citizenkane-3rdrevfinal+breakdown(7.16.40)

7/23/2019 CitizenKane-3rdRevFinal+Breakdown(7.16.40)

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1

BREAKDOHM

on

THIRD KHVI3ED PIKAL

J**J..

1940 - EXT.

XAMAPa

-

DAV/H (MIMIAT'.-RES)

1 Long shot of estate, moving toward lighted window

2 Closor ohot of estate

3 Golf links

4 Zoo

5

Konkey

torraoe

6 Alligator pit

7 Lagoon

8

Swimming

pool

9 Cottages

10 Drawbridge

11 Window

1940 - INT.

KAMS'5

t'EDROOM

- DAWK

12 Bed silhouetted against window

13 Olobe falls fron hand and breaks

14 Kurae covers body with sheet - FADE OCT

1940. - HIT .-PROJECT IOH ROOM

IXSERT

Start

<

17 Establishing s

1040 - INT. CADAR

18 Susan at

dlsoourages

T

Captain a;

and calls

discuss digest -

Rosebud' - FADS

/Susan 47

reveals

Susan at tabl^, alone*

~ Susa n 47

a p t a i n l e a d s

Thompson to her \ she

son - Thompson and Captain walkNaway -

o w al to r - Thompson goe a to p i on e \« 5o tb

on

- FADE

IAL LIBRARY - DAY

040

- INT.

19 fcertha

Anderaoh

and Thompson at' desk

i n f r o n t

o f ThatoL.

s t a t u e / - £ »r th i Jfeada Thompson towar d Vau lt Room - DIS3oi>(E

1 4 9 5 3 6 6



1940

-

IHT.

LIURAtA VATLT R00U

-

20

Thompson and Vertha

onjfrer

- Ouard hands manuscript to

B e r t h a , w h o

places ijron.

t a b l e

-

l e a v e s - Thom pson s t a r t s

t o r e a d -

INSEHT

- PAOE

1 8 7 0 - J E X T . fc

V

ThatoherX s t o r y

•JE'.3 oOAhDDTO HO SE - COLORADO - DAY

me

- o\ Kane

itohor

V 2 6

1'rs.

in

sno\

- 7h&tenor, moth

s dooucsnts

- they

21 Kane

playl

thru parlor - mot

28

O u t s i d e - K a n e V p la y in g w i t h s l e d

-

Thatoher - hlfcsv T h at ch er - DISSOLVE

1070 - TRAIN TKfEELa ON TRACE

77\

1S70 - IHT. TRAIN

DRAWI33 RCOM

-

NIQHT

T h a t o h e r 20

Kane 6

T h a t o h e r s t o r y

2 9 K an e i n b e r t h ,

o r y i n g X - Thatohor^standins alongalds

- DI330LVE

INSERT

- PAOE W T U A T C I I E ^ M33.

1896 - INT. EASE'S OFFICE * DAY

T h a t o h e r

atori

\

Thatcher - 64

" l i e - 93

Bernstein -

34

3 0 K an e a e a t e d a t

deok/^

T h a t o h e r

Indignant

o v e r h e a d l i n e

i n p a p e r • B e r n s t e i n e n t e r s w i t h c a b l e - g r a m - Kane

s e n d s r e p l y -Eernatiain e x i t s - Thatohor a r g u e s a t t a c k

o n T r a c t i o n T r u s t - p o i n t s o u t n e w s p ap e r i s los ing mone y -

DISSOLVE

1940

-

IH T. VAULT ROOM

-

DA

PAOE OP

U S 3 .

Abpfore i t r e g i s t e r s , T hom pson s h u t s b ook -

c o n f r o n t s £ertti£ - h e l e a v e s - FADS OUT

3 1

1940 - INT. U E R : I 3 T 5 I H » 3

OFFICE - DAY

i s t e i n - 70

3 2 B e r n s t e i n s t a r t s tel l i tag/s tory t o

Thompson*

(60 )



1890 - EXT. IN3JIRKR BL

Bernstein story

33

Kane and Leland

B e r n a t e l n a r r i v e a

1890

-

IHT . CITY RO

Bernateln

s t o r y

- 26

• 2 8

B e r n s t e i n

- 26

Wagon driver.

cab

- exit Into bldg. -

gon with furniture

Kane-"- 26 Carter

Leland - 28 Staff

.Bernstein

- 26 Wagon driver

X T

\* /

34 Kane and Le lan d

woloomod'by

C a r t e r a n d s t a f f . B e r n s t e i n

a p p e a r a w i t h

furniture,vfollowed

b y w a go n d r i v e r w i t h

m o r e f u r n i t u r e -,Kane s a y s h e ' s g o i n g t o l i v e i n the

off loe -

DI3S0LVE

'

1890 - IHT. KANE'S OFFICE -'LATE DAY

36

Borastsin

s t o r y

F u r n i t u r e In plaoe

e a t i n g

-

Leland wa

Kane and Cartor d

Kane an d Lela nd

/

ane/^28

aland - 1

Kane,

Inland

-

28

irernstoin •

2 6

C a r t e r

no

in

s h i r t s l e e v e s w o r k i n g

and

-

B e r n a t e l n w o r k i n g o n

figures

ousavpolicy o f p a p e r - C a r t e r e x i t s «

eavo

f o r d i n n e r

-

DISSOLVE

1890 - IHT. CO«P03XH3 _V PRESS R00& - KIOHT

\ -

B e r n s t e i n s t o r y

/

/

36 All at table on whlo

(Kane and Leland

in

e

pagea

remade •

and exits with Le

/

1890 -

EXT.

INQUIRER

Bernstein

eto

87 Portion of build

lighted window •

Kane •

Leland^-

28

cerneseln

- 26

Carter

Smathera

(foreman)

several locked forms of type •

g clothes) - Kane orders

.osigns - Kane destroys forms

DISSOLVE

w i t h sign - K a n e ' s

SOLVE

e s e e n

in



1800

- IHT. KAIiS'3 OFFJcA

-

PAWN

Be rns t e i n s t o ry

38

Kane - ,

Lelaui - 28

isteln -

2 6

Kane In shirtsleeves

present - Kane

Leland aaka for t

window - Bernstein and Leland

3CLARATI0H - Kike takee it away •

:lnal draft * DISSOLVE

1800 - EXT. INQUIRER WIN DO* OH STREET - DAWN

Bernateln story

Kane - 25>

Loland

Bernateln

- 26

Eewsboys

39

Piles of papers wit h DECL&RATICH on front page •

Window, wit h sign : Circulation 26 ,00 0.

Kane*

Bernateln

and Leland behind w ind ow - newsboys aeen - DISSOLVE

1890 - EXT. O:IHQWICL:

Bernstein story

2

8L20.

WIMM7

be ing

p-iotographedv

j /Eejwist el n

,

' a t banquets t a b l e .yQt4he

Chronicle e t o f f X - anloounaos vac at ion •

:ear - Kane, B£r£atoin\and Leland

ijbots job of correspondents •

— ;wlth hlmj» Oeors le's lOace - DISSOLV

J*

Oeorsfe

Ethel and girls

^Pianist

Oeorgie intrbduolng E t h e l t o L e l a n d - Ke\e a t p iano wi th

Bernateln-'&nd g i r l a , s in g in g "Oh,'

Kr.

KanoV - Leland

comes over

-

Kane,

offers him Job

o f

dramatic,

c r i t i c - DISSOLVE

\ " \



1808 -

INT.

KANE'S OFPTfig

-

m v

B e r n a t e l n

stoj

r

iland - 36

B e r n s t e i n - 3 4

43

Offloe filled wltlypacklns cases which Leland is «„.„<»„

SEE

1

:

?VA£*

«*• - -

1

«» S2

i:

3SS8

1808 - IHT. C I T £

ROOM

- DAY

Bernstein story

Earnstein

Kane -

54 Hlllran

Townsend

Staff

44

B e r n s t e i n , Ulllman a n d staff^waltlng t o oreaenfc

I « , H „ „

S L : . * ™

a r p l V O a

" SlT.- - teiounoan.Jt to ToTOsen^mfd

ruahea away - a ta f f

g o e i ' t o

window -

iownaend

and

1898 - EXT. STREET - IHQTIRER

ISLDSy^

DAY

Bernstein s t o r y \ /VnW\r - 19

46 SEEN

FRO .'

CITY ROoa WsDOV,' - Em ily In barouche -

1898 - EXT. CITY RCOV

UAY

Bernstein^etory

46 Faoes o f bernateln a n d s t a f f a

1898 -

IHT.

CITyROOyV DAY

B e r n a t e l n

tory

'bernateln 34

Townsend

S t a f f

47

1898 -

Townsend reads

apnounoesent

- t e l l s B e r n s t e i n a b o u t

Kane

engagesentr tby^Emlly

•

FXT. STRgJT

-

E.WJIRER

f-.LD0.

B e r n s t e i n story

DAY

48

e - 33

Emily - 19

1898 - IH T. CITY ROOM - ru v*

B e r n s t e i n ***& S .rnsteln - 3 4 Townsend

49 Comments o n , en ga ge m en t - DISSOLVE

S U

*

r

IHSEl-T HEWSP^R •

Kmnm

a W Emi ly

XH3ERT NEWSP/

- Kane a S Em ily wedding

http://slt.--teiounoan.jt/

http://slt.--teiounoan.jt/



1040 - INT. B..hNSTEIN'3 GFFrCB -yfi&Y '

6 0 \ s^ B e r n a t e l n - 7 6

B e r n a t e l n f i n 1 s h e . t e l l i n g s t o r y t o T hom pson

-

FADS OUT

1940 - EXT.

H03PIT/1

B O Q F V

DAY

61

(69)

(79)

Leland starts

1901- INT. EREA

1909

6 2 -

68

Leland - 78

to Thompson

KANS'S HOKE -

DAY

L e l a n d s t o r y \

/

Kane -

30-44

Emi l y

- 2 2 - 3 0

S e r i e s o f ahort ifroakfast s c en es - Ka ne a nd Em i ly - DISSOLVE

1040 - EXT. :t03PmL ROOF * DAY

i 69 L e l a n d t o l l l p c s t o r y to Thompson.

1915 - EXT.

DHtfnSTOfE

h H.Y. STREET

- NIOHT

L e l a n d s t o r y

60

lan

- 22

Kane 60

Suaan on way

homo

£*bn drugstore - carriage passes by

she X moots l.ano/0ho\ is spattored with mud - they

exit

Into

aouse/- DISSOLVE

1015

- INT.

5nSAt^3

ROOM

- KIQj

61

62

Leland story

Susan brings

her toothac

LATER -

Kane

themselves -

STTICAL

Sus a n V2H

Kane

/ 6 0

lain

an d

towolA

Ka ne c l ea ns up -

awaro

o f

- am uses he r

by

w ig g l i n g e ar s - DISSOLVE

iking shadowgraph

-

t h e y t a l k a b o u t

ua a n

s i n g s

7

for h la

• DISSOLVE

101Q

- POLITICAL

CAMPAIi

3 NEWSPAPER INSERTS^Wbout B os s R og er s - DISSOLVE



1916 - INT. tttPISOH SQUARE GARDEN - HI-RT

Leland

attf

Kane -

6 L '

37

63

64

T h e g r e a t ral

s p e e c h - DISSOti

S p e a k e r ' s Platfor

Emily and Ju nio r

i i l l l san J o i n s h

1910 - EXT.EXIT -

Junior 9

1/2

Blllman

Junior in box - Kane naklng

e being congratulated - sees

left box -

hurries

to an

exit

-

ISSOLYE

Leland s

E GARDEN - J1I0HT

Kane - 61

Emily - 37

J u n i o r - 9

1/2

HI l i m n

a t e x i t - Kane ap p e ars wi t h HlUman

rushes to Easi ly -

Emily aenda

J u n i o r

borne

ah o and Kane l e a v e i n cab - DISSOLVE

Kane - 61

Sally - 37

on way to Susan

1

a

apartment - DISSOLVE

1916 -

IH

67

80

69

L e l a n d s t o r y

HALLWAY - Kano and

- ;IALL?.'AY A

U P

L i v m o ROOM - :iiaaT

Kane - 51

Emily

- 37

Susan

-

23

ly

admitted by

Maid

Rogers

kid

LIVIHO ROOM -

and Sally enter - Susan and Rogers

present - Emily" has note Tiiloh ehe received from Susan -

Rogers explains -\Rogera/thrcatena Kane -Kane orders

hia

out

-^Rogers

and Emily leave •

i na

Jd\j

-•~N

HALLWAY - E m ily andYflogers on way t o d oor - Kane and

Susan 'in apartment yd oorw ay - DISSOLVE

~~ r

'.

IHSEiT

CHRONICLE

expose

of Kan. and 3

uean

1916 -

IHT.

COKPOSIHQ ROOM - NIOHr

Leland

etoi

Berne t i

/.

- 62 / ' Jenki ns (foreman)

70 Prep ared headline tqKANE 00VERN0R - Tserfietoin and Jenkins

p r e s e n t - Bernstein indicates anotherSarepared headlineI

Kane Defeafvd - FRAUD AT POLLS - p^SSOLV"



1916 - IHT.

KA.VE'SWFICB

-

KIIHT

8

7 1

L e la n d

atory

Leland and Kane

to b e transferi

"fan* - 51

Leland -

64

r

ouas Kane's oonduot - Leland asks

t o , C h ic a g o o f f l o s - DISSOLVE

1917 - EXT. TOE><LALL IN TR5STP«T - DAY

L e l a n d stori

72

R e p o r t e r s

Cameramen

C o p s /

Kane and

23 Suaun

a p p ea r - Kan e u p s e t s o a a er a a -

announoea

t h a t S u s a n ' s

goxp^" i n t o

opera - DI3SGLV7"

INSERT

C-IICAap^I ^TlXER

announ cing opening of

( 1 9 1 9 ) o p e r a / - DISSOLVE

1919 - INT. jg ICASO OP.'KA .-iO'AjS -_"(I0HT

L e l a n d a t o r y \ y Susan - 26

7 3

03

STAGE -

Susan/amld

p r i n c i p a l s ,

eto^. \ c u r t a i n

r i s e s -

S u s a n s i n g s -^jsisagehanda In g r i d geature ^heir o p i n i o n -

DI3SCLVB

1919 - IHT.

CHICAGO IN-

R - CITY RL'OH fr

LZiXXD

CVFTCE - '.' KHT

L ela n d a to r y

i te ln - 66

- 57

7 4

74a

75

7 6

7 7

78

CITY hOOM - Bernstein>and s t a f f - u n ea a y o v e r L e l a n d ' s

d e l a y in f i n i s h i n g review - Kane entere - l e a r n s a b o u t

L e l a n d - g o e s i n t o

e l a n d ' s

o f f i c e - B e r n s t e i n f o l lo w s

-

LELAHD'3 OFFICE - Borns

ibolvr'

ontors / s e e s Ka n e s ta n d in g

b e s i d e Loland woo i s slumped o v e r t y p e w r i t e r - B e r n s t e i n

r o a d s a l o u d w h a t I^lsndUiaa written - Kano a n n ou n c es h e ' l l

f i n i s h r e v i e w - Bernrfcein retreats - DISSOLVE

3ernsxe£n retreats

t i l i n g

-

DISSOLVE

ITY ROOM • Kane

LSLASD'3 OFFICE - Lelakd^combs b u t o f s t u p o r •'.Bernstein

informs aim tact Kane/is finishing r ev iew •

CITY ROOM

-*Kane ty pi As ^L eJ

t e l l s

aim ho' a f i r e d > \ D 1330

V

1040 - EXT. HOSPITAL RCOF ^ DAY/

tland goee to aim - Kane

JSOLVB

\

79

L e l a n d f i n i s h e s te l l l hgy s t o r y t o Thompson - DISSOLVE \

/

,\



ytf^FN,

19 4 0 - EXT. CABARET - NIOtIT

~"~~ Susan 47

80 SKYLIGHT sr ip t" ^ Su san and Thompson se e n at t a b l e •

1940 - INT. CA6ARET\- DAWTfX

61

(108 )

S u s a n s t a r t

1917 - INT.

1333"

82

l i ng s t o r y t o Tnompaon - DISSOLVE

Y .

LIVIM3

ROOM - DAY

Susan story Kane -

62

Susan - 24

k a t l s t l

S u s a n s i n g i n g ' - Satlsti accompanying - K ane l i s t e n i n g -

Katlstl discouraged

- Kane ta lk s

him Into

continuing - DISSOLVE

1919 - IHT.

/ .

JPTRA HOUSE - HEJUT

8 3 -

9 2

Sussn s t o r y

C u r t a i n r laea -

vory hard -

Susan - 26

Kane - 64

B e r n s t e i n - 65

Hillamn

1919 - IHT

C.ilCXoO :iOTEL ROOD -

in s i n g s - Kane and b i s s t o o g e s a p p l a u d

ta t

Ion

from audience - DISSOLVE

DAY

Susan s tory

Kane - 64

'Susan

- 26

Copy boy

9 3 e l a n d ' s I

tra ins toi

DECLARATION *

3us£n

a n n o u n c es s h e ' s g i v i n g tf p s i n g i n g -

Kane t e a r s up DECLARATION - o rd er s he r t o c o n ti n u e - DISSOLVE

Sus a n up s o t o v e r

e n v e l o p e w h i c h

r ev i e w - Copy b o y en te r s w i th

frins torn-up oheok an d d r a f t o f

Il.'SERT VARI006 EIQ-JIRERSXannounoing S u s a n ' s

independent

o p e r a

weaeon

-

/fl^^V

1920 - EffT. KANE'S K.Y.HOMg -

S u s a n s t o r y

9 4

08

9 6

97

Susan / 27

Kane / 55

Dr* Corey

H u r a .

J o s e p h

BIOIIT *

K a n .

and Joe^eph oraph In - f ind Sus a n unoonsclous

NIOHT

- a l i t t l e

late

Kane and

nurae

r e m a i n

DAWN • Kane end N ur ae

DAY - Susan awakee - yte l ls

Kane oonsente t o d r o p p i n g

SAK'S ROOtf

-

HI05T

AMD DAY

uaan aaleep - Dr* Corey leavea

"SOLVE

Ing

Susan • DISSOLVE

why she attempted aulolde

elnglng oareer • DISSOLVE



\

^926 - EXT. XANADU -

98 Sh ot o f Xanadu -

10

built -

1920

I & 3 5

1931

1932

0 9 -

102

"

I?TT

' "t**™ " ™ 4 T MAIJ>. HTr. r

Susan story

1929 - S u W bored'

r \

.ano

-

'64-67

Susan -^36-69

, working on pus a l e -

uS

"

yn

f

"""* Piece^ano

W32 " ^ t ^ - Kana o r d e r s Susahto aVrange f o r v l a i t \ «

ladea Camp - J ^ a

^ J ^ f J * J j

v i a

" t o

seated nearby

ther plctura pusale

1932 -

EXT.

XANADU

ROdD

-

3usan a^ory

• \ D :

103

j a n . ^ W i„

ta

0

„

.

o t h

\ / „ ^ ^ ^ ^ ^

1 8 3 2 -

E C T .

( T i T - T . ^ .

TO

AaiAa

. «.

Susan

storyN

104

105

""Susan - 39

Kane - 67

EXT.

- ea t ab l l s h l n^ s hot

TEST - yusanafftVano argue - DISSOLVE

1032 - INT.

XAtarfxr - Q R E A T V A M — n«v

106

S u s a n s t o r y

\

Kane look

to soe him}

Kane

Raymo:

67

1 0 3 2 - I N T . XftMATTTT

S u s a n s t o r y

Susan read

u p v a l i s e

refusee^nic

SUSAN'S ROOM - nAV

T

"Kane

- \

3uaan -

' leave - t o l l a mat

hane e n t e r s -

•vee

- DISS0L\

bogs"her

ive chauffeur p ick

setay

- she

1940 - INT. CAHARHT . nij

108 Susan

f i n l s h e e / ^ e l l i n s

« t

n

^

#.~ »u

^y

v«ix4.uxg story to Thompson - DI330LVH



THIS

IS

THE PROPERTY

RKO

RADIO PICTURES,

INC ""

78 0

North

Gower

S t.

'—

Hollywood y

' ' " '

jy?<u# r*/«»ni promptly to

STENOGRAPHIC DEPARTMENT

ry

" ^ 2 - ,

wAfli >ou Adw finished with

it. ^ " ^ L ^

^

CITIZEN KA?rs

V

*

3RD

REVISED

FINAL

7/16/40

.V

1

'

7

^

104



CI7XZF.U KAJIE

PROLOGUE

FADE IN

EXT.

XANADU - FAINT DAT? - 1940 (MINIATURE)

WIND03.

VERY

S.-.ALL

IN TEE

DISTA'iCE.

ILLUMINATED

Ail around this an

almost

totally

black

screen. How, as

the CAMERA iMOVES SLOWLY towards this window which is

almost a

postage

stamp in the frame, other forms appear;

barbed v/ire, cyclone fencing, and now, looming up against

an early morning 3ky, enornous iron grille work. CAMERA

TRAVELS up what is now shown to be a gateway of gigantic

proportions and HOLDS on the top of it -- a huge initial

"X"

showing darker and darker against the dawn sky.

Through this and beyond we see tho fairy-tale nountainton

of Xanadu, the great ca.stle a silhouette at its summit,

the little window a distant accent in the darkness.

DISSOLVE

(A series of set-ups, e'jch closer to the great window,

all telling something of:)

THE LITERALLY

ptCTttTTiT.*:

LOriAI'I fF CKAKLES FOSTER KANE

its right flank resting I'or nearly forty niles on the

Gulf Coast, it truly extends

In

all directions farther

than the eye can see. Designed by nature to be almost

completely bare and flat — it was, as will develop,

practically all marshland when Kane acquired and

changed its face -- it is now pleasantly uneven, with

its fair share of rolling hills and one very good-sized

mountain, all man-made. Almost all the land is improved,

either through cultivation for farming purposes or

through careful landscaping, in the shape of parks and

lakes.

The castle itself, an enormous pile, compounded

of

several

genuine castles, of European origin, of

varying architecture -- dominates the scene, from the

very peak of the mountain.

DISSOLVE

G0L7 LINKS (MINIATURE)

Past which we move. The greens are straggly and

overgrown, tho fairways wild with tropical weeds, the

links unused and not

seriously

tended for a long time.

DISSOLVE OUT



DISSOLVE IN

2

WHAT 'VAS QJCCE :. ftnpD-SIZKD 200 (£INIATUREJ

f L p H M

a L f e n b e c k t y p e # A 1 1 t h a t n o w

remains, with one

Sill

«

n

' £ f \

t h e i n d i v

i

d u a

l P l o t s , surrotuiaed

by

Se£' .

?

S She

C

r 23 ^ ^ d ^ p e

e

L

t

^ a

f

r I e .

a

1 s i £ r

i ^ - g ^ ^ r s ; r

t

*

t b a t here

- - — —

DISSOLVE

THE MONKEY TERRACE (MINIATURE)

In the f.g., a great obscene

ane

is outlined against the

dawn murk. He is scratching himself slowly,

thoughtfully,

looking out across the estates of Charles

Foster Kane, to the distant ll. ht flowing in the castle

on the

hill.

DISSOLVE

THE ALLIGATOR PIT (MINIATURE)

The idiot pile of sleepy dragons. Reflected in the muddy

water -- the lighted window.

THE LAGOOI-J (MINIATURE)

The boat landing safv3« An old newspaper floats on the

surface of tno water -- a copy of the Now York

"Enquirer." As it moves across the frame, it discloses

airain the reflection of the window in the castle,

closer than before.

8

THE GREAT S^IiWiyQ POOL (."INIATURE)

I t i s e m p t y . A

newspaper

b lows ac?*oas the cracked

f loor

o f" t h e t a n k .

DISSOLVE

\

THE COTTAGES

(

HI."I\?URE)

In the shadows, literally tno shadows, of the castle.

As we move by,

we aee

that their doors and windows are

SSSaliX l™\

loC

l

:

?

d

' "

,ith ho av

y

b a r a

as furtSer

protection and sealing.

DISSOLVE OUT



DISSOLVE IH

A DRAWBRIDGE - (MINIATURE)

10 Over a wide moat, now stagnant and choked with weeds. We

move across it and through a huge solid gateway into a

formal garden, perhaps thirty yards wide and one hundred

yards deep, which extends right up to the very wall of the

castle. The landscaping surrounding it has been sloppy

and casual

fo»*

a long time, but this particular garden has

been kept up in perfect shape. As the CAMERA MAKES ITS

WAY through it, towards

the"

lighted window of the castle,

there are revealed rare and exotic blooms of all kinds.

The dominating note is one of almost exaggerated tropical

lushness,

hanging limp and despairing. —

Moss, moss,

moss.

Ankor Wat, the night the last King died.

DISSOLVE

THE WE-IDOW - (MINIATURE)

11 CAMERA MOVES IN until the frame of the window fills the

frame of the screen. Suddenly the light within goes out.

This STOPS the action of the CAMERA and cuts the music

which has been

accompany ins

tiie

sequence.

In the glass

panes of the window we see reflected the ripe, dreary

landscape of Mr. Kane's estate behind and the dawn aky.

DISSOLVE

IHT. EASE'S BEDROCK - FAIKT DAWN - 1940

12 A VERY LONG SHOT of Kane's enormous bed, silhouetted

against the enormous window.

DISSOLVE

INT. ONE'S BEDROOM - FA ITT DAWN - 1940

13 A SNOW SCENE. An incredible one. Big impossible flakes

of snow, a too picturesque farmhouse and a snow man. The

Jingling of sleigh bells in the musical score now makes an

ironic reference to Indian Temple bells — the music

freezes —

RosebudI

KANE'S OLD OLD VOICE

(CONTINUED)



13 (C0NTD1UED)

14

o ^ t o ^ S * * ? *

1 8 BACK

'

3 h 0 w l n s t h e

^

o l e 3

" n e

to be

contained

in one of those g lass ba l l s which are ««?*

<„

I T i

1

?

s t o r e s a l

l

o v

^ th e wo r ld .

A

hand . . ? J p i £" *

o u t

1 C

of

h

? ?

s

b

r

n

,

h 0 l

^ i

S the ba l1

'

1 * ^

T h e ^ n ' f e S s '

out of

h i s hand and bounds down two

came

te d

st»nt 1

I ,

l L ? V

e d

'

t h S CAHERA

WLLOWISB. T h T E a l l M i S o f f S ?

l a s t s t e p on to the marble f lo or -.There i t breaks thf

fragments

g l i t t e r i n g in th e f i r s t

rays of

t h T m o r n ^

„

a u i l J ?

7

°

U t 3

m

o n

«

t t l a p

P

a t t e r n

across th e f l S o r

5

Un

*

sudaenly

c r o ssed wi th a th o usan d b a r s o f

l i a h t a s \ h .

b l in d s a r e p u l l e d ac r o ss th e win do w.

^ ^

THE FOOT OF KANE'S BED. The CAMERA v e r y CLOSE. O u tli ned

against the shut tered window, we

can

see a form — the

form of a nu rs e , as she p u l l s the sh ee t up over h is head .

The CAMERA

F0LL0I7S

THIS ACTION up th e l e n g t h of th e bed

and a r r i v e s a t t h e

face after

th e sh ee t h as co v er ed i t .

FADE OUT



15

FADE IN

1ST . OF A MOTTOM PICTURE PROJECTION ROOM

On t h e s c r e e n a s t h e CAMERA MOVES IN a r ^ / t h e w o r d s :

"MAIN

TITLE

U

Stirring brassy music is heard on

or course, sounds more like a 30

le sound track (which,

track than ours*)

The screen in the projection room fills our screen as the

second title appears: '

"CREDITS;

NOTE: Here follows a typical news digest short, one of

the regular monthly or birmonthly features, based on

public events or personalities. (These.are distinguished

from ordinary newsreels/and short subjects in that they

have a fully developed/editorial or 3tory line.) Some of

the more obvious characteristics of the "March of Time,"

for example, as well Ls other documentary shorts, will be

combined to give an

authentic

impression of this now

familiar type of

sliert subject.

As is the

acceptedr

procedure in those short subjects, a

narrator is used As well as explanatory titles.

FADE OUT

; :



1 9 4 0 - SXT. XANAOT - LAT

1 0 9 MINIATURE a

1 9 4 0 - INT. XAN

U 0

(115)

1 9 3 2 ' -

\

u

- DISSOLVE

t e l U f i g '

aymond'

a

tar

\

I N T . XA:;ADU -

cclmipotyfc

TSL&TKAFH OF

Raymond

a t o r y t o Thompson. DISSOLVE;

Raymond story

Raymond T e l e g r a p a o p o r a t o r (Fred)

T e l e p h o n e

b

(Katherine)

e ra o f f i ce - re a ds

Kane 'a/divorce etatement

ph operator - a call cornea tnru svltohboa

" ymond upstairs - DISc'OLVBS.

- CCRi.IDOR ft SUZAii>3 ROOM - MIOHT

Kane -

y7

Housekeeper

Raymond \ Ser va n ts

112

119

114

CCRRIDORx - Househoeper and maids outside

noises from

vlthtn

- Raymond goee

B E D R O O M -

t o hla 1

f

d o m o l i a h l n g room - g

- Raymond ploka i t u p

CORfilDO

Kane

look s

Lors

Into

1 9 4 0

-

I NT£

XANADU

-

OHEAT 4ALL

-

NI03T

^or°?^;j

Ut

• ??

S

}2f

-

V * » » * f o l l o w -

oor

locked - walks

dofcn mlrWed hallwav

-

rror - DI3S0LVE ' \ * « » *J»XAway -

"Raymond- flrifr

Raolafcon-gre,

Kane and Rooobud<- thoy prepare

pioka up hls^fcat from sled - DI

1040 - INT.

117

R - MO-i

etching laborers feed

ace

-

- sled

Is

thrown

J.940

-

EXT»

XANAD3

-

KIOHT

U S

Catnore Dovoa away from castle - smoke ooalnr r»»o« . u , w , . .

camera paasa. fence

with slgni

ramis

^ I M ^ S S T

FADE OUT

T i g END



jflvw?**.

E W S D T Q E S T

3rd Revised Final

July 16

ftg*

7 &XS-KTK1S 0? KAHE - pull-baek to show fr o n t p a g e of I n q u i r e r

H:aÎNES~MÂJU«n^PAPnRS announolns K a n e ' s d e a t h

8 _JHfcE^Tl89S to 1940)

SAB" PRAJffiISCO~~FIRE - n e w s r e e l s h o t s - 1909

_3?fiCXaL TRAINS - "Kane_Jteltef O r g a n i s a t i o n "

FOCHjS--Sft-lLSOAD_pAfl-and

p e a c e n e g o t i a t o r s - 1918

SasSd-wlthdates i - I83fc~^- 1010 — 1922

HEADLINES I

I 9

rER30XAL

1 - Woman Suffrage

2 - Prohibition

3 - T . V . A . ^

4 - Labor-Riots

OLD

raquiREa-Krfsrr- 1892

NE7 IWKSRE3 8L30. - 1940

KA> -«7 ' a .3»A.

-

1831-1911

- showing

sproad

of K a n e p u b l i c a t i o n s

EUnf-Slga readai "Colorado Lode Mining C o . "

-

( 1 9 4 0 )

3I0H reading» " L i t t l e S a le m , C o l o . ,

23

U l l e a . "

10 STILL OF LITTLE SALEM - 1670

STILL of K a n e ' s f a t h e r and mother on w e d d in g d a /

STILL of Kane and mo ther a b o ut 4 y e a r s l a t e r

CAPITOL, Washington,

D .C .

0 - U

C0flGH£33IC2AL INVESTI0ATI05

of

Tha tc her *

12 OoicH SQUARE HEETIBO

ttfoi -nirr, HASfMSl - "-- iftlng

-JIITL5-

Kane-ahaking bands with pseple offstage

/ y'

13 DECK OP-BOAT • Sa ne cud îxito^'ayhura • 1033-1039

14 STILL 0E--2tfXLr -

1900



/TjftWv

N E W S n i Q E 3 T

13

STILL OF

3I7SAJI

tfKUJlNa o u t s i d e .RarTOif c i l f ;1ALL - Kane and Snaan-

3KETCH of Ch ica go Opera House - 19 19

XANADU - MINIATURE - alm o st f in is h e d - (1 9 2 7 - 1 9 2 9 )

PREPARATION o f XANADU - 1920-1929

T r u c k s a n d t r a i n s

D r e d g e s , s t e a m - s h o v e l s

Shipa

u n l o a d i n g

C o n s t r u c t i o n , d i g g i n g , p o u r i n g eonorote

C o n s t r u c t i o n o f m o u n t a i n

An Inn I s

P a c k i n g o a s e s

16 XANADU

TERKACS

- STILL - 1929

•iSVf

HEADLINES In A m e r i c a n p a p e r a s i n c e 1896

SHOTS - Spanish American War - 1808

JRAVSYARD IN FRANCE - 1 91 9

POLITICAL

CAMPAI02I

-

Newsreols

17 CROWD burning Knne In effigy - 1016

— ITLS—»

~CR0Sg3~atreaBri.no • l iy to^«f ladlaon-aouare-Sarden-~-

1 0 1 3 -

EMILY AND JTTHinR^in-4><»q^iQia~"

SPS.\rTT>tS rU T iT -i" 1TT1H—-

&AH3-dellv*rtag j y e o u U ^ * J t O i a -

18 PHOTOS OF KANE AND 3USAU In contemporary ne wspa pe r - 1 91 6

MAP OF U.S.A. - 1 9 3 2 - 1 9 3 9 - r e v e r s e a n i m a t i o n

DOOR OF

NE3SPAPHR OFiTCS with

s i g n » c l o s e d »

19 XANADU - s l o t s - 1 9 4 0

MOVING ELECTRIC 3I0H o u t s i d e I n q u i r e r b l d g . a n n o u n c i n g d e a t h



•I S

-;

3 D I G E 3 T

HASRATOR

Legendary was the Xanadu rherc Eubla Kahn

decreed his stately pleasure dome —

(witli

quotes in his

voice)

"Where twice five miles of fertile ground

With walls and towers were girdled 'round."

(dropping the quotes)

Today, almost as legendary is Florida's

XANADU,

— world's largest private pleasure

ground. Here, on the deserts of the Gulf

Coast a private mountain was commissioned,

successfully built for its landlord......

Here for Xanadu

1

3 landlord vill be held 1940»s

bi 'gest, strangest funeral; here this reek is

laid to re3t a potent figure of our Century —

America's Kubla Kahn — Charles Foster Kane.



N E

J

S

D I G E S T

6

U . S . A .

XANADU'S

LANDLORD

C h a r l e s F o s t e r K a n e

OPENING SHOT of

s r e a t

d e s o l a t e e x p a n s e o f

F l o r i d a C o a s t l i n e . ( 1 0 4 0 - DAY)

DISSOLVE



a-7 '

H E W S D I O R g

T

NARRATOR

m Journalism's biatorv o^e r „

*

"

e r n:i

'~

e

3

are honore

"vered .

toong p u b U s h 3 p s #

^ ^ ^

' « .

Cordon Sonnott

the

„ , , « ,

h u d r ; s

expatriate

s o n ; & e l c n a

,

3 :

,

o p t h c l U f a a n d

Soaverbrookj chlea,.-o>a F i t - - , „

Rit-eraor.

and

HcCormlek

Denver'a gonflls

c n d S o a r

,

^ • ^ ° . "ow /ork's

l a t e

S-eat Joeeph

W i t a r ;

^ ^

» » . W ^ , a n o t h e r e d i t o r and

lan d lo r d , t h e

8

t i U

i - i ^ s ^

_,

1

nighty r^

d

once might ier

* « s t . Great names a l l of them - bu*

a.,,

u e r a

" "

but

none of

those

3 0

loved -

h a t e d

. .

r ea r ed , so o f t en

apokan " " « • * • . P o . f r Kane.

http://po.fr/

http://po.fr/

http://po.fr/



N E

W

S

D I G E S T

TITLE:

TO FORTY-FOUR MILLION U.S. HE7S

BUYERS,

J'ORE

NE.VSV.'ORTHY

THAN TEE

NAMES IN HIS 0*.VH HEADLINES, VIAS

KANE HIMSELF, GREATEST

21E.7SPAPER

TYCOON OF THIS OR ANY OTHER

GENERATION

SHOT of a hug e, screen-filling picture of Kane.

PULL BACK to show that it is. a picture on the

front page of the Inquirer, surrounded by the

reversed rules of mourning, v/ith

masthead

and

headlines. (1940)

DISSOLVE

A GREAT NUT3ER of headlines, 3et in different

types and different

styles,

obvicusly from

different papers, all announcing Kane's death,

all appearing over photographs of Kane himself.

(Perhaps a fifth of the headlines are in foreign

languages.) An important item in conne ction

with the headlines is that many of them —

positively not all - reveal passionately

conflicting opinions about Kane.

Thus,

they

contain variously tho words, "patriot,"

"Democrat," "pacifist," "war-monger," "traitor,"

"idealist," "American," otc#



1

:.'•• -. •/; . -'.

•».

>«;-;* ~s.

•••I

I- ,*lm

a-8

N E

VI

S D I G E S T

NARRATOR

— The San Francisco Earthquake. First with

the news were the Kane Papers. First with

Relief of the Sufferers, First with the news

of their Relief of tho

Sufferers.

NARRATOR

— Kane papers scoop the world on the Armistice —

publish, eight hours

beforo

competitors, complete

details of the Armistice terms granted the Germans

by Marshall Foch from his railroad car in the

Forest of Compeigne.

NARRATOR

For forty years appeared in Kane newsprint no

public issue on which Kane papers took no stand*

I



N

E v: s

D I G E S T

8

TITLE:

1895 to 1940

ALL OF TliESE YEARS HE COVERED,

MANY OF THESE YEAIiS HE

V/AS.

NE'.'SREEL SHOTS of San Francisco during and after

tho fire, followed by SHOTS of special trains with

larre streamers: "Kane Relief Organization."

Over these shots superimpose the date — 1906.

ARTIST'S PAINTIMG of Foch's railroad car and

peace negotiators, if actual newsreel shot

unavailable. Over this shot superimpose the

date — 1918.

SHOTS with the date - 1898 - (to be supplied)

SHOTS with

the

date - 1910 - (to be supplied)

SHOTS with the date - 1922 - (to be supplied)

HEADLINES, cartoons, contemporary newsreels or

stills of the following:

1. Woman Suffrage. (The celebrated newsreel

shot of about 1914.)

2.

Prohibition. (Breaking up of a spoukeasy

and such.) *

3. T. V. A.

4« Labor riots.

. >

• I

i

|

t

' s

J

r

i .

1

'

1

1

*

j

1 \

<

•»•



a-9

N E T / S

i

NARRATOR

No Publlo » „ „

h o n K M C h i M e l f d i d M t

^

or denounce

-

o r t

e n a u p p o r t . t h e n d e n o u n a . ;

NARRATOR

I t s hu mble bocirm-fn-*.. «

J

,

-ginnmgs

a

d y i n g d a i l y

—

NAHRATOR

K a n e ' s e s n l r e i* **.

thlrtv

E

*'

h S W

d a

'-

l n l

« °*«

thirty-

sov

«n newspapers I-**, *

M

*, '

thirteen maga

2

i

ne 3

,

a

radio network.

A n ejaDlrc

first „r empire. Th

e

iirst of grocery stor-« ™„

building

, W * U . . apartment

buildings, factories, f

oreata

„

'

l o r e 3 t

3 , oce-an liners —

BARRATOR

An

em

P

i

re

through which

for

f

lftv

^ - unendlns atree

m

.

the

. a " "

7

T " ""'-•

. « * -

« - . .

sold

n

ile....

* " ""

" " > "



N R '7 S

D I G E S T

BRIEF CLIPS of old newsreel shots of

"illiam

Jennings Bryan, Theodore Roosevelt, Stalin,

Walter P. Thatcher,

Al

Smith, HcKinley, Landon,

Franklin D . Roosevolt and such, j (Also, repent

Nazis

Lain

newsreels\ of^^e elderly Kane with

9

as Hitlerjf Goering and England's Ch

and

Chdrch\ll.)

SHOT of a ramshackle buildink with old-"fashioned

presses shg^^ag throufjh plate Vlass windows and

the

na»<f

"Inquirer" in

old>Tashianed

gold

letters. (1892\

\ DISSOLVE

THE MAGNIFICENT INQUIIiER BUILDING of today.

1891 - 1911 A MAP OF THE U.S.A., covering tho

entire screen, which in animated diagram shows

the Kane publications

spreading

from city to

city. Starting from Mew York, miniature newsboys

speed madly to Chicago, Detroit, St. Louis, Los

Angeles, San Francisco, Washington, Atlanta, El

Paso,

etc., screaming, "Wuxtry, Kano Papers, Wuxtry."

SHOT of a large mine going full blast, chimneys

belching smoke, trains moving in and out,

etc*

A

large sign reads "Colorado Lode Mining Co." (1940)

Sign reading: "Little Salem, Colo. , 25 Miles."

DISSOLVE

:

i f

j

M

h



a-10

N E 'V S

NARRATOR

F a n e d

I n

A l M r i c a n l c i

_

a n a

^ ^ ^ ^ ^ ^

Kane

. V r t u n e . . . . „ov,,

t o

boardlns-houa.keeper

Mary Kane, by a

d e r a u l t i n

S

b o a r d e r .

In 1368

™ icrt

th e

auppoaedly

v . o r t h l , a 3 d e e d t o a n

abandoned

„ „e

a h a r t :

ffie O o l o r a d o

^

HARRATOR

F i f t y - s e v e n v e o r s ln t-->« w *

'

l a t o r

'

b e f o r

° a

C o n g r e s s i o n a l

d e s t i n a t i o n ,

™

t c

'

P . c a t c h e r ,

grand o ld

Kane

P a i J e r s

,

a t t a c J : 3

^ . ^ ^ ^ ^

Journe y he

made

a s a y o u t h . . . .



s -

/f ~.

N E 'f S

D I G

-E S T 10

An old still shot of Little Salem as it was 70

years

ago.

(Identified

by

copper-plate caption

beneath

the

still.)

(1070)

SHOT of early tintype stills of Thomas Foster

Kane and his wife, Mary, on their wadding day.

A similar picture of Mary Kane some four or

five years later with her little boy, Charles

Foster Kane.

SHOT

of

Capitol

in

Washington,

D. C.

SHOT of Congressional

Investigating Committer

(Reproduction of existing J. P.

I.Torganvi£v/sreel.)

This runs silent under narration.

j

/^alter P.

Thatcher

is on the sxand. He/is

flanked

by his

son,

"{alter P. Thctcl\or,,^,Jr., nnd other partners .

He is be In j question*? by some Merry Andrew

congressmen.

At

this

foment a

baby alligator

has ju3t

bceri

placed

in\his Ian,

causing

considerable confusion nyid cmbnrra a

anient.

y

/

/

SUP

of.

Tli

E~;SLEEL CLOSEUP

of.

T hatc her, the sound tr ac k

of

whicli

now FADES IN

Thatcher

••••beccuae of t ha t\

t r i v i a l

iuc i t3o. i t .. .

In ves t iga t or

It i s a fa ct , however,

\ s

i t no t,

that

i n 1U70 you d id go \ o

Colorado?

i

i

t:

•I

i

http://iucit3o.it/

http://iucit3o.it/



N EW S

I d i d .

D I G E S T

Thatcher

I n v e s t i g a t o r

In c onne c t i on w i t h t he

Kwne

a f f a i r s ? j

I

Thatcher

Yes.

My firm had been

appointed

trustees by M rs . Kane for the

fortune, which she'had recently

acquirr.-d. It was her wi3h that

I should take charge of this

boy, Charles Foster Kane.

J,

nvestigator

Is i t not a fac t tha t on tha t

oc c a s i on t he boy pe r sona l l y

a t t a c h e d yo u a f t e r s t r i k i n g you

in the s tomach with a s led?

Loud lau gh te r and co nf u s io n.

Tha tcher

Mr. Chairman, I

.will

re a d t o t h i s

committee a

prepared

s ta tement I

have

brou.^ht \?ith

me — and I

will

then

refuse

to answer any f u r th er

q u e s t i o n s . M r . ' Jo h n s o n , p l e a s e

A

ycung

a s s i s ta n t hands h im a 3hee t of paper f rom

a b r i e f c a s e .

/ S ^ V

jThotcher

(reading

Jit)

'With

full

awai ono33

of the meaning

of my words anc. the responsibility

of what I am alout to say, it la ny

considered bel. ef that Mr, Charles

Foster Kan e, in every es3ense of

his social beliefs and by the

dangerous manni ir in which he has

persistently a'stacked tho American

traditions of private property,

initiative and opportunity for

advancement, li — in fact —

nothing moro of leas than a

Communist.'

i

i



N E W S n i O T T R m

NARRATOR

That same

month

in Union Square'.

NARRATOR

And

yet another o p i

n i o n

..

Kane's own.



IT E W S

D I G E S T

12

NEWSREEL OF UNION SQUARE

MEETING, se ct i o n

of

crowd carrying banners urging boycott of Kane

pap ers. A spe ake r i s on the platform above

the crowd.

. I

i i

Speaker

(FADING IN on sound track)

— till

the

word3

"Charles

Foster

Kane" are a menace to every working

man in this land.' He is today what

he has always been and always will

be — a Fascist]

SILENT NE.VSKEEL on aNwindy

platfprm,

flag-draped,

in front of the ma(-;nif\ccnt/fnquirer Building.

On platform, in full ccrtmonial dress, is Charles

Foster Kane;. Ho

ora-tcs silently.

T I T L E :

V

\

" I

AH, HAVE-.3LT /^A;TD

WILL

BE ONLY

ONE

TXl"G

— AN

ALJERICAN."/

CHARLES

FOSTER

KANE

/

Same l o ca l e , Kane shaking hands out of f rame .

J



/

a-13

N E W S D l G V . g m

BARRATOR



NEWS

D I G E S T

1 3

DECK OF BOAT\- Authentic

nev/sreel

i n t e r v i e w o n

a r r i v a l i n lie* York H arb or . Kane i s pos in g f o r

p h o to g ra p h er s \ i n h i s e a r l y s e v e n t i e s ) .

\ Repor te r

This i s a

u n ic rophone,

Kr. Kane.

\

Kane

I know i t ' s

x

a micro phon e . You

p e o p le s t i l l a b l e t o a f f o r d

microphones

with

a l l t h a t n e w

income tax?

\

An embarrassed s m i l e from t h e r a d i o i n t e r v i e w e r .

\

R e p o r t e r

T h e T r a n s a t l a n t i c .broadcast says

y o u ' r e b r i n g i n g b a c k t e n m i l l i o n

dol la rs w o rt h o f a r t o b j e c t s .

I s t h a t c o r r e c t ?

\

Kane \

D o n ' t be l i e v e e v e r y t h i n g y o u h e a r

on the ra d io . Read th e

InquirerJ

onditions

R e p o r t e r

Hcw'd you f in d bu s in ess

ab oa rd , ?. r. Kane?

Kane

How d i d I f i n d bu s i n e s s c o n d i t i o n s ,

Mr. B ones? With g r e a t

diff icultyJ

( l a u g h s h e a r t i l y )

Reporter

Glad to be back, Mr. Kane?

Kane

I'm always glad to get back,

young man. I'm an American.

(sharply)

Anything else? Come, young man V-

when I was a reporter we asked them

faster than that.

fCOHVlNUED)

'J:

=J



a«i4

W A R R A T

0R

Twice m a r r i e d

-

t w l c a

Ai

vw4.ce

d i v o r c e d

*

P r e s i d e n t >

s n l e c e

' "

f l r

* t

to a

.

4

'

^ i y

Norton - ,u

"«- m Wis . .

d l e d

»• -" »» lert

««» t ha l r

e o n .

aeeldent

http://vw4.ce/

http://vw4.ce/

http://vw4.ce/



N E '.V S

D I G E S T

v;-

(CONTINUED)

R e p o r t e r

.,

What do you t h i n k o f t he ch anc es

f o r a Wbr i n E u r o p e ? /

Y ou ng m a n , t h e r e ' l l b e n o w a r .

I h a v e t a l k e d ' w i th a l l t h e

r e s p o n s i b l e l e a d e r s o f t he

G r e a t P o w e r s , a n d I c a n a s s u r e

y ou t h a t E n g l a n d , F r a n c e ,

G erm a ny a n d I t a l y a r e t o o

i n t e l l i g e n t to e m ba rk u p on a

p r o j e c t t h a t m u s t m ea n t h e e n d

o f c i v i l i z a t i o n a s we now know

i f i

T h e r e w i l l b e n o

warl

1 4

DISSOLVE

TITLE:

J0&>\,

FEW PRIVATE LIVES KEBE

KORE PUBLIC

PERIOD STILL of E m il y N or to n (1 9 0 0 ) . DISSOLVE

RECONSTRUCTION o f very \p ld s i l e n t news r e e l o f

w e d d i n g p a r t y o n t h e b a c k lavai o f t h e W h i t e H o u s e .

Many n o t a b l e s , i n c l u d i n g JC a ne , E m i l y ; T h a t c h e r S r . ,

T h a t c h e r J r . , a n d r ecogn izab ly B e r n s t e i n , L e l a n d ,

e t

a l ,

am ong t h e g u e s t s . Al \o s e e n i n t h i s g r o u p

a r e p e r i o d n e w s p a p e r photographers a n d n e w s r e e l

.cameramen. (^900)

Jtffi&y,

/ '



a-15

i l

E

w

S p _ ^

o

E S T

rrX

NARRATOR

TW

ff

e e k s a f t e r

h i s

d i v o r c e r ^

^

°

r C e

f r o a

^ 3 i l y

N o r t o n ,

Kane

m a

r r i e d

Su san

Alexander s W *. .

H a n <„ *

3 l l

* g e r , a t

the

To

Hall i n

T r e n t o n ,

New

J e r s e y .

NARRATOR

For W if e Tw o, one- t i™.

.

- itchiea.;; :;;;;

1

: ;--

ta

«««..d,u,„.

p l

* • « • * « . . co

NARRATOR

Ccneelvea f

or S u s a n A l e x

- r e

a h e d l

v o r e e d h l a >

^ ' . ^ " ^

« —

NARRATOR

One h u n d r e d theaaand t r e e a t

3 o f

Xanadu's

mounta in .



N E W S

D I G E S T

PERIOD STILL of Susan Alexander. DISSOLVE

IS

/

J0&>\

~ ^ ^ ^ " *

a

= ' -

RECOliSTRUCTED

SILENT

i:

B e r n s t e i n e m e r g i n g fr om

i n t o a r i n g o f p r e s s p h o

K ane l o o k s s t a r t l e d , r e c

SREEL.

Kane^Susan and

de doorway o f C i t y H a l l

t o k c a p h e r s , r e p o r t e r s , e t c .

f o r a n i n s t a n t , t h e n

ch ar ge s down upon tae /photogra\phers , l a y in g ab ou t

h i m w i t h h i s s t i ck / smash ing wha teve r h e c a n h i t .

S (19 17)

STILL o f A r c h i t e c t ' s sketoh w i th t y p i c a l l y g l o r i f i e d

" r e n d e r i n g " o f t h e C h i c a g o M u n i c i p a l O p e r a H o u s e .

(1919)

DISSOLVE

A GLAMOROUS SHOT of th e a lm o st f i n i s h e d X an ad u , a

m a g n i fi c en t f a i r y - t a l e e s t a t e b u i l t o n a m o u n t a i n .

(19 2 7-19 2 9 )

SHOTS of its preparation (1920-1929)

SHOTS of truck after truck, train after train,

flashing by with tremendous noi3e.

SHOTS of vast dredges, steamshovels.

SHOT of ship standing offshore unloading into

lighters.

In quick succession SHOTS follow each other, some

reconstructed, some in miniature, some real shots

(maybe from the dam projects) of building, digging,

pouring concrete,

etc.

More SHOTS as before, only this time we see (in

miniature) a large mountain — at different periods

'in its

development — rising out of the sands.

± ]



aaaa

a-16

Jt$V&*..

Q

N E W S

D I G E S T

NARRATOR

X a n a d u ' s l i v e s t o c k :

the

f ow l

of the ai r , the

f i s h

o f

the se a, the

b e a s t

of the

f i e l d

and

J ung l e

—

t.vo o f

e a c h ;

the

b i g g e s t p r i v a t e

zoo

s i n ce N oah .

C o n t e n t s

of

X an ad u's p a l a c e : p a i n t i n g s , p i c t u r e s ,

s t a t u e s ,

and

m ore s t a t u e s ,

the

v e r y s t o n e s

of

many

a n o t h e r p a l a c e , shipped

to

F l or i d a f rom e ve ry

c o r n e r

of the

e a r t h . Enough

for ten

museums.

—

T h e l o o t

of the

w or l d .

NARRATOR

Kane urged

h i s

c o u n t r y ' s e n t r y

Into

one war.

- •

— O p p o s e d p a r t i c i p a t i o n

In

a n o t h e r .

- -

— Swung

the

e l e c t i o n

to one

Ame r ican Pr e s i d e n t

at l east - - so fur iou sly attacked another as to be

blamed for h is death — cal le d hi s a ss is aln - •

burned In effigy.



N E W S

D I G E S T

1 6

SHOTS o f e l e p h a n t s , a p e s ,

z e b r a s , e t c . , b e i n g

h e r d e d , u n l o a d e d , s h i p p e d , e t c . in v a r i o u s w a y s .

SHOTS o f p a c k in g c a s e s b e i n g u n lo a d e d f ro m s h i p s ,

f ro m t r a i n s , f ro m t r u c k s , w i t h v a r i o u s k i n d s o f

l e t t e r i n g on them ( I t a l i a n , A r a b i a n , C h i n e s e , e t c . )

b u t a l l c o n s i g n e d t o C h a r l e s F o s t e r K a n e, X a n ad u ,

F l o r i d a .

ma^n t

A g r o u p o f p e r s o n s i n c l o t h e s o f the ' 'per iod o f

A

RECONSTRUCTED

STILL o f Xanadu — th e

terrace.

1929. .In the

Kane and Susan

/

r m i d s t ,

>

A 7

l e a r l y r e c o g n i z a b l e , a r e

TITLE:

FROM XANADU, FOR THE PAST TWENTY-

FIVE YEARS, ALL KANE EHTERPRISES

HAVE B EES DIREC TED , MANY OF THE

NATION'S DESTINIES SHAPED.

SHOTS of v ar io u s authe nt ica l ly w o r d e d h e a d l i n e s

o f A m e r ic a n p a p e r s s i n c e

1 8 9 5 .

.

Sp an is h-A m eric an War SHOTS.

(1898)

A g r a v e y a r d In France o f the World War and

h u n d r e d s o f c r o s s e s . ( 1 9 1 9 )

OLD HFiVSREELS o f a p o l i t i c a l c a m p ai g n.

J ^

{



o-17

WE WS

n

T

„

r n

\

)

NARRATOR

Kane, molder of mass opinion though ne was,

a l l h i s l i f e was n ev er g r an ted

elect ive

of f i

by the vo ters o f h is count ry .

Few U.S. nev/s pu bl is he rs have been . Few, l i k

one-t ime Congressman Hearst , have ever run

fo

any of f ic e - - most know b e t t e r — conclude w

o t h e r p o l i t i c a l o b s e r v e r s t h a t no m a n 's p r e s s

has power enough fo r hi m se lf . B ut Kane paper

were once strong indeed, and once the prize se

a lm o s t h i s . I n 19 16 , a s

Independent

Candidate

for Governor , the best e lements o f the Sta te

behind him — the

White

House seemingly the ne

e a sy s t e p in a l i g h t n i n g p o l i t i c a l c a r e e r —



N E W S

D I G E S T

17

NIGHT SHOT o f c ro wd b u rn i n g C h a r l e s Fos te r Kane

i n e f f i g y . T he dummy b e a r s a g r o t e s q u e , c o m i c

r e s e m b l a n c e t o K a n e . I t i s t o s s e d i n t o t h e f l a m e s ,

w h i c h b u m u p —

-- and then down (1916)

FADE OUT

TITLE:

IN POLITICS — ALWAYS A

BRIDESMAID,

.-EVER

A BRIDE

NEWSREEL SHOTS o f g r e a

b u i l d i n g — M a d is on S q u a r e

SHOTS in s id e th e vast an

p i c t u r e o f

/

\

SHOT OF BOX containing the firs

t crowds streaming into a

which is a huge

rden — then

lum, at one end of

Kane.

(1916)

Kane and

y o u n g C h a r l e s F o s t e r K a ne

a c k n o w l e d g i n g t h e c h e e r s

(1916)

9 1 / 2 . T h e y a r e

c ro w d . (SILENT SHOT)

NEWSREEL SHOT o f d ig n .

K a n e a l o n g s i d e o f spea

u p r a i s e d t o s i l e n c e

t a r i e a ^ o n p l a t f o r m , w i t h

• s t a b l e , b e a m i n g , h a n d

rovvd. (SILENT SHOT) (1 91 6)

«'

, * '

m

;

i

r '

j

•

•

1

H



a-18

N E W S D I G E S T

NARRATOR

T h e n , s u d d e n l y

-

i

0 S 8

t h a n o n e week b e fore

e l e c t i o n - defeat S h a m e f u l , i g n o m i n i o u s .

, -

D e f e a t t h a t s e t b a c k f o r t w e n t y

years

t h e

cause of Reform

in' t: -^ ?•

«

*

• *"

8 J

*

s

'» forever

c a n c e l l e d

P o l i t i c a l

c h a n c e s f o r C h a r l e s F o s t e r K a n e .

T h e n i n t h e t h i r d

vesr « r *.. I

i w

y e a r o f

t i c g r s a t

d e p r e s s i o n . . .

I

-

t o a l l

publ i

S

hers

i t

sometimes

u m t

. . ^ '

d o s e s '

Fo r K ane ,

ta f o u r S f t o r t

p

. . . „.

r

-

o r t

^ e a r s :

col lap se J

E le .en

K ane paper s

f«.,« v

P P o r s , f o u r Ka ne m a g a z i n e s m e r g e d ,

Horo s o l d , s c r a p p e d - .



N E W S D I G E S T

1 8

NEVYSKEEL

SHOT -

closeupJ VfKai e

d e l i v e r i n g

s p e e c h ^ a 9 l 6 )

)NT

R

HE FRONT PAGE o f a

contompora

A G 1

•

h e a d l i n e — T w i n p h o t o s ' o f K a n e

H e a d l i n e r o a d s

)IDATE

KANE

„

IN"

LOVEiTE ST

WITH ' SINGER"

- / a s c r e a m i n g

a n . ( 1 9 1 6 )

PRINTED TITLE ab o u t d e p r e s s io n .

ONCE MORE REPEAT THE MA? OF

THE

U . S . A . 1 9 3 2 - 1 9 3 9 .

S u d d e n ly t h e c a r t o o n g o e s i n t o r e v e r s e , t h e e m p i r e

b eg in s to s h r i n k , i l l u s t r a t i n g t h e n a r r a t o r ' s w o r d s.

TEE DOOR OF A NEWSPAPER OFFICE w i t h t h e s i g n s :

" C l o s e d . "

F ^

V.

i - J J



a-19

N E W S

D I G E S T

NARRATOR

T h en f o u r l o n g y e a r s m or e — a l o n e i n h i s

n«vor

f i n i s h e d ,

already

d e c a y i n g , p l e a s u r e

p a l a c e ,

aloof,

se ldom v is i ted , never photograp

Ch ar l e s Fo s te r Kan e co n t in ued to d i r ec t h i s

f a i l i n g

empire.. .vainly

at tempted to sway, as

he once d id , the d es t i n ie s o f a na t io n t ha t ha

ceased to l i s t e n to

him.. . .ceased

t o t r u s t

h i m . . . .

NARRATOR

T h en l a s t w e e k, a s i t m u s t t o a l l m e n ,

d e a t h c a m e t o C h a r l e s F o s t e r K a n e .



N E W S

D I G E S T

19

SHOTS OF

XANADU ^(1940)

SERIES OF

SHOTS e n t i r e l y

m o d e m

j u m p y a n d o b v i o u s l y bootlegged,

a b a t h c h a i r ,

swashed

i n

steeme

h i s r o s e g a r d

( 1935 )

>U£

e r a m b u l a t e d

thj

f i g u r e i n

the s u n s h ;

EX T. THE NEW INQUIRER B UILDING, NEW

v

0 R K

(PAINTING AND DOUBLE PRINTING)"

NIGHT (1940)

A moving electric sign, similar to the one on the

Times Building

--

spells out the words:

"CHARLES

FOSTER KANE - DEAD."

X



INSERT

POOR with\

the

sim "PROJECTION RCO?f

l

on

it.

INT.

PROJECTION'-RfDM

- DAY - 1940

16 (A fairly large one, with a long throw to the screen.)

It

is

dark. Present

?.re the

editors

of a

"News Digest"

short, and of the Rawlston magazines. Rawlston himself

is also present. During this scene, nobody's face

is

really seen. Sections

of

their bodies

are

picked

out by

a table li-ht,

a

silhouette

is

thrown en

the

screen,

and

their faces

and

bodies

are

themselves thrown into

silhouette a :ainst the brilliant slanting rays of light

from

the

projection booth.

\

That ' s i t .

THOMPSON

\

\

He rises,

l ight ing

a c i -a r et te , and s i ts on corner of

table. There is

nove:r.cr.t

of men sh if ti ng in sea ts and

l ighting c igarettes .

\

FIRST .'UN

(into nhone )•

Stand

by. I'll

tell

you if we

want

to run it

a<?a'VLn.

(hangs up)

attn

\

TalOIIFSON

Well? - - How about i t , Mr.

Pawls tor. ?

\

RAWLSTON

(has r isen)

\

How do you l i k e i t , boys?

A short s i len ce .

SECOND

HAit

(well

- - e r — \

( \

{ THIRD MAN

\

Almost (Seventy year s of a man's ^.ife - -

together ( \

(

F01TRTH

HAN \

(That ' s a l o t to t r y to

get\

{into

a

newsreel - -

,

Thompson turns

on the

tnble lamp.

< 1



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r-t

0}

55

O

EH

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I s *

§H P]r-4

O

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0} O

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•A O.A <0

* B n C+ 3

~*>*o u

OJ O •'+» -P C j M

cJ +» o)

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« 4J <o

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M J3 < < « t l P

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L



16 (CONTINUED)

Death

soeech

V-

SECOND MAN

\RAWLSTON

What were the last words Kane

said on earth?

\Maybe

he told

us all about himself on his

deathbed.

THOMPSON

Yes, and maybe he\didn't.

Maybe —

RAWLSTON

(riding over

him) .

All we saw on that apreen was

a big American —

(walks toward

the screen)

THIRD MfcN

One of the biggest.

RAWLSTON'

But how is hs different rrom

Ford? Or Hearst for that

matter? Cr Rockefeller -\- or

John Doe?

There is a murmur of accord.

RAWLSTON (coht'd)

(walks toward

Thompson)

I tell you, Thompson -- a

man's dying ?/ords --

SECOND MAN

W ha t w e r e t h e y ?

THOMPSON

( t o S e c o n d

Kan)

You d o n ' t r e a d t h e p a p e r s .

L a u g h t e r .

2 2

(CONTINUED)



16 (CONTINUED)

\

RAWLSTON

When I'.r. Charles Foster Kane

died he said just one word —

\

Rosebud

THO.'IPSON

'FIRST MAN

(Is that what

he

said? Just

(Rosebud? \

<

1

(

SECOND

MAN

Almost (Umhum — Rosebud\ —

together ( \

( FOURTH MAN

(Tough guy, huh?

( (derisively)

(Dies calling for RosebudI

Laughter.

RAWLSTON

(riding over

them)

Yes, Rosebudl

-- Just that one

word I — But who was she —

Or what was it?

SECOND

Tittering.

RAWLSTON

Here's a man who

mi#it

have

beer.

President.

He's been

loved and hated and talked

about as much

as

any man in

our time -- but when he comes'

to die, he's got something on

his mind callad

'Rosebud.'

What does that mean?

THIRD MAN

;i race horso ho bet. on onco,

probably --

FOURTH MAN

Yeah -- that didn't come in

-«

23

(C0NTJK1

i i

i

r

j

11

J

(I



16 (CONTINUED)

, RAWLSTCN

All right

--

(sUrldes

toward Third

and Fourth

Meri)

But what W s

the

race?

There

is a

short silence.

] l e i

ThompsonI

RAWLSTON (cont'd)

THOMPSON

Yes,

Mr.

Rawlston.

I RAWLSTON

Hold the piciure up a week -•

two weeks if iyou hava to —

\

\

THOMPSON

(feebly)1

Don't you think, r ig ht after

his death, i f we re lease i t

now — i t might be better

than — '

IWLSTON

(dec is ive ly ;

cutting in on

above speech)

Find

out about

Rosebud1

- -Go

afte r everybody tha t knew him

that manager of

His

—

(snaps 1

fingers)

|

- - Bernstein.

- - jHis

second

wife — she's s t i ^ l l iv ing - -

THOMPSON

S u s a n A l e x a n d e r Kane - -

SECOI'D MAN

She's running a

n i m t

club in

Atlan t i c Ci ty —

24

(CONTINUED)

• vlUk

4

I

i

I '



X<5 (CONTINUED)

FAWLSTOK

: rossos t o

I'json)

S ee ' e m N a i l . — A l l t h e people

who worked f o r h im — who l i v ed

h im - - wh<» h a t ed h i s g u t s / -

(pausaj "'

/

I don ' t mean

RO

t h r o u g h

ihe

C i t y D i r e c t o r y , of

course

/

The Third Man ^ives a h«arty "yes-man" lauch. Others

titter. \

/

•

THOMPSON

(rising)

I'll get to it ,-ri

Mr. howls ton. /

away,

RAKLST\)K

(pp.ts

h i 3

arm) /

Goodl R os ebud dead o r \ i l l vc l

I t ' l l p r o b a bl y t u r n ou t \ t o be

a ve ry simple t h i n g .

\ FADE OUT

/

/

( 'C7E:

I'ow begins th'j

story oropcr — the search by

Thor.rso:i for the facts about Kane -- his Researches

his Interviews with tho poople who knew Kane.)

.1

> i

http://illvcl/

http://illvcl/



FADE IN

EXT. CHEAP CABARET - 'EL ••..-••"CIIO" - ATLANTIC CIT Y - NIOHT

1 9 4 0 -

(.V.INIATURE - HA

IN)

17 T he f i r s t

iirage

t o r e g i s t e r i s a s i g n :

"EL

RAMC.IO"

F l o o r S h o w

S u s a n A l e x a n d e r K a ne

T w i c e N i g h t l y

These

w o r d s , s p e l l e d o u t i n n o o n , gl o w o u t o f t h e

d a r k n e s s . T he n t h e r e i s

l i g h x n i n g

w h i c h r e v e a l s a

s q u a l i c

r o o f - t o p on w h i c h t h e s i g n / s t a n d s .

CAi-ERA

MOVES CLOSE

t o t h e s k y l i g h t . " '3

s e e y t i i r o u f h

t h e s k y l i g h t do wn i n t o

t h e c a b a r e t .

D i r e c t l y k el ow

a t a t a b l e s i t s t h e l o n e

f i g u r e o f a w o m an ,

d r i n k i n g

b y

herse l f .

DISSOLVE •

18

I N T .

"EL

RANC'HS"

CABARET - *)IGHT

- 1 5 4 0

T he Ions f i g u r e a t t h \ t ; b l e i s S u s a n . She i s f i f t y ,

t r y i n g t o l o o k m u c h y o \ n

t t

er , c h e a p l y

klon:led,

i n a c h e a p ,

e n o r m o u s l y g e n e r o u s

eve i i i ng

d r e s ' s . T h e s h a d o w s o f

T hompson

and

t h e

Capra i :v n re

s e e n m o v i n g t o w a r d t h e t a b l e

f r o : ; :

d i r e c t i o n o f

d o . - . r v : a ' \

T h e

Captair.

a p p e a r s , c r o s s e s

t o Svsan r-nc s t ' . nd s b e h i n d h e r . T ho m ps on m o v e s i n t o t h e

p i c t u r e i n c l o s e f.^.

h i s \

,

: a c k

t o c a m e r a .

CAPTAIN

( t o

Susan)

K i s s A l e x a n d e r —

t h i s

i s

M r . T h o m p s o n , : '

:

iss Alexander .

SUSAN

( w i t h o u t

l o o k i n g u p )

I w a n t a n o t h e r d r i n k , J o h n .

L o w t h u n d e r f r o n o u t s i d e .

CAPTAIN

R i g h t

a w a y ,

' . ' . ' ill

y o u h a v e

s

o.ne

t h i n g,

Mr •

Thomps on

?

N

THOMPSON

(starting to

sit down)

I'll have a highball.

(CONTINUED)

v.

i i '



18 (CONTINUED)

SUSAN

\

(looks at

\ Thompson)

Who\told

you you could 3it

down-here?

THOMPSON

I thought maybe we could have

a drink together.

Think again I

SUSAN

There is an awkward pause.

\

SUSAN (cont'd)

Why don't you people let me

alone? I'm minding my own

business. You mind yours.

..THOMPSON

If you'd Just let me talk to

you for a little while, Miss

Alexander. All I want to

ask you —

\

SUSAN

Get out of here I \

(almost \

hysterical) \

Get out I \

(rising)

I'm sorry.

Get

out.

THOMPSON

\

SUSAN

\

THOMPSON \

Maybe some other time -- \

Get out.

SUSAN

\

Thompson looks up at the Captain. The Captain indicatea

the door with a slight jerk of his head, then walks away

from

the table

toward

a waiter who is leaning against the

wall in front of tho door. Thompson follows.

(CONTINUED)



1 8

(CONTINUED)

2 8

\ .

CAPTAIN

Gino

— get

\ier

another

highbal l .

( to

Thompson

as he parses

them) \

She's just

notj

ta lk in g to anybody,

Mr. Thompson.

\

THOMPSON

O k a y —

(walks to

phone booth)

WAiTER

Another double?

\

CAPTAIN

Yeah

—

During above Thompson

has

dropped coin into phone slot

'and dialed long distance operator

(112).

The waiter

exit3 for the drink.

THOMPSON

(into phone)

Hello — I want Mew Yo*k City —

Courtland 7-9970....

The Captain steps closer

to the

phone booth.

THOMPSON (cont'd)

This

is

Atlantic City

4-6827 —

All right —

(puts coins

into slot; turns

to Captain)

Us-? — do you

think

she oug it

to have another drink? • \

CAPTAIN

Yeah. S he ' l l snap out

o f • i t i

Why, u n t i l he d ie d, she' d just

as soon t a l k about Mr. Kane

as about anybody . Sooner —

[CONTINUED)



18 (CONTINUED)

THOMPSON

( i n t o \ p h o n e )

H e l l o - - t h i s i s T h o aDso n .

L e t me t a l k \ t o t h e Chief, w i l l

you?

( c l o s e s \ b o o t h

d o o r )

H e l l o , M r . R a w l s t o n . S he w o n ' t

t a l k —

29

•

r-Ksr

During above, waiter enters

and

sets highball

in

front

of

Susa n. She drink s thirstily.

Who — ?

ALSTON'S VOICE

THOMPSON

The second Mrs . Kane — about

Rosebud or anyth ing e l s e

I

I ' m

c a l l i n g f r o m A t l a n t i c C i t y .

Make her ta l k I

RAY/tSTON'S VOICE

THOMPSON

A l l r i g h t — I' m goihg over to

P h i l a d e l p h i a i n t h e m o r n in g —

t o t h e T h a t c h e r L i b r a r y , t o t a k e

a l o o k a t t h a t d i a r y to f h i s - -

t h e y ' r e e x p e c t i n g r a e . l T h e n

I ' v e £ot a n a p p o i n t m e n t i n Kew

Y o r k w i t h K a n e ' s general manager —

w h a t ' s h i s nam e — B e r n s t e i n .

T hen I ' l l come b ack h e re .

S ee ev ery b o d y .

RAWLSTON?3 VOICE

THOMPSON \

Yes, I ' l l se e e v e ry b o d y

\-

t h a t ' s s t i l l a l i v e . G oo d-b ye ,

Mr . R aw l s t o n . \

( h a n g s u p ;

l

o p en s d o o r ) \

Hey — e r —

Jo h n —

CAPTAIN

(CONTINUED)

J



16 (CONTINUED)

John -- yoi \

to he lp me,

t a l k about

ever happen

— about* Rose

THOMPSON

j u s t m i g h t b e a b l e

Whon s he u s ed to

ne — d i d 3 he

o s e y a n y t h i n g

( l o o k s ovej

a t S u s a n )

Rosebud?

JAPTAIN

T hom pson s l i p s h im a b i l l .

CAPTAfU

( c o n t ' d )

( p o c k e t i n g i t )

Oh,

tiiank

y o u ,

."j?.

Thompson.

T h a n k s. As a n a t t e r oA f a c t ,

j u s t t h e o t h e r d a y ,

v/hei

a l l t h a t s t u f f v;ca i n tl

p a p e r s — I a s k e d

She ne ve r ho a rd o f Rosel

FADE OUT



FADE IN

3 1

I N T L T I ' A T C H E I L

MEMO

RIAL

LIB RA HY

'A'.

r

- 1 9 4 0

A noble interpretation of M r. Thatcher himse lf, executed

in expensive marble, his stone eyes fixed on the camera.

We MOVE DOWN off of this, showing the pedestal on

which

the words,

"".alter

Farks Thatcher" are engraved.

Immediately below the inscription v/e encounter, in a

MED. SHOT, Bertha Anderson, an elderly, mannish spinster,

seated behind her de sk. Thompson, his hat in his hand,

i3 standing before her.

BERTHA

(into a phone)

Yes. I'll take him in now.

(hangs up and

looks at

Thompson)

The directors of the Thatcher .

Memorial Library have asked

me to remind you again of the

condition under which you may

inspect certain portions of

*.'r.

Thatcher's unpublished

memoirs. Un-ier no circumstances

are direct quotations from his

manuscript to be used by you.

THOMPSON

That's all right.

BERTHA

You may come with me .

She rises and starts tov/ards a distant door.

Thompson follows.

DISSOLVE

I??T. THE VA

T

TLT HOOM -

TrATCK^

MEMORIAL LIBR ARY - DAY -

1 9 4 0

20 A room with all the warmth and charm of Napoleon's tomb.

As we DISSOLVE IN, the door opens in and we see past

Thompson's shoulders tho length of the room. The floor

is marble. There is a gigantic, mahogany table in the

center of everything. Beyond

this

la a safe from which

a guard, with a revolver holster at his hip, is

extracting the journal of V.alter P. Thatcher.

<fe

brings it to Bertha.

BERTHA

( t o t h e g u a r d )

P a g e s

e i g i . t y - t h r e e

t o o n e

h u n d r e d an d f o r t y - t w o , J o n n l n g a .

(CONTINUED)

} .

4;

Hi.



20 (CONTINUED)

QUA 3D

Y e s ,

Miss

Anderson.

BERTHA

( to

Thompson)

You wil l confine yoursel f, i t

i s

our

u n d e r s t a n d i n g ,

to the

/

chapte r

d ea l ing with Mr.

K a n e . -

y

/

THOMPSON

That's all I'm interested in.

BERTHA

You will be required to leave

this room at four-thirty promptly.

She leaves. Thompson starts to light a cigarette. The

guard shakes his head. V.ith a sigh, Thompson bends over

to read the manuscript. CAME.'A MOVES,DOWN over his

shoulder onto page of manuscript.

KANE

print , f i f ty

INSERT NAKUSCHIFT,

neatly and

p rec i se l y

written:

\

"CHARLES FOSg

When these lines appet

years after my death/' I

am

confident

that the whole 7/orld will agree with my

opinion cf Charles

/

Foster Kane, assuming

that he is not

t)zen

completely forgotten,

which I regard 4s extremely likely. A

good deal of nonsense has appeared about

«my first meeting

with'Kane,

when he was

six years old....The facts are simple.

In the Winter of 1870..X."

DISSOLVE

21

22

#

r B R

N

EXT. MPS.

KANE'S BOARDINGHOUSE - DAY -

1870

THE WHITE OF A GREAT FIELD OF

&..0W

'- In the same

position as the la'et word in above INSERT, appears

the tiny figure of^Charles Foster Kane, aged five. He

throws a snowball

&\

the camera. It sails toward us

and out of scene.

REVERSE ANGLE - on the house, featuring a large sign

reading:

MRS.

KANE»S\B0ARDINGHOUSE

HIGH CLASS MEALS AND LODGING

INQUIR E \ WIT KIN

Charles Kane's snowball hits the sign.

l v



T-nsri

/

/

3 3

INT. PARLOR

-

MRS. KANE'S BOARDINGHOUSE - DAY - 1 87 0

23 CAMERA IS ANGLING th r o u g h th e window , b u t th e w indo w- fram e

i s n o t c u t i n t o s c e n e . We s e e o n l y t h e f i e l d o f sn ow

a g a i n . C h a r l e s i s m a n u f a c t u r i n g a n o t h e r s n o w b a l l . Now —

CAMERA PULLS BACK, t h e fr am e of t h e window a p p e a r i n g , and

we a r e i n s i d e t h e p a r l o r of t h e b c a r d i n g h o u s e . 'lira. Kane,

a g e d a b o u t 2 8 , i s l o o k i n g o u t t o w a r d s h e r s o n .

MRS.

KANE

( c a l l i n g o u t )

B e c a r e f u l , C h a r le s

I

t :

Mrs. Kane —

THATCHER'S VOICE

MRS.

KANE

( c a l l i n g o u t

the window)

P u l l y o u r m u f f l e r a r o u n d y o u r

n e c k , C h a r l e s —

B u t C h a r l e s

run3

away . Mrs . Kan e t u rn s i n t o came ra an d

we sec h e r f ac e — a 3 t ro n g f a c e , wo rn an d

kind.

THATCHER'S VOICE

I t h i n k w e ' l l h a v e t o t e l l h i m

now —

CAMERA NOW PULLS BACK FURTHER, sh ow in g T h a t c h e r s t a n d i n g

b e f o r e a t a b l e o n w h ic h i s h i s s t o v e - p i p e h a t a n d

d o cu me n t s . He i s 2 6 an d a v er y s t u f f y y o u n g man .

:

MRS. KANE

I ' l l s i g n t h o s e p a p e r s n ow ,

M r . T h a t c h e r .

KANE, SR.

Y ou p e o p l e s ee m t o f o r g o t t h a t

I ' m t h e b o y ' s f a t h e r .

At the sound of Kane,

S r . ' s

v o i c e , b o t h h a v e t u r n e d t o h im

and

CAI.IERA

PULLS BACK s t i l l f u r t h e r , t a k i n g h i m

i n .

MRS. KANE

I t ' s g o i n g t o b e d o ne e x a c t l y

t h e w a y I ' v e t o l d M r, T h a t c h e r —

(CONTINUED)

;

\

J



23 (CONTINUED)

34

KANE, SR.

I f I wan t t o , I can go to c o u r t .

A f a t h e r h a s t h e r i g h t t o — A

b o a r d e r t h a t b e a t s h i s b i l l an d

l e a v e s w o r t h l e s s s t o c k b e h i n d /

— t h a t p r o p e r t y i s j u s t a s /

m uch my p r o p e r t y a s a n y b o d y ' s

i f i t t u r n s o u t t o b e v a l u a b l e .

I knew Fred Graves and i f he ' d

had any idea th i s was go ing to

happen — he ' d have made out

t h os e c e r t i f i c a t e s i n b o th our

names —

THATCHER

However, th ey were made ou t in

M r s . Kane ' s name .

KANEHe owed th e money f o r the b oa rd

t o b o t h o f u s . B e s i d e s , I d o n ' t

ho ld w i th s i gn in g my boy away to

a n y b a n k a s g u a r d e e n j u s t b e c a u s e - -

MRS. KANE

( q u i e t l y )

I w a n t y o u t o s t o p a l l t h i s

n o n s e n s e , J i m . /

THATCiiER

T he B a n k ' s d e c i s i o n i n a l l

m a t t e r s c o n c e r n i n g h i s e d u c a t i o n ,

h i s p l a c e s o f r e s i d e n c e an d

s i m i l a r s u b j e c t s a r e t o b e f i n a l .

•' KANE, SR .

The idea

of

a b a n k b e i n g t h e

g u a r d e e n . .

/

Mrs .

Kane ha s me t h i s ey e . Her t r i u m ph ove r h im f in ds

e x p r e s s i o n in h i 3 f a i l u r e t o f i n i s h h i s s e n t e n c e .

MRS.

KANE

(even more

q u i e t l y )

I w a n t y ou t o s t o p a l l this

nonse nse , J im*

;

THATCHER

We will

assumo full

management

of the Colorado Lode -- of which

you, Mrs. Kono, I repeat, are

the sole owner.

. &

(CONTINUED)



25 (CONTINUED)

24

Kane,

Sr. opens his month onco or twice, as if to

say

something, but. chokes down his

opinion*

/

/

MRS. KANE

W h e re d o I s i ^ n , M r . T h a t c h e r ?

/

THATCHER

R i g h t h e r e , K i rs . K a n e . /

/

./

KANE, SR. /

(sulkily)

Don't say I didn't warn you —

Mary, I'm asking you for the

last tir.o — anyone'd think I

hadn't

beer,

a good husband and

a --

Mrs.

Kane looks at

hi.::

slowly. He 3top3 hi3 speech.

/

THATCHER

The sum of fifty thousand

dollars a year is to be paid to

yourself and

I.r.'Kane

as

long

as you both live, and thereafter

tho survivor -

J

Kane

signs.

VA\V£,

S R .

W e l l , l e t ' s h o p e i t ' s a l l f o r

t h e b e s t . .'

MHS.

KANE

I t i s . — Go o n , M r . T h a t c h e r —

M r s . K a ne , l i s t e n i n g t o T h a t c h e r , o f c o u r s e , h a s h a d h e r

o t h e r e a r b e n t I n t h e d i r e c t i o n o f t h e b o y ' s v o i c e . K a n e ,

S r . w a l k s e v e r t o c l o s e t h e w i n d o w .

/

EXT. . 3 3 . KANE'S 30AP.Di:*GHOUSE - DAY - 1870

i *

/

K a n e , J r . , s*en f ro m t h o v . i n d o w . He i s a d v a n c i n g o n t h e

snov.ir.ari, s nowba l l s i n h i s h a n d s . He d r o p s t o o n e k n e e .

KANE

t f t h e r e b e l s wunt a f i g h t b o y 3 ,

d i e t ' s g i v o i t t o 'eruj T h e t e r m s

a r o u n c o n d i t i o n a l s u r r e n d e r . Up

a n d a t

' e m

T h e U n i o n f o r e v o r l

4

*

«

i

1

i

•

i

r

\

1

|

1

I

<

J

tf

i

. /

.

•

.

http://snov.ir.ari/

http://snov.ir.ari/



I N T .

PAW OR

-

M

p

.3 .

KANE'S BOARDINGHOUSE

- DAY - 1 8 7 0

3

\

25 Kane,

S r . ,

c l o s e s t h e w i n d o w .

THATCHER,

E v e r y t h i n g e l s e — t h e / p r i n c i p a l

a s w e l l a s a l l

monies,-eerned

—is to be

administered

b y t h e

b a n k i n t r u s t f o r y o u r s o n ,

Charles F o s t e r K sfle , u n t i l h i s

tw e n ty - f i f t h b i r t h d a y , a t w h i c h

t i me h e i s t o crime i n t o c o m p l e t e

p o s s e s s i o n .

Mrs. K an e r i s e s a n d g o e s t o t h e w i n do w , o p e n i n g i t .

/

MRS. KANE

Go o n , M r . T h a t c h e r .

EXT.

MRS.

KANE'S

=0AKPI%'C-H0USE -

PAY - 18 70

2 6 Kan e , J r . ' , s e en f ro m t h e wi n d o w.

KANE

Y o u c a n ' t l i c k A n d y J a c k s o n l

O ld H i c k o r y , t h a t ' s me I

He f i r e s h i s s n o w b a l l , w e l l wide c f t h e mark an d f a l l s

f l a t o n h i s s to : . - ach , s t a r t i n g t o c r a w l c a r e f u l l y t o ward

the snowmpn. '

\

TKATCKEnVS VOICE

I t ' s n«=arly f i v e , M r s . K a ne ~

d o n ' t y o u t h i n k

I'd-better*-meet

t h e b o y - -

INT. PAHLOR - MPS.

K/NE'3

FOARDIKOHOUSE - PAY - 1870

£ 7 Mrs . Kene a t t h e w i nd ow . T h a t c h e r / i s now s t a n d i n g a t

h e r s i d e . '

MRS.

KANE

I ' v e g o t h i s t r u n k / l l p a c k e d —

( s h e c h o k e s

a l i t t l e )

I ' v e h a d i t packed f o r a c o u p l e

of weeks —

yfW^'^v

ZK6t

S h e c a n ' t s a y a n y

m o r e .

S he s t a r t s f o r th e h a l l d o o r .

(CONTINUED)

•

1

1

*

•:

1 * i .

1 • 1

i ;

*

i

i

•

,

•

\

1

1

a

•

: r

» .

1

t

;

- /



g7 (CONTINUED)

37

THATCHER

I've arrnnged for a tutor

mpet

UF

In Chicago* I'd hav e

brought him along with me, but

you were so anxious to/keep

everything secret —

/

He stops. Mr3. Kane

is

al:

looks at Kane, Sr., tight

Kane. Kane follows him.

ready well into the hall. He

hl3 lips and follows Mrs.

28

EXT.

MRS. KANE'S BOARDINGHOUSE - DAY - 1870

Kane,

in the snow-covered field. He holds the sled in

his hand. The Kane house, in the b.g., is a

dilapidated,

shabby, two-story frame buildlnr, with a wooden outhouse.

Kane look3 up as he sees the procession, Mrs . Kane at .

its head, coming toward him.

KANE

H'ya, Mom.

(gesturing at

the snowman)

See, Mom? I took the pipe out

of his mou th. If it keep3 on

snowin',

maybe I'll make some

teeth and —

MRS. KANE

You better come inside, son.

You and I have got to get you

all ready for — for —

THATCHER

Charles, my name is Mr. Thstcher

MRS.

KANE

This is

Mr.

Thatcher, Charles.

THATCHER

How do you do, Charles.

KANE,

SR.

He cornea from the East —

K/NE

Hello. Hello, Pop.

Hello, Charliel

KANE,

SR.

\

\

(CONTINUED)

..

'..

T T V i .

...



2 8

(CONTINUED)

J$ft**\,

3fi

MRS. KANE

M r . T h a t c h e r i s goin.7 t o t ak e

y ou o n a t r i p vlth him t o n i g h t ,

C h a r l e s .

Y o u ' l l bn l e a v i n g on

Number Ten.

T h a t ' s t h e

l i g h t s .

KANE, SR.

t r a i n w i t h a l l t he /

KANE

Y ou g o i n ' , M om ?

THATCHER/

Y ou r m o t h e r w o n ' t be- gping

r i g h t a w ay , C h a r l e s - 7

/

KANE/

Whtire'm

I g o i n g ?

KA-NE, SR.

Y o u ' r e g o i n g t o *

-

ee Ch i cag o an d

New York — and

7 e r h i n g t o n ,

m a y b e , . . I s n ' t h e , M r . T h a t c h e r ?

/

. THATCHER

(heartily)

He cortninly is . I wish I were

a little boy and going to make

a trip like th?t for the first

time •

/

/

KANE

V.hy a r e n ' t y o u com i n ' w i t h u s ,

Mom? /

/

We

h av *

MRS.

KANE

t o s t a y h e r e , C h a r l e s .

/ KANE, SR .

YouVre g o i n g t o l i v e w i t h M r .

T h n r c h e r f ro m now o n , C h a r l i e

Y o u ' r e g o i n g t o b e

r i c h *

Your

Ma,

f igu res — t h a t i s « e r - -

she and I htve decided t hr t

t h i s i s n ' t t h e p l a c e f o r y ou t o

grow u p i n . Y o u ' l l p r o b a b l y b e

th e r i c h e s t mnn In America some

day and you o u g h t t o —

MRS. KANE

You w o n ' t b e l o n e l y , C h a r l e s . . .

(CONTINUED)

:

*

t

1

i

J

*

i

1

;

>

^T

%

i

'

\

i

i

1

i

• i

i

1

•

• ;

i:

»

i

V

i

;



29

(CONTINUED)

39

/

THATCHtR

..e'ro c.oing

to

have

a lot of

good

tir.'.es

together, Charles. .

Really

v;e

are.

Kane stares

at him.

•

:

THATCETiR (.cont'd)

Cone on, Charles. Let's shake

hands.

(Kane continues

/

to look ft him) /

Nov/, now I'm not as

/

•frightening ns all that I

Let's

shake, whrt do you soy?

He reaches out for Charles' hand.

..'ithout

a word,

Chsrles

hits

him in the

stoxach

v-ith

the

sled. Thatche:

3tumble3 btck f fev-

feet,

gasping.

TUATCir-CR (cont'd)

(with a sickly

grin)

You clrost hurt

re,

Charles.

Sleds aren't to hit people with.

Cileds are to — to slai- h on.

'..'hen

v;a

QQt to .lev.' York, Charles,

we'll get you r. sled that will —

He's near enough

to

try'to

put

n

hand

on

Kane's shoulder.

As he

does,

lime kicks him in the ankle.

Charles

• ' P C i.-.i »r p

i"i>w. lUii.il.

He throws himself

on

her,

his

arms around

her.

Slowly

I.;rs. K: ne

puts

her

arms

around him.

/

KANE

(frightened)

Mom I Ilqsr.1

'RS. KANE

I t ' s

a l l

r i gh t , Uhar l c3 , i t ' s

a l l r igh t .

KANE,

SR.

Sor ry ,

Mr. Thatcher '.-hat

that

kid

nuods la

n

jood

thrashing

(COTTINUSD)

sacs

http://luii.il/

http://luii.il/

http://luii.il/

http://luii.il/



2

6 (CONTINUED)

MRS.

KANE

T h a t ' s w h a t y o u t h i n k , i s i t ,

J i m ?

Y e s .

KANE, SR.

MRS.

KANE

( l o o k s a t

M r . K a n e ;

s l o w l y )

T h a t ' s w hy h e ' s g o i n g t o / be

b r o u g h t u p w h e r e y o u c a u ^ t g e t

a t h i m .

DISSOLVE

INSERT

(1G70

- SI - IK?)

(STCCl/or MINIATURE)

OLD-FAS::iO". 2D RAILROAD V.HEELS

u n d e r n e a t h a s l e e p e r , s p i n n i n g

a l o n g t h e t r a c k .

29

DISSOLVE

INT.

TRAIN - OLD-FASHIONED DRAWING ROOM - NIGHT - 1870

Thatcher, with a look of ringled exasperation, annoyance,

sympathy and inability to handle tho situation, is

standing alongside a berth, locking at Kane. Kane, his

face in the pillow, is crying with heartbreaking

sobs.

KANE

Mom

?4om

DISSOLVE

INSERT

THE THATCHER MANUSCRIPT, which fills

the screen. It reads:

...nothing but a lucky scoundrel,

spoiled, unscrupulous, Irresponsible.

Ho acquired hi3 first newspaper

through a caprice. His whole attitude

as a publisher —

DISSOLVE OUT

0

1

1

i

;

r

i

i

1

r

i

• 1

t

i

i

1

;

1 .

1

•

1 ;

/



4 1

DISSOLVE IN

INT.

KANE'S OFFICE - INQUIRER - DAY - 1 8 9 8

50 CLOSEUP o n p r i n t e d h e a d l i n e w h i ch r e a d s :

"GALDEONS OF SPAIN OFF JERSEY COAST"

CAMERA PULLS BACK to r e v e a l T h a tc h e r, h o l d i n g th e

INQUIRER w i t h i t s ' . h e a d l i n e , s t a n d i n g i n f r o n t o f K a n e ' s

d e s k . Kane ' i s s e a t e d b e h i n d th e d e s k .

\

, THATCHER

Is this really your idea of how

to run a newspaper?

KANE

I d o n ' t kno>y how to r u n a

n e w s p a p e r , M r. T h a t c h e r . I j u s t

t r y everything I can th ink o f .

THATCHER

( r e a d i n g t o

10

headl ine]

Galleons of S p a i n O ff J e r s e y

C o a s t . Y ou know y o u h a v e n ' t t h e

s l i g h t e s t p r o o f \ tha t t h i s —

t h i s A r m a d a i s olff t h e J e r s e y

c o a s t .

KAN

C an y ou p r ov e t h a t \ i t i s n ' t ?

B e r n s t e i n r u s h e s i n , a c a b l e in his ha nd . He s t o ps when

h e s e e s T h a t c h e r .

KANE

(cbnt 'd)

( g e n i a l l y ) \

M r. B e r n s t e i n , M r . T h a t c h e r .

BERHSTEET

How a r c y ou , M r. ThatcherY

T h a t c h e r g i v e s h i m t h e b r i e f e s t o f n o d s .

BERNSTEIN (coht 'd)

We j u s t had a w i r e f rom C uba ,\

Mr . Kane .

( h o

a t o p s ,

e m b a r r a s s e d )

(CONTINUED)

V

t

\ •

. - j ;

: I

i t

http://that/

http://that/

http://that/



30 (CONTINUED)

KANE

T h a t ' s a l l r i g h t . We h a ve n o /

3 e c r e t s f ro m o u r r e a d e r s . M r.

T h a t c h e r i s o n e o f o u r m o s t /

d e v o te d r e a d e r s , Mr. B e r n s t e i n .

He k no ws w h a t ' s wro n g w i t h ev ery

c op y o f t h e I n q u i r e r s i n c o / l

t o o k c h a r g e . R oa d t h e c a b l e .

BERNSTEIN/

( r e a d i n g )

F o od m a r v e l o u s i n C u b a f g i r l s

d e l i g h t f u l s t o p c o u ld s/end you

p ro se p o ems ab o u t scenery b u t

d o n ' t f e e l r i g h t s p e n d i n g y o u r

m oney s t o p t h e r e ' s no/war i n

C u b a s i g n e d W h e e l e r . / A n y a n s w e r ?

KANE

Y e s . D e a r W h e e l e r V-

(pauses a

moment)

— y o u p r o v i d e the /p rose poems —

I ' l l p r o v i d e t h e war,

BERNSTEIN

That' s f i n e ,

Mr./

Kan e .

T h a t c h e r , b u r s t i n g w i t h i n d i g n a t i o n , s i t s dow n.

KANE

I k i n d a l i k e At myself. Send

i t r i g h t awa;j

R i g h t away.)

BERNSTEIN

B e r n s t e i n l e a v e s . A f t e r a m om ent o f i n d e c i s i o n , T h a t c h e r

d e c i d e s t o m ake o ne / l a s t t r y .

THATCHER

C h a r l e s , ; I ca m e t o s e e y o u

a b o u t t h i s — c a m p a i g n o f y o u r s

— er — t h e I n q u i r e r ' s campaig n

— a g a i n s t t h e M e t r o p o l i t a n

Transfer Company.

• i

KANE

Good. You got some material we

can

U30

against thorn?

(CONTINUED)



3

0 (CONTINUED)

\ THATCHER

YouJre still a college boy,

aren't you, Charles?

43

\ KANE

O h, n o , I w as ex p e l le d f rom

c o l l e g e — s e v e r a l c o l l e g e s .

D on ' t you r ememb er ?

\

\

Tha t c he r g l a re s a t hiia.

\

KANE (cont 'd)

I remember, I th in k t h a t ' s when

I

f i r s t l o s t my b e l i e f t h a t y ou

were omn ipotent , Mr. Th a tche r —

when you to ld me th a t the

Dean's

d e c i s i o n a t H a r v a r d , d e s p i t e a l l

you r e f fo r t s w a s

Irrevocable

—

(he t h i nks , a nd

looks a t Tha tcher

i n q u i r i n g l y )

—

irrevocable

—

• \

\

Tha t c he r s t a re s a t h i m

a n g r i l y ,

t i g h t - l i p p e d .

KA1

NE

( c o n t ' d )

I c a n ' t t e l l you-,how o f t e n I ' v e

l e a r n e d

the corrept pron unc iat ion

of tha t word ,

bu t - I

a l w a ys fo rge t .

THATCHER

(no t i n t e re s t e d . ,

coming ou t \

w i t h i t ) \ .

I th ink I should remind you ,

C h a r l e s , o f a f a c t you\seem t o

ha ve fo rg o t t e n . You a re yo u rse l f

one of the company's la tgest

i n d i v i d u a l

s t o c k h o l d e r s ^

. i

r

.

I

I

i .

(CONTINUED)



30 (CONTINUED)

KANE .

The t r o u b l e i s , M r . T h a t c h e r ,

y ou d o n ' t r e a l i z e y o u ' r e

talking

' to two p eo p le . As

Charles Foster Kane , v /ho has

eighty-two

thou sand , s ix hundre d

a nd t h i r t y - o n e s h a r e s o f

Metropolitan Transfor — you

se e , I do have a rough ide a o f

my h o l d i n g s — I s y m p a t h i z e w i t h

you . Ch ar le s F o s te r Kane i s a

d a n g e r o u s s c o u n d r e l , h i s p a p e r

should be run out of town and a

committee should be formed to

b o y c o t t ,

h h n .

You may, i f you

can form such a com m it te e , put

me dow n f o r a c o n t r i b u t i o n o f

o n e t h o u s a n d d o l l a r s .

"THATCHER

( a n g r i l y ) \

C h a r l e s , my t im e i s t o o v a l u a b l e

f o r me - -

I

44

I

KANE

On t h e o t h e r hand —

(hi s manne r-

becomes \

s e r i o u s ) -

I am t h e p u b l i s h e r o f t h o .

INQUIRER. As su c h , i t i s my

d u t y - - I ' l l l e t yo u i n o n a

l i t t l e s e c r e t , i t i s a l s o my

p l e a s u r e — t o s ee - t o i t t h a t

t h e d e c e n t , hard-working p o o p l e

o f t h i s c i t y a r e n o t ro b b ed

b l i n d by a gro up of"; money-mad

p i r a t e s b e c a u s e , God h e l p t h em ,

the y have no one to-look a f t e r

t h e i r in tores ts l

T h a tc h er h a s r i s e n .

away.

He now puts on

hi s ha t

and walks

: l :

KANE (cont'd)

— I ' l l l e t yo u i n o n a n o t h e r

l i t t l e s e c r e t , M r. T ha tJ ch er.

Thatcher s t o p s . Kane walks up to tyihn.

KANE

(cont'd)

I th in k I 'm the man to do* i t .

You se e I have money and b ro po rty .

I f I d o n ' t d e f e n d t he i n t e r e s t s o f

t h e u n d e r p r i v i l e g e d , - s o m e b o d y

olse

w i l l — maybo somebody w 1thou t an y

money o r any pro pe r ty - - and tha t

w ould be too bad . » (CONTINUED)



30

(CONTINUED)

THATCHER

(puts on

his

hat)

I happened to see your

consolidated statement

morning, Charles. Don

think

it's

rather unwi

continue this philan

enterprise

—

this

that'3

costing yo

dollars a year?

th*a

you

to

opic

G.UiRER —

one million

I1H

45

You're

mill ion

expect to

year,

to<

« at

year —f v

right.

KANE

We did lose

ars last year.

We

ose a million next

, You know, Mr.

Thatcher

rate

of a

million

a

'11 have to close this

sixty ycar3.

DISSOLVE

THS VAULT ROOM - THATCHER

MEMORIAL

LIERARY - DAY

31

THE MANUSCRIPT:

\

"The ordinary decencies

of

human

life were, I repeat, unknown to

him.

His

incredible vulgarity,

hi3 utter disregard

u

jgarc

Before- the audience has had

a

chance to read thi s ,

Thompson, with a gesture of annoyance, has clo sed the

manuscript. He turns to confront Miss Anderson who has

come to shoo him out.

\

1.

\

MISS ANDERSON

You have enjoyed

a

very, rare

privilege, young man.

Did you

find what

you

were looking for?

THOMPSON \

No. Tell me something, Miss

Anderson. You're

not

Rosebi

are you?

i

.1

What?

MISS ANDERSON

(CONTINUED)

' i

.'



31 (CONTINUED)

THOMPSON

I d i d n ' t t h i n k y o u w e r a . W e l l ,

t h a n k s f o r t h e u s e o f t h e h a l l , .

32

He p u t s h i s h a t o n h i s h e a d a n d s t a r t s o u t , l i g h t i n g a

c i g a r e t t e a s h e g o e s . M i ss

A i j d ^ r s o n ,

s c a n d a l i z e d ,

w a t c h e s h i m .

DISSOLVE

INT. 3ERNSTSIN' T OFFICE - " INQUIRER" SKYSCKAPER-DAY-1940

CLOSEUP o f a s t i l l o f v K a n e , a g e d a b o u t s i x t y - f i v e .

CAMERA PULLS BACK, shdwing i t i s a f ramed p h o t o g rap h o n

t h e w a l l . U nder i t s i t s B e r n s t e i n , b a c k o f h i s d e s k .

B e r n s t e i n , a l w a y s a n u n d e r s i z e d J e w , now s ee m s e ve n

s m a l l e r t h a n i n h i s y o u t h . He i s b a l d a s a n e g g , s p r y ,

w i t h

remarkably

i n t e n s e i s y e s . As CAMERA CONTINUES to

TRAVEL BACK, t h e b a c k of 'Thompson's h e a d a n d h i s s h o u l d e r s

com e i n t o t h e p i c t u r e .

BERNSTEIN

( w r y l y )

Who'3 a busy man?

Chai rman of

t he

Boa

n o t h i n g b u t t i m e ,

you want to know?

I'm

I got

'"/hat do

THOMPSON

Well,

we thought maybe -

3

(slowly)

if we could find out

what

he

meant by his last words —'as

he was dying —

' BERNSTEIN

That Rosebud, huh?

(thinks)

Maybe some girl?' There wore

a lot of them back in the early

days and —

THOMPSON

(amused)

It's hardly likely, Mr. Bernstein,

that Mr,

Kane

could have mot

some girl oasually and then,

fifty

years later, on his

deathbed —

(CONTINUED^*

\

i ;

: i

'. i:

n

i i

t

i

•

i .

11

\H



32 (CONTINUED)

\

BERNSTEIN

, Y o u ' r e p r e t t y y o u n g , M r . —

\ ( r ememb ers

\ th e name)

- - Mr . T h o mp so n . A fe l l o w w i l l

r e m e m b e r t h i n g s y o u w o u l d n ' t

t h i n k h e ' d r e m e m b e r . Y ou t a k e

me. One d ay , b ac k i n 18 9 6 , I

w as c r o s s i n g o v e r t o J e r s e y o n

a f e r r y a n d a s w e p u l l e d o u t

t h e r e w as a n o t h e r f e r r y p u l l i n g

i n — •

( s l o w l y )

— an d o n i t t h e r e w a s a g i r l

w a i t i n g t o g e t o f f . A w h i t e

d r es s s h e h a d o n - - an d she was

c a r r y i n g , a white paras ol — an d

I o n l y saw h e r fo r o n e se co n d

a n d s h e d i d n ' t s e e me a t a l l —

b u t I ' l l b e t a m o nt h h a s n ' t

g o ne b y s i n c e t h a t I h a v e n ' t

t h ou g h t o f t h a t g i r l .

( t r i u m p h a n t l y )

See what I mean?

(smiles)

47 '.

i

.

i

THOMPSON

Yes. \

(a near sigh) \

But about

Rosebud,

i; wonder —

BERNS

Who else you been to

se

TEIN

\

THOMPSON

Wel l , I wen t d o wn t o Atlah

C i t y —

nt io

BERNSTEIN

S u s i e ? I c a l l e d h e r m y s e l f t h e

d a y a f t e r h e d i e d . I thought\

maybe somebody ou gh t t o —

( s a d l y )

— s h e c o u l d n ' t e v e n c o m e t o

t h e p h o n e .

THOMPSON

( r u e f u l l y )

S h e w a s n ' t e x a c t l y i n a

c o n d i t i o n t o t a l k t o me e i t h e r .

I ' m g o i n g do wn t o see h e r ag a i n

In a c o u p l e o f d a ys *

( p a u s e s )

A b ou t R o s e b u d , M r . B e r n s t e i n - -

4

i I

'•'•

(CONTINUED)

a s



iMi'icuwrFTWiaa

•2S2C.

32 (CONTINUED)

48

BERNSTEIN

If I had any idea v /ho i t w a s ,

b e l i e v e m e , I ' d t e l l y o u .

THOMPSON

I f y o u ' d k i n d o f j u s t t a l k , M r .

Berns te in

— a b o u t

anything

c o n n e c t e d w i t h M r . Kane t h a t

y o u c a n r em e m b e r. — A f t e r a l l ,

y o u w ere w i t h h i m f ro m t h e

b e g i n n i n g .

BERNSTEIN

F ro m b e f o r e t h e b e g i n n i n g ,

y o u n g

f e l l o w .

( n o t t o o

maudlinly)

— And now i t ' s a f t e r t h e

end.

( a f t e r a p a u s e )

H a ve y o u t r i e d t o s e e a n y b o d y

e l s e e x c e p t S u s i e ?

THOMPSON

I h a v e n ' t s e e n a ny bo dy e l s e ,

b u t I ' v e b e e n t h r o u g h t h a t

s t u f f o f W a l t e r T h a t c h e r ' s .

T h a t j o u r n a l o f h i s —

BERNSTEIN

T h a t c h e r T h a t m an w a s t h e

b i g g e s t d a r n e d f o o l I e v e r m e t .

THOMPSON

He made a n aw fu l l o t o f m oney .

BERNSTEIN

I t ' s n o t r i c k t o m ake a l o t o f

mo n ey , i f a l l ".you ?/ant i s t o

make a l o t o f mo n ey . Yo u t a k e

Mr . Kan e — i t wasn ' t mo n ey h e

w a n t e d . M r . T h a t c h e r n e v e r d i d

f i g u r e h i m o u t . S o m e t i m e s ,

e v e n , I c o u l d n ' t —

( s u d d e n l y )

You know who y o u o u g h t t o t a l k

t o ? M r . J e d L e l a n d . T h a t i s ,

i f - - h e wa s M r . K a n e ' s c l o s e s t

f r i ond , yo u know . They wen t to

s c h o o l t o g e t h e r .

(CONTINUED)

' V

1

•

I

*.

•

.

f

-;

: • '"

•

1

f

r

•i

j

1

}

i

t

1

: >

li

|

i

1

•

i

*

•

* •

I ;

i

.3

I

1

.

.

'

11 iin • t M V m r , ^ ^ i _ ^



ms-rf-T » » •

52 (CONTINUED)

THOMPSON

H a r v a r d , w a s n ' t i t ?

BERNSTEIN

H a r v a r d — Y a l e — C o r n e l l .

P r i n c e t o n - -

Switzerland.•' '

Mr.

L e l a n d — h e n e v e r h a d a '

n i c

kel

— o n e o f t h o s e o l d f a m i l i e s

w h e re t h e f a t h e r i s vrbrth t e n

m i l l i o n t h e n ono d a y h e s h o o t s

hir-sclf r n d i t t u r n s o u t t h e r e ' s

nothing b u t d e b t s .

( r e f l e c t i v e l y )

He was wi t h Vte. Kane and me t h e

f i r s t d a y M r . K a n e t o o k o v e r t h e

I n q u i r e r .

S3

^

3

* ,

DISSOLVE

EXT.

Ill-

CLP

gINQUIRER"

BUILDING - DAY

- 1890

(The same shot as in

"News

Digest" but this is the real

thing, not a still.) A hansom cab comes into the scene.

In it are Kane, a year older than

in. the

previous

sequence, and Leland. They arc both dressed like Hew

York dandies. It is a warm

surmer

day. Kane jumps from

the cab, cz Leland follows wore slowly.

\

v KANE

(pointingV

w i t h h i s \

s t i c k ) \

T a k e a l o o k a t itiy Jed . I t ' s

r a i n - : t o l o o k a l o t d i f f e r e n t

o n e o f t h es e

d a y s .

He i 3 b o i s t e r o u s l y r a d i a n t . J 3d ag re es w i t h a t h o u g h t f u l

s m i l e . As t h e y s t a r t a c r o s s

t h e .

s i d e w a l k t o w a r d t h e

b u i l d i n g , wis.eh t h e y t h e n e n t e r , \ a d e l i v e r y w a g o n d r a v / s

u p a n d t a k e s t h e p l a c e v a c a t e d b yV t h e c a b . In i t s o p e n

b a c k , a l m o s t b u r i e d b y a

bod,

b e d A n g , t r u n k s , f ra m ed

c l o t u r e s ,

e t c . ,

i s B e r n s t e i n , who c%imbs o u t w i t h

d i f f i c u l t y .

BERNSTEIN

( t o t h e

d r i v e r )

Cono o n I ' l l g i v e y o u a hand

w i t h t h i s stuff.

jJfS&y

T T T I

'.

•4

'; i

1

f :

; i ;

IUED)



$ ^ \

33 (CONTINUED)

DRIVER

T h e re a i n ' t no b e d r o o m s / i n t h i s

j o i n t . T h a t ' s a

newsjraper

b u i l d i n g .

UISTEIH

Y o u ' r e

ge t t ing /pa id ,

M i s t e r ,

for o p i n i o n s /- o r fo r h a u l i n g ?

DISSOLVE

INT.

CITY ROOM

•/

»INQUIRER" BUILDING - DAY - 18 90

/ —.

3 4 T h e f r o n t h a l f o f t h e s e c o n d f l o o r c o n s t i t u t e s o n e l a r g e

C i t y Room. D e s p i t e t h e b r i l l i a n t s u n sh i ne o u t s i d e , v e r y

l i t t l e of i t i s a c t u a l l y g e t t i n g i n t o t he room b e c a u s e

t h e w in do w s a r e s m a l l a n d n a r r o w . T h e r e a r e a b o u t a

d o z e n t a b l e s an d d e s k s , o f t h e o l d - f a s h i o n e d t y p e , n o t

f l a t , a v a i l a b l o f o r r e p o r t e r s , Two t a b l e s , on a r a i s e d

p l a t f o r m a t t h e e n d o f t h e r o o m , o b v i o u s l y 3 e r v e t h e

c i t y ro om e x e c u t i v e s . To t h e l e f t of t h e p l a t f o r m i s

a n op en d o o r w h i c h l e a d s i n t o t h e S a n c t u m .

A s K an e a nd L e l a nd e n t e r t h e ro om a n e l d e r l y , s t o u t g e n t

o n t h e r a i s e d p l a t f o r m , s t r i k e s a b e l l an d t h e o t h e r

e i g h t occupants o f t h e r o om — a l l men — r i s e a n d f a c e

t h e new a r r i v a l s . C a r t e r , t h e o l d e r l y g e n t , i n f o r m a l

c l o t h e s , r i s e s a nd s t a r t s t o w a r d t he m .

/fl^

5

*v.

\

CARTER \

Welcome, Mr. K an e, t o th e \

"Inqui rer . "

C a r t e r .

I a m H e r b e r t

KANE

T ha nk y o u , M r. C a r t e r . T h i s

i s M r . L e l a n d .

CARTER

( b o w i n g )

How do yo u d o , M r . L e la nd ?

KANE

M r. L e l a n d i s y o u r n ew d r a m a t i c

c r i t i c , M r. C a r t e r . I h o pe I

h a v e n ' t m ade a m i s t a k e ,

J o d e d i o h .

I t i s d r a m a t i c o r i t i c you wan t

t o b e , i s n ' t i t ?

(po i n t i ng t o

t h e r e p o r t e r s )

A r e t h e y s t a n d i n g f o r m e ?

\

(CONTINUED)

1

*

"

t

• ..

»

.

1

I

•

1

:

j

«

;

I

1

1

1

i

l

I

1

' 1

i

'

1

;

i

1

»

;

ij

•

•

J

'

1



34 (CONTINUED)

CARTER

I t h o u g h t i t w o u l d . b e a n i c e

g e s t u r e - - t h e n e w p u b l i s h e r

KANE

( g r i n n i n g )

As k them to s i t down.

CARTER

You may

rosuno

y o u r w o r k ,

g e n t l e m e n .

( to Kane)

I d i d n ' t know y o u r p l a n s

so I was unable to make

p r e p a r a t i o n s .

KANE

I

c c n ' t

know

ir.y

rtlaiyi

myself.

A s a n a t t e r o f fact> I h a v e n ' t

g o t a n y . E x c e p t

t /

g e t o u t a

n e w s p a p e r .

i ••

T h e r e i s a t e r r i f i c c r a s h a t t h e d o o rw a y . T he y a l l t u r n

t o s e e Bernstein scrawled a t t h e e n t r a n c e , A r o l l of

b e d d i n g , a s u i t c a s e a nd t wo f r am e d

p i c t u re s

were too

much f o r h im .

\

N

KANE ( c o n t ' d )

O h, M r, B e r n s t e i n I f y o u

would

come

h e r e ^ a .

moment p loas o ,

Mr.

B e r n s t e i n ?

B e r n s t e i n r i s c 3 and co mes

o v e a .

KANE (c \nt«d)

M r. C a r t e r , t h i s i s

MrA

B e r n s t e i n . M r. B e r n s t e i n l a

my gsnera l m a n a g e r .

CARTER

( f r i g i d l y )

How do you d o , Mr. Bernsteinl

KANE

Y o u ' v e got a p r i v a t e o f f i c e

h e r e , havon ' t y o u ?

T ho d e l i v e r y w agon d r i v e r h a s now appoarod in \t he

e n t r a n c e w i t h p a r t s o f t h e b e d s t e a d a nd o t h e r

f u r n i t u r e ,

(CONTINUED)

. i

i •

: .

l :

.1 :

• I

» I

http://would.be/

http://would.be/



34 (CONTINUED)

B u t a m o r n i n g

Kane . — Af te

p r a c t i c a l l y

hour3 a day

business

52

CARTER

My l i t t l e s a nc tu m i s a t

d i s p o s a l . B u t I d o n ' t

I u n d e r s t a n d —

KANE

I 'm g o i n g t o l i v e

ri^ght

h e r e .

( re f l ec t ive ly

As lo ng a s I ha ve

3ARTER

Lewspaper, Mr.

a l l ,

w e ' r e

.osed f o r t w e l v e

e x c e p t f o r t h e

KANE

T h a t ' s o n e o f t h e t h i n g s , I

t h i n k must be ch an ge d , Mr .

C a r t e r / T h e n ew s g o e s o n f o r

twenty-four h o u r s a d a y .

/

/

DISSOLVE

IN T. KANE'S OFFICE - LATE DAY - 1 89 0

3 5 K a ne , i n h i s s h i r t s l e e v e s , a t a r o l l t o p d e s k , i s

w o r k in g f e v e r i s h l y on c o py a n d e a t i n g a v e r y s i z a b l e m e a l

a t t h e same t i m e . C a r t e r , s t i l l f o r m a l ly c o a t e d , i s

s e a t e d a l o n g s i d e h i m .

\

L e l a n d , s e a t e d i n a c o r n e r ,

Is

l o o k i n g o n , d e t a c h e d , a m u s e d . On a c o r n e r o f t h e d e s k ,

B e r n s te i n i s w r i t i n g down f i g u r e .

I ' m n o t

c r i t i c i z i n g ,

M r . C a r t e r ,

b u t h e r o ' s

what

I V n e a n . T h e r e ' s

a f r o n t p a g e s t o r y \ i n the

" C h r o n i c l e , "

( p o i n t s t o I t )

a n d a p i c t u r e — o f

a\

woman i n

B r o o k l y n w ho i s

P r o b a b l y

murdered.

A tos. H ar ry

S i l v e r s t o n e . Why d i d n ' t t h e

"Inquirer" h a v e t h a t

m o r n i n g ?

K ane h a s f i n i s h e d e a t i n g

CARTER

( s t i f f l y )

B e c a u s e w e ' r e r u n n i n g a n ew sp ^

M r . K a n e , n o t a s c a n d a l s h e e t ,

E e

pushos

away

h i s

p l a t e s

.

(CONTINUED)

i '

t

•-

)

J



5

5

(CONTINUED)

KANE

I 'm s t i l l h u n g r y , J e d .

LELAND

W e ' l l g o o v e r t o R e c t o r ' s

a n d g e t s o m e t h i n g d e c e n t .

KANE

(no in t

ing t o the

n

C h r o n i c l e " ) .-

T h e " C h r o n i c l e " h a 3 a

two

co lu mn

h e a d l i n e , M r. C a r t e r . / Why

h a v e n ' t w e? /

53

CARTER

T he n e w s w a s n ' t

big

enou gh.

KANE

I f t h e h e a d l i n e i s b i g e n o u g h ,

i t

riokes

t h e

nows

b i g eno u gh.

The

:..urc2r

o f t h i s

M r 3 .

H a r r y

S i l v e r s

t o n e —

/

CARTER

T h e r e ' s n o p r o o f t h a t t h e woman

was

murdered

- - o r even t h a t

s h e ' s d e a d .

1

t

Is

KANE

( s m i l i n g a b i t )

The

: ,

C h r o n i c l e

; 1

d o e s n ' t s a y s h e ' s

m u r d e r e d , M r. C a r t e r . I t s a y s

s h e ' s n i s s i n g ; t he n e i g h b o rs

a r e g e t t i n g s u s p i c i o u s .

CARTER

I t ' s n o t o u r f u n c t i o n t o r e p o r t

t h e

goss ip

of

h o u s e w i v e s .

I f

v.e w e r e

I n t e r e s t e d

i n

t h a t

k i n d

o f t h i n g ,

t h e

Dapor

/

M r . K a n e , we c o u l d f i l l

t w i c e o v e r d a i l y —

/ KANE

/

( g e n t l y )

.That ' s

t h o k i n d o f t h i n g we a r e

• g o i n g t o b e

int o res

ted in f rom

•'now

o n , M r. C a r t e r . I

wish

y o u ' d

send

y ou r b e s t man u p to

s e e M r , S i l v « r s t o n o . H ave h im

t o l l M r . Si lvcrBtone i f he

d o e s n ' t p r o d u c e h i s w i f e a t o n c e ,

the

" I n q u i r e r " w i l l h a v e him-

ar restod .

( g e t s

an

idea)

( c o n t ' d )

(CONTINUED)

tttmrnr



35 (CONTINUED)

54

KANE (cont 'd )

H ave h im t e l l M r . S i l v e r s t o n e

h e ' s a d e t o c t i v e f ro m t h e

C e n t r a l O f f i c e . I f M r,

S i l v e r s t o n e a s k s t o s e e h i 3

b a d g e , y o u r m a n i s t o g e t /

i n d i g n a n t a nd c a l l Mr. S i l v e r s t o n e

a n anarch is t . L o u d l y , s o t h a t

t h e n e i g h b o r s c a n hear.

CARTER

R e a l l y , M r . _ K a n e, I c a n ' t s e e

t h a t t h e funct ion o f a r e s p e c t a b l e

nev/spaper —

KANE

M r. C a r t e r , y o u ' v e b e e n m o s t

u n d e r s t a n d i n g . G ood d a y .

C a r t e r l e a v e s t h e ro o m , c l o s i n g t h e do o r b e h i n d h i m .

LELAND

P o o r M r . C a r t e r

KANE

What makes those f allows t h i n k

t h a t a n e w s p a p e r i s so:r.cthing

r i g i d , s o m e th in g i n f l e x i b l e ,

t h a t p e o p l e o r e s u p p o s e d t o p a y

tw o

cents

f o r —

BERNSTEIN

KANE

T h r e e c a n t s .

i

/

(calmly)

T w o c e n t s .

B e r n s t e i n l i f t s h i s h ead an d l o o k s a t Kan e .

[ BERNSTEIN

( t a p p i n g o n

t h e p a p e r )

T h i s Ii3 a l l f i g u r e d a t t h r e e

cen ts / a co py .

KANE

Re-fitgure i t , M r. B e r n s t e i n , a t

tw o / c e n t s . R e a d y f o r d i n n e r ,

Jedf

>

(CONTINUED)

•aeap

r

i :

i

i :

i .

n



35

(CONTINUED)

BERNSTEIN

M r. L e l a n d , i f

Mr,

K an e h o s h o u l d

d e c i d e n t d i n n e r t o c u t t h e p r i c e

t o o n e c e n t , o r m a y b e e v e n h e

s h o u l d m a k e u p h i 3 m i n d t o giv

t h o p a p e r a w ay w i t h a

half-pg*6id

o f t e a —

LELAND

Y ou p e o p l e w o r k t o o f a s ' t f o r

m e

T a l k a b o u t n e w b r o o m s

BERNSTEIN

Who s a i d a n y t h i n g a b o u t b r o o m s ?

. KANE

I t ' 3

a s a y i n g , M r, B e r n s t e i n ,

A new

bro/foi

s w oo p s c l e a n .

BERNSTEIN

DISSOLVE

I N T .

PRIMITIVE COMPOS CIO

AND PRESSROOM

-

NEW YORK

^INQUIRER"

- NIGHT - 1 89 0

3 6 T h e g r o u n d f l o o r w i t h t h e w i nd o w s o n t h e s t r e e t . I t i s

a l m o s t m i d n i g h t . G r o u p ed a r o u n d a l a r g o t a b l e , on w h i c h

a r e s e v e r a l l o c k e d f o r m s o f t y p e —

a r e

K an e a n d L e l a n d

i n e l e g a n t e v e n i n g c l o t h e s , B e r n s t e i n , u n c h a n g ed f ro m

t h e a f t e r n o o n , C a r t e r a n d S m o t h e r s , t h o c o m p o s i n g r oo m

f o r e m a n , n e r v o u s a n d

ha r a ssed .

\KANE

M r. C a r t e r , f r o n t p a g e s d o n ' t

l o o k l i k e t h i s a n y m o r e . H av e

y ou s e e n t h e "Chron ic le '*?

CARTER

T h e " I n q u i r e r "

i s

n o t

c o m p e t i t i o n w i t h a r a g

t h e " C h r o n i c l e . "

j t*t.

BERNSTEIN

W o s h o u l d

b e p u b l i s h i n g

s u c h

r a g . T h e " I n q u i r e r " — I

w o u l d n ' t w r a p u p t h e l i v e r f o r

t h o c a t i n t h e

"J

I nq u i r e r " —

(CONTj

I:

•

•MK JiMa

http://kane/

http://kane/



wz*miAJt* v*r

36 (CONTINUED)

56

t$$&\

CARTER

Mr. Kane, I must a s k you t o se e

t o i t t h a t t h i s - - t h i s p e r s o n

l e a r n s t o c o n t r o l h i s t o n g u e .

I d o n ' t t h i n k ho

1

3 e v e r b e e n i n

a n e w s p a p e r o f f i c e b e f o r e .

/

KANE

Y o u ' r e r i g h t . M r. B e r n s t e i n

i s i n t h e w h o l e s a l e j e w e l r y

b u s i n e s s .

BERNSTEIN

Was i n t h e w h o l es a l e j ew el ry

Bus ine s s

.

/

KANE

H i s t a l e n t s soemed to be what

I was

looking,for .

CARTER

( s p u t t e r i n g ;

h e ' s r e a l l y

s o r e )

I warn y o u , Mir, K a n e , i t would

go a g a i n s t my g r a i n t o d e s e r t

you when you need no s o b a d l y —

b u t I w o u l d f e o l o b l i g e d t o a s k

t h a t m y r e s ig n a t i o n b e a c c e p t e d .

KANE

I t i s a c c e n t e d , M r, C a r t e r ,

v/itn~"assurances

of ny d e e p e s t

r e g r e t .

CARTER

B u t Mr. Ka n e , I mean t —

KANE

( t u r n i n g t o

S m a t h e r s ;

q u i e t l y )

L e t ' s d o t h e s e p a g e s o v e r a g a i n .

SMATHERS

( a s t h o u g h K a n e

w o r e t a l k i n g

Gre ok)

W o c a n ' t rcmako thorn,

Mr.

Kan e .

KANE

Roraake? I s t h a t t h o r i g h t wo rd ?

1 ••••

1

'

(CONTINUED)



57

36 (CONTINUED)

SMATHERS

Wo g o t o p r e s s i n f i v e m i n u t e s . /

KANE

/

/

( q u i e t l y )

W e l l , l e t ' s re m a k e t h e s e p a g e s ,

M r . S m a t h e r s . /

/

SMATHERS

I

e go to press in five minutes,

Mr.

Kane. '

/

KANE /

W e ' l l h a v e t o p u b l i s h h a l f a n

h o u r l a t e , t h a t ' s

a l l ^

SMATHERS

You

d o n ' t und era

tand , Mr.

Kane .

We go to pross i n f i v e m i n u t e s .

We c a n ' t r ema ke them , Mr . Kan e .

K an e r e a c h e s o u t a nd s h o v e s t h o f o r m s o n t o t h e f l o o r ,

w h or e t h e y s c a t t e r i n t o h u n d r e d s of b i t s .

KANE

You can remake th e m n o w , c a n ' t

y o u , M r. S m a t h e r s ? A f t e r t h e

t y p e ' s b e e n r e s e t a n d t h e p a g e s

r e m a d e a c c o r d i n g t o t h e w ay I

t o l d y o u b e f o r e , M r. S m a t h e r s ,

k i n d l y h a v e p r o o f s p u l l e d —

i s t h a t r i g h t , J e d - - proofs

pul led? — a n d b r i n g t h e m t o m e .

T h e n , i f I c a n ' t f i n d a n y w ay

t o improve them aga in — I

s u p p o s e w e ' l l h a v e t o g o t o p r e s s .

He s t a r t s o u t o f t h e r o o m , f o l l o w e d b y L e l a n d .

BERNSTEIN

In c a s e y o u d o n ' t t i n d e r s t a n d ,

M r , S m a t h e r s — h e ' s a n e w

broom.

DISSOLVE OUT



58

DISSOLVE

IN

EXT. NEW YORK STREET - VERY EARLY DAWN - 1890

37 The picture is mainly occupied by the "Inquirer" building,

identified

by

sign. Over this newsboys

are

heard selling

the "Chronicle." A3 the dissolve completes itself, CAMERA

MOVES toward the one lighted window - the window of Kane's

office.

DISSOLVE

I N T . KANE'S OFFICE - VERY EARLY DAWN - 1890

38 The newsboys are s t i l l hea rd from the s t r ee t belo w. Kane,

in hl 3 s hi r t s le ev es , s tan d s at the open window lo ok ing

o ut . On the bed

13

seat ed Ber ns te i n. Leland i s in a

c h a i r . \

\

\ NEWSB OYS' VOICES

Chronicle] — Chronicle] —

H'ya

— the Chronicle] — Get

ya'

Chroniclei\

\

Kane closes

the

window

and

turns

to the

others.

LiE A

ELAND

We'll

be on the

street soon,

Charlie — another.ten minutes.

OSTEINERNSTEIN

I t ' 3

thr ee hour s and\ fi ft y

mi nutes l a t e — bu t we d id I t —

Leland r i se s from the c ha i r , st r et c hi ng

painful ly .

KANE

Tired?

LELAND

It's been a tough day.

A wasted day*

Wasted?

Charlie?J

KANE

BERNSTEIN

LELAND

(CONTINUED)

•

-

1

1

1

i

1

1

—

mmt

^

mm

^

1



30 (CONTINUED)

59

I

BERNSTEIN

You just made the paper

ovei

four times tonight, Mr.

That's all —

KANE

I've changed the front page a

little, Mr, Bernstein. /That's

not enough. « There's/something

I've got to get into

this

paper

besides pictures and print —

I've got to make the /'New York

Inquirer" as important to New

York as the gas in t,nat light.

LELAND

What're

you

going/to

do, Charlie?

/

/

KANE

My Declaration of Principles —

Don't 3mile, Jed --

(getting

.

the idea)

Take dictation, Mr. Bernstein —

BERNSTEIN

I can't write shorthand, Mr.

Kane —

KANE

.I'll

write it myself.

Kane grabs a oiece of rough paper and a grease crayon.

Sitting down on the bed next to Bernstein, he starts to

write*

BERNSTEIN

(looking over

his shoulder)

You don't wanta make any promises,

Mr.

Kane, you don't wanta keep.

KANE

(aa

he writes)

These'11

be kept,

(stops and

reads what

he has written) (cont'd)

(CONTINUED)

•

V

I



38 (CONTINUED)

60

KANE (cont'd),

I'll provide the people of this

city with a daily paper that

will

tell all the news honestly,

(starts to /

write again;

reading as

he writesT

I will also provide then —

/

LELAND

T h a t ' s t h e s e c o n d sentence

y o u ' v e s t a r t e d w i t h "

1

KANB

(looking up )

People are going

to'know

who's

responsible. And they're going

to get the news —'the true

news -- quickly and simply and

entertainingly. /

(v/ith

real /

conviction)

And no special interests will

be allowed to interfere with

the truth of that news.

(writes again;

reading as

he writes)

I will also provide them with a

fighting and tireless champion

of their rights as citizens and

human beings — Signed -

Charles Foster Kane.

Charlie

LELAND

Kane looks up.

LELAND (cont'd)

Can I have that?

KANB

I'm going to print it —

( c a l l s )

Mike]

j f l f l lW-^

71

*

Y e s ,

M r.

Kane*

MIKE

(CONTINUED)

:

I

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i

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•i

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3 8 (CONTINUED)

KANE

H e r e ' s a n e d i t o r i a l . I w ant

t o r u n i t i n a b o x on

the

f r o n t

p a g e .

61

MIKE

(very wearily)

Today's front page,

Kane?

KANE'

That's right. We'll have to

remake again —

better

go down

and let them

knowJ

MIKE

All right, Mr. Kane.

(he starts/

away)

LELAND

Just a minute/ Mike.

Mike turns.

/

ISLAND (cont 'd)

W hen y o u ' r e d o ne w i t h t h a t , I ' d

l i k e t o h a v e i t back,

/

* --

Mike registers that,

this,

in his opinion, is another

screwball and leaves.

Kane

looks at Leland.

/

LELAND (cont'd)

— I'd just like to keep that

particular piece of paper

myself. I've got a hunch it

might turn out to be one of the

Important

papers — of our time.

(a little

ashamed of

his ardor)

A document — like the

Declaration of Independence —

.end

the Constitution

—

and my

first report card at

school.

Kane smiles back at him, but they are both serious. The

voices of the newsboys fill the air,

/

VOICES OF

NEWSBOYS

C h r o n i c l e ] — H ' y a , t h e

C h r o n i c l e ] G e t y a ' C h r o n i c l e ]

- - - t h e

C h r o n i c l e ]

DISSOLVE OUT

I

3

i

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39

DISSOLVE IN

S X T .

layriasa CINDOV/

ON STREET LEVEL -

DAY

- IM90

CLOSEUP - front parte of the INQUIRER shows big bc xed

editorial with heading:

LY PRINCIPYSS - A DECLARATION

By Charlea Foster Kane

CA353A CO:mNUSS PULLING BACK and

SECm

newspaper to be

on

the

top of a pile of newspapers,

/As

we DRAW FURTHER

BACK, we see four piles — then six-'piles -- until we see

finally a big field of piles of INQUIRERS. Hands come

into the frame and start pickinfe/up the piles,

CAMEhA PANS to glass windov; on the\street level of the

INQUIRE?.. Painted on the glass

areXthe

words

"NET?

YORK

DAILY INQUIRER - CIRCULATION; 26.000.X — this very

prominent. Through the glass we can

tine

Kane, Leland and

Bernstein, leaning on tho little velvet\draped rail at

the beck of the window/ peering out throtigh the; glas3 to

the street where Inquirer newsboys are seen to be

movin>r.

During this, CA1Z.JJL TIGHTENS on window unti\ "CIRCULATION

26,000" fills frame-i Then —

- • DISSOLV

t i

J

40

EXT. CS'iQJTICLZ '.YIKDOy.' - 0;; STREET LEVEL - DAY - 1600

CLOSEUP 0? SIi.N ; HICH READS; CIRCULATION 495,000

CAMSitt PULLS BACK TO SH0V7 this is a similar window on the

street level of the Chronicle Building, The

words:

"NEW

YO.tK DAiLY

CHRONICLE"

are prominentlv painted above this

and throurh the glass we can see a framed Dhotofrraph of

some nine men. A sign over this reads: EDITORIAL AND

EXECUTIVE STAFF OF THS NSW YORK CHRONICLE. A aim beneatl

it reads: GREATEST HS7SPAPE?. STAFF IN THE-WORLD.

Then

CAMERA CONTINUES PULLING BACK to show Kane, Leland and

Bernstein standing in front of the window, looking in.

They look very tired and cold^

:i

i I

i;

;;

'I

i

;»

, i

', i

i •

i.

j0tfc\

KANE

I know you're

t i r e d ,

gentlemen,

but I

brought

you here f

oit

a

reason.

I"think

thi s l i t t l^

pilgrimage wi l l do us good.

LBLAND

(wearily)

The

Chronicle's

a good

newspaper)

KANE

I t ' s a good id ea f or a newspaper*

Notice tho circulation?

(C0NTI1

5



40 (CONTINUED)

63

41

bSRNSTSIN

(sullenly)

Four hundred sixty thousand.

KANE

Well, as the rooster suld/to his

hens v/hen they looked at/the

ostrich eggs — I an nop

criticizing, ladies — A am

merely trying to show Xrou what

io being done in the .same line

by your competitors,

BERNSTEIN

Ah,

Mr. Kane -- with them

fellows on tho Chronicle --

(indicates

photograptO

— it's no tric/k to get

circulation.

KANE

You're right/, Mr. Bernstein.

BERNSTEIN

(sigh's)

You know iiow long it took the

Chronicle to get that staff

together? Twenty years.

KANE

I know.

Kane smiling, lights a cigarette, looking into tho

window. CAMEHA MOVES IN TO HOLD on the photograph of the

nine men,

DISSOLVE

INT.

CITY ROOM - T:£S INQUIRER - NIGHT • 1898

The same nine men, arrayed as in the\photogranX

r

but with

Kane in the centor of the first

row,

CAMERA PULLS B.iCK, revealing that theyVs« being

photographed in a corner of the room.

Xx

is 1:30 at

night^ Desks,

etc.,

have been pushed^Against the

wall.

Running down tho center of the

room

Jcz a Vang banquet

table.

PHOTOGDlvPHER

That's all. Thank you.

•

i

i

.

i

i ;

i l

; l

t

I.

I

(CONTINUED)

I

'

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i

.;

;



41 (CONTINUED)

The phonographic subjects rise,

KANE

(a sudden thought;

Make up an extra copy^nd mail

it to the "Chronicle.

Kane makes his way to the head of the table.

KANB (cont'd)

Gentlemen of the Inquirer]

Eight

year3

ago

-/•

eight long

very busy years dgo — I stood

in front of the Chronicle

window and looked at a picture

of the nine greatest newspapermen

in the world, f. felt like a kid

in front of a ctndy shop.

Tcni;jht I-got ray candy. Welcome,

irentlemen, to pho Inquirer. It

inppy to learn that

this morning was

n New York -- six

ghty-four thousand.

will make you

our circulati

the greatest

hundred and e,

oEENSTSIIT

Six

hundred/eighty-four

thousand

cne hundred/ and

thirty-two.

General applause.

KANE

All of yoii - new and old —

you're all getting the best

salaries an town. Not one of

you has been hired because of

his loyalty. It's your talent

I'm interested in — I like

talent.

/ Talent has made the

Inquirer tho kind of paper I

want —/the best newspaper in

the

wor/Ld.

Applause.

K A N E ( c o n t ' d )

Having

thus welcomed you,

p e r h a p s y o u ' l l f o r g i v e my

ru de ne ss i n t a k i ng l e a ve o f you .

I 'm' go in g abr oad ne xt week

for

a

v a c a t i o n .

. i

i

i

;

i

i

i; '.

•i :

•I i

•I

:j

i 1

• \ .i

l

. :

l .

Murmurs.

(CONTINUED)



4

1 (CONTINUED)

KANE (cont'i

I have promised ray doctor for

some time that I would leave

when I could, I now realize

that I can. This decision is

every wuy the best compliment

that I could pay you.

in

65

Gratified murmurs.

KANE

(Cont'd)

I have promised Mr. Bernstein,

and I herewith repentt that

promise publicly, fori the next

three months to forgelt all about

the new feature sections — the

Sunday supplement —/ and not to

try to think up anyjideas for

comic sections -- and not to —

BERNSTEIN

(interrupting)

Say, Mr. Kano, so/long

a3

you're

promising --

ther/b's

a lot of

statues in

Europe^

you ain't

bought yet —

1:

LANE

(int e rrupt ing)

You can't

blame/

me, Mr. Bernstein,

They've been making statues for

two thousand years, and I've only

been buying for

five.

BERNSTEIN

Nine Venuses/already we got,

tv.'enty-six Virgins — two whole

warehouses full of stuff —

promise me, Mr. Kane,

KANE

I promise y6u, Mr. Bernstein*

Thank you.

BERNSTEIN

KANE

Oh, Mr. Bernstein —

BERNSTEIN

Yes?

(CONTINUED)

\

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41 (CONTINUED)

K/iNE

You don't expect me to keep an

of my promises, do you, Mr,

Bernstein?

Terrific laughter.

KANE

(cont

1

Do you, Mr. Leland?

Certainly not.

Laughter and applause.

• KANE

And now, gentlemen, your

complete attention, please]

LELAND

Kane puts his two fingers in his rcouch anu whistles.

This is a signal. A band strikes up and enters in advance

of a regiment of very magnificont rauidens. As some of the

girls are detached from the line and made into partners

for individual

dcncing

—

BERNSTEIN

Isn't it wonderful? Such a

party:

LELAND

Yes.

What

\

BERNS'r

(to Leland)

's the matter?

'KIN

LELAND

— B e r n s t e i n , t h e s e men whh are

now w i th the " I nq ui r e r " —

\ h o

w e r e w i t h t h e " C h r o n i c l e "

uiitjll

y e s t e r d a y — w e r e n ' t t h e y j u s t

a s d e v o t e d t o t h e " C h r o n i c l e " '

H

M - n

4

T

<

T

M

'

a

s

they are now

—

our

kind-oil paper?

BERNSTEIN

Sure, Thoy'ro like anybody

else.

They got work to

do*

They do it,

(proudly)

Only they happen to be the best

> i

i i

i

i •

men in the

business.

(CONTINUED)



—•*•

- '<#. »r"

41 (CONTINUED)

7

(after

a

J°

w

« s W d

for the

sainc

things

the "Chronicle" stondTfor,

Bernstein? ' '

BERNSTEIN

(indignantly)/

Certainly not./ What of it? Mr.

Kane he'll have Ehara changed to

his kind of

newspapermen

in a

week.

There's always/a chance, of

Kane — without his knowing it.

, KANE

(lirhtl r)

tt^i'

p

n t l

^

e n

» are we going

to declare /ar on Spain?

» ,

, - LELAND

lhe Inquirer already has.

v

, , KANE

Sarchiftf

C6d

'

" ™ - * ™ —

_ , LELAND

I am not'over-dressed.

/ KANB

necktiei Mr. Dernstein.

Bernstein

embarrassed,

beams from one to the other.

/

LELAND

Charlie, I wish —

,

, KAHE

Are

yA

u

trying to bo serious?

(CONTINUED)

i i

i

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l

•\.

i

'••

.k .:

* I

t >

l|

II



41

(C0 ?TINU2D)

LELAND

KANE

(to

Bernstein),

He d r ives m\ c r az y / Mry

Eernstein,

we.

get twoyftundred

applications sTday from

newspapermen a l l over the

country who wnnt\to go to Cuba —

don ' t we, Mr. Bernstein?

Bernstein i s unabl e tjO

answer.

Eernstein , do

necktie?

ND

you like my

KANE

le —

(*gno

I offer

(porn^

s ^ c " f l

L

C o S

~

J ^ ^ u l r e r ' s

(turns to)

LelandJ

£U$%- --

7

^

naDed a

\

iLAND

" g a r f

r d l

y r t t a t

you'd call a

1

A man of

very

Mr» Bornste;'

.standards,

LEi

(CONTINUED)

i i

9 I

if

:

;



/

41

(coirriNUED)

KANE

It's the best I can do,

(looking up)

Hello, Georgie."

/

Georgie, a very handsome madam has walked into the

picture. She leans over and speaks quietly in his ear,

i

:

I

Hello, Charlo.

GEORGIE

LBLAND

You're

d o in g v e r y we l l .

r I

GEORGIE

Is

everything the

why

you want

it, dear?

'

KAME

(looking

around)

If everybody's having fun,

that's the way

Iwont

it,

/G30RGIS

I've got

sons

other little girls

coming over -•*

i '

rer -4

i r-r-r . « T

. LELAND

( interrupt ing)

I f y ou want to know what yo u 'r e

d o i n g — y o u ' r e d r a g g i n g y o u r

cou ntr y in to a wa r . Do vou know

w ha t a v/ar i s , C h a r l i e ?

/

KANB

I've

told

you about Jed, Georgie.

He needs to relax* «*« «.

:

I j

I

LELAND

There's a condition in Cuba that

noed3 to be remedied maybe —

but between that and a

v/ar.

/

KANE

You know G eo rg ie , Jed , d on ' t

you?

„,

GEORGES

Glad to meet you , Jed ,

»ti

(CONTINUED)

>



M I i» jinnci

si»SM;flvn^iL

41 (COr.'iT.JUED)

KANB

Jed, how would the

Inquirer

look

with no news about this

non-existent war with Pulitzer

and Hearst devoting twenty

columns a day to it.

LELAND

They only do it because you do.

KANE

And I only do it because they

do it -- and they only do it vo

lt's a vicious circle, isn't/it?

(rises)

I'm going over to

Georgie'*,

Jed. — You know Georgie,/don't

you,

Mr. Bernstein?

Bernstein shakes hands with Georgie.

KANB/

Georgie knows a young lady whom

I'm sure you'd adoro, Jed. —

Wouldn't he, Geongio?

,/LBLAN

LAND

The first paper that had the

courage to tell the actual truth

about Cuba -*

KANE

Why only the other evening I

said to

myself,

if Jededlah

woro only here to adore this

young lady — this —

(shaps his

fingers)

What's her name again?

DISSOLVE OUT

idWs,



• »

g

--ygTffH>*.?gy?reP -'-~." •. •

T

-^n

DISSOLVE IN

IHT.

CEORG EC'S PL'iCI - jilGHT - 1098

42 Georgie is introducing a young lady to Leland. On sound

track

we

hear piano

music. .-'" *

GEORGIE

,'

(right on the

y"

cue from ./'

preceding

scene)

Ethel — this gentleman has

been very anxious to meet you --

Mr,

Leland, this is Ethel.

• LTKLL

Hello,

Mr. Leland.

CAMEF.A PA.:S to include Fane, seated at piano, with

Bernstein and girls ,;ataered around him.

ONE

Or T:{E Ouii

Charlie I Play

the song

about

yau".

ANOT/£F. '.

:

IHL

Is

thei-e

a

son^ abTsut Chai'lie?

F.ANE

You buy a

baV

of

peanui>c

in

thi3 town/and you get

a\ong

writ ten,'about you.

^ \

K a ne h a s b r o k e n i n t o " O h , I'r. Kaixrf" a n d h e a n d t h e g i r l s

s t a r t t o s i n g . E t h e l leads th&^unhap.ny L e l an d o v er t o

t h e g r o u p . K a n e ,

3e-:.in.7,

Loland ano t a k i n g liis e y e ,

motions t o t h e professor v*o ha a been s t a n d i n g n e x t t o

h i m , t o ' t a k e o v e r . The/ prof 033o r doo3 s o . T he s i n g i n g

c o n t i n u e s . K ane r i s e s

a:id

c r o s s e s t o L e l a n d .

"'• KANE ( c o n t ' d )

S a y , J e d — yo u , d o n ' t h a v e t o

g o t o Cu b a i f yon d o n ' t w an t t o .

Y ou d o n ' t h a v e

to

r

be a war

c o r r e s p o n d e n t i f

y.ou

d o n ' t w a n t

t o . I ' d v /nnt to be, a war

c o r r e s p o n d e n t . \

( s i l e n c e ) 1

I ' v e

<-ot

a n i d e a .

LELAND \

Pa;, c l o s e a t t e n t i o n , B e r n s t e i n .

The hand ia quicker tlian ' the

e y e .

».

II

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(CO.TINi-ID)



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igaaiu-tf./.i ••ih.rs

y* 73

42 (COtTITLiD)

i J

/SSS**\

LiiLAND

( a t i l l s m i l i n g )

I t doesn't iralw an y di f ference

>.-

abo'-.t

i.:e,

b u t o n e o f t h e s e daj?£

y o u ' r e

r-o:ln'-;

t o f i n d o u t t ha i ;

a l l t - . i -

ci&Tv.

of y^ars wixfi't

/

s

bo enough —

s

.'•C-.*

1

ILAN _

It,Co;)n r.ako a

ou ' re wron:"

d i f f e r e n c e a b o u t ^ y o u . - - Come

to thinl*. of i t . / r . r .

- I c i T i s t o i n ,

I d o n ' t blamo M r. Loland f o r n o t

wanting t o bo a v/ar eorrscpondent.

I t ir.n't much o f a v / a r . B e s i d e s ,

t h e y t e l l ' m e t h e r e i s n ' t a d e c e n t

rnstaura.-it on t he

v;hole

i s l a n d .

DISSOLVE

T"*

KANS'S 0,>"ICT3 - DA7 - 1CS3

The s ho t begins on a CLOSEUP C7 a l a b e l . The words

:nr

C.

:"*. K a n e ,

r-aria,

f r a n c o , " f i l l t h e s c r e e n .

T h i s r e g i s t e r s a s CAMS-A P>JLLS ?>ACi; t o

shov;

ramaindar of

l a b e l i n . lur^-jr let ters teller, r e a d : "To

C:

a r l e s ? o s t c r

/ * * :;r.rio, .ev: York - HO.-.3 FO^VcitZVAL." C:X.?\: C0'-

r

,:ir.

T

£S

PULL::."G

BA iF ,

showing the Juitirc s a n c tu m p i l e d t o t h e

c o i l l n - wit h :.nc ,i;ij b o x c 3 , \ c r 3 t o ' - s t a t u e s e nd a r t

o b j e c t s . One- third of t h e

s\at'.v.--s

Jiavo been ur.ci'atod.

Leland i s i n h i s u ' . i r t sloov-jai c l e a r l y h« na3 h;en

opening

boxer;,

w i t h

claw-harr. o \

i n (me

hand.

Barns t a i n

lias

cone to

tiie

d o o r .

V*'.?-. ' " C ' l - . 'T*" \

I g o t h e r e a c a b l e fror-: l'\,

H a n : .

— Mr . Li l a n d , why d i d n ' t

you ^o t o E u r o p e v;.tth ham? \He

w ant ed yo t t o .

LELAND

I wanted hi:.i t o have f un — and

u i t h r<;« a l o n g —

T h i s 3to '.j

j - e r : i s t o i : i «

3 c r » t e i n l o o k s a t h i m .

LELAND ( c o n t ' d )

I 3 n m s t o i n , I w i s h y o u ' d l e t me

ai.l:

you a

i'ov/

quontiovsa - and

a n sw e r me t r u t h f u l l y *

(CONTINUED)

t

:

J .

i

:,

I

1:



43 (CONTINUED)

~» BnaasasBBSaESZ "•'•'- »

_.

I .

^URNST'SIN

D on ' t I a lw ay s? M os t o f the

t i m e ?

LELAND

B e r n s t e i n , am I a s t u f f e d

3 h i r t ? Am I a

horsc-facod

h y p o c r i te ? Are I a Now Eng land

3choolmarm?

B

-.

,

~'T

T,

^ •'".•T'•

,

:

Yes.

Leland is surpriaed.

DE?.NST";iN

(cont'd)

If

you

thought

I'd answer you

different

from

v/hat Mr, Lane

tells you — well, I

wox-.ldn

1

1.

\

?au3 0

as

I?»rnstcin

l o o k s a r o u n d t h e r o o m .

\

BLT.HSTJillM, ( c o n t ' d )

M r.

Lolar.d, r.t's

good he pr o mis ed

n o t t o ro n e, b a c k a n y s t a t u e s .

LELAND

\

I d o n ' t t h i n k y ou

understand'.

E e r n s t e i n .

T hi s i s one of

th

rareot Venuses

i n

e x i s t e n c e . *

(studying

3KT-ST3H

«ne s t a t u e

o n r o f u l l y )

Mot s o r a r o l i k e y o u t h i n k , M r .

L e l a n d , '

(handing

c a b l e t o

Loland)

H e r e ' s t h e c a b l e f r o m

Mr.

K ane .

L e la n d t a k e s i t , r e a d s i t , s m i l o 3 .

BiSKNSTEIN ( c o n t ' d )

( a s L e l a n d

r e a d s

cablo)

Ho

w a n t s t o bu y t h e w o r l d ' s

b i g g e s t d i a m o n d . .

(CONTINUE)

74

'I



43 (co:-".<.'i:r.:-jD)

44

i # N

?£?.

d r / -COM ^^DAY - 18C3

^ —

DISSOLVE to olabqrato lovin.5 cup on

v;hich

i s engraved :

\

"•.7:jLCOi::2

"OME,

EK.\lCA J2

— Pro-. 730 employees of

tlie

rev: "c rk Inqui rer

«\

A3

CA "E?A rVLLL JACI.Ait

rev eal s tha t thi s cup i s on a

l i t t l e taol - a;;

thy

far

eno

of th?

Inquirer

City Room.

]"e;rc

to tL.^

tabi c stonus Hernstcin,

rubbing his hands,

•"illisan

anc

:

a ACV ni;h<ir\e::ocuo ives. Throughout tho

en

Sir-?.

Z. iy .".-jor, there \*: a feeling of cleanliness and

ant ic J. pa t ier :.

CAIT HOY

(at stairway))

H o n

h.-j

cor:-.;sl

Bernstein and Hi ll r-an st. n-t towr.n- the door . A l l t'<e

others r i s e , ju s t as '>---rnot'ii\i .'»

R

ts to tho do or , i t

burstoop"::; and i nn c , an o nv o l o to i n hi s hand, sc or ns i n.

KANE

Hollo ,

i : r .

.-".emote in I

Kane co ntinues a t the same r a te oAspoed with v hi c i he

entered,

j e m s t i i n .Vol lowing

behind hir., at

tho

head of

a t ra in

v.'hich

inc lud so Uil lr r.n am', bt her s. Tlie ra ce

sto ps a couple of stops boyond the Jpc io ty Ed i to r ' s desk

by Kane ;:ho roves back to the desk, Sakin*; something of

a t raff ic

.iar.i.

(A plaque on the deskYvhich ro ada

"Socioty i l l

to r"

i s what caught Lans '

A.-jye

. )

KANE (cont' d )

Secure Y..Q,

I ' v e boon away so

lonr;,

I d o n ' t know your r outi ne

Miss —

(COXTINUSD)

n



44 (CONTINUED)

E.JRNSTSIN

( p r o u d l y )

Miss Tovmscnrt, M r . C h a r l e s

i

F o s t e r KaneI

I1AN2

Miss

Tovmsend,

I ' d —

( h e ' s p r e t t y

embarrassed, b y

h i 3 a u d i e n c e )

I — h a ve a l i t t l o soc ia l

announcement

h e r o ,

( ho p u t s i t

o n t h e desk)

I wish you w o u l d n ' t / t r e a t t h i s

a n y d i f f e r e n t l y t h a n yo u wo u l d —

y o u wo u l d — an y opher —

anything

e l s e .

He l o o k s a r o u n d a t t h e o t h e r s w i t h

some

e m b a r r a s s m e n t .

At t h a t mo men t , "113man hands "er-nsLein t h o c u p .

y^^V

(ho Id in,- jihe

cup)

Mr. Kane, on

ychalf

of all the

employees of

she Inquirsr

—

KAH3

(in tor rupt ing)

M r.

r .ernstein,

I c a n ' t t e l l y ou

how much I a p p r e c i a t e —

(ho taflcoo

t h a

c u p a n d s t a r t s

t o take a fow

s ten/a —

r e a l i z e s t h a t

ho £s b o i n ^

a

l i t t l e b o o r is h —

t u r n s a r o u n d

a n d hands t h e

c u p b a c k t o

Bernste in)

, Mr . Hornstoin — everybody «

s o r r y — I — I c a n ' t

take

i t

ook

I'm

now.

Murmurs.

KA?J2 ( c o n t ' d )

I ' m b £ s y , I moan — ploaso •

g i v e i t t o nn t o m o r r o w .

He s t a r t s t o rjvt o u t . T h e r e i s s u r p r i s e d c o n f u s i o n

anions t h e

rsat

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11

'J J

JI'I|»Â)P

>M».J'

EXT. STREET IN FRONT OF "INQUIRER"

BLDG,/-

DAY - 1896

78

48

to the barouche.

people in the window,

49

DOWN SHOT - of

Kane,*crossing

the

ci

He looks up

in

this

shpt, aeea

the/_

waves Gaily* steps into, the barouche. Emily looks at

him smilingly. He kisses her full on tho lips before he

sits down. She aots a bi\ totfen aback because of the

public nature of the scenes/but she isn't really annoyed.

DISSOLVE

INT, CITY ROOM -ÎNQUIRER" - DAY \ 1898

Bernstein and group at window.

BERNSTEIN

A girl like that, believe me,

she's lucky President's niece,

huh

Say, before he's through,

she'll be a president's wife I

DISSOLVE

X

INSERT

.^£>.

INSERT

Large picture of

— Kane and Emil

four columns -

NEWSPAPER -

KA

WITH STILL

OF GR

FRONT PAGE ' ' I N Q U 1 R 3 R V U 8 9 8 - 1 9 0 0 )

(Same set-UD as e

"News Digest."

young oouple

oooupying

happy.

IAGE TO EMILY

WHITE HOUSE LAWN (1900)

DISSOLVE

newsreel in

INT. BERNSTEIN'S OFFICE - "INQUIRER" - DAY - 1940

50

\

Bernstein and Thompson* As the dissolve

oomes,

Bernstein's voice is heard.

V / '

ÊRNSTEIN

The way things turned out, I

don't need to

tell

you — Miss

Emily Norton

waa ip osebudI

/

?H0MP\

HOMPSON

It d idn't end very we' l l , d id

It? /

r

/

\

(CONTINUED)



-<B3

LI »i 11 . i w m g

L.W.WII I

•*]»

IMI.

I .1

50 (CONTINUED)

, BERNSTEIN

It ended.\ — Then there was

Susie. — \That ended too,

(shrugs,

a pause)

I guess heididn't make her very

happy. — You know, I was

thinking —that Rosebud you're

trying to find out about ~

79

Yes —

THOMPSON

^ERNSTEIN

Maybe that was something he

lost. Mr. Kane Vas a man that

lost — almost everything he

had. You ought to talk to Mr.

Leland. Of oourae, he and Mr.

Kane didn't exactly see eye to

eye.

You take tho Spanish-

American V/ar. I guess Mr.

Leland was

ri^ht.

That was

Mr. Kane's war. We didn't

really have anything to fight

about — \

(chuckles) \

Eut do you think if it hadn't

been for that war of M*r. Kane's,

we'd have the Panama Canal? I

wish I knew where Mr. Leland

was — \

(slowly) \

Maybe even he's — a lot *of the

time now they don't tell

ee

hose

things — maybe

evon

he'3^dead.

THOMPSON

,

In case you'd like to

kno\7,

,Mr.

Bernstein, he's at the Huntington

Memorial Hospital on 180th Street.

BERNSTEIN

You don't say Why I had no

idea —

THOMPSON

Nothing particular the matter \

with him, they tell me. Just

— \

BERNSTEIN

Just old age*

(smiles sadly)

It's the only disease, Mr.

Thompson, you don't look forward

to being oured of.

DISSOLVE OUT

^ • ; • : • •

1

1

1

1

(

1

1

1

i

j

1

1

1

.

1

:

i

1

1

i

•

i

l

i

i

1

i

i

-

http://that/

http://that/

http://that/



DISSOLVE IN

EXT. HOSPITAL ROOF - DAY - 1940

51 CLOSE SHOT - ThompsbVi. He 13 tilted back in a ohalr

leaning against

a~chimney.

Leland's

voico

is heard for

a few moments before Leland i3 seen.

LELAND'S VOICE

When you get Ao my age, young

man, you don't\miss anything.

Unless maybe itiy's a good drink

of Bourbon. Even that doesn't

make much difference, if you

remember there hasn't been any

good Bourbon in

tljis

country

for twenty years.

CAMERA HAS PULLED BACK, revealing that Leland, wrapped

in a blanket, is in a wheel chair, talking to Thompson.

They are on the flat roof of a

yiospital.

TH0MPSO1

Mr.

Leland, you were —

LELAND

You don't happen to have

cigar, do you? I've got a young

physician who thinks I'm going

to stop smoking .... I changed

the subject, didn't I? Deal

dear

What a

disarreeable

old

man I've become. You want to\

know what I think of Charlie

Kane? — Well, — I suppose he>

had some private sort of

greatness.

But he kept it to

himself.

(grinning)

He never — gave himself away —

He never gave anything away.

He just ~ left you a tip. He

had a generous mind. I don't

suppose anybody ever had so many

opinions. That v/as because he

had the power to express them,

and Charlie lived on power and

the excitement of using it. —

But he didn't believe in

anything

except

Charlie Kane.

He never had a conviction

except Charlie Kane in hi3 life,

I guess he

diod

without one. —

That must havo been pretty

unpleasant. (cont'd)

(CONTINUED)

K



sr.:

I. in

. f.LT^.

1

..

g g g r v'.

'i

n.i,»

ni.1 ...yt—» . '•' ' L

r

TT''-' ••»"«'-*"•"

J-

51 (CONTINUED)

LELAND (cont'd)

Of

course.,

a lot of us check out

with no special conviction about

death. But we do know what

we're

leaving....we

believe in

something.

(looks\

sharply

at Thompson)

You're absolutely sure you

haven't got A oigar?

\

\ THOMPSON

Sorry, Mr. Leland.

LELAND

Never mind. — Bernstein told

you about the first days at

the office, didn't he? — Well,

Charlie was a bad newspaperman

even then. He entertained his

readers but Ii9 never told them

the truth.

THOMPSON

Maybe you could remombor

something that — \

\

LELAND \

I con remember everything.

That's my curse, young m^n.

It's the greatest curse that's

ever been inflicted on th?

human raoe. Memory -- I

his oldest friend.

(slowly)

— As far as I was concerned,

he behaved like a swine. Hot

that Charlie ever was brutal\

He just did brutal things.

Maybe I wasn't his friend. IJ

I wasn't, he nevor h- d one.

Maybe I was what nowadays you

oall a

stooge*

THOMPSON

Mr.

Leland, what do you know

about Rosebud?

LELAND

Rosebud? Oh Hi3 dying words

— Rosebud — Yeah. I

saw that

in

the

"Inquirer," Well, I've

never believed anything I saw in

the "Inquirer." Anything

else?

8 1

*

(C0NTINU2T>]

# •



• " " " '

, , J I

' W N ' W W J H • . w n n n w . f f i w J " *>-' -srvz-rtrrmui L U U . U I H J J J . I « J

51 (CONTINUED)

Thompson is taken aback.

LELAND (cont'd)

I'll tell you about Emily. I

used

to go to

dancing school

with her. I was very graceful.

Oh — we were talking about

the first Mrs . Kane

—

THOMPSON

What was

she like?

82

/

NOTE:

She was like all/the other

girls I knew In/dancing school.

They were nicfir girls. Emily

was

a

little/nicer. She did

her best -^Charlie did his

best — yell, after the first

couple dr months they never

saw much of each other except

at breakfast. It was a marriage

jus/s like any other marriage.

The following scenes ftove,

are played

in

the

sar

lighting, special efCects

wardrobe•

a period of nine years

et

with only changes

in

outside the window,

and

52

INT. KANE'S HOME - BREAKFAST ROOM - DAY - 1901

Kane, in white tail?, and' Emily formally attired. Kane

is pouring a glass of milk

N

for Emily out of a milk

bottle. As ho finishes, he. leans over and playfully

nips tho baok of her nock*

EMILY>

(flustered)

Charles

(she' s

Go sit down

loving it)

where you

Long.

yti$&r^

KANE

(on the way

to his own

plaoe)

You're

boautiful*

(CBUTXfiUED)

-

r i

:

) :



. '"» ••

SSB

rascaaa

J L

I ' ->•>"

BCEHS

52 (CONTINUED)

EMILY

I

caA't

be. I'vo never been

to

sik

parties in one night

befora. I've never been up

this late.

KANE

It's Just\a matter of habit.

EMILY

What do

youNauppose

the

servants will think?

LNE

T h e y ' l l t h i n k wfe en joyed

o u r s e l v e s . D i dn V t w e?

EMILY

( 3 h e g i v e s

a p u r r i n g

s m i l e * T h e n -V)

D e a r e s t — I d o n ' t

sae

why you

h av e t o go s t r a i g h t

osf

t o t h e

n e w s p a p e r .

KANE

You n ev e r s h o u ld have raa rVied

a n e w s p a p e r m a n . T h e y ' r e worse

t ha n 3 a i i o r s . I absolutel j

l o v e y o u .

They look a t eaoh other*

EMILY

Charles, even newspapermen have

1

to sleep.

KANE

(still looking

at her)

I'll call up Bernstein and tell

him to put off ny appointments

till noon. — What time is it?

EMILY

I don't know — ' it's

late.

83

j &**i

It's early*

KANE

DISSOLVE OUT>

J.



S

iT.Ti r-.'-T

1

'-''' « o J «U._.Ji..;

"Ti

,

54

DISSOLVE IN

INT.

KANE'S HOME - BREAKFAST ROOM - DAY - 1902

53 Kane and Emily - different clothes — different

EMILY

Do you know how long you kept

me waiting while you went to

the office last night for ten

minutes? Really, Charles, we

were dinner guests at the

Boardman's — we weren't

invited for the v/eek end.

KANE

You're the nicest

gir.

married.

Charles, if I didil't trust you —

What do you do

OJI

a newspaoer

in the middle oy the night"?

My dear,

yo

is the

f

'Ini

KANE

only corespondent

Lrer."

INT.

KANE HOME -/BREAKFAST ROOM - 1904

Kane and Emily -X change of costume and food. Emily is

dressed for the

street*

EMILY .

(kidding\ on

the level)

Sometimes I think I'd prefer a

rival of flesh dnd blood.

Ah,

Emily — I don'\ spend that

muoh time —

EMILY

It Isn't Just time — ifcjs what

?

ou print — attacking tt

resident —

KANE

You moan Unole John*

ONTINUED)



_«'w

ssfgSSSS S S S S S S E Z S I I Z ' ' < - ' ^ • '

t

^ ' ' ' - * ^ ' ^ ^ ' - ^ ^ ' "

s

- ' ' - ' ••^

54 (CONTINUED)

EMILY

I mean tho President of the

United States.

KANE

He's still Unole John, and

he's still a

well-moaning

fathead —

EMILY

(interrupting)

Charlos —

KANE/

(continuing

on top of heV)

— who'3 letting/a pack of high-

pressure

crooks'run

his

administration^ This whole

oil scandal

/ EMILY

He happens to be the President,

Charles /- not you.

KANE

That

/a

a mistake that will be

corrected

one of the30 days.

DISSOLVE

55

INT. KANE'S HOME - BREAKFAST ROOM - 1905

Kane and Emily —

\hange

of costume and food.

not

EMILY

Charles, wllen people make a

having

the

their homes ~

Lsh says that

on

at the Assembly

-0 than forty

agreed to oanoel

point of

^Inquirer"

Margaret Engl

the Reading

already has

names that have

tho paper —

moY

/JI^PN.

KA\E

Tliat's

wonderful.

\

Mr. Bernstein

will be delighted.\ You see, Emily,

when your friends cancel the

paper.

that just takes

anot

our

deadbont list,

you,

it's practically

honor among tho rioh

tho newsdealer*

tu

no

1

name off

know, don't

point of

to pay

DISSOLVE OUT

>>

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" ' •* ' •' •••• • - — •*

7rr

------ .'-•i... •<» v ruri i — - - -

DISSOLVE IN

INT. KANE'S HOME - BREAKFAST ROOM - 1906

56 Kane

and

Emily

-

change

of

costume

and

food.

EMILY

Your Mr. Bernstein sent Junior

the'

most incredible atroeity

yesterday.

I

simply can't have

it

in the

nursery*

KANE

M r. B e r n s t e i n i s a p t t o nay a

v i s i t t o t h e n u r s e r y now" a n d

t h e n .

EM

Does he have to ?

( shor t ly)

Yes. /

57

58

/

/

DISSOLVE

INT.. KANE'S HOME - BREAKFAST ROOM - 1 908

Kane and Em ily - change of cos tum e and foo d.

EMILY

Real ly ,^Charles — p e o p l e h a v e

a r i g h t t h e x p e c t —

KANE

What I care toN^ive them.

DISSOLVE

INT.

KANE'S HOME

-

BREAKFAST" ROOM -

1909

Kane and Emily

-

change of 'costume

and

food. They

are

both silent — reading newspapers — Kane is reading

his

"Inouirer" —

Emily

is

reading

a

copy

of the

"Chronicle." f

DISSOLVE

OUT

i

:

; :



DISSOLVE IN \

EXT. HQS PITALXR OOF - DAY - 19 40

59 Leland and Thom pson.

THOMPSON

Wasn' t he e ve r in love w i th

he r?

ISLAND

He m a r r i e d f o r l o v e —

(a l i t t l te

l a u g h ) \

T h a t ' s wh y h e d i d e v e r y t h i n g .

That ' s w hy he

w'ent Into

p o l i t i c s . I t ae/Tis w e w e r e n ' t

e nough. He w ante d a l l th e

v o t e r s t o l o v e h im , t o o . A l l

h e r e a l l y

wanted

o u t o f l i f e

w as l o v e . — T h a t ' * C h a r l i e ' s

s t or y — how he l o s t i t . You

s e e , he Ju3t didn't \have any

t o g i v e . He l o v e d C h a r l i e

K an e, o f c o u r s e , v e ry , d e a r l y ,

— and h i s m othe r , I gu e ss he

a l w a y s l o v e d h e r .

THOMPSON'

How about his second wifV*

LELAND

Susan Alexander?

(he chucklea)

You know what Charlie callec

her? — The day after he'd mat

her he told me about her — ha

said she was a cross-section on

the A-ierican public. — I guess

he couldn't help it — she mant\

have

had something for him.

(with

a smile)

That

first

night,

according

to

Charlie — all she had

was

a

toothache.

67

I

r

DISSOL\



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,

r ' w i , s . » j » . j , ,

^ i f l m . ,

T

•"•;••-•

. ' • • • ' • . • . • • i ' . J . >

l

. n . , ' . i - lV i ;

- . « . ' A < - , ^ "

• . ••-<

0 (CONTINUED)

Y o u a r e .

( t h e p a i n

re tu rns )

Oh

Ah

hal

SUSAN

K A N E

61

SUSA

If you want to

come'

in and wash

your face — I

can

get you some

hot water to

gel:

that dirt off

your trousers X

Thanks

Susan starts, with Kane following her.

INT.

SUSAN'S ROOM - NIGHT . 1915

Su3an come3 into the room, carrying a basin, with

towels over her arm. Kane is waiting for her . She

doesn't close the door.

SUSAN

(by\«ay of

explanation)

My landlady prefers me to keep

this door open\when I have a

gentleman callex^. She's a very

decent woman.

(making a fade)

Owl

Kane rushes to take the basin from her, putting it on

the chiffonier. To do this, he has to shove the

photograph to one side with the basin. Susan grabs

the photograph as it is about to fal^ over.

SUSAN ( c o n t ' d r

Hey , y o u sh o u l d b e mo re carei

T h a t ' s my Ma an d Pa* .

KANE

I 'm s o r r y . T he y l i v e h e r e t o o ?



" " - " ----- - -»•

m

n • .. •- ..• i...*T^

61 (CONTINUED) 90

SUSAN

No.

They've passed on.

Again •• she puts her hand to her jaw.

KANE

You poor kid,\you are in pain,

aren't you?

Susan can't stand it any more and sits down in a chair,

bent over, v/himpering a bit.

Look at me .

KAwE (cont'd)

She looks at him.

KANE I cont'd)

V.hy don't you laugh? \ I'm just

as funny in here as l\was on the

street.

SUSAN

I know, but you don't like me to

laugh at you.

KANE

I don't like your tooth toyhurt

either.

SUSAN

I can't help it.

KANE

Come on, laugh at me .

SUSAN

I

can't

-- what are you doing?

KANE

I'm wiggling b oth my ears at

the same time.

(he doea so)

It took me two solid years at

the finest boya' school In the

world to learn that trick. The

fellow who taught me is now

President of Venezuela,

(he wiggles his

ears again)

(CONTINUFD)'



61 (CONTINUED)

^-. '

"T:. . ' ," . . . . .Vf .V.yi

i

L.g

g

.;y

I • MINI— if

H_LL

91

62

Susan starts to smile.

T h a t ' s i t .

KANE (cont'<

INT. SUSAN'S P.a

-f

Suaan

s m i l e s v e r y b r o a d l y

- ^ k e n

s t a r t s to l a u g h .

DISSOLVE

N'S RQQjf -

NIGHT -

191

fi

CLOSEUP of

a

duck,

CAMERA

PULLS BACK showing it to be a

shadowgraph on the

wally

made by Kane, who is now in

his shirt sleeves. \

(hesitating

A chicken?

KANE

No.

But you're

close.

A rooster?

KANE

.

You're

getting further away

\ll

the

time.

It's a duck.

SUSAN

A duck. You're not a

professional

magician, are you?

KANE

No. I've told you. My name

is Kane — Charles Poster Kane.

SUSAN

I know. Charles Foster Kane.

Gee — I'm pretty ignorant, I

guess you caught on to that —

KANE

You really don't know who I am?



62 (CONTINUED)

„ ,

SUSAN

No.VThat

i s , I b e t i t t u r n s

o u t

Y've

h e a r d y o u r n a m e a

how H i s

1

1

3

' °

nl

3T°

U

taow

\

KANE

B u t y o u l i k e m e , d o n ' t y ou ?

E v e n t h o u g h y o u d o n ' t k n o w

1

I am?

A

SUSAN

Y o u ' v e b e e n

wonderfulI

I c a n ' t

t e l l y o u h ow g l a d I cm y o u ' r e

h e r e ,

I d o n ' t k now many peo ple

and — \

( s h e

s tops

JUUtb

And I know, to o raahy p e o p le .

O b v i o u s l y , w e ' r e tioth l o n e l y .

( h e s m i l e s ) \

fc'ou ld you l i k e t o know where I

was g o i n g t o n i g h t

—\

when you

r a n i n t o me a n d

ru inad

my

S u n d a y c l o t h e s ?

T

*,

SUSAN

J ) , f i ^

? t r

i ?

lnto

y °

u

« ¥ * s e t

they're not

your Sunday Clothes.

You've probably

got a

LSfo fclothes. »

KANE

I

was

only joking

I

(pauses)

I was on my way to the T'este

Manhattan "'arehouse s —

in

search

of my

youth.

Susan

is

bewildered.

» — " I I n .

KANE (cont'd)

You see, my mother died too —

a long time ago.

Her

things

were

put

into storage

out T/est

because

I had no

place

to put

them then.

I

still haven't.

But now I've sent for them Just

the same.

And

tonight

I'd

planned

to mako

a

sort

of

aentimontal

Journey

— and now —



62 (CONTINUED) V 93

Kane

d o e s n ' t \ f i n i s h .

He l o o k s a t S u s a n . S i l e n c e .

KATE (con t 'd )

V.ho

am\I? V .'e ll , l e t ' s

s e e ;

C h a r l e s F o s t e r K an e w as b o r n i nNew S a le m , C o lo ra d o i n e i g h t e e n

s ix — \

( h e s t o p s o n t h e

w o r d ^ " s i x t y "

- -

o b v i o u s l y a

l i t t l e , e m b a r r a s s e d )

I r u n a c o u p l e o f n e w s p a p e r s .

Hov; ab ou t you ?

\

Me?

SUSAN

I ;

yff^V

KANS,

Hov/ o ld d i d yo u sayxyou w e re ?

SUSAN

( v e r y b r i g h t )

I d i d n ' t s a y .

KANE

I d i d n ' t t h i n k yo u d i d . is y o u

h a d I w o u l d n ' t h a v e a s k e d \ y o u

a g a i n , b e c a u s e I ' d h a v e

remembered.'

How o ld ?

SUSAN

P r e t t y o l d . I ' l l b e tw en ty -tw o*

i n

August.

KANE

T h a t ' s a r i p e o l d a g e . —

T.hat

do you do?

SUSAN

I wo rk a t S e l i g m a n ' s *

: |

KANE

Is that what you want to do?

j#**K.

SUSAN

I wanted to be a singer.' I

moan, I didn't. Mother did

for me .

(CONTINUED)



p . . , ^ . . . ^ , . . . ^ , , , . , ^

.. ; . ^ \ i i . i . y j : r . - i , : 7 . . : v - j T ^ j . . . . » ' i . - e r

? ;

«

l

. v . . ; . .

r

j j ^ , . . , , .

t

, — • ^ . . , ^ i . .

; ?

^

62 (CONTINUED)

KANE

What happened

to the

singing?

SUSAN

Mother always thought

— she

used

to

talk about Grand Opera

for\me.

Imagine — Anyway

my voice Isn't that kind.

It'sNjust — you know what

mothers are like.

Y e s .

KANE

SUSAN

As a matt er' of f a ct , I do si ng

a l i t t l e .

V.'ould you s ing

fo,r

me?

JSAti

USAX

Oh , you wou ldn' t wari£ to bear

me si n g .

KANE

Y e s , I v/ould. Th at 's why I

asked.

Well, I —

SUSAN

KANE

Don't tell me your toothache

is bothering you again?

SUSAN

O h , no, that's all gone.

Vf-

KANE

Then you haven't any alibi at

all. Please sing.

Susan, with a tiny ladylike hesitancy* goes to

the'

piano and sings a polite song. Sweetly, nicely, she

1

sings with a small, untrained voice. Kane listens•

He is relaxed, at ease with the world.

DISSOLVE OUT

I:

i i

r s



DISSOLVE IN

95

INSERT

INSERT

INSERT

" I N Q U I R E " J T E , / D L T N > \ (1 91 6)

B O S S ROGERS P ICKS DEMOCRATIC NOMINEE

\ /

DISSOLVE

"INQUIRER"

HEADLINE,

\ l 9 1 6 )

BOSS ROGERS PICKS REPUBLXCAN NOMINEE

DISSOLVE

FOTIR COLUMN CARTOON ON

ByCK Y ^

OP "INQUIRER.

11

(1916)

This shows Boss

Rogers,/labelled

as such, in

convict striper., dangl/nj; littl\ marionette

figures —

labelled Democratic

Candidate and

ftepublic >n

Candidate Y-

from

eachXhand. As

CAMERA PANS to r?mini:i

L

four columns it

reveals box . This -f

lieaded:

K

7

" P u t t h i s nan

' a i l ,

p e o p l e

o\

Mew Y o r k ."

I t i s signed, i n b o l d t y p e , "Charles :\oster

K a n e . " T h e t e x t

between

h e a d l i n e an d S i g n a t u r e ,

l i t t l e of w h ic h

neeki

b e r e a d , t e l l s o f t h e

b 0 3 s - r i d d e n

a i t u a t j / o n .

DIS

n

>01j,VE

OUT

y

http://l916/

http://l916/



63

DI3S0LV

i::?. M A D I S O ^

s•"*.,T".

n

A

VI-.T:

-

-IT^T

- 1916

The evening of the final treat rally. Emily and Junior

are

to be Seen in the

front

of o box. Emily is

tired

and

wears

a forced smile on her

face. Junior,

now

aged nine

and a half, la oa,er, bright-eyed and excited. Kane is

Just finishing his speech.

X

\

KANE

It is no secret that I entered

upon this campaign with no

thought fchit I could be elected

Governor ef this Sta-el It is

ue secret that ray only purpose

was to brills f-s v/ido publicity

as I could to the donir.stion of

this Stat* —. of its every

resource -- nf. its every income -

of literally the liv-.-s and

deaths of its citizens by 3os3

T

'd-:ard

P.

'i.oitcrsl

It is now no

socret that every, strew vote,

eery . ndependent. ..poll, shows

that I v:iii hc» ale'cted. iUid I

r«r-2ar.

to you — r-A first

e-ff.uCi.ul acv as Oov\rnor will be

to onpoxnt r.

special\

Dlstric t

Attorney to arrange ror the

mdlctnent, prosecution and

conviction oi' Bess '-.dwljrd G.

F.ot,er3i

Terrific screanin.,

and cheerin?

the

audience.

DISSOLVE

64

i?r?. MAi-isrT syuRE

r

- i ' ' r a -

?'TCT'T

- iflqi6

THE SPEAKERS' PL«.TroEM. Nur.orous o f f i c i \ l s and c i v i c

leaders are

crowding 8round fpn^ . Caiaera\;en tal te

f lash

photographs.

ri l 'ST CIVIC LEADER

Great speech,

i t r .

I'.ane.

SECOND LEADER

(pompous)

One

of the

post notable public

utternrcKS over made by a

candidate

in

this State

—

KANE

Thank you , gentlemen. Thank you.

(CONTINUED)

'•TH

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iH';lg» ».

L

l ;'™-

........iweij;

1

," '

1

.'

.64 (CONTINUED)

97

He looks up and notices that the box in which Emily and

Junior were sitting is now

empty.

Ho starts toward

rear of the platform, through the press of people.

Hillman

approaches him.

\ HILLMAN

A wonderful speech,

Mr.

Kane,

Kane pats him on the shoulder as he walks along.

\

HILLMAN (cont'd)

If

the

election were held today,

you'd

be

elected

by a

hundrea

thousand votes \-

on an

independent ticket there's

never boen anything like it J

\

Kane is very pleased,

through

the crowd --

\

He continues with

a band playing

off.

Hillman slowly

\

y^EtfPI&S.

I t does

true.

KANE \

seen

too

good

to

be

\

HILLMAN \

Rogers

i s n ' t

even

pretending.

He i sn ' t just scared any more.

He's si ck . Frank Nor ris told

me las t night he hasn ' t knotm

1

Rogers to be that worried in

twenty-five

years.

KANE i

I t h i n k i t ' s b e ^ in n in c to dawn \

on

Mr.

Hog or 3 t h a t

I

mean wha t \

I

say.

v/ith

Mr.

Hogers

out of

\

t h e

way,

H i l l n a n ,

I ih ink we may \

r e a l l y bc^ln to h o p e for a good

g o v e r n m e n t In t h i s * S t a t e ,

( s t o p p i n g )

A '7ELL-7ISHER

G r e a t s p e e c h , Mr. KaneJ

ANOTHER ''TiXL-r/ISHER

Wo nd er fu l , Mr. K a n e

\

Ad l i b s fr om o t h e r w e l l - w i s h e r s .

DISSOLVE OUT



'—

„. ..J.

V

.

«,-»•»

a

DISSOLVE IN

9 a

EXT. OUT OF THE. SKITS - HA3TS0N SQU.aR'-: OARDMI - HIGH™

65

\

ISIS

Emily

«md

J u n i o r fcr'* s t a n d i n g , w a i t i n g f o r K a n e .

Govdj

JUNIOR

Is Pop

Governor

y e t , Mom?

Kane

a p p e a r s w i t h

HllLr.an

a n d s e v e r a l o t h e r m e n . He

rushes

t o w a r d

Kr i ly

and Njunior. T he men p o l i t e l y

te

r<

^ m i l y .

p o l i t e l y

b

ree t

H e l l o , B u t c h i

DidAyou

l i k e

y o u r o l d

man's

s p e e c h ?

JUNIOI

I was in a cox,

Fol

hfear every

w o r d .

KANE

I saw

youI

G ood n i g h t ,

g e n t l e m e n .

I

could

There arc good r.ight3. Kane's car is at the curb and he

starts to walk toward it with Junior ana Qnilv.

unior

an^

Emily.

EMILY

I'm sending Junior hone in the

car, Charles — with Oliver —

KANE

But I'd arranged to go home with

you myself.

EMILY

There's a call I want you to

make with m e, Charlea,

It can wa it .

KANE

EMILY

No, it can't,

(kisses

Junior)

fl-rod night, darling .

(CONTINUED)

>

• <

i

r

i



65 (CONTINUED)

JUNIOR

G o o d n i g h t , '

Mom.

KANE

( a s c a r

d r i v e s o f f )

Vrtiat's t h i s a l l a b o u t , E m il y?

I ' v e h a d a v e r y

t i r i n c

day and

EMILY

I t m ay n o t b e a b o u t a n y t h i

a l l .

( s t a r t i n g t o

a cab a t

c u r b )

I i n t e n d t o f i n d o u t .

KANE

I i n s i s t o n b e i n g tyold e x a c t l y

wha t you have in

m/nd,

I

f

m g o i n g t o —•

( s h e looksi a t a

s l i p of/x)Bz e r )

185 West 74 t i / S t r ee t .

K a n e ' s r e a c t i o n i n d i c a t e s t h a t the a d dr es s d e f i n i t e l y

means something t o

h i m .

EMILY (con t ' d )

I f you

/ i s h ,

you can come wi th

m e , , ,

KANE

' ( n o d s )

I '13/come w i t h

y o u .

He o p en s t h e / d o o r a n d s h e e n t e r s t h e c a b . He f o l l o w s

h e r .

/

DISSOLVE

IN T. CAB '- NTPTIT - 1916

y

66

Kane and Emily. He

of enlightenment.

oks Hf her in search of some kind

face is set/and impassive,

DISSOLVE OUT

J •

i

1

*

i

i

:

i

l

i

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67

68

, . — j * * — . i ' " .

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DISSOLVE IN

liXT. SUSAN'S APA.7THENT HOUSE DOOR

1 0 0

s

NIGH

•H?

- 1 9 1 6 /

' *

K a ne a n d E m L l y, i n f r o n t o f a n a p a r t m e n t doo-rC E m i l y i s

p r e s s i n g the b e l l .

KANE

I h a d n o i d e a y o u h a d t h i y f l a i r

f o r n e l o d r e m a , E m i l y .

E m i ly d o e s n o t a n s w e r . T h e dyor i s o p e n e d b y a m a i d , w h o

reco g n i zes K a n e .

PRE MAID

Cone i n , Mr . t fane, come i n .

S h e s t a n d s t o o n e

s i / fe

f o r K an e a n d E m i l y t o e n t e r . T h i s

t h e y s t a r t t o d o . JSeyond th«m we s e e i n t o t h e r o o m .

I N T .

SUSAN'S ATriTTMENT

y

NirHT - 191 6

A s K an e a nd E m i l y e n t e r , S u s a n r i s e s f ro m a c h a i r .

1

o t h e r p e r s o n i n

the roon

- a b i g , h e a v y - s e t n a n , a

l i t t l e p a s t m i d dl e a&e — 3 t a y s w h er e lie i s , l e a n i n g

b a ck i n h i 3 c h n i r , reg a rd i ng Kane I n t e n t l y .

SUSAN

I t w a s n ' t my f a u l t , C h a r l i e .

H e m a de m e s e n d y o u r w i f e a

n o t e . H e s a i d I ' d — o h , h e ' s

been s a y i n g t h e \ n o s t t e r r i b l e

t h i n g s , I didn't>know w h a t t o

d o . . . I —

( s h e s t o p s )

R0GERS

>

G o o d e v e n i n g , M r . K a n e ^

( h e r i s e s )

I d o n ' t s u p p o s e a n y b o d y Vould

i n t r o d u c e u s . M r s . Kane,\l 'ra

E d w a r d R o g e r s .

l i e

How do y ou do?

EMILY

R0GE5S

I made Hiss — M i s s A l e x a n d e r

send

y o u

tlie

n o t e . S h e w as a

l i t t l e

unwill ing

a t f i r s t —

( s m i l e s

Grimly)

b ut s h e d i d i t .

(CONTINUED )

N



68 (CONTINUED)

i

:e\l

SUSAN

I can't tell you the

thlng3

he

said, Charlie. You haven't

got anv ldea\—

__.NE

(turning \

on

Rogers )\

Rogers,

I don't think I will

postpone doiiv,

s one

thing about

you until l'm"elected.

(starts

\

toward

him)

\

To start with, I think I'll

break your neck.

ROGERS

(not giving

way an inch)

Maybe you can do

it and\maybe

you can't,

Hr.

Kane.

EMILY

Charles

I

(he stops to

look at her)

Your — your breaking this

man's neck —

(she is clearly

disgusted)

i

-- would scarcely explain thii

note —

(glancing

at the note)

—

Serious

consequences for

Mr.

None —

(slowly)

— f o r myself, pnrt f or my son .

'That docs

t h i s n o t e m e a n , M i s s

SUSAN

(stiffly)

I'm Susan Alexander.

(pauses)

I know what you think, Mrs.

Kane, but --

.

EMILY

„.

(ignoring this)

AlexaSdlr?

thl3

n

°

t 0 B c , m

'

:Ua3

101

\

(CONTINUED)

•

it



68 (CONTINUED)

SUSAN

It's

11We this,

Mr3. Kane. I

happened to Ac studying singing

I always wanted to be an opora

singer -- and\Mr« Kene happened

I wean, he's Wpen helping me —

\

V/hat d o e s this

A l e x a n d e r ?

JULY

jte

n e a n ,

Miss

RO«iSRS

S h e d o e s n ' t k n o w ,

M r s .

Kane .

S h e j u s t s e n t i t -A b e c a u s e I

m ad e h e r s e e i t wouldn' t b e

s m a r t f o r h e r n o t t\ s e n d i t .

KANE

I n c a s e y o u d c n ' t knoi- , Emily ,

t h i s — t h i s g e n t le m a n . - - i s —

ROGERS

I ' n n o t a g e n t l e m a n ,

l ira. .

Kane,

u.nd

y o u r h u s b a n d i s

just\

t r y i n g

t o b e funny c a l l i n g n e o n e . I

d o n ' t even know wha t a gentleman

i s .

You s e e , my id e a of

g e n t l e m a n , M r s . K an e — w e l l ,

i f I owned a nev/opapcr and Uf

d i d n ' t l i k e t h e way scnebodj

e l s e w a s d o i n g t h i n g s — so ma

p o l i t i c i a n , sa y — I ' d f i g h t )

them

vd.

t h everything I had .

Only I w ou ld n ' t s how hin i n al

c o n v i c t s u i t , w i t h s t r i p e s —

s o h i s c h i l d r e n c o u l d see t h e

p i c t u r e i n t h e vajter. Or h i s

m o t h e r .

EMILY

Ohij

K A N E

You're a chaap, crooked grafter

— one your concern fcr you

children and your mother --

(CONTINUED)

I

A.



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63

(CONTINUED)

ROGERS

Anything you say, Mr. Kane.

Only we're talking now about

what you are . That's what that

note

is

ebout, Mrs. Kane. I'm

going to lay all my cards on

the table, I'm fighting for my

life. Not Just my political

life. My life. If your

husband is elected Governor —

KANE

I'm going to

tie

elected

Governor. andXthe first thing

I'm going to do —

EMILY

Let him finish, Cnarles.

ROGEBS

I'm protecting myself every

way I know how, Mrs.\Kane.

This last week, I firthlly

found out how I can shop your

husband from being eleeted.

If the people of this state

learn what I found out this

week, he wouldn't have

a\chance

to — he couldn't be elected

Dog Catcher.

KANE

You can't blackmail me,

Rog«

You can't —

SUSAN

(excitedly)

Charlie, he said, unless you

withdrew your none --

ROGERS

That's the chance I'm willing

to give you,

Mr.

Kane, More

of a

cfhance.thnn

you'd give

me.

Unless you ma^e up your mind

by tomorrow that you're so

aick that you've got to go

away for a year or two — Monday

morning every paper in this

state — excoot yours — will

carry the story I'm going to

give them.

EMILY

What story, Mr. Rogers?

103

r

. i

3te;rr«j-

(CONTINUED)



?r?**g

68 (CONTINUED)

K A : I E

Have you gone completely mad,

Emily? You don't think I'm

going to let this blackmailer

intimidate ne, do you?

EMILY

I don't see what else you can

do, Charles. If he's right —

and the papers publish this

story he has —

\ KANE

Oh,

they'll publish it all

right.

I'm not afraid of the

atory. You can't tell me that

the voters of this state —

EMILY

I'm not

interested

in the

voters of this state right

now. I am interested in —

well,

Junior, for one thing.

SUSAN

Charlie

I

If they

publish

this

story

—

EMILY

They won't. Good nightV

Mi'

Rogers.

There's nothing more

to be said. Are you coning,

Charles?

KA1IE

No.

105

y

She looks at him. He starts to work himself into a rage.

KANE (cont'd)

There»s

only one person in the\

world to decide what I'n going'

to do — and that's me. And

if you thin : — if any of you

think —

EMILY

You decided what you were going

to do, Charles -- some time agoi

Come on, Charles.

( C O N T I K H



•.„ -"L.'**-y« f

68 (CONTINUED)

106

KANE

Go on 1 Get out I I can fight

this all alone I Get out I

ROGERS

You're making a bigger fool

of yourself tlian I thought you

would, Mr. Kane. You're licked.

•Thy don't you —

X

\

KANE

(turning-

on hia)\

Get outl

I'v

got nothing to

talk to you about. If you

want to see

*\e\

have the V/arden

write me a letter.

\

R o g e r s n o d s , w i t h

a

l o o l : t h a t s a y s " S o y o u s a y . "

SUSAN

\

(starting

to cry)

Charlie, you're j

You don't realize

u

. \

excited.

doing.

KANE

I k now e x a c t l y v .h a t I '

( h e i s

s c r e a m i n g )

Get ou t 1

EMILY

(quietly)

Charles,

if you don't

listen

to reason, it mny bo too late

KANE

Too

lato

for what? Too late

for you and this — this publ

thief to take the love of the

people of this state away fron

me?

"."ell,

you won't do it, I

tell you. You won't do it I

SUSAN

Charlie,

there are other things

to think of.

(a sly look

comes into '

her

eyes)

Your son — you don't want him

to read . in the papers —

(CONTINUED)

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63 (CONTINUED)

107

EMILY

I t i]c to o l a t e n ow , C h a r l e s .

KANE

(iushos

t othe door

and opens

i t \

G e t c u t , b o t h o f you I

SUSAN

(ruahej

to him)

C h a r l i e , p l e a s e d o n ' t —

>

V

HE

'That are y ou v. siting here

for?

Why

don't you

go?

EMIIY

Good night, Charles'

\

She

v.-r»l :s

out.

P.ogera sto^s

directly in front of Kane.

50GEKS

You're the greatest fool I've

ever known, Kane. If

ltt-;as

anybody else, I'd ::ay what's

goin^ to happen to you

wo\ild

be a lossoa to you. Only

you're going to

need

more

\han

one

lesson#

And you're

going

to

net noro

than one lesson

KANE

Don't worry about me. I'm

Charles Foster "one. I'm no

cheap,

crooked politician,

trying to save hinself from the

consequences of his crimes —

i

.

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INT. ATT. HOUSE

KALLV/AY

- NIGHT - 1 9 1 6

108

69

CAJSTRA

ANGLING toward Kane from other end of the

hall,

Rogers and Emily are already down the

hall,

moving

toward

f.g.

Kane in apartment doorway b.g.

KANE

(screams

louder)

I'm going to send

Sing, Rogers. Sin

Kane is trembling

wither

age as he shakes his fist at

Rogers' back. Susan< quieter now, has snuggled into the

hollow of his shoulder as they stand in the doorv/ay.

DISSOLVE

INSERT Tlie Chronicle front page with

photograph (as in the News Digest)

revealing Kane's relations nith

Susan. Headline

reads:

CANDIDATE KANE FOUND IN LOVENEST

WITH

"SINGER"

DISSOLVE

I N T . COMPOSING ROOM

ZNCUIRER - NIGHT - 1 9 1 6

70

CAMERA ANGLES down on enormous headline in type with

proof on top. In back of this headline lies complete

front page, except for headline. Headline reads:

KANE GOVERNOR

CAI.-ERA TILTS UP showing Bernstein, actually crying,

standing with composing room foreman, Jenkins.

BERNSTEIN

(to foreman)

With a million majority already

against

hin,

and the Church

Counties still to be heard from

— I'm afraid we got no choice.

This one.

CAMERA PANS to where he io pointing; 3hows enormous •

headline, the proof of which in small type reads:

Kuno defeated

and in large type screens:

FRAUD AT POLLS

_

DISSOLVE

OUT

I

i

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D I S S O L V E I N

I N T .

EA:iE'S OFri CE

-

IN.J.LIHEH

- NIGHT -

1916

71 Kane looks

up

iron his desk

as

there

is a

knock

on the

door.

\

\

Come id.

1CANE

L e l a n d e n t e r s .

KANE

( s u r p r i s e d )

I

thought I

h^ard somebody

knock.

\

: a >

(a

bit

drunk)

I knocked.

(he loo

5

:^

at

hin defiantly)

I AME

(trying

to \

laugh

it \

off)

\

Ohl

An

official visit

of

3tate,

eh? \

(waves

his

\

hand)

\

Sit down, Je:lidiah.\

LELAND

(sitting down \

angrily)

I'm drunk.

\

Good I

It's high time

-n

v

LELAND

You d o n ' t h a v e t o b e a m u s i n g .

KANE \

A l l r i g h t . T e l l y ou w h at 1*11

d o . I ' l l

G 9

t d r u n k , t o o .

(CONTINUED)

i-



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71 (CONTINUED)

LELA11D

(thinks this

over)

No.

That wouldn't help.

Besides,

you never get drunk.

(pauses)

I wont to talk to you — about

'— about ~-

\(he can't

'

ge t i t out)

KANE

(^Look3 a t him

Sharply a

moment)

If you'yc got yourself drunlc to

talk to'.ne about Susan Alexander

—

I'm riot interested.

\

LELA-.HD

110

She

• s no t' inn or tan t. "ha t • s

much

nore

4

important

—

(he lioeps

glaring

at Kane)

KANE

(as if \

genuinely

surprised)

Ohl

\

(he gets\up)

I frankly didn|t think — I'd

have to listen to that lecture

from yoi. \

(pauses) \

I've betrayed the sacred cause

of reform, is

thut

it? I've set

back the nacrod cause of reform

in

t ii3

3tato two'nty years.

Don't toll

ae,

Jed, you —

Despite his load, Leland

i;anage3

to achieve a dignity

about tho 3ilent contempt with which he looks at Kane.

KANE'

(an outlmrst)

'-That makes the sucred cause of

reform so sacred?

Hny

does

the'

nacre*',

cause

•:>?

reform liavo

to

l'-n exempt frcjL.1 a l l tha other

Tacts of life? Why do\ the laws

of tliis state

have to be executed

by a man on P whi te changer ?

(CONTINUED)

1

y •

•

r

t

t

|

1

i

.

1

1

• •

1

l

I

1 I

j

1

ft

•

<

i

;

t

i

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I



. 4 1 , 1 1 » "'

7 1 (CONTINUED)

L e l a n d l e t s thfe

storr.

r i d s o v e r h i s h e a d .

I l l

-»

•

n

KANE (cont 'd )

.calming down)

B u t , i f t h a t ' s t h e w ay t h e y w a n t

i t —

( they 've

m ade t h e i r c h o i c e .

The p e o p l e o f t h i s s t a t e

obviously p r e f e r M r . R o g e r s

t o me , \

( W i s l i p s

t i g h t e n )

So b e i t

LELAND

You talk 'about the people as

thqugh thfey

belong to you. As

long as

l\can

remember you've

talked about giving the people

their rights as though you

could make \then a present of

liberty -- in reward for

services rendered. You remember

the working wan? You used to

write an awful lot about the

working

nan. \

1;

eil,

he's turning

into something called 'organized

labor', and

ycu're

not going

to like that A hit when you find

out it means tliat he thinks he's

entitled to something as his

right and not Apur gift.

(ho

pauses?

And listen,

Chai\le3.

"Tien your

precious unaer;>ru.vile;:ed really

do get together V- that's going

to add up to something bigger —

than your privilege — and then

I don't know what\you'11 do.

Sail away to a desert island,

probably, and lord\i t over the

monkeys.

KANE)

Don't worry about ill too much,

Jed, There's auro tb be a few

of them there to tell me whore

I'm v/rong.

:t

ISLAND

1

.

You may not always be vthat lucky.

(pauses) \

Charlie, why can't you\get to

look at thinps less personally?

Everything doesn't have\ to be

between you and — tlie personal

note doesn't always —

^ . M M M ^ a M M I W . * *

(CONTINUED)

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7 1 (CONTINUED)

ICANE

(violently)

The personal note is all theiy

is to it. It's all there

evdv

Is to it. It's all there

e/er

is to anything Stupidity/in

our Government - crookedne33 —

even just complacency

and

self-

satisfaction and an unw/llingness

to believe that

anythi/g

done by

a certain class of pe/ple can be

wrong — you can't fight those

things impersonally/ They're not

impersonal crimes against the

people.

They're being done by

actual persons --Xvith actual

names and positions and -- the

right of the American people to

thoir own country is not an

academic issue,/Jed, that you

debate — and tfhen the

judges

retire to return a verdict --

and the

wimiens

give a dinner

for the loser/

You

almost

The truth 1

don't earn

you. You

people tha

much that

back. On

own terms

LELAND

bnvince

me, almost.

, Charlie, you just

bout anything except

ist want to convince

you love them so

hey should love you

you want love on your

It's

sonothing

to

be played/your way -- according

to your rules. And if anything

goes 'wons and you're hurt —

then

the /game

stops, and you've

soothed and nursed,

what else is happening

matter who else is

got to b

no matte;

— and

hurtl

They look at each/other.

/ S r ^ S

KANE

(tfrylng

t o

i d h i m

nto a

e t t e r

lumor)

Hey,

jfcdediahi

L el a nd i s no t

to)

b e s e d u c e d .

(CONTINUED)

< * = * =

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71 (CONTINUED)

LELAND

Charlie,

I wish you'd

Let

me

work on the Chicago pa

you said yourself

you/»ere

looking for someone to do

dramatic criticism

t/ere

—

KAN1

You're more valuable here.

There is silence.

INLAND

Well,

Charlie,/then I'm afraid

there's nothing I can do but

to ask you to

Joccept

—

KANE

(harshlV)

All ri.Tht.

jrou

can go to

Chicago.

Thank you.

LELAND

There io an

cr'.ward

fcause. Kane

open3

a drawer of his

desk and

takes

out al bottle and two glasses.

KANE

I guess B'd better try to get

drunk, anyway. "

Kane

hands

Jed a gaass,

?/hich

he makes no move to take,

KANE (cont'd)

But I ivnrn you , Jedediah, you're

not

goang

to like it in Chicago.

Tlie widd cones howling in off

the lore

anil

the Lord only

knows

if

they've ever heard of

Lobstqr

Uowburg.

LELAND

V/ill /a

week

f rom Saturday

bo

a l l f i g h t ?

KANE

( w e a r i l y )

Any t ime you soy ,

(CONTINUED)

'



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71 (CONTINUED)

r ay^^ .a i i . i ?

-*«^***i«*-^

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72

^ =

T h a n l : y o u .

LELAND

Kane looks at him intently and lifts the glass.

y

A toast, Jedediahy*- to love

on my_ ter ms. Those are the

only tersw anybjwly knows —

his own.

DISSOLVE

EXT, TOWN HALL IN TRENTON (AS IN NEffS DIGEST) - DAY - 1917

K ane ( a s i n News D i g e s t ) i s j u s t e m e r g i n g w i t h S u s a n ,

Ho smashes ono cameraXand b e f o r e h e b e g i n s o n a s e c o n d ,

a cop removes a

no.vsrjj^l

cam eram an. He sm ashe s a second

c a m e r a , a nd i s j u s t ahout t o s t a r t on a t h i r d .

KOTOGRAPHER

M r. Kane I M r . Ka\ie 1 I t ' s

The I n a u i r e r l

K a n e s e e s T h e I n q u i r e r pa in ted\on t h e s i d e o f t h e camera

and

s t o p s .

REPORTER

( q u i c k l y )

How a b o u t a s t a t e m e n t , MrXKane?

ANOTHER REPORTER

On t h o l e v e l , M r . K a n o , a r e

you th r o u g h w i t h p o l i t i c s ?

KANE

I wo ul d s a y v i c e v e r s a , yo u n g

man.

( s m i l e s )

We' r e g o i ng to b e a g r ea t o p er a

s t a r .

REPORTER

Are you going to sing at the

Metropolitan, Mr s. Kane?

KANE

W e c e r t a i n l y

a r e .

(CONTINUED)

>

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_da

72 (CONTINUED)

INSERT

73

74

SUSAN

Cliarlle

sa i d i f I d l d n > \ . ,

b u i l d me a n ooera hcnrae.

he'd

115

That won't

hr

necessary.

DISSOLVE

FRONT FAGS CHICAGO INQUIRER, with

photograph proclaiming that Susan

Alexander opens at now Chicago Opera

House in "T hais." (As in News Digest)

(1919)

On sound tract during above we^hear the

big expectant murmur o£ an jrpening night

audience and the

noodllnjv'of

the orchestra.

DISSOLVE

INT. CHIC.'.PO OPERA

Tlie CAMERA is jus

We see th-3 set for\Thai3 -- and in

in an elaborate costume, looking ve

lost, is Susan. 3he\is almost hys

Apclause is i.eard, anq the ore he

The curtain starts to

NIGHT - SET FOR THAIS^- 1919

tide the curtain NG

upstage,

er of all

this,

and very

ical with fright,

starts thunderously.

CAMERA with it. Susan

squints and starts to s

the curtain tho full he

then on up into tho grid

but faintly. Two

typic

looking down on the

One of them puts hi

*,nt

AMERA

CONTINUES on UP

with

o f t h e p r o s c e n i u m a r c h a nd

a . S u s a n ' s v o i c e s t i l l h e a r d

t a g e h a n ds f i l l t h e f r a m e ,

l o w .

They l o o k a t e a c h o t h e r ,

nd

to .

h i s n o s e •

a

DISSOLVE

IN T. CITY ROOM - CHICAGO INQUIRER \ NIGHT - 1 919

I t i s l a t e . Tho ro om i s \ a l m o s t em p t y . No bo dy i s a t

w or k a t t h e d e s k s . B e r n s t e i n i s w a i t i n g a n x i o u s l y w i t h

a l i t t l e g r o u p o f K a n e ' s V i i r e l i n g s , m o s t o f th e m

In

e v e n i n g d r e s s w i t h overcoats a n d h a t s . E v e r y b od y i s

t e n s e a nd e x p e c t a n t .

CXXY EDITOR

( t u r n s t o a

y o u n g h i r e l

q u i e t l y )

What a b o u t Jod.

Leland?

Has

he g o t i n h i s copy?

(CONTINUED)

*•



g*/r Tg.—

"

W

.

J

:' ;

|

T3

74 (CONTINUED)

H o t y e t .

HIRELING

/

BERNSTEIN

Go i n a n d a s k h i m t o h u r r y .

CITY EDITOR

W e l l , w hy d o n ' t y o u , M r .

B e r n s t e i n ? Y ou k no w M r . L e l a n d .

BERNSTEIN-

( s lowly )

I m i g h t m a ke h i m n e r v o u s . M r .

L e l a n d , h e ' s ' w r i t i n g i t f r o m

t h e d r a m a t i c

anglo?

/

CITY EDITOR

Y e s . I t h o u g h t i t

^as

a

£Ood

i d o a . W e ' v e c o v e r e d i t f r o m

t h e n e w s e n d , o f c d u r s e .

BERNSTEIN

A nd t h e s o c i a l , /llo v: a b o u t t h e

m u s i c n o t i c e ? Y6u g o t t h a t i n ?

IITY

EDITOR

Oh,

y e s , i t ' s a l r e a d y m ade u p .

Our Mr. K erv in , ' w ro te a 3wo 1 1

r e v i e w .

E n t h u s i a s t i c ;

Y e s , v e r y l /

( q u i e t l y )

N a t u r a l l y . /

BERNSTEIN

CITY EDITOR

/

BERNSTEIN

W e l l , w o l l — i s n ' t t h a t n i c e ?

/

M r. B e r n s t e i n —

KANE'S VOICE

/

B e r n s t e i n t u r n s . '

~ 1 -

> i,

116 y

r

1

1

1

I

>

j

1

.1

il

i

i

m

1

|

1

1

f

1

1

» •

i

i •

i

1

1

1

i

i

1

1

1

t

1

i



'«r-yi

.••.•.•;.•,.T.V.-

• - ?.:.;•"*./:.

l

"w-'v'--T'.-,-:;''-'"j

74a MED. LONG SHOT of Kane. He i3 in white/tie,

wearing his overcoat and carrying a folded opera

hat.

BERNSTEIN

Hello,

Mr . Kane.

The hirelings rus h, v/ith Bernstein, to Kane's 3ide.

Widespread,

half-suppressed

sensation.

CITY EDITOR

Mr. Kane, this j s a .surprise I

117

• '. > :

. - I

KAN1

W e ' v e g o t a n i c e g i a n t h e r e .

Evsrybody f a l l s s i l e n t . T he re i s n ' t a n y t h in g t o s a y .

JITY EDITOR

E v e r y t h i n g h a s b e e n d on e e x a c t l y

t o y o u r i n s t r u c t i o n s , M r. K a ne .

We ' v e g o t t wo -spreads of

p i c t u r e s a n d •f

KANE

The music nojbice on t h e f i r s t

p a g e ?

CITY EDITOR

Y e s , M r. Kafne.

( h e s i t a t i n g l y )

T h e r e ' s s t i l l on e n o t i c o t o

c o n e . The/ d r a m a t i c .

KANE

T h a t ' s

Le/Land,

i s n ' t i t ?

Y e s , Mr . / K a n e *

CITY EDITOR

KANE

Has he i a l d w he n h e ' l l f i n i s h ?

CITY EDITOR

We h a v e n ' t h e a r d f ro m h i m .

Ho

used

dldn't

KANE

to wor k fast, —

he, Mr,

Bernstoin?

(CONTINUED)

l»

•-'- *

—

••

—



I

Wl IIW H

m m,

.j

.*••**•'J

:

-» ~

r

-. „. ./.'J.

• . • I

I.

I III I

74a (CONTINUED)

BERNSTEIN

He s u re d i d , Mr, Kane ,

Where

i s he?

KANE

ANOTHER HIRELING

Right in thero, Mr. Kane.

The hirel ing ind ic ates the closed glass door of a l i t t l e

office at the other end of tho City Room. Kane takes i t

in.

118 \

3ERNSTEJTN

( h e l p l e s s

b u t v e r y

c o n c e r n e d )

Mr. Kane

—

KANE'

T h a t ' s a l l r i g h t , Mr. B o m s t e i n .

K a n e c r o s s e s the l e n g t h of th6 long C i t y Room to the

g l a s s d o o r i n d i c a t e d boforo

b'.* the

h i r e l i n g .

The

C i t y

E d i t o r l o o k s

a t S e r n s t o i n .

Kano opens

tne

d o o r

and

goes

i n t o

the

o f f i c e , c l o s i n g

the

d o o r bahlnd

M m ,

' • /

BERNSTEIN

Mr.

L e l a n d

and Mr.

iume

—

t h e y

h a v o n ' t spoken, together for

f o u r y e a r s — /

CITY EDITOR

Y o u d o n ' t aupboso —

/

EERNSTEIN

There's nothing

to

suppose.

(a Ions'

pauso7-

flnally)

Excuse

mo. ;

(starts toward

tho door)

DISSOLVE

OUT

r

i

t

•r .

i-

^ —

I

1



75

mi i n i i w . ' - L . "..'.•..'.

-M'."'. . '• ' . ' . .* '* .:*;' ' '-• '• .**• '

-

p|

r *• .".'

119

DISSOLVE IN

INT.

LELAND'S OFFICE - CHICAGO INQUIRER - NIGHT - 1919

Boms to

i n co m es i n . An e m pt y b o t t l e i s s t a n d i n g o n

L e l a n d ' s d e s k . He h a s f a l l e n a s l e e p o v e r h i s t y p e w r i t e r ,

h i s f a c e o n t h e k e y s . A s h e e t o f p a p e r i s i n t h e

m a c h i n e . A p a r a g r a p h h a s b e en

typed.

K an e i s s t a n d i n g

a t t h e o t h e r s i d e of t h e d e s k l o o k i n g dow n a t h i m . T h i s

i s th o f i r s t

t i n e

we s e e m u r d e r i n K a n e ' s f a c e .

B e r n s t e i n l o o k s a t K a n e, th e n

crosses

t o L e l a n d . He

s h a k e s h i m .

•t

i

' B ERNSTEIN

( s t r a i g h t e n s ,

l o o k s a t K a n e ;

a p a u s e )

He a i n ' t b oo n d r i n k i n g b e f o r e ,

M r . K a n e . ITever. We wo u ld

h a v e h e a r d .

KANE

( f i n a l l y ; «.

a f t e r a

pause)

x

What

d o e s i t s a y t h e r e ?

\

B e r n s t ei n s t a r e s a t h i m .

KAK2

( c o n t ' d )

W h a t ' s ho w r i t t e n ? \

\

Bernstein loans over near-sightodly, painfully reading

tho paragraph written on tho page. \

BERNSTEIN

(reading) \

"Miss Susan

Aloxcnder, a

pretty

but hopelessly

incompetont

\

a:sateur

—

(waits for

a minute to

catch his

breath; doesn't

like

it)

— last night opened the new

Chicago Operu House in a

performance of — of

—"

(looks up

miserably)

— I still can't pronounce that'

name, jir. Kane. .

Kano doesn't answer. . Bernatoin looks at Kano for a

moment, thon looks back, tortured.

(CCJJTINUSD)



=

T S ? - M W . . - „ • • . - " -v•"•••'•"• '

. " ^ " " n

75 (CONTINUED)

BERNSTEIN (cont'd)

(reading

again)

"Hor singing, happily, is no

concern of this department,

her acting, it is absolutely

impossible to — "

(continues to

stare at tho

page)

120

Of

KANE

( a f t e r a

s h o r t

si lence)

Go on I

3ERNSTEIN

( w i t h o u t

l o o k i n g u p )

T h a t ' s a l l t h e r e i s .

K ano s n a t c h e s t h e p a p e r fro.i th o r o l l e r a n d r e a d s i f f o r

himself. S l o w l y a q u e e r l o o k cor.es i n t o h i s f a c e . T he n

h e s p o a k s , v o ry q u i e t l y .

', KANE

Of h e r a c t i n g , i t i s a b s o l u t e l y

i m p o s s i b l e t o 3 a y a n y t h i n g

e x c e p t t h a t i t r e p r e s e n t s i n

t h e o p i n i o n of t h i s roviowor a

new low — '

( t h a n s h a r p l y )

H av e y o u g o t t h r . t , M r. S e r n s t o i n ?

I n t h e o p i n i o n o f t h i s

rov icwer--

EERIJSTEIK

(mise rabl y |

I d i d n ' t

soo

t h a t .

KANE

I t i s n ' t t h o r e ,

Mr.

3 o r n s t e i n ,

I 'm d i c t a t i n g i t i

I

1SRNSTEIK

B u t Mr , Kane , I c a n ' t — I

mean — I —

G et me a t y p e w r i t e r . I ' l l

f i n i s h t h o n o t i c e . \

Bornstoin r e t r e a t s fro m t ho r oo m .

DISSOLVE OUT

http://cor.es/

http://cor.es/

http://cor.es/



. j — iiuii^.L. •.•:.".' '.'?..?.:J'J.

J

::-: •'.'•-

76

77

78

DISSOLVE

IN

121

r r r . LELA:-D'S OF.-ICE -\

c"iCAf-y

INQUIRER - NIGHT - 1919 --

LONG SHOT

- of

Kane

in

h i s / s h i r t

s l e e v e s ,

i l l u m i n a t e d

by

a

d es k l i g h t , t y p i n g f u r i o u s l y .

As the

CAMERA s t a r t s

to

PULL

even

f u r t h e r

AWAY

y

frb

v

ia

t h i s ,

DISSOLVE

INT. LELAND'S OFFICE

-

CHICAGO INQUIRER

-

NIGHT

- 1919

L e l a n d , s p r a w l e d a c r o s s

h i s

typev/riter.

He

s t i r s

and

l o o k s

up

d r u n h e n l y ,

hi s eyes

e n c o u n t e r i n g B e r n s t e i n ,

who

s t a n d s

besido him.

BERNSTEIN

H i l l o ,

Mr.

L o l W .

LELAND

H o l l o ,

" B e r n s t e i n . . ' ihere i s

i t

—

wh er e' s ;?.y Noti ce

—

y've

got

to

f i n i s h

i t I

\

BsarsTEiii

( q u i e t l y ) \/

M r.

Ilane i s f i n i s h i n g i t .

\

LELAIH)

Kano?

—

C h a r l i e

— ? \

(pa in fu l ly

\

r i s e s /

\

'.'.'hers i s he? \

D u r i n g

a l l

t h i s ,

the

sour.::

of a

b u s y t y p e w r i t e r

h i s

been

h o a r d . L e l a n d ' s

oyos

f o l l o w

tho

s o u n d . S l o w ly

he

INT.

CITY ROOM

-

CHICAGO INQUIRER

-

NIGHT

- 1919

K a n e ,

in whito t i e and

s h i r t s l o e v e s ,

i 3

t y p i n g a w a y

a t

a m a c h i n e ,

hi s

f a c e ,

sooA

by

tho

d e s k l i g h t b e f o r e

him,

s-jt in a s t ranro

h a l f s m i l\ > . L e l a n d

3tands in tho

d o o r

of

hi 3

o f f l c o , s t a r i n g

acAcss a t him.

LELAND

I suppose he's fixing it up —

I knew iid never get that

through.

(CONTINUED)

•BMBff*"*



\

" W W * ^

J'

1

-

'

" ' ' ,

78 (CONTINUED)

BERNSTEIN

(moving to

/

his side) /

Mr. Kane is finishing your /

piece the way you started It.

122

Leland turns incredulously to Bernstein.

cont'd)

ERNSTEIN (

He's wri t ing a b ad not i ce / l i ke

you wan ted i t to be — /

( t h e n with a /

k i n d o f q u i e t

p a s s i o n , r a t h e r

/

than trium ph) /

— I g u e s s t h a t ' l l show y o u .

Loland p ic k s h i s way ac ro ss to Kane ' s s id e . Kano goos on

t y p i n g , w i t h o u t l o o k i n g u p ,

/

i ;

i

KANE

(aftor

pause)

Hello, Jedodiah..

LELAND

Hello, Charlie — I didn't know

we were

speaking.

i ;

Kane s t o p s t y p i n g , b u t. d o e s n ' t t u r n .

KANE

S u r e , w e ' r e s p e a k i n g , J e d —

Y o u ' r e f i r e d .

He s t a r t s t y p i n g a g a i n , t h e e x p r e s s i o n on h i s f a c e

d o e s n ' t c h a n g e .

DISSOLVE

EXT. HOSPITAL ROCF - DAY - 1940

79 Thompson and Leland* It is getting late. The roof is

now deserted.

/

lOilPSON

Everybody knows that a t o r y ,

Mr. Le la nd , b u t ' — why d id he

do i t ? How co ul d he w ri te a

n o t i c e l i k e t h a t w hen -

5

/

(CONTINUED)

. i



79 (CONTINUED)

'••- -• • - -

It r-'

l

~

a.

Just dc

123

LELAND

You J u s t d o n ' t know C h a r l i e .

Ho

though t thii t

by f i n i s h i n g

t h a t pieco ho could show me he

was an h o n e s t n a n . Ha was a lways

t r y i n g to p r o v o s o m e t h i n g .

T h a t wholo t h i n g a b o u t S u s i e

b e i n g

an

opera singor

—

t h a t

w a s t r y i n g to p r o v e s o m e t h i n g .

Do you know what the h e a d l i n e

w as

tha day

b e f o r e

the

e l e c t i o n ?

CANDIDATE KANE FOUND IN LOVE

NEST WITH quota SINGER unquote .

He was going to t a k e the q u o t e s

o f f

tho

s i n g e r .

( p a u s e s )

Hey, nurs o 1 F i v e years ago hs

w r o t e f r o m t h a t p l a c e

of his

down South —

( a s

i f

t r v i n g '

t o t h i n k )

—

you

k no w . S h a n g r i - l a ?

El

Dorado?

( p a u s o s )

S l o n r y J o e ' s ? W h a t ' s

the

name

o f t l iat p l a c e ? . . . A l l r i g h t .

Xr .nadu. I know what i t was a l l

t h e t i n e . You c a u g h t on,

d i d n ' t y o u ?

i-

THOMPSON

Y e s .

LELAND

I guess .aaybc I ' u not as hard

to seo tlirou.Ji r.s I think .

Anyway, I never evon answered

hi s

l e t t o r . Mnyba

I should

have. He must have been pr et ty

lonely down there- in that

coliseu.7. those l as t year s. He

hadn't

finished

i t whon she

l ef t him - - ho never fini shed

i t — he never finished anything,

except ay no ti c e. Of course,

ho built tho

jo int

for her,

\

THOMPSON

T h a t m u s t h a v e b e o n ' l o v e .

\

(CONTINUED)

j ^ p ^ S



79 (CONTINUED)

124

LELAIHD /

I d o n ' t k now. He v/aa /

d i s a p p o i n t e d i n t h a w o r l d . S o

h e b u i l t o n e o f h i s own — a n

a b s o l u t e m o n ar ch y — ' I t w as

s o m e t h i n g b i g g e r than an opera

house anyway —

( c a l l s )

Nurse 1

( l o w e r s h i s /

v o i c e ) /

S a y , I ' l l t a l l you one th in g

you can do for jrte , young fe l low.

T

S u r e .

THOMPSON

LELAND

On your way out, stop at a

cigar store, will you, and

send mo up a couple of cigar3?

THOMPSON

Sure,

Mr. Leland. I'll be

glad

to. /

Hoy, Nurse

1

LELAND

A nurso has already

appeared

and stands behind him.

NURSE

Yes,

Mr. Leland.

LELAND

I'm ready to go in now. You

know when I was a young man,

there was an impression around

that nurses were protty. It was

no truer then than it is now.

(CONTINUED)



^ * y >

» » I | M I I < I I

; ' ^ i i ' j i p j M t « ' • f • . * • < ; •

W

Z

1

^ '

s_

79 (CONTINUED)

125 1

NURSE

Here l e t me take yo ur arm, Mr

L e l a n d .

LELAND

( t e s t i l y )

A l l

r i g h t ,

v

a l l

r i g h t . You

w o n ' t

f o r g e t , w i l l y o u , a b o u t t h e

c i g a r s ?

Ano\

t o l l them to wrap

t he m u p t o l o o k l i k e t o o t h

p a s t e , o r s o m e t h i n g , o r t h e y ' l l

s t op them a t

the/desk.

That

young d octor I/was t e l l i n g y o u

a b o u t , h e ' s g o t a n idoa he

w a n t s t o keep m e d l i v e .

\ FADE OUT

\

H



CL

1

..' '.u.' m . I j • •

r-.^y:±i

'ii'il-.-i'.'- .'

..'-'-v ~--r.?r"'>-

i

'--:i

• .-•—•-•-

- -- -• -- -• ••*- • ••-— -•- -

-

•—

/ff^V '

126

FADE IN

EXT. "EI RANCHO" CABARET IN ATLANTIC CITY-EARLY DAWN-1P4Q

80 Neon sign on the roof —

n

EL

RANCHO**

Floor Show

Susan Alexander Kane

Twice Nightly

CAMERA as before, MOVES through the lights of the sign

and down on the skylight, through which Is seen Susan

at her regular table, Thompson seated across from her.

Very faintly during

this.

Idle piano music playing.

DISSOLVE

INT. "EL RANCHO" CABARET - EARLY DAWN - 1940

81 Susan and Thomoson are\facing each other. The place is

almost deserted. Susan\ is sober. On the other side of

the room somebody is playinir a piano.

KHOMPSON

I'd rather you Just talked.

Anything that comes Into your

mind — about yourself and Mr.

Kane.

SUSA1

You wouldn't want to\hear a lot

of what comes into myXmind about

myself and Mr. Charlie, Kane,

(she tosses

down a drink)

You know, — maybe I shouldn't

ever have sung for CharMe that

first tine. Hah — I dJ

lot of singing after thai

start w< th, I sang for

at a hundred bucks an hour

The teachers got that, I didn't.

THOMPSON

What did you get?

SUSAN

What do you mean?

Thompson doesn't answer.

l



r

81 (CONTINUED)

I didn't pet a

music

lessons,

was to it.

He married you

SUSAN (cont'd)

thing. Just the

That's all there.

THOMPSON

. d i d n ' t

heJ

SUSAN

H e n e v e r sa id an yt h in g a b o u t

morriaro

u n t i l

I t

a l l ca m e o u t

In t h e p a p e r s aboux u s — a n d

h e 3oat t h e e l e c t i o n a nd t h a t

N o r t o n w o m a n d ivor c e d h i m .

W h a t a r e y o u ay6.1lr\it a b o u t ? I

t e l l y o u h e

w i s

r e a l l y

. ln t e ^ e n t e d lu m y v o i c e .

( s h a r p l y )

WVat d o y o u

7

t h i n k h e b u i l t t h a t

Ooera T

1 t . I

w a s h i s

his Id

h i m .

ou

^or? I d i d n ' t w a n t

n ' t r a n t t o s i n p . I t

ea — e v e r y t h i n g w a s

— e x c e p t my l e a v i n g

1 2 7

DISSOLVE

I ' i T .

LIVING/ROOM

- KA NT 'S HOME I N NEW YORK - DAY

1917

1918

82

S u s a n I s s ' n £ l n \ . M a t i s t i , h e r v o i c e t e a c h e r , I s p l a y i n g

t h e p i a n o . K a n e \ i s s e a t e d n e a r b y . M a t i s t i s t o p s .

MATISTI

I m o o s s i b l e l \ l m n o s s l b l e

H E /

'

It Is n o t y o u r jV> t o g l v e y M g g n .

Sane y o u r o p i n l o n \ o f l » * / t a l e n t s .

Y o u ' r e sur

n

oaerj toYtrain h e r

v o i c e . N o t h i n g ra orV - '

MATIST3

( swe at in g )

B u t , It Is i m p o s s i b l e . \ l w i l l

be t h e lauprhlng s t o c k o A t h e

m u s i c a l worldI P e o p l e w & l s a y —

. : - - • ' «

(CONTINUED)

http://lmnosslble/

http://lmnosslble/



82 (CONTINUED)

83

84

KANE

I f y o u ' r e

Interested In

what

p e o p l e w i l l s a y ,

Slpnor

M a t i s t i ,

I may be a bl e to enlighten you

a b i t . The new.oonr>ero,~for-

Inatnneen I

f

ra

r

-fih a u t h o r i t y -on<U^

what

%hn un w a^ j i l l l

"flag*,

•Slpnoy Ma-tel j l i l j -

o-l pht- nfi^lliti.» bH

San

Frjinrlff-fftr.

r i g h t , d e a r , Sifmor

Mat

i s g o i n g t o l i s t e n t o r e a s o n .

A r e n ' t y o u , m a e s t r o ?

a

r

J '

MAT

M r , K a n e , h o w c a n

yo u —

Y o u c a n ' t .

4»(J>

' A ^ * % *. ~ r v ^ .

There Is a si lence/ Matisti rises.

I kn

KANE (cont'd)

yo u ' d s ee i t my wa y .

DISSOLVE

IN T. CHICAGO OPERA HOUSE - NIGHT - 1919

I t i s t h e

sVrse opening

n i g h t — i t

Is the>rfame

moment as

b ef or e — e x c e p t th a t th e CAMERA i s now

.dpstap-e

ANGLING

towa rd th e a u d i en c e . The c u r t a i n i s d own. We s e e the

sam e t a b l e a u a s N b e f o r e . A s t h e d i s s o l v e c om m e n ce a,

t h e r e i s the sound o*" a p p l a u s e and'-now a s t h e d i s s o l v e

c o m p l e t e s i t s e l f ,

\ h e

o r c h e s t r a

begins

— t h e s t a g e i s

c l e a r e d - - S u s a n

I sNle f t

a l o n e . , . The c u r t a i n r i s e s .

S us an s t a r t s t o

slTyrX

E e y o n d , h e r , we s e e t h e

orompter's

b o x , containing t h e a rubious fa c e o f the p r o m p ter .

B eyon d t h a t , a n a p p r e h e n s i v e ' c o n d u c t o r .

CLOSEUP of K a n e ' s f a c e / — sealed i n t h e a u d i e n c e —

l i s t e n i n g .

/

A sudden but p e r f e c t l y c o r r e c t li3ll i n t h e m u s i c r e v e a l s

a v o i c e from t h e .audlenca — a few\words from a

s e n t e n c e .

/

/

./

(CONTIinJED)



r

•• m» 11 i rir ii i ' I

^•y«--^ • '* .V v ••* -. • » . . - ••

r r r T i - ' - ' n — M i - • - - ^ - . g * .

J

•

^

84

(CONTINUED)

85

86

/f \

87

88

89

90

91

92

A

129

^

THE VOICE

Rally

pathetic.

Music crashes In

and

drowns

out the

rest

of the

sentence,

but

hundreds

of

people around

the

voice have heard

It

(as well

as

Kane) and there are titters which grow in

volume. \

\

CLOSEUP of

Susan's'face

— singing.

\

\

CLOSEUF

of

Kane's face

—

listening.

There la the ghastly sound of three thousand people

applauding as little as possible. Kane still looks.

Then, near the camera, there is the sound of about a

dozen people

applauding

very very loudly. CAMERA MOVES

BACK, revealing

Bernste'n

and

Hlllnan

and other Kane

atoopes, seated around him, beating their palms together.

THE STAGE FROM KAN E'S ANGLE

- The

curtain Is

down--

Still

thp

oolite applause dying fast. Nobody comes out

for

a bow.

\

CLOSEUr of Kane — br ea th ing heav i l y ,

to arplaud fu ri o usl y.

Suddenly he

s tarts

THE STAGE FROM THE

AUDIENCE

AGAIN - Susan a ppear s for

her bow. She can ha r d l y

walk,

there

I s

a l i t t l e po l i t e

creacendo of arnlause, but i t i s s ickly .

\

\

CLOSEUP of Kane — still applauding very, very hard, his

eyes on Susan.

\

\

THE STAGE AGAIN — Susan, finishing her bow, goes out

through

the

curtains.

The

llpht ori

the

curtain goes

out and the

houseliphts

go

up, \

\

CLOSEUP

of

Kane

—

still applauding very, very hard,

\

DISSOLVE

OUT

•»

• J;

:

i" r

i

>



-"- « —.w^*

II

h \

130

DISSOLVE IN

INT.

HOTEL ROOM

-

CHICAGO - DAY - 1919

93 Kane - Susan in \ a neg lig ee. The flo or Is l i t t e r e d with

newspapers.

SUSAN

Stop t e l \ i n g n e he's your

fr iend,

(she^oints

-

at the paper)

A friend don't write that kind

of an article. Anyway, not

the kind of friends I know. Of

course, I'm not high-class

like

you and I

didh't

go to any

swell schools V

That's enough, Susan.

A look at htm convinces Susa)^ that he really means it's

enough.

There's

a knock at the door.

SUSAN

(screeching)

Come lnl

A copy

boy

enters.

COPY BOY

Mr. Leland said

I

nas

to

ctame

rlffht

UP —

Fe

was verv anxious

KANE

(Interrupting)

Thanks, son.

He shoves the kid out. He opens the

envelope aa

Susan

returns

to the

attack.

SUSAN

The idea of him trying to

spoil

my

debut I

Kane has taken a folded piece of paper out of the

envelope and la holding it — looking Into the envelope.

(CONTINUED)

I



93 (CONTINUED)

131

INSERT

KANE

spoil anything else,

,

SUSAN

And you.

(

— you

ou/rht

to have

your

hpad examinedI

Sending

him a letter he's fired

with

a

twenty-five thousand dollar

check What kind of firing do

you call that? You did send

h*T a twenty-five thousand

dollar check, dldn't you?

KANE

(slowly tipping

over the

envelope

as pieces

\>f

torn

papers fall to the

• floor) \

Yes, I sent him

a \twenty-flve

thousand dollar check,

Kane now unfolds the piece of

\?aper

and looks at It.

Kane's original grease-pencil copy

of

his "Declaration

of Principles."

.': i

W h a t ' s t h a t ?

A n a n t i q u e . •

BACK TO SCENE:

SUSAN'S

KANE'S VOIC

^•**""*^»a*

SUSAN

You're awful funny, aren't you

Well,

I can tell you one thing

you're not going to keep on

being funny a b o u t . — iny singing

I'm through. I never wanted to

-

KANE

(without

looking up)

You are continuing your singing,

Susan.

(he starts

tearing

the paper)

I'm not going to have myself

made rldloulous.

.(CONTINUED)

http://twenty-f/

http://twenty-f/



93 (CONTINUED)

132

SUSAN

You don't propose to have

yourself

made* ridiculous?

«»hat

about me? I'm the one

that has to do the singing.

I'm the one that gets the

razzberries. Why can't you

Just

—

KANE

(looking up —

still tearing

the paper)

My reasons satisfy me, Susan.

You seem to be unable to

understand them. I will not

tell them to you again,

(he has started

to walk

menacingly

toward her,

tearing the

paper as he

walks)

You are to continue wi rn your

singing.

/

His

eyes are relentlessly

upch

her. She sees something

that frightens her. She nocfs slowly; indicating surrender,

DISSOLVE

INSERT

FRONT PAGE of

the/'San

Francisco

Inquirer"

(I91o)/

C

ontalning

a large

portrait of

Susah

as Thais. It

Is

announced

that,Susan

will open an

independent

season

in San Francisco

in "Thais." the picture remains constant

but the

nameij

of the papers change from New

York to St./Louis, to Los Angeles to

Cleveland, /to Denver, to Philadelphia —

all "Inquirers,

"

During all this, on the SOUND TRACK, Susan's voice is

heard singing: her aria very faintly.

DISSOLVE

N'3 BEDROOM

*

KANE'S N .Y. HOME - LATE

NIGHT-1920

-S

across the bed and Susan's form towards the

. ihe other side of which comes loud knocking

me'a voice calling Susan's name. Then:

KANE'S VOICE

(CONTINUED)



j 94 (CONTINUED)

133

95

Yes, sir.

JOSEPH'S VOICE

KANE'S VOICE

Do you have the keys to Mrs.

Kane's bedroom?

JOSEPH'S VOICE

No,

Mr,

Kane, The^ must be on

the inside.

KANE'S VOICE

We'll have to break down

the,

door.

JOSEPH'S/VOICE

Yes, sir.

Get Dr.

JoseDh rushes out.

The door crashes

open.

Light floods the room, revealing

Susan, fully dressed, stretched out on the bed. She is

breathing, but heavily, i&ne rushes to her, kneels at

the bed and feels nor forehead, Joseph has followed him

in.

KANE

INT.

SUSAN/S BEDROOM - KANE'S N .Y . HOME - LATE NIGHT - 1 9 2 0

A

l i t t l e

l a t e r . A l l t h e l i g h t s a r e l i t . A t s t a r t o f

s c e n e ,

DrVsCorey

r e m ov e s h i s d o c t o r ' s b a g f ro m

in

f r o n t

of camera

l e h e .

r e v e a l i n g S u s a n , i n a n i g h t g ow n , Is in

b e d . S he i s b r e a t h i n g h e a v i l y . A n u r s e i s b e n d i n g o v e r

t h e b e d , s traightening t h e s h e e t s .

DR. COREY'S VOICE

S h e ' l l b e per f ec t l y a l l r i g h t

in a d ay or twb ,Vlr . Kane .

The nurse walks away from the bed toward b.g. We now

see Kane, who was h i d d e n b y the bourse's b o d y , s e a t e d

b eyond the b e d . He i s h o l d i n g

anNempty

m e d i c in e b o t t l e *

Dr. Corey wa lk s to h i j i .

(CONTINUED)

t s =

•, I



95 (CONTINUED)

96

97

KANE

I can't imagine how M rs . Kane

came to make such a foolish

mistake.

(Susan turns

her head

away

from

Kane)

The sedative Dr. Wagner gave her

is in a somewhat larger bottl e.

— I suppose the strain of

preparing for the new opera ha

excited and confused her.

(looks sharply

up at Dr. Corey)

DR. CO

Y e s , y e s — I ' m s u r e £hat 's i t .

Dr. Corey turns and walks

the nurse.

There are no

ay staying

there?

LNE

Ejections to

with her, are

DR. COREY

No — not'at al l. But I'd like

the

nurse

to be here, too.

Good

n^^ht,

Mr. Kane.

Dr.

Corey

hurr/es

out the door.

I N T .

BEDROOIf - KAN E'S N,

DISSOLVE

HOME - VERY EARLY DAWN

- 1920

The lights are out.

^AICSRA^PANS

from nur3e, who is

seated stiffly in a

cttai/;

toward Kane seated beside

the bed staring at Sufg^, to Susan who is asleep.

DISSOLVE

IHT.

SUSAN'S BEDROOM

-

KANE'S N .Y. HOME

-

DAY - 1920

Sunlight is streaming

Into

the room. A hurdy-gurdy

is heard. Kane is still seatad beside the bed, looking

at Susan, who

Is

asleep.

Afte\a

moment Susan gasps

and opens her eyes.

She

looks

Wrard

the window, Kane

loans toward her . She looks up &£ him, then away;

(CONTINUED)

t i



r

97 (CONTINUED)

SUSAN

(painfully)

Charlie — I couldn't make you

see how I felt. — I Just

couldn't go through with the

singing again. — You don't

know what it's like to feel

that people — that a whole,

audience doesn't want you.

KANE

(angrily)

That's when you've

them*

to fight

She continues

She looks up at

him

s

y with pathetic eyes.

KANE (cont'd)

(after

moment,

gentj

All right/ You won't have to

fight thea any more. ~ It's

their loss.

look at him, but now

gratefully.

DISSOLVE

g

8

EXT. ESTABLISHING SHOT OF XANADU - Half built - 1925

DISSOLVE

INT.

GREAT HALL - XANADU - 1929

99 CLOSEUP of an

enormous

jigsaw puzzle. A hand is putting

In

the last piece. CAMERA MOVES BACK to reveal jigsaw

puzzle spread out on the floor

— •

Susan

Is

on the floor

bVfore

her jigsaw puzzle. Kane is

In

an easy chair. Candelabra

illuminates

the scene.

What time is

It?

There

Is

no answer*

fcr

SUSAN (\ont'd)

Charlie I said, what\lme

is It?

(CONTINUED)

*•» • *r> • *



y

^ . - . L

J

M . . . . 4 u > i > . . r ? r ^

<

7 . . .

99 (CONTINUED)

fc=

KANE

(looks up —

consults.his

watch)

Eleven-thirty*

SUSAN

I mean

'In

New York* —

(no answer)

I said what time is it

in

New

York.

E l e v e n - t h i r s t y *

At night?

KANE

SUSAN

kKANS

Uohm. The bulldog's just gone

to press.

SUSAN

(sarcastically)

Hurray for the

bur^dogl

(sighs)

Eleven-thirty I

Tho\

shows're

just getting out. People are

going to night clubs\ and

restaurants.

Of

course,

we're

different because we Xive In

a palace.

KANE v

You always said you wanted to

live in a palace.

SUSAN

A person could go nuts in

this

dump*

Kane doesn't answer*

SUSAN (cont'd)

Nobody to talk to — nobody to

have any fun with*

Susan —

KANE

136

(CONTINUED)

i

j

i'

t ;

I

•MtfhaMSteAafM



99 (CONTINUED)

137

SUSAN

Forty-nine thousand acres of

nothing but scenery and «

statues. I'm lonesome.

KANE

I thought you wore tired of

house guests. Till yesterday

morning, we've had

npless

than

fifty of your friends at any

one

time*

As a ma/ter of fact,

Susan, if you'll

look

carefully

in the west wing/ you'll probably

find a dozen vacationists still

in

residence*

SUSAN

You make

a/joke

out of

everything

Charlie,

LMvant

to go back to

New York./ I'm tired of being a

hostess./ I wanta hava fun*

Please, A harlie, please.

i - J

i

u

KANE

Our home is here, Susan,

care/to visit New York.

I don't

r

DISSOLVE

100

ANOTHER-PICTURE

PUZZLE - Susan's hands fitting in a

missing piece. (1930)

DISSOLVE

101

102

ANOTHER PICTURE PUZZLE

missing pieoe. (1931)

- Susan's hands fitting in a

DISSOLVE

INT.

GREAT HALL - XANADU - DAY - 1932

CLOSEUP of another Jigsaw puzzle. CAMERA PULLS BACK to

show Kane and Susan in W c h the same positions as before,

except that they are

oltf

INE

iver

ne thing I've never been able

to understand, Susan* How do

you know that you^haven't done

them before?

(CONTINUED)



102 (CONTINUED) / 138

Susan shoots him an angry glanc e. She

isrf't

amused.

SUSAN

It makes a whole lot more

than collecting Ve nuse s.

sense

KANE /

You may be right — I

som/tlmes

wonder — but you get intfo the

habit — '

SUSAN

(snapping)

It's not a habit.

I/do

it

because I like it*

KAN

I was referring tp myself,

(pauses)

I thought we might have a

picnic to mo rr ow /— • Invite

everybody to go/ to the

Everglades —

SUSAN

Invito everybody. — Order

everybody, you moan, and make

them

sleep/in tontsl

Who wants

to sloop

ih

tent3 when they

have a nice room of their own —

with thoi'r own bath, whero they

know whero everything is?

Kano has looked/at he r steadily, not hostilely.

KANE

I thought we might invito

everybody to go on a picnic

tomorrow. Stay at Evorglades

overnight*

103

DISSOLVE

EXT. XANADU - ROAD - DA¥y- 1932

TIGHT TWO SHOT - Kane and Susan seated in an automobile,

silent, glum, staring before

ch^m*

CAMERA PULLS BACK

revealing that there are twenty ctn**-A*H of picniokers

following them, on thoir way through the Xanadu Estate*

•i

M

I

>

t



Changes

7/19/40

"CITIZEN KANE" 139

DISSOLVE IN "

EXT. THE EVERGLADES

CAMP

- NIGHT - 1932

104 LONG SHOT - of a number of classy- tents.

DISSOLVE

. IN T . LARGE TENT - EVERGLADES CAMP - NIGHT - 19 32

i

105 Two real beds have been

seU

up on each side of the tent.

A rather classy dressing table is in the rear, at which

Susan is preparing for bedA Kane, in his shirt sleeves,

is In an easy chair, reading^ Susan is very sullen.

SUSAtt

I'm not going to putWp with it.

Kane turns to look at her.

SUSAN-(cont'd)

I mean it. Oh, I know I

always say I mean

it,

andVthen

I don't — or you get me so I

don't do what I say I'm go:

to — but —

•'

I

KANE

(interrupting)

You're in a tent, darling.

You.'re

not at home. And I

can>

hear you very well if you just

talk in a normal tone of voice.

1

/psy

SUSAN

I ' m no t g o i ng t o ha v e my

g u e s t s i n s u l t e d , j u s t b e c a u s e

y o u —

( i n a r a g e )

—

I f

p e o p l e w an t t o b r i n g a

d r i n k o r t w o a l o n g o n a p i c n i c ,

t h a t ' s t h e i r b u s i n e s s . Y o u 'v e

g o t n o r i g h t —

KANE

( q u i c k l y )

I ' v e g o t m ore t h a n a r i g h t a s

f a r a s y o u ' r e c o n c e r n e d , S u s a n .

SUSAN

I 'm s i c k a n d t i r e d o f y o u r

t e l l i n g me w h at I m u s t n 't

do I

And wha t I • —

(CONTINUED)

i

:

;

i f

i



105 (CONTINUED)

7/19/40

140

KANE

We canviiscuss all this some

other

time.

Susan. Right now —

SUSAN

I'll di3c\.ss what's on my mind

when I want to. I'm sick of

having

you\run

my

life

the way

you want it

Susan,

as fa:

concerned, I

anything — I

KANE

as you're

never wanted

on't want

anycning

—

i uon'u

warns

anything now -A except what

you want. »

What you want me to want, you

mean, fthat you've decided I

ought to have — - what you'd

7/ant

If you were me^. Never,

what I want —

Susan I

KANE

SUSAN

You've never given me

that —

KANE

I really think —

SUSAN

Oh sure, you give me things \-

that don't mean anything to

you — - What's the difference

1

between giving mo a bracelet

giving somebody else a hundred

1

thousand dollars for a statue

you're going to keep crated up

and never look at? It's only

money.

KANE

(he has

risen)

Susan,

I want you to

stop this.

I

(C0NTI1



105 (CONTINUED)

SUSAN

I'm\not g o i n g

to

s t o p

i tI

7 / 1 9 / 4 0

1 4 1

RightXnow

KANE

SUSAN

(screams)

You neveV gave me anything in

your

lifeM

You Just

.-.tried-to

—

to buy

mo.VLnto

giving you

something A You're — It ' s l ike

you were bribing meI

KANE

Susant

SUSAN

That's all you ever done — no

matter

how

much

It

cost

you —

your time, your money — that's

all you've

done

with everybody.

Tried to bribe then

KANE

SusanI

She looks at him, with no

lessening

of her passion

KANE (con\'d)

(quietly)

Whatever

I do — I do ~

because I

lovo

you.

SUSAN

You don't love mel You

want

me to

love

you —

sure

I'm Charles Foster Kane.

Whatever

you

want

—

Just

it and it's yours. But you

gotta love

met

Without

a

word, Kane

a laps her

acrosa

tho

i ace.

He

continues to look at her*

SUSAN (cont'd)

You'll never

get a

chance

to

do that

again*



105 (CONTINUED)

SUSAN (contU

D o n ' t

t a l l

me y o u ' r e s o r p y .

I'm not sorr

7/19/40 .

2^

DISSOLVE

INT.

GREAT

H * £ L

- XANADU

-

DAY

S-932

106 Kane is at the window looking out. He turns as he hears

Raymond enter.

RAtalOND

M r s . K ano w ou ld

l i k e

t o s e e y o u ,

M r . K ane ,

A l l r i g h t .

R aym on d w a i t s a s K an e h e s i t a t e v s .

KANE

I s M r s . K a n e —

(he can ' t

f i n i s h )

RAYMOND

M a r i e h a s b e e n p a c k i n g h\ r s i n c e

m o r n i n g , M r . K a n e .

Kane

Impetuously

w a l k s p a s t h im o u t

\ f

t h e

r oom.



143

INT. SUSAN'S

ROO? -

XANADU

- DAY

•

1932

107 Packed suitcases

are on the

floor. Susan is completely

dressed

for

travelling, Kane bursts Into

the

room.

\ SUSAN

Tell Arnold

I'm

ready, Marie,

He

can

gat

the

bags.

MARIE

Yes, Mrs.

Kane.

She leaves. Kano closes

the

door behind

her.

KANE

Have

you

gonJj completely crazy?

Susan looks

at him.

UL'.NE

(cont'd)

Don't

you

realise that everybody

here

is

going

to

know about this?

That you've

pacliod

your bags and

ordered

the car and —

SUSAN

— And l ef t ? Of qourse they ' l l

hear .

I

r

m not say ing

good-bye

—

except to you -V but I

never imagined tha^ people

wouldn't know.

Kane i s stand ing ag ai ns t tho door as i f phy si c al l y

barring her way.

KANE

I won' t l e t you go .

SUSAN

(reaches out

hor hand)

Good-byo, Charlie.

KANE

(suddonly)

Don't

go,

Susan.

Susan Just looks at him*

(CONTINUED)

1

1

1

1

I

'•

1

1



iMI

**-—-"*-

107 (CONTINUED)

144

108

1

tz

KANE (cont'd)

Susan, don't got Susan, please I

X

He has lost all pride, Susan stops,/She is affected

by this.

'

KANE

(cont'd)

You mustn't go, Susan.

Everything'11 be exactYy the

way you want

it. NotAhe

way

I think

you

want

it -/ but

your

way.

Please, Susan

/-

Susanl

She

Is

staring et him. She j/ight weaken.

KANE (cont'd)

Don't go,

Susanl/You

mustn't

go

(almost

blubbering)

You — you can 7b do this to me,

Susan --

It's as if he had throw/

freezes.

ice-water

into her face. She

SUSAN

I see — it;''s you that this is

being dono; tol"^Tt's not me at

oil.

Not

/low

I

feel.

Not

what

It

means

to

me. Not —

(she laughs)

I can't do this to

you I

(she looks

at him)

Ch yes I' can.

/

She walks out, past Kane, who turns to watch her go,

like a very tired old man,

DISSOLVE

INT.

"EL RANCHO"

CAB*EST

-

NIGnT

-

JJJ40

Susan and Thompson

aVtable.

There is silence between

them for a moment as she accepts a cigarette from

Thompson

and he

lights

\ t

for her*

In case you've

neve»r

heard

of

how I lost all my raouey — and

It

was plenty,

believVme

—

(CONTINUED)



s a g

I .» i L ••

.".W.1-1"*."

108 (CONTINUED)

THOMPSON

T he l a s t t e n y e a r s h a v e b e e n

t o u g h o n a l o t o f p e o p l e —

\

\ SUSAN

Aw, they

haven't

been tough on

me.

I Just lost my money —

(takes a

deep puff)

So you're going down to Xanadu,

145

THOMPSON

Monday,

with

some of the boys

from tho office, Mr. Rawlston

wants the whole place photographed

cercfully -- all that art stuff.

We run a picture magazine, you

know —

A

SUSAN

Yeah, I know. If you're smart,

you'll talk to

Raymond'—

(nervously)

douses out

tho cigarette)

\

.

That's the butler. You can learn

a lot from him. He know3 whore

tho bodio3 are buried. \

\

She grabs a glass and holds it tensely In both hands*

»

THOMPSON \

Y ou k n o w , a l l t h e som e I f e o l \

kind o f s o r ry fo r Mr . Kan e . \

SUSAN

( h a r s h l y )

D o n ' t y o u t h i n k I d o ?

S he l i f t s t h e g l a s s , an d a s s h e d r a i n s i t shls n o t i c e s

t h e daw n l i g h t co m i n g t h r u s k y l i g h t . S h e s h i v e r s a nd

p u l l s h e r c o a t o v e r h e r s h o u l d e r s *

SUSAN (cont 'd)

W e l l , w h a t d o y o u know ? I t ' s

m o r n i n g

a l r e a d y ,

( l o o k s a t

h im for

a moment)

You m u s t come a ro u n d and t o l l

mo t h e s t o r y o f y o u r l i f e

s o m e t i m e *

DISSOLVE OUT'



mum> V* '••i'U*'* ,'J'J" ." '

Z 3

146

DISSOLVE

IN

EXT. XANADU - LATE DUSK - 1940

109

The

distant castle

on the

hill, seen through

the

great

iron

"K" as in the

opening shot

of the

picture. Several

lights

are on.

DISSOLVE

INT.

GREAT HALL

-

XANADU

-

LATE DUSK

- 1940

110 CAMERA

IS IN

CLOSE

on Thompson and Ijaymond —

will

subsequently reveal surrounding scene. /

RAYMOND

Rosebud?

I'll

tell

you

about

Rosebud

-- how

muc^h

is it

worth

to you? A thousand dollars?

y ;

/ :'

THOMPSON

Okay,

RAYMON:

He was a little gone in the head

sometimes,

you know. \

No,

I

didn't.

THOMPSO:

RAYMOND

He did crazy things sometimes —

I've been working f;ir

him

eleven

years

now — the

last years

pf

his life and I ought to know

Yes, sir,

the old ma n

was

ki

of queer,

but I

knew

how to

handle him.

THOMPSON

Need

a lot of

service?

RAYMOND

Yeah.

But I knew how to handle

him.

DISSOLVE OUT



J1J,U14J.

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I L

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i

y

:

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J

,

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.;.'

Ill

DISSOLVE IN

147

V ,

HIT. CORRIDOR fe TELEGRAFH OFFICE - XANADU - NIGHT - IS

Raymond walking rapidly along corridor. He 'Tushes/open

a door. At a desk\ sits a v/ireless operator. Near hla

at a telephone switchboard sits a female operate

RAYMOND

(readlVig)

Mr.

Charles\Foster

Kane

announced toYiay that Mrs .

Charles Foster Kane has left

Xanadu, his Florida home, under

the terms of 4 peaceful and/

friendly

agreement

wi th the

intention of filing suit for

divorce at an early date./ Mrs .

Kane said that she does

pot

intend to return to theybperatlc

career which she\ gave up a few

years after her marriage, at

Mr. Kane's req uest. Sylgned,

Charles Foster Kane.

Fred finishes typing and then/looks up.

RAYMCp (cont'd)

Exclusive for immediate

transmission.

Uygem^

priority

all Kane papers./

?RED

Okay,

There is the sound of the buzner

the switchboard.

KATHERINE

Yes,.yes../Mrs.

TinsdallJ

Very well,

(turiis to

Raymond)

It's the/housekeeper.

Yes?

RAYMOND

. KATHERINE

She says there's some sort

of'

disturbance up in Miss

Alexander's room. She's afraid

to go in.

DIESOLVE OUT

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DISSOLVE IN

1 4 8

I N T . CORniDOR OUTSIDE SUSAN'S BSDjjOOM - XANADU - NIGHT

1 9 3 2

The housekeeper, Mrs . Tinsdall, and a couple of maids

are near tho door but toOyOiraid to be in front of It.

From inside can be heard>u terrible banging and crashing.

Raymond hurries into

sc/ne,

opens the door and goes

in.

INT. SUSAN'S BEDRCgM - XANADU - 1932

Kane,

In

a truly

terrible

and absolutely silent rage, is

literally

breaking'up

the room — yanking pictu res, hooks

and all off the waljj, smashing them to bits — ugl y,

gaudy pictures -- Susie's pictures in Susie's bad taste.

Off of table to ps, off of dressing tables, occasional

tables, bureaus, he sweeps Susie's whorish accumulation

of bric-a-brac.

Raymond stands'

In

the doorway watching

him.

Kane says

nothing.

He

continues

with tremendous speed and

surprising strength, still wordlessly, tearing the

room

to bits. The curtains (vtoo frilly — overly-pretty) are

pulled off the windows in a signle gesture, and from the

bookshelves he pulls dov/ double armloads of cheap novels

— discovers a half-empty bottle of liquor and dashes it

across the room. Finailyt he

stops,

Susie's cozy little

chamber is an incredible shambles all around him. He

stands for a minute

breatfcing

heavily, and his eye lights

on a

hanging

what-not in d corner which had escaped his

notice. Prominent on its tenter shelf is the little

glass ball with the snowstorm in it. He yanks it down .

Something made of china br eaks , but not the glass ba ll .

It bounces on the carpet and rolls to his feet, the

snow In a flurry. His eye rollows it. He stoops to

pick it up — can't make it I iaymond picks it up for

him; hands it to

him.

Kane

\takcs

it sheepishly -- looks

at it — moves painfully out\ of tho room into the

corridor.

INT. CORRIDOR OUTSIDE

SUSAN'S\BSDROOM

-

XANADU

- 1932

Kano comes out of the door. Mrs. Tinsdall has been

joined now by a fairly sizable Vturnout of servants.

They move back away from Kane, etaring at

him.

Raymond

la In the doorway behind Ka ne. \Kane still looks at the

glass ball.

KANE

(without

turning)

Closo the door, Raymond,

(CONTINUED)

http://takcs/

http://takcs/

http://bsdroom/

http://bsdroom/

http://kane/

http://kane/

http://kane/

http://bsdroom/

http://takcs/



114 (CONTINUED)

RAYMOND

Yes, sir.

(closes It)

KANB

Lock it — and keep it

(almost in

a trance)

Rosebud.

What's that,

149

Raymond locks the door and comes to

7

his side. There is

a long pause — servants staring im silence. Kane gives

the glass ball a gentle shake and/starts another

snowstorm.

KANE

IYMOND

One of the younger servants gigle3 and is hushed u p.

Kane shakes the ball again. Another flurry of snow,

watches the flakes settle — then looks up . Finally,

taking in the pack of servants and something of the

situation, ho puts the glass ball in his coat pocket.

He speaks

very

quietly to Raymond, so

quietly

it only

seems he's talking to h imself .

He

/ •

/ KANE

Keep

it/locked.

/

He slowly walks off down tho corridor, the servants

giving way to let him pass, and watching him as he

goes.

The mirrors which line the hall reflect his image as he

moves.

He is an old, old manj

Kane turns into a second corridor — sees himself

reflected in the mirror — stop s. His Image is reflected

again in the mirror behind him — multiplied again and

again and again in long perspectives — Kane looks.

We

see a thousand

Kanes.

DISSOLVE

INT.

GREAT HALL - XANADU - NIGHT - 1940

115 Thompson and Raymond*

(callous

That's the w

up to

date*

YHOND

works, right

(CONTINUED)



r

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. • .— .UA* U'f.f'VI "-^^^

115 (CONTINUED)

THOMPSON

Sentimental fellow, aren't you?

Yes and

no.*

RAYMOND

\ THOMPSON

And that's what you know about

Rosebud?

' RAYMOND

That's more than anybody knows.

I tell you, he was a little gone

in the head —

t;he

last couple

of years anyway «-- but I knew how

to handle him. That Rosebud —

I heard him say it that other

time too. He justi, said Rosebud

then he dropped that glass ball

end

it broke on the floor. He

didn't say anything\after that

so I knew ho wos dead. He said

all kinds of things that didn't

mean

anything*

THOMPSO

That isn't worth anything.

RAYMOND

You can go on asking questions

if you -want

to*

THOMPSON

(coldly)

We're leaving tonight. As sobn

as they're through photographing

the stuff --

Thompson has risen. Raymond gets to his

RAYMOND

Allow yourself plenty of time.

The train stops at the Junction

on signul — but they don't like

to wa it . Not now. I can

remembor when they'd wait all

day••••if Mr* Kane said so.

(COHTI:

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http://after/

http://after/

http://after/



115 (CONTINUED)

116

CAMERA has PULLED^ BACK to show LONG SHOT of the Great

Hell,

revealing the magnificent tapestries, candelabra,

etc., are still there, but now several/large packing

cases are piled against the walls, some broken op en, some

shut and a number of objects, great/and small, are piled

pell mell all over the\ place. Furniture, statues,

paintings, bric-a-brac V-

things/pf

obviously enormous

value are standing beside a kitchen stove, an old

rocking chair and other junk,yumong which Is also an old

sled, the self-same storyw\

In the center of the hall/aNphotographer and his

assistant are busy photographing the sundry objects* In

addition there are a

gj/rl

and\two newspapermen — also

Thompson and

Raymond.,

The girl and the second man,

who\wears

a hat, are

dancing somewhere An the back of \he hall to the music

of a phonograph,/^laying "Oh Mr.

Kane,

The photographer has just photographed a picture,

obviously of great value,/an Italian primitive. The

assistant consults a label on the back of it.

ASSISTANT

No. 9182

The third newspaperman jots this information down,

/ ASSISTANT (cont'd)

"Nativity"/ - attributed to

Donatello/ acquired Florence

1921, coat 45,000 lira. Got

that?

Yeah.

THIRD NEWSPAPERMAN

'OGRAPHER

All right 1 Nextl \Better get

lYMOND

What do you thinft all this Is

worth, -r. Thompson?

(CONTINUED)

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116 (CONTINUED)

H i

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152

THOMPSON

Millions — VLf anybody wants It•

RAYMOND

The banks are\out of luck, eh?

(THOMPSON

Oh, I don't

kniw.

They'll clear

all right.

ISSISTANT

" Venus , "

F ourthVCe ntury .

A c q u i r e d

1 9 1 1 . Co s t

twenty-three

t h o u s a n d .

Go t I t ?

Okay,

THIRD NEWSFAFERMAN

ASSISTANT

(patting the

statue on

the fanny)

That's a lot of money\to pay

for a dame without a head.

SECOND ASSISTANT

(reading

a label)

No. 483. One desk from the

estate of Mary Kane, Little

Salem, Colorado. Value

£6\00.

We're supposed to get everything.

The junk as well as the artJ

Okay.

THIRD NEWSPAPEI

A flashlight bulb goes off, Thompson has opened a box

and is idly playing with a handful of little pieces of

ardboard.

What's that?

THIRD NEWSPAPERMAN

(cbnt'd)

RAYMOND

It's a Jigsaw puzzle.

(CONTINUED)



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»

116 (CONTINUED)

THIRD NEWSPAPERMAN

We got a lot of those. There's

a Burmese Temple and three

Spanish ceilings down the hall.

Raymond laughs.

PHOTOGRAPHER

Yeah, all in irates.

VTHIHD

NEWSPAPERMAN

There's

a part

wf

a Scotch

castle over there, but we

haven't bothereq to unwrap It.

PHOTOGRAPHER

I wonder how they\ put all those

pieces together?

ASSISTANT

(reading a

label)

Iron stove. Estate

\f

Mary Kane..

Value $2.00.

PHOTOGRAPHER

Put it over by that statue.

It'll make a good setup

GIRL

(calling out)

Who is she anyway?

SECOND NEWSPAPERMAN

Venus. She always is.

THIRD NEWSPAPEI IAN

Ho sure liked to collect thing:

didn't he?

FEOTOGRAPHER \

Anything and everything — he \

was a regular crow. \

I .

\

THIRD NEWSPAPERMAN

I wonder — You put all this

together — the palaces and

the paintings and the toys and

everything — what would it

spell?

(CONTINUED)

\



116 (CONTINUED)

Thompson has

turned

a r o u n d . He i s f a c i n g t h e c am e r a

fol

t h e f i r s t t i m e .

THOMPSON

C h a r l e s Fo'eter K a n e .

PHOTOGRAPHER

O r R o s e b u d ? \ H ow a b o u t i t ,

J e r r y ?

/f^.

THIRD NEWSPAPERMAN

(to the

danceraf

Turn that thing off, will you?

It's driving me

nutsi

— What's

Rosebud?

PHOTOGRAPHER

Kane's last words, aren't they,

Jerry?

(to the

thUrd

newspaperman)

That was Jerry's\angle, wasn't

it. Did you

ever\ find

out whet

it means?

No, I didn't.

THOMPSON

The music has

stopped.

The dancers have come over to

Thompson.

SECOND NEWSPAPERMAN

Say, what did you find

qut

about him anyway?

/&&*\.

Not much.

THOMPSON

SECOND NEWSPAPERMAN

Well,

what have you been doing?

THOMPSON

Playing with a Jigsaw puzzle —>

I talked to a lot of people who

knew him.

(CONTINUED)

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116 (CONTINUED)'

GIRL

What do they say?

THOMPSON

Well — it's become a very clear

picture. iHo was the most honest

man

who

ever lived, with

a

streak

of crookedness a yard w ide. He

was a liberal end a reactionary.

He was a lbving husband — and

both his wives left him. He had

a gift

for I

friendship such as

few men have — and he broke his

oldest friend's heart like you'd

throw avtay

a

cigarette you were

through with* Outside of that —

Okay, okay.

THIRD NEWSPAPERMAN

155

GIRL

If you could have found out

what that Rosebud meant, I bet

that would'vjj explained

everything.

THOMPSON

No,

I don't.

I

Not much anyway.

Charles Foster Kane was a man

who got

everything

he wanted,

and then

lost lit.

Maybe Rosebud

was something

lie

couldn't get

or something

he

lost,

but it

wouldn't have

explained anything.

I don't think cuiy word explains

a man's

life* Ho — I

guess

Rosebud is justia piece in a

Jigsaw puzzle —\ a missing

piece*

He drops the Jigsaw pieces ack into the box, looking

at his watch.

THOMPSON (cont'd)

We'd bettor get alo\g. We'll

miss

the

train*

He picks up his overcoat — it has been resting on a

little sled — the little sled

yWig

Charlea Foster Kane

hit

Thatcher w ith at the

opening\pT

t n 0

picture* Camera

doesn't close In on this. It jusfc registers the sled as

the newspaper people, picking up their clothes and

equipment, move

out of the

great

hall*

DISSOLVE OUT



fKWMiJur.nun

T l

117

118

DISSOLVE IN

INT.

CELLAR - XANADU - NIGHT - 1940

A large furnace, with an open door,/fiominates the scene.

Two laborers, with shovels, are shovelling things Into

the furnace. Raymond is about tanfeet away*

Throw that Junk

EXT.

XANADU - KT.QKT - 1940

No lights are to be seen,

chimney.

156

CAMERA TRAVELS to the pll€ that he has indicated* It is

mostly bits of broken packing cases, excelsior, etc.

The sled Is on top of the

oile.

As CAMERA COMES CLOSE,

it shows the faded rosebud and, though the letters are

faded, unmistakably the word "Rosebud" across it. The

laborer drops his

shovel,

takes the sled in his hand

and throws it into jihe furnace. The flames start to

devour it.

Smoke is coming from a

CAMERA REVERSES the path it took at the beginning of the

picture, perhaps omitting some of the stages. It MOVES

finally THROUGH the gates, which close behind it. As

CAMERA PAUSES for a moment, the letter 'K* is prominent

in the moonlight.

Ju3t before we fade out, there comes again into the

picture the pattern of bnrbed v;ire and cyclone fencing.

On tho fence is a sign which reads:

"PRIVETS - MO TPESPASSING"

FADE OUT

THE END



-« ••

I.

-

36 (CONTINUED)

57

SMATHERS

We g o t o p r e s s i n f i v e m i n u t e s . /

KANE

/

( q u i e t l y ) /

W e l l , l e t ' s re m ak e t h e s e p a g e s ,

M r . S m a t h e r s . i

SMATHERS /

We g o t o p r e s s i n f i v e m i n u t e s ,

M r . K a n e . /

KANE /

W e ' l l h a v e t o p u b l i s h h a l f a n

h o u r l a t e , t h a t ' s a l i t

SMATHERS

You d o n ' t u n d e r s t a n d , M r . K a n e .

We g o t o p r e s s i n f i v e m i n u t e s .

We c a n ' t r em ake t hem , Mr . K a ne .

M

i •

citizenkane-3rdrevfinal+breakdown(7.16.40)

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