72.

178. (CONTINUED)

179.

180. Howie, moving mechanically, and followed by cat, 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.

The cat laps up the milk that is spilled.

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.
M's Newsome told me special to
tell you as how we hope they'll
be happy, M's Webb -- know they
will.

Howie has finished pouring milk, and now pours cream into another convenient receptacle.

MRS. WEBB
Thank you, and thank Mrs. Newsome;
and we're counting on seeing you
at the church.

Howie finishes pouring cream, starts toward door with
measuring cans. The cat follows him.

HOWIE
(moving toward door)
Yes, M's Webb. We hope to git
there, all right. Couldn't miss
that.

Howie exits, the cat following him out.

HOWIE'S VOICE
Come on, Bessie!

79.

195. (CONTINUED)

MRS. GIBBS (cont'd)
Perhaps Mrs. Webb isn't used
to callers at seven in the
morning.

(pours coffee in cup
on table)

George has finished putting on rubbers. He rises,
starts out.

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.

196. 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, opens kitchen door.

197. INT. WEBB KITCHEN (MORNING)
MEDIUM CLOSE SHOT

SHOOTING PAST George in doorway on Mrs. Webb at stove.
Seeing George, she covertly brushes away a tear.

GEORGE
(cheerily)
Good morning, Mother Webb!

MRS. WEBB
Good morning, George. Goodness!
You frightened me! Now George --
I hate to say it -- but really --
you understand, George, I can't
ask you in.

GEORGE
Why not -- ?

MRS. WEBB
Why, George, you know's well as
I do -- the groom can't see his
bride on his wedding day, not
until he sees her in church.

(CONTINUED)

85.

204. (CONTINUED)

205.

MR. WEBB
(continuing, as
he crosses)
Since the caveman, no bridegroom
should see his father-in-law on
the day of the wedding, or near
it. Now remember that.

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 EXTERIOR YARD BETWEEN WEBB AND GIBBS HOUSES. George is crossing yard towards his house. He takes great care to avoid a puddle, starting to circle it. When he is halfway 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. Mr. and Mrs. Webb are amused.

206. EFFECT SHOT

CAMERA IS HOLDING on the scene just described. 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 INTERIOR DRUGSTORE (DAY), and the man's hand, now actually in a CLOSEUP, 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. He is looking up PAST CAMERA, as though at projectionist in his booth. Now, apparently satisfied that projectionist will not continue picture, Morgan lowers hand, looks INTO CAMERA.

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

207. INT. DRUGSTORE (DAY)
CLOSEUP MR. MORGAN

86.

MR. MORGAN
I'm awfully interested in how
big things like that begin.
You know how it is: you're
twenty-one or twenty-two and
you make some decisions; then
p-h-s-t! -- you're seventy;
you've been a lawyer for fifty
years, and that white-haired
lady by your side has eaten
over fifty thousand meals with
you. How do such things begin?
Now, there was a moment when
this all started -- but before
we can show it to you, there's
something you've got to do for
us. I want you all to try to
remember when you were very,
very young -- and try expecially
to remember the time when you
were first in love.

208. MEDIUM PAN SHOT

With a very definite purpose in mind, Mr. Morgan crosses to a stool on which are some magazines. He removes magazines from stool, puts them on counter, then takes stool and places it in a very definite position in front of soda fountain. Next he crosses to another stool in far corner, carries it to front of soda fountain, places it carefully beside first stool. Now he shoves several chairs from their customary places in front of soda fountain, pushing them to far corner of room. He returns to front of soda fountain, studies the new arrangement, satisfied himself that it is precisely the way he wants it. Now he turns TOWARD CAMERA to explain his actions to the audience:

209. 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.

(CONTINUED)

90.

212
to
217,
Incl.

(CONTINUED 1)

GEORGE
-- A <u>change</u>? -- What-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.

EMILY
(all innocence --
yet firm)
Well, my <u>father</u> is. And as far
as I can see, <u>your father</u> is.
There's no reason on earth why
you shouldn't be too.

(CONTINUED)

94.

222. (CONTINUED)

The woman approaches, hands him the prescription slip.

MR. MORGAN
(puts glasses on --
scans prescription slip)
'Twon't take no time at all --

He exits toward rear of store, followed by woman.

223. TWO SHOT - GEORGE AND EMILY

Sipping sodas.

EMILY
(awed)
They're so expensive.

GEORGE
No, no -- don't you think of
that, Emily. We're celebrating
our election -- And then do you
know what else I'm celebrating?

EMILY
N-no.

GEORGE
I'm celebrating because I've got
a friend who tells me all the
things that ought to be told me.

EMILY
(tearfully)
George, please don't think of
that. I don't know why I said
it. It's not true. You're --

GEORGE
(with brief
look at her)
No, Emily, you stick to it. I'm
glad you spoke to me like you
did. But you'll see. I'm going
to change so quick -- you bet
I'm going to change.

Emily sips, winking back tears.

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

EMILY
W-wh-a-t?

(CONTINUED)

97.

226. (CONTINUED)

EMILY

Why, George. I don't see why
you have to decide right now --
it's a whole year away.
(turns face away,
biting lip)

227. TWO SHOT -- FAVORING GEORGE

GEORGE

Emily, I'm glad you spoke to me
about that -- that fault in my
character. What you said was
right; but there was one thing
wrong in it. That's where you
said that I wasn't noticing --
people -- and you, for instance --
why, you say you were watchin' me
when I did everything -- Why, I
was doing the same about you all
the time.

She looks at him wide-eyed; he at her.

GEORGE

Why, sure -- I always thought
about you as one of the chief
people I thought about.

She turns away, joyously tearful.

GEORGE

I always made sure where you
were sitting on the bleachers,
and who you were with, and for
three days now I've tried to
walk home with you; but
something's always got in the
way. Yesterday I was standing
by the wall waiting for you --
(almost weeping)
-- and you walked home with
Miss Corcoran.

228. TWO SHOT

EMILY

(breaking down
a moment)

Oh, George! -- Life's awful funny!
(almost pleading)
How could I have known that? --
I thought --

(CONTINUED)

107.

243. (CONTINUED)

SOUND
(ORGAN: "HERE COMES THE
BRIDE")

CAMERA IS STATIONARY at rear of church SHOOTING TOWARDS
vestibule. ANGLE TAKES IN last few rows of pews, vesti-
bule, 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 fore-
ground, 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
Anteroom, which would be off vestibule), followed by
Bridesmaids, and then Emily on Mr. Webb's arm. The pro-
cession comes down the aisle TOWARDS CAMERA. As Emily
and Mr. Webb come abreast of Mrs. Soames' pew:

MRS. SOAMES
(to her neighbors)
Perfectly lovely wedding!
Loveliest wedding I ever saw.
Oh, I do love a good wedding,
don't you? Doesn't she make
a lovely bride?

Rebecca and Bridesmaids exit down aisle PAST CAMERA.
As Emily and Mr. Webb come INTO CAMERA, CAMERA DOLLIES
BACK AHEAD of them, moving slowly down aisle. We see
the reaction of guests as Emily passes each pew. There
is a spiritual look on Emily's face, her eyes straight
ahead, as she moves with great dignity down the aisle.
We get the reaction of Doc and Mrs. Gibbs, and later
Mrs. Webb, as Emily passes with Mr. Webb. Emily reaches
her position at altar, and CAMERA STOPS. Mr. Webb
leaves Emily to take his seat beside Mrs. Webb in pew
in background. CAMERA IS NOW ON Emily in HEAD CLOSEUP.
We see that Emily's eyes are fixed lovingly on someone
at her side. CAMERA ANGLES SLIGHTLY TO INCLUDE George
in his position before altar. He is looking reverently
at Emily. CAMERA NOW DOLLIES BACK SLIGHTLY TO INCLUDE
Dr. Ferguson, his BACK TO CAMERA, facing George and
Emily. CAMERA RAISES TO SHOOT DOWN OVER Dr. Ferguson
on George and Emily, as they turn to FACE CAMERA and
Dr. Ferguson, who is now off-scene.

DR. FERGUSON'S VOICE
(BEGINS CONGREGATIONAL CHURCH
MARRIAGE CEREMONY)

109.

250. CLOSEUP

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

DR. FERGUSON'S VOICE
I now pronounce you man and wife, etc.

251. 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,

252. LONG SHOT - FROM REAR OF CHURCH

As the happy couple comes down the aisle, the congrega-
tion rises, exclaiming, craning their heads to see the
bride and groom. George and Emily gradually increase
their speed as they come TOWARDS CAMERA, until, as they
NEAR CAMERA, they are running. When their happy FACES
COME RIGHT INTO CAMERA:

FADE OUT

110.

### FADE IN:

253. EXT. MAIN STREET GROVER'S CORNERS (1913) - (DAY)

254. CLOSE SHOT

255.

256. of a 1913 New Hampshire auto license plate. When this has been registered, CAMERA PULLS BACK to reveal Howie Newsome (older now) cranking a Ford truck of the period. CAMERA CONTINUES BACK TO WIDER ANGLE to disclose that the truck is parked, rear end against curb, in front of a building which a sign identifies as:

### GROVER'S CORNERS DAIRY
Howie Newsome, Prop.

On sidewalk in front of dairy are a number of large milk containers. During the PULL BACK Howie has finished cranking the motor, which starts with a loud backfire, and now he goes around front of truck to climb in behind wheel. As the truck turns and starts down the street CAMERA LEFT, CAMERA PANS with it to show the general atmosphere of the town in 1913. The stores and buildings show the changes and improvements that would have been made from 1904 to 1913. Most of the horse-blocks and hitching-posts have been removed, but the water trough still is 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.

### 257. MEDIUM SHOT

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) All look up as Howie's truck speeds through scene in background, with motor backfiring and milk-cans in rear rattling and banging.

### 258. MED. CLOSE SHOT

on Constable Warren and several of the townsmen looking off after the truck.

FIRST TOWNSMAN
(turning to Constable)
Howie's gettin' too old -- A man
his age shouldn't be drivin' one
of those things.

SECOND TOWNSMAN
Not when he's got a lot of young
fellas to do it for him.

(CONTINUED)

112.

260. (CONTINUED)

261.

262.

MR. MORGAN

(to audience)

This time nine years have gone
by, friends -- summer, 1913.
Summers and winters have cracked
the mountains a little bit more
and the rains have brought down
some of the dirt.

(pause)

This is certainly 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.

(pause)

Yes, beautiful spot up here.

He walks now as he speaks, the CAMERA PANNING with him.

MR. MORGAN

(as he walks)

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.

PANNING CAMERA has now brought Morgan to a stone wall with a gate, and we realize that this is the cemetery, though we do not here see the tombstones. Morgan opens the gate and passes into the burying ground.

263. EXT. CEMETERY (AFTERNOON)

264.

265. Mr. Morgan enters the scene, stops at the old section of the cemetery. He looks over the weather-beaten tombstones for a moment, then turns to address the audience.

MR. MORGAN

(to audience)

Over here are the old stones --
1660 -- 1670. Strong-minded
people that come a long ways to
be independent. Summer folks
walk around here laughing at the
funny words on the tombstones.
Well, guess it don't do any harm.
Genealogists come up here from
Boston -- get paid by city people
for looking up their ancestors.
They want to make sure they're
Daughters of the American Revolu-
tion and of the Mayflower. Well,
I guess that don't do any harm,
either. Over here ---

(CONTINUED)

117.

284. 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:

285. FROM EMILY'S POINT OF VIEW

CAMERA PANS SLOWLY AROUND to TAKE IN the window. It is divided into four panes, with the two sash-bars forming a cross. Outside it starts to rain. Rain-drops begin to trickle down the window panes. CAMERA HOLDS on the window for a moment, then PANS 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, daguerreotypes and tintypes, none too clear, standing on bureau (which has a large oval mirror) 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 daguerreotypes 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 of the period. Simon Stimson and Mrs. Soames are prominent in a group picture, perhaps at choir rehearsal.

286. CLOSEUP EMILY'S EYES

The eyes blur.

SOUND
(THE TICKING OF THE CLOCK,
WHICH HAS BEEN HEARD THROUGH-
OUT, CONTINUES, THE TICKS BE-
COMING A LITTLE SOFTER AS THE
EYES BLUR, BUT BEING DISTINCTLY
HEARD)

287. THE PHOTOGRAPHS
EFFECT SHOT - NEUTRAL BACKGROUND

The photographs have blurred with the blurring of Emily's eyes. Indistinct and hazy, their irregular pattern on the wall becomes the irregular pattern of tombstones in the cemetery, hazy also, and glistening with rain.

SOUND
(OF DRIPPING RAIN -- IN THE
CADENCE OF THE CLOCK'S TICKING)

DISSOLVE TO:

119.

290. EXT. ROAD (AFTERNOON)
EXTREME LONG SHOT

A typical New Hampshire horse-and-buggy funeral pro-
cession is moving along the road, AWAY FROM CAMERA. In
distant background there is an indication of a cemetery.
Some of the buggies have tops; others have not, and in
these latter the occupants hold open umbrellas. In the
procession is a vehicle that might be a hearse, but it
is so obscured by other vehicles, trees, etc., that only
a small portion of it is visible. Falling rain blurs
the scene; and its duration is extremely brief. It is
illusive in its quality.

291. EXT. CEMETERY (AFTERNOON)
CLOSE SHOT

on moving umbrellas, wet and glistening, which FILL THE SCREEN, and the mourners move diagonally AWAY FROM CAMERA toward the grave....about twenty-five men and women who follow the pallbearers; but the latter are unseen; nor is the coffin visible, being obscured by the figures of the mourners, and the black umbrellas. As the group moves to the grave, the scene becomes a MEDIUM FULL SHOT, shrouded and misted with rain.

292. TRAVELING SHOT

With the CAMERA DOLLYING just ahead of the foremost
mourners, as if just behind the pallbearers. Webb
holds an umbrella over Mrs. Webb; beside them are George
and Doc Gibbs, the latter holding an umbrella over them.
They walk with bowed heads, the men carrying their hats.
The CAMERA and the group STOP, supposedly as the grave
is reached, though it is not seen. Other mourners
spread out as if surrounding the grave.

293. MED. FULL SHOT - REVERSE ANGLE

The umbrellas and the closely grouped mourners with
their BACKS NOW TO CAMERA create a picture of black
against gray horizon. The coffin and pallbearers are
still unseen, and the grave itself is curtained by the
surrounding forms. The attitudes are as of bowed heads
and grief. There is a little movement as if making room
for the pallbearers to lower the casket to the ground;
a slight turning as if to face the Minister; then:

DR. FERGUSON'S VOICE
Man that is born of woman hath but
a short time to live. He cometh up
and is cut down like a flower....
(the voice becomes
a mumble as:)

(CONTINUED)

122.

298. EFFECT SHOT

This is a FULL SHOT of the cemetery, with the grave
stones in foreground and the gate of cemetery in back-
ground. Doc Gibbs walks slowly AWAY FROM CAMERA through
clinging mist and dripping rain toward the gate.

EMILY'S VOICE
(a little fainter --
as if calling -
with a touch of
pleading)
Father Gibbs.....

Doc Gibbs, still unhearing, goes through the gate and
exits from the scene. The mistiness of the scene be-
comes greater, its details vaguer, and the scene grows
dark, so that everything loses definition except the
stars in the horizon, which grow brighter; and, in
effect, the grave stones themselves reflect as if they
were stars, so that the whole scene becomes illusively
a pattern of sky and stars, everything else losing
definition. As the scene again becomes light:

DISSOLVE TO:

299. EFFECT SHOT - NEUTRAL BACKGROUND

300.

301. A resemblance, half to the tombstones, half to the dis-

302. torted grouping of the photographs. The scene is misty

303. and vague; but this begins slowly to clear and we see

304. the effect of tombstones and yet of photographs: Mrs. Gibbs, Mrs. Soames, Simon Stimson, Wally Webb and the other dead, and Emily, in her wedding dress, posed as in a photograph. These are the actual people, but their expressions are fixed, and they give the suggestion of photographs until Emily, with almost imperceptible movement, speaks:

EMILY
(wearily)
Oh, I'm so tired, Mother Gibbs.

MRS. GIBBS
(with understanding)
Yes, Emily -- just rest yourself.

There is a silence. The dead sit quietly, tranquilly.
After a moment:

EMILY
(bewildered)
It seems thousands and thousands
of years since I -- I don't like
being new here.

(CONTINUED)

125.

299. (CONTINUED - 2)

300.

301.

302.

303.

304.

EMILY

But, Mother Gibbs, how can I ever
forget that life? It's all I
know. It's all I had.
(with force)
One can go back there again --
and live all those days over
again. I feel it! I know it!

SIMON STIMSON

(coldly, without feeling)
You'll not only live it -- but
you'll watch yourself living it.

EMILY

(paying no attention
to Stimson)
I'll choose a happy day!

MRS. SOAMES

(with warning)
Oh, Emily, it isn't wise.
Really it isn't.

EMILY

I'll choose the day I first
knew that I loved George. Oh,
why should that be painful?

MRS. SOAMES

Because it's the happiest days
that are the hardest to relive.

MRS. GIBBS

(reflectively)
And hardest to forget.

EMILY

(insistent)
But I must! I must!

MRS. GIBBS

(acquiescing)
Then, Emily, 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, or since the baby came --
I'll choose... I'll choose ...

(CONTINUED)

127.

308. (CONTINUED)

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.

Emily, the woman, in wedding dress, is standing in center of room, looking around in bewilderment.

Mrs. Webb (as she appeared at opening of picture) is coming down the stairs. She wears a sweater.

EMILY
(amazed)
There's Mother coming downstairs
to make breakfast!

As Mrs. Webb starts across kitchen toward stove, Emily turns to her with outstretched arms. Mrs. Webb, passing Emily with unseeing eyes, crosses directly to stove to begin breakfast preparations. Emily looks after her helplessly.

SOUND
(RATTLE OF MILK-CANS OFF-SCENE)

Emily turns, crosses quickly to window to look out.

309. MEDIUM SHOT

310.

311.

CAMERA, IN WEBB KITCHEN, IS SHOOTING PAST Emily at window to take in EXTERIOR STREET OUTSIDE WEBB HOUSE. Howie Newsome (as he appeared at opening of picture), carrying measuring can and followed by horse-drawing wagon, is stopping in front of house. The Gibbs' half-grown cat has jumped off fence and is running towards Howie.

EMILY
Look! There's Howie Newsome!

HOWIE
(to the horse)
Whoa, Bessie!

Joe Crowell (as he appeared at opening of picture) passes, throwing newspapers.

EMILY
(delighted)
And there's Joe Crowell!

JOE
(to Howie)
'Mornin', Howie.

HOWIE
'Mornin', Joe.

(CONTINUED)

129.

315. CLOSEUP EMILY

EMILY
(her face lights)
I know now! It's my fourteenth
birthday!

EMILY'S VOICE
(as a <u>girl</u> of fourteen --
calling from upstairs)
Mama, I can't find my blue hair-
ribbon anywhere!

Emily turns quickly to look in the direction of the
stairs.

316. MEDIUM SHOT -- MRS. WEBB AND HOWIE

317.

318. Howie is filling the receptacle. The cat sits at his feet, lapping up spilled milk, and looking uneasily at Emily as Mrs. Webb has turned toward the stairs.

MRS. WEBB
(calling upstairs)
Just open your eyes, dear, that's
all. I laid it out for you,
special, on the dresser there.
If it were a snake it'd bite you.

She turns to putter at stove. Howie starts toward the door, followed by cat. CAMERA PICKS THEM UP IN A PAN as they move and this PAN PICKS UP EMILY by the window. Again the cat arches its back as it passes Emily. CAMERA STOPS on Emily as Howie and cat move out of scene toward door.

MRS. WEBB'S VOICE
Keep yourself wrapped up, Mr. Newsome.

HOWIE'S VOICE
Yes'm.

SOUND
(DOOR OPENING AND CLOSING)

319. MEDIUM SHOT

320.

321. on Emily at window, looking at Mrs. Webb, who is busy at the stove.

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

(CONTINUED)

137.

339. MEDIUM CLOSE SHOT -- MRS. WEBB AND EMILY, THE GIRL

As Mrs. Webb crosses to put a dish on the table, at which Emily the girl is seated, opening the packages as she eats her breakfast.

MRS. WEBB
That in the yellow paper is
something I found in the attic
among your grandmother's things.
You're old enough to wear it now,
and I thought you'd like it.

Emily the girl opens the package, takes out old-fashioned cameo, holds it up to inspect it. She sets cameo down, opens box, takes out hat.

EMILY, THE GIRL
(delighted)
And this is from you! Why,
Mama, it's just lovely and
it's just what I wanted. It's
beautiful!

She puts hat down, flings her arms around her mother.
Mrs. Webb pats her hand, then turns away to stove.

MRS. WEBB
(pleased)
Well, I hoped you'd like it.

340. CLOSEUP -- EMILY, THE WOMAN

near foot of stairs. She is again agonized.

MRS. WEBB'S VOICE
Hunted all over. Your Aunt
Norah couldn't find one in
Concord, so I had to send all
the way to Boston.
(laughing)
Wally has something for you, too.

Emily stretches arms toward upstairs as though to
Wally.

MRS. WEBB'S VOICE
He made it at Manual Training
Class and he's very proud of it.
Be sure you make a big fuss about
it. Your father has a surprise
for you, too -- don't know what it
is myself. Sh! -- here he comes.

(CONTINUED)