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Curtains
CURTAINS - Webpage 2 of 2 INT. KITCHEN –
DAY Vera works at the
stove. Elizabeth enters, looking a
little tired. She goes to the alcove and
sits down at the table. VERA Would you like some tea? ELIZABETH Yes, I would, Vera. Very much. VERA Sit down. I'll fix it. ELIZABETH Thank you. Vera has water
boiling already and pours the steaming liquid into two cups. Over the next few exchanges, she makes the
tea and brings two cups to the alcove table, joining Elizabeth. VERA Were you always in domestic service? ELIZABETH ...Do I seem - unsuitable? VERA No.
No. There's just a - an air – about you... ELIZABETH I was a housewife once. Vera’s expression
shows that isn’t the answer. Elizabeth
thinks about it. Vera pushes the sugar
and cream bowls toward Elizabeth, who takes some of each. ELIZABETH (CONT’D) And I - did some acting... VERA Oh, that. I think everyone in this town was, or is, or plans to be, an actor. ELIZABETH For me, it was in London. My late teens.
Early 20’s. VERA It's not always a nice profession for a young girl. ELIZABETH So my mother said. VERA She was right. ELIZABETH I don't know. Her reaction was so strong, I never formed my own opinion on that. But I do know it can be heady and frightening. You're the same person you were when no one knew you - but then – they "know" you – and you
never really - again - know who your friends are. What do they want? Is it you or - VERA That only happens with success. Out the window,
DUANE “MONTY” MONTGOMERY is seen, coming from the back gate. He's in his 70's, healthy in appearance, with
a warm, alert expression on his lined face. VERA (CONT’D) Miss Maggie has company. (to Elizabeth's surprise) Duane Montgomery. Everybody calls him Monty. He lives up the hill. When you see her going out the back gate, that's where she's usually going. ELIZABETH Who is he? VERA An old family friend. Used to be a critic. Outside, Jacques
comes out of the servant quarters. Monty
and he have a word, then Monty continues on to the woods and Jacques comes into
the kitchen. JACQUES (to Elizabeth) How is she today? ELIZABETH Fine, but she says you've been ignoring her. Jacques looks
away at that. ELIZABETH (CONT’D) She ate all her lunch, but that was hours ago Perhaps she'd like some dessert? JACQUES I made some date crunch parfait for her. He puts together
a tray with the dessert. VERA If she won't eat it, I will! Jacques smiles at
the compliment and then exits with the tray.
Vera gives Elizabeth a look of appreciation. INT. STAIRCASE –
DAY Jacques goes up
the stairs with the tray. INT. MISS
KINGSLEY’S BEDROOM – DAY All the curtains
are open, which startles Jacques when he enters. JACQUES Hello, my lady. I brought you a little surprise. MISS KINGSLEY Where have you been? JACQUES Taking care of your house, Miss Kingsley. Elizabeth takes such good care of you. MISS KINGSLEY She does. And she's more patient with me than you are. JACQUES (stiffly) I try to be patient, Madam. MISS KINGSLEY Oh, let me tease you, for goodness sakes! Jacques sets the
tray on the bed and tucks a napkin under Miss Kingsley's chin. MISS KINGSLEY (CONT’D) Good heavens, Jacques! I can't eat all this! JACQUES Shall I take it away? MISS
KINGSLEY Of course not! I just can't eat it all!
That's all I'm saying. JACQUES Yes, madam. Not only are the
curtains open, but two doors are also open. This disturbs Jacques and he goes
to close them. MISS KINGSLEY No!
I want them that way. Leave it. JACQUES There's a draft on you, my lady. MISS KINGSLEY Elizabeth says I'm meaner than any draft. JACQUES Very well then. Miss Kingsley is
eating the dessert. Jacques stands at a respectable distance. MISS KINGSLEY Why are you staring at me like that?
What's the matter with you? JACQUES I beg your pardon. It is so – good to see you so - well. Miss Kingsley,
very pleased, lowers her eyes "modestly". JACQUES (CONT’D) Perhaps - MISS KINGSLEY Perhaps what? JACQUES Now that you feel better... Miss Kingsley
knows what's coming and puts down her fork. MISS KINGSLEY Now that I feel better – what do you want? JACQUES Without any trouble to you, Madam, without any discomfort, without - MISS KINGSLEY No. JACQUES Why not, Madam?! MISS KINGSLEY Because I can't go. JACQUES But - MISS KINGSLEY And I won't go. - So there
won't be any ball. JACQUES It's all that's left... MISS KINGSLEY I'm still here! JACQUES That is why it must be. Miss Kingsley's
hand has gone up to the star necklace, absently. Jacques stares at it, making her aware of it.
He moves closer to her. JACQUES (CONT’D) Madam, you have an obligation. (refers to the star) You must live up to that. MISS KINGSLEY I have lived up to this! JACQUES And you should continue to do so. MISS KINGSLEY By having a ball?! JACQUES That's all that's left, Madam. If there were something else - MISS KINGSLEY I am! JACQUES But unless - MISS KINGSLEY Get out of this room! Get out of this room! She throws the
plate on the floor and then the tray. MISS KINGSLEY (CONT’D) Go!
Go! Go! Jacques leaves,
broken, passing Elizabeth in the suite's hallway without acknowledging
her. Elizabeth enters the bedroom. MISS KINGSLEY (CONT’D) Close the curtains! Elizabeth crosses
the room, draws the curtains. Miss
Kingsley stares at the floor, angry and silent.
Elizabeth goes to pick up the tray. MISS KINGSLEY (CONT’D) Leave me alone! ELIZABETH Yes, Miss Kingsley. Elizabeth exits
the suite. INT. KITCHEN –
EVENING Vera, Bridget and
Elizabeth eat dinner in silence.
Jacques' chair is conspicuously empty. VERA (close to tears) I'm taking him some dinner. Bridget nods
toward the servant quarters. BRIDGET He's not there. He's watching old movies in the screening room. VERA (to Elizabeth) Why can't you talk to her? ELIZABETH Why is the ball so important? VERA I'm not sure it is. Elizabeth rises
and leaves the kitchen heading to the foyer by the stairway. INT. DOWNSTAIRS
FOYER – EVENING Elizabeth KNOCKS
on a door near the full-length portrait of Victoria Kingsley. There is no answer. She KNOCKS again. Finally, she opens the door and enters. INT. SCREENING
ROOM – EVENING In the screening
room, Jacques sits alone in the dark, before a flickering screen. No film is being projected. ELIZABETH Jacques... He does not
answer. She goes to him. ELIZABETH
(CONT’D) I'll ask her, too, Jacques. JACQUES She won't listen. ELIZABETH What should I say? Why should she have the ball, Jacques? JACQUES
Because she is Victoria Kingsley. EXT. GARDEN/POOL
AREA AT CORNER OF THE HOUSE - NIGHT On the house’s
second floor, near the stairway, one of the French doors to Miss Kingsley’s
bedroom is open, the curtain stirring slightly in the breeze. INT. MISS
KINGSLEY’S BEDROOM – NIGHT Miss Kingsley's
light is on. She's sitting up, but she's
nodding and napping. FOOTSTEPS are heard
on the balcony and the curtains move as Oliver steps in and crosses to the bed.
Miss Kingsley opens her eyes and starts, then smiles in delight and holds out
her hands. Oliver takes them and kisses
her hands. OLIVER
Hello, Grandmother! MISS
KINGSLEY Hello, my boy. OLIVER I brought you something. Oliver pulls a
folded magazine out of his pocket. She
pushes it away. MISS
KINGSLEY Why haven't you been to see me this week? OLIVER It's not been that long?! Miss Kingsley
nods “sorrowfully”. Oliver looks at her
with "great doubt". OLIVER
(CONT’D) Have you had the light on? She nods but he
still "doubts". OLIVER
(CONT’D) Have you, Grandmother? She begins to
lose her sureness and just sits there, picking at his cuff. OLIVER
(CONT’D) I say, you are looking well! That old girl takes good care of you. MISS
KINGSLEY Oh, yes. She's a dear, Oliver. Oliver opens the
magazine and shows the cover to her:
it's a detective magazine. OLIVER Well? Miss Kingsley
smiles in delight. He looks up the Table
of Contents and then hands her the magazine. OLIVER
(CONT’D) Now, pick your story. He turns up the
light and moves a chair closer. She
picks out a story and shows it to him. MISS
KINGSLEY This one. OLIVER (reading) "Murder and the Meatpacker's Barber." Oliver looks up
the page. MISS
KINGSLEY Where have you been all week?
OLIVER Looking for a job. MISS
KINGSLEY A job!
What kind? OLIVER I don't know. Whatever.
Dishwasher. Bartender.
Waiter. MISS
KINGSLEY You're joking. OLIVER No. MISS
KINGSLEY There's no money in that! You don't mean it. You're just trying to make me feel badly. OLIVER It's good money for some and I only asked you for a thousand or so more a month. MISS
KINGSLEY I can't help that! The lawyer won't listen, Oliver. He just won't listen! OLIVER I know. So I must do something about it myself. Anyway, I won't be able to come as often when I start working, so let's enjoy the evening. MISS
KINGSLEY That's blackmail. OLIVER That's life. Now, let us begin. He leans back and
begins reading the story. EXT. SERVANT
QUARTERS – NIGHT Lights are on in
some of the windows. INT. SERVANT
QUARTERS, LIVING ROOM – NIGHT Two thirds of the
downstairs is a spacious living room with a kitchen off to the right. To the left is a stairway to the second floor
of five bedrooms. In the living
room, Vera and Elizabeth play cards. Vera draws a card, rearranges her hand,
then lays it down. VERA Gin. ELIZABETH Again. Vera gathers up
the cards to reshuffle. VERA It's easy to beat someone who's as distracted as you are. ELIZABETH You play well, Vera. VERA ...Are you ever homesick? ELIZABETH Not really. - Where's your family? VERA Ten miles from here, in the
Valley. I've a grown daughter. Her and her husband own a sporting goods
store. And I have three perfect grandchildren. Family is everything. Elizabeth’s smile
fades at the last words. She rises and
walks around the room, somewhat restlessly. VERA (CONT’D) Did I say something wrong? ELIZABETH (touching Vera's shoulder) No, Vera. You are absolutely right. VERA Is it time for one of your evening travels? ELIZABETH Do you think they mind my walking around some nights? VERA Who would notice? EXT. GARDEN –
NIGHT Elizabeth sits in
the garden, lost in thought. EXT. MISS KINGSLEY’S BALCONY – NIGHT Oliver steps out
of Miss Kingsley’s bedroom, pulls the door behind him and comes down the
exterior staircase. EXT. GARDEN/POOL
AREA, CORNER OF HOUSE – NIGHT As Oliver walks
along the pool, near the garden, he is startled to see Elizabeth. She does not notice him at first. Oliver quickly recovers. OLIVER Ah, our resident nightingale! So how is the old girl? Elizabeth ignores
him. OLIVER
(CONT’D) I say, you're as unfriendly as the old bird herself. Take after her, I guess. But now me, take me, for instance. I'm not only the image of our dear old grandfather, but possessed of all his legendary charm. ELIZABETH I'm sure you'll die the same as he, too. OLIVER I'd have to hook up with something like her to be driven to that much drink – and I couldn't love a woman the way they say he loved her. ELIZABETH You call what he did, love!? OLIVER What?
Hitting a few high spots with a few lovely ladies? ELIZABETH Covering half of Europe with half the women in Europe. OLIVER He had a few flings, middle-aged flings! Could he help it if everything he did was news? He came back, didn't he? And how did she greet him? ELIZABETH He was fortunate she only divorced him. OLIVER He was a fool. But she was a bigger one. ELIZABETH She was a fool?! OLIVER For throwing it all away. ELIZABETH It doesn't appear there was much to throw away. OLIVER You know better than that. Any idiot could see they were a team. And he was her equal! ELIZABETH He humiliated her in front of the world.
She couldn't take him back. OLIVER He humiliated her image – and she put that first. Elizabeth hasn't
thought of that... ELIZABETH ...So, you look like him. That doesn't make you his equal. He, at least, had great talent - and you, next to him, you're just a cheap imitation. OLIVER And what are you? Next to her?
Oh, a great goodie-goodie and she's an old goat. But you've got nothing and she's got - ELIZABETH A pack of leeches hanging around, waiting for her to die! OLIVER That's right, Elizabeth. But not you, no! You're too noble for anything so despicable as all that. He turns to go
and then swings back on her. OLIVER (CONT’D) Damn it! You're as bad as the rest of us.
Worse! Because you don't even know it. Yes, she's my meal ticket! The best shot I'll ever get at one. And you, well, she's the best shot you'll ever get at that ticket to stardom! ELIZABETH I wrote my own ticket! Oliver stares at
her, not at Elizabeth, but at his sister. OLIVER You’ll never know how much I admired you, big sister. Elizabeth doesn’t
trust him, but, for a moment, she sees her little brother. OLIVER
(CONT’D) Why, Lizzie? Why did you throw it all away? ELIZABETH You wouldn’t understand. He moves closer
to her, reaches out to take her hands, then stops. OLIVER Try me. It’s Ollie, here. You know, your kid brother. The one you used to adore. ELIZABETH ...Used to. OLIVER Why, Lizzie? Why’d you quit? You were really hitting your stride. ELIZABETH I was afraid. OLIVER Of what? ELIZABETH The people. They changed.
They acted crazy about me, but they didn’t know me! It’s – insane. Finally I felt so invisible, I just – I – I was terrified. I had to get away from it. OLIVER Mother dragged you away from it. Now we know why. ELIZABETH There were a few things you
should have been dragged away from. OLIVER I didn’t turn out so badly. I’m lazy and I don’t like to work. But I’m amiable and not hard on the eyes,
And I’ve got courage – something you need more of, Lizzie. ELIZABETH You drove Mother crazy. OLIVER She drove herself crazy. She dragged my father around by his nose, and you, too. She didn’t like me. I didn’t like her. She didn’t like anything, actually. But I liked a lot of things. I think it bothered her when anyone was happy...She was a jealous person, Elizabeth. Always standing between me and anything I cared about. – Between me and you, too. Oliver walks
away. INT. UPSTAIRS
FOYER - DAY BLAINE ANDREWS, a
slim man in his early forties, with a receding hairline, exits Miss Kingsley’s
suite and crosses to the office. He’s
carrying a handful of envelopes. INT. OFFICE –
DAY Alicia sits
behind her desk. Blaine enters and hands
her the envelopes. ALICIA
Hello, Blaine. BLAINE Alicia. They're all there. Alicia glances at
them, then takes a second look at the return address. ALICIA Oh, so the firm has a new partner? BLAINE (smiling) Yes, it does. ALICIA Congratulations to you. INT. UPSTAIRS
FOYER – DAY Blaine steps into
the foyer, ready to leave. Hugh comes
out of his suite, heading to the office. BLAINE Hugh. HUGH Hello, Blaine. Blaine disappears
down the stairs. Hugh comes into
Alicia's office and sits down, looking quite depressed. She pulls one of the envelopes out of the
stack and hands it to him. He accepts it
without pleasure. Behind Hugh,
Alicia sees Elizabeth cross the foyer and enter Miss Kingsley’s suite. When the door closes, Alicia finally speaks. ALICIA Why don't you go to Palm Springs this weekend? Hugh shakes his
head. ALICIA (CONT’D) There are dozens of ladies out there dying to seduce an heir to Golden Green. HUGH They know I don't really have anything. ALICIA Well, they wouldn't, if you hadn't told the first two dozen of them. Hugh nods and
then rises to leave. HUGH You're different, aren't you? ALICIA Don't bet on it. INT. MISS
KINGSLEY’S BEDROOM – DAY. Elizabeth
arranges the pillows behind Miss Kingsley’s head. Miss Kingsley points to her
wheelchair. MISS
KINGSLEY No!
I want to look out the windows. ELIZABETH (very pleased) All right then. She helps Miss
Kingsley into the chair and then wheels her to a French door with open
curtains. Miss Kingsley pats a chair for
Elizabeth to sit on. Elizabeth does so.
They look outside. Then Miss Kingsley
begins to stare at Elizabeth. MISS
KINGSLEY (finally) Your mother must have loved you very much. Elizabeth freezes
and with some pain. Miss Kingsley
touches Elizabeth's hair. MISS
KINGSLEY Did you love your mother? Did you, Elizabeth? ELIZABETH She wasn't very - lovable, Miss Kingsley. MISS
KINGSLEY Oh. Then Miss
Kingsley grabs Elizabeth’s hands. MISS
KINGSLEY (CONT’D) Will you be my little girl, then? Forever and ever? Elizabeth drops
in front of her, fighting tears - not because she believes Miss Kingsley's
apparent vulnerability, but because she would like to. ELIZABETH Don't you have your own little girl? Miss Kingsley
shakes her head with some bitterness and then pulls her hands away. MISS
KINGSLEY Take me back to bed. Elizabeth pushes
the wheelchair back across the room and gently helps Miss Kingsley into
bed. Miss Kingsley is very sleepy. She takes Elizabeth's hand. MISS
KINGSLEY (CONT’D) Be my little girl. She nods
off. Elizabeth stands there, holding the
hand, stricken by her own duplicity. EXT. OLIVER’S
GUESTHOUSE – NIGHT Oliver stands on
the small porch, smoking. He looks up at
the house at Miss Kingsley’s balcony: the light is on. He steps inside
his open door, picks up a magazine, and returns to the porch to find that
Elizabeth is crossing the lawn to him. ELIZABETH Oliver - OLIVER I'm busy just now. ELIZABETH I’ll only be a moment. They enter
Oliver’s suite. INT. OLIVER’S
LIVING ROOM – NIGHT ELIZABETH
(CONT’D) I promised to tell you whatever I decide - Well, I'm leaving – tomorrow, if I can. OLIVER Tomorrow? How... ELIZABETH I'm leaving a note, for Jacques. Got terribly homesick or some such. OLIVER ...That's it, then? You're just – walking out? On grandmamma? And her estate? I hear she's become terribly fond of you. ELIZABETH She's not really fond of anything. Every minute she’s awake she’s just play acting. I – I don’t think I even like her. OLIVER ...Don’t go. ELIZABETH This is not my home. OLIVER But it’s – we’re – your family. ELIZABETH Mother was our family, too. OLIVER She didn’t want a family. She turned away from hers. ELIZABETH But I can’t stay! OLIVER You can! ELIZABETH And do what? I can’t go on faking who I am. And it’s too late to tell them the truth! And I want more than this – a nice place to live, an allowance! I know that’s enough for you, Ollie, but – OLIVER No, it’s not. I’ve been thinking. And I’m getting a job. ELIZABETH Doing what? OLIVER Working in a restaurant. I’ve decided that I’d like to own one. That’s what I want to do. So I’m gonna learn my craft, from the ground up, so to speak. ELIZABETH That’s wonderful! OLIVER Don’t go. ELIZABETH I can’t stay. Oliver looks
miserable. Elizabeth turns toward the
door, then goes back to him, gives him a hug. ELIZABETH
(CONT’D) I’ll write, Ollie. I won’t lose you again. She releases him
and then leaves. EXT. SERVANT
QUARTERS – NIGHT Elizabeth enters
the servant quarters. A moment later,
Maggie comes down the back path, past the servant quarters toward her own cottage. EXT. GOLDEN GREEN
GROUNDS – NIGHT There is only
darkness and silence, building by building. INT. ELIZABETH’S
ROOM – NIGHT It is dark in the
modest room, but outlines can be seen of the bed, dresser and desk, and
Elizabeth, who sits in a chair, legs curled under her. Her eyes are open and she is lost in thought.
Finally, she lays down across the bed, still dressed, closes her eyes, and
tries to sleep. EXT. GOLDEN GREEN
GROUNDS – DAWN INT. ELIZABETH’S
ROOM – DAWN Elizabeth wakes
from her sleep, still dressed. She
rises, picks up a sweater and leaves the room. INT. SERVANT
QUARTERS STAIRWAY – DAWN Elizabeth comes
down the stairs and goes to the front door. EXT. SERVANT
QUARTERS PORCH – DAWN Elizabeth goes to
the railing, leans on it, and looks out over the silent grounds. Then she walks off the porch and crosses to
the garden. EXT. GARDEN –
DAWN Elizabeth wanders
slowly through Miss Maggie’s handiwork. EXT. POOL AREA –
DAWN Elizabeth crosses
from the garden to the pool and sits in one of the chairs. She looks up at Miss Kingsley’s balcony with
a soft expression - that becomes a puzzled expression. EXT. MISS
KINGSLEY’S BALCONY – DAWN Inappropriately,
a curtain billows slightly through an open door onto the balcony. Elizabeth rises and
goes to the bottom of the stairs. She
hesitates, and then climbs the steps to the open French door. She starts pulling it shut, but stops to look
into the bedroom. INT. MISS
KINGSLEY'S BEDROOM – DAWN It is too dark
for Elizabeth to really make out the figure of Miss Kingsley in the bed. She steps into the room, going closer to the
bed. When Elizabeth
stands by the bed, she realizes that Miss Kingsley’s eyes are open and staring
at the ceiling - that she is dead. Elizabeth is
stunned. ELIZABETH ...Grandmother? The star on Miss
Kingsley’s throat glitters. Elizabeth
drops to her knees by the bed and takes one of Miss Kingsley’s hands. She stares at this woman she does not really
like, but finally realizes a great loss. She bows her head and cries silently. EXT. GOLDEN GREEN
FRONT DRIVEWAY – MORNING An ambulance and
a police vehicle are in the circular drive. PERSONNEL close the ambulance's
rear doors. The engine starts up and the
van drives away, silently. INT. KITCHEN –
MORNING Vera, Bridget and
Jacques are at the table. A light
breakfast sits, untouched. Elizabeth
enters from the back door. All are
silent. She pours some
coffee for herself. Jacques looks up at
the buzzer that will not ring again, then exits through the back door before
breaking down. INT. LIVING ROOM
- MORNING Dr. Winters,
Monty and Hugh are there. Again, there
is silence. Oliver enters through a
French door as Bridget brings in coffee.
The DOORBELL
rings. They all look down the hall to
the front door. Bridget goes to that
door and opens it. Blaine enters, comes
down the hall and to the living room. BLAINE Sorry I couldn't get here sooner. MONTY Good morning, Blaine. BLAINE Monty.
Hugh. - Oliver, have you had any recent communications with your mother? Oliver hesitates,
then shakes his head. BLAINE
(CONT’D) That's what I thought. Well I've just sent a cable to that address you gave me several years ago. Oliver nods, then
turns away. BLAINE
(CONT’D) All right now, I think I can hold off the press announcement, until this afternoon, anyway. But when it's made, I want you two (looks at Hugh and Oliver) to keep your remarks to your
loss. Do not discuss family relationships or financial arrangements. Nothing is their business but that Miss Kingsley passed away last night.
HUGH What am I supposed to do about the – the funeral? BLAINE I'm handling the funeral arrangements as she specified, with the help of Monty here. And no one is to discuss any of this with Miss Maggie. Dr. Winters will handle that. Hugh nods. OLIVER Why the delay in announcing my grandmother's death? BLAINE There are some complications. HUGH (alarmed) What kind of complications? The DOORBELL
rings again. BLAINE That should be the police captain. HUGH What's he doing here? BLAINE Routine questions, Hugh. Is Alicia working today? HUGH No, She's - BLAINE Call her, please. Have her come over as soon as possible. Hugh leaves the
room quite upset. Bridget leads
CAPTAIN HAUSER into the living room.
He’s a big man, craggy, immaculate in dress, classy in manner. BRIDGET Captain Hauser. Bridget exits the
room. Blaine shakes the Captain’s hand. BLAINE
Captain Hauser. Blaine Andrews. I’m the deceased’s attorney. As Blaine
introduces the others, Hauser nods at each.
BLAINE
(CONT’D) Mr. Montgomery's a close friend of the family. And Dr. Winters, the family physician. And this is Miss Kingsley's grandson, Oliver
Taylor. Everyone is present on the estate but
for the secretary who should be here shortly. CAPTAIN Dr. Winters, show me what you found. EXT. GARAGE –
DAY Alicia drives in
and parks. She enters the house through
the kitchen. INT. KITCHEN –
DAY Vera, Jacques,
Bridget and Elizabeth are there. Alicia
walks through. INT. LIVING ROOM
– DAY Oliver, Monty and
Hugh are there. Alicia enters. Silently, Oliver pours her coffee. INT. SITTING ROOM
– DAY The Captain,
Blaine and Winters are there. Vera is
standing before the desk. CAPTAIN Thank you, Vera. Vera nods and
leaves the room. CAPTAIN
(CONT’D) (finally) Looks like the balcony door opened by itself. WINTERS The pillow didn't press itself to her face unassisted. BLAINE That is not an absolute, Samuel, only a possibility. CAPTAIN Given the evidence, Mr. Andrews, it’s the probability. There is a
KNOCK. Blaine opens the door to Jacques. BLAINE Yes? Jacques hands
Blaine a cable. JACQUES The answer to your cable, sir, from England. BLAINE Thank you. Blaine takes the
cable, closes the door, opens the envelope and begins reading it. WINTERS There is no evidence of a struggle taking place, Captain. Don't you think - CAPTAIN I think Miss Kingsley knew her intruder. Blaine is shocked
by the contents of the cable. He hands
it to the Captain. INT. HALL OUTSIDE
SITTING ROOM DOOR – DAY Elizabeth knocks
on the sitting room door, which is opened by the Captain. CAPTAIN Come in, Elizabeth. ELIZABETH You asked to see me? CAPTAIN Yes, we have another question for you. The door closes. INT. KITCHEN –
DAY Vera and Bridget
are fixing lunch. BRIDGET (joking) They act like there's been a murder. Vera doesn't
answer. Bridget stops smiling. INT. OFFICE - DAY Alicia sits at
her desk, motionless. The door stands
open. Hugh comes from his suite to the office door. HUGH Alicia - ALICIA Stay away from me. Don't talk to me – not now. Hugh goes back to
his room. EXT. POOL AREA –
DAY Elizabeth sits
near the pool. Monty comes to
the living room French doors. EXT. LIVING ROOM
FRENCH DOORS - DAY Monty sees
Elizabeth and starts toward her. But,
first, he looks down to see Maggie who is digging in the garden. She looks up
at him and then away. He looks at her
with great sympathy and then walks to Elizabeth. EXT. POOL AREA –
DAY Monty comes up to
Elizabeth and then sits near her. MONTY (finally) I’ve seen the cable. Elizabeth nods. MONTY
(CONT’D) It's just like something your grandmother would have done. Elizabeth gives
him a faint smile. ELIZABETH ...They don't understand, do they? MONTY Under different circumstances, it wouldn’t look so – suspicious. ELIZABETH I couldn’t just show-up as her granddaughter! I didn’t know if she knew about me and didn’t want me.
Or – what had happened between her and Mother. I hoped to sort it all out and – well, it doesn’t matter now. – Why did my mother leave here? MONTY Diana eloped. ELIZABETH Who was he? MONTY One of the many who came courting for her then. ELIZABETH Many? MONTY She was very beautiful,
Elizabeth. And there was Golden Green. Victoria warned her about the – opportunists, the many who would come.
It hurt Diana to think that, but then, she was always getting hurt.
Finally, she ran off with one of them, an Englishman, Gerald Rhodes, a bit actor. ELIZABETH What happened to them? MONTY He took her to England, but when he discovered she wanted no part of her family's wealth, he decided not to marry her. He did try to bring her back, but she wouldn't come. So he returned without her, telling your grandmother that he'd take her to Diana. Victoria paid him some money and they went over – but Diana wouldn't come home. Ultimately, Victoria stopped fighting her, fighting it, let her go.
Respected her wishes. Called off the detectives. ELIZABETH ...Do you know what happened to my father? MONTY He died in a prison fight. ELIZABETH What sent him to prison? MONTY Grand larceny. ELIZABETH And my mother never came home... MONTY (shakes his head) And now that you have, Elizabeth, you're in a lot of trouble. INT. SITTING ROOM
– DAY Captain, Blaine
and Winters are in the room. CAPTAIN
I'll have to talk to the sister, Doctor. WINTERS As her physician, Captain - CAPTAIN You'll be present. Silence. WINTERS ...She cannot help you, but you may do her great harm. CAPTAIN The woman moves in and out of here at will. She may have seen something. If she's rational, at all, she can help. If she's not, she won't understand the issues anyway. Winters goes to
the door. WINTERS I don't like it. CAPTAIN (with some harshness) To be more accurate, Doctor, she may not only have seen something, she may have done something. EXT. WOODS – DAY Dr. Winters goes
down the path to Maggie’s cottage. EXT. MAGGIE’S
COTTAGE – DAY Through the
window Maggie can be seen. She sits
quietly, almost sadly. Winters KNOCKS. EXT. WOODS – DAY Winters and
Maggie come up the path to the house. EXT. LIVING ROOM
– DAY The two enter the
house through the living room. INT. FIRST FLOOR
HALL OUTSIDE SITTING ROOM DOOR – DAY Winters opens the
door into the sitting room for Maggie. INT. SITTING ROOM
– DAY The Captain,
Blaine and Monty are present. She walks
straight to the Captain and holds out her hand.
He is surprised, but accepts it. "MAGGIE" Good afternoon, Captain. I understand you wish to ask me some questions. The Captain is
very surprised. He motions her to a
chair. CAPTAIN State your name, please, and the place of your residence. "MAGGIE"/VICTORIA My name is Victoria Kingsley. INT. UPSTAIRS
FOYER - DAY Hugh sits on a
chair in the foyer. Through the office
door he can see Alicia. Both wait. INT. KITCHEN –
DAY Vera and Bridget
sit, waiting. EXT. KITCHEN EXIT
- DAY Elizabeth is on
the steps, waiting. INT. SERVANT
QUARTER’S LIVING ROOM - DAY Jacques sits,
waiting. INT. OLIVER’S
GUESTHOUSE - DAY Oliver is putting
out a cigarette in an ashtray of many. INT. SITTING ROOM
– DAY CAPTAIN Your daughter left two years after the divorce? VICTORIA Yes. CAPTAIN And Mr. Sloane died about eight years later? VICTORIA That is correct. CAPTAIN May I ask why you did not continue with your career? VICTORIA I once had a family, Captain. The spotlight we lived under was blinding. Before I finally removed myself from it, turned it off, I had given up a husband I loved, lost our child and lost myself. Victoria rises,
crosses to a window. VICTORIA (CONT’D) When I looked in the mirror, I just saw “Victoria Kingsley” and I was sick of her. CAPTAIN And when did you – switch places? VICTORIA Some years after Daniel died and Diana left. I began traveling. But there were few places I could go where "Victoria Kingsley"
did not haunt me. I returned here. I helped with some charity projects. CAPTAIN Quite successfully. VICTORIA Thank you. – Then one year, on my birthday, our birthday, I went to see Maggie, as I always did. She was in a facility just outside San Francisco then. But when I arrived, they said I could not see her – possibly never see her
again. For she believed – BLAINE Is all this necessary, Captain? VICTORIA Of course it is, Blaine. – You see, Captain, my sister...When we were young she was as greatly admired as I could ever be. But no matter what she had or what was said about her, she wanted what I had, wanted the same admiration from the same people. She wanted my reviews, my husband, my daughter, my house. She turned her life and then her mind inside-out, wanting to be
me. When I talked to her doctors on that birthday...it seemed she finally had what she most wanted: she thought she was me. The Captain
rises, comes around the desk and pours a glass of water from a decanter. He offers it to Victoria who shakes her head. He keeps the drink for himself. CAPTAIN That's when you - VICTORIA I brought her home. I put her in the cottage. She kept to her bed and of course I hired someone to take care of her. She went through a number of aides at first because she couldn’t stand the sight of attractive women. When I finally found someone who suited her, I had to pay a large bonus for the woman to put up with Maggie’s rudeness. CAPTAIN We can verify that employment? BLAINE Certainly. We use the same agency for most hires. CAPTAIN Miss Kingsley, how did your sister respond to you then? VICTORIA I couldn’t visit her, Captain. It would have shattered her mind. But I could watch, and I did. Her behavior was a parody of what she imagined a great actress to be. Imperialist. Vain.
She had to be fawned over. CAPTAIN If she thought she was you, it’s a pity she didn’t really become you. VICTORIA Her behavior was foreign to me, and unattractive, but I studied her – performance. After a time, I took to my bed and began to behave in the manner I thought she would. It was –
most unpleasant. But it suited my purposes. Finally, I put her in my suite and I moved into the cottage. I gave Maggie what she had bought so dearly, and what I wanted to be rid of. CAPTAIN Being Victoria Kingsley. VICTORIA Being her idea of Victoria
Kingsley. Then, as Maggie, I began to improve, so I could gain some mobility and independence. CAPTAIN You are an exceptional actress, Miss Kingsley. When did you accomplish all this? VICTORIA Six years ago, in April. Blaine thought it wouldn't last a week. MONTY I thought the same. VICTORIA It was worth a try. There was nothing more to lose. BLAINE I didn't approve, Captain. But it suited my client and I followed her instructions. VICTORIA You were marvelous, Blaine. (to the Captain) He dropped my papers off at Monty's each week and I'd go over there and take care of whatever was
necessary. Then he'd bring some papers for Maggie to sign 'though her signature was invalid. BLAINE Thank god the pretense is over. VICTORIA On the contrary, Blaine. Victoria Kingsley will be buried on
Friday. I'll inherit Maggie's share of the estate. Unless - (to the Captain) you stand in my way. Everyone is
surprised. No one is pleased, but the
Captain. CAPTAIN That is wisest for now. Blaine and
Winters start to protest. CAPTAIN (CONT’D) Unless someone meant for Maggie Kingsley to die, which I doubt, there is someone who now believes that Victoria Kingsley is dead. MONTY I see. CAPTAIN And wants it that way. Should they discover their error, they might try to correct it. (to Victoria) Unless, of course, that person is you. BLAINE Captain Hauser! VICTORIA He's quite right, Monty. I understand your point-of-view, Captain. What may I do to help? MONTY Excuse me, Victoria. (to the Captain) You feel certain that someone in
this house took Maggie's life? CAPTAIN Everyone here had opportunity. And motive. And so far, none have a satisfactory alibi. (looks at the men) As for you two, you can’t be present at every interview I conduct. BLAINE I am fully aware of the latitude you have granted, Captain Hauser, and I appreciate your consideration. CAPTAIN It is to my advantage to work from here today. And tomorrow as well, I think. If we cannot solve this – riddle
– by then, we’ll move these proceedings downtown. BLAINE I understand that. While you are here, we will do everything possible to facilitate your efforts. Captain, at this point then, no one person stands out as more - more likely than the others, to you? CAPTAIN I'd like to talk to Elizabeth again. VICTORIA So would I. All but Monty are
surprised. The Captain doesn't like the
idea. MONTY If the girl is not involved, Captain, which is my guess – 'though I'm no policeman, Victoria has decided to tell her of Maggie's death.
Then, if Elizabeth is involved - BLAINE Victoria becomes a shooting duck. VICTORIA Don't be melodramatic, Blaine. – Do you agree, Captain? You may be present if you really think it necessary, but I prefer to meet Elizabeth alone. CAPTAIN The two of you have not met? MONTY Only as the maid and the mad sister. CAPTAIN You and your granddaughter have much in common. EXT. MAGGIE’S
COTTAGE – EVENING Monty and
Elizabeth approach the door. Two
POLICEMEN are already there. One opens
the door for Elizabeth. She enters,
alone. The curtains are open and
throughout the scene the officers can see the movements of the two women. INT. MAGGIE’S
COTTAGE – EVENING It is a spacious,
simply furnished area with many plants. Victoria sits in a chair across the
room. Elizabeth crosses to her and sits
on a stool near her. VICTORIA (finally) Thank you for coming home, Elizabeth. Victoria begins
the conversation with something of the tone and demeanor of Miss Maggie. Only gradually does she let go of that
“performance”. Elizabeth is, of
course, somewhat surprised to see such poise in “Maggie”. Victoria looks at
her granddaughter closely, with some wonder and with authentic fondness. She starts to take Elizabeth’s hands. VICTORIA (CONT’D) May I? ELIZABETH Of course, Miss Maggie. Please do. VICTORIA Why aren’t you addressing me as Aunt Maggie? ELIZABETH You know who I am...? VICTORIA Diana’s daughter. Offspring of that dreadful actor, Gerald
Rhodes. I’m sorry. It isn’t kind to demean your father. ELIZABETH (smiling) That’s all right, Aunt Maggie. Mother was much better at it than you could ever be. VICTORIA Looking at you – it’s almost worth it that he came into our lives. ELIZABETH Almost...? VICTORIA (with warmth) Let me think about that. Victoria chuckles
to herself, then rises and crosses to the mantle where family pictures are
placed. She picks up an 8 X 10 framed
picture of a young woman. Somberly, she
studies it. VICTORIA (CONT’D) Was she ever happy, Elizabeth? ELIZABETH Not in the way you would think of as happy, I suppose. But - but she seemed – well – almost... pleased with her – with – well, the way things were. VICTORIA You are too kind, young woman. ELIZABETH I’m not often “accused” of that, Aunt Maggie. VICTORIA You’re quite good with pantomime. Did you know that?
ELIZABETH (almost a blush) ...It’s been said. VICTORIA Really? ELIZABETH Oh, a long time ago. I – I’ve had some experience. VICTORIA Stage? ELIZABETH Yes, Aunt Maggie. But it was a very long time ago. VICTORIA My dear, you’re not that old. How long ago could it have been? ELIZABETH A lifetime ago. VICTORIA I see. ELIZABETH So!
I’m sure you’ve been told what a wonderful gardener you are. VICTORIA (suppressing a smile) It’s been said. Elizabeth
laughs. Victoria becomes serious. The two regard each other quietly. Then Victoria moves into a pantomime
expressing “I wish I could have seen you as a baby.” Elizabeth looks back at her, with some
sadness. Victoria pantomimes “you were a
‘good’ baby or a ‘bad’ baby?” Elizabeth
smiles and pantomimes several variations of a “bad baby”. Victoria protests
by shaking her head and then takes a “pretend” baby in her arms and sits down
and rocks it, adoring it. She “shows” it
to Elizabeth. None of this is
exaggerated; they move simply, sincerely. Elizabeth goes to
Victoria to look at the baby. After some
thought, her gestures indicate what a “dreadful” baby Victoria has. EXT. MAGGIE’S
COTTAGE – EVENING The two policemen
watch. COP
#1 What the hell are they doing? COP
#2 They’re not hurting each other. That’s all we gotta figure out. COP
#1 Like we could stop anything serious by the time they went at it. COP
#2 Those two women are about as dangerous as my kid’s teddy bear. INT. MAGGIE’S
COTTAGE – EVENING Elizabeth
gestures the request to “hold the baby” herself. Victoria “gives” it to her. Elizabeth rocks it to sleep and then crosses
to a love seat. She “asks” Victoria if
it’s all right to put the baby there.
Victoria nods. Elizabeth lays it
down and puts two pillows between the baby and the edge of the love seat. Victoria walks
back to the mantle and turns her back to Elizabeth. VICTORIA (finally) Was it easy to come here and lie to us? ELIZABETH Oh, Aunt Maggie, I didn’t think about it that way. I didn’t mean – I just didn’t think it would ever – have to be told. I guess.
I don’t know!
I am so sorry! But – VICTORIA Why couldn’t you just walk through the door as her rightful granddaughter? Why didn’t you do that, Elizabeth? ELIZABETH Because I wasn’t! I didn’t know why Mother never returned here. For all I knew she was – was – banished! I didn’t know! But I wanted to see – to see my grandmother. Elizabeth fights
the pain that’s surfacing, turns away from Victoria. VICTORIA I’m sorry it’s turned out like it has. ELIZABETH I have no right to be this sad. You’ve lost your sister! And after all these years together. What a terrible thing to lose. And I’m crying about someone I never knew – never – she was – just – my – The loss of a
dream overwhelms Elizabeth. Victoria
goes to her and puts her arms around her.
Elizabeth silently weeps. Victoria is hard-pressed not to do the same. Then Elizabeth gently pulls away. ELIZABETH (CONT’D) I’m a grown woman. VICTORIA (pulling her back) Yes you are, my dear. And a wise one.
But what a lonely one you are. Elizabeth
“escapes” her this time. ELIZABETH Oh, I miss her. I miss her.
I missed her every day of my life and I didn’t even know I had her. But I missed her. And I’d just found her... VICTORIA Was she as you – expected her to be? Elizabeth sits in
an armchair. ELIZABETH ...No. Victoria sits
opposite her. VICTORIA Did you – like her? ELIZABETH Not really. VICTORIA Then what do you miss, Elizabeth? What is there to miss? ELIZABETH Loving her. - Taking care of her. Having – having some – family. VICTORIA You are too young to hide inside these walls caring for an old and impossible woman. ELIZABETH I know. But just for a while. I so enjoyed thinking of things that would make her smile. She was – well, a very bad girl most of the time.
But I loved – I – needed – I liked - Elizabeth gives
up trying to explain. VICTORIA To love someone. ELIZABETH But I didn’t love her! And she – she didn’t love me. She didn’t seem to love anyone! Victoria does not
speak. She is just listening. Elizabeth forgets her own misery for a
moment, studies Victoria... Another reality begins to dawn on Elizabeth. She becomes almost shy. ELIZABETH But I do have an aunt, don’t I? Victoria rises,
touches Elizabeth’s hair and stares down at her. Victoria’s somberness begins to alarm
Elizabeth who realizes that the idea does not seem as wonderful to her
aunt. Elizabeth’s expression changes to
one of resignation. VICTORIA No, no you don’t, dear, dear Elizabeth. Elizabeth
accepts, with grace, what she takes as rejection. VICTORIA (CONT’D) Your aunt died this week. Elizabeth does
not understand. VICTORIA (CONT’D) Maggie Kingsley will be buried on Friday. Elizabeth finally
understands. Victoria waits. ELIZABETH (in a whisper) Grandmother? EXT. FRONT
DRIVEWAY – DAY The Captain pulls
in behind Winters, who is getting out of his vehicle. A third car is parked there. INT. SITTING ROOM
– DAY Monty, Victoria,
Blaine, Winters and the Captain are present.
The Captain looks at Victoria questioningly, and she nods. He goes to the door. CAPTAIN Miss Rix, please. Alicia enters and
takes the chair the Captain indicates. CAPTAIN
(CONT’D) How did you come to work here, Miss Rix? ALICIA I've explained that already. CAPTAIN Explain it again. ALICIA Mr. Logan hired me on the recommendation of a previous employer. CAPTAIN A Mr. Bascom? Alicia nods. CAPTAIN
(CONT’D) And what were your previous – duties? Alicia stares at
him, knows he knows something. CAPTAIN
(CONT’D) Please answer the question, Miss Rix. ALICIA When you get to whatever you're driving at, I will. CAPTAIN You were an actress once, is that right? ALICIA I made the rounds, years ago. Yes. It didn't work out. CAPTAIN How did you manage to eat, pay the rent, etc. ALICIA The same as any other would-be actress. I was a waitress most of the time, and for a while, I did some modeling. CAPTAIN The modeling became quite lucrative, I would say. ALICIA Would you. CAPTAIN Let me put it this way – modeling led to another line of work which was quite profitable. ALICIA I'm not a call girl, anymore, Captain, if that answers your question. And with this particular job, I need not be. CAPTAIN Mr. Logan pays you well? ALICIA An absurd amount. CAPTAIN
During the two years of employment here, have you, or are you having an affair with Hugh Logan? ALICIA No. (to his obvious disbelief) How do you think I've held onto this job for so long? CAPTAIN In exactly that manner. ALICIA No, Captain. If I had an affair with Hugh Logan, it would go the way of all affairs. CAPTAIN
He has asked you to marry him? ALICIA He's in no position to do that, and you know it. CAPTAIN Was in no position. ALICIA Look, Captain, if Hugh wants to marry me now, he's got it. But I didn't kill his sister to make it possible. I've come a long way from using pennies for bus fare and it's not because I'm stupid. CAPTAIN ...I have a request to make of
you. You may refuse. I hope you'll help. ALICIA What do you want? CAPTAIN
(to Victoria) Miss Maggie? Victoria, who has
listened to all of this with the vague, simple air of Maggie, now lays down on
the sofa. Her head is on one pillow and
another pillow lies beside her. She smiles sweetly at Alicia. CAPTAIN
(CONT’D) Miss Rix, will you take that pillow, please, and place it on Miss Maggie's face? Alicia gets the
picture...she walks over and does as he asked, but with some contempt for the
Captain even imagining her taking this action. CAPTAIN
(CONT’D) Thank you. That is all for now. Alicia nods and
walks to the door, then stops. ALICIA I wouldn't have done it that way. INT. SITTING ROOM
– DAY Oliver enters. CAPTAIN Sit down, Mr. Taylor. Just a few more questions. Oliver sits,
relaxed, casual in manner. OLIVER I assume you confirmed with my sister the minimal part I played in her charade? CAPTAIN I’m interested in something else at the moment. – How often did you visit your grandmother? OLIVER I never met my grandmother. CAPTAIN I beg your pardon. OLIVER I never saw her, I heard her sometimes, noisy old dear. But I was never allowed the privilege of meeting her. The Captain
stares at Blaine. BLAINE We've known a long time, Oliver. Too many requests were made in your behalf. Oliver has no
comment. CAPTAIN What did you talk to her about? Up there in the evenings? What sort of relationship did you have? OLIVER I read her detective stories. CAPTAIN You read to her. OLIVER Detective stories. She was silly over them. It was a real treat for her. – Look, I didn't kill her. I don't kill old ladies, especially not ones as original as that old bird. CAPTAIN Then you won't mind - ? The Captain leads
Oliver to Victoria, who is lying down again. VICTORIA (to Oliver) We're playing a game. You pretend I'm asleep now. The Captain hands
Oliver the pillow. Oliver hesitates. OLIVER (finally) I see. - No, Captain. - Sorry, Aunt Maggie, you'll have to play with someone else. He hands the
pillow back to the Captain. OLIVER (CONT’D) Will that be all, Captain? CAPTAIN For now. Oliver walks out. INT. SITTING ROOM
– DAY A frightened Hugh
stands over Victoria, with the pillow. HUGH I'd - rather not, Captain, I'd - CAPTAIN Why not, Mr. Logan? HUGH I just don't want to. CAPTAIN I'd appreciate your help. Hugh gingerly
holds the pillow above Victoria's face, without touching her. He stands like that for a moment and then
pulls the pillow up. HUGH (to Victoria) Are you all right? Victoria does a
mock dying. HUGH Maggie! BLAINE She's playing, Hugh. CAPTAIN It's all right, Mr. Logan. Thank you.
That's all for now. - Ask Bridget to come in, please. INT. SITTING ROOM
– DAY Bridget stands
before the sofa, the Captain near. He
holds the pillow. Bridget is looking
down at Victoria. BRIDGET I don’t care for this, sir. CAPTAIN Your cooperation is appreciated. BRIDGET I just work here. I don’t have anything to do with – with this. With these – people. CAPTAIN Then this shouldn’t be a problem for you. BRIDGET I shouldn’t even be in here. Why are you asking me to do this? CAPTAIN Young lady, surely you don’t think that your – alliance with Oliver Taylor has gone unnoticed? Bridget’s
discomfort becomes acute. Finally, she
takes the pillow from him and moves closer to Victoria. She really doesn’t understand exactly how to
do this, but after some thought, puts it down on Victoria’s face, pushes a
little, holds it and then looks up at the Captain for further instructions. CAPTAIN
(CONT’D) That’s enough. Thank you. Bridget lifts the
pillow and gives it to him. Then starts
out of the room. CAPTAIN
CONT’D) Please have Jacques come in. Bridget nods and
exits. INT. SITTING ROOM
– DAY Jacques enters
and stands before the Captain. He looks
over to the pillow. JACQUES Captain, if you don't mind, sir, I'd rather not do - as you are going to ask. CAPTAIN Who told you? JACQUES Everyone knows, sir. CAPTAIN I had hoped for that, Jacques. Then maybe someone would make a run for it and clear up this whole thing for us. He smiles at
Jacques, who does not smile in return. CAPTAIN (CONT’D) But you didn't, Jacques. I said, Jacques, you're still here. JACQUES I always am, sir, and, if I may say so – Miss Maggie shouldn't be. WINTERS It's all right, Jacques. She's – We're – VICTORIA We're playing a game. You play, too! The Captain goes
to her and lifts the second pillow.
Victoria lays down. The Captain
waits for Jacques, who just shakes his head. CAPTAIN You must, Jacques. It will only take a minute. He goes to
Jacques and leads him to the sofa. Then
he hands Jacques the pillow. CAPTAIN (CONT’D) Take it, Jacques. JACQUES But the open door! The door was open in her suite, sir. An outsider came in. CAPTAIN That is what someone wants us to believe, Jacques. But it’s not true.
Take the pillow. Victoria smiles
up at Jacques. The Captain gently pushes
the pillow into Jacques’ hands. JACQUES Please, Captain... No one
answers. No one moves. Jacques holds the pillow with one hand on
each side of it. Victoria gently reaches
up, taking his hands with her own - and slowly pulls the pillow down to her
face. Jacques watches, as if it were not
his hands. She does not move. He stares at their hands. Then Victoria's hands go limp and drop.
JACQUES (CONT’D) (crying out) No! He releases the
pillow, which slides to the floor. JACQUES (CONT’D) (looking around at them all) No... He looks down at
Victoria - who is playing dead, eyes staring up at the ceiling. His hands go over his face and he breaks into
sobs. JACQUES (CONT’D) No!
No! No! VICTORIA It's okay. I'm just pretending. I'm not dead, Jacques. I'm just pretending. She closes her
eyes as if she were sleeping. He stares
at her. JACQUES She was already dead. She just slept and ate. I gave her what she wanted. (he looks at the others)
She wasn’t kind anymore. Not for years.
She used to be a great lady.
– She used to be kind. Everyone is
silent at his revelation. JACQUES (CONT’D) She used to be Victoria Kingsley. EXT. MAGGIE’S
COTTAGE – NIGHT Through the open
window, Victoria can be seen seated at a small table. Elizabeth stands near. INT. MAGGIE’S
COTTAGE – NIGHT. ELIZABETH
They're burying you on Friday. VICTORIA It will be a blessing. ELIZABETH I believe it's a betrayal. Victoria looks at
her sharply. Elizabeth returns a calm,
steady gaze. VICTORIA You don't understand. Elizabeth pulls
out the miniature star necklace and looks at it in full view of Victoria. ELIZABETH This belonged to my mother. Victoria gazes at
it with sorrow. ELIZABETH
(CONT’D) Her mother gave it to her. VICTORIA Did she ever wear it? Elizabeth shakes
her head, then drops to a chair by Victoria. ELIZABETH I understand why she didn't...why you can't...I...I even begin to... understand why...I...wouldn't.... And why I must. Victoria looks at
her intently, trying to understand. ELIZABETH
(CONT’D) They say I was quite good. I only know I was happy. The two stare at
each other. Finally, with much
difficulty, Elizabeth holds out the miniature star necklace to Victoria. ELIZABETH
(CONT’D) Will you help me? Victoria's expression
is one of pleasure, until doubt crosses her mind. When Elizabeth
sees the doubt, she drops her own eyes. ELIZABETH
(CONT’D) I'm sorry. VICTORIA Surely you've worn that star before. Elizabeth, with a
slight smile, shakes her head. VICTORIA
(CONT’D) But how could you not? ELIZABETH For the same reason you will not. VICTORIA What do you know of my reasons? ELIZABETH ...There is a...there seems to be a great responsibility, doesn't there?
And then there are all the expectations. Not yours, theirs. And, finally, the thing they make of you...believe of you...becomes more real than...you. It's not... pleasant. The star shines – until it blinds them to you, and finally, you to yourself. VICTORIA What makes you think you'll not be blinded now? ELIZABETH I needed their – “love” then. It was the only affection I knew. But I couldn’t trust it. I was so afraid. And my mother hadn’t seemed to particularly like me before then, but when I went on stage, I think she actually hated me.
But I loved it so...I just wasn’t strong enough. I loved the plays, the roles, the process! But I didn’t trust the – admiration. I gave up what I most cared about, turned away from it. From myself.
From the gift. Everyone has one. You know your own. VICTORIA I don’t enjoy mine, anymore. ELIZABETH Then don’t use it! But don’t stop being you! Victoria is
utterly still. Finally her eyes drop to
Elizabeth's hand. Elizabeth's eyes
follow Victoria's. Then Elizabeth slowly
opens her hand, palm upwards. VICTORIA
(bitterly) Put it around your own neck. Elizabeth shakes
her head, rises, walks around the room. VICTORIA
(CONT’D) Put on the necklace, Elizabeth. ELIZABETH When you wear yours. Victoria stands
and collects the cups and saucers from the table and carries them over to the
sink. Then she goes to her
armchair. Elizabeth takes
the original star necklace from her pocket, the one Maggie had been
wearing. She crosses to Victoria. ELIZABETH
(CONT’D) Monty asked me to give this to
you. He said "return it to the one who
should wear it." VICTORIA You don't know what you ask. ELIZABETH I think I do. In some measure. You’ve retired. You don’t have to work again. But retire as yourself. I think I know what I’m asking. VICTORIA Then how can you ask? Elizabeth's
expression does not change. VICTORIA
(CONT’D) Bury it with Maggie. Elizabeth drops
to Victoria’s footstool. ELIZABETH No!
No, grandmother. Too much has already been lost. Don't let it cost me you, too! Victoria's
expression of pain is soon followed by one of resignation. Elizabeth finally gives up, also. When Victoria
puts out her hand for the star, the original, Elizabeth is confused. Victoria's hand
remains out. Elizabeth places the
necklace in it. Victoria only holds it. VICTORIA If I deny this, you would deny me? ELIZABETH You would deny yourself. That's all I've ever done, Grandmother. This whole family runs from
itself. You're not Maggie Kingsley. - I'm not a maid. Please, take back your name. Your life.
And help me - help me live mine. Victoria studies
Elizabeth's face. Then she takes
the original star necklace, starts to place it on Elizabeth's neck. Elizabeth shakes her head. Victoria gives it
back to Elizabeth, and motions for the miniature. Elizabeth gives it to Victoria. Victoria, facing
Elizabeth, places the miniature star necklace on Elizabeth's neck. Victoria gazes at her with much caring. Elizabeth smiles warmly in return. Then Elizabeth
rises. She stares down at Victoria and
holds out the original star. Victoria
looks at it calmly, then again at Elizabeth.
Finally,
Victoria, very slightly, nods. Elizabeth
walks behind Victoria. She places the original
star necklace on her grandmother's neck.
The clasp closes. Elizabeth rests
her hands on Victoria's shoulders. PULL BACK through the open
window. The two women are framed by the
curtains which move slightly in the night air. FADE OUT: © 2003, Darlene Bridge Lofgren |
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