Body Snatcher, The (1945)
by Philip MacDonald.
Based on the story by Robert Louis Stevenson.
THE MAIN AND CREDIT TITLES ARE IMPOSED ON a mezzotint of
Edinburgh castle viewed from the Causeway. When the last
credit title dissolves
STOP FRAME of STOCK SHOT showing Edinburgh castle. Over this
is a title:
EDINBURG -- 1831
With the DISSOLVE of the words the stock shot comes to life
with a carriage coming toward the CAMERA.
EXT. EDINBURGH STREET -- LATE AFTERNOON
FULL SPOT -- Down the lonely, almost deserted street comes a
cab drawn by a bony white horse. This black and sepulchral
vehicle passes through the long shadows and sharp gleams of
the late afternoon sun. On the box, bunched over, almost
lost in the folds of his triple-caped overcoat and with a
battered beaver on his hand, is the cabman. The horse plods
along, his hoof beats echoing with a hollow sound in the
narrow street. At the corner the vehicle turns left.
EXT. GREYFRIAR'S CHURCHYARD -- LATE AFTERNOON
The black cab drawn by the white horse goes slowly past a
little cemetery. The driver turns his head and looks down as
he goes past.
From his ANGLE, but not a MOVING SHOT, a pleasant little
graveyard with mossy gravestones; old turf making a spot of
green between the gray walls of the kirk and the blank stone
wall of a large building.
Seated on a table stone is young Donald Fettes, a poor
medical student, dressed in worn neat clothing with only a
woolen scarf about his neck for warmth. He sits in such
scanty sunlight as he can find, munching on a cold bannock
and washing it down with thin ale from a round stone bottle.
MED. CLOSE SHOT -- Fettes. In the closer view it can be seen
that he is looking at a small Cairn terrier who lies morosely
guarding a newly-made grave. The dog, with his head down
between his forepaws, occasionally glances over
apprehensively at the young student. Fettes takes a bit of
his bannock between his thumb and forefinger and leans
forward toward the dog.
Here, -- here's a bit of something
The dog does not stir. Fettes leans further forward almost
putting the morsel of food to the dog's nose. The dog growls
savagely. Fettes draws back.
Now, now, laddie -- I only wanted
to be friendly.
It is at this moment that a shadow falls athwart him and
looms up in the afternoon sunlight against the wall behind
him. He looks up.
ANOTHER ANGLE -- Fettes looking over as Mrs. MacBride, a
plump, motherly woman of middle-age, with a Tartan shawl over
her head and carrying a pannikin of water and a bone with
some meat on it, comes through the gate. She crosses over to
the little dog, puts the water before him and starts
shredding little pieces of meat from the bone to feed him.
The dog laps avidly at the water, then gratefully takes the
morsels of meat she gives him.
MED. FULL SHOT -- Fettes and Mrs. MacBride.
He'll not leave the grave -- not
since Wednesday last when we buried
Your son, ma'am? He must have been
a fine boy for the wee dog to love
Mrs. MacBride nods.
A great, kind lad, he was -- gentle
with all things like Robbie.
She pauses, sighs and then goes on.
MRS. MACBRIDE (cont'd)
Now I can't get the dog to leave,
here. Perhaps it is for the best.
I've not money enough to afford a
Not much danger here, ma'am, I
wouldn't think -- right here in the
heart of Edinburgh.
They're uncommon bold, the grave
robbers -- and the daft doctors who
drive them on.
(a little uncomfortable;
feeling he has to make
I'm by way of being a medical
A student. I'm studying under Dr.
MacFarlane -- that is, I've been
studying until today --
He starts to get up. At this moment in the street can be
heard the clop-clop of a horse's hoofs and the rattle of iron
wheels on the cobblestones. On the ground and gravestones
appears and passes the monstrous shadow of a horse and cab,
angular and distorted, the driver's shadow hunched and evil,
now going from left to right.
EXT. EDINBURGH STREET -- LATE AFTERNOON
LONG SHOT -- a typical street scene of the time. A dog cart
drawn by a smart tandem passes. It is driven by a young buck
of the period; top-hatted, dandified, his whip held at a just
so angle. On the sidewalk, a group of small boys follow a
recruiting sergeant of the Seaforth Highlanders. A drummer
walks at his heels. He stops at a wooden "Charlie", the
rough police booth of that day, and begins to tack up his
posters. The boys crowd around to watch. One of them backs
up to a little trundle cart and surreptitiously filches a
piece of the shortbread being sold from this portable store.
At the other side of the "Charlie" stands a street singer, a
beautiful girl of about nineteen, dressed in ragged Highland
plaid. She is singing an old border ballad about two crows
who sit waiting to pick the dead eyes out of a fallen knight.
A shepherd, crook in hand, and faithfully attended by two
handsome collies, stops a moment to hear her song, drops some
coppers into the begging bowl she holds in her hands, then
Through the consonance of the street singer's song comes the
dissonant beat of a horse's hoofs, the racking clatter of
iron-shod wheels and then between the singer and the CAMERA
there passes, very close, the white horse and the black cab.
As it blocks her out of the scene
EXT. MACFARLANE'S HOUSE -- LATE AFTERNOON
FULL SHOT -- Before the imposing edifice which houses Dr.
MacFarlane's living quarters as well as his school of
anatomy, the cab, drawn by the white horse, pulls up. The
driver begins to alight from the box. He climbs down, and
starts for the cab door.
CLOSE SHOT -- Gray as he opens the door. Gray is a man of
middle years with keen, darting eyes set in a face lined and
furrowed by an evil life. The quick play of his features as
he talks or smiles can form a moving and deceptive mask. So
that now as he opens the door, smiling, to help his
passengers alight, his face is cringing with good humor and
From the cab steps a young and lovely woman dressed in
becoming widow's weeds. This is Mrs. Marsh. She reaches the
sidewalk, turns back for the other occupant of the cab. This
is a little girl of about eight, dressed in a flower-sprigged
Kate Greenway gown and a poke bonnet to match. Gray
I'll get it, ma'am.
He touches his hat respectfully, reaches in and brings out a
tiny wheel-chair, which he sets down. He reaches in again
and takes the child up in his arms.
(as he picks her up)
Come, little miss. Cabman Gray'll
carry you safe enough.
With the child in his arms he starts toward his horse's head,
talking as he goes.
Give my horse a pat. He knows
every little girl in Edinburgh.
Some day when you're runnin' and
playin' in the street he'll nicker
at ye as we go by.
CLOSE SHOT -- The horse, Gray, and the little girl.
I can't run and play.
I'd forgotten that, lassie. All
the more reason for Friend here
bidding you a good-day.
Georgina smiles and pats the horse's nose.
ANOTHER ANGLE -- Featuring Mrs. Marsh as she smiles watching
Gray and the child. He turns back toward her.
Would you mind carrying her up the
Mrs. Marsh reaches for the wheel-chair.
FULL SHOT -- Mrs. Marsh takes the wheel-chair up the two
steps. Gray follows carrying the child. He sets the child
tenderly in the wheel-chair, smiling as he does so.
Back in your own wee cab.
In the meantime, Mrs. Marsh has fumbled through her purse for
change. She hands this to Gray. He takes the money from his
right hand, then removes his hat with his left hand, bobs his
forelock with the right in a series of obsequious gestures.
Thank ye, ma'am. Thank ye.
You watch sharp, little miss for my
horse to give you a "hello".
CLOSE SHOT -- Georgina looking at Gray with great pleased
eyes. This has made a definite impression on her.
EXT. MACFARLANE'S HOUSE -- DAY
Mrs. Marsh has used the door knocker. Now in response the
door is opened by a handsome woman of thirty-five, Meg
I would like to see Dr. MacFarlane.
Meg gives Mrs. Marsh a quick look and then turns to look at
Gray. A glance passes between them; a glance which tells of
previous acquaintance, yet neither speaks. He turns and goes
down the steps. Silently, Meg opens the door and allows Mrs.
Marsh to push Georgina's wheel chair through into the hall.
INT. MACFARLANE'S HALLWAY -- AFTERNOON
Georgina's wheel chair is pushed into this gloomy and
forbidding entry. Meg closes the door behind them, then
without further word, strides down the hall. Mrs. Marsh and
the little girl wait and look around.
CLOSE SHOT -- Georgina. With great wide eyes the child looks
around at the antlered stag head, the cruel-looking walking
sticks in the umbrella stand and the light-footed Mercury
with caduceus upraised. The caduceus throws its patterned
shadow across the child's face.
CLOSE TWO SHOT -- Georgina and Mrs. Marsh. Mrs. Marsh sees
the fright in the child's face and reassuringly pats her
shoulder. There is the sound of a door opening and they both
look off in that direction.
MED. FULL SHOT -- The doorway to the sitting room, SHOOTING
PAST Georgina and her mother. Framed in this doorway is the
tall, robust figure of Dr. Douglas MacFarlane, a man in the
prime of life, dressed with almost flamboyant foppishness and
carrying himself with the assurance that the world is not
only his oyster, but that he has it pinned on a fork and can
swallow it and digest it with pleasure.
THREE SHOT -- Georgina, Mrs. Marsh and Dr. MacFarlane.
He half-bows in acknowledgment.
MRS. MARSH (cont'd)
I'm Mrs. Marsh -- this is my
daughter -- Georgina.
She fumbles in her reticule and pulls forth an unsealed
letter which she passes to the doctor.
MRS. MARSH (cont'd)
Dr. Maximillian of Leyden asked me
to present this to you. He thought
you might examine my little girl.
While she is speaking, Dr. MacFarlane has opened the missive.
(as he reads)
Maximillian -- a very famous
colleague of mine. I'm delighted
to honor his request.
With an expansive gesture he points to a door. Mrs. Marsh
pushes the wheel chair toward the living room door.
DOLLY SHOT -- the entrance to the sitting room.
(over the child's head to
The little girl shrinks from him at the bluntness of this
No. It was an accident.
INT. SITTING ROOM -- AFTERNOON
Although it is late afternoon the lamps have been lit in this
part of the house. Mrs. Marsh wheels the chair into the
middle of the room and then stands to one side so that Dr.
MacFarlane can examine the child. Meg Cameron stands by the
Was the paralysis immediate?
No, Doctor. She seemed to get
better, then about six months later
she began to complain of pain in
her back --
How long after that was the
Nearly a year.
Any attacks of pain since?
Is her pain sporadic or constant?
It comes at intervals. They used
to be months apart -- but they've
been growing more frequent --
(catch in her voice)
much more frequent.
(directly to Georgina)
See here, child, when you have this
pain in your back, where is it?
(setting her jaw)
I don't know.
Point to where it hurts. You can
at least do that, can't you?
I don't know.
(angrily to Mrs. Marsh)
This is useless, ma'am.
He leaves the sentence unfinished and goes toward the center
of the room. Mrs. Marsh leans down beside the chair.
TWO SHOT -- Mrs. Marsh and Georgina.
Please, darling, don't be so
Georgina darts a glance in MacFarlane's direction.
Mother -- he frightens me.
MED. FULL SHOT -- the door in the background. There is a
soft rap at the door and then almost immediately it opens and
Fettes comes in. He looks about, sees the doctor busily
engaged with a beautiful young woman and a sick child. He is
embarrassed and tries to withdraw.
Excuse me, Dr. MacFarlane --
Come in, boy -- come in.
Fettes closes the door behind him and stands rather shyly,
not knowing what to do or say.
Perhaps you can do something with
this young lady. I can't get an
aye, yes, or no out of her.
But, Doctor, I only wanted to speak
to you --
Come -- it's a chance to try out
your bedside manner, Fettes. Take
a look at the child.
Fettes walks up shyly to the child.
TWO SHOT -- Fettes and Georgina. Fettes stands abashed and
awkward before the clear-eyed glance of the little invalid.
He smiles at her. The child smiles back.
Are you a doctor, too?
You'll be a good doctor. I know
all about doctors.
That's a nice chair you have.
He pushes it. It rolls a little.
Useful, too. Where did you get it?
It isn't English, is it?
What you really want to ask me is
about my back, isn't it -- about
where it hurts?
She leans forward and reaches around with one hand.
It's sort of all around here --
then down my legs -- it aches as if
I had been walking an awfully long
(looking up at Fettes)
That's funny, isn't it -- because I
can't walk at all.
Would you mind very much if I
lifted you --
(pointing to a table in
the other room)
-- onto that table in there?
She holds out her arms to him. Fettes lifts her up and
carries her into the other room.
The CAMERA PULLS BACK to reveal Mrs. Marsh and MacFarlane
watching Fettes and the child. They stand in the f.g.
talking together while in the other room Fettes puts the
child down on her stomach, opens her dress and examines her.
Child seems to take to the lad.
What sort of an accident was it,
A carriage overturned. My husband
was killed and Georgina was hurt.
How long ago?
(calling from the other
Dr. MacFarlane --
(to Mrs. Marsh)
He strides forward. Mrs. Marsh remains where she is.
INT. EXAMINATION ROOM -- DAY
MacFarlane comes into the scene, bends over and examines the
little girl's back. He feels the spine with first one hand,
then the other. He nods to Fettes and turns away. Fettes
begins to button up the little girl's dress.
INT. SITTING ROOM -- DAY
MacFarlane is walking back to where Mrs. Marsh stands. In
the b.g. Fettes can be seen as he buttons up the little
girl's dress, picks her up in his arms and brings her back to
the wheel chair. MacFarlane comes over to Mrs. Marsh.
TRUCKING SHOT of MacFarlane.
Meg, give Fettes a hand there --
help him wheel the little girl into
He turns back to Mrs. Marsh.
TWO SHOT -- Mrs. Marsh and MacFarlane. She is looking at him
anxiously; waiting to hear his verdict. He glances at Dr.
Maximillian's letter before speaking.
(tapping the letter in his
It seems that Dr. Maximillian is
right. The violence of the
accident must have disturbed the
tissues and caused a traumatic
tumor -- a sort of growth that
presses against the nerve centers.
But can anything be done for her?
Perhaps -- a delicate operation --
an operation which has never been
performed -- but it could be
performed. I'm sure it could be --
I could incise the columna dorsi --
He is quite excited as he speaks, almost as if challenging
himself. Mrs. Marsh's interruption is ill-timed. It stops
him in full tide of self-persuasion.
And you will try -- you will
CLOSE SHOT -- MacFarlane. He is silent; thinking.
MED. FULL SHOT. MacFarlane silently turns away from Mrs.
Marsh and goes to his desk. Having reached it, he turns and
faces her again.
Not I, Madame.
She starts toward him impulsively as if to plead with him.
But, Doctor, in Leyden -- in Paris
- wherever I've taken Georgina --
they've mentioned your name. I've
come to think of you as our only
MacFarlane looks at her, takes a step closer to her and
speaks very sincerely.
Believe me, Madame, if I were only
a doctor, I would undertake this
operation at once. But I'm more
dominie than doctor -- I've a
school to run.
But, Doctor, surely in a case like
this -- a child -- a little child
who can never walk or run --
I regret it, Ma'am, but I have the
responsibility of training thirty
other doctors to attend a thousand
children like your own.
There's nothing I can say for one
I'm not heartless, Ma'am. I have
every sympathy for you and for the
little girl, but if I were to
consent to every operation brought
to me, I'd have no time for
teaching -- and that's a great
responsibility upon me, Ma'am -- a
They have reached the door. He bows in dismissal, and Mrs.
Marsh exits. As she leaves, Fettes passes her coming from
MED. CLOSE SHOT -- MacFarlane as he turns back into the room.
Well, Fettes -- what was it you
wanted to see me about?
MED. TWO SHOT -- Fettes and MacFarlane.
I'm afraid I'll have to give up
medicine, Dr. MacFarlane.
You're made for a doctor, young
I'm afraid I have to, sir. You
see, my father is vicar at Thrums --
it's a small parish -- not much of
a living --
(after thinking this over
a moment; very sincerely)
You're too good a man, Fettes --
I'll not let you quit.
(with a sudden thought)
I'll make an assistant of you --
that'll pay your keep and your
tuition, too --
I thought only the best students
were made assistants.
Well? And are you not a good
(getting the idea)
Richardson is a fine student. He's
got a glib tongue, but you'll be a
better doctor, Fettes. Come along
He links his arm through Fettes' and starts toward the door
leading to the stairs.
-- let's get to the anatomy room --
I'll explain your new duties.
They have reached the door. Meg is standing there. As
MacFarlane and Fettes start to pass her, Meg puts her hand on
the doctor's arm. He pauses.
A word with you, Dr. MacFarlane.
MacFarlane motions Fettes to proceed into the other room. He
closes the door behind him.
You're not having Fettes for your
And why not? He's a good lad --
bright and able.
Aye. He's a good lad. That's why
I ask you, MacFarlane.
You think it'll spoil the boy, eh?
Was I not assistant to Knox?
Did it spoil me, Meg, my lass?
She looks directly at him without answering. MacFarlane
(walking up to her,
putting an arm around her
shoulders and tilting up
her chin with his other
It will do the boy no harm.
He kisses her off-handedly. She wraps her arm around his
neck and kisses him with fierce passion. He releases
himself, goes on into the next room.
INT. ANATOMY ROOM -- LATE AFTERNOON
The anatomy room is dim. Long level bars of light come
through the wide windows to illuminate the bare austerity of
this classroom. The long rows of tables have a sombre and
empty look. Everything is meticulously clean.
At one of the tables is the hunched, dark and evil figure of
Joseph, the janitor of the school. He is engaged in rubbing
the surface of a marble-topped table. The door on the
landing opens. MacFarlane and Fettes come through.
MacFarlane still has his arm linked through that of his young
friend and is listening to Fettes' gratitude with evident
-- all my gratitude, sir -- I can
never express it...
MED. FULL SHOT -- Fettes and MacFarlane as they descend the
They'll be satisfaction enough for
me to know I've trained the great
MED. SHOT to include Joseph in the f.g. and Fettes and
MacFarlane as they reach the floor level of the anatomy room.
Joseph, continuing his work, casts a sidelong glance at the
doctor and student. It is evident he is listening to every
word they say.
Now -- as to your duties. It is up
to you to keep the accounts and to
distribute the specimens to the
students. Also, inasmuch as you'll
be living in the house --
He looks over and glances at Joseph and having noticed that
Joseph is eavesdropping, breaks off short.
Joseph looks up.
What are you doing, sneaking about
here like a Redskin? Make a little
noise, man. Let people know you're
Yes, Doctor -- yes.
-- otherwise I might get the idea
you are trying to spy on me.
He takes Fettes' arm again and leads him off toward the other
end of the anatomy room. The two medicals go out of earshot,
with Joseph in the f.g.
INT. THE ALCOVE -- LATE AFTERNOON
This is the small out-cropping of the main room set a few
feet lower in level. At one end is a heavy curtain of green
MED. FULL SHOT. MacFarlane and Fettes descend the steps
leading to the alcove. MacFarlane, with his hand on the
elbow of the younger man, guides him to the curtain.
You know how we get the specimens
we use for dissection?
From the Municipal Council --
they're the bodies of paupers --
The CAMERA BEGINS TO DOLLY SLOWLY TOWARD them.
That's what the law stipulates but
there are not enough of them,
Fettes -- there are not enough of
MacFarlane pulls aside the curtain. He and Fettes pass
through and the curtain falls into place behind them. The
CAMERA CONTINUES TO TRUCK SLOWLY TOWARD the curtain.
EXT. GREYFRIAR'S KIRKYARD -- NIGHT
CLOSE SHOT. The little dog, Robbie, is lying on his master's
grave. He lies with his muzzle on his forepaws but his eyes
are open and alert. Out of the scene comes the plodding beat
of a horse's hoofs and the rumbling of iron-shod wheels. The
dog lifts his head.
The horse comes to a stop. There is the creak of springs as
someone alights. The dog's hackles rise. He growls.
ANOTHER ANGLE. The great black shadow of a man in a caped
overcoat and top hat with a spade over his shoulder is thrown
onto the wall of Greyfriar's Kirk by the street lamp. The
huge shadow looms high over the tiny dog. Robbie rises
valiantly to his feet, snarling. As he does so, the actual
figure of the man, as black and indistinct as his own shadow,
comes past the camera, blacking out the little dog. There is
a deeper growl from Robbie. The man swings his spade down.
As the spade drives home there is a little weak sound from
ANOTHER ANGLE. With his foot, Gray pushes the dead body of
the little dog to one side, strikes the spade into the ground
and starts to dig.
INT. FETTES' ROOM -- NIGHT
In a little attic room, Fettes is sleeping fitfully. The
room is flooded with moonlight which comes in through a
MED. CLOSE SHOT -- Fettes sleeping. Far away can be heard
the plodding hoofbeats and creaking wheels of Gray's cab.
There is a loud squeak as the cab takes the turn into the
alleyway. Fettes wakens. He listens. There is a sound of
the hoofbeats, the wheels and then silence when the horse
comes to a stop. He sits up. From downstairs comes a
stealthy knocking at the door. He gets up sleepily and
starts to put on his worn bathrobe, crosses to the window and
EXT. ALLEYWAY -- NIGHT
HIGH ANGLE SHOT from Fettes' window. Gray, his cab and the
white horse present a weird and funereal spectacle. Gray is
fumbling with something inside the cab.
INT. FETTES' ROOM -- NIGHT
Fettes has turned from the window and starts toward the door.
He opens it and goes out.
EXT. ALLEYWAY -- NIGHT
Gray is pulling a long, canvas-colored object of considerable
weight from the cab. With a grunt he gets it up into his
arms and starts across the sidewalk toward the postern door.
INT. ANATOMY ROOM -- NIGHT
It is dark except for a small oil lamp left burning as a
nightlight. This casts its dim rays over a small portion of
the room near the entrance door. Fettes comes through the
door on the landing. He peers over the bannisters and then
somewhat slowly, as if not too easy at the prospect before
him, he begins to descend the stairs.
ANOTHER ANGLE. Fettes crosses the anatomy room looking
apprehensively into the darkness at either end. At the door
he pauses a moment, then passes through into the darkness of
the entry and is lost to view.
INT. ENTRYWAY -- NIGHT
It is so dark that Fettes can barely be seen. The clank of
the chain as he throws it off and the snap of the bolt are
loud and frightening in this small enclosed space. He pulls
the door open. Before him silhouetted against the dim
radiance of the cab lamps is Gray. In his arms is a long,
CLOSE SHOT -- Fettes as he opens the door wider to give Gray
entrance. Without a word, Gray carries the body past him
into the anatomy room. Fettes closes the door and follows
INT. ANATOMY ROOM -- NIGHT
Gray comes in and stands waiting for Fettes to come up to
him. Fettes comes out of the entry and takes a few steps
Here -- give me a hand -- this is
Fettes helps him. Gingerly he takes hold of the corpse and
together they lay it down on a long marble-topped table in
the center of the room, almost directly under the nightlight.
Gray heaves a sigh of relief to be relieved of the weight.
You'll find the specimen in good
condition. He was bright and
cheerful as a thrush not a week
long gone. A likely lad, I'm told.
(glances at Fettes)
You're the new assistant?
(trying to remember his
I'm Donald Fettes.
I'm very pleased to know you,
That's right. Gray, the cabman.
I've had a bit of dealing with
MacFarlane in the past, you know.
And I've always gotten along with
his assistants -- providing they
understood my humble position.
He puts one hand on Fettes' arm. Fettes moves away from him.
Dr. MacFarlane said I should pay
Of course -- it's the soul of the
business -- the pay --
Fettes shifts uneasily, confused and seemingly uncertain of
his next step.
I have no doubt you have the key in
your pocket --
Fettes reaches into his pocket and brings out a big iron key.
And there is the box.
They start over toward it. Fettes opens the box.
My fee is as usual -- ten pounds.
Fettes counts out the money to him. Gray flips the last coin
into the air and catches it with a gamin gesture which is
surprising in a man of such sinister appearance. As Fettes
still stands rather stupidly, Gray prompts him again.
And now, although it's none of my
business, I would make the proper
entry if I were you. "One specimen
-- ten pounds -- received from --
let us say -- "MacDuff" -- a royal
Fettes looks toward the desk.
(still prompting him)
It's the little cloth-covered book
in the drawer.
Fettes brings it out. Gray watches him while he writes. The
pen scratches and squeaks over the paper. Then both turn and
start toward the entry.
Good night, Mr. Gray.
As the door Gray tips his hat elegantly to Fettes.
My respects, Master Fettes, and may
this be the first of many
He leaves, disappearing in the darkness of the entryway. A
second later the door can be heard closing behind him.
Fettes stands for a long moment looking at the dark entry,
then from behind him comes a chuckle of laughter. He whirls
ANOTHER ANGLE -- Fettes in the b.g. and above him on the
landing, holding a candle, is Dr. MacFarlane in an elegant
Well, well, my boy. Your first
meeting with the redoubtable Gray.
You may count it as a milestone in
your medical career.
MED. CLOSE SHOT -- Fettes as he looks from MacFarlane to the
My medical career --
INT. ANATOMY SCHOOL -- DAY
CLOSE SHOT -- skeleton. It is facing the camera, its stance
a parody of that prize fighter of the period; left well
extended, right held high, both knees bent. Over the shot
comes a clamor of men's voices, cutting across which,
suddenly, comes Fettes' voice.
All right, gentleman -- that will
do! Settle down!
The CAMERA PULLS BACK to show the interior of the school. In
the f.g. is the dais, at one side of which is the skeleton.
Fettes steps up onto the dais at the other side of the
passing some dozen students, all young men in their early
twenties. Two students, Gilchrist and Richardson, are
prominent. Richardson is lean and sardonic.
Dr. MacFarlane has asked me to
review the points he has just
discussed with you.
MED. CLOSE SHOT -- dais. The skeleton is to one side in the
f.g. facing the students, o.s. Fettes has his back to it.
He started with the construction of
the ribs and the haemapophyses --
He turns toward the skeleton, then reacts sharply as he
notices its ludicrous stance.
I suppose this was your doing,
He starts rearranging the skeleton's limbs. Richardson
grins. It is at this moment that Joseph comes sidling up to
Mr. Fettes --
Fettes looks over at him.
A lady is asking for you.
What lady, Joseph?
Joseph shrugs. Fettes, seeing that he'll get no
enlightenment from him, turns to the students.
If you gentleman will excuse me --
He starts for the stairs. There is a snicker of laughter.
Richardson leans over and with two deft movements brings the
arms of the skeleton back into fighting position.
INT. MACFARLANE HALLWAY -- DAY
Mrs. Marsh sits there. Broad beams of sunlight flood in from
the front windows. She is speaking with Meg Cameron. Meg is
standing looking down at her.
Why do you come here? The Doctor
said he wouldn't operate.
I've already told you I didn't come
to see Dr. MacFarlane.
Then whom do you wish to see in
MacFarlane's own house?
It is at this moment that the door opens and Fettes comes in.
Meg takes one glance at him.
(almost under her breath)
So it is in that direction that the
wind blows, eh? It will get you
With that she turns on her heel and goes off to a little door
on the left.
Good morning, Mr. Fettes.
Fettes bows formally. It is obvious he is pleased, yet very
puzzled to see her. He comes down and takes her hand.
You asked to see me, ma'am?
I want you to help my little girl.
I'm only a student.
Georgina told me how kind you were
to her. It gave me hope you might
intercede for us with Dr.
I don't know that I can do that,
Did he tell you about Georgina?
MRS. MARSH (cont'd)
Then he must have told you that
this disease is progressive -- that
it will grow worse -- that soon she
will not be able to move at all.
Fettes nods again. Mrs. Marsh lays her hand on his arm and
looks directly into his eyes.
MRS. MARSH (cont'd)
And you won't ask him to help?
I didn't mean it that way. I meant
only that I am not in a position to
Ask this one favor --
(very much moved)
Of course I will.
Mrs. Marsh smiles at him.
Georgina was right. You are a kind
She extends her hand and Fettes takes it.
I'll do what I can.
He walks with her to the door, lets her out, closes it behind
her and then turns and starts back the way he came.
INT. THE ANATOMY ROOM -- DAY
MacFarlane is present and now in contrast to the disorder
under Fettes the students are busy and absorbed. They are
working at their tasks. MacFarlane, with two or three around
him, is helping one of the students, Gilchrist.
In an adult this muscle can apply
more than one hundred seventy-five
pounds of pressure? Double that
and you get the full strength of
the human jaw.
That, gentlemen, is to chew our
food and bite our enemies.
The students laugh; that peculiar laugh common to students
and soldiers when a superior makes a joke. It is at this
moment that Fettes starts down the stairs. MacFarlane looks
Here, Fettes, life can't be all
skittles and ladies --
This sally provokes a low murmur of appreciative laughter
from the students. Fettes, discomfited, joins the group.
(pulling a watch from his
It's time for our luncheon. I've a
bit of beef to discuss and --
I leave you all to whatever
arrangements you have made to serve
the inner man.
FULL SHOT -- Fettes as he takes up a small bundle wrapped in
a handkerchief and starts for the door.
MED. SHOT -- MacFarlane as he starts for the stairs. He
passes a table where Richardson is bent over his work, which
is out of scene.
Well, I see you have that arm
you've been yearning for,
Yes, sir. This fellow must have
been a great one at hurling the bar
-- beautiful biceps. Burke and
Hare would never have got the best
of this fellow.
MacFarlane's head jerks up and he looks directly at
What did you say?
I was making a joke, sir.
It's a poor subject for jest,
Richardson -- particularly for a
He turns abruptly away and starts toward the stairs.
What did you say to His Imperial
Nothing but a merry word about
Burke and Hare --
That's nothing for him to get upset
about. They're dead and buried --
EXT. GREYFRIAR'S CHURCHYARD -- DAY
Fettes comes along the street toward the gateway. Suddenly
he stops and looks at a small crowd which has gathered around
the gate, all talking very excitedly and peering in over each
other's shoulders. He stands and looks.
MED. FULL SHOT -- the crowd at the gate. The people draw
back making way for Mrs. MacBride who comes out.
MED. CLOSE SHOT -- Mrs. MacBride as she makes her way through
the crowd. She is crying and in her arms she carries the
dead body of the little dog.
ANOTHER ANGLE -- SHOOTING FROM behind Fettes. Mrs. MacBride
comes through the crowd and starts across the street toward
CLOSE SHOT -- Mrs. MacBride and Fettes. Fettes looks at her.
(as she passes him)
They killed his wee doggie too --
CLOSE SHOT -- Fettes as he watches Mrs. MacBride. From
behind him comes the sound of the street singer's song.
INT. MACFARLANE'S STUDY -- LATE AFTERNOON
MacFarlane is seated on a high stool at a work table. He has
before him two large bones and is measuring these with a pair
of dividers and marking down notations in a notebook. While
he works he whistles "The Blue Bells of Scotland." There is
a knock at the door.
He looks over his shoulder to see Fettes as he enters then
turns back to his work. Fettes comes up and stands beside
him. MacFarlane makes a notation in the notebook and then
Well, Fettes -- where have you
been? I didn't see you at the
I don't think I can go on, sir.
(whirling around on the
What the devil do you mean? You
have your lodgings, a certain
stipend -- I thought I had arranged
everything for you --
I saw the woman whose son's body
was delivered last night.
That man took the body from
Greyfriar's. I knew the woman.
I knew the little dog on the grave.
He killed the dog.
And that's why you don't want to be
a doctor, Fettes?
Not if I have to be party to things
like that, Dr. MacFarlane.
MacFarlane studies him for a moment. He then gets up from
the stool and puts his hand on the boy's shoulder.
Fettes, I was an assistant once. I
had to deal with men like Gray. Do
you think I did it because I wanted
to? Do you think I want to do it
now? But I must and you must.
Fettes shakes his head. MacFarlane puts his other hand on
Fettes' other shoulder.
Ignorant men have dammed up the
stream of medical progress with
stupid and unjust laws. If that
dam will not break, the other men
of medicine have to find other
courses. You understand me,
But this woman -- and her son --
I'm sorry for the woman, Fettes.
But her son might be alive today
had more doctors been given the
opportunity to work on more human
specimens. As for me, Fettes, I
let no man stop me when I know I'm
right -- when I know that I need
those lifeless subjects for my
student's enlightenment and for my
own knowledge. And if you're a
real man and want to be a good
doctor, you'll see it as I see it.
There is a long pause. MacFarlane lets his hands drop to his
Fettes nods. MacFarlane claps him jovially on the back.
You're a good lad, Fettes.
(looking at Fettes more
But you look a bit pale to me. I'm
dining at Hobbs. Come along with
me and have a bit of the joint and
a glass of ale. It will put new
life in you.
He takes the boy's arm and they start from the room.
EXT. EDINBURGH STREET -- NIGHT
The pavement is glistening from a recent rain and there is a
hint of fog in the air. It is the dinner hour and the street
is fairly well peopled. On one corner by the light of a
flaring torch a pamphleteer is selling his wares. On the
other corner the street singer stands chanting her ballad;
the dolorous phrases reciting the tale of a dead knight
deserted by his horse, his hound and his leman fair.
MED. FULL SHOT -- the singer. MacFarlane, with top hat, cape
and carrying a cane swings briskly past her with Fettes, more
soberly dressed, at his side. They stride out of scene.
EXT. HOBBS PUBLIC HOUSE -- NIGHT
MacFarlane with Fettes in tow comes breezing up. With a
lordly gesture he ushers Fettes before him into the public
INT. HOBBS PUBLIC HOUSE -- NIGHT
It is bright, warm and cheerful. A huge fire is roaring in
the fireplace and before it is a rack spit turned by a spit
boy who sings as he turns. (Song to be supplied.) On the
spit is a young porker with forelegs and hind legs stretched
to elongate him before the fire. The porker has just
recently been put on the spit so that he gleams pale white in
the warm glow of the fire.
MED. FULL SHOT -- at the door. Fettes, followed by
MacFarlane comes in. Fettes looks shyly around him while a
man servant takes his hat. MacFarlane boldly flings his hat
and cape to the attendant and strides forward toward the
fireplace. He extends his hands and looks at the slowly
We'll have a stiffener or two of
hot rum and by then we will be able
to meet this fellow on fairly equal
terms of warmth, eh Fettes?
From behind them comes an insinuating voice.
A fine "specimen" isn't he, Toddy
They both twist around quickly.
REVERSE SHOT -- on the opposite side of the room where he has
hidden from them by the high walls of the divan, a sort of
inglenook built away from the fireplace, is Gray. This is
"common" section of the inn. He sits with a loaf of coarse
bread before him and a glass of stout at his elbow. He is
grinning. Without rising, Gray beckons.
Come, Toddy -- come. Sit down here
Don't call me that confounded name.
Well, then, Doctor MacFarlane --
although I've known a time, Toddy,
when you liked the name. Aye, and
many are dead now who called you by
it; rough and wild ones they were,
too. But come Toddy, sit down here
with your young friend.
Fettes looks in surprise from the doctor to the cabman,
utterly confused at the familiarity of this man's address.
Mr. Fettes and I have professional
matters to discuss.
Medicine? That'll keep. Sit down.
As MacFarlane hesitates, angry and most anxious to refuse,
Gray lowers his tone to a sly confidential murmur.
You wouldn't want it said of you
that you refused a glass to an old
We'll buy you a glass, Gray.
He motions to Fettes to sit down. Fettes takes a seat and
MacFarlane sits down beside him. As Fettes sits down beside
him, Gray turns to him in a confidential manner.
I'm a pretty bad fellow myself, but
MacFarlane is the boy -- Toddy
He chuckles, shaking his head as if in appreciation of the
most sinister sort of villainy. MacFarlane is angry. Fettes
is confused and unable to orient himself in this strange
relationship between the great anatomist and the lowly
cabman. Gray turns to MacFarlane.
Come, Toddy, order for your friend.
MacFarlane lifts his hand to beckon to the waiter.
No, on second thought, let me
(as the waiter comes up)
We'll have a bowl of hot punch and
a cut off the loin from that fine
The waiter looks at Gray dubiously, unused to such a
sumptuous order from so humble a customer.
(catching the look)
You needn't worry, waiter, I'm with
my friend -- the great Dr.
MacFarlane -- he wants to sit here
with the commonality.
The waiter nods, looks from MacFarlane's tense and angry face
to Gray's grinning countenance, turns and makes off to the
kitchen. For a moment the three men sit silently, MacFarlane
encircled in the iron ring of his anger;
Fettes tongue-tied and abashed and Gray gloating over the
doctor's discomfiture. Finally Gray breaks the silence.
Well, you were going to talk of
medical matters. Don't let my
humble presence stop you. Speak
MacFarlane, goaded beyond the point of endurance, pounds his
fist on the table.
I will not have you use that name
You will not have it?
The two men glare at each other, then very slowly MacFarlane
averts his gaze. Fettes looks from one to the other and then
trying to cover the defeat of his teacher, begins to speak.
Dr. MacFarlane -- you remember the
lady who came to see you yesterday --
the lady with the little girl?
I remember her.
She came again today. She wanted
me to ask you if you would not
break your rule and operate. She
feels you are her only hope.
So she told me. I'm a teacher --
not a practitioner.
MacFarlane shrugs as if this aspect of the conversation were
closed. Gray looks over at him quizzically.
You're a teacher, eh? Maybe you're
afraid to be a doctor, Toddy.
Afraid of what?
Afraid you are not as good a doctor
perhaps as you make out to be.
I am the best man for the job.
Why don't you do it then?
He pauses and looks slyly at MacFarlane.
I'd like you to do the operation,
You? Why? Since when have you
become the protector of little
I'm not concerned about the child,
Toddy. It's you I'm thinking of,
I'd like to see you prove that a
lot of things I know haven't hurt
Toddy MacFarlane any.
I'll not do it, Gray.
Oh, yes, you will. You'll do it to
oblige Fettes and myself.
Maybe there's some private reason
between you and me which will make
you -- some long lost friend of
(dropping his voice)
Say that you'll do it for me and my
friend, Mr. Fettes, here.
The two men exchange glances for a moment.
(trying to cover up)
It might be an interesting case.
That's a good boy, Toddy.
NOTE: The following line to be shot as protection for the
content of this scene.
You only want me to do it because I
don't want to. That's it, isn't
MacFarlane glares at him with hatred. Gray grins and turns
Toddy hates me.
Don't call me that confounded name,
I tell you.
Hear him? Did you ever see the
lads play knife?
He picks up the table knife and puts it across his knuckles,
then with a sweep of his fist, tosses it into the loaf of
He would like to do that all over
(trying to make a joke)
We medicals have a better way than
that. When we dislike a friend we
MacFarlane looks up sharply. Gray glances at him and smiles.
You'll never get rid of me that
way, Toddy. You and I have two
bodies -- aye, very different sorts
of bodies -- but we're closer than
if we were in the same skin -- for
I saved that skin of yours once and
you'll not forget it.
The waiter comes, bearing a steaming bowl of punch. He
ladles out a glassful and puts it before MacFarlane.
MacFarlane drinks thirstily, glad of this excuse to avoid
Gray's penetrating glance.
EXT. THE RAMPARTS -- DAY
The ramparts of the castle of Edinburgh are about thirty feet
wide and overgrown with the grass of centuries. This forms a
narrow lawn between two crenellated stone walls. From these
battlements only a distant horizon line, a few spires and
fleecy clouds above the town can be seen.
LONG SHOT -- a small group of children. The CAMERA PANS WITH
these children as they run, laughing and shouting, across the
lawn of the ramparts. When they run past the little
wheelchair in which Georgina is seated, the CAMERA HOLDS ON
Georgina. She turns her head to watch the children run off.
Then she turns and looks the other way to where her mother
and Fettes are standing by the ramparts, deep in
conversation. The CAMERA PANS WITH her gaze. They are out
of earshot of the child talking in low, confidential tones.
You have his promise, then?
Mrs. Marsh looks over at Georgina, then back to Fettes.
Fettes turns and looks over at Georgina.
There will be great pain connected
with it, ma'am. During the
operation and afterward -- great
pain and shock --
(almost breathing the
-- pain -- and shock. She's brave
enough, but I don't know about
myself. Now that it seems so
close, I wonder if I dare trust my
child into any but God's hands.
Maybe He knows best.
Ma'am, is you'll allow me, I'd like
to give you cause for courage --
Dr. MacFarlane is a great man -- I
think he's the greatest man in
medicine. God would not have given
him such gifts if they were not
meant for Georgina's cure.
Mrs. Marsh looks at him gratefully.
Thank you, Mr. Fettes.
MED. CLOSE SHOT -- Georgina. Seated in her little wheel
chair, she is cuddling a porcelain-faced doll of the period.
Suddenly she hears something in the street far below. It is
the clop-clop of horse's hoofs and the ringing of wheels on
the cobble stones. She looks up and tries to raise herself
in her wheel chair to see over the parapet. She is unable to
do so. She calls out to her mother.
MED. FULL SHOT -- Georgina in the f.g. Fettes and Mrs. Marsh
turn to go toward her.
Push me to the wall, Mommie. I
think I hear him.
Fettes takes a few long steps and comes up to the wheel
The white horse. The horse that is
going to greet me when he sees me.
(as he starts to wheel the
chair toward the parapet)
An old acquaintance, eh?
Georgina nods. He gets her as far as the wall and she looks
over. She peers down, then turns back with a look of
disappointment on her face.
DOWN SHOT -- from the Ramparts. On the street below a
carriage is passing drawn by a brown horse.
MED. CLOSE SHOT -- Georgina and Fettes.
It was a brown horse.
Mrs. Marsh comes up.
A cabby told her his horse would
say "hello" to her the next time he
saw her. Georgina has been looking
everywhere for that horse.
Fettes looks at the child, smiling, then leans down so as to
bring himself on a level with her.
Why do you want the white horse to
bid you "good-day"?
He was a nice horse.
Maybe there's another reason.
Maybe you haven't friends enough.
Could that be it, Georgina?
Georgina looks at him, thinks a moment, then nods her head.
Of course -- I don't have friends.
That's because I can't walk. I try
to make myself used to it.
One shouldn't get used to the wrong
things, Georgina. You want to walk
and run and play.
(not knowing the direction
or purpose of Fettes'
conversation; breaks in)
Really, Mr. Fettes -- I thought you
at least would know how much
Georgina wants that.
Aye, but I still wonder how much.
(with dreadful sincerity)
I want it --
But you'll have to stand great
pain, Georgina. Greater pain than
you ever dreamed of in the worst
time of your sickness. Do you want
it that much?
Then, Dr. MacFarlane will make you
He smiles at her and although this direct conversation about
her illness has brought tears to her eyes, Georgina smiles
back at him and Mrs. Marsh, looking down at them, smiles too.
In her eyes also are tears.
INT. MACFARLANE'S LIVING ROOM -- DAY
MacFarlane is seated in a wing chair before the fire.
Although it is near noon, he still wears dressing gown and
slippers. His hair is rumpled and his eyes bloodshot. He
has a glass in his left hand and holds a poker in his right.
With the poker he tries to push a big piece of cannel coal
into the flames. It eludes the point of the poker and rolls
back against the hobb. Again he pushes it forward. Again it
rolls back. Suddenly, and with almost maniacal rage, he
lifts up the poker and brings it crashing down on the coal.
The soft coal splinters into a hundred pieces. Suddenly,
from behind him comes a woman's soft and teasing laughter.
He turns. Meg Cameron stands in the doorway behind him. She
comes quickly across the room to him.
(as she walks)
Gray's head -- is that it, Teddy?
Is that what broke just now under
the poker. Broken it -- and have
done with him forever.
By the time and she has finished her speech, Meg has reached
him and before he has had a chance to even react to her
teasing, mocking tones, she has flung herself down on her
knees beside his chair, thrown her arms about his neck and
kissed him passionately.
My poor lad -- my poor, poor lad
that can never be free of him.
You're daft. What's Gray to me.
He's only a man from whom I buy
what I need when I need it -- the
rest is forgotten.
You may deny the devil, Toddy, but
you'll not rid yourself of him by
saying the devil is dead.
Nonsense. You're a fey creature
with mad ideas. But you have a
wildness that holds me to you,
(quite sure of her ground)
No great lady will ever take my
MacFarlane shakes his head. He kisses her. She clings to
him. It is at this moment that there is a knocking at the
door. Meg rises quickly and adjusts her clothing.
MacFarlane tries to seem more at ease.
Fettes comes in.
I didn't expect to see you on
Sunday, Fettes. What do you want,
some powders for your aching head?
That was a furious lot we drank
last night -- and in bad company.
It was about last night I wanted to
talk to you -- about the operation
on the little Marsh girl.
You're a man of the world, Fettes,
you wouldn't hold me to promise
given in drink.
But I -- well, you see, sir, I met
Mrs. Marsh and told her.
(beginning to lose
Really, Fettes, you irk me with
your lack of understanding.
But you did promise.
Look here, Fettes. Not I nor
anyone else knows enough about the
spinal column and its intricacies
to insure success in such an
operation. I would have to study
the matter. Have we any
Wilmont used up the last spinal
You see, it is completely out of
Yes, I suppose so.
Now you run off and see that pretty
Mrs. Marsh and explain to her.
Fettes, dejected and disappointed, nods and slowly leaves the
room. MacFarlane watches him go.
INT. ANATOMY ROOM -- DAY
CLOSE SHOT -- Joseph at the desk. He has the account book
open before him and with index finger moving from letter to
letter, he is laboriously but silently spelling out the
words. Suddenly, he hears footsteps behind him on the stairs
and quickly slams the book and begins dusting the desk.
FULL SHOT -- The anatomy room from Joseph's ANGLE. Fettes is
coming down the stairs and crosses toward him.
Joseph looks up.
Would you know a spinal column if
you saw one?
Joseph nods and grins.
Do we have one?
Joseph shakes his head. Fettes shrugs. He stands thinking
for a moment, then speaks to Joseph again.
Joseph looks up again.
-- do you happen to know where
Gray, the cabman, lives?
Well, tell me.
Joseph leans meditatively on the desk.
What do you want me to do, bribe
you? I'm cursed if I do. Tell me
straight out. Where does he live?
I'd gladly run with a message, sir,
for a florin. It's not much,
considering it's Sunday.
I only want his address.
He lives in the Westport --
(in a last desperate
I'd gladly go.
But Fettes has already passed into the entry way.
EXT. DARK ALLEYWAY -- NIGHT
It is a crooked, narrow alley. The only light comes from the
ends. Fettes can begin to hear the ballad of the street
singer from the street toward which he is going. He pauses a
moment, listens, then walks forward into the darkness; the
song almost seeming to guide him through the dark alley.
He comes to the darkest portion of the alley. A sound from
the left attracts his attention. He comes to an abrupt halt
as something white and mysterious moves on a window sill at
his eye level. He takes a half step backward as a white cat
leaps down and scurries noiselessly across his path. Fettes
grins at his own fright and goes on. He passes through the
darkness and comes out into the dim light of the other
street. He comes to the street corner and on the corner
stands the street singer. She is singing her little song and
jingling a few coins in her begging bowl to attract the
attention of the few people passing by in this dismal street.
Fettes goes up to her. She stops singing.
Do you know where Mr. Gray lives --
Gray, the cabman?
The girl shakes her head.
Well, thanks anyhow.
He takes a coin from his pocket and drops it into her bowl.
He goes off and the CAMERA MOVES IN to a BIG CLOSEUP of the
girl as she resumes her song.
LONG SHOT -- Fettes as he walks. This alley, like the other
grows darker toward the center. There is an arch leading to
a court. Fettes turns left under this arch.
EXT. GRAY'S DWELLING AND STABLE -- NIGHT
It is a tiny, narrow squalid building. He looks at it, sees
the name, "John Gray -- Cabman" written on a board across the
door, goes up to it and knocks. As there is no answer, he
pushes the door open and steps into almost Stygian darkness.
INT. GRAY'S STABLE -- NIGHT
Fettes gropes his way along the wall toward the stairs.
Suddenly from the darkness looms a tremendous white figure.
It is the cabman's horse. His first momentary fright over,
Fettes pats the horse's nose, passes on to the stairs, climbs
the brief flight of steps leading to a door from under which
comes a ray of light. Again he knocks. A voice shouts out
Come in -- come in.
Fettes thrusts open the door and looks around to see the room
in which he finds himself. It is a large loft-like room,
furnished with odds and ends of poor furniture. The best
pieces in the room are two dilapidated easy chairs that have
obviously seen better days. On one wall some spare harness
is hung. A great battered wardrobe contains Gray's clothes.
The floor is covered with two worn Turkey carpets. There is
a bed on which the bedclothes are untidily tumbled. There is
a washstand and pitcher. Quite evidently Gray uses this
chamber as a combined living, dining and bedroom as well as a
kitchen. This last is the purpose to which it is being put
as Fettes enters. Gray, in shirt sleeves, is crouched over
the embers of the fire in the hearth, stirring some sausages
in a frying pan. The kettle steams busily on the hob. On a
small table near the fire is a loaf of bread, a jug of ale, a
wooden trencher, a clasp knife and a fork. As Fettes enters,
Gray rises and goes to meet him with the frying pan still in
his left hand.
So it's the young doctor come to
see me. I'm honored -- honored --
There is a curious, almost triumphant undertone in his voice.
Here, take this. It is the most
He guides Fettes to a chair and Fettes, without removing his
coat, sits down.
With quick servile civility he crosses to the taboret, gets a
glass and bottle and brings it back with him. He pours a
glass for Fettes.
Fettes takes a swallow.
And to what do I owe this honor of
this visit? Some business, was it,
of Dr. MacFarlane's?
Dr. MacFarlane didn't send me. I
came of my own accord.
He breaks off, taking another swig from his glass.
What are the chances of your being
able to get us a "subject"?
(shaking his head)
It would be difficult -- very
difficult. There was a dog that
bothered me during the last job --
people seem so concerned about dogs
-- all in all it raised the very
mother and father of a row. I'm
told the kirkyards are to be
But I would not like to say that it
would be impossible to get a
A look of relief comes over Fettes' face. He picks up his
glass and drinks again.
But how soon, man? Dr. MacFarlane
is engaged in some very urgent
research at present. He can't wait
Again Gray smiles.
I fear he may have to.
But can't you give me any idea?
How could I? I will do my best.
After all, you see, I am
The CAMERA PULLS BACK to a WIDER ANGLE as Fettes gets to his
feet abruptly. Where comes very faintly over the shot from
somewhere outside, the voice of the street singer, singing
the same melody.
You may tell Toddy that I will do
what I can, when I can -- as he
knows I will.
But he must wait and see as the
If that's your answer -- it'll have
Fettes turns abruptly away and goes quickly out of scene
toward the door. Gray sits for a moment, reflecting, then
gets to his feet. The CAMERA PANS WITH him as he goes to the
door and out.
EXT. STREET -- NIGHT
MED. FULL SHOT -- at the far side of the street, Fettes can
be seen striding. At the nearer side, approaching slowly, is
the street singer.
INT. GRAY'S STABLE -- NIGHT
CLOSE SHOT -- Gray. His head is turned in the direction of
the voice. His hand comes up to his chin as he rubs at it
reflectively, obviously seized by an idea. He makes up his
mind and turns into the stable.
MED. SHOT. It is dark. In the f.g. is the white horse. It
turns as Gray comes into scene and nuzzles him affectionately
as he pats it.
Ah, Friend! There's bad news for
you, boy -- bad news --
He pulls out a lump of sugar and gives it to the horse.
We have to go out again, Friend.
He turns away into the darkness, but is back in a moment
bearing the horse's collar. As he slips the collar over the
animal's head --
EXT. STREET -- NIGHT
It is a long deserted street. At the near end a lantern on a
house wall casts a sphere of dim radiance. The CAMERA is
FOCUSED DOWN the street which ends in Stygian darkness. From
behind the camera comes the street singer, walking slowly,
singing and rattling her begging bowl. She walks on. Just
before her figure is lost in the darkness, from behind the
camera can be heard the clop-clop of hoofs, the creak of
carriage springs, and the rolling wheels of Gray's cab. As
the singer disappears completely into the darkness, the cab
goes past the camera. It, too, disappears into the darkness.
The CAMERA HOLDS. The sound of the carriage ceases. A
moment later, the song of the street singer comes to an
abrupt, choked end.
LONG DISSOLVE OUT
INT. FETTES BEDROOM -- NIGHT
At a small table, seated on a high stool, is Fettes. A
little lamp burns dimly at his elbow and by its light he is
studying. He turns the pages, checks some point in his
reading with an anatomical chart spread over the table and
with his pencil still poised over the anatomical chart, he
pauses, listening. From some dist