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M (1931)/ DIR: Fritz Lang /Script: Thea von Harbou

A large white M on a dark, shadowy screen.MUSIC (In the Hall of the Mountain King) and TITLES BEGIN. As theTITLESEND, a childs voice is heard CHANTING.FADE OUTEXT. COURTYARD - CITY BLOCK - BERLIN, GERMANY - 1930 A.D. - DAYFADE IN on a HIGH ANGLE - A group of children, standing in a circle, playagame. In the center of the circle, a LITTLE GIRL points her finger fromonechild to another in rhythm with the chant.LITTLE GIRL(chants)

Just you wait a little while,The evil man in black will come.And with his little chopper,He will chop you up.The LITTLE GIRL stops in front of one of her playmates and gestures forherto leave the circle.LITTLE GIRLYoure out.The child leaves the circle and the game continues.LITTLE GIRL(chants)

Just you wait a little while,The evil man in black will come.And with his little chopper,He will chop you up.

During the chant, we PAN OFF, past two coal-bunkers (revealing that weare inthe courtyard of a block of flats), and CLIMB the face of the tenementblockto show an outdoor balcony with washing hanging out to dry. A PREGNANTWOMANappears, carrying a basket of laundry; she pauses when she hears thechanting, then leans over the balcony and shouts down to the children.PREGNANT WOMAN

Will you stop singing that awful song...?!But the chanting continuesPREGNANT WOMAN... Cant you hear?The chanting stops.PREGNANT WOMAN(mutters to herself)Always that awful song.She walks off, carrying her basket. After a moment, the chant continues.

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LITTLE GIRL(chants, o.s.)Just you wait a little while,The evil man in black will come.And with his little chopper...We hold on the empty balcony for a long moment and then CUT TO:INT. TENEMENT BLOCK - DAY

The FRONT DOOR of one of the flats. The PREGNANT WOMAN with her basketoflaundry RINGS the bell. The door opens and a tired, haggard, middle-agedwoman appears. It is MRS. BECKMANN. Behind her, we see a KITCHEN. ThePREGNANT WOMAN hands the basket to MRS. BECKMANN and wearily wipes herbrow.PREGNANT WOMAN(sighing)Oh, dear!MRS. BECKMANNWhats the matter?PREGNANT WOMANIm always telling those kids to stop singing

that terrible murderers song ... and they donothing but sing it at the top of their voicesall day ...(pause)As if we hadnt heard enough of that killer.MRS. BECKMANNOh, leave them alone. As long as theyresinging, at least we know theyre still there.PREGNANT WOMANYes, I suppose youre right.The pregnant woman shuts the door for MRS. BECKMANN, leaving her alone inherflat with the laundry. MRS. BECKMANN puts the basket in a corner of herpoor

but clean kitchen, then bends over a bowl of water and continues with herwashing. A cuckoo-clock STRIKES. MRS. BECKMANN looks up at the clock,whichshows midday. The RINGING of a church bell mingles with the cuckoos. MRS.BECKMANN smiles, straightens up, and wipes her hands.CUT TO:EXT. CITY STREET - DAYA group of parents waits on the pavement outside the main entrance to thelocal school. Cars pass. The bell stops ringing as the children come out;onelittle girl waves and goes off in a direction different from her friends.Itis ELSIE BECKMANN; she wears a satchel on her back and carries a string

bagwith a ball in it. When she comes to cross the road she steps off thecurbwithout looking, a car HONKS at her and she hurriedly steps back onto thecurb. A policeman stops the traffic and escorts her across.CUT TO:INT. MRS. BECKMANNS KITCHEN - DAYMRS. BECKMANN sets the table for Elsies lunch.CUT TO:EXT. ANOTHER CITY STREET - DAY

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ELSIE walks along the pavement of a busy sidewalk, bouncing her ball. Shestops by a circular pillar of the sort used as a billboard and startsthrowing her ball against it. We FOLLOW the ball and MOVE IN to show oneofthe posters:10,000 Marks RewardWHO IS THE MURDERER?

Since Monday, 11th June this year, thefollowing have disappeared: the school-childrenKlaus Klawitsky and his sister Klara, who liveat 470 Mller Street. Various evidence leads usto believe that the children were victims of a similar crime to thatcommitted last autumn against the Doering sisters.As the ball continues to bounce against the poster, the shadow of a manin ahat falls across the pillar: it is the shadow of the MURDERER.MURDERER (o.s.)What a pretty ball.The shadow bends down.MURDERER (o.s.)

Whats your name?ELSIE (o.s.)Elsie Beckmann.CUT TO:INT. MRS. BECKMANNS TENEMENT - DAYKITCHEN - MRS. BECKMANN peels potatoes and puts them into a tureen. Theclockreads 12:20. MRS. BECKMANN puts the lid on the tureen. She hearsfootsteps,goes to the door, opens it and looks up the stairs.STAIRCASE - Two LITTLE GIRLS are going up.MRS. BECKMANNElsie didnt come with you?1ST LITTLE GIRL

No.2ND LITTLE GIRL(simultaneously)No, she didnt come with us.MRS. BECKMANN watches from the doorway, as the GIRLS go on up the stairs;then she leans over the bannisters and looks down into the emptystaircasewell. MRS. BECKMANN shakes her head and goes back into her flat.CUT TO:EXT. STREET CORNER - HIGH ANGLE - DAYA BEGGARwith a card hung around his neck reading BLINDstands on acorner selling balloons. A paper windmill is stuck in his battered hat.The

MURDERER and ELSIE stand in front of him, examining the balloons. TheMURDERER WHISTLES, loudly and and a little off-key, the first bars of Inthe Hall of the Mountain King from Griegs Peer Gynt. He buys aballoon inthe shape of a huge doll and hands it to ELSIE who thanks him with alittlecurtsy.ELSIEThank you very much.The MURDERER and ELSIE walk off as the BLIND BEGGAR pockets his money.

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CUT TO:INT. MRS. BECKMANNS KITCHEN - DAYMRS. BECKMANN puts the tureen into a steaming saucepan. The doorbellRINGS.Visibly relieved, she rushes to open the door. On the doorstep stands thePAPERMAN.PAPERMAN

Good morning... A thrilling new chapter, Mrs.Beckmann!(hands her the paper)Passionate, moving, sensational ...MRS. BECKMANN(very wearily)Goodthank you.(pause)Oh... just a moment, Mr. Gehrke.She takes the paper and moves away. We STAY ON the PAPERMAN.MRS. BECKMANN (o.s.)Tell me, Mr. Gehrke...PAPERMAN

Yes?MRS. BECKMANN (o.s.)Have you seen Elsie?PAPERMANDidnt she just come up the stairs?MRS. BECKMANN comes back to the door to pay the PAPERMAN.MRS. BECKMANNNo, shes not back yet.PAPERMANWell, she wont be long now.He touches the peak of his cap and turns to go.PAPERMANGood-bye, Mrs. Beckmann.MRS. BECKMANN

(not reassured)Good-bye, Mr. Gehrke.She hesitates for a moment, then goes onto the landing and leans onceagainover the bannisters to peer down into THE EMPTY STAIRCASE WELL.MRS. BECKMANN(o.s., her voice echoing)Elsie! Elsie!MRS. BECKMANN, looking worried, goes back to her flat, and closes thedoor.THE CUCKOO-CLOCK - Its now 1:15. The cuckoo strikes once.WIDE ANGLE - MRS. BECKMANNS KITCHENMRS. BECKMANN is alone. She opens the window and leans out, calling

anxiously.MRS. BECKMANNElsie! Elsie!CUT TO:THE EMPTY STAIRCASE WELLMRS. BECKMANN (o.s.)Elsie!CUT TO:THE ATTIC LOFT OF THE BLOCK OF FLATSEmpty except for some washing hanging in the shadows.

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MRS. BECKMANN (o.s.)Elsie!CUT TO:THE KITCHEN TABLEElsies empty chair, her clean plate, her spoon, and her folded napkin.MRS. BECKMANN (o.s.)Elsie! Elsie!

CUT TO:FAR AWAY - A PATCH OF SCRUBBY GROUNDFrom out of the undergrowth rolls ELSIES ball. It rolls to a stop.CUT TO:THE BIG, DOLL-SHAPED BALLOONIt floats up into the air and catches momentarily in some telegraphwires,until the wind shakes it free and carries it away.FADE OUTEXT. CITY STREET - EARLY EVENINGFADE IN on A HIGH ANGLE of a sidewalk. A CAR sits parked at the curb. APAPERSELLER rushes by, waving the latest edition.PAPERSELLER

Extra! Extra! Extra!A passer-by stops him and buys a paper.CUT TO:ANOTHER HIGH ANGLE of ANOTHER STREET where ANOTHER PAPERSELLER can beseen,surrounded by a crowd that urgently wants to buy his papers.PAPERSELLERExtra! Extra! New crime! Who is the murderer?Who? Who is the murderer?CUT TO:INT. THE MURDERERS ROOM - NIGHTThe MURDERER sits at the windowsill, his back to us, writing. He holds acigarette in his left hand and still whistles the tune from Peer Gynt.INSERT - THE MURDERERS LETTER

The handwriting is a childish scrawl.Since the police havent published my first letter, I am writing todaystraight to the NEWSPAPERS. Keep up your investigations.Everything will happen just as I have predicted.But I havent yet FINISHED.CUT TO:EXT. CITY STREET - NIGHTA POLICE POSTER - Affixed to a brick wall. In large letters, we canread...10,000 Marks RewardWHO IS THE MURDERER?The lettering of the rest of the poster is too small. We slowly PULLBACK

over the heads of a crowd gathered around the poster. General hubbub.VOICES OF CROWDGood God, here we go again ... Its terrible!10,000 Marks ... The lettering is too small,we cant read it all! ... Hey, read it outloud, you, there in front ... Yes, read it ...out loud ...(reading)The unknown murderer... Let him read. Oh,hey! ... Quiet! ... Shut up! ...

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(reading)The terror in our town has found a new...Oh, thats enough ... Stop it! ...(reading)victim... Louder, we cant hear a thing.The sound of the crowd CROSSFADES to the voice of a RADIO ANNOUNCER.RADIO ANNOUNCER

Certain evidence leads us to believe that themurderer is the same as the one who has alreadykilled eight children in our city. We must oncemore draw your attention to the fact...CUT TO:HIGH ANGLE - CAF TABLEA group of middle-class men sit around it, smoking and drinking. One ofthem,an OLD MAN, reads aloud from a newspaper. His voice takes over from theRADIOANNOUNCER. In the middle of the table, stands a little embroidered nag,theinsignia of the club to which these gentlemen belong.

OLD MAN(reading)...that the first duty of every mother, ofevery father, is to warn their children of thedanger which always threatens them. Moreover,because the danger is often hidden under anattractive disguise, some sweets, a toy, fruit,can be the murderers weapons...THE OTHER MENVery true. Of course.The OLD MAN stops reading to take a gulp of beer. His neighbor, a fatcivilservant in a stiff collar, impatiently stuffs a huge cigar into a cigar-holder.

MAN WITH CIGAR-HOLDERGo on ...(nervously)Come on now. Read on.OLD MANRight, right ...(reading)...The anxiety of the general public is allthe greater, because police enquiries...As the OLD MAN continues to read, we see two of the other men at thetable. ABALD MAN wearing pince-nez; beside him, a FAT MAN twirls a glass of winein

his hand.OLD MAN (o.s.)... have not yet finished. But the police find themselves faced by analmost impossible problem.The BALD MAN nudges his neighbor and they whisper to one another. TheBALDMAN points his cigar at the MAN WITH CIGAR-HOLDER opposite him. The OLDMANcontinues to read.OLD MAN (o.s.)

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The guilty man has left no trace. Who is themurderer?The MAN WITH CIGAR-HOLDER opposite listens attentively. On his cigar-holder,we see the design of a naked woman.OLD MANWhat is he like? Where is he hiding? No one

knows. And, yet, he is one of us. Your neighborcould be the murderer.He lowers the paper. The BALD MAN and his companion stare with contemptatthe MAN WITH CIGAR-HOLDER. On the table, the newspaper Tempo, with theheadline: 10,000 Marks reward. The BALD MAN grabs his glass of beer.BALD MANYes, thats right.HIGH ANGLE of the whole group.MAN WITH CIGAR-HOLDERWhy do you look at me, when you say that?BALD MANYou know very well.

MAN WITH CIGAR-HOLDERWhat do I know very well?The BALD MAN, behind his glass of beer, leans forward and stares at hiscompanion through his pince-nez.BALD MANAll right ... think a bit. Youll find out.MAN WITH CIGAR-HOLDERWhat are you insinuating?BALD MANThat I saw you going up the stairs, behind thelittle girl from the fourth floor.MAN WITH CIGAR-HOLDER(jumps up, shouting angrily)What?! Youre crazy, you dirty swine!

BALD MAN(also jumps up, shouting)Whos a swine? Me? Me? Or the man who chaseslittle girls?In the excitement, he loses his pince-nez.HIGH ANGLE of the whole group.MAN WITH CIGAR-HOLDER(mad with rage)You slanderer!BALD MANMurderer!As the MAN WITH CIGAR-HOLDER tries to punch his opponent, two FRIENDS anda

waiter intervene. General confusion.OLD MANBut, gentlemen! ... Gentlemen! Gentlemen!They are separated.MAN WITH CIGAR-HOLDERIll see you in court.BALD MANIll see YOU in court.WAITER(intervening)

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Now then, gentlemen ... calm down.ANOTHER CLIENTI didnt mean to ...The HEAD WAITER, a CLIENT and the three FRIENDS go out. The SMALL MAN hasbeen watching the row with fiendish glee. The BALD MAN continues to shoutathis departing enemy.

BALD MANSlanderer ... ruining my reputation.CUT TO:INT. BEDROOM - NIGHTIn a comfortable bourgeois flat. The drawers of a chest have been pulledoutand the contents scattered everywhere. Through the door we see a sitting-room.THE HUSBAND (o.s.)What a slanderer! What an awful man!A WOMAN appears at the doorway, in tears.THE HUSBAND (o.s.)And the police listened to him! ... Theyre

searching my house!A POLICEMAN and THE HUSBAND come through the door into the sitting room.THE WOMAN(weeping)How awful! ... Oh, what shame!THE HUSBANDSearching an honest mans flat, because of ananonymous letter. Its... its...POLICEMAN(calmly)Mr. Jger, calm down. Were only doing ourduty.THE HUSBANDWhen we never have a minutes peace?

Frightened about the children ...POLICEMANLook, its for that very reason, that thepolice have to follow every lead... Any man inthe street...CUT TO:EXT. THE STREET - NIGHTPOLICEMAN (o.s.)... could be the guilty man.In the street, a little OLD MAN of about sixty, wearing a bowler hat andspectacles with round, metal rims stops under a street lamp to read hispaper. A LITTLE GIRL comes up to him, pushing a scooter.LITTLE GIRL

Could you tell me what time it is, please?OLD MAN(very friendly)Yes, my child ...He takes out his watch. A few yards away, in front of a furniture shop,twoshoppers, laden with parcels, look on. A WORKMAN with huge wideshoulders,wearing a cap, comes out of the shop.

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The LITTLE GIRL stands with the OLD MAN. In the background, the bigWORKMANapproaches, menacingly, as the OLD MAN puts his watch away and bends downtothe LITTLE GIRL.OLD MANNow, my child, you must go home ... Where do

you live?As the LITTLE GIRL goes off on her scooter, the WORKMAN interrupts.WORKMANWhat business is it of yours, where the kidlives?OLD MAN(looking up, terrified)Excuse me?The OLD MAN looks up anxiously, through his pebbled-glasses, with great,round, scared eyes. The WORKMAN, enormous, rises on his toes.WORKMANWhat did you want with the kid?OLD MAN

(startled)But ... but ... nothing at all! And you, whatdo you want with me!The WORKMAN seizes his arm. Some people stop and gather round.WORKMAN(seizing the OLD MAN)Just you wait and see.OLD MAN(struggling)Let go ... Let me go. Its a ... a ... animpertinence!FIRST PASSER-BY(to the OLD MAN)Whats going on?

OLD MAN(to PASSER-BY)Its an outrage!SECOND PASSER-BY(to the WORKMAN, off the OLD MAN)What does he want?WORKMAN(to OLD MAN)Dont get on your high horse.(to SECOND PASSER-BY)First, he accosts children ...ANOTHER BYSTANDERPunch his face in!

WORKMAN (continues)... and then, he comes on all high and mighty.OLD MAN(struggling)Let me go, cant you? I didnt start theconversation with the child.WORKMANYou wanted to get off with her, didnt you?FEMALE PASSER-BY(violently)

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Yes ... and then kill her like all the others... huh?Everyone joins in and starts shouting.CROWDIts the murderer! ... Its him! ... Holdonto him. Call the police ... Of course, nocops when you need them ... Oh, officer! ...

Officer! ...Everyone hangs onto the OLD MAN. The crowd jostles and calls for apoliceman.CROWDOfficer! ... Officer!CUT TO:EXT. CITY STREET - STAIRS OF A PARKED DOUBLE DECKER BUS - NIGHTA crowd tries to board the bus. The CONDUCTOR comes down the stairspushingpeople out of the way.CONDUCTORMove along, please ... move along now ... stopblocking the way.

Behind the CONDUCTOR, comes a POLICEMAN, leading a THIEF.THE THIEF(insultingly, to the policeman)Youre good at catching pickpockets, thats allyou know how to do ... Youd do better to goafter the child murderer.The dense crowd presses against the bus. Theyve heard the thief mentionthechild murderer.VARIOUS VOICESWhat? The child murderer? The murderer ...(off the THIEF)Thats him ... the murderer!POLICEMAN

Move along now.(to the thief)Come on now ... get a move on.Hysterical cries rise from the crowd. Fists are raised. The POLICEMAN andhisprisoner have difficulty forcing their way through and become separatedbythe angry mob.DISSOLVE TO:INT. MINISTERS OFFICE - DAYCLOSE - HEADLINESThe daily paper, General Anzeigerthe Tempo section: THE MURDERERWRITES TO THE PAPERS. Underneath, the MURDERERS letter is reproduced:

Since the police havent published my first letter, I am writing todaystraight to the NEWSPAPERS. Keep up your investigations.Everything will happen just as I have predicted.But I havent yet FINISHED.A hand nervously holding a monocle spreads out the paper.WIDER ANGLE - MINISTERS OFFICEThe MINISTER sits at his desk, the newspaper spread out before him. Hespeaksinto a white telephone, emphasizing his points with wooden gestures.MINISTER

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Its an unheard-of scandal ... What adeplorable effect this will have on publicopinion, Inspector. It is a serious error, veryserious.CUT TO:INT. POLICE HEADQUARTERS - DAYIn THE OFFICE OF THE CHIEF OF POLICE, the CHIEF OF POLICE, an elegant

man,sits at his desk. In one hand, he waves a pen; in the other, he holds thetelephone.CHIEF OF POLICEBut, Minister, weve no power to prevent themurderer from writing to anyone he wants to!The MINISTERS reply is inaudible. A male SECRETARY passes some letterstothe CHIEF OF POLICE and starts to leave. The CHIEF OF POLICE signs to himthat he should read an entry in his engagement book. The SECRETARY doessoand exits.CHIEF OF POLICE

(into phone)The guilty man is a mental case. He must getpleasure out of seeing his actions reported inthe papers. We immediately got in touch withthe editors to obtain the original letter. Thelaboratory is already busy on it.CLOSE - A SET OF FINGERPRINTSIn the Police laboratory. The dossier of a certain Richard Ernst, knownasFour-Fingered Ernst. PAN ACROSS the dossier to show the prints of thelefthand, next to the right.CHIEF OF POLICE (o.s.)Of course, it is almost impossible to find

usable fingerprints on a postcard that has beenthrough so many hands.CLOSE - HAND WITH MAGNIFYING GLASSMoving across a dossier.CHIEF OF POLICE (o.s.)But we must try everything ...IN ANOTHER ROOM...... of the police laboratory, a fingerprint is projected onto a largescreen.Silhouetted against it, a police research assistant, using a magnifyingglass, compares the projection with the dossier.CHIEF OF POLICE (o.s.)... to find in our archives a clue or a trail

that will lead us nearer a solution.OFFICE OF THE POLICE ARCHIVESAn employee paces up and down dictating a report.CUT TO:[INT. THE MURDERERS ROOM - DAYThe MURDERER looks at himself in the mirror and makes terrible faces,spreading his lips and lifting his eyebrows with his fingers.CUT TO: ]INT. THE MINISTERS OFFICE - DAYTHE MINISTER speaks into the phone.

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MINISTERYes, yes, Inspector ... certainly. I dontdoubt your keenness ... the efforts of yourmen ... But, all the same ... the results.(annoyed)We must have results ... results.The sound of the MINISTERS VOICE continues as we CUT TO the CHIEF OF

POLICES OFFICE. During the following conversation the frustrated CHIEFSVOICE continues as images illustrate his words.EXT./INT. SEARCH MONTAGE - DAY/NIGHTCHIEF OF POLICEMinister, my men are only getting twelve hourssleep a week....POLICE STATIONSeveral tired policemen slump on benches. As two come in off their beatsanother two start to get up to go.CHIEF OF POLICE (o.s.)... as well as searches on the spot, Minister.VARIOUS ANGLES - SUBURBAN GARDENSPlainclothes men search everywhere. In the background are two

photographers.A flash-gun goes off. Behind a hedge, one of the policemen finds a ballofpaper.CHIEF OF POLICE (o.s.)... We find, for instance, behind a hedge ina thicket a little tissue-paper bag ...CLOSE - A PAIR OF TWEEZERS...... carefully lifting the paper bag on which can be read the word SWEETS.CHIEF OF POLICE (o.s.)... clearly it held cheap candy ... In a cornerwe found tiny crumbs of acid drops and somegrains of colored sugar. Within a radius oftwelve kilometres, we have ...

CLOSE - MAP OF BERLINThe gardens where the bag was discovered are circled and dated 21-6. Acompass draws a second larger circle dated 22-6; the same compass startsathird circle.CHIEF OF POLICE (o.s.)... searched in all the sweet-shops, cake-shops,to find out where the bag came from ... In vain... every day we widen the area of the search ...SWEET-SHOP COUNTERA detective questions a salesgirl who shakes her head insistently andshrugs.CHIEF OF POLICE (o.s.)

... but, of course, no one remembersanything... or, at least not clearly enough ...ICE CREAM KIOSKA detective questions a salesman, without success.CHIEF OF POLICE (o.s.)... In spite of all these negative replies weare keeping up the search, stepping more andmore into an area of uncertainty ...GROCERY STOREA detective questions a grocer and his wife, without success.

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CHIEF OF POLICE (o.s.)... without much hope of finding any solution.Our men...THE MINISTERS OFFICEThe MINISTER crashes his palm violently against his desk, his other handholding the telephone.MINISTER

(furious)What good is that to me, Inspector? I knowyoure not sleeping ... but those are thefacts: an unknown murderer terrorizes thecity ... a city of four million people ... And ... and ... the police,your police, are helpless. I want results!THE OFFICE OF THE CHIEF OF POLICECHIEF OF POLICE(irritated)Minister, you dont really seem to appreciatethe incredible difficulties which face us...CUT TO:INT. POLICE HEADQUARTERS - OFFICE - DAY

A DETECTIVE questions two witnesses. One is large and fat; he wears alittlebeard and pince-nez. The other witness is stunted. In the background is atypist, taking down the exchange.1ST WITNESS(indignantly to 2ND WITNESS)You dont know anything.2ND WITNESS(leaps from his chair)More than you, sir.DETECTIVEBut, gentlemen, gentlemen ... Could you atleast come to some agreement on what colorbonnet the little girl was wearing, when you saw her this morning,

talking to an unknown man?1ST WITNESSBut, of course, Inspector, the bonnet was red.2ND WITNESSInspector, the bonnet was green.1ST WITNESS(rising)It was a red bonnet.2ND WITNESSIt was a green bonnet.1ST WITNESS(shouting)Red!

2ND

WITNESS(shouting)Green!1ST WITNESS(in an absolute fury)Red!2ND WITNESS(in as great a fury)Green.

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The WITNESSES try to shout one another down. The DETECTIVE looks onamazed.INTERCUT extreme CLOSE-UPS of both WITNESSES.1ST WITNESSRed.2ND WITNESSGreen.

1ST WITNESSRed.2ND WITNESSGreen.1ST WITNESSRed.2ND WITNESSGreen.GROUP SHOT - The typist gets up.DETECTIVEStop, stop! ... Its hopeless. Thank you,gentlemen.[1ST WITNESS

Of course, Inspector, if you are prepared tolisten to a socialist ...]CUT TO:INT. OFFICE OF THE CHIEF OF POLICE - DAYThe CHIEF is still on the telephone.CHIEF OF POLICEThe police have followed up, as of today, morethan fifteen hundred clues in this case. Thedossiers we have collected fill sixty thickvolumes. We have put all our men onto it ...CUT TO:INT./EXT. ANOTHER SEARCH MONTAGE - DAY/NIGHTSeveral policemen beating through the undergrowth of a WOOD. The voice ofthe

CHIEF OF POLICE continues over the following scenes.CHIEF OF POLICE (o.s.)...to systematically comb all the areas everythicket, every piece of undergrowth, everyclearing is carefully examined, because behindeach bush ...Several policemen searching a wooded PIT.CHIEF OF POLICE (o.s.)... in every hole, we might find something thatwould put us at last on the right track ...A police dog as he picks up a scent and follows it to the edge of a LAKE,barking. A policeman follows him, holding him on a long leash. Otherhandlers

and their dogs appear.CHIEF OF POLICE (o.s.)... We have sent out police dogs. The besttrackers have been put onto the weak scents wehave found ... without any result. Since thismurderers first crime ...Detectives checking the papers of down-and-outs in a scruffy dormitory ofaDOSSHOUSE, where rows of beds face one another and old clothing hangsfrom

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the walls.CHIEF OF POLICE (o.s.)... the police have inspected all thedosshouses every night and checked theidentity of every vagrant. Of course, thesesteps dont increase the popularity of thepolice, nor do they calm the nerves of the

general public...A smoky RAILWAY STATION. Detectives are checking everyones papers.CHIEF OF POLICE (o.s.)... nevertheless, we are keeping up our watchon all railway stations. But these checks are nomore successful than our nightly raids ...A deserted STREET at night lit by street lamps. A plainclothes detectiveisaccosted by a whore, but he goes on his way. Further on, under a streetlamp,another girl talks with a client.CHIEF OF POLICE (o.s.)... of the various underworld hangouts.

HIGH ANGLE - A dark STREET, still wet from recent rain. A coupledisappearinto a seedy HOTEL. A detective, beneath a street lamp opposite, lookson.VARIOUS SHOTS - The headlights of a car light up the walls. Twoplainclothesdetectives leap from the car while it is still moving. They abruptly walkthesidewalk nonchalantly as the car drives off. Their footsteps ECHO. Twocarsfull of men drive up and SQUEAL to a halt at the curb. A dozen or sopolicemen jump from cars and station themselves rapidly in variousdoorways.Three detectives wait in one doorway. One of them looks at his watch and

gestures at the others. They move out of sight.On the dark, wet STREET, a detective walks to the middle of the streetandgives a signala whistle BLOWS. Up the street, uniformed policemen,waiting by their parked vehicles, spring into action, rushing off. Agroup ofplainclothes detectives march down the street, past the hotel, followedbyuniformed men drawn up in two ranks. A few prostitutes exiting the hotelarerounded up and forced back inside. But it is not the hotel that thepolicehave targeted... they march past it, down the street.

HIGH ANGLE - looking down over the roofs at a line of uniformed policemenanda group of detectives as they march down the street.CUT TO:INT. THE CROCODILE - NIGHTDown the spiral staircase which leads from the street, a young PROSTITUTErushes into a sordid basement bar. It is an underworld hangout known asTheCrocodile. A stuffed crocodile hangs from the ceiling.PROSTITUTE

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THE COPS!Without wasting a second, the clients, criminals and whores, rush for theexit, scrambling over the tables and chairs. The LANDLADY rapidly lowersametal grille which shuts her off behind the bar. Everyone rushes for thestairs.HIGH ANGLE - looking down the empty staircase: general chaos and

confusion.The young prostitute appears first, followed by a thief who gives asuddenstart and, furious, turns back. Others pass him to be turned back intheirturn. Police whistle. Car horns. A line of policemen, advancing steadily,pushes the fleeing crowd back down into the room.[ON THE STREET - two plainclothes men lead away a prostitute.]INT. THE CROCODILE - NIGHTPOLICEMANS VOICEPolice. Get back there.YOUNG PROSTITUTES VOICE(among other cries)

Let me go, you bastard! Let me go! Eh,Inspector, let me go!A policeman descends the stairs carrying the YOUNG PROSTITUTE in hisarms. WeTRACK with them till they stop at the bottom of the stairs, beneath thearchof the entrance.YOUNG PROSTITUTELet me go, wont you! ... you beast, Let me go,let me go!THIEFLet the girl alone, dirty pig.The prostitute is released and exchanges words with the coppunctuatedby her spitting on him. General hubbub rising to a crescendo.

POLICESilence ... silence!Over the heads of the crowd, a SERGEANT appears.SOMEONE IN THE CROWDAh, the head cop.Laughter. With a gesture, the SERGEANT commands silence.SERGEANTQuiet.A VOICEThatd suit you, wouldnt it?On the stairs, in the dim light of the cellar, with the crowd of thievesandwhores in the background, stands the dark silhouette of the SERGEANT.

SERGEANTPolice orders. Nobody leaves this place ... Getyour papers ready.Cries of protest and whistles from around the room. The SERGEANT standsinthe entrance flanked on either side by police. An inspector comes downthestairs with one of his men. It is the heavyish INSPECTOR LOHMANN. Hepauses,his face still in darkness.

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A VOICELets see you, lets see you!He moves forward and stops a few steps from the bottom.LOHMANN(cheerfully)Come on now, children. Lets not do anythingsilly.

A THIEF(raising his hat)Its Fatty Lohmann!A VOICE(chanting)Loh-mann, Loh-mann, Loh-mann.ANOTHER VOICEPop Lohmann!Several wave their hats.EVERYONE(in chorus)Loh-mann! Loh-mann! Loh-mann!The chanting ends in whistles. INSPECTOR LOHMANN comes down to the last

stepand enters the light. A strong looking man, about forty, he gives theimpression of shrewd efficiency.LOHMANNQuiet!A VOICEGet out!LOHMANNYoull wear yourself out.A WOMANS VOICE(hysterically)It would be better if you caught the childmurderer.ANOTHER WOMANS VOICE

Yeah ... much better!The CROWD whistles.LOHMANNQuiet! Quiet! Be reasonable!He steps forward. Several policeman follow him.LOHMANNSpread out ... spread out all of you. All of you... spread out. Come on, come on now. Get yourpapers out.More detectives come down the stairs.A VOICEI havent got any.LOHMANN (o.s.)

Show me your papers.A GIRL(o.s., begging)Let me go, please, Inspector.[One of the criminals hides at the back of the CLOAKROOM. He tries to getoutthrough a skylight, but suddenly starts back. Through the grille of theskylight which gives onto the street, he sees: a policeman standsoutside.The thief resignedly turns away.

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In the ladies TOILET, a policeman enters, hesitates, then pulls back acurtain. A thief, embarrassed, comes out of his hiding place.]In the MAIN CELLAR, LOHMANN and two of his men are installed behind twotables. In front of him stands a young prostitute. Uniformed police formacorridor leading to the exit. In the background, the various occupants ofthe

club stand about.LOHMANNHave you got any papers?THE GIRLBut, Inspector, I cant go around everywherewith my date of my birth on me. Thats askingtoo much.LOHMANN(indifferent)Lets not beat around the bush, darling.Between LOHMANN and one of his assistants, THE GIRL stands beside anenormousTHUG, with a black eye, wearing a cap, a fag-end in his mouth, hands in

pockets. A row of police lines the wall.THE GIRL(indignantly)Thats really asking too much, Inspector.LOHMANN(severely)Alex.Alex is short for Alexanderplatz, the headquarters of the Berlin police.Inother words, shes going downtown.THE GIRLLook here, its disgusting.She goes off to the right. Pushed by the others, the THUG steps forward.He

takes out a wallet and, very sure of himself, hands his papers toLOHMANN.LOHMANN flicks through the papers. Skeptically, he examines their owner.Apoliceman searches the THUG. LOHMANN whistles the song: Where did yougetyour beautiful blue eyes? and gives the THUG an understanding wink.Behindthem stand a group of thieves, surrounded by police. The policemanfinishessearching and goes out. The THUG puts his hands back in his pockets andlooksat LOHMANN triumphantly. LOHMANN smiles and holds the papers up to the

light.LOHMANN(commiserating)Poor workmanship, my friend...The THUG, surprised, takes the cigarette butt out of his mouth.LOHMANNYouve been had.A pause. LOHMANN signals to a policeman.LOHMANNAlex. Next.

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The THUG furiously throws his butt to the floor.A THIEF(insolently)Better luck next time, Willi.THUG(moving off)Oh ... you ... Shut your face.

LOHMANNNext.A greasy Mediterranean type steps forward, very smooth. He wears asumptuousfur-collared overcoat. Taking off his bowler, he tips his hat to LOHMANNobsequiously and presents his papers.ANOTHER THIEF(admiringly)Fancy boy.Another whistles.LOHMANN looks at the papers and gives them back. FANCY BOY raises his hatagain and prepares to leave. We TRACK with him. Suddenly LOHMANN, usingthe

handle of his walking stick, snags FANCY BOYs arm and pulls him back tothetable.FANCY BOY(astonished)Whats the matter?A THIEFPop Lohmann has got him.SEVERAL VOICESHes got him.LOHMANN grabs a newspaper jutting out of the pocket of FANCY BOYS furcoat,unfolds it, and looks it over:INSERT - the front page of the newspaper dated 21st November, 1930. An

illustrated article, circled in pencil, reads: Unsolved burglary at afurriers shop.LOHMANN puts down the paper.LOHMANNWell ... I think I had better take you down toheadquarters.FANCY BOY(horrified)But, after all, my ... my papers are in order.While he protests, his papers are taken from him.LOHMANNNext.Next in line is a LITTLE FAT MAN, cheerful and very friendly.

LITTLE FAT MAN(off FANCY BOY)No luck, huh?The LITTLE FAT MAN comes up to LOHMANN and clumsily takes off his hat.LOHMANNNext.(holds out his hand)Papers.LITTLE FAT MAN(in a friendly tone)

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I havent got any.LOHMANNAlex.LITTLE FAT MAN(shrugs his shoulders)No luck.LITTLE FAT MAN leaves.

LOHMANNNext ... come on, lets keep it going.Two policemen search a corner of the room. They look under the tables,tip upthe chairs and go through the pockets of the coats in the cloakroom. Onefinds a revolver, then a leather briefcase. INSERT of the briefcase as itisopened: inside, a complete housebreaking kit.Things that have been confiscated are piled up, a jimmy, a saw, revolverbullets, etc. A hand adds the empty briefcase to the pile. The LANDLADYstands behind her bar talking to a SERGEANT, who takes out a cigarette.LANDLADYThis is ruining our business, Sergeant ...

Every night theres interference. No one canhave ten minutes in peace anymore. Give us achance!She goes to the back of the bar and pours herself a drink. The SERGEANTlights his cigarette at a gas lamp.SERGEANTIts no joke for us either, out every night.LANDLADYOf course ... but youre drivin away myclientele ... And the guy youre looking forisnt here.(she drinks)You cant imagine how mad everyone is aboutthis guy whos causing a raid every night.

Especially the girls ... okay, they walk the streets ... but, believe me,every one is a a little mother at heart.The SERGEANT tries to keep a straight face as he leans on the bar,surroundedby clouds of cigarette smoke.LANDLADYI know plenty of crooks who get kinda tenderwhen they see kids playing. If they catch thatbastard ...(makes a short, sharp gesture)... theyll wring his neck. Believe me.Another policeman comes up and salutes the SERGEANT.POLICEMAN

Ready to go, Sergeant?The SERGEANT touches the peak of his cap and leaves with the policeman.SERGEANT(to the LANDLADY)Good night.The LANDLADY watches them leave with a gesture of disgust.CUT TO:INT. THE UNDERWORLD MEETING ROOM - NIGHTA man in plus-fours stands by the window of a comfortably furnishedmiddle-

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class room; he looks at the street through binoculars. He is a PICK-POCKET.In the street, two police vans drive past, full of crooks. LOHMANNfollows inan open car.The PICK-POCKET still looks through his binoculars.PICK-POCKET

So, its The Crocodile tonight.(lowers the binoculars)Two trucks full again.He turns around. On the sofa, smoking a cigarette, sits a tall, thin CON-MAN,dressed impeccably but a little pretentiously. He wears a dark jacket, awaistcoat and light trousers, and has a thin moustache. Lounging besidehim,a BURGLAR, tough but not very bright, also smoking. The CON-MAN gets upimpatiently.CON-MANWhats keeping Schrnker?A moustached SAFE-BREAKER sits at the table in the center of the room,

doctoring playing cards.SAFE-BREAKERIsnt it three oclock yet?PICK-POCKETIll find out.He puts down the binoculars and walks from the window to the telephone inthemiddle of the room. He dials a number.PICK-POCKETHello ... The exact time, please, Miss.(sits at the table)Two minutes to three. Thank you.He hangs up and, from various pockets, takes out a series of watches. Hecompares the time they show and places them on the table. The CON-MAN has

satdown beside him and does card tricks.PICK-POCKET(setting one of the watches)Two minutes to three.CON-MAN(disgusted)There are more police on the streets thanwhores.The BURGLAR sits in an armchair, a bag under his arm. In front of him, asmall low table, with an ashtray on it overflowing with butts.BURGLARWherever you spit ... nothing but cops.

The SAFE-BREAKER, chewing on his cigarette holder, comes up to the table.Hewears a white waistcoat and a white bow-tie. A 1900-style chandelierhangsabove everyone.PICK-POCKETEven when youre with a doll, they dont leaveyou in peace ... And theyve gone nuts too ...All they can think about is that murderer ...(to the SAFE-BREAKER)

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... Mine ... shes got a little six-year oldgirl, and, every night, I have to waste timesearching under the bed and in the cupboards tomake sure the murderer isnt hiding there.The CON-MAN spreads three cards out on the table. The SAFE-BREAKERindicatesa card with the look of an expert. The CON-MAN turns it up: an ace. The

PICK-POCKET takes out a handkerchief and spreads it out beside the watches.PICK-POCKETYou cant even get on with your job. Everywhereyou come across the police. Theres no privacyany more ... Im fed up.The SAFE-BREAKER walks around the table, looking at the time as hepasses.CON-MAN(bored)What else is new?He puts the cards in his pocket. The PICK-POCKET arranges his watches inthe

handkerchief and slips them into his pocket. The SAFE-BREAKER sits downagain.CON-MANWhats keeping Schrnker?PICK-POCKETMaybe hes been caught.BURGLAR(laughing)Not him.(rejoins the others)He did a bank job in London and Scotland Yardset a trap for him ... there he was, hands up,back to the wall, millions of cops all round... and two seconds later there were two bodies

on the ground and hed beat it!The BURGLAR has sat down, his bag on his knee. The SAFE-BREAKER lightsanother cigarette from the stub of the first.SAFE-BREAKER(with respect)The best man between Berlin and San Francisco.BURGLARTheyve been looking for him for six years andthey havent caught him.PICK-POCKETHavent caught him ... But dogs can killwolves.SAFE-BREAKER

Shut up.The PICK-POCKET tries to calm the SAFE-BREAKER. They are all nervous andworried, and smoke heavily. The CON-MAN looks at the time again.CON-MANThe suspense is killing. Hes usually right ontimeOn these last words, the door bell RINGS four times. Relieved, they lookatone another.PICK-POCKET

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Thank God!BURGLARAt last!The door opens. SCHRNKER appears in leather overcoat, bowler hat andcarrying a walking stick. He immediately shuts the door, but doesnt comeinto the room.ALL

Good afternoon ... Youve got here at last.Good afternoon.SCHRNKERAre you mad? Close the curtains.At the window, the curtains are half-drawn. [Next to it is the tablewherethe SAFE-BREAKER is sitting. The PICK-POCKET creeps along the wall to thewindow to avoid being seen from the street.] The PICK-POCKET returns tohisplace at the table in the middle of the room. SCHRNKER, at the centraltable, has taken off his overcoat to reveal a chalk-stripe suit, dark tieandblack leather gloves. He removes his hat, putting it on the table with

hiscurved-handled walking stick (very similar to Lohmanns).SCHRNKERGentlemen, the meeting can now begin.He sits down to preside over the meeting.SCHRNKERAccording to the regulations, I confirm withpleasure that the leadership of everyorganization in our Union is represented.He grasps his stick.SCHRNKERI assume that you all have full powers ...The SAFE-BREAKER nods. The PICK-POCKET, who is cracking a nut, nods too.The

CON-MAN, while lighting a cigarette, also nods. Finally, the BURGLAR,stillbent over the bag, also gives his assent.SCHRNKER... authorizing you to vote for your members.Good ... lets not be held up by procedure.We all know why we are here.(vehemently)Someone who is not a member of the Union isthreatening our rackets. The new measures takenby the police, the daily raids in our areas tofind this child murderer, interfere with ourbusiness activities in an unbearable way.

We can put up no longer with the endlesspressure from the police, in every hotel, caf,or flat.SAFE-BREAKERThats for sure.PICK-POCKETMm hmm!SCHRNKERThis state of affairs must not be allowed tocontinue. Well have to put things right again

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or well be destroyed.The BURGLAR stubs out his cigarette. As SCHRNKER continues to talk, theBURGLAR takes out another cigarette and strikes a match. Now and againSCHRNKERS gloved hand, playing with his stick, passes across frame.SCHRNKER (o.s.)The funds of our organization are exhausted.Unless I make use of the funds put aside to

support the wives of our colleagues who arebeing looked after by the state, I just dontknow where Ill find the funds needed for thepreparation and execution of our variousprojects. What is more, our reputation issuffering. The cops are looking for themurderer in our ranks, gentlemen ... When Icome up against a cop while carrying on mybusiness, he knows the risk he runs ... and Ido, as well. If one of us dies ... okay ...thats a risk one must take. It can happen:but we are not on the same level as this mantheyre looking for now.

SCHRNKER underlines these last words with a wide gesture.SAFE-BREAKERExactly.SCHRNKERThere is a chasm between him and us.BURGLAROf course.PICK-POCKET(at the same time)No comparison.SCHRNKERWere doing our job because we have a living tomake. But this monster has no right to live. Hemust DIS - APP - EAR. He must be exterminated,

without pity ... without scruples. Gentlemen,our members must be able to carry on theirbusiness normally, without being handicapped by the growing nervousnessof the police. Im appealing to you ...With a gesture, he invites comments; on the gesture, we CUT TOINT. THE OFFICE OF THE CHIEF OF POLICE - NIGHTThe CHIEF continues SCHRNKERS same gesture. A meeting is also inprogressat his office. Policemen and high-ranking detective inspectors aresittingat a long conference table, littered with brandy glasses and coffee cups.Cigar-smoke fills the air. The CHIEF stands at the head of the table andfinishes SCHRNKERS line:

CHIEF OF POLICE... for advice.He sits down and a police OFFICER rises. Beside him, a bespectacled maninplainclothes listens attentively.THE OFFICER(in a military tone)I suggest a closer watch on I.D. cards, asystematic search of the the whole city,police raids...

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The bespectacled man looks dubious.THE OFFICER... more numerous raids, and certainly tougherones.He sits down. We now CUT BACK AND FORTH between the meetings of thepoliceand the underworld.

AT THE UNDERWORLD MEETING......the CON-MAN gets up.CON-MANSpies ... We need spies in the ranks of thepolice to give us plenty of warning of newmeasures.BURGLARThe girlsve got to take a little more noticeof the cops. Were always getting into troublebecause one of the girls has snitched to hercop boyfriend.The PICK-POCKET agrees; the CON-MAN sits down satisfied.BURGLAR

Now, its up to the girls to snitch for us!The SAFE-BREAKER rises.SAFE-BREAKERWhat we must do ... And after all, weve allgot contacts ... What we must do is make astatement to the Press ourselves, tell themthat we, the Organization, members of the Union we condemn the bastard just as much! Weought to make it known that the police shouldquit looking for him in the underworld.AT THE POLICE MEETING...... an elderly bespectacled detective, with a small beard and a stiffcollar,speaks. Another detective sits on his right; on his left, a police

officerwith a monocle.ELDERLY DETECTIVEIm sure its a man who looks like a peacefullittle family man, who wouldnt harm a fly,except when he has his fits, of course!LOHMANN listens with interest.ELDERLY DETECTIVEPerhaps in his normal state, he even playsmarbles with the concierges children.LOHMANN nods agreement.ELDERLY DETECTIVEOr perhaps plays cards with his wife. Without

this appearance of, lets say inoffensivenessin private life, it would be impossible tobelieve that murderers like Grossmann orHaarmann were able to live for years in large,busy blocks of flats without their neighborssuspecting them in the slightest.An OFFICER with a moustache, smoking a pipe, agrees; beside him a plain-clothes man takes notes.THE OFFICERThats what we must get across to the public.

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They must help.LOHMANN, clearly annoyed, rises to his feet.LOHMANNDont talk to me about help from the generalpublic. It disgusts me just to hear them talk.He bows towards the CHIEF OF POLICE.LOHMANN

Sorry, Chief ...The CHIEF, smiling, makes a gesture accepting the apology.LOHMANNSorry, but that is the truth. Good God! Hashelp from the public brought us one usefulclue?Furiously, he stubs out his cigar.LOHMANNJust a pile of letters full of the mostincredible accusations!Two INSPECTORS at the end of the table concur.FIRST INSPECTORHow true.

LOHMANNCalls to the police as soon as a garbageman steps on their lawn.SECOND INSPECTORExactly.LOHMANNBut when we want really accurate information ...they cant remember anything, theyve seennothing. Thats help from the public for you.CHIEF OF POLICE(smiling)I think you exaggerate a little, Lohmann.AT THE UNDERWORLD MEETING......great clouds of smoke drift over the table. All present are deep in

thought. The PICK-POCKET breaks the silence.PICK-POCKETIve got an idea! Theres a magician, no, atele ... telepa ... or is it radiologist?Anyway, I dont know what you call them ...one of those guys who finds handkerchiefs andwallets that have been hidden...The BURGLAR turns away skeptically.AT THE POLICE MEETING...... also full of smoke, a uniformed OFFICER speaks.OFFICERI also think the reward isnt high enough.His neighbor, an INSPECTOR, gestures in disagreement and gets up.

OFFICERChief ... we must offer a real fortune forcatching the murderer.The INSPECTOR, standing, pushes his chair up to the table.INSPECTOR(irritably, as he leaves)None of this is getting us anywhere.AT THE UNDERWORLD MEETING......clouds of cigarette smoke hang around the fringed lampshade.SAFE-BREAKER

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That wont do any good.CON-MANWell, what do you suggest?The BURGLAR gets up, moves behind his armchair and leans on the back ofit.BURGLARWell, we cant just wait until the police make

up their minds to arrest this guy.AT THE POLICE MEETING...An INSPECTOR with long disorderly white hair leans over the back of hischairtowards the CHIEF OF POLICE, continuing the movement of the BURGLAR. ThePOLICEMAN with the monocle sits on his left; on his right in theforeground,another INSPECTOR sits.THE INSPECTORThe difficulty of solving this type of crimeis increased by the fact that the wrongdoer andthe victim are only connected by a chancemeeting. An instantaneous impulse is the

killers only motive.THE CHIEF(impressed)Hmm... Hmm...THE INSPECTORWe find the victim; we identify her; we findout when she was last seen ... And then, andthen, nothing more. The children disappear.AT THE UNDERWORLD MEETING......the SAFE-BREAKER stands. In the background, the rest sit round thetable.The BURGLAR perches on the back of his chair.SAFE-BREAKERThe police have been looking for this murderer

for eight months now. Now its got to the pointwhere theyll only catch him by luck.BURGLARWe cant wait for that ...CON-MANWell be ruined before then.SAFE-BREAKERWhat are we going to do then?HIGH ANGLE - THE POLICE MEETINGThe room is misty with thick clouds of smoke. The meeting has come to afullstop and some of the officers have got up and are pacing around the room.HIGH ANGLE - THE UNDERWORLD MEETING

The PICK-POCKET has made a huge question mark with the shells of his nutsonthe table. The SAFE-BREAKER and the BURGLAR both pace restlessly up anddown.HIGH ANGLE - THE POLICE MEETINGMost people have left their places and are wandering around the room.HIGH ANGLE - THE UNDERWORLD MEETINGOnly the PICK-POCKET and SCHRNKER sit. The CON-MAN stands by the table,andthe SAFE-BREAKER has moved into the background by the window. SCHRNKER

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slowly lifts his bowed head and, finally, deliberately, breaks thesilence.SCHRNKER(decisively)Well have to catch him ourselves.Astonished, the others slowly gather round him.SCHRNKER

Yes ... we must. This is what we must do...THE POLICE MEETINGAbandoned chairs around the conference tablemost of the delegates wanderup and down. But gradually their attention is drawn to what LOHMANN issayingand one or two nod their heads in agreement.LOHMANNTheres still one possible way. The guilty manor the possible suspects must already have arecord somewhere. Such a person, deeplydisturbed, must already have fallen foul of thelaw. Weve got to contact every clinic, everyprison, every lunatic asylum.

Noise of general agreement.LOHMANNWell have to make enquiries about everyone whohas been freed as harmless but who has thesame pathological condition as the killer.THE UNDERWORLD MEETING...The crooks look down at a map spread across a map of Berlin.SCHRNKEREvery square yard must be permanently watched.From now on no child must take a step withoutus being warned.CLOSE - SCHRNKERS BLACK-GLOVED HAND... placed over the map.CON-MAN (o.s.)

Okay, but how do we do it?SAFE-BREAKER (o.s.)Yes ... how?SCHRNKER (o.s.)There must be people ...WIDER - The shadow of the group is silhouetted on the wall, SCHRNKERSshadow in the center.SCHRNKER (o.s.)... who can go anywhere without being noticed... who can follow anyone on the streetswithout arousing suspicion ... who can followthe children right to their front doors withoutanytrouble. In fact, people no one would

suspect of being guilty.THE OTHERS (o.s.)But who? ... Who? People like that dont exist... Who could do it? ... Who? ... Who?SCHRNKER pauses and then rises so that his shadow on the wall swells up.SCHRNKER (o.s.)The beggars. The beggars union.CUT TO:INT. THE BEGGARS MARKET - DAY

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A notice reads: NO MORE CREDIT. We PAN OFF this and TRACK TO a tablewheretwo beggars lay out bits of bread and slices of sausage. We TRACK to aCLOSESHOT of their hands with the bread and sausage.1ST BEGGAR (o.s.)Sausage going up.

2ND BEGGAR (o.s.)God, this cheese smells good.PAN TO another table where a game of cards is in progress. Only theplayershands and the cards are visible.3RD BEGGAR (o.s.)That finishes you.PAN UP TO show a grizzled tramp, who has brought in a caged live chicken.Hefinishes a glass of wine, toasting his chicken. We TRACK past a grille infront of a cloakroom to find another tramp, snoring. Beside him, twootherstake the fillings out of sandwiches.

4TH

BEGGARStop snoring! Youll wake the lice.We TRACK TO the counter where the fat BOSS OF THE BEGGARS MARKET takes asteaming sausage out of a pot and takes a bite. Then he counts a packetofsandwiches a tramp has brought him.THE BOSS(counting)Two, four, six, eight, ten, twelve, fourteen, sixteen, eighteen, twenty,twenty-two, twenty-four, twenty-six ...As he continues, we MOVE towards a huge blackboard fixed to the wallbehindhim. On it is written: PRICES FOR THE EVENING OF THE 16th, and then alist

of every sort of sandwich, classified according to filling and thequality ofthe bread. The BOSS gets up on a stool and alters certain prices,murmuringto himself.THE BOSSSandwiches: Friday, bad day for cold meat ...No go.His voice continues, as we PAN UP to the floor above and PUSH THROUGH awindow to a strange sort of office. A vultures skeleton is on the leftinthe foreground. At the back of the room, beggars form a queue. We MOVEtowards the office where two men from the Beggars Union are working. One

studies a map of the town, the other writes names into a huge register.1ST MANNow we must deal with the back yards.2ND MANYes, from number one to number forty-eight.We MOVE towards SCHRNKER who leans against the wall watching the work.PANTO a door with a glass panel on which can be read: ACCOUNTS. Please giveyour name to the outside office.In the corridor, as in the office, beggars wait behind a small barrier.

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2ND MAN (o.s.)Next.The barrier is briefly raised and a beggar enters the office, taking offhiscap. Another beggar stands in front of the TWO MEN who give him a smallslipof paper. The 2ND MAN keeps a carbon copy of it.

2ND MANYou are responsible for the courtyards of everyblock of flats from 1 to 81 High Street.BEGGARRight.The BEGGAR goes out. Another comes up.2ND MANNext.INSERT - a street map marked with the places where the children havedisappeared or been murdered.CLOSE - the 1ST MANs pencil follows one of the streets.1ST MAN (o.s.)89 to 196 High Street ... Okay?

WIDER ANGLE - OFFICEOne tramp stands before the TWO MEN and two more tramps join him. The 2ND

MANnotes down the first ones particulars.2ND MAN(writing)89 to 196 High Street ... Whats your unionnumber?TRAMP(after some thought)Three, seven, ninety-five. Emil Dustermannn...CLOSE - a hand writing the name and number in the register.2ND MANThree ... seven ... ninety-five ... Emil

Dustermann ...The hand tears a slip from the register.WIDER ANGLE - the line of BEGGARS with DUSTERMANN in the foreground: hehas awooden leg and leans on a stick.2ND MANThere you are, Emil.He gives him the paper.2ND MANMaybe, youll win the fifteen thousand.DUSTERMANNMaybe I will.(taps his leg)

Knock wood.ANOTHER ANGLE - ANOTHER PART OF THE MARKETAn assorted collection of second-hand goods and junk is on display. Aline ofmetal grilles form a cash desk, and there are violins and accordionsspreadout on a long table. In the background there are several barrel organs,andon a shelf a stack of old shoes and boots. A constant murmur of voices

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reaches us from other parts of the market. The junk dealer demonstratesoneof the barrel organs to a beggar, but it is very out of key and onlyplays afew screeching NOTES.The BLIND BEGGARthe one who sold the doll-like balloon to the MURDERERsits at a nearby table drinking a beer, balloons floating above him.

Puttingdown his glass, he covers his ears to blot out the screeching.Immediately,the excruciating noise from the barrel organ stops; but as he lowers hishands, it starts up again. After a moment, another organ starts to play acharming polka. The BLIND BEGGAR lowers his hands and is delighted. Hebegins to conduct an imaginary orchestra. The music continues over as weCUT TO:EXT. THE COURTYARD OF A TENEMENT BLOCK - DAYHIGH ANGLE - Early evening. The setting sun casts long shadows acrossthetarmac. In the gloom, a few children stand in twos and threes watching aBEGGAR playing a barrel organ. Coins are thrown from windows above.

CLOSER - the barrel organ.The music stops and the last coin rolls along the ground.BEGGAR (o.s.)Thank you, ladies and gentlemen, thank you.CUT TO:EXT. BEGGARS MONTAGE - DAYThe next day.SIDEWALK - The legs of a ANOTHER BEGGAR, seated on the curb, his hatupturnedbeside him. A man and a little girl pass but only their legs are visible.Thelittle girl throws a coin into the hat.BEGGARThank you.

CLOSE - the BEGGAR wears dark glasses and a notice round his neck sayingBLIND. A German sheepdog sits beside him.The two shadows of the passers-by draw away. The BEGGAR lifts his glassestotake a sly look after them and, on cue, the dog comically turns its headinthe same direction. From the BEGGARS POV, we see the man and the littlegirlwalking off arm-in-arm.We TRACK with them, past a poster advertising West-front 1918. The mangoeswith the little girl as far as the entrance to a SCHOOL. He kisses herand

leaves here there. Beside the school entrance, another BEGGAR, with twowhitepigeons, is on the look-out.SWEET SHOPTwo little girls looking into the shop window. EMIL DUSTERMANN standsbesideit, keeping watch.TOY SHOPIn the shop window, a windmill and other mechanical toys are turning. Two

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children stop to watch while their nurse runs into a friend and walksoff,unconsciously abandoning the kids. Other children join the first two atthewindow. A legless beggar, squatting on a little cart, looks on withconcern.The nurse returns and retrieves her kids.

CUT TO:INT. INSPECTOR LOHMANNS OFFICE - DAYLOHMANN sits at his desk, smoking a cigar and reading a letter in histypewriter.INSERT - the letter.When searching their homes, we must above alllook for any clue by which we could establishwhere the murderers letter to the papersoriginated. If there is an old wooden table onwhich the letter could have been written, ifthere is a red pencil or any tiny pieces fromsharpening such a pencil, or writing paper ofthe same type. The inquiries must be made as

discreetly as possible.LOHMANNS hand comes into shot holding a pen. He underlines the wordsoldwooden table and corrects a typing error.LOHMANN(off the typo, muttering)Idiot.He also underlines the words red pencil . A KNOCK on the door.LOHMANNCome in.WIDER ANGLE - OFFICELOHMANN signs the letter. An ASSISTANT comes in and passes him a file.THE ASSISTANTHeres the list of mental patients who have

been let out as cured or harmless in the lastfive years.INSERT - the file as LOHMANN sorts through it. It contains reports fromDr.Golls Psychiatric Institute, from Professor Emil Lebbowitzs privateclinic for mental patients, from The Protestant Hospital of Nazareth,fromThe Elizabeth Clinic. from St. Hedwigs Hospital. etc.ASSISTANT (o.s.)Reports from every institute, private andpublic.LOHMANN picks up another file ...ASSISTANT (o.s.)

And thats a list of their present addresses.LOHMANN opens the file and flicks through it.CUT TO:EXT. LOWER MIDDLE CLASS ROOMING HOUSE - DAYEarly afternoon. The MURDERER, coming out into the street from theroominghouse, moves off to the left. LOHMANNS ASSISTANT immediately appearsfromthe right. He hesitates an instant, then throws down his cigarette andgoes

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in.CUT TO:INT. ROOMING HOUSE - ENTRANCE HALL - DAYINSERT - a name plate above a bell. It reads: ELIZABETH WINKLER.CLOSE - the ASSISTANTS hand ruffles through a notebook full ofaddresses.All except the last three have been crossed out. His finger stops at

HANSBECKERT, c/o E. WINKLER. Gleder St. 15, 2nd Floor.WIDER - The ASSISTANT stands by a door on the landing. He rings and putshisnotebook away. A small frightened old lady named MRS. WINKLER answers thedoor. A large key-ring is fixed to her apron. The ASSISTANT greets her.MRS. WINKLER(very softly)Morning.ASSISTANTDoes a Mr. Beckert live here?MRS. WINKLERWhat?

ASSISTANT(louder)Does Mr. Beckert live here?MRS. WINKLERIm afraid I cant hear you ... Im a bit hardof hearing.ASSISTANT(to one side)As if I couldnt tell.(shouting)Does a Mr. Beckert live here?MRS. WINKLER(a little worried)Oh. Mr. Beckert? Yes... yes, of course. Yes,

Mr. Beckert Lives here. Im afraid he has justgone out.ASSISTANTToo bad ... I wanted to see him.MRS. WINKLER(very softly)Oh yes.She shrugs her shoulders.ASSISTANT(loudly)Im from the Income Tax Office.MRS. WINKLER(startled)

Oh, good God! The tax people! Yes... yes. Wouldyou like ... would you like to wait?She gestures to him to come in. He bows.ASSISTANTYes, thank you.MRS. WINKLERNot at all.The ASSISTANT enters.CUT TO:INT. THE MURDERERS ROOM - DAY

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Moments later, MRS. WINKLER unlocks the door to the room and allows theAssistant to enter.MRS. WINKLERPlease take a seat.The ASSISTANT puts his hat on the round central table and sits down in anarmchair beside it. She goes out. As soon as the door closes, he jumps upto

examine the room, but he hears MRS. WINKLER coming back and only just hastime to sit down again. She hands him a newspaper.MRS. WINKLERPerhaps youd like something to read?ASSISTANT(loudly)Thank you. Youre most kind.MRS. WINKLERNot at all.He takes the paper.INSERT - the front page of the General Anzeiger for 24th November, 1930.WIDER - The ASSISTANT and MRS. WINKLER.ASSISTANT

Tell me, Mrs. Winkler, does Mr. Beckert takethis paper?MRS. WINKLER, already at the door, turns around.MRS. WINKLER(astonished)Mr. Beckert?(laughs)No, he always borrows mine.ASSISTANTAh...(beat)Thank you.MRS. WINKLER nods and leaves the room. As soon as she has closed the dooragain, the ASSISTANT gets up and looks at the table where he put his hat.

Hethrows the hat on the chair and carefully raises the cloth.HIGH ANGLE - the ASSISTANT bends over the table and scratches the woodwithhis fingernails.CUT TO:EXT. STREET - DAYA fruit-sellers barrow, piled high with apples, oranges and bananas.From astrut hang some superb pineapples. The MURDERER stands behind the barrowdolefully eating an apple, at the same time gesturing to the fruit-sellertoput another in the bag being filled for him.

CUT TO:INT. MURDERERS ROOM - DAYHIGH ANGLE - the ASSISTANT finishes his inspection. Disappointed by thenegative search, he slowly replaces the cloth.NEW ANGLES - the ASSISTANT beside the table. Above his head, hangs aTiffany-style glass lampshade, and beyond him a large pottery stove standsagainstthe wall. As the ASSISTANT carefully surveys the room, we PAN across fromthe

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bedside table to the double windows. A bowl of fruit and other foodstuffsarestored in the space between them. We recognize the same wide windowseatwherethe MURDERER wrote his letter to the press. We PAN back to the ASSISTANTagain. He leans over a wicker waste-paper basket from which he extractsan

empty cigarette packet, a publicity hand-out for cigars and a postcard,whichhe lifts up and studies carefully.CUT TO:EXT. STREET - DAYThe MURDERER eats an apple and looks at a window display in a cutlery andsilverware shop. We see him from inside through the glass, his faceframed inthe reflection of a diamond-shaped display of knives. The reflections ofother cutlery form geometric patterns around him. We see the streetbehindhim and his VIEW of the shop window: the knives are arranged around adiamond-shaped mirror on the screen at the back of the window.

The MURDERER munches his apple. Suddenly he stops chewing. Reflected inthemirror he can see a little girl leaning against the railings on the otherside of the street, the image framed with knives. The MURDERER standstransfixed, staring at her. He wipes his mouth with the back of his hand,eyes bulging. The little girl leans nonchalantly on the railings,obviouslywaiting for someone. The MURDERERS arms fall limply to his side, hegaspsfor breath and his eyes close as he sways forward against the shop front.Then the fit subsides and he recovers slightly. Seen in reflection, thelittle girl leaves the railings and goes out of sight. The MURDERERslowlyturns around and follows her with his eyes. He lowers his head and sets

offslowly, whistling the Peer Gynt theme.CUT TO:INT. MURDERERS ROOM - DAYThe ASSISTANT picks up an empty sweet carton from the bedside table,examinesit and makes a note.CUT TO:EXT. STREET - DAYA bookshop window, in which hangs a spinning cardboard circle with anendlessly spiral design near a huge cardboard arrow bobbing quickly upanddown. The little girl stares fascinated by the continual motion, until

sheturns away distracted by something else. Just as the Peer Gynt themebeginsto accompany herWHISTLED piercingly by the MURDERER o.s.the girlwanders on past other shop windows and delightedly flings her arms aroundasmart young woman who approaches her.LITTLE GIRLHello, mummy!The whistling stops abruptly.

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The woman and the little girl walk off, arms around each other. We FOLLOWthem along the pavement as they pass the MURDERER who has ducked into thebookshop doorway, pretending to look at some books displayed there. Helooksaround furtively and eventually steps out into the street to watch themgo,his eyes drooping and his mouth partly open. Behind him the arrow

continuesto fly up and down, its shadow appearing to pierce the revolving spiralatevery descent, as if stabbing at the MURDERERs heart. He puts his handstogether on his chest, nervously scratching them. The MURDERER turns tosee:A NEARBY CAF......with tables outside, screened from the street by a trellis of climbingplants. The MURDERER enters and sits at a table to the left of theentrance,his face just visible in profile through the foliage. A WAITER comes outtoserve him even though the cafs not open yet.

WAITERGood evening ... What would you like?MURDERERCoffee. Sorry.The WAITER starts to withdraw.MURDERER(abruptly)No! ... a vermouth ... No, a brandy.The WAITER bows and withdraws.MURDERER(exhausted)Brandy ... brandy ...We TRACK in towards the foliage. The MURDERER starts to intensely whistlehis

theme, then stops. He takes out a cigarette as the WAITER arrives topour abrandy.WAITERThere you are.The MURDERER drinks the brandy in a gulp.MURDERER(in a broken voice)Another one.The WAITERS hand pours another glass.WAITERThere.The MURDERER swallows the second glass, leans forward and stares fixedly

infront of him. With a mechanical gesture he puts a cigarette in his mouthandimmediately takes it out again. He presses his two bunched fists into hiseyes and starts to whistle again. Then he covers his ears. In thebackgroundthe lights of the caf come on and faintly light up the table. Heimmediatelystops whistling and gets up. We TRACK away from him rapidly.MURDERER

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The bill.WAITER(coming up)Two brandies. One sixty-five please.Coins CLINK on the saucer.WAITERThanks very much.

The MURDERER departs, whistling, his hands in his pockets.CUT TO:INT. INSPECTOR LOHMANNS OFFICE - DAYLOHMANN, an enormous cigar in his hand, sits at his desk thinking. Besidehim, his ASSISTANT makes his report.ASSISTANTNumber 24: Beckert. He does not take theStadtischer Courier. A walnut table with acloth. No red pencil, nor any traces of such apencil. No writing paper. In the wastepaperbasket, a printed advertisement and a coloredpostcard ...LOHMANN thinks; behind him we see a map of the city.

ASSISTANT... of a bunch of flowers, written on it:Regards, Paul. No address of sender. An empty cigarette packet, Aristonbrand. A bag of sweets with the name of a sweet shop ...LOHMANN(interrupts)Wait ... wait a moment.He screws up his eyes and thinks.LOHMANNAriston, did you say? A ... ris ... ton.We TRACK IN on LOHMANNS face. Deep in thought, he writes the name intheair. We TRACK IN closer.LOHMANN

That rings a bell ... Ariston.We TRACK IN even closer. Suddenly, LOHMANN seems to have got it. He grabsthetelephone.LOHMANN(into phone)Hello. I want the file on the Marga Perlmurder. Right away.He hangs up.CUT TO:EXT. BALLOON SELLERS KIOSK - DAYThe BLIND BEGGAR has just sold two balloons to a woman who pays and goesoff.

BLIND BEGGARThank you very much.From far off, we hear the MURDERERS whistling approach. His shadowpasses.The BLIND BEGGAR lifts his head.BLIND BEGGAR(to himself)Thats funny... Ive heard that somewherebefore.We TRACK IN closer.

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BLIND BEGGAR(to himself)It was ... it was ...Some passers-by watch with concern as the BLIND BEGGAR walks forward,awayfrom his kiosk, tapping with his stick. Near some PLANKS, half covering ahole in the road, the BLIND BEGGAR, still holding his balloons, waves to

someoneto the surprise of some passers-by.BLIND BEGGARHey, hey, Henry!HENRY, a young man in a cap, rushes to join him.HENRYWhat is it?HENRY takes the BLIND BEGGARS hand.BLIND BEGGARListen a moment. Theres someone whistling.Cant you hear him?HENRY shakes his head, no. The BLIND BEGGAR turns his face in thedirectionof the whistling. HENRY looks and listens.

BLIND BEGGARThere.HENRY cranes his neck. But the whistling suddenly stops.BLIND BEGGARHes just stopped ... Did you see him, the guywho was whistling?HENRYYes, yes. I can still see him.BLIND BEGGARYes?HENRYSure. Hes talking to a little girl as he walksdown the street with her.BLIND BEGGAR

After him, and dont let him go.HENRYBut why?BLIND BEGGARThe day Elsie Beckmann was killed someonebought a balloon off me. He was with a littlegirl ...HENRY understands and rushes off.BLIND BEGGAR... and the fellow whistled just like that!CUT TO:EXT. THE QUIET STREET - DAYHENRY runs to the end of the roadworks and looks around. The MURDERER is

nowhere in sight. We FOLLOW a concerned HENRY as he enters the quietstreetrunning at a right angle to the previous one. In a basement, agreengrocersshop is lit up. He approaches and looks through the window.HENRYS POV - The MURDERER and the LITTLE GIRL are being served by an oldwoman. She hands them a big paper bag and some sweets for the GIRL, whothanks her as the MURDERER pays.HENRY IN THE STREET - in front of the window; he stands up quickly, then

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hesitates for a moment. Taking one last look through the window, he runsoff.HENRY hides in a corner of the roadworks between a tar boiler and a greatroll of cable. He watches the street.The MURDERER and the LITTLE GIRL come out of the shop. She curtsies andoffers him the bag of fruit. He takes an orange. Anxiously, he looksright

and left, but there is no one in sight. Then he sweeps back his coat andputshis hand into his trouser pocket.CLOSE - he takes out a switchblade knife and flicks it open. The bladeglintsand flashes in the gloom.ANGLE ON HENRY - ready to jump out.CLOSE - the blade peeling an orange.ANGLE ON HENRY - he searches his pockets; he takes out a piece of chalk.CLOSE - the palm of HENRYs left hand on which he draws a large letter M,heavy with chalk dust.ANGLE ON the MURDERER, facing the girl. He finishes peeling his orangeand

throws the peel onto the ground. HENRY walks up, quickly but casually. Asthough by mistake, he knocks against the MURDERER and so gets a chance toslam his left hand against the back of the MURDERERS left shoulder.Terrified, the MURDERER backs away, dropping the knife.HENRY(feigning annoyance)Damn it, are you crazy, throwing your peel onthe ground!HENRY gestures at the peel and walks off.HENRY (o.s.)I might have broken my neck. Unbelievable.CLOSE - the knife on the ground.HENRY (o.s.)I should report you to the police ... Youre a

danger to the public.The LITTLE GIRL bends over and picks up the knife. PULL BACK to a WIDERSHOTas she rises and tries to hand the knife to the MURDERER. But he is stillstaring at HENRY. The LITTLE GIRL gives the still shaken MURDERER alittlenudge.LITTLE GIRLUncle.The MURDERER is startled by the nudge but quickly recovers. He takes herhand, with the knife in it, and presses it to his chest as we CIRCLEAROUNDbehind him, to discoverhigh on his back and unbenownst to hima ragged

letter M outlined in chalk.CUT TO:INT. INSPECTOR LOHMANNS OFFICE - DAYLOHMANN sits at his desk, his ASSISTANT standing beside him. LOHMANNstudiesa dossier, following the lines with his finger. Suddenly he raises hishead.LOHMANNThere ... thats it. They found three cigarettestubs where the crime took placeAristons.

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ASSISTANTYes, the cigarettes are the same, but there isno old wooden table.Nervously, LOHMANN waves away the objection and plunges back into thedossier.ASSISTANT(thoughtfully)

Of course ... he could have written the lettersomewhere else, but ...The ASSISTANTs eyes turn to LOHMANNS office window. He glances at thesill.ASSISTANT(suddenly leaning towards LOHMANN)... Heavens, the windowsill!CUT TO:INT. MURDERERS ROOM - DAYCLOSE - The windowsill. A hand holds a magnifying glass through which weseethe grain of the wood on the sill.WIDER - LOHMANN and his ASSISTANT closely examine the sill. LOHMANN holds

themagnifying glass and we see them in profile.LOHMANNYoure right!ASSISTANT(opening one of the windows)Just a minute!He bends over the gap between the double windows, licks his finger, andpushes the wet finger into the gap. He examines his finger, then turns toshow it to LOHMANN.CLOSE - his dirty finger.ASSISTANTRed pencil shavings!WIDER - LOHMANN and his ASSISTANT stand in front of the window.

LOHMANN(with great satisfaction)Good God ... At last, we are getting somewhere!CUT TO:INT. UNDERWORLD MEETING ROOM - DAYSCHRNKER sits, wearing his bowler. The SAFE-BREAKER is on the telephoneopposite him. The BURGLAR and the PICK-POCKET stand beside him. They allwearovercoats.SAFE-BREAKER(into the phone)Yes... yes ... What?The doorbell RINGS.

SAFE-BREAKER(to the others)Theyre on his trail.CON-MAN(enters and joins the group)Theyve found him?PICK-POCKETThe beggars found him.BURGLARHe was talking to a little girl.

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CON-MANTell me more.PICK-POCKETThey put a mark on him.SAFE-BREAKER(to the others)Cant you be quiet?!

(into the phone)Whats that?CUT TO:INT. TELEPHONE BOOTH - DAYHENRYs on the line.HENRY(into the phone)Theyre following the sign. Theyre notletting him out of their sight for a second.CUT TO:EXT. CITY STREETS - SURVEILLANCE MONTAGE - DAYThe MURDERER walks slowly down a street with the LITTLE GIRL. A passer-bythrows down a cigarette butt. A tramp comes up, accompanied by a

colleaguewith one leg, picks up the stub, and follows the MURDERER.NEW ANGLE - the MURDERER and the LITTLE GIRL, as they reach a columncoveredwith posters. The two BEGGARS follow close behind. The ONE-LEGGED MANdisappears behind the column and a MAN IN A CAP takes his place.DISSOLVE TO:NEW ANGLE - STREETSeen from a half-open door. Behind the door is the outline of a MAN ONWATCH.The MURDERER and the LITTLE GIRL cross the road, followed warily by theMANIN A CAP and his partner. The MAN ON WATCH takes over for the partner.DISSOLVE TO:

ANOTHER ANGLE - the MURDERER and the LITTLE GIRL passing in front of acheapcaf. The two beggars are still following. The MAN IN A CAP taps on thewindow of the caf. Immediately, a man comes out and takes over trailingtheMURDERER.DISSOLVE TO:EXT. TOY SHOP - DAYThe window display of a toy shop, seen from the inside, full of dolls,teddybears, and all kinds of toys. A lot of traffic in the street. TheMURDERERand the LITTLE GIRL stop in front of the window. He talks to her

enthusiastically and she eagerly points out a toy to him. The MURDERERnodshis head.NEW ANGLE - the entrance of the shop from the street. The MURDERER isjustabout to go in when the LITTLE GIRL sees the chalk mark and grabs hissleeve.LITTLE GIRLUncle.MURDERER

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What is it?LITTLE GIRLYoure all dirty.MURDERERWhere?He looks at himself in a mirror beside the doorway.LITTLE GIRL

There, on your shoulder.CLOSE - the MURDERERS reflection in the mirror. He turns and sees the Mreflected. His eyes bulge.CLOSER - the letter M.WIDER - the LITTLE GIRL and the MURDERER together.LITTLE GIRLHere, Ill clean it off...She tries to rub off the letter with her handkerchief. The MURDERERstares atit in the mirror. Suddenly frightened, he turns nervously towards thestreet.MURDERERS POV: a BEGGAR, hiding behind a beer truck.RESUME on the panicking MURDERER and the LITTLE GIRL.

LITTLE GIRL(astonished)Whatevers the matter?MURDERERCome on ... lets go.He takes her hand and is about to leave when he hears someone WHISTLEsharply. Terrified, he lets go of the LITTLE GIRL and runs away.RESUME on the BEGGAR, looking around, distraught. Then he WHISTLESthroughhis fingers.ANOTHER ANGLE - a street corner with a street lamp, with a pawnbrokersshopin the background. The MURDERER runs to the corner, where he startleseasily

at the sound of more shrill WHISTLES.Uncertain, he moves first one way and then the other, before finallydecidingto turn down a side street. We PAN WITH him to reveal a man standingnearby,pressed tensely against the wall of a building, watching the MURDERER. Isheone of the beggars? Or just an innocent bystander? They regard oneanotherfor a long, agonizing moment. Nervously, the MURDERER hesitates amoment, isabout to tip his hat to him, but then walks off briskly. The man watchesthe

MURDERER depart, then, after a long moment, begins to follow him.HIGH ANGLE - the MURDERER in an empty street, trying to shake off hispursuers. He turns sharp left and crosses the road, but at the far endtwobeggars appear. The MURDERER retraces his steps and stops undecided infrontof the covered entrance GATE to a huge block of offices. In theforeground, apursuer blocks the middle of the street.

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GATEWAY - The gate, a geometrical structure, leads to the inner courtyardofan office building. We TRACK rapidly with him as the MURDERER franticallyruns in and hides behind a buttress. Anxiously, he watches the gateway.MURDERERS POV - An open gate on the other side of the courtyard leadingtoanother street. A policeman passes across it.

RESUME on the MURDERER in his hiding-place; he presses back against thewallas the policeman passes in the background.TWO BEGGARS - They appear in the gateway which the MURDERER came through.RESUME on the MURDERER, poking his head out to look at the street.THREE BEGGARS - A third beggar arrives and join the other two. They takestock of the situation. The FIRST BEGGAR gives a signal and the twoothers gooff right and left to circle the building. The siren of a fire engineBLARESin the distance.WIDE ANGLE - From the street we see the gateway where the MURDERER, atiny

figure, hides behind a pillar. Two fire engines ROAR past, sirens BLARINGandlights flashingand blocking the remaining beggars view. By the time thefire engines have passed, the MURDERER has disappeared. The FIRST BEGGARquickly crosses the road and goes through the gateway arch, searchingvainlyfor the MURDERER. The two other BEGGARS return and join him in thecourtyard.THE THREE BEGGARS - They confer.2ND BEGGARAnyway, he hasnt come out. We would have seenhim.3RD BEGGARImpossible.

1ST BEGGARHe must be in the courtyard, then. He didntcome out this way either.2ND BEGGARHe must be somewhere.The BEGGARS peer around.BEGGARS POV - PAN ALONG the face of the office building. The sun is nowverylow and the windows are lighted.1ST BEGGAR (o.s.)Maybe hes gone to hide inside the building.A clock STRIKES six oclock.2ND BEGGAR

Hell! The offices will be closing.1ST BEGGARAs long as he doesnt get out with all thepeople coming out.The 2ND BEGGAR rushes off to look through the other gateway.2ND BEGGAR(coming back)Hell! Here come the first ones already.1ST BEGGARLets go out into the street.

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He starts to rush off. Office workers begin to exit the building.1ST BEGGARKeep a sharp look out.The other two run towards the other entrance as the office workers startstreaming out, some riding bicycles. The 2ND BEGGAR, pretending to sellmatches, watches them carefully.VARIOUS VOICES

Excuse me, I just want to light my cigarette... My holidays start tomorrow ... First Imgoing to Konigsberg ... With my ulcer, I canteat things like that ... The boss came and sawme today...In the foreground, a car passes, HOOTING.CUT TO:INT. THE MURDERERS ROOM - NIGHTLOHMANNS ASSISTANT sits on the windowsill. Two other plainclothesmen sitinthe foreground.ASSISTANTPut out the light, otherwise hell suspect

something when he gets back.A PLAINCLOTHES MAN rises and switches the light off, the ASSISTANT looksoutof the window.PLAINCLOTHES MANWhats the time?ASSISTANT(checks his watch)Nearly six-thirty.CUT TO:EXT. OFFICE BUILDING - NIGHTA uniformed watchman finishes closing and locking the imposing securitygatethat goes right across the gateway entrance. He greets a passing

policemanand goes back into the building. We HOLD on the empty courtyard for abeator two. Where is the murderer?CUT TO:INT. TELEPHONE BOOTH - NIGHTThe 1ST BEGGAR talks to the underworld bosses.1ST BEGGARHe must still be in the building. Anyway, hedidnt come out with the others.CUT TO:INT. THE UNDERWORLD MEETING ROOM - NIGHTThe SAFE-BREAKER, a cigarette-holder in his mouth, is on the telephone in

thecrooks MEETING ROOM. Standing beside him, SCHRNKER, still wearingovercoatand bowler, plays with his stick.SAFE-BREAKER(into the phone)Okay ... yes ... yes ... no, just a moment.He covers the mouthpiece with his hand and turns to SCHRNKER.SAFE-BREAKERThe beggars have gone for reinforcements to

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search the whole area. They say the murderer muststill be in the building.SCHRNKERHmm ...(thoughtful pause)What kind of building is it?SAFE-BREAKER

(into the phone)What kind of building is it?CUT TO:INT. TELEPHONE BOOTH - NIGHTBEGGAR(into the phone)Nothing but offices. I dont know whats in thecellar. Theres a branch of the Savings Bank onthe ground floor, and from the first to thefifth, nothing but offices, and above that,lofts.CUT TO:INT. OFFICE BUILDING - THE TOP FLOOR - NIGHT

Over bannisters on a top floor landing, we see the half-open door of anatticloft. To the right of the door is the NIGHT WATCHMANS time-switch. TheWATCHMAN comes up and stops, astonished, in front of the door.WATCHMAN(to himself)Look at that. Its not possible.We TRACK WITH him as he pushes open the door and looks into the attic.WATCHMAN(shouting)Anyone there?He turns on the light and enters.VARIOUS ANGLES - In the attic. The WATCHMAN walks down a corridor.WATCHMAN

Hello! Hello! Hello!In the foreground, various compartments, all filled with a jumble of oldfurniture and bric-a-brac, cut off from the passage by fence-likepartitions.The WATCHMAN passes behind them. We TRACK WITH him past severalcompartments.WATCHMANAnyone there?He checks one of the doors by shaking it to see whether it is firmlyclosed.He goes to the next one, where he does the same.NEW ANGLE - In the gloom of the attic, we can just make out the MURDERER,hiding in a corner. We hear the disappearing FOOTSTEPS of the WATCHMAN

andthe rattle of doors.WATCHMAN(o.s., quietly, to himself)Whatever next!?(shouting again)Anyone there?RESUME on the WATCHMAN seen through the fence-like partitions. He shakesadoor, looks once more along the corridor, then turns away.

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WATCHMANBah! Damn carelessness ... All that trouble forone door.He goes out.RESUME on the MURDERER as the attic light goes out. He stands up,tremendously relieved. We hear the door that leads out onto the landingclose and a key turn in the lock. The MURDERER stands alert, breathing

heavily, realizing hes trapped.CUT TO:INT. UNDERWORLD MEETING ROOM - NIGHTSCHRNKER, the PICK-POCKET, the CON-MAN, the BURGLAR and the SAFE-BREAKERaregrouped around the table. SCHRNKER, standing, looks down superciliously,holding his cane handle down on the table. The SAFE-BREAKER is on thetelephone.SAFE-BREAKER(into the phone)Yes ...ah! Good.He covers the receiver and turns to the others.SAFE-BREAKER

It looks as if the guy is really cornered now.I think wed better tell the police straightaway.CON-MANI agree.The BURGLAR and the PICK-POCKET also agree. The SAFE-BREAKER starts totalkinto the telephone again.SAFE-BREAKER(into the phone)Now then, listen carefully ...SCHRNKER violently grabs the receiver from him.SCHRNKER(into the phone)

Hello. Just a moment ... What? ... Okay ... andcall me back.He hangs up.SAFE-BREAKERWhat is it? Whats got into you?SCHRNKER(grimly)Are you mad or something?SAFE-BREAKERWhy?SCHRNKERThe police? No ... were going to get the guyourselves ... Listen ... now, the time is ...

Clumsily, everyone fumbles for a watch.CON-MANEight oclock.SCHRNKERGood ... Then, at ... nine ... ten ... elevenoclock... !CUT TO:EXT. OFFICE BUILDING - GATEWAY - NIGHTThe gateway of the office block. From the street outside, we can seethrough

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the sliding gates across the courtyard to the lighted windows of theWATCHMENS OFFICE. Somewhere a clock STRIKES eleven, as a uniformedpolicemanwalks up to the gates and stops. He RINGS the bell. One of the watchmencomesout into the courtyard.WATCHMANS POV reveals the empty street through the gates and the

policemansaluting behind them.POLICEMANGood evening. Did you know your gates ...CLOSE - THE GATE...it is locked tight.POLICEMAN... werent closed?WATCHMAN (o.s.)What? But thats impossible...He comes forward, but only his hands holding a lamp are visible.WATCHMAN (o.s.)Ive only just ...

CLOSE - WATCHMANS HAND - shaking the gate.WATCHMAN (o.s.)... But it is ...He stops suddenly. We PAN to his shocked face.SMASH CUT - the POLICEMANS gloved hand points a revolver through theironwork.POLICEMAN (o.s.)Open up and no noise!CLOSE - THE WATCHMAN - stunned, behind the gate.REVERSE SHOT - THE POLICEMAN - who turns out to be SCHRNKER in disguise.Hepoints two revolvers.SCHRNKERAre you going to open up, then?

(a pause; then, brutally)Come on ... get it open!The WATCHMAN slides back the gate. SCHRNKER goes through and with thebarrelof one of his guns pushes the WATCHMAN towards his office. The gate staysopen.SCHRNKERGet a move on!ANGLE ON THE GATE - which has been pushed open just wide enough to letoneperson through at a time. The key ring swaying from the key in the lockofthe gate. O.s. SCHRNKER whistles a few bars of the song, Be faithful

andhonest. Someone else echoes his whistling.The SAFE-BREAKER appears and signals to a group of colleagues to followhim.They pass through the gate, loaded with bags and suitcases. They allgatherin front of ...THE WATCHMENS OFFICE. Over the heads of the whole group, through theglasspartition and half-open door, we see the WATCHMAN sitting terrified on a

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chair with SCHRNKER and the CON-MAN standing over him.SCHRNKERHow many other watchmen are there in thebuilding?The WATCHMAN does not move.SCHRNKEROkay then, so you dont want to answer, huh?

The WATCHMAN shakes his head. The CON-MAN grabs him by the waistcoat.SCHRNKER(ironically)Okay, then. Okay.He shuts the door from the inside. Through the glass panes of the door,wesee SCHRNKER saying something to the WATCHMAN who still refuses toreply. Ata sign from SCHRNKER, the CON-MAN reaches over the seated WATCHMANSshoulders and pulls back the WATCHMANS arms. The crowd of crooks pressforward to watch the torture through the glass, thus partially blockingourview. After a seconds silence, there is a sharp SCREAM. SCHRNKER opens

thedoor and speaks to the crooks standing outside.SCHRNKER(matter-of-fact)Two more watchmen, guys.CUT TO:INT. OFFICE BUILDING - NIGHTHALLWAY - One of the other watchmen comes through and resets a timeswitch onthe wall and then moves on out of sight.THE ATTIC - where the MURDERER, seen through the slatted partitions,tries toforce the lock of the main attic door with his knife. He swears in a lowvoice.

CLOSE - the lock over the MURDERERS shoulder. He removes one of thescrewsaround the lock and rattles the lock furiouslybut it wont