(THE HALLWAY AT THE BOTTOM OF THE STAIRS. PAN SCENE TO SHOW SGT. VINCENT AND HELEN, WITH COAT OVER HER SHOULDERS, SITTING ON THE STAIRS, WATCHING WHITE AND ROSE, CHATTING ALONG, CIGARETTES, ETC. ALERT ENOUGH, BUT THERE IS NO REASON TO BE CONCERNED. THEN COME IN ON WHITE AND ROSE TO A CLOSE TWO-SHOT. HER HEAD DOWN BESIDE HIS. THE POSITION IS AMOROUS RATHER THAN OMINOUS.)
WHITE: I got in this jam because I love you, Rose. If you love me, you'll help me out of it.
ROSE: I -- I don't want to know anything about slugging and shooting.
WHITE: You don't need to know! Those cops think I'm paralyzed. Okay, I was. But, now I'm all right. I got my legs back. The cops don't know that. Maybe you didn't cross me --but if you let me down, so they can lock me up-- I'm dead. I mean it, baby. I'd go nuts. I'd try to blast my way out. I'd wind up on a slab. This way -- I got a chance.
ROSE: What do you want me to do?
WHITE: Get that woman cop down the hall somewheres...Slug her...get her gun...Gimmie it...I stick up that other cop and get the key to the cuffs. We walk outta here free like birds.
ROSE: I --I never slugged anybody in my life.
WHITE: Goin' chicken on me?
ROSE: Listen, Larry...there's a better way. Okay, so they got you...robbery...maybe you'll get a couple of years --even five. I'll wait for you. When you come out--
WHITE: how many times I got to tell you? Stir would drive me nuts. If I go in, I'll never come out... and if I got to go -- I'll take that Karr guy with me. Him, I got to kill!
ROSE: Stop talking about killing like it was nothing. Lt. Karr says you shot that grocer. You say you didn't. If you keep on talking about killing like that, I'll begin to believe maybe you did!
WHITE (conciliatory): Baby, listen...I didn't shoot that guy. Now, all I want is to get away. Do you want me to--
ROSE: All I want is what's best for us... you and me.
WHITE: That's what you gotta decide. Help me -- or kill me. (ROSE IS TORN. SHE IS FRANTIC. SHE LOVES THE GUY. BUT SHE HAS DOUBTS AND FEARS. SHE LOOKS TOWARD VINCENT AND HELEN. SHE LOOKS DOWN AT LARRY WHITE. SHE STARTS TO TURN AWAY -- AS THOUGH TO LEAVE, BUT SHE COMES BACK...PUTS HER FACE DOWN INTO LARRY'S NECK.)
ROSE (whispering): I'll do anything you want me to do...
FIRST COMMERCIAL
SCENE 2A
(THE HALLWAY AT THE BOTTOM OF THE STAIRS, CONTINUING SCENE 1)
ROSE: I love you. You're no good...but I love you.
WHITE: Like I told you...slug the dame. All right...get her gun. Let me have it. I'll take it from there.
ROSE: Larry -- no shooting.
WHITE: When a man's got a gun he don't have to shoot, baby. Her gun and the key to these cuffs from the cop-- and we're outta here like a breeze.
ROSE: How can I --er--slug her?
WHITE: Get sick. You're ready to collapse on account of I'm paralyzed. You love me. Faint. Dames can always faint and who knows it better than another dame? Get me...
SPLIT TO --
SCENE 2B
(FRONT HALLWAY OUTSIDE ROSE'S DRESSING ROOM -- IN THE TELEPHONE AREA. MIKE IS AT THE PHONE. HE DIALS AND WAITS.)
SPLIT TO --
SCENE 2C
(COME IN ON THE TELEPHONE AT MATTIE'S HOME.)
SOUND: THE TELEPHONE.
(SARA PICKS IT UP QUICKLY)
INTERCUT
SARA: Hello...hello--
MIKE: Sara...it's me.
SARA: Oh, Mike -- Mike, are you all right?
MIKE: I couldn't be allrighter, darling.
SARA: Did you -- I mean -- have you --er-- is he ?
MIKE: Where do you want to go on your honeymoon?
SARA: Mike, you got him!
MIKE: Yes, darling... yes. He's wearing a beautiful pair of steel bracelets. It's all over --except a few details, this way and that.
SARA: Oh, I'm so glad. I've been so miserable and afraid for the last four hours.
MIKE: Don't. It'll take a little while to go through the formalities and so I may not get to see you tonight.
SARA: Can't you stop by so that I can be sure you're all in one piece?
MIKE: It's late. I don't want to keep you up. It's way after midnight.
SARA: After a night like this, do you think I could sleep until you've kissed me goodnight?
MIKE: That does it! I'll be there even if it's at sunrise.
SARA: Was there any --trouble?
MIKE: No -- just routine. He came, we tapped him, he gave up. We'll take him in -- and tomorrow I'll put in for an extended leave and next week -- right after the wedding, we'll start off for... where do you want to go for a honeymoon?
SARA: I don't care as long as we both go there.
MIKE: I wouldn't go on my honeymoon with anyone else. (THEY LAUGH)
SARA: If you did, I'd scratch her eyes out...
(CHARLIE COMES TO MIKE. MIKE TURNS, SEES HIM)
MIKE: Wait a minute, Sara. (TO CHARLIE) Want me, Charlie?
CHARLIE: I didn't know you were talking to Sara. Duncan wants to see you.
MIKE: Duncan? What for?
CHARLIE: He wants to sing. He's so scared he's got palsy. He won't talk to anybody but you, and he wants to tell all he knows before we book him. I think you ought to let him, Mike.
MIKE: Yes, the DA might find him useful.
CHARLIE: Have you told Sara the news?
MIKE: Yes.
CHARLIE: Happy I bet, huh?
MIKE (in the phone): Sara, Charlie wants to know if you're happy.
SARA: I'm up in the clouds, darling -- floating on air.
MIKE: (TO CHARLIE) She said yes. (IN THE PHONE) I've got to go now, Sara. I'll call you back so you'll know when to expect me.
SARA: Don't be long.
(MIKE HANGS UP. MIKE AND CHARLIE START AWAY.)
CHARLIE (as they go): I still say it was a dirty low-down thing to do, not letting me have that guy.
MIKE: Now, Sergeant...that's no way to talk to your superior.
THEY EXIT.
SPLIT TO --
SCENE 2D
(THE HALLWAY AT THE FOOT OF THE STAIRS, CONTINUING)
[NOTE: ALTHOUGH VINCENT AND HELEN HAVE BEEN PLACED ON THE STAIRS, THEY WOULD NOT HAVE BEEN STATIC. THERE WOULD BE MOVEMENT, CIGARETTES, ETC. WE WOULD SEE OCCASIONAL SHOTS OF THEM, OBVIOUSLY WATCHING WHITE'S EVERY MOVE. THEY WALK ABOUT, TOO, ALWAYS IN SIGHT, AND EVEN COME TO WHITE AND STAND FOR A BEAT OR TWO, INTERRUPTING THE DIALOGUE. ANY SUCH INTERRUPTIONS WOULD BE COVERED BY KISSING. VINCENT AND/OR HELEN WOULD RESPECT SUCH INTIMACY BY MOVING AWAY.]
(COME IN ON A CLOSE SHOT OF WHITE AND ROSE)
WHITE: We ain't got much time, baby. Once the ambulance gets here, the jig's up... so start acting...
ROSE: No shooting, Larry --remember-- no shooting.
WHITE: Get on with it!
(ROSE SITS UP, APPEARS TO TRY TO GET UP, BUT SHE WEAVES UNSTEADILY. SHE HOLDS HER HEAD AND STAGGERS TO HER FEET, ONLY TO SAG DOWN AGAIN.)
WHITE (loudly): Rose-- what's the matter,baby? Rose!
(HELEN AND VINCENT ARE QUICKLY ALERT. THEY HURRY TO ROSE.)
VINCENT: What's wrong here?!
WHITE: Look at her!
HELEN: What's the matter, Rose?
(HELEN SUPPORTS ROSE, HELPING HER TO HER FEET)
ROSE: I -- I thought I was going to --to faint, I guess.
WHITE: Do somethin' for her!
VINCENT: The doctor ought to be here any minute...
WHITE: That don't do her no good now.
(HELEN IS NO FOOL. SHE STUDIES ROSE CLOSELY. IS SHE REALLY SICK? THE STRAIN OF IT ALL, TEARS, ETC. WOULD GIVE ROSE THE APPEARANCE OF HER FAINTING SPELL BEING GENUINE, AND HELEN DECIDES IT IS)
VINCENT: Take her into her dressing room, Helen.
ROSE (quickly): No -- no, I won't leave Larry. I want to be here when the doctor comes -- I won't leave him. (ROSE'S NEAR HYSTERIA IS ALMOST REAL)
HELEN: (TAKES HER COAT AND THROWS IT AROUND ROSE'S SHOULDERS) All right, all right, Rose. Come over and sit down on the stairs -- it's cooler there. (HELEN STARTS TO LEAD ROSE TO THE STAIRS. THIS IS NOT ACCORDING TO PLAN. WHITE SCOWLS)
ROSE: No --no , I got to keep moving. I want to walk. I'll be all right in a few minutes. Sitting down is no good.
HELEN: All right. Up and down the hall a few times. How's that?
ROSE: Could I have some fresh air? Could I go up to the roof? It's just nerves, that's all.
HELEN: You've had a rough night.
ROSE: You can say that again. (SHE STARTS TO CLIMB A STEP OR TWO, AND STAGGERS. HAND TO HEAD DIZZILY)
WHITE: Do somethin' for her.
VINCENT: She'll be all right. The doctor can give her something.
ROSE: I've got to keep moving. I'm that way when I get like this. I'm highstrung -- fresh air's the best thing for me. Let's go to the roof.
HELEN: All right. Let's try the stairs again. (SHE SUPPORTS ROSE) Think you can make it now?
ROSE: Yes. Thanks for helping me. (ROSE CLIMBS THE STAIRS SLOWLY WITH HELEN'S HELP. VINCENT AND WHITE WATCH THEM WALK UP. WHITE'S FACE WOULD BE INTERESTING TO SEE AS HE REALIZES THAT HIS PLAN IS WORKING... SO FAR, AT LEAST. WE SHOULD SEE THE TWO GIRLS GOING OUT OF SIGHT.)
WHITE: (SMILES -- TO VINCENT) Let me have another butt.
(AS VINCENT OBLIGES, WE FADE.)
SECOND COMMERCIAL
SCENE 3A
(THE CORRIDOR NEAR THE ROOF. ROSE AND HELEN COME OUT OF EXIT DOOR AND WALK TOWARD THE ROOF, BUT STOP AT THE DOOR WHICH ENDS THE CORRIDOR. [MARK THE DOOR: "PROPS --KEEP OUT"] THEY WALK SLOWLY. ROSE STOPS A TIME OR TWO TO REEMPHASIZE HER WEAK HELPLESSNESS. HAVING STOPPED BEFORE, HELEN IS NOT SUSPICIOUS WHEN ROSE STOPS AGAIN --AND RIGHT AT THE PROP-ROOM DOOR. ROSE SUPPORTS HERSELF BY HOLDING ONTO THE KNOB OF THE DOOR. ROSE'S FACE IS STRAINED, ALERT, AND CALCULATING AS SHE PLANS WHAT SHE WILL DO. SHE TURNS THE KNOB AND THE DOOR SWINGS OPEN. SHE LOOKS BEHIND THEM TO BE CERTAIN THEY ARE ALONE, THEN SHE TURNS AS THOUGH TO GO BACK. THIS THROWS HELEN OFF)
HELEN: This is not the door to the roof. (SHE POINTS) It's that way.
ROSE (casually): I didn't mean to open the door. That's the prop-room. I better close it. (AND SHE WAVERS)
HELEN: I'll do it. (SHE TURNS TO REACH IN FOR THE DOOR KNOB. HER BACK IS TO ROSE. A QUICK LOOK UP AND DOWN THE HALL, AND THEN ROSE PUSHES HELEN'S BACK WITH BOTH HANDS... PUSHES HARD ENOUGH FOR HELEN TO FALL FORWARD INTO THE PROP-ROOM. HELEN'S COAT FALLS FROM ROSE'S SHOULDERS TO THE FLOOR. ROSE STEPS QUICKLY INSIDE AND CLOSES THE DOOR. HOLD ON THAT CLOSED DOOR AND ON THE COAT LYING CRUMPLED JUST OUTSIDE IT.)
[NOTE: THE COAT LYING THERE PERMITS OUR VIEWERS TO WONDER IF SOMEONE WILL SEE THE COAT THERE.]
(THEN THE DOOR OPENS SLOWLY -- VERY SLOWLY. WHO WILL COME OUT? ROSE APPEARS DISHEVELED AND PANTING. SHE HAS HELEN'S GUN IN HER HAND. SHE LOOKS BACK. APPARENTLY HELEN HAS GONE BYE-BYE. SHE WONDERS WHERE TO HIDE THE GUN. SHE SEES THE COAT. THANK GOD FOR THE COAT. SHE HURRIEDLY THROWS IT OVER HER SHOULDERS AS BEFORE, DRAWS IT AROUND HER AND AS SHE WALKS BACK TOWARD THE STAIRS WE KNOW THAT THE GUN IS IN HER POSSESSION. SHE DISAPPEARS IN THE STAIRWELL.)
SCENE 3B
(HALLWAY AND STAIRS IN BACK OF ROSE'S DRESSING ROOM. WHITE, ON THE FLOOR, VINCENT LEANING OVER WHITE GIVING A ROUTINE CHECK-UP TO HIS CONDITION AND ADJUSTING HIS PILLOW. ROSE (WHO HAS WALKED THE STAIRS TO THE 6th FLOOR) APPEARS AT THE STAIRS. VINCENT'S BACK IS TURNED TO HER. LARRY WHITE SEES HER, AND WE WATCH HIS EYES GLEAM AS HE NOTICES THAT ROSE IS ALONE. SHE GIVES HIM AN OKAY SIGN AND POINTS TO HER HIDDEN HAND. THIS COULD HAPPEN DURING THE FOLLOWING DIALOGUE.)
VINCENT: (Paying particular attention to White's legs) Feel any better?
WHITE: No.
VINCENT: Well, the ambulance will be here any minute. Hurt at all?
WHITE: No...numb. No feelin' down there. When's that doc goin' to get here? A guy could pass out waitin'!
VINCENT: Any minute, I just said...(ROSE DESCENDS STAIRS. VINCENT TURNS AND SEES HER. NOTHING SEEMS AMISS) Feel better now?
ROSE: Yeah, lots better.
VINCENT: That's good. (THEN HE NOTICES THAT HELEN ISN'T WITH ROSE. HE IS NOT ALARMED. EVEN CASUAL.) Where's Sgt. Killbourn?
ROSE: She's coming.
(VINCENT WOULD INSTINCTIVELY TRUN TO FACE IN THE DIRECTION IN WHICH HELEN WOULD APPEAR. THIS TURNS HIS BACK TO WHITE AND ROSE WHO HAS STEPPED CLOSER TO WHITE. SHE HOLDS OUT HER HAND. WHITE TAKES IT AND PULLS HIMSELF QUICKLY TO HIS FEET, GRABS THE GUN AS QUICKLY AS HE CAN, BEING HANDCUFFED, AND HE STANDS AT THE READY, WAITING FOR VINCENT TO TURN. HE HASN'T LONG TO WAIT BECAUSE VINCENT HAD TURNED AWAY ONLY FOR A FEW SECONDS. AS HE TURNS BACK, HE FACES LARRY WHITE --AND THE GUN. HIS JAW FALLS, EYES POP. HE STARTS TO REACH FOR HIS GUN.)
WHITE: Don't do it, cop! Reach up high! (VINCENT STOPS, HANDS UP. WHITE IS A KILLER. THERE'S NO POINT IN COMMITTING SUICIDE.)
VINCENT: Where --where's Sgt. Killbourn?
ROSE: In the prop room.
VINCENT: What did you do to her?
ROSE: She's all right. She's not hurt...much.
WHITE: Get his gun, Rose --from behind-- and you (TO VINCENT) don't you even breathe while she does it. (ROSE OPENS VINCENT'S COAT, AND HIS HOLSTER IS VISIBLE. SHE TAKES THE GUN FROM IT.) Put it in my coat pocket, Rose. (TO VINCENT) Now the key to these things...which pocket you got it in?
VINCENT: You can't get away with this, White. You ought to know that.
WHITE: The key.
VINCENT: No...
WHITE: Then this is it, Sgt. --and it'll be a pleasure. I only wish it was Karr...(WHITE'S GRIMNESS AND VINCENT'S EXPRESSION INDICATE THAT WHITE IS GOING TO PULL THE TRIGGER. BUT ROSE STILL DOESN'T WANT ANY SHOOTING AND SHE GOES TO WHITE IMPULSIVELY.)
ROSE: Larry...no! No, Larry!
WHITE: (Brushing her aside) Don't you get between us-- (TO VINCENT) and you don't move. (THE SPLIT-SECOND INTERVAL GIVES VINCENT THE IMPULSE TO GO FOR WHITE. HAND STARTING FOR WHITE'S COAT POCKET, BUT WHITE IS ON THE BALL.)
ROSE: No shooting, Larry --you promised. You promised!
VINCENT: You'd better take her advice, White. You can't get away with it. Our men are all around the place.
ROSE: (To pacify White who gets obvious pleasure out of the situation) I'll get the key from him, Larry. I'll find it and you can get those things off like and like you said --we can get away.
WHITE: (VICIOUS SNEER) Shut up! Ready, Sgt.? Ready to go?
ROSE: (Horrified) Larry -- you WANT to kill him!
WHITE: Like I said -- it'll be a pleasure.
VINCENT: Suppose I give you the key?
ROSE: (TO VINCENT) Will you?
WHITE: (Sneer) Oh, you want to make a deal?
VINCENT: Let's talk about it.
WHITE: There's no time to talk.
ROSE: Listen to what he wants to say... (SHE MAKES AN IMPULSIVE MOVE TOWARD HIM AGAIN. SHE COULD, OF COURSE, THROW WHITE ENOUGH OFF-BALANCE OR EVEN STEP BETWEEN THE MEN TO GIVE VINCENT A CHANCE TO FIGHT BACK. WHITE KNOWS THIS, SO AS ROSE APPEARS TO INTERFERE, HE SHOULDERS HER AWAY ROUGHLY. THEN HE STEPS BACK ENOUGH SO THAT HE HAS HER COVERED, TOO)
WHITE: Stay away from me, Rose. Try that again and you'll get yours, too!
VINCENT: I think he means it, Miss LaTour.
ROSE: (Understated shock, Toneless) Larry --what they said about you was right. You ARE a killer. You WANT to kill!
VINCENT: But you want even more to have your chance to escape, don't you?
WHITE: Got something in mind, Sgt.?
VINCENT: Suppose I give you the key?
ROSE: Oh, do that -- please do that and he won't shoot.
VINCENT: It would save you the trouble of searching for it.
WHITE: Yeah...then give it to me. (EYEING WHITE NARROWLY, VINCENT SLOWLY BRINGS HIS HANDS DOWN. WHITE DOESN'T LIKE THAT.) Oh, no -- no, you don't! You don't catch me with a trick like that. Keep your hands up. Which pocket is it in?
VINCENT: What do I do --tell you and then get knocked off?
ROSE: Promise him , Larry. Promise him you won't shoot!
[NOTE: VINCENT IS NOT CRAVEN, NOR IS HE GOING TO MAKE A DEAL WITH WHITE THAT WOULD TURN HIM LOOSE AND PERHAPS MEAN THE DEATH OF ONE OR MORE OF HIS MEN. ON THE OTHER HAND, HE DOESN'T WANT TO DIE. HIS ONLY STRATEGY IS TO PLAY FOR TIME. THIS SHOULD BE CLEAR TO THE VIEWERS.]
WHITE: (With a sneer) Sure...I'll promise. Which pocket...?
VINCENT: I don't believe your promises are worth much.
WHITE: Quit stalling! There's no time to waste!
ROSE: I'll find it, Larry. I'll find the key. If I do --will you go-- run away if you can-- and not kill anybody?
WHITE: Go ahead. Hurry up. I got to get these things offa me. (ROSE SEARCHES VINCENT'S POCKETS --FROM BEHIND SO LARRY CAN COVER HIM--ALWAYS KEEPING A CLEAR SHOT AND STAYING FAR ENOUGH AWAY SO THAT VINCENT COULD NOT REACH HIM READILY. CLOSE SHOTS OF ALL COULD BE EFFECTIVE HERE. IN A PREVIOUS SCRIPT, VINCENT PUT WHITE'S GUN IN HIS POCKET. ROSE FINDS IT IN VINCENT'S COAT POCKET. SHE HOLDS IT UP.)
WHITE: So that's why you wanted your hand in your pocket! (HE TAKES THE GUN, LOOKS AT IT.) My gun... (ROSE SEARCHES AND FINDS THE HANDCUFF KEY)
ROSE: Is this it?
WHITE: Try it. (HE HOLDS OUT HIS HANDS, OF COURSE, KEEPING THE GUN POINTED AT VINCENT. ROSE --STILL CAREFUL NOT TO COME CLOSE TO LARRY--AND KEEPING TO ONE SIDE, FUMBLES WITH THE CUFFS AND THE KEY. HER HANDS TREMBLE. A CU OF THE WRISTS, GUN, AND HER HANDS. IT IS THE KEY. THE CUFFS COME APART. WHITE IS FREE. HE PUSHES ROSE AWAY FROM HIM.)
WHITE: (Elated) Now...now, Sgt. Got any more deals you want to make?
VINCENT: Any offers?
WHITE: No... Said your prayers yet?
(HE TENSES AND THE KILL IS IMMINENT)
VINCENT: Had you thought of this, White? The sound of a shot will be heard all over the bui lding. Thirty seconds after the shot, my men will be here. How far away can you get in thirty seconds?
WHITE: (A beat) That's the first thing you've said that makes sense.
(HE TOSSES THE HANDCUFFS TO ROSE) (TO VINCENT) Get over to the rail. Go on...hurry up! (VINCENT OBEYS. ROSE STANDS UNCERTAINLY)
WHITE: Put one cuff on his wrist and clamp it shut. (SHE DOES) Now, the other cuff on the rail. (SHE DOES) Give me the key... (ShE HANDS IT TO HIM. HE PUTS IT IN HIS POCKET. HE PLACES THE GUN IN HIS SHOULDER HOLSTER OR POCKET. HE GOES TO VINCENT, REMOVES WALLET, PAPERS, BADGE, ETC. FROM HIS POCKET.)
WHITE: Money, papers. badge --all very useful. (HE STARTS AWAY, THEN WITH A GESTURE TOWARD HIS GUN) I oughta let you have it! (HE DOESN'T DRAW) I'm always goin' to be sorry I didn't. (HE STARTS AWAY AGAIN) Come on, Rose.
ROSE: No...
WHITE: I said come on... We only got seconds...
ROSE: I said no...
WHITE: You'd better, baby! Get goin'...
ROSE: Get away if you think you can...but not with me. It's like I see you for the first time. How could I have been such a blind fool! You're a killer, Larry -- a dirty, no good killer...
THIRD COMMERCIAL
SCENE 4A
(HALLWAY AT THE FOOT OF THE STAIRS, CONTINUING)
WHITE: You heard me, Rose. Put the coat on.
ROSE: I'm not going with you, Larry. You're a killer, a dirty killer who shoots for the fun of hearing the gun go off -- and who likes to see people die. As far as I'm concerned you're dead. I thought I loved you, but now...well, go ahead --try to get away, and if you do, just keep going. I never want to see you again.
WHITE: I need you, Rose.
ROSE: Beat it!
WHITE: I need you to go in front of me-- so that if any cop tries to stop me, he's got to plug you first...
ROSE: No thank you! (HE TAKES HER ARM AS THOUGH TO FORCE HER) Take your hands off me. All that talk about how much you love me was nothing but lies. You've been using me for a good thing--
WHITE: Get goin' --
ROSE: (Struggling to free herself) No -- you're not going to use me to hide behind -- you're a coward, and gun-crazy, that's what you are--
WHITE: I ain't got time to argue--
ROSE: --gun crazy...And I hope they get you. I hope they get you good--
WHITE: Okay, baby -- you asked for it! (HE SOCKS HER. WE DON'T WANT TO SEE THE ACTUAL BLOW. THEN CUT TO A REACTION SHOT OF VINCENT, THEN BACK TO LARRY LOOKING DOWN. HE SEES THAT SHE IS OUT OF COMMISSION, AND AS HE TAKES A LOOK AT VINCENT, HE DRAWS HIS GUN AS THOUGH TO LET HIM HAVE IT AFTER ALL, THEN HE TURNS AND HURRIES DOWN THE HALL OPPOSITE THE STAIRS, OUT OF SIGHT)
SPLIT TO --
SCENE 4B
(THE FRONT HALLWAY AREA OUTSIDE ROSE'S DRESSING ROOM. MIKE AND CHARLIE ENTER THE FRAME, AND MIKE DROPS A COIN AND DIALS.)
MIKE: Dismiss the detail, Charlie. All men back to their stations. And see what happened to that ambulance!
CHARLIE: Okay. I'll do the mop-up, Mike. Why don't you tell Sara goodnight?
MIKE: I will as soon as the ambulance gets here. I want to know how badly hurt White is.
CHARLIE: The doc ought to be here by now.
MIKE: Any minute.
CHARLIE: Yeah... (CHARLIE EXITS THE FRAME)
SPLIT TO --
SCENE 4C
(VARIED SHOTS OF WHITE ON HIS WAY TO ESCAPE ALONG THE LIGHT BOARD -- NEXT TO THE FREIGHT ELEVATOR, CUT BACK TO MIKE DIALING, BACK TO WHITE GOING TOWARD MIKE'S AREA. HE IS VERY CAUTIOUS, HAVING HIS GUN READY FOR USE. HE IS STILL IN UNIFORM, OF COURSE. WE CUT IN SEVERAL OF THESE SHOTS DURING MIKE'S TELEPHONE CONVERSATION TO SHOW WHITE'S PROGRESS AND FEEDING THE VIEWER'S ANTICIPATION OF THE INEVITABLE MEETING BETWEEN MIKE AND LARRY WHITE.)
SCENE 4D
(HALLWAY AREA. MIKE, AT THE TELEPHONE.)
MIKE: Sara?
SARA: Yes, Mike! Is everything all right?
MIKE: All clear, darling.
SPLIT TO --
(MATTIE'S TELEPHONE. A CLOSE SHOT OF SARA)
INTERCUT
SARA: Oh, I'm so glad. Grace and I have been telling each other how wonderful it is, ever since you called before--
MIKE: Is Grace still there?
SARA: Yes, she was trying on her dress for the wedding -- and then she stayed on when I found out what you were doing. Is Charlie all right?
MIKE: Yes, I'll be leaving in a few minutes. (WE ARE WITH MIKE NOW...AND BEYOND HIM, AS HE TALKS, WE SEE WHITE IN UNIFORM, PASS BY MIKE'S BACK AND EXIT THE STUDIO DOOR NEAR THE PAY PHONE. WHITE TO USE STAIRS TO THE 6th FLOOR) I'm only waiting for the ambulance.
SARA: Ambulance! Who's hurt, Mike?
MIKE: White fell down the stairs...hurt his back. I want to know what the doc says, then I'll stop by your house on the way home and tell you goodnight--
SARA: I'll wait and if it takes all night...I'll have a pot of coffee ready --and a cake mother baked.
MIKE: That sounds great. By the way, have you made up your mind where we are going on our honeymoon?
SARA: We'll talk about that when you get here.
MIKE: Boy, am I glad this is over. Imagine, in one week, Mr. and Mrs. Mike Karr will be setting sail for a distant isle in the South Sea...
SARA: (Laughs) You sound like a travelogue --but it sounds wonderful.
MIKE: You bet it does. Tomorrow morning, you and I have a date at the Acme Travel Agency. (USE AS MUCH OF THE ABOVE AS NEEDED TO GET WHITE TO THE BANNISTER AT THE 6th FLOOR, OUTSIDE CONTROL ROOM, AND ESTABLISH HIM EXITING FROM DOOR, AND STEPPING OUT.)
WHITE: (Interrupts by calling) Excuse me, Lieutenant, but it's urgent...
MIKE: Hold it a second, darling...(HE STEPS AWAY FROM THE PHONE, WHICH HE LEAVES DANGLING, TO SEE WHO CALLED HIM. HE SEES A UNIFORMED MAN UPSTAIRS, AND CALLS:) What is it officer...(MIKE RECOGNIZES WHITE AND REACHES FOR HIS GUN, BUT IT'S TOO LATE.)
WHITE: Don't say I didn't warn you, Karr! (WHITE SHOOTS)
(MIKE CRUMPLES, BUT EVEN AS HE FALLS, HE AIMS UP AND FIRES. WHITE RUNS OUT OF SIGHT INTO THE DOOR, APPARENTLY UNHURT. MIKE LIES STILL ON THE FLOOR NEAR THE PHONE. THE PHONE DANGLES FROM THE CORD.)
(CUT TO SARA AT THE PHONE)
SARA: Mike -- are you there? (Alarmed) Mike --answer me. What happened? Hello, hello -- Mike...
(CUT TO THE HALLWAY. HOLD ON MIKE LYING STILL AS DEATH. THE TELEPHONE DANGLES)
SARA: (IN RASPING FILTER AS WE WOULD HEAR IT INDISTINCTLY, AWAY FROM THE PHONE) Mike -- Mike -- answer me! Are you there --what happened! Oh, dear God -- MIKE!!!
FADE OUT
FOURTH COMMERCIAL
TEASER SCENE ("NEXT MONDAY")
ROSE'S DRESSING ROOM. ROSE LIES ON THE COUCH, HIDING HER FACE, SOBBING UNCONTROLLED. CHARLIE STANDS OVER HER --HARD, STONE-FACED.
ROSE: (Between sobs) I'm sorry...I'm sorry. I didn't believe he would. I'm sorry.
CHARLIE: It's too late for that, Miss LaTour. Get up, and stop the hysterics. Where's your boyfriend?
ROSE: I don't know...I swear.
CHARLIE: You'd better remember...because you're in real trouble now, Rose. You saw him lying out there -- and you know who gave the gun to White? (Sharp and Cold) YOU did!
