26.

46. (CONTINUED)

MR. MORGAN
Thank you very much, Professor.
Those are the things I wanted the
folks to know -- thank you.

PROFESSOR WILLARD
Not at all ---
 turns to audience,
 quite bashfully
 nods)
Good day.

47. MEDIUM SHOT

Professor Willard trots off down the street. Mr.
Morgan looks after him amusedly.

MR. WEBB'S VOICE
(calling from above)
What's goin' on?

Mr. Morgan looks up, and CAMERA PANS UP with his
gaze to take in EXTERIOR GROVER'S CORNERS SENTINEL
OFFICE on second floor of butcher shop building,
next door to General Store. MR. WEBB, a smiling,
quizzical man in the late forties, who has been
working at desk by window, is looking down inquir-
ingly at Mr. Morgan off-scene.

SOUND
(PRINTING PRESSES AT REAR OF
OFFICE)

48. EXT. MORGAN'S GENERAL STORE (DAY)

CLOSE SHOT - MR. MORGAN

in doorway, looking up at Mr. Webb off-scene.

MR. MORGAN
Professor Willard was tellin' the
folks --
(indicating audience)
-- something about Grover's Corners;
Maybe you'd like to elaborate on it,
Editor Webb. You know -- something
about our political and social side.

49. EXT. SENTINEL OFFICE (DAY)

CLOSE SHOT - MR. WEBB

MR. WEBB
(to Mr. Morgan off-scene)
Be glad to,

(CONTINUED)

30.

54. EXT. GENERAL STORE AND SENTINEL OFFICE (DAY)
WIDE ANGLE

TAKING IN both Mr. Webb and Mr. Morgan.

MR. MORGAN
(calls up to Webb)
Thank you, Mr. Webb.

Mr. Webb nods, goes back to work.

55. EXT. MORGAN'S GENERAL STORE (DAY)
CLOSEUP - MR. MORGAN IN DOORWAY

MR. MORGAN
(speaking to audience)
Now we'll go back to town.
It's afternoon. All two thous-
and six hundred and forty-two
have had their dinners, and all
the dishes have been washed.
There's an early afternoon calm
about the town.

DISSOLVE TO:

56. EXT. MAIN STREET (AFTERNOON)
LONG SHOT

Showing general atmosphere of small town in early
afternoon, a few townspeople moving along the
street, several buggies, horses dozing at the hitch-
ing posts. On veranda of Grover's Corners Hotel a
few guests and loungers are dozing. Mr. Morgan is
leaning in doorway of his store. Mr. Webb, rolling
down shirt-sleeves and putting on coat, comes down
steps from his office. As Webb passes General Store
he nods to Mr. Morgan, who nods in return, and con-
tinues on down street in direction of his home.

DISSOLVE TO:

57. INT. DOC GIBBS' OFFICE (AFTERNOON)
MEDIUM SHOT

Doc Gibbs, tapping chest of Woman Patient, pantomimes
for her to open her mouth and say "Ah" during the fol-
lowing dialogue:

MR. MORGAN'S VOICE
Doc Gibbs is in his office, tappin'
people and makin' 'em say "Ah".

WOMAN PATIENT

Ahhh---

DISSOLVE TO:

32.

60. (CONTINUED)

EMILY

Well -- I was really ready to make
a speech about the Monroe Doctrine,
but at the last minute Miss Foster
made me talk about the Louisiana
Purchase instead. I worked an
awful long time on both of them.

DISSOLVE TO:

61. EXT. GIBBS & WEBB HOUSES (AFTERNOON) MEDIUM SHOT - FROM STREET

Mr. Webb, coatless and hatless, with his shirt-sleeves
rolled up, and with a pipe in his mouth, is mowing lawn
with an old-fashioned lawn-mower. As he maneuvers lawn-
mower he chances to look down the street, registers that
he sees someone approaching off-scene.

62. ANOTHER ANGLE

HOLDING Mr. Webb in foreground. Emily and George are
coming down the street, approaching Mr. Webb and CAMERA.
Emily is affecting the walk of a grand lady. George is
tossing baseball into air and catching it.

63. CLOSEUP MR. WEBB

Reacting to his daughter's affected manner, he removes
pipe from mouth, shakes his head, smiling quizzically.

MR. WEBB
(call off)
Emily, walk simply. Who do you
think you are today?

64. MEDIUM SHOT

on Mr. Webb, as Emily and George enter to him.

EMILY

Oh, Papa, you're terrible. One
minute you tell me to stand up
straight and the next minute you
call me names. I just don't listen
to you.

(gives him an abrupt kiss
on back of neck)

(CONTINUED)

33.

64. (CONTINUED)

MR. WEBB
(chuckles)
Golly, I never got a kiss from such
a great lady before.
(starts to push
lawn-mower off)

During the above George has been tossing baseball high
in the air and catching it. His eyes, following course
of ball in air, have shown particular interest in the
fact that his and Emily's bedroom windows, on upper
floors of their respective houses, are directly across
from each other. Now, as Mr. Webb exits pushing lawn-
mower, Emily starts slowly across area between two
houses as if to go into her house, with George tagging
after her, and CAMERA TRUCKING with them.

GEORGE
(shyly - awkwardly
stuffing baseball
into hip pocket)
Gee, it's funny, Emily. From my
window up there I can just see your
head nights when you're doing your
home-work over in your room.

Emily stops, CAMERA STOPPING AND HOLDING, and turns to
George, who has halted at her side.

EMILY
(pleased at his
admission)
Why, can you?

George nods bashfully.

65. ANOTHER ANGLE

CAMERA, FROM BEHIND and SLIGHTLY TO ONE SIDE OF George,
is SHOOTING THROUGH his crooked arm as he fumbles with
baseball in hip pocket, to CENTER on Emily, who stands
facing George and CAMERA. Both are shy throughout.

GEORGE
You certainly do stick to it, Emily.
I don't see how you can sit still
that long. I guess you must like
school.

EMILY
Well, I always feel it's something
you have to go through.

(CONTINUED)

34.

65. (CONTINUED)

GEORGE

Yeah.

EMILY

I don't mind it really. It
passes the time.

CAMERA MOVES AROUND TO SIDE ANGLE TWO SHOT.

GEORGE

Yeah, -- Emily, what do you think?
We might work out a kinda telegraph
from your window to mine; and once
in a while you could give me a kinda
hint or two about one of those
algebra problems.

(Emily looks at
him, shocked)

I don't mean the answers, Emily, of
course not -- just some little hint --

EMILY

Oh, I think hints are allowed. --
So -- ah -- If you get stuck, George,
you whistle to me; and I'll give you
some hints.

GEORGE

Emily, you're just naturally bright,
I guess.

EMILY

I figure it's just the way a person's
born.

GEORGE

Yeah. But, you see, I want to be a
farmer, and my Uncle Luke says
whenever I'm ready I can come over
and work on his farm and if I'm any
good I can just gradually have it.

EMILY

You mean the house and everything?

GEORGE

Yeah.

There is a moment of silence. George gets the ball out,
starts edging away.

GEORGE

Well -- I better be getting out to
the baseball field. Thanks for the
talk, Emily.

35.

66. ANOTHER ANGLE

SHOOTING PAST George and Emily to take in EXT. PARLOR WINDOW OF WEBB HOME. Mrs. Webb is seated at window. There is a skein of wool yarn over the uprights of an early American chair before her. She is rolling the yarn into ball. We get the impression she has been listening to the conversation between George and Emily.

GEORGE
(edging away from
Emily; catching
sight of Mrs. Webb)
Good afternoon, Mrs. Webb.

MRS. WEBB
Good afternoon, George.

GEORGE
So long, Emily.
(moves off, socking
ball into hand)

EMILY
So long, George.

Emily, wrapped in thoughts of George, looks after him for a moment, then turns, and CAMERA PANS with her as she goes slowly into house.

67. INT. HALLWAY WEBB HOME (AFTERNOON) MEDIUM SHOT

In the hallway is an old-fashioned hat-rack stand with built-in table, drawers, etc. Emily comes in, still in a dream. She stops at hat-rack stand, removes hat and coat, starts to hang them up.

MRS. WEBB'S VOICE
(from parlor)
Emily, what are you doing?

EMILY
Nothing, Mama.

MRS. WEBB'S VOICE
Well if you ain't doing nothing, you can come and help me with this yarn.

Emily finishes hanging up her things, starts into parlor.

36.

68. INT. WEBB PARLOR (AFTERNOON)
CLOSE SHOT - AT DOORWAY

CAMERA PICKS UP Emily as she enters, still in a trance,
and MOVES with her across room to INCLUDE IN CLOSE SHOT
Mrs. Webb, who is rolling yarn into ball. Mechanically
Emily takes skein of yarn off chair uprights with both
hands, then weaves her hands as Mrs. Webb rolls up slack
into ball.

MRS. WEBB
(after a moment)
Well, George Gibbs let himself
have a real conversation, didn't
he? Why, he's growing up. How
old would George be?

EMILY
(coming out of trance,
protesting too much)
Oh, I don't know.

MRS. WEBB
Let's see. He must be almost
sixteen.

EMILY
(changing the subject)
Mama, I made a speech in class
today and I was very good.

MRS. WEBB
You must recite it to your father
at supper. What was it about?

EMILY
The Louisiana Purchase. It was like
silk off a spool. I'm going to make
speeches all my life.

MRS. WEBB
(as yarn catches)
You're holding it too tight, Emily.

EMILY
(thoughts on George)
Mama, will you answer me a question,
serious?

MRS. WEBB
Seriously, dear -- not serious.

EMILY
(annoyed)
Seriously -- will you?

(CONTINUED)

37.

68. (CONTINUED)

MRS. WEBB
Of course, I will.

EMILY
(after a brief
pause, expectantly)
Mama, am I good looking?

MRS. WEBB
(steals a quick
look at her)
Yes, of course you are. Both
my children got good features.
I'd be ashamed if they hadn't.

EMILY
/helplessly)
Oh, Mama, that's not what I
mean. What I mean is: am I
pretty?

MRS. WEBB
I've already told you, yes.
Now that's enough of that.
You have a nice young pretty
face. I never heard of such
foolishness.

EMILY
Oh, Mama, you never tell us
the truth about anything.

MRS. WEBB
I am telling you the truth.

EMILY
(weedling a bit)
Mama, were you pretty?

MRS. WEBB
Yes, I was, if I do say it.
I was the prettiest girl in
town next to Mamie Cartwright.

EMILY
But Mama, you've got to say
something about me. Am I
pretty enough -- to get anybody --
to get people interested in me?

MRS. WEBB
(abruptly stops winding
yarn; turns on Emily,
firmly)

(CONTINUED)

40.

71. CLOSE SHOT - AT COUNTER

On the counter is an assembled jigsaw puzzle map of the United States, beside which is its empty box. (This assembled puzzle is presumably the one shown in opening scene of picture.) Light from street lamp, filtering through shutter on front window, casts diagonal shadows of shutter on the jigsaw puzzle map. Mr. Morgan picks up box, scoops into it all the pieces of jigsaw puzzle, save one. He picks up the remaining piece in his fingers, looks at it.

72. EFFECT SHOT

In a CLOSEUP of the piece of jigsaw puzzle we see it is the Grover's Corners section with impressionistic picture of the town (as seen at opening of picture). Across it are the diagonal shadows of shutter. This SHUTTER EFFECT divides each of the following scenes, which DISSOLVE IN simultaneously, with a broad black diagonal line. The scenes, starting at upper left, and from left to right, are in this order:

1. George and Emily, seated at their respective bedroom windows upstairs, doing their home work.

2. Doc Gibbs, seated at parlor window, reading newspaper.

3. CONSTABLE WARREN (an old man) trying doorknob of store on Main Street.

4. Choir rehearsal, conducted by SIMON STIMSON, in choir loft of Congregational Church.

5. SHORTY HAWKINS lighting lamp at railroad station.

6. Horse being bedded down for the night in livery stable.

SOUND
(CHOIR SINGING)

MR. MORGAN'S VOICE
Now we'll get back to Grover's
Corners. It's evening. You can
hear the choir practice goin' on
in the Congregational Church.
The children are at home doin'
their school work. The day is
runnin' down like a tired clock.

(CONTINUED)

41.

72. CONTINUED)

At the close of Mr. Morgan's speech, a SHUTTER CLOSING EFFECT BLACKS OUT everything except the choir practice scene. Now the black portions on either side of the choir practice scene WIPE OFF, revealing FULL SHOT of the choir practice, conducted by Simon Stimson, in INT. CHOIR LOFT CONGREGATIONAL CHURCH (NIGHT).

CHOIR
(SINGING "BLESSED BE THE TIE THAT BINDS")

73. MEDIUM SHOT

CENTERING on Mrs. Gibbs and Mrs. Webb, as they sing. Beside them is MRS. SOAMES. She is in her thirties, the town gossip.

CHOIR
(SINGING)

As verse ends:

74. CLOSEUP SIMON STIMSON

He is a long-faced "character" in his early thirties, now slightly drunk.

SIMON STIMSON
All right, now do it again.
And remember, ladies, music
come into the world to give
pleasure. Now try it again.

75. MEDIUM SHOT

76.

77. The choir starts again "Blessed Be the Tie That Binds" with increasing volume.

CHOIR
(SINGING)

At end of second phrase:

SIMON STIMSON
(gently)
Softer --

CHOIR
(SINGING - INCREASE VOLUME)

(CONTINUED)

42.

75. (CONTINUED)

76.

77.

SIMON STIMSON
(suddenly becomes
furious)
Softer!

CHOIR
(STOPS SINGING)

SIMON STIMSON
Now look here, everybody, get
it out of your head that music's
only good when it's loud. You
leave loudness to the Methodists.
You couldn't beat 'em, even if you
wanted to, Now again, tenors!

CHOIR
(SINGS THREE VERSES)

As third verse ends:

SIMON STIMSON
That's better; but it ain't no
miracle.

The choir sits, at signal from him.

SIMON STIMSON
'Fore I forget it: How many of
you'll be able to come in Tuesday
afternoon and sing at Fred Hersey's
wedding? -- Show your hands.

Choir raises hands.

SIMON STIMSON
That'll be fine. That'll be
right nice. Once again now:
"Art thou weary, art thou
languid?" It's a question,
ladies and gentlemen. Make it
talk. And remember Sunday to
take the second verse real soft
and sort of die out at the end.
Ready?

CHOIR
(SINGS TWO VERSES OF "ART THOU WEARY, ART THOU LANGUID?")

DISSOLVE TO:

47.

84. (CONTINUED)

GEORGE
Thanks, Pa.

DOC GIBBS
Let's see -- tomorrow's pay day.
You can count on it -- Hmmm,
(annoyed)
Probably Rebecca'll feel she
ought to have some more too.
(uneasy, to make
conversation)

Wonder what could have happened
to your mother. Choir practice
never was as late as this before.

GEORGE
(still broken up)
It's only half-past eight, Pa.

DOC GIBBS
I don't know why she's in that
old choir anyway. She hasn't
got any more voice than an old
crow! And traipsin' around the
streets at this hour of the night!
(finally, gently)
Just about time you retired, don't
you think?

GEORGE
Yes, Pa.

He lays handkerchief by father, who pockets it, then
rises, exits slowly. Doc Gibbs soon resumes reading.

85. EXT. CONGREGATIONAL CHURCH (NIGHT) MEDIUM SHOT

Mrs. Gibbs, Mrs. Webb and Mrs. Soames are saying
goodnight to other members of choir.

GROUP
(AD LIB GOODNIGHTS)

MRS. WEBB
(to a woman)
I'll tell Mr. Webb: I know
he'll want to put it in the
paper.

The three women link arms, start up street.

DISSOLVE TO:

53.

92. (CONTINUED)

MRS. GIBBS
You know, Frank, Mrs. Fairchild
always locks her front door
every night.

Doc blows out lamp. The scene is illuminated by
moonlight through windows.

MRS. GIBBS
(starts upstairs)
All those people up that part
of town do.

DOC GIBBS
(following her)
They're all gettin' citified,
that's the trouble with them.
They haven't got anythin' fit to
burgle and everybody knows it.

They exit up the stairs.

93. EXT. GEORGE'S BEDROOM WINDOW (NIGHT)
CLOSE SHOT

George is leaning with arms on window sill, gazing
dreamily at the moon. (There is no light in bedroom.)

SOUND
(CRICKETS CHIRPING OFF-SCENE)

After a moment, Rebecca appears beside George at window.

GEORGE
(without turning)
Get out, Rebecca. There's only
room for one at this window.

REBECCA
(gazing at moon)
Well, let me look just a
minute.

GEORGE
Use your own window.

REBECCA
I did; but there's no moon
there -- maybe the moon's getting
nearer and nearer and there'll be
a big 'splosion.

(CONTINUED)

58.

### FADE IN:

100. EXT. MORGAN'S GENERAL STORE WINDOW - (1904) - (DAWN)
CLOSE SHOT - SHOOTING THROUGH WINDOW

Displayed in show window are group photographs of
High School graduating class, with hand-lettered
sign:

Graduating Class -- 1904
Copies For Sale Inside
50¢ each

Mr. Morgan, in show window, oblivious to audience, is arranging High School colors around photographs. He finishes this to his satisfaction, rearranges some candy jars and other objects on display, and is lifting his leg to step over rail of show window when he notices a fly buzzing around. He picks up an old-fashioned fly-swatter (strips of newspaper attached to section of broom handle) and shoos fly away. It returns immediately. Again he shoos it away. Again it returns. Annoyed, he tosses fly-swatter aside. Then, getting an idea, he reaches into candy jar, takes out piece of candy, holds it in his palm as a bait to lure the fly into his grasp. After a moment the fly lights on candy, and Mr. Morgan closes hand quickly to imprisonment fly. Holding the fly carefully in his closed hand, he steps over show window rail onto floor of store and crosses to front double-doors, CAMERA MOVING with him and STOPPING to HOLD ON CLOSE SHOT of doors as he opens them and steps forward into doorway.

101. CLOSEUP - MR. MORGAN IN DOORWAY

He opens his hand and tosses both the candy and the fly into the air. His eyes follow fly as it buzzes away. Suddenly he becomes aware that the audience in the theatre has been watching his tomfoolery, and registers embarrassment. Realizing he has a job to do, and that the business with fly has delayed matters, he clears throat, addresses audience:

MR. MORGAN
(speaking to audience)
Well, three years have gone by.
The sun's come up over a thousand
times. Some babies that weren't
even born before, have begun
talkin' regular sentences already;
and a number of people who thought
they were right young and spry

(CONTINUED)

60.

102. (CONTINUED)

MR. MORGAN'S VOICE
And there's Joe Crowell deliverin'
the mornin' papers.

DISSOLVE TO:

103. INT. GIBBS KITCHEN (MORNING)
MEDIUM SHOT

Mrs. Gibbs enters down stairs, begins preparations for breakfast, filling kettle at sink, etc.

MR. MORGAN'S VOICE
And there's Mrs. Gibbs ---

104. INT. WEBB KITCHEN (MORNING)
MEDIUM SHOT

Mrs. Webb comes down the stairs, begins preparations for breakfast, filling kettle at sink, etc.

MR. MORGAN'S VOICE
And Mrs. Webb --- coming down to
make breakfast, just as if this
were an ordinary day. I don't have
to point out to the women in the
audience that both these ladies
they see before them ---

105. INT. GIBBS KITCHEN (MORNING)
MEDIUM SHOT

Mrs. Gibbs continues breakfast preparations, grinding coffee into pot, etc.

MR. MORGAN'S VOICE
--- both these ladies have been
cooking three meals a day, one of
'em for twenty-one years and the
other for twenty-five -- and no
summer vacation. They raised two
children apiece, washed, cleaned
the house, and never had a nervous
breakdown.

106. INT. WEBB KITCHEN (MORNING)
MEDIUM SHOT

Mrs. Webb continues preparations for breakfast, putting coffee pot on stove, starting to make corn-bread, etc.

(CONTINUED)

62.

108. (CONTINUED)

JOE
And now all he'll be doin' is
pitchin' hay.

HOWIE
Yes. He can hit. And run bases
too. But in '94 we had a player,
Joe, that even George Gibbs
couldn't-a touched. Name-a Hank
Todd. Went down to Maine and
became a parson. Wonderful ball
player.

SOUND
(THE HORSE WHINNIES)

HOWIE
(turning to horse)
All right, Bessie. Come on.

Howie picks up measuring can, nods to Joe, and moves
off, followed by horse, CAMERA PANNING with them.

HOWIE
(to horse)
But let me tell you something:
I'm goin' to stop and talk if
I've a mind to.

109. EXT. GIBBS AND WEBB HOUSES (MORNING) MEDIUM SHOT

Mrs. Gibbs, carrying a large pitcher in one hand and a small pitcher in the other, comes out of house to meet Howie as he stops in front of houses.

HOWIE
'Mornin', M's Gibbs.

MRS. GIBBS
Good morning, Howie.

HOWIE
Too bad about the weather, but
it's been raining so heavy that
maybe it'll clear up.

MRS. GIBBS
Certainly hope it will.

HOWIE
How much did you want today?

(CONTINUED)

63.

109. (CONTINUED)

MRS. GIBBS

I'm going to have a houseful of
relations, Howie. Looks to me
like I'll need three-a-milk and
a quart of cream.

During the following dialogue, Howie pours three
quarts of milk from container in wagon into measuring
can, then pours milk from measuring can into large
pitcher which Mrs. Gibbs holds. From a cream con-
tainer in wagon he pours a quart of cream into meas-
uring can, then pours cream from measuring can into
small pitcher which Mrs. Gibbs holds.

HOWIE

Three-a-milk and a quart of
cream. My wife says to tell you
we hope they'll be happy -- know
they will.

MRS. GIBBS

Thanks a lot, Howie. Tell your
wife I hope she gets to the wedding.

HOWIE

Maybe she kin. She'll get there if
she kin.

Howie has finished pouring milk and cream. Mrs. Gibbs nods to him, starts back toward her house with the pitchers. Howie pours a quantity of milk from container in wagon into measuring can, then pours a quart of cream from cream container into a second measuring can. CAMERA PANS with Howie, carrying the two measuring cans, as he crosses yard to rear of Webb house.

110. INT. WEBB KITCHEN (MORNING)
MEDIUM SHOT - SHOOTING TOWARD DOOR

Mrs. Webb is making cornbread at table. On the stove
are a pot of coffee and a skillet of bacon.

SOUND
(RATTLING OF MILK-CANS OFF-SCENE)

Mrs. Webb looks up at the sound, and a moment later
Howie, carrying the two cans, comes up on porch and
enters kitchen.

HOWIE

'Mornin', M's Webb.

MRS. WEBB

Oh, good morning, Mr. Newsome.

(CONTINUED)

68.

116. (CONTINUED)

MRS. GIBBS
(agreeing)
Everybody has a right to their
own troubles.

They eat in silence for a moment.

DOC GIBBS
(suddenly laughs)
Julia, do you know one of the
things I was scared of when I
married you?

MRS. GIBBS
Oh, go along with you!
(eats)

DOC GIBBS
I was afraid we didn't have
material for conversation
more'n'd last us a few weeks.
(both laugh heartily)
I was afraid we'd run out, and
eat our meals in silence, that's
a fact. Well, you and I been
conversing for twenty years now
without any noticeable barren
spells.
(eats)

MRS. GIBBS
Well, good weather, bad weather,
'tain't very choice, but I always
find something to say. -- Did you
hear Rebecca stirrin' around up-
stairs?
(rises, taking
both plates,
crosses to sink
to scrape plates)

DOC GIBBS
No. Only day of the year Rebecca
hasn't been managing everybody's
business up there. She's hiding
in her room. I got the idea she's
crying.

MRS. GIBBS
Lord's sakes -- this has got to
stop.
(crossing to stairs --
calling)
Rebecca! Rebecca! Come and get
your breakfast.

(CONTINUED)

69.

116. (CONTINUED)

She turns back to sink. Doc Gibbs wipes mouth with napkin.

117. ANOTHER ANGLE

George, grinning happily, runs downstairs into
kitchen, crosses to slap father's back.

GEORGE
(cheerily)
Good morning, everybody! Only
four more hours to live!
(gestures cutting
throat with
"k-k-k-z-t
sound)

Mr. Gibbs looks annoyed at sound. George has started
out onto kitchen porch.

MRS. GIBBS
George Gibbs, where are you
going?

GEORGE
(stepping back
into kitchen)
Just stepping across the grass
to see my girl.

Doc Gibbs folds napkin.

MRS. GIBBS
Now, George, you put on your
rubbers. It's been raining
torrents. You don't go out of
this house without you're pre-
pared for it.

Doc Gibbs rises, crosses to stairs, stops.

GEORGE
Ah, Ma -- it's just a <u>step</u>.

MRS. GIBBS
You'll catch your death-a-cold and
cough all through the service.

George starts doggedly out.

(CONTINUED)

70.

117. (CONTINUED)

DOC GIBBS
George, do as your mother tells you!
(exits upstairs)

George droops, sits, puts on rubbers.

MRS. GIBBS
(crossing to cupboard for cup, sets it on table)
From tomorrow on you can kill yourself in all weathers, but while you're in my house you'll live wisely, thank you.
(crossing to stove for pot, starts to table with it)
Perhaps Mrs. Webb isn't used to callers at seven in the morning.

George has finished putting on rubbers. He rises, starts through kitchen doorway onto porch.

MRS. GIBBS
Here, take a cup of coffee first!

GEORGE
(gaily -- over shoulder)
Be back in a minute.
(exits)

Mrs. Gibbs shakes head in annoyance, takes cup, pours coffee back in pot on stove.

118. EXT. YARD BETWEEN GIBBS AND WEBB HOMES (MORNING) MEDIUM SHOT

CAMERA PICKS UP George running across yard, and PANS with him as he runs, jumping puddles, to WEBB KITCHEN PORCH. He bounds up porch steps, across porch, opens kitchen door.

76.

124. (CONTINUED)

Mrs. Webb looks at her husband in surprise. CAMERA HAS DOLLIED with Mr. Webb to the side of his wife at the sink. Now, as Mr. Webb reacts to something he sees through window above sink, and Mrs. Webb follows her husband's gaze, CAMERA STOPS TO SHOOT PAST THEM and THROUGH THE WINDOW to take in EXT. YARD BETWEEN WEBB & GIBBS HOUSES. George is crossing yard towards his house. He takes great care to avoid a puddle, starting to circle it. When he is half way around it he looks back and up at Emily's bedroom window off-scene, and as he does so he steps squarely into puddle. He sees Mr. and Mrs. Webb watching him through window, and now more embarrassed than ever, he stumbles on to disappear into his house.

125. EFFECT SHOT

CAMERA IS HOLDING on the scene described above. Suddenly a man's hand, with palm TOWARDS CAMERA, and with fingers spread and thumb extended, enters the scene, photographed close enough to CAMERA LENS so that it obscures everything in the scene, except whatever small portions are visible through the spread fingers and extended thumb.

MR. MORGAN'S VOICE
Now here I'll have to interrupt --

As these words are spoken, the background of scene DISSOLVES TO background of INT. MORGAN'S GENERAL STORE (DAY), and the man's hand, now actually in a Close-Up, is discovered to be Mr. Morgan's as CAMERA PULLS BACK to reveal him in a FULL FIGURE SHOT, standing in center of store, with his arm raised and palm extended, as if to stop the theatre projectionist from continuing the picture.

MR. MORGAN
(addressing audience)
You see, we want to know how all this began, -- this wedding, this plan to spend a life-time together.

126. INT. MORGAN'S GENERAL STORE (DAY)
CLOSEUP MR. MORGAN

(CONTINUED)

78.

128. CLOSE SHOT - MR. MORGAN

MR. MORGAN
(addressing audience)
George and Emily are going to
show you now the conversation
they had when they first knew
that -- as the saying goes --
they were meant for one another.
It all started last year on the
way home from school. George
had just been elected President
of the Senior Class, and Emily
had just been elected Secretary
and Treasurer. You all know how
important that is.

He takes out watch, looks at it.

129. EFFECT SHOT

In a CLOSEUP of the watch, the hands start to turn
back slowly, and then, gradually increasing speed,
they turn back faster and faster, until there is
seen only the blurred effect of the whirling hands,
thus creating an IRIS EFFECT, with the hands and
numbers of watch losing their form. Now there is
SUPERIMPOSED a portion of EXTERIOR SCHOOL (AFTERNOON),
and after a moment the IRIS WIDENS to reveal the
FULL SCENE: George (eighteen) is waiting at school
steps, presumably for Emily, as the children file out
of school.

130. EXT. SCHOOL (AFTERNOON)
MEDIUM SHOT

George appears ill at ease, fumbles with school
books. After a moment, Emily (sixteen), carrying
books, emerges with several other girls.

EMILY
(pretending not
to see George;
chattering)

I can't, Louise. I gotta go home.
Goodbye.

LOUISE
(moving off)

Goodbye, Emily.

EMILY
(to second girl)

Oh, Ernestine, can you come over
tonight and do Latin? -- Isn't
that Cicero the worst thing?

(CONTINUED)

81.

131. (CONTINUED)

EMILY

(finding it very
hard to say)

I don't like the whole change
that's come over you in the last
year.

(George averts
face, hurt; she
glances at him)

I'm sorry if that hurts your
feelings; but I've just got to --
tell the truth and shame the
devil.

GEORGE

-- A <u>change</u>? -- Wha-what do you
mean?

EMILY

(averting eyes,
on verge of tears)

Well, up to a year ago, I used to
like you a lot. And I used to
watch you while you did everything --
because we'd been friends so long.
And then you began spending all your
time at baseball.

(she bites the word)

And you never stopped to speak to
anybody any more -- not to really
speak -- not even to your own family;
you didn't. And George, it's a fact,
ever since you've been elected
Captain, you've got awful stuck up
and conceited -- all the girls say
so. And it hurts me to hear 'em
say it; but I got to agree with 'em
a little, because it's true.

GEORGE

(helpless and hurt)

Gosh, Emily -- I never thought that
such a thing was happening to me --
I guess it's hard for a fella not
to have some faults creep into his
character.

EMILY

(the complete prig)

I always expect a man to be perfect,
and I think he should be.

GEORGE

Oh, I -- I don't think it's possible
to be perfect, Emily.

(CONTINUED)

82.

131. (CONTINUED)

### EMILY
(all innocence --
yet firm)

Well, my *father* is. And as far
as I can see, *your* father is.
There's no reason on earth why
you shouldn't be too.

### GEORGE

Well, I feel it's the other way
round; that men aren't naturally
good, but girls *are*.

### EMILY

Well, you might as well know
right now that I'm not *perfect*.
-- It's not as *easy* for a girl
to be perfect as a man, because
-- well, we girls are more --
nervous... Now I'm sorry I said
all that about you. I don't know
what made me say it.
(cries)

### GEORGE
(choked voice)

Emily ---

### EMILY

Now I can see it's not the truth
at all. And I suddenly feel that
it's not important, anyway.
(cries harder,
hands to eyes)

They are now approaching:

132. EXT. MORGAN'S GENERAL STORE (AFTERNOON)
CLOSE TRUCKING SHOT - GEORGE AND EMILY

### GEORGE

Emily -- would you like an ice-
cream soda, or something, before
you go home?

### EMILY

(controlling self)
Well, thank you -- I -- I --
would --

George starts to take her arm, but is too shy. They
walk towards general store, passing various towns-
people.

(CONTINUED)

86.

136. (CONTINUED)

Emily sips, winking back tears.

GEORGE
And Emily, I want to ask you a
favor.

EMILY
W-wh-a-t?

GEORGE
Emily, if I go away to State
Agriculture College next year ---

The thought hurts Emily and she turns face away, biting lip.

GEORGE
-- will you write me a letter once
in a while?

EMILY
(winks back tears)
I certainly will. I certainly
will, George --
(sips)

It certainly seems like being
away three years you'd get out
of touch with things. Maybe
letters from Grover's Corners
wouldn't be so interesting after
a while. Grover's Corners isn't
a very important place when you
think of -- all New Hampshire;
but I think it's a very nice town.
(sips)

GEORGE
The day wouldn't come when I
wouldn't want to know everything
about our town. I know that's
true, Emily --

EMILY
Well, I'll try to make the letters
interesting.

They sip in silence for a moment.

GEORGE
Y'know, Emily, whenever I meet
a farmer I ask him if he thinks
it's important to go to Agricul-
tural School to be a good farmer.

(CONTINUED)

37.

136. (CONTINUED)

EMILY
(looks at him, happy
that he may not
leave town)
Why, George --

GEORGE
(eagerly)
Yeh, and some of them say it's
even a waste of time;
(she looks off,
happy)
You can get all that stuff any-
way, in the pamphlets the
government sends out -- and
Uncle Luke's gettin' old -- he's
about ready for me to start in
taking over his farm tomorrow,
if I could.

EMILY
(glowing)
My!

GEORGE
(averting eyes)
And like you say, being gone all
that time -- in other places and
meeting other people -- Gosh, if
anything like that can happen, I
don't want to go away -- I guess
new people probably aren't any
better than old ones. I'll bet
they almost never are. Emily --
I feel that you're as good a
friend as I've got. I don't need
to go and meet the people in other
towns.

EMILY
(to him, arguing nobly
against her inclinations)
But George, maybe it's very im-
portant for you to go and learn
all that -- about cattle-judging
and soils and those things.
(adding feebly)
Of course, I don't know.

137. TWO SHOT - ANOTHER ANGLE

GEORGE
(after a pause --
very serious)
Emily, I'm going to make up my
mind right now -- I won't go.
I'll tell Pa about it tonight.

(CONTINUED)

91.

139. CLOSE SHOT - AT DOOR

as George and Mr. Morgan join Emily.

MR. MORGAN
Got all over your shock,
Emily?

EMILY
Yes, thank you, Mr. Morgan --
it was nothing.

GEORGE
(to Emily)
I'm ready.

They start out, very straight and radiant, but not
looking at each other.

140. EXT. MAIN STREET (AFTERNOON)
LONG SHOT - FROM STORE DOORWAY

SHOOTING PAST Mr. Morgan, in store doorway, on George
and Emily as they walk down the street. When they
disappear in background, Mr. Morgan turns to FACE
CAMERA, which FOCUSES ON HIM IN CLOSEUP. He takes out
his watch, looks at it.

141. EFFECT SHOT

In a CLOSEUP of the watch, the hands start to turn
*forward* slowly, and then, gradually increasing speed,
they turn forward faster and faster, until there is
seen only the blurred effect of the whirling hands,
thus creating an IRIS EFFECT, with the hands and
numbers of watch losing their form.

MR. MORGAN'S VOICE
Well, now we'll get on to the
wedding.

Now there is SUPERIMPOSED a portion of EXT. CHURCH
STEEPLE (AFTERNOON), and after a moment the IRIS
WIDENS to reveal the FULL SCENE of church steeple
with bells ringing.

SOUND
(CHURCH BELLS)

DISSOLVE TO:

92.

142. EXT. CONGREGATIONAL CHURCH (AFTERNOON)
FULL SHOT

Townspeople, attired in their "Sunday best" for the
wedding, are approaching and entering church. They
are entering scene from various directions, some
FROM BEHIND CAMERA, but all are moving AWAY FROM
CAMERA towards church.

143. MEDIUM SHOT

on a group of townspeople approaching church. Among
them are seen Mr. Morgan; Howie Newsome; MRS. NEWSOME,
a plain-looking, motherly woman; Joe Crowell, accom-
panied by his PARENTS; Miss Corcoran, the school
teacher, and a few other characters previously
established. All are chatting as they move towards
church, but we do not distinguish their dialogue.
CAMERA PANS some distance away to disclose George and
BEST MAN approaching church, followed by group of
BASEBALL PLAYERS.

144. TRUCKING SHOT

on George and Best Man, followed by Baseball Players.
George is trying hard to appear dignified, and is
pretending to be unaware of the Baseball Players as
they cat-call and make rude gestures.

FIRST BASEBALL PLAYER
Eh, George! George! Hsst-yaow!

SECOND BASEBALL PLAYER
Yao-o-o-o!

FIRST BASEBALL PLAYER
Look at him, fellas. He's scared to
death!

SECOND BASEBALL PLAYER
Oh, George!

CAMERA, MOVING with George, Best Man and Baseball
Players, INCLUDES Mr. Morgan who is strolling towards
church. He turns to observe the behavior of the boys.

THIRD BASEBALL PLAYER
Eh, George!

SECOND BASEBALL PLAYER
You don't have to look so innocent,
you old geezer. We know what you're
thinking.

(CONTINUED)

94.

145. (CONTINUED)

DR. FERGUSON'S VOICE
(meditatively)

I've married two hundred couples
in my day. M marries N. Millions
of them. The cottage, the go-cart,
the Sunday afternoon drives in the
country -- the first rheumatism --
the grandchildren -- the second
rheumatism -- the death-bed -- the
reading of the will --
(pause)

Once in a thousand times it's
interesting.

146. INT. AUDITORIUM OF CHURCH (AFTERNOON) WIDE ANGLE

SOUND
(ORGAN PLAYING HANDEL'S "LARGO")

Some of the wedding guests are already seated, some
are just taking their seats, and others are entering
church and coming down the aisle. In foreground Mrs.
Webb is seated in her pew. There is a vacant seat
beside her for Mr. Webb. In the pew behind Mrs. Webb
sit Howie and Mrs. Newsome.

We get just a brief glimpse of the general atmosphere,
however, for as the scene opens CAMERA ZOOMS IN
SWIFTLY TO FULL SCREEN HEAD CLOSEUP of Mrs. Webb.
There are tears in her eyes.

Her lips do not move as over scene is heard her voice
expressing her thoughts:

MRS. WEBB'S VOICE

I don't know why on earth I should
be crying. I suppose there's
nothing to cry about. This morning
at breakfast it came over me. There
was Emily eating her breakfast as
she's done for seventeen years --
and she's going out of my house. I
suppose that's it. Oh, I've got to
say it -- You know, there's something
downright cruel about sending girls
out into marriages without knowing --
It's -- it's cruel, I know; but I
just couldn't get myself to say
anything -- I went into it as blind
as a bat myself. The whole world's
wrong, that's what's the matter.

95.

147. INT. ANTE ROOM OF CHURCH (AFTERNOON)
MEDIUM SHOT - SHOOTING FROM DOORWAY

SOUND
(ORGAN: HANDEL'S "LARGO")

Emily, in wedding gown and veil, stands in the center of the room. A woman of the town is adjusting the wedding gown. Rebecca, who is to serve as flower girl, is chatting with the two BRIDESMAIDS. Mr. Webb, in one corner of the room, is adjusting his tie nervously.

We catch only a brief glimpse of the general scene, for as the shot opens CAMERA ZOOMS IN SWIFTLY TO FULL SCREEN HEAD CLOSEUP of Emily. There is fear on her face. Her lips do not move as over scene is heard her voice expressing her thoughts.

EMILY'S VOICE
I never felt so alone in my whole life. I don't want to get married. Why can't I stay for a while just as I am? Papa darling, don't you remember what you used to say -- all the time, that I was your girl? I don't want to get married!

148. INT. VESTRY OF CHURCH (AFTERNOON)
CLOSE DOLLY SHOT

CAMERA IS MOVING with George TO HOLD HIM IN CLOSEUP as he paces forward a few steps, turns, paces back, turns again to pace forward. He is lost in troubled thought, his head down. There is perspiration on his brow. His lips do not move as over scene is heard his voice expressing his thoughts:

GEORGE'S VOICE
I don't want to grow old! Why's everybody pushing me so? All I want to do is to be a fella --

George suddenly comes to with a start, stops abruptly, CAMERA STOPPING SIMULTANEOUSLY. He looks off, passing his hand across his brow, as if suddenly becoming conscious of his surroundings and the presence of others in the room. He starts across room, CAMERA PULLING BACK QUICKLY to disclose Mrs. Gibbs, Doc Gibbs and the Best Man. Mrs. Gibbs is on the verge of tears. Doc appears anxious to get himself and his wife to their seats. The Best Man has his hand in his pocket as though clutching tightly some object that reposes therein,

(CONTINUED)

96.

148. (CONTINUED)

GEORGE
(cheerily - crossing
to his mother)
Cheer up, Ma. I'm getting
married.

DOC GIBBS
(impatiently)
Come on, Ma.

GEORGE
(takes his mother
into his arms,
comforts her)
Now, Ma, you save Thursday
nights. Emily and I are
coming over to dinner every
Thursday night -- you'll see.

Mrs. Gibbs controls herself and, as he continues to comfort her, fixes his tie, smooths his hair, kisses him.

DOC GIBBS
(to his wife)
Come on - we got to get
ready for this.
(kiddingly - to
George)
You got the ring?

George gives a start, looks at Best Man anxiously.

BEST MAN
(removes hand from
pocket, clutching
ring, displays it)
I've been holding it in my hand
for the last two hours.

George breathes a sigh of relief. Doc Gibbs smiles, takes his wife's arm, and they start out.

SOUND
(ORGAN, PLAYING HANDEL'S
"LARGO," NOW STOPS)

149. INT. ANTE ROOM OF CHURCH (AFTERNOON) MEDIUM SHOT

Emily, lost in thought, stands in center of room. The woman is finishing the final adjustments to Emily's gown and veil. Grouped nearby are Mr. Webb, Rebecca and the two Bridesmaids.

(CONTINUED)

97.

149. (CONTINUED)

SOUND
(ORGAN BEGINS: "HERE
COMES THE BRIDE")

MR. WEBB
(crossing to Emily)
Come dear -- it's time --

Emily comes out of her reverie with a start, as if
abruptly becoming aware of her surroundings and the
presence of the others. Mr. Webb offers his arm.
Emily composes herself, takes her father's arm. He
nods to Rebecca and Bridesmaids. They start toward
door. Emily and Mr. Webb follow.

150. INT. CHOIR LOFT (AFTERNOON)
MEDIUM SHOT

Simon Stimson, at organ, is playing with great con-
centration.

SOUND
(ORGAN: "HERE COMES
THE BRIDE")

151. INT. REAR OF CHURCH NEAR VESTIBULE (AFTERNOON)
CRANE SHOT

CAMERA IS STATIONARY at rear of church SHOOTING TOWARDS
vestibule. ANGLE TAKES IN last few rows of pews,
vestibule, and entrance doors of church, which are
closed. Beside these doors stands an Usher. All the
pews within camera range are occupied. Suddenly the
entrance doors fly open and Mrs. Soames hurries in. As
she passes Usher she whispers and pantomimes "Am I
late?", then hurries down aisle TOWARDS CAMERA. She
stops in foreground, turns into a pew, clambers over
three or four people, much to their annoyance, and
sinks into her seat with an expression of great relief.
Now Rebecca enters vestibule from the side (as though
coming from Ante Room, which would be off vestibule),
followed by Bridesmaids, and then Emily on Mr. Webb's
arm. The procession comes down the aisle TOWARDS
CAMERA. As Emily and Mr. Webb come abreast of Mrs.
Soames' pew:

(CONTINUED)

99.

153. CLOSEUP DR. FERGUSON

He is looking expectantly PAST CAMERA, as though waiting
for George's response to "Do you, George, etc."

GEORGE'S VOICE

I do.

154. CLOSEUP GEORGE'S & EMILY'S FACES

DR. FERGUSON'S VOICE

Do you, Emily -- etc.

155. HEAD CLOSEUP EMILY

EMILY

I do.

156. CLOSE SHOT

SHOOTING OVER Dr. Ferguson on the upturned faces of
Emily and George.

DR. FERGUSON'S VOICE

(CONCLUDING LINES OF CEREMONY)

157. CLOSEUP

George's hand places ring on Emily's finger.

DR. FERGUSON'S VOICE

I now pronounce you man and
wife, etc.

158. CLOSEUP EMILY & GEORGE

George takes Emily in his arms, kisses her reverently.

GEORGE

(softly)

And I mean for ever. For
ever and ever.

SOUND

(ORGAN BEGINS: MENDELSSOHN'S
"WEDDING MARCH")

The two break their embrace, then, smiling happily,
they turn to start down aisle.

101.

161. (CONTINUED)

appearance. Most of the horse-blocks and hitching-posts have been removed. The water trough is still in evidence. Townspeople are attired in keeping with the period. A few automobiles -- Fords and others of the period -- are chugging along the street or are parked in front of stores. Across the street a small group of men and boys are watching the owner of a parked car as he laboriously pumps up a flat tire with a foot-pump. Spread out on the street beside the car owner are numerous monkey wrenches, spanners, etc. In the group watching man pump up tire is Constable Warren. (He is older now, carries a cane.)

After a moment, Mr. Morgan steps from doorway of store to sidewalk and, walking AWAY FROM CAMERA, goes along sidewalk for a short distance, then turns and starts across street.

162. MEDIUM SHOT

on Mr. Morgan crossing street. In background, on far side of street, can be seen Constable Warren and group around man fixing tire. Suddenly an automobile truck of the period, with milk-cans rattling and banging in the rear, speeds into scene (at the rate of 15 miles per hour) and bears down upon Mr. Morgan.

SOUND
(HONKING OF OLD-FASHIONED BULB HORN)

Mr. Morgan stops abruptly in his tracks, petrified for an instant, then jumps back out of the path of the truck as it speeds past.

163. CLOSE PAN SHOT

on the truck. We see that the driver is Howie Newsome (older now) as he leans out and looks back to wave an airy salute to Mr. Morgan off-scene.

164. CLOSE SHOT - MR. MORGAN

reacting to his narrow escape. He looks after truck, shakes his head in indignant disapproval. Now, proceeding with great caution, he continues across street. CAMERA PANS with him to other side of street to include Constable Warren, who is registering concern at the near accident to Mr. Morgan.

103.

168. EXT. COUNTRYSIDE - ANOTHER LOCATION (AFTERNOON) PROCESS SHOT

This is a picturesque scene on a hill, affording a comprehensive view of mountains, lakes, and the town of Grover's Corners far below.

Mr. Morgan has stopped to re-fill his pipe. He lights it, takes deep puff, then addresses audience:

MR. MORGAN
(to audience)
Come up here on a fine afternoon
and you can see range on range
of hills -- awful blue they are --
(indicating with pipe)
--up there by Lake Sunapee and
Lake Winnipesaukee -- and if
you go way up, you can see the
White Mountains and Mount Washington
-- where North Conway and Conway is.
And, of course, our favorite mountain,
Mount Monadnock's right there.
(indicating)
And down there is Grover's Corners.
(indicating)

He puffs his pipe for a moment, then starts slowly out of scene.

DISSOLVE TO:

169. EXT. HILLTOP - AT CEMETERY (AFTERNOON) PROCESS SHOT - BACKGROUND OF MOUNTAINS, ETC.

A stone wall, with gate, surrounds the cemetery. Mr. Morgan walks slowly into the scene. There is a serious, thoughtful expression on his face. He is not smoking his pipe. He pauses at gate, looks over the cemetery for a moment, then turns to address audience:

MR. MORGAN
(to audience)
This is an important part of
Grover's Corners -- up here on
this hilltop. Lots of sky,
lots of clouds, -- often lots
of sun and moon and stars. Yes,
it's a beautiful spot up here.
I often wonder why people want
to be buried in Woodlawn and
Brooklyn when they might pass
the same time up here in New
Hampshire.

He turns, opens gate, goes into cemetery.

106.

175. (CONTINUED)

MR. MORGAN (cont'd)
to do with human beings. All
the greatest people ever lived
have been telling us that for
five thousand years -- but it
seems we're always losing sight
of that fact. There's something
way down deep that's eternal
about every human being.
(pause)

I don't know what made me stop
up here on the hill today. Maybe
it was thinking about our friend
Emily. Another baby's expected
down at that happy home we saw
started. There's one baby now --
about four years old. This time
our friend Emily is pretty sick.
Doc Gibbs is going around these
days with a worried face. I was
out to Emily's and George's farm
yesterday. Wanted to try to
cheer George up -- if I could --

DISSOLVE TO:

176. EXT. GEORGE'S & EMILY'S FARM (1913) - (NIGHT)
LONG ESTABLISHING SHOT

DISSOLVE TO:

177. EXT. FARMHOUSE (NIGHT)
FULL SHOT

George (28), in work clothes, is pacing under lighted
bedroom window, against whose drawn shade figures are
passing in silhouette from time to time.

178. CLOSER SHOT

George stops under window, looks up anxiously. Against
drawn shade a figure in silhouette passes. George,
reacting with concern, goes into farmhouse.

179. INT. FARMHOUSE HALL & STAIRS (NIGHT)
MEDIUM SHOT

George enters, goes up the stairs.

107.

180. INT. UPPER HALLWAY OUTSIDE BEDROOM (NIGHT)
CLOSE SHOT

Mrs. Webb is waiting anxiously in hallway outside bedroom door. CAMERA PULLS BACK as George comes up stairs to join Mrs. Webb. He looks at her questioningly. She places finger to lips. George steps to door, knocks gently. After a moment the door opens. A plain-looking woman of the country, whom we feel to be the NURSE, but who is not in nurse's uniform, steps out. She looks at George. His eyes plead that he be permitted to see his wife. The Nurse puts finger to lips to caution him to be quiet, pantomimes that he may look through doorway. She then turns back into bedroom, leaving door partially open. George moves closer to look into bedroom.

181. INT. EMILY'S BEDROOM (NIGHT)
MEDIUM SHOT

SHOOTING PAST George in doorway, into bedroom. Doc Gibbs and the Nurse are standing between door and bed, so that only the head of Emily (26) on pillow can be seen. Doc Gibbs holds watch in one hand; with the other he is taking Emily's pulse. His face is grave. We are conscious of the ticking of a small standard clock on mantel.

SOUND
(TICKING OF CLOCK -- TO BE
HEARD UNTIL INDICATED
MOMENT WHEN IT STOPS)

182. CLOSEUP EMILY'S FACE

Her expression shows that she is a very sick woman. Her eyes turn. She sees George off-scene, manages a wan smile.

183. CLOSE SHOT - GEORGE AT DOOR

He smiles encouragingly at Emily off-scene. The Nurse enters FROM BEHIND CAMERA, pushes him gently through doorway into hall, closes door behind him. She then turns and exits PAST CAMERA TOWARDS bed off-scene.

184. MEDIUM CLOSE SHOT

Doc Gibbs stands at bed and the Nurse is just taking her position at his side, the full line of bed being

(CONTINUED)

108.

184. (CONTINUED)

broken by their figures between CAMERA and bed, so
that only Emily's head can be seen. Doc Gibbs
finishes taking Emily's pulse. As he does so, her
eyes close. Doc looks up slowly to meet the Nurse's
questioning gaze. Doc says nothing. It is his
failure to say anything that indicates to Nurse,
and to audience, that a moment of crisis has arrived.

185. CLOSEUP EMILY'S EYES

Her heavy-lidded eyes open slowly, turn slowly to
one side. Then, after a moment's blurring of the
eyes, we see what the eyes see:

186. FROM EMILY'S POINT OF VIEW

CAMERA PANS SLOWLY AROUND to reveal various familiar
objects at which Emily is looking lovingly. They
mean so much to her. PANNING CAMERA STOPS finally
to HOLD on a number of photographs, daguerrectypes
and tintypes, none too clear, standing on bureau and
hanging on wall above and on both sides of bureau.
Also on bureau is photograph album which George
gave Emily on her fourteenth birthday. Some of
the photographs are in frames; some are standing
without frames in little wire standards. All the
photographs are not old daguerrectypes and tintypes.
Some are the rather naive ones we know as the early
part of this century, with gray cardboard frames.
But there are enough of the old ones to indicate
ancestors. Photographs include individuals of
Emily in wedding dress, Mrs. Gibbs, Wally Webb in
Boy Scout uniform. Simon Stimson and Mrs. Soames
are prominent in a group picture, perhaps at a
picnic.

110.

191. EXT. ROAD LEADING TO CEMETERY (LATE AFTERNOON) LONG SHOT

It is raining. A funeral procession, lead by Dr. Ferguson and four bare-headed men carrying a coffin on their shoulders, is moving slowly toward cemetery in distance. Some twenty-five people follow after Dr. Ferguson and pallbearers, in groups and singly, all under umbrellas.

192. MEDIUM PAN SHOT

In the procession we see George, Doc Gibbs, Mr. and Mrs. Webb, and other characters established earlier. They walk with bowed heads.

DISSOLVE TO:

193. EXT. CEMETERY ON HILLTOP (LATE AFTERNOON) FULL SHOT

The funeral cortege is stopping at an open grave. Men remove their hats. Pallbearers remove coffin from shoulders, set it over grave (on boards across grave). The others group themselves around grave, close-packed, their umbrellas hiding their heads, creating a picture of black against grey horizon that curtains the open grave.

DR. FERGUSON
(BEGINS FUNERAL SERVICE)

DISSOLVE TO:

194. FULL SHOT

on funeral group around grave. The pallbearers are lowering coffin into grave.

DISSOLVE TO:

111.

195. FULL SHOT

SOUND TRACK
(CHOIR: "BLESSED BE THE TIE THAT BINDS"

The funeral group around grave is breaking up to
exit slowly.

EMILY'S VOICE
(calmly)
Look, Mother Gibbs, they've finished.
They're going.

MRS. GIBBS' VOICE
Yes, Emily. Just be patient.

Only George, Doc Gibbs, Mr. and Mrs. Webb remain at
the grave. Mr. and Mrs. Webb place their arms con-
solingly around George, lead him off.

196. CLOSER SHOT

Doc Gibbs kneels to take some flowers from edge of
grave, slowly rises and crosses to the grave of
Mrs. Gibbs.

EMILY'S VOICE
(lovingly)
Father Gibbs is bringing some of
my flowers to you, Mother Gibbs.
(surprised)
He looks just like George, doesn't
he?

Doc Gibbs places flowers reverently on his wife's
grave. He stands there a moment with head bowed.

EMILY'S VOICE
(all sympathy)
Oh, Mother Gibbs, I never realized
before how troubled and how -- how
in the dark live persons are. Look
at him. I loved him so.

Doc Gibbs exits slowly, gradually raising his head.

DISSOLVE TO:

197. EFFECT SHOT - NEUTRAL BACKGROUND

To include, as in the grouping of the distorted
photographs, resembling tombstone formation, and

(CONTINUED)

112.

197. (CONTINUED)

appearing as they might in photographs: Mrs. Gibbs, Simon Stimson, Mrs. Soames, Wally Webb and other dead, and Emily posed as she was in her photograph in bridal costume. These are the real people, but they appear posed as they were in photographs. They stare straight ahead with immobile faces and unseeing eyes until, after a moment, almost imperceptibly, Emily speaks:

EMILY
It seems thousands and thousands
of years since I -- Oh, I wish I'd
been here a long time! I don't
like being new here.

On Mrs. Gibbs' face appears an almost imperceptible
smile of understanding.

EMILY
(after a moment,
more at ease,
enthusiastic)
Mother Gibbs, George and I have
made that farm into just the best
place you ever saw. We thought
of you all the time. We wanted
to show you the new barn and a
great long co-ment drinking
fountain for the stock. We
bought that out of the money you
left us.

MRS. GIBBS
I did?

EMILY
Don't you remember, Mother Gibbs --
the legacy you left us? Why, it
was over three hundred and fifty
dollars.

MRS. GIBBS
Oh, yes -- yes, Emily.

EMILY
(sadly)
It won't be the same to George
without me, but it's a lovely farm,
(after a pause,
pained)
Mother Gibbs, when does this feel-
ing go away? -- of being *strange*?
How long does it --

(CONTINUED)

113.

197. (CONTINUED)

MRS. GIBBS

Sh! dear. Just wait and be patient.

EMILY

(abruptly)

Why, just then for a moment I was
thinking about -- about the farm --
and for a minute I was there -- and
my baby was on my lap as plain as
day!

(struck by a new
realization)

Mother Gibbs, one can go back; one
can go back there again -- into
living! I feel it! I know it!

MRS. GIBBS

Yes, of course you can.

EMILY

(excited)

I can go back there and live all
those days over again -- why not?

MRS. GIBBS

All I can say is, Emily, don't.

MRS. SOAMES

(pleading)

Emily, don't. It's not what you
think it'd be.

EMILY

(eagerly)

But I won't live over a sad day.
I'll choose a happy one.

MRS. GIBBS

When you've been here longer you'll
see that our life here is to forget
all that --

(Emily shakes
her head)

-- and think only of what is ahead --
and be ready for what is ahead.

(pause)

Gradually, gradually, we let go hold
of the earth -- and the ambitions we
had -- and the pleasures we had --
and the things we suffered -- and
the people we loved.

(CONTINUED)

114.

197. (CONTINUED)

ONE OF THE OTHERS

We get weaned away from earth --
that's the way I put it, weaned
away.

MRS. GIBBS

When you've been here longer,
Emily, you'll understand.

EMILY

But Mother Gibbs, how can I ever
forget that life? It's all I know!
It's all I had!

MRS. SOAMES

Oh, Emily! It isn't wise. Really,
it isn't.

EMILY

(insistent)

But it's a thing I must know for
myself! I'll choose a happy day.

MRS. GIBBS

(sharply)

No! It's the happiest days that
are the most painful to re-live.
You'll not only live it; but you'll
watch yourself living it.

EMILY

But I must! I must!

MRS. GIBBS

(resigned)

Well, then, if you must -- choose
an unimportant day. Choose the
least important day in your life,
It will be important enough.

EMILY

(to herself)

Then it can't be since I was
married --

(to Mrs. Gibbs,
eagerly)

I can choose a birthday at least,
can't I? -- I choose my fourteenth
birthday. I want to re-live the
whole day!

DISSOLVE TO:

115.

198. EXT. SNOW AGAINST SKY BACKGROUND
LONG SHOT

EMILY'S VOICE
I remember -- it had been snowing
for several days; but it stopped
the night before.

DISSOLVE TO:

199. EXT. MAIN STREET GROVER'S CORNERS - (1901) - (DAWN)
LONG SHOT

Showing row of stores, hitching-posts and horse-
blocks, water trough; etc. There is snow in the
street, on the roofs, etc.

EMILY'S VOICE
(with a cry of amazement)
There's Main Street! Why, that's
Mr. Morgan's store before he
changed it! And there's the
livery stable! Yes, it's twelve
years ago. Oh, that's the town I
knew as a little girl! And look -- !

DISSOLVE TO:

200. EXT. WEBB HOUSE - (1901) - (DAWN)
LONG SHOT

There is snow in yard and on roof of house. The
white fence around house is prominent in foreground.

EMILY'S VOICE
(warmly)
-- there's the old white fence
that used to be around our house.
Oh, I'd forgotten that! I love it
so!

DISSOLVE TO:

201. INT. WEBB KITCHEN - (1901) - (MORNING)
FULL SHOT

The kitchen is seen as it appeared at opening of
picture. On the table are several packages, which
we later learn to be birthday presents for Emily.

(CONTINUED)

117.

202. (CONTINUED)

Emily listens in delight.

CONSTABLE WARREN
Been rescuin' a party; darn near
froze to death, down by Polish Town
thar. Got drunk and lay out in the
snowdrifts.
(they laugh)
Thought he was in bed when I shook'm.

Joe Crowell (eleven), throwing newspapers, enters
along street to Howie and Constable Warren.

EMILY
(delighted)
There's Joe Crowell!

JOE CROWELL
Good mornin', Mr. Warren. 'Mornin',
Howie.

CONSTABLE and HOWIE
'Mornin', Joe.

Emily's attention is suddenly arrested as from the
kitchen behind her is heard:

MRS. WEBB'S VOICE
(calling)
Children! Wally! Emily! Time
to get up!

203. INT. WEBB KITCHEN (MORNING)
FULL SHOT

Mrs. Webb, who has turned to call upstairs; now
turns back to stove and adds coals to fire. Emily
has turned excitedly from window on hearing her
mother's voice, and now hurries to her side.

EMILY
(in ecstasy)
Mama, I'm here!
(gently)
Oh, how young Mama looks! I
didn't know Mama was ever that
young --

Mrs. Webb; *without hearing or seeing* Emily, crosses
to stairs.

(CONTINUED)

128.

221. (CONTINUED)

enters rapidly FROM BEHIND CAMERA, crosses quickly to bed, kneels at Emily's side, embraces her. Emily smiles weakly, but happily. Doc Gibbs turns to Mrs. Webb, who has entered FROM BEHIND CAMERA. They smile broadly at each other, then turn to look at the happy couple with their baby. CAMERA MOVES FAST Doc Gibbs and Mrs. Webb to BIG CLOSEUP of Emily, George and Baby. George kisses Emily gently.

DISSOLVE TO:

222. EXT. GROVER'S CORNERS - (1913) - (NIGHT)
EXTREME LONG SHOT

Showing the sleeping town, with only a few lights visible.

MR. MORGAN'S VOICE
Most everybody's asleep in Grover's Corners. There are a few lights on --

DISSOLVE TO:

223. EXT. RAILROAD STATION (NIGHT)
LONG SHOT

Shorty Hawkins, in front of station, is looking
after the Albany train as it speeds away.

MR. MORGAN'S VOICE
Shorty Hawkins, down at the depot, has just watched the Albany train go by. And at the livery stable somebody's setting up late and talking. --- Yes, it's clearing up.

DISSOLVE TO:

224. EXT. SKY (NIGHT)
LONG SHOT

MR. MORGAN'S VOICE
There are the stars -- doing their old, old criss-cross in the skies. Scholars haven't settled the matter yet, but they seem to think there are no living beings up there.

(CONTINUED)

129.

224. (CONTINUED)

MR. MORGAN'S VOICE

(cont'd)

Just chalk -- or fire. Only this
one is straining away -- straining
away all the time to make something
of itself. The strain's so great
that every sixteen hours everybody
lies down and gets a rest.

DISSOLVE TO:

225. EXT. CONGREGATIONAL CHURCH (NIGHT)
CLOSE SHOT - CHURCH CLOCK

It is eleven o'clock.

SOUND
(CLOCK STRIKES: ONE - TWO - THREE
- FOUR - )

DISSOLVE TO:

226. EXT. MORGAN'S GENERAL STORE (NIGHT)
CLOSE SHOT - MR. MORGAN

He stands in doorway of store, smoking his pipe
thoughtfully.

SOUND
(CLOCK FINISHES STRIKING ELEVEN
O'CLOCK)

MR. MORGAN:
(takes out watch, winds
it -- to audience)
Hmm -- Eleven o'clock in Grover's
Corners. Everybody's resting in
Grover's Corners. Tomorrow's going
to be another day. You get a good
rest, too.

He steps through doorway into store, turns to close
door behind him.

MR. MORGAN:
(to audience --
closing door)
Good night.

FADE OUT.

T H E E N D