brought to you by The Val Lewton Screenplay Collection
"THE CURSE OF THE CAT PEOPLE"
Screen Play
by
DeWitt Bodeen
The MAIN and CREDIT TITLES are SUPERIMPOSED on a series of
line drawings of elves, small forest creatures, tree limbs,
and other grotesqueries drawn in the delicate, fanciful, and
yet frightening style of Arthur Rackham, The DISSOLVES from
one card to another are accomplished by a gust of wind
blowing autumnal leaves past the title as the card begins its
dissolve. The drawing on the last card shows an oddly shaped
tree trunk.
FADE OUT
FADE IN
EXT. FOREST PATH - DAY
CAMERA IS SHOOTING PAST the actual tree which we have seen
depicted in the last card. Up the path, marching two by two,
are a dozen children of kindergarten age. At their head is
Miss Callahan, a young, pleasant-looking teacher. The
children are singing rounds and she directs this operation by
blowing a pitch pipe and extending her hand first to the left
hand column which starts the first lines of the round.
CHILDREN
(singing)
"The goldenrod is yellow, The corn is
turning brown,"
Miss Callahan extends her arm toward the right column. They
take up the words the left column has just finished, while
the left column now goes on with the second part of the
round.
CHILDREN (CONT'D)
(singing)
"The trees in apple orchards 'With fruit
are bending down."
Miss Callahan smiles in satisfaction at her pupils, and
turning around, continues along the pathway, waving time with
her hands as the children go on and on with their musical
round.
EXT. BRIDGE CROSSING A SMALL STREAM - DAY
With Miss Callahan at their head, the children march onto the
bridge. Here Miss Callahan halts and the children stop with
her. She turns to face them and makes a motion for them to
gather around her. With them grouped about her, she half
turns facing the sunny glade on the other side of the stream.
MISS CALLAHAN
Take a good look, children. It may seen
just a little valley with a stream
running through it. But, no. It's Sleepy
Hollow. Just because you are lucky enough
to be the kindergarten class of
Tarrytown, you can run and play in Sleepy
Hollow --
(glancing at her watch)
for exactly fifteen minutes.
Almost with the grace of a child she rises and begins to run.
As if this were a signal for them to begin their play, the
children run after her.
MED. SHOT of children as they begin to run past the camera,
laughing end shouting. Finally, one little girl comes
running past the camera and the CAMERA TRUCKS WITH her. This
girl is Amy Reed. There is a haunting quality about her
childishness; almost a feeling such as Wordsworth expressed,
that her youth still keeps her in touch with the memory of
another world, a memory which fades with each passing day,
and whose fading leaves a sense of emptiness and loss.
MED. CLOSE SHOT - Amy. Apart from the other children, she
raises her arms and looks up to the sun and the sky. A
butterfly, perched on a stalk of mullen, attracts her
attention, and she tiptoes softly toward it, kneels beside
it, and begins to speak to it. Her voice can be heard, but
the words cannot be distinguished. Suddenly the butterfly
spreads its wings and flies away. Amy rises with a smile and
runs after it.
MED CLOSE SHOT - a stand of goldenrod in the meadow. The
butterfly flies into the scene and lights on one of the
blossoms. A moment later Amy comes and kneels beside it. She
whispers, but only a word or two can be heard.
AMY
Where are you going — why do you fly?
The whole wide world -- -- my friend --
you're my friend.
The butterfly flutters its wings and soars into the air. Amy
chases after it.
MED. CLOSE SHOT of several children ruthlessly pulling up the
goldenrod. The butterfly goes fluttering past them. Amy,
her face rapt and concentrated, runs past in friendly
pursuit. One of the boys, a stocky, heavy-set youngster
named Donald, looks after her and begins to run.
The CAMERA DOLLIES WITH Amy as she pursues the butterfly.
From behind her comes a shout.
DONALD'S VOICE
I'll get it for you, Amy.
Donald enters scene and runs past her.
DONALD'S VOICE (cont'd)
I'll get it for you, I'll get it.
He runs ahead of her, and before she can protest, snatches
off his cap and with a quick sweeping movement catches the
butterfly and presses his cap closely to him. As Amy and tho
CAMERA HALT together, he opens the cap with a smile, puts in
his hand and brings out the torn, crushed body of the
butterfly. He offers it to Amy.
CLOSEUP of Amy. The shock and hurt have hit so deep in her
childish mind that her face is almost expressionless.
TWO SHOT - Amy and Donald. He still stands stupidly smiling
at her. Amy makes a quick movement with her hand and slaps
him hard across the face.
DISSOLVE
INT. SCHOOLROOM CORRIDOR - DAY
In the long, echoing corridor of the Tarrytown Public School,
Amy, a small and pathetic figure stands forlornly before the
closed door of a classroom. From behind this door can bo
heard the murmur of adult voices; deep in conversation.
INT. KINDERGARTEN SCHOOLROOM - DAY
A kindergarten schoolroom in one of the public schools of
Tarrytown. In the room are blackboards and tacking boards on
the walls; it is antiseptically clean and cheerfully light
with afternoon sunlight, The little chairs and tables are
arranged in an orderly semi-circle facing the teacher's desk.
Grouped around this desk are Miss Callahan and Oliver and
Alice Reed.
MISS CALLAHAN
(smiling and with the air of
one who tries to bring calm)
to a situation)
Really, Mr. Reed, there isn't anything to
worry about. It was only a slap --
ALICE
(brightly, and trying to put
the whole discussion on a
social footing)
That's exactly what I told Mr. Reed, but
he insisted upon remaining home from
business to talk to you, Miss Callahan.
OLIVER
I know it may seem stupid of me--but it
isn't the slap I'm worried about -- it's
the reason.
MISS CALLAHAN
Something to do with a butterfly-- they
were quarreling about it.
OLIVER
No. Amy slapped Donald because he had
hurt the butterfly -- and it was her
friend.
MISS CALLAHAN
Well, that seems a harmless fancy --
OLIVER
(interrupting)
Amy has too many fancies -- too few
friends. It worries me. It doesn't seem
normal.
ALICE
(apologetically, to Miss
Callahan)
You know these fond fathers with their
only chicks.
Miss Callahan disregards this. She looks seriously into
Oliver's face
MISS CALLAHAN
I can see you're worried. And she is a
very sensitive and delicately adjusted
child.
She makes a slight pause as if hesitant to go on; then,
abruptly, resumes talking.
MISS CALLAHAN (CONT'D)
But a good deal of the blame for that may
lie with you, Mr. Reed. Perhaps you're
over- anxious -- watch her too closely --
worry too much. The child's bound to feel
it.
Oliver is about to answer, but Amy, who has been in the
corridor suddenly comes into the room
AMY
It's late, Mommy -- you haven't forgotten
my birthday party.
MISS CALLAHAN
Your birthday, Amy --
(crosses the room, talking) as
she goes)
-- and I have something for you in my
locker. A present.
AMY
Mommy's having a party for me. I asked
Robert, and Donald, and Lois --
By this time Miss Callahan has taken Amy's hand and is
leading her to the door.
MISS CALLAHAN
(over her shoulder)
Amy and I will meet you at the car.
She takes the child out of the room. Alice and Oliver follow
at a more leisurely pace.
INT. CORRIDOR OF THE TARRYTOWN SCHOOL - DAY
Miss Callahan and Amy go down the corridor. The teacher
walks quickly and the child trots along beside her. The two
parents walk along sedately, Alice pausing now and again to
examine the pictures, crude childish daubs, displayed on the
tack-up boards. Ore drawing catches her eye. She stops.
ALICE
Here's a drawing by Amy.
Oliver goes over toward her.
ALICE (CONT'D)
She certainly doesn't seem to have
inherited any artistic abilities from
either of us. Look at that.
Oliver peers over her shoulder at the drawing.
OLIVER
(grinning)
Well, it shows imagination, anyhow.
ALICE
(turning to face him)
I wonder if you don't resent that in her?
OLIVER
I'm sure I don't, Alice. It's something
else -- something moody -- something
sickly --
(pauses)
She could almost be Irena's child.
Alice studies his face for a moment.
ALICE
And that's what worries you?
He nods.
OLIVER
I'd hate her to grow up like that.
ALICE
She's not Irena's child -- there's
nothing of Irena in her. She's my child.
Oliver, smiling, reaches over to take her hand, and pat it
affectionately.
OLIVER
All I have to do is look at Amy's eyes,
blue and deep like yours.
ALICE
I'm not a jealous woman, Oliver.
OLIVER
I know that.
ALICE
That's why I can tell you, straight out,
you think too much about Irena -- blame
yourself for her death. And its your
thinking and brooding about her that
makes you so unnaturally concerned about
Amy.
OLIVER
No. It's not that. It's because I know
what can happen when people begin to lie
to themselves -- imagine things. I love
Amy too much to let her lose herself in a
dream world where butterflies become
pals. I saw what happened to Irena with
her Cat People.
ALICE
I know, dear. I understand. But try to
worry a little less about her -- be a
little easier in your thinking. And
especially today — let's forget about it.
We want a really bang-up birthday party,
don't we?
OLIVER
(grinning)
You make me sound like the father in
"East Lynne."
ALICE
Darling, no father could be nicer to a
child than you are to Amy.
Miss Callahan comes in from the street door. Alice and
Oliver, interrupted, start toward her.
MISS CALLAHAN
You'd better hurry. I've left Amy in the
car and she's getting impatient. She
tells me there's something especially
important about a sixth birthday.
OLIVER
(smiling)
We'll see that she gets there in good
time
Alice extends her hand to Miss Callahan.
ALICE
I'm so glad to have met you at last.
You're just as nice as Amy told me you
were. I hope you'll come to see us.
MISS CALLAHAN
I'd love to.
They shake hands. Alice takes Oliver's arm. He nods to Miss
Callahan and both of them start down the corridor, the
teacher watching them.
DISSOLVE
EXT. FRONT YARD - REED COTTAGE - DAY
Edward, a small, trim, colored man, wearing a brown sweater
and cap, is raking leaves into a pile. The pile is already
alight and burning. He is singing as he works, an old, sad,
Dutch-English song of the district. ("Johnny Has Gone For a
Soldier")
EDWARD
(singing)
Who can blame me if I cry my fill, Johnny
has gone for a soldier.
An auto horn sounds in the street - a succession of short,
squawky, joyous toots. Edward looks up.
LONG SHOT - ANOTHER ANGLE of the street in front of the Reed
Cottage. The Reed car comes down the street and draws up to
the curb. Amy is the first to come bouncing out. She runs to
Edward.
EDWARD
Getting the yard all fixed up for your
party, Amy. You'd better hurry and get
yourself fixed up too.
AMY
Mommy's taking me upstairs to change my
dress right away.
Alice and Oliver have gotten out of the car. Alice crosses
the yard, takes Amy's hand and they walk into the house
together. Oliver pauses to watch the burning leaves.
EDWARD
Everything all right down there at the
school, Mr. Reed?
OLIVER
Yes, everything's all right, Edward.
EDWARD
(shaking his head)
When I first heard all that talk about
you going down to the school to see the
teacher I got really afeard. I thought
maybe you night call off this birthday
party -- and me with the cake already in
the oven.
OLIVER
I imagine a child would have to commit
murder or rob the Seventh National Bank
of Tarrytown to be deprived of a birthday
party.
He takes a final lick at the pile with the rake, picks up
another implement that he has there and carrying this and the
rake, he starts off around the driveway, Oliver goes in at
the front door.
INT. HALLWAY - REED COTTAGE - DAY
Oliver passes through the hall and glances into the dining
room which has been decorated with paper streamers. The
birthday table has been set with twelve places with a paper
tablecloth, paper napkins, party favors and place cards. He
stands for a moment in the doorway, and then passes into the
dining room.
INT. DINING ROOM - REED COTTAGE - DAY
Oliver passes through and goes on into the kitchen.
INT. KITCHEN - REED COTTAGE - DAY
As Oliver comes in one door, Edward comes in at the other.
There is a huge birthday cake on the kitchen table. Edward
takes off his cap and sweater and hangs them up in a broom
closet. At tho same time he takes out a white butler's
jacket. He begins to put this on and as he struggles into
the freshly starched sleeves, Oliver extends his hand and
helps him to get it on.
OLIVER
I thought we were going to save those
leaves you were burning for the compost
bin.
EDWARD
Got more leaf mold now than we'll ever
need, Mr. Reed. I thought I'd burn 'em
up and get the yard clean.
It is at this moment that Amy comes in dressed in a Kate
Greenway style party dress. Edward quickly whips a tea towel
from the rack and covers the birthday cake.
AMY
Is that my birthday cake? May I see?
OLIVER
You'll see it when it's all lit and ready
for you.
EDWARD
(with a glance at the clock)
You won't have long to wait. In just a
few minutes this house will be
overflowing with boys and girls. Off with
you now, Amy. Go out and watch from the
gate for all the children who'll be
coming.
OLIVER
Go on -- out with you.
He gives her a little shove from behind to propel her toward
the hall door. With s backward look at the covered cake, Amy
goes out the door. Oliver and Edward stand watching her go.
Oliver crosses over to the sink and runs himself a glass of
water. He leans against the sink, drinking it while Edward
takes up a handful of birthday candles, already mounted in
their candy sconces, and begins to put them into the cake.
Edward suiting the action to the word; half singing, half
speaking, but avoiding any musical comedy feeling.
EDWARD
One for the one year:
Then she didn't say a word.
One for the two year:
That was whooping cough we heard.
One for the three year:
She got lost then for an hour.
One for the four year:
She turned pretty as a flower.
One for the five year:
Best child I ever did see.
One for the six year:
I don't know what that'll be.
Oliver laughs, sets down the glass of water, and crosses over
to him.
OLIVER
We'll all see that it's a good year for
her, Edward.
He gives him a friendly touch on the shoulder and starts out
of the kitchen.
INT. REED DINING ROOM - DAY
Omitted.
INT. REED YARD - DAY
The Reed yard is surrounded by a white picket fence. There
is a lawn and in the back there is a fringe of very young
birches and maples. Behind the tall fence at the rear there
is a wood of sturdier and older trees. There is one large
tree in the garden, and on a wide limb of this tree a swing
has been fastened. Amy is swinging in this swing now, holding
the kitten in her arms as she swings.
INT. REED LIVING ROOM - DAY
A pleasant, light, airy room, tastefully furnished. Over the
fireplace mantel is the copy of Goya's Don Manuel Osorio de
Zuniga that had once hung in Irena's apartment. Alice, still
wearing her hat, is getting ready some games to be played by
the children. She is hiding jelly beans in odd places about
the room for the children, to seek out. On the wall is a cut
out of a donkey minus its tail, and on a table is a bunch of
assorted paper tails. Also on the table are several games of
tiddlywinks. Oliver comes in from the hallway.
OLIVER
Why don't you take off your hat and stay
awhile?
ALICE
(taking it off)
I forgot I had it on.
She starts smoothing her hair, looking in a wall mirror.
Oliver looks at his watch-
OLIVER
Where is everybody?
ALICE
It's early yet.
OLIVER
It's nearly a quarter after four. The
party was for four, wasn't it?
ALICE
Yes, darling,
OLIVER
Gosh, in my day kids arrived at birthday
parties before anybody was ready for
them,
ALICE
Times have changed.
Oliver looks ruefully down at bis watch and frowns.
LAP DISSOLVE
EXT. REED YARD - DAY
Amy is at the gate, looking up one side of the street and
down the other for the first sign of her guests.
INT. REED LIVING ROOM - DAY
Oliver is idly playing with the game of tiddlywinks, snapping
the small disks into a cup. Alice turns and sees him,
ALICE
Oilie, that's for the children to play
with.
OLIVER
No kids yet. Something's gone wrong.
Maybe I ought to call somebody.
ALICE
(good-hunoredly)
All right, Ollie. Go ahead. Call the
Boyds...3000W...see if their darling
Donald has left.
OLIVER
I think I should.
(going into hall)
3000W?
ALICE
(cheerfully)
That's right.
Alice moves to the window and looks out.
EXT. REED YARD AND SIDEWALK - DAY
Amy has moved outside the yard and is standing on the
sidewalk, looking up one way and down the other Far some sign
of her guests.
INT. REED LIVING ROOM - DAY
As Alice turns away from the window, Edward enters from the
dining room. He has a birthday present in his hand. They
start toward the dining room, but Oliver comes in from the
hallway.
OLIVER
Something's haywire,
ALICE
What do you mean?
OLIVER
I called not only the Boyds but the
Irvings. Neither of them received
invitations.
ALICE
But they must have. Amy and I made them
out together. You mailed them, didn't
you, Edward?
EDWARD
Well, ma'am, the truth is, I gave them to
Amy hersolf to post.
OLIVER
And Amy mailed them?
EDWARD
She pleaded so to do it
Oliver looks at the two a moment, and then turns and leaves
the room.
EXT. REED FRONT YARD - DAY
Oliver comes out of the house, and Amy, seeing him, runs up
the walk to meet him,
OLIVER
Amy, you remember the party invitations
Edward, gave you to mail?
AMY
Yes, daddy.
OLIVER
Did you mail then?
AMY
Yes, I did.
OLIVER
Where did you mail them?
AMY
I'll show you.
She takes his hand and starts leading him around the side of
the house.
EXT. REED BACKYARD - DAY
Amy and Oliver come around the corner of the house and walk a
few steps toward the big tree that stands at one corner. This
is a very old tree with a hollow trunk. Halfway toward the
tree, guessing what Amy has done, Oliver stops.
OLIVER
Amy, not that old tree!
AMY
Yes, daddy.
OLIVER
But I told you about that so long ago;
you couldn't have been more than three
when I told you that tree was a magic
mailbox.
AMY
(proudly)
I didn't forget.
OLIVER
But, Amy, that was just a story; it
wasn't real. That tree's no mailbox.
He looks at the child seriously, and going to the tree,
reaches down within the hollow trunk to bring out a batch of
damp, slightly mouldy invitations. He holds them out to Amy.
OLIVER (CONT'D)
Well, there they are.
(kneels down beside Amy)
Look, darling, Mother and daddy keep
telling you over and over again, but you
go right on dreaming, and then things
like this happen.
She looks for a second at the invitations.
AMY
If the invitations didn't go, then that
means nobody will come, doesn't it?
There won't be any party.
Oliver tries to lighten her disappointment.
OLIVER
Yes, there is going to be a party! We'll
have one ourselves -- you and me and
mommy and Edward.
DISSOLVE
INT. REED DINING ROOM - DAY
CLOSE UP of a party favor held between two hands - Oliver's
and Amy's, The hands pull and the party favor explodes with
a loud snap.
The CAMERA PULLS BACK TO show a pathetic little party in
progress. Amy sits at the head of the table with Oliver and
Alice on each side of her.
Almost as if the snap of the party favor were a signal for
his entrance, Edward comes in from the kitchen bearing aloft
the huge birthday cake with its six shining candles and
places it before Amy.
EDWARD
You've got to blow 'em all out in one
blow, Amy.
Amy prepares to blow, gathering herself for the effort.
OLIVER
Amy, make a wish. Wish real hard, and
then blow out the candles, and your wish
will come true.
AMY
(perplexed)
But wishes don't come true.
OLIVER
Certain wishes do.
AMY
But you told me in the garden-- that the
wish about the tree couldn't come true.
OLIVER
But this is different. Go on blow,
He looks at her for a second, the strange inconsistency of
adult counsel to children completely lost to him.
Amy blows mightily. The candle flame streams out and
flickers. As her breath is exhausted, she inhales sharply
and the candles go out.
ALICE
You get your wish!
AMY
(looking at her father)
You know what I wished, Daddy? I wished I
could be a good girl.
EDWARD
Now it's all ruined, you shouldn't speak
your wish.
Amy looks hurt. Alice comes quickly to the rescue.
ALICE
But Edward, in this kind of a wish that
doesn't matter.
AMY
I can make wishes like this come true. I'll be
just like Daddy wants me to be -- play with the
other children -- not sit around by myself —
tell the truth --
OLIVER
(interrupting her with a hug)
That's right, darling, and you'll make
daddy very happy if you'll just leave
that dream world of yours and come into
the same world with Daddy and Mommy the
nice, pleasant world of everyday things.
Amy puts her cheek against his, happily.
FADE OUT
FADE IN
EXT. SUBURBAN SIDEWALK - DAY
Amy lets herself out of the gate and starts skipping down the
sidewalk, humming to herself. She skips along, sometimes
hopping on one foot as if she were playing a game of
hopscotch, sometimes swinging herself diffidently around the
trunk of the tree and continuing on in the sunlight. Up the
sidewalk toward her comes Jack on his tricycle. Amy sees him
and stops. As he passes her, she calls out to him:
AMY
Hello, Jack.
SHOT of Jack as Amy sees him. He passes her on his tricycle,
but turns his head and makes a face at her.
MED. CLOSEUP of Amy as she reacts to this new slight. She is
distinctly troubled. Thoughtfully she starts walking on down
the street. Occasionally she turns and looks after Jack,
frowning. She reaches a corner, where she stops for a second,
pulling herself backward and forward contemplatively as she
holds on to the cornerpiece of a fence. She still is looking
after Jack, puzzled. She shakes her head, giving the problem
up, and turns down the side street. She stops almost
immediately, her face brightening again with the anticipation
of new joy.
FULL SHOT as Amy sees them, of three little girls sitting on
the sidewalk playing a game of jacks. One of them looks up,
sees Amy, motions to the others, and they whisper very
briefly. They all turn around, look at Amy, and then return
to their game of jacks, devoting their entire attention to
it.
MED. SHOT as Amy walks down the street toward the three
little girls, the CAMERA PANNING WITH her. She stops when she
reaches the three children. They do not look up, but go on
with their game as if it were the only thing taking place in
life. Evelyn, the little girl whose turn it is, makes a grand
final play, throwing the ball, catching up eight jacks,
knocking with her forefinger knuckle on the pavement, and
catching the ball.
EVELYN
What comes next?
LUCILE
Double knocks, of course.
Evelyn starts on double knocks, but misses almost at once.
EVELYN
I just seem to stay in double knocks
forever.
She passes the ball on to Lucile, observing as she does so:
EVELYN (CON^D)
Of course, it's very hard to do anything
with somebody breathing down your neck.
LUCILE
What was I In?
DOROTHY
You were in threes of over the fence.
LUCILE
Oh, yes.
She starts to do threes in over the fence, but misses at
once. She looks in exasperation at her two companions
Simultaneously all three little girls turn and glare at Amy.
REVERSE SHOT of the three little girls in the f.g., Amy in
the b.g. takes a step forward.
AMY
May I play too?
DOROTHY
Why don't you go home?
AMY
I'm a good player.
LUCILE
You might just as well stop being nice to
us, Amy Reed. We're mad at you.
AMY
Why?
LUCILE
Because you said you were going to invite
us to your birthday party.
EVELYN
And you didn't!
AMY
But I did! I did invite you!
The three little girls simply look at Amy; to them she is a
complete liar. They put their heads together and whisper. One
of them giggles. Dorothy looks up and points down the street
behind Amy.
DOROTHY
Look at the giraffe!
Amy turns her head, and the minute she turns around the three
little girls scramble to their feet and with screams of
laughter start running down the street. Amy turns around,
puzzled, and then starts after the children. The three little
girls can be heard screaming to one another:
GIRLS
Run!
Run faster!
Ditch her!
AMY
I invited you to my party. I did, I did,
I did.
SHOT of the three little girls running. They turn the corner.
Amy can bo seen running up to the corner, still shouting.
AMY
I did invite you. I did invite you. I
did. I did.
She finally gets to the corner, still running, and makes the
same turn the other children did.
EXT. FARREN HOUSE & GARDENS - DAY
A late Victorian house, with gables and cupolas and a wide
piazza, stands on the fringe of the forest. It is overgrown
with ivy, morning glories, and wild honeysuckle. The yard,
too, which had once been a formal garden, is a tangle of wild
growth. The house is silent, no sign of life about it. A
very low, crumbling, and in some places completely broken
iron rail sets the garden off from the dirt pathway. There
are ornate statues in the garden, and in front of the
entrance is an old elaborate carriage post. The children
come running into the scene, screaming and laughing.
CHILDREN
(ad lib)
We ditched her.
Serves her right.
CLOSER SHOT of the children. Suddenly they notice where they
are and they immediately grow more quiet. Their whispers can
be heard as they go past on tiptoe.
CHILDREN
(ad lib)
The old house.
There's a witch in it.
It's haunted.
Count three, count four,
Run past the door.
That's the best thing to say for witches.
LONGER SHOT of the children as they near the other end of the
fence. Their courage suddenly leaves them, and they all make
a frantic run for it.
SHOT of Amy as she comes up to the old house. She is out of
breath and quite evidently her playmates have gotten out of
her sight. She looks with interest at the strange house and
the overgrown garden. She stands gazing about her. A voice
from an upper window begins to call her. The voice is sweet,
professionally trained and full of enticement.
VOICE
Little girl. Little girl. Come into the
garden. It's pleasant and cool here --
ever so pleasant -- ever so cool out of
the hot sun --
Amy is fascinated. She looks up, and still looking up, slowly
and hesitantly begins to go into the garden. She passes under
the pergola and peers at the frightening heraldic lion in the
bushes. With an occasional glance in the direction of the
voice which still can be heard calling, she goes on to the
path and approaches the sculptured figure of "Comedy." On the
porch steps from above her the voice calls:
VOICE
Little girl, step back away from the
house so that I can see you. Step back,
little girl.
Amy looks puzzled, but to get a better view she takes one or
two natural steps backward, looking up.
CLOSE UP of an open window. A gentle breeze is blowing the
lace curtains. Through the opening between the curtains, a
woman's gnarled hand appears in a velvet sleeve. This hand
holds a handkerchief weighted at one corner, and tosses the
handkerchief out the window.
EXT. FARREN GARDENS -- DAY
Amy watches as the handkerchief flutters down. She makes a
futile effort to catch it. It falls near her. She picks it
up and examines it.
INSERT AMY'S HANDS as she holds up the handkerchief.
One corner of it has been drawn through a silver ring. She
removes the ring and tries it first on one finger and then
another. It fits her thumb.
MED. CLOSE SHOT of Amy. She puts the ring on her thumb and
stands a moment, holding the handkerchief up between her two
hands. Suddenly and silently from behind a bush beside her a
thin, white arm and hand appears. The hand grasps the
handkerchief.
TWO SHOT of Miss Barbara Farren, cadaverously tall and thin,
with only her bright hair to speak of a beauty which is
quickly fading, as she steps out into the sunlight from
behind the bush. As she does so, she tears the handkerchief
from Amy's hands. Amy, stunned and silent, relinquishes the
handkerchief and watches while Barbara Farren paces stately
across the garden and around the corner into the house. From
above her the voice can be heard calling:
VOICE
Go away, little girl. Go away.
Amy looks up and starts to move away. At first she walks
slowly with many & backward glance, but upon reaching the
protective shadows of the pergola, she breaks into a run.
DISSOLVE OUT
(END PART I)
DISSOLVE IN
INT. REED KITCHEN - DAY
Edward, wearing a blue and white striped denim apron, has a
fat roasting chicken on the table and is dexterously
proceeding to stuff and truss it. As he works, he solemnly
addresses the fowl.
EDWARD
Oh, you were a lordly fellow handsome as
a king and full of pride. Struttin' and
showin' off and scratchin' up the earth
and callin' all the hens to account for
this and that.
He pats in a bit of stuffing.
EDWARD (CONT'D)
A lordly fellow -- a lordly fellow -- and
now you lie on your back with your legs
in the air, and you don't even know what
the score is -- no, sir, you don't even
know what the score is.
Amy comes in from the back yard. She is hot and breathless
as if she had been running. Edward takes a look at her and a
quick look at the kitchen clock. He leaves his former
companion lying on the table and crosses to the icebox.
EDWARD (CONT'D)
Guess you'll be wanting a glass of milk,
Amy.
She nods. He opens the icebox door and takes out a glass of
milk which has been standing waiting, covered with a saucer.
As Amy takes the glass with her right hand, she holds up her
left thumb,
AMY
Look at my ring.
EDWARD
That's a fine-looking ring.
AMY
A lady threw it to me.
EDWARD
Most surely that was a nice lady to give
a ring to a little girl.
AMY
It's a pretty ring.
EDWARD
I wouldn't be surprised if it were a true
wishing ring.
Amy looks at it.
AMY
A ring that I can wish on like I wished
on the candles?
EDWARD
Maybe, if it's a real mourning ring like
we have in Jamaica. All you got to do is
turn it on your finger, close your eyes,
and make a wish.
AMY
(holding) the ring up to him)
What's a mourning ring?
EDWARD
They're given to the living in memory of
the dead. If this is a real one -- I
can't be sure -- you can make a wish, and
it will come true in the twinkling of an
eye.
AMY
Well, if it's a real mourning ring,. I'm
going to think hard for something I want
more than anything else in the world
before I wish.
EDWARD
That's the clever way to do it.
Edward looks at her appraisingly.
EDWARD (cont'd)
You look good and hot and good and tired.
Guess you've been playing real hard with
your friends.
AMY
I didn't play, Edward. They wouldn't
play with me,
Edward looks up in concern, and Amy hastens to bury her face
in the glass of milk.
EDWARD
Your daddy isn't going to like that. He
had his heart set on your playing with
the other kids.
He shakes his head, uttering a clucking sound of disapproval.
Amy takes her face out of tho glass long enough to say:
AMY
(thoughtfully)
I'd better tell him.
She drinks the remainder of her milk, thinks a moment, and
evidently feels it better to get the worst over right away.
She starts toward the door.
INT. OLIVER REED'S WORKSHOP - DAY
This is a pleasant, many-windowed room with a neat array of
shelves, nail bins, work benches, and small power tools.
Oliver, in an old sweater, flannel trousers, and moccasins,
is working on a ship model. It is a planked model of the
"Half Moon." Oliver very carefully fits a plank and drives
in two brads to hold it. Amy comes in and stands watching
until he has finished.
OLIVER
Your daddy's so pleased with you he's
building a model ship for your very own.
Come take a look at it.
He takes her by the hand to show her the model on the bench.
Amy looks at it, but she is not particularly happy. Her
father's kindness makes it all the more difficult for her to
tell him what she has to say.
OLIVER (CONT'D)
You see, when you are a good girl and
play with other children instead of
moping and dreaming by yourself, your
daddy wants to do everything he can to
make you happy.
This has not helped Amy any. She stands still, staring at
him, wondering how to begin.
OLIVER (cont'd)
How you run along and join your
playmates.
Turning away from her, he turns on the electric saw. Amy
still stands watching, him. He is about to feed a piece of
wood to the saw, when she finally summons up courage enough
to tug at his sleeve.
AMY
Daddy --
Oliver looks at her and tries to hear what she is saying but
cannot because of the noise of the machinery. With an
impatient gesture, he turns it off.
OLIVER
What do you want. Amy?
AMY
I wanted to talk to you, I wanted to
tell you about the other children.
OLIVER
Can't you tell me later?
AMY
But I didn't play with them, Daddy. They
wouldn't play with me.
Oliver is annoyed at having been interrupted and further
angered by the fact that he had jumped to his own conclusion
of the child's "goodness." He sits down on a little stool to
bring himself on the same level with the child.
OLIVER
What do you mean you didn't play with the
other children?
AMY
It was on account of the birthday party.
OLIVER
Because you didn't ask them? I don't
blame them for being angry. Why didn't
you explain what happened?
AMY
They ran away.
OLIVER
Why didn't you run after them?
AMY
I did. I came to an old dark house, and
a voice called to me -- a lovely, sweet
voice ---
Oliver cocks his head apprehensively.
OLIVER
Now Amy
AMY
It's true.
OLIVER
And who did the voice belong to?
AMY
It was just a voice.
OLIVER
(completely angry)
Now look, this is the last time you come
to me with any such stories — I'm sick of
this sort of thing.
AMY
Daddy, it's true.
OLIVER
Let me be the judge of that.
His voice has been rising. As Amy starts to steal out of the
workshop into the yard, Alice, dressed for gardening, pokes
her head in at the open doorway.
ALICE
(trying to pour oil on the
troubled waters)
My, my, what a coil we're in! What's this
all about?
OLIVER
Amy's been lying again.
AMY
No, I didn't.
OLIVER
(scornfully)
Voices from an old dark house!
ALICE
Did you hear the child out?
OLIVER
Well, it seemed to me --
ALICE
You mean you didn't. It seems to me the
least you could do. You can't just jump
at conclusions that way. You're being
unfair.
OLIVER
I'm never unfair.
ALICE
(almost tearfully)
You're shouting at me.
OLIVER
(roaring)
I'm not shouting at you, but there's no
doubt in my mind that you spoil this
child!
Amy, who has been listening intently, shrinking away with
mingled embarrassment and hurt, suddenly begins to cry.
Oliver is the first to kneel beside her.
OLIVER (CONT'D)
I'm sorry. Daddy and Mommy are a little
upset.
AMY
You're upset about me -- I made you fight
--I hate for you to fight.
ALICE
We're not really fighting darling -- just
a little argument. You run out and play --
go on now -- We'll make up.
She shoos the child out of the door
EXT. REED YARD -- DAY
Amy, still dabbing at her eyes, comes a few feet out of the
workshop door and turns back to look at her parents. In the
background Alice is dabbing at her eyes with her
handkerchief, but she is smiling. Amy starts down the path.
Edward, trundling a wheelbarrow toward the front yard, passes
her, notices the tears, and stops.
EDWARD
Been crying? That won't please your
Daddy. You'd bettor cheer yourself up.
AMY
I'm trying to.
EDWARD
(remembering)
Let me take another look at that ring.
She lifts it up and he looks at it.
EDWARD
Sure enough, that's a real mourning ring
and it's got wishing power. You'd, better
sit down and think of some good wishes to
make.
Edward, with a kindly pat on her shoulder, picks up his
wheelbarrow and starts off. Amy looks after him, absorbed.
Then she turns.
ANOTHER ANGLE. Amy ambles along the walk. In one hand she
carries the hoop and stick. Idly she kicks up & pebble with
the toe of her shoe. As she passes a bush, she tears off a
leaf and chews on it. She reaches a snail pond and drops
down beside it with a sigh. Amy locks down into the pond.
INSERT THE SURFACE OF THE POND. A large goldfish is
lazily swimming around.
BACK TO SCENE. Amy smiles and leans over tho pond. She puts
one hand in the water and ripples the surface. Then, staring
at her hand, she stops, fascinated.
CLOSE UP of Amy's hand under the surface of the water. The
silver ring glistens brightly.
Amy draws her hand out of the water and stares at the ring. A
smile lightens her face. She knows now what she will wish
for. She sits down on a large rock, closes her eyes, and
firmly turns the ring on her finger as she makes her wish.
AMY
I wish for a friend.
For a second she remains with her eyes closed; then, slowly,
she opens her eyes looks about her.
EXT. THE WOODS -- DAY
LONG SHOT. The trees stand still and quiet. At first, no
breeze rustles the leaves, the yaddo lying on the lawn is
motionless. Then a whisper of a breeze moves the branches of
the trees, and the yaddo flutters gently, coming to life.
EXT. REED YARD - DAY
Amy is standing up and looking with anticipation at the,
moving sunlight and shadow.
Through the picket fence, on the fringe of the woods, a
cluster of dandelions grow. The breeze blows the dandelions,
and they incline their tufted heads toward the yard. The
little spears of dandelion fluff are loosened in the air and
enter the yard, sailing on the wind. The musical motif of
Irena's song sounds faintly, growing stronger.
Amy looks about her as the dandelion tufts come dancing by
her.
She laughs happily and in the moving sunlight and shadow
begins to roll her hoop. Irena's song, which fills the track,
is gay and happy.
INT. OLIVER REED'S WORKSHOP - DAY
Oliver is at his handsaw. He is feeding a long thin strip of
wood into the saw and Edward stands behind him holding up the
other end of the stick. Ho has on a carpenter's apron.
Through the window Amy can be seen playing, happily racing
along the path.
The saw cuts to the end of the stick and Oliver turns it off.
Both men look out of the window.
EDWARD
Amy looks happy — seems almost as if she
were playing with another child; like
somebody else were running with her and
playing.
OLIVER
(simply)
I like to see her happy.
EDWARD
So do I, Mr. Reed.
Oliver reaches over for the next stick of wood to cut. The
two men take their positions at the saw. Oliver turns it on.
EXT. REED YARD -_ DAY
Amy, humming, flits through the dappled shadow in the rear of
the yard.
DISSOLVE
DISSOLVE IN
INT. REED KITCHEN - NIGHT
Amy is finishing her supper. Dressed in nightgown and
bathrobe, she is seated, at the kitchen table and is taking
the last bites of a cup custard. Edward is moving about the
kitchen, preparing dinner. Oliver comes in the back door,
moves up to Amy, and puts his hand on her shoulder. He looks
down at the empty plates.
OLIVER
Nothing wrong with your appetite, is
there?
Amy shakes her head.
EDWARD
I didn't even have to coax her tonight.
OLIVER
That's because she made a promise, and
she'a keeping it, aren't you, darling.
(to Edward)
You saw the way she played this
afternoon, Edward.
EDWARD
Indeed I did. Up and down the garden she
went, laughing and singing to herself.
Alice comes in and stands, watching, smiling.
AMY
I wasn't singing to myself.
EDWARD
Oh, I suppose it was to the wind you
sang, or maybe to the sun, or the clouds,
or maybe it was to the flowers in the
garden.
Oliver goes to the sink to wash his hands. Amy puts aside her
dish and spoon, wipes her mouth with her napkin, and climbs
down from her chair.
AMY
All through.
Her mother takes her hand and they start out of the kitchen.
INT. REED LOWER HALLWAY AND STAIRS - NIGHT
Amy walks along the hallway holding Alice's hand. She is
humming a song.
ALICE
(turning to her)
What are saying, darling?
AMY
I wasn't saying anything. I was singing.
ALICE
I suppose any note, no matter how sour,
is a song if you hold on to it long
enough.
Amy frowns, pursing her lips and shaking her head.
AMY
I thought I'd never forget that song.
They have reached the stairs and start up.
ALICE
What song, dear?
AMY
The song I was trying to hum. The song my
friend, taught me.
ALICE
(carelessly)
Oh, you'll remember it some time.
They go on up the stairs and into Amy's room.
INT. AMY'S BEDROOM -- NIGHT
Alice comes into the room with Amy and switches on the light
while Amy pulls off her bathrobe. On the dressing table is a
small basin of water and a wash cloth. Amy stands patiently
while Alice dabs at her face with a soaped cloth.
AMY
Mommy --
ALICE
Yes, darling.
AMY
Did you ever make a wish?
ALICE
Oh, lots of times.
AMY
Did your wishes ever come true?
ALICE
Sometimes.
AMY
I made a wish today, and it came true
just like Edward said it would.
Alice picks up the child's hand to wash it and notices the
ring.
ALICE
Where did you get this ring?
AMY
That's what I wished on. Edward says it's
a wishing ring -- and it is!
ALICE
(slipping the ring' off Amy's
finger)
But where did you get it, Amy?
AMY
At the old house with the voice.
Alice begins to turn down the covers of Amy's bed.
ALICE
Someone gave it to you? Where was this
old house?
AMY
On the back street — a green house
ALICE
The Farren house
AMY
Do you know the people?
ALICE
No dear. I don't know them, but I've
heard about them.
AMY
Are they nice?
ALICE
I really don't know, but I do know that
you must return the ring. You get Edward
to take you up there and bring it back to
the old lady.
Amy looks at her puzzled.
ALICE (CONT'D)
Well — the mother or daughter --
whichever one gave it to you. You ask
Edward to go with you.
AMY
(getting into bed)
I got my wish anyway.
ALICE
(as she draws the covers up to
Amy's chin)
You mustn't tell anybody, or it won't
come true.
AMY
(as Alice kisses her)
But it's already come true.
ALICE
(raising her finger to her
lips)
Sh! Then you must keep it true.
Goodnight, darling.
She turns out the lights and goes out the door.
FADE OUT
FADE IN
INT. REED LIVING ROOM - DAY
CLOSE SHOT of one of Oliver's model sailing craft; the sails
flutter and stir as if it were sailing before a strong
breeze. Over this shot is the sound of Edward's voice
singing, "Blow The Man Down."
The CAMERA PULLS BACK TO show him working with a vacuum
cleaner, blowing the dust from the model. Suddenly there is a
click. The wind that filled the model sails dies abruptly,
leaving them flat and becalmed. Edward turns to look at the
body of the vacuum cleaner which lies on the floor. Amy is
kneeling beside it. She has a shy smile on her face. It was
she who had turned it off.
EDWARD
Little miss, you're stopping me in my
work.
AMY
But I want to talk to you. Mommy says for
you to come up to the old house with me.
I've got to take back this ring.
EDWARD
You just wait until I finish here. I've
got to dust these ships for your Dad.
AMY
Will you come soon?
EDWARD
Soon as I finish.
He snaps on the vacuum cleaner and goes back to his work. Amy
sits down on the vacuum cleaner, astride, puts her elbow's on
her knees, her chin in her hands and watches him patiently.
Suddenly she flicks off the switch again. The vacuum cleaner
stops.
EDWARD (cont'd)
(protestingly)
How, little miss
AMY
You're going to be busy all day long,
Edward.
EDWARD
I do suppose so. But if you were there
yesterday, guess you can get there today.
AMY
(jumping up)
That means I can go alone?
She snaps on the vacuum cleaner again. Over the noise Edward
nods in reply. She starts out of the room and can be seen
through the hallway going out the front door.
EXT. REED HOUSE -- DAY
Amy comes down the stairs and starts off down the walk.
EXT. SUBURBAN STREET - DAY
Amy turns out of her driveway and starts off toward the
corner. Down the street comes Miss Callahan riding on an
English model bicycle with books in the basket on the handle
bars. She sees Amy and slows down.
MISS CALLAHAN
Hello, Amy.
AMY
Are you coming to see us. Miss Callahan?
MISS CALLAHAN
No, darling, I hadn't intended to.
AMY
(pointing)
I live right here.
MISS CALLAHAN
Maybe I'll drop in and see your Mommy.
She smiles at the child and then peddles off, turning in at
the Reed driveway. Amy watches her and then turns to resume
her own walk toward the corner.
INT. HALL - REED ROUSE - DAY
The doorbell is ringing. Alice in a gardening apron and with
gardening gloves on her hands, comes hurriedly out.
ALICE
I'll get it. I'll get it, Edward.
From tho living room Edward's voice can be heard.
EDWARD'S VOICE
Yes, Ma'am
Alice opens the door and finds Miss Callahan standing there
ALICE
Oh, hello.
MISS CALLAHAN
Hello. I just met Amy and she pointed out
where you live.
Alice starts taking off her gloves and holds the door wide
with her foot.
ALICE
Please come in.
Miss Callahan comes in.
ALICE (CONT'D)
Ever since yesterday I've been thinking
about you.
She starts to close the doer.
ALICE (CONT'D)
I've been thinking you're the sort of
person I'd like to know better. I'm glad
you came.
She has gotten her gloves off and she takes Miss Callahan's
elbow to start her toward the living room.
EXT. SUBURBAN STREET CORNER - DAY
Amy comes from the direction of her own house. She stands for
a moment at the corner, hesitant, then looks at the ring and
starts off toward the Farren house.
INT. REED LIVING ROOM - DAY
Edward has departed, taking his cleaning apparatus with him,
and Alice is showing the room to her new-found friend, Miss
Callahan. They move along the fireplace wall. Alice points
out a model to Miss Callahan.
ALICE
Oliver's pet, I'm sure it would be the
first thing he'd grab if we ever had a
fire.
MISS CALLAHAN
I know how it is. My Dad collects
miniature canon.
Alice reaches to the mantel and holds up a bronze canon
model.
ALICE
If they're connected with boats, we have
'em.
She sets the model down and they move toward the next wall.
MISS CALLAHAN
(as they go)
They may be trouble to dust, but they're
nice. I like to see a home like this --
a home connected with people's work and
thoughts — things they love.
As she finishes speaking the two women come abreast of the
Goya painting of the three cats with their mad, staring eyes.
ALICE
It doesn't fit,does it?
Miss Callahan shakes her head.
ALICE (CONT'D)
But it is a part of our lives too --a
part of our past, It's a Goya
reproduction. Those three cats --
(points)
are supposed to be the most beautifully
drawn cats in Western art.
MISS CALLAHAN
But you don't keep a cat, do you?
ALICE
We don't even like them,
(looks at the painting)
I've often thought of giving it away, but
Oliver wouldn't stand for it. It was his
first wife's favorite picture. She was
an artist.
MISS CALLAHAN
I didn't know Mr. Reed had been married
before.
ALICE
Yes. As a matter of fact, I was on the
point of telling you about it yesterday —
about Oliver's first marriage — and his
wife's death. It has so much to do with
Amy — although he'll never realize it.
They have moved to the sofa. Alice sits down and Miss
Callahan joins her. Alice pushes the box of cigarettes toward
her. Miss Callahan shakes her head. Alice takes one and
begins to light it.
She gets up and Miss Callahan gets up after her.
EXT. FARREN GARDEN - DAY
Amy, with the serious mien of one intent upon an errand,
comes down the street and turns in at the pergola of the
Farren home.
EXT. FARREN HOUSE -- DAY
Amy crosses from the pergola to the porch. She climbs the
steps, knocks and waits a moment. The door opens and Miss
Farren stands there.
AMY
Can I see the lady who gave me this ring?
She holds up the ring. Without a word, Miss Farren lets the
child pass in and closes the door behind her.
INT. HALL -- FARREN HOUSE -- DAY
The great heavy draperies of this room are drawn. As the
door closes behind Amy, the twilight of this somber ante
chamber closes around the child. The weird ornaments, the
rococo furniture, the angular stairway, loom darkly around
her. In front of her, tall and pale, stands Barbara Farren.
BARBARA
What is it?
AMY
My mother told me to give back the ring
to the lady who gave it to me.
Barbara stretches out her hand. Amy shakes her head.
AMY (cont'd)
You're not the lady.
Barbara points to a tall high-backed chair.
BARBARA
Sit there.
Frightened, and keeping her eyes on Barbara, Amy hoists
herself up into the chair. Without a word, Barbara turns and
goes out. The child looks around. She glances at the sphinxes
that guard tho stairway and the grinning statue of a Negro
serving maid. She tries to see beyond into tho darkened
living room. She moves trying to find a more comfortable
position in this stiff, high chair.
EXT. REED FRONT YARD -- DAY
Edward, is gardening. At least he has on his gardening
outfit, the brown sweater and cap and he has a pair of
pruning shears in his hand but at the moment he has stopped
to survey Miss Callahan's bicycle. His inspection of this
vehicle has brought him to the books and he leans against the
bicycle reading from one of the books.
INT. HALLWAY - REED HOME - DAY
Alice and Miss Callahan are coming out of the dining room
into the hall.
ALICE
(as if continuing a
conversation)
It's almost as if there were a curse on
us. I wouldn't care if it were on me, but
it seems to be directed against the
child. Irena haunts this house.
Alice starts to open the door.
EXT. REED FRONT YARD - DAY
Alice opens the door and she and Miss Callahan step through.
Edward puts the book back into the basket on the bicycle
ALICE
(to Edward)
I thought you were with Amy.
EDWARD
No, she went runnin' off to some old
house she was talkin' about yesterday.
ALICE
That's the Farren house.
EDWARD
Is that where she got the ring, Mrs.
Reed? She shouldn't be up there.
ALICE
But I told her to go with you.
EDWARD
She said something about that, Mrs. Reed
— but she didn't tell me it was the
Farren house. I'll get my other hat and
coat and go over there.
ALICE
You do that, Edward.
He starts out for the side driveway and goes around the
corner of the house.
MISS CALLAHAN
(wheeling her bicycle around)
That the old actress -- Julia Farren?
ALICE
Yes, She's a little odd, I understand.
MISS CALLAHAN
But quite harmless, I'm sure.
Miss Callahan wheels her bicycle down the drive, eases it off
the curb and prepares to mount. She waves. Alice waves
back.
INT. FARREN HALLWAY - DAY
Amy is sitting, a tiny figure in the big chair. She looks
around her. The hallway is still silent. She slips the ring
on her finger, and then slides down off the chair, and starts
toward the door. A slight rustling sound attracts her
attention, and she turns.
The entrance to the drawing room, as Amy sees it. A portiere
like curtain separates the drawing room from the hallway.
Inside the drawing room in the half-light are weird shadows.
Amy timidly steps forward to the drawing room. She reaches
the curtain, gently pushes it aside, and steps within the
room.
INT. FARREN DRAWING ROOM -- DAY
The drawing room, like the hallway, is deep with shadows. The
drawing room is cluttered with useless Victorian and
Edwardian antiques. Amy moves slowly into the room, her
attention going from one baroque object to another. On a
small mahogany table there is a glassed dome enclosing a
stuffed dove that flutters over a mossy column of artificial
forget-me-nots. A low, cackling laughter sounds o.s.
Startled, Amy looks up.
A corner of the room. In the dim light, the furniture throws
large shadows. An amused, cackling laughter is heard.
Amy, frightened, listens a moment. The laughter ceases. Amy
takes a step toward the hallway. Suddenly, there is a sharp,
quick, rattling sound, and sunlight floods the scene. Amy
cowers, hiding her eyes from the bright light.
Julia Farren stands at the window, one hand still resting on
the center rod of the old-fashioned shutter, through which
bright sunlight now pours. Mrs. Farren is a fabulous
creature. Her face is painted, rouged, and powdered; and she
wears a thick wig of outrageously red hair. There are jeweled
pendants glittering in her ears, rings on her fingers,
bracelets on her wrists. She wears a diamond necklace, and
around her throat is a grosgrain ribbon with a huge ruby
shining in the center. Her gown is of the period 1915, and
was once a very elaborate Worth model. It is a tea gown of
gold lace over velvet, but some of the panels of lace are
torn and sagging. She leans on a black walking stick that has
a diamond top. Her scarlet lips open in a smile as she looks
down at Amy.
Amy slowly lets her hands fall from her face, and stares up
at Julia Farren, blinking her eyes in the unaccustomed light.
Julia Farren adjusts the rod on the shutter so that the light
is softer and no longer glaring. She smiles at Amy.
MRS. FARREN
I agree with you. God should use a rose
amber spot. The sun is not kind.
Mrs. Farren moves a few steps to her chair, and sits down in
it, as if it were a throne. With a wide flourish of one hand,
she indicates the sofa across from her.
MRS. FARREN (cont'd)
Sit down, my child.
Amy moves to the sofa and slides up onto it. A large white
cat leaps onto the lap of Mrs. Farren, who caresses it
gently. Amy is unable to take her eyes from the fabulous
woman before her. Mrs. Farren smiles a glittering smile.
MRS. FARREN (CONT'D)
I've been watching you. You couldn't see
me, but I could see you. It was like
peeking through a slit in the curtain
before the play began. You would be a
very good audience. I can see that.
AMY
If you were the lady who gave me a ring,
my mother says I have to give it back to
you.
MRS. FARREN
Return it to me? Indeed you may not. I
gave it to you as a present.
AMY
But my mother says I mustn't accept
gifts from strangers.
MRS. FARREN
Stranger? Julia Farren a stranger.
Why I've played every theatre from
Boston to San Francisco. I've been
to London and Paris. Those days —
those beautiful, shilling, golden
days.
AMY
But I only came to give back the
ring.
MRS. FARREN
The ring? We'll have no more
nonsense about the ring.
She turns to the tea-table upon which a silver teapot, cups,
and tea-things are laid.
MRS. FARREN (CONT'D)
Let's have tea, shall we? The tea
will be good and strong and red now
— the way I like it!
She starts to pour, but there is a light sound of footsteps
in the hall. Mrs. Farren looks around. Her whole body seems
to freeze. An icy, hateful gleam comes into her eyes. Amy
looks at Mrs. Farren, then, apprehensively, glances around.
Barbara Farren stands in the doorway, staring at her mother.
Barbara is a woman of around thirty-five, tall blonde,
beautiful. Her eyes, lynx-like, glint as she stares; she
looks as if she might pounce, like a panther, into the room.
Her lip curls with faint contempt, and turning, she quits the
room.
Mrs. Farren looks at Amy.
MRS. FARREN (CONT'D)
She's always spying on me. She
creeps into the room. She lives
upstairs, yet she's always watching
me — always!
AMY
Who is she?
MRS. FARREN
That woman is an imposter, a liar,
and a cheat. How do you like
your tea?
AMY
Well... .sometimes I got a spoonful of
tea in a cup of hot milk.
Mrs. Farren hands the teacup to Amy.
MRS. FARREN
There you are. Take some cake, why don't
you?
AMY
No, thank you.
MRS. FARREN
One little piece of cake won't hurt you.
Go ahead, take one. It's full of
fruit...citron, cherries and ginger.
It'll make you dream. Yes, wonderful
dreams.
Obediently, Amy takes a piece of cake and munches on it. Mrs.
Farren is stirring her tea. Suddenly, she puts her teacup
down, and leans forward with new interest to the child.
MRS. FARREN
Child, have you ever seen a play?
Amy shakes her head.
AMY
I like stories.
MRS. FARREN
Then I'll tell you a story — a lovely
story. Do you know the story of Rapunzel?
AMY
Mommy read it to ne.
MRS. FARREN
Do you know the story of "The Headless
Horseman?"
Amy shakes her head.
MRS. FARREN (cont'd)
You live right here in Tarrytown and
don't know the legend of Sleepy Hollow?
Amy shakes her head again.
MRS. FARREN (CONT'D)
Well, then you must hear it. I shall tell
it to you.
Amy claps her hands together gleefully. Mrs. Farren gets up,
takes Amy by the hand and leads her to a little chair which
she places at the entrance of the alcove off of the living
room.
MRS. FARREN
You sit here and we'll pretend that's a
stage.
She starts toward the alcove.
MRS. FARREN
(as she walks)
The Headless Horseman --
AMY
Why hasn't he got a head?
MRS. FARREN
It was shot off long ago in the great
battles that were fought here; with the
British on one side and the Americans on
the other.
She has reached the alcove and draws the curtains a little
and stands in the arch-way, turning to face the child.
MRS. FARREN (CONT'D)
At night the Headless Horseman rides...
There is a banging on the, outer door and she stops abruptly.
Both she and the child look off at the door.
MRS. FARREN (cont'd)
I hear a knocking at the South entry,
Knock, knock, knock --- never at quiet
Wake Duncan with thy knocking --- I would
thy couldst.
INT. FARREN HALLWAY - DAY
With light, graceful steps, Barbara Farren crosses the hall
and opens the door. Edward stands there, hat in hand.
EDWARD
Is my little miss here -- ? A little girl
with hair about the color of yours,
ma'am?
Without a word, Barbara steps back to let him in. He comes
forward hesitantly. With a white hand she points toward the
living room.
INT. FARREN LIVING- ROOM - DAY
Edward comes in. Mrs. Farren and Amy have gone halfway down
the room to meet him.
EDWARD
About time for you to come home, Amy.
AMY
But Mrs. Farren just started to tell me a
story. Please.
MRS. FARREN
(imperiously)
Let the child stay.
EDWARD
(beginning to hesitate)
Now, I don't know Amy --
AMY
(quick to take advantage)
He'll let me stay, Mrs. Farren. He'll let
me stay.
MRS. FARREN
Good.
She starts back to her impromptu stage.
EDWARD
(protesting)
Now Amy, I didn't say --
Amy is already engrossed in the idea of the performance to
come. She takes her seat again. Edward is forced to fellow
her and stands beside her. Before he can resume his
protestations, Mrs. Farren begins her recital.
MRS. FARREN
On the dark nights — on the stormy nights
-- you can hear him. He passes like the
wind; The flapping and fluttering of his
great cloak beating like gaunt wings. The
thunder of his horse's hooves is loud,
loud and louder, beating hard, beating
strong on the frozen ground as he comes
riding, riding, riding.
EDWARD
(whispering)
Little miss, you can't stay here. You've
got to come with me.
Edward tries to take Amy's hand, but she puts her fingers to
her lips shushing him.
MRS. FARREN
...At the hour of midnight, down the road
that goes through Sleepy Hollow, across
the bridge, he goes galloping, galloping,
always searching, always seeking
EDWARD
Come away, Amy.
The child is too engrossed to even hear him, hanging on every
word of the old lady's recital.
MRS. FARREN
-- If you stand on that bridge at the
wrong hour -- the hour when he rides by,
his great cloak sweeps around you, he
swings you to his saddle bow, and you
have to ride forever your eyes seeing for
his blind eyes, your ears listening for
his ears long deafened and dead, and
always his cold arms around you, crushing
you into the cavity of his bony chest.
Then forever you must ride and ride and
ride with the Headless Horseman.
Amy shudders. Mrs. Farren is delighted with the effect on the
child. All her emotions spent on the narrative, she goes back
to her chair, picks up her tea cup and sips.
MRS. FARREN (cont'd)
My tea has gone cold -- bitter cold.
EDWARD
Come along now.
He takes Amy's hand and starts out of the living room. The
old lady pays no attention to their departure. At the door
Amy turns back.
AMY
I've had a nice time, but I have to go
home now. Good-bye.
Mrs. Farren pays no attention.
AMY
Good-bye.
Edward has succeeded in getting her to the hall door and they
go out into the hall.
INT. FARREN HALLWAY - DAY
Amy and Edward come out of the living room and go down the
hallway to the front door. Edward fusses with the numerous
bolts and chains which hold this structure closed. Suddenly,
two slender, white hands come into the scene and, with a
single twist, effortlessly unbolt the door. Amy and Edward
look around.
Barbara Farren, as Amy sees her. There is no expression on
her face, yet her eyes glint mysteriously as she looks down
at the child.
Barbara Farren opens the door. Amy looks at her and smiles.
AMY
Thank you.
She goes outside, and Barbara Farren closes the door after
her and Edward. She turns back and starts toward the living
room.
OMITTED.
INT. PERGOLA - FARREN HOUSE - DAY
Edward, holding Amy's hand comes halfway down the length of
the pergola and leans over to talk at the same level as the
child. He talks in a low voice.
EDWARD
Little miss, don't you never come here
alone. You gave me a fright, you did.
AMY
But she's such a nice lady.
EDWARD
But I don't want you coming here alone.
You get me to go with you when you want
to come here. You promise?
The child nods solemnly without understanding. He wags his
finger before her.
EDWARD (cont'd)
You be sure of your promise.
Amy nods again.
INT. FARREN LIVING ROOM - DAY
Barbara Farren enters and stands in front of her mother. She
stands silently for a moment, then in a tone of terrible and
suppressed bitterness, she speaks.
BARBARA
A liar -- an impostor -- your own
daughter. You call me that and yet you
are sweet and kind to the little girl --
a stranger --
The old lady doesn't even look up.
BARBARA (CONT'D)
Look at me. I'm your daughter.
Without lifting her head, the old woman replies.
MRS. FARREN
My daughter, Barbara, died when she was
six. That was long ago. You're only the
woman who keeps care of me. I know you.
BARBARA
Look at me.
The old woman keeps her eyes fixed on the carpet. Barbara
reaches down and firmly takes her mother's chin in her hand,
drawing her face up. The old woman, despite the fact that she
is forced to face her daughter, averts her eyes.
MRS. FARREN
You're an impostor.
Barbara drops the old woman's chin, turns and silently leaves
the room.
DISSOLVE
INT. AMY'S BEDROOM -- NIGHT
Amy is in bed asleep. Moonlight fills the room. Amy lies
perfectly still in quiet sleep, her hair tousled on the white
pillow. At the window a branch of a tree is beating its
leaves against the panes of class. In the distance, muffled
and faint, issuing from no known direction, comes the beat of
horse's hoofs. Mrs. Farren's voice can be heard.
MRS. FARREN'S VOICE
He comes riding, riding, riding. On the
dark nights-- on the nights of storm...
The words are repeated in and, out of sequence, a mad and
irritating cacophony of verbiage.
In the darkness of the window, against the background of
beating boughs, great hooves appear, striking at the air,
bright shoes flash, the calks catching the light. The hairy
fetlocks are dank and wet. The chest of the horse, his
flaring nostrils, the wildly rolling eyes, the mane, wind
tossed and merging with the agitated branches of the tree,
come into terrifying CLOSE UP. Then, suddenly, the Headless
Horseman in Hussar uniform, the braid, white and ghastly,
stretched across the darkness of his uniform, comes into
view. Crooked in bias arm is his dead head, surmounted by a
Hussar's cap. The eyes are closed and drooping. The cheeks
hang putrescent and flabby. Only the spiked mustaches are
upright and give the lie to death. Around this horse and
figure, whips the great black cloak. One fold of it swoops
across the face of the sleeping child and she wakens, sits up
in bed and screams.
INT. REED LIVING ROOM - NIGHT
GROUP SHOT of Oliver and Alice with Miss Callahan and a man
friend. They are seated around a card table, playing bridge.
They are laughing as they conclude the game. Alice, who is
dummy, suddenly puts out her hand, and they are silent.
ALICE
Listen!
Everybody listens a moment. Oliver looks at Alice.
OLIVER
What is it, Alice?
ALICE
(shrugging)
I thought Amy was calling. I guess not.
Miss Callahan smiles at her and begins to shuffle the deck of
cards.
INT. AMY'S BEDROOM - NIGHT
Amy is huddled in bed, badly frightened. There is only the
pitiful, sighing sound of the branch of the tree outside,
swaying in the wind. Amy, clutching her hands together, looks
down and spies the ring on one finger. She turns the ring,
whispering:
AMY
My friend... I'm frightened...
my friend.
FULL SHOT of Amy's window. The soft curtains billow out far
into the room. In the moonlight the leafy branches of the
trees seem to dance, throwing shadows into the room. The
shadows dance across to Amy's bed, the CAMERA FOLLOWING them,
Amy smiles and settles down under the covers. Her eyes are
heavy with sleep.
AMY
(softly)
I'm glad you came...my friend sing me
that song again.
Her eyes close in sleep, and as she nestles her head back
against the shadow, the shadow gains the vague, gray outline
of a woman's figure holding the sleeping child against her
breast. Very softly a woman's voice sings the old French
lullaby. In her sleep Amy smiles in contentment.
INT. REED LIVING ROOM - NIGHT
The four people are still playing cards. Oliver's attention
is not on the game; he is listening to something, like a half
remembered fragment of song. Alice leans forward and touches
his arm.
ALICE
Ollie.
OLIVER
(his attention aroused)
What?
ALICE
It's your play.
OLIVER
I'm sorry. I was somewhere else. He
returns to the card game.
INT. AMY'S BEDROOM - NIGHT
Amy is sleeping peacefully. The last notes of the song sung
by Amy's friend are finished, and the indistinct shadow leans
over the sleeping child. Amy smiles happily.
FADE OUT
FADE IN:
INT. REED LIVING ROOM - DAY
Alice, with a kerchief tied around her hair and a cloth
duster in one hand, is cleaning out a cabinet. From one of
the shelves she takes a stack of photographs and sets them
face down on the near-by table, Oliver and Amy enter the
scene. Alice looks up from dusting the shelf.
ALICE
Edward will give you your breakfast, Amy.
AMY
(climbing up on a chair)
I had my breakfast while you were still
asleep.
Oliver leans over to kiss the back of Alice's neck.
OLIVER
I haven't had my breakfast.
ALICE
Well, you know where it is.
Oliver shrugs his shoulders to Amy.
OLIVER
You see the way I get treated. You're the
only one who has any pull around here.
Amy laughs, end Oliver goes into the kitchen. While Alice
continues with her cleaning, Amy, kneeling on the chair,
leans over the table to inspect the photographs. She picks up
the top one, turns it over, and is obviously fascinated by
what she sees. Alice rises and crosses behind Amy. She
stops and looks down at the picture which Amy is looking at
with rapt attention.
INSERT THE PICTURE held in Amy's hands. It is of Irena
Dubrovna, Oliver's first wife.
BACK TO SCENE. Alice takes the picture from Amy and looks at
it.
ALICE
Where'd you get this, darling?
AMY
It was right there on top. Isn't she
pretty?
ALICE
(quietly)
She was very pretty.
AMY
What's her name?
ALICE
Irena.
AMY
(repeating it, delighted with
the sound)
Irena.
ALICE
(rising, with a change of mood)
Look! Why don't you run out and play? The
sun's shining.
AMY
(scrambling down from the
chair)
All right, mommy.
Amy runs outside. Alice quietly studies the smiling face of
Irena. She looks up and discovers Oliver crossing the
hallway. Alice calls to him.
ALICE
Ollie!
He comes into the room.
ALICE
I think maybe we should get rid of this,
don't you?
She hands him the photograph of Irena, which he takes. He
looks at the picture.
OLIVER
Where did you get it?
ALICE
Amy picked it off the top of that stack.
Perhaps you'd better go through the whole
bunch. There may be others of Irena in
there.
Oliver nods and sits down on the arm of the chair. He starts
to turn the photos over.
ALICE
Some day I'm afraid we're going to have
to tell her about Irena.
OLIVER
I suppose so.
Over the scene, from outside, sounds the gay, childish
laughter of Amy. Oliver raises his head, and listens for a
second. He then begins sorting the photos.
EXT. REED GARDEN - DAY
As Amy walks along the garden path, she is bouncing a large
gaily-colored ball. She is bouncing it at first in an aimless
sort of way; then she throws it up into the air and catcher
it. Over the scene comes the strain, of Irena's song, and
Amy, with the ball in hand, looks up. Her eyes brighten with
a curious interest, and her lips part in a friendly smile.
She tosses the ball toward the camera. After a second it
comes back to her. This time the CAMERA TRAVELS WITH the ball
to show Amy's friend, who catches the ball and tosses it back
to Amy. Amy's friend is a woman in gray, chiffon garments.
This is the first-complete materialization of the friend, and
it is evident that she has the pretty, kitten-like face of
Irena, Oliver's first wife.
AMY
Who are you?
IRENA
You called me by my name.
AMY
Irena. But who are you?
IRENA
I'm your friend.
AMY
I've wanted a friend.
IRENA
I've wanted a friend too. I've been
lonely.
AMY
But where do you come from?
IRENA
You wouldn't understand. I come from
great darkness and deep peace
AMY
But where is that?
IRENA
I can not tell you.
AMY
Will you be friend for always?
IRENA
For as long as you'll let me.
AMY
I shall want you for always.
IRENA
(kissing Amy's brow)
For always, then. Only you must promise
never to tell anyone about me
AMY
Not even Daddy...or Mommy?
IRENA
No. This must be a friendship that only
we shall have... you and I... Amy and her
friend.
AMY
Oh, I like the sound of that.., Amy and
her friend... Amy and her friend.
Amy tosses the ball in an excess of joy and happiness. Irena
catches the ball and running off, throws it back to her, Amy
catches it, laughing delightedly.
INT. REED LIVING ROOM - DAY
Oliver is standing before the fireplace, throwing the
photographs on the flames. One by one, he throws the few
remaining pictures onto the fire, all save one, the last in
the stack. He stands looking at the picture.
INSERT THE PHOTOGRAPH which Oliver holds in his hands. It
is one of Irena and him taken together; they are smiling at
one another.
BACK TO SCENE. Oliver looks up from the photograph to note
that Alice is in the dining room, and has her back to him. He
weighs the photograph a moment in his hands and looks up at
the bookshelves near by. There is a thick photo album on one
of the top shelves.
Quickly he inserts the photograph between its leaves. He
moves away from the bookshelf as Alice re-enters the room.
She looks at him, and then at the fireplace.
The last part of the last picture that was thrown into the
fireplace is curling up, a blackened wisp of burned paper.
EXT. REED GARDEN - DAY
Amy and her friend are playing happily. Suddenly Amy stops
playing;, holding the ball instead of returning it,
AMY
You'll always play with me?
IRENA
Whenever you want.
DISSOLVE
A SERIES OF DISSOLVES
EXT. REED GARDEN - DAY
Amy and Irena are swinging in the old swing that is attached
to a tall limb of the tree. Amy is seated, holding onto the
ropes, while her friend stands behind her, pumping the swing
into high rhythm. Amy is laughing very gaily, having a
marvelous time. Irena is singing. Amy laughs merrily, as she
and her friend swing up toward the heavens.
DISSOLVE
EXT. REED GARDEN - DAY
Amy is seated in a garden chair, doing sums. It is an
afternoon in late fall. Amy is wearing a sweater. Beside her
sits Irena, who watches the child anxiously.
IRENA
Can't you get it, darling?
AMY
I'll just never learn arithmetic.
IRENA
But you must!
AMY
The numbers simply don't mean anything
IRENA
Oh yes they do. Look. One is like a
tall princess.
AMY
A princess?
IRENA
Of course. And Two is the prince who
kneels before her on one knee.
AMY
Yes, yes! I see Prince,
IRENA
That's right!
AMY
(excited)
This is more fun than just pretend.
IRENA
Of course,
With renewed enthusiasm, Amy applies herself to her lessons.
INT. REED LIVING- ROOM - NIGHT
There is a fire in the fireplace, Oliver is seated on a stool
before the fire, a highball in his hands, and his hands
between his knees. He is gazing into the flames. Alice, on
tho sofa, is reading a book. She lowers it and looks at
Oliver. As she watches him, he suddenly grins. She smiles in
sympathetic reaction.
ALICE
What's funny?
OLIVER
(without)
That darn kid. I never in my life
expected her to get an A in arithmetic.
Math's is a practical science --- if she
understands figures, she's well out of
her own world of make-believe.
DISSOLVE OUT:
DISSOLVE IN
EXT. REED GARDEN - DAY
Amy and Irena are raking the dried leaves into a burning
pile. Irena picks up a handful of leaves and scatters them
onto the flames. Her voice takes on an eerie note,
IRENA
There's an oak leaf. Add a maple.
AMY
That one's an elm.
IRENA
(a strange) light shining) in
her eyes)
Throw sea weeds into the flames, and the
fire turns blue!
AMY
(perplexed)
But we don't have any sea weed.
IRENA
Pretend, darling. It's All Soul's Eve.
(taking the child's hand,
chanting)
Round about the fire we go...
(dropping the child's hand,she
dances around the fire)
Over the flames we leapt
On the other side of the bonfire, she calls to Amy.
IRENA (CONT'D)
Come on, Amy. Jump over the fire.
Amy hesitates, but then shakes her head and walks around the
bonfire to join Irena on the other side-
AMY
No, I don't think that's very much fun.
Let's play house instead. You be the
friend who comes to see me. I'll show
you my children.
IRENA
Your children?
AMY
My dolls. We can pretend.
Irena smiles at Amy, pats her gently as they take a few steps
toward the dolls.
IRENA
All right, Amy.
(reeling beside the
child,buttoning Amy's sweater)
Button your sweater, darling. It's
turning cold.
AMY
Yes, winter's coming. I don't like the
winter,
IRENA
Oh, but the winter's fun. There's the
wind and the snow. You'll like the warm
fire upon the hearth, and the long, long
nights.
Amy has hardly listened to Irena; she is busily laying out
her dolls in a row.
AMY
All my children are taking their naps.
We must be very quiet. This is
Lottie...she's very good... this is Mary
Ann...she's good sometimes...this is
Virginia... she's hardly ever good.
Irena has seated herself on a rock near the pool, and watches
the child with a wistful smile upon her face. There is an
autumnal sadness in their pose and from the tree above them
two dead leaves drift silently down.
DISSOLVE TO:
EXT. REED GARDEN -- NIGHT
The snow is falling in the same place where the leaves had
fallen. CAMERA LOOKS THROUGH the falling snow INTO the big
window of the Reed's living room. A Christmas wreath of
eastern holly is hung in the window. A decorated Christmas
tree is set up in a prominent corner of the living room, and
Edward can be seen lighting the lamps in the room. A pleasant
fire burns upon the hearth. Alice and Oliver can be seen
putting the last decorative touches to the tree.
DISSOLVE TO:
INT. REED LIVING ROOM - NIGHT
GROUP SHOT of Alice, Oliver, Edward and Amy. As Alice and
Oliver fasten the final garland of popcorn to the branches of
the tree Amy comes into the room, her arms laden with
packages.
AMY
These are all from me.
OLIVER
(inspecting the top package)
This one says, "To Mother from Amy."
ALICE
Oh, thank you, darling.
AMY
You can't open it yet. You have to put
all of them under the tree until morning.
OLIVER
I guess if you can wait, so can we.
He starts to put the packages one by one under the tree,
reading aloud the name of each person for whom the package is
intended.
OLIVER (CONT'D)
"To Daddy from Amy." Here's one for Miss
Callahan. This one says, "To Edward from
Amy.".
EDWARD
Good heavens! What could you be giving
me. Little Miss?
AMY
Just you wait!
OLIVER
And this one's for Mrs. Farren.
AMY
She gave me a ring, so I'm giving her a
ring. I paid twenty-five cents for it,
too.
OLIVER
(inspecting the last package)
This one hasn't got a name on it. Who's
this one for, Amy?
CLOSE-UP of Amy as she looks around at the others and then
looks away.
GROUP SHOT. Oliver holds the package out to her.
OLIVER
Who's it for, Amy? Do we have to guess?
Come on, tell us
who it's for.
CLOSEUP of Amy, as she lifts her head. It is on her lips to
say that it is a secret, but at that moment the sound of
caroling is heard from outside. Amy turns her head.
GROUP SHOT. Everybody listens for a moment as the carol
continues.
CAROLERS' VOICES
(singing)
"It came upon the midnight clear, That
glorious song of old, Froci angels
bending near the earth, To touch their
harps of gold."
The four, meanwhile, go running to the window to look out.
Outside in the falling snow stand about eight carolers of
various ages and sizes. They are heavily over-coated and well
wrapped up in scarves. Alice turns to Oliver and then to
Edward.
ALICE
Ask them in, Ollie. Edward, fix
something warm for them to drink.
Oliver and Edward go to do as they are bid, and Alice turns
away from the window. Only Amy stands looking out.
EXT. REED HOUSE - NIGHT
The eight carolers stand in the snow, continuing their carol
in close harmony.
CAROLERS
(singing)
"Peace on the earth, good will to men
From heav'ns all gracious King, The world
in solemn stillness lay to hear the
angels sing."
FULL SHOT of Oliver as he opens the front door and comes
outside.
OLIVER
Merry Christmas! Come on in.
WIDE SHOT as the carolers cheer and start toward the house
with its open door.
INT. REED HALLWAY - NIGHT
The carolers enter the hallway, stamping the snow from their
boots. They take off their hats and scarves and coats.
Among the carolers is Lois Huggins and Miss Callahan. Among
the carolers, too, is Miss Plumett, a pleasant-looking club
lady who looks as if she might have stepped right out of the
Hopkinson drawings. Whenever Miss Plumett talks, which is
often, her clarion-like tones rise about everyone else's.
OLIVER
There's a big fire in the living room.
Edward's fixing something hot for you all
to drink.
MISS PLUMETT
How bounteous! But then I have always
remarked that you were a very bounteous
young man, Mr. Reed.
OLIVER
The sentiment is mutual, Miss Plummet.
She laughs giddily. Oliver smiles wanly and indicates the
living room.
OLIVER (CONT'D)
Right in here.
INT. REED LIVING ROOM - NIGHT
As the carolers enter the living room, Alice comes forward to
greet them.
ALICE
Merry Christmas, The carols were
beautiful.
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