TITLE: 'Cesare ...'
Jane shrieks again and raises her hands to her face. Francis shakes his head
negatively, almost pityingly, as he looks up into her terror stricken face.
Jane nods her head again, very certain she is correct about her attacker's
identity. Francis, a worried expression on his face, rises to his feet and
joins Jane's father standing behind his daughter's chair. He takes the
doctor's hand and places it emphatically on his chest.
TITLE: 'It can't have been Cesare. Cesare was asleep
all the time. I have been watching him for
hours.'
Francis emphasizes what he has just said with a firm gesture of his clenched
hand. Jane, for her part, raises both hands and clenches her fists,
absolutely convinced she is right. The doctor bends forward to listen
intently to his daughter. Then he turns to look at Francis, who remains
equally firmly convinced by what he believes to be the evidence of his own
eyes.
The doctor bends down to listen to what Jane has to say. She half-turns her
head to the left and raises it slightly towards her father. Iris out.
Back at the police-station; two policemen sit one on either side of the
central table. Francis dashes in from the left and stops in front of the
table, turning to the policeman at left with an excited movement. The
policeman climbs down from his stool, as does his companion. All three men
turn towards camera and Francis, now talking excitedly and looking wildly
about him, emphasizes his words with downward strokes of his right hand. He
is beginning to appear tired now, as though recent events are proving too
much for him. He raises his hand to his brow and stares hard at the policeman
on the left before speaking.
TITLE: 'Is the prisoner safely in his cell?'
Francis looks at the one on the left who nods affirmatively, as does his
colleague. Francis looks utterly bewildered.
TITLE.: 'I should like to see him.'
The two policemen confer briefly between themselves, then lead Francis away
between them.
Francis comes down the station stairs followed by the two policemen; the
three exit at left. Iris out.
Iris opens out to reveal an enclosed space with large inverted pyramidal
forms on either side, representing the outside of the jail. A figure '5' is
printed boldly on the form at left. The policemen enter from the shadows at
the rear of the space, followed at a distance by Francis. He follows them as
they walk round the form, beckoning him to come and look at something with
them. The two policemen and Francis in close-up look right. The policemen are
in profile, while Francis has turned away from camera. The policemen's faces,
very solemn, are strongly lit from below; one of them has a sweeping handle-
bar moustache, the other a tiny tooth-brush affair.
The bearded criminal is squatting on the floor of his cell in the center of a
white painted patch in the form of four trapezoids splayed out star-fashion.
Behind him the wall is painted in broad irregular bands of white and black;
there is a distorted window high in the wall behind him. His right leg is
attached by a length of chain with massive links to an irregular block at
left. The criminal raises his head, then slowly lets it sink down on his
chest again. Francis turns from the triangular-shaped peep-hole, through
which he has been looking at the criminal, to look at the policemen. Then he
turns to face camera, his face drawn and worried -- is there nothing stable
or fixed in the world?
Back at Caligari's caravan, Cesare's master is looking anxiously through the
bars of his window. His eyes shift backwards and forwards uneasily as he
anxiously awaits the return of the somnambulist.
Caligari is apparently asleep again in the chair by the open cabinet, in
which the recumbent form of Cesare is still visible. Outside the caravan,
Francis enters from left and goes towards the window, closely followed by
the inspector and two policemen. Caligari can still be seen through the
window sitting beside Cesare's cabinet.
The policemen hesitate briefly in front of the caravan door and the inspector
turns towards his two subordinates. Francis has taken up his old post by the
window. The inspector motions to the two policemen to position themselves on
either side of the caravan, while he raps sharply on the door. Caligari,
fully dressed in hat and coat and carrying his cane, bounces out angrily,
slams the door behind him and looks defiantly at the inspector.
TITLE: 'He must not be disturbed.'
Caligari makes forbidding gestures with his cane, firmly resisting all
attempts to enter his caravan. The inspector steps quickly up from the left
and shoves Caligari roughly inside.
The inspector pushes Caligari to the right of the door which he then opens,
whereupon the two policemen climb up the steps and enter the caravan.
Caligari looks out of the corner of his eyes towards the open door, then he
closes his eyes and allows his head to fall slowly forward. His right hand is
clasped to his chest.
The policemen come out of the caravan and descend the steps carrying the
notorious cabinet between them. They set it down on the ground and the
inspector and Francis start forward expectantly. Caligari rolls his eyes in
panic as he looks downward towards the box. He raises his clenched fist to
his face and draws back.
The two policemen stand back and the inspector quickly bends forward and
opens the lid of the cabinet. None of the men can contain his curiosity and
they all bend over the box to look at the figure of Cesare which lies
revealed. The head of Cesare is seen from below the chin; below the chin is
the high neck of the polo neck sweater.
Francis bends forward to grasp the figure in the box by the shoulders. Behind
him, Caligari, wide-eyed with alarm, raises his hands in horror. He is not so
paralyzed by the situation, however, that he cannot make good his escape
while all the other men are preoccupied with the figure in the box. Francis
pulls the figure up to its full length, then flings it down disgustedly on
the box as he realizes he is holding a dummy.
Caligari appears running up a sloping path across a hillside very similar to
the one on which Cesare collapsed. It is also painted with jagged lines to
represent spearhead grass and there are the same gaunt silhouettes of trees
on the ridge of the hill. Caligari runs up the path to the top of the hill,
where he pauses briefly -- a sinister cloaked and hatted figure silhouetted
against the bright sky -- before disappearing from view over the crest. As he
drops from sight, Francis appears on the path in the foreground and also
dashes up to the crest of the hill before disappearing on the other side in
pursuit of the fugitive.
Caligari appears running over the small hump-backed bridge and down the
tortuous path where Cesare earlier let Jane fall; he sways wildly as he comes
at a strange shuffling run towards camera. The dark figure of Francis
materializes on the crown of the bridge, in hot pursuit. He chases Caligari
out in center foreground.
Caligari runs up from right along another path up a steep hillside. The scene
is very similar to the one in which Caligari has already crossed a hillside,
but the path he follows is broader and there are fewer tree silhouettes on
the crest of the hill. Francis follows Caligari closely up the path, gaining
on him steadily.
Caligari scuttles in at right of a street scene, which is brightly
illuminated from above by street lamps. The walls on either side of the
street disappear into shadow; a poster stands out prominently on one of the
walls. Caligari runs towards a gate at the rear which he opens and through
which he disappears. Francis enters right, pauses by the corner of the wall
to peer round it, then begins to move swiftly towards the gate through which
Caligari has disappeared.
But before Francis reaches the gate his attention is caught by the poster
which is prominently displayed on one of the walls. He stops to read it; we
note that there is a tiny arrow pointing from it towards the gate through
which Caligari has just passed. Francis starts back as he reads what is
written -- LUNATIC ASYLUM.
Francis shrinks back from the poster, then turns towards the gate and opens
it gingerly.
Francis is escorted into a courtyard by a white-jacketed attendant. At the
rear of the courtyard is the light-colored facade of the main building of the
Institution, in which there are three large rounded arches with vaguely
oriental patterns painted round them. About eight feet above these, set in
the wall of the facade, is a row of eight smaller arched openings. The
courtyard itself is painted with alternate rays of light and dark which
spread out from a radial point close to the center of the yard. On the right
of the courtyard a number of deep leather armchairs are set out.
After escorting Francis to the center of the yard, the attendant walks
swiftly to the arch on right of the facade and disappears. Francis remains in
the courtyard gazing inquisitively about him. The attendant returns from the
archway accompanied by a youngish doctor wearing a long white coat. The two
men approach Francis and the doctor remains to talk to him, while the
attendant goes out past the leather armchairs on the right. Francis speaks
excitedly to the young doctor.
TITLE: 'Have you a patient here named Dr. Caligari?'
The doctor shakes his head negatively and Francis becomes more frantic,
moving his hands excitedly to emphasize his words. The young doctor turns and
goes back towards the arch where an older man, gray-haired and also wearing a
long white coat, has appeared. The two doctors confer briefly together, while
Francis remains in foreground, back to camera. The two men walk forward to
join Francis and the older one listens carefully to Francis's story, a
worried expression on his face. Francis, for his part, looks very puzzled and
distressed.
