"PORTRAIT OF JENNIE" Screenplay by Paul Osborn, Peter Berneis, Ben Hecht and David O. Selznick Based on a novel by Robert Nathan Adapted by Leonardo Bercovici 1947 SHOOTING DRAFT FADE IN: 1. A HIGH SHOT OF THE NEW YORK SKYLINE DISSOLVE TO: 2. EXTERIOR METROPOLITAN MUSEUM - DAY It is a cold wintry day and, although there is no snow, an icy wind whips around the building. DISSOLVE TO: 3. INSERT - METROPOLITAN MUSEUM NAME PLATE Superimposed over this is the following legend: (To be supplied) DISSOLVE TO: 4. INTERIOR METROPOLITAN MUSEUM - LONG SHOT - ONE OF THE ROOMS We see a group of children -- about ten years of age -- standing before one of the paintings. It is obviously a class. A middle-aged woman is lecturing to them. CAMERA GOES CLOSER and we see the woman and children more closely. The woman -- Miss Spinney -- seems remote and far away -- her lecture for the most part a cold recital of facts. CAMERA PANS UP TO A CLOSE SHOT OF THE PAINTING - "CARDINAL NINO DE GUEVARA" - SPINNEY Cardinal Nino de Guevara -- painted by El Greco around 1596. El Greco is of the Spanish school -- although he was really a Greek. That is what El Greco means -- "The Greek." El Greco cared nothing for the charms of the flesh -- (suddenly she catches herself, hesitates and hurries on) That is -- I mean -- I mean he was only interested in -- well -- in the spirit of a person. For example, in this painting he didn't try to make the man look just pretty -- he tried to show us what the man thought and felt -- what the man's spirit was! ROMANTIC LITTLE GIRL Was he a real Cardinal? SPINNEY Yes. El Greco's portraits are of real people. LITTLE BOY But sometimes a painter paints people who aren't real. SPINNEY That's true, Johnny. Different artists are inspired by different things. Sometimes it's their wives -- or their mothers -- CYNICAL LITTLE BOY Or their goil-friends -- The children giggle a little. SPINNEY (seriously, but smiling) Yes, Freddie -- or their girl friends. (her smile fades as she looks away a little) But, of course, some artists are inspired by things that only they can see -- CYNICAL LITTLE BOY Aw! How can dey see anything no one else sees? Are dey crazy? SPINNEY No. A lot of people do think artists are crazy, but that's only because we ordinary people haven't the vision of genius -- We miss so much... so much... Things we just don't see -- until that -- (she turns to Freddie, smiles a little) that craziness you speak of, Freddie, shows them to us. She pauses a moment. We HOLD her for a foot or two as she's lost in her thoughts. 5. THE CHILDREN Watch her -- and the Cynical Little Boy makes a gesture to the other children covertly, indicating that Miss Spinney is a bore or nuts or both. After a moment we hear over this, Spinney's voice: SPINNEY'S VOICE Take William Blake, for example -- DISSOLVE TO: 6. CLOSE SHOT OF THE PAINTING THE WISE AND FOOLISH VIRGINS BY WILLIAM BLAKE We hear Spinney's voice over the painting, then CAMERA PULLS BACK to include Spinney and the children in front of the painting. SPINNEY Blake seldom used models for any of his figures. He saw what we see -- but he also saw the spirit -- and that's what he painted. Just before he died he said, "I should be sorry if I had any earthly fame, for whatever natural glory a man has is so much taken away from his spiritual glory. Why, when Blake was only a little boy -- (she turns to Freddie) -- about your age, Freddie -- he saw a whole flock of angels sitting on the boughs of a tree. CYNICAL LITTLE BOY (scornfully) Angels! SPINNEY You don't believe in angels? CYNICAL LITTLE BOY Coitainly not! SPINNEY Don't be so sure... When you're older you'll believe in lots of things you can't see. (then that same far- away look) ROMANTIC LITTLE GIRL Are those angels, Miss Spinney? SPINNEY No -- those are virgins. The picture is called "The Wise and Foolish Virgins." CYNICAL LITTLE BOY (examining the painting) Which is de wise ones? SPINNEY (hurriedly) Come, children. We'll go to the next one. As they start off, we DISSOLVE TO: 7. ANGLE ON FACES OF SPINNEY AND CHILDREN They are staring at a portrait (behind CAMERA), and are obviously very much taken with it. After a moment: ROMANTIC LITTLE GIRL My! Isn't she pretty? SPINNEY (a little surprised) Pretty?... Yes, she is pretty... very pretty. ANOTHER CHILD (advancing a step, looks down and reads slowly) "Portrait... of... Jennie... by Eben... Adams." During the last couple of words, the CAMERA HAS MOVED UP AND FORWARD TO A CLOSEUP OF SPINNEY. We see in her face how much this portrait means to her; her emotion and her pride. SPINNEY Yes... "Portrait of Jennie -- by Eben Adams." There is almost a suggestion of a tear in her eye as she looks at the portrait. 8. REVERSE ANGLE ON THE GROUP - COMPARATIVELY LOW CAMERA During the following, we SLOWLY PULL BACK to reveal the portrait bit by bit until it is in full view over the heads of the group at the end of the following: At first Spinney is again the professional teacher, but as she gets toward the end of the speech, her personal interest and emotion and increase in feeling take hold of her again. SPINNEY -- And it might be well to note -- with some pride, perhaps -- that here we have a portrait painted by an American -- and not so many years ago -- that has been considered of sufficient merit to hang here in the Metropolitan... In this portrait you can feel the extraordinary spiritual vision of the artist -- not only his talent as a painter, but the genius that we can only sense -- and not quite understand. 9. A SHOT OF THE PORTRAIT ITSELF (NOTE: It is suggested that in the staging of the whole scene we try to get the effect of a slightly changing light; and that we also try to get this in the Long Shot Exterior with which the picture opens in order to justify this slightly changing light. This in order that we might be able to take full advantage of Joe August's stunningly successful test experiments with the slightly changing light on the portrait in this particular angle. But we should have protection without the changing light in the event that this does not work out well.) There is nothing under this shot of the portrait but the MUSIC. Here it is suggested that we introduce for the first time the "WHERE I COME FROM" theme, starting its use during and under Spinney's speech and giving it full play without dialogue under this shot. ANOTHER ANGLE - PERHAPS PROFILE AND LOW CAMERA - ON SPINNEY AND THE CHILDREN - (The shot in any event should feature Spinney -- and this is an excellent opportunity to make superb use of Miss Barrymore's profile.) ROMANTIC LITTLE GIRL Was Jennie real? SPINNEY Well now, Millicent, there's a strange legend about that. I never saw Jennie, but -- (she stops herself short and the far- away look comes into her eyes) ROMANTIC LITTLE GIRL Did anyone ever see her? SPINNEY (pulling herself together, coming out of her thoughts) Why, of course. Eben Adams saw her. There's the portrait. It's proof that he saw her. I remember he once said... ROMANTIC LITTLE GIRL (interrupting) Oh, did you know Eben Adams? Pause as Spinney realizes she has gone too far, but now she must proceed and answer the question. SPINNEY I knew him in the days before he painted this picture -- and in the days after -- when he -- The Cynical Little Boy gives an elaborate and noisy fake yawn. She looks at him, realizes that she's been carried away for a second. She is embarrassed, lowers her eyes, then regains her dignity and composure. SPINNEY That will be all for today, children. Class is dismissed. THE CHILDREN Yes, Miss Spinney. Goodbye, Miss Spinney. The children are delighted that the class is over. The Cynical Little Boy is out first and way ahead of them. The Romantic Little Girl trails behind a few feet reluctantly, looking back at the portrait and Miss Spinney. ROMANTIC LITTLE GIRL (tenderly) Goodbye, Miss Spinney... Spinney doesn't answer, for she is again lost in her thoughts as she looks at the picture. CAMERA MOVES UP SLOWLY to Spinney so that we see clearly she is not speaking, and we hear her voice in almost a stage whisper. (NOTE: Mr. Stewart will please note that we should experiment with Miss Barrymore's voice before we reach this scene and see what effects we can get with this and other narrations through the picture.) SPINNEY'S VOICE Eben -- Eben -- how slowly the years go by -- such tired, dead years -- if I could only turn them back to you. Yes, back to the days when you were poor -- and cold -- and friendless -- your work unknown. Harsh, harsh years for you, Eben -- As she is speaking: DISSOLVE TO: CENTRAL PARK - WINTER (already shot) Along the deserted walk we see Eben Adams, walking slowly and dejectedly. He is a slender young man in his thirties, bare-headed, dressed in a thin shabby overcoat hanging loosely from his hunched shoulders. He is carrying a large portfolio containing sketches. His face is weary, bitter, preoccupied. SPINNEY'S VOICE (continuing) For those were the years when there was a hunger in you for more than food. There was a suffering in you that was worse than anything a winter, or poverty, could do. It was a winter of your mind when the life of your genius seemed frozen and motionless -- and how did you know if spring would ever come again to set it free? As she is talking: DISSOLVE TO: 12. EXTERIOR MATHEWS GALLERY - SHOOTING TOWARD THE SHOP Adams stops, looks at the brass plates on the small building. His eye stops at one and we either MOVE IN to it or CUT to it: MATHEWS-SPINNEY GALLERY 13. BACK TO ADAMS Adams decides to go in and enters. During the above action, we hear Spinney's voice: SPINNEY'S VOICE (continuing) Oh, Eben, I will never forget the day you first came into our place. There was a desperation that had taken hold of you, a dreadful feeling of the world's indifference. Your courage was running out fast, like sands from a glass. You were at the bottom -- without money or friends -- without hope -- 14. INTERIOR MATHEWS GALLERY - FULL SHOT (NOTE: It is suggested that we not see Adams' face very clearly, if at all, in scenes 12, 13 or 14 until the place indicated. We've built up to Adams and let's raise the curtain on him.) It is a small place -- a one room gallery in the rear. There is nobody in the room when Adams enters (CAMERA is on his back -- Adams walks away from CAMERA. We still have not seen his face), but when the tinkle of the doorbell is heard, a man emerges from the office. It is Henry Mathews. He approaches Adams. CAMERA DOLLIES IN TO A MEDIUM CLOSE SHOT OF ADAMS AND MATHEWS, SHOOTING OVER ADAMS' SHOULDER AT MATHEWS. MATTHEWS Yes, sir. What can I do for you? 15. ANOTHER ANGLE - OVER MATHEW'S SHOULDER AT ADAMS Adams is opening his portfolio. In the middle of this angle, he rather slowly, but not unnaturally, raises his head and for the first time we see his face. ADAMS I don't know. You could buy one of my pictures, perhaps. Mathews coughs lightly. MATTHEWS (worriedly) Landscapes? ADAMS Yes, mostly. MATTHEWS Well, I don't know. Of course we buy very, very little... almost nothing. And the times being what they are... however, let me see what you have. The camera trucks with them to a small table near the window. Adams starts to open his portfolio. MATTHEWS (continuing) Landscapes... hmmmm... yes... too bad. 16. MED. CLOSE SHOT AT TABLE WITH SKETCHES Adams has opened the portfolio and stands aside to let Matthews look at them. ADAMS (in way of explanation) Those are some studies I did at Cape Cod... That one is the fisheries at North Truro. (as MATTHEWS turns the sketches) That's Cragmore. MATTHEWS (sadly) Landscapes! As they are speaking, a woman comes in from a rear room and quietly looks over Matthews' shoulder at the sketches. She is a lean frosty-eyed woman of about forty-five -- and we suddenly realize that it is MISS SPINNEY -- years younger. ADAMS (burning a bit at Matthews' attitude) Here are one or two sketches of the city. There's the bridge. MATTHEWS (vaguely) Yes... Yes, it's a good bridge. I just don't happen to like bridges. They come in every day by the dozen. He suddenly notices Miss Spinney, peering over his shoulder. MATTHEWS Miss Spinney -- you startled me! This is my partner, Miss Spinney -- I don't believe I caught your name. ADAMS I didn't say it. (With kind of sharp, defiant pride, as though he were saying "Raphael" or "Rembrandt") My name is Eben Adams. SPINNEY (brusquely) What are you so defensive about? ADAMS (backing down a little) I'm not -- SPINNEY (mocking him) "I'm Eben Adams!" You might be better off if you weren't! You might eat. Adams grimly starts to put his pictures back in the portfolio. SPINNEY Don't be in such a hurry! Let's see what else you've got. ADAMS Nothing, I'm afraid, that would interest you or your partner. SPINNEY You're probably right. But do you mind if I take a look at what interests you? Spinney's brusqueness seems to intimidate Adams. He lets her take the portfolio away from him, and she starts to turn through the pictures. Adams looks somewhat helplessly at Matthews, who shrugs his shoulders, having bowed for many years before the natural force that is Miss Spinney. 17. MED. CLOSE SHOT OF SPINNEY SHOOTING DOWN TO PAINTING OF FLOWER SPINNEY (Dryly) You paint a nice flower. 18. MED. CLOSE SHOT - ADAMS MATTHEWS SHOOTING TOWARDS SPINNEY ADAMS Thank you. (With a flash of irritation, reaching for the portfolio) Look, Miss Spinney -- SPINNEY (Ignoring him) Sit down, Adams. You may not sell anything, but you can rest. MATTHEWS (Softly) I'd advise you to sit down. ADAMS sits down reluctantly. SPINNEY (slowly, almost indifferently, as she continues to look at the paintings) Ever read Robert Browning? ADAMS Yes... a long time ago. SPINNEY Remember his poem about Andrea Del Sarto? The perfect painter? -- proportion, anatomy, color, -- he had everything. And he had nothing. He could paint a perfect hand, where Raphael drew a formless claw. But Raphael loved what he did, and poor Andy Del Sarto... ADAMS I get your point. MATTHEWS (embarrassed by her forthrightness) Miss Spinney -- SPINNEY Oh, don't be so soft, Mr. Mathews! I'm an old maid -- and no one knows love like an old maid! (almost harshly, to Adams) And there isn't a drop of it in your work! 19. CLOSE SHOT SPINNEY SHOOTING TO ADAMS She looks straight into Adams' eyes. He stares back at her. After a few moments, Adams' eyes waver; he turns away. SPINNEY (relentlessly) You're a closed man, Adams. You must learn to care deeply about something. We'll take the flower. 20. MED. CLOSE SHOT - MATHEWS, SPINNEY, ADAMS MATTHEWS (shocked) What? SPINNEY Yes -- I have a weakness for flowers, and he doesn't do too badly with them. (to Adams) We'll give you twelve dollars and fifty cents, and if there's any argument, there's no sale. ADAMS (with a wry smile) There's no argument. SPINNEY Pay him, Mr. Mathews. MATHEWS, bewildered, takes out a wallet, peels off some bills. MATTHEWS Have you got change of a dollar? ADAMS I haven't got a dime. SPINNEY He'll owe us fifty cents. ADAMS If you want more flowers, I've a carload of them at home. SPINNEY That's what I was afraid of. (then, gruffly) Good day, Adams. ADAMS Good day -- and -- He hesitates. Spinney turns back and looks at him. Their eyes meet for a moment. SPINNEY Yes? ADAMS Thank you. I -- I don't think you really want the painting. SPINNEY (gruffly) If I hadn't wanted it I wouldn't have taken it. They look at each other a moment, then Adams smiles -- a warm understanding smile. Then suddenly he blurts out, impulsively -- ADAMS You have beautiful eyes. Miss Spinney stares at him, bewildered, not believing her ears. ADAMS Good bye. He goes out of the door. Spinney stands looking after him, lost in thought, a strange, distant smile on her lips. Matthews looks at her a moment, a faint smile on his face. Then he looks down at the painting. 21. MED. CLOSE SHOT MATTHEWS, SPINNEY MATTHEWS Oh, dear, I'm afraid that painting isn't worth more than a couple of dollars. SPINNEY (Her mind way off) No -- but Adams is. MATTHEWS (with unaccustomed spunk) Of course, we're supposed to be in business for profit, Miss Spinney... (frightened at the enormity of his courage) I thought. SPINNEY I bought this painting for myself. MATTHEWS Oh -- (with a smile -- relieved) It's peculiar what a little compliment can do. Slowly Miss Spinney looks at him. SPINNEY My first in twenty years, Mr. Matthews. She turns and goes out of the room, Matthews following her with his eyes. DISSOLVE TO: 22. MED. CLOSE TRUCKING SHOT ADAMS - CENTRAL PARK - TWILIGHT (already shot) As he walks along, he is deep in thought. From far away, the sound of a piano can be heard. Some one is playing a simple tune with one finger. Curiously, this melody seems to drift out of an open window across the square, clearly and distinctly, in spite of the city noises. MED. CLOSE SHOT - ADAMS (already shot) Now he notices a parcel lying on one of the benches. It is something wrapped in an old faded newspaper and tied together with a string. He approaches the bench, bends over the parcel and reaches out to pick it up. At this instant, a voice is heard. JENNIE'S VOICE It belongs to me. CLOSEUP - ADAMS (already shot) We see his tired face turning in astonishment toward the voice. 25. MED. LONG SHOT - ADAMS AND JENNIE (AGE TEN) (already shot) Jennie is putting the finishing touches to a snow man. She is dressed in old-fashioned clothes, a coat, gaiters, high buttoned shoes, and large beaver hat. Adams watches her for a while. She is paying no attention to him whatsoever. ADAMS (calling to her) It's getting pretty dark. Oughtn't you be home? JENNIE (working on her snow man) Is it late? I don't know time very well. ADAMS Yes, it's late. JENNIE Well, I don't have to go home yet. Nobody's ready for me. CLOSE SHOT - ADAMS (already shot) Looking around to see whether there is anyone with her. ADAMS Isn't anybody here with you? MED. SHOT - JENNIE (already shot) She keeps right on with the snow man. JENNIE No. Why should there be? She puts the finishing touches to the snow man, sticks a twig in his side. JENNIE (brushing off the snow from her coat and going to him) Anyway, you're with me. 28. MED. TWO SHOT - ADAMS AND JENNIE (already shot) As she comes to him JENNIE I'm Jennie. ADAMS Jennie? Jennie what? JENNIE Jennie Appleton. Father and Mother are actors and actresses. They're working at Hammerstein's Victoria. They do juggling on a rope. ADAMS Did you say Hammerstein's? JENNIE Uh-huh. Why? ADAMS Because it was torn down years ago, when I was a boy. JENNIE You must be thinking of some other place because I was there only yesterday. ADAMS (confusedly) Well, I... JENNIE Now let me see your pictures, Mr. -- ADAMS Adams... and how do you know they are pictures? JENNIE Oh, I just know. 29. ANOTHER ANGLE OF ADAMS AND JENNIE (already shot) Shooting across their shoulders down on the portfolio which is resting in Jennie's lap. Adams watches her closely as her face puckers up with concentration. Silently, she turns a few of the sketches -- mostly landscapes of the Park and the City -- until she comes to a sketch of Cape Cod. It shows a church with its steeple standing near the bay. A dark, stormy sky stretches across the landscape. JENNIE Those are awful little windows for such a big church. ADAMS They have to be little -- there's so much wind on Cape Cod. JENNIE I don't like it. It scares me. ADAMS The wind? JENNIE No -- the black water. (she studies it for a moment) There should be a lighthouse out there on the ocean. ADAMS Yes, there should be. How do you know? JENNIE I don't exactly remember. (she puts her finger on the sketch) Some day I'll show it to you. Out there on the rocks. The Land's End Light. ADAMS I thought you said you didn't remember. CLOSE SHOT - JENNIE (already shot) JENNIE I don't. I just know. (closes portfolio and ties it) I wish I liked your pictures, but I don't. ADAMS That's what everybody says, that's why I can't sell them. JENNIE Maybe you shouldn't paint places. Why don't you paint people, instead? Cecily Brown's home is full of pictures of people. ADAMS Who is Cecily Brown? JENNIE She's my best friend. I go to school every day now but only in the morning. ADAMS And what do you learn? JENNIE Yesterday we learned all about the Kaiser. He's the king of Germany. ADAMS (correcting her) He was. A long time ago. JENNIE You're wrong. Cecily Brown's father is in Germany now. He sees him all the time. ADAMS But he... JENNIE He says the Kaiser rides around on a white horse and he likes to fight. I can fight, too. I can fight Cecily. She's bigger but I'm stronger. I can fight her good. ADAMS I thought Cecily was your best friend. JENNIE She is. It's fun having somebody to play with. Don't you have anyone to play with? ADAMS (laughs) No. (he rises to go) JENNIE (getting up) Well, I'll walk a ways with you, if you don't mind -- because it's a little lonesome here all by myself. (she comes to his side) I know a song, too. Would you like to hear it? As they walk along, she sings, camera pulling back with them. It is the same simple, haunting tune we have heard before played on the piano. JENNIE (singing) Where I come from Nobody knows; And where I'm going Everything goes. The wind blows, the sea flows -- Nobody knows. Where I come from Nobody knows. They stop walking. ADAMS Who taught you that? JENNIE Nobody. It's just a song... Do you know the game I like to play best? ADAMS No. What? JENNIE It's a wishing game. I'll tell you what I wish most. ADAMS What do you wish? JENNIE First you have to close your eyes and turn around three times. Adams watches her as Jennie closes her eyes and turns around. JENNIE (as she turns) I wish you'd wait for me to grow up so we can always be together. (she stops and faces him) But you won't, I guess. (quickly) Well, I can't talk to you anymore... Goodbye. Jennie turns and starts to walk away from him. Adams suddenly recalls the parcel. ADAMS I'll get your parcel. He goes to the bench. CLOSE SHOT - BENCH (already shot) On it lies the parcel wrapped in the faded newspaper. Adams picks it up. MED. SHOT - ADAMS (already shot) He turns back to where he left Jennie and there is no sign of her. ADAMS (calling) Jennie! Jennie! Slowly, CAMERA PANS down the road. It is empty. Jennie is gone. DISSOLVE TO: 33. LONG SHOT (STOCK) NEW YORK - WINTER DISSOLVE TO: 34. MED. CLOSE SHOT INT. OLD BROWNSTONE NIGHT (WINTER) HALL Everything is quiet for a moment, and then the front door opens cautiously and we see Adams come in. He closes the door quietly behind him and starts softly toward the stairs. As he about reaches them, we hear a voice o.s. VOICE Is that you, Mr. Adams? We see Adams' shoulders suddenly slump. He gives a deep sigh and turns wearily. ADAMS (resigned) Yes, Mrs. Jekes. 35. A SMALL LIVING ROOM OFF THE HALL In it we see, Mrs. Jekes -- a tall, boney woman -- sitting with another woman, a little, elderly, mousey person. A pay telephone is on the side of the wall. Adams turns as Mrs. Jekes comes into the hall and stands facing him. MRS. JEKES (sarcastic) You always come in so extremely quiet. I can hardly hear you, Mr. Adams. So thoughtful of my other tenants... The little ELDERLY LADY comes to the door and listens, a smirk on her face. ADAMS Well, I -- didn't want to disturb -- MRS. JEKES Of course not. A fine gentleman like you -- I waited to see you this afternoon. I thought you said you wanted to see me about something -- ADAMS (helplessly) Well, I -- MRS. JEKES I hope you have no complaint to register. You're not dissatisfied with the service? The little Elderly Lady sniggers. ADAMS No. I -- MRS. JEKES (encouraged to show off more by the Elderly Lady) That's good. Of course, there's not much heat in your radiator, I know -- and it does make noises at night. They don't keep you awake, do they? (Mrs. Jekes is rewarded by another snigger from the Elderly Lady) I wouldn't want that to happen. ADAMS (he reaches into his pocket and reluctantly takes out a bill) Look, would-would five dollars do for awhile? Mrs. Jekes reverts to type. She takes the bill. MRS. JEKES It won't do -- but I'll take it. ADAMS I'll try to have more for you soon. MRS. JEKES You better see that you do. ADAMS (holding up his portfolio) I don't imagine you'd be interested in another one of my sketches until -- ? MRS. JEKES Oh, no. The bathroom is full of them now. Where would I put another one? In my parlor? ADAMS (defeated) No -- I wouldn't expect you to do that. Well -- (Adams turns and starts up the stairs) 36. THE TWO WOMEN as they start back into the living room. Mrs. Jekes automatically puts her finger into the pay phone to see if there is any loose change. There isn't. They go in. ELDERLY LADY You certainly have a way, Mrs. Jekes. Play with him like a cat with a mouse -- and then pounce! But he is attractive, isn't he? And a gentleman besides. MRS. JEKES That's what makes it hard to throw him out. ELDERLY LADY (grandly) He's an ornament to your house, Mrs. Jekes. MRS. JEKES Just can't understand a man fiddlin' away his time just paintin' things -- though he did shovel some snow to pay part of last month's rent. ELDERLY LADY (with a gleam in her eye) Paintin' things! Women? You mean, women in the -- ? She leans over and whispers in Mrs. Jekes' ear. Mrs. Jekes draws herself up. MRS. JEKES (with dignity) Mrs. Delaney! We agreed he was a gentleman! Gentlemen don't paint women in the -- She leans over and whispers in Mrs. Delaney's ear. ELDERLY LADY (crestfallen) No -- no, of course not. 37. UPSTAIRS HALL - NEAR ADAMS' ROOM Adams hurries toward his room. INT. ADAMS' STUDIO - NIGHT It's a big, high room with a dark, dusty ceiling. The studio window overlooks a line of roofs and chimneys, and through one narrow gap one catches a glimpse of the Hudson River. At intervals, one can faintly hear the hooting of river boats. The room is in quite a state of disorder. A typical artist's studio without maid service. In addition to the easel there are palettes, tubes of color, sketches and crayons littered on the work table and floor. There is a worn narrow couch, one rather beautiful oak armchair, and a number of stools and rickety furniture pieces as would be found in a cheaply and carelessly put together place. Adams enters room, sees a man dressed in his hat and coat, absorbed in looking at one of his pictures. He recognizes him, and bursts out. ADAMS Arne, you old tramp! When did you get back? What are you doing here? ARNE Looking at your pictures. Terrible! Horrible! It is more horrible than when I was in town six months ago. I am depressed. I wish I hadn't stopped in to see you. I will be depressed for weeks. How are you, my friend! (he holds out his hand. They shake) ADAMS (with a grin) After that, I feel pretty good... It's nice to see you, Arne. ARNE Here is my new stuff. Twenty pictures in a month. (he points to a portfolio on the side) ADAMS Twenty pictures! Fast work, I'd say -- how did you do it? ARNE With my thumb. No more brushes for me. I paint with my thumb. Yes, my friend, with my thumb. (he kisses his fingertips) Brushes? -- That's old stuff. That's passe, fini. ADAMS (amused) No brushes? You mean it seriously? That's something new. Last time you were here you told me... ARNE What I told you yesterday, I don't remember today. The trouble with you is that you don't understand the first principles of art. Now, look here, what's this? (pointing to a flower piece on the wall) ADAMS (perplexed) What do you mean, what's this? Can't you see? ARNE No! Can you? ADAMS Of course. It is a flower. ARNE A flower? Ha! If it's a flower, why doesn't it smell? Why doesn't it grow? ADAMS (smilingly) That's silly. It's a painting. ARNE Exactly. A painting. Then why do you fool yourself calling it a flower... besides, if I want flowers, I get them at a flower shop; they cost less and smell better... here, I'll show you something. (he goes to his paper portfolio, takes out one of his pictures which is painted in the style of Pablo Picasso's paintings of the period of extreme abstractions) Look at this. ADAMS What is it? ARNE Guess. ADAMS I can't make it out. ARNE You guessed it. ADAMS (completely lost) I can't understand. ARNE Naturally. This is called "Woman on the Dynamo." The Dynamo -- the symbol of the world we live in; the woman, the symbol of the thing we live for... on one side we have power, speed, machines... on the other side -- woman, love, the soul. I am in between, so it's bang on one side... bang on the other. Arne is looking as Adams examines the picture. ARNE You don't like her! ADAMS Oh, I wouldn't say that. It's just that, well -- she doesn't exactly remind me of my mother. (patting him on the shoulder) Arne, you're as mad as you ever were. ARNE Don't we live in a mad world? If you want to remain sane in a mad world, you are doubly mad... open your eyes. Look through the window. There is an airplane flying; before you take your shoes off, it will be in Europe. On the rooftops -- everywhere -- radio towers. Sneeze here, and in a split second they hear it in Ethiopia. In times like these, you are sitting here painting a flower... Soft... sweet... a child licking an ice cream cone... ADAMS (kidding him) Hmmm... Might not be a bad idea for a picture... (musing) Ice cream cone. ARNE All right. But if you must paint an ice cream cone, paint it like a rocket to the moon! Paint the ball of ice cream as if you were licking a bomb with your lips. But who wants ice cream? If I want ice cream, I go to a soda fountain... say, do you have some bicarbonate of soda, by any chance? ADAMS I think I have. (he goes to look for it) There was some here. Oh, here it is. Maybe, this will make you see my pictures in a better light. ARNE (while Adams is looking for a glass of water) I hope you are not mad at me. ADAMS (bringing the water) No, not at all. I guess you're right. I guess my stuff hasn't much feeling of the world today. As a matter of fact, I guess it hasn't much feeling at all. I know it, and so I've about made up my mind to quit and get a job. ARNE A job! ADAMS Honestly, Arne. Don't you think that's what I should do? A moment's pause. Arne looks at Adams, seriously. We suddenly realize Arne at the moment is not the buffoon that he seems to be. We see that underneath he is sincere and honest. He senses Adams' depression. He puts his hand on Adams' shoulder. ARNE (simply and sincerely) Adams -- I never thought you were a genius -- but one thing I have always admired about you. Your sincerity! Do not lose that sincerity, Adams! Be true to yourself! Sincerity is the most important thing of all! (suddenly he flashes back into character) A job! ADAMS There's nothing insincere about taking a job, is there? ARNE It is the most insincere thing of all! You think a man can have a job and be sincere? ADAMS I don't see why not. ARNE Impossible! That is what the very word "job" means! You are doing one thing -- when you should be doing another! Can you name me one man who has a job who doesn't wish he was doing something else! Here is a clerk -- who wanted to be a doctor. A truck driver who wanted to be President. A President who wanted to be a haberdasher! Instead of being true to themselves -- they took jobs! Bowed down to life! Never make that compromise, Adams. Never, never take a job... Well, salute. (raises his glass) ADAMS (gloomily) To what? To whom? ARNE To the masses, of course. Art belongs to the masses. (he reflects a second) If they'd only buy my pictures, I'd salute them with champagne. And that brings me to the point of my present visit. Have you some filthy lucre on you, by any chance? ADAMS Strangely enough, I have. He fishes in his pocket, peels off one bill, leaving himself two other bills. Arne peers at the remaining bills. ARNE Five dollars, hmmm? Is that the best you can do? ADAMS (with a little laugh) I'm sorry, Arne. I wish I could make it more. ARNE (resigned, as though doing him a big favor) Don't apologize. I'll take it. And do you know why I'll take it? It's because you have a soul -- the soul of an artist -- if only you could paint. Well, so long. (he walks off) ADAMS Goodbye, Arne. Thanks for the visit. Adams remains standing looking after him a moment, thoughtfully. Arne's quick appearance has done more to enhance his loneliness. He closes the door quietly and stands looking around the room. We feel that he is miserably alone. He picks up the sketch of the dynamo and looks at it a moment, then puts it down. He picks up one of his own sketches, looks at it a moment, then puts it away from him, shaking his head dismally. He crosses slowly to the window and stands looking out. Leaning his head against the cool window pane, he stares at the dark jagged line of roofs, outside and the river beyond. We hear the mournful hooting of the tugboats on the river. He listens to them. Slowly it seems as though there were some pattern to the sound -- it seems as if for a moment, a little of the sound of Jennie's theme song is heard. Adams listens, a slightly puzzled expression on his face. He sits down and picks up his concertina and begins to play idly. Jennie's theme song creeps in this too. He plays for a moment, then puts the concertina down and moves to his drawing board. He sits before it, staring at the blank paper. Then slowly, almost subconsciously, he picks up a crayon and starts to make a sketch of Jennie. As we PAN TO A SHOT OF NEW YORK FROM THE WINDOW. DISSOLVE TO: SHOT OF NEW YORK - DAY DISSOLVE TO: 45. EXT. STREET NEAR ADAM'S HOUSE - NOON Adams, his portfolio under his arm, is walking down the street. He has the paper of Jennie's that he picked up from the bench in his pocket. He comes to a corner and, as he hesitates a moment, we hear -- VOICE How'ya, Mack? Adams looks up and smiles and walks over to the garage. Near the entrance stands Gus, a driver. He has his cap on, but his sleeves are rolled up and he has a wrench or some kind of repairing instrument in his hand. He is looking at Adams. ADAMS Good morning, Gus. GUS Mornin' is it? You've slept it all away, Mack... it's gone forever... An' a grand mornin' it was, too. ADAMS Yes -- I worked late last night -- didn't get to sleep until about dawn. GUS Had your breakfast? ADAMS Why, no -- GUS Then how's about havin' some lunch with me? ADAMS No, thanks. I'm not eating off you, Gus. You work too hard for your money. GUS You gotta eat, Mack. That's a rule. ADAMS Hey, wait a minute -- I've got some money of my own. (He puts his hand into his pocket) GUS (pleased) No kiddin'. ADAMS Sold a picture -- seven dollars and a half -- GUS What do you know! ADAMS So today you're lunching on me. GUS (warmly) It'll be a real pleasure, Mack... Just come along a minute while I fix up the hack, and we'll be soon on our way. He starts walking into the garage, Adams at his side, towards his cab. During the following they reach the cab which has its hood up -- and maybe it's on some round platform or instrument so the motor can be worked on: ADAMS You know, Gus -- I don't get you at all. GUS (pleased) No kiddin'! -- Sure, there's nothin' very puzzlin' about me, Mack. ADAMS There is to me. Why should you care if I eat or not? GUS (after a moment) Maybe I don't like to see people hungry. Gus gets under the engine and the following is played with Adams leaning against the cab, his foot on the running board or in any other fashion that the setting makes possible. (NOTE: Gus' cab and the other cabs that are visible should be, if possible, those of about 1930 and certainly not any later than the early 1930s, avoiding the streamline models of the 1940s) ADAMS Neither do I, but -- He pauses. GUS (getting under the engine) Well, let me put it this way, Mack. Remember the day you staggered past where I was parked on Second Avenue? ADAMS (quietly) I remember. GUS (tinkering; his face is not visible) I thought you were just plastered. Then something about you made me say, "Timothy Agustin, that guy's not drunk. I bet he's hungry." And I saw that portfolio thing you're always carrying under your arm. (he pauses. Adams looks down at his portfolio) I had a kid brother in Ireland once. He never knew when it was time to eat, neither. He was always messin' around -- tryin' to write a poem -- or paint a picture -- or make somethin' out of little pieces of wood and stuff... He died one day. ADAMS (quietly) That's tough, Gus. GUS (coming out from under the engine; he puts down the hood of the cab, puts the instrument to one side, and during the following approaches and stands talking to Adams, rolling down his sleeves the while) I got a lot of respect for a guy that's doin' what he's got to do -- even if may be it's killin' him. Now you got no mother back in Ireland like I have -- ADAMS No -- GUS Nobody. Nothin' that's depending on you but your own stomach. Right? ADAMS I guess that's right, Gus. GUS (wiping his hands and putting on his coat) So it's your own business. An' you want to paint pictures. So you're goin' right ahead and doin' it no matter. (thoughtfully) Yeah, I like that, Mack... (coming out of his mood, throws open the door of the cab) Here, hop in. During the following Adams pulls the door closed as Gus gets himself seated in the cab in his own seat. GUS Most of the time a guy's got the feelin' that there's nothin' to life but just gettin' through it as easy and as comfortable as he can -- makin' a quarter here -- a dollar there -- and eatin' an' sleepin' an' dyin'. An' then a guy like you comes along who's not thinkin' too much about them things and it starts you wonderin'. Wonderin' if you're not missin' something. (Gus starts the engine, throws the gear shift into first, but doesn't release the brake yet. He leans over the wheel and without turning back to Adams, continues:) Yeah, Mack -- since meetin' you I'm beginnin' to think that there is somethin' more to life. It gives you a kind of faith. It makes you think different about your fellow-man. (he releases the brake) It makes you feel kinda -- kindly towards 'em... (he steps on the gas, but he hasn't gone two feet before he is plunk into another cab coming in the opposite direction) Hey, you mug! What you think you're doin'? OTHER DRIVER Aw, pull in your head! GUS Why don't you learn to drive that hack? OTHER DRIVER (backing his cab away) Button it up! Button it up! GUS (calling after him) You take that pile of junk over to Brooklyn sometime and get a little practice! DRIVER'S VOICE (from distance) Okay, Mack. Just keep your shirt on. Gus goes into gear again and they move off. GUS (dreamily) Yeah, it makes you feel kinda' kindly -- Adams, unseen by Gus, smiles indulgently and affectionately, as we DISSOLVE TO: 46. INT. MOORE'S RESTAURANT It is one of the many eating places on Amsterdam Avenue -- a dark, panelled room with booths, a bar on one side. It caters to the neighborhood trade. Gus and Adams are seated at one of the tables, plates of corned beef and cabbage before them and glasses of beer. Other people at other tables. Gus and Adams have just started eating. GUS No, sir, don't think I've missed a day eatin' in here for over two years. Adams takes out the newspaper with Jennie's scarf that has been in his pocket. It had been in his way and now he places it on the table. As he does so, a couple of men pass the table. MAN How'ya, Gus. Hi, Gus. GUS Howya, Mack. Howya, Mack. They pass on. Gus continues. GUS It's sort of like home -- you couldn't pay me to eat anywhere's else -- (he reaches for the salt and knocks the paper over that Adams has placed on the table) Oh, sorry, Mack. ADAMS That's all right. They both reach to pick up the paper. The scarf falls out. Adams picks it up as Gus retains the paper. GUS Hey! Takin' to wearin' scarfs? ADAMS Oh -- that isn't mine. I found it. It belongs to a little girl I met in the Park. Brought it along in case I ran into her. GUS (with a dubious look) Big scarf for a little girl. Adams has stuffed it into his pocket. Gus, in the meantime, has glanced casually at the paper. They eat. GUS Well, what do you know. ADAMS (eating) What? GUS We almost humped into a comet -- or the comet almost bumped into us -- ADAMS Really? When was that? GUS (reading) "Halley's comet passes sun at speed of twenty-five hundred miles a minute... On May eighteenth the collision between the earth and -- Adams has stopped eating and is watching Gus, suddenly frightened. ADAMS What comet did you say? GUS Halley's. ADAMS What's the date again? GUS May 18th. (he looks at the date of the paper) What do you know. This paper is nineteen ten. Adams reaches over and takes the paper from him. CLOSE SHOT AT NEWSPAPER Adams looks at the headline for a moment, then turns it around. CAMERA DOLLIES in on a large ad located at the bottom of the page. INSERT - NEWSPAPER COLUMN WE READ: HAMMERSTEIN'S VICTORIA WILL R. ROGERS Expert Lariat Thrower EVA TANGUAY The American Comedienne YORK & ADAMS Comics CAMERA MOVES IN close to INSERT: THE APPLETONS Novelty High Wire etc. GUS' VOICE Where'd you get hold of an old paper like this? ADAMS' VOICE The little girl in the Park had it. GUS' VOICE Probably found it lyin' around in her mother's attic. CLOSE SHOT - ADAMS He stares down at the paper. ADAMS Yeah. TWO SHOT - ADAMS AND GUS GUS (curiously) What you lookin' at? Adams hands him the paper and points to the ad of Hammerstein's Victoria. Gus starts reading the ad aloud. While he is reading Adams takes the scarf from his pocket and turns it over in his hand. When Gus gets to the name Appleton, Adams interrupts him. 47. MED. SHOT - FROM ADAMS' ANGLE Adams turns to Gus, holding up the scarf. ADAMS (quietly) The Appletons -- This scarf belongs to their daughter. GUS (disinterested) Yeah?... ADAMS She's about ten years old... She said her name was Jennie Appleton. GUS (still disinterested) Yeah? ADAMS (sneaking a look at Gus, about to drop the startling part) Her parents are acrobats at Hammerstein's Victoria. GUS (looking up at him; then after a moment) You mean they were acrobats at Hammerstein's. Hammerstein's was torn down years ago. ADAMS (quietly) I know. But she said she was there -- yesterday. GUS (with a grin) You know, that's what I like about kids. Always makin' up somethin' new -- livin' in a world all their own. ADAMS She told me the father of one of her classmates is in Germany now. She said: "he sees the Kaiser all the time." GUS Sounds like a nice kid. Bet she's Irish. ADAMS No, she's not Irish. Gus looks up at him suddenly, curious. Something in Adams' tone makes him wonder. GUS Look! Mack! You're not tryin' to believe this kid, are you? After a moment, suddenly Adams grins. ADAMS Of course not. What do you think? GUS Okay. He continues to watch Adams a moment, curiously. 48. MED. CLOSE SHOT - GUS AND ADAMS Gus is watching him. GUS (quietly) Go ahead an' eat your lunch, Mack. ADAMS (looking up) What? GUS Put some linin' in your stomach... When'd you last have anything to eat? ADAMS (smiling) Oh, I see. You think I'm just imagining it all. Oh, no, she was real enough, Gus. GUS I'm not arguin' with ye, but my mother always says: "If you don't have enough in your stomach, you get too much in your head." ADAMS (good-humored) Okay. I'll eat my lunch. They eat a moment in silence. As Adams bends over his food, we see Gus studying him thoughtfully. He shakes his head and whistles softly between mouthfuls of corned beef and cabbage. He looks around the room thoughtfully. He suddenly spots some one. 49. ANOTHER ANGLE Moore, the proprietor, waves and calls. MOORE Hi, Gus. 50. GUS He waves and calls back. GUS Hi, Mack. 51. MOORE He starts forward. 52. GUS A quizzical expression comes to his face. He studies the brown panelling of the room. He looks over at Adams, thoughtfully. An idea seems to be forming in his mind. Moore strolls up. GUS How's things? Meet my friend Mack. MOORE (to Adams) How are you? ADAMS Hello. GUS (to Adams) Mack here's the owner of the joint. NOTE: The remainder of this scene should be shot in over shoulder angles; across Gus to Moore; and across Moore to Gus; together with individual shots of Gus, Moore and Adams. Adams closeups should show him turning from Gus to Moore, almost as though watching a tennis match. MOORE Well, sometimes, I don't know if I'm the owner of the joint or if the joint's the owner of me. Business ain't too good these days. Mind if I sit down a minute? GUS A pleasure. (Moore sits) MOORE (to Adams) Everything all right, sir? ADAMS Couldn't be better. MOORE I'm glad to hear you say it. An' you, Gus, Everything all right? GUS Why, sure -- I guess so, Mack -- MOORE (quickly sensing something) What do you mean I guess so? Anything wrong? GUS No -- no -- I guess not -- They eat a moment in silence. Adams looks at Gus in surprise. Moore regards him thoughtfully. Then: MOORE The food is all right? GUS Oh, sure, sure -- MOORE Then what's gripin' you? GUS (hesitantly) I kind of hate to say this, Mack... you're not a man I'd like to hurt... your feelin's, I mean... but -- (he dwindles to a pause) MOORE Yeah? GUS Well, if you don't see me around for awhile, don't be surprised. I've sort of been thinkin' I might start eatin' down at Nick's for a change. MOORE Nick's? GUS Yeah. MOORE Nick's! GUS What's the matter with Nick's? A pause. Moore shakes his head. MOORE (slowly) No-o-o... there's nothing the matter with Nick's... I suppose -- if you like that type of place -- (a slight pause) So you're goin' to start eatin' down at Nick's. (Pause. Moore turns to Adams; pleasantly) It's a nice day, we're havin'. ADAMS Beautiful day. MOORE It's all that and more. (he pauses and studies Gus who is eating diligently. Then:) So you're goin' to start eatin' at Nicks, eh? GUS Just thought I might for awhile. MOORE (to Adams) It takes all kinda people to make a world... all kinds... and some of them haven't a trace of friendship, or loyalty, or -- (he whirls on Gus) You get as good a cornbeef and cabbage down at Nick's? GUS You can't even get it there, Mack. MOORE But the beer is better down there? GUS Same beer. MOORE (vehemently) Then what in the name of all the saints are you goin' to eat down at Nick's for? GUS Look, Mack, nothing personal. But a fellow likes a change once in awhile. MOORE A change from what? GUS Well, it's... er -- (looks around, and then with a shuddering gesture) It's the joint... it's... it's the room... it's -- (quietly) It's dark, Mack. MOORE Dark? GUS The woodwork... that dark woodwork -- (Motions at the panelling. Then, almost cheerfully) Nick's got nice, bright tile down there. MOORE Tile! GUS Yeah. You should brighten it up... brighten up the joint, Mack. Everytime I polish that hack of mine, I do good business... People like things to look good. A pause. Adams and Gus eat. Moore regards Gus a minute, then looks thoughtfully around the room. Then: MOORE I'll be puttin' no tile in this restaurant and bar. GUS No... no... I wouldn't want you to anything like that, Mack. MOORE What would you want me to do? GUS (at first he seems puzzled for a solution) I don't know exactly... It's not an easy problem with all that dark wood... but the other day I was sittin' here, I got lookin' at that wall... an' all of a sudden I says to myself: "Timothy Augustin, wouldn't it be cheerful to be lookin' at some nice green trees, with maybe a sup of river runnin' between them... an' maybe a little Kerry cow or two, munchin' the grass... or maybe -- Adams looks at him quickly, suspicious. GUS (continuing) -- a whole scene from Killarney itself... or may be, the Gap of Dunlow -- MOORE (interrupting) Is it pictures, you mean? GUS Well, I don't know, Mack. I hadn't thought that far. MOORE (dubiously) Suppose I could hang a stray picture here and there... GUS (quickly) Oh, they'd have to be the right kinda pictures... an', anyway, I don't think a few pictures would do it... It's a cryin' shame that you couldn't have a big scene painted right on the wall... but -- (he pauses) Of course I know that can't be done. MOORE Why can't it be done? Didn't ye ever hear of muriels? GUS Muriels, huh? MOORE They're painted right onto a wall. GUS You don't tell me -- (he begins to get excited) Ye know, Mack, I think you hit on the very thing yourself -- (he stops in astonishment) What d'ye know about that? MOORE Now what's bitin' ye? GUS This guy -- (points to Adams) He's an artist, Mack... one of the best in the world... He can tell us all about it. MOORE (turning to Adams) That so? GUS (cutting in fast) Is Mack right? Is it possible to paint a picture right on the wall? ADAMS (playing up) Of course it's possible... It's done often. MOORE (to Gus) See, ye dumb ox! ADAMS As a matter of fact, that wall would lend itself to a mural very well. GUS (suddenly, to Moore) Look, what are we thinkin' of! Here we got one of the grandest artists in the world sittin' right at our table. Why don't we talk him into doin' somethin'? (he turns to Adams) You could squeeze it in, Mack?... Oh, I know, I know, you're as busy as a fiddler at a hurling match... but somehow you could squeeze it... I mean, between all your other -- ah -- (he reaches for the word) -- commissions. ADAMS Well, I don't know, Gus -- GUS (indicating Moore) Mack here is one of my oldest friends. Anything you do for him, you're doin' for me. ADAMS I'd have to think it over -- MOORE (butting in) Wait a minute -- wait a minute -- This is goin' to cost money! GUS An' what's money to an artist? If we can talk him into doin' this, it won't cost you a cent. (to Adams) You could drop in just now an' then in your spare time -- say around noon or suppertime -- you got to eat somewhere, haven't you, Mack? ADAMS Yes, I suppose I have. GUS Then that solves the whole problem... Come in here for your meals. . .an' take a few minutes out after each breakfast an' dinner an' supper... just a few minutes to paint after each meal -- (turns to Moore admiringly) You're a smart man, Mack. Gettin' yourself a work of art for a few meals a day. A pause. Gus and Adams continue to eat industriously. Moore looks from one to the other, speculatively. He smells a rat. He looks down at the poster in his hand. MOORE Excuse me a moment. I've got to post this. He gets up and slowly goes to the wall and tacks up the poster. GUS (without looking up from his plate) Lost him! Had him and I lost him! ADAMS (uncomfortable) Let it go, Gus. Don't say anything more. GUS Had him and lost him! Smelled a rat! (he looks up slyly and sees Moore is posting the poster. It is an announcement concerning St. Patrick's Day. Gus thinks shrewdly for a moment. Then he raises his head and his beer. He calls to Moore) Up the rebels! MOORE (turning and smiling) Up the rebels! GUS Mack! Did ye ever see Mic Collins? MOORE I never did an' I've always regretted it. GUS He musta been the boyo!... A real Irish patriot! MOORE (coming back to them) He was all that, an' more. GUS (firing his last broadside) An' we sit chatterin' of trees an' rivers an' Kerry cows!... A fine collection of idiots we are!... Here's what you should do, Mack... Right over that service door there... a painting of Michael Collins... Mic Collins himself, an' he leadin' his men into battle against the might of England. MOORE Now wait a minute, Gus -- GUS Man alive... it'd be the greatest thing to ever hit this town... Moore's Alhambra would be the rallyin' place for every Irish patriot to come to... Can't you see them gatherin' in droves to buy a beer an' get a good look at Mic Collins himself?... Why, you wouldn't have standin' room at the bar... An' all you have to do... an' you with the gift of the gab... is to talk Mack here into painting it for ye. An' it wouldn't cost ye a penny in cash. MOORE (reflectively) Well -- it does sound kinda interesting... Gus gets up. He moves around, acting out the scene. 53. PAN SHOT CAMERA PANS with Gus as he gets up and walks toward the service door. He plants himself in front of it, looking at an imaginary painting above it. GUS Here's how I see it: (with a nod to Adams) Or should I say how my friend Mack sees it? (dramatically) It's early dawn on a small hill in Ireland... Wisps of fog are floating over the ground, but the sun is already rising behind Loch Allen. And there... (he points) There on a carpet of Shamrock, under an old elm stands Mic Collins. He's leaning on his gun -- waitin' for zero hour. And all the Murphys and Flannagans and O'Sheas are waitin' with him. (to Moore) An' you know what they're waitin' for? They're waitin' for the day of liberation. They don't know it yet, but this is the day! In a brief moment, Mic himself will lead them into battle and will lead them to victory! (he raises his glass) Up the rebels! Adams and Moore have come up behind him. Moore's eyes are shining as he raises his glass to the imaginary painting of the Irish Patriot. MOORE (Elatedly) Up the rebels! (he turns quickly to Adams) You've got to paint it, Mr. Adams! GUS You've got to do it, Mack! A second's pause as they wait for his decision. Adams looks from one to the other, slowly rises and pounds his fist on the table. ADAMS I'll do it! GUS (quickly seizes the victory) Up the rebels! MOORE Up the rebels! ADAMS Up the rebels! CAMERA FALLS BACK to a picture of them all toasting and quaffing, as we DISSOLVE TO: 54. LONG SHOT - THE SKATERS ON THE POND IN CENTRAL PARK CAMERA PULLS BACK and we see Adams standing at a window watching the scene, CAMERA shooting over his shoulder. As he looks, we hear: MATHEWS' VOICE (sadly) Flowers! Flowers and landscapes! ADAMS (annoyed) See here, I asked you not to look through those. I just came in to give you the fifty cents change on the one you did buy. CAMERA DRAWS BACK TO SHOW INTERIOR MATHEWS GALLERY Mathews is standing looking through Adams' portfolio, Spinney looking over his shoulder as he runs through the sketches. MATTHEWS I know, I know, Mr. Adams... (suddenly spotting something) Here! What's this? ADAMS What? He crosses to them and looks down at the sketch Mathews is holding. 55. ANGLE SHOOTING DOWN OVER THEIR SHOULDERS AT SKETCH OF JENNIE ADAMS Oh, that's nothing. Just a sketch of a little girl I saw in the park. MATTHEWS Ah, but this is different! It's alive. It's very good, isn't it, Miss Spinney? SPINNEY (studying the sketch) Yes -- you seem to have something here, Adams. MATTHEWS Do you know why I like it? ADAMS Why? MATTHEWS Because there's a quality about that girl reminds me of long ago... (reaching for his feeling) It feels like when I was young. ADAMS (slowly, thinking back) She did have a look of not belonging -- not altogether belonging to today. MATTHEWS (happily) That's it... It's more as if I've seen her before -- somewhere in the past. And yet I couldn't tell you where. SPINNEY Yes -- there's something -- timeless about it -- MATTHEWS That's it. And there ought to be something timeless about a woman -- something eternal. You can see it in all great portraits of the past; they make you feel you could meet those women -- anywhere -- and be inspired by them. (he stops and faces Adams. He squares his shoulders, defiantly) Well, then, Mr. Adams, I'll tell you what I'll do. I'll take that girl and I'll give you twenty-five dollars for it -- and I don't care what Miss Spinney says. He looks at Spinney defiantly. Spinney gives a faint smile. SPINNEY (quietly) In that case, I won't say anything. Now you don't have to feel quite so sorry for yourself any more, Adams. Mathews has been fishing for his wallet and brings out some bills. ADAMS (suddenly happy) No. Things are looking up. I get three meals a day for doing a mural -- and now I sell a sketch for twenty- five dollars! (he turns to get his hat) Well -- thanks. (he picks up his hat and starts for the door) SPINNEY Where are you going now? ADAMS (gaily) Oh -- nowhere -- anywhere -- (suddenly he remembers something) Where I come from Nobody knows; And where I'm going Everything goes. Mathews looks at him as though he's mad, then looks at Spinney. SPINNEY What's that? ADAMS Oh, something that little girl in the Park sang. (gesturing toward the sketch) SPINNEY Well, if you don't know whether you're coming or going, maybe you need a cup of coffee. ADAMS Okay. Don't mind if I do. SPINNEY Come along, then. They start to the office. DISSOLVE TO: 56. SPINNEY'S OFFICE Adams is standing at the window, a cup of coffee in his hands, looking out. 57. LONG SHOT OF WHAT HE SEES The skaters on the pond in Central Park. 58. ADAMS As he turns from the window and goes back into the room. ADAMS You know, I haven't skated since I was a kid up in Maine. 59. TWO SHOT - ADAMS AND MISS SPINNEY As Adams sinks into a chair near where she is sitting. There is a comfortable, cozy feeling. A fire is burning in a little fireplace. SPINNEY You were brought up in Maine? ADAMS (grinning) South Paris, Maine. Pretty swanky, eh? Spinney smiles at him. ADAMS Nice little town. Lakes and mountains and rivers -- My father ran the General Store until he died. SPINNEY How old were you then? ADAMS Oh, fifteen or so. My mother died a couple of years later. So I pulled out and worked my way through three years of college, and then -- (he pauses a moment and looks at her) Fascinating, isn't it? SPINNEY It's interesting. Suddenly Adams leans forward, serious. ADAMS Look, Miss Spinney. I don't feel sorry for myself, the way you said. And I don't even think I'm particularly bitter. I know that every artist that ever lived -- if he was worth his salt -- went through a lot more than I have -- But they were great artists. They knew they had something. You can take a lot of beating if you're reasonably sure you've got something inside of you that makes it worthwhile. But I'm faced with a very practical problem. Have I got anything like that in me -- anything worth saying? There're thousands and thousands who haven't. Who do I think I am? A pause. Then -- SPINNEY Adams, you say that every great artist went through more than you. What do you mean by that? You mean they went through hunger, poverty, loneliness? Why, of course they did. But do you think that's all they suffered? You think they didn't also suffer -- doubt? Do you think they knew -- anymore than you do -- whether they had anything in them worth saying? Of course they didn't. You should know that. Certainly you can take any amount of punishment -- if you know you're going to win in the end. And of course it's the not knowing that's brutal. But don't think for a minute this doubt is unique with you. It's what every artist has faced since the beginning of time. A pause. Adams looks at her. Then, quietly: ADAMS You're right, Spinney. Adams rises, goes slowly to the window. Spinney's eyes follow him. There is a sad, nostalgic, almost misty light in them. It is the first time he has called her "Spinney." She gets up and stands behind him at the window. SPINNEY It was a lot simpler when you were a kid in Maine, wasn't it? Adams smiles at her. ADAMS And more fun, too... How's about you and me taking a whirl on the ice right now? SPINNEY Oh, go on with you! Adams pats her lightly on the cheek twice and smiles, then leaves. She turns and watches him go with deep affection. DISSOLVE TO: 60. LONG SHOT - EXTERIOR PARK - SKATERS - DAY (already shot) The late afternoon sun is shining on the big lake. Skaters, singly and in pairs, glide by, circle, race. It is a picture reminiscent of a "Currier and Ives." 60A. LONG SHOT - THE SKATERS (already shot) 61. CLOSER ANGLE OF THE SKATERS (already shot) Adams skates through the crowd and forward toward CAMERA. JENNIE'S VOICE (very faint; reverberated effect) Hello!... Adams looks around as he continues to skate forward. JENNIE'S VOICE (still faint; reverberated effect) Hello!... Adams looks around, still not sure, as he skates by CAMERA and out of scene. 62. REVERSE ANGLE - LOW CAMERA - ADAMS (already shot) As he skates away from CAMERA, Jennie's voice is again heard. JENNIE'S VOICE (closer now; calling; reverberated effect) Mr. Adams!... He looks around in the direction of the voice. 63. MEDIUM SHOT - JENNIE - SKYLINE B.G. (already shot) She skates forward toward CAMERA, silhouetted against the sun. 64. CLOSEUP - ADAMS (already shot) As he sees her and his face lights up. 65. CLOSE SHOT - JENNIE - SKYLINE B.G. (already shot) As she skates closer to CAMERA, silhouetted against the sun, waves and calls. JENNIE Hello... 66. MEDIUM LONG SHOT (already shot) As they meet and skate together, Jennie skating in a circle around him. ADAMS I can't believe it's you. JENNIE Why not? ADAMS You look so much taller. JENNIE Well, maybe you didn't see me so good before. ADAMS I'm sure you've grown. They stop skating. JENNIE Of course I have. I'm hurrying. Don't you remember our wish? (she takes his arm) Let's skate. They continue to skate. 67. MEDIUM CLOSE TWO SHOT (already shot) As they skate arm in arm. JENNIE Let's go a little faster. 68. CLOSEUP - ADAMS (PROCESS) (TO BE SHOT) A little frightened as they pick up speed. 69. MEDIUM TWO SHOT (already shot) Jennie and Adams skating in a fast circle. 69a. CLOSEUP - ADAMS (PROCESS) (TO BE SHOT) He is becoming more frightened. 69b. CLOSEUP - JENNIE (PROCESS) (TO BE SHOT) Enjoying his fright, laughing at him. 69c. BACK TO MEDIUM TWO SHOT (already shot) As they skate faster and faster in a circle. 69d. CLOSEUP - ADAMS' FEET (TO BE SHOT) Slipping out from under him. 69e. CLOSEUP - ADAMS (PROCESS) (TO BE SHOT) Falling out of CAMERA. 69f. CLOSEUP - JENNIE (PROCESS) (TO BE SHOT) Laughing. 69g. CLOSE SHOT - ADAMS (already shot) Hitting the ice. 69h. CLOSEUP - JENNIE - LOW CAMERA SHOOTING UP (PROCESS) (TO BE SHOT) Looking down and laughing at him. JENNIE You look so funny. 69j. CLOSE SHOT - ADAMS (PROCESS) (TO BE SHOT) He picks himself up off the ice. ADAMS (laughing and collecting himself) I feel so funny. 70. TWO SHOT AND INDIVIDUALS - JENNIE AND ADAMS (PROCESS) (TO BE SHOT) As Adams gets up into the SHOT, he brushes off his coat, and as he brushes off his pocket, he sees a corner of the scarf sticking out of the pocket and suddenly remembers. ADAMS Oh, by the way, Jennie. I have something of yours. Here -- (he takes the scarf from his pocket) JENNIE What a pretty scarf! ADAMS It was in the parcel on the bench. You said it was yours. Adams is watching her intently. JENNIE (puzzled) Did I?... (dismissing it) Well, if I said so it must be true... I'll tell you what: Why don't you keep it for me till I grow up? Then I'll have one more reason to grow up fast. ADAMS (he takes this rather curiously, smiles) Oh, all right. (puts scarf into his right pocket, takes out his gloves from left pocket) I owe you a favor, anyway. 71. TWO SHOT AND INDIVIDUALS - JENNIE AND ADAMS (already shot) JENNIE You do? Why? ADAMS I did a little sketch of you the other day and I sold it. JENNIE I'm glad. ADAMS The man who bought it told me I ought to paint portraits. What do you think of that? JENNIE (cautiously) Well... who would you paint, Mr. Adams? They start to skate again. ADAMS (appearing casual) Oh, I don't know. I haven't decided yet. JENNIE (after a pause) Maybe... (quickly and eagerly) Will you let it be me? ADAMS (laughs) Who else? With a wild sweep, Jennie whirls around excitedly. JENNIE Wheeeee! (stops, faces Adams) I'm going to have my picture painted! Won't Emily be mad? ADAMS Emily? JENNIE Emily's my best friend. She had her picture painted by Mr. Fromkes and I said you were going to do mine. ADAMS (looking at her, startled) How did you know that? JENNIE Well, I wished it, and then I closed my eyes and turned around three times. Adams laughs. 71A. CLOSEUP - JENNIE - OVER ADAMS' SHOULDER (PROCESS) (TO BE SHOT) (Plate No. X68X, Take 1) (TO BE INTERCUT WITH CLOSEUP ADAMS, ALREADY SHOT) JENNIE But Emily still said you wouldn't paint me and so I slapped her. ADAMS Emily? I thought it was Cecily you always fought with. JENNIE (surprised) Cecily?. . . (she suddenly remembers but can't quite believe this is who he means) You don't mean Cecily Brown, do you? Why, she moved away to Boston three years ago. I thought I told you. 71B. CLOSEUP - ADAMS - OVER JENNIE'S SHOULDER (already shot) ADAMS (slowly) No -- you didn't. 71C. CLOSEUP - JENNIE - OVER ADAMS' SHOULDER (PROCESS) (TO BE SHOT) Jennie is a bit perplexed, swings around in position to match the next shot as she thinks, talking as she does. JENNIE That's funny... ADAMS Well, never mind. Come on -- let's skate. He takes her arm and they start out. 71D. TWO SHOT - LOW CAMERA (already shot) As they skate, CAMERA PULLING BACK with them. JENNIE Well, I have to be going pretty soon now. ADAMS Don't go. (an excuse to hold her) How would you like some hot chocolate? JENNIE Oh, I love hot chocolate. ADAMS We can get it right over there. (indicating) DISSOLVE TO: 72. OUT Sequence omitted from original script. 73-76. CLOSE TWO SHOT AND INDIVIDUALS (SET) (TO BE SHOT) Jennie is seated on a bench at the edge of the ice pond, waiting. Adams enters with two cups of hot chocolate, hands her a cup, sits beside her. Throughout this scene Adams is questioning himself and his whole attitude is almost like that of a detective. JENNIE Oh, how wonderful! Thank you! She starts to drink as he watches her with a curious, penetrating look. ADAMS Jennie, where do you live? I'd like to come and see. JENNIE (she continues to drink for a moment as she thinks this over, obviously with some effort) I don't think there's any place you can come and see me -- yet. ADAMS Why, Jennie? JENNIE (airily) Oh, that's just the way it is. (eagerly and proudly) When will you start my portrait? ADAMS Whenever your -- whenever your parents will let you... (he watches her for a reaction) Where are they now? JENNIE They're at Hammerstein's. ADAMS (smiling at her, as though a joke) Really? Still at Hammerstein's? JENNIE (very proud) Yes, and they've got wonderful new tricks. Way up on a high wire. (her mood changes) Sometimes it scares me to watch them, but of course that's silly. That's why they're so famous. They scare everybody. ADAMS (insistently) I'd like to see them, and then I could ask their permission for you to come and sit for me. (he looks at her and smiles, as one does to a child who is making up a story, and is kidding a long with her) Won't you take me down to Hammerstein's to see them? JENNIE (eagerly) Oh, yes! Do let's go! I can get us in free. Could you go to the matinee Saturday? Adams' kidding mood changes. He looks at her gravely, puzzled. ADAMS I think so. Where'll I meet you? JENNIE Let's meet here in the Park -- at that bench -- where we met before. I'll be there at -- two o'clock. (a vague, strange look comes over her face -- she adds wistfully) At least -- I'll try. (Jennie finishes the chocolate and rises) That was very good chocolate. Thank you... I really have to go now. ADAMS (rising) Well, if you must... JENNIE I hate it to stop -- because when will we ever have it again?... (exiting) Well, goodbye. ADAMS (watches a moment) Goodbye, Jennie. Jennie starts out on the ice. Adams stands watching her. 77. JENNIE - (PROCESS) (TO BE SHOT) As she skates farther away. NOTE: This shot should be patterned after the technique of her entrance and she should not exit through a crowd of skaters. 78. ADAMS - MED. SHOT - LOW ANGLE (SKY BACKING) (TO BE SHOT) As Adams stands there, watching, Spinney comes up behind him. He doesn't notice. 79. JENNIE - (PROCESS) (TO BE SHOT) (continuation of 77) Jennie disappearing. 80. ADAMS AND SPINNEY (TO BE SHOT) (continuation of 78) Spinney looks at Adams for a moment, then off in the direction he is looking. 81. WHAT SHE SEES -- (already shot) The pond is empty. 82. SPINNEY AND ADAMS (TO BE SHOT) She looks back at Adams. SPINNEY Looking for someone, Adams? ADAMS I was just watching the little girl I told you about. I've been skating with her -- SPINNEY Oh! Spinney watches Adams who is looking off in awe and puzzlement. As CAMERA MOVES IN a little, we hear Spinney's voice, and on this we start a SLOW DISSOLVE: SPINNEY'S VOICE (as we heard it at the beginning of the picture) No. I never saw Jennie. (a slight pause) -- I think I nearly saw her once... Didn't I, Eben? (another slight pause) You saw her, in any event. That much is sure. And there was a strange wonder in your face... DISSOLVE TO: INT. MOORE'S RESTAURANT - LONG SHOT. LOW CAMERA UP AT ADAMS; LONG SHOT. HIGH ANGLE FROM ADAMS' VIEWPOINT DOWN AT SPINNEY; INDIVIDUALS OF EACH; AND MASTER SHOT As Spinney's voice continues over the scene, we see Adams on a ladder at work on his patriotic mural of Michael Collins. He seems very gay at his work, painting easily and happily. SPINNEY'S VOICE (continuing) Something had happened to you, Eben. I don't think you were quite aware of it yourself. Your work on your mural was coming well - but it wasn't only that. There seemed to be a new Eben Adams. During those next few days you were gayer than I had ever seen you... As she is speaking, we see Adams turn, look down and wave gaily. Spinney is seated at a table, a glass of beer before her. Adams' coat and a rolled up sketch is on a chair beside her. She is looking up at Adams and we see that her expression is one of tenderness. We see her wave back to Adams. SPINNEY'S VOICE (continuing) I must confess, Eben, that you made me wish I were young again. That I could go along with you -- carefree -- happy -- sharing whole-heartedly your happiness... Adams makes an elaborate Bohemian gesture with his paint brush and looks down at her. She looks up at him and laughs. He comes down the ladder and joins her. He uses her glass, pours himself a glass of beer and drinks. SPINNEY'S VOICE (continuing) But of course those days were long past and I could only feel a deep thankfulness that I could be with you even a little -- and watch you -- and laugh with you. While Adams talks to her, excited and eager, Spinney listens, her eyes glued on him. SPINNEY'S VOICE (continuing) I'll never forget that Saturday as I watched you -- trying to see into you -- scarcely listening to what you were saying -- Adams reaches over and picks up the rolled sketch of Jennie and shows it to Spinney. SPINNEY'S VOICE (continuing) -- you showed me another sketch you had made of Jennie. And then you suddenly looked at your watch -- jumped up -- and said you had to go -- that you had an appointment. I half suspected that it was with Jennie. During the above we have seen Adams look at his watch, jump up, and apologize as he gets into his coat. Now we see him lean over and kiss Spinney on the cheek, then turn and leave. Spinney looks after him a moment - then slowly we see her hand rise and caress her cheek. She looks down at the new sketch of Jennie. ANGLE OVER HER SHOULDER As we see the sketch and hear her voice over it. SPINNEY'S VOICE (continuing) Oh, Eben -- how long, long ago it seems... DISSOLVE TO: CENTRAL PARK - THE BENCH IN THE PARK WHERE ADAMS AND JENNIE FIRST MET - We see Adams waiting impatiently. He is looking all around. He looks at a cheap nickel-plated watch, shakes his head anxiously, and begins to walk up and down. He comes back to the bench. Again he looks at his watch, looks all around, and then decides to start off. DISSOLVE TO: POND WHERE PEOPLE ARE SKATING - There are very few people on the ice. He watches them anxiously. Jennie is not there. He starts off. DISSOLVE TO: CORNER BROADWAY AND 42ND STREET - With all its people and traffic. CAMERA PANS DOWN and we see: RIALTO THEATRE -- and then we see Adams walk into the crowd -- pause -- and look at the theatre. CAMERA GOES TO CLOSE SHOT OF NAME: RIALTO THEATRE. ADAMS - as he looks at it, then turns and looks at other buildings nearby. He sees a policeman standing on the curb. He hesitates a moment -- and then goes up to him. He stands by him a moment, reluctant to speak. The policeman turns and looks at him. ADAMS (hesitantly) Nice day. POLICEMAN It is that. ADAMS I was just -- well -- I had a bet with a friend of mine. I wonder if you could help me. You remember the old Hammerstein Theatre? POLICEMAN Do I remember it? Bud, you came to the right party to ask about Hammerstein's. ADAMS Well, I claimed it used to be right down around here somewhere. My friend -- POLICEMAN Your friend loses. Hammerstein's used to stand right there where the Rialto is now. ADAMS That's what I thought. (he hesitates) POLICEMAN Yes, sir, many's the time I went to Hammerstein's. ADAMS You're -- you're sure it's not here now anywhere? The cop turns slowly and looks at him. Adams becomes embarassed. ADAMS I mean -- that is -- well, I thought maybe -- POLICEMAN Look, Bud, you look like a nice guy. Better go home and sleep it off. ADAMS I just -- wanted to be sure. POLICEMAN All right -- you're sure now. Go on home. ADAMS Yeah -- Thanks. (He starts to go, then hesitates) Let me ask you one more question. You say you used to go there. Do you remember the Appletons? POLICEMAN Appletons? ADAMS They used to have an act -- trapeze -- POLICEMAN (thoughtfully) Seems to me -- Look, you go over and ask old Pete. He used to be doorman at Hammerstein's. Now he works at the Rialto. He knows more about Hammerstein's than anybody. ADAMS (brightening) Thanks a lot. (he goes) 89. CLOSEUP - POLICEMAN He looks after Adams, not convinced he is all right. 90. FRONT OF RIALTO THEATRE -- as Adams approaches. He looks around. People are entering the theatre. He sees an attendant, but he is young and handsome. Adams shakes his head -- looks around again -- then goes up to the young attendant. ADAMS (agreeably) I was told the doorman here was an old fellow -- name of Pete -- Don't suppose that could be you? YOUNG ATTENDANT (nastily) You don't suppose so, eh? Wise guy! ADAMS Well -- is there an old fellow here named Pete? YOUNG ATTENDANT (jerking his head) In there. ADAMS Thanks. Adams starts toward the lobby. 90A. LOBBY - MASTER SHOT AND INDIVIDUALS Pete is in uniform. He is in his late seventies, amiable, pathetically dapper in a threadbare way, his once handsome face now a ruin, his eyes watery and vacant. He just stands at one side as the people pass in -- occasionally saying: "Better seats to the left, please." He has obviously just been "kept on." PETE Better seats to the left, please. He nods and smiles at people as they pass in. AN USHER Say, pop -- it's time for your cup of coffee... PETE Already? USHER Sure, pop, time goes fast... PETE Yes, it does... ADAMS (entering to Pete) Excuse me -- are you Pete? Pete has started down through lobby. PETE (ambling by) Better seats to the left... ADAMS (mystified slightly) I'm looking -- He watches Pete leave the lobby. USHER Friend of Pete's? ADAMS (still watching) Oh, so that is he... I wanted to ask him if he remembered... USHER Remembered? He doesn't remember anything, Mister -- except how to get here in the morning and go home -- wherever that is. But they tell me he was quite a guy in his day, when... ADAMS (not hearing; breaking in; still watching where Pete went) Thanks... He exits quickly in pursuit of Pete. DISSOLVE TO: 90B. INT. COFFEE SHOP Pete is sitting in a little booth, his manner meticulous, almost elegant, his empty eyes beaming faintly, his head nodding to invisible admirers. A waitress brings Pete's coffee. WAITRESS Got it all ready for you, pop. Why don't you have a hamburger? Put some meat on those bones. PETE Oh, no -- thank you, miss -- always kept my figure -- slim -- straight as an arrow -- Adams comes into the SHOT. The waitress mops the table. ADAMS (casually) Mind if I sit down? PETE Mind? It's a pleasure... please do... ADAMS (to waitress as he sits down opposite Pete) Coffee -- black, please. He watches Pete pour the cream and sugar in a precise and memory-evoking ceremony. ADAMS (calmly, trying not to show his great anxiety) Pete -- Pete looks up, a slight furrow on his brow. ADAMS I think you can help me. You used to perform there -- (indicating with his thumb) -- didn't you? -- When it was Hammerstein's... PETE (blankly) Hammer --? ADAMS Hammerstein's -- the old theatre -- PETE (vaguely) Oh... oh, yes... He smiles, a slight streak of memory illuminating his face. The waitress brings Adams' coffee. ADAMS Thank you. Pete -- PETE (rambling, seeming to look through Adams into the past) I was good... Peter Bradford -- songs and dances -- the best -- except Georgie Cohan, maybe... ADAMS Pete, did you know --? PETE Always dropped in here between shows -- used to be a hat shop -- (cheerfully) Helen Travis -- that was her name before we were married... ADAMS (pressing) Do you remember the Appletons, Pete? A trapeze act? PETE Took her out of the shop and married her... Appletons? ADAMS (trying to keep Pete's memory in focus) Yes -- they had a little girl -- you remember, Pete... PETE I tried to keep out of trouble -- but money slipped right through my fingers... ADAMS Pete -- try to -- PETE Helen left me, you know... New Year's Eve it was... couldn't work for a long time... started to drink... got to liking it after awhile, but -- no taste for it now at all... don't you like your coffee, sir? ADAMS Yes, it's fine, Pete -- but -- PETE (helplessly) What was I saying? ADAMS (desperately) Pete -- please -- you must remember! Did you know a little girl -- Jennie -- Jennie Appleton? You remember the Appletons! A trapeze act, Pete... PETE (feeling a little badly for Adams) No... I don't remember... I'm sorry... ADAMS (defeated, softly) I'm sorry, Pete... I didn't mean to... He sips his coffee, looking at Pete with a hopeless smile. Pete gets over the feeling of being a little harassed, and his mind wanders off again. PETE I used to talk to Clara about it -- after Helen left me... everybody did when they were in trouble... she knew everybody... knew everybody's troubles... During the last several words, Adams' hopes have been reborn. ADAMS Clara? Clara who, Pete? Where is she now? PETE Wise woman, Clara... They're wise -- colored people... they know what trouble is... ADAMS (almost wildly, forcing Pete to be attentive) Yes, Pete, yes! But tell me, please... where can I find Clara? What's her last name? But Pete doesn't hear him and Adams' attempts are hopeless. Pete's mind is still on his own tragedy. PETE You're all alone when your wife leaves you... Then, as though to illustrate this point, slowly, like an automaton, Pete takes out his wallet, and removes a card which he hands to Adams. During this Adams makes one final attempt. ADAMS (pleadingly) Listen to me... where's Clara? Adams has taken the card during this last. He looks down at it. 90C. AN ANGLE OVER ADAMS' SHOULDER CAMERA MOVES DOWN to an insert of the card, which is rather worn, but on which has been written in an old trembling hand: "MY NAME IS PETER BRADFORD. IN CASE OF DEATH OR INJURY, PLEASE NOTIFY CLARA B. MORGAN, 1346 SIXTH AVENUE." DISSOLVE TO: 91. SMALL ROOM ON SIXTH AVENUE (BACK ROOM NOT FACING ON SIXTH AVE.) CLOSE SHOT - CLARA MORGAN - DAY She is a very handsome colored woman, quite old. Her face is powerful and yet sensitive and intelligent. Her grey hair lends an ageless dignity to her face. CLARA Of course, I remember the Appletons. Frank and Mary Appleton. I remember all of the old acts as if it were yesterday. As she speaks, CAMERA DRAWS BACK TO reveal a simply but scrupulously clean, neat room. Through the window can be seen falling snow. Adams is sitting in a chair, listening intently. CLARA (continuing) Eva Tanguay, Will Rogers, Weber and Fields, the Appletons -- You know, I think I have a picture of them somewhere. Would you like to see it? ADAMS Oh, yes -- very much, Mrs. Morgan. Clara rises and goes to an old trunk in the other side of the room. Adams follows her as she digs into the trunk and takes out some old photographs. She looks through them as she talks. CLARA (as she looks) They were all wonderful acts. For me they had more glamor than anything you see today. You sort of felt as if you knew all the artists personally. Ah, here it is. She has found an old photograph which she takes out. Adams leans forward eagerly. 92. INSERT - PHOTOGRAPH It is covered with dust. As Clara rubs it off we see appear a man and a woman posing stiffly against a "photographer's column." In front, between them, stands Jennie, dressed as we have seen her last, in her skating costume. Over the SHOT we hear -- CLARA'S VOICE Yes, these are the Appletons. Frank and Mary Appleton. ADAMS' VOICE And -- the little girl? 93. TWO SHOT - CLARA AND ADAMS As Adams takes the photograph. CLARA That's their daughter, Jennie. ADAMS (dazed) Their -- daughter -- CLARA Yes. ADAMS But this -- this picture must have been taken many years ago. CLARA Yes -- many years ago. ADAMS It couldn't be that this -- this child is their granddaughter? CLARA (almost with a little laugh) Oh, no. I knew Jennie when this picture was taken. A darling little girl -- with big, sad eyes. She used to come back stage and sit on my lap. I used to give her rock candy. She was crazy about rock candy. ADAMS Do you know where she is now? CLARA No. I lost track of her after her parents were killed that night on the trapeze. That was many years ago. Jack Boles came to the dressing room and told me: 'The Appletons had an accident,' he said. 'The wire broke. They're both dead.'... Jennie was in the theatre -- looking -- when it happened. Pause. Slowly Adams hands the photograph back to her. ADAMS And you're sure you don't know what happened to her? CLARA (thoughtfully) Well -- it seems to me I do remember there was some talk of her aunt's wanting to put her into a convent. Jennie wasn't a Catholic -- but her aunt said a convent was the best place for a girl to be. ADAMS (after a moment) Well, thank you very much, Mrs. Morgan. I appreciate your giving me the time. CLARA (with a smile) Thank you, Mr. Adams. It isn't very often I have a chance to share my memories... I hope you find Jennie. She was a dear little girl. ADAMS I hope I do, too. Thank you. Goodbye, Mrs. Morgan. CLARA Goodbye, Mr. Adams. As he goes, Clara looks once more at the photograph and starts to put it back into the old trunk, as we -- DISSOLVE TO: 94. CENTRAL PARK - LOW CAMERA - NIGHT Adams walks along, looking from right to left anxiously. A wind has risen. Mingled with the SOUND of the wind, we hear the haunting melody of Jennie's theme song. Suddenly we hear a weird sound that could or could not be the sound of the trees. Adams stops and looks. 95. CLOSE SHOT - SWAYING TREES 96. ADAMS - CAMERA DOLLYING WITH HIM He listens a moment, then moves on. There is a feverish anxiety in his eyes. He slows down his walk, his instinct making him believe that somehow Jennie is near. Suddenly he stops abruptly as he looks down and ahead of him. We see there is movement of shadows. We PULL BACK THE CAMERA (or otherwise move the CAMERA) to reveal it is merely the shadow of the trees. 97. ADAMS As he sees what has caused the shadow. He starts again, looking around. Faintly, but we can't be sure, there seems to be the sound of sobbing mingled with the wind and the MUSIC. He stops, and the sobbing stops. Adams calls softly: ADAMS Jennie... Jennie... (looking around) There's no answer. He takes another step or two, and the sobbing becomes more distinct. 98. CLOSEUP - ADAMS He is sure now, looks for the source of the sobbing and follows it -- the CAMERA with him -- to the bench. 99. CLOSE SHOT - ADAMS - SHOOTING DOWN THE DARK PATH TO THE BENCH WHERE THEY FIRST MET -- and on which sits the figure of a little girl. It is from her the sobs are coming -- long, broken sobs that shake her body. Adams hurries to her. ADAMS Jennie -- He sits beside her, takes her hands. She turns to him and we see that it is Jennie, helpless and heartbroken, unable to control her sobs. She is in a different hair-do than when we last saw her, and is about fourteen or fifteen. ADAMS What's the matter, dear? What are you crying about? JENNIE (sobbing) Father and Mother -- He looks, absorbs it for a second. ADAMS (almost afraid to have it confirmed) Something -- happened to them? They had -- an accident? JENNIE (scarcely hearing him, her words overlapping his) I knew it would happen -- ADAMS The wire -- broke? JENNIE I knew it would happen -- I was always scared it would happen -- and tonight... ADAMS (almost to himself) Tonight! He can scarcely credit his ears. He has only just heard that it was many years ago and here is proof that from Jennie's standpoint it was tonight. But he pulls himself out of it, for this child is clearly grief-stricken right now and brushes off the mystery to comfort her. ADAMS I know how you feel, Jennie -- I know how much it hurts -- But it isn't hurting them. Try to think of it that way. Jennie's sobs have been gradually subsiding during his last speech. They have now stopped and she looks up at him, dazed and almost incredulous. JENNIE But they're -- dead -- ADAMS We all die sometime -- JENNIE (simply) I loved them... (looking up at him, almost appealing for understanding) They loved me... ADAMS Then you mustn't be too unhappy, Jennie. They wouldn't want you to be, would they? A pause. She looks at him, trying to understand. He adds, gently -- ADAMS Would they? JENNIE (slowly, puzzling over it) No... They told me once -- Pause. ADAMS Yes? JENNIE (her eyes go far away as she remembers, slowly, her parents' cautionary advice) They said -- if anything happened to them -- I mustn't be unhappy -- because they were doing -- what they wanted to do -- and if they -- (she stops) -- if anything happened -- it would happen to them both -- at the same time -- the way they wanted -- ADAMS You see? JENNIE (wonderingly, the tempo of her words gradually increasing) Yes -- I shouldn't cry, should I? They wouldn't like it. They died the way they wanted. So I guess I'm only crying for myself -- because they're gone -- and because I'm lonely -- ADAMS (touched) Don't, Jennie. JENNIE (cutting in, not hearing; her mood changing gradually to belief and confidence) But -- maybe I won't always be lonely... (her confidence is growing and the words are coming faster) I don't know why -- but I don't think I will be lonely very long... (she turns to him, looks at him eagerly) Because I'm hurrying -- I'm hurrying fast now. My aunt is sending me to a convent. ADAMS (he remembers) Yes... You want to go, don't you, Jennie? JENNIE Of course I want to go. Then I'll be grown up. Don't you understand? Adams looks at her, understanding nothing. ADAMS (kindly) No, Jennie -- I wish I could -- but I don't understand. I don't understand any of it. It's all so strange. Each time I see you, you've changed -- you're older... You talk about things that happened -- well, that happened long ago. JENNIE (thinking, puzzled) Did they? Sometimes I kind of think that, too. (then with an effort at thought) But maybe that's because I have to find something -- ADAMS (trying hard to understand) Find something? Find what? JENNIE (she seems a little more mature as increasing confidence takes over from her puzzlement) I'm not sure. But I think I'll know some day -- I think I'll know when I find it... (then with sudden decision rising and facing him) You know something? I think you'll know, too. ADAMS (with a little, puzzled smile and a sigh, decides not to argue further) I hope so. JENNIE (pleading, childlike) You'll wait for me, won't you? You'll give me a little more time -- ADAMS (rising; with a tender, tolerant smile) All right, Jennie. JENNIE (suddenly) Listen... He looks at her strangely as she looks around for the source of what she hears from one side to the other then up. After a moment we see that she has discovered the source and she smiles a little. 100. SLIFER SHOT OF THE SKY AND THE STARS 101.-102. BACK TO SCENE (ALSO COVER WITH CLOSEUPS) JENNIE It's the stars... can't you hear them? (she cocks her head slightly) Listen! Listen to the stars coming out... During this Adams has looked up. CAMERA MOVES UP TO HIM. There is a wistful, puzzled expression on his face. ADAMS (without moving, almost in a whisper) Jennie --? There is no answer. We see on his face that he knows she is gone. CAMERA PULLS SLOWLY BACK to reveal him alone. Jennie is not there. Slowly he lowers his head, turns, retreats, his shadow long behind him. His head still down, he walks slowly out of view. His shadow follows him, as we FADE OUT: FADE IN: 103. THE TREES IN THE PARK AND THE SKY BEYOND The trees are still bare and it looks cold and desolate. SPINNEY'S VOICE Cold, cold months followed each other that year. Winter hung on to the earth with a bitter grip. DISSOLVE TO: 104. SHOT OF NEW YORK AND CARNEGIE HALL (STOCK SHOT) People are seen going in hurriedly, muffled up against the cold. SPINNEY'S VOICE The cold settled into people's bones and a chill crept around their hearts. DISSOLVE TO: 105. INT. CARNEGIE HALL CONCERT The hall is full. SPINNEY'S VOICE But you didn't seem to feel the cold, Eben. 106. TWO SHOT - SPINNEY AND ADAMS We see that Adams' face is happy, eager and excited. SPINNEY'S VOICE You seemed to have some inner warmth of your own. DISSOLVE TO: 107. FIFTH AVENUE - SUNDAY - CHURCH BELLS ARE RINGING - Spinney and Adams walking along. SPINNEY'S VOICE It was as though some deeper, inner meaning had been revealed to you -- you had some insight that I couldn't share -- DISSOLVE TO: 108. ADAMS' STUDIO Adams -- painting -- whistling, but the CAMERA angle is such that we don't see what he is painting. SPINNEY'S VOICE -- it was as though the gates had been opened and you had looked into some world that renewed your faith in life and in yourself. DISSOLVE TO: 109. THE TREES IN THE PARK Still bare, but the sun is shining brightly. SPINNEY'S VOICE -- but then -- Spring at last began to break through -- the sun began to shine more warmly -- DISSOLVE TO: NO SCENES 110-112 Sequence omitted from original script. 113. THE TREES With buds on them, and beyond a very blue sky. The CAMERA SLOWLY PANS across the trees and starts to SLOWLY PAN DOWN -- SPINNEY'S VOICE -- the trees were covered with little yellow green leaves -- and the sky was a different blue -- and the clouds were a different white. And a robin sang. But you didn't awaken to the warmth of spring, Eben. You became restless, despondent -- almost melancholy. What was it, Eben? I was worried about you. All of your new- found eagerness toward life was gone. You wouldn't work -- you seemed lifeless. What were you searching for? I couldn't understand. The actual truth never occurred to me. How could it have? I wept for you, Eben. The CAMERA HAS PANNED DOWN FROM THE TREES TO SHOW THE TAVERN ON THE GREEN, and we see Adams and Spinney seated at a table. SPINNEY (brusquely) Really, Adams, I lose patience with you sometimes. ADAMS All right, Spinney, I know. Sorry I can't be a little brighter for you. SPINNEY What if you don't know where this Jennie is? There are other people -- other things to paint. ADAMS Name me three. SPINNEY (disgusted) Oh, good heavens! Look, Adams -- I'm the last one to say that a painter mustn't have some -- some inspiration -- but that's not the same thing as mooning about -- not even trying. ADAMS How do you know I'm not trying? SPINNEY You haven't set a brush to canvas for months! ADAMS Haven't I? SPINNEY Have you? ADAMS (with a grin) No. SPINNEY Try it! Put a brush in your hand - and see what happens. You'd be surprised how many ideas have come to people that way. You're not giving yourself a chance. ADAMS It's no good, Spinney. I'm sorry. I've got this idea in my head that I've got to paint Jennie and -- SPINNEY Who is this Jennie, anyway? You must know where she lives -- something about her -- there must be some way to find her. ADAMS No way that I know. SPINNEY Advertise. (A moment's pause. Adams looks at her) ADAMS Spinney -- remember the little lecture you gave me once? About artists doubting their own abilities? SPINNEY Well? ADAMS Well, I no longer have any doubt. It's all gone. SPINNEY Really? Well, that is a relief! ADAMS Yeah. Now I know I'm no good. SPINNEY (let down) Oh! ADAMS Unless -- SPINNEY Unless what? ADAMS Unless I find Jennie. I know -- Jennie may seem like just another child -- but there's more -- a lot more -- that I can't explain. I can't explain it, but I know I can put it on canvas. And I can't do anything else until I do. A pause. Then -- SPINNEY (angry, putting her napkin down) That does it! (she rises) ADAMS Don't be angry, Spinney. SPINNEY (standing) I'm always angry at self-indulgence! Just because you have a talent -- that's no excuse not to do your job like any other man. Stop pampering yourself. Good... bye... She leaves angrily. Adams looks after her, then lowers his head and starts playing with his fork. DISSOLVE TO: 114. INT. HALL ADAMS' BOARDING HOUSE as Adams trudges in. He doesn't try to be quiet as before -- he is too preoccupied. Sitting in the little room just off the hall, is Mrs. Jekes and her friend. As Adams comes in he stops a moment at the door. Mrs. Jekes rises. ADAMS Has anyone been here to see me, Mrs. Jekes? MRS. JEKES (turning to the little elderly woman) Just a moment, Mr. Adams. I'll ask my social secretary. Has anyone been here to see Mr. Adams, Mrs. Delaney? Mrs. Delaney sniggers with delight and shakes her head. MRS. JEKES (to Adams) Mrs. Delaney says she doesn't know. And I'm sure I wouldn't know either, Mr. Adams. ADAMS No. That's right. How would you know? He turns and starts up the stairs, the women looking after him. MRS. DELANEY (giggling) Oh, you are a card, Mrs. Jekes. MRS. JEKES Sometimes I wonder if it's worth it. MRS. DELANEY What? MRS. JEKES Having a gentleman in the house. So far he's cost me sixty dollars. Automatically she puts her fingers into the pay telephone. She draws back in happy surprise, looking at the nickel in her hand. DISSOLVE TO: 115. ADAMS' STUDIO as he enters. He stands surveying the room forlornly. He walks over and looks out of the window. He turns and takes up a number of sketches and looks at them -- sketches of Jennie. He throws them down. He goes to a table and stares down at a half-eaten can of beans with a spoon in it. He takes a spoonful -- looks at it -- and puts it down. He goes to his drafting board on which there is a paper. He starts to sketch -- a bridge -- then stops. Suddenly he has an idea. He looks around and gets a large canvas and starts to prepare it, -- stretching it, mounting it, wetting it, and setting it out to dry. As he is doing so, there is a knock on the door. He looks up eagerly. ADAMS Come in. Gus enters. Adams is disappointed. He turns back to his work. ADAMS Oh, hello, Gus. GUS Howya, Mack? Watcha doing? ADAMS (irritably) What do you think I'm doing? GUS I dunno. ADAMS I'm preparing a canvas for a portrait. GUS What do you know! So that's the way you do it! ADAMS That's the way you do it. There is a pause. Gus is uncomfortable. Then -- GUS Speaking of painting -- ADAMS I know, I know. Moore is sore because I haven't finished that mural. GUS After all -- he made a deal -- ADAMS -- and I let him down. GUS (with a smile) Well, Mic Collins is beginnin' to look a little sore, too, Mack -- leanin' there on his gun -- waitin' to lead his men into battle -- and havin' only half a leg to stand on -- ADAMS (irritably) Okay -- okay -- I get it. A pause. Gus looks at him a moment, then turns and begins to wander around the room, looking at the various sketches, etc. Then he begins to sing his lilting Irish song. He finishes, looks at Adams once more, and then starts to the door. GUS Well, see you later, Mack. He starts to go out. Adams straightens up. ADAMS Gus. (Gus stops and turns) I'm sorry. Guess I'm in a rotten mood these days. Tell Moore I'll be over, will you? I'll finish it somehow. GUS Sure. ADAMS (smiling suddenly) Thanks. And, Gus -- I don't want to seem ungrateful... GUS Why, that's all right, Mack. There's times a big black cloud comes down over all of us. Be seein' you. He goes out whistling, as we DISSOLVE TO: 116. INT. MOORE'S RESTAURANT - EVENING Adams is at work putting the last finishing touches to his mural of Michael Collins. Several people are seated at the tables drinking beer: regular patrons and people who have heard about it and come to watch. There are also several people at the bar. There are several Irish cops in various places, watching. There is a general hubbub as the scene opens. 117. CLOSE SHOT BAR - MOORE AND GUS MOORE (delighted) You were right, Gus. It's a grand paintin!!! A grand paintin!!! Just look at all the people buyin' beer. GUS That's what I told you, Mack. You got patriotism, art and beer all at the same time. 118. CLOSE SHOT - ARNE - AT A TABLE NEAR THE BAR He has his elbow on his knee, chin in hand, and is watching the painting, critically. We hear Moore's voice. MOORE'S VOICE (happily) Yes -- a beautiful paintin'... isn't it now? Arne turns and gives him a slow, disgusted look, then turns back to his former position, watching the painting. 119. FULL SHOT - ROOM The crowd is muttering happily, guzzling happily. Suddenly Adams throws down his brush. ADAMS Well, there it is! Finished! All look at the painting in silence, then look from one to another, wordlessly. 120. GUS Glancing around expectantly. He looks at Moore. 121. MOORE Worried by the silence. 122. ADAMS Looking disgusted and somewhat uncomfortable. 123. GUS He thinks a moment, gets an idea, then starts to applaud. 124. MED. LONG SHOT As the on-lookers join in the applause enthusiastically. During the applause we hear: AD LIBS Mic Collins! The spittin' image of him! Michael Collins would be a proud man this moment! Erin go bragh! Any Irishman that doesn't come to see this is no friend of mine! 125. MOORE Beaming. 126. GUS As the applause subsides, Gus looks again, gets an idea and starts to sing "The Soldiers' Song." 127. ANOTHER ANGLE OF THE CROWD (or PULL BACK CAMERA) As the crowd takes it up with a roar, not as a trained chorus, but joining in one by one. 128. ADAMS Embarrassed by this demonstration. 129. FULL SHOT NOTE: Shoot the song so that we can end it at the end of the refrain or at the end of the chorus. As the song ends, there is more applause. Adams makes his way through the crowd to Moore and Arne. Gus joins them. 130. MEDIUM SHOT - THE GROUP ADAMS Well, I hope you're satisfied, Mr. Moore. MOORE Satisfied! It's a mighty proud man I am to have the picture there, Mr. Adams. Now I've been thinkin' -- on the wall over there we might have a scene of the Mighty Emmet -- in his green and white uniform -- with the English fleein' in terror over the hills -- GUS (looking at Adams) Hey, wait a minute, Mack. Mack's in no mood to talk about more paintin'... (turning to Adams) It's a swell job. MOORE A grand job. ADAMS I'm glad you like it. (he turns to Arne) What do you think of it, Arne? ARNE It stinks. GUS (a little belligerently) Yeah? That the way you feel about it? ADAMS (with a wry smile) I think it stinks too. He moves out of scene. They look after him as he exits from the cafe. There's a moment's silence. GUS You know something? Your picture don't stink. ARNE (holding it up, pleased) You like it? GUS Swell. I think it's swell. ARNE (with ample gesture) My friend, it's yours! GUS You mean you're giving it to me, just like that? ARNE Just like that. For nothing. GUS (raising his voice) Bring the gentleman a beer, Mack. (to ARNE) I don't take nothing for nothing. Mack serves a glass of beer to ARNE, which he raises to his lips in salute to Gus, the man of the people who appreciates his art. GUS Is it mine now? ARNE My friend, it's yours! Gus takes the picture and starts deliberately to tear it into pieces. Arne, in a rage of insulted pride, starts for him, murder in his eye. Gus is ready. MOORE Gentlemen, gentlemen -- whatever can ye be thinkin' of? Why -- (indicating painting) -- it's insultin' to Mic Collins... Gus is torn between patriotism and going after Arne. The patriot wins, and as he turns back to his beer, we DISSOLVE TO: NO SCENES 131-134 Sequence omitted from original script. 135. CENTRAL PARK - NIGHT Adams, all alone, walks along past the recognizable park bench -- pauses a moment -- then walks on. DISSOLVE TO: 136. THE WATERFRONT - THE SKY IS LIGHTER We see the lonely figure of Adams walking along, looking out at the boats, solitary, mournful. DISSOLVE TO: 137. HALL IN ADAMS' HOUSE - DAWN As Adams enters, whipped, tired and about at the end. He starts up the stairs. 138. HALLWAY OUTSIDE ADAMS' DOOR Door is ajar. He approaches hopefully but fearful, reaches out his hand for the knob. He opens the door, steps in, and suddenly stops in his tracks, frozen, staring. 139. ADAMS' STUDIO - SHOOTING OVER HIS BACK - DOWN AT THE FLOOR Adams' sketches are spread out on the floor, and we see a girl's hands. 140. CLOSEUP - ADAMS Incredulous, he takes a step forward. 141. MED. CLOSE SHOT - JENNIE On all fours -- or seated on the floor -- as she slowly raises her head to him. She is very beautiful in her convent dress. Her beauty is that of a girl of seventeen. As she looks up at Adams her eyes are aglow. Over this we hear: ADAMS' VOICE Jennie!... JENNIE (eagerly) Yes -- PULL CAMERA BACK as Adams rushes forward to her. Jennie rises and rushes to him eagerly. ADAMS It's not true! It isn't you! He takes her hands in his. JENNIE Oh, yes, yes, yes it is... see! (she turns her face up to his) I tried to get here sooner but I couldn't. ADAMS Here -- let me look at you. He holds her hands out wide, looking at her. Jennie smiles. ADAMS (astonished) Why, you're beautiful. JENNIE Am I? ADAMS You've grown. JENNIE Of course. I'm nearly a young lady now. I'm hurrying. I'm in my first year of college at the convent. ADAMS Oh, that's wonderful, Jennie. He has still been holding her hands. He holds her from him and looks her over from head to toe. Then, admiringly: ADAMS That dress... JENNIE (girlishly pleased) Do you like it? It's our Sunday dress. ADAMS It's enchanting. JENNIE (coming closer to him, suddenly eager and impulsive) Oh, I've thought of you so much. It could -- (reaching for the right expression) -- it could fill an eternity. ADAMS (with a smile) What have you thought? JENNIE About how wonderful it all is -- about how I've searched and searched, and now -- ADAMS Yes, Jennie? JENNIE How we'll be together always. I'm almost sure... (then, childlike) You know what Emily wants to know? ADAMS What? JENNIE Whether you're going to marry me. He laughs. JENNIE (pouting, a bit wounded) Please don't laugh at me... Eben. (it's the first time she's used his name, and she uses it tentatively) I know I'm not old enough yet, but I will be soon... (her eyes spot something) What's that? Adams, who has been swept away by her mercurial moods, is amused and puzzled. ADAMS What? JENNIE That sketch. ADAMS (looking at the sketch) That's Radio City. JENNIE (dubiously) Radio City?... I never heard of it. ADAMS (realizing) Oh -- well -- it's new, I guess... hasn't been built long. JENNIE (vaguely) Oh... Her eyes fall on another sketch. She shudders and mutters a startled and frightened "Oh!" ADAMS (concerned) What is it, Jennie? JENNIE (pointing as though to a horrible thing that she knows) That's -- Land's End Light! 142. INSERT - SKETCH OF LAND'S END LIGHT ADAM'S VOICE (puzzled) Yes... Land's End Light... 143. ADAMS AND JENNIE He is watching her with a penetrating look. ADAMS I sketched it several years ago. It's a deserted lighthouse -- up on Cape Cod. JENNIE It makes me -- unhappy -- ADAMS (still watching her) Have you ever been there? JENNIE (vaguely) Perhaps -- I don't know... She dismisses this unpleasant subject from her mind and looks in the direction of the window, turns, and walks to the window. JENNIE Look -- it's getting lighter. I'm afraid I must leave soon. ADAMS (frantic) No -- no, Jennie. You can't -- now that I've found you -- JENNIE (gently) I'll be here again, Eben. ADAMS But that's not right. I've waited and waited -- You can't go now -- (He notices the canvas that he has prepared) Look, Jennie -- The canvas -- I have it all prepared -- (Jennie looks at the canvas as Adams goes on excitedly) I was sure you'd be here some day. The portrait of you, Jennie -- the one we planned -- JENNIE (excited) Oh, Eben, will you do it? ADAMS I've not been able to do anything else. Will you stay? JENNIE (with a gentle little smile) I'll try to stay for a little while... ADAMS Sit there, Jennie. There where I've dreamed you would sit... JENNIE The girls will be so jealous when I tell them. Jennie, as she is getting into position, chatters away, while Adams hastily goes about the business of preparing the paints and getting ready for the portrait. JENNIE You know, some of my friends are taking the veil next Sunday. It will be lovely to watch. Will you come and see it with me? 144. CLOSEUP - JENNIE IN CHAIR She is sitting with her head turned. ADAMS' VOICE I'd love to... Turn your head a little more to the left, Jennie. She does so. JENNIE (with sudden sadness) A few of my classmates will be leaving. I hate to have them go. I'll miss them. ADAMS' VOICE Drop your arms into your lap. She does so. As the directions come and Jennie moves obeying them, we see her finally form into the position we have seen in the final portrait early in the picture. SLOWLY THE CAMERA STARTS TO DRAW BACK and, as Jennie finally assumes the correct position, we see Adams -- the bare canvas in front of him -- crayon in hand raised to make the first stroke. ADAMS (tensely) That's it -- that's right, Jennie -- Hold that -- The crayon comes down in the first stroke for the portrait, as we DISSOLVE TO: 145. THE BRUSH - NIGHT We see the brush working frantically on the canvas. CAMERA PULLS BACK and we see Adams, alone, painting the dress of the portrait rapidly. Jennie's face is practically complete. Outside the rain beats against the window. CAMERA MOVES IN again to the brush, as we DISSOLVE TO: NO SCENES 146-152 Sequence omitted from original script. 153. LONG SHOT - EXT. CONVENT - ENTRANCE - DAY - (SPRING) (already shot) Out of the door tumbles a large group of young girls, dressed very much in the same manner as Jennie was dressed when we saw her last. A nun tries to bring order in this tumult of voices and giggling. We cannot understand her commands, but we can see her waving her arms furiously and the girls lining up two abreast. At a final command, they start marching in double file down the hill. The nun walks at the end of the line. CAMERA DRAWS BACK TO: 154. MED. SHOT - ADAMS (already shot) He is at the side of the path, waiting for the girls to approach, watching them. 155. MEDIUM LONG SHOT (already shot) of the girls approaching, with Adams in the foreground. We can soon see their young, wide-eyed faces closely. 156. CLOSE SHOT OF GIRLS (already shot) passing by. They are marching silently, looking straight ahead while Adams stands at the side of the path, searching among their faces for Jennie. She is not there. The girls go on. 157. MEDIUM LONG SHOT (already shot) Adams is gazing after the girls walking away. A slight puzzled frown comes to his face. He turns and walks away. 158. LONG SHOT - CONVENT SHOOTING PAST ADAMS (already shot) He walks toward the entrance. 159. MED. SHOT - A CORRIDOR (already shot) as Adams enters and looks around, tentatively. He has become more worried as he looks around. Then, suddenly, we hear: JENNIE'S VOICE (reverberated -- from a distance) Hello! He looks around quickly. 160. CLOSE SHOT - ADAMS (already shot) As he looks around. Again we hear: JENNIE'S VOICE (reverberated -- closer) Hello! 161. CLOSE TWO SHOT - ADAMS AND JENNIE (already shot) Jennie is dressed in her white convent dress. She looks radiant and more beautiful than ever, a little more grown up. ADAMS (with a sigh of relief) Jennie! I was afraid -- afraid you might not be here. JENNIE Why, I told you I'd be here. ADAMS I know but -- but I had the feeling -- something might have happened -- JENNIE (interrupting) Hush! (She listens intently) The sound of singing and organ music can be heard. JENNIE (continuing) Do you hear that? (She takes his hand) We'd better hurry if we want to see it. 162. LONG SHOT (already shot) Jennie and Adams walk through the vaulted passage toward the convent gardens. The premises are completely deserted -- all the sisters are assembled inside the chapel for the consecration ceremony. A chorus of voices, singing the TE DEUM can now be heard more clearly. 163. FULL SHOT - EXT. CONVENT GARDENS - DAY - (SUMMER) (already shot) Jennie and Adams hurriedly cross the gardens in the direction of the chapel. The music grows louder, the words of the TE DEUM more distinct. 164. CLOSE SHOT - ENTRANCE OF CHAPEL (already shot) Carefully, Jennie opens the door, pushes Adams inside and follows him. 165. FULL SHOT - INT. CHAPEL - DAY - (SUMMER) (already shot) Bathed in a sea of candles around the altar, we see a group of novices dressed in white veils, waiting for the consecration. The Sisters of the Order are standing in their pews, singing the TE DEUM. The guests and parents are seated on one side of the chapel. 166. CLOSE SHOT - ADAMS AND JENNIE (already shot) as they kneel down next to each other. JENNIE (whispering) Isn't it beautiful? I always feel a little closer to the truth of things in here. As if pretty soon I would understand -- See -- those are the ones who are taking the veil. 167. MED. CLOSE GROUP SHOT OF NOVICES (already shot) near the altar. Their faces are young and radiant. 168. CLOSE SHOT (already shot) of Adams and Jennie. JENNIE (whispering) Our teachers are all in the first row. There's old Sister Mary Margaret... 169. PAN SHOT (already shot) of front row of benches. As Jennie speaks CAMERA PANS slowly along the faces of the Sisters. JENNIE'S VOICE (continuing) She teaches history. And Sister Mary Euphemia who teaches science and next to her is my favorite, Sister Mary of Mercy. HOLD ON the face of Sister Mary of Mercy. 170. CLOSE SHOT - ADAMS AND JENNIE (already shot) Jennie looks up at Adams. Their eyes meet. JENNIE (slowly) I'm glad you're waiting for me, Eben. As they look at each other, the priest begins the intonation of The Lord's Prayer: PRAYER Our Father Which Art in Heaven Hallowed Be Thy Name Thy Kingdom Come Thy Will Be Done On Earth As It is In Heaven Give us This Day Our Daily Bread And Forgive Us Our Transgressions As We Forgive Our Transgressors And Lead Us Not Into Temptation But Deliver Us From Evil For Thine Is The Kingdom And The Power, And the Glory Forever. Amen. Congregation responds during the above. 171. TWO SHOT - ADAMS AND JENNIE (already shot) Adams and Jennie kneel and join the congregation in the response. (NOTE: This has been checked with Father Finnley and will be supervised by him. There should be an alternate dissolve eliminating the prayer for England, where the censors will eliminate the prayer.) DISSOLVE TO: 171A. A LITTLE BROOK - SHOOTING DOWN ON THE RIPPLING BROOK THROUGH THE TREES CAMERA drifts along the brook - accompanied by musical underscoring -- until we reach Adams under a tree, playing his mouth organ. CAMERA CONTINUES and we see Jennie wading, barefoot, in the water. JENNIE Your music sounds just like the brook, Eben -- (he plays on) Ripple -- ripple -- ripple -- Suddenly, in the brook, she starts to do a little dance to the music. Adams watches her, stops a moment. ADAMS And your dance is like the music. He continues to play and she continues to improvise in her little dance. DISSOLVE TO: 171B. JENNIE AND ADAMS - SILHOUETTED AGAINST THE SUNSET - CONVENT BUILDINGS BEYOND They stand looking at the sunset over the river. 171C. CLOSER ANGLE - AND PERHAPS A REVERSE, SHOWING RIVER BEYOND; ALSO INDIVIDUALS After a moment: JENNIE I'm just beginning to realize how beautiful the world is, Eben. How spring comes year after year -- for us -- and for everyone the whole world over. The sun goes down in the same lovely sky -- just as it did yesterday -- and will tomorrow. ADAMS Tomorrow? When is tomorrow? JENNIE Does it matter? It's always. This was tomorrow -- once. ADAMS Where I come from, Nobody knows, And where I'm going -- Jennie looks up, surprised. JENNIE I've heard that somewhere. ADAMS Of course! You sang it to me that first day in the park. JENNIE Oh, did I? I had forgotten. ADAMS The wind blows, The sea flows, (he shrugs) And God knows. JENNIE I think He knows, Eben. A slight pause. ADAMS I hate the day to end. JENNIE It'll be here again tomorrow. DISSOLVE TO: 172. ADAMS' STUDIO - LONG SHOT BRIDGE THROUGH WINDOW - PULL BACK TO INTERIOR The room is empty for a moment, and then the door opens and Spinney, Mathews and Adams come in. Adams is in a rather excited mood. ADAMS Just put your things down anywhere. Here, Spinney, I'll take that -- MATTHEWS (looking around) So this is where the master works -- ADAMS Not much of a place is it? -- Now, look -- you know it isn't finished! SPINNEY Don't be coy. Let's see it. ADAMS (boyish) All right, then -- sit down, Spinney -- (he goes to the easel that holds the portrait. He is nervous) Of course, there're still a great many things I want to do with it -- (He takes a deep breath) Here we go. He makes a decision and turns the canvas to them -- uncovers the portrait. There it is! (NOTE: Dramatic revelation with CAMERA) Pause. Mathews walks slowly up to it and looks at it. There is a longer pause. Adams watches him anxiously. MATTHEWS Well -- Well -- Pause. Spinney rises and goes over to it. ADAMS (to Mathews, nervously) What do you think? MATTHEWS H'mm -- h'mm -- He studies it more closely. Spinney looks at it. A pause. Adams looks at her. After a moment -- SPINNEY (in a strangely gentle voice) Well, Adams, that's it all right. MATTHEWS (clearing his throat) Yes -- yes, that's it. SPINNEY You found what you were looking for. ADAMS Of course it isn't finished -- MATTHEWS (softly) No -- it doesn't really matter -- does it --? ADAMS You like it then? A pause. Adams looks at Mathews, we see Mathews is very touched MATTHEWS You see, Adams, in the fifty years I've been selling paintings -- well in my business it's always a dream that someday you will come across -- shall we say -- a great picture. This is -- I feel now a sort of fulfillment of my -- well -- of my -- (he stops, unable to go on) SPINNEY He means he likes it, Adams. Adams gives a deep sigh. ADAMS (simply) I'm glad. MATTHEWS You remember my saying that there ought to be something eternal about a woman -- something that is not of the present, nor of the past? Well, here you have caught it -- It is the face of that same little girl -- and yet what you have seen in that face is without age -- or time. SPINNEY (with a small smile) Of course it isn't finished yet -- ADAMS (turning to her nervously) No, it isn't -- SPINNEY Take it easy, Adams. It's a great picture. She smiles. Adams smiles back. A door slams. They turn around and see Arne. ARNE Excuse me for bursting in like this, but I know how glad you always are to see me. ADAMS (approaching him) That's all right, Arne. Come in. You know Miss Spinney, Mr. Mathews. (to Mathews and Spinney) My friend, Arne, has a new technique -- paints only with his thumbs. Mathews and Spinney look at each other. ARNE Thumbs! That's old stuff. It's passe -- fini. And that brings me to the point of my visit: I'm turning to brushes again. Could you spare me -- say, half a dozen brushes, by any chance? ADAMS Of course. (as he goes to pick up a bunch of brushes and wraps them in paper) I have lots of them. ARNE My friend, you have a good heart, a noble soul, lots of brushes, but -- (with a gesture) -- no talent. (he sighs) If I roll up my sleeves and out of sheer gratitude give you a couple of lessons in painting -- (he picks up a sketch or looks at one on the wall) No, it wouldn't help. SPINNEY (puts her hand on Arne's shoulder) Look behind you and see what you think of that. Arne looks at her a moment, puzzled. Then turns, which brings him face to face with the painting. ARNE What's this? SPINNEY Just a painting. A pause. Arne stares at it, not believing his eyes. Slowly he approaches it as though hypnotized. He looks at it carefully, then slowly looks up at Adams. ARNE It's a masterpiece. (quietly, sincerely) I can't believe it... But yes, it's a masterpiece. (he looks again at the picture, wipes a sudden, cold perspiration from behind his collar, rubs his forehead in painful agony; quietly) Say, have you an aspirin, by any chance? DISSOLVE TO: 173. LONG SHOT - EXT. CENTRAL PARK - NIGHT - SUMMER Adams is walking slowly along. He seems very happy and content. As he walks we hear him humming Jennie's theme song. The Park is deserted. The arc lamps are throwing bizarre shadows across the road. He stops for a moment to look out over the lake -- then slowly goes on. 174. MED. SHOT as he continues his quiet walk, still humming. He approaches the CAMERA. Suddenly he stops and looks and then hurries forward. PAN WITH HIM toward the bench -- and gradually, as Adams gets closer, we see -- out of the shadows -- rising - the figure of a girl, Jennie. She is simply but beautifully dressed in a travelling outfit. She is the most grown up we have seen her. Her hair is up and we realize she is no longer anything of a child. Adams stops a few feet away from her. ADAMS Jennie! JENNIE Eben... (they throw their arms around each other) Somehow I knew I'd find you here. ADAMS I've looked for you here so often. JENNIE I had to see you -- tonight. You know I've just graduated from college and -- ADAMS (excitedly, breaking in) Wonderful! Then -- we can be together always. JENNIE I'm afraid we'll have to wait a little while longer. You see, my aunt is ill and wants me to go away with her for the summer. ADAMS (disappointed) Oh -- When do you have to leave? JENNIE Tomorrow... I couldn't go without saying goodbye. ADAMS Goodbye? JENNIE It will only be for a few months. Anyway, we have until the morning -- and -- I think a little more. A little pause. They look at each other. ADAMS I'll be lost without you. JENNIE No, no -- Don't say that, Eben! We can't both of us be lost. Slowly he goes to her. ADAMS Jennie -- JENNIE Yes, Eben? She waits. He takes her hands. ADAMS I love you. JENNIE Do you? Do you really? ADAMS I've always loved you. I always will love you -- always and forever... They kiss. DISSOLVE TO: 175. EMBANKMENT AT THE EDGE OF THE HUDSON RIVER - NIGHT We see the broad expanse of the Hudson, the moon playing on it here and there. Across, on the opposite side, the banks of New Jersey. JENNIE AND ADAMS sit on the bank, looking out over the river. JENNIE Look at the moonlight on the water. It makes a pathway across the river... (then with a sigh) The Jersey hills are over there, aren't they? ADAMS Yes, in the distance. JENNIE You say it sadly. Aren't you happy, Eben? ADAMS (after a moment) I've just been thinking... No matter how far away that kind of distance is, it can always be reached. Over there -- beyond the hills -- one can drive to it -- or north, among the pines -- or eastward to the sea. That is the only kind of distance I ever knew before. But now -- (he hesitates) JENNIE Yes, Eben? ADAMS Now I feel there is another kind of distance. A crueler distance. The distance of yesterday and tomorrow. And I am frightened that there's no way to bridge it. JENNIE There is, Eben -- at this moment, I know there is. ADAMS But I want it to be forever. JENNIE (softly) It will be... Have faith. He kisses her cheek. A pause. ADAMS Where's your aunt taking you, Jennie? JENNIE Somewhere in New England. I don't know exactly. ADAMS Will you write and let me know? JENNIE I'll try, Eben. He looks at her, studying her eyes a moment, trying to have faith, and trying to read in her eyes something that will make him believe what reason tells him can't be true. He takes her in his arms and buries his head on her shoulder. DISSOLVE TO: 176. BRYANT PARK The streets are deserted. 177. JENNIE AND ADAMS - walking quietly along. JENNIE How still it is! Listen! (They stop, listening. There is no sound) The whole city -- sleeping -- sleeping -- no one but us left in the world -- ADAMS No one but us -- JENNIE (smiling up at him as they start on) Dear Eben -- dear Eben -- DISSOLVE TO: 178. OTHER NEW YORK LOCATION - OVERLOOKING EAST RIVER Although it is still dark, a faint gray is showing in the sky. Adams and Jennie stand looking out at the river. A boat hoots, another answers, but there is no life on the shore yet. Only on the river is there activity. JENNIE Life's beginning again -- ADAMS Yes, it will soon be day. JENNIE Look -- that little boat put its lights out. ADAMS The night's over. It's tomorrow. (looks down at her) Jennie -- JENNIE Yes, Eben? ADAMS I'm not going to think of the summer -- or of the future at all. I leave that to you. JENNIE I know, darling. ADAMS Why we met -- or how it came about -- I don't know. JENNIE I know we were meant for each other. The strands of our lives are woven together -- and neither time nor the world can tear them apart. (they look at each other a moment. Then --) Eben -- I wish you could finish my portrait. As they start off. DISSOLVE TO: 179. ADAMS' STUDIO - DAY Jennie is seated as we have seen her before. Adams is painting rapidly. There is a pause as the work goes on. Then -- JENNIE Eben -- (Adams is so engrossed he doesn't hear. A pause) Been -- ADAMS Yes, darling? JENNIE Do you think sometimes people can know what lies ahead? I mean -- what's going to happen to them? ADAMS (busy painting) No, Jennie. JENNIE I'm not so sure. You know how you feel sad about things sometimes -- things that haven't even happened. Perhaps they're things that are going to happen. Perhaps we know it, and are just afraid to admit it to ourselves. A pause. Adams is so busy painting he doesn't answer. Suddenly Jennie's eyes start to close. We see she is sleepy. JENNIE (drowsily) I guess that's silly. I guess I have a funny mind. No answer. Adams paints on. Jennie's eyes close again. Her head droops. She is asleep. After a moment Adams steps back and looks at the painting. ADAMS (excited) I think I've got it, Jennie. It's finished. No answer. 180. CLOSEUP - ADAMS He looks over at her. 181. CLOSEUP - JENNIE She is silent and still. 182. ANOTHER ANGLE Suddenly a fear runs through him. Perhaps Jennie is dead! He rushes to her and shakes her. ADAMS Jennie!... Jennie!... Slowly her eyes open and look at him. JENNIE (drowsily) Hello, Eben -- ADAMS (with a sigh of relief) Oh!... Hello, my darling. JENNIE Where are we now? ADAMS Together. Poor darling. You're worn out. I'm sorry. JENNIE I -- (she looks around, realizes where she is) Oh -- I fell asleep. ADAMS It's finished, Jennie. Pause. Slowly, Jennie looks at him with a feeling almost of reverence. Then she rises. Together they go and stand in front of the painting. A moment's pause. Then -- JENNIE Is it really of me, Eben? ADAMS It's you, Jennie. Portrait of Jennie. JENNIE I think it's a fine painting. ADAMS (smiling) Do you? JENNIE (nodding gravely) I think it will make you famous. I think someday it will hang in a museum and people will come from all over the world to see it. ADAMS And if they do, it won't be my work they'd come to see. (kisses her) It will be you. JENNIE (simply) Thank you, Eben. And now, you must sign it -- She takes up his brush and hands it to him. He takes the brush and signs the picture. JENNIE (softly) Portrait of Jennie -- by Eben Adams. 182A. ANOTHER ANGLE RETAKE Adams finishes signing. They look at each other. Jennie goes into Adams' arms. JENNIE Oh, Eben -- I want so desperately just to sit and watch you paint. ADAMS (gaily) Now that I've found the perfect model, I want to paint her again and again -- JENNIE (interrupting, seriously) No, no -- I don't mean that. I mean I want you to paint all the beautiful things in the world... (she is suddenly a little sad) Although some of them... ADAMS (who has been playing with her hair and has not noticed her change of mood) You're the most beautiful thing in the world. She throws him a little smile of acknowledgment, but we see that she is still sad and thoughtful. JENNIE Eben, you know those pictures of yours -- of the sea and the lighthouse?... Adams nods. JENNIE (continuing) Each time I think of them my -- my heart seems to stop. (almost a slight shudder) She puts her hand in Adams'; it is trembling a little. Adams pats it, looks at her sympathetically. ADAMS Land's End Light? Yes, I suppose it is a forlorn sort of place. She has been very thoughtful during this. JENNIE (she smiles a little, uncertainly) Don't let's talk about it any more. (she walks away from him) Tell me about -- (she stops in front of a canvas -- a landscape of Paris) -- about Paris. Did you study there? ADAMS Yes, indeed! JENNIE Oh, I wish that someday we could see it together. It would be such fun! She sits and looks out the window. Adams crosses to her, eagerly. ADAMS We'll do it, Jennie! I'll take you to the Luxembourg, and to the fair at Neuilly... JENNIE (eagerly) Oh, yes, Eben, yes! ADAMS We'll go out to the Forest of St. Cloud in the spring, and drink new wine under the trees. JENNIE Oh, Eben -- I feel as though we were already there... as though we'd been spending our whole lives together... Adams takes her in his arms and kisses her. ADAMS Jennie, what is it that makes a man and a woman know that of all the other men and women in the world, they belong to each other? Jennie looks up at him adoringly, touches his lips with her fingers. He kisses them, continues speaking, while Jennie thoughtfully absorbs his words and considers them. ADAMS And is it just chance -- their being alive in the world at the same time?... Were there others, in other times of the world, whom we would have loved and who would have loved us? JENNIE (shaking her head) No... no others... Among all the people who have lived from world's end to world's end, there's just one you must love -- one you must seek until you find him. You, Eben -- you, my darling. She cups his face in her hands. JENNIE I know now what I've been searching for... I know now why I was hurrying -- hurrying to grow up. She presses her lips to his. He puts his arms around her and holds her close. Suddenly there is a gust of wind, not too great, behind them. The papers blow. Jennie rises. JENNIE (sadly) Oh, Eben, I must go. ADAMS (rising) Please don't, Jennie... JENNIE I don't want to, but -- it won't be for long. And then -- ADAMS And then? JENNIE (thoughtfully) Then it will be -- for always. ADAMS (taking her hand) Oh, Jennie, are you sure? JENNIE (slowly, with a strange calm, and yet wistfully) Yes, somehow I'm sure. I don't know quite when it will be -- or where -- but I'm sure it will be for always. Adams has been looking at her hungrily, but with fear and doubt. There is another gust of wind, this time much stronger than the first. Jennie releases herself gently, speaks casually. JENNIE I'll get my things, Eben. She walks to the bedroom. Adams turns, closes the window, looks out moodily as Jennie exits. The CAMERA MOVES UP TO A WAIST FIGURE OF ADAMS. JENNIE'S VOICE Oh, Eben. What a lovely scarf! 183A. INT. BEDROOM - JENNIE RETAKE Jennie is slipping into her coat. She has the scarf in one hand. We see clearly the door leading to the hall in the b.g. ADAMS' VOICE It's yours, Jennie. JENNIE (delighted) A present? For me? But her excitement has faded somewhat, and as the CAMERA MOVES UP ON HER we see a curious and rather half-frightened sense of recognition. 183B. INSERT - SCARF IN HER HAND RETAKE It is the same scarf that we have seen in the earlier sequences. CAMERA PULLS BACK as Jennie, scarf in hand, walks a few steps and looks at Adams. There is an expression of infinite tenderness and love on her face. 183C. LONG SHOT - ADAMS RETAKE He is staring moodily out the window; he does not see Jennie looking at him. ADAMS I'm glad you like the scarf, Jennie. I've been saving it for you. He turns, walks toward CAMERA (and Jennie) INTO WAIST FIGURE, stops short as he looks. His face falls as he peers around the room, realizes she is gone. 183D. INT. BEDROOM RETAKE It is empty. The door to the hall is open. 183E. CONTINUATION OF PREVIOUS ANGLE RETAKE Adams starts forward, realizes the futility, lowers his head, advances slowly back towards the window, stops. As he does, the rain starts to come down, and on the tableau of Adams standing with his back to us, the rain behind him over the darkening sky, we DISSOLVE TO: 184. THE PARK (already shot) It is Fall. The leaves have turned and there is the sombre sadness of autumn in the air. DISSOLVE TO: 185. GUS' LIVING ROOM IN A SMALL COLDWATER FLAT - FALL (already shot) A typically masculine room, sparsely but neatly furnished, comfortable and homey. A Franklin stove, set in the fireplace, burning coal, gives out a soft glow. Adams stands staring out of the window moodily. Everything is quiet for a moment. Then Gus comes in, from an adjoining room, presumably the kitchen, carrying two cups of coffee. He sets one down and then walks over and sets the other one beside Adams. GUS Here y'are, Mack. Just as ordered. Adams looks around, absently. He smiles. ADAMS Oh -- thanks, Gus -- He turns back to look out of the window. Gus gives him a quick look and then, in silence, walks back and sits and takes up his coffee. A moment's pause. He sips. GUS Beautiful coffee. (he sighs) Y'know, Mack, bein' the beautiful coffee maker that I am, has saved me a lot of misery. Everytime a girl gets to pluckin' on my heart strings a little too loud -- I come home and make a cup of coffee -- and as I sip it I sez to myself, "Timothy Augustin, me bould bucko, what are you thinkin' of? When you can make coffee the way you do, what would you be needin' with a wife?" (he looks over. There's no reaction. He decides to make another attempt) Yes, Mack -- many's the time this coffee has saved me, an' right -- ADAMS (interrupting) It's no use, Gus! Something must have happened to her. Why isn't she back? Why hasn't she even written to me? You know, it's been over three months now? GUS It's an Irishman's privilege to answer your questions with one of me own. ADAMS (quieted by Gus's lightness) What is it? GUS Supposin' now... remember, I'm only supposin'... (he dwindles to a pause) ADAMS You're supposing what? GUS What I mean is... if she didn't come back... ADAMS (interrupting hotly) She's got to. She's... GUS (butting in before Adams gets started) I'm only supposin'... but if something happened to her... Don't you have to go on livin'? Adams stares at Gus refusing to accept the thought. Another idea strikes him and a slow smile breaks on his face. ADAMS I see what you're getting at. You don't really believe Jennie exists, do you, Gus? GUS (forcing his sincerity) Don't be puttin' words in me mouth... all I sez was... ADAMS (interrupting) I know Jennie exists... I know she's somewhere in New England... (becoming suddenly intense) And I've got to find her, Gus. I've got to! They look into each other's eyes. Adams turns abruptly and strides to the window. Gus hums a few bars of his song. Then: GUS Weren't you tellin' me she went to a convent? ADAMS She's not there. GUS The Sisters are great people for keepin' in touch. ADAMS (an idea is hatching) She was very fond of some of the Sisters. GUS Sure -- anyway, you'd be doin' something -- not just sittin' around. ADAMS (suddenly excited) Okay, Gus -- it's a chance! Will you drive me out? I can pay you for it later. GUS (hurt) It's a great pity you know nothin' about friendship... (quietly) Your money don't signify, Mack. (rising) Come on! The thought of action transforms Adams. He smiles. ADAMS Gus, don't you wish you were as tough as you pretend to be? GUS (beaming at the change) Keep that grin on your face an' I'm paid for the ride. They start to make preparations for leaving, as we DISSOLVE TO: 186. LONG SHOT - EXT. ST. MARY'S CONVENT - DAY - FALL It is the same scene that we have seen before, when Adams went to see Jennie at the graduation exercises, and, as before, we see a large group of young girls, dressed in convent dresses, and a nun getting them into line. 187. MED. SHOT - ADAMS He has entered and stands, as before, watching the scene. It is as though it were happening for the first time. A slight puzzled frown comes to his face. 188. MED. LONG SHOT Of the girls approaching, with Adams in the foreground. 189. CLOSE SHOT OF GIRLS passing by, while Adams stands at the side of the path, searching their faces. He knows Jennie is not among them. And yet -- DISSOLVE TO: 190. FULL SHOT - INT. CONVENT OUTER OFFICE - DAY A small, oblong, whitewashed room used as the outer office of the Mother Superior. It is furnished with a couple of dark, wooden benches, a desk and chair. At one end of the room Adams, his hands folded behind his back, is looking out of a narrow, recessed window into the sunny countryside. At the other end of the room, a door opens and a young Sister enters. SISTER Our Mother Superior will see you now. ADAMS Thank you. PAN WITH ADAMS as he crosses and exits through the door held open by the young SISTER. 191. FULL SHOT - EXT. CONVENT FLOWER GARDEN The Mother Superior is watering the flowers. Adams enters and goes up to her. She looks up. MOTHER SUPERIOR Good afternoon. Mr. Adams? ADAMS Yes -- MOTHER SUPERIOR Be with you in one minute, Mr. Adams. (pouring the water on the flowers) Flowers are pretty well gone this time of year -- but I'm giving them a last chance. There! (she pours the last of the water from the can on to the flowers, sets the can down, and looks up) That ends it. (she smiles) Will you come with me? ADAMS Thank you. They have a short walk toward the entrance. They go in. 192. INT. MOTHER SUPERIOR'S OFFICE MOTHER SUPERIOR (sitting) Won't you sit down? ADAMS (sitting) Thank you. MOTHER SUPERIOR (quizzically) Now? ADAMS (uneasily) Well -- I wanted to ask you about a girl that graduated from here. I thought you might possibly have some information as to where she is. MOTHER SUPERIOR I might. We keep in touch with quite a few of the girls after they leave. What was her name? ADAMS (almost afraid to speak) Jennie Appleton. The Mother Superior starts slightly and looks at Adams closely. MOTHER SUPERIOR (softly) Jennie Appleton. ADAMS Yes. You remember her, don't you? MOTHER SUPERIOR Yes. Yes, I remember Jennie very well. (again she looks at him closely) Even though she wasn't of our faith, Jennie was one of my favorite pupils. A lovely girl with a strange, spiritual beauty and a kind of gentle sadness that always troubled me. ADAMS (smiling) That describes her perfectly, I think. Have you any idea where she is? A pause. The Mother Superior looks up at him, surprised and a trifle bewildered. MOTHER SUPERIOR Why -- Jennie died -- many years ago. Another slight pause. For a second a horrified look goes over Adams' face. The Mother Superior sees it and adds quickly, gently. MOTHER SUPERIOR Oh, I -- I'm afraid I've shocked you. Adams dismisses the thought and recovers. ADAMS Well, no... we're obviously not speaking of the same person. You see, the Jennie Appleton I mean only left here a few months ago. I haven't heard from her -- and I'm very anxious to find out just where she is. I thought she might have written you. MOTHER SUPERIOR There has only been one Jennie Appleton ever here -- in my time -- Mr. Adams. Another pause. Adams looks at her, bewildered. ADAMS But -- that's impossible. I beg your pardon -- but I saw Jennie the day she left. MOTHER SUPERIOR Oh -- did you know her family? ADAMS No. I just know that they were killed in an accident. MOTHER SUPERIOR A wire broke? They were trapeze performers? Adams gazes at her, now completely bewildered. ADAMS (in a whisper) Yes -- MOTHER SUPERIOR (gently) I'm afraid it must be the same Jennie Appleton. A long pause. Adams looks at her, stunned. ADAMS I -- I don't understand. MOTHER SUPERIOR Would you care to have me tell you more about Jennie? ADAMS (in a low voice) Yes -- please -- MOTHER SUPERIOR (after a pause, gently) She was brought here by her aunt shortly after her parents' death. She was young, sensitive -- she loved life. We became great friends. (she pauses) I wasn't Mother Superior then so I had more time to spend with our young girls than I do now. Jennie stayed with us until she graduated -- and then her aunt took her up to New England for the summer. We corresponded a great deal. (she pauses and leans forward) Would you like to have me read one of her letters to you? ADAMS Please. The Mother Superior gets up out of her chair. MOTHER SUPERIOR I was so touched by her letters that I saved them. 193. MEDIUM SHOT Of the Mother Superior. PAN WITH HER to a large file. She opens a drawer, searches a moment, then extracts a bundle of letters held together with a silk ribbon. She handles them carefully, the way one handles a cherished possession. She slips the letter on top out of the bundle and opens it. MOTHER SUPERIOR This is the last one she wrote me. DOLLY IN on her. MOTHER SUPERIOR (continuing -- as she reads) "My dear Sister Mary of Mercy: We are returning very soon. The summer has been a very long and lonely one. How I want to see you again and sit and talk to you about all that has been worrying me!" ADAMS' VOICE What was she worried about? MOTHER SUPERIOR (looking up) What every young girl worries about -- the fulfillment of her life -- happiness and -- love. ADAMS' VOICE (softly) And she never found them? MOTHER SUPERIOR No. You see, she was so young when... (then gently) She didn't have time. (she turns back to the letter and reads) "I know you tried to teach me how beautiful the world is and how it keeps on being beautiful every day... no matter what happens to us... But sometimes I have the dreadful feeling that this beauty will never be complete for me... that I will never find some one to love... who will love me. It's a thought that terrifies me, dear Sister, and I need your comfort and your wisdom to help me. Your loving Jennie." Slowly the Mother Superior folds the letter and looks at Adams. 194. MED. TWO SHOT of the Mother Superior and Adams who sits in his chair, his anxious face turned toward her. ADAMS Did Jennie... come back? 195. PAN WITH MOTHER SUPERIOR as she crosses to Adams. MOTHER SUPERIOR No -- she didn't. (very simply) That was the year when the terrible tidal wave hit the New England coast -- October fifth. I remember it well. I always receive communion for Jennie on that day. (a pause) I learned -- later -- that Jennie was in the habit of sailing out every day -- alone -- to a little cove near an abandoned lighthouse -- and during one of these trips the wave struck -- and that was the last any one ever saw of her. Suddenly Adams is on his feet. He is excited and desperate. We feel that he already knows the answer to the question he is about to ask. ADAMS This cove -- this abandoned lighthouse -- where is it? MOTHER SUPERIOR On Cape Cod -- near Sagamore. ADAMS "Land's End Light!" MOTHER SUPERIOR Yes, that was the name. ADAMS (with mounting excitement) "Land's End Light"! That's where I'll find her! MOTHER SUPERIOR Jennie is dead, Mr. Adams. You must accept that fact -- hard as it may be to -- ADAMS (interrupting -- desperately and wildly) I won't accept it! Don't tell me she's dead! She was in my arms three months ago -- not ten years ago! I love her and want her! MOTHER SUPERIOR (trying to calm him) Don't doubt the ways of providence, Mr. Adams. What vision has been vouchsafed you, I can't say. But be sure it is for a reason beyond ours to know. You must have faith that there is a greater design -- a greater plan to the universe than we are able to comprehend. We know so little -- so very little. Be calm, Mr. Adams. ADAMS Calm! MOTHER SUPERIOR Remember there are more things in heaven and earth than are dreamt of in our philosophy. ADAMS (impatiently) I don't want to seem abrupt -- and I'm grateful for your kindness -- but -- when did you say the wave struck the coast? October fifth? MOTHER SUPERIOR That's right. October fifth. ADAMS (as though to himself, thinking) And today is October first -- MOTHER SUPERIOR Yes -- ADAMS That leaves me four days -- MOTHER SUPERIOR (desperately) But Mr. Adams. That October fifth was many years ago. Adams stops and turns to her. He seems suddenly calmer. ADAMS Are you so sure? You say we know so little -- Then how can you say it happened many years ago? You say that Jennie's parents were killed. I found her sobbing on a bench the night it happened... You say she was a student here. I visited her here... You say she went to New England with her aunt. I was with her just before she left... Yes -- we know so little -- and yet now I know a little more. I know now the pattern of Jennie's life. But I also know I am part of it. She herself said that the strands of our lives were woven together -- and that neither time nor the world could break them. This I have faith in. Thank you, Mother. I must hurry. Thank you for your kindness. He turns abruptly and hurries out. Through the above speech the Mother Superior has been looking at him with bewilderment, as though at a revelation. As he leaves, she continues to look after him, then moves over to the wall where, in a niche, is the figure of Saint Mary. The Mother Superior crosses herself and bows her head in prayer. (Get technical advice on this last). DISSOLVE TO: 196. FULL SHOT - INT. MATHEWS' GALLERY - DAY - FALL Adams, carrying Jennie's portrait wrapped in brown paper, comes hurrying into the gallery. He is wild-eyed and excited. Miss Spinney comes up to him. (The whole mood and tempo of the picture accelerates from this point on.) SPINNEY Adams, where have you been keeping yourself -- (she breaks off and looks at him closely, seeing the state he is in) What's wrong, Adams? ADAMS (in short hurried words) I'm going away. I don't know how long I'll be gone. Here's my portrait of Jennie. Will you store it for me until I come back? SPINNEY (quietly, taking the portrait) Where are you going? ADAMS Up on the Cape -- a place called Land's End -- and I have to be there before October fifth. That gives me three days. SPINNEY Three days for what? ADAMS (excited) I've found her, Spinney. I know where she's going to be, and don't you understand, I've got to be there waiting for her. SPINNEY You're sure? Are you sure about all this? ADAMS Of course I'm sure. Mathews enters from the other room. MATTHEWS Well, Adams, where have you been? I've a lot of commissions for you. ADAMS In that case, perhaps you wouldn't mind advancing me a hundred dollars. MATTHEWS (looking at Spinney somewhat fearfully) Well... uh. SPINNEY Yes -- of course you can have your hundred dollars. She turns to the cash drawer. MATTHEWS What's the matter, Adams, is something wrong? SPINNEY Never mind that, Mr. Mathews, it's nothing you need concern yourself with. MATTHEWS (defeated again) As you say, Miss Spinney. SPINNEY (handing Adams the hundred dollars) You're quite sure you want to make this trip, Adams? ADAMS I've got to make it. (taking the money) Thank you, Spinney. Thanks for everything. SPINNEY Paint me a little church while you're there -- Say, twenty by twenty-four -- a little white one with a big steeple. And don't drown yourself in the sea. ADAMS Why would I do that? SPINNEY I don't know. Men are fools enough to do anything. I don't trust the sea. (she smiles) I wouldn't go within fifty miles of it. ADAMS You're tough. The sea would never get you. SPINNEY (quietly) It's the tough ones drown easy. She turns quickly away and out of the room. Adams starts to the door, Mathews with him. MATTHEWS Goodbye, my boy. Get a good rest. We'll do big things together later. ADAMS Yes -- yes -- goodbye -- He hurries out, as we -- DISSOLVE TO: 197. INT. TRAIN - PROCESS - NIGHT - FALL Adams is sitting by the window, staring out into the night, tensely. The train is going at full speed and the monotonous melody of the wheels is heard, and blended with them, we hear: JENNIE'S VOICE (urgently) Eben -- Eben -- Eben -- The thundering of the train crossing a bridge drowns out her voice, as we DISSOLVE TO: 198. INT. MARINE HARDWARE STORE - NIGHT OPEN ON A BAROMETER which indicates "Fair" weather. PULL BACK to reveal the Marine Hardware Store where Adams is leaning over the counter talking to the old storekeeper. In the foreground sits another old mariner, puffing at a pipe. It is suggested that he be in silhouette with rim lighting, with strong light on the face of the old storekeeper and Adams, and the middle distance and other parts of the store in deep shadows, for contrasting lighting effect. Through the window we see that it is a very foggy night. All that is visible, perhaps, is the mast of a sailing ship, or two of them, on one of which lights swing slighty. (There is no wind.) In the distance we hear the bell on a buoy and a mournful fog horn. As we have PULLED BACK, we have seen a large calendar with the single page revealing the date, October 4th, with the numeral very large. We hear the dialogue after we've held the barometer for a few feet and directly we start to PULL BACK. Adams' dialogue has a note of urgency in it by contrast to the New Englanders who aren't going to be shaken out of their customs and tempo and who are both old men. ADAMS Hasn't there been any warning of the storm yet? STOREKEEPER Wut storm's thet? ADAMS The hurricane that's coming up. STOREKEEPER (with a little chuckle) No hurricane comin' up 'round here, young fella. (he turns and looks at the barometer, indicating it with his head to Adams) Fair weather, that's wut it sez -- right theyeh. ADAMS How far in advance would that barometer show -- if one was coming up? STOREKEEPER Fur 'nuff. OLD MARINER (moodily and quietly) Didn' show fur 'nuff wen we hed thet hurricane back'n the Twenties. (Adams turns to him) Come up s'fast hardly knew 'bout it afore it hit. 199. ANOTHER ANGLE ON ADAMS AND STOREKEEPER ADAMS Yes, I've heard of that hurricane. (he turns back to the storekeeper) Just about this time of year, wasn't it? STOREKEEPER Eh?... By golly, come ter think of 't -- (he looks at the calendar) it wuz. October Fifth. Remember 'cuz October Fourth's m'birthday. Terday. (proudly) 'M seventy-eight. OLD MARINER Yer gittin' on, Caleb. Hev to be thinkin' o' slowin' down a bit in another couple o' years, mebbe. STOREKEEPER (thoughtfully) Mm... mebbe... ADAMS (to the mariner) You say you didn't have much warning of that last hurricane? OLD MARINER Ay-eh... we hed a warnin' -- but, Land O' Goshen, nobuddy hed no idearit wuz gon ter be like it wuz gon ter be. Yes, siree, houses come sailin' by here thet'd ben settin' good an' firm a hunderd years. STOREKEEPER 'Nuff lives lost ter stock a good- size cemetary. ADAMS I don't suppose either of you heard anything about a girl named Jennie Appleton? (he looks at the storekeeper) STOREKEEPER (thinks a moment, then shakes his head) Nope. Adams turns and looks at the mariner, who's also thinking. ADAMS Did you? OLD MARINER (hesitates a moment, then shakes his head) Nope. Adams paces a bit as he thinks (but don't let down his tempo in contrast to theirs). ADAMS I'd like to get out to Land's End Light. Where can I charter a boat? STOREKEEPER Land's End Light! Ain't ben no one there sence they gave up walin' round these parts - back wen I wuz a young- un. Cain't think o' any reason 't all anybuddy'd want ter go out there now. Kin you, Will? OLD MARINER Nope. Nary a reason. ADAMS (annoyed) Never mind my reasons! Can't you just tell me who's got a boat? STOREKEEPER (after a moment) Wal -- Cal's got a bote. ADAMS Where can I find Cal? STOREKEEPER (slowly) N-o-o... Never heard tell o' Cal rent'n 'is bote. OLD MARINER My pa's gut a trim lil' bote. ADAMS (advances to him a few steps) Fine! Would you mind taking me to your pa? OLD MARINER (puffing) N-o-o... Come t' think of 't -- don't think ma'd like 'im ter rent 'is bote. STOREKEEPER (shouting from background) Know how ter handle a bote, young fella? ADAMS (whipping around and going back to him) Of course I know how to handle a boat! STOREKEEPER Then mebbe y'ought ter see Eke. I've heard tell how he rents his bote -- sometimes -- (he looks Adams over carefully) ter some people. ADAMS (almost at wit's end by now) Then can you tell me where I'll find Eke? STOREKEEPER Oh, tain't hard ter find Eke. He's allus settin' 'n the same place. ADAMS Where's that? STOREKEEPER Wal, I'll tell ye now. Ye jest go down ter th' jetty, an' ye ask anybuddy there fur -- ADAMS (impatiently breaking in over last word) I know. (he's on his way out) I ask for Eke. Thanks. (he exits) The storekeeper watches him go, turns to the mariner. STOREKEEPER Think Eke'll rent 'is bote? OLD MARINER Nope... (he puffs) Wal-l-l, come t' think of 't... mebbe... ALTERNATE ENDING: 199A. CLOSE SHOT - STOREKEEPER STOREKEEPER (thinking about it) Hmmmm... He's ready to go home now, reaches for his mariner's hat, puts it on his head. Pinned on it is a very old and weather- beaten election button, but which is not too old to clearly read the legend: "McKINLEY FOR PRESIDENT." The storekeeper lifts the shelf or otherwise moves to exit. DISSOLVE TO: 200. EXT. JETTY - NIGHT - FOG Silhouettes of masts, with lights on them. SOUNDS of gentle, lapping water, fog horn, bell buoys. Otherwise everything very calm. Adams is talking to the seaman, Eke, who is busying himself with his cat-boat. In the course of the scene, he strolls away, sits on a barrel, Adams walking with him and then standing next to him. ADAMS Mighty nice of you to rent me your boat. EKE Could durn near buy a new one fer wut yer payin' me. But I don't see how yer figger t' git 'er out termorrer in all this muck. ADAMS (looking around) You mean the fog? It ought to be lifting very soon now. EKE Not the way I figger it. Ain't no sign of a wind, neither. ADAMS (quiet conviction) Oh, there'll be wind all right. Plenty of it. EKE Mebbe. Never ben too sure 'bout them things -- sence thet hurricane back 'n the Twenties. We had a fog thicker'n soup -- jest like ternight -- warn't 'nuff wind ter blow yer wiskers... Then, all uv a sudden jest th' littlist breath o' wind come sneakin' by -- hot 'n quiet. I tell yer, the way thet mist moved -- wal, it jest warn't natchul. ADAMS What about -- the wave? I heard something about a great wave. There's a moment's silence. Then, Eke speaks quietly: From this point on, his mood is that of a man who talks about supernatural things, about things he doesn't even like to remember. EKE The wave?... Yep, they wuz a wave. Sometimes I think I di'n' see it -- thet I jest read 'bout it -- like sump'n in the Scriptures -- He puts his hand across his eyes with the awful memory of it. EKE (continuing) It come up out o' the sea like a mountin -- a mountin movin' towads the shore. Sixty foot high, it must' a ben. A sixty-foot wall o' water -- comin', comin', comin', towads the land like the Judgment Day. ADAMS (after a moment, quietly, not looking at Eke) You didn't happen to know -- a girl -- a visitor -- who was caught by the wave? Her name was Jennie Appleton. Eke looks sharply and strangely up at him - then, after a moment, speaks. EKE Know 'er!... Queer now, ye should ask me thet. I shan't never fergit 'er till the day I die... Did ye know 'er? ADAMS (quietly, after a second, looking away) Yes... I knew her... EKE Purty young thing, warn't she? Sech big, sad eyes, she hed. (looks far away with a sad, wistful smile) Big, sad eyes, an' a look 'bout 'er thet come from far away. ADAMS What happened exactly? I've -- I've wondered where she was when -- when the wave... EKE (with an effort pulling himself out of the mood of his memory; with a sigh) Wal, ye see, it wuz this way. I used ter rent 'er my bote. She liked ter sail 'round the point -- down yonder past the Land's End Light. I used ter watch 'er leave. They wuz sump'n 'bout thet girl -- sump'n 'bout the way she stood before the wind... ADAMS (quietly, with a wistful smile) Yes... I know what you mean. EKE Wal, thet day, jest after she pulled out, Cal Jenkins come a-runnin' with a warnin' uv the storm. I yelled ter 'er an' waved... Sometimes I think she di 'n' hear me, but I don't rightly know how thet could-a ben. She waved back at me, an' then she smiled -- like I never seen her smile before. An' then she flattened thet mainsail in tight an' sailed right straight inter thet storm. ADAMS There was no trace of her after that, I suppose. EKE She made the shore at Land's End Light... thet much is sartin... I found the masthead uv my boat tied t' the warf -- or wut wuz left uv it. Adams takes this, absorbs this final proof that Jennie died in her first existence. He strolls away a few feet, looks out into the fog, thinking hard, his back to Eke. ADAMS Let me ask you something: The wave wasn't as high as the lighthouse, was it? EKE (thinking) No... The lighthouse sets up there mighty high 'bove them rocks. ADAMS (turning, his hopes growing) That's what I thought. (his tempo picks up) Then if she could have made the lighthouse, she might have been saved, isn't that right? EKE (looks at him surprised; compassionately, quietly) But she didn't make it. ADAMS (thoughtfully, but still excited) I know -- but I wonder why she didn't. EKE Wal, it wud've ben a purty tough climb -- in all thet wind -- 'specially fer a female. ADAMS (thoughtfully, but with controlled excitement, his eyes far away) Yes... I suppose it would -- alone... Eke sighs, looks at him sympathetically. EKE Sump'n strange 'bout thet girl... sump'n strange an' lonesome-like... I thought 'bout her lots -- (he reaches for a way of expressing himself) She wuz diffrent from all the other young-uns -- she never seemed happy -- until thet moment wen she sailed out ter meet the storm. Adams looks at him, takes this, turns a little, and looks up into the fog. HOLD FOR A DISSOLVE: ALTERNATELY, MOVE CAMERA OVER TO THE MIST. We hear the buoy bells and the fog horn... DISSOLVE TO: 201. OUT Sequence omitted from original script. 202. A SHOT OF JUST FOG - DAY (SLIFER STRAIGHT SHOT) CAMERA PULLS DOWN to a wind indicator. There is no wind. It is very still. The small craft warning flag hangs limp. 202A. LONG SHOT - ADAMS' SAILBOAT (MINIATURE) It is becalmed. DISSOLVE TO: 202B. CLOSE SHOT - WIND INDICATOR (SLIFER STRAIGHT SHOT) The wind picks up and slowly the indicator starts to move. 202C. CLOSEUP - ADAMS IN THE BOAT (PROCESS) He becomes aware of the wind and of the fog moving, and looks up. 202D. CLOSE SHOT OF SAIL AND MAST (STRAIGHT SHOT) MOVING FOG The wind fills the sail. DISSOLVE TO: 202E. EXTREME LONG SHOT - THE OCEAN (MINIATURE) The fog lifts, revealing first the lighthouse in the extreme distance, and then, as it continues to move, Adams' boat comes into view. DISSOLVE TO: 202F. LONG SHOT - ADAMS' BOAT (MINIATURE) We see the cats-paws as the wind increases. 202G. MED. SHOT - ADAMS (PROCESS) As he gets the boat under way. He looks up. 202H. CLOSE SHOT - SEA GULLS (AGAINST DARK, LEADENED SKIES) (STOCK SHOT) Fleeing in advance of the storm (flying right to left). DISSOLVE TO: 203. CLOSE SHOT - A STORM FLAG BEING RUN UP A POLE (SLIFER SHOT) DISSOLVE TO: 203A-203B. A BAROMETER (SLIFER SHOT) Superimposed over the barometer, is a teletype ticker tape with news of the storm rising. (WORDS TO BE SUPPLIED BY RESEARCH DEPT.) As the message is being typed out, the barometer DISSOLVES OUT, CAMERA PULLS BACK TO INCLUDE: THE TELETYPE MACHINE - (DAY - LAMPLIGHT) -- over which the message is being sent, and a man's hands tapping out the keys. As he finishes the message, another pair of hands bring in another message which is a warning to beware of lulls in the storm. The teletype operator holds the message in his hands so that CAMERA CAN READ it clearly. (WORDS TO BE SUPPLIED BY RESEARCH DEPT.) The operator puts the paper with the message down and immediately starts to send the warning over the teletype. DISSOLVE TO: 204. LONG SHOT - ROUGH WATERS (MINIATURE) A huge swell goes down and Adams' boat is revealed fighting the storm. 204A. MEDIUM SHOT - ADAMS (PROCESS) Trying to keep the boat on its course. 204B. CLOSE SHOT OF ADAMS (PROCESS) 204C. CLOSE ANGLE - STERN OF BOAT (PROCESS) 204D. CLOSE SHOT - ADAMS (PROCESS) 205. LONG SHOT - ADAMS' BOAT (MINIATURE) The lighthouse is revealed in the background. 205A. A VIEWPOINT OF THE LIGHTHOUSE FROM ADAMS' ANGLE (MINIATURE) CAMERA GUNS UP at the lighthouse. 205B. CLOSEUP OF ADAMS (PROCESS) Looking up at the lighthouse. 205C. LONG SHOT - ADAMS' BOAT (MINIATURE) As it goes by rocks. 205D. CLOSE ANGLE - VIEWPOINT OF ROCKS AND WAVES (MINIATURE) This should be a threatening shot with CAMERA MOVING IN. 205E. ANOTHER ANGLE OF ADAMS' BOAT (MINIATURE) Moving through the rocks toward the lighthouse. 205F. CLOSE SHOT - ADAMS (PROCESS) 205G. MED. SHOT - ADAMS (PROCESS) 205H. CLOSEUP HULL OF BOAT (STRAIGHT SHOT ON STAGE) Scraping the rocks. 205I. CLOSEUP OF ADAMS (PROCESS) 205J. MED. SHOT - HULL OF BOAT (PROCESS) Crashing against the rocks. 206. MED. LONG SHOT - ADAMS' BOAT (MINIATURE) As it crashes on the rocks and capsizes, breaking the mast and tearing the sail. (We do not see Adams' body being thrown.) DISSOLVE TO: 207. OUT Sequence omitted from original script. 208A. BAROMETER (SLIFER SHOT) Superimposed over this, we again see a ticker tape with the warning about a hurricane (WORDS TO BE SUPPLIED BY RESEARCH DEPT.). CAMERA ZOOMS DOWN to the word "hurricane." DISSOLVE TO: 208B. TWO FLAGS - FOR THE HURRICANE WARNING (SLIFER SHOT) Being run up a pole. DISSOLVE TO: 208C. CLOSE SHOT - WEATHER MAP (SLIFER SHOT) CAMERA PICKS UP the words, "U.S. WEATHER BUREAU" printed at the top of the map and MOVES DOWN across the map to a pencil which is just finishing the core formation of a hurricane. DISSOLVE TO: 208D. TRICK SHOT - HURRICANE CORE (SLIFER SHOT) A couple of miles above the ocean. CAMERA SLOWLY WANDERS along the threatening clouds until it comes to a break in the clouds. Then, far below, we can see the peninsula with the lighthouse. CAMERA STARTS TO MOVE DOWN toward the peninsula. DISSOLVE TO: 208E. A HIGH LONG SHOT OF LIGHTHOUSE AND SECTION OF PENINSULA (MINIATURE) CAMERA CONTINUES TO MOVE DOWN toward the lighthouse. DISSOLVE TO: 208F. MED. SHOT - BEACH AND ROCKS (MINIATURE) CAMERA CONTINUES TO MOVE closer until we PICK UP the body of Adams lying in the small stretch of sand among the rocks. DISSOLVE TO: 210. CLOSE SHOT OF ADAMS - (NIGHT) He comes to, looks around slowly, trying to orient himself. The hurricane is lashing the peninsula and lighthouse with full force. Adams rolls over groggily, crawls across a small stretch of sand, toward the protection of a huge rock. 211-212. OUT Sequence omitted from original script. 213. WAIST-FIGURE SHOT OF ADAMS (already shot) He rises into the SHOT, stands against the rock, a little groggy. He pulls himself together, looks TOWARD CAMERA, and from right to left, then back again, peering to see if he can find Jennie. 213A. VIEWPOINT SHOT OF ROCKS AND WAVES - A SLOW, PANNING SHOT TO MATCH ADAMS' LOOK IN SPEED AND DIRECTION (already shot) NOTE: This is not to be the spot where Jennie later appears. 213B. BACK TO WAIST-FIGURE SHOT OF ADAMS (already shot) His eyes searching. He calls: ADAMS Jennie!... 213C. VIEWPOINT SHOT OF ROCKS AND WAVES - STATIONARY SHOT (already shot) (Not where Jennie appears later) Nothing but the waves answer him. 213D. BACK TO WAIST-FIGURE SHOT OF ADAMS (already shot) His eyes continuing to peer into the darkness. He becomes aware of a banging SOUND coming from the lighthouse behind him, and he turns away from CAMERA toward it. 213E. LONG SHOT OF THE LIGHTHOUSE - (ADAMS' VIEWPOINT) (already shot) We see the doors banging in the wind. 213F. CLOSEUP OF ADAMS (See present film for duplicating the angle) (already shot) His hopes rise and he calls: ADAMS Jennie!... 214. ANGLE SHOOTING THROUGH LIGHTHOUSE DOOR TOWARD THE BEACH (already shot) Adams can be seen in the background and we hear his call from the distance: ADAMS Jennie!... 215. BACK TO CLOSEUP OF ADAMS (already shot) He listens for a moment, is disappointed that there's no answer, but decides to go up to the lighthouse to investigate, and starts out, CAMERA PANNING HIM TO OPEN SPACE away from rock in order to match the next cut. 216-238. OUT Sequence omitted from original script. Adams starts across the open space. A huge wave engulfs him and he is thrown down with it. He pulls himself up again and struggles up the rocks to the lighthouse. He jumps over the chasm between the rocks and the lighthouse, climbs the ladder and enters. 239. EXT. LIGHTHOUSE (already shot) Adams descends the ladder and comes out on the rocks. 240-241. WAIST FIGURE SHOT OF ADAMS ON ROCKS (already shot) He looks out towards the peninsula and calls. ADAMS Jennie! 242. VIEWPOINT SHOT OF WATER AND ROCKS (MINIATURE) (already shot) JENNIE'S VOICE (Sonovox effect) Eben... Eben... 242A. CLOSE SHOT - ADAMS (already shot) He reacts and exits. 242A1. HIGH OVERHEAD SHOT - LIGHTHOUSE IN F.G. - PENINSULA IN B.G. TO BE SHOT Adams scrambles down the rocks, starts running in the direction of the peninsula. JENNIE'S VOICE (Sonovox effect) Eben... Eben... 242A2. LONG SHOT (already shot) As Adams runs, a huge wave washes in behind him, just missing him. Adams continues running, then stops in MED. CLOSE SHOT and looks. 242B-242C. OUT Sequence omitted from original script. 242D. VIEWPOINT SHOT - SHOOTING DOWN PENINSULA (SKETCH #2) RETAKE We hear Jennie's voice. JENNIE'S VOICE (Sonovox effect) Eben... Eben... 243. CLOSE SHOT OF ADAMS (SKETCH #3) RETAKE CAMERA MOVES IN ON HIM as his face lights up. 244. VIEWPOINT SHOT - SHOOTING DOWN PENINSULA (SKETCH #4) RETAKE In the extreme distance Jennie appears. In this SHOT the sky seems to take on an eerie mood. Also the appearance of Jennie has a strange eerie quality. (Hilation effect to be used on her clothes, as discussed in conference. Also for protection, do alternates without this effect.) Jennie runs toward CAMERA. 245. HIGH OVERHEAD MATTE SHOT (SKETCH #5) RETAKE The two tiny figures of Adams and Jennie run toward each other. 246. LONG SHOT - JENNIE (SKETCH #6) RETAKE As Jennie runs down the peninsula toward CAMERA, CAMERA MOVES IN to meet her until she arrives in a CLOSE SHOT. She is breathless from the exertion of the run down the peninsula, but her face is radiant. She is triumphant in her struggle to reach him. 246A. LONG SHOT - ADAMS (SKETCH #7) RETAKE As Adams runs up the peninsula toward Jennie, CAMERA MOVES IN to meet him until he, too, arrives in a CLOSE SHOT. His expression is a mixture of excitement, joy, and frantic fear. 247. CLOSE TWO SHOT AND OVER SHOULDER SHOTS RETAKE NOTE: Consider whether we should make an angle of Scene 247 for matting, so that we can see the sea beyond them rise as the storm rises, rather than having to intercut. He takes Jennie into his arms. They kiss frantically. NOTE: Adams has been fighting the elements for hours, running up and down the lighthouse, back across the rocks and peninsula. He must be breathless and speak with some exhaustion. Similarly, Jennie has been running down the peninsula and has fought "to get back," and in her, too, there should be a breathlessness and physical fatigue, mixed in with her exultation. ADAMS Oh, Jennie, Jennie! I was afraid I wouldn't find you! JENNIE It's been such a long time... Let me look at you, dearest. (she looks, studies his face) ADAMS (kissing her again) I'll never let you go again. Never! There is a sudden single gust of WIND, and suddenly Adams remembers. ADAMS (with some urgency) Jennie, darling! The wave -- it's coming again -- JENNIE (still studying him) It's still all right, whatever happens. That's what I had to get back to tell you. ADAMS (shouting almost angrily) 'Whatever happens?' It's you I want, Jennie! Not just dreams of you! JENNIE (going into his arms, throwing her arms around his neck) Hold me close, Eben! ADAMS (grabbing her and holding her away from him forcefully) Jennie -- I beg you to believe me! The wave will strike again -- and soon! (indicating wildly) The lighthouse -- the lighthouse is the only safe place. We've a whole lifetime together if we make it... JENNIE We have all eternity together, Eben... Can't you see? We were lonely -- unloved. We were meant for each other. Time made an error, but you waited for me, and so we found our love. ADAMS (bitterly) And having found it, must we lose it again? JENNIE No, no, Eben. We're just beginning! There is no life, my darling, until you've loved and been loved -- and then there is no death. ADAMS (decisively) Maybe what you say is true, Jennie! But I'll not be separated from you again in this life! JENNIE Oh, Eben. You have so much beauty still to give the world. ADAMS Not without you, Jennie! JENNIE You'll never again be without me, Eben -- 248. SHOT OF THE SEA TO BE SHOT Showing the rising storm. NOTE: Shoot this starting with a placid sea, so that we can use two or three intercuts with Scene 247. 249. BACK TO ADAMS AND JENNIE RETAKE They turn, Adams leading her. 249A. EXTREMELY HIGH ANGLE MATTE SHOT - SHOOTING DOWN THE PENINSULA TO BE SHOT In which we orient ourselves from the viewpoint of the rocks they eventually reach. We see the sea rising. (In this angle, Jennie and Adams come to the set that matches what is on the film.) NOTE: This could be shot with doubles 249B. ANOTHER SHOT OF THE RISING STORM TO BE SHOT 249C. LONG SHOT (NOW ON FILM) (already shot) A huge wave washes over the rock in their path and stops them. ADAMS (WILD LINE) We've got to go the other way round -- up over the rocks! 250. LONG SHOT (already shot) They start up over the higher rocks. Another large wave washes over the rocks. 250A. MED. SHOT (already shot) As they struggle across the rocks. Again a large wave washes over them. 251. EXTREME LONG SHOT (already shot) As they make their way over the rocks. A huge wave comes in. 251A. LONG SHOT (already shot) As the wave engulfs them and hurls them from the rocks. 252. CLOSE SHOT OF LARGE ROCK WITH WATER POURING OVER IT (already shot) CAMERA PANS DOWN FROM THE ROCK to Adams lying prone, holding Jennie by the hand. He pulls her up, rising to his feet. 253-255. OUT Sequence omitted from original script. 256. MED. LONG SHOT - SHOOTING UP OVER JENNIE'S BACK (already shot) Adams pulls her up to the top of the rock. JENNIE Please, Eben, I -- 256A. EYEMO SHOT - SHOOTING UP AT JENNIE AND ADAMS (already shot) Adams is urging her forward. JENNIE (continuing) I can't go on. ADAMS You must, Jennie -- you must -- it's not much further. 257. SHOT OF THE SEA TO BE SHOT Across the distant horizon we see a great wave rising. 257A. MED. SHOT - LOW CAMERA ANGLE - SHOOTING UP ON CLIFF RETAKE Jennie, in f.g., is leaning exhaustedly against the rock. Adams (double) is just in the process of completing hoisting himself up a stiff rock like a mountain climber. There is a great deal of spray, and the photography generally matches the EYEMO SHOT. 257B. CLOSER ANGLE RETAKE We see that he is in a safe and protected point. Rapidly he braces himself and sinks to his knees as he goes to reach down to Jennie. 258. ANGLE SHOOTING DOWN PAST ADAMS AT JENNIE RETAKE In the b.g. and below (matte shot) we see far beneath the rocks and the turbulent sea. ADAMS Jennie! Quick! Take my hand. Jennie feebly grasps Adams' hand. 259. ANOTHER ANGLE OF THE WAVE COMING TO BE SHOT The strange "sucking" noise accompanying it grows louder. 260. CLOSEUP - ADAMS RETAKE As he is attracted by the SOUND and turns frantically. He is horrified by what he sees and turns back fast to Jennie. ADAMS (screaming) Here it comes, darling! We've got to make it! 261-263. CLOSE ANGLE - SHOOTING DOWN ON JENNIE: REVERSE ANGLE SHOOTING UP ON ADAMS: BIG CLOSEUP - ADAMS, CUTTING OFF TOP AND BOTTOM OF HIS HEAD: MATCHING BIG CLOSEUP OF JENNIE: ALSO MASTER SHOT RETAKE Jennie is exhausted and barely able to return Adams' desperate grasp of her hand. ADAMS (grits his teeth; with wild desperation, his voice heard above the on-coming noise of the wave) Jennie! JENNIE (she is fading fast, but she manages with tremendous effort to smile and get out her last words) Goodbye, my darling -- for a little while. The edge of the wave hits Jennie. 264-269. INTERCUTS FOR THE ABOVE RETAKES & ADDED (a) LONG SHOTS and EXTREME LONG SHOTS of the wave hitting, as previously planned. (b) PROFILE SHOT OF THEIR HANDS clasped, as Adams attempts to pull her up. This should be made with him managing to raise her a little and with her slipping back. Also with their hands separating as the water hits. Also with their hands separating without the water hitting. (NOTE: These should be made with Mr. Cotten's and Miss Jones' hands, and not with doubles) DISSOLVE TO: 270-271. DAWN - THE SEA CALM - A PEACEFUL SHOT (AS SKETCHED) CAMERA PANS DOWN or otherwise reveals, by separate cut, if necessary, the body of Adams stretched out in the protected section of rock where we have last seen him. There is no trace of Jennie. DISSOLVE TO: 272-274. OUT Sequence omitted from original script. 275. CLOSE SHOT - SCARF - INT. ADAMS' CABIN - DAY DOLLY BACK from the scarf, now lying on a small table by the side of a cot. On the cot, wrapped in blankets, is Adams. His face looks pale and drawn. AS CAMERA MOVES BACK further, Miss Spinney is revealed sitting on the foot of the cot, a worried look on her face. Next to her stands Mathews, nervously rubbing his hands. SPINNEY (gently) Hello, Adams. ADAMS (focusing slowly) Spinney!... What... are you doing here? SPINNEY Mr. Mathews and I had to go up to Boston on business. We thought we'd look in on you. MATTHEWS (Uneasily) How do you feel? ADAMS (Haltingly) I feel all right... I... MATTHEWS Just take it easy. ADAMS Why? SPINNEY For heaven's sake, Adams. You've been out cold for five days. I told you not to try to drown yourself. There is an awkward pause while Adams looks from one to another. MATTHEWS (quietly) They found you on the rocks. Slowly, the realization of what had happened comes into Adams' face. He turns away toward the wall. MATTHEWS (To Spinney) Maybe we'd better let him rest. ADAMS (to Spinney) Don't go away, Spinney. MATTHEWS I'll get him a cup of coffee. He goes out. 276. CLOSE TWO SHOT - SPINNEY AND ADAMS Spinney waits until she hears the door close, then she faces Adams. SPINNEY (gently) Adams -- ADAMS Yes? SPINNEY You saw Jennie again, didn't you? ADAMS (simply) Yes. SPINNEY (gently) For the last time? ADAMS It wasn't the last time. Not really. I haven't lost her. SPINNEY Then everything's all right? ADAMS Yes, Spinney -- everything's all right now. DISSOLVE TO: 277. INT. METROPOLITAN MUSEUM - DAY (THE PRESENT) (NOTE: Technicolor to be used as decided later, but also to be shot in Black and White). There are two or three girls (16 or 17 years old) standing at the foot of the portrait, looking up at it (we do not reveal the portrait). We are probably on a PROFILE of them or SHOOTING FROM THE ANGLE OF THE PORTRAIT. FIRST GIRL (reading inscription) "Portrait of Jennie." SECOND GIRL Isn't she beautiful? MOVE CAMERA OVER to reveal Miss Spinney just entering. She stands looking at the girls who are obviously awe-stricken and whispering about the portrait. 278. ANOTHER ANGLE - THE GIRLS AND SPINNEY FIRST GIRL I wonder if she was real? THIRD GIRL Oh, she must have been. FIRST GIRL Oh, well, what does it matter? She was real to him or she couldn't look so alive. Slowly we see Spinney turn and look at the girl. A smile comes to her lips. SPINNEY (to the girl) How very wise you are. The girls look at her, startled. Slowly, the CAMERA STARTS MOVING IN ON JENNIE'S PORTRAIT and faintly, as if a whisper, we hear: JENNIE'S VOICE I think it's a fine painting, Eben. I think it will make you famous. I think some day it will hang in a museum and people will come from all over the world to see it. And -- maybe they'll even know me because of it. The CAMERA stops on the portrait. JENNIE'S VOICE I love you, Eben. No matter if we're apart, we'll always be together. FADE OUT: THE END