RKO RADIO PICTURES
presents
THE BODY SNATCHER
BORIS KARLOFF as John Gray
HENRY DANIELL as Dr. McFarland
BELA LUGOSI as Joseph
RUSSELL WADE as Dr. Donald Fettes
EDITH ATWATER as Meg Camden
RITA CORDAY as Mrs. Marsh
SHARYN MOFFETT as Georgina Marsh
DONNA LEE as The Street Singer
ROBERT CLARKE as Richardson
CARL KENT as Gilchrist
BILL WILLIAMS as A Medical Student
JACK WELCH as the Boy
LARRY WHEAT as the Salesman
MARY GORDON as Mrs. McBride
JIM MORAN as the Horse Trader
INA CONSTANT as the Maid
Directed by Robert Wise
Screenplay by Philip MacDonald and Carlos Keith
Based on the story by Robert Louis Stevenson
Produced by Val Lewton
Executive Producer: Jack L. Gross
Music: Roy Webb
Musical Director: C. Bakaleinikoff
Songs: We'd Better Bide a Wee
When Ye Gang Awa'
Jamie
Will Ye No Come Back Again
Sung by the Street Singer
The Spit Song
Sung by the Boy
Bonnie Dundee
Sung by a male quartet
Photography: Robert De Grasse
Art Directors: Albert D'Agostino and Walter E. Keller
Set Decorators: Darrell Silvera & John Sturtevant
Editor: J.R. Whitredge
Costumes by Renee
Asst. Director: Harry Scott
Sound Recorded by Bailey Fesler
Re-recording by Terry Kellum
Release Date: May, 1945
Running Time: 74 minutes
ROBERT LOUIS STEVENSON'S
"THE BODY SNATCHER"
Screen Play
by Philip MacDonald
FADE IN
THE MAIN AND CREDIT TITLES ARE IMPOSED ON a mezzotint of
Edinburgh castle viewed from the Causeway. When the last
credit title dissolves
DISSOLVE TO
STOP FRAME of STOCK SHOT showing Edinburgh castle. Over this
is a title:
EDINBURG -- 1831
With the DISSOLVE of the words the stock shot comes to life
with a carriage coming toward the CAMERA.
EXT. EDINBURGH STREET -- LATE AFTERNOON
FULL SPOT -- Down the lonely, almost deserted street comes a
cab drawn by a bony white horse. This black and sepulchral
vehicle passes through the long shadows and sharp gleams of
the late afternoon sun. On the box, bunched over, almost
lost in the folds of his triple-caped overcoat and with a
battered beaver on his hand, is the cabman. The horse plods
along, his hoof beats echoing with a hollow sound in the
narrow street. At the corner the vehicle turns left.
EXT. GREYFRIAR'S CHURCHYARD -- LATE AFTERNOON
The black cab drawn by the white horse goes slowly past a
little cemetery. The driver turns his head and looks down as
he goes past.
From his ANGLE, but not a MOVING SHOT, a pleasant little
graveyard with mossy gravestones; old turf making a spot of
green between the gray walls of the kirk and the blank stone
wall of a large building.
Seated on a table stone is young Donald Fettes, a poor
medical student, dressed in worn neat clothing with only a
woolen scarf about his neck for warmth. He sits in such
scanty sunlight as he can find, munching on a cold bannock
and washing it down with thin ale from a round stone bottle.
MED. CLOSE SHOT -- Fettes. In the closer view it can be seen
that he is looking at a small Cairn terrier who lies morosely
guarding a newly-made grave. The dog, with his head down
between his forepaws, occasionally glances over
apprehensively at the young student. Fettes takes a bit of
his bannock between his thumb and forefinger and leans
forward toward the dog.
FETTES
Here, -- here's a bit of something
for you.
The dog does not stir. Fettes leans further forward almost
putting the morsel of food to the dog's nose. The dog growls
savagely. Fettes draws back.
FETTES (cont'd)
Now, now, laddie -- I only wanted
to be friendly.
It is at this moment that a shadow falls athwart him and
looms up in the afternoon sunlight against the wall behind
him. He looks up.
ANOTHER ANGLE -- Fettes looking over as Mrs. MacBride, a
plump, motherly woman of middle-age, with a Tartan shawl over
her head and carrying a pannikin of water and a bone with
some meat on it, comes through the gate. She crosses over to
the little dog, puts the water before him and starts
shredding little pieces of meat from the bone to feed him.
The dog laps avidly at the water, then gratefully takes the
morsels of meat she gives him.
MED. FULL SHOT -- Fettes and Mrs. MacBride.
MRS. MACBRIDE
He'll not leave the grave -- not
since Wednesday last when we buried
the lad.
FETTES
Your son, ma'am? He must have been
a fine boy for the wee dog to love
him so.
Mrs. MacBride nods.
MRS. MACBRIDE
A great, kind lad, he was -- gentle
with all things like Robbie.
She pauses, sighs and then goes on.
MRS. MACBRIDE (cont'd)
Now I can't get the dog to leave,
here. Perhaps it is for the best.
I've not money enough to afford a
grave watcher.
FETTES
(looking about)
Not much danger here, ma'am, I
wouldn't think -- right here in the
heart of Edinburgh.
MRS. MACBRIDE
They're uncommon bold, the grave
robbers -- and the daft doctors who
drive them on.
FETTES
(a little uncomfortable;
feeling he has to make
the admission)
I'm by way of being a medical
myself.
MRS. MACBRIDE
A doctor?
FETTES
A student. I'm studying under Dr.
MacFarlane -- that is, I've been
studying until today --
He starts to get up. At this moment in the street can be
heard the clop-clop of a horse's hoofs and the rattle of iron
wheels on the cobblestones. On the ground and gravestones
appears and passes the monstrous shadow of a horse and cab,
angular and distorted, the driver's shadow hunched and evil,
now going from left to right.
EXT. EDINBURGH STREET -- LATE AFTERNOON
LONG SHOT -- a typical street scene of the time. A dog cart
drawn by a smart tandem passes. It is driven by a young buck
of the period; top-hatted, dandified, his whip held at a just
so angle. On the sidewalk, a group of small boys follow a
recruiting sergeant of the Seaforth Highlanders. A drummer
walks at his heels. He stops at a wooden "Charlie", the
rough police booth of that day, and begins to tack up his
posters. The boys crowd around to watch. One of them backs
up to a little trundle cart and surreptitiously filches a
piece of the shortbread being sold from this portable store.
At the other side of the "Charlie" stands a street singer, a
beautiful girl of about nineteen, dressed in ragged Highland
plaid. She is singing an old border ballad about two crows
who sit waiting to pick the dead eyes out of a fallen knight.
A shepherd, crook in hand, and faithfully attended by two
handsome collies, stops a moment to hear her song, drops some
coppers into the begging bowl she holds in her hands, then
passes on.
Through the consonance of the street singer's song comes the
dissonant beat of a horse's hoofs, the racking clatter of
iron-shod wheels and then between the singer and the CAMERA
there passes, very close, the white horse and the black cab.
As it blocks her out of the scene
WIPE DISSOLVE
EXT. MACFARLANE'S HOUSE -- LATE AFTERNOON
FULL SHOT -- Before the imposing edifice which houses Dr.
MacFarlane's living quarters as well as his school of
anatomy, the cab, drawn by the white horse, pulls up. The
driver begins to alight from the box. He climbs down, and
starts for the cab door.
CLOSE SHOT -- Gray as he opens the door. Gray is a man of
middle years with keen, darting eyes set in a face lined and
furrowed by an evil life. The quick play of his features as
he talks or smiles can form a moving and deceptive mask. So
that now as he opens the door, smiling, to help his
passengers alight, his face is cringing with good humor and
servility.
From the cab steps a young and lovely woman dressed in
becoming widow's weeds. This is Mrs. Marsh. She reaches the
sidewalk, turns back for the other occupant of the cab. This
is a little girl of about eight, dressed in a flower-sprigged
Kate Greenway gown and a poke bonnet to match. Gray
forestalls her.
GRAY
I'll get it, ma'am.
He touches his hat respectfully, reaches in and brings out a
tiny wheel-chair, which he sets down. He reaches in again
and takes the child up in his arms.
GRAY (cont'd)
(as he picks her up)
Come, little miss. Cabman Gray'll
carry you safe enough.
With the child in his arms he starts toward his horse's head,
talking as he goes.
GRAY (cont'd)
Give my horse a pat. He knows
every little girl in Edinburgh.
Some day when you're runnin' and
playin' in the street he'll nicker
at ye as we go by.
CLOSE SHOT -- The horse, Gray, and the little girl.
GEORGINA
I can't run and play.
GRAY
I'd forgotten that, lassie. All
the more reason for Friend here
bidding you a good-day.
Georgina smiles and pats the horse's nose.
ANOTHER ANGLE -- Featuring Mrs. Marsh as she smiles watching
Gray and the child. He turns back toward her.
MRS. MARSH
Would you mind carrying her up the
steps?
Mrs. Marsh reaches for the wheel-chair.
FULL SHOT -- Mrs. Marsh takes the wheel-chair up the two
steps. Gray follows carrying the child. He sets the child
tenderly in the wheel-chair, smiling as he does so.
GRAY
Back in your own wee cab.
GEORGINA
Thank you.
In the meantime, Mrs. Marsh has fumbled through her purse for
change. She hands this to Gray. He takes the money from his
right hand, then removes his hat with his left hand, bobs his
forelock with the right in a series of obsequious gestures.
GRAY
Thank ye, ma'am. Thank ye.
(to Georgina)
You watch sharp, little miss for my
horse to give you a "hello".
CLOSE SHOT -- Georgina looking at Gray with great pleased
eyes. This has made a definite impression on her.
EXT. MACFARLANE'S HOUSE -- DAY
Mrs. Marsh has used the door knocker. Now in response the
door is opened by a handsome woman of thirty-five, Meg
Cameron.
MRS. MARSH
I would like to see Dr. MacFarlane.
Meg gives Mrs. Marsh a quick look and then turns to look at
Gray. A glance passes between them; a glance which tells of
previous acquaintance, yet neither speaks. He turns and goes
down the steps. Silently, Meg opens the door and allows Mrs.
Marsh to push Georgina's wheel chair through into the hall.
INT. MACFARLANE'S HALLWAY -- AFTERNOON
Georgina's wheel chair is pushed into this gloomy and
forbidding entry. Meg closes the door behind them, then
without further word, strides down the hall. Mrs. Marsh and
the little girl wait and look around.
CLOSE SHOT -- Georgina. With great wide eyes the child looks
around at the antlered stag head, the cruel-looking walking
sticks in the umbrella stand and the light-footed Mercury
with caduceus upraised. The caduceus throws its patterned
shadow across the child's face.
CLOSE TWO SHOT -- Georgina and Mrs. Marsh. Mrs. Marsh sees
the fright in the child's face and reassuringly pats her
shoulder. There is the sound of a door opening and they both
look off in that direction.
MED. FULL SHOT -- The doorway to the sitting room, SHOOTING
PAST Georgina and her mother. Framed in this doorway is the
tall, robust figure of Dr. Douglas MacFarlane, a man in the
prime of life, dressed with almost flamboyant foppishness and
carrying himself with the assurance that the world is not
only his oyster, but that he has it pinned on a fork and can
swallow it and digest it with pleasure.
THREE SHOT -- Georgina, Mrs. Marsh and Dr. MacFarlane.
MRS. MARSH
(rising)
Dr. MacFarlane?
He half-bows in acknowledgment.
MRS. MARSH (cont'd)
I'm Mrs. Marsh -- this is my
daughter -- Georgina.
She fumbles in her reticule and pulls forth an unsealed
letter which she passes to the doctor.
MRS. MARSH (cont'd)
Dr. Maximillian of Leyden asked me
to present this to you. He thought
you might examine my little girl.
While she is speaking, Dr. MacFarlane has opened the missive.
MACFARLANE
(as he reads)
Maximillian -- a very famous
colleague of mine. I'm delighted
to honor his request.
With an expansive gesture he points to a door. Mrs. Marsh
pushes the wheel chair toward the living room door.
DOLLY SHOT -- the entrance to the sitting room.
MACFARLANE (cont'd)
(over the child's head to
Mrs. Marsh)
Born paralyzed?
The little girl shrinks from him at the bluntness of this
question.
MRS. MARSH
No. It was an accident.
INT. SITTING ROOM -- AFTERNOON
Although it is late afternoon the lamps have been lit in this
part of the house. Mrs. Marsh wheels the chair into the
middle of the room and then stands to one side so that Dr.
MacFarlane can examine the child. Meg Cameron stands by the
window.
MACFARLANE
Was the paralysis immediate?
MRS. MARSH
No, Doctor. She seemed to get
better, then about six months later
she began to complain of pain in
her back --
MACFARLANE
How long after that was the
paralysis complete?
MRS. MARSH
Nearly a year.
MACFARLANE
Any attacks of pain since?
MRS. MARSH
Yes, Doctor.
MACFARLANE
Is her pain sporadic or constant?
MRS. MARSH
It comes at intervals. They used
to be months apart -- but they've
been growing more frequent --
(catch in her voice)
much more frequent.
MACFARLANE
(directly to Georgina)
See here, child, when you have this
pain in your back, where is it?
GEORGINA
(setting her jaw)
I don't know.
MACFARLANE
Point to where it hurts. You can
at least do that, can't you?
GEORGINA
I don't know.
MACFARLANE
(angrily to Mrs. Marsh)
This is useless, ma'am.
He leaves the sentence unfinished and goes toward the center
of the room. Mrs. Marsh leans down beside the chair.
TWO SHOT -- Mrs. Marsh and Georgina.
MRS. MARSH
Please, darling, don't be so
stubborn.
Georgina darts a glance in MacFarlane's direction.
GEORGINA
(whispering)
Mother -- he frightens me.
MED. FULL SHOT -- the door in the background. There is a
soft rap at the door and then almost immediately it opens and
Fettes comes in. He looks about, sees the doctor busily
engaged with a beautiful young woman and a sick child. He is
embarrassed and tries to withdraw.
FETTES
Excuse me, Dr. MacFarlane --
MACFARLANE
Come in, boy -- come in.
Fettes closes the door behind him and stands rather shyly,
not knowing what to do or say.
MACFARLANE (cont'd)
Perhaps you can do something with
this young lady. I can't get an
aye, yes, or no out of her.
FETTES
(protesting)
But, Doctor, I only wanted to speak
to you --
MACFARLANE
(interrupting)
Come -- it's a chance to try out
your bedside manner, Fettes. Take
a look at the child.
Fettes walks up shyly to the child.
TWO SHOT -- Fettes and Georgina. Fettes stands abashed and
awkward before the clear-eyed glance of the little invalid.
He smiles at her. The child smiles back.
GEORGINA
Are you a doctor, too?
FETTES
Not yet.
GEORGINA
You'll be a good doctor. I know
all about doctors.
Fettes smiles.
FETTES
That's a nice chair you have.
He pushes it. It rolls a little.
FETTES (cont'd)
Useful, too. Where did you get it?
It isn't English, is it?
GEORGINA
(studying him)
What you really want to ask me is
about my back, isn't it -- about
where it hurts?
FETTES
Why, yes.
GEORGINA
Well --
She leans forward and reaches around with one hand.
GEORGINA (cont'd)
It's sort of all around here --
then down my legs -- it aches as if
I had been walking an awfully long
way --
(looking up at Fettes)
That's funny, isn't it -- because I
can't walk at all.
FETTES
Would you mind very much if I
lifted you --
(pointing to a table in
the other room)
-- onto that table in there?
She holds out her arms to him. Fettes lifts her up and
carries her into the other room.
The CAMERA PULLS BACK to reveal Mrs. Marsh and MacFarlane
watching Fettes and the child. They stand in the f.g.
talking together while in the other room Fettes puts the
child down on her stomach, opens her dress and examines her.
MACFARLANE
Child seems to take to the lad.
What sort of an accident was it,
Ma'am?
MRS. MARSH
A carriage overturned. My husband
was killed and Georgina was hurt.
MACFARLANE
How long ago?
MRS. MARSH
Three years.
FETTES
(calling from the other
room)
Dr. MacFarlane --
MACFARLANE
(to Mrs. Marsh)
Excuse me.
He strides forward. Mrs. Marsh remains where she is.
INT. EXAMINATION ROOM -- DAY
MacFarlane comes into the scene, bends over and examines the
little girl's back. He feels the spine with first one hand,
then the other. He nods to Fettes and turns away. Fettes
begins to button up the little girl's dress.
INT. SITTING ROOM -- DAY
MacFarlane is walking back to where Mrs. Marsh stands. In
the b.g. Fettes can be seen as he buttons up the little
girl's dress, picks her up in his arms and brings her back to
the wheel chair. MacFarlane comes over to Mrs. Marsh.
TRUCKING SHOT of MacFarlane.
MACFARLANE
Meg, give Fettes a hand there --
help him wheel the little girl into
the hall.
He turns back to Mrs. Marsh.
TWO SHOT -- Mrs. Marsh and MacFarlane. She is looking at him
anxiously; waiting to hear his verdict. He glances at Dr.
Maximillian's letter before speaking.
MACFARLANE (cont'd)
(tapping the letter in his
hand)
It seems that Dr. Maximillian is
right. The violence of the
accident must have disturbed the
tissues and caused a traumatic
tumor -- a sort of growth that
presses against the nerve centers.
MRS. MARSH
But can anything be done for her?
MACFARLANE
Perhaps -- a delicate operation --
an operation which has never been
performed -- but it could be
performed. I'm sure it could be --
I could incise the columna dorsi --
He is quite excited as he speaks, almost as if challenging
himself. Mrs. Marsh's interruption is ill-timed. It stops
him in full tide of self-persuasion.
MRS. MARSH
(eagerly)
And you will try -- you will
operate?
CLOSE SHOT -- MacFarlane. He is silent; thinking.
MED. FULL SHOT. MacFarlane silently turns away from Mrs.
Marsh and goes to his desk. Having reached it, he turns and
faces her again.
MACFARLANE
Not I, Madame.
She starts toward him impulsively as if to plead with him.
MRS. MARSH
But, Doctor, in Leyden -- in Paris
- wherever I've taken Georgina --
they've mentioned your name. I've
come to think of you as our only
hope.
MacFarlane looks at her, takes a step closer to her and
speaks very sincerely.
MACFARLANE
Believe me, Madame, if I were only
a doctor, I would undertake this
operation at once. But I'm more
dominie than doctor -- I've a
school to run.
MRS. MARSH
But, Doctor, surely in a case like
this -- a child -- a little child
who can never walk or run --
MACFARLANE
I regret it, Ma'am, but I have the
responsibility of training thirty
other doctors to attend a thousand
children like your own.
MRS. MARSH
There's nothing I can say for one
small child?
MACFARLANE
I'm not heartless, Ma'am. I have
every sympathy for you and for the
little girl, but if I were to
consent to every operation brought
to me, I'd have no time for
teaching -- and that's a great
responsibility upon me, Ma'am -- a
great responsibility.
They have reached the door. He bows in dismissal, and Mrs.
Marsh exits. As she leaves, Fettes passes her coming from
the hallway.
MED. CLOSE SHOT -- MacFarlane as he turns back into the room.
MACFARLANE (cont'd)
(to Fettes)
Well, Fettes -- what was it you
wanted to see me about?
MED. TWO SHOT -- Fettes and MacFarlane.
FETTES
(shyly)
I'm afraid I'll have to give up
medicine, Dr. MacFarlane.
MACFARLANE
(booming)
You're made for a doctor, young
man!
FETTES
I'm afraid I have to, sir. You
see, my father is vicar at Thrums --
it's a small parish -- not much of
a living --
MACFARLANE
(after thinking this over
a moment; very sincerely)
You're too good a man, Fettes --
I'll not let you quit.
(with a sudden thought)
I'll make an assistant of you --
that'll pay your keep and your
tuition, too --
FETTES
I thought only the best students
were made assistants.
MACFARLANE
Well? And are you not a good
student?
FETTES
(getting the idea)
But Richardson?
MACFARLANE
Richardson is a fine student. He's
got a glib tongue, but you'll be a
better doctor, Fettes. Come along
now --
He links his arm through Fettes' and starts toward the door
leading to the stairs.
MACFARLANE (cont'd)
-- let's get to the anatomy room --
I'll explain your new duties.
They have reached the door. Meg is standing there. As
MacFarlane and Fettes start to pass her, Meg puts her hand on
the doctor's arm. He pauses.
MEG
A word with you, Dr. MacFarlane.
MacFarlane motions Fettes to proceed into the other room. He
closes the door behind him.
MEG (cont'd)
You're not having Fettes for your
assistant?
MACFARLANE
And why not? He's a good lad --
bright and able.
MEG
Aye. He's a good lad. That's why
I ask you, MacFarlane.
MACFARLANE
You think it'll spoil the boy, eh?
Was I not assistant to Knox?
MEG
(thoughtfully)
Aye --
MACFARLANE
Did it spoil me, Meg, my lass?
She looks directly at him without answering. MacFarlane
grows uneasy.
MACFARLANE (cont'd)
(walking up to her,
putting an arm around her
shoulders and tilting up
her chin with his other
hand)
It will do the boy no harm.
He kisses her off-handedly. She wraps her arm around his
neck and kisses him with fierce passion. He releases
himself, goes on into the next room.
INT. ANATOMY ROOM -- LATE AFTERNOON
The anatomy room is dim. Long level bars of light come
through the wide windows to illuminate the bare austerity of
this classroom. The long rows of tables have a sombre and
empty look. Everything is meticulously clean.
At one of the tables is the hunched, dark and evil figure of
Joseph, the janitor of the school. He is engaged in rubbing
the surface of a marble-topped table. The door on the
landing opens. MacFarlane and Fettes come through.
MacFarlane still has his arm linked through that of his young
friend and is listening to Fettes' gratitude with evident
pleasure.
FETTES
-- all my gratitude, sir -- I can
never express it...
MED. FULL SHOT -- Fettes and MacFarlane as they descend the
stairs.
MACFARLANE
(lightly)
They'll be satisfaction enough for
me to know I've trained the great
Dr. Fettes.
MED. SHOT to include Joseph in the f.g. and Fettes and
MacFarlane as they reach the floor level of the anatomy room.
Joseph, continuing his work, casts a sidelong glance at the
doctor and student. It is evident he is listening to every
word they say.
MACFARLANE (cont'd)
Now -- as to your duties. It is up
to you to keep the accounts and to
distribute the specimens to the
students. Also, inasmuch as you'll
be living in the house --
He looks over and glances at Joseph and having noticed that
Joseph is eavesdropping, breaks off short.
MACFARLANE (cont'd)
(to Joseph)
Joseph --
Joseph looks up.
MACFARLANE (cont'd)
What are you doing, sneaking about
here like a Redskin? Make a little
noise, man. Let people know you're
about --
JOSEPH
(meekly)
Yes, Doctor -- yes.
MACFARLANE
-- otherwise I might get the idea
you are trying to spy on me.
He takes Fettes' arm again and leads him off toward the other
end of the anatomy room. The two medicals go out of earshot,
with Joseph in the f.g.
INT. THE ALCOVE -- LATE AFTERNOON
This is the small out-cropping of the main room set a few
feet lower in level. At one end is a heavy curtain of green
baize.
MED. FULL SHOT. MacFarlane and Fettes descend the steps
leading to the alcove. MacFarlane, with his hand on the
elbow of the younger man, guides him to the curtain.
MACFARLANE
You know how we get the specimens
we use for dissection?
FETTES
From the Municipal Council --
they're the bodies of paupers --
The CAMERA BEGINS TO DOLLY SLOWLY TOWARD them.
MACFARLANE
That's what the law stipulates but
there are not enough of them,
Fettes -- there are not enough of
them --
MacFarlane pulls aside the curtain. He and Fettes pass
through and the curtain falls into place behind them. The
CAMERA CONTINUES TO TRUCK SLOWLY TOWARD the curtain.
SLOW DISSOLVE
EXT. GREYFRIAR'S KIRKYARD -- NIGHT
CLOSE SHOT. The little dog, Robbie, is lying on his master's
grave. He lies with his muzzle on his forepaws but his eyes
are open and alert. Out of the scene comes the plodding beat
of a horse's hoofs and the rumbling of iron-shod wheels. The
dog lifts his head.
The horse comes to a stop. There is the creak of springs as
someone alights. The dog's hackles rise. He growls.
ANOTHER ANGLE. The great black shadow of a man in a caped
overcoat and top hat with a spade over his shoulder is thrown
onto the wall of Greyfriar's Kirk by the street lamp. The
huge shadow looms high over the tiny dog. Robbie rises
valiantly to his feet, snarling. As he does so, the actual
figure of the man, as black and indistinct as his own shadow,
comes past the camera, blacking out the little dog. There is
a deeper growl from Robbie. The man swings his spade down.
As the spade drives home there is a little weak sound from
the dog.
ANOTHER ANGLE. With his foot, Gray pushes the dead body of
the little dog to one side, strikes the spade into the ground
and starts to dig.
INT. FETTES' ROOM -- NIGHT
In a little attic room, Fettes is sleeping fitfully. The
room is flooded with moonlight which comes in through a
skylight window.
MED. CLOSE SHOT -- Fettes sleeping. Far away can be heard
the plodding hoofbeats and creaking wheels of Gray's cab.
There is a loud squeak as the cab takes the turn into the
alleyway. Fettes wakens. He listens. There is a sound of
the hoofbeats, the wheels and then silence when the horse
comes to a stop. He sits up. From downstairs comes a
stealthy knocking at the door. He gets up sleepily and
starts to put on his worn bathrobe, crosses to the window and
looks out.
EXT. ALLEYWAY -- NIGHT
HIGH ANGLE SHOT from Fettes' window. Gray, his cab and the
white horse present a weird and funereal spectacle. Gray is
fumbling with something inside the cab.
INT. FETTES' ROOM -- NIGHT
Fettes has turned from the window and starts toward the door.
He opens it and goes out.
EXT. ALLEYWAY -- NIGHT
Gray is pulling a long, canvas-colored object of considerable
weight from the cab. With a grunt he gets it up into his
arms and starts across the sidewalk toward the postern door.
INT. ANATOMY ROOM -- NIGHT
It is dark except for a small oil lamp left burning as a
nightlight. This casts its dim rays over a small portion of
the room near the entrance door. Fettes comes through the
door on the landing. He peers over the bannisters and then
somewhat slowly, as if not too easy at the prospect before
him, he begins to descend the stairs.
ANOTHER ANGLE. Fettes crosses the anatomy room looking
apprehensively into the darkness at either end. At the door
he pauses a moment, then passes through into the darkness of
the entry and is lost to view.
INT. ENTRYWAY -- NIGHT
It is so dark that Fettes can barely be seen. The clank of
the chain as he throws it off and the snap of the bolt are
loud and frightening in this small enclosed space. He pulls
the door open. Before him silhouetted against the dim
radiance of the cab lamps is Gray. In his arms is a long,
cloth-covered object.
CLOSE SHOT -- Fettes as he opens the door wider to give Gray
entrance. Without a word, Gray carries the body past him
into the anatomy room. Fettes closes the door and follows
him.
INT. ANATOMY ROOM -- NIGHT
Gray comes in and stands waiting for Fettes to come up to
him. Fettes comes out of the entry and takes a few steps
toward Gray.
GRAY
Here -- give me a hand -- this is
heavy.
Fettes helps him. Gingerly he takes hold of the corpse and
together they lay it down on a long marble-topped table in
the center of the room, almost directly under the nightlight.
Gray heaves a sigh of relief to be relieved of the weight.
GRAY (cont'd)
You'll find the specimen in good
condition. He was bright and
cheerful as a thrush not a week
long gone. A likely lad, I'm told.
(glances at Fettes)
You're the new assistant?
Fettes nods.
FETTES
(trying to remember his
manners)
I'm Donald Fettes.
GRAY
I'm very pleased to know you,
Master Fettes.
FETTES
Mr. Gray?
GRAY
That's right. Gray, the cabman.
I've had a bit of dealing with
MacFarlane in the past, you know.
Fettes nods.
GRAY (cont'd)
And I've always gotten along with
his assistants -- providing they
understood my humble position.
He puts one hand on Fettes' arm. Fettes moves away from him.
FETTES
Dr. MacFarlane said I should pay
you --
GRAY
(interrupting)
Of course -- it's the soul of the
business -- the pay --
Fettes shifts uneasily, confused and seemingly uncertain of
his next step.
GRAY (cont'd)
(prompting him)
I have no doubt you have the key in
your pocket --
Fettes reaches into his pocket and brings out a big iron key.
GRAY (cont'd)
(pointing)
And there is the box.
They start over toward it. Fettes opens the box.
GRAY (cont'd)
My fee is as usual -- ten pounds.
Fettes counts out the money to him. Gray flips the last coin
into the air and catches it with a gamin gesture which is
surprising in a man of such sinister appearance. As Fettes
still stands rather stupidly, Gray prompts him again.
GRAY (cont'd)
And now, although it's none of my
business, I would make the proper
entry if I were you. "One specimen
-- ten pounds -- received from --
let us say -- "MacDuff" -- a royal
name.
Fettes looks toward the desk.
GRAY (cont'd)
(still prompting him)
It's the little cloth-covered book
in the drawer.
Fettes brings it out. Gray watches him while he writes. The
pen scratches and squeaks over the paper. Then both turn and
start toward the entry.
FETTES
Good night, Mr. Gray.
As the door Gray tips his hat elegantly to Fettes.
GRAY
My respects, Master Fettes, and may
this be the first of many
profitable meetings.
He leaves, disappearing in the darkness of the entryway. A
second later the door can be heard closing behind him.
Fettes stands for a long moment looking at the dark entry,
then from behind him comes a chuckle of laughter. He whirls
abruptly.
ANOTHER ANGLE -- Fettes in the b.g. and above him on the
landing, holding a candle, is Dr. MacFarlane in an elegant
dressing gown.
MACFARLANE
Well, well, my boy. Your first
meeting with the redoubtable Gray.
You may count it as a milestone in
your medical career.
MED. CLOSE SHOT -- Fettes as he looks from MacFarlane to the
door.
FETTES
My medical career --
FADE OUT
FADE IN
INT. ANATOMY SCHOOL -- DAY
CLOSE SHOT -- skeleton. It is facing the camera, its stance
a parody of that prize fighter of the period; left well
extended, right held high, both knees bent. Over the shot
comes a clamor of men's voices, cutting across which,
suddenly, comes Fettes' voice.
FETTES
All right, gentleman -- that will
do! Settle down!
The CAMERA PULLS BACK to show the interior of the school. In
the f.g. is the dais, at one side of which is the skeleton.
Fettes steps up onto the dais at the other side of the
passing some dozen students, all young men in their early
twenties. Two students, Gilchrist and Richardson, are
prominent. Richardson is lean and sardonic.
FETTES (cont'd)
Dr. MacFarlane has asked me to
review the points he has just
discussed with you.
MED. CLOSE SHOT -- dais. The skeleton is to one side in the
f.g. facing the students, o.s. Fettes has his back to it.
FETTES (cont'd)
He started with the construction of
the ribs and the haemapophyses --
He turns toward the skeleton, then reacts sharply as he
notices its ludicrous stance.
FETTES (cont'd)
(angrily)
I suppose this was your doing,
Richardson.
He starts rearranging the skeleton's limbs. Richardson
grins. It is at this moment that Joseph comes sidling up to
the group.
JOSEPH
Mr. Fettes --
Fettes looks over at him.
JOSEPH (cont'd)
A lady is asking for you.
FETTES
What lady, Joseph?
Joseph shrugs. Fettes, seeing that he'll get no
enlightenment from him, turns to the students.
FETTES (cont'd)
If you gentleman will excuse me --
He starts for the stairs. There is a snicker of laughter.
Richardson leans over and with two deft movements brings the
arms of the skeleton back into fighting position.
INT. MACFARLANE HALLWAY -- DAY
Mrs. Marsh sits there. Broad beams of sunlight flood in from
the front windows. She is speaking with Meg Cameron. Meg is
standing looking down at her.
MEG
Why do you come here? The Doctor
said he wouldn't operate.
MRS. MARSH
I've already told you I didn't come
to see Dr. MacFarlane.
MEG
Then whom do you wish to see in
MacFarlane's own house?
It is at this moment that the door opens and Fettes comes in.
Meg takes one glance at him.
MEG (cont'd)
(almost under her breath)
So it is in that direction that the
wind blows, eh? It will get you
nothing.
With that she turns on her heel and goes off to a little door
on the left.
MRS. MARSH
(rising)
Good morning, Mr. Fettes.
Fettes bows formally. It is obvious he is pleased, yet very
puzzled to see her. He comes down and takes her hand.
FETTES
You asked to see me, ma'am?
MRS. MARSH
(impulsively)
I want you to help my little girl.
FETTES
I'm only a student.
MRS. MARSH
Georgina told me how kind you were
to her. It gave me hope you might
intercede for us with Dr.
MacFarlane.
FETTES
I don't know that I can do that,
Mrs. Marsh.
MRS. MARSH
Did he tell you about Georgina?
Fettes nods.
MRS. MARSH (cont'd)
Then he must have told you that
this disease is progressive -- that
it will grow worse -- that soon she
will not be able to move at all.
Fettes nods again. Mrs. Marsh lays her hand on his arm and
looks directly into his eyes.
MRS. MARSH (cont'd)
And you won't ask him to help?
FETTES
I didn't mean it that way. I meant
only that I am not in a position to
ask favors.
MRS. MARSH
Ask this one favor --
FETTES
(very much moved)
Of course I will.
Mrs. Marsh smiles at him.
MRS. MARSH
Georgina was right. You are a kind
man.
She extends her hand and Fettes takes it.
FETTES
I'll do what I can.
He walks with her to the door, lets her out, closes it behind
her and then turns and starts back the way he came.
INT. THE ANATOMY ROOM -- DAY
MacFarlane is present and now in contrast to the disorder
under Fettes the students are busy and absorbed. They are
working at their tasks. MacFarlane, with two or three around
him, is helping one of the students, Gilchrist.
MACFARLANE
(enthusiastically)
In an adult this muscle can apply
more than one hundred seventy-five
pounds of pressure? Double that
and you get the full strength of
the human jaw.
(jocularly)
That, gentlemen, is to chew our
food and bite our enemies.
The students laugh; that peculiar laugh common to students
and soldiers when a superior makes a joke. It is at this
moment that Fettes starts down the stairs. MacFarlane looks
up.
MACFARLANE (cont'd)
Here, Fettes, life can't be all
skittles and ladies --
This sally provokes a low murmur of appreciative laughter
from the students. Fettes, discomfited, joins the group.
MACFARLANE (cont'd)
(pulling a watch from his
pocket)
It's time for our luncheon. I've a
bit of beef to discuss and --
(bowing slightly)
I leave you all to whatever
arrangements you have made to serve
the inner man.
FULL SHOT -- Fettes as he takes up a small bundle wrapped in
a handkerchief and starts for the door.
MED. SHOT -- MacFarlane as he starts for the stairs. He
passes a table where Richardson is bent over his work, which
is out of scene.
MACFARLANE (cont'd)
Well, I see you have that arm
you've been yearning for,
Richardson.
RICHARDSON
Yes, sir. This fellow must have
been a great one at hurling the bar
-- beautiful biceps. Burke and
Hare would never have got the best
of this fellow.
MacFarlane's head jerks up and he looks directly at
Richardson.
MACFARLANE
What did you say?
RICHARDSON
I was making a joke, sir.
MACFARLANE
(passing on)
It's a poor subject for jest,
Richardson -- particularly for a
medical student.
He turns abruptly away and starts toward the stairs.
GILCHRIST
(to Richardson)
What did you say to His Imperial
Highness?
RICHARDSON
Nothing but a merry word about
Burke and Hare --
GILCHRIST
That's nothing for him to get upset
about. They're dead and buried --
Richardson shrugs.
DISSOLVE
EXT. GREYFRIAR'S CHURCHYARD -- DAY
Fettes comes along the street toward the gateway. Suddenly
he stops and looks at a small crowd which has gathered around
the gate, all talking very excitedly and peering in over each
other's shoulders. He stands and looks.
MED. FULL SHOT -- the crowd at the gate. The people draw
back making way for Mrs. MacBride who comes out.
MED. CLOSE SHOT -- Mrs. MacBride as she makes her way through
the crowd. She is crying and in her arms she carries the
dead body of the little dog.
ANOTHER ANGLE -- SHOOTING FROM behind Fettes. Mrs. MacBride
comes through the crowd and starts across the street toward
him.
CLOSE SHOT -- Mrs. MacBride and Fettes. Fettes looks at her.
MRS. MACBRIDE
(as she passes him)
They killed his wee doggie too --
little Robbie.
(passes on)
CLOSE SHOT -- Fettes as he watches Mrs. MacBride. From
behind him comes the sound of the street singer's song.
DISSOLVE
INT. MACFARLANE'S STUDY -- LATE AFTERNOON
MacFarlane is seated on a high stool at a work table. He has
before him two large bones and is measuring these with a pair
of dividers and marking down notations in a notebook. While
he works he whistles "The Blue Bells of Scotland." There is
a knock at the door.
MACFARLANE
Come in!
He looks over his shoulder to see Fettes as he enters then
turns back to his work. Fettes comes up and stands beside
him. MacFarlane makes a notation in the notebook and then
looks up.
MACFARLANE (cont'd)
Well, Fettes -- where have you
been? I didn't see you at the
afternoon session.
FETTES
I don't think I can go on, sir.
MACFARLANE
(whirling around on the
stool)
What the devil do you mean? You
have your lodgings, a certain
stipend -- I thought I had arranged
everything for you --
FETTES
I saw the woman whose son's body
was delivered last night.
MacFarlane nods.
FETTES (cont'd)
That man took the body from
Greyfriar's. I knew the woman.
I knew the little dog on the grave.
He killed the dog.
MACFARLANE
And that's why you don't want to be
a doctor, Fettes?
FETTES
Not if I have to be party to things
like that, Dr. MacFarlane.
MacFarlane studies him for a moment. He then gets up from
the stool and puts his hand on the boy's shoulder.
MACFARLANE
Fettes, I was an assistant once. I
had to deal with men like Gray. Do
you think I did it because I wanted
to? Do you think I want to do it
now? But I must and you must.
Fettes shakes his head. MacFarlane puts his other hand on
Fettes' other shoulder.
MACFARLANE (cont'd)
Ignorant men have dammed up the
stream of medical progress with
stupid and unjust laws. If that
dam will not break, the other men
of medicine have to find other
courses. You understand me,
Fettes?
Fettes nods.
FETTES
But this woman -- and her son --
MACFARLANE
I'm sorry for the woman, Fettes.
But her son might be alive today
had more doctors been given the
opportunity to work on more human
specimens. As for me, Fettes, I
let no man stop me when I know I'm
right -- when I know that I need
those lifeless subjects for my
student's enlightenment and for my
own knowledge. And if you're a
real man and want to be a good
doctor, you'll see it as I see it.
There is a long pause. MacFarlane lets his hands drop to his
sides.
MACFARLANE (cont'd)
Well, boy?
Fettes nods. MacFarlane claps him jovially on the back.
MACFARLANE (cont'd)
You're a good lad, Fettes.
(looking at Fettes more
closely)
But you look a bit pale to me. I'm
dining at Hobbs. Come along with
me and have a bit of the joint and
a glass of ale. It will put new
life in you.
He takes the boy's arm and they start from the room.
EXT. EDINBURGH STREET -- NIGHT
The pavement is glistening from a recent rain and there is a
hint of fog in the air. It is the dinner hour and the street
is fairly well peopled. On one corner by the light of a
flaring torch a pamphleteer is selling his wares. On the
other corner the street singer stands chanting her ballad;
the dolorous phrases reciting the tale of a dead knight
deserted by his horse, his hound and his leman fair.
MED. FULL SHOT -- the singer. MacFarlane, with top hat, cape
and carrying a cane swings briskly past her with Fettes, more
soberly dressed, at his side. They stride out of scene.
EXT. HOBBS PUBLIC HOUSE -- NIGHT
MacFarlane with Fettes in tow comes breezing up. With a
lordly gesture he ushers Fettes before him into the public
house.
INT. HOBBS PUBLIC HOUSE -- NIGHT
It is bright, warm and cheerful. A huge fire is roaring in
the fireplace and before it is a rack spit turned by a spit
boy who sings as he turns. (Song to be supplied.) On the
spit is a young porker with forelegs and hind legs stretched
to elongate him before the fire. The porker has just
recently been put on the spit so that he gleams pale white in
the warm glow of the fire.
MED. FULL SHOT -- at the door. Fettes, followed by
MacFarlane comes in. Fettes looks shyly around him while a
man servant takes his hat. MacFarlane boldly flings his hat
and cape to the attendant and strides forward toward the
fireplace. He extends his hands and looks at the slowly
turning porker.
MACFARLANE
(to Fettes)
We'll have a stiffener or two of
hot rum and by then we will be able
to meet this fellow on fairly equal
terms of warmth, eh Fettes?
From behind them comes an insinuating voice.
GRAY'S VOICE
A fine "specimen" isn't he, Toddy
MacFarlane?
They both twist around quickly.
REVERSE SHOT -- on the opposite side of the room where he has
hidden from them by the high walls of the divan, a sort of
inglenook built away from the fireplace, is Gray. This is
"common" section of the inn. He sits with a loaf of coarse
bread before him and a glass of stout at his elbow. He is
grinning. Without rising, Gray beckons.
GRAY
Come, Toddy -- come. Sit down here
with me.
MACFARLANE
Don't call me that confounded name.
GRAY
(still grinning)
Well, then, Doctor MacFarlane --
although I've known a time, Toddy,
when you liked the name. Aye, and
many are dead now who called you by
it; rough and wild ones they were,
too. But come Toddy, sit down here
with your young friend.
Fettes looks in surprise from the doctor to the cabman,
utterly confused at the familiarity of this man's address.
MACFARLANE
(coldly)
Mr. Fettes and I have professional
matters to discuss.
GRAY
Medicine? That'll keep. Sit down.
As MacFarlane hesitates, angry and most anxious to refuse,
Gray lowers his tone to a sly confidential murmur.
GRAY (cont'd)
You wouldn't want it said of you
that you refused a glass to an old
friend.
MacFarlane shrugs.
MACFARLANE
We'll buy you a glass, Gray.
He motions to Fettes to sit down. Fettes takes a seat and
MacFarlane sits down beside him. As Fettes sits down beside
him, Gray turns to him in a confidential manner.
GRAY
I'm a pretty bad fellow myself, but
MacFarlane is the boy -- Toddy
MacFarlane --
He chuckles, shaking his head as if in appreciation of the
most sinister sort of villainy. MacFarlane is angry. Fettes
is confused and unable to orient himself in this strange
relationship between the great anatomist and the lowly
cabman. Gray turns to MacFarlane.
GRAY (cont'd)
Come, Toddy, order for your friend.
MacFarlane lifts his hand to beckon to the waiter.
GRAY (CONT'D)
No, on second thought, let me
order.
(as the waiter comes up)
We'll have a bowl of hot punch and
a cut off the loin from that fine
porker.
The waiter looks at Gray dubiously, unused to such a
sumptuous order from so humble a customer.
GRAY (cont'd)
(catching the look)
You needn't worry, waiter, I'm with
my friend -- the great Dr.
MacFarlane -- he wants to sit here
with the commonality.
The waiter nods, looks from MacFarlane's tense and angry face
to Gray's grinning countenance, turns and makes off to the
kitchen. For a moment the three men sit silently, MacFarlane
encircled in the iron ring of his anger;
Fettes tongue-tied and abashed and Gray gloating over the
doctor's discomfiture. Finally Gray breaks the silence.
GRAY (cont'd)
(to MacFarlane)
Well, you were going to talk of
medical matters. Don't let my
humble presence stop you. Speak
up, Toddy.
MacFarlane, goaded beyond the point of endurance, pounds his
fist on the table.
MACFARLANE
I will not have you use that name
to me.
GRAY
You will not have it?
The two men glare at each other, then very slowly MacFarlane
averts his gaze. Fettes looks from one to the other and then
trying to cover the defeat of his teacher, begins to speak.
FETTES
Dr. MacFarlane -- you remember the
lady who came to see you yesterday --
the lady with the little girl?
MACFARLANE
I remember her.
FETTES
She came again today. She wanted
me to ask you if you would not
break your rule and operate. She
feels you are her only hope.
MACFARLANE
So she told me. I'm a teacher --
not a practitioner.
MacFarlane shrugs as if this aspect of the conversation were
closed. Gray looks over at him quizzically.
GRAY
You're a teacher, eh? Maybe you're
afraid to be a doctor, Toddy.
MACFARLANE
Afraid of what?
GRAY
Afraid you are not as good a doctor
perhaps as you make out to be.
MACFARLANE
I am the best man for the job.
GRAY
Why don't you do it then?
He pauses and looks slyly at MacFarlane.
GRAY (cont'd)
I'd like you to do the operation,
Toddy.
MACFARLANE
You? Why? Since when have you
become the protector of little
children?
GRAY
I'm not concerned about the child,
Toddy. It's you I'm thinking of,
I'd like to see you prove that a
lot of things I know haven't hurt
Toddy MacFarlane any.
MACFARLANE
I'll not do it, Gray.
GRAY
Oh, yes, you will. You'll do it to
oblige Fettes and myself.
MACFARLANE
No.
GRAY
Maybe there's some private reason
between you and me which will make
you -- some long lost friend of
ours.
(dropping his voice)
Say that you'll do it for me and my
friend, Mr. Fettes, here.
The two men exchange glances for a moment.
MACFARLANE
(trying to cover up)
It might be an interesting case.
GRAY
That's a good boy, Toddy.
NOTE: The following line to be shot as protection for the
content of this scene.
MACFARLANE
You only want me to do it because I
don't want to. That's it, isn't
it, Gray?
MacFarlane glares at him with hatred. Gray grins and turns
to Fettes.
GRAY
Toddy hates me.
MACFARLANE
(muttering)
Don't call me that confounded name,
I tell you.
GRAY
Hear him? Did you ever see the
lads play knife?
He picks up the table knife and puts it across his knuckles,
then with a sweep of his fist, tosses it into the loaf of
bread.
GRAY (cont'd)
He would like to do that all over
my body.
FETTES
(trying to make a joke)
We medicals have a better way than
that. When we dislike a friend we
dissect him.
MacFarlane looks up sharply. Gray glances at him and smiles.
GRAY
You'll never get rid of me that
way, Toddy. You and I have two
bodies -- aye, very different sorts
of bodies -- but we're closer than
if we were in the same skin -- for
I saved that skin of yours once and
you'll not forget it.
The waiter comes, bearing a steaming bowl of punch. He
ladles out a glassful and puts it before MacFarlane.
MacFarlane drinks thirstily, glad of this excuse to avoid
Gray's penetrating glance.
FADE OUT
FADE IN
EXT. THE RAMPARTS -- DAY
The ramparts of the castle of Edinburgh are about thirty feet
wide and overgrown with the grass of centuries. This forms a
narrow lawn between two crenellated stone walls. From these
battlements only a distant horizon line, a few spires and
fleecy clouds above the town can be seen.
LONG SHOT -- a small group of children. The CAMERA PANS WITH
these children as they run, laughing and shouting, across the
lawn of the ramparts. When they run past the little
wheelchair in which Georgina is seated, the CAMERA HOLDS ON
Georgina. She turns her head to watch the children run off.
Then she turns and looks the other way to where her mother
and Fettes are standing by the ramparts, deep in
conversation. The CAMERA PANS WITH her gaze. They are out
of earshot of the child talking in low, confidential tones.
MRS. MARSH
You have his promise, then?
FETTES
Yes.
Mrs. Marsh looks over at Georgina, then back to Fettes.
Fettes turns and looks over at Georgina.
FETTES (cont'd)
There will be great pain connected
with it, ma'am. During the
operation and afterward -- great
pain and shock --
MRS. MARSH
(almost breathing the
words)
-- pain -- and shock. She's brave
enough, but I don't know about
myself. Now that it seems so
close, I wonder if I dare trust my
child into any but God's hands.
Maybe He knows best.
FETTES
Ma'am, is you'll allow me, I'd like
to give you cause for courage --
Dr. MacFarlane is a great man -- I
think he's the greatest man in
medicine. God would not have given
him such gifts if they were not
meant for Georgina's cure.
Mrs. Marsh looks at him gratefully.
MRS. MARSH
(sincerely)
Thank you, Mr. Fettes.
MED. CLOSE SHOT -- Georgina. Seated in her little wheel
chair, she is cuddling a porcelain-faced doll of the period.
Suddenly she hears something in the street far below. It is
the clop-clop of horse's hoofs and the ringing of wheels on
the cobble stones. She looks up and tries to raise herself
in her wheel chair to see over the parapet. She is unable to
do so. She calls out to her mother.
GEORGINA
Mommie! Mommie!
MED. FULL SHOT -- Georgina in the f.g. Fettes and Mrs. Marsh
turn to go toward her.
GEORGINA (cont'd)
Push me to the wall, Mommie. I
think I hear him.
Fettes takes a few long steps and comes up to the wheel
chair.
FETTES
Hear him?
GEORGINA
The white horse. The horse that is
going to greet me when he sees me.
FETTES
(as he starts to wheel the
chair toward the parapet)
An old acquaintance, eh?
Georgina nods. He gets her as far as the wall and she looks
over. She peers down, then turns back with a look of
disappointment on her face.
DOWN SHOT -- from the Ramparts. On the street below a
carriage is passing drawn by a brown horse.
MED. CLOSE SHOT -- Georgina and Fettes.
GEORGINA
(disappointed)
It was a brown horse.
Mrs. Marsh comes up.
MRS. MARSH
A cabby told her his horse would
say "hello" to her the next time he
saw her. Georgina has been looking
everywhere for that horse.
Fettes looks at the child, smiling, then leans down so as to
bring himself on a level with her.
FETTES
Why do you want the white horse to
bid you "good-day"?
GEORGINA
He was a nice horse.
FETTES
Maybe there's another reason.
Maybe you haven't friends enough.
Could that be it, Georgina?
Georgina looks at him, thinks a moment, then nods her head.
GEORGINA
Of course -- I don't have friends.
That's because I can't walk. I try
to make myself used to it.
FETTES
One shouldn't get used to the wrong
things, Georgina. You want to walk
and run and play.
MRS. MARSH
(not knowing the direction
or purpose of Fettes'
conversation; breaks in)
Really, Mr. Fettes -- I thought you
at least would know how much
Georgina wants that.
Fettes nods.
FETTES
Aye, but I still wonder how much.
GEORGINA
(with dreadful sincerity)
I want it --
FETTES
But you'll have to stand great
pain, Georgina. Greater pain than
you ever dreamed of in the worst
time of your sickness. Do you want
it that much?
Georgina nods.
FETTES (cont'd)
Then, Dr. MacFarlane will make you
well.
He smiles at her and although this direct conversation about
her illness has brought tears to her eyes, Georgina smiles
back at him and Mrs. Marsh, looking down at them, smiles too.
In her eyes also are tears.
WIPE DISSOLVE
INT. MACFARLANE'S LIVING ROOM -- DAY
MacFarlane is seated in a wing chair before the fire.
Although it is near noon, he still wears dressing gown and
slippers. His hair is rumpled and his eyes bloodshot. He
has a glass in his left hand and holds a poker in his right.
With the poker he tries to push a big piece of cannel coal
into the flames. It eludes the point of the poker and rolls
back against the hobb. Again he pushes it forward. Again it
rolls back. Suddenly, and with almost maniacal rage, he
lifts up the poker and brings it crashing down on the coal.
The soft coal splinters into a hundred pieces. Suddenly,
from behind him comes a woman's soft and teasing laughter.
He turns. Meg Cameron stands in the doorway behind him. She
comes quickly across the room to him.
MEG
(as she walks)
Gray's head -- is that it, Teddy?
Is that what broke just now under
the poker. Broken it -- and have
done with him forever.
By the time and she has finished her speech, Meg has reached
him and before he has had a chance to even react to her
teasing, mocking tones, she has flung herself down on her
knees beside his chair, thrown her arms about his neck and
kissed him passionately.
MEG (cont'd)
My poor lad -- my poor, poor lad
that can never be free of him.
MACFARLANE
You're daft. What's Gray to me.
He's only a man from whom I buy
what I need when I need it -- the
rest is forgotten.
MEG
You may deny the devil, Toddy, but
you'll not rid yourself of him by
saying the devil is dead.
MACFARLANE
Nonsense. You're a fey creature
with mad ideas. But you have a
wildness that holds me to you,
lass.
MEG
(quite sure of her ground)
No great lady will ever take my
place?
MacFarlane shakes his head. He kisses her. She clings to
him. It is at this moment that there is a knocking at the
door. Meg rises quickly and adjusts her clothing.
MacFarlane tries to seem more at ease.
MACFARLANE
Come in.
Fettes comes in.
MACFARLANE (cont'd)
I didn't expect to see you on
Sunday, Fettes. What do you want,
some powders for your aching head?
That was a furious lot we drank
last night -- and in bad company.
FETTES
It was about last night I wanted to
talk to you -- about the operation
on the little Marsh girl.
MACFARLANE
(loftily)
You're a man of the world, Fettes,
you wouldn't hold me to promise
given in drink.
FETTES
But I -- well, you see, sir, I met
Mrs. Marsh and told her.
MACFARLANE
(beginning to lose
patience)
Really, Fettes, you irk me with
your lack of understanding.
FETTES
But you did promise.
MACFARLANE
Look here, Fettes. Not I nor
anyone else knows enough about the
spinal column and its intricacies
to insure success in such an
operation. I would have to study
the matter. Have we any
"subjects"?
FETTES
Wilmont used up the last spinal
section.
MACFARLANE
You see, it is completely out of
the question.
FETTES
(very disappointed)
Yes, I suppose so.
MACFARLANE
Now you run off and see that pretty
Mrs. Marsh and explain to her.
Fettes, dejected and disappointed, nods and slowly leaves the
room. MacFarlane watches him go.
INT. ANATOMY ROOM -- DAY
CLOSE SHOT -- Joseph at the desk. He has the account book
open before him and with index finger moving from letter to
letter, he is laboriously but silently spelling out the
words. Suddenly, he hears footsteps behind him on the stairs
and quickly slams the book and begins dusting the desk.
FULL SHOT -- The anatomy room from Joseph's ANGLE. Fettes is
coming down the stairs and crosses toward him.
FETTES
Joseph --
Joseph looks up.
FETTES (cont'd)
Would you know a spinal column if
you saw one?
Joseph nods and grins.
FETTES (cont'd)
Do we have one?
Joseph shakes his head. Fettes shrugs. He stands thinking
for a moment, then speaks to Joseph again.
FETTES (cont'd)
Joseph --
Joseph looks up again.
FETTES (cont'd)
-- do you happen to know where
Gray, the cabman, lives?
Joseph nods.
FETTES (cont'd)
Well, tell me.
Joseph leans meditatively on the desk.
FETTES (cont'd)
What do you want me to do, bribe
you? I'm cursed if I do. Tell me
straight out. Where does he live?
JOSEPH
I'd gladly run with a message, sir,
for a florin. It's not much,
considering it's Sunday.
FETTES
I only want his address.
JOSEPH
He lives in the Westport --
Fettes nods.
JOSEPH (cont'd)
(in a last desperate
effort)
I'd gladly go.
But Fettes has already passed into the entry way.
DISSOLVE OUT
EXT. DARK ALLEYWAY -- NIGHT
It is a crooked, narrow alley. The only light comes from the
ends. Fettes can begin to hear the ballad of the street
singer from the street toward which he is going. He pauses a
moment, listens, then walks forward into the darkness; the
song almost seeming to guide him through the dark alley.
He comes to the darkest portion of the alley. A sound from
the left attracts his attention. He comes to an abrupt halt
as something white and mysterious moves on a window sill at
his eye level. He takes a half step backward as a white cat
leaps down and scurries noiselessly across his path. Fettes
grins at his own fright and goes on. He passes through the
darkness and comes out into the dim light of the other
street. He comes to the street corner and on the corner
stands the street singer. She is singing her little song and
jingling a few coins in her begging bowl to attract the
attention of the few people passing by in this dismal street.
Fettes goes up to her. She stops singing.
FETTES
Do you know where Mr. Gray lives --
Gray, the cabman?
The girl shakes her head.
FETTES (cont'd)
Well, thanks anyhow.
He takes a coin from his pocket and drops it into her bowl.
He goes off and the CAMERA MOVES IN to a BIG CLOSEUP of the
girl as she resumes her song.
LONG SHOT -- Fettes as he walks. This alley, like the other
grows darker toward the center. There is an arch leading to
a court. Fettes turns left under this arch.
EXT. GRAY'S DWELLING AND STABLE -- NIGHT
It is a tiny, narrow squalid building. He looks at it, sees
the name, "John Gray -- Cabman" written on a board across the
door, goes up to it and knocks. As there is no answer, he
pushes the door open and steps into almost Stygian darkness.
INT. GRAY'S STABLE -- NIGHT
Fettes gropes his way along the wall toward the stairs.
Suddenly from the darkness looms a tremendous white figure.
It is the cabman's horse. His first momentary fright over,
Fettes pats the horse's nose, passes on to the stairs, climbs
the brief flight of steps leading to a door from under which
comes a ray of light. Again he knocks. A voice shouts out
to him.
GRAY'S VOICE
Come in -- come in.
Fettes thrusts open the door and looks around to see the room
in which he finds himself. It is a large loft-like room,
furnished with odds and ends of poor furniture. The best
pieces in the room are two dilapidated easy chairs that have
obviously seen better days. On one wall some spare harness
is hung. A great battered wardrobe contains Gray's clothes.
The floor is covered with two worn Turkey carpets. There is
a bed on which the bedclothes are untidily tumbled. There is
a washstand and pitcher. Quite evidently Gray uses this
chamber as a combined living, dining and bedroom as well as a
kitchen. This last is the purpose to which it is being put
as Fettes enters. Gray, in shirt sleeves, is crouched over
the embers of the fire in the hearth, stirring some sausages
in a frying pan. The kettle steams busily on the hob. On a
small table near the fire is a loaf of bread, a jug of ale, a
wooden trencher, a clasp knife and a fork. As Fettes enters,
Gray rises and goes to meet him with the frying pan still in
his left hand.
GRAY
So it's the young doctor come to
see me. I'm honored -- honored --
There is a curious, almost triumphant undertone in his voice.
GRAY (cont'd)
Here, take this. It is the most
comfortable chair.
He guides Fettes to a chair and Fettes, without removing his
coat, sits down.
With quick servile civility he crosses to the taboret, gets a
glass and bottle and brings it back with him. He pours a
glass for Fettes.
Fettes takes a swallow.
GRAY (cont'd)
And to what do I owe this honor of
this visit? Some business, was it,
of Dr. MacFarlane's?
FETTES
Dr. MacFarlane didn't send me. I
came of my own accord.
He breaks off, taking another swig from his glass.
FETTES (cont'd)
What are the chances of your being
able to get us a "subject"?
GRAY
(shaking his head)
It would be difficult -- very
difficult. There was a dog that
bothered me during the last job --
people seem so concerned about dogs
-- all in all it raised the very
mother and father of a row. I'm
told the kirkyards are to be
guarded.
(pausing)
But I would not like to say that it
would be impossible to get a
"subject".
A look of relief comes over Fettes' face. He picks up his
glass and drinks again.
FETTES
(leaning forward)
But how soon, man? Dr. MacFarlane
is engaged in some very urgent
research at present. He can't wait
very long.
Again Gray smiles.
GRAY
I fear he may have to.
FETTES
But can't you give me any idea?
GRAY
How could I? I will do my best.
After all, you see, I am
financially interested.
The CAMERA PULLS BACK to a WIDER ANGLE as Fettes gets to his
feet abruptly. Where comes very faintly over the shot from
somewhere outside, the voice of the street singer, singing
the same melody.
GRAY (cont'd)
You may tell Toddy that I will do
what I can, when I can -- as he
knows I will.
(sighing)
But he must wait and see as the
children do.
FETTES
If that's your answer -- it'll have
to do.
Fettes turns abruptly away and goes quickly out of scene
toward the door. Gray sits for a moment, reflecting, then
gets to his feet. The CAMERA PANS WITH him as he goes to the
door and out.
EXT. STREET -- NIGHT
MED. FULL SHOT -- at the far side of the street, Fettes can
be seen striding. At the nearer side, approaching slowly, is
the street singer.
INT. GRAY'S STABLE -- NIGHT
CLOSE SHOT -- Gray. His head is turned in the direction of
the voice. His hand comes up to his chin as he rubs at it
reflectively, obviously seized by an idea. He makes up his
mind and turns into the stable.
MED. SHOT. It is dark. In the f.g. is the white horse. It
turns as Gray comes into scene and nuzzles him affectionately
as he pats it.
GRAY
Ah, Friend! There's bad news for
you, boy -- bad news --
He pulls out a lump of sugar and gives it to the horse.
GRAY (cont'd)
We have to go out again, Friend.
He turns away into the darkness, but is back in a moment
bearing the horse's collar. As he slips the collar over the
animal's head --
DISSOLVE
EXT. STREET -- NIGHT
It is a long deserted street. At the near end a lantern on a
house wall casts a sphere of dim radiance. The CAMERA is
FOCUSED DOWN the street which ends in Stygian darkness. From
behind the camera comes the street singer, walking slowly,
singing and rattling her begging bowl. She walks on. Just
before her figure is lost in the darkness, from behind the
camera can be heard the clop-clop of hoofs, the creak of
carriage springs, and the rolling wheels of Gray's cab. As
the singer disappears completely into the darkness, the cab
goes past the camera. It, too, disappears into the darkness.
The CAMERA HOLDS. The sound of the carriage ceases. A
moment later, the song of the street singer comes to an
abrupt, choked end.
LONG DISSOLVE OUT
DISSOLVE IN
INT. FETTES BEDROOM -- NIGHT
At a small table, seated on a high stool, is Fettes. A
little lamp burns dimly at his elbow and by its light he is
studying. He turns the pages, checks some point in his
reading with an anatomical chart spread over the table and
with his pencil still poised over the anatomical chart, he
pauses, listening. From some distance away comes the sound
of a horse's hoofs and the banging of wheels. Fettes rises
and crosses to the window. He draws the curtains aside and
pushes open the casement. With the window open and sound of
the horse's hoofs is louder. He looks down.
EXT. ALLEYWAY -- NIGHT
SHOOTING DOWNWARD as if from Fettes' viewpoint. Gray's cab
pulled by the white horse comes into the scene and stops.
INT. FETTES BEDROOM -- NIGHT
Fettes turns away from the window and starts for the door.
EXT. ALLEYWAY -- NIGHT
Gray gets off the cab.
INT. ANATOMY ROOM -- NIGHT
Fettes passing through.
INT. THE ENTRY WAY -- NIGHT
Fettes opens the door, admitting Gray. He comes in carrying
the usual canvas-colored body, but this burden is lighter
than the last. Without any difficulty he takes it into the
adjoining room.
INT. ANATOMY ROOM -- NIGHT
Gray lays his burden down upon the table.
GRAY
(cheerfully)
There, Master Fettes. Sooner than
we had expected. A stoke of luck
one might say.
FETTES
Good.
He is still almost half asleep as he starts over toward the
desk pulling the key from his pocket as he goes. As he does
so, his eyes light on the face of the corpse, revealed on his
side by the drooping canvas. He is startled; takes two steps
nearer and looks again.
FETTES (cont'd)
That's the street singer.
Gray says nothing; merely looks at him calmly.
FETTES (cont'd)
(very much excited)
I know her, I tell you! She was
alive and hearty only this evening.
It's impossible she can be dead.
He pauses. Then in a lower voice.
FETTES (cont'd)
You could not have gotten this body
fairly.
Gray looks at him with a cold, hard look.
GRAY
You are entirely mistaken.
The two men stand facing each other. There is even a hint of
physical violence in Gray's stooped crouch.
GRAY (cont'd)
You had better give me my money and
make the proper entry.
He stares Fettes down and the boy crosses over to the desk
and hurriedly gets out the money. He crosses over and gives
it to Gray. Gray looks at it and then at the boy.
GRAY (cont'd)
Good night, Dr. Fettes.
He tips his hat and is quickly gone. Fettes goes back to the
body and looks down at the dead face of the girl. He
shudders.
FADE OUT.
FADE IN
INT. ANATOMY ROOM -- DAY
CLOSE FULL SHOT -- the stairway. The door at the top of the
stairs opens and MacFarlane comes through with an early
morning shine upon his countenance; his hair sleek from
brushing. He is adjusting his tie and is whistling a
Scottish tune as he descends the stairs. He suddenly breaks
off as he sees someone below him on the floor level of the
anatomy room.
MACFARLANE
(heartily)
Well, well, good morning to you,
young Master Fettes.
REVERSE SHOT. Fettes is completely dressed, but his haggard
face and rumpled hair give evidence of a sleepless night.
FETTES
Dr. MacFarlane, have you ever seen
a street singer who sang "The Twa
Corby"?
They start toward the table where the body lies. The CAMERA
BEGINS TO TRUCK WITH them.
MACFARLANE
Every street singer with a cracked
voice gives tongue to that one.
FETTES
This girl was beautiful -- a wild
lassie from the Highlands.
MacFarlane shrugs.
MACFARLANE
Beautiful, you say? It's a wonder I
have not remarked her.
They have reached the table and both me look down.
MACFARLANE (cont'd)
Oh, this girl.
He whistles a bar or two of her song.
INT. RECESS NEAR BRINE VAT -- DAY
Joseph, comfortably seated on a three-legged stool near the
brine vat and contentedly sucking at an old clay pipe, hears
the doctor's whistled tune. He leans forward without rising,
parts the curtain to look out.
FETTES' VOICE
She was murdered.
Joseph softly rises from his stool, taking care to let the
legs of this seat go back quietly onto the floor. He puts
himself into an attitude of intense listening.
INT. ANATOMY ROOM -- DAY
MED. CLOSE SHOT on MacFarlane and Fettes.
FETTES
I went to see Gray last night. I
asked him to bring us a specimen.
On my way I saw this girl. I gave
her alms money. She was alive and
singing.
He points to her temple. MacFarlane looks down.
MACFARLANE
Well --
FETTES
Gray killed her.
MACFARLANE
We can't be sure of that.
FETTES
I am sure. I mean to report it.
It's like Burke and Hare all over
again.
MacFarlane studies him for a long moment.
MACFARLANE
(very quietly)
I wouldn't do that, Fettes. I
wouldn't report it.
FETTES
Grave robbing is one thing -- this
is murder.
CLOSE SHOT -- Joseph at the curtain. He is turning away. He
has heard enough, and the calculating look in his eyes has
been replaced by one of triumphant decision.
MED. SHOT -- Fettes and MacFarlane.
MACFARLANE
I don't know that -- neither do
you. This subject may have been an
epileptic -- thrown a fit -- fallen
out of bed -- cracked her skull and
killed herself -- there is
everything explained -- the bruise
on her head --
FETTES
I can't believe that.
MACFARLANE
Believe it or not. It's best for
you to pretend that you do. After
all, it was you who ordered this
specimen, received it here, and
paid for it. That makes you a
party to murder.
Fettes looks at MacFarlane. The truth of what the doctor has
said is borne in upon him. He is confused and bewildered.
FETTES
But, I didn't ask him to kill.
MACFARLANE
Who would believe that? And you
know, someone else might recognize
her. She was as well known as the
Castle Rock.
MacFarlane looks over at him.
MACFARLANE (cont'd)
I should advise complete
dissection.
MacFarlane starts to pull back the canvas from the body.
MACFARLANE (cont'd)
I'll help you, of course.
Fettes hesitates. MacFarlane throws back the canvas sheet.
MED. CLOSE TWO SHOT -- Fettes and MacFarlane.
MACFARLANE (cont'd)
I want the whole centrum myself for
spinal work -- you know why --
Fettes understands, smiles and moves forward to help the
doctor lift the body.
FADE OUT
FADE IN
INT. MACFARLANE'S LIVING ROOM -- DAY
It is a bright afternoon and there is no fire on the hearth.
Mrs. Marsh is seated on the sofa and Meg sits beside her. A
tea service on a small table is between them. Georgina's
empty wheel-chair is in evidence.
MEG
(pushing a cup of tea
toward Mrs. Marsh)
Have a drop -- it'll help.
Mrs. Marsh shakes her head. Between her hands is a
handkerchief which she is twisting nervously.
MRS. MARSH
I couldn't swallow it.
She makes a nervous desperate gesture with her handkerchief;
glances wildly at the clock.
MRS. MARSH (cont'd)
How long has it been?
Meg Cameron also glances at the clock.
MEG
Only twenty minutes.
MRS. MARSH
(desperately echoing)
Only twenty minutes.
INT. ANATOMY ROOM -- DAY
LONG SHOT. The room no longer has its ordinary arrangements.
The tables and benches have been pulled up around the central
marble-topped table for use as an impromptu grandstands.
Students are standing on the tables and benches, peering down
in tense and silent excitement at something on the table.
There is the sound of a child's groan; a gasp of pain.
CLOSE FULL SHOT -- the circle around the table. Georgina
partially covered by a sheet, lies on the slab. MacFarlane
in shirt sleeves and apron bends over her. Richardson and
some other students are close around him. Fettes crouches at
the head of the table; his face near that of the child. This
is a very low camera setup which hides the actual business of
the operation from the audience, but which allows them to see
the reactions to it on the faces of the students.
MACFARLANE
Here is where you must watch
closely, gentleman -- closely -- it
is the very heart of the matter --
FETTES
Wait, Doctor -- wait! The child's
fainting.
The two big students who are holding the tiny thin arms of
the girl to hold her down look questioningly at MacFarlane.
MACFARLANE
Give her some brandy if you want.
Fettes shakes his head.
FETTES
She's unconscious.
MACFARLANE
Pulse?
RICHARDSON
Slow -- but not too alarming.
MACFARLANE
Let us proceed.
He bends to his work again.
MACFARLANE (cont'd)
(commenting as he goes)
-- and the final step -- we push
the ganglia to one side -- then we
make the actual osseous incision
here -- so -- it is done -- the
repair is effected and nothing left
to do but replace the tissue and
let nature heal what is no longer a
defect -- merely a wound --
RICHARDSON
(softly; but with feeling)
Bravo!
MACFARLANE
(to Fettes)
I'll be finished with her in an
instant. Then you can consider her
your patient, Fettes.
Fettes looks his gratitude.
FADE OUT
FADE IN
INT. ANATOMY ROOM -- DAY
It is late afternoon and only MacFarlane is there working at
his desk. Suddenly Joseph comes in from the entry on tiptoe.
He gets up to within a few feet of MacFarlane before
announcing himself.
JOSEPH
Doctor --
MacFarlane wheels around.
MACFARLANE
What the devil is the matter with
you -- forever creeping about.
What do you want?
JOSEPH
Mr. Gray --
MACFARLANE
I don't wish to see Mr. Gray.
Behind him Gray, grinning, comes out from the darkness of the
entry way and stands listening. The doctor is unaware of his
presence. He turns back to his work.
MACFARLANE (cont'd)
You tell him that there will be no
more business between us.
Gray grins even more broadly, then he clears his throat with
a rumbling couch. MacFarlane turns around.
MACFARLANE (cont'd)
Oh -- well, Joseph, it seems I will
have the pleasure of speaking to
Mr. Gray myself. You can go.
Both men wait for Joseph to go into the alcove.
GRAY
Now that wasn't a friendly thing I
heard, Toddy. Not at all friendly.
MACFARLANE
That has nothing to do with it.
We've decided to do more lecturing
and less dissection -- it's better
for the students -- that's all
there is to it.
GRAY
(starting to leave)
You know what you want and don't
want -- so that's an end of
business between us -- but we'll
still be friends, Toddy. I'll be
dropping by to see you and Meg once
in a while -- for auld lang syne,
you know.
MACFARLANE
I suppose we can't prevent that,
Gray --
(bitterly)
-- for auld lang syne.
Gray turns very humbly and goes to the door, then he turns
again and he is laughing.
GRAY
And do you think you're getting rid
of me, Toddy?
MacFarlane, who has turned back to his desk, whirls about,
but Gray has already disappeared into the darkness of the
entry way and from thence comes his loud crowing laughter.
The doctor's face clouds in anger. He turns back to his
desk. The street door can be heard closing.
EXT. MACFARLANE'S CLOSE -- DAY
Gray, still laughing, comes out on the sidewalk to find
Joseph waiting for him. Chuckling to himself, Gray starts
to cross to his cab. Joseph stops him.
JOSEPH
I would like to speak to you.
Gray looks at him.
GRAY
I presume you shall. This won't be
my last visit here.
JOSEPH
I want to speak to you alone. I
saw something. I heard.
GRAY
What did you hear?
JOSEPH
I know --
He looks off and sees Fettes coming down the alley. Fettes
is whistling to himself.
JOSEPH (cont'd)
Maybe some other time --
GRAY
(beginning to laugh again)
Oh, you'll have ample opportunity --
ample --
(to Fettes)
Good morning, Dr. Fettes.
FETTES
Good morning.
INT. ANATOMY ROOM -- DAY
The doctor turns as Fettes comes in.
FETTES
I just saw Gray. What was he
laughing at?
MACFARLANE
He has his own idea of a joke.
Perhaps his horse tickled him in
the ribs.
FETTES
I've just been to see Mrs. Marsh.
Georgina is doing splendidly. The
incision has healed -- clean and
fine -- but she doesn't seem to
have any desire to walk.
MACFARLANE
When she's ready you bring her to
me -- I'll show her how.
FETTES
Dr. MacFarlane, I wonder if you
know what happiness you've brought
those people.
MACFARLANE
That's only our duty, Fettes --
that's the end at which we aim with
all this nasty business.
He makes a gesture to include the anatomy room.
FETTES
(very sincerely)
I suppose one must pass through
this purgatory to the heaven of
being a good doctor.
MACFARLANE
(turning to his desk)
That's the way of it, Fettes. You
bring the lassie to me.
FADE OUT
FADE IN
INT. DR. MACFARLANE'S STUDY -- DAY
The doctor, Fettes, Mrs. Marsh and Georgina are all together.
Georgina is seated in her little wheelchair. The doctor
stands before her, looming above her, glowering with ill
concealed rage. Fettes kneels at the side of the wheelchair,
while Mrs. Marsh sits nervously perched on the sofa.
FETTES
Don't you want to find the white
horse, Georgina? You can't find
him from a wheelchair. You have to
walk and run to find him.
GEORGINA
I can't.
MACFARLANE
(thundering)
You can't -- can't!
(to Fettes)
Stop trying to bribe her with
childishness about white horses.
Let the child stand and walk -- her
spine's all right. I know it's all
right.
FETTES
But she must want to stand. She
must want to walk.
MACFARLANE
(still in a towering rage)
Confound me, the child's a cripple,
of course she wants to walk.
(to Georgina)
Child, I say to you get up out of
that chair and walk.
Georgina bursts into tears. MacFarlane makes a disgusted
gesture.
MACFARLANE (cont'd)
(trying to control
himself)
I ask you, child, to do a simple
thing -- raise yourself with your
hands to a standing posture -- then
step out with your left foot -- try
it.
Georgina shakes her head.
MACFARLANE (cont'd)
I say, try it! Lift yourself up
now!
Georgina lifts herself up by her hands to a semistanding
posture.
MACFARLANE (cont'd)
Good. Now step out.
The child stands still.
MACFARLANE (cont'd)
Step out!
GEORGINA
I can't! I can't! My legs won't
move.
MACFARLANE
(almost screaming)
Nonsense!
Mrs. Marsh rises from the sofa and comes to join them.
MRS. MARSH
I'm sorry, Doctor. Georgina's a
good child -- a brave child -- you
saw how she was during the
operation -- but if she can't move,
she can't move.
MACFARLANE
But she must be able to move.
Everything is in place.
MRS. MARSH
(shaking her head)
She would if she could.
MACFARLANE
Then all my surgery is no good.
There's something wrong with the
child -- something I don't know --
something I can't define -- can't
diagnose.
(pause)
I can do nothing for her.
When he finishes his speech there is a long, dead silence.
MacFarlane is the first to break it.
MACFARLANE (cont'd)
You see Mrs. Marsh home, Fettes,
I'm going to Hobbs'. You can join
me there if you like.
Fettes nods. Picking up his hat MacFarlane starts from the
door.
DISSOLVE OUT
DISSOLVE IN
INT. HOBBS' PUBLIC HOUSE - NIGHT
It is quite late and there are only a few patrons in the
public house. At the bar, with his hat on his head and his
whip in one hand, Gray sits on a stool drinking some hot
liquid from a pewter tankard. The drawing-waiter is leaning
on the bar talking to him.
GRAY
(setting down the mug)
Well, I'll be off -- unless you
have a fare for me here -- some
gentleman a little taken with wine.
WAITER
Wait a bit and MacFarlane will
be wanting to be freighted home.
GRAY
The Doctor MacFarlane?
WAITER
Aye. In the other room and
getting stiffer than the bodies he
demonstrates.
GRAY
I'll look in on him.
Gray slouches across the room to the divan. He peers in.
MED. CLOSE SHOT -- MacFarlane in the divan FROM GRAY'S ANGLE.
There is a squat bottle before him and two small glasses. He
is hunched over. His hair is rumpled. He is brooding. From
the entrance of the divan, Gray speaks to him.
GRAY (CONT'D)
Toddy --
MacFarlane looks up.
MACFARLANE
(with drunken
friendliness)
Oh, it's you, Gray. Well, come in.
Sit down. Have a glass with me.
GRAY
(removing his hat and
sitting down)
You're uncommon friendly tonight,
Toddy. More like the old days.
MacFarlane drunkenly nods his head.
MACFARLANE
I want someone to talk to. That
Fettes -- all taken up with the
widow. He never came back here.
He looks up at Gray.
MACFARLANE (CONT'D)
You know something about the human
body, Gray.
GRAY
I've had some experience.
MACFARLANE
Then you can understand that the
backbone is a lot of little
blocks and those little blocks are
all held together, so that it works
like that whip of yours. You know
that, don't you?
GRAY
I've never had it all explained
that way to me by so learned a man.
MACFARLANE
(disregarding the sarcasm)
I set those blocks together,
patched the muscles. I put the
nerves where they should be -- I
did it and I did it right -- and
she won't walk --
GRAY
(beginning to understand)
Oh, it's the bit of a girl Fettes
was talking about.
MACFARLANE
(thumping his hand on the
table)
The same. Look here, Gray --
He picks up two glasses.
MACFARLANE (CONT'D)
I fitted them together like this --
(he puts the two glasses
together)
-- so that it was right. Yet she
won't walk.
Gray looks at him. He is grinning his malicious grin. With a
sudden sweep of his hand across the table he knocks down the
glasses.
GRAY
You can't build life like you put
together blocks, Toddy.
MACFARLANE
What are you talking about? I am an
anatomist. I know the body. I know
how it works.
GRAY
And you're a fool, Toddy -- and no
doctor. It's only the dead ones
that you know.
MACFARLANE
I am a doctor. I teach medicine.
GRAY
Like Knox taught you? Like I taught
you? In cellars and graveyards? Did
Knox teach you what makes the blood
flow?
MACFARLANE
The heart pumps it.
GRAY
Did he tell you how thoughts come
and how they go and why things are
remembered and forgot?
MACFARLANE
The nerve centers -- the brain --
GRAY
But what makes a thought start?
MACFARLANE
(fuzzily)
In the brain, I tell you. I know.
GRAY
You don't know and you'll never
know or understand, Toddy. Not from
me or from Knox would you learn
those things. Look --
He points to a mirror behind MacFarlane's head. MacFarlane
looks into it.
MIRROR SHOT showing MacFarlane looking at his own face and
the evil face of Gray just behind him.
GRAY (CONT'D)
Look at yourself, Toddy, could you
be a doctor -- a healing man --
with the things those eyes have
seen? There's a lot of knowledge in
those eyes, but there's no
understanding. You'd not get that
from me.
MacFarlane whirls around.
ANOTHER ANGLE - MacFarlane facing Gray.
MACFARLANE
I am a doctor - a good doctor. I
could make her walk, but she won't
- she won't --
GRAY
(almost kindly, as he
pours a drink)
Here, have another glass,
MacFarlane. I'll take you home and
we'll be friends again -- now that
you know that you're Knox's man and
my friend -- aye, forever.
MacFarlane swallows the drink at a single draught.
MACFARLANE
I'm my own man and I'll have no
more to do with you, Gray.
Gray lifts his eyebrows quizzically.
MACFARLANE (CONT'D)
Why should I be afraid of you? What
are you holding over me?
GRAY
I'll tell you what, Toddy. It's
because I ran down the streets with
the mud and the stones around my
ears and the mob yelling for my
blood. It's because you were afraid
to face it -- and you're still
afraid.
MACFARLANE
No, I'm not afraid. Tell!
Shout it from the housetops!
(dropping his voice)
And remember this -- they
hanged Burke -- they mobbed
Hare -- but Dr. Knox is living
like a gentleman in London.
MacFarlane rises drunkenly to his feet, There is a threat of
physical violence in his manner.
GRAY
(somewhat placatingly; for
the first time not
completely master of the
situation)
Aye, Toddy, there is something
in what you say.
MACFARLANE
There is much in what I say, Gray,
and if you have any regard for your
neck you'll leave now and stay away
from my house, my school, and from
me.
GRAY
I have no wish for a rope cravat.
I've never liked the smell of hemp,
so I'll bid you good night, Doctor
MacFarlane.
Gray picks up his hat and starts off out of scene. MacFarlane
slumps back into his seat. His hand reaches out for the
whiskey bottle. He starts to pour another drink.
DISSOLVE
INT. GRAY'S STABLE - NIGHT
By the light of a single lantern, Gray is unharnessing his
horse. He leads it out from between the shafts and into its
stall. There is a furtive sound before him as the door to the
street slowly moves open. He wheels quickly as a slight,
hunched figure sidles through the door. Gray waits until the
figure walks into the range of the lamp and is revealed as
Joseph. Then he speaks.
GRAY
Ah -- Dr. MacFarlane's man -- A
surprise visit, but come in -- come
in.
He steps aside, and Joseph slowly moves over toward the
stairway, looking around him.
MED. SHOT as Gray leads Joseph into the living quarters and
looks curiously at Joseph, who returns the look with a sort
of determined belligerence.
GRAY (CONT'D)
You're welcome to my little
nest, Joseph -- is it not? That's
right -- you have something to say
to me -- something very private.
JOSEPH
Yes.
GRAY
Now that is very interesting --
(with a gesture)
Take a chair, Joseph,
Joseph seats himself and Gray sits down opposite him. No
sooner has he seated himself than the big white cat, his pet,
comes and jumps upon his knee. Gray strokes it fondly.
JOSEPH
(looking around)
Can anyone hear what we say?
GRAY
(indicating the cat)
Only Brother.
JOSEPH
(bending toward him)
I know that you kill people to sell
bodies.
Gray sits motionless except that the hand which rests upon
the arm of his chair slowly tenses and that other hand which
strokes the cat, stops at the cat's head. For a long moment
he is silent, then he speaks very softly.
GRAY
You say you've come here on your
own account? No one knows you are
here?
JOSEPH
Give me money or I'll tell the
police you murder the "subjects."
Again there is a silence as Gray studies him. By now, Gray's
right hand relaxes. His left hand begins to stroke the cat.
Finally, he smiles.
GRAY
Well, you shall have money, Joseph.
Why should you not?
Still smiling, he very carefully takes the cat from his lap,
sits it on the floor and rises. Joseph follows him with his
eyes.
GRAY (CONT'D)
(crossing to the taboret
for a bottle and two
glasses)
I don't suppose the great Dr.
MacFarlane is too free with his
pay, is he?
He has come back with the bottle and filled a glass with
brandy for each. He passes a glass into Joseph's hands.
GRAY (CONT'D)
Here -- have some of this.
They both drink. Immediately, Gray refills Joseph's glass.
GRAY (CONT'D)
(as he pours)
You want money and you shall have
it.
He pulls a purse from his pocket and begins to count out
notes and coins.
GRAY (CONT'D)
Let me see -- five and five -- then
in gold -- six all together. Shall
we say sixteen pounds, Joseph?
Joseph, with the glass still at his lips, nods his head. Gray
looks about as if seeking a point of vantage; then carefully
sets himself in a straight-backed chair, facing and a little
to the side of Joseph's chair. Joseph is in a low-cushioned
chair. Gray, being above him, almost seems to hover over him.
Gray leans forward to give him the money.
JOSEPH
I have made you give me money, but
you smile. Aren't you angry?
GRAY
No, Joseph. I'm not angry -- here --
another glass of brandy --I'll
wager it's better than the
doctor's.
This time Gray fills Joseph's glass and drabbles a few drops
into his own, but doesn't bother to pick it up.
GRAY (CONT'D)
Drink up, man!
The liquor has begun to affect Joseph. He takes the third
glass eagerly and drains it while Gray watches him in
silence. As he puts the glass down, Gray begins to speak.
GRAY (CONT'D)
I have an idea -- a splendid idea --
such an excellent idea that we must
drink on it.
He fills the fourth glass. Joseph takes it but does not
drink, as he is interested to hear Gray's proposition,
GRAY (CONT'D)
You see -- I admire you, Joseph.
Coming here shows courage. I'm
looking for such a man -- but --
drink, Joseph, drink..
Joseph drinks. Again Gray keeps silent while he swallows the
liquor. As Joseph puts down the glass, Gray hitches his chair
forward an inch or two. Again he refills the glass; puts it
into Joseph's unsteady hand.
GRAY (CONT'D)
You and I should work together.
JOSEPH
You mean we would sell the bodies
to the doctors together? Dig them
up?
GRAY
(smiling)
No digging Joseph. The churchyards
are too well guarded. We will
"Burke" them,
JOSEPH
(puzzled)
Burke them?
GRAY
You are lately come to Scotland,
Joseph?
JOSEPH
I come from Lisbon.
GRAY
But still you may have heard the
peddlers of verse cry out their
names on the streets.
He begins to sing in a rough croaking voice.
GRAY (CONT'D)
"The ruffian dogs, the Hellish
pair. The villain Burke, the
meager Hare --"
JOSEPH
I never heard that song. But what
did they do?
GRAY
Eighteen persons they killed and
sold the bodies to Dr. Knox at ten
pounds for a large and eight pounds
for a small. That's good business,
Joseph.
Joseph nods appreciatively, then looks concerned.
JOSEPH
But where did they get those
people?
GRAY
That was Hare's end. Ah, you should
have seen him on the streets, when
he saw some old beldam deep in
drink how he cozened her!
He mimics, tipping an imaginary hat.
GRAY (CONT'D)
"A good-day to you Madame Tosspot,
and would you like a little glass
of something before you take your
rest? Come with me to my house and
I'll make you my guest. You shall
have quarts to drink if you like."
(appreciatively)
Ah, how he cozened them.
JOSEPH
We could do that. But when he had
them there, then what?
GRAY
(beginning to sing again)
"Nor did they handle axe or knife
To take away their victim's life --
No sooner done than in a chest
They crammed their lately welcome
guest."
Gray rubs his hands together.
JOSEPH
I don't understand the song. Tell
me plain how they did it.
GRAY
(rising)
I'll show you how it was done,
Joseph. -- I'll show you how they
"Burked" them.
He reaches out for Joseph's face. Joseph interposes his arm.
GRAY (CONT'D)
No, put your hand down. How can I
show you, man!
Joseph lets his hand swing to his lap. Gray clasps Joseph's
nose between thumb and forefinger, cupping Joseph's chin hard
against the heel of his palm.
CLOSE SHOT - Joseph with Gray's hand holding his nose and
mouth.
GRAY'S VOICE
This is how they did it, Joseph.
Suddenly his hand tenses. Joseph's eyes dilate with terror
and his head jerks to one side violently as he attempts to
tear his face from the grasp of Gray's hand.
MED. CLOSE SHOT - Gray steadily clutching Joseph's face. He
throws himself upon the other man and the chair slowly goes
backward. ANOTHER ANGLE. The two men are on the floor. Gray
is lying across the body of his victim, his hand still
clutching Joseph's nose and mouth. Joseph struggles
convulsively, throwing his arms and legs about, trying to get
at Gray's body which lies athwart him. With his free hand
Gray pins down Joseph's right hand. The man is helpless. The
violence of his movements grows less and less. For a moment
he is still; then he struggles again.
CLOSE SHOT - Joseph. He is making a final desperate effort
to pull away from Gray's hand, then his face muscles relax.
His eye's close.
CLOSE FULL SHOT - Gray and Joseph. Gray looks down at his
victim. Joseph is at last unconscious. Gray gets to a
kneeling posture, but still keeps his hand on Joseph's nose
and mouth.
ANOTHER ANGLE. The cat walks up and rubs itself against
Gray's left arm. He lets go of Joseph's hand and pats the
cat, still keeping his grip on Joseph's mouth and nose.
CLOSE SHOT - Gray as he examines Joseph. Evidently, Joseph is
dead enough to suit him and he lets go his grip.
FULL SHOT as Gray gets to his feet. He crosses the room to a
cupboard, opens it and takes out a square of folded canvas.
He starts back toward Joseph and stops on the way to pick up
Joseph's glass from the taboret. He drinks the remainder of
the liquor in it. Gray kneels down beside Joseph and begins
to wrap the canvas about the body. Suddenly, a thought
strikes him, and he puts his hand in Joseph's coat pocket. He
fishes out the money he had given him. He begins wrapping the
canvas around the body again.
DISSOLVE
INT. ANATOMY SCHOOL - NIGHT
FULL SHOT. The School is in darkness -- except for thin
moonlight which filters through the shutters, making strange
pattern with the shadows. There is no sound until, abruptly,
a key turns in the lock of the outside door. It opens and
through it comes the figure of Gray in his stove-pipe hat and
caped coat. Over his shoulder he carries a long, limp and
apparently heavy bundle wrapped in sacking. Cautiously,
without a sound he carries his grim burden toward the
curtained recess.
MED. SHOT at recess. Gray comes into shot. He pushes his way
through the curtain, which falls back into place, hiding him
from view. Sounds come from behind the curtain; bumping,
shuffling sounds. Then Gray's hand appears momentarily as it
throws out a bundle of sacking. After a grunt of effort
comes a heavy splash as something is dropped into the big vat
o.s.
FULL SHOT - Gray as he comes from the recess and starts
across the anatomy room. When he reaches the stairs he pauses
a moment, and then, instead of going toward the door, turns
and starts up the stairs.
DISSOLVE OUT
DISSOLVE IN
INT. MACFARLANE'S LIVING ROOM - NIGHT
A single lamp is burning. Meg, in negligee and mob cap, sits
in an arm chair busily knitting. Opposite her, in a low chair
sits Gray, his whip in his hand and his hat on the back of
his head. He is lounging in the chair and he has a glass of
ale on the floor beside him. He drinks from it and puts it
back on the floor. Meg looks up.
GRAY
You've no need to be so anxious,
Meg, MacFarlane's been drunk and
away before. He'll be home in good
time. Meanwhile, you've got me to
keep you company.
MEG
I'd call that no good fortune.
GRAY
There was a time, lassie -- a time
when I used to bring the dashing
young doctor to your door -- when
you didn't feel so uncommon cold to
your old friend Gray.
MEG
Why must you be on him all the
time? Why does it please you?
GRAY
He's my friend. I like to see my
friends -- I like to visit them --
There is the sound of the front door opening. Both look up.
Heavy dragging footsteps sound in the hall.
MEG
Well, he's come home -- you've no
excuse now to bear me company.
Gray makes no move to get out of his chair. MacFarlane stands
in the doorway. He sees Gray.
MACFARLANE
What are you going here? Have I not
told you --
GRAY
Would you grudge me a glass with my
old crony, Meg?
MEG
Crony indeed!
MACFARLANE
You can get out.
Gray rises leisurely..
GRAY
I brought you something tonight,
MacFarlane -- an interesting
specimen -- in very good condition.
MACFARLANE
I've ordered nothing from you.
GRAY
This is a gift.
MACFARLANE
I take no gifts from you.
GRAY
This is a gift you'll not return.
MACFARLANE
Get out of here!
GRAY
Wait, Toddy. That's not hospitable.
I want to discuss business.
MACFARLANE
You are not to set foot in here
again, Gray, for business or any
other reason. And you're going out
now!
He seizes Gray by the shoulder. Gray merely looks at him.
GRAY
(calmly)
I wouldn't do it, Toddy. I wouldn't
be rough handed.
MacFarlane, somewhat taken aback by the calm and effrontery
of the man, lets go of him.
GRAY (CONT'D)
If you were to throw me out, it
might become known that when the
great Dr. MacFarlane finds his
anatomy school without "subjects" --
he provides them himself and from
the midst of his own household ---
ANGLE - THREE SHOT - Gray's manner, fully as much as his
ambiguous speech, has put an end to all thought of violence.
MACFARLANE
What the devil are you talking
about?
Gray rises slowly.
GRAY
Take a look downstairs. Toddy. Take
a look.
He turns and walks quietly out of the room. MacFarlane
stares after him; than slowly a thought comes to him.
MACFARLANE
Fettes -- where is Fettes?
MEG
I'll get him.
She leaves quickly. When she has left, MacFarlane passes his
hand over his eyes, trying to clear his whiskey-muddled
brain; then he turns and starts for the door of the anatomy
room,
INT. ANATOMY ROOM -- NIGHT
The school is dark and empty; only moonlight enters from the
windows. The night light is out. MacFarlane comes slowly down
the stairs. As he reaches the foot of the steps, Fettes, in
his bathrobe, comes to the head of the stairs, bearing a
candle. MacFarlane turns to look at him.
MACFARLANE
Fettes, were you down here when
Gray came?
Fettes shakes his head. MacFarlane starts for the alcove,
and Fettes follows him. MacFarlane pulls the curtain aside.
MACFARLANE (CONT'D)
Bring that candle over here.
MED. CLOSE SHOT - in the recess. It is very dark. The curtain
is drawn back, and MacFarlane appears. The scene is suddenly
illuminated as Fettes follows him, carrying the candle. The
great vat is clearly visible as both men peer down into it.
CLOSE SHOT - the vat, SHOOTING DOWNWARD. Something is
floating just beneath the liquid which comes nearly to the
top of the vet. Light from the candle o.s, comes over the
scene, and the thing below the surface is revealed as the
dead face of Joseph.
TWO SHOT - MacFarlane, as he takes the candle from Fettes'
hand.
MACFARLANE (CONT'D)
(muttering)
-- a member of his household --
MacFarlane turns to Fettes.
MACFARLANE (CONT'D)
Fettes, the more things are wrong,
the more we must act as if
everything were right. You must do
with Joseph as you did with, the
street singer -- complete
dissection -- a proper entry in the
book --
FETTES
No.
MACFARLANE
What do you mean, Fettes?
FETTES
I'll have no more to do with it.
I'll not put my neck into the
noose, not even for your sake, Dr.
MacFarlane.
MACFARLANE
Don't be a fool. One can't begin
and then stop -- and because that
entry of the girl's body is in your
hand, you'll do as I say. As for
me, I'll tend to Gray.
MacFarlane turns and starts for the main portion of the
anatomy room. At the curtain he stops, Meg is standing
there, her eyes wide as she looks at the body of Joseph.
MEG
You're not going to Gray.
MACFARLANE
He must leave me alone.
He starts past her. She seizes hold of his arm, crying out.
MEG
No! No!
With a swoop of his arm he frees himself. Meg almost falls.
She strikes against the wall, but recovers herself and starts
after MacFarlane, but it is already too late. He is in the
entryway, and a moment later there is the slam of the door.
Meg stands trembling. Fettes comes up to her and takes her
elbow to support her.
MEG (CONT'D)
Come, Mistress Cameron -- this is
no place for you. I'll help you
upstairs.
She lets him lead her to the stairway. CLOSE TWO SHOT -- on
the stairway as Meg and Fettes start to ascend. Fettes is
helping Meg. Suddenly she stops dead and stares into his
face.
MEG (CONT'D)
You must leave this house.
FETTES
I can't do that -- you heard
MacFarlane.
MEG
Save yourself. Master Fettes look
at MacFarlane and be warned.
FETTES
He's a great doctor -- a great man --
MEG
Is it a great man whom Gray can
order to his bidding? Is it a great
man who for very shame dare not
acknowledge his own wife so that I
must play maidservant for the
world's sake and his success?
She makes a contemptuous gesture and goes on.
MEG (CONT'D)
He could have been a great man -- a
good man and a fine doctor, but
there was always the shame of the
old life and the old ways to hold
him back -- and always Gray -- Gray
to hound him to his death.
FETTES
You're over-excited, Mistress
Cameron.
MEG
I'm cold as ice.
FETTES
But Gray's only a cab driver -- a
Resurrection Man who robs graves to
make a bit of money now and again.
MEG
If he were only that. The man's
evil himself. Some day you'll know
him as MacFarlane knows him -- for
MacFarlane he was to Knox as you
are to him. That brought him close
to Gray, he roistered with him and
drank with him. Aye, and Gray even
brought him to my door and my love.
There is all that between them and
more -- Burke and Hare and Knox --
FETTES
But that's long since. Gray can't
threaten him with that.
MEG
Gray has no need to threaten. You
remember the trial?
FETTES
I heard my parents speak of it in
Thrums. It was a famous case.
MEG
And did you hear them speak of the
porter who testified against Burke?
FETTES
Aye.
MEG
They did not tell you how that
porter cried out in the witness box
when the Kings Counselor pressed
him hard -- how he cried out that
he was shielding a gentleman of
consequence.
Fettes shakes his head.
MEG (CONT'D)
That porter was Gray and the
gentleman of consequence who
couldn't swallow the shame of
it -- who took my last paltry
savings to hire Gray --
FETTES
MacFarlane
They stand for a moment looking at each other then she turns
wildly toward Fettes and seizes his coat lapels.
MEG
Listen to me, Fettes, I'm one
part befuddled with drink, one part
over-heels in love with MacFarlane,
and one part fey. You're a
lowlander, Fettes, and you have no
way of knowing what we Highlanders
call the second sight.
FETTES
I've heard of it.
MEG
It's a gift to my people -- and I
see MacFarlane and Gray-- the pit
yawns for them and the flames --
and I would have you away from them
and safe out of the torment.--
The two stand facing each other, Meg crushing the boy's coat
lapels in her hands.
DISSOLVE
INT. GRAY'S LIVING QUARTERS - NIGHT
It is very dark as Gray opens the door. For a moment his
distinctive silhouette is in the doorway. Then he closes the
door behind him and the room is again plunged into darkness
except for a glow from the embers in the hearth. Gray crosses
to the hearth. He takes a spill from the mantle, blows on the
coals and lights the spill. Its flaring light reveals
MacFarlane standing watching him. After a first momentary
check of surprise, Gray, without a word, transfers the flame
from the spill to a candle. He blows out the spill and sets
it back on the mantle.
MED. SHOT with Gray in the f.g. and MacFarlane coming toward
him. Gray has recovered his composure.
GRAY
(very softly)
This is unexpected, Toddy.
MacFarlane comes to a halt facing Gray. The CAMERA BEGINS TO
CHEAT IN ON the pair.
MACFARLANE
(toneless)
I wanted to see you. You weren't
here -- so I waited.
The two men survey each other in absolute silence. From o.s.
near at hand, the cat mews.
The CAMERA PULLS BACK TO SLIGHTLY WIDER ANGLE as Gray turns
away, seating himself upon the arm of a chair. The cat comes
into the shot and jumps up beside him.
MACFARLANE.
(drawing closer)
What do you want of me. Gray?
GRAY
(smiling)
Want of you, Toddy? I want nothing
of you.
TWO SHOT - Gray and MacFarlane. MacFarlane is tense,
motionless. He stares down at Gray who sits at his ease
stroking the cat, now purring on his knee.
MacFarlane makes an obvious effort to control himself, to
speak calmly.
MACFARLANE
Gray, I must rid myself of you --
you've become a cancer -- a
malignant, evil cancer -- rotting
my mind.
GRAY
(pouring a drink
for MacFarlane)
So, Toddy, you've made me a
disease, eh?
MACFARLANE
(disregarding this
sarcasm, but taking the
proffered glass)
I can't understand your hurt to
me -- but I must cut you out.
He drinks, sets down the glass. Gray watches him, gets up
from his chair and stands before him.
MACFARLANE (CONT'D)
I will not leave here until I have
finished with you. Gray. One way or
another -- I must be sure that I am
rid of you.
He pauses and looks at Gray.
MACFARLANE (CONT'D)
And if there is no other way --
Gray looks at MacFarlane, big and bulky in the small chair.
He moves nervously.
GRAY
Surely you are not threatening an
old friend, Toddy.
MACFARLANE
We have never been friends.
Gray moves over to the chair on which he sat when he "Burked"
Joseph. He bends forward over the taboret and refills the
doctor's glass.
GRAY
Have another glass of something
good, Toddy.
MACFARLANE
I've drunk enough tonight.
GRAY
(putting the glass down on
the taboret)
Another little drop'll never do you
any harm.
Almost as if unconscious of his action, MacFarlane picks up
the glass, sips, then drinks. Gray smiles. MacFarlane sets
down the glass. Gray immediately refills it. And again
MacFarlane reaches for it, takes it into his hand.
GRAY (CONT'D)
(softly)
Drink --
MacFarlane, without thought, brings the glass to his lips.
MACFARLANE
You're getting old, Gray, and it's
a hard life driving a cab through
these wet and windy streets of
Edinburgh --
GRAY
I have other means of sustenance.
MACFARLANE
The Resurrection business? That may
end sooner than you think. New laws
may come.
Gray shrugs.
MACFARLANE (CONT'D)
What I was going to say is this --
wouldn't you be more comfortable at
Leith in a neat little house?
GRAY
Would you bribe me to leave you be?
MACFARLANE
I would make you rich.
GRAY
It wouldn't be half so much fun for
me. Toddy, as to have you come here
and beg --
MACFARLANE
(cutting in)
Beg -- beg of you! You crawling
graveyard rat!
He chokes off the last speech and glares at Gray. He is
almost trembling with the effort to control himself.
GRAY
Aye -- that is my pleasure.
As he speaks he is refilling MacFarlane's glass.
MACFARLANE
Well then -- I beg you -- I beseech
you --
GRAY
(shaking, his head and
grinning)
But then I wouldn't have the fun of
having you come here and beg again,
Toddy.
They look at each other. MacFarlane bends over in his chair.
Gray hitches himself forward a little on the table, ready,
waiting, then relaxes as MacFarlane begins to speak.
MACFARLANE
But why, Gray? Why?
GRAY
Because it would be a hurt to me to
see you no more, Toddy. You're a
pleasure to me.
MACFARLANE
A pleasure to torment me?
GRAY
No -- a pride to know that I can
force you to my will. I'm a small
man -- a humble man -- and being
poor, I've had to do much that I
did not want to do. But so long as
the great Dr. MacFarlane jumps at
my whistle, that long am I a man --
and if I have not that, I have
nothing. Then I am only a cabman
and a grave-robber.
MacFarlane looks at him. As he looks, he realizes he has
heard the truth and that Gray will never leave him in peace.
Now he, in turn, attempts cunning. He moves forward in his
chair as if wishing to put forth a convincing argument.
MacFarlane starts to rise; his mind made up. Gray sees there
is no longer any hope of forestalling violence. He throws
himself forward and seizes him as he seized Joseph.
MED. FULL SHOT - MacFarlane and Gray. As MacFarlane rises
Gray clings to him and gets his other arm about MacFarlane's
neck. MacFarlane tries to shake him off; tries to twist away
from him. The effort makes him lose his footing. They fall
together.
CLOSE SHOT - MacFarlane and Gray on the floor near the
hearth. Gray still clings to him, every muscle tense.
MacFarlane, with his hands under Gray's shoulders, heaves up
trying to push the man off. He heaves once, twice, a third
time and then lets his arms relax from the futile, enormous
effort.
TWO HEAD CLOSEUP - Gray and MacFarlane.
GRAY (CONT'D)
Let be, Toddy. Let be. I have no
wish to hurt you.
MacFarlane's eyes grow huge and fierce with anger. Now he
tries to pummel Gray in order to free himself; raining blows
on his back, his head and into his side, Gray grunts with
each punishing blow, but never for a moment relaxes his grip.
Finally the piston-like blows grow weaker, the flailing arms
fail and MacFarlane drops his hands to the floor at his side,
limp and relaxed.
MED. CLOSE SHOT -- MacFarlane and Gray as MacFarlane, with
great effort, throws his body to the left, toward the
fireplace. The boiling kettle is upset and the steaming
water thrown on both of them.
CLOSE SHOT -- MacFarlane in agony as the water spurts over
him.
CLOSE SHOT -- Gray. His face is twisted in torment and steam
rises from his scalded flesh.
GRAY (CONT'D)
Stay, Toddy -- don't force me to
kill you -- I have need of you --
the great need of my pride.
TWO SHOT -- Gray and MacFarlane. MacFarlane's arms again
relax. Gray smiles through the pain of his scalding.
GRAY (CONT'D)
That's better Toddy. That's more
reasonable,
He lets go his grip on MacFarlane's face. No sooner has he
done so than MacFarlane throws him off with a violent
movement. Both men scramble to their feet and face each
other.
THE CAMERA SWINGS AWAY FROM the two men and FOCUSES ON the
wall above a lowboy on which the white cat is sitting. The
cat's great, round eyes seem to be surveying the struggle
while above its head the shadows of the two men can be seen
meeting, struggling, breaking off, rushing together again,
and all the while there can be heard the sound of blows,
hoarse breathing, gasps and hard ejaculations of breath. Then
one indistinguishable figure picks up a chair. The chair
breaks with a crash over the head of the other figure and
that figure falls out of scene. Only one upright shadow
remains above the head of the cat. That shadow picks up a
cloak and top hat, puts them on and bends to pick up a body.
The shadow of one man carrying the body of the other comes
toward the cat, the shadow growing huge and out-figure on the
wall. The cat's fur bristles. It arches its back and snarls.
DISSOLVE
INT. ANATOMY SCHOOL - NIGHT
Only the night light is burning over the door at the entry
way. The school is lit by its swinging light.
Out in the street can be heard the familiar clop-clop of
Gray's horse and the ringing of the iron wheels on the
roadway.
The CAMERA on DOLLY TRACK MOVES SLOWLY TOWARD the entry door.
The outer door can be heard opening. There is rustle and
noise in the dark entryway. By this time the CAMERA is
CLOSEUP on the door as MacFarlane with a canvas-wrapped
bundle on his shoulder comes through the doorway, and goes to
a FULL CLOSEUP of his face. He starts forward.
MED. FULL SHOT - MacFarlane as he throws the body down onto
the table. He stands there for a moment looking down at it,
then the noise of a door opening on the stair landing causes
him to turn and look up.
MED. FULL SHOT - the stairway. Meg is seen at the head of
the stairs, looking down.
ANOTHER ANGLE - MacFarlane is seen from Meg's viewpoint.
MACFARLANE
Where is Fettes?
MED. FULL SHOT - the stairway as Meg begins to descend.
MEG
He's gone. I sent him away. I'll
not see another boy harried
and torn and made miserable like
you, Toddy.
MacFarlane looks at her as she descends the stairs. There is
silence as she crosses the room. She comes to stand beside
the table.
MEG (CONT'D)
(pointing to the bundle)
You've been with Gray again.
MACFARLANE
Aye.
Meg turns away as if to start for the stairs. He stops her.
MACFARLANE (CONT'D)
You'd better look at the face.
She looks at him.
MACFARLANE (CONT'D)
You'd, better.
Meg resolutely walks up to the table, lifts the canvas and
looks down at the face.
MACFARLANE (CONT'D)
I'm rid of him forever.
Meg looks at him.
MACFARLANE (CONT'D)
He'll not come here again --
sneaking and whining and bullying.
Meg is still silent.
MACFARLANE (CONT'D)
Now he'll serve a good purpose --
and tomorrow when the last bit of
him is dissected, demonstrated and
detailed in the students'
notebooks, then at last there's an
end to him.
Meg still looks at him silently and thoughtfully, then with a
slight shake of her head she starts away.
MACFARLANE (CONT'D)
(rubbing his hands
together)
Next day I'll take his horse and
cab to sell at the Pennycuick fair.
(pauses; then makes an
expansive movement with
his hands)
Then not a trace left -- rid of him
forever.
At the foot of the stairs, Meg turns to him.
MEG
You're not rid of him.
FADE OUT
FADE IN
EXT. THE RAMPARTS -- DAY
A little boy rolling a hoop goes past the camera. Behind him
come running a little convoy of children, laughing and
shouting. When they have passed the camera, Fettes enters the
scene. He is dejected. His hands are in his pockets and his
head is down as he walks toward Georgina and her mother.
Georgina is in her wheelchair. Her head is turned as she
watches the children run out of sight.
FETTES
Good morning, Mrs. Marsh.
MRS. MARSH
Good morning, Mr. Fettes.
GEORGINA
I thought this was a school day.
FETTES
I am not at the school anymore.
I left last night.
Mrs. Marsh looks at him.
MRS. MARSH
Left Dr. MacFarlane?
Fettes nods. Mrs. Marsh looks at him and then takes his
elbow.
MRS. MARSH (CONT'D)
(to Georgina)
Play by yourself a little. I'd
like' to speak to Mr. Fettes.
DOLLY SHOT - as Fettes and Mrs. Marsh walk slowly away from
Georgina.
MRS. HARSH
This is serious, Donald. What has
happened?
Fettes shakes his head.
MRS. MARSH
It's not because of Georgina --
because of Dr. MacFarlane's
failure?
FETTES
It's not the failure. I feel that
MacFarlane has taught me nothing.
He taught me the mathematics of
anatomy but he couldn't teach me
the poetry of medicine.
MED. FULL SHOT -- Georgina. She is playing with her doll.
Suddenly, from far below her she hears the clop-clop of a
horse's hoofs and the rumble of iron wheels. She looks up and
listens.
MED. FULL SHOT - Fettes and Mrs. Marsh.
FETTES (CONT'D)
That's why I don't want to go on. I
feel MacFarlane had me on the wrong
road --a road that led to knowledge
but not to healing. If there had
been any healing in the man,
Georgina would be walking now.
SHOT - Georgina. She is listening intently. The hoof beats
are right underneath her at the base of the castle wall. She
tries to look over the parapet; cannot. She calls out.
GEORGINA
Mommie! Mommie!
FULL SHOT - Mrs. Marsh and Fettes. They are talking intently
together. Mrs. Marsh is holding her parasol in such a way
that it is between her and Georgina. Georgina's call comes
very faintly over their conversation. Neither of then turns
toward the child.
MRS. MARSH
I think it was the pain of the
operation more than anything else --
she's afraid that if she stands the
pain will come again. Nothing Dr.
MacFarlane could ever do would take
that out of her mind.
CLOSE SHOT - Georgina. The hoof beats are beginning to
recede. There is a slight wind blowing. She turns around to
look at her mother and calls again.
GEORGINA
Mommie! Mommie!
There is no answer. She turns her head back toward the
battlements; tries to peer over them and fails. Then, placing
a hand on each arm of her little chair, she lifts herself to
a sort of standing-sitting position. She tries to look over
the wall again. Again she fails. She turns to call to her
mother.
GEORGINA (CONT'D)
Mommie -- the white horse --
I'm sure it's the white horse --
MED. CLOSE SHOT - Fettes and Mrs. Marsh.
FETTES
Even so, I could never think of
going on -- I've got to find some
other profession.
MRS. MARSH
It is a pity.
SHOT - Georgina. She has gotten herself to the same semi
erect position she had been before and now in her desperate
effort to see over the battlement, she suddenly straightens
her knees; her hands lift off the arms of the chair. Without
knowing it, she is standing. She tries again to look over the
wall and again the height and distance is too much for her.
Completely unconscious of what she is doing, she takes a
forward step and from this vantage point she can look over
the wall. She turns back with disappointment on her face. She
calls to her mother.
GEORGINA
Mommie! It was another horse.
CLOSE FULL SHOT -- Fettes and Mrs. Marsh with the child in
the b.g. They see the child standing. Mrs. Marsh makes a
wordless exclamation of joy. She doesn't even dare to move
for fear this might be a vision.
ANOTHER ANGLE -- Fettes, Mrs. Harsh and Georgina. Mrs. Marsh
and Fettes run in. CLOSE FULL SHOT-- of the three.
FETTES
You're standing, Georgina.
The child looks down, sees that she is standing and almost
instantly grabs at the chair for support. Very gently Fettes
pulls it away.
FETTES (CONT'D)
You'll not need that again,
Georgina.
GEORGINA
(excited and almost in
tears)
I wanted to see the white horse --
Fettes and Mrs. Marsh kneel down close to the child. Mrs.
Marsh takes her into her arms. Fettes rises to his feet, his
face is full of enthusiasm and excitement. His voice trembles
with the keenness of accomplishment.
FETTES
(wildly excited)
I've got to tell Dr. MacFarlane.
I've got to tell him.
DISSOLVE
INT. MACFARLANE'S HALLWAY -- DAY
There is the ringing of a doorbell. Meg comes down the
stairs. She crosses the hall and opens the door. Fettes
stands there. Meg holds the door open for him to enter and
closes it behind him.
FETTES
Mistress Cameron -- you'll not
believe it, but the child has
walked -- stood and walked. I must
tell Dr. MacFarlane.
He starts forward as if to go on into the study. Meg stops
him with her hand on his arm.
MEG
He's not home.
FETTES
Where can I find him?
MEG
You don't went to find him. Your
news will keep until I tell him.
FETTES
But I must tell him -- he must know
of it. Please -- tell me where he
is.
MEG
There's no standing between a fool
and his folly. If you must babble
your news to him he's at the
Fisherman's Tryst. It's the inn at
Pennycuik. You can use MacFarlane's
horse and gig to get there. He'll
welcome the ride back.
FETTES
(already starting to turn;
still very much excited)
At Pennycuik. I know the inn. I
can be there in an hour.
MEG
(bitterly)
And back with MacFarlane and all
that he stands for the next day.
She opens the door for Fettes and closes it after him.
DISSOLVE OUT
DISSOLVE IN
INT. INN OF THE FISHERMAN'S TRYST -- NIGHT
It is a long, low-raftered room with a fire of logs burning
on the hearth. Outside the wind can be heard blowing and
shrilling. A considerable company has gathered for warmth
and food.
MED. CLOSE SHOT -- an amiable rustic, a horse dealer, who
stands, booted with whip in hand, talking to several fellow
bumpkins while the maidservant of the inn serves them ale
from a large wooden tray. Their wet clothes are steaming from
the heat of the fire.
HORSE DEALER
A sound horse and a closed carriage
-- and after I'd talked with him a
bit I had his price down to four
pounds and then.
He laughs.
HORSE DEALER (CONT'D)
And worth every bit or ten pounds.
He lifts a tankard from the tray.
MAIDSERVANT
Surely, Angus, a man who had won so
great a victory in a horse deal
would buy the poor loser a drink.
HORSE DEALER
(taking it big as he
throws a coin onto the
tray)
Take him a pot of ale.
MAIDSERVANT
Ale for a Gentleman? It's only
French brandy he'd be drinking, and
that will be two more shillings,
Angus.
Very reluctantly Angus takes out the additional money. The
girl starts out of scene and the CAMERA PANS WITH her to show
MacFarlane seated at a small table at the other side of the
hearth. He has just finished dinner and is pushing his plate
away from him. The maidservant comes up to him.
MAIDSERVANT (CONT'D)
The man who bought your horse
would like you to have a glass
of French brandy at his charge.
MACFARLANE
Now that's very civil of him.
At the other side of the hearth the louts around the horse
dealer strike up a song. Outside there is the sound of a
horse clattering into the courtyard, then the muffled shouts
as the driver reins the horse in and the hostler goes to his
head. Both MacFarlane and the maidservant listen and look
toward the door. The door swings open and Fettes stands
there, his clothes drenched with rain. As he enters, he
shakes the water from his hat. He sees MacFarlane and goes
over to him quickly, excited and smiling.
FETTES
Doctor -- the little Marsh girl
stood and walked -- really stood
and walked --
MacFarlane makes way for Fettes on the settle -- Fettes sits
down quickly.
MACFARLANE
What's that you say?
FETTES
The little girl -- she couldn't
walk far -- the muscles are too
weak -- but she did stand and she
took a step or two.
MACFARLANE
(very excited)
I know it -- I know it -- The
moment I was rid of him --
FETTES
What?
MACFARLANE
Gray -- I'm rid of him --
Fettes looks at him, puzzled.
MACFARLANE (CONT'D)
(guarding his thoughts)
Just that -- just that -- I've
managed to get him to leave
Edinburgh -- he'll bother me no
more.
He rubs his hands together.
The maidservant has returned with a bottle of brandy and two
glasses. MacFarlane pours one for himself and Fettes.
MACFARLANE (CONT'D)
Drink.
Fettes picks up his glass.
MACFARLANE (CONT'D)
Here's to a good riddance.
They both drink.
MACFARLANE (CONT'D)
Now that he's gone I'll be a new
man, Fettes, and a better teacher.
The doctors from my school will
perform miracles --
The door opens and a party of five people dressed in rough
mourning come in out of the weather. The maidservant, with a
show of solicitude, ushers them to a table at the far end of
the inn, then crosses quickly to where the horse dealer is.
MAIDSERVANT
Sh-h-h! Still your song, lads --
the MacCreadys are here and they've
come from burying the old woman in
Glencorse Kirkyard.
They stop singing and look over with sympathetic glances at
the burial party.
MED. CLOSE SHOT - Fettes and MacFarlane. MacFarlane looks
from the boys around the fire to the burial party.
MACFARLANE
See that, Fettes?
FETTES
A burial party -- poor people --
it's hard to bury a loved one on a
rainy day when the churchyard is so
cold and lonely.
MACFARLANE
Glencorse -- that's a lonely
cemetery, Fettes, not a soul
around for miles.
FETTES
They'll be thinking of that, too.
MACFARLANE
Tosh! Fettes! It's not their
grief I'm worrying about -- I'm
talking of our own end --
FETTES
You've no thought of going there?
MACFARLANE
Did you think Gray was the only one
who could handle a mattock and
shovel? I've had some practice in
the art.
FETTES
(protesting)
You couldn't do that, Doctor.
MACFARLANE
(rising)
I pass up no opportunities, I've a
whole course of lectures in mind
for you fellows. We'll need
subjects to demonstrate. Come
along.
FETTES
No.
MACFARLANE
Why not? I must have subjects. It's
the only way I can teach. It's the
only way you can learn. The
stupidity of the people the idiocy
of their laws will not stop no --
nor will they force me to deal with
such reptilian creatures as Gray.
We can do our own dirty work -- and
we must.
Fettes shakes his head. MacFarlane starts for the door and
after a little pause, Fettes rises and follows him.
DISSOLVE
EXT. COUNTRY GRAVEYARD - NIGHT
FULL SHOT. The thunder increases in volume throughout the
scene. In extreme b.g. two figures can be seen
intermittently.
CLOSE SHOT - grave. The headstone is brand new but the mound
beneath it has been demolished, leaving a ragged gaping hole.
A spade comes down into picture with vicious force. As it is
raised with its burden of earth:
MACFARLANE'S VOICE
(triumphant)
So we can't do without Mister Gray
- So I'd never be rid of him, eh?
CLOSE SHOT - MacFarlane and Fettes as they work over the
grave. MacFarlane's spade thumps against wood.
MACFARLANE
A-ah!
He jumps down into the grave, the CAMERA TILTING DOWN CUTTING
OUT Fettes. MacFarlane is levering up the edge of the coffin
with his spade. As the wood gives, there is a tremendous
clap of thunder immediately overhead, followed by a solid
deluge of rain.
EXT. ROAD - NEAR CEMETERY - NIGHT
MED. FULL SHOT. The storm is raging. In the f.g. is
MacFarlane's carriage, the horse tethered to the fence.
Whickering, intensely nervous, he is looking o.s. toward the
cemetery. Shuffling footsteps come over shot and the horse's
fear increases.
MED. SHOT - at side of carriage is MacFarlane and Fettes come
into scene carrying a heavy burden, wrapped in canvas.
FETTES
(hoarsely)
Where shall we put it? In the back?
MACFARLANE
No room there. We'll have to set it
between us.
QUICK DISSOLVE
EXT. HILLSIDE ROAD - NIGHT
FULL SHOT - The storm is continuing unabated. A narrow,
twisting road runs down the hillside, and the terrain is
desolate and rocky. Horse's hooves are heard and MacFarlane's
carriage comes into the scene, going down the hill.
INT. CARRIAGE -- NIGHT -- (PROCESS)
CLOSE SHOT - MacFarlane. He is driving, his head thrust
forward to see the road. The CAMERA PANS, VERY SLIGHTLY to
show what is next to him; something wrapped in a thin sheet
of canvas; something which sits limply; something which shows
the unmistakable shape of a human body beneath its covering.
It is held by Fettes' hand which is just in shot. The CAMERA
PANS again to show Fettes. His teeth are clenched; his eyes
closed.
MED. SHOT - showing both men and the thing between them. The
horse is trotting fast and as the carriage turns a bend, the
thing lunges heavily against MacFarlane's shoulder.
MACFARLANE
(savagely)
Keep it off me, will you!
EXT. HILLSIDE ROAD - NIGHT
FULL SHOT - Still the storm - even fiercer. MacFarlane's
carriage, the horse galloping, comes down the hill, swaying
and lurching. The pace is much too fast for the going.
INT. CARRIAGE - NIGHT - (PROCESS)
MED. SHOT. It is very dark. MacFarlane is hauling at the
reins with all his strength.
MACFARLANE
(savage)
What's got into this animal!
CLOSE SHOT - Fettes. He is still holding the thing o.s.
THREE SHOT. The carriage sways violently and the thing
between the men, its outlines barely distinguishable, seems
to twist out of Fettes' grip. It sags against MacFarlane.
MACFARLANE (CONT'D)
Keep it off me!
Forced to keep both hands on the reins, MacFarlane tries to
thrust the thing away with his shoulder. But it still keeps
falling against him.
MACFARLANE (CONT'D)
(shouting)
Keep it off me, I say!
Fettes makes an effort to hold on to the corpse.
MED. FULL SHOT -- the carriage going along the road; the
horse proceeding at a hard trot. The hoof beats ring out
rhythmically.
THREE SHOT -- PROCESS -- Fettes, MacFarlane and the corpse.
The rhythmic hoof beats sound very loud as the two men drive
on in silence. Fettes makes a desperate effort to hold the
corpse away from MacFarlane, but it keeps bumping into the
doctor. Through the hoof beats and in the same rhythm comes
the voice of Gray on the sound track.
GRAY'S VOICE
You'll not get rid of me that way --
that way -- that way -- that way --
MacFarlane shakes his head as if to clear it of this
remembered voice; these well-remembered words.
CLOSE SHOT -- MacFarlane. His eyes are wide with
apprehension and fear. He glances down at the wrapped corpse
as it bumps against him. He draws away, shivering. Over the
sound track Gray's voice still sounds beating on the ear with
the same rhythm as the hoofs on the road. MacFarlane pulls
up on the reins.
THREE SHOT - as MacFarlane turns to Fettes the carriage comes
to a halt.
MACFARLANE
(making an effort to
arrive at speech)
Fettes -- for Mercy's sake, let's
have a light!
Fettes looks over at his companion. He has never seen
MacFarlane in this state before and the younger man is
puzzled.
FETTES
All right.
He climbs over the sill into the roadway.
MED. FULL SHOT - the carriage as Fettes tries to strike a
light in the pouring rain and howling wind. He finally gets a
taper going and touches it to the lamp wick. The lamp flares
for a moment.
TWO SHOT -- MacFarlane and the corpse.
MACFARLANE
It's changed! I swear it!
It's changed, Fettes!
REVERSE SHOT - Fettes as he looks up puzzled.
FETTES
Changed? Changed, to what?
HIGH ANGLE SHOT - MacFarlane and the corpse with Fettes at a
lower level.
MACFARLANE
Let's have that lamp.
Fettes undoes it from the dashboard and lifts it up over his
head to cast a light on the corpse.
MACFARLANE (CONT'D)
(looking down at the
bundle)
This is not a woman!
FETTES
(matter-of-factly)
It was a woman when we put her in.
MACFARLANE
(somewhat wildly)
Hold that lamp up -- I must see her
face.
He tears open the sacking.
ANOTHER ANGLE - CLOSE SHOT of Fettes. He is looking up
holding the lantern high over his head, but is unable to see
anything over the high dashboard except MacFarlane's face.
Suddenly, MacFarlane pulls back and on his face there is such
a look of anguish and terror that Fettes cries out in alarm.
FETTES
Dr. MacFarlane?
REVERSE SHOT - Now the face of the dead woman can be seen
with MacFarlane looking down at it in horror as slowly it
turns to the dark, well-moulded features and smooth-shaven
cheeks of the familiar countenance of Gray. A wild yell
breaks from MacFarlane's lips.
MACFARLANE
Gray -- Gray --
MED. FULL SHOT - the horse and carriage. The nervous horse
bolts. Fettes tries to dodge out of the way. The lamp falls
and breaks and in the darkness the carriage goes bounding
past his and away. He stands looking after it, then breaks
into a run, following the runaway.
CLOSE SHOT - MacFarlane. He is fighting to control the
horse. But, as the carriage rocks, the thing against his
shoulder moves; either by reason of the violent motion or of
some frightful volition of its own.
The canvas wrapping slips, slides away and reveals again the
head and naked torso of Gray.
The pace increases even more. MacFarlane sees the dreadful
metamorphosis and a strangled cry breaks from his throat.
The carriage sways again and the arms come free from the
canvas. Another swerve, another lurch and they have fallen
limply around MacFarlane's neck.
EXT. HILLSIDE ROAD - NIGHT
FULL SHOT - a hairpin turn, with cliff-wall to one side, a
sheer drop to the other. The carriage, the horse beyond
control, cannot take it at the speed. It strikes the cliff, a
wheel breaks loose, the braces tear apart, the horse
staggers, runs on free, the carriage tilts sickeningly,
stands on end, rolls over the edge and plunges down to
destruction.
EXT. HILLSIDE ROAD - NIGHT
Fettes has managed to get the lamp going again and is running
along the road, following the wheel tracks in the rain-soaked
earth. He comes upon a bit of wreckage and stops. He listens,
then walks over to the edge of the cliff. He holds his
lantern well over the edge and peers down. Then he starts
down the cliff side.
EXT. THE CLIFF SIDE - NIGHT
MED. FULL SHOT - Fettes as he scrambles down, holding the
lantern at arm's length to protect it from the rough rocks
and the heather. He comes to a slightly more level space and
stops. He looks down.
MED. SHOT - SHOOTING DOWNWARD FROM Fettes' viewpoint.
MacFarlane's body, obviously without life, is lying flat on
its back, arms and legs outspread. And, lying against his
chest, is something wrapped in canvas.
The CAMERA MOVES SLOWLY DOWN UNTIL IT IS CLOSE, showing
beyond all doubt that not only has the canvas never been
disturbed, but also that it is the woman's body which it
covers.
FADE OUT
THE END