"IT'S ALL TRUE"

Page 53

"Ai, que Saudade de Amelia," Welles repeats.

Dorothea looks at him.

"According to the words," he tells her, "Amelia was a girl who didn't care anything about money or nice clothes or jewelry, and didn't even mind going hungry as long as she was with the man she loved. He says 'E que era a mulher de verdade.' She was really a wonderful girl."

"She certainly was."

"He says he has Saudades for her."

"I should think he would -- what does that mean?"

"Saudades? --" Welles keeps her eye. "It means heartache -- something like that -- sentimental memory; lonesomeness, -- a longing remembrance of something past, or of someone gone away. It's a word no other language has for something everybody feels -- "

After a minute Dorothea looks away....

At the end of the truly wonderful Martinez vocal, we --

DISSOLVE

Outside again. Shifra has found little Pery in the midst of an applauding crowd. He is singing for them his own version of "Amelia."

The camera follows him through more adventures...

"IT'S ALL TRUE"

On a mad crescendo of Carnaval songs, sights and
songs we --

FADE OUT

FADE IN

Day. Carnaval's force and heat have only
intensified.

Welles and Dorothea are together on the roof-
garden of one of Rio's skyscrapers.

Below them roars the city, beside itself with the
biggest good time held anywhere ever on the face of the
earth. At the moment a couple of thousand happy voices
just below are screaming "Farewell, Praca Onze."

Welles is pointing. " -- and there it is -- there's
Praca Onze itself, the place the song's about -- Won't
be there long, though. The city's changing. Over there,
they tell me, they used to have a mountain. They just
shovelled it away. It's cooler now and they solved the
traffic problem."

"I think Rio can spare a few mountains," Dorothea
says, "and still be the loveliest city in the world."

"Through there's where the new street's going to
run -- the Avenida Getulio Vargas. By the time this
picture I'm making is on the screen, there won't be any
Praca Onze, but of course lots of people will still have
Saudades for it."

"IT'S ALL TRUE"

Page 55

Dorothea speaks very quietly. "Saudades," she repeats.

"You know, ordinarily Carnaval tunes change every year, but I think that song about Praca Onze is going to last -- like "Swanee River" or "St. Louis Blues." Next year, there'll be a new Samba about the new street. I'm all for that, of course -- for new Sambas and new streets."

"Yes," Dorothea agrees. "You know, Rio's one of the only beautiful old towns where new things are even more beautiful."

Welles is a little wistful. "It's just as hard here as it is anywhere else to say goodbye to the past --"

"You can always keep your mind off the past if you're busy enough with the future."

"Rio's plenty busy. They have more plans here than memories -- more hopes than regrets -- more dreams than --"

She finishes the sentence. " -- Saudades -- ." Then she turns away from him. Welles is baffled again. He takes refuge in the conversation.

"Those hills where the poor people live - I took you there, remember?"

"I remember."

"I'll never forget it. I'll always have Saudades for that night in the mountains."

dl

"IT'S ALL TRUE"

"I didn't know you North Americans were so romantic."

"There are lots of things we don't know about each other -- All of us -- too many things."

"Isn't that why you're making your picture?"

"Yes,-- You know, they've got new housing projects for all those places up there where we were - model homes --." Welles stops.

The young Brazilian who danced the Samba with Dorothea has made an unexpected appearance.

"That's right," he is saying as he joins them. "I couldn't help but overhear. We have much planned here in Brazil for the future, but naturally we can't deny we're sentimental."

Dorothea has a big interested smile for her Carioca friend. Welles watches them both.

"I hope you'll join us tonight, Mr. Welles. I'm taking Dona Dorothea and her family to the Urca Casiono."

"I hear they have a wonderful show," says Dorothea.

Welles eyes them both. "Thanks."

The Brazilian beats out the rhythm of the Samba with his hands on the ledge, singing softly, happily with the crowd, "Adeus minha Praca Onze, adeus."

Welles looks out over the city as he repeats the words, "Adeus, Praca Onze! Where I come from we sing

dl

["\"IT'S ALL TRUE\"", "about \"Our Old Kentucky Home\" and \"The Beautiful Ohio.\"\nI guess we all like our little Saudades -- \"", "His eyes go back to Dorothea; "-- if that's all\nwe can get.\"", "FADE OUT", "FADE IN", "The show at the Urca Casino. Two reels of lavish\nmusical comedy production -- a summation of all the\nCarnaval songs in terms of fast popular entertainment.\nWelles is shown at a table at the Casino, with Dorothea,\nher family, and her Brazilian friend.", "Part One of this production number is the summing\nup of Carnaval itself, a real old-fashioned bang-up\nfinale....", "But beyond Carnaval there is a larger theme, a\ntheme which prompts and enlivens the making of our\nentire picture -- the theme of Pan-Americanism. This\nwas articulated in the streets in the great parade, and\nis here brightly and very winningly represented in the\nUrca in the Pan-American medley. This is nothing other\nthan the venerable device known to show-business as the\n\"flash finish.\" Each principal having done his turn,\nthe cumulative effect demands ovation -- and when", "d1"]

"IT'S ALL TRUE"

everything has apparently been shown, the stars enter
and a curtain comes down -- In our case the stars are
all the Americas.

The twenty-two republics are represented by
chorus upon chorus of dancers and singers passing in
fast vivid revue. When the stage is filled, the
company pays rousing tribute to the hemisphere. The
casino crowd goes wild, -- serpentina, hundreds of
balloons, a riot of flags --

Rio's Carnaval becomes Pan-America's Carnaval...

Here, it is realized, is at least one means of
saying joyously and easily what all of us in this
western world are coming to recognize. The Americas --
all the Americas together -- are joined in fact as
well as in idea -- a promise for tomorrow -- and
better yet, a fact today.

FADE OUT

"IT'S ALL TRUE"

### FADE IN

A street in front of Dorothea's hotel just before dawn. Carnaval, dying at last of exhaustion, throbs out of the far city behind, and against this drums the deep capricious rhythm of the surf. The mournful wash, merging with the far-off murmur in the wakeful streets, is counterpoint to "Amelia," sung again by Chucho Martinez, the glowing dashboard showing that this Samba comes out of the radio speaker in the car.

Welles gets out and helps Dorothea. They stand for a moment quite close to each other.

A silence, then he speaks. "It was nice of them to let me drive you home."

"It was a wonderful Carnaval."

Welles reaches into the car, but Dorothea stops him. "No, don't turn it off - that's our Samba -- "

Welles looks at her. "I wish you'd drive with me to the city and watch them going home."

"I can't."

"One of the great sights is the jail. Another hour and they let out everybody they arrested in the last three days. If you're still wearing fancy dress by then, your neighbors know you misbehaved yourself."

They laugh. Welles goes on. "They say there isn't a single piece of confetti anywhere by the time the sun

dl

"IT'S ALL TRUE"

rises. -- You're going back to Santiago in the afternoon?

"I wish I wasn't right away. I like Rio."

Welles doesn't answer.

"I wish you luck with your picture."

The song is over. Welles switches off the radio.

They share another laugh -- a quiet one.

"Will I be in it?" she asks.

"In what? -- Oh, the picture. I'll change your name."

"I'll know who it is."

"You'll know. I'll tell you now how it turns out --
the plot, I mean -- "

"How?"

"I don't get the girl in the end -- Goodbye."

They shake hands. Suddenly, she kisses him lightly,
quickly -- then she's gone.

Welles gets back in the car and starts off down the
street, the serpentina still dragging after him.

DISSOLVE

The great square of the city.

People who haven't gone home are asleep, young and
old -- couples -- little children curled up in piles of
confetti --

The street cleaners are busy, but only after their
diligent brooms reach the sleepers do they rise, yawn,
stretch, stagger away into the darkness.

dl

"IT'S ALL TRUE"

Page 61

The paling night here is heavy with dust, and now
we can distantly in a minor key, hear the sweet, weirdly
sad strains of the Samba, "Farewell, Praca Onze."

The refrain continues as the camera shows us the
steps of the Teatro Municipal.

Here more of Carnaval's hardiest celebrants rouse
themselves only at the insistance of Rio's white-wings.
Little Pery has escaped their vigilance and sleeps on,
all unnoticed, at the foot of a towering street lamp.

"Adeus, minha Praca Onze, adeus -- "

In Praca Onze itself we find Otello snorning happily,
his woolly head luxuriously pillowed on the legs of a
snoozing candy butcher --

The broom reaches him -- he blinks and leaps to his
feet, ready to go on with Carnaval. He starts to beat
his little tamborim, but finds it broken. He looks about
him. Praca Onze is a desert --

"Farewell, my Praca Onze -- "

The melody hands in the air as the camera returns
to the steps before the theatre. A policeman has found
the little child. He wakes him carefully. Pery sits up,
rubbing his eyes.

When the policeman asks him his address, he gives it
readily, and settles comfortably on his shoulder, happy
to be taken home. The policeman starts away with him, but

bw

"IT'S ALL TRUE"

Page 62

comes back for a little toy left behind -- Pery is carried off down the dark street, and away....

Praca Onze again --

Alone in the center of the Square, Otello is bidding his own farewells to the well-loved place of Carnaval.

The music still is heard, but even more remotely -- a sorrowing sound -- tender and lovely. Otello's eyes fill up and we see in them the color and excitement, the laughter and joy and music that filled the praca only a few short hours ago.....

Under a street lamp Otello has stopped to throw his broken tambarim to the ground -- a gesture of leavetaking, unconsciously eloquent.

"Adeus, Praza Onze -- adeus --! adeus --!"

Goodbye to the last great Carnaval of the streets!

The sky is turning gray. Otello's footsteps echo in the silence for a time after he leaves the picture.

There remains only the sweet small murmur of the song itself -- very faint -- a memory of sound. Nothing is left to see now but the broken tamborim in the glow of the street lamp, a pretty little casualty, lonesome-looking on the fresh new sidewalk. Our camera looks up into the lamp itself, to the sign, "Praca Onze."

Now it is early day. The light in the lamp goes out. The song ends.

FADE OUT

bw

"IT'S ALL TRUE"

Rio is revealed in a series of truly beautiful sunrise shots. The city is fresh and young-looking in the rose and gold lights of the moment of day-break.

A succession of these shows the city waking up and going back to work --

DISSOLVE

A loud-speaker. It calls: "Leaving in ten minutes -- the Pan-American Clipper for Belem, San Juan, Puerto Rico, and Miami, Florida."

Welles and Shifra, Harry and all the crew, are waiting with their luggage in the airport. An official comes up to them.

"Everything is in order. You can board now any minute." He laughs. "You're a sad looking bunch!"

Welles looks at him. "How do the French put it -- ? 'To say goodbye is to die a little -- ' Besides, I think we're all thinking about the same thing -- about a man who really died. He was a very great man, and our friend. His name was Jacare. We made a picture about him here in this country -- about the Jangadeiros, and he was killed before we finished it. He died making the picture."

The loud-speaker calls again. "The Pan-American Clipper for Miami, Florida -- all aboard."

The little party gets up and starts out with their luggage.

DISSOLVE

bw

"IT'S ALL TRUE"

The airfield just at sunrise. Welles and the others
wait together inside the barrier.

Welles speaks: "It was a morning just like this,
remember, Shifra. Dawn -- the day after Carnaval --
that's when we made those shots of Jacare and the others
getting in the plane."

A pause.

"Take this down, Shifra. We'll hope it sounds the
way we want it to -- Ladies and gentlemen, this is the
end we planned for our picture -- "

On these words we --

DISSOLVE

To the Jangadeiros getting in the plane -- then
looking through the windows during the take-off -- waving
goodbye.

Over all this Welles' voice:

"Here are the Jangadeiros, all four of them as you
see."

The same group as now waits to leave is shown
casually dressed for the tropics -- standing just where
they are now, answering the Jangadeiros' wave.

"Goodbye," they call, "-- goodbye, Jacare! -- Happy
voyage!"

Welles' voice continues:

bw

"IT'S ALL TRUE"

"They stayed on for Carnaval in Rio as the guests of the city, and then their government sent them back to their homes again with good news for their comrades -- a better life, a better chance for their children."

The plane is seen to rise from the field over the waking city. It circles the harbor, turns away into the sunlight.... This as Welles goes on:

"The flight back really happened. This picture is all true. Bonito was pardoned, Carnaval was just as you've seen it. The four men from the north really sailed all those long miles to Rio on five logs of wood with only the stars to guide them so they could talk to the President of their country.

"Naturally our cameras weren't always on the spot. Some of the action we had to reconstruct, and before we'd finished our work, Jacare had died in the sea."

From the plane itself the camera shows us Rio -- the white and gold city, the silver beaches, the violet bays, purple mountains -- finally Corcovado, at once exclamatory and benign --

All this during the foregoing.

Now we --

DISSOLVE BACK TO:

bw

"IT'S ALL TRUE"

Page 66

The airfield -- Welles, the dawn sky behind him.

He continues:

"But this is still the end of our picture because
this is the best place we know to stop. Also, it's
true.

"The Jangadeiros did go back to Ceara. They're
still there -- even Jacare -- who lives now in American
history. We dedicate this picture to him, to his sixty
day on the open sea and the eight hours it took a plane
to fly him back through the air over fields and mountains
and jungles to his family on Iracema beach -- "

The loud-speaker is heard distantly: "All aboard!"

Welles goes on:

" -- to the hours less it's going to take to fly
there tomorrow -- "

The crew, lifting their bags, start off-screen for
the plane.

Harry calls: "It's time to go!"

" -- to all brave flights and voyages -- to -- to -- "

Shifra helps out; " -- to the truth about America -- "

"All America. To Jacare and his dream of the future!"

The music strikes rull rich chords of conclusion
as we --

DISSOLVE TO:

The sun -- now risen behind the Christus -- .

A plane crosses the screen -- as we --

FADE OUT

CRH:m
H-VI

RKO RADIO PICTURES, INC.

MERCURY PRODUCTIONS, INC.

Agreement

4

THIS AGREEMENT, executed

December 31, 1941

, between

RKO RADIO PICTURES, INC., a Delaware corporation, hereinafter referred to as the "Corporation" and

DANTE ORGOLINI

--------------------------------- , hereinafter referred to as the "Employee,"

WITNESSETHE

In consideration of the covenants and conditions herein contained, and other good and valuable consideration, the parties
hereto hereby agree as follows:

1. The Corporation employs the Employee as a

Coach and Advisor

IT'S ALL TRUE

”

in connection with the motion picture now entitled "

herein at times referred to as the "Picture."

The Employee accepts such employment.

The employment of the Employee in connection with the Picture shall commence on December 31, 1941

and shall continue thereafter until the completion of all services required of him in connection with the production of the Picture,
it being expressly understood and agreed that the Corporation may terminate the employment at any time by oral or written notice.

2. The Corporation will pay the Employee compensation for his services in connection with the Picture at the rate of

Fifty

Dollars ($ 50.00

) a week.

3. If the Corporation requires the Employee to render his services more than twenty-five (25) miles from the studio of the Corporation at Los Angeles, California, the Corporation agrees to furnish the Employee with reasonable transportation to and from such place and to furnish the Employee with reasonable meals and lodging while away from such studio in connection with the performance of such services.

4. During the period the Employee is performing or is obligated to perform his services for the Corporation he will be available at all times at Los Angeles, California, or such other place as the Corporation may designate; he will advise the Corporation's production office of his whereabouts so that he may be reached at any reasonable hour of the night or day; he will report to the Corporation at its studio or any other place which the Corporation may designate at the times designated by the Corporation; and he will render his services to the Corporation at all times required by the Corporation, including nights, Sundays and holidays.

The Employee will comply with all reasonable rules and regulations made by the Corporation in connection with the conduct of its business, and also will perform his services hereunder conscientiously, to the full extent of his ability and as instructed by the Corporation in all matters, including those involving artistic taste and judgment.

5. The Employee grants the Corporation exclusively and perpetually all rights of every kind and character whatsoever in and to the results and proceeds of his services performed pursuant to this agreement.

All literary, dramatic, musical or other material composed, submitted, added or interpolated by the Employee pursuant to this agreement shall automatically become the property of the Corporation, which, for this purpose, shall be deemed to be the author thereof, the Employee acting entirely as the Corporation's employee.

Without limiting the generality of the foregoing, the Employee grants to the Corporation the exclusive right to use and display his name, voice and likeness for advertising purposes perpetually in connection with all of the results and proceeds of his services performed pursuant to this agreement.

6. The compensation payable hereunder shall be paid only on condition that the Employee keeps and performs each and every covenant and condition of this agreement to be kept or performed by him.

Such compensation shall be payable weekly at the office of the Corporation pursuant to the rules and regulations established by the Corporation for the payment of compensation, and unless otherwise designated shall be payable on Wednesday of each week for services rendered to and including the preceding Saturday.

If it is necessary to compute the compensation for a period of less than a week, such compensation shall be computed upon a daily basis, and the daily rate shall be one-sixth (1/6th) of the applicable weekly rate.

The Employee shall not be entitled to compensation in addition to his weekly compensation for rendering his services at nights or on Sundays or holidays.

7. The Employee hereby appoints and authorizes Motion Picture Relief Fund of America, Inc., as the Employee's attorney-in-fact to collect an amount equal to one-half (½) of one per cent (1%) of all compensation now or hereafter due or payable to him from the Corporation. This power of attorney shall remain in effect until written notice of the revocation hereof is given by the Employee to the Corporation.

8. The Employee hereby consents that the Corporation as his employer may deduct and withhold from his compensation hereunder the amounts to be deducted and withheld by the Corporation under the provisions of the Federal and California income tax acts, Federal social security act, California unemployment insurance act, any and all amendments thereto and other statutes heretofore or hereafter enacted requiring the withholding of compensation.

9. The Employee shall not be entitled to any compensation hereunder for or during any time or times that he shall for any reason whatsoever (including, but not limited to, illness, accident or mental or physical disability) fail, refuse or neglect to render his services hereunder or to keep or perform each and every covenant or condition to be kept or performed by the Employee under the terms of this agreement.

10. The Corporation may assign this agreement, or all or any part of its rights hereunder, to any person, and this agreement shall inure to the benefit of such assignee.

11. All notices which the Corporation is required or may desire to give to the Employee under or in connection with this agreement may be given by addressing the same to the Employee at Los Angeles, California, or at such other address in the County of Los Angeles of which the Employee from time to time gives the Corporation written notice, and by depositing the same, so addressed, postage prepaid, in the United States mail in the said County of Los Angeles, or by delivering them, toll prepaid, to a telegraph or cable company.

All notices which the Employee is required or may desire to give to the Corporation under or in connection with this agreement shall be given by addressing the same to the Corporation at 780 Gower Street, Los Angeles, California, or at such other address of which the Corporation from time to time gives the Employee written notice, and by depositing the same so addressed, postage prepaid, in the United States mail in the said County of Los Angeles, or by delivering them, toll prepaid, to a telegraph or cable company.

Any notice mailed, telegraphed or cabled as aforesaid, shall be deemed to have been given on the date of mailing or date of delivery to the telegraph or cable company.

12. "Picture," "motion picture," or their equivalent shall be deemed to include silent motion pictures, sound and talking motion pictures, motion pictures produced, transmitted or exhibited with or accompanied by sound and voice recording, transmitting or reproducing devices, radio devices, television devices and all developments and improvements of such devices, and all motion picture productions of every kind produced, transmitted or exhibited by any means now known or unknown.

"Person" shall include natural persons, partnerships, firms and corporations.

Terms used in the masculine gender shall include the feminine gender, and terms used in the singular number shall include the plural number.

13. This agreement constitutes the entire agreement between the parties and cannot be modified except by a written instrument signed by the Employee and an authorized officer of the Corporation. No officer, employee, or representative of the Corporation has any authority to make any representation or promise not contained in this agreement, and the Employee agrees that he has not executed this agreement in reliance on any such representation or promise.

IN WITNESS WHEREOF, the parties hereto have executed this agreement the day and year first above written.

RKO RADIO PICTURES, INC.

MERCURY PRODUCTIONS, INC.

(Dante Orgolini)

By

Assistant Secretary

35. The Artist agrees not to render any services in or in connection with the production or exploitation of any motion picture or motion pictures at any time between the date hereof and a date not later than sixty (60) days after the completion of any and all of her services in connection with the said photoplay now entitled "IT'S ALL TRUE", both dates inclusive.

The Artist further agrees that the Artist will not, nor will the Artist authorize or permit any other person, firm, partnership, association or corporation, other than the Producer, to use the Artist's name or likeness or any music, or any part thereof, composed or arranged by the Artist in connection with the rendition of her services in the said photoplay now entitled "IT'S ALL TRUE", in connection with the production or exploitation of any motion picture or motion pictures at any time between the date hereof and a date not later than sixty (60) days after the completion of any and all of her services in connection with the said photoplay now entitled "IT'S ALL TRUE", both dates inclusive.

36. In the event that at the time of the commencement of the Artist's employment hereunder the Artist is not in Los Angeles, California, but is within the United States of America, the Producer agrees to furnish the Artist with reasonable railroad transportation from such place as the Artist may be at such time to Los Angeles, California, and in the event the Artist leaves Los Angeles, California within fifteen (15) days after the completion of her services hereunder, without having accepted employment from any other person, firm, association, partnership, or corporation, the Producer agrees to furnish the Artist with reasonable return railroad transportation to such place from which the said transportation to Los Angeles, California was first furnished as aforesaid, or if such place was not New York City, New York, then with such return transportation to New York City, New York if the Artist so elects by giving written notice to the Producer no later than seven (7) days after the completion of said services, it being expressly understood and agreed that the Producer will not furnish any transportation whatsoever unless the Artist keeps and performs each and every part of the terms, covenants and conditions of this agreement by her to be kept and performed.

37. The Producer may assign this agreement or all or any part of its rights hereunder to RKO Radio Pictures, Inc., its successors and assigns, and this agreement shall imure to the benefit of such assignee.

35. The Artist agrees not to render any services in or in connection with the production or exploitation of any motion picture or motion pictures at any time between the date hereof and a date not later than sixty (60) days after the completion of any and all of his services in connection with the said photoplay now entitled "IT'S ALL TRUE", both dates inclusive.

The Artist further agrees that the Artist will not, nor will the Artist authorize or permit any person, firm, partnership, association or corporation, other than the Producer, to use the Artist's name or likeness or any and all music, or any part thereof, composed, arranged or orchestrated, by the Artist in connection with the rendition of his services in the said photoplay now entitled "IT'S ALL TRUE", in or in connection with the production or exploitation of any motion picture or motion pictures at any time between the date hereof and a date not later than sixty (60) days after the completion of any and all of his services in connection with the said photoplay now entitled "IT'S ALL TRUE", both dates inclusive.

The Artist further agrees that the Artist will not, nor will the Artist authorize or permit any other person, firm, partnership, association or corporation, other than the Producer, to use the name or likeness of any musical organization or organizations, or member thereof, associated or affiliated directly or indirectly with the Artist, or bearing the name of the Artist, or to use any and all music or any part thereof, composed, arranged or orchestrated by such musical organization or organizations or member thereof in connection with the photopley now entitled "IT'S ALL TRUE", in or in connection with the production or exploitation of any motion picture or motion pictures at any time between the date hereof and a date not later than sixty (60) days after the completion of any and all of the Artist's services in connection with the said photopley now entitled "IT'S ALL TRUE", both dates inclusive.

36. In the event that at the time of the commencement of the Artist's employment hereunder, the Artist is not in Los Angeles, California, but is within the United States of America, the Producer agrees to furnish the Artist and one other person with reasonable round-trip railroad transportation, from New York to Los Angeles, California, and return; it being expressly understood and agreed that the Corporation will not furnish any transportation whatsoever unless the Artist keeps and performs each and every of the terms, covenants and conditions of this agreement by him to be kept and performed.

37. The Producer may assign this agreement or all or any part of its rights hereunder to RCA Radio Pictures, Inc., its successors and assigns, and this agreement shall inure to the benefit of such assignee.