Mystical Metaphor in Seventh Heaven

(Strong & Golden, 1924)

"Here, the Seventh Heaven is offering obeisance to every grain of dust."*

In 1932, Meher Baba, popularly known in India and in parts of the West as a "Perfect
Master", later "Avatar" in the spiritual realm, made a visit to Hollywood. A reception was
held the evening of June 1 in his honor at Pickfair, the palatial residence of Douglas
Fairbanks and wife Mary Pickford. In the course of the evening, Meher Baba delivered a
remarkable message to the Hollywood film-makers attending the reception. The best way to
describe this powerful message to the world artistic film community is to quote it in full
(Kalchuri, 1986, pp. 1434-6; see video also Fredericks, 2012):
"I was particularly glad to come to California because of the opportunity which it afforded to
contact those who made or appeared in motion pictures, and I am delighted that this gathering
could be arranged tonight.
I do not need to tell you who are engaged in the production and distribution of motion
pictures what a power you hold in your hands, nor do I doubt that you are fully alive to the
responsibilities which the wielding of that power involves. He who stimulates the imagination
of the masses can move them in any direction he chooses, and there is no more powerful an
instrument for stimulating their imagination than motion pictures.
People go to the theater to be entertained. If the play is strong, they come away
transformed. They surrender their hearts and minds to the author, producer, director and stars,
and follow the example which they see portrayed before their eyes more than they themselves
realize.
Both the press and the radio influence thought, but both lack the power of visible
example, which is the greatest stimulant to action, and which the motion picture offers better
now than any other medium.
We find ourselves today in the midst of a worldwide depression which affects
everyone, rich and poor alike, and from which all are groping blindly for deliverance. The film
companies, the picture theaters and the stars have also suffered from it. If they could help to end
the depression, I am sure they would be glad to. How could the motion pictures help in this
respect?
First, it must be understood that the depression is not an accident, nor is it purely the
result of overproduction and inflation. Those, although the immediate causes, are merely the
instruments which were used to bring the depression about. The depression itself was caused by
those entrusted with the evolution of humanity. Man has to be stripped of his material
possessions in order that he may realize through actual experience that his true base is spiritual
and not material. Then will he be ready to receive the Truth which I have come to bring.
This Truth consists of the knowledge that man, instead of being a limited, separate

* (Balnatu, 1997) 7th Heaven referred to is Avatar Meher Baba's Home ("Meherazad") in his most recent Advent
as God in human form: thus Chico-Diane's mantra invokes God (Love), the Creator, Dissolver & Sustainer.
 individual completely bound by the illusion of time, space and customs, is eternal in his nature
and infinite in his resources. The world illusion is a dream of his imagining, a play enacted in
the theater of his consciousness – a comedy in which he is at once the author, producer, director
and star. But his absorption in the role, which he has chosen to enact, has made him forgetful of
his true self, and he stumbles now as a creature through the path he has created.
Man must be awakened to his true nature. He must see that all material expression
depends upon and flows from a spiritual being. Then he will be steadfast and serene under all
circumstances. There will be no further need then for the depression and it will disappear.
Now, how can the motion pictures help man attain this realization? The character of
the film need not be changed. Love, romance and adventure are themselves fundamental. They
should be portrayed as thrillingly, as entertainingly, and as inspiringly as possible. The wider
the appeal the better.
What needs to be changed is the emphasis, or stress. For example, courage is a great
virtue but it may, if misapplied, become a vice. So it is with love, the mainspring of our lives,
which may lead to the heights of Realization or to the depths of despair. No better example can
be given of the two polarities of love and their effects than that of Mary Magdalene before and
after meeting Jesus.
Between these two extremes are many kinds of love, all of which are good, but some of
which are better than others. I use the terms "good" and "better" simply to designate the degrees
of liberation which they lead to or confer. Even the love which expresses itself through physical
desire is good to the extent that it frees one from the thralldom of personal likes and dislikes,
and makes one want to serve the beloved above all other things.
Every human relationship is based on love in one form or another, and endures or
dissolves as that love is eternal or temporal in character. Marriage, for example, is happy or
unhappy, exalting or degrading, lasting or fleeting according to the love which inspires and
sustains it. Marriages based on sexual attraction alone cannot endure; they lead inevitably to
divorce or worse. Marriages, on the other hand, which are based on a mutual desire to serve and
inspire, grow continually in richness and in beauty, and are a benediction to all who know of
them.
To lead men and women to the heights of Realization, we must help them to overcome
fear and greed, anger and passion. These are the result of looking upon the self as a limited,
separate, physical entity, having a definite physical beginning and definite physical end, with
interests apart from the rest of life, and needing preservation and protection.
The self, in fact, is a limitless, indivisible, spiritual essence – eternal in its nature and
infinite in its resources. The greatest romance possible in life is to discover this Eternal Reality
in the midst of infinite change. Once a person has experienced this, one sees oneself in
everything that lives. One recognizes all of life as his life, everybody's interests as his own. The
fear of death, the desire for self-preservation, the urge to accumulate substance, the conflict of
interests, the anger of thwarted desires are gone. One is no longer bound by the habits of the
past, no longer swayed by the hopes of the future. One lives in and enjoys each present moment
to the fullest. There is no better medium to portray this than motion pictures.
Plays which inspire those who see them to greater understanding, truer feelings, better
lives need not necessarily have anything to do with so-called religion. Creed, ritual, dogma, the
conventional ideas of heaven and hell, and sin are perversions of the Truth, and confuse and
bewilder, rather than clarify and inspire. Real spirituality is best portrayed in stories of pure love,
of selfless service, of Truth realized and applied to the most humble circumstances of our daily
lives, raying out into manifold expressions, through home and business, school and university,
studio and laboratory – everywhere evoking the heights of joy, the purest love, the greatest
power – producing everywhere a constant symphony of bliss.
This is the highest practicality. To portray such circumstances on the screen will make
people realize that the spiritual life is something to be lived, not talked about, and that it, and it
alone, will produce the peace and love and harmony which we seek to establish as the constant
of our lives."
* * *
The direct effect of this message in terms of the quality of the films produced thereafter is not
documented as such, but it is said that the later films of Frank Capra were strongly inspired
directly or indirectly by this manifesto of spiritual responsibility. The story briefly is that
Frank was indisposed and thus unable to attend the 1932 reception, however that night he
received a message from God (a "faceless little man") in a vision, which was equivalent to
what the reception attendees received in person from Meher Baba. Frank stated in response
(Wakeman, 1987) that "My films must let every man, woman, and child know that God loves
them, that I love them, and that peace and salvation will become a reality only when they all
learn to love each other." We can speculate that the 1937 movie version of 7th Heaven was
influenced similarly: one may discern a subtle shift of emphasis from romanticism to spirit-
ualizing love in this version. Austin was still actively writing plays (Theroux, 2002; Strong,
1936) when the 1937 talking version of Seventh Heaven was released; it is likely that he was
involved in the re-writing of Seventh Heaven for this (he had himself re-written it several
times already). The astrologer-sorcerer Aristide (replacing Diane's Uncle as a rites & ritual-
istic element for her to win over through higher love), for example, has a characterization
attributable to Austin's guiding hand in the later production: his mind-antagonism to the love-
match strongly resembles that of Dr. Martin in Strong's 1936 movie "Along Came Love", q.v.

Austin's play Seventh Heaven was first tried out in Detroit in 1920, then was extensively re-
written several times prior to its run of over 700 performances in New York from 1922 to
1924. The script for this play was published as a small book by Samuel French, and is still
available as a reprint (and online). The story has been made into a children's book by John
Golden published by Grosset & Dunlap in 1924. The 1927 screenplay by Ben. Glazer was
made into a silent movie by Frank Borzage, starring Charles Farrell and Janet Gaynor, which
is considered one of the greatest silent movies ever made. It is available online and as a DVD.
It has the distinctive Borzage stamp of "Love Conquers All": compare "Lucky Star". Finally,
it was made into a talking picture starring James Stewart and Simone Simon in 1937 (avail-
able online and as a DVD). We have a copy of a "revised temporary" version of the script
written by Melville Baker for this production, dated November 13, 1936. This is not else-
where online-available to our knowledge, consequently for its intrinsic interest we present it
here below. A number of extraneous plot-segments were apparently deleted for the 1937
movie, and the ending itself was altered considerably; and it is clear that Chico did not die,
Diane's spiritual perceptions were accurate. Some critics don't care for Jimmy Stewart's
American accent, but we find it no more insufferable than Charlie Farrell's silent swaggering.
Here may we suspend reference to individually-rationalized expectations in terms of ordinary
prosaic, so-called reality, and focus on the high message of this script as a true work of art.

What is the message of Seventh Heaven?

First, that human beings need not be limited by their outer environment; the real
producer of this play which we call life is God, Who is unqualified by any externally imposed
dictum or dogma. This is at the heart of Baba's message quoted above. God's amazingly lov-
ing response to Chico's heartfelt prayers is demonstration of this. Diane (the Moon-goddess)
was brought up in a den of iniquity, but she retained her virginally honest capacity to love
throughout; her positive recognition of herself is all-important, as Chico pointed out. Chico
was a sewer man in the ordinary world, but in actuality he was a true dnyan yogi endowed
with the capacity for courage: he could reach out and touch the stars.
Second, it is possible to radically transform one's ingrained psychological weaknesses,
substituting virtues for corresponding vices. This is the lesson that Chico taught Diane: to
hold firmly onto the positive qualities until the negative ones lose their grip. Meher Baba has
described this yogic practice as follows (1987): “The opposite of lust is love, the opposite of
greed is generosity, and the opposite of anger is tolerance or patience. By trying to dwell in
love, generosity, and tolerance, man can erase the tendencies of lust, greed, and anger.”
Third, emphasizes the transformative value of the practice of bhakti (communion
with the Beloved thru loving remembrance); this is the connection with Diane which Chico
was sorely afraid to lose through their apparent separation, and which he was enabled, with
God's help, to establish on an ongoing basis prior to departure. The God-sent reality of his
extraordinary hasty yet effective marriage to Diane was properly acknowledged by the priest.

We would call Chico a natural dnyan-gnostic yogi (Meher Baba, 2005); he was taught bhakti
(devotion) yoga by inspiration from God, who gave him the "fine brave good" wife that he
yearned for, in a non-physical companionship, through the enforced separation that prodded
him to devotedly visit her in spirit for the sake of love, until God (i.e., Love Himself) at last
was enthroned within his heart (the high goal of Yoga) to annihilate his self-styled "atheism".

We are encouraged to look at this story as a parable of spiritual understanding and practice. It
is said that one third of Christ's words are in parables, presenting his immortal teachings in a
language accessible to the masses of humanity whom he addressed. Meher Baba's favorite
poet Hafiz is known as a spiritual Master whose poems have great depth and power (Ghani,
1941). His subject-matter is the Lover and the Beloved (v. Meher Baba, 1963), using earthly
metaphors (i.e., "Wine, Women and Song") to express his spiritual message. His spiritual
understanding, as Meher Baba has stated, is complete; his poetry, it is said, is truly sublime.
Baba said that "his words are as pearls in the Ocean of Divinity, though to the average reader
his words are as oysters." Another favorite of Meher Baba's was Cole Porter, who regularly
similarly used earthly metaphors. Porter's mystical song "Begin the Beguine" was composed
for a movie, in 1935; the Beguines was an Order of mystics (McGinn, 1994), and this song
was used by Baba to herald his bodily "demise" as the start-up of his ongoing worldwide
Manifestation (Sargent, 1974). In similar vein, we feel that Austin Strong's 7th Heaven
presents profound depths of spiritual insight and understanding, which he expressed in terms
of God-inspired human love awakened through "blind" faith: "The Cloud of Unknowing". As
such, the movie approaches the ideal of true cinematic art stated by Meher Baba.
Take this example: Meher Baba described a practice of bhakti yoga equivalent to that
which Austin presented to the play-going public (Schloss, 1954). Baba refers to himself here
as the Beloved, but he said one may effectively substitute the name of God whom one is most
comfortable with, e.g., the Bon Dieu whom "atheist" Chico addressed in his prayers & on the
occasion of his marriage. Austin used a once-a-day practice of bhakti yoga as an achievable
beginning performed with faithfully maintained timing (cf. Brissac's criticism of timing and
Diane's response; and also the fox's description of the importance of timing in St. Exupery's
Little Prince, 1943). Here is Baba's description of bhakti yoga in practice (Schloss, 1954):
"I will tell you how, when thinking of me, you can still do everything you
need to do in the world. This is… sahaj dhyan. Even while eating, drinking,
working, while looking at motion pictures, or attending to your business, you
will still feel that Baba is with you. This is sahaj dhyan.
When you remember me, you are in sahaj dhyan (God's company or
presence). The question is how to remember me.
The easiest and surest way is to do as I tell you. It will be somewhat of a task
at first, as when you start to run you feel it too much (sore muscles); but when
you are in training, you feel it "sahaj" (meaning, naturally). At first, you will
have to do it deliberately, then it will become natural.
There are four quarters of the day; there are four divisions in man's physical
state: childhood, youth, maturity, old age. There are four quarters that Kabir calls
the signposts. The first thing in the morning when you get up, before doing
anything, think of Baba for one second. Baba is then worn by your soul: early in
the morning dress your soul with Baba. At 12 noon, for one second do the same;
do it again about five o'clock; when you retire do it also. I have never asked
anyone to do this, not even the mandali [close followers]. If you do it, I will be
always with you, and you will feel my company all the time. Do it for four
seconds every day, then you will be in the world, yet Baba will be with you all
the time. This is the beginning of sahaj dhyan."
Similarly, in the movie "Along Came Love" (1936), Strong introduces the concept of
establishing a love-relationship with the directly-accessible Christ (the Avatar) of the Age
represented by Orion, in one's ordinary life. We will close with lyrics of the song "Diane", by
Rapee & Pollack, written for 7th Heaven (1927):
I'm in heaven when I see you smile
Smile for me, my Diane
And though everything's dark, all the while
I can see you, Diane
You have lighted the road leading home
Pray for me when you can
 But no matter wherever I roam
Smile for me, my Diane

Works Cited:
Baker, M. (1936). Seventh Heaven, Nov. 13, 1936, "revised temporary" script, an unpublished
mimeograph issued by Twentieth Century-Fox Film Corp.
Balnatu (1997). The Samadhi: Star of Infinity. Myrtle Beach, SC: Sheriar Foundation.
Fredericks, R. (2012). Meher Baba's 1932 Message to Hollywood.
https://www.youtube.com/watch?v=mVZu9wMZkCo
Ghani, A. (1941, May). Meher Baba through Hafiz, In: Meher Baba Journal, vol 3, no. 7.
Online at: https://www.ambppct.org/library.php.
Glazer, B. (1927). The Seventh Heaven. (Screenplay). Fox Film Corp. Avail. thru AMPAS.
Online at: www.scribd.com/doc/344472446
Golden, J. (1924). 7th Heaven: Based on the Play by Austin Strong. NY: Grosset & Dunlap.
Kalchuri, V. S. (1986). Lord Meher. N. Myrtle Beach, SC: Manifestation. Online at:
http://www.lordmeher.org.
McGinn, B. (1994). Meister Eckhart and the Beguine Mystics. NY: Continuum. Online at:
https://www.scribd.com/doc/305400532
Meher Baba. (1963). "The Lover & the Beloved", from: The Everything and the Nothing.
Beacon Hill, Aust.: Meher House. Online at: https://www.ambppct.org/library.php.
Meher Baba. (1987). The Discourses (7th ed.). Myrtle Beach, SC: Sheriar Press. Online at:
https://www.ambppct.org/library.php
Meher Baba. (2005). Infinite Intelligence. N. Myrtle Beach, SC: Sheriar Found.
Rapee, E. & Pollack, L. (1927). Diane: I'm in Heaven when I see you smile (musical score).
SF: Sherman, Clay & Co. (song has been many times recorded since by various singers)
Sargent, P. (1974, Aug). Interpretation of "Begin the Beguine," a song by Cole Porter. Glow
International.
de Saint Exupery, A. (1943). The Little Prince. NY: Harcourt, Brace (a mystical allegory).
Schloss, M. & C. Purdom (1979). Three Incredible Weeks. Myrtle Beach, SC: Sheriar Press.

Seventh Heaven movie, 1927 version; https://www.youtube.com/watch?v=6hBMwZRTsc0;

ref: http://www.worldcat.org/title/7th-heaven/oclc/81071838.
Seventh Heaven movie, 1937 version; https://archive.org/details/SEVENTHHEAVEN1937-
JamesStewart.
Strong, A. (1922) Seventh Heaven: a Play in Three Acts. NY: Samuel French; repub. Nabu
Press, 2010; https://archive.org/details/seventhheaven00strorich.
Strong, A. (1936). "Along Came Love"; https://www.youtube.com/watch?v=N5XhkFUfA6M
The play-script is accessible with AMPAS.
Strong, A. & Golden, J. (1924). The Story of 7th Heaven (souvenir brochure), pub. J. Golden;
https://books.google.co.in/books?id=y_M1AQAAIAAJ&printsec.
Theroux, J. (2002, Winter) Stevenson's Pillow: A Sketch of Austin Strong. Historic
Nantucket, vol. 51, No. 1.
Wakeman, J. (1987) World Film Directors, Vol. 1 (1890-1945). NY: H. W. Wilson Co.
"SEVENTH HEAVEN"

Screenplay

by

Melville Baker

*
***
*

Revised Temporary
November 13, 1936
 1

"SEVENTH HEAVEN"

FADE IN

CREDIT TITLES

Under them a slow PAN SHOT of the roof tops of Paris, with the dome of the
Cathedral of Saint Coeur in the b.g. DISSOLVE IN and OUT the title

"P A R I S 1 9 1 4"

EXT. "HOLE IN THE SOCK" - LATE AFTERNOON

The CAMERA tilts so that we look directly down from a height of five or six
stories into the square and the blind alleys which form the cul de sac - in which
our action is centered.

It is late afternoon and the denizens of the cul de sac - hereafter called "The Sock"
- are already coming out of their warrens like the animals of the jungle, awakening
as the night approaches. In the immediate f.g., high up, a little to one side, beneath
the CAMERA, an old slattern sticks her head out of an attic window to look down
on the scene below. For a moment she watches, then her attention is attracted to
something at the end of the street which leads out of the Sock. She gives a shrill
warning whistle and points. Below, we see the people in the street look up - then,
in the direction in which she points. Now the CAMERA ZOOMS down past the
old woman so that we are at the end of the alley leading to the outside world - and
looking up. The characters in the f.g. are for the most part ducking into doorways.

AD LIB
Police! … Watch out! …
Better hide, Pierre! …

In the b.g. - at the end of the alley, which slopes up hill - there is a knot of
struggling people, from which detach themselves first the Sewer Rat, and then two
gendarmes in pursuit. At the same time as the ad lib above we hear from the
people at the end of the alley:

AD LIB
Thief! … Stop him! …
Stop, thief! … etc.
The Sewer Rat - he is a miserable shred of humanity whose nickname describes him perfectly
- comes racing up past the CAMERA, the gendarmes close at his heels.

CUT TO:
REVERSE ANGLE

SHOOTING into the square which is the center of the Sock. Straight ahead we see the
Church of St. Antoinelle Pauvre - a very ancient church, its stone facade grimy with the
accumulations of centuries. Obliquely opposite - as we see later - there is the boite de nuit,
known as "The Hole in the Sock". A few chairs and tables are on the sidewalk outside - the
windows are curtained. Above "The Hole in the Sock" there are several stories of lodging
rooms. In a window on the first floor we see a blowzy girl in a kimono looking down into the
square.

The Sewer Rat runs across the square, dodging in and out among the people there. The
gendarmes try to follow but they are held back by a very obvious unwillingness on the part of
anyone to make way for them. The CAMERA, to follow the chase, PANS so that we see
nearly all of the square in this SHOT - noting such details as a drunk sleeping on the
sidewalk, leaning against a wall - urchins playing in the gutter - loungers, etc. The Sewer Rat
finally gets to the door of the church, into which he darts. As they see him disappear, the
gendarmes stop.

FIRST GENDARME
(looking into church)
We won't have long to wait -- the service is nearly over.

SECOND GENDARME
Probably the first time he's been in church since they
baptized him.

FIRST GENDARME
Who'd have bothered to baptize that?
(with no change of tone - giving the
Second Gendarme a shove)
Watch out!

A flower-pot crashes to the pavement between them. They look up.

 3

FROM THEIR ANGLE - SHOOTING UP

A SHOT of a number of windows - from some of which faces look downward with stony
hostility. The CAMERA TILTS UP to catch the old slattern. She flicks her thumbnail on
her teeth - hisses derisively.

BACK TO GENDARMES

They shrug - walk up to the door of the church.

INT. CHURCH – DAY

SHOOTING toward the altar and pulpit. Father Chevillon - a quite young, very fat priest,
whose face is a curious mixture of piety and worldly shrewdness, is giving the last of the
Benediction.

FATHER CHEVILLON
(in Latin)*
------ -- -- -
(he looks at the front pew)

REVERSE ANGLE

The Sewer Rat is kneeling - head bowed. In the b.g. we see a scattering of worshippers -
all very poor and miserable creatures. The Sewer Rat looks craftily around. From his
pocket he draws a watch and chain and begins to examine it. We hear:

FATHER CHEVILLON'S VOICE

(intoning in Latin)
------ -- -- -
(in the midst of the Benediction, his tone changes
to a very angry, rebuking one)
------ -- -- -

With a start, the Sewer Rat hastily stuffs the watch back into his pocket and hastily crosses
himself.

WIDER ANGLE - TOWARD FATHER CHEVILLON

as he finishes the Benediction. On his face there is an expression of grim amusement.

*Benedictus Deus in Angelis suis et in Sanctis suis (not given in temp. script)
 4

FATHER CHEVILLON
(concluding the Benediction).
------ -- -- -

He closes his prayer book. He performs the closing act of the service. The congregation
start to file out toward the door - save for one or two who go to the shrines at the side to
light candles. The Sewer Rat remains kneeling. Father Chevillon comes down from the
altar and stands before him.

FATHER CHEVILLON
Well, my son, have you come to Mother Church at last?

SEWER RAT
(nervously looking up)
Yes, Father.

FATHER CHEVILLON
To confess?

SEWER RAT
Well …

FATHER CHEVILLON
I have the rest of the evening.
That ought to be long enough to hear even all your sins.

SEWER RAT
(he gets up and starts down the aisle)
Yes, Father.

Father Chevillon lets him go until he is half way down the aisle. Then suddenly:

FATHER CHEVILLON
(in a fierce voice)
Whelp of Satan! Have you nothing on your conscience?

SEWER RAT
(frightened, he stops)
No, Father.

FATHER CHEVILLON
(advancing on him)
Nothing that ticks? Ticks? Ticks? Ticks?

Father Chevillon is now beside him. Involuntarily the Sewer Rat puts his hand in his
pocket. Then he shakes his head and starts to go, but stops as he sees:
 5

FROM THEIR ANGLE

SHOOTING toward the open door. The two gendarmes are waiting, one leaning on each
side of the door.

MED. SHOT - FATHER CHEVILLON AND SEWER RAT

SEWER RAT
Father, there is something worrying me a little.
(he pulls the watch and chain out of his pocket)
I found this in the street --

FATHER CHEVILLON
I suppose it rolled there.

SEWER RAT
(holding out the watch to Father Chevillon)
I meant to turn it in, but …

At this moment there is a terrific uproar outside - screams and imprecations.

FULL SHOT TOWARD DOOR

Father Chevillon and Sewer Rat in f.g. The gendarmes turn and run down the steps in the
direction of the noise. The Sewer Rat suddenly snatches back the watch and darts out of
the church.

EXT. CHURCH - LONG SHOT – DAY

taking in the door of the church and, in the b.g., CAMERA RIGHT, a group of people
surrounding two villainous Apaches who are going at each other with knives, oblivious to
the clubs of the gendarmes who try to separate them. In the f.g., CAMERA LEFT, there is
a niche in which the Sewer Rat secretes himself.

MED. SHOT - FATHER CHEVILLON

He stands in the door of the church. He looks after the Sewer Rat, then toward the brawl.
 6

FATHER CHEVILLON
(with an ironic, sad smile)
My children~ My little flock!
(then tightening the cord of his robe around him -
- as if girding himself for battle -- with a great
roar he calls out)
Peace! Peace in the name of God!

As he strides forward the CAMERA PANS RIGHT and remains on him long
enough to see that he is going toward the fight, then it PANS BACK toward the
niche in which the Sewer Rat is hiding. He sticks his head out, then runs the
CAMERA FOLLOWING him, toward a raised manhole. He pulls it up and
disappears into it, pulling the cover down after him.

INT. CHICO'S SEWER

The sewer is a very ancient one; the walls are made of great blocks of stone -- moisture
oozes through the cracks, the only light comes from one or two very dim bulbs. In the
f.g. there is a niche in the wall from which iron rungs lead up to the manhole cover
above. The Sewer Rat is climbing down the rungs. He looks up then, breathing a sigh of
relief, starts to examine the watch which he holds in his hand. Suddenly he starts as out
of scene he hears:
CHICO'S VOICE
Where did you come from?

The Sewer Rat looks down the sewer and stuffs the watch in his pocket. CAMERA
PANS OVER into the darkness of the sewer and we see Chico, a great strapping follow
dressed in canvas working clothes and high boots, coming toward us. In his hand he has
a pole with which he clears out the heavier pieces of refuse in the sewer. CAMERA
PANS BACK to the Sewer Rat as Chico comes up and looks at him contemptuously.

CHICO
Where have you been?

SEWER RAT
(as if it were an every day occurrence)
Oh -- in church.
 7

CHICO
You! What were you doing there?

SEWER RAT
Hiding. The police wanted me.

CHICO
(putting his pole down and turning to Sewer Rat -
holding him by the coat collar and addressing him
sternly)
Listen to me -- you less than nothing -- you sewer rat.
When you want to hide, come down here. Keep away
from that fat priest.

SEWER RAT
But Father Chevillon let me stay -- and he knew the police
were waiting outside.

CHICO
(releasing Sewer Rat)
So now he's done you a favor. That's fine! Next thing you
know he'll be putting the fear of God into you.

SEWER RAT
I was only in there a minute.

CHICO
Sometimes that's all those priests need –-
they're that crafty.
(he snorts derisively)
A fine sewer rat you'll turn out -- 'Please, Father, I'm sorry
I stole. Please forgive me for my sins -- please, please.'
(he glares at the Sewer Rat, then shoves another
pole into his hand)
Aren't you disgusted with yourself?
(Sewer Rat hangs his head)
Go on -- get busy! If you want to hide down here, you've
got to work for it -- not pray.

The Sewer Rat slowly takes the pole. Then, from above, we hear a clanking. Light
streams down as the top of the manhole is removed.
 8

GOBIN'S VOICE
Look alive, down there!

Chico and the Sewer Rat look up,

FROM THEIR ANGLE

Gobin, the street cleaner, stands with his trash barrel poised over the manhole.

GOBIN
Some food for you.

INT. SEWER - CHICO AND THE RAT

CHICO
Ah, Comrade Gobin! How goes it?

GOBIN - FROM THEIR ANGLE

GOBIN
(as he tips the trash barrel - very snootily)
Watch out, sewer man.

And the contents of the barrel pour down the manhole.

INT. SEWER - CHICO AND THE RAT

As Chico and the Sewer Rat jump back to escape the shower of refuse. It lands in a pile.
For a moment Chico and the Sewer Rat are silent. We hear the manhole cover clang
down, shutting out the daylight.

SEWER RAT
Comrade Gobin, eh? Whose comrade?

CHICO
(as he starts to shovel the pile of refuse –
subdued, he says)
He 's my neighbor.

SEWER RAT
Him?
 9

CHICO
(nodding)
He lives across the way from me. That's why I call him
comrade.

SEWER RAT
What does neighbor Gobin call you?

CHICO
(sadly)
He doesn't speak to me. Street washers never speak to
sewer men. It's part of the social system.
(as if ashamed at himself for discussing with the
Sewer Rat what is evidently a sore subject --
angrily)
Come on -- what are you standing there for? There's a
shovel.

The Sewer Rat picks up a shovel and starts to shovel the refuse into the sewer.

EXT. MANHOLE TRAP – NIGHT

In the f,g. Gobin is picking up his wheelbarrow. In the extreme b.g. we see the entrance
to "The Hole in the Sock." Music is heard from the cafe -- an accordion. A lamp-lighter
is lighting the lamps. Father Chevillon and the two gendarmes stand by the cafe door.
CAMERA FOLLOWS Gobin as he walks toward "The Hole in the Sock," trundling his
wheelbarrow. He bows to the lamp-lighter as he passes.

GOBIN
Good evening, Citizen Lamp-lighter.

LAMP-LIGHTER
Good evening, Citizen Street-washer.

CAMERA continues to FOLLOW Gobin until he is opposite the entrance to

"The Hole in the Sock," He continues on, the CAMERA MOVES UP to Father
Chevillon and the two gendarmes. They are all disheveled, breathing heavily as if from
exertion.
 10

FATHER CHEVILLON
(wiping his forehead)
Well -- now perhaps we can have some quiet.

FIRST GENDARME
Thanks to you, Father. We'd have had a hard time with
those devils if you hadn't been here.

FATHER CHEVILLON
Well, my son –
(pontifically)
the arm of the law can often be strengthened by the voice
of the church.
(he raises his arm in a fitting gesture - then he
stops as he realizes that the club of one of the
gendarmes dangles by a strap from his wrist)
Hmm -- I seem to have picked this up -- somewhere in the
confusion no doubt.

SECOND GENDARME
(playing it straight -- taking the club from Father
Chevillon)
No doubt, Father -- in the confusion.

FATHER CHEVILLON
(as he starts to go)
I have my calls to make -- so good night. Give my
regards to your Commissioner. And thank him again for
his many favors.

GENDARMES
(together)
We will. Good night, Father.

They salute and walk off in one direction, Father Chevillon going in another. The
CAMERA PANS so we are looking up the alley. With a great clanking and wheezing,
a very ancient taxicab, with the back open, rolls up and stops in front of "The Hole in
the Sock." From the front seat, with great manner, Boul, a pleasantly villainous looking
man with enormous moustache, descends.
 11

MED. SHOT - TOWARD DOOR OF CAB

Boul opens the door. Inside are two young soldiers in uniform. They peer out toward
the café. They are both a little intoxicated.

BOUL
(with the air of one saying – 'This is Maxim's')
You have arrived, Messieurs - The Hole in the Sock!
There is the door to Paradise!

FIRST SOLDIER (dubiously)

This?

SECOND SOLDIER (vaguely)

Where are the bright lights?

BOUL
Inside -- shining in the eyes of your fair companions.

SECOND SOLDIER
What did he say?

FIRST SOLDIER (to Boul)

Take us to Maxim's.

BOUL
Maxim's! That's for tourists. This is the place for soldiers
who are about to -- what did you say you were about to
do?

FIRST SOLDIER
(getting to his feet and saluting)
France -- we are ready!

The second soldier hastily jumps to his feet and salutes too.

SECOND SOLDIER
We spit upon your enemies1

Swaying, they stand at attention. Boul, imitating them, also salutes.

BOUL
(lowering his arm)
France has enemies? Oh, you shouldn't believe that non-
sense they write in the papers.
 12

FIRST SOLDIER
(with a shrug)
Maybe it's just those generals wanting to play. Anyway,
tomorrow our regiment goes to the frontier.

The two soldiers climb out of the cab. The first soldier takes some coins out of his
pocket and hands them to Boul. As Boul accepts them, a worried look comes over his
face. He puts out an arm to detain the soldiers.

BOUL
Tell me, my friends -- you've made up your minds to
have a night of it, haven't you?

FIRST SOLDIER
A fine time to ask us that.

BOUL
(persistently -- wanting to be reassured)
You're determined to end up in some night place --
no matter how wicked? I didn't persuade you to come
here?

SECOND SOLDIER
Our sergeant said -- 'Tonight's your last night of Paris --
so don't let me catch you coming in sober.'

BOUL (relieved)
Ah -- then no matter what happens to you in there, I'm
not responsible. It becomes a matter I need not even
discuss with my conscience.
(he steps aside with a gesture)
Soldiers of France, do your duty!

The CAMERA FOLLOWS the two soldiers as they start toward the door, arm in arm.
As they enter --

DISSOLVE TO:
 13

INT. "HOLE IN THE SOCK" – NIGHT

This is a small, noisome place. Along one wall is a bar at which sit several men and
some of the girls. There are small tables, a few booths. A curtained alcove at one end
suggests that some sort -- the character of the place should suggest what sort -- of a show
is occasionally given. In one corner there are a piano and an accordion player. There is a
tiny dance floor in the center of the room on which two or three couples are dancing.

As the two soldiers enter five or six girls run toward them and surround them.

GIRLS
(ad lib)
Take your hands off! I saw him first.
Don't listen to her, soldier, come with me.
Let's take this table over here.
My name is Jacqueline.
etc.

The girls drag the two soldiers in the direction of the bar. The CAMERA FOLLOWS
them for a moment, and then as they go out of the scene moves across the room toward a
booth where sit Diane and Durand. Diane, a girl of seventeen or eighteen dressed in a
cheap evening dress, is looking at Durand with a hopeless faraway look on her face -- as
if she didn't hear him and by sheer force of will were imagining herself away from this
place, Durand is a rather repulsive looking provincial. He edges up to Diane.

DURAND
Don't you ever talk?

Diane does not answer.

DURAND
1
I didn t buy you two glasses of Pernod just to have you sit
there.

Slowly Diane turns to look at him, regards him with unconcealed disgust. Durand is a
little taken aback by the look she gives him.

DURAND
You look at me as if -- as if I were a toad come up from
the cellar.

Diane looks down at her glass; Durand laughs as if trying to break the tension.
 14

DURAND
Come now -- I'm not as bad as all that.

He puts his arm around her shoulders and tries to pull her toward him. Suddenly Diane
picks up her glass and without a word flings it in his face. Durand, his face dripping with
wine, stares at her aghast; a vicious expression comes over his face. Wiping the wine off
his face with the back of his hand he jumps to his feet. Diane does not move but stares
down at the table.

DURAND
(outraged, shouting)
Throw wine in my face! You hellion -- you devil-cat!

He raises his hand as if to strike her. Now from out of scene hurriedly comes Nana. She
is a tall woman -with a vicious depraved expression. She speaks to Durand in an oily
ingratiating manner -- but the looks she darts at Diane arc laced with venom.

DURAND
(to Nana)
You see what she's done --
this girl you sent to entertain me?

NANA
Oh, monsieur -- she didn't mean it. It was an accident.

DURAND
An accident! Does it look as
if she spilled the wine over me!
(he turns to face the room)

WIDER ANGLE

as Durand addresses the people in the room who turn to look at him.

DURAND
Scoundrels! Thieves! Swindlers!

NANA
M'siou! M'siou! If you'll only sit down.

DURAND
The police shall hear about this.
 15

THE TWO SOLDIERS

They are watching interestedly, '

FIRST SOLDIER
(to second soldier)
I told you we should have gone to Maxim's.

CLOSER ANGLE - NANA, DIANE, DURAND

NANA
(to Durand)
You mustn't judge us by Diane.
(with a look at her)
That one is always making trouble. You'll see the others
know how to act like ladies.

She takes his arm, tries to pull him, but he jerks free.

DURAND
The others I can not stand to look at.

NANA
I'll make Diane apologize.

DURAND
Will an apology save my necktie? no, madame -- this is a
matter for the police.

He snatches up his hat and turns to go. Nana follows after him a few steps, but he is gone
before she can stop him. As he storms out of the door Nana turns back to Diane. As she
walks toward her the people in the cafe slowly step back, watching her with cruel interest.
As Nana comes up to Diane; who still has not raised her head --

CUT TO:
 16

INT. SEWER NEAR MANHOLE

The refuse which Gobin dumped down has been shoveled into the sewer. Chico has
just finished taking off his heavy canvas working clothes. He puts them into a small
chest which is on the ground near the foot of the ladder leading up the manhole, closes
it, sits on it and lights a cigarette. The Sewer Rat is squatting on the ground nearby,
examining the stolen watch. He shakes it and holds it to his ear.

SEWER RAT
Chico, is there any way you can unwind a watch?

CHICO
So it's men's watches now instead of ladies' purses.
What do you mean -- unwind it?

SEWER RAT
So it won't tick.

CHICO
You could try dropping it.

Suddenly we hear a sudden outburst of shouting, punctuated by a small boy's voice

screaming:
BOY'S VOICE
Jacques! Jacques! Come look! She's got a whip!
She's beating her!

During the following scene the sound of screaming and shouting increases, as if the
center of the disturbance were coming nearer the manhole -- cruel laughter, jeers, cat-
calls of boys. We will give here only the lines which should be heard. Chico looks up
toward the manhole and frowns.
CHICO
Can't they ever be quiet up there!

DIANE'S VOICE
(very loud and clear)
I won't, Nana! I won1t! I don't care what you do to me!

SEWER RAT
Sounds like one of the girls from The Hole in the Sock.

NANA'S VOICE
You won't!? See how that feels.

There is one sharp cry from Diane.

 17

BOY'S VOICE
Whee! Give it to her! Give it to her!

CHICO
People wonder how I stand it down here all day long --
but at least a man can hear himself think.

SEWER RAT
(admiringly -- as if it were something
quite beyond him)
You're always thinking, aren't you, Chico?

CHICO (nodding slowly)

Yes.

BOY'S VOICE
She almost got away that time!

ANOTHER BOY'S VOICE

No she didn't.

SEWER RAT
What are you thinking now?

CHICO
(he points to the water in the sewer)
I was thinking of one of those big ocean liners –
the ones that go to America - floating in that.

SEWER RAT (dumbly)

Huh?

Above we hear, as if much nearer now, the shouting of the crowd and a woman's voice.

WOMAN'S VOICE
Nana, stop! You'll kill her!

NANA'S VOICE
Stop? I'm just beginning.

CHICO
(continuing as if determined not to be interrupted)
Why not? That stuff empties into the river - then into the
ocean. Some day - sooner or later – it'll be slapping up
against the side of a liner.
 18

SEWER RAT
(shaking his head admiringly)
Did you think of that all by yourself?

CHICO
That's nothing to the things I can think of when I really
try. I tell you I'm a very remarkable fellow.

Now we hear, as if very close, Diane moaning - and the sound of blows raining on her.

NAN'S VOICE
(broken by the exertion of swinging the whip)
So you think - you're - too good for us.

SEWER RAT
Listen to that, will you!
She must be beating the hide off her.

CHICO
(gets up - puts out his cigarette)
Those girls ought to be beaten oftener. Always lying,
cheating -- getting a man drunk, then robbing him.
(he looks up and shouts)
Go on - let her have it!

Now the moaning is even nearer, presumably just outside the manhole. Chico makes a
gesture of annoyance.

CHICO
Yammer - yammer – yammer!
That's all they know how to do.

NANA'S VOICE
Had enough? Now will you do what I tell you?

There is a silence, then Nana's voice, very ominous.

NANA'S VOICE
All right.

Again we hear the sound of the whip - this time very distinctly. Chico gives a look of
annoyance and disgust at the Sewer Rat, as if his patience were exhausted, then climbs
up the iron ladder leading to the top of the manhole.
 19

SHOOTING UP FROM BELOW CHICO

as he climbs up. The CAMERA is over his shoulder as he lifts up the manhole
cover and looks out, As he does so, we see Nana's arm descending with the
whip. Chico throws back the cover and stretching out his arm catches the whip
by the hilt and yanks it from her. Then he climbs up onto the street. Now we
see Nana towering above CAMERA. She tries to grab the whip:

NANA
Give me that!

MED, SHOT - CHICO, NANA AND DIANE

Nana, in blind rage, throws herself at Chico, trying to claw his face with her
nails. Chico grins.

CHICO
Na -- na! Stop that.

He seizes her by the wrists, holds her in a vice-like grip. Now for the first time
he looks down at Diane, who lies in the gutter trying to shield her head with her
arms. Chico frowns as he sees her.

CHICO
(to Nana - who is now trying to kick him)
I'll show you what I'll do with you.

He raises her wrists high, deftly kicks her feet from under her, then swings her
over to the manhole and lowers her down, holding her suspended by the wrists.
He lets her as far down as he can, then pulls her up a little,

CHICO
Now we can discuss this calmly.

NANA
(terrified)
Don't drop me! Don't drop me!

CHICO
Now, sweet lady, let's have a little reason here. Will
you promise…

NANA
Yes! Yes! I'll promise anything.
 20

Chico lifts her out and drops her on the sidewalk.

She crawls away, then gets to her feet.

CHICO
If I ever catch you abusing this woman again I'll come
after you wherever you are.
I'll cut out your gizzard and fry it!

He walks slowly toward her, Nana retreating from him.

CHICO
Now get out of here!
(he gives a jump at her with his arms in the air)
Yah!

Nana turns and runs away. The Sewer Rat comes climbing up to the manhole. Resting
his elbows on the sidewalk he looks toward Diane, then at Chico.

CHICO
(wiping his face with a big handkerchief)
Now will you tell me what I did that for?
It's no affair of mine.

SEWER RAT
(indicating Diane)
That's the young one from The Hole in the Sock.

CHICO
I'm always doing the thing I don't want to do.

The Sewer Rat climbs up all the way out of the sewer. Chico goes over and replaces the
manhole cover. Meanwhile the few onlookers drift away. Diane still lies motionless
close to the manhole. Across the alley, which is a very narrow one so that Boul is not
more than about six feet away, Boul sits in the seat of his cab, leaning out.

BOUL
(swinging himself down from the seat)
You saved her life, Chico.
 21

CHICO
(with a shrug)
I don't know what for - a creature like that. Better for
everyone if she were dead. What about supper?

Boul opens the back door of the cab, reaches in and pulls out some bundles. The Sewer
Rat eagerly runs across to help him, Chico crosses, takes one of the bundles from Boul,
opens it and takes out a large sausage.

CHICO
Truff1es

SEWER RAT
(opens another package - pulls out a huge hunk
of cheese)
Caviarre de Russe!

BOUL
(pulling out an onion)
Violets!
(then holding up a cheap bottle of wine)
And champagne!

Boul crosses and stands looking down at Diane; the Sewer Rat and Chico sit down on
the sidewalk ahead of the cab, their feet in the gutter. Chico pulls out a long thin clasp
knife, opens it and cuts the sausage and a loaf of bread.

CHICO
(calling to Boul -- gruffly)
Leave her alone - supper's more important.

Chico puts a hunk of bread on the end of his knife and thrusts it toward Boul.

CHICO
Here - fill up your snout with that.

He starts to cut himself a piece of bread, then looks across at Diane, an expression of
distaste on his face, gets up and goes over to her.

CHICO
What's the matter with you?
Stomach feel nervous - like this?
 22

CHICO (Cont.)
(he opens his hand and closes it illustratively -
then turns to Sewer Rat)
Hey! Throw me that violet.

The Sewer Rat throws half of the onion. Chico jabs it on the end of his knife and places
it under the end of Diane's nose. The Sewer Rat laughs. Diane draws away - half opens
her eyes.

CHICO
There - you see! She's cured.
(he starts to go back to the others, then stops)
Come on - you can't lie there. You're going to eat with us.

DIANE
(vaguely)
No …

CHICO
Do you think I'm going to let you lie there like a
drowned rat and spoil our dinner?

SEWER RAT
Oh - forget her.

CHICO
(to Diane)
Come along - get up.

He lifts her to her feet, half carries her across to the cab and props her up against the
front wheel,

CHICO
(handing her some bread)
Here!
(she starts to slump down)
You're not dead - unless you keep thinking you're dead -
then you are dead.
(he sits down beside Boul)
You wouldn't understand that, Boul, but it's true.
I've proved it to myself

SEWER RAT ( to Boul)

All day long he's been thinking of things.
 23

BOUL
Hmm. One of these days you'll blow up from too much
thinking.
CHICO
(taking a swig from the bottle of wine)
That's what makes me a very remarkable fellow.
That's why I'm an atheist.
BOUL
(with a worried look over his shoulder at the
church in back of them)
Now - now - don't start that again,
(he crosses himself)
CHICO
What have you got to be afraid of?
It's me that's the atheist.
BOUL
It isn't as if you had any reason to be an atheist.
What made you one, anyway?

CHICO
Everything! Women like that.
(he jerks his thumb at Diane)
Did God make her on purpose to live in the Hole in the
Sock - to get beaten? Of course there isn't any God.
Just look around you.

BOUL
I can prove there is.

CHICO
How?
BOUL
There must be -- otherwise who made the good things of
life? This wine -- this cheese - this onion -- France and
Frenchmen.
CHICO
Ah -- wait! Did God make me?

BOUL
Certainly.
 24

CHICO
And you?

BOUL (cheerfully)
Of course.

CHICO
(indicating Rat )
And that?

He takes another pull from the bottle of wine as if to emphasize his having made
his point.

BOUL
Well … everybody makes mistakes sometimes.
Chico, why don't you give religion a chance?

CHICO
I have. God couldn't ask for a fairer test than the one I
gave him.

BOUL
What kind of a test?

CHICO
You know my one ambition -- to be a street washer -- to
carry the hose like Gobin, up here among people and
sunshine. I went to the Cathedral itself - and bought the
largest candle they had -- for five francs.

BOUL (awed)
Five francs!

CHICO
And what happened? ·Nothing. So I said perhaps God, if
there is any, meant me for a sewer man. But then I
wanted another thing. Again I lit a candle - for five francs
more.

BOUL
What was that for?

CHICO
I wanted a wife.

The Rat snickers. Chico goes on angrily.

 25

CHICO
No -- not just the kind of a wife that most men put up
with. I wanted a fine, brave, beautiful woman. A
remarkable fellow like me needs a remarkable woman for
a wife -- well, almost as remarkable, anyway.

BOUL
(judiciously)
That's asking God a great deal.

CHICO
Well -- that's what I prayed for – and I prayed till I sweat
- and nothing turned up. The only women I ever see are
things like that.
(points to Diane)

BOUL
That's ten francs.

CHICO
Yes -- God owes me ten francs.
(taking another drink, then raising his voice)
That's why I'm an atheist!

BOUL
(again looking nervously back at the church and
crossing himself)
Chico! Not so loud.

CHICO
Do you think I'm afraid of something that doesn't exist!

BOUL
Just the same I wouldn't take a chance.

CHICO
(emptying the bottle)
You know what I'll do just to show you how afraid I am?
I'll walk right into that church with you and dare God to
strike me dead.
 26

BOUL
Did you say you'd go in with me? Oh -- no, no …

CHICO
I'll go alone, then. You can watch me from the door.

BOUL
(getting up)
No, my friend -- I'm not going to be anywhere near here.

SEWER RAT
Go on, Chico -- I'll watch you,

Chico hesitates, then tightens up his belt, squares his shoulders and starts toward the
steps of the church.

BOUL
(as he backs across to the other side of the street)
Chico! Don't, Chico! Don't!

Chico goes to the entrance of the church,

SHOOTING OVER CHICO'S SHOULDER

into the dim recesses of the church. Chico stops and stands looking in. He turns back
toward the CAMERA, some of the assurance gone from his face.

SHOOTING FROM HIS ANGLE

Boul and the Sewer Rat stand on opposite sides of the alley, watching apprehensively.

CHICO'S VOICE
Come on if you want to hear me.

The Rat looks at Boul, who only shrugs - then slowly starts toward the church.

WIDER ANGLE.

As the Rat goes up the steps and stands beside Chico. Chico takes a step into the
church, Suddenly Boul comes forward.
 27

BOUL
Stop, Chico! Stop! Not now!
(he points out of scene)

Chico and the Rat turn and look in the direction he is pointing. Father Chevillon comes
into the scene. He stops at the foot of the steps of the church and looks curiously from
Chico to the Rat to Boul - as if to say: What goes on here? Chico hesitates, then
feigning an air of nonchalance, casually comes down the steps - the Rat following him.

FATHER CHEVILLON
Are you looking for me?

SEWER RAT &

CHICO (simultaneously)
He was.
No.

CHICO
Nothing to do with you, Citizen Priest. It was something
between me and …
(he can't say the word)

SEWER RAT
(blurting it out)
He was going to ask God to strike him dead with a
thunderbolt. He's an atheist!

FATHER CHEVILLON
An atheist! Really!
(he goes to Chico, seizes him by the hand and
shakes it)
Welcome, my boy! I'm delighted to meet you!

CHICO
(blankly)
Huh?

FATHER CHEVILLON
Ever since they ordained me I've been itching to get my
hands on a thorough-going atheist.
(anxiously)
You are a thorough-going one, aren't you?

CHICO
Certainly I am.
 28

FATHER CHEVILLON
Good! Ordinary everyday sinners –
(he looks at the Rat)
I can get by the hundred - but real atheists are scarce.
(he takes Chico by the arm and starts
to lead him into the church)
Let's go in and discuss this matter.
(as Chico hangs back)
No - you're right. In there it wouldn't be fair.
We should be on neutral ground.

He turns and indicates the sidewalk - starts down the steps. Chico follows reluctantly.
Boul and the Sewer Rat, delighted with the excitement, crowd behind him.

FATHER CHEVILLON
There isn't any God. That's what you believe, isn't it?
All right – we'll start from there. In the first place ••
(he stops as he sees Diane)
Oh ….

BOUL
(pointing with his thumb toward cafe)
One of the girls from over there.

FATHER CHEVILLON
Hmm. Yes - I heard about her.
(he sits down on the curb a little
away from Diane)
That's what I came back for.
(to Diane)
Your sister was beating you, wasn't she?

CHICO
(involuntarily)
Her sister!
(contemptuously)
There's something for your God to explain.
 29

FATHER CHEVILLON
(giving Chico a shrewd glance)
And you must be Chico - who saved her.
(to Diane)
Did you know you'd been saved by an atheist?

Diane looks at him dully, as if she hardly heard him. She puts her hands over her face
and turns away. Father Chevillon nods sympathetically, tactfully turns away and
motions Chico to sit down beside him, The latter does so.

FATHER CHEVILLON
(looking at Diane)
Chico, is protecting people in trouble part of your
atheism?

CHICO
I'm always doing the things I don't want to do.

FATHER CHEVILLON
(quickly)
Like being an atheist?

CHICO
Yes – no!

SEWER RAT
(excitedly)
Look out, Chico, these priests are clever as sin - I'm
sorry, Father, I didn't mean …

FATHER CHEVILLON
(to Sewer Rat)
My son, that's just how clever we have to be.
(to Chico)
Tell me - what's your quarrel with God? Did you ask him
for something you didn't get? Is that why you're an
atheist?

CHICO
(getting up)
I ask for nothing in this world, Citizen.

BOUL
Come now, Chico, you mustn't lie to a priest.
 30

CHICO
It's true! I want nothing.

BOUL
Why you just told us you did!
(to Father Chevillon)
Why he prayed for them, Father. He prayed hard for two
things.

FATHER CHEVILLON
And what were they?

CHICO
(threateningly)
Boul!

BOUL
First of all he wanted the hose.

FATHER CHEVILLON
The what?

BOUL
The hose. He wants to be a street washer.
Father Chevillon claps his hands with delight and gets up.

FATHER CHEVILLON
That's easy! The hose is yours. Take it. You are
appointed street washer.

CHICO
What!

Father Chevillon takes out a religious card from his missal and scribbles on it.

FATHER CHEVILLON
(handing card to Chico)
Take this card to the Commissioner, Chico.
(as Chico dumbly takes it)
You see - God heard your prayer after all.
(he produces a small box from his pocket)
Now just to keep the account straight, I'm going to ask
you to do something for me.
 31

CHICO
(suspiciously)
What account?

FATHER CHEVILLON
The account between you and God - of which I am the
bookkeeper. All I want you to do is keep these two
medals of St. John and St. Agnes.

CHICO
Religious medals!

FATHER CHEVILLON
They will protect you from danger.

CHICO
Wait a minute! You understand I'm still an atheist?

FATHER CHEVILLON
Well, technically, perhaps you still are, But it has
become a very complicated matter. I shall have to take it
up with my superiors.
(he turns as a small urchin runs up to him)
Well, Jacques?

JACQUES
Please, Father, mother asks will you come right away.
Grandma's found the wine jug and --

Father Chevillon puts his hand on the boy's shoulder, says:

FATHER CHEVILLON
All right, Jacques. I'll be along.
The boy goes.

FATHER CHEVILLON
(thoughtfully looking down at Diane)
Now what are we going to do about you, my poor girl?

CHICO
Don't worry -- she'll be back in there
(indicating the cafe)
with the others in a little while.
 32

FATHER CHEVILLON
(as if he hadn't heard Chico)
Obviously -- it would be a sin to leave you in the hands
of an atheist -- even a halfway atheist.

CHICO
I'll have you to know I'm not halfway!

FATHER CHEVILLON
(flicking the card which Chico still holds in his
hand)
Still you must admit, Citizen Street Washer, now you're
under a certain obligation to God.

CHICO
(indignantly)
That1s nothing but trickery.

FATHER CHEVILLON
(nodding his head and looking at Diane)
Yes, my girl, I think I can safely entrust you to the care
of this - former atheist.
(he turns back to Chico)
You see, Chico, God has a sense of humor - and the
joke is on you. Good night.

With that he turns and goes. Chico stares after him, furious.

CHICO
Former atheist!

BOUL
(scratching his head)
Those priests can do the strangest things with words.
You understand what they're saying when they say it.
But when they're through ….
(he makes a gesture of bewilderment)

SEWER RAT
(practically)
What about the card?

Chico looks at it - reads:

 33

CHICO
'My dear Commissioner:
I am asking you the favor you promised me - and …'
(he finishes reading it to himself)
Sounds all right.
(as if comprehending his good fortune for the first
time)
It can happen as simply as that?
(he slaps Boul on the back)
You realize what it means? I am a street washer!
I have risen!

BOUL
Doesn't that show you what God can do?
It's another miracle!

CHICO (angrily)
Don't you start talking like that priest. If anything good
happens it's a miracle. If anything bad happens we don't
mention it.
(rubs his head)
Still - it is strange that a moment ago I was nothing - now
I am a man of position.
(he opens the box containing the medals and then
exclaims)
Look!

BOUL
What?

CHICO
Real silver!

Boul and the Rat crowd up close to him to examine the medals. Suddenly Chico makes
another exclamation.
CHICO
Ah!

BOUL
What is it now?

CHICO
The price mark! Look!

BOUL
Ten francs! That's what you paid for the candles!
 34

The church bell rings once. They look at each other fearfully. The Rat and Boul cross
themselves. Chico, suddenly getting hold of himself, snaps the box shut.

CHICO
(indicating the church)
Think I'm scared by tricks like that? The whole thing's a
coincidence. Come on - we'll go and celebrate - get some
sense into our heads.

SEWER RAT
Drink - that's it!
They start off.

BOUL
(indicating Diane)
Wait! We can't leave her. Father Chevillon said…

CHICO
(indignantly)
That for what Father Chevillon said. Of course we can
leave her.

They go on. The CAMERA remains on them until they are half way across the square,
then SWINGS back to Diane. For a moment she remains motionless, her face
completely without expression. Then her eyes fall on Chico's knife lying a few feet
from her. Slowly she starts to reach for it.

OUTSIDE THE HOLE IN THE SOCK - NIGHT

As Chico, Boul and the Rat come up to the door, Boul and the Rat are ahead. Chico has
slowed down.

BOUL
(to Chico)
Come on! What's the matter?

CHICO
That priest made me so angry I could - letting that
woman think I'd take care of her. Where'd he get that
idea?

SEWER RAT
Oh - forget her. Come on.

Boul takes Chico by the arm and starts to drag him into the cafe. He resists a little.
 35

CLOSE SHOT - DIANE

She has picked up the knife and is staring at it. Very slowly she raises it to her breast.
Suddenly there is a shout and into the scene comes Chico. He seizes her wrist and
makes her drop the knife.

CHICO
Hey! What's this?

DIANE
No – No! Don't stop me!

Chico tears the knife out of her hand.

CHICO
Let go!

He straightens up, breathing heavily, and stares down at her. She sinks down, her head
against the tire of the car.

CHICO
(incredulously)
You really meant to do it!

Diane suddenly jumps to her feet and snatches at the knife.

DIANE
Give it back to me!

CHICO
(snapping the knife shut)
I like that! With my knife! What do you take my knife for?
He pockets it.

DIANE
(savagely)
You can't stop me! I'll go to the Seine!

CHICO
(suddenly very angry)
Very well then - go to the Seine! Jump in the river!
Drown yourself! Lie in the morgue with a rope around
your head! See if I care! Women like you sicken me!
He starts to go back toward the wine shop, then looks
back.
 36

CHICO
(very puzzled)
You know -- I'm still shaking all over.

Diane starts to walk away.

CHICO
(going after her)
Where are you going?

DIANE
(savagely)
Oh -- leave me alone!

CHICO
(blazing with anger again)
Snake of snakes -- I'm not keeping you! Up there's the
boulevard to the river -- it's broad enough. None of my
affair what you do. Go on!

Once more he starts to stalk toward the wine shop. The CAMERA remains on Diane.
For a moment she stares after him, then slowly turns and walks down the alley in the
opposite direction.

CUT TO:

CHICO

as he continues toward "The Hole in the Sock," CAMERA moving in front of him. In
the b.g. we can see Diane disappearing around a corner. Chico takes a few steps, then
once more stops and turns back. He sees that Diane has gone. He stands a moment
with his back to the CAMERA, hesitating, scratches his head.

CUT TO:

WIDER ANGLE

as Chico starts looking for Diane. We follow him to the alley down which Diane has
disappeared. There is another alley down which she might have gone. Chico,
hastening his pace, hurries down it.

CUT TO:
 37

EXT. ALLEY

Diane walking dazedly along. Out of scene we hear feet running, then Chico comes
into the scene. He stops abruptly, covers up his excitement and falls in beside her.

CUT TO:

TRUCKING SHOT AHEAD OF DIANE AND CHICO

as they slowly walk along. This shot will be so tricked as to carry them in a circle,
bringing them back to the entrance to "The Hole in the Sock."

CHICO
Why did you want to take your life?

DIANE
I've had enough of it.

CHICO
You don't like it back there in that place?

Diane doesn't answer.

CHICO
That woman is really your sister?

DIANE
Yes.

CHICO
Why don't you run away from her?

DIANE
I'm afraid to.

CHICO
But you have courage - enough to cut yourself to death.
I couldn't do it.

DIANE
Where would I run away to?

CHICO
Any place would be better than in there. There must be
things you could do. You could get a job - you could
find some young man who..
 38

Chico stops, realizing the stupidity of what he is about to say.

DIANE (bitterly)
Who'd marry me? (pause)
A girl brought up the way I've been can't be anything
but bad.

CHICO
What makes you think that?

DIANE
My sister always told me that. She's right.

CHICO
But you don't like it in there?

DIANE
No!

CHICO
Well - if you don't like it you're not bad.

DIANE
(after a pause)
Why?

CHICO
I don't know why - but I know. You see - when you say
you don't like it - it makes all the difference. I'm a sewer
man - as near .nothing a man can be - but I am not
nothing. You know, I'm a very remarkable fellow.
All my life in the sewer has never made me feel low.
Sometimes I feel like a king - for no reason at all.
(pause)
What's your name?

DIANE
Diane.

CHICO
My name is Chico. It's more like a noise than a name.
You see - I never had a real name because I never had a
father. Ha! Ha!
 39

DIANE
There's no one you're afraid of?

CHICO
No one. And you mustn't be afraid of your sister. She's a
coward like all snakes. One day you stand up and fight
her - then you can be anything you want to be.

DIANE
Anything?

CHICO
A fine, brave, good girl.

He stops, looks at her and suddenly puts his hands to his head as if in misery.

CHICO
Oh! There I go again!

DIANE
(alarmed)
What's the matter?

CHICO
I'm getting sorry for you - that's what's the matter.
(he turns back to her)
I'm doing the things I don't want to do – but I can't help
it. I cannot let you feel misery like this.

DIANE
Please don't say things to me you don't mean.

CHICO
But I do mean them -- that's the worst of it. They just
come out of me -- I can't stop them. You are a good girl
-- I tell you.

He stops as he sees an expression of alarm come over her face. He looks in the
direction in which she is looking -- toward "The Hole in the Sock."

ANOTHER ANGLE

to show that they are again near the entrance of "The Hole in the Sock." We are
SHOOTING over their
 40

shoulders now. A Parisian equivalent of a "Black Maria" is drawn up by the curb in

front of "The Hole in the Sock." Four or five gendarmes , including a sergeant, are
escorting five or six women out of the café. It is all being done with a great deal of
rough joviality -- the women giggling and treating it as an accustomed experience. The
last of the women is Nana -- sullen, defiant.

CUT TO:

DIANE AND CHICO

They are both watching. Suddenly Diane turns and starts to run away. Chico puts out a
hand and stops her.

CHICO
Don't run away.

She stops and looks fearfully back at the cafe.

EXT. 11THE HOLE IN THE S0CK11 - CLOSER SHOT

centering on Nana and the sergeant , who is helping her into the police wagon.

NANA
(pointing in the direction of Diane and Chico)
There's the girl the man made the complaint about,
Why don't you take her?

The sergeant looks in the direction in which she has pointed, then shrugs. He puts Nana
into the police wagon and starts slowly over toward Diane and Chico.

DIANE AND CHICO

as they wait for the policeman to come up.

CHICO
(softly - to Diane)
You're not to be afraid - do you understand?

The sergeant comes into the scene and slowly looks Diane and Chico over.
 41

SERGEANT
(to Diane - with a jerk of his head)
You belong in there?

CHICO (quickly)
No.

SERGEANT (to Chico)

I didn't ask you.
(to Diane)
What's your occupation?

DIANE
Seamstress.

SERGEANT
Where do you work?

DIANE
I - I - I have no work.

SERGEANT
Come along.

CHICO
Wait! You can't arrest her!

SERGEANT (drily)
Why not?

CHICO
Because she's an honest woman.

The sergeant laughs shortly, derisively.

SERGEANT
Perhaps she can convince the Magistrate of that,
Come on.

CHICO
Wait a minute!

SERGEANT (coldly to Chico)

I'm beginning to get annoyed with you.

CHICO
I tell you you can't take her to jail.
 42

SERGEANT
(indicating cafe)
She's one of the girls from in there, isn't she?
We're taking the lot of them.

CHICO
(desperately)
You better be careful what you say about her!

SERGEANT
Oh?

CHICO
Yes - you better be careful - because - because she's my
wife.

The sergeant pauses.

SERGEANT
(suspiciously)
Funny you didn't say that in the first place.

He looks suspiciously at them both; then takes out his notebook and pencil.

SERGEANT
(to Diane - suddenly)
Where do you live?

DIANE
Why….

CHICO
Forty-eight Rue Nortre Dame de Lorette.

The sergeant stares hard at Chico. Chico's eyes do not waver. The sergeant writes down
the address - then says:

SERGEANT
(ominously)
You better be telling the truth, We won't forget to
come to your house and see if you are.

He closes his book, turns away and walks out of the scene.
 43

SHOOTING OVER DIANE AND CHICO'S SHOULDERS - LONG SHOT

They both watch the police wagon - which has already started across the square. It
slows down to allow the sergeant to jump on the back, and then disappears around the
corner. There is a moment's pause, then Chico slowly turns to Diane with
consternation on his face.

CHICO
Now why did I do that?

He walks away - she stares after him helplessly.

CHICO
What have I done! Why did I say that!

DIANE
(as she goes after him)
Don't worry -- I'll go away.

CHICO
But you can't! They'll look it up in their books. They
. won't find any record -- then they'll come to my address
and find I have no wife.
(he sits down miserably on the curb)
Ohh! This will be the end of me. They'll take the hose
away from me. The Hose! Oh -what have I done!
(he looks at her despairingly)
I wanted a remarkable woman for a wife --
and I've got you.

There is a pause.

DIANE
Perhaps you'll let me stay with you until the police do
come -- to prove to them you had a wife. It won't be
more than a day or so at the most -- then you could send
me away.

CHICO
Still our marriage wouldn't be on the records.
 44

DIANE
You can say we were married -- in Italy -- or Belgium.

CHICO
(he gets up)
That's an idea -- that!
(he looks at her with admiration)
You have a great head!

DIANE
You have a great heart.

Suddenly she takes his hand and tries to kiss it. Indignantly Chico draws it away.

CHICO
What are you doing there!

As he wipes his hands on his trousers, Boul comes into the scene. He is a little tipsy.

BOUL
Fine celebration that was.
We barely sit down at a table -- and pouff! -- they come
and take the girls away.

CHICO
Boul, wind up Eloise.

BOUL
What?

CHICO
Wind up your sewing machine.

BOUL
(standing in front of the cab)
Huh?

CHICO
Start her up, son of night. Make her go!

BOUL
Go! Optimist.

He cranks the machine. It starts with a roar.

 45

BOUL
(crossing himself)
A miracle! Chico, what do you mean?

CHICO
You are to drive me home -- me and my bride.

BOUL
Bride!

CHICO
(suddenly calming down - he turns Diane around)
Now remember - you mustn't take this seriously –
understand? I'm just doing this because I have to.

DIANE
(nods)
I know.

CHICO
You're not going to take advantage of me?

DIANE
No ... Oh, no.

CHICO
(with relief)
Good!
(to Boul – taking Diane by the hand)
Allow me the honor of presenting Madame Chico --
my good wife.

BOUL
(getting into taxi and yelling)
Hurry up -- before she stops!

Chico helps Diane into the cab

 46

CLOSE SHOT - DIANE AND CHICO IN THE CAB

CHICO
Now make the grand wedding tour! First the Champs
Elysee and the Place de la Concorde - then the Arc de
Triomphe - then home to forty-eight Rue Nortre Dame
de Lorette. Hang the expense! For the night I am the
Bank of France!

With a tremendous clatter, the cab backs out of the alley and then goes careening out of
the square. As it does so –

FADE OUT
 47

FADE IN

EXT. STREET OUTSIDE CHICO'S - NIGHT

This is Montmarte - a street similar in appearance to those in the Sock. It is very dimly
lighted. We SHOOT from across the street, obliquely toward the entrance to Chico's
building. From out of scene we hear Eloise clanking -- then, piloted by Boul, she ap-
pears. She progresses in a series of jerks – as a car in high gear without sufficient gas.
When she comes up to the door she gives one last heave and, the engine stalling, comes
to a stop. In the back seat we see Chico and Diane. There is a very brief pause. Boul, at
the wheel, does not move, but sits staring straight ahead.

CHICO
Boul, what's the matter with you?

He jumps out. As he does so –

CUT TO:

CLOSER SHOT OF CAB - REVERSE ANGLE

We see now that Boul is fast asleep.

CHICO
(shaking him)
Boul! Wake up! Boul!

Boul awakes with a start. Instinctively he grips the steering wheel and tries to turn it, as
if he were still driving. Then, his mind clearing, he looks around, sees where he is and
relaxes.

CHICO
How long have you been asleep?

BOUL
I remember the Arc de Triomphe.
(he shakes his head)
That was one too many bottles of wine for me.

CHICO
(turning to Diane - with a gesture)
Come on -- we are here.

Slowly Diane starts to get out. Chico turns back to Boul.

 48

CHICO
(to Boul)
We might have been killed!

BOUL
With Eloise and
(he taps the large medallion of St. Christopher
on the dashboard)
St. Christopher looking after us? Never a chance.
(he notices that Diane is getting out of the cab
with no assistance from Chico)
Is that a way to help your bride out -- standing there like
a lump?

CHICO
(blankly)
Huh?

Then, realizing what is expected of him, he awkwardly gives her his hand and helps
her out. Boul, also getting out to go around to the front of the car to crank it, laughs
mockingly.

BOUL
Time your education began, my son. And what a lot
you've got to learn. Hal

He cranks Eloise, and for once the motor starts. Chico stares at him with a worried
expression as Boul walks back and climbs into his seat.

BOUL
(to Diane and Chico)
Good night, my doves!

And he drives off.

CHICO
(slowly turning to Diane - indignantly)
What made him say that? What have I got to learn about?

Diane, who has been looking into the dark entrance to Chico's home, turns to Chico.
 49

DIANE
(after hesitating - with a shy attempt at a smile)
When you get married, people always say things like
that to you.

CHICO
(shortly)
People are fools.

The smile fades from Diane's face as Chico looks at her angrily. For a moment they
stand there, then Chico makes a gesture for her to follow him. As they go in –

CUT TO:

HALLWAY TO SEVENTH HEAVEN - NIGHT

The CAMERA is set up for the beginning of the continuous SHOT which will take
Diane and Chico all the way up to the top floor. There are three ways to get this SHOT.
First, as in the silent picture - to which there is the objection that it is necessary to
SHOOT past cross sections of the landings, making us too conscious of the CAMERA.
Second, you can build an external stairway in one corner of a large court. This is all
right, except that a light change is not possible and we would lose the effect of
suddenly looking out over the roof tops from the window of Chico's room. Third, you
can construct an interior stairway around the walls of a rectangular well and have the
CAMERA on an elevator in the center of the well. The objection here is that the
continued rotation of the CAMERA might give us a dizzy effect - this, however, is
offset by having the well rectangular so that the distance between the CAMERA and
Chico and Diane varies according to whether they are going along the long or the short
ends of the rectangle. In any case, the dialogue and the action will have to be timed to
fit the physical distances to be covered. So, for the present, I am merely assuming that
the CAMERA can follow our principals and that there are six flights to ascend.

Chico comes into the scene a little ahead of Diane.

CHICO
(as he starts up the steps)
Anyway, what's there about marriage any sensible man
wouldn't understand?
 50

He goes up the first flight of stairs two at a time, then stops at the first landing to wait
for Diane, who hurries to catch up to him. She is a little out of breath and has to lean
against the railing.

CHICO
Does that much tire you?
(he points up)
You've got a long way to go.

Diane smiles bravely and continues on. Once more Chico starts to run up - the second
flight now - then stops again to wait for Diane.

CHICO
This will be the first time I've walked up these stairs. I
always run -- all the way to the top.
(he looks at her sharply)
I hate people who dawdle about stairs and things –
Don't you?

DIANE
Yes -- only tonight I'm afraid I am tired.

CHICO
I suppose so. You've been pushed around a lot.
(suddenly - after a pause)
Do you want me to carry you?

DIANE
No -- I'm all right.

They are at the third landing - counting from the ground floor. A door to one of the
apartments opens and two men come out - with hats on, as if they were going out. They
are fairly young fellows.

TWO YOUNG MEN

Good evening, Chico.

CHICO
Good evening, comrades.

FIRST YOUNG MAN

(stopping - with an elaborate bow - to Diane)
Good evening, Mademoiselle.
 51

DIANE
(not raising her eyes or stopping)
Good evening, M'sieurs.

SECOND YOUNG MAN

(with a wink)
We won't be seeing you tonight at the cafe, eh, Chico?

CHICO
(as he continues up the steps, taking Diane by the arm,
hurrying a little)
I don't know why not.

The two young men nudge each other. The CAMERA, FOLLOWING Diane and
Chico as they go up the stairs, passes beyond the two men, but we hear them laughing.

FIRST YOUNG MAN'S VOICE

He doesn't know why not.

They laugh again. Chico looks at Diane aghast.

CHICO
Do you know what might have happened? I might have
been carrying you. That would have made a fine picture!
(he takes her by the arm – as if to hurry her
along)
Isn't there any end to my madness tonight?

They come now to the fourth landing. We notice now that the light is getting dimmer
since the only illumination comes from the lights at the bottom of the well. As they
start up the next flight, partly because of the darkness and partly because of her weari-
ness, Diane stumbles - she would fall, but Chico catches her.

CHICO
(as he bends down as if to pick her up -
resignedly)
Well, if you can't walk - I must carry you then.
 52

DIANE
(pulling away from him)
No -- no. I'm all right. I only stumbled. See.

She goes ahead of him, almost managing to run up the steps. Chico, with almost an
expression of admiration, watches her go on ahead, then runs after her.

CHICO
There is something about you, you know, that gives me a little
hope for you.

They come to the fifth landing. At one of the doors on the landing, an old woman is
bent over, her eye glued to the keyhole. From beyond the door we hear a man's
voice.

MAN'S VOICE
(in a frightened scream)
Once and for all -- who is the master of this house?

The old woman is standing so that she blocks the passageway. Chico, giving her a look
of contempt, slaps her derriere with the flat of his hand. The old woman, Mme. Frisson,
straightens up. She is not at all abashed at being caught peeking. Instead she turns
excitedly to Chico.

MME. FRISSON
(with a gesture toward the door)
M. Dechamps is being brave tonight.

CHICO ·
(not stopping)
Some day you'll meet with an accident, Mme. Frisson. A
hat pin through a keyhole -- for example.

From beyond the door we hear –

A WOMAN'S VOICE
(very fierce and angry)
You? The master?!?

There is the sound of something being thrown.

 53

MAN1S VOICE
No -- no. Marie, I did not mean anything --

There is the sound of running feet. Mme. Frisson cackles with evil delight. Then, for the
first time she becomes aware of Diane, who is now going up the stairs after Chico.

MME. FRISSON
Mm! Chico! What have we got here?

CHICO
I'll thank you to mind your own business, old buzzard1

The CAMERA passes beyond Mme. Frisson, but we hear -

MME. FRISSON'S VOICE

Wait till the house hears of this -- the women will die of
envy!

CHICO
(very angry and embarrassed)
Don't listen to that evil one. At night she rides on a
broomstick.

From farther off we hear Madame Frisson calling, her voice dying away.

MME. FRISSON
Mme. de Bon Leurr – listen! Chico has brought home a
chicken for his roost.

Chico and Diane have come to the sixth landing. Above them is only the short open
stairway leading to his attic. It is very dark now. Diane looks fearfully up, hesitates.
Chico takes her hand, helps her up the stairs.

MME. FRISSON'S VOICE

(still farther away)
What kind of a chicken do you think? A plump and
tender one!

CHICO
Mind that broken step.

He goes ahead of her and opens the door. Light streams down.

CUT TO:
 54

FROM HER ANGLE - LOOKING UP

He stands with the light behind him, holding out his hand to her.

INT. CHICO'S ROOM - NIGHT

A LONG SHOT taking in the entrance from below and the window through which
comes the moonlight and the reflected lights of the city. There is very little furniture
in the room: a bed in an alcove, a few chairs, a chest of drawers, a table with a gas
plate on it and some cooking utensils.

As Chico closes the door after Diane she looks around the room wonderingly.

CHICO
(pointing to the window)
First -- you must come here.

They go over to the window and look out.

SHOOTING OVER THEIR SHOULDERS

A FULL SHOT of the view. In the f.g. a plank on the window sill leads across a
narrow open space to the adjoining building. To the right there is an attic, similar to
Chico's. It is Gobin's home, but now the windows are dark. To the right, in the same
building, there is another dwelling - a single roomed affair reached by a short flight of
outside stairs. Here lives Aristide. There is a light in the window. Beyond all this there
is a panorama of jumbled rooftops - and finally in the extreme b.g. we see the dome of
St. Coeur.

Diane looks out for a moment, then sits on the window ledge.

DIANE
(softly)
This could be Heaven.

CHICO
If you work in the sewer all day, at night you want to be
as close to the stars as you can,

He indicates the plank.

 55

CHICO
That's my back door.

Diane looks fearfully down at the alleyway below.

FROM HER ANGLE

A SHOT accentuating the height.

BACK TO DIANE AND CHICO

Chico puts one foot on the plank.

CHICO
Come on – I'll show you.

He starts out onto the plank. Diane gets up but can only stand looking at him fearfully.

CHICO
(in the middle of the plank )
What's the matter? You're not going to be afraid again?

Diane puts one foot on the plank, looks down.

CHICO
No, no! You must look up -- not down.

Diane steps back, shaking her head. Chico comes back and stands looking at her
disapprovingly.

CHICO
You should have stepped out before you thought. Now
there is one more thing in this world you are in fear of.

He steps off the edge of the plank, dislodging it as he does so. Aghast, he looks down
into the alleyway.

FROM THEIR ANGLE

The plank plunges to the bottom of the alleyway, where it strikes with a resounding
crash. A pedestrian barely jumps aside in time. Heads, shouting protest, are stuck out of
windows.
 56

BACK TO CHICO AND DIANE

He looks sheepishly ashamed at Diane, like a little boy who has pulled over the cookie
jar. From below the shouting is heard. Chico starts to sneak away from the window, then
suddenly he stops, pulling himself together,

CHICO
Now I'll show what I do when a thing like that happens.

He goes along the ledge below the window until he is out of sight. Then almost
immediately he returns, dragging another plank. He puts it down where the other one
was and walks out onto it.

CLOSE SHOT OF CHICO

He steps out onto the board and turns back to face Diane.

CHICO
That's the way one learns not to be afraid,
(as if he saw something in Diane's expression)
Now what's the matter!?!

DIANE AND CHICO

She has drawn back and is looking at a cat, a dark one, which sits at the other end of
the window ledge, staring fixedly at Diane.

CHICO
(with a laugh)
Oh -- Grisette.
(he points to Aristide's house)
One of Aristide's cats. Are you frightened of cats even?

DIANE
No -- but he came so suddenly.

CHICO
She does that. Whoo!

He jumps into the air as Grisette streaks across the plank between his feet.
 57

CHICO
(looking after the cat)
She wanted to see what was going on -- so she can tell
Aristide – Look!

He points.

FROM THEIR ANGLE

LONG SHOT of Aristide's room, The door at the head of the stairs opens. We can just
make out Grisette as she slips through,

BACK TO DIANE AND CHICO

He comes back off the plank and sits on the window ledge,

CHICO
I should go and see Aristide, He told me last night
today would bring me good luck.

DIANE
Is he a fortune teller?

CHICO
An astrologer -- a philosopher - a book peddler, And he
knows how to talk to cats.

DIANE
(with a smile of disbelief)
Oh…

CHICO
I don't know how else he learns so much of what is
going on around him, unless his cats come and tell him.
(he leans closer - lowers his voice a little)
To tell you the truth -- if I believed in such nonsense I'd
say he was a sorcerer.
 58

DIANE
Does he bewitch people?

CHICO
He could if he wanted to take the trouble. At least that's
what he says.

Diane pulls her shawl around her shoulders with an uneasy gesture.

CHICO
Still -- he goes hungry like the rest of us if he doesn't
sell enough books -- so his magic doesn't seem much
use to him.
(he points to Gobin's house)
That's where Gobin lives. He's the street washer I told
you about.

DIANE
The one that won't speak to you?

CHICO
He will tomorrow -- when he finds out about my
appointment.

DIANE
(with sudden anger)
A snob like that -- I wouldn't speak to him!

CHICO
(surprised)
Well! Don't tell me you've got some spirit after all.

DIANE
Anyone that wouldn't speak to you! I'd like to scratch
his eyes out.

CHICO
(getting up - annoyed)
Look here -- this is a matter strictly between me and
M. Gobin.

DIANE
(chastened)
. I'm sorry.
 59

CHICO
What does it matter to you who speaks to me? Do you
think I brought you here to feel sorry for me?

DIANE
(frightened - getting up - backing away)
No – no, I don't feel sorry for you.
CHICO
(looking at her gloomily)
I shouldn't have taken you on that taxi ride. That's what
gave you ideas. Now you're imagining it was a real wed-
ding trip.

DIANE
No, I'm not.
CHICO
You ought to have understood it was a joke -- just a way
of amusing myself. Haven't you learned anything at all
about men?

She looks at him, stricken, then she turns and walks away from the window.

DIANE ·
(dully)
Yes -- I've learned about them.

She walks toward the bed. Chico, suddenly remorseful at what he has said, follows
behind her. He puts out his hands as if to stop her, then lowers them.
CHICO
Diane….

She turns - she is by the bed now - and looks at him without expression. She takes a
deep breath and stands with her hands at her side as if she expected him to take her in
his arms. He stares at her, starts to speak, then embarrassment overcomes him again.

CHICO
(gruffly)
There's the bed.
 60

He hesitates a moment, then turns away and goes over to the wash stand. He picks up
the water pitcher, goes to the door and out. The CAMERA comes back to Diane, who
stares after him. She sits down on the bed, then slowly begins to take off her stockings
and dress. Then hearing Chico returning, she slips under the bed covers. She lies quite
still, her eyes closed.

CHICO AT THE DOOR

He comes in, closes the door and puts down the pitcher of water. Ho pulls off his outer
jumper.

CUT TO:

CLOSE SHOT - DIANE

Through half opened eyes she watches him covertly.

CHICO BY THE WASH STAND

He has his shirt off and now he kicks off his shoes. He starts toward the bed, CAMERA
FOLLOWING HIM. He stands by the bed looking down at Diane for a long moment.
She remains completely motionless, her eyes closed. Chico reaches for the top
comforter, suddenly pulls it off, picks up the second pillow, and walks toward the
window. The CAMERA remains on Diane. She cautiously opens her eyes and looks
after Chico.

SHOT FROM DIANE'S ANGLE

as Chico, trailing the comforter, steps over the window ledge and onto the plank.

CLOSE SHOT - DIANE

She has raised herself on her elbow. There is a tender expression on her face as she
looks toward the window. Then she sinks back on her pillow and lies very still, looking
at the ceiling, faintly smiling.
 61

EXT. CHICO'S HOUSE - NIGHT

SHOOTING toward Aristide's house. Chico walks up the steps to the door.

DISSOLVE TO:

INT. ARISTIDE'S ROOM - NIGHT

This is a small dark room filled with a weird assortment of junk. There are books
everywhere -- musty, ancient leather bound books -- on the floor, on tables, on the
window sills, everywhere. There are also various medieval types of astrological
instruments, and on the walls complicated astrological charts. Everything, in fact,
suggests the den of an astrologer of the Dark Ages who has somehow survived here in
this room for centuries.

So much for the inanimate furnishings. There are also the cats. There seem to be a
score of them of all sizes and shapes -- walking about, coming in or going out of the
one very small window that is open.

In the center by a table, on which stands the oil lamp, which is the sole illumination,
sits Aristide Jaune. He is a gnarled, wrinkled old man with glittering cat-like eyes.
Before him on a sort of easel is a large astrological chart, on which he is working. In
his lap lies Grisette, the cat we recently saw in Chico's room. Aristide strokes her back
as he works.

Aristide barely looks up as Chico enters -- he evinces no surprise because of the

comforter and pillow.

ARISTIDE
Good evening, Chico.

CHICO
Hello, Aristide.
(as he clears away some books to make a place
for himself to lie down)
Can I sleep here tonight?

ARISTIDE
Already she's driven you out of your home. Isn't that
warning enough for you?

CHICO
Oh.
(he looks at Grisette - half scornfully)
I suppose Grisette told you about the girl?
 62

ARISTIDE
(he smiles knowingly -- strokes Grisette)
Mmm…

CHICO
(as he pushes away another of the cats
that tries to settle down on the pillow he has
thrown on the floor)
There may be some truth in your stars -- but your cats I
cannot stomach.
(he arranges the comforter about himself)
Humph…
(as he settles down)
What's my horoscope say tonight?

ARISTIDE
(as he looks up from the chart toward Chico)
What good does it do to tell you when you won't listen?
The stars say you can be anything in the world you want
-- but only if you walk alone. Haw often do I have to tell
you that?
CHICO
(beginning to get drowsy)
Oh -- don't worry about that girl.
(closing his eyes)
She'll be gone tomorrow or the next day.
(he yawns)
Read me from one of your books. Something to dream
about - like the one-eyed people in the mountains of the
moon… remember?

ARISTIDE

I'll read you something better than that.

He picks up a book from a pile on the floor.

CHICO
(almost asleep)
Hmm?
 63

ARISTIDE
It's about great men who have been destroyed by evil
women. It begins with Adam…

As the speech begins, the CAMERA PANS over to a CLOSE SHOT of Chico. He is
fast asleep, breathing heavily. There is a smile on his face.

DISSOLVE TO:

INT. CHICO'S ROOM - NIGHT

A CLOSE SHOT of Diane, asleep. Her lips move -- she might be saying 'Chico', but we
hear only a faint murmur.
 64

FADE IN

INT. CHICO'S ROOM - DAY

Early morning light. A CLOSE SHOT of Diane by the gas plate. She has prepared
breakfast – a loaf of bread, fruit, coffee steaming in a pot. She looks at the coffee, then
looks around for something else to do. Then out of scene she hears something -- and
goes to the window.··

EXT. - FROM HER ANGLE - SHOOTING TOWARD GOBIN'S FLAT - DAY

Gobin and Chico are standing by the door, Gobin is reading the card which Chico has
given him, while Chico, smiling proudly, watches him.

CLOSE SHOT DIANE

as she stands listening.

GOBIN AND CHICO

Gobin looks slowly up from the card. He nods to himself. Then, with great formality,
he bows.

GOBIN
Comrade Streetwasher! My congratulations!

CHICO
(returning the bow)
Thank you, comrade!

They both bow again, There is a moment's somewhat embarrassed pause during which
they both smile very effusively, but rather inanely, at one another.

GOBIN
Well, colleague. It seems we are neighbors, too. We
must see something of each other.

CHICO
By all means.

There is another pause. Gobin turns back into the house.

 65

GOBIN
(calling)
Marie! Come here.
(to Chico)
I want you to know my wife.

CHICO
I shall be honored.

From Gobin's flat comes Marie, his wife -- a buxom pleasant-faced woman.

GOBIN
Marie, I want to present to you our neighbor, Citizen
Streetwasher Chico.

CHICO
(bowing very deeply)
Madame Gobin!

MARIE
M'sieu Chico.

They recover from their bows and stand grinning amiably but pointlessly at each other.
Marie's eyes stray toward Chico's window.

F'ROM THEIR ANGLE -- DIANE.

She draws back a little so that she will not be observed,

BACK TO MARIE, GOBIN AND CHICO

MARIE
(suddenly)
We must see something of each other -- you and
Madame Chico.

GOBIN
(alarmed)
Marie!

MARIE
Hmm? Oh -- a thousand pardons.
 66

GOBIN
(very much the man of the world)
Marie! M'sieu Chico is young - life still holds its
excitements for him.

MARIE (sharply)
Maximilien -- are you trying to tell me that he is not
married?

GOBIN
(very much in hot water)
Oh, my love -- you mistake me.
It is merely that – that I --

MARIE
(to Gobin)
So there is no excitement left for you? And what about
me?

Chico, all aghast at what seems to be an imminent knock-down and drag-out family
battle, steps into the breach.

CHICO
Wait! Wait! M'sieu Gobin misunderstands. Here on the
rooftops we are all respectable citizens. Naturally there
is a Madame Chico.

GOBIN
(warningly)
My boy…..!

CHICO
(not heeding him)
And of course you shall meet her.
(he turns toward his window)
Diane!

CLOSE SHOT - DIANE IN WINDOW

Hesitantly she steps to the window.

CHICO - MARIE - GOBIN

CHICO
(to Diane)
Diane -- come and let me present you to our neighbors.
 67

DIANE IN WINDOW

She smiles -- then looks at the fearsome plank. Instinctively she draws back.

DIANE - GOBIN - MARIE

Gobin and Marie smile encouragingly at Diane. Chico looks a little embarrassed.

CHICO
(apologetically)
Madame Chico suffers from dizzy spells. She is afraid
that she may fall.
(he laughs)
Imagine that!

MARIE & GOBIN

How do you do, Madame Chico.

DIANE IN WINDOW

DIANE
(faintly)
How do you do.

CHICO - GOBIN - MARIE

MARIE
(to Chico)
You should put a kind of railing on that.

She turns toward Diane.

FULL SHOT TO COVER THEM ALL

MARIE
(to Diane)
I was saying Chico should put up a railing -- then you
can come and visit us.

DIANE
Oh -- thank you.
 68

CLOSER ANGLE - MARIE, CHICO AND GOBIN

There is a pause filled with genial smiles.

GOBIN
Well, Chico -- we should be on our way to work, eh? Will
you allow me to accompany you to the Commissioner of
Sanitation's office?

CHICO
That would be a pleasure.

They all bow again.

MARIE
You will arrange about the railing?

CHICO
Oh, of course!!
(he bows )
Madame Gobin!
(to Gobin)
I will meet you downstairs.

GOBIN
In five minutes, comrade.

He bows , and he and Marie go back into their flat. Chico starts to go, then stops as out of
scene he sees:

CLOSE SHOT - ARISTIDE

He is standing on the steps leading to his room.

WIDER ANGLE

as Aristide comes down to meet Chico. Several of his cats follow his footsteps -- at least
they are around. He carries, slung over his shoulder, a very large sack containing books.

ARISTIDE
So -- that is the girl who stays only for a few days --
Madame Chico.
 69

CHICO
Oh -- that was a matter of necessity. Monsieur and
Madame Gobin are very respectable people -- I
didn't want to offend them. If they thought
that girl was -- well -- just a girl I'd --

ARISTIDE
Chico -- who boasted that he marched alone -- is
now worried about respectability. Hmmph!

CHICO
But it is only for a few days. When the police come
she will go away.

ARISTIDE
(drily)
Yes -- you told me that. But what makes you so
sure she will?

CHICO
She -- she promised.

Aristide gives Chico a searching look, filled with contempt. Then abruptly he
turns and goes toward the door which leads to the hall below. Chico looks after
him, considerably disturbed, then starts toward his own room.

INT. CHICO'S ROOM

As Chico comes in through the window. Diane has gone to the gas plate and is
pouring out his coffee.

CHICO
(after a moment's embarrassed pause)
Well -- good morning.

DIANE
Good morning.

He goes over to the chair near where he left his shoes the night before and sits
down. Diane hurries after him with a cup of coffee and a plate of rolls. She
places the rolls on a table near him and hands him the coffee. He looks at it
suspiciously, sniffs it and then takes a sip. A pleased look comes over his face.
He starts to take another sip, then realizes that Diane is smiling because he
likes the coffee. He frowns.
 70

CHICO
You needn't think I'm the kind of man who is
impressed by a woman's being a good cook.

He gulps down the rest of the coffee, picks up a roll, at the same time scuffing
into his shoes.

CHICO
I wouldn't have called to you if I'd known you'd act
that way.

She goes to the closet and gets his coat. As she carefully brushes it off.

DIANE
Oh… I know -- I just couldn't make myself -- it did
make me dizzy -- just to look at that plank.

CHICO
All right. Make up your mind you're going to be
afraid –
(he takes a bite from the roll)
and you'll stay that way.
(he looks up as he realizes she is standing
behind him with his coat. With his mouth
full he says:)
What? Oh.
(he gets up and lets her help him into his
coat)
Do you realize what I did - saying you were
Madame Chico?

DIANE
Why did you?

CHICO
Because I'm always doing the things I don't want
to do.
(he corrects himself)
Naturally, when the police come they'll ask around.
I suppose you didn't think of that?

DIANE
(kneeling to tie his shoes)
Dear angry man…
 71

CHICO
(outraged)
What1 What kind of talk is that?
(he reaches in his pocket and pulls out a few
coppers)
Here -- you'll need something to get some food.
(he goes to the door and opens it –
as he goes out:)
Mind -- you keep to yourself and don't get me in
trouble.

And with that he goes. Diane watches after him. Then, smiling to herself, she
picks up his coffee cup, puts it in the dishpan, and walks toward the window.

SHOOTING OVER HER SHOULDER

toward the Gobins' home. The CAMERA being low, in relation to the plank,
the plank is very much in evidence.

SHOOTING FROM OUTSIDE THE WINDOW TOWARD DIANE

A SHOT arranged to get the most out of Diane's fear and the perilous drop
below- Diane stares at the plank, then very slowly she steps onto the ledge. She
puts one foot onto the plank -- and looks down.

FROM HER ANGLE -- THE ALLEYWAY BELOW

What she sees.

ANGLE AS BEFORE

Diane stands trembling, Then suddenly summoning all her courage she steps
out onto the plank. Resolutely she walks across it. On reaching the other side
she looks back, gives a great sigh of relief and smiles at realizing she has
defeated that bogey. Then she turns toward the Gobins' door.
 72

EXT. STREET - SOCK - DAY

A TRUCKING SHOT, the CAMERA going ahead of Chico and Gobin as they
trundle their carts, laden with their street washing apparatus1 down the street.
It is still early morning so there are practically no pedestrians.

GOBIN
(over his shoulder to Chico, who is behind
him slightly)
Would you like to start from this end of the street?

CHICO
Whichever you say, Comrade Gobin.

GOBIN
(setting down his wheelbarrow)
The pressure is better from this hydrant. You'd
better start here.

They are at the sewer manhole -- which we know already. As Gobin is about to
attach Chico's hose to the underground hydrant near it, the manhole cover
opens and the Sewer Rat sticks his head out.
SEWER RAT
Good morning, Comrade Gobin. Good morning,
Comrade Chico.

Gobin looks at him contemptuously.

GOBIN
Good morning, Sewer Rat.

The Sewer Rat winks at Chico, The latter is an agony of indecision between
keeping the respect of Gobin and not being a snob. He pretends to be very
interested in Gobin's demonstration of how to attach the hose -- and at the same
time winks reassuringly at the Sewer Rat.
GOBIN
You see, comrade -- just a turn.

CHICO
I see. Thank you.

Gobin picks up his wheelbarrow and goes on.

GOBIN (calling back)
If you're in any trouble -- I'll be around the corner.
And mind, you don't take any nonsense from those
sewer men.
 73

And with that he goes out of the scene.

CHICO
(to Sewer Rat -- in a low voice as he, Chico,
adjusts the hose and starts to spray the street)
What are you hiding from today?

SEWER RAT
I'm not hiding. I've got your sewer to take care of.

CHICO
You! My sewer!

SEWER RAT
(lugubriously)
Yes. It's that Father Chevillon. May the de--… May
heaven protect him. He wrote out another card --
and made an honest man of me.

Chico, who has been holding the running hose in his hand, raises his hand in a
gesture of disgust. The hose strikes the Sewer Rat in the face and he is washed
down into the manhole.

FADE OUT
 74

FADE IN

EXT. ROOF OUTSIDE GOBIN'S ROOM

Diane is helping Marie hang up the wash - mostly consisting of Gobin's long
underclothing. One of Aristide's cats claws at the leg of an underdrawer.

MARIE
(waving her arms)
Scat!

The cat slinks away.

MARIE
(to Diane)
I can't abide those cats. For the last two nights they've
yowled so I could scarcely sleep.

DIANE
Chico says it's because the moon is full.

MARIE
Don't they keep the two of you awake?

DIANE
No -- at least I don't think so.

Diane makes herself very busy hanging up the laundry.

MARIE
(looks at her shrewdly - then says innocently)
Chico's such a friend of Aristide's I should think he'd
speak to him about the cats.

DIANE (nervously)
Maybe he has.

MARIE
Last night and the night before he was over there till after
midnight. What time did he get back?

DIANE
Oh -- not till late.

MARIE
Don't you mind?
 75

DIANE (slowly)
No -- not if he wants to.
(very proudly)
There isn't anything he'd do that I'd mind.

MARIE
Humph! Better not let him know that.

Out of scene we hear a hammering on a door. Diane looks in the direction of Chico's
window.

DIANE
There's somebody at our door.

She puts down the laundry and starts for the plank.

INT. CHICO'S ROOM

as Diane comes in through the window and crosses to the door. She opens it, then steps
back in dismay, as she sees a gendarme standing there. He comes into the room, mopping
his forehead as if from exertion. He pulls out a notebook, looks curiously around the
room. Diane watches him fearfully.

GENDARME
You are Madame Chico?

DIANE
(faintly)
Yes.

GENDARME
The wife of Chico, former sewer man, now street washer?

DIANE
Yes.

He looks curiously around the room - goes over to the gas plate on which a stew of some
kind is cooking. He takes in other signs of domesticity - clothes hung up to dry, flowers
in a vase, etc. He makes some notes in his book, then closes it.
 76

GENDARME
(with a smile at Diane)
That is all, Madame -- merely a routine matter. We won't
trouble you again. Certainly not to the extent of climbing
seven flights of stairs. Good evening, madame.

He salutes and goes. Diane does not move for a moment, an expression of desolation on
her face. Then she looks around the room. Out of scene we hear:

MARIE'S VOICE
Diane!

LONG SHOT THROUGH THE WINDOW

Across the way we see Marie, who has finished with the laundry.

MARIE
Aren't you coming back?

OVER DIANE'S SHOULDER

as she turns toward the window.

DIANE
(shaking her head)
No -- No – I've got things to do.

She turns back to the CAMERA. We FOLLOW her as she moves aimlessly about the
room. She goes to a hook, on which hangs her shawl. She starts to take it down, then
turns as out of scene she hears:

CHICO'S VOICE
Hey!

SHOOTING OUT THE WINDOW

Across the plank come Gobin, Chico and Marie - in that order. Chico and Gobin seem in
a very exalted mood.

GOBIN
Madame Chico! I bring you your triumphant husband!
 77

WIDER ANGLE

Diane looks mystified from Gobin to Chico. The latter two have reached the window
ledge.

CHICO
(with an elaborate bow)
Please -- after you, Comrade Gobin.

He steps aside. Gobin comes into the room, followed by Marie and then Chico.

GOBIN
Madame Chico -- I have the honor to inform you your
husband passed his probationary test -- with honors!

CHICO
And after only two days!

GOBIN
It was a week before I passed mine.

CHICO
(magnanimously)
In your case I'm sure the inspector was less lenient.

GOBIN
The meanest man in the service, I'll admit -- but that
needn't detract from your triumph.

CHICO
(to Diane)
He said my alley was clean enough to eat off -- except
for…

GOBIN
(delicately)
Just a matter of a small dog.

MARIE
(who has been looking suspiciously at Gobin)
You two wouldn't by any chance have been celebrating,
would you?
 78

CHICO
Oh -- a few glasses of wine. Nothing compared to the
celebration we'll have tonight.
(to Gobin)
Look -- you come here for dinner - you and Madame
Gobin.

DIANE
But --

CHICO
(with a look at the pot)
That's all right. I'll go out and get more food -- and wine.

GOBIN
(looks at Marie, who nods)
We'd be delighted, comrade.
(another look - dubious this time - at Marie)
Perhaps I should go with Chico -- and help him buy the
wine.

MARIE
Oh, no -- one of you will be enough.
(she takes Gobin by the arm)
Come along. Let Chico get cleaned up.

Gobin and Marie go out the window. Chico strips off his jumper and hastily washes
his face and hands at the wash basin. Diane silently goes and gets another jacket and
stands holding it for him. He looks up.

CHICO
(as he takes the jacket and puts it on)
You don't seem very impressed. Do you think it's every
street washer makes a start like that?

DIANE
Oh, no.

He looks at her, puzzled by her somber expression. She turns her eyes away from his
gaze.
 79

CHICO
(anxiously)
You'll know what to do tonight - how to act like a good
wife?

DIANE
I think so.

As he adjusts his collar, still looking at Diane –

CHICO
What have you been up to today?

DIANE
Nothing.

He turns toward the mirror - pauses.

CHICO
Nobody came here?

Diane stares at him, an agonized expression on her face. Chico turns around.

DIANE
What?

CHICO
What's wrong with you? I asked if anybody came here
today. Any visitors or anything.

DIANE
(not daring to look at him - after a pause)
No -- no one.

There is a pause. Diane fearfully looks at Chico. His face is inscrutable. Then he picks
up his cap and starts toward the door.

CHICO
I won't be long.
(he stops at the door)
We're going to have a party, you know. Couldn't you
look a little more cheerful?
(he picks up a flower from a vase on a table,
tosses it to her)
Here -- put this in your hair - it will make you beautiful.
 80

And with that he goes. Diane stares at the flower which she has caught in her hand, then
she goes over to the mirror. She studies herself. Then, as if a new thought had come to
her, she smiles, starts to arrange her hair to beautify herself the best she can. Beneath the
mirror there is a table or dresser. Now, as if from nowhere, Grisette, the cat, leaps onto it
and sits staring at Diane. Diane gives a frightened scream, then turns toward the window
as if aware that she is being watched.

FROM HER ANGLE - TOWARD WINDOW

There has been a light change during the last scene to dusk, Now silhouetted in the
window we see Aristide. He evidently has been watching Diane for some time.

WIDER ANGLE

as Aristide comes down off the ledge, Diane, terrified, backs away from him,

ARISTIDE
(going toward the table where Grisette sits)
You mustn't be frightened by Grisette.

DIANE
I'm not -- only she jumped up there so suddenly…. You
are Aristide --
(she points)
from over there?

ARISTIDE
(stroking Grisette)
Her curiosity gets the best of her sometimes, She
wondered what you were doing in front of the mirror,
(to Grisette)
It was nothing very strange, my dear. Women always
make themselves beautiful when they wish to please a
man -- or deceive him.

DIANE
(angrily)
What do you mean by that?
 81

ARISTIDE
Grisette and I like to make jokes together. What would
you have to deceive Chico about? He knows what you are
-- where you came from.

DIANE
(in a growing panic)
You've no right to talk to me like that. I wish you'd go
away.

ARISTIDE
(calmly)
Presently, I shall.
(he leaves off stroking the cat and walks toward
Diane -- again she retreats from him)
Has Chico told you what I read in the stars for him?

DIANE
No.

ARISTIDE
Do you believe the stars?

DIANE
I don't know.

ARISTIDE
Would you believe them if they foretold a great and
glorious future for Chico?

DIANE
Yes -- because I believe it myself.

ARISTIDE
(going on)
But only if there shall be no evil thing in his life.

DIANE
(answering slowly - as if hypnotized)
What evil thing?
 82

ARISTIDE
A woman born and raised in the gutter -- a woman
steeped in wickedness -- a woman like you.

He puts out his finger and touches her swiftly, softly. For a moment his eyes bore into
hers. Diane tries to struggle against his power - cries out:

DIANE
I am not wicked! I can be good. Chico said so!

ARISTIDE
(in a softer tone)
Out of the kindness of his heart. Just as he has let you
stay until the police come.
(pause – then suddenly)
That was the understanding, wasn't it? And you promised
you would not take advantage of him.

DIANE
But I haven't.

ARISTIDE
When do you think the police will come?

DIANE
(crying out)
I -- I don't know!

ARISTIDE
(after a pause)
Perhaps they won't come at all, and then you can stay
until Chico is safely in your hands. Is that what you've
hoped?

DIANE
(desperately)
Why do you hate me so?

ARISTIDE
(inexorably)
Or perhaps they have already been here.
 83

DIANE
No – No!

ARISTIDE
Perhaps they were here this afternoon -- just before
Chico came in.

Diane stares at him, turns her head away. Aristide smiles with cold satisfaction.

ARISTIDE
Just now he asked you if they had come -- and you
said 'no'.

DIANE
How did you know?

ARISTIDE
That doesn't matter.

He turns and starts back to the window - there he stops.

ARISTIDE
What matters is that now you can bind yourself to him --
drag him down -- rob him forever of the greatness he
might have known. Is that what you plan, flower of evil?

He looks at her until once more she turns her eyes away, and then he goes. For a
moment Diane stands motionless, utterly desolated. Then slowly, as if drawn to her,
Diane turns toward the table where Grisette still sits, fixedly staring at her. Diane puts
up her hand as if to protect herself. She looks around the room, then, with a sob, she
goes toward the wall and takes up her shawl. Wearily she starts toward the door. As she
goes out -

DISSOLVE TO:
 84

EXT. SQUARE - NIGHT

A TRUCKING SHOT as before, carrying Diane to the corner in front of "The Hole in
the Sock". She stops at the curb as if uncertain where to go. She is jostled by the
passersby but pays no attention. As if fascinated she turns toward the door to "The
Hole in the Sock".

FROM HER ANGLE

the door to "The Hole in the Sock". As few women and men pass in and out. As before
there is the sound of music.

DIANE ON S IDEWALK

She stares at the entrance to the cafe, then turns as she hears out of scene:

BOUL'S VOICE
Madame Chico!

Eloise, with Boul at the wheel, coasts into the scene.

BOUL
Waiting for Chico?

DIANE
(after a pause vaguely)
No. No.

BOUL
(he looks in a puzzled way at Diane)
Can I drive you home?

DIANE
Home?

BOUL
Yes -- home. Your nest among the chimney pots.

DIANE
(shakes her head)
That isn't my home anymore.

BOUL
Come now, don't tease an old man.
 85

DIANE
No -- this is my home.

Boul stares at her incredulously.

BOUL
Chico will be worried about you. Hop in and I'll have you
there in a jiffy,

But Diane does not move. She looks back toward the "Hole."

DIANE
Is my sister in there?

BOUL
No -- they're all still in jail. The man who owns the place
got a new lot of girls.
(pause as he stares at her)
What are you doing here, anyway?

DIANE
(with a shrug)
It's where I belong, isn't it?

BOUL
(dismayed)
You and Chico weren't having a joke with me the other
night by any chance, were you?

DIANE
Yes. That's it. A joke.

Suddenly, as if she could bear it no longer, she turns and goes into the cafe. Boul stares
after her, openmouthed, then he gives a vast shrug and starts to drive off.

CUT TO:

INT. CHICO'S HALL – THE STEPS LEADING UP TO HIS ROOM

Chico, his arms filled with bottles of wine, packages, etc., is running up the steps. He
stops by the door, his arms so full that he cannot open it.
 86

CHICO
Diane -- open the door.
(he kicks the door -- there is silence)
You in there! Open the door for Citizen Street Washer
Chico!

Again there is silence. Chico looks puzzled, then manipulates the things in his arms so
that with one hand he can lift the latch. As he opens the door -

DISSOLVE TO:

INT. CHICO'S ROOM

as he comes in. The room is dark, lit only by the turned down lamp. He looks around,
calls:

CHICO
Diane -- where are you?

Dropping his packages on the table he goes over and turns up the light, then looks around
the room, He sees that her things are gone from the hook on the wall. Frightened, he runs
to the window. Once more he calls:

CHICO
Diane!

As he crosses the plank -

DISSOLVE TO:

EXT. GOBINS' ROOM

Chico bangs on the door.

CHICO
Comrade Gobin!

The door is opened by Marie.

CHICO
Is Diane here?

MARIE
Why -- no.
 87

CHICO
But where!
He looks wildly around, then back toward the plank fearfully.

MARIE
(after a moment's hesitation)
Perhaps you'd better ask M'sieu Aristide. I saw him
coming across the plank a moment ago.

Chico looks toward Aristide's house and then turns and goes toward it. CAMERA
FOLLOWS him as he rushes up the steps and bangs on the door. There is a click of the
lock and the door opens.

INT. ARISTIDE'S ROOM

as Chico storms in Aristide stands by the door.

CHICO
(very excited)
Where is Diane? Where did she go?

ARISTIDE
(going back to his chair)
So she did leave.

CHICO
What did you say to her.

ARISTIDE
The police came this afternoon. There was no reason for
her to stay.

CHICO
Did you drive her away!

ARISTIDE
I wish you wouldn't shout, I'm trying to finish your
horoscope. I can put it in order again now.

CHICO
(taking him by the-shoulders and shaking him)
Tell me where she is!
 88

ARISTIDE
I don't know,

CHICO
You know everything else on heaven and earth –
can't you tell me that?

ARISTIDE
Where would she be likely to go -you ought to be able to
guess that.
(he studies Chico's horoscope)
Saturn opposed by Scorpio in the Eleventh House.
Mercury ascending.

CHICO
(shouting)
Will you or won't you tell me!

ARISTIDE
.. in the cusp of the Moon --

CHICO
(seizing the horoscope and tearing it in two)
Then -- that for what the stars have to say-about my future!

And with that he storms out. Aristide does not move. Grisette, frightened by Chico's noisy
exit, jumps into Aristide's lap. Calmly Aristide strokes her.

CUT TO:

INT. "THE HOLE IN THE S0CK" - NIGHT

Since it is early not all of the girls have got their men, but sit alone drinking Pernod. We
open on Diane, who is sitting on a stool. She is staring at her glass. A customer, a rough,
red-faced man, comes up to the bar and sits beside Diane.

MATEOT
(to Diane)
What are you drinking?

DIANE
(after a brief pause in which she looks him over)
Absinthe.
 89

MATEOT
So young and drinking absinthe? Well, let's see how the
combination works out.
(to bartender)
Two Absinthe.
(to Diane -- with a gesture toward the other girls)
Not very nice company you're in with. I was going to
leave till I saw you.

CUT TO:

EXT. ALLEY IN "SOCK"

The "Hole in the Sock" should not be in the b.g., nor anything to suggest we are in its
immediate vicinity. Chico is talking to a gendarme.

GENDARME
(smiling)
A dark dress and dark hair -- with maybe a flower stuck
in it. And I suppose she has two eyes and a nose?

CHICO
(impatiently)
If you'd had your eyes about you, you'd have seen her.

GENDARME
Ho – ho! You arc in a fine state, my friend.

He good-naturedly pats Chico on the shoulder and strolls on. Chico looks uncertainly
around, then starts on again, the CAMERA moving ahead of him. He looks from right to
left as if scanning the faces of the passersby.

CUT TO:

INT. "HOLE IN THE SOCK" - BOOTH

where Mateat and Diane are now sitting. There is an absinthe bottle and two glasses
between them. Diane is watching the liquor drip down into her glass.
 90

MATEOT
How much of that stuff does it take to make you smile?

DIANE
I don't know. I've never had it before.

MATEOT
Hey!
(pulling the glass away from her -- he looks at
her curiously)
Why take tonight to experiment?

DIANE
I don't know. I've heard it makes you not care about
anything.

MATEOT
(he takes her hand)
You're not flattering.
(he presses her hand)
Shall we dance?

Diane looks at him, shrugs, starts to put her shawl around her. Mateot signals to the
waiter, Suddenly a startled look comes over Diane's face as she sees:

FROM HER ANGLE

Chico stands inside the doorway, looking around the room. He sees Diane. With a
grim expression on his face he starts toward her.

BOOTH

as Chico comes up. Diane lowers her head. Mateot stares in astonishment at the
apparition towering over them.

CHICO
Come, Diane.

For a moment she is too frightened to move.

CHICO
(raising his voice)
Do you hear me! Come!
 91

Slowly Diane gets up. Mateot, recovering from his stupefaction, gets to his feet.

MATEOT
Wait a minute, my friend. Just what is this?

CHICO
(turning on him)
Sit down! And be quiet!

MATEOT
I should be quiet! Look here now…

He starts toward Chico but the latter, with one terrific blow on the chest, sends him
sprawling back into his chair. Then Chico takes Diane by the arm firmly and starts for the
door. The proprietor, in a fluster of excitement, comes up.

PROPRIETOR
Here -- here -- what do you think you're up to?

CHICO
(with a roar)
Get out of my way, you filth!!

The proprietor, terrified, steps back, as do the waiters who have come into the scene.
There is awed silence in the room as Chico and Diane walk out.

DISSOLVE TO:

EXT. ALLEY - NEAR CHICO'S HOUSE

A TRUCKING SHOT ahead of' Diane and Chico. Chico, still holding Diane tightly by the
arm, looks straight ahead. She looks up at him.

CHICO
(very stern and angry -- not looking at her)
And what did you think you were doing?
 92

DIANE
I lied to you, Chico. I didn't tell you the police came. I
was going to take advantage of you.
(she pulls back)
Oh, let me go! You're going to be something -- and I'll
only drag you down.

CHICO
Nobody can drag me down. Not even you.

DIANE
But I'm wicked -- just as Aristide said.

CHICO
Aristide said! And I said you were good! Do you
understand! Chico said you're a fine, good girl -- and
therefore you must be one.
(pause)
A fine wife you are! Do you realize we have guests
waiting for us? If they haven't given up and gone home.

Silently he marches on. Diane stares up at him, still not quite believing.

DIANE
(faintly)
Chico -- are you taking me home?

CHICO
Where do you think!

Suddenly relief, an ecstasy of happiness such as she has never known, surges through
her. Tears run from her eyes -- she sobs from sheer happiness. Now they have come to
the entrance to Chico's home. As they turn in -

CUT TO:

INT. FIRST FLOOR – CHICO'S HALL

as they enter. Coming down the stairs are a man and a woman -- inmates of the building.
 93

CHICO
(fiercely -- in an undertone)
Stop that blubbering! Haven't you disgraced me enough
tonight?!

Diane tries to stop her crying but with small success. The man and the woman pass them.
Chico and Diane start up the steps. She stumbles after him. Suddenly he stops, turns,
and for the first time looks at her. In her face there is a look of overwhelming utter
adoration -- in his an awed tenderness. Quickly he takes her in his arms. For a long
moment they cling together. Then he picks her up and starts to carry her up the stairs.

FADE OUT
 94

INSERT

A flash of a mobilization poster, centering on the words: "ARMEE DE LA TERRE, -

ARMEE DE LA MER." (It will not be necessary to translate from the French.)

DISSOLVE TO:

INSERT

One of the individual notices sent out to all members of the Reserve that instructs the
recipient to report at such and such an hour at such and such a place. There is a blank
line for the name. The CAMERA PULLS BACK a little as a hand comes into the scene
and writes a name -- any French name. Then the hand takes the notice from the top of the
pile, revealing another one underneath. We hear a voice, as if reading from a list:

VOICE
18th District….

Two or three names are called off and the hand writes them in on the blanks as they are
turned over.

DISSOLVE TO:

INSERT

Another pair of hands putting the notices into envelopes -- these envelopes should be of a
distinctive size and shape. Under these inserts we should hear martial music -- the
Marseillaise or some march.

DISSOLVE TO:

EXT. ALLEYWAY "SOCK" - DAY

Open on a CLOSEUP of one of the envelopes in a postman's hand as he hands it to the

person to whom it is addressed. Instead of the band music we hear the same tune being
played on a child's harmonica. PULL BACK the CAMERA to a MEDIUM SHOT of the
postman and the man who is receiving the letter. We see that we are in a doorway of one
of the houses of the "Sock." The man tears open the envelope and reads the notice. A
bewildered, incredulous expression comes over his face. Coming BACK still further with
the CAMERA, so that we are shooting from across the street, we see a
 95

group of three or four urchins marching round and round in a circle in imitation of
soldiers. The leader of them is playing the harmonica. There are several men lounging in
doorways and against the walls -- all of them very quiet and somber.

MEN
(ad lib)
Get yours yet, Jacques? Yes -- last night, etc.

The postman goes to the next door. A woman opens it.

POSTMAN
M'sieu Jacques Frenoir?

WOMAN
I am his wife.

He hands her the notice. She tears it open, reads it. An expression of desolation comes
over her face. The children, in their parading, pass in front of her. Suddenly the woman
looks down at them and shouts in fierce exasperation:

WOMAN
Will you be quiet!?

The children, frightened, stop their noise and look at her in astonishment as she turns into
the house. The CAMERA FOLLOWS the postman to a sewer manhole, the cover of
which is off.

POSTMAN
(leaning over manhole)
Hey, down there!

The Sewer Rat appears and rests his elbows on the edge of the manhole.

POSTMAN
A letter for you.

SEWER RAT
(laughing)
For me? Don't be silly. Who'd write me a letter?

POSTMAN
(as he hands him a letter)
The President of the Republic.

The Sewer Rat incredulously opens the letter and reads the notice.
 96

SEWER RAT
What do they want of me? War is for heroes.

POSTMAN
Maybe they'll get some sewer rats from Berlin for you to
fight.

As the postman goes on, the Sewer Rat, shaking his head studies the notice.

F'ADE OUT
 97

INT. CHICO'S ROOM - DAY - CLOSE SHOT OF GRISETTE ON THE FLOOR

She is playing with a spool of thread. She gives it a push with her paw and the spool
rolls away.

DIANE'S VOICE
Oh -- look what you've done!

CAMERA PULLS BACK to reveal Diane seated in a chair. She is mending one of
Chico's jackets. She retrieves the spool of thread and shakes her finger good-naturedly
at Grisette.

DIANE
You had me so frightened at first -- and now I find out
you're nothing but a nuisance.

She starts to go on with her sewing, then looks up as the door opens and Chico enters
the room. Diane jumps to her feet, her face radiant with pleasure. Chico smiles at her,
but makes no move to go to her. Under his arm he carries a large box.

CHICO
Hello.

DIANE
(a little abashed by his casualness)
Hello.

CHICO
(indicating box)
You know what I1ve got here?

DIANE
No -- what is it?

CHICO
It's -- it's…
(he stops, with a rather foolish expression on his
face -- then)
Oh, it's -- it's nothing -- just something I saw in a store…

He throws the box on the table, gives Diane a side-long embarrassed look and goes
over to the window.

CHICO
(making conversation)
Seen anything of the Gobins this morning?
 98

DIANE
No.
(her eyes on the box)
Chico, what's in the box?

CHICO
Oh…
(he leans out the window and looks down)
You should see the crowds in the streets!

DIANE
I heard bands playing. Is it about the war?

CHICO
Yes. I saw a whole regiment marching to the station.
(he shakes his head)
I feel so safe up here it's hard to believe all that
nonsense is real.

He straightens up. For a moment he stands with his back to the CAMERA,
staring vacantly out across the rooftops. Suddenly he blurts out, without turning
around:

CHICO
Why don't you open the box – it's for you.

DIANE
For me? Oh!

Eagerly she goes and starts to open the box. Chico turns around to watch her.
She takes out a white organdie wedding dress with a spray of artificial orange
blossoms on the shoulder. She holds it out before her at arms length.

DIANE
Chico! How beautiful!
 99

Chico comes over to her. As Diane notices the orange blossoms, the significance of
the dress dawns on her. She turns to him.

DIANE
It's -- it's a wedding dress!

For a long moment she looks at it, then suddenly she kneels at his feet. Chico, horribly
embarrassed, raises her.

CHICO
No -- no, you mustn't do those things.

He steps away from her, goes to the table, picks up his pipe and starts to fill it,

DIANE
You really want to marry me?

CHICO
(with a shrug)
Y-es.

DIANE
Why?

CHICO
I don't know.

DIANE
You're so strange -- unlike anyone.

CHICO
How many times do I have to tell you -- I'm a very
remarkable fellow!

She looks down at the dress again, lays it over a chair and smooths it tenderly. Chico
gives up his pretense of filling his pipe and turns to watch her. She stands with
lowered head.
 100

CHICO
Now what's the matter?

DIANE
(looking up at him)
Chico, can't you say something?

CHICO
Say something -- what?

DIANE
Just one word -- of love -- to tell me you're not
marrying me out of pity.

CHICO
(frowning)
You mean you want me to make love to you'?

Diane nods. Chico laughs sheepishly, rubs his head, For a moment he gathers
himself to make a try, then looks foolish.

CHICO
I feel like an idiot!

He walks over toward the window, then returns.

CHICO
Well -- just this once -- no more.
(sternly)
Come here!
(she goes to him)
You're… you know --
(he bursts into a laugh, then sobers and
continues)
Before -- there was Chico and there was Diane.
Now there's -- us!

DIANE
(repeating ecstatically)
Us!

CHICO
You see -- it's nothing but arithmetic. You and I are
one -- so one and one make one. Understand?
 101

DIANE
Oh!

Suddenly she starts to cry.

CHICO
Name of a name! You're asking me to make love to you
and look what it does to you!

Diane laughs through her tears and dries her eyes.

CHICO
Well -- this way then ..
(he places a finger on his heart)
Chico --
(then he points to her)
Diane --
(he makes a gesture embracing the room)
Heaven!

DIANE
(softly)
Say it again!

CHICO
(giving it a little more)
Chico -- Diane -- Heaven!

There is a pause.

DIANE
Say it again!

CHICO
Chico…
(he stops -- then1 very annoyed)
Stop that now! What do you want to make of me!

He goes and pours himself a drink from a bottle of wine on the table, then turns to face
her.

CHICO
This is no time to waste mooning ... How do you expect to be
ready by two o'clock?
 102

DIANE
Ready?

CHICO
Certainly - that's when we're going to be married.

DIANE
Oh!

CHICO
(going to the wash stand)
I've got to get shaved and dressed --
(indicating her wedding dress)
and you've got to get that on.

DIANE
(starry eyed)
Madame Chico! I'm going to be some thing at last!

CHICO
To be my wife is something!

DIANE
(a little sadly)
Oh, Chico, you wanted so much to have a remarkable
woman for a wife -- and now look!

CHICO
(as he starts to make a lather)
Oh, she'd have probably turned out to be a nuisance.

DIANE
I won't be a nuisance, Chico, ever. Look!

She goes and takes his jacket and holds it up to him.

DIANE
See – I've finished your jacket.

Chico, with a shaving brush in one hand, takes the jacket in the other -- then he sees
she has mended it.

CHICO
(in a surprised and gentle voice)
You've mended it!
 103

She takes the jacket from him, goes and hangs it up. He starts to put down his brush
and go to her -- then, stopping, he says in an annoyed voice:

CHICO
Well -- what are you going to do about getting your dress
on?

He starts to lather himself vigorously.

DIANE
Perhaps Madame Gobin will help me.

CHICO
All right.
(he looks toward the window and the plank)
How are you going to get across?

DIANE
(with a sly smile)
Oh…

CHICO
(turning back to the mirror)
Well -- you'll have to wait now till I'm through shaving --
then I'll take you over.

DIANE
(very pleased - about to astound him)
Chico, I…

CHICO
(stropping his old fashioned razor vigorously)
I really shouldn't baby you this way.

DIANE
(moving toward the window)
No, Chico,

Chico takes his razor end starts to shave.

CHICO
You wouldn't be afraid if you'd only take the trouble to
change your Idea.
 104

DIANE
My Idea?

CHICO
Yes -- it's what you put inside you. The Idea -- makes
you what you are. That's my religion. Your Idea is fear --
so you're afraid of high places, that sister of yours --
everything. That mustn't be! You must put the Idea
'Courage' inside of you!

DIANE
(she has stepped onto the ledge)
Do you think you can eat courage with a spoon?

CHICO
(he breaks his speech as he attacks difficult
places on his face)
Child, it's perfectly simple. You get the Idea you want --
like the word courage – and you hang on and never,
never let go.

DIANE
(already standing on the end of the plank --
obediently)
Yes, Chico.
CHICO
Oh, it isn't easy. You'll get bumps and blows -- but hang
onto courage and by and by you will astonish yourself --
you will -- that word -- you will be courageous, That's
why I'm a remarkable fellow -- and astonish myself with
what I am. And furthermore…

DIANE
(standing in the middle of the plank -- smiling
proudly)
Chico!

Chico, with the razor at his throat, turns quickly, his mouth opens with astonishment. He
makes a move to run toward her, then realizes she is perfectly safe. Diane blows him a
kiss.
 105

DIANE
I won't be long.

With that she turns and runs across to the other building. Chico puts his hand to his
throat, sees that he has nicked himself with the sudden move. He looks at his hand
indignantly, then toward the plank again and finally laughs delightedly. As he
continues to shave we:

CUT TO:

EXT. GOBIN1S ROOMS

Diane knocks on the door.

DIANE
(calling)
Madame Gobin!

As Diane waits for an answer -

INT. THE GOBIN'S SITTING ROOM

Gobin is seated in a chair; Marie is on the floor, her head against his knees. With one
hand Gobin caresses her hair -- in the other he holds a notice from the War Office. We
recognize, on the floor beside him, one of the envelopes which we have established.
Out of scene we hear Diane knocking. Neither Gobin nor Marie make any response.

GOBIN
(to Marie)
Hardly give me time enough to get my things together.
(he smiles sadly - shakes his head)
What will it be like not having you to scold me when I
misbehave?

Marie buries her head against his knees, clings to him. ·

MARIE
Oh -- my dear!

Out of scene we hear another knock and Diane's voice:

 106

DIANE'S VOICE
Madame Gobin!

Marie raises her head, looks questioningly at Gobin. He shrugs, nods his head. Marie
gets up and goes to the door, Gobin also rises. Marie admits Diane, who comes in
carrying the dress.

DIANE
Oh -- Madame Gobin! I –
(she looks from Marie to Gobin - sees by their
expressions that something is wrong)
Oh -- is anything the matter?

Marie starts to speak, but catches a glance from Gobin, who shakes his head as if to
say -- don't tell her.

GOBIN
No -- come in.

DIANE
(to Marie)
I wanted to show you this.
(she holds up the dress)

MARIE
Oh -- isn't it lovely!

DIANE
(proudly)
Chico bought it for me.

MARIE
(as she sees the orange blossoms)
It's a wedding dress!

DIANE
(embarrassed)
Oh -- Madame Gobin -- please don't be shocked -- but
you see, Chico and I -- well we --

Marie smiles and kisses Diane fondly, then with a laugh:

 107

MARIE
My dear, the only thing that could shock me would be to
have Chico go on spending his nights with Aristide.

GOBIN
All my congratulations, Madame Chico -- even if they
are a little late -- I mean….

Diane smiles at him to show she understands.

GOBIN
I have some things to do. I1ll leave you two women alone.

Gobin and Marie exchange a quick look of understanding, and Gobin goes into the next
room.

DIANE
I thought you might help me try it on.

MARIE
I'd love to1

Marie takes the dress from Diane and starts to undo the neck.

FADE OUT
 108

FADE IN

INT. CHICO'S ROOM

Chico, in a new shirt and pantaloons, is looking at himself in the mirror; adjusting his
scarf and whistling to himself. Satisfied with his appearance he takes a few steps
around the room, then his eyes fall on the jacket which Diane has mended. He fingers
it, smiles tenderly. Then suddenly he glances toward the window and a look of
wonder comes over his face as he sees:

FROM HIS ANGLE

Diane, a radiant vision in white, is coming across the plank toward him.

WIDER ANGLE

as Chico gets up and goes toward her.

CHICO
Diane!

He sweeps her into his arms. For a long, long moment they cling to each other.
Finally--

DIANE
Oh -- let us stay like this forever!

CHICO
Yes.

Then, after one more long kiss that seems as if it would never end.

CHICO
(with his cheek against hers)
Diane – listen!

DIANE
Yes!

CHICO
I love you!

DIANE
Oh -- at last!
 109

CHICO
Huh?

DIANE
You said it all by yourself!
(she pulls away from him a little)
I'm not used to being happy, It's funny -- it hurts --
I can't believe it.
(she goes to him again)
Hold me close.
(he does so)
No -- closer.

While they are embracing, we hear out of scene a knock on the door -- then:

MADAME FRISSON'S VOICE

Chico! Are you there?

Diane and Chico slowly break apart. Chico, with a frown of annoyance, goes to the door.

SHOOTING TOWARD DOOR

as Chico opens it, revealing Madame Frisson. In her hand Madame Frisson holds one of
the fateful envelopes.

MADAME FRISSON
The postman left this for you, Chico.

CHICO
(taking it)
Thank you.
(he notices that Madame Frisson has no intention
of going but stands waiting for him to open it)
Well?

MADAME FRISSON
Oh, nothing…

She goes.

CHICO
(closing the door)
Old busybody.
 110

CHICO - DIANE

as he returns, opening the letter.. He reads it slowly, then he looks at the clock --
which shows the proper number of minutes before eleven. Dazedly Chico turns to
Diane -- then hands her the notice. During this business the sound of a band has
been· growing louder.

DIANE
(with a little stricken cry as she looks up -first at
the clock, then at Chico)
Oh -- it couldn't be!

Chico sinks into a chair. He looks utterly bewildered. Diane runs to him -- he puts his
head against hers.

CHICO
What's the matter with me.? At the thought of losing
you – I'm all wobbly inside.
(he looks up)
Can you feel me shaking? Diane! How could a
remarkable fellow like me be afraid?

DIANE
Afraid? You?

CHICO
How can I leave you now? Already you're part of me.
I can't be alone again -- that's what I'm afraid of.

DIANE
Chico! You can't be afraid! Don't you know that your
Idea is Courage?

CHICO
Yes – I said that, How easy it is to talk! Still, I can't stop
shaking.

DIANE
(bending over him)
Then lean against me -- for I will make you brave. I'll be
beautiful for you -- and strong for you -- and wise for
you. Never again will I be afraid!
(she raises her head)
 111

DIANE ( Cont.)
I astonish myself with what I am! See what you have
made of me? I, too, am a very remarkable fellow!

She raises him to his feet. Eyes shining, they look at each other.

CHICO
What are we going to do about our wedding? There's no
time now. And I must know that you are my wife.
(suddenly he stops)
Diane -- do you believe in God?

DIANE
Yes -- since He brought you to me.

CHICO
(he shakes his head in doubt)
If only I believed in Him.

DIANE
Do you want to, Chico?

CHICO
Yes, I do. Because then we could be married now.

DIANE
Isn't it enough -- your wanting to believe in Him?

Chico stares at her, then fishes in his pocket and pulls out the two religious medals
which Father Chevillon gave him.

CHICO
See -- something kept me from throwing them away. We
will marry ourselves with these. I am an atheist -- but I
must appeal to something. I'll give Him one more test.
(he takes her hand in his, then he looks up)
Dear God, perhaps you are here, perhaps you are not.
Perhaps you give me this wife, perhaps not. But if there's
any truth in the idea of you -- please make this a true
marriage.
 112

CHICO (Cont,)
(he hangs one of the medals by its chain around
Diane's neck)
I take you, Diane, for my wife.

DIANE
(taking the other medal and putting it around
Chico's neck)
I take you, Chico, for my husband -- forever.

A bugle call is heard.

CHICO
(with a hurried look at the clock)
Now -- we are married!

DIANE
Yes.

Chico runs over to the closet, or row of hooks. Hastily he pulls down an extra coat and
a few other belongings. He rolls them up into a bundle, then as he comes by the table
he stops and digs in his pockets. Pulling out all the money he has he puts it in a pile on
the table.

CHICO
Now, I go.

Fiercely he embraces her.

DIANE
I -- we are not afraid!

He goes to the window; she runs to pick up a shawl -- about to follow him.

CHICO
(at the window)
No -- no. Don't come with me.

DIANE
But --

CHICO
I'll go with Gobin. I don't want you to follow me.

DIANE
But -- I --
 113

The clock begins to chime eleven .

CHICO
No -- no -- stand still . Don't move! I want to see you
last like this, Let me fill my eyes with you.
(he listens to the clock)
Listen! I shall come to you every morning at this hour, I
promise that every day you'll feel me with you.
(he tries to laugh -- then says)
Goodbye, Heaven!

Quickly he goes across the plank. Diane stands still for a moment. Then slowly she
turns as she hears the door opening.

FROM HER ANGLE - SHOOTING TOWARD THE DOOR

The door slowly opens, revealing Nana. Her face is hard, and cold with hatred.

WIDER ANGLE

as Nana comes into the room.

NANA
I've been hiding in the hall till your sewer man got out.

DIANE
Nana!

NANA
Why don't you ask me how I enjoyed being in jail?

DIANE
What do you want?

NANA
I've come to take you back with me.

DIANE
Chico's just gone -- I must…
 114

NANA
(stopping her -- exultantly)
The war's got him.

DIANE
Nana -- please -- I want to see him once more.

Nana's eyes fall on the medal hanging around Diane's neck. She clutches it and tears it
from Diane.
NANA
What's this thing? Something he gave you?

DIANE
Give that back to me!

NANA
Huh…

DIANE
Give that back, I tell you!

Nana throws the medal on the floor .

NANA
Come here to me!

From under her shawl Nana takes a snake-like whip.

DIANE
I'm not afraid of you, Nana!

NANA
(advancing on her)
Ah?

DIANE
I'm not afraid, I tell you!

NANA
Come here to me!

Nana lashes at her. Diane stands unresisting, then suddenly without a word she springs
on her and tears the whip from Nana. Nana, suddenly struck by the look in Diane's
eyes, cringes and steps backward. Diane goes toward her. Nana starts to run out of
the room, stumbles. Diane brings the whip down on her back again and again. As she
does so we hear the Marseillaise being played very loudly from the street below.
 115

DIANE
Nana -- I'll kill you!

Desperately Nana tries to dodge the blows and reach the door.

DIANE
(as she beats her)
You can never frighten me again. I am not afraid! I am
brave! I am the wife of Chico!

Nana staggers out the door. Exultantly Diane throws the whip after her and cries out:

DIANE
Chico! Chico! Chico! I am brave!

CAMERA MOVES UP to Diane and past her so that we come to a CLOSE SHOT of
the clock on the wall, which now reads eleven o'clock.

DISSOLVE TO:

A HUGE CHURCH CLOCK

which also reads eleven o'clock. SUPERIMPOSED over this a series of quick
MONTAGE SHOTS (STOCK) showing scenes at the front: airplanes flying, bombs
dropping, soldiers capturing trenches, etc. These shots are timed to come in and out
with the booming of the clock and they should be arranged so that the intensity of
action increases; the last shot being an explosion in which. we see a building
demolished or men being blown into the air.

DISSOLVE TO:

EXT. FRONT LINE TRENCH - CLOSE SHOT OF CHICO

on sentry duty. It is quiet for the moment, in contrast to the noise in the preceding
scones. We see him take his medal from under his tunic and hold it in his hand.

CHICO
Chico -- Diane -- Heaven.

DISSOLVE TO:
 116

INT. CHAPEL - CHURCH - DAY

This is a small chapel in Father Chevillon1s church. Diane kneels before the altar. We
SHOOT OBLIQUELY over her shoulder so that we do not clearly see her lips. We hear
her say:

DIANE
Heaven .

but she says it so faintly we cannot be absolutely sure the words came from her lips. Now,
after a moment, she rises, her face radiant as she turns toward the CAMERA, which
remains on her as she walks out of the chapel.

CUT TO:

INT. CHURCH - NEAR CHAPEL ENTRANCE - FULL SHOT

showing that the nave of the church has been transformed into a hospital; there are long
rows of cots with wounded men on them. In the b.g., through the door, we see an
ambulance drive up to be unloaded. Diane starts down the aisle, CAMERA
FOLLOWING her. She goes past a bed in which lies a wounded soldier - Philippe
Brissac. He is a fine featured sensitive man of thirty or so; in manner and appearance he
is in obvious contrast to the denizens of the "Sock". He has evidently been wounded in
the leg and there is a very complicated system of pulleys, wires, etc., which hold his leg
up -- and probably also his arm. As Diane passes he calls to her:

BRISSAC
Diane!

She stops and goes over to his bedside. She smiles down at him.

DIANE
Hello there.

BRISSAC
(reproachfully)
You were going right by - without stopping to talk to me.

DIANE
I've already talked to you this morning. Besides, I've got
to get back to the 1aundry.

She smiles, touches him lightly on the shoulder.

 117

BRISSAC
You'll come back this way -- just to let me look at you?
It does me so much good.

DIANE
(gently)
Yes, of course.

She starts to go. He tries to turn his head to watch her go, but he is so strapped up that
he can only move it a little and must follow her with his eyes alone.

FROM HIS ANGLE

We see Diane exiting through a door which leads to the crypt below.

CLOSE SHOT - BRISSAC

as he strains his eyes to look after Diane. He smiles.

FADE OUT
 118

FADE IN

EXT. CHICO'S BILLET JUST BEHIND THE FRONT

outside a small farmhouse, very dilapidated from the years of warfare. Chico, the Sewer
Rat and Gobin are huddled up against a stone wall, They wear the uniform of a regiment
of the line; all of them have chevrons on their left arms indicating three years' service.
Spread out on the ground before them is an assortment of delicacies -- various tinned
goods, sausages, pate do fois gras, cheese, etc. They are all three opening and devouring
the food with frantic haste.

As the scene opens we hear the screech of a heavy shell, then the sound of its explosion as
if from not far off. They duck instinctively, but do not stop their ravenous eating. Also on
the sound track we hear the whine of a German airplane, flying overhead.

GOBIN
For the first time in three years, we eat -- and they have to
annoy us like this.
(to the sewer Rat)
You say this all came from your father?

SEWER RAT
(gnawing at a piece of cheese)
Certainly.

CHICO
(with his mouth full, emptying a jar of pate de fois
gras)
Your father? ·

SEWER RAT
Didn't the Colonel call us his children when he sent us
over the top last time?

GOBIN
Ah -- so that's what comes of being mess orderly.
(as he rips open a can)
Well -- the fortunes of war…

There is another screech, and an explosion -- nearer this time.

 119

GOBIN
(looking up)
It's that fellow up there-~ telling them where we are.

They all look up.

FROM THEIR ANGLE

A LONG SHOT of a German Taube circling overhead beneath low-hanging clouds.

GOBIN, CHICO AND SEWER RAT

as they stare up.

CHICO
(reaching for his rifle)
Any other day I wouldn't mind, but…

He raises his rifle, pulls back the bolt.

GOBIN
As if you could hit him from here.

Chico takes aim, fires.

CHICO
Anyway, it makes me feel better.

He puts the rifle down and continues with his eating. Gobin and the Sewer Rat are still
looking up at the plane.

GOBIN
Chico! Look!

As Chico looks up -

CUT TO:

FROM THEIR ANGLE

The plane dips suddenly, staggers as if out of control, then, smoke streaming from it,
dives earthward.
 120

BACK TO GOBIN, CHICO AND SEWER RAT

Chico, after a moment of astonishment, resumes his eating -- he shrugs, as if what he had
done were nothing out of the ordinary. Gobin and the Sewer Rat look at Chico with
reverent amazement.

GOBIN
But -- but that's not possible!

Gobin and the Sewer Rat shake their heads. Now we hear the whine of a French plane.
They all look up again.

FROM T'HEIR ANGLE

A French plane dives out of the clouds, circles over them.

CHICO1 GOBIN AND SEWER RAT

The latter two look dubiously at Chico, who still looks up.

FROM THEIR ANGLE

The pilot of the plane leans out and waves.

BACK TO CHICO, GOBIN AND SEWER RAT

Chico waves back at the pilot.

CHICO
You're welcome, my friend! Think nothing of it!

Gobin and the Sewer Rat still continue to look at Chico with suspicion,

CHICO
(to Gobin and Sewer Rat)
After three years you ought to have learned I'm a very
remarkable fellow.

He resumes his eating. Out of scene, as if from some distance, we hear a bugle call
assembly.
 121

GOBIN
(rising -- with a sigh)
There they go again – drill, inspection, off to the front.
What is it this time?

The Sewer Rat and Gobin hastily stuff their pockets with what remains of the loot. Chico
looks at his watch.

SEWER RAT
(also getting up - to Chico)
Don't you want your share?

Chico looks up blankly.

GOBIN
(understandingly)
Oh -- eleven o'clock, eh?

Chico nods.

GOBIN
(making a gesture to the Sewer Rat to leave)
Come on.

The Sewer Rat and Gobin walk away. Chico sits very still for a moment, then he takes
from beneath his tunic the silver medal -- which he still wears on a chain around his neck.
He holds it in his hand, looks at it, then very softly he says:

CHICO
Chico – Diane…

As he says the second word, we -

DISSOLVE TO:

INT. CHAPEL - DAY

Diane kneeling before the altar. As before, we SHOOT OBLIQUELY over Diane's
shoulder so that we cannot clearly see her lips:

DIANE
Heaven.

Now, her face radiant, she turns toward the CAMERA, which remains on her as she
walks out of the chapel.
 122

INT. CHURCH - NEAR CHAPEL ENTRANCE

as Diane comes out. She stops as she sees that Brissac, who has now been graduated to a
wheel chair, is waiting for her. He wheels himself forward so that he is directly in her path.

BRISSAC
(as he looks wonderingly at her)
Diane -- what happens at eleven o'clock that always makes
you look so happy?

DIANE
(after a pause -- very simply she says)
Every day at eleven my husband comes to me.

BRISSAC
All the way from the front?
(he shakes his head)
I ought to laugh at you, but somehow I can't.

DIANE
(smiling)
You've got a kind heart.

BRISSAC
But I haven't! I've got a diabolic heart.

DIANE
(with a gently mocking laugh) .
Oh… M'sieu Brissac…

BRISSAC
All right. I'll show you. How do you know your husband
comes to you just at eleven o'clock? Suppose he lost his
watch -- or it was fast or slow -- then he'd come at some
other time and you wouldn't know it.

DIANE
I don't know. Every day since he went away – at eleven
o'clock he's been with me.
 123

BRISSAC
He must be a very remarkable fellow.

DIANE
(simply)
Why, of course he is. Everyone knows that.
(she pats him on the shoulder)
Goodbye. I've got to get back to my work.

She goes toward the door which leads to the crypt below.

BRISSAC
Diane wait a minute! That wasn't what I meant to talk to
you about. I wanted to…

He gives a sigh and then a smile of tenderness -- as she disappears from sight.

FADE OUT
 124

EXT. PRENCH LINE TRENCH - DAY

SHOOTING toward entrance to dugout. The trench has been practically obliterated by
shell fire. Bodies of German and French soldiers, mostly German, are lying about. On
the SOUND TRACK we hear the thud of the guns. We MOVE UP CLOSER to the
entrance of the dugout. Only a small hole has been left due to the collapse of the
supports which have held up the sand bags on top of it. Out of this we see two huge
rats come scurrying. They sniff the air nervously and scamper off.

DISSOLVE TO:

INT. DUGOUT

Signs on the walls, parts of' German helmets, uniforms, etc., indicate that it is a
recently captured dugout. The scene is illuminated by a single candle on a table.
Gobin sits by the table, his head in his arms. He is disheveled and a picture of utter
exhaustion. Chico is stretched out on a broken-down cot against the wall. Constantly
we hear the scream of shells, then explosions. Both Gobin and Chico have heavy
growths of beard.

CHICO
Do you suppose they've forgotten us and moved the war
somewhere else?

We hear the screech of a shell, followed by its explosion.

GOBIN
(raising his head)
Not very far.

CHICO
Two days we've been here now.

Gobin looks toward a corner of the dugout.

CLOSE SHOT - A HOLE

from which the rats emerge and scurry toward the entrance.
 125

WIDER ANGLE

CHICO
(looking after the rats)
Even they're getting tired of it.

GOBIN
(dully)
Yes.

A sudden uneasy expression comes across Gobin1s face. He gets up and staggers toward
the entrance of the dugout.

GOBIN
I wonder ....

He starts up the steps.

CHICO
What time is it?

GOBIN
(as he goes out)
A little before eleven. Almost your time.

EXT. DUGOUT

as Gobin comes out and looks about.

FROM HIS ANGLE

A sea of low lying gas coming toward him.

GOBIN
He yanks his mask free and calls out:

GOBIN
Chico, Gas!

INT. DUGOUT

Chico has his silver medal in his hand and is looking at it. Already gas is pouring down
into the dugout. Out of scene we hear:
 126

GOBIN1S VOICE
Chico!

CHICO
Chico -- Diane -- Heaven.

Chico smells the gas, feels at his neck for his gas mask and realizes that it is not there.
Holding his hand over his face he staggers across the dugout to where his things are
piled up. As he gropes for his mask, holding his hand over his face, there is a terrific
explosion -- the scene is filled with smoke and dust as the roof crashes in.

DISSOLVE TO:

INT. CHURCH CRYPT - DAY

The many arched crypt has been converted into a laundry for the hospital. There are
rows of tubs and ten or twelve women working at them. CAMERA MOVES DOWN
OVER the line of women, the last one in the line being Marie, who is scrubbing out
some sheets. CAMERA MOVES ON to a secluded corner of the crypt until we come to
Diane. She is holding her medal in her hand, her face radiant.

DIANE
…Diane --

She gives a little cry, her hand goes to her throat, she looks down, staring at the medal.
Marie comes into the scene, an anxious expression on her face.

MARIE
Diane -- what's the matter?

DIANE
(dully)
I don't know, Chico was with me -- talking to me just as
always -- and then….

MARIE
Don't, Diane -- you're tired.

DIANE
Nothing like that ever happened before.

MARIE
Go up and get some air. I'll finish your work.

DIANE
No -- I'm all right.
 127

She goes back to her laundry tub, as does Marie.

DISSOLVE TO:

EXT. FRONT LINE DRESSING STATION - DAY

In the b,g. is a small hut. Ambulances are driving up, discharging their wounded. The
place is so crowded that most of the wounded must remain outside on their stretchers
waiting for attention.

The CAMERA MOVES UP to Father Chevillon, who wears a steel helmet and is
dressed in a black cassock ·with a Red Cross arm-band. An orderly calls to him:

ORDERLY
Here, Father -- you're wanted here.

Father Chevillon goes over and kneels beside one of the stretchers. CAMERA
MOVES UP and we see the wounded man is Chico -- he lies on his back, his uniform
torn and all bloody.

FATHER CHEVILLON
(he recognizes Chico)
Why -- it's Chico -- my atheist!

CHICO
(he looks unseeingly at Father Chevillon)
Who is it?

FATHER CHEVILLON
· Father Chevillon.

CHICO
Oh… You're in at the last, are you?
(he shakes his head)
Well -- don't think because I might need your God now,
I'll give in to you. I'm still -- I'm still….

FATHER CHEVILLON
Yes, my boy, a very remarkable atheist.

A fierce fit of coughing seizes Chico.

 128

CHICO
When you see Diane, tell her I died looking up.

Another fit of coughing seizes him. Chico draws a great gasping breath, and Father
Chevillon starts to perform the rites of Extreme Unction.

FADE OUT
 129

FADE IN

EXT. ROOFTOPS - DAY

As LONG a SHOT as possible, centering on Aristide's home. The CAMERA moves

rapidly up to a MEDIUM SHOT of Diane. She is setting out a bowl of milk for several of
Aristide's cats. For a moment she sits on the bottom step, watching the cats -- then looks
around over the rooftops.

FROM HER ANGLE - FULL SHOT

We SHOOT toward several of the other rooms opening on the rooftops on this particular
building or other buildings. There are flags flying from most of the windows. CAMERA
PANS around until we center on the window of Gobin's home. CAMERA MOVES UP
to the window. As it does so - we

DISSOLVE TO:

INT. GOBINS' SITTING ROOM

Gobin, in uniform, with one sleeve empty, stands beside Marie. They are looking out the
window. We SHOOT over their shoulders so that we can sec in the extreme b.g., through
the window, Diane on the bottom step. Gobin and Marie look at her, then turn into the
CAMERA. Mario looks questioningly at Gobin. He shrugs.

GOBIN
I'm trying to got the courage to tell her.

Marie looks back once more toward Diane. Then out of scene we hear a bang on the door.

CUT TO:

WIDER ANGLE

Marie goes to the door and admits Boul, another cab driver, and two women, who are
evidently friends of the Gobins. Boul carries bottles and packages in his arms. He wears
the uniform of a private in the Motor Transport Service.

BOUL
(as he looks from Marie to Gobin)
What's the matter with you two? From your faces you
would think the war was just beginning, instead of ending.
 130

He plunks the bottles, etc., down on the table.

MARIE & GOBIN

(ad lib)
Hello, Papa Boul, Hello, Josephine. Hello, Anne. Hello,
Jacques.

AD LIB
(from the two women and Jacques)
Hello, M'sieu Gobin, Hello, Marie.

BOUL
When can we begin to celebrate?

As Gobin and Marie help their guests off with their things.

CUT TO:

EXT. ARISTIDE'S HOME

Diane is still sitting watching the cats. She looks up as Aristide comes into the scene
from the direction of the door which leads to the floor below. He is carrying his
satchel of books,

DIANE
What are you doing back so early?

ARISTIDE
(as he sets down his satchel)
Who could I sell my books to? It's madness they want
this morning -- not wisdom.

DIANE
Are there crowds in the streets already?

ARISTIDE
(nodding)
All you can do to make your way along.
 131

DIANE
Then I'd better be on my way to the hospital. The work
there won't stop at eleven o'clock.
(she starts to go - then turns back)
Aristide, you haven't stopped watching the stars, have
you?

ARISTIDE
I watch them -- but what they have to say has become a
mystery to me.
(he sighs)
I couldn't foresee these years of desolation. How can I
pretend to read the stars?

DIANE
But you can still see Chico's star?

Aristide looks at her queerly, and leans over to stroke one of the cats.

ARISTIDE
(he mutters)
My eyes are growing weaker. Last night I could barely
distinguish Arcturus. And there's no brighter star than
that.
.
DIANE
And couldn't you see Chico's star at all?

ARISTIDE
I told you -- my eyes…

DIANE
Of course -- it's just that you can't see it so well.
Because I hear him -- more clearly than ever. Every day.
(she pauses - looks at him doubtfully, wanting to
be reassured)
So his star must be there -- shining as brightly as ever.
 132

ARISTIDE
(after a slight hesitation)
Of course.
(he picks up his books)
Thank you for feeding the cats.
(he starts up the steps~ then turns)
And thank you for all your kindnesses, Diane.

DIANE
Oh – please…

ARISTIDE
Chico knew so much better than I. You are a fine, good
girl - and I was an arrogant fool.
(he heaves a sigh)
Four years it's taken me to say that -- but there it is.

DIANE
Oh -- Aristide.

Suddenly she goes to him, quickly kisses him on the cheek, and then runs toward the
plank, leaving him staring after her. As she crosses the plank -

CUT TO:

INT. CHICO'S ROOM

Diane comes in, closing the window after her. She stops as she sees Brissac, now dressed
in the uniform of a lieutenant, standing by the table. He wears a flower in his buttonhole,
another behind his ear. He seems to have been celebrating, but now his face is very grave.

DIANE
Why, M'sieu Brissac!

Brissac doesn't say anything, but looks at her anxiously. His hand goes to the flower
behind his ear; he pulls it away, drops it on the floor.

BRISSAC
(apologetically)
I was getting ready to celebrate - when the Armistice
begins.
 133

DIANE
But why shouldn't you celebrate?

BRISSAC
Diane – I -- I didn't want to be the one to tell you – but
I -- I just came from the War Office. They were putting
up the casualty lists.

Diane stares at him, a look of terror in her face.

BRISSAC
(he takes a paper from his pocket)
Your husband's name was on the list.

DIANE
You mean -- he's been wounded?

BRISSAC
No -- he was on the list of those killed in action.

DIANE
(slowly)
Killed?

BRISSAC
It must have been days -- maybe weeks ago. Those lists
are always that late.

DIANE
(suddenly reassured)
No -- then it couldn't be. Yesterday he was alive -- he
came to me - just as always.

BRISSAC
Oh -- Diane -- there couldn't be a mistake.

DIANE
But there must be -- there must be! Chico is alive! Gobin
will know!

Suddenly she turns and runs toward the window.

BRISSAC
Diane -- wait.
But already she has flung the window open and run out across the plank.
 134

EXT. ROOFTOP -- OUTSIDE GOBIN'S HOUSE

As Diane runs up to Gobin's door. She knocks on it, Gobin opens it. From inside we hear
talking and laughter. Gobin, closing the door behind him, comes out.

DIANE
M'sieu Gobin -- it isn't true -- tell me it isn't! You were
with Chico.

He doesn't answer, looks away. Then slowly he takes from his pocket an identification
disk and the religious medal. Slowly he hands them to her. She takes them in her hands,
stares at them.

GOBIN
They gave me those at the hospital.

For a long moment she continues to stare at the medals and the disk. Then slowly she turns
away.

GOBIN
You mustn't go back there alone. Wait till I call Marie.

DIANE
(dully)
No -- I'm all right.

She slowly walks toward the plank, Gobin watching after her helplessly.

INT. CHICO'S ROOM

Brissac is standing by the window as Diane comes in. He watches her silently as she goes
and sits by the table.

BRISSAC
(going toward her)
Diane, my poor child. You must have courage.

DIANE
(bitterly -- throwing away the hand he puts on her
arm)
Courage!

BRISSAC
Diane -- this is no place for you now.
 135

DIANE
He never came at all. I just imagined that he came here,
didn't I?

BRISSAC
Yes.

DIANE
It seems so foolish now.

BRISSAC
Poor Diane.

DIANE
I was so sure. I thought God was helping me. Four years!
What nonsense! What childish nonsense!

BRISSAC
From now on I'm going to take care of you.
-·
DIANE
(utterly crushed)
Yes -- what does it matter.

BRISSAC
(raising her to her feet)
Come.

Brissac leads her to the door. She stops, turns and wistfully regards the room. She places
Chico's medal on the table.

DIANE
I called it Heaven!

The clock on the wall starts to strike eleven. She eagerly goes back to the middle of the
room and stands as if waiting for something to happen.

DIANE
(closing her eyes very softly)
Chico -- Diane -- Heaven.

Brissac steps toward her. She stands irresolute, looking about.

BRISSAC
What is it?
 136

DIANE
(as if coming out of a dream)
Eleven o'clock. I got so in the habit of believing. I'm right
back at the beginning.

BRISSAC
Come away, Diane -- please.

DIANE
Yes -- yes.

Suddenly the booming of cannon rattles the window.

DIANE
Listen!

Brissac goes to the window and opens it. The full roar of the Armistice - bells ringing,
the booming of artillery, bands, the great roar of many people - bursts in. Diane does not
follow Brissac, but sinks back into a chair.

SHOT FROM BRISSAC'S ANGLE

SHOOTING across the rooftops. From all the windows heads appear, yelling, shouting.
From those rooms which actually open onto the rooftops we see people rush out to the
parapet and look down into the street below. In the f.g. we see Boul, followed by Gobin,
Marie and their friends, come rushing out. Boul starts a dance with Gobin and the others
-- going round and round in a circle. Boul almost falls on his face when he reaches for
Gobin's arm and misses it.

INT. CHICO'S ROOM

Brissac turns back to Diane.

BRISSAC
Come look -- it's over! They've signed the Armistice!
Look at them! Look!

Diane does not move. Brissac, in his excitement forgetting even Diane, leans out, joins in
the cheering, waving his arms at the people across the way. Gobin, Boul and the rest
come to the edge of the parapet. They look down into the street.
 137

FROM THEIR ANGLE

LONG SHOT of the street below: people running out, cheering, yelling, etc. ·

EXT. CHICO'S ROOM - NEAR PLANK

BOUL
(seeing Brissac)
Hey, you there! Come and join us! I'll even speak to a
lieutenant today.

JACQUES
(to one of the women)
Come on -- let's get him!

Boul, teetering precariously, starts across the plank, followed by the others.

INT. CHICO'S ROOM :

as they storm in. The women grab Brissac by the arms and start to dance with him.

BRISSAC
No -- no.

BOUL
(seeing Diane -- who still sits alone)
Diane, come and celebrate with us! The war is over!

He starts toward her. Diane does not move. Boul stops as the door suddenly opens and
Father Chevillon comes in.

FATHER CHEVILLON
(sharply)
Boul!

The others stop as they see him. He makes a gesture for them to go. They look
wonderingly at him, then go out of the window and across the plank where the
celebration still goes on. Brissac closes the window after them, and then turns to watch
Father Chevillon and Diane. Father Chevillon walks slowly over to Diane.
 138

FATHER CHEVILLON
I came as soon as I could, Diane.

Diane does not seem to hear.

FATHER CHEVILLON
I was with Chico at the last. He told me to tell you that
he died looking up.

DIANE
(slowly)
When did he die?

FATHER CHEVILLON
Nearly three weeks ago.

DIANE
Three weeks ago! …
(she looks at him crazily)

FATHER CHEVILLON
Diane -- will you pray with me?

He takes his rosary, kneels, looks at her pleadingly, She stares at him, her eyes wild,
and suddenly springs to her feet.

DIANE
Pray? Pray! To what I'd like to know! Tell me! Tell me!
To a nonsense they call God!

BRISSAC
(coming up to her)
Diane dear -- don't.

DIANE
Oh -- get away, I know what I'm talking about. For four
years I believed I was married -- and there was a God
protecting me! God! There's nothing! It's all false! My
hope in Chico was false! I pretended this place was
Heaven. I clung to that Idea, as Chico told me to. Now
Chico is dead -- and I know what he knew. God doesn't
exist! There's nothing! Nothing! Nothing!

Father Chevillon, with bowed head, continues to pray, telling his rosary.
 139

BRISSAC
Diane -- please let me take you away.

DIANE
(incoherently)
Yes -- take me away -- wherever you want to go.
Anywhere. It's over! It's over!

She lets Brissac put his arms around her.

CUT TO:

INT. HALLWAY FIRST FLOOR

It is jammed with people; some of them an overflow from the crowd in the street, and
some of them coming from rooms. Shouting -- throwing confetti -- the noise of the
Armistice is at full crescendo. Through the milling crowd we suddenly see Chico by the
door, his uniform all torn, his hair disheveled. He fights his way toward the stairway.
CAMERA FOLLOWS him as he feels for the bannister and pulls himself up.

CHICO
Diane!

The CAMERA FOLLOWS him up the first flight.

CUT TO:

INT. CHICO'S ROOM

BRISSAC
(his arms around Diane)
Diane, my dear -- I know how you've suffered. You'll
never be unhappy again.

She rests her head against his shoulder and does not seem to hear. Father Chevillon still
silently prays.

CUT TO:

FLASH OF THE THIRD OR FOURTH FLIGHT OF STAIRS

Chico is fighting his way up.

 140

CHICO
(louder this time)
Diane!

CUT BACK TO:

INT. CHICO'S ROOM

BRISSAC
(to Diane)
We'll go to my home -- wouldn't you like that? There
you'll be quiet.

DIANE
(bitterly)
Quiet!

Now for the first time we hear from out of scene:

CHICO'S VOICE
Diane!

Diane turns toward the door. It is flung open and Chico comes in. Diane, breaking
away from Brissac, stares at him unbelievingly.

DIANE
Chico!

CHICO
Diane!
(he puts his arms out)
Where are you?

Diane stops as she realizes that Chico is blind, then flings herself into his arms.

CHICO
Ah, my Diane. My eyes are still filled with you.

DIANE
They tried to tell me you were dead but I wouldn't
believe it.
 141

CHICO
They tried to tell me I was dead -- but when I woke up in
the hospital in Paris -- near you -- snake of snakes -- I
knew better! Bah! Death? I've been hit by every shell
that's made -- but I'll never die! And I'll see! They can't
keep me blind! Because - oh, now that I'm blind -- I can
see. The Idea inside of me was God -- so I am here. I tell
you -- I'm a very remarkable fellow!

FADE OUT

THE END