all mine to give (1956 shooting script)

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THE DAY THEY GAVE BABIES AWAY

Screenplay

by

Ka therine and Dale Eunson

Rf'<U,~ . - -, .- '. (.... :, •.:1..

""___ I ....... ' I ~

ILES

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FINAL SCRIPT

.nmE 6, 1956

12.2

L·( III,

• Cl.

PROPERTY OF

RK0 RADIO PICTURE~.ALL RIGHTS RESERVED


Screenplay

by

Katherine and Dale Eunson

,-----------------------------------------------------------_.

ORIGINAL RECIPIENT RESPONSIBLE FOR CUSTODY AND FOR RETURN TO STENOGRAPHIC DEPARTMENT, AND MAY NOT LEND ORDELIVER TO ANOTHER PERSON WITHOUT PROPER AUTHORITY

IIIIIIIIIIIIIIIIIIIIIIIII

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FINAL

llKO RADIO PICTUREsJPi1li1\;l\X


FINAL

6/6/56

6/6/56

122

122

•,.

I'r

I THE DAY THEY GAVE BABIES AWAY

Screenplay

by

Katherine and Dale Eunson

FADE IN (BEFORE TITLES)

1 EXT. THE FOX RIVER - NIGHT

Robbie Eunson, age twelve, 1s wearily pulling his babysister, Jane, behind him on a sled up the frozen river.She is whimpering, cold. Directly he looks off, seessomething. His face brightens.

ROBBIEDon't cry, Janey. I see a house.Maybe that I s where we Ire go in t •

2 EXT. HOUSE ALONG RIVER BANK - NIGHT

Prominent in the front window 1s a lighted Christmastree. From within we HEAR the sound of children'svoices singing a Christmas carol. CAMERA PANS SLOWLYTO ROBBIE pulling the sled up to front of house •. H. lets gothe sled, goes to the door, mocks, then goes back to sled,picks up his baby sister and carries her to the door o

Directly it opens, bathing him and the child in a glow of.warm light. In the doorway stands a plump, motherlylooking woman gazing down at the children. Robbie speaksto her - but we do not rear his voice since the SOUND ofmusic is riaingo She holds out her hands and takes thebaby from him. SCENE DISSOLVES INTO

TITLES AND CREDITS

FADE IN

3 EXT. MAIN STHEET - EUREKA, WISCONSIN _ DAY

The business block of a village of Bome five h\U1dred soulsin the year 1856. A few rigs are tied up at hitchingposta. There is moderate activity. A steamboat whistlesin the distance •

(CONTINUED)

vnA.Nlj~:::;

THE DAY THEY GAVE BABIES AliAY 6/25/562

3 (CONTINUED)ROBBIE'S VOICE (IN NARRATION)

Kids think nothing ever ha9penedbefore they were born. But whathappened to all of us really andtruly began the day our mother andfather got off the steamboat inEureka, Wisconsin. Papa told melater it was September 3rd, 1856•••

rl

II

We see, coming around the corner from the dock, a youngman and woman. He 1s twenty-eight - good looking, gay,fun-loving, not at all your dour Scot. He wears a suitof foreign-looking homespun with a plaid tam o'shanterset rakishly on his head. Slung over his back is a trunk~

The woman, slightly younger and quite pregnant, wears abonnet and shawl. In one hand she carries a carpet bag,and with the other leads a somewhat recalcitrant nanny goat.They seem to be looking for something as they advance upthe street. The two bewildered immigrants pause before"Bradley's Store and Post Office." HARRY BRADLEY, in hisearly fifties, is unloading groceries from his democratwagon, produce which has obviously arrived by boat. Hepauses, when he sees the inunigrants.

ROBERTI wonder - could you direct a bodyto the house of Will Jamison?

Harry Bradley gives both Robert and Mamie a quick runcomfortable looko

ROBERT (cont'd)Forgive me for not introducin' myself.My name's Robert Strong Eunson and Icome from the Shetland Isles. My wife'sUncle Jamison wrote us a letter Invitin'us to America.

RARRY BRADLEYWill never mentioned it.

ROBE'lT(humorously)

That's the Jamisons for you.Close-mouthed. Eh, Mamie?

(back to HarryBradley)

This is my Missus, Mr. ?

RARRY BRADLEYBradley. Harry Bradley. This isHoward Tyler ..

(CONTINUED)

J (CONTINUED)ROBBIE'S VOICE (IN N~RRATION)

Kids think nothing ever happenedbefore they were born. But whathappened to all of us really ~nd

truly began the day our mother andfather got off the steamboat inEureka, Wisconsin. Pqpa told melater :i. t was September 3rd, 1856•••

2

We see, corning around the corner from the dock, R youngman and women. He 1s twenty-eight - good looking, gay,fun-loving, not at all your dour Scot. He wears a suitof foreign-looking homespun with a plaid tRm o'shanterset rakishly on his head. Slung over his back is a trunk.The woman, slightly younger and quite pregnant~ wears abonnet and shawl. In one hand she carries a carpet bag,and with the other leads a somewhat recalcitrant nanny goat.They seem to be looking for something as they advance upthe street. The two bewildered immigrants pAuse before"Bradley's Store and .Post Office." HARRY BRADLEY, in hisearly fifties, is unloading groceries from his democratwagon, produce which has obviously arrived by boat. Hepauses, when he sees the 1rnmigrantso

ROBERTI wonder - could you direct a bodyto the house of Will Jamison?

Harry Bradley gives both Robert and J~m1e a quick, uncomfortable look.

ROBERT (cont'd)Forgive me for not introducln' myself.My name's Robert Strong Eunson and Icome from the Shetland Tsles. My wife'sUncle Jamison wrote us a letter invitin 'us to Ameri ca.

HARRY BRADLEYWill never mentioned it.

ROBERT(humorously).

That's_the Jamisons for you.Close-mouthed. Eh, Mamie?

(back to Harry.Bradley)

This 1s my Missus, Mr. 1

HARRY BRADLEYBradley. Harry Bradley_

( CON TlNUED )

3 (CONTINUED)ROBERT

We Ire pleased to tnRke youracquaintance.

3

He puts out his hRnd to Bradley. Brar:11ey seemsreluctant and strangely embarrassed to take it.as he does so he glances at the pregnant Mamie.

HARRY BRADLEYI'm afraid you must prepare yourselffor a shock.

ROBERTOh?

HARRY BRADLEYWill Jamison 1s - dead. His houseburned to the ground three weeks ago.

somewhatHowever,

Robert and Mamie turn to each other in consternation ..

HARRY BRADLEY (cont'd)Weld all told Will to put up alightning rod. But he said itwas a useless expense ....

DISSOLVE TO

4 EXT. UNCLE JAMISON'S TRACT OF LAND ON THE RIVER - DAY

Robert and Mamie stand staring at the burned out skeletonof a small house. The go~t Is graZing. Mamie sitsforlorn on the trunk. Robert stands beside her, his handon her shoulder comfortingly_

ROBERTNow~ lass, you hadn't seen youruncle since you were a wee one.Don I t gr ie ve 0

MAMIE(wretched)

We work - and slave - Rnd pinch ourpennie s for the passage - with thefamily sayin' how foolhardy we are -

ROBERTBut we wanted the babie to be bornin the new world.

( CON TINUED )

4 (CONTINUED)

I'.AMIE(bit'terlY5I 9tar'ing atthe charred hulk of'cabin)

The land of :)D;)0rt;mi t:J.. Ot., Roh,what are we ~c do?

DR. DELBERT, a sensitive, in~el~ig6nt man in his lateforties, and h1.5 wife, I~ELA, dt~!ve Ut:: in a buggy andstop beside Robert and Mamie.

DR. DELBERT(jumping down from buggy)

I heard you young folks had comeout - here.

LELA DELBERT( frowning)

Harry Bradley should ha?e ~~own

better than to le~ YQu.

DR. DELBERT1 1m Dr .. Delbert.

(turnir~ to Lela)My wife.

Robert and Dr. Delber~ shake ~ands ro~mallyo Ad libHow-do-you-do's.

LELA DELBERTAnd of course you're comingstraight home with us.

Roamr(pridefully)

We have money tv pay for &nighc's lodging at the lnn.

DR. DELBERTI'm afraid there's no inn thisside of Oshkosh.

LELA DELBERT(looking at Mamie; with agentle smile)

And I'm certainly not going t~

let you go to the stable o

Robert and Mamie start to protest, but Lela goes right on.

(CONTINUED )

4 (CONTINUED)LELA DELBERT (-::.C'n;;I"'l';

No, no.. No trouble at all.. You' J.)have the gir'ls T room, and 'th.3y'llsleep 0:0 !;he parlo!' rlcor. Tney 1:"f;

'used :;c It. e ••

Her volae :rails ~ff ss W~

DISSOL'/E TO

5 EXT. THE DELBERT HOME - NIGHT

This is a substantial white house of ~h6 perlt)d, surroundE<dby a picket fence.. Beside the front door ~s a shingle,Adam Delbert, Mo~ It is swaying sligr~ly in the winaand there is a distant seund of thunder OVER.

6 INT. DELBERT GIRLS' BEDROOM - NIGHT

CLOSE SHOT OF MAMIE ALONE IN FOURPOSTER. A i~ash oflightning r'eveals her asleep, but the thunder whichquickly follows -Dl'lngs her '.1pr·lght, h6r' eyes s:.aT:i.nginto the darlmess. She reaches aC1'':;38 l;he 'bed f.)r·Robert, but he 1:3 no"!; th.ere.

MAMIERob, Rob, where are yo~?

ROBERT'S V01CE(from beside window)

Righlj here, Lass. Rlgh"t ~JY yo..t:r side.

7 ANOTHER ANGLE - MED. FULL SHOT OF ROOM

As Robert turns from the windcw, walks toward bej andlights a candle, Mamie's head Is buried In her hands andshe is sobbing. He sits on the side of ~he bed and layshis hand on her shoulder.

ROBERT(apprehensively)

It wouldnft be pains you're feeling,would it?

She does not answer, but shakes her head, her face stillhidden.

(CONTINUED)

(CONTINUED )ROBERT (cont1d)

Would you like a tumbler of water?

She looks at him, her face tear-stained, shakes herhead.

ROBERT (cont1d)You're not to fret, jOe We'llstart back to Fair Isle tomorrow.

6

MAMIE(looking down atstomach)

With me - like this?forty-five dollars In

her

And onlyyour belt?-

r

,,

ROBERTWell, then, remember Green Bay,the city on the water where wepurchased the nanny goat?

She ",ods slightly.

ROBERT (cont1d)I can find work to do in one ofthe saw mills or grist mills.

MAMIECan t t you find work here in Eurekal'

Robert gives her a puzzled look.

ROBERTBut - your uncle gone - what'sto keep us here.

MAMIECouldn't we build a cabin on hisland - be near our friends?

ROBERTWhat friends?'

MAMIEMrs. Delbert is my friend.

Robert scratches his head at this apparently absurd aboutface. The~e is a loud and long roll of thunder, He mustwait for the SOUND to subside. Then.,

(CO Nl' INUED)

17 (CONTIN1JED)

The rainoease.

ROBERTI don't understand you, Mamie.You're always slow and cautious~

like the Jamisons. And here we arein Eureka only six hours - and youtretalking of friends.

MAMIE(appealingly, now)

Rob, you know I always do whatever youwish. But 1s there no work here for astrong man like yourself?"

ROBERT( thinking)

The men on the river boat - theywere talkin' of the loggin' camps •••But it's out of the question. Icouldn't leave you alone - all winter.

hits suddenly as the lightning and thunder'-

ROBEllT (cont1d)(going to the window)

Ah. Here's the rain.(closes the window,turns back to her)

MAMIEAll winter?

ROBERTOh, I suppose a man might walk downout 0' the woods some Sunday•••

MAMIE(calmed by the rain)

Then I could manage. And we'd be~ur' not flyin I off hith e r and

h ther to this Green Bay or thatblue bay, and comB spring I could sowseeds and --

ROBERTA"man oan't leave his wife to fendfor herself and a newborn.

MAMIE(with a smile)

Don't worry about Robbie and me.

(CONTINUED )

7

I[I

8

7 (CONTINUED)ROBERT

(S'Welling withpride}

Then you've named the lad?

J4AMIEIr it does not displease you.

ROBERTNot if you think you can standhaving two Roberts underfoot.

They hold a tender glance for a moment. Then he blowsout the candle and gets into bed. kfter a moment -

MAMIE'S VOICE(in the dark;tentative)

Rob?

~ ROBERT'S VOICEWeill think on it tomorrow.

DISSOLVE TO

6 EXT. UNCLE JAMISON'S TRACT OF LAND - DAY

Near the burned out shell of a small house stands thefloor of the new cabin, covered with rough, wide planking.From it rises, incongruously, a pump and, in the centerof the long side, a stone fireplace with a stone fluethat will reach through the ceiling. Beside the floor is apile of straight, but unbarked~ logs. Staked out near thewood~ at the back of the land is the nanny goat.

ks we come into scene Robert is finishing work on the stonefireplace. Mamie, more pregnant than ever, carries waterin a wooden bucket rrom the well to a nearby trough whichis already rilled with dirt. She dumps the water in thetrough, mixes it with a stick to a muddy consistency, thenlooks off, into the faces of two disreputable-looking apdundoubtedly louse-ridden Winnebago Indians. .

They are methodically watching the activity, and chewingslippery elm. Mamie, frightened, goes to Robert, takeshis arm, attracts his attention to the Indians just asMrs. Runyon, a rather~fashionably dressed, astringentwidow of forty-five with a hawklike face, arrives on thescene. She too sees the Indians, grimaces with disgust ...

(CONTINUED)

iII,

tI,I

8 (CONTINUED)MRS. RUNYON

Scatl

The two Indians turn slowly to stare at her. She makesa herding gesture with her skirts.

MRS. RUNYON (cont'd)Shoo. Shoo, you filthy things.

Cochise and his stoop-shouldered buddy turn and shuffleoff a few feet, then turn and continue their taciturnwatching. Mrs. Runyon now gives her attention to theEunsona' activities.

MRS. RUNYON (cont'd)A pump? Inside your cabin?

ROBERTAy, Mrs. Runyon.

MRS. RUNYONWhy - I never ~eard of such a thing.

ROBERTNei ther did, I. But with the babiecamin' next month - and myself inthe woods all winter, a body doesn'twant his missus diggln ' her waythrough drifts to t:te pump each marnin'.

MRS. RUNYONFolks will think it's queer, and youbeing immigrants and all •••

ROBERTMatern, I know you mean this kindly,but I don't see why folks wouldthink it queer for a man to want toease the burden on his wifso

MRS. RUNYONDoes Mrse Eunson think she's betterthan other folks 1

This makes Robert mad. He takes a deep breath.

ROBERTMrs. Runyon, I don't want to sayanything I' 11 be sorry far, but -in the words of our great poet, BobbieBurns, "It's hardly in R bodyt s pow1r,to keep, at times, frae being soure n

,-

(CONTINUED)

9

,!

10

S (CONTINUED)

Mrs. Runyon turns and flounces off. Mamie looks distressed.Robert returns to his task, realizes the next thing is tostart erecting the walls which he cannot possibly do alone.He looks up a t the sun, then off into the d lstance.

ROBERT(with impatience)

Where's that boy?

MAIdIEI can help you - wi th. the be t tomlogs.

ROBERTIn your condition? I wouldn'tallow it.

MAMIEBut it's because of my conditionwe 'va got to hurry. And I stilldon't see how - just you - and onelad - can get the cabtn up 1n time.

ROBERTBeggars can't be choosers. Whenyou've got no money, you make dowith what the good Lord sends you.

,

f

I{

SA

Over scene now we hear the DISTANT RUIIBLE OF MEN'S VOICES.It attracts both Robert and Mamie.

ANOTHER ANGLE

PAST Robert and Mamie to a group of ten or twelve mencarrying axes, trowels, tools of various sorts. In thevan hurries a strippling of fourteen or fifteen. He runsup to Robert in excitement.

YOUNG MANI-got helpl We'll have fer upby sundownl

ROBERTOh, lad, you shouldn't have donethat. I've got no money to paygrown men wages.

The first of the men erri ves on the scene. He is HOWARDTYLER, e young man of about Robert's age. He has overheardwhat Robert said.

HOWARD TYIERYou wouldn't be insulting us withoffers o~ money, would you now?

(CONTINUED)

'8A (CONTINUED)

CHANGES"THE DAY THEY GAVE BABIES AWAY"

ROBERTBut a man is worthy of his hire.

BRADLEYNot on the Lord's day. And notif he's a neighbor. All rightIDem, letfs go.

7/9/5611

,"

Howard surveys the job to be done, leads the way andthe other men follow him. For a moment Robert iscompletely nonplussed, and stands beside Marr~e unableto believe their good fortune.

MAMIEBut think on it, Rob. Only afortnight ago we dldna have afriend in all America.

CAMERA HOLDS ON Mamie ss Robert loaves her side to jointhe men. On her face is a look of wonder. Over scenewe hear the SOUND OF MEN'S VOICES IN CONCERT ye 11ing,"Heave 111 as we '-

DISSOLVE TO

9- MONTAGE SERIES OF SHOTS OF RAISING CABIN - DAY11

While the men work at the cabin-raising, in foregroundplanks have been laid on sawhorses and the wives of themen are laying out food. Amongst them are Lela Delbert(whom we have already met), CELIA BRADLEY, a woman 1nher fifties, KATIE TYLER, about Mamiels age, andRHODA RAIDEN, thirty. Katie and Rhoda are unloadingtheir baskets of food.

I

6/25/5611

,; 8A (CONTINUED)ROBERT

But a man 1s worthy of his hire.

,,BRADLEY

Not on the Lord's day. And notif he's a neighbor. All rightmen, let f s go,

Howard surveys the jobother men follow him.nonplussed, and standstheir good fortune.

to be done, leads the way and theFor a moment Robert 1s completelybeside Mamie unable to believe

i

iI

9

10


CAMERA HOLDS ON Mamie as Robert leaves her side to jointhe men. On her face is a look of wonder. Over scenewe hear the SOUND OF MEN'S VOICES IN CONCERT ~elling,ltHeavelu as we

DISSOLVE TO

MONTAGE SERIES OF SHOTS OF RAISING CABIN - DAY

While the men work at the cabin-raising, 1n foregroundplanks have been laid on sawhorses and the wives of themen are laying out food. Amongst them are Lela Delbert(whom we have already met), CELIA BRADLEY, a woman in herfifties, KATIE TYLER, about Mamie's age, and RHODA RAIDEN,thirty. Katie and Rhoda are unloading their baskets offooCl.

AiiOTiIER ANGLE - CLOSE ON KATIE TYLER AND RHODA RAIDEN

KATIEOh, Rhoda, you brought potatosalad tool

RHODA(laughing)

You can't have too much potatosalad, I always say!

Both look off at Mamie who 1s laboriously pouring waterinto the trough of mud.

KATIEMy heart· goes out to her.

11

SA (CONI' INUED)RO Sl!:RT

But 8 man 1s worthy of his hire a

HOWARDNot on too Lord's day. And notif he I s a neighbor.

Howard surveys the jobother men follow him.nonplussed J and stands

. their good fortune.

to be done, leads the way and theFor a moment Robert 1s completelybeside Mamie unable to believe


CAMERA HOLDS ON Mamie as Robert leaves her side to jointhe men. On her face 1s a look of wonder. Over scenewe hear the SOUND OF MEN'S VOICES IN CONCERT yelling,ItHeavel l1 as we

DISSOLVE 'ro '-

9 EXT. LONG :'EOT - THE CABIN HALF-RAISED - LATER

While the men work n t the cabin-rais ing, in foregroundplanks ha va been laid on sawhorses and the wives of themen are laying out food. Amongst them are Lel~ Delbert(whom we have Already met), CELIA BRADLEY, a woman in herfifties, KI\TIE 'ry'LER, about Mamie I sage, aoo RHODA RAIDEN,thirty. Katie and Rhoda are unloading their baskets orfood.

10 ANOTHER ANGLE - CLOSE ON KATIE TYLER AND RHODA RAIDEN

KATIEOh, Rhoda, you broUght potatosalad too:

RHODA( laughing)

You canlt have too much potatosalad, r always say!

Both look off nt Mamie who is laboriously pouring waterin to the trough of mud.

KATIEMy he~rt goes out to her.

7/9/5612

12 EXT. TIlE NEWLY RAISED CABIN - SUNDOWN

The log cabin Is UPg smoke curling from the stone chimneypeeking through the new roof. Some of the men are leaving,others washing up at the inlet from the river. Mamie'1s excitedly running in and out of the house, 200klngat it from every angle, and Robert is ad libbing histhanks to the men as they leave. Presently Lela Delbertappears, carrying a crock covered with a towel o Shesteps up to Mamie.

MAMIE(proudly)

Ohp Mrs. Delbert. Look.

Mrs. Delbert looks at the new cabin, then squeezesMamie 1 s arm.

LELA DELBERTHerets a setting of buckwheatyeast. Tend it, replenish it,keep It warm, and It will 11VBas long as you do.

Mamie takes the setting of yeast, wipes tears of gratitudefrom her eyes, and kisses Mrs. Delbert. Lela goes withthe last of the men and as the sun sets Robert steps upto Mamie, puts his arm around her, and they walk intothe house, closing the door behind them.

DISSOLVE TO

l)A

\.," 1)

;•

••

EXT. CABIN - DAY

Rob hauls wood.

INT. EUNSON CABIN - DAY

There are the simple necessities: a bed sprung with ropesand a mattress of pine boughs covered with a patchworkqUilt; a dry sink with the pump at one end; a rough tableand a couple of' chairs, a chest. Beside the fireplace isa three-root section or hollowed-out log which serves the

(CONTINUED)

,

6/25/5612

ANOTHER ANGLE - CLOSE ON MAMIE

Lela Delbert walks up to her as ahe works mixing the waterand dirt in the trougho

LELA DELBERTMrs o Eunson p everything's onthe tableo Don~t you want tocall the men folks yourself?

Mamie straightens up, puts her hands to her aching back,gives an appealing, "Whop ~?lt look and Lela nods.

DISSOLVE TO

,j'

12 EXT. THE NE',o/LY RAISED CABIN - SUNDOWN

The log cabin is up, smoke curling from the stone chimneypeeking through the new roofo Some of the men are leaving,others washing up at the inlet from the river. Mamie 1sexcitedly running in and out of the houss, looking at itfrom every angle, and Robert is ad libbing his thanks tothe men as they leaveo Presently Lela Delbert appears,carrying a crock covered with a towal o She steps up toMaml s o

MAMIE(proudly)

Oh, l1rso Delbert o Looko

Mrs. Delbert looks at the new cabin~ then squeezesMamie1s arm.

LELA DELBERTHere's a setting of bUckwheatyeast. Tend it~ replenish it~

keep it warm~ and it will liveas long as you doD

~~ia takes the setting or yeast, wipes tears of gratitudefro~ te~ oyes 9 and kisses Mrs. Delbert. Lela goes withtho last or the men and as the sun sets Robert steps upto Mamle~ puts his arm around her~ and they walk into thehouse, closing the door behind themo

DISSOLVE TO

13A"

'~~

, 13

EXT. CABIN - DAY

Rob hauls wood.

INT. EUNSON CABIN - DAY

There are the simple necessities: a bed sprung with ropesand a mattress o~ pine boughs covered with a patchwork~uilt; a dry sink with the pump at one end; a rough tableand a couple or chairs 9 a chest. Beside the rireplace isa three-foot section of hollowed-out log which serves the

(CONTINUED)

12

11 ANOTHER ANGLE - CLOSE ON MAMIE

Lela Delbert walks up to her as she works mixing the wate~

and dirt in the trough.

LELA DELBEHTMrs 0 Eunscn, everything I s onthe table. Don't you want tocall the men folks yourself?

Mamie straightens up puts her hands to her aching back,gives an appealing, {'Who, me?" look and Lela nods c

DISSOLVE TO

12 EX T. THE NEWLY HAl SED CABI N - SUNDOWN

The log cabin is up, smoke curling from the stone chimneypeeking through the new roof. Some of the men are leaving,others washing up at the inlet from the river. Mamie isexcitedly running in and out of the house, looking at itfrom every angle, and Robert is ad libbing his thanks tothe men as they leave. Presently Lela Delbert appears,carrying a crock covered with a towel. She steps up toMamie.

MAMIE(proudly)

Oh, Mrs. Delbert. Look.

Mrs. Delbert looks at the new cabin, then squeezesMamie t s arm.

LELA DELBERTHere's a setting of buckwheatyeast. Tend it, replenish it,keep it warm, and it will liveas long as you do.

Mamie takes the setting of yeast, wipes tears of gratitudefrom her eyes, and kisses Mrs. Delbert. Lela goes withthe last of the men and as the sun sets Robert steps upto Mamie, puts his arm around her, and they walk into thehouse, closing the door behind them.

DISSOLVE TO

13 INT. EUNSON CABIN - DAY

There are the simple necessities: a bed sprung with ropesand a mattress of pine boughs covered with a patchworkquilt; a dry sink with the pump at one end; a rough tableand a couple of chairs, a chest. Beside the fireplace isa three-foot section of hollowed-out log which serves the

(CONTINUED)

6/25/5613

13 (CONTINUED)

double purpose of iorant cradle an~ dough +.rough.hearth, in which a fire blazes, is the setting ofPots and pans, and a shotgun, hang on the wall.

On theyeast.

I

I

Mamie is ironing an infant's swaddling clothes. Shetakes an empty pan, goes to the pump for water to sprinkleclothes with, and starts to pump - with no result - asRobert enters with an armload of firewood which he dUmpsbeside the f'ireplace, then turns to watch Mamie, whofrowns.

i1AI1IEThe well's run dry.

ROBERTI doubt that.

He crosses to her, takes a dipper of water from a bucketnearby, pours it into the top of the pump, then works thehandle two or three times and a stream of water pours intoMamie I span.

MAMIE(as she takes waterback to clothes,starts to sprinkls)

Poor Rob. He should have marrieda practical woman.

ROBERTThere was a woman on Mainland hadher cap set for me.

MAMIE

Oh?

Thesheand

(jealous)And her name was?

ROBERTname is of no importance. Butcould cook - and bake - and fish naturally she could prime a pump.

:1

MAMIE(with ssperity)

Then why didn1t you marry this - thiscooker - and - and baker - and fisher and pump-primer?

ROBERT(smiles)

Because she was homely as a peat bog.

(COllTINUED)

13

13 (CONTINUED)

double purpose of infant cradle and dough trough.hearth, in which a fire blazes, is the setting ofyeast. Pots and pans, and a shotgun, hang on the

On thethewall.

•I

i

As Robert enters with an armload of firewood, we findMamie ironing an infant's swaddling clothes. Robertdrops the wood on a stack at the end of the fireplace,picks up a wooden bucket, and, crossing to the pump,primes it, starts to pump.

ROBERTAh, Mame, I have one terribleflaw 1n my character.

~iAMIE

(smiling)You admit it, Rob?

ROBERTAy. 'Tis my utter unselfishness.Here I put the pump inside 0' thehouse for your sake. And now Ihave to lug water out to the goat.

Mamie smiles lovingly at his humor.

MAMIEThere's one thing to be saidfor being poor. We have no cowto water.

OOBERTAh, thatts my Jo. Always lookin'on the bright side.

He goes on pumping and does not see the strange look onMamie's face as she stops ironing. She looks down ather stomach.

MAMIERob, what day is this?

ROBERTLet's see. Yesterday was theeleventh. Today would be Octoberthe twelfth. Sunday. Why doyou ask?

MAMIE(with a secret smile)

To remember the babie's birthday.

(CONTINUED)

6/2$/$613A

But MErole has not heard this last. A strange look hascrossed her face, and she stares down at her swollen

stomach.

13 (CONTINUED)

MAIHE(still)

Rob, what day is this?

ROBERTLet's see. Yesterday was theeleventh. Todey would be Octoberthe twelfth. Sunday. Why do youask, jO'?

MAMIE

(CONTINUED)

(with asecret smile)

To remember the babie's birthday.,

..

..

I 13 (CONTINUED)

Robert goes on pumping au:.oma:lcally, the W!'lter spillir.gover. Instinctively he puts his o-cher hand to his ownstomach.

ROBERTYou mean the time's upon you?

MAMIEI - I think so.

In his anxiety Robert rushes to Mamie and foolishlystarts rubbing her hands.

ROBERT(babbling excitedly)

Are you warm enough? Would youlike a spot of broth? Are you -

!~MIE

(leuflhing)About to have a babie.there's only one thingGo for the midwife.

Roc,you can do.

I{,

He dashes for the door, is struck by a sudden wondrousthought, turns.

ROBERTOctober the twelftht Why it'sthe birthday of Colum'us - theman who discovered America for ust

He returns impetuously, kisses Mamie on the brow reverently,as if she had done this just for him, then rushes out ofthe house. Mamie sets the iron on the hearth, empties someof the water Robert has drawn into the kettle on its craneover the fire, then takes two lengths of rope and begins totie one to the bedpost. at the foot of the bed, pulling onit to make certain that it is secure.

QUICK DISSOLVE TO

14 EXT. TRE·CABIN - DAY

Through the gently falling snow the excited Robert 1sall but dragging the stolid Mrs. Pugmire who carries inone hand a worn carpet bag. She 1s not to be hurried.

MRS. PUGMIRE(patiently)

There'~ no rush. Mr. Eunson.It's a first OD6 o

(CONTINUED)

I

114 (CONTINUED)

At this moment there is troe SOuND Gfnanny goat. Robert looks ~tricken.

15

the blea tine. of' the

I•

I

ROBERTNo rush, you say.. Li.; ten to he r ..She's 1n mor~al ngor.y.

~,U:.L PJ'Gl'.1I HESo she is. Go milk your goat.

ROBERTOh, yes. Yes. The goat.

She goes to the door as Robert leaves her and starts forthe shed where the goat is kept. As she is abou.t to enter,he calls.

ROBER'l' (~ont'd)

Callout if you need me.

MRS. PUGMIREI wontt be needing you.

ROBERTBut there might be somethinga man could do.

MRS. PUGMIRENot at this late date. You'vealready done your worst e

She enters the cabin, closes the deor behind hero

DISSOLVE TO

15 EXT. THE CLEARING NEAR THE CABIN - DAY

The snow has stopped by now, leaving a white blanket onthe ground. A weak sun 1s roul" hours high in the sky.Robert is violently clearing away the ruins of UncleJamison's burnt out houseG He glances apprehensively atthe cabin and, seeing something, dashes tOward it.CAMERA FOLLOWS him to the stoop, where Mrs. Pugmire istaking a breath of air, puffing on her corncob pipe.

ROBERT(flatly)

There's something wrongo

MRS. PUGMIREIf it was wrong to have a babythis world would be in a finepickle.

( CONTINUED)

,

I

6/25/5616

15 (CONTINUED)

ROBERTShe's had the babie?

MRS. PUGMffiENot so's you could notice.

ROBERTWell -- should you be smokin'your pioe at a time like this?

MR S. PUGMIREMr. Eunson. I've brought hall'the babies or Eureekie into thisvale of tears. And what I dobetween pains is my business.

(takes a philosophicalpur! on her pipe)

Sometimes you've got to smokethe little devils out. Now geton back to your chores.

II

I 16 OMITTED

DISSOLVE TO

,,

"

17 EXT. CABIN - NIGHT

Robert asleep.

15 (CONTINUED)ROBERT

Shets had the babie?

MRS. PUGMI HENot so's you could notice.

16

Wenpipe

ROBERTshould you be smokin'

at a time like this?your

MRS. PUGMIREMr. Eunson. I've brought half thebabies of Eureekie into this valeof tears. And what I do betweenpains is my business.

(takes a philosophicalpuff on her pipe)

Sometimes you've got to smoke thelittle devils out. Now get onback to your chores.

DISSOL',E TO

16 EXT. ANOlliER PART OF THE YAHD - DUSK

Robert stands at the wood pile wielding the axe to chopfirewood. Directly Dutch Fischer, a fat young German,approaches. He wears a black bearskin coat.

DUTCHMy name's Herman Fischer J "Dutch lt

to my friends. I run the saloon.(handi ng Robert

a pint bottle)Here.

ROBERT(a little Wistful)

I canna afford it.

DUTCH(laughs)

Compliments of Fischer's tavern.

Robert smiles at him gratefully. He takes the bottle.

ROBERTA cup 0' kindness.

Robert takes a long, grateful swig.

DUTCHHas ole Lady Pugmire snuffed her yet?

(CONTINUED)

17 EXT. THE CABIN - NIGHT

6/25/5617

Mrs. Pugmirea cow bell.

Is standing on the stoop vigorous1y ringingRobert, panting, comes up to her.

,. 18

ROBERTWhy In the world are youmakin' that racket?

IIRS. PUGMIRETo let the folks know whatwe've got. -ROBERT

(swallowing hard)Welve got something then?Might I ask if it's a babie?

IIRS. PUGMIREMr. Eunson. I ring this bellfor a boy.

(takes a pitchpipe out ofher pocket)

Arla blow this whistle for agirl.

With wonder and apprehension Robert opens the door tothe cabin and enters.

INT. THE CABIN - EVENING

A candle lights the bed where Mamie lies with the infantin the crook or her arm. Robert tiptoes toward her inawe and, as h~ kneels beside the bed, removes his tam.Mamie looks at h~, gives him a tired smile. Robert picksup her hand and at-arts to rub it, as his eyes move from herto the child. The BELL continues to ring, OVER SCENE, asMamie closes her eyes and goes to sleep. The BELL STOPSringing. Directly Mrs. Pugmire opens the door quietly.

(CONTINUED)

17

16 (CONTI NUED)ROBERT

Snuffed her? What!s that?

DUTCHTo make her sneeze.

ROBERTI never heard of that.

DUTCHYou got a lot to learn, Scotty.

We hear the SOUND of A BELL RINGING. Robert looks off,dashes for the house.

17 EXT. THE CABIN - DUSK

Mrs. Pugmi rea cow bell.

1s standing on the stoop vigorouslyRobert, panting, comes up to her.

ringing

ii

'- ROBERTWhy in the world are you makin'that racket?

MRS. PUGMIRETo let the folks know what we've got.

ROBERT(swallowing hard)

We've got something then? MightI ask if it's a babie?

MRS. PUGMIREMr. Eunson, I ring this bell for a boy.

(takes a pitchpipe out ofher pocket)

And blow this whistle for a girl.

With wonder and apprehension Robert opens the door tothe cabin and enters.

18 INT. THE CABIN - EVENING

A candle lights the bed where Mamie lies with the infantin the crook of her ar.m. Robert tiptoes toward her in aweand, as he kneels beside the bed, removes his tam. Mamielooks at him, gives him a tired smile. Robert picks upher hand and starts to rub it, as his eyes move from herto the child. The BELL continues to ring, OVER SCENE, asMamie closes her eyes and goes to sleep. The BELL STOPSringing. Directly Mrs. Pugmire opens the door quietly.

(CONTINUED)

,"

I18 (CONTINUED)

MRS. PUGMI RERamsey's man l S outside. Wantsto see you ..

Mrs. Pugmire checks mother and child, then lays anotherlog on the fire and 3tarts straightening the room, asRobe rt ex! ts.

19 EXT. THE CABIN - EVENING

As Robert closes the door behind him and approachesCarl Hanson, a tall, rangy, bearded Swede ..

ROBERTWhat's on your mind, Hanson?

HANSONYou ready now - caorn up to camp?

ROBERTMy wife just ha~a babie.

I'-ANSONYou better eDom - you want yabwith Ramsey.

ROBERTBut I told the foreman I couldn'tbe there before the fifteenth.

HANSONYou eDcm now. Bad accident.Kill two lumberyacks. Three laid up.Torn Cullen say bring you in bateaux•.

ROBERT(with anxiety)

I can't come - tonight.

HANSON(shrugs)

So I yust tell Tom you no vant yab.

ROBERTYes.

Hanson turns to go stolidly.

ROBERT (cant' d)No. Tell him - tell him I'llbe there by sun up.

Hanson shrugs, walks off. Robert returns to the house.

DISSOLVE TO

18

"THE

, 20 OMITTED

ChangesDAY THEY GAVE BABIES AWAY" 7/10/56

19

'."

",, 21 EXT. THE WOODS - NIGHT

In a SERIES of SHOTS we see Robert trudging through thesnow alone.

ROBBIE'S VOICE (IN NARRATION)And so the night I was born myfather went off to the woods.Papa told me later it took himabout five hours.And it was already daylight whenhe got to Ramsey's camp.

22 OMITTED

23 EXT. RAMSEY'S LOGGING CAMP - DAY

This Is a comparatively small operation. The bunkhouseand cook shanty are in one large log bu11d~. Near it1s the stable for the horses.

The first light snow of the season blankets the ground.Breakfast over, the lumberjacks p~ur out of the shanty,carrying axes, saws, cant hooks, peav1es, etc. They arecolorfully dressed in b1g~laoed boots, heavy pants stuckinto boot tops, plaid shirts, mackinaws and stocking caps.As team~ hauling empty sleda start off the men leap aboardto catch rides to the various stands of timber being cuttoday.

Checking the men off aa they leave is TOil CULLEN, foremanof RmMseyts Fox River Camp No.3. He is a red-headedIrisbman or some thirty-f'ive years" and the f"ire of" histemper matches bis hair. The last team and sled haspulled out and Tam is about to return to the bunkhousewhen Robert appears. Tam turns and, with his hands onhis hips" watches Robert approach.

TOil(shouting at Robert)

Get back I

A go-devil goes through.

TOM (cont'd)Now what do you want?

ROBERTrIm ready for work p Mr. Cullen.

".

,

6/25/5619

OMITTED

.i 21 EXT. TIlE WOODS - NIGHT.,..,In a SERIES of SHOTS we see Robert trudging through thesnow alone.

ROBBIE'S VOICE (IN NARRATION)And so the night I was born myfather went off to the woods.Papa told me later it took himabout five hours.And it was already daylight whenhe ~ot to Ramsey's campo

22 OMITTED


This Is a comparatively small operation. The bunkhouseand cook shanty are in one large log building. Near itis the stable for the horses.

The first light snow of the season blankets the ground.Breakfast over, the lumberjacks pour out of the shanty,carrying axes, saws, cant hooks, peavles, etc. They arecolorfully dreased In high-laced boots, heavy pants stuckinto boot tops, plaid shirts, mackinaws and stocking caps.As teams hauling empty sleds start off the men leap aboardto catch rides to the various stands of timber being cuttoday.

Cheoking ~he men off as they leave 1s TOM CULLEN, foremanof Ramsey's ~ox River Camp No o 3. He is a red-headedIrishman af Borne thirty-five years, and the fire of histemper matches his hair. The last team and sled haspulled out and Tom is about to return to the bunkhousewhen Robert appears. Tom turns and, with his hands onhis hips, watches Robert approach.

ROBERTI'm ready for work, Mr. Cullen.

TOM(saroastioally)

An' what kind ot work might yoube-read-,; tor?

(CONTINUED)

I

19

20 INT. CABIN - NICHT

In the candlelight Rebert si ts bf3side the bed whe!"e Mamiesleeps, the infant beside her~

LONG LAP DISSOLVE TO

21 EXT. THE WOODS - NIGHT

In a SERIES of SHOTS we Sf'S Hobert trudging through thesnow alone.

ROBBIE'S VOICE (IN NARRATION)And so the night I was born myfather went off to the woods.Papa told me later it took himabout five hours.

22 EXT. SUN RISING IN A COLD SKY ABOVE TREE TOPS

ROBBIE'S VOICE (IN NARR~ON)

And it was already daylight whenhe got to Ramsey's camp.


'Ibis is a comparatively small operati.on. The bunkhouseand cook shanty are in one large log building. Near it1s the stable for the horses.

The first light snow of the season blankets the ground.Breakfast over, the lumberjacks pour out of the shanty,carrying axes, saws, cant hooks, p~avles, etc. They arecolorfully dressed in high-laced boots, heavy pants stuckinto boot tops~ plaid shirts, mackinaws and stocking caps.As teams hauling empty sleds start off the men leap aboardto catch rides to the various stands of timber being cuttoday.

Checking the men off as they leave is TOM CULLEN, foremanof Ramsey's Fox River Camp No.3. He 1s a red-headedIrishman of some thirty-five years, and the fire of histemper matches his hair. The last team and sled haspulled out and Tom is about to return to the bunkhousewhen Robert appears. Tom turns and, with his hands onhis hips, watches Robert approach.

ROBERTI'm ready for work, Mr. Cullen.

TOM(sarcastically)

AnI what kind of work might yoube ready for?

(CONTINUED)

Robert turns and wa1ks stiff1y dowa the path~after b.iJn, then puts his hand to his jaw!' and

TOM (cont' d )I just think 1'11 see this formyso1fl

ROBERT(fUrious)

I'd be ob1iged if you'd watch me.

7/10/5620

Tom 100ksgrimaces.

famUyThe stand

Keep yourcJ-ean.

TOMDon't be tall1n' me yourhistory on company time.of timber's --

(pointing)that way. ilB.1f a mUe.axe sharp and your nose

ROBERTGet one thing stra1ght p Mr. Cu11en.I have no doubt the Scandinaviansare a fine race. But it just sohappens, 1 ' m ScottiSh.

TOM1'11 do that, Norsky.

TOMBut not if you expend your energyplowing through the snow all night.You think you're in shape to dothirteen hours I work for the company?

ROBERT(confused)

Twenty dollars a month.

TOMOh, I did, did 11 And what didI say I'd be psyln l you'

ROBERTYou said you1d use me as achopper.

TOM( sarcasticallY)

An' what kind of work >nigh';;you be ready f~r1

(CONTINUED )


You sald you'd use me as achopper.

TOMOh, I did, did I? And what didI say lid be payin' you?

ROBERT(confused)


TOMBut not it you expend your energyplowing through the snow all night.You think you're in shape to dothirteen houre' work tor the company?

6/25/5620

ROBERT(1'urioue)

I'd be obliged lr you'd watch me.

TOMI'll do that, Noreky.

ROBERTGet one thing straight, Mr. Cullen.I have no doubt the Scandinaviansare a tine raes o But it just sohappens, I'm Scottish.

TOMDontt be tellln t me your familyhistory on company time. The stand01' timber I s --

(poiRting)that way. Hal.f a mile. Keep youraxe sharp and your nOS8 clean.

Robert turns and walks sti1'1'ly down the path.after him. then puts his hand to his jaw. and

Tom looksgrimaces.

20


You said you'd use me as achopper.

TOMOh, I did, did 17 And what didI say I'd be payin ' you?

ROBERT(confused)


TOMBut not if you ~xpend your energyplowing through the snow all night.You think you're in shape to dothirteen hours' work for the company?

ROBERT(furious)

ltd be obliged if you1d watch me.

TOMI'll do that, Norsky.

ROBERTGet one think straight, Mr. Cullen.I have no doubt the Scandinaviansare a fine race. But it just sohappens, I'm Scottish.

TOMDon't be teilln' me yourhistory on company time.of timber's

(pointing )that way. Half a mile.axe sharp and your nose

familyThe stand

Keep yourclean.

Robert turns and walks stiffly down the path.after him, then puts his hand to his jaw, and

24 ANOTHER ANGLE - THE WOODS - DAY

Tom looksgrimaces.

CAMERA TRUCKS AHEAD of Robert as he walks grimly - atfirst - down the trail toward the stand of timber.

. ROBBIE'S VOICE (IN NARRATION)So my father got aff to a bad startwith Mr. Cullen. And all thatwinter he tried to hold his temper.

(proudly)Papa had a terrible temp~r.

(CONTINUED)

\,

6/25/5621

24-32

SHOTS ALREADY TAKEN AT MT. HOOD - PLUS SIX PROCESS SHOTS

32A ROBERT CHOPPING TREE - DAYROBBIE'S VOICE (IN NARRATION)

So my father got off to a bad startwith Mr. Cullen. And all thatwinter he tried to hold his tempero

(proudly)Papa had a terrible temper.

2:

24 (CONTINUED)

Now we begin, snbtly, quietly, a rhythmic Tone Poem ofthe Lumberjacks, utl1izinp, sound, st~ht, ana-music. ~herhythi1i Is set by the sound of Robert's footst:.eps cr·mchinqin the snow. This is an unacc'?mnanied p~"'cnssion beat.Then over it comes a trill, as of a distant woodwind(actually a bird). Then gradHally, at first so distantas to be unidentifiable, the rhythmic report of axes ontimber, crosscut saws biting ~.nto pine, a las!1 of whipson horses' flanks, and on Robert1s face the look ofexcitement. And s:Jddenly t.he mornin~ sun hits him f\111in the'face. He stops dead in his tracks, stares aheadof him, and for a long moment there is not a sound. Thenthe silence is shattered by a gigantic echolnn; cry of:

VOICE

TIM B E R

On Robert's face is reflected the wonder and the aweof the sight he beholds.

SERIES OF SHOTS

25 And now, in a quickened tempo we see the sights that wehave already heard.

26 A great pine crashes to the sn ow-covered ground.

27 Swampers line up alon(l: its length to denllcie 'it of itslimbs.

28 Sawyers start to work on the denuded tree to Cl1t it intofifteen-foot lengths.

2q Other swampers chop bark marks into each length.

30 Teamsters with their cant hooks worrying one end of alog' onto a gO-devil, 90 that it can be snaked out of thewoods to the trail.

31 The horses digging in, hauling ~ log up to the road.

,, 32 Logs being piled high on skids alon~side the road,awaiting the sled to transport them to the river.

(CONT INlTED )

33

6/25/5622

EXT. CABIN - BLIZZARD - DAY

INT. THE EUNSON CABIN - DAY

Peering down and cooing over the six-weeks old infantwho l1es in the combination cradle and dough-t~ough, areLela Delbert and Howard Tyler's wi£e, KATIE. She 1s apretty, buxom twenty-feura Mamie is bustling about thefireplace and dutch oven, brewing tea and watching thescones which are about ready to come out of the avenaThe women ad lib compliments about the child's appearance,"Such a little man," llI l d never believe he was just sixweeks old, II IIAlready looks like his father, II etco

There 1s a knock on the door. Mamie wipes. her apron, goes to door, opens it to admitthe storekeeper's wife, a woman of fifty.bonnet are covered with snow.

!1AMIE( cordially)

Do come in, Mrs. Bradley.

CELIA BRADLEY(removing her. cape)

Whew! It's blowing up something.Windls in· the north.

her hands onCELIA BRADLEY,Her cape and

She crosses to look at the baby and clucks approvingly.Mamie puts hot scones on a plate g passes them •

. MAMIEI hope you like scones. Mymother's receipta

As the ladies each take one, Mamie looks about nervouslyoThere are only two chairs o

MAMIE (cont' d)Ohg de~g where are you to sit?

LELA DELBERTWhen doctor and I first came to thewilderness, we had only one ohair.

(CONTINUED)

22

32 (CONTINUED)

These scenes are the climax of the Tone Poem and, ofcourse, can be varied und augmented with any otherscenes which prove available to us.

DISSOLVE TO

33 INT. THE EUN SON CABIN - DAY

Peering down and cooing over the six-weeks old infantwho lies in the combination cradle and dough-trough, areLela Delbert and Howard Tyler's wife, KATIE. She 1s apretty, buxom twenty-four. Mamie is bustling about thefireplace and dutch oven, brewing tea and watching thescones which are about ready to come out of the oven.The women ad lib compliments about the child's appearance,"SUch a little man," "lId never believe he was just sixweeks Old," "Already looks like his father," etc.

There 1s a knock on the door. Mamie wipesher apron, goes to door, opens it to admi tthe atorekeeperta wife, a woman of fifty.bonnet are covered with anow.

MAMIE(cordially)

Do come in, Mrs. Bradley.

her hands onCelia Bradley,Her cape and

,.

CELIA BRADLEY(removing her cape)

Whew! Itt a blowing up something.Wind's 1n the north.

She crosses to look at the baby and clucks approvlngly~

Mamie puts hot scones on a plate, passes them.

MAMIEI hope you !ike scones. Mymother's receipt.

As the ladies each take 01.3, Mamie looks about nervously ..There are only two chairs.

MAMIE (cont1d)Oh, dear, where are you to sit?

LELA DELBERTWhen doctor and I first came to thewilderness, we had only one chair.

(CONTINUED)

33 (CONTINUED)

The ladies start eating, standing up, ad I1bbing,"Delicious,11 "Melts in your mouth, 11 etc. CeliaBradley reaches into the pocket of her voluminousskirt and brings out a letter.

CELIA BRADLEYHere's a letter for you. Harrysaid you hadn't been to the storelately.

MAMIE(stuffing letterinto her pocket)

I've been busy. Rob gone •..the babie ...

(starts pouringtea)

CELIA BJ<ADLEYWe III all excuse you while youread your letter.

MAMIEA little later.

(offers Lela Delberta wooden bowl)

Will you serve yourself to thesugar?

LELA DELBERT(taking sugar)

Thank you. Now do, do read yourletter, Mamie. rIm SUre weldrelish news from Scotland.

Looking trapped, Mamie sets the sugar on the table,turns her back to the ladies, and opens the letter.

UTIE TYLER(after an uncomfortablesilence)

Of course 1 t 1tIs too pe rsonal •.•

MAMIE(nervously)

No, no. Not personal. It'sit's -

(with a desperateinspira tion)

It's in the Scottish language.

23

Lela Delbertpredicament.are puzzled.

watches Mamie, and begins to realize herCelia Bradley and Katie Tyler, however.

(CONTINUED)

33 (CONTINUED)CELIA BRADLE.Y

The Scottish language? But Ithought Scotch people spoke Engljsh.

MAMIE(going farthe r 01.<'&

on the limb)Oh, we speak it. But when we writ~ -

(desperately s~ufrs lettArin her pocket. vI'aba upthe scones, extends themto Celia Bradley)

Here. Try one of my scones.

Celia Bradley looks down puzzled at the s cone she alr-Blidyhas.

CELIA BRADLEYI have one.

Mamie is saved as the door opens and a gust of snow andwind blows Robert into the cabin. He is carrying fourfrozen beaver pelts, wears a brightly colored new redand-black-and-yellow plaid mackinaw anc alse ~ si~-week~~

old black moustache which completely covers his UPp€llip. Coming into the darkened cabin from the snow ol.<tsicG~

he sees only Mamie, grabs her and whirls her a~out.

MAMIEOh, Rob, please.

ROBERTIs thiS a proper welcome when I I vewalked twenty-five miles because Iwas hungry for the sight of you?

MAMIERob, we have company.

Robert looks about the room, squinting into "the gloom.

KATIEWe were on our way, Mr. Eunsor..

She is tying on her bonnet and so are the 0 the r vTomen.

ROBERTAw, Mame. Forgive me. I'vespoilt your tea.

LELA DELBERTNo, really. We must get homebefore the snow piles too deep.

( CONTI NUE,D)

2533 (CONTINUED)

There is a bustle of activity now as the women donheavy outer garments. Robert crosses to the cradle.

ROBERT(with awe)

Why - he favors me.

LELA DELBERTAnd who has a better right?

They all laugh.

CELIA BRAnLEI'(who has been stoopingto put on her overshoes J

notes the beaver pelts)What fine heavy pelts.· My husbandcan get you a good price.

ROBERTThank you, Mrs. Bradley, but theseare not for sale. I trapped themmysel', near the lumber camp.

(lifts the skins,extends them inboth hands to Mamie)

"Accept the gift; tho' humble hewho gives,

Rich is the tribute of the gratefulmind."

( t urns to ladies )In the immortal words of' Bobbie Burns.

Mamie stands looking down at the pelts. For a momentthe sentiment overcomes her, but the pelts, frozen stiffas they are, are so cold that she must set them down.Robert is helping the ladies on with their coats andcapes and as they ad lib Goodbyes J he opens the door amthey brace themselves against the snow and the wind.Finally the door 1s closed and Robert turns to Mamieas if to take her in his arms. She holds him off.

ROBERT (cont'd)What's your trOUble, lass?Company's gone.

MAMIE(pointing athis upper lip)

That - that disgusting growth.

(CONTINUED )

26

33 (CONTINUED)"J2ERT

Oh, I tis no thing yet. Nexttime you will scarce be ableto see my face.

He tries to take her in his arms again, but with evenless success.

MAMIEI will not kiss a monkey.

ROBERTBut all the lumberjacks growsomething on their faces.

MAMIEI did not marry with a lumberjack.

Robert picks up a shiny tin plate, holds it out as if itwere a mirIUr and strokes the moustache affectionately.

'- ROBERTMysel ' , I deem it a handsomeaddition.

MAMIE"a, wad some Pow'r the girtle gia us,

to see euraela as others Bee us. II

She shakes her head. the razor still held between them.

He ignores thiB, starts to follow her, puts his armsaround her waist.

She turns and walks away from him and then, with a twinkle

MAMIE (cont'd)In the immortal words ofBobbie Burns.

ROBERT (cant' d)Let me hold you

lar ga, vi ciousShe turns and

Aw, no. Mame.in my arms.

ROBERT(with passion)

JO, I have ached for you.

She disengages his arms, reaches for alooking razor hanging above the sink.holds it out to him.

,.

I

I!!

I,

It

ROBERT (cont'd)No?

(CONTINUED)

33 (CONTINUED)MAMIE

Not until you shave it off.

27

Beaten by her Lysistrata maneuver, he accepts the razorfrom her, takes the steaming kettle off the crane andcarries it to the sink, as we -

DISSOLVE TO

34 EXT. THE CABIN - NIGHT

In the darkness and thebut indis tinguishable.

35 INT. THE CABIN - NIGHT

raging blizzard, the cabin 1s allSnow drifts against the door.

There 1s no 11~t except the low illumination from thefireplace. Before it Rbbert 1s dressing, pUlling on hispants. Mamie sleeps in the bed that Robert has recentlyquitted, and-beside it is the trough with the child in it.Over all 1s the moaning WAIL of the blizzard. Fullydressed, Robert looks down at both wife and child withreluctance to leave them. A sudden nolse, as of a stickdropping, attracts his attention. Almost instantly afine spray of snow fills the cabin. Robert lifts thebaby from the crib, lays it in the crook of Mamie ts arms.Then he discovers what has happened. One of the chinks(and the dried out mud which held it in place) has beenblown out of its place between the logs. Robert picks upthe chinking, tries to s turr it back. It will not stick.He takes one of the blankets out of the cradle and beginsstuffing it into the hole. Now he puts on his mackinawand tam, goes to the door and unlatches it. Instantly itblows back against him and a blast of snow hits him inthe face. He looks down to see that the drift outsidethe door is waist high. And now he tries to close thedoor against the wind. It takes all of his strength todo so. He finally bangs it shut and turns about to seeMainie sitting up in bed staring at him.

MAMIEOh, Rob, is it time to go?

ROBERTLong past, but ltd never makeit to camp in this blizzard.

MAMIE(happily)

Then come back to bed.

Robert throws log on too fire.

28

36 CLOSEUP - MAMIE

as. she watches Robert remove his clothes.

MAMIEThe storm will keep you with mea spell.

ROBERT'S VOICE (over)(troubled)

But it keeps me from my job too.

MAHlEI fret about you, Rob.tell me - the danger oftrees - the flying axesviolent men •.•

The ladiescrashing- the rough

And now Robert lowers himself into the bed (and into theCLOSEUP) with Mamie and the baby. He reaches across thesleeping infant to pat her shoulder reassuringly.

ROBERTWhy, lass t the 1 umberjackB are onlyfull 0' run ... They may scrap alit tle •••

He lies down. She puts her hand across the baby onRobert I s shoulder.

MAMIE(her voice lower)

The ladies say they thrive onfighting - and brawling. And1 1 m aware of your terribletemper - your only fault.

ROBERT(accepting this asa compliment)

Thanlm, lass.

MAMIERob, if you could only learnnot to use your fis ts •.•

,-

ROBERTI'll try, jOJ I'll do ma best.

(menacingly)But that Irisher foreman. He'saskin I fo r trouble.

MAMIEFor my sake?·

(CONTINUED)

,,

36 (CONTINUED)

There isinfant.

ROOERTMy partner, Frenchy, he s ayeCullen's teeth plague him mightily.But I think he was born meaoa

a silence. Then both turn to the sleeping

MAMIEWhat do you suppose he III be?

ROBERT(looking at thechild; with loveand fond humor)

Well - he was born in America he could be the Pres ldent. Wouldyou like that'?

29

MAMIEYes ... But more I 1~ likebe a good man. Like his

him tofather.

Both Robert and Mamie 11e flat on their backs, staringupward at the ceiling.

ROBERTCome now. Go to sleep.

He t urns on his side, away from her and the baby.

MAMIE(after a long moment)

Rob.

ROBERTNow what?

MAHIECould I learn to read?

ROBERTWhat 1n Tophet for?

MAMIEI never thougnt on it 1n FairIsle. But here - well - so manyof the ladies know how to read.

ROBERT(thinks this over)

Itm not so sure it's a good ideafor a female to know how to read.

(CONTINUED)

36

6/25/56)0

(CONT lNUED )MAMIE

Will ye think on it?

Though she cannot see him, he nods sagely. The windrises, a tree BANGS against the house, as we

DISSOLVE SLOWLY T0

37A EXT. CABIN - SNOW ON GROUND - DAY

Mamie enters with tire wood.

37 INT. THE CABIN - DAY

Beside the blazing fireplace the four-months-old childsleeps in the bread trough-cradle. The door to the cabinopen~ and Mamie enters with an arm load of wood which shedumps on a pile on the otaer side ot the fireplace. Shestoops, picks up the baby.

ROBBIE'S XQICE (IN NARRATION)Mamma and I were alone most ofthat first winter because Mr.Cullen wouldn't give papa timeoff to come hQme - and that madehim madder and madder. Until •••

38 EXT. THE LOGGING CAMP - NIGHT

Smoke curls from the chimney and a light glowa at thewindow. Water drips trom snow melting on the root. TomCullen stands outside the door smoking a pipe, gazing upinto the night. Be is scowling, as if in pain, and rubshis jaw. Directly the SOUND ot footsteps in the snowattracts his attention and he looks off to see Robertapproaching with a dead beaver slung over his shoulder.

TOMYou're aware. Norsky. that wildgame belongs to the Ramsey Company.

Robert whirls. start1edo He looks down at the beaver.

ROBERTThe company owns the timber.Nothin' else.

TOMOh. You're calling me a liar.

ROBERTIf the shoe fits •.

(CONTINUED)

30

36 (CONTINUED) MAMIEWill ye think on it?

Though she cannot see him, he nods sagely. The windrises, a tree BANGS against the house, as we

Dr S~OLVE SLOWLY TO

37 INT. THE CABIN - DAY

Beside the blazing fireplace the four-months-old childsleeps in the bread trough-cradle. The door to the cabinopens and Mamie enters with an arm load of wood which shedumps on a pile on the other side of the fireplace. Shestoops, picks up the baby.

ROBBIE'S VOICE (IN NARRATION)Mamma and I were alone most ofthat first winter because Mr.Cullen wouldn't give papa timeof f to come home - and tha t madehim madder and madder. Until •••....

38 EXT. TIlE LOG:JING CAMP - NIGHT

Smoke curls from the chimney and a light glows at thewindow. Water drips from snow melting on the roof.Tom Cullen stands outside the door smoking a pipe,gazing up into the night. He is scowling, as if inpain, and rubs his jaw. Directly the SOUND of footstepsin the snow attracts his attention and he looks off tosee Robert approaching with a dead beaver slung over hisshoulder.

TOMyou1re aware, Norsky, that wildgame belongs to the Ramsey Company.

Robert whirls, startled. He looks down at the beaver.

ROBERTThe company owns the timber.Nothin' else.

TOMOh. You're calling me a liar.

ROBERTIf the shoe fits.

(CONTINUED)

31

38 (CONTINUED)TOM

I ought to fire you for that.

ROBERTYou can do as you like, Cullen.I've swallowed my gorge and myself-respect until my belly'sschin' with it.

TOMAnd what do you propose to doabout it, Norskyo

ROBERT(as he starts deliberatelyto remove hi s coa t)

And that's another thing.

TOMAre you figurln 1 on fight!n' theboss'?

ROBERTIf hets not too much of a cowardto tangle wi th a Seo t.

TOM(taking off his coat)

You're talking to an Irishman.

Now the two square off, and after a few preliminaryskirmishes, Tom lands the first blow, knocking Robertflat. He-leaps to his feet to avenge his - and Scotland's honor, and the two go at ito While this is technicallya fair fight, 1tis a vicious one, wi th Robert takingsatisfaction in paying off his long debt and Tom becomingmore and more respectful of the man that Robert is. Andfinally Robert lands a stiff punch to Tom's mouth, whichknocks him to the ground - where he stays, rubbing hismouth with his hand. Tom feels of his tooth with thumband forefinger, reache s in hi s mouth, and is astoni shedwhen he pUlls the tooth out. Looking at it, he feelshis jaw once more and an expression of relief crosses hisface. He looks up to see Robert putting on his mackinaw,picking up the dead beaver.

ROBERTAnd now if yOU'll instruct thepaymaster to hand me my Marchwages I'll be turnin t my back on -

(COi'TH'1JSD)

32

38 (CONTINUED)

Robert stops speaking toSOUND from the distance.

listen to a LONG, RIPPING, CRACKINGHe does not know what 1 t means.

TOMThe riverts breakin~ up.be startin f the log drivecouple weeks.

ROBERTtTl s no concern of mine.

We'llin a

TOMIfll be needin' a good jack onthe sluice.

ROBERTI hope you find ono.

Robert starts off.

TOMDo you think you're man enoughto he. ndle the job1

ROBERT(turning)

You ask me that while you're slttln'there with your tail wet 1n the snow?

TOM(rising)

Maybe you don't know how dangerousthe job is.

ROBERTI've heard.

TOM(humor rising)

Of course the company buries you ifyou get killed•••

(after a moment)scotty.

ROBERTOh, it's Scotty you're calling me.

Tom puts out his hand in a gesture to end the feud.Robert take s it.

TOMAnd 1 1 11 throw in an extra dollarout of my own pocket. You've savedthe boss a trip to the dentist•••

DISSOLVE TO

39 CLOSE UP - PUGMEISTER AND BELL - DAY

39A

6/25/5633

CLOSE UP - MAl1IE AND NEWBORN JIl1NY IN BED - DAY

39B CLOSE UP - ROB HANDS OUT CIGARS TO LOOGERS - DAY

(NOTE: Narration to follow)

40 INT. THE TYLERS' DINING ROOM - DAY

Mamie, slightly pregnant again. and seven or eight otherwomen including Katie Tyler, Celia Bradley, Rhoda Raiden,Lela Delbert, and Mrs. Runyon are watching a demonstrationof the recently invented Singer Sewing Machine. All aregrouped about the miraculous invention at which sits MR.CLENDENING as if at the controls of a mighty organ. He isa fop, a small, well-put-together, prissy man with hairoiled and combed low in a roach across his forehead. OVERthe RUMMING OF THE MACHINE comes the DISTANT SOUND OF BABIESCRYING.

ROBBIE'S VOICE (IN NARRATION)Howie Tyler and me, both beingjust babies, had been plUnked inthe bedroom •..

With a flourish Mr. Clendening pulls the material out ofthe Singer, cuts the thread, hands his handiwork to KatieTyler.

MR. CLENDENINGThere, kind lady. Pass it amongstyour friends for their amazement.

Somewhat cowed, Katie Tyler moves from one of the ladiesto another. They cluck over it.

MR. CLENDENING (coot'd)Mr. Singer is pouring his vastresources and talents into freeingthe women of America from theslavery of the needle.

MAMIE(looking from thesewing to themachine)

What's the cost if I may ask?

(CONTINUED )

39 EXT. A SI,:ALL SWOLLEN RIVER CRAJ';:,;:ID WITH LOGS. (STOCK)

33

ROBBIS'S VOICE (IN NARRATION)Then it warmed up considerable,the ice went ou~~ and the log drivestarted. Of 0ourse, mamma didn'tknow papa was wprking the sluice J

and one day she was over to Mrs.Tyler's house with the other ladies•••

DISSOLVE TO

40 INT. THE TYLERS' DINING ROOM - DAY

Mamie, slightly pregnant again, and seven or eight otherwomen including Katie Tyler, Celia Bradley, Rhoda Raiden,Lela Delbert, and Mrs. Runyon are watching a demonstrationof the recently invented Singer sewing Machine. All aregrouped about the miraculous invention at which sits MR.CLENDENING as if at the controls of a mighty organ. He 1sa fop, a small, well-put-together, prissy man with hairoiled and combed low in a roach across his forehead. OVERthe HcMMIN'} OF THE liIi,C!!INE comes the DI:STANT SOUND OF BABIESCRYING.

ROBBIE'S VOICE (IN NARRATION)Howie Tyler and me, both beingjust babies, had been plunked inthe bedroom•••

With a flourish Mr. Clendening pulls the material out orthe Singer, cuts the thread, hands his handiwork to KatieTyler.

MR. CLENDENINGThere, kind lady. Pass it amongstyour friends for their amazement.

Somewhat cowed, Katie Tyler moves from one of the ladiesto auother. They cluck over 1 t.

MR. CLENDENING (cont'd)Mr. Singer is pouring his vastresources and talents into freeingthe women of America from theslavery of the needle.

MAMIE(looking from thesewing to the machine)

What's the cost if I may ask'?

(CONTINUED)

(CONTINUED)40

6/25/5634

MR. CLENDENINGWhen you consider that it will lasta lifetime, a hundred and twentyfive dollars seems but a pittance.

Mamie passes the material quickly, as if it were hot.

MAMIEOh, no.

MR. CLENDENINGBut they may be purchased foronly five dollars.

LELA DELBERTFor how many months?

MR. CLENDENINGOnly thirty.

This staggering remark is punctuated by a CRY from a babyoff scene. Mamie rises, quickly_

Excuse me.mine. lidhome.

She sta.rts off.

MAMIEThat sounds like

better get Robbie

41 EXT. STREET BEFORE THE TYLER HOUSE - DAY

Group of three men and Tom Cullen are grimly bearinga litter between them. We cannot see the face of the manon the litter. Mamie, carrying the baby, followed byLela Delbert, crosses into the background.

TOM CULLENCould you direct us to thedoctor's, ma'am? We gota man here. He's in badshape.

(CONTINUED )

34

40 (CONTINUED)MR. CLENDENING

When you consider that it will lasta lifetime, a hundred and twentyfive dollars seems but a pittance.

Mamie passes the material quickly, as if it were hot.

MAIHEOh, no.

MR. CLENDENINGBut they may be purchased foronly five dollars.

LELA DELBERTFor how many months?

MR. CLENDENINGOnly thirty.

This staggering remark 1s punctuated by a CRY from a babyoff scene. Mamie rises, quickly.

Excuse me.mine. I'dhome.

She starts off.

MAMIETha t sounds like

better get Robbie

41 EXT. STREET BEFORE TH;;: TYL;;:R HOUSE - DAY

Two men _ Tom Cullen and a peg-legged lumberjack - aregrimly bearing a littsr between them. We cannot see theface of the man on the l1tter. As they near the housethe door opens. Mamie exits, carrying the baby, followedby Katie Tyler who is seeing her off. Katie remains inthe open door to watch Mam~e down the path as Tom CullenBeBS her, pauses.

TOM CULLENCould you direct us to the doctor I s,rna' am?

Tentatively she approaches the man.

TOMWe got a man here.shape 0

CULLEN (contI d)He's in bad

(CONTI NUED)

(CONTINUED)41

6/25/5635

PASSERBY(100king down atthe prone figure,but unable to seethe face)

Go down to the next turn, goright, then the third house to the -

The head of the injured men turns in pain. With a gaspshe recognizes Robert.

MAMIERobl

Robert' groans. His eyes are glazed. Mamie drops to herknees beside him, speaks his name louder. He does notreact.

She nods quickly.

(CONTINUED)

Now she looks up at Tom.

the group.Mrs.Delbert has joinedbaby .from Mamie.

TOM CULLENbalance, fell into

A log caught him.

Meanwhiletakes the

TOM CULLENIt ain't very pleasant, listeningto bone-settin'.

MAMIEI'll go with you - to the doctor.

He lost histhe sluice.

She stands.Silently she

MAMIEHow _ how bad hurt - 1s he?

MAMIEHow'd it happen?

TOM CULLENHe can't hear you, ma'am. Wegave him a pint of whiskey todull the pain.

TOM CULLEN (cont'd)Well _ we know there's a legbroken, some ribs crushed.

TOM CULLENYou're his wife?

41 (CONTINUED)

,I

35

MAMIE(looking down at theprone figure, butunable to see the face)

Go down to the next turn, goright, then the third house to the -

The head of the injured man turns in pain. With a gaspshe recognizes Robert,

MAMIE (cont1d)Rob!

Robert groans. His eyes are glazed. Mamie drops to herknees beside him, speaks his name louder. He does notreact.

TOM CULLENHe can't hear you, rna I am. Wegave him a pint of whiskey todull the pain.

Now she looks up at Tom.

/JAMIEHOw - how bad hurt - is be?

TOM CULLENYou're his wife?

She nods qUickly.

TOM CULLEN (cont1d)Well - we know there's a legbroken, some ribs crushed.

MAMIEHaw'd it happen?

He lost histhe sluice.

TOM CULLENbalance, fell

A log caughtinto·him·

MAMIEI'll go with you - to the doctor.

She stands.Silently she

Meanwhile Katie Tyler has joined the group.takes the baby from Mamie.

TOM CULLENIt ain't very pleasant, listeningto bone- settln l ,

( CO Nr INUED)

6/25/5636

41 (CONTINUED)

But Mamie has already started orr down the street aheadof them. Tom and Fag-Leg start to followe Katie waitsand watches them o£f 1n concern. Suddenly Mamie stops~

turns, and races back past the litter to Katie.

MAMIE(breathless)

Lela, .• give the man five dollarsfor the machine, and I'll pay youback.

LELA DELBERTBut Mamie, with your man laidup indefinitely, how can youat'ford? ••

MA~lIE

Thatls just it. How can Iafford not to?

LELA DELBERTI dor.tt understand.

t-tMHE(frantic)

Don:t you see? The ladies - andMrs.Runyon - Ifll ask them fortheir sewing - I'll -

She looks back off at the litter disappearing around thecorner, breaks and runs after it.

SLOW DISSOLVE TO

42 IN~. THE Eu~SON CABIN - DAY

Mamie pregnant, sits at the early model Singer, working ona ~vmants neavy fall cloak. (See Godey's Lady's Book, p.485. RKO Research De?t. No. 2056). The page with thedesign 1s pinned to the log wall beside her. Not farfrom her, one leg out straight before him in a chairwith a homemade crutcn leaning against it, sits Robert.His lap is covered with the cured beaver skins which arebeginning to take'shape as a coat. He Is working on themwith a heavy needle and buckskin thread. Robbie and Jimmyare in the roomc

ROBBIE'S VOICE (IN NARRATION)So mama took in sewing. Andpapa? Well, he said while hisbones were knitting he might aswell be sewing too on the beaverskins that had caused all the fuss.Until finally •••

DISSOLVE TO

36

41 (CONTIll1!ED)

But Mamie has already started off down the street aheadof them. Tom and Peg-Leg start to follow. Katie waitsand watches them off in concern. Suddenly Mamie stops,turns, and races back past the litter to Katie.

MAMIE(breathless)

Katie, •• give the man five dollarsfor the machine, and I'll pay youback.

KATIE TYLERBut Mamie, with your man laidup indefinitely, how can youafford? ••

MAMIEThat's just it. How can I affordnot to?

KATIE TYLERI don't understand.

MAMIE(frantic)

Don I t you se e1 The lad! e s - aOOMrs. Runyon - It 11 ask them fortheir sew! ng - I'll -

She looks back off at the litter disappearing around thecorner, breaks and runs after it.

SLOW DIS30LVE TO

42 INT. THE EUNSON CABIN - DAY

Mamie sits at the early model Singer, working on awoman's heavy fall cloak. (See Godey's Lady's Book, p.485. RKO Research Dept. No. 2056). The page with thedesign is pinned to the log wall beside her. Not farfrom her, one leg out straight before him in a chairwith a homemade crutch leaning against it, sits Robert.His lap is covered with the cured beaver skins which arebeginning to take shape as a coat. He is working on themwith a heaVy needle and buckskin thread.

ROBBIE'S VOICE (IN NARRATION)So mama took in sewing. Andpapa? Well, he said while hi sbones were knitting he might aswell be sewing too on the beaverskins that had caused all the fuss.Until finally •••

DISSOLVE TO

Mamie stands back, looks at. R':lber-l; critically.

43 THE SAME - DAY - FuLL SilO::

ROBBIE'S VOICE (IIi NARRATION)dldn' t nead his cr'J.tches

I \"faa aoout a yea!' old,

in spite ofgood sens;,-).

Mamle,on her

ROBERT(addressing the child;confiden tially)

You know, R~bbie, if I was:! I t somadly in love \vith this foolishwoman who happens to be your motherI wouldn 1 t be goln' on th~s wl::.dgoose chase.

My fathe:any more.I guess.e.

ROBERT(still to the oaby)

Robbie, my lad, how can weexplain to this dair.:ty financiertha t a banker want s something hecan foreclose on? A~d not justa log cabin, a nanny goat, anda few chickens.

The baby claps his hands togethere This may be a J:Gttycake, but Robert takes it as applause.

MAMIEt Tis no wild goose chase.

(reallz93 whom she1s tal king to;turns t·:) Robe.:·t)

You want to start a boat yardoAnd the fai th of you.r neighborawill impress the banker 1 nOshkosh and he will give you theloan.

ROBERT (con t' d)(to Mamie)

You see, Mamie, the boy has a.head on hi s shoulders. (CONTINUED)

MAMIEYou 'va the let ters from Dr. Del bertand Mr. Braaley and Mr. Tyler?

Robbie makes a raspberry sound.herself, begins to sell the baby

Robert pa ts his pocke t to indicate where they are. Thenhe turns to Robbie.

Robert is sta.nd.~nG, dres3s,J. !.fl (113 best. hi3 tam ir. en,;hand. Mamie, qUt~6 p~egr.ant. 15 ~l~cking over him l!ke amother hen, adjusting his h":.l.£e ~o·"" t.ie} we~t...ing th~ E-;J.d o!her apron with her ~ong'.le, ~.lbbing o. spot on his lap~~.Near them, Robbie 51 ts in his high chair.

38

43 (CONTINUED)MAMIE

But if men like - like Dr. Delbertand - and Mr. Bradley, and Mr. Tylersign your - sign your note

(happy inspiration)The banker can foreclose on themif he wants to.

Robert roars with laughter, slaps his thigh, wincesslightly. Robbie echoes his spirits, laughs, too.Mamie looks hurt.

MAMIE (cont'd)(deadly serious)

Rob, donlt you know how seriousit 1s? There'll be four of us any day now. If you don't getthe money for your boat yard,you'll have to go back to thewoods. And you're in no shape.

(begins to cry)And - and neither am I.

"-Robert's mood changes completely. He puts both hishands on her face and stares into her eyes.

ROBERTMy darling ••• I was tryln' tomake it a joke - because it's soimportant. And in case I - Icouldn I t get the money - well then it was only a joke anyhow.

The WHISTLE of the steamboat blows 1n the distance.Mamie turns away, controls her emotion._

MAMIEHave you got your twenty centsboat fare?

ROBERTYes, yes.

(frowns, as hefeels 1n pocket)

I had it a minute ago.(looks about.Robbie 1s playingwith the two dimes.He takes the dimes,puts on his tam,and starts off)

MAMIEI forgot. Wait.

Robert turns back, puzzled, as Mamie crosses to the bed,gets down on all fours, reaches under the bed.

(CONTINUED)

39

43 (CONTINUED)

Suddenly - concealed from Robert's gaze - a strange lookcomes over her face. She freezes for just a moment,then rises, with a man's jaunty, beaver felt hat with awide, rolling brim.

ROBERTMame, 1 1 11 miss the packet boat.

She gets to her feet wi th t he hat, g06S to him.

MAMIEI dinna want you to look so 90 foreign before the banker.

ROBERT(touched)

How did you come by this, jo?

MAllIEMrs. B~dley liked her silk plaidso much, she said I could pickout anything in the store thatcost no mora'n a dollar.

He hands her the tam and taking the new hat, puts it enhis head, crosses to the little mirror and surveyshimself, not without approval.

ROBERTBut this - it must have cost agood two.

MAMIE(also pleased athis appearance;smugly)

I had some credit on accountfrom my eggs 0

Robert slaps the top of the hat jauntily, runs his handaround the brim to roll it just so. The boat WHISTLESagain. He gives Mamie a hasty kiss on the cheek, andlimps off. CAMERA HOLDS ON Mamie holding the tam otshanterover her stomach as she begins to double up in pain •••

DISSOLVE TO

44 EXT. THE EUNSON CABIN - LATE AFTERNOON

Before the open door stands Mrs. Pugmire with Robbiein her arms RINGING her cowbello Suddenly Robert runsinto scene, passes her almost without a glance, anddisappears inside the house~

40

45 INT. THE CABIN - LATE AFTERNOON

As Robert enters, removing his hat, crossing exc~tedlyto the bed where Mamie lies with the new child in thecrook of her arm.

ROBERT(hushed)

And what's his name?

MAMIEJames Stout Eunson - if itpleases you.

ROBERTAh. For your brother Jeemes.

MAMIEAnd your Uncle stout~

Robert leans over, klss~ her, looks down at the pinchedred face of the newborn,

ROBERTWe're gettln' to be a family.

MAMIE(after a moment)

Did you get the money?

Robert reluctantly shakes his head.

MAInE (cont' d )(rising on an elbow)

But the letters from our friends.

Oh, yes.But onlyinterest

ROBERTHe would accept them.

at twenty-four per centon the loan.

MAMIE(appalled)

Twenty-four per cent! What amean man.

ROBERTOh, no, not mean. But he mustbe practical. He explained tome - money's tight on account ofthe panic.

MAMIEPanic? What's a panic to dowi th us?

(CONTINUED)


It's hard to explain to a female.1 111 go back up to the woods - askTom Cullen to give me a soft job.Me and Tom - we understand eachother now.

MAMIE(looking down attha new baby)

Rob, I can't go through anotherwinter wi thout you.

ROBERT(lamely)

You III be so busy - wi th thechildren.

MAMIEBut they need a fa the r too.

(pause)Rob, go back to Oshkosh. Borrowthe money. Pay them -'wha teverthey want.

(hard)We tIl manage.

Robert and Mamie look at each other across the infant,as we

DISSOLVE TO

46 EXT. mE NEW BOAT YARD - DAY

This 1s a snaIl clapboard building. Over the door asign proclaims, "Boats - built, painted, repaired.R. Eunson, Prop." Ttu~ugh the open door we can seeRobert 'MJrking on the hull of' a small craft.

ROBBIE'S VOICE (IN NARRATION)So tha. t was how my father came by theboat yard and went in business forhimself. And when my youngest brother,Kirk, was two, Mamma and I started toschool o ••

DISSOLVE TO

47 INT. mE SCHOOL ROOM - DAY

Being a one-room school, there are some fifteenchildren of ages varying from six to twelve - plusMamie and Robbie, age six. MR. ST8PHENS, the teacher,is tall, astringent, thirty. He walks about the roomwith a pointer in his hand.

{CONTINm:n \

41

47 (CO NTINUED)MR. STEPHENS

Mrs. Eunson, will you speak thelesson.

As Mamie rises nervously, there is a titter of amusementfrom the other children. Mr. Stephens glares at them.

MR. STEPHENS (cont'd)Is there something humorou.s in alady 1 s wanting to improve her mind?

He hands Mamie the single co py of 1tMcGuf fey 1 s Firs tReader," opened to Lesson XXXV.

MAMIE(reading laboriously)

"Mr. Pos t and the Li ttle Girl.One cold night, after old Mr. Posthad gone to bed, he heard a noisea t the door. So he got up andwent out. And what do you thinkbe found? A dog? No. A goat?No: he found a little babe O~ thesteps. Some bad person had left1 t there, and if Mr. Post had nottaken it into the house it mighthave died wi th cold. He held itto the fire until it was warm, andthen took it 1n his arms, and wentto bed••• "

42

Very good.continue?

MR. S TEPllENSNow Robert, will you

;

Mamie hands the reader to Robbie, 5i ts down, Robbiestands. She listens to him with pride; he reads betterthan she.

ROBBIE( reading)

lIHow k.ind old Mr. Post was. He didnot know what to do with the innocentlittle babe, rot he could not let itdie. The little girl was named Mary,and was soon very fond of Mr. Post,and called him Papa••• 1t

DISSOLVE '10

48 INT. THE BOAT YARD - DAY

A trim little boat sits upright on its standards.and Robbie (age six) are painting the hull. Robbieof being allowed to help.

Robertproud

( CONTINUED)

,

48

6/25/5643

(CONTINUED)ROBBIE'S VOICE (IN NARRATION)

The summer I was six my fathertaught ma how to help in theboat yard.

CAMERA HOLDS ON the activity FOR A LONG MOMENT. Robert1s working nervously; glancing at the door.

ROBBIEWhy did you send Jimmie and Kirkto the Raidens?

ROBERTYour mamma's not feelln' goodo

ROBBIEWhy don't she feel good, papa?

ROBERTYou're not quite old enough tounderstandjl Bon.

ROBBIE(a littleresentful)

Wall, Howie Tyler told me it'sfunny but whenever Mrs. Pugmirecomes to our house mamma's notfeelin' good and then -

ROBERT(clearing histhroat nervously)

Now'lad, stroke the brush withthe grain, not against It.----

For a moment the activity proceeds in silence. Thenthere is a distant and rather sIlly SOUND of a smallWHISTLE. It has no errect on Robert, but Robbie looksofl' •

ROBBIEThatls Mrs. Pugmire, papa.

ROBERTOh, no. She rings a bello

ROBBIENot for girls, she don't.

Robert claps his hand to his forehead, breaks for thedoor, exits.

WIPE TO

( CO NTI HUED )

"•

48ROBBIE'S VOICE (IN NARRATION)

The summer I was six my fa thartaught me bow to help in theboat yard.

43

r

••

CAMERA HOLDS ON the activity FOR A LONG MOMENT. Robert isworking nervously, glancing at the door.

ROBBIEWhy did you send Jimmie and Kirkto the Raidens?

ROBERTYour mamma's not feelin' good.

ROBBIEWhy don't she feel good, papa?

ROBERTyoutre not quite old enough tounderstand, son.

ROBBIE(a little resentful)

Well, Howie Tyler told me it'sfunny but Whenever Mrs. Pugmirecomes to our house mamma's notrealin' good and than -

ROBERT(clearing his throatnervously)

Now lad, stroke the brush wi tb.the grain, not against it.

For a moment the activity proceeds In silence. Thenthere Is a distant and rather sIlly SOUND of a smallWHrs TLE. It has no effect on Robert, but Robbie looksoff.

ROBBIEThat's Mrs. Pugmire, papa.

IDBERTOh, no. She rings a bell.

ROBBIENot for girls, she mn't.

Robert claps his hand to his forehead, breaks for thedoor, exits.

WIPE TO

49 INT. TEE EUNSON CABIN - DAY

Once more Robert is kneeling beside Mamie, looking downat a new infant, and a more-tlred,than-usual mother.

(CONTINUED)

6/25/5644

49 EXT. NEW CABIN - DAY

Robbie crosses through.

49A INT. KITCHEN - DAY

Robbie crosses through to Robert and Jimmy.

49B MAMIE'S BEDROOM - WHOLE PAMILY - DAY

(NOTE, Narration to follow.)

·,•

SO

DISSOLVE

EXT. THE METHODIST CHURCH - EUREKA - DAY - TWO YEARS LATER

CLOSE SHOT - THE RAIDEN TWINS - two ton-yoar-oldidentical girl twins dre~sed in their Sunday best standlooking off toward the road anxiously. They do not seewhat they are looking for.

PIRST TWINrIm gOll~ to sit behind Jimmytoday.

SECOND TWINIt's my turn. You sat behindhim last Sunday.

As CAMERA DOLLIES BACK we note that there are threeother girls, one younger, two older than the twins,and that Mr. end Mrs. Raiden, along with numerous othertownfolk, are grouped without pattern before the church.It 1s such a beRutiful day that no one wants to enterbefore service begins.

It's my turn.last Sunday_

44


(tenderly)So it's Annabelle .. for yoursister. A pretty name.

MAMIE(faintly)

Oh, Rob. How mRny more are youplannin' to have?

ROBERT(wipes sweat fromhis forehead)

Now that we've got our girl weill close the book. Icouldn't go through this again.

Mamie looks her gratitude for this decision.

MRS. PUGMIRE'S VOICE (over)lIve delivered a hundred babies.

Mamie and Robert looks off as CAMERA PANS TO CLOSE SHOTOF MRS. PUGMIRE standing in the doorway.

MRS. PUGMIRE (cont'd)And I've heard words to thateffect ninety-nIne times. TheRaldeos said it, and then had twins.

DISSOLVE TO

50 EXT. THE METHODIST CHURCH - EUREKA - DAY

CLOSE SHOT - THE RAIDEN WINS

Two ten-year-old ideo tical girl twins dressed in the irSunday best stand looking off toward the road anxiously_They do not see what they are looking for.

FIRST TWINI'm going to sit behind Jimmie today.

SECOND TWINYou sat behind him

As CAMERA DOLLIES BACK we note that there are three othergirls, one younger, two older than the twins, and thatMr. and Mrs. Raiden, along with n~erous other townfolk,are grouped without pattern before the church. It is sucha beautiful day that no one wants to enter before servicebegins.

(CONTINUED)

45(CONTINUED)

MRS. RAIDEN(placidly)

Now you mustn't fuss over JimmieEunson.

FIRST TWINI donlt see why we couldn't havea little brother like Jimmie.

MR. RAlDEN(low. to his wife)

You can't say we didn't try.

CAMERA PANS to another group which includes Dr. and LelaDelbert, Katie and Howard Tyler and their two sons Howieand Bruce, and Mr. Stephens and HIS WIFE who is asastringent as he Is.

MRS. STEPHENSWhat a lovely day for a christening.

KATIE TYLER(to Dr. Delbert)

Dr. Delbert, is it true thatthere's diptherla down river?

DR. DELBERTNow, Mrs. Tyler, don't go borrowingtrouble from Omra.

THE RAlDEN TWINS' VOICES (OFF)Here they come, here they cornel

CAMERA PANS QUICKLY BACK TO Raiden twins who are jumpingup and down excitedly, pointing OFF.

SECOND TWINAin't Jimmie cutel

51 ANOTHER ANGLE - STREET BEFORE CHURCH - DAY - TRAVELLINGSHOT - THE EUNSON DEMOCRAT WAGON

Robert Is driving the single horse with Mamie seatedbeside him holding a baby in a long white christeningdress. Behind them in the wagon box are Robbie (ageeleven). Jimmie (age ten). Kirk (eight). Annabelle(six). Elizabeth (three). All of them are in theirSunday best and all the picture of robust health exceptKirk who is thin and wan. As Robert pulls to a stopbefore a hitching post Robbie leaps out of wagon, tiesthe horse. Jimmie, about to jump out, spots the Raidentwins running toward the Eun&on wagon, and holds back,but Kirk scrambles out awkwardly, stumbles and pitchesonto his knees in a puddle of water.

(CONTINUED)

46

51 (CONTINUED)

Meanwhile Robert has got down from the seatand Is aolding up'his hands to help Mamie, but as ahesees what ms happened to Kirk she qUickly hands Roberttte baby and leaps protectively to Klrlt's aasis tonee, helpshim to hi s feet and notes the. t his shoes and trousers arewet.

MAMIE(in dis tress)

Kirk, look at youl Your feetall wet, and a tickle In yourthroat already. I should takeyou home and change your clothes.

ROBERTYou coddle him, Mamie. He's gotto learn to stand on his own twofeet like his bro thera.

MAMIEAll- children are not of a piece.

By now Jimmie mus t face the 1oev! table - the tl tterlng,bouncing Ra1den twins. So he climbs oown, trying todisregard thEm, but they grab him and angrily he doublesup his fists and, if Robert did not intervene, would sockthem. But Robert grabs him.

roBERT(with humor)

We all know you're a brave,rightin' man like ywr ratherbefore you

tbut 'tis not fittin'

to S]>1 r wi h girls.

JIMIIIEBut, Papa, they're always after me.

ROBERTAnd one day YOU'll find the goodLord had a purpose in that.

Robbie helps Annabelle and Elizabeth out of the wagonand, as Elizabeth lands on the ground beside Mamie -

MAMIE(kneeling,whis pe ri ng)

Now Lizzie, speak up when theReverend Ros cae says "Good morning. nHe von't eat you.

(CONTINUED)

7/10/5647

(CONTINUED )ANNABELLE

(pert)But Mamma, you know she's shy.Aren't you shy, Lizzie?

Elizabeth nods her head, as if proud of her infirmity.

ROBBIE(the organizer)

Hurry up, we'll be late. Everybodytsgoin l inside ..

52 MEDIUM CLeSE SHOT - REV. ROSCOE AND DR. DELBERT

As the last of the parishioners, (exoept the Eunaon family)go into the church, Rev. Roscoe looks OFF, smiles.

REV. ROSCOEDr. Delbert, how can you talk ofnational poverty when you look ata family like that? There liesAtmricars true wealth - there Isour shield against the forces ofevil and malefaction.

DR. DELBERT(watohing the approaohof the family withaffeotion)

It seems only yesterday they hadnot~ing but a nanny goat and great expectations.

Dr. Delbert goes inside the church as the family comesinto Bcene. t They ad lib greetings and Rev. Rosooe patseach child on the head as they pass him, ealling themby name until he oomes to Elizabeth.

REV. ROSCOE(snj1ling down atElizabeth)

And this is Jane •••

Elizabeth looks sh~ and conrused, looks up at Mamie asif asking what to do.

JANE(ohildishly belligerent)

I'm Jane.

The entire family i. eleotrified.

(CONTINUED)

Lizzie nods ber head, as if proud of her shyness.

51 (CONTINUED)ANNABELLE

(pertly)Bu t mamma, you kn ON she's shy ..Aren't you shy, Lizzie?

47

ROBBIE(the organizer)

Hurry up, weIll be later.Everybody I s going inBi de ..

Robert and Mamie look off, note tha. t the parishionersare entering the church. REVEREND -ROSCOE stands inthe doorway. Raiden girls with Mr. and Mrs. Raiden one1 thar end. Directly behind Jimmie are 'the twins whoare leaning forward, whispering to him, brea1hing downhis neck. He is trying to ignore them and both fistsare double d at the ready.

REV. ROSCOE'S VOICE (over)Here lIes the true weal th 0 f ournation, here is our shield resistingthe forces of evil and malefaction.And so now 1 t is meet that we welcomearother tiny soul into the householdof the Lord.

52 ANOTRER ANGLE - REV· roSCOE FroM MAMIE'S P.O.V.

He looks down at her, smiles, gestures for her tobring the child to him.

53 REVERSE ANGLE - THE EUNSON FAMILY FROM REV. ROSCOE'S P.O.V

As Mamie rises with Jane and starts up the aisle.Elizabeth, terrified tha t her mother is deserting her,climbs 00\'141 off the pew and starts to follow. Mamielooks down to gesture her back, Annabelle tries to catchher, but Elizabeth has a firm grip on Mamie's skirt andprooeeds with her to the font. The ceremony of thebaptism now proceeds silently with the NARRATOR'S VOICEOVER. Mamie hands tile child to Reverend Roscoe, he dipshis hand in the font, sprinkles the water on her foreheadand, of course, she begins to cry - which 1s the onlysound we he ar except -

ROBBIE'S VOICE (IN NARRATION)So the last of us kids got baptized.And when you got baptized 1n Eurekait was a big day. Mamma - like shealways did after the sprinkling -invi ted some of our friends to noondinner•••

DISSOLVE TO

ROBERTYou hear that MAmie? She talkedl

52 (CONTINUED)

(to Rev.We despaired.never utter a

MAMIERoscoe)

We fearedword.

she'd

7/10/5648

!, The family disappears inside the church, Rev. Roseoeenters, closes the doors, and CAMERA HOLDS ON SCENE aswe hear the sound of a small organ, joined directlyby the worshippers singing "Rock of Ages. II And now as webegin a vsry slow LAP DISSOLVE into the next sequence -

ROBBIE'S VOICE (IN NARRATION)There was just one thing the ladieshad against spring in Wisconsin•••specially if they lived alongside ariver. The lumberjacks would becomin' down out of the woods. They'dbeen paid off - and they were thirsty.

53- OMITTED.54-54A

OMITTED •

6/25/5648

54 INT. 'IlIE EUNSON KITCHEN - DAY

This 1 s the original cabin, but it 1 s now only ki tchenand dining room. About the center table are groupedRobert and Mamie, the Reverend and Mrs. Roscoe, Dr. andLela Delbert and, at Mamie's side, the high chair withJane in her christening dress. At a loner table nearbyare five children.

54A

48

WE DISSOLVE INTO SCENE on CLOSE SHOT of Kirk's bare reetunder the small table. The rest of the children are allshod. CAMERA THEN PULLS BACK TO include, first, all thechildren, eagerly waiting the signal to start eating.But over scene we hear Robert's voice saying:

ROBERT'S VOICEI will say a grace of Bobbie Burns.

The little heads bow, and DOW CAMERA PANS to the grownups'table.

ROBERT"0 Thou, who kindly dost provide

For every erea ture I s wan t,We bless thee, God of nature wide,

For all Thy goodness lent:And, if it please thee, Heavenly Guide,

May never worse be sent;But whether granted, or denied,

Lord, bless us wi th contentlAmenl"

Robert starts the fricassee, while Mamie passes breadand potatoes.

REVEREND ROSCOESpring brough t us a sizablecongregation this morning.

MRS. ROSCOE( dourly)

And it will soon bring us the loggersroaring down out of the woods. Ialways dread it; they're so wild andlawless.

MAMIE(wi th a humorrare for her)

Now too t l s odd. Rob used to tellme they were just full at fun.

Robert hangs hi·s head. Mrs. Roscoe gasps at her gaffe.

MRS. ROSCOEOh, forgive me, Mr. Eunson. Iforgo t you were once a lumberjack.

DISSOLVE TO

4955 EXT. MAIN STREET - EUREKA - DAY

On it is the cus tornary, 1 az:y, village ao tivi ty. a fewhorses at hitching posts, a number of old codgers chewingth9 fat before Bradley's General store and Post Of'fice.Directly across from Dutch Fischer's saloon an itinerantdentist has set up shop in his wagon. Hanging from thechair Is a sign whioh reads, "Teeth Pulled While You Waitby Painless Paine." Painless Paine himself is seated inthe chair in the wagon. He wears a dirty white jacket.Du tch Fischer Is standing beside the wagon passing thetime of day when both men look off to see -

56 ANOTHER ANClLE - FROM PAINLESS PAINE'S POINT OF VIEW

Fifteen or twenty bearded lumberjacks turn the corneronto Main street and start walking purposefully,wordlessly, relentlessly along. Both Dutch and Painlessare alerted.

DUTOH FISCHERAch, Painless, I need deir trade,but I tIl be glad when they go ondown to Oshkosh.

PAINlESSIf they break any teeth, you knowwhere to Bend lem, Dutch.

Dutch Fischer, now crosses to his saloon, opens theswinging doors and, as one man, the lumberjacks enter.CAMERA PANS BACK to pick up one more luni:>er jack who,as he approaches, we identify as TOM CULLEN. He ismoving much slower, grirrecing, lnlding his swollen jawwi th one hand. He starts to cross to the saloon butPainless spots a possible quarry.

PAINLESSLEmme pull it out for you.Guaranteed Painless.

Tom stops, turns, walks up to the wagon.

57 ANO'lllER ANClLE - SHOOTINCl DOWN ACroSS PAINLESS TO 'roM

Standing, looking up a t him, and including the door tothe saloon across the street.

'roMHow much?

PAINLESSTwo bi ts per tooth.

(CONTINUED)

4955 EXT. MAIN STREET - EUREKA - DAY

On 1 t Is the CUB tornary, 1 azy, vi llage ac tlvi ty, a fewhorsas at hitching pas ta, a number of old codgers chewingtre fat before Bradley's General store and Post Office.Directly across from Dutch Fischerfs saloon an itinerantdentist has set up shop in his wagon. Hanging from thechair Is 8. sign which reads, "Teeth Pulled While You Waitby Painless Paine." Painless Paine himself is seated 1nthe chair in the wagon. He wears a dirty white jacket.Du tch Fischer is standing beside the wagon passing thetime of day when both men look off to see -

56 ANOTHER ANGLE - FROM PAINLESS PAINE'S POINT OF VIEW

Fifteen or twenty bearded lumberjacks turn the corneronto Main street and start walking purposefully,wordlessly, relentlessly along. Both Dutch and Painlessare alerted.

IJU TCR FISCHERAch, Painless, I need deir trade,but I III be glad when they go ondown to Oshkosh •...

PAINIESSIf they break any teeth, you knowwhere to send lem, Dutch.

Dutch Fischer, now crosses to his saloon, opens theswinging doors and, as one man, the lumberjacks enter.CAMERA PANS BACK to pick up one more lumber jack who,as he approaches, we identify as TOM CULLEN. He ismoving much slower, griDllclng, mlding his swollen jawwi th one hand. He starts to cross to the saloon butPaiole ss spots a pas sible quarry.

PAINLESSLemme pull 1 t out for you.Guaranteed Painless.

Tom stops, turns, walks up to the wagon.

57 ANO'IHER ANGLE - SHOOTING DOWN ACROSS PAINLESS ro roM

Standing, looking up a t him, and including the door tothe saloon across the street.

TOMHow much?

PAINLESSTwo bi ts per tooth.

(CONTINUED)

57 (CO NTINUED )

50

Tom climbs up into the wagon, s1 ts chm. in the chair.As he does so, INTO the SHOT - on the groWld below thewagon - come Robbie and Jimmie, pulling a child's wagonwith a bale of hay. They naturally stop and look up towi tness tm strange goings on.

TOMYank fem all out! Every bloodyachin t tooth in my headJ

Painless raises his eyebrows at this windfall. Pickingup his extractors, he peers into Tom's mouth, counts.

PAINIESSihat'll come to seven seventy-five.

roMI'm good .for it.

Painless looks down, sees Robbie and Jimmie.

PAINIESS(fll~p1ng a coin)

Say, kid. Here t s a dime. Go getour .friend a pint of whiskey.

Jimmie catches thetoward the saloon.him.

dime, starts acros s the s treatAfter a second, Robbie starts after

58 ANOTHER ANGLE - CLOSE ON JIMMlE

As Robbie catches up to him before the swinging tb orsof the saloon, grabs his ann.

ROBBIEYou can't go in no saloon. Mammatdgive you wha t for.

Robbie takes the dime, s tarts into the saloon. Jimmiegrabs his arm.

JIMMIEYou can't neither.

ROBBlEI'm oldertn you.

JIMMIE(belligerently)

One year, one year.

ROBBIEDare me?

(CONTINUED )

51

58 (CONTINUED)JIMMIE

Double dare youJ

Robbie squares his shoulders to do something he knows heshould not. But at that moment there Is a roar of drunkenlaughter from within the saloon. Both boys wilt a little.

ROBBIELet's peek in first.

The boys kneel down, carefully peer into the saloon underthe swinging hRIf-doors.

59 INT. THE SALOON - DAY - ffiOM Cll ILDREN' S POINT OF VIEW

CAMERA - SHOOTING UP from floor - sees only the backs ofthe lumberjacks grouped around the bar, drinking it up.

60 REVERSE ANGLE - MEDIUM CLOSE SHOT - JIMMIE - ROBBIE

They are peering timidly into the saloon from under thehalf-doors. Passed out in a seated position between thedoor and a big brass splt~on, Is a clean-shaven, oldman, the town drunk. In his rigid hand Is a pint of whiskeywith one swallow gone. The boys, look up, do not see him,and are about to re treat, mission unaccomplished, whenJimmie spies the old drunk, his eyes travel to the bottleand, on impulse, he grabs it and starts to run with it.Robbie, feeling guilt for his brother, starts to follow andCAMERA HOLDS on empty space for a moment. Sudoenly RObbie'sface reappears, he drops the dime into the old man's hand,and scoots.

61 EXT. MAIN STREET - DAY

THE ANGLE - SHOOTING ACROSS PAINLESS PAINE AND TOM CULLENto the boys as they cross the street. Tom is now strappedinto the chair, bellowing like a bull, straining futilelyagainst the straps.

TOM CULIENLemme up, you murdererl

Jimmie is about to climb onto the wagon with the Whiskeywhen Robbie grabs it out of his hand and takes over.Painless takes the bottle, tries to pour the liquid downTom I s throat, but Tom's struggle s prevent this.

PAINLESS PAINE(to Robbie)

Here. I'll hold bim. You pour.

(CONTINUED)

, 52

61 (CONT INUED )

As Jimmie looks up at the sight in astonishment, Painlessmanages a headlock on Tom with one arm and grabs his noseto force his mouth open. Robbie inserts the neck of thebottle be tween Tom I s teeth and the whiskey gurgle s down histhroat.

PAINLESS PAINE (cont'd)(to Robbie)

You're a good lad. What's yourname?

ROBBIERobert Strong Eunson, Junior.

TOM CULLEN(gettin6 hiabreath)

Not Bob Eunson's boy.

ROBBIEYes, sir. You know my dad?

TOM CULbEN(laughing)

Do I know your dadJ(opens his mouth:pointa to cavity)

He knocked this'n out.(indicate. Painle •• )

That'. two bit. thia hor.e thief '11never see.

Robbie smiles a big smile. Tom starts to laugh drunkenlyand Painle S8 realizes the. t the "anaesthesia" Is taking effect.Without further ceremony, he gr~bs'Tom by the head, forceshis mouth open, yanks a tooth. Tom grunts in surprise.

PAINLESSSpit.

Tom spits into the street. Jimmie, going pale, looks downat the blood, is suddenly overtaken with nausea, turns andstaggers off on wobbly legs.

TOM(to Robbie)

Tell your dad you saw old Tom Cullen.An' if he ever wants to put you outto work I Can use you.

He sits back. Painless yanks another tooth.watching, isn't feeling any too well himself.down off wagon.

Robbie,He climbs

(

(CONTINUED )

CHANGES"TIlE DAY THEY GAVE BABIES AWAY"

(CONTINUED)ROBBIE

Well, goo-goodbye, Mr. Cullen.

Tom spits once more, smiles a paln£ul smile.

TOMSo long, Norsky.

ROBBIEMy folks are Scottishl

Tom roars with delight.

6/27/5653

,

TOMA chip off the old blockl

His words are cut orr by another grunt. Robbie backsoff, picks up the tongue of the little wagon loadedwith the bale of hay, and starts orr with it alone •

....WIPE TO

62 INT. THE EUNSON KITCHEN - DAY

The elght-year-old Kirk is seated on the kitchen table.Standing anxiously nearby are Robert and Mamie as Dr.Delbert, depressing the child's tongue with a kitchenspoon, peers into his throat. After a moment he turnsand, with his back to the child, whispers the dread word,"Diphtheria. 1t Mamie and Robert exchange frightenedglances.

DR. DELBERT(aside to Robert)

I$ there somewhere the otherchildren could go?

ROBERTI'll try ,to find a place.Why, Doctor?

"MAMIE

(joining them)What is ~t?

DR. DELBERTDiphtheria.,

ROBERT(to Mamie)

The other children will haveto go somewhere.

(CONTlRUED)

53

61 (CONTINUED)ROBBIE

Well, goo-goodbye, Mr. Cullen.

Tom spits once more, snll1ea a painful smile.

TOMSo long, Norsky.

ROBBIEMy folks are Scottishl

Tom roars with delight.

TOMA chip off the old blockl

His words are cut off by another grunt. Robbie backsoff, picks up the tongue of the 11ttle wagon loaded wi ththe bale of hay, and starts off with it alone.

WIPE TO

INT. THE EUNSON KITCHEN - DAY

The eight-year-old Kirk is seated on the kitchen table.Standing anxiously nearby are Robert and Mamie as Dr.Delbert, depressing the child IS tongue with a kitchen spoon,peers into his throat. After a moment he turns and, withhis back to the child, whispers the dread word, ItDlphtherie.."Mamie and Robert exchange frightened glances.

DR. DELBERTThe other children will ha ve togo somewhere".

ROBERTBut who's got roo~. far five morechildren?

DR. DELBERTNobody in this town - especiallysince they1ve been exposed. Theymust be isolated until we knowwhether any of them come downwi th it.

(turns to Mamie)After they've gone, put Kirk tobed, keep him warm, and swab outhi. throat every two hour.. Andif you no tice any black.ning inthe membrane, co~ for me - at onoe.

(CONTINUED)

Why?

Now, now lass.

ROBBIE

DELBERT

ROBERT

DR.not to worry.(crosses room)

Try

MAMIEStand back. Don't come anyeraser. Go round up thechildren and wait outside.Papa1s takin' you all to thewoods for a spell.

.' ROBBIEPapa, J1mm1e and I saw Mr.Cullen•••

(thinking)In this weather all that'sneeded Is a roof to keep outthe raino There's the Tyler'Sold homestead across In Indianlancr. I'll ask him•• o

6/27/5654

MAMIE(anxiously)

I will, I will.

ROBERTDon't ask questions. Justdo what mama says.

ROBERT

MAMIERob, what are we to do?

DR. DELBERTThey've been exposed. Theymust be isolated until we knowwhether any of them come downwith it.

(turns to Mamie)After they've gone~ put Kirkto bed, keep him warm, and swabout his throat every two hours.And if you notice any blackeningin the membrane, come for me at once.

Robbie exits. Rober~ turns to the forlorn Kirk.

(CONTINUEDl

He puts his arm roughly around her shoulder. Both ofthem stare at Kirk who feels his throat, clears itoThe door flIes open and Robbie bounds In •

(CONTINUED)

62 (CONTINUED)MAMIE

(anxiously)I will. I will.

ROBERT(thinking)

In this wee ther a 11 tha tIs neededIs a roof to keep out the rain.There I s the Tyler I s old home steadacross 1n Indian land. I couldask him•••

DR. DELBERTYou don't need to ask Howard, I'lljust tell him thatls where you'regoing:--

ROOERTMuch cb l1ged.

DR. DELBERTMamie, you're a good girl. Justkeep your shirt on.

He exits. Mamie turns to Robert And begins to whimper.

ROBERTNow now, lass, none a' that.

He puts his arm roughly around her shoulder. Both ofthem stare at Kirk who feels his throat, clears it. Thedoor flies op~n and Robbie bounds In.

ROBBIEPapa, Jimmie and I saw Mr. Cullen.He's hevin' all his teeth-

MAMIEStand back. Don't come any closer.Go round up the children and waitoutside. Papa's takln' you all tothe woods for a spell •.

ROBBIEWhy?

ROBERTDon't ask questions. Just do whatmamma says.

Robbie exits. Robert turns to the forlorn Kirk.

(CONTINUED)

54

55

62 (CONT INUED )ROBERT (cont'd)

Now you be a fine lad and mindmamma.

KIRK(puckering up)

I donlt want you to go away.

ROBERTYou wouldn't have your brothersand sisters to sicken too, nowwould you?

KIRKDon't go away.

Robert picks up a small, unfinished fiddle which lIes inthe cradle-bread trough.

Look, son.your fiddle

ROBERTI'll sand and varnishwhile we're gone.

KIRK(crying)

Don't go, papa.

He throws his Arms around his father and kisses him, as we

• DISSOLVE TO

63 EXT. AREA BEFORE THE EUNSON HOUSE - DAY (SILENT)

Near the door stands the wagon with the horse hitchedto it. Robert, Robbie and Jimmie are loading up supplies ..a bag of flour, a slab of bacon, navy beans in a bag, bedding,kettles, etc., everything needed for a siege. This Is amoment of panic and confusion, with the children getting Ineach other's way. And finally, as they climb into the wagonfor the start of the trek, we see Mamie s tanding in thedoor to the house, waving them tearfully off, and CAMERAPANS TO Kirk's peaked little face looking through the window.He is sick and frightened.

WIPE TO

64 EXT. lilA IN STREET OF EUREKA - DAY

Coming down the street is the Bunson's democrat wagon.Robert is driving the horse. Beside him sits Robbie, holdingthe baby, Jane. And piled in back along with blankets andfood supplies are Jimmie, Annabelle and Elizabeth. A fewdrunken lumberjacks stagger out of Dutch Fischer's saloon.

(CONTINUED)

56

64 (CONTINUED)

Painless Paine is cleaning up his dentist's chair afterhis primitive surgery. Out cold, lying flat on the bottomof Painless' wagon, Is Tom Cullen. Robbie spots Tom, points.

ROBBIELook, papa. That's Mr. Cullen.r was try in I to tell you. He hadevery bloody achin I tooth In hishead yanked out.

Robert turns now, reg~rds with some affection the pronef1S..tre of Tom Cullen.

ROBERTDid he, now'?

DISSOLVE TO

65 EXT. A LONELY ROAD IN THE WOODS - DAY

Along the roadclear ing whichA grave diggerwagon passes.ahead.

jogs the wagon. The road opens onto aproves to be the small graveyard of Eureka.is performing his melancholy task as theRobert purposefully keeps his eyes straight

i

,i

ANNABEILEWhat's that man doing, papa'?

ROBERTHe's makin' a resting place forpoor old Mr. Kalaskl.

ANNABELIEIs he tired?

ROBERTHe I s very tired, darlln I •

ANNABELLEThat's a funny place to.rest.

Robert winces. Robbie sees his father's tension.

ROBBIE(protecting his fatherfrom further hurt)

You hush up, Annabelle.

The wagon disappears along a narrower trail into the darkwoods, a s we

DISSOLVE TO

6/2515657

66 EXT. AN OLD CABIN IN THE WOODS - EVENING

The wagon pulls up before the cabin and stops. There1s an eerie atmosphere about the scene. An owl HOOTS.All the children" ere a little wery, though Robbie andJimmie pretend great bravery. Robert climbs down andholds up his arms for the baby, Jane. Jimmie andAnnabelle scramble down. Robbie helps Elizabeth.Robert lights a candle-lantern and leads the way towardthe house carrying Jane and with Annabelle and Elizabethvery much SUbdued, and staying close. Robbie and Jimmiestart to unhl~ch the horse. As Robert opens the door, arabbit scoots past them. The girls scream and grab hislegs.

ROBERT(patting themcomfortingly)

Everything will look differenttomorrow when the sun comes up.

He enters, and the little girls follow him timorouslyas we

SLOWLY DISSOLVE TO

67A EXT. OLD CABIN - ROBERT CHOPS WOOD - DAY

ROBBIE'S VOICE (IN NARRATION)For us kids it was a picnic, butI knew papa was worried all right.You could tell just by looking athis face •••

67 INT. THE OLD CAIlIll - DAY

Sun streams'in the window. There are no furnishingsexcept forja raw bunka, an old tab~e, and a couplebroken dcwn chairs. The baby, Jane, is Beated on one ofthe bunks with Annabelle beside her. Annabelle isplaying a game in which she is stirring something in animaginary pot. Elizabeth stands nearby with a suspiciouslook on her race.1

ANNABELLE(bossily)

Now I'll be the mama and you'llbe the papa and this is our baby_

Annabelle picks up her rather's hat, puts it on Elizabethwhose face almost1disappears under it.

ANNABELLE (cont'd)And you go out and then come inand you sniff - like thia - (conttd)

(CONTINUED)

57

66 EXT. AN OLD CABIN IN TBE WOODS - EVENING

The wagon pulls up before the cabin and stops. There 1san eerie atmosphere about the scene. An owl hoots. Allthe children are a little wary, though Robbie and Jimmiepretend great bravery. Robert climbs down and holds uphis arms for the baby, Jane. Jimmie and Annabelle scrambledown. Robbie helps Elizabeth. Robert lights a candlelantern and leads the way toward the house carrying Janeand with Annabelle and Elizabeth very much SUbdued, andstaying close. Robbie And Jimmie start to unhitch thehorse. As Robert opens the door, a rabbit scoots past them.The girls scream and grab his legs.

ROBERT(patting thamcom!'ortingly)

Everything will look dirrerenttomorrow when the sun comes up.

He enters, and the little girls follow him timorously as we

SLOWLY DISSOLVE TO

67 INT. '!HE OLD CABIN - DAY

Sun streams in the window. There are no furnishings excepta few bunks, an old table, and a couple broken down chairs.The baby, Jane, is seated on one of the bunks with Annabellebeside her. Annabelle 18 playing a game in which she isstirring something in an imaginary pot. Elizabeth standsnearby with a suspicious look on her face.

ANNABELLE(bossily)

Now 1 111 be th!l mamma and you'llbe the papa ~nd this is our baby.

Annabelle picks up her father's hat, puts it on Elizabethwhose face almost disappears under it.

ANN ABELLE (con tId)And you gp out and then come inand you snUr - like this -

(illustrates)and you say, "What!a in the stewtonight?tl And I say I haven't eventhought about supper •. This babyhas been so bad.

(gives--:rane aslight shake)

Annabelle looks up, sees Elizabeth still standing there.

(CONTINUED)

(CONTINUED)

68 EXT. THE CABIN - MED. LONG SHOT - DAY

Annabelle looks up, sees Elizabeth still standing there.

6/25/5658

ANNABELLE: (cont'd)(illustrates)

and you say, "What's in the stewtonight?" And I say I haven'teven thOUght about supper~ Thisbaby has been so bad.

(gives Jane as11gh t shake)

Robert squats to her level. looks at her pouting facebeneath his hat.

ELIZABETHAnnie always makes me be the papa.

ROBERT(shaking orr hisproeoccuplitlon)

What's frettin' ya, little love?

ROBERTAnd there's something wrongh1th be1n' the papa?

Still wearing Robert's hat, her chin now beginning toqUiver, she turns toward the door.

ANNABELLE:You can't be the mama. You're shy.

ELIZABETHI want to be the mama just onceto

ANNABELLE: (cont'd)Well? You come in and you sniff i"Ii'ayou say -

Before the cabin a big kettle is suspended from a tripodover a blazing fire. Beside it Robert Is skinning arabbit. CAMERA MOVES INTO CLOSE SHOT or Robert's race.It wears an expression of strain. Behind Robert,Elizabeth emerges from the cabin. She marches straightto him and grabs him by the leg.

61 (CONTINUED)

68 EXT. MED. LONG SHOT - THE CABIN - DAY

67 (CONTINUED )ANNABELLE (cant I d)

Well? You come in and you snlff and you say -

ELIZABETHI want to be the mamma just oncet.

ANNABELLEYou can't be the mamma. You'reshy.

Still wearm~Robertls hat, her chin now beginning toquiver, she turns toward the door.

Before the cabin a big kettle is suspended from a tripodover a blazing fire. Beside it Robert 1s skinning arabbit. CAMERA MOVES INTO CLOSE SHOT of Robert'. face.It wears an expression of strain.

ROBBIE'S VOICE (IN NARRATION)For us kids it was a picnic, butI knew papa waS worried all right.You could tell just by looking athis face •...

Behlnd.Roberot Elizabeth emerges from tbs cabin. Shemarches straight to him and grabs him by the leg.

ROBERT(shakino: off hispreoccupation) ,

What's frettin' ya, little love?

ELIZABETHAnnie always makes me be the papa.

Robert squats to her level, looks at her pouting facebeneath his hat.

ROBERTAnd there IS aometh ing wrong withbein' the papa?

(CONTINUED)

58

68 (CONTINUED)ELIZABETH

The papa never does anythingbu t so 1ff and say "Wha t I B inthe stew?"

ROBERTNow, Lizzie, that's where you'rewrong.

He sits on the ground, lifts her on his lap, takes hishat off her and puts it on his own head.

ROBERT (cont'd)The papa is almost as ,important asthe mamma. You see, if it wasn'tfor the papa who makes the money,there wouldn't be anYthl~ tor themamma to put in the stew or thechildren.••

DISSOLVE TO

59

69 EXT. A SMALL STREAM IN THE· WOODS - DAY

Jimmie, using a green willow for a rod, 1s intentlyfishing. He stands perfectly still watching the line.A fish seems to be nibbling the hook. Suddenly, andwithout warning, another hook plops into the waterbeside it. OUtraged, Jimmie turns to discover Robbiewith his pole.

JIMMIEYou durn fooll I had a bitel

Jimmie drops his pole, lunges at Robbie,· and the twoof them go down pummeling each other. Atter a momentRobert appears, sees what is happening, grabs themboth, stands them up where they glower at each other.

ROBERTNow what's this all about?

JIMMIEA great big pickerel was nibblingmy hook. And Robbie comea along and makes a big splash -

ROBBIEI didn't know he had a bite.

(CONTINUED)

f60


You shoulda lookedL

ROBERT(releasing the two boys)

Jtmmle lad, you've got to learn as Bobbie Burns says - "The bestlaid schemes 0' mice and men gangart a-glay. II

But JLmmiets temper has not cooled. He takes anotherSWing at Robbie, but Robbie puts up his hands toprotect himselt'. Robert frowns in distress, grabsthem both again.

ROBERT (cont'd)1 1 m surprised at you both. Brawlin 1

like a couple of Irlshers over nothin' ,when your brother's so sick and wedon't know bow hela gettln ' along.You should be ashamed of yourselves1

The boys, cowed, pick up their polese Jimmie lirts fouror five small fish hung by their gills on a stick, andstarts off towards the cabin. Robert puts his hand overhis eyes for a moment, then turns and follows them.

WIPE TO

70 EXT. THE OLD CABIN IN THE WOODS - DAY

As Robert, Robbie and J1mrnie appear in the clearing.Suddenly, the door to the privy in the distance opensand Elizabeth comes running, crying, her pants hanging.

ELIZABETHPapa, papa, a beet

Robert runs to her, takes her in his arms.

ELIZABETR (cont'd)( crying)

It stung me. Right therel(she feels her bottom)

ROBERT( comfortingly)

There there, darlin'. Papalll fix it.(turns to Robbie)

Go fetch some mud, and be qUick about it.

Robbie runs off, as we

DISSOLVE TO

6/25/5661

71 EXT. THE EUNSON HOUSE - DAY

MED. CLOSE SHOT - THE FRONT DOOR. On it hangs a yellowsign with the single word IIDlptherla" written on it.Across it rain is falling.

72 INT. THE KITCHEN - DAY

Mamie is making candleso She pours th~ hot tallow intoa candle mold while she holds the wick straight. Thereis a Budden strangling, gurgling NOISE off. Mamie setsdown the tallow pot, grabs up a kitchen spoon, and runs.

73 INT. THE CHILDREN'S BEDROOM - DAY

One double bed and the cot are stripped. In the otherbed lles Kirk, who, as Mamie enters, claws his throattor breath. She runs to him, puts one arm around hisshoulders to 11ft him up.

MAMIEOpen your mouth. Open yourmouth for mama.

Kirk opens his mouth. Mamie depresses his tongue withthe kitchen spoon and peers down his throat. At thesight aho all but swoons, closing her eyes momentarily.Then she opens them wide, and inserts forefinger andthumb far into the boyts mouth as we

DISSOLVE TO

74A EXT. OLD CABIN - NIGHT

Rob on ?o~ch playing harmonica.

74 INT. OLD CABIN - NlGHr

Over scene come the SOUND of peepers, the distant HOWLof wolf, the HOOT of an owl. On one of the bunksElizabeth and Jane are asleep. Annabelle is washingthe tin plates and cups. Robbie and Jimmie are sprawledacross another bunk, taking turns peering out a brokenwindow into the night. Robert is varnishing the fiddlein the light of a candle.

75 MEn. CLOSE SHOT - ROBBIE AND JIMMIE

JIMMmI Bee a Chippewa.

(CONTIN\lIID)

61

71 EXT. THE EUNSON HOUSE - DAY

MED. CLOSE SHOT - THE FRONT DOOR. On it han~s ayellow sign with the single word t'Dlphtheria wrl ttenon it. Across it rain is falling.

72 INT. THE KITCHEN - DAY

Mamie 1s making candles. She pours the hot tallow intoa candle mold while she holds the wick straight. There1s a sudden strangling, gurgling noise OFF. Mamie setsdown the tallow pot, grabs up a kitchen spoon, and runs.

73 INT. THE CHILDREN'S BEDROOM - DAY

One double bed and the cot are stripped. In the otherbed lies Kirk who, as Mamie enters, claws his throatfor breath. She runs to him, puts one arm around hisshoulders to lirt him up.

MAMIEOpen your mouth. Open your mouthfor mamma.

Kirk opens his mouth. Mamie depresses his tongue withthe kitchen spoon and peers down his throat. At thesight spe all but swoons, closing her eyes momentarily.Then she opens them wide, and inserts forefinger andthumb far into the boy's mouth as we

DISSOLVE TO

7!l- INT. 'nIE OLD CABIN - NIGHT

Over Scene come the SOUND qf peepers, the distant HOWLor wolf, the HOOT of an owl. On one of the bunksElizabeth and Jane are asleep. Annabelle is washingthe tin plates and cups. Robbie and Jimmie-are·sprawled across another bunk, taking turns peering outa broken window into the night. Robert is varnishingthe riddle in the light or a candle.

75 MEn. CLOSE SHOT - ROBBIE AND JIMMIE

JIMMIEI see a Chippewa.

ROBBIEYou're plumb looney. Nobody's seenan Indian around these parts in years.

Nevertheless Robbie looks out.

(CONTINUED)


You're plumb looney.seen an Indian aroundparts in years.

Nobody t sthese

6/25/5662

(CONTINUED)

Nevertheless Robbie looks out.

JIMMIE(arter a pause)

Robbie. is Kirk going to die?

ROBBIEBush up. You want Papa to hear you?

Robbie looka off at his father, exits to porch.

ROBBIE (cont'd)(tentative)

Papa?

ROBERTAy. Robbie?

ROBBIENothln' bad could happen, couldit? To Kirk, I mean?

ROBERTPesky mosquitoes.

ROBBIECould it. Papa?

ROBERT(evasively)

You're only a lad. Stay thatway yet awhile. Let me do theworryln' •

ROBBIEBut Kirk and me - we're brothers.

(youthfully intense)I want ~o ~, Papa.

Robert looks at h~s son appraisingly.

. ROBERT '(almost with regret)

That's a slgn you're growin t up_Want in' to know the answers tothe big questions. But it isn'tgiven anybody to know the future.You hope and you pray for guidance_ and you do what you can withinyour powers... (cont'd)

7'1. ( CO NT lNUED )JIMMIE:

(after a pause)Robbie, Is Kirk going to die?

ROBBIEHush up. You want Papa to hear you?

62

Robbie looks oft at his father.FOLLOWS as he crosses slowly to

He rises,Robert.

and CAMERA

ROBBIE (cant' d)(tentative)

Papa?

ROBERTAy, Robbie?

ROBBIEPapa - nothin' bad could happen,could it?

Robert stares off, then slaps his forehead vigorously,as if to break the mood. He looks down at his hand.

ROBERTPesky mosquitoes.

Annabelle comes up to her father.

ANNABELLEI've dried the dishes.

ROBERTTnatts a fine grown-up girl.Now •. Time for your ABC's.Fetch your slate.

ANNABELLEDo I have to?

ROBERTYou know mamma. She sets greatstore by a girl's learnin' to read.

Robbie reaches fo~ the slate. The back is decoratedwith a sentimental, chromo-like Christmas Bcene - ahearth with bUlging ,ift-laden colored stockingssuspended from it. There are six or these, varying insize from a twelve-year-old's to a baby's. Robbiehands Annabelle the slate as Robert takes her on hisknee. He draws an itA" on the slate.

(CONTINUED)

'.

ANNABELLEDo I have to?

6/2515662A

ROBERT (cont'd)(take s a deepbreath)

••• because if you don't - andthe worst happens to somebodyyou love - then a man canlt livewith himseU.

(CONTINUED)

ROBERTYou lmow mama. She set!. greatstore by a girlts learnln l toread.

ANNABELLEI dried the dishes.

Annabelle crosses, goes straight to her father.

ROBBIEWhen I grow up, I want to bejust 11ke you.

ROBERTAnd I'm proud of you for beln l

such a good helper. NoW. Timefor your ABC I s. Fetch yourslate.

Robert goes back to working energetically on the violin.Robbie watches him a moment, then -

They enter house. Robbie reaches for the slate. Theback 1s decorated with a sentimental, chromo-likeChristmas scene - a hearth with bulging, g1ft-ladencolored sto~klngs suspended from it. There are six ofthese, varying in size trom a twelve-year old's to ababy's. Robbie hands Annabelle the slate as Roberttakes her on his knee. He draws an -Aw on the slate.

75 (CONTINUED)

A.ANNABELLE:

ROBERT (cont'd)Now what's that?

63

ROBERTAnnabelle.

(draws a "B")what is that?

Ay,

And

,'15 (CONTINUED)

ANNABELUlB, Papa.

ROBERT-Tis proud of YOU I am. Now

(draws a ftGa-tell_your papa, .what Is that?

ANNABELLEC.

Robbie and Jimmie laugh at the error. Robert frowns.

ROBERTDlnna laugh at your sister.rightly looks like a C for a

Itt'act.

He accents the bar on thecomes a faint YOOHOO off.

G. As be does 80~ thereRobert looks up sharply.

What's that?ROBERT (cont'd)

(CONTINUED )

ROBERTStay here I All of you I

ROBERTNo, darlln l • Hark.

ANNABELLE

ROBBIE(in alarm)

It's Mamma 1

G.

The SOUND comes again, a little louder. Robert setsAnnabelle down, hurries to the door, peers out intothe darkness. Robbie follows him.

64

75 (CONTINUED)

There 1s such command in his voice that the boys makeno move to follow him as he hurries off into thedarkness.

76 EXT. A PATH IN THE WOODS - NIGHT

It is very dark and, standing in the path, waiting, 1sMamie who holds a lantern in her hand. Since it hangsat her side, her face 1s in darkness. Anxiously Robertappro aches, ·s tops a few paces from her, his body yearningtowards he l' .

ROBERTMamie?

MAMIE(emotionally)

Oh, Rob - Rob -

ROBERTShow me your face, Jo.

Slowly she lifts the lantern until it illumines her face.Her eyes Bre bright, she is smiling the good news.

ROBERT (cont'd)(with a catch inhis voice)

Then the lad's all right?

MAMIE(nodding)

He passed the crisis last night.

In his relief he takes an involuntary step forward.Mamie raises one hand, steps back.

MAMIE (cont'd)Not yet, not yet.

He stops.

MAMIE (contld)(anxious)

And the others? You've beenwatchin ' for any sign of - anything?

ROBERTThey're fine - they're all fine.

(CONTINUED)

As Robert approaches, Robbie is silhouetted in the doorway,waiting.

She turns, and hurries away. After Robert has watchedher out of sight, he starts back to the yabln.

He disappears inside the cabin. And noW Robert, thetension broken at long last, sinks down on the stoopbefore the cabin and buries his face in his hands.Robbie reappears at the door, smiling. His expressionchanges almost to incredulity as he realizes what ishappening to Robert. He stares down at him for a moment.

65

MAMIE

WIPE TO

ROBERTMarne _ Marne - I need to touch you.

MAMIEDr. Delbert says you can come homeSaturday.

MA~lIE

(backing away)Saturday, Rob .••

(rainter)Saturday •••

And the babie?

ROBERTShe needs you. We all need you.

ROBERT(hie voice hUSky)

Kirk's fine.

ROBERT(wi th wonder)

The ladls g~ttin' well.

ROBBIE1 1 11 tell 'em.

(CONTINUED)

ROBBIEThen nothin' bad's going to happen?

There 1s a long moment of silence. Everything orimportance has been said, but the need remains.

71 EXT. THE OLD CABIN - NIGHT

76 (CONTINUED)

Arter a moment Robbie sits tentatively on the step besidehis father and almost shyly puts his arm across Robert'sshoulder. Without raising his head Robert pats the boy'sknee as we

77 (CONTINUED)

6/25/5666

ROBBIE'S VOICE (IN NARRATION)It was the first time I ever sawa grown man cry.

DISSOLVE TO

78 INT. THE EUNSON KITCHEN - DUSK

M&nle 1s ladling broth into a bowl. Her hair is notso neat as usual; her shoulders sag. Kirk is pale· andthin, but well on the road to recovery. There is still

. no vi tali ty 1n the room until suddenly the door burstsopen and the absent ones enter to grab their mother,jump up and down, WHOOP, then stand back to regard Kirkwith a certain awe. The children are a disreputablelooking lot. The girls' hair is matted~ the boys'stocklngs torn.

'-

MAMIEWhy, look at you~ You're wildIndians, every blessed one of you.

She pulls the round, wooden tub from under. the sink asRobert enters, goes straight to Kirk, puts his armsaround the boy and holds him close •

ANNABELLEWol f wol f 'Wol f:

. ,. ROBERTHow .d'you feel, son?

, KIRKI was terrible sick. I couldn'tb~eathe. I had nightmares about tigers and lions and -

.,, .' .

(CONTINUED)

JIMMIEI t was a foxl

.~.

You dfd not!

ANNABELLEUtU1lP1ng upand down)

I saw a *hlf. A real livewolf.

After a moment Robbie sits tentatively on the step besidehis father and almost shyly puts his arm acrosS Robert I sshoulder. Without raising his head Robert pats the boy'sknee as we

DISSOLVE TO

78 INT. THE EUNSON KITCIID< - DAY

66

ROBBIE'S VOICE (IN NARRATION)It was the first time I ever sawa grown man cry.

Mamie is ladling broth into a bowl. Her hair is notso neat as uBualj her shoulders sag. Kirk 1s pale andthin, but well on the road to recovery. There 1s stillno Vitality in the room until SUddenly the door burstsopen and the absent ones enter to grab their mother,jump up and down, WHOOP, then stand back to regard Kirkwith a certain awe. The children are a disreputablelooking lot~ The girls' hair 1s matted, the boys'stockings torn.

77 (CONTINUED)

MAMIEWhy, look at you! You're wildIndians, every blessed one of you.

She pulls the round, wooden tub from under the sink asRobert enters, goes straight to Kirk, puts his armsaround the boy and holds him close •

. ROBERTHow d'you feel, Bon?

KIRKI was terrible sick. I couldn'tbreathe. I had nightmares about tigers and lions and -

ANNABELLE(jumping upand down)

I saw a wolf. A real livewolf.

JIMMIEYou did not1 It was a foxl

ANNABELLEWolf wolf wolf~

(CONTINUED)


(a littlecross)

Hush, Annie.(looks at Mamie, whois purnoing waterinto the kettle)

Aren't you spaakin' to me?

MAMIENot until I scrub these wildgaloots. Rob, how could youhave let them get so dirty?

ROBERTI did the best I could. Don'tbe at me, Mama. 1 1m tired.

MAMIE(carrying kettleto stove)

Don't talk to me about tired.

67

She continues her activity. Robert, apparently angry,turns and ex! ts.

JIMMIEI saw a Chippewa. A real liveChippewa brave.

ROBBIEHe didp1t either, mamma.

ANNABELLEJimmie should have his mouth washedout with soap.

MAMIEWe'll scour his outside first.

(notice. Elizabeth)Oh, Lizzie, look at your hairlWhy didn't your papa --- •

Grabs a brush and starts working on the little girl'stangles.

ROBBIEHe did the best he could. Hewas awful worried.

(CONTINUED)

(CON TINUED)

80 INT. THE BOAT HOUSE

She pauses, distressed, then hands the brush to Robbie.

68

ROBERT'S VOICE

MAMIEthere?

Ay.

Rob, you

MAMIEI know, I know. And I was sharpwith him, wasn't I?

In the gloom we can make out a sailboat there for repairsand the skeleton of a canoe. Sail cloth is heaped on ~herafters. Robert is seated on the edge of the bunk, hisbody possessed by the convulsion of the coughing. Mwmiekneels beside him, waits for the convulsion to stop.Then -

The sound of a SICK, WRACKING COUGH stops her. She putsher hand to her throat and enters.

MAMIEForgive a body. It was only that -

MAMIEOpen your mouthl

MAMIEOpen your mouth.

ROBERTOh, Mamie, leave me be.

There 1s no sound from within as Mamie opens the door andpeers into the gloom within.

MAMIE (cont' d)Try to get the tangles out.

Mamie exits hurriedly.

WIPE TO

79 EXT. THE BOAT HOUSE - DAY

78 (CONTINUED)

Robert opens his mouth. Mamie looks in his throat. Herexpression is controlled, betraying nothing_

(CONTINUED )6/25/56

69

ROBERT(closing hlomouth)

fTls nothing. Something went downmy Sunday throat.

Mamie rises without a word, crosses to the door, exits.

ROBBIEMamma, I can't get all the •••

MAMIERobbie, go get Dr. Delbert, quick.

81 OMITTED

82 EXT. THE BOAT HOUSE - NIGHT

From MED. SHOT CAMERA DOLLIES IN TO CLOSE SHOT or thedoor on whioh, 1n the moonlight, we can read the word"Diphtheria." Over soene comes the muffled sound ofrrantic COUGHING and GASPING ror breath. Finally all isstill except the CRY OF A LOON.

83 INT. THE BOAT HOUSE - NIGHT,

In the dim li~t or one oandle Mamie tenderly wipe. theperspiration ~rom. Robert's face. He Is propped up In asemi-reclining position, his mackinaw over him. Atterth~ apa8~ of/ooughl~g, his eyes are closed, his expressionlifeless. Mamie reaohes into a emaIl crock of goosegr&aS8, rube it on his neok, and wraps it with,. flannel.Robert"! eye! open'~' . She smiles and, a! it amusing 8.ohild, .poak. qUietly•..

(CONTINUED)

69

80 (CONTINUED)

Robert opens his mouth. Mamie loo~s 1n his throat. Herexpression 1s controlled, betraying nothing,

ROBERT(closing hi smouth)

'Tis nothing. Something went downmy Sun day throa t.

Mamie rises. without a word, crosses to the door, exits.

81 EXT. THE BOA T HOUSE - DAY

As Mamie closes the door carefully behind her. She looksabout her wildly.

MAMIE(calling)

Robbie ••• Robbie •••

DISSOLVE TO

, .

82

83

EXT. THE BOAT HOUSE - NIGHT

From MED. SHOT CAMERA DOLLIES IN TO CLOSE SHOT at" thedoor on which, 1n the moonlight, we can read the word"Diphtheria." Over soene comes the muffled sound offrantic COUGHING and GASPING for breath. Finally all isstill except the CRY OF A LOON.

INT. THE BOAT HOUSE - NI GHT

In the dim light of one candle Mamie tenderly wipes theperspiration from Robertts face. He Is propped up 1n asemi-reclining position, his mackinaw over him. Afterthe spasm of coughing, his eyes are closed, his expressionlIfeless. Mamie reaches into a small crock of goosegrease, rubs it on his neck, and wraps it with a flannel.Robert's eyes open. She smiles and, as if amusing achild, speaks quietly.

(CONTINUED)

83 (CONTINUED)MAMIE

Rob, remember when you were withthe expedition searching forFranklin at the North Pole?

70

Robert nods, swallows. It is difficult for him.

MAMIE (cont' d)I never told you this. I waS afraidit would make you mad at sisterAnnabelle. But for all those threeyears you were gone and no word shewaS after me to wed Gower MacDermott.Remember him with the curly red beard?

Robert grimaces.

MAMIE (cont' d)Everybody said you was as lost asFranklin, but I knew you1d come back.

ROBERT(whispering, withgreat difficulty)

Then why did you go into mourning?

MAMIE(chuckling)

It came to me. It wouldn't be fittin!for any man - not even rich GowerMacDermott - to court a maiden whileshe was dressed in deep mournin 1 forher late intended. Wasn1t I canny, Rob?

Robert nods, touches her hand.

MAMIE (cont'd)I've often thought on it. Supposeltd let them talk me into marryln 1

with him, Robbie and the rest wouldhave favored Gower. I wouldna haveliked the.1;.

ROBERT(whispering)

Nor I ..

MAMIE(with wonder)

Rob, think on it. Not since thechildren joined us have we beenalone like this.

Robert tries to speak, cannot. He takes her hand,holds it against his cheek.

DISSOLVE TO

84

85

OMITTED

EXT. THE EUREKA GRAVEYARD - DAY

6/25/5671

\

86

Gathered about an open grave and a plain wooden Gasketcovered with spring wild flowers are Mamle p RaVe andMrs~ Roscoe, Robbie, Jimmie, Kirk, Dro and Mrso Delbert,Mr. and Mrso Bradley,. Mr. and Mrs. Tyler, Mr. and Mrs.Raiden, Tom Cullen wearing new uncomfortable false teeth,and others. All are In black. The sky is lowering, ~

high wind whips the women's skirts and stirs up the dirtfrom the open gravs. A little to one side is the horse,Ned, hitched to the democrat wagoD. In it sits Mrs.Pugmire with Annabelle, Elizabeth and Jane.

CLOSE SHOT - REV. ROSCOE

REV. ROSCOE(raising his voiceagainst the wind)

In the words of Robert Eunean'sfavorite poet, Robert Burns,"Princes and lords are but thebreath of kings, An honest man'sthe noblest work of Godo tI

Rev. ROBooe turns to signal the pallbearers to lower theCQsketo The horse WHINNIES, and rearso All turn to lookat the cause of the disturbanceo

87 OMITTED

88 EXT. mE GRAVEYARD - DAY

The CQskst is now being lowered into the grave as ato~~ential rain begins to fall. The mourners hold theirtableau and when the casket 1s down, Revo Roscoe pioks upa handful of wet dirt, and drops it into the black hole.

FADE OUT

71

84 EXT. LONG SHOT - CYCLONE - (STOCK)

its trunk whirling, dipping, scattering destruction~

85 EXT. THE EUREKA GRAVEYARD - DAY

Gathered about an open g rave and a plain wooden casketcovered with spring wild flowers are Mamie, Rev. andMrs. Roscoe, Robbie, Jimmie, Kirk, Dr. and Mrs. Delbert,Mr. and Mrs. Bradley, Mr. Bnd Mrs. Tyler, Mr. and Mrs.Raiden, Tom Cullen wearing new uncomfortable false teeth,and others. All are in black. The sky is lowering, ahigh wind whips the women's skirts and stirs up the dirtfrom the open grave. A little to one side is the horse,Ned, hitched to the democrat wagon. In it sits Mrs.Pugmire with Annaba lIe, Eli zabeth and Jane.

86 CLOSE SHOT - REV. ROSCOE

REV. ROSCOE(raising his voiceagainst the wind)

In the words of Robert Eunson'sfavorite poet, Rober~ Burns,"Princes and lords are but thebreath of kings, An honest manlsthe noblest work of God~n

Rev. Roscoe turns to signal the pallbearers to lower thecasket. The horse WHINNIES, and l'ears o All turn to lookat the cause of the disturbance~

8.,. EXT. ANOTHER SHOT OF CYCLONE - DAY

It is closer now, the trunk dipping and darting, this wayand that.

REV. ROSCOE'S VOICE(exhorting thecyclone)

Oh, Lord, stay Thy fury until thisgood servant is laid to rest inpo ace and dignity.

CAMERA HOLDS ON cyclone until it movas off to spend itsdestruction elsewhere.

88. EXT. THE GRAVEYARD - DAY

The casket is now being lowered into the grave as atorrential rain begins to fall. The mourners hold theirtableau and when the casket is down, Rev. Roscoe picks upa handful of wet dirt, and drops it into the black hole.

FADE OUT

FADE IN

89 INT. EUNSON KITCKEN - DAY - CLOSE SHOT

MRS. RUNYON _ She stands on a m11k~T~ stool, wearing 8

hot red velvet dress g the hem of which - we discover asCAMERA PULLS BACK _ Mamie is basting. Jane sits in thehigh chair. Annabelle is chasing Elizabeth noisilyaround the room.

ANNABELLEYou come here, Lizzie. You'regoing to be the papa.

ELIZABETH(yelling)

I won't - I won't - I won't.(stamps her foot)

MRS. RUNYONCanlt you control your yeung :uns?

MAMIEPlay outside, bannts lambs"

ELIZABETHNot unless I can be the m~ao

MAMIE(wearily)

Let her be the mamm~, Ann~eo

The children go. Mamie returns to her task.

MAMIE (cont!d)I'm sorry, Mrs. Runyon. I'm soused to children.

MRS. RWiONYou should set your cap for someold bach.

MAMIEThank you. 1 1 m not marr'Y'ln I again.Robert was my husband. Would youturn, please, Mrs. Runyon?

Mrs. Runyon turns.

MRS. RUNYONThen why doni t you return to yourkin in Scotland?

(CONTINUED)

Mamie starts to unpin the dress as we

The two women glare at each other a moment. Then-

Mamie bites off a thread viciously, starts to re_thread.

MAMIEI'll thank you no, Mrs. Runyon.When I need charity I'll ask for it.

MRS. RUNYONPride goeth before a fall.

DISSOLVE TO

( turning)Get this off me. 1 1 m roasting alive.

MRS. RUNYON

MAMIEYou meaD it's time I ate crow.

MRS. RUNYONIt's high time somebody talkedturkey to you.

MRS. RUNYONBook learning 1s a luxury youroffspring can ill afford.

MRS. RUNYON (cont' d)Your eldest is a strong boy.Put him out by the day.

MAMIEHets been awsapin' down at thesawmill _ all summer. But schoolstarts next week.

MAMIEMoney for passage doesn't growon trees.

MRS. RUNYONPerhaps I could take up acollection for you.

MAMIEAnd wben I want advice 1 1 11 ask forit. There. It's finished, Mrs. Runyon.

Mrs. Runyon steps down off the milk stool.

89 (CONTINUED)

74

90 INT. THE SMALL BARN - DAY

Mamie is now milking the cow. In the next stall standsthe horse, Ned. Mamie's head rests against the COWlS

flank. Directly the splash of the milk stops, but Mamie'shead remains in the same position, In the silence we canhear the SUMMER-SOUND of HORSEFLIES BUZZING about the barn.Robbie runs in.

ROBBIEI told you lid be home in timeto milk.

Mamie looks up, startled. There are tears in her eyes.

ROBBIE (cont 0 d)Get up, Mamma. Lemme.

She rises docilely. Robbie sits on the stool to finishmilking. Mamie stands not knowing what to do next. Herglance roves the barn aimlessly, stops on the horse.

MAMIEYou'd better take Ned over toMr. Tyler and sell him.

ROBBIE(milking vigorouely)

Why do we have to do that?

MAMIEBecause I told Mrs. Runyon what for.

ROBBIEI tis about time.

MAMIENo, it wasn't the time at all.But I couldna help rnysel ' •

There is a moment of silence. Then-

ROBBIE(tentative)

Mama? You sold papa's boat yard.

MAMIEAll that went to pay the banker and SOme other debts. I hadn'twanted to tax you, Robbie, whenyou're so young.

(CONTINUED)

There is another pause.

Mamie looks at Robbie and cannot help smiling.

91 INT. THE EUNSON KITCHEN - NIGHT

(CONTINUED)

ANNABELLEHe's coming, he's coming!

ROBBIEWell, if we sell old Ned to Mr. Tylerwhat'll he do? Just sell him again for more _ to one of the lumbercamps this fall. So I was thinking,why donlt we sell him to the lumbercamp direct? And then we wouldn'tbe payin l a middle man, see?

ROBBIECouldntt we run behind - just tillOctober?

MAMIE (cont'd)When your papa was here I neverfretted over debts. If he worried,I never knew. But now •• ~

(forcefully)There's no way out if we run behind.

DISSOLVE TO

MAMIEYou're a true Scot, Robbie.

MAMIEWhy? What's on your mind?

MAMIEOh, yes. That's terrible old.

ROBBIE1111 be twelve next month.

Mamie is icing a marble cake, Jimmie is popping corn,Kirk is tuning up his fiddle, Elizabeth is polishingred-apples, and Annabelle stands at the window peeringout. Jane stands on a chair watching her mother~

90 (CONTINUED)

76

91 (CONTINUED)

Jimmie dumps a popper full of popcorn into a bowl,reaches into the salt box and sprinkles the corn.Mamie, turning away from the cake, does not see Janedip her finger into the frosting. Kirk puts the fiddleunder his chin. The door opens to admit Robbie. Thejacket he wears is too small for him. But he grins asthey all yell "Happy Birthday." Then Jimmie nods toKirk, who starts to play the melody of "Auld Lang Syne."All the children old enough to sing, join in. Mamiestarts, but soon must turn away. She makes a fuss - tocover her emotion - at pouring milk.

ALL TOGETHER"Should auld acquaintance be forgot,

And never brought to minI?Should auld acquaintance be forgot,

And auld lang syne?For auld lang syne, my dear.

For auld lang syne,We'll take a cup 0' kindness yet,

For auld lang syne."

ANNABELLEHere's your present, here's yourpresent.

She hands him a pair of bright red mittens, attached bya long cord of yarn to run up one sleeve and down theother.

ROBBIEDid you make lem, Annie?

KIRKCourse she didolt make lem.

MAMIE(turning back tothe ch lldren)

Annie helped me.

Robbie trie s on the roi ttens, goes to his mother.

ROBBIEGee, mamma, they fit perfect.

She kisses him on the brow o

JIMMIECome on, Robbie, cut your cake.

(CONTINUED)

91 (CONTINUED)6/25/56

77

o

ROBBIEI gatta tell mamma something.

He peels off the mittens, takes out an old snap pocketbookout of his pocket, hands it to his mother.

ROBBIE (cont'd)Mr. Cullen give me forty dollarsror old Ned"

MAMIEThat's .fine, Robbie ..

ROBBIEBut that ain't all. I got a jobtor this winter.

MAMIEIndeed you have a job for thiswinter. To finish sixth grade.

ROBBIE(Sighing)

I told him you'd say that. Sobe's lattin' me work just SRturdaysand Sundays" And know what he's gpingto pay me? Fifty oents.

MAMIE(suspioiously)

For doin' mat?

ROBBIEBein l ~o!foe boy..

MAMIEI don't .ant you to.get any notionsabout bein' a logger.

ROBBIEPapa was's logger. What's thematter with beia' a logger?

... !. . MAMIEI never had a peaoeful-momentuntl1~he;got the boat yard. r won'thave ye with those rough men - wanderIn ,through the woods - the crashln' trees the bitter oold -,

ROBBIEBut me and Mr. Cullen shook on it.And he I g lve me fifty cents in advance.

\ MAMIEYou oan gtve it baok.

91 (CONTINUED)

,,

ROBBIEI gatta tell mamma something.

Be peels off the mittens, takes out an old snappocketbook out of his pocket, hands it to his mother.

ROBBIE (cont'd)Mr. Cullen give me forty dollarsfor old Ned.

MAMIEThat's fine, Robbie.

ROBBIEBut that ain't all. I got a jobfor this winter.

MAMIEIndeed you have a job for thiswinter. To finish sixth grade.

ROBBIE(.ighing)

I told him you'd say that. Sohela lett~' me work just Saturdaysand Sundays. And know what he's goingto pay me? Fifty cents.

MAMIE(suspiciously)

For doln' what?

ROBBIEBein' coffee boy.

MAMIENo you're nott I won't have yew1 th those rough men - wanderln 'through the woods - the crashin'trees _ the bitter cold -

ROBBIEBut me and Mr. Cullen shook on it.And he give me fifty cents 1n advance.

MAMIEYou can give it back.

(CONTINUED)

77

ql (CONTINUED)ROBBIE

You canlt give back a handshake.

KIRKRobbie, arenft you ever goingto cut the cake?

78

Mamie, troubled, turns to discover Jane methodicallylicking the frosting off the cake. She pulls the childaway, wipes her hands.

ROBBIEMamma, will you think on it?

Mamie does not answer, but goes to the sewing machinewhere she picks up Robert's mackinaw which she has cutdown for Robbie. She hands it to him, almost roughly.

MAMIETry it on. See if it fi ts.

Robbie takes the garment, looks up at his mother~....MAMIE (cont' d)

Put it on.

He puts one arm into a sleeve, then the other, adjustsit across his little shoulders, buttons it, settlesinto it with pride. He seems almost to grow as heassumes the mantle of his father.

JIMMIEMy popcorn's gettln t cold.

Robbie walks over to the table, picks up a knife,carefully cuts into the cake.

ROBBIEMamma. Are you thinking on it?

Mamie gives him a look which tells him that she is.Reluctantly.

DISSOLVE TO

92 EXT. THE WOODS - DAY - SEVERAL SHOTS OF

Robbie, wearing the cut_down mackinaw and the redmitten. He 1s plodding down a path in the woods witha yoke over his shoulder from each end of which issuspended a pail of steaming coffee. Around his neckis a wire which supports thirty or forty tin cups,strung like a jangling necklace.

79

9j EXT. THE WOODS - DAY - TRUCKING SHOT

as if from Robbie's point of view. The path ahead turnssharply and - suddenly - as CAMERA MAKES TURN - we seea black bear. Surprised, as CAMERA MOVEMENT STOPS, thebeast rises on its hind legs, peers directly into camera.

94 ANOTHER ANGLE - ROBBIE AND THE BEAR

They are not more than twenty feet apart, each frozen intableau. There is not a sound of any.sort. Then at lasta slight rattle begins. It is the cups around Robble t sneck jiggling. The bear drops onto all fours, shamblesoff into the woods. Finally Robbie lets out his breathand slowly moves forward, frightened now, staring off inthe direction the bear has taken, and - when he haspassed the spot - breaking into an awkward run.

DISSOLVE TO

95 INT. EUNSON KITCHEN - EARLY EVENING

Kirk l§-washlng dishes, Jimmie drying them. As .Jimmiereturns from the cupboard for another plate he shadowboxes his way. Annabelle is combing Elizabeth's hair,and Elizabeth is scowling, crying "Ouch. It A fire burnsin .the fireplace. The yeast is in its accustomed place.

JIMMIE( shadow-boxing)

Know what I'm gonna be when Igrow up? The lightweight ohampeenot the whole world~ Put up yourdukes.

Kirk backs away fearfully. Jimmie's attitude changes.

JIMMIE (oont'd)Aw, I WOUldn't punch you, Kirk.

(playfully taps Kirkon the jaw)

Whatchyou gonna be?

KIRK(going back to washingdishes)

I'm going to work in an office keep books.

JIMMIEAw, thatfg no fun.

(CONTINUED)

80

There is another exclamation of pain from Ellzabe thoBut Annabelle pays no attention to her. She has been11stenlng to the boys.

9' (CONTINUED)

ANNABELLE(airilY)

Well 11m going to have a big wedding and take the steamboat to Oshkosh onmy wedding trip. And when I get backI'll have six babies - three boys andthree girls.

The boys snicker.

KIRKYou can't come back from a weddingtrip with six babies.

Who

"What

ANNABELLE(indignant)

says I can'tt(this S6 ttled, turnsto Elizabeth)

are you going to be, Lizzie?

ELIZABETH(mad)

I'm not going to be the papat

The door opens and Robbie enters. He stamps his feet,brushes snow off his mackinaw, as tbs children gatherround him and ad lib greetings and their pleasure atseeing him. Annabelle, playing the role of Little Mother~takes his coat and hangs it up, as -

ROBBIE(sotto voce)

Where t 8 mamma?

J]J.jMIEUp to Mrs. Raiden's.the Christmas dresses

(contemptuously)those girl s.

She finishedfor -

ROBBIE(conspiratorially)

Well then - you want to knowsome thin' ?

( CONTINUED)

81.

9~ (CONTINUED)The children ad lib cries of "What, Robble?1t "Whathappened?" IITell ust It etc.

ROBBlEI met a bear in the woods yesterday.He was as close to me as - as Kirk Is.

Kirk fearfully draws back. But Annabelle leans forward.

ANNABELLEDid he growl at you?

ROBBlECourse he didn't. I'm welkin'down the trail~ see - luggln" thecoffee and cups. And there's thissharp turn. And I look up - andthere he stands~

'- KIRK(breath1.ess)

What'd he do?

ROBBlEWell _ he looked at me - and thenI guess he :heard the tin cupsrattlin' together. But I just1.ooked him in the eye - andfinally 01' mister grizzly startsbacking _ and then he turns andshambles off into the woods.

ANNABELLEOh, Robbie, weren't you scared?

ROBBlECourse I wasn't scaredt

JIMMIEThen what was you shakint for?

ROBBlEWho said anything about shaklnt ?

JIMMJEYou said the cups was rattlln' and you was standin' still - soyou must have been shakin'.

The door opens and Mamie enters J brushing the snoW fromher by-now old beaver coa.t. She does not look well.

(CONTINUED)

95 (CONTINUED)

-

82

KIRKMamma! Mamma~ Robbie met a bearin the woods and was scared mostto deathl

MA.MIE(removing her coat)

Shame on you, Robbie. Makin' uptales to frighten children.

JIMMIEBut he did, Mamma. He was as closeto old Mister grizzly as - as youare.

MA.MIEIs this true, Robbie?

ROBBIE(reluctant)

Yes, mamma.

MA.MIEThen _ then you can't go back upto the woods ••• w1th the rough men the wild animals prowlin' -

ROBBIEBut you depend on me.

MA.MIE(staring off)

I sent your father to the woods,and the woodS sent him back to me,a cripple.

(turning on Robbie;with paSSion)

You're not going back up there,you hear? Not so long as I'm alive!

..

.

The children stare at their mother as she starts towardthe bedroom. At the door she turns.

MA.MIE (cont1d)Jimmie, did you replenish theyeast - like I told you?

JIMMIE(cowed)

Yes, mannna.

MA.MIEI'm goin' to lie down for a short.

She exits. The children stare after her.

( CO NTlNUED)

6/25/5683

95 (CONTINUED)KIRK

Is Mamma sick or something?

DISSOLVE TO

96 INT. THE CHILDREN I S BEDROOM - FULL 8II0T - NIGHT

Jimmie and Kirk are asleep In one double bed, Annabelleand Elizabeth in a three-quarter bed, and Jane in theoradle. Robbi. is on the oot, and as CAMERA DOLLIES IN'TO CLOSE SHOT, we find that h. is awak.. Direotly th.r.ia a distant SOUND. It oould b. a MOAN. Robbi. sits upin bed. The SOUND oomes again. Quietly he gets up, lightsa oandle with a long sulphur matoh, and tl~toe8 with itfrom the room. (He wears a long nightgown)_

97 INT. MAMIE'S ROOM - NIGHT

She rolls from side to sid. in disoomfort, MOANING slightly.Robbie enters, peers down at her anxiously. He approachesthe bed, looka down at her face and, in the candlelight,can see that it 18 oovered with sweat. Her eyes are wl1d.He starts to back away from her. As he d08s 80, MamieseemS to fix her eyes on a dark corner of the room.

(CONTINUED)

...

83

(CXJ NTINUED)

KIRKIs Mamma sick or something?

DISSOLVE TO

96 INT. THE CHILDREN'S BEDROOM - FULL SHOT - NIGHT

Jimmie and Kirk are asleep in one double bed, Annabelleand Elizabeth In a thre6-quarte~ bed, and Jane in thecradle. Robbie is on the cot, and as CAMERA DOLLIES INTO CLOSE SHOT, we find that he is awake. Directly there·is a distant SOUND. It could be a MOAN. Robbie sits upin bed. The SOUND comes again. Quietly he gets up~ lightsa candle with a long sulphur match, and ti?toes with itfrom the room. (He weara a long nightgown).

97 INT. M'lMIE' S ROOM - NIGHT

She rolls from side to side in discomfort, M~NING slightly.Robbie enters~ peers down at her anxiously.

ROBBIE(tentatively)

Mamma?

MAMMAGo to bed, Robbie.

He approaches the bed, looks down at her face and, in thecandlelight, can see that it is covered with sweat. Hereyes are wild.

ROBBIEI better go get ~. Delbert.

MAMIENol Nol

ROBBIEBut you're sick.

MAMIEI still owe him for Kirk - andyour father - and you're not tocall him out just because marna'sa little tired.

He starts to back away rrom her. As he does so, MamieBeemS to rlx her eyes on a dark corner or the room.

(CONTINUED)

'"",, ".

J"IIIMIE

DISSOLVE TO

Awant to'

ROBBIECould you comeIt I S mama.

right away?

DR. DELBERTYour mama is a sick woman.v,ery sic:lr: woman:" I don I tfrightenl,you, but -.

i"d ROBBIE

"You mean; - she might not get well?

/ i DR. DELBERTWell ~ i~'s typhoid.,

i

OR. DELBERT(nods)

And yo~r motherts not as strongas ,she was. You'd better getMrs.'. Pugmire to take over."•'.

A gentle snow is fall1nR. Robbie runs into scene, opensthe gate, and hurries to the house itself. He wears bootsand ~tocking cap, but his mackinaw does not conceal hisnightgown. He knocks on the door, then steps back, looksup to1the second floor, calls --

MAMIE(in muffled delirium)

I tell you, sister Annabelle, Ishall not wed with Gower MacDermott.Mark my word, Robert will come back.

Robbie stares, terrified, then turns and exits.

WIPE TO

846/25/56

Typhoid fever?

After a moment a faint glow appears at a window on-thesecond floor.

. ROB!1IEDr. Delbert. Dr. Delbert.

Robbie, in his/nightgown ,with the boots still showingunder it, find/Jimmie, barefooted, ~hlverlng, also Inhis nightgO~" stand watching the door to the hall.Dlrec"tly Dr. Delbert enters, closes the door carefullybehind him.!

97 (CONTINUED)

98A LONG SHOT - EUREKA STREET - NIGHT


98 EXT. LONG SHOT - DR. DELBERT'S HOUSE - NIGHT

,',

84

97 (CONTINUED)MAMIE

(in muffled delirium)I tell you, sister Annabelle, Ishall not wed with Gower MacDermott.Mark my word, Robert will come back.

Robbie stares, terrified, then turns and exits.

WIPE TO:

98 EXT. LONG SHOT - DR. DELBERT'S HOUSE - NIGHT

A gentle snow Is falling. Robbie runs into Bcene, opensthe gate, and hurries to the house itself. He wears bootsand stocking cap, but his mackinaw does not conceal hisnightgown. He knocks on the door, then steps back, looksup to the second floor, calls --

ROBBIEDr. Delbert. Dr. Delbert.

....After a moment a faint glow appears at a window on thesecond floor.

DISSOLVE TO:


Robbie, In his nightgown with the boots still showingunder it, and Jimmie, barefooted, shivering, also Inhis nightgown, stand watching the door to the hall.Directly Dr. Delbert enters, closes the door carefullybehind him.

DR. DELBERTYour mamma is a sick woman. Avery sick woman. I don't want tofrighten you, but -

ROBBIEYou mean - she might not get well?

DR. DELBERTWell - it's typhoid.

JIMMIETyphoid fever?

DR. DELBERT(nods)

And your mother's not as strongas she was. You'd better getMrs. Pugmire to take over.

( CONTINUED)

85


She's down to Oshkosh visitingher daughter until after New Year's.

DR. DELBERTYou ought to have somebody.

ROBBIEWe'll get along. I'll stay homefrom school.

DR. DEIBERTYour mamma probably won't likethat but -

(shrugs )-Mrs. Delbert will look 1n on youevery little While.

(opene theoutside door)

And one of you boys come a-runnln'if there's any change.

They nod, dumbly. Dr. Delbert exits. This 1s afrightening moment, with no adult to turn to. Finally_

ROBBIEVfuat1re you standln' around for?Get to bedl

JIMMIEAwl You're not the boss aroundhere.

Nevertheless Jimmie wanders off, into the bedroom, as we

DISSOLVE TO:

100 EXT. THE EUNSON CABIN - DAY

A bright sun shines. Robbie 1s shoveling snow from thepath. His three sisters, bundled to the ears, play inthe snow. Annabelle, with a piece of charcoal, isputting eyes in a snowman. Satisfied, she pulls somethingout of her coat. It is Robert's old, faded tam o'shanter.She sets it on the snowman's head.

ANNABELLERobbie, don't he look like aScotchman?

Robbie, preoccupied, scarcely bothers to look her way.Lela Delbert, carrying a crock, hurries up the path.

LEIA DEIBERT

HOWlS your mother, dear?

(CONTINUED)

86

100 (CONTI 1IlJEJ))ROBBIE

I guess she's better. She'sslttln' up, sewing.

LELA DELBERTSewing?

She hurries on to the house.

WIPE TO

101 -INT. MAMIE'S ROOM - DAY

Mam1& ia·sitting up in bed, her eyes feverish. She 18.ewing on .omething quite extreordinary. It might bedoe eked tableoloth. and .triped rag.. Lela Delbertstands looking at her with concern.

LELA DELBERTMamie" Jamison Eunson, whatdo you think you're doing?

MAMIEMaking the oostumes for Jimmie and.Kirk for the Christmas pantomime.

Cant.t you getyou're ·sick?

LELA DELBERTit through your headI'll finish the costumes.

MAMIELela, don't deny me the pleasure.I'm proud my boys were selected forthe three wise men.

LELA DELBERT(gentler)

Oh, Mamie, you shouldn't concernyourself with these things now.

MAMIEAnd why not? ••

This Lela Delbert cannot answer.

MAMIE (cont' d)Who's going to be the first wise man?

LELA DELBERT-Howie Tyler, I think.

MAMIETell Katie her boy can wear thecostume I'made for Robbie.

( CONTINUED)

.' 101 (CONTINUED)LELA DELBERT

All right.

MAMIEYou'll tell her, won't you?

LELA DELBERTYes. 1'11 tell her. Now youmust be quiet.

MAMIEDo you suppose I'll be wellenough to be there?

875/25/56

102A

102

LELA DELBERT(starting forthe door j

evasively)I brought you some broth. It'swarm ing up .•.•

She exits. Mamie does not seem aware that she is gone,or perhaps she Is only talking to herself.

MAMIE(Wistfully)

Oh, I do wish I could be there .•.

CAMERA MOVES INTO CLOSE SHOT of Mamie. holds a longmoment, then

SLOW DISSOLVE TO

INT. SCHOOL - ACROSS AUDIENCE TO STAGE - DAY

INT. THE SCHOOL HOUSE - DAY

Behind en improvised curtain of bed sheets is set up ahc~e made kresh. Mr. Stephens, helped by Mrs. Stephens,Is t~ylng to bring some order out of the pre-productionchaos. Howle Tyler, Jimmie and Kirk are in their WiseMen costumes. "Mary,· one of the older Raiden girls,Is arguing with Bruce Tyler who Is "Joseph" in a cornsilk beard. The Raiden tWins, who are merely 1n partydresses sInce they are not part of the pantomime are,as usual, harrasslng Jimmle.

FIRST TWINOh, Jlmmie, you look so cute Inyour costume.

JIMMIEAW, shut upl

(r.ON''T'TNTTF.T'l \

101 (CONTINUED)

. 'i'

. '.102

87

LELA DELBERTAll r1ght.

MAMIEYou'll tell her, won't you?

LELA DELBERTYes.· I'll tell her. Now youmust be quiet.

MAMIEDo you suppose I'll be wellenough to be there?

LELA DELBERT(starting forthe door;evasively)

I brought you some broth. It'swarming up ••••

She exits. Mamie does not seem aware that she is gone,or perhaps she is only talking to herself.

MAMIE(w1stfully)

Oh, I do wish I could be there •••

CAMERA MOVES INTO CLOSE SHOT of Mam1e, holds a longmoment, then

SLOW DISSOLVE TO:

INT. THE SCHOOL HOUSE - DAY

Behind an improvised curtain of bed sheets is set up ahome made kresh. Mr. Stephens, helped by Mrs. Stephens,is trying to bring some order out of the pre-productionchaos. Howie Tyler, Jimmie and Kirk are in their WiseMen costumes. "Mary," one of the older Raiden girls,1s arguing with Bruce Tyler who is "Joseph" in a cornsilk beard. The Raiden twins, who are merely 1n partydresses since they are not part of the pantomime are,as usual, harrasslng Jimmie.

FIRST TWINCh, Jimmie, you look so cute inyour costume.

JIMMIEAw, shut up!

(CONTINUED)

88

102 (CONTINUED)

SECOND TWINWe think you're the prett!estwise man of all.

JIMMIE(wanting tothrow up)

Ughl

HOWIE TYLERWhere1s my frankincense?

Mrs. Stephens brln,g:s out three crocks marked, "Frankincense,1t IIGold, f1 IfMyrrh, II and starts distributing themto the wise men.

MRS. STEPHENSRight here, children.

MR. STEPHENSNow you girls go out and sitwith your mother. It 1s time forthe pantomime to comreence1

Be claps his hands, as we

WIPE TO:

103 INT. THE EUNSON KITCHEN - DAY

Annabelle 1s buttoning Elizabeth's pants. Jane toddlingabout aimlessly as Robbie enters staggering under anarmload of wood. He drops it beside the fireplace.

ROBBIEAnnie, did you put the buckwheatin the yeast, like I told you?

ANNABELLELizzie had to go, and she mademe forget.

Robbie picks up the yeast, carries it to the cupboard,and 1s opening the bag of buckwheat when

MAMIE'S VOICE (o.s.)

Rob ••• Rob •••

Robbie puts down the yeast, hurries off toward hallway.

89

ROBBIE

I've got toto see them

lles flat in bed, her eyes wideRobbie, in his mack1naw, takes

a coat tree, lays it over her.

MAMIE(weakly, butwith urgency)

I want to see them.see them. I I va gotall.

As Robbie enters. Mamieopen. She Is shivering.Mamie's beaver coat from

DISSOLVE TO:

MAMIEYes. Now. Hurry.

ROBBIEJimmie and Kirk are be1n' wise men.

ROBBIENo, Mamma. It's me. Robbie.

As the children relax and break from their tableau. Atthe same instant Annabelle1s head appears between thecurtains.

(CONTINUED)

MAMIERob? Is that ybu~ Rob?

MAMIEWhere are the children?

Over the heads of the mothers the Christmas pantomime'Is ending. Three "Wise Men," - Jimmie, Kirk, and HowieTyler, are presenting their gifts - labelled "Franklnscens~""Myrrh," "Gold~ to the infant Jesus, a rag doll in thearms of "Mary" whose halo 1s awry. "Joseph," looks onnervously. Now, from behind camera, Annabelle makes herentrance, tiptoes to spot her brothers over the shouldersand heads of the audi~nce, as the improvised curtains arepulled together by the teacher, Mr. Stephens. There isapplause, and now Annabellesqueezes forward toward thestage as the curtains jerk together.

104 INT. MAMIE'S ROOM - DAY

106 ANOTHER ANGLE - BACKSTAGE - DAY

105 INT. TIlE SCHOOL ROOM - DAY

90

106 (CONTINUED)ANNABEILE

Jimmie - Kirk. Robbie 8ays comehome quick. It's mamma.

The two boys stare at her only a second, then break andrun grabbing Annabelle as they go.

DISSOLVE TO:

107 INT. MAMIE'S BEDROOM - DAY

For a moment we see only Mamie ly1ng quite still in bed.RobbIe enters with Jane 1n his arms. Then come Jimmieand Kirk, (1n their Wise Men costumes), Annabelle and~lzabeth. Lined up beside the bed, they stand nervously.

ROBBIEMamma •••Welre all here.

She opens her eyes. They move from one to the other.

MAMIE(with a faintsmils)

Jeemea ••• K1rk •••Annabelle •••Lizzie. Aw, how nice of all mybrothers and sisters to come tosee me ••••Such a long way fromFair I.le •••• But Kirk - youhaven't written. You could, youknow. I can read now •••

The children look at-each other bewildered. Annabelleoovers her eyes with her hands, then peers through thefingers at her mother. The boys turn to Robbie.

ROBBIE(roughly) •

Well, you're all named for herfamily. Now go on, get out.Mamma don't want to be bothered.

Robbie holds the door open, sets down Jane, and all theohildren troop out silently. Robbie starts to followbut i ••topped by Mamie'. voice.

(CONTINUED)

91

10' (CONTINUED) MAMIERobbie.

ROBBIEYes, MBrrtl11s?

Come here.MAMIE

He goes to her, sits on the bed. Mamie, having a chill,pulls the beaver coat higher.

MAMIE (cont I d)lIm flighty.

ROBmENot now, you're not.

MAMIEI know they're my c~ldren •••And they're bonnie, aren't they?

ROBBIEYes, Mamma.

MAMIEAnybody >lOuld went them.

ROBmEWhat are you talkin' aboutt

MAMIEYou'll be heed of the family.Our friends are kind and meanwell •••But you know what yourbrothers and siaters are like.So I want you to decide wherethey're to be oftered.

ROBBIEDon't talk like that, Mamma.

MAMIEPlace them with familiea thathave children of their own. Thenthey won1t get so loneaome toreaoh other.

"MAHlE (contld)• good place forPromiaef

Robbie ••• • Findyoursel l too.

Robbie oannot .peak, but ~ode hi••••ent.

( CONTINUED)


(wretchedly)II11 get along all right, Mamma.Don't you go worryin' about me ••••

Mamie smiles. Her eyes close and ahe lets go his hand.Once more she begins to wumble incoherently. Robbielooka at her in growing terror and emotion, then stumblesfrom the room.

SLOW DISSOLVE TO

108 EXT. THE EUREKA METHODIST CHURCH - DAY

The bell tolls mournfully against a grey winter sky.A path in the snow leads to the steps ••• A few horses.hitched to sleighs, are tied to posts along the road.The door opens and mourners begin to file out. Somefew leave, but most group themselves about. At the footof the steps are Dr. and Lela Delbert, Celia and HarryBradley. Dutch Fischer and his wife, as big and Germanas he, exit, bow to the Delberts and the Bradleys. whoreturn the bow somewhat formally.

109 MED. CLOSE -

to include the Delberts and the Bradleys. Celia Bradleyis dabbing at her eyes.

CELIA BRADLEYPoor little tykes. Poor littlemotherless younguns.

Through the door come the six Eunson children, all dressedin their best. The boys help the 1itt1s girls down thesteps and they start off, when

DR. DELBERTRobbie, weld like to speak toyou and 'Jimmie.

ROBBIE(to Kirk)

You take 'em home.

Kirk leads the three girls away.

LELA DELBERTWas everything the way you boyswanted it'?'

ROBBIEYes, malam.

(CONTINUED)

9P-

109 (CONTINUED)CELIA BRADLEY

You children all looked 80 nice.

LELA DELBERTAnd conducted yourselves 80 well.

JIMMIEThank you, ma' am.

There is an uncomfortable s11ence. Mrs. Runyon, 1nfashionable black, officiously barges up to the group.

MRS. RUNYONWell, Dr. Delbert, what are wegoing to do about these orphans?

The Delberta and the Bradleya oringe at this oruel word.

HARRY BRADLEYMrs. Runyon, have you no ---

MRS. RUNYON~I suggest you call a mesting of the

council. And the sooner the better,Dr. Delbert.

DR. DELBERT(with authority)

Mrs. Runyon, there's a time andplace. This--

(with a nod atths children)

--- 1s neither one.

She flounoes oft. However, the unfortunate SUbject hasbeen brought up, and cannot be totally avoided. Dr.Delbert puts his hand on Robbie's shoulder.

DR. DELBERT (oont'd)She shouldn't have said that right now --

(with a look at thechuroh)

-- but of oourse we are going tohave to find homes for you.

JIMMIEHomes?

CELIA BRADLEY(kindly)

I'm afraid we can't expeot anyonefamily to take all of you.

(CONTINUED)

9)

109 (CXJNTINUED)LELA DELBERT

Six is a lot.

ROBBIEYou all mean to be kind, I guess,but Mamma said I was to decidewhere we were to go.

DR. DELBERTYou, Robbie?

Yes, sir.the family

ROBBIEI'm - I'mnow.

the head of

plan.

CELIA BRADLEYBut - but you're only twelve.

LELA DELBERTItll tell you what, Robbie.Come see us this afternoon.Maybe by then we'll have a

ROBBIEBut tomorrow's Christmas.us kids stay together forChristmas?

Can't

HARRY BRADLEYWell I don't know. You childrenalone 1n that house?

ROBBIEIt'll probably be our last chanceto be together on Christmas. Socouldn't we make up our minds day after tomorrow?'

The adults glance from one to the other.

JIMMIEThat's not too much to ask, 1s it?

DR. DELBERT{after a pause}

No, Jimmie. I don't think it is.

Robbie, having won a point, takes Jimmie by the arm andindicates that now ls"the time to go. They walk offtogether, Robbie's red plaid mackinaw the only colorin the otherwise black and white scene.

DISSOLVE TO

110 EXT f THE EUNSON HOUSE - NIGHT - MED. LONG

The house stands In the snow snug and warm.glows from the window, and smoke curls fromThe snowman with the tam on his head stands

11:[ INT. THE EUNSON KITCHEN - NIGHT

Candlelightthe chimney.guard.

95

Seated at the kitchen table is Kirk, who has fallen asleep,his head resting on his arms. Looking down at him isJimmie. Robbie kneels in front of the fire, adjusting thelogs with a poker.

JIMMIE(whispering)

Kirk's asleep.

Robbie rises to his feet, looks at Kirk to make sure.

ROBBIE(whispering)

All right. Get Annabelle's slate.'-JIMMIE

What for?

ROBBIESsh. Just go get it.

Jimmie shrugs, exits into the hall toward the bedrooms.

112 INT. THE CHILDREN'S BEDROO M - NIGHT

As Jimmie enters and crosses to the three-quarter bedIn Which now Annabelle, Jane and Elizabeth are all asleep.BeSide Annabelle lIes her slate. Jimmie carefully takesit from under her arm and exits.

11.3 INT. THE KITCHEN - NIGHT

As Jimmie returns. Robbie is seatea at the opposite endof the table from Kirk. Jimmie hands him the slate.

JIMMIEWhatcha goin ' to do?

ROBBIEMake a list of families that11ke kids.

Jimmie sits down near Robbie, who takes the chalk whichhangs from the slate and begins to ponder.

(CONTINUED )

966/25/56

113 (CONT INlED)ROBBIE (cont 'd)

What about the Tylers? They're wellfixed, with the livery stable and all.

JIMMIEThe Tylers? Who for?

ROBBIEAnnabelle. All they've got'sHowie and Bruce. They might likea girl to help Mrs. Tyler.

JIMMIE(considers this)

Well, maybe, but it don't cut noice wha t !2. think.

ROBBIEMamma said r was to decide. And ifI donlt quick weill end up 1n theState Home orphans .

....JIMMIE

Isn It that what we are?

ROBBIE(fiercely)

No, and we never will be.

JIMMIEBut they won't let you decide.

•

ROBBIENot if I wait till day aftertomorrow. And tomorrow's the bestday for me to do what Mwnma told me to.

Kirk stirs. Robbie and J1mmie stare at hlm guiltily, waitfor him to quiet down again. Then-

JIMMIEBut tomorrow's Christmas.

ROBBIEThatts just it. On Christmas weought to get just about anybody wewant to take any of us in.

DISSOLVE TO

114 INT. TYLER DINING ROOM - DAY

CAMERA DISSOLVES IN ON CLOSE SHOT of the steaming turkey,PULLS BACK to reveaI\all the.fixings for a Christmasdinner, and the Tyler3~wlth their two 80n$, Howie and

(CONTINUED)ROBBIE (cont'd)

What about the Tylers? They're wellfixed, with the livery stable and all.

JIMMIEThe Tylers? Who for?

ROBBIEAnnabelle. All they've gottsHowie and Bruce. They mightlike a girl to help Mrs. Tyler.

JIMMIE(considers this)

Well, maybe. but it don't cut noice what ~ think.

ROBBIEMamma said I was to decide.

JIMMIEFat chanoe.

96

Yeah. If Itomorrow.

ROBBIEwai t till day

"after

JIMMIEYou flgurln' to do something yougot no business doln'T

ROBBIE(fiercely)

But Mamma told me to. And tomorrow'sthe only day I can.

Kirk stirs. Robbie and Jimmie stare at him gUiltily, waitfor him to quiet down again. Then-

JIMMIEBut tomorrow's Cbristma~

ROBBIEThat's just it. On Christmaswe ought to get just about anybody we want to take any of usin.

DISSOLVE TO

l~ U1I'. TYLER DINING ROOM - DAY

CAMERA DISSOLVES IN ON CLOSE SHOT of the steaming turkey,PULLS BACK to reveal all the fixings for a Christmasdinner, and the Tylers with their two sons, Howie and

(CONTINUED)

· ,

114 (CONTINUED)

Bruce. The boys steal hungry glances at the turkey asHoward speaks Grace,

HOWARD TYLERFor what we are about to receivethis Christmas day, may the Lordmake us truly thankful. Amen.

HOWIEPapa, I want the drumstick. Remember?

HOWARD TYLER(with good humor)

Now, just hold your horses oryou'll get the part that wentover the fence last.

The boys settle back reluctantly to watch Howard carve.

KATIE TYLERI feel so bad about the Eunsonchildren.

HOWARD TYLERThey're probably having Christmasdinner with the Delberts, or theBradley-a.

KATIE TYLERWe should have made sure.

We hear the sound of a TIMID KNOCK on the door.

HOWARD TYLERNow who could that be? Folksshould be home enjoying theirvictuals this"time of day.

Katie Tyler rises and exits. Howard goes on carving.

HOWIE(irrelevantly)

Papa, what 1 S frankincense?"

HOWARD TYLERIt's what one of the wise mentook to the baby Jesus.

HOWIEI know that. I took it to him.But what is it?

HOWARD TYLERWell, it's a - it's a sort of a oh, well, ask your mother.

(CONTINUED)

97

986/25/56

114 (CONTINUED)

Katie reenterslook scrubbed.bulky bund Ie.

with Robbie and Annabelle.Annabelle 1s carrying her

Bothslate

of themand a

('

Look who IKATIE TYLER

found. Robbie Eunson.

ROBBIEAnd Annabelle.

HOWARD TYLER(rising)

You'll have Christmas dinner with us.And dontt argue. We won't take No,wIll we Katie?

KATIE TYLERWe certainly will not.

ROBBIEBegging your pardon, Mrs. Tyler,but I was wondering - that Is,Jimmie and I was - if you didn.tneed a - well - a sort of sisterfor Howle and Bruce q

ANNABELLE1 'm your sister, Robbie.

ROBBIEI know you are, Annie, but - youcould be their sister too.

(to Katie Tyler)Annabelle here's a good little girl,and she'd be an awful help to you.She's - that Is she was - learning tosew and she can wlpeOfshes and sheknows her ABC'S.

ANNABELLE(automatically)

a-b-c-d ...

HOWIEWhat you got in that bundle?

ANNABELLEe-f-g •••

(to Howie, primly)My clothes, silly. What'd youthink? ••• e-f-g-h •••

KATIE TYLERHoward. It's Christmas.

HOWARD TYLERI know, Katie, but -

ANNABELLEi- j -k •••

ANNABELLE (cont'dI-m-n-o ...

, ,.. ",,,Tm T1lT'r.'T'l ,

114 (CONTINUED)

Katie reenterslook scrubbed.bulky bundle.

with Robbie and Annabelle.Annabells is carrying her

Both or themslate and a

96

KATIE TYLERLook Who I found. Robbie Eunson.

ROBBIEAnd Annabelle.

HOWARD TYLER(rising)

You'll have Christmas dinner with us.And don't argue. We won't take No,will we Katie?

KATIE TYLERWe certainly will not.

ROBBIEBegging your pardon t Mrs. Tyler,but I was wondering - that Is,Jimmie and I was - if you didn'tneed a - well - a sort of sisterfor Howie and Bruce.

ANNABELLEI'm your sister, Robbie.

ROBBIEI know you are, Annie, but - youcould be their sister too.

(to Katie Tyler)Annabelle here's a good little girl,and she'd be an awful help to you.She's - that 1s she was - learning tosew and she can wipe-aIshes and shelmows her ABC's.

ANNABELLE(automatically)

a-b-c-d-e-f-g-h•••

HOWIEWhat you got in that bundle?

ANNABELLEI- j-k-l

(to Howie, primly)My clothes, silly, What'd youthink? ••• M-n-o-p-

, KATIE TYLERHoward. It's Christmas.

HOWARD TYLERI know, Katie~ but -

( CONTINUED)

114 (COJi'l'DiUED )

KATIE TYLERWetve always wanted a girl.

ANNABELIEp_q_r_s_t •••

6/25/5699

ROBBIEMamma always said Annabelle wasa mighty good helper.

Emotionally Howard kisses Katie. When he lets her go.she turns away and blows her nose. Howard squatsbeside Annabelle and starts removing her ooat.

HOIYARD TYLERDo you think you'll like livingat our house'

AINABELIEI don't know. Mr. Tyler.

ROBBIESure, Mr. Tyler. She'll likeit a lot. She likee anybodythat's good to her.

HOWARDW.'ll be good to her, Robbie. Iguess you Rnd I know eaeh other.

ROBBIEI know ,.ou, 1Ir. Tyler •..

Annabelle whisks orr her stocking cap and stands looking~p at her new father an4 mother.

HOWARD(with wonder)

J'or what we have just received,may the Lord make us tl'U1,. thankrul.

DISSOLVE 2'0,

115 EXT. LONG SHOO' OF' A HOUSE lIE IIAVE NOO' SEEN BEFORE _ IllY

Icicles hang rrom the eaves, and no smoke 11 eomlng tramthe chimne,.. We s.. Jimmie BANGING on the door. Behindhim, seated on the .led i. Elizabeth. Jimmie, looks backat the little giri uneasily, goes to one or tpe windows,peers In, then glv,es up and pulls the sled away.

DISSOLVE TO

99

114 (CONTINUED)ANNABELLE

Q-r-s-t-u-

KATIE TYLERIt's not Christmas unless you'regiven one present you didn't asktor.

ROBBIEMamma always said Annabelle was amighty good helper.

KATIE TYLER(to Howord»

We've always wanted a girl••••

Emotionally Howard kisses Katie. When he lets her go,she turns away and blows her noae. Howard squats besideAnnabelle and starts removing her coat.

HOWARD TYLERDo you think yOU'll like livingat our house?

Annabelle does not answer. She is removing her mittens.

ROBBIESure, Mr. Tyler. She'll like ita lot. She likes anybody that'sgood to her.

BOWARDWeill be good to her, Robbie. Iguess you and I know each other.

ROBBIEI know you. Mr, Tyler.

Annabelle whisks o~t her stocking cap and stands lookingup at her new father and mother.

HOWARD(with wonder) >

For what we have just received,may the Lord make us truly thankful.

DISSOLVE TO

115 EXT. LONG SHOT OF A HOUSE WE HAVE NOT> SEEN BEFORE ~ DAY

IcIcles hang from the eaves, and no smoke 1s eoming tromthe chimney. lie see Jimmie BANGING on the door. Behindhim, 8 sated on the sled 1s Elizabeth. JiDmlie looks backat the little girl uneasily, goes to one of the windows,peers in, then gives up and pulls the sled awayo

DISSOLVE TO

6/25/56100

116 EXT. DR. DELBERT'S HOUSE - DAY

Smoke pours from this chimney, and the path from wicketgate to front door 15 cleared of snow. Direotly, Robbie,having a bit of a struggle, leads the cow by her halterto the gate where he ties her and goes on up to the house,KNOCKS. At'ter a moment, Dr. Delbert opens the door.

DR. DELBERTWhy, Robbie. Come on in. Wewere just talking about you.

ROBBm'lrell, no - thanks just the same.I just brought you ole Kolly.

DR. DELBERTOld Molly1

ROBBIEYes, sir. The 0011'.

DR. DELBERTI don't quite understand, Robbie.lIhy would you bring me your cow1

ROBBmTo pay the debt. You know - forKirk, and _ and papa _ and mamma.

DR. DELBERT(controllinghis emotion)

That isn't your debt, boy.

ROBBIE(stubbornly)

",..'4 want me to pa'T_ rtd be mlohobliged if you'd take old Molly.

Dr. Delbert 1IlU8t tUl"D away for a m.oment. 'rhenMrs. Delbert come_ to door.

DR. DELBERTRobbIe •••Mrs. Delbert and I wouldbe happy to taka one of you children.

ROBBIEwen, Dr. Delbert, I appreciate itand all that, but with both your girlsmarried, and Millie with a baby an' all •••

MllS. DELBERT(not offended)

Yes. That makes us grandpannts,doesn't it~ Too late to .tartanother family. Is that it1

100

116 EXT. DR. DELBER'r' SHOUSE - DAY

Smoke pours from this chimney, and the path f'rom wicketgate to front door 1s cleared of snow. Directly~ Robbie.haVing a bit of a struggle, leads the cow by her halterto the gate where he ties her and goes on up to the house,KNOCKS. After a moment, tT. Delbert opens the door.

DR. DELBERTWhy, Robbie. Come on in. Wewere jus t talk ing abou t you 0

ROBBIEWell, no - thanks just the same.I just brought you ole Molly.

DR. DELBERTOld Molly?

ROBBIEYes, sir. The cow.

DR. DELBERTI donlt quite understand, Robbie.Why WGuld you bring me your cow?

ROBBIETo pay the debt. You know - forKirk, and - and papa - and mamma.

DR. DELBERT( contro llinghis emotion)

That isn't your debt, boy.

ROBBIE(stUbbornly)

Mammatd want me to pay. ltd be muchobliged if you'd take old Molly.

Dr. Delbert must turn away for a moment. Then-

DR. DELBERTRobble •••Mrso Delbert and'r wouldbe happy to take one of you children•.

ROBBIEWell, Dr. Delbert, I appreciate itand all that, but with both your girlsmarried, and Millie with a baby an I all•••

DR. !ELBERT(not offended)

Yes.. That makes us grandparents,doesn l t it? Too late to startanother family. Is that it?

(CONTINUED)

6/25/56101

116 (CONTINUED)ROBBre

Well _ gee - wel1 g you know Mammaand Papa thought the world of youboth, but -

DR. DELBERTYouvve got a head on your shoulders.Place the children where you thinkit's fit. I'll back you up.

ROBBIEAnd you'll take old Molly?

DR. DELBERTI'll take old Molly.

Robbie turns and walks away, down the path, asDr. Delbert looks after him in admiration.,

DISSOLVE TO

117 EXT. MAIN STREET _ EUREKA _ DAY

Jimmie, hauling Elizabeth on the sled, meets Robbie comingfrom the opposite direction directly in front or DutohFischer's saloon. It is closed on Christmas Day, and awreath decorates the window.

ROBBreWhat's the matter? Wouldn't thePotters take her?

JIMMIEThat weren't to home.

/ ROBBreGee, I thought folks would be homeChristmas.

JIMMreWhat'11,we do? We cantt keep herout muo~ longer. She's gettln' blue.

I.,1 ,

Elizabeth whimpers. Jimmie looks desperately about.notices the salooD.

JIMMIE (oont' d)There's Fischers i •

(points )Right up there.

ROBBreI'm surprised at you, James Eunson.You know how Mama felt about saloons.

Elizabeth continues to wh~per. Jimmie stoops, bundlesher up tighter.

(C ONTINUED)

101


Well - gee - well, you know Mammaand Papa thought the world or youand Mrs. Delbert, but -

DR. DELBERTYou've got a head on your shoulders.Place the children where you thinkit's fit. 1 1 11 back you up.

ROBBIEAnd you'll take old Molly?

DR. DELBERTI'll take old Molly.

Robbie turns and walks sway, down the path, asDr. Delbert looks after him in admiration.

DISSOLVE TO

11 7 EXT. MA IN STREET - EUREKA - DAY

Jimmie, haUling Elizabeth on the sled, meets Robbiecoming from the opposite direction directly in front ofDutch Fischer's 8&100no It is closed on Christmas Day,and a wreath decorates the window~

ROBBIEWhat's the matter? Wouldn't thePotters take her?

JIMMIEThey weren't to home - and afterI hauled. her clear down the river,half-way to Delhi, seemed like.

(pronounced Del-high)

ROBBIEGee, I thought folks would be homeChristmas.

JIMMIEWe can't keep her out much longer.She's gettln' blue.

Elizabeth whimpers. Jimmie looks desperately about,notices the saloon.

JIMMIE (cont'd)There's Flachers'.

(points)Right up there.

(CONTINUED )

6/25/56102

117 (CONTINUED)JDlMJE

You hushp Llzz1s. We're do1n'everything we can to get rid or you.

From the distance we hear the faint SOUND of SLEIGHBELLS.Both boys look off.

116 ANOTHER ANGLE - A HORSE AND CUTTER COMING ALONG AT A TROT

Driving the cutter is Mro Stephens in a fur coat.Beside him Is his wire 0

119 BA.CK TO SCENE _ ROBBIE AND JIMMIE

They turn to each other conspiratorially.

JIMMIEWhadya think?

ROBBIEBut the Stephana don~t have nokids of their own.

JIMMIEYeah$! but you know how mannna~avored book lea~in'o

ROBBIEBut w;hat if Lizzie grew up to bea schoolteacher?

JIMMIE(looking at her)

weIl D right now she's homel,. enough.

The sound of the SLEIGHBE~~ is louder and louder.

ROBBIEWeIll' maybe it's the best we cRn do.

Robbie walks away and Jimmie kneels down and says:

JIMMIENow you be a good girl p Lizzie •

Butit,

.the cutter' is I upon them before they heve thought onand Mr. Stephens pulls the horse to a Bloop.,

MR. STEPHENSRObert. Mrs. Stephens a.nd I havebeen at your house.

MRS. STEPHENSWe thought there might be somethingwe could do.

(CONTIJf1JED)

102117 (CONTINUED)

ROBBIEI'm surprised at you, JamesEunson. You know how Mammafelt about saloons.

Elizabeth continues to whimper. Jimmie stoops, bundles herup tighter.

JIMMIEYou hush, Lizzie. We're dain'everything we can to get rid of you.

From the distance we hear the faint SOUND of SLEIGHBELLS.Both boys look off.

lIB ANOTHER ANGLE - A HORSE AND CUTTER COMING ALONG AT A TROT

Driving the cutter is Mr. Stephens in a fur coat.Beside him is his wife.

119 BACK TO SCENE - ROBBIE AND JIMMIE

They turn to each other conspiratorially.

JIMMIEWhadya think?

ROBBIEBut the Stephens don't have nokids of their own.

JIMMIEYeah, but you know how mammafavored book learnln f •

ROBBIEBut what if Lizzie grew up to bea schoolteacher?

JIMMIE(looking at her)

Well, right now she's homely enough.

The sound of the SLEIGHBELLS is louder and louder.

ROBBIEWe better think on it fast.

But the cutter 1s upon them before they have thought on it,and Mr. Stephens pulls the horse to a stop.

MR. STEPHENSRobert, Mrs. Stephens and I havebeen at your house.

MRS. STEPHENSWe thought there might be somethingwe could do.

(CONTINUED)

6/25/56103


(quick decision)You did? Well, there is, ir - well I mean -

MR. STEPHENS1 1 m not quite the ogre-you thinkme in the classroom. Speak up.

ROBBIEWell - I thought maybe you and Mrs.Stephens might like to take Elizabeth.

(points)Thatls her.

MR. STEPHENSThat Is she.

MRS. STEPHENSTake her?

ROBBIEWell, sort of adopt her. Shedoesn't look very pretty right nowbut you'll learn to like her.M~B ~d Papa did. Mamma neverhad any favorites, but if she had,I guess Elizabeth would have beenthe one.

Jll!MIE(sotto voce)

She wasn't her favorite.

ISh,hhhi

ROBBIE

MR • STEPHENS

The S~~pheq~ react to Robbie 1 s cover-up~

Mr~· arid Mrs. Stephens stare at Elizabeth, then turn toeach other.

,(quietly)

You wouldn't care to shoulder thisresponsibility, would you, Grace?

MRS. STEPHENS'Wouldn't I justl

.She jumps down out of the cutter, holds out lier arms toE11zabeth. Both boys are afraid of Elizabeth's reaction.She sits per£ectly still, but has stopped wailing.

(CONTINUED)

,.

J.l9 (COll'rlNUED)ROBBIE

(quick decision)You did? Well, thereI mean -

is, if - well -

103

I

MR. STEPHENSI'm not quite the ogre you thinkme ~n the classroomo Speak up.

ROBBIEWell - I thought maybe you and MrsoStephens might like to take Elizabeth.

(points)Thatls hera

MR. STEPHENSThat is she.

MRS. STEPHENSTake her?

ROBBIE( selling)

She's klnda shy, and it may takeher-a while to warm up to you,

'but -

JIMMIELeastways shels quieta

Elizabeth begins to wail agalno Jimmie rrowns o

JIMMIE (cont'd)Well - she gener'ly Is,

llOBBIEMamma never had no favorites, butif she did I guess Elizabeth wouldhave been ito

Mr. and Mrs. Stephens stare at Elizabeth, then turn toeach other o

MR. STEPHENS( quietly)

You wouldn't care to shoulder thisresponsibility, would you, Grace?

MRf>. STEPHENSWouldn't I justl

She jumps down out of the cutter, holds out her arms toElizabeth. Both boys are afraid of Elizabeth's reaction.She sits perfectly still, but has stopped wailing.

(CONTINUED)

119 (CONTINUED)

Go on, Lizzie,bite you.

The child makes no move.

ROBBIEMrs. Stephens won't

JHiMIE

6/25156104

(to Mrs.Stephens)

Lizzie likes to get her own way,but donlt take no nonsense off'nher.

To their amazement Elizabeth puts out her arms to Mrs.Stephens, who lifts the child In delight, holds her upto her husband for inspection.

Look, Frank,yours.

MRS. STEPHENSHer eyes are like

Mr. Stephens stares at the child with approval. She handsElizabeth up to ~r husband, then climbs in beside him.

MRS. STEPHENS (cont'd)You boys come to see us wheneveryou can.

ROBBIE(as Mr. Stephenscluoks to thehorse)

Yes, ma'am.

He looks down at the empty sled as the outter disappears.

ROBBIE (cont' d)Her eyes aren't like that oldschool teacher's.

Of' course not.Papa's.

JIMMIEThey're like

(CONTINUED)

!

\

104n9 (CONTINUED)

ROBBIEGo on, Lizzie, Mrs. Stephens won!tbite you.

The child makes no move.

JUUHE(to Mrs.Stephens)

Lizzie likes to get her own way,but don't take no nonsense offlnher.

To their amazement Elizabeth puts out her ~rms to Mrs.Stephens, who lifts the child 1n delight, holds her upto her husband for inspection.

Look, Frankoyours.

MRS. STEPHENSHer eyes are like

Mr. Stephens stares at the child with approval. She hAndsElizabeth up to her husband, then climbs in beside him.

~S. STEPHENS (cont'd)You boys come to see us wheneveryou can.

ROBBIE(as Mr. Stephensclucks to the horse)

Yes, ma'am.

He looks down at the empty sled as the cutter dlsappears~

ROBBIE (cont I d)Her eyes aren't like that oldschool teacherts.

JIMIAIEAnd she's not mamma's favorite.Kirk is.

ROBBIEI just said ths. t.

JIMMIEThat's - that's hyp - hypocrisy_You know how Papa and the GreatScot Bobbie Burns felt abouthypocrisy.

ROBBIE(amazed)

Did you see the way she put outher arms - to a perfect stranger?

(CON TINUED)

,. 6/25/56105


(puzzled, looksaf'ter cut tar)

She didn't even wave Goodbye.

JIMMIEKids forget awrul fast.

ROBBIE(kickingat snow)

Yeah.

The two boys turn and, pulling the empty sled arterthem, trudge off down the street.

DISSOLVE TO

120 EXT. EUNSON CABIN - DAY

KIRK(excited)

Mrs. Runyon's inside. Saysshels going to take Jane.

JIMMIENot ole Runyonl

, KIRKSays it's her Christian Duty.She's putting her things on.What're we going to do?

JIMMIE(to Robbie)

Tell ole Runyon she's alreadypromised to the E111869.

ROBBIEShe kno~s tem. She'd ask 'em.

and J1mm1e

Well - what t reRobbie?

JIMMIEyou going to do,

(CONTINUED)

lOS


(disgusted)Yeah, after us tellin' 'em shewas shy.

ROBBIE(puzzled)

She used to be ••••(looks aftercutter)

She didn't even wave Goodbye.

JIMMIEKids forget awful fast.

ROBBIE(kicking at

snow)I guess that's a good thing •••

The two boys turn and, pullingtrudge off down the street.

120 EXT. EUNSON CABIN - DAY

the empty sled after them,'-'

DISSOLVE TO

,

Kirk paces anxiously. When he sees Robbie and Jimmiecoming with the sled he runs to meet them.

KIRK(excited)

Mrs. Runyon's inside. Says she'sgoing to take Jane.

JIMI4IENot ole Runyonl

KIRKSays it's her Christian Duty.She's putting her things on.What're we going to do?

JIMMIE(to Roobie)

Tell ole Runyon she's alreadypromised to the Ellis8s.

ROBBIEShe knows 'em. She'd ask 'em.

JIMMIEWell - what're you going to do,RobbIe?

(CONTINUED) .

120 ( CONTINUED)ROBBIE

I don 't lmow ••• Something.

By now they are at the front door. They enter.

121 INT. TIlE EUNSON KITCHEN - DAY

Ij

1

The kitchen Is in a mess, with unwashed dishes, etc. Asthe boys enter from outside, Mrs. Runyon with J~ne in herarms, comes from the inner hall.

ROBBIEYou can't have Jane, Mrs. Runyon.She's promised.

MRS. RUNYONShe Is? To whom?

ROBBIEYou don't know 'em.

MRS. RUNYONI know everybody in Eureka.

ROBBIEWell - you see, Mrs. Runyon, thesefolks - ah - er - don't live inEureka. They -- they1re

JrIDlIE(coming tothe rescue)

Up to Berlin?

ROBBIE(relieved)

That's right. Up to Berlin.

MRS. RUNYONI think youtre prevQrlcatlng.

ROBBIEBegging your pardon, Mrs. Runyon,but I don I t care what you think.Mamma told me to do what I'm doing.

MRS. RUNYONThat's ridiculous. I'll go straightto Dr. Delbert.

ROBBIEIt won I t do you no good

(as an afterthought)- Ma 'am. Dr. Delbert said I coulddo it and he'd back me up.

(CONTINUED)

I107

121 (CONTINUED)MRS. RUNYON

I'll see about this! I'll call anemergency meeting of the councilmyself. Right now.

(puts Jane onthe table)

Dr. Delbert must be senile!(starts for thedoor, opens it)

I'll be back within an hour.

Jimmie and Kirk turn to Robbie for his decision. She exits.

ROBBIEYou take Kirk over to - to Mr. andMrs. Cramer.

JIMMIEBut we had the Gustaffsons wrotedown for Kirk ..

ROBBIEYeah, but they live way up country.And we only got an hour.

JIMMIEWhat's that got to do with theprice of eggs?

ROBBIEDon't you see? I can't start offwith Janie until we get Kirk placed.

Kirk glances from one to the other rQrlornly ••

-- --- - - - JIMMIEThe Cr"smers ".,: they d on It ha VB nokid s neither.

ROBBIE.But Mrs. Cramer's got the only realpie-ano in town. Tell her Kirk caDfiddle pretty good.

KIRK(beginningto cry)

I don't want to go. I want to staywi th you.

ROBBIEYou canlt~ Kl~k. Nobody's goingto stay here no mo~e.

Robbie looks about, sees the little fiddle hanging on the ..wall. He grabs it, thrusts it roughly into Kirk's hands.

(CONTnIUED )

6/25/56108

121 (CO NT lNUED)KIRK

But I don't waona go.

Get a move onla cry baby.

ROBBIEAnd don't

KIRK

bo

12lA

121B

(crying)I don't want to go, Robbie.

ROBBIEWho do you think you are?Annie dldn l t cry. Even Lizziedidn't cry. You're eight yearsold, Kirk. Donlt you cause notrouble. Stand on your owntwo :feet!

He shoves Kirk away from him and pushes him outside.

EXT. CABIN - DAY - SNOW

Jimmie takes Kirk by the hand and leads him out the door.Robbie stands on the porch for a long moment. The weightof what he is doing 1s almost too heavy and he is on theverge of breaking. He sees the snow man melt1ng~ Hecrosses to it, takes the tam off and, as be crosses back,he sees the tree with the names carved on it. He breaksdown. Then he pulls himself together, goes back intothe house.

INT. CABIN - DAY

He looks about the room, spots the pot of yeast where heleft it days ago. He goes to it, smells it, takes it totho oink, dumps it, and (aftor priming tho pump) washosit down the drain. Then he draws a bucket of water,takes it to the fireplace, pours it on the fire. Hestares down at the hissing steam and faintly (superimposed, of course) he hears the SOUNDS of his memories- popping corn - children's voices 1n a babble fromwhich Annabelle's little voice comes clear saying, nOh,Robbie, weren't you scared?" ••••Robert's voice saying,~erything will ,look different tomorrow when the suncomes up." •••Mamie's voice as she learned to read - -Hefound a littlo babo on tho stops ••• Ho hold it to thofire until it was warm and then took it in his arms ••• "Robert's voice saying, "0 Thou, who kindly dost providefor every creature's want. We bless thee, God of nature.;Wide, for all thy goodness lento" Mamie's panic-stricken

(CONTINUED)

,

\.

108

121 (CONTINUED)ROBBIE (cant'd)

Get a move onI

KIRK(crying)

I don't want to go, Robbie.

ROBBIEAnnie didn't cry. Even Lizziedidn't cry. You're eight yearsold, Kirk. Don't you cause notrouble. Stand on your own twofeet!

He shoves Kirk away from him. Jimmie takes Kirk by thehand and Ie ads him out the door. Robbie stands in themiddle of the room for a long moment. The weight of whathe 1s doing 1s almost too heavy and he 1s on the vergeof breaking. However, he pulls himself together, looksabout the room, spots the pot of yeast where he left itdays ago. He 60as to it, smells it, takes it to the sink,dumps it, and (after priming the pump) washes it down thedrain. Then he draws a bucket of water, takes it to thefireplace, pours it on the fire. He stares down at thehissing steam and faintly (superimposed, of course) hehears the SOUNDS of his memories - popping corn - children'svoices in a babble from which Annabelle's little voicecomes clear saying, "Oh, Robbie, weren't you scared?" •••Robert's voice saying, "Everything will look differenttomorrow when the sun comes up." ••• Mamie t s voice as shelearned to read - "He found a little babe on the steps .••He held it to the fire until it was warm and then tookit in his arms •.• 11 RObert's voice saying, "0 Thou, whokindly dost prOVide for every creature's want. We blessthee, God of nature wide, For all thy goodness lent."Mamie's panic-stricken voice crying out as she did whenshe discovered Robert was sick, "Robbie, Robbie." Thenthe voices cease, and from behind him comes an actualsound - Jane in her baby treble calling "Wobbie, Wobbie."He turns, goes to her, starts to shake her into hersweater, leggings and coat. As he does so -

ROBBIEGee, Janey, yOU'll soon be talkin'good.

Then he puts aconceals her.in, panting.

bigThe

stocking cap on her head.door opens with a bang and

It allJimmie

butrushes

Did theROBBIE (cant'd)

Cramers take Kirk?

.\.,

(CONTINUED)

6/25/56108A

121B (CONTINUED)

voice crying out as she did when she discovered Robertwas sick, "Robbie, Robbie." Then the voices cease, andfrom behind him comes an actual sound - Jane 1n her babytreble calling, "Robbie, Robbie." He turns, goes toher, starts to shake her into her sweater, leggings andcos t • As he doe 8 80 -

JANEYHello, Robbie.

'I

Then he 9uts a big stocking cap on her head.but conceals her. The door opens with a bangrushes In, panting.

ROBBIEDid the Cramers take Klrk?

It alland Jimmie

I1

II

I

(CONTINUED)

_.'

,,.

109

121 (CONTINUED)

Jimmie is too breathless yet to answer. He nods.

ROBBIE (cont'd)You didn't see ole Runyon,did you?

Jimmie shakes his he ad.

JIMMIEWhatcha going to do wi th Jaoey?

ROBBIEPull her up to Berlin.

JIMMIEBut I just said that. Berlin'sten miles --SY-the river.

ROBBIEI'll bring our skates back toyou - sometime.

JIMMIEYou·st~ln' up there?

ROBBIEI'm going to work at Cullen'sloggin' C8lllp.

JIMMIEAnd not go to school no mare?

ROBBIEUh uh.

JIMMIE(enviously)

Lucky.

Jlmm.ie crosses to be Ip Robbie pull on Jane IS m1 ttens o

JIMMIE (cant 'd)You can keep the skates. Theskates and my sled for your redsled. Fair enougp?

(CONTINUED)

110

121 (CONTINUED)

ROBBIEFair enough.

(after e moment)You talked to the Raidens?

JIMMIEI don I t have to. The y ' 11 take me ..Mrs. Ra1den's always lallygaggln'how she wisht she had a boy like me.

ROBBIEWell, she got her wish. COlm on,Janey.

The boys take Janets hands and lead her out the door.

122 EXT. 'I.'IIE EUNSON CABIN - LATE AFTERNOON

As the boys come out of the house With Jane. They closethe door carefully behind them. Two sleds stand at the.foot of' the steps and, nearby, tre soowman with the tamset rakishly on one side of its head. Robbie lifts Janeonto one sled, tucks her beneath a blanket. Then hetakes down his skates which hang beside 'the door. Theirrunners turn up to support tinkling bells. Robbie putsskates on the sled. Jimmie stands looking demn at him.

ROBBIEBetter skedaddle, or first thingyou mow ole Runyon'11 get you ..

Jimmie does not move.

ROBBIE (cont'd)(lookin(l upat him)

You like tem all right, den I t you?

JIMMIELike who?

ROBBIEThe Raidens.

(CONTINUED)

,

111

122 (CONTINUED)

JIMMIEI like 'ern all right.

ROBBIEThen what's eatin' yaY

JIMMIEAll those girls I I can justhear 'em.

(falsetto)"This 1s our new brother, Jimmde.Ain I t he cut e Y".

ROBBIE(ris ing)

Well, ain't you?

Jimmie swings on him. Robbie, totally unprepared, falls.Jlmnje goes to the ground with him. They tus sle andgrapple, and Robbie flnslly pins him 10 the ground.

ROBBIE (cont'd)(panting)

Give up?

JIMMIEGive up ••••Lemme gol

ROBBIENot till you say you're cute 0

JIMMIE(with dlsgus t)

All right. lim cute.

Both boys rise, brush off the snow, straighten theirclothes. This Is the moment they have dreaded, and theydo not know what to do with it.

JIMMIE(looking dO'l'mat Jane)

Sorry I popped you, Robbie"

ROBBIE(also staringat Jane)

I had it caminl to me. But yououghta watch your temper.

(CONTINUED)

J...l<:::

122 (CONTINUED)

JIMMIEGee, I got a terrible tempero

They turn and stare at the house o After a moment -

JIMMIE (cont'd)GOin' to sell it, Robbie?

ROBBIENot ye t awhile.

(looks backat Jimmie)

You go .t:irst.

JIMMIESkate down once in a waile?

ROBBIESure. Every chance I get 0

(begins to grin)An' don't start wearin' dresseswi th all those gi rls around.

JD~MIE

You shut upJ

Jimmie picks up the rope to the red sled and starts offoCAMERA HOLDS on him as he rounds the corner 0 f the house 0

Just before he disappears from sight he tur'ns to wave,then exits. Now CAMERA PANS TO spot where Robbie andJane have been. They are gone. We see Robbie I s footprints in lne snow. CAMERA DOLLIES INTO CLOSE SHOT ofthe &lowman with its jaunty tam.

DISSOLVE TO

123 INT. 'mE TYLER DINING ROOM - DAY. As seen through window.Annabelle and Mrs. Tyler are clearing the table of theChristmas dinner. Both are smiling as Annabelle, assumingher new responsibilities, stacks the dishes. Directly wesee two mittened hands reach for the window s1l1 and thenthe back of Robbie's head as he pulls himself up and looksin the window. Neither Annabelle nor Mrs. Tyler sees himand in a moment, his head d1sappears o

WIPE TO

124

113

EXT. THE RAlDEN FRONT DOOR - DAY

Jimmie reluctantly approaches. He raises his hand toknock and then pauses. A bachelor's freedom Is somethinghe relinquishes reluctantly. But what must be must be.He knocks. Almost instantly the door flies open and thetwins stand t:t::ere looking their astonlffiment and delight.Each one grabs an arm, pulls him into the hOlls e as theother three girls swarm around him and the door closes.

DISSOLVE TO

125 EXT. FOX RIVER - LATER AFTERNOON

In a SERIES OF SHOTS we see the poignant Christmasjourney.. It is a magic experience, poe tic, aimes t picturebook, legendary, with nothing eerie about it. Througha SERIES of DISSOLVES AND CUTS - IN LONG SHOTS ANDCLOSEUP - we record the journey up the frozen Fox River ..As darkness closes In, it begins manow. Pulling thesled behind him, Jane begins to whimper and Robbie stopsto wipe her nose and comfort her. As he trudges on,finally she sleeps.

DISSOLVE TO

126 EXT. THE FOX HI VER - NIGHT - LONG SHOT

!I

Out of the darkness appearsof Robbie pulling the sled.stops, looks off.

dimly the plodding figureHe walks into a CLOSE SHOT,

127 EXT. A MODEST HOME ON THE BANK OF THE RIVER - NIGHT -LONG SHOT

Snow falls over scene, making it almost a Grandma Mosespicture postcard. One windcm of the li ttle salt boxhouse is brightened by a Chris tmas tree.

128 CLOSE - ROBBIE AND JANE

As he decides this is the house to tryo He pulls thesled genUy out of scene.

129 MED SHOT - THE HOUSE ON THE RIVER

As Robbie pulls the sled toward it. Now we hear theSOUND of a family singing a Christmas carol, Robbiedrops the wooden tongue of the sled, am approachesthe house. He mocks.

I like wo Ii< ingI'll he fine.

114

130 CLOSE SHOT - ROBBIE BEFORE WE DOOR OF THE HOUSE

CAMERA FOLLOWS h1m BACK to sled. He 11fts the sleepingJane, carries her to the door. It opens. He and thebaby are bathed in light from the in tariar. In the doorway stands MRS. CLARY, a pleasant, jolly, motherly woman.She looks down, sees the incongruous pair.

MRS. CLARYWell, for tlle mercy's sake l

ROBBIE(tired)

Please malam, I wonder if you'dcare to have a baby.

She opens tiE door Wide, beckons for them to enter, thencloses the door gently behind them.

CAMERA HOLDS ON the door, as the theme of the Chris tmascarol, orchestrated and with a chorus, swell s. As itdoes so, night turns to day, the snow stops falling, theSun'R rays brighten the door. Then the MUSIC proceedsd1:m1nuendo. The door opens. Robbie, in his mackinaw,steps out, followed by Mrs. Clary.

MRS. CLARY(wi th concern)

You sure you III be all rlEi'P t?

ROBBIE(emiling - reallyhappy)

Oh yes, rna 'am.for Mr. Cullen.

MRS. GLARYWell, don t t worry about yourbaby s1s tar. We'll treat be rlike she was our own 0

ROBBIEThanks, Mrs. Clary.

He s tarts off.

(CONTINUED)

II

115

130 (CON TINUED)

MRS. CLARYYou come see her sometime ......

ROBBIE(without turning)

Yes, rna 'am. And I've got four others to see,tool

Robbie runs off.

131 ANOTHER ANGLE - FROM MRS. CLARY'S P.O. V.

The boy runs down to tre river, crosses 1 t, end beginsto climb - slower nON - the opposite bank. And now as'lEE END is slowly superimposed over scene, Robbie findsw1.nding path into the trees and climbs steadily, disappearing, reappearing. And as he climbs, the Chris tmas carolsegues into the theme and incidental sounds of our TonePoem of the Woods, grow 1ng louder and louder, as thefigure of Robbie grows smaller and smller. And finallydisappears 1n the forest.

FADE OUT

TIlE END

all mine to give (1956 shooting script)

Documents

robbie comingfromthe

delbert 1ilu8t tuldawayfor

jimmie stoops

jimmie bangingon

w i n d o w

jimmie contdtheres flachers

fromthis chimney

closedonchristmas day