brought to you by The Val Lewton Screenplay Collection
"BEDLAM"
AN RKO RADIO PICTURE
Final Script
June 30, 1945
CHAMBER OF HORROR
A TALE OF BEDLAM
BEHIND the MAIN and CREDIT TITLES appear a series of Hogarth
paintings; one painting to each card. The painting which
shows the "Industrious Apprentice" in church will be used to
frame the MAIN TITLE. More elaborate and multicharactered
paintings will be used until the final painting is "Bedlam."
It is over this last painting that the narrative title
appears.
LONDON - 1761
The people of the Eighteenth Century
called their Period "The Age of Reason"
As this TITLE FADES, the MUSIC of the overture FADES WITH it
and there can be heard the SOUND of shrieks, wild laughter
and hysterical babbling.
EXT. ST. MARY'S OF BETHLEHEM HOSPITAL - NIGHT - SPECIAL
EFFECTS
LOW CAMERA SETUP to show the face of the building between the
two statues of "Madness" and "Melancholia" above the gates.
The CAMERA TILTS to show the upper stories. As it reaches the
cornice of the building, a man in dark small-clothes and a
white shirt, can be seen clinging to the gutter four stories
above the street. He has the fingers of one hand hooked over
the gutter and is wildly scrambling to get a grip with the
other hand.
CLOSE SHOT - the man, dangling from the roof, desperately
struggling.
EXT. THE ROOF GUTTER - ST. MARY'S OF BETHLEHEM - NIGHT
A man with a lighted lantern in his hand, wearing great broad
toed shoes, comes clumping along the gutter. He holds up the
lantern to look for a moment at the struggling man.
ANOTHER ANGLE - the CAMERA SHOOTING down OVER the
shoulders of the man with the lantern. For a brief moment,
the lantern light illuminates the white, desperate face of
the clinging man. Then the man with the lantern grinds the
other man's hand under his heavy heel. The man in the white
shirt falls, screaming.
EXT. ST. MARY'S OF BETHLEHEM HOSPITAL - NIGHT
The falling figure, as the man drops with a long, sustained
shriek of desperation. The body crumples sickeningly on the
sidewalk. People run in from either side. The door opens and
a warder clatters down the steps.
The CAMERA TILTS again and goes up past the doorway to focus
on the lintel between the statues so that the inscription
thereon can be read.
ST. MARY'S OF BETHLEHEM HOSPITAL
Asylum For The Insane
EXT. LONDON STREET - NIGHT
LONG SHOT. A closed carriage comes careening down the street,
its lamps glowing, and the coachman and footman sitting
austerely on the box.
INT. LORD MORTIMER'S CARRIAGE - NIGHT - PROCESS
Lord Mortimer and Nell Bowen. Lord Mortimer is a blandly
stout man, puffy as a Yorkshire pudding, with a belly that
would do honor to Silenus. He is of merry, but stupid,
countenance and even in an age of rococo ostentation, his
costume is outstandingly luxuriant. Actually, he is not a bad
sort; only a little too rich and too foolish for his
country's good.
Like Lord Mortimer, his companion, Nell Bowen, is a product
of her age; a beautiful girl, bold as a frigate, merry as a
flag and with no more thought for right and wrong, or the
problems of the future, than the parrot on her wrist. She
would rather say a bright word than do a good deed. At the
moment, she is amusing herself with her parrot. Lord
Mortimer, between sniffs of snuff and the accompanying
explosive sneeze, is rolling with laughter, his fat belly
shaking. He stops long enough for Nell to coax her parrot to
display its prowess.
NELL
(to the parrot)
Come, Poll, do you know my friend,
Lord Mortimer?
(prompting) )
Lord Mortimer — Lord Mortimer —
The parrot finally deigns to let out a raucous yell.
PARROT
Lord Mortimer is like a pig. His
brain's small and his belly big.
Lord Mortimer is seized with paroxysms of laughter. He hugs
Nell with familiarity in the abandon of his mirth.
EXT. LONDON STREET - NIGHT
MED. LONG SHOT - the coach. A few people running across the
street are in danger of being run down. The coachman slows
his team. A huckster, pushing his barrow before him,
hastening to see the cause of the excitement, brings the
carriage of Lord Mortimer to a complete halt.
EXT. THE COACH - NIGHT
MED. SHOT. Lord Mortimer is leaning forward to see what is
going on. The footman starts to climb down.
INT. THE COACH - NIGHT
SHOOTING OUT PAST Nell Bowen and Lord Mortimer. The footman's
head appears at the window.
MILORD
What's this hub-bub?
FOOTMAN
One of the lunatics from the
asylum, I expect, Milord.
NELL
(excitedly)
A prank? A jest?
MILORD
Go and see, John.
The footman turns and leaves and can be seen pushing his way
through the crowd.
NELL
(looking out and up)
Bedlam --? It doesn't look so merry
a place, Milord. . .
MILORD
Never been there?
Nell, still looking, shakes her head.
MILORD
You'll have to pay Master Sims
tupence to see the loonies in their
cages — maybe they can teach you
some new tricks, Nell.
NELL
I've no need of their wit to
entertain you, Milord.
Lord Mortimer tries to get the kernel of the thought between
his mental teeth. Before he can get it, John, the footman,
comes back through the crowd.
JOHN
They say, sir, that one of the poor
devils in there fell from the roof,
trying to escape.
MILORD
(without any feeling)
Very regrettable — well, drive on.
JOHN
(a little excitedly)
Your Lordship — it seems to me the
man was known to you.
MILORD
Eh?
JOHN
I thought I saw him in your company
not a week gone by.
MILORD
Eh — really?
He shifts himself ponderously forward on the cushioned seat.
MILORD
Well, let's have a look.
John holds the door open for him and he starts to get out.
CLOSE SHOT - the step of the carriage as Lord Mortimer's
satin-slippered foot is placed upon it. The step sags down
and the carriage groans with his weight.
MED. LONG SHOT - the crowd, SHOOTING PAST the rear wheels of
the coach. Lord Mortimer, proceeded by the footman, makes his
way through the crowd.
ANOTHER ANGLE. On the pavement, in a disjointed fashion, the
body of the man in the white shirt lies sprawling. Lord
Mortimer bends over him.
JOHN
(gesturing)
You — with the light —
The link boy advances his torch.
LOW CAMERA SETUP. The torch light illuminates a close view
of Lord Mortimer's face. '
MILORD
(quietly and without change of
expression)
It is — it is young Master Colby.
MED. FULL SHOT. Lord Mortimer turns to a man in a leather
apron whose official capacity as a guard is demonstrated by
the keys hung at his hip.
WARDER
He fell trying to escape. Some of
our boobies haven't sense enough to
keep safe behind their bars.
MILORD
Where is Sims?
The man shrugs.
MILORD
Fetch him.
WARDER
He is dining out, Milord.
MILORD
(angrily)
Dining out with Colby's blood on
his hands! Do you know me?
WARDER
(knuckling his forehead)
Yes, Milord,
MILORD
Then tell Master Sims to wait upon
me in the morning. I have some few
words I wish to say to him.
The warder bobs his forelock in deferential agreement. Milord
turns away, striding through the crowd to his carriage. .
FADE OUT
FADE IN
INT. ANTE-CHAMBER OF LORD MORTIMER'S HOME - DAY
The sun shines warmly into this little bright-bandbox of a
room to illuminate the brooding figure of a man in a black
coat. He sits with his chin upon the rounded head of his cane
and the seamed wickedness of his heavy face, the thick woolen
stuff of his clothes and even the stiff leather of his shoes,
all make a sad contrast to the shining satin, polished wood
and painted wall paper of this pretty apartment.
This is Master Sims, Apothecary General of the Hospital,
St. Mary's of Bethlehem, pamphleteer to the Tory party,
a poetaster and a wit; a type de siecle cut from the
same sharp cloth as Boswell, Johnson and Voltaire; men
of genius who were at the same time scoundrels and toadies.
From the next room comes the shout of Nell's parrot and
the roaring laughter of Lord Mortimer. As Sims sits waiting,
a small procession of servants pass bearing trays of covered
dishes from which small clouds of steam escape. The last is
an elaborately dressed little black-a-moor bearing a small
silver mirror and a patch box. Sims interposes his cane
before the colored boy, bringing him to a halt.
SIMS
Will you remind Lord Mortimer that
I am waiting.
The little black-a-moor gives him one look and passes on
disdainfully.
CLOSE SHOT - Master Sims relaxes again into a waiting
posture. From Lord Mortimer's room comes another shout of
laughter. He looks at the doorway with hatred, then quickly
looks about the room, straightening his face as if afraid
that even this momentary flash of true feeling might have be
on seen.
INT. LORD MORTIMER'S BED CHAMBER - DAY
Lord Mortimer is still in bed surrounded by billowing
cushions, so that the bed and his body are one great mass of
globular curves. Nell Bowen, in a velvet riding habit, her
train over her arm a crop in her hand
and a cocky tricorn on her head, lounges at the foot of the
bed. Beside her on a stand sits her parrot. The servants are
busily setting out Lord Mortimer's breakfast table. The
colored page has presented him with the mirror and is holding
before him. Lord Mortimer selects a patch and looking in the
mirror finds a place for it on his cheek. He pats It into
place, then turns the mirror so that the little, colored boy
can see it.
MILORD
Well, Pompey, are you a pretty boy
this morning?
Pompey looks into the mirror and makes a horrible grimace,
contorting his face into what he conceives to be the very
pink of ugliness.
EXTREMELY CLOSE SHOT - of the mirror with Pompey's grimace
reflected therein.
MED. FULL SHOT - the group.
NELL
What are you trying to do, Pompey?
POMPEY
(looking up)
Milord, I want to look like the
visitor in the hallway.
MILORD
(almost roaring as he sits
up in bed)
Sims! I'd forgotten Sims!
(to servants)
You there clear out. I want room
for anger.
The servants hurriedly finish putting the last dishes on the
breakfast table and, bowing, start to take their departure
from the room.
NELL
(calling after them gaily)
Send in the good Sims — first
course for Milord's rage, to be
eaten with a sauce of Lightning,
and to the tune of thunder - Send
him in — send him in —
INT. ANTE-CHAMBER - DAY
The servants come in from the inner room. One of them
starts over toward Sims who lifts his chin expectantly from
his cane. Before the servant can speak there is a bellow
from the other room.
MILORD'S VOICE
(shouting)
Sims!
With a smirk the servant gestures toward the door. Sims,
rising slowly, passes into the other room. As he goes
through the doorway another bellow can be heard.
MILORD'S VOICE
Sims!
The door closes behind him. With one-accord the servants
cluster about the door, one gluing his eye to the, keyhole,
another his ear to the panel. There is a confused hub-bub of
angry SOUNDS. They grin maliciously. Suddenly, the door
opens and the servants straighten up and try to look as if
they had been engaged upon lawful errands, then relax as
Pompey comes through the door. He looks them over coolly,
shuts the door and then takes the key position at the
keyhole.
INT. LORD MORTIMER'S BED CHAMBER - DAY
Master Sims is making an elegant "leg" before his Lordship.
Lord Mortimer is in full spate.
MILORD
-- that you hated him I knew, that
you envied him was known to all,
but that you would dare -- dare to
leave that murderous window open --
to murder him from spite and envy -
SIMS
Murder, Milord? There was no
murder. Jackson was my guest.
He decided to leave the window
before I could open the door for
him and then -- that monstrous
accident.
NELL
Accident? Master Sims is writing a
new dictionary.
Both men look at her, completely puzzled.
NELL
Are accidents contrived, plotted,
executed?
Sims looks at her for a moment, appraising and judging his
antagonist, then he smirks.
SIMS
Exactly, Mistress Bowen. This
was a misadventure contrived by
the victim and executed by
nature's law that those who lose
their grip on gutters must fall.
MILORD
You stick to that story, Master
Sims?
SIMS
I could never invent one half so
droll. The characters of the tale;
two poets — Colby and myself. But I
am not only a poet, but also, by
your Lordship's favor, the
Apothecary General of St. Mary's of
Bethlehem Hospital. My friend comes
to discuss poetry. I am absent. My
guards mistake my friend for a mad
man. He attempts to escape from
them and is killed -- like a
romance, Milord.
MILORD
It's a romance that cost me twenty
guineas and a night of laughter.
SIMS
How so, Milord?
NELL
(breaking in)
Lord Mortimer was foolish enough to
pay in advance for poetry promised
in the future. Jackson was to write
a masque for the fete Lord Mortimer
is giving.
SIMS
(almost cringing in his servility)
If I could offer my humble talents
- even at the hospital I deal in
wit and laughter, Madame. Are there
any who have come to Bedlam and say
the entertainment is not worth the
tupence they paid?
NELL
You don't entertain me, Master
Sims.
SIMS
(grinning)
That is because you have a tender
heart. Most people laugh at my
ugliness.
NELL
(coldly)
It offends me, sir.
SIMS
(with a gracious gesture)
To move a lady so beautiful in any
way --
MILORD
(laughing)
He's gallant, too.
SIMS
I am as you wish, Milord, and I
shall make your fete a frolic you
will remember.'
MILORD
How?
SIMS
Sometimes the success of the play
belongs to the players. What if the
masque were performed by my company
of wits, the Bedlamites?
MILORD
Have your loonies perform?
He begins to laugh at the thought.
MILORD
The opposition --- not John Wilkes
nor his whole Whig Party -- could
think of anything as clever as
that, eh, Nell?
NELL
You didn't think of it either.
MILORD
Well, it's one and the same thing —
He waves his hand in Sims' general direction.
MILORD
My friend, here, thought of it.
SIMS
Let us say that you inspired the
thought, Milord.
MILORD
(immensely pleased)
You hear that Nell? I inspired him.
Nell looks from Lord Mortimer to Sims and back again. She
says nothing.
SIMS
(trying to draw her into
this community of good
feeling)
Let us say that you both inspired
me — Milord and the beloved of
Milord.
Nell flashes him a quick, hard look.
NELL
I think you misunderstand, Master
Sims. I am Milord's protege. I
entertain him and
he has no more freedom with me than
any other man.
There is a short silence. Both men are embarrassed.
SIMS
I£, Milord, will but give me the
day and hour of the fete, I'll
prepare a masque of madness to set
you howling.
MILORD
A week from today at the Vauxhall.
The company assembles at eight.
SIMS
Thank you.
(to Milord)
With your leave --
He indicates the door. Milord waves a fat but graceful hand.
With another bow, Sims backs toward the door. Milord reaches
for the cup of chocolate on the stand and begins to drink
from a tiny china cup; a cup that looks like a thimble in his
pudgy hand. He begins to laugh. Nell looks at him
inquiringly.
MILORD
A merry notion --
NELL
(sarcastically)
The Lord Mayor will roll in the
soup with laughter.
MILORD
A capital fellow this Sims -- a
capital fellow.
NELL
If you ask me, Milord, he's a
stench in the nostrils, a sewer
of ugliness and a gutter brimming
with slop.
MILORD
But witty.
NELL
(with a smile)
So he tells us.
MILORD
Even if his wit is wanting his
Bedlamites will set my guests
roaring. Everyone who goes to
Bedlam expires with laughter.
Why don't you go and see them,
Nell? You'll see how funny they
are.
NELL
Perhaps I will.
EXT. ST. MARY'S OF BETHLEHEM HOSPITAL - DAY
A group of three Cockney girls carrying baskets go past,
directing their shouts of "Lavender, sweet lavender" toward
the houses across the street from the asylum. A cart
with a canvas tilt passes. In it are a bevy of young women,
fresh from the country. They gawk at the grey walls of
Bedlam, pointing their fingers and chattering among
themselves.
(See Hogarth's "Harlot's Progress, Plate #1") A dandy on
the sidewalk looks at the girls in the slowly moving cart
through his quizzing glass. A scrub woman is scrubbing the
steps to the hospital entrance.
Walking heavily, letting his weighty cane aid him, Master
Sims comes down the street. At the entrance steps he
pauses.
MED. CLOSE SHOT - the charwoman looks up. Towering above
her is the lord of this mad-domain. Hurriedly she begins
to wipe dry the step she had been scrubbing. Sims stands
quietly until she has finished, then, without a word or a
nod, passes on up -the stairs. Almost instantly a warder
opens it and respectfully steps aside to let Sims enter,
Sims passes him without a salutation or without even noticing
the man's hand deferentially at his forelock.
DISSOLVE OUT
DISSOLVE IN
INT. SIMS' OFFICE - DAY
This is a cluttered apartment. Books, manuscripts, bottles,
pipes, canes and other oddments and oddments are scattered
about in a disorderly fashion. In a corner of the room is a
counting desk, Perched on a high stool is a slim wraith-like
creature of the male sex with an enormous periwig atop a tiny
head so that he looks like a spider with a fleck of wool on
his head. He lays down a quill-pen on his ledger and rises to
greet Sims with a low bow. This worthy clerk is called Guy
Podge.
PODGE
(making a leg)
Good morning, Master Sims.
Sims takes off his hat, throws it to one corner of the room,
removes his scratch wig and lets it fall to the desk top.
PODGE
There is a Quaker waiting for you,
sir -- a master stone mason. Will
you have him in?
Sims looks around the desk.
SIMS
Podge where is my rhyming lexicon?
I want a rhyme for Mortimer.
PODGE
That Quaker, sir -—
SIMS
Whatever are you rattling on about?
I have an important commission —- a
rhymed comedy for Milord Mortimer -
and you bother me with some
snivelling Quaker.
PODGE
(humbly)
He's been waiting so long.
SIMS
Waiting?
PODGE
(with a glance at the
clock)
Four hours, sir.
SIMS
I waited three hours for Lord
Mortimer before he would give me a
dog's word. Let him wait.
PODGE
He will not wait. He's a good
workman and cheap, I'm told.
SIMS
Cheap?
(thinking a moment)
Let him in.
EXT. HALLWAY - DAY
Podge crosses to the door, leans out and beckons.
INT. SIMS OFFICE -DAY
In comes William Hannay, a young Quaker of about twenty-six,
dressed in the plain, neat habit of his sect. His hair is
unpowdered and is square cut. He looks both neat and washed,
which is a great deal more than can be said for even the
luxurious person of Lord Mortimer, to say nothing of the
fusty garments and dirty scratch wig of Master Sims. Podge
stands by the door while the Quaker advances and stands
before Sims' desk. Sims, who has returned to his perusal of
the book, does not lift his head. The Quaker stands silently.
Podge makes a nervous SOUND in his throat. Sims pays not the
least bit of attention. There is an awkward silence, then
Sims, very deliberately, closes the book and looks up.
SIMS
You may leave us, Podge.
Podge fusses out the door.
SIMS
My clerk tells me that you will do
the work cheaply.
HANNAY
With cut stone one foot thick and
the best mortar, I could do the
work for fifteen guineas.
SIMS
What if I were to give you eighteen
guineas?
HANNAY
It would be too much.
SIMS
(as If he had not heard)
Eighteen guineas and you are to
return to me two — then you would I
have a better price and I would I
have some reason to employ you.
HANNAY
My friend —- I have forgotten what
thee has said. If thee do not
repeat it, then I can believe no
evil of thee.
SIMS
What kind of can't is this? I've
asked you for a bribe, man! You've
never been asked before? This is
simple business between us two.
HANNAY
(obviously controlling his
temper)
My friend, about the stone masonry -
At his moment, the door bursts open and Nell Bowen comes
sailing into the room.
Sims reaches hastily for his scratch wig, slaps it on his
head and rises, smiling. Nell is in riding clothes and has a
crop in her hand.
SIMS
I had not looked forward to the
pleasure of seeing you so
I soon again, Mistress Bowen.
Nell Bowen, out of the corner of her eye, gives the Quaker an
appraising look, speaking to Sims as she does so.
NELL
I have a curiosity to see the
loonies in their cages.
SIMS
And so you shall — and so you
shall.
Sims goes around the desk and offers her his arm with half
bow. She places her gloved hand on his elbow. Hannay steps
aside to let them pass out the door.
INT. CORRIDOR - ST. MARY'S OF BETHLEHEM - DAY
Sims and Nell come out into the corridor and he guides her
toward the left. Behind them Hannay emerges from the office
and stands waiting.
ANOTHER ANGELS - Nell and Sims walk down the hall. At the
rack, Sims pauses.
MED. CLOSE SHOT. - Sims and Nell. She looks up at the rack.
There are some gentlemen's hats, two small swords, a bludgeon
and a sheathed dirk on a broad leather belt hanging from this
apparatus. A guard stands beside it, Sims puts out his hand
for Nell's riding whip She looks puzzled and draws away from
him.
SIMS
Your riding crop. Mistress Bowen.
You must hang it here. It's a law
of the institute — no weapons —
NELL
For Heaven's sake, why?
SIMS
In his play, Dekker, a second-rate
dramatist of the last century,
wrote of those in there --
He gestures to the door at the end of the corridor.
SIMS
"Fierce as wild bulls/ untamable as
flys,/ And these have oft/ from
stranger's sides,/ Snatched rapiers
suddenly/ and done much harm."
NELL
Strangely — one forgets you are a
man of letters, Master Sims.
Neil hands him her whip. He hangs it on the rack.
SIMS
Our hospital is ancient and well
known -- much written of —- I dare
say, no man or woman comes to
London from the country who does
not pay his tupence.
He puts out his hand, palm up and Nell fumbles for a moment
in a reticule at her waist, brings forth some coins, counts
out two coppers and puts them in his hand. He smiles and
offers her his arm again.
TRUCKING SHOT - The CAMERA on a crane, DOLLIES BEFORE Nell
and Sims as they walk toward the doors at the end of the
corridor; The nearer they get to the door the closer the
CAMERA is to Nell's face so that finally she is in full CLOSE
UP. As she walks down the corridor strange cries, shrieks,
bursts of laughter and hysterical babblings grow louder and
louder, Nell, listening as she walks, grows more intent and
wondering. So long as Sims continues in the frame, he is
watching her reaction to these SOUNDS with cruel amusement.
As the CAMERA BACKS THROUGH the double doors, the doors
opening to either side, Nell's face is in FULL CLOSE-UP.
Both she and the CAMERA STOP.
The CAMERA HOLDS just long enough to convey the look of
horror on her countenance, then activated by the crane, the
CAMERA SWOOPS UP and BACK to reveal the SOUND and fury of
Bedlam.
(Note to Director: Please use care with the following
sequences according to conversation regarding the showing of
insane and lunatic persons.)
The main ward of Bedlam from the superior height of the
camera is shown as a strange, unearthly place. Barred windows
set high in the wall push dust-filled beams of sunlight
across the room, leaving the larger portion of the great hall
in shadow, In these shadows and in the blinding sunlight,
strange, aimless human beings can be dimly seen. At the same
moment that this curious room reveals itself to the eye the
horrid SOUND of Bedlam bursts upon the ear; the moans, the
shrieks, the maniacal laughter and the bird-like twitter of
idiocy. At the far end of the room, Sims leads Nell from the
dark doorway to a blazing square of sunlight.
FULL SHOT - Sims and Nell. Nell looks about her. What she
sees is one small section of the main hall of Bedlam. Near
the stairway are the open doors of two rooms through which
the mad inmates can be seen.
(This set up should approximate the picture of Bedlam by
Hogarth, with Sims and Nell in the places of the mistress and
the maid, visitors to the institution who can be seen in the
left middle b.g. of the painting.)
MED. CLOSE SHOT - Nell and Sims are seen through the weaving
ribbons in the fumbling hands of an idiot who is amusing
himself at "Cats Cradle."
SIMS
Are they not witty, Mistress Bowen?
Look at the frolic that this one
treats himself to. All day long
weaving nets to catch peacocks for
the Royal dinner.
He forces a laugh, Nell looks at him.
NELL
(quietly; still shocked by
the first contact with
the insane; almost as if
to herself)
They are all so lonely -- they are
all in themselves and by
themselves. They pay no heed to us.
SIMS
(smiling faintly)
You noticed that. They have their
world and we have ours.
NELL
(still speaking almost as
if to herself) )
Like separate dreams.
SIMS
Ours is a human world, theirs is
a bestial world -- without reason
and without soul. They're
animals.
He takes her arm.
TRUCKING SHOT - Nell and Sims as they approach a pillar that
holds up the roof of the great hall. At a small table butted
against this pillar sits a quiet, decently dressed man,
Oliver Todd, the author, who is busily writing with a quill
pen, Sidney Long, a tall, slim man of early middle age with a
bald head and dressed in breeches and waistcoat leans against
the table. Crouched at the foot of the table is a timorous
young maniac, Dan, whose eyes are wide with countless, unseen
terrors.
SIMS
(as they come up to this group)
Some are dogs, These I beat.
He lifts his hand and Dan, the Dog, crouches away from him in
abject fear,
SIMS
(as they continue to walk)
--and some are pigs.
(he points)
MED. CLOSE SHOT - A dirty man. This man has matted unkempt
hair and board and crouches down in a mass of soiled rags.
SIMS
--these I let wallow in their own
filth.
They pass on.
TRUCKING SHOT - Sims and Nell.
SIMS
Some are tigers -- their remedy is
a dose of iron -- chains.
He pauses and points.
ANOTHER ANGLE - to show the barred doorway of the room in
which Tom, the Tiger is confined. This is a gigantic maniac.
The rents of his garments show the muscles of his torso and
arms. He is chained to the wall; one chain binds his right
arm to the wall, another chain passes about his waist and
through in the wall behind him; other chains hold his legs.
Only his left arm and hand are free and with this hand he is
plucking at the chain which binds his torso.
MED. CLOSE SHOT - Dorothea, a young girl in a grey gown, her
dark hair falling about her shoulders. She stands statue-like
by a pillar, her eyes set in a vision of far away worlds.
Not a muscle moves in the face of this victim of melancholia.
As Sims and Nell come up to her, Sims stops and with a coarse
hand pats the cheek of the insane girl, the contemptuous sort
of pat one would give a heifer in passing a stall.
SIMS
—- and some, like this one are
doves.
Nell looks at him with aversion.
NELL
I've seen enough.
She turns and starts away.
TRUCKING SHOT - Sims catches up with Nell and lays his hand
on her elbow.
SIMS
But you haven't seen the ones in
the cages —-
NELL
I've seen enough.
She marches resolutely toward the door.
INT. CORRIDOR - ST. MARY'S OF BETHLEHEM - DAY
Nell, with Sims a pace behind her, comes out the double doors
and starts toward the rack.
MED. CLOSE SHOT - the rack with the Quaker in the b.g. Sims
and Nell come up, and Nell reaches for her whip. Sims, with
exaggerated politeness forestays her and hands it to her
ceremoniously.
SIMS
-- but you have no idea how merry
they can be -- what amusement they
afford --
NELL
Amusement? From that mad girl with
her staring eyes?
CLOSE TWO SHOT - Nell and Sims. With a sudden exasperated
movement, Nell lifts the whip and brings it down in a
smashing blow across Sims' cheek.
Sims nursing his cheek, makes a leg, backing away from her.
SIMS
If I have offended you, Mistress
Bowen --
Nell starts to lift the whip and he backs away from her. She
turns and starts rapidly away, flouncing past the Quaker
without giving him so much as a look.
CLOSE SHOT - Sims, as he watches, Nell.
EXT. ST. MARY'S OF BETHLEHEM - NOON
Before the door of the hospital stands a gnarled, misshapened
little valet, wearing postillion boots and holding the
bridles of two blooded horses. One of these horses carries a
side-saddle. They move restively and he calms them by patting
their necks.
Suddenly, the door of Bedlam bursts open and Nell, without
bothering to close it, comes quickly down the steps. Behind
her in the doorway, the Quaker appears and starts coming down
the steps.
MED. CLOSE SHOT - As Nell comes to her valet. She crosses
quickly to her horse, Varney cups his hand for Nell's foot to
help her mount. As she starts to put her foot between his
hands, she makes a sudden quick movement to transfer her crop
from her left to her right hand. The suddenness of the
movement alarms Varney's horse. It rears and Nell's horse
shies and pulls away from Varney. He tries to hold the reins
as the horse rears and plunges.
Suddenly, Hannay steps in, takes the reins from the little
valet, and after a brief struggle, he subdues the horse,
holds it for a moment patting Its neck to calm it.
NELL
Thank you, sir.
(smiling)
My valet can plait a tress or twirl
a furbelow quicker than a handy
woman, but he has no knack with
horses.
HANNAY
I was glad to do thee this service,
I saw thee strike Sims. Thee should
not have done that.
NELL
Do you think I'm afraid of him? Do
you think he could harm me?
HANNAY
(sailing)
Thee are able enough. It is the
poor ones in there I'm thinking of.
Sims will make them suffer for that
blow.
NELL
Are we lovers, that you "thee" and
"thou" me? I've never seen your
face before,
VARNEY
He's a Quaker, Mistress Bowen,
He goes through an absurd performance of shaking and
shuddering. Hannay looks at him with deep resentment,
HANNAY
My name is William Hannay. I am one
of the Society of Friends.
NELL
(scornfully)
I've heard of them. They turn the
other cheek,
HANNAY
(smiling)
There's more to being a Quaker than
turning the other check, and saying
"thee" and "thou".
It's feeling pity for those in
there, as you did,
NELL
Do you think I struck him because I
felt pity for the loonies?
HANNAY
I saw it in thy face.
Nell forces a laugh.
NELL
Pity? I had no such feelings, sir.
I struck the man because I wanted
to — because he is an ugly thing in
a pretty world.
HANNAY
There are many ugly things in this
pretty world, if thou would but see
them.
NELL
(looking at him directly)
Master Quaker, I did not always
wear velvet.
HANNAY
(smiling)
Eh, I had guessed that. But where
there is one like thee to wrest
comfort from a hard world with wit
and cleverness there are ten
thousand who can not.
NELL
I have no pity for them. Let them
do as I did.
HANNAY
But those in there --
(pointing)
Can they help themselves?
NELL
And I have no pity for them, either
-- animals without souls --
HANNAY
That is not thy thoughts.
NELL
Is it not? Come a week hence to
Vauxhall in the evening and you
will see me laughing at those same
loonies you think I pity.
Nell makes a motion to Varney who cups his hands again. Nell
places her foot in his hands and mounts her horse.
HANNAY
Thou will not laugh at the poor and
the afflicted -- not thee. I have
seen great ladies and their hearts
were like stone, but thee --
As Varney mounts, Nell looks down at Hannay,
NELL
(gathering her horse)
My heart is a flint, sir -- it
may strike sparks, but they are
not warm enough to burn. I have
no time to make a show of loving
kindness before my fellow men --
not in this life. I've too much
laughing to do.
She strikes her booted foot against the horse's flank. Varney
rides after her. Hannay watches them.
FADE OUT
FADE IN
EXT. THE FETE CHAMPETRE - VAUXHALL GARDENS - NIGHT
The CAMERA SHOOTING OVER the necks of two fiddles
DISCLOSES a night scene from Fragonard: At a long table
covered with linen and gleaming with silver is a gay company.
The men are in court dress and powdered wigs; the women in
bouffant skirts. The whole scene is illuminated by
lanterns hung on tree limbs and in the bushes and shrubbery
of the gardens.
At one end of the table stands a structure not unlike the
tall, narrow apparatus which Punch and Judy shows are given.
A curtain hangs across the face of this box hiding its
contents from view.
The CAMERA EDGES BACK TO show the two musicians in the
foreground who sit on the lawn, their backs against the
bole of a great oak.: One la playing a violin,-the-—
other a viola and behind them, standing leaning against the
trunk of the tree is another musician with a
Suddenly from the right a tumbler in multi-colored garments
comes whirling in, head over heels, a torch in either hand.
His last violent somersault brings him right side up in front
of the table.
MED. CLOSE SHOT - Lord Mortimer at the center of the table
with Nell at his right hand and another lady on his left.
In front of the table is Sims, dressed in court satins and
wearing a white wig on his head. The acrobat, torches in
either outstretched hand, has come to a stop just beside
him,
REVERSE SHOT - SHOOTING OVER Lord Mortimer's shoulder. Sims,
grinning, holds the acrobat's head in his hands at table
level, his right hand under the man's chin and his left hand
on top of his head. The effect is that of a man who holds
a manikin head, inasmuch as the acrobats face is masked
with a sharp-nosed Venetian mask through which the eves
gleam in mad fun,
SIMS
(ceremoniously)
--and here, Milord, is the
spirit of Lunacy to illuminate
the Golden Age of Reason —
He releases the mad acrobat's head.
ANOTHER ANGLE - With a prodigious leap the acrobat
whirls, somersaults and lands on his knees in front of the
gaily painted box. He holds up his torches and the
curtains slowly part to reveal what appears to be a gilded
statue; the subject a youth crowned with bays, a loin cloth
around his hips and a golden orb and scepter in his hands,
ANOTHER ANGLE - to include the entire table. There is
a stir among Milord's guests; exclamations of delight and a
light patter of applause. Sims bows.
SIMS
Lit by Lunacy and speaking with the
voice of Youth, the Age of Reason
will tell you of its brightest
adornment--(with a gesture) Milord
Mortimer.
MED. CLOSE SHOT - The gilded boy moves forward to the
little stage-like projection at the opening of the box. For
the first time it can be seen that this is not a statue,
but a young boy of about twelve covered from head to foot
with gold leaf. Now that his eyes are open, they stare
wildly pale in contrast to the gilded skin. He tries to
speak, gasps, and tries again.
MED. FULL SHOT - with Sims in the foreground.
SIMS
(lightly)
Come Reason, you've wit enough
to say a word or two.
The boy tries again.
MED. CLOSE SHOT - Lord Mortimer as he half rises and calls
down to the end of the table.
MILORD
What say you to this Wilkes --a mad
boy playing Reason. That's a Tory
joke for you.
MED. CLOSE SHOT , The end of the table. Here sit Lord
Sandwich and John Wilkes. A pretty girl sits between them
with numerous patches on her face. Wilkes bends across to
speak to Lord Mortimer.
WILKES
...And only the Tories laugh at
it. The opposition wonders what
the effect may be on that sick
young boy. The Tories care only
for the jest, we Whigs have some
concern for the humanities.
MED. CLOSE SHOT - Milord.
MILORD
You hear that, Nell — give them a
jest and they answer with a
political tirade.
NELL
He said something about the boy --
the effect --?
MILORD
(carelessly)
Go and ask him. He'll make you a
speech on the matter.
Nell shrugs.
MED. FULL SH0T - The gilded boy - Sims in the f.g. and part
of the company at that end of the table.
GILDED BOY
To this pretty world —
CLOSE SHOT - Nell.
GILDED BOY'S VOICE
(fumbling over the words)
— pretty world --
She looks thoughtful, then starts to rise.
FULL SHOT - The entire company as Nell starts down toward
Wilkes' end of the table. (Note to Director: Please avoid
showing the full figure of the gilded boy as much as possible
by using the voice to gain such effects as can be had.)
GILDED BOY
To this pretty world, there came
Heaven sent, Divinely Inspired —-
He breaks off.
SIMS
Good — good — the great voice of
reason.
GILDED BOY
The blessing of our age —
He stops again.
SIMS
(prodding him with his
cane)
Come, come! I spent all morning
beating it into your head.
The people at the table laugh. The gilded boy drops the
scepter and clutches his throat as if it pained him.
SIMS
(Turning to Lord Mortimer)
You see, Milord, Reason is overcome
with emotion when it must speak of
you.
MILORD
Prod him on, Sims.
SIMS
Come on! A few more of those golden
words I taught you, lad.
GILDED BOY
A man set like a jewel --
MED. CLOSE SHOT - The other end of the table. Nell is
bending over Wilkes' shoulder to speak to him. He is half
turned.
WILKES
The effect? Somewhere I heard that
the human body must breathe through
its pores. If you shut those pores -
He gestures toward the glided boy. Nell looks over, nods and
starts back.
Nell looks over.
EXTREME LONG SHOT - The young lunatic in his bright gilt is
writhing in agony. By now the orb, too, has joined the
spectre on the ground. Sims points at him _with his pane.
SIMS
Another word, good, gentle Reason.
GILDED BOY
(in a voice choked with
pain)
— this prince of men, this paragon -
He stops, fighting for breath.
SIMS
Go on.
CLOSE SHOT - Lord Mortimer with the two ladies on either
side. He is laughing and the hand that holds his wine glass
shakes with mirth and the wine drops over the satin of his
coat and stains the ruffles at his wrist.
The woman at his left bends forward, eager and excited by the
pain she witnesses. Her face is set.
SIMS' VOICE
Go on -- go on!
MED. FULL SHOT -- Sims and the glided boy -- Sims prods at
him with his cane.
GILDED BOY
(forcing it out)
Lord Mortimer —-
He falls to the ground and lies still.
FULL SHOT - The table. There Is a general stir, but most of
this movement is the excitement of laughter.
MED. CLOSE SHOT - as Nell comes to stand beside Lord
Mortimer.
MILORD
(laughing)
Bless me, Nell, better than
your parrot -- what an eulogy -—
from a mad boy freezing with ague
and burning with fevers.
Nell looks at him without replying.
MED. FULL SHOT - Sims bending over the boy. Two footmen with
white aprons over their livery come into the scene.
SIMS
(to the servants)
Duck him in the river -- a
bit of canvas and a handful of
coarse sand will get the gilt off.
As he says this,Nell leans across the table toward him.
NELL
Master Sims —
He turns in her direction.
NELL
Isn't that harsh treatment for a
sick lad?
SIMS
They have to get off the gilt if
he's to be well again.
NELL
So you know that.
Sims looks at her with an air of surprise.
SIMS
Know what, Mistress Bowen?
NELL
You know that anyone painted
over so thick as this poor lad
will die.
ANOTHER ANGLE - the table. This has become more
interesting than the guests had anticipated. They are
craning forward eagerly some still half-smiling from
their former laughter.
CLOSE SHOT - Sims.
SIMS
If I understand you properly, this
boy is dying because --
A footman kneeling, beside the boy looks up and plucks at
Sims' sleeve. Sims looks down.
FOOTMAN
The boy is dead, sir.
SIMS
(correcting himself)
-- the boy is dead because his
pores were clogged by the gilt.
GROUP SHOT.
SIMS
Well, then, sweet Mistress Bowen,
as you are such a stickler for the
correct definition, you will grant
me the legal fact that this boy
died by his own exhalations. You
might say — he poisoned himself.
FULL SHOT - the table. As the guests hear this, they burst
into loud laughter.
FOOTMAN
(to Sims)
Where shall we take him?
SIMS
I have told you -- the river —
canvas — sand -- there is no change
in my order.
The servants start to pick up the boy.
ANOTHER ANGLE - SHOOTING PAST Nell as she watches the
servants carry away the limp body of the boy. Then she looks
at Lord Mortimer. He Is pouring wine; his chuckles subsiding.
She looks to the right. A fop is seated there, licking pastry
off his fingers.
NELL
Milord -- have we not had enough of
this?
MILORD
Eh?
NELL
(pointing to Sims)
Enough of this boring, dull man and
his cruelty. "
MILORD
But we're all laughing, Nell.
NELL
I'm not laughing, Milord..
MILORD
He shall make you laugh.
(calling)
Sims!
NELL
Spare me that.
She starts to turn away.
MILORD
But Nell —
NELL
A boy died tonight —- a boy -- a
boy who had no mind to guide his
thoughts or deeds — maybe there'll
be some concern about that among
the Whigs. There certainly is none
among the Tories.
MILORD
Oh, you'll find they're laughing
too.
She starts away and he gives her a little push in back as if
it were a benediction and a blessing. She moves off.
MED. CLOSE SHOT - Wilkes, Lord Sandwich and the paramour of
that nobleman.
LORD SANDWICH
Liberty — that is a great word you
Whigs found somewhere, but just the
same, you'll end either with the
pox or on the gallows.
WILKES
That, Milord, depends on whether I
embrace your sweetheart or your
politics.
Lord Sandwich and his companion burst out laughing.
Wilkes Joins in.
ANOTHER ANGLE. It is at this moment that Nell comes walking
up behind them. She has not heard what was said; she hears
only the laughter. She looks at them for a moment without
speaking, then with a look of disappointment, walks off.
LONG SHOT - Lord Mortimer's end of the table.
Sims is leading up a young lady whose face is also adorned
with a Venetian mask. This one is fringed and hung with tiny
bells.
SIMS
(with the air of one who
is master of ceremonies)
Here is Alfrieda, Queen of the
Artichokes. She will sing for you.
FULL SHOT as seen from Nell's angle. She hears the roar of
laughter and sees the poor, mad wench trembling at Sims'
side, then turns and passes into the darkness between the
trees. As she does so, a cracked female voice can be heard
beginning the song. "One World's Turned Upside Down."
DISSOLVE
EXT. LONDON STREET - NIGHT
CLOSE SHOT - a barber shop window. (See Hogarth's painting,
"Night".) The window is set with small square panes of
glass. In each pane is a short candle. This candle-light
illuminates not only the interior of the barber shop but also
a portion of the darkness outside. Through the window, as
in the Hogarth painting, a barber can be seen shaving a
customer, holding the customer's nose between thumb and
forefinger to steady his head. The CAMERA DRAWS BACK TO show
a doorway at one side of the barber shop. On this doorway
is lettered
THE SOCIETY OF FRIENDS
Meeting House
As the CAMERA HOLDS on this doorway, the doors open and
Quaker men and women come quietly out into the street. Some
walk one way, some the other. William Hannay comes out and
starts down past the barber shop. As the light from the
candle-lit window falls on him, a voice from the other side
of the street calls his name,
NELL'S VOICE
Master Hannay --
Hannay stops abruptly puzzled.
MED. FULL SHOT - Nell's carriage, parked on the other side of
the street. Varney opens the door and Nell, in all the
finery she wore at the fete, comes out and sweeps across the
street, the CAMERA PANNING WITH her.
FULL TWO SHOT - Nell as she comes up to Hannay,
HANNAY
This is a strange place to see
thee, Mistress Bowen,
NELL
(looking around)
A little dull perhaps — but a good
enough place to ask the
questions I want to ask.
HANNAY
(smiling)
So far, Mistress Bowen, I have
found thee more ready with
answers then with questions.
NELL
Don't fear -- my questions are pert
enough. First, do you
think me a woman of kind heart?
HANNAY
So I have told thee.
NELL
Why?
HANNAY
I saw thy face at Bedlam — it had
compassion and kindness.
NELL
I have never seen that in my
mirror. But let's say I grant
the fact — let's say I saw
things that moved me to pity --
what then, Master Quaker?
HANNAY
Perhaps God sent thee here so that
thee might find guidance -—
NELL
From you?
HANNAY
I have not said so.
NELL
Well, from whom then?
HANNAY
Perhaps he sent thee so that we
might speak together.
NELL
I have seen things tonight I
have no liking for — my friends
laughing at sorry idiots brought
out from Bedlam to amuse them --
a poor boy --
HANNAY
Thou need not tell me. It Is
a bad time for the poor -- and
people suffer, the ones With wit
and the ones-without.
NELL
And if you feel sorry for them -—
what do you do about all this?
HANNAY
I do what I can. I am a stone
mason.
NELL
How does that help people?
HANNAY
I build well -- let others build as
well — and soon this city will
be a clean and decent habitation.
NELL
But what of me? What can I do? I'm
only a jester to bring laughter to
Lord Mortimer's dinner table.
HANNAY
Perhaps even in the amusement of
Mortimer there may be a way for
thee to help the poor people in
Bedlam. Is not Mortimer a member of
the Council?
She looks at him for a moment, then nods her head.
NELL
Good. You're not such a fool as
I thought you.
(suddenly flirtatious and feminine)
But why don't you remove your
hat — have you no liking for me?
Almost instinctively the Quaker starts to lift his hand
to his hat brim then stops and brings it down to his
side.
HANNAY
It is a rule among the Friends to
uncover only before God.
She smiles at his confusion. He smiles back at her
FADE OUT
FADE IN
INT. LORD MORTIMER'S ANTE-CHAMBER - DAY
CLOSE SHOT - Pompey. The little colored boy is seated on a
high stool, examining with a dandified air the polish of his
finger nail. He turns from this elegant diversion to
the disdainful contemplation of some person at the other
aide of the room.
The CAMERA PANS WITH his glance to reveal Master Sims
in his snuff-brown coat, his chin on his cane, waiting
as he waited before.
ANOTHER ANGLE of the room - showing the door to Lord
Mortimer's chamber. The door opens, a gentleman Is
= ushered out by a footman, who, holding the door open,
turns to Sims.
;'
FOOTMAN Milord will see you now, Master Sims.
Sims rises slowly, crosses to the door and goes through it,
Pompey watches him with lofty interest. When the ..
door closes-behind Sims, Pompey returns to the elegant
examination of his finger nails,
INT. LORD MORTIMER'S chamber - DAY
Milord, dressed in his small clothes but without his coat, is
seated before his poudoir. His valet is in attendance. At
the moment of Sir-is' entrance, Lord Mortimer has his fat
face deep within a paper cone and the valet is sprinkling
powder on his dressed wig,
Nell is seated on a straight chair beside a little table on
which is a plate of biscuits and a glass of wine. She is
nibbling at a biscuit.
SIMS
(making a leg)
Good morning, Mistress Bowen,
NELL
(gaily)
Good morning.
Lord Mortimer emerges from the powder cone,
MILORD
Ah, there, Sims -- Ah, Sit down
and wait a bit, I've news for you.
He puts his face back in the cone,
SIMS
(to Nell)
I trust you enjoyed the fete.
NELL
You will hear presently how much I
enjoyed it.
Lord Mortimer emerges from the cone. The valet takes . ;
it away from him and begins to whisk the loose powder
from his shoulders,
;
MILORD
Sims, you've no idea what we've
decided, Nell has a splendid
notion. She wants to turn
¦
Bedlam upside down -- make all
:
the loonies happy as linnets,
SIMS Mistress Bowen is very kind.
You can't imagine what a clever
vixen she is, Sims--- thought
it all out before she oven spoke
to me -- beds -¦- blankets --
1
some to sow and some to bake --
good food — a practical lass,
SIMS
(smiling)
I can quite understand what
Mistress Bowen wants. We've
needed good beds and good food in
Bedlam for a long while,
NELL
You've forgotten to mention good
treatment, Master Sims,
SIMS
That, too, I'm sure we could
afford that.
He pauses, looking at Nell.
SIMS
You can't imagine what gratitude I
bear you, Mistress Bowen, Those
reforms you propose will make my
name stand out in the history of
Bedlam --
The valet begins to hang a sash around Lord Mortimer's bosom.
Lord Mortimer rises to facilitate this ministration,
MILORD
(to Sims)
We know you'd agree.
SIMS
I'm overjoyed, Milord,
MILORD
Good — good.
(to Nell)
You see, it's done, Nell -- not a
bit of trouble.
SIMS
There is but one little point,
Milord — the trifling matter of
money.
NELL
(quickly)
Milord has thought of that..
MILORD
Of course — of course - the council
will vote the funds.
SIMS
That is generous of you, Milord
very generous.
NELL
How so, Sims? What sort of
generosity?
SIMS
Does not Milord have property in
Moorfields?
MILORD
A dozen dwelling houses — a
warehouse — two inns. You see,
Sims, I know my accounts,
SIMS
I know your properties. They are
taxable by the institute,
therefore, Milord, this reform
would cost you no loss than five
hundred guineas in additional
taxes. But what is that to you,
Milord -- a more bagatelle — some
little gift you'd gladly give to
Mistress Bowen,
NELL
I'll relinquish that little gift,
Master Sims.
MILORD
I gave you no gift, Nell.
SIMS
She merely speaks, Milord, of a
gift she's not going to have. Now
take Master Wilkes -- he would
never be so generous -- he would
say, "Loonies don't vote."
MILORD
But that's true. There is
nothing to be had from them.
NELL
You were going to do this as a kind
deed, Milord.
SIMS
(murmuring)
Five hundred guineas.
MILORD
There would be so much I would have
to do without. We'll have to
forget this whim of yours, Nell.
NELL
It is not a whim, Milord. It is the
first thing I've asked of you.
SIMS
(protesting)
Now, Mistress Bowen, Milord has to
keep up appearances at Court —
that's a great expense to a man.
MILORD
That's true. You've no idea,
Nell, what a great responsibility
it is to be rich— what an expense.
NELL
It's simply this, Milord — I've
asked you to do a good deed - and
you find the very thought of it too
expensive.
MILORD
You've no right to speak to me that
way, Nell.
NELL
I've all the rights of having put
up with you for almost a year
Milord — trying to make you laugh
and then listening to that fat
laugh of yours as it comes rumbling
out of your fat throat.
MILORD
(sputtering)
Put up with me -- with me --
NELL
I said so.
MILORD
But look what I've done for you.
You'd be camping In the rain on
Strathmore Common with the other
strolling players if you had not
caught my eye.
NELL
Do you call that weak and watery
vessel your eye? I would not
want to look at the world
through it. I would not want to be
a dull man forever in need of
amusement. I would not want to
bribe and be bribed -- to fawn upon
the king and kick the commoner -
in short, Milord, I would not
want to be Lord Mortimer.
SIMS
Such angry words.
MILORD
(sputtering)
You would not want -- you would not
want --
NELL
(as she starts for the
door)
Nor do I want to be with you --
not for an instant longer -
maybe being rich and great and
powerful is infectious -- it's a
disease I don't want to catch.
Goodbye, Milord.
At the doorway she turns. An amused light comes into
her eyes. She first grins, then grimaces and sticks her
tongue out at Lord Mortimer,
INT. ANTE-CHAMBER - DAY
Nell comes quickly out of the door and passes with a rush
through the ante-chamber. Pompey, still seated on the high
stool, looks at her in astonishment. And when the wind of
her passage subsides, he sits puzzling out the meaning of
this passionate exit. With a shrug he gives up the mental
effort and takes from his pocket a pair of "conquerors",
two chestnuts, each tied to a separate string, which he
proceeds to bang together to see which one "wins."
Then, as the door to the inner room begins to open, he
quickly stuffs them back Into his pocket and assumes a
formal air. Sims and Lord Mortimer appear in the doorway.
Lord Mortimer's arm is familiarly about the shoulders of the
other man.
SIMS
Of course, as I pointed out to you,
you have every right to take legal
steps --
MILORD
You've been very helpful, Sims.
SIMS
But it grieves me, Milord, to have
been the cause of the quarrel.
He starts to go through the door, with him.
Lord Mortimer goes
MILORD
It was not your fault. She
quarreled with me. She insulted me.
Sims bows and Lord Mortimer closes the door behind him, Sims
straightens himself; breathes deeply. Pompey watches him,
then suddenly jumps off the stool, bows and says with great
respect.
POMPEY
May I guide you to the door, Master
Sims?
With assured pride, Master Sims follows the pageboy from the
room.
FADE OUT
FADE IN
INT. NELL'S LODGINGS - MORNING
The place is in an uproar, A bailiff, assisted by
several porters, is removing the furniture. The
bailiff has a paper in his hand which he waves angrily
before Nell's face. Varney cowers in one corner. The
parrot on its stand in the other corner of the room is
screaming and flapping its wings. Nell has a dish in her
hand and this dish is in imminent danger of being thrown
at the bailiff.
BAILIFF (WAVING THE PAPER)
You know Lord Mortimer's signature
--is this not it?
NELL
I can recognize a pig's tracks
when I see them.
BAILIFF
Then you know I have the right to
remove the furniture which he
loaned you.
NELL
Loan does he call it? He and that
loathsome Sims.
BAILIFF
It is all legal -- all by order.
NELL
Oh, take it and get out!
She lifts her hand. The bailiff ducks. She puts the dish
down gently on a small table. The bailiff picks it up and
hands it to one of the porters. He crosses the room and
picks up the parrot, stand and all. Varney comes out of his
corner and takes hold of the stand.
VARNEY
That's not Lord Mortimer's.
NELL
Leave Poll alone. She's no present
to bo given and taken back.
VARNEY
She's been with Mistress Bowen
since Mistress Bowen played
"Aurora" in "The Rivals."
(proudly)
We did very well in that.
The bailiff relinquishes the parrot and looks around the
room which has been cleared by his men. With a courteous
tilt of his hat he goes out. Nell looks around her. There
is nothing in the little room except Varney, herself and
the parrot on the stand. She begins to laugh.
NELL
Serves me right, Varney. A kind
heart butters no parsnips.
VARNEY
But what shall we do, Mistress
Bowen? We've nothing but the
clothes we wear and poor Poll.
NELL
Poll? Poll's enough---
CLOSE SHOT - the parrot as she reacts by cocking her head
quizzically to one side.
DISSOLVE OUT
DISSOLVE IN
INT. LORD MORTIMER'S ANTE-CHAMBER - AFTERNOON
MED. FULL SHOT of Sims and Mistress Sims. Mistress Sims is a
young woman of about thirty. She is dressed in the mode, with
perhaps a little more elegance than an honest woman would
display. Her figure is good and when she moves there is an
assurance and authority in her movements that one would not
readily ascribe to a young and innocent girl. On her face are
several decorative patches; their placement, as was the
manner of the time, dictated by such skin blemishes or marks
of disease as they wore intended to hide.
SIMS
--and—remember if gin is offered
you, my dear, you must take wine —
it is more genteel.
MISTRESS SIMS
But I like gin. It makes me merry.
SIMS
You'll be merry enough on wine.
MISTRESS SIMS
But you tell me that Lord Mortimer
likes a witty girl.
SIMS
You'd best leave the wit to me,
I'll make you seem witty.
MISTRESS SIMS
I can crack a joke well enough.
SIMS
Not in good company, my dear niece.
You're not accustomed to it, you
know.
MISTRESS SIMS
(hurt)
I've known some gentlemen.
SIMS
But this is a lord -- a man from
whose largess many blessings can
come to the family of Sims -- and
all for just a little laughter.
That's all he wants — to be amused.
MISTRESS SIMS
A fine lord indeed! Mocked by a
parrot.
SIMS
But that parrot is our key to open
Milord's friendship to you.
Remember, you were offended -- you
offered money --
It is at this moment a footman emerges from the interior
chamber, and, with a bow, gestures to the open door.
HIT. LORD MORTIMER'S CHAMBER - AFTERNOON
Lord Mortimer is at a small Sheraton desk, writing with a
quill pen. He rises to greet his visitors.
SIMS
Milord — a dreadful things --
He catches himself in a pretense that his excitement had
overcome his good manners.
SIMS
Lord Mortimer, this is my niece,
Kitty.
MILORD
A charming person -- she does you
honor, Sims. But have you heard the
latest news of my lady Mistress
Nell? What a jest she's hit upon.
SIMS
You mean the parrot, Milord? It is
because of that we've come here.
MILORD
(admiringly)
-- A great bit of jest -- what a
vixen!
Sims and Mistress Sims exchange glances.
SIMS
I had hardly thought to find you in
such humor.
MILORD
But it's only a jest. Nell has the
bird for sale in the market place
letting it scream that silly ditty,
"Lord Mortimer is like a pig, His
brain's small and his belly big."
All London's come to laugh at the
bird.
SIMS
So they have. And It does you no
good, Milord, This joke will make
your proud name a mockery.
MILORD
The bird won't sing too long. I've
sent Pompey to buy it,
MISTRESS SIMS
(in a rather flat, vulgar tone)
That girl holds the bird at a high
enough price.
Sims darts her a look.
SIMS
(quickly)
My niece knowing of my affection
for you tried to buy the bird. She
offered twenty guineas and was
refused.
Lord Mortimer starts to cross to a small table on which are
sot out a carafe of wine, glasses and a stone bottle of
Holland gin.
MILORD
Oh, Mistress Bowen wants more
honey, on her bread than that,
Sims." Pompey has a purse with a
hundred guineas in it.
MISTRESS SIMS
(with a glance at Sims)
A hundred guineas for a bird!
MILORD
Will you have some wine, Mistress
Sims?
MISTRESS SIMS
Wine is too French for me, Milord.
It is the way I feel about men. I
like men to be as big as beer and
as strong as gin. Beer has a head
on it, you know. You can't say
that for wine. Gin has some muscle
to it and you can't say that for
wine either.
Sims tries to give her a warning glance. She takes the drink
of gin Lord Mortimer has poured for her,
MILORD
(watching her)
Bless me, I've never heard anyone
put it that way.
SIMS
There is much to be said for our
national institutions.
It is at this moment that there is a discreet knock at the
door.
MILORD
Come in.
Pompey enters and as he comes through the doorway he holds up
a purse apparently full of guineas. '
MILORD
She refused?
POMPEY
She said it was not enough.
MILORD
What sort of game is this?
POMPEY
Mistress Bowen told me to tell you
the bird would remain for sale and
that you could sell every property
you owned and not have money enough
to buy it.
SIMS
Oh — that's the way the wind blows,
Milord.
MILORD
Malign me - The girl digs her spurs
too deep.
Sims beckons and Lord Mortimer follows him to a corner of the
room.
SIMS
(whispering)
Milord, we can always make her my
guest.
MILORD
At Bedlam — no, no. She's as sane
as you and I.
SIMS
Was Colby mad? He was my guest.
MILORD
We've been good comrades, Nell and
I. I'll not do that.
SIMS
As you will, Milord.
They start out of the two shot,
MED. FULL SHOT - as the two men cross the room to
where Mistress Sims is seated. Mistress Sims pours a glass
of gin and hands it to Lord Mortimer,
MISTRESS SIMS
Here, Milord. Here's confusion to
your enemies.
Milord takes the glass. She clinks her glass against his
and they both drink. Sims watches them and smiles,
SIMS
It's a shrewd trick. You can't re
strain a parrot from slander --
you can't exercise the right of
privacy against a bird. But I
have a way, Milord.
MISTRESS SIMS
Another drink? It will make you a
lion.
Milord takes the drink and swallows it at a gulp.
MILORD
I'm an angry man.
SIMS
There are laws against the
depredations of live stock,
Milord, is not a parrot live
stock? Are you not suffering
loss. You know that, "he who
steals my purse steals trash - but
he who --"
MISTRESS SIMS
(interrupting)
Why I heard that at the
playhouse.
Sims gives her a look to silence her.
MILORD
What do you suggest?
SIMS
We can swear out a writ of seizure
- send a bailiff for the parrot and
have it here within the hour,
MILORD
We could do that.
SIMS
Indeed we can.
MISTRESS SILK
Arrest a parrot? I'll drink on
that, Milord.
She tosses off another glass of Hollands.
DISSOLVE
INT. LORD MORTIMER'S ANTE-CHAMBER - DAY
Pompey jumps off his stool and back up against the wall to
get out of the way as a whole squad of people come
crowding through. There is a bailiff who has Varney
clutched firmly by one elbow while with the other hand Varney
holds onto the parrot. After then come Nell and Hannay,
BAILIFF
(hauling and tugging at
Varney)
Come along -- come along.
His efforts to push Varney through the door into Milord's
room are so violent that he blocks the door instead of
opening it and has to pull Varney around to one side to clear
the doorway. This momentary stoppage enables the Quaker to
say a word to Nell,
HANNAY
I told thee no good would come of
it. Thee can not mock thy friends
this way.
NELL
Mock him -- he'll wish I'd only
mocked him when I finish.
HANNAY
Softly.
NELL
Bah!
She flings into the other room after the bailiff and Varney.
Hannay quietly follows her.
INT. LORD MORTIMER'S BED CHAMBER - DAY
Milord and Mistress Sims are a bit reddened by the gin they
have consumed, but Sims himself is seated elegantly,
delicately holding up a tiny wine glass. Milord, his wig a
bit awry goes lurching across the room toward Varney.
MILORD
I swore I'd wring its neck. Give
me that bird, Varney.
Varney looks fearfully from Lord Mortimer to Nell.
NELL
Your gifts you can take back,
Milord, but the parrot was mine, is
mine and remains mine as long as I
want.
Lord Mortimer lurches forward and seizes the parrot roughly
from Varney's wrist. With one hand he holds it by the body,
the wings fluttering, with the other hand he seizes its neck.
The parrot squawks piteously. Nell screams. The Quaker steps
forward and with a quick movement, takes the parrot from Lord
Mortimer.
HANNAY
Thee must be careful of other's
property.
MILORD
(making a great bustle to
get at his sword)
Curse you, man! You'll fight me for
this.
Nell takes the parrot from the stone mason; smooths its
disturbed plumage with her hand. Lord Mortimer finally gets
out his sword.
MILORD
(furiously)
Draw man, draw!
HANNAY
As thee can see, I an weaponless, I
do not fight nor brawl with other
men.
MILORD
(furiously advancing and
menacing the Quaker with
his sword)
You will fight me.
HANNAY
I cannot!
MILORD
Fight or I'll run you through.
He has the point against the Quaker's chest.
MILORD
Will you not fight?
The Quaker shakes his head,
NELL
Milord --
The muscles of Lord Mortimer's fat arm tense as he prepares
to thrust. Hannay sees the desire to strike in the
other's eyes. With a quick movement of his arm, he
brushes aside the sword and seizes Lord Mortimer by both
arms.
HANNAY
(very quietly)
Friend, thou hast no quarrel with
me.
He gives Lord Mortimer a shove. Lord Mortimer goes stumbling
backwards, catches his heel on the edge of the carpet and
falls backward into the depths of the feather mattress_ on
his bed,
CLOSE SHOT - Lord Mortimer struggling to get up from the soft
cushions. Nell with the parrot on her wrist bends over him,
laughing.
PARROT
(shouting)
Lord Mortimer -- Lord Mortimer --
Hannay bends into the scene, takes a firm hold on Nell's arm
and draws her back, saying.
HANNAY
(with a slight smile)
Thee must not mock thy friend.
FULL SHOT - The group, Hannay takes Nell's arm and quickly
gets her out of the room while the bailiff and Sims rush to
aid Lord Mortimer.
CLOSE SHOT _ Sims and the bailiff help Lord Mortimer to get
up. On his angry face
FADE OUT
FADE IN
EXT. STONE YARD - AFTERNOON
It is a bright sunny day and the clink of the hammers on the
chisels makes a merry and industrious sound. Two or three
journeymen are busy squaring blocks of granite. In the f.g.
Nell is seated on a block of cut stone with her skirts lifted
a few inches to protect them from the dust. Behind her stands
Varney with the parrot on his wrist, Hannay stands before her
in his work apron, his sleeves rolled and a sledge in his
hand.
HANNAY
Thee can earn an honest living for
thyself.
NELL
I had to sew my costumes when I was
on the stage.
VARNEY
Two shillings a week and all found
for a seamstress.
HANNAY
One can live well on that if one is
frugal.
NELL
(sighing)
What would I do with Varney? Who'd
have him?
Hannay feels Varney's arm muscles and shakes his head,
HANNAY
Thou hast not strength enough for a
mason, Varney.
NELL
(shrugging)
You see?
HANNAY
Just the same I'll give Varney
work. He can sweep up the dust
here. He has strength enough for
that,
NELL
He sweeps, and I sew -- all very
fine, but not very exciting.
(to Varney)
What do you think of it, Varney?
VARNEY
I like a merry life, Mistress
Bowen.
NELL
(rising suddenly)
And so by blazes -- so do I!
Everyone makes his living with his
own tricks. My tricks are not
yours, Master Stonemason.
VARNEY
If I may say a word. Mistress Bowen
-- you still have many friends•
NELL
That I have! There's Captain
Standing — but he's always talking
about Fontenoy —- and Mr. Armiston
and Wilkes -— there's Wilkes -—
(admiringly)
"That devil Wilkes." He's a clever
man and Sims fears him.
DISSOLVE
INT. JOHN LARD'S PUBLISHING HOUSE - DAY
This is a small shop opening directly onto the street. The
walls are lined with bookcases and a library ladder serves
the highest shelves. On this ladder a gentleman with a cocked
hat pushed back on his wig sits reading. There are bins of
books on the sidewalk in front of the shop and counters
within. At the rear of the shop is a manually operated
printing press. The shop is fairly well filled with
customers; serious gentlemen who are looking at books,
discussing prints and indulging in political arguments. Sims
is standing near the printing press with a companion, a stout
gentleman who looks not unlike Dr. Samuel Johnson. The CAMERA
is set up to SHOOT THROUGH the press. The press lowers,
stamps and starts to move up. The printer, wearing the
typical box hat of his trade, reaches into the press for the
finished sheet and hands it to Sims.
INSERT THE FINISHED SHEET. It is a cartoon by Hogarth
depicting John Wilkes with horns, a tail and a devil's
pitchfork.
BACK TO SCENE - Sims and the other man chuckle and look over
to another corner of the shop.
The CAMERA FANS WITH their gaze to pick up Wilkes and Nell
standing near a small counter. Wilkes has a book in his hand.
He is talking across it to Nell.
WILKES
So far as I'm concerned, dear
Mistress Bowen, you need not teach
your parrot any special phrases for
my benefit.
Nell looks at him for a moment, trying to figure out this
cryptic statement.
NELL
Am I to understand from that,
Master Wilkes that you're not
interested — not in Bedlam nor in
me?
She makes a movement as if to go. He restrains her by
putting his hand lightly on her arm.
WILKES
I did not mean that. I meant only
that I am a different sort of a man
from Lord Mortimer. I am not easily
pleased.
Again Nell and Wilkes exchange a long silent glance.
NELL
I think you expect too much, Master
Wilkes.
WILKES
I offer more. You want to fight
the nastiness and the corruption of
Bedlam and I offer you political
alliance with John Wilkes. Bring me
evidence and I'll be pleased to
take it to court.
NELL
Let us say that puts a brighter
face on the matter Master Wilkes .
WILKES
One gives a girl a kiss to seal a
certain kind of bargain, Nell.
NELL
(protesting)
This is a rather public place,
Master Wilkes.
WILKES
(disregarding her)
But one shakes hands with a comrade
and a friend.
He puts out his hand. Smiling delightedly, Nell gives him her
hand.
THE CAMERA PANS BACK TO SIMS AND HIS COMPANION.
FRIEND
(smiling at cartoon)
This is a real blow at Wilkes,
SIMS
(looking off at Nell and
Wilkes)
It is a blow I'll leave you to
administer. I've a blow of his to
ward away.
He puts his hat on his head and starts for the door.
FADE OUT
FADE IN
INT. LORD MORTIMER'S CHAMBER - LATE AFTERNOON
A little table has been drawn up to the fireplace and around
this table sit Lord Mortimer, Master Sims and Nell Bowen.
SIMS
-- and so you see, Mistress Bowen,
Milord thought it would --be best
to make friends again.
NELL
On your advice, I suppose, and for
some purpose of your own?
SIMS
(with a resigned gesture)
Milord, speak to the girl.
MILORD
Every word he says is true and
better put than I could say it,
NELL
Well, so we're friends again. You
go your way and I go my way.
SIMS
But friends aren't that off-handed
with each other, Mistress Bowen,
Milord would like to be kind to
you.
NELL
I'm duly warned. Go on.
Sims holds up a large bank note. After a proper pause to let
Nell take in the full significance and amount of the bill, he
speaks:
SIMS
Milord thinks you've been looking
rather pale as of late — perhaps
the waters of Bath — a rest —
He hands over the bank note. Nell takes it and looks from
him to Lord Mortimer. She then reaches out to the tea table
and picks up two pieces of bread as she speaks.
NELL
(to Lord Mortimer)
Milord, you know that I have a
contempt for certain kinds of
money. How deep that contempt is I
am about to show you.
She takes a big bite of the bank-note sandwich, chews and
swallows it then throws the rest of it into the fireplace.
SIMS
(bowing to her across the
table)
The Bank of England thanks you for
three hundred pounds.
Nell rises and cuffs his face for his impertinence. This
makes Lord Mortimer laugh. With contempt she stalks past
him to the door.
SIMS
(taking papers from his
pocket and putting them
on the table)
Tomorrow after the Commission for
Lunacy examines her she will strike
no more blows — not at you nor at
me.
He drips a pen.
SIMS
Here — you sign here.
Lord Mortimer takes the pen reluctantly and holds it poised
over the paper.
MILORD
But confound me, Sims, I can't sign
this. She's not mad. She's not a
danger to herself and others, as it
says here.
SIMS
Sign, Milord. She's a danger to my
position and to your properties.
Alone she means nothing. With
Wilkes behind her she's more
dangerous to us than any mad woman.
MILORD
(weakly)
But I don't like to do this.
SIMS
Sign.
Milord begins to write.
DISSOLVE
INT. THE LUNACY BOARD'S CHAMBER - ST. MARY'S OF BETHLEHEM -
MORNING
This is a medium-sized room. A peg-board runs around the
walls and on each peg hangs a cooked hat, point down. (See
Hogarth's "Hudibras" -- Plate IX - The Committee) These hats
are the only decoration. At one end of the room is a small
barred window. In the center of the room, three tables are
arranged in a U-shape and covered to the floor with dark
cloth. Around this U-shaped table sit ton commissioners of
lunacy in sombre clothing. Most of them wear either scratch
wigs, periwigs or their own hair, powdered. The three chief
commissioners at the center of the table wear judge's wigs,
the hair curling down to their shoulders, Nell stands before
the opening of the U made by the three tables,
NELL
(rattling on)
I'm twenty-three years of age -
born at Rye -- my parents are dead
and I have no husband nor child --
what more would you wish to know?
CHIEF COMMISSIONER
The Commission of Lunacy will frame
the questions for you, Mistress
Bowen.
NELL
Ask away.
CHIEF COMMISSIONER
Do you know your alphabet?
Nell looks at him with scorn.
NELL
I know A from Zed and I can read
and write as readily as any man I
see before me --
(she takes a look)
Perhaps a little better,
There is no answering smile on the dour faces of the
commissioners,
CHIEF COMMISSIONER
Do you know the difference between
right and wrong?
NELL
What is right for you - that much I
know -- and vice versa.
The Chief Commissioner nods to the man at his left,
knowingly. The man nods back,
NELL
(watching them)
Oh, don't fool yourself, A merry
answer does not make me a fool,
gentlemen. Ask me a sensible
question and you shall have a
sensible—answer —-
Again the two men look at each other, but the nod is a little
different this time, Nell has scored a point here. Behind
the Judges a door opens and James Sims comes through. With a
nod to the commissioners, he pulls up a chair so as to take
his place at the elbow of the Chief Commissioner, The Chief
Commissioner nods to him. He leans to whisper in the Chief
Commissioner's ear. The Chief Commissioner looks up at Nell.
CHIEF COMMISSIONER
Mistress Bowen, is it true that
some days past you refused
the sum of one hundred gold guineas
for a parrot not worth
five shillings?
NELL
I had my reasons. It was a jest.
At the foot of the table, a commissioner looks up at her,
SECOND COMMISSIONER
You know your sums?
NELL
If two and two make four -- I
do.
CHIEF COMMISSIONER
Knowing that one number added to
another makes a greater number, I
presume you know a large sum of
money from a small sum.
NELL
I only know I like large sums
better than I like small sums.
SECOND COMMISSIONER
Then why did you refuse one hundred
guineas for a parrot worth five
shillings?
NELL
I told you it was a jest.
CHIEF COMMISSIONER
Knowing the value of money,
Mistress Bowen, can you explain why
it was that you ate a bank note?
NELL
For a jest. The Chief Commissioner
nods.
NELL
Master Sims knows why I ate the
money — to show my contempt for it.
SECOND COMMISSIONER
Is that how one shows contempt?
NELL
No. But at that moment it was
the only way to show contempt, I
was angry and that's what occurred
to me.
CHIEF COMMISSIONER
Do thoughts, like that always occur
to you when you are angry?
NELL
But surely everyone does foolish
things some times — at a whim — for
a prank —
The Chief Commissioner nods his head. Sims grins.
SECOND COMMISSIONER
Is it wise to eat money?
NELL
But it was a jest.
A paunchy commissioner laughs, Sims smiles. The Chief
Commissioner raps with his palm on the table top for order.
CLOSE SHOT - Nell as she looks about, panic growing in her
face,
NELL
Sir — gentlemen — would you permit
me to communicate with Mr. John
Wilkes — he would speak for me.
FULL SHOT - The commissioners. The Chief Commissioner
looks at Sims. Sims shakes his head,
CHIEF COMMISSIONER
(turning back to Nell)
This is not a court -- you are not
in need of any witnesses but your
own sanity and we shall judge the
worth of that.
He turns to Sims and begins to whisper. The Commissioner on
his right hand and on Sims' left hand bend in to confer.
CLOSE SHOT - Nell as she watches them.
MED. CLOSE SHOT - the end of the table whore Sims sits with
the Commissioner. Nell is in the f.g. The Chief Commissioner
glances through some papers on the table, picks up a quill
pen and signs his name, then passes the paper to Sims.
CHIEF COMMISSIONER
Mistress Bowen you have asked for
voluntary commitment to enter St.
Mary's of Bethlehem Asylum, The
charges for your care and keep are
to be borne by Milord Mortimer and
I have here —
(he holds up the paper)
the commission's approval of your
request. The commission has
adjudged you insane.
As he finishes speaking, the commissioners start to rise, get
their hats from the peg-board and start for the door,
NELL
But I made no petition to enter
Bedlam.
CLOSE SHOT - Sims as he looks at her and grins.
SIMS
Perhaps you did it in jest,
Mistress Bowen,
He joins the others as they leave the room. Nell rushes
forward into the U formed by the three tables,
NELL
You're not going to put me in
Bedlam -- not for a little joke —
not for playing a trick —
They pay no attention to her and continue leaving the room.
Nell holds out her hands to them and tries to plead with
them.
NELL
Milords — gentlemen — please listen
— I'm of sound mind --I know what I
do -- I know what I say, I did not
ask for admission to Bedlam --
please — please —
Without looking back at her, they leave the room. Sims is the
last to leave. He is the only one who looks back. As he goes
through the door, he shuts it behind him. Nell crumples to
the floor in the middle of the U and lies there sobbing.
(Optical effect - A Fade Out in which the walls seem to be
drawing in around the prostrate girl.)
FADE OUT
FADE IN
INT. THE MAIN ROOM - ST. MARY'S OF BETHLEHEM - NIGHT
BIG HEAD CLOSE UP - Nell, She is listening and around
her can be heard strange, low human SOUNDS. Her eyes are
wide with apprehension and alarm. She rolls them first one
way and then another following the source of these soft
SOUNDS.
The CAMERA PULLS BACK to display a little of the
space around her. On the walls, crouching, rounded
shadows can be seen moving; almost as if animals were
crawling, indistinct and horrible through terrible darkness,
ANOTHER ANGLE - MED. CLOSE SHOT - Nell's face. On the
wall behind her one of the soft, indistinct shadows begins
to grow harder in outline, distinct and erect in appearance
the shadow of a human. The shadow leans toward her.
She gazes at it with panic-fixed intensity. Her lower jaw
falls slack in terror as the shadow, growing larger,
comes closer. She takes her eyes from the shadow and
searches in the surrounding darkness for its source.
Suddenly, her whole body moves away from what she sees in
an instinctive gesture.
MED. CLOSE SHOT - REVERSE ANGLE - to show Nell in the f.g.
coming toward her is a man. His figure is in outline.
CLOSE SHOT - Nell as her mouth begins to form a scream. The
scream is topped by the hard, sudden metallic sound of chains
being flung down. She looks wildly in the other direction.
LONG SHOT - Toward the door from Nell's angle. Coming toward
her are three men with pieced lanterns. The three moving
blobs of light are fantastic and eerie in the room. They
come steadily toward her, revealing themselves as Master
Sims, attended by two guards. One of the guards pushes him
aside.
CLOSE TWO SHOT - Sims and Nell. Sims comes up to Nell,
holds his light over her face and grins down at her. He
fumbles in his pocket, pulls forth a coin and holds it up.
SIMS
Here in Bedlam, my dear, we cannot
feed you bank notes.
He forces the penny he holds between her teeth.
SIMS
Try chewing on this.
DISSOLVE
INT. LORD MORTIMER'S CHAMBER - MORNING
CLOSE SHOT - Poll the parrot. A man's hand comes into the
frame and presents a cracker to Poll.
MILORD'S VOICE
Polly wants a cracker.
POLL
(repeating)
Polly wants a cracker.
The CAMERA PULLS BACK TO disclose Lord Mortimer in very tight
white riding breeches and boots. Varney is holding the
parrot before him. On the floor around them are open trunks
and portmanteaux.
MILORD
(looking up brightly)
You see, Varney, now that he is
mine, I've already taught him a new
and original trick,
VARNEY
Yes, Milord.
There is the SOUND of a door opening and both look off.
ANOTHER ANGLE - MED. LONG SHOT - to show Mistress Sims In mob
cap and mantalet as she comes in from the ante-chamber.
MILORD
Ah, my love -- and how did you
spend the night?
Mistress Sims ignores him and looks at the trunks.
MISTRESS SIMS
Are you going on a voyage, Milord?
MILORD
Oh, no, not a voyage. Just a trip
to the country to ride -- to smell
the innocent air -- to listen to
the twitter of the birds -- to
rusticate -—
MISTRESS SIMS
(pointing to the tight
trousers)
I see — to rusticate,
MILORD
I would invite you, my dear, but
it's a bachelor occasion -- sport,
you know -- manly things.
MISTRESS SIMS
(still eyeing the tight
trousers)
I see.
She shrugs.
MISTRESS SIMS
Well, all good things must end,
Milord, I'll have a bit of the gin.
She crosses over to the buffet and pours herself a
glass. She drinks.
MISTRESS SIMS
And another little sip to take away
the dry taste of piety.
She downs the rest of the gin.
MILORD
Piety? I thought there was precious
little of that in this house.
MISTRESS SIMS
There's a Quaker outside who wants
to see you. Pompey is sending him
about his business.
Varney looks up from attending the parrot.
INT. LORD MORTIMER'S ANTE-CHAMBER - DAY
From his high stool Pompey is holding forth to Hannay.
POMPEY
—- such a person has never been
known in this household.
HANNAY
Come now -- thou must know that to
be an untruth. Nell Bowen had tea
with Milord only yesterday.
POMPEY
(shaking his head)
Your young lady was the one who
was telling tales. There's been no
woman in this house but Mistress
Sims since I can remember — so they
tell me.
Hannay looks at him. He knows it's useless to ask further,
HANNAY
Well, never mind.
He turns and leaves the room. Pompey watches him off, then
digs into the pocket of his jacket and takes out a piece of
toffee. He begins to munch it. The door from the bed chamber
opens. Instantly, Pompey thrusts the toffee back into his
pocket, then reaches for it again as he sees that it is only
Varney.
VARNEY
Where is the Quaker?
POMPEY
He's been and gone.
VARNEY
He must have just left.
POMPEY
That's likely.
Varney gives him a dirty look and hustles off in pursuit of
the Quaker.
DISSOLVE
EXT. THE STONE MASON'S YARD - DAY
Hannay in his street clothes comes slowly down the street and
passes under the block and tackle. From behind him comes a
shout. He turns.
VARNEY'S VOICE
Master Hannay -- Master Hannay —-
Hannay who has turned at the sound of his name, waits and
Varney comes running In to him.
VARNEY
(excited and out of
breath)
I'll tell you where she is, Master
Hannay. I'll tell you where she is
-- they put her in Bedlam.
HANNAY
In Bedlam?
VARNEY
Aye -- yesterday -- they summoned
her. She's there, now.
HANNAY
Well -- friend -- thee must come
with me. We shall go to Bedlam.
VARNEY
No, no. I can't go with you. I'm
employed by Milord,
Hannay looks et him. Varney quickly explains,
VARNEY
You see, Master Stonemason, I have
to live.
He lifts his arm.
VARNEY
And you, yourself, said I haven't
muscle enough for honest work.
HANNAY
It is enough that thee is an honest
man, Varney -- that thee ran all
this way to tell me where she is.
DISSOLVE
INT. THE MAIN ROOM - ST. MARY'S OF BETHLEHEM - DAY
MED. FULL SHOT - the pillar near which Oliver Todd is busily
writing at a small table. The author is engrossed in his
work, his quill pen flying, the point creaking and scratching
on the paper. Near him slouches Sidney Long, a tall, slim
man, who continually thumbs the edges of a book. A shaft of
light strikes past them and in the murky depths of the room
on either side the dim figures of other mad men and women can
be seen. Nell stands near them, looking fearfully about her.
Suddenly from far off a voice can be heard calling.
VOICE
Nell Bowen — Nell Bowen --
CLOSE SHOT - Nell as she looks. Other voices take up the
chant of her name.
VOICES
Nell Bowen -- Nell Bowen -- Nell
Bowen --
She looks about puzzled.
MED. FULL SHOT - the group near the pillar. The voices are
still calling and Nell's anxiety and curiosity verges on
terror. She looks around to find the source of this weird
chanting. Sidney Long looks up from his book and sees her
anxiety.
LONG
Is that your name they
Nell nods.
NELL
How do they know I am here?
LONG
They don't know. Some of our poor
companions spend their days looking
out the window. If they hear a new
cry they repeat it, then others
take it up and so it goes.
NELL
But my name -- how do they know?
LONG
Someone shouted in the street --
someone trying to reach you.
NELL
(gratefully)
Oh -- thank you -- thank you.
Long points with his finger and she runs off in that
direction.
LONG SHOT - Nell running through the alternate light and
darkness of the main room.
MED. FULL SHOT - Nell as she comes up to the window. Her name
is still being called.
Three lunatics, two men and a woman, are hanging out the
window. She forces her way between them and bends out over
the sill.
CLOSE SHOT - Nell, She looks up and down the street. The
three patients watch her with meaningless, uncomprehending
eyes. Finally she turns away in disappointment.
EXT. ENTRANCE - ST. MARY'S OF BETHLEHEM - DAY
William Hannay is just mounting the steps.
INT. CORRIDOR - ST. MARY'S OF BETHLEHEM - DAY
At the arms rack stand two warders. One of them is taking
the admission fee from a young apprentice all done up in
holiday finery, with his lass on his arm. The other warder
hangs up the boy's cudgel on the arms rack. The little
business of entry fee and weapon checking having been gone
through the young couple are admitted into the main room just
as Hannay comes up to the arms rack. Without a word he holds
out a two-penny piece. They look at him, then at each other.
The older of the two warders shakes his head. The younger
speaks.
YOUNG WARDER
(in a surly voice)
You can't come in.
HANNAY
By George Sims' order I suppose.
YOUNG WARDER
Even so.
During this conversation the older of the two warders has
slipped away in the direction of Sims' office.
HANNAY
And may I see Sims?
YOUNG WARDER
(with a jerk of his head)
And quickly too.
Hannay looks around in the direction of the warder's nod»
REVERSE ANGLE - Sims, with the older warder, is coming toward
him.
TWO SHOT - as Sims and Hannay meet.
HANNAY
I've been refused admittance.
SIMS
That is unfortunate -- but a new
ruling -- you understand --
HANNAY
I understand only that I am a free
man -- that I have money in my
hand. You have no legal right to
deny me entry to a place where
others have been admitted.
SIMS
Quite true -- quite true.
HANNAY
Well?
SIMS
The warder will take your tupence.
The older of the two warders takes Hannay's money,
SIMS
And now if you will leave your arms
at the arms rack --
HANNAY
I have no arms. I am of the
Society of Friends.
SIMS
Then I'm afraid we must return your
tupence.
HANNAY
But why?
SIMS
Did you not quote the law to me?
Let me then quote law to you -- It
is a rule of our institute that any
who go into the main hall must hang
their arms upon that rack.
HANNAY
But I have no arms.
SIMS
Since you have none, I cannot let
you enter.
HANNAY (FURIOUSLY)
Thou cannot deny me entrance for
such cause.
He takes a step toward the door and tries to push it open. It
is looked. The two warders and Sims grin.
SIMS
I must.
For a moment the Quaker stands silent but furious as if ready
to try physical conclusions with the two warders, then he
collects himself, shrugs and walks off.
SIMS (CALLING AFTER HIM)
It is a rule, and I break no rules,
Master Quaker.
Hannay walks off without turning around.
EXT. STREET OUTSIDE OF ST. MARY'S OF BETHLEHEM - DAY
This is a portion of the street which has not been seen
before. The street at the side of the hospital. In the street
is a horse-drawn stone sledge and several hand wains. On the
sledge are three great pieces of cut granite and in the wains
are tubs of mortar, trowels, chisels and other impedimenta of
the mason's craft.
Three young masons are at work sliding one of the cut stones
onto a litter. They catch sight of someone off scene. One
mason nudges another. They stand up. Hannay comes strolling
into the scene.
FIRST STONE MASON
Brother Hannay — I'll be blasted --
sauntering as if it were a
holiday.
HANNAY
On my own business, friend Smith,
and without profanity.
SECOND STONE MASON
And without this good job of work
that we have, Hannay.
HANNAY (PLEASANTLY ENOUGH)
I bid for it.
SECOND STONE MASON
And found Master Sims' way of
doing business a little strange,
eh?
FIRST STONE MASON
(turning to his work)
We've the work -- we've the will —
let's at it boys!
They bend to the stone again-and start heaving to get it into
place.
HANNAY
But you haven't the knack of it.
He bends down and gives a heave and the stone slides easily
down the rollers and onto the litter,
FIRST MASON
(wiping the sweat off his
brow)
Thanks, Hannay.
SECOND MASON
Maybe you'd give us a hand.
THIRD MASON
There are but three of us.
HANNAY
I'd just as leave.
The four men take their places about the litter.
FIRST MASON
(to Hannay)
You call.
HANNAY
One — two — heave, all.
With a great surge they force the litter up onto their
shoulders.
HANNAY
Lead away.
The two men at the front of the litter start up a short ramp
into the building.
INT. ST. MARY'S OF BETHLEHEM - DAY
A long narrow corridor. The four masons carrying their cut
stone come along the corridor to a place where it leads into
a slightly wider but darker hall. Here a candle is hung in
the wall and there is evidence of mason's work. The first
two masons come up to this place and halt.
FIRST MASON
Call!
HANNAY
One, and two and down we go!
Simultaneously they lower the litter. All four stand around
the stone, wiping their brows, hitching up their aprons;
laxing off the tension of hard muscular labor.
FIRST MASON
Thanks, Hannay.
HANNAY
Thee is welcome.
SECOND MASON
Now you're here, Hannay, you can
see all of Bedlam without paying
your tupence. Can't he, lads?
They all nod. The first mason winks. Hannay pretends not to
have noticed the wink and the jocular air of the two others.
FIRST STONE MASON
Oh, aye -- indeed you can. All the
wonders of Bedlam for nothing.
HANNAY
(quietly)
That I would like to see.
THIRD STONE MASON (POINTING)
This corridor leads to the main
room.
SECOND STONE MASON
It's a little dark maybe, but If
you get to the end of it, Hannay,
you'll see an eyeful.
HANNAY
Down this way?
They nod.
HANNAY
If thee don't mind I'll go and
look.
He starts down the long corridor and Is lost to view. The
three masons stand looking after him, grinning.
FIRST MASON
He'll be back soon enough.
SECOND MASON
(laughing and slapping his
leather apron)
Never fear.
THIRD MASON
Like a shot from a gun.
INT. CORRIDOR - ST. MARY'S BETHLEHEM - DAY
Very little light comes into this dark corridor; only light
enough to show that at intervals there are strong, iron
barred doors like the entrance to cages of wild beasts. The
corridor is narrow and Hannay gropes his way through the
darkness toward a dim light at the very end.
CLOSE SHOT - Hannay as he gropes his way. His hand passes
from the solid wall onto the bars of one of the doors. Prom
the darkness of that room a white, ghastly hand Is suddenly
thrust and seizes his wrist. He struggles to pull away from
the clinging grip of these thin fingers. Finally, he pulls
away, but this exertion has brought him back against the door
on the other side of the corridor. His gaze is still fastened
on the door from which the hand was thrust, when a sudden
burst of maniacal laughter explodes against his ear. He
whirls.
REVERSE SHOT - An old woman with wild eyes and streaming
white hair thrusts her face between the bars at his shoulder.
MED. FULL SHOT - Hannay as he proceeds.
TRUCKING SHOT - As Hannay quickens his stride and looks from
one barred door to the next, eluding hands -which reach out
for him, fists that are shaken and all around him the
screaming and laughter of the incurably insane.
MED. FULL SHOT - As Hannay comes up to the door at the end of
the corridor. This door, which leads into the main room of
Bedlam, has a cross-barred window set into it.
LONG SHOT - Through the window from Hannay's ANGLE.
TRUCKING SHOT - As Hannay quickens his stride and looks from
one barred door to the next, eluding hands which reach out
for him, fists that are shaken and all around him the
screaming and laughter of the incurably insane.
MED. FULL SHOT - As Hannay comes up to the door at the end of
the corridor. This door, which leads into the main room of
Bedlam, has a cross-barred window set into it.
LONG SHOT - Through the window from Hannay's ANGLE. He sees
the sun-striped interior of the main room. At the far end
near the pillar where Long and Todd habitually sit, he can
see Nell.
CLOSE SHOT - Hannay.
HANNAY
(calling softly)
Nell — Nell Bowen —
FULL SHOT - Nell at the pillar. She hears her name, turns
and than relaxes as again the chorus of the insane take up
the chant of her name.
VOICES
Nell Bowen — Nell Bowen --
MED. CLOSE SHOT - Hannay through the window. He, too, hears
the chanting of the name; is puzzled and confused.
VOICES
Nell Bowen -- Nell Bowen --
Finally the shouting subsides.
LONG SHOT - Nell Bowen as seen from Hannay's ANGLE.
MED. CLOSE SHOT - Hannay again cups his hands and calls
softly.
HANNAY
Nell Bowen —
Again the queer and confused chanting of the name springs up.
MED. FULL SHOT - Nell. She listens, half confused, half
disgusted, only hoping for the irritating SOUND to stop. It
diminishes and dies away. She relaxes.
CLOSE SHOT - Hannay at the window. He tries again.
HANNAY
Nell Bowen —
Again the chant breaks out.
FULL SHOT - Nell. For the third time she hears the SOUND of
her name being called by myriad voices. She starts slowly for
the window.
FULL SHOT - The back of Hannay's head at the window and Nell
passing toward the other window.
VOICES
Nell Bowen -- Nell Bowen —
Hannay shouts her name, but it is a shout lost among the
others. She is about to pass out of sight when she looks
over. He reaches his arms through the bars and waves. She
catches the gesture and starts toward him. Some ten feet from
the window she stops and looks to the right. From his
position and the position where the CAMERA is set up, what
she sees cannot be seen.
HANNAY
(encouraging her)
Come Nell -- Nell —
She makes a sudden resolution and with one or two fearsome
glances to the right, comes quickly up to the window and
grabs hold of Hannay's arm.
ANOTHER ANGLE - SHOOTING FROM the corridor TOWARD the main
room. Nell has come up to the barred door. The shadow of bars
falls across her face and on the floor. Across those shadows
another shadow moves, grim, grotesque and huge. As she and
Hannay talk the shadow keeps passing and repassing, partially
on the floor and partially on her face. She continues to
cling to his arm, holding onto this link to the sane world
with frantic intensity. Hannay comforts her.
NELL
You've come to take me away.
HANNAY
(shaking his head)
No. There is no way.
NELL
Find Wilkes. He'll get me out
HANNAY
I had thought of that. I'll seek
him out, but until he can free
thee, thee must be patient.
NELL
Patient? How can I be patient? I'm
terrified -- these people are like
beasts.
She glances off to the unseen figure on her right.
HANNAY
So thou has that same thought --the
same thought as Sims.
NELL
No. But they frighten mo. They're
dirty -- savage -- mindless —
disgusting --
HANNAY
(patiently)
Thee wanted to help them — they put
thee here -- for trying to aid
them.
NELL
I still want to aid them, but I can
not here -- not here where they are
all about me. All I want is release
or a weapon to defend myself.
HANNAY
Thee has thy kindness and thy
courage -- they can be sword and
buckler to thee in this place.
NELL
I want better weapons -- I want
something more than my naked hands
to help me if there should be
trouble. Give me a weapon.
HANNAY
Thee knows that I carry no sword.
NELL
Anything.
Hannay shakes his head.
HANNAY
I carry nothing that could harm my
fellow creatures.
NELL
(pointing)
Your trowel.
He looks down to where his trowel is stuck through his broad
leather belt.
HANNAY
That is to build with.
NELL
It has a point -- it has a handle.
Hannay shakes his head, again. Nell looks at him.
NELL
Would you have me maimed --
scratched —- scarred?
She looks at him.
NELL
My face?
HANNAY
The Lord will not let it happen,
NELL
Give me the trowel and I will not
let it happen.
He shakes his head again.
NELL (MORE SOFTLY)
Look at my face again — look close
- shall it be scarred?
The Quaker stands looking at her for a moment, then he pulls
the trowel from his belt and hands it to her.
HANNAY
God forgive me for what I do.
NELL
(seizing the handle of the
trowel)
Forgiven or not, at least I can
defend myself.
Now get to Master Wilkes. Wilkes
will have me out of here like that.
She snaps her fingers. Hannay looks at her, then starts away
past the camera.
DISSOLVE OUT
OMITTED.
DISSOLVE IN
INT. JOHN LARD'S PUBLISHING HOUSE - AFTERNOON
Lard, himself, a square, well-fed man, is operating the
printing press. Between the rhythmic banging of the press, he
talks with Hannay.
LARD
I haven't seen Wilkes for the last
week.
HANNAY
He's never at home.
LARD
He's electioneering.
HANNAY
But where?
LARD
Anywhere in the Kingdom.
HANNAY
It is a matter of import — grave
import -- a woman's reason hangs on
It. I must see him.
LARD
He has ordered pamphlets and
posters from me. He has to come
here. When he does, I'll tell him.
HANNAY
(starting to turn away)
I'll be back tomorrow.
FADE OUT
FADE IN
INT. MAIN ROOM - ST. MARY'S OF BETHLEHEM - NIGHT
The great hall is feebly lit with a few rush lights hung on
the walls. But near the pillar is a pool of light from a wax
candle set up on Todd's desk. By its light, he is still
writing while Long stands beside him still engrossed in the
edged leaves of his book. He is flipping them past his thumb.
Well is seated on a stool near then, but with her back toward
then. At the next pillar Dorothea the Dove stands mutely
beautiful. The other inmates are dim moving bulks in the half
light. Suddenly from afar comes the booming of Big Ben
striking eight o'clock. Long lays down his book, takes a
greasy pack of cards from his side pocket and shows them to
Todd. Todd lays down his pen and clears the desk before him*
LONG
(looking off at Nell)
We night ask her, Master Todd — she
seems quite lady-like — quite sane,
or as I might express myself before
the bar, compos mentis en lex.
Todd nods.
LONG
Then I shall ask her. We can have
Dan. The four of us can play
Paroli.
Todd nods. Long goes off.
TWO SHOT as Long comes up to Nell. He makes a graceful leg,
Nell looks up at him.
LONG
(formally)
...Madame, would you care to join
us? We are going to play Paroli,
NELL
That's kind of you. But I have no
money,
LONG
Money? We play on our word.
NELL (RISING)
I have a wealth of words; I
don't cheat but I warn you I'm not
above amending the mistakes of
fortune.
FULL SHOT - Todd, Dan the Dog at the desk as Nell and Long
come up, Todd rises quite reasonably, Dan the Dog crouches
over the chair with a vacuous grin. Long introduces them.
LONG
This Mistress Brown, is Oliver
Todd, He will not speak to you, nor
to me, but there is no harm in him
and he writes and reasons well. And
this Is Dan, sometimes he fancies
himself a dog -- sometimes the
rider of a spirited horse, but he
has no malice in him and he
remembers how to play cards. I am
Long -- Sidney Long, the Crown
Solicitor — whose enemies will not
let him practice at the bar! I, the
most skilled of them all, I have
many enemies — many, many enemies.
NELL
(soothingly)
I understand.
LONG
I should not have told you that.
But believe me, we who are near
this pillar are the safe ones --
the good ones — the wisest --that
is why they let us have the candle
- but the rest — you must be
careful of the rest.
NELL
(feeling her
skirt where
the trowel
is hidden)
I am careful.
LONG
Let us begin the play.
Nell seats herself and the rest also take their places around
the desk. Long shuffles the cards,
LONG
I will hold the bank -- twenty
thousand pounds —
He indicates an empty space on the desk, Nell looks at him
and then at the empty space and points to the empty space
before her.
NELL
Five pounds for a card,
LONG
Five pounds.
He passes her a card, Todd holds up the five outstretched
fingers of one hand. Long passes him a card, Dan looks from
one empty space on the desk to the other and nods sagely,
DAN
Five whippets, ten bassets, one
gaze hound.
Long looks at him and passes three cards, Nell looks at her
partners in this mad card game with a little smile on her
lips.
LONG
Does anyone wish another card?
NELL
Five pounds.
He passes her another card. Long looks to the others. They
shake their heads.
LONG
Banko.
Everyone turns up his cards and looks.
NELL
Paroli.
LONG
Fortune smiles at your first play.
What card?
NELL
(holding it up)
Knave of Spades.
L0NG
You win.
They all pass back their cards. As Long shuffles then the
sound of heavy chains moving and a man groaning can be heard
in the darkness. Nell looks off. The others pay no attention.
Long deals. Todd holds up three fingers.
DAN
Eight bulldogs.
Again the painful groan is heard from the darkness.
NELL
What's that?
LONG
A poor wretch — Sims gave him a
dose of iron this morning. The
chains scruff his flesh.
NELL
Will the warders not help him?
LONG
They've heard too many groans to
bother.
NELL
But what about you? Don't you ever
help the others?
LONG
Why should we help? We are the
people of the pillar.
The groaning sounds out again.
LONG
A card?
NELL
Wait.
She listens to the sound of the groan.
NELL
I can't play with that going on.
May I have the candle?
LONG
Be careful of the straw.
Nell picks up the candle and starts toward the direction of
the groaning sound.
LONG SHOT - Nell, as she, threads her way between the
sleeping figures of the loonies.
MED. CLOSE SHOT - Nell stops to listen, trying to orient
herself by the sound of the groaning. She starts off.
MED. CLOSE DOLLY SHOT -Nell following the sound of the
groaning. Suddenly, it stops. She stops with it. Then it
begins again. Again she goes forwards
CLOSE SHOT - Nell. She pauses. The groaning is very near. She
looks around her at the huddled figures, lifting the candle
high, trying to distinguish among them the injured man. She
holds the candle in her left hand and looks to the left. From
the right comes the clang and jangle of heavy chains. She
whirls, her right hand-seeking the trowel.
CLOSE SHOT - from Nell's ANGLE. Right before her stands a
half-naked lunatic encumbered with his "dose of iron." This
is a curious and frightening contraption of steel plate and
chain, a terrifying travesty of chivalrous armor. For a
moment, they stand en tableau, Nell with the candle upraised
on her left hand, the trowel held dagger-wise in her right;
then the man groans.
NELL
(whispering)
Do your, chains hurt you?
The man nods. Nell places the candle warily on the ground,
clearing a space in the straw with her foot before him. Then
she turns to the man again.
NELL
Where does it hurt?
The man gestures with his head toward his restricted elbow.
With her free hand Nell touches it.
NELL
Here?
The man nods.
NELL
Would it help if I put a bit of
cloth there to ease the chain?
Again he nods. She tears a little strip from her fichu and
with her left hand, starts to stuff it under the chain at the
man's elbow. It is awkward, one-handed. She draws back, looks
at him, then puts the trowel down on the ground next to the
candle. With her two hands, she easily tucks the cloth under
the chain, then tears another strip and oases the burden on
his other elbow.
NELL
Better?
He turns his head painfully. Nell tears a third strip and
tucks it in at the collar of the contraption. He smiles. She
smiles back at him, bends to pick up the candle and starts
back toward the pillar.
MED* CLOSE SHOT - the pillar. In silhouette can be seen the
three figures of Dan the Dog, Todd and Long. Beyond them,
Nell's candle can be seen advancing through the darkness,
then finally she herself is disclosed In this moving pool of
light as she comes up to the desk and sets the candle down.
LONG
He's quiet now. That was kind of
you.
NELL
It's just that I don't care for sad
music with my game of paroli. Let
us play.
LONG
A card?
NELL
Five pounds.
LONG
Any others?
LONG SHOT - SHOOTING PAST the group of card players TOWARD
the main door. Dorothea, and her pillar are in the
perimeter of the candlelight. Out of the darkness behind
her, his hands folded behind his back, Sims appears. He
watches the card players for a moment. Then, almost absently,
he lifts his hand and pats Dorothea's cheek.
CLOSE SHOT - the four card players, as Sims comes quietly up
to them. They look up.
SIMS
A very pleasant group you make,
dear people.
They all look at him without answering, Dan crouches away,
making soft, placating SOUNDS, He disappears into the
darkness.
SIMS
It's so nice to find you here among
the upper classes, Mistress Bowen.
But then it is exactly where I
expected you to be.
It's a law of physics -- the
lighter elements, like scum, rise
to the top.
NELL
I thank you, Master Sims -- a
delicate compliment —-
SIMS
(bowing his acknowledgment)
I see that you have joined what
little we have of society -- the
group around the pillar. Is this
the brotherhood your Quaker friend
preaches? Or perhaps you're afraid
among the rest — those dark shadows
I see about me --
NELL
I'm not afraid.
SIMS
Then you've forgotten.
NELL
Forgotten what?
SIMS
Forgotten that you were going to
reform Bedlam -- cleanliness and
soft beds for the delight of the
patients -- good treatment — Well,
you've been here a week, Mistress
Bowen and your only friends are
these — our nobility.
(sneering)
The brotherhood of man --
NELL
And give me clean straw -- I'll
make beds for them. Bandages — and
I'll bind their wounds — water and
soap --
SIMS
That would delight me to too. You
shall have water -- you shall have
soap -- you shall have straw
enough. I hope you make good use of
it.
NELL
I shall. Never fear.
SIMS
But now I leave you to dream about
these Augean labors. May you find
your dreams sweet and cleanly.
He turns and goes toward the door. On his way, he again
passes Dorothea and again pats her cheek.
FADE OUT
FADE IN
EXT. ST. MARY'S OF BETHLEHEM - EARLY MORNING
A few people pass along the street.
INT. MAIN ROOM - ST. MARY'S OF BETHLEHEM - EARLY MORNING
CLOSE SHOT - Oliver Todd is busily writing. The camera is set
up on his back.
GRAY'S VOICE
But where is it — you promised a
chapter for today.
The CAMERA BEGINS TO PULL BACK TO Master John Gray, stationer
and publisher, a well-fed man. He is bending over Oliver,
berating him testily, Sidney Long, his book in his hand,
slouches nearby.
GRAY
I appeal to you. Master Long — is
it fair? I support his family —
feed his children — even pay my
tupence to come in and get my
script and it is not ready.
LONG
We've been busy. We've been helping
Mistress Bowen.
GRAY
Mistress Bowen — who is she?
Long points.
LONG SHOT. A thin crowd of people are gathered at one place.
The camera is set up to show the crowd but not what they are
working at.
CLOSE SHOT - Nell, in the middle of the crowd of loonies.
They are stupidly staring while she bulks together a heap of
straw and covers it as neatly as she can with a thin blanket.
Beyond her, other similar pallets can be seen neatly
arranged along the wall. The loonies watch her stupidly.
She finishes making up the pallet, dusts off nor knees and
starts down the hall.
MED. FULL SHOT - Gray, Long and Todd.
GRAY
Oh - a new female warder -- now
about a next chapter —
LONG
Not a warder, Master Gray -- an
inmate like ourselves who does all
she can to help her fellow
sufferers.
GRAY
What can she do?
LONG
Look, I'll show you.
INSERT
THE PAGES OF THE BOOK as they flutter past, revealing that a
series of drawings have been made; drawings which are
animated by the movement of the pages.
These animated drawings show a girl feeding a person in bed;
reading to a man chained to a wall. As the pages flutter
past, Long's voice can be heard.
LONG'S VOICE
What can she do you ask? She can
feed those who have not wit enough
to feed themselves -- she can wash
the helpless — cheer, the
despondent — she can -- she is
an angel in this darkness.
BACK TO SCENE.
GRAY
Very interesting -- but this book
you have — those drawings-
LONG
Oh -- the pictures — you don't
half their wonder, Master Gray —
(enthusiastically)
If I could only get a light behind
these pages I could throw them
large as life up on the wall.
GRAY
Aye —- that's not a bad notion one
could charge admission. You could
even tell the story Todd's writing
that way.
LONG
(in the manner of one
imparting a secret)
You forget -- it's because of
these pictures that I'm here --
that and because I'm the best
lawyer in England, I, the most
skilled of them all.
GRAY
Oh, yes, that's true.
He turns to Todd.
GRAY
And you, Oliver — You'd best
finish that chapter by tomorrow or
I'll withdraw my support from your
family. Understand?
Without, turning, Todd nods his head.
OMITTED.
MED. CLOSE SHOT - Nell, as she comes along the corridor
behind the pillars. She passes Dan lounging against a pillar
and stops to-speak to him.
NELL
Dan, did you chance to see a
trowel?
DAN
A trowel? I'll build you a wall — a
wall that high.
NELL
Master Long, have you seen a
trowel?
LONG
I beg your pardon.
NELL
A trowel — a mason's instrument. I
mislaid it some days ago. I'd like
it back.
LONG
Oh, yes -- a trowel.
He looks suspiciously at Nell.
NELL
I'm not mad, Master Long. I had a
trowel.
LONG
(comfortingly as to a
child)
Oh, certainly, Mistress Bowen.
We'll help you find it.
Nell shrugs hopelessly at him and smiles.
NELL
You think I'm mad. Sometimes I
think I've gone mad myself,
scrubbing and making beds and all
for people who don't even know that
I'm trying to help them.
LONG
They know.
INT. DOOR OF THE MAIN ROOM - ST. MARY'S OF BETHLEHEM - DAY
Sims, attended by two guards, comes through and starts
down the room. He comes up to the group around the pillar.
Dan is slightly in his way. He raises his arm
threateningly. Dan merely looks at him with a stupid sort
of interest but no fear. Sims looks puzzled for a moment,
then pushes the idiot out of his way..
SIMS
Good morning, Mistress Bowen —
Nell nods to him in dignified greeting.
SIMS
(looking about)
What a happy place this has become.
Everything is so much cleaner --
the idiots even have their faces
washed.
Only a little time and this
wonderful change in Bedlam! What
wonders will you not accomplish in
a life time.
He makes a mock bow.
SIMS
Madame, you are to be
congratulated.
NELL
What do you want?
SIMS
I want only to reward you. Didn't
you ask for a separate sleeping
apartment?
NELL
I'd like to sleep in peace,.
The main room is noisy at night.
SIMS
And I have a room for you -- a
prettier chamber -- if you will
come with me --
Nell rises.
INT. CORRIDOR - ST. MARY'S OF BETHLEHEM - DAY
Two guards with cold chisels, hammers and bolt clippers are
snapping chains, the links of which come through holes in the
wall and are passed around a stone pillar in the corridor.
INT. TOM THE TIGER'S CAGE - DAY
Tom reacts in surprise as first one chain and then another
falls to the floor. He takes a great draught of air into his
lungs. He moves cautiously, feeling his freedom. His eyes
move wildly.
INT. MAIN ROOM - ST. MARY'S OF BETHLEHEM - DAY
TRUCKING SHOT - Nell, Sims and the two guards behind them.
SIMS
Unfortunately, you will have to
share this comfortable apartment
with one other. I'm sure you won't
mind that•
NELL
Better one than a hundred.
ANOTHER ANGLE - to show Nell, Sims and the two guards
approaching the cage. Sims takes out a key,
SIMS
This is your new chamber, my dear
lady.
Inside the cage the gigantic maniac is beginning to move away
from the wall, still tremulous with his new freedom; his
movements hesitant.
CLOSE TWO SHOT - Nell and Sims.
SIMS
(with a gesture)
Won't you enter?
Nell looks at him.
NELL
You've not driven me mad yet, Sims.
I would not go in there.
SIMS
And I wanted so much to please you-
Nell starts to turn away. Sims catches hold of her elbow.
SIMS (CONT'D)
Wait. This was to show you — that
all those mawkish theories you've
learned from the Quaker are lies.
Men are not brothers — men are not
born kind and good — even the
mindless ones are savage and must
be ruled with force.
NELL
I know your thoughts on the matter,
Sims, they do not interest me.
SIMS
(disregarding this)
With the others, yes, you could
prove the little value of
gentleness — but look at this man --
look at him and tell me that kind
words and tender deeds can rule him
-- look!
He crushes her elbow in his hand to emphasize his point.
NELL
I am looking — it proves nothing.
SIMS
But you don't dare enter the cage
with him -- that proves much --
that proves the falseness of all
that you have come to believe.
NELL It does not.
SIMS
Well, then, enter the cage, gentle
him with a word -- conquer him with
kindness -- or admit that your
Quaker lies.
Nell looks directly at him, then, firming her will, she takes
a step toward the door.
SIMS
(taunting)
You would enter.
Nell nods. He opens the door wide enough for her to pass
through. She hesitates, then steps slowly into the cage. Sims
clangs shut the door behind her..
INT. TOM THE TIGER'S CAGE - DAY
In his first astonishment Tom retreats from her. She stands
still, a pace within the door, and looks at him. He takes a
few steps toward her, almost as if impelled with animal
curiosity. He circles to one side, then hunches his great
shoulders. His whole body grows tense like that of some tiger
who stiffens before he leaps.
NELL
(quietly)
My friend, you do not wish to hurt
me, nor I you.
It is the first gentle word spoken to him in years• Before
his madness can triumph over his surprise, Nell walks to a
small chair, catches up her skirts and seats herself.
NELL
Perhaps you would like to talk. I
will listen to you.
The gigantic maniac places himself before her and tries to
talk. Only inarticulate gasping sounds come from his mouth.
He gesticulates wildly. Then again he breaks into a frenzy of
gasping, disarticulated sound.
NELL
I know -- you are trying to
remember — some day you will.
He is silent.
NELL
(comfortingly)
You will remember -- some day you
will remember.
She looks up at Sims.
CLOSE SHOT - Sims. He shrugs and turns away leaving the
cage door unlocked behind him.
DISSOLVE
INT. JOHN LARD'S PUBLISHING HOUSE - DAY
Wilkes and his political supporters crowd the little
publishing house. Most of them are admiring a poster hanging
up on the wall which reads:
Your Votes, Poll and Interest are desired for
JOHN WILKES
Citizen and Joiner, to be
Chamberlain
He having more creditors than any other person.
A little away from this group stand John Wilkes, Hannay and
Varney.
VARNEY
— and the bailiff came. She went
with him to Bedlam.
WILKES
Apparently Sims fears an
investigation. Men have rid
themselves of unwanted wives by
that sweet expedient but it
takes Sims to forestall criticism
with imprisonment.
HANNAY
I will not believe such ill even of
him — but she is there.
I have spoken with her. She's as
sane as thee or me.
WILKES
Mistress Nell with that bright,
quick mind of hers -- saner than
either a politician or a Quaker.
This is still England, Hannay, and
we have laws here — laws of right
and justice. I shall see that Sims
feels their full weight,
He pats the Quaker's shoulder.
WILKES
We'll have Nell out of Bedlam in a
twinkle -- never fear --
FADE OUT
FADE IN
INT. MAIN ROOM -. ST. MARK'S OF BETHLEHEM - NIGHT
FULL SHOT - Two maniacs are seated together on the floor. One
has a book in his hand, but from it he reads incongruous
verses.
FIRST MANIAC
Let Hull, house of Hull rejoice
with Subis a bird called the Spight
which, breaks the eagle's eggs. Let
Scroop, house of Scroop rejoice
with Fig-Wine-Palmi primarium
vinum. Not so - Palrai-primum is
the word. Let Hollingstead, house
of Hollingstead rejoice with
Sissitietaeris herb of good
fellowship. Praise the name of the
Lord September 1762.
While he reads the other maniac keeps shouting.
SECOND MANIAC
That's not right -- that's not
right -- that's not the word of
Truth -- the word of Truth is
peace.
With this last remark he tears the Bible from the other's
hand and the two begin to fight madly for its possession. In
the struggle the Bible is torn and its leaves scattered.
Nell, with Tom the Tiger following her, comes into the scene.
NELL
Oh, Wallace — Edward — Stop!
She takes the Bible from them. Tom gets on his knees to pick
up the torn pages, handing them to her one by one.
SECOND MANIAC
We were fighting over the word
peace.
Nell grins.
NELL
Wiser men than you have fought
about it, Edward.
SIMS' VOICE
Mistress Bowen --
She turns. Sims comes into the scene attended by his two
warders.
SIMS
— a word with you.
She steps quietly forward.
SIMS
I have good news.
ANOTHER ANGLE - showing that behind Sims and Nell is the
pillar near which Todd's desk is placed. Todd is busily
working and Long, as usual, is leaning against the desk,
thumbing his book of motion pictures.
SIMS
You are to have a new hearing
before the commission.
NELL
(eagerly)
When?
SIMS
When it pleases the Commission.
She starts to turn away very disappointed. Sims takes her
elbow.
SIMS
It will please them to have your
hearing tomorrow afternoon. I'm
delighted for your sake.
Nell gives him a quick, direct look.
SIMS
Indeed, I am so pleased -- you've
so endeared yourself to me -- that
I want to do everything possible to
make sure your hearing is a success
-- that you will be released --
NELL
(briefly)
Thank you.
SIMS
In fact, I have ordered our most
beneficient remedy for you.
At Nell's foot, Tom the Tiger reacts to this; begins to
crouch away. Nell puts her hand down, touches his shoulder
and quiets him.
TWO SHOT - Long and Todd. For the first time, Todd lays down
his pen and turns to listen. Long's face is a study in
frightened Interest.
MED. FULL SHOT - Sims, Nell, Long, Todd and Tom. Sims looks
around at Long and Todd, savoring their fright. Nell also
looks at them. What she sees in their faces puzzles her.
NELL
A remedy, Master Sims?
SIMS
Have they --
(pointing to Long and
Todd)
not told you?
Nell shakes her head.
SIMS
It is my own invention -- a cure --
a specific for the lax and
wandering mind.
He takes Tom's shoulder and moves him a little so that the
light falls on the kneeling maniac's face.
SIMS
Look at him. When he came here he
had but one concern -- to remember
something he had forgotten -- I
tried to help him with my remedy --
Sims sighs deeply.
SIMS
Perhaps I was not drastic enough.
NELL
I need no cure.
SIMS
(shrugging)
Just to be sure, Mistress Bowen.
NELL
No.
SIMS
I've given you an invitation. Now I
must speak as your physician. Come
with me.
NELL
I'll take my chances with the
Commissioners. I need no cure,
SIMS
As the Apothecary General of
Bedlam, I order you.
NELL
No!
SIMS
If you insist upon it, I must force
you.
He takes a step toward her.
NELL
Force me? Here? Look around you.
SIMS
(grinning)
Do you think your friends will help
you?
NELL
I have helped them.
SIMS
You expect them to band together
and overwhelm me. If they could
reason so, they would not be here.
He comes closer to her.
NELL
I warn you. They know me. They know
that I've helped them -- been kind
to them --
SIMS
(sneering)
And so they love you and will aid
you -- again that Quaker nonsense --
He comes right up to her and seizes her wrist. She pulls
back. For a moment they stand silently, pulling in opposite
directions, then his superior strength begins to tell and she
is forced to take a step toward him. From the darkness two
arms suddenly reach in and seize Sims. He drops Nell's wrist
and tries to yank himself free. A whole group of lunatics
crowd in upon him, grasping him with their hands. Nell backs
away from him, one hand restraining Tom.
SIMS
Let go of me.
LONG
(stepping to Nell's side)
Hold him.
SIMS
(shouting)
Warders -- help -- warders --
NELL
Shout away, Master Sims. Shout
away. Your men are used to Bedlam
and its noises -- they have heard
too many cries to pay attention to
one.
Sims sees the logic in her speech and keeps silent.
NELL
As for me, I'll just borrow your
keys, Master Sims.
She takes them from his hand.
LONG SHOT - As Nell, the keys in her hand, runs toward the
main door. Todd sees her and rises from his place at the desk
and goes quickly after her. At the main door he catches up to
her as she inserts the key into the lock.
TWO SHOT - Todd and Nell.
TODD
(as he lays a restraining
hand on Nell's wrist)
No — Mistress Bowen — not that way.
There's a warder in the hall
and another at the front door.
NELL
But you heard him threaten me with
the treatment. I can't stay here.
TODD
There's a little window that is
left unbarred —
NELL
I think I know that window, Master
Todd. You are mad if you think I'll
try to climb through that window as
Colby did, and others before him, I
dare say.
TODD
I'm not mad, Mistress Bowen — I'm
not like the others here. I've been
placed here, by my family to keep
me from drink - so that I may write
and support them. I know that
little window is dangerous --
designed for a death trap -- but
those who tried before were men of
small strength.
NELL
I'm no Hercules
TODD
Tom could lift you through that
window.
Nell considers this, the nods.
TODD
(pointing)
You can go through that door
They start off in that direction.
MED. PULL SHOT - Sims as he still struggles in the grasp of
his captors. He is addressing himself to Long who still
stands before him.
SIMS
Long — you've more reason than the
rest and I expect more from you —
you know that there are chains to
bind you and rods to beat out the
punishment you'll get for this. You
understand that don't you?
Long nods mutely.
SIMS
Then go to the door — call the
warders for me -- or else you'll
feel the weight of those chains and
the bite of the rods on your back.
Long hesitates.
SIMS
Do as I say.
LONG
(hesitating and looking
around; frightened)
But the rest — what will they do to
me?
SIMS
Are you afraid of their vengeance?
They couldn't think far enough
ahead for that. They are lunatics.
They have been tried and found
incompetent by fair trial.
LONG
Trial? Quo Warranto — corpus
delicti — cum grano salis.
SIMS
Ah yes, I'd forgotten you were a
lawyer.
LONG
A lawyer, air? I am a Judge.
(in great excitement)
I am a judge —
(levelling his finger in
Sims' face)
I, the most skilled of them all —
and you shall be judged — judged I
say.
There is a general movement of excitement among the lunatics.
They move curiously forward; some grinning, some snickering
in excitement.
LONG
(pointing)
Bailiffs, hold that man! He
disturbs the court.
Three or four lunatics, including one of the women, fasten
themselves onto Sims' arms. A woman maniac begins to twitter,
WOMAN
Try him — try him,
MAN
A fair trial for Master Sims —- a
fair trial —
Sims struggles in the grasp of his captors.
ANOTHER ANGLE -As Nell, followed by Tom and Todd, passes the
struggling group, Sims reaches out one hand to her and calls,
SIMS
Mistress Bowen — speak to them --
please speak to them -- I beseech
you.
Nell pauses, looks at him and then laughingly says.
NELL
Give Master Sims a fair trial.
She turns and with Tom following her, walks across to the
small door near the cage. She unlocks it and followed by Tom
disappears into the darkness of the corridor.
DISSOLVE
EXT. THE ROOFS OF ST. MARY'S OF BETHLEHEM - NIGHT
CLOSE SHOT - Nell and Tom come out onto the window ledge.
NELL
(whispering)
Tom -- you must get up on the roof.
You are to go first, then you must
pull me up — up — you understand?
He nods, Nell throws open the window and gives him a little
pat on the shoulder. He starts to climb out.
Evidently, he has found a hand-hold above him as first his
head, then his torso and finally his legs disappear, Nell
edges out to the outer ledge of the window and lifts her hand
up,
NELL
(whispering)
Tom.
EXT. THE ROOF GUTTER - ST. MARY'S OF BETHLEHEM -- NIGHT
Tom kneeling in the gutter. He has one hand extended down
over the edge and this hand is wound tight around Nell's
upraised wrist.
NELL
Tom —
He starts to pull. She lets her feet slide off the window
ledge and is suspended above the street.
CLOSE SHOT - PROCESS - Tom and Nell. The strain of pulling
Nell up brings Tom's head back so that he sees the stars
above him. He looks at the stars, forgetting all else. He has
forgotten about Nell. She swings suspended by only one hand
four stories above the hard cobbles of the street,
CLOSE SHOT - Nell.
NELL
(whispering)
Tom — Tom —
TWO SHOT - Nell, frantic, but still holding her voice to a
whisper.
NELL
Tom — Tom —
Suddenly, comprehension dawns on Tom's face. With a
great effort he pulls her up and she scrambles safely onto
the gutter. She crouches there, breathing heavily, Tom
looks at the stars. Then she starts off over the roofs,
leading Tom.
INT. MAIN HALL - ST. MARY'S OF BETHLEHEM HOSPITAL - NIGHT
LONG SHOT. In the dimly lighted room pandemonium reigns
without let or license. The insane patients, shouting in
excitement, are in a great crowd about the pillar where Long
and Todd habitually stay.
Todd's desk has boon converted into a bar of justice and
behind it sits a stout lunatic with a dirty sheep's skin
spread over his head to Imitate a judge's wig. Behind him
stands a thin, sombre-looking idiot who makes exact splitting
motions in front of his face.
IDIOT
I am Solomon the Wise -- split him
in two -- split him in two.
A jury of twenty crazy men and women are herded together by
Don the Dog to the right of the desk. At the left, surrounded
by other lunatics, held by two crazy bailiffs is Master Sims.
Long, himself, is the crown advocate. Oliver Todd, the sanest
of them all, is evidently acting for the accused.
MED. FULL SHOT - Long.
LONG
(pointing an accusing
finger)
And so, Milords, we have brought
this man before you to answer for
those crimes — these crimes which I
shall number for you —• neglect —
A great shout rises from the lunatics.
LONG
-- cruelty —-
Another yell that grows fiercer arises.
LONG
(as he continues more
rapidly)
— whippings — beatings — dirty
straw to lie upon —
Some of the lunatics dance around Sims, tearing off their
garments to show the marks from the lash; the bruises from
the club.
LONG
A great shout rises and above it
can be heard the clanking of the
chains from those still fastened to
the walls•
LONG
Starvation -- stealing our food —
for all these crimes, Milords and
Gentlemen of the Jury, I ask
Justice.
A roar from the crowd follows. Sims tries to speak but his
words are drowned out by the shouting of the maniacs. They
swarm about him. Some pluck at his clothing with their
fingers. He goes down to his knees, the lunatics rain blows
on him.
CLOSE SHOT - Sims. His face is battered. He is shaken by the
blows and kicks of his charges. He tries to make himself
heard, pleading with outstretched arms and finally his words
can be heard.
SIMS
I beg you — let me speak — lot me
talk.
It is to no avail. They surge toward him again and again the
kicks and blows rain down.
DISSOLVE
INT. QUAKER MEETING HOUSE - NIGHT
After the hurly-burly shouting and screaming of Bedlam here
is perfect peace. The monotone of the Quaker costumes, the
orderly lines of the benches and the deep quiet with which
those simple people commune with God give a feeling of great
peace. Hannay sits at the end of one bench near the door.
Suddenly, that door bursts open and Nell stands there, wildly
disheveled by her flight, her eyes and face glowing with
excitement. She takes the few quick steps necessary to bring
her to Hannay's side.
NELL
William —
HANNAY
(whispering)
Shh. This is God's house.
NELL
(lowering her tone)
I broke free from Bedlam.
HANNAY
But thee should not have run from
there -- thee were to have a new
hearing tomorrow.
NELL
If I lived that long. He had some
treatment that he was to give me —
a treatment that made even the
maddest of them shudder to hear --
I ran --and they have him now.
HANNAY
Who has him?
NELL
The loonies — they've seized him
and are trying him in mockery--
they will kill him. It is what he
deserves.
HANNAY
Hush. Thee should not speak of any
man that way. Have they killed
him?
NELL
They will — they will --
Hannay starts to rise and takes her arm.
HANNAY
Then thee must go to him. Thee must
speak to the poor afflicted ones
and save him.
NELL
Save him?
HANNAY
Can one know his mind? Can one know
what sickness lies in it? As thee
were kind to those in Bedlam, thee
must be kind to those whose
sickness forces them to hurt their
fellow man.
Nell hesitates.
HANNAY
Is it not the same thing? Has Sims
not a madness thee can pity?
Nell thinks, then nods.
HANNAY
Come -- we shall get Wilkes — he
will help us —
He starts to lead her from the Quaker Meeting House.
INT. ST. MARY'S OF BETHLEHEM HOSPITAL - NIGHT
The rush lights have burned low and only two portions of the
place are well illuminated; the pillar around which the
main group of the insane are gathered around Sims and the
other pillar where Dorothea, the Dove stands in deep
quietude.
CLOSE THREE SHOT - Sims as he faces Todd and Long. Behind
him is the spectral figure of Solomon. Sims has been
pretty well battered. His wig is gone. His face is dirty
and bruised.
SIMS
I did not want to hurt you. I did
not want to put chains
on you — to starve you --to steal
from you.
LONG
But you did. And now it is our
turn.
SIMS
You will not dare harm me.
They'll load you with chains,
scourge you with the cat. Then you
shall really know what cruelty can
be. I warn you.
TODD
Your vengeance is not our present
concern. What you have done
concerns us -- why you did it.
SIMS
I told you -- I had to -- even
as you do things because you have
to do them -- even when you know
they're wrong --
LONG
But why?
SIMS
(still addressing himself to Todd)
Can't you understand? This is a
great world and strong men with
great advantages rule over it and
men like me are frightened -- born
poor and misshapen —
TODD
Did you beat us out of fright Sims
did you starve us out of fear?
SOLOMON
Split him in two.
The crowd moves forward, yelling. Long and Todd hold them
back with outstretched arms. Sims cringes.
LONG
Is that why you still threaten us
if harm comes to you?
SIMS
(turning to him with a
snarl)
I warn you -- the chains —- the
rods —
TODD
You spoke of your fear —
SIMS
It is a great world -- a world of
force and pomp and power —-
and I was frightened at my
littleness - my ugliness and my
poverty.
TODD
And for that you struck and starved
--
SIMS
(desperately)
It is the frightened dog that bites
-- and I had to fawn and toady and
make a mock of myself so that all I
could hear was the world laughing
at my ugliness, I was afraid.
TODD
You had to strike us.
SIMS
Yes -- yes -- can't you understand?
TODD
I understand.
SOLOMON
Split him in two.
LONG
And our punishment —
SIMS
Let me go. There will be no
punishment.
TODD
He is sane. There is a fear in him
— a fear that strikes out -- that
claws and tears at the world like a
singed cat. He is sane.
LONG
He will not punish us. He is sane.
JUDGE
This man is sane.
SOLOMON
Split him in two.
The crowd surges toward Sims, but Long interposes and
stretches out his arms to stop them,
LONG
Wait -- wait.
He is given a little space and a little quiet in which to
talk,
LONG
This man has been judged sane -- he
has no place here — he must leave --
you cannot harm him -- it is the
order of the court that he is sane
and that he shall be free.
The loonies nods their heads sagely. This seems a proper way
of settling the matter.
LONG
Bailiffs, release the prisoner!
The bailiffs let go of Sims. He can hardly believe that he
has been freed. He looks apprehensively about him, at the
faces of his charges and then begins cautiously, slowly to
back toward the door.
ANOTHER ANGLE - As Sims backs away his course brings him past
the pillar where Dorothea the Dove stands in her usual statue
like immobility. He starts to back away past her, moving
cautiously, keeping his eyes on the gaping lunatics who
follow him. As he comes close to Dorothea she puts her hand
into her bosom and draws forth the trowel. With a calm,
almost majestic movement, she plunges it into Sims' back. He
falls to the floor, sprawling, and the lunatics crowding
about him hide him from view.
LOW CAMERA SETUP - Showing the loonies around Sims, They are
frightened at what they have done and begin to move away,
some furtively, some running.
LONG
They will punish all of us. The
Apothecary General is dead.
CLOSE SHOT - Sims as he moves weakly.
LONG'S VOICE
We must hide him —— somewhere we
must hide him -- so that they will
never know --
Many hands come into the shot and the body is lifted up.
FULL, SHOT - A group of the loonies as they carry Sims
through the main hall.
MED. FULL SHOT - The door near Tom is cage. As the loonies
come up to it, Long takes a key from Sims' pocket, opens the
door and they pass through it.
DOLLY SHOT - As the lunatics carry Sims through the corridor
of the incurably insane, pandemonium reigns.
INT. THE INTERSECTION - ST. MARY'S OF BETHLEHEM - NIGHT
Here are the trowels, the mortar and the stones left by the
masons, as well as the unfinished wall. The lunatics cane
into the shot bearing the figure of Sims. With a great effort
they put him behind the wall, propping him up in an upright
position and silently with many a glance over their shoulders
they begin to wall him up. When the stones have reached his
chest his eyes open.
Almost as if frightened by this, the lunatics hasten,
throwing up the blocks of stone, slapping the mortar into
place. The wall rises above his head and he is blocked out.
DISSOLVE OUT
DISSOLVE IN
INT. THE MAIN HALL - ST. MARY'S OF BETHLEHEM - DAY
Along the walls the lunatics are lined- up. There are
many warders watching them. In the center of the hall,
walking toward the camera is a small group of people
including a warder, the Chief Commissioner of Lunacy,
another gentleman, John Wilkes, Hannay and Nell Bowen.
MED. FULL SHOT - The group.
NELL
(to Wilkes)
-- and when we got here, Master
Wilkes, he was gone. Long said he
just left -- disappeared —-
CHIEF COMMISSIONER
That is all I can get out of Long,
but I know they must
have killed him.
DOLLY SHOT - As the group advances toward the little door
near Tom's cage.
CHIEF COMMISSIONER
But it's so preposterous, Master
Wilkes — a man like Sims doesn't
just disappear.
The little party has reached the door and they pass through
it into the corridor. The warder leads the way with a lamp.
INT. THE CORRIDOR - DAY
MED. FULL SHOT - As the party proceeds through the
intersection. They come to the intersection and stand.
Hannay crosses to the wall behind which Sims' body is buried.
WILKES
-— and that's precisely why he
disappeared. They tried him,
found him guilty of sanity and let
him go.
Can you imagine what was in his
mind -- the mind of this man who
had sworn on all that was holy to
aid and comfort these people --
can you imagine his feeling of
guilt? I think that is what drove
him to run away.
CHIEF COMMISSIONER
They killed him.
CLOSE SHOT - Hannay. With professional interest he looks at
the masonry. It seems rough and badly done. He puts his hand
up and feels the mortar, then looks at his hand. His hand is
wet. He taps the wall. It is hallow. He turns as if to speak
to the others of his discovery, then pauses to listen as the
Chief Commissioner's voice drones on.
CHIEF COMMISSIONER
-- killed him and hid his body
somewhere --
WILKES
You can't prove that without
finding his body.
CHIEF COMMISSIONER
.......We shall find it and we
shall punish them.
WILKES
Yes, I know -— the chains -- the
beatings -- I tell you it's no
good. What you need here is a
better man to fill the post that
Sims has fled from — and after him
a better man and so on until things
here are as they should be; all
kindness and care for these poor
sick ones,
TWO SHOT - Nell watching Hannay as he listens to Wilkes. His
hand is still out-stretched and on his fingers the wet mortar
can be seen. As Wilkes finishes talking, she and Hannay
exchange glances.
ANOTHER ANGLE - Showing the group. The Commissioner and
Wilkes turn away and start down the corridor. Hannay starts
after them. Suddenly Nell throws herself in his way,
NELL
You're not going to tell them.
You know what It means to the
people in there. Is it not worth
silence to save them suffering?
HANNAY
I must tell the truth.
NELL
But no one has asked you.
NELL
(looking at him with a
twinkle in her eye)
I have heard there was much
rejoicing in,Heaven for the lost
lamb that comes back to the fold.
HANNAY
Let me pass, Nell. I must tell
them.
NELL
With only a little silence you
can win a lost lamb for the
fold, Master Hannay. If you
speak you gain nothing but
suffering for those in there.
Hannay stands puzzled, shaking his head. His conscience seems
sorely tried.
NELL
They have not asked thee.
Thou hast no need to affirm and why
should thy hand be added to the
weight that those people in there
must bear. Is that God's Will?
Hannay looks at her for a moment, then slowly grins.
HANNAY
Are we lovers that you thee and
thou me?
Nell smiles back at him.
FADE OUT
THE END