115-C.

12/26/39.

NOTE

The following version of the scene between Emily and the dead is intended to simplify it and to make it clearly understandable to general motion picture audiences. Its argument is intended to be that Emily, newly dead, clings to life; that the longer-dead have accepted the tranquility of death and urge Emily to accept it also, pointing out that memories of life only make death more painful; but her memories persist. She learns with joy that she can return to life, but the dead argue even more strongly against this, telling her that revisiting life will only make forgetting harder. But Emily can think only of life, and she returns. In life she sees beauties unrealized even while living. Unimportant things -- ticking clocks, new-ironed dresses, going to bed and waking up -- take on new significance in beauty. She wants to live for the simple beauty of life -- and in her great desire she triumphs -- and returns to life with fuller knowledge of its meaning.

The audience effect of the cemetery scene is intended to be the feeling that, if Emily yields to the pleading of the dead, the result will be unfavorable for her, but that, if she clings to life, the result may be more favorable -- without suggesting either that Emily is not actually dead and will die, or that if she clings to life, she will live ... only to get the abstract audience feeling that Emily must not yield, and thus create the sense of "pulling" for her strongly during this scene.

Mrs. Gibbs's position in the scene has been slightly changed to give her understanding, tenderness and pity for Emily. She is made to tell Emily she can go back so as to make this seem common knowledge among the dead and not a discovery by Emily -- and so that her line "Memories ... take us back," can suggest the means by which Emily returns; and accent the force and strength of memory.

Simon Stimson's lines have been altered slightly to conform to other alterations. His speeches are now intended to show his distorted view of life -- and through contrast to accent Emily's fervid joy in living. The change in his second speech is to account for Emily's being an onlooker in later scenes and not actually a part of them as in the play.

115-00

12/26/39.

243. EFFECT SHOT - NEUTRAL BACKGROUND

244.

245. A resemblance, half to the tombstones, half to the dis-
torted grouping of the photographs. The scene is misty
and vague; but this begins slowly to clear and we see
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 Mrs. Gibbs, with almost imperceptible
movement, speaks:

MR3. GIBBS
(quietly)

They're gone, now, Emily.
Just rest.

MRS. SOAMES
(nasally)

I was just saying I remembered
your wedding, Emily. A perfectly
lovely wedding.

EMILY
(sadly)

Yes, Mrs. Soames.

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

EMILY

Mother -- Mother Gibbs --

MRS. GIBBS
Yes -- Emily?

EMILY

Mother Gibbs, when -- when does
this feeling go away? -- of
being strange here? How long
does it --

MRS. GIBBS
(soothingly)

Hush, dear. Just wait -- and
be patient.

Another silence. A shaft of sunlight falls mistily
through the scene.

DEAD MAN

(impassively)

It's clearing off. The sun's
breaking through.

(CONTD.)

116.

12/26/39.

243. (CONTINUED)

244.

245.

246.

DEAD WOMAN

Looks like the leaves will fall
a little earlier this year.

The sunlight grows a little brighter, illuminating Emily
palely a little above the others.

EMILY

Mother Gibbs, George and I have
made that farm into just the
best place you ever saw. We
thought of you all the time.
We wanted to show you the new
barn --and the great long
cement drinking fountain for
the stock. We bought that out
of the money you left us.

MRS. GIBBS

I did?

EMILY

(puzzled)

Mother Gibbs, don't you remember?
-- the legacy you left us? Why,
it was more than three hundred
and fifty dollars.

MRS. GIBBS

(quietly)

Oh, yes -- yes, Emily.

DEAD MAN

The wind's blowing the clouds
some.

EMILY

(wistfully)

It won't be the same to George
without me -- but it's a lovely
farm.

MRS. GIBBS

(tranquilly)

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

DEAD WOMAN

(reverently)

We must think of what is ahead --
and be ready for what is ahead.

(CONT'D.)

12/26/39.

118-A.

243. (CONTINUED)

244.

245.

246.

SIMON STIMSON

You don't live it. You only see
yourself living it. You see the
mistakes you made -- and the
selfishness -- and the injustice --

EMILY

Oh, no -- no! And I won't choose
a sad day. I'll choose a happy
day!

MRS. SOAMES

It's the happiest days that are
the hardest to relive.

MRS. GIBBS

And the hardest to forget.

EMILY

But I must! I must!
(eagerly)

What day? The day I first knew
I loved George? The day my little
boy was born?

MRS. GIBBS

(with tenderness)

Choose an unimportant day, dear.
The least important day in your
life will be important enough.

EMILY

Then I choose any day! Any day
in my life!

MRS. GIBBS

Remember, Emily -- remember --

EMILY

Oh, I remember -- I remember --

118-B.

12/26/39.

DISSOLVE TO:

247. EXT. MAIN STREET GROVER'S CORNERS (190B) - (DAWN)
LONG SHOT

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

EMILY'S VOICE

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

DISSOLVE TO:

248. EXT. WEBB HOUSE (190B) - (DAWN)
LONG SHOT

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

(CONTINUED)

119.

248. (CONTINUED)

EMILY'S VOICE
(warmly)

-- there's the old white fence
that used to be around our house,
Oh, I'd forgotten that! I love
it so!

DISSOLVE TO:

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

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

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.

250. MEDIUM LONG SHOT

251. 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, is beside his horse and wagon.

EMILY
Look! There's Howie Newsome!

HOWIE
(to the horse)
Whoa, Bessie!

(CONTINUED)

120.

250. (CONTINUED)

251.

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.

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

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

Emily turns quickly from the window to look at:

252. INT. WEBB KITCHEN (MORNING) MEDIUM SHOT

Mrs. Webb has just called up the stairs. Now she turns to the door as it opens and Howie Newsome enters with his measuring can.

MRS. WEBB
Good morning, Mr. Newsome.

HOWIE
'Mornin', M's Webb.

Howie closes kitchen door.

MRS. WEBB
(clutching sweater at neck)
Whhh -- it's cold.

HOWIE
Yes, Ten below by my barn, M's Webb.

During these lines Howie crosses to Mrs. Webb's milk receptacle, the CAMERA PANNING with him. The PAN SHOT PICKS UP Emily standing near window. Her eyes follow Howie, who *passes her with unseeing eyes*.

(CONTINUED)

121.

252. (CONTINUED)

She watches him until the PAN on Howie drops her from
the scene and CENTERS ON Howie, as he pours milk from
measuring can into receptacle. As he does so, Mrs.
Webb enters this shot and begins to busy herself with
breakfast.

HOWIE
Tell Emily many happy returns
of the day.

253. CLOSEUP EMILY

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

EMILY'S VOICE
(as a girl 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.

254. MEDIUM SHOT -- MRS. WEBB AND HOWIE

Howie is filling the receptacle. 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. CAMERA PICKS HIM UP IN A PAN as he moves,
and this PAN PICKS UP EMILY by the window, STOPPING
on her as Howie moves on out of scene toward the
door.

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

HOWIE'S VOICE
Yes'm.

SOUND
(DOOR OPENING AND CLOSING)

129.

273. 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.

274. 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)

131.

275- (CONTINUED)

277.

EMILY, THE WOMAN

(cont'd)

-- and sleeping and waking up!

(flings her arms
wide in an ecstasy
of realization)

Oh, earth, you're too wonderful
for anyone to realize you!

(reflectively)

Do any human beings ever realize
life while they live it -- every,
every minute?

(passionately)

Oh, I want to live! I want to
live!

DISSOLVE TO:

278. INT. EMILY'S BEDROOM (NIGHT)

CLOSE SHOT

of the photographs of Emily and the dead in their
realistic state on bureau and wall. Over scene is
heard:

SOUND
(CLOCK TICKING WITH INCREASING
VOLUME)

EMILY'S VOICE
I want to live! I want to live!

DOC GIBBS' VOICE
Of course you do, Emily. Of
course..

After a moment, over the scene comes:

SOUND
(OF SLAP -- CRY OF NEW-BORN
BABE)

DISSOLVE TO:

279. EXT. GROVER'S CORNERS -- (1913) -- (NIGHT)

EXTREME LONG SHOT

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

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

DISSOLVE TO:

12/16/39.

103.

### FADE IN:

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

202. CLOSE SHOT

203.

204. of a 1913 New Hampshire auto license plate. When this

205. 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.

The dairy adjoins the Harness Shop & Sentinel Building. 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 to exit CAMERA LEFT, CAMERA PANS with it to disclose EXT. MORGAN'S GENERAL MERCHANDISE STORE (1913). The front of the store shows the changes and improvements that would have been made from 1904 to 1913. Mr. Morgan, wearing hat and coat, and smoking pipe, is just coming out of store. He waves to Howie as the truck speeds past, with motor backfiring and milk-cans in rear rattling and banging. Howie waves in return. Morgan looks after the truck as it careens on, then he turns to start across the street. CAMERA PANS with him to show the general atmosphere of the town in 1913. The various stores and other buildings are more modern in appearance. 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. CAMERA PANS Morgan to other side of street to reveal a small group of men and boys 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.) He has turned to look off after Howie's truck.

206. MED. CLOSE SHOT
on Mr. Morgan and Constable Warren.

MR. MORGAN
(jokingly)
Why, Constable, you shouldn't let
Howie drive one of those things.

(CONT'D.)

109.

Mr. Chandlee

12/22/39.

218. (CONTINUED)

219.

220.

MR. MORGAN (contd.)

-- only we don't take 'em out and
look at 'em very often. Everybody
knows in his bones that something
is eternal -- All the greatest
people ever lived have been telling
us that for five thousand years:
Something is eternal -- and yet
you'd be surprised how people are
always letting go of that fact.
 pauses; then less
intensely

I guess I'm thinking about all these
things today because of our friend,
Emily. Another baby's expected down
at that happy home we saw started.
It's Emily's second -- there's a
little boy about six years old --
but this time, Emily's pretty sick.
Doc Gibbs is going around these
days with a mighty worried face.

DISSOLVE TO:

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

DISSOLVE TO:

110.

222. EXT. FARMHOUSE (NIGHT)
FULL SHOT

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

223. CLOSER SHOT

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

224. INT. FARMHOUSE HALL AND STAIRS (NIGHT)
MEDIUM SHOT

George enters, goes up the stairs.

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

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

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

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

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

111.

227. CLOSEUP EMILY'S FACE

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

228. CLOSE SHOT -- GEORGE AT DOOR

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

229. MEDIUM CLOSE SHOT

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

230. 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:

231. 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

(CONTINUED)

113.

Mr. Chandlee

12/22/39.

234. (CONTINUED)

MRS. GIBBS'S VOICE
Trouble bringing a baby into the
world.

MRS. SOAMES'S VOICE
Why, I remember Emily's wedding.
Wasn't it a lovely wedding? And
reading the class poem at graduation.
Emily was one of the
brightest girls in High School.
I remember I called on George and
Emily at their farm, just before
I died. Perfectly beautiful farm.

As the speech ends:

SOUND
(THE TICKING BECOMES SLOWER AND FAINTER. IT DISAPPEARS IN FAINTNESS WITHOUT ACTUALLY STOPPING)

With the fading SOUND of the clock, the CAMERA MOVES from Emily's face down over the patchwork quilt which covers the bed and MOVES IN TO FULL SCREEN CLOSE SHOT of a section of the PATCHWORK DESIGN, which:

DISSOLVES TO:

235. A PERSPECTIVE OF LANDSCAPE (AFTERNOON)

A view of fields and the rise and fall of hills, following
the pattern and the contour of the quilt, in the center,
the hill on which the cemetery is located. The scene is
misty with rain, and has a faintly eerie impression of
unreality.

Beginning over the scene:

SOUND
(THE SLOW GADENCE OF HORSES' HOOPS AT A WALK)

DISSOLVE TO:

236. EXT. ROAD (AFTERNOON)
CLOSE SHOT

Black-plumed and black-draped horses, shot from the
rear quarter to exclude the vehicle they are drawing,
their hoofs falling to match the cadence already heard.
Falling rain blurs the scene; and its duration is
extremely brief. It is illusive in its quality.

Mr. Chandlee

12/22/39.

114.

DISSOLVE TO:

237. EXT. ROAD (AFTERNOON)
CLOSE SHOT

The CAMERA FOLLOWS a turning carriage-wheel on the glistening road, but almost immediately PANS UP to the carriage itself, through the door of which are seen George and Mrs. Webb, seated on the rear seat, the figures of Mr. Webb and Doc Gibbs on the seat facing them. Mrs. Webb's handkerchief is pressed tightly to her cheek. George sits with his head bowed. The faces of the other men are not seen. The CAMERA FOLLOWS them but briefly. It STOPS and PANS to keep the rear of the carriage in the field until it is obscured by the entrance of another carriage and another. This scene, too, is hazy and indistinct through falling rain and glistening mist.

SOUND
(OF WHEELS AND SLOWLY
FALLING HOOPS)

DISSOLVE TO:

238. 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.

239. 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.

240. MED. FULL SHOT - REVERSE ANGLE

The umbrellas and the closely grouped mourners with their backs now to the 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.

(CONTINUED)

115-B.

Mr. Chandlee

12/22/39.

## 242-D. (CONTINUED)

Webb puts his arm around him and he and Mrs. Webb lead George away. Doc Gibbs is left at the grave. He looks down a moment, then stoops and rises again into the shot with some flowers. He looks down at the grave with a little tender smile -- as if knowing that Emily will understand -- and then moves with the flowers from the scene.

## 242-E. THE GRAVE STONES

The mounds do not show. Doc Gibbs enters the scene, looks down, shaken a little.

### EMILY'S VOICE
(with a touch of tender sadness)
Father Gibbs is bringing some of my flowers to you, Mother Gibbs.

Doc Gibbs stoops, placing the flowers at the foot of the stone, JUST OUT OF FRAME. As he straightens up:

### EMILY'S VOICE
(wistfully)
He looks just like George, doesn't he?
(pause -- while Doc Gibbs looks down at the grave, head bowed; then as if Emily were calling to him:)
Father Gibbs!

Doc Gibbs stands a moment, unm hearing, then turns slowly away.

## 242-F. FULL SHOT

The ANGLE is toward the grave stones from inside the gate of the cemetery, as Doc Gibbs comes slowly through clinging mist and dripping rain TOWARD THE CAMERA.

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

Doc Gibbs, still unm hearing, PASSES THE CAMERA.

### SOUND
(OF GATE, A LITTLE RUSTY, OPENING AND CLOSING)

(CONTINUED)

12/26/39.

117.

243. (CONTINUED)

244.

245.

246.

EMILY
Yes -- he loves it there.

MRS. GIBBS
Just wait and be patient.

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

MRS. SOAMES
When you've been here longer, Emily,
you'll see that our life here is
to forget all that -- and think
only of what is ahead -- and be
ready for what is ahead.

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

EMILY
(to Mrs. Gibbs)
But, Mother Gibbs, how can I ever
forget that life? It's all I know!
It's all I had!

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

DEAD MAN
We get weaned away from this earth,
here. That's the way I put it --
weaned away.

EMILY
(with sudden
realization)
One can go back there again-and
live all those days over again.
I feel it! I know it!

MRS. SOAMES
Oh, Emily! It isn't wise. Really,
it isn't. It will only make it
harder for you.

(CONTD.)

119.

248. (CONTINUED)

EMILY'S VOICE

(warmly)

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

DISSOLVE TO:

EMILY

(amazed)

SOUND

250. MEDIUM LONG SHOT

251.

EMILY

Look! There's Howie Newsome!

HOWIE

(to the horse)

Whoa, Bessie!

(CONTINUED)

120.

250. (CONTINUED)

251.

HOWIE
'Mornin', Joe.

Mrs. Webb has just called up the stairs. Now she
turns to the door as it opens and Howie Newsome enters
with his measuring can,

HOWIE
'Mornin', M's Webb.

Howie closes kitchen door,

HOWIE
 Yep. Ten below by my barn, M's
Webb.

During these lines Howie crosses to Mrs. Webb's milk
receptacle, the CAMERA PANNING with him. The PAN
SHOT PICKS UP Emily standing near window. Her eyes
follow Howie, who <u>passes her with unseeing eyes.</u>

(CONTINUED)

121.

252. (CONTINUED)

253. CLOSEUP EMILY

HOWIE'S VOICE
Yes'm.

124.

259. (CONTINUED)

MR. WEBB
 hand on pocket)
Yes, I've got something here.
 (starts off,
 calling gaily)
Where's my girl? Where's my
birthday girl?

MRS. WEBB
 (calls after him)
Don't interrupt her now,
Charles. You can see her at
breakfast. She's slow enough,
as it is.

Mr. Webb exits upstairs. Mrs. Webb turns to pare
potatoes at table near stove,

260. CLOSEUP -- EMILY
at window.

EMILY
 (softly -- rueful)
I can't bear it. They're so
young and beautiful. Why did
they ever have to get old?

CAMERA PANS with her as she crosses quickly toward
her mother, who continues to pare potatoes.

EMILY
Mama, I'm here! I'm grown up!
I love you all, everything!
(leans over table
as if wanting to
embrace it)
I can't look at everything hard
enough!

Mrs. Webb, neither seeing nor hearing Emily, calls
toward stairs:

MRS. WEBB
 (calling)
Hurry up, children! Seven o'clock.
Now I don't want to call you again,

261. CLOSE SHOT -- EMILY

She looks toward the stairs, then hurries toward them,
CAMERA PANNING with her. She stops at foot of stairs,
peering up,

129.

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,

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)

130,

274. (CONTINUED)

MR. WEBB'S VOICE

(calling gaily)

Emily turns from the stairs as if to go to her mother.
She moves toward the center of the room.

275. FULL SHOT

276.

277. Emily the woman is going toward the center of the room from the stairs. The scene is entirely vacant now, except for her.

EMILY, THE WOMAN

(agonized)

I can't! I can't go on!

(sobs a moment)

It goes so fast. We don't have
time to look at one another.

(breaks down
sobbing again,
then controls
herself)

I didn't realize. So all that
was going on and I never noticed!

Oh, must I go back to my grave?
Wait!

(looks around room)

One more look!

(gently)

Goodbye.

(then passionately,
arms outflung)

Goodbye, world!

(then lovingly,
looking off)

Goodbye, Grover's Corners --
(turns to look
back into room)

Mama and Papa --

(eyes uplifted)

Goodbye to clocks ticking --
(looks toward
garden)

-- and my butternut tree -- and
Mama's sunflowers --

(her head grad-
ually raises as
the thrill grows)

-- and food and coffee -- and
new-ironed dresses and hot baths --
(with increasing
fervor)

{ CONTINUED }

131.

275- (CONTINUED)

277.

EMILY, THE WOMAN

(cont'd)

(reflectively)

(passionately)

DISSOLVE TO:

CLOSE SHOT

DOC GIBBS' VOICE
Of course you do, Emily. Of
course...

DISSOLVE TO:

EXTREME LONG SHOT

DISSOLVE TO:

118-A.

VIRGINIA HOUSE

12/27/59

243. (CONTINUED)

244.

245.

246.

EMILY

But I must! I must!

MRS. GIBBS
(with tenderness)

Emily -- choose the least important
day in your life. It will be
important enough.

EMILY

I'll choose -- I'll choose --

MRS. GIBBS

Think hard, Emily. Remember --
remember --

EMILY

I remember -- I remember --

DISSOLVE TO:

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

EMILY'S VOICE

-- I remember --

(with a cry
of amazement)

And look -- !

DISSOLVE TO:

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

(CONTINUED)

Mr. Lesser

Version "D" - 12/27/39.

116.

245. (CONTINUED)

244.

245.

246.

DEAD MAN

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

MRS. SOAMES

WALLY

(naturally)

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

EMILY

But, Mother Gibbs -- how can I
ever forget that life? It's all
I know! It's all I've had! --
Why, just then for a moment I
was thinking about the farm --
and for a minute I was there --
and my baby was on my lap as
plain as day!

(a pause)

Mother Gibbs --

MRS. GIBBS

Yes, Emily?

EMILY

George and I have made that farm
into just the best place you
ever saw. We thought of you all
the time. We wanted to show you
the new barn -- and the great
long cement drinking fountain
for the stock. We bought that
out of the money you left us.

MRS. GIBBS

I did?

EMILY

(puzzled)

MRS. GIBBS

(quietly)

Oh, yes -- yes, Emily.

DEAD MAN

(CONTINUED)

118-A.

Mr. Lesser
Version "D" - 12/27/39

DISSOLVE TO:

EMILY'S VOICE

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

DISSOLVE TO:

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

(CONTINUED)

86.

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

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? 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.
But before they do that I want you
to try and remember what it was like
when you were very young, and
particularly the days when you were
first in love; when you were like a
person sleep-walking, and you didn't
quite see the street you were walking
in, and you didn't quite hear everything
that was said to you. You were just a
little bit crazy. Will you remember
that, please?

208. MED. 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, satisfies 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)
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)

107.

244.

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

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

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

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 the aisle. We see the reaction of the 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
Dearly Beloved: We are gathered together here in the sight of God, and in the face of this company, to join together this man and this woman in holy matrimony, --

109.

247. CLOSEUP GEORGE'S & EMILY'S FACES

DR. FERGUSON'S VOICE
Do you, Emily, take George to your
wedded husband, to have and to hold
from this day forward, for better
for worse, for richer for poorer,
in sickness and in health, to love
and to cherish, till death you do
part, according to God's holy ordinance;
and thereto plight him your troth?

248. HEAD CLOSEUP - EMILY

EMILY
I do.

249. CLOSEUP

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

GEORGE'S VOICE
With this ring I thee wed.

250. CLOSE SHOT

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

DR. FERGUSON'S VOICE
Forasmuch as George and Emily have
consented together in holy wedlock,
and have witnessed the same before
God and this company, and have
declared the same by giving and
receiving a ring, I pronounce that
they are man and wife. Amen.

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 congregation
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.

119.

290. EXT. ROAD (AFTERNOON)
EXTREME LONG SHOT

A typical New Hampshire horse-and-buggy funeral procession
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.

DISSOLVE TO:

291. EXT. CEMETERY (AFTERNOON)
CLOSE SHOT

292. TRAVELING SHOT

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

Dear Friends: As we gather here in the
last tribute of memory to our loved one,
let us remember the words of the Master:
"I am the Resurrection and the Life."

The CAMERA TRAVELS QUICKLY from the group and CENTERS upon
the headstone of Mrs. Gibbs' grave, with other stones
surrounding it; but does not show the mounds of the graves.
The composition of the shot suggests peace and aloofness
from the mourners. It is as if the audience were removed
from them. During the following speeches of the dead is
heard:

(CONTINUED)

January 19, 1940.

"OUR TOWN
SUGGESTIONS FOR ADDITIONAL BUSINESS

## SCENE #41:

Doc finishes washing his hands. Beside the sink is a towel rack with face towels and dish towels, very much alike. Doc takes a dish towel to dry his hands. Mrs. Gibbs, as she passes Doc, takes the dish towel away from him and hands him a face towel.

## SCENE #46:

ANGLING PAST Rebecca, standing before dresser, to CENTER on mirror of dresser. Rebecca's little pig bank is on the dresser. Absent-mindedly she picks the bank up, shakes it, smiles at the melodious sound of the jingle of the coins. She replaces bank on dresser, picks up a comb, starts to comb her pigtails. After a moment we see, reflected in mirror, the door open, and the upper portion of the body of GEORGE (about sixteen) appears in doorway. He is partially dresses. There is a mischievous grin on his face. In his upraised hand he holds a piece of soap, which he immediately flips at Rebecca, who has not observed his entrance. The soap strikes Rebecca on the back of the neck. Startled, she whirls, then scowls as she sees George.

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, still reflected in mirror, grins broadly. Rebecca picks up the soap, throws it back at George, who ducks back out of doorway. Rebecca, feeling very indignant, goes over to bed, CAMERA PANNING, picks up dress, starts to don it.

2.

### SCENE #48:

SHOOTING PAST Mrs. Gibbs, who is busy at stove, and CENTERING on stairs. George precedes Rebecca as they rush down stairs. As they reach the landing, George leaps into air, pretends to catch an imaginary baseball someone has thrown at him, and tags Rebecca out, with the gesture of an umpire. Rebecca doesn't enter into the spirit of this at all. They move to table and sit.

### SCENE #49:

As Mrs. Webb crosses to set down oatmeal, she pulls down Wally's collar, looks for a "high water" mark on his neck, then quickly inspects behind his ears.

### SCENE #50:

During the conversation at the breakfast table George puts sugar in his coffee, leaves the spoon in his cup. As he starts to raise the cup to his mouth, his mother removes spoon.

### SCENE #57:

At his mother's command, "Wally, pull up your pants at the knee!" Wally pulls up his pants-leg at the knee, but it immediately falls down again.

After Mrs. Gibbs' line, "You look real nice, Rebecca. Pick up your feet", Rebecca, obeying the command literally, walks in an exaggerated manner on her tiptoes.

### SCENES #63-64-65:

Professor Willard enters scene loaded down with a stack of books. When he turns to Camera the books obscure the lower portion of his face. (Assurance from Morgan to audience that he will never let Willard read any of books.)

PROF. WILLARD

(talking from behind books)

Well -- let me see -- Grover's Corners --

(CONTD.)

3.

## SCENES #63-64-65:
(CONTD.)

### MAN'S VOICE

### ON SOUND TRACK

Louder! We can't hear you!

Professor looks helplessly at Morgan, who removes two of the books from top of the pile, allowing audience to see all of Professor's face. Professor nods thanks to Morgan, resumes address to audience.

### PROF. WILLARD

Grover's Corners lies on the old Pleiocene granite, etc.

## SCENE #70:

As the Printer's Devil comes to window he could be eating an apple with a knife and smiling as he says, "He just cut his hand whilst eating an apple."

## SCENE #72-77:

After Webb says, "Religiously, we're eighty-five percent Protestants, twelve percent Catholics. Rest, indifferent":

Printer's Devil appears at window with a type-form, addresses Webb:

### PRINTER'S DEVIL

How do you spell Goruslawski?

### MR. WEBB

Look in the birth notice file -- about this same time last year.

Printer's Devil nods and withdraws into office.

### MR. WEBB

(to audience, continuing)

Very ordinary town, if you ask me -- etc. etc.

## SCENE #85:

Open the scene on a Close Shot of Wally's pants-leg hanging, and his hand pulling it up, then CAMERA PULLS BACK to disclose the children filing out of school.

4.

## SCENE #99:

At end of scene between George and Emily, George vaults fence, starts around his house. Mrs. Gibbs' hand is setting a plate of doughnuts out on kitchen window sill to cool. George, as he passes, takes one of the doughnuts. Emily looks after George, then starts toward her house.

## SCENE #127-A.

INT. EMILY'S BEDROOM (NIGHT)
CLOSING SHOT

### SOUND
(CHOIR SINGING IN DISTANCE)

of a page of a school tablet. On it is a problem in arithmetic. Beneath the problem Emily's hand is scribbling doo-dads and curleycues. After a moment, over the scene is heard:

GEORGE'S VOICE
(calling from o.s.)
Hello, Emily!

CAMERA PULLS BACK to reveal Emily, seated at the table by her window, with her school books before her. She has looked up from the table and is now gazing out window.

EMILY
(call off)
Hello!

## SCENE #128:

INT. EMILY'S BEDROOM (NIGHT)

SHOOTING PAST Emily, and THROUGH her window, to take in George seated at table by his bedroom window in background. His school books are before him. He is looking across at Emily.

GEORGE
Hello!

(Continue with dialogue as per script.)

5.

### SCENE #172:

During the conversation between Howie and Si, Howie takes one of Si's newspapers and scans it.

HOWIE (scanning paper)
Can't say. Never had no talent
that way. But in '94 we had a
player, Si, that even George
Gibbs couldn't-a touched.
Name-a Hank Todd. Went down to
Maine and become a parson.
Wonderful ball player.
(peers closely at
item in paper)
Hmm -- eight pound boy. Just no
stoppin' those Goruslawskis, is
there?

### SCENE #198:

Mr. Webb upsets a salt cellar as he sits down, picks up some salt, throws it over his shoulder.

Mr. Webb takes three spoons of sugar, pauses, then takes one more.

### SCENE #200:

George sits at table, uses sugar, stirs,gests steals look at Mr. Webb. The
latter is embarrassed. George clears his
throat. Mr. Webb clears his throat.
Then they both clear their throats together.

### SCENE #211:

George appears ill at ease, fumbles with school books. After a moment Emily, carrying school books, emerges with several other girls. George quickly smooths down his hair.

### SCENE #212-217:

After Emily says, "I don't know what made me say it", and starts to cry, George takes handkerchief from right pants pocket, but doesn't quite know how to hand it to her, puts it back in left pants pocket.

6.

## SCENE #220:

George and Emily enter, cross to soda
fountain. George starts to sit, remembers
his manners, gets up to help Emily, but
she has already seated herself. George
sits.

## SCENE #228:

After George says, "So I guess -- this is
an important talk we've been having --",
and Emily replies, "Yes -- yes --":

There is another pause. He suddenly dives
into his soda, she into hers. Emily makes
noise of "hitting bottom" in her soda.
She is slightly embarrassed. George makes
the same noise. They both smile.
After a moment, George takes deep breath,
straightens, fumbles in his pocket, evidently
searching for money. He tries to do this
without Emily noticing.

GEORGE
Wait just a minute and I'll
walk you home.

George rises, turns toward rear of store,
then remembers to help Emily down off
stool, but is again too late. Emily crosses
to wait near door. George turns toward rear
of store.

GEORGE
(call off)
Mr. Morgan --

## SCENE #229:

Morgan enters to George from rear of store.
CAMERA MOVES IN to CLOSE TWO SHOT, with
Morgan in f.g. George leans forward to
whisper to Morgan, most of his face being
obscured by Morgan.

GEORGE
(whispers to Morgan --
his words being inaudible)

MR. MORGAN
(pretending annoyance)
What's that? George Gibbs, do
you mean to tell me -- !

(CONTD. #)

7.

## SCENE #229:
(CONTD.)

George quickly glances over shoulder in direction of Emily, as he shushes Mr. Morgan. Now he again leans forward to whisper to Morgan.

George takes watch from trouser watch-pocket, holds it out to Mr. Morgan. The latter takes watch, looks it over.

MR. MORGAN
That's all right, George.
Keep your watch. I'll trust you.

GEORGE
I'll be here back in five minutes.

MR. MORGAN
I'll trust you ten years, George --
not a day over --

George slowly gets the point, laughs, returns watch, gets books, starts toward Emily.
Morgan follows him.

## SCENE #241:

During the dialogue of the Baseball Players they satirize a love scene in pantomime. (So that in editing we can take out the line: "We know what you're thinking."

## SCENE #257:

Also prominent in the scene is a horse and buggy, the driver of which is smiling amusedly at the predicament of the car owner.

1/22/40.

"OUR TOWN"

THERE ARE NO MAIN TITLES TO OPEN THIS PICTURE.

FADE IN:

1. EXT. HILLTOP (NIGHT)

2. SILHOUETTE

3.

4. On top of hill, in silhouette against the star-studded sky, are two parallel split-rail fences, the area between the fences forming what is presumably a cow-run.

5. Over scene is heard:

## SOUND
(MAN WHISTLING)

After a moment a man's head, also in silhouette, appears over the brow of hill directly beyond the far fence of cow-run. The man (MR. MORGAN - FRANK CRAVEN) comes fully into view as he reaches far fence. He takes down top rail, climbs over, leisurely replaces rail, and turns to walk down hill inside the cow-run, the CAMERA FOLLOWING him. He comes to a scarecrow in a field just beyond fence of cow-run. Upon the scarecrow is a hat perched at a jaunty angle. Morgan halts as he reaches scarecrow, contemplates it for a moment, then leans over fence and straightens the hat. As he continues down the hill he passes under the branches of a large tree. He reaches up, breaks off a small bough, quickly trims it, and uses it as a walking stick. As he comes abreast of the trunk of the tree he disappears from view, since both he and the tree are in silhouette. The flare of a match now illuminates the scene momentarily, and we see that Morgan has paused at tree trunk to strike a match and light his pipe. He continues down the hill, smoking pipe and swinging stick. As hill flattens out he comes to a rustic bridge, the top rail of which is broken. Tucking his stick under his arm, he replaces rail, picks up a stone, hammers rail into place, then tosses stone over rail.

## SOUND
(STONE SPLASHING IN WATER)

Morgan listens to the splash, brushes off his hands, and continues across bridge, swinging his stick.

(CONTD.)

1/22/40.

2.

1. (CONTINUED)

2.

3. The bridge spans a ravine, and through the open space

4. beneath bridge can be seen a view of a valley in the

5. distance far below. In the valley can be seen a few lighted farmhouses, which are presumably on the outskirts of a town. Immediately beyond the end of the bridge a little wood comes into view, and Morgan, still in silhouette, enters into the darkness of the trees. He reaches up with his stick, knocks a nut off a branch, leans down, picks it up.

## SOUND
(CRACKING OF NUT)

He tastes nut, then throws it away in disgust, which indicates that it is last year's nut. He now turns so that instead of being in profile he is coming directly TOWARDS CAMERA. He comes out from under trees, and the moonlight hits him as he comes into a Close-Up, leans on top rail of a pasture gate, and looks directly INTO CAMERA. He looks over the audience as though sizing them up, smiles at them persuasively.

6. REVERSE ANGLE

7. (COSGROVE)

SHOOTING AGROSS Morgan's back as he leans on rail of pasture gate, revealing in valley far below the lighted town of Grover's Corners, New Hampshire, as it appears in 1940 at night. This view of the town should show indications of Main Street (a modern lighted thoroughfare through the center of the town), church steeples and rooftops, railroad tracks and railroad station, and, across the tracks, Polish Town. Morgan, puffing his pipe, looks down at the town in silent contemplation for a moment or two, then turns to FACE CAMERA.

MR. MORGAN
(speaking directly
to audience)

The name of our town is Grover's
Corners, New Hampshire, just over
the line from Massachusetts;
latitude 42 degrees, 40 minutes,
longitude 70 degrees, 37 minutes.

(pointing down at
town with pipe)

Cuttin' right down the middle of
the town is Main Street. Across
Main Street, to the left, is the
railroad tracks. Across the
tracks is Polish Town.

(CONTINUED)

1/22/40.

4.

9. LOW ANGLE SHOT

As the papers flutter to the ground. (There are six papers.) Morgan's legs come into the scene, and he gets down on hands and knees, starts to arrange the scattered papers.

10. CLOSE SHOT

on the first paper, as Morgan's hands -- right hand holding pipe -- grasp the paper on either side and smooth it out. Morgan's hands now are withdrawn, and we see the paper clearly. It is a druggist's prescription blank with the customary "RX" printed in upper left-hand corner. Beneath this, written in Spencerian script, is:

UNITED ARTISTS PRESENTS
"OUR TOWN"

BY
THORNTON WILDER

PRODUCED
BY
SOL LESSER

(NOTE: All the following papers are prescription blanks with printed "RX" and writing in Spencerian script.)

When the Main Title has been registered, CAMERA PANS across a few inches of grass to CENTER on the second paper. It bears the CAST OF CHARACTERS.

MR. MORGAN'S VOICE
These are the people that are going to take part in the picture. Guess you know pretty near all of 'em.

CAMERA PANS TO CENTER on third paper, which bears the WRITERS' CREDITS.

MR. MORGAN'S VOICE
These folks did a lot of work getting all this together.

(CONTINUED)

1/22/40.

5.

10. (CONTINUED)

CAMERA PANS TO CENTER on fourth paper, which bears the MUSIC CREDITS. An ash from Morgan's pipe o.s. falls onto the paper. Morgan's hand enters the shot, brushes the ash off, after which the hand is withdrawn. Now the CAMERA PANS TO CENTER on fifth paper, which bears the PRODUCTION STAFF CREDITS.

MR. MORGAN'S VOICE
Whew! Takes a lot of people to make a picture.

CAMERA PANS TO CENTER on sixth paper, which bears the DIRECTOR'S CREDIT.

MR. MORGAN'S VOICE
You all know who he is.

When the Director's Credit has been registered:--

11. COSGROVE SHOT

12.

13. A portion of the pasture gate is in f.g. In b.g. can

14. be seen the view of the lighted town of Grover's Corners as it appears in 1940 at night. Morgan rises into scene between CAMERA and pasture gate, as though getting up from his hands and knees. He has the papers in his hand and now returns them to inside pocket. He turns to look INTO CAMERA, as if to locate the theatre projectionist, apparently does, motions as if signalling to projectionist.

MR. MORGAN
(to projectionist)
All right, operator. Let's start.

As he finishes speaking and turns to look down at town again, the view of the town as it appears in 1940 at night DISSOLVES to reveal the town as it appeared in 1901 at DAWN, with the area of the town now reduced to its 1901 size. One of the churches is an early American church, in contrast to modern church seen in 1940 view of town. The town and the sky are darker now, since there is no moon and no stars -- except for a faint glimmer of the early morning star -- and the only lights on in town are those in Polish Town, railroad station and outlying farms. The portion of the scene which shows Morgan at pasture gate has not changed, except that it is now lighted for DAWN to conform to lighting of remainder of scene.

MR. MORGAN
 turns to audience)
First we'll see a day in our town.
Not as it is now in the year one
nine four oh, but as it used to
be in one nine oh one.

(CONTINUED)

1/22/40.

6.

11. (CONTINUED)

12.

13.

14.

MR. MORGAN (cont'd.)
(turns to gaze at town,
registers that he is
satisfied with its
changed appearance,
turns to audience again)

Yes, that's the way our town looked
back in 1901.

(pointing at town
with pipe)

There's a row of stores. Hitchin'
posts and horse-blocks in front
of 'em. First automobile ain't
goin' to come along for about
five years. The date is June
seventh, just before dawn.

### SOUND
(COCK CROW IN DISTANCE)

MR. MORGAN
(nodding - pleased that
his statement has
been verified)

Aya, just about.
(indicating)

Sky is beginnin' to show some
streaks of light over in the east
there, back of our mountain.


(pause)
The mornin' star always gets won-
derful bright the minute before it
has to go.

(indicating)

The only lights on in town are in
a cottage over by the tracks where
a Polish mother's just had twins.
And in the depot, where Shorty
Hawkins is gettin' ready to flag
the 5:45 for Boston.

### SOUND
(TRAIN WHISTLE IN DISTANCE)

MR. MORGAN
(nodding as he looks
at watch - pleased
that his statement
has been verified)

Aya -- there she is.
(indicating)

Naturally out in the country, all
around, they've been lights on for
some time, what with milkin' and
so on. But town folks sleep late.

1/22/40.

6-A.

15. EXT. STREET IN RESIDENTIAL DISTRICT (1901) (MORNING) MOVING SHOT

A boy of eleven, **JOE CROWELL**, with a stack of news-papers under his arm, is moving along the street. As he passes the various houses, he rolls papers deftly, throws them in yards or sticks them in fences.

MR. MORGAN'S VOICE
There comes Joe Crowell deliverin'
the mornin' papers.
(pause)
So -- another day's begun.

16. EXT. GROVER'S CORNERS (1901) - (MORNING) LONG SHOT - FROM HIGH ELEVATION (COSGROVE)

Showing the rooftops of Grover's Corners, with the chimneys prominent. Wisps of smoke begin to curl up from the chimneys.

15.

1/22/40.

37. (CONTINUED)

Over the scene of Joe walking away is heard:

MR. MORGAN'S VOICE
I want to tell you something about that boy Joe Crowell you've just seen.

38. EXT. HILLTOP (MORNING)
COSGROVE SHOT

Mr. Morgan, smoking his pipe and with his stick in hand, is leaning on rail of pasture gate in f.g. In the b.g. can be seen the view of the town as it appears in 1901-- MORNING.

MR. MORGAN
(to audience)
Joe was awful bright -- graduated from the High School here head of his class. So he got a scholarship to Boston Tech -- M.I.T., that is. Graduated head of his class from there, too. Goin' to be a great engineer, Joe was, but the war broke out and he died in France. Yes sir, all that education for nothing.

Morgan, swinging his stick, now starts to walk slowly down the hill as though going toward the town. Suddenly he remembers something, stops, turns to look back over shoulder AT CAMERA, and motions with his hand as if signalling to the theatre projectionist to continue the picture. He then turns andcontinues starts down the hill again.

1/22/40.

27.

61. (CONTINUED)

62.

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.

The two women smile at each other, and as they do so,
from off-scene is heard.

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

The women do not hear nor react to Morgan's voice, but
immediately the PICTURE FREEZES, so that the women
suddenly become absolutely motionless, as over the
scene continues:

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

(NOTE: Mr. Wood may shoot his own version of this scene.)

63. EXT. DRUGSTORE (DAY)
SHOOTING FROM STREET

There is a hitching-rack at edge of sidewalk in front of
drugstore. Morgan, swinging his stick, walks into scene
FROM BEHIND CAMERA and approaches hitching-rack. He
throws stick away, leans against
hitching-rack, turns to FACE CAMERA, and addresses
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 down the sidewalk, registers that he
recognizes an oncomer off-scene. A moment later
PROFESSOR WILLARD, a little dried-up man, carrying a
stack of books so that the top ones obscure the lower
portion of his face, hurries into scene along the
sidewalk behind the hitching-rack.

Am I late?

PROFESSOR WILLARD

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

28.

1/22/40.

64. EXT. DRUGSTORE (DAY)
TWO SHOT - PROFESSOR & MORGAN

Morgan glances quizzically at the Professor's stack of books, then looks at audience, getting over that he will not permit the Professor to bore audience by reading the books.

MR. MORGAN
(to audience)
May I introduce Professor Willard,
of our State University.

Professor Willard reacts in amazement, looking at Morgan, at the CAMERA, and then at Morgan again, as it dawns upon him that Morgan is introducing him, from the screen, to the audience in the theatre. Morgan is amused at the Professor's reaction.

MR. MORGAN
Just a few brief notes, thank you, Professor -- Unfortunately our time is limited.

Professor Willard turns to look INTO CAMERA again, and as he gets a good look at the audience he has a touch of stage fright. Morgan pantomimes encouragement, leans back against hitching-rack.

PROFESSOR WILLARD
(to audience - timidly - talking from behind books in muffled voice)
Well -- let me see -- Grover's Corners --

Morgan realizes that the books muffle Professor's voice, leans over, removes two books from top of pile, and we now see Professor's full face for the first time. Professor nods thanks to Morgan, who has leaned back against hitching-rack again.

65. TWO SHOT - FAVORING PROFESSOR

PROFESSOR WILLARD
(resuming - timidly at first, then gaining courage as he goes on)
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 outeroppings of sandstone and some vestiges of Mezozoic shale, but these are comparatively new -- oh, maybe two or three hundred million years old.

(CONTINUED)

December 27, 1939

"OUR TOWN"
---
ANALYSIS
---
OF
---
THE DEATH SCENE

As dictated by Mr. Lesser during conference with Mr. Craven.

EMILY IS TIRED.

(She would be, in labor.)

EMILY IS RESIGNED TO DEATH.

(She can fight no more.)

EMILY REMEMBERS THE BEAUTIES OF LIFE AND THE THINGS SHE LOVED.

(The woman's desire to be with her loved ones and to bring her baby into the world. Now she takes on new strength.)

EMILY FEELS THAT SHE CAN GO BACK AND RELIVE THAT LIFE.

(She feels the urge to live.)

EMILY HEARS ARGUMENT AGAINST EXPERIENCING LIFE AGAIN.

(She is told that if she does, experiencing the beauties of life and the failings of humanity to recognize its simple values, will only make her life-after-death much more sorrowful. It is as if saying one more last sad farewell. It is much too bitter an experience to see all that she has lost. It will take her that much longer to forget.)

EMILY DETERMINES, NEVERTHELESS, TO RETURN. SHE MUST SEE LIFE.

(The urge to live.)