17.

30. (CONTINUED)

REBECCA
(shrilly)
Mama, George's throwin' soap
at me!

MRS. GIBBS' VOICE
I'll come up an' slap the both of
you, that's what I'll do!

George grins broadly, exits. Rebecca gets down from
chair, starts to don dress.

31. INT. WEBB KITCHEN (MORNING)
MEDIUM SHOT

CAMERA IS SHOOTING PAST Mrs. Webb, who is puttering at
stove, and CENTERING on the stairs.

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.

32. 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.

33. INT. WEBB KITCHEN (MORNING)
MEDIUM SHOT

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

(CONTINUED)

30.

37. INT. WEBB KITCHEN (MORNING)
MEDIUM SHOT

SOUND
(OLD-FASHIONED SCHOOL BELL IN
DISTANCE)

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

38. EXT. GIBBS AND WEBB HOUSES (MORNING)
LONG SHOT

The four children emerge through rear doors of their respective houses, hurry across side yards in direction of street. Mrs. Gibbs, holding up apron which contains cracked corn, and Mrs. Webb have come out onto their kitchen porches to look after children.

39. ANOTHER ANGLE

40.

41. on the children, as George and Rebecca meet Emily and Wally. The ANGLE also TAKES IN Mrs. Gibbs and Mrs. Webb on porches in background. The children, on meeting exchange ad lib greetings.

CHILDREN
(AD LIB GREETINGS)

Bashfully George moves away from Emily to fall into step with Wally, the girls pair together, and the four start down the street.

MRS. WEBB
(calling -- as
children start
down street)

Now walk fast, but you don't have
to run. Wally, pull up your pants
at the knee.

MRS. GIBBS
(calling)

Rebecca, tell Miss Foster I send
her my best congratulations. Can
you remember that?

REBECCA
(over shoulder)

Yes, Ma.

MRS. GIBBS
(calling -- louder)

You look real nice, Rebecca. Pick
up your feet!

(CONTINUED)

21.

39. (CONTINUED)

40.

41. The children hurry down street out of scene.

42. EXT. GIBBS KITCHEN PORCH (MORNING)

43. MEDIUM CLOSE SHOT -- MRS. GIBBS

She stands looking after children off-scene for a moment, then, holding apron with cracked corn in it, she goes down porch steps into rear yard and crosses to chicken pen, CAMERA PANNING with her. At sight of her the chickens come running, clucking excitedly.

MRS. GIBBS
喂 chickens)
Here, chick-chick-chick -- No,
you go way, you -- Here, chick-
chick-chick -- What's the matter
with you? Fight, fight, fight --
that's all you do -- You don't
belong to me. Where'd you come
from?

Mrs. Gibbs flings the last of her feed, which causes loud clucks, CAMERA ANGLE WIDENS to include EXTERIOR WEBB KITCHEN PORCH AND YARD, as Mrs. Webb, laden with two large bowls of string beans, comes out into her yard. She sits on a bench, puts one bowl on ground, other on lap.

MRS. GIBBS
(to chickens)
Oh, don't be so scared. Nobody's
goin' to hurt you.

Mrs. Webb strings beans into bowl on lap. Mrs. Gibbs turns to catch sight of Mrs. Webb.

MRS. GIBBS
(hands on hips)
Good morning, Myrtle. How's your
cold?

MRS. WEBB
Well, I still get that tickling
feeling in my throat. Told
Charles I didn't know as I'd go
to choir rehearsal tonight.

MRS. GIBBS
Have you tried singing over your
voice?

MRS. WEBB
Yes, but somehow I can't do that
and stay on key.

Mrs. Gibbs crosses to sit beside Mrs. Webb,

22.

44. EXT. WEBB KITCHEN PORCH AND YARD (MORNING)
MEDIUM CLOSE SHOT

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)
'N 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?

24.

46. (CONTINUED)

MRS. GIBBS
Oh, I'm sorry I mentioned it.
Only it seems to me that once
in your life, before you die,
you ought to see a country where
they don't talk in English and
don't even want to.

Suddenly the women are startled by:

MR. MORGAN'S VOICE
That'll do, ladies. Thank you
very much.

The PICTURE FREEZES, and the two women, holding their
arrested attitudes, become absolutely motionless, as
over the scene continues:

MR. MORGAN'S VOICE
Now we'll skip a few hours --

47. INT. GENERAL MERCHANDISE STORE (DAY) MEDIUM CLOSE SHOT

Morgan is brushing the pieces of the jigsaw puzzle from
the counter into a box. He finishes this; places box
on shelf, then saunters to front of store, CAMERA
TRUCKING BACK AHEAD of him. He steps through doorway
and halts to lean against a post in front of store,
CAMERA HOLDING. He lights his pipe, nods to several
townspeople who pass between him and CAMERA, then speaks
directly to audience:

MR. MORGAN
(to audience)
Before we go on, we want a
little more information about
our town -- kind of a scientific
account, you might say.

He looks off, registers that he recognizes an oncomer
off-scene, and a moment later PROFESSOR WILLARD, a
little dried-up man, hurries into scene.

PROFESSOR WILLARD
 fluttering up
to Morgan)
Am I late?

MR. MORGAN
No, you're just on time.

25.

48. EXT. GENERAL MERCHANDISE STORE (DAY)

49. TWO SHOT -- PROFESSOR AND MORGAN

MR. MORGAN
(to audience)
May I introduce Professor Willard, of our State University.
(to Professor)
Just a few brief notes, thank you, Professor -- Unfortunately our time is limited.

Professor Willard, who has been looking at Morgan in surprise, now turns to look INTO CAMERA, and as he sees audience for the first time he reacts in astonishment. Morgan pantomimes encouragement, leans back against post.

PROFESSOR WILLARD
(to audience --
timidly at first,
then gaining
courage as he
goes on)
Well -- let me see -- I dare say you all know Grover's Corners lies on the old Pleiocene granite of the Appalachian range. I may say it is some of the oldest land in the world -- we're very proud of that around here. Of course there are some outcroppings of sandstone and some vestiges of Mezozoic shale, but these are comparatively new -- oh, maybe two or three hundred million years old. Some highly interesting fossils have been found -- I might say unique fossils -- about two miles out of town in Silas Peckham's cow-pasture. These may be seen in the Museum of our University at any time -- that is, at any reasonable time.
(turns to Morgan)
Do you want me to tell them about the meteorological conditions -- mean precipitation, etcetera?

50. TWO SHOT -- FAVORING MORGAN

MR. MORGAN
Well, I think they'd be more interested in something about the history of the people here --

(CONTINUED)

27.

53. MEDIUM SHOT

Professor Willard nods to Morgan, trots off down the street. Morgan looks after him amusedly for a moment, then turns to look up and off.

MR. MORGAN
(calling)
Oh, Editor Webb!

54. EXT. HARNESS SHOP AND SENTINEL OFFICE -- (1901) (DAY) FROM MORGAN'S ANGLE

This is a two-story building adjoining Morgan's store. A harness shop, with old-fashioned horse-collars, etc., displayed in window, occupies the lower floor. Above it is the office of the Grover's Corners Sentinel, with identifying sign.

MR. MORGAN'S VOICE
(calling)
Mr. Webb!

A young man, apparently a printer's devil, wearing ink-stained apron, appears at window of Sentinel Office, and leans out, looking down at Morgan off-scene.

YOUNG MAN
(calling)
He'll be here in a minute,
Mr. Morgan. He just cut his
hand whilst feedin' the press.
(turns back
into office)

55. EXT. GENERAL MERCHANDISE STORE (DAY) MEDIUM CLOSE SHOT -- MORGAN

looking off and up at Sentinel office. He nods, turns to FACE CAMERA.

MR. MORGAN
(to audience)
Charlie Webb's the father of
Wally and Emily. Emily's the
smart girl with the good
memory -- you know, you saw
her at breakfast.

He turns to look up at Sentinel office again.

56. EXT. SENTINEL OFFICE (DAY)

57. MEDIUM CLOSE SHOT -- AT WINDOW

MR. WEBB, a smiling, quizzical man in the late forties, without coat and tie, and with his shirt-sleeves

(CONTINUED)

31.

61. (CONTINUED)

MR. MORGAN (cont'd)
(pause)
Well, it's gettin' along in the
afternoon, now. All two thousand
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. The afternoon session of
school is about over.

62. EXT. MAIN STREET (AFTERNOON)
FULL SHOT

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.

63. 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 --

64. 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".

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

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

(CONTINUED)

36.

75. (CONTINUED)

76.

Yeah.

GEORGE

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.

37.

## 77. 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.

## 78. INT. HALLWAY WEBB HOME (AFTERNOON) MEDIUM SHOT

In the hallway is an old-fashioned hat-rack stand. 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.

38.

79. 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 aspool. I'm going to make
speeches all my life.

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

80. TWO SHOT

81.

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

MRS. WEBB
Seriously, dear -- not serious.

(CONTINUED)

39.

80. (CONTINUED)

81.

EMILY

(annoyed)

Seriously -- will you?

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
<u>pretty</u>?

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 <u>am</u> telling you the truth.

EMILY

(wheedling a bit)

Mama, were <u>you</u> 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
<u>something</u> about me. Am I
<u>pretty</u> enough -- to get anybody --
to get people interested in me?

(CONTINUED)

42.

83. (CONTINUED)

84.

85.

MR. MORGAN (cont'd)
children are at home doin' their
school work. The day is runnin'
down like a tired clock.

SERIES OF EFFECT SHOTS: (NIGHT)

86. CHOIR REHEARSAL - conducted by SIMON STIMSON, in choir loft of Congregational Church.

87. GEORGE and EMILY - seated at their respective bedroom windows upstairs, doing their home work.

88. REBECCA - seated at a table in her room, busily shining some coins and dropping them in a coin bank. Beside the bank are her school books.

89. WALLY - seated at a desk in his room, with his school books before him, but with his attention centered on some Boy Scout paraphernalia.

90. DOC GIBBS - seated at parlor window, reading newspaper.

91. CONSTABLE WARREN (an old man) - trying doorknobs of stores on Main Street.

Over all of the foregoing scenes is heard:

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

At the end of this series of Effect Shots:

92. INT. CHOIR LOFT CONGREGATIONAL CHURCH (NIGHT)

93. MEDIUM SHOT

94.

Simon Stimson, a long-faced "character" in his early thirties, now slightly drunk, is seated at organ in foreground, directing the choir practice. Among the members of the choir are Mrs. Gibbs and Mrs. Webb. Beside them is MRS. SOAMES. She is in her thirties, and the town gossip.

CHOIR
(SINGING)

(CONTINUED)

45.

95. (CONTINUED)

96.

97.

98.

The <u>third</u>.

GEORGE

EMILY
Why, yes, George -- that's the
easiest of them all.

GEORGE
I don't see it. Well, Emily,
can you give me a hint?

EMILY
I'll tell you one thing: the
answer's in yards.

GEORGE
In yards?! How do you mean?

EMILY
In <u>square</u> yards.

GEORGE
Oh -- in square yards.

EMILY
Yes, George, don't you see?

GEORGE
Yeah.
(he does not see)

EMILY
(giving more than
a hint)
In square yards of <u>wall-paper</u>.

GEORGE
(a great light
breaking)
Oh, I see. Square yards of
wall-paper!

Emily beams agreement.

GEORGE
(turns to table, erases
and writes)
Thanks a lot, Emily.

EMILY
You're welcome.
(staring off)
My, isn't the moonlight <u>terrible</u>?
(listens hard a
moment, awed)

(CONTINUED)

46.

95. (CONTINUED)

96.

97.

EMILY (cont'd)

98.

I think, if you hold your breath,
you can hear the train all the
way to Contockuck!

George holds his breath, leaning out of window.

EMILY
Hear it?

GEORGE
M-m-m -- What do you know!

EMILY
(reluctant)
Well, I guess I better go back
and try to work.

GEORGE
Goodnight, Emily.

EMILY
Goodnight, George.

Both return unwillingly to work, but almost
immediately give up and gaze at the moon, chin
on hands.

99. EXT. EMILY'S BEDROOM WINDOW (MOONLIGHT)
CLOSEUP EMILY

Staring dreamily at moon.

100. EXT. GEORGE'S BEDROOM WINDOW (MOONLIGHT)
CLOSEUP GEORGE

Also staring dreamily at moon. Over scene comes:

DOC GIBBS' VOICE
(calling from downstairs)
Oh, George, can you come down a
minute?

GEORGE
(still in trance;
calls back)
Yes, Pa.

CAMERA PULLS BACK as he turns, disappears into
bedroom.

49.

104. (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, then
rises, exits slowly. Doc Gibbs picks up newspaper,
sits near parlor window, begins reading.

105. EXT. GIBBS & WEBB HOUSES (MOONLIGHT)

106. LONG SHOT

There are lights in Emily's and George's rooms 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 fore-
ground 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.

107. MED. CLOSE SHOT - THE WOMEN

gazing at moon. After a moment:

(CONTINUED)

50.

107. (CONTINUED)

MRS. SOAMES
(scandalized)

Well, naturally, I didn't want to say a word about it in front of those others, but now we're alone -- really, it's the worst scandal that ever was in this town!

MRS. GIBBS
What?

MRS. SOAMES
Simon Stimson!

Mrs. Webb appears annoyed.

MRS. GIBBS
(to Mrs. Soames)
Now, Louella!

MRS. SOAMES
But, Julia! To have the organist of a church, drink, and drunk year after year.

MRS. GIBBS
Louella!

MRS. SOAMES
Julia, you know he was drunk tonight.

MRS. GIBBS
(looking at moon)
Now Louella! We all know about Mr. Stimson, and we all know about the troubles he's been through, and Doctor Ferguson knows too, and if Doctor Ferguson keeps him on there in his job the only thing the rest of us can do is just not to notice it.

MRS. SOAMES
Not to notice it! But it's getting worse.

MRS. WEBB
(acidly)
No, it isn't, Louella. It's getting better. I've been in that choir twice as long as

(CONTINUED)

58.

117. (CONTINUED)

118.

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.

EMILY

Good night, Papa.

She disappears from window. Mr. Webb exits into
house, whistling "Blessed Be The Tie That Binds."

119. INT. GEORGE'S BEDROOM - AT WINDOW (MOONLIGHT)

CAMERA, SHOOTING FROM BEHIND George and Rebecca, who
are gazing out window, takes in their FACES IN
PROFILE, and shows VIEW OF SKY & COUNTRYSIDE in
distant background. During the ensuing dialogue
CAMERA MOVES IN to window, so that on the line
"Mind of God" we see children's FACES IN SILHOUETTE
against WIDE EXPANSE OF SKY & COUNTRYSIDE.

REBECCA

(looking at moon
throughout)

I never told you about that letter
Jane Crofut got from her minister
when she was sick. He wrote Jane a
letter and on the envelope the
address was like this: It said:
"Jane Crofut: The Crofut Farm,
Grover's Corners; Sutton County; New
Hampshire; United States of America."

GEORGE

What's funny about that?

(CONTINUED)

61.

121. (CONTINUED)

122.

123.

MR. MORGAN (cont'd)
and thundering.
(looks at sky)
Hmm -- don't know, now -- may begin
again any minute.

SOUND
(DISTANT TRAIN WHISTLE)

MR. MORGAN
(nods, looks at
watch)
There's the 5:45 for Boston.

DISSOLVE TO:

124. EXT. MAIN STREET (1904) - (MORNING)
LONG SHOT

The street is muddy. There are water puddles which
have accumulated from the rain. CAMERA MOVES IN TO
MED. FULL SHOT on the Sentinel Building as SI
CROWELL, 10, comes down steps from Sentinel office
with a stack of newspapers under his arm, and
starts along street.

MR. MORGAN'S VOICE
And there's Si Crowell deliverin'
the papers like his brother before
him.

125. EXT. GIBBS HOUSE (MORNING)
SHOOTING THROUGH KITCHEN WINDOW

Showing INT. GIBBS KITCHEN as Mrs. Gibbs comes
downstairs into kitchen, begins preparations for
breakfast, filling kettle at sink, etc.

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

126. EXT. WEBB HOUSE (MORNING)
SHOOTING THROUGH KITCHEN WINDOW

Showing INT. WEBB KITCHEN as Mrs. Webb comes down
the stairs, begins preparations for breakfast.

MR. MORGAN'S VOICE
And Mrs. Webb -- coming down to
make breakfast, just as if this
were an ordinary day. I don't have

(CONTINUED)

65.

131. (CONTINUED)

132.

133.

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.

134. INT. WEBB KITCHEN (MORNING)

135. 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 the door opens and Howie enters with measuring cans.

HOWIE
'Mornin', M's Webb.

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

Howie, moving mechanically, has crossed directly to the spot where Mrs. Webb customarily leaves her milk receptacle.

MRS. WEBB
I told you four quarts of milk, but I hope you can spare me another.

HOWIE
(pouring milk from measuring can into receptacle)
Yes'm -- and I brought you a quart of cream too.

MRS. WEBB
(looking out window)
Will it start raining again, Mr. Newsome?

HOWIE
Well -- I was just sayin' to M's Gibbs as how it may clear off.

(CONTINUED)

68.

138. (CONTINUED)

139.

DOC GIBBS

When I saw you coming down
that aisle I thought you were
the prettiest girl I'd ever
seen; but the only trouble
was that I'd never seen you
before. There I was in
the Congregational Church
marryin' a total stranger!

MRS. GIBBS

(crossing to table
with milk for
Rebecca)

And how do you think I
felt?

(crossing to
serve his
toast)

Frank, weddings are perfectly
awful things. Farces -- that's
what they are!

(crossing to
table to set
plate of toast
before him)

Here, I've made something for
you.

DOC GIBBS

Why, Julia Hersey! French
toast!

MRS. GIBBS

(pleased)

'Tain't hard to make, and I
had to do something.

(turns suddenly
serious and
crosses to
stove; serves
self)

(CONTINUED)

71.

143. (CONTINUED)

144.

MRS. GIBBS

Well, good weather, bad weather,
'tain't very choice, but I
always find something to say.
-- Did you hear Rebecca stirrin'
around upstairs?
(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.

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

145. ANOTHER ANGLE

146.

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 around at sound. George has started
through kitchen door onto porch.

MRS. GIBBS

George Gibbs, where are you
going?

GEORGE

(stepping back
into kitchen)

Just stepping across the grass
to see my girl.

(CONTINUED)

76.

152. (CONTINUED)

MR. WEBB (cont'd)
women standing shoulder-to-
shoulder, making sure that the
knot's tied in a mighty public
way.
(cuts food and
eats)

GEORGE
(earnestly)
Well, you _believe_ in it, don't
you, Mr. Webb?

MR. WEBB
(quietly)
Yes.
(with alacrity,
suddenly look-
ing at George)
Oh, yes! Now, don't misunder-
stand me, George. Marriage is
a wonderful thing. A wonderful
thing. Don't you forget that,
George.

GEORGE
No, sir.
(after a pause)
Mr. Webb, how old were you when
you got married?

MR. WEBB
Well, you see -- I'd been to
college and I'd taken a little
time to get settled. But Mrs.
Webb, she wasn't much older than
what Emily is.
(stirring coffee)
Oh, age hasn't got much to do
with it, George, compared with --
other things.
(drinks)

GEORGE
What were you going to say, Mr.
Webb?

MR. WEBB
I don't know. Was I going to
say something?

153. TWO SHOT -- ANOTHER ANGLE

George is confused. There is a pause. Mr. Webb sits back, crosses knees, folds arms.

(CONTINUED)

84.

163-166. (CONTINUED 2)

EMILY (cont'd)
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 per-
fect, and I think he should be.

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

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.

(CONTINUED)

85.

163-

166. (CONTINUED 3)

EMILY (cont'd)
(cries harder,
hands to eyes)

They are now approaching:

167. 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.

GEORGE
(over his emotions,
as they walk, first
gruffly, then
courteously)
Hello, Stew, how are you? Good
afternoon, Mrs. Slocum.

TOWNSPEOPLE
(NOD OR AD LIB RESPONSES)

The two have reached door of general store. George
starts in, then steps back to let her go first.

168. INT. MORGAN'S GENERAL STORE (AFTERNOON)

169. MEDIUM SHOT

The soda fountain is seen as it was arranged by Mr.
Morgan earlier, with stools in front of fountain,
etc.

George and Emily enter, cross to soda fountain, sit
on stools, as Mr. Morgan comes forward. During
following dialogue CAMERA MOVES IN TO CLOSER SHOT.

MR. MORGAN
Hello, George. Hello, Emily.
(going behind fountain)
What'll you have? --

(CONTINUED)