"OUR TOWN"

FADE IN:

1. TRAVELING SHOT (DAWN)

MOVING CAMERA IS SHOOTING DOWN on a dirt road, fringed
with wild-flowers and other evidences of countryside.
Wagon wheel ruts and automobile tire marks are engraved
in the ground. Water puddles show the reflections of
countryside and the grayish sky of early morning.

2. TRAVELING SHOT (DAWN)

CAMERA IS MOVING along dirt road, and now the road
becomes an asphalt street. In a puddle are reflected
a highway marker "Slow Down," and another sign
"Railroad Tracks."

3. TRAVELING SHOT (DAWN)

CAMERA IS MOVING across railroad tracks.

4. TRAVELING SHOT (DAWN)

CAMERA IS MOVING along asphalt street. In water
puddles we see reflected the street curbing, church
towers, some residential homes, store fronts and
windows. CAMERA COMES TO REST on a puddle in which
is reflected front of Drugstore with drawn shades and
a sign: "Drugs and Candies -- Newton Morgan, Prop." --
(upside-down, of course). Over scene:

SOUND
(SHADES BEING PULLED UP)

We see, reflected in puddle, the shades being raised
by someone inside the store. After a moment, over
scene is heard:

SOUND
(DOOR BEING OPENED)

We see, still reflected in puddle, the door of store
open, and through the doorway steps NEWTON MORGAN
(FRANK CRAVEN). He is fully dressed, except for hat.
Under his arm is a manuscript. He takes out a pipe,
starts to fill it.

(CONT INUED)

7.

17. EXT. POLISH TOWN LOCATION (1901) - (MORNING)
LONG SHOT

In the distant background can be seen the very small
figure of a man, carrying a doctor's satchel, coming
along at street. He is whistling. The man is Doc Gibbs,
but he is not to be identified in a Close Shot at this
point.

MR. MORGAN'S VOICE
Here comes Doc Gibbs from that
baby case I was telling you about.

18. EXT. GIBBS & WEBB HOUSES (1901) - (MORNING)

19. WIDE ANGLE

20.

21. The Gibbs house is in foreground. In the background, on an angle, is the Webb home. CAMERA ANGLE, while TAKING IN both houses, FAVORS the Gibbs house, and shows plainly the upstairs hallway window and the kitchen window through which we will see Mrs. Gibbs. The shade of kitchen window is half-raised.

Both houses are typical New England, two-story homes. In the Gibbs yard can be seen a portion of a woodpile and Mrs. Gibbs' garden: corn, peas, beans, hollyhocks, heliotrope and burdock. In the Webb yard can be seen a portion of a similar garden, and also a big butternut tree. The two houses are about twenty feet apart, and are separated by a white picket fence which surrounds Webb home.

As we come in on the scene:

MR. MORGAN'S VOICE
And this is Doc Gibbs' house.
His neighbor is Editor Webb.
Webb publishes the Grover's
Corners Sentinel. In those days
our newspaper only came out
twice a week.

The figure of MRS. GIBBS passes the upstairs hallway
window and starts downstairs, as we hear:

MR. MORGAN'S VOICE
There's Mrs. Gibbs comin' down-stairs to get breakfast.

A moment later, through the kitchen window with its
half-raised shade, we see the lower portion of Mrs.
Gibbs' body as she enters kitchen from doorway at foot
of stairs and approaches window. CAMERA MOVES CLOSER
to the window, but keeps the window frame and a portion
of the exterior of the house in the CAMERA FRAME, as
Mrs. Gibbs' hand raises the shade completely, and we
now get a full view of INTERIOR OF GIBBS KITCHEN

(CONTINUED)

18. (CONTINUED)

19.

20. and of Mrs. Gibbs. She is a plump, pleasant woman in

21. the thirties. She opens the window a bit, then bustles to make a wood fire in the stove; grinds coffee into a pot at stove; crosses to sink to pump water into coffee pot; crosses to put pot on stove; goes to cupboard to slice bacon; crosses to stove to put bacon in a skillet. CAMERA PANS with her as she moves around the kitchen, and over her action we hear:

MR. MORGAN'S VOICE
Later on -- around about 1910 --
she's going out to visit her
daughter Rebecca, in Canton, Ohio.
Rebecca's going to marry an
insurance man, who was doing
mighty well. Mrs. Gibbs is
going to die there -- pneumonia --
but she's going to be brought back
here and buried in the cemetery
right here in our town, with a
whole mess of Gibbses and
Herseys. She was a Hersey
before she married Doc Gibbs.
In our town we like to know the
facts about everybody.

Mrs. Gibbs, who has been bustling around the kitchen, now pauses momentarily by a window, and, as if sensing that it is about time for her neighbor, Mrs. Webb, to be coming down to get breakfast, she glances out window in direction of Webb home.

22. EXT. WEBB HOUSE (MORNING) MEDIUM SHOT

SHOOTING THROUGH kitchen window to show INTERIOR OF WEBB KITCHEN. A coffee pot is prominent on stove in foreground. A door on far side of kitchen opens, and MRS. WEBB, a thin, serious, crisp little woman in the thirties, hurries into kitchen, tying on an apron, as we hear:

MR. MORGAN'S VOICE
And there's Mrs. Webb comin' down-stairs to get her breakfast, too.

Mrs. Webb crosses to stove, shakes grate, adds coals
from a hod with a shovel, turns damper, then grinds
coffee into pot on stove. CAMERA PANS with her as she
bustles to get breakfast, and during her action we hear:

MR. MORGAN'S VOICE
Mrs. Webb was a Grover before
she married Editor Webb -- yep!

CONTINUED)

22. (CONTINUED)

Mrs. Webb glances up at a clock, "tsk-tsk's" in dis-
approval as she sees it is seven o'clock; hurries to
doorway at foot of stairs.

23. INT. WEBB UPPER HALLWAY & STAIRS (MORNING)
MEDIUM SHOT

SHOOTING DOWN stairs, as Mrs. Webb's head and shoulders
appear around corner of doorway at foot of stairs, and
she peers up stairs.

MRS. WEBB
(calling)
Emily! Time to get up!
Wally! Seven o'clock!

24. INT. GIBBS KITCHEN (MORNING)
MEDIUM SHOT

Mrs. Gibbs, at cupboard, has just finished cutting
several slices of bread. On the stove are a pot of
coffee and a skillet of bacon and eggs. Mrs. Gibbs
places sliced bread on plate, starts toward table,
CAMERA PANNING. As she passes doorway at foot of stairs
she turns to call up.

MRS. GIBBS
(calling upstairs)
Children! Children, time to
get up! George! Rebecca!

She continues to table, sets down plate of bread. She
is about to turn back to cupboard but halts, looking in
direction of street, as she hears:

SOUND
(RATTLE OF MILK-CANS --
MILK-WAGON STOPPING ON
STREET OFF-SCENE)

She crosses to a window, CAMERA PANNING. As she looks
out:

25. EXT. STREET OUTSIDE GIBBS' HOUSE (MORNING)
CLOSE SHOT

This ANGLE shows only the rear portion of Howie
Newsome's milk-wagon, and takes in only the lower
right side of Howie's body, his right arm and his
hand, which carries a measuring milk-can of the
period, as he is turning away from the rear of wagon
towards the Gibbs' house off-scene.

20.

47. (CONTINUED)

MRS. WEBB
(turns to call)
Hurry up, children! It's after
seven o'clock. Now I don't want
to call you again.

She turns to pare potatoes at table near stove. A
moment later, EMILY, fourteen, and WALLY, eleven,
carrying school books, rush down the stairs, cross
quickly to sit at table. Wally hangs his book bag
on his chair back. Emily places her books carefully
at her side. Wally opens a book and at once starts
to read while both begin to eat ravenously.

48. INT. GIBBS KITCHEN (MORNING)
MEDIUM SHOT

SHOOTING PAST Mrs. Gibbs, who is busy at stove, and CENTERING on stairs. Rebecca and George rush down stairs, drop their strapped books on the steps and sit at table. At once he starts eating mechanically, she to eat languidly, staring vaguely off. During this action Mrs. Gibbs sets plate on table, crosses to stove for coffee pot, crosses to pour it for George, replaces pot on stove, crosses to cupboard to pour glass of milk, crosses to place it for Rebecca.

49. INT. WEBB KITCHEN (MORNING)
MEDIUM SHOT

Wally is reading school book, while both he and Emily
eat ravenously.

MRS. WEBB
(crossing to set
down oatmeal for
both children)
Children! Now I won't have it.
Breakfast is just as good as any
other meal and I won't have you
gobblin' like wolves. It'll stunt
your growth, that's a fact. Wally,
put away your book!

WALLY
Oh, Ma! By ten o'clock I got to
know all about Canada.

MRS. WEBB
(sits at table,
eats)
You know the rule 's well as I
do -- no books at table. As for
me, I'd rather have my children
healthy than bright.

(CONTINUED)

22.

51. (CONTINUED)

REBECCA
(spoon in mouth,
dreamily)
I've been saving it up gradual.

52. TWO SHOT - REBECCA AND MRS. GIBBS

MRS. GIBBS
Well, dear, I think it's a good
thing to spend some every now and
then.

REBECCA
Mama, do you know what I love
most in the world? Do you? Money.

MRS. GIBBS
Eat your breakfast.

53. MEDIUM SHOT

Mrs. Gibbs crosses to set cup above stove, then crosses to cupboard to get some cracked corn in her apron.

SOUND
(OLD-FASHIONED SCHOOL BELL IN DISTANCE)

REBECCA
There's the first bell. I gotta go.

Both she and George rise quickly, run to get their books.

54. INT. WEBB KITCHEN (MORNING)

MEDIUM SHOT

Emily and Wally have risen and are rushing for their books. They get books, start toward kitchen door. Mrs. Webb follows them.

55. EXT. GIBBS & WEBB HOUSES (MORNING)

MEDIUM SHOT

(CONTINUED)

25.

60. (CONTINUED)

MRS. GIBBS

Let me help you.
(reaches for
beans in bowl
on ground)
Beans have been good this year.

MRS. WEBB

Aya, I decided to put up forty
quarts if it kills me. Children
say they hate 'em, but I notice
they're able to get 'em down all
winter.

SOUND

(CHICKEN NOISES)

MRS. GIBBS

(after glance
at chickens)
Now, Myrtle, I've got to tell
you something -- because if I
don't tell somebody I'll burst,

MRS. WEBB

Why, Julia Gibbs!

MRS. GIBBS

Myrtle, one of those second-
hand furniture men from Boston
came to see me last Friday.
First I thought he was a patient
wantin' to see Doctor Gibbs.
(both stop work)
'IN he wormed his way into my
parlor, and -- Myrtle Webb, he
offered me three hundred and
fifty dollars for Grandmother
Hersey's highboy, as I'm sitting
here!

MRS. WEBB

Well, you're going to take it,
aren't you?
(continues work)

MRS. GIBBS

I don't know.
(continues work)

MRS. WEBB

You don't know! -- Three hundred
and fifty dollars? What's come
over you?

26.

61. TWO SHOT

62.

MRS. GIBBS

Well, if I could get the Doctor
to take the money and go away
some place on a trip, I'd sell
it like that.

(stops work)

Y'know, Myrtle, it's been the
dream of my life to see Paris,
France.

(glances slyly
at Mrs. Webb, who
is shocked; then
laughs, hand to
face)

Oh, I don't know. It sounds
crazy, I suppose, but for years
I been promising myself that if
we ever had the chance --

MRS. WEBB

How's Doctor feel about it?

MRS. GIBBS

(continues work)

Well, I did beat about the bush
a little and said that if I got
a legacy -- that's the way I put
it -- I'd make him take me,

MRS. WEBB

M-m-m...What did he say?

(reaches for
more beans)

MRS. GIBBS

You know how he is. I haven't
heard a serious word out of him
since I've known him. No, he
said, it might make him discontented
with Grover's Corners to go traipsin'
about Europe; better let well enough
alone, he says.

MRS. WEBB

Well, if that second-hand man's
really serious about buyin' it,
Julia, you sell it. And then
you'll get to see Paris, all right.
Just keep droppin' hints from time
to time -- that's how I got Mr. Webb
to take me to see the Atlantic Ocean,
y'know.

(CONTINUED)

35.

79. EXT. MAIN STREET (AFTERNOON)

80. FULL SHOT

81. Showing the general atmosphere of a small town in early afternoon: a few townspeople moving along the street, several buggies, horses dozing at the hitching posts. On veranda of Grover's Corners Hotel a few guests and loungers are dozing.

82. EXT. SENTINEL BUILDING (AFTERNOON)
MEDIUM SHOT

Mr. Webb, rolling down shirt-sleeves and putting on coat, comes down steps from his office. He starts along street in direction of his home, CAMERA PANNING.

MR. MORGAN'S VOICE
Charlie Webb's goin' home to
mow his lawn. One man in ten
thinks it's a privilege to push
his own lawn-mower. Doc Gibbs is
in his office -

83. EXT. GIBBS HOUSE (AFTERNOON)
SHOT THROUGH WINDOW

Showing INTERIOR DOC GIBBS' OFFICE AND STUDY.
Doc Gibbs is tapping the chest of a Woman Patient.
During the following speech he pantomimes for her to
open her mouth and say "Ah".

MR. MORGAN'S VOICE
(continuing)
-- tappin' people and makin' 'em
say "Ah".

84. INT. DOC GIBBS' OFFICE (IN GIBBS HOME) (AFTERNOON)
CLOSE SHOT

on Doc Gibbs and Woman Patient. She opens her mouth
wide.

WOMAN PATIENT

Ahhhhh ---

Over scene comes --

SOUND
(SCHOOL DISMISSAL BELL IN
DISTANCE)

85. INT. SCHOOL (AFTERNOON)
MEDIUM FULL SHOT --- SHOOTING TOWARD DOORWAY

(CONTINUED)

36.

85. (CONTINUED)

SOUND
(SCHOOL DISMISSAL BELL OFF-SCENE)

About thirty children of various ages, including George, Rebecca, Emily, Wally and Joe Crowell, are marching sedately toward the doorway in a very orderly manner. MISS FOSTER, the teacher, standing beside doorway, is supervising the departure of the children. She nods goodbye as they file past, and they nod politely in return.

86. EXT. SCHOOL (AFTERNOON)
MEDIUM FULL SHOT -- REVERSE

As the children file out of school. They remain on
their good behavior until they pass through doorway and
into schoolyard, when, in startling contrast to their
department within the school, they suddenly break ranks
to scatter pell-mell in all directions, laughing and
shouting exuberantly. Several woman parents, who have
been waiting nearby for younger children, hurry forward
to take charge of their small sons and daughters.

87. MEDIUM SHOT

88.
CENTERING on George, who is throwing a baseball high
in the air and running forward to catch it. CAMERA
PANS with him as he rushes forward to catch an unusually
high one, and bumps into MRS. FORREST, an elderly
sour-visaged woman; with a pug dog on a leash, who is
passing the school.

MRS. FORREST
 irrately)
You go out and play in the
fields, young man. You got no
right to play baseball on the
street.

GEORGE
(tipping cap)
Awfully sorry, Mrs. Forrest.

George turns away, still tossing baseball. Emily, swing-
ing her strapped books, enters the scene. George, ab-
sorbed in tossing ball, does not see her for the moment.
She moves into a position near George and halts, waiting
for him to catch sight of her. George, tossing ball,
turns, sees Emily.

(CONTINUED)

39.

96. CLOSE SHOT

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.

GEORGE

Yeah.

EMILY

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

97. TWO SHOT

98.

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.

(CONTINUED)

44.

108. (CONTINUED)

MR. MORGAN
(amused at what he
has read)

Ha! Ha! Yep, pretty good!
(now, in deference to
audience watching him,
he removes feet from
counter, turns to
address audience,
tapping paper as he
lays it aside)

The Cartwright interests have
begun building a new bank in
Grover's Corners -- had to go
to Vermont for the marble,
sorry to say.

109. INT. DRUGSTORE (DUSK)

110. CLOSE SHOT - MORGAN

111.

112.

MR. MORGAN
(continuing)

They're going to put a lot of
things in the cornerstone for
people to dig up a thousand
years from now. 'Course, they're
putting in copies of the New York
Times -- and Mr. Webb's SentinEL --
and a Bible -- 'n a copy of the
Constitution of the United States --
'n a copy of William Shakespeare's
plays. What do you say, folks?
What do you think? Y' know,
Babylon once had two million
people in it, and all we know
about 'm is the names of the
kings and come copies of wheat
contracts and -- the sales of
slaves. Yes, every night all
those families sat down to supper,
and the father came home from his
work, and the smoke went up the
chimney -- same as here. And even
in Greece and Rome, all we know
about the real life of the people
is what we can piece together out of
the joking poems and the comedies
they wrote for the theatre back then.
So I'm going to have the reels of
this picture put in the cornerstone
so the people a thousand years from
now'll know a few simple facts about
us -- more than just the Treaty of
Versailles and the Lindbergh flight.

(CONTINUED)

46.

115. EXT. CONGREGATIONAL CHURCH (MOONLIGHT) CLOSE SHOT - ON WINDOW OF CHOIR LOFT

THROUGH THE WINDOW can be seen a portion of INT. CHOIR LOFT, where SIMON STIMSON is conducting the choir practice.

SOUND
(CHOIR SINGING - INCREASED VOLUME)

DISSOLVE TO:

116. EXT. GEORGE'S BEDROOM WINDOW (MOONLIGHT) CLOSE SHOT

George, with pencil in mouth, is seated in his room at table near open window, with his school books before him, struggling with his lessons.

SOUND
(CHOIR SINGING IN DISTANCE)

DISSOLVE TO:

117. EXT. EMILY'S BEDROOM WINDOW (MOONLIGHT) CLOSE SHOT

Emily, seated in her room at table by open window, with school books before her, is studying diligently. A flower box on the window sill is prominent in the shot.

DISSOLVE TO:

118. EXT. REBECCA'S BEDROOM WINDOW (MOONLIGHT) CLOSE SHOT

Rebecca, seated in her room at table by window, is busily shining some coins and dropping them in her pig bank, which should be particularly prominent in this shot. Beside the pig bank are Rebecca's unopened school books.

DISSOLVE TO:

47.

119. EXT. WALLY'S BEDROOM WINDOW (MOONLIGHT)
CLOSE SHOT

Wally, wearing Boy Scout hat of the period, is leaning
out his open window, shooting with a sling-shot at
some flower pots on the eaves just outside window.

DISSOLVE TO:

120. EXT. WINDOW OF GIBBS PARLOR (MOONLIGHT)
CLOSE SHOT

Doc Gibbs is seated in an easy chair near window, reading the evening newspaper by the light of a reading lamp at his side.

DISSOLVE TO:

121. EXT. MAIN STREET (MOONLIGHT)
MED. PAN SHOT

CONSTABLE WARREN, an old man, is trying doorknobs of stores on Main Street.

DISSOLVE TO:

122. INT. CHOIR LOFT CONGREGATIONAL CHURCH (NIGHT)
CLOSE SHOT

on Simon Stimson, seated at organ, playing with one
hand and conducting the choir practice with the other.
TIPPED IN the shot at CAMERA RIGHT is a hymn book held
in the hands of one of the members of the choir.
Stimson is a long-faced "character" in his early
thirties, now slightly drunk. A gas-light reflects
Stimson's shadow, with lifted conducting hand and arm,
on the wall. Simon is watching his shadow intently.
In his wishful thinking he sees himself as a great
conductor, conducting a great choir, and his shadow
accentuates this. His mind is concentrated only on
his own shadow.

SOUND
(CHOIR SINGING)

55.

140. (CONTINUED)

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. CAMERA PULLS BACK as George rises, exits slowly. Doc Gibbs picks up newspaper, begins reading.

141. EXT. GIBBS & WEBB HOUSES (MOONLIGHT)

142. LONG SHOT

143.

There are lights in Emily's and George's room and in the Gibbs' parlor. Mrs. Gibbs, Mrs. Webb and Mrs. Soames stroll into scene from background. Doc Gibbs leans out of parlor window, sees the women approaching. Apparently satisfied, he withdraws. Suddenly the light in Emily's room goes out, and a second later the light in George's room is extinguished. As the three women come into foreground of scene, we see, reflected by the moonlight, their distorted, elongated shadows. The following dialogue of the women should be short, sharp and chatty -- in half tones, as if not to wake up anybody -- which will make it even sharper.

MRS. GIBBS
My, it's late! Real nice choir practice, wa'n't it?

MRS. WEBB
Um-m!

MRS. GIBBS
Myrtle Webb! Look at that moon will you! Tsk-tsk-tsk! Potato weather, for sure.

58.

146. (CONTINUED)

CAMERA PANS with Mrs. Gibbs until she reaches the parlor window of her house.

147. EXT. GIBBS HOUSE (MOONLIGHT)

CLOSE SHOT - AT PARLOR WINDOW

Doc Gibbs, seated in parlor near open window, puts newspaper aside as Mrs. Gibbs stops outside window.

MRS. GIBBS
Well, we had a real good time.

DOC GIBBS
(rises, looks at pocket watch)
You're late enough.

MRS. GIBBS
Why, Frank, it ain't any later 'n usual.

Doc starts across parlor in direction of front door, and CAMERA DOLLIES with Mrs. Gibbs as she moves along side of house to front door. (Upper portion of door is glass.) As she reaches door, it is opened by Doc.

DOC GIBBS
And you stopping to gossip with a lot of hens.

MRS. GIBBS
Now, Frank, don't be grouchy.

She puts her arm through his, draws him out into the yard, CAMERA ANGLE WIDENING. They halt in yard, surveying the moonlit scene. Mrs. Gibbs breathes deeply of aroma emanating from heliotrope in her garden.

SOUND
(BOB WHITE CALLS THREE TIMES)

148. TWO SHOT

149. The two speak quietly.

MRS. GIBBS
(sighing)
Isn't that wonderful?
(gazine at moon)
What did you do all the time
I was away?

(CONTINUED)

60.

148. (CONTINUED 1)

149.

DOC GIBBS
Now, Julia, there's no sense in
going over that again.
(pats her back)
Come on, it's gettin' late.

150. CLOSE PAN SHOT

He pushes her ahead, pouting, towards house, CAMERA PANNING with them.

DOC GIBBS
First thing you know you'll catch cold.

As they reach front doorway:

DOC GIBBS
I gave George a piece of my
mind tonight. I reckon you'll
have your wood chopped -- for a
while, anyway.

They enter, Doc closing door behind them.

151. INT. GIBBS HALLWAY (NIGHT)
MEDIUM SHOT

This ANGLE also TAKES IN doorway to parlor. Light from
parlor illuminates the scene. Mrs. Gibbs, removing her
hat, comes forward from front door. Doc turns away
from front door, starts through parlor doorway to put
out light in parlor.

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

As Mrs. Gibbs stoops to pick up a piece of string and
a scrap of paper on the floor, Doc disappears into
parlor. Parlor light goes out. The scene now is
illuminated by moonlight filtering through glass of
front door. Doc reappears to rejoin his wife.

MRS. GIBBS
(during above)
All those people up that part
of town do.

(CONTINUED)

62.

152. (CONTINUED)

REBECCA
(after a pause)
George, is the moon shining on
South America, Canada and half
the whole world?

GEORGE
Well -- probably is.

153. EXT. GEORGE'S BEDROOM WINDOW (MOONLIGHT)
CLOSE SHOT

George and Rebecca look at the moon in silence for a
moment. Now George takes the ring of window shade,
holds it to his eye, peers through it at the moon,
meanwhile turning the ring as though adjusting the
focus of a telescope.

154. EXT. MAIN STREET (MOONLIGHT)
MED. PAN SHOT

Constable Warren is moving along row of stores,
stopping to try doorknobs every few feet. CAMERA PANS
with him to include Mr. Webb approaching from direction
of his office.

155. ANOTHER ANGLE

As the two men stop. Street corner is seen in
background.

MR. WEBB
Good evening, Constable.

CONSTABLE WARREN
Evenin', Mr. Webb.

MR. WEBB
Quite a moon!

CONSTABLE WARREN
(looks at it, unmoved)
Yeh!

MR. WEBB
All quiet tonight?

CONSTABLE WARREN
Simon Stimson is rollin' around a
little. Just saw his wife movin'
out to hunt for him so I looked
the other way.

(CONTINUED)

64.

156. (CONTINUED)

CONSTABLE WARREN

Good night, Mr. Webb.

Constable Warren moves off, trying doors.

DISSOLVE TO:

157. EXT. WEBB HOME (MOONLIGHT)

158.

159. CAMERA ANGLE takes in Emily, in nightgown, at bedroom window. She is gazing at the moon. Mr. Webb is approaching house.

MR. WEBB
(stops under window,
sensing someone above)
Who's that up there? Is that
you, Myrtle?

EMILY
(pooh-poohing him)
No, it's me, Papa.

MR. WEBB
(stepping closer
to look up)
Why aren't you in bed?

EMILY
I don't know. I just can't
sleep yet, Papa. The moonlight's
so won-derful. And the smell of
Mrs. Gibbs' heliotropes. Can you
smell it?

MR. WEBB
(turns to smell)
Hmm. Yes.
(turns back to
look up)
Haven't any troubles on your
mind, have you, Emily?

EMILY
Troubles, Papa. No.

MR. WEBB
Well, don't let your mother
catch you.
(starts into house)
Good night, Emily.

(CONTINUED)

71.

176. (CONTINUED)

HOWIE
How much did you want today?

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.

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.

177. MED. CLOSE SHOT - ANOTHER ANGLE

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. The cat laps up the milk that is spilled. CAMERA PANS with Howie, carrying the two measuring cans, and followed by the cat, as he crosses yard to rear of Webb house.

178. INT. WEBB KITCHEN (MORNING)

179. MED. SHOT - TOWARD DOOR

180.
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 the door opens and Howie enters with measuring cans, followed by cat.

HOWIE
'Mornin', M's Webb.

MRS. WEBB
Oh, good morning, Mr. Newsome.

(CONTINUED)