diff --git "a/public/samples/scripts/Citizen Kane.txt" "b/public/samples/scripts/Citizen Kane.txt" new file mode 100644--- /dev/null +++ "b/public/samples/scripts/Citizen Kane.txt" @@ -0,0 +1,8597 @@ + Citizen Kane + + By + + Herman J. Mankiewicz + + & + + Orson Welles + + + + PROLOGUE + + FADE IN: + + EXT. XANADU - FAINT DAWN - 1940 (MINIATURE) + + Window, very small in the distance, illuminated. + + All around this is an almost totally black screen. Now, as + the camera moves slowly towards the window which is almost a + postage stamp in the frame, other forms appear; barbed wire, + cyclone fencing, and now, looming up against an early morning + sky, enormous iron grille work. Camera travels up what is now + shown to be a gateway of gigantic proportions and holds on the + top of it - a huge initial "K" showing darker and darker against + the dawn sky. Through this and beyond we see the fairy-tale + mountaintop of Xanadu, the great castle a sillhouette as its + summit, the little window a distant accent in the darkness. + + + + DISSOLVE: + + A SERIES OF SET -UPS, EACH CLOSER TO THE GREAT WINDOW, ALL + TELLING SOMETHING OF: + + The literally incredible domain of CHARLES FOSTER KANE. + + Its right flank resting for nearly forty miles on the Gulf + Coast, it truly extends in all directions farther than the eye + can see. Designed by nature to be almost completely bare and + flat - it was, as will develop, practically all marshland when + Kane acquired and changed its face - it is now pleasantly + uneven, with its fair share of rolling hills and one very good- + sized mountain, all man-made. Almost all the land is improved, + either through cultivation for farming purposes of through + careful landscaping, in the shape of parks and lakes. The + castle dominates itself, an enormous pile, compounded of several + genuine castles, of European origin, of varying architecture - + dominates the scene, from the very peak of the mountain. + + DISSOLVE: + + GOLF LINKS (MINIATURE) + + Past which we move. The greens are straggly and overgrown, + the fairways wild with tropical weeds, the links unused and + not seriously tended for a long time. + + DISSOLVE OUT: + + DISSOLVE IN: + + WHAT WAS ONCE A GOOD-SIZED ZOO (MINIATURE) + + Of the Hagenbeck type. All that now remains, with one + exception, are the individual plots, surrounded by moats, on + which the animals are kept, free and yet safe from each other + and the landscape at large. (Signs on several of the plots + indicate that here there were once tigers, lions, girrafes.) + + DISSOLVE: + + THE MONKEY TERRACE (MINIATURE) + + In the foreground, a great obscene ape is outlined against the + dawn murk. He is scratching himself slowly, thoughtfully, + looking out across the estates of Charles Foster Kane, to the + distant light glowing in the castle on the hill. + + DISSOLVE: + + THE ALLIGATOR PIT (MINIATURE) + + The idiot pile of sleepy dragons. Reflected in the muddy water - + the lighted window. + + THE LAGOON (MINIATURE) + + The boat landing sags. An old newspaper floats on the surface + of the water - a copy of the New York Enquirer." As it moves + across the frame, it discloses again the reflection of the + window in the castle, closer than before. + + THE GREAT SWIMMING POOL (MINIATURE) + + It is empty. A newspaper blows across the cracked floor of + the tank. + + DISSOLVE: + + THE COTTAGES (MINIATURE) + + In the shadows, literally the shadows, of the castle. As we + move by, we see that their doors and windows are boarded up + and locked, with heavy bars as further protection and sealing. + + DISSOLVE OUT: + + DISSOLVE IN: + + A DRAWBRIDGE (MINIATURE) + + Over a wide moat, now stagnant and choked with weeds. We move + across it and through a huge solid gateway into a formal garden, + perhaps thirty yards wide and one hundred yards deep, which + extends right up to the very wall of the castle. The + landscaping surrounding it has been sloppy and causal for a + long time, but this particular garden has been kept up in + perfect shape. As the camera makes its way through it, towards + the lighted window of the castle, there are revealed rare and + exotic blooms of all kinds. The dominating note is one of + almost exaggerated tropical lushness, hanging limp and + despairing. Moss, moss, moss. Ankor Wat, the night the last + King died. + + DISSOLVE: + + THE WINDOW (MINIATURE) + + Camera moves in until the frame of the window fills the frame + of the screen. Suddenly, the light within goes out. This + stops the action of the camera and cuts the music which has + been accompanying the sequence. In the glass panes of the + window, we see reflected the ripe, dreary landscape of Mr. + Kane's estate behind and the dawn sky. + + DISSOLVE: + + INT. KANE'S BEDROOM - FAINT DAWN - + + A very long shot of Kane's enormous bed, silhouetted against + the enormous window. + + DISSOLVE: + + INT. KANE'S BEDROOM - FAINT DAWN - SNOW SCENE. + + An incredible one. Big, impossible flakes of snow, a too + picturesque farmhouse and a snow man. The jingling of sleigh + bells in the musical score now makes an ironic reference to + Indian Temple bells - the music freezes - + + + + KANE'S OLD OLD VOICE + Rosebud... + + The camera pulls back, showing the whole scene to be contained + in one of those glass balls which are sold in novelty stores + all over the world. A hand - Kane's hand, which has been + holding the ball, relaxes. The ball falls out of his hand and + bounds down two carpeted steps leading to the bed, the camera + following. The ball falls off the last step onto the marble + floor where it breaks, the fragments glittering in the first + rays of the morning sun. This ray cuts an angular pattern + across the floor, suddenly crossed with a thousand bars of + light as the blinds are pulled across the window. + + The foot of Kane's bed. The camera very close. Outlined + against the shuttered window, we can see a form - the form of + a nurse, as she pulls the sheet up over his head. The camera + follows this action up the length of the bed and arrives at + the face after the sheet has covered it. + + FADE OUT: + + FADE IN: + + INT. OF A MOTION PICTURE PROJECTION ROOM + + On the screen as the camera moves in are the words: + + "MAIN TITLE" + + Stirring, brassy music is heard on the soundtrack (which, of + course, sounds more like a soundtrack than ours.) + + The screen in the projection room fills our screen as the second + title appears: + + "CREDITS" + + NOTE: Here follows a typical news digest short, one of the + regular monthly or bi-monthly features, based on public events + or personalities. These are distinguished from ordinary + newsreels and short subjects in that they have a fully developed + editorial or storyline. Some of the more obvious + characteristics of the "March of Time," for example, as well + as other documentary shorts, will be combined to give an + authentic impression of this now familiar type of short subject. + As is the accepted procedure in these short subjects, a narrator + is used as well as explanatory titles. + + FADE OUT: + + NEWS DIGEST NARRATOR + Legendary was the Xanadu where + Kubla Kahn decreed his stately + pleasure dome - + (with quotes in his + voice) + "Where twice five miles of fertile + ground, with walls and towers were + girdled 'round." + + (DROPPING THE QUOTES) + Today, almost as legendary is + Florida's XANADU - world's largest + private pleasure ground. Here, on + the deserts of the Gulf Coast, a + private mountain was commissioned, + successfully built for its landlord. + Here in a private valley, as in + the Coleridge poem, "blossoms many + an incense-bearing tree." Verily, + "a miracle of rare device." + + U.S.A. + + CHARLES FOSTER KANE + + Opening shot of great desolate expanse of Florida coastline + (1940 - DAY) + + DISSOLVE: + + Series of shots showing various aspects of Xanadu, all as they + might be photographed by an ordinary newsreel cameraman - nicely + photographed, but not atmospheric to the extreme extent of the + Prologue (1940). + + NARRATOR + (dropping the quotes) + Here, for Xanadu's landlord, will + be held 1940's biggest, strangest + funeral; here this week is laid to + rest a potent figure of our Century - + America's Kubla Kahn - Charles + Foster Kane. In journalism's + history, other names are honored + more than Charles Foster Kane's, + more justly revered. Among + publishers, second only to James + Gordon Bennet the First: his + dashing, expatriate son; England's + Northcliffe and Beaverbrook; + Chicago's Patterson and McCormick; + + TITLE: + + TO FORTY-FOUR MILLION U.S. NEWS BUYERS, MORE NEWSWORTHY THAN + THE NAMES IN HIS OWN HEADLINES, WAS KANE HIMSELF, GREATEST + NEWSPAPER TYCOON OF THIS OR ANY OTHER GENERATION. + + Shot of a huge, screen-filling picture of Kane. Pull back to + show that it is a picture on the front page of the "Enquirer," + surrounded by the reversed rules of mourning, with masthead + and headlines. (1940) + + DISSOLVE: + + A great number of headlines, set in different types and + different styles, obviously from different papers, all + announcing Kane's death, all appearing over photographs of + Kane himself (perhaps a fifth of the headlines are in foreign + languages). An important item in connection with the headlines + is that many of them - positively not all - reveal passionately + conflicting opinions about Kane. Thus, they contain variously + the words "patriot," "democrat," "pacifist," "war-monger," + "traitor," "idealist," "American," etc. + + TITLE: + + 1895 TO 1940 - ALL OF THESE YEARS HE COVERED, MANY OF THESE + YEARS HE WAS. + + Newsreel shots of San Francisco during and after the fire, + followed by shots of special trains with large streamers: "Kane + Relief Organization." Over these shots superimpose the date - + 1906. + + Artist's painting of Foch's railroad car and peace negotiators, + if actual newsreel shot unavailable. Over this shot + sumperimpose the date - 1918. + + NARRATOR + Denver's Bonfils and Sommes; New + York's late, great Joseph Pulitzer; + America's emperor of the news + syndicate, another editorialist + and landlord, the still mighty and + once mightier Hearst. Great names + all of them - but none of them so + loved, hated, feared, so often + spoken - as Charles Foster Kane. + The San Francisco earthquake. + First with the news were the Kane + papers. First with Relief of the + Sufferers, First with the news of + their Relief of the Sufferers. + Kane papers scoop the world on the + Armistice - publish, eight hours + before competitors, complete details + of the Armistice teams granted the + Germans by Marshall Foch from his + railroad car in the Forest of + Compeigne. For forty years appeared + in Kane newsprint no public issue + on which Kane papers took no stand. + No public man whom Kane himself + did not support or denounce - often + support, then denounce. Its humble + beginnings, a dying dailey - + + Shots with the date - 1898 (to be supplied) + + Shots with the date - 1910 (to be supplied) + + Shots with the date - 1922 (to be supplied) + + Headlines, cartoons, contemporary newreels or stills of the + following: + + 1. WOMAN SUFFRAGE + + The celebrated newsreel shot of about 1914. + + 2. PROHIBITION + + Breaking up of a speakeasy and such. + + 3. T.V.A. + + 4. LABOR RIOTS + + Brief clips of old newreel shots of William Jennings Bryan, + Theodore Roosevelt, Stalin, Walter P. Thatcher, Al Smith, + McKinley, Landon, Franklin D. Roosevelt and such. Also, recent + newsreels of the elderly Kane with such Nazis as Hitler and + Goering; and England's Chamberlain and Churchill. + + Shot of a ramshackle building with old-fashioned presses showing + through plate glass windows and the name "Enquirer" in old- + fashioned gold letters. (1892) + + DISSOLVE: + + NARRATOR + Kane's empire, in its glory, held + dominion over thirty-seven + newpapers, thirteen magazines, a + radio network. An empire upon an + empire. The first of grocery + stores, paper mills, apartment + buildings, factories, forests, + ocean-liners - An empire through + which for fifty years flowed, in + an unending stream, the wealth of + the earth's third richest gold + mine... Famed in American legend + is the origin of the Kane fortune... + How, to boarding housekeeper Mary + Kane, by a defaulting boarder, in + 1868 was left the supposedly + worthless deed to an abandoned + mine shaft: The Colorado Lode. + The magnificent Enquirer Building + of today. + + 1891-1911 - a map of the USA, covering the entire screen, which + in animated diagram shows the Kane publications spreading from + city to city. Starting from New York, minature newboys speed + madly to Chicago, Detroit, St. Louis, Los Angeles, San + Francisco, Washington, Atlanta, El Paso, etc., screaming + "Wuxtry, Kane Papers, Wuxtry." + + Shot of a large mine going full blast, chimneys belching smoke, + trains moving in and out, etc. A large sign reads "Colorado + Lode Mining Co." (1940) Sign reading; "Little Salem, CO - 25 + MILES." + + DISSOLVE: + + An old still shot of Little Salem as it was 70 years ago + (identified by copper-plate caption beneath the still). (1870) + + Shot of early tintype stills of Thomas Foster Kane and his + wife, Mary, on their wedding day. A similar picture of Mary + Kane some four or five years later with her little boy, Charles + Foster Kane. + + NARRATOR + Fifty-seven years later, before a + Congressional Investigation, Walter + P. Thatcher, grand old man of + Wall Street, for years chief target + of Kane papers' attack on "trusts," + recalls a journey he made as a + youth... + + Shot of Capitol, in Washington D.C. + + Shot of Congressional Investigating Committee (reproduction of + existing J.P. Morgan newsreel). This runs silent under + narration. Walter P. Thatcher is on the stand. He is flanked + by his son, Walter P. Thatcher Jr., and other partners. He is + being questioned by some Merry Andrew congressmen. At this + moment, a baby alligator has just been placed in his lap, + causing considerable confusion and embarrassment. + + Newsreel close-up of Thatcher, the soundtrack of which now + fades in. + + THATCHER + ... because of that trivial + incident... + + INVESTIGATOR + It is a fact, however, is it not, + that in 1870, you did go to + Colorado? + + THATCHER + I did. + + INVESTIGATOR + In connection with the Kane affairs? + + THATCHER + Yes. My firm had been appointed + trustees by Mrs. Kane for the + fortune, which she had recently + acquired. It was her wish that I + should take charge of this boy, + Charles Foster Kane. + + NARRATOR + That same month in Union Square - + + INVESTIGATOR + Is it not a fact that on that + occasion, the boy personally + attacked you after striking you in + the stomach with a sled? + + Loud laughter and confusion. + + THATCHER + Mr. Chairman, I will read to this + committee a prepared statement I + have brought with me - and I will + then refuse to answer any further + questions. Mr. Johnson, please! + + A young assistant hands him a sheet of paper from a briefcase. + + THATCHER + (reading it) + "With full awareness of the meaning + of my words and the responsibility + of what I am about to say, it is + my considered belief that Mr. + Charles Foster Kane, in every + essence of his social beliefs and + by the dangerous manner in which + he has persistently attacked the + American traditions of private + property, initiative and opportunity + for advancement, is - in fact - + nothing more or less than a + Communist." + + Newsreel of Union Square meeting, section of crowd carrying + banners urging the boycott of Kane papers. A speaker is on + the platform above the crowd. + + SPEAKER + (fading in on + soundtrack) + - till the words "Charles Foster + Kane" are a menace to every working + man in this land. He is today + what he has always been and always + will be - A FASCIST! + + NARRATOR + And yet another opinion - Kane's + own. + + Silent newsreel on a windy platform, flag-draped, in front of + the magnificent Enquirer building. On platform, in full + ceremonial dress, is Charles Foster Kane. He orates silently. + + TITLE: + + "I AM, HAVE BEEN, AND WILL BE ONLY ONE THING - AN AMERICAN." + CHARLES FOSTER KANE. + + Same locale, Kane shaking hands out of frame. + + Another newsreel shot, much later, very brief, showing Kane, + older and much fatter, very tired-looking, seated with his + second wife in a nightclub. He looks lonely and unhappy in + the midst of the gaiety. + + NARRATOR + Twice married, twice divorced - + first to a president's niece, Emily + Norton - today, by her second + marriage, chatelaine of the oldest + of England's stately homes. Sixteen + years after that - two weeks after + his divorce from Emily Norton - + Kane married Susan Alexander, + singer, at the Town Hall in Trenton, + New Jersey. + + TITLE: + + FEW PRIVATE LIVES WERE MORE PUBLIC. + + Period still of Emily Norton (1900). + + DISSOLVE: + + Reconstructed silent newsreel. Kane, Susan, and Bernstein + emerging from side doorway of City Hall into a ring of press + photographers, reporters, etc. Kane looks startled, recoils + for an instance, then charges down upon the photographers, + laying about him with his stick, smashing whatever he can hit. + + NARRATOR + For wife two, one-time opera singing + Susan Alexander, Kane built + Chicago's Municipal Opera House. + Cost: three million dollars. + Conceived for Susan Alexander Kane, + half-finished before she divorced + him, the still unfinished Xanadu. + Cost: no man can say. + + Still of architect's sketch with typically glorified "rendering" + of the Chicago Municipal Opera House. + + DISSOLVE: + + A glamorous shot of the almost-finished Xanadu, a magnificent + fairy-tale estate built on a mountain. (1920) + + Then shots of its preparation. (1917) + + Shots of truck after truck, train after train, flashing by + with tremendous noise. + + Shots of vast dredges, steamshovels. + + Shot of ship standing offshore unloading its lighters. + + In quick succession, shots follow each other, some + reconstructed, some in miniature, some real shots (maybe from + the dam projects) of building, digging, pouring concrete, etc. + + NARRATOR + One hundred thousand trees, twenty + thousand tons of marble, are the + ingredients of Xanadu's mountain. + Xanadu's livestock: the fowl of + the air, the fish of the sea, the + beast of the field and jungle - + two of each; the biggest private + zoo since Noah. Contents of Kane's + palace: paintings, pictures, + statues, the very stones of many + another palace, shipped to Florida + from every corner of the earth, + from other Kane houses, warehouses, + where they mouldered for years. + Enough for ten museums - the loot + of the world. + + More shots as before, only this time we see (in miniature) a + large mountain - at different periods in its development - + rising out of the sands. + + Shots of elephants, apes, zebras, etc. being herded, unloaded, + shipped, etc. in various ways. + + Shots of packing cases being unloaded from ships, from trains, + from trucks, with various kinds of lettering on them (Italian, + Arabian, Chinese, etc.) but all consigned to Charles Foster + Kane, Xanadu, Florida. + + A reconstructed still of Xanadu - the main terrace. A group + of persons in clothes of the period of 1917. In their midst, + clearly recognizable, are Kane and Susan. + + NARRATOR + Kane urged his country's entry + into one war, opposed participation + in another. Swung the election to + one American President at least, + was called another's assassin. + Thus, Kane's papers might never + have survived - had not the + President. + + TITLE: + + FROM XANADU, FOR THE PAST TWENTY-FIVE YEARS, ALL KANE + ENTERPRISES HAVE BEEN DIRECTED, MANY OF THE NATIONS DESTINIES + SHAPED. + + Shots of various authentically worded headlines of American + papers since 1895. + + Spanish-American War shots. (1898) + + A graveyard in France of the World War and hundreds of crosses. + (1919) + + Old newsreels of a political campaign. + + Insert of a particularly virulent headline and/or cartoon. + + HEADLINE: "PRESIDENT SHOT" + + NARRATOR + Kane, molder of mass opinion though + he was, in all his life was never + granted elective office by the + voters of his country. Few U.S. + news publishers have been. + Few, like one-time Congressman + Hearst, have ever run for any office - + most know better - conclude with + other political observers that one + man's press has power enough for + himself. But Kane papers were + once strong indeed, and once the + prize seemed almost his. In 1910, + as Independent Candidate for + governor, the best elements of the + state behind him - the White House + seemingly the next easy step in a + lightning political career - + + NIGHT SHOT OF CROWD BURNING CHARLES FOSTER KANE IN EFFIGY. + THE DUMMY BEARS A GROTESQUE, COMIC RESEMBLANCE TO KANE. IT IS + TOSSED INTO THE FLAMES, WHICH BURN UP - + + AND THEN DOWN... (1910) + + FADE OUT: + + TITLE: + + IN POLITICS - ALWAYS A BRIDESMAID, NEVER A BRIDE + + Newsreel shots of great crowds streaming into a building - + Madison Square Garden - then shots inside the vast auditorium, + at one end of which is a huge picture of Kane. (1910) + + Shot of box containing the first Mrs. Kane and young Howard + Kane, age five. They are acknowledging the cheers of the crowd. + (Silent Shot) (1910) + + Newreel shot of dignitaries on platform, with Kane, alongside + of speaker's table, beaming, hand upraised to silence the crowd. + (Silent Shot) (1910) + + NARRATOR + Then, suddenly - less than one + week before election - defeat! + Shameful, ignominious - defeat + that set back for twenty years the + cause of reform in the U.S., forever + cancelled political chances for + Charles Foster Kane. Then, in the + third year of the Great + Depression... As to all publishers, + it sometimes must - to Bennett, to + Munsey and Hearst it did - a paper + closes! For Kane, in four short + years: collapse! + Eleven Kane papers, four Kane + magazines merged, more sold, + scrapped - + + Newreel shot - closeup of Kane delivering a speech... (1910) + + The front page of a contemporary paper - a screaming headline. + Twin phots of Kane and Susan. (1910) + + Printed title about Depression. + + Once more repeat the map of the USA 1932-1939. Suddenly, the + cartoon goes into reverse, the empire begins to shrink, + illustrating the narrator's words. + + The door of a newspaper office with the signs: "Closed." + + NARRATOR + Then four long years more - alone + in his never-finished, already + decaying, pleasure palace, aloof, + seldom visited, never photographed, + Charles Foster Kane continued to + direct his falling empire ... vainly + attempting to sway, as he once + did, the destinies of a nation + that has ceased to listen to him + ... ceased to trust him... + + SHOTS OF XANADU. (1940) + + Series of shots, entirely modern, but rather jumpy and obviously + bootlegged, showing Kane in a bath chair, swathed in summer + rugs, being perambulated through his rose garden, a desolate + figure in the sunshine. (1935) + + NARRATOR + Last week, death came to sit upon + the throne of America's Kubla Khan - + last week, as it must to all men, + death came to Charles Foster Kane. + + DISSOLVE: + + Cabinent Photograph (Full Screen) of Kane as an old, old man. + This image remains constant on the screen (as camera pulls + back, taking in the interior of a dark projection room. + + INT. PROJECTION ROOM - DAY - + + A fairly large one, with a long throw to the screen. It is + dark. + + The image of Kane as an old man remains constant on the screen + as camera pulls back, slowly taking in and registering + Projection Room. This action occurs, however, only after the + first few lines of encuring dialogue have been spoken. The + shadows of the men speaking appear as they rise from their + chairs - black against the image of Kane's face on the screen. + + NOTE: These are the editors of a "News Digest" short, and of + the Rawlston magazines. All his enterprises are represented + in the projection room, and Rawlston himself, that great man, + is present also and will shortly speak up. + + During the entire course of this scene, nobody's face is really + seen. Sections of their bodies are picked out by a table light, + a silhouette is thrown on the screen, and their faces and bodies + are themselves thrown into silhouette against the brilliant + slanting rays of light from the projection room. + + A Third Man is on the telephone. We see a corner of his head + and the phone. + + THIRD MAN + (at phone) + Stand by. I'll tell you if we + want to run it again. + (hangs up) + + THOMPSON'S VOICE + Well? + + A short pause. + + A MAN'S VOICE + It's a tough thing to do in a + newsreel. Seventy years of a man's + life - + + Murmur of highly salaried assent at this. Rawlston walks toward + camera and out of the picture. Others are rising. Camera + during all of this, apparently does its best to follow action + and pick up faces, but fails. Actually, all set-ups are to be + planned very carefully to exclude the element of personality + from this scene; which is expressed entirely by voices, shadows, + sillhouettes and the big, bright image of Kane himself on the + screen. + + A VOICE + See what Arthur Ellis wrote about + him in the American review? + + THIRD MAN + I read it. + + THE VOICE + (its owner is already + leaning across the + table, holding a + piece of paper + under the desk + light and reading + from it) + Listen: Kane is dead. He + contributed to the journalism of + his day - the talent of a + mountebank, the morals of a + bootlegger, and the manners of a + pasha. He and his kind have almost + succeeded in transforming a once + noble profession into a seven + percent security - no longer secure. + + ANOTHER VOICE + That's what Arthur Ellis is writing + now. Thirty years ago, when Kane + gave him his chance to clean up + Detroit and Chicago and St. Louis, + Kane was the greatest guy in the + world. If you ask me - + + ANOTHER VOICE + Charles Foster Kane was a... + + Then observations are made almost simultaneous. + + RAWLSTON'S VOICE + Just a minute! + + Camera moves to take in his bulk outlined against the glow + from the projection room. + + RAWLSTON + What were Kane's last words? + + A silence greets this. + + RAWLSTON + What were the last words he said + on earth? Thompson, you've made + us a good short, but it needs + character - + + SOMEBODY'S VOICE + Motivation - + + RAWLSTON + That's it - motivation. What made + Kane what he was? And, for that + matter, what was he? What we've + just seen are the outlines of a + career - what's behind the career? + What's the man? Was he good or + bad? Strong or foolish? Tragic + or silly? Why did he do all those + things? What was he after? + (then, appreciating + his point) + Maybe he told us on his death bed. + + THOMPSON + Yes, and maybe he didn't. + + RAWLSTON + Ask the question anyway, Thompson! + Build the picture around the + question, even if you can't answer + it. + + THOMPSON + I know, but - + + RAWLSTON + (riding over him + like any other + producer) + All we saw on that screen was a + big American - + + A VOICE + One of the biggest. + + RAWLSTON + (without pausing + for this) + But how is he different from Ford? + Or Hearst for that matter? Or + Rockefeller - or John Doe? + + A VOICE + I know people worked for Kane will + tell you - not only in the newspaper + business - look how he raised + salaries. You don't want to forget - + + ANOTHER VOICE + You take his labor record alone, + they ought to hang him up like a + dog. + + RAWLSTON + I tell you, Thompson - a man's + dying words - + + SOMEBODY'S VOICE + What were they? + + Silence. + + SOMEBODY'S VOICE + (hesitant) + Yes, Mr. Rawlston, what were Kane's + dying words? + + RAWLSTON + (with disgust) + Rosebud! + + A little ripple of laughter at this, which is promptly silenced + by Rawlston. + + RAWLSTON + That's right. + + A VOICE + Tough guy, huh? + (derisively) + Dies calling for Rosebud! + + RAWLSTON + Here's a man who might have been + President. He's been loved and + hated and talked about as much as + any man in our time - but when he + comes to die, he's got something + on his mind called "Rosebud." + What does that mean? + + ANOTHER VOICE + A racehorse he bet on once, + probably, that didn't come in - + Rosebud! + + RAWLSTON + All right. But what was the race? + + There is a short silence. + + RAWLSTON + Thompson! + + THOMPSON + Yes, sir. + + RAWLSTON + Hold this thing up for a week. + Two weeks if you have to... + + THOMPSON + (feebly) + But don't you think if we release + it now - he's only been dead four + days it might be better than if - + + RAWLSTON + (decisively) + Nothing is ever better than finding + out what makes people tick. Go + after the people that knew Kane + well. That manager of his - the + little guy, Bernstein, those two + wives, all the people who knew + him, had worked for him, who loved + him, who hated his guts - + (pauses) + I don't mean go through the City + Directory, of course - + + The Third Man gives a hearty "yes-man" laugh. + + THOMPSON + I'll get to it right away, Mr. + Rawlston. + + RAWLSTON + (rising) + Good! + + The camera from behind him, outlines his back against Kane's + picture on the screen. + + RAWLSTON'S VOICE + It'll probably turn out to be a + very simple thing... + + FADE OUT: + + NOTE: Now begins the story proper - the seach by Thompson for + the facts about Kane - his researches ... his interviews with + the people who knew Kane. + + It is important to remember always that only at the very end + of the story is Thompson himself a personality. Until then, + throughout the picture, we photograph only Thompson's back, + shoulders, or his shadow - sometimes we only record his voice. + He is not until the final scene a "character". He is the + personification of the search for the truth about Charles Foster + Kane. He is the investigator. + + FADE IN: + + EXT. CHEAP CABARET - "EL RANCHO" - ATLANTIC CITY - NIGHT - + 1940 (MINIATURE) - RAIN + + The first image to register is a sign: + + "EL RANCHO" + + FLOOR SHOW + + SUSAN ALEXANDER KANE + + TWICE NIGHTLY + + These words, spelled out in neon, glow out of the darkness at + the end of the fade out. Then there is lightning which reveals + a squalid roof-top on which the sign stands. Thunder again, + and faintly the sound of music from within. A light glows + from a skylight. The camera moves to this and closes in. + Through the splashes of rain, we see through the skylight down + into the interior of the cabaret. Directly below us at a table + sits the lone figure of a woman, drinking by herself. + + DISSOLVE: + + INT. "EL RANCO" CABARET - NIGHT - + + Medium shot of the same woman as before, finishing the drink + she started to take above. It is Susie. The music, of course, + is now very loud. Thompson, his back to the camera, moves + into the picture in the close foreground. A Captain appears + behind Susie, speaking across her to Thompson. + + THE CAPTAIN + (a Greek) + This is Mr. Thompson, Miss + Alexander. + + Susan looks up into Thompson's face. She is fifty, trying to + look much younger, cheaply blonded, in a cheap, enormously + generous evening dress. Blinking up into Thompson's face, she + throws a crink into ther mouth. Her eyes, which she thinks is + keeping commandingly on his, are bleared and watery. + + SUSAN + (to the Captain) + I want another drink, John. + + Low thunder from outside. + + THE CAPTAIN + (seeing his chance) + Right away. Will you have + something, Mr. Thompson? + + THOMPSON + (staring to sit + down) + I'll have a highball. + + SUSAN + (so insistently as + to make Thompson + change his mind + and stand up again) + Who told you you could sit down + here? + + THOMPSON + Oh! I thought maybe we could have + a drink together? + + SUSAN + Think again! + + There is an awkward pause as Thompson looks from her to the + Captain. + + SUSAN + Why don't you people let me alone? + I'm minding my own business. You + mind yours. + + THOMPSON + If you'd just let me talk to you + for a little while, Miss Alexander. + All I want to ask you... + + SUSAN + Get out of here! + (almost hysterical) + Get out! Get out! + + Thompson looks at the Captain, who shrugs his shoulders. + + THOMPSON + I'm sorry. Maybe some other time - + + If he thought he would get a response from Susan, who thinks + she is looking at him steelily, he realizes his error. He + nods and walks off, following the Captain out the door. + + THE CAPTAIN + She's just not talking to anybody + from the newspapers, Mr. Thompson. + + THOMPSON + I'm not from a newspaper exactly, + I - + + They have come upon a waiter standing in front of a booth. + + THE CAPTAIN + (to the waiter) + Get her another highball. + + THE WAITER + Another double? + + THE CAPTAIN + (after a moment, + pityingly) + Yes. + + They walk to the door. + + THOMPSON + She's plastered, isn't she? + + THE CAPTAIN + She'll snap out of it. Why, until + he died, she'd just as soon talk + about Mr. Kane as about anybody. + Sooner. + + THOMPSON + I'll come down in a week or so and + see her again. Say, you might be + able to help me. When she used to + talk about Kane - did she ever + happen to say anything - about + Rosebud? + + THE CAPTAIN + Rosebud? + + Thompson has just handed him a bill. The Captain pockets it. + + THE CAPTAIN + Thank you, sir. As a matter of + fact, yesterday afternoon, when it + was in all the papers - I asked + her. She never heard of Rosebud. + + FADE OUT: + + FADE IN: + + INT. THATCHER MEMORIAL LIBRARY - DAY - + + An excruciatingly noble interpretation of Mr. Thatcher himself + executed in expensive marble. He is shown seated on one of + those improbable Edwin Booth chairs and is looking down, his + stone eyes fixed on the camera. + + We move down off of this, showing the impressive pedestal on + which the monument is founded. The words, "Walter Parks + Thatcher" are prominently and elegantly engraved thereon. + Immediately below the inscription we encounter, in a medium + shot, the person of Bertha Anderson, an elderly, manish + spinnster, seated behind her desk. Thompson, his hat in his + hand, is standing before her. Bertha is on the phone. + + BERTHA + (into phone) + Yes. I'll take him in now. + (hangs up and looks + at Thompson) + The directors of the Thatcher + Library have asked me to remind + you again of the condition under + which you may inspect certain + portions of Mr. Thatcher's + unpublished memoirs. Under no + circumstances are direct quotations + from his manuscript to be used by + you. + + THOMPSON + That's all right. + + BERTHA + You may come with me. + + Without watching whether he is following her or not, she rises + and starts towards a distant and imposingly framed door. + Thompson, with a bit of a sigh, follows. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. THE VAULT ROOM - THATCHER MEMORIAL LIBRARY - DAY - + + A room with all the warmth and charm of Napolean's tomb. + + As we dissolve in, the door opens in and we see past Thompson's + shoulders the length of the room. Everything very plain, very + much made out of marble and very gloomy. Illumination from a + skylight above adds to the general air of expensive and + classical despair. The floor is marble, and there is a + gigantic, mahogany table in the center of everything. Beyond + this is to be seen, sunk in the marble wall at the far end of + the room, the safe from which a guard, in a khaki uniform, + with a revolver holster at his hip, is extracting the journal + of Walter P. Thatcher. He brings it to Bertha as if he were + the guardian of a bullion shipment. During this, Bertha has + been speaking. + + BERTHA + (to the guard) + Pages eighty-three to one hundred + and forty-two, Jennings. + + GUARD + Yes, Miss Anderson. + + BERTHA + (to Thompson) + You will confine yourself, it is + our understanding, to the chapter + dealing with Mr. Kane. + + THOMPSON + That's all I'm interested in. + + The guard has, by this time, delivered the precious journal. + Bertha places it reverently on the table before Thompson. + + BERTHA + You will be required to leave this + room at four-thirty promptly. + + She leaves. Thompson starts to light a cigarette. The guard + shakes his head. With a sigh, Thompson bends over to read the + manuscript. Camera moves down over his shoulder onto page of + manuscript. + + Manuscript, neatly and precisely written: + + "CHARLES FOSTER KANE + + WHEN THESE LINES APPEAR IN PRINT, FIFTY YEARS AFTER MY DEATH, + I AM CONFIDENT THAT THE WHOLE WORLD WILL AGREE WITH MY OPINION + OF CHARLES FOSTER KANE, ASSUMING THAT HE IS NOT THEN COMPLETELY + FORGOTTEN, WHICH I REGARD AS EXTREMELY LIKELY. A GOOD DEAL OF + NONSENSE HAS APPEARED ABOUT MY FIRST MEETING WITH KANE, WHEN + HE WAS SIX YEARS OLD... THE FACTS ARE SIMPLE. IN THE WINTER + OF 1870..." + + The camera has not held on the entire page. It has been + following the words with the same action that the eye does the + reading. On the last words, the white page of the paper + + DISSOLVES INTO: + + EXT. MRS. KANE'S BOARDINGHOUSE - DAY - + + The white of a great field of snow, seen from the angle of a + parlor window. + + In the same position of the last word in above Insert, appears + the tiny figure of Charles Foster Kane, aged five (almost like + an animated cartoon). He is in the act of throwing a snowball + at the camera. It sails toward us and over our heads, out of + scene. + + Reverse angle - on the house featuring a large sign reading: + + MRS. KANE'S BOARDINGHOUSE + + HIGH CLASS MEALS AND LODGING + + INQUIRE WITHIN + + Charles Kane's snowball hits the sign. + + INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY - + + Camera is angling through the window, but the window-frame is + not cut into scene. We see only the field of snow again, same + angle as in previous scene. Charles is manufacturing another + snowball. Now - + + Camera pulls back, the frame of the window appearing, and we + are inside the parlor of the boardinghouse. Mrs. Kane, aged + about 28, is looking out towards her son. Just as we take her + in she speaks: + + MRS. KANE + (calling out) + Be careful, Charles! + + THATCHER'S VOICE + Mrs. Kane - + + MRS. KANE + (Calling out the + window almost on + top of this) + Pull your muffler around your neck, + Charles - + + But Charles, deliriously happy in the snow, is oblivious to + this and is running away. Mrs. Kane turns into camera and we + see her face - a strong face, worn and kind. + + THATCHER'S VOICE + think we'll have to tell him now - + + Camera now pulls back further, showing Thatcher standing before + a table on which is his stove-pipe hat and an imposing + multiplicity of official-looking documents. He is 26 and, as + might be expected, a very stuffy young man, already very + expensive and conservative looking, even in Colorado. + + MRS. KANE + I'll sign those papers - + + KANE SR. + You people seem to forget that I'm + the boy's father. + + At the sound of Kane Sr.'s voice, both have turned to him and + the camera pulls back still further, taking him in. + + Kane Sr., who is the assistant curator in a livery stable, has + been groomed as elegantly as is likely for this meeting ever + since daybreak. + + From outside the window can be heard faintly the wild and + cheerful cries of the boy, blissfully cavorting in the snow. + + MRS. KANE + It's going to be done exactly the + way I've told Mr. Thatcher - + + KANE SR. + If I want to, I can go to court. + father has a right to - + + THATCHER + (annoyed) + Mr. Kane, the certificates that + Mr. Graves left here are made out + to Mrs. Kane, in her name. Hers + to do with as she pleases - + + KANE SR. + Well, I don't hold with signing my + boy away to any bank as guardian + just because - + + MRS. KANE + (quietly) + I want you to stop all this + nonsense, Jim. + + THATCHER + The Bank's decision in all matters + concerning his education, his place + of residence and similar subjects + will be final. + (clears his throat) + + KANE SR. + The idea of a bank being the + guardian - + + Mrs. Kane has met his eye. Her triumph over him finds + expression in his failure to finish his sentence. + + MRS. KANE + (even more quietly) + I want you to stop all this + nonsense, Jim. + + THATCHER + We will assume full management of + the Colorado Lode - of which you, + Mrs. Kane, are the sole owner. + + Kane Sr. opens his mouth once or twice, as if to say something, + but chokes down his opinion. + + MRS. KANE + (has been reading + past Thatcher's + shoulder as he + talked) + Where do I sign, Mr. Thatcher? + + THATCHER + Right here, Mrs. Kane. + + KANE SR. + (sulkily) + Don't say I didn't warn you. + + Mrs. Kane lifts the quill pen. + + KANE SR. + Mary, I'm asking you for the last + time - anyon'd think I hadn't been + a good husband and a - + + Mrs. Kane looks at him slowly. He stops his speech. + + THATCHER + The sum of fifty thousand dollars + a year is to be paid to yourself + and Mr. Kane as long as you both + live, and thereafter the survivor - + + Mrs. Kane puts pen to the paper and signs. + + KANE SR. + Well, let's hope it's all for the + best. + + MRS. KANE + It is. Go on, Mr. Thatcher - + + Mrs. Kane, listening to Thatcher, of course has had her other + ear bent in the direction of the boy's voice. Thatcher is + aware both of the boy's voice, which is counter to his own, + and of Mrs. Kane's divided attention. As he pauses, Kane Sr. + genteelly walks over to close the window. + + EXT. MRS. KANE'S BOARDINGHOUSE - DAY - + + Kane Jr., seen from Kane Sr.'s position at the window. He is + advancing on the snowman, snowballs in his hands, dropping to + one knee the better to confound his adversary. + + KANE + If the rebels want a fight boys, + let's give it to 'em! + + He throws two snowballs, missing widely, and gets up and + advances another five feet before getting on his knees again. + + KANE + The terms are underconditional + surrender. Up and at 'em! The + Union forever! + + INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY - + + Kane Sr. closes the window. + + THATCHER + (over the boy's + voice) + Everything else - the principal as + well as all monies earned - is to + be administered by the bank in + trust for your son, Charles Foster + Kane, until his twenty-fifth + birthday, at which time he is to + come into complete possession. + + Mrs. Kane rises and goes to the window. + + MRS. KANE + Go on, Mr. Thatcher. + + Thatcher continues as she opens the window. His voice, as + before, is heard with overtones of the boy's. + + EXT. KANE'S BOARDINGHOUSE - DAY - + + Kane Jr., seen from Mrs. Kane's position at the window. He is + now within ten feet of the snowman, with one snowball left + which he is holding back in his right hand. + + KANE + You can't lick Andy Jackson! Old + Hickory, that's me! + + He fires his snowball, well wide of the mark and falls flat on + his stomach, starting to crawl carefully toward the snowman. + + THATCHER'S VOICE + It's nearly five, Mrs. Kane, don't + you think I'd better meet the boy - + + INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY - + + Mrs. Kane at the window. Thatcher is now standing at her side. + + MRS. KANE + I've got his trunk all packed - + (she chokes a little) + I've it packed for a couple of + weeks - + + She can't say anymore. She starts for the hall day. Kane + Sr., ill at ease, has no idea of how to comfort her. + + THATCHER + I've arranged for a tutor to meet + us in Chicago. I'd have brought + him along with me, but you were so + anxious to keep everything secret - + + He stops as he realizes that Mrs. Kane has paid no attention + to him and, having opened the door, is already well into the + hall that leads to the side door of the house. He takes a + look at Kane Sr., tightens his lips and follows Mrs. Kane. + Kane, shoulders thrown back like one who bears defeat bravely, + follows him. + + EXT. MRS. KANE'S BOARDINGHOUSE - DAY - + + Kane, in the snow-covered field. With the snowman between him + and the house, he is holding the sled in his hand, just about + to make the little run that prefaces a belly-flop. The Kane + house, in the background, is a dilapidated, shabby, two-story + frame building, with a wooden outhouse. Kane looks up as he + sees the single file procession, Mrs. Kane at its head, coming + toward him. + + KANE + H'ya, Mom. + + Mrs. Kane smiles. + + KANE + (gesturing at the + snowman) + See, Mom? I took the pipe out of + his mouth. If it keeps on snowin', + maybe I'll make some teeth and - + + MRS. KANE + You better come inside, son. You + and I have got to get you all ready + for - for - + + THATCHER + Charles, my name is Mr. Thatcher - + + MRS. KANE + This is Mr. Thatcher, Charles. + + THATCHER + How do you do, Charles? + + KANE SR. + He comes from the east. + + KANE + Hello. Hello, Pop. + + KANE SR. + Hello, Charlie! + + MRS. KANE + Mr. Thatcher is going to take you + on a trip with him tonight, Charles. + You'll be leaving on Number Ten. + + KANE SR. + That's the train with all the + lights. + + KANE + You goin', Mom? + + THATCHER + Your mother won't be going right + away, Charles - + + KANE + Where'm I going? + + KANE SR. + You're going to see Chicago and + New York - and Washington, maybe... + Isn't he, Mr. Thatcher? + + THATCHER + (heartily) + He certainly is. I wish I were a + little boy and going to make a + trip like that for the first time. + + KANE + Why aren't you comin' with us, + Mom? + + MRS. KANE + We have to stay here, Charles. + + KANE SR. + You're going to live with Mr. + Thatcher from now on, Charlie! + You're going to be rich. Your Ma + figures - that is, re - she and I + have decided that this isn't the + place for you to grow up in. + You'll probably be the richest man + in America someday and you ought + to - + + MRS. KANE + You won't be lonely, Charles... + + THATCHER + We're going to have a lot of good + times together, Charles... Really + we are. + + Kane stares at him. + + THATCHER + Come on, Charles. Let's shake + hands. + (extends his hand. + Charles continues + to look at him) + Now, now! I'm not as frightening + as all that! Let's shake, what do + you say? + + He reaches out for Charles's hand. Without a word, Charles + hits him in the stomach with the sled. Thatcher stumbles back + a few feet, gasping. + + THATCHER + (with a sickly grin) + You almost hurt me, Charles. + (moves towards him) + Sleds aren't to hit people with. + Sleds are to - to sleigh on. When + we get to New York, Charles, we'll + get you a sled that will - + + He's near enough to try to put a hand on Kane's shoulder. As + he does, Kane kicks him in the ankle. + + MRS. KANE + Charles! + + He throws himself on her, his arms around her. Slowly Mrs. + Kane puts her arms around him. + + KANE + (frightened) + Mom! Mom! + + MRS. KANE + It's all right, Charles, it's all + right. + + Thatcher is looking on indignantly, occasionally bending over + to rub his ankle. + + KANE SR. + Sorry, Mr. Thatcher! What the kid + needs is a good thrashing! + + MRS. KANE + That's what you think, is it, Jim? + + KANE SR. + Yes. + + Mrs. Kane looks slowly at Mr. Kane. + + MRS. KANE + (slowly) + That's why he's going to be brought + up where you can't get at him. + + DISSOLVE: + + 1870 - NIGHT (STOCK OR MINIATURE) + + Old-fashioned railroad wheels underneath a sleeper, spinning + along the track. + + DISSOLVE: + + INT. TRAIN - OLD-FASHIONED DRAWING ROOM - NIGHT - + + Thatcher, with a look of mingled exasperation, annoyance, + sympathy and inability to handle the situation, is standing + alongside a berth, looking at Kane. Kane, his face in the + pillow, is crying with heartbreaking sobs. + + KANE + Mom! Mom! + + DISSOLVE OUT: + + The white page of the Thatcher manuscript. We pick up the + words: + + "HE WAS, I REPEAT, A COMMON ADVENTURER, SPOILED, UNSCRUPULOUS, + IRRESPONSIBLE." + + The words are followed by printed headline on "Enquirer" copy + (as in following scene). + + INT. ENQUIRER CITY ROOM - DAY - + + Close-up on printed headline which reads: + + "ENEMY ARMADA OFF JERSEY COAST" + + Camera pulls back to reveal Thatcher holding the "Enquirer" + copy, on which we read the headline. He is standing near the + editorial round table around which a section of the staff, + including Reilly, Leland and Kane are eating lunch. + + THATCHER + (coldly) + Is that really your idea of how to + run a newspaper? + + KANE + I don't know how to run a newspaper, + Mr. Thatcher. I just try everything + I can think of. + + THATCHER + (reading headline + of paper he is + still holding) + "Enemy Armada Off Jersey Coast." + You know you haven't the slightest + proof that this - this armada - is + off the Jersey Coast. + + KANE + Can you prove it isn't? + + Bernstein has come into the picture. He has a cable in his + hand. He stops when he sees Thatcher. + + KANE + Mr. Bernstein, Mr. Thatcher - + + BERNSTEIN + How are you, Mr. Thatcher? + + THATCHER + How do you do? - + + BERNSTEIN + We just had a wire from Cuba, Mr. + Kane - + (stops, embarrassed) + + KANE + That's all right. We have no + secrets from our readers. Mr. + Thatcher is one of our most devoted + readers, Mr. Bernstein. He knows + what's wrong with every issue since + I've taken charge. What's the + cable? + + BERNSTEIN + (reading) + The food is marvelous in Cuba the + senoritas are beautiful stop I + could send you prose poems of palm + trees and sunrises and tropical + colors blending in far off + landscapes but don't feel right in + spending your money for this stop + there's no war in Cuba regards + Wheeler. + + THATCHER + You see! There hasn't been a true + word - + + KANE + I think we'll have to send our + friend Wheeler a cable, Mr. + Bernstein. Of course, we'll have + to make it shorter than his, because + he's working on an expense account + and we're not. Let me see - + (snaps his fingers) + Mike! + + MIKE + (a fairly tough + customer prepares + to take dictation, + his mouth still + full of food) + Go ahead, Mr. Kane. + + KANE + Dear Wheeler - + (pauses a moment) + You provide the prose poems - I'll + provide the war. + + Laughter from the boys and girls at the table. + + BERNSTEIN + That's fine, Mr. Kane. + + KANE + I rather like it myself. Send it + right away. + + MIKE + Right away. + + BERNSTEIN + Right away. + + Mike and Bernstein leave. Kane looks up, grinning at Thatcher, + who is bursting with indignation but controls himself. After + a moment of indecision, he decides to make one last try. + + THATCHER + I came to see you, Charles, about + your - about the Enquirer's campaign + against the Metropolitan Transfer + Company. + + KANE + Won't you step into my office, Mr. + Thatcher? + + They cross the City Room together. + + THATCHER + I think I should remind you, + Charles, of a fact you seem to + have forgotten. You are yourself + one of the largest individual + stockholders. + + INT. KANE'S OFFICE - DAY - + + Kane holds the door open for Thatcher. They come in together. + + KANE + Mr. Thatcher, isn't everything + I've been saying in the Enquirer + about the traction trust absolutely + true? + + THATCHER + (angrily) + They're all part of your general + attack - your senseless attack - + on everything and everybody who's + got more than ten cents in his + pocket. They're - + + KANE + The trouble is, Mr. Thatcher, you + don't realize you're talking to + two people. + + Kane moves around behind his desk. Thatcher doesn't understand, + looks at him. + + KANE + As Charles Foster Kane, who has + eighty-two thousand, six hundred + and thirty-one shares of + Metropolitan Transfer - you see, I + do have a rough idea of my holdings - + I sympathize with you. Charles + Foster Kane is a dangerous + scoundrel, his paper should be run + out of town and a committee should + be formed to boycott him. You + may, if you can form such a + committee, put me down for a + contribution of one thousand + dollars. + + THATCHER + (angrily) + Charles, my time is too valuable + for me - + + KANE + On the other hand - + (his manner becomes + serious) + I am the publisher of the Enquirer. + As such, it is my duty - I'll let + you in on a little secret, it is + also my pleasure - to see to it + that decent, hard-working people + of this city are not robbed blind + by a group of money - mad pirates + because, God help them, they have + no one to look after their + interests! I'll let you in on + another little secret, Mr. Thatcher. + I think I'm the man to do it. You + see, I have money and property - + + Thatcher doesn't understand him. + + KANE + If I don't defend the interests of + the underprivileged, somebody else + will - maybe somebody without any + money or any property and that + would be too bad. + + Thatcher glares at him, unable to answer. Kane starts to dance. + + KANE + Do you know how to tap, Mr. + Thatcher? You ought to learn - + (humming quietly, + he continues to + dance) + + Thatcher puts on his hat. + + THATCHER + I happened to see your consolidated + statement yesterday, Charles. + Could I not suggest to you that it + is unwise for you to continue this + philanthropic enterprise - + (sneeringly) + this Enquirer - that is costing + you one million dollars a year? + + KANE + You're right. We did lose a million + dollars last year. + + Thatcher thinks maybe the point has registered. + + KANE + We expect to lost a million next + year, too. You know, Mr. Thatcher - + (starts tapping + quietly) + at the rate of a million a year - + we'll have to close this place in + sixty years. + + DISSOLVE: + + INT. THE VAULT ROOM - THATCHER MEMORIAL LIBRARY - DAY + + Thompson - at the desk. With a gesture of annoyance, he is + closing the manuscript. + + Camera arcs quickly around from over his shoulder to hold on + door behind him, missing his face as he rises and turns to + confront Miss Anderson, who has come into the room to shoo him + out. Very prominent on this wall is an over-sized oil painting + of Thatcher in the best Union League Club renaissance style. + + MISS ANDERSON + You have enjoyed a very rare + privilege, young man. Did you + find what you were looking for? + + THOMPSON + No. Tell me something, Miss + Anderson. You're not Rosebud, are + you? + + MISS ANDERSON + What? + + THOMPSON + I didn't think you were. Well, + thanks for the use of the hall. + + He puts his hat on his head and starts out, lighting a cigarette + as he goes. Miss Anderson, scandalized, watches him. + + FADE OUT: + + FADE IN: + + INT. BERNSTEIN'S OFFICE - ENQUIRER SKYSCRAPER - DAY - + + Closeup of a still of Kane, aged about sixty-five. Camera + pulls back, showing it is a framed photograph on the wall. + Over the picture are crossed American flags. Under it sits + Bernstein, back of his desk. Bernstein, always an undersized + Jew, now seems even smaller than in his youth. He is bald as + an egg, spry, with remarkably intense eyes. As camera continues + to travel back, the back of Thompson's head and his shoulders + come into the picture. + + BERNSTEIN + (wryly) + Who's a busy man? Me? I'm Chairman + of the Board. I got nothing but + time ... What do you want to know? + + THOMPSON + (still explaining) + Well, Mr. Bernstein, you were with + Mr. Kane from the very beginning - + + BERNSTEIN + From before the beginning, young + fellow. And now it's after the + end. + (turns to Thompson) + Anything you want to know about + him - about the paper - + + THOMPSON + - We thought maybe, if we can + find out what he meant by that + last word - as he was dying - + + BERNSTEIN + That Rosebud? Maybe some girl? + There were a lot of them back in + the early days, and - + + THOMPSON + Not some girl he knew casually and + then remembered after fifty years, + on his death bed - + + BERNSTEIN + You're pretty young, Mr. - + (remembers the name) + Mr. Thompson. A fellow will + remember things you wouldn't think + he'd remember. You take me. One + day, back in 1896, I was crossing + over to Jersey on a ferry and as + we pulled out, there was another + ferry pulling in - + (slowly) + - and on it, there was a girl + waiting to get off. A white dress + she had on - and she was carrying + a white pastrol - and I only saw + her for one second and she didn't + see me at all - but I'll bet a + month hasn't gone by since that I + haven't thought of that girl. + (triumphantly) + See what I mean? + (smiles) + Well, so what are you doing about + this "Rosebud," Mr. Thompson. + + THOMPSON + I'm calling on people who knew Mr. + Kane. I'm calling on you. + + BERNSTEIN + Who else you been to see? + + THOMPSON + Well, I went down to Atlantic City - + + BERNSTEIN + Susie? I called her myself the + day after he died. I thought maybe + somebody ought to... + (sadly) + She couldn't even come to the + 'phone. + + THOMPSON + You know why? She was so - + + BERNSTEIN + Sure, sure. + + THOMPSON + I'm going back there. + + BERNSTEIN + Who else did you see? + + THOMPSON + Nobody else, but I've been through + that stuff of Walter Thatcher's. + That journal of his - + + BERNSTEIN + Thatcher! That man was the biggest + darn fool I ever met - + + THOMPSON + He made an awful lot of money. + + BERNSTEIN + It's not trick to make an awful + lot of money if all you want is to + make a lot of money. + (his eyes get + reflective) + Thatcher! + + Bernstein looks out of the window and keeps on looking, seeming + to see something as he talks. + + BERNSTEIN + He never knew there was anything + in the world but money. That kind + of fellow you can fool every day + in the week - and twice on Sundays! + (reflectively) + The time he came to Rome for Mr. + Kane's twenty-fifth birthday... + You know, when Mr. Kane got control + of his own + money... Such a fool like Thatcher - + I tell you, nobody's business! + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. BERNSTEIN'S OFFICE - DAY - + + Bernstein speaking to Thompson. + + BERNSTEIN + He knew what he wanted, Mr. Kane + did, and he got it! Thatcher never + did figure him out. He was hard + to figure sometimes, even for me. + Mr. Kane was a genius like he said. + He had that funny sense of humor. + Sometimes even I didn't get the + joke. Like that night the opera + house of his opened in Chicago... + You know, the opera house he built + for Susie, she should be an opera + singer... + (indicates with a + little wave of his + hand what he thinks + of that; sighing) + That was years later, of course - + 1914 it was. Mrs. Kane took the + leading part in the opera, and she + was terrible. But nobody had the + nerve to say so - not even the + critics. Mr. Kane was a big man + in those days. But this one fellow, + this friend of his, Branford Leland - + + He leaves the sentence up in the air, as we + + DISSOLVE: + + INT. CITY ROOM - CHICAGO ENQUIRER - NIGHT - + + It is late. The room is almost empty. Nobody is at work at + the desks. Bernstein, fifty, is waiting anxiously with a little + group of Kane's hirelings, most of them in evening dress with + overcoats and hats. Eveybody is tense and expectant. + + CITY EDITOR + (turns to a young + hireling; quietly) + What about Branford Leland? Has + he got in his copy? + + HIRELING + Not yet. + + BERNSTEIN + Go in and ask him to hurry. + + CITY EDITOR + Well, why don't you, Mr. Bernstein? + You know Mr. Leland. + + BERNSTEIN + (looks at him for a + moment; then slowly) + I might make him nervous. + + CITY EDITOR + (after a pause) + You and Leland and Mr. Kane - you + were great friends back in the old + days, I understand. + + BERNSTEIN + (with a smile) + That's right. They called us the + "Three Musketeers." + + Somebody behind Bernstein has trouble concealing his laughter. + The City Editor speaks quickly to cover the situation. + + CITY EDITOR + He's a great guy - Leland. + (another little + pause) + Why'd he ever leave New York? + + BERNSTEIN + (he isn't saying) + That's a long story. + + ANOTHER HIRELING + (a tactless one) + Wasn't there some sort of quarrel + between - + + BERNSTEIN + (quickly) + I had nothing to do with it. + (then, somberly) + It was Leland and Mr. Kane, and + you couldn't call it a quarrel + exactly. Better we should forget + such things - + (turning to City + Editor) + Leland is writing it up from the + dramatic angle? + + CITY EDITOR + Yes. I thought it was a good idea. + We've covered it from the news + end, of course. + + BERNSTEIN + And the social. How about the + music notice? You got that in? + + CITY EDITOR + Oh, yes, it's already made up. + Our Mr. Mervin wrote a small review. + + BERNSTEIN + Enthusiastic? + + CITY EDITOR + Yes, very! + (quietly) + Naturally. + + BERNSTEIN + Well, well - isn't that nice? + + KANE'S VOICE + Mr. Bernstein - + + Bernstein turns. + + Medium long shot of Kane, now forty-nine, already quite stout. + He is in white tie, wearing his overcoat and carrying a folded + opera hat. + + BERNSTEIN + Hello, Mr. Kane. + + The Hirelings rush, with Bernstein, to Kane's side. Widespread, + half-suppressed sensation. + + CITY EDITOR + Mr. Kane, this is a surprise! + + KANE + We've got a nice plant here. + + Everybody falls silent. There isn't anything to say. + + KANE + Was the show covered by every + department? + + CITY EDITOR + Exactly according to your + instructions, Mr. Kane. We've got + two spreads of pictures. + + KANE + (very, very casually) + And the notice? + + CITY EDITOR + Yes - Mr. Kane. + + KANE + (quietly) + Is it good? + + CITY EDITOR + Yes, Mr. kane. + + Kane looks at him for a minute. + + CITY EDITOR + But there's another one still to + come - the dramatic notice. + + KANE + (sharply) + It isn't finished? + + CITY EDITOR + No, Mr. Kane. + + KANE + That's Leland, isn't it? + + CITY EDITOR + Yes, Mr. Kane. + + KANE + Has he said when he'll finish? + + CITY EDITOR + We haven't heard from him. + + KANE + He used to work fast - didn't he, + Mr. Bernstein? + + BERNSTEIN + He sure did, Mr. Kane. + + KANE + Where is he? + + ANOTHER HIRELING + Right in there, Mr. Kane. + + The Hireling indicates the closed glass door of a little office + at the other end of the City Room. Kane takes it in. + + BERNSTEIN + (helpless, but very + concerned) + MR. KANE - + + KANE + That's all right, Mr. Bernstein. + + Kane crosses the length of the long City Room to the glass + door indicated before by the Hireling. The City Editor looks + at Bernstein. Kane opens the door and goes into the office, + closing the door behind him. + + BERNSTEIN + Leland and Mr. Kane - they haven't + spoke together for ten years. + (long pause; finally) + Excuse me. + (starts toward the + door) + + INT. LELAND'S OFFICE - CHICAGO ENQUIRER - NIGHT - + + Bernstein comes in. An empty bottle is standing on Leland's + desk. He has fallen over his typewriter, his face on the keys. + A sheet of paper is in the machine. A paragraph has been typed. + Kane is standing at the other side of the desk looking down on + him. This is the first time we see murder in Kane's face. + Bernstein looks at Kane, then crosses to Leland. He shakes + him. + + BERNSTEIN + Hey, Brad! Brad! + (he straightens, + looks at Kane; + pause) + He ain't been drinking before, Mr. + Kane. Never. We would have heard. + + KANE + (finally; after a + pause) + What does it say there? + + Bernstein stares at him. + + KANE + What's he written? + + Bernstein looks over nearsightedly, painfully reading the + paragraph written on the page. + + BERNSTEIN + (reading) + "Miss Susan Alexander, a pretty + but hopelessly incompetent amateur - + (he waits for a + minute to catch + his breath; he + doesn't like it) + - last night opened the new Chicago + Opera House in a performance of - + of -" + (looks up miserably) + I can't pronounce that name, Mr. + Kane. + + KANE + Thais. + + Bernstein looks at Kane for a moment, then looks back, tortured. + + BERNSTEIN + (reading again) + "Her singing, happily, is no concern + of this department. Of her acting, + it is absolutely impossible to..." + (he continues to + stare at the page) + + KANE + (after a short + silence) + Go on! + + BERNSTEIN + (without looking up) + That's all there is. + + Kane snatches the paper from the roller and reads it for + himself. Slowly, a queer look comes over his face. Then he + speaks, very quietly. + + KANE + Of her acting, it is absolutely + impossible to say anything except + that it represents a new low... + (then sharply) + Have you got that, Mr. Bernstein? + In the opinion of this reviewer - + + BERNSTEIN + (miserably) + I didn't see that. + + KANE + It isn't here, Mr. Bernstein. I'm + dictating it. + + BERNSTEIN + (looks at him) + I can't take shorthand. + + KANE + Get me a typewriter. I'll finish + the notice. + + Bernstein retreats from the room. + + QUICK DISSOLVE OUT: + + QUICK DISSOLVE IN: + + INT. LELAND'S OFFICE - CHICAGO ENQUIRER - NIGHT - + + Long shot of Kane in his shirt sleeves, illuminated by a desk + light, typing furiously. As the camera starts to pull even + farther away from this, and as Bernstein - as narrator - begins + to speak - + + QUICK DISSOLVE: + + INT. BERNSTEIN'S OFFICE - DAY - + + Bernstein speaking to Thompson. + + BERNSTEIN + He finished it. He wrote the worst + notice I ever read about the girl + he loved. We ran it in every paper. + + THOMPSON + (after a pause) + I guess Mr. Kane didn't think so + well of Susie's art anyway. + + BERNSTEIN + (looks at him very + soberly) + He thought she was great, Mr. + Thompson. He really believed that. + He put all his ambition on that + girl. After she came along, he + never really cared for himself + like he used to. Oh, I don't + blame Susie - + + THOMPSON + Well, then, how could he write + that roast? The notices in the + Kane papers were always very kind + to her. + + BERNSTEIN + Oh, yes. He saw to that. I tell + you, Mr. Thompson, he was a hard + man to figure out. He had that + funny sense of humor. And then, + too, maybe he thought by finishing + that piece he could show Leland he + was an honest man. You see, Leland + didn't think so. I guess he showed + him all right. He's a nice fellow, + but he's a dreamer. They were + always together in those early + days when we just started the + Enquirer. + + On these last words, we + + DISSOLVE: + + INT. CITY ROOM - ENQUIRER BUILDING - DAY - + + The front half of the second floor constitutes one large City + Room. Despite the brilliant sunshine outside, very little of + it is actually getting into the room because the windows are + small and narrow. There are about a dozen tables and desks, + of the old-fashioned type, not flat, available for reporters. + Two tables, on a raised platform at the end of the room, + obviously serve the city room executives. To the left of the + platform is an open door which leads into the Sanctrum. + + As Kane and Leland enter the room, an elderly, stout gent on + the raised platform, strikes a bell and the other eight + occupants of the room - all men - rise and face the new + arrivals. Carter, the elderly gent, in formal clothes, rises + and starts toward them. + + CARTER + Welcome, Mr. Kane, to the + "Enquirer." I am Herbert Carter. + + KANE + Thank you, Mr Carter. This is Mr. + Leland. + + CARTER + (bowing) + How do you do, Mr. Leland? + + KANE + (pointing to the + standing reporters) + Are they standing for me? + + CARTER + I thought it would be a nice gesture + the new publisher - + + KANE + (grinning) + Ask them to sit down. + + CARTER + You may resume your work, gentlemen. + (to Kane) + I didn't know your plans and so I + was unable to make any preparations. + + KANE + I don't my plans myself. + + They are following Carter to his raised platform. + + KANE + As a matter of fact, I haven't got + any. Except to get out a newspaper. + + There is a terrific crash at the doorway. They all turn to + see Bernstein sprawled at the entrance. A roll of bedding, a + suitcase, and two framed pictures were too much for him. + + KANE + Oh, Mr. Bernstein! + + Bernstein looks up. + + KANE + If you would come here a moment, + please, Mr. Bernstein? + + Bernstein rises and comes over, tidying himself as he comes. + + KANE + Mr. Carter, this is Mr. Bernstein. + Mr. Bernstein is my general manager. + + CARTER + (frigidly) + How do you do, Mr. Bernstein? + + KANE + You've got a private office here, + haven't you? + + The delivery wagon driver has now appeared in the entrance + with parts of the bedstead and other furniture. He is looking + about, a bit bewildered. + + CARTER + (indicating open + door to left of + platform) + My little sanctum is at your + disposal. But I don't think I + understand - + + KANE + I'm going to live right here. + (reflectively) + As long as I have to. + + CARTER + But a morning newspaper, Mr. Kane. + After all, we're practically closed + twelve hours a day - except for + the business offices - + + KANE + That's one of the things I think + must be changed, Mr. Carter. The + news goes on for twenty-four hours + a day. + + DISSOLVE: + + INT. KANE'S OFFICE - LATE DAY - + + Kane, in his shirt sleeves, at a roll-top desk in the Sanctum, + is working feverishly on copy and eating a very sizeable meal + at the same time. Carter, still formally coated, is seated + alongside him. Leland, seated in a corner, is looking on, + detached, amused. The furniture has been pushed around and + Kane's effects are somewhat in place. On a corner of the desk, + Bernstein is writing down figures. No one pays any attention + to him. + + KANE + I'm not criticizing, Mr. Carter, + but here's what I mean. There's a + front page story in the "Chronicle," + (points to it) + and a picture - of a woman in + Brooklyn who is missing. Probably + murdered. + (looks to make sure + of the name) + A Mrs. Harry Silverstone. Why + didn't the "Enquirer" have that + this morning? + + CARTER + (stiffly) + Because we're running a newspaper, + Mr. Kane, not a scandal sheet. + + Kane has finished eating. He pushes away his plates. + + KANE + I'm still hungry, Brad. Let's go + to Rector's and get something + decent. + (pointing to the + "Chronicle" before + him) + The "Chronicle" has a two-column + headline, Mr. Carter. Why haven't + we? + + CARTER + There is no news big enough. + + KANE + If the headline is big enough, it + makes the new big enough. The + murder of Mrs. Harry Silverstone - + + CARTER + (hotly) + As a matter of fact, we sent a man + to the Silverstone home yesterday + afternoon. + (triumphantly) + Our man even arrived before the + "Chronicle" reporter. And there's + no proof that the woman was murdered - + or even that she's dead. + + KANE + (smiling a bit) + The "Chronicle" doesn't say she's + murdered, Mr. Carter. It says the + neighbors are getting suspicious. + + CARTER + (stiffly) + It's not our function to report + the gossip of housewives. If we + were interested in that kind of + thing, Mr. Kane, we could fill the + paper twice over daily - + + KANE + (gently) + That's the kind of thing we are + going to be interested in from now + on, Mr. Carter. Right now, I wish + you'd send your best man up to see + Mr. Silverstone. Have him tell + Mr. Silverstone if he doesn't + produce his wife at once, the + "Enquirer" will have him arrested. + (he gets an idea) + Have him tell Mr. Silverstone he's + a detective from the Central Office. + If Mr. Silverstone asks to see his + badge, your man is to get indignant + and call Mr. Silverstone an + anarchist. + + Loudly, so that the neighbors can hear. + + CARTER + Really, Mr. Kane, I can't see the + function of a respectable newspaper - + + Kane isn't listening to him. + + KANE + Oh, Mr. Bernstein! + + Bernstein looks up from his figures. + + KANE + I've just made a shocking discovery. + The "Enquirer" is without a + telephone. Have two installed at + once! + + BERNSTEIN + I ordered six already this morning! + Got a discount! + + Kane looks at Leland with a fond nod of his head at Bernstein. + Leland grins back. Mr. Carter, meantime, has risen stiffly. + + CARTER + But, Mr. Kane - + + KANE + That'll be all today, Mr. Carter. + You've been most understanding. + Good day, Mr. Carter! + + Carter, with a look that runs just short of apoplexy, leaves + the room, closing the door behind him. + + LELAND + Poor Mr. Carter! + + KANE + (shakes his head) + What makes those fellows think + that a newspaper is something rigid, + something inflexible, that people + are supposed to pay two cents for - + + BERNSTEIN + (without looking up) + Three cents. + + KANE + (calmly) + Two cents. + + Bernstein lifts his head and looks at Kane. Kane gazes back + at him. + + BERNSTEIN + (tapping on the + paper) + This is all figured at three cents + a copy. + + KANE + Re-figure it, Mr. Bernstein, at + two cents. + + BERNSTEIN + (sighs and puts + papers in his pocket) + All right, but I'll keep these + figures, too, just in case. + + KANE + Ready for dinner, Brad? + + BERNSTEIN + Mr. Leland, if Mr. Kane, he should + decide to drop the price to one + cent, or maybe even he should make + up his mind to give the paper away + with a half-pound of tea - you'll + just hold him until I get back, + won't you? + + LELAND + I'm not guaranteeing a thing, Mr. + Bernstein. You people work too + fast for me! Talk about new brooms! + + BERNSTEIN + Who said anything about brooms? + + KANE + It's a saying, Mr. Bernstein. A + new broom sweeps clean. + + BERNSTEIN + Oh! + + DISSOLVE: + + INT.PRIMITIVE COMPOSING AND PRESSROOM - NEW YORK ENQUIRER - + NIGHT - + + The ground floor witht he windows on the street - of the + "Enquirer." It is almost midnight by an old-fashioned clock + on the wall. Grouped around a large table, on which are several + locked forms of type, very old-fashioned of course, but true + to the period - are Kane and Leland in elegant evening clothes, + Bernstein, unchanged from the afternoon, and Smathers, the + composing room foreman, nervous and harassed. + + SMATHERS + But it's impossible, Mr. Kane. We + can't remake these pages. + + KANE + These pages aren't made up as I + want them, Mr. Smathers. We go to + press in five minutes. + + CARTER + (about to crack up) + The "Enquirer" has an old and + honored tradition, Mr. Kane... + The "Enquirer" is not in competition + with those other rags. + + BERNSTEIN + We should be publishing such rags, + that's all I wish. Why, the + "Enquirer" - I wouldn't wrap up + the liver for the cat in the + "Enquirer" - + + CARTER + (enraged) + Mr. Kane, I must ask you to see to + it that this - this person learns + to control his tongue. + + Kane looks up. + + CARTER + I've been a newspaperman my whole + life and I don't intend - + (he starts to sputter) + - if it's your intention that I + should continue to be harassed by + this - this - + (he's really sore) + I warn you, Mr. Kane, it would go + against my grain to desert you + when you need me so badly - but I + would feel obliged to ask that my + resignation be accepted. + + KANE + It is accepted, Mr. Carter, with + assurances of my deepest regard. + + CARTER + But Mr. Kane, I meant - + + Kane turns his back on him, speaks again to the composing room + foreman. + + KANE + (quietly) + Let's remake these pages, Mr. + Smathers. We'll have to publish a + half hour late, that's all. + + SMATHERS + (as though Kane + were talking Greek) + We can't remake them, Mr. Kane. + We go to press in five minutes. + + Kane sighs, unperturbed, as he reaches out his hand and shoves + the forms off the table onto the floor, where they scatter + into hundreds of bits. + + KANE + You can remake them now, can't + you, Mr. Smathers? + + Smather's mouth opens wider and wider. Bradford and Bernstein + are grinning. + + KANE + After the types 've been reset and + the pages have been remade according + to the way I told you before, Mr. + Smathers, kindly have proofs pulled + and bring them to me. Then, if I + can't find any way to improve them + again - + (almost as if + reluctantly) + - I suppose we'll have to go to + press. + + He starts out of the room, followed by Leland. + + BERNSTEIN + (to Smathers) + In case you don't understand, Mr. + Smathers - he's a new broom. + + DISSOLVE OUT: + + DISSOLVE IN: + + EXT. NEW YORK STREET - VERY EARLY DAWN - + + The picture is mainly occupied by a large building, on the + roof of which the lights spell out the word "Enquirer" against + the sunrise. We do not see the street or the first few stories + of this building, the windows of which would be certainly + illuminated. What we do see is the floor on which is located + the City Room. Over this scene, newboys are heard selling the + Chronicle, their voices growing in volume. + + As the dissolve complete itself, camera moves toward the one + lighted window - the window of the Sanctrum. + + DISSOLVE: + + INT. KANE'S OFFICE - VERY EARLY DAWN - + + The newsboys are still heard from the street below - fainter + but very insistent. + + Kane's office is gas-lit, of course, as is the rest of the + Enquirer building. + + Kane, in his shirt sleeves, stands at the open window looking + out. The bed is already made up. On it is seated Bernstein, + smoking the end of a cigar. Leland is in a chair. + + NEWSBOYS' VOICES + CHRONICLE! CHRONICLE! H'YA - THE + CHRONICLE - GET YA! CHRONICLE! + + Kane, taking a deep breath of the morning air, closes the window + and turns to the others. The voices of the newsboys, naturally, + are very much fainter after this. + + LELAND + We'll be on the street soon, Charlie - + another ten minutes. + + BERNSTEIN + (looking at his + watch) + It's three hours and fifty minutes + late - but we did it - + + Leland rises from the chair, stretching painfully. + + KANE + Tired? + + LELAND + It's been a tough day. + + KANE + A wasted day. + + BERNSTEIN + (looking up) + Wasted? + + LELAND + (incredulously) + Charlie?! + + BERNSTEIN + You just made the paper over four + times today, Mr. Kane. That's all - + + KANE + I've changed the front page a + little, Mr. Bernstein. That's not + enough - There's something I've + got to get into this paper besides + pictures and print - I've got to + make the "New York Enquirer" as + important to New York as the gas + in that light. + + LELAND + (quietly) + What're you going to do, Charlie? + + Kane looks at him for a minute with a queer smile of happy + concentration. + + KANE + My Declaration of Principles - + (he says it with + quotes around it) + Don't smile, Brad - + (getting the idea) + Take dictation, Mr. Bernstein - + + BERNSTEIN + Can't take shorthand, Mr. Kane - + + KANE + I'll write it myself. + + Kane grabs a piece of rough paper and a grease crayon. Sitting + down on the bed next to Bernstein, he starts to write. + + BERNSTEIN + (looking over his + shoulder) + You don't wanta make any promises, + Mr. Kane, you don't wanta keep. + + KANE + (as he writes) + These'll be kept. + (stops for a minute + and reads what he + has written; reading) + I'll provide the people of this + city with a daily paper that will + tell all the news honestly. + (starts to write + again; reading as + he writes) + will also provide them - + + LELAND + That's the second sentence you've + started with "I" - + + KANE + (looking up) + People are going to know who's + responsible. And they're going to + get the news - the true news - + quickly and simply and + entertainingly. + (he speaks with + real conviction) + And no special interests will be + allowed to interfere with the truth + of that news. + + He looks at Leland for a minute and goes back to his writing, + reading as he writes. + + Bernstein has risen and crossed to one side of Kane. They + both stand looking out. Leland joins him on the other side. + Their three heads are silhouetted against the sky. Leland's + head is seen to turn slightly as he looks into Kane's face - + camera very close on this - Kane turns to him and we know their + eyes have met, although their faces are almost in sillhouette. + Bernstein is still smoking a cigar. + + DISSOLVE: + + Front page of the "Enquirer" shows big boxed editorial with + heading: + + MY PRINCIPLES - A DECLARATION BY CHARLES FOSTER KANE + + Camera continues pulling back and shows newspaper to be on the + top of a pile of newspapers. As we draw further back, we see + four piles, and as camera contines to pull back, we see six + piles and go on back until we see a big field of "Enquirers" - + piles of "Enquirers" - all 26,000 copies ready for distribution. + + A wagon with a huge sign on its side reading + + "ENQUIRER - CIRCULATION 26,000" + + passes through foreground, and we wipe to: + + A pile of "Enquirers" for sale on a broken down wooden box on + a street corner, obviously a poor district. A couple of coins + fall on the pile. + + The stoop of a period door with old-fashioned enamel milk can + and a bag of rolls. Across the sidewalk before this, moves + the shadow of an old-fashioned bicycle with an enormous front + wheel. A copy of the "Enquirer" is tossed on the stoop. + + A breakfast table - beautiful linen and beautiful silver - + everything very expensive, gleaming in the sunshine. Into a + silver newspaper rack there is slipped a copy of the "Enquirer". + Here, as before, the boxed editorial reading MY PRINCIPLES - A + DECLARATION BY CHARLES FOSTER KANE, is very prominent on the + front page. + + The wooden floor of a railroad station, flashing light and + dark as a train behind the camera rushes by. On the floor, + there is tossed a bound bundle of the "New York Enquirer" - + the Declaration of Principles still prominent. + + Rural Delivery - a copy of the "Enquirer"s being put into bins, + showing state distribution. + + The railroad platform again. We stay here for four images. + On each image, the speed of the train is faster and the piles + of the "Enquirer" are larger. On the first image, we move in + to hold on the words "CIRCULATION - 31,000." We are this close + for the next pile which reads 40,000; the next one which reads + 55,000, and the last which is 62,000. In each instance, the + bundles of newspapers are thicker and the speed of the moving + train behind the camera is increased. + + The entire montage above indicated is accompanied by a + descriptive complement of sound - the traffic noises of New + York in the 1890's; wheels on cobblestones and horses' hooves; + bicycle bells; the mooning of cattle and the crowing of roosters + (in the RFD shot), and in all cases where the railroad platform + is used - the mounting sound of the railroad train. + + The last figure "62,000" opposite the word "CIRCULATION" on + the "Enquirer" masthead changes to: + + EXT. STREET AND CHRONICLE BUIDING - DAY - + + Angle up to wall of building - a painter on a cradle is putting + the last zero to the figure "62,000" on an enormous sign + advertising the "Enquirer." It reads: + + THE ENQUIRER THE PEOPLE'S NEWSPAPER CIRCULATION 62,000 + + Camera travels down side of building - takes in another building + on which there is a sign which reads: + + READ THE ENQUIRER AMERICA'S FINEST CIRCULATION 62,000 + + Camera continues to travel down to sidewalk in front of the + Chronicle office. The Chronicle office has a plateglass window + in which is reflected traffic moving up and down the street, + also the figures of Kane, Leland and Bernstein, who are munching + peanuts. + + Inside the window, almost filling it, is a large photograph of + the "Chronicle" staff, with Reilly prominently seated in the + center. A sign over the photo reads: EDITORIAL AND EXECUTIVE + STAFF OF THE NEW YORK CHRONICLE. A sign beneath it reads: + GREATEST NEWSPAPER STAFF IN THE WORLD. The sign also includes + the "Chronicle" circulation figure. There are nine men in the + photo. + + BERNSTEIN + (looking up at the + sign - happily) + Sixty-two thousand - + + LELAND + That looks pretty nice. + + KANE + (indicating the + Chronicle Building) + Let's hope they like it there. + + BERNSTEIN + From the Chronicle Building that + sign is the biggest thing you can + see - every floor guaranteed - + let's hope it bothers them - it + cost us enough. + + KANE + (pointing to the + sign over the + photograph in the + window) + Look at that. + + LELAND + The "Chronicle" is a good newspaper. + + KANE + It's a good idea for a newspaper. + (reading the figures) + Four hundred sixy thousand. + + BERNSTEIN + Say, with them fellows - + (referring to the + photo) + - it's no trick to get circulation. + + KANE + You're right, Mr. Bernstein. + + BERNSTEIN + (sighs) + You know how long it took the + "Chronicle" to get that staff + together? Twenty years. + + KANE + I know. + + Kane, smiling, lights a cigarette, at the same time looking + into the window. Camera moves in to hold on the photograph of + nine men, still holding the reflection of Kane's smiling face. + + DISSOLVE: + + INT. CITY ROOM - THE ENQUIRER - NIGHT - + + Nine men, arrayed as in the photograph, but with Kane beaming + in the center of the first row. The men, variously with + mustaches, beards, bald heads, etc. are easily identified as + being the same men, Reilly prominent amongst them. + + As camera pulls back, it is revealed that they are being + photographed - by an old-type professional photographer, big + box, black hood and all - in a corner of the room. It is 1:30 + at night. Desks, etc. have been pushed against the wall. + Running down the center of the room is a long banquet table, + at which twenty diners have finished their meals. The eleven + remaining at their seats - these include Bernstein and Leland - + are amusedly watching the photographic ceremonies. + + PHOTOGRAPHER + That's all. Thank you. + + The photographic subjects rise. + + KANE + (a sudden thought) + Make up an extra copy and mail it + to the "Chronicle." + + Chuckling and beaming, he makes his way to his place at the + head of the table. The others have already sat down. Kane + gets his guests' attention by rapping on the table with a knife. + + KANE + Gentlemen of the "Enquirer"! This + has, I think, been a fitting welcome + to those distinguished journalists - + (indicates the eight + men) + Mr. Reilly in particular - who are + the latest additions to our ranks. + It will make them happy to learn + that the "Enquirer's" circulation + this morning passed the two hundred + thousand mark. + + BERNSTEIN + Two hundred and one thousand, six + hundred and forty-seven. + + General applause. + + KANE + All of you - new and old - You're + all getting the best salaries in + town. Not one of you has been + hired because of his loyalty. + It's your talent I'm interested + in. That talent that's going to + make the "Enquirer" the kind of + paper I want - the best newspaper + in the world! + + Applause. + + KANE + However, I think you'll agree we've + heard enough about newspapers and + the newspaper business for one + night. There are other subjects + in the world. + + He puts his two fingers in his mouth and lets out a shrill + whistle. This is a signal. A band strikes up a lively ditty + of the period and enters in advance a regiment of very + magnificent maidens, as daringly arrayed as possible in the + chorus costumes of the day. The rest of this episode will be + planned and staged later. Its essence is that Kane is just a + healthy and happy young man having a wonderful time. + + As some of the girls are detached from the line and made into + partners for individual dancing - + + DISSOLVE OUT: + + DISSOLVE IN: + + THE "ENQUIRER" SIGN: THE ENQUIRER AMERICA'S FINEST + CIRCULATION 274,321 + + Dissolve just completes itself - the image of Kane dancing + with a girl on each arm just disappears as camera pans down + off the Temple Bldg. in the same action as the previous street + scene. There is a new sign on the side of the building below. + It reads: + + READ THE ENQUIRER GREATEST STAFF IN THE WORLD + + Camera continues panning as we + + DISSOLVE: + + A montage of various scenes, between the years 1891-1900. + + The scenes indicate the growth of the "Enquirer" under the + impulse of Kane's personal drive. Kane is shown, thus, at + various activities: + + Move down from the sign: READ THE ENQUIRER GREATEST STAFF IN + THE WORLD to street in front of saloon with parade passing + (boys going off to the Spanish-American War)- A torchlight + parade with the torches reflected in the glass window of the + saloon - the sound of brass band playing "It's a Hot Time." + In the window of the saloon is a large sign or poster "REMEMBER + THE MAINE" + + INSERT: Remington drawing of American boys, similar to the + parade above, in which "Our Boys" in the expeditionary hats + are seen marching off to war. + + Back of observation car. Shot of Kane congratulating Teddy + Roosevelt (the same shot as in the News Digest - without + flickering). + + The wooden floor of the railroad platform again - a bundle of + "Enquirers" - this time an enormous bundle - is thrown down, + and the moving shadows of the train behind the camera indicate + that it is going like a bat out of hell. A reproduction of + Kane and Teddy shaking hands as above is very prominent in the + frame and almost hogs the entire front page. The headline + indicates the surrender of Cuba. + + INT. ENQUIRER OFFICE + + Cartoon, highly dramatic and very involved as to content - + lousy with captions, labels, and symbolic figures, the most + gruesome and recognizable - "Capitalistic Greed." This cartoon + is almost finished and is on a drawing board before which stand + Kane and the artist himself. Kane is grinning over some + suggestion he has made. + + DISSOLVE: + + The cartoon finished and reproduced on the editorial page of + the "Enquirer" - in quite close, with an editorial and several + faces of caps shown underneath. The entire newspaper is crushed + with an angry gesture and thrown down into an expensive-looking + wastebasket (which is primarily for ticker tape) tape is + pouring. + + INT. ENQUIRER OFFICE + + Cartoonist and Kane working on comic strip of "Johnny the Monk." + + DISSOLVE: + + Floor of room - Two kids on floor, with newspaper spread out, + looking at the same comic strip. + + Kane's photographic gallery with photographers, stooges, and + Kane himself in attendance on a very hot-looking item of the + period. A sob sister is interviewing this hot number and Kane + is arranging her dress to look more seductive. + + DISSOLVE OUT: + + DISSOLVE IN: + + The hot number reproduced and prominently displayed and covering + almost half a page of the "Enquirer." It is being read in a + barber shop and is seen in an over-shoulder shot of the man + who is reading it. He is getting a shine, a manicure, and a + haircut. The sob-sister caption over the photograph reveals: + "I DIDN'T KNOW WHAT I WAS DOING, SAYS DANCER. EVERYTHING WENT + RED." An oval photograph of the gun is included in the lay- + out of the pretty lady with a headline which says: "DEATH GUN." + + STREET - SHOT OF BUCKET BRIGADE + + Shot of Kane, in evening clothes, in obvious position of danger, + grabbing camera from photographer. Before him rages a terrific + tenement fire. + + DISSOLVE: + + INSERT: Headline about inadequacy of present fire equipment. + + DISSOLVE: + + Final shot of a new horse-drawn steam engine roaring around a + street corner (Stock). + + DISSOLVE: + + A black pattern of iron bars. We are in a prison cell. The + door is opened and a condemned man, with priest, warden and + the usual attendants, moves into foreground and starts up the + hall past a group which includes phtographers, Kane's sob- + sister, and Kane. The photographers take pictures with a mighty + flash of old-fashioned flash powder. The condemned man in the + foreground (in silhouette) is startled by this. + + DISSOLVE: + + A copy of the "Enquirer" spread out on a table. A big lay-out + of the execution story includes the killer as photographed by + Kane's photographers, and nearby on the other page there is a + large picture of the new steam fire engine (made from the stock + shot) with a headline indicating that the "Enquirer" has won + its campaign for better equipment. A cup of coffee and a + doughnut are on the newspaper, and a servant girl - over whose + shoulder we see the paper - is stirring the coffee. + + The Beaux Art Ball. A number of elderly swells are jammed + into a hallway. Servants suddenly divest them of their furs, + overcoats and wraps, revealing them to be in fancy dress + costume, pink fleshings, etc., the effect to be very surprising, + very lavish and very very ridiculous. We see, among others, + Mr. Thatcher himself (as Ben Hur) ribbon around, his bald head + and all. At the conclusion of this tableau, the image freezes + and we pull back to show it reproduced on the society page of + the "New York Enquirer." + + Over the "Enquirer"'s pictorial version of the Beaux Art Ball + is thrown a huge fish - then coffee grounds - altogether a + pretty repulsive sight. + + The whole thing is bundled up and thrown into a garbage can. + + Extreme close-up of the words: "OCCUPATION - JOUNALIST." + + Camera pulls back to show passport open to the photograph page + which shows Kane, registering birth, race, and nationality. + Passport cover is closed, showing it to be an American passport. + + EXT. CUNARD DOCKS - GANGPLANK AND DECK OF BOAT - NIGHT - + + As camera pulls back over shoulder of official, taking in Kane, + Leland, and Bernstein, we see the bustle and noise of departing + ocean liner. Behind the principles can be seen an enormous + plain sign which reads: "FIRST CLASS." From offstage can be + heard the steward's cry, indispensable in any Mercury + production, the old familiar cry, "All Ashore That's Going + Ashore!" - gongs, also blasts of the great whistle and all the + rest of it. + + THE OFFICIAL + There you are, Mr. Kane. Everything + in order. + + KANE + Thank you. + + Kane and Leland and Bernstein start up the gangplank. + + THE OFFICIAL + (calling) + Have a good rest, Mr. Kane. + + KANE + Thanks. + + BERNSTEIN + But please, Mr. Kane, don't buy + any more paintings. Nine Venuses + already we got, twenty-six Virgins - + two whole warehouses full of stuff - + + KANE + I promise not to bring any more + Venuses and not to worry - and not + to try to get in touch with any of + the papers - + + STEWARD'S VOICE + All ashore! + + KANE + - and to forget about the new + feature sections - and not to try + to think up and ideas for comic + sections. + + STEWARD'S VOICE + All ashore that's going ashore! + + Kane leaves Leland and Bernstein midway up gangplank, as he + rushes up to it, calling back with a wave: + + KANE + Goodbye, gents! + (at the top of the + gangplank, he turns + and calls down) + Hey! + + KANE + (calling down to + them) + You don't expect me to keep any of + those promises, do you? + + A band on deck strikes up "Auld Lang Syne." Bernstein and + Leland turn to each other. + + BERNSTEIN + Do you, Mr. Leland? + + LELAND + (smiling) + Certainly not. + + They start down the gangplank together. + + DISSOLVE: + + LONG SHOT OF THE ENQUIRER BUILDING - NIGHT + + The pattern of telegraph wires, dripping with rain, through + which we see the same old building but now rendered fairly + remarkable by tremendous outline sign in gold which reads "THE + NEW YORK DAILY ENQUIRER." A couple of lights show in the + building. We start toward the window where the lights show, + as we - + + DISSOLVE: + + EXT. OUTSIDE THE WINDOW AT BERNSTEIN'S DESK - NIGHT + + The light in the window in the former shot was showing behind + the letter "E" of the Enquirer sign. Now the letter "E" is + even larger than the frame of the camera. Rain drips + disconsolately off the middle part of the figure. We see + through this and through the drizzle of the window to + Bernstein's desk where he sits working under a blue shaded + light. + + DISSOLVE OUT: + + DISSOLVE IN: + + Same setup as before except that it is now late afternoon and + late in the winter of the year. The outline "E" is hung with + icicles which are melting, dripping despairingly between us + and Mr. Bernstein, still seated at his desk - still working. + + DISSOLVE: + + Same setup as before except that it is spring. Instead of the + sad sounds of dripping rain or dripping icicles, we hear the + melancholy cry of a hurdy-gurdy in the street below. It is + spring and through the letter "E" we can see Bernstein working + at his desk. Pigeons are gathering on the "E" and on the sill. + Bernstein looks up and sees them. He takes some crumbs from + his little homemade lunch which is spread out on the desk before + him, carries them to the windows and feeds the pigeons, looking + moodily out on the prospect of spring on Park Row. The birds + eat the crumbs - the hurdy-gurdy continues to play. + + DISSOLVE: + + The same setup again, it is now summer. The window was half- + open before .. now it's open all the way and Bernstein has + gone so far as to take off his coat. His shirt and his + celluloid collar are wringing wet. Camera moves toward the + window to tighten on Bernstein and to take in the City Room + behind him, which is absolutely deserted. It is clear that + there is almost nothing more for Bernstein to do. The hurdy- + gurdy in the street is playing as before, but a new tune. + + DISSOLVE: + + A beach on Coney Island. + + Bernstein in a rented period bathing suit sits alone in the + sand, reading a copy of the "Enquirer." + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. CITY ROOM - ENQUIRER BUILDING - DAY - + + The whole floor is now a City Room. It is twice its former + size, yet not too large for all the desks and the people using + them. The windows have been enlarged, providing a good deal + more light and air. A wall calendar says September 9th. + + Kane and Bernstein enter and stand in the entrance a moment. + Kane, who really did look a bit peaked before, is now clear- + eyed and tanned. He is wearing new English clothes. As they + come into the room, Bernstein practically walking sideways, is + doing nothing but beaming and admiring Kane, quelling like a + mother at the Carnegie Hall debut of her son. Seeing and + recognizing Kane, the entire staff rises to its feet. + + KANE + (referring to the + staff; with a smile) + Ask them to sit down, Mr. Bernstein. + + BERNSTEIN + Sit down, everybody - for heaven's + sake! + + The order is immediately obeyed, everybody going into business + of feverish activity. + + BERNSTEIN + So then, tonight, we go over + everything thoroughly, eh? + Especially the new papers - + + KANE + We certainly do. Vacation's over - + starting right after dinner. But + right now - that lady over there - + (he indicates a + woman at the desk) + - that's the new society editor, I + take it? You think I could + interrupt her a moment, Mr. + Bernstein? + + BERNSTEIN + Huh? Oh, I forgot - you've been + away so long I forgot about your + joking - + + He trails after Kane as he approaches the Society Editor's + desk. The Society Editor, a middle-aged spinster, sees him + approaching and starts to quake all over, but tries to pretend + she isn't aware of him. An envelope in her hand shakes + violently. Kane and Bernstein stop at her desk. + + BERNSTEIN + Miss Townsend - + + Miss Townsend looks up and is so surprised to see Bernstein + with a stranger. + + MISS TOWNSEND + Good afternoon, Mr. Bernstein. + + BERNSTEIN + This is Mr. Kane, Miss Townsend. + + Miss Townsend can't stick to her plan. She starts to rise, + but her legs are none too good under her. She knocks over a + tray of copy paper as she rises, and bends to pick it up. + + KANE + (very hesitatingly + and very softly) + Miss Townsend - + + At the sound of his voice, she straightens up. She is very + close to death from excitement. + + KANE + I've been away for several months, + and I don't know exactly how these + things are handled now. But one + thing I wanted to be sure of is + that you won't treat this little + announcement any differently than + you would any other similar + announcement. + + He hands her an envelope. She has difficulty in holding on to + it. + + KANE + (gently) + Read it, Miss Townsend. And + remember - just the regular + treatment! See you at nine o'clock, + Mr. Bernstein! + + Kane leaves. Bernstein looks after him, then at the paper. + Miss Townsend finally manages to open the envelope. A piece + of flimsy paper, with a few written lines, is her reward. + + MISS TOWNSEND + (reading) + Mr. and Mrs. Thomas Moore Norton + announce the engagement of their + daughter, Emily Monroe Norton, to + Mr. Charles Foster Kane. + + BERNSTEIN + (starts to read it) + Mr. and Mrs. Thomas Moore Norton + announce - + + MISS TOWNSEND + (fluttering - on + top of him) + She's - she's the niece of - of + the President of the United States - + + BERNSTEIN + (nodding proudly) + know. Come on, Miss Townsend - + From the window, maybe we can get + a look. + + He takes her by the hand and leads her off. + + Angle toward open window. Bernstein and Miss Townsend, backs + to camera, rushing to the window. + + EXT. STREET OUTSIDE ENQUIRER BUILDING - DAY - + + High angle downward - what Bernstein and Miss Townsend see + from the window. + + Kane is just stepping into an elegant barouch, drawn up at the + curb, in which sits Miss Emily Norton. He kisses her full on + the lips before he sits down. She acts a bit taken aback, + because of the public nature of the scene, but she isn't really + annoyed. As the barouche starts off, she is looking at him + adoringly. He, however, has turned his head and is looking + adoringly at the "Enquirer." He apparently sees Bernstein and + Miss Townsed and waves his hand. + + INT. CITY ROOM - ENQUIRER - DAY - + + Bernstein and Miss Townsend at window. + + BERNSTEIN + A girl like that, believe me, she's + lucky! Presiden't niece, huh! + Say, before he's through, she'll + be a Presiden't wife. + + Miss Townsend is now dewey-eyed. She looks at Bernstein, who + has turned away, gazing down at the departing couple. + + DISSOLVE: + + Front page of the "Enquirer." Large picture of the young couple - + Kane and Emily - occupying four columns - very happy. + + DISSOLVE: + + INT. BERNSTEIN'S OFFICE - ENQUIRER - DAY - + + Bernstein and Thompson. As the dissolve comes, Bernstein's + voice is heard. + + BERNSTEIN + The way things turned out, I don't + need to tell you - Miss Emily Norton + was no rosebud! + + THOMPSON + It didn't end very well, did it? + + BERNSTEIN + (shaking his head) + It ended - + (a slight pause) + Then there was Susie - that ended, + too. + (shrugs, a pause; + then looking up + into Thompson's + eyes) + guess he didn't make her very happy - + + (A PAUSE) + You know, I was thinking - that + Rosebud you're trying to find out + about - + + THOMPSON + Yes - + + BERNSTEIN + Maybe that was something he lost. + Mr. Kane was a man that lost - + almost everything he had - + (a pause) + You ought to talk to Bradford + Leland. He could tell you a lot. + I wish I could tell you where Leland + is, but I don't know myself. He + may be out of town somewhere - he + may be dead. + + THOMPSON + In case you'd like to know, Mr. + Bernstein, he's at the Huntington + Memorial Hospital on 180th Street. + + BERNSTEIN + You don't say! Why I had no idea - + + THOMPSON + Nothing particular the matter with + him, they tell me. Just - + (controls himself) + + BERNSTEIN + Just old age. + (smiles sadly) + It's the only disease, Mr. Thompson, + you don't look forward to being + cured of. + (pauses) + You ought to see Mr. Leland. + There's a whole lot of things he + could tell you - if he wanted to. + + FADE OUT: + + FADE IN: + + EXT. HOSPITAL ROOF - DAY - + + Close shot - Thompson. He is tilted back in a chair which + seems to be, and is, leaning against a chimney. Leland's voice + is heard for a few moments before Leland is seen. + + LELAND'S VOICE + When you get to my age, young man, + you don't miss anything. Unless + maybe it's a good drink of bourbon. + Even that doesn't make much + difference, if you remember there + hasn't been any good bourbon in + this country for twenty years. + + Camera has pulled back, during above speech, revealing that + Leland, wrapped in a blanket, is in a wheel chair, talking to + Thompson. They are on the flat roof of a hospital. Other + people in wheel chairs can be seen in the background, along + with a nurse or two. They are all sunning themselves. + + THOMPSON + Mr. Leland, you were - + + LELAND + You don't happen to have a cigar, + do you? I've got a young physician - + must remember to ask to see his + license - the odds are a hundred + to one he hasn't got one - who + thinks I'm going to stop smoking... + I changed the subject, didn't I? + Dear, dear! What a disagreeable + old man I've become. You want to + know what I think of Charlie Kane? + Well - I suppose he has some private + sort of greatness. But he kept it + to himself. + (grinning) + He never - gave himself away - He + never gave anything away. He just - + left you a tip. He had a generous + mind. I don't suppose anybody + ever had so many opinions. That + was because he had the power to + express them, and Charlie lived on + power and the excitement of using + it - But he didn't believe in + anything except Charlie Kane. He + never had a conviction in his life. + I guess he died without one - + That must have been pretty + unpleasant. Of course, a lot of + us check out with no special + conviction about death. But we do + know what we're leaving ... we + believe in something. + (looks sharply at + Thompson) + You're absolutely sure you haven't + got a cigar? + + THOMPSON + Sorry, Mr. Leland. + + LELAND + Never mind - Bernstein told you + about the first days at the office, + didn't he? Well, Charlie was a + bad newspaper man even then. He + entertained his readers, but he + never told them the truth. + + THOMPSON + Maybe you could remember something + that - + + LELAND + I can remember everything. That's + my curse, young man. It's the + greatest curse that's ever been + inflicted on the human race. Memory - + I was his oldest friend. + (slowly) + As far as I was concerned, he + behaved like swine. Maybe I wasnt' + his friend. If I wasn't, he never + had one. Maybe I was what nowadays + you call a stooge - + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. CITY ROOM - THE ENQUIRER - NIGHT - + + The party (previously shown in the Bernstein sequence). + + We start this sequence toward the end of the former one, but + from a fresh angle, holding on Leland, who is at the end of + the table. Kane is heard off, making a speech. + + KANE'S VOICE + Not one of you has been hired + because of his loyalty. It's your + talent I'm interested in. That + talent that's going to make the + "Enquirer" the kind of paper I + want - the best newspaper in the + world! + + Applause. During above, Bernstein has come to Leland's side. + + BERNSTEIN + Isn't it wonderful? Such a party! + + LELAND + Yes. + + His tone causes Bernstein to look at him. + + KANE'S VOICE + However, I think you'll agree we've + heard enough about newspapers and + the newspaper business for one + night. + + The above speeches are heard under the following dialogue. + + BERNSTEIN + (to Leland) + What's the matter? + + LELAND + Mr. Bernstein, these men who are + now with the "Enquirer" - who were + with the "Chronicle" until yesterday - + weren't they just as devoted to + the "Chronicle" kind of paper as + they are now to - our kind of paper? + + BERNSTEIN + Sure. They're like anybody else. + They got work to do. They do it. + (proudly) + Only they happen to be the best + men in the business. + + KANE + (finishing his speech) + There are other subjects in the + world - + + Kane whistles. The band and the chorus girls enter and hell + breaks loose all around Leland and Bernstein. + + LELAND + (after a minute) + Do we stand for the same things + that the "Chronicle" stands for, + Mr. Bernstein? + + BERNSTEIN + (indignantly) + Certainly not. So what's that got + to do with it? Mr. Kane, he'll + have them changed to his kind of + newspapermen in a week. + + LELAND + Probably. There's always a chance, + of course, that they'll change Mr. + Kane - without his knowing it. + + Kane has come up to Leland and Bernstein. He sits down next + to them, lighting a cigarette. + + KANE + Well, gentlemen, are we going to + war? + + LELAND + Our readers are, anyway, I don't + know about the rest of the country. + + KANE + (enthusiastically) + It'll be our first foreign war in + fifty years, Brad. We'll cover it + the way the "Hickville Gazette" + covers the church social! The + names of everybody there; what + they wore; what they ate; who won + the prizes; who gave the prizes - + (gets excited) + I tell you, Brad, I envy you. + (quoting) + By Bradford Leland, the "Enquirer's" + Special Correspondent at the Front. + I'm almost tempted - + + LELAND + But there is no Front, Charlie. + There's a very doubtful civil war. + Besides, I don't want the job. + + KANE + All right, Brad, all right - you + don't have to be a war correspondent + unless you want to - I'd want to. + (looking up) + Hello, Georgie. + + Georgie, a very handsome madam has walked into the picture, + stands behind him. She leans over and speaks quietly in his + ear. + + GEORGIE + Is everything the way you want it, + dear? + + KANE + (looking around) + If everybody's having fun, that's + the way I want it. + + GEORGIE + I've got some other little girls + coming over - + + LELAND + (interrupting) + Charles, I tell you there is no + war! There's a condition that + should be remedied - but between + that and a - + + KANE + (seriously) + How would the "Enquirer" look with + no news about this non-existent + war - with Benton, Pulitzer and + Heart devoting twenty columns a + day to it? + + LELAND + They do it only because you do! + + KANE + (grins) + And I do it because they do it, + and they do it - it's a vicious + circle, isn't it? + (rises) + I'm going over to Georgie's, Brad - + you know, Georgie, don't you? + + Leland nods. + + GEORGIE + (over Kane's next + lines) + Glad to meet you, Brad. + + Leland shudders. + + KANE + I told you about Brad, Georgie. + He needs to relax. + + Brad doesn't answer. + + KANE + Some ships with wonderful wines + have managed to slip through the + enemy fleet that's blockading New + York harbor - + (grins) + Georgie knows a young lady whom + I'm sure you'd adore - wouldn't + he, Georgie? Why only the other + evening I said to myself, if Brad + were only here to adore this young + lady - this - + (snaps his fingers) + What's her name again? + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. GEORGIE'S PLACE - NIGHT - + + Georgie is introducing a young lady to Branford Leland. On + sound track we hear piano music. + + GEORGIE + (right on cue from + preceding scene) + Ethel - this gentlemen has been + very anxious to meet you - This + is Ethel. + + ETHEL + Hello, Mr. Leland. + + Camera pans to include Kane, seated at piano, with girls + gathered around him. + + ONE OF THE GIRLS + Charlie! Play the song about you. + + ANOTHER GIRL + Is there a song about Charlie? + + Kane has broken into "Oh, Mr. Kane!" and Charlie and the girls + start to sing. Ethel leads the unhappy Leland over to the + group. Kane, seeing Leland and taking his eye, motions to the + professor who has been standing next to him to take over. The + professor does so. The singing continues. Kane rises and + crosses to Leland. + + KANE + Say, Brad. + (draws him slightly + aside) + I've got an idea. + + LELAND + Yes? + + KANE + I mean I've got a job for you. + + LELAND + Good. + + KANE + You don't want to be a war + correspondent - how about being a + dramatic critic? + + LELAND + (sincerely, but not + gushing; seriously) + I'd like that. + + Kane starts quietly to dance in time to the music. Leland + smiles at him. + + KANE + You start tomorrow night. Richard + Carl in "The Spring Chicken." + (or supply show) + I'll get us some girls. You get + tickets. A drama critic gets them + free, you know. + (grins) + Rector's at seven? + + LELAND + Charlie - + + KANE + Yes? + + LELAND + (still smiling) + It doesn't make any difference + about me, but one of these days + you're going to find out that all + this charm of yours won't be enough - + + KANE + (has stopped dancing) + You're wrong. It does make a + difference to you - Rector's, + Brad? + (starts to dance + again) + Come to think of it, I don't blame + you for not wanting to be a war + correspondent. You won't miss + anything. It isn't much of a war. + Besides, they tell me there isn't + a decent restaurant on the whole + island. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. RECTOR'S - NIGHT - + + Leland, Kane, two young ladies at Rector's. Popular music is + heard over the soundtrack. Everybody is laughing very, very + hard at something Kane has said. The girls are hysterical. + Kane can hardly breathe. As Leland's laughter becomes more + and more hearty, it only increases the laughter of the others. + + DISSOLVE: + + EXT. CUNARD LOCKS - GANGPLANK AND DECK OF BOAT - NIGHT - + + As told by Bernstein. Kane is calling down to Leland and + Bernstein (as before). + + KANE + You don't expect me to keep any of + those promises, do you? + + A band on deck strikes up "Auld Lang Syne" and further ship-to- + shore conversation is rendered unfeasible. + + Bernstein and Leland on deck. + + BERNSTEIN + (turns to Leland) + Do you, Mr. Leland? + + LELAND + (smiling) + Certainly not. + + Slight pause. They continue on their way. + + BERNSTEIN + Mr. Leland, why didn't you go to + Europe with him? He wanted you + to. He said to me just yesterday - + + LELAND + I wanted him to have fun - and + with me along - + + This stops Bernstein. Bernstein looks at him. + + LELAND + Mr. Bernstein, I wish you'd let me + ask you a few questions, and answer + me truthfully. + + BERNSTEIN + Don't I always? Most of the time? + + LELAND + Mr. Bernstein, am I a stuffed shirt? + Am I a horse-faced hypocrite? Am + I a New England school-marm? + + BERNSTEIN + Yes. + + Leland is surprised. + + BERNSTEIN + If you thought I'd answer different + from what Mr. Kane tells you - + well, I wouldn't. + + LELAND + (good naturedly) + You're in a conspiracy against me, + you two. You always have been. + + BERNSTEIN + Against me there should be such a + conspiracy some time! + + He pauses. "Auld Lang Syne" can still be heard from the deck + of the department steamer. + + BERNSTEIN + (with a hopeful + look in his eyes) + Well, he'll be coming back in + September. The Majestic. I got + the reservations. It gets in on + the ninth. + + LELAND + September the ninth? + + Leland puts his hand in his pocket, pulls out a pencil and + small engagement book, opens the book and starts to write. + + Leland's pencil writing on a page in the engagement book open + to September 9: "Rector's - 8:30 p.m." + + DISSOLVE: + + Front page "Enquirer." Large picture of the young couple - + Kane and Emily - occupying four columns - very happy. + + EXT. HOSPITAL ROOF - DAY - + + Leland and Thompson. Leland is speaking as we dissolve. + + LELAND + I used to go to dancing school + with her. + + Thompson had handed Leland a paper. + + LELAND + What's this? + + THOMPSON + It's a letter from her lawyers. + + LELAND + (reading aloud from + the letter) + David, Grobleski & Davis - My + dear Rawlston - + (looks up) + + THOMPSON + Rawlston is my boss. + + LELAND + Oh, yes. I know about Mr. Rawlston. + + THOMPSON + He knows the first Mrs. Kane + socially - That's the answer we + got. + + LELAND + (reading) + I am in receipt of your favor of + yesterday. I beg you to do me the + courtesy of accepting my assurance + that Mrs. Whitehall cannot be + induced to contribute any more + information on the career of Charles + Foster Kane. + + She has authorized me to state on previous occasions that she + regards their brief marriage as a distateful episode in her + life that she prefers to forget. With assurances of the highest + esteem - Leland hands the paper back to Thompson. + + LELAND + Brief marriage! Ten years! + (sighs) + + THOMPSON + Was he in love? + + LELAND + He married for love - + (a little laugh) + That's why he did everything. + That's why he went into politics. + It seems we weren't enough. He + wanted all the voters to love him, + too. All he really wanted out of + life was love. That's Charlie's + story - it's the story of how he + lost it. You see, he just didn't + have any to give. He loved Charlie + Kane, of course, very dearly - and + his mother, I guess he always loved + her. As for Emily - well, all I + can tell you is Emily's story as + she told it to me, which probably + isn't fair - there's supposed to + be two sides to every story - and + I guess there are. I guess there's + more than two sides - + + DISSOLVE OUT: + + DISSOLVE IN: + + Newspaper - Kane's marriage to Emily with still of group on + White House lawn, same setup as early newsreel in News Digest. + + DISSOLVE: + + Screaming headline: OIL SCANDAL! + + DISSOLVE: + + Headline reading: KANE TO SEE PRESIDENT + + DISSOLVE: + + Big headline on "Enquirer" front page which reads: KANE TO SEE + PRESIDENT + + Under this, one of those big box signed editorials, typical of + Kane, illustrated, on subject of the power of the president, + expressed in about nine different cases of type, and illustrated + by a cartoon of the White House, on which camera tightens, as + we - + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. THE WHITE HOUSE - THE PRESIDENT'S EXECUTIVE OFFICE - DAY - + + This scene is shot so as never to show the President - or at + least never his face. There is present the President's + Secretary, sitting on one side of the desk, intently taking + notes. Kane is on his feet, in front of the desk, tense and + glaring. + + THE PRESIDENT + It is the unanimous opinion of my + Cabinent - in which I concur - + that the proposed leases are in + the best interests of the + Governement and the people. + (pauses) + You are not, I hope, suggesting + that these interests are not + indentical? + + KANE + I'm not suggesting anything, Mr. + President! I've come here to tell + you that, unless some action is + taken promptly - and you are the + only one who can take it - the oil + that is the property of the people + of this country will be turned + over for a song to a gang of high- + pressure crooks! + + THE PRESIDENT + (calmly) + I must refuse to allow you to + continue in this vein, Mr. Kane. + + KANE + (screaming) + It's the only vein I know. I tell + the facts the way I see them. And + any man that knows that facts - + + THE PRESIDENT + I know the facts, Mr. Kane. And I + happen to have the incredible + insolence to differ with you as to + what they mean. + (pause) + You're a man of great talents, Mr. + Kane. + + KANE + Thanks. + + THE PRESIDENT + I understand that you have political + ambitions. Unfortunately, you + seem incapable of allowing any + other opinion but your own - + + KANE + (building to a frenzy) + I'm much obliged, Mr. President, + for your concern about me. However, + I happen to be concerned at this + moment with the matter of extensive + oil lands belonging to the people + of the United States, and I say + that if this lease goes through, + the property of the people of the + United States goes into the hands + of - + + THE PRESIDENT + (interrupting) + You've made your point perfectly + clear, Mr. Kane. Good day. + + The Secretary rises. Kane, with every bit of will power + remotely at his disposal to control what might become an + hysterical outburst, manages to bow. + + KANE + Mr. President. + + He starts out of the office. + + DISSOLVE: + + INT. COMPOSING ROOM - ENQUIRER - NIGHT - + + Kane, Reilly, Leland and a composing room Foreman, in working + clothes, bending over a table with several forms of type. + They are looking, at this moment, at a made-up headline - but + Kane's back is in the way ... so we can't read it. + + FOREMAN + How about it, Mr. Kane? + + Reilly glances at his wrist watch and makes a face. Kane smiles + as he notices this. + + KANE + All right. Let her slide! + + He turns away, and we can now read the headline. + + Insert of the headline, which reads: "OIL THEFT BECOMES LAW AS + PRESIDENT WITHOLDS VETO" + + DISSOLVE: + + Here follows a quick montage (presently to be worked out) of + no more than four or five images in which the President, by + means of cartoons, editorials, headlines (all faithfully + reproduced from period yellow journalism) is violently attacked. + The montage ends on the word TREASON. The music cuts. + + A hand reaches in a side pocket which contains a newspaper - + recognizably the "Enquirer." The hand removes a gun. The gun + is shot. Many arms seize the hand which is pulled up - gun + still firing. As the arm is raised in the air, we see that + the other arms holding the arm and struggling with it are + uniformed, and we see the White House beyond. + + DISSOLVE: + + News ticker which is spelling out the words: "ASSASSINATED + 7:45 P.M." + + NOTE: Under the following - a down shot, below the "Enquirer," + shows a crowd forming, looking angrily up toward the camera. + Crowd noises on the soundtrack under music. + + A hand snatches the ticker tape away and as the image of the + crowd dissolves out, we pull back to show: + + INT. OF KANE'S OFFICE - NIGHT - + + The ticker tape is in Reilly's hand. Reilly has a phone to + his ear. + + REILLY + Looks bad for us, Mr. Kane. How + shall we handle it? + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. GEORGIE'S PLACE - + + Kane in shirtsleeves at phone. + + KANE + It's a news story! Get it on the + street! + + DISSOLVE: + + Headline under "Enquirer" masthead which reads: + + "PRESIDENT ASSASSINATED" + + Newsboy is crying the headline at the same time. We pull back + to show him and - + + DISSOLVE: + + INT. THEATRE - NIGHT + + The camera is in tight on a box which contains Emily and + distinguished elderly ladies and gentlemen, obviously family + and friends. On the soundtrack, very limpid opera music. + Another elderly gent, in white tie but still wearing an + overcoat, comes into the box and whispers to Emily. He has a + copy of the "Enquirer" in his hand. Emily rises. He shows + the paper to her. + + DISSOLVE: + + EXT. STREET OUTSIDE ENQUIRER BUILDING - NIGHT - + + An angry crowd seen from the window of Kane's office. They + make a deep threatening sound which is audible during the + following scene. Across the heads of the crowd are two great + squares of light from the windows above them. One of these + disappears as the blind is pulled. As the dissolve completes + itself, the second square of light commences to reduce in size, + and then the entire street is cut off by a blind which Leland + pulls down, covering the entire frame. + + INT. KANE'S OFFICE - ENQUIRER - NIGHT - + + The staff standing around, worried to death, in their + shirtsleeves. + + KANE + (to Reilly) + Take dictation - Front page + editorial - "This afternoon a + great man was assassinated. He + was the President of the United + States -" + + LELAND + Charlie - + + KANE + Yes? + + LELAND + Do you think you're the one who + should call him a great man? + + KANE + Why not? + + LELAND + Why not? Well - nobody's a great + man in your estimation until he's + dead. + + REILLY + (quickly) + Maybe we'd better wait for more + word on the President's condition. + + KANE + (still looking at + Leland) + What do you mean by that? + + LELAND + (quietly) + Competition. + + REILLY + He may recover - + + KANE + (still holding on + Leland) + What do you mean by that? + + LELAND + (steadily) + Yesterday morning you called the + President a traitor. What do you + think that crowd is doing down + there? They think you murdered + him. + + KANE + Because the crackpot who did it + had a copy of the "Enquirer" in + his pocket? + + LELAND + - and that copy of the "Enquirer" + said the President should be killed. + + KANE + I said treason was a capital offense + punishable by death - + + LELAND + You've said a lot of things about + the President in the last few + months. + + KANE + They're true! Everything I said! + Witholding that veto was treason! + + LELAND + (interrupting) + Charlie! + + KANE + (riding over him) + Oil belonging to the people of the + United States was leased out for a + song to a gang of high-pressure + crooks - Nobody can blame me + because - + + LELAND + Look out that window. + + Kane stops - looks at him. + + LELAND + There are the people of the United + States, and they are blaming you - + Oh, I know it doesn't make any + sense, but at least you can learn + a lesson from it. + + KANE + (snarling) + What lesson? Not to expose fraud + when I see it? Not to fight for + the right of the people to own + their own property? + (he turns to Reilly) + Run it the way I said, Reilly - + "This afternoon a great man was + assassinated -" + + LELAND + Charlie! Now you're not making + sense. + + KANE + (sharply) + I don't have to. I run a newspaper + with half a million readers and + they're getting a martyred president + this morning with their breakfast. + I can't help that. Besides, they + all know I'm married to his niece. + I've got to think of her. + + LELAND + What? + + KANE + I've got to think of Emily - + + LELAND + (after a silence) + I'd like to talk to you about that. + + KANE + Go ahead. + + Leland looks back at Kane, is conscious of the boys standing + around. + + LELAND + Finish your editorial. + + Leland walks out in to the City Room. More staff members in + shirt sleeves in a state of panic. Leland goes to his desk, + takes out a bottle, pours himself a very stiff drink. A door + opens. A Policeman enters with Bernstein. Bernstein is badly + battered. The boys crowd around. + + LELAND + (worried) + What's happened? + + BERNSTEIN + (smiling) + I'm all right, Mr. Leland. Only + there was some fellows out front + that thought they ought to take + things up with me. I learned 'em! + Didn't I, officer? + + THE COP + (grinning) + You sure did - Say, the + Commissioner said I was to stand + by and protect Mr. Kane until + further orders, no matter how he + felt about it. Where is he? + + LELAND + (finishing his drink) + In there. + + BERNSTEIN + If you hadn't come along and + protected me when you did, I'd + have killed them fellows. + + LELAND + (pouring himself + another drink) + Go and get yourself washed up, Mr. + Bernstein. + (he looks his face + over thoroughly) + There doesn't seem to be an serious + injury. + + BERNSTEIN + Not to me. But you will let that + cop go home with Mr. Kane, won't + you? + + LELAND + Yes, Mr. Bernstein. + + Bernstein leaves the picture with sympathetic attendance. + Leland finishes his second drink. + + DISSOLVE: + + INT. KANE'S OFFICE - NIGHT - + + The bottle is finished. The door in the Sanctrum opens. Reilly + and the others leave. + + REILLY + (as they go) + Goodnight, Mr. Kane. + + Kane stands in the door, waiting for Leland. Leland gets up + and moves toward the office - goes in, sits down across from + Kane at the desk. An uncomfortable pause. Then Kane smiles + ingratiatingly. Leland tries to cope with this. + + LELAND + First of all - + (he can't go on) + + KANE + (not cruelly - + genuinely kind) + What's wrong, Brad? + + LELAND + I'm drunk. + + KANE + I'll get you some coffee. + + He rises and goes to the door. + + LELAND + First of all, I will not write a + good review of a play because + somebody paid a thousand dollars + for an advertisement in the + "Enquirer." + + KANE + (gently - opening + the door) + That's just a little promotion + scheme. Nobody expects you - + (calling) + Mike, will you try and get Mr. + Leland some coffee? + + MIKE'S VOICE + Sure thing, Mr. Kane. + + Kane turns back to Leland. Leland doesn't look up at him. + + LELAND + Charlie, it's just no go. We can't + agree anymore. I wish you'd let + me go to Chicago. + + KANE + Why, Brad? + + LELAND + I want to be transferred to the + new paper. You've been saying + yourself you wish you had somebody + to - + (he is heartsick, + inarticulate) + That's not what I wanted to talk + about. + + Kane goes around behind the desk and sits down. + + KANE + I'll tell you what I'll do, Brad - + I'll get drunk, too - maybe that'll + help. + + LELAND + No, that won't help. Besides, you + never get drunk. I wanted to talk + about you and Emily. + + Kane looks at Leland sharply before he speaks. + + KANE + (quietly) + All right. + + LELAND + (without looking at + him) + She's going to leave you - + + KANE + I don't think so, Brad. We've + just had word that the President + is out of danger. + (ruefully) + It seems I didn't kill him after + all. + + LELAND + (takes his eye) + She was going to leave you anyway - + + Kane takes this in. + + LELAND + Emily's going south next week with + the child. As far as anybody's to + know, it's a holiday. When they + get back - + + KANE + (sharply) + Brad, you are drunk. + + LELAND + Sure I am. She wants full custody + of the child no matter what happens. + If you won't agree to that, she'll + apply for a divorce regardless of + the President's wishes. I can't + tell her she's wrong, because she + isn't wrong - + + KANE + Why is she leaving me? + + LELAND + (it's very hard for + him to say all + this) + She hasn't any friends left sine + you started this oil business, and + she never sees you. + + KANE + Do you think the "Enquirer" + shouldn't have campaigned against + the oil leases? + + LELAND + (hesitating) + You might have made the whole thing + less personal! + + No answer from Kane. + + LELAND + It isn't just that the President + was her uncle - everyone she knows, + all the people she's been brought + up with, everything she's ever + been taught to believe is important - + + Still no answer from Kane. + + LELAND + There's no reason why this - this + savage personal note - + + KANE + The personal note is all there is + to it. It's all there ever is to + it. It's all there every is to + anything! Stupidity in our + government, complacency and self- + satisfaction and unwillingness to + believe that anything done by a + certain class of people can be + wrong - you can't fight those things + impersonally. They're not + impersonal crimes against people. + They're being done by actual persons - + with actual names and positions + and - the right of the American + people to own their own country is + not an academic issue, Brad, that + you debate - and then the judges + retire to return a verdict and the + winners give a dinner for the + losers. + + LELAND + You almost convince me. + (rising) + I'm just drunk enough to tell you + the truth. I have to be a little + drunk for that because I'm a coward. + You know that. That's why you + keep me around. + (smiles) + You only associate with your + inferiors, Charlie. I guess that's + why you ran away from Emily. + Because you can't stand the company + of your equals. You don't like to + admit they exist - the other big + people in your world are dead. + I told you that. + + Kane looks at Leland, but Leland can't be stopped now. He + speaks very quietly - no poison in his voice - no personal + indignation - as though he were explaining the nature of a + disease. + + LELAND + You talk about the people of the + United States as though they + belonged to you. When you find + out they don't think they are, + you'll lose interest. You talk + about giving them their rights as + though you could make a present of + liberty. Remember the working + man? You used to defend him quite + a good deal. Well, he's turning + into something called organized + labor and you don't like that at + all. And listen, when your precious + underprivileged really get together - + that's going to add up to something + bigger than - than your privilege + and then I don't know what you'll + do - sail away to a desert island, + probably, and lord it over the + monkeys. + + KANE + Are you finished? + + LELAND + Yes. + (looking down) + Now, will you let me go to Chicago? + + KANE + (with a little smile) + You're not going to like it in + Chicago. They wind comes howling + in from the lake. And there's + practically no opera season at all - + and the Lord only knows whether + they've ever heard of Lobster + Newburg - + + LELAND + That's all right. + (he won't be charmed + out of his duty) + What are you going to do about + Emily? + + KANE + (his face hardning + a little) + Nothing - if she dosen't love me - + + Leland has risen. He speaks as he turns away, starting towards + the door. + + LELAND + You want love on your own terms, + don't you, Charlie - + (he stops - his + back turned to + Kane) + Love according to your own rules. + And if anything goes wrong and + you're hurt - then the game stops, + and you've got to be soothed and + nursed, no matter what else is + happening - and no matter who else + is hurt! + + KANE + It's simpler than that, Brad. A + society girl can't stand the gaff, + that's all. Other things are + important to her - social position, + what they're saying on the front + porches at Southampton, is it going + to be embarrassing to meet somebody + or the other at dinner - + + Leland has turned, taking his eye again. Now Kane stops and + smiles. + + KANE + She can leave me. As a matter of + fact, I've already left her. Don't + worry, Brad - I'll live. + + LELAND + I know you will. + + KANE + (with all his charm) + Hey, Brad! I've been analyzed an + awful lot tonight - let's have + another brandy. + + Leland shakes his head. Kane lifts his glass. + + KANE + To love on my terms. Those are + the only terms anybody knows ... + his own. + + DISSOLVE: + + EXT. ENQUIRER BUILDING - NIGHT - + + Kane, Leland, and a couple of policemen make their way out of + the front toward a hansom cab. + + A VOICE FROM THE CROWD + You moiderer! + + A rock is thrown. It hits Leland on the face. A little blood + flows. Kane doesn't see it at first. Then when he's in the + hansom cab, he turns and notices it. + + KANE + Are you hurt? + + Leland has a handkerchief to his face. + + LELAND + No. I wish you'd go home to Emily. + She'll be pretty upset by all this - + She still loves you - + + The crowd, pushed by the cops, retreats in the background, but + still hard by. + + KANE + You still want to be transferred + to the other paper? + + LELAND + Yes. + + KANE + (leaning out of the + hansom cab) + Well, you've been getting a pretty + low salary here in New York. It + seems to me that the new dramatic + critic of our Chicago paper should + get what he's worth. + (almost as a question) + + LELAND + (with handkerchief + still attached to + his face) + I couldn't possibly live on as + little as that, Charlie. We'll + let the salary stay where it is. + + The hansom cab starts up. We hold on Leland's face as we + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. KANE'S NEW YORK HOME - KANE'S BEDROOM - EARLY MORNING - + + Emily is in bed, a damp cloth over her temples. Kane is + standing at the foot of the bed. The baby's bed is in a corner + of the room. The baby's nurse is standing near the crib, a + nurse for Emily is near her. Kane is looking fixedly on Emily, + who is staring tiredly at the ceiling. + + KANE + (to the nurse) + Excuse us a moment, please. + + The nurse looks at Emily. + + KANE + (peremptorily) + I said, excuse us a moment. + + The nurse, unwilling, leaves. + + KANE + I've been talking to Leland. Emily - + You can't leave me now - not now - + + Silence. + + KANE + It isn't what it would do to my + changes in politics, Emily - That + isn't it - They were talking of + running me for governor, but now, + of course, we'll have to wait - + It isn't that, Emily - It's just - + the president is your uncle and + they're saying I killed him. + + Still silence. + + KANE + That story about the murderer having + a copy of the "Enquirer" in his + pocket - the "Chronicle" made that + up out of whole cloth - Emily, + please - He's going to be all right, + you know, he's going to recover - + (bitterly) + If it will make you any happier, + we had nine pages of advertising + cancelled in the first mail this + morning. Bernstein is afraid to + open any more letters. He - + + He stops. He sees that he's getting no place with Emily. + + KANE + (exasperated) + What do you expect me to do? What + in the world - + + EMILY + (weakly) + Charles. + + He waits for her to continue. + + EMILY + Do you really think - + (she can't continue) + Those threatening letters, can + they really - + + She sits up and looks at the crib. She almost continues to + look at the crib, with almost unseeing eyes. + + KANE + (uncomfortably) + They won't do anything to Junior, + darling. + (contemptuously) + Anonymous letter writers - I've + got guards in front of the house, + and I'm going to arrange - + + EMILY + (turning her face + toward him) + Please don't talk any more, Charles. + + Kane is about to say something, but bites his lips instead. + Emily keeps staring at him. + + EMILY + Have they heard from father yet? + Has he seen - + + KANE + I've tried to tell you, Emily. + The President's going to be all + right. He had a comfortable night. + There's no danger of any kind. + + Emily nods several times. There is an uncomforable silence. + Suddenly there is a cry from the crib. Emily leaps from the + bed and rushes to him. She bends over the crib. + + EMILY + (murmuring) + Here I am, darling... Darling!... + Darling, it's all right... Mother's + here. + + KANE + Emily - you musn't leave me now - + you can't do that to me. + + EMILY + They won't hurt you, darling. + Mother's with you! Mother's looking + after you! + + Kane, unwanted, ignored, looks on. Tightening his lips, he + walks out. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. KANE'S OFFICE - NIGHT + + By the desk light, Kane is seen working with his usual + intensity, Reilly standing beside him at the desk. + + KANE + We'll withdraw support completely. + Anything else? + + REILLY + Mr. Leland sent back that check. + + KANE + What check? + + REILLY + You made it out to him last week + after he left for Chicago. + + KANE + Oh, yes, the bonus. + + REILLY + It was for twenty-five thousand + dollars. + + Kane is perplexed and worried, but we can see in a moment his + mind will be on something else. + + REILLY + He sent it back torn up - all torn + up into little bits, and he enclosed + something else - I can't make it + out. + + Kane doesn't answer. Reilly goes on. He has brought out a + piece of paper and is reading it. + + REILLY + It says here, "A Declaration of + Principles" - + (he still reads) + "I will provide the people of this + city with a daily paper that will + tell all the news honestly" - + + Kane has looked up sharply. Reilly, sensing his look, stops + reading and meets his eye. Slowly, Kane reaches out his hand. + Reilly hands him the piece of paper. Without reading it, Kane + tears it up, throws it into the wastebasket at his side. + + DISSOLVE: + + INT. MADISON SQUARE GARDEN - NIGHT - + + The evening of the final great rally. These shots remind us + of and are identical with and supplementary to the "News Digest" + scenes earlier. The vast auditorium with a huge picture of + Kane, cheering crowds, etc. Emily and Junior are to be seen + in the front of a box. Emily is tired and wears a forced smile + on her face. Junior, now aged nine and a half, is eager, bright- + eyed and excited. Kane is just finishing his speech. + + KANE + It is no secret that I entered + upon this campaign with no thought + that I could be elected Governor + of this state! It is now no secret + that every straw vote, every + independent pole, shows that I + will be elected. And I repeat to + you - my first official act as + Governor will be to appoint a + special District Attorney to arrange + for the indictment, prosecution + and conviction of Boss Edward G. + Rogers! + + Terrific screaming and cheering from the audience. + + DISSOLVE OUT: + + INT. MADISON SQUARE GARDEN - NIGHT - + + The Speaker's Platform. Numerous officials and civic leaders + are crowding around Kane. Cameramen take flash photographs + with old-fashioined flash powder. + + FIRST CIVIC LEADER + Great speech, Mr. Kane. + + SECOND LEADER + (pompous) + One of the most notable public + utterances ever made by a candidate + in this state - + + KANE + Thank you, gentlemen. Thank you. + + He looks up and notices that the box in which Emily and the + boy were sitting is now empty. He starts toward the rear of + the platform, through the press of people, Reilly approaches + him. + + REILLY + A wonderful speech, Mr. Kane. + + Kane pats him on the shoulder as he walks along. + + REILLY + I just got word from Buffalo, Mr. + Kane. They're going to throw you + the organization vote - and take a + chance maybe you'll give them a + break - + + This is said almost inquiringly, as if he were hoping that + Kane would give him some assurance that McDonald is not making + a mistake. There is no answer from Kane. + + REILLY + On an independent ticket there's + never been anything like it! If + the election were held today, you'd + be elected by a hundred thousand + votes - and every day between now + and November 7th is just going to + add to your majority. + + Kane is very pleased. He continues with Reilly slowly through + the crowd - a band playing off. Bernstein joins him. + + KANE + It does seem too good to be true, + doesn't it, Mr. Bernstein? + + REILLY + Rogers isn't even pretending. He + isn't just scared anymore. He's + sick. Frank Norris told me last + night he hasn't known Rogers to be + that worried in twenty-five years. + + KANE + I think it's beginning to dawn on + Mr. Rogers that I mean what I say. + With Mr. Rogers out of the way, + Reilly, I think we may really begin + to hope for a good government in + this state. + (stopping) + Well, Mr. Bernstein? + + BERNSTEIN + (clearly not meaning + it) + It's wonderful, Mr. Kane. + Wonderful. Wonderful. + + KANE + You don't really think so? + + BERNSTEIN + I do. I do. I mean, since you're + running for Governor - and you + want to be elected - I think it's + wonderful you're going to be + elected. Only - + (interrupts himself) + - Can I say something? + + KANE + Please, Mr. Bernstein. + + BERNSTEIN + Well, the way I look at it - + (comes out with it) + - You want to know what I really + think would be wonderful? + + Kane indicates he is to proceed. + + BERNSTEIN + Well, you're running for Governor + and going to be elected - my idea + is how wonderful it would be if + you don't run at all and don't get + elected. + + DISSOLVE: + + EXT. ONE OF THE EXITS - MADISON SQUARE GARDEN - NIGHT - + + Emily and Junior are standing, waiting for Kane. + + JUNIOR + Is Pop Governor yet, Mom? + + Just then, Kane appears, with Reilly and several other men. + Kane rushes toward Emily and Junior, as the men politely greet + Emily. + + KANE + Hello, Butch! Did you like your + old man's speech? + + JUNIOR + Hello, Pop! I was in a box. I + could hear every word. + + KANE + I saw you! + (he has his arm + around Junior's + shoulder) + Good night, gentlemen. + + There are good nights. Kane's car is at the curb and he starts + to walk toward it with Junior and Emily. + + EMILY + I'm sending Junior home in the + car, Charles - with Oliver - + + KANE + But I'd arranged to go home with + you myself. + + EMILY + There's a call I want you to make + with me, Charles. + + KANE + It can wait. + + EMILY + No, it can't. + (she bends down and + kisses Junior) + Good night, darling. + + JUNIOR + Good night, Mom. + + The driver is holding the rear door open as Emily guides Junior + in. + + KANE + (as car starts to + drive off) + What's this all about, Emily? + I've had a very tiring day and - + + EMILY + It may not be about anything at + all. + + A cab has pulled up. + + THE DRIVER + Cab? + + Emily nods to him. + + EMILY + I intend to find out. + + KANE + I insist on being told exactly + what you have in mind. + + EMILY + I'm going to - + (she looks at a + slip of paper in + her hand) + - 185 West 74th Street. + + Kane's reaction indicates that the address definitely means + something to him. + + EMILY + If you wish, you can come with + me... + + Kane nods. + + KANE + I'll go with you. + + He opens the door and she enters the cab. He follows her. + + DISSOLVE: + + INT. CAB - NIGHT - + + Kane and Emily. He looks at her, in search of some kind of + enlightenment. Her face is set and impassive. + + DISSOLVE: + + EXT. AND INT. APARTMENT HOUSE HALLWAY - NIGHT - + + Kane and Emily, in front of an apartment door. Emily is + pressing the bell. + + KANE + I had no idea you had this flair + for melodrama, Emiliy. + + Emily does not answer. The door is opened by a maid, who + recognizes Kane. + + THE MAID + Come in, Mr. Kane, come in. + + They enter, Emily first. + + INT. SUSAN'S APARTMENT - NIGHT - + + There is first a tiny reception room, through which an open + door shows the living room. Kane and Emily enter from the + hallway and cross to the living room. As they enter, Susan + rises from a chair. The other person in the room - a big, + heavyset man, a little past middle age - stays where he is, + leaning back in his chair, regarding Kane intently. + + SUSAN + It wasn't my fault, Charlie. He + made me send your wife a note. + He said I'd - oh, he's been saying + the most terrible things, I didn't + know what to do... I - + (she catches sight + of Emily) + + ROGERS + Good evening, Mr. Kane. + (he rises) + I don't suppose anybody would + introduce us. Mrs. Kane, I am + Edward Rogers. + + EMILY + How do you do? + (pauses) + I came here - and I made Mr. Kane + come with me... + (she consults the + note in her hand + without reading it + again) + because I recieved this note - + + ROGERS + I made Miss - Miss Alexander send + you the note. She was a little + unwilling at first - + (he smiles grimly) + but she did it. + + SUSAN + I can't tell you the things he + said, Charlie. You haven't got + any idea - + + KANE + (turning on Rogers) + Rogers, I don't think I will + postpone doing something about you + until I'm elected. + (he starts toward + him) + To start with, I'll break your + neck. + + ROGERS + (not giving way an + inch) + Maybe you can do it and maybe you + can't, Mr. Kane. + + EMILY + Charles! + (he stops to look + at her) + Your - your breaking this man's + neck - + (she is clearly + disgusted) + would scarcely explain this note - + (glancing at the + note) + Serious consequences for Mr. Kane - + (slowly) + for myself, and for my son. What + does this note mean, Miss - + + SUSAN + (stiffly) + I'm Susan Alexander. + (pauses) + I know what you think, Mrs. Kane, + but - + + EMILY + (ignoring this) + What does this note mean, Miss + Alexander? + + ROGERS + She doesn't know, Mrs. Kane. She + just sent it - because I made her + see it wouldn't be smart for her + not to send it. + + KANE + In case you don't know, Emily, + this - this gentleman - + (he puts a world of + scorn into the + word) + is - + + ROGERS + I'm not a gentleman, Mrs. Kane, + and your husband is just trying to + be funny calling me one. I don't + even know what a gentleman is. + (tensely, with all + the hatred and + venom in the world) + You see, my idea of a gentleman, + Mrs. Kane - well, if I owned a + newspaper and if I didn't like the + way somebody else was doing things - + some politican, say - I'd fight + them with everything I had. Only + I wouldn't show him in a convict + suit, with stripes - so his children + could see the picture in the paper. + Or his mother. + (he has to control + himself from hurling + himself at Kane) + It's pretty clear - I'm not a + gentleman. + + EMILY + Oh!! + + KANE + You're a cheap, crooked grafter - + and your concern for your children + and your mother - + + ROGERS + Anything you say, Mr. Kane. Only + we're talking now about what you + are. That's what the note is about, + Mrs. Kane. Now I'm going to lay + all my cards on the table. I'm + fighting for my life. Not just my + political life. My life. If your + husband is elected governor - + + KANE + I'm going to be elected governor. + And the first thing I'm going to + do - + + EMILY + Let him finish, Charles. + + ROGERS + I'm protecting myself every way I + know how, Mrs. Kane. This last + week, I finally found out how I + can stop your husband from being + elected. If the people of this + state learn what I found out this + week, he wouldn't have a chance to - + he couldn't be elected Dog Catcher. + Well, what I'm interested in is + seeing that he's not elected. I + don't care whether they know what + I know about him. Let him keep + right on being the Great, Noble, + Moral - + (he stresses the + world) + Champeen of the people. Just as + long as - + + EMILY + I think I understand, Mr. Rogers, + but wonder if - + (she leaves her + sentence unfinished) + + KANE + You can't blackmail me, Rogers, + you can't - + + SUSAN + (excitedly) + Charlie, he said, unless you + withdrew your name - + + ROGERS + That's the chance I'm willing to + give you, Mr. Kane. More of a + chance than you'd give me. Unless + you make up your mind by tomorrow + that you're so sick that you've + got to go away for a year or two - + Monday morning every paper in this + State will carry the story I'm + going to give them. + + Kane starts to stare at him intently. + + EMILY + What story, Mr. Rogers? + + ROGERS + The story about him and Miss + Alexander, Mrs. Kane. + + Emily looks at Kane. + + SUSAN + There is no story. It's all lies. + Mr. Kane is just - + + ROGERS + (to Susan) + Shut up! + (to Kane) + I've had a dozen men doing nothing + but run this thing down - we've + got evidence enough to - well, the + evidence would stand up in any + court of law. You want me to give + you the evidence, Mr. Kane? + + KANE + You do anything you want to do. + The people of this state can decide + which one of us to trust. If you + want to know, they've already + decided. The election Tuesday'll + be only - + + ROGERS + Mrs. Kane, I'm not asking you to + believe me. I'd like to show you - + + EMILY + You don't have to show me anything, + Mr. Rogers. I believe you. + + ROGERS + I'd rather Mr. Kane withdrew without + having to get the story published. + Not that I care about him. But + I'd be better off that way - + (he pauses) + - and so would you, Mrs. Kane. + + SUSAN + What about me? + (to Kane) + He said my name'd be dragged through + the mud. He said everywhere I'd + go from now on - + + EMILY + There seems to be only one decision + you can make, Charles. I'd say + that it has been made for you. + (pauses) + I suppose the details can be + arranged tomorrow, Mr. Rogers. + About the statements by the doctors - + + KANE + Have you gone completely mad, Emily? + + Emily looks at him. + + KANE + You don't think I'm going to let + this blackmailer intimidate me, do + you? + + EMILY + I don't see what else you can do, + Charles. If he's right - and the + papers publish this story he has - + + KANE + Oh, they'll publish it all right. + But that's not going to stop me - + + EMILY + Charles, this - this story - doesn't + concern only you. I'll be in it, + too, won't I? + (quickly) + And Junior? + + KANE + (squirming a bit) + I suppose so, but - I'm not afraid + of the story. You can't tell me + that the voters of this state - + + EMILY + I'm not interested in the voters + of this state right now. I am + interested in - well, Junior, for + one thing. + + SUSAN + Charlie! If they publish this + story - + + EMILY + They won't. Goodnight, Mr. Rogers. + (she starts out) + There's nothing more to be said, + Charles. + + KANE + Oh yes, there is. + + EMILY + I don't think so. Are you coming, + Charles? + + KANE + No. + + She looks at him. He starts to work himself into a rage. + + KANE + There's only one person in the + world to decide what I'm going to + do - and that's me. And if + you think - if any of you think - + + EMILY + You decided what you were going to + do, Charles - some time ago. + (she looks at Susan) + You can't always have it your own + way, regardless of anything else + that may have happened. + (she sighs) + Come on, Charles. + + KANE + Go on! Get out! I can fight this + thing all alone! + + ROGERS + You're making a bigger fool of + yourself than I thought you would, + Mr. Kane. You're licked. Why + don't you - + + KANE + (turning on him) + Get out! I've got nothing to talk + to you about. If you want to see + me, have the Warden write me a + letter. + + ROGERS + I see! + (he starts toward + the door) + + SUSAN + (starting to cry) + Charlie, you're just excited. You + don't realize - + + KANE + I know exactly what I'm doing. + (he is screaming) + Get out! + + EMILY + (quietly) + Charles, if you don't listen to + reason, it may be too late - + + KANE + Too late for what? Too late for + you and this - + (he can't find the + adjective) + this public thief to take the love + of the people of this state away + from me? Well, you won't do it, I + tell you. You won't do it! + + SUSAN + Charlie, there are other things to + think of. + (a sly look comes + into her eyes) + Your son - you don't want him to + read in the papers - + + EMILY + It is too late now, Charles. + + KANE + (rushes to the door + and opens it) + Get out, both of you! + + SUSAN + (rushes to him) + Charlie, please don't - + + KANE + What are you waiting here for? + Why don't you go? + + EMILY + Goodnight, Charles. + + She walks out. Rogers stops as he gets directly in front of + Kane. + + ROGERS + You're the greatest fool I've ever + known, Kane. If it was anybody + else, I'd say what's going to happen + to you would be a lesson to you. + Only you're going to need more + than one lesson. And you're going + to get more than one lesson. + (he walks past Kane) + + KANE + Don't you worry about me. I'm + Charles Foster Kane. I'm no cheap, + crooked politician, trying to save + himself from the consequences of + his crimes - + + INT. APARTMENT HOUSE HALLWAY - NIGHT - + + Camera angling toward Kane from other end of the hall. Rogers + and Emily are already down the hall, moving toward foreground. + Kane in apartment doorway background. + + KANE + (screams louder) + I'm going to send you to Sing Sing, + Rogers. Sing Sing! + + Kane is trembling with rage as he shakes his fist at Rogers's + back. Susan, quieter now, has snuggled into the hollow of his + shoulder as they stand in the doorway. + + DISSOLVE: + + The "Chronicle" front page with photograph (as in the "News + Digest") revealing Kane's relations with Susan. + + DISSOLVE OUT: + + DISSOLVE IN: + + Front page of "Chronicle" - Headline which reads: + + ROGERS ELECTED + + DISSOLVE: + + Front page of "Enquirer" - Headline which reads: + + FRAUD AT POLLS + + DISSOLVE: + + INT. LIVING ROOM - NIGHT - + + Emily is opening the door for Leland. + + EMILY + Hello, Brad - + + LELAND + Emily - + + He pauses. Leland comes in. Emily closes the door. + + EMILY + I'm sorry I sent for you, Brad - + didn't - + + LELAND + Chicago is pretty close to New + York nowadays - only twenty hours - + + She doesn't have anything to say. + + LELAND + I'm glad to see you. + + She smiles at him and we know that there isn't anybody else in + the world for her to smile at. She's too grateful to talk. + + EMILY + Are all the returns in? + + Leland puts his hat unconsciously on his coat by the newspaper. + + EMILY + Let me see it. + + Leland takes the newspaper out of his pocket and hands it to + her. She takes it. We see the headline, not an insert, but + it registers. It reads: "Fraud at Polls." Emily is looking + at the paper with unseeing eyes, and a little smile. + + LELAND + (after a pause) + Almost two to one - + + EMILY + I'm surprised he got the votes he + did. + + LELAND + Emily! + + EMILY + Why should anyone vote for him? + He's made it quite clear to the + people what he thinks of them. + Children - to be told one thing + one day, something else the next, + as the whim seizes him. And they're + supposed to be grateful and love + and adore him - because he sees to + it that they get cheap ice and + only pay a nickel in the street + cars. + + LELAND + Emily, you're being - a little + unfair - You know what I think of + Charles' behavior - about your + personal lives - + + EMILY + There aren't any personal lives + for people like us. He made that + very clear to me nine years ago - + If I'd thought of my life with + Charles as a personal life, I'd + have left him then - + + LELAND + know that, Emily - + + EMILY + (on top of Leland) + Maybe I should have - the first + time he showed me what a mad dog + he really was. + + LELAND + (on the cue "dog") + Emily, you - + + EMILY + Brad, I'm - I'm not an old woman + yet - + + LELAND + It's - all over - + + He stops himself. + + EMILY + (after a pause) + Know it is, Brad - + + LELAND + He's paying for it, Emily. Those + returns tonight - he's finished. + Politically - + (he thinks) + - socially, everywhere, I guess. + don't know about the papers, but - + + EMILY + If you're asking me to sympathize + with him, Brad, you're wasting + your time. + (pauses) + There's only one person I'm sorry + for, as a matter of fact. That - + that shabby little girl. I'm really + sorry for her, Brad. + + DISSOLVE: + + Front page Chicago "Enquirer," with photograph proclaiming + that Susan Alexander opens at new Chicago Opera House in + "Thais," as in "News Digest." + + On soundtrack during above we hear the big, expectant murmur + of an opening night audience and the noodling of the orchestra. + + DISSOLVE: + + INT. CHICAGO OPERA HOUSE - NIGHT - SET FOR "THAIS" - + + The camera is just inside the curtain, angling upstage. We + see the set for "Thais" - the principals in place - stage + managers, stage hands, etc., and in the center of all this, in + an elaborate costume, looking very small and very lost, is + Susan. She is almost hysterical with fright. Maids, singing + teacher, and the rest are in attendance. Her throat is sprayed. + Applause is heard at the opening of the shot, and now the + orchestra starts thunderously. The curtain starts to rise - + the camera with it - the blinding glare of the foots moves up + Susan's body and hits her face. She squints and starts to + sing. Camera continues on up with the curtain, up past Susan, + up the full height of the proscenium arch and then on up into + the gridiron into a world of ropes, brick walls and hanging + canvas - Susan's voice still heard - but faintly. The camera + stops at the top of the gridiron as the curtain stops. Two + typical stage hands fill the frame. They are looking down on + the stage below. Some of the reflected light gleams on their + faces. They look at each other. One of them puts his hand to + his nose. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. LELAND'S OFFICE - CHICAGO ENQUIRER - NIGHT - + + Leland, as in the same scene in the Bernstein sequence, is + sprawled across his typewriter, his head on the keys. The + paper is gone from the roller. Leland stirs and looks up + drunkenly, his eyes encountering Bernstein, who stands beside + him (also as in the previous scene). + + BERNSTEIN + Hello, Mr. Leland. + + LELAND + Hello, Bernstein. + + Leland makes a terrific effort to pull himself together. He + straightens and reaches for the keys - then sees the paper is + gone from the machine. + + LELAND + Where is it - where's my notice? + I've got to finish it! + + BERNSTEIN + (quietly) + Mr. Kane is finishing it. + + LELAND + Kane? Charlie? + (painfully, he rises + to his feet) + Where is he? + + During all this, the sound of a typewriter has been heard off - + a busy typewriter. Leland's eyes follow the sound. Slowly he + registers Kane in the City Room beyond. This is almost the + same shot as in the previous Bernstein story. + + INT. CITY ROOM - CHICAGO ENQUIRER - NIGHT - + + Kane, in white tie and shirt sleeves, is typing away at a + machine, his fingers working briskly and efficiently, his face, + seen by the desk light before him, set in a strange half-smile. + + Leland stands in the door of his office, staring across at + him. + + LELAND + I suppose he's fixing it up - I + know I'd never get that through. + + BERNSTEIN + (moving to his side) + Mr. Kane is finishing your piece + the way you started it. + + Leland turns incredulously to Bernstein. + + BERNSTEIN + He's writing a roast like you wanted + it to be - + (then suddnely - + with a kind of + quiet passion rather + than a triumph) + - I guess that'll show you. + + Leland picks his way across the City Room to Kane's side. + Kane goes on typing, without looking up. After a pause, Kane + speaks. + + KANE + Hello, Brad. + + LELAND + Hello, Charlie - + + (ANOTHER PAUSE) + I didn't know we were speaking. + + Kane stops typing, but doesn't turn. + + KANE + Sure, we're speaking, Brad - + you're fired. + + He starts typing again, the expression on his face doesn't + change. + + DISSOLVE OUT: + + DISSOLVE IN: + + EXT. HOSPITAL ROOF - DAY - + + Thompson and Leland on the roof, which is now deserted. It is + getting late. The sun has just about gone down. + + LELAND + Well, that's about all there is - + and I'm getting chills. Hey, nurse! + (pause) + Five years ago, he wrote from that + place of his down South - + (as if trying to + think) + - you know. Shangri-la? El Dorado? + (pauses) + Sloppy Joe's? What's the name of + that place? You know... All right. + Xanadu. I knew what it was all + the time. You caught on, didn't + you? + + THOMPSON + Yes. + + LELAND + I guess maybe I'm not as hard to + see through as I think. Anyway, I + never even answered his letter. + Maybe I should have. I guess he + was pretty lonely down there those + last years. He hadn't finished it + when she left him - he never + finished it - he never finished + anything. Of course, he built it + for her - + + THOMPSON + That must have been love. + + LELAND + I don't know. He was disappointed + in the world. So he built one of + his own - An absolute monarchy - + It was something bigger than an + opera house anyway - + (calls) + Nurse! + (lowers his voice) + Say, I'll tell you one thing you + can do for me, young fellow. + + THOMPSON + Sure. + + LELAND + On your way out, stop at a cigar + store, will you, and send me up a + couple of cigars? + + THOMPSON + Sure, Mr. Leland. I'll be glad + to. + + LELAND + Hey, Nurse! + + A Nurse appears. + + NURSE + Hello, Mr. Leland. + + LELAND + I'm ready to go in now. You know + when I was a young man, there was + an impression around that nurses + were pretty. It was no truer then + than it is now. + + NURSE + Here, let me take your arm, Mr. + Leland. + + LELAND + (testily) + All right, all right. + (he has begun to + move forward on + the Nurse's arm; + turning to Thompson) + You won't forget, will you, about + the cigars? And tell them to wrap + them up to look like toothpaste, + or something, or they'll stop them + at the desk. That young doctor I + was telling you about, he's got an + idea he wants to keep me alive. + + DISSOLVE: + + EXT. "EL RANCHO" CABARET IN ATLANTIC CITY - EARLY DAWN - + + NEON SIGN ON THE ROOF: + + "EL RANCHO" + + FLOOR SHOW + + SUSAN ALEXANDER KANE + + TWICE NIGHTLY + + glows on the dark screen as in the previous sequence earlier + in the script. Behind the lights and through them, we see a + nasty early morning. Camera as before, moves through the lights + of the sign and down on the skylight, through which is seen + Susan at her regular table, Thompson seated across from her. + + Very faintly during this, idle piano music playing. + + DISSOLVE: + + INT. "EL RANCHO" CABARET - EARLY DAWN - + + Susan and Thompson are facing each other. The place is almost + deserted. Susan is sober. On the other side of the room, + somebody is playing a piano. + + SUSAN + How do you want to handle the whole + thing - ask questions? + + THOMPSON + I'd rather you just talked. + Anything that comes into your mind - + about yourself and Mr. Kane. + + SUSAN + You wouldn't want to hear a lot of + what comes into my mind about myself + and Mr. Charlie Kane. + + Susan is thinking. + + THOMPSON + How did you meet him? + + SUSAN + I had a toothache. + + Thompson looks at her. + + SUSAN + That was thiry years ago - and I + still remember that toothache. + Boy! That toothache was just + driving me crazy... + + DISSOLVE OUT: + + DISSOLVE IN: + + EXT. CORNER DRUG STORE AND STREET ON THE WEST SIDE OF NEW YORK - + NIGHT - + + Susan, aged twenty, neatly but cheaply dressed in the style of + the period, is leaving the drug store. It's about 8 o'clock + at night. With a large, man-sized handkerchief pressed to her + cheek, she is in considerable pain. The street is wet - after + a recent rain. + + She walks a few steps towards the middle of the block, and can + stand it no longer. She stops, opens a bottle of Oil of Cloves + that she has in her hand, applies some to her finger, and rubs + her gums. + + She walks on, the pain only a bit better. Four or five houses + farther along, she comes to what is clearly her own doorway - + a shabby, old four-story apartment house. She turns toward + the doorway, which is up a tiny stoop, about three steps. + + As she does so, Kane, coming from the opposite direction, almost + bumps into her and turns to his left to avoid her. His shoulder + bumps hers and she turns. As she does so, Kane, forced to + change his course, steps on the loose end of a plank which + covers a puddle in the bad sidewalk. The plank rises up and + cracks him on the knee, also covering him with mud. + + KANE + (hopping up and + down and rubbing + his knee) + Ow! + + Susan, taking her handkerchief from her jaw, roars with + laughter. + + KANE + It's not funny. + + He bites his lip and rubs his knee again. Susan tries to + control her laughter, but not very successfully. Kane glares + at her. + + SUSAN + I'm sorry, mister - but you do + look awful funny. + + Suddenly, the pain returns and she claps her hand to her jaw. + + SUSAN + Ow! + + KANE + What's the matter with you? + + SUSAN + Toothache. + + KANE + Hmm! + + He has been rubbing his clothes with his handkerchief. + + SUSAN + You've got some on your face. + + KANE + If these sidewalks were kept in + condition - instead of the money + going to some cheap grafter - + + Susan starts to laugh again. + + KANE + What's funny now? + + SUSAN + You are. You look like you've + been making mud pies. + + In the middle of her smile, the pain returns. + + SUSAN + Oh! + + KANE + You're no Venus de Milo. + + SUSAN + (points to the + downstair window) + If you want to come in and wash + your face - I can get you some + hot water to get that dirt off + your trousers - + + KANE + Thanks. + + Susan starts, with Kane following her. + + DISSOLVE: + + INT. SUSAN'S ROOM - NIGHT - + + It's in moderate disorder. The Mansbach gas lights are on. + It's not really a classy room, but it's exactly what you're + entitled to in 1910, for $5.00 a week including breakfast. + + There is a bed, a couple of chairs, a chiffonier, and a few + personal belongings on the chiffonier. These include a + photograph of a gent and lady, obviously Susan's parents, and + a few objets d'art. One, "At the Japanese Rolling Ball Game + at Coney Island," and - perhaps this is part of the Japanese + loot - the glass globe with the snow scene Kane was holding in + his hand in the first sequence. + + Susan comes into the room, carrying a basin, with towels over + her arm. Kane is waiting for her. She doesn't close the door. + + SUSAN + (by way of + explanation) + My landlady prefers me to keep + this door open when I have a + gentleman caller. + (starts to put the + basin down) + She's a very decent woman. + (making a face) + Ow! + + Kane rushes to take the basin from her, putting it on the + chiffonier. To do this, he has to shove the photograph to one + side of the basin. Susan grabs the photograph as it is about + to fall over. + + SUSAN + Hey, you should be more careful. + That's my ma and pa. + + KANE + I'm sorry. They live here, too? + + SUSAN + No. They've passed on. + + Again she puts her hand to her jaw. + + KANE + Where's the soap? + + SUSAN + In the water. + + Kane fishes the soap out of the water. It is slippery, however, + and slips out of his hand, hitting him in the chest before it + falls to the floor. Susan laughs as he bends over. + + KANE + (starting to wash + his hands) + You're very easily amused. + + SUSAN + I always like to see the funny + side of things. No sense crying + when you don't have to. And you're + so funny. Looking at you, I forget + all about my toothache. + + Her face distorts in pain again. + + SUSAN + Oh! + + KANE + I can't stay here all night chasing + your pain away. + + SUSAN + (laughs) + I know... But you do look so silly. + + Kane, with soaped hands, has rubbed his face and now cannot + open his eyes, for fear of getting soap in them. + + KANE + Where's the towel? + + SUSAN + On the chiffonier. Here. + + KANE + (rubs his face dry) + Thanks. + + SUSAN + (on her way to closet) + I've got a brush in the closet. + As soon as the mud on your trousers + is all dry - you just brush it + off. + + KANE + I'll get these streets fixed, if + it's the last thing I do. + + Susan comes out of the closet. She holds out the brush with + her left hand, her right hand to her jaw in real distress. + + KANE + (takes the brush) + You are in pain, aren't you, you + poor kid? + + Susan can't stand it anymore and sits down in a chair, bent + over, whimpering a bit. + + KANE + (brushing himself) + Wish there was something I could - + + He stops and thinks. Susan, her face averted, is still trying + hard not to cry. + + KANE + I've got an idea, young lady. + (there is no response) + Turn around and look at me. + (there is still no + response) + I said, turn around and look at + me, young lady. + + Slowly, Susan turns. + + KANE + Did you ever see anybody wiggle + both his ears at the same time? + + It takes a second for Susan to adapt herself to this. + + KANE + Watch closely! + (he wiggles his + ears) + It took me two solid years at the + finest boys' school in the world + to learn that trick. The fellow + who taught me is President of + Venezuela now. + + He's still wiggling his ears as Susan starts to smile. + + KANE + That's it! Smile! + + Susan smiles, very broadly. + + DISSOLVE: + + INT. SUSAN'S ROOM - NIGHT - + + Closeup of a duck, camera pulls back showing it to be a + shadowgraph on the wall, made by Kane, who is now in his shirt + sleeves. It is about an hour later than preceding sequence. + + SUSAN + (hesitatingly) + A chicken? + + KANE + No. But you're close. + + SUSAN + A rooster? + + KANE + You're getting farther away all + the time. It's a duck. + + SUSAN + Excuse me, Mr. Kane. I know this + takes a lot of nerve, but - who + are you? I mean - I'm pretty + ignorant, guess you caught on to + that - + + KANE + (looks squarely at + her) + You really don't know who I am? + + SUSAN + No. That is, I bet it turns out + I've heard your name a million + times, only you know how it is - + + KANE + But you like me, don't you? Even + though you don't know who I am? + + SUSAN + You've been wonderful! I can't + tell you how glad I am you're here, + I don't know many people and - + (she stops) + + KANE + And I know too many people. + Obviously, we're both lonely. + (he smiles) + Would you like to know where I was + going tonight - when you ran into + me and ruined my Sunday clothes? + + SUSAN + I didn't run into you and I bet + they're not your Sunday clothes. + You've probably got a lot of + clothes. + + KANE + (as if defending + himself from a + terrible onslaught) + I was only joking! + (pauses) + This evening I was on my way to + the Western Manhattan Warehouses - + in search of my youth. + + Susan is bewildered. + + KANE + You see, my mother died, too - a + long time ago. Her things were + put into storage out west because + I had no place to put them then. + I still haven't. But now I've + sent for them just the same. And + tonight I'd planned to make a sort + of sentimental journey - + (slowly) + - to the scenes of my youth - my + childhood, I suppose - to look + again at - + (he changes mood + slightly) + and now - + + Kane doesn't finish. He looks at Susan. Silence. + + KANE + Who am I? Well, let's see. Charles + Foster Kane was born in New Salem, + Colorado in eighteen six - + (he stops on the + word "sixty" - + obviously a little + embarrassed) + I run a couple of newspapers. How + about you? + + SUSAN + Oh, me - + + KANE + How old did you say you were? + + SUSAN + (very bright) + I didn't say. + + KANE + I didn't think you did. If you + had, I wouldn't have asked you + again, because I'd have remembered. + How old? + + SUSAN + Pretty old. I'll be twenty-two in + August. + + KANE + (looks at her + silently for a + moment) + That's a ripe old age - What do + you do? + + SUSAN + I work at Seligman's. + + KANE + Is that what you want to do? + + SUSAN + I want to be a singer. + (she thinks for a + moment) + I mean, I didn't. Mother did for + me. + + KANE + (sympathetically) + What happened to the singing? + You're not in a show, are you? + + SUSAN + Oh, no! Nothing like that. Mother + always thought - she used to talk + about Grand Opera for me. Imagine! + An American girl, for one thing - + and then my voice isn't really + that kind anyway, it's just that + Mother - you know what mothers are + like. + + A sudden look comes over Kane's face. + + KANE + Yes - + + SUSAN + As a matter of fact, I do sing a + little. + + KANE + (points to the piano) + Would you sing for me? + + SUSAN + (bashful) + Oh, you wouldn't want to hear me + sing. + + KANE + Yes, I would. That's why I asked. + + SUSAN + Well, I - + + KANE + Don't tell me your toothache is + bothering you again? + + SUSAN + Oh, no, that's all gone. + + KANE + Then you have no alibi at all. + Please sing. + + Susan, with a tiny ladylike hesitancy, goes to the piano and + sings a polite song. Sweetly, nicely, she sings with a small, + untrained voice. Kane listens. He is relaxed, at ease with + the world. + + DISSOLVE: + + INT. "EL RANCHO" CABARET - EARLY DAWN - + + Susan tosses down a drink, then goes on with her story. + + SUSAN + I did a lot of singing after that. + I sang for Charlie - I sang for + teachers at a hundred bucks an + hour - the teachers got that, I + didn't - + + THOMPSON + What did you get? + + SUSAN + (glares at him + balefully) + What do you mean? + + Thompson doesn't answer. + + SUSAN + I didn't get a thing. Just the + music lessons. That's all there + was to it. + + THOMPSON + He married you, didn't he? + + SUSAN + He was in love with me. But he + never told me so until after it + all came out in the papers about + us - and he lost the election and + that Norton woman divorced him. + + THOMPSON + What about that apartment? + + SUSAN + He wanted me to be comfortable - + Oh, why should I bother? You don't + believe me, but it's true. It + just happens to be true. He was + really interested in my voice. + (sharply) + What are you smiling for? What do + you think he built that opera house + for? I didn't want it. I didn't + want to sing. It was his idea - + everything was his idea - except + my leaving him. + + DISSOLVE: + + INT. LIVING ROOM OF KANE'S HOUSE IN NEW YORK - DAY - + + Susan is singing. Matisti, her voice teacher, is playing the + piano. Kane is seated nearby. Matisti stops. + + MATISTI + Impossible! Impossible! + + KANE + Your job isn't to give Mrs. Kane + your opinion of her talents. + You're supposed to train her voice. + Nothing more. + + MATISTI + (sweating) + But, it is impossible. I will be + the laughingstock of the musical + world! People will say - + + KANE + If you're interested in what people + say, Signor Matisti, I may be able + to enlighten you a bit. The + newspapers, for instance. I'm an + authority on what the papers will + say, Signor Matisti, because I own + eight of them between here and San + Francisco... It's all right, dear. + Signor Matisti is going to listen + to reason. Aren't you, maestro? + (he looks him square + in the eyes) + + MATISTI + Mr. Kane, how can I persuade you - + + KANE + You can't. + + There is a silence. Matisti rises. + + KANE + I knew you'd see it my way. + + DISSOLVE: + + INT. CHICAGO OPERA HOUSE - NIGHT - + + It is the same opening night - it is the same moment as before - + except taht the camera is now upstage angling toward the + audience. The curtain is down. We see the same tableau as + before - the terrified and trembling Susan, the apprehensive + principals, the maids and singing teachers, the stage hands. + As the dissolve commences, there is the sound of applause + (exactly as before) and now as the dissolve completes itself, + the orchestra breaks frighteningly into opening chords of the + music - the stage is cleared - Susan is left alone, terribly + alone. The curtain rises. The glare of the footlights jump + into the image. The curtain is now out of the picture and + Susan starts to sing. Beyond her, we see the prompter's box, + containing the anxious face of the prompter. Beyond that, out + in the darkness - an apprehensive conductor struggles with his + task of coordinating an orchestra and an incompetent singer. + Beyond that - dimly white shirt fronts and glistening bosoms + for a couple of rows, and then deep and terrible darkness. + + Closeup of Kane's face - seated in the audience - listening. + + Sudden but perfectly correct lull in the music reveals a voice + from the audience - a few words from a sentence - the kind of + thing that often happens in a theatre - + + THE VOICE + - really pathetic. + + Music crashes in and drowns out the rest of the sentence, but + hundreds of people around the voice have heard it (as well as + Kane) and there are titters which grow in volume. + + Closeup of Susan's face - singing. + + Closeup of Kane's face - listening. + + There is the ghastly sound of three thousand people applauding + as little as possible. Kane still looks. Then, near the + camera, there is the sound of about a dozen people applauding + very, very loudly. Camera moves back, revealing Bernstein and + Reilly and other Kane stooges, seated around him, beating their + palms together. The curtain is falling - as we can see by the + light which shutters down off their faces. + + The stage from Kane's angle. + + The curtain is down - the lights glowing on it. Still, the + polite applause dying fast. Nobody comes out for a bow. + + Closeup of Kane - breathing heavily. Suddenly he starts to + applaud furiously. + + The stage from the audience again. + + Susan appears for her bow. She can hardly walk. There is a + little polite crescendo of applause, but it is sickly. + + Closeup of Kane - still applauding very, very hard, his eyes + on Susan. + + The stage again. + + Susan, finishing her bow, goes out through the curtains. The + light on the curtain goes out and the houselights go on. + + Closeup of Kane - still applauding very, very hard. + + DISSOLVE: + + INT. STUDY - KANE'S NEW YORK HOME - DAY - + + Some weeks later. Susan, in a negligee, is at the window. + There are the remains of her breakfast tray on a little table. + + SUSAN + You don't propose to have yourself + made ridiculous? What about me? + I'm the one that has to do the + singing. I'm the one that gets + the razzberries. + (pauses) + Last week, when I was shopping, + one of the salesgirls did an + imitation of me for another girl. + She thought I didn't see her, but - + Charlie, you might as well make up + your mind to it. This is one thing + you're not going to have your own + way about. I can't sing and you + know it - Why can't you just - + + Kane rises and walks toward her. There is cold menace in his + walk. Susan shrinks a little as he draws closer to her. + + KANE + My reasons satisfy me, Susan. You + seem unable to understand them. I + will not tell them to you again. + (he is very close + to her) + You will continue with your singing. + + His eyes are relentlessly upon her. She sees something in + them that frightens her. She nods her head slowly, indicating + surrender. + + DISSOLVE OUT: + + DISSOLVE IN: + + Front page of the "San Francisco Enquirer" containing a large + portrait of Susan as Thais (as before). It is announced that + Susan will open an independent season in San Francisco in + "Thais." The picture remains constant but the names of the + papers change from New York to St. Louis, to Los Angeles to + Cleveland, to Denver to Philadelphia - all "Enquirers." + + During all this, on the soundtrack, Susan's voice is heard + singing her aria very faintly and far away, her voice cracking + a little. + + At the conclusion of this above, Susan has finished her song, + and there is the same mild applause as before - over the sound + of this, one man loudly applauding. This fades out as we - + + DISSOLVE: + + INT. SUSAN'S BEDROOM - KANE'S NEW YORK HOME - LATE NIGHT - + + The camera angles across the bed and Susan's form towards the + door, from the other side of which voices can be heard. + + KANE'S VOICE + Let's have your keys, Raymond. + + RAYMOND'S VOICE + Yes, sir. + + KANE'S VOICE + The key must be in the other side. + (pause) + We'll knock the door down, Raymond. + + RAYMOND'S VOICE + (calling) + Mrs. Kane - + + KANE'S VOICE + Do what I say. + + The door crashes open, light floods in the room, revealing + Susan, fully dressed, stretched out on the bed, one arm dangling + over the side. Kane rushes to her. + + KANE + Get Dr. Corey. + + RAYMOND + Yes, sir. + + He rushes out. Susan is breathing, but heavily. Kane loosens + the lace collar at her throat. + + DISSOLVE: + + INT. SUSAN'S ROOM - LATE NIGHT - + + A little later. All the lights are lit. Susan, in a nightgown, + is in bed, asleep. Raymond and a nurse are just leaving the + room, Raymond closing the door quietly behind him. Dr. Corey + rises. + + DR. COREY + She'll be perfectly all right in a + day or two, Mr. Kane. + + Kane nods. He has a small bottle in his hand. + + DR. COREY + The nurse has complete instructions, + but if you care to talk to me at + any time, I should be only too + glad - I shall be here in the + morning. + + KANE + Thank you. I can't imagine how + Mrs. Kane came to make such a silly + mistake. The sedative Dr. Wagner + gave her is in a somewhat larger + bottle - I suppose the strain of + preparing for her trip has excited + and confused her. + + DR. COREY + I'm sure that's it. + (he starts out) + + KANE + There are no objections to my + staying here with her, are there? + + DR. COREY + Not at all. I'd like the nurse to + be here, too. + + KANE + Of course. + + Dr. Corey leaves. Kane settles himself in a chair next to the + bed, looking at Susan. In a moment, the nurse enters, goes to + a chair in the corner of the room, and sits down. + + DISSOLVE: + + INT. SUSAN'S ROOM - DAY - + + Susan, utterly spent, is lying flat on her back in her bed. + Kane is in the chair beside her. The nurse is out of the room. + + SUSAN + (in a voice that + comes from far + away) + I couldn't make you see how I felt, + Charlie. I just couldn't - I + couldn't go threw with singing + again. You don't know what it + means to feel - to know that people - + that an audience don't want you. + That if you haven't got what they + want - a real voice - + they just don't care about you. + Even when they're polite - and + they don't laugh or get restless + or - you know... They don't want + you. They just - + + KANE + (angrily) + That's when you've got to fight + them. That's when you've got to + make them. That's - + + Susan's head turns and she looks at him silently with pathetic + eyes. + + KANE + I'm sorry. + (he leans over to + pat her hand) + You won't have to fight them + anymore. + (he smiles a little) + It's their loss. + + Gratefully, Susan, with difficulty, brings her other hand over + to cover his. + + DISSOLVE: + + EXT. ESTABLISHING SHOT OF XANADU - HALF BUILT + + INT. THE GRAND HALL IN XANADU - + + Closeup of an enormous jigsaw puzzle. A hand is putting in + the last piece. Camera moves back to reveal jigsaw puzzle + spread out on the floor. + + Susan is on the floor before her jigsaw puzzle. Kane is in an + easy chair. Behind them towers the massive Renaissance + fireplace. It is night and Baroque candelabra illuminates the + scene. + + SUSAN + (with a sigh) + What time is it? + + There is no answer. + + SUSAN + Charlie! I said, what time is it? + + KANE + (looks up - consults + his watch) + Half past eleven. + + SUSAN + I mean in New York. + + KANE + Half past eleven. + + SUSAN + At night? + + KANE + Yes. The bulldog's just gone to + press. + + SUSAN + (sarcastically) + Hurray for the bulldog! + (sighs) + Half past eleven! The shows have + just let out. People are going to + night clubs and restaurants. Of + course, we're different. We live + in a palace - at the end of the + world. + + KANE + You always said you wanted to live + in a palace. + + SUSAN + Can't we go back, Charlie? + + Kane looks at her smilingly and turns back to his work. + + SUSAN + Charlie - + + There is no answer. + + SUSAN + If I promise to be a good girl! + Not to drink - and to entertain + all the governors and the senators + with dignity - + (she puts a slur + into the word) + Charlie - + + There is still no answer. + + DISSOLVE OUT: + + DISSOLVE IN: + + Another picture puzzle - Susan's hands fitting in a missing + piece. + + DISSOLVE: + + Another picture puzzle - Susan's hands fitting in a missing + piece. + + DISSOLVE: + + INT. XANADU - LIVING ROOM - DAY - + + Another picture puzzle. + + Camera pulls back to show Kane and Susan in much the same + positions as before, except that they are older. + + KANE + One thing I've never been able to + understand, Susan. How do you + know you haven't done them before? + + Susan shoots him an angry glance. She isn't amused. + + SUSAN + It makes a whole lot more sense + than collecting Venuses. + + KANE + You may be right - I sometimes + wonder - but you get into the + habit - + + SUSAN + (snapping) + It's not a habit. I do it because + I like it. + + KANE + I was referring to myself. + (pauses) + I thought we might have a picnic + tomorrow - it might be a nice change + after the Wild West party tonight. + Invite everybody to go to the + Everglades - + + SUSAN + (throws down a piece + of the jigsaw puzzle + and rises) + Invite everybody! Order everybody, + you mean, and make them sleep in + tents! Who wants to sleep in tents + when they have a nice room of their + own - with their own bath, where + they know where everything is? + + Kane has looked at her steadily, not hostilely. + + KANE + I thought we might invite everybody + to go on a picnic tomorrow. Stay + at Everglades overnight. + (he pats her lightly + on the shoulder) + Please see that the arrangements + are made, Susan. + + Kane turns away - to Bernstein. + + KANE + You remember my son, Mr. Bernstein. + + On the soundtrack we hear the following lines of dialogue: + + BERNSTEIN'S VOICE + (embarrased) + Oh, yes. How do you do, Mr. Kane? + + CHARLIE JR.'S VOICE + Hello. + + During this, camera holds on closeup of Susan's face. She is + very angry. + + DISSOLVE: + + EXT. THE EVERGLADES CAMP - NIGHT - + + Long shot - of a number of classy tents. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. LARGE TENT - EVERGLADES CAMP - NIGHT - + + Two real beds have been set up on each side of the tent. A + rather classy dressing table is in the rear, at which Susan is + preparing for bed. Kane, in his shirt-sleeves, is in an easy + chair, reading. Susan is very sullen. + + SUSAN + I'm not going to put up with it. + + Kane turns to look at her. + + SUSAN + I mean it. + (she catches a slight + flicker on Kane's + face) + Oh, I know I always say I mean it, + and then I don't - or you get me + so don't do what I say I'm going + to - but - + + KANE + (interrupting) + You're in a tent, darling. You're + not at home. And I can hear you + very well if you just talk in a + normal tone of voice. + + SUSAN + I'm not going to have my guests + insulted, just because you think - + (in a rage) + - if people want to bring a drink + or two along on a picnic, that's + their business. You've got no + right - + + KANE + (quickly) + I've got more than a right as far + as you're concerned, Susan. + + SUSAN + Oh, I'm sick and tired of you + telling me what I must and what I + musn't do! + + KANE + (gently) + You're my wife, Susan, and - + + SUSAN + I'm not just your wife, I'm a person + all by myself - or I ought to be. + I was once. Sometimes you get me + to believing I never was. + + KANE + We can discuss all this some other + time, Susan. Right now - + + SUSAN + I'll discuss what's on my mind + when I want to. You're not going + to keep on running my life the way + you want it. + + KANE + As far as you're concerned, Susan, + I've never wanted anything - I + don't want anything now - except + what you want. + + SUSAN + What you want me to want, you mean. + What you've decided I ought to + have - what you'd want if you were + me. But you've never given me + anything that - + + KANE + Susan, I really think - + + SUSAN + Oh, I don't mean the things you've + given me - that don't mean anything + to you. What's the difference + between giving me a bracelet or + giving somebody else a hundred + thousand dollars for a statue you're + going to keep crated up and never + look at? It's only money. It + doesn't mean anything. You're not + really giving anything that belongs + to you, that you care about. + + KANE + (he has risen) + Susan, I want you to stop this. + And right now! + + SUSAN + Well, I'm not going to stop it. + I'm going to say exactly what I + think. + (she screams) + You've never given me anything. + You've tried to buy me into giving + you something. You're - + (a sudden notion) + - it's like you were bribing me! + That's what it's been from the + first moment I met you. No matter + how much it cost you - your time, + your money - that's what you've + done with everybody you've ever + known. Tried to bribe them! + + KANE + Susan! + + She looks at him, with no lessening of her passion. + + KANE + You're talking an incredible amount + of nonsense, Susan. + (quietly) + Whatever I do - I do - because I + love you. + + SUSAN + Love! You don't love anybody! Me + or anybody else! You want to be + loved - that's all you want! I'm + Charles Foster Kane. Whatever you + want - just name it and it's yours! + Only love me! Don't expect me to + love you - + + Without a word, Kane slaps her across the face. They look at + each other. + + SUSAN + You - you hit me. + + Kane continues to look at her. + + SUSAN + You'll never have another chance + to hit me again. + (pauses) + Never knew till this minute - + + KANE + Susan, it seems to me - + + SUSAN + Don't tell me you're sorry. + + KANE + I'm not sorry. + + SUSAN + I'm going to leave you. + + KANE + No, you're not. + + SUSAN + (nods) + Yes. + + They look at each other, fixedly, but she doesn't give way. + In fact, the camera on Kane's face shows the beginning of a + startled look, as of one who sees something unfamiliar and + unbelievable. + + DISSOLVE: + + INT. KANE'S STUDY - XANADU - DAY - + + Kane is a the window looking out. He turns as he hears Raymond + enter. + + RAYMOND + Mrs. Kane would like to see you, + Mr. Kane. + + KANE + All right. + + Raymond waits as Kane hesitates. + + KANE + Is Mrs. Kane - + (he can't finish) + + RAYMOND + Marie has been packing since + morning, Mr. Kane. + + Kane impetuously walks past him out of the room. + + INT. SUSAN'S ROOM - XANADU - DAY - + + Packed suitcases are on the floor, Susan is completely dressed + for travelling. Kane bursts into the room. + + SUSAN + Tell Arnold I'm ready, Marie. He + can get the bags. + + MARIE + Yes, Mrs. Kane. + + She leaves. Kane closes the door behind her. + + KANE + Have you gone completely crazy? + + Susan looks at him. + + KANE + Don't you realize that everybody + here is going to know about this? + That you've packed your bags and + ordered the car and - + + SUSAN + - And left? Of course they'll + hear. I'm not saying goodbye - + except to you - but I never imagined + that people wouldn't know. + + Kane is standing against the door as if physically barring her + way. + + KANE + I won't let you go. + + SUSAN + You can't stop me. + + Kane keeps looking at her. Susan reaches out her hand. + + SUSAN + Goodbye, Charlie. + + KANE + (suddenly) + Don't go, Susan. + + SUSAN + Let's not start all over again, + Charlie. We've said everything + that can be said. + + KANE + Susan, don't go! Susan, please! + + He has lost all pride. Susan stops. She is affected by this. + + KANE + You mustn't go, Susan. + Everything'll be exactly the way + you want it. Not the way I think + you want it - by your way. Please, + Susan - Susan! + + She is staring at him. She might weaken. + + KANE + Don't go, Susan! You mustn't go! + (almost blubbering) + You - you can't do this to me, + Susan - + + It's as if he had thrown ice water into her face. She freezes. + + SUSAN + I see - it's you that this is being + done to! It's not me at all. Not + how I feel. Not what it means to + me. + (she laughs) + I can't do this to you! + (she looks at him) + Oh, yes I can. + + She walks out, past Kane, who turns to watch her go, like a + very tired old man. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. "EL RANCHO" CABARET - NIGHT - + + Susan and Thompson at a table. There is silence between them + for a moment. + + SUSAN + In case you've never heard of how + I lost all my money - and it was + plenty, believe me - + + THOMPSON + The last ten years have been tough + on a lot of people. + + SUSAN + They haven't been tough on me. I + just lost my money. But when I + compare these last ten years with + the twenty I spent with him - + + THOMPSON + I feel kind of sorry for him, all + the same - + + SUSAN + (harshly) + Don't you think I do? + (pause) + You say you're going down to Xanadu? + + THOMPSON + Monday, with some of the boys from + the office. Mr. Rawlston wants + the whole place photographed + carefully - all that art stuff. + We run a picture magazine, you + know - + + SUSAN + I know. If you're smart, you'll + talk to Raymond. That's the butler. + You can learn a lot from him. He + knows where the bodies are buried. + + She shivers. The dawn light from the skylight above has grown + brighter, making the artificial light in the night club look + particularly ghastly, revealing mercilessly every year of + Susan's age. + + SUSAN + Well, what do you know? It's + morning already. + (looks at him) + You must come around and tell me + the story of your life sometime. + + FADE OUT: + + FADE IN: + + INT. GREAT HALL - XANADU - NIGHT - + + An open door shows the pantry, which is dark. Thompson and + Raymond are at a table. There is a pitcher of beer and a plate + of sandwiches before them. Raymond drinks a glass of beer and + settles back. + + RAYMOND + Yes, sir - yes, sir, I knew how to + handle the old man. He was kind + of queer, but I knew how to handle + him. + + THOMPSON + Queer? + + RAYMOND + Yeah. I guess he wasn't very happy + those last years - he didn't have + much reason to be - + + DISSOLVE: + + INT. CORRIDOR AND TELEGRAPH OFFICE - XANADU - NIGHT - + + Raymond walking rapidly along corridor. He pushes open a door. + At a desk in a fairly elaborate telegraph office sits a wireless + operator named Fred. Near him at a telephone switchboard sits + a female operator named Katherine (not that it matters). + + RAYMOND + (reading) + Mr. Charles Foster Kane announced + today that Mrs. Charles Foster + Kane has left Xanadu, his Florida + home, under the terms of a peaceful + and friendly agreement with the + intention of filing suit for divorce + at an early date. Mrs. Kane said + that she does not intend to return + to the operatic career which she + gave up a few years after her + marriage, at Mr. Kane's request. + Signed, Charles Foster Kane. + + Fred finishes typing and then looks up. + + RAYMOND + Exclusive for immediate + transmission. Urgent priority all + Kane papers. + + FRED + Okay. + + There is the sound of the buzzer on the switchboard. Katherine + puts in a plug and answers the call. + + KATHERINE + Yes ... yes... Mrs. Tinsdall - + Very well. + (turns to Raymond) + It's the housekeeper. + + RAYMOND + Yes? + + KATHERINE + She says there's some sort of + disturbance up in Mrs. Alexander's + room. She's afraid to go in. + + DISSOLVE: + + INT. CORRIDOR OUTSIDE SUSAN'S BEDROOM - XANADU - NIGHT - + + The housekeeper, Mrs. Tinsdall, and a couple of maids are near + the door but are too afraid to be in front of it. From inside + can be heard a terrible banging and crashing. Raymond hurries + into scene, opens the door and goes in. + + INT. SUSAN'S BEDROOM - XANADU - + + Kane, in a truly terrible and absolutely silent rage, is + literally breaking up the room - yanking pictures, hooks and + all off the wall, smashing them to bits - ugly, gaudy pictures - + Susie's pictures in Susie's bad taste. Off of occasional + tables, bureaus, he sweeps Susie's whorish accumulation of + bric-a-brac. + + Raymond stands in the doorway watching him. Kane says nothing. + He continues with tremendous speed and surprising strength, + still wordlessly, tearing the room to bits. The curtains (too + frilly - overly pretty) are pulled off the windows in a single + gesture, and from the bookshelves he pulls down double armloads + of cheap novels - discovers a half-empty bottle of liquor and + dashes it across the room. Finally he stops. Susie's cozy + little chamber is an incredible shambles all around him. + + He stands for a minute breathing heavily, and his eye lights + on a hanging what-not in a corner which had escaped his notice. + Prominent on its center shelf is the little glass ball with + the snowstorm in it. He yanks it down. Something made of + china breaks, but not the glass ball. It bounces on the carpet + and rolls to his feet, the snow in a flurry. His eye follows + it. He stoops to pick it up - can't make it. Raymond picks + it up for him; hands it to him. Kane takes it sheepishly - + looks at it - moves painfully out of the room into the corridor. + + INT. CORRIDOR OUTSIDE SUSAN'S BEDROOM - XANADU - + + Kane comes out of the door. Mrs. Tinsdall has been joined now + by a fairly sizable turnout of servants. They move back away + from Kane, staring at him. Raymond is in the doorway behind + Kane. Kane looks at the glass ball. + + KANE + (without turning) + Close the door, Raymond. + + RAYMOND + Yes, sir. + (he closes it) + + KANE + Lock it - and keep it locked. + + Raymond locks the door and comes to his side. There is a long + pause - servants staring in silence. Kane gives the glass + ball a gentle shake and starts another snowstorm. + + KANE + Raymond - + (he is almost in a + trance) + + RAYMOND + Yes, sir - + + One of the younger servants giggles and is hushed up. Kane + shakes the ball again. Another flurry of snow. He watches + the flakes settle - then looks up. Finally, taking in the + pack of servants and something of the situations, he puts the + glass ball in his coat pocket. He speaks very quietly to + Raymond, so quietly it only seems he's talking to himself. + + KANE + Keep it locked. + + He slowly walks off down the corridor, the servants giving way + to let him pass, and watching him as he goes. He is an old, + old man! + + DISSOLVE: + + INT. KANE'S CHAPEL - XANADU - LATE AFTERNOON - + + As the dissolve completes itself, camera is travellling across + the floor of the chapel past the crypts of Kane's father and + mother - (marked: James Kane - 18- TO 19-; Mary Kane - 18- TO + 19-;) - past a blank crypt, and then holding on the burial of + Kane's son. A group of ordinary workmen in ordinary clothes + are lowering a very expensive-looking coffin into its crypt. + Kane stands nearby with Raymond, looking on. The men strain + and grunt as the coffin bangs on the stone floor. The men now + place over it a long marble slab on which is cut the words: + + CHARLES FOSTER KANE II. + + 1907 - 1938 + + ONE OF THE WORKMEN + Sorry, Mr. Kane, we won't be able + to cement it till tommorrow. We - + + Kane looks right through him. Raymond cuts him short. + + RAYMOND + Okay. + + The men tip their hats and shuffle out of the chapel. Kane + raises his head, looks at the inscription on the wall. It is + a little to one side of Junior's grave, directly over the blank + place which will be occupied by Kane himself. + + KANE + Do you like poetry, Raymond? + + RAYMOND + Can't say, sir. + + KANE + Mrs. Kane liked poetry - + + Raymond is now convinced that the old master is very far gone + indeed - not to say off his trolley. + + RAYMOND + Yes, Mr. Kane. + + KANE + Not my wife - not either of them. + + He looks at the grave next to his son's - the grave marked + "MARY KANE." + + RAYMOND + (catching on) + Oh, yes, sir. + + KANE + (looking back up at + the wall) + Do you know what that is? + + RAYMOND + (more his keeper + than his butler + now) + It's a wall you bought in China, + Mr. Kane. + + KANE + Persia. It belonged to a king. + + RAYMOND + How did you get him to part with + it, Mr. Kane? + + KANE + He was dead... That's a poem. Do + you know what it means? + + RAYMOND + No, I don't, Mr. Kane. + + KANE + I didn't used to be afraid of it. + + A short pause. His eyes still on the wall, but looking through + it, Kane quotes the translation. + + KANE + The drunkeness of youth has passed + like a fever, And yet I saw many + things, Seeing my glory in the + days of my glory, I thought my + power eternal And the days of my + life Fixed surely in the years But + a whisper came to me From Him who + dies not. I called my tributary + kings together And those who were + proud rulers under me, I opened + the boxes of my treasure to them, + saying: "Take hills of gold, + moutains of silver, And give me + only one more day upon the earth." + But they stood silent, Looking + upon the ground; So that I died + And Death came to sit upon my + throne. O sons of men You see a + stranger upon the road, You call + to him and he does not step. He + is your life Walking towards time, + Hurrying to meet the kings of India + and China. + (quoting) + O sons of men You are caught in + the web of the world And the spider + Nothing waits behind it. Where + are the men with towering hopes? + They have changed places with owls, + Owls who have lived in tombs And + now inhabit a palace. + + Kane still stares at the wall, through it, and way beyond it. + Raymond looks at him. + + DISSOLVE OUT: + + DISSOLVE IN: + + INT. GREAT HALL - XANADU - NIGHT - + + Thompson and Raymond. Raymond has finished his beer. + + RAYMOND + (callously) + That's the whole works, right up + to date. + + THOMPSON + Sentimental fellow, aren't you? + + RAYMOND + Yes and no. + + THOMPSON + (getting to his + feet) + Well, thanks a lot. + + RAYMOND + See what I mean? He was a little + gone in the head - the last couple + of years, anyway - but I knew how + to handle him. + (rises) + That "Rosebud" - that don't mean + anything. I heard him say it. + He just said "Rosebud" and then he + dropped that glass ball and it + broke on the floor. He didn't say + anything about that, so I knew he + was dead - He said all kind of + things I couldn't make out. But I + knew how to take care of him. + + Thompson doesn't answer. + + RAYMOND + You can go on asking questions if + you want to. + + THOMPSON + (coldly) + We're leaving tonight. As soon as + they're through photographing + the stuff - + + Thompson has risen. Raymond gets to his feet and goes to the + door, opening it for him. + + RAYMOND + Allow yourself plenty of time. + The train stops at the Junction On + signal - but they don't like to + wait. Not now. I can remember + when they'd wait all day ... if + Mr. Kane said so. + + Raymond ushes Thompson into + + INT. THE GREAT HALL - XANADU - NIGHT - + + The magnificent tapestries, candelabra, etc., are still there, + but now several large packing cases are piled against the walls, + some broken open, some shut and a number of objects, great and + small, are piled pell mell all over the place. Furniture, + statues, paintings, bric-a-brac - things of obviously enormous + value are standing beside a kitchen stove, an old rocking chair + and other junk, among which is also an old sled, the self-same + story. Somewhere in the back, one of the vast Gothic windows + of the hall is open and a light wind blows through the scene, + rustling the papers. + + In the center of the hall, a Photographer and his Assistant + are busy photographing the sundry objects. The floor is + littered with burnt-out flash bulbs. They continue their work + throughout the early part of the scene so that now and then a + flash bulb goes off. In addition to the Photographer and his + Assistant, there are a Girl and Two Newspaperment - the Second + and Third Men of the projection room scene - also Thompson and + Raymond. + + The Girl and the Second Man, who wears a hat, are dancing + somewhere in the back of the hall to the music of a phonograph. + A flash bulb goes off. The Photographer has just photographed + a picture, obviously of great value, an Italian primitive. + The Assistant consults a label on the back of it. + + ASSISTANT + NO. 9182 + + The Third Newspaperman starts to jot this information down. + + ASSISTANT + "Nativity" - attributed to + Donatello, acquired Florence 1921, + cost 45,000 lira. Got that? + + THIRD NEWSPAPERMAN + Yeah. + + PHOTOGRAPHER + All right! Next! Better get that + statue over there. + + ASSISTANT + Okay. + + The Photographer and his Assitant start to move off with their + equipment towards a large sculpture in another part of the + hall. + + RAYMOND + What do you think all that is worth, + Mr. Thompson? + + THOMPSON + Millions - if anybody wants it. + + RAYMOND + The banks are out of luck, eh? + + THOMPSON + Oh, I don't know. They'll clear + all right. + + ASSISTANT + "Venus," Fourth Century. Acquired + 1911. Cost twenty-three thousand. + Got it? + + THIRD NEWSPAPERMAN + Okay. + + ASSISTANT + (patting the statue + on the fanny) + That's a lot of money to pay for a + dame without a head. + + SECOND ASSISTANT + (reading a label) + No. 483. One desk from the estate + of Mary Kane, Little Salem, + Colorado. Value $6.00. + + THIRD NEWSPAPERMAN + Okay. + + A flashlight bulb goes off. + + SECOND ASSISTANT + We're all set to get everything. + The junk as well as the art. + + Thompson has opened a box and is idly playing with a handful + of little pieces of cardboard. + + THIRD NEWSPAPERMAN + What's that? + + RAYMOND + It's a jigsaw puzzle. + + THIRD NEWSPAPERMAN + We got a lot of those. There's a + Burmese Temple and three Spanish + ceilings down the hall. + + Raymond laughs. + + PHOTOGRAPHER + Yeah, all in crates. + + THIRD NEWSPAPERMAN + There's a part of a Scotch castle + over there, but we haven't bothered + to unwrap it. + + PHOTOGRAPHER + I wonder how they put all those + pieces together? + + ASSISTANT + (reading a label) + Iron stove. Estate of Mary Kane. + Value $2.00. + + PHOTOGRAPHER + Put it over by that statue. It'll + make a good setup. + + GIRL + (calling out) + Who is she anyway? + + SECOND NEWSPAPERMAN + Venus. She always is. + + THIRD NEWSPAPERMAN + He sure liked to collect things, + didn't he? + + RAYMOND + He went right on buying - right up + to the end. + + PHOTOGRAPHER + Anything and everything - he was a + regular crow. + + THIRD NEWSPAPERMAN + wonder - You put all this together - + the palaces and the paintings and + the toys and everything - what + would it spell? + + Thompson has turned around. He is facing the camera for the + first time. + + THOMPSON + Charles Foster Kane. + + Another flash bulb goes off. The Photographer turns to Thompson + with a grin. + + PHOTOGRAPHER + Or Rosebud? How about it, Jerry? + + THIRD NEWSPAPERMAN + (to the dancers) + Turn that thing off, will you? + It's driving me nuts! What's + Rosebud? + + PHOTOGRAPHER + Kane's last words, aren't they, + Jerry? + (to the Third + Newspaperman) + That was Jerry's angle, wasn't it, + Jerry? Did you ever find out what + it means, Jerry? + + THOMPSON + No, I didn't. + + The music has stopped. The dancers have come over to Thompson. + + SECOND NEWSPAPERMAN + Say, what did you find out about + him, anyway, Jerry? + + THOMPSON + Not much. + + SECOND NEWSPAPERMAN + Well, what have you been doing? + + THOMPSON + Playing with a jigsaw puzzle - I + talked to a lot of people who knew + him. + + GIRL + What do they say? + + THOMPSON + Well - it's become a very clear + picture. He was the most honest + man who ever lived, with a streak + of crookedness a yard wide. He + was a liberal and a reactionary; + he was tolerant - "Live and Let + Live" - that was his motto. But + he had no use for anybody who + disagreed with him on any point, + no matter how small it was. He + was a loving husband and a good + father - and both his wives left + him and his son got himself killed + about as shabbily as you can do + it. He had a gift for friendship + such as few men have - he broke + his oldest friend's heart like + you'd throw away a cigarette + you were through with. Outside of + that - + + THIRD NEWSPAPERMAN + Okay, okay. + + GIRL + What about Rosebud? Don't you + think that explains anything? + + THOMPSON + No, I don't. Not much anway. + Charles Foster Kane was a man who + got everything he wanted, and then + lost it. Maybe Rosebud was + something he couldn't get or lost. + No, I don't think it explains + anything. I don't think any word + explains a man's life. No - I + guess Rosebud is just a piece in a + jigsaw puzzle - a missing piece. + + He drops the jigsaw pieces back into the box, looking at his + watch. + + THOMPSON + We'd better get along. We'll miss + the train. + + He picks up his overcoat - it has been resting on a little + sled - the little sled young Charles Foster Kane hit Thatcher + with at the opening of the picture. Camera doesn't close in + on this. It just registers the sled as the newspaper people, + picking up their clothes and equipment, move out of the great + hall. + + DISSOLVE: + + INT. CELLAR - XANADU - NIGHT - + + A large furnace, with an open door, dominates the scene. Two + laborers, with shovels, are shovelling things into the furnace. + Raymond is about ten feet away. + + RAYMOND + Throw that junk in, too. + + Camera travels to the pile that he has indicated. It is mostly + bits of broken packing cases, excelsior, etc. The sled is on + top of the pile. As camera comes close, it shows the faded + rosebud and, though the letters are faded, unmistakably the + word "ROSEBUD" across it. The laborer drops his shovel, takes + the sled in his hand and throws it into the furnace. The flames + start to devour it. + + EXT. XANADU - NIGHT - + + No lights are to be seen. Smoke is coming from a chimney. + + Camera reverses the path it took at the beginning of the + picture, perhaps omitting some of the stages. It moves finally + through the gates, which close behind it. As camera pauses + for a moment, the letter "K" is prominent in the moonlight. + + Just before we fade out, there comes again into the picture + the pattern of barbed wire and cyclone fencing. On the fence + is a sign which reads: + + "PRIVATE - NO TRESPASSING" + + FADE OUT: + + THE END \ No newline at end of file