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ALL SCRIPTS




                          SINGLE WHITE FEMALE



                             Screenplay by

                                Don Roos



                        Adapted from the novel

                            SWF Seeks Same

                                  by

                               John Lutz

COLUMBIA PICTURES LOGO

BLACK SCREEN

On a black screen, the words (without capital letters in front of
the words) :

       columbia pictures
       presents

and then :

       a film by
       barbet schroeder

BATHROOM - INTERIOR

We don't know if it's day or night. We see a little girl, aged
around eight, putting lipstick on her lips. She is wearing
earrings and a ring on the middle finger of her right hand. She
moves forward and we see another girl about the same age. The
first girl puts lipstick on the lips of the second girl. Both girl
are smiling.

More credits, still without capital letters.

The camera moves back and we get a better view of the second girl.
The two girls appear to be twins. The first girl takes a powder
puff and puts powder on the second girl's cheeks.

The two girls look at themselves in the mirror. The camera gives
the impression to be located behind the mirror.

The first girl gives a kiss on the cheek of the second girl.

FADE OUT TO BLACK SCREEN

The title of the film appears on the black screen.

The camera moves and we see, appearing on the right-hand side of
the screen :

BUILDING - EXTERIOR NIGHT

This building is actually Allison's building, but we don't know it
yet.

Credits resume on the screen.

The camera keeps on moving and we see several lit windows. The
building itself is a nice building with carvings on the walls.

The camera moves backward, giving us a full view of the building.

As the camera comes back forward, we hear two voices speaking, one
male, one female. They are the voices of Allison «Allie» Jones and
her fiancé Sam Rawson.

       SAM (voice over)
       So how many kids do we want ?

       ALLISON (voice over)
       I dunno. What's the statistical norm ?

       SAM (voice over)
       You and your statistics.

Allison laughs

       SAM (voice over)
       One point two.

       ALLISON (voice over)
       Okay, then I want two point two.

Fade to :

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHT

Sam and Allison are lying on the bed, partly dressed. Sam is
holding Allison next to him. They are both about thirty years old.
Allison has short red hair, and Sam has brown wavy hair.

Behind the front of the bed we see the wrought iron of the
balcony. The light is very dim in the room, lit only by the street
lights and a couple of candles. We hear Allison finishing her last
voice over sentence.

       ALLISON
       And I want them to look like you.

       SAM
       Poor kids.

End of credits.

       SAM
       So, if I got to be able to drag you away from computer
       tomorrow, I'll buy you that ring.

       ALLISON
       Sure. So, is this gonna be a real wedding ?

She moves a bit away from him, and takes a piece of grapes in a
plate lying on the floor.
       SAM
       As opposed to a fake one ?

       ALLISON
       You know what I mean, Sam. You've already been through the
       big ceremony with too hundred people.

       SAM
       That was the fake one. This is the real one. You can have
       any kind of wedding you want. Underwater. In and out of a
       steam room in the wild. Horseback.

Allison goes back into Sam's arms.

       ALLISON
       Naked skydiving ?

       SAM
       Naked skydiving !

       ALLISON
       It's OK. It's going to have to be a small one, you know.
       I've not been in New York long enough to know very many
       people.

       SAM
       Except me.

       ALLISON
       Oh, you're invited.

They laugh.

       ALLISON
       And my friend Graham upstairs.

       SAM
       It won't be long before you know half the people in New
       York. People like you, you know... but I found you first.

       ALLISON
       You're the only friend I need. You're the best thing that
       ever happened to me.

They start kissing very tenderly.

Fade to two seconds of black screen. And then we see Sam and
Allison asleep in the bed. They are naked but covered with the
sheet.

The phone rings. Allison wakes up and picks up the phone handset.

       ALLISON
       Hello ?... Hold on a second.

She bends down to take the telephone set.

       ALLISON
       Sam, it's your ex-wife.
She gives the receiver to Sam. Still half-asleep, Sam takes the
phone.

       SAM
       What ?

       ALLISON
       It's Lisa.

Sam puts the receiver to his ear. We hear vaguely Lisa's voice,
but not precisely enough to understand the words.

       SAM
       Yeah ?... No... Because... I'm hanging up now.

He puts the handset back on the telephone set, which Allison had
put on the bed.

       SAM
       I'm sorry. She shouldn't call here.

       ALLISON
       It's where you live. She's entitled.

The phone rings again. Allison moves up to pick up the phone.

       SAM
       Don't... don't answer it.

The phone keeps on ringing. Then the answering machine starts with
«Hi, it's Allison Jones...» but the rest of the message is covered
by Sam and Allison's conversation.

       SAM
       Why does she do this ?

       ALLISON
       Talk to her now. You're already up. I'll get that.
We hear the beep at the end of Allison's message.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

Allison is walking naked in the hall.

       LISA'S VOICE ON THE ANSWERING MACHINE
       Hello, Sam. Oh, damn... Would you pick up the phone,
       please ? Hello ?... Please, don't do this to me.

       SAM (voice over)
       Lisa...

       LISA'S VOICE ON THE ANSWERING MACHINE
       Sam, I've been sitting here since you left this
       afternoon...

Allison is standing up in the dark, not moving. We hear Sam's
voice, partly from the bedroom, and partly from the answering
machine, which gives the voice a sort of echo effect.
       SAM (voice over)
       Yeah... Lisa... Can we talk about this tomorrow ?

       LISA'S VOICE ON THE ANSWERING MACHINE
       You can't come over here and sleep with me, and then...

Close-up on Allison's face in the dark. She looks very shocked by
what she hears.

       SAM (voice over and yelling)
       Allie, Allie, I don't know how you shut that thing off.

       LISA'S VOICE ON THE ANSWERING MACHINE
       You said you were going to call.

Allison shuts the machine off.

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHT

Close-up on Sam's face. He picks up the phone and puts the handset
to his ear. We hear Lisa's voice saying : «Hello, Sam»

       SAM
       Huh-huh...

ALLISON'S APPARTMENT - FRONT HALL - INTERIOR NIGHT

Allison grabs a night-robe and presses it on her naked body.

       SAM (voice over)
       Okay ... goodbye.

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHT

Sam is seated on the bed. He puts the phone back on the set.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT
       ALLISON
       I take it back. She's not entitled.

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHT

Close-up on the ancient-looking ventilation system in the bedroom.
The air vent is protected by a very decorative wrought iron grill,
as can be found in old New-York buildings.

       SAM (voice over)
       I didn't go over there intending to sleep with her, Allie.
       I swear to God.

       ALLISON (voice over)
       Oh, well, I fell a lot better knowing you can talk now.

GRAHAM'S APARTMENT - GRAHAM'S BEDROOM - INTERIOR NIGHT

Close-up on the same air vent in Graham's apartment. We can hear
the conversation going on in Allison's bedroom, with a slight echo
effect in the sound, which makes some words incomprehensible, but
still well enough to get the general idea of the conversation.
       SAM (voice over from the air vent)
       She's very depressed, OK ? It's the anniversary of our
       divorce. She heard we were getting married. She has been
       drinking.

Slowly the camera moves from the air vent to Graham's bed.

Graham Knox is about thirty years old, and we shall learn later
that he is gay. He is lying in his bed, perhaps naked, but we see
only his chest, the rest of his body being covered by the sheets.
He was apparently awaken by the voices in the ventilation system
and is half-raised on his elbow and listening to the conversation.

       ALLISON (voice over from the air vent)
       I don't want to hear this !

       SAM (voice over from the air vent)
       I feel bad for her. I'm moving on feeling guilty. It won't
       happen again.

       ALLISON (voice over from the air vent)
       (a few words incomprehensible)
       I am supposed to trust you now ?

Graham is listening with a worried look on his face.

Fade out to two second of black screen, during which we keep on
hearing the conversation through the ventilation system, but
without understanding the words. And then :

ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -
INTERIOR NIGHT

Allison rings the bell of Graham's apartment. It says 1203 on the
door.

GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHT
A corridor with a lot of books on shelves going all the way up to
the ceiling. Graham walks along the corridor, zipping his pants.
He is bare-chested.

       GRAHAM
       It's 4 a.m. !

       ALLISON (voice over through the door)
       It's me, Graham.

Graham opens the door. Allison is just wearing a night-robe, and
her face is full of tears.

       GRAHAM
       Allie ?

       ALLISON
       I'm sorry... Sam left. I told him to. And... And I can't be
       alone tonight... so I came up here.

ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -
INTERIOR NIGHT

Graham takes Allison by the hand and brings her inside his
apartment.

       ALLISON
       Thanks.

Graham closes the door behind Allison.

GRAHAM'S APARTMENT - SPARE BEDROOM - INTERIOR DAY

A nice room with pictures on the wall. Allison is sleeping in a
large bed. Through the shutter-less window, we can see the other
buildings.

Graham, dressed in a black T-shirt and kaki short pants, enters
the room and sits on the bed. He takes Allison's leg through the
bedcover. Allison stands up with a start.

       GRAHAM
       Allie, I let you sleep.

       ALLISON
       What time is it ?

       GRAHAM
       About ten.

       ALLISON
       Oh, my God

Allison jumps from the bed in a hurry.

       ALLISON
       I've got a meeting. It's really important.

Graham, still seated on the bed, watches her leave the room.
NEW YORK - A BUSY STREET - EXTERIOR DAY

Allison walks quite rapidly on the sidewalk. She comes to a shop
and looks through the window. She combs her hair with her hand.

A RESTAURANT - INTERIOR DAY

A nice restaurant in New-York. Paintings on the walls. Soft music.
A waitress is talking on the phone. Allison enters the restaurant
and crosses the room to a table, where a man, who was sitting
alone, stands up when she comes to him. The man is Mitchell
Myerson, Allison's appointment.

       ALLISON
       Hi !

       MITCHELL
       Hi !

       ALLISON
       I'm sorry, I'm a little late.
They shake hands.

       MITCHELL
       No, no, it's worth the wait.

       ALLISON
       Thank you.

They sit down. The man takes his glass.

       ALLISON
       So...

A little later. They have finished their meal. Allison has put her
laptop computer on the table and is typing on the keyboard. On the
screen of the computer, we see models of woman's dresses changing
color and appearance each time Allison presses a key.

       ALLISON
       You can redefine your product on-screen without going to an
       expensive designing concept. This is Allison Jones'
       software, and it's a marketing tool no one else has.

       MITCHELL
       Who do I get to run it ?

       ALLISON
       I stay to be the person to speak. That's included in the
       quote.

       MITCHELL
       Ah !... The quote... That's the one thing I haven't seen.

       ALLISON
       Best for last.

She gives him a printed paper.
       ALLISON
       I think you'll find that's reasonable... as a ballpark.

       MITCHELL
       Here's where I was thinking of playing.

He takes a pen out of his pocket and start writing on the document
Allison gave him. Then he hands back the document to her. She
reads it and seems surprised.

       MITCHELL
       It makes sense for you. You see, after our last meeting, I
       made some phone calls... to your former partner, for one.

       ALLISON
       No, I wouldn't rely much on what she says. It was not a
       friendly split. And I did all the work. And... she took all
       the credit and she didn't like me telling her so.

       MITCHELL
       Well, I was more interested in the settlement you made. You
       walked off with the hardware and a rent-controlled
       apartment. Which means your overhead is minimal, as is your
       client list. I could improve that if you're as good as you
       say you are.

He points to what he wrote on the document Allison is still
holding.

       MITCHELL
       But that is the only way to prove it.

       ALLISON
       Well, I could go for something...

The waiter puts the bill in a small tray on the table.

       MITCHELL
       No, no, please, don't embarrass yourself. That's my final
       offer. Now, of course, if you would like to think about
       it...

Allison takes the bill from the tray, and tears the tab off the
bill.

       ALLISON
       I'll get this. You'll see it on my first expense report.

       MITCHELL
       I look forward to it.

They shake hands.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

The front door opens and Allison gets in and closes the door. She
drops her keys and her handbag on a shelf near the door. She goes
to the answering machine, and presses a key.
       THE ANSWERING MACHINE
       No messages.

The machine beeps.

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR DAY

Allison starts tearing the sheets off the bed. Her movements are
very nervous. And, eventually, she drops on the sheet-less
mattress and starts crying.

ALLISON'S BUILDING - LAUNDRY ROOM - INTERIOR DAY

We hear the first words of Graham's sentence on the previous image
of Allison crying on her bed.

Allison and Graham are working on their respective laundry on a
table. We see washing machines working in the background.

       GRAHAM
       What is this ? A song cue ? «You're Nobody Till Somebody
       Loves You.»
       ALLISON
       It's just living alone, you know. I thought about buying
       those books like «Cooking for One». It's just too
       depressing.

       GRAHAM
       There are worse things than being on your own, you know.

       ALLISON
       Maybe it's all a sign I should go home.

       GRAHAM
       Come on ! You came here for a reason. Sam has nothing to do
       with that. No guy does. You think I'd let some guy
       interfere with my acting career ? Assuming I had a
       career... or a guy to interfere with it.

       ALLISON
       You'll find someone again.

       GRAHAM
       Maybe I will. Why not ? But the point is, if I don't... I
       don't.

       ALLISON
       I know that. I can do it on my own.

       GRAHAM
       Absolutely.

       ALLISON
       I'll just get a room-mate.

       GRAHAM
       You could always call him, Allie.

       ALLISON
       Not if I have a room-mate.

COMPUTER SCREEN

An Apple Computer Screen (certainly Mac OS 7 or even Mac OS 6,
since the film was made in 1991/1992). The window is titled
«Comlink Fax TM». On the window itself we can read :

       ATZ
       OK
       ENTER YOUR AD NOW
       SWF SEEKS FEMALE TO SHARE APARTMENT IN W70S
       NON-SMOKER PROFESSIONAL PREFERRED

When we first see the computer screen, only «SWF SEEKS FEMALE TO
SH» is written. We hear the clicks of the computer keys as the
rest of the ad is written. The computer screen fades into a
newspaper clip after «PROFESSIONAL PREF» is written.

NEWSPAPER CLIP

We see a newspaper clip, where Allison's ad has been highlighted
with a felt-pen red rectangle. It says :

       SWF seeks female to share
       apartment in west 70s. Non-smoker
       professional preferred. 555-9814

Around this ad are other ads, all about apartment renting or
sharing.

       ALLISON (voice over)
       The managers couldn't really know you want to live there.

ALLISON'S OFFICE - INTERIOR DAY

The previous voice over sentence ends on a close-up of the folded
newspaper with a red felt-pen lying on the newspaper.

The camera moves up from the desk, on which the newspaper is
lying, to Allison's face, who is speaking over the telephone.
Around her, we see other desks with people working.


       ALLISON
       Oh, yes, that's a promise. Rent-stabilized, so you couldn't
       come on the lease.

ALLISON'S APARTMENT - KITCHEN - INTERIOR DAY

A young butch woman, wearing a leather jacket and a black and
white bandana around her head, bangs her fist on the walls of the
kitchen. She enters the kitchen, where Allison is sitting at a
table. Behind Allison, a nice white stove. The butch girl is
carrying a motorcycle helmet in her left hand. In the credits, the
butch girl is called «Mannish Applicant»

       THE BUTCH GIRL
       Nice... you could really open 'em up. I can't wait to get
       in here. Are you proper with tools ?
ALLISON'S APARTMENT - SPARE BEDROOM - INTERIOR DAY

A young very pretty woman, dressed in a short brown dress, moves
around the room and then looks at Allison with a seducing eye.
Allison, who is holding some papers in her hand, looks at the
departing applicant with an amused eye.

Later in the same room. Another applicant is walking around the
room. She's wearing large glasses, and never stops talking. While
she is walking, we hear a camera clicking and we see a camera
flashlight across the room.

       TALKATIVE APPLICANT
       I'm an incest survivor, you know. I haven't remembered the
       instance yet, but I know it's there somewhere. I just have
       the sense that I survived something. All my therapists
       think so.

She goes out the room in the hall. Allison is shaking her head
behind her back.
       TALKATIVE APPLICANT
       Oh God, a kitchen ! I hate kitchens, cooking, cleaning,
       anything feminine. I mean, it's probably my mother's fault.

While the applicant is going into another room, Allison is writing
something on a pad she is holding in her left hand. Underneath the
pad is a Polaroid camera, certainly the one we saw the flashlight
coming from.

ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAY

A nice clear room, with a comfortable vintage-looking couch.

A young woman is standing in the middle of the room, wearing a
white blouse and brown large pants, looking very discreet... too
perfect !

       PERFECT APPLICANT
       I think this could work. And if you feel the same, please
       give me a call.

Allison takes her picture with her Polaroid camera.

Later. Close-up on the pile of application forms. On the top of
the pile, the one concerning the woman we just saw, with her
picture stapled in the left top corner of the form.

Allison is sitting on the couch, looking through the files. She
has the file of the last woman in her hand. She stands up and
walks to the kitchen.

ALLISON'S APARTMENT - KITCHEN - INTERIOR DAY

Allison picks up the phone and dials the number of the last
applicant, whose form is still in her hand. Then she sees Sam's
picture on the fridge door. She puts the form on the top of the
fridge.
Close-up of Sam's picture.

Allison takes the picture off the fridge door and starts dialing
again.

       SAM'S VOICE ON THE PHONE
       Hello, Sam Rawson. Hello ?

Allison puts the phone back on its hook on the wall. She sits down
on the floor crying, and still holding Sam's picture. She crumples
the picture into a small tight ball.

We see a pair of foot underneath a long light-grey dress walking
in the hall. Allison is still crying.

The woman knocks on the kitchen wall. Allison stands up with a
start.

       ALLISON
       Oh !... Hi !

We get a full view of the unknown visitor. It's Hedra Carlson. She
is wearing a black hat on her long light brown hair. She is
carrying a large bag held by a strap across her chest. She looks
very sweet and nice.

       HEDRA
       Hi !... The front door was kind of open. Are you Allison
       Jones ?

       ALLISON
       Yes... I'm Allie.

       HEDRA
       Oh, I'm Hedra Carlson. We spoke on the phone this morning.

She looks at Allison's face, where we still can see she's been
crying.

       HEDRA
       Are you sure you're okay ?

       ALLISON
       You know what ? I'm not. Would it be all right if you came
       back tomorrow ?

Hedra starts taking her arm, and then moves away inside the
kitchen.

       HEDRA
       Why don't you just... sit down.

       ALLISON
       No, I'm fine.

       HEDRA
       I'll make you some tea.

       ALLISON
       I just... I don't think I had lunch, that's all.
Hedra tries to get some water at the sink, but just gets a strange
noise.

       ALLISON
       It's only this one. The one in the bathroom works. Here...

She comes to the sink, and takes a wrench lying by the sink.

       ALLISON
       I use a wrench.

She squeezes the water faucet with the wrench. Hedra puts her bag
on the floor. Allison keeps on trying to open the faucet with her
wrench, but the faucet breaks off and showers both girls.

Hedra bends down to shut the main water tap under the sink.

The girls are both all wet.

       ALLISON
       Oh ! Wow !... Wow !... I'm so sorry.
ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAY

Close-up on Hedra's dress and Allison's jacket drying on hangers
near the open window.

       HEDRA (voice over)
       If you need a reference, you can call them at Rizzoli.

Hedra gives some papers to Allison, seated on the sofa. Hedra is
wearing a red T-shirt and black pants, certainly borrowed from
Allison.

       ALLISON
       Oh, yes...

Allison looks at the papers.

       ALLISON
       Hedra... that's unusual.

       HEDRA
       I got terrible nicknames growing up, which I'm not telling
       you.

       ALLISON
       Not Hedy ? Like Hedy Lamarr ? That's exotic.

       HEDRA
       Well, I wasn't that exotic in grade school... as opposed to
       now, right ?

While Allison is reading the documents Hedra gave her, Hedra feels
the clothes hanging by the window.

       HEDRA
       They're dry.
She picks them up, gets them off the hangers, and gives her jacket
to Allison

       HEDRA
       Here.

       ALLISON
       Thanks.

Sam's crumpled picture falls on the floor from a fold in the
jacket. Hedra picks it up

       ALLISON
       Oh ! You can just toss that. I was just cleaning up. He's
       the reason why I'm looking for a new room-mate.

       HEDRA
       Oh !...

She sits down on the sofa next to Allison.

       HEDRA
       Do you know if there is a chance that you guys patch things
       up ? As... I do not want to move in and catch you being
       bound again, and then have things change. It would just be
       awkward.

       ALLISON
       Well, nothing going to change it, except for... maybe that
       my faucets will work. When can you move in ?

       HEDRA
       No, really ?

She looks very moved by what Allison just said. She takes
Allison's hand.

       ALLISON
       Congratulations.

       HEDRA
       Thank you.

ALLISON'S BUILDING - BASEMENT - INTERIOR DAY

Allison and Hedra are walking along a corridor in the basement.
Allison is wearing a black sleeveless T-shirt and beige pants.
Hedra is wearing a red dress with white small dots. Allison is
carrying two suitcases and Hedra a very large box. They all must
be empty, the way the girls are carrying them.

       ALLISON
       I've got one friend. Graham. He lives just upstairs...

       HEDRA
       A friend ?

       ALLISON
       Oh, not like that : he's gay. So, anyway, it's not a real
       friendly building, but, at least, there's no problem with
       privacy. 'Cause, I mean, you just close your door...

       HEDRA
       Yeah.

       ALLISON
       No problem.

       HEDRA
       I'll leave you alone, you know... I mean, whatever's good
       for you.

They've come to a row of stocking rooms, all protected by
partition and doors covered with chicken wire. They look like
cages, and that's exactly what the tenants call them. The two
girls drop their parcels on the floor. Allison takes a key out of
her pocket to open the padlock of her own private «cage».

       ALLISON
       Anyway.

       HEDRA
       Wow !

Hedra crosses the corridor. On the opposite side from the row of
«cages», a door that says : «Incinerator Room» and stuck on it, a
sign that says «Use prohibited by law».

By this door, a pile of junks, probably left by a tenant. Hedra
picks up an old rusty metal lamp.


       HEDRA
       Hey, look, Allie, this could be good, huh.

A few moments later. Allison has resumed her tour of the basement,
walking along the corridors. Hedra is carrying the metal lamp she
found. They pass by the Laundry Room, where we've seen Allison
earlier chatting with Graham. Inside, a lady is working with her
laundry on a table.

       ALLISON
       Laundry room.

Another corridor.

       ALLISON
       I don't go in there at night. It's a bit creepy. It's okay
       in the day, but, still, lock yourself in.

Hedra looks at a key she is holding.

       HEDRA
       This one ?

       ALLISON
       No, that's mail key.

They've come to the elevator. An old machinery, enclosed in a
chicken wire cage, is working with a loud noise. Allison presses
the switch of the elevator

       HEDRA
       This is creepy.

       ALLISON
       Oh, it's not bad, it's just kind of old.

The elevator door slides into the wall, and the two girls get in
the cabin. Allison wants to close the inner door of the cabin, but
it does not want to slide back into closed position.

       ALLISON
       Sometimes this gets stuck and you have to use this
       screwdriver.

She takes a screwdriver hanging on a chain in the cabin. With it,
she works on the door lock, and succeeds in moving it.

While she rolls the inner telescopic door shut, she discovers that
another tenant has come into the cabin behind their back. He
doesn't look very friendly, with his bow-tie and his small
mustache. He is holding a newspaper.

       ALLISON
       Excuse me.

When the inner door is completely shut, the outer door slides
automatically into shut position.

ALLISON'S BUILDING - ELEVATOR CABIN - INTERIOR DAY

The elevator is moving up.

       THE TENANT
       Which floor ?

       ALLISON
       Eleven

The tenant presses a button on the switchboard by the door.

       HEDRA
       Fourteen, please.

The tenant presses another button. Hedra plays with her keys and
smiles to Allison.

ALLISON'S APARTMENT - SPARE BEDROOM - INTERIOR DAY

Allison and Hedra move a table out of the room. The table is
covered with various objets, and has apparently been used as a
desk. When they try to squeeze the table through the door, they
upset everything that is on the table down on the floor. They
scream and laugh.

ALLISON'S APARTMENT - KITCHEN - INTERIOR DAY

Allison turns the water faucet on, and it seems to be working
perfectly.
       ALLISON
       Okay.

Hedra is kneeling by the sink, looking at the cupboard underneath
the sink. She stands up with an oval metal dish.

       HEDRA
       Look what I found.

ALLISON'S APARTMENT - SPARE BEDROOM - INTERIOR DAY

Hedra is kneeling on the floor, cleaning the dish she has found in
the kitchen. It shines so well that she can look at herself in it
as if it was a mirror.

Close up on the dish. Beside Hedra's face, we see Allison's face
coming to join her.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

Hedra, just wearing her underwear, is talking on the phone.
       HEDRA
       I'm not sure. Hold on, I'll check.

Sitting on the floor, Allison is painting the old lamp Hedra has
found in the basement. An electric fan is working next to her.
Hedra puts the dress she is holding on the receiver, and whispers.

       HEDRA
       Allie, it's Sam.

Allison shakes her head «No».

NEW YORK - A STREET - EXTERIOR DAY

Nice weather. Busy street, with shops and people. Allison and
Hedra are walking, eating ice cream cones. Allison is very
elegantly dressed. Hedra is more simply dressed and is still
wearing her old black hat.

       HEDRA
       Where do you guys learn to dress like that ? I mean, it's
       just so New York.

       ALLISON
       I think you look very comfortable.

       HEDRA
       Yeah, I never know what looks good.

NEW YORK - A CLOTHES SHOP - INTERIOR DAY

Hedra comes out of a dressing room, wearing a very elegant red
jacket.

       ALLISON
       Oh !... I think that looks nice
       HEDRA
       Yes ?

       ALLISON
       But I found this.

She gives her a red dress on a hanger, which she was holding out
of our view.

       HEDRA
       Oh !

       ALLISON
       I think you'd look great with that.

       HEDRA
       Okay

Hedra takes the dress and looks at it.

NEW YORK - A SHOE SHOP - INTERIOR DAY
We see only Allison's feet and legs. She is sitting on a chair
trying on some high-heel shoes. We see Hedra's feet coming toward
her. She is also wearing high-heel shoes.

       HEDRA
       Hey ! What do you think ?

       ALLISON
       I think you should take them.

Allison takes off the shoes she was trying on.

       HEDRA
       Oh God, you like them ?

We now see both girls' faces. Hedra is taking off the shoes she
was wearing.

       ALLISON
       Well, I think they go great with that dress.

       HEDRA
       You take them

She gives her shoes to Allison.

       ALLISON
       Well...

       HEDRA
       I'll just borrow them when I want to.

ALLISON'S BUILDING - EXTERIOR NIGHT

A full view of Allison's building in the New-York night. Actually,
it's not full night yet, because there is still some dark blue
light in the sky.
ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHT

The room is all dark, lit only by the street light coming from the
window. Allison walks into the room with a lampshade in her hand.
She puts the lampshade on the lamp by the bed. Then she switches
the lamp on. Apparently it is the lamp Hedra found in the
basement, cleaned and painted.

Allison looks at the books on the night-table.

She then moves across the room, puts her handbag on the bed, and
takes a medicine bottle from a small table. She puts it back and
takes a perfume bottle. She takes the plug off and sniffs the
bottle. With the plug, she puts a bit of perfume on her neck. She
puts the plug back on the bottle and the bottle back on the table.
She then takes a pair of earring from the table. She holds them on
her ears and looks at the effect in a mirror.

In the mirror, we see Hedra entering the room behind Allison.
Allison turns quickly around. Hedra is wearing a light night-robe
and her hair is wet
       ALLISON
       God! I didn't know you were home. I was...

Lying on the bed, there are a shoebox with a rubber band around
it, a key on a keyring, and a piece of paper. Apparently, Allison
has not noticed them. Quickly, Hedra throw the bath-towel, she is
holding, on those items, for Allison not to notice them.

       ALLISON
       I was... I was... God, I'm sorry. You haven't even been
       here two weeks and I'm already in your room.
       (ironically)
       I was just about to go through your drawers !

Hedra laughs. Allison puts the earrings, she was still holding,
back on the table.

       HEDRA
       That smells nice on you.

       ALLISON
       Oh, I hope you don't mind. I just... I always wanted to try
       that.

       HEDRA
       Oh God, no. anything you want... you want.

She takes her night-robe off. Allison seems embarrassed to see her
naked. She turns her eyes away from her.

       HEDRA
       Go ahead. Share and share alike.

       ALLISON
       Well... I don't really know about that. I'm an only child.
       Do you have... a big family ?

Hedra puts her nightdress on.
       HEDRA
       Hu-uh... There's just me.

She sits on her bed.

       HEDRA
       I am... Well, I was supposed to be a twin, but she was
       stillborn.

       ALLISON
       Oh, that's so sad.

       HEDRA
       I grew up like a part of me was missing.

She turns around sees the new lampshade.

       HEDRA
       Allie ! God !

She stands up to have a better look at the lampshade.
       HEDRA
       It's beautiful. Thank you. What do I owe you ?

She walks toward the little table.

       ALLISON
       Oh... nothing. It's just a little housewarming. It's like
       that.

Hedra picks up the earrings from the table, and gives them to
Allison

       ALLISON
       Oh no no...

       HEDRA
       Shhh !...

She puts the earrings on Allison's ears.

       HEDRA
       They look beautiful on you.

       ALLISON
       But I can't take these.

       HEDRA
       It's housewarming.

Allison looks at herself in the mirror.

       ALLISON
       Thanks, they're great.

The phone rings.

       ALLISON
       Excuse me.

She goes out of the room. While going out, she bumps into Hedra.

       HEDRA
       Oops !

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

Allison picks up the phone.

       ALLISON
       Hello ?...

It's Sam. We only hear a few words of what he says.

       SAM (voice over on the phone)
       ... Talk to me...

       ALLISON
       No, Sam.
          SAM (voice over on the phone)
          Why not ?... Why not ?...

          ALLISON
          No, it's not a good time.

ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHT

Hedra takes the shoebox from her bed, goes to a closet inserted in
the wall of the bedroom, and puts the shoebox on the top shelf of
the closet.

          ALLISON (voice over from the corridor)
          I'm not ready to see you. You're just going on something
          that's over.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

Allison is still on the phone.

          ALLISON
          No, there's nothing to talk about anyway. Sam, there's
          somebody here right now...

We see Hedra's face peeking through the door of her bedroom.

          ALLISON
          All right ?... Okay... Bye.

She puts the phone down. Hedra is still peeking behind her bedroom
door.

          HEDRA
          Why don't we order some Chinese ?

Allison remains two seconds motionless with her hand on the
telephone, and then smiles and shakes her head «Yes».
ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

Through the open door of the bathroom, we see Hedra kneeling by
the bathtub, and apparently washing something in the bathtub.

The phone rings. Hedra rushes out of the bathroom. She is wearing
a orange T-shirt, a very large red boxer-short and white slippers.

          ANSWERING MACHINE
          Hi, this is Allison Jones. Please leave a message. Thank
          you.

A beep.

While listening to the machine, Hedra picks up a box on the
telephone table, takes a sweet out of the box, eats it, and puts
the box back on the table

          SAM'S VOICE ON   THE ANSWERING MACHINE
          Allie, are you   there ?... Allie, pick up. Allie, listen.
          Please, please   call me back. This is torture for me. I know
          you need me as   much as I need you. I love you. I'll do
       anything for you for us to get back together, just call me.

A click, meaning the end of the call. Hedra presses a button on
the answering machine, to erase Sam's message.

We hear some yapping coming from the bathroom. Hedra turns her
head toward the bathroom.

       HEDRA
       Buddy !

ALLISON'S APARTMENT - BATHROOM - INTERIOR DAY

Close-up shot of Hedra, kneeling by the bathtub and holding a big
puppy in her arms. She is rinsing it with mugs of water taken from
the bath.

       HEDRA
       Oh, yes, you're a good clean boy. You're going to cheer her
       up, are you ? Hmm ? You're going to cheer her up. So she'll
       let you stay.

While rinsing the puppy, she hugs and kisses it.

She hears the front door opening and turns her head around. She
says «Shhh !» to the puppy, and whispers some other
incomprehensible words to it, then puts it back in the bathtub.

Close-up of a paper lying near the sink over Hedra's key-ring. The
paper is a bill from a shop called «Pet Express», in New-York. It
was paid in cash, and the date is 8/16. It reads :

       YELLOW LAB PUPPY
          MALE, 6 WEEKS OLD, $ 350,-
                           TAX $ 29,75
                           $ 379,75

Hedra's hand crumples the bill and puts it in the waste-basket
underneath the other items already in the basket.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

Allison enters the apartment. She is wearing a silver-colored
raincoat.

       ALLISON
       Yoo-hoo !

She closes the front door. Through the open bathroom door, we see
Hedra going from the waste-basket to the bathtub. She takes a
towel and wraps it around the puppy, still in the tub.

Allison puts her keys on the shelf by the door, puts her handbag
on the floor, and presses a button on the answering machine. A
beep and then :

       ANSWERING MACHINE
       No messages.

Behind Allison, we see Hedra coming out the bathroom carrying the
puppy wrapped in the towel.

Allison turns around, sees Hedra with the puppy and stops in her
tracks. She doesn't seem very happy, almost angry in fact.

       HEDRA
       I know I shouldn't have, but they were just giving him
       away... in the market. But they said I could bring him back
       to-morrow.

       ALLISON
       Well, I hope they meant it.

Hedra sits down on the floor.

       HEDRA
       Well... his name's Buddy. I had a dog named Buddy when I
       was little.

She gives a kiss to the puppy. She then looks up at Allison's
face, which doesn't seem very friendly.

       HEDRA
       Tomorrow, okay. I promise.

Allison walks away taking off her raincoat.

ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHT

We hear the puppy yapping. Hedra is sitting on her bed in the
dark. She stands up and peeks through the ajar opening of the
door.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

Close-up at Hedra's peeking through the ajar opening of the door.
The puppy is still yapping.
The door of Allison's bedroom opens and Allison comes out. She is
wearing a light pink nightdress.

She slowly opens the kitchen door, bends down and picks up the
puppy.

       ALLISON
       Oh ! Come on.

ALLISON'S APARTMENT - KITCHEN - INTERIOR NIGHT

Reverse angle shot of Allison picking up the puppy. She then goes
away, presumably to her bedroom, with the puppy in her arms.

       ALLISON
       Okay. Come on. Shhh !

Through the open kitchen door, we see, across the corridor,
Hedra's bedroom door closing itself.

ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAY
Hedra, wearing pajama-looking pants and a sleeveless loose shirt,
comes in the room, carrying a tray. There is a mug on the tray, in
which Hedra is pouring honey from a plastic bottle. She comes to a
table, where Allison is working on two computers. The puppy is
sitting on Allison's laps.

Hedra stirs the mug with a teaspoon, and puts the tray on the
table.

       HEDRA
       You're working so hard.

Close-up on the screens of the computers. They show women dresses
designs.

       ALLISON (voice over)
       Myerson better refers some clients to me.

       HEDRA (voice over)
       He will, you're the best.

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHT

Hedra and Allison are lying on Allison's bed, with the puppy
between them. Hedra is wearing a pink T-shirt and red short pants.
The TV is on and we hear its sound faintly, without really
understanding the words.

       ALLISON
       God, Hedy, thanks. I never would've got it done without
       you.

Hedra is playing with a portable battery-powered fan. She puts it
down to play with the puppy.

       HEDRA
       I love helping.
She tries to move the puppy, who wants to move the other way.

       HEDRA
       Wait... Wait...

Allison takes her Polaroid camera to take a shot of the three of
them.

       HEDRA
       Oh yeah ! Family portrait.

       ALLISON
       Ready ?

       HEDRA
       Yeah.

Allison takes the snapshot.

Later in the night. There is a black and white movie on the TV.

       THE WOMAN IN THE FILM ON TV
       I lived a few weeks while you loved me. Goodbye, David.

The camera moves away from the TV, and we see Allison and Hedra
asleep on Allison's bed, with the puppy between them. Hedra moves
slightly in her sleep.

NEW-YORK - A STREET - EXTERIOR DAY

Allison and Graham are walking on the sidewalk of the street,
Graham pushing his bicycle. He has a canvas bag strapped over his
shoulder.

Graham's first sentence is actually heard in voice over the
previous sequence.

       GRAHAM
       Ready to kill her yet ?

       ALLISON
       Who, Hedy ?

       GRAHAM
       Hm-mm !

       ALLISON
       No, no, it's a lot of fun having a girlfriend again.

       GRAHAM
       I can tell. I was worried for a while that you were so
       down. You were starting to look like a Kennedy wife.

ALLISON'S BUILDING - MAIN LOBBY - INTERIOR DAY

They enter the lobby. We can see that Allison is carrying some
shopping bags. A lady is going out with a dog on a leash.

       ALLISON
       You were great, Graham. I just had to spend some time with
       her. She needed a lot of help moving in. Plus, I've been
       working like crazy. I promised I'm not avoiding you.

They enter the elevator. Two ladies are coming out. Allison has to
use the screwdriver to close the inner door of the cabin.

       GRAHAM
       Oh, I've got you cornered now. I've been meaning to come
       down and see you. I was on my way to ask you something.

ALLISON'S BUILDING - ELEVATOR CABIN - INTERIOR DAY

The cabin is moving up.

       GRAHAM
       Will you cat sit again ? I have to go to Boston this week-
       end for my cousin's wedding.

       ALLISON
       Fine. Sure, I'll watch Carmen.

He takes a keyring out of his pocket.
       GRAHAM
       Hey, I've made you a set. You know which one to try. And
       ignore the litter box this time, I do.

She laughs.

       ALLISON
       It's so cruel. We'll be fine.

       GRAHAM
       You know, I think I saw her the other day, your room-mate.
       You were leaving the building. Then I thought it was you.
       Your backpack. This jacket. I chased her down. But it was
       someone else. Someone very nervous.

       ALLISON
       Oh !... That's Hedy. I really freaked her out about people
       knowing she's living in the building. I would've had you
       down to meet her... but she's shy.

The elevator stops.

       ALLISON
       Well.

The outer door opens. Allison bends down to pick up her shopping
bags. She opens the inner door and takes the keys Graham is giving
her.

       ALLISON
       Friday ?

       GRAHAM
       That'll be great. I'll make dinner when I get back.

Allison closes the inner door.
ALLISON'S BUILDING - LANDING HALL OUTSIDE ALLISON'S APARTMENT -
INTERIOR DAY

Reverse angle shot of Allison closing the elevator inner door. The
outer door closes automatically. Allison walks along the hall
toward her apartment.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

The front door opens. Allison bends down to pick up her shopping
bags and enters the apartment. The front door closes behind her.
She drops her keys on the little shelf by the door. She sees Hedra
in the doorway of the living room. Her hair is in a bun.

       ALLISON
       Hey, I thought you'd be at work.

       HEDRA
       No.

       ALLISON
       Don't tell me we have the same belt.
Hedra looks down at her belt. She seems embarrassed by something.

       HEDRA
       Well... Yeah ... Sorry... Listen, I have to talk to you.

       ALLISON
       You have to see these. Look, cookies for dogs.

       HEDRA
       Oh, they're great.

       ALLISON
       I had to get them. They're so great.

       HEDRA
       Can I just talk to you for a second...

       ALLISON
       Buddy !

Sam enters from the living room with the puppy in his arms.

       HEDRA
       I tried to let you know.

Sam puts the puppy on the floor.

       ALLISON
       What are you doing here ? Hedy !

       SAM
       But no, don't blame Hedy. It's not her fault, okay.

Hedra goes out of the hall into the living room.

       SAM
       I kind of forced my way in here. I had to see you.
Hedra comes back in the hall.

       HEDRA
       I've got to get out of here now. Unless you need me...

She looks back and forth to Allison and Sam, and gets just a «No»
head-shake as an answer from Allison.

       HEDRA
       Okay.

Hedra goes out of the apartment and closes the door behind her.

       ALLISON
       Why can't you just leave me alone ?

Allison takes her shopping bags and goes into the kitchen.

       SAM
       You've got to talk to me, baby. You just can't pretend I
       don't exist.
ALLISON'S APARTMENT - KITCHEN - INTERIOR DAY

Allison puts her bags down on a table.

       ALLISON
       Easier that way, Okay ? Is that so hard to try to make it
       easier on me ?

       SAM
       But people screw up. People do something wrong. And I was
       wrong, I admit it. And you just... You cut me off. You
       don't take my calls. You don't answer my letters.

       ALLISON
       Wait a minute. You lied to me ! If she hadn't called, would
       I have found out ? I think that's really scary, okay ?
       Please, if you want to be nice, just stay away.

       SAM
       Okay. You know, I know that there is something that you
       just can put back together. I was hoping that this wasn't
       one of them.

       ALLISON
       Well, I guess it is. And... I didn't get any letter. So, I
       wasn't trying to punish you by not answering it. I just
       didn't get it.

       SAM
       Well, I sent it with the keys.

       ALLISON
       Well, I didn't get those, either. What did it say ?

       SAM
       Forget the letter. I love you. I can't exist without you.
       I have no excuse for what I did, Allie. You have to give me
       a second chance.

She goes into his arms. He hugs her. She start crying.

       ALLISON
       You really hurt me, Sam.

       SAM
       Shhh !

ALLISON'S BUILDING - EXTERIOR DAY

Close-up on Allison's kitchen window. We see Allison and Sam
hugging each other.

ALLISON'S BUILDING - LANDING HALL OUTSIDE ALLISON'S APARTMENT -
INTERIOR DAY

Hedra is standing by the window, with a knee on the heater. She
seems very pensive.

An old lady comes out of the elevator, and looks at Hedra.
Hedra turns her head toward the lady. She picks up her bag, which
was sitting on the heater beside her, and moves away from the
window. She goes to the elevator and presses the call button.

A STREET IN NEW-YORK - EXTERIOR DAY

We are across the street from the Rizzoli bookshop, the shop where
Hedra is working.

RIZZOLI BOOKSHOP - INTERIOR DAY

Hedra, dressed exactly like she was in the previous sequence, is
dialing a number on the telephone on the wall.

A lady comes to her.

          THE LADY CUSTOMER
          Excuse me, can you tell me where the biography section is ?

          HEDRA
          Oh, yes, towards the front, against the wall.

          THE LADY CUSTOMER
          Okay.

The lady moves away from Hedra.

We hear Allison's answering machine talking in the telephone.

          ALLISON'S ANSWERING MACHINE (voice over)
          Hi, this is Allison Jones. Please leave a message. Thank
          you.

A beep.

          HEDRA
          Hi, Allie, it's me. I'm just calling to see if you're okay.
ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

Close up shot on the answering machine. Then the camera moves away
from the telephone table and, in the living room, we see Sam and
Allison, standing in a close embrace and kissing each other. Some
pieces of clothing are already on the floor, and we see Allison's
foot stroking the back of Sam's leg.

          HEDRA (voice over on the answering machine)
          Call me at work. Yeah. Okay. My number's on the fridge.
          Okay, bye.

RIZZOLI BOOKSHOP - INTERIOR DAY

Hedra puts the phone back on its hook. She seems very nervous.

HOTEL ATHERTON - MAIN ENTRANCE - EXTERIOR NIGHT

The Atherton Hotel is evidently a quite luxurious hotel.

Sam and Allison are walking on the sidewalk towards us and the
entrance of the hotel.

       SAM
       Say... Next month, that would give her enough time.

       ALLISON
       I don't know. Just got herself on hands. Haste wouldn't do.
       I'm sure she'll understand.

They enter the hotel.

HOTEL ATHERTON - LOBBY - INTERIOR NIGHT

Sam and Allison cross the lobby, hand in hand.

An old hotel clerk looks at them from behind his counter.

       HOTEL CLERK
       Good evening, Mister Rawson.

ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Close-up on the TV set showing a movie featuring James Stewart.

       JAMES STEWART (playing his character in the movie)
       I have an idea I must be in love with you. Has it hit you
       that way ?

Reverse angle shot on Hedra sitting in an armchair, with her bare
feet on another armchair. She is eating ice-cream from a large
plastic pot. On the floor beside her, the puppy is playing with a
tennis shoes. Hedra looks down at it and kicks it away with one of
her feet.

       HEDRA
       Hey ! It's not for you !

The puppy goes away yapping. Hedra has a mean look on her face.
       JAMES STEWART (voice over from the TV set)
       Would you like it to go on for always ?

       FEMALE CHARACTER IN THE MOVIE (voice over from the TV set)
       How does anything go on for always ?

       JAMES STEWART (voice over from the TV set)
       Well, one likes to think some things do.

Hedra keeps on eating her ice-cream, looking absently at the TV,
with the same mean look on her face.

HOTEL ATHERTON - A BEDROOM - INTERIOR NIGHT

Sam is sitting on a chair, naked. Allison, also naked, is sitting
on his laps, facing him, and with her legs spread on either side
of the chair. She is moving up an down. They evidently are having
an intercourse.

Close-up on Allison's hand behind Sam's back. She is wearing her
engagement ring.
ALLISON'S APARTMENT - BATHROOM - INTERIOR NIGHT

Hedra is lying naked in the bath. The bath is almost full, but hot
water is still pouring from the tap. Hedra, her eyes closed, is
humming some music.

ALLISON'S BUILDING - EXTERIOR NIGHT

Full view of the building.

ALLISON'S BUILDING - MAIN ENTRANCE - EXTERIOR NIGHT

A Yellow Cab is parked in front of the entrance. On the sidewalk,
Sam and Allison are hugging and kissing.

Allison moves away from Sam and into the building. Sam goes back
into the cab.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

The front door opens. Allison comes in and closes the door behind
her. She locks the door and puts the security chain on. She puts
her keys on the shelf by the door, and looks through her mail. She
stops near Hedra's bedroom closed door, because she notices there
is still some light in the room. She then goes to the telephone
table to look at the answering machine.

Still looking through her mail, she enters her bedroom.

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHT

Without switching the lights on, Allison puts her mail on a chest
of drawers.

       HEDRA
       Where the hell have you been ?
Allison gasps at that somber voice in the dark. Hedra switches the
bed-light on. She is sitting on Allison's bed, with her legs
covered by the sheet, and the puppy on her laps. She is wearing
her night-dress, with a pink sweater on her shoulders.

       ALLISON
       God, Hedy, what are you doing in my room ?

       HEDRA
       I've been waiting since six o'clock last night to hear from
       you. I'm worried sick. Buddy was crying. I thought I might
       as well come in here, so it calm down.

       ALLISON
       Sorry, I guess I just didn't think.

       HEDRA
       No, you didn't. There's such a thing as a phone, you know.
       This is New York. Things happen.

       ALLISON
       Okay, okay, I'm sorry. It was thoughtless, really. You're
       making me feel like I'm sixteen years old here.

She goes to the bed where Hedra is stroking absently the puppy.
She kneels down at the bedside.

       ALLISON
       Hey, are you okay ?

       HEDRA
       Yeah... Yeah. Just... forget it. So, I guess you've patched
       things up with Sam, huh ?

       ALLISON
       Yeah... Yeah, I made him suffer.

Hedra looks down at Allison hand stroking the puppy.

       HEDRA
       Is that an engagement ring ?

Allison stands up.

       ALLISON
       Right.

Hedra sighs, and moves the sheet away to get out of the bed.

       HEDRA
       Beautiful ring.

       ALLISON
       Thanks.

Hedra walks away from the bed. She gives a last look at Allison's
ring.

       HEDRA
       Really great.
She walks to the door.

       HEDRA
       I'm sure you'll be very happy ... you'll be very happy and
       I'll be alone.

       ALLISON
       No, no, wait a little. You'll find someone, Hedy. I mean,
       God, if I can...

Hedra is standing in the doorway and points to the mirror.

       HEDRA
       Why don't you look in the mirror ?... Huh ? Look !

She comes back into the bedroom. She forces Allison to look at
both of them in the mirror.

       HEDRA
       Look ! You're in a different league. I know that. You have
       this great personality. You have this great style. You're
       running your own business. You're always going to find
       someone. You'd have to be stupid to think that you
       wouldn't.

She puts her head in her hand.

       HEDRA
       Well, I guess you... you and Sam want to be together. So...
       I have to move out, right ?... No ?

       ALLISON
       Well, anyway, Sam's going to keep his place for a while. I
       know you just spent a lot on furniture.

       HEDRA
       Yeah, your timing is great, Allie, it's really great ! You
       promised me this wouldn't happen. Exactly what...

       ALLISON
       Nothing's happened, Hedy, come on. Look, I'll talk to Sam.
       Well... Well, maybe we'll move, I don't know. Maybe, we'll
       find some place like this, or... I don't know. But, we'll
       see, we'll figure something out. Okay ?

FONTANA FASHIONS OFFICE - MAIN HALL - INTERIOR DAY

Fontana Fashions is Mitchell Myerson's company.

Close-up on some feminine hands typing on an Apple computer
keyboard. We see various windows, showing models of female dress,
opening and closing on the screen.

       MITCHELL (voice over)
       They tell me they're nervous.

       ALLISON (voice over)
       Of course, they're nervous. They're salesmen. They want to
       be sold.
We see the whole room. It is a very big room with large white
columns supporting the ceiling, and large bay windows.

Girls are working in the background. Some are trying a new dress
on a model girl. Mitchell's assistant is typing on the computer,
with Allison standing near her. Her name is Barbara, and she is a
woman with brown hair and a sleek bob haircut. Mitchell is
standing a couple of feet away.

       ALLISON
       Let's set up a demo, to show them something. Something
       special, something different, you know. Maybe at night, you
       know. Open bar, open minds. That's «F» night.

Mitchell walks to the desk next to Barbara's one, where he starts
flipping the cards of a Rolodex.

       MITCHELL
       I'll set it up, I'll set it up. Maybe I... I'll call you
       tonight after I check on some things.
       ALLISON
       Great.

He takes a card from the Rolodex.

       MITCHELL
       «8796, Knox». Knox ? What's this Knox ?

       ALLISON
       Oh no, that's Graham Knox. He is my upstair neighbor. That
       was just for last night. Oh, he's the first one.

       MITCHELL
       Well, I've got to admit, I'm very impressed.

       ALLISON
       Well, maybe you start spreading the word.

       MITCHELL
       You know, I can see I'm not going to be able to afford you
       any more.

He puts his hand on Allison's shoulder and walks away. Allison
smiles and then looks at what Barbara is doing.

       ALLISON
       Great. Press «enter». That's it.

ALLISON'S BUILDING - EXTERIOR NIGHT

Low angle shot of Allison's building.

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHT

In the dark, we see the shadow of Allison moving up and down on
top of Sam. She is slightly moaning.

Fade out.
Later. Sam and Allison are lying on the bed, naked and half-
covered by the sheet. Allison's head is resting on Sam's chest.

       ALLISON
       You thirsty ?

       SAM
       No.

She starts moving out of the bed.

       ALLISON
       I'll be right back, okay.

She stands up and puts a light night-gown on. She walks out of the
room.

ALLISON'S APARTMENT - BATHROOM - INTERIOR NIGHT

Allison is filling a tooth glass from the tap of the sink.
Suddenly we hear voices. Allison seems surprised. We don't
understand the words, but we recognize Sam's voice, and then
Hedra's light laugh.

Allison slowly walks out, carrying her glass.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

Hedra is standing at the door of Allison's bedroom. She is holding
a glass containing an orange liquid. She is wearing a night gown
and she is holding a book in her other hand.

       HEDRA
       Well, you'd know more about that than I would.

She laughs.

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHT

The lights are switched on in the bedroom.

Sam is lying in the bed, still half-covered by the sheet. He is
drinking from a can.

Reverse angle shot of Hedra drinking from her glass. The night-
gown is slightly open and we can see that she is just wearing
panties underneath.

Allison walks behind Hedra. She is holding her tooth glass, and
with her other hand, she keeps her night gown well closed. Hedra
turns her head towards her.

       HEDRA
       Oh, hi !

       SAM (voice over from the bed)
       Allie, do you want a sip ?

Allison shows her own glass in her hand without answering.
Hedra looks at Sam and then at Allison. She seems slightly
embarrassed.

       HEDRA
       Oh well... Well I think I'll turn in. Goodnight, Allie.

She kisses Allison's cheek.

       HEDRA
       Goodnight, Sam.

She walks away toward her bedroom.

Sam turns himself around in the bed to lie on his back.

Before closing the door, Allison switches the lights off.

In a corner of the room, the puppy is wide awake and is sitting in
his basket.

Allison lies down on the bed. She hasn't taken her night gown off.
Close up shot on Allison's face lying on her back on the bed. She
seems worried.

Reverse angle shot of the fan spinning on the ceiling.

Fade-out.

Later. Allison is asleep, lying on her side. She is still wearing
her night-gown. Her hand is moving on the sheet, and apparently
does not find what it was looking for, because Allison suddenly
sits up on the bed.

We see Sam sleeping and lying on his back, half-covered by the
sheet. Allison looks at him and sighs.

We hear some strange noises. Allison gets up and off the bed.

We see her naked feet walking past the puppy's basket. Allison
opens the door. The puppy leaves his basket and follows her.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

Allison crosses the hall, followed by the puppy. She stops, bends
down and picks it up.

She walks slowly to Hedra's door, which is partly opened. We hear
Hedra moaning.

In the mirror on the closet door, we see Hedra lying on her
stomach on her bed, half-covered by the sheet. She is
masturbating. She turns around to lie on her back.

Close up shot on Allison's face looking at Hedra. She seems half-
surprised, half-fascinated by what she sees.

ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHT
Hedra is lying on her back in her bed. Her sheet is down to her
waist, showing her breasts. She still has one hand between her
legs.

The puppy yaps.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

Close-up of Allison's face, looking slightly frightened. She puts
the puppy on the floor.

Reverse angle shot on the mirror in Hedra's bedroom. We see Hedra
sitting up on her bed.

Allison runs through the hall towards her bedroom. The puppy
follows her, but she shuts the door before it can gets in the
room.

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHT

Allison jumps into her bed and lies down. We can hear the puppy
yapping behind the door.
Allison hears the door opening. She puts her head on the pillow,
closes her eyes and pretends she is asleep.

Hedra walks slowly across the room towards the bed. She is wearing
her night gown.

We see Allison's shoulder moving slowly up and down, just as she
was really asleep.

Hedra remains a few seconds looking at Allison, then starts
walking back towards the door.

Close-up shot on Allison's face. Her eyes are closed, but, when
she hears the door closing, she opens them again.

ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAY

Sam is fixing a broken piece of wrought iron on the balustrade on
the balcony. He is screwing a sleeve clamp to fix the broken piece
on the main body of the balustrade.

       HEDRA (voice over)
       They're ready.

       SAM
       Right, just a minute.

Hedra is coming out of the kitchen with a frying pan. She is just
wearing her night gown. She is stirring some scrambled eggs in the
pan.

       HEDRA
       They'll get cold.

She eats a piece of crispy bacon out of the pan.

       SAM
       All right, all right.

Sam climbs out of the balcony.

A wider shot shows Hedra back in the kitchen, cooking something on
the stove. Sam slides the window down, and then walks across the
room and into the kitchen. The puppy gets out of its basket and
follows him.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

Allison gets out of her bedroom, fully dressed and ready to go to
work. She hears voices coming out of the kitchen.

       SAM (voice over)
       No, no, Rawson is a Norse name.

Allison opens the kitchen door.

ALLISON'S APARTMENT - KITCHEN - INTERIOR DAY

Sam and Hedra are eating breakfast seated on either side of the
small kitchen table. The puppy is eating something off the floor.

       SAM (finishing the sentence he was saying in voice over
       while Allison was opening the door)
       Well, isn't this a thoroughly uninteresting conversation.

He looks up at Allison entering the room

       SAM
       Hey !

       HEDRA
       Hi !

       ALLISON
       We going ?

She walks to the sink, and picks up an orange. Sam gives her a
kiss on the cheek. She turns her head and doesn't respond to the
kiss.

Hedra comes toward them with a plate in her hand. She gives the
plate to Allison.

       HEDRA
       Scrambled or fried ?

Allison doesn't take the plate and shows her the orange. She seems
quite upset.

       ALLISON (whispering)
       This is fine.

She gets out of the kitchen. Sam turns his head towards Hedra and
then follows Allison.

Hedra walks a couple of steps towards the open door and listen to
the conversation going on in the living room
       SAM (voice over)
       Allie, sweetheart, this isn't all that urgent. You know, if
       you don't want to do this apartment thing today, it can
       wait till I get back.

ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAY

Hedra is standing in the doorway leading to the kitchen, with the
plate still in her hand.

Reverse angle shot on the legs of Allison and Sam. The puppy is
playing between them, putting its nose on Allison's leg.

       SAM
       Why don't we get away together ? Drive to Box Camp ?

Reverse angle shot on Hedra bending down and slapping her thigh.

       HEDRA
       Buddy, come here, boy.
She takes a piece of bacon out of the plate and shows it to the
puppy.

Reverse angle shot on Allison and Sam.

The puppy doesn't respond at all to Hedra's call and food.

       HEDRA (voice over)
       Come on, three's a crowd, sweetie.

       ALLISON
       All right, Hedy, he's fine.
       (in a much lower voice, for Sam's ears only)
       Poor guy's doesn't who's who anymore.

Reverse angle shot on Hedra standing up and finishing her plate.

Then reverse angle shot again on Allison and Sam.

       SAM
       Well, wouldn't you like to take a day off... Renting a
       car...

       ALLISON
       No, I'm okay. I'm fine. I just didn't get a very good
       sleep, that's all. Nightmares. Okay ?

Sam gives her a very tender kiss, which she gives him back.

Reverse angle shot on Hedra looking very angry. She goes back into
the kitchen and puts her plate down. She then walks into the
living room, looking very casual.

       HEDRA
       You've got a good day for it if it doesn't get too hot.

She gives a light tap on Sam's back when she walks behind him. She
takes a food plate off Allison's desk, and starts walking away
towards the kitchen with the plate.

       ALLISON
       You don't have to do that, Hedy. You're doing enough
       already.

       HEDRA
       Oh, I don't mind. It's clean when you can't tell I'm here.

She enters the kitchen to put the plate down. She then comes back
into the living room.

       HEDRA
       Oh... Hey, if the eggs were okay, maybe you guys can trust
       me with dinner. Do you know when you'll be back ?

       ALLISON
       Oh, no, it's kind of an anniversary tonight. So I think
       we'll be eating out.

       HEDRA
       Really ? Well, that's great... Well, good luck.
We can see, by her expression, that Hedra is not very happy about
what she just heard, but she keeps a smiling face.

Sam and Allison walks out of the room.

Hedra wrinkles the front of her night gown with her nervous hands.
She walks slowly toward the hall.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

Sam and Allison are going out of the apartment.

       HEDRA
       Goodbye.

Sam closes the door behind them. The puppy remains behind the
door, whining.

Hedra sits down on the floor, leaning on the wall near the door of
the living room.

       HEDRA
       Buddy, come here.

She taps her hand on the floor.

       HEDRA
       Come here, sweetie.

The puppy doesn't move away from the front door, and keeps on
yapping and crying.

       HEDRA
       I know... I know.

She seems very nervous. The dog keeps on yapping at the door.
       HEDRA
       Buddy, come !

She taps her hand on the floor in a more and more nervous way.

       HEDRA (angry voice)
       Come !

The dog doesn't move from the door, and keeps on yapping.

       HEDRA (calmer voice)
       Fine.

AN EMPTY APARTMENT - INTERIOR DAY

A large room in a typical old New-York apartment. Large windows
going almost to the ceiling. Through the windows we see roofs with
water tanks on them. The room is empty, save for a ladder and a
few tools.

The real estate agent is standing with some papers in his hand.
Sam and Allison are coming towards him from the other side of the
room.

        SAM
        But this is half the size for twice the price from your
        apartment.

        ALLISON
        It's easier this way, believe me. And this could be nice.

They walk away toward the exit of the apartment. The agent remains
standing on the same spot.

        SAM
        Can you imagine going from The Victoria to this.

NEW YORK - A STREET NEAR ALLISON'S PLACE - EXTERIOR DAY

A busy street in New York, with small shops with goods for sale on
counters on the sidewalk.

Sam and Allison are walking down the street.

        SAM
        Do you think we can smoke her out ?

        ALLISON
        This is such a mess. I just can't do it right now. I think
        I'm her only friend.

They turn the corner of the street, and we hear a scream. Sam and
Allison both lift their heads.

ALLISON'S BUILDING - EXTERIOR DAY

Low angle shot taken from ground level showing a woman running on
her balcony. She bends over the balustrade to look down.

        THE WOMAN ON THE BALCONY
        My God, what happened ?

Reverse angle shot showing what the woman sees from her balcony.
Buddy, the puppy dog, is lying motionless on the pavement, with a
group of passers-by around it. One of them points his finger to
the upper stories of the building.

ALLISON'S BUILDING - LANDING HALL OUTSIDE ALLISON'S APARTMENT -
INTERIOR DAY

Allison and Sam are running toward Allison's apartment door.
Allison opens it.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

Allison rushes into the apartment, followed by Sam.

        ALLISON (yelling)
        Hedy !

She runs past the kitchen door. We see Hedra sitting at the
kitchen table. She stands up when she sees Allison.
ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAY

Allison stops in front of the window. The window is open and the
broken piece of wrought iron, on which Sam was working earlier in
the morning, is missing, leaving a gap in the balustrade, a gap
wide enough for a puppy dog to go through.

       ALLISON (screaming and crying)
       He's dead ! Buddy's dead !

Sam climbs on the balcony.

Close up on the gap in the balustrade.

       HEDRA
       What ?

Hedra seems genuinely surprised. She still has the earphones of
her Walkman around her neck.

       ALLISON (crying)
       You left the window open. How could you do that ?

       HEDRA
       But I thought we could leave it open. I know you fixed it
       this morning.

Sam is still on the balcony, looking at the balustrade.

       SAM
       I thought I did.

       HEDRA
       It's me. I interrupted you when I called you in for
       breakfast. And Allie, it's my fault.

She starts crying.
Allison rushes out the room.

       HEDRA
       Allie !

       SAM (voice over)
       Allie !

Sam runs out of the room after Allison.

       SAM
       Allie !

Hedra walks to the balcony and slowly slides the window down.

Fade out.

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHT

Allison is lying in her bed with the sheet up to her neck. Sam
bends over her and gives her a light tender kiss on the lips. Then
he stands up. We hear him leaving the room and closing the door.
Allison turns her head with her eyes still closes.

ALLISON'S APARTMENT - KITCHEN - INTERIOR NIGHT

Hedra is sitting on the floor in the dark, leaning on the wall.
She is sorting things and putting them in a box in front of her.
Hearing the musical noise of a plastic toy, we understand she is
putting the puppy's stuff away.

Sam comes out of Allison's room and, walking in the hall in front
of the kitchen open door, stops and looks at her.

       SAM
       Thanks, that pill helped.

       HEDRA
       Are you still going on that trip tomorrow ?

       SAM
       Well, she wants me to.

       HEDRA
       If I'd just let you finish your work this morning...

We can hear repressed tears in her voice. Then she starts crying
for real.

       SAM
       Listen, if she blames anybody, she blames me, huh ?

Sam kneels down.

       SAM
       Shh !

Sam takes her in his arms where she goes on crying. He slowly
stands up, still holding her in his arms. He leads her to her
room.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

Outside Hedra's room. Sam is in the doorway. Hedra moves slightly
away from him and then hugs him even stronger.

Gently, he pushes her away from him. They almost kiss on the
mouth, but Sam takes her arms off his neck and goes out of her
room, where she stays. He closes the door behind him, and she
holds his hand on the doorknob. Then she moves her hand away and
the door closes. We hear her sobbing behind the closed door.

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR DAY

Allison is asleep on her bed, dressed with a short black slip and
black panty hoses.

The phone rings. Allison wakes up slowly, and, with her eyes still
closed, feels around on the night table to find the phone. She
eventually picks it up.
       ALLISON
       Hello ?... Hi, Mitch...

She raises her head.

       ALLISON
       What ?

She looks at the clock.

       ALLISON
       God ! I know... I'm... No, I'm just... I'm just running a
       little late.

She picks up the pill bottle on the night table and looks at it.

       ALLISON
       I didn't forget. I dunno... Just hold them till five,
       okay ? Thanks.

She puts the phone down.

She gets up and goes into the dressing room. She starts looking
for a dress. She rapidly goes out.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

Through the open door of the bathroom, we see Allison looking for
a dress.

She then goes out of the bathroom, crosses the hall and open a
closet, in which more clothes are hanging. She picks up three
hangers with clothes on them.

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR DAY

She enters her bedroom, carrying the hangers. She throws one of
them on the bed, and goes, with the two other ones, back into the
dressing room. She picks up a hanger with a light brown jacket,
and compares it with the one on the hanger she brought from the
closet in the hall. They are exactly the same. Then she picks up a
red dress, and compares it with the one she brought from the
closet in the hall. They're both the same. She looks a bit worried
by what she just discovered.

FONTANA FASHIONS OFFICE - MAIN HALL - INTERIOR DAY

Close-up on an Apple Computer screen, showing dress models. The
file is called «Fontana Fashions».

       MITCHELL (voice over)
       You were terrific...

We see Mitchell, very smartly dressed, with a white Roman-collar
shirt and a black jacket. He is holding a glass of Champagne.

       MITCHELL
       ...but you know that, don't you ?

A large section of the main hall of Fontana Fashions Office has
been transformed into a reception room. Dresses are hanging on
racks. On a round table with a white tablecloth, many half-empty
glasses of Champagne, two silver bucket with Champagne bottles in
them, plates of «petit fours», and a lot of flowers.

Mitchell and Allison are both standing in front of a large TV
screen, set on a hight stand, and showing the «Fontana Fashions»
computer files.

Allison, wearing a very smart black short sleeveless dress, puts a
video cassette back in its box.

       ALLISON
       Thank you.

Mitchell goes to the table, puts his glass down, and fill another
glass with Champagne.

       MITCHELL
       And here, I thought all the guys would resist you. As if
       anyone ever could.

He gives the glass to Allison, who doesn't take it.

       ALLISON
       Oh no, here, I've got to go. I'm just cleaning a bit.

       MITCHELL
       Hold it. Hold it. Not so fast. Now everybody under me knows
       more than I do. I hate that.

       ALLISON
       Well... Block up some time for me next week. Then... it's
       just a little late tonight.

Mitchell kneels down on the floor.

       MITCHELL
       Oh, please, please, just a taste.

He puts the glass on the top of his head

       MITCHELL
       Something simple. Right now.

He gives the glass to Allison, who takes it.

       ALLISON
       Okay... Something simple.

She walks to a table with an Apple computer on it, puts her glass
on the table, and sits down. Mitchell comes behind her, drinking
his glass, which he then puts on the table. He bends down behind
Allison, who starts typing on the keyboard.


       ALLISON
       All right... You know, this is just the Mickey-Mouse stuff,
       but it does come in handy.
Close-up on the computer screen. The «Fontana Fashions» file is
on. We see the outline of a model, then a small window appears on
the model. It says «Are you sure you want to quit ?» and below two
choices, «Cancel» or «OK». Allison chooses «OK». «Fontana
Fashions» file disappears, replaced by another window that says
«Search by vendor», and in the bottom of the window, «Enter Vendor
Name:», with an empty box underneath.

       MITCHELL (voice over)
       Huh-huh.

Back to Allison typing. Mitchell's head is just behind hers.

       ALLISON
       Okay. Enter the vendor's name.

       MITCHELL
       Oh !... Vendor...

He bends over Allison to type on the keyboard, encircling her with
his right arm.

       MITCHELL
       J-o-n-e-s... All..i...son.

Allison seems a bit embarrassed by this close physical contact.

       ALLISON
       Very good.

Close-up on the screen, where a new window titled «Acc. Payable -
Summary». In the window, a data chart that reads as follows :

COMPANY: Concept Software CONTACT: Jones, Allison tel:212-555-9814
                          Payment History

    contract price:            $16,000.00
    payments to date:          2
    balance outstanding:       4,500.00
                                          15-Jul-91     $7,000.00
                                           1-Aug-91     $4,500.00
    last paymt. sent:            1-Aug-91
    next paymt. due:           15-Aug-91 ***PAYMENT PAST DUE***

    no more records

       ALLISON (voice over)
       See, here you go. «Contract price», «Payments to date»,
       «Balance outstanding».

Back to Allison and Mitchell looking at the screen

       MITCHELL
       Ho-ho. According to this, we should have paid you last
       Friday.

       ALLISON
       That's all right. Barbara will handle that.

       MITCHELL
       Not till I give her the word.

Allison turns to him, and seems not to like his strange smile.

       ALLISON
       Well, I hope you're satisfied with what I've done.

       MITCHELL
       So far.

He walks away from her and goes to the Champagne table.

       ALLISON
       But this is it. I mean, there ain't much more. Just maybe a
       little fine tuning, that's it. I have some free time now,
       if you want us to set up some meeting with your colleagues.

Using a napkin, he is drying a bottle of Champagne he just got out
of its bucket.

       MITCHELL
       I was thinking that maybe I want to keep you all to myself.

He throws the napkin on the floor, and comes back toward Allison
with the bottle of Champagne. He puts the bottom of the bottle on
Allison's bare shoulders. She shivers.

       MITCHELL
       Top her ?

       ALLISON
       What are you doing ?

He puts his other hand on her shoulder. Then he puts the bottle on
the table, and starts massaging her shoulders.

       MITCHELL
       That's just that you're so tight.
       ALLISON
       Mitch, please, don't. That's enough.

He grabs her from behind and squeezes her in his arms.

       ALLISON
       Mitch...

       MITCHELL
       Hey, look...

He kisses her neck.

       MITCHELL
       I've been a good boy, haven't I ? And you've been a good
       girl. We have nothing to prove any more.

He keeps on kissing her neck, and puts his hand inside her dress
to reach her breast. Allison seems to be on the verge of tears.

       MITCHELL
       This is your last chance to play before you're an old
       married lady.

       ALLISON
       Let me turn around, okay ?

She has a strange smile on her lips.

       MITCHELL
       That's better. That's better.

He stands up.

       MITCHELL
       Just a second... A second...

While she slowly turns around on her swivel seat, he starts
unzipping his pants, and lets them fall on his ankles, showing his
white trunks.

Allison, still   seated, is now facing him, her face at the level of
his crotch. He   takes her head to guide it toward his private
parts. Allison   looks up at him and then, with both fists and all
her might, she   hits him very hard between his legs. He screams.

She jumps from her seat and runs out of the room.

He falls on the floor, holding his private parts with both hands.

       MITCHELL
       Fucking bitch !

ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Close-up on Allison, still in her black dress, and holding a glass
of wine.

       HEDRA (voice over)
       Here. Take this.

We see Hedra's hand giving some pills to Allison. She then
replaces the glass of wine by a glass of water.

       ALLISON
       I can't believe I didn't see it coming. It's just so
       humiliating.

       HEDRA (voice over)
       You're too nice, that's the problem. Men are pigs. I don't
       care how nice they seem. You always fall for that.

       ALLISON
       But what I did... It was like something inside taking over.
       It was scary.

We see Hedra standing near the mantlepiece. She is wearing an
orange T-shirt and a red skirt.

       HEDRA
       No, Allie, don't turn this around. You're the victim. He
       should pay for this.

She kneels on the floor in front of Allison.

       ALLISON
       He'll pay. I set up all my programs, so they have to
       eventually.

Hedra laughs.

       HEDRA
       What ! I'm not talking about getting paid, I'm talking
       about getting even.

       ALLISON
       You don't understand. It's the contacts more than the
       money. When I just took the job for the word of mouth and
       now that's gone. It's just like he's put me back to square
       one.

       HEDRA
       Only if you let him. But you won't let him, will you ?

       ALLISON
       What can I do ?

       HEDRA
       Oh, Allie...

She opens Allison's purse and takes her address-book.

       HEDRA
       Of course, Sam's away. I didn't want to say anything... How
       he could go on that trip the day after Buddy died.

She walks to the telephone table in the hall, flipping the pages
of the address-book.
       HEDRA
       Especially when it was his fault.

Since the bedroom door is wide open, we can see Hedra in the hall.
She picks up the phone and starts dialing.

       HEDRA
       Hello ! May I speak with your husband, please ?

       ALLISON
       Who are you calling ?

She gets up from the sofa on which she was sitting.

       HEDRA
       Yes, I know it's late. Tell him it's Allison Jones, he'll
       take the call.

Allison has come to the telephone table.

       ALLISON
       Who are you talking ?
Hedra shushes Allison with her finger.

       HEDRA
       Listen, you pathetic shit. Do you want to hold on to your
       business ?... No, you listen to me this time, asshole ! If
       you trash me around town, you're fucked and your family is
       fucked, too ! You got that ? It won't just be you.

She puts the phone down, and starts laughing.

       HEDRA
       Let me tell you, he is pissing in his p.j.'s right now.

       ALLISON
       Gee, Hedy, I hope you never get mad at me.

ALLISON'S BUILDING - EXTERIOR DAY

High-angle shot of the building, taken from the roof of the
building across the street. We see Allison and Hedra coming out of
the building. From this height, they look like a couple of ants !

       ALLISON (voice over)
       Hedy, we really have to talk.

       HEDRA (voice over)
       Allie, please, I have a surprise for you.

       ALLISON (voice over)
       Hedy !

A STREET OUTSIDE JOHN DELLAR'S HAIR SALON - EXTERIOR DAY

Allison and Hedra are walking on the sidewalk. They stop in front
of the shop of «John Dellar's Hair Salon».

       ALLISON
       Oh, Hedy, I'm not really up for this today.

       HEDRA
       What ?

She puts her hand on Allison's neck.

       HEDRA
       No, no, no, this is going to be fun. It'll make you feel
       better, promise. Okay ? And I'm paying. Go.

She takes Allison by the hand and drags her to the door of the
shop.

       HEDRA
       Let's go.

Allison tries to resist Hedra.

       ALLISON
       Oh, Hedy.
       HEDRA
       It'll be fine, come on.

They enter the shop.

JOHN DELLAR HAIR SALON - INTERIOR DAY

Allison is seated in front of a large mirror. An attendant is
taking the protection garment off her shoulders.

       ALLISON
       Thank you.

She smiles. She seems happy and puts her hands through her hair.
Suddenly she stops, and the smile disappears from her mouth. She
looks up in the mirror at someone descending the stairs from the
upper level of the shop. She makes the swivel chair turn around to
have a better look at the staircase.

Close-up on Hedra going down the stair. Her hairdo is so much like
Allison's one that she almost looks like a twin sister of Allison.

Back to Allison's thunderstruck face.

       ALLISON
       You've got to be kidding.

A STREET - EXTERIOR DAY

Allison and Hedra are walking in a busy street. If Hedra was not a
bit shorter than Allison, one could think they were twins. Allison
seems angry.

       ALLISON
       You just should've asked first.

       HEDRA
       Well, I wanted it to be a surprise.
They stop at a newspaper stand.

       ALLISON
       Can I have the Consumer Market, please.

       NEWSPAPER STAND ATTENDANT
       Sure.

The attendant picks up a magazine from a rack and Allison picks up
some other magazines at random.

       HEDRA
       This feels so good on my neck. I didn't think you'd mind.

Allison is paying the attendant.

       ALLISON
       Thank you... please.

Hedra seems to be worried by Allison's very cold reaction to her
«surprise». She seems even a bit sad.
ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR DAY

Allison is looking at the dresses hanging in the closet.

       HEDRA (voice over)
       I'm going to take a shower.

Allison walks out of her room into the hall.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

Through the open door of the bathroom, we see Hedra turing the
water faucet on in the shower cubicle, then taking her belt off.
She closes the door of the bathroom.

Allison stealthily runs into Hedra's bedroom.

ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR DAY

Allison enters the room, and looks around. She walks to the closet
and starts looking through Hedra's clothes. Suddenly, she notices
the shoebox on the shelf above the clothes.

Close up on the shoebox and then on Allison's hand picking it up.

Allison opens the shoebox. She sits down on the bed, and starts
looking through the content of the box. She takes several papers
out of the box and looks more closely at them.

Close-up on the documents Allison is looking through. Several
photographs, and then a black and white photograph of two twin
girls with a puppy between them. The twin girls are the one we saw
at the very beginning of the film.

Allison looks very attentively at the picture. She puts the
documents she is holding into the lid of the box and starts
looking at the rest of the documents.
Close-up on an envelope that reads :

                            ELLEN BESCH
                        441 OCEANSIDE EAST
                             TAMPA, FLA

Allison seems surprised by the name on the envelope.

       ALLISON
       Ellen Besch...

She looks through all the other envelopes. On another envelope, a
computer-generated label has been glued on the original Ellen
Besch address. It reads :

                  AUTOMATED MAIL PO BOX NEW YORK
                           PO BOX 72810
                        c/o 845 W. 93RD ST
                         NEW YORK NY 10024

She puts the envelopes back into the box, and picks up other
documents. They are newspapers clippings.

Close-up on the clipping Allison is holding. There is a picture of
two young twin girls, and above, a title that reads :

         NINE-YEAR-OLD BESCH TWIN DROWNS AT FAMILY PICNIC

And underneath :

                       Services were held Friday at
                          Hope Lutheran Church for
                      nine-year old, Judy Besch, of
                          Mapic Drive, who drowned
                        Tuesday at a family picnic.
                      Circumstances surrounding her
                            death remain unclear.
                      A eulogy was delivered by Dr.
                   William Starr, the family's doctor
                         for many years. Among the

She puts the clippings back into the box and picks up another
envelope.

Close-up on the envelope, which reads :

                               ALLIE JONES
                         768 W. 74TH ST. #1103
                           NEW YORK, NY 10017


       ALLISON (voice over)
       Sam !

We see Allison's hand looking inside the already opened envelope
and taking a key-ring out.

ALLISON'S APARTMENT - BATHROOM - INTERIOR DAY
Close-up on Hedra's hand turning the water faucet off.

ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR DAY

Allison is reading the letter which was with the keys.

Close-up shot on the letter. It was written on a Hotel Atherton
stationery. The close-up is too close for us to be able to read
all the words, but we still can read :

                              DEAR ALLIE,

                            I KNOW HOW MUCH I HU
                         AND I KNOW HOW LITTLE MY
                       CAN DO TO MAKE THINGS RIGHT.
                          BUT PLEASE FOR THE SAKE
                     WHAT WE HAD, GIVE ME THE CHANCE
                                TO SAY THEM.
                          YOU FORGIVE ME, MAYBE I
                     TOO. I NEVER WILL, IF WHAT I'VE
                           HAS RUINED EVERYTHING.
                    I'LL CALL YOU IN A FEW DAYS,IF I
                       DON'T HEAR FROM YOU.
                         I LOVE YOU, ALLIE
                                SAM
                        DAY YOU GAVE ME I'M

Allison reads the letter very attentively. Suddenly she hears some
noise coming from the bathroom and turns her head towards the
noise.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

The bathroom door is opening slowly

ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR DAY

Allison puts the letter back in the envelope, the envelope back
into the box. She then puts everything back into the box, closes
the box and puts it back on the shelf.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

Allison comes out of her bedroom, picks up her handbag and starts
unlocking the safety chains and locks on the front door, while,
through the open bathroom door, we see Hedra, wearing a long white
shirt, taking care of her hair in front of the mirror.

       HEDRA
       Do you want me to fix you something before I go ?

       ALLISON
       Oh, no, thanks. I'm just going up and visit Graham.

       HEDRA
       Okay.

       ALLISON
       Okay.
       HEDRA
       I love myself like this.

       ALLISON
       Have fun.

Allison opens the door and goes out.

       HEDRA
       Yeah.

Allison closes the door behind her.

ALLISON'S APARTMENT - BATHROOM - INTERIOR DAY

Close up on the mirror. We see Hedra still fixing her hair

       HEDRA
       I love myself like this.

ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -
INTERIOR NIGHT
Allison rings the doorbell of Graham's apartment. Getting no
answer she knocks on the door. Getting no answer again, she walks
away from the door.

ALLISON'S BUILDING - MAIN STAIRCASE - INTERIOR NIGHT

Allison is going down the stairs. She opens a service door, and,
hidden by this door, watches Hedra waiting for the elevator.
Allison rushes back to the staircase.

High-angle shot of the whole staircase, with Allison running down.

NEW YORK - THE STREET OUTSIDE ALLISON'S BUILDING - EXTERIOR NIGHT

This is the street outside Allison's building, probably seen from
the entrance of the building, or very near it.

Hedra, coming from behind the camera, crosses the sidewalk,
towards the street.

       HEDRA
       Taxi !

She raises her hand to stop a taxi cab.

Allison, also coming from behind the camera, hides behind the
corner of a wall to watch Hedra.

       HEDRA
       Hey !

A yellow cab stops and Hedra climbs in it.

As soon as the cab is gone, Allison rushes from her hiding spot
and runs to the street, with her hand raised.

       ALLISON
       Taxi !

YELLOW CAB - INTERIOR NIGHT

We are inside Allison's cab. In front of us, through the
windshield, we see the back of Hedra's cab driving in the heavy
traffic of New York.

       ALLISON (voice over)
       Don't lose her.

Reverse angle shot on Allison seated in the back of the cab.
Allison bends slightly to speak to the driver.

       ALLISON
       It's very important. She has something of mine.

NEW-YORK - A QUIET STREET - EXTERIOR NIGHT

Compared to Allison's neighborhood, this is a very quiet district.
Almost no one in the streets. No shops.
Hedra's cab has just stopped in front of a grim building with a
fire escape. Hedra walks out just as Allison's cab stops at the
corner of the street. Allison walks out of her cab. Both cabs
drive away, and Allison starts following Hedra from a distance.

Medium shot of Allison following Hedra.

Hedra reaches her destination, another grim building, and goes
down a stairway, starting from the street and going down to the
basement of the building. A strong man with a ponytail and glasses
is guarding the entrance. But he lets Allison go down the steps.
Other people follow Allison.

BASEMENT NIGHT CLUB - INTERIOR NIGHT

Allison goes down the last steps to the basement, which actually
is a sort of night club. We hear some religious-sounding music
with drum rhythms.

The place is quite dark, but flashes of light enable us to see
that all the customers are very smartly dressed, men wearing
elegant suits and neckties, and women wearing elegant dresses.

They seem to be watching some sort of a show.

A young woman, wearing a black sleeveless dress and long black
leather gloves, notices Allison and comes towards her.

       THE WOMAN
       Do you want to play ?

       ALLISON
       No, thanks.

Allison walks away, followed by the young woman. She passes near a
cage, inside which we see a middle-aged man. The man gets his hand
through the bars of the cage, and strokes Allison's cheek. Allison
jumps, rubs her cheek and moves away from the cage.
Behind Allison's back, we see the young woman, who was following
her, coming to the cage and speaking to the man inside.

From where she is, Allison can see what's going on at the bar,
without actually be seen by the people seated on high stools along
the bar.

Reverse angle shot on the bar itself, and more precisely, on
Hedra, seated on a stool, with a man, seated on another stool,
stroking her cheek.

       HEDRA
       Come on, Jim.

The bartender, a bald bare-chested young man, turns toward Hedra.

       THE BARTENDER
       Allie !

Hearing her name, Allison starts and looks at the bartender
       THE BARTENDER (voice over)
       Hey, Allie ! Regular or diet ?

Hedra turns towards the bartender.

       HEDRA
       Diet.

A flash of light enable us to have a better view of Hedra's
companion, the man she called «Jim». He looks a bit like Sam.

       JIM
       Something's different.

Hedra smiles.

       HEDRA
       Yes.

       JIM
       Yes.

Allison is staring at the couple

       HEDRA (voice over)
       Yeah, you look like my sister's boyfriend.

Jim laughs.

GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHT

We hear the first sentence said by Graham in voice over the
previous sequence.

       GRAHAM
       Jesus, Allie, what is it ?

Graham is opening his front door to Allie, who enters the
apartment, but stays near the open front door.

       ALLISON
       God, you've got to help me, Graham. You've got to tell me
       what to do.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

Hedra opens the front door and enters the apartment.

       HEDRA
       Allie ?

She closes the door and locks it.

       HEDRA
       I'm home.

She drops her keys on the shelf near the door and crosses the
hall.

The camera moves into the living room.
ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Through the open door to the kitchen, we see Hedra crossing the
kitchen to go into the living room.

       HEDRA
       Allie ?

She seems slightly drunk and doesn't control her movements very
well. Before entering the living room, she takes a blue bag in the
kitchen (maybe something to eat) and drops it on a table. But,
being a bit nervous, she actually drops the bag on a small bowl
containing various objects, and the bowl falls on the floor and
breaks into pieces.

       HEDRA
       Allie ?

Hedra looks at the fallen bowl and bends down to pick up the
debris.

       HEDRA
       God...

The bowl has fallen near the air vent. It is exactly the same as
the one which, earlier in the film, had enabled Graham to hear Sam
and Allison's conversation.

Hedra kneels down to gather the pieces of the broken bowl. We hear
a faint voice. Hedra raises her head, trying to find out where
this faint voice comes from.

First, we don't understand the words the faint voice is saying,
then it becomes clearer. It's Allison's voice speaking to Graham
in his apartment.

       ALLISON (voice over from the air vent)
       It's like looking at myself. And she lies. I found a
       shoebox in her room.

Hedra understands that the voice is coming from the air vent, and
she moves closer to it.

       ALLISON (voice over from the air vent)
       Nothing she told me is true. The twin that she said died at
       birth. It was in an accident when she was nine.

Hedra moves a brass knob on the air vent, to open it wider and to
have a better understanding of the words.

GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Graham and Allison are sitting on a couch. Graham has a glass in
his hand, and Allison a cup.

       ALLISON
       And she stole a letter that Sam wrote me. I have to do
       something.
Graham gets up from the couch.

       GRAHAM
       Get rid of her.

ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Hedra is still kneeling on the floor, with her ear close to the
air vent, listening to the conversation between Allison and
Graham.

       GRAHAM (voice over from the air vent)
       Call the police if you have to. If she steals thing you
       have to get her out of the place.

We hear steps. Hedra looks up at the ceiling, and then slowly
stands up.

GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Graham is pouring something we don't see in a glass.

       ALLISON
       You're right. I'll tell her tonight.

Allison gets up from the couch, with her cup in her hand.

       ALLISON
       I can't just throw her out on the street. I mean, she
       obviously needs help.

       GRAHAM
       She is a lunatic, Allie. She's got to go. Do it tonight.

GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHT

Close-up on the front door. The door slowly opens and a hand
covered by a black glove comes through the opening of the door. We
hear the conversation going on between Graham and Allison.

       ALLISON (voice over)
       It's just that I feel responsible for her somehow. I'm the
       only one she has. Someone like her parent.

GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Back to Graham and Allison.

       GRAHAM
       Allie, either she's gone by Saturday, or I go to the
       police, okay ?

Allison laughs.

       ALLISON
       That was very impressive.

       GRAHAM
       I can be butch when I have to. I got it from my mother.
GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHT

The room is very dark and only lit by the street lights through
the window. A shadow moving in the dark. We hear the conversation
coming from the living room.

       GRAHAM (voice over)
       Look, if you worry about her, I've got a friend who's a
       shrink. Maybe he can help her.

The shadow moves away from the dark corner where she was hiding :
it is Hedra, who starts walking cautiously in the room.

       ALLISON (voice over)
       Oh God ! Maybe after I talk to her, she just leaves.

       GRAHAM (voice over)
       Do you want to sleep here tonight ?

       ALLISON (voice over)
       Oh, don't tempt me. No, I just needed to talk it out.

GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Allison and Graham are both standing in the middle of the room.

       ALLISON
       Thanks.

She walks to a table to pick up her purse.

GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHT

Sensing that Allison is going to leave, Hedra walks back into a
dark corner to hide herself.

       ALLISON (voice over)
       She's not going to chase me out of my own place.

       GRAHAM (voice over)
       When's Sam coming back ?

GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Graham is carrying his cat in his arms.

       ALLISON
       Oh, tomorrow.

Allison picks up her purse and they start walking towards the
front door.

GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHT

They walk along the corridor, Graham still with his cat in his
arms.

       GRAHAM
       That's good.
       ALLISON
       Yeah.

       GRAHAM
       Oh, this is a little embarrassing, but since we're letting
       our hair down... Those old air vents between our apartments
       carry sound. It's a weird acoustic thing.

They've stopped walking.

       ALLISON
       Oh... What do you hear ?

He does not answer but he makes a face and then laughs, which is a
good answer to Allison's question. She puts her head down in her
hand, feeling a bit embarrassed.

       ALLISON
       Oh, no ! Oh no ! I'm... I'm sorry.

       GRAHAM
       Big deal. I am sorry. I should've mentioned it sooner.

       ALLISON
       I'm so sorry.

       GRAHAM
       You're sure you want to go down there ?

       ALLISON
       Yeah. She's my problem. I'll handle it.

She starts walking again towards the front door. Graham follows
her.

Allison opens the door.
       ALLISON
       Thank you for the tea. I'll see you tomorrow.

       GRAHAM
       Okay.

Allison goes out and Graham closes the door behind her, and then
locks it.

ALLISON'S BUILDING - MAIN STAIRCASE - INTERIOR NIGHT

High angle shot of the staircase. Allison is walking down the
stairs.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

The apartment is all dark. The front door opens and Allison walks
in, and closes the door behind her.

       ALLISON
       Hedy ?
She puts her keys on the shelf by the door.

       ALLISON
       Hedy ?

She walks around the hall, looking in all the rooms.

       ALLISON
       Hedy ?

We hear a little noise, and we see Allison turning her head.

Close up on a mirror-covered door opening slowly. At that very
moment, we, the spectators, do think we are still in Allison's
apartment. But actually, we are in :

GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHT

The door opens slowly with a light squeaking noise. We hear
Graham's voice talking on the telephone in the next room.

       GRAHAM (voice over)
       This is serious, it's a lot more serious than I thought.
       No, I know you can't diagnose over the phone.

The camera moves away from the door, then looks into the living-
room, where Graham is sitting in the dark, only lit by the street
lights coming through the window, and talking in the telephone.

       GRAHAM
       I don't know. I don't even know what hyper-vigilant is. No,
       I've never met the woman. She could be infantile or
       paranoid, whatever. I don't know...

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHT

Close-up on the air-vent. We see Allison's hands sticking pieces
of large adhesive tape on the air-vent. We hear the faint voice of
Graham still talking on the telephone, but we don't understand the
words.

Larger shot of Allison sitting on her bed and sticking the pieces
of tape on the air-vent.

GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Graham is still talking on the phone.

       GRAHAM
       I tell you what, let me go downstairs. If I call you from
       there, will you talk to my friend ? She can tell you better
       than I can. Right, okay.

We hear some noise in the background, and Graham turns his head
towards the noise.

Quick reverse angle shot on the corridor seen from the living-room
door. It looks empty and quiet.

Back to Graham on the phone.
       GRAHAM
       Thanks. So... so, all right... so, so you might hear from
       us. Love to Jack. And you're not charging me for this.

He puts the telephone down on his set on the table, turns his head
again in the direction where he heard the strange noise, and gets
up. He thinks it may be the cat and calls her with a soft gentle
voice.

       GRAHAM
       Carmen...

He gets out of the room into the corridor.

GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHT

Graham makes little noises with his lips to attract the cat. He
suddenly hears the wooden floor squeak behind him. He turns his
head.

We see Hedra coming out of a room and walking towards the front
door. Since we see only the back of her head, she can easily be
mistaken for Allison.

       GRAHAM
       Allie !

She doesn't turn her head and just wave her hand.

       HEDRA
       Goodnight.

She has almost reached the front door, when Graham realizes that
something is queer about the girl's attitude.

       GRAHAM
       Hedy ?
She turns around. She seems very panicky suddenly. She starts
fumbling with the locks of the door, and drops the safety bar on
the floor.

       HEDRA
       I'm sorry...

       GRAHAM
       Wait... hey, wait, it's okay. Take it easy. Take it... We
       just want to get you some help.

Hedra is kneeling down, fumbling with the fallen safety bar.

       HEDRA
       No, Please... Please... I didn't do anything wrong.

Graham is walking slowly towards her.

       GRAHAM
       Okay, take it easy.
       HEDRA
       I'm sorry, I didn't do anything.

       GRAHAM
       No problem.

Hedra suddenly stands up with the safety bar held firmly in both
hands. She strikes Graham first in the stomach, then, as he
doubles up with pain, she strikes him again on the shoulder.
Graham falls on the floor, and she gives him a final blow on the
head, leaving him unconscious on the floor.

ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Allison is standing by the desk, talking on the telephone and
holding the telephone set with her other hand. We hear a beep.

       ALLISON
       Hello, Mr. Besch, you don't know me, my name is Allison
       Jones. I think my room-mate Hedra is your daughter. Ellen.
       I'm not sure, really. She's... She's been under a lot of
       stress lately... And... Well... Huh... Huh... God... I
       really, really would not get into this on the answering
       machine. Could you please give me a call ? Or her ? I'm
       sure you have the phone number. It's 2-1-2-5-5-5-9-8-1-4.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

The front door opens, and Hedra comes in.

       ALLISON (voice over, still talking on the telephone)
       I'll really appreciate, I'll really. Don't say I called.

ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Allison, still on the phone, turns her head towards the front
hall.
       ALLISON
       Oh, thank you.

She puts the phone down.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

Hedra closes the front door and walks slowly across the hall

       ALLISON (voice over)
       Hedy ?

Hedra enters the bathroom and closes the door behind her.

ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Allison is standing near the window, apparently not knowing
exactly what to do next.

ALLISON'S APARTMENT - BATHROOM - INTERIOR NIGHT

Hedra is sitting naked under the shower. She is playing with a
jewel ring and humming softly some musical tune.

We hear several knocks on the door. Hedra doesn't react at all.

       ALLISON (voice over)
       Hedy ?

Hedra answers without moving her head.

       HEDRA
       What ?

Apparently, Hedra has not spoken loud enough above the noise of
the shower, because Allison knocks again on the door.

       ALLISON (voice over)
       Hedy, are you all right ?

       HEDRA
       I can't hear you.

She has spoken with a very soft voice, and apparently Allison
hasn't heard her, because she opens the door, and walks slowly
towards the shower

       ALLISON
       It's okay, it's just I was starting to worry. You've been
       in here so long. I'm making some tea. Do you want some
       tea ? Camomile.

Hedra turns slowly her head towards Allison and smiles.

       HEDRA
       Yeah... that'd be great.

She turns the shower off, and stands up. She picks up a towel.
Allison turns her head, apparently feeling embarrassed to see her
naked.
Close up on the basin, full of water, and where Hedra's clothes
are soaking. The water is red with what looks like blood.

       HEDRA (voice over)
       I'm not feeling really well.

Hedra, wrapped in a large bath towel, has noticed that Allison has
been looking at the blood in the basin.

       HEDRA
       Mine always comes when I'm wearing something nice.

She walks slowly across the bathroom. When she passes near the
basin, she notices that a small part of her clothes are not inside
the basin, and she moves it back inside.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

Still wrapped into the bath towel, Hedra walks slowly out of the
bathroom, followed by Allison.
       ALLISON
       Are you crampy ? Sometimes tea helps. Something warm. We
       could talk.

Hedra has reached her room's door, and she turns around.

       HEDRA
       About what ?

Hedra walks into her room followed by Allison.

       ALLISON
       About Sam and I wanting this place for ourselves...

ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHT

Hedra has not switched the light on in the room. The room is just
lit by the street light coming through the window.

       ALLISON
       ...It's just crazy keeping two places like this.

Hedra sits on the bed. She is wearing a night shirt and a large
sweater over the night shirt. (NOTE - This could be considered as
a continuity goof. Apparently, Hedra has been able to change from
the bath towel to the night shirt and sweater in less than a
second !)

       HEDRA
       Well... Well, I... I thought you wanted a long engagement
       so you could make sure you can trust him again.

       ALLISON
       Well, frankly, I think that's my business. I'm sorry, but
       it is.

Hedra cracks her knuckles.
       HEDRA
       Huh-huh... It's me, isn't it ? I'll change, Allie. I can
       change.

       ALLISON
       No, that's not it at all. You've been a good room-mate.
       It's just... This is the man I'm going to marry. I want us
       to start our lives together.

       HEDRA
       Well... He will cheat on you again, that's a promise. And
       when he does, don't come running to me, okay ? Cause...
       I've had it with you. You're so fucking weak !

Suddenly, she has a very menacing face. Allison, still standing
up, looks down at her with a very hard stare. Hedra, seeing that
stare, calms down and laughs.

       HEDRA
       I'm sorry. I'm so sorry.

The phone rings, but Allison, who is still looking down at Hedra
with her very hard stare, doesn't move. Hedra turns her head in
the direction of the phone.

       HEDRA
       Allie ?

Hedra now has a very sweet look on her face. She gets up and out
of the room.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT

Hedra picks up the phone from the little table in the hall.

       HEDRA
       Hello ?

Allison enters the room from Hedra's bedroom.

       ALLISON
       Is it Sam ?

We hear a male voice over the phone. We quickly understand it's
Hedra's father.

       HEDRA'S FATHER (voice over on the telephone)
       Ellen, is that you ? Talk to me, or your mother. Honey, we
       miss you. We want you to come home.

       HEDRA (with a deep menacing voice)
       Don't call here again.

       HEDRA'S FATHER (voice over on the telephone)
       Ellen, listen. We'll stop sending the cheques if you don't
       come. I promise, no doctors this time. Just come.

Hedra puts the telephone down. She doesn't move for a couple of
seconds, then looks at Allison, trying to look more casual than
she actually is. She has a little nervous laugh.
       HEDRA
       Obscene phone call. New York !

The phone rings again. Hedra picks up the receiver and slams it on
the table. Then she presses on a button on the telephone set to
cut off the communication.

       HEDRA
       Find someone else, jerk !

Allison walks to the telephone table.

       ALLISON
       I'm expecting a call from Sam. He might be coming in
       tonight.

       HEDRA
       Just for a little while, okay. Sam will call back if it's
       busy.

Hedra hugs Allison.
       HEDRA
       I'm sorry, Allie.

She moves away from Allison, looking falsely casual.

       HEDRA
       It's no big deal. I'll find some other place. You know, I
       just... I don't want you making a mistake.

       ALLISON
       I understand. Hey, we'll still be friends. We'll keep in
       touch.

       HEDRA
       Sure.

Allison walks away to her room.

Hedra picks up the telephone set from the little table, without
putting the receiver back on its hook. We hear several short beeps
coming from the telephone. With one nervous movement, Hedra tears
the cord off the wall socket. Then she walks slowly into her room.

ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHT

A little later. Hedra is lying in her bed, writing something in a
notebook. She is humming a song. Her other hand is resting on the
telephone set on the bed.

The phone rings. Hedra picks it up immediately, not to let it ring
more than once.

       HEDRA (whispering)
       Hello ?

       SAM (voice over on the phone)
       Allie ?
       HEDRA
       No, it's Hedy.

HOTEL ATHERTON - A BEDROOM - INTERIOR NIGHT

Sam is lying on the bed, still dressed in his suit and necktie. He
is talking on the telephone.

       HEDRA (voice over on the phone)
       Where are you ? Where are you ?

       SAM
       Oh... I just got in from the airport. Is she asleep ?

       HEDRA (voice over on the phone)
       Yeah...

ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHT

Hedra gives a quick look at the clock on the night table.
       HEDRA
       It's after two. Do you want me to wake her ?

       SAM (voice over on the phone)
       No, tell her to surprise me.

HOTEL ATHERTON - A BEDROOM - INTERIOR NIGHT

       HEDRA (voice over on the phone)
       Okay.

       SAM
       Okay.

       HEDRA (voice over on the phone)
       Okay, I'll tell her.

       SAM
       Goodnight, honey.

ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHT

       HEDRA
       Goodnight, Sam. Sleep well.

She slowly puts the phone down and plays a little with it.

HOTEL ATHERTON - MAIN ENTRANCE - EXTERIOR NIGHT

Close up on a pair of female legs and feet with stiletto heels
shoes.

The heels clicks on the sidewalk, and we see the figure of a woman
walking away from us, and towards the entrance of the hotel. No
one else is in the streets at this time of the night. The woman is
wearing a grey raincoat.

The woman enters the hotel.
HOTEL ATHERTON - A BEDROOM - INTERIOR NIGHT

Sam is sleeping, covered by the sheet up to his waist, and
apparently naked underneath.

The door opens slowly. The woman in the grey raincoat enters the
room. We have already guessed she is Hedra.

She closes the door and puts the key on the night table.

She remains motionless for a couple of seconds, looking at Sam,
then she slowly starts to take the raincoat off. She is completely
naked under the raincoat.

She slides under the sheet of the bed, close to Sam. Sam moans in
his sleep. He turns slowly towards Hedra, who starts kissing him
on the chest.

       SAM (sleepy voice)
       Allie, Allie... what are you doing ?
Hedra goes down Sam's body, still kissing him. When she gets
between his legs, even if the room is very dark, we understand she
is performing oral sex on him.

Sam moans with pleasure.

       SAM
       Oh... Oh... Jesus !... Oh... Gee...

Suddenly, Sam realizes that something may be wrong. He gives an
anxious look at Hedra.

       SAM
       Allie ?

Hedra raises her head from Sam's private parts.

       HEDRA
       No, not Allie.

She resumes what she was doing. Sam would like to push her away,
but he is so close to his climax that he can't do it.

He has his orgasm, with Hedra not moving away from between his
legs.

She only raises her head when she is sure it is over. She gives
him a light kiss on the pubis and smiles.

Then she moves up in the bed, her head finally resting near Sam's
one. Sam is breathing very hard. Hedra strokes him on the chest,
and kisses his cheek.

Then she gets up and off the bed, and puts her raincoat back on.

She picks up a half-full glass on a table and drinks from it, what
looks like beer. Then she eats something from a plate on the same
table.
Sam breathes normally again and moves slowly on the bed. He lies
on his side, facing away from Hedra.

       HEDRA
       Hey !

With the glass still in her hand, she walks to the bed

       HEDRA
       Hey, sleepy guy.

She puts the glass on the night table, and kneels on the bed. She
start stroking Sam's shoulder.

       HEDRA
       I knew it.

       SAM
       Knew what ?

       HEDRA
       I told her. Guys like you don't change. You can't be
       faithful. And now she'll know.

While talking, she keeps on stroking his face. Sam doesn't react
to her caress.

       SAM
       She'll know what ?

He switches on the light on the night-table. He then turn around
to face her.

       SAM
       That you came up here and pretended to be her ? My God,
       what is this hair ? What is this supposed to mean ? You're
       in her clothes. You're wearing her perfume! For Christ-
       sake !

He jumps out of the bed, and starts putting his clothes on. Hedra
remains seated on the bed, drinking her glass.

       HEDRA
       You knew it was me. Come on ! You knew and you didn't care.
       Well, I think she should know that.

       SAM
       You think she's going to thank you for that news, do you ?

       HEDRA
       Well, I don't expect you to understand her friendship.

She puts her glass on the night table, and gathers her shoes to
put them back on her feet.

       SAM
       She can't... she can't stand you, for Christ-sake !

       HEDRA
       That's not true.

       SAM
       Oh, bullshit !

       HEDRA
       Huh-huh.

She shakes her head «no».

       SAM
       You're too needy. You're always cleaning. You're constantly
       in her face.

       HEDRA
       She needs me. Who was there for her when her boss almost
       raped her ?

       SAM
       What ?

       HEDRA
       Could you care of her ? You were off on a business trip or
       screwing someone.

       SAM
       She never said a word to me about that.

After his pants, Sam has put his shirt back on.

Hedra gets up from the bed where she was still sitting.

       HEDRA
       That's right, she told me.

She sits back on the bed.

       HEDRA
       So... don't try and make me think that we're not close. We
       lean on each other and we... we protect each other. We're
       best friends.

       SAM
       You're nuts, you know that ? Yes... I think you're out of
       your skull, that's right.

       HEDRA
       Yeah, well, sticks and stones...

He comes near the bed and bends down to pick up something. Hedra
rushes on him.

       HEDRA
       Sam !

He pushes her away from him.

       SAM
       Don't touch me !
She sits back on the bed.

       HEDRA
       I'm sorry. I'm sorry. Look, I know you want to save face. I
       won't tell her, okay ? Just... Just pick up the phone and
       call her and tell her you're going back to your ex-wife, or
       something. And I won't say a word, okay ?

       SAM
       Yeah... Well, you won't have to say a word, sweetheart,
       because I'm going to tell her myself.

He walks to the night-table and picks up the telephone. She throws
one of her shoes towards him. The shoe hits the wall just above
his head.

       HEDRA (yelling)
       No !

He rushes towards her, ready to hit her.

       SAM
       Fucking bitch !

But, before he reaches her, she strikes him very hard in the face
with her other shoe. The stiletto heel of the shoe enters his left
eye, and, behind the eye, certainly enters his skull and his
brain, because, instantly after the blow, Sam falls heavily on his
back on the floor, where he remains motionless and unconscious.

With her bare foot, Hedra touches his cheek.

       HEDRA (softly)
       Hey !... Hey !

HOTEL ATHERTON - LOBBY - INTERIOR NIGHT

Close up on Hedra's feet walking on the rug. She's wearing both of
her stiletto heels shoes.

Hedra goes down some steps and reaches the hotel reception desk.
The same hotel clerk, that we saw earlier in the film, when Sam
and Allison came together into the hotel, is talking on the phone.
He is talking in a soft voice, so we can't understand exactly what
he's saying.

But, when Hedra walks in front of his desk, he puts his hand on
the receiver microphone, and says, in a louder voice :


       HOTEL CLERK
       Goodnight, Miss Jones.

Without turning her head, Hedra waves her hand.

       HEDRA
       Goodnight.

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR DAY
Close up on the clock on the night table : it says 06:22.

Allison slowly wakes up to some noise in the apartment.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

Allison comes out of her bedroom, wearing a long sleeveless pink
night shirt. She seems to be naked underneath.

She walks around the room, looking in every room which door is
open.

       ALLISON
       Hedy ?... Hedy ?

She eventually finds her in the living room, vigorously cleaning
the mantlepiece. Hedra is wearing a long plain gray dress and red
rubber gloves. Allison remains at the door of the room.

       ALLISON
       Hedy ?
Hedra looks up at Allison, but doesn't stop her cleaning.

       HEDRA
       Oh, hi ! I hope I didn't wake you. I got an early start.

       ALLISON
       No, Hedy, I didn't mean for you to move out today.

Hedra looks around the room.

       HEDRA
       Oh, there, I think that's it.

She goes out of the room into the hall.

       HEDRA
       I hope you don't mind. I'm storing some of my stuff in the
       cage downstairs.

She resumes her vigorous cleaning in the hall, starting with the
small shelf by the front door.

       HEDRA
       That way, I won't have to bother... You see what I mean...
       You know... I mean...

Allison has come near Hedra.

       ALLISON
       Sure, that's fine. Look, I'm really sorry it didn't work
       out.

Hedra has stacked «her stuff» near the front door. She picks them
up : a red suitcase, a cardboard box and a large paper bag. She
has taken her rubber gloves off and keeps them in one hand.

       HEDRA
       Well, I'd better get this stuff out of here.
Allison walks to the door.

       ALLISON
       I'll help.

She opens the door.

       ALLISON
       We can have breakfast when you get back.

Hedra walks out of the apartment. Allison closes the door, but
remains behind it, lost in her thoughts.

ALLISON'S BUILDING - BASEMENT - INTERIOR DAY

Hedra is rapidly walking along a corridor, carrying «her stuff».

ALLISON'S BUILDING - INCINERATOR ROOM - INTERIOR DAY

Close up on the open red suitcase. Inside, all the clothes that
makes Hedra look like Allison.
Hedra takes the clothes out of the suitcase and puts them into the
open incinerator. Then she sprays some lighter fluid over the
clothes.

Close up on Hedra's hands striking a match on the side of a
matchbox. She throws the match into the incinerator, and long
flames immediately start on the clothes.

ALLISON'S APARTMENT - KITCHEN - INTERIOR DAY

Allison is fixing breakfast. She has cut some fruits into small
pieces and she puts them in the bowl of the blender. We hear some
music from the TV in the background.

Allison walks to a cupboard on the wall to pick up a spices jar.

The door leading to the living room is open, and the TV is on.
Allison gives a quick look at the TV, on her way back from the
cupboard to the kitchen working bench.

Allison puts a bit of spices from the jar into the blender, closes
the lid and starts the blender.

       MALE TV REPORTER (voice over from the TV set)
       And now, Morning News-break...

The rest of the words of the TV reporter are lost, covered by the
noise from the blender. But the voice of a female reporter, being
slightly louder, can be heard over the blender noise

       FEMALE TV REPORTER (voice over from the TV set)
       Police found the body of a man brutally murdered early this
       morning.

Allison shuts the blender off, and walks to the open door to watch
TV.
ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAY

Close up on the TV screen, showing the reporter, standing, with
her microphone in hand, near the entrance of the Atherton Hotel.

       FEMALE TV REPORTER (voice over from the TV set)
       Identification of the victim, a white male of around 30
       years of age is pending notification of next of kin.

Reverse angle shot of Allison, standing in the doorway and peeling
a banana.

       FEMALE TV REPORTER (voice over from the TV set)
       A witness I spoke to just right here said...

Reverse angle shot on the TV.

       FEMALE TV REPORTER (voice over from the TV set)
       ...he heard the sound of a struggle emanating from room
       612...

Reverse angle shot on Allison.
       FEMALE TV REPORTER (voice over from the TV set)
       ...around four o'clock this morning.

Allison suddenly realizes that the room number is Sam's one. She
rushes to the telephone set on the wall near the refrigerator.

ALLISON'S APARTMENT - KITCHEN - INTERIOR DAY

Allison dials very nervously a number on the phone.

       HOTEL CLERK (voice over from the phone)
       Atherton Hotel.

       ALLISON
       Sam Rawson's room, please, room 6-12..

       HOTEL CLERK (voice over on the phone)
       I'm sorry, there's been an accident. I think you should
       speak to the police.

She doesn't even wait for the end of the sentence, and drops the
phone, letting the receiver hang on its cord. She rushes out of
the kitchen.

ALLISON'S BUILDING - INCINERATOR ROOM - INTERIOR DAY

Hedra is leaving the room, carrying «her stuff». Behind her, the
incinerator door is wide open, and we see a bright fire inside.

ALLISON'S BUILDING - BASEMENT - INTERIOR DAY

Across the corridor from the incinerator room, Hedra reaches
Allison's private «cage». She drops «her stuff» and opens the
padlock.

ALLISON'S APARTMENT - BATHROOM - INTERIOR DAY
Allison is bending over the toilet bowl and vomiting.

ALLISON'S BUILDING - BASEMENT - INTERIOR DAY

In the «cage», Hedra takes a boot out of the cardboard box. Then
she takes a sock out of the boot, and delicately, takes a black
hand gun out of the boot. She puts the gun in the paper back,
above some clothes.

ALLISON'S APARTMENT - BATHROOM - INTERIOR DAY

Allison is still vomiting in the toilet bowl. She slowly raises
her head from the toilet bowl, trying to catch her breath.

She sees Hedra's pair of stiletto heel shoes. Underneath one of
the heels, there are some traces of blood on the tile floor of the
bathroom.

Kneeling on the floor, Allison takes the shoe to look at it more
closely. Then she screams and throws it away, knocking the other
shoe down on the floor.
She is still kneeling on the floor, crying, when the door opens
and Hedra enters the room. Allison raises her head to look at
Hedra.

       HEDRA
       Allie ?

Hedra sees the stiletto heel shoe behind the toilet bowl, where it
has been knocked away.

       HEDRA
       What are you doing down there ?

Allison remains kneeling on the floor, just supporting herself on
her arms.

       ALLISON
       Oh... I just suddenly felt sick. It was the funniest thing.
       I hope I'm not pregnant.

Hedra walks towards Allison to help her stand up.

       HEDRA
       Let me help you.

Allison stands up.

       ALLISON
       Oh, that's all right, I'm fine.

       HEDRA
       I'll get some water.

Hedra walks to the basin, but wraps her hand in the bottom of her
dress before touching the water tap.

Allison walks out of the room.
       HEDRA
       Wait !

Allison stops at the door, and turns around toward Hedra.

Close-up on the mirror above the basin, showing Hedra and Allison
standing next to each other.

       HEDRA
       Drink some.

Allison takes the tooth glass and drinks. Hedra strokes her
shoulder.

       HEDRA
       Okay ?

Allison puts the glass down and shakes her head «Yes». Hedra
strokes the back of her head.

       HEDRA
       Feeling better ?
       ALLISON
       Yeah. I can go out for a while. I feel much better now.

ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAY

Allison walks out of the bathroom, followed by Hedra.

       HEDRA
       I thought you said breakfast ?

Allison has reached the front door, and she starts unlocking the
door.

       ALLISON
       Oh, it's in the blender. I've got to go out.

Hedra looks at Allison thin sleeveless night shirt and smiles.

       HEDRA
       Dressed like that?

       ALLISON
       I'm out. I'm just going to go upstairs and see Graham. He
       called while you were out.

Hedra looks at Allison with a very strange expression on her face.
She can see the tears on Allison's face.

       HEDRA
       Well, still, if you're not feeling well, you should wear
       more than that.

       ALLISON
       Maybe you're right.

She walks away to her room. Hedra puts her hand on her face.
       HEDRA
       Oh...

ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR DAY

Allison enters her room coming from the hall.

       HEDRA (voice over from the hall)
       Leave the door open so we can talk.

Allison grabs a pair of pants and puts them on.

Hedra enters slowly in the room, carrying the large paper bag
where she has put the gun.

Allison takes her night shirt off. She is now naked from the waist
up. But she grabs a sweater and puts it on.

       HEDRA
       You know why I think you're sick ?

While talking, Hedra slowly slides her hand into the paper bag,
takes a pair of black gloves out of the bag and puts the bag down
on the floor.

       HEDRA
       You're upset about Sam.

Slowly, Hedra puts the black gloves on her hands.

       HEDRA
       You know Sam's dead, don't you ?

Allison turns around to face Hedra.

       HEDRA
       Yeah, we don't have much time.

She picks up the bag and walks to a chest of drawers. She puts the
bag on the floor and opens the top drawer.

       ALLISON (crying)
       You didn't... you didn't do it, Hedy, did you ?

Hedra is taking white pantie and bra from the drawer

       ALLISON (crying)
       You couldn't have him !

She falls down, sitting on the floor and crying.

       ALLISON
       Why ?... Why ?

       HEDRA
       Allie, he came in my mouth. Then he tried to beat the shit
       out of me because I wanted to tell you.

She slams the drawer shut, and opens another one.
       HEDRA
       You know, it was an accident. But he deserved it.

She claps her hands.

       HEDRA
       Okay, come on. The police will be here soon.

Allison doesn't move and remains seated on the floor.

       ALLISON
       But... but you shouldn't run. That'll only make it worse. I
       know you weren't yourself when you did this, Hedy.

Hedra laughs.

       HEDRA
       I know. I was you.

She points her gloved finger to Allison, and then looks at herself
in the mirror.
       HEDRA
       Who is this Hedy anyway ?

She turns around, and walks away from the mirror towards Allison.

       HEDRA
       No one's seen her. She's not on the lease. There's not even
       a fingerprint of hers here. I've been cleaning like crazy.
       You have to come with me, Allie, or they'd put you away.

       ALLISON
       Hedy, it'll never work. Besides ... people have seen you.
       We just can't tell. We'll go to a lawyer or a doctor and
       they'll explain it to the police, or something.

Hedra, who is now very upset, knocks everything, that was on top
of the chest of drawer, with a long sweeping movement, down on the
floor.

       HEDRA
       No.

She bends down and takes the gun out of the paper bag.

       HEDRA
       Why are you making me do this ?

She snaps a cartridge into the chamber of the gun.

       HEDRA
       We're friends, Allie. You could be in a lot of trouble
       without me. But I'm not going to leave you.

She walks to Allison and kneels on the floor besides her, pointing
the gun to her head

       HEDRA
       That wouldn't be right. I won't leave you. Okay, let's go.
       Up ! Up ! Up !

She slaps her face.

ALLISON'S BUILDING - LANDING HALL OUTSIDE ALLISON'S APARTMENT -
INTERIOR DAY

Hedra leads Allison along the hall. She is carrying her paper bag
in one hand and the gun in the other hand. She still has her
gloves on. Allison is carrying a small plastic case.

       HEDRA
       Go ! Go-go-go !

They reach the elevator and Allison is ready to press the call
button, but Hedra moves her away towards the staircase.

       HEDRA
       No-no, up to Graham's. Come on. No-no, he's already
       involved.

ALLISON'S BUILDING - MAIN STAIRCASE - INTERIOR DAY
They climb the stairs. Hedra is pushing Allison with her gun.

ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -
INTERIOR DAY

They reach Graham's front door. Allison rings the bell, waits a
couple of seconds and turns around.

       ALLISON
       Nobody's home.

Hedra takes some keys out of her bag and gives them to Allison
with the gloved hand that is still holding the gun.

       HEDRA
       Use these. Come on, come on, hurry up. Go !

Allison takes the keys and unlocks the door.

       ALLISON
       He must be sleeping. We were up late last night.

Hedra seems very nervous. While Allison is unlocking the door, she
keeps looking around her and pressing Allison's back with her gun.

Allison opens the door, and enters the apartment, followed by
Hedra.

       ALLISON
       Graham ?

       HEDRA
       He can't hear you.

Hedra closes the door behind them.

ALLISON'S BUILDING - EXTERIOR DAY
Low angle shot of the building, taken from street level.

GRAHAM'S APARTMENT - CORRIDOR - INTERIOR DAY

       HEDRA (voice over)
       Wait till you see me.

Hedra comes out of the bathroom, with a dark towel on her head.

The cat crosses the corridor and enters the bathroom.

Hedra puts her towel down : her hair, instead of being red like
Allison's, is now dark brown.

       HEDRA
       Your color was beautiful, but I can't go around looking
       like you any more, can I ?

She smiles.

GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAY
Hedra enters the living-room.

       HEDRA
       Okay now, Allie, don't laugh.

She walks in front of the window, and makes a couple of dance
steps.

       HEDRA
       Ta-dah !

Reverse angle shot on Allison, tied up in an armchair with duct
tape. Each one of Allison's arms is tied on each armrest of the
armchair. Her legs are tied on the legs of the armchair, and her
chest is tied on the back of the armchair. There is also a piece
of tape across her face to keep her mouth shut.

Hedra laughs and turns the TV set on. The screen shows a
documentary about African fauna. Hedra turns the volume slightly
up.

       HEDRA
       How's that ? Good ?

She puts the remote control on the armrest of the armchair, within
easy reach of Allison's right hand. Allison doesn't move at all.

       HEDRA
       22 and 24 are the movie channels. I've got to cash a pay
       cheque. So I'll only be gone an hour. I know how you hate
       to be alone. Okay... Are you good and comfortable ? All
       right.

She walks away from the armchair, takes the towel off her neck and
down on the back of a chair. She takes her purse.

       HEDRA
       So, well... When I get back, we'll do your hair, too.
       Okay ? Be good. Bye.

She gets out of the room.

Allison moves for the first time : she turns her head around, then
looks back at the TV screen.

Reverse angle shot. On the TV screen, close up of a lion yawning.

Reverse angle shot. Allison looks at the remote control on the
armrest.

Close up on the remote control. Almost at the top of the remote
control, we see the two volume control buttons : up and down. And
under those buttons, we see the two channel control buttons.

Close up on Allison's face looking at the remote control.

Close up on Allison's right hand moving the remote control on the
armrest, to get the volume control buttons within reach of her
forefinger. She presses the up button.
On the TV screen, we see the volume bar graph going up on the
picture of a crocodile. And the volume of the music goes up too.

Allison looks at the remote control again.

Close up on Allison's forefinger pressing one of the channel
control buttons.

On the screen, we see a different channel : a comic movie. A
couple is having dinner in a restaurant and the waiter pours the
water bucket on the man.

Another channel. A woman is sleeping. A telephone rings.

Reverse angle shot on Allison pressing the channel control
buttons. We hear a male voice for a couple of second, then Allison
changes the channel again.

The TV screen seen from behind Allison's hand dialing on the
remote control. There is a cartoon on the screen. Then another
channel showing the concert of a rock music band.

Close up on Allison's face looking at the screen and then at the
remote control in her hand.

Reverse angle shot on the TV set. The volume bar graph is going up
again until it reaches the end of the graph. The volume of the
sound of the rock music is very high.

ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -
INTERIOR DAY

We hear the rock music very loudly in the empty hall.

The front door of apartment 1206 opens slowly. A man with glasses
on his nose peeks into the hall. He seems very annoyed by the
noise.
BANK OFFICE - HALL - INTERIOR DAY

Close up on the hand of Hedra writing «Ellen Besch» on the back of
a cheque on the cashier's counter. In front of her, we see the
hands of the cashier girl on the other side of the glass
partition.

       CASHIER GIRL (voice over)
       What's the part this time ?

Larger view of the bank office hall. Hedra is standing in front of
the cashier's desk. We see the cashier girl through the partition
glass. Behind Hedra, a man is waiting for his turn, reading a
newspaper.

       HEDRA
       Excuse me ?

Through the opening at the bottom of the partition, she gives her
cheque to the girl.
Closer shot. Now we are on the cashier's side of the partition,
and we see Hedra's face through the glass.

       CASHIER GIRL
       You're an actress, right ? You're never the same person
       twice.

Reverse angle shot. We are now on Hedra's side of the partition,
and we see the cashier girl through the glass : she is a blonde
girl about the same age as Hedra. She puts her finger on her own
hair.

       CASHIER GIRL
       I like it. I just thought the other was more you.

Reverse angle shot. Cashier's side.

       HEDRA
       Well, maybe next time I'll try blonde.

Reverse angle shot. Hedra's side. The cashier girl smiles.

       CASHIER GIRL
       Really ? I'm flattered. Thanks.

A male bank clerk, sitting at a desk behind the cashier girl,
stands up and walks to the partition glass.

       BANK CLERK
       Miss Besch ?

       HEDRA
       Yes ?

       BANK CLERK
       A man's been calling here. Says he's your father.

Reverse angle shot. Cashier's side. Hedra seems worried by what
the man is saying.

       BANK CLERK (voice over)
       Might even come to New York if you don't call him.

Hedra runs away from the counter.

       BANK CLERK (voice over)
       Miss Besch !

GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAY

On the TV set, the rock band is still playing with the sound
volume very loud.

Reverse angle shot on Allison, trying to free herself from the
armchair where she is tied up. But the duct tape is strong enough
and her jerky movements don't bring any result.

ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -
INTERIOR DAY
Outside Graham's apartment. We hear the loud rock music very
clearly. The building manager is standing by the door, with the
neighbor from apartment 1206 behind him. The neighbor has his
glasses hanging around his neck on a string.

The building manager rings the bell. Then he bangs on the door
with his fist.

       BUILDING MANAGER
       Hey !

GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAY

Allison turns her head towards the front door and try to speak
through the tape stuck on her mouth.

       ALLISON
       Mmmm !

She starts moving again to free herself from the armchair, but she
doesn't succeed.

The bell rings again. Allison turns her heard towards the front
door.

A BUSY STREET IN NEW-YORK - EXTERIOR DAY

Hedra is walking very fast on the sidewalk. She passes a fruit
shop and bumps into a pedestrian girl, but doesn't stop to
apologize.

       THE PEDESTRIAN GIRL
       Jerk !

Hedra keeps on walking very fast. She seems worried.

ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -
INTERIOR DAY
The manager has a key ring with many keys in his hand. He is
sorting them trying to find the right key to the apartment.

ALLISON'S BUILDING - MAIN LOBBY - INTERIOR DAY

Hedra is crossing the lobby, walking very fast.

She reaches the elevator and presses the call button.

GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAY

On the TV screen, a video clip with loud rock music behind.

Reverse angle shot on Allison, still trying to free herself from
the armchair.

ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -
INTERIOR DAY

Close up on the manager's hand putting the key in the keyhole.
GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAY

Allison hears the key moving in the keyhole and turns her head
towards the front door.

Close up on the video clip : a man is running, apparently chased
by men armed with spears.

ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -
INTERIOR DAY

Hedra just came out of the elevator and is closing the inner door
of the cabin. She turns the corner of the hall and suddenly sees
the manager and the neighbor near Graham's door. She runs towards
them and yells.

       HEDRA
       Oh !

The apartment door is wide open, but, when they see Hedra, the two
men don't enter the apartment. The neighbor goes back into his own
apartment, but the manager remains just outside the apartment.

       BUILDING MANAGER
       You live here ?

Hedra closes the door to talk to the manager, but she doesn't lock
it.

       HEDRA
       No, no, I'm just watching the place for the week-end like
       that. It's on a timer. Huh... Huh... I'm sorry.

       BUILDING MANAGER
       I have to register a complaint.

       HEDRA
       Please, I'll turn it off. I will.
She enters the apartment and closes the door shut behind her.

GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAY

Allison turns her head towards the front door.

Hedra enters the room, walking very fast. She drops her purse on a
chair and walks to the TV set. She switches it off. Then she walks
slowly towards Allison, with a quite menacing face.

She gives Allison a very hard slap in the face. She kneels down in
front of her, and shakes her shoulders a couple of times. Then she
stops but remains kneeling on the floor, while she's talking to
her.

       HEDRA
       How could you do that ? Everything I've done, I've done for
       you. Don't you understand that ? People you hated, I hated.

She stands up.
       HEDRA
       People like you don't care.

She knocks a large metal vase down on the floor.

       HEDRA
       Just like that stupid girl in Tampa. She called my parents,
       too. Told them all my secrets.

She comes behind Allison and pulls her hair to tilt her head back.

       HEDRA
       You want to put me away, huh ?

She releases Allison's hair.

       HEDRA
       I can't... I can't keep making excuses for you, Allie. I
       can't... I can't... I can't... I can't... I can't...

She walks out of the room. She is crying.

       HEDRA
       Oh God !... Oh God !... Ohhh !

We hear her crying in the next room. Allison turns her head
slightly towards her.

Close up on Allison's face. We hear Hedra screaming and breaking
things. Allison seems terrified.

Hedra comes back into the room. She has a big knife with a
serrated blade in her hand.

Close up on Allison's face. She seems more and more terrified. She
starts moaning under her tape gag.

Hedra is now just behind Allison. She puts the tip of the blade on
Allison's throat, then the full length of the blade.

       HEDRA
       What ?... What ?

She tears the tape off Allison's mouth.

       ALLISON
       Please...

       HEDRA
       No.

Hedra's face is now very close to Allison's one. Allison raises
her head and kisses Hedra on the mouth.

Close up on the serrated blade of the knife on Allison's throat.
The blade is ready to tear the skin, but doesn't move further.

Slowly, Allison moves her mouth away from Hedra's one.

       ALLISON (whispering)
       Don't make me leave you, Ellen.

Hedra slowly raises up. She has a strange look on her face. She
seems not to understand the situation anymore.

Close-up on Allison's head and throat. We can see the slightly
bloody marks left by the serrated blade. Allison looks at Hedra
moving away from her with an anxious face.

Hedra kneels down in front of Allison. She bends down to rest her
face on Allison's lap, and starts crying. Allison moves her hand
as far as she can and strokes Hedra's hair.

       ALLISON
       Shhh !... It's okay. It's okay.

Close-up on a wallet on the floor, close to Allison's foot.
Allison is trying to reach it with her foot, but she can't because
of her leg still being taped on the armchair.

       ALLISON (voice over)
       We've got to get out of here now.

She eventually succeeds in kicking the wallet away from the
armchair. And she keeps on stroking Hedra's hair, still crying on
her lap.

NEW YORK - EXTERIOR EVENING

Large overview of the city. There is still daylight, but we can
tell, by the color of the sky, that we are getting closer to the
night.

FONTANA FASHION OFFICE - MAIN HALL - INTERIOR EVENING

In the forefront, Mitchell's assistant, Barbara, is typing on the
keyboard of a computer. Behind her, we see rows of dresses on
hangers.
Suddenly, the woman stares at the screen. We hear strange clicking
and beeping noises coming from the computer.

       BARBARA
       Jesus...

She stands up, with horror in her face, and yells.

       BARBARA
       Mitch !

FONTANA FASHION OFFICE - MITCHELL'S OFFICE - INTERIOR EVENING

The room is much smaller, and quite dark. A blonde woman is
sitting on an armchair in front of a desk. Mitchell is standing
behind her. Mitchell is slightly rocking the armchair and the
blonde woman's eyes are closed.

       MITCHELL
       What ?
He doesn't stop rocking the armchair.

       BARBARA (voice over from the main hall)
       Get in here.

       MITCHELL
       What ?

He reluctantly leaves the armchair and walks out of the room.

FONTANA FASHION OFFICE - MAIN HALL - INTERIOR EVENING

Mitchell crosses the hall

       MITCHELL
       What is it ? What?

The computer is still making strange beeping noises. On the
screen, pictures of dresses appear and then disappear immediately.

       BARBARA
       Look.

Close up on the screen. A data chart titled «Fontana Fashions» has
appeared. The extreme left column is labelled «Expenses», and
underneath, a list of all the expenses (Lease - Telephone -
Payroll - Liabilities... and son on). The other columns on the
right are labelled «Jan» to «Apr», and underneath lists of numbers
corresponding to the various monthly expenses.

But, the data chart has hardly appeared on the screen that the
columns of numbers start erasing themselves one by one, starting
with January.

       BARBARA
       It's erasing.

Then, when all the numbers have been erased, a window appears on
the screen with «LOST!» written in red letters in it.

Another data chart appears on the screen : the expenses from May
to August. And, on this chart, the columns of numbers also start
to erase themselves.

Mitchell looks severely at Barbara. She raises her hands.

       BARBARA
       I didn't do anything.

Suddenly, Mitchell seems to remember something.

       MITCHELL
       Shit !

He runs away toward his office.

The blonde woman is standing in the doorway of the office.
Mitchell brutally pushes her away.

FONTANA FASHION OFFICE - MITCHELL'S OFFICE - INTERIOR EVENING
Mitchell types something on the keyboard of his computer. We hear
the computer beeping.

Close-up on the computer screen. A data chart titled «Production
line», and underneath «Fontana Fashions Production Line».
Underneath, four columns of numbers labelled «Order», «Sam»,
«Scheduled» and «Completed». All the numbers in these columns are
erasing themselves. And then appears the window with «LOST!» in
red letters.

       MITCHELL (voice over)
       On mine, too !

Then another rectangular window appears on the screen. On the left
of the window, the drawing of a bomb with a lighted wick sticking
out of it. On the rest of the window, the following text :

       The last payment in Fulfillment of the Contract between
       Fontana Fashions and Allison Jones is now past due.
       Please contact Allison Jones at 212-555-9814 within 24
       Hours of the rest of your data will be irretrievably lost.

Mitchell bends down to have a better look at the screen.

Close up on the screen, while Mitchell reads out loud :

       MITCHELL (voice over)
       The last payment in Fulfillment of the Contract between
       Fontana Fashions and Allison Jones is past due. Please
       contact Allison Jones...

Medium shot of Mitchell reading what's written on the screen.

       MITCHELL
       ...in 24 hours of the rest of your data will be
       irretrievably lost. This payment policing program is
       installed on all of Allison Jones software."
Mitchell jumps up.

       MITCHELL
       Bitch !

GRAHAM'S APARTMENT - WORKING ROOM - INTERIOR EVENING

Allison is seated behind Graham's desk. She unplugs the cord from
the telephone set and plugs it in the back of a small portable
computer.

Shot on floor level. We see the bottom of the desk chair and
Allison's legs, around which there is still some duct tape. Hedra
is kneeling on the floor near the desk. She has a telephone cord
in her hand.

       HEDRA (voice over)
       Should I just plug this in the phone jack ?

       ALLISON (voice over)
       Huh-huh.
Hedra gets up and looks at what Allison is doing with the
computer.

       ALLISON
       Great.

       HEDRA
       Can you make reservations on this ?

       ALLISON
       Hm-m. And you can pay by credit card.

Close up on Hedra's face who looks intensely at Allison, not
believing completely that Allison is not trying to fool her.

       ALLISON
       L.A., right ?

       HEDRA
       Yeah.

She walks away.

FONTANA FASHION OFFICE - MAIN HALL - INTERIOR EVENING

Close up on Allison Jones' business card. Above her name, a logo
that reads «Concept Software». Under Allison's name, the title
«Software Designer», and underneath «768 West 74th Street, Suite
1103, New York», and underneath «(212) 555-9814». On the top of
the card, written with a pencil «555-8796 KNOX».

       BARBARA (voice over)
       No answer at the first number.

Mitchell's forefinger points at the penciled number on the card.

       MITCHELL (voice over)
       What about this number ?

Mitchell is standing near Barbara's desk. She has the telephone
receiver to her ear, trying to reach someone to help them.
Mitchell brings the next desk telephone to him by pulling it by
its cord. He start dialing on the telephone.

We hear the «engaged» tone.

       MITCHELL
       Busy.

He throws the receiver on the desk. He starts walking away, then
turns to Barbara.

       MITCHELL
       You turn them off.
       (yelling)
       Turn them all off !

Barbara remains calm, with the telephone receiver still at her
ear.
Mitchell runs out of the room, and Barbara puts the telephone
down.

GRAHAM'S APARTMENT - WORKING ROOM - INTERIOR EVENING

Close up on the computer screen. The window is titled
«Compuserve». Underneath it reads «Flight Reservation». And
underneath «Browse Flights by Fares». Underneath : «Departure
City:». Next to it a box, where we see the letters «JFK» being
typed. Underneath «Destination City:». Next to it, another box,
where we see the letters «LAX» being typed. Another window
appears, titled «Flight Information», and giving all the details
of the different flights between New-York and Los Angeles.

Allison is sitting at the desk typing on the computer, and Hedra
is standing next to her.

       HEDRA
       Things are going to be different in L.A, Allie. You'll see.

       ALLISON
       First class ?

       HEDRA
       Is it worth it ?

       ALLISON
       Well, we can use one of Graham's cards. I think I saw his
       wallet in the living room.

       HEDRA
       Oh... Me too. Okay, I'll go and see.

She gets out of the room.

Close up on the computer screen. It switches from «Flight
Information» to «Main Menu», and then to «Chat-Mail Menu».
Close up on Allison's face focused on her typing on the computer.

Close up on the computer screen. It reads «CB Simulator», and
underneath «Chat Mode Initiated», and underneath «User: Don193».
Underneath, we see the following words being typed :

       PLEASE HELP ME. THIS IS NOT A JOKE.

       HEDRA (voice over from the living room)
       I can't find it.

Allison is typing very fast. She knows she doesn't have much time.

       ALLISON
       I know I saw it somewhere. Maybe it's in the kitchen.

Close up on the computer screen. The following words have been
added :

       I'M AT 768 W.74TH STREET, APT.
Back on Allison sitting at the desk and typing. Slowly and
silently, Hedra enters the room.

Close up on Hedra's angry face. She bends down

Allison at the desk seen from behind. Suddenly we hear the noise
of a plug being pulled off from its socket. The computer screen
becomes all black and Allison turns quickly around. Hedra is
pointing her gun at her.

       ALLISON
       No ! No ! No ! No !

ALLISON'S BUILDING - MAIN LOBBY - INTERIOR EVENING

Close up shot on the window above the elevator door. We see the
elevator coming down. The camera follows the elevator down to
floor level. Mitchell is waiting in front of the elevator door.

The elevator outer door opens. Hedra is inside. She keeps the
inner door shut.

       HEDRA
       Going down.

The outer door closes in front of a bewildered Mitchell.

ALLISON'S BUILDING - BASEMENT - INTERIOR EVENING

Hedra opens the door of Allison's private «cage», and enters the
cage. She tries to open a suitcase, but doesn't succeed. She slaps
nervously the suitcase. She then finds another suitcase, which is
open. She tries to fit herself inside the suitcase, and more or
less succeeds. She seems very nervous. She gets out of the
suitcase, closes it and carries it out of the cage.

ALLISON'S BUILDING - ELEVATOR CABIN - INTERIOR EVENING
Close up on the numbers above the door. They go from «9» to «10»,
and then to «11».

Hedra is watching the numbers. The elevator stops.

The outer door opens. Mitchell is there, waiting for the elevator.
He opens the inner door and comes in the cabin. The outer door
closes automatically and the elevator cabin starts moving up again

He looks at the control panel, where the 12th floor is lighted.
Then he looks at Hedra, who looks back at him with a rather
unwelcoming face.

The elevator stops and Mitchell goes out first.

ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -
INTERIOR NIGHT

Through the windows, we can see that night has come.

Mitchell goes out of the elevator, followed by Hedra pulling her
suitcase behind her.
Hedra goes directly to Graham's apartment. Mitchell first goes in
the opposite direction, and then comes back towards Hedra.

       MITCHELL
       Oh... Excuse me, miss, is this 1203 ? Is Graham Knox at
       home ?

Hedra is now in front of Graham's door and puts the key in the
keyhole. Mitchell has caught up with her, and is standing behind
her.

       HEDRA
       No, he's on a cruise.

       MITCHELL
       Actually, I'm looking for a woman Allison Jones ? Do you
       know her ?

Hedra suddenly stops unlocking the door.

       HEDRA
       Who are you ?

       MITCHELL
       Mitchell Myerson.

Hedra turns around to face Mitchell.

       MITCHELL
       She did a job for me.

       HEDRA
       Oh... There's no one named Jones on this floor.

       MITCHELL
       Yeah, I know that. I was just down at her apartment. But I
       did contact her here once.
       HEDRA
       Well, I'm the only one here and I never met her. So...
       You'll excuse me.

She bends down to pick up the suitcase.

       MITCHELL
       Oh, sorry.

Mitchell bends down to help her. He picks up the suitcase and
looks at it.

       MITCHELL
       This is hers. You do know her.

We hear a muffled scream coming from inside the apartment.

Hedra opens the door to get inside as fast as possible, but
Mitchell catches her and throws her aside. More muffled screams
coming from the apartment. Mitchell rushes into the apartment, and
closes the door shut behind him. Hedra rushes to the door, but too
late.

GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Mitchell rushes into the room, stops and looks down.

Allison is lying on the carpet, completely tied up in duct tape,
looking like a human salami. She is gagged by another piece of
tape. When she sees Mitchell, she starts wriggling and screaming
through her gag.

        MITCHELL (voice over)
        What the fuck is going on here ?

He kneels down and tears the tape off her mouth.

        ALLISON
        Be careful, she's crazy.

Hedra enters the room, pointing her gun towards Mitchell.

        HEDRA
        Get off of her.

Mitchell, still kneeling down across Allison's body, turns around.

        MITCHELL
        What ?

Hedra walks towards him, still pointing her gun with both hands in
front of her.

        HEDRA
        You think she wants you touching her, huh ? I said get off
        her !

        MITCHELL
        Okay, okay... I'm... I'm getting up. Okay.
He gets up very slowly with his hands raised at his shoulders
level. And suddenly, he grabs the gun and throws Hedra across the
room. She falls on a round table, which breaks under her weight.
She remains motionless on the floor.

Allison looks anxiously at the scene, but, from her lying position
on the carpet, doesn't see everything.

Mitchell puts the gun inside his belt and kneels down to untie
Allison.

        ALLISON
        Where is she ?

        MITCHELL
        Don't worry about her, I took care of her.

Hedra suddenly comes behind him, and strikes him very hard on the
head with a statuette. He falls down on the floor. Hedra rushes to
him and picks up the gun from his belt. She takes a cushion from
the back of an armchair, puts the cushion on Mitchell's face and
presses the barrel of the gun on the cushion. Allison screams.

GRAHAM'S APARTMENT - BATHROOM - INTERIOR NIGHT

Graham is lying in the empty bathtub, with his cat sleeping on his
right shoulder. There are a few traces of blood on the side of the
bathtub.

We hear the muffled sound of a gun shot. Then a scream from
Allison and another gunshot.

The camera moves closer to Graham's face. He has a large bloody
bump on his forehead.

There is a slight move of his head, then a slight blink of his
eyelids.

GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHT

Close up on Hedra's hands taking some pills out of a medicine
bottle.

       HEDRA
       I don't want to try to be loved any more. And you know...

The camera moves up to Hedra's face.

       HEDRA
       I don't want to be scared any more. Or to kill any more. I
       don't want to kill any more. I don't want to be alone any
       more. I don't want to be anything any more. I don't need a
       reason to kill myself, I need a reason not to and there
       isn't one.

Hedra turns her head towards Allison sitting at the desk in front
of the computer. The camera moves away to a larger shot, and we
see that the gun is stuck in the hollow of Hedra's left elbow.
       HEDRA
       You don't want to say anything special to anyone ?

Allison shakes her head «no».

       HEDRA
       Okay, «Allison Jones», go on.

Close up on the computer screen. We see the words Hedra just
dictated : «I don't want to try to be loved...» and so on up to
«...there isn't one.» The words «Allison Jones» are being typed.

Back to Hedra pointing her gun to Allison. She takes Allison's
hand and presses it on the screen of the computer.

       HEDRA
       Now they'll know it was you.

       ALLISON
       No one who knows me will believe that I wrote that. I was
       never that scared. Well... not like that.
       HEDRA
       Of course it's you. I never met anyone so scared of being
       alone. And I saved you from that, but you don't care.

She brings a glass of water to Allison, who takes it.

       HEDRA
       Did you know that identical twins are never really
       identical ? There's always one that's prettier. And the one
       who's not does all the work. She used me and then she left
       me. Just like you.

She puts the barrel of the gun on Allison's temple, and she opens
her left hand in front of Allison's face.

       HEDRA
       Come on... take them. Come on, Allie, it's nicer this way.

       ALLISON
       Okay.

Close up on Hedra's hand full of blue pills. She pours them into
Allison's left hand. Allison's other hand still holds the glass of
water.

Without warning, Allison suddenly smashes the glass on Hedra's
face.

Then the two girls start fighting for the gun. Allison slams
Hedra's hand on a mirror hanging on the wall. The glass of the
mirror breaks into small pieces, but Hedra doesn't drop the gun.

The two girls keep on fighting on the floor, knocking various
object around them.

Close up of Allison's hand holding Hedra's hand with the gun, and
smashing it through the window. The pane breaks into small pieces,
and Hedra drops the gun on the balcony.
Hedra moves away from Allison.

Close up of Allison's hand picking up a piece of glass lying near
the gun on the balcony.

Allison slashes Hedra's chest with the broken piece of glass.
Hedra falls on the floor and Allison rushes out of the room.

Hedra gets up and picks up the gun from the balcony.

GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHT

Allison is fumbling with the locks and the safety bar of the front
door.

Hedra rushes into the corridor, pointing her gun at Allison.

       HEDRA
       Allie !

Allison has opened the door and turns around to face Hedra.
Hedra walks slowly along the corridor towards Allison.

       HEDRA
       Please...

Allison still has the piece of broken glass in her hand.

Behind Hedra, we see Graham moving in the bathroom.

       HEDRA
       Please...

Reverse angle shot to Allison standing in the open doorway and
holding the piece of broken glass.

       ALLISON
       I'm not like your sister, Hedy. Not any more. I'm like you
       now.

Close up on the barrel of the gun.

Graham rushes out of the bathroom, grabs Hedra by the waist and
falls with her on the floor.

       ALLISON (voice over)
       Graham !

Graham bangs Hedra's head repeatedly on the floor. Hedra succeeds
in moving slightly away from him, and try to point her gun toward
him.

       HEDRA
       I'll kill you !

Allison rushes towards them, grabs Hedra by her feet, and pulls
her towards the front door. Hedra, still lying on her stomach
while being pulled away by Allison, still tries desperately to
point her gun towards Graham.

       ALLISON
       Get off him !

Allison succeeds in pulling Hedra out of the apartment. Hedra
grabs the front door with both hands to try to resist Allison's
pull.

ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -
INTERIOR NIGHT

Allison pulls a little harder, and Hedra's hands are squeezed by
the door. She screams. Allison lets go of Hedra's legs to close
the door shut.

       ALLISON
       Graham, stay inside !

       GRAHAM (voice over from inside the apartment)
       All right.
Allison runs away towards the elevator. Hedra, still lying on the
floor, raises her gun towards Allison and shoots.

Allison screams : she's been shot in the left shoulder. Hedra
shoots again, but Allison hides behind the corner of the wall of
the hall.

Hedra gets up to run after Allison.

Close up on the elevator. Allison is already inside the cabin and
closes the inner door just as Hedra reaches the elevator.

ALLISON'S BUILDING - ELEVATOR CABIN - INTERIOR DAY

       HEDRA
       No... No... No...

Allison pulls Hedra right arm through the vertical bars of the
inner door, and opens it again, squeezing Hedra's arm very hard.
Hedra screams and drops her gun on the cabin floor. Allison closes
the inner door shut.

Close up of Allison's hand picking the gun up from the floor.

       HEDRA
       No... No... No...

Hedra watches the outer door closing slowly.

Allison points the gun towards Hedra and presses the trigger
several times. But nothing happens : there are no more cartridge
in the chamber of the gun.

Hedra opens the inner door to get into the elevator. Allison tries
to prevent her from getting in, but Hedra eventually succeeds in
getting into the cabin. She closes the inner door, and the outer
door closes itself automatically.
Hedra throws Allison against the wall of the cabin. Then she bangs
her head very hard against the wall. Allison pulls Hedra away from
her. Hedra hits the wall on the other side of the cabin, and falls
on the floor. Allison rushes and falls on Hedra, but Hedra pushes
her away from her.

The two girls start fighting in the cabin. They fall on the floor,
Hedra on top of Allison. Hedra tries to strangle Allison.

Close up of Allison's face choking under the pressure of Hedra's
hands.

Short reverse angle close up shot of Hedra's face, then back to
Allison's face.

Close up on the screwdriver hanging from its chain and rocking
gently with the movement of the elevator. Allison's hand tries to
catch it and doesn't succeed.

Back on Allison's face, suffocating more and more under Hedra's
strangulation. Back, for a couple of seconds, to Allison's hand
trying to catch the screwdriver, and then back to her suffocating
face.

Close up on Allison's hand which has eventually caught the
screwdriver, then back to her face. The face slowly relaxes as
Allison falls into unconsciousness. Her arm, which was extended to
catch the screwdriver, falls on the floor of the cabin.

Hedra watches Allison's face intently. Then, when she realizes
that Allison is unconscious, she bends down and kisses her on the
cheek. She brings Allison's both arms along Allison's sides, then
she puts her head on her chest and kisses her hand.

ALLISON'S BUILDING - BASEMENT - INTERIOR DAY

The outer door of the elevator opens, and, through the vertical
bars of the inner door, we can see Allison still lying on her back
on the floor of the cabin. Hedra opens the inner door, then pulls
Allison by the legs out of the elevator.

        HEDRA (snorting under the effort of pulling Allison)
        Huh... Huh...

She pulls Allison along the corridor of the basement.

She reaches the door opening on the emergency staircase, and kicks
it shut.

She suddenly stops and looks intently at Allison lying on the
floor. She grabs a green blanket on a shelf and wraps Allison's
face in it.

She pushes a a heavy metallic storage shelves cabinet along the
wall all the way to the emergency staircase door, in order to
prevent it from being opened by anyone coming from the staircase.

Then she pulls down a big lever on the wall on the side of the
cage where the elevator machinery is enclosed. We supposed it is
the emergency switch of the elevator, and that she also wants to
prevent anyone coming down to the basement from using the
elevator.

ALLISON'S BUILDING - INCINERATOR ROOM - INTERIOR DAY

Hedra picks up some pieces of dry wood from a wheelbarrow and puts
them inside the incinerator, where some flames are still burning.

ALLISON'S BUILDING - BASEMENT - INTERIOR DAY

Hedra pushes the empty wheelbarrow along the corridor of the
basement.

Suddenly she stops, drops the wheelbarrow and emits a short
scream.

Reverse angle shot on the green blanket on the floor. Allison is
gone.

Hedra looks very worried.

        HEDRA
       Allie ?

She runs to the blanket, but doesn't stop and keeps on running to
the elevator. She gives a quick look inside the open cabin, then
tries to open a large locked gate, near the elevator, but doesn't
succeed.

       HEDRA (yelling)
       Allie ?

She goes back along the corridor the way she came from. Near the
place where she left the wheelbarrow, she comes to a door marked
«Storage», and opens it

       HEDRA
       Hey, here you are.

But this is just a closet full of various junk.

Hedra thinks she heard something and quickly turns around. She
takes a big iron hook from the storage closet and starts walking
menacingly along the corridor.

       HEDRA
       Don't make me come get you... Allie, come out now... Come
       on... Allie !...

She bangs the hook on a vertical pipe on the wall.

Close up on a rat scuttling away from the noise.

Close up on Allie hidden in a big metal box, near the ceiling of
the basement. This metal box is obviously a part of the
ventilation system.

       HEDRA (voice over)
       Come on !
The rat is running along a large horizontal pipe towards Allison,
who seems frightened by it.

High angle shot of Hedra seen from Allison's hiding place.

       HEDRA (screaming)
       Come out now !

Close up on Allison's face, frightened by the rat.

Reverse angle close up shot of the rat coming towards us and
Allison.

Back to Allison looking at the rat.

       HEDRA (voice over)
       Allie, please.

High angle shot of Hedra. She is crying.

       HEDRA
       I'm scared ! Where are you ?
The rat has reached Allison's hiding place. She pushes it down
from the pipe where it was standing.

The rat falls on Hedra's shoulder. She screams.

Allison hides back into the ventilation metal box not to be seen
by Hedra.

Hedra throws the rat on the floor.

The rat runs away.

Hedra looks up at the place where the rat fell from.

Close up at Allison's hiding place. The metal box seems empty.

       HEDRA (voice over)
       Allie...

ALLISON'S BUILDING - INCINERATOR ROOM - INTERIOR DAY

Hedra comes back into the incinerator room. Just above the open
door of the incinerator, there is a big ventilation metal box,
similar to the one Allison is hiding in.

Hedra bangs the box with her hook. She must think that Allison is
crawling inside the ventilation system.

ALLISON'S BUILDING - BASEMENT - INTERIOR DAY

Allison is peeking from behind a corner of the corridor.

Reverse angle shot showing what Allison sees. We - and she - see
the incinerator room with Hedra banging her hook on the
ventilation system.

ALLISON'S BUILDING - INCINERATOR ROOM - INTERIOR DAY
Hedra is walking backward, away from the incinerator. She hears a
strange noise and turns around.

ALLISON'S BUILDING - BASEMENT - INTERIOR DAY

We see the open door of a cage slightly moving with a squeaking
noise.

Hedra walks toward the cage.

       HEDRA
       Why are you hiding from me ?

Close up on a big wooden closet with two doors. A piece of green
fabric is sticking out between the two closed doors.

Hedra bangs her hook on the closet.

       HEDRA
       You think I can't find you ? Huh ? Your goddam shirt is
       sticking out of it.
She opens the door, sees herself in a mirror at the back of the
closet, and thinking it's Allison, bangs her hook on the mirror
and breaks it.

Hedra backs up one step from the closet. And suddenly, Allison,
who was hiding in the pipework on the ceiling, falls down upside
down, hanging from her legs hooked in the pipework. She stabs
Hedra in the back with the elevator screwdriver. Hedra screams,
and tries to take the screwdriver off her back.

Allison drops on the floor. Hedra tries to hit her with the hook,
but Allison grabs her arm.

With her other free hand, Allison pulls the screwdriver out of
Hedra's back, then immediately sticks it again in another place on
Hedra's back.

       HEDRA
       Allie...

Hedra slowly falls on the floor, where she remains motionless.

Allison looks down at her, trying to catch her breath back.

She kneels down to close Hedra's eyelids.

BLACK SCREEN

       ALLISON (voice over)
       I cried the whole week of Sam's funeral.

ALLISON'S NEW APARTMENT - LIVING ROOM - INTERIOR DAY

This is Allison's new place. Actually it is the apartment Allison
visited with Sam, just before the puppy's death.

Some furniture from the old apartment, and a lot of unopened boxes
on the floor. It looks like if Allison just moved in.

Very large windows overlooking New-York. Allison is standing near
one of the windows, with her back toward us.


       ALLISON (voice over)
       Graham says that won't bring him back. He says I have to
       start letting go. He's right.

Close up on Hedra's collection of photographs, lying near the
shoebox where she used to stock them. In the forefront, the black
and white picture of Hedra and her twin sister holding a dog
between them.

       ALLISON (voice over)
       Hedy's parents said that for years they'd tried to explain
       her that her sister's death wasn't her fault.

We see Allison's hands taking the pictures one by one.

       ALLISON (voice over)
          But she never forgave herself for surviving.

The last picture she takes is the black and white picture of the
twins with the dog. She puts all the pictures back in the shoebox,
with the twins and dog picture on the top.

          ALLISON (voice over)
          So every day, I try to forgive Hedy for Sam.

Allison puts the lid back on the shoebox.

          ALLISON (voice over)
          Then I try to do what she couldn't... Forgive myself.

The camera moves slowly away from the shoebox to a last photograph
hidden underneath some wrapping plastic material.

          ALLISON (voice over)
          I know what can happen to someone who doesn't.

Close up on the picture. It looks like the picture of the face of
one woman. But actually, the picture is a mixture of two pictures.
The left half-side of the picture shows Allison's face, when the
right half-side shows Hedra's face.

CREDITS

The credit are rolling up on the picture of Hedra / Allison for
about 25 seconds, then fade-out to black screen, where the end of
the credits are rolling up.

Single White Female



Writers :   Don Roos  John Lutz
Genres :   Drama  Thriller


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