etc., slaps him on the
The mute chuckles inanely as Ralph makes his exit.
After Ralph is gone, Hugo takes a black, loose ulster
-- a couple of sizes too large -- and hat from the
hook, his clothes resembling those worn by the
Monster. Slipping into them, he exits from cloakroom
and disappears through a rear door.
110 INT. MUSEUM
The janitor comes up the steps from Igor's private
workroom. He looks to the entrance to the street and
just bidding good night to Florence, Charlotte and Ralph.
109 THE JANITOR
glancing about and feeling that he is unobserved, crosses
quickly to the statue of Joan Gale and raises his hand
as though to caress it, when Sparrow appears from behind
another figure, grinning evilly.
The janitor starts guiltily and slinks quickly out
through rear door.
110 EXT. STREET IN FRONT OF MUSEUM
Sparrow comes from museum and turns to the right out of
picture, but calls to the others who are still standing
Florence shows agitated concern in looking after the
retreating figure of Sparrow.
111 EXT. STREET NEAR MUSEUM
Winton, seated in roadster. He catches sight of Florence
and sounds the auto horn. She sees him and waves.
112 EXT. ENTRANCE OF MUSEUM
(to Ralph and Charlotte)
You people will have to struggle along
without me. There's my heavy date. No
fouling in the clinches!
She runs toward car.
113 EXT. STREET WINTON'S CAR
Florence getting into roadster.
Hurry up! Tail that little runt down
In extreme background we see Sparrow turning a corner,
then we see the car follow quickly and turn the corner
114 EXT. STREET NEAR MUSEUM CHARLOTTE AND RALPH
CAMERA FOLLOWS them as they walk down the street.
I wish you'd cut her out and get a
place by yourself.
(Looking after Florence.)
But why? She's the best friend I've got.
She isn't anybody's friend, and I don't
like you living with her. She's a bad
Nonsense. She's one of the nicest
girls I know.
What's nice about her? ... a hard-boiled
little gold digger.
I won't let you say that!
Well, I do say it.
She thinks it's funny to talk the
way she does, but--
Don't kid yourself -- she means it.
Are we going to have the same quarrel
I'm not quarreling, only ...
115 EXT. STREET THAT SPARROW IS TRAVERSING
The car, with Winton and Florence, loafing a block in
116 CLOSE SHOT WINTON'S CAR
Don't ask any questions right now. I
think we're on the trail of hot news.
117 EXT. STREET CHARLOTTE AND RALPH
Their argument has grown rather heated.
Yes, certainly I would. And I'd be
terribly disappointed if you were stupid
enough to object to it.
You wouldn't have said that before
you met her.
I'd call it stupid at any time.
Well, that's just how stupid I am. When
you go riding, it will be with me. And
if it's with someone else, you can make
it a permanent arrangement.
(stops and draws her
arm away from him)
So that's the way it is?
That's the way I feel about it.
I'm glad you told me. Good night, Mr.
Turning, she walks rapidly away. Ralph stands, looking
118 EXT. WORTH'S HOME
where we saw the mysterious box delivered. Sparrow walks
into picture and rings bell beside door on street level.
After a short pause, the door is opened and he disappears
through it. The car carrying Winton and Florence passes
the house and, going to the next corner, stops.
Don't you think this would be as good a
time as any to break the news to me?
What's it all about?
Well, as one of the interested parties, I
suppose I might as well tell you the glad
tidings. I think the fellow we've been
following had something to do with the
robbery at the morgue.
Winton shows nervousness and distaste.
Now look here. It's not up to us to do
our own detective work. I've had enough
trouble over this matter. I don't want
anything more to do with it.
Not even if it gives you a clean bill of
Not even then. The police are the proper
people to conduct this affair. Now if
you've got any suspicions I'll drive you
to the nearest police station.
What! And let every rag in town grab a
red-hot story? Not so you could notice it!
Now, look, I want you to drive me around
the corner and wait for me.
I told you I didn't want to mix in it.
(jumping from car)
All right, brother. Then you can go to
some nice warm place, and I don't mean
She starts back toward Worth's house. Winton overtakes
Please. I'm sorry. I'll see it through.
What do you want me to do?
I told you what to do. Drive around the
corner out of sight of the house. I want
to get a closer look at the place.
He starts back toward car.
119 INT. WORTH'S OFFICE IN HOUSE
Worth is seated at the desk and Sparrow is standing in
front of him. Worth is speaking.
You're yellow to the core -- just yellow.
No, I'm not. But I've had the uncanniest
feelin' that someone's been watchin' me.
Nobody's watching you. You're yellow and
your nerves are gone. And let me tell you,
I'll do nothing to help your nerves until
it's delivered, and you might as well get
that through your head.
All right, then, I'll phone.
He reaches for the phone on Worth's desk. Worth snatches
it away from him.
Not over this phone, you fool! Get
outside to make the call.
Sparrow turns, walks TOWARD CAMERA.
120 EXT. FRONT OF WORTH'S HOUSE
Florence comes in and pauses and, glancing quickly up
and down the street, runs down steps to basement door,
which she tries cautiously. Finding it locked, she tries
to peer through window, and finally tries lower sash,
which opens. She climbs through window to basement.
121 EXT. CORNER OF STREET
where Winton is waiting. The street door of house opens
and Sparrow appears, starting away in opposite
direction from corner where Winton waits.
122 INT. BASEMENT ROOM IN WORTH'S HOUSE
Florence is feeling her way about. She passes in front
of mirror, sees her own reflection, jumps back, startled,
trips and sits down heavily on a pine box that might
contain a coffin. She gasps and springs to her feet,
123 EXT. CORNER OF STREET
Two plain-clothes men approach Winton and address him.
Well, buddy, what's the stall?
I'm waiting for someone.
Yeah, for who?
I don't think it concerns you.
Come on, Winton. Cut out the bluffing.
We've been watching you ever since you
left The Tombs and you've done some
pretty suspicious things. Now what are
you doing here!
What have I done that's suspicious?
For one thing, you had a visitor at your
apartment today, not exactly the kind of a
person I'd expect you to entertain ... a
person who lives in this block.
124 INT. BASEMENT IN WORTH'S HOUSE
Florence is raising up from inspection of box when she
sees the reflection of the Monster in mirror and drops
down behind the box. The figure of the Monster glides
into the room, stands as though listening for a moment
and then disappears in shadows. We hear someone
ascending a flight of rickety stairs.
125 EXT. CORNER OF STREET WINTON AND TWO DETECTIVES
(pointing down the
I've got to follow that fellow, I tell
you. I've reason to believe he knows
what became of Joan Gale's body. You've
no right to stop me.
Hang onto him, Paul. I'll get the other
He starts off in the direction Winton had pointed. In
extreme background we see Sparrow occasionally as he
passes under an arc lamp. The detective follows him,
walking rapidly. As detective passes Worth's house,
126 CLOSE SHOT OF BASEMENT WINDOW
Florence clambering through and hurrying up the stairs.
She is chattering with fright. She gets to the top of
the stairs, stands and sways, almost falls.
127 EXT. CORNER OF STREET LONG SHOT
Florence running toward Winton and detective. CAMERA
FOLLOWS her to a
128 CLOSE SHOT OF THE THREE
Florence grabs Winton by the shoulders and speaks
I found it! I found the body!
What! What are you talking about?
The body of Joan Gale!
(getting a look at Florence)
Hello, Express. What's the idea, trying
to outsmart the police?
I'm not kidding. Joan Gale's body is
packed in the box in the basement, and
I saw the most horrible thing down there.
Are you giving me this straight?
Don't take my word for it. Get down there
yourself and give a look.
The officer blows police whistle.
129 CLOSE SHOT OF SPARROW
just coming under street lamp. We hear a police whistle
back of him. He turns, looks back, terrified, and darts
away at a quick run.
130 CLOSE SHOT OF OFFICER
back of him, also breaking into a run. We hear the sound
of night stick being struck against the sidewalk and
police whistles from different directions and at various
131 EXT. STREET IN FRONT OF WORTH'S HOUSE
The detective, Winton and Florence are approaching.
Several uniformed policemen are running toward them
from both intersecting streets. There is an ad lib
confused babble of voices as a number of curious
people approach the house from several directions.
Get this skirt out of here! We don't need
hysterics. This thing has to be handled
Winton tries to take Florence away. She tears loose.
Listen, copper, get a load of this. While
you're chinning yourself on a bar rail, I
run down this story ... my story. Consider
yourself my assistant.
What do you think I am?
Whatever you are, you're the only one of
(producing police card)
It happens that I'm the law.
How quaint. But I can go any place you
(Shows her credentials.)
132 INT. OFFICE IN WORTH'S HOUSE
We see Worth cross the room and go through a door into
an adjoining room. Then we hear a doorbell ring rapidly.
The Monster appears through the door Worth just made an
exit through, comes to the center of the room and stands
listening. Evidently they become tired of ringing, with
no response, for we hear them start to batter in the
door. The Monster turns and vanishes quickly the way he
came. We hear the door shattered and, after a moment's
pause, an officer appears stealthily, with drawn
revolver, around the hall door of the room.
Nobody here, Chief.
(peering through door)
Well, take it easy. Let's get some light
(Officer flashes flashlight
in search of switch.)
(calls into hallway)
A couple of you fellows get upstairs!
We hear them ascending the stairs. Officer crosses and
gingerly opens door of room that the Monster disappeared
through, flashes light about and enters.
133 INT. ROOM ADJOINING WORTH'S OFFICE
There is only the one entrance door, and the window
of the room, when the officer examines it with flashlight,
appears to be flat against the brick wall of the
adjoining house. The room is empty.
134 INT. WORTH'S OFFICE
The detective, evidently finding switch, has thrown on
lights. He is talking to Florence and Winton.
Can you give me a description of the
person you saw?
Not a very good one, I guess. He wasn't
like anything human. He hobbled and swayed
like a monkey, and the face, from the
glimpse I got of it in the light from the
street, was like an African war mask.
You mean he was colored?
I don't know what he was, but he made
Frankenstein look like a lily!
The officer comes in from the adjoining room.
Well, there's nothing on this floor.
We hear the men descending stairs from floor above. The
detective steps to the door.
Did you find anything up there?
(off scene -- as of
No -- not even any furniture up there --
a lot of old papers and junk.
The two uniformed policemen enter from hall.
Is there any rear entrance to this place?
I couldn't find any.
Well, let's give the basement a look.
135 INT. HALL IN WORTH'S HOUSE
The officers and detective, with Florence and Winton,
approach basement door and cautiously start to descend
steps to basement.
136 INT. BASEMENT OF WORTH'S HOUSE
Two uniformed men enter and flash lights everywhere. One
of them tries door to rear room. It opens. They turn back
No one here.
Lights come on as though switch were thrown on other
side of partition. Florence, Winton and two detectives
enter, followed by the two uniformed policemen.
(points to the box)
There she is! You'll find Joan Gale in
(sinks back against
wall and gasps)
No -- No -- I -- I -- I don't want to see it.
(Starts toward door. )
Wait a minute! You stay right where you are.
(To one of the policemen
as he sees a small hatchet
on a table.)
Get that hatchet and open this up.
One officer gets the hatchet and the others drag the
box a little nearer the center of the room and they
start to pry off the lid. As they pull one nail, it
comes out with a mournful shriek. Florence almost falls
over a smaller box in her effort to get away.
Oh, what wouldn't I give for a slug of gin!
With a terrific ripping sound, they finally succeed in
removing the lid. Everybody crowds forward to peer at
what they believe to be a corpse, as CAMERA COMES TO A
137 CLOSE-UP OF THE BOX
its contents revealed to be row on row of bottles of
Scotch whiskey. An officer's hand comes in and lifts out
a bottle. CAMERA DRAWS BACK TO
138 MED. SHOT OF THE ROOM
(sinking back onto box,
extending hands and
Oh, gimme, gimme!
There is a general shout of laughter and the basement
door opens and the second detective enters, driving
Sparrow ahead of him.
I ain't done nothin' -- you ain't got no
right to arrest me! What's the charge
The detective slaps his face.
Now, who owns this layout? Come on, spill
I don't know. I was never here before
(slaps him again)
You don't know, oh ... You don't know
anything about it.
No. All I know is there was a fellow
Yes, sir, that was his name.
That's my bootlegger's name! Was he a
heavyset fellow, with a stubby moustache?
Yes, sir, that's the bird.
I hope he delivered the stuff I paid him
for this afternoon.
(Then, remembering --
I told you it was a bootlegger you saw
at my place.
(to one of the
Here, take this fellow in.
One of the policemen leads Sparrow out roughly.
(as he goes)
I ain't done nothin'. I wouldn't even
deliver some stuff for him.
Florence starts piling bottles of whiskey on her arm
like an armload of cordwood.
Hey, what do you think you're doing? Put
that stuff back!
Nothing doing. This is my percentage. You
birds are going to get yours. And anyhow,
I found this dump.
She exits, followed by Winton. There is a general laugh.
139 LARGE WHITE BULB AT ENTRANCE OF POLICE STATION
SHOWING PRECINCT NUMERALS
CAMERA PULLS BACK showing Winton seated in car near
entrance. A policeman is taking Sparrow up the steps.
CAMERA FOLLOWS them in.
140 INT. POLICE SERGEANT'S OFFICE
Sergeant looks up as policeman and Sparrow enter.
Yeh -- peddling.
Put up your hands!
Sparrow holds up his hands. The policeman searches him,
laying articles from his pocket on desk before sergeant.
Among the articles is a very handsome watch. The
sergeant looks at it.
A classy turnip. Must have dipped it.
Lays it on desk with a pile of other things.
141 INT. POLICE CAPTAIN'S OFFICE
Captain is seated at desk. He is laughing heartily at
Imagine my embarrassment. The razzing I'm
going to get is nobody's business. I tail
a corpse and stumble on a box full of
spirits and not a dead one in the layout.
They tell me your managing editor is
Poison! It takes a sturdy person to look
They are both laughing as the door opens and the
policeman enters, leading Sparrow.
You want to talk to this fellow, Captain?
(glancing at Sparrow
No, that's all right, Denny. He's a junky.
He'll talk in a little while. Just lock
He leads Sparrow out.
142 INT. HORROR CHAMBER
We have not seen, up to this point, anything that would
give us a clue as to the location of this room, which
we now see for the first time. It is a stone room, with
apparently but one opening through a trap in the ceiling,
which is approached by a spiral stairway. There are
several huge vats of some steaming liquid, a few pieces
of dilapidated furniture and an embalming table in the
center of the room.
The Monster descends steps, carrying the body of a man,
wrapped in burlap. He places it on table.
143 INT. POLICE STATION CAPTAIN'S OFFICE
Well, the season's best catch is out
there waiting in his Rolls-Royce. I
guess I'll breeze.
Well, you ought to get a good laugh
story out of it, anyhow.
The door opens. A man in uniform, but hatless, enters
quickly and, coming to desk, lays the watch taken from
Sparrow before the captain.
What do you think this is?
Looks like a watch.
Yeh, but do you know whose watch?
Let's break down and confess -- we don't
know anything about it.
Officer opens the back of the watch and holds it so
that she can read the inscription on inner case.
Judge Ramsey's! That's all!
(reaching out for it quickly)
You're not kiddin?
Where did this come from?
Just took it off that junky.
Great! Get him down here.
Now you're talking.
144 EXT. STREET IN FRONT OF POLICE STATION
Winton seated in car. Florence runs down steps and
climbs into car.
The office! There's not much traffic --
you can step on it!
(as car pulls away from curb)
You like taking chances, don't you!
145 INT. CAR RACING UP BROADWAY CLOSE SHOT
You go in for dangerous things.
Darned if I don't!
(Reaches over quickly with
left hand and pulls
146 REVERSE ANGLE THROUGH WINDSHIELD
Showing narrowly averted collision.
Slow down to ninety. I said the office,
not the cemetery.
147 INT. OF CAR CLOSE SHOT
No, really. I mean what I'm saying. I
never believed there were women like you
in the world. You're game and decent.
They narrowly miss striking another car.
--and so determined to live that I'm
going to get out and take a taxi if you
don't watch where you're going.
I suppose this is going to sound absurd.
I've only known you twenty-four hours, but
I'm in love with you.
It doesn't usually take that long, but
I'll forgive you -- you were in a tough
spot when I met you.
No, really -- I'm crazy about you.
Oh, is that what caused it?
You don't believe me. You think I'm
just talking. Will you marry me?
How much money have you got?
Heaven knows. A lot.
Well, that being the case, I'll take it
up with the board of directors. Hey,
listen, aviator, here we are!
The car swings into the reporter's entrance of the
Hold everything. I'll be right back.
148 INT. EDITOR'S OFFICE
The editor is just finishing phone conversation.
All right. Give that a four-point head.
No, that's all it's worth ... All right,
you can play it up later if ...
Door opens and Florence comes in, breathless, extends
Mit me, kid. I've got a classic.
(looking at her with a
You here again like an evil spirit to
mar my happiness?
This one's a story, but I'm not going to
tell you what it is. Every time I tell
you anything it goes haywire.
What do you mean -- haywire? You start
out after murderers and come back with
three-for-a-dime bootleggers. You start
to solve murder mysteries and break up
crap games. You're grand! I'm for you!
(steps toward his desk
Say, you're always razzing everything I
do, but this is one time I'm in.
Go on, little girl, take your troubles
somewhere else. I don't feel like
talking to you.
Was there any art on Judge Ramsey?
What goofy idea have you got now? Don't
tell me you suspect Judge Ramsey of
stealing the body.
(goes to door)
I'm going to make you eat dirt, you soap
bubble! I'm going to make you beg for
somebody to help you let go!
149 INT. POLICE STATION CAPTAIN'S OFFICE
Sparrow is seated in the center of the room, quivering
for want of the drug. A number of detectives, in
shirt-sleeves, evidently worn and tired themselves,
are circling about the room.
So you found the watch in a taxi cab three
months ago. Is that right?
Yes, sir. I got in the cab and it was
layin' there on the floor.
Where were you going when you got in
I don't remember. Not so very far--
Don't remember what day that was, do you?
No, sir. About three months ago.
Remember what kind of a cab it was?
No, sir. Just a cab.
You didn't happen to be going to Worth's
place, did you?
No, sir, I'm sure it wasn't there.
You used to go to Worth's place a whole
lot. What makes you sure it wasn't there?
Well, maybe it was. I don't remember.
(Sparrow slips from chair
to knees, sobbing.)
You got to do something for me, I can't
stand it any longer -- I can't!
150 NEAR WINDOW TWO DETECTIVES STANDING CLOSE SHOT
ONE OF THE DETECTIVES
He's beginning to break now -- he'll talk
I don't know about that -- he's been
begging all night.
Looks out of window and we see that it is almost daylight.
Nearly half past eight. I never saw a
junky hold out like this before.
151 EXT. MUSEUM THE NEXT MORNING
The people passing are of the type who would be hurrying
to report for some office or clerical job around nine
o'clock. Charlotte walks into picture, glances up and
down street as though looking for someone, then glances
at watch and goes to museum door, peering through panel.
She tries the door and finds it open and enters.
152 INT. WAX MUSEUM LONG SHOT
Nobody is in scene. Charlotte enters, looks about.
Ralph! Are you here?
There is no answer and she starts down the length of
the museum, occasionally calling "Ralph." As she passes
a niche in the wall that contains a half figure of Dante
on the platform, the CAMERA MOVES TO CLOSE-UP of that
figure. The artificial lids are raised and we see the
eyes of a living person peering through and watching
her progress. Over this we hear her calling "Ralph"
again, but the call is growing fainter. The lids drop
back into place.
153 CLOSE SHOT NEAR PORTIERES
Charlotte is near portieres which conceal door to
workshop at rear. She draws curtains aside and steps
154 INT. WORKROOM AT REAR
Hugo is at work. Charlotte has advanced several steps into
the room before she becomes aware of his presence. She
I beg your pardon -- Is Ralph here?
There is no response as Hugo does not hear her. She
advances a step farther, when he turns and grins at
I'm looking for Ralph.
Hugo, still grinning, takes a step toward her and makes
the hideous sound identified with deaf-mutes. She starts
to back away from him, terrified. Backing toward portieres,
followed by Hugo, she suddenly turns and darts through the
curtains. Her momentum carries her almost to Igor, who is
approaching in wheelchair. She extends both her hands to
him delightedly. He starts to respond, then, catching sight
of his crippled claws, drops them into his lap.
Oh! Mr. Igor! -- I'm so glad you're here
-- I don't know why I should be, but I was
a little bit afraid.
Oh! So, my little friend, you have honored
me by accepting my invitation of last night.
No -- I -- wanted to speak to Ralph. We
had a silly argument last night and I said
(laughs in a tender,
Oh, you children, you happy children.
You've quarreled and now you're going to
be friends again. And that is as it should
be. Never let any stupid misunderstandings
come between you.
But it was really my fault.
And he will probably demand the life of
anyone who agrees with you. Let him think
it was his fault ... He should be along
very shortly .. . But be very stern
before you forgive him, especially if it
is your fault ... While you're waiting
for your friend, would you like to see
some new figures I have downstairs?
I'd love to.
CAMERA FOLLOWS them as Igor wheels to top of stairs
leading to studio and workshop below. He takes crutches
and struggles painfully to his feet.
Oh, please, Mr. Igor, I'm terribly ashamed.
I shouldn't have put you to so much
It is no trouble at all, my child. This
is the strange, vicarious pleasure that
remains for me -- to see others enjoy
the beauty I used to create.
(He attempts to descend
first step, then says,
My footing is not too secure.
Charlotte rushes to his assistance.
Oh, let me help you, please.
Charlotte helps him descend stairs.
155 SHOT PHOTOGRAPHED THROUGH OPEN DOOR OF BASEMENT
WORKSHOP TOWARD STAIRS
We see Charlotte and Igor finish descending steps.
Thank you -- thank you, my dear.
Charlotte precedes Igor into room and stands glancing
about. Igor enters, closes the door quickly and locks it.
156 INT. WORKROOM
Igor instantly drops his crutches and sweeps Charlotte
into his arms, lifting her clear off the floor.
Charlotte screams and struggles.
Let me go! Let me go!
We have found immortality, you and I.
You must not be afraid.
She tears at Igor's face and rips away the mask and
beard, which bring with them the skillfully designed
wig that is attached to them, revealing the horribly
mutilated face of the Monster. Charlotte screams and
faints. Igor deposits her tenderly on a couch and
kneels beside her.
157 INT. WORKROOM CLOSE SHOT
Igor, kneeling beside the girl, speaks.
Poor, frightened child. The only common
objective of all living things is death
... and she is afraid.
158 EXT. FRONT ENTRANCE OF MUSEUM
Janitor is sweeping walk. Ralph comes into picture,
glances into museum and, assuming that he is the
first to arrive, takes a last puff on a cigarette
before entering. He throws it away and starts to
enter when we hear Florence's voice off scene.
Hey -- Ralph!
He looks up and we see that he recognizes someone
approaching, as Winton's car whirls up to the curb
and Florence jumps out, followed by Winton.
What are you people doing out in the
middle of the night?
(crossing to him)
I'm after news, as usual. I wonder if it
would be all right for me to slip in and
look around your factory?
I guess so. But wouldn't it be better for
you to wait until the old man's here?
159 CLOSE SHOT RALPH AND FLORENCE
Well, I'll tell you a secret. I kinda
like the old gent and I'm trying to
build a special Sunday Magazine story
out of him. It might help him a whole
lot. But that's a side issue -- something
I do on my own time.
Gee, that's great. After the bad opening
that night the old boy was pretty blue.
This will pep him up. Have you told him
No. I wanted to do it without saying
anything. I think he's worth it.
160 EXT. MUSEUM A SHOT OF WINTON'S CAR
A policeman walks up to car and calls over to group.
Whose car is this?
Well -- You can't park there. You'll
have to take it down the street.
(going to car and
climbing back to wheel)
(Shouts to Florence.)
Flo, I've got to find a place to park.
I'll be right back.
CAMERA ANGLE WIDENS taking in Ralph and Florence at
(waves to Winton -- calls)
Don't deceive me or I'll come back and
Winton's car moves away. Ralph unlocks the door, and
he and Florence enter the museum. Ralph throws away
cigarette. Janitor picks it up and stands leaning on
broom, puffing it.
161 INT. MUSEUM
Florence takes from her bag a photograph of Judge Ramsey.
INSERT: CLOSE-UP OF PHOTOGRAPH
Showing bust picture of man whose features are strikingly
like those of Voltaire, although he has a moustache,
wears glasses and is dressed in modern clothes.
CAMERA TRUCKS AFTER her as she goes from one figure to
another, finally stopping in front of the figure of
Voltaire. This she studies, in profile, full-face
three-quarter view, etc., and finds by comparison
that the two are identical. (We CUT back and forth
several times from the photograph to the statue.)
(studying the photo and
wax figure; she is
nervously biting her
Ralph, come here a minute, will you?
(crossing to her and
notices her biting nails)
Better cut that out.
(Points to figure of
Venus de Milo.)
That's what happens to girls who bite
(Florence ignores the remark.)
Hugo passes them at this moment. Florence watches
Hugo suspiciously as if she did not want him to know
what she is referring to. She waits until he has
passed into the cloakroom.
Look at this photograph, will you?
(Handing Ralph photograph.)
162 INT. POLICE STATION CAPTAIN'S OFFICE
Sparrow suddenly springs to his feet, screaming.
All right -- I'll talk! I'll tell you
what I know!
(He is a madman.)
Ramsey was murdered because he looked
(He laughs wildly.)
Because he looked like Voltaire! You want
to know what became of him! He's a statue
-- a silly wax statue!
You killed him!
(Catches Sparrow roughly, wheels
him around, slaps his face.)
Come on with the rest of it. You killed
No -- I didn't. It was Igor at the
(slapping him again)
But you were in on it -- you worked for him.
No -- the only thing I did for him was
to keep track of the man named Worth
that runs the place where you arrested
It's Igor at the Wax Museum! You'll find
your judge embalmed in wax! He's a statue
of Voltaire, with all the other corpses!
The whole place is a morgue -- do you
hear? -- a morgue!
163 INT. HORROR CHAMBER
Charlotte is crouched, terrified, in a corner, while
Igor, now a raving maniac, tries to calm her.
My child, why are you crouched there?
So pitifully afraid. Immortality has been
the dream, the inspiration of our kind,
and I am going to give you the only
guarantee of immortality you have ever
Charlotte shrinks further into the corner.
Please, oh, please, I haven't done
anything to hurt you.
And I have no desire to hurt you. You
will always be beautiful. Think, my
child, in a thousand years you will
be as lovely as you are now.
164 INT. MUSEUM
Ralph is holding the photograph, and he and Florence
stand looking at the figure. We see that the features
of the two are identical. Then we hear a muffled scream.
Florence and Ralph look at each other inquiringly and
stand waiting for the scream to be repeated.
165 INT. HORROR CHAMBER
The Monster is pleading with Charlotte.
My child, my child, if you will just
listen to me, then you will not be
afraid. Don't you understand, dear,
that I love you? Don't you know that
at times when I have wanted to die --
I could not die because I had not
saved you. And now you are here, to
be given, a thing of delight, to all
the world. I am trying to grant you
Charlotte is just a terrified, half-hypnotized, crumpled
You fiend! You fiend!
Igor backs away from her, gesturing with his arms as
if to ward off a blow.
Oh, my Marie Antoinette, you must not
say that to me. There was a fiend, of
that you may be sure. There was a fiend
hands toward her)
and this is what that monstrous person
did to me.
166 CLOSE SHOT OF CHARLOTTE
as she drops her head on her knees, sobbing.
167 EXT. POLICE STATION
Officers pour out and climb into two cars. They
commandeer a couple of taxis and all race down the
street, with sirens screaming.
168 INT. HORROR CHAMBER FULL SHOT
Igor standing over Charlotte pityingly, wringing his hands.
Then he whirls toward curtained cabinet in rear.
You! ... You did this!
(To Charlotte, as he
crosses toward cabinet.)
These terrible broken hands -- this
terrible living dead man -- for twelve
years, twelve awful years, has hunted
for the fiend, the fiend who brought
us here tonight! But the account is
(He sweeps aside
curtain covering cabinet.)
He is here!
In the cabinet, full length, erect, is the wax-embalmed
figure of Worth, which falls forward stiffly, landing
with a thud. Charlotte gives a piercing, terrified
169 INT. MUSEUM
Florence and Ralph hear scream repeated and rush to
stairs. CAMERA FOLLOWS them as they run to stairs and
start down. They find door locked. Ralph throws his
full weight against the door several times. When the
door shatters he stumbles into room.
170 INT. WORKSHOP
They look around, startled. It is apparently untenanted.
As they stand looking at each other in bewilderment, the
scream is repeated. Ralph gestures, "Wait a minute,"
then, with emphasis:
It did come from under our feet!
Searching about, he finds a trap door, which he opens
and looks down, and sees:
171 SHOT FROM RALPH'S ANGLE
We see Charlotte on operating table. The Monster is
stirring a huge vat of boiling wax. Hearing the trap
door open, he looks up, sees Ralph and screams his
rage. Ralph passes CAMERA and starts downstairs toward
172 INT. WORKSHOP CLOSE SHOT OF FLORENCE
Standing at trap, looking down, horrified. She whirls
and dashes, screaming, upstairs toward the museum.
173 INT. HORROR CHAMBER
Ralph and the Monster having a furious struggle, the
Monster attempting to force the boy backward into one
of the vats of boiling wax.
174 INT. MUSEUM
Florence appears at head of stairs from below, just as
Winton enters door. She runs to him.
Come on! Quick! Help!
As they descend the stairs.
What is it? What happened?
Don't ask any questions. Come on!
175 INT. HORROR CHAMBER
The Monster succeeds in striking Ralph over the head
with some heavy object. As Ralph sinks, stunned, to
the floor, the Monster dashes up the steps.
176 SHOT FROM HORROR CHAMBER CAMERA TIPPED UP SHARPLY
Showing trap at head of stairs. When the Monster has
negotiated three-quarters of the ascent, we see Winton
appear in the trap door above, blocking his escape.
Now we hear the screaming of the sirens of approaching
police cars. Seeing his passage barred, the Monster,
no longer coherent, stands jabbering like an infuriated
ape at the man above him.
177 INT. WORKSHOP
Winton at edge of trap, looking down, horrified.
Do something! Can't you? Do something!
Winton draws back. Florence turns, runs back toward
museum, screaming. We hear the tramping of feet on the
floor above and then see the feet and legs of first
officer descending stairs.
178 SHOT UPWARD FROM HORROR CHAMBER
As Winton draws from trap, the Monster starts to advance.
A policeman in uniform appears above him, with drawn
Get 'em up! Don't move!
He commences a cautious descent of the stairs. CAMERA
PULLS BACK TO
179 FULL SHOT
We see Ralph, who has recovered, gather Charlotte in
his arms and whirl her so that his body would shield
her from a possible stray bullet. The Monster, who is
backing, still defiant, before the policeman, misses
his footing and, with an agonizing scream, whirls
downward into a vat of boiling wax.
180 EXT. STREET IN FRONT OF MUSEUM
A great crowd is collecting. The police are holding
them back. They lead the janitor and Hugo from the
CAPTAIN OF DETECTIVES
I don't think these mugs mean anything,
but take them around and get a statement
An officer leads them away. Florence runs through crowd
181 EXT. STREET WINTON'S CAR
as Florence and Winton scramble in.
Come on, pal, get me uptown!
Don't stop for lights -- don't stop for--
182 EXT. STREET IN FRONT OF MUSEUM
Ralph is leading Charlotte, still hysterical, through
183 INT. COMPOSING ROOM NEW YORK EXPRESS
Before the room is clearly discernible, we hear the
clatter of typewriters. A scene of feverish activity.
Copy boys are dashing back and forth. The place is
seething with excitement. Florence, seated at machine
nearest CAMERA, is typing frantically. She evidently
just completes the last line of story, jerks sheet
from machine and hands it to a copy boy.
Take it away, Hennessy.
(Springs to her feet.)
She is bedraggled, hair hanging in her eyes, evidently
exhausted. She reels toward the editor's room. Several
desk workers spring up and surround her, traveling a
part of the distance with her. They are thumping her
playfully on the back and talking.
My hat's off to you, kid. What a scoop!
This story makes history.
Congratulations, Flo. You've got the
other papers bleeding.
Now I'm going to scramble this egg.
Points toward door marked Managing Editor.
184 INT. EDITOR'S OFFICE
He looks up as Florence enters room. She is gloating.
Well, Poison Ivy, how about it? Was that
He looks up sourly.
Lousy! You had a million dollars worth
She looks at him indignantly.
Listen, stupid, could I do anything
that would possibly meet with your
Yes, you could. Cut out this rotten
business and act like a lady. Marry me.
She hears the honking of an automobile in the street
below and walks to the window, looks down for a moment.
185 SHOT FROM FLORENCE'S ANGLE WINTON IN CAR
in front of the Express Building, honking impatiently.
186 INT. EDITOR'S OFFICE
Florence turns back from window, grins at editor.
That's what I said.
I'm going to get even with you, you dirty
stiff! I'll do it!
He rises and catches her in his arms. As they embrace,
we hear the raucous "honk-honk" of the car in the street