Footsteps in the Fog Page #3

Synopsis: To his Victorian London friends, Stephen Lowry is a heartbroken widower. Only his housemaid Lily knows that far from dying of gastroenteritis his wife was slowly poisoned by her husband - information she is happy to use to improve her position in the household and to make sure she stays close to Stephen. As his own prospects improve with a business partnership and a romance more of his own class, Stephen decides that Lily must go. Unfortunately for him, his first attempt gives her even more of a hold over him.
Genre: Drama, Thriller
Director(s): Arthur Lubin
Production: Columbia Pictures
  1 win.
 
IMDB:
7.0
APPROVED
Year:
1955
90 min
74 Views


- Go? Huh!

I'll go, all right! I wouldn't stay under the same

roof with her, if you was to pay me double!

Nor me!

But I'm warning you, sir. Look out for this one.

She's got something up her sleeve

besides her arm.

Come on, Grimes!

- These domestic problems...

- Please don't apologise.

- I won't stay for that drink, if you don't mind.

- Won't you?

I can see my own way out, thank you.

You little fool!

Don't you ever let me catch you wearing this

or any other of her jewellery

while someone's in this house.

What do you suppose he thought

seeing it on you and on my wife?

And don't let me be humiliated by servants

dragging their brawls into my drawing room!

Oh, that won't happen again, sir.

There won't be any servants.

What do you mean?

Well, I'll be doing the cooking from now on.

You don't need another woman in the house.

Not while I'm here, sir.

Not even Miss Elizabeth Travers.

Another woman once thought she owned me.

Don't drive me too far.

- Where are you going?

- I'm going to the pillar box to post a letter, sir.

Just a minute, Lily!

I've been thinking.

You know,

you're a very attractive young woman.

With the right opportunity

and the right environment,

you might improve your situation considerably.

How do you mean, sir?

Say, in a country like Canada or America.

In America, for instance,

there's no barrier of class distinction.

With money, a girl like you could be a lady.

What's the use of being a lady

in a place where it makes no difference, sir?

Besides, why do you want to send me

so far away?

Oh, it's only for your own good. Besides,

here in England, what chance do you get,

with everybody telling you

to keep your place and know your place?

But I do know my place, sir. It's with you.

A place I'm never going to give up.

Shan't be long, sir.

How do you like that?

I'm not going to stand for that!

- Murder! Murder!

- It's a murder! Police!

It's a murder. I saw him. He went down here.

He went that way! Go on! Down there!

- Can't you look where you're going?

- Get away from me!

Help! Here he is! Police! Police!

There he is!

Ah! Lord, the excitement that's going on outside!

If I hadn't gone out to post a letter,

I'd have missed it all!

Some poor woman got her head bashed in.

I never saw such a sight.

Fancy, in a neighbourhood like this, too!

Oh!

Policemen all over the place,

looking for the murderer.

I nearly got trampled down,

with all the fog and running about.

It's good to be safe back inside again!

So you killed the wrong girl.

Constable Farrow, miss.

I'm sorry to disturb you.

- Good evening, Mr Lowry.

- Good evening.

I'm warning everybody in the neighbourhood

to keep their windows and doors bolted.

- There's been a murder done.

- Near here?

Right outside the Blue Anchor.

And the worst of it is, sir,

the man got clean away.

Do you know who it was that got murdered?

Katy Burke. You must know her husband, miss.

He's been on this beat quite a while now.

Constable Burke's wife!

- It's horrible!

- It is that, sir.

As nice a young woman as you'd ever find,

and with two little boys.

Well, if you hear anything suspicious,

call the police right off.

Good night, sir.

That should be me, in...

in that ambulance.

You didn't have to do anything to me.

I'd never harm you.

That's the most recent picture

of the murdered girl.

Are you sure you've never seen her, Mr Lowry?

Quite sure, Inspector.

I wish I could be of some help.

Constable Burke is a fine chap.

He has my deepest sympathy.

What about this, Mr Lowry? Ever seen it before?

Well, I've certainly got a stick very like...

By George, this is mine!

How did you come by it?

- You admit it's yours?

- Of course. It has my initials on it.

That's the weapon

that bludgeoned Katy Burke to death.

What?

Good heavens!

Well I... I don't know how long it's been missing.

One... doesn't often use a stick like that in town.

I see.

- Where were you last evening, Mr Lowry?

- At home.

- At ten minutes past nine o'clock?

- Certainly.

Now... just one moment, Inspector.

If I'm supposed to be under suspicion,

I'm afraid I must refuse to answer any more

questions until my solicitor is present.

Very well.

Perhaps you would like to get in touch with him.

Yes, I shall do so immediately.

- That's him! He bashed the poor girl to death.

- That's him, all right. I'd know him anywhere.

- Well, Mr Lowry?

- Well, it's utterly ridiculous!

I've never seen these men before in my life.

If you'll excuse me.

Just a moment.

Stephen Lowry,

I arrest you for the murder of Katherine Burke.

You're not obliged to say anything

in answer to this charge,

but whatever you say will be taken down

and may be given in evidence.

Do you wish to say anything?

I'm sorry, I can't do it.

- Surely you don't believe he's guilty?

- That's beside the point.

- What other reason can you have for refusing?

- An all-important one.

I happen to love you, Beth, and he happens

to be the man who's come between us.

Suppose I defend him and fail to prove him

innocent. It has happened, you know.

Could you be sure I'd done my best?

Could I be sure I had?

- Don't you understand?

- No, David, I don't.

I could never have such doubts

where you're concerned.

Don't you see? You're the only person

that can set my mind at rest over this.

Please, David, do it for my sake.

Police Constable 313, Matthew Burke.

Constable Burke, you are the

husband of the late Katherine Henderson Burke,

who met her death on the evening

of November the third?

- That is correct, sir.

- Do you have children, Constable?

Yes, sir. Two little boys.

When and where

did you last see your wife alive?

About seven that evening at home, sir. I'd been

to see how Timmy, the youngest, was feeling.

He'd had a bad cough and a fever with it.

He seemed much better and Katy -

that's my wife -

came to the door with me,

like she always does, and...

I mean, did.

And you left home to fulfil your duties

of protecting life and property,

never dreaming that, when you returned, that

home would be without its wife and mother?

Constable, what was the reason

for your wife venturing out in that dreadful fog

- on the evening in question?

- Timmy took a bad turn later, sir.

A neighbour went round for the doctor, who told

Katy the little chap mightn't last the night.

She was on her way to find me

when it happened.

- And when did you learn of the tragedy?

- About ten o'clock, I think, sir.

I was ordered to report to the police station.

I believe that was rightly the last time I saw her.

But not alive, Constable.

Constable Burke,

will you please look at the prisoner in the dock?

- Do you recognise him?

- Yes, sir. Mr Lowry, sir.

- Was your wife acquainted with Mr Lowry?

- Oh, no, sir. No.

Can you suggest any possible reason

for the prisoner wishing to harm your wife?

No, sir.

I don't know why anyone

would have wanted to harm her.

Thank you, Constable Burke. That is all.

Rate this script:5.0 / 1 vote

Dorothy Davenport

Fannie Dorothy Davenport, Dorothy Davenport (March 13, 1895 – October 12, 1977) was an American actress, screenwriter, film director and producer. Davenport's family was heavily involved in the theater. Her father Harry Davenport was a comedian and her mother Alice Davenport was a well-known actress. At a young age she began working in the fledgling film industry, and subsequently moved to California to work at Nestor Film Company. Davenport was a Hollywood star at age 17. While working at Nestor, Davenport met her future husband, actor Wallace Reid whom she married in 1913. After the birth of her son in 1917, Davenport began to act less; however, she again gained notoriety when her husband Wallace Reid's career took off. Reid soon came under the spotlight as reports that he was a severely ill drug addict began to surface. Subsequently, Davenport became the source of information about her husband's condition, and after his death in January 1923 she co-produced Human Wreckage (1923). The film explores the dangers of narcotics addiction, and Davenport played the role of a drug addict's wife. Billed as "Mrs. Wallace Reid", she followed its success with other social-conscience films such as Broken Laws (1924) and The Red Kimono (1925) . After the release of The Red Kimono, California socialite Gabrielle Darley sued Davenport for 50,00 for using her name and life story without approval. As her on-screen roles continued to diminish, she transitioned to directing, producing and screenwriting. Davenport's successful transition is often attributed to her range of positions in life, including mother, widow, Hollywood producer and social activist.While Davenport's company dissolved in the late 1920s, she continued to take on smaller writing and directing roles. In 1929 Davenport directed Linda a film about a woman who gives up her happiness for the sake of men and social expectations. Davenport directed her last film in 1934; however, she continued in the film industry in other roles until her last known credit in 1956 as dialogue supervisor of The First Traveling Saleslady. Davenport died in October 1977 at the age of 82. more…

All Dorothy Davenport scripts | Dorothy Davenport Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Footsteps in the Fog" Scripts.com. STANDS4 LLC, 2024. Web. 25 Nov. 2024. <https://www.scripts.com/script/footsteps_in_the_fog_8395>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Footsteps in the Fog

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What does "A/B story" refer to in screenwriting?
    A Two different genres in the same screenplay
    B Two main characters
    C The main plot and a subplot
    D Two different endings