"ROSEMARYS BABY" (1968)

ROSEMARY'S BABY

Panoramic of New York from a high building, finishing on the Bramford.

GUY and ROSEMARY WOODHOUSE enter the main gate of the Bramford.

MR. NICKLAS is a small and dapper man; his fingers missing from both hands.

The elevator doors slide open. They enter.

Rosemary gives him a pleading look; he gives back one of stunned innocence and then makes a leering vampire face at the top of Mr. Nicklas' head.

Oak-paneled, with a shining brass handrail - is run by a uniformed Negro boy, DIEGO, with a locked-in- place smile.

The elevator stops and DIEGO, smiling, chivvies it down, up and down again for a closer alignment.

Dimly lighted, walled and carpeted in dark green. They pass a sculptured green door marked Seven B. A WORKMAN is fitting a peepscope into it. He looks at them and turns back to the cut-out hole.

Mr. Nicklas leads the way to the right and then to the left, through short branches of dark green hall- way. The wallpaper is rubbed away and curling inward in places. One of the bulbs in a cut-glass sconce is dead. The dark green carpet is patched with light green tape. Guy looks at Rosemary and lifts his eye- brows in mock outrage. She looks away and smiles brightly with an I-love-it-everything's-lovely expression.

They reach the door of apartment Seven E.

Mr. Nicklas presses the pearl bell-button (the name L. Gardenia is mounted above it on black plastic)

Mr. Nicklas turns a key in the lock. Despite lost fingers he works the knob and throws the door smartly.

Four rooms divided two and two on either side of a narrow central hallway that extends in a straight line from the front door. The first room on the right is the kitchen. It has a six-burner gas stove with two ovens, a mammoth refrigerator, a monumental sink, dozens of cabinets, a high ceiling and a window on Seventh Avenue. On a chrome table, roped bales of "Fortune" and "Musical America." Opposite the kitchen, another room with windows facing onto a narrow courtyard, which has apparently been used as a combination study and greenhouse. Hundreds of small plants, dying and dead, stand on jerry-built shelves under spirals of unlighted fluorescent tubing; in their midst a roll-top desk spilled over with books and papers.

As they are looking through the apartment, Mr. Nicklas continues:

Rosemary nudges Guy and indicates the desk. She leaves Guy and Mr. Nicklas and goes to it, stepping over a shelf of withered brown fronds. She touches the old wood. It is a handsome desk, broad and gleaming with age. On mauve paper, graceful blue penmanship "...than merely the intriguing pastime I believed it to be. I can no longer associate myself..." Rosemary catches herself snooping and looks up at Mr. Nicklas.

She looks about smiling.

She looks at the closet filled with potted seedlings.

Further along the hall is a guest closet on the left and, on the right, a wide archway opening into the Living Room. Two large bay windows, small fireplace and high oak booksheleves.

She finds Guy's hand and squeezes it.

Mr. Nicklas, standing behind them, turns to the bed- room opposite. Its windows are facing on to the same narrow courtyard as those of the study. The bathroom is beyond the living room; big and full of bulbous white brass-knobbed fixtures.

Mr. Nicklas stops short and looks at a mahogany secretary at the head of the central hallway.

Mr. Nicklas goes closer to the secretary. Guy stands on tiptoe.

She points to a peaked silhouette left ghost-like on the wall near the bedroom door, and the deep prints of four ball feet in the burgundy carpet. Faint scuff-trails curve and cross from the four prints to the secretary's feet where they stand now against the narrow adjacent wall.

Guy and Mr. Nicklas, between them, work the secretary bit by bit back toward its original place.

Rosemary looks doubtfully at the closet door they have uncovered.

The secretary lodges in its four footprints. Mr. Nicklas massages his hands.

He goes to the door and opens it. The closet is nearly empty; a vacuum cleaner at one side and four wood boards at the other. The overhead shelf is stacked with blue and green bath towels.

Rosemary and Guy walk along.

They walk in silence for a moment.

Rosemary sitting at a table. There are two Bloody Mary's in front of her. She is looking anxiously at the telephone booth at the end of the room. Guy is inside the booth talking on the phone. Rosemary at the table. She keeps her fingers crossed.

A PREGNANT WOMAN passes in a navy blue dress, followed by her MOTHER, carrying packages. Rosemary watches them.

JOAN JELLICO, a red-haired girl, waves to Rosemary from a table opposite. Rosemary waves back. Joan Jellico mimes I'll-come-to-see-you. A starved- looking, waxen-faced MAN facing Joan Jellico turns to look at Rosemary.

Rosemary looks toward the telephone booth again. Guy is on his way back, biting back a grin.

Guy sits down. A WAITRESS brings sandwiches.

Joan Jellico reaches the table and bends over it.

Guy turns to see who it is.

Small, well-equipped and slightly old-fashioned.

Guy is leaning against a tall refrigerator, glass of wine in his hand. Rosemary is sitting on a stool, also with wine. HUTCH, wearing an apron and one oven glove, is bent double, looking in the oven. He is English, has a broad shiny face and a few strands of wetted-down hair combed crossways over his skull.

Rosemary and Guy laugh.

Hutch straightens up, red-faced, perspiring, holding a large joint of lamb.

Hutch, holding the joint out in front of him, leads the way into the other room.

This is small, dark and neat. There is an inscribed photo of Winston Churchill and a period sofa. Two bridge tables, each with its typewriter and piles of paper. There is another table at the side, laid for dinner and looking out of place. Hutch goes to this table and puts down the joint.

Hutch looks at them; Rosemary sits down and Guy is pouring more wine into the glasses. Hutch starts carving.

Hutch sits down and they start eating.

They eat for a moment in silence.

Hutch refills the glasses.

Rosemary and Joan Jellico stand looking in the window. They have parcels and magazines in their hands.

Rosemary and Joan Jellico are ploughing their way through curtain fabrics, hung like flags side by side.

Rosemary and Joan Jellico standing on the escalator, going up, their arms piled high with packages and bags. They wave to ELISE DUNSTAN going down on the other escalator.

Rosemary lies, bouncing up and down, on a huge bed. Elise Dunstan, Joan Jellico and a SALESMAN stand watching her.

She looks at the Salesman and points to a bed opposite.

The girls burst into laughter.

Guy and Rosemary enter. He is carrying a lamp and a shopping bag. Rosemary pulls the key out of the door and follows Guy along the hallway. The apartment is empty, except for a few pieces of furniture in the den, from Mrs. Gardenia's son. The rooms are dark and full of shadows. Faint blue light comes through the win- dows. Guy turns into the living room, Rosemary to the bedroom; there are many packages spread on the floor (results of the shopping) and a solitary vanity. Rosemary kneels, opens a wooden crate, and pulls out three plates from the shavings. Guy comes in; she hands him the plates and starts putting back the shavings. We hear a woman's voice from behind the wall.

Guy and Rosemary look at each other.

He goes back to the living room. Rosemary follows him. On her way, she stops and looks toward the closet at the end of the hallway. She goes to it and opens it slowly. She takes out one of the four boards leaning against the side, turns it and looks at it. Guy has plugged the lamp in the living room and a light comes through the archway.

Rosemary brings the shelf into the Living Room, puts it on the floor; they picnic on it - tuna sandwiches and beer - sitting on the rug.

They unplug the lamp, strip and start making love. Wide-eyed with fear, Guy hisses.

Rosemary hits him on the head, hard.

Big splash of paint on the wall; the PAINTERS are work- ing in the living room. The CARPET LAYER unrolls carpet on the floor in the bedroom. THREE WORKMEN carrying an enormous bed and chairs in the hallway. A PAPER- HANGER, grumbling, hangs wallpaper in the bedroom.

Rosemary, standing on a table, hangs curtains in the den. We hear the sound of a television commercial.

Rosemary drops everything, jumps down from the table, and hunkers down in front of the television set. She waits for Guy to appear. When the commercial is finished, she switches off.

Completely furnished and equipped. Rosemary is wash- ing salad. There are preparations for dinner on the table. A large potted plant stands on the fridge and a smaller one on the floor.

Guy comes in. Rosemary, holding her dripping hands away, kisses him. She points to the large plant.

Rosemary turns and picks up a telegram, holding it carefully by the corner with her wet hand. She hands it to Guy.

Guy looks at it.

They both collapse in laughter.

Rosemary steps out of the elevator, carrying a large roll of gingham contact paper. On the left, the GOULDS, a middle-aged couple, are coming out of an apartment door.

They run towards the elevator, smiling at Rosemary. Rosemary smiles back at them. When the rolling gate closes, Rosemary goes to see their names on the door of their apartment. It says: MR. and MRS. GOULD. Rosemary turns back in her own direction and passing the door opposite the elevator, Seven A, looks for the name around the doorbell. There is no sign of any. Rosemary bends down and looks at the pile of mail on the doorstep. There are six to eight letters, with stamps of different countries. The name reads: MR. R. CASTEVET. A VOICE behind the door can be HEARD.

Rosemary straightens up and moves on and looks at the door of Seven B. There is a little golden plate: MESSRS. DUBIN and DeVORE.

Rosemary is in the closet at the end of the hallway. She is sticking the gingham contact paper on the top shelf. The shelves below are already finished.

Guy comes in. Rosemary shows him the shelves.

They kiss.

Rosemary and Guy. He's eating a sandwich, with a newspaper open at the theatrical page, and a can of beer in front of him.

Guy, reading, doesn't answer. Rosemary waits for a moment.

Prison-like with steamy brick walls, bulbs in cages, and scores of deep double sinks in iron-mesh cubicles. Rosemary is sitting reading the 'New Yorker' next to an operating machine. TERRY, a girl Rosemary's age, enters. She is dark-haired and looks like Anna Maria Alberghetti. Terry carries a yellow plastic laundry basket. She nods at Rosemary and then, not looking at her, goes to one of the machines and begins feeding dirty clothes into it.

Rosemary stares at the girl. Terry finishes putting in the clothes, closes the door, starts the machine; the water begins to fill up. Terry turns and catches Rosemary's look and smiles questioningly.

Terry blushes and looks at the floor.

Terry wipes her hand on her shorts and steps forward, holding it out.

Rosemary smiles and shakes hands.

Rosemary gets up and takes a bottle from the laundry bag on the washer. She pours a capful of softener. Terry opens the washer door.

Capping the bottle Rosemary nods complacently.

Glass crashes somewhere in the basement.

Rosemary hunches her shoulders and looks uneasily toward the laundry room's doorway.

Terry laughs happily, seems to seek words and then, still laughing:

She pulls away the collar of her blouse, draws out a silver neckchain and shows Rosemary on the end of it a silver filigree ball a little less than an inch in diameter.

Rosemary looks more closely at the charm Terry holds out between thumb and fingertips. It is filled with a greenish-brown spongy substance which presses out against the silver openwork.

Rosemary draws back, wrinkling her nose. Terry LAUGHS again.

She leans a hip against the washer and admires the ball, turning it one way and another.

Rosemary nods.

Terry drops the filigree ball back into her blouse.

Guy is sitting in front of the TV set eating a bag of Fritos. Rosemary enters with Terry.

They shake hands. Terry blushes and turns to Rosemary, flustered.

Rosemary opens the door.

Rosemary walks Terry towards Castevets' apartment. The door of Seven D is open and LISA, a two-year-old girl, stands on the threshold.

Rosemary bends down, smiling. Terry goes on.

Rosemary is unwrapping a tall teak wood ice bucket with a bright orange lining, on the table in the living room. Hutch is walking around admiring the half-furnished room. Rosemary goes to Hutch and kisses him.

Guy in bed reading. Rosemary in front of her vanity mirror, brushing her hair. We hear a WOMAN'S voice behind the wall.

The voice fades away. Guy lifts his head from his book; Rosemary turns round; they both look at the wall.

Guy pulls his pajama sleeves over his hands, leaving only one finger showing on each hand; imitating Mr. Nicklas' voice:

Rosemary, laughing, jumps into the bed and claps her hand over his mouth. Guy switches the lamp off. They kiss for a moment, then lift their heads in surprise; there is a sound of a party, flat unmusical singing and a flute or a clarinet piping along beside it.

Rosemary and Guy walk along approaching the Bramford. The night is mild and balmy. As they get nearer they see a group of about TWENTY PEOPLE gathered in a semi- circle at the side of a parked car. Two police cars are double-parked, roof lights spinning red. Rosemary and Guy walk faster, hand in hand, straining to get a better view. Cars on the street slow questioningly; windows scrape open in the Bramford and heads look out beside gargoyle's heads. The NIGHT DOORMAN, TOBY, comes from the house with a tan blanket. A POLICEMAN turns to take it from him. The roof of a Volkswagen is crumpled to the side; the windshield is crazed with a million fractures.

Rosemary and Guy stand on tiptoes, craning over peoples' shoulders.

The shoulders separate, a SPORT-SHIRTED BACK moves away. On the sidewalk lies Terry, watching the sky with one eye, half of her face gone to red pulp. The blanket flips over her, settles, and red blotches soak through in one place and then another. Rosemary wheels, eyes shut, her right hand making an automatic cross. Her mouth is tightly closed.

A SECOND POLICEMAN turns towards them. He is forty or so and sweating. His eyes are blue and beautiful, with thick, black lashes.

Rosemary opens her eyes and swallows.

A THIRD POLICEMAN comes up holding a sheet of yellow notepaper. Mr. Nicklas is behind him, tight-mouthed, in a raincoat over striped pajamas.

The Third Policeman and Mr. Nicklas shake their heads. The Second Policeman reads the sheet of paper, suck- ing thoughtfully at his front teeth.

The Second Policeman opens his pad holder and puts the paper inside it. He closes the holder with a width of yellow sticking out.

Guy puts his hand on Rosemary's back.

Rosemary and Guy nod to the 2nd Policeman and Mr. Nicklas and start towards the house.

Rosemary and Guy stop and turn,

An old couple is coming along the street.

MRS. CASTEVET is wrapped in light blue, with snow-white dabs of gloves, purse, shoes and hat. Nurselike she supports her husband's forearm. He is dazzling, in an every-colour seersucker jacket, red slacks, a pink bow tie, and a grey fedora with a pink band. He is seventy- five or older; she is sixty-eight or nine. They come closer with expressions of young alertness, with friend- ly quizzical smiles. The 2nd Policeman steps forward to meet them and their smiles falter and fall away. Mrs. Castevet says something worryingly; MR. CASTEVET frowns and shakes his head. His wide thin-lipped mouth is rosy-pink, as if lipsticked; his cheeks are chalky, his eyes small and bright in deep sockets. She is big- nosed, with a sullen fleshy underlip. She wears pink- rimmed eyeglasses on a neckchain that dips down from behind plain pearly earrings.

Mr. and Mrs. Castevet look at the 2nd Policeman with no change of expression at all, as if he hasn't spoken yet; then Mrs. Castevet leans sideways, glancing beyond him at the red-stained blanket. She stands straight again and looks him in the eyes.

Mrs. Castevet marches past him, her jaw set. Mr. Castevet stays where he is.

The 2nd Policeman takes the yellow paper from his holder and holds it out. Mrs. Castevet hesitates, then takes it and turns it round to read it. Mr. Castevet tips his head in over her arm and reads it too, his thin vivid lips moving.

Mrs. Castevet nods.

The 2nd Policeman holds out his hand and Mrs. Castevet gives him the paper.

Mrs. Castevet takes off her glasses, dropping them on their neck-chain and covering both her eyes with white-gloved fingertips.

Mr. Castevet puts his hand on her shoulder, looks at the ground and shakes his head.

Mrs. Castevet puts on her glasses and looks at her. Mr. Castevet looks up from the ground, his deep- socketed eyes glinting under his hat brim.

The 2nd Policeman looks to the Castevets.

Guy puts his hand on Rosemary's back and they begin to withdraw towards the house.

Guy is asleep but Rosemary lies awake beside him, she sees: Terry's pulped face and her one eye watching the sky. (This is the first shot leading to the dream sequence.) Sister Agnes is shaking her fist at Rosemary.

A bump on the other side of the wall wakes Rosemary.

Rosemary turns over and burrows into her pillow.

Set in a composite of Our Lady's School, Uncle Mike's Body Shop and the candy counter in the Orpheum Cinema.

MASONS are bricking up the windows. Sister Agnes is furious. She squeezes her piggy-eyes and shouts.

UNCLE MIKE tries to hush her. Other SISTERS and GIRLS are standing a little apart listening to the argument.

Uncle Mike looks questioningly at Rosemary. Rosemary starts to explain to him in a hushed voice.

Uncle Mike looks at Sister Veronica questioningly who spreads her hands out wide in a helpless gesture. By this time we are already in Uncle Mike's body shop.

Uncle Mike is shocked. Rosemary turns and she is at the candy counter with the other children.

Rosemary is washing the vegetables. The bell rings. She goes to the door and looks through the peephole.

Mrs. Castevet, white hair in curlers under a blue-and- white kerchief, looks solemnly straight ahead as if posing for a photograph. Rosemary opens the door.

Rosemary holds the door wide open. Mrs. Castevet comes in. She wears toreador pants; her hips and thighs are massive, slabbed with wide bands of fat. The pants are lime-green under a blue blouse; the blade of a screwdriver pokes from her hip pocket. They stop between the doorways of the den and the kitchen. Mrs. Castevet puts on her neckchained glasses and smiles at Rosemary.

Rosemary ducks her head in concession.

Mrs. Castevet looks into the kitchen. She points to the pans hanging on the wall.

Mrs. Castevet fingers the door jamb appraisingly and turns to look into the den.

The living room startles Mrs. Castevet.

Rosemary and Mrs. Castevet are sitting having coffee and cake.

Mrs. Castevet looks into her lap, then looks up at Rosemary with a hard-to-carry smile.

Mrs. Castevet moves toward the door. Rosemary accom- panies her. Mrs. Castevet reaches the door and opens it herself.

Guy come in, kisses Rosemary and goes straight into the living room. Rosemary goes into the kitchen. Guy calls out from the living room.

Rosemary doesn't answer immediately. She comes into the living room carrying a sandwich and a glass of beer which she gives to Guy, sitting in the new chair.

Guy opens the corner of his sandwich, looks in bitterly, closes it, and starts eating.

Rosemary kneels on the floor between the bay windows, drawing a line on brown paper with crayon and a yard- stick and then measuring the depth of the window seats.

Rosemary draws another line with the crayon and the yardstick. Guy finishes his sandwich.

Guy and Rosemary at the Castevet's door. Guy rings the bell. The elevator behind them clangs open and MR. DeVORE comes out carrying a suit swathed in cleaner's plastic. He smiles and unlocks the door of Seven B next to them.

Rosemary and Guy make friendly laughs.

Mr. DeVore lets himself in, calling out.

As the door is ajar we get a glimpse of a black sideboard and red and gold wallpaper.

Mrs. Castevet opens the door. She is powdered and rouged and smiling broadly. She is wearing light green silk with a frilled pink apron.

Guy and Rosemary laugh and exchange glances. They enter.

A large foyer with a rectangular table set for four. It has an embroidered white cloth, plates that don't all match, and bright ranks of ornate silver. The room is oddly furnished; at the fireplace end there is a settee, a lamp table and a few chairs. At the opposite end an office-like clutter of file cabinets, bridge tables piled with newspapers, overfilled book- shelves and a typewriter on a metal stand. There are clean squares on the walls as if pictures had been removed.

Mrs. Castevet shows them across the brown carpet and seats them on the settee; Mr. Castevet comes in, hold- ing in both hands a small tray on which four cocktail glasses run over with clear pink liquid. Staring at the rims of the glasses he shuffles forward across the carpet, looking as if with every step he will trip and fall disastrously. Mr. Castevet is wearing black loafers with tassels, gray slacks, a white blouse, and a blue and gold striped ascot.

Rosemary takes the glass, thanks him and sits. Mrs. Castevet quickly puts a paper cocktail napkin in her lap.

Rosemary smiles vividly as she wipes the base of her glass.

Mr. Castevet takes the final glass and raises it to Rosemary and Guy.

Mr. Castevet drinks, cocking his head critically, one eye partway closed, the tray at his side dripping on the carpet.

Mrs. Castevet chokes and points at the carpet.

Mr. Castevet looks down, then holds the tray up un- certainly.

Mrs. Castevet thrusts aside her drink, hurries to her knees and lays a paper napkin carefully over the wetness.

A bell pings in the kitchen.

Guy, Rosemary, Mr. and Mrs. Castevet are sitting at the table, eating.

Mr. and Mrs. Castevet laugh, Guy along with them. Rosemary smiles and cuts her steak. It is difficult to cut, and flanked by peas and mashed potatoes. From her expression we can gather it doesn't taste good either.

Mrs. Castevet stands up and starts to collect the empty plates.

Mrs. Castevet serves the dessert; Boston cream pie.

We can see from Rosemary's expression that the Boston cream pie isn't too good. She looks at Guy but he is eating away avidly.

Guy laughs but he is pleased. He casts a bright- eyed glance at Rosemary. She smiles back.

Mrs. Castevet holds out the Boston cream pie towards Guy.

Rosemary looks in surprise at Guy who is helping him- self to the dessert.

It opens off the foyer. It's small and it has the miniature greenhouse, which stands on a large white table near the one window. Goosenecked lamps with bright bulbs lean over it with a blinding white light, reflecting in the glass. In the remaining space the sink, stove and refrigerator stand close together with cabinets jutting out on all sides above them. Mrs. Castevet stands at the sink washing up. Rosemary stands beside her drying. The pile of clean dishes beside her indicate that they have been in the kitchen for some time. While drying a dish, Rosemary turns and looks at the greenhouse.

Mrs. Castevet pushes a soapy sponge up and down inside a dinner glass. She is a slow and thorough washer. Rosemary has to wait each time, towel in hand, for the next piece.

Rosemary looks outside the door. She can see only the end of the living room that has bridge tables and file cabinets. Mr. Castevet and Guy are out of sight. A plane of blue cigarette smoke lies motionless in the air.

Rosemary turns. Mrs. Castevet, smiling, holds out a wet plate in a green rubber-gloved hand.

Mr. Castevet and Guy are sitting facing each other on the settee. Guy is looking at Mr. Castevet, fascin- ated. They smoke for the moment in silence. Rosemary appears in the doorway.

Mrs. Castevet comes past Rosemary into the room.

Rosemary and Guy go along the hallway and the door closes behind them. They both give relieved sighs, look at each other and laugh.

Laughing, Rosemary hushes him. They run hand in hand on ultra-quiet tiptoes to their own door.

Rosemary and Guy slam, lock, bolt and chain the door; Guy nails it over with imaginary beams, pushes up three imaginary boulders, hoists an imaginary draw- bridge, mops his brow and pants while Rosemary bends over double and laughs into both hands.

Guy pretends that he is going to vomit and runs to the bedroom.

Rosemary works her feet against the floor to unshoe them.

Guy smiles and shakes his head. He begins taking out his cufflinks, standing beside the armoire.

Rosemary goes to him and works at the link, feeling suddenly lost and uncertain.

Rosemary gets the link out and holds it in her palm. Guy takes it.

Rosemary goes to the bed and sits down.

Rosemary puts a record on, picks up a book, sits on the new couch, puts up her feet and opens the book. The doorbell rings. She remains motionless for a moment. Then, closes the book, gets up and goes to the door.

It's Mrs. Castevet and another woman, short, plump and smiling, with a Buckley-for-Mayor button on the shoulder of her green dress.

With resigned good grace Rosemary shows them into the living room. Mrs. Castevet indicates a new couch.

Both women have identical green sewing bags and, to Rosemary's surprise, they open them now. Mrs. Castevet takes out darning and Laura-Louise takes out crocheting.

Rosemary stands for a moment undecidedly. She sits uneasily, trying to find a comfortable position.

Mrs. Castevet hands Rosemary a small packet of pink tissue paper.

Rosemary unfolds the leaves of used-before tissue paper. Within the pink is Terry's silver filigree ball-charm and its clustered-together neckchain. She pulls her head away.

Rosemary holds the ball between her thumb and finger- tips like Terry did. She stares at it for a moment.

Mrs. Castevet darns a brown sock not looking at Rosemary.

Rosemary uncertainly puts the chain over her head and tucks the ball into the collar of her dress.

Guy opens the door of the apartment, comes in and goes into the living room.

The women are seated in different positions as before. Rosemary is sewing the cushion covers and there's a tray with coffee pot and cups on the table. Guy says hello to the women and, by Rosemary's chair, bends and kisses her cheek. He is quiet and a little self- contained.

The two women close their sewing bags and leave quickly.

She shows him the charm.

Rosemary lifts the chain off over her head and holds it out between two fingers, the ball dangling at the end of the chain.

Guy smells it, and shrugs.

Rosemary goes into the bedroom and as she opens a drawer in the vanity, she catches her reflection in the mirror. She leans towards it and calls:

Rosemary turns; Guy is leaning against the door frame. Instead of answering Rosemary opens a tin Louis Sherry box in the drawer, puts the charm in the box, closes it and closes the drawer.

Rosemary wakes up and finds Guy beside her smoking in the dark.

A moment of silence, then she touches his arm.

Guy smiles in the glow of his cigarette.

Guy holds out a pair of theatre tickets to Rosemary.

Elise Dunstan and Rosemary, dressed for the theatre in her summer silk coat, sitting in the back. There is a fat, old DRIVER listening to their conversation.

They giggle.

Rosemary shakes her head.

The Driver looks in the mirror and grins.

The taxi stops in front of a theatre. There is a big illuminated sign with "The Fantasticks" and the names of artists.

Elise Dunstan and Rosemary get out of the cab and turn to pay the fare.

The Driver has a good look at Rosemary.

Rosemary and Elise Dunstan go into the theatre.

Rosemary, taking off her silk coat, goes into the Bathroom. Guy is getting out of the shower, wrapping himself in a towel. He kisses Rosemary vivaciously.

Rosemary sniffs.

Rosemary goes to the Kitchen (tossing her coat on the way into the Bedroom).

Rosemary comes back with some aluminum foil, and a deodorant bomb.

She takes the charm out of the Louis Sherry box, winds it in a tight triple wrapping and twists the ends to seal it. Guy, comes into the Bedroom, drying his hair with a towel.

As Rosemary puts the wrapped charm back in the box, standing behind her, Guy unzips her dress and pulls it off her shoulders; he starts kissing her neck. We HEAR a party in progress behind the wall; flat un- musical CHANTING, with a flute or clarinet underneath it.

Guy is painting the inside of the guest closet red. There are several brushes, cans of paint and paint remover.

Rosemary trying different arrangements with chairs. The telephone RINGS in the Bedroom. Rosemary makes an involuntary move to answer it. Through the arch- way she sees Guy, can of paint remover in his hand, running to get to the phone.

Rosemary goes to the Bedroom door; Guy is sitting on the bed, the phone in one hand and a can of Red Devil paint remover in the other. He doesn't look at Rosemary.

Guy straightens up, listening.

Rosemary, standing in the doorway, holds her breath, waiting.

Guy hangs up and shuts his eyes. He sits motionless, his hand staying on the phone. He is pale and dummy- like, a Pop Art wax statue with real clothes and props, real phone, real can of paint remover.

He opens his eyes and looks at her.

Guy blinks and comes alive.

They look painfully at each other.

Guy looks at the paint remover in his hand and puts it on the night table.

Rosemary stands back from the doorway. Guy goes out, down the hall, out the door, closing it behind him. Rosemary goes into the Living Room and sits down. She leans with arms folded on her knees, thinking. She remains motionless for a moment, then pronounces slowly, tasting the name.

She looks at the window, stands up and goes quickly to it. She opens the window and looks down at the quiet street.

Guy is sitting in an easy chair, cigarette between his fingers. He is motionless but his eyes follow Rosemary as she vacuum cleans the room. She works thoroughly, gradually moving toward the door. After she has dis- appeared into the hall, the SOUND of the cleaner stops. Guy, still in the same position, slowly lifts the cig- arette to his mouth. Rosemary comes back without the cleaner. She walks slowly towards Guy and stands silently in front of him. They look at each other.

Rosemary comes in, her coat still on and carrying a shopping bag. There are roses in a vase on the table. Rosemary puts down the shopping bag and goes in sur- prise to examine them. She inhales their scent. Taking off her coat, she goes into the Living Room. There are roses there also. Guy comes in from the Bedroom, one rose in his hand, and kisses her.

Guy lifts the rose to her nose. Then he turns and walks toward the Kitchen. Rosemary follows him.

Rosemary looks at him.

Guy turns towards the calendar hanging on the wall. There are two days encircled with a red pencil. He taps them with his finger.

Rosemary is washing salad. There are other things on the table ready to be cooked. The TV set has been moved so that she can see it while working. She is watching the Pope's visit in New York, and listening to the newscaster.

Rosemary is sitting at her vanity, dressed in burgundy silk lounging pajamas. She makes up her eyes, powders her face and perfumes herself. She HEARS the front door open off-screen and goes out into the hallway. Guy has just come into the apartment. Rosemary meets him and they kiss.

Guy starts to undress; going into the Bathroom.

The table is set for dinner. Rosemary and Guy are drinking cocktails and eating stuffed mushrooms. Guy puts crumpled newspaper and sticks of kindling on the fireplace grate, and two big chunks of cannel coal.

He strikes a match and lights the paper. It flames high and catches the kindling. Dark smoke begins spilling out over the front of the mantel and up toward the ceiling. Guy gropes inside the fireplace.

Guy gets the flue opened; and the air conditioner draws out the smoke.

Rosemary kneels, with her drink, and stares into the spitting flame-wrapped coals.

Guy puts on a record.

Rosemary and Guy are at the dining table eating sword- fish. The doorbell rings.

He gets up, tosses down his napkin, goes out.

Rosemary cocks her head and listens. We hear the door open off screen and Mrs. Castevet's voice saying 'hi, Guy'. The rest is unintelligible.

Rosemary lifts her eyes to heaven.

Off screen dialogue continues. Now Guy speaks; then Mrs. Castevet again. Only a few words are intelligible: "... extra. We don't need them". Guy again and Mrs. Castevet again. Rosemary holds in her breath. We hear the door being closed and chained.

We hear the bolt drawn.

Guy appears in the archway, smiling smugly, with both hands behind his back.

He comes towards the table and brings forth his hands with two white custard cups sitting one on each palm.

He puts one cup by Rosemary's wine glass and the other by his own. The cups are filled with peaked swirls of chocolate. One topped with a sprinkling of chopped nuts. The other with a half walnut.

Rosemary laughs happily. Guy replaces his napkin and pours more wine.

Guy and Rosemary start eating the chocolate mousse.

At the second spoonful, she pauses and looks at Guy but he is busy eating.

Guy looks up at Rosemary.

Guy rolls the mousse on his palate, cocking his head.

After a few swallows, Rosemary puts down her spoon.

She takes a full spoonful of mousse and thrusts it into her mouth.

Guy gets up and goes to the record player. Rosemary doubles her napkin in her lap and plops a few spoon- fuls of the mousse into it. She folds the napkin closed and then showily scrapes clean the inside of the cup and swallows down the scrappings as Guy comes back to the table.

He smiles and kisses her.

Rosemary scrapes the uneaten mousse from her napkin into the waste bin. The water is running into the sink. We hear the sound of television from the other room. A sudden wave of dizziness makes her sway for a moment, then blink and frown.

She shakes her head to clear the dizziness, then rolls the napkins up inside the tablecloth and puts the bundle aside. She turns the water off and loads the dirty dishes into the full sink. She dries her hands on the kitchen towel and as she hangs it up, another wave of dizziness makes her swivel and hang on to the edge of the sink. This time it lasts longer.

She straightens up and makes it to the doorway of the Den. She keeps her footing with difficulty by holding on to the knob with one hand and the jamb with the other.

Guy stands up anxiously.

Guy snaps off the TV, comes to her, takes her arm and holds her surely around the waist.

He helps her towards the bedroom but her legs buckle. He catches her up and carries her. He puts her down on the bed and sits beside her, taking her hand and stroking her forehead sympathetically. Rosemary closes her eyes.

The bed is a raft floating on gentle ripples.

Guy is sitting beside Rosemary stroking her forehead.

Large Yacht. Rosemary is sitting with a drink in her hand. It is sunny and breezy. The Skipper is unrolling a large map to plot the course. He is Hutch now and is giving terse and knowing instructions to a Negro Mate (Elevator Operator).

Guy's hands take off the top of Rosemary's pajamas.

Guy is taking off the top of Rosemary's pajamas.

Guy undoes the snaps at the side and slowly draws off the bottom of Rosemary's pajamas.

Back on the yacht. Guy is holding the legs of Rosemary's pajamas and pulling them away from her. Rosemary tries to hide her nudity; she looks around and sees other ladies on the yacht. They are wearing bikinis - so is Rosemary. The Skipper is in his Navy uniform.

Hutch is standing on the dock with armloads of weather-forecasting equipment.

Rosemary comes to the Skipper and asks him very quietly - in dream sequences everybody speaks quietly.

Rosemary turns. There is her family: Ma, Pa, children we have seen in the previous dream, several pregnant women.

Guy is taking off Rosemary's wedding ring. She looks surprised then she closes her eyes.

Set is now a composite of the Sistine Chapel Ceiling with Michaelangelo frescoes and the linen cupboard at the end of the hallway. Rosemary is lying on the special elevator which carries her horizontally, making it possible for her to see the frescoes from very close. As she passes under the shelf, partly covered with gingham contact paper, we can hear voices off screen.

Hutch on the dock. We see him from further off and higher. He tries to gesticulate as much as the weather-forecasting equipment he is carrying will allow him. He shouts and wind blows his words away so we hear them only partially.

Back on the Yacht. The wind is even stronger. Rosemary looks for the skipper but everybody is gone. The dock is infinite and bare. Far away, the NEGRO MATE firmly holds the wheel. Rosemary goes to him; she is about to warn him when the Negro Mate speaks without looking at her.

Huge Ballroom. On one side is a burning church (it's sometimes burning with real fire and sometimes only a picture). On the other side, a BLACK-BEARDED MAN stands glaring at Rosemary. In the centre is a bed. She goes to it and lies down. She is immedi- ately surrounded by a dozen naked men and women. Guy is among them. They are elderly, the women grotesque and slack-breasted. There is also Mrs. Castevet, Laura-Louise and Mr. Castevet in a black mitre and black silk robe. With a thin black wand, Mr. Castevet is drawing designs on her body, dipping the wand's point in a cup of red held for him by a SUN-BROWNED MAN. The point moves back and forth across her stomach and down to the insides of her thighs. The NAKED PEOPLE are chanting - flat, un- musical, foreign-tongued syllables - and a flute or clarinet accompanies them. Guy's eyes are large and tense. He whispers to Mrs. Castevet.

Lady comes into the Ballroom. She wears an exquisite ivory satin gown embroidered with pearls. She hurries to Rosemary's side.

Rosemary watches with interest as WHITE-SMOCKED INTERNS tie her arms and legs to the four bedposts.

She withdraws, her satin gown whispering.

Guy comes and bends over Rosemary. He strokes her with both hands - a long relishing stroke that begins at her bound wrists, and slides down over her arms, breasts, loins and between her legs. He repeats this stroke several times; his hands are rough now and sharp-nailed. Rosemary breathes, faster. He slips a hand in under her buttocks and raises them. He lies forward upon her, his broad chest crushing her breasts. He is wearing a suit of coarse leathery armour. As he is making love to her, she opens her eyes and sees yellow furnace-eyes in front of her. Protest wakes in Rosemary's eyes.

Something covers her face fading into darkness.

The Pope comes in with a suitcase in his hand and a coat over his arm.

Rosemary speaks sadly trying to hide that she is having an orgasm.

He holds out his hand for her to kiss the ring. Its stone is a silver filigree ball. Inside it, ANNA MARIA ALBERGHETTI sits waiting.

Guy and Rosemary in bed. Rosemary is asleep and Guy is shaking her shoulder. He is sleep-rumpled, needing a shave.

Rosemary pushes his hand away and turns over onto her stomach, her face deep in the pillow.

Guy yanks her hair.

Guy slaps Rosemary's behind through the blanket. For a moment she lies motionless, then suddenly she turns back over and raises herself on her arms, looking at Guy.

He is lighting a cigarette. He has his pajamas on. Rosemary is nude.

Rosemary sits up.

She opens her eyes and sees scratches on her left breast; two parallel hairlines of red running down into the nipple. She pushes the blanket away and sees more scratches, seven or eight going this way and that.

He shows short, smooth fingernails.

Rosemary looks at him uncomprehendingly.

Guy nods and grins.

Rosemary looks away, pulling the blanket back up.

Rosemary turns further away and swings her legs out on the other side of the bed.

Rosemary sits there, not looking around at him.

Guy runs a finger up Rosemary's back. She squirms away from it.

She gets up and goes to the closet for her housecoat.

Rosemary is sitting at the table. She is drinking coffee slowly, absent-minded.

Rosemary opens the windows, both of them.

Rosemary standing under the shower. She remains motionless, letting the water run all over her hair and face.

Rosemary, ready to go shopping, with two custard cups in her hand, rings the bell.

The door opens and Mrs. Castevet appears.

Rosemary is drinking coffee. Guy is practicing with crutches.

Rosemary looks at Guy. He seems genuinely unknowing.

He leans across the table and kisses her.

Hutch is sitting barefoot between two bridge tables, each with its typewriter and piles of paper. Rosemary is sitting on the sofa.

Rosemary looks at Hutch and smiles.

Rosemary's voice cracks; determined not to cry, she continues:

Rosemary breaks down. Hutch comes over and comforts her.

Rosemary and Hutch walking along the street.

Guy is sitting at the table reading the theatre section of the Sunday Times. Rosemary is preparing breakfast. As she puts the Chemex on the table, her eyes fall on the calendar; she stares at it.

Guy nods.

Rosemary sitting while DR. HILL is measuring her blood pressure. He is very young, medium height, and handsome. He speaks slowly and tries to appear older by his serious behavior.

Dr. Hill takes the instrument off Rosemary's arm, and puts it back into the box.

The NURSE comes with a syringe and two little bottles.

She goes to Rosemary, applies a tourniquet and draws blood from her arm.

Telephone rings. Rosemary picks it up.

Smiling, Rosemary sits down on the side of the bed. Pause.

She puts down the telephone slowly and looks at it for a long moment, hand still on the receiver.

She stands up briskly and walks out.

Rosemary marks on the wall calendar: "Blood".

Rosemary holds out a quarter in her palm. Guy, who has just come in, looks at Rosemary's outstretched hand, closing the door behind him.

He catches on, takes Rosemary by the shoulders and kisses her.

Rosemary looks up at him, suddenly serious.

Guy puts his hands on her shoulders, his eyes meeting hers earnestly.

Deeply moved, she falls into his arms. They kiss fervently.

Rosemary laughs, wet-eyed.

Guy kisses her nose.

Rosemary fixes her eyes in front of the mirror. She looks at herself.

Through the front door comes Mrs. Castevet in a house- dress, Mr. Castevet carrying a bottle of wine, and Guy behind them flushed and smiling.

She bears down on Rosemary, takes her by the shoulders and kisses her cheek hard and loud. Mr. Castevet kisses Rosemary's other cheek.

He shows the bottle of St. Julien. Guy goes into the kitchen.

Guy comes back with glasses and a corkscrew. Mr. Castevet turns with him to the opening of the wine. Mrs. Castevet takes Rosemary's elbow and they walk together into the Living Room.

Mr. Castevet and Guy are at the other end of the room, busy with the wine.

Mrs. Castevet goes into the Bedroom. Mr. Castevet pours glasses of wine.

He gives glasses to Rosemary and Guy.

They stand motionless, each holding a glass. Mr. Castevet holding two.

Rosemary shakes her head. Through the open doors of the Living Room and Bedroom, we see Mrs. Castevet sitting on the bed, holding the phone.

Mrs. Castevet comes back into the Living Room.

Mrs. Castevet takes the glass of wine from Mr. Castevet.

They all drink.

Guy and Rosemary are in bed. Guy is asleep on his side, but Rosemary's eyes are wide open. She lies on her back with her hands folded across her stomach.

She looks quickly at Guy but he doesn't stir. Behind the wall, the Castevets' bed creaks. A fire engine screams by. Guy shifts and mumbles. Suddenly Rosemary slips out of bed, tiptoes to the vanity, takes the good luck charm from the Louis Sherry box, frees it from its aluminium-foil wrapping and puts the chain over her head.

Rosemary listens carefully to DR. SAPIRSTEIN, sitting on the other side of a desk. He is a tall sunburned man with white hair, reassuringly old-fashioned and direct.

Mrs. Castevet holds out to Rosemary a large glass of watery pistachio milkshake.

Rosemary happily takes the glass and looks at it.

She lifts the glass and starts drinking.

Guy is practising with crutches, repeating his lines from the script. Rosemary comes in. She has a new haircut. Guy looks at her.

DR. SAPIRSTEIN and Rosemary across the desk.

Guy and Rosemary sitting on the floor playing Scrabble. Rosemary gets up and goes to the Bathroom. She sits on the edge of the bathtub, and doubles over in pain.

Guy making up a word on the board. Rosemary comes back and stands in the archway.

The television is on but no sound. Rosemary is sitting in front of it sick frozen with pain.

Hutch stands on the threshold, staring at Rosemary.

She pats her hair. Hutch steps inside and Rosemary closes the door.

With a fixed, bright smile, she takes his coat and hat and hangs them away.

They enter the Living Room. Hutch sits in the easy chair.

Rosemary smiles. Hutch leans back and smiles, too.

The DOOR BELL RINGS.

She goes out of the room to the front door and opens it. Mr. Castevet is standing there, looking slightly winded. Rosemary smiles.

Mr. Castevet glances beyond her for a moment, and then smiles.

Mr. Castevet stays, waiting with a questioning smile.

The questioning smile stays.

She shows Mr. Castevet in. He passes close to her and she notices that his ear is pierced. She follows him to the living room archway. Hutch rises and smiles.

The two men shake hands and greet each other. The men seat themselves and Rosemary sits by Hutch.

[missing from source: printed pages 91 and 92 are absent from the retained scan and from every other copy found; PDF page 92, printed page 93]

He pushes against the arms of his chair and raises himself to his feet.

Rosemary and Hutch are sitting drinking coffee.

We hear the front door open; Guy hurries in. He still has his make-up on; his face is orange, his eyes black-lashed and large.

He comes over and grabs Hutch's hand before he can rise.

He clasps Rosemary's head in his other hand and bends and kisses her cheek and lips.

He goes out to the closet.

Rosemary gets up, pours a cup and refills Hutch's cup and her own. Hutch sucks at his pipe, looking thoughtfully before him. Guy comes back in with his hands full of packs of Pall Mall. He dumps them on the table.

Guy tears a pack open, jams cigarettes up, and pulls one out. He winks at Rosemary as she sits down again.

They drink their coffee.

Hutch rises. Guy goes to get his coat.

In the hallway, they meet Guy who is holding out Hutch's coat.

He turns around and puts his arms into the sleeves, Guy holding it for him. Hutch feels in his pockets.

Guy gives Hutch his hat. Hutch shows them a fur-lined glove and feels in his pockets again.

Rosemary looks round the floor and Guy goes to the closet to look down on the floor and up on the shelf.

They watch him go round the first turn of the hallway.

He picks up his coat from the closet and puts it on.

Rosemary looks at him questioningly. Guy moves to the front door.

He turns back to look at Rosemary, over his shoulder.

Guy watches television.

Rosemary in bed reading. The telephone rings in the other room. We hear Guy answering it and after a moment, he appears in the doorway, phone in hand.

He puts the phone on the bed and plugs it in.

Rosemary picks up the receiver. The television is still playing in the other room and we can hardly hear Hutch's voice.

She looks at Guy who looks back at her, frowning, listening.

She hangs up.

Guy shakes his head, smiling.

Guy unplugs the phone and goes out with it to the den; almost immediately the Television sound stops, and Guy comes back.

He plugs the phone back in again and puts it on the night table.

Guy goes out. Rosemary leans back against the pillows, looking ahead at nothing with her book forgotten in her lap. Far away we hear a short ring on a doorbell. Rosemary tries to listen but she has to fold with a sudden pain.

Rosemary rings the Castevets doorbell. Mrs. Castevet opens the door. She is wearing a housecoat with her hair in curlers.

- with its centre line of Christmas trees - Sunny, clear cold day. Rosemary walks slowly, carrying her pain inside her. Her coat is slightly snug over her stomach.

Rosemary passes Salvation Army Santa Clauses, shaking their bells, stores with their Christmas windows. She reaches the Time-Life Building and walks around looking for Hutch. It's five-to-eleven on her wristwatch. She sits down on the low wall at the side of the forecourt. She lifts her face to the sun, and listens to the noises of the busy street. With her eyes closed, she speaks to herself.

She laughs ruefully. We hear a racketing noise. She opens her eyes and looks up. A helicopter passes over the building.

Rosemary is standing at the edge of the heavy flow of traffic. She looks at the out-coming faces, stretching now and then on tiptoes. She sees a man looking like Hutch, goes towards him, and realizes her mistake. It is a quarter past eleven on the clock.

Rosemary walks in the lobby. She looks vaguely at the Directory on the wall.

A stainless steel phone booth. A NEGRO GIRL is in it. She finishes soon and comes out with a friendly smile. Rosemary slips in and dials. On the first ring, a woman's voice answers.

Rosemary walks slowly, looking down at the pavement. She crosses the street. In voluntarily she stops in front of a shop window in which a small creche is spot- lighted. Rosemary smiles tenderly at the scene. She sees suddenly her own smiling reflection in the window glass. Her black-circled eyes look deeper and her cheeks more skeletal. The smile fades on her face.

Rosemary turns and sees Mrs. Castevet, smiling, coming towards her.

She looks at Rosemary, who is frozen with pain.

Rosemary nods, pale, biting her lips.

She puts her wrist to her mouth and blows a whistle on her gold-chain bracelet. A taxi veers towards them. They get in.

Rosemary opens fridge, takes out a little piece of meat, goes to the stove, puts it on a frying pan for two seconds each side, then puts it on a plate, sits down at the table and starts cutting the practically raw meat. There are many Christmas cards piled on the table. Rosemary, while eating, writes names on the cards.

New Year's Eve party. All elderly people talking quietly, drinks in their hands. LAURA-LOUISE, MR. & MRS. FOUNTAIN, MR. & MRS. GILMORE, MR. & MRS. WEES, MRS. SABATINI and her cat. In two armchairs sit DR. SAPIRSTEIN and ROSEMARY. GUY is at her side, resting on the arm of her chair.

Mrs. Castevet brings DR. SHAND towards them.

Guy looks at his watch, stands up and goes toward Mr. Castevet. Mr. Castevet opens the champagne. He is an attentive and energetic host. Mrs. Castevet and Guy help with glasses. The champagne is passed around.

Rosemary in front of the open fridge chewing a raw and dripping chicken heart. She catches her reflection in the side of the toaster, looks at herself, her hand and the part of the heart not yet eaten held in red- dripping fingers. She goes over and puts the heart in the garbage, then turns on the water and rinses her hand. With the water still running, she bends over the sink and begins to vomit. She drinks some water, washes her face and hands, turns off the water and dries her- self. She stands for a while, thinking; she gets a memo pad and pencil from a drawer, sits at the table and starts to write.

Guy, in his pajamas, goes across the hallway. He enters the kitchen. Rosemary his the Life Cookbook open on the table and is copying a recipe from it.

She looks among several slips of paper on the table and picks one up.

Guy goes to the sink, turns on the water and holds a glass under it. He turns off the water, raises the glass and drinks.

Mrs. Castevet is standing beside Rosemary in the doorway. Rosemary is wearing an apron and holding the glass with the drink in her hand. On the table, there is crab-meat and pieces of lobster and other food, ready to be cooked. Mrs. Castevet looks at the preparations.

Rosemary looks at the glass in her hand.

Mrs. Castevet backs away.

Mrs. Castevet goes. Rosemary watches the door close. She goes into the kitchen and stands a moment with the glass in her hand, then goes to the sink and tips out the pale green drink straight down into the drain,

There is a fire going and an Italian bartender, RENATO, mixes drinks quickly. People already there are: TED and CAROLE WENDELL, JOAN JELICO, ELISE and HUGH (limp- ing) DUNSTAN, RAIN MORGAN (a beautiful Negro nodel), JIMMY and TIGER, LOU and CLAUDIA COMFORT and SCOTT (Claudia's brother). JOAN is giving Rosemary a hug and a kiss.

People gather to congratulate Rosemary. Telephone RINGS in the bedroom. Claudia SHOUTS:

Lou and Claudia come from the bedroom.

The DOORBELL RINGS; Rosemary goes out.

Rosemary opens the door. Mike and Pedro stand there with bouquets of bright red roses. They kiss. Pedro, with his cheek against Rosemary, murmurs:

Rosemary takes the roses into the kitchen. Elise Dunstan comes in after her, with a drink in her hand.

Guy looks in.

Guy takes a tray of crackers and a bowl of pale pink dip from the table.

Elise takes the second bowl and follows Guy out.

PORTIA HAYNES and DEE BERTILLON arrive. They leave their coats in the bedroom.

In the living room, Guy puts dip on table.

Rosemary enters with roses. Mike wig-wags over heads and mouths "Congratulations." Rosemary smiles and mouths "Thanks."

Renato gives Rosemary a scotch with a lot of water.

Rosemary shuts her eyes and holds her breath with pain. She puts her drink aside.

Tiger watches Rosemary tossing the salad. Joan and Elise come in and close the door behind them.

Rosemary nods.

Rosemary begins to sob quietly and defeatedly, holding the wooden spoon in the salad. Tears run down her cheeks.

She looks for help to Tiger who touches Rosemary's shoulder.

Rosemary weeps, black streaks smearing down her cheeks. Elise puts her into a chair; Tiger takes the spoons from her hands and moves the salad bowl to the far side of the table. The door starts to open and Joan runs to it and stops and blocks it. It's Guy.

She shoulders the door; it closes with a click and she leans against it.

Rosemary goes on crying, her head bowed, her shoulders heaving, her hands limp in her lap. Elise crouches, wiping at her cheeks with the end of a towel; Tiger smooths her hair and tries to still her shoulders.

She raises her face to them.

Rosemary SOBS.

Rosemary shakes her head.

Joan leans from the door whispering.

Rosemary takes the towel and presses it to each eye in turn. She smiles at Elise, and at Tiger and Joan.

The guests are sitting round in various places with napkins and plates on their knees, eating chupe and salad. Renato is serving wine.

Guests crowd the windows; fat wet snowflakes shear down, now and then striking one of the panes, sliding and melting.

There are dirty glasses, used napkins and spilling-over ashtrays all round. Rosemary is sitting. Guy is stand- ing with his hands on his hips; looking round the room.

Guy says nothing, looking at Rosemary.

Guy draws together all his surprise and anger and points back over his shoulder toward the kitchen, crying at her.

Rosemary rises.

She stops short and stands motionless, paralyzed, no part of her moving. A tear slides down her cheek.

Rosemary catches her breath.

He takes a step forward, worried.

She manages to smile at him.

She closes her eyes and takes a deep breath; then another one, deeper still. She opens her eyes. Guy is still looking at her, worried.

Consternation. Rosemary doesn't answer immediately.

Rosemary puts her hands on her stomach, concentrating.

Rosemary giggles.

She looks down at her stomach and presses it lightly. She reaches for Guy, not looking at him; snaps her fingers quickly for his hand. He comes closer and gives it. She puts it to the side of her stomach and holds it.

Guy jerks his hand away, pale.

Rosemary holds her stomach again, looking down at it.

Rosemary laughs and cries too, holding her stomach with both hands.

He picks up an ashtray and a glass and another glass.

The grumbling PAPERHANGER sticks yellow and white paper on the wall. Mrs. Castevet hands Rosemary the drink and a white cake.

TWO WORKERS come with a bureau, Guy with a bathinette, and Rosemary with a crib. She is much bigger than before. She looks healthier and prettier.

Rosemary puts baby clothes into the bureau; receiving blankets, waterproof pants and shirts. She holds up a tiny shirt to show Guy. They both laugh.

An open suitcase lying on the bed. Rosemary in her ninth month is putting things into it (nightgowns, nursing brassieres, a quilted housecoat, etc.). She closes the suitcase, goes to the Hallway and leaves it next to the Bedroom door.

In the Living Room, Guy is sitting in an armchair with an open newspaper. He watches Rosemary as she places the suitcase.

The telephone rings. Rosemary goes to answer it. Guy strains to listen.

Guy stands up and goes toward the Bedroom. As he is under the archway, Rosemary appears in the Bedroom door. They look at each other for a moment.

Guy turns white. There is a long silence.

Rosemary gets out of a taxi. She is late; the funeral guests are leaving the cemetery and getting into cars. Rosemary meets DORIS and her HUSBAND.

They shake hands.

Doris indicates EDNA, who looks like Doris, but a little younger.

Rosemary shakes Edna's hand.

GRACE CARDIFF, a smartly dressed woman in her early fifties, touches Rosemary's arm.

Grace Cardiff is holding a book-size brown-paper package.

She gives Rosemary the package. Rosemary looks at it; her name and address are printed on it, and Grace Cardiff's return address.

Grace gets into car. The car begins to leave.

Rosemary slips out of her shoes, takes off her gloves and pushes her feet into slippers. At the same time, she picks up her handbag, opens it and takes out the wrapped book. The doorbell rings. Still carrying the book, Rosemary goes to open the door. Mrs. Castevet stands there with the drink and a little white cake.

She takes the glass and drinks the pale green liquid.

Mrs. Castevet takes the package and hands Rosemary the white cake. Rosemary starts to eat it.

She finishes the cake and the drink and takes the package from Mrs. Castevet; giving her the glass.

With a paring knife Rosemary cuts the string of the package and undoes the brown paper. It is a black book, not new; the gold lettering, all worn away, says: "All Of Them Witches by J.R. Hanslet." On the flyleaf is HUTCH'S signature, with the inscription: "Torquay, 1934." Rosemary goes into the living room, riffling its pages. There are occasional photographs of respectable-looking Victorians, several underlinings and marginal checkmarks. One underlined phrase is: "the fungus they call 'Devil's Pepper'." Rosemary sits in one of the window bays and looks at the table of contents. The name: "Adrian Marcato" is the title of Chapter Four. Other chapter titles: "Prudence Duvernoy: Stanley Rolfe; Aleister Crowley; Margaret Wick; Witch Practices; Witchcraft and Satanism." Rosemary turns back to the chapter: Adrian Marcato. "Born in Glasgow in 1846, he was brought soon after to New York (underlined)...he was attacked by a mob out- side the Bramford...."

There is a standing portrait of Marcato, a hypnotic- eyed black-bearded man. Rosemary turns the page. There is a less formal photograph of him sitting at a Paris cafe. The caption reads: "Paris, 1899. Adrian Marcato, his wife and son, Steven." The name "Steven" is underlined. Rosemary flips through the book; pauses for other underlinings. A few pages later: "the universally-held belief in the power of fresh blood."

Rosemary looks up from the book, and whispers:

She closes the book, looks at the title.

Holding the book on her lap, she looks at the ceiling; then at the book again. Suddenly, she stands up and goes to get the Scrabble Set. She puts the book, an open board and the box on the floor. Kneeling in front of them, she picks up the letters to spell: "All Of Them Witches". She jumbles the letters, mixes them round and starts building a new sentence; it comes out: "Comes with the fall". Then: "How is hell fact me". She looks at the one letter left in her hand for a moment. Then, mixes the letters again and forms: "Elf shot lame witch" and "Tell me which fatso".

She puts the letters back in the box, the box on the board, the book on top of the box, and everything on the window seat. She steps back and looks at them.

A new idea comes. Slowly, she picks up the book, looks at the edge, finds the place where the corner of a page had been folded. She bends the corner again as it was, then straightens it. Once more, she looks at the Paris photograph and the name "Steven" under- lined. Suddenly, she grabs the box and empties it on the floor. Very fast, she forms the name "Steven Marcato" with the wooden squares; Index finger, "R" out, then "O". With two fingers "M" and "A". With index, "N": "ROMAN". With her whole hand, she moves "STEVE" to the right, after "ROMAN". Again her index finger pulls down "T" at the end of it and "CA" in front: "ROMAN CASTEVET".

The front door unlocks and pushes against the chain. Rosemary is sitting in the kitchen eating tuna fish; the open book in front of her. She lifts her head, listening. The doorbell rings and Rosemary goes to see who it is. It's Guy. She lets him in. He has a bunch of daisies and a box from Bronzini.

Rosemary closes the door and rechains it.

He kisses her and gives her the daisies.

She goes into the kitchen.

Rosemary puts the daisies into a blue pitcher. Guy calls out from the Bedroom.

Rosemary takes the flowers into the living room. Guy comes in and shows her the shirt.

Guy looks at her, blinks and frowns.

They enter the kitchen. Rosemary picks up the book and gives it to Guy.

Guy looks at the book, then puts his shirt aside, and starts leafing through it. Rosemary puts her finger on the Parisian photograph.

She turns the page and searches for a second, Guy still holding the book.

Rosemary looks at Guy uncertainly.

Rosemary nods.

He laughs and gives the book back to her.

He picks up his shirt and goes to the Living Room.

Rosemary holds out the book towards him.

She opens the book at him and jabs a page with her forefinger.

She goes to the window where the Scrabble set lay, holding the book in both hands, trembling.

Guy picks up his new shirt and goes out and into the Bedroom.

Rosemary sits down next to the Scrabble set. She closes it and, after a moment, opens the book and begins to read the final chapter: "Witchcraft and Satanism". Guy comes back in without the shirt.

He puts his hand out and waits for her to give him the book.

She gives it to him. He goes over to the bookshelves, stretches up, and puts it as high as he can reach, across the tops of the two Kinsey Reports.

Rosemary is sitting in front of Dr. Sapirstein.

Dr. Sapirstein laughs.

At the edge of the curb, the DOORMAN blows his whistle at the oncoming cars. A little behind him stands Mr. Castevet with the transistor radio over his shoulder, Mrs. Castevet in white dress and gloves, with a camera and a hatbox, Rosemary in her peppermint-striped smock, and Guy in blue jeans and a T-shirt. Two big suitcases are beside them on the sidewalk.

Rosemary kisses her cheek.

Mrs. Castevet turns to Guy and Mr. Castevet takes Rosemary's hand.

Rosemary kisses him.

She kisses him again.

A taxi comes. Guy and the Doorman stow the suitcases beside the DRIVER. Mrs. Castevet shoulders and grunts her way in, sweating under the arms of her white dress. Mr. Castevet folds himself in beside her.

As the taxi pulls away there are more 'Goodbyes' through the open window. Rosemary and Guy stand waving at the taxi speeding away with hands unglcved and white-gloved waving from either side of it.

Rosemary is standing on a chair, looking over the Kinsey Reports, for Hutch's book. She takes the two thick volumes away and looks behind. With the books still in her hands, she glances around the room and calls toward the Bedroom.

Guy appears in the archway.

Rosemary steps down and puts the books aside.

Rosemary stands holding a sample card of a birth announcement in her hand. There are other samples, more decorative and fancy, lying on the counter. The SALESMAN is writing on a pad.

ALAN STONE leans over Rosemary's shoulder.

He kisses her on the cheek, starts to leave.

Rosemary absent-mindedly walks along the Avenue. She crosses the street. A CAR HONKS and swerves to avoid her.

Rosemary pulls the charm out from under her dress, undoes the chain and drops it in the sewer grating.

Through the window we can see Rosemary talking to a BOOKSELLER. He nods, turns, goes towards the shelves and with his finger, indicates a large section of it. Rosemary looks at him with surprise and also lifts her hand in a gesture which means "All of this"?

Rosemary has two books. She examines the covers and spine of each. She puts the small book on her lap, opens the big one: "United mental force of the whole coven, could blind, deafen, paralyze and ultimately kill the chosen victim."

Rosemary sitting in the Living Room reading the smaller book: "Spells can't be cast without one of the victim's belongings."

She stands up and starts walking around the room. She lifts the front of her dress and sniffs it.

Rosemary changes her dress, splashes herself all over with cologne.

The ringing tone before someone answers.

Silence for a moment.

She hangs up; looks at the time (nine after four). She takes a fold of bills from underneath Guy's underwear in the drawer, puts them in her handbag. She puts in also the bottle of vitamin capsules and her address book. She takes the suitcase standing by the bedroom door and goes out. Halfway down the hallway, she turns and doubles back. She rides down in the service elevator with TWO DELIVERY BOYS.

Rosemary is standing with her suitcase in front of the RECEPTIONIST's desk. Another woman (MRS. BYRON) sits reading. The Receptionist looks at the suitcase and smiles.

The Receptionist glances at her watch.

She looks across at Mrs. Byron and then smiles at Rosemary.

Rosemary puts her suitcase by the nearest chair and sits down. She opens her handbag, takes out a tissue and wipes her palms and then her upper lip and temples. Her hands are shaking.

The Receptionist makes a pained sound. A PREGNANT WOMAN (5-6 months) comes out from Dr. Sapirstein's office and nods at Rosemary. The Receptionist goes in to Dr. Sapirstein.

The Receptionist comes out again.

Mrs. Byron goes in to Dr. Sapirstein and closes the door. The Pregnant Woman by the desk confers with the Receptionist.

She turns and goes out, passing Rosemary, she smiles.

The Receptionist writes. Rosemary takes up a copy of "Time", in red letters on a black background, it says: "Is God dead?"

Rosemary puts down the magazine.

Rosemary is standing up with her suitcase in her hand.

The Receptionist looks surprised as Rosemary backs and runs out.

Rosemary, suitcase in hand, walks fast.

Rosemary enters a glass phone booth, puts the suitcase on the floor, takes the address book out of her hand- bag, finds a number and, repeating it to herself, searches in her purse for a coin. She finds one, puts it in the slot and starts to dial. She is sweating. A woman's voice answers.

With her foot, she cracks the door open for air. Rosemary replaces the receiver. Wiping her forehead, she speaks to herself.

She notices a WOMAN coming towards the telephone booth. She steps back, letting the door close and picks up the receiver, keeping a hidden finger on the hook. The Woman stands outside and waits.

The TELEPHONE RINGS. Rosemary jumps and lets her finger off the hook. Sweat is pouring down her face.

The Woman outside the booth is walking away.

Rosemary looks around; nobody is waiting; she doesn't replace the receiver though, but puts her finger on the hook. She opens the door again and with the hand holding the receiver, wipes the sweat from her fore- head.

The TELEPHONE RINGS. She jumps her finger from the hook, stopping the ring in the middle. She steps for- ward and the door closes.

She replaces the receiver, breathing deeply in relief. She notices that somebody is standing outside, back against the door. It is a MAN looking like Dr. Sapir- stein. Rosemary, who has been bending to pick up her suitcase, is unable to move. She remains in this position for several seconds until the MAN turns and looks at her. She straightens up, opens the door, and suitcase in hand goes quickly away.

Rosemary is sitting with her suitcase on her knees.

The taxi stops somewhere on West Seventy-second. The driver stops the meter and Rosemary gives him money. She looks anxiously around.

The Driver, a little surprised, hands Rosemary the change.

She gets out, shrinks, trying to be as small as possible, and hurries to the door.

Dr. Hill opens it. He wears a blue and yellow plaid sport shirt. He had grown a moustache, blond and hardly noticeable. He shows Rosemary inside.

Rosemary sits in an armchair. Dr. Hill sits beside the desk.

Rosemary opens her suitcase, takes the two books out of it, finds a place in the large one and hands it to Dr, Hill.

Dr. Hill looks at the place. He puts the book on the desk and holding his hand on the page, reads it. While Rosemary is speaking, Dr. Hill examines the cover and starts flicking through the leaves.

Rosemary gives him the smaller book also. Dr. Hill puts it on top of the larger one at the side of his desk.

Rosemary shuts her eyes and almost cries from happi- ness, that Dr. Hill believes her. She opens her eyes and looks at him, calm and composed. Dr. Hill had moved behind the desk and is writing. Rosemary, who was clutching the chair arms, relaxes her hands and dries her palm on her dress.

He rises and goes to the open door of his examining room, reaches inside and switches on an ice-blue fluorescent light.

Rosemary hefts herself up and goes, clutching her hand- bag, into the examining room.

He comes into the examining room after her. There is a day bed at the far end of the room covered in blue, and a chair. There are blue curtains on the window. Dr. Hill switches on the air conditioner in the window. It is a noisy one.

He switches off the light, goes out and closes the door. There is a nice glow of evening light from behind the curtains. Rosemary puts her handbag on a chair, and sits down heavily on the day bed.

She shakes off her sandals and lies back gratefully.

She sits up suddenly, opens her handbag, takes out the fold of bills and counts them. There is some more money in her purse. She takes it out and adds it to the fold of bills. She takes the capsules out of her handbag, puts the money back in, closes it and puts it on the chair. She looks at the bottle of capsules in her hand.

She puts the bottle on the chair beside the handbag, lies back again on the day bed.

In front of a large contemporary house in Beverly Hills, Rosemary rocks a bassinet. There are ten to twelve persons around; her family and some of her friends. Looking over shoulders, each one tries to see into the bassinet. Rosemary picks up the baby.

Rosemary cradles the baby in her arms. Elise Dunstan bends over it, making cooing noises.

The door opens. Dr. Hill looks in. Rosemary, lying on the day bed, looks at him. Dr. Hill switches on the fluorescent light. Rosemary shields her eyes with her hand and smiles at him.

Dr. Hill withdraws, pushing the door wide open. Guy and Dr. Sapirstein come in. Rosemary sits up, lower- ing her hand from her eyes. They come and stand close to her. Guy's face is stony and blank. He looks at the walls, not at her.

Guy finally looks at her.

He picks up the bottle of capsules, looks at it, and puts it in his pocket. Rosemary puts her sandals on and Dr. Sapirstein gives her the handbag. They go out, Dr. Sapirstein holding her arm, Guy touching her other elbow. Dr. Hill gives Rosemary's suitcase to Guy.

Dr. Hill smiles at Rosemary.

Rosemary looks at Dr. Hill and says nothing.

Dr. Hill opens the door. They go out.

There is a car waiting with Mr. Gilmore at the wheel. Rosemary sits in the back between Guy and Dr. Sapirstein. The suitcase is put on the front seat. Nobody says anything; they drive in silence.

Guy, Rosemary and Dr. Sapirstein walk across the lobby towards the elevator. Diego smiles at Rosemary from the open door of the elevator. As they walk Rosemary sneaks open her handbag at her side, hooks a finger through the key ring and holding onto the keys, spills the handbag onto the floor near the elevator. There are coins, rolling lipstick, bills fluttering all over the floor. Rosemary looks down stupidly. Guy and Dr. Sapirstein start to pick the contents up. Diego comes out to help them, making tongue-teeth sounds of concern.

Rosemary backs into the elevator to get out of the way. Watching them, she toes the big round floor- button. The rolling door rolls. She pulls closed the inner gate.

Diego grabs for the door but saves his fingers; smacks the outside.

Rosemary pushes the handle and the car lurches upward. She overruns the elevator car to the ninth floor, then back to between six and seven, eventually just above seven. She opens the gates and steps down.

She runs through the turns of hallway as quickly as she can. As she reaches the landing near the apart- ment door, she stops, holding her middle, leaning against the wall, breathing shallowly. She sees the service elevator indicator light blink for the fourth then fifth floor. Rosemary dashes for the door; the key won't go in.

The service elevator door opens; Guy and Dr. Sapirstein come out, rushing towards Rosemary.

The apartment door opens; Rosemary stumbles in. She slams the door behind her, chains it and bolts it, leans against it, breathing. We hear a key being put into the lock; immediately the door opens against the chain. We can see Guy's face and the tips of his fingers through the crack.

She pushes the door shut and bolts it. She backs away watching it. It stays bolted. Rosemary goes to the Bedroom. The time is nine-thirty. She picks up the phone and dials. Still holding the phone, Rosemary steps towards the door and looks down the hallway towards the front door. There is quiet, the door is still closed. She steps back and sits on the bed.

She hangs up, and stares at the telephone. We can hear whispers and footsteps.

Rosemary stands up.

Guy is in the doorway with Mr. Fountain. Behind them, Dr. Sapirstein with a loaded hypodermic, the needle up and dripping his thumb at the plunger. Other people appear behind them: Mrs. Gilmore, Mrs. Fountain, Dr. Shand.

Rosemary is between the bed and the wall. They come toward her.

Rosemary picks up the phone and strikes with the receiver at Guy's head. He catches her wrist. Mr. Fountain catches her other arm and the phone falls. as he pulls her around with startling strength.

A handkerchief is jammed into her mouth and held there by a small strong hand. They drag her away from the bed so Dr. Sapirstein can come in front of her with the hypodermic and a dab of cotton.

Rosemary moans through the handkerchief; a contraction; she clenches shut her eyes, holds her breath, then sucks air in through her nostrils in quick little pulls. A hand feels her belly deftly.

Silence. Whispers outside the room.

Rosemary opens her eyes and stares at Dr. Sapirstein, dragging air in through her nostrils. He nods at her, takes her arm that Mr. Fountain is holding, touches it with cotton and jabs the needle into it.

Rosemary takes the injection without moving. Dr. Sapirstein withdraws the needle and rubs the spot with his thumb, then with the cotton. The women are turning down the bed.

Rosemary struggles. In the confusion of this scene we hear Rosemary's voice, without knowing if she is saying the words or if they are her thoughts. At the same time, Guy is speaking into Rosemary's ear.

Another contraction. Dr. Sapirstein gives Rosemary another injection. Mrs. Gilmore wipes Rosemary's forehead. The telephone rings.

Another contraction. Darkness. We hear Rosemary's voice.

After a long moment of darkness - light. The ceiling. Guy sitting beside the bed watching Rosemary with an anxious, uncertain smile.

Guy nods.

Rosemary lets her eyes close, then manages to open them again.

Rosemary lets her eyes close and sleeps.

Next to the bed in which Rosemary is sleeping, Laura- Louise sits reading the "Reader's Digest" with a magnifying glass.

Laura-Louise jumps, drops the book and presses the magnifying glass to her bosom.

She closes her eyes and breathes deeply.

She gets up, retrieves the "Reader's Digest", and goes toward the door.

Rosemary tries to get up but falls back, her arms bone- less. She looks at the clock. It's half past six. Guy and Dr. Sapirstein come in looking grave and resolute.

Guy comes around to the side of the bed, crouches down and takes her hand.

He tries to say more but can't. He looks across the bed for help. Dr. Sapirstein stands looking down at Rosemary.

Rosemary stares at Dr. Sapirstein. He nods. She turns to Guy. He nods too.

Guy squeezes Rosemary's hand and smiles encouragingly at her.

Rosemary looks at them.

Guy holds her shoulders to the bed and Dr. Sapirstein gives her an injection.

Rosemary in bed with a tray of soup and buttered white bread on her lap. Guy, standing, hands her a glass of water and a small white pill. Rosemary takes it.

Rosemary says nothing; she takes a spoonful of soup. Guy sits on the edge of the bed, and starts nibbling at one of the bread triangles.

Rosemary says nothing. Guy takes another of the bread triangles and bites off first one point and then another.

He gets up and starts for the door.

Guy stops and turns.

Guy looks at her.

He undoes the collar of his short-sleeved blue knit shirt and peels it up over his head. Underneath is a white T shirt.

He takes off the T shirt; goes close to the bed, leans and shows Rosemary his left shoulder. It is unmarked. There is only a faint scar of a boil or pimple. Guy shows his other shoulder, his chest and back.

Rosemary is lying in bed watching television. We hear the faint sound of a baby crying. Rosemary rays off the television and listens. She slips out of bed and turns off the air conditioner. FLORENCE GILMORE comes in with a pump and cup, glass of water and small white pill on a tray.

They both listen. We hear a baby cry.

She hands Rosemary the tray and switches on the air conditioner. Rosemary puts the pill under the mattress.

Mrs. Gilmore looks out the window.

Rosemary lying in bed. Laura-Louise sitting beside, holding the tray, with the pump and cup, glass of water and small white pill.

Guy comes in. He puts his head around the door.

Rosemary takes the pill, lifts it to her mouth and fakes swallowing it. She takes the glass of water and drinks it. Simultaneously, with her other hand, she slips the pill under the mattress. Eight or ten other pills are already there. Guy calls from the other room.

Guy's head appears once again in the doorway.

There is a cup and saucer on the bedside with remains of coffee and a dirty spoon beside it. Rosemary takes the cup and puts it on the tray. She lifts the dirty spoon and starts putting it into the Pyrex cup of milk. Laura-Louise grabs her hand.

Rosemary gets out of bed, slides her feet into slip- pers, the puts on her housecoat. Going quietly out of the bedroom, she walks to the linen closet and opens it. The shelves look neat and orderly, piled with bath towels, hand towels and winter blankets.

Rosemary takes everything out of the closet except what is on the fixed top shelf. She puts towels and linens on the floor, then lifts out the four gingham- covered shelves. The back of the closet, below the top shelf, is a single large white-painted panel framed with narrow white molding. Standing close and leaning aside for better light, Rosemary can see that where the panel and the molding meet, the paint is broken in a continuous line. She presses at one side of the panel and then at the other; presses harder, and it swings inward on scraping hinges. Within is darkness; a second closet with a wire hanger glinting on the floor, and one bright spot of light, a keyhole. Pushing the panel all the way open, Rosemary steps into the second closet and ducks down.

Through the keyhole, Rosemary sees at a distance a small curio cabinet that stands at a job in the hall- way of Mr. and Mrs. Castevet's apartment. Rosemary tries the door. It opens. She closes it and backs out through her own closet and goes to the kitchen. From her knife-rack, Rosemary takes the longest sharpest carving knife. As she is leaving the kit- chen, we hear a key working in the lock of the front door. Rosemary rushes into the nursery, brushing against the new bassinet, and presses herself against the wall.

Guy enters and goes into the kitchen, opens the fridge and takes out ice cubes.

Rosemary sees that the bassinet is swinging. She stops it with the point of the long knife.

Guy comes out of the kitchen with Hutch's ice bucket in his hand. He opens the entrance door and goes out.

Rosemary listens for a moment, then moves out to the front door and chains it. Holding the knife point- down at her side, she goes down the hallway to the linen closet door. She opens it, goes through again into the second closet (quick glance at the under- neath of the fixed top shelf; like in the dream), looks through the keyhole and cracks open the door into the Castevet's apartment. Holding the knife point forward, Rosemary pushes the door wide open and steps through. The hallway is empty. There are distant voices from the living room. The bathroom is on Rosemary's right, its door open, dark; the Caste- vet's bedroom on the left, with a bedside lamp burn- ing. She goes cautiously down the hallway and tries a door on the right; it is locked. Another, on the left, is a linen closet. Over the curio cabinet hangs a vivid oil painting of a church in flames.

Knife high, she follows the jog to the left and the right. Other doors are locked. There is another painting; nude men and women dancing in a circle. Ahead are the foyer, the front door and the archway on the right to the living room. The voices are louder.

There is laughter and then hushing.

Rosemary is at the archway now. She can see the coven is at the other end, laughing, talking softly. Ice cubes clink. She betters her grip on the knife and moves a step forward. She stops, staring.

Across the room, in the one large window bay, stands a black bassinet, skirted with black taffeta, hooded and flounced with black organza. A silver ornament turns on a black ribbon pinned to its black hood. The stiff organza trembles. The silver ornament quivers and we can see that it is a crucifix hanging upside down, with the black ribbon wound and knotted around Jesus' ankles.

Rosemary wipes her hands on her housecoat, throws back her hair, finds a fresh grip on the knife's thick handle, and steps out where they can see her. Insanely, they don't. They go right on talking, listening, sipping, pleasantly partying: Mr. and Mrs. Castevet, Guy, Mr. Fountain, the Weeses, Laura- Louise and a studious-looking young Japanese with eye-glasses. All gathered under an over-the-mantel portrait of Adrian Marcato (the same as in the book).

Mr. Castevet sees Rosemary first, puts down his drink and touches Mrs. Castevet's arm. The voices fade. Those who sit with their back to Rosemary turn around questioningly. Guy starts to rise but sits down again. Laura-Louise claps both hands to her mouth and starts squealing.

Mr. Castevet nods and the Japanese looks at Rosemary with interest.

Watching them, Rosemary starts across the room toward the bassinet.

Rosemary watches them until she is by the bassinet, which is angled in their direction. With her free hand, she catches the black-covered handle and swings the bassinet slowly, gently, around to face her. Taffeta rustles, the black wheels squeal. She looks in. Smiling gently, she slowly reaches her left arm to take the baby. The smile fades on her face and changes into an expression of horror. She backs slowly away and freezes with her eyes wide open.

They stir and look to Mr. Castevet.

Rosemary looks at him, looks at Guy - whose eyes are hidden behind a hand - looks at Mr. Castevet again.

She moves from the bassinet, ready to kill him.

Mr. Castevet cries, his voice growing louder and prouder, his bearing more strong and forceful.

Rosemary shakes her head.

Laura-Louise uncovers her mouth. Guy looks out at Rosemary from under his hand.

She covers her face. The knife falls into the floor and sways, upright.

Rosemary backs away.

She backs further and further away through the shouting people. In the confusion of movement, a faint fragment of her dream flashes. A chair is behind her; she sits down on it and stares at them. Mrs. Castevet goes over and, grunting as she stoops, pulls out the knife and takes it into the kitchen. Guy follows her. Laura-Louise rocks the bassinet possessively, making faces into it. Rosemary sits staring. Mr. Castevet comes over to her.

Rosemary looks at Mr. Castevet. He straightens up. The doorbell rings.

He goes to answer the door.

She comes to Rosemary and puts a dampened handkerchief in her hand.

Laura-Louise mutters.

Rosemary wipes her forehead and cheeks with the hand- kerchief. The Japanese, sitting across the room on a hassock, catches Rosemary's eye, grins and ducks his head. He holds up an opened camera into which he is putting film. Rosemary looks down and starts crying.

Mr. Castevet comes in, holding the arm of ARGYRON STAVROPOULOS. He is a robust, handsome, dark-skinned man, wearing a white suit, white shoes and carrying a large box wrapped in light blue paper patterned with Teddy bears and candy canes. Musical sounds come from it.

Everyone gathers to meet him and shake his hand. There is a confused, hushed conversation from which words like "Worried - pleasure -- airport - Stavropoulos -- occasion" can be heard. Laura-Louise brings the box to the bassinet. She holds it up for the baby to see, shakes it, and puts it on the window seat. There are other boxes similarly wrapped and a few that are wrapped in black with black ribbon. Mr. Castevet draws Argyron Stavropoulos forward.

They go to the bassinet. Laura-Louise waits with a proprietary smile. They close around it and look into it silently. Argyron Stavropoulos lowers himself to his knees.

Guy comes back from the kitchen, over to Rosemary. He stands looking down at her.

Rosemary puts the handkerchief on the table, looks at Guy, and, as hard as she can, spits at him. Guy flushes and turns away, wiping his face.

Laura-Louise rocks the bassinet. The baby starts whimpering. Mr. Castevet catches Guy by the arm.

Argyron Stavropoulos clasps Guy's hand in both his own.

He looks over Guy's shoulder, at Rosemary.

Mr. Castevet draws him away, speaking in his ear. Mrs. Castevet brings a mug of steaming tea to Rosemary.

Rosemary looks at the mug and looks up at Mrs. Castevet.

Rosemary looks at Laura-Louise rocking the bassinet. The baby is still whimpering, and Laura-Louise rocks it faster and faster. Rosemary gets up and goes over,

Laura-Louise stares at him. He stands behind the bassinet's head.

Laura-Louise huffs and marches away.

He smiles at Rosemary and moves the bassinet back and forth towards her, holding it by its hood. Rosemary stands still and looks at him.

Slowly, Rosemary lets the black-covered handle come into her hand, and closes her fingers around it. For a few moments they rock the bassinet between them, then Mr. Castevet lets go and Rosemary rocks it alone, nice and slowly. Mr. Castevet withdraws silently to where everybody now stands in a semi-circle, watching. Dr. Sapirstein comes into the room and looks at the scene in surprise. Mrs. Castevet puts her finger to her lips. The Japanese steps forward and crouching down to find an angle, clicks his camera. Very softly, Rosemary is humming. From behind the window, we can hear the distant noise of the street and cars hooting. The sun has already set behind the buildings and the pleasant evening light covers the city.

THE END