"DON'T LOOK NOW" by ALLAN SCOTT & CHRIS BRYANT SECOND DRAFTTER, SURED COTTAGE, DAY. { JOUN DAXTER is working at the desk in his study. ‘The room is lined with books, a elute sive room with e tev | ceiling and the litter of a dedicated mind, The sim streams | brightly through the narrow windows, disturbing the dusty tomas and illuminating the darkest corners of the room, ‘The CAM@RA TRACKS IN on JOHN who is peering at a colour ‘ transparency of a stained glass window, lis desk is covered with pieces of stained glass and he moves the pieces like bits of a jigsaw puzzle, checking thom against the ¢ranspar He is wholly absorbed in his work when quite suddenly and for no apparent reason he stiffens and looks up, troubled by some { He stands slowly, looking about, as half-recalled menory of unpleasant things. ; He valks to the door, NT. PASSAGP OF corracE. DAY, JOHN walks down the stone-flagged passageway, his pace , dncreasing. , INE, KITCHON OF COTTAGE. DAY. ) LAURA BAXTSR is preparing a meal, washing vegetables, She looks up, smiling, as JOIN enters end crosses the room making for the back door. LAURA What's the matter, darling? JOHN Ne rey The eeveen door slams behind himEXTERIOR. PATIVAY NIETED COTTAGE. DAT. JOHN is running now and sunning herd. The path 1eade downhill through a green forest of trecs, ‘tho sunlight aapples the dry earth, JOHN's footsteps and his breathing are the only sounds until a sudden gust of wind makes the treos stir and sigh, And over that sound comes tho cry of a boy, the eying ita the wad, seasascicinemeoe) Bocieeg! ening! The sharp fear in the child's voice is clear, JOHN ruus ~ even faster, gosping for breath, stumbling over a root, righting himself and running on. JOUNNEZ, hig son, appears running up the path tovards him. JOUERIZ teesodbing. He is beyond wovds, hie Nady woraarad why Feaw denying, =e SBeg! cum JOHN doesn't even hesitate by the bor but runs on, strainin, against the limits of his body. EXT, LAME SHORE HY COTPAGR. DAY. JOHN wounds a bend in the path and dashes down to the pebbly shore of the lake, le stumbles onto the little vrokon woodex jetty, the certainty of tragody caught in his eyes. JORN's P.0.V, ‘The CAMERA ZOOMS slowly to a figure in the water about thirty yards from the jetty. It is the body of a child, Sho is motionless in the water, foce dom, right red watorwings, now deflated, make a red stain against the Gark water of the lake, They move faintly with the ripples to give tho improssion of the wings of a bird or of an angel. HIGH ANGLE, JOHN has plunged into tho water and svins towards tho tiny brokon figure. Mut the distance seoms enormous, the effort is utverly futile, The two figuras are the only features on the dark veckground of water. ‘Thea A | | itt acaba] sicker CHILD a tiny bundle of white skin and red plastic watervings. ‘fhe father shrouded in the white foam of water as he fleils towards his dead daugh or. SLOW DISSOLVE TO: ‘TITLES sHqueNcE, 4S TITLES =ND DISSOLVE EXT, TORCELLO, VENTCE. DAY. LAURA is at an outside table in a cheerful Venetian A restaurant. She is with JOWN, hor husband and friend. The scars of tragedy are. still visible in the tautness of \ hor smile, wut at least the effort is genuine, The muffled vaguenoss that is a consequence of emotional shock — | still clouds LAURA’s demeanour, Vut at least her bust: has managed to penetrate the vei JOHK is good looking and slightly older than LAURA, is eyes smile a great deal and they as JOHN ' Don't look now, ut we're \ boing emmmmas watched - LAURA looks about to right and left. soun No, Behind you. A couple of old women, I think they're trying to hypnotize mo. LAURA drops her napkin and under the pretext of picking she looks. HER P,O.V, ‘Two tweedy SIST! look proposterously masculine ia their neatly buttoned sh: S sit ata far table, They and tie sets, severe tweed jackets and short haircuts, ‘the SUORTBR of the tvo is staring directly at thom vith pale blue eyes, ‘The TALL one looks avay, says something and the short ono averts her oyas,4 LAURA suppresses a gigglo'as she turns back to JOIN, LAURA ‘They're not old women at all. They're male brothers in drag. LAURA laughs and JOHN joins her, his hand sneaking out to touch her arm, sou They're criminals doing Wurope. ‘Thoy change clothes and sex at each stop to throw Interpol off the track, ‘Today Venice and they'1:.2 ladies, Tomorrow Plorenco and they "ft + men again, LAURA is laughing openly now, JOHN affects concern, 0% Shouldn't you at least pretend to choke? Then he plays the stand-up comic. sou I've heard about sex changes, but put it this vay..,and then put it that way.,.and then put it this way agains... JOEN watches her happily, kindly. He waits for her laughtes to subside. some Tt's good to hear you laugh again, LAURA closes dowa, gouN You soe? You really forgot for a minute there, and now you want1 JOHN (conta) to feel guilty at having forgotten, Laura, Change the subject John. JOHN waves, helplessly. JOHN Let yourself go, Laura, LAURA forces a change in the subjoct, but the mood has been broken altogether. LAURA You know vhat I think they are? Retired schoolmistresses from Australia. They inherited a handy quem little sum from sister Lil - thet ran a hotel in Adelaide. ‘they're doing Europe in three months including a day trip to old dad's grave in Bradfomd, then back to PEER Crock in good cid Australia corer JOHN is impressed by his wife's feat. - JOHN AL good, Tut it still doesn't answer the question, LAURA looks up sharply at him. Jorn Are they vomen? Or do they have 23% fewer cavities? LAURA relaxes, Laura We may be about to find out.tee Pe TORCRLEO HOR Y.C.¥. ‘The two SISTERS have stood up and a HATTUR is ‘ the toilets to them, ‘The SISTIRS start wending thei way hetween the tables, . pointing o LAURA, Watch closely, If they automatically make for the men's room and then remember , they're in disguise - we'll know, 1 QIN P.0,V, The SISTORS move suddenly towards their table, approaching slowly with measured tread, They come nearer { to the camera never blinking, never altering pace, ‘They boti: pause as they pass JOHN and LAURA's table. LAURA shifts her chair to permit them passage. One of the SISTER S, the tall one, gives a gracious little smiie of than but the other stares down with huge, hypnotic blue eyes that never blint, LAURA leans forward, suppressing a grin. , LAURA, nm they move on, It can't be real, Jou What can't? LAURA The hair, It must be wigs, SOHN I didn't weally notice. was looking at those eyes. Did yours. LAURA on John you're wepeteme az a rotten detective, They both hod moustaches and wigs. And all you saw were the eyesse, She gives a grunt of satisfaction.7 Dy TORS! contd. LAURA sha! LAURA stands up. souN What are you doing? LAURA, I'm going to investigate further my dear Watson. She turns te him conspiratorially. beth rot Bae To mawune mumnig, that’s ali. gg out a cigarette ne ladies room, Then she is gone, JOHN leans back, tal: and watches her follow the SISTERS into +1 Ho-speaks to himself wivh a certain forvour, son Oh yes you must, INE. DooToR's sun: -_DAY. Whiteness of the clinical room, Through the window LAURA, dark and hunched, waiting in the car, She stares ahead, transfixed and empty, her face pale and drained. JOHN turns away from the window to the DOCTOR who is sitting at his desk, his head bowed over some papers, With bis head still bowed the DOCTOR takes off his glasses, puts them iin his top pocket, rubs his eyes and looks up, Mis eyes aro pale blue and rheumy. DOCTOR Give her time, give her time. Soon she'll turn to you or your son Johnnie is it? JOUN tuene slowly to look back at LAURA, She hasn't moved, Still hunched, witharawa,DOCTOR Youtli have other chiidrea, She'll find the strength from somewhere. Hunan nature's still the finest medicine of them all, And timo the great healer. cur HACK Tor xT, AURANTD, VEUTCR JOHN is suddenly avare of the FALTER hovering. Some Let's you a me arrange a Little surprise, list? The WAITER offers it, Have you got the wins The room is rather large ~ rather pretentious for its function, iprors above washbasins run down one wall. There are four of them, ~ An old CRONS sits on a chair guarding her tips and ignoring the small activity in the room, LAURA washes her hands, watching the TWO'VONSN at the far basin, ‘fhe taller of the two is very carefully putting Japstack on the short one's lips, Tt is like a child being tended by its mother, As tho operation ends the tail SISTIR Sees LAURA, stumbles momentarily and murmurs somethi ng to her SISTER, The SIST&R's great blue eyes swivel tovards LAURA - vho looks away quickly, LAURA hastily dries her hands on the little towel provided. She cheeks hex make~up and is about to leave when she is start ea by the voice of the tallor SISTER, now standing right next to her,| | ENT. woumvts y YEH ZT nope you won't think us rude...e. LAURA I'm sorry, I didn't mean to stares. The SISTER'S accent is heavily Scottish with the lugubrious heaviness of the Bast Coast. WENDY My sister is blind. You don't mind if she talks to yout LAURA moves fractionally backwards as the shorter SISTOR, H@ATHOR, stretches a gnaried hand out and touches LAUS sleeve. LAURA No, Ie.,of course not. Hello. HEATHER makes no response. Put her hand moves slowly up LAURABs arm, Like a spider on uncanny stillness about her, LAURA has to force herselt he move. ‘There is an not to react by retreating. When HEATHER speaks, quite suddenly, her voice is low and controlled. HEATIER You'we sad, you're so sad and there's no need to be. veNpy My sister is psychic. LAURA I'm sorry? VBNDY She soos things LAURA instictivoly looks at the staring, blue, blind oyes. wexDY When God took her sight...20, vsnvy (contd. ) he gave hor a veal second sight. HBATIER She wants you to knov. I have seen her and she wants you to imows..she is happy. LAURA is suddeniy trapped, appalled and a little rrightened. LAURA Vhat? HEATHER I saw your little girl, Sitting ' between you and your husband, she was laughing. Yos! She is with yous..with you, my dear and laughing! HEATHER suddenly seoms to stare at a point on the wall about three foot from LAURA, There is nothing there but cracks on the t there is a SOUND vhich grovs: The sound of a wind and above the sound of the wind, is the SOUND of e CHILD laughing... ed wall, But happy, contented, inner-directed laughter, It rises and swells and echoos omptily avay again and in a moment it is gone. LAURA has heard nothing. The CRONE has heard nothing. WENDY has heard nothing. But HEATHER is beaming at the phantom emptines HEATHER She's wearing a little blue dress. With a paisley pattern, LAURA (gasps) Christine! MEATIOR Oh but she's Laughing, laughing. Happy as can he,eontds LAURA's eyes water like twin fountains, quite suddenly and without any crying reaction, Tears just stream, WENDY draws her SISTER back a pace. wexDy Bo still Noather, Let her sit : down a while. WENDY fusses in hex handbag and produces a ha which shé offors LAURA. HEATHER Is she..,is Christine... .dead? LAURA nods and whispers "yes", HEATHER sighs HEATHER * | Yes,..£ thought so.,,but she wants you to know, to Imow that she is happy. Not to grieve any longer. ADHER looks back at the am there 4s nothing there. She puts out a hand to comfort LAURA. MEATIIR . eA, LAURA dabs at her oyes, trying to regain control, trying to understand what's happened. LAURA Who are you? Who are you? cur To: 10. BET. TORCWLLO RESTURANT, DAY. JOHN watches as the VATTER arrives with an ice-bucket and a halt=mi to be put directly in front of LAURA's place, Then he takes agnun of Asti Spumante, JOHN gestures the ice-bucket the small vase of roses and puts thom in the ice~bucket. It's a little surprise gift. ‘idacnbaddermacslj i i 4 1 fe OF Y. gonte. Ghe WVAITOR bows and retreats. JOIN looks towards the lavatory door in faint irritation, It's taking a long time.’ The ice im the ico~bucket glistons. 11, INT, WONEN'S vasiooM. DAY. The CRONE is now interested in the strange trio and watches vithout embarrassment, LAURA is standing with hor back against the t: od wall, her eyes half closed a of illness on her face, WENDY is administering smelling salts kindly. HWATHSR's d the pall hands move gently over LAURA's face. HSATHOR Oh you're very like her, The forehead.,.,..the eyes., weNDY Is that better? She removes the smelling salts, LAURA nods slowly. ® and now produces a coin which she holds up. HEATHER Is this too auch? WENDY peers WENDY That's all right. HEATHER LT cantt tell with this foreign money. The two SISTERS start to leave, LAURA remains standing against tho wall wenDy Well - goodbye Mrs... Mrs. LAURA Baxter, Laura Baxter,12. 13. BAY. contd. She turns her head and looks at the SISTYRS, her voice strangely rem: to almost disinterested, yot soeling confirmation. LAURA You really sav her? HEATHER stares back in a long pause before replying. She was WET. was Heue . Seer AIT + i" the anbiualunce oe her memeneg teabae delibustet EXP, TORCHLLO RESTAMANT. DAY. 1 Heinen The ice in the dce~bucket nas turned to water and the roses float limply on the surface, ‘Tino has passed and JOuN now veally agitated, ile half from his chair, but sinks beck ae he sees the two RS come out of the washroom} pay the bill at the and vall: out of the restaurant, The WAITER comes up and hovers questioningly. ‘The CANERA MOVSS PAST It 7 YORY SLouLy restaurant to LAURA who has just cone out of the vashroom door, She pauses by the door, gathering nel ORE ross the ngth perhaps. But her face is a mask, Thon she sete out across the room. She sits at the table without seeing the gift in the ico bucket. JOHN ‘They were women after all, right’? LAURA, What? JOHN Your Australian school-mistrosses, They just Lert. JOIN realises there ds something quite different about his vito. JOIN (conta) Are you all right? I bought you a presont. Somo Actie13. 2OBELO RASTADUANT, LAURA starts to stand up. LAUICA E have to stand up...dohn. John! The sound of wind howling aud a child's voice laughing, laughing. Uuilding to a crescendo as LAURA staggers and starts to fall. JOHN lunges across the table to catch her as she does so, ‘The SOUND stops abruptly LAURA is sprawled unconscious on the floor of the restaurant. cur 70 CBLLO. Day. ANT AT. A small cluster of incurious and curious TOURISTS watoh as LAURA is carried on a stretcher into the waiting ambulance boat, The white and red plastic of the ambulance boat's cover is like a stain on the veaity of the scene, JOM is hoived onte the Lost beside his vite, In momento the amulance boat pulls out, a strange high-pitched vhino that is its siven bleats out across tho water as the boat speeds towards Venice, INE. AMBULANGS Bow, DAY. LAURA's face is ashen grey: JOHN sits om one side of her, touching her face with his hand. On the other side of her sits the ambulance Onn: white coat, He has one hand on LAURA's pulse, the other holds his watch, His head is bent down in concentration. JOHN watehes, intently. Finally the ORDERLY slips the watch back in his pooket and lowers LAURA's hand back to her side, With his head stall bowed the ORDERLY tal top pocket, rubs his eyes and looks up. ifis eves are pale os off his glasses, puts thon in his and rhoumy, JOHN starts at the fractional moment of doJaMa ORDERLY Z1 polso non e forte. JOHN looks up, suddenly fearful, JOHN what? The ORDERLY touches his heart. ORDERLY Ii polso, But JOHN doesn't understand. The ORDERLY shakes his head, ! not worth the effort, The ever-present wall of non-comnunication16. INT, HOSPICAL YATTING ROOM Benches run along the walls, JOIN sits with one or two others waiting. The sudden silonce is a strong contrast to the roar of the boats engines. Rapid footsteps from the corridos outside. ends look up expectantiy, The door opens and a NURS® looks in. NURSE Signor Baxter? JON gets to his feet, stubbing out his cigarette, INT, As the NURSE holds the door open for him to go in, JOUN stares about the ward in surprise, AIL the beds he cay see avo occured by © daughter and chatter and noise of their games dins away as Jor bed with screens round it. walks dovn the centre of the ward towards the only By the time they roach it, the ward is in silence, The CHILD in the next bed stares at. JONN unblinking eyes. ‘The NURSE gives a smile of encouragement and pulls one of the screens to one side so that JOHN can enter. LAURA ds lying on her back, but is avake, She suites when JOUN comes in, LAURA There's nothing but children out there, Jou Tkmov, This hospital vas the nearest LAURA Elve been listening to them,16. HE, HOSPITAL WARD. DAY. CoUrD, Semstennctersotrmenien ~~ JOHN takes LAUMA's hand gently, ‘They are very each other. They do not speak, Hospital noises clatter in the background, winstmeminissicmammeremp sees aR , Finally JON speaks softly, JOHN How are you feeling, REE? LAURA seems to be considering her ansyor carefully, as if lad to seo she had to estimate her condition before reporting it. LAURA Wonderful, Just fi I feol just wonderful. 206 JOWN patently disbelieves her, Jou I talked with the doctor, He said you just.,.,,collapsed, LAURA She takes his hand, holding his attention, LAURA Christine.,,,is still with us. C.U, JOHN holds himself in check. He was prepared for her mind to be confused, omy No, darling, Christine is dead LAURA (shakes her head) I know, I knov that, I m those two old sisters, the veason they kept staring at us is they could see Christin amd she was laughing,JOM is silent because he doesn't know iat te say. LAURA The blind one - she's the one who sav ~ aven described Christiné's little biue dress. The paisley pattern..., JOHN closes his oyes to shut 4¢ all out, Lauva, weaches ee, eet To Wim, Shock. I dontt Im see oll right now. Smaninr. SEE reece TA EES EE ik Bem For the first time in all hese weeks, Suddenly it's lifted. I don't need pills, or sympathy, And I'm not going crazy. She is radiant with sincerity and happiness, There is no denying the speed or efficacy of her recovery. JOHN I kmow you're not, I didn't say you vere.1. Ko, But you were wearing the sane face you wear for Gramy Germy old Aunt Buily. JOHN grins suddenly, som And E412, put it on tan y - thoso MEBEY old sisters if I in for see then. ne pea ERE TIL one. There is a calm intensity to her words. LAURA The whole thing's over, John. And I feel mich better, Tentt that something to be glad for? JOHN Looks at hor. FLASH SHOT! LAURA holding the dead child by the lakeside, She is grey and shattered, JOHN's face melts in a smile of real relief, JOnN Something to be very glad for. They look at each other for a moment, herself into his arms, She is radiant, BXT. GRAND ¢. AL. DAY. That special pink light of evening is starting to paint the tops of the buildings. The water is darker with the setting sun. The lights strung across the restourants are on, but not yet coupeting with the setting sun. Tae usual chu: gliding, thumping, chuffing of the diffore:t boats fills the air.AL-DAY. contd A vaporetto. SOHN and LAURA sit in the open part of the’ vaporetto, JOHN is watching her carefully, LAURA, I fainted, People de it all the time. Joun Em, LAURA Zim fin To prove it, she gots up and doubles round the tiny deck, swinging her amne Like a vindmitl, ‘fhe other passen stare at her as if she is insane, sou Oh all right sit down, I velieve you. She sits down beside him and kisses him on the cleek, He can't resist smiling. : Jor Just be careful who you go to the CAN gem with in future, : LAURA Twill. JOHN turns to see whore they are. JouN Look. & wanted you to see th ere18. ExT. Me points to a beautifully restered palazzo, its colours oming, as 4 they had glistening, the marble colums : been pet up yesterday, ‘fhe mooring poles are painted in brilliant gold and blus. It stands in stark contrast to the building on either side, . * som ‘There. You se0 it can be dono. Mike Leverett did that with a grant from the Ford Poundation. There is a pause, LAURA John.- can we go into St. Mark's? som what for? Youtve seen it. LAURA I want to say a praver, you heathen bastard, He grins. Tb is obviously an oid argunent, sou Vhat's the matter with here? You aivayn say God is everywhere. LAURA This is not a gonscorated motor voat. She sits back in triumph. ser — X 2A INT. ST. MARK'S CATHUDRAL. DAY. It 4s a quiet, cool and dark place, But the bright sunlight outside throws patches of vivid colour from the stain glass windows onto the mosaics which cover much of the walls. JOHN stands beside a mosaic studying it with intent professional interest, With the back of a pon he at one of the coloured mosaic stones, In an instan$* oneING. ZOR EXT. BACK STREET, VENICE. DAY. JOHN and LAURA turn a corner to find the little street is roped off, Three uniformed POLICE stand on duty outside a dingy house half way down the strect, A small cluster of ONLOOKERS stand by the rope where another POLICEMAN is on duty, ‘Two police boats ride at the mooring where a narrow canal abuts the street at the far end, Forensic experts are dusting doors and vindews with fingerprint powder. JOHN Now what. They look at the scene and approach the POLICEMAN slowly. The POLICEMAN waves his hands indicating 'no entry,' JOHN What's the mattor? ‘The POLICEMAN utters a few words in Italian which mean nothing to JOHN or LAURA, but the POLICEMAN isn't going to amplify for any foreigners, LRA Locks at the cluster of oniookers, ‘: ce What did he say? OLD MAN Cle state Un homicidio: Tb Guiete, : ato un hs io: Cee ooeede. In Guella casa la. LAURA (gesturing a kiliing} Homicidia The OLD MAN nods and looks back at the scene of the erime. ‘Two CHILDREN are copying LAURA's extravagant miming of murder and they laugh together. JOHN takes her aru and they retreat back the way they camo. souN Homicidifs we can got in New York. Come on. LAURA makes a face and they walk on round the corner. oT Cots 20 eeBANIIS 6. mer eons of the UKIFORMSD GUARDS has pounced and JOUM sheepishly tucks his pencil avay and noves on. LAURA is standing in the middle of the nave staring up at the cupola, Her face is calm and radiant as sbe looks at the beauty surrounding her, She is smiling in sheer delight. JOHN rejoins her and they wove on slowly. Joint I just got arrested in the course of my duty, LAURA smiles, LAURA I thought you were restoring San Gregorio, This is St, Marco, in caso you hadn't noticed. JOHN Seen one medieval mosaic and youtye ssen 'om all. They stop at a little side chapel pavtitiondad off from the main body of the church by exquisite grikiewerl in iron, There are not many tourists in this side chapel, only one or two Italian WOMEN at prayer, One is lighting a votive candle to the Virgin, LAURA reads tho sign pinned to the ontrance of the side chapel: "THIS CHAPEL IS RESERVED FOR THOSD YHO VANT TO PRAY." It as in two other languages besides. LAURA, Awful, isn't it. Vhen they have to put up a reserved for prayer sign like that, What do they thinlc the rest of a churen is for? JOHN bars the entrance to her, JOuN Excuse me, madam, but do you have a reservation?a Sa Mt aC] pihtabsl LAURA, Several. She goes past him, turning to speak as she chapel. ters the LAURA Give me some change, som : I thought God vas meant to be free. LAURA Cheap, maybe ~ but froe he's not. It's for a candle, JOHN sighs, digging into his pocket and producing a handful of amall bills and change, LAURA takes the coins. LAURA . I'm going to light a cau dle for . her, No - I'm going to light seven, She starts tovards the votive candles. JOHN leans against the grillework, watching her. LAURA is absorbed in lighting her candles. She lights one for overy year of the child's life: seven in all. Behind JOHN, as he watches, a party of TOURZ! ushered round by a GUID! chapel. TS is being at the He stops behind JO} GuIDs seee@rillovork designed by Alfredo Paganini and installed at the height of the republic in 1561, Note the flowers woven into the motif, All are emblems of famous fomilies, who probably contributed to the cost...ran ienaiitincanitonit( uid attain Bri iit ils aii 19s 20, The CAMERA is VER: on LAURA offscreen JOUN turns to loo} Mis attention is riveted front of him, As the GUID? starts te move away i We wecoils in shock. HATH R's face is inches from hic, staring with sightless eyes through the grillevork, her hands moving over the ) tracery 1iko a spider , patroliing its vob. SOHN draws back, looking about for WENDY. He sees her, looking for her sister, about twonty-Cive yards avay down the navo, JOHN drops down into a hassock and buries bis head in , prayer. \ Behind hin can be hoard WSEDY's footsters, a muttered ’ conversation in rolling Scots accents and then silence. , JOHN keeps his eyes tight shut. An ostrich, A hand ‘ touches him. It is LAURA, smiling. LAURA Nypocwite, te oa He stares up into her face, Looks back over his shoulder, The SISTERS have gone. ' JOHN looks back up at LAURA and blinks, ‘ cur TOs BXD, PIAZZA SAT HARGO. DAY. The passeggiata is in full sving, Under the colonuades and around the square people are strolling, meeting, grectiug and moving. . CAMBRA ZOOMS IN to JOHN and LAURA who come xunnirg out of St, Mark's, JOHN's face is black as thunder. laughing helplessly. cur To: ExT, STAGE. DAY. JON brushes aside the OFFICIAL aud leaps avoard closely followed by LAURA as the vaporotto pulis out into the canal.i 1 eat ete (] ote JORN looks at his watch again. Sonn We wouldn't evon be in Venice Af it wasn't for this job.. and I forget him! LAURA Darling - he needs you more than you need him, He'll wait, JOHN So much you know, ‘There aro at least tvo people in the vorla who could do the restoration as voll as ne. He paces up and dovn. sox i None aro as shean, woderan. Ho paces sone nore, sori And Leverett and me are the only ones who supervise the sub-contracting. He paces some more, soun And Leverett's in hospital with a stroke, He is grinning. LAURA raises his arm above his head. LAURA The vinner, JOHN scowls, JOHN I'm still late ~ an hour iate - and that's sudoLAURA Look = you restore ehurenes right? Toll him you wore praying, Keeping the management happy with a little brown-nosing as good business practice. , JOHN grins at hor, Tout He'd never believe me, up thefStops. jie he URCHT; doment. oStare straight sito nexgd LAURA, Tes a Livy’ git 3¢ thought the girl whoeps p the stefis anc into the hotel.i a i { : | | EXT. LANDING STAGE BY SAN GRUGORIO. DAY. As JON and LAURA leap off the vaporetto and start up the steps towards the church, three littie URCHI them, One selis cheap dark glasses, ane sells pennants and one sells nothing at all, But He smiles a lot. LAURA (to JOHN) Bluff it out, Apologize for being ' come seuttling around @ fow mimes early. A VORKMAN is locking the main door of tie church as they reach it, The YORXMAN pute the key into his tunic and starts avay, turning to watch dumbly as LAURA and JOHN try the door to confira it is locked, ' JOHN ' There's a side door, They start td move round the walls of the church, I've got a legitimate excuse for being late. ‘| catches Lis ara ouddonly wad veuemently, LAURA No, Joun, He looks at her, puzzled. LAURA I don't want nim to know. JORN Why the hell not? LAURA just don't. A voice calls out and they look to the square at the side of the church, Striding across is a tall, thin priest. we is Count ALBERTO RUSSC - or, indeed, Father Alberto Russo - and he is about forty, bleak dark eyes and the patrician sneer of nis class has not been dulled by his vocation. LAURA holds out her hand and ALBHRTO bows over it perfunctorily as they meet in the middle of the squars,XEQEADE LAURA Alberto, I'm so sorry, It was all my fault. ; The other thing ALBERTO didn't get with his vocation was the virtue of patience. He is irascible and makes no attempt to conceal it. ALBERTO Well it is all too late now. The church is closed. JOHN I feel terrible, Alberto, please accept my apologies. « « ALBERTO . Your apologies are not needed. Ye want only your opinion. ALBERTO looks at his watch. Vell, Tomorrov then. Yeu wid) have to come back tomorrow, I'm afraid I mst depart now - a dinner - have you a boat? ALBERTO is walking towards the landing stage. JOHN and LAURA almost have to run to keep up with him, JOHN Wetij. take the vaporetto back. By the way I had the sample of mastic you sent me analysed, It's really just a primitive cement with some china clay added, I think this may be your problem. The acidity in the air is breaking down the structure which in turn leads to loss of adhesion. ‘They stumble onto the landing stage as ALBERTO turns round quite abruptly. ALBERTO What time would be convenient to you tomorrow?22 JOHN and LAURA exchange a fast glance as ALBERTO turns to summon his private launch, JOHN makes a face:'sonofabitch' and. LAURA makes a face: ‘screw him,! JOHN Well I hadn't realized the cupola was windowed on the Bast and Vest sides, 4 } | { ALBERTO glances up at the church's dome to confirm this, What I'd realiy like is to examine the mosaics when the first light is striicine it atpmigeé angles, That way you can spot irregularities without using a lateral theodolite, ALBERTO i What time, then? JOHN pauses. JOHN asm, I guess uot later than 6.15, ALBERTO LBERTO ker. sorry, But if the bishop really wants. « i ALBERTO shrugs as if the matter were of no consequence. ALBERTO : Very weil, Six a.m, He shakes hands briefly with LAURA. Nods to JOHN and steps onto his boat. Y'aura and JOHN stand on the landing stage and wave goodbye, Their wave is given the briefest acknowledgement. LAURA (forcing smile, still) i Now there's a man vho didn't go to the Vatican charm school, | sox : Now! i LAURA cee enieeteee @ceen sont Well at least I. got the sonofabitch up at dawn tomorrow,: i } } j | LAURA (smiles) ‘That was.a goodie. But don't they all get up at five and say mass or something? XERIONN Alberto says mass when he fcels like it, ' Which is about every third thursday in March, In a leap year. TAURA ' Wonder way he became a priest. JonN \ Probably an old family tradition, Nanded = | down from father to son. , LAURA laughs and they step forvard as the vaporette pulls in at | the lending stage.i | | i Bh, Be coliozyjouldn't but han ogi a vit / wiih the e1evetor doo clofes fn them, ag/LAURA reaffirms herself to JON with a warm kiss, INT. SWRCOH, DAY. Fevad wf voanmg watey Len dhe betlvenan ‘The shrugging out of her cress and JOHN is trying to sponge some horror from his suit jacket, LAURA, Leave it, darling. I'll do it in the morning. He throws it down, smiling. souN All right. Shower or bath?| | f j 25. contd. LAURA Shover, JORN Toss you for it, He takes a coin from his trouser pocket and spins. JOUN call. LAURA Tails. He looks at the coin, It is heads. JOHN Tails it 4s. She comes up to him and puts her arms round his neck, LAURA Taat was a lovely day. JOHN : It still is. . Painting the town, remember? LAURA I just vant you to know. (Pause) s: 1 got your paint brush? Sho goes away from tim and goes into the bathroom, He watches her smiling. In an instant, there is the sound of a shower curtain being dravn, The sound of her humming comes to him, as he picks up a towel from the bed and follows her, mx ave we the bath teqet + « JOHN pomweeemsecemine 5 een Their voices do not blend that well, but thoy are having a lovely time on some old time melody, There is a knock on the bedroom door, They stop singing. LAURA Who the hell's that?' END. BATIRCOM p contd, ily Another Imeck, LAURA Eimow. It's the Goddamned au martinis, mmmmcmiommma Yell, ! you go. j ‘The shower 4s turned off. Silence, : goin . Ho must have a key, for Chact temas sake. (he cats) Come in! dmother knock. gouN Come in! dnd another. SOEN seta. Me gets out of the bath, gmat sis ot fod heads for the door, 26. INT. ESDROCM. DAY. . i FF eeeira Tee bidvoam touneds tee doa whee bic bat NS Ba tewe WE Gers ty o"haretat Joun vaancnogdgenbs ata bed squad. te crmemal bis wekulwees . om puts thee fol on the table SRR, eter a tip. meelagerisily She is dvaue Coxed JOHN : Um. .0he.. i He goes to his trousors and hunts for change. He finds 1 some as LAURA's VOICE comes from the bathroom, LAURA (0,8-) What's going on? som : : It's all right, it's just..... . Me hands the MAID a couple of coins as LAURA onIND. contd, Gives little yelp as she sves JOHN trying te keep his nity and part with his change. The MAID hobs and leaves. JOHN pours the drinks. LAURA She was pretty. She comes and puts her arms round his neck. LAURA But not off duty, It's been a long time. . JOHN Have a drink. LAURA Why, Iie down, You're all wet. She takes another towel and spreads it on the bed, He Looks at her for a moment, then stretches out on the bed. She takes @ towel and starts drying him, Sho 4 s his ears, his throat, his chest, It is a very 8 uous process. She drops her own towel, and lies beside aim, her fingers ‘ing through his haiz. Me looks at her, — She kissos him slowly. He slides over on top of hor LAURA, Weicome home. . PADE OYOR) ‘The martini jug is empty. They lie side by sido, smoking quietly. JOR We roally ought to give it up. LAURA stares at him. LAURA : You'reJOIN T mean smoking. LAURA One JOUR rolls over to face her. som What do you want to de. Hungry? Yay don't we just eat downstairs and have an early night. jmsczuy. ‘I thought you wanted to paint tho town. Jouw ‘That was before you raped LAURA Yourees She takes the pillow and beats him hard, Ho rolls out of bed, hitting the floor. JouN I'm sorry, Ita sorry, He picks up his shirt and starts drossing. She volls over and picks up a guide book, She thuubs through it, closer hev eves fad stays 4 Rugew thas loolesShe picks up another, tho Sagredo, nexmEEEE TRS a go to the Sazredo. sor Oh, honey, Let's just get on some clothes and walk until ve find somevhero. She sighs deeply. LAURA We'll get lost. 27. EXT, vovros sTReIT, NIGHT. They stand under a street lamp, which sheds inadequate ight on the map over waich they pore. oe Doatt shout at me. | som i Im not shouting, But look. | We're here, Wotve just come over that bridge.| 28, LAURA Tt could have besa any of those wridgos. Venice is full of them, in case you t noticed, JOUN But there's only one & Canal. And we crossed it there, He gets out ‘a pencil, * JOuN Look - we go down this alley, over that bridge, fork down that alley and we come out at tho Church of San Zacariah, + LAURA Maybe. Me takes her by the BXD. ALLOYWAY IN VeNTOR. NIGHT, It is dark, shadowy, rather unpleasant. LAURA ia wallcing oll ahead of JOIN now and trying to take the initiative. Their footsteps echo. LAURA mutters as sho walks, head dom, LAURA We're godamu well lost. I know it. Jou (¢rom farther sehind) . What? LAURA You ara lost JOH Venice is the size of a posta stanup. You can't get Toston souothing that size.j i i 37. BYE. ADLEYWAY 7 veytos. They walk on, separated by ten yards, cach vaguely angry and anused by their predicament. : There seens to be no ong else in the world, The da: ie heavy, the houses high, cutting out any light from the sky. The canal beside them is dank, treacly and smelly. Ahead of them in the darkness ie a 'Tt juz ness fon of canals. The alleyway ean go eituer way ~ one way across a littie foot~ bridge, the other vay dow an gven narrower darker alley. LAURA stops at the junction and waits for JOUN to catch up. He looks either way, peering for a street sign or even a decent Light under which to stddy his map. LAURA Why don't ve knock on somebody's door and ask? JoUN (ignoring ker) I thin h Dowa there, Look, I can sec St. iets She squints into the darimess. LAURA It's too small for St, Mark's, JOnN Come up. As he steps forward down the little alley his foot comes into soggy contact with a cardboard carton of garbage. It ds wet and nasty. sor Oh Chris There js a squeak and a scuttle. Three oP four rats scuttle across th alley, their horrible eyes glinting, One sverves monontarily towards then, Then all four dive into the canal. A succession of little plops as thoy strike the water, LAURA sorcams, Ward, JON grana rattled too.j : i } 29. & JOIN It's okay, Just some x Venice is full of them, He grins and hol tse is her tightly against his shoulder, JOHN Don't tell the mayor Z said so. LAURA pulls avay from him, a little recovered, LAURA. That's all I noeded, Rats, She shivers at the spectacle of four rats swinaing avay across the limpid waters of the canai. LAURA Lead on, Marco Polo. They move on down the alleyway together, cur To: PXT. CANAL TRING, NIGHT. JOUN swirls round at the sound of e door opening behind them, A WOMAN slops a bucket into the canal. sou Excuse me! JOHN dashes forvard. ‘The WOMAN sees him, gasps, and slams the door siut before he can get close encugh, LAURA shrugs at the futile episode and starts across the tiny bridge. LAURA [ipeg T guess sho pamaiaeene LAURA crosses to the far side of the canal and studies the arvard m&n, name plate on tho bridge. JONN is looking at the name plato on iris end of the bridge. LAURA (calling across) Its called tho Ponte Siretto. soImt Gaxes out ts hooking. In the B.G, LAURA ds moving inte a Little gua just heyond the bride.i i { oo conta. Suddenly from tho first floor of one of the dark houses ' behind JOHN comes a truly terrifying sorean. isa strangled, muted, momentarily shrill screaa of pi © terror, It stops quite suddenly, A shutter slams shove JOHN, ‘Then a door opens, throwing a dim light across tho alley which runs off the bridge at an angle, It is cox JONN can see down its entire din Leng HIS F,0.V, Out of a doorway comes a little GIRL, Hor pletely obserured to AURA's view, Dut ‘ rasping, terrified breath comes to him in the silence. But there is also the SOUND of wind - and a child moaning. an eerie ory. 5 ' Without glancing to the left or right the Little & dashes across the alleyway and down a couple of steps to © landing stage, With incredible agility she bounds o: tvo boats, loosing the bow painter of the third and shoving it across the canal to make a bridge, ‘The instant it hits the other side, the CULO scrambles off it Ais gone inte the daziuess of Venice. The SOUND of her footsteps echo monontarily across the canal. FLASH SHOT: The sound of JOHN's footsteps as he runs down the pathway to the lake. Over thie sound tne GANTRA ZOOS violently tovards the dead body in the water. His da and the ved plastic that strikes a chord of recognition. For the CHILD in Vonice was wearing red, It is only bar = fragmentary moment. JOHN blinks as if in disbelief at his own eyes, ‘The wholo thing is over in a moment, He folds the street map purposefully and turns to cross the bridge where LAURA is waiting, having come back up the alley. LAURA watches him intontly as he joins hor, LAUR. Was that screaming? sora What?i ; me 30, 31. 4, conta LAURA I heard a seroam, sone Oh it wae just... just old drunk. The incident is banished, LAURA gestures to the piazza beyond. LAURA I think Itve found the veal. world again, Look. they join hands aad stride avay from the bridge towards the piazza. . Down a right hand turning, the bright lights of a square shine towards them beckoningly. They both with a single step head for 14, EXT, SQUARE. NIGHT, They arrive and he throws his arms wide with relics, sort Voila! San Zaccaria. LAURA By the scenic route. She gives an elaborate sight. Me grins, ‘The lights, the Shing out the momories already. som Come on, Z think I'm going to got bombed tonight. This looks people are 1 okay. They move to a restaurant. INT, RESTAURANT. NrGwe It is gay, nearly full, candles, coloured lights, perhaps a guitar, They como in and gasp with the heat. LAURA Vow. Thatts b:i 4 i : 1 i j 4 | j { 1 | i i j i A WAITOR comes up, bowing, hust. JouT For two, And stick close. I want to order a drink. ‘The WAITER smiles and guides thom to a table, producing two huge menus as if by magic. They sit down, JOUN Two very lane canpard soda, LAURA I can have garlic no She grins. Jom What's that mean? : LAURA Well, you were never such more than a once-a-dey man. JOM ic highly cmburrusced. JOHN Pleas. He looks around, but no one has heard. LAURA Jeans across to hit, LAURA, Kiss me and I'll keep it secret, JOHN laughs. JomN Kiss me and I'll disprove you in public. LAURA, hat could be fun, JouN No way. They both take stock of the restaurant.\ 42, IND. ROSTAURANT. NIGHT. contd. JOHN What's this placo called anyway? des LAURA looks at the menu and starts to leugh. She ¢: and laughs, barely able to contain hersolf. JOHN picks up .the menu and looks, . LAURA ‘The Sagredo! JOHN tosses hie menu down with a ‘yell I'll be damned! shrug holds his caupar ‘The WAITOR arrives with their drinks. JO up and looks at her through tie bubbles of soda. JOHN Here's to us. Ho drinks without waiting for LAURA to join him, His eyes” stray to the doorvay of the restaurant. HIS V.0.V. The two SISTERS have just entered. They fuss with removing their jackets and being shown sedately potween tha tables to a corner spot some five tables avay from JOHN and LAURA'S. JOHN's face tightens. LAURA Sho must be very beautiful. sour : What? LAURA hoover cane in, Yomemnes eemmenrneeet cement ee Aneatciateimenacncsee, A IyLonde I suppose. JORN forces himself to relax, JOHN No, No, a brunette. LAURA can T look. Sem (atarmod) Not yot.4B. INT, RESTAURANT. NTS. contd. LAURA isn't roa. and continues studying y that interostca the menu, LAURA ; Tie place is exponsive. } . JOHN j You may remember, those are i ot the grouds on which,we rejected j it two hours ago. 3 \ I could oat a horse. 7 { Sho looks up at him and suiles, 7 LAURA : | Sex always makes me hungry. j Do you renenher when we vere, 4 She sees ‘that JONN's oyen are still uzon the corner table. 4 mn _ Johaeees oc Ne locks back at her opalogetieally, LAURE decides on a | a | LAURA j ee ee | . jealous wifo stare. Veteh } this. 3 LAURA draws herself up and turns to cive a frozen look | across the restaurant. 1 LAURA'S face changes from a moment frozen hauteur to 7 amazenent, to delight and perplexity. i MER 7.0.7, Tho SISTERS aco themselves ctazing remd the i restaurant. ! LAMA tums ner back on them swiFtly, undecided how to reac LAURA It's them! There wasn't avy blonde, JONN node xesignedly. ching for ter full response a: now LAURA'S vhohe composure alters.f. contd, LAURA, Oh I've got to go and word with thom, wave a She turns round and waves towards them, ‘The weighted sister, WENDY, sees her turns to HOATIOR and whispers someth blue eyes come up and HEATHER waves LAURA half~stands in her seat. LAURA T won't be long, derii and waves back, then ng. The great sightloss wacantly tovarde her. ngs Listen, Laura, they're going to drag you. into something. Those old people have a way of pulling you into thoiz net cemeeer tiene Bt lowe has Game belo we can Gish. ‘Diatememerreinnsinccaieminencermcmermnnmmmnemnmnim, lie sinks back in hi chair, watches a moment, then snaps t for the NAT Laura's dxink in one gulp. 8 fingers irritably "OR, While waiting, he reaches out and downsi j } i 7 i i t i ©.U, A gnarled old hand clutch ga smooth young hand, It 4s HSATHER clinging to LAURA at the restaurant ta2: working her happinees through the gnarled bones of her old fingers. HoaTieR I remember hor hair, Light neir and s: ky soft, She tossed it as eho laughed. LAURA nods faintly at the remembered gesture, Did she die suddenly. The question jolts LAURA out of her recollection, WEUDY Heather, youtye no right to..., LAURA No, that's all right. WENDY subsides. She was drowned, John uad.esee we had let them play in the water .,., yoo : tnagie, utterly tragic for yeu lirs, Baxter, Laura It's strange, you know. John : soomed to get a.....warning, wo Dt war as Sh kmov sonething vas menmg. He ran down to the leko. Tut 1b was too tates, ADATRUR 4s onétine, ‘ ROADHOR Yos, Of course, Of course, ho has tho gift. That's why the child was tr to talk J< i 3 46. RE, ROSTAURA: contd. Sete ersrerretinmns) on HEATHER Because - when I saw your little daughter - between you ~ it was your husband she was laughing and talking to. LAURA And not me? HEATHUR shakes her head, HEATUSR He has the gift. Even 4f he doesn't knox it. uven Af he is resisting it. : HBATHER senses LAURA's disappointment ~ almost jealousy, of JO! Ho can see the daughter thay have Jost, she camot. HeADHER Oh child - it's a curso as well asa gift. There ie a pauso while HSATHAR's hands roam the table for ner wine. aetenons WEADY Tt comes and goes you sao, LAURA nods. LAURA You don't...you can't ewerse. gontaet poople can you? usaenen (sharply) No. woxpy We're often asked, Shots really quite fal Biginei Dm, Restaunss MEATS . They ail want a lot of munbo~ jumbo with ectoplasm and holding hande, : Second sight is a gift from the good Lord whe sees all things. I consider it an imperti his creatures back from rest for our nence to ¢: entertainment, Launa, Xt wouldn't be for ny entertainment. Silence, WENDY fusses, HZATHER thinks, weNDY Why not come ba After you've £4 a little while. k for coffeot hed, Just for LAURA Oh thank you. um ATHER Iimake no promises, LAURA reaches over and half hugs VONDY. JOHN has linod up five campari glasses in front of his plate as the WAITER delivers two more, The WAITIR also removes his empty food plate and gives a look at LAURA as she takes in the import of the scene and sits down, JORN I've been drinking your drinks as well as mine, i LAURA i Good, Dia at netp?48, Did thos. AURA, The words they uscd were ‘he seoms not too bleasod.' ‘Thuy meant petulant| child. JOHN puts his driak on]the table firmly. OHN Well, Ito eaten, I'm zeady to go hemo. LAURA, But I hfven't. . Jon We camf hore to eat, What . you diq with your eating time was your 4 + I'LL leave you some chsh if you like. ‘The scampi. g is, vewy good. LAURA . Jonn!} Please! sou khat do you expeet me to do? ahing whike T watch two ‘hetic oranks pull you into nourotic half-mad world of j= jumbo. ye LAURA Sho ¢isarproves of munbo-juubo too. ‘They JOUN scoms to have used the very word, relented a little, Ne sits b LAURA Give He signale the WAor did they AURA Thay were just happy te knew weld beon happy, sOuN Who's vo? LAU: on Johns... Jo I Like nothing better than a wife whoS® wayammmum depression jis brought to a state of memaimamas maduess by to stargazers, zy man vould be happy with that. ‘The VATS thirstily. puts dova the drink ana 2A sips at it LAURA I fainted from shock, All right. Tut after that - vas this aterncon woreoonin? MAdwess 7 He says nothing. LAURA He says nothing. LAURA I know I was erach darling. ven Doctor said a nervous broak possible, Tut thatt You saw with your ov: Look at me now dead, She i: \ i 4 32. Ing, TAURANT. 1 contd. LAURA (conta, ) any more, My daughter is gone, The child I loved more than myself is dead. You see? I can say t comprohend ites. and still not be upeot by it. Shs pauses, The weight of hor ovidonee is overvnoiming. LAURA John~darling-those old eronos as you call thom have done nothing. But Z am whole again, Th y deserve 8, Af you care about me There is a long silence JOHN pushes the monu across to her. sou I could eat another plate of scampi if you'd like something. LAURA vatches him a moment, thon drops her head to the menu in confusion, to cover her tears, and in gratitude. JOIN touches her hair bricfly and smites, cur To: EXD, PIAZZA SAN ZACARTA, OUTSID® RUSTAURANT. NIGHT. It has started to rain, A fine drizzic has given a silver sheen to the square. But the lights are bright and people hurry here and there, The rain gives a mystic quality heightening the buildings, making th i somehow unreal, JOHN turns up his cvat collar and gazes about, vaiting for LAURA to como out of the restaurant, She joins him, but as he starts off in’one direction Laura tugs ‘at his sleave to go in auother direction, JOIN looke baffled. LAU , (cule through the rain) Gorteo! JOM turns, svaring at her,1 i j i i i Ay OUTS! JOHN What? LAURA Coffee, etre invited te have coffee. : ' JON pulls her into a doorvay out of the rain, LAURA Looks awlward and emberrassec, a little girl whe has to own up to breaking the ebina, LAURA, The sisters, They wanted to mect you, I said we'd ge for coffeo.., we don't have to stay Long, JOHN staves at her in amazement, som Alternatively, ve don't neve to go at all. LAURA I'd like to. As she speaks, she steps out of the docrvay into the rain again. JOHN hesitates a moment. And in that moment a sudden bimch of street URCIINS co up to LAURA, se dashin surrounding her, and holding up « tatterad unbreila tied to a bamboo pole, They are Laugh cajoling her, holding out their hands for money and pinching ber backside. JOHN wades im to intervene and the UNCHINS relent somontar: sORN ng au Move! Tey - get out of thero! URCHIN Mun're lira umbrolia, or? No get wot, LAURA's head is down and pur; youn @ sesoly Laura, youtve beow + of a lot today, jetts notPIAZZA SA LAURA It's not far, John, stay long. He is walicing beside her now, sou It's raining.. LAURA They offered you an umbrella, On hearing ths word the URCHINS surge forward again. URCHINS Umbrella? Si signorina! Huntre lira, ploase: JOHN funbies in his pocket and finds a coin, Me flings it deliberately as far away as possible, Some of the S dash avay to find it; But the umbrella URCHIN remains with at on degoedly, = you know dust think folks fron fext dogs, LAURA is peering at a piece of paper in her hand, Then she locks up at a stroet sigs and tury LAURA, the corner, John = darling - ploase. I'm going to see them because they said they might try and reach,,.,Christine.i UXT, PIAZZA SAX Zac. 2 RESTAURANT _ contd. JOIN now leaps forward and grabs hor spinnin: Bven the unbrella URCNIN looks fearful at the sudden fury in his face. Jou For Christ's ef Half a dozen words with thom si ds you to hospita: Can youimegine what : two hours will do? Now LAURA is angry too, Sho breaks avay from him and starts to run, ‘The UR uneasily. JOHN stands watching until finally LAURA lo! MEN runs with her, the umbrelia vaving up at a pension hotel aud runs into the shelter ef its ' doorvay.* She stands thore looking back miserably. JON walke slowly tovards her. INE. poozuay oF Pz: xrgnr. ‘Tho URCUIN holds out hand, é doorway, JOHN ignores him and steps up to the shelter of the doorway. TAUBA Youtwe the oue who said let the children swin by thomselves aren't yout You're the one whe told me you'd give yeur Life in ox for hers, Vell...,it's too lato change] i | i i i } i | Laura (contd.) for that. But at least sho'e trying to get in touch with you, Maybe to formive. JouNis fury suddenly turns cold. souR You're not heading for coffee with those two, You're heading for a nervous breakdown! A couple of crazy women trying to make another crazy woman, Well - they can have their victim, With a stifled sob, LAURA turas and runs into the pens: JOR marches out of the doorway once more, into the rain. oun r JOHN storms off down the street, ‘The UNCMIN follows, eerambling to offer the shelter of his pathetic umbrella, ‘The rain engulfs then, Nigur. LAURA is sobbing, trying to control herself, but still sobbing while HPATH2R comforts her with a motherly ara, WENDY pours a tot of whisky from an old fashioned travel flask, She puts it in front of LAURA's nose and LAURA gradually controls herself, WenDy Now you just drink that straight back. Scotland's finest. Halt whisky, No cheap alecvols added, just the pure grain of malt dist: isky. led into highland LAURA sips at ib. IEATHOR You ravi all the way howe, child,LAURA nods. Dut HAATHER eantt HBACHOR Did you? LAURA 8 ERBATITER Yes. LAURA sips again, HOATHER You nodded tho first time, did you? HSATHBR It's easy to forget. LAURA looks slowly round at H@ADHTY There are tears streaming from the sightiees blue yes, LAURA Gh itn comvy, WENDY tut-tuts in the background, woxDy She's a regular tap. turn the waterworks at the drop of a hat pity, that's all it her oyes. UpAtHER My emotions were st: child's condition. nothing whatever to WENDY replenishes LAURAts glass. BOLTS eeee She can on ox off 2° Bolt ds. xed by this Self-pity had do with it. HESATHOR holds out her own ompty glass on hearing the sound of pouring. wWeNDY (to LAURA) is is tho induce: emotional condi, She pours A tot. mt to her| | i } \ 1 | t 36. Dut she EXD. VE LOB SUR In LONG 56. - SISTERS' HOTSL RCO. NEGUT, contd. MBATHER I don't ven like the stuff. drinks it as if she did, SHOT all that can be seen moving over a distant bridge is the brightly coloured umbrella, ‘The rain still enshrouds the city, JONI! is walking slover now, his angor subsiding, Quite suddenly he stops in his tracks, The URCHIN has to dash back tvo paces to keep him covered. JOUN stares down into the boy's eyes, The URCHIN srins back, puzzled. SON Tomust be absolutely out of my head, URCHIN Signor? JOURN Leaving her with those... JOUN stares into the darkness from whence he has come, then he looks down at the boy again, He reaches in his pocket and pulis out three notes, Me starts to take one off- and then gives all throe to the boy in a sudden gesture of compassion. Not waiting to do thanked JOHN dashes back on his footsteps, across tho bridge, back towards the pansion ‘The vRCi then he simply ' his grati. CIN Looks at the vast amount of money in his hands, makes a gesture which is international and me: you must be off your head', ‘That is the extent of tude.38, nae ho. I HOTEL szstranst IN, WENDY As imb Tho SISTERS do not rep UNSIND SISTE WS! HOTSL, NIGuT, JOM stares up at'the shuttered windows. Then he steps into the doorvay and pushes tentatively at the front door. Xt opens invarde with a groan, JOHN enters quickly. Y. SISTERS" HOTRL. NIGHT. 5 a small desk with a light on, which serves for ace, There reception, Put there is not a soul in the pl 4s a bell vhich JONN thumps, Nothing. He thumps it again. Still nothing. He goos behind the desk and opans the guest book, runzing his fingers down the list, There are no room numbers agai: them, Anyway, ho realises he doesn't know their names, He closes the book again, and tries the bell once more, Nothing. With great hesitancy, he makes his way to the bottom of the stairs and starts te climb, Exn iD KOPSE comupor. NIG s dimly lit and the house is in avsolute mffles JOuN The corridor 4 s footfalis. silence, ‘the throadbare carpet He roaches the first door and stops. Ie then realises the time, glancing at his vateh, It is avout to imocl, or. Little late to go k Ne bends down, trying to look in the nocking on the wrong iayhole. type you can seo through. So he tries to Liston,1 aa, INT. Ho" A man's voice from tho inside of the room, then a girlish Giggle. rong room, lie gees to the next. Ho listens. Suddenly the door next along the corridor bursts open and a large MAN appoars from the bathroom wearing a dressing gown. JONN straightens and fumbles vith his moving away. nono neen liste: ‘The HAN cones to the, door at whi takes out a key and lets himself in. doe! Ho just stands thore, staring at JOHN with narroved '% clos suspicious eyes. JOHN smiles and nods, ‘Then moves off down the corridor. ether on, he stops and looks When he gets about ten yards £: back. ‘Tho MAN is still staring at hin. JOHN takes a few paces more and discovers that there is novhers for him toe go, but back past the MAN roo: and calle a The WAN tucks hie head beck into +t There is a muttered consultation in Italian and bigger HAN appears in pyjamas. JOHN reaches the top of the stairs nen a powerful voico calls out behind hin, vores Wey! Alto! Alto-la! Ladro! JOHN pauses and looks back. TORN T.+eI was looking for somoone, start down the stairs after hin, They Put the two large w mean business. JOUN takes the better part of valor and dashes out the door, EXT, ourstng srs’ JON ducke into au alleyway, The two MUN stand for a monont on the steps, then go back into the ponsion JOHN Looks about, Opposite the door of the pension is a sciall var, still open. 2 Ne heads Sor it,ha, 43. & END. BAR. NESHT, Only a few customers left. where he can see ths door of the pension. IND. SISTURS' HOTEL ROOM. ¥ Whe atmosphere is electric, NFATHER is in a kind of trance, Her knuckles are white, gripping the chair, her wreath comes in short moans, Her whole body trembles violently. LAURA sits oa the floor in a half-lmeoling position, Hor eyes close for seconds at a time as if praying, Put when open she watches the old woman like a havi, WENDY site, alert and watchful in a straight chair near her sister. MEATHOR see-John...it is John LAURA seems to stop -breathing. HSATHER Obbh...ohhhy. .yeseee WeSere! yes It ds like a climax. ¥ the moaning stops and HATHER gradually returas to her th a doep convulsive s composure, ‘There is a long, iong silence, Finally WGATHEY 2 gets out of her chair and starts to cross the room rowards LAURA, HEATHER Laura? LAURA I'm here, HEATHER crosses until her fumbling hands touch LAUR outstretched fingers. HUATIOR takes LAURA's arms in a s strong grip. Her pale staring oyes ave running with toars. LAURA What...did she say?4 be 60. HOPSL ROOM. contd. HUATHSR suddeniy, convulsively, clutches LAURA to her bosom, LAURA is overwhelmed by the sudden and frightening strength of this strange wonan. , LARA What did she say? sisn7s' WOrsL. MIGHT. SOHN Looks out through the misted glass of the bar window. He sees LAURA emerging from the hotel, We runs out. LAURA stops as she sees JOHN coming across the street, JOEN stops a few yards from hor, Then LAURA runs to hilt, falling into his ‘arms, ; Relief, union, forgiveness, They kiss, JOM touches his wife with aved tenderness, LAURA draws back, looks into his face, and smiles. CUT TO: They both stand at the end of the bed in the darkness, They are engaged in a private ritual, First Jovt an article of LAURA's clothing, ‘Then sho removes an article of his, ‘The game is sensual and simple, Tho filtered removes moonlight through the open windows gives their slins a glow of warmth, It is still raining outside, They talk softy, without emphasis of any kind in their voices; their sentonces tail off as if constricted by soxual SOUR icipation, I got very scared for you, LAURA Iwas all right. sou I'm overdrunk. LAURA Overdrunk 30) Poo rch, Pause.i a | seven 61. _ F2EIR HETIL BIMRcow. Darling, Meather ~ the one who's psychic... sho went into a trance while was there, sort Try to concentrate. LAURA, John, try to listen to me, sou I'm concentrating. LAURA, She said your life was in + danger, Here in Venice, Jo! 's life, John's lite that's what sho ke: % saying. The werd: are finally peavigating aid having effect on JONN's alcohol-scaked brain, LAURA moves avay slight wefore he can xonove her final garments. LAURA Wotve got to get out of Venice. Darling, ple Geese Ploase listen to hor, It's a warning. JONW groans and throws himself on the ded. ‘The mood is shattered, Sut LAURA is insistent, caressing bim, kissing him, tr to force him to unlerstand the danger. LAURA John! Lt was Christine agai: Trying to vara us, Metve got to loave. JOHN suddenly sits upright, sveeping her aside. sort 9 first boat LAURA closos her eyes in relict.IBIR_HO! NIGUE. contd, Jou : It isn't my life that's danger, It's my sanity, Wetll leave all right, ‘Thanks fer the vacation, He flings himself under the bedeovers beneath the pillow. buries his head LAURA romains on the end of the bed, staring into the might esky. Listoning to the rein pelting down. DISSOLVE: The vain has stopped, A telephone rings, And rings. And rings, It sounds distant, but ite very insistence finally rouses JOUN from a deep uncenciou: by the bedside and lifts th bedcover off a phone is undorn ath and it is ringing thinly, LAURA wakes with a start. LAURA, John? JOM has the phone. JOHN Hallot..,Hallo? LAURA looks at her vatch a] AURA a What is it, John? who is 4s. sory It's Bagland, AURA is wido avake nov a: d sitting upri DADRA, Who? who de it? sors Z deny know for God's sake! ae gent46, INT. oreraror (distort) Your call to Vonico... Jot Hello? OPERATOR (distort) Just a noment please, souN Operator, vhere is this call fron please? OPERATOR (distort) From iugland, Just a moment please. + sort Mere in agland...? The line goes dead, JOUN pours a drink of vater and it automatically to LAIA no dxinks, passes it We $0 ham Pinally tho phone reactivates. HEADMASTER (on phono} Hollo...Mr. baxter? Jou Yes. HBADNASTOR Anthony Tabbage, headmaster of Porton School, JOHN Yosseee s sTopy PONLON SCHOSL, NIGHT. The USADHASTSR, an urbane forty years cold man, holds up his hand for quiet, There is a sense of urgency about the whole room, ‘Two senior POLICUMSN supervise opera ons. A large map is carcfully pinpointed, Au Army HAJOR is an conferonee on anether phons while h: 5 I/C operates a vallde-taliie vadio, Outside, throwsh the window, can be seen soveral army vehicles and a he. Light of temporary floodlighting,Gu, INT. Woapas7ents stupy o2TON sé NIGHT. contd. HEADMASTER Look: there's no immediate cause for alarn, Mr, Baxter, but 1 felt you ought to be informed at this stage. JOHN's reply from the other end of the line is muffled. ‘The WSZADMASTOR goes on. . HSADM, Una, the th STER ing is that Itm afraid your son is one of three boys uhm missing from the school. @hey appear to have spent the night : out ~ they got separated from a school expedition ~ and there's a full scale search going on at this vory nomont, Now they've only > oon missing a fow hours up to now byt uhm we felt you ought to know.. 47. IND. V2VICs HOTT, BIRO: Gur. LAURA grabs the phone from JOHN, LAURA I'm coming back, I'1L ve on the first plans in the morning. Then she throws the receiver back at JOHN and launches herself up to got dressed, INT. 1pan) sun Cups of toa are being 48. SSADMASTER My. Hellop lest: that? 2? Sorry. What vas SOHN (distort) seemy Wite.,.plano,,,norning. MASTER wakes a face: can't hear a thing. ASADHASTOR Well, lesx, there it is Mr. Taxter,49. IND, HEAMMASTM'S Siimv, PORTON SCHOOL, Nrawe. contd, MRADMASTER (conta) Sure evorything'li tura owt ail right. But you can be certain that everything possible is being dono at this very moment. He listens as JOIN says something. HEADHASTER Noseeno, i 's quite iid. ‘the forecast is a spot of rain but the helicopters can } searching in almost anything short of fog. ENT. VENIC® HOTRL BzDnOoM, NEG. LAURA is half-dressed, wildly packing & suitonse as JOR completes the phone call. souN seeshe tll be with you tomorrow morning. .yes.,,that's vory kind... thank you Mr, Babbage,..goodbye. He hangs up. Pumps the receiver up and'devn until he gets a response. sony Got mo tho airport. A pause, JOuN Well, when do they come on duty? He slams the phone down and stumbles out of bed, Crosses to LAURA and tries to hold her, colm her, LAUR, Darling he said he's sure everything will be all right. Johnnie can't stay lost for long. LAURA is out of control.66. Zim not going to lose...to On 7 HOST BERUOM, HECHT. contd. i LAURA i He said! It may turn out all i Fight for hin! Ityg test one , oY child in the last ‘em mon Lose. sobs of terror and She ‘bursts into racls a bottle of he JOHN crosses to hor bedside table and £4) pills, ‘Ho takes out two and returns vi a glass of vater. LAURA has regained some control, Slie shakes nor head at i the proffered pills. i soins 3 Come on, it'ia help. a She shakes hor head again. 4 Som Pes a No John She smashes the glass out of his hand. ‘Tho shattoring of the glass seams to have the effect of giving LAURA back her poise, She stares at it, The crystals of glass glint in the carpet's thick pile. Like a hypnotic object. ie LAURA touches the glass with her bare feot, teunting it. i Then she looks at JONNY quite calmly, i LAUR. i I'm sorry. Jom Okay. here. Me gives hor the pills. goHN T'4L get another glass. Cor Me turns te the bathroom. LAURA drops the pills i deliberately into tho breken glass, Her voice ia contreiled now and Low.i 3 i 4 i ; 676 INT, V2ECR HOTEL TepRoo, BIGHT. contd. LAURA Tho airport's closed I tale it, goun (ote) They open in an hour, LAURA I'll go see the hotel tmanager. He'll helps John (returning) Laura, it's five a.m. LAURA our only child nay be dying. JOM! gives her the vater, vhich sho drinks vithout reference, to the pills. ; od Crofla not going ee nyt, Saya bird's nest ala, 7... LAURA That was the warning. that, don't you? ch: trying to vara us about Johnnie. uu know Yo sts 8 was Not you, ‘That's why we had to cor Shey... told. ‘Tho words are left floating on the air, JOMX eave Von aU e008 s decided by something in LAURA's tone. Me puts on a vrap asd starts for the doer. gous the uanagor. .6k. LOU. DANE. LAURA crosaes the Lobby As she reaches the desi small travelling : to her with a faint encouragement. i my id Cc c i] CONVETPIONDERS preparing to a piles, their voices shrill, \ nothing lose than party clo 4 ~ JOHN takes LAURA's hand, i sox 4 Five minutes, darling. It'll : bo ati right. \ Tho rages and the onotional peaks are far Sehind now, Only u the dul1 fintnoss of voice spoken in vhon there 4s nothing more that can be done. LAURA You'll drive to Milan. i sort Yes, after I'vs seen Silence, Perhaps reproach tha usins, like this. Jon i Tt got the car on the train} ‘ i | | | | j She 69. E conta LAURA turns, looks at him dntontly. LAURA You could always stay here, Wait until XY let you knowees. what happens, 1 sort No, I'm leaving. He touches his vallot, oun I've paid the check, ' LAURA nods. ‘Tae reason for leaving isn't that prosaic, but thore's nothing to be added. ‘They watch the milling CONVENTTONSERS together, They look forlorn, isolated and grey. ‘The CANSRA TRACKS AWAY t in the avirl of people, until they are Los BLL. HOTEL oN GD MAND CANAL, DAY. LAURA is looking round as JOHN carries her casos. A special motorboat waits, with a laughing crowd of tourists. , An English CLERGYMAN comes up, rubbing his hands, cLaReriay : dh! Haha! Our last bird of passage, I presume, Ho shakes hands with LAURA. CLERGYMAN All rather sad, of course, The end of the holiday, Hoe looks round. They dontt look sad at ali, cLaReYitaN But a happy horieceming. JOHN struggles up. Itm just so sorry ve haven't voom Cov your uubhy om our charter,52. WAL, BAY. contd. EXT. HOTEY, ON GRAND C. He leans forward conspiratorially. ber = if anyone asks = you're to say you are a full member of the Universal Truth Secicty. LA t's vory cue No another word, dear lady. He turns and raises his voice. CLaRGyMAN ALL aboard, friends! LAURA turns to JOM, LAURA, Goodbye, darling. Phone mo tonight. SOIT T wilt, She kisses him and waves ae she boards. He watches, feeling rather lost as the boat pulls avay. cur TO: SXT. PUOND TOOT PY GRay CANAD. Day. ‘The Life of Venice flows into action ecross the canals as the sun rises higher, It is going to %e a stifling hot day, JOHN is on the phone nd ve can hear it ringing, ringing, ringing. Finally it is answered. Some words are exchanged, JOUN is clearly not satisfied, We hear a few times, JOHN hangs up and st: ‘Gregori 8 out of the booth, Ho is rapidly to a vaporotto stage, JOM! pays off a bort ard bounds uy church in the the stops the ackqround. He gets to the 4 ont door,SXD. SAY Gr RTO LANG STAG, DAY. contd, Huddied, half asleep against the door sits ALD woraaan, Teaming ev the det acav Him ip a bowed JOHN comes up, sou : Alberto - I'm terribly sorry... ALBSRTO stirs looks up. He looks really rough. ALDER iim? Whet? Ah,..um.,,| what's the tine? JOUN glances at his vrateh. son nalf past seven, ALBERTO rubs his face. I've seen here since a quarter to six. Wis face is the picture of injured dignity. The church is enormous, filled vith light and shadow, colour and contrast, A great dome towers over the central nave. ‘The church has a feeling of ‘build we must for a crumbling Venice! aud thero is a cement mixer, several measuring devices, Lad vrs ote. In the contre, oddly out of place, a scaffoldii ng structure reaches on spindly legs into the dome. As the front Goor opans and the footsteps echo around the vempty clurch, beans of sunlight spray across the dusty Anterior, 2i i i DIP, SAY G23G02T0. DAT. contd. JOUN, ALRURTO and the WORKMAN enter, Their words can just be heard over the boo: ¢ sound of the door opening and closing behind thom. sonst se1e80 Laura flow back this forning carly, I'11 got the car on the trein ferry tonigh! aunanto Cpveereupie a> Of course, of course, If there's anything I can do.. tigen sour I'm sure everyth Their VOLOSS float on the enptiness of the great churehs atnant0 (back to what wettave) but you will have cage 59 give mo oF aw artis whet qiave hase Tey stop at the foot of the scaffolding, undosioath tne mg'1l be okayses th oe) a prelis dnary x dome. Ia LONG SHOT they look insig: JOUN Hell yes, that's what I'm hore for. They stare upwards. ficantly small, JOUR I'd better have a look. IN SCAFFOLDING. JOHR FROM P.0,V. Hi starts climbing the ladder, It svaye in and out with bis woight, Howe or less only his head and shoulders can be seen, C.U. ALIPRTO stares up. ‘He calis out, ALBARTO ALL wight? JOUN's VOICS comes faint. . JomNThe VORIMAN and JON are standing on a plank platform at what seoms to bo about a thousazd foot up. Of course it 4s nothing like this, but the proimity of the walls, the great windows and the chasm bescath them gives: that impressic ‘The sun still slants across tho mosaic, them, It lights it brilliantly, picking out the ¢ briiliant reds. JOHN seems not to mind heights in tho least, He walks up and down the platform as if at central station, Tie turns to the VORKMAN, sou : We have to yot down a bit. ‘The WORKMAN appears not to understand, He points down to the mosaic, sor : Down, Poco profundo. ‘The WORKMAN's face lights in a smile. . MORIOIAN an! Si! He moves along the platform to the middle point, ‘Then he gostures. JOWN's P.O.V, Acradie, Like those used to paint tail buildings, is slung below. An ablong, boxlike structure, suspended on xopes which. run over ;ulleys and ure then securely tied to the scaffolding, som Okay. You wind me dovn? He mines again. ‘The WORK: JOHN climbs gingorly into the box, It has sides up te iaN nods, still showing a lot of tecth. about his waist. Me turns and gives the thumbs up sign. The VORA roves to the pulley system and Laws on a rep: ‘The box starts to deseoa, A e Imot starts mov, : slowly wy the pulleyThe ot TO A shout from below, ALBERTO Va bene? THE OWRIMAN loans over and waves, WORKHAN Si, signor. ‘The knot reaches tho pulley vheel, and is just not going to get over it, It slips, then the rope comes off. ‘The box, Now only effectively held by one rope. One end drops Like a stone about six feet, With a wild motion, JOIN throws hinsolf towards the good rope, just reaching it. le clings on, ‘hore is nothi: beneath him but the swinging, piroustting box. JOHN's P,0.V, The cathedral floor spinning and whirl Les far belev 1 is made: ALBERTO's face, terrified, The VORKMAN'S face, terrified, JOHN, his eyes shut, holding on, ‘The WORKMAN leaps for the pulley and starts to haul, Very carefully indeed. ‘Tho box starts to croak upwards, Dut as it does so, ali the additional veight now on one side only, the scaffolding to which it is attached starts to sag alarmingly. JOUN's fingers clutch the rope, a trickly of blood between the knuckles, The entire scaffolding is sagging to the left, A bolt shears off with a tearing metallic SOUN ‘The box lurches, ‘The howling SOUND of wind and warning. The WORKMAN lashes the pulley to’a cross=tie and starts to move to the ladder, avay from danger. JOUN launches bimsolf into space. Oxashes into the main wedy of the scaffolding. ‘here is a terrible tearing cracking SOUXD, Jars of senffolding The WOLKMAN ds serambling to safety below. phings to the ground,JOHN steadies himself on high the ladder adge, ‘Tho scaffolding sways uneasily. white and shaking, shooked beyond response to his terrifying situation, ALBERTO moves forward, impotent to holp yet desperate to ve help. go has reached the laddering and moves like a.cat to ease his weight off the cross bars and onto the ladder, Very gradually he slithers dova to the first platforn. ‘Mien te the next platform, ‘Then the penultimate platform, At each one the scaffolding gives a little. Metal olts shear off aud smash to the groud, ut finally, ineredibly JOM reaches the ground, ALTERTO tugs his shoulder and avags him to the safety of the entrance portice, The unearthly SOUNDS of the child and the wind fade as JC! vurlos his face in his hands, finally ho looks up again, shakes his head to free himself from*the memory and affects ® grin at ALBERTO, sor My life insurance company got the fright of its-1 ALBERTO relaxes vis: @ up there. ibly, smiling and squsezing JOI's shoulder iu affirmation of his Life, ALBERTO : You need a drink. some Unvoliovacle. ALBERTO ushers him to the groat main doors of the chusch. somt Itts vonlly ridiculous - but last night my wife vas > varned ~ I was in da: Ore AIMERTO staves at JON with a sudden re: foare ‘The doors are opesed and they walk inte the bursting outside.16+ Once outside they skirt the machinery and start to tovards the bridge, Sut JOHN pauses, sOnN Sorry, Itd just like to sit down a minuto. ALBERTO is all solicitousness, JOl | 1 sits on the low wall facing the canal and ALUSRTO joins him, ALBERTO I will have the bishop sue the contractor for every penny. He will do no more restoration for us, Yoemuemntnemnneineteonesree «5 Jom grins a little, : 4 4 JOuN Lt's okay...okay, th ‘Then another pops_yp, er re) wart ane By doing 7 posaled Hopman, He stops and they walk back, ALBERTO Those are police frognen, le points to where a police launch rides at anchor, tucke i Albert leelks een i up one of the smaller canals. We raises his voice across to the police launch in Ytalian. aussato Cis Ttidions ) i (mat are you Looking for?) A shouted answer comes back to them,BXT, CUTSIDD SAY GBCORTO. BAY contd. ALBEUTO makes a face,+ Ho glances at JOY ALBERTO A body, A woman missing from one of the houses, They think At could be the work of, Ho fumbles for a word: ALBERTO ‘the erazy nan. Thos. .maniace JON What maniac? ALDERTO ‘There is a maniac in Venice. ' . We has killed many people. ‘The whole city is terrified. ee Ve 77 ane @ for divine LRBRTO Taman Italian first. A prfest JONN is watching the mud bubbles from the canal, som God ~ smel1 that sud. ‘The PROGHSN have vanished and now one pops up again and yells to the boat, ALEERTO ey have found hor.j i | i After the -whots_chiy is terrified, ALBakYO (cont) You do not read the papers? JOHN answers with a touch of asperity. JOHN I've had quite enough bad news in my family recently. Without papers. ALBaRIO Of course. Forgive me. One forgets. JOHN Does one. SOHN-he-Wwerteling~the babbles—etes Co om gy FRi 37. 78° DXDT. OUPSIDE SAY GRIGORTO, Dav. contd. vanishes. some Let's go. Tut they both stand absolutely hypnotised. ALBERTO + Yes, Come on, But they both stand thore. ‘The water orupts with a swirl of mud, Then suddenly thore is a body, filthy, lolling face up in the water, ‘Tho throat is a red and brown gash, ‘Then the PROGHEN are there with it, towing it tovards the launch. sors Jesus Christ, The FROGMUN seem olated by their appalling find, They laugh together cheeril; END. BO pay. ors A MAID is busy cleaning and changing the sheets, JOINT comes in. ‘The MAID looks up and speaks in halting English, MAID I'm sorry...but set ees after... midday. . JON Yes. I wontt ba a minute. Mis suitcase stands open on the rac He goes to the cupboard, opens it, It is empty. He scowls and looks about. His clothes have been hoxped én a chair. He stuffs them without cerouony into nis caso, ‘Then goes to the bathrocn,i i i 12. 58. DUD. BATHROOM. DAY. Ne collects his ragor kit and opens the cupboard bot the mi ror. We grins ironically. It 4s full of LAURA's things - powder, face cream, toothpaste, ail polish. He takes his syonge vag and scoops them all in, He 4s about to go out, He opens it, ‘The same grin. He reaches in and takes out a nightie and some undlorclothes, on he notices tno laundry basket. Ten he foels something odd, le takes it out, Tt is a crumpled photograph, Seemmniomcminminiaiemaim Ho unse: it gently, It is a photograph of LAURA, crumpled and + JO distorted by someone's attempt to destroy 3 flattens it out, JONR waits wi elevator. The HANA his bags from the 0 say gooduye, Sorry fo, Mr, Daxter, ‘They shake hands, JOE follows 60, RXR. by R HOTEL. DAT. The FORTER loads the bags expertly onto a + JOHN tips hin, thea finds a placo the Lows ‘fhe vaporstto swings Gl. EXD, varortrre ey uaa ¢. ws of the heat hunche notes, ‘The papers blow under JOuy sits in tne pble a fe and trying te serii i i i } i | | d i | Me site 8. exr. var his hands and he daren't lift his pen from the page for fear he'll lose the paper. The vaporeite is almost empty in the afternoon heat. JOHN finally decides to give up the unoqual struggle axd pockets his pen carefully. ‘Then he folds the papers and slips thei into his briefcase, removing the keys to his car atthe same time. Me checks these in his mothodical mannor end pockets them, Finally he has completed all the littie exercisos and snaps his bricfcase shut before stand: But he freezes in mid-movenent, Among the busy canal traffic 4s a private hiro launch heading towards him and coming from the opposite direction. In the bows of the launch stand three people. LAURA, loolting distraught, her hair blowing in the breeze, And the two old SISTERS on either side of her. They seem to bo ta: nontly to her, practically eripping nox then. JOHN scraxbles across the benches of the vaporetto as the two boats pass. And there is no doubt, Rarely ten yards from himy LAURA and the two SISTSRS, staring omptily ahead, In a moment, JOHN is fighting his way back through the vody of the vaporetto to the stem. He throvs himself against the stera rail violently, The vaporettos move fast and although he can still see LAURA and the SISTERS they are now some forty yards past. Jou cups his hands. son Laura! Laura! But the boat turas into a side canal and is lost from sight. a, lost im thought; puszzloment, almost anger crossing his face. vhat in hell is she doing there,© a D BEE. VAPORSTTO ON GRAND GAAS contd, i The vaporetto turns into a quay, In a second he has decided. Ue leaps up, fights his way to the luggage area and takes his suitcase, heading for the oxit. 62, EXT. LANDING STAGE. DAY. le thrusts his tic! at the collector, who glancos at it and trouns ealbing ert he Teha. COLLEcToR, - 4 signon, MORSE encoun. E La ‘eve, nas at, Cech wadev thang) er taciin He pushes past tl 9 line waiting to got on, Lugging ‘his suitcase and his briefcase, he sets off at a half walk, half shamble back towards tho hotel. 63. INT. HOTEL. DAY. He arrives aveating, his jacket slung over his shoulders, He goes to the desk, It is a different CLIRK, ou: Siguor? : JOHN My wife, Has she come inf | cian t Signor? j some ti Mes, Baxter. Mave you seen ¥rs, ) Raxter. ti ‘The CLANK's Dnglish is obviously etrictly Limited. i We turns to the reception book and seas down the nanes, | cual ; Baxter... .Paxters..eNo, signorsess : no Baxtoreesese as sont Look, there's the manager? cL E thoonky....outssseeb2, But he shrugs and goos through the door at the back, There is an intorminable pause, an American WOMAN comes up and thumbs through some posteards on o, rack, selecting a few. She waits, too, Smiling sickly. Silence. Finally she pounds the bell. ‘The NASAGSR appears, WOMAK Ab, I want to buys... MANAGER Mr, Baxter! + WOuAN How much are theso..... ‘The MANAGER turns and gives the most polished of smiles. ZAGER Twenty five lira each, signora.. In one fluid motion he is back to JOEN. gor My wife, las she come in! MANAGER . Mrs. Faxter? JOHN controls himself, 7 SOuN Yes. MANAGE Shoe did not take the plane? JOHN is constantly scanning the poople coming into hotel. Jorn No, I saw hor a TAGER +, Sho left with the tour, RG fow minutes ago. Bue,i i 7 | i | j i : | | j i) i } 83. INT. HOTEL. DAT. conta. JouN (contd. ) with the tour, Have you seen her? ‘The MANAGSR shokes his head, MAZAGER She has not come in yot, signor, The WOMAN locks up. WOMAN Mow much is airmail te the States? JOHN breaks away from the desk and stands in the middle of the lobby, Constantly ho gi: people at the stairs, sudd: sOnN os at nis vatep, at the nly he breaks back to the desk, There's no other vay inte this place is there? WAGER shakes his head. MANAGER Perhaps she got lost on back, signer, Venice is, some She was on the Grand Canal, So is this hotel, Ho hesitates. Look, my wife has beon 412 Anything could have happened. JOUN goes back to his pacing the lobby, ‘The MANAGOR watehes bim for a moment in that special vay Italians NAGOR issues bri reserve for crazy foreigners, Then the } instructions to the CLERK and goes into his little office, leaiiing the door open so he can vateh JCHN. picks up the phone, fANAGIT Il aeropuerto, por placore.s... JOUN stands, letting the waves of tourists teat over and around lim. Once ho thinks he sees LAUIA and dashes fox calling hor name, but Jt 4s a voman tyiee LADLA's age,Bh, conta He walks to th tiobas e main door and peers out 1g the passers-by, Then he turns as he sees the MANAGSR beckoning him He dashes back to the dosk. MANAGER ignor faxter - I have called th port. ‘The plane’ left, but unfortunately, they do not have passenger lists for tours. JOHN finally decides. JOHN Where's the nearest police station? NANAGER (soothing) Perhaps Mrs, Paxter paused to do some shopping. Venice is famous for, sonN : p ew ‘the verge of iy vite mas aometeng @ nervous brockdom, Last night she For orissake! Learnt her son was lost, She's supposed to have gone on the pla: to help search for him ~ but this morning I see her with two crazy old 7 woman! Where's the goddam police station’ Tho MANAGSR points to a map under tho glass of the desi. HANAGSI Tvo minutes, signor, ‘To the right. Fonte Verdi, He looks up Tam very sorry, signor. JOAN has pulled a pad and pencil tovards himself? and starts to write, sou Okay. Now, If anybo.,.if she com in or anything yeu waat to reach mo I'm with Pathor ~ Alberto ~ Russo.e+s64, INT. HOTEL. DAY, contd. He writes the name, then has to search through his’ address book for the telephone nunbe: MARAGOR Count Russo, Yes, signor, we heve his number. JOIN stops, looks up and then closes his address book, Jou I'll collect my bags. The MANAGZR bows, JOMN turis ‘on his heel a of the hotel. ‘The VOMAN writing her postcards looks after him pityingly, A strides ows then turns to the Managor. voMal That poor man, What a terrible vacation he's having! RS, VoNTOR ere sero. way The interior of the police station is an enormous, undecorated hallway, A staircase sweeps up and a iy to a balustrade above, The place echoos and resonates « the SOUNDS of ei: dawn and dusk, The walis are green, perhaps to hide +) servants filling up their time between e verdigris, high and shiny and utterly devoid of decoration, There aro tvo desks in the main hallvay, ‘There ere several doors to unknowable back rooms and corridors, ‘There is ordered bustics PEOPLE coming and going, POLICEMEN filing reports, going off. duty, arriving on duty. JOHN approaches the desk, A UNIPORMSD OFFICIAL looks up. sou Do you speak English? points to the oteire, OPFICTAL (in Ztalion) (Second floor) Tie bonds is to his pepers and JOUN turns to go up tho staircase.Der. Ba A banch runs along one side of the voom, cn whieh sit MAN and a WOMAN, Thoy look very English. At the ond of the bench is a glass door wi JOHN wonders what to do, we stands, The lettering. AN looks up. He smiles. NAN Might as well sit down, Probably be ages, JOHN smiles and sits down, MAN ‘The wife had her. handbag Incredible, Just put it dew a respectable shop, aud pffz ‘The WOMAN leans over. WOMAN It was the salesgirl. I know it was. Mat Anyway, it's gone. And you? FLASH SUOT: LAURA on the motor launch vetueen the two sIsTns. > gouN Oh. semy briefcase. Had some rather important papsrs, The door opens and a young POLIOaI:An MAN and the UCHAN, ‘They get up and go in stancs beckoning the JOHN sits miserably for a moment or two, then Lights a cigarette, ‘Thon he notices a coffea naciine in the corner. He gets up to it, feeling in his pocket for change. He studies the instructions carefully, tus they are in Italian and rather Long. Ue twists a dial to what he takos to sugar and inserts his coin, Neti. Ho bangs the machine, Sti11 nothd: wight teday aud this proves ity66. Then he notices a little red button, Me prosses it. the ‘The machine swinge into action, In the recess middle of the machine a jet of scalding coffee spurts straight down into nothing, splashing out all over hin, We feverishly grabs a paper cup from a pile which he notices rather late, and shoves it under tho stream. It 4s not a very good fit in the first place and some of it goes cver his hand, Ye yanks it to safety, emitting a yell, Ho licks bis hand which is an ugly red from the scalding liquid. He takes out his handlorchiof and wraps it round, Thon ta dirty. With a sigh he drops it into the waste paper be s out the cup, The bottom is just rubbing “gowa the stain with hie injured haud in the handkerchiof. ‘The door opens and the MAN and WOMAN are shown out, ‘Tho pauses to watch JOIN, and holds up bis ovu half bandaged hand, MAN Got you too, did it? Silly dago aachinos. ‘The POLICSMAN gives the man an icy stare and ushers Jom into the office. INT. A FolIos omsTes, DAY. Under a bright spotlight a sketch artist is putting the finishing touches to a sketch of the two SISTIRS, It is a good likeness. JOHN is ushered in by an INSPSCTOR and shown the sketch, _ He nods his approval, A POLICEMAN crosses and offers a pilo of reproduced photos about 6" x 5%, JCMN looks over the should of the INSPECTOR ‘ho photo is enlarged from ths crumpled cxapshot of Lal one fees It looks fuzzy and faintly dated, 8 Lleol strange and torting. INSP COR Kidnapping is a very serious charse, ignor.4 | es, All right Mut they sf nen, Hot kidnapping. @ a8 hell have her what do you call some place. Nox that? TNSpICTOR It can be adything from a cup of coffees, The detai You must now icidnapping. vovers nave al) beon noted, s let us proceed in the usual manne: JOUN is steamed up now. . soi The usual mqnner isn't good onough. les do I have to say it How many ti Whese sisteps ars Dangerous pute! The INSPECTOR is quite avfre that this has been said to hi: pofore, INGPROTOR But the sigmor has not really explained yay we should consider them dangefous. JOR They clainy they can..,can talk to the deap and.,.and,,,I just know they are! [meytre evil! Infrscror God damn it! They've got wife! tho holl isn't seusone down th ooking; for then? tho © all swoet reason,| | | 4 | 1 | 89. INsPseroR Because you haven't been able to give us the address of their hotel, signor. sou I fold you. A small cheap hotel,.,it 5 opposite a bares. down, it can't be more than five minutes walk from San Zaccariah, The INEPYCTOR throws down the pencil. INSPnon Half of Venice 4s five minutes Wolk fvom San Zaccaria, signor. som Well goddawit, I'11 find their Signor, Venice is in the middle of a fullseale man hunt. Ia ease you had not heard = we havo a murderer on the loose in our city, teeth Bvery singlo tourist has mislaid his camera, his wife or his passport. ‘the usual 70 robberies a day continue unabated, Mow. We will do everything ve can to fini your wife. Your co-operation WiLL be atly approciated. You find90. 5 INSPRETOR (conta) the hotel, Perhaps that will end the entixe mystery. We will do what we can to locate these vomen, Dy the usual channels and that takes time, JOHN is exasperated and storms to the door. souN Goddamit I yij2. Ang I'11 find the U.S, consul. Buon giorno. JOHN goos out, slawning tho door, Tho INs?: CTOR waite for a monent, then reaches for the teLephono, INSPZOTOR Gianni? Pronto... He starts to issus an instaucti BXT. OUPSTDP POLITICS snarrou, DAY. JON c bottom, then walks quickly tovards the vaporetto jetty. A thin, tall POLICSHAN in plain clothes emerges from the 3e8 running dovn tho steps, He hesitates at the building too, Tle stands watching, identifying JOHN, and the very quistly following him to the Jetty. ITO, DAY, JOHN steps on board the vaporetto and moves to the front. The POLICSMAN waits discrestly to the last minute, then flashes bis identity card for the toll booth and steps onto the stern of the boat as it pulis out into the cazal, ‘The POLICEMAN buries his head in a nevspaper, ‘Tae headla and concerns the maniac tiller, is luri JOHN paces up and down tho fore deck, Much to he annoyan of the fey TOURISTS also foreyathered there, Fut JOLT is totally oblivious of then, . cur TO:69. Ext 70. Ok JOUN strides past the restaurant where they dined the previous night, ife hesitates, poors in the windows. HIS'P.0.V, THROUGH WINDOWS, ‘The restaurant is empty ng into a delicious except for a PRISST and a NUK tuck mound of ico cream, JOUN looks at the two streets ahead of him and closes his eyes a moment, FLASH SHOT. walling ahead down the right hand street, a LAURA, vain, the urchins, the wabrolla o JOHN moves on, taking the right hand street, The EXP. EAH. DAY The shadows of the buildings on either side are dark and deep, th street curiously sinister as a wind edd: sounNts In the distance s child's breathing can be hear at tossing a fow leaves and garbage aroun slows and looks round fearfully, The street behind him is oupty. cet ahead is empty. Mo runs forvard on in som Christine? shim stwnble ‘Tne very fact of having called her name mak to a halt, Me frowns in self-disgust, He has reachod a narrow bridgo over a dark, backvater canal, The pathway stretchos avay in several directions along ths’ canal vant, over @ bridge, along the far side, and off in two further directions to his left. JOM leans agninst the vail in momentary rejief, For life contimuws norsally here, TOURISTS wander with their cameras and guidebooks. A Gondola moves slowly across the foul water of th: aly in the shad of sunlight that strike through the narroy Gaps houses, As JOUN vests a moment he looks up to the right across the canal, an alle ay rips to tie LeoTR. 73. BNE. Du spor SXT. super R SAN BACOARAN, DAY. contd. And standing there is a CHILD - the Done sow running over the boats the previous night, The CrTLD is silhouotted against sharp sunlight, 4 howl of sound swells and obbs avay. JONN blinks and leans forward, He moves to cross the bridge But the CHILD is sun ne TALEPHOTO L3NS makes th CHILD's steps appear futile. Although in a woment she turns’ the corner and vanishes. JOUN is half way across the bridgo. Ue stops, shakes his head and stares down into the canal waters, FLASH SNOT: At the lakeside, JOIN carries the fragile, broken body of his daughter back up the path, LAURA Le touching the child's hair, JONNNID walks behind them Like a pallbearer. ‘Their faces are ali groy, their movements automatic. The water of the canal is brokea by a ucketful of siops veing tossed froma balcony, JOMN's roveries is broken, He goes back over the bridge and walks slowly along the canal bank, .Peering up at streets as he passes then, stilt searching for the old sisters! hote2. The thin FOLICMAY follows uncannily, vanishing into doorways as JOHN hesitates, turing his back as JOHN looks ever his shoulder, Yh. BSE. STREBT IN VINTCE. nay, JOEN turns up a street, wallsing away from the caual, The nother street. AY. ‘This, too, is short and similar te the last, JON is stroot is short, le turns down STRIBT IN vENToR. getting Gesperate, He walks up a third street, this street runs diractly onto the canal from whexce ho cane a on his tra # slows aud stops. ‘then turns bac! At narrer: insect he almost bw ‘the intersection with tho la: inte the YoLieH s ju The POLICIIAT coos: rousing the corner as JCS eho ink, but meves soothe 0G ponches 4)| The 15. 16. comtae ExT, THI § on in the direction he vas going. JONN looks at him, frowning in faint recognition, then moves on to the street round the corner, EXT, ANOTWUR s7neer In voiros, pay. JOUN looks in both directions on th: 2 street. Tut thero at is no feature he might recognize, le continues dow nevertheloss, And as he walks he slowly realises lic is staring at the 4nd opposite the bar - 4s the sisters! hotel, sou ‘The POLICEMAN watehes from the shadows of an alleyway. JOU runs into the hotel. ‘The POLIGDHAN moves fast now, strid: x whero he drank the previous night. starts to run, g down the street, chocling the hotel and going into the bar opposite wi he can watch, IND. BAR oPpposrTs szsrors StL. DAY. TUROUGLE Ti the o MENDOW, ‘the FOLIGSUAN ds dial telophone, IND. Lory ov SISTIMS HOT. DAY. JOHN gives the bell on the desk a good p By bub still no one’ appears, ‘ae place is silent as the grave. He with his fist. son thumps on the de: Anybody here? A door slams somevhore A whee: a the i 8 shuffle down the passage and a vory fat VONAH fuuffies in behind the desis her hands covered in flour, Do you speak: Inglisn? id she slowly nods h Ter eyes narrow in concentration, head, Right. I'm looking for two old Laddeseess He spoaks vory clearly and distinctly, not forgetting the old rule aout x: g your voice ng te foreigners.TT He points to A faint look of undorstanding eresses her face. HOHAN Ah! Sit She shambles out from tohind tho steps, le folio 16 hor in an dosk ard starts ony of suspense at hor speed, vhich is about one step overy five soconds, | Ha: way up, she pauses and turns to his hor hand over her eyes. Nods. WOHAN 5 Si, Ceca, Si. She finally makes it to the top front of the door, She nods to He grabs the handle and pushes. IEE, ROO. DAY. fhe door opens, Bis P.0.¥, The room is empty, Absolutely empty. are stripped. ‘The cupbo: wed ds open and bare. ‘The open and empty. ‘The room has beon left in « hurry. JOUN throws open other dravers, rack stands naked, JOHN spins round, Tho WOMAN is stil no in the doorway. gon Whore are thov? Tho VOHAN's eyes narrow again in WOHAN concont: Nothing. Tie oxlve sone! ation, Si, Gone, Ver! nice room, You take? sorat “Where have they The sturuss. COHAN This worning they ea recoils ugeege If beas Deavers lic| i | 78. 95. NP, NOON, DAY. contd Tnove ds a movenont in the doorway and standing beside tho ¢ JOE WOHAN ds the thin POLIOSMAN vho has been follo MOWAM turns to him as he touches her shouider. Le flivs « wallet open and shows her a speaks very rapidly to her in Italian, and sho speaks rapidly back, Thon the FoLtC2 POLIC: ige. Wor oyes widen, WAN shows his badge to JOM, ‘thank you tir, Bator. 5 thine now we take this most sertously. som Who are you? PoLtesnias savbionl. ameneemmmnn: Sectinwe homieidi . mowrretemte, Hurdor squed, JOHN holds onto the bed head, BXP. NBAR ALDUBTO's PALAZZO. DAY. JON, in a furing impatience, is getting off a private motorboat at the small landing stage, Me stands up, getting change from bis poe in the driver's hands, takes his case and leaps ashore, very carocul t, dumping i What he doesn't realise is that one has to getting off motorvents anywhere, and especially in Vex whore all the stops are at best vet, and at worst sliny, e steps at tho ey He loses his bal. expense of the knees of the trousers, and his suitcase, which is half inmorsed in the canal. Tho DRIVER of the beat grins and pulls away, brealing into sce and only stays on th an aria, JOHN staros after him, furious, thon goes up the steps to ¢ imposing old iron studded door, Ho glances at the number avd reaches out for the great iron bell and pulis hard. yeas. ALL He thon tries to sub sono of the sline off his Ir he doos is spread ite His sustense cosca dirty water, which runs in a svail stroam down the steps.EXT. NUAR ALIGRTONS PALAZZO. DA He reaches up and gives the be. his anger bursts push another great @ forth in a flood. He yells as loud as he cans JONN (yoLLing : Come on! ‘Two extremely elegant VSNaTIA | S, a man and a woman, velit round the corner avd stop, looling at hin with suxp ‘They wait, staring at him, sou And just what the bloody heil do you want? The MAN smiles, steps past JON and uses a sualt modern bel1 push vhich had completely escaped Jolt tot The door i opened instantly. Ths COUPLE smile and pase 4 i i 4 1 i i MAN Sousi, signer. JON is covered with confusion. gout Tim terribly sorry,...T had no The door is about to close, but he just gets 19. ALERRTO'S 2ALAZZO. DAY. It ds omall, but oxtremely elegant, with a marble climbing up to a window opposite the door, Faded tapsstrics i hang on the walls, ‘here is an air of resig: and daup which is all pervasive, but seens to the eclanner of a drinks party from the reo on The MAID who opened the door gives Aim a curion and points to a small cloakroom on the loft, dumps his suitcase, still dripping end crosecs where the sound of conversation comzs from th i 80, The voor is small, but tEINe Meow. 2 ogant, with a marbL abing up to a wi Ate thea door, Talat hang on the walis. an aie of resijantionTENG MOON, DAT, contds and damp which is ali-porvasive, but to te denied by the clamor of PEOYLE jn the room. , Hemera , The people are a curious bunch indeod woe, ‘Thay are gathered to look st several paintings propped on furniture round the room, and the paintings are, to say the least, suggestive. , Amidst all this and controlling it with dignity ani is the oddly clerical figure of ALEDRTO, Meweecesiehtetme | xy Iti show absolutely/apaliing.,..,ehave the police any news? JOM seems profoundly =Piioved. At last there is someone to confide in. On 1d sisters have vanished, ly made the police start seriously, Nt.RERTO 1 And you frill vent to cail aay for you, glen room, out ~ this, A ptist. ‘hey inplore ne ay influones, I have none, One knows a few people art, paint: son He flicks one@2a bs laste some 4 enlenet | JouN/finally gets up next to ALBERTO and makes his presence recognized, sor Alberto... ALBERTO (seeing him) an VSS bEt* Has the maid show you a room? som No, wh not yet, Look I'm reaily enberassed about this... ALBERTO Come, I will find the maid, He starts across the room. JOHN talks by vay of explenation. JOHN At least T got me police to take ne sorionsiy wieive, The tvo old sisters have vanished. That got thom moving. oping through the room acknovledging a desen dite ent people as he goes. ALBERTO Ecco! Va bene? Ah Luigi! Ciao, carissima. Que magnifico, Salute Nareo! Zt. The warmth of his greetings to his friends is in marke contrast to his attitude towards Joun, JBut finally ‘they are into the hallway of the palazzo and JONN sees tha telephone. SOHN Do you think I could call England? i'm sorry. . . ALBERTO nods, without speaking and picks up the tele: dials a number, vaits in silence. A pause, Then he asks, in none, He Italian, for the overseas operator,j i ok towards the halts > Freon BRL dhes his suave ount enjpying his om party. Cac. Salute They got 81. Dwr, HALL ASRTO ush4rs JOUN through. py the staircase. ALEERTO + He deks, in Tédlien, gor You have the numbor? JOH fumbles for the piece of paper in his pocket, thon takes the phone from ALPERTO. sou The nunber in Zngland is...oh... Ho makes a face to ALHURTO: impossible telephones, he must wait, ALDERTO sees a couple loaving ~ the samo couple that arrived with JOM only a mouent ago, He scampers across to them, JOIN! turns lie back on the hallvay. Jou (Anto phone) 047-229-7861. He repeats it ighpriguely n Italian. . @e odd Mingus Sad auporro ie Serene $8 courts Phteete suite seals predicanont, He walks nearer to JON as he telis them, JOM! turne round to find chem facing him, staring in sympethy and interest at this poor nan. ALNERTO Aunadeo and iia: cetaisier qo 2 Seatac 1 senuncins ensure bev Yous qutseans have,2 Dr. AMADEO DI SORSLLI bows stiffly from the waist, JOIN } operator is talking on the phone, i Bros i \ What? Uh ~ scusi...momonto.e.. i Ye hands the phone to ALDSRTO for translation. } ALETRTO ! Pronto. j The operator repeats her instruction. ALBERTO acknowledges 4 and henge up. : i They will call in a fov minutes. i BIADEO now holds out hie hand to be formally anbrodueca t to JOHN. : . snsaDizo Flease accept our sincere sympathies, MARIA I hope ths police are raking every effort, JOHN 4 3 I think they are, j 4 ] | i | ;AMADEO I met the Chief of Police once. A very vague man. I really can't understand how he got where he is. So common.100. “fenk MARTA Your wife and your son! It is aveadful! ‘ At that precise moment the telephone shrills. to the receiver, SOHN He1lo? ‘The TORVLLIS move away to give him privacy. 82, INT, B-oUis STuDY, DAY. i MRS, BAL AGD is on the phone. MRS, BABBAGS : Oh Mr, Baxter - I'm so giad you called. Wetve been trying to reach you, but dide't know vnere you were, verytitt hoy were sheltoxing im a caverees10h. 83. DEP. WALL. DAY. 8h, 85. 86. 87. SOHN covers the phone and speat:s to ALI a Thank God, They've found him, elbow, MRS. DABAGGS's VOICE comvs quite closrly, HRS, Eavpacz (0.3.) eeethon they lit a fire and @ helicopter sav tho smoke. : DHGLISH suo. BADDAGE Butess Tho CAMERA STARTS PUL! speak: to your wife. JOM mat? He sits down slowly, groping ste STUDY, ing hin for a LAURA takes the phono and bubbles into it happily. LAURA Darling - isn't it wonder? 17 Johnnie's just fine end proud as punch because his picture's in the paper. There is a pause. EAURA Axe you all right, John? here are you? Yenice She sighs. LAURA You didn't go out and get emashed did you? DAY. JOLN foveeNo, the caxtsi | i i 896 90. soit (contd) ate Nothing like & Ho is suddenly drained, oxieusted. TOR sg of 11 - it's sutees hard to o: Z thought I saw you with those two sisters, On the Grand Canal, LAURA Oh John - you've got them on the brain, Now listen, Johnnie's fine, I'm fine, I'11 book back nine otelock planes. I'1i bo with you for a late a. er. (a pouse) Jot = are you sure you're all ri; Ae som! Yes, I'm all right. He 4s clearly not, He is white as a INP, STUDY, DAY, LAURA Darling - ve'll start again. Yo'll drive down to Pisa and ad Romo and wethl Florence az stay at thosesses ONT, HALL, pay, Sout You're coming tack hore? We've novhere to stay, Tho hotel didutt have a room, He's still deeply porplexed, sou Lauxa = Yhere are you now? aa (GaSe) the sciool, ring. Ko Listes, XML be in ty alewa LAURA (0,8. conta) ght? Stay at the hotel sori At Albertots, I'm staying Alberto. Laura (0.8.) weve Varling, stay at Alberto's and I'll be in by oleven. JOHN nods dumbiy at the phone, some Fine, Yes okay. LAURA's goodbyes’ are lost in a tidal wave o¥ static. JOHN replaces the receiver, ALBERTO is nearby and con ALDERTO j i i Okay? John? Zs that okay, | i | erate. i Shots coming back: Jou nods. : Dropetee chet he ene tes, som I say her. ALDERTO tries to shrug it all off, ALBERTO . g Venice is full of somestns Ahouly oleeTroe wonon..,the grand canal is widoy.. pewmone... will Dmurt be geting bach + JOU my qeert % “ Lsaw her! Christ, Atherto, I've been narvied to her for ten years. I know my ov wife. There is a hoavy pounding on the frent door, ALTERTO axcuses hiaself and goes to open it. JUIN relapses into chair by the telephone table,i 104, ALBIRTO opens th @ are TWO UNIFORMED door and POLICES! standing there. JOHN groans loudly. The TORSLLIS appear at his side and see the POLICES dng vehenontly with ALPERTO in vapid Italian, MARTA TORSLLI touches JONN's shoulder, MARTA Now what's the matter? az SOHN stands up slowly, JOHN ‘Thoy've found them, Qh Christ. They'vo found then, The TORSLLE: are utterly baffled. AMADDO Youtre not happy? But you said. JOnN Noxto= not my boy, Not my wife, Two sisters I was looking for. He walks to the door as the TORWLLES do a long slow reaction cur tor og. LANDING STAG? PY POLMIGD STATION. BVEI Lights of tvo police launches bel in the water ongside the hulcing shadow of the building. ‘the water 4s opattered with reflected lights from the imposing building. 92. BOTOX sits behind his desk, JOMM sits opposite hin leoking thoroughly. contrite. INsPacror ter ~ it would be foolish Signor he to say that you have Lot of tro # put us toa in spite of is words, his voieo,5 4 \ i 93. fs 3 INSPZCTOR (contd. } We have more... He reaches for a word. Auportent things to look for than a wife who is safe in England. oun fi I really am deeply sorry, He stands up. I know the strain you're under, I can only apologise again. Tho INSPECTOR smiles, INSPECTOR We were merely doing our job. If I were you, I vould save your apologies, He crosses to the door, Opens it. For vhere they avo most neodod. JOHN valks out, AD. FOLIC? SearTzon. NIGHT. C.U, WENDY, the sighted si WENDY ' Mr, Baxtor-this has been on ter, is furious. extromoly unpleasant experience, Four hours vetve been here, And frankly tho humiliation of being dragged from our hotel like common thdeveserere ‘The CAMPRA WAS PULLD BACK to reveal that the two SISTIAS AND JOHN are sitting in a squalid i empty teacups testify to the longth of the sisters! s aterview room, Hany shment as vell as ho can, JCM! is tating his pun gout I reallynic. waupy INP. poLre2 sr. 2. contd. seeand’on the £lims: eat of pretexts, My Italian may not be up to the sophistris of Pirandelle but I'm guite clear : when scruffy oliconen mutter accusations about kidnavping at mo. somN I just thought. when they found you'd left your hotel suddenly that... ; WenDy tho police assumedee. We changed hotels, Mr, Haxter, After an incident last night, ‘Some sno) caught peering into keyholes and thief or pervert was pursucd...,¥e are not going to stay in that kind of hotel. JOUN is silent a moment, i sort It sorry, I can't tell you how well, soxry i am, embarrassed and, IGATHIR speaks for the first ta HUATIOR 106 | on fir, Baxter, Vendy is galy going » hand= on at you because she is/vor: reared, spoon~fod, gilt-edged nan. be: The blind eyes swivel towards the coved Now stop it, Vendy! ix, Texter i ' I has apologized, He can do no more, JSNDY¥ looks grumpily at her sister before speak WENDY i He can escort the both of us107. 4 ok, BEE. vErres 1 A jot lends, Tt cing and reflected over the if sheot of water before the runway loome up. 95. INT. VENICS ATRPONT. It ‘The place is not crowded, It's too late at night, The fel 6 CAMBRA picks out ALDARTO, vaiting at the arrivals gate, S who energe scanning the grey faces of the TOUR blinking in the bright ar LAURA is one of them, She sees ‘icial lights, 2X20 and suites~ sti looking for JOHN, Tut when ALBERTO comes up to hor and | takes her bag, he explains what has happened. Her stile velaxes, All is well, Sho is back. 96. TOR CAYAL, NIGHT, HBATHBR aud WENDY sit dn the almost empty vaporette as it pulls avay from the police station, JOM! sits between thom. He is escorting then home, But none of then talks. 97. py ALBURTO'S PUTVAE LAUYC! The. boat moves away from th of Vonice by night, ‘The Lights of the city glint across the water. The city itself seons to hover Like a cut-out on a distan mirage. The only odd sight is that of a priest driving a fast launch with a beautiful women, Kunen?o sjoa. / They drive in silence for a gee moment. LAURA I'm so grateful to you for collecting me. ALBERTO says nothing gedit tora moa tle Le bic gree ALBERTD ae Thad to see someone off. LAURA oh. ALBERTO Your husband will be at the police station, LAURA looks up sharply. LAURA What? ALBERTO He behaved stupidly, Half the police force were searching for you. ¥ in Venice they treat every. missing person most seriously. LAURA thinks suddenly, LAURA They won't do anything to him will they? AcBerm shakes bis hcg,98. 108, niger. contd. Me depond on tourists, A nunber of them are bound to bo mad, TAGE NUR srs anst oy Bist way pastors ime, canals beyond, landing stage. JOBN amile MeATUOR takes JCUN's arm and they start to walk, BBATHSR It's the best thing that's happened to her all holiday. My sister has..,literary aspirations. waxy Now, Hoathor HEATHER : She will ~ much against hor better Judgement ~ deluge tho parish magazine with details of her hours in a Venetian goal. WeNDY Chee rere109. nxt. NDING STAGT MIAR : HeEASE PUISLOND, NIGHT. conta. Sho oneG siwimitted an article to the Reader's Digest. JOUN appears interested. : vor Really? x SATHIR + "The nost unforgettable character I have evor met", ! i It was me, Thoy rejected it. JOHN j on. I'm sorry, HeaTHaR It was very badly written, She sniffs. } WENDY Agonistes in the dark Venetian waterssere? : HEATHER Samson Agonistes vas blind. So an i. woupy And thore, I would have thought, the parallel ends. HEATHER sniffs again. They have reached their modest hotel. The large dowble doors are closed, ¥! vag for the night key. DY You'll come in, Me, Taxter? Just for a fow m HOATHER nts. ia Mis yifa will be arri airport. at the1190. LONE con wenDy His wife bas not been in a police station for four hours. She looks at hin triumphantly. JOHN , Just a fow moments. of FOLIC SPATTCN. if LAURA waite as ALNERTO talks to the POLICSMAN on duty at 996 the night desk. LAURA stares at the cold green walls and ochéing emptiness of the place, A tiny shiver, sbseaidpenicnpuiecnmencten, He left fitfoon minutes ago. To take the}old sisters home. LT havp the ddcross fiere. He holds up a piece| of pa; ALE, Let's] go. LAURA puts out a hapd. Alberto - thanic youl. You've been 80 kibd. He stops, perplexed} by. thd changd in her tone. I'd 1pko tolgo thofe on my own now, Jonn hind T, R lot to talk about, ould you ALEERDO nods, but ib abouf to sybak., LAURA puts a delicate hand to his lips to silonfe hing Wot} soo ydu in morning. ang. vast thank you tr eve! Whon she turas andfruns Looks after her a fi with the address aja dropppueQg tik. || A. ALBERTO He left fifteen minutes ago. To take the two old sisters home. They'femoved eprmmmnty. hotels| He glances at bis watch. I really don't know if I have time to... LAURA Do you have their address? ALBERTO Yes, but I have to get back... LAURA May I have it? He hands her the bit of paper. She glances at it. eguaneee I can manage. ALBERTO looks ever so slightly ashamed for the fisst time. ALBERTO I'll er. . . have something cold left out for you. LAURA shakes her head. LAURA No. ‘There are still places open ana we have &@ lot to talk about. She smiles. 4nd I promise we'll leave tomorrow, We're going on holiday. Then she turns and runs down the steps of the vast hallway. ALBERTO stares out after her.srspgs' MOTRL CON, WBXDY 49 busily searching through the suitcase and drawers for something. JOHN stands uneasily by the door, WSATUSR sits in a chair, HEATHER seems WONDY They're here sonewheres.++ wee miniatures we got on the aeroplaness+eeee som Well look it dooontt matter, I've roally got to... soy Ah! Here wo are! to bo breathing slightly harder, She sits bolt upright in the chair, her chest heaving, her eyes moving vacantly from side to side, With a great offort of will she speaks. URNDY bustles bottles which He drops one, HSATIER gives HEATUBR Lot 3 tom be off, Vondy. His Wife arrives at any moment ho toid you. up with @ handful of miniature she presses upon JOH, WENDY Now then, that's just e littie token from tyo old ladies who've no doubt ruined your holiday.. JOH Thank you, that's very kinds... serables to pick it up. woNDY I'll get you a bag. Ltve one somewhere hero. a sudden groan, WE"DY spins round and sees what is happening. 7Foam is dribbling from HOATIUR's mouth, Her face is * contorted in pain. Once more there is the SOUND of a Lol. 102, 103. vehill wind » nispering through the room, And abovo the wind tho SOUXD of a S:ILD'S VOICE erying. JOHN doesn't want to ue involved, He backs to the door. JouN Et's eli right, T can managerer. Boodbyeseesee WENDY practicaily ignores him vocause she has moved round vohind her sistor and is holding her strangoly around the forohead and the shoulders - as one-might prepare for an epileptic fi JOHN hovers in the doorway, W2HDY looke up briefly and smiles, weny She'1i te fine again soon. Goodkye Mr, Baxter, And JOHN goos out, SOUND of the ‘child g swells up aud blends dato... BED. CORRIDOR CUTSTRS sTSTIRS' Ro A SCRZAM of sheer agony emanates from the sisters! room, JOIN closes his eyes and dashes down the staircase as quickly as he can run. EXT. oursrps JOM comes out the vast front deor and looks left and right dofore startin: tp walk away into the dark canal streets voside the hotel, Im, sista. cLos® o# HUATTER ay face is racked with pain; veads of sveat stand on her brow and tears course down her 28 ies. Hor head is trembling vieleatly, The SCUNDS of the wind and the cries of child are dim now, H2ATIR is ina state of drendful agitation,HT, SESTIRS' WOT, ROOM. wrsiy EDATIER Fetch him back...! Ploaso! Please! Lot him not gosesee NOt Beeson She suddenly turns savagely on her sister. HEATIER Fetch him, woman, feteh hi: back. Quickty! WENDY rises and starts running from the room. Los, BXt. ourspy s: Tho little square is empty as WENDY comes agitatedly out yes! HOT sree. of the front door looks to left and righ forward, her steps echoing on the cobblestones. worDy (calling) Mr. Baxter. She runs wale, Baxter! But there is no reply, Except the SOUND of footsteps that seem to be x approachin; WENDY is suddenly afraid, She 214; short sharp footste 5 back to.the hotel doorway - and peers out once moze, As LAURA cones running’ into the square. LAURA is happy ~ elated ~ expectant, and as she sees WENDY hovering in tho doorvay, seeing her, running tovards her, LAURA's face breaks into a smile of sheer happiness. But WSNDY's violent tug at her sloove and the tremulous face give LAURA a second's hesita: WaNDY on, Come quickly. LAURA sonses real fear. LAURA (gasping) John..,is he still here? WONDY grabs LAURA's arm and propels her almost violently into tho hotel, wenpy =~ Quickly!>, BYE. OUTSIDE SISIHRS' MoTsL. NU contd. It 4s all she says as the groat door sloms tehind them 205, EXT. VSNTCB Back sTRewr, uTGwe. Tho streets and canals aro utterly deserted, The shadows seem to move as JOHN walks briskly towards a cazal bridge. He is slightly lost as can be reference to the pocket map and checking nases of streets athered fron his constant in the dimnoss of the night, There is no sound but his footsteps, Yet somehow the vory wells look monacs INT. SISTENS! PUNSTONS Roo, NIGHT. Ag WENDY and LAURA dash into the room NSATWER ie struggling, 106. leshing in her chairs LAURA Where is ho? LAURA's wodce acts instantaneously upon HUATHER vhe stops all moverent quite suddealy and stends upright, hor blind eyes staring, me THER 7 Wendy? j , WENDY, 0 St's Mrs, Kaxter..,.T couldnt ] find hime.e.. t She explains to LAURA, { wexpy 4 He loft - just Isft ~ L west to 4 bring him back, I think 90000 } HOATIOR : 1 Christine, I sav Christine. i Varn hin...you rust find You must. { . LAURA has drawn blood on the hand that sie has naa to hor 3 mouth. She gasps with fright ae she taies eleading ha: i from her face. : : . HoAtHOR fee, She told you! She told yor! tol 9 Yonice.i { 107. 108, 109, 140. al. VWONDY de moaning. HHATIOR shouting, In the hallway oute: PROPLY nave begun to complain, calling out for silence, footsteps to investigate the noises. LAURA turns and floes. INT, CORRIDOR AWD STAIRS oF PISTONS. NrorT. LAURA wuns blindly avay. Avay from the echoing, resonati: warnings, LAURA Jonn.. Zs the only word she utters’ as WONTON RAGX sTRTOT. NIGUT, A path runs parallel to a canal on both sides of the canal. there is a footbridge end JOM wale ne runs’ to find hin, vo hundred yards ava tovards this, EXD. VENICE stRor won Pp TONE. WENDY throws opon the curtains and peers out. H@ATHIR stands in the middle of the room, al wt, tenses, as af li tening for something, CB BACK st nm JOHN slows to a halt as lie hears the noise of a door slamming and the crash of bre: He looks back, ‘There is the, SOUND of a His P.0.V. Across the canal and running tovards him on the ng Glass in the distance, iid, sobbing. parallel bank is the CITLD whom he saw the night before. The CHILD is fleeing, A NANts VOICD shouts in the distance, In a moment JOU decides. He dashes forward to the canal edge where a vont lies moored, Ee pushes ‘the bows off 4 for the cua! the centre,of the canal to offer a bri run over to the safety of his protec Jorn Were! Come hers!i i 112, EXD. vars, RIGHT. contd. The Little CHILD barely pauses in her fli dng onto the proffered boat, fal: a witha ery, up and throwing hersel? tovards JOMN's vaiting nonds. A MAM has now appsared on the catohing up by rum the opposite bank to cross by the bridge. As the CHILD jwaps onto the bank JOIN points to a gateway Ing beyorx beyond the alley. som In there, Quickly! He dashes forward and flings open the iron gateway which leads down a narrow passage, ‘Tho CHILD rushes ahead, her breath coming in racking pants of torrer acd exhaustion, JOMN slams the gate behind, . He throws two uassive bolts into place and olips the padlock, then rus dewa the passago vohind the CHILD, Bx. GAN aT At’ the ond of turns This leads to.a tiny open courtyard off which the e passage the impenetrable doors of two houses forbid further flight. As JOHN rounds the corner of the passage ke staggers to a halt, ‘The CHILD 4s huddled in a daz comer, like 2 trapped animal, moaning, 7 sous Tt's all right, I'm hore. Itts all right. Yeuwe Safe wows. JOUN strides up to the nearest door and raps loudly on it sou Lio! Hote! whe HAN vac was pursuing the CuILD strugsles with the locked gate, It is impenetrable. JOUN looks back at the pathetic, sit1136 ah, 1156 contd JOHN We'll get help - don't worry. He pushes at the giast door. Jind it sags invards, with a dreadful hollow groan. ‘The house is abandoned and derelict. ‘The far walls are vroken rubble, bacicing onto another canal, The CHILD seuttlos past the astonished JO into the house, And now there is the SOUND of wind, and N and dashes the CHILD'S VOIO2 crying, sobsing, calling. INT, DERELICT NOUS2. NIGUT. The corridor is dimly 1it by the canal overlights beyond, The Walls drip green slime, ‘The floorboards are utterly decayed. Rats fice at the intruders! steps. JOUN walks uneasily down the hallvay corridor room where the CHILD disappeared. Me calis out softly, into the soothingly. JOHN I'ma friend, I won't hurt Come on, 1 oN As JO pushes the door gontly forvard and peers inte the room, he soos the CHILD standing stockstiil, her back to him. JOHN reaches out a hand for comfort, ‘The CHILD's cry reaches a crescendo. ‘The CHILD TURNS and throws back her hood. Sho is no child but a hideously misshapen dwarf. with a great deformed head, dirty grey hair falling out and powerful shoulders. And she isn't sobbing, The sounds are caused by hor natural breathing through a twisted mouth and disfigured nose, QUECK CUT TO: BMD. CANAL stRmpr, utent. LAURA running, sobbing, Ahead she cay see a smali cluster ef POLIC? fanning out in an oneir operation, rox cUL ‘fori 116. 117. 118, 119, 120, mee HQATHOR quivers in a trance DUR. Roo o” por: Zor #OU: JOHK's face shows horror, thon fear, ‘The DWARF slowly tales hor hand from her siseve, She is holding a great butchers knife which glints as sie raises ‘At. Hor face breaks in an appalling grin of anticipation. JON stusbles back disbe1ier, The DVARF leaps with a scream of vindictive triumph. ards, his head shaking slowly in The butchors knife 4s buried in Jom reat, Quick our to: men HOATHSR emits the most piercing aud horrific scream, She SISTA: BISTONS Room, NIGHT. can see‘JOUN's death, : e QUICK CUT _ ROOM GF DERIELOT House 22 scares oe stares at at the furious POLIC! activity everywhere, when she sp at is a prayer, LAURA John... darling... cur TO: Le. cal SHOT CF LAURA riding the TWO SESTERS, It is the same exact shot as JOM! saw, 0 CAMERA HOVES OUT to reveal on a vaporotte botyson HOLD for a moment, ‘Thon t that the vaporette is a funeral launch, ‘The coffin with JOHN's body is ona trestle, It is heaped with the mo: beautiful flowers, LAURA stu DY holds ner gently.