The Seventh Victim Page #3

Synopsis: When her older sister Jacqueline disappears, Mary Gibson is forced to leave her private school and decides to travel to New York City to look for her. A bit naive and out of her depth, she is not quite sure how to go about finding her. Eventually she meets Gregory Ward, her sister's husband and a mysterious psychiatrist, Dr. Louis Judd who claims to know of Jacqueline's whereabouts. What she doesn't realize is that her sister became involved with devil worshipers who now want to eliminate her for having revealed their existence.
Genre: Drama, Horror, Mystery
Director(s): Mark Robson
Production: RKO Radio Pictures
  2 nominations.
 
IMDB:
6.9
Rotten Tomatoes:
92%
APPROVED
Year:
1943
71 min
93 Views


who can help your father.

Dipsomania is rather sordid.

Thank you.

I've come from Jacqueline.

She needs money.

I thought you didn't know

where she was.

I didn't. She came to me

a few days ago.

To put it delicately...

...her care imposes

a financial burden upon me.

She thought you might

lighten that burden.

If she wants money from me,

she can come to me herself.

I'm afraid she can't do that, Ward.

- It would endanger her.

- This is nonsense.

Unless I know where Jacqueline is

and how she is...

...l'm not going to give you any money.

You're a curious man.

You're willing to jeopardize her life

in order to satisfy your own curiosity.

It's not just for myself I'm asking.

Her sister's here.

The kid's half crazy with anxiety.

As a man you distrust me.

Perhaps you can believe me

as a physician.

Well, then I can tell you

in addition to other dangers...

...there's a danger of Jacqueline

losing her sanity.

- I would advise against you seeing her.

- But why?

She's been ill, erratic,

but I've never known of anything like that.

You can believe me or not

just as you choose.

- How much does she want?

- She can use a hundred dollars.

- I'll give you a check.

- She can only use cash.

- I haven't got that much in cash.

- How much have you?

About 45 dollars.

For the time being,

I imagine that must do.

Thank you.

- Tell me, how is Jacqueline?

- As beautiful as ever.

- Tell me...

- She's nervous under the circumstances.

What circumstances?

Mama, see, Miss Gibson helped me.

- It's a table.

- Beautiful. We show it to Papa tonight.

- Did Michelle eat her soup today?

- She's been an angel.

- Mommy, wait for me.

- Angelo, wait.

Well, Mary, aren't you the popular one.

You've a visitor again.

- Mr. Ward?

- No, not this time.

It's a gentleman called Judd.

Dr. Judd.

- Dr. Judd?

- Yes, Miss Gibson.

I've come to take you to your sister.

Don't be so amazed,

it's a very ordinary matter.

I'm Jacqueline's physician.

Mr. Ward told me you were here.

Jacqueline sent me...

...to bring you to her.

- Then you know where she is?

If I didn't know where she was,

could I take you to her?

Get your hat and coat.

We haven't much time.

It's amid marble splendors such as these

that Jacqueline dwells.

One can take either staircase.

I prefer the left, the sinister side.

She's not here. She's gone.

I don't know why she left.

She knows she shouldn't have.

She's left me to meet them alone.

I can't.

What makes you so nervous, Dr. Judd?

Who are they?

I can't stay here. I'll have to leave you.

Jacqueline.

Is this her?

No.

- Where's Jacqueline Gibson?

- I don't know.

- She was just here. Where did she go?

- I tell you, I don't know.

You went out with her

and don't know where she went?

I don't know.

Why do you want Jacqueline?

What right have you to question me?

I have all the right in the world.

I'm Paul Radeau, a private investigator.

I've been hired to find your sister

by her husband...

...Gregory Ward.

- Husband?

What are you thinking of, Bella?

Can I eat dry?

Oh, the wine. I have forgotten the wine.

Look, Mary, just because I kept a secret

from you doesn't make a monster of me.

Please, I can't go on explaining things

like this to your right ear.

Last night in this very restaurant,

Mr. Jason Hoag...

...paid a pretty compliment

to my right ear.

- Who the devil is he?

- A poet.

He's sitting right over there.

That's his table,

the one at the feet of Dante.

Do you remember the first day you came

to my office, frightened and broken up?

And I asked you if Jacqueline had ever

spoken about me to you? You said no.

Then how could I tell you

we were married?

And afterwards...

I didn't tell you afterwards because

there were so many things coming up...

...to make me worry.

My beautiful one.

Why do you bring me wine...

...when you yourself are so intoxicating?

You're my favorite audience, Bella.

Why can't everyone

be happy like we are?

Laugh and have a good time?

That poor little one, so sad

because she can't find her sister.

And that man with her,

he doesn't make her laugh.

Just sits and talks.

We are happy, Mrs. Romari,

because you have everything...

...and I have nothing to lose.

You should make her laugh, Jason.

Come, make jokes for her.

You could have told me

you were Jacqueline's husband.

Things changed, Mary.

The reasons for finding Jacqueline changed.

I want to find her to settle things.

What things? Why?

Why you two are so sad?

Your food will not digest...

...and your wine will sour.

You must laugh to eat well.

I've brought Jason to make you laugh.

Mr. Hoag, this is Mr. Ward.

Sit down. I'll get the rest of your dinner.

I'm under orders to make you laugh.

In Mrs. Romari's mind, poetry and humor

have some strange affinity...

...which they don't have in fact.

She wants me to play the fool for you...

...but suddenly, Miss Gibson,

I feel as sad as you do.

Well, then I've spoiled your dinner.

Your food won't digest

and your wine will sour.

You will have to make all the jokes,

because I'm going to be serious.

I'm going to find your sister.

Shuffle the cards well, Natalie.

This is a trick of telepathy,

not card manipulation.

Now pass the cards to me.

Gladys, will you hand the cards to Louis

while I answer the door?

- Jason. How nice to see you.

- I have brought some friends, Natalie.

- May we come to your party?

- Oh, of course, come in.

Now, all of you must remember the cards

that you've selected.

- Mrs. Cortez, Mary Gibson and Mr. Ward.

- So nice to meet you.

The cards can't speak for themselves.

- It's purely a matter of the mind.

- You'll have to excuse me.

Mrs. Freeman, yours was the jack

of spades. Gladys, seven of diamonds.

- Yours, Mrs. Gosden, the queen of hearts.

- How do you ever do it, Louis?

Hello, Jason.

Where is Jacqueline Gibson?

- What a peculiar question.

- I saw you with her last week.

I knew you'd be here tonight.

Where is she?

It's neither your business

to ask nor mine to tell.

Wait. Look over there.

Do you see that girl?

That's Jacqueline's sister.

It's because of her that I ask.

Why come to me?

Because there was another girl years ago.

A nice girl.

She lived in Barrow Street.

I saw her with you once.

I saw her with you twice.

- Then I never saw her again.

- She was my patient.

What was she to you?

I don't think you'd understand

if I told you.

I think I understand

without your telling me.

I know something of your history, Jason.

I know you haven't written for 10 years.

I've lost the knack.

After that wonderful first book?

After all the adulation and good reviews?

I'd have given anything

to have written that book.

You had all my admiration and respect...

...once.

There you are.

Do you know any more card tricks?

Hello, Ward.

My dear Miss Gibson.

Gibson? Are you Jacqueline's sister?

- Yes, do you...?

- Know her?

My dear, we were intimate.

The times we used to have together.

I bet she never told you about that.

Rate this script:0.0 / 0 votes

Charles O'Neal

Charles Eldridge O'Neal (January 6, 1904 – August 29, 1996) was an American film and television screenwriter and novelist. more…

All Charles O'Neal scripts | Charles O'Neal 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

    "The Seventh Victim" Scripts.com. STANDS4 LLC, 2024. Web. 5 Nov. 2024. <https://www.scripts.com/script/the_seventh_victim_21289>.

    We need you!

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

    Watch the movie trailer

    The Seventh Victim

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What is "on the nose" dialogue?
    A Dialogue that is subtle and nuanced
    B Dialogue that states the obvious or tells what can be shown
    C Dialogue that is humorous and witty
    D Dialogue that is poetic and abstract