SHADOW OF A DOUBT by THORNTON WILDER SALLY BENSON ALMA REVILLE CHANGES, August 10, 1942| (Changes - August 10, 1942.) SHADGY OF A DOUBT LO Mein Title. . Gredits, etc, ! . Over ‘the titles we see waltzing figures, Middle-aged women in Edwardian dresses and their partners, Thoy dance to the tune of the "Merry Widow Waltz", As the last title fades we get a clear view of them, Slowly @ new picture becomes superimposed ~ it is: 1 LONG SHOT - EX, JERSEY WaRSHS - par The New Jersey marshes near Jersey Oity, On the skyline We seo the city, whilet around us are chimneys and power nes. LAP DISSOLVE 2° LOVG SHOT - THR OUTS LATS OF THE CITY 4m abondoned station, Desolation, Dirt. In the fore~ ground a vaste heap. (The double exposed dencing women begin to fade slowly.) - . LAP DISSOLVE LONG SHOP - 4 SIDE STRERT A number of xeunlooking wooden freme houses, A few kids are playing besebail in the middle of the street. CAucRA is high enough to show their shedows, caused by a setting sun, “(fhe dancing women get Tainter’in the background.) 4 SLI LONG SHOT - 4 TOP SHOT - OF THE PLAYING xIDs GaUSRA PANS OFF. them and rests on the row of houses for a noment, then PANS further round until it comes to a standstill on one partioule® house, 5 SEKI CLOSBUP GavERA LOVES FOR'ZARD until we are on a window on the Bpper floor, IT 1.0VES FURTHER FORARD to poor through, * but we are unable to actually see inside the roou. (Tho dancing women disappear altogether ~ sinultancously the music diss away.) LAP DISSOLVE.i : (COPIED FROM ORIGINAL PAGE) INT, ROOMING HOUSE BEDROOM ~ DAY The CAMERA CONTINUES 1t9 FORWARD MOVEMENT THRU the window and into the room. It is shabby end tll~kept. Facing us 1s an iron Dedstead and on it lies a man. CAMERA MOVES toward him until he 1s in SEMI-CLOSEUP, This is UNCLE CHARLIE. He. is fully dressed, meticulously neat, and tho bed is not even ruffled. His hands ave clasped behind his head. He unclasps thom and reachos for a cigarette. The package lies on the bed= clothes beside him, Hts hend is well-kept, steady and strong. He is in his early forties and has the eyes of a child. His mouth, though, 1s set with fatiguo. He lights a cigarette and staves up at the colling. CANERA PANS off him to the beside table, On 4% we aeo a col~ lection of odjects, obviously the contents of his pockets == a watoh, papers, purse, cigar, glasses, a wad of paper wonoy. CAMERA PANS to the floor, some of the notes have fallen to the groud. OVER THIS, wo hoar a KNOCK on the door. MED, SHOT ~ UNCLE CHARLIE Ades in tho foroground of picture. Beyond we soe the door. He makes no response. There is a socond KNOCK. His eyes only turn as the door opens and his lendledy, MRS. MARTIN, pute her hoad around the door. Sho is a complete nonentity. In her figured cotton dress sho is as much a part of tho place as the wall-paper. URS. MARTIN (softly) Mre Spencers Uncle Charite has closed his eyes as he hears hey step and now he opens them. MRS. MARTIN Mr, Spencer, I hate to bother you, but I thought you'd 1ike to know there were two-men hore, Two mon asking for you. A young man and a kind of older man. They was sorry you wasn't in. ZI said you wasn't. Uncle Charlie blows smoke toward the ceiling. UNCLE CHARLIE Did thoy say they'd be back? . CONTINUED(COPIED FROM ORIGINAL PAGE) 7 CONTINUED MRS. MARTIN “hoy aidn't say exactly. But I think they wil, Just now whon T “had to walk dowm to tho A. & P. I soon thom standing there at the corner. Unele Charlie froms. . MRS. YARTIN (nervously) Maybo T showld have let then ins Only you said not to disturb you, andes UNCLE CHARLIE Yes? MRS. MARTIN And Itm sure they #1] be backe Sho goos to tho washetand, and picks up a soiled towel, saying: BRS. MARTIN Gi You look kinda tired to me and ic] that's a fact. Have you got a s headache or soxsthing? I think maybe you nood « real vest, that's what I think -- (she sees the money on the floor end atoops to pick it up) Why, Mr. Sponcer! You oughints to eave all that monoy lying around that way. Alviays makes me nervous to soo noney lying around. Every- body in the world ain't honest, you know =~ though I must say I haven't had mich trouble that ways Some people say New Jersey has a bad reputation for things like that, but I haven't had much trouble, Ta’ say that. Yano gooa to door) You'd better lock the door when I'm gono. " During all thia, Uncle Cherlie hes loin motionless - staring up at tho collinge Ho now gives a slight nods i) URS, MARTIN 4 Those friends of yours told me not to say thay'd called. Wanted to surprise you. Bub T thought you'd Like Go knows. .somohoitses CONTINUEDOo 7 TA (GOPIED FROM ORIGINAL PAGE) 4 CONTINUED - 2 : Ho rods. wo UNCLE CHARLIE Of course,’ of course. And tf thoy cons back, you may show thom up. MRS, MARTIN Yes, UNCLE CHARLIE (humor ously) You know, it's a funny thing. It's a very funny thing. Up to now, those two frfonds of nino have never seen _mo. Evory timo they've called, I've bean oute Now, isn't that odd, Mis. Martin? CLOSEUP = MRS, MARTIN Her face is blank MRS, MARTIN It £8 odd, like you says CLOSEUP ~ UNCLE CHARLIE IV PROFILE ‘UNCLE CHARLIE dma now I’m here. I'11 have to meot ‘thom. I might even go to most them. And, then agein, I my not. Not yote SEMI-CLOSEUP -~ MRS, MARTIN MRS. MARTIN You go ahead with your nap. I'll pull the blind dom. She crosses, CAMERA PANNING to the. window. She reaches up to the dirty cord which hangs down from the blind. CLOSEUP - END OF CORD At the end of tho cord a cheap doll from the five-and-ton 4s fastened as a pull. ho cord is wrapped around tho doll's neck. Mrs. Martints hand pulls tho blind down, then goos out of ploture leaving tho doll awinging. * CLOSEUP ~ UNCLE CHARLIE We HEAR the door close after Mus. Martin. Unole Charlie's eyos axe on the swiiging cord.5 TeP CLOSHUP ~ DOLL SWINGING TO AND FOR FROM HIS BYSLINE MOY Yor a mowiont Unele Charlie is motionless. Thon, with an angry qosturo, ho runs a hand through hig heir,’ Sudden iy he surns over, towards CANSRA, with a choking noiso, and wo soo the bulk of his back and his fists pounding ‘into tho pillow in impotent rage, CAMBRA PULLS BACK Quickly ae ho springs from tho bod. Ho stands motionless, staring at the floor, Suddenly he swiftly crosses to tho) window. Ho pulls tho blind up slowly, 8 «SENT. cLosEUP Ovor his shoulder we soc what ho soos, Two mon standing at a corner across the stroct, 9 CLOSEUP ~ BIG HEAD - OF UNCLE CHARLIE Ho is breathing heavily. . _ UNCLE CHARLIE . (watsporing } What do you know? Youtre bluffing. You don't Imow anything. You!vo nothing on mos Ces Thon, with a sudden decision he turns from tho window. As hé goos away, Wo sco him, back to OMMRA, witha . fovor of activity, cram tho’monoy, papors, ctc,, back into his pockots, Ho picks up hig hat and goos’ out, 10 INT, ROOMZNG HOUSE STAIRS -- DAY ~ MED, SHOT . As Unelo Charlic comos to tho top of the atairs ho’ call: UNCLE CHARLIE Mrs, Martint Sho hurries to the foot of the stairs, CAMERA FOLLOWS him downs UNCLE CHARLIE . (smiles at hor engagingly) Gantt sloop, (apologetically) Think I nocd a chango of air, Thought it might do mo good to lic on the beach a fow days, Got somo sun. As ho reaches the bottom we HOLD 'MIUM IN SHI Ho hands hor a tensdollar bill, . CONDLNUED CLOSEUP, :we ES 10 cry 12 13 4 Cont INvED . RS, MARTIN Way, i, Spencer, you don't owe me a penny, No, no, itr, Sponcer, I couldnté take ib} I veally coulantt, UNCLE CHARLIE Thattyvin case T dontt got back as soon Qf you think, Keep my things, and buy something pretty for yourself with it, Mrs, Martin takes the bill. MRS, MARTIN Bub you haven't got'a suitcases., a change of clothes. UNCLE CHARLIE, Ho, I havent, I haven't, have 1? Wol1, I travel 1ight,. I always travel light. He turns and leaves her holding the money in her hand. Ho shuts the front door behind him, BXT, NEM JERSEY STAER? - DAY - MED, Silo?” Uncle Charlie comes out of the front door, On the top step he takes a Ceep breath end straightens his shouldors, SENE LONG SHOP on the corner of. the streot opposite, the two men are still waiting, SBNI LONG SHOT ~ UNCLE CHARLTS IN F,G. " fhe men beyond, With deliberation he starts to walk towards them, SEMI CLOSHUP - UNCLE CHARLIE with a calm expressionless face, advancing, CAMERA WITH HIM, towards them. ° SEMI LONG SHOT - CAMERA NOVING TOWARD THE TWO MEN until thoy are nearly in SEIT CLOSEUP.ES 16 Le is 18 20 am Be x & . ” SHI CLOSEUP ~ GAMERA WITH UNCLE CHARLIE advancing, Finally it STOPS and he goes out of picture, (HoT: right) SBME GLOSBUP ~ THE THO 1:0 Uncle Oharlie COMES INFO PICTURE (eft), He passes thom end turns the corer, Whe men do not move, SEMI LONG SHOT - OVAR TNS TWO MEN'S SHOULDERS we see him going down the stroct. He takes a sudden left turn, Tho mon begin to follow, ANOTHER STREET ~ DAY - LONG SHov ~ sHooVING PROY A MErorT Unole Charlie comes into a more desorted street, crosses _ end hwries Into on alleyway, After a second the two mon appear, Their pace quickens on realizing there is no sign of him. thoy pause thon ~ one goes one way and one An-tho @irection taken by Uncle Charlic, ALLEWAY - DAY - LONG SHOT The ono man hurrios through the alleyway - there is no - sign of Uncle Charlie, He huxries back again. ANOZHER STREET - DAY - LONG SHOT Tho sano stroot as before, ‘The man comes from the alley~ way, moots the other man and they gesticulate hopelessly, SEME CLOSBUP The to men look at cach other helplessly, He has givon thom tho slip. CAMERA PANS off thom and begins to SUSEP 9 e+ UP until ib coros to rest on a Poof top, Uncle Charlio is watching then -- taking a quick pull from a cigarotte ~ breathing heavily. . LAP DISSOLVE INT, TRUEPHONE BOOTH ~ DAY - SENT CLOSEUP Uncle Charlie is in a telophone booth in a drugstore, Ke holds a handful of silver. : UNCLE CHARLIE Weatorn Union? I want to send a telegran, Dovesélina, Jouevh Howton, Sunta Rosa, California, Yhatts rigid, Here's the . MOBBOGOs sree An sence > GONTINUED. ! *Continued UNCLZ ‘CHARLIE (continued) Ready? fonesick Por you all... stop,...coming to stay a while..,stop,.. will arrive Thursday, and try and stop mé,. vill wire exact tine later stop... love to everyoody and a kiss for little Charlie from her Uncle Charlie... Yes, operator. ‘That's the signature Unele Charlie, No, no address. Neve: mind reading it dack.... How much? . He drops a quarter into the slot, another quarter and a 26 ROA RB? 28 ag another. LAP DISSOLVE EXT, COUNTRYSIDE ~ Day - LONG SHOT A beautiful shot of the countryside north of San Francisco. LaP DISSOLVE LONG SHOT - 4 SEOTION OF THE COUNTRYSIDE A main road winds its way into the distance, until it disappears from view, LAP DISSOLVE EXE, SANTA ROSA - DAY - LONG SHOT shooting from the top of a hill, CAMERA PaNS round the outskirts and finally onte the town, LAP DISSOLVE LONG SHOT - THE CENTER OF THE Tov A traffic cop is busy regulating the traffic, LONG SHOT ~ A PEACEFUL RESIDENTIAL STREET LAP DISSOLVE LONG SHOT - ONE PARTICULAR MIDDLZaCLASS HOUSE LAP DISSOLVE SUNT LONG sHov . CAMERA MOVES FORWARD toward the front door,30 31 a ge 33 34 SENT. GLOSEUP CAMERA HOVES FORWARD to an upstairs window, and, as in the first sceno at the Rooming House, we wero unable to seo through into the room, wo . LAP DISSOLVE DW, YOUNG CHARLES Koom - DAY CAMBRA continuos ite FORWARD MOVERENT through tho window and into tho room, it is a simply furnished young girlts bodroon. a CAMERA OWS ToltARD tho bod. On it Ios a figure -~ in tho samo position that wo found Uncle Charlie -- hands behind hoad, gazing up at the: eolling. YOUNG GHARLIB is between the ages of 16 and 20. Very protty, capablo of high spirits, but with « strony senso of rosponsibility, Hor prosont mood is without selfs : “pity or tearful ckaggoretion, When vo havo hor in Swi CLOSEUP, we THAR the SOUND of a‘telophono ringing. sho : turns hor hoad slightly toward the half-open door, SEMI LONG SHOT - FLASH THE HALP-OPEN DOOR ! fas soon from Young Charliots oyclino, We HEAR the tolophone ring again, IND, NBUTON SIPPING ROOM - DAY - SENT LONG sho? SHOOTING DOWN tne stairs, wo sco across the hali and into the sitting voom, ANN WEWION - Charliots sistor, agod 10, bespoctacied, compotont and solomn, is lying on hor stomach on the floor, roading ~ and munching an apple, She woars braces on hor tooth and she ia at a ghastly stege, For somo obscure Poason, known only to horacl?, sho woars a rose bohind hor oar, CLOSHUP = ANT : engrossed in hor reading ~ we WEAR Young Cliarlic calling. : YOUNG CHARLIE'S VOICE Amn{ Anni Answer the tolophono, Ann, with hor eyes glued on tho book, gets up and good to tho wall tolophonc, CAMERA PANNING WITH HER, coMfinenD ue10 CONTINUED . sho Kicks a footstool slong that will enable hor to roach © tho holght of the noathpioge, During the following she continuca reading, Her voice as sho starts to talk ia affocted, but she forgets. . "oe Ann Tho Novtonta residence, Ann Towson spoaking. Oh, hello, tirs, Hendorson. Whigs is Ayn, “Nother fantt hos yot. A tologran? : {sho looks vaguely avound the tavle)* ell, I don't soe a peneii, so maybo ghold better call you back. Itm trying to Koop my inind froo of things thet dontt mattor., Bocauso thore!s go much I have to koop on my mind, {pausc = with dignity) Innwacrabl.¢ things. Yes, Y111"have .fer eall back, Thank yon for enlling. Goodbyo. Sho hange up the voccdver, “Nct.taking hor oyes from tho page, she returns to her place on the floor, - CAMERA WITH HER, SEML CLOSEUP ~ ANI : in tho foroground of picture, Boyond hor wo soo hor fathor conc in tho front door. Ho hangs his hat up and comes into tho sitting room, Ho is a thin, mild-looicing man in his fortics, He carries a book with'e bright jackot.” Zt 4s atiystory novel, Ho sccs Ann, “ ‘ BR, NEWTON se Hollo, Ann, Wherots your mothor? : Ann turns a page. . AMY Shols out, UR, NEWrON out? . . a rs, Hondorson just cdlled frow the Wostorn Union offleo. Votve got a tologran, I vould have taken it down only I coulentt find a penoil. I looked.oO (Changes - August 10, 1942) ES 36 37 38 ll CLOSEUP - MR, NEWTON He looks round. Ma. NEWTON A telegram? I knew thero'a be troubly if your Aunt Sarsh got her driver's ifesaso, Where was the accident? ANN T@idn't take notes, MR. NEWTON Well, how about a kiss? SEMI CLOSZUP - ANN still without taking her eyes off the book ‘for more than @ second, goos to him, GAMERA WITH HER, end throws her arms around his neck,’ She catches a word or tWo behind his heed even during the kiss, As she goes back to her Place on the floor, CAMBRA WITH HER, Me, Newton puts nis ook down on the table baside hor, Ann looks at it seornfully, ARN Isn't it the funniest thing! Here T am, practically a child, and I wouldn't read the things you read, MR, NEWTON I guess they'd give you bad dreams, ANN Bad dreams! You don't understand, Mystery stories have done more harm to the American people than..... ¢R, NEWTON Where's Roger? ANN Out, The average mind.... MR. NEWTON Where's Charlie? _ Al Out, No,vE mean, she's upstairs, Tn her room. Thinking. SEMI CLOSEUP - MA. NEWTON goes to the stairs + he turns back to Ann: CONTINUEDES lz 38 © CONTINUED IR, NEWTON Light's bad here,” You'll ruin your eyes. And leave my book alone, CAMERA FOLLO"S him as he goes up the stairs smiling to nimools, 39 INT. YOUNG CHARLIZ'S Rocw - DAY - MaD. SHOT - Repeat the SHOP of Uncle Charlie in the rooming house, Young charlic lics on tho bed in the fig, ‘hore is a gontle tap on the half-open door, She makes no rcaponse. Then a louder knock. .... YOUNG CEARLIE {eulling) ho is ite wR. NevPON : It's no _ Yaue-CHARLIE MS .., Gone an; Papa. He pushes the door further open and stunds on the threshold. | WR, NEWTON “hat's the matter? Don't you fool well? YOUNG CHARLIE (without moving her cyes) Gh, I'm perfootly well. I've just been thinking for hours, And I've come to the conelusion that I give up. I simnly give uy. + NEVTOR idly concerned.) (only Yihat are you going to give up? YOUNG CHARLIE Have. you cvu.r stopped to think that a fumily should be the most wonderful thing in the world? And thot this fumily's just gone to pioocs? ER NEWTON ve have?CONTINUED 12k ' YGUNG CHARLTS Of course, we have, ‘Ye just sort of go along and nothing huspens, and’ wetve gotten in a terrible rut. MR. NEYTON Gh, cone, now! Things aren't that bad. The bank gavé me a raise last January... CONTINUED(iS + (Changes ~ August 10, 1942) 1s ES 3g YOUNG ‘CHARLIE Money! How can you stund there and talk sbout money when I’m talking about souls! We eat and sleep, and that's about all, “We don't even have eny Peal conversations, We just talk, . MR. NEWDON And work. YOUNG CHARLTE Yes, poor Mother! She works like a dog. Just like a dog. MR, NEWTON That's what I come up to ask. Where is ehe? YOUNG CHARLIE She's out, But when she comes back, it will de the seme thing. Dinner, then dishes, then bod. I don't see how sho stands it, (at last some aniry tion, she half-raises in the bed) She's really a wonderful wowan. I mean, she's not just_a mother, nd I think we should do something or her, Donit you think we should? MR. NEWTON What were you thinking of doing for her? YOUNG CHARLIE {resuming her former attitude) Oh, nothing, I suppose. I guess we'll just have: to wait fore miracle or something.©. {SHANGES ~ August 10, 1942.) ES 39 a4 CONTINUED - 2 MR. NEWTON You're right, Chorlie. You're absolutely right. But you watch me. I'll] reform ']) reform so Lasteeesee YOUNG CHARLIE (resuming her furmer mood) I don't believe in good intentions any mere, All I'm waiting for is a miracle, AR. NEWTON Charlie! x MRS. NEWTON has come to the door behind her husband, in time to hear his remonstrative tone. She is 40; untendea’ good looks; neither, anxious nor complaining, but just meeting day-to-day demands without hope or dis- couragement. She looks as though she had dressed in a hurry, probably because she has, She hasntt time to worry about herself. Ske comes quietly over to the bed and Sits down. MRS, NEWTON What's the matter, Charlie? Joe, what's the matter? WR. NEWTON (evasively) Well, it seems like YOUNG CHARLIE (sitting up) Ube Oh, I've just become a nagging ola maid, and you went downtown in thet awful old hat you promised me you'd throw away. AW'S VOICE (calling from downstairs) Mother t. ARS. NEWTON : Goodness! What on earth does it matter whet hat I putson? . ANN'S VOICE (calling) Mother !(cS fo (CHANGES - AUGUST 10, 1942.) ES CONTINUED - YOUNG..CHARLIE _ I don't see why you let that child yell at you like that, Mother. She has Something to Say... if CONTINUED 1A1B 39 40 44 "SHADOW OF A DOUBT" = duly 29, 1942 15 CONRINUED = 3 ARS. NEVTON : (with a pacifying alr) I'm going downstairs anywayrers Sho g088 towards tho stairs; Mr. Nowton follows. INP, TOP OF STAIRS - SEMI-CLOSE UP Mv, and Mrs, Nowton start downstairs, CAMERA WITH THEM. Young Charlie comos up bebind thom. . YOUNG CHARLIE (with nystort ous ve authority as though ae , she bad a sccret) “" Nama,y itn going domtown to send a tolograns ERS. NEWTON Why, Charife, who do you imow to gond a telogram to? YOUNG O#ARLTS ZI know just tho person to como and save us, a wonderful porson who'll como and shake us all up, so wo'll bo good and dignified and intelligent again. KRS. NEWTON : Oharlio, have you gone orazy? What do’you man ‘save us'? YOUNG CHARLIE . All this tine thore's boon tho one real, right porson to savo us. Mama, whet's Unclo Chariio's address? MRS. NEWTON Charlio! You're not going to ask Usele Charlie for moncy! YOUNG CHLRLIB {oponing the front door) Not Nol That wouldn't holp us -- what's his addross? FOOT OF STAIRS = MED, SHOT They oxo now at tho foot of the stairs, Roger, ago 8, gmd’a domon for facts, bursts in the front door. cowprnuaD16 S42 ‘conn TMuED ' ROGER : Do you mow how many steps I have to take to cot from boro i to the drug stove and back? +. + Young Charlic looks at him witheringly. ERS. NEWTON + i : {not hoarlng him) The last iidress we had == now, : Gharlic, if you've forgotten a6 I . I'm nov going to toll you. YOUNG CHARLIE I renembey -- Philadelphia. RocER Six hundred and forby-ninos . : IRS. NEWPON os : Anyway; think of asking a busy man Like that to como all this : way for nothing... Young Charlio gogs oub, CLOSE UP ~ YOUNG CHARLIE looks back at hor mother, smiling confidently. YOUNG CHARLIE Hota covs for me, It named after him, With oach prosent ho sends mo a spooial msango, Bosides, watro the only relatives he has in tho worlds She turns out of picture and the door close 43 MED. SHOT fAnn.tn tho f.g., boyond, Ms, Newton comes toward hor. ANN Hothor, guoss what? ROGER : If you cono. by way of Pourth Streot, it's eight hundred and twol I did that yestorday. CONTINUED F45 a7 COND INUED : MRS. NEiLON Itvo no tim for guessings . “| What's that thing in your hair? ANN Well, Z'1 tell you anyway, even though I think ib's nicer whon people guess. Mrs, liondorson says to cull hor at the telograph office, becauso sho says wo havo a tologram. MRS. NEWTON I don't think you should pub things bohind your cars, Ann. ,Somothing might got into your car. UR. NEWTON Emma, Ann says wo have a tologram. ZT think you cught to Mind out 1. Rbout It, Scmbody may be slekses OF WOrSO eee AUN . Mrs, Hondorson didn't poad tho : tologram because I couldnt find a ponoil, When I havo a houso, itis going to be full of wells sharponied ponoils. MRS. NEWTON Dia you say a tologram? For mo? Didn't lips, Hendorson say who it - was from? bees Ann et No, sho diéntt. wT ARS. NEWTON That's funny, I think sho might havo said who 4t was from. Welles. ROGER ‘ . Pomorrow bogianing when I got up in tho moming, I'm going to count every stop I take all day « etal " run into the millions, : HRS. NEWTON Z supposo I might ae woll call ana soo, if you'll all keop quiet for a seconds She go09 to tho tolophono, aid the rest of tho famtly : wateh hor, milaly intorestod. conpinveD\ (Changes - August 10, 1942) 7 Bas "oO | | | , oe x 4 CONTINUED - 2 so 18 NRE. NEWTON One-eight-one, please, I wonder who {t could be, Oh, nothing, operator, Just one-gight-one. MR, NEWTON If it's from my sister..... + MRS. NEWTON Hello, Mrs, Henderson” ‘This is Emma Newton, Ann says you have a telegram? AMY Mother! You don't have to shout. (she turns to her father) Really, Papa, you'd think Mother had never segn'a phone, She makes no allowance for science, She thinks she has to cover thé distance by sheer lung power. MRS. NEWTON Why isn't thot wonderful! ‘Thursday, aia you say? UR, NEWTON . Looks like somesody's coming. ROCER Who's coming, Ma? SEMI-CLOSE UP Mrs. Newton still talks to Mrs, Henderson, MRS. NEWTON Well, it's @ grand surprise! My. brother, you know, My youngor brother; The baby, A little spoiled, of course, You know how famiises spoil’ the younsest. (she winks at! Romer and he winks back) Well, thank you awfully, Mrs, Henderson. {she puts. the receiver back on the hook) Just thinkt (she turns: to ner faimizy) Charlie's coming! Your Uncle Cherlic! And Charlie's gone to send him a telegram -- now what made her think to do a thing Like thet at the same time? conrada4 | © : | 45 eS. 46 O CONTINUED ROGER Is he the one that just burs around? URS. NEWTON Ho doosn't bum around, Quick! Go and catch Charlic and tell hers Roger runs ovt. . RS. NEWTON, Lot's secs He can sloop ia Ann's room, and Ann can sleep: Ane Why don't you move Roger? Why do you have to move me? . MR« NEWTON You'll do what your mother says+ EXT. NEWTON HOWE ~ DAY - MED. sHOT Mrs. Newton comos out onto the porch, Mrs.: Newton, calling! : MRS « NEON Did you catch her, Rogor? Roger turns and walks back nonchalantly+ ROGER Sho must have run ~= it takes threo minutes‘ normal walling to got to Fourth Street, oo ARS. NEWTON Well, Mes. Henderson will be sure to tell hor in tino to stop bor sending hor telogram, Thoy turn back to the house, INT. TELEGRAPH OFFICH ~ DAY ~ SEHI-CLOSE UP + YOUNG CHARLIE is at the counter about to toar up hor fourth attompt at phrasing a telogram. Sho adds the torn pioces to the pilo boside ler, Sho writes the addross again, thon chows hor ponoil and frowns, Sho starts to write agains(Chenges ~ August 10, 1942.) 1B au 47 CLOSE UP » INSERT ~ SHOT CVER -SAQULDER we see: "MR. CHARLES OAK BELLEVUB = STRATFORD NOEL PHILADELPHIA, PENNSYLVANIA DEAR UNCLE CHARLIZ + (sho hesitates) IN MAKING YOUR PLANS FoR TB NEX? HALF YEAR DO WHAT YOU CAN TO COMZ AND SEE US." 48 — SEMI-GLOSE UP = YOUNG CHARLIE in the f.¢, Mrs. Henderson turns from @ custener at the other end of the counter. 2RS, HENDERSON . Way, hello, Charlie. I just called up yeur house, A telegram for your mother, YOUNG CHARLIE (half hearing} Dla you? — : IRS. HENDERSON & - Twas going to. send it up by Bill ‘ Forrest, but you can take it. YOUNG OHARLIS ‘Thank you, URS, HENDERSON (holding the seiegran out to her} It's from your uncle, The spoiled one, Charlie looks at Mrs,.Henderson completely ga-ga~ YOUNG OHARLIS My unole? my Unsle_Charlie? She takes the telegram and reads it, and looks up eestatically, YOUNG CHARLIS Mrs, Henderson, go you believe in telepathy? | MRS, HENDERSON & > T ought to, itts my business, cONPINUED& © (Changes - August 10, 1942) al :B 48 CONTINUED YOUNG CHARLIE Not telegraphy, Mental telepathy, Like, well, suppose you have e thought. dnd suppose the thought's about someone who's in tune with you, and then over. thousands miles that sonzone knows whet you're thinking end they answer you.....and it's ail mental/ XRS, HENDERSON I don't know what you're talicing about, I send telegrans the normal way, Charlie croms the telegram into her pocket and moves swiftly out, + 49 EXT, SLEGRAFH OFFICE - DAY ~ SEMI-OLOSE UP We sec her cone fro. the office ~ her hund in the pocket with the telegram, Her face lit with excitement. She murmurs to herself. - YOUNG CHARLIE He heard me ~~ ~ he heard med CAMERA PANS WITH HER as she makes her way across the Square, and is finally lost in the crowd. LAP DISSOLVE: 49-4 EX, STREET - DAY - WED, shor Young Charlie crosses the strect by the policeman ~ she smiles as she passes hin, . POLICHNAN (temporary) You seem very happy, Charlie - = (temporary) Tan, Mr, Norton -- I em, LAP DISSOLVE:a7 (Ohanges ~ August 10, 1942) 50 Sl 52 22 EXT. RA > LONG SHOT ~ A TRAIN rs IW LAP DISSOLVE INT, PULLMAN CAR - EVENING - LONG SHOT the ful length of the car, very conspicuous is one berth still msde up with the baize curtains drawn together. CAMPRA DOLLIES dowm to this one berth, at the same time the porter approaches it, Ta the next Beat wo sce a foursons plying bridge.” When we have the porter in SEAT CLOSE UP by the Cuttainad berth, he 18 calling through: PORTER Mr, Otist Mr, Otis! UNCLE CHARLIE Yes? : PORTER We're slmost in to Santa Rosa, Mr, otis. You want to be ready when we get to Santa Rosa, UNCLE CHARLIE I'm ready now, thanks, PORTER, I'll get your bags o11 out then, How you feelin', Mr, otis? UNCLE CHARLTE Pretty well, A little week, but pretty well’on the whole. SEMI CLOSE UP- THE POURSO™S PLAYING BRIDGE The doctor's wife hes had her eyes on the curteined berth whilst playing-- she turns to her husband, seated beside her: THE WOMAN Harry, toll the porter you're a doctor, Ask if there's anything you can do. Maybe you could help that poor soul, . boc TOR Now,listen, I'm on ny vecation......... DOCTOR'S WIFE (ignores him) Porter, will you come here? Porter, my husband's a doctor ane if there's anything he can do........- conrINuED(Chonges - August 10, 1942) 23 62 53 CONTINUED: PORTER Oh, matan, he's an awful sick man, =- But he won't see noone, I haven't set eyes on hin mysolf since he first got on the train, Doctor Your bid, Bella. CAMERA PANS OVER to the ourtained berth as we LAP DISSOLVE EXT, SANTA ROSA STAPION ~ EVENING - LONG SHOT THE CAMERA IS SHOOTING UP the main street beyond the station, Coming toward us is a suall, not very up-to- date, sedan, CAMERA PANS with it as it comes to a stop at the parking lot, The fanily clember out, Mr. Slocum, the stetion’master, pasaes by carrying sone papers. MR. SLOCUN (To Mr. Newton) Hello, Mr, Newton ~ MR, NEWTON Yes ~ ~ wife's brother - ~ from the East, MR, SLOCUM Staying with you? MR. NEWTON Looks that way. MR, SLOCUM Long tine weryey Their voices die away as the CAMERA FOLLOWS Roger to the track. He lays a penny on the rail, ~ expecting somebody?{Changes - August 10, 1942) 23 CONTINUED: 53-4 CLOSE UP ~ ROGER'S HAND laying the penny on the rail, 54 MED, SHOT ~ ‘Hi GROUP - YOUNG CHARLIE, MR. MEWION, ANN AND ROGER. YOUNG CHARLIE has her arm through her father's, holding Ann with the other hand. We hear a train whistle some distance off. CONTINUED: CAH C54 CONTINUED: 2 MR. SLOCUM You can hear her now! That's the whistle for Mill River bridge. Won't be three ninutes now, A alle a minute's the wey you can reckon it. ARN I'm going to count. When I count to three times sixty... ROGER'S VOICE (shouting) One hundred and eighty! YOUNG CHARLIE Te you start that counting, I think Ill scream.” Why can't you just wait. Im just waiting, and seeing Unole Gharlie means more to me than it dose to you, ANN vy? Pa . MR, NEWDON Keo . Roger! Get away from those tracks CS . "end stand back on the platform! I knew a Little boy once who was sucked Fight under a train, ‘YOUNG CHARLIE Because I knew hin. ANN . : So did I. He used to tease me. : . YOUNG CHARLIE He didn't tease me ~~ he was aovely to me. 844° SEMI CLOSE UP - We HRAR the train approaching. Roger jumps up and down exeidedly. . . ROGER Here she comes! Here she comes! 54.B SEMI CLOSz UP : MR. NEWTON 5 , Roger} Whet aia I tell yout(changes ~ August 10, 1942) 540 5 54D 56 57 58 25 SEME CLOSEUP ROGER dw--I've got fifteen seconds yet! MED, SHOT - THE GROUP YOUNG CHARLIE Papa, you viateh that end and I'll watch up here! Mr. Newton and Rogér hurry up the platform, whilst young Charlie turns uncertainly from right to left, SEMI. LONG SHOT The train pulls in and cones to a stop. SEMI LONG SHOT - SHOWING THE LAST COACH The porter we have already seen is lowering the steps. He turns and hurries up them, SEMI CLOSE UP - UNCLE CHARLIE appears, supported by the porter ond the deotor, The a@octor's wife solicitously looking down from the platform behind them, UNCLE CHARLIE (week1y} Thank you, thank you, You're very Kind: (he presses some money into the porterts hand} PORTER Thank you, Mr, Otis, Grain whistles. Doctor and porter hurry into train, Beyond we see the station-master werning, and the train sterts, CAMERA DOLLIES with Uncle Charlie in SEMI CLOSE UP ~ 0 bent figure walking slowly - his head lowered but his eyes raised ~ gradually he streightens himself, takes a deop breath and his expression changes. SEMI CLOSE UP - TRAIN Wwainow At the train window the doctor and his wife are looking at him with amazed, bewildered expressions, The porter appears behind them - even more bewildered. Their window moves from picture,(Chonges ~ August 10, 1942) 26 59 SHI CLOSE UP + YOUNG CHARLIS losking towards the approaching figure with a slightly puzzled expression ~ her facu clears with relief as she hurries forvard ~ CAUERA DOLLIES with her, As sho nears Uncle Charlie, his pace quickens also, As they meet, she hesitates, YOUNG CHARLTE aire you - ? Are. you - 7 UNCLE CHARLIE Why, young’ Charlie! She flings herself into his arms, YOUNG CHARLIE At first I didn't know you! I thought you were Siok. | You aren't sick, are you? Papal Papa! Here he ist Way, Uncle Charlie! You're not sick! why, that was the funniest thing! UNCLE CHARLIE Sick! Me sick! CAMERA PULLS BACK as Uncle Charlie turns to greet Mr. Newton who hes hurried up. UNCLE CHARLIE Well, Joo! How are yout Haven't changed a bi MR, NEWTON ° How are you, Oherles? You're looking great! Uncle Charlie bends down and puts out his hand. UNCLE CHARLIE 2 ‘and this is ann! Bet you don't Tenember ne, Ann? Ann looks at him sharply and edges closer to Young Charlie, : ANN nl, I remember you, sort of, You look Aifferent....sort of... Mt ROGER ‘| I only sew one bed made up on the train, But eighty Fifty-three males and twenty-nine females, T didn't have time to count the cars, people CONTINUED:. 59 © * "60-62 es 62 . 63 63 A KO RY ‘CONTINUED: MR. NEWTON Well, we better get started. Eunats got ddaner almost ready. Couldn't persuade her to come to the stations, Dinner came first! ‘YOUNG CHARLIE Anat Rogert (she indicates the baggage) CAMERA PULLS BACK - the family, each one struggling with the baggage, pass by. We ere left with the solitary figure of Uncle Chariie, not carrying a bag, strolling nonchalantly down the platform, lighting a cigarette. LAP DISSOLVE EXT. NEWTON HOME - EVENING. - LONG SHOT The car drives up,- Mrs, Newton hurries out and stands on the top step. We hear voices from the cary SEMI CLOSE UP - YOUNG CHARLIE 4s already out from the driving seat and is 1ifting the suitcase out. Unele Charlie immediately starts to take it from her, . . UNCLE CHARLIE (laughing) That suitcase looks pretty heavy , for you, Charlie. vo YOUNG CHARLIE Oh, it's nothing! Z love to carry it! “Unele Charlie looks up and sees: MED. SHOT - FROM HIS EYELINE MRS. NEWTON is hurrying down the steps. SEMI CLOSE UP - UNCLE CHARLIE with outstretched arn, eres: CONTINUED:63 A CONTINUED: ‘UNCLE CHARLIE Puma! Don't move! Standing there, you don't lock like Emma Nowtons... (he starts to walk towards her) +essYou. look like Emma Spencer Oakley of 46 Burnhen Street, St. Paul, Minnesota. The prottiest girl on the block! CAMERA PANS with him until it includes Mrs, Newton. MRS. NEWTON (tears in her eyes} Charles! Ghariest {she puts her arms around him} By this time Ann and Roger fling themselves at her, too. . ARN Mana, nobody got off the train but Unelé Cherlie. We wore the only ones who met somebody. ROGER 7 There was only one bed still made up.eee MRS. NEWTON (shakes the children off Like a mother cat) Charles! It's wonderful to have you here! To think that you could take time offs. . UNCLE CHARLIE ~ {embraces her enthusiastically, but does not kiss her) Eumyt Enoy! Don't ery! 64 CLOSE UP - MRS. NEWTON smiles, with tears in her eyes. . MRS. NEWTON And imagine your thinking of 46 Burnhan Strest, I haven't thought _ of that funny old street for years. WO 65 = CLOSE UP ~ UNCLE CHARLIE with an expression of sentimental remembrance. CONTINUED:29 83 CONTINUED: ¢ €) UNCLE. CHARLIE } I keep remombering those things. All the old things...Sonehow, the world BiNcO+eeee . Kis expression changes to one of distaste and he makes, a gesture of dismissal. . : 66 MEDIUM SHOT Young Charlie and the others join them. CAMERA DOLLIES in to Young Chariie; as she looks at her mother's smiling face, @ smile of contentment comes over her own. During this, we HUAR Mr, Newton say: MR. NEWTON'S VOICE Well, how does he look to you, my? Saus old Charles, eh? ~-~= Roger, Ann == get the other bags. Young Charlie follows them ell into the house with her eYGS. 7 & 67 INT. SETTING ROOM AND HALL - EVENING As they enter ltrs, Newton holds the door open for Uncle Charlie, URS. NEWTON I hope you didn't eat dinner on the trein...I always say that dinner on a trainsess . UNCLE CHARLIE Been starving myself for deys, Bmy, saving space Tor hone cooking. ‘Uacle Charlie looks around the living room. 68 LONG sHoT The shades are down and the room is dim. He goes to the windows end pulls up the shedes, leaving Young Charlie and her mother in the foregtound. UNGLE CHARLIE Light, Ynmy, Light. Get the light as long as we can. He walks back to Young Charile and puts his hends on her shoulders, turning her so that the light falis on her face. CONTINUED:Cox (O we (Changes - August 16, 1942) 68 69 CONTINUED 80 UNCLE CHARLIE (cont'd) Light on your face, and the light in it, Charlie. (he speaks seriously; then he laughs and speaks more lightly) Makes 1ife pretty complicated to be as pretty as you are, doesn't it, Charlie? YOUNG CHARLIE I'm not so pretty, There are loads of prettier girls: UNCLE CHARLIE Lots of young men hanging around the house, Emmy? MRS, NEWTON Charlie isn't in love as far as T Imow. She's tired of the boys shets grown up with, I guess, And I don't worry about it, We're not enxious to lose her. ‘YOUNG CHARLIE (possionately, but smiling) I love what 7 have right her, Papa and Moma.and the children, don't want it to change except to get better ond better, and -- well -- I'm so glad that you're here, Uncle Charlie -- you'll be good for us, UNCLE CHARLIE 1 Good for you? YOUNG CHARLIE Yes, you con keep us all at our test, that's all, CAMERA PANS with him as he ascends the stairs, INT, TOP OF STAIRS - EVENING - MED, SHOT come from os Uncle Charlie reaches the top, Mr, Newton and Roger Young Charlie's room, CONTINUED:c © 69 70 a Ve 3 04 cd 16 31 CONTINUED | MR, NEWTON , You have Charlie's room, right here | at the head of the stairs. Emmy was going to move Ann, but Charlie thought | | you'd be nore comfortable here, . Unele Charlie goes in, INT, YOUNG CHARLIE'S ROOM ~ EVENING - SEMI CLOSE UP Unele Charlie comes in, As he’stands he closes the door behind him, With no expression on his face he slowly looks sbout him. ' SEMI LONG sHoT . ao the whole room, as he sees it. ot ' SEMI CLOSE UP . . CAMERA IN THE MIDDLE of the room. Uncle Charlie comes from the door until he is in SEAT CLOSE UP; he stands looking around, CLOSE UP - ON THE TABLE by the bed are a leup with a flowered shade, one of those small books by Willlam Lyons Pholps that poople get for Christmas ~ no one has ever read it, and it is @ refined touch ~ and the Best Short Stories of the year. SEMI CLOSE UP , . Unole Charlie turns his head to the wall facing hin. CLOSE UP - ON TH WALL are two cheap flower prints and some framed snapshots. SEMI CLOSE UP his head turns to the other side.(Ghonges - August 10,1942) 7 8 79 80 81 32 CLOSE UP - ON THE - ON THE BUREAU are a vase, two fot and too tight at the top, full of flowers, all bunched together; 9 shoe horn, 8 very small ush tray, and a framed photograph of Young Charlie in her graduation dress. SEMI CLOSE UP CAMERA PANS WITH Uncle Sharlie as he suddenly turns ond goes over to the window, He leoks down into the street, EXT, NEWTON STREET ~ EVENING - LONG SHOT In the peaceful street below, on the corner of the opposite sidewalk, stend tvo’women chattering, INT, CHARLIE'S ROOM ~ EVENING ~ CLOSZ UP BIG HEAD OF UNCLE CHARLIE, He turns from the window- a smile of contentment comes into his face - CAMERA’ FULLS BACK ac he stretches his arms and looks round the room with an air of security, INT. KITCHEN - EVENING - LONG SHOT In the kitchen Mrs, Newton is busy at the stove in the Toreground, ‘The door ozens like & whirlwind; Roger pute his heed in, ROGER I think things should be served evenly, Sverything should Bevounted, Last time Ann got throo more slices of cucumber than I did, The same whirlwind disappearance, Ann enters, ANN I know how to pass things like a maid, You do it from the left, You take away from the right, MRS, NEWTON Now, get out of this kitchen ond Stay out! All of yout She gots no reply and as. she goes out, Young Charlie comes in by the other door, ConTINuED(Changes - August 10, 1942) : 81 CONTINUED 33 YOUNG CHARLIE Moma, tell Roger he's not to eat his ico out of his glass, I've got ice in all the glasses, and'hets not to moke those disgusting noises. Mrs, Newton streightens up; she is hot and nervous + MRS, NEWTON Let's see, now.,,,.48 there anything wetve forgotten? YOUNG CHARLIE Mama! You look roasting! (she comes down and puts her arms around her mother} 1 can't believe Uncle Charlie's here,,.he's 80.,,Well.,,60,,,almost like a foreiehner, except of course he doesn't look like one, Thave a feeling things will be aifferent. : MRS, NEWTON (she turns from the stove and tilts Charlie's head, looking into her eyes) I'm glad you're pleased, Charlie, But don't set your heart on'miracles. After all, just your uncle Charile’s being here won't make se much difference, We're just medium people, and I've never minded, YOUNG CHARLIE But! I don't want to be medium--Itd rether be dead, Mrs, Newton looks up toward the door, Young Charlie turns around quickly with an 'OH') 82 SEMI CLOSE UP - UNCLE CHARLIE stands framed in the doorway ~ smiling. FADE OUT:© (Changes - August 10, 1942) noe 34 eg | TAPE N INT, DINING, ROOM ~ NIGHT - SHAT Lona SHOT The dinner table, {ho family. are seated around the table ~ the remains of tho dinner is on a dish in front of Mrs, Newton. Joe Newton Young Charlie Mrs, Newton Unole Charlie Roger ann CANERA is behind Mre, Newton, shooting up the table. Uncle Charlie at the other eid has his back to the sitting room, He has been holding forth: UNCLE. CHARLIE It was the biggest yacht in the world, but it had a nice little fireplace in the library, and the bar was panelled in bleached mahogany. _ You pressed @ button and... He suddenly pauses es he sees the serious fecos of the family - cil heads, except Ann's turned towards him ~ politely listening, He looks deflated - coumhs, : UNCLE CHARLIE But, what ath I talking about? All . that's over, Let's talk about you, : ' Charlie; thas's the prettiest dross Tevor saw, : YOUNG CHARLIE (smling now) I think so, too. MRS, NEWTON . (Qeaning forward) Charles! “don't you remember? UNCLE CHARLIE . Remember? Remember what? . YOUNG CHARLIE vad Why, Uncle Chariie, you sent it to me, ata UNCLE CHARLIE YOUNG CHARLIE Don't you renember? Of course, I've grown, Thad to sort of fix it, nM CONTINUED:) (Changes - August 10, 1942.) 83 CONTINUED 85. 65 85-A UNCLE: CHARLIE Say! I've been forgetting something all this tine! SEMI CLOSE UP Unele Charlie, in foregreund, Ann and Roger. Tie“ funbles under his chair and brings out two packages: which he places before the children. ‘hey tear off the wrappings. Roger's is a water pistol with belt and holster. He 18 delighted with it. CAMBRA MOVES IN to CLOSE UP of Ann - who is opening her present eagerly - her face drops as she sees what it is. A woolly elephant. She gives a glance at Uncle Charlie end quietly puts tt benind her ack. . * SEMI CLOSE sHor Uncle Charlie, just in the foreground, is handing a small package to Mr. Newton. UNCLE CHARLIE Didn't know whether you had one, Joe, CAMERA MOVES ALONG table as the gift is handed to Mr. Newton, . MR. NN YPON (unvirano: his present) You didn't have to think of me, . Charles. Prescnts are all right for the chilaron, , . (he reveals a fine wrist watch) Say- 1,1 I've never had a wrist-weteh, Fellows at the bank will think I'm quite a sport: MEDIUM SHOT . Uncle Charlie gets up and goes around to Mrs. Newton, UNCLE CHARLIE And two for you, Emmy. ne new and one old. CAMERA MOVES IN as she unwraps a rather flashy silver fox--2 skins. (She tekes the fur and strokes it softly, her eyes soft.) > MRS. NEWTON Charles! I wanted one all ay life. (She gets up from the table and puts the fur around young Charlie's,shoulder) ° YOUNG CHARLIE Mother, its for you. 5 (She takes it off and throws it around her mother's shoulders. Tt makes Mrs. Newton look prettier and very different,(Changes ~ August 10, 1942) 36 © 86 8? SEKI CLOSE UP - YOUNG CHARLIE : YOUNG CHARLIZ ! and it's exactly right, It's what you should hava. : : Young Charlie smiles gratefully across at Uncle Charlie, ' SEMI CLOSE UP : Uncle Charlie gives Mrs, Newton the other packege - a Leather case ~ she opens it - her face wreathed in smiles« She looks at it spellbound. INSERT: Iwo restored daguerreotypes of their . mother and father. YRS, NavTON Charles! Did you have these all along? UNCLE, CHARLIE All along. 411 these years, Safo ina deposit box...storea away safe,..no matter where T was. Mrs, Newton is almost cvercone with emotion. SIMI CLOSE UP YOUNG CHARLIZ gots up od 9. oes behind hor kethor's el looks in silence - then: SRA PANS with her as she + GAMERA MOVES IH, 8! YOUNG CHARLIZ Grandpa and Granda? BRS. NEWTON . Yes, Amn-and-Roger’ squeeze in to take a look, toe ROGER ten (zeding) , . - Lf Fifty-three years ago! a 4 YOUNG CHARLIE . She was pretty, and he is sweet. UNCLE CHARLIE Everyone was pretty and sweet, then, Charlie, ‘The whole worla,..e wonderful world, ..not like the world today, Ib was great to be young thon.86 A 89 37 CLOSE UP ~ YOUNG CHARLIB oe Yorns swiftly to Unclo Charlio. Sho flings hor arns around his neck. YOUNG CHARLIE otro happy now, Uncle Charlie. Look + at ust For oncd wo're ali happy at tho sano tine. UNOS CHARLIS Ana now for your little present, : Gharlis. Young Charlie backs toward the kitchon door, CAMERA PANN- ING With hor: YOUNG CHAREID ‘TL don't want anything. Right now, E have onough. Bofors you camo, If @ian't think I had anything. , «But, now, I don't want another thing. Sho goos into tho kitehon. - MEDIUM SHOT . Bey Uncle Charlio's oyos watching eftor Young Charlios : ~ ROGER : Sho's crazy. ant Bho doosn't mean it really, If you ask mo, I think she's putting on. Tike girls in books, Tho ones that say thoy don't want anything always. got moro in the ond. That's what-sha's hoping. : GAMERA PULLS BAOK to include Mr, Newton. MR, HEW?OH “ Sho's not crazy, Smartest girl in hor class at school, Ton th debate against East Richmond High School singlo-handod. Sho's got brains. UECLE CHARLIS ’ Sho'll 1iko this whon she soos it. ~~~ Ho slips a small box into his pockot and goos into tho Kdtehon, CAMBRA WINE hims . Meoy 0 © “90.4 -90B 90 ¢ a) “ t 91 38 INP, KITCHEN + KIGHT « SDI CLOSE UE GAMERS FOLLOUS UNCLE CHARLIZ into the kitchon. YOUNG CHARLIE stends with hor back against tho olectric ico- box. SEML CLOSE. Uz - UNCLE CHLRLIB Stands watching hor. ° . SEMI LONG SHOT ~ "ROM HIS EYDLINE - YOUNG CHARLIE looking at him seriously. YOUNG OHARLIE I moant it...Ploaso don't give mo anything. SEME CLOSH UE - UNCID CHARLIZ UNCLE CHARLID Nothing? Ho starts to walk towards hor, CAM@RA PANUING WITH him until we have the two in SEMI’ CLOSE UP. . YOUIG CHARLIZ Vol I can't explain. You camo hero, and Mothor's happy. Ana I'm giad that sho named no after you, and that sho thinks wo're both alike. I think wo are, too. I know it. It would spoil things if you should give mo anything. WOLD CHARLIE You're a strengo girl, Charlio. Why World it spoil things? : YOUNG CHARDIZ Bosause, wo'ro not just an uncle and a nioco, “Phara's somathing olso. I imow you. I kmar that you don't toll poopio @ Lot of taiags. I don't eithor. TI have . a fooling that inside you sowowhoro, : there's sonothing...sonothing nobody OWS « . CLOSE UP + UNCLE CHARLIS Looks at hor intently, UNC CHARLIE Somothing novegy Imowe?OO Y (changes - August 10, 1942) 92 CLOSE UP ~ YOUNG CHARLIE CAMBRA PULLS BACK 05 she takes a step or two away, and INCLUDES Uncle Charlie. YOUNG CHARLIS Something sccvet.,,and wonderful, ,,end..,. (she ‘laughs a little) I'll find it out, UNCLE CHARLTE : It's not good to find out too much, Charlie. ” 89 YOUNG CHARLTE * Bat wetre kind of like twins, don't you sce? We have to know. There is a moment of silence; then Uncle Charlie puts out his hand. Young Charlie looks at him, then down to his hand, not quite comprehending. Her eyes met those of Unele Charlie, . UNCLE CHARLTE (quietly) . Give me you “iand..,, Charlie. Qhe slowly extends her right laud; he takes it ond studies it with deliberate casualness, He draws it nearer. to him and for a momont we think he is going to kiss it, With a quick movement he draws the ring from his pocket and swiftly slides it on he: finger ~{t is a large, flat emerald. She érops her hand to her side, eluos behind her back, and says, with a catch in her breath: : YOUNG CHARLIS . °* Thank you, UNCLE CHARLIE But you haven't looked at it, YOUNG CHARLIE I don't have to look at it, No matter what you gave me it'd be the same, UNCLE CHARLIE Here, now.,,le% me show it te you, It's @ good emirald rsa really good ons, Good encraids are the most beautiful things in the worlé, ‘ 93 CLOSE UP - YOUNG CHARLIE She looks at it calmly end suddenly becomes more excited. CONTINUED:95 | | . | o Ga No 96 A 9% B . voy gO 95 40 CONN INUED: YOUHG GHARDID (looking at tho ring) Why, you've had sonothing engraved on it) thot's aifforont! UECLS CHARDIZ's voron I havon't, But I will, if you'd iiko mo to. \ YOUNG CHARLIB But you havo, Uncle Charlie, You have { It's very faint. It's way dovn undor * tho ‘stone. CLOSE UZ » THE RING ~ as One can just road tho words: @. 8. PROM B. ly CAMERA GORS RIGHT Ur to tho initials as wo hoar YOUNG CHARLIE'S VOICE SAY: \ YOUNG GHARLIN'S VOICE D.-Se PROM Be Ie CLOSE UP ~ YOUNG CEARLID Looks up onquiringly. YOUNG CHARLIE Why in. thoy must bo someone's initiale. Hor oxprossion slowly changes as sho looks ot him. SEMI CLOSE UF Uncle Charlie slowly walks towards her. His feco is” Goad and cxprossiouloss. Ho coms into BIG CLOSE Ur. UNCLE OBLZLTE . (an a lov, cold voice) Tho jewoior rooked to. Tho jowolox rookod mo. SBME CLOSE UZ = HE 220 YOUIG CHARLIS It doosn't mattor...Roally it doosa't. CONTIRUED4a. 95 CONTINUED: His anger growing, Uncle Charlie trembles with rage - his fists are clenched. | - UNCLE CHARLIE The jeweler rocked me -~ it's second-hand -- he rooked me. The whole rotten world's crooked. The whole rotten’ world. . He puts his hand out as though to take the ring back. . YOUNG CHARLIE (very. concerned) But I like it this way. Someone else’ was probably happy with this ring. UNCLE CHARLIE The rotten ---- 98 A SEMI CLOSE UP ~ YOUNG CHARLIE Anterposes: (ean . . YOUNG CHARZIB . ue + It's not rotten, Not where you and T . : aro....and Mother.,.and the Test of ua. Sho Looks at him alarmed, and, in order to create a diversion, she turns avay to the ice-box, taking out six frozen custards, 95 B SEME CLOSE UP ~ UNCLE CHARLIE UNCLE CHARLIE (sharply) : Heres. Give it back to me. 'lL have that taken off. 95 0 SEMI CLOSE UP ~ YOUNG CHARLIE "She brings the desserts from the dee-box. YOUNG CHARLIE 7 oa No...Tt's porfect the way it is. Now, you bring the coffee, and we'll surprise them with perfect service. C CONTINUED: (>4k, ‘ 98 © CONTINUED: We see him beyond take the coffee pot. CAMERA DOLLIES WITH Young Charlie into the pantry, She starts to hum the , Merry Widow Walts. She passes CAMERA. Uncle Charlio approaches with an expression of reflective thought, ' which contains a,slight note of fear. The humuing volee ' of Young Charlie is picked up by the faint soprano voices in the distance, while the screen is slowly filled with the whirling figures of Bdwardian ballroom dancers. ' LAP DISSOLVE: Ces(Changes ~ August 10, 1942.) YBass, 96 INT, DINING ROOM - NIGHT - SEMI CLOSE UP ‘As we DISSOLVE the dancing figures fade and Uncle Charlie ond Young Charlie are back in the dining room. | Young Charlie has her hand outetzetened, showing her | ring to the family. CAMER\ PULLS BACK To MEDIUM SHOR, | | X told you so ------ +. MRS. NEWDON It's beautiful (to Uncle chariie) You're too good, Charles. UNCLE CHARLIE Nothing's too good for ny favorite nies. During this we hear the Merry Widow Waltz faintly. Unole Chariie takes his place again at the table and Young Charlie begins to serve the desserts. - HRS. NEWRON Charles, why can't you stay here for sver? 2 CURLS I've been L bout Uhat, To tell you th Eta Tike to open up a new chapter in my life. New surroundiues...cverything now.. Young Charlie hums # short phrase from tho "Merry ‘idow Waltz. ANN Sing at the table you'll marry a erazy husband. nomen | Superstitions hcve been proved one hundred percent wrong. UNCLE OKARLIE Yes, I've been thinking about transferring sone of ny money out here from the Rast. Deposit it in your bank, say, until I see what's what. I suppose you take money at your bank, eh, Joe? MR. NEWPON - (Jovieliy) That's one thing we do ali right. , ' Rake in the dough. Can't promise to . give it back. . CONTINUED:454 96 CONTINUED Ce My . UNCLE CHARLIE Well, I’M go down tomorrow morning and open an eccount. Say thirty-forty thousands Just to start things off right. ° oF CLOSE UP ~ MR. “NEWION MR. NEWTON ae (gasps) , That's a lot of money. 97.4 CLOSE UP - ROGER AND ANN i ROGER . Ho won't have it long. The’ government 1 ' will get it. ‘The government gets ~ ' ‘ approximately... - ARN Youtre not to talk against the ' government, Roger. : MRS. NEWTON'S VOICE Good heavenst The way men do thingst _ And women elvays trying to save! 98 MEDIUM SHOT ~ YOUNG CHARLIE & UNCLE CHARLIE in foreground, SHOOTING towards mother's end of table. Young Charlie again starts to hum the eloven first notes of the "Merry Widow Waltz". Z YOUNG CHARLIE ve 2 XT cantt get thet tune out of my head. If somebody will tell me What it is, maybe I'11 stop. - * MRS. NEWTON : “ It's a walt. : YOUNG CHARLIE . Of course, it's a waltz. But what waltz? You know, it's the funniest thing, but sone times I think of a tune, and can't get it out of my head, and then pretty soon I hear somebody whistling it or humming it, too. I think tunes jump from head to head. : a Wnat ts ib, Uncle Charlic? (she buns it}) o0 7& 99. 100 ; 100 A 201 102 103 . 46. CLOSE UP - UNCLE CHARLIE continues cating his dessert, raises his eyes to Young Charlie, then lowers them to his plate again. UNGLE CHARLIE . (dead pan) I don't know. CLOSE UP ~ MRS. NEWTON struggling hard to remember. MES. NEWTON ‘I know what it is, itts right on the tip of my tongue. It's a waltzes and it's Victor Herbert. CLOSE UP = ROGER ROGER Victor Herbert wasn't a waltz. He was @ composer who composed operettas in the early pert of the twentieth century. Heveeee CLOS® UP - UNCLE CHARLIE looks up sharply: UNCLE CHARLIE Ma It's the Blue Danube Waltz. CLOSE UP - YOUNG CHARLIE relieved. YOUNG CHARLIE « ° Of course, Thatts what it issesss There 4s 6 short pause, then suddenly sho rises to her feet, CAMBRA with her. . YOUNG CHARLIE No, it isn't, Uncle Gaarlie, It's not the "Blue Danube -- it's the "Merry. CLOSE UP - UNCLE CHARLIE'S HAND deliberately upsets his drinking glass.(Changes - August 10, 1942) 104 MED, SHOT ay & ' There is general confusion - UNCLE CHARLIE rises in loud I apology. 1 : UNCLE CHARLIE ' “ I'm terribly sorry, Emny. Hand me a \ napkin, Ann, 1 : Mrs, Newton cones round to him, ' i ‘ MRS. NEWTON ‘ , Now, it's nothing to make a fuss about, Chafles, while we do tho dishes, why don't you go in the living room and stroten out on ' the sofa, an@ read the evening paper, You ° ‘ never wore :uch cr helping. Ann! Roger! Fold your napkins, CAMBRA FOLLOWS then as they go tovards tho sitting room MRS, NEWTON Joe, isn't that Horb outside? (calling to Herbie) Gone in, Herd. Gharles, Herd is a friend of . Joe's, ‘They're literary critics. : ANN * (adsgustea) . Mother! Critics! About the things they readt 104 A INT, SITTING ROOM - NIGHT - SEMI CLOSE UP A figure can be seen in the background through the. sitting room window, Herbie stands tapping gently - abashed, cap in hand, 105 «MED. SHOT Mrs, Newton beckons to him to come in, She leads Uncle Charlie over to the sofa and makes him put his feet up. Mr, Newton meanwhile meets Herble at the door, “Mrs, Newton turns as they enter, 106 © SEMI CLOSE UP ~ HERBIE cap in hand, stands e step or two behind Mr,. Newton, co -Me carries three copies of detective story books with es lurid covers, CONTINVED:fo c (chenges - August 10, 1942) 48 | 106 107 conmmnusD: ‘ MR, NEWTON Had your supper? HERBIZ Had it an hour ago. MR, NEWTON ' Herb, I'd like you to mect ny brother-in-law. ' Charles, thie is Herb Hawkins. €AMERA FOLLOWS them over to Uncle Charlie. UNCLE CHARLIS Nico to meet you, Mr, Hawkins, Herbie stands awkwardly, then decides as Uncle Charlie 4s seated he should, too, He sits on the edge of a chair, Mrs, Newton sees a pillow she needs, She crosses and draws it from under Herbie, My. Newton takes his evening paper from the small table beside his favorite chair, but Mrs, Newton tekes 1t from hin and hands it to Uncie Charlie. MRS, NEWTON There, nowt Lead a life of luxury$ She hurries toward the dining room, During all this time Young Charlie hus been clearing the dishes from the table, SEMI CLOSE UP Mr. Newton gives Herbie a jerk of the head and CAMERA FOLLOWS them, Mr. Newton extracting his two detective books from the table as -he passes out into the hall. He speaks in a lowered voice: . MR, NEWTON Wife's brother 6n a Visitese. New York man.,,good for the children, you know what I nean? HERBIE ' In business? MR, NEWDON {nods with a slight tinge of joalousy) Takos hinself very seriously. How's every thing?&" WO 208 49, EXT. PORCH - NIGHT - SEMI CLOSE UP Still continuing she SHOT, we FOLLOW them onto the porch. Wow ‘they tek to each other with suppressed oxoitonent and Jong judicious pauses. HERBIE (indicating book with his thumb) Seen this one? : MR. NEWTON Huh. HERBIE (opening the book he carries) What little Frenchman beats all. They can telk all they want about Sherlock Holmes. The the little Frenchuan beats then all. UR. NEWTON . Tread it. air bubbles don't necessarily kill a person. ‘Thoss writers from the other side get too fancy. The best way to commit a MUL vee HERBIE (wearily) Zkmow, TI know, Hit tom in.the head with a’ blunt instrument. They sit on two rocker chairs - CAMERA MOVES IN SLOWLY: Mr. NEWTON Well, ivts true, isn't it? Listen, if I wanted to kill you tomorrow, do you think I'd waste my time on fancy hypodermios or on inea? HERBIE . What's that? . UR. NEWTON Indian arrow poison. . : HERBIE Oh. MR. NEWTON Well, I wouldn't, I'd wait until I knew you were alone, walk in, hit you on the head with a piece of lead pipo or a loaded cane ands... CONTINUED:os ee 109 OO 10 if 508 coNTTNUBD: “HERBIE: Vbat’a be the fun of that? Where's your planning? Where's your olues? MR, NEWTON I don’t. want any clues. I want to murder you. What do I want clues for? =. - HERBIE Xf you haven't any clues, where's your book? . UR, NEWTON I'm not talking about writing a book, Im talking about killing you. HERBIB: Mell, if I was going to kill you, I wouldn't do a dunb thing like hitting you over the head. In the first place, I don't like the fingerprint engle. of course I could wear gloves and press your hands on the pipe efter you were dead, and make-it look like suicide. But it don't seem likely that you'd beat yourself to death with a club. I'd murder you so it didn't look like murder, Make 16 look \ more like a lingering iliness.... MR. NEWTON And you don't think Eamy'd have a doctor in if Thad a lingering 41Iness? And you think they'd let you hang around Putting poison in my milk? HERBIE. (the voice of authority) I've thought this over, Joe, let ne tell you, and I'd plan 4t like thissse INT, SETTING ROOM - NIGHT - SEMI CLOSE UP-UNCLE CHARLIE reading his paper, Suddenly his eyes become riveted on one item on page threo. He reads the news item further. There is a‘strong reaction - he sits up straight, rushes the paper down against his knees. He glances around the room, No fireplace, no hiding place. He stops to think. His eyes fall’ on Ann. SEMI CLOSE UP - ANN jying on the floor engrossed in her book. We hear Unole Charlie cali: CONTINUED:&S 110 ii le 113 x that's Papa's paper. SL CONTINUED: , UNCLE CHARLES VOICE Ann, Anne - AND (without looking up) What? MED. SHOT - UNCLE CHARLIE swings his fect off the sofa and comes over towards Ann, .in a playful mood. CIMERA FOLLOUS him and MOVES IN to SEMI CLOSE UP. of the two. . woo UNCLE CHARLIE . Come here, Ann -.did you ever make . avhouse out of newspapers? | See e “what I mean? First you stretch tem all out on the ground. See? (he twists the paper deftly into a tent shape) And then you...look....you out out a door. OLOSE UP - THE NEWSPAPER TENT Unele Charlie's hand comes in and tears a piece out - the item that has caused his alarm. This forms an opening in the tent, We follow his hand and see it put “the item into e coat pooket, We hear his voice saying: : : UKGLE CHARLIR'S VOIGE See? Tis is tne doorwayers. MED. SHOT - UNCLE CHARLIE in the f.g. Ann looks at him with a serious expression. | ANN I’m not a baby any more, Besides, She looks up'as Roger dashes in, carrying his pistol (he's been filling it with water). He stands . thunderstruck looxing at the mass of paper on the floor. UNCLE CHARLIE Here you are, Roger! Look what we've got. A real esquimaux's _ igloo. . ROGER- fren Youtve got Papa's paper, CONTINUED:ns 214 52. CONTINUED: UNCLE CHARLIE Say! I guess I should have thought of that. Well, we'll fold it up again and your father won't imow the difference. Ho is obviously worried by the congpicuous tear. He takes out the whole double page and folds it into smalier and smaller squares. Roger and Ann watch him, a little interested now. . ANN Can you make hats? . UNCLE_CHARLIE Hate? Let's see. I don't think 1 can make hats, You show me how, Ann. As Ann reaches over for a piece of paper, Uncle Charlie Blips the folded piece into his pocket. ROGER I can make darts. I used to make them. : SEME LONG SHOT - YOUNG CHARLIE comes from the dining room. . YOUNG GHARLIZ What are you all up to? thy, Anni ‘Rogert ‘that's Papa's paper, She comes down to them, ‘UNCLE CHARLIE It's my fault. I began it. I was showing them a game and I never thought about the paper. YOUNG CHARLIE (going down on hands and Ao. knees, wos) Well, it's ell right. , Pago five...pago one s.page twenty-two. .ny, this papor + seems to get bigger every day, Here's Part Two.,.Where's page threo’and four and eleven and twelve? Why, thet's the funniost thing I ever heard of. Ana, @id you go out on the porch with 1b somewhere? a a oe UNCLE HARTER Perey (leeks behind \ sofa) : curious. : CONTINUED:83. 114. conrinugn: ~ : : . “any Ce We never touched it. Unele Charlie's ° Co . the only one thet touched it. . YOUNG CHARLIB faa i. Well, Fepa may not notics, If we fold’ it very neatly...seo..and very evenly. 215° CLOSE UP - UNCLE CHARLIE a satisfied slight nile on his face. CAMERA PANS DOWN ’ and we seo his hand pushing the folded pages further * - down into his pocket. tn rm 216 A INT. HALL ~ NIGHT - SENI LONG SHOT . Young Charlie comes to the foot of the stairs, she is oarrying a tray on which are water pitcher and @lasses. Her mother hurries down the stairs. As sho comes into SEMI CLOSE UP, Young Charlie speaks: oa YOUNG CHARLIE QD Unele Cherlie said he liked water by his kee bed. He was sort of surprised we hadn't thought of it, I guess we're not fussy enough. From now on Tin going to ty to be, . ‘ MRS, NEWTON Yes, dear....Goodnight. CAMERA PANS Young Charlie up tho stairs to Uncle Charlie's room. ‘| 116 INT. TOP OF STAIRS & YOUNG CHARLIE'S ROOM ~ NIGHT SHOT fxom outside the door. Young Charlie is knocking. Wohear Uncle Charlie: UNCLE CHARLIE'S VOICE come ins She opens the door and enters, CAMERA FOLLOWING her. YOUNG CHARLIE I've brought your water. . , Unche Charlie is lying on the bed in his shirt-sleoves.. His jacket is hung over the bed-post at the bottom of the bed. Young Charlie puts the tray on the bodeide able. ” conrmomn:116 1.7 118 120 1el 122 84, CONTINUED: ‘UNCLE CHARLIE tmank you, my dear -- you're very ; thoughtful. “Sweet dreams. ao She turns and coxes back to the door, CAMERA with her. On her way she suddenly sees: SEMI CLOSE UP + UNCLE CHARLIZ'S COAT evar the bed-post, A small piece of the newspaper is . protruding from the pocket. smu} CLOSE UP ~ YOUNG CHARLIE AAs gho roaches the door she turns, YOUNG CHARLIE (conspiratorially, teasing) Unele Charlies; know something. I know a secret that you don't think I know. SEMI CLOSE UP - UNCLE CHARLIZ his head turned in her direction. UNCLE CHARLIE, What seoret? : . SEMI CLOSE UP - YOUNG CHARLIE YOUNG CHARLIE Well, remember I seid you couldn't hide’ anything evay from me because I'd knew? ‘Vell, now I know there was something in the evening paper about you. SEMI CLOSE UP ~ UNCLE CHARLIE y : ‘UNCLE CHARLIE About ts? == in the evening paper? SEMI GLOSE UP - YOUNG CHARLIE . YOUNG CHARLIE About you. Please show it to me. I won't tell a soul. She moves back towards the bed.eS 12% 2123 A 124 55, ! CLOSE UP - UNCLE CHARLIE . catches his breath, His eyes follow her as she comes towards the bed. i SEME CLOSE UP ~ THE TiO Bhe has now reached his side again. YOUNG CHARLIE ; and shetty why you played that gene with | Roger and Ann. You didn't want us to know, end you wanted to tear the paper. So now that I know, youfve. got to tell met Young Charlic sufles at him, teasing and triumphant, UNCLE CHARLIE . | Well, you have nel But it wasn't. - about met, It was about some people I used to know. suddenly Young Charlie moves swiftly to the foot of the bed; sho grabs the paper and runs to the door. CAMERA PULLS BACK, She stands with her back to the door; as she holds the paper up it unfurie, showing tho hole made by -the torn-out fragment, YOUNG CHARLIE ‘Theret “ Unele Charlie springs from the bed and goes over to her. SEMI CLOSE UP He seizes her wrist. UNCLE CHARLIE It's none of your businesst He keeps a firm hold on her wrist end she looks up et hin. YOUNG CHARLIE Uncle Chariiet You're hurting met Your handt - , She lowers her eyes to his hand ~ she gazes fascinated. Hie hand relaxes. . : vie UNCLE CHAREIE : - (trying to treat the matter lightly) Charlie! I didn't mean to, I nust have grabbed you herder than I thought, Z a _ Was just fooling about it. It wes Just some gossip, not too pretty, about someone Imet up with once. Nothing for you to read, Forget itt ” CONTINUED: 1(Changes - August 10, 1942.) 56 124 CONTINUED: aa eS CAMERA MOVES IN as he spsaks to Young Charlie, who can- CD not take her eyes off his hand. CAMBRA PANS DOIN to . his large strong hand - now at his sid@e. Then up again | awiftly to Young Charlie. she turns swiftly, opens the . Goer and almost blindly goes out. 125 INT. POP STAIRS ~ NIGHT ~ SEMI CLOSE UP Outside the roan - Uncle Charlie comes to the door behind her and says genially: .UROLE CHARLIE Good night. Goodnight, Young Charlie! Young Charlie comes into BIG HEAD. Composing her face and for the first time "acting" a friendly manner, She speaks calmly: YOUNG CHANUTE, ‘ Good night, Uncle Charlie.‘ Pleasant deans, . » As the bedroom door ¢loses behind her ~ LAP DISSOLVE o 186 INT. MRS. NEWTON'S BEDROOM - NIGHT - MED, SHor Mrs. Newton in the forground of picture, in a dressing gown, is seated before a dressing table rubbing cold cream into hex face. Beyond her we see ir, Newton sitting up in bed reading one of his nystezy stories. 126 A CLOSE UP - MRS. NEWroN She runs her fingers down the side of her neck, then opens the top of her nightdress a little. We hear MP Newton's voice: : MR. NEWTON'S VOICE Nice having Charles here. Squeemish about books Like this, though. Tried to talk to hin about it, but he acted squeamish. She leans forward to the mirror again - she removes the shade from the tablo light, The added light makes hor appear almost youthful ~ she amiles hapnily. CONTINUED(changes ~ August 10, 1942) 87 126 A CONTINUED © 127 MRS, NEWTON (softly, almost to herself) 46 Burnham Strect,.,Tne prettiest girl in the block.,I was the prettiest girl in the block, MR, NEWTON (looking over the top of his book) I know you were, Erny. <2) MRS. NEWTON (thoughtfully) Do you know), if I spent five minutesevory night and five minutes every morning on my face, ..,.1 mean there's no sense in f go completely when it takes just a iittle tine every day. Cherles looks Re you. and I'm not so very much’ older than eis, wR, NEON His coming certainly pepped Charlic up, MRS, NEWTON She hasn't hod much excitement, (sho leans toward the mirror again) Do you know, my hair used to have a lot of rea in it, “I think I'll have @ henne rinse, I think I'l do something for my face, WR. NEWTON You're face is 211 right the way it is, WRS. NEWTON Well, my foce is my business, INT, “ROGER'S ROOM ~ NIGHT ~ SEMI CLOSE UP Roger is kneeling on his bed in his pajamas. His pistol is “laying on the table beside hin, He'is looking sround at the flowered wallpaper in his room, He is counting the flowers, ROGER (muttering) Two hundred and four and a bud,’ tio hundred and five, two hundred dnd 84K Nd O DUG eee ceeeeeen ene ees LAP DISSOLVE: