Wl

"DARK SHADOWS"

1966 =- 54 oo 19662 fe Hspeh I

-
7
= Tuesday, June 14,

ary,
=

'AIR - Tuesday, June 28,

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Fou» 7,
WALLACE
COSTELLO
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WRITER: ART

ed SWIFT
PRODUCER: ROBERT Clbm
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Ley
DIRECTOR: LEILA

CAST:
VICTORIA

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STODDARD
WINTERS
STODDARD
ELIZABETH COLLINS
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STUDIO: Street
5
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ABC-TV2, 24 West 67th

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DARK

VIR:
SHADOWS
Tues. June 14,
#21966
AIR: Tues. June 28, 1966
voll
-
Jha0 Eo
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Ly A
SCtet

TEASER 1 11
on Bar
ACT ACT

SET door)
night)
Foyer (bolt
front
family
Drawing

box
(same
room Blue nignt)
portrait of
night) with practica
Whale
(same

and
(same

fishing practical
in foyer
ships
portraits BAr
CollinsJeremiah Juke

box Blue Whale

chandelier
painting of w/

and
crystal
portraits
HOUSE
drawing room
family
ART CARD OF
Juke

FILM of
house
Night
Exterior
crashing
@6ollins

rocks
Surf sax
on

clock
- Vickie tea
for three Jukebox in
for one
PROPS Grandfather Tray with Records

: tea table
Suitcase
boys
service
purseVickie's
Letter in
at bar
lemon, cream, sugax( fuy) quarter

b- (apa! for for juke

boys
at fs of
table dressing
bar thzee
/f4
the
telephone

e box a 3oes records

foe
tableBurke
forao,:
(Wen 6 le
two beers
two drinks
Strake and

ROBE Vickle outfig? - Jazzy Bartend

outfit - extra
leather
TARD Purse =- Carolyn
-
jeans?
Steve black

| | | |
Jacket and

AUDIO Vickie

=
 DARK #2 2
SHADOWS Pg.

TEASER 1 11
ACT ACT

SE blowing
grand-
Wind
hall
down
door record
Footsteps coming Other Frug

on
fatherclock
ticking of
and
and
wind closing
stairs and in
bolt on front

fu
Surf crashing belng pulled

record
rock and door opening

Barsounds
Frug
Fag,
MUSIC record record
i
Frug other frug

<) 3

1{ :
al
;: ey
1 RE . !:: .
Fe : .'
A \.5 -
t
Y.. 3

ne B
! |Po
|;4N
|u f.i
:}|
Ld :H
Fo o
1|
A i
io 1[i
~~, tr
]

1
od pe :\ ;
y1 ! ¥l 0
|3

f
 DARK SHADOWS #2 Pg. 3
mE
1111 1V TAG
room Fo
—————— ACT
room Foyerw/
night
ACT
SET Vickie's
ver
0~
portraits on
Drawing

with wall
window
same

; Hue
Catch on

Collins
patralt Jeremiah
drawing room
———————————————

NOow
of
Widawo

FILM Nighthouse
FAN 005s)
‘
Exterior of
outHdl
Ww

Vickie comes
of houses wall, ob

— Vickie's suitcase
PROPS Large fanfor wind for
| Large fan |
1 from
wind
Tea things
clack,
for window
Act Le dobe,

EFFECTS
SPECIAL Rigging
EE

ROBECarolyn clip
WARD Coat =~ -asVickiae
Coat
in film as in
: Vickie
1V
Coat =~

Roger
same Act
Coat =~

SE : frontblowing of surf and Wind

of pianis
(off) howling
Wind
slamming
door
Sound
wind blowingand €hopi
prelude
Record
playing

MUSIC ; PIANIST
CHOPIN
PLAY
PRELU
 TEASER
IN: r fli =~
ANY
COLLINS
FADE
FIIM:
ON
ESTABLISHING SHOT OF

NIGHT.
CLOSER
HOUSE AT CAMERA HOLDS

DOOR)
HOUSE, THEN SLOWLY MOVES IN

(VO) /a
AND CLOSER TOWARD THE FRONT

is Victoria wintets, Ha’

VICKI

Hill
My name

place
great house on top of Widow's
is a dark and frightening
to end a journey. The ghosts of
to tell to run
Pp
yesterday seem me
but I here ... the
... there he
ees am now door
is closed behind me
is no turning back +...
and

TO:
FOYER.
DISSOLVE

(THE GREAT FRONT DOOR ENTERS INTO

WALNUT
FOR
THE MAJESTIC FOYER. THE

...
PANELLING IS THE BACKGROUND

PORTRAITS THAT LINE

LONG-
ITS WALLS

FAMILY.
PAINTINGS OF FISHING SHIP, AND

CRYSTAL
DEAD MEMBERS OF THE COLLINS

THE
OVERHEAD, A MAGNIFICENT

...
CHANDELIER, TO THE RIGHT,

FACING
ENTRANCE TO THE DRAWING ROOM

STAIRCASE
TO THE LEFT THE DINING ROOM.
THE FRONT DOOR IS THE STATELY
 OF
FLOOR.
LEADING TO THE DARK SHADOWS
THE SECOND

CLOCK
FOYER.
THE ANCIENT GRANDFATHER'S
STANDS LIKE A SENTINEL IN THE

ELIZABETH.
IS
ANGLE WIDENS TO REVEAL

SHE
VICKI, STANDING TO ONE SIDE,

WALLS.
STILL HOLDING HER SUITCASE AS

ELIZABETH
LOOKS AROUND AT THE DARK

IS CLOSED,
IONG
ONCE THE BOLT

THE
TURNS AND STUDIES VICKI FOR A

THE
MOMENT. VICKI, INTERESTED IN

.,.. THEN
HOUSE, ITSELF, ISN'T AWARE OF

ELIZA-
CLOSE CRUTINY FOR A MOMENT

UNCOMFORTABLE
BECOMES AWARE. SHE TURNS TO

VICKI ...
BETH, FEELING SOMEWHAT

I
had
(JUST TO BREAK THE SILENCE)
I'm sorry I was so late.
trouble getting a taxi. I

ry
VICKI
letter?
ELIZABE
(UNSMILING) Do you wird, my

Yes. purse.
ELIZABETH
In my

I
see it?
(HOLDING OUT HER HAND) May
 VICKI
Of course. (SHE PUTS HER SUITCASE
THE
SHE
DOWN, FISHES IN HER PURSE FOR

HER.
LETTER, SMILING NERVOUSLY AS
IT AND HANDS IT
FROM
GETS TO

IT. IN
ELIZABETH TAKES THE LETTER

TO
THE ENVELOPE, GLANCES AT

CONVERSATION)
HER TENSION, VICKI STILL WANTS

VICKI
MAKE

I've in a big house

many
never been such

here?
before, Mrs, Stoddard. How

ELIZABETH
rooms do you have

ENVELOPE)
Forty. They're not all in use.
(PUTTING LETTER BACK INTO

It's
tea.
(HANDING BACK THE LETTER)
quite cold. I've put on some
wait in the drawing
room?
Why don't you

VICKI
you.
Why thank
/ AS
KITCHEN)
(LOOKING AROUND

ELIZABETH 5 TOWARD
an
Forty rooms. You must need
care
awful
of it,lot of help to take

(ELIZABETH STOPS, GLANCES AT HER)

 ELIZABETH
heavy
the
have one man for the

rest ourselves. /(( /

We
work, Miss Winters. We do

STANDING
OF
(SHE EXITS, LEAVING VICKI

AT
THERE, STARTLED AT THIS BIT

DO
INFORMATION. FEELING A BIT

TOWARD
LOOSE ENDS, NOT SURE WHAT TO

IT)
WITH HERSELF, VICKI GLANCES

ROOM.
THE DRAWING ROOM, WALKS TOWARD

TO
DRAWING

LOOKS
(VICKING ENTERS SIOWLY, WALKS

AROUND THE
THE CENTER OF THE ROOM,

FOREBEARS
AT THE PANELLED WALLS,

THEIR
PORTRAITS OF COLLINS'

SHIVERS,
~~
STARING GRIMLY DOWN FROM

77/5
FRAMES.
CAMERA UNTIL
INVOLUNTARILY, SHE

STANDING
PULLS BACK SLOWLY,

GREA
VICKI IS A SMALL FIGURE

ROOM)
ALONE IN THE CENTER OF THE

TO: )
ROCKS.
DARK

CUT
FIIM:
ToyHOUSE
DISSOLVE
[SURF CRASHING AGAINST THE

(VO) love,
ART CARD OF COLLINS

«
(MORE)
ANNOUNCER

A gothic wortdeguirling with

 4 N/4 5 /
—— ams TITLES. 7
OUT. 2
COMM. oy
yw
FADE

v s RS,
Cs
Sr LF HE oa vig WLELers,
AE
lo SIN §
se
Joe
~4
HE!

a = B- h
Farrar, 2 '
wT EE

FY g ~ * Tif
=&

REE
#i 6 4
Abi

3
EI DRED
wma
rps
 ONE
IN:
ROOM.
ACT

SHE
FADE
DRAWING

(WE ARE CLOSE IN ON VICKI AS

STANDS LOOKING UP AT A PORTRAIT.
DOORWAY,
ELIZABETH APPEARS

UNNOTICED BY
IN THE
IS
"TEA
VICKI. ELIZABETH
CARRYING A TRAY ON WHICH ARE

THINGS". SHE STOPS IN THE DOORWAY

A
... AGAIN ,.. STANDS FOR
AND
MOMENT STUDYING THE UNSUSPECTING
QUIETLY,
GIRL. THEN SLOWLY AND

SHE CROSSES TO HER SIDE. ELIZABETH

BEAT,
PRESENCE)
LO, iss<7
STANDS JUST BEHIND VICKI FOR A
VICKI IS

fitnters.
UNAWARE OF HER

He built 481
VICKII didn't
mouse

in,Oh!
(TURNING, STARTLED)
hear you come
ELIZABETH
PORTRAIT)
Collins, great-grand-
(STILL LOOKING AT
Jeremiah
father. a
He was Miss My

LOOKING
strong man,
Winters, (A BEAT, STILL
AT PORTRAIT, LOST IN HER OWN
..
THOUGHTS) How

(MORE)often, I've wished

 (CONTD)
(SHE LETS
ELIZABETH

IT TRAIL, SUDDENLY
THEN

BRISKLY
RETURNS TO REALITY, CROSSES

TO A TEA TABLE TO SET THE TRAY DOWN)

Miss
cream?
How do you like your tea,
Winters? or
VICKI
Lemon

Lemonwill fine,beyou.
It»
thank

manage
(AS SHE CROSSES T0 SIT DOWN)
denim
to
really you can

help.
this house with only one person

ELIZABETH
(POURING THE TEA) The East
was closed off over fifty
Wing
years
ago.
or two?
We rest.
only use part of the

, VICKI
-= One lump

I vy,
TO
west“ % 1 case.

NOTICES
(AS ELIZABETH PICKS UP THE CUP
HAND IT TO VICKI, VICKI
THERE ARE THREE CUPS ON THE TRAY)
else?
ELIZABETH
Are you expecting someone

I told my brother, to come

you. It's his son
Roger,
down to meet
you'll be caring for and tutoring.
 VICKI J 7) yd
What kind he?’
of boy is
ELIZABETH
ANSWER)
morning.
(OBVIOUSLY AVOIDING AN

VICKI
You'll in
meet him the

is ... is
I know, but
he friendly? EN)
I
what
he1Is
mean

2 I WN
games
Does
...
he like to play oe

know when I was nine

ELIZABETH
Miss
Winters ... is
David to
(INTERRUPTING QUIETLY)

you've
likely

met,
be different from any boy

p=.
DOWN
ever

SIRS;
(WE HEAR FOOTSTEPS COMING

till morning.
~

OUTSIDE Pr
THE
I suggest you wait

TURNS
(THE FOOTSTEPS HAVE PAUSED ——e

Roger. in
THE DRAWING ROOM. ELIZABETH

IN THAT DIRECTION) We're

the drawing room,
MOVING
DOOR)
(WE HEAR THE JOTETERS
TOWARD

I ... BEING DY ro
THE FRONT

ELI —TT
Roger! said we're
(NOW
—————————
WE HEAR THE FRONT DOOR

OPENED AND SLAMMED SHUT{

HALF-RISES IN HER SEAT TO GO TO THE
 FACE
HER,
DOOR TO CALL HIM BACK, HER

ELIZA-
SET WITH ANGER. VICKI WATCHES

HERSELF,
NOT A LITTLE DISTURBED. THEN

TO
BETH CONSCIOUSLY CONTROLS

AS
SETTLES BACK IN HER SEAT, TURNS

HAPPENED)
VICKI TRYING HER BEST TO ACT

ELIZABETH
THOUGH NOTHING HAS

We don't have many visitors here,

your
sunk, )
Miss Winters, but you'll have
day off, and several nights a
VICKI
HAPPENED)
...
(HER MIND ON WHAT HAS JUST
Oh, I hadn't even thought about
ELIZABETH
QUICKLY,
MOMENT
(INTERRUPTING, TALKING

DOESN'T
TRYING TO GET OVER THIS
OF TENSION BY PRETENDING

daughter.
IT

sure
EXIST) And then there's my
She's about your age. I'm

girl,
you'll get along very well. She's
TO:
a lovely
CUT ~~
SEVEN-
(WE ARE CLOSE ON A VERY PRETTY

A —
MUSIC -
CAROLYN
TEEN YEAR OLD GIRL WHO IS HAVING
BALL DOING THE FRUG,( TO THE
OF A BLARING JUKEBOX. THIS IS
 ELIZABETH. 10
INSECURE,
STODDARD, DAUGHTER OF

IS BASICALLY A SHY,
BROUGHT
CAROLYN

COLLINS
FRIGHTENED GIRL, ONE WHO WAS

HER
UP IN THE DARK CORRIDORS OF

A
HOUSE. SHE ATTEMPTS TO COVER

A
BASIC INSECURITY WITH THE SHELL OF

BOY
TEENAGE "SWINGER". HER PARTNER IS

WE
TWENTY YEAR OLD LEATHER~JACKETED
NAMED STEVE. AS WE PULL BACK,

OPEN
BEING
SEE THEY ARE DANCING IN A SMALL

IN­
AREA NEAR THE BAR, AND ARE

... STEVE'S
WATCHED WITH INTENSE AND EROTIC

a...
TEREST BY TWO OTHER BOYS

CHEER
SWINGING FRIENDS, HARRY AND MIKE

ON)
SNAPPING THEIR FINGERS AS THEY

BOYS
THEM

... go! ..
it around!
Go, honey Yeah, man
yeah!
CAROLYN)
Spread

TO:
(ANGLE ON

CUT
ANOTHER
TWENTY,
(A CLEAN CUT MAN SEATED AT

HASKELL,
TABLE WATCHING DOURLY. HE IS

NOT
RUGGEDLY HANDSOME. THIS IS JOE

EXHIBITION.
CAROLYN'S DATE.
VERY HAPPY ABOUT THE
HE'S OBVIOUSLY

JOE TURNS AWAY FROM WATCHING IN

DISGUST, BEER
HIM)
CONCENTRATES ON THE

CUT To:
SET BEFORE

AT
(STRAKE AND BURKE DEVLIN SEATED
LOOKING
CAROLYN)
THEIR CORNER TABLE. THEY ARE

STRAKE
TOWARD

rol
(SMILING APPRECIATIVELY)
this joint starts jumping
T ey
20 e
were
right.
kids get here, and they sure

BURKE )
‘re
Stoddard
(WATCHING THOUGHTFULLY) You

that's
STRAKE
positive Carolyn

She's
WATCH
(WITH A BROAD WINK AT BURKE)
a fire-eater, huh?
TABLE
(TURNS TO

Mr. 21
CAROLYN DANCE, TAPPING THE

IN All in the report,

7
RHYTHM)

Y/
report. 0

he 77
Devlin. All in the 24d
TOs
| | 0 7¢ A
A
CUT

OUT.
(CAROLYN,

FADE

.
AS SHE CONTINUES TO DANCE)
COMM
BY. 7
v
7 50
 TWO
IN: ACT
FADE
RAINBOW BAR. AS
A
ONE
(OPEN ON CLOSE SHOT OF JUKE BOX
A HAND REACHES IN AND PUTS IN

SOME
QUARTER. ‘puLL BACK TO REVEAL

UNTIL
OF THE OTHER BOYS SELECTING

THEN
RECORDS. HE STANDS WAITING

RHYTHM
THE TUNE STARTS TO PLAY, AND

CARQLYN
«e+ SNAPPING HIS FINGERS IN

THE
CROSSES TO THE TABLE AT WHICH

MIKE) J
AND JOE ARE SEATED. SEATED AT

HARRY dP
NEXT TABLE ARE STEVE AND

turn, / ) be
CAROLYN
Come on, Carolyn. My

not? Ns
JOE
Why (SHE GLANCES AT JOE)

Carolyn <.e.
CAROLYN
:
Just because you act 85 years
I have
old
to.)(STARTS
that doesn't mean
HARRY)
JOE
TO GET UP TO DANCE AREA WITH

«eeI
(STILL SEATED) had think you've
enough
HARRYwith
boy.
I think you'd better just stay
your beer, sonny
 by
CAROLYN'S
13
ARM)
(JOE IGNORES THIS, TAKES

JOE
HARRY >
...
Carolyn, you're making an idiot

(ANGRILY) Now, ...

HIS
just a Sinded, buster

FIST)
(JOE, RISING SUDDENLY, GRABS

JOE myself
SHIRT FRONT, COCKS HIS

This
== now get moving.THEM)
is between my date and

CAROLYN
(CAROLYN QUICKLY STEPS BETWEEN

Joel
Just cut
Cut it
it out!
you?
out, will
(TO JOE)
him,
HARRY
me have one dance with

-- JO Listen,
(STILL ANGRILY
I'm ready
CAROLYN
to
TO

«ee.
take you on any

take
Joe. Please.
(CALMLY) You don't have to
anybody on.
gone. UY
quarter's
(TO JOE)
-- Please? (TO HARRY) That
almost
JOE
FOR
(SHE AND HARRY START DANCING.

AND HARRY GLARE AT EACH OTHER

A BEAT, THEN HARRY STARTS

WITH CAROLYN, JOE SITS DOWN

DANCING
AGAIN
 CONTINUE
DANCE)
AS CAROLYN AND HARRY
TO
TO:
CUT

TABLE.
EXCHANGE
(BURKE AND STRAKE AT THEIR

INTEREST)
THEY HAVE WATCHED THIS

STRAKE
WITH

GRIN) ~~)
4
(SYMPATHETICALLY, WITH

Better luck next time,

BURKE )
A
J/
boy?
STRAKE
Who was that

aJoe
(EYES ON CAROLYN) You've got
full
little
rundown on page twenty.

could
Haskell. Mamits chiolice for

that.164
y)
--
Carolyn. Oh, I wish my wife
wiggle like
TOs
CUT

TO:
DANCING)
--
(CAROLYN AND HARRY

HARRY)
CUT

-- WITH EVIL /GRIN

5turn,
(MIKE GETS UP
WALKS OVER TO CAROLYN AND

CAROLYN
MIKE Gq

on, Harry. ' My

LOOKS
Come
UP:

DANCE
CLOSE
--

TABLE
(SOMEWHAT OVER HER HEAD

TOWARD JOE AS SHE STARTS TO

WITH MIKE. JOE GETS UP FROM
 THEM) 15
JOE
PURPOSEFULLY AND COMES UP TO

let's here. |
get out of
CAROLYN
Carolyn,

Just
JOE ...
one more dance /
I think we'd better go now. / 29 g
MIKE
/ ya

is for dancers
-- get lost ...
(T0 JOE) The floor

WAY,
only, buster

CHOPPING
(HE SHOVES JOE OUT OF THE

ARE
JOE HITS MIKE TWICE,

=
DOWN. STEVE AND HARRY
UP BEHIND
DEATH)
JOE. LOOKS
CAROLYN

5aJoo
02 , air] YomuT
>
FRIGHTENED TO

IS yy)
|
CuT
Ye, 02

le 797
—

fie
(BARTENDER, BEHIND THE BAR, / 4 - 11s \JAl
,./. _
AWAY
TALKING HURRIEDLY AND EXCITEDLY ON // (leo hime
12 ine Inte
SAYING)
THE TELEPHONE. WE ARE TOO FAR
op
CUT TO:
TO HEAR WHAT HE IS

STRAKE)
al

COTTINEP
#BURKE AND

poliee—fovestra
Nowpwetll see—Ehe WHO TE

THE
CAROLYN.
(BURKE SUDDENLY RISES, CROSSES

|
ROOM, MOVING DIRECTLY TOWARD

JOE IS TRADING PUNCHES WITH HARRY

 {
\<¥ RIE “50 16
Lie faa) i.
AND STEVE)

TN

CAROLYN you?
BURKE / ra
(DEFIANTLY) Who are

go (
here. / 9
A friend of the family. Now
before the police get

TTaKe=her
(HE TURNS TO JOE, STEVE AND HARRY [

-home,~Haskeil.
AND PULLS THEM APART)

CAROLYN
wait
Now a minute!
the right to tell
gives
...
What

BURKE
you me

Miss
You go on home with him,
over / /) 1 ~~
right in
or I'll
Stoddard, take you

40
my knee and paddle you

HIM
the middle of the dance floor.
-
0[0
:

Now go on.
HE
(SHE GLARES AT

HER)
JUNCERTAINLY, NOT SURE BUT THAT

IT.
JOE AND
MIGHT DO JOE GOES TO

guyatater;
Come on Carolyn.
HARRY) —*II-fifiish

{SHE LETS HIM TAKE

RETREAT
withoyou—
(TO STEVE

DECIDING
VALOR.
HER »
IS THE BETTER PART OF
 OUT) Ie
BURKE
AS THEY TURN TO GO, BURKE CALLS

Haskell ... when you've got her

back
you.
where she belongs, come on
here. I want to talk to

COMES
(JOE GLANCES AT HIM, THEN STARTS
BURKE) wd
v1
OUT WITH CAROLYN. STRAKE

STRAKE
UP TO

Well ... fight's

Devlin,
looks like L005
Fd 9,

1
over, Mr.
BURKE
CAROLYN
IN THE DIRECTION
pr
«pp
(GLANCING

AND JOE HAD GONE) It's just /) | 2~ yo,

2

a)21
os 52 Juda, fos oe fp
comm. Blips PENCE - FA
—

/) 25

12
1/7

Jz 32
fot C2
/%
SN
9 27
 IN:
THREE
ROOM
ACT
Pp
cl
17a
FADE
[= A Al )
; oe)
VICKI'S
(IT IS A FAIR-SIZED ROOM, FURNISHED >
NEATLY IN EARLY VICTORIAN STYLE.

CHEST FOR
A FOUR-POSTER BED, A TALL

LAMP
OF DRAWERS, AN EASY CHAIR

CASEMENT
READING, A TIFFANY-STYLE

ROOM.
TABLE BESIDE IT,
ON A SMALL
WINDOWS

AT THE MOMENT WINDOWS

THAT OPEN INTO THE

WIND,
ONE OF THE

IS
HAS BEEN BLOWN OPEN BY THE

THE
AND THE CHILL OCTOBER NIGHT

DOOR IS OPENED, AND

BLOWING THROUGH THE ROOM.

HER
AND ELIZABETH

VICKI ENTER, VICKI

IT)DIRECTLY
CARRYING

SUITCASE, ELIZABETH CROSSES

ELIZABETH
TO THE WINDOW, CLOSES

very
This catch doesn't hold
well, You'll have to be careful yd
(fg /%¢ 2~
comfortable here,
with it -- I hope vows ve/[

VICKI
(LOOKING AROUND, NOT TOO

nice.
AT THE SURROUNDINGS) It's ,.. very
OVERJOYED
 ELIZABETH 19
of
I slept on this bed every night
was
my life, until ,.. until I
married,
VICKI
at the
All we had
cots, Plain iron
(RUEFULLY)

cots,
orphanage were

ELIZABETH
ISthink
Ohis
Gyr
enough«’tern
BPWwERA
(CROSSING TO<@E@SET)
A)?

space.
you'll have more than

Mrs, Stoddard meaning

... I've been
to ask you...
DIFFICULT
HER)
(SHE FALTERS. THIS IS

ELIZABETH
FOR

Yes? ...
VICKI
this
... did you offer me
Why
me
before.
position? You'd never seen

ELIZABETH
Does it matter?
VICKI
I'd like to know,
 20
ELIZABETH
It's simple enough,”MissWinters.
My brother i at1 J— in the
worked.
for a recommendation.
foundling home which you
He asked
VICKI
heard
of you or your ...
But I asked. They'd never

ELIZABETH
Perhaps /
Miss
(INTERRUPTING QUIETLY)

...
you asked the wrong persons,
Winters, There are
(SHE STOPS AT THE SOUND OF THE
HER 7.
= pd FRONT

EXIT IS ABRUPT)
DOOR SLAMMING DOWNSTAIRS.

me,
You'll have to excuse
CROSSES
(SHE LEAVES QUICKLY. VICKI
IT)
TO:
TO THE DOOR, SLOWLY CLOSES
CUT

DRAWING ROOM —A
COAT,
(CAROLYN HAS JUST ENTERED,

CHAIR.
FOUL MOOD, SHE STRIPS OFF HER
IN

AND TOSSES IT
PORTRAIT
ANGRILY ON

COLLINS)
SHE GLANCES UP AT THE
A

OF JEREMIAH
CAROLYN
told
(BITTER SMILE) Big
you to build this prison anyhow.
shot. Who
 A
(ELIZABETH ENTERS)
0) / ~/
ELIZABETH / ww.
...
“\

(ANGRILY) Roger, I didn't like

didn't
(STOPS SHORT AS SHE SEES IT IS CAROLYN,
SHE SMILES)
early.
Carolyn.

CAROLYN
expect you home so
I

I. GOES
Neither did

HER
(SHE TURNS AWAY, ELIZABETH

TENDERLY)
TO HER, TURNS HER BACK TO

ELIZABETH
wrong?
What happened, Is
darling?
anything
CAROLYN
... nothing,
oh
ELIZABETH Why
tea. Then
(CROSSING TO GET THE TEAPOT)
don't
you and
I
I ,..
make some fresh

CAROLYN
can

I want
No
to do
cakes,
is bed.
tea,
No
go to
CHEEK)
All

ELIZABETH
(KISSES HER ON THE

You're sure nothing's wrong?

 CAROLYN
(CROSSING TO RETRIEVE HER COAT)
to
is it impossible for me
myself?
Why

ELIZABETH
enjoy

darling?
ANSWER)
What happened
(CAROLYN DOESN'T

is it?
Whatis it,
CAROLYN
baby?

... I'm
What

of
(TENSELY) Oh, mother
so
trying...
tired. I'm so tired

FADE OUT.
 IN: FOUR -r
A 23
CAROLYN ft? 42
FADE
ACT
/ f,9 /
(ELIZABETH AND CAROLYN.
HAS JUST FINISHED TELLING HER
IN / /
CLOSED)
MOTHER WHAT HAD HAPPENED

ELIZABETH
THE BAR, THE DOOR IS

horrible. I
Butthat sounds

CAROLYN
can't understand Haskell.
Joe

it wasn'this fault.
ELIZABETH
Oh,

you.
Carolyn, you don't I know how

CAROLYN
worry about

let's 0/
I know, mother ... but
it. You love eZ 770
face
For
this

can
ese and that's just grand.
you. But every chance I
house

here,
little ... brightness
find to walk away fram
and find a

it up?
ees Well, how can you askme
to give
ELIZABETH
ways.
But there
CAROLYN
are other

used
(MORE)
hen I was ten years old I
 (CONTD) 24
would
CAROLYN

from
to dream a white knight
come
the dungeon. RUEFULLY)
along and rescue me

have
(SMILING

style. |
I'm afraid white knights
gone out of
ELIZABETH
Haskell.
all I
I thought you liked Joe
(NO RESPONSE) Darling
is be
CAROLYN
ever pray for for you to
happy. Joe loves you.
him,
knight,
(INTERRUPTING) And

mother.
I like

ELIZABETH ~~
But he's not a white

We
want. & ’
don't always get everything /§/
we
CAROLYN
to
AFFECTION
(VERY SERIOUSLY)

stop
try. (THEN,
I'm going
WITH AN

SMILE) So please, please

trying to marry me off. Okay?
AROUND
SPEAKS
/ YY.
(SHE TURNS AWAY, LOOKS
THE ROOM WITH HATRED. SHE
WITH BITTERNESS)
and
Besides, how y

(MORE)
do you expect me to go off
 25
(CONTD)
beautiful
CAROLYN

house? rd’ al /
leave you alone in this
nut
/any
ELIZABETH
2»
SS] *

more,
But I won't be alone. Not

CAROLYN
came? she
(SURPRISED) You mean

ELIZABETH
actually

ago. She's
(NODS) Alittle

her. [Sf 4
ie while

THE
a nice girl, Carolyn.
like
(CAROLYN

ELIZABETH
CAROLYN
RISES,
WINDOW, TURNS BACK TO
CROSSES TO

(SIMPLY) All her,

I can say for
mother, is she must be out of
her mind.
TO:
FOYERINTO
CUT

/ 7 /) / S00
LOOKING
(VICKI COMES DOWN THE STAIRS

THE FOYER, INTENT ON

9

DRAWING
OUTSIDE

VOICES
AROUND, SHE HESITATES

ENTER.
THE CLOSED DOOR TO THE
ROOM, HEARS THE MURMUR OF

FROM WITHIN, DECIDES NOT TO

 26
FORBIDDING —
... ONE
SHE
SHE GLANCES UP AT A

IT)
PORTRAIT ON THE WALL

VICK
OF THE COLLINS ANCESTORS.
IT, LOOKS AT

OWN
GOES UP TO

Boo!
TO
(GRINNING AT HER

EXITS)
CHILDISHNESS, SHE CROSSES

eu. FILM
Sos A
ThlE
EE
THE FRONT DOOR, OPENS IT, sen
CUT TO

HOUSE 05)
HOUSE, / Som / 7 Ad.

HER,
=Z00

{ =9
EXT. OF
(VICKI EMERGES FROM THE

THE SHE
CLOSES THE DOOR BEHIND

OF
LOOKS OUT AT THE NIGHT.

rl RBUAIES
CAN HEAR THE SOUND OF

PRECIPICE
SURF FAR BELOW THE CREST

HILL.)
THE HILL. SLOWLY, SHE

FILM:
OUT TOWARDS THE ROCKY

HILL
KNOWN AS WIDOW'S

OVER-
DISSOLVE

APPROAC
WIDOW'S

OUT,
(IT IS A CREST OF ROCK

HER
LOOKING THE SEA. VICKI

OF
STANDS ON THE EDGE, LOOKING

IN
THE WIND BLOWING HER HAIR,

EARS FILLED WITH THE SOUND

OUT)
THE SURF BELOW. WE MOVE

CLOSE TO HER AS SHE LOOKS

 LIVE: 27
'S VOICE
CUT

you?
(DRYLY) to are
ROGER

Not planning jump,

TO
SMILING) ROGER
(VICKI GASPS IN SHOCK, WHIRLS,

ROGER
FIND HERSELF CONFRONTING
COLLINS. HE IS

know.
You you
wouldn't be the first,

VICKI
you?
You're Roger Collins, aren't
ROGER
Correct.
(WITH A SLIGHT BOW)
of
if I
Brother of Elizabeth, father

you.
David, and terribly sorry

VICKI
startled

Collins. surprises,
I'm getting used to
Mr.
ROGERMiss
name,
oh, we're a strange crew,

203,
...
isn't it?
Winters is
that the

vier 4) [94
Yes see
 ROGER 28
Strange ... most
but you'll find
of us rather nice. (GESTURING
Po
different ”~
OUT TOWARD THE
from New York,
you won't find
SEA) Quite
.
lonely.7 aay,
isn't it? I hope poi / /
it too
VICKI
If I do, I'll it you.
blame on
ROGER
Me?
VICKI were
Well, Mrs. Stoddard said you
the one who arranged for my coming
here.ROGER
...
| VICKL
(QUIZZICALLY) You

it?
don't say

It's true, isn't

ROGER
(STUDYING HIM)

why
(DRYLY) If Elizabeth says so,
it must be true. > 2%) 205 §
then
VICKI o
Well, ...
I didn't exactly
ROGER
CHANGE
(INTERRUPTING, AS THOUGH TO
you
you
THE SUBJECT) Did you know when

(MORE)
stand here, on a cloudless day,
 (CONTD) 29
to sea.
ROGER

take
can see twenty miles out
When I was a boy, I used to
and
dream for hours.
a picnic lunch out here,

VICKI your
a
Maybe I can do the same with
SON
ROGER )
7 9 AU
(DRYLY)
VICKI
With David?

picnics?
/7

ROGER
Doesn't he like

he but
I'm not exactly certain what
does like, Miss Winters ...
plan,
away
if you intend to follow that
do yourself a favor ... stay
from the edge.
VICKI
...
ROGER
Really, Mr. Collins

(INTERRUPTING WITH 2c)

And
A SMILE)
Roger. I much prefer Roger.
1 think you ought to go in. Iin
don't want the brightest thing
the
day.
this house down with a cold
first
 VICKI aa
30
stronger
Collins.
A SMILE) I'm
(WITH
I
ROGER
than look, Mr.

Uh-huh,
VICKI
(CORRECTING HERSELF)
(SEES SOMETHING OUT TO
lights.
SEA)
Roger.
What
they?
look.

/ J
Oh, Those
are
ROGER Bp
OUT) Probably a pe 2 ee ( /
(LOOKING

freighter on its Europe.

VICKI way to

They're
of
(LOOKING OUT) Funny.
going
I couldn't
all those thousands

railroad
miles, and almost

station.
get here from the

OUT
ROGER
(THEY CONTINUE LOOKING

THROUGHOUT) |
very the
I should have come down in
thoughtless.
car to meet you.

VICKI
It was

off
(MORE)
1 was lucky. A man got
 (CONTD) 31
me
VICKI

knew— Zo
the train with me. He took

you ==ROGER
to the hotel ~- He said he

me?
Knew
VICKIL
Yes. Devlin, |
ROGER
FACE
say?
| |me.
(SUDDENLY WHIRLING HER TO

HIM) what did you

VI CKI
ROGER
Please. You're hurting

(SUDDENLY you
Devlin?
TERRIFIED) Did
say his
VICKI
name was

Yes.
...Mr,
Burke Devlin --

ROGER
Collins, please

sure?
(WITH GREAT Are
INTENSITY)
you
VICKI ulCHANCE
,.[

HE
Of course, I'm
(BUT SHE DOESN'T GET A

TO FINISH. AS

RELEASES
(MORE)
SUDDENLY

HAD GRABBED HER, HE

AS
 32
(CONTD) ary
AWAY,
VE

SHE
VICKI

Collins! bo9 y
HER, TURNS AND STRIDES

3xLUV
LEAVING HER THERE ALONE.

= al
J 05
CALLS AFTER HIM) Mr.
it? Mr. Collins! 30 r

HILL)
What is
1 W)C =
ouT 25
(NO ANSWER. SHE IS ALONE ON PW
LAY
> 205" 2 5
WIDOW'S
EAE
 TAG
FOYER
FADE IN: | / ff20
p
VICKI
2
)2 f
4 {
HH
&

THE
(THE FRONT DOOR OPENS AND

MOMENT
BEHIND
ENTERS, HER HAIR BLOWN BY

EN-
WIND. SHE CLOSES THE DOOR

GIANCES
HER, LEANS AGAINST IT FOR A

THAT
STILL TENSED BY HER RECENT

WITHIN 4
COUNTER WITH ROGER. SHE

PRE-
TOWARD THE DRAWING ROOM.
4
HESI-
DOOR IS NOW OPEN. FROM

TO
COMES THE SOUND OF A, CHOPIN

INSID
LUDE PLAYED ON THE PIANO.

IS
TATING BRIEFLY, SHE CROSSES
THE DOORWAY, STEPS JUST

THE ROOM. AT THE PIANO

NEITHER
SUDDENL
LETS
ELIZABETH, PIAYING. SHE

THE
SEES NOR NOTICES VICKI.

LONG
ELIZABETH STOPS PLAYING,

BEGIN
HER HANDS FALL HOPELESSLY ON

BURIES
KEYS. SHE STARES DOWN FOR A

WEEPING
MOMENT, THEN HER SHOULDERS

IMPULSE
TO SHAKE WITH SOBS, SHE

HELP
HER FACE IN HER HANDS,
BITTERLY. VICKI'S INITIAL
IS TO GO TO HER, TO TRY TO
HER. BUT SOMETHING HER
STOPS
—- SE SHE ~~
H & 34
SLOWLY
[/

HER
FROM DOING SO. INSTEAD
“TURNS BACK TO THE FOYER,

OUT
STARTS CLIMBING UP TOWARDS

7 5)
4 | w
FADE
. 25)
¥

26 35
24
2 ¢ yy
@ yo J
27
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)a
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