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