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FADE IN:

EXT. OPEN LANDSCAPE WITH RAILROAD TRACKS -- DAY

LONG SHOT:

A STREAMLINER coming TOWARDS CAMERA which is off to one

side of tracks. The landscape has pine and fir trees and

is a northern Washington landscape.

As the streamliner passes, the CAMERA PANS around following

it and stops. The streamliner tears off into the distance

and in the foreground is WE SEE a RAILROAD SIGN --

"EVERETT WASH"

DISSOLVE TO:

INT. STREAMLINER IN MOTION - CORRIDOR -- DAY

SHOWING OPEN DOORS OF FOUR ROOMETTES

Through the windows can be seen the landscape through which

the train is passing. In the first roomette, counting from

the left, is a well-dressed, rather wise-looking FEMALE,

young, smart. She is making up her face.

In the second is a middle-aged couple, a CANADIAN

IMMIGRATION INSPECTOR and a CANADIAN CUSTOMS INSPECTOR.

In the third, BETTY MAYFIELD is seated near the window,

turning over the pages of a magazine. She is about 27 years

old, beautiful, blonde, and has a remote troubled

expression, as though her thoughts were far away.

The fourth is empty. There is a man's suitcase in evidence

on the seat. LARRY MITCHELL enters from the left. He is

tall, good-looking, young, with superficial charm and rather

too much self-assurance.

He glances in at the woman in the first roomette, stops in

the door and leans against it.

We MOVE IN so this scene becomes a SHOT of a single

roomette. OVER SCENE is HEARD the voices of the Canadian

Immigration Officer.

CANADIAN OFFICIAL (O.S.)

Good afternoon. You name, please.

PASSENGER (O.S.)

George Olson.

MITCHELL:

(to the unknown

woman)

Better stop while it's still

perfect.

She looks up at him with a slow stare.

CANADIAN OFFICIAL (O.S.)

And where were you born, Mr. Olson?

PASSENGER (O.S.)

Waukegan, Illinois.

UNKNOWN WOMAN:

(to Mitchell)

Is there something I can do for

you?

MITCHELL:

There are a lot of things you could

do for me.

IMMIGRATION INSPECTOR (O.S.)

And this is your wife, Mr. Olson?

PASSENGER (O.S.)

Yes. She was born in Waukegan,

too. Same as Jack Benny, you know.

OFFICER (O.S.)

(puzzled)

Jack Benny?

UNKNOWN WOMAN:

(to Mitchell)

Well, there is something you could

do for me.

MITCHELL:

I'd be delighted.

UNKNOWN WOMAN:

You can move to one side. So my

husband can get in.

Mitchell glances back, then moves to one side with a smile.

He is quite unperturbed. A rather decrepit MAN creeps past

him into the roomette with the unknown WOMAN. She gives

Mitchell a quick flashing smile. Mitchell grins, turns

away.

CAMERA PULLS BACK AND PANS HIM PAST THE NEXT ROOMETTE

We now see the IMMIGRATION and CUSTOMS OFFICIALS and two

MIDDLE-AGED PASSENGERS.

CUSTOMS OFFICIAL

(to Olson)

Any firearms? Dutiable articles of

any kind, Mr. Olson?

Olson shakes his head.

CAMERA PANS Mitchell past this door to the door of better

Mayfield's roomette. He leans in this as he did in the

unknown Woman's roomette.

MITCHELL:

(to Betty)

Would you care to see the Seattle

paper?

Betty turns slowly, stares at him.

BETTY:

No thanks, I've seen Seattle.

MITCHELL:

My name's Larry Mitchell. I live

in Vancouver.

Betty says nothing.

MITCHELL:

Same as an hour ago. Remember?

I'm the steady type.

BETTY:

(coldly)

I'm afraid there's nothing I can

do about it, Mr. Mitchell.

CAMERA NOW HAS MOVED IN CLOSE enough to exclude the other

roomettes completely.

MITCHELL:

You could tell me your name. And

where you're going.

BETTY:

How far does this train go?

MITCHELL:

Vancouver, B.C.

BETTY:

I'm going to Vancouver, Mr.

Mitchell.

She picks up a magazine and opens it, ignoring him.

MITCHELL:

O.K. Be rugged.

He turns, starts out, then looks back at her.

MITCHELL:

You're next for the Immigration

and Customs. I trust your papers

are all in order.

Betty looks up quickly and cannot conceal a startled

expression. Mitchell reacts.

CAMERA PULLS BACK as he comes out into corridor, looks

towards the roomette in which the officials are, then turns

towards the next roomette and goes into it. Fusses with

his suitcase.

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