So it's like when -- you're in New York City and you're in the elevator in an old hotel near Gramercy Park, and the elevator's going down, and then it stops, stuck between floors; you open a trap door in the ceiling and a dead body falls halfway out, and then the lights go out, and you're left in complete pitch darkness, still stuck between floors.
Don't you hate it when that happens?
_______________________________________
CAROL
Oh! Oh, Larry, hold on. I'm scared.
We hear the NOISE of the elevator starting again.
LARRY
We're going down.
CAROL
Oh -- What's happening?
LARRY
We're descending; the elevator is -- descending...
CAROL
Oh -- press up! Press up!
LARRY
Press up? I can't see my hand. How can I press up? Jesus.
CAROL
We must be heading for the basement, Larry.
LARRY
The basement? I want to get off on the mezzanine. I'm returning shoes. It's dark in here.
NOISE of the elevator door opening.
INT. Basement of Hotel Waldron - Night
It is PITCH BLACK.
LARRY
Where are you... I'm getting back on the elevator. I don't care.
CAROL
I don't know where... Larry.
LARRY
I-I can't see anything.
CAROL
There's nothing out there. Wait a minute. What are you doing?
Larry lights a match, and we see his face lit by the flame.
CAROL
Hey, what are you doing with matches?
LARRY
Th-th-these are my matches. I got them at--
CAROL
Wait a minute, what... When were you at the Café des Artistes?
Larry blows out the match.
LARRY
Look. I got... Yeah, I was with an author. An authoress. At-at the.. At...
CAROL
At the Café des Artistes?
LARRY
Yeah, but-- A French, a French authoress. An author.
He lights another match. We very dimly see the basement walls around them.
CAROL
Wait. Sshh! Sshh! Sh!
LARRY
What--
CAROL
Try this way.
MEDIUM FULL SHOT of Carol and Larry walking toward us in a corridor. Besides the light from the match, there is some other dim light coming from somewhere in the basement.
LARRY
I like a basement with -- with knotty pine, and a pool table. You know, where you can...
CAROL
Hey, look, look, look, look. Uh-huh.
The two of them, in a CLOSE SHOT.
LARRY
What? What?
CAROL
What's this?
LARRY
I... No, wait a minute. Not so fast. I don't like it here, it's dank.
The CAMERA TURNS around to follow them in the corridor.
CAROL
All right.
LARRY
And there's strange noises. I don't know what this is. I don't know. This...
A loud, metallic BANG.
LARRY
Hey!
CAROL
Calm down.
LARRY
Calm down? Don't tell me to calm down.
CAROL
There. Turn the light on.
Larry switches the light on. They are in a room with beige walls. There are cans of paint stacked behind Larry.
LARRY
This... Wh-wh... I-I don't -- What do you...
CAROL
Let me see.
Carol tries to open a door, but it is locked.
CAROL
Where... There. Oh. We're locked in here. What are you gonna do?
LARRY
Oh, relax, relax, relax. Don't... I'll break it down. Stand back.
Larry walks back a few steps and rushes at the door, hitting it with his right shoulder and body weight.
CAROL
Careful, now.
LARRY
Don't worry. Just-just give me a second.
He again rushes at the door and hits it.
CAROL
Don't hurt yourself.
LARRY
Must be one of those new doors.
_______________________________
{Manhattan Murder Mystery}
-30-
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