"OUR TOWN"

by

Thornton Wilder

Screenplay

by

Frank Craven & Sol Lesser

****

FADE IN:

1. FULL SCREEN CLOSEUP

of a jigsaw puzzle map of the United States, which
has been completely assembled save for the State of
New Hampshire. The absence of the New Hampshire
section is made particularly noticeable by jet black
background seen through the vacant space.

DISSOLVE IN, SUPERIMPOSED on map, the MAIN TITLE:

UNITED ARTISTS PRESENTS

"OUR TOWN"

by

THORNTON WILDER

(Copyright and M.P.P.D.A. Trademark)

As Main Title DISSOLVES OUT, CAMERA ZOOMS DOWN TO
CLOSEUP of vacant space on map, and a man's hand
inserts the New Hampshire section in the waiting
hole, after which hand is withdrawn. CAMERA, now
ON New Hampshire section in FULL SCREEN CLOSEUP,
shows plainly the words "New Hampshire", and reveals
also that one small section of the State of New
Hampshire, near the Massachusetts line, still is
missing. Its absence is particularly noticeable by
the jet black background seen through the small
vacant space.

DISSOLVE IN, SUPERIMPOSED on New Hampshire section:

CAST AND CREDIT TITLES

(CONTINUED)

2.

1. (CONTINUED)

As Cast and Credit Titles DISSOLVE OUT, CAMERA ZOOMS DOWN to FULL SCREEN CLOSEUP of vacant space in New Hampshire section, and a man's hand inserts the small remaining piece, which is an impressionistic picture of a small town. (The town is Grover's Corners, but is not to be so identified here). This impressionistic picture of small town DIVIDES itself, revealing:

2. EXT. GROVER'S CORNERS (1901) - (DAWN)
BIRD'S-EYE VIEW

Showing the sleeping town just before dawn. The buildings, etc., are not clearly identified in this scene, and there is no activity whatsoever.

DISSOLVE TO:

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

The buildings, etc. are not clearly identified in this scene, and there is no activity on street.

DISSOLVE TO:

4. EXT. MAIN STREET (1901) - (DAWN)
CLOSE MOVING SHOT - LOW ANGLE

MOVING CAMERA IS SHOOTING DOWN on the dirt street to show wagon wheel ruts and horseshoe marks engraved in the ground, and water puddles which have accumulated from a slight rain during the night. In these various puddles, as CAMERA MOVES OVER them, we see the reflections of the greyish sky of early morning, some store fronts and windows, some church towers, etc. Finally CAMERA COMES TO REST on a puddle in which is reflected front of General Store with drawn shades and sign: "General Merchandise -- 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 second, over scene is heard:

SOUND
(DOUBLE DOORS BEING OPENED)

(CONTINUED)

4.

6. EXT. MORGAN'S GENERAL STORE (DAWN)
CLOSEUP MR. MORGAN

leaning in doorway, smoking pipe.

MR. MORGAN
(speaking directly
to audience)
If you've never been here, maybe
I'd better show you how our town
lies.

He moves forward a step or two, CAMERA PULLING BACK.

MR. MORGAN
(spreads both arms
in sweeping gesture
to indicate street
off-scene)
Right here's Main Street.

7. EXT. MAIN STREET (1901) - (DAWN)
LONG SHOT - FROM MORGAN'S ANGLE

Showing row of stores, hitching posts, horse-blocks,
water trough, etc. The stores are closed, their
shades drawn. The street is deserted.

8. EXT. MORGAN'S GENERAL STORE (DAWN)
MEDIUM SHOT

on Mr. Morgan in doorway, smoking pipe, as he turns to
look off to one side and apparently sees something
off-scene that would be of interest to audience. He
steps a few paces in direction he is looking, now with
his BACK TO CAMERA, and indicates with his pipe, as
CAMERA PANS to include EXTERIOR BUTCHER SHOP, next
door to General Store.

MR. MORGAN
(over his shoulder to
audience -- indicating
both stores with pipe)
Most everybody in town manages to
look into these stores once a day.

CAMERA ANGLE WIDENS to include EXTERIOR OFFICE OF
"GROVER'S CORNERS SENTINEL", with identifying sign,
on second floor of butcher shop building.

MR. MORGAN
(over shoulder to
audience -- indic-
ating with pipe)
Over the butcher shop is the office
of our local paper -- the "Grover's
Cornsers Sentinel".

(CONTINUED)

9.

21. (CONTINUED)

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, and now pours milk from measuring can into receptacle. Mrs. Webb has turned back to stove to stir oatmeal. Howie finishes pouring milk, nods to Mrs. Webb, who nods in return, and exits.

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

22. INT. GIBBS KITCHEN (MORNING)
MEDIUM SHOT

Mrs. Gibbs, at cupboard, is cutting several slices of bread. On the stove are a pot of coffee and a skillet of bacon and eggs.

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

Mrs. Gibbs finishes cutting bread, begins to cut a pie.

SOUND
(RATTLE OF MILK-CANS AND WAGON
STARTING OFF-SCENE)

23. EXT. MAIN STREET (MORNING)
MOVING SHOT (PROCESS)

Howie, carrying measuring can, and followed by horse drawing wagon, moves along the street, delivering milk. The horse stops automatically each time Howie makes a delivery, then follows him to next house. But when Howie passes a certain house without making a delivery, the horse stops abruptly in front of the house. Howie continues to next house to make a delivery, then suddenly notices that the horse is not following him.

HOWIE
(call to horse)
Gid-ap, Bessie! What's the matter
with you?

The horse looks at Howie, turns to look at the neglected house, then moves on to where Howie is waiting.

15.

29. (CONTINUED)

GEORGE'S VOICE
(from upstairs)
Yes, Pa!

Mrs. Gibbs turns eggs.

DOC GIBBS
(calling upstairs)
Don't you hear your mother calling
you?
(crossing to stairs)
Guess I'll go upstairs and take
forty winks.

He exits up stairs.

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

Mrs. Webb has paused in her preparations for breakfast
to call upstairs.

MRS. WEBB
Walleee! You'll be late for
school! Walleee! You wash your-
self good or I'll come up and do
it myself.

She crosses to stove to serve two dishes of oatmeal,
which she places on table.

31. INT. GIBBS KITCHEN (MORNING)
MEDIUM CLOSE SHOT

Mrs. Gibbs is crossing to cupboard for two plates.

REBECCA'S VOICE
(from upstairs)
Ma! What dress shall I wear?

MRS. GIBBS
(crossing to stove)
Don't make a noise. Your father's
been out all night and needs his
sleep. I washed and ironed the
blue gingham for you special,
(serves one plate
and sets it on
table for George)

REBECCA'S VOICE
Oh, Ma, I hate that dress.

(CONTINUED)

16.

31. (CONTINUED)

MRS. GIBBS
Oh, hush-up-with-you!

REBECCA'S VOICE
Every day I go to school dressed
like -- like a sick turkey.

MRS. GIBBS
(serving second plate)
Now Rebecca, you always look very
nice.

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

MRS. GIBBS
(crossing to set
plate for Rebecca)
I'll come up an' slap the both of
you, that's what I'll do!
(crosses to cup-
board for plate)

32. 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)
Hury 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.

33. INT. GIBBS KITCHEN (MORNING)

MEDIUM SHOT

SHOOTING PAST Mrs. Gibbs, who is busy at stove, and
CENTERING on stairs. REBECCA, eleven, and GEORGE,
about sixteen, rush downstairs, drop their strapped
books on the steps and sit at table. At once he
starts eating sleepily, she to eat languidly, staring

(CONTINUED)

18.

35. (CONTINUED)

Mrs. Gibbs takes butter from cupboard, crosses to
right of George.

MRS. GIBBS
 setting down butter)
I'll speak to your father about
it when he's rested. Seems to me
twenty-five cents a week's enough
for a boy of your age.
(crosses to stove
to pour own coffee)
I declare I don't know how you
spend it all.

GEORGE
Aw, Ma -- I gotta lotta things to
buy.

MRS. GIBBS
Strawberry phosphates -- that's
what you spend it on.
(crosses to between
children with cup,
sips)

GEORGE
I don't see how Rebecca comes to
have so much money. She has more'n
a dollar.

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

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

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

MRS. GIBBS
Eat your breakfast.

She 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)

(CONTINUED)

19.

35. (CONTINUED)

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

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

36. 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.

37. 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.

38. MEDIUM SHOT

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?

(CONTINUED)

20.

38. (CONTINUED)

REBECCA
(over shoulder)
Yes, Ma.

MRS. GIBBS
(calling -- louder)
You look real nice, Rebecca. Pick
up your feet!

The children hurry down street out of scene.

39. EXT. GIBBS KITCHEN PORCH (MORNING)

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
(feeding 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.

(CONTINUED)

23.

41. (CONTINUED)

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.

42. CLOSEUP

of the women's hands stringing beans into the two
bowls.

MR. MORGAN'S VOICE
Now, while these good ladies finish
stringing their beans, and then do
the rest of their household chores,
we'll skip a few hours.

DISSOLVE TO:

43. EXT. MORGAN'S GENERAL STORE (DAY)
CLOSE SHOT

Mr. Morgan is leaning in doorway, smoking pipe. As
scene opens he is speaking directly to audience:

MR. MORGAN
(to audience)
But first, we want a little more
information about our town.

He nods to several passers-by, CAMERA PULLING BACK
to accomodate, then turns to look down street.

44. CLOSE SHOT - MR. MORGAN

Looking off. He recognizes an oncomer off-scene as
one who might be of interest to the audience.

MR. MORGAN
(speaking to audience,
indicating off-scene)
Now here comes a man who can tell
you a lot of interesting facts
about the town that I wouldn't know.

25.

46. (CONTINUED)

PROFESSOR WILLARD

(cont'd)

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 Mr. Morgan)

Do you want me to tell them about
the meteorological conditions --
mean precipitation, etcetera?

MR. MORGAN

Well, I think they'd be more in-
terested in something about the
history of the people here ---

PROFESSOR WILLARD

Anthropological data?

MR. MORGAN

Yes -- if that's it.

PROFESSOR WILLARD

(to audience)

We're early Amerindian stock --
Cotahatchee tribes -- no evidence
before the Tenth Century of this
era -- now entirely disappeared...
Oh, possible traces in three
families -- migration toward the
end of the Seventeenth Century of
English brachiocephalic blue-eyed
stock. Since then, some Slav and
Mediterranean.

MR. MORGAN

Do you know the population, Professor?

PROFESSOR WILLARD

Within the town limits: 2,640.

Mr. Morgan whispers into Professor's ear,

PROFESSOR WILLARD

(pleasantly surprised)

Is that so -- ?

(to audience)

In that case, the population at the
present is 2,642. The Postal Dis-
trict brings in 507 more. Mortality
and birth rates -- constant. By
MacPherson's gauge: 6,032.

(CONTINUED)