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London After Midnight Page #11
- PASSED
- Year:
- 1927
- 69 min
- 2,945 Views
265
INT. HAMLIN LIBRARY (NIGHT) CLOSE SHOT
Sir James, sitting just as we left him staring at the desk
clock.
INSERT:
DESK CLOCK Time 8:25
BACK TO SCENE:
Sir James starts to rise.266
INT. HAMLIN LIBRARY (NIGHT) FULL SHOT
Sir James, rising, goes directly out the door.
267
INT. LOWER HALL HAMLIN HOUSE (NIGHT) MED. SHOT
The butler is waiting with Sir James' hat and stick, very
evidently by arrangement with Burke. Sir James, coming out
from the library, takes his hat and stick from the butler,
saying:
TITLE:
"I am going over to call
upon my old friend Roger
Balfour."
BACK TO SCENE:
The butler bows solemnly to this, holdingthe door open while Sir James goes out.
268
EXT. BALFOUR HOUSE (NIGHT) CLOSE SHOT
Burke slipping in a back door of the house.
269
EXT. BALFOUR HOUSE (NIGHT) MED. SHOT
Hibbs, coming cautiously around a corner of the house,
looking up toward the windows.
270
INT. UPPER ROOM OF HOUSE (NIGHT) MED.SHOT
Man with Beaver Hat, back to camera, Burke comes in. The
Man with the Beaver Hat turns and is now seen to be a
different person from the man that rented the house.
Without a word he whips off the Inverness coat and hat and
hands them to Burke. Burke starts to make himself up as the
other character -- The Man in the Beaver Hat, as we first
saw him face to face, when he rented the house.
271
EXT. BALFOUR HOUSE (NIGHT) MED. SHOT
Hibbs, climbing up a side of the house to look in through a
window. He sees:
272
INT. BALFOUR HOUSE (NIGHT) MED. SHOT
Lucy and the Bat Girl alone in the great room. The Bat Girl
is starting to undo Lucy's dress at the neck.
273
INT. BALFOUR HOUSE (NIGHT) CLOSE UP
Hibbs, looking in through the broken window. To him, this
can mean only one thing -- the girl in black is a vampyr
-- she is going to put those sharp teeth in Lucy's
throat -- ! With the stake, he smashes at the window.
274
INT. BALFOUR HOUSE (NIGHT) CLOSE SHOT
Lucy and the Bat Girl, as they wheel, staring off toward
the window.
275
INT. BALFOUR HOUSE (NIGHT) MED.SHOT
Hibbs plunging in through the window.
276 INT. BALFOUR HOUSE (NIGHT) SEMI FULL SHOT
The Great Room, as the Bat Girl quickly rushes Lucy off
behind some portieres. As Hibbs rushes in that direction,
the three men of the Balfour House entourage leap out from
places of hiding and seize him. They have ropes and a gag.
277
INT. BALFOUR HOUSE (NIGHT) CLOSE SHOT
Hibbs, struggling in the grip of the three men. Hibbs is a
maniac and the struggle is brief but fierce. They wrench
the stake and ax from him, hurling them to one side. They
start to bind him.
278
INT. BALFOUR HOUSE (NIGHT) CLOSE SHOT
Lucy and the Bat Girl behind portieres. The Bat Girl is
holding her, telling her not to interfere. But Lucy must
see. She pulls the portiere aside a little, looking out.
279
INT. BALFOUR HOUSE (NIGHT) MED. SHOT
The three men and Hibbs. They have him on the floor,
binding him tight, putting a gag in his mouth.
280
INT. BALFOUR HOUSE (NIGHT) CLOSE SHOT
Lucy and the Bat Girl, behind the portieres. Lucy turns
back, hiding her face with her hands. The Bat Girl, her
manner business-like, starts again to undo Lucy's dress
from the shoulder.
281
INT. BALFOUR HOUSE (NIGHT) FULL SHOT
Of the Great Room, as the three men carry Hibbs out of the
room. As they exit, at the top of the stairs appears the
Man in the Beaver Hat. He starts slowly down the stairs.
282
INT. BALFOUR HOUSE (NIGHT) CLOSE SHOT
With traveling camera, of the Man in the Beaver Hat as he
comes slowly, with awful purpose in his eyes, down the
steps. He stops at the landing, his eyes searching the
room.
283
INT. BALFOUR HOUSE (NIGHT) MED. SHOT
Door or portiered exit through which Hibbs was taken by
the three men. The three now reappear. They stop, looking
off toward the stairs.
284
INT. BALFOUR HOUSE (NIGHT) CLOSE UP
The Man in the Beaver Hat, staring out of scene at them
with piercing eyes. He gives an order.
285
INT. BALFOUR HOUSE (NIGHT) SEMI FULL SHOT
There is sudden activity on the part of the three men. The
Stranger moves over to the table, fixing the chairs there
in exactly the right position, then sitting down. (The
bullet wound does not appear on his temple now, though we
make no point of its not being there.) Another of the three
men slips on a butler's coat and takes up a position by the
side door. The third man withdraws. The Man in the Beaver
Hat, who has been watching this from the landing of the
stairs, now comes down and views the setting, suggesting a
change or two, perhaps here and there.
286
INT. BALFOUR HOUSE (NIGHT) CLOSE SHOT
Behind portieres, as the Bat Girl finishes hooking up a
simple little dress (the sort that would be worn by a girl
of thirteen or so) on Lucy. Lucy's hair is now down, as a
child would wear it.
287
INT. BALFOUR HOUSE (NIGHT) SEMI FULL SHOT
Everything appears to be to the satisfaction of the Man in
the Beaver Hat now. He steps over to the portiere.
288
INT. BALFOUR HOUSE (NIGHT) CLOSE SHOT
At portieres, as the Man in the Beaver Hat speaks softly.
Lucy appears through the portieres, looking now like a girl
of thirteen, in her child's dress with her hair down. She
looks at the Man in the Beaver Hat, unafraid. Gravely he
nods. That is the way he wants her to appear. They start
out from scene.
289
EXT. BALFOUR GATE (NIGHT) MEDIUM SHOT
Sir James, coming in, turns at the gate, and without even
looking up at the house or without faltering in the
slightest, starts toward the veranda and side door.
290
INT. BALFOUR HOUSE (NIGHT) SEMI FULL SHOT
The Man in the Beaver Hat is coming down from the portieres
with Lucy. He places her at an end of the table and gives
her a book to look at.
291 EXT BALFOUR VERANDA (NIGHT) MED. SHOT
Sir James coming with unhesitating steps along the veranda,
works the knocker on the door.
292 INT. BALFOUR HOUSE (NIGHT) SEMI FULL SHOT
All inside hear the knocker and turn. With a gesture, The
Man in the Beaver Hat waves all out of the room except the
Stranger and Lucy at the table and the man in the butler's
coat. Then he (the Man in the Beaver Hat) ducks quickly
behind the portieres. The butler goes to the door.
293
INT. BALFOUR HOUSE (NIGHT) CLOSE SHOT
At door, as the butler opens it and Sir James steps in, he
hands his hat and stick to the butler with a grave nod and
exits into the room.
294
INT. BALFOUR HOUSE (NIGHT) MEDIUM SHOT
The Stranger and Lucy at the table. The Stranger says:
"Good evening, James" Lucy gets up and comes to Sir James
in f.g. He turns and puts his arm around her saying:
TITLE:
"My! My! What a big girl
you're getting to be, Lucy."
295
INT. BALFOUR HOUSE (NIGHT) CLOSE UP
Sir James and Lucy, as he finishes title, stroking her
hair, looking down at her fondly.
296
INT. BALFOUR HOUSE (NIGHT) CLOSE UP
At portieres, as they part slightly and the Man in the
Beaver Hat peers out with piercing eyes.
297
INT. BALFOUR HOUSE (NIGHT) MED. SHOT
Sir James, the Stranger and Lucy, as Sir James holds Lucy
off at arm's length, looking at her, at the sweet girlhood
of her. The Stranger watches them morosely. Sir James turns
to him says:
TITLE:
"You seem despondent, Roger."
BACK TO SCENE:
The Stranger nods. Lucy steps quickly,impetuously over to him, putting an arm around him.
298
INT. BALFOUR HOUSE (NIGHT) CLOSE UP
Lucy and the Stranger, as she puts her arm over him,
lovingly, kissing him on the forehead. He pats her hand,
tells her it's nothing.
299
INT. BALFOUR HOUSE (NIGHT) CLOSE UP
Sir James, watching them, his eyes narrowing as he looks,
a little.
300
INT. BALFOUR HOUSE (NIGHT) CLOSE UP
Lucy and the Stranger, as he tells her, gently:
TITLE:
"It's getting late, Lucy --
say good night to Sir James."
301
INT. BALFOUR HOUSE (NIGHT) MED.SHOT
The three of them as the Stranger finishes title. Lucy
gives him a good night kiss, then steps over to Sir James,
holding up her lips to him. Sir James kisses her and she
runs out of scene. Sir James stands looking off after her.
The Stranger watches him sullenly. Sir James turns back now
to the Stranger, drawing up the chair, and sitting down at
the table, facing him.
302
INT. BALFOUR HOUSE (NIGHT) CLOSE UP
The Man in the Beaver Hat peering through the portieres. He
parts them a little more, bringing his whole face into view
-- the face with the pallor of death, as expressionless as a
mask.
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"London After Midnight" Scripts.com. STANDS4 LLC, 2024. Web. 30 Aug. 2024. <https://www.scripts.com/script/london_after_midnight_1137>.
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