» SF @S13h(a) There is a mastic about Firth Avenue at Bis hou. An gcptiness. A quiet. 4 moment of limbo es the street yates fade in the face of the varsle oncush of dans. Presently, on this morning in eazis September, 2 lon Fesizced speeds uo the Avenue. it slows dow briefly as iE passes the International 3ui2ding with its aany alse Line windows, then picks up speed scain and consiaues G5 Go the corner of 57th Street where {+ culls to tae cmb and stops, ERE FoPTS AVES au STTE seer - (sawn) The ead door cpens and a girl gets cut. Ske wears a backless evening dress and carries, iz addition to ner purse, a brown per Dag. The ANGLE OF Tes Caina is seh that we see only ner slin, straisnt sack. She seys se Griver and the cab pulls away. 43 she stacds there, alone on the empty sidewalk, the street le=ps g¢ on: She notices this and waves 2 small goocnichs tf te lamp om the corner. From her paper baz sue takes 2 gontainer of coffee ang. riecs of danish sassry. CAMERA FOLLOWS SE es she oves fron the curs sovard the imposinc store, on the corner. How we cen see shat it is Tiffany's. As the girl sips her cartes ane mmmekes pastrr, Stperinpose the words: SRZAaFAS7™ at TOPFANT'S and Degin main titles. Under sh title SERA STATS OF TEE GIR as she, stil] —snehine swellowing, cares with dees ebserption into TéPrex: windows. ilthough we stiil see ner only from che peck Wwe catch an cecesional 31: her face reflected among the jewels in tue glass. She sakes nes tise and She CAMERA TRTCES ITE SEs as she moves sion Window to window, Pinaiit, her Sreamtass 2 es the exptr coffee container i= she Sag, eramsles tosses it with cmeat accuracy into e@ trash er. 2 few Dey So azpear. east curious backless evening dress. She ignores then. Zer curious pital now successfully completed, she sokes 2 pair of stuglasses toon her then cn end the= St ard strat! e Tain TsBREADS? ANTE’ S. 2. EXZ. SIDE STE. =4s7 40's ~ (Daur) Sei SSDE SHEET. EAST 50'S. A tree-lined residential block of conv between Lexington and Thicd. The sist eGR for the first tine) walks or!sidy up che Block i= her low cut evening dveas. vegeta lock at her now for the first time. For ail her shie jSimess she has on alsost breaktass-cereal ef> of Bealth. Her mouth is large, her nose upturned. ‘Ser Seicelesses blot out her eyes. She could be sayuhese rom sixteen to thirty, 3 it hessene she ts Eee Berths short of nineteen. er neme (as we @iscover) is EOLLT GoLicemz. ‘EXD. sRownstors - (pam) Folly approaches the brownstone. Parked i= front of it isa large, black, chautfeur-driven Cadiliaes Eelty potises it ent eulckers her pace, us the steps gad into the vestizule of the building. is she docs So the rear door of the Cadillac opens and 2 tleman, 1S, SOD ABSUCE, energes. Ze is short, vast, sun-lesse? ane ponaded, a man in'a buttressed pis-stripe suit Beth t ree carnation wilting in its Lapel. “vo. arbuck, Vine ts restGiy as it is possible ror bin to moves fellows her up she steps. DID. VESTISULE ~ (Daw) Helly fumbles in her purse for her key bat cannot fine it, (ME, Arbuck comes lurching inte the pescimie behind her, MR. ARSUCE Hey, baby, what's going on here? Holiy, unable to fing her key, reaches down and presses a button at renden, DISER? = cag stovs EISERE = CARD stor, Jere are spaces for four cards. "Temteshi"; qipamella"; "Miss Zolly Goliehtly - treveline” ana gee fowth ts blank. Zoliz's finer bo P @ moment -- ther selects "Zuntosh! the bell hard. BID. 2. yoroseris s:3. pher-tenant, is asleep on sound of the buzzer blasts ain @ comes out from under the @ dazed fashion for a moment » anguished voice: Mr, Tuntosnt, + a day-ded. the awake. Eis covers. then murmurs ine soft MR, YUNIOSEZ Miss Golightly...not sezin. Ee pulls the covers back over his head, ease! 6 Bim. vestosure ~ (Dawe) Bolly, waiting for the answering buzzer that will release the lock, is dealing with Mr. Azbuck who is more or less nuzzling her neck, ARBUCK What happened to you anyway? You take off for the powder room and that's the last I see you... HOLLY + Now really, Harry... ARSUCE Zarry was the other guy. I'm sta. Sid Arbuck. You like me. Remember? Eolly reaches down and preeses the button again. 7 ar. SUNIOSEI'S 27ARTGENT - (DAWN) The buzzer rings again. And again. With a deep oriental sigh, Mo, Tuntoshi drags Limsel? out of bed, goes to the door, presses the release Dutton, opens bis door and leans out into = 8. mm b= (DAWE) Mr. Yunioshi looks angrily downward. MR. YUNTOSEZ Wiss Golightly: I must protest! a) Eeliy starts up he stairs, followed =y os3. (Somtta) Te oh, dari I loss my key! 10. DE. ME. UNTOSET (ZOITY'S aNGtE) ~ (Daw) MR. YUNTOSED That was two Weeks ago! You gamnot go on ringing my bell. You must please, please have yourself 2 key nai a. EM. ZOLLY MOUNTING ST=>5 - (DAWN) SE SOREL MOUNTING STE?S. Me. Avbuck, butting and puffing, is sight behing her, EOLLY It won't do any good. I just iose them all... '« YUNIOSEI'S VOICE (o.s.) Ijwork, I bave to sleep, But you are always ‘ringing my bell. Mr, Yuntoshi's door slams angrily, folly hes Peached her own door, She bends down ang takes her Goorkey fren under the mt. Mr. Arbuck Joins hes® YW, ARBUCE Now come on, baby, you like me. ane You kmow you do, ROLLE I worship you, ¥: goodnighs, "x. Azbuck, But Arbuck. 3B. aRBUcy Sey now, baby, what fs this? You | dike me. i'm'a lived guy, Sz tots tine Zolly bas opened the deor, skii-unz povec through it, and now closes ‘t in his faces Mr, Arbuck is outraged. Ee bellows wits and pounds on the door,12. 13. 15. (gentta) MR, ARTUCK (Cont'd) tends? I never seer d when you ask me f change for the powder room, I give you? A fifty dollar. DD. Me. FUNTOsEZ's DOOR - (DAMN) Eis door opens once nore and Mr, Yuntos=i, row really angry, sticks his head out again. MR, YONIOSET In thirty. seconds I am calling the police ENT. EORIY'S DOOR - (DAWN) Mr. Arbuck gives up and anerily plunges down the stairs. He slams the vestibule door, Holly's door opens and she sticks ker head out. ME, YUNIOSED The vice squad! EOLLY Ob, gop't be angry, you dear little man. rwon't do it again, And 17 you promise not to be angry... might just les you take those pictures we mentioned... . YINZOSEI (HOLLY'S ANGIE) - (Dau) Eis expression changes, MR, TUNIOSE: ween? LLY -(DAWE) BOLLE (Taguety) Some sine.is 17. 18. be (Cons'2) EONTOSEE (Sadly) Any time. He sighs once more and closes bis door, EOLLT (Clesing her door) Good night... INT. HOLLY!S LIVING ROGM = (DAWN) The living room of a two-room apartment. Docrs to ‘tchenette and bedroom. The living room has a teamping out! lock. Suitcases and packing ceases are the only furnishings, There is'e lamp on ous case, Gin and vermouth on mother. A zecord playe: and & stack of records on the floor, & wall of empty ook shelves. Holly locks the door and turns into the > large red cat comes up and ruts against She bends dow to stroke him, HOLLY Hello, Cat, Thanks for waiting up. She goes acréss the room into = IND. EETCEENETTE - (DAWE) And opens the refrigerator and peers in. RATOR (ZOLIY'S POV! It contains: A container of milk, @ bottle cf chename, Some penicillin nose érops and e pair of baile? slippers. IND. ELTCEEMETTS - (DAWN) iy taxes out the ballet slippers, to remember why they w put there, and puts them Sack. Then she takes .k and pours some into a dish whisROOM = (DAWN) EOLLZ (To cat) Breakfast? The cat meows. EOLLT Okay. Come and get it. The cat crosses to the milk, Hesitates. Looks up and meows again. HOLLY That's okay. Go ahead, I've had mine. Really... The cat begins to Zep up the milk, Holly yawns, and starts for the bedroom, unzipping the tipper that runs most cf the way down che back of her cress as she does so, The dress drovs to the floor and the camere pans with it, She leaves the dress ui at felis. re BOLLE Well, goodnight, She goes off into the bedroom. The cat finishes the milk, yawns, crosses to the dress. on the flcor, Zt looks soft and inviting. He curls up in it enc prepares to sleep. DISSOLVE To: EXD, BROWNSTONE ~ (DAT} It is now about ten in the morning. A cab pulls up in front of the house end a young man, Paut Varjek, gets cut. Ze is about tenty-efgnt, dark, touss, Sensitive and handsome, Ets closhes are rumpled and his tie 1s loosened He is about twenty minutes om being badiz in need of a shave. Ee looks, ) like @ 7ouSg mat who has passed the last tex hours or 30 sitting up on an airplane. Zis luggege consists of a Olivetti portable typewriter, a cerd- board carton tied with string ené & single, much 2¢ suitcase, All these items are szill The driver ges out ¢as BREARFAST © 22, (Cont'd) 23 The driver looks et him somewhat nervously. PAUL ris ‘Arrival and Departure.! first sentence, You can tell a lot about a man by his first sentence. ‘Stately, plump Suck Mulligan'.. tRobert Gokn was once middie-weizht boxing champion of Princeton’... Call me Ishueel!...that kind of thing. You know? DRIVER You drunk o> something? PAUL No. Just pretentious. And maybe a little bit scared. The driver looks at tim somewhat nervously. DRIVER That's four dollars on the clock anda quarter for the bride peul finds bis wallet, opens it and takes out bis bankroll: a five dollar bil ter a brie? ceremony of farewell he hands it to the criver. PAUL That's okay, Eeep it, Now we're starting from absolute scratch. Watch 4s good in a way. Kind of gives the whole thing a jazzy, Fomantic quality. DRIVER It's not bad enough, a city full of suts already...but also we get new ones.,.2iyiag in every daye.+ @ whole gir-li2t of nuts... Paul laughs, pieks up bis stuff and starts up the steps of the brownstone. Paul puts dows bis svuff, takes @ key out pocket. 22.is He looks over et che deli! and card slots.25. 26. 27. 26. 29. BREATPAS’ FREARPAST A? Topas a CLOSE SEOT - caRD SLOTS CAMERA PANS DOWN: 'Yumtoshi,' a blank, 'uiss Zolly Golightiy' with the word: ‘Travelling! engreved in the corner, 'Spaneila'. IND, VESTIBULE - (DAZ) Ee 4s amsed by Miss Golightiy's card. Ze takes ows a place of paper and a pencil, writes something, Sears it to the correct size, then inserts it into the empty slot. CLOSE SHOT - CARD SLOTS Bis slot now reads: PAUL VARJAE and in the commer the word ‘arrived'. INT, VESTIBULE = (DAY) e412 grinning be tries bis key in thé door, (it does not fit, ammoyed,be triss the door. It is Gocked, He hesitates for a moment...decides to Ting ene of the other bells lances at bis watch. dectdes it's aot too esses Holly's tke : INT. HOLIZ'S LIVING ROOM = (DAZ) Begin on close shot of the cat esieep {5 Roliy's farien evening dress, The buzser sounds. The cat's Pan to open bedroom docr and move gash: The bedroom (or what we can 5! ds unfurnished in the seme is the living room excspt for an elaborate 5 ‘bed. The buzser sounds a second {ime and Holly's bead erises fram the sea of pillows. ep mask and eer plugs. Ste minbles otasy and sinks ba The busce Reluctansiy she sits tp and She sighs anc a bare am comder the Sec. vommeres srotmd tnd ie cf shoes, ender wear and asscreed ching. The az= (Gontimeed)a a. 30. 31. 32. 5022-60 (Cont'd) that turas cut to be a is shirt is pulled up anc finally settles on sonethin: man's éress stirt. The om out of the picture. IND. ZEDROOM Holly struggles into the dress shirt, hauls herself out of bad and makes her way into - IND. ZOLLY!S LIvINe ROOM - (DAZ) She erosses the room, Kicking the evyering cress out of sight in the general interests of neatness. She pushes the clickar and opens the door end peers sleepily out. NT, EALLWAY - (DAZ) SHOOTING over Holly's shoulder we can see Paul coming up the stairs, He appears to be speaking tus tis lips move silently. Holly strains to hear woat be is saying. It ts not until be reaches ber door that she catches on and removas her sar plugs. His voice cuts in sharply in midesentence as she does so. PAUL : esemoving inte Apartment 3a, but they only sant me the upstairs key so I couldn't t the down- stairs hope I @fen't wake you, HOLLZ geite all right. to anyone. 7. weeWall, gooentzht Could bappen requently does PAUL Look, I hate to... But Eolly has replaced the ear plugs cutting his voice eff sharply cnce agatn, His lips continue to move. She notices and reluctantiy takes the plugs cut agein. ZOLLTi” TIFFANT'S 32. (Cont ' 4) PAUL (Cont'd) favor..eif I could just use your PhOne.e. Holly, now wids awake, sighs« HOLLY Sure, WHY DOteee She epens the door and motions him in. Ze enters, leaving bis luggage in the ball. 33. gn, SOLEZ'S LIVING ROOM - (DAY) Paul comes in followed by Holly. Be ts, out of & Sertain embarrassment, making conversation with moze Charm and brightness than is absolutely necessary. Paul, Thank you.,.Well, nice little place you have ben. He gets a load of the 'nice little place! and bis remark more cr less peters cut. = They both look around at the shambles fo> am uneomfortable moment. HOLL The phone's right over there. hey both Look at the spot she has indicated, The phone is not right over there. HOLLYmb BREARPasT at 33. (Cont?) which she removes and bands Aim almost triumphantly. Ee sterts for it and en route trips over the cat. PAL Sorry! Didntt see bim there... Is be. ell right? ZOLLy sure ke is. you, Cat? (sbe picks kim op) Poor slob. Poor slob without & name, “The wey I lock at it, 7 bave no right to give Sim one. L Sure aren Paul Listens to this with growing fascinati: FOLLY Pacis) parla just have to wate 8 belores to somebo We don't belong so each othe>. 3 tock up by the river one day. Bets an independent ané so am 7 (Indicating reom) I don?t evenwant to own anyobing until I've found a place whers ne and things go together, I'm not sure where that is, Sut I kmow woat it's like, It's like Tittanyts... PauL (amsed) You mean the jewel=y store? =OLir That's right, Itm crazy ebeut Rittany's.,.listen, You imow those cays when you've got the mean reds? Paul, The mean reds? Tou mean like the blues? EOLLY No, The blues are because you're getting fat cr maybe it's been Paining too long. You're sad, that's ali, Sct the mean reds are Sorztd! sudée tne afraid, bat fot (Consiaued)13. 33. (Cont'd) EOLLE (Cont!2) know what you're afraid of, Except Shat scnsthing bad ts going to happen, only you don't mow what it is, fou , ever get thet feeling? ‘PAUL Sure, BOLLE Well, when I get it, the only tht ; Sbat does any good is to jump ine i tab and go to Tiffany's, Tt calns me down Tight The quietness an? the proud look of it, Hocking very bad covlé beppen to you thers. Mot with those kind men in their, nice scits, end that lovely smell of silver and.alligator wallet! She suddenly becomes aware that she bas been rambling on. EOLLY (Cont'd) I'm sorry. You wanted something - what was it? Ob, yes. The phone... She hangs it to bim, Ze takes it eng, starts to éiel. : PAUL It's just that someone was supposed bo meet me here.,.this is ten o'clock Thursday morning, isn't it? I just fell off a plane from Rone and... EOLLE (aa angaished squeal) Daursday! is this Taunedez? Pava I think so... BOLL Tounséari Ob, no, tt can't bet Tits too gruesome! She éashes wildly into the bedroom, her in some astonishment, Tues, b: matter, somsore av the other end of ers. 222-80 (Contizzed)4 33. 3he 35. Se22-60 BREAKFAST AT TIFFANZ'S (Contté PAUL Good morning. is Mrs, Fahastock at home? OE, Ske bas? I see. Thank you. Ho. Wo message. Ee hangs up the phone, Ee stands holding it for a moment, locking for someplace to put it. He finally puts if back in the suitcase, As he does so, he into the bedroom: PAUL Hey, what's so gruesome about Taursday? TUT. BATEROOM = (DAT) SE CAMERA IS SEOOTING OVER Holly's bare shoulders, into the mirror as she frantically brushes her teeth. : HOLLY (Tar the tooth- pastes Nothing! It's just that I can never remember when it's coming up...Wednesday nights I generally just don't go to bed at all... because I have: to be up to catch the ten-forty-five. Theyire so particular about the visiting hours! INT, BEDROOM - (DAT) Paul stands in the decrway, He stares, somewhat bewildered, as Eclly appears in the bathroom door, vaguely holding a bath towel in front of her. HOLLY a darling and look af you can tor shoes? Sure... Somewhat vewiléer and Imeels down. + (Continued)35. rs 22080 zea (Cont'd) Paul, down on bis hands and Imees, reacts rather violently to the words: Sing Sing PAUL Sing Sing? Holly dashes out of the bathroom, fetchincly attired in a halfeslip which is pulled up to the armpits, HOLLY That's right. All the visitors make an effort to look their best. It's only fair.,.2rowm alligator... She is now rummaging through still ancther unpacked suitcase. EOLLE And if you come across a black brassiere with a broken strap ané a safety pis, I can use that toc... Actually, it's very touching the way all the women wear their prettiest things. Paul bas found the black trassiere with the safety pin and the broken strap, Somewat astonished to find himself drafted into service as a ladies’ maid, he nevertheless presents it..,albeit « trifle timidly. .PAUL As I understand this - what we're doing is getting you reacy to visit somebody at Sing Sing? With ber back to him, she pulls the half-slip cown to its normal position and hocks herself inte the brass FOLEY That's right, And now the shoe: is rapidly dcing her face in a mirror that & packing case, Paul returns to beneath the bed in search of the shoes. | She selects ¢ garish pair cf earrings and tries them cn, She studies the effect ic the mirror. ZOL=r You can als a persen a the gives you. eelly thinks you of earrings he (centsmw 35. b-22-60 BREAKFAST AT TIFFANY'S 16. (Cent'd) She studies her reflection, grimaces, and takes off the earrings. BOLLE I must say, the mind reels... garter-belt, gerter-velt, garter- Delt, garterrbelt... She has risen and is looking wildly around. EOLLT I think maybe {t's hanging in the bathroom...would you mind... Paul, hypnotized, sets off in search of the missing tem. A moment later he reappears with it and hands it to her, PAUL May one ask wnom? EOLIZ Whom what? Ob, who I go to visit, you mean? PAUL I guess that's whet I mean, A EOLLY, T don't kmow if I should even discuss is,.,but...well they never told me not to tell anyone...only you've got to cross your heart and kiss your elbow... PAUL Thy try. BOLLE (Pulling on stockings) You probably read about Hin, His name is Sally Tomato. PAUL The gangster HOLLIE They never proved it - the only hing they could ever vrove was thet Re cheated on His income tax a little ws sB27Way, 11 2 know is, he's a @a>iing cle man, Ob, he was sever sy lover cr anything like that, Zs fact I never knew Lin until after se was in prison, But I adore bin now. (Continued)35. BREAKFAST AT CIFPANY'S un (cont'd) HOLEY (cont'd) I mean I've been going to see him every Thursday for seven months, ow I think I'd go even if he dién't pay vwiat about the shoes? PAUL : I could only find one...He peys you? By this time they are both down on their hands and ihees, searching under the bed for the missing shoe. HOLLY That's right, Or anyway bis lawyer does, If he Ss a lawyer, which I he doesn't seer to have an office, just an answering service and he always wants you to meet him at Hamburger Heaven. (Piading the shoe) seethare you are, Jot sm During the following, Holly finds a scarf, which she puts over her head to avoid getting make-up on the @ress which Paul assists her into, via the over-the- head route. EOLLE Anyway, about seven months ago this so-called lawyer - Mr. O'Shaughnessy - : gent me this selegram asking me to meet bim at Eanburger Eeaven. Then he asked me how I'd like to cheer up @ Lonely old man end pick cp a hundred week at the sane tise. I told kin: Look, éariing, you've got the wrong Holly Golightiy. I wasn't impressed by the honoraria either. You can do as well as that on trips to the powder room. Any with the slightest chic w: fitty dollar bill for the girl's jobn... She is into the dress by now and ts piling things into a purse as Paul zippers up the back of her dress. And for cebfere, too. Thas's anczher fifty, Sut shen sald bis client was Saily Tomato Ee said dear old Sally bad seen ne (Contiszed)rd a a 1s. (Cont'é) HOLLY (Cont'd) at Elmer's or somewhere ané bad admired ne a la distance so 4t be a good deed ir I went biz once a week. Well, I couldn't say no, It was too romantic... It doesn't s just anyone vi EOLLY Oh, they don't. In fact, they make te a boring fuss. I'm supposed to be bis niece. Eow do I look? ym Like they'd let it e prisoner. The dressing operation is now complete. Astorishingly enough, out of the terrible shambles, Holly has emerged looking neat, chic and altogether imaczlate. PAUL Very good. I must say, I'z amazed. wed, actually. HOLLY : -. You were a darling to help. I could never have done i¢ without you... ey PAUL It was a pleasure, really. Call on me any time. I'm pight‘upstairs, Or I will be as soon as I get moved in. By this time they have moved through the living rocz and out into - EL. EALLRAY - (DAY) Holly fs locking the door bezind her. We still get the sense of her being on the dead un. She starts down the stairs, Paul, intrigued by what he bas heard, follows. Path You seen for an Aour's conver- gation he gives you a Sundred éollars? (donstaued)36. 37. 38. (Cont'd) EOLLy Well, Ur. O'Shaughnessy does. As soon as I meet bin and give bis the weather report. PAUL It's none of my business, but it sounds to me like you could get inte a lot of trouble. They have now reached = INT, VESTIBULE - (DAZ) BOLLE How? PAUL Well, there must be sone lew about false identity. f mean you're really not bis niece... And what do you mean, wea’ report? Holly has opened ber mail box, inspected the mail aad put it all back, and closed the box again. ROLLY Nothing but bills. ob, that's just a message I give Mr. 0! Shaughnessy so he'll know i've there. Sally sey like... tcane in cubs tis cloudy in Palermo. things like that, You don't have to worry. I've taken caze of myself for a long tine... They move cut to the - EXT. szowNsTONS - (DAZ) Taxi! Ob, A cad goes by Sut bes a passenger. puta tro f! ab goes oy.ee 38. BREAXPAST AD TIFPANE'S 206 (Cont'd) PAUL I've always wanted to te able te do that...Hey, taxi! Now a cab appears, It pulls up in front of the brown= stone. A lady gets out. She is Emily Eustis (Mos. William) Pabnstock. 'Z5' (pronounced, I guess, 'Tcohey') as she is affectionately mown to the readers of Cacliy Enickerbocker's column. She is an extremely attractive woman in her early forties. She looks zich, sexy and somewhat spoiled, She carries a large, ugly, expensive Victorian lamp and several rolls of walla z (All 12 ome breath as she gets out of the cab) Paul! I'm late! I know it! Oh, don't tell me you were locked out? Didn't you get the key? Ob, dering, I'm so sorry... Pav Igot it all right. My nefgnbor, Miss Golightly, was kind enough to let me inves (Nervously making conversation) Miss Goligstly is am ber way to Sing Sing. Just visiting, of course. ‘The two ladies eye each other, taking rapid stock in the terrifying way that ladies do. Paul, feeling that something more really cugtt to be said, goes on. : PAUL Miss Golightly, I'a like you to meet Mrs. Fabnstock... (Be hesitates again, seeking the correct descriptive phrase) seeMy.. decorators. ‘EOLLY (Her eyebrows going up ever so slightly) Bow do you dos.. z= Fow do you di (vhen, wl) Darling, let me look 2 you. 78 Wes the fligst absoiutet! (Continued)38. 39e 6-22-60 (Cont'd) PAUL (Cont'd) Is it really only three weeks since I left you in Rome? it seems like years Holly, through all this, inéicates the cab. Are you T take As she is unable to break through the sound bar erected by Mrs. Fabastock, she finally shrugs, ¢! the cab and says: HOLLY (Cont'd) Grand Central please. And pon it. She slams the door and the cab pulls away. z= (Oblivious of.he> departure) Have you seen the apartment? PAUL Bot yetess - a I know it-was wicked of me, but I couldn't resist. I went abe'ad and fixed it up without you, I think it's darling, of course, Eut if you abso- lutely hate it, we can rip everything out and just start from scrateh... By this time she has loaded him with the lamp and the Pella of wallpaper and is leading hin triumphastly up the steps. DISSOLVE TO: IND. PAUL'S APARTMENT = (DAT) Paul and 2 enter together, Paul staggering slightly wmder his luggage, the laxp and the wallpaper. z Clese your ey Row... Fou © asatt (Continued)ee 39. Se 22-60 BREAKFAST AT: (Cont'd) 2's. 22. Paul opens his eyes, puts down bis stuff and looks ground, It is, like the lady said, just something! Teds the top floor studic apartment - one large roct with studio windows on one side, It is witdly decor- ated in what can best be described as Early Expensive. PAUL Well... a Oh, darling, you do bate it! Ican tell... PATL Wo... think it's...great...it fast takes a second to get used to, that's all. 2 (Indicating) ‘The lamp goes right over there... And I haven't settled on the paper for the bathroom yet. But aside from that it's all done... well, what do you think? PAUL (Softiy) WowWee . Zz Tow. ..before anything els us to get you all unpacke: «I can't stand the sight of suitcases in a room. They're so sad and going-away looking... oT want She goes to his suitcase and opens it. PL ‘That's okay...I'll do it later. z Bo...1et me, pleese...I love doing + things for you... Prom the suitcase she takes its contents, two skirts, Guo pairs of sherts, a pair of socks en? a necks She goes to the cleset ocr an¢ cpens it. enormous step-iz style closet, complete w: in racks, érawers, tie Tacke, shoe , $0 service the entire sixty there. ‘She quickly puts eway Paul's 2: sag in the vi the single necktie dang? encrnous They beth contemplate for a moment. (Contmb 3¢. be22-20 BREARPAST A TISFANE'S 23. (Contra) Pan (e's trying) It certainly is @ nics roomy closet... 2 We'll need the space. darling. Tour ba will go here, shoes along here 2+-Sports jackets here.,,and these d2awers are ail for sweaters, I love the way cashmere feels on a man.., ‘The unpacicing is now completed, She picks up suitcase and puts it on @ shel?, a : dnd now we can get rid of this awfal thing... . She closes the door to the closet, a Much better - no? And you didn't even notice your desk :.it!s eng gseritoize ac’ Jeveit once belonge Fo Voltaire.,.I think...cr maybe it was Anatole Foance...and look, I've got it all arranged for you...ses... Zou've got reams of paper...and yellow pads, legal size and regula>...and paper clips arid rubber bands...and I've got your pencils all sharpened, She picks up bis typewriter, puts it ox the de: the sk and takes off its lid, She takes a sheet of paper and puta it in the machine, PAUL ‘Ifa man is going to starve tn 2 Barret and write the creat American Rovel this is sure the way to do it a 4nd you're not angry because I went ahead end eid it all without you? Tint anarTeeemb 39. 5022-60 BREAXTAST AT TIPTANZ'S (Comba) (Zar tone changes) Now listen, darling, we're just not going to bave any of that at all...The whole thing is very simple. Youlre a weiter... think you ean be Lat one...Way shouldn't I help P bare a busband woo invests ip Bit welass;¢2 have friends woo invest donit tmow,.,the stock market or estate. So why shouldn't T be allowed to imvest in what I believe in? PAUL Wateh is? z Talent, darling, Talent. You bave talent and I'm going to see that you it or spoil it or fitter I couldn't bear the idea oF Prostituting yoursel?...sittin in alittle cage in Eollywood., writing movies that would make us both cringe when we saw then later... Let ne be your Hollywood, Paul...your ow personal, Sender, loving Holizwood... PAUL © And what do you get out of tt? z Satisfaction, darling, Just satis- faction, and maybe the feelin of pride, when the book is fineiiy dons, Of seéing the dedication page thet says: ‘For 25, Without waom...' Dering this, she bas very gently began to unbutton bis shirt, PAvL And that's all? Zz Well, almost... She Graws bin to her and keses him. When the: abe very gently pushes Ein away from ber and ¢ the bed,40. 42. 42. we & 8 CLOSE SHOT - 25 (PAUL'S ANGLE) - (DAY) a= It's net so dad, is it? Really? PAUL (0.8.) I suppose there are tougher ways of earning a living... 25 (softly) You bet there ere, darling. You Just"bet there are... She begins to unbutton her blouse. z Paul... PAUL (0.8.) Yes? a I wish we had a picture of you... just the way you are right how... if we put it on the vook jacket, we'd sell a million copies... SLOW DISSOLVE 70: EXT. STREET - (NIGET) It is very late, The nearby houses on the block are dark and quiet. In ow brownstone, however, lights blaze in Holly's apartment am the silence of the night is shattered by the rocking, blasting sound of muste from her record player, A light upstairs goes on sudderly. ENT. wR. VOWIOSEE'S DOOR - (NIGHT) The sound of the blaring music fills the corridcr. Me. Z. opens bis door and bellows in an angry voice. wR, TUNTOSH Once again T do net this2s. 43. EXD. HOLLY'S FIRE ESCAPE - (NIGHT) Te camera is shooting through the window into Holly's bathroom. There is che soune of another crash. The bathroom door opens an¢ Holly enters, wearing an evening éress. She quickly locks the door bebing her. There ig stili another crash, She shrugs, sighs @ litle - she 4s, however, more amused than alarned, then opens the window and climbs out onto the fire escape, closing the window behind her. The camere follows her as she climbs the fire escape, mounting to - 44. EXT. PAUL'S FIRE ESCAPE - (NIGET) Bolly peers into the window. 45. INT, PAUL'S APARTMENT - (HOLLY'S POV) - (NIGET) Paul is asleep on the bed. In the single lisht from the bed Lamp we can see that he ts smilizs bentenly in bis sleep. ° 46. EXT. HOLLY ON FIRE ESCATE - (NIGET) Her features take on the sane benign smile. She starts - ‘to open the window «hd enter. Then she sees something that stops be: 47. INT. PAUL'S APARTNENT - (HOLLY'S POV) - (NIGET} | 2B, dressed for the street, is coming out of the pathrocm. She moves about the room, straisntening up. Euptying ashtreys and clearing away glasses. 48. EXT. HOLLY ON FERS ESCAPE - (NZGET) Holly, resigned, seats herself on the fire escape, hugging her bare shoulders for warnth. She settles in to watt. 49. ENT. PAUL'S APARTMENT - (SIGHT) 2E, ber domestic chores finished, goes tothe bed ang Lovingly pulls the covers up_erotnc the sleeping She kisses Hi= very gentiy. Ze does sot _svake Bearts to go - then - alnost as a2 alte: her purse ané takes cut three hundred dol E> bills whicz she places on the desk. She Kisses ‘and tiptoes out, closing the the sea. ed's good with horses...but even land in Mexico costs scmething...ané x0 matter what I dc shere neve seexs to be mere than a courle of hundred dollars in the bank...a Ble 6-22-60 EAXPAST AT TIFF ANY'S 336 (Cont'd) She notices the alarm clock on the bed table. HOLLY Te ants be fourethirty! It just The first light is beginning to filter into the oem. Holly, suddenly looks terribly young and terribly tired,.,like « transparent child. ROLLE Do you mind if I just get in with you for a minute? She slides into bed beside bin. ROLL (Sleepily) It's all rigtt...really it ts, We're friends, that's all. If you were older and richer and Rot as nice, then maybe ta be Gifterent..'ve abe friends, arn't we PAUL Suresee She snuggles her head against bis shoulder ané closes her eyes. HOLLY Okay...now let's don't say another word.,.let's just go-to sleer... joks down at her,,.in a moment she is almost + Mo gently be reaches over to turn out the lamp. Merains begins to fi11 the room. In her sleep Row, Eolly stirs and bolés bis am. BOLLE Poer Fred...where are you, Pred? Because it's cold, Thare's snow in the wind... Paul looks more closely and sees that she is crying. Weat is e matter? Wey are Holly, suddenly wide awake, springs cut cf bed. (Continued)a Le 52. 53. 53. 5é. BI. 6-22-60 FREARPAST AT TIF. (Com! a) 3he ROLLE If wetre going to be friends, Jet's get one thing straight Fight now! I hate snocpsi And with this, she starts for the window end the fire-escape, DISSOLVE TO: EXD, STREET - (LATE AFTERNOON) Paul comes up the street with a bag of groceries and the evening pepers. As be nears the brownstone we hear (as usual) the ELARE of Holly's PHONOGRAPS, grins a little, amsed by the habits of bis ne Be mounts the steps and enters the - TOD, VESTIBULE - (LATE aPTERNOON) He pauses et bis mail box, A note and a sma2i, gift wrabped package have been affixed to bis box wit: scotch tape. He opens the note and reads: INSERT - TSE NOTE In Eoliy's freakishly awkward, kindergarten bend- writing: "Darling Pred, please forgive last night. Gan you stop in for a érink éeisk? Mille tendresses. Your friend, Holly Golightly." mM. VESTIBULE - (LATE AFTERNOON) He pockets the note end, holding the small age curicusly in kis kand, cpens che door ané goes in. NT. STATS - (LATE APTERNOON) Paul climbs the stairs, pausing a moment to listen to the SOUNDS coming from the other side of Holly's door, Then se continues on bis way upstairs.35. 57. (Cont'd) 58. 5022-60 The PHONE IS RINGING as he comes through the doc: Tt has been ringing for some time. He cashes to it and picks up the receiver. PAUL Eello? INT. 28's LIVING DOM - (LATE APTEROON) HE, stretched out on a chaise with the telephone. Teliuded in the shot is the distinguished back of Mr. William Fabnstock who is, at the moment, en- gaged in mixing martinis. z Lucille, darling? 2. From this poist on, INTERCU? phone conversation, finishing on Paul. : : PAUL (Blenily) Bub? a Itye been trying desperately te reach you. Sill just got back = a-day early, the beas so I'm afraid I'll’have to beg off on the bridge game.:.you'l2 explain to the rest of the girls... PAUL Sure. za Zoutre a darling. Maybe we can Bave lunch tomorrow. I'l] call you in the morning... - Path Whatever you say... a And you will manage to survive without me tonight? ake a wile some- ourse. Good e (Cox36. 58. (Cont'd) 59. 60. 4-22-60 Ee hangs up the hone. With a vaguely resolute air be sits down at the desk, lichts a cigarette and pulls the typewriter to hin. Se jams in a piece of per and then suddenly realizes there is no ribbon. Ze'gets up again and, then, suddenly sees Zoliy's present. Ee slowly and carefully unwraps it. It fontains an Olivetti! typewriter ribbon. He grins, goes back to the desk and attempts to rut it into Ske machine, Ze is totally unsuccessful. Maybe e's just out of practice. With a sigh of resig- nation he gives up. Fr the window come the in- viting SO of Holly's cocktail? party. He struggles briefly with binself, loses, gets up, wipes bis hands, straightens his tie and heads fo> the door. He stops, goes back, takes a copy of bis book from the stelf - takes out a pen, auto- graphs it to Bolly and goes out. Imm. EOLLZ's DOOR - (LATS AFTERNOON) Paul hesitates a moment, then EYOCES. Pres the door is opened by a brisk, tough-talitag tittle an who will presentiy be identified as one 0. J. Berman, 0. ¢. looks at Paul somewhat dubiously. 0.3, Eid's in the shower... You . expected? PAUL Iwas invited.. If that's what you mean... z ‘ 0.2. Okay. So don't get sore. It just a lot of-characters come bere, they're not expected. Teaths all. With that he ushers Paul into - DOT. BOrEy's LIVING 200M - (LATE AFTERNOON) hat is clearly going to develop into a 2 noisy party is just getting mdi & doze: oF so assorsed guests Standing around, the me place tos a& bap has On an empty packing case. There of the hostess, (Sontioue1s 37. 60. (Cont'd) PAUL Not very. I live upstairs. 0.3. "(With some horrer) Tn this building? PAUL That's right. Og. What a dump! Look at it. Unbelievable! Be pauses for a moment and then, very suddenly and dramatically burls a question. 0.3. Well -- what do you think? Is she -- or isn't she? Before Paul can come up with a suitable regly, tbe bedroom door bursts open and Folly, fresh from the shower, splashes into the room, a towel more or lees wrapped around her and her wet feet cripping feet marks on the floor, ZOLLY. : Pred, darling - I'm so glad you could come <=. .- PAUL I brought you a house present - something for your bookcase, {He hands her the book) HOLLY Fou are sweet -- “(She puts it om the shelf where it sits in solitary splendo>) It does look nice there, doesn't w- Light me a cigarette, will you?’ Hot you, 0.0. You're such a 810B—e06 : down and deftly scoops up the cat and bare shoulde: gn this, Zot: places £ eigaret’ She reaches cars BOLLEmb 60. 022-60 ‘EREARTAST AT TIFFARE'S 38. (Cont'd) BOLLE (Cont'd) of phone mumbers, Waat is David 0, Selznick's phone mmber, 0,J.? Ons. Crestview 5-6,,,Come on now. Lay off... BOLLE It's not a Joke, darling. T want you to call bir'up and tell him whet a genius Fred is. (She indicates book on the shelt) See - nine stories - by Paul Varjak. Vow you just stop blushing, Fred. You didn't say you were a genius. I id, So quit stalling, 0.u. Just eli ms what you're going to do to make Fred rich end fanous... = Oede Suppose you just let old Fred- aby and me Settle that, buh, iid? There is another ENOCE at the door, Holly moves off to answer it, calling over shoulder 23 she goes? HOLLY Ouey, But just remexber, I'm bis He's already got a decorator - Okay, Paul baby,..s0 answer the question, is 3! - o> isn she? PAL Is sbe what? Os. a phory. PAUL, Tents mow. I dontt think so... (Continued)= 60, 5422-60 (Conmt'é) O.7~ Mell, you're wrong! She is 2 phony! But on the other aend, foulre right. Secause she's & Peal phony, You know why? Bee Sint. abe honesty believes art this phory junk she believes PAUL Zave you known ber long? Enown her long? Me..,0.J. Berman... Tim the one Giscovereé ber} On the coast, a couple of years ago, oat at Santa Anita, She's banging around the track, “The kid's just fitteen, But stylish. Ever thouge when she opens ber mouth, you don't Ymow if shes a bill-biiiy or an okie or what, One year it took to smeoth cut the accent. How we finally éi¢ ‘French lessons, after = y learns to imitate English, “Pinelly, when I think she's ready + 2 set her up with a screen test...2 could kill myselt,:.the night before...wham! the phone rings! She says: This is Holly. I sey: Baby, sound far away. Ske says: I'm in’new York, I say: foes idnd of New Fork? You got a screen test here to- morrow, She says: I'm in New York because I've never been to New York, Tsay: Get your butt on a plane and get back here. She seys: = don't want it. I_say: You don't want it? She says: I don't want it. 2 sey: What do you went? Sne says: Woen I find oae,you'l be the first one te know. So, Listen, Prec-bary... Pac Paul-baby... O.7, Den's stand there and try end tell me she ain't e phexy!cry 61. BREAKFAST AT TIFFAYE'S ke. EME. HCLLY's S2DROON - (LATE aFTERWOoW) The party has now spread into the bedroom. Through the door we can see two enthusiastic gentlemen tipping Holly into her dress. Once safely zipped Holly moves (AND TEE CaMERA FOLLGWS HER) out into the gathering Pedlam. There follow several SHOTS of the party fron various angles. Zolly turning the phonograph up even louder, Paul picking bis way across the room to the bar. O.. shaking bis head and taking a pill. More guests arriving. Paul, having finally got a drink, picking bis way back to bis corner, He arrives there at the same time as Holly whe has come from the opposite direction. PAUL Some party...jiho ere all these people anyway? HOLLY Who Imows? I've been scattering invitations around all week <= I've sort of forgotten who all I asked... Eolly suddenly notices the glass in Paul's hand. BOLLE, You'don't mind, do you darling? She deftly takes bis hardavon drink from bis hand, and @rains it in one long pull. Then she returns the empty glass to bin. Path What I don't understand is: Why? BOLLE Way what? Paul Why anyone would give a trawl, Like this of bis own free will. HOLLY62. 63. 66. BREAKFAST ATT (Cont'd) MAGS VOICE (0.5.) Holly! Holly, d-d-dariing! . PAUL Who's that? DOORWAY - PAUL & HOLL'S POV = (LATE aFT=ANOON) Mag Wildwood, the owner of the voice, is a fashion model, well over six feet tall in her spiked heels. With Her are two gentlemen: Jose Ybarra-Jaegar, a wildly handsone Latin with the lock of a shy bull fighter; and Rusty Trawler, 2 middle-aged child who bas never quite shed his baby fat. There is not a suspicion of a bone in bis body. Mag is shouting greetings to one and all. SDE. PAUL & HOLL - (LATE aPTERNoon) i HOLLY Mag Wildwood. She's 2 model, believe it or not. a. thumping bore. But just look what she's brought with her (EM. CLOSE SHOT - JOSE - (LATE AFTERNOCN) PAUL'S VOICE (0.3.) (Sette) He's all right, I suppose, if you like dark, handsome, rich- looking men with passionate natures and too many teeth... BU. HOLLY & PAUL - (LATE AFTERNCON) HOLLY (Sotto) Idon't mean bin! I meen the CLOSE SECT - SUSTE - (LATE aFTERVOOH) PAUL'S VOICE (0.s.) (Sotto The other on.67, $-22-60 Busty giggles Toolis! WE & SOLLE - (LATS aPTERNOON) HOLLY Don't you know who he is? You must have seen bis picture at least! He's Rusty Trawler, Paul looks blank, EOLLy Busty Trauler! Ze happens to de the ninta richest men under fifty= five in dmerica, PAUL That's a remarkable piece of information to iave at your fingertips. ‘EOLIZ , Darling, I keep track of these things! Mow, you josh stand well back end #atek.c. Holly squares her shoulders and moves repidiy to the doorway to ereet ber new guests, Romy Mag, darling! I'm so glad you cropped in... i ac Well, Iwas upstairs working wit! Yanloshi, Christmas stuff for the TBa-ba-raar', Then these two veboys came to pick ms up. a mmistake of course, my wires sot grossed somewnere..,b-but they were bebott very sweet about it...Hey I present Jose Ybarra-saeger.. .be's from Brezil..uiss Gadolightly... Be kisses Holly's band, mac And Mr, Rusty Trawier,..Miss GaGolightiz... at You're not vexed at se for them along?$7, (Cont'd) 68. 436 MAG I'm so g-gled.,,Now who's going $o get me some b-bourbon? HOLLE 0.76, will you get Miss Wildwood a drink. O.J, obliges, leading her off, Holly looks after her, sighs sadiy and says to Jose and Rusty: HOLLY It's really very sad, And so mysterious, You'd think it would” show more. But heaven lows, she Zooks healthy... With which, she takes Rusty's armi ROLLE Come on, Mr, Trawler, let's see what we can get for you... Busty giggles foolishly as she leads hin off, Paul locks helplessly around, considers trying to get binselé enow ther drink, decides against it and instead, unobtrusively leaves the room, : DISSOLVE TO: (DUT, PAUL'S APARTMENT - (NIGET) Paul, His jacket off and tie loosened ts seated at bis desk, his feet ar up, his head back mé & cigarette in tls mouth, After a moment he swings bis feet to the floor, gets up, wanders to the window end iscks out. 1s ARTMENT = (FIGHT) Paul grins and goes back to the desk, picks up the typewriter ribben, studies it with great intensity, nee more he tries to put it inte the machine, ‘This time it almost flies tato place. Encouraged, he jams a piece of peper into the machine. stares at it for along time, Then, very slowly, very painfully he begins to type. PATE. (Zo Bimsels es he dees so) Mere... HOS. ..90CG..684,.78FT LOVELTe +e (Contizzed)as EREARPAST ATT. 69, (Cont'd) 70, PAUL (Cont'd) very frightened girl...She lived alone in an unfurnished apartment... Suddenly he feels a pair of eyes on aim. He looks quickly at the window. CLOSE SHOT - WINDOW STLL = (NIGET) Relly's cet sits watching hin calnly. PAUL'S VOICE (0.8.) Oh, BL, Cat... Tae sound of typing begins agains PAUL'S VOICE (0.8.) Alone that is, except for nameless cat, Each Taursdey she took the 10:45 train for Sing Sing... on the cat's grinning face = DISSOLVE To: + INT, VISTTOR'S ROOM, SING SING =" (DAT) Begin on CLOSEUP of the grinning face of Sally Tomato, Wasn the CAMERA PULLS BACK, a scene, almost picnic in quality is revealed. SALLY So you're a writer, bub, Fred? PAUL I guess so... ROLLY What do you mean, you guess so? Bets written nine of the most marvelous stories, I mean they've been published and everything... PAUL Zolly, please... (Continued)72. 73. 47. Goodbye, Uncle Sally... . SaLly don't forget to send PAUL Twente... HOLLY Oh, Uncle Sally - what about the weather report... SALLY (Grins) tgnow flurries expected this week- end in New Orleans...! He is being led away... EOLLE (To Pai ‘Snow flurries expected this week- end in New Or ' Isn't thet just the wierdest? Baven't had any snow in Hew 0; in a million years...I don't Bow be thinks them up... I bet shez ans DISSOLVE TO: EXT. OSSINING STATION PLATFORM - (DAY) The train is in the station about to pull out. Many of the people we saw in the visitors room are boerding, Ameng then, Holly and Paul. TUT. CRATE - (DAT) Holly and Paul seated next to each other coach, Zolly thumbs a fashion macezin Qin her note bock. After « zon HOLLY ed)a TB $2260 La. (Cont'd) Pau I never met a big tine gangster Imst say be wasn't J what I'd expected, He seemed very nice, thoush, He tries to go back to the notebook, but Zolly persists. HOLLY FPredece Paul (Looking up once again). Yes? BOLL If you and I ever get married, promise me that Saily will be sbere to a the bride aweyeoe Paul I thought he was in there twenty- years-to-lizese. HOLLY Well, I don't. imagines we'll be getting marzied much before then axyway...de you? : PAUL No. The economics are against it. we couldn't afferd eact otherees EOLLY Teat's right...Wetre both,. reaching for the sky, I guess.,,dut it's nice that we can go along part of the way at least...sogetberee. ‘The raythn of the train bas begun to induce a certain Pelaxed almost dreamlike quality, Paul fails in with ite PavL ‘wo parallel lines,,,that never meet, mend, It ts alreeey @ momen!Se 7%, $=22-60 ue. (Cont'd) SOLLY I've never been @ parallel line. before...exsept maybe, I guess, with oy brother Fred... Q@ICE DISSOLVE To: ‘ERD, TRATN TRacms - (Daz) Tee parallel lines of the tracks stretch cut before Now, the train comes ROARING over then, QUICE DISSOLVE TO: TRL, Patits apapmy = (IMATE APTERTOCH) Begin on CLOSE SHOT of the carriage of Paul's type- writer being slammed back in the opposite direction from the train in the previous shot. The typewriter bell RINGS, ‘The CACAA PULLS BACK anc we see Paul ing furiously. Ze is about bel? wey down a page. A stack of completed pages rests proudly at bis elbow. Eis concentration is intense, He is, for example, totally unaware of a SOUND that énitts lastly up ‘he bis oper window, It ts Holly, SINGING and ANYING herselt or the guitar. ‘The song 1s a pusistive preiria melody the words of which seem to be: ‘Don't wanna itve, don't wanna die, just wanna go'a- travelin' through the pastures of the sip.” Paul concentration reaches its clinan as he finishes the story be is writing and adds those two glorious words: THE END, He pulls the sheets from the tyre (separating the carbons) and, pencil in Eant, reads over tbe page be bas written, minor cor= pections with a pexcil, New and only sow, does he be- coms aware of the sound of Holly's voice. The volume tmereases as it begins to intrude on Eis’ (ctr) consetous- Ress. finishes proof-reading the page, puts it be~ bind"the others meiing a complete manuscript, puts the seript down om the desi, picks up a cigarette, l¢ghts it, and walks slowly to the window and looks out.78. 3. 80. 61. $222-60 50. INT. PAUL'S WiNDOW - (LATS AFTERNOON) He smiles tack, Pantomimes the guitar strumins and mouths the words: "Very nice..." EXD. HOLY ON FIRE ESCAPE - (LATE AFTERNOON) Holly smiles, raises her eyebrows questioniagly end mouths: “what about you? INT. PAUL'S WINDOW - (LATE AFTERNOON) Paul grins end pantomimes typing. Two finger tyrins. EXD, HOLLY - (LATE aPTERWOON) Holly nods approval and goes back to her guitar, Pani returns to = INT. PAUL'S APARTMENT - (LATE aPTERNOON) Poul, still smiling, goes back to his desk, stacks the pages, finds a peper clip and puts them together, Ee takes a brown manila envelope out of the desk, starts to address and hesttatas, He gets up and goes to & table where a vast munter of magazines are siled. : Teoughtfully, te picks up a mumber of slick, big leamue magazines, rejecting them, one by one: Tes New YORES, TEE SATURDAY EVENGNG POST, THE ATLANTIC MONTHLY, etc... Finalay settling on something called TAS NORTEW=STERT REVISW...5e carries it back to the desk, copies the address onto Sis envelope with pen and ink, He ine Serta the manuscript, stamps the envelope and is about fo Seal it when another thought strikes biz, Grinning, ke takes out a second envelope, scribbles bis ow nene and address on it, stamps it, folds it and puts it, with the manuscript into exvelope Ee is just seal- ing it when the door busser SOUNDS. He scocrs up the envelope quickly, like e guilty child and bides it in the desk drawer, Then, after bracing bimssi? for a moment, he goes to the door and admits 25, Ske seems strangely upset, PAUL 25 sleses the door quickly debind hersel? and motions sl to be quis, PAT the nett:81. 82. 83. 022-60 EREAPAST AT TIFPANY'S Sle (Cont'd) I don't imow,..it's probably nothing. Sut... She leads him over to the front windew and, in the best Hitchcock movie tradition, cautiously draws a corne> of the blind aside. PAUL What is it? a I want tosee if he's still there. : Paul If who's still there? Wat are you taliing about? She indicat the street. EXD, THE STREED (FRO THE WIIDOW) - CATE aPTERNOOM) & man is loitering across the way, casting occasional glances at the house, He is in his early fifties with a bard weathered face and gray forlorn eyes. He wears Sweat-stained gray bat and a cheap dark blue suit. Eis shoes are brown and brand new. (TOU. PAUL'S APARTMENT - (LATS AFTERWOON) Za I noticed bin yesterday efternocn. Bot Ididn't say anything. I didn't want to scund neurotic... but when he was there again today... PAuL Woo do you think be is? Zz It could be anybody, of course. But what crossed my mind was: suppose Bill's found out about us end is having us watched... PAUL take care of chis... (Conténued)eh. 85." 86. 87. BREARPAST AT TIFFANE'S 52. (Cont'd) a No, don't...please. If that's what itis you'll only make every- thing worse... Paul puts on his jacket and prepares to go down. PAUL I'LL be careful. You wait here... i a Pleade, darling, I don't think... PAUL, : Take it easy. I just want to fing out what this 4s all about... He goes quickly out the docr, EX, BROWNSTONE -' (LATE APTERNOGH) Paul, moving carefully but with studied casualness cones out of the vestibule and dow the steps, He locks, with even more castalness, around to see if the man is still there. ‘EXD. THE MAN (PAUL'S POV) = (LATE AFTERWCON) The man’ is standing across the street. Hé sees Paul and quickly and not very skillfully pretends to be reading a newspaper EXD. TEE STSEET - (LATS AFTERNOON) Paul walks slowly to the comer and pauses at a fire bydant to tle his shoe, As he does sco he sneaks a fast look back. EXD, THE MAN (PAUL'S POV) - (LATE AFTERNOON) ‘The man is casually crossing the street to Pacl's side and is very slowly beginning to make,his way toward him. oC) (Continzed)= EREARPAST AT 53. as. (Cont'd) Paul heads west, crossing the Avenue. The man con- tinues to follow. es. EXT, sae OF FIPTE AVE £ 6475 STREET - (LATS oser the Paul stops for e red light. The men, who is muck ¢ now, comes almost abreast of him, Also waiting fo: light 4s a lady with e sleazy Pomeranian. The man stoops over to pet the dog. When he speaks kis voice is a hoarse, countrified crawl. THE MAT That's a mighty fine animal you got there... The light changes and Paul crosses the street. The sa= follows. Paul moves down the steps into - 205 EXT. CENTRAL PARE 200 - (LATS APTERNOON) ‘The man follows. to HEAR that By now he is close enoush for The sune is hauntize?: families. Paul, as he tries te figure out where be hes heard it befor jenly 13 dawns on him. The tune the man is whistling ts Eolly's 'Pas- tures of the sky’ melody. curiosity. He moves into - sl. INT. PARE CAFETERIA - (LATE AFTERNOON) ul moves down the line, gets Sinself a cup o7 co. pays for it end moves out onto- 92. EXD. CAFETERIA TERRACE - (LATE AFTERNOON) are mary e=pty tables, in fact, at this hour the errace is alnost deserted, Paul selects # table and sits, The man comes out of the cafeteria onto the terrace. Moving almost aimlessly he comes toward the table where Paul is seated and, finally, ignoring ell 2 ts hiner? Ze sets his co: ont of b: two men wait, looking quietly et the Swo untouched cups of coffee. 6-22-60 (Continued)ee 92. 936 She (Cont'd) PAUL Okay. What do you want? T= MN Son, I need a friend. Paul watches with mounting curiosity as the man Teaches into Bis pocket and withdraws a wellet > it is as worn azd leathery as bis hands - almost, in act, falling So pieces. From it he takes an equally worn snapsict waich be hands to Paul. THE MAN That's me. That's ber, And that's her brother Fred. Paul takes the snapshot and locks at it curiously. UUSGRE - TEE SNASSECR There are seven people in the picture, all grouped ton gether on the sagsing poreh of a stark wooden house. Gnd all are children except for the man himself who bas his arm around the waist of a plump Little girl who “stands with her band shading her eyes against the sun. Dhe 022-60 The little girl has a clear, if embryonic resemblance to Zolly. EXD. TEE TABLE = (LATE AFTERNOGY) Paul continues to study the snapshot...Then he looks up amazed. PAUL Zou're Holiy's father? ‘THE MAN Her name's not Holly. She was Lulumee Barnes. Wes...til' she married me, I'm her husband... Dec Golightiy.. I'm a horse doctor. Animal man. Do some farming too. Near Tulip, Texas. Paul laughs. Sut it ts a nervous laugr ethos’ Bt Doc Tats here's a0 aumercus nat94. 98. 6-22-60 ow a (Cont'a) Doc (cont'd) son. Her brother Fred's getting OUt of the arny scor. Lulamae belongs home with her husband, her brother and he courren. PAUL Children? ; Doc ) Indicating the snapshot Then's her churren.., : Paul sits for a moment, staring wide-eyed at Doc. Neither bas made the siightest move to touch i Finally Paul inéicates the full coft cups. PAUL, Finished? Doc Tesh. PAUL Me too. Let's take s little walk. They'rise, Doc takes a change purse pocket, snaps it open, finds a dime and leaves iz on the table as a tip, He puts the purse back in his pocket and they move off. EAD. CENTRAL PARE 200 - (LATE aPTERNOON) The CAMERA FOLLOWS as they. walk past the lines of cages. Doe is talking. Doc Now, son, I didn't clain they was her natural-born churren, Theiz own precious mother, precious woman, passed away July 4th, Independence Day, 1955. The year of the drought. When I married Lulamae she was going on fourteen. Maybe an ordinary person, being only fourtees, wouldn't imow their own sind. But you take Lulamae, she was an exceptional person.BREARPAST aT (Cent! €) They are passing now the refreshment wagon at the south- east corner of the zoo, Doc stops, buys a box of erack- erjack, paying for it again from his chenge purse. After the purchase is completed, they move on. Doc I tell you, son, she plain broke our hearts when’ she ran off like she done. They area little way cut of the zoo, just pest the. pony rides. By a kind of unspoken agreement, they, moving as one person and wi: mut discussion, drop onte a bench. PAUL What about ber brother? Didn't he leave too? Doc No sir, Pred was with us till they tock hin in the army. That's what I got to talk to her about. TI bad a letter from him. Ee sits out of the amy in February. That's why I got on the Greyhound bus and cone to git her, Her place is with her busband and churren and brother. I know.she's sorry for what she done. I lmow she wants to come home... y Torough this, Doc has been fruitlessly fingerias the erackerjack $cx trying to get it open - this action has been almost unconscious and totally unsuccessful. Paul finally reachds over, takes iz from Sim and un- does the wrapping. Se litts off the top ané takes out the prize - in this case a plain, gold-looking metal ring, Se offers it to Doc. Doc (Wotteing the prof- fered ring) ‘Bub? PAUL The prize in the box of crackerJjack. You want it? Doc shakes Sis head. Paul starts to toss it away, shen, for no reason whatever, puts it, in: ad Eis pocket, He bends the box to Doc, whe begins, eying no real acttenticn to what be ‘ts toss @ few kernels of crackerjack om the front of Ein.EREAR REARS 57. (Cont'd) Doc Never could understand why that woman yun off, Don't tell me she wasn't happy. Talky as a jay bird she was. With sometaing smart to say on every subject. Better than the radio. As he talks now, his Crackerjack Gas begun to attract Sigeons. It 12 cleer that Doc tas a way with them, Is i moment or two they are eating out of bis hand,clinbe ing om his showlders, Ze works with them, almost qutomatically as he talks, He seems completely et ome with them and they with hin. Doc We all doted cn that woman. She didn't have to litt a finger, except to eat a piece of sie, Except to comb her hair end send away for all the magazines. We must've bad 2 tumdred dollars worth of magazines come to that house, Ask me, that's what done it, Looking at siow-oft pictures. g dreams, That's weet Started her walking down the road. Every day, she'd walk a little further. A mile and then.come home. Two miles and cone ome, One day, she just kept on... Some chiléren running by scare away the pigeons. Doc doesn't even seem to notice. He tu=ns to Paul with some intensity. Doc Listen, son, I advised you, I need a friend, Secause i don't want to suxpriss her or Scare her none, That's woy I held off, That's wey I been standic! in front of that house the last two days. Be ny friend, Let ber moow I'm here, Will you do that for me, son? After a moment. Pau Sure, Doc. If that's weat you want. Come’ on. Dask has gathered new and the Iigcts cn Picts avenue and Central Park South have bere to Agi ilisasserved 3 and nove cff toward Firth Avenue DISSOLVE Te:97. 98. ba22-60 58. Dee and Paul approach the house, Doc is nervous, Paul pats bis arm and almost ushers bin up the steps and inte the - Io. VESTISULE - (=VENING) Paul fumbles for bis key, finally opens the docr and kolds it for Doc. Doc hesitates once more anc fumbles with his tie. Doc Do I look nice? Moved, Paul ts unable to answer. Ee pats the Doc's arm once mre, motions for bin to stay there anc goes quickly up the steps to - DOT. EOIEY'S DOORWAY - (ZVENING) Paul comes up the steps to her door, Pauses in ront of it, gathering bis resources, and ther ENOCH. Holly opens the docr almost immediately, She is @ressed to the teéth and clearly ready to go ott for the evening. HOLLY Darling, I'm sor=y. I'm just on the way out...I was supposed to have been at Twenty-One a bal? bour ago,..Maybe we can have a apink or something tomorreves. PauL Sure, Iulamae...i2 you're still here tomerrow.s.e Belly takes off ker dark glasses anc Ween she speaks ker voice 1s small an: HOLLY He told you thati Ob, please, Were is be? cints at him, sbivery. She runs past bin, into the hall. EGLLE (Catzizs) Predi Fred darling? Doc's head appears abevs moment Zoliy's eyesau EREARPAST AT TIFPANY'S 5. 98 (Cont'd) Doc Gosh, Lulamae...Gee, beney, don't they feed you up here? Youtre so skinny,,,and all wild ground the eye. Holly touches kis face, testing the reality of bis chin, bis beard stubble, HOLLY Hello, Docee. ‘Tnen she kisses him on the cheek. HOLLY Hells, Doce. He lifts her off her feet in 2 rib-crushing erin. Ee is shaken by a wave of relief-filled laughte Doc: Gosh, Lulamae. Kingdom come... des her into the apartment and the door cles After a moment Paul slowly climbs the stairs, opens bis own door and moves into = 99. IND. PAUL'S APARTMENT -. (EVENING) 23 turns anxiously from the window. a What was it, carling? What happened? " paun Hothing, Ee was nobody. Just a friend cf the girl downstairs... Where were you then? It's been almost an hour... PAUL I went for a walk... 5022-60 ‘ (Continued)9. 100. 6222-60 SEARPAST AT 60. (Cont'd) She locks at him, uneomprehendingly - then envelops biz in ber arms. DISSOLVE TO: EXD. SROWNSTONE - (LATE aT NIGET) For once all is silent. A light burns in Paul's apart= ment. Holly's apartment is dark. The light goes out in Paul's apartment. A moment later, the light goes on in Eoliy's, Presently Paul and 25 emerge from the Duilding. Ze gets her a cab, puts her in it and the cab drives away. Paul lights a cigarette and stands 2: a moment, looking up at the building, a thovgstful, troubled expression on bis face. A wind is rising. A piece of newspaper blows along the sidewalk making a lonesome sound. As Paul looks upward he is suddenly startled te see the lights go cn in bis own apartment. With a kind of inaudible "what the hell?" be dashes back into the tuilding to investigate. DISSOLVE TO: IND. PAUL'S APARTMENT - (NIGHT) Paul bursts into the apartment. A single lizst burns. The fire escape window is open and the curtains are blowing. Holly, her hair disheveled and wearing a | raincoat is pouring herself a drink. HOLLY Hello...golly, I wes afraié you'd gone cut scmewhere. PAUL What is it? are you all right? HOLLY I guess so. Ho, Zim not Listen, Fred...will you PauL if Iocan. FOLLY Iwant you to come to the bus station with us..Doc and Path Weat? (Continued)101. 102. 6022-60 . the rest of ber drink in a nervous gulp end goes qui BREARFAST AT TISFANZ'S 61. (Cont!) HOLLY I imow it's late and everything... She pours herself ancther drink. HOLLY (Cont 14) He still thinks I'm going back with bin...I need support. I don't think I can play the scene alone... PAUL Look, it's none of zy...I mean I'd onlye.. EOLLY Please, Fred. I'lt tell bin you're coming down to see us of: Be starts to protest further, but she stops hin, BOLLE Don't say anything. Just meet us out front...in about five minutes... please! With whick she kisses bin quickly on the cheek, finishes ke. ly out the window and down the fire escape. Paul watches her go, pours himself a fast drink which he belts down, shakes bis head and begins to put on bis jacket. DISSCLVE To: TNT. BUS staTION - (LATE at NIGET) The bus terminal at 3ith Street is a lonely place after midnight. A few people sleeping on benches, 4 drunk or two, The occasional public adcress announcement of buses leaving for far off and unlikely scunding places echoes with mournful hollowess. As the PA System gall Doc's bus, Doc, flanked ty Paul and Holiy is taking a worn valise out of a locker. Doc Come on, Ialumae...that's us. PAC (Uneasily) Way do's if tice 2 you sonething to read... (Continued)ee 102. 22-60 BREARPAST AT TIFT: 62. (Cont 'a) ROLLE Please, Fred. Don't leave me... Docess Doc Yes? HOLLY, Doc...T!m not going with you. Doc Talamee... She takes bis arm and begins to walk him toward the loading platform where the bus, now almost completely » is waiting. BOLLE Let's just walk together quietly... and I'll try to help you tmderst Come on, Fred. Help ne talk to him. PAUL Docese Doo (Gently) That's all right, sa. I Peers 7 you want to help. But it's between Lolamse and me...I love you, Lulamae... HOLLY Ikmow you do. And that's just the trouble. It's a mistake you always made, Doc. Trying to love a wile Ee (To Paul) Ee was always lugging hone wild things. Coce it war a hawk with a broken wing. Another time it was a full-grown wildcat with a broken leg. (fo Dee) Remember, Doc? Doc Lalames... EOL Please, Doc. set give your heart to strong the woods. Or 717 then to a (Continued)fo EREAXPAST AT TIFFANZ'S 63. 202. (Cont'd) They have passed through the gates and are row standing by the bus. Doc Iulamae, there's something I got to tell you...two weels ago Thad a letter from young Pred... EOLIT, Prom Fred! 0b, Dee...ts he al? right? Ee is all right, isn't he? Isn't Be? Doc Yeeh, he's fine, I guess. And bets gittia’ out of the ary in February. ‘That's what he wrote to say. Holly's eyes widen as the full implication of the news strikes home. BOLLE Pred? In February? That's e counts rapidly on her fingers) two... three. four So you see, you got to come back, Lulamae. ‘Your place ts with your Gusband and your churren and Jour brother. SOLLY Dee, you got to understand...I cant Doc An@ you got to méerstand what'I'm trying to tell you. The final call for the tus echoes over the scene. Doc (Conttznizs) If you don't cone back wi iin’ going to write to him less he wants to 1: bizself ne better sign up Sor er Rites. $-22-60b BREAKFAST AT TEFFAyy's: bbe 102. (Cont'd) BOLLE Don't you do that, Doc...don't you write that to him.,.I'l? write to bim myself...and tell tim I want hin here with me...I'1l take care of bin, Doc...don't you worry about that...I'll take care of bin, Doc You're talkin! crazy, Lulamae. EOLLE Please, Doc, stop calling me that! Itm nob Lulamae anymore... Doc ALL right, Iulemse...I guess you kmow what’ you're doing... (to “Panl) * Heep an eye on her, will you, son? At least see that she eats something once in a while...she's so skinny... He turns and quickly boards the bus.” In a moment bts‘ Face eppears at a window. ,. BOLLE (catiing te Doc through the window, although he : camnct bear her) Flease, Doc, please understand! I love yous..but I'm just aot Zulamse anyaorel I'm not! I'm nott Te bus polls cut...for a mement Holly stands with tears streazing down her face. Pavl puts bis acm erocud her, picks up her suitcase end leads her back along tke empty platfora. BOLLE You mow the terrible thing, Fred darling? I am still Lulanse... fourteen yeers old, stealing sukey eggs and ruming throush a briar petck...oniy mow, carling, I call it beving the mean reds... She pulls herself together after a moment. EOILT (Const) Zils still a little early to go te ™ SoZ guess the next dest 5022-60 (Contiszed)fe 102. 103. 20k. $-22-80 BREARPAST AT TOFFANZ'S 65. Cont!) oe (Cont? . thing is a drink. Yes, I very, very mich need a drink. Come cn, Fred, will you buy me one... FAauL Sure... DISSOLVE 10: DVT. BAR - (WIGHT) A honky-tonk bar om Eighth Aveme in the West Forties. Holly and Paul at the ber. They have been there for about three drinks, and are deeply engrossed in conversation. PAUL Did you ever divorce bin? HOLLY Diverce hin? Of course I never divorced bim! I was only fourteen for Petets sake! It couldn't pos- sibly have been lecel! Darling, re of these could we have two glorious things? PAUL Let's walk a little. Then we'll have some mors... BOELE, swell pub-crawl ou wey home. But darling, you've to promise me one thing...you won't take me ome until iin til I'm very, very drank PAUL (almost tenderly) Come on, let's get out of here... DISSOLVE TO: ere welling east el: m Sixth an Firth. Prom (Continued)tobe 105. bn22 460 66. (Cont ta) HOLLE Doc mst be in the Blue Mountains by now. PAUL (Locks a¢ bis watch) By my calculations be is exactly two Riles south of Weehawken, New Jarsey... ZOLLE and this little pig went: wee wee weehawken all the wey boue. ye ghoulé bare & ei5k to wish Doc Tuck... They have come abreast of @ gerish strip joint, com- lete with BLARING MUSIC from within and & OORMAN, Paul tries to ease her past it, PAUL Not bere, This is just a sucker trep. HOLLY And I am Holly Golightly, the worlé!s munber one sucker, You know that by now don't you, Fred darling... She leads him inte the joint. DISSODTE 10: IMD. stzr? Jorm - (mcET) A cirewlar bar with small stage in the middle, MUSIC BLARES and a lady is removing her clothes, Parl and Holly are seated at the bar, 7t is dark and noisy, Bolly, for the moment oblivicus of her suzroudings, is toasting: SOLIE Dear Doc.,,aiways remember, it's etter to look at the sky ther Live the: Such an emp the sky...dust a comtry thunder goes and tb: disappear... A DRUM ROLL (of she sort thet generalir bumps end grinds) attracts her wendering 2! the stage. She removes her st= glesses 2 Look, They both study the young le¢y for a nenent or tao.eb ‘ BREawPast a0 105. (Cont'd) FOLLY De you think she's talented? Deeply and importantly talented? PAL Noeo-o.,,amusingly and super- ‘iteially talented - yes, But deeply and importantly, no ! ROLLE I don't think she's deeply and importantly talented eithe: a matter of fact, I think T could do what she's doing just as well. If not better, 106, IME, STAGE - (PAUL'S & HOLLY'S POV) = (MISH) Ths young lady is neering the climer of her act, She Suns ber beck and undoes her tra, She starts te turn ack, 107. IMM. Pave & HOnty - (mer) EOLLE Gractous ! (after a moment) Do yea think she is bandsomely paid? : ‘| PAUL Indeed, I bave been given to Understand that young ladies who remove their clothes publicly to msic frequently make thousends of dollars a week... Holly considers this with drunken intensity for a moment. BOLLE Mell, let me tell you sonething, Mister, If I bad her money Tid be richer than she is! PAUL Zow do you figure? <= Giith great erattt~ 238) ueep the ‘candy store... (cos 6-22-60207. 108, $-22-60 68, (Conttd) Paul looks blank, HOLLY Old Sally Tomato, That's ny candy store, 4nd I'm always going to keep Sally so thet's why i'd be richer than shs is, PATL Come on, I think we better get a little more air... DISSOLVE To: EOL. Send STREET - (mazT) They are walicing up the street. Holly clings to biz ‘ever so slightiy for support, ‘They are now passing the tron gates of Twenty-One, Holly stops, HOLL 'wentyeOne' .,.world famous ‘rendez— yous of the great.,,meeting place of the famous,,,baunt of movie stars... account executives and... (Considers for a moment ) zeeimternational polo players... Shall we pop in for a auick one gust to see who's there PAUL 7 I think better not. Fersonaliy, not being an international polo player...are you sure polo players? EOLLE Figure of speech. Pata That's what I thought... HOLLY Exactly..,aphorism...cr eupheumisn or some kind of mism...anyway, 2% may be Twenty-One to you,,.bat Fou imow what itis to me...2 wethat's whats F calla Deceuse bt of (Contimem 108, (Cont ta) 6, SOLIZ (Cont '¢) no,..correction...every Tom, Dick end’ §14., .Earry was bis friend... also in the machine tool business, however; :Anyway, every Tom, Dicie and Sid thinks if be sakes @ gtr to Twenty-One for dinner she!Il fast curl up like a kitten in a little furry ball at bis feet... aight? ParL If you say sc, You're the authori! EOLLE I bave by actual count been taken to Twenty-One by twenty-six ditterent rats in the last two months. Twenty— wen, if you include Benny Shacklett, ho is, in many ways, a super-rat And do’ you imow something fomny? ‘In of the fact that most of these wor, in the case of Bemy st, supenerats, fork up fifty tucks for’ the powder oom like little dolig...1 find i bare, agate ty actual, eount,..nine dollars less in the old bank account then I bad six months age...and Fred gets out of the arxy in February,.,s0 there's nét'much tine... you see that don't you Fred... there's not mech tine... DISSOLVE 70: 109 EXD. BRowstoe - (GET) Holly and Paul, she leaning even more heavily on bim than before, come weaving up the block. HOLLY 2-80 my darling Fred, I have gots night made a very sort ieion...no longer will I play Ste seid? aes'Tbe Fiele" stinks... both economicaliy and socially... and I'am giving it up... as they mount the steps 022-60210. i. BREARPAST AT TIFFANT'S 70. INT. VESTIBULE - (NIGHT) Paul searches for bis key but cannot find it. Bolly does not bother to look for hers but simply presses Yunioshi's bell, keeping her finger on it ‘ntil finally the deor clicks open. Goodbye "Pisii"...goodbye alt e1d"...goodbye a: Ou rata...and/or suzer-rats as the case may be. At this point the door opens and Holly and Paul move into - DOT. STArRWA - (HIGHT) HOLLE (fo the door) Thank. you... And as Holly Golightly sinks slowiy into the West she bids a fond Alehe to Tom, Dick and Herry...no..,Zom, Dick.and Sid...Zarcy was his friend... As they weave their way up the stairs we hear over her voice the irate cries of Mr. Tuntoshi. YR, YUWIOSEI'S VOICE (0.s.) Miss Golightly this tine I will tote -eall not only the police but the Pire Department, the Few York.State Eousing Commission and if necessary the 3oard of Bealth. HOLLY s--and my friend Miss Golightly further announces... (She suddenly becomes saware of Mo, Yunioshi's voice. She bellows sternly up at bin) was ‘there! Zou want to wake = ‘Bouse! Holly gets her key fren under the door mat, then struggies with it, Paul tales it from her and bastily cpens che coor and pushes her into - EME, EQEIZ's IVaNG 200M - (SIGET) Paul closes the door behind bin, switches on the (Continued)Is The 112. (Cont'a) 6-22-60 Light. The cat 4s sitting on a racking case watch- tng then, During the next speeches, 0ll7 takes off her raincoat and drops it on the floor. aul picks at up, looks for somewhere to hang it, realizes there 4s no such place, and folds it neatly over a packing case. Eoliy, lurching a little, finds the Mbiskey bottle and pours herself a drinz. HOLE As Miss Golightly wes saying before ‘she was so rudely interrupt Miss Golightly further announces her ysention te devote her not-inconsi- derable talents to the immediate capture, for the purposes of matrimony, of Rutherford (Risty" to his friends, of whom I am sure.be has many) Trawler...” PAUL Who? EOLLT Rusty Trewler.. Zou met him at my party a couple of weeks ago. Ee came with Mag Wiléwood...not the beautiful Latin-type. The other ones The one who looks ‘like a pis. She puffs out her cheeks by way of illustration. HOLET (cont'd) The ninth richest man under fifty-five? She starts to pour mor: the bottle is empty - ately notice. siey into her glass but fact she does not imedi- BOLLE ARI Do I devect a look of disapproval in-your.eye? Tough beans, buddy, 3e- cause that's the way it's going to be. ” PAUL You're drunk. EOLLy True. absolute? dzrelevent. So to the new urs. (Continued)as 113. (Cont!é’ (zat So you're Var jak? PAUL That's right POSTAT Been curious.,.seen your name on the box about six weeks now,..and im all that time there ain't deen @ single letter...not one.,.not even a bill... PAUL. A couple of weeks ago there was a postcard addressed to: Occupant. Doesn't thet count? It said ir IT presented the card to my neighborhood Grocer, I'd get twenty cents off on 2 box of an exciting new no-rins detergent called, I believe, FZ So, of course, I did... POSTMAN . Bow did you make out? PATL (Gravely) Not so good. My-neighborhood grocer was kind of surly abous it, ané any- way he said the offer was only sood for the Femiiy Size bex...and I figured, you inow,...2'm a bachelor what do I want with the Family Size...so the whole thing kind of deteriorated...but... POSTMAN Me. Varjaki PAUL Yeah? POSTMAN has began to carn... PATE ee)is 3. BREAKFAST AT TIFFANT'S 73. (Conta) POSTMAN That's right. (Then with a certain amount of ceremony) Congratulations! He hands Paul the letter, Paul holds it for a moment md stares at it curiously. POSTMAN Come on and open it] I can't stand the suspense, It contains a letter and a Paul opens the envelope etter eagerly. check, Paul reads the EUSERT - TSE LETTER Qn the letterhead of The Northwestern Review, it says: "Dear Mr. Ver je! We are pleased to accept for publication in our December issue your short story entitled ‘City Girl', Enclosed please find our check fom fitty dollars. We regret that, as we are as you imow, a small literary magazine we cannot pey more; however, we flatter ourselves by thinking that the prestige attached to...” : INT. VESTISUIE - (DAY) Paul does not even bother to finish the letter, =e looks up, wildly elated.... POSTMAN Good news? PAUL Yeah, Zeak.,.maybe youtre right... maybe the tide is besimning to ‘ura... Ee SLAPS the somewhat startled postmen heartily on the back and dashes wildly back into the house. ~ (az) Paul takes the stairs two at a time and dashes back up to = 222-60128. 19 120. 5-22-60 INT. PAUL'S APARTMENT ~ (DAY) He bursts iz, goes to the desk, sits the lette: out the at it...puts it in bis wallet...t! phone and dials a number, PAUL (Inte phone, after a moment) Mrs. Fabnstock...please... (Ze suddeniy checks ‘tbimselt) No, wait a minute, Forget it. Wrong numbe: He hargs up the phone, Se picks up the letter,..and paces around the room. He is too excited. He bas to tell someone. Se puts on his jacket and, still carry- dng the letter, goes out the door and - ‘BIZ. SMATEWEDE - (DAY) Down the staims to - INT, EOLEY'S DooR - (DAY) He stands in front of the door for 2 moment, As he does so, he looks down and sees the DAILY NewS tying be: a pobtle of milk on Holly's doorstep. He finds the heade line rivetting, It says: RUS WER TAEES FOURTE... Horrer-struck, he reaches slowly down ané picks up the newspaper, Below the headline chere is some small print end’e large picture. He s>u Then a grin spreads across bis fac to lauga. es {t for 2 moment. en he begins INSERT - TEE NEWSPAPER There is a large picture of a fat, beaming Rusty Trawler emerging from a building.’ Om bis era is an equally fat, equally beaming female. The smaller print reads: "Millionaize playboy 5 ford ‘Rusty! Brawler eloped to Greenwich yesterday faite, heizess to White Steamship [3-22-60 BREAKFAST AT TT. HOLLY 's 00! = (DAZ) Still laughing with relief, Paul RINGS Zolly's buzzer. Ee waits and then RINGS again, Then a third time. Finally the door opens a crack and Holly, Sleep mask pushed up, ear plugs in end Belding 2 robe in frout of her peers dazedly out. PAUL Helle... CLOSE SHOT - PAUL - (HOLIZ'S ANGLE) = (DAY) Ee is quite clearly apologizing for waking her and in general making very eloquent "let's bury the hatchet” noises, However, as in their first meeting, because she still bas her ear pings in, bis lips move in silence. Holly struggles dimly to make cut what he is saying, toys briefiz with the idea that she has gone deaf overnight then, remembers and removes her ear plugs. Pani comes in LOUD and CIGAR end in mide sentence. PAUL sort of embarrassed about it, ally, but since it's about you. anyway, I thought I cucht to tell "you about it in persén.., “ EOLLY What? PAUL, Wast? Ob, the plugs...you didn't... well, oh hell, I can't go thr: the wicle thing again,.-suffictent to sey I've come to make up....and, Sen added inducement, I've got Kinds of news...Mey I come in? HOLLY I guess so.,.let me see...do Z have a nightgown on? She looks down behind the éressing gown she is boléing in front of herselt. Li Bo, Z dontt.,,De you mind turning arguné for a seco! or never tad such a comy line eny- Sern around ysel?. DHL (Const,122, 123, 3-22-60 BREAKFAST AT 7B. (Cont'd) She turns and deftly gets into the robe as Paul closes the door, The cat rubs up ageinst his legs. PAUL . Hi, Cat... (To Bolly) Have you seen the papers? By now, of course, they have moved into - im. Paul hands her the newspaper, BOLLE Oh, you mean Rusty? atl about it. 1 certaint; pegged wrong, didn't 17. i thought he was just a rat, But timated bin, I até, super-rat all’along. A stser-rat in rat's clothing. it's berdly fair. EOLLY'S LIVING ROOM - (DAY) Honestly, Pred derling...you were absolutely right ebout Liz from the Deginning, 7 shoulé bave Listened to you along. And you don't even know the bes= part. Not only was he a ret - or @ stuper-ret, rather, but he was also broite, eyebrows go up. ce HOLLY (Cont'd) a oke, I mean, but not a farthing! Eis family hes coney, of course, but he personally is broke. we had it out the other night, and not only ts he broke but 8 Cut Be owes seven bundred thousené dollars. Anyway that's way ns cecided to marry the Queen of the Pig People Taey both lock at the photograph a monent nore. * ZOLLT Wouldn't you know a girl who looks Like thet would be azsbip tress, whatever Woulda't wonéerful tho: she's y proke too. J were ee)= BREAKFAST AT TIFFANY'S 7. 1g. (Cont'd) EOLLY (Cont'd) marrying sech other for their money and.,,but I suppose that's ly too much to hope for. She tosses down the paper. ROLDY (Cont'd) Anyway, they were made for each other and I hope they'll be ter- ribly happy. Now what about you, red dariing? I've missed you. Our little aidnight excursions up and down the fire escape and every- thing. I really have. PavL I've been working...As a matter of fact, I sold a story...just got word’ this morning. He bands her the letter which Holly reads quickly. EOLLY Oh that's just marvelous.. “really is.. a PAUL Yea? + HOLLY How does your decorator about it? I thought you to be 3: tend feel re supposed gz yourself and a.1 that. PAUL You lmow something? I haven't quite Bot arcund to telling her yet. Look, way don't we go out and have @ drink or take a walk or something to ce: brate... HOLLY I think there's some ALL right champagne in the ice box. don'$ you open it bile dressed? Ee goes te 3b Leebex and Sexes out the chatpagne 5-22-60 (Conse eé)= 123. 6-22-60 80. (Cont'd) PAUL Okay. I don't think I've ever drunk champagne before breakfast before. With breakfast - yes. Qn several occasions. Sut never before. HOLLY ow I've got a really wonderful ideal We could spend the whole day doing things we've never done before. We'll take turns. First som thing you've never done. Then me. Of course, I can't really think of anything I've never done but... At this point he works the champagne cork loose. It goes off with « pop. As the CAMERA HOLDS on the bubbling champagne - DISSOLVE TO: EXT. FIPTS AVENUE AT S6TE STREET - (DAY) It ts a clear, sunny fall morning, brisk and beautt The kind of day thet inspires such cliches as: "God, bow I love New York in the fall." Holly and Paul ere walking hand in hand down the Avenue. EOLLY, I've never been for e welk ir the morning before, at 1 js not since I've been in New York. I've walked Fifth Avenue et siz but as far as I'm concerned that's still night. So do you think 1t counts? PAUL Sure it counts. Now we're even. They have crossed S7th Street and are now standing - ANE'S - (DAT) steps and leads him to the store window. HOLLY Don't you just love 157 PATE Love what?x BREAEFAST AT 125. (Cont'd) : EOLLY Tifttany's. I do. dnd it's not thet I give a hoot about jewelry. Exeept diamonds of course. (She points at @femond necklace in the window) Like that. PAUL Very nice. You want to slip At on? Taking her gently by the shoulders he moves her so that ber reflection in the glass places the ¢famond necklace ground her neck. PAUL (after a moment) What do you think? HOLLY (Weighing her answer with mock seriousness) Jo...mo...I don't think so. Actually I think it's tacky to wear diamonds before you're forty. And even then it's risky. They only lock right on Peally olé girls. Maria Ouspenska: Wrinkles end bone: and woite hatr and diamonds. can't wait! ‘PAUL You.know some thing? BOLLE What? ae PAT Tive never been inside, and it's my turn. Anyway I want to buy you & present. HOLLY 4 ne one. The Penember? , so come on. $-22-80ee EREARFAST 27 82. 125. (Cont ta) HOLLY All right...but Tiffany's is pretty expensive... Pat Well, let's see... Ee goes through bis pockets taking out several wrinkled bills. .ten dollars. ourse, Itye got. dnd my check of ‘BOLLE Iwen't let you cash your check. But a present for ten dollars or uder...that I will accept. 07 course I doz't know exactly what welve going to find at Titlany's for ten dollars... Paul takes her firmly by the ar= snd marches her into - 126, IND. TIPFANT'S ~ (DAT) They are, in spite of themselves, if not exactly avec, at least impressed. They lower their voices siightiy. . EOLLY ae Don't you just love it though? You-see what I mean...how nothing bad could ever happen in a place like this. A salestian who could pass as an embassador to the Court of St. James, comes up. SsLESMAT May I help you? PAUL Maybe. Actually, we were looking for a present for the lady. SALESMAN Certainly sir. Did you have something special in mind? Well, we d dtanonds.,. Nor @on!t want you to te offended 6-22-60 (Continued)ee i ‘BREAEFAST AT 83. 126. (Cont ta) PAUL (Cont'd) sesbut the lady feels that diamonds are. Eacky. EOLLE I think they're divine ca older women but they wouldn't be right for me. You understand? SALESMAN Certainiy. ‘PAUL In all fairness, I think I ought to explain that there is also « secondary problem. One of finance. We can only afford to spend...well... a limited amount. SALESMAN May one ask how Limitec? PAuL Ten dollars. ‘SALESMAN Ten dollars? PAUL ‘That wes the gutside figure. Yes. SALESMAN I see. >. HOLLY lo you have anything fom ten detlars? a SaLESMAy Frankly, Madame, within that price range, 2 must say the variety of merchandise is scmewhat limited... put I think we do have.,.1et me see... as a novelty,..you understand... for the lady or gentleman who has ez He produces from inside the case a small which he opens. SALESMAN A fcurteen carat gold toothpick. At seven dollars : Plus tax. 6-22-60 (Continued)ee 126. ah. Path (Dubtously) A fourteen carat gold toothpick? SaLEsMay Yes, Sir. At seven dollars fifty, plus tax. PAUL Well, the price is right but I must say...1 had rather hoped for something slightly more...how ghall I say 1t...remantie in feeling. (To Holly) Waat do you think? HOLLY Well, uh...as toothpicks zo... it certainly is pandsome but Fou do, tadevstent SALESMAN do. Perscually, spedcing only for myself of course, I must say I find the very concept of a solid gold toothpick somewhat...repellent. : PatL What else could you sho us? SALESMAN I am very much afraid, Sir, that the gold toothpick is our only under-ten-dollar item. PATL Well, we tried...but I guess... Something catches his eye. Se nudges Zolly and points. PAUL Bey, Locke. He is pointing to a discreet sig on the counter that reads: "Monogramming, Ten Dollars Extra.” 6-22-69 We coald emething monogramed, soulda's SALES (Teougetluits) Z suppose so. > indeed, Zut the_ 126, (Cont'd) 85. : SALESMAN (Cont'd) weblem ts.,.you would more or less ye to buy sousthing first, If in order to bevs an object on watch the monogram could be placed. You see the difficulty, Paul is going through bis pockets, He now comes upon the ring from the Creckerjack box, PAUL How about this.,.we could have it monogramed,,,right here,,,I think 4% would be very smart. He bands the ring to the salesman, who examines it quickly. SALESHAY: This was not, I take it ab Tattany!s? PAUL, » purckased Mo..-actualiy it was purchased concurrent with,..or rather cams inside of,..well...a box ef Crackerjeci, Salzsuan I see, 3 Be studies the ring thoughtfully for some tine. SatEsMaT Do they really sti1i put prizes in SALZSUH That's good to know, one continuity with the past and sort of thing. was dene! SALESIAN It gives feeling of solidarity, Many1s would really or us? You dontt thinie ath them oF that Titracyts If you wild (Contimmed)126. 127. 3 86, (Conta) SAIESMAN (Contd) tell me what initials you would like, I believe we could have it ready for you in the morning. HOLLY (To Pacl) Didn't I tell you this was a lovely - place, Inpulsively she leans across the counter and kisses the salesman cn the cheek, Se is rather more pleased by this than shocked, SalESAN Very well, Madame, Now if you would step upstairs with me, we can discuss the style of the lettering. I uysel? lean toward the conservative 01d lish, Eowever, there are a number of modern designs that many find... ds be leads them exsy - DISSOLVE To: T= (DAZ) Paul and Eolly ere crossing L2nd Street on the west, side of the dvemue, They still bold hands and, while they are beginning to weaken physically, their bigh spirits remain unabated, ° Bonn Getty, my fect tart. Maybe we abould sit down somewhere. Pat, Okay. Ee takes her arm end leads her up the steps of the Public Library. EOLLy Weere are we going? PAvL You wanted to sit down, onne: Weat is this place, axywey? (Comvinued)127. 128, 87. ‘EREAEPAST at (Cont ta) Pac The Public Library, You've Reverses? She shakes her heac, EOLLZ Teat's two for me} Come on, let's go..- They mount gatly up the steps, DISSOLVE TO: ‘TBE. CARD-FILE ROOM = PUBLIC LISRART - (DAT) ¢ se around Lousy) +, (Looking ax curiously) Idon't see any books, -PavL Bach one of those little érawers 4s stuffed with little cards end @ach little card is either a book . or en author, SOLE I think that's just tascineting. She moves along the wall cf the card~files searching for something, She finds the "Vis", then the proper @rawers, pulls it out, searches a moment longer end then finds a card, HOLL Look! Isn't it marvelous! There you are right in the Public Linrery: "Varjak, Paul, NDE STORIES," Ané"then a lot of mumbers, You think they really have the book itselz? Live? Paul grins, pulls out the card and starts towards the cage. DISSOLVE TO: (whispering) Wow wher cur camber lights ur, (Comtismed)wb BREARPAST at TIFF 88. is. (Cont'd) PAUL (Cont'd) you just go to the desk and pick up the book, That's all there is to it. A member flashes on the board, PAUL, Twentyeseven, That's us, BOLLE This ts exciting. They go up to the cage. HOLLY (To librarian) Bomber twenty-seven please, WINE STORIES by Verjak, Pani. The librarian wordlessly hands her the book, HOLLY (Very chatty) Did you ever read it? It's absolutely marvelous... LIBRARIAN oe Wo, I'm afraid i.., OLDE Well, you should. (indicating Pex) Be wrote it, He's Varjak, Paul, TS person. The Librarian ts deeply unimpressed by this intel Paul is embarrassed. a PAUL Holly, pleese! EOILT (Zandi gnantly) Sbe doesn't believe ms. Show her your driver's license, or your Diner's Club card or some- Shdng. Ee 'o Librarien) a Eonest, Ee really ts the Gross ay heart and ess ay € $022-6¢ (Contianed) a8mb BREATPAST At a. 12s, (Cont ta) LIBRARIAN : Would you kindly lower your voice, Miss? Bolly is struck with a sudden thought, She picks up the Dock and bands it to Paul, HOLL Why don't you antogreph it for then? (To Librarian) Don't you think that would be nice? Sort of make it more personal... LISRARTAN Really, Miss, I mst insist that Tees HOLLY (To Paul) Go ahead, Don't be so stuck up! Autograph it for then, =” Paul, suddeniy amused, gets over bis embarrassment and falls inte the spirit of the game, Pav . All right. “What do you think I “ should say? - BOLLY Something: sentimental, I think, Paul picks up the book and begins to write in the fiyleat, LIBRARTAN Woat are you doing? Stop itt You're defacing public property... Paul finishes writing and pushes the bock toward the Librarian, HOLLY aaa rlgity PE tket's ae igbt, if that's the wa: feel about iti eae cone (2° FESS ome On, wiins, lst's get cut of bere, f don't thin seis Place ts bait as sice as Tiffany's! 6-22-60 (Contimed)BREAXFAST ATT 129. (Cont'd) 330 22-60 She takes his arm and they move off, The CAMERA STAYS for a moment on the somewhat bewildered Librarian who Looks curiously dow at what Paul has written. LISRARIAT (Reading aloud) "Eo the New York Public Library- In memory of those glorious, ster dzenched Bermuda nights. Your friend, Varjak, Peul." Her stuffiness collapses and she at last permits hez- self a slight, litrarian-type smile. DISSOLVE TO: EXT. TEIRD AVENUE - (LATE APTERYOON) It gets dark early on Qetober efterncens i= New York. Dusk hes begun to fall. The street lights have just come on, Paul and Holly, more subdued now, are welke ing homeward, They are passing Woolwerth's, Sucdenly Holly stops. HOLLY Wait minute,.,did you ever steal aryuhing from the Five and Ten? When you were a kid, T mean? PAUL (Considers thts for a moment) No; I was the sensitive, bookish ‘ype. Content to lie in the tall grass and drean ay dreams. Did you? HOLLY Iused to. I mean Thad to. If T wanted anytting, Sut I still do it every now and then. Sort of to keep my hand in. PAUL Well, I don't think wees. HOLLY Come on. Dontt be chicken, Anyway you've never done it, and £58 your turn. Paul allows bimselt to be lead into =232. 133. BREAZTAST AT TIFFANY'S sl. INT. FIVE AND TEN - (ATE PTERNOGN) As it is October, Halloween masks and cmper punpicias are featured. This sequence, played entirely without Gislogue, saoulé be acted and photographed exactly as if it were tHe climax of RIFIFi, It starts es a game but gradually bulids its om, very gemine tension. Paul's fear of public disgrace if they are detec is enough to give the whole taing a very teal edze. Bolly 13 cleerly the leader, Her eyes go craftily from side to side, casing the store. Sweat begins to break out on Paul's forehead, Holly indicates with her eyes that they will try for e bowl of goldsisn, Paul, terrified, pantomimes that this is really too ambitious. doliy stalks the goldfish, indicating =n pantomime that Paul will conceal them, bowl of water End all, tnder bis jacket. She edges closer end closer to the goldfish. As she is about te strike she feels tos steely eye of a floorswalker wpor her. Paul and Holly (over-acting violently) pantomime extreme innocence and move on. ‘They head toward & counter where the attention of the salesgirl 1s held by a group of nuns trying on Halloween masks, Moving with great daring and purity of line, Holly selects ¢ mask end puts dt om, She selects another and puts it on Paul. Sy thts time Paul is ready to tum for it, is eyes, through the mask, show panic. Holly studies him for a‘moment. She is clearly dissatisfied with (the selection, She reiioves Eis mask and replaces it with a aifferent one, Satisfied now, she takes hand and they walk casually toward the door. The tension mounss, but they make their getaway. & moment later they are safely on = EXD. TETRD AVENUE SIDEWALZ - (LATE AFTERNOON) Laughing wildly with relief, they begin to run up the block. Om the corner they see a policeman. Paul freezes but Eolly takes bts hand and they keep Fuming, As they pase ibe cop, EOty se B00"; = 3s ceman lat . ey laugh. And continue DISSOLVE To: BROWNSTONE » (LATE APTEXYOON) Still wearing the masks and, exheusteé now from =un- ning and laughing, they reach the door, Zend in hand F mount the steps and enver =is 13h. 135. 136. 1376 BREAKFAST 4 92. TNT VESTIBULE - (LATE AFTERNOON) Automatically, Holly's finger starts for Mr, Yuntoshi's Yell. Paul stops her, They search for their keys end for the first time in history, both fing then, The enormous unliklihced of this sets the lauzhte: onee again. They open the door and, still laughing, start up the = : INT. STAIRS - (LATE AFTERNOON) ‘TEE CAMERA FOLLOWS then as they climb Paul's door which he opens, They exter e stairs to INT. PAUL'S APARTMENT Paul closes the door gently behind them, For a moment they stand looking at each other through their mazka, Their laughter gradually subsides. There is a sudden moment of what is almost awiovardness. Tey are standing very close together now. The silence is finally broken by Zoliy. Her voice is very small indeed. = (IAT APIERNOON) I jus thousst something it 3 t of somethi that neither of Us has ever done, At least not together... ‘Still wearing the masks, they move easily and ténder2y into each others arms. FADE OUT: : FADE Ii: ATL! SA! = (DAZ) Daylight streams through the window. Peul ts still asleep, His mask hanes over the bedpost. As tha Light hits bis eyes he blinks slightly then, quickly, comes awake. He sits bolt upright in bed. He looks around, The room is empty. The fire escape window is open end the curtains are blowing. Zcliy's mask Lies on the floor. Peaches to the floor, pulls oz @ robe and struggles out of bed. sees the mask, gs the open window, smiles and, whistling a 1: 3 fer the bashroom139. 140. BREAKFAST AT TEFFANY'S 93, INT. PAUL'S APARTMENT - (DAZ) Peul, bis hair wet and newly combed, comes cut of + bathroom. He wears a shirt, trousers, shoes and socks. He goes to the bedpost, tnhooks bis mask and, carrying it with him, goes quickly to the door, opens it enc goes cut. STA = (DAE) Peul races down the stairs to - INT. EOLLY's DOOR - (DAY) A milk bottle and newspaper are on the docrstop. Ze hesitates a moment, smiles, holds his mask up to bis face and rings the bell. He rings it again. And again. And again. And again. As there is, cuite eleariy, no enswer be looks down under the écermat for the key. It's not there, Slightly alerned now be 141. 142. 14s. 5-22-80 races up - ENT. STAIRS - (DAZ) And into - INT. PAUL'S APARTIENT - (DAT) Still carrying the mask he closes the coor behind biz. Ee goes through the fire escere window and clints out” onto = EXD. FIRE ESCAPE - (DAZ) He climbs down the Sire escape to Eolig's window. =e tries the window but finds it ts lockec. Prustraved for a moment, be looks cautiously around to make sure that he is unobserved, then be takes off a shoe and preaks the window. He reaches through the broken glass, umlocks the window, raises it and climbs into - EOLLY'S SATEROOM + (DAT) He crosses and gently spens the bathroom door end peers inte -= 145. 146. 147. 148. $=22-20 BREAKFAST AT TIFFANZ'S 84. INT. EOLDY's BEDROO: - (DAT) It 1s expty end the bed bas not been slept goes through the bedroom, and out fate - INT. HOLLY'S LIVING ROOM - (DAZ) The living room too 1s enpty except for the Cat who ts seated with a rather patient expression on bis face near an empty dish on the floor, As Paul enters the leeks up and-meows, Pav Hi cat, Is the lady of the house at home? The Cat meows, Then meows again. PAUL What's the matter? Hungry? He goes to the front door, opens it 2 crack and reaches around bringing ia the milk and the newspapers. =e closes the door again, then pours some milk into the Cat's dish, and puts the milk away in the icebox. PAUL re is ‘she? oxey, wi s biz. The Cat, busy with its breakfast, igno: PAUL So you won't talk, huh? Okey if that's the way you want to pier £5 hen the lady gets ack tell her Mr. Varjak called. He goes once more to the front door, st it te leave, Something startles hin. % back inside ane pI sous. thtly opens facies” qué INT. STAIRS - (PAUL'S PCV) = (DAZ) 22 ts mounting the stairs towards his aparment. DOT. ECtSy's s2ARTEND - (DAZ) dashes > sovard =5-22-80 95. INT. EOLIY'S SATEROGH - (DAY) And out the window end up = EXD. FIR And back through his window into - CAPE - (DAT) INT, PAUL'S APARTMENT - (DAZ) The door buzzer is ringing. He goes quickly to the door and opens it, adaitting 25. thless) I'm sorry, ..were you ringing long? Iwas inside getting dressed... Simultaneously they both notice that he is stil holding Holiy's mask in bis bend. He is somewhat emberrassed but attempting to be casual, puts it on. PAUL Trick or treat? 2 laughs and for a moment the tension is broken. 2 You're crasy, You know that, @on't you? But I love you anywey..., She moves toward him to be kissed. PAUL ZS wee 2 (Noticing something in bis voice) Yes? PAUL Ive got to talk to you. z iscusston,,,anc sudde Said it is. (Continued)x3 BREAT?: 152. (Cont'd) TIFFANZ'S 96. Z (Cont'd) going to have to taze off tbat ridiculous mask. Or else I'm going to have to wear one tco She picks up the other mask from the desk and starts to put it on, Paul quickly takes off bis mask and takes Holly's mask fron her hand. PAUL Bo, please...look...25... There is a long, agonized pause. 2 "You don't know how to tell me this but...! PAUL (Overlapping) Tidon't imow to tell you this but... z Maybe we had better put on the masks, I don't know you, Paul. I suddenty don't mow your face atal. - She starts to put on the mask. Dam it! qake that off... ‘ “2 What {s it, darling? What's the matter? : She locks curiously around the room, her eyes take dn the two masks and the rumpled bed. a Girl trouble? Is that it, dariins? Paul does not answer, but he does not deny it either. a 2 that's not fact Iive 6-22-60is 152, (Cont'd) 97. FAUL She's got nothing to do with it. This is between you and me. z= oh, Then it is sertous. Well now... PAUL 2...you're a very stylish girl. Canit we.end this stylishly? Zz End it? PAUL Yes. Zz Gracious! (She laughs. It is a forced, far from bumorous aug) I do believe love has found Andy Hardy. I must say it ell seems just a little out of character. Who ts she, Patl...a waitress? A shop girl? Or Ro...that wouldn't be your game, would . + 488° "Youtre a romantic, but not all that much of a romantic. She'd have to be someone rich, woulén't she, Paul? Someone who could help you... PAUL Curiously encush, she's a very sweet, very frightened girl who can't help anyone, not even hersel®, Tne thing 4s, she's someone I can help. And Ltts a nice feeling. For a change. z ALL right. I understand... (Pause) I'LL tell you what, Paul. I ama very stylish gitl... She takes 2 checkbock out of ner purse and starts to write a check. Path, What are you dcing?is 152. (Cont'd) Paul's Paul goes to the closet, 96. Weitiag you a check. Don't so bewildered, Surely you've noticed me writing checks before. (She drops it on the desk in front of him) Here you are..."Pay to the order of Paul Varjak...ons Shousand dollars.” (Faul looks at her blankly) Take her awey somewhere for a week. Get her out of your system. Mo, really, you've been with me over a year now, Paul, You're entitiedto a week's vacation with pay. face goes white. eet (Continatng) It's simply a matter of fair labor practice, darling, If you were Feally smart, what you'd do is get some of the other boys-together and organize a union, ‘A sort of Gizolo's Guild. That vay you'd get all the - fringe benefits...bospitalization... a pension plan...and unemployment dnsurance when you'rs between...bow’ shall I put i+ ngagements. “PAUL I'll always be grateful to you for this so easy for I won't stay and pack now, Ihave to do first, of here by tonight, . ~~ .- Zz Don't be ridiculous, darling. Take the-check and call your girl... pens it and takes out bis jacket (the one he was wearing at his first en- trance.) 5-22-60 PALve 152. 153. 1She 155. 156. 157. 6-22-60 99. PAUL (Cont 'd) (Indicating the closet full of clothes) When you get yourself a new writer to help, try to find one my size. That way you won't even have to bother shortening the sleeves. Ze slams cut the door, DISSOLVE TO: EXD. EROWISTONE - (DAY) Paul comes out the docr and down the steps. His face is still contorted with anger. At the bottom of the steps be pauses, lights a cigerette, locks back at the house, grins end then, sombow, rorged and suddenly free,he begins to walk briskly up the street. DISSOLVE TOs ERD. DEFANe's - (Daz) “Pan gmenges fron Tiffany's, Ze bolds in bis hand @ small velvet box. He stops for.a moment on the crowded sidewalk, opens the box, looks at it end smiles again. DISERT - TE Bok Inside the red plush box, resting cn a white satin lining is the Crackerjack ring with "E.G." in old English lettering engraved co the front, He snaps the ‘box shut. FIPTE AVENUE - (Daz) Faul slips the box into bis pocket an¢ begins to walk Pather more aimlessly now dom Fifth Avenue. Suddenly, something ahead catches his eye. A GIRL'S BACK - (PAUL'S PCV) - Oat)157. 158. 159. 160. 1é1. 262, BREART, 100. (Cont 4) Abead of bin on the sidewalk, moving qué} cxiy through the crowd, we see the back of a tall, skinny girl walicing fast and straight. EXD. FITS sAveyus - (Day) Paul quickens his pace, breaks into a trot and catches up with ber As he comes abreast of her both he and THE CAMERA see that it 1s not Holly. Disappointed, be continues to walk down Fifth Avenue. DISSOLVE To: EXD. FOSLIC LISRARY - (DAY) Paul, still more or less wandering aimlessly, looks up and is rather surprised tosee where his feet have led him. With a shrug, as if he were bowing to the imevitable, he mounts the library steps. DISSOLVE TO: DW. PUBLIC LIBRARY - (DAY) Paul, not quite aware that he ‘is retracing the 7 route of yesterday, wanders toward the Seading Room, He glances in the door ani then reacts - DBD. READING ROOM - (PAUL'S POV) - (DAZ) Across the room, at one of the large 8, is Eolly. She sits behing her dark glasses and a fortress of Literature. She 1s concentrating fiercely, speeding From one book to ancther, She bas a pad and penc/i and makes an cecasicnal note. cuOsE SEO - PAUL Ee smiles, touched by the unlikely juxtaposition of Holly and’bocks. Dm. Pease noo + (Daz) Fact moves ccietiy across the room, goes up > ané locks exricu: jn shoulder to see wha’ is reacing. ‘ead out before he> co the table is aa BREAKFAST AT 183. (Conta) ToL. variety of reference bocks, sil dealing, it seems, with South America. titles as: TES POLITICAL MIND oF SOUTS AMERICA, BE-WAYS OF BRAZIL, SOUTE AMERICA ~ LARD OF WHALE AND PROMISE, etc. 164. CLOSE _SEOT - PAUL - (DAZ) He is baffled by her choice of still amused by her concentration anc indus tr BEADING 200M - (DAY) He moves quietly around the table and drops into an empty seat directly across from her. He watches her for & moment before he speaks. PAUL" * (Whispering) Eheee, 165. Holly looks up startled. She stares uncomarehendingly at him. Then an expression of panic flickers across her face. A moment later she is back in control. FOLLY, (Whispering) Maat do you want? PAUL (Whispering) I want to talk to you! HOLLY (Whispering) I'm busy... PAUL (Whispering) What are you doing? EOLLZ, (Whispering) Reading... Paul reaches across the table and pulis one of the beeks toward bin examining the titie curieusiz. PAULeo AST AT TIFFANY'S 102. 165. (Cont 'a) EOLLY (Whispering) It's interesting... PAUL (Waispering) Come on, let's get out of here! (Zolly shakes her head; a little louder) I said let's get out of here... Iwant te tale to youl Several heads begin now to pop up around them. 7 SOUND of SHE=E-IN0 can now be beard. PAUL What's the matter with you any- way.. What's happened? v HOLLY.-- Will you pleases just let me alone! More shbhbh-ing. PAUL (Zxpleding < full . - vole) : . ei I will like bell! rout Heads now pop up all over the room. There is a deaf ening chorus of SEHEEZE's, Then an ear-splitting scrape as Zolly pushes beck her chair and gets up. Paul pushes back bis chair and goes after her, She 4g beading across the room tovard a door marked "Ladies", about bal? way there Paul catches her by the arm. The ccnversation continues in feverish whispers. PAUL Where do you think you're going? EOL To the Ladies Roca. PAUL Darhing, what is it? ECLLE (Plariag gp for a nenent) et me gol 222-60 (Continued)mz 185, 6-22-60 I thought. (Cont'4) softly. 103. Then her bravado collapses and she begins to cry FOLLY Please, Pred, let me go... PAUL Let's get something straight right now! Iam not now, nor have I ever been, Fred! Neither az I Benny Shacklett. Whoever he may be. I'm Paul! Peul Verjek! End I love yout ZOLry (Struggling) Tet me go. PAUL Wot till we get this settled. Let's start at the beginning. For instance, what's all this jazz about South America? ‘ HOLLY if Ite going to marry @ South Anerican...I'd better find out something about the country... Pau Marry what South American? HOLLY i Jose... PAUL ‘Who? FOLLY Jaeger. Wag Wildwood's friend. You set bim. The one who came to the perty with Rusty. It surns out he's not only handsome ‘but rich too. anc since Fred... PAUL You're crazy! HOLE’ het go of nel AT tome! I'm not Fou do ithFa 165. ee. 522-60 EREATPAST a (Cont'd) =OLLT Because of yasterday, you suddenly think you own me! PAUL ‘That's exactly what I thinks oe That's whet everrbody always thinks. But everybody aappezs to be wrong. PAmD Look, I'm not everybody...or am I? Is that what you reaily think? Tat I'm no different from ail your other rats and super-rats? She nods, Ee lets go of her arm. She starts to go jut the intensity in bis voles holds ber for a moment. PAUL Wait 2 minute He takes the fifty dollar check from bis walist ané seribbles his name on the back, PAUL (Cont'd) If that's the way it ts..if that's What you realiy think,,,tnen there's something z want to give you... a ely wt erin, waste sat? Paul pushes the check into her band. PAUL Fifty dollars, Por the Ladies Room. Be turns and stalks away, OLD FOR & MONUTE on ber face as we = DISSOLVE TO: INT. PAUL'S apaRment - (NIST) goes to the ¢ 2 hts book (Contisued)166. 167. 168. 6022-60 SREARPAST at TIFFANY'S 205. Cont'd) He sighs end lights a cigarette, In a moment, be goes to the closet, takes down the suitcase and begins tc pack the few belongings that be had with bim on his arrival, The rest of the stufz -- and the closet is now filled with stoes, socks, suits, ties -- be leaves banging where it is, He is just closing the suitcase when e series of SOUNDS strike bis ear, They come from Holly's apartment and the general effect is that of someone being murdered or as though tigers ware loose below. A riot of crashing glass, of rip- pings and fallings and overturned furniture. Paul completely ignores the SOUNDS, picks up bis box, his typewriter and bis suitcase, turns out the lights and leaves the room, STAIRCASE = (WIGHT) On the stairs.the SOUNDS are even louder, Pact descends the stairs, paying ao attenticn to, the srow- ing bedlam. As he passes Holly's docr on the way down, the door bursts open and a very alarmed Jose’ appears, He sees Paul and grabs bis am. JOSE Please} You are ber friend from upstair, yes? PAUL What's the matter SE You mst heip me... this is most serious, Paul puts dow bis luggage and steps toward tke cpen door into = IND, EOLIZ'S LEvING ROOM + (NIGz7) The room hes been thoroughly wrecked, Furniture over~ yurned, broken lamps and smashed phonograph records. ven the ice box has been exptied, its contents tossed ground the room, Raw eggs siide down the walls, In the middle of the debris, she Cat 1: calziy latping uz a bottle of milk, From the bedroom the SOUNDS continue, Paul dashes througs the bececom doer into -a 169. SREARPAST AT TSPANY'S 206. INT. SOLLy'S SEDROOM - (N=GET) Holly, wildeeyed and bysterical, is smashing perfume pottles against the wall, PAUL Eoliz} He runs to ker, wrestles 2 lamp out of her cand and slaps her hard across the face, In a moment it is over. She sags in bis arms, sobbing quietly. He picks her tp and carries her to the bed. Holly spent and limp, sinks back onto the pillows. She mops her forenead, leaving a smear of blood from a cut finger. PAUL Come on now,.,take it easy... try to rest...sleep if you can... HOLL (Whtmpering like an exhansted child) Sleep..,he's the only one who would ever let me bold bin on cold nights... I saw a place in Mexicc...with horses...by the sass Her eyes close, Favl covers her with a blanket and ‘surns to Jose who is hovering nervously. at the bed~ room door. PAUL, What the hell did you do to her? T do not and then There wes a telscram it ds appalling. Ber erasting Conducting like a crazy. zo public scandal It's too delicate; my name, ry positien, my family,..Will there be, do you think, police? PATL I don't see wey. There's ro law against busting up your own apartment. At least I don't think there is. Woet telegram? gosz don't imow.,.4¢ came just a moment BBoeee Ee looks arcund and f. finds a crumpled pises of -183. 5-22-60 SREAEFAST AT (Cons'é) JOSE Yes, here it is... Ee picks it up, unwrinkles it and hands it to Paul takes tt from bin and after a monent, in slightly shakey voice, reads aloud. PAUL "Received notice Foe, Pred killed tn jeep accident Camp Crowder Missouri step. Your husband and children join in the sorrow of our mutual loss stop. Letter following, Love Doc"..... her brother Pred... JOSE Teen her sickness...it is only grief? PAUL Tid say s0..67eseee JOSE This brother...she loved him very much? Path I guess so JOSE” But what can one do? PATE, Try to help ber, I tried, but it dién't do much good. lasbe you can do better. (Pause) You have a ranch or something... down in Brazil, don't you? José Yes. Several thousand acres. PAUL Good, She'll like that. sions towerd the bedroom door. PAUL roget in there, = babiy L ner Paul sete goodbye. 107. Paul.4 B 3 170. 172, 6-22-60 BREAKFAST AT TIPPAYZ'S 108. (Cont'd) Jose hestiates a moment, then turns and heads toward the bedroom. Patl watches as he enters the bedroom ad closes the docr behind kim. Paul's psuedo-tough expression collapses. Por an instant it looks as i? he might cry. He quickly regains control anc roves to the front door and exits, closing the door. INT. stars - (NIGHT) He takes his luggage from the landing end starts slowly down the stairs. TES CAMERA MOVES with him as he pauses for a moment in the - INT, VESTESULs - (NIGHT) He takes the "PAUL VARJAX...ARRIVED" card from its ‘Slot and tears it into tiny pieces..as he goes out the door and down the steps = FADE OUT. PaDE Ot: INT. BOLEY'S LIVENG RooM - (DAY) . it ts late afternoon in a day in early spring, Through the open windows we can see‘thet the tree in front of the Bouse bas begun to bud. Holly, barefoot, in blue jeans and a sweat shirt, is bustling around the living Foom in a frenzy of domesticity, Prom the pkonograpk a Linguaphone recoré is conducting an intensely moncto- nous lessen in elementary Portugese. There ere a number of changes in the epartm . Metropolitan Museum re- productions adorn the walls, There are even & couple of chairs. In the kitchen there is « vast mumber of pots and pans and a fornidadle row of cook books Gat aits on the window sill watching amiably. ently the door buzzer sounds. Holly pushes b out of her eyes, presses the buzzer, then goes to © deer and opens it. Paul is stending stiffly in the docrway. He looks ‘on che last tine we saw Siz, But Beir is combed ané thas bisx BREAXPAST AT TIFFANZ'S 10s. itz. (cont'd) HOLLY I tried everything...celled people, asked around, then suddeniy I thought looking in the phone book. Anyway, im glad you could come. He moves into the room. They are a little uneasy with each other, alnost like stren; PATE You lock fine. SOLDY Wo, I don't, I'm fat as a pig and I haven't bad my hair done in weeks... (Pause) : But you're looking tres éistingud. PAUL Tranks...Z have a job...anc I've nights and deen writing a little. weekends... HOLL I know. I've read three ef your ‘two in THE NEW YORER that funny iittle magazine, I lized the ones in THE Wav YORKER... the other ons... THE GIRL FROM CITY or whatever it was called. Pau THE CITY GIED...you etea't care for it? FOLEY, Ob, I liked it all right. 7 just afdntt believe it, I mean @ girl as kooky as that... they wouldn't let her run around loose. Tomean they'd have put her in some kind of a home... Paul suddenly becomes aware of the unpleasant sound of the Linguaphone. FOLLY Portugese. Do jou 6-22-60Is BEEARPAST AT 172. (Cont'd) ANE'S no. HOLLY (Cont'd) four thousand irregular verbs all of which take different cases, depending on the tense or the sex of the speaker or the thing he or she is sreaking about or something like that? Anyway Tive been trying to learn it. I mean if a-pergon's going to live in Brazil, she should certainly lmow about the verbs... at least the irregular ones. Sbe goes to the phonograph and shuts it off. PAUL Look, Eolly, what's this about? Vay did you want to see me? EOLLT Jose's in Washington for the nisht, 30 Z-thougst asked you ove: you.ight come and.,.well...I've said Boodbye to everyone else I care about... Path: You're going somewhere? HOLLY Itm leaving for Rio tomorrow. .I have the plane ticket right here. (Pause) a I've already said goodbye to old Saltz. I-thought he'd be upset, but he wasn't. He said it was just as well...there - migst be troubles... PAUL ‘Trouble? HOLLY If they found out I wasn't reelly bis niece. Zrs ua. 272. (Cont'd) : PAUL Four = you mean? ZOLLT What? PAUL That's how many words it takes. ‘Wiii', 'Zou.! 'Marryt. "Me! Fours. - + + eects HOLLY é Oh, we'll get married. “I imow we will. And "in church. With bis family there and everything. That's why we're waiting $411 we get to Ric. PAUL He's flying down with you? BOLLE Well, yes.. On different planes, of course, Ee doesn't think it would look right for us-to be travelling together. Eis family is very Leportant in Rio. So he hes to worry about things ‘Like that. + Paul bas followed he> into the kitchenette and is watching her feverish activity with interest. Pav What are you doing anyway? HOLLY I thought I'd cock dinner for us. Don't Took. so nervous. Jose says Iim.better than the Colony. It's three months ago le egss...0f course, aud gan't. I) just ognit seen to get Peally simis steak. .salad..saings like Pacl removes a pot from Zolly's hand. The: be takes her ty the shoulders and tuxcs Soware bin, They stand very close together in the steany kitchenette. P40 Listen, Folly, tell _me sonethizs. De you reeii>’1ove Jose? (Sontinved)is 172. (Cont'd) BESARPAST AT 7 ROLLE Of course. PAUL Are you sure? : HOLLY Look, I know what you think. and I don't bieme you, I've always thrown out such a’ jazzy line. But really...except for Doc...and you...Jose is my first non-ret Pomance. Oh, not that be's my ideal of the absolute finito. He felis little lies and worries about. what people think and he wants to ve the President of Srpzit =f mean it's such a useless oF a grown man to want to be...and he takes about fifty baths a dey...2 think a ay shoule smell...at eens, a little bit. Wo, he's too prim and cauvious co be my absolute ideal, If Iwere free to choose from anybody alive... just snap my fingers and say - ‘Come “here, youl".,.2 wowlda't pick Jose. Nehru maybe...or Adlai Steven- son or Sidney Poitier or Leonard . Bernstein,..but I de love Jose. honestly think I'd give up smoking ioe ated me tol © During this her mood has scmehow changed. She toras off the oven ant dries her hands. HOLLY Suddeniy, I don't feel so much like cooking. Could we go out somewhere? Paul Sure, I'll buy you a farewell cinne>. "| gonEe That would be fun. As long as it's someplace I can go like this. Paul eyes the blue jeans and sweat shirt $e22-60 PAUL (Continued)itz. 173 022-50 BEEARPAST At (Comb 14) They laugh and as they do the last few months disappear. 5 DISSOLYS TO: 13. EXD, RESTAURANT IN CEINATOWN - (NEGEE) Holly and Paul emerge from the restaurant bend in band, They walk down the block, Then suddenty, Eolly begins to laugh. PATE Waat's so fumy? Holly polls up the front of her sweat shirt, There, wedged between ber bare tummy and the top of her bine jeans, is a bor of Joss Sticks. She pulls it out proudly. EOLLT Present for youre. PavL What 1s it? HOLLY 4 vox 6f Joss Sticks. : : PAUL. West are Joss Sticks? ‘HOLLY Wao lmows? That's what it says. Look, "Joss...Sticks.” PAUL Where did you,..7 EOLLT I stole them. Just to keep oy bend in. Remember? (She bands the box z to bim) want, to promise to treasure doen eveys. Whenev: needs sticking 1 think of you... They comtince walking in silence for a moment. (Comtizaed)173. 1m. 175. 6222-80 BREAEPAST AT Tr (Cont'd) HOLLT + This was nice idea, New York's Rot 2 town you can just up and leav without saying e proper goodby % ‘EXD. BROOKLYN SRIDGE ~ (MIGET) They lean ageinst the rail, suspended bighabove the river, For & moment they waten the sea-ward moving ships pass between the cliffs of burning skyline. BOLLE Years from now, yeers and years, one of those ships will tring mo back...ms and xy nine Brecilian bratasc.they'Li be dark Line J of course,.,bat with bright green’ peautitul eyes,..I'll bring then back all right...because they mst see this..,chese lights,,,the: rive: eee0h I love Sew York! PAUL Then why are you leaving it? Weat's in it for you, anyway? Holly's face tightens,’ The mood is broken. HOLL Come on, it's late, I'm leaving tomorrow and I haven't even desma to pack, Sbe takes bis arm and they start moving back toward the Manhattan side, I dontt f anymore. Letts see if we can get a cab, DISSOLVE TO: TMD, VesTisciz - (MIGEr) Eoliy and Paul enter the vestibule of her building. Eolly searches for ber key, does not bave it and ‘locks hope*aliy at Paul. PATE Don't look at me, Annie doesn't live here axymore. (Comtimned)175. 176, iv7. 6422-60 BREAEFAST AT (Conta) He shrugs, grins and starts to reach for Mr. Yuntoshits bell. ANE" ns. HOLLY (Stopping bim) No, wait a minute..,I've trans- ferred my busize joints to Paul's old card slot, TSS CAMERA PANS So that we can see the new card which reads: "Mr, Quaintance Smith." PAUL (Somewhat awed by the name) intence Smith? This - to SOLLY You will, in 2 minute... She starts to ring bis bell, Paci antomatically tries the door, It opens. PAUL Someone must heve tripped the lock, « HOLLY That Smith.,.he's 2 crafty devil... Holly sad Paul move inte the building end up toe stairs to = INT, EOLEZ'S DOOR = (HIGET) Paul reaches down under the mat for the key. It's not there, They look et each other, Holly tries the doc> and, surprisingly, it opens. HOLLY I don't understend..,I was sure... They move into = ix. OOM = (NIGHT) aside, Paul finds the lightswiteh and snaps it on, PATE You ought to be more carefnl (Contamed)is ns. Lights go on we are suddenly aware of the eof three other people. Piain-clothes ves = two men and a woman. Zolly stifles a scream and Paul starts a "what-the-hell...” DETECTIVE Bernstein, Narcotics Squad. In a moment the room seems to be filled with people. The three detectives who had been waiting and two others who have been lurking in the corridor, Adding to the ubbub are the Messrs, Tunioshi and Smith, HOLLE What do you mean - Narcotics Squad? Prom the doorway comes the sound of Mr, Tunioshi!s voles. : Mg. YONIOSEI There she is: The wanted woman! PAUL : Tow wait a minute...uhat's going 2uD DETECTIVE wey don't you.esk your boss? . 7 pau Vat? zi “1ST DETECTIVE Selly Tomato, Why don't you ask hin?” Come on, Pusher... He is frisking Pacl for concealed weapons. 2aD DETECTIVE 6-22-60BREARFAST AT 117. 177. (Cont'd) * 178. 6-22-60 LADY co? Okay, Sister, You're going places. HOLLY (Brushing her arm away) Lady, you touck me again ané 1711 break your am... : For an answer the lady cop slaps her hard across the face, From outside now we can SEAR an approaching police SIREN. Paul and Eolly are being bustled Soward the door. As she. passes Mr. Yurioshi, Holly catches bim by the lapel. one last favor... will_you ute darling and see thet the cat gets fed? Poul and Holly are being hustled down the stairs as we = DISSOLVE T0: ‘EXD. SOUY-SEVENTE PRECINCT = (NIGHT) The newspapers have apparently been tipped off and a mumber of reporters are on band, The police car pulls up and Holly and Paul are bustied out, still protesting. A second police car pulls up behind them and Hs, O'Shaughnessy, Sally Tomate's three bundred pound lawyer, is bundled out, amid the popping Plashbulbs, Holly spots hin. HOLL i>; O'Shauchnessy! What are zou Sa 0! SEAUGENESSE Om shut upl - “REPORTER (fo Holy) Is ib.true you.carried messages from Tomato in code? SOLLT, Tid Just meet Mr, -at.Zambucger Heaven and give bin the weather rep: {ContinSEEARPAST AT 118. 178. (Cont'd.) 179. 5-22-60 Mr, O'Shaughnessy breaks loose for a moment and Kicks a camera out of 2 photographer's hands. At Sits point they aze a1] fustied Emrcush the door [to mr LICE. ST. ON = (SIGHT) There's 2 great deal of confusion with several conversations going on at once, At the desk Paul is protesting helplessly to the Sergeant, PAUL Paul Varjak...Vea-r-j-a-k. ter. Var jak. Tina Meamihile. on the other side of the room Holly ts surroundes by reporte: HOLLY Simply do not ask me what this is all about... varceecue, je. ne mes cher: REPORTER But you gid used to visit Tomato? EOLLY I used to see bin every week. What's wrong with that? + 2uD REPORTER You must have known Tomato part of the narcotics syndicate... HOLLY Mr, Tomato never mentioned narcotics to'mel Tt makes mevfustous the way PAUL (calling urgently from across the room Eolly, will you please shut up till you talk to your lawyer! 28D REPORTER so Eolly) wae is your lawyer? I don't ‘mow (Continued)ee 179. 180, 11. 182. BREAZPAST AP _DIPFANE'S ns. (Conta) ‘ At that moment she notices the handcuffed Mr. O'Shaughnessy being led, still struggling, into the back recom. EOLLY Mr. O'Shaughnessy, I guess Zeck bears this and reacts violently, On bis anguished ace = DISSOLVE To: “INE. SaLogy = (NIGET) It's a neighborhood, Third Avenue saloon, around the Corner from Holly's’trownstone. BEGil ON CLOSE Scr of a booth table on which are spread the morning tabléids, They feature pictures of Holly in the police station and screaming headlines: PLAYGIRL ARRESTED IN NARCOTICS SCANDAL...TOMATO'S TOMATO NABEED., .DRUG RING EXPOSED, GLAICR GIRL HEID.... Beside the papers are several dollers in quarters, neatly stackec. TH CaMERA PULLS BACK To REVEAL - Paul, tie loosened and in a somewhat distraugns condition, He is working on a drink, looking at the papers and keeping an anzious eye onthe telephone | booth across the room, The phone rings. Paul jumss to bis feet, scoops up a handful of quarters and dashes dato - ‘TOD. PHONE BoorE - (HiGET) He takes off the receiver and we can hear the operator's voice on filter. OPERATOR Ready with Mr, Berman in Hollywood. Eindly deposit two dollars for the first three minutes please Methedicaliy Pasi begins to feed quarters into the phone. O.5.'S ROOM = (NIGET) 0.5. Sermaz, in Sulka pajamas, is enormous tec. He iss: Vision s propped up iz an rounded by a dicta » transistor radio ent s (Contee 182. 183. 8h. 185. 186. 187. 6-22-60 120. (Cont'd) manuseripts. Ee holds the phone to kis ear, wincing at the thud each time a quarter is dropped in at the other end of the line Who is this PAUL Mr. Berman, this is Paul Varjak. ¥. i'm a frien of Holly's. We met in New York. ‘DOT. 0.7.'S BEDROOM - (NIGET) Oe. Who? IND. FEONE 300TH - (NIGHT) PAUL Paul...Paul Varjak. (He gives up) Oh, hell, this is Pred! DID. 0.J.1S BEDROOM - (WIGET) speiOerattes Opies Epeasbabr! | You caliin about tae Eid? 2 beard it af oar ago on the radio. HONE BOOTE = (NIGHT) PAUL Iwas with ber when she was arrested. They held me for awhile but then they let me go.... 13 BEDROOM - (NIGET) O.7. Row leck Fred-baby, just relax. Everything is taken care of. (Continued)Fd 188. 189. 190. isl. 8-22-80 BREARFAST AT 122. (Cont'd) 0.3. (Cont'a) I spoke to ny lawyer in New York I told hin take care of everything and send the dill to me, only keep By Rame ancnymous. They only got her th ten thousand bail...he'll have ber sprung by ten o'clock tonorrow norning...Now listen, Pred-baby, T tell you what you do...you bust into that dump she lives in, collect all ber junk, thes pick her up at the jai house and take her straight to @ hotel under a phony o: We want to keep her away from the reporters as mich as we can...will you do that? IND. PHONE 300TE - (NIGET) PAUL Sure.,,I'll need some king of a truck for her stuff... INT. 0.7.15 BEDROOM - (NIGHT) OS, Se hire one. Or bire a car and chanffeur.Thet's better. I want the kid should be sprung from jail in style. Charge it.to me... PAUL'S VOICE (0.8.) Me, Berman, I can't tell you how mich I appreciat 0.7. Forget it. Anyhow, I owe the kid something, Not that I owe her Shing if you come right down to She's crazy. A phony. Sut a real phony. You know what I mean? INT. PHONE 300TH - (SIGET) PAUL what you meen! And thanks, Berman... thanks @ lot... hone. PISSCLTE TO:= BREAKFAST AT TEFPaNy's 122. = SROWNSTONS - (DAZ) 192. It is about mine o'clock in the morning and raining. 4 chanffeur-ériven limousine pulls up in front of the house and Paul gets out, telling the driver to wait. re are a few sightseers on the door step. Pal brushes past them and enters - 183. ENT. VESTESUEE - (DAY) He unhesitatingly reaches down and pushes Mr. Smith's bell, at moment the click releases the door anc Paul ente: 194, RT. stars - (DAT) As Paul climbs the stairs, Mr.Smith, two flights above, opens his door and calls down, wR, sue (Galling) Reger? Is that you Roger? PAUL (Gitmbing the stairs) No, it's me..,?aal., 195, INT. MR. SuUrTE's DOORWAY - (DAY) As Paul comes up the stairs Mr,Smith eyes hin curiously. He's seen him somewhere before -- but where? PAUL (Talking fast) Sorry to bother you old man, but you see I used to live in this apartment...before you took it and I'd heard you've done such fabulous things with it that I... MR. SXITE You're very kind, but I'm really gust getting started...2 haven't aven put up the drap when you rang I t someone else. 6-22-80198. (Gent' a) By this time Paul has 196, DWT. MR, SMITE'S APARTMENT - (DAT) The apartment has been completely redone since Paul left. it is, Lf possible, even more elaborate. PAUL Charming, absolutely charming... Mow if you don't mind, what I really want to do is borrow your fie eeoape 2220) B27 that's quite a: dght I know my way, thanks. Ee goes to the window, opens it and while Mr, Smith watches in open-mouthed wonder, he clinbs out on the fire escape. wR, STE his: head) I have lived in a mumber of bizarre buildings in my tine... put this is...and you may quote me wildly on the subject...far and away the bizarrest of all... He hastily closes the window an¢ locks it. 1e7, - EKZ._PERE ESCAPE - (DAT) It is reining quite hard. Sucking the wind and rein Paul makes bis wey down to - 198. EXD. _HORDY'S DOW - (DAT) The pane of glass is still broxen. Se reaches unlocks the window and enters - ies. INT. HOLDT'S SATEROOM - (DAT) scoops up a handful of toothbrushes, ¢: ‘Then notices the airplane ticket st sorush glass. Se grins, puts i¢ moves isto = oth paste, out 6-22-80aL 200. 6-22-60 BREAKFAST AT TIFPANE'S IMD. Bonryt's SEDROOM = (DAY) He stacks the toothbrushes and thins in a neat pile on the bed. The Cat greets hin with a friendly meow, but at the moment he has no time for the Cat. Ee finds an empty suitcase and places it on the bed. He now begins to pack in as neat a fashion as possible, rooting verious forms of wearing epparel out from under the bed and similar unlizely places. He is interrupted in bis labers by the sound of the coor buzzer, He ignores it, going on with bis packing. It rings agein, and again, and again, Pinally he decides that it is better to face it out, He goes to the re- lease tutton, presses it, then after a moment goes to the door and opens it, Standing in the docrway is a small, handsome, South american gentlemen who bears a marked resemblance to rose. PAUL Yes? ; TEE GENTLEMAN I em the cousin. Sent by Senor Jose Ybarra-Jaecar. : PATE Oh, Where is Jose? Tue cousin woo, clearly, bas great difficulty with the language, suffers mentally for a moment, organizing his next’ sentence, TEE COUSIN Ab. Where she is, She is waiting. PAUL Let me think that one over. (Pause) Now I think I got it, Of course I may be wrong, but t have a curious feeling that she future President of Brazil tas taken...o> 4: a powder, Right The cousin locks at him with total lack of compre- Bension, After a minute be produces from is inside pocket a letter, out so take... T= cous she ask me to leave ss for Bis chom,.,you will ebi: ‘aul takes the the front is _w: Courtesy of Bearer ope and locks at it "For Miss =.