I Led 3 Lives: Hit & Run

7/25/2019 I Led 3 Lives: Hit & Run

1/48

J

L E D 3

LJV ES

J

DOB

y

Lee Berg

Copyright 1955

ZIV

TELEVISION

PROGRAMS

INC.

7324

Santa Monica

Blvd

.

Hollywood California

FINAL MASTER SCRIPT

November

4

1955


2/48

I LED 3

LIVES

lOOB

SYN

OPSIS

A communist cour

ier

on a

top sec

r

e t mission

,

using

Philbrick ' s

ca

r is involved in a hi t and run accident. The

party

, afraid

that

th

e courier might be caught ,

orders

Philbrick to turn him

sel f in

as

the driver of the hi t and

run

car . Sonia , the l eader

of

Philbrick ' s

ce

l l and r

esentful

of his good party record, pro

pels

him

direct ly

into

the

situation whe

r e

he

must

admit

to

being

the

driver.

With t he aid of

th

e FBI,

th

e courier is caught and

Phi

l br i

ck

exonerated .

CAST

HERBERT A. PHILBRICK

. . .

Counterspy.

SONIA . . .

. . . . . . 25, good-

looking

, cel l l

eade

r .

JAGER . .

. . . . . . . . . C

ou

r

ie r

, same

age

and build

as Phi

l

brick

.

COMR DE BROWN

.

.

35 , a

tremendo

us smiling man , chairman of

the Central Committee .

DANIELS . . . . . . . FBI agent .

G S STATI ON ATTENDANT

MR . WLLARD

. .

. . . . Eye

witness

to

hi t and

r un

accident.

SG

T. RITTER . . . . . . . Detective .

LAB TECHNICIAN .

. .

ELDERLY

WOM N

S.B. ) Acc

id

ent victim .

ARTI

ST

(S

.B.

) . .

. .

SETS

EXTERIORS :

INTERIORS :

Residential Street 1

Residential Street 2

Residential Street

3

Parking

Lot

Gas Station with

Separate

Phone Booth

Garage

Industrial Distr ict

with

Warehouses , Loading

Flatforms

and

Shack

Police Headquar

te

rs

Sonia ' s House

VEHICLES: Philbrick ' s car ; Police car .

Sonia ' s

steps

plus

FBI Lab

House: Foyer with

to second f

loor

l iving room

Room

VOICE OVER : Pgs , A, 1 , 4 . 10, 13 ,

17

, 23 , 27 , 28 , 35 , 41, 45


3/48

OPENING :

CLOSING:

I LED 3

LIVES

lOOB

VOICE OVER

This

is

a

story

a

fantast ical ly

true story . . from

the

fi les of

Herbert

A.

Phi l

brick

who for nine

frightening

years

did lead three

l ives

. . . cit izen

: c

ommunist

counterspy ; and

who

has now

revealed

for the

f i r s t time

his

secret

f i les

concerning

not

only

his

own

activi t ies

1

but a l so the

current

activi t ies

of

other

espionage agents

For

obvious

reasons the names

1

dates and

places

have

been

changed

1

but

the story i s based on

fact

This week Herbert A

Philb

r

ick

A

brings you

the

story of the v

counterspy

who

was

faced

with

T L _

A

Party b e t r ~ y a l because

of

a

h it

- ~

7

~ ~

and run

r ~ v r 7

/ I ~

(OVER

SCENE

67

VOICE

OVER

A counterspy

1

s careful attention

to deta i l helped

him escape a

Communist trap and reveal a top

Red agent


4/48

FADE

IN:

I

LED 3 LIVES lOOB

by

Lee

Berg

Final

11/4/55

E

XT.

RESIDENTIAL

STREET

- DAY

1

FULL SHOT

To ESTABLISH.

2

ANGLE O PHILBRICK S

CAR

2

3

4

5

6

as i t

moves into street .

CLOSER

SHOT

reveals PHILBRICK

a t

the wheel , his

face

stern , his man

ner concentrated.

ANGLE O

CAR

as Philbrick parks i t

CLOSE SHOT -

PHILBRICK

in parked car

,

looks

into

rear

view

mirror

,

then cau

tious ly

looks about him .

VOICE OVER

Even

parking

a

car

becomes a

secret maneuver when you r e on

party business

.

At

least one

block

from

the meeting place

.

And

,

never

twice in

the

same

spot

.

Satisfied Philbrick exits car

.

PAN

SHOT

- PHILBRICK

as

he moves

down

s t reet ,

tu

rns

corner.

3

4

5

6


5/48

7

8

2.

ANOTHER ANGLE

7

as Philbrick pauses makes

certain

that no one is f

ollow

ing him then moves toward house.

C MER PANS

Philbrick

up

to

house HOLDS as he r ings doorbel l

MED .

SHOT

TO I NCLUDE Philbrick and

the

door. We do not see

who

opens the door Philbrick moves quickl y

inside

. Door

closes .

8

INT. HOUSE -

D

Y

9

MED

SHOT

reveals

that

Philbrick is in the foyer

of

a two- story

house steps up

to

second

floor

plus several

c.

losed

9

doors

leading

into other

rooms .

We

also

see the person

who opened the

front

door for Philbrick : . SONIA a comrade

in her

t\ lentie

s.

SONIA

vJhat

kept

you?

PHILBRI

CK

Sorry i f I held up

the

meeting .

But, I

got

here as fast as I

could

.

SON

I A

Never

mind .

Sonia moves ahead

of

Philbrick opens

door

to l iving room

steps inside, Philbrick following C MER PANNING . Door

closes .

INT .

LIVING

ROOM -

D Y

10

11

FULL SHOT

10

reveals a modestly

furnished l iving

room

with

no one in

i t

except Philbrick and

Sonia . Philbrick reacts

start led.

TWO

SHOT

- PHILBRICK ND SONIA

PHILBRICK

Where are

the

others?

SONI A

Ther e are no others . Give me

the

keys to your car .

11

CONTINUED)


6/48

11

CONTINUED:

PHILBRICK

(start led)

The what?

SONIA

The keys to

your car

quickly.

Reacting

almost

automatically

, Philbrick takes the keys

from

his

pocket. Sonia makes a

grab

for them. But

Philbrick

pulls

them

out

of

her

r each.

PHILBRICK

Why?

SONIA

(angri

l y )

This

i s an order

PHILBRICK

Why do you want

the

ke;ys

to my

car?

SONIA

(threateningly)

Comr de Herb, I

think

tha Centra l

Cornmi t tee v1ill be most

interested

in

your r eaction

to

simple par ty

discipline.

(hard )

Do

I get

the

keys?

3.

11

Philbrick

and

Sonia

exchange

hard

glances,

then

casually,

Philbrick hands her

the

keys .

SONIA

(continuing)

Where did you

park

i t ?

PHILBRICK

Around

the

corner ,

near Burton

Sonia turns to leave the room.

Philbrick

puts

his

hand

across the

door to prevent

her

from opening

i t .

PHILBRICK

(continuin

g )

I f you re going any distance ,

you

d

better

f i l l

the

tank.

The

needle

s on empty .

SONIA

You will s i t in here and wait

for me .

(CONTINUED)


7/48

11

CONTINUFJ (2 ):

Sonia

brushes Philbrick ' s arm aside and exits . CAMERA

HOLDS

on Philbrick .

VOICE

OVER

Comrade Sonia . The lady

com

missar with

ice

in her veins

suddenly

seems

disturbed

.

Why

does she need

your

car

, Philbrick?

4.

11

INT . FOYER - DAY

12

ANGLE

ON SONIA

as

she crosses foyer and stops before closed door to

another

room . She raps once and waits. The door opens

and JAGER moves

into

foyer .

Jager

i s about

the

same

age

as Philbrick. At

the

moment , he wears a l ight topcoat

and a

hat

whose

brim

has

been

pulled

out

of

shape

. The

coat

and hat give him

the

subdued appearance of a spy,

which

he is

a Communist

courier with

the

la tes t

party

orders direct from Moscow .

Ja

ge r moves with a high

tension

bounce

to

his walk

. He r eacts ,

almost

clutch

ingly , as Sonia

extends

the keys to him .

SONIA

as

she

hands him

the keys)

The

car is

anound the corner

to

your

r ight . Stop at

the

f i r s t garage and f i l l

i t with

gas

.

JAGER

indicating room

which holds Phil

brick)

What does he know?

Nothing .

his

key

s .

Jage r hesitates .

SONIA

Only that I wanted

SONIA

continuing)

You had bet ter go now, Comrade,

before the FBI picks up your

t ra i l .

Jager

reacts to word FBI and he and Sonia move

to exi t

door ,

CAMERA

PANNING . She opens door , looks outside ,

then signals

to

Jager to

leave

.

CAMERA

HOLDS on

Sonia

as

Jager moves out of house.

12


8/48

INT. LIVING ROOM - DAY

3

4

15

CLOSE

SHOT - PHILBRICK

standin

g

behind curtained

window,

watches the stree t

.

He reacts .

P. O.V. -

JAGER

his face hidden

by

hat

, moves

down

street .

ANGLE ON PHILBRICK

as he moves quickly to

chai

r and s i t s . Sonia enters .

PHILBRICK

Back

so

soon?

SONIA

Your humor is misplaced.

PHILBRICK

Is

there

or is

there

not

a

special

meeti

ng?

SONIA

There

is

not

.

Philbrick

starts

to get

up .

SONIA

continuing;

firmly)

You will

s i t

and wait .

Standing in front

of his chair , Philbrick

studies

Sonia

for

a moment, then

does

just as

she

says .

EXT . RESIDENTIAL STREET -

D Y

6

7

ANGLE ON J AGER

as

he

approac

hes

Philbrick

s

car

,

opens

door

, and

gets

behind

wheel

.

CLOSE SHOT -

JAGER

behind

the wheel

, his eyes darting in every

direction.

He t r i e s to

insert

car key into

ignit ion

lock .

But

his

hand shakes . Almost

angrily, he takes cigarette case

from pocket and

l i

ts

i t with l ighte r from dashboa

rd

.

He

inhales

deeply. hen

his

ne

rves

under control ,

Jager

s tar ts

the

car .

5.

3

4

5

6

7


9/48

18 ANGLE ON

CAR

as i t moves up street .

DISSOLVE

TO:

6.

18

EXT . G S STATION -

D Y

19

20

21

22

23

FULL SHOT

19

to ESTABLISH .

ANGLE ON PHILBRICK S CAR 20

as

Jager

drives i t into

service

station . Gas station

ATTENDANT moves to car and confrcn ts

Jager

.

ATTENDANT

Yessir .

JAGER

Fi l l

i t

up with regular .

TTENDANT

Yessir.

Attendant

moves to pump ,

C MER

PANNING,

opens tank,

inserts

nozzle and s tar ts f i l l ing

the

tank

.

CLOSE

SHOT

-

JAGER 21

as he

thrm ls

one

cigarette

butt

out the

window and

ner

vously

l ights another , again using the dashboard l ighter,

O. s .

SOUND

of gas pump .

ANGLE ON ATTENDANT

as he stops ,

replaces

hose,

closes

tank and moves to

Jager, C MER PANNING .

TWO SHOT

- JAGER

ND

ATTENDANT

ATTENDANT

Check your

oi l

and water , sir

JAGER

No and don t bother with the

windows .

ATTENDANT

Yessir. That

l l be three -

eighty

four

.

CONTINUED)

22

23


10/48

23

CONTINUED

:

Jager pu

l l s

out

a

rol l

of

bi l l s and hands one to the

attendant,

who

reacts.

ATTENDANT

A twenty? Sir , do you have

anything smaller?

No.

JAGER

brusquely)

Politely, the attendant moves a1. 1ay . CAMERA HOLDS on a

nervous

J

age

r .

7.

23

QUICK

DISSOLVE

TO

:

EXT CITY STREET

-

DAY

24

FULL SHOT

24

to ESTABLISH bustling t r f f ic .

25

MOVING

SHOT

-

PHILBRICK

S CAR

25

as Ja

ger

maneuvers i t

through

t r f f ic

.

QUICK DISSOLVE TO:

EXT

.

RESIDENTIAL

STREET

-

DAY

26

ANGLE

ON PHILBRICK

S

CAR

as

i t

speeds away from CAMERA

EXT

.

ANOTHER

RESIDENTIAL

STREET

-

DAY

27

28

MOVING SHOT -

ELDERLY WOMAN

wearing

topcoat

, as

she

walks to

corner

and s t r ts

across

stree t . O.s. SOUND of car approaching .

Elderly

woman

stops

and

looks

o . s .

in

direction of

sound and

reacts,

horrified.

P. O.

V

-

PHILBRICK

S

CAR

careening

around

corner and

INTO CAMERA

.

26

27

28


11/48

29

30

31

32

33

4

35

36

37

CLOSE SHOT - JAGER

8.

29

behind the whee l , as he sees the woman . He jams on the

brakes . O.s.

SOUND

of

woman screaming

,

screech

of

t i res

,

col

l i sion and g las s breaking .

ANGLE

ON CAR

as i t stops .

ANGLE

ON ELDERLY

WOM N

sprawl ed

in

the road.

ANGLE ON

EYE- W

TNE

SS , JIM

v/ILLARD

in

his early

fort i

es , as he runs from house toward acci

dent

.

He

is

in

his

shir t

sleeves

.

CLOSE

SHOT - JAGER

as he looks back

a t

what

has

happened .

P. O.V.

Willard

running

to elder ly

woman

i n

the

road .

CLOSE

SHOT

- J

AGER

as he

quickly

s tar ts

t he car and drives off .

ANGLE ON WILLARD

as he r

eacts

to O. s .

SOUND of car

mov

in

g away .

p . o

v.

WILLARD

(shouting

angrily

)

Hey, you Come back here Come

back here

Jager s car moving away from C MER and d isappea

rin

g

around co

rner

.

DISSOLVE

TO

:

30

31

32

33

4

35

36

37


12/48

9 .

EXT

. RESIDENTIAL STREET -

DAY

38

39

40

41

42

FULL SHOT

38

to

ESTABLISH

that this

is

the s t ree t where

Philbrick

parked his

car originally . Philbrick s car , Ja

ge

r

at the

wheel, moves into scene

and stops

a t the spot from which

t

was

taken

. The movement

is

quick

and

jerky

and

Jager

brakes the

car

to a

stop

amidst SOUND of squealing brakes.

CLOSE SHOT -

JAGER

39

behind

the wheel

.

His

fac e is a study

in

panic . He s i t s

for a moment t rying to collect his

thoughts

. Then,

quickly

,

he takes

the key from

ignit ion

lock

and

pockets

i t

. He takes handkerchief, looks about to see i f anyone

is

\ latching,

and proceeds to wipe the .fingerprints from

inside

the

car : the wheel , the dashboard , the

handle

on

the door .

IMPORTANT : He forgets to wipe the fingerprints from the

dashboard l ighter .

MED. SHOT

as Jage r

exits

car , handkerchief in hand , wipes finger

prints

from outer door handle ,

quickly

pockets handker-

chief and moves P

AST

C MER .

ANGLE ON JAGER

as he moves

to corner and disappears

around t .

ANOTHER

ANGLE

picks up Jage r as he mov

es quickly

towards

Sonia

s house

pausing

only

long

enough

to look back to

see

i f he

1

s

being

followed

.

Satisfied

,

he

approaches

entrance

.

40

41

42

INT . LIVING ROOM -

DAY

4

Tltl SHOT - PHILBRICK ND

SONIA

4

Philbrick, seated

in chair as we las t saw him,

an

annoyed

expression on his face. Sonia , seated in another cha i r ,

holds a book in her l

ap and

pretends

to

read . But, \ le

readily

notice from the manner

in

which she turns pages

that her thought s are elsewhere .

CONTINUED)


13/48

43

44

5

CONTINUED

:

VOICE

OVER

Whatever i t Philbrick , i t ' s

big

.

Who

' s using

your

car and

why? You ve got to find out .

But you can ' t do i t si t t ing here .

Philbric

k

stands.

Sonia

, star t led ,

lo

oks

up

a t

him .

C MER PULLS BACK .

PHILBRICK

(start ing

to move

past her)

I

m taking a cab back to my

office. I ' l l

pick

up

my

car

late r

Sonia stands and confr

onts Philbrick

.

SONIA

Y

ou wil

l stay

here

PHILBRICK

(angrily )

m I under

suspicion?

SONIA

No But

PHILBRICK

(quickly)

Th

en why did you

l ie

to me about

a

meeting?

Why didn

' t you

come

right

out

and

say

you want

ed

to

borrow my car? You could

hav

e

had

i t without me s i t t ing around

here and . .

10

.

43

Sonia and

Philbrick

r eact

as

door

springs

open and J ager

bursts into ro om .

J AGER

(excit

ed ly)

Comrade , you ' ve got

to

help mel

QUICK CLOSE SHOT - PHILBRICK

as he gets a good look at Jage r

MED . SHOT

as Sonia grabs Jager and hus t les him

out

of

the

room,

closing

the door

behind

her ,

C MER

HOLDING

bri

e fly on

Philbrick .

44

5


14/48

l l .

INT . FOYER -

DAY

46

ANGLE

as Sonia

angrily

pushes Jager , who

is

on the verge

of

hyst

e

r ics

, against a wall .

SONIA

(sotto)

You fool You want everybody

to see

you?l

JAGER

(trying to keep

his

voice to a

whisper

)

I

couldn

' t help i t . I m in

trouble .

SONIA

The

FB

I ?

46

Jager t r ies to speak. But the \'lords st ick in his throat.

Numbly, he shakes his head

neg

a t i

vely . During this scene ,

they

continue to

speak

in whispers.

SONIA

(contin

uine;; im

patiently )

Then, what

is

i t?

Jager can ' t seem to get

the

words out . Coldly,

Sonia

backhands

him

across the face

.

SONIA

(

continui

ng ;

hiss

ing )

What happened?

JAGER

I

hi t

somebody with the car .

I think she s

dead

.

SONIA

Where did i t happen?

JAGER

T\ IO three - - miles from here .

SON

IA

Did anybody

see

you?

JAGER

I think so . But I wiped my

fing e

rprints

from

the

car.

(CONTINUED)


15/48

46

47

CONTINUED :

12 .

46

SONIA

Whe

r e i s

the

car

now?

J AGER

Where

Phi

l brick parked

i t

.

SONIA

At

least

you

thought of

some

thing . Now, gi ve me

the

keys .

Ja

ger hands over

the

keys .

SONIA

continuing )

Go out the back door .

Cut

through the

empty lo t behind

the

garage

. There s a cab

stand

on

the other side

of

the empty

lot

JAGER

indic

a t i

ng room

with

Philbrick )

What

are

you going to

te

l l him?

SONIA

Nothing . Now, go . And don t

f or get to change cabs at least

three

times

just

in case .

C MER HOLDS

on

Sonia as

Ja

ge r

moves

quickly o . s . SOUND

of

door opening

and

closing

.

Sonia shakes

her

head

dis

gustedly

then

composes

her

features .

PAN

SHOT

- SONIA

crosses

foy

er and enters

l iving

r

oom

.

47

INT.

LIVING ROOM

-

DAY

48

MED.

SHOT

as

Sonia

enters

room,

confronts

Philbrick

and

gives

him

the

key

. Her manner is l ight and bree zy .

SONIA

That

wasn t too long a

wait,

was i t , Comrade Herb? Next

time , you will not be so

impatient .

CONTINUED)

48


16/48

48

CONTINUED

:

Philbrick

doesn

t

bother to

reply, moves to

door

.

He

stops

and

turns to

Sonia

as:

SONIA

continuing)

Comrade Herb

a

beat)

you

will

f orget what

happened

.

You didn

t

see

anyone

in

th is

house except

me

.

Philbrick and Sonia e

xchange glances

. Then, Philbrick

exits .

C MER

MOVES IN for CLOSE UP of Sonia as

she

sta r es

ref lect ively

INTO

C MER

.

EXT

RESIDENTIAL STREET -

DAY

49

50

51

52

53

MOVING

SHOT

-

PHIL

BRICK

as he leaves Sonia s

hous

e and walks to the car.

VOICE

OVER

Comrade So

nia

t s you to forget

there

wa s

any

one

els

e

in the

house .

You

l l

forget

i t , Phil

brick ,

as soon

as you

te l l Daniels

of

the

FBI .

ANGLE

ON PHILBRICK S PARKED CAR

Philbrick

mov es

in

to s cene and is

ab

o

ut to open door

when he stops and sta r t s t o

move

around car , examining

i t

.

He

moves

to front

of

car and reacts as

he

looks a t

headlight

,

not visible to

C MER .

CLOSE UP

-

HEADLIGHT

ESTABLISH

I NG

i t

is

brok

e

n,

fragments of

glass

s t i l l

re

maining in

headlight

f r

am

e .

CLOSE

SHOT

-

PHILBRICK

as he ang

r i l

y

surveys the

he

adlight

. C MER

PULLS BACK

as

he moves from

car back to

house .

ANOTHER ANGLE

as he walks

to

Sonia s house .

13

.

48

49

50

51

52

53


17/48

54

ANOTHER

ANGLE

as Philbrick

moves up

steps

to front

door of

house , i s

about

to press button, decides not

to

and

opens

door and

moves inside

house

.

INT

.

FOYER

-

D Y

55

56

FULL SHOT

reveals Sonia about to go up steps

to

second floor as

Philbrick enters and closes door

.

Sonia turns to

Phil

brick

and reacts .

SONIA

What - -

why

did you come back?

Philbrick mov

es

quickly

to Sonia

.

PHILBRICK

angrily

)

What

happened

to my car?

S )NIA

blandl

y }

Nothing .

Angrily , Philbrick controls an

impulse to

shake her.

PHILBRICK

He

was

in an accident

, wasn t

he?

CLOSER SHOT

- PniLBRICI


18/48

CONTINUED:

SONIA

That that

he

turned

a

corner

too

sharply and

andhit the

back of another car

.

PHILBRICK

And

\ lhat

else?

SONIA

Nothing else

.

PHILBRICK

Who

was hurt?

SONIA

Nobod

y .

I t

was

just

another

car.

Philbrick studies her, trying to

de termine

the truth

.

Brazenly

,

she

returns his

look.

PHILBRICK

Why

didn ' t you t e l l me this

before

I l e

f t?

She

sudd

en

ly resumes her

r

rogant pose

.

SONIA

Comrade Herb, the

less

you know

about - - about

the man who drov

e

your

car

the

better .

PHILBRICK

Did anybody see

the accident?

SOl.\iiA

I think so.

PHILBRICK

What

do

you think

the

police

will

do?

SONIA

I f they should

discover

i t was

your

car

involved

in

the

acci-

dent

, you will say that

you

were

driving a t the

time .

Philbrick reacts

, open-mouthed .

PHILBRICK

You ' re crazy

CONTINUED)

15.

56


19/48

56

CONTINUED

(2)

:

SON

I A

On

the

contrary . The man

who

drove

your

car is

on

a

top secret mission . He must

be

protected a t al l

costs.

You , Comrade Herb , are ex

pend

ible

.

Philbrick

is

stunned

by

th is t ur n of events .

PHILBRICK

(a l most

to se lf

)

Expendibl

e . .

SON

I A

(sadist

ical ly)

Y

es

,

expendib

l e . Y

ou

know

something , Comrade He

rb

, I

en

jo

y

this

. You

the

per

fect

party member - -

the

one

who

has a lways

be

en

held

up

to

my eyes as an example you are

expendible .

nd

, there is

nothing

you can do about

i t

.

16.

56

St i l l

dazed

, Philbrick has

star ted

to

walk

away from h ~

toward

ex

i t

.

SONI

(conti

nuingj

imperiously

)

Comrade He

rb

Philbrick turns to

her .

SONI

(continuing)

You d

better

fix

the head

l ight before

the

police ques

t ion you.

Ha

ughtily,

Sonia

moves

P ST

C

MER

up

the

s ta i rs

and

l

follow Philbrick moving dazedly toward

the

e

xi

t .

QUICK DISSOLVE TO

:


20/48

EXT

. RESIDENTIAL STREET -

D Y

7

ANGLE

ON PHILBRICK S

C R

59

60

6

parked a t curb .

Philbrick

moves

into

scene .

He

surveys

the

broken headlight , then moves to car

door

.

Using

handkerchief to prevent fingerprints

, he

opens door

and

slides

behind the

\>Jheel

.

CLOSE

SHOT

-

PHILBRICK

behind the wheel

,

motionless

,

staring straight ahead

.

VOICE OVER

You

re expendable

,

Philbrick

.

And

,

there

s

nothing

you can do

about

i t

. That s what

the lady

commissar

said

.

But

,

there is

.

You

can find

the

real

hi t

and

run

driver

. At

leas t

,

the

FBI

can.

Or

, can they?

I

St i l l using

handkerchief , Philbrick

opens

dashboard

com

partment

,

extracts

a

pair of gloves

and

puts

them

on

.

Then,

taking ignition key from

pocket , he

inserts i t in

lock . Suddenly , he reacts to what he

sees

near lock .

INSERT

-

WH T

HE

SEES

Gas dial

shows

fu l l

tank .

CLOSE SHOT

-

PHILBRICK

as he

s tar ts the motor

.

ANGLE

ON

PHILBRICK

S CAR

as

i t

moves awayfbom

curb and down

s t reet

W Y

FROM

C MER .

DISSOLVE

TO

:

EXT

. GARAGE - DAY

62

6

FULL SHOT

to ESTABLISH that

th is garage

is

able

to handle any emer

gency from

a

f la t t i re to

a body

overhaul.

ANGLE ON PHILBRICK

S

C R

as

i t

moves

into

scene and

stops close to

building.

7 .

57

58

59

60

6

62

6


21/48

64

65

MOVING SHOT - PHILBRICK

as he exits car and confronts Daniels

who

has just come

from

garage building.

Philbrick s t i l l wears the

gloves.

TWO SHOT - PHILBRICK

ND DANIELS

DANIELS

\vhat s up, Herb?

PHILBRICK

I m in a jam - a

real

jam.

Daniels waits for Philbrick to continue . Philbrick in

dicates

broken

headlight o. s .

C MER

PANS

SWIFTLY

to

FOCUS

on

broken headlight ,

then

PANS BACK to

Philbrick

and Daniels .

PHILBRICK

(

continuing)

7

My

car has

been

involved in a

i t n d r u n accident. I

don t

know

where . I don t

know who

.was hi t

But

, a

= m m =

~

~ courie r was driving

the

~ w lheel .

CAMERA

MOVES

IN for

CLOSE

UP of once-

b

ro

ken

headlight which now

has

a new g

lass.

77

ANGLE

ON PHILBRICK

78

as

he

exits car

and moves

towards Sonia s house

.

ANOTHER

ANGLE

as

Philbrick

turns

corner

and move

s quickly to

Sonia

s

door.

INT.

LIVING R Q r

-

D.

\Y

79

CLOSE SHOT -

SONIA

75

76

77

78

79

seate

d

in

a

clu

b chair ,

readin

g a newspaper story

with

more

than

ordin

ary interest

.

CAMERA

PULLS BACK to include

door

as Phil

brick moves

into

room.

Sonia looks

up .

80 ANGLE

a s

Philbrick

moves

to

Soni a .

SONIA

Have

you

seen

the papers?

PHILBRICK

No . But I heard the

radio re

p

ort

.

Sonia turns

to paper and

reads

aloud .

80

(

CONTINUED


28/48

80

CONTINUED

:

SONIA

reading)

Here . The search

continues

for

the

dark blue

sedan

which

struck

down

Mrs

.

Harold Jenkins

now

in

a cr i t ica l condition at

General

Hospital

.

Mr

.

Robert

Willard

who witnesses the hi t

and run

accident

said that

he

would

be able to identify the

driver i f he ever saw him again .

During

the

above

reading by Sonia

~ i l b r i c k has

moved

so

that he

has

been reading the paper over her shoulder.

PHILBRICK

That

sort of

le ts

me

out ,

doesn ' t i t ?

Sonia drops

the

paper

on

the

f loor

and

stands

to

confront

Philbrick

.

SONIA

No

Comrade Herb,

that puts

you

right in the

middl e .

PHILBR

ICK

You

read the

story . A

witness

got

a good

look

a t the driver ' s

face

.

81

TWO SHOT

- PHILBRICK

ND SONIA

SONIA

Anybody can

make

a

mistake

.

PHILBRICK

Including

you, Comrade . I ' m

not

playing patsy

for

a nervous

courier

.

SONIA

Now

i t is

you

who make the mis-

take

, Comrade Herb . I

told

you

before. The man

whom

you must

protect is

indispensable .

He

must

be allowed

to fin

ish his

mission

. You ' ve

got to

go to

the police and

t e l l them you r e

t he driver

so

they l l

stop

l

ooking

for him.

(

CONTINUED

25 .

80

81


29/48

81

82

CONTINUED

:

PHILBRICK

A very

pret ty speech

.

But

1

I

don t buy i t .

SONIA

You

have no

choice

.

You

ve

got

to

do

i t

-

now

l

PHILBRICK

You don t have the authority to

give

me

that kind of

an order.

Goodbye .

Angrily

1

Philbrick s t r ts

to

exit

.

Sonia

jumps

in front

of

him.

SONIA

You ll

wait unt i l I

make

one

phone cal l .

26,

81

Philbrick

pauses a moment

then nods his

head in

agreement .

Sonia moves o. s . to telephone

1

C MER PANNING with

Phil

brick as he moves

f ter

her .

MED

. CLOSE SHOT -

PHILBRICK ND

SONIA

Sonia dials

number

1

waits

for connection

1

as Philbrick

watches

her .

SONIA

(

continuing

;

into

phone)

Hello

this is

Sonia . I must

see you

right

away . A

matter

of discipline .

(a beat)

Yes . I will

brin

g someone with

me .

(a

beat)

W a

re leaving now

.

Sonia

hangs up phone and

faces Philbrick.

SONIA

o n t n u n

~

umphantly)

Shall we

go?

t r i -

PHILBRICK

Where?

(CONTINUED

82


30/48

8

CONTINUED :

27 .

8

SONIA

Always the q u s t i o n s ~ Comrade .

Perhaps

you no longer have

fa i th and trust in

the

party .

PHILBRICK

You

know

that

s

not

true.

SONIA

(

quickly)

Perhaps the party no

longer has

faith and trust in you .

PHILBRICK

(quickly )

t

won t work, Comrade . You

were responsible for

the

courier .

f

anything

goes

wrong, you

ll

tal


31/48

84

85

LONG SHOT -

PHILBRICK

S CAR

as i t moves s l owly into

area and

pulls up next to one of

the truck

- l

oading

pl atforms .

CLOSER SHOT

as Philbrick and

Sonia

exit

car

.

Philbrick

,

in

strange

surroundings ,

looks

caut iously

about

him. Impatiently,

Sonia grabs his arm and steers him

toward

an alley

which

runs between two

warehouses

.

86

PAN

SHOT

-

PHILBRICK

AND SONI A

87

as

they

walk quickly down

alleyway

, the

SOUND of their

footsteps

reverberating e npt i ly after them.

CLOSER PAN SHOT

reveals Philbrick s concern, Sonia s smugness .

VO ICE

OVER

What are you walking into ,

Phil

brick? Sonia wouldn

t

pull this

sort

of power

play

unless she

were sure i t would come out her

way

. Too la te to

quit

and

run.

___

88

ANGLE

ON

PHILBRICK

AND

SONIA

as they round rear of

warehouse bui lding and move toward

a

shack

located near railroad tracks , CAMERA

PANNING

SWIFTLY ahead to shack

and

HOLDING .

89

MED

. SHOT - SHACK

to

E

STABLISH

i t s desolate setting . Philbrick and Sonia

move

into

scene

. Sonia stops . Phi l bri

ck, start led

, a l so

stops and

watches

as Soniatakes a

ci

garette from her

purse

and

l

ights

i t

. She

inhales

deeply

and

stands

casua l ly in the shadow

of

the shack .

Well?

PHILBRICK

{impa t iently

{

CONTINUED

28

.

84

85

86

87

88

89


32/48

.--.. .

89 CONTINUED:

SONIA

{sarcastically

I have the p

erfect epitaph

for

your

tombstone - The Impatient

Comrade .

He Was

In A Hurry

To

Get

Here.

PHILBRICK

(

sharply

Kind

of premature

to be

discuss

ing tombstones

.

SONIA

l

ightly

The perfect

co

mrade must

always

co

nsider

every eventuality .

And

, you are the perfect comrade,

are

you

not

, Comrade Herb?

Irr i ta ted ,

Philbrick turns

away from her and

looks about

him.

90

LONG

PAN SHOT - POV

91

92

reveals

more

of the industrial area: other

warehouses

,

more

railroad platforms .,

a

grade crossing

where a stree t

separates the

warehouses

from

a dismal

office

building

.

MED

.

CLOSE SHOT

-

PHILBRICK

AND SONIA

Philbrick is s t i l l looking

far

o.s

.

Sonia

,

looking in

another

direction , reacts

., drops

her cigarette and

grinds

i t

into ground

with

her toe

and

assumes a very business

l ike pose .

LONG

SHOT -

SONIA

S P4o. v.

COMRADE BROWN moving casually TotvARD

CAMERA He is

a big

man

in

his mi ddle t ~ r t i s resembles an

over

- sized

wrestler

or

f

ootball

p

layer,

moves

gracefully

.

9

MED . CLOSE SHOT -

PHILBRICK AND SONIA

as

Philb r i

ck

notices Sonia

s

rapt attention. He

follows

her gaze .

94 \ /IDE

ANGLE

to show

Brow

n

joining Philbrick and

Sonia .

29.

89

90

91

92

9

94


33/48

9

96

MED . CLOSE SHOT - PHILBRICK

SONIA

ND

BROWN

Brown

moves past Philbrick and Sonia

without

speaking to

them.

C I ~ PANS

Brown to shadow of

shack

. He

rests

against the shack

idly eyes the area about him and,

with

a s l

ight

nod

of his

head , sign

als to Sonia

and

Philbrick

o. s .

ANGLE

as

Sonia and

Phi

l brick join Brown at the shack .

97 TIGHT SHOT - THE THREE PRI

NCIPALS

For the f i r s t time ,

we

are aware

of

the

smile

on

Brown

s

face

.

t

is not a humorous

smile

,

but

a cold

facade

to

obscure his

thoughts . He is

rarely without

that

smile

,

which

gives

al l

who

meet him an

uncomfortab

l e

feeling

,

as

i f

they are

being

laughed at .

BROWN

(to Sonia )

The

l i t t l e

comrade

with

the

big

ambitions

.

Sonia star ts to

protest

. But , Brown

holds

up his hand .

BROWN

(

continuing

Nothing wrong

with

big

ambitions

so long

as

they

contribute

to

the good

of

the

party

.

Phi l br i ck has followed th i s exchange , hoping for some

c l

ue to an

approach to

Brown . Brown now

turns to Phil-

brick and studies him for a

moment

.

BROWN

(continuing; slowly

Com

rade Herbert

A.

Phi

l

brick

.

Philbrick

reacts

s t a ~ t l e d

BROWN

(continuing;

laughing

dryly

I

know

yon from your

photograph

(a

beat

and your

record

.

t

s a good

one .

(

CONTINUED

30.

9

96

97


34/48

97

CONTINUED:

PHILBRICK

(angrily)

W e l l I don t

know

you or what

this allabout. Who are you?

Brown l ooks

quickly

to

Sonia

.

SONIA

(nervously)

I told him

who

you were .

Brown

looks back

to

Philbrick .

ROWN

Then, I

will repeat

i t . I am

Comrade r o w n

the

chairman of

the Central Committee.

PHILBRICK

(

sharply)

So I ve been

told

.

ROWN

And you

don t

believe us .

Brown and Philbrick exchange hard glances , although

Browns

is

covered with

that

supercilious smile.

ROWN

(continuing)

t

is

the

dut

y

of

the

chairman

of

the Cent ra l Committee

to

know

the background

of a l l

key

party members.

Philbrick

just stares

at him.

ROWN

(continuing)

Y o u ~

Comrade

e r b

have b

een

a

member

of

this

particular

cel l

for eleven months . Last

y e a r ~

you

attended

the regional

con

vention

with Comrade Peter and

worked on

the educational com

mittee .

PHILBRICK

(i nterrupting)

You

dont

have to

continue

.

ROWN

Now , I understand

your

good

record

. You even

suspect me

. - -......- .

(

CONTINUED

31.

97


35/48

97

CONTINUED - (2 ) :

Bro\ m

chuckles mirthlessly

,

then turns to

Sonia

who has

been looking on with a mixture of annoyance and alarm.

BROWN

Now , what is

this

matter

of

dis

cipline?

SONIA

I t

is Comrade

Philbrick

. The

courier

with

the latest

instructions from

Moscow

borrowed

Philbrick s car to

make a contact . He was

involved in

a hit-

and

- run a

ccident. There

was a

witness . But , the

courier

got away

and -

so far

-

Philbrick

s car

has

not bee

n

discovered.

I

told

Comrade

Herb he must t e l l the

police

he was

driving

the

car

. He refused .

Brown

looks

a t

Philbrick.

BROWN

This is true?

PHILBRICK

Yes . Up to a point.

BROWN

And

, what is that point?

PHILBRICK

Why did Comrade

Sonia

, with al l the

other

party

workers in the

area ,

choose

me

and

my

car?

SONIA

Because you were

the nearest

to

my

house and we needed a

car

quickly .

PHILBRICK

(to Brown)

Why

is Comrade Sonia

so anxious

to

help the fascist police

solve a

crime?

SON

IA

(vehemently)

I

am not

helping t he f

ascist

po

l ice.

just

want them

to

stop looking

for

Ja

ger. They have

his descriptio

n.

-

t

---

oyance

crosses Brown s face at

mention

of

realizes she has

made

a

slip

, becomes

BROWN

are careless , Comrade

Sonia

.

SON

I A

(stuttering )

didn

t?

CONTINUE

D)

32

.

97


36/48

97

CONTINUED

- (3) :

BROWN

You can t

a

fford to

be

careless

.

SONIA

But, I

only

you and Comrade

Herb heard

i t s not

ROVJN

(quickly)

I t s not

important? No, but i t is

an

indication

that perhaps the job

you

are doing

is

too much

for you .

SONIA

(pleadingly)

Please , Comrade Brown

BROWN

We

will

discuss

i t

at the

next meet

ing of the

Central

Committee.

Now

,

le t us turn

to

the

matter

at

hand.

Comrade Herb is right . There is no

reason to

help

the fascist police

.

In another three days, i t will not

matter

i f

they

find the courier.

His mission will be complete .

PHILBRICK

( f la t l

y)

Thank you, Comrade Brown.

BROWN

(s

moothly)

But ,

i f

the accident

is

traced

to

your car before the

end

of three

days, you must te l l the police

you v Jere the driver .

A

crafty look crosses Sonia

s face

as Philbrick considers

Brown

s orders .

Finally, Philbrick gestures acceptance

.

Brown

moves easily away from them and walks back from

whence he came ,

C MER

PANNING.

98 TWO SHOT

-

PHILBRICK ND SONIA

watch

the

retreating

o. s .

figure

of

Brown

.

Sonia s

ex-

pression is bland.

Philbrick

tr ies

to

conceal

the feeling

of triumph

.

Sonia turns to Philbrick.

SONIA

Let s go .

99

ANGLE ON

PHILBRICK

ND SONIA

33 .

97

98

99

as they disappear

into

alleyway. o. s . SOUND of t rain hoot-

ing to punctuate scene.

DISSOLVE TO:


37/48

100

101

FULL

SHO r

to

establish

that this is the

FBI

garage previously

visited

by

Philbrick

.

ANGLE ON

PHILBRICK S

CAR

as

i t

drives

up

to garage

.

Philbrick is

a l one

in

the

car

.

102 .

ANOTHER ANGLE

103

as Daniels exits

garage

and moves to Philbrick s car.

CLOSE SHOT

-

PHILBRI CK ND D N

I

ELS

PHILBRICK

The name

of

the

courier

who

drove my car is

Jager .

DANIELS

I

know

.

Washington

identified

him from the sketch

and

the

two

prints

. He

slipped out

of

our

trap two

days

ago .

We

didn t

know

his name .

We

do

now,

thanks to you

.

PHI LBRICK

He

l l

be

fin

i

shed

with his

mission

in

three

days

.

He s

carrying new orders from

Moscow

.

DANIELS

We

figured as much

.

PHILBRICK

I m

in

a

worse

jam

than before.

DANIELS

How come?

PHILBRICK

You

ve

got

to

grab Ja ger

whi l

he s t i l l

has

those

orders. But

i f my

car is

identified

as

the hit

and

run

car , I ve been ordered to say

I

drove i t

.

DANIElS

Who

gave the order?

(CONTINUED)

34.

100

101

102

103


38/48

103 CONTINUED :

PHILBRICK

Cmnrade Brown .

Daniels ,

impressed, whistles si lent

l y .

Yeah .

PHILBRICK

( f la t

l

y)

DANIELS

Anythi ng

else?

PHILBRICK

Isn

t

that

enough?

Daniels

nods .

PHILBRICK

(contim

:.ed)

What

about

the local

police?

DANIELS

Sgt . Ritte r i s cooperating

with

us so we

can

catch Jager.

But ,

we

won t be able to hold

him off too l ong .

PH

I

LBRICK

Yeah

.

.

DANIELS

Don t

worry

We l l

think

of

something.

Daniels moves o . s .

C MER

HOLDS on a worried Philbrick .

I

CE

OVER

You

heard

the man

, Ph

i lbr ick.

They ll think of something .

Un

fo r tunately, the Comrades

have already

thought

of i t .

Which

way

do

you

turn?

DI

SSOLVE

TO :

35

.

103

EXT . BUSINESS

STREET

-

D Y

104

FULL

SHOT 104

to establish

stores and

service stat ion with separate

telephone

booth

.

NOTE

:

For this scene

,

either the servic

e

stat ion

or

garage previously used

will do . )


39/48

105

106

ANGLE ON SONIA

as she walks rapidly to phone booth, enters i t and

closes door .

CLOSE SHOT -

SONIA

in

the

phone

booth

. She

le

afs

through

pages

of

phone

book

hanging

from hook

finds

number, drops coin in box,

and dials .

SONIA

( into phone;

disguising

her

voice)

Police? Look , I don t want

any trouble . But , I saw the

car

that

hi t

the Jenkins woman .

The license number was

INSERT

PHILBRICK S

LICENSE

NUMBER

)

What?

No

, I

won t

give my

name .

Alarmed,

Sonia

hangs up the receiver

and

exi ts .

DISSOLVE TO :

EXT .

RESIDENTIAL

STREET -

D Y

36 .

105

106

107

CLOSE

SHOT

- LICENSE PLATE

107

7

bearing the number just given by Sonia

to

the

police

.

C MER PULLS BACK to establish

Philbrick

s car, Philbrick

in i t , stopped at a

corner

,

waiting

for the red

l ight

to change .

DISSOLVE TO :

EXT . GARAGE - D Y

108 ANGLE

as

POLICE

CAR

moves

into

scene and

stops

at

garage

.

109 MED . SHOT

110

as SGT . RITTER exits car and

Daniels

moves from garage

to

meet him .

TWO

SHOT - RITTER ND

DAN

I

ELS

as

they shake

hands

.

CONTINUED)

108

109

110


40/48

110

CONT

I

NUED

:

DANIElS

What brings you over here ,

S

gt

. Ritter?

RITTER

Some woman

called

in

a f

ew

minutes ago , gave us Philbrick s

l

icense

number as

the car

involved

in the hi t and run .

DANI ELS

I s ee .

RITTER

We

re going to have to pick

him

up .

DANIELS

I t l l

blow

our

set-up

.

RI

TTER

I know .

But, there s

nothing

e l

se

I can do .

D N

I

ELS

Yeah .

RI

TTER

Sorry .

DANIELS

You ve

got

y

our job

to do .

Ritter moves

o.s

. and

C

1ERA

HOLDS

on a frustrated

Daniels . O.S . SOUND of POLICE

C R

moving away .

DISSOLVE TO

:

EXT . PARKING LOT - D Y

111 FULL SHOT

112

113

to

establish

lot

near

Philbrick

s

office

.

ANGLE

ON

POLICE CAR

shown in previous

scene

,

parked in

lo t .

ANGLE

ON

RI

TTER ND

WILLARD

as

they

move

through

the lot

examining

cars .

C MER

PANS

with them

as they

return to

the po

l

ice car

.

37

.

110

111

112

113


41/48

114

115

CLOSE

SHOT

- RITTER ND W

LLARD

W LL

RD

I t wasn t any of the cars in

this l ot .

RITTER

That 's that .

W LL

RD

I don t

unders

t and , Sgt . I f

you know who the driver is ,

why don t we just go up

to his

off i ce. I ll recognize him .

Don't

need

to

l ook

a t

cars .

RIrTER

This is

his parking

lo t . I f

his car 's not here , he s not

in

his

off ice.

W

LLARD

Wel l we l ooked at his

And, he wasn t there .

he ski pped .

RITTER

home .

Mayb e

Mayb

e . But, i f he did ,

he

won't get far

.

W

LLARD

(angri ly )

Hi t and

run driver

The

worst

ki

nd

there

i s . A coward and a

murderer Only one punishment

for that

kind

. An eye f or

an

eye .

Yessir .

I m not

Ri t te r .

j a i l is

an

eye .

RI

TTER

W LLARD

a vi

ndict

i ve

man

, Sgt .

But , putt i ng a man

in

too

easy .

An

eye

for

That's what I say .

Sudde

nl

y, Sgt . Ritter l ooks o . s . and

re

ac

ts

. Wil

la r

d

follows hi s ga

ze

and

he too

reacts .

LONG S

HOT

- P. O. V.

Philb r ick 's car moving

TOW RD C MER

.

116 WDE

ANGLE

as

Phi

l

brick

s

car

stops

just

beyond

po

l i

ce

ca

r .

8

.

114

115

116


42/48

117

TWO

SHOT

-

RITTER

ND

WILLARD

WILLARD

(excitedly)

118

That l ooks l ike the car.

CLOSE SHOT

-

PHILBRICK

behind

the

wheel of

his

car as he

real izes

this

is the

crucial moment .

119 MED . SHOT

as Philbrick emerges from his car and Rit ter moves

toward him.

120

TWO SHar - PHilBRICK ND RIT rER

as they

meet

in

front

of

Philbr ick s

car

.

RITTER

Mr

.

Philbrick?

Herbert

Philbrick?

PHilBRICK

That s

r ight

.

Rit ter displays

his

ident i f icat ion .

RITT

ER

I m

Sgt .

Rit ter

.

Is th is

your

car

?

PHILBRICK

Yes .

Rit ter looks

o .

s

toward

headlight

. C MER

PANS SWIFTLY

to headlight , then PANS SWIFTLY back to

Rit te r and

Philbrick .

RITTER

N e t ~

headlight?

PHILBRICK

Why,

yes.

RITTER

Wan

t to te l l

me about

i t?

PHILBRICK

I almost cal led

you

yesterday .

RITTER

Oh .

CONTINUED)

39

.

117

118

119

120


43/48

120

121

CONTINUED :

PHILBRICK

My car disappeared from

the

front of

my

house yesterday

afternoon . Didn t know whether

my wife had taken i t or not .

Waited for her to come home

before

I

called the police.

And

, then, a couple of hours

l

ater

,

there

was

the car in

front of

the

house

and the

head

l ight

was broken . I figured

a coupl e

of youngsters had taken

i t

for a

joy r ide

. I was

glad

to get the car ba ck .

RITTER

Where did

you

get the new head -

l i

ght?

PH

I

LBRICK

t the Adams Garage .

W

DER ANGLE

as Willard

exi ts car,

confronts Philbrick ,

and

studies

him. Philbrick calmly

returns W illard s gaze

.

RI

TTER

How about

i t ,

Mr . Willard?

WILLARD

Could be . Same shape

face

. But ,

there s something

different

.

RITTER

Different?

WILLARD

I

told

you the

driver

was wearing

a hat and a

topcoat

.

PHILBRICK

Say, what s this a l l about?

RITTER

Mr . Philbrick, would you mind

coming down to

pol

i

ce head

-

quarters?

PHILBRICK

No.

But

, what s i t about?

RITTER

We can talk about i t at head

-

quarters

.

CONTINUED)

40.

120

121


44/48

121

CONTINUED :

PHILBRICK

All

right .

RITTER

(to P

hilbric

k)

I l l

r ide with

you .

(to

Wi

l l

ard)

You go back in the

police

car .

W LLARD

(almost

to

se lf )

I was so sure I would recognize

him

right

away. I don t

understand .

Will ard returns to police car . Philbrick and Ritter

return

to Philbrick s

car.

122

CLOSEUP

-

PHIL

BR

I

CK

123

EXT .

124

behind the

wheel.

ANGLE

SHOT

VOICE

OVER

Okay, P

h il

brick,

the end

of

the l ine.

Time

has run out

.

Daniels said he d think of

something

. Did he

think

of

this?

The Comrades

did

.

as

Philbrick s t

arts

the car and

drives

STREET -

D Y

MOVING

SHOT

- PHILBRICK S CAR

PAST CAMERA

DISSOLVE

TO :

Philbrick behi nd

the

wheel ,

Ritter

s i t t ing next to him.

EXT

. POLICE HEADQUART

ERS

- D Y

125 FULL SHOT

to

establish

.

DISSOLVE TO :

41

121

122

123

124

125


45/48

126

127

128

129

130

131

ANGLE

42 .

126

as police car containing W illard stops in front

of

Police

headquarters.

Willard

steps out

and

looks back.

WIDE

ANGLE

as

Philbrick's

car

stops

behind

police car

.

Philbrick

and Ritter

exit

and

move toward Willard

.

CLOSE SHOT

-

WILLARD

,

RITTER

ND

PHILBRICK

puzzled Willard

scrutinizes

Philbrick

and

shakes

his

head .

WIDE

ANGLE

WILLARD

I don't understand i t .

look l ike him . But .

RITTER

Let's go.

You

as Willard, Ritter and Philbrick

move

to headquarters

entrance from one angle and

Daniels

and

Jager move

to

police headquarters entrance from another angle. Ja

ger

s t i l l

wears his

hat

and

topcoat

.

CLOSE

SHOT

-

WILLARD

as he looks

o.

s .

and sees

Jager and reacts. He

moves

from Philbrick and

Ritter, C MER

PANNING him to Jager .

Willard

grabs Jager

.

WILLARD

Who are

you?

GROUP

SHar

as

Philbrick and

Ri t ter

move to Willard, Jager

and

Daniels.

Philbr ck

conceals

his

astonishment

. Dani

doesn

t recognize Philbrick.

RITTER

What

s going

on here?

Willard has

been staring

hard at Jager

through this

exchange

.

CONTINUED)

127

128


46/48

131 CONTINUED :

WILLARD

This is impossible . But Sgt . ,

I d swear this is the man who

drove the car.

to

J ager )

h o ~

you?

43.

131

Jager

looks

from Wil l a r d to Ritter to Ph

i lbr ick

,

wh

o

maintains a

poker face

. Suddenly

Jager is

no

longer

the frightened

courier

just a t i red man . His

shoulders

sag

as he turns

to

Wil l ard .

JAGER

Who am I ? I 'm the man who

drove the

ca

r that

hi t the

old lady .

132 I

NTERCUT CLOSEUP

REACTI

ON

SHOTS

thru

134 of Willard

Philbrick

and Ritter .

135

FULL SHOT

as

the group

moves

toward

entrance .

DISSOLVE TO :

EXT

. I NDUSTRI AL RE D Y

136 FULL SHOT

137

138

139

establishes that

this is the

spot where

Philbrick

and

Sonia

met Comrade Brown earl ier

in our story.

ANGLE ON

SHACK

reveals Philbr i ck and Sonia waiting in front

of

i t , in

almost the same way

they

did previously .

Soni

a is

frightened . Philbrick i s

uneasy

,

not

knowing what to

eJ\. Pect .

ANGLE ON COMR DE R a ~ N

as

he lumbers quickly

toward

Philbrick and Sonia .

MED . CLOSE SHOT

as Comrade Brown confronts Philbrick and Sonia . Puffing

heavi l y from exertion , Comrade

r o ~ m stares f i rs t

at

Philb r ick , then at Sonia allowing the tension

to build

.

Finally , Sonia

can

stand the tension no longer as she

blurts

:

CONTINUED)

132

thru

134

135

136

137

138

139


47/48

139

CONTINUED

:

SONIA

f

Comrade Herb had

turned

himself in as I had ordered ,

this

would never

have happened.

The

ever

- present

smile on

Brown s

face has

become a

cold

-

hard

grin

.

ROWN

hissing)

And,

i f you

had not called

the

police

and

given

them Comrade

Herb s

license

number, you

would not

have endangered

two

comrades

instead

of

one .

Sonia

has reacted

open-mouthed

to

Brown s

accusation

.

Philbrick

looks

a t

her.

SONIA

{gasping)

But,

how

did

you

?

ROWN

softly)

Comrade

Sonia,

you

handled this

assignment as i f you wanted i t

to fa i l ,

as i f you

wanted

the

FBI to

catch

Jager.

SONIA

That

s

not sol

I was

only

.

ROWN

interrupting)

You have

shown

yourself

unworthy

of

leadership in the great

struggle .

You

will appear

before the Central

Committee

tomorrow afternoon

for

discipline.

Sonia is now thoroughly frightened.

ROWN

continuing;

to Philbrick)

As for

you

, Comrade Herb,

your

conduct

was

correct

. I

under

stand that when you were

confronted

by

Comrade

Jager,

you showed no reaction .

You

protected the party - - as a

good comrade should have done .

He turns

and

looks

significantly

at Sonia, who

l i te ra l ly

cowers

behind Philbrick

.

CONTINUED)

44.

139


48/48

139

140

CONTINUED : - (1)

ROWN

(continuing)

(to Sonia)

I ll see you t omorrow .

Brown turns and moves quickly o. s .

C MER MOVES in

for

CLOSEUP

of

Philbrick

.

VOI CE OVER

You

were l ucky

this time

,

Philbrick .

No

,

i t

wasn t luck .

t

never

is

when

you re

dealing

with

the Communist

c o n s p i r a c y ~

> --

I t

i llg a].e-rt;-:gwa re, i t s

-a an t:::-vi-g.: :t: Iance. -

you

can t

le t

down -your guard - - __

even

for

one

m

n u t e W h a t will -

. / < : : :

e

x t t i

n t e T H e . p b ?

__.>

Documents

I Led 3 Lives: Hit & Run