"PORTRAIT OF JENNIE" Screenplay by Paul Osborn, Peter Berneis, Ben Hecht and David O. Selznick Based on a novel by Robert Nathan Adapted by Leonardo Bercovici 1947 SHOOTING DRAFT FADE IN: 1. A HIGH SHOT OF THE NEW YORK SKYLINE DISSOLVE TO: 2. EXTERIOR METROPOLITAN MUSEUM - DAY It is a cold wintry day and, although there is no snow, an icy wind whips around the building. DISSOLVE TO: 3. INSERT - METROPOLITAN MUSEUM NAME PLATE Superimposed over this is the following legend: (To be supplied) DISSOLVE TO: 4. INTERIOR METROPOLITAN MUSEUM - LONG SHOT - ONE OF THE ROOMS We see a group of children -- about ten years of age -- standing before one of the paintings. It is obviously a class. A middle-aged woman is lecturing to them. CAMERA GOES CLOSER and we see the woman and children more closely. The woman -- Miss Spinney -- seems remote and far away -- her lecture for the most part a cold recital of facts. CAMERA PANS UP TO A CLOSE SHOT OF THE PAINTING - "CARDINAL NINO DE GUEVARA" - SPINNEY Cardinal Nino de Guevara -- painted by El Greco around 1596. El Greco is of the Spanish school -- although he was really a Greek. That is what El Greco means -- "The Greek." El Greco cared nothing for the charms of the flesh -- (suddenly she catches herself, hesitates and hurries on) That is -- I mean -- I mean he was only interested in -- well -- in the spirit of a person. For example, in this painting he didn't try to make the man look just pretty -- he tried to show us what the man thought and felt -- what the man's spirit was! ROMANTIC LITTLE GIRL Was he a real Cardinal? SPINNEY Yes. El Greco's portraits are of real people. LITTLE BOY But sometimes a painter paints people who aren't real. SPINNEY That's true, Johnny. Different artists are inspired by different things. Sometimes it's their wives -- or their mothers -- CYNICAL LITTLE BOY Or their goil-friends -- The children giggle a little. SPINNEY (seriously, but smiling) Yes, Freddie -- or their girl friends. (her smile fades as she looks away a little) But, of course, some artists are inspired by things that only they can see -- CYNICAL LITTLE BOY Aw! How can dey see anything no one else sees? Are dey crazy? SPINNEY No. A lot of people do think artists are crazy, but that's only because we ordinary people haven't the vision of genius -- We miss so much... so much... Things we just don't see -- until that -- (she turns to Freddie, smiles a little) that craziness you speak of, Freddie, shows them to us. She pauses a moment. We HOLD her for a foot or two as she's lost in her thoughts. 5. THE CHILDREN Watch her -- and the Cynical Little Boy makes a gesture to the other children covertly, indicating that Miss Spinney is a bore or nuts or both. After a moment we hear over this, Spinney's voice: SPINNEY'S VOICE Take William Blake, for example -- DISSOLVE TO: 6. CLOSE SHOT OF THE PAINTING THE WISE AND FOOLISH VIRGINS BY WILLIAM BLAKE We hear Spinney's voice over the painting, then CAMERA PULLS BACK to include Spinney and the children in front of the painting. SPINNEY Blake seldom used models for any of his figures. He saw what we see -- but he also saw the spirit -- and that's what he painted. Just before he died he said, "I should be sorry if I had any earthly fame, for whatever natural glory a man has is so much taken away from his spiritual glory. Why, when Blake was only a little boy -- (she turns to Freddie) -- about your age, Freddie -- he saw a whole flock of angels sitting on the boughs of a tree. CYNICAL LITTLE BOY (scornfully) Angels! SPINNEY You don't believe in angels? CYNICAL LITTLE BOY Coitainly not! SPINNEY Don't be so sure... When you're older you'll believe in lots of things you can't see. (then that same far- away look) ROMANTIC LITTLE GIRL Are those angels, Miss Spinney? SPINNEY No -- those are virgins. The picture is called "The Wise and Foolish Virgins." CYNICAL LITTLE BOY (examining the painting) Which is de wise ones? SPINNEY (hurriedly) Come, children. We'll go to the next one. As they start off, we DISSOLVE TO: 7. ANGLE ON FACES OF SPINNEY AND CHILDREN They are staring at a portrait (behind CAMERA), and are obviously very much taken with it. After a moment: ROMANTIC LITTLE GIRL My! Isn't she pretty? SPINNEY (a little surprised) Pretty?... Yes, she is pretty... very pretty. ANOTHER CHILD (advancing a step, looks down and reads slowly) "Portrait... of... Jennie... by Eben... Adams." During the last couple of words, the CAMERA HAS MOVED UP AND FORWARD TO A CLOSEUP OF SPINNEY. We see in her face how much this portrait means to her; her emotion and her pride. SPINNEY Yes... "Portrait of Jennie -- by Eben Adams." There is almost a suggestion of a tear in her eye as she looks at the portrait. 8. REVERSE ANGLE ON THE GROUP - COMPARATIVELY LOW CAMERA During the following, we SLOWLY PULL BACK to reveal the portrait bit by bit until it is in full view over the heads of the group at the end of the following: At first Spinney is again the professional teacher, but as she gets toward the end of the speech, her personal interest and emotion and increase in feeling take hold of her again. SPINNEY -- And it might be well to note -- with some pride, perhaps -- that here we have a portrait painted by an American -- and not so many years ago -- that has been considered of sufficient merit to hang here in the Metropolitan... In this portrait you can feel the extraordinary spiritual vision of the artist -- not only his talent as a painter, but the genius that we can only sense -- and not quite understand. 9. A SHOT OF THE PORTRAIT ITSELF (NOTE: It is suggested that in the staging of the whole scene we try to get the effect of a slightly changing light; and that we also try to get this in the Long Shot Exterior with which the picture opens in order to justify this slightly changing light. This in order that we might be able to take full advantage of Joe August's stunningly successful test experiments with the slightly changing light on the portrait in this particular angle. But we should have protection without the changing light in the event that this does not work out well.) There is nothing under this shot of the portrait but the MUSIC. Here it is suggested that we introduce for the first time the "WHERE I COME FROM" theme, starting its use during and under Spinney's speech and giving it full play without dialogue under this shot. ANOTHER ANGLE - PERHAPS PROFILE AND LOW CAMERA - ON SPINNEY AND THE CHILDREN - (The shot in any event should feature Spinney -- and this is an excellent opportunity to make superb use of Miss Barrymore's profile.) ROMANTIC LITTLE GIRL Was Jennie real? SPINNEY Well now, Millicent, there's a strange legend about that. I never saw Jennie, but -- (she stops herself short and the far- away look comes into her eyes) ROMANTIC LITTLE GIRL Did anyone ever see her? SPINNEY (pulling herself together, coming out of her thoughts) Why, of course. Eben Adams saw her. There's the portrait. It's proof that he saw her. I remember he once said... ROMANTIC LITTLE GIRL (interrupting) Oh, did you know Eben Adams? Pause as Spinney realizes she has gone too far, but now she must proceed and answer the question. SPINNEY I knew him in the days before he painted this picture -- and in the days after -- when he -- The Cynical Little Boy gives an elaborate and noisy fake yawn. She looks at him, realizes that she's been carried away for a second. She is embarrassed, lowers her eyes, then regains her dignity and composure. SPINNEY That will be all for today, children. Class is dismissed. THE CHILDREN Yes, Miss Spinney. Goodbye, Miss Spinney. The children are delighted that the class is over. The Cynical Little Boy is out first and way ahead of them. The Romantic Little Girl trails behind a few feet reluctantly, looking back at the portrait and Miss Spinney. ROMANTIC LITTLE GIRL (tenderly) Goodbye, Miss Spinney... Spinney doesn't answer, for she is again lost in her thoughts as she looks at the picture. CAMERA MOVES UP SLOWLY to Spinney so that we see clearly she is not speaking, and we hear her voice in almost a stage whisper. (NOTE: Mr. Stewart will please note that we should experiment with Miss Barrymore's voice before we reach this scene and see what effects we can get with this and other narrations through the picture.) SPINNEY'S VOICE Eben -- Eben -- how slowly the years go by -- such tired, dead years -- if I could only turn them back to you. Yes, back to the days when you were poor -- and cold -- and friendless -- your work unknown. Harsh, harsh years for you, Eben -- As she is speaking: DISSOLVE TO: CENTRAL PARK - WINTER (already shot) Along the deserted walk we see Eben Adams, walking slowly and dejectedly. He is a slender young man in his thirties, bare-headed, dressed in a thin shabby overcoat hanging loosely from his hunched shoulders. He is carrying a large portfolio containing sketches. His face is weary, bitter, preoccupied. SPINNEY'S VOICE (continuing) For those were the years when there was a hunger in you for more than food. There was a suffering in you that was worse than anything a winter, or poverty, could do. It was a winter of your mind when the life of your genius seemed frozen and motionless -- and how did you know if spring would ever come again to set it free? As she is talking: DISSOLVE TO: 12. EXTERIOR MATHEWS GALLERY - SHOOTING TOWARD THE SHOP Adams stops, looks at the brass plates on the small building. His eye stops at one and we either MOVE IN to it or CUT to it: MATHEWS-SPINNEY GALLERY 13. BACK TO ADAMS Adams decides to go in and enters. During the above action, we hear Spinney's voice: SPINNEY'S VOICE (continuing) Oh, Eben, I will never forget the day you first came into our place. There was a desperation that had taken hold of you, a dreadful feeling of the world's indifference. Your courage was running out fast, like sands from a glass. You were at the bottom -- without money or friends -- without hope -- 14. INTERIOR MATHEWS GALLERY - FULL SHOT (NOTE: It is suggested that we not see Adams' face very clearly, if at all, in scenes 12, 13 or 14 until the place indicated. We've built up to Adams and let's raise the curtain on him.) It is a small place -- a one room gallery in the rear. There is nobody in the room when Adams enters (CAMERA is on his back -- Adams walks away from CAMERA. We still have not seen his face), but when the tinkle of the doorbell is heard, a man emerges from the office. It is Henry Mathews. He approaches Adams. CAMERA DOLLIES IN TO A MEDIUM CLOSE SHOT OF ADAMS AND MATHEWS, SHOOTING OVER ADAMS' SHOULDER AT MATHEWS. MATTHEWS Yes, sir. What can I do for you? 15. ANOTHER ANGLE - OVER MATHEW'S SHOULDER AT ADAMS Adams is opening his portfolio. In the middle of this angle, he rather slowly, but not unnaturally, raises his head and for the first time we see his face. ADAMS I don't know. You could buy one of my pictures, perhaps. Mathews coughs lightly. MATTHEWS (worriedly) Landscapes? ADAMS Yes, mostly. MATTHEWS Well, I don't know. Of course we buy very, very little... almost nothing. And the times being what they are... however, let me see what you have. The camera trucks with them to a small table near the window. Adams starts to open his portfolio. MATTHEWS (continuing) Landscapes... hmmmm... yes... too bad. 16. MED. CLOSE SHOT AT TABLE WITH SKETCHES Adams has opened the portfolio and stands aside to let Matthews look at them. ADAMS (in way of explanation) Those are some studies I did at Cape Cod... That one is the fisheries at North Truro. (as MATTHEWS turns the sketches) That's Cragmore. MATTHEWS (sadly) Landscapes! As they are speaking, a woman comes in from a rear room and quietly looks over Matthews' shoulder at the sketches. She is a lean frosty-eyed woman of about forty-five -- and we suddenly realize that it is MISS SPINNEY -- years younger. ADAMS (burning a bit at Matthews' attitude) Here are one or two sketches of the city. There's the bridge. MATTHEWS (vaguely) Yes... Yes, it's a good bridge. I just don't happen to like bridges. They come in every day by the dozen. He suddenly notices Miss Spinney, peering over his shoulder. MATTHEWS Miss Spinney -- you startled me! This is my partner, Miss Spinney -- I don't believe I caught your name. ADAMS I didn't say it. (With kind of sharp, defiant pride, as though he were saying "Raphael" or "Rembrandt") My name is Eben Adams. SPINNEY (brusquely) What are you so defensive about? ADAMS (backing down a little) I'm not -- SPINNEY (mocking him) "I'm Eben Adams!" You might be better off if you weren't! You might eat. Adams grimly starts to put his pictures back in the portfolio. SPINNEY Don't be in such a hurry! Let's see what else you've got. ADAMS Nothing, I'm afraid, that would interest you or your partner. SPINNEY You're probably right. But do you mind if I take a look at what interests you? Spinney's brusqueness seems to intimidate Adams. He lets her take the portfolio away from him, and she starts to turn through the pictures. Adams looks somewhat helplessly at Matthews, who shrugs his shoulders, having bowed for many years before the natural force that is Miss Spinney. 17. MED. CLOSE SHOT OF SPINNEY SHOOTING DOWN TO PAINTING OF FLOWER SPINNEY (Dryly) You paint a nice flower. 18. MED. CLOSE SHOT - ADAMS MATTHEWS SHOOTING TOWARDS SPINNEY ADAMS Thank you. (With a flash of irritation, reaching for the portfolio) Look, Miss Spinney -- SPINNEY (Ignoring him) Sit down, Adams. You may not sell anything, but you can rest. MATTHEWS (Softly) I'd advise you to sit down. ADAMS sits down reluctantly. SPINNEY (slowly, almost indifferently, as she continues to look at the paintings) Ever read Robert Browning? ADAMS Yes... a long time ago. SPINNEY Remember his poem about Andrea Del Sarto? The perfect painter? -- proportion, anatomy, color, -- he had everything. And he had nothing. He could paint a perfect hand, where Raphael drew a formless claw. But Raphael loved what he did, and poor Andy Del Sarto... ADAMS I get your point. MATTHEWS (embarrassed by her forthrightness) Miss Spinney -- SPINNEY Oh, don't be so soft, Mr. Mathews! I'm an old maid -- and no one knows love like an old maid! (almost harshly, to Adams) And there isn't a drop of it in your work! 19. CLOSE SHOT SPINNEY SHOOTING TO ADAMS She looks straight into Adams' eyes. He stares back at her. After a few moments, Adams' eyes waver; he turns away. SPINNEY (relentlessly) You're a closed man, Adams. You must learn to care deeply about something. We'll take the flower. 20. MED. CLOSE SHOT - MATHEWS, SPINNEY, ADAMS MATTHEWS (shocked) What? SPINNEY Yes -- I have a weakness for flowers, and he doesn't do too badly with them. (to Adams) We'll give you twelve dollars and fifty cents, and if there's any argument, there's no sale. ADAMS (with a wry smile) There's no argument. SPINNEY Pay him, Mr. Mathews. MATHEWS, bewildered, takes out a wallet, peels off some bills. MATTHEWS Have you got change of a dollar? ADAMS I haven't got a dime. SPINNEY He'll owe us fifty cents. ADAMS If you want more flowers, I've a carload of them at home. SPINNEY That's what I was afraid of. (then, gruffly) Good day, Adams. ADAMS Good day -- and -- He hesitates. Spinney turns back and looks at him. Their eyes meet for a moment. SPINNEY Yes? ADAMS Thank you. I -- I don't think you really want the painting. SPINNEY (gruffly) If I hadn't wanted it I wouldn't have taken it. They look at each other a moment, then Adams smiles -- a warm understanding smile. Then suddenly he blurts out, impulsively -- ADAMS You have beautiful eyes. Miss Spinney stares at him, bewildered, not believing her ears. ADAMS Good bye. He goes out of the door. Spinney stands looking after him, lost in thought, a strange, distant smile on her lips. Matthews looks at her a moment, a faint smile on his face. Then he looks down at the painting. 21. MED. CLOSE SHOT MATTHEWS, SPINNEY MATTHEWS Oh, dear, I'm afraid that painting isn't worth more than a couple of dollars. SPINNEY (Her mind way off) No -- but Adams is. MATTHEWS (with unaccustomed spunk) Of course, we're supposed to be in business for profit, Miss Spinney... (frightened at the enormity of his courage) I thought. SPINNEY I bought this painting for myself. MATTHEWS Oh -- (with a smile -- relieved) It's peculiar what a little compliment can do. Slowly Miss Spinney looks at him. SPINNEY My first in twenty years, Mr. Matthews. She turns and goes out of the room, Matthews following her with his eyes. DISSOLVE TO: 22. MED. CLOSE TRUCKING SHOT ADAMS - CENTRAL PARK - TWILIGHT (already shot) As he walks along, he is deep in thought. From far away, the sound of a piano can be heard. Some one is playing a simple tune with one finger. Curiously, this melody seems to drift out of an open window across the square, clearly and distinctly, in spite of the city noises. MED. CLOSE SHOT - ADAMS (already shot) Now he notices a parcel lying on one of the benches. It is something wrapped in an old faded newspaper and tied together with a string. He approaches the bench, bends over the parcel and reaches out to pick it up. At this instant, a voice is heard. JENNIE'S VOICE It belongs to me. CLOSEUP - ADAMS (already shot) We see his tired face turning in astonishment toward the voice. 25. MED. LONG SHOT - ADAMS AND JENNIE (AGE TEN) (already shot) Jennie is putting the finishing touches to a snow man. She is dressed in old-fashioned clothes, a coat, gaiters, high buttoned shoes, and large beaver hat. Adams watches her for a while. She is paying no attention to him whatsoever. ADAMS (calling to her) It's getting pretty dark. Oughtn't you be home? JENNIE (working on her snow man) Is it late? I don't know time very well. ADAMS Yes, it's late. JENNIE Well, I don't have to go home yet. Nobody's ready for me. CLOSE SHOT - ADAMS (already shot) Looking around to see whether there is anyone with her. ADAMS Isn't anybody here with you? MED. SHOT - JENNIE (already shot) She keeps right on with the snow man. JENNIE No. Why should there be? She puts the finishing touches to the snow man, sticks a twig in his side. JENNIE (brushing off the snow from her coat and going to him) Anyway, you're with me. 28. MED. TWO SHOT - ADAMS AND JENNIE (already shot) As she comes to him JENNIE I'm Jennie. ADAMS Jennie? Jennie what? JENNIE Jennie Appleton. Father and Mother are actors and actresses. They're working at Hammerstein's Victoria. They do juggling on a rope. ADAMS Did you say Hammerstein's? JENNIE Uh-huh. Why? ADAMS Because it was torn down years ago, when I was a boy. JENNIE You must be thinking of some other place because I was there only yesterday. ADAMS (confusedly) Well, I... JENNIE Now let me see your pictures, Mr. -- ADAMS Adams... and how do you know they are pictures? JENNIE Oh, I just know. 29. ANOTHER ANGLE OF ADAMS AND JENNIE (already shot) Shooting across their shoulders down on the portfolio which is resting in Jennie's lap. Adams watches her closely as her face puckers up with concentration. Silently, she turns a few of the sketches -- mostly landscapes of the Park and the City -- until she comes to a sketch of Cape Cod. It shows a church with its steeple standing near the bay. A dark, stormy sky stretches across the landscape. JENNIE Those are awful little windows for such a big church. ADAMS They have to be little -- there's so much wind on Cape Cod. JENNIE I don't like it. It scares me. ADAMS The wind? JENNIE No -- the black water. (she studies it for a moment) There should be a lighthouse out there on the ocean. ADAMS Yes, there should be. How do you know? JENNIE I don't exactly remember. (she puts her finger on the sketch) Some day I'll show it to you. Out there on the rocks. The Land's End Light. ADAMS I thought you said you didn't remember. CLOSE SHOT - JENNIE (already shot) JENNIE I don't. I just know. (closes portfolio and ties it) I wish I liked your pictures, but I don't. ADAMS That's what everybody says, that's why I can't sell them. JENNIE Maybe you shouldn't paint places. Why don't you paint people, instead? Cecily Brown's home is full of pictures of people. ADAMS Who is Cecily Brown? JENNIE She's my best friend. I go to school every day now but only in the morning. ADAMS And what do you learn? JENNIE Yesterday we learned all about the Kaiser. He's the king of Germany. ADAMS (correcting her) He was. A long time ago. JENNIE You're wrong. Cecily Brown's father is in Germany now. He sees him all the time. ADAMS But he... JENNIE He says the Kaiser rides around on a white horse and he likes to fight. I can fight, too. I can fight Cecily. She's bigger but I'm stronger. I can fight her good. ADAMS I thought Cecily was your best friend. JENNIE She is. It's fun having somebody to play with. Don't you have anyone to play with? ADAMS (laughs) No. (he rises to go) JENNIE (getting up) Well, I'll walk a ways with you, if you don't mind -- because it's a little lonesome here all by myself. (she comes to his side) I know a song, too. Would you like to hear it? As they walk along, she sings, camera pulling back with them. It is the same simple, haunting tune we have heard before played on the piano. JENNIE (singing) Where I come from Nobody knows; And where I'm going Everything goes. The wind blows, the sea flows -- Nobody knows. Where I come from Nobody knows. They stop walking. ADAMS Who taught you that? JENNIE Nobody. It's just a song... Do you know the game I like to play best? ADAMS No. What? JENNIE It's a wishing game. I'll tell you what I wish most. ADAMS What do you wish? JENNIE First you have to close your eyes and turn around three times. Adams watches her as Jennie closes her eyes and turns around. JENNIE (as she turns) I wish you'd wait for me to grow up so we can always be together. (she stops and faces him) But you won't, I guess. (quickly) Well, I can't talk to you anymore... Goodbye. Jennie turns and starts to walk away from him. Adams suddenly recalls the parcel. ADAMS I'll get your parcel. He goes to the bench. CLOSE SHOT - BENCH (already shot) On it lies the parcel wrapped in the faded newspaper. Adams picks it up. MED. SHOT - ADAMS (already shot) He turns back to where he left Jennie and there is no sign of her. ADAMS (calling) Jennie! Jennie! Slowly, CAMERA PANS down the road. It is empty. Jennie is gone. DISSOLVE TO: 33. LONG SHOT (STOCK) NEW YORK - WINTER DISSOLVE TO: 34. MED. CLOSE SHOT INT. OLD BROWNSTONE NIGHT (WINTER) HALL Everything is quiet for a moment, and then the front door opens cautiously and we see Adams come in. He closes the door quietly behind him and starts softly toward the stairs. As he about reaches them, we hear a voice o.s. VOICE Is that you, Mr. Adams? We see Adams' shoulders suddenly slump. He gives a deep sigh and turns wearily. ADAMS (resigned) Yes, Mrs. Jekes. 35. A SMALL LIVING ROOM OFF THE HALL In it we see, Mrs. Jekes -- a tall, boney woman -- sitting with another woman, a little, elderly, mousey person. A pay telephone is on the side of the wall. Adams turns as Mrs. Jekes comes into the hall and stands facing him. MRS. JEKES (sarcastic) You always come in so extremely quiet. I can hardly hear you, Mr. Adams. So thoughtful of my other tenants... The little ELDERLY LADY comes to the door and listens, a smirk on her face. ADAMS Well, I -- didn't want to disturb -- MRS. JEKES Of course not. A fine gentleman like you -- I waited to see you this afternoon. I thought you said you wanted to see me about something -- ADAMS (helplessly) Well, I -- MRS. JEKES I hope you have no complaint to register. You're not dissatisfied with the service? The little Elderly Lady sniggers. ADAMS No. I -- MRS. JEKES (encouraged to show off more by the Elderly Lady) That's good. Of course, there's not much heat in your radiator, I know -- and it does make noises at night. They don't keep you awake, do they? (Mrs. Jekes is rewarded by another snigger from the Elderly Lady) I wouldn't want that to happen. ADAMS (he reaches into his pocket and reluctantly takes out a bill) Look, would-would five dollars do for awhile? Mrs. Jekes reverts to type. She takes the bill. MRS. JEKES It won't do -- but I'll take it. ADAMS I'll try to have more for you soon. MRS. JEKES You better see that you do. ADAMS (holding up his portfolio) I don't imagine you'd be interested in another one of my sketches until -- ? MRS. JEKES Oh, no. The bathroom is full of them now. Where would I put another one? In my parlor? ADAMS (defeated) No -- I wouldn't expect you to do that. Well -- (Adams turns and starts up the stairs) 36. THE TWO WOMEN as they start back into the living room. Mrs. Jekes automatically puts her finger into the pay phone to see if there is any loose change. There isn't. They go in. ELDERLY LADY You certainly have a way, Mrs. Jekes. Play with him like a cat with a mouse -- and then pounce! But he is attractive, isn't he? And a gentleman besides. MRS. JEKES That's what makes it hard to throw him out. ELDERLY LADY (grandly) He's an ornament to your house, Mrs. Jekes. MRS. JEKES Just can't understand a man fiddlin' away his time just paintin' things -- though he did shovel some snow to pay part of last month's rent. ELDERLY LADY (with a gleam in her eye) Paintin' things! Women? You mean, women in the -- ? She leans over and whispers in Mrs. Jekes' ear. Mrs. Jekes draws herself up. MRS. JEKES (with dignity) Mrs. Delaney! We agreed he was a gentleman! Gentlemen don't paint women in the -- She leans over and whispers in Mrs. Delaney's ear. ELDERLY LADY (crestfallen) No -- no, of course not. 37. UPSTAIRS HALL - NEAR ADAMS' ROOM Adams hurries toward his room. INT. ADAMS' STUDIO - NIGHT It's a big, high room with a dark, dusty ceiling. The studio window overlooks a line of roofs and chimneys, and through one narrow gap one catches a glimpse of the Hudson River. At intervals, one can faintly hear the hooting of river boats. The room is in quite a state of disorder. A typical artist's studio without maid service. In addition to the easel there are palettes, tubes of color, sketches and crayons littered on the work table and floor. There is a worn narrow couch, one rather beautiful oak armchair, and a number of stools and rickety furniture pieces as would be found in a cheaply and carelessly put together place. Adams enters room, sees a man dressed in his hat and coat, absorbed in looking at one of his pictures. He recognizes him, and bursts out. ADAMS Arne, you old tramp! When did you get back? What are you doing here? ARNE Looking at your pictures. Terrible! Horrible! It is more horrible than when I was in town six months ago. I am depressed. I wish I hadn't stopped in to see you. I will be depressed for weeks. How are you, my friend! (he holds out his hand. They shake) ADAMS (with a grin) After that, I feel pretty good... It's nice to see you, Arne. ARNE Here is my new stuff. Twenty pictures in a month. (he points to a portfolio on the side) ADAMS Twenty pictures! Fast work, I'd say -- how did you do it? ARNE With my thumb. No more brushes for me. I paint with my thumb. Yes, my friend, with my thumb. (he kisses his fingertips) Brushes? -- That's old stuff. That's passe, fini. ADAMS (amused) No brushes? You mean it seriously? That's something new. Last time you were here you told me... ARNE What I told you yesterday, I don't remember today. The trouble with you is that you don't understand the first principles of art. Now, look here, what's this? (pointing to a flower piece on the wall) ADAMS (perplexed) What do you mean, what's this? Can't you see? ARNE No! Can you? ADAMS Of course. It is a flower. ARNE A flower? Ha! If it's a flower, why doesn't it smell? Why doesn't it grow? ADAMS (smilingly) That's silly. It's a painting. ARNE Exactly. A painting. Then why do you fool yourself calling it a flower... besides, if I want flowers, I get them at a flower shop; they cost less and smell better... here, I'll show you something. (he goes to his paper portfolio, takes out one of his pictures which is painted in the style of Pablo Picasso's paintings of the period of extreme abstractions) Look at this. ADAMS What is it? ARNE Guess. ADAMS I can't make it out. ARNE You guessed it. ADAMS (completely lost) I can't understand. ARNE Naturally. This is called "Woman on the Dynamo." The Dynamo -- the symbol of the world we live in; the woman, the symbol of the thing we live for... on one side we have power, speed, machines... on the other side -- woman, love, the soul. I am in between, so it's bang on one side... bang on the other. Arne is looking as Adams examines the picture. ARNE You don't like her! ADAMS Oh, I wouldn't say that. It's just that, well -- she doesn't exactly remind me of my mother. (patting him on the shoulder) Arne, you're as mad as you ever were. ARNE Don't we live in a mad world? If you want to remain sane in a mad world, you are doubly mad... open your eyes. Look through the window. There is an airplane flying; before you take your shoes off, it will be in Europe. On the rooftops -- everywhere -- radio towers. Sneeze here, and in a split second they hear it in Ethiopia. In times like these, you are sitting here painting a flower... Soft... sweet... a child licking an ice cream cone... ADAMS (kidding him) Hmmm... Might not be a bad idea for a picture... (musing) Ice cream cone. ARNE All right. But if you must paint an ice cream cone, paint it like a rocket to the moon! Paint the ball of ice cream as if you were licking a bomb with your lips. But who wants ice cream? If I want ice cream, I go to a soda fountain... say, do you have some bicarbonate of soda, by any chance? ADAMS I think I have. (he goes to look for it) There was some here. Oh, here it is. Maybe, this will make you see my pictures in a better light. ARNE (while Adams is looking for a glass of water) I hope you are not mad at me. ADAMS (bringing the water) No, not at all. I guess you're right. I guess my stuff hasn't much feeling of the world today. As a matter of fact, I guess it hasn't much feeling at all. I know it, and so I've about made up my mind to quit and get a job. ARNE A job! ADAMS Honestly, Arne. Don't you think that's what I should do? A moment's pause. Arne looks at Adams, seriously. We suddenly realize Arne at the moment is not the buffoon that he seems to be. We see that underneath he is sincere and honest. He senses Adams' depression. He puts his hand on Adams' shoulder. ARNE (simply and sincerely) Adams -- I never thought you were a genius -- but one thing I have always admired about you. Your sincerity! Do not lose that sincerity, Adams! Be true to yourself! Sincerity is the most important thing of all! (suddenly he flashes back into character) A job! ADAMS There's nothing insincere about taking a job, is there? ARNE It is the most insincere thing of all! You think a man can have a job and be sincere? ADAMS I don't see why not. ARNE Impossible! That is what the very word "job" means! You are doing one thing -- when you should be doing another! Can you name me one man who has a job who doesn't wish he was doing something else! Here is a clerk -- who wanted to be a doctor. A truck driver who wanted to be President. A President who wanted to be a haberdasher! Instead of being true to themselves -- they took jobs! Bowed down to life! Never make that compromise, Adams. Never, never take a job... Well, salute. (raises his glass) ADAMS (gloomily) To what? To whom? ARNE To the masses, of course. Art belongs to the masses. (he reflects a second) If they'd only buy my pictures, I'd salute them with champagne. And that brings me to the point of my present visit. Have you some filthy lucre on you, by any chance? ADAMS Strangely enough, I have. He fishes in his pocket, peels off one bill, leaving himself two other bills. Arne peers at the remaining bills. ARNE Five dollars, hmmm? Is that the best you can do? ADAMS (with a little laugh) I'm sorry, Arne. I wish I could make it more. ARNE (resigned, as though doing him a big favor) Don't apologize. I'll take it. And do you know why I'll take it? It's because you have a soul -- the soul of an artist -- if only you could paint. Well, so long. (he walks off) ADAMS Goodbye, Arne. Thanks for the visit. Adams remains standing looking after him a moment, thoughtfully. Arne's quick appearance has done more to enhance his loneliness. He closes the door quietly and stands looking around the room. We feel that he is miserably alone. He picks up the sketch of the dynamo and looks at it a moment, then puts it down. He picks up one of his own sketches, looks at it a moment, then puts it away from him, shaking his head dismally. He crosses slowly to the window and stands looking out. Leaning his head against the cool window pane, he stares at the dark jagged line of roofs, outside and the river beyond. We hear the mournful hooting of the tugboats on the river. He listens to them. Slowly it seems as though there were some pattern to the sound -- it seems as if for a moment, a little of the sound of Jennie's theme song is heard. Adams listens, a slightly puzzled expression on his face. He sits down and picks up his concertina and begins to play idly. Jennie's theme song creeps in this too. He plays for a moment, then puts the concertina down and moves to his drawing board. He sits before it, staring at the blank paper. Then slowly, almost subconsciously, he picks up a crayon and starts to make a sketch of Jennie. As we PAN TO A SHOT OF NEW YORK FROM THE WINDOW. DISSOLVE TO: SHOT OF NEW YORK - DAY DISSOLVE TO: 45. EXT. STREET NEAR ADAM'S HOUSE - NOON Adams, his portfolio under his arm, is walking down the street. He has the paper of Jennie's that he picked up from the bench in his pocket. He comes to a corner and, as he hesitates a moment, we hear -- VOICE How'ya, Mack? Adams looks up and smiles and walks over to the garage. Near the entrance stands Gus, a driver. He has his cap on, but his sleeves are rolled up and he has a wrench or some kind of repairing instrument in his hand. He is looking at Adams. ADAMS Good morning, Gus. GUS Mornin' is it? You've slept it all away, Mack... it's gone forever... An' a grand mornin' it was, too. ADAMS Yes -- I worked late last night -- didn't get to sleep until about dawn. GUS Had your breakfast? ADAMS Why, no -- GUS Then how's about havin' some lunch with me? ADAMS No, thanks. I'm not eating off you, Gus. You work too hard for your money. GUS You gotta eat, Mack. That's a rule. ADAMS Hey, wait a minute -- I've got some money of my own. (He puts his hand into his pocket) GUS (pleased) No kiddin'. ADAMS Sold a picture -- seven dollars and a half -- GUS What do you know! ADAMS So today you're lunching on me. GUS (warmly) It'll be a real pleasure, Mack... Just come along a minute while I fix up the hack, and we'll be soon on our way. He starts walking into the garage, Adams at his side, towards his cab. During the following they reach the cab which has its hood up -- and maybe it's on some round platform or instrument so the motor can be worked on: ADAMS You know, Gus -- I don't get you at all. GUS (pleased) No kiddin'! -- Sure, there's nothin' very puzzlin' about me, Mack. ADAMS There is to me. Why should you care if I eat or not? GUS (after a moment) Maybe I don't like to see people hungry. Gus gets under the engine and the following is played with Adams leaning against the cab, his foot on the running board or in any other fashion that the setting makes possible. (NOTE: Gus' cab and the other cabs that are visible should be, if possible, those of about 1930 and certainly not any later than the early 1930s, avoiding the streamline models of the 1940s) ADAMS Neither do I, but -- He pauses. GUS (getting under the engine) Well, let me put it this way, Mack. Remember the day you staggered past where I was parked on Second Avenue? ADAMS (quietly) I remember. GUS (tinkering; his face is not visible) I thought you were just plastered. Then something about you made me say, "Timothy Agustin, that guy's not drunk. I bet he's hungry." And I saw that portfolio thing you're always carrying under your arm. (he pauses. Adams looks down at his portfolio) I had a kid brother in Ireland once. He never knew when it was time to eat, neither. He was always messin' around -- tryin' to write a poem -- or paint a picture -- or make somethin' out of little pieces of wood and stuff... He died one day. ADAMS (quietly) That's tough, Gus. GUS (coming out from under the engine; he puts down the hood of the cab, puts the instrument to one side, and during the following approaches and stands talking to Adams, rolling down his sleeves the while) I got a lot of respect for a guy that's doin' what he's got to do -- even if may be it's killin' him. Now you got no mother back in Ireland like I have -- ADAMS No -- GUS Nobody. Nothin' that's depending on you but your own stomach. Right? ADAMS I guess that's right, Gus. GUS (wiping his hands and putting on his coat) So it's your own business. An' you want to paint pictures. So you're goin' right ahead and doin' it no matter. (thoughtfully) Yeah, I like that, Mack... (coming out of his mood, throws open the door of the cab) Here, hop in. During the following Adams pulls the door closed as Gus gets himself seated in the cab in his own seat. GUS Most of the time a guy's got the feelin' that there's nothin' to life but just gettin' through it as easy and as comfortable as he can -- makin' a quarter here -- a dollar there -- and eatin' an' sleepin' an' dyin'. An' then a guy like you comes along who's not thinkin' too much about them things and it starts you wonderin'. Wonderin' if you're not missin' something. (Gus starts the engine, throws the gear shift into first, but doesn't release the brake yet. He leans over the wheel and without turning back to Adams, continues:) Yeah, Mack -- since meetin' you I'm beginnin' to think that there is somethin' more to life. It gives you a kind of faith. It makes you think different about your fellow-man. (he releases the brake) It makes you feel kinda -- kindly towards 'em... (he steps on the gas, but he hasn't gone two feet before he is plunk into another cab coming in the opposite direction) Hey, you mug! What you think you're doin'? OTHER DRIVER Aw, pull in your head! GUS Why don't you learn to drive that hack? OTHER DRIVER (backing his cab away) Button it up! Button it up! GUS (calling after him) You take that pile of junk over to Brooklyn sometime and get a little practice! DRIVER'S VOICE (from distance) Okay, Mack. Just keep your shirt on. Gus goes into gear again and they move off. GUS (dreamily) Yeah, it makes you feel kinda' kindly -- Adams, unseen by Gus, smiles indulgently and affectionately, as we DISSOLVE TO: 46. INT. MOORE'S RESTAURANT It is one of the many eating places on Amsterdam Avenue -- a dark, panelled room with booths, a bar on one side. It caters to the neighborhood trade. Gus and Adams are seated at one of the tables, plates of corned beef and cabbage before them and glasses of beer. Other people at other tables. Gus and Adams have just started eating. GUS No, sir, don't think I've missed a day eatin' in here for over two years. Adams takes out the newspaper with Jennie's scarf that has been in his pocket. It had been in his way and now he places it on the table. As he does so, a couple of men pass the table. MAN How'ya, Gus. Hi, Gus. GUS Howya, Mack. Howya, Mack. They pass on. Gus continues. GUS It's sort of like home -- you couldn't pay me to eat anywhere's else -- (he reaches for the salt and knocks the paper over that Adams has placed on the table) Oh, sorry, Mack. ADAMS That's all right. They both reach to pick up the paper. The scarf falls out. Adams picks it up as Gus retains the paper. GUS Hey! Takin' to wearin' scarfs? ADAMS Oh -- that isn't mine. I found it. It belongs to a little girl I met in the Park. Brought it along in case I ran into her. GUS (with a dubious look) Big scarf for a little girl. Adams has stuffed it into his pocket. Gus, in the meantime, has glanced casually at the paper. They eat. GUS Well, what do you know. ADAMS (eating) What? GUS We almost humped into a comet -- or the comet almost bumped into us -- ADAMS Really? When was that? GUS (reading) "Halley's comet passes sun at speed of twenty-five hundred miles a minute... On May eighteenth the collision between the earth and -- Adams has stopped eating and is watching Gus, suddenly frightened. ADAMS What comet did you say? GUS Halley's. ADAMS What's the date again? GUS May 18th. (he looks at the date of the paper) What do you know. This paper is nineteen ten. Adams reaches over and takes the paper from him. CLOSE SHOT AT NEWSPAPER Adams looks at the headline for a moment, then turns it around. CAMERA DOLLIES in on a large ad located at the bottom of the page. INSERT - NEWSPAPER COLUMN WE READ: HAMMERSTEIN'S VICTORIA WILL R. ROGERS Expert Lariat Thrower EVA TANGUAY The American Comedienne YORK & ADAMS Comics CAMERA MOVES IN close to INSERT: THE APPLETONS Novelty High Wire etc. GUS' VOICE Where'd you get hold of an old paper like this? ADAMS' VOICE The little girl in the Park had it. GUS' VOICE Probably found it lyin' around in her mother's attic. CLOSE SHOT - ADAMS He stares down at the paper. ADAMS Yeah. TWO SHOT - ADAMS AND GUS GUS (curiously) What you lookin' at? Adams hands him the paper and points to the ad of Hammerstein's Victoria. Gus starts reading the ad aloud. While he is reading Adams takes the scarf from his pocket and turns it over in his hand. When Gus gets to the name Appleton, Adams interrupts him. 47. MED. SHOT - FROM ADAMS' ANGLE Adams turns to Gus, holding up the scarf. ADAMS (quietly) The Appletons -- This scarf belongs to their daughter. GUS (disinterested) Yeah?... ADAMS She's about ten years old... She said her name was Jennie Appleton. GUS (still disinterested) Yeah? ADAMS (sneaking a look at Gus, about to drop the startling part) Her parents are acrobats at Hammerstein's Victoria. GUS (looking up at him; then after a moment) You mean they were acrobats at Hammerstein's. Hammerstein's was torn down years ago. ADAMS (quietly) I know. But she said she was there -- yesterday. GUS (with a grin) You know, that's what I like about kids. Always makin' up somethin' new -- livin' in a world all their own. ADAMS She told me the father of one of her classmates is in Germany now. She said: "he sees the Kaiser all the time." GUS Sounds like a nice kid. Bet she's Irish. ADAMS No, she's not Irish. Gus looks up at him suddenly, curious. Something in Adams' tone makes him wonder. GUS Look! Mack! You're not tryin' to believe this kid, are you? After a moment, suddenly Adams grins. ADAMS Of course not. What do you think? GUS Okay. He continues to watch Adams a moment, curiously. 48. MED. CLOSE SHOT - GUS AND ADAMS Gus is watching him. GUS (quietly) Go ahead an' eat your lunch, Mack. ADAMS (looking up) What? GUS Put some linin' in your stomach... When'd you last have anything to eat? ADAMS (smiling) Oh, I see. You think I'm just imagining it all. Oh, no, she was real enough, Gus. GUS I'm not arguin' with ye, but my mother always says: "If you don't have enough in your stomach, you get too much in your head." ADAMS (good-humored) Okay. I'll eat my lunch. They eat a moment in silence. As Adams bends over his food, we see Gus studying him thoughtfully. He shakes his head and whistles softly between mouthfuls of corned beef and cabbage. He looks around the room thoughtfully. He suddenly spots some one. 49. ANOTHER ANGLE Moore, the proprietor, waves and calls. MOORE Hi, Gus. 50. GUS He waves and calls back. GUS Hi, Mack. 51. MOORE He starts forward. 52. GUS A quizzical expression comes to his face. He studies the brown panelling of the room. He looks over at Adams, thoughtfully. An idea seems to be forming in his mind. Moore strolls up. GUS How's things? Meet my friend Mack. MOORE (to Adams) How are you? ADAMS Hello. GUS (to Adams) Mack here's the owner of the joint. NOTE: The remainder of this scene should be shot in over shoulder angles; across Gus to Moore; and across Moore to Gus; together with individual shots of Gus, Moore and Adams. Adams closeups should show him turning from Gus to Moore, almost as though watching a tennis match. MOORE Well, sometimes, I don't know if I'm the owner of the joint or if the joint's the owner of me. Business ain't too good these days. Mind if I sit down a minute? GUS A pleasure. (Moore sits) MOORE (to Adams) Everything all right, sir? ADAMS Couldn't be better. MOORE I'm glad to hear you say it. An' you, Gus, Everything all right? GUS Why, sure -- I guess so, Mack -- MOORE (quickly sensing something) What do you mean I guess so? Anything wrong? GUS No -- no -- I guess not -- They eat a moment in silence. Adams looks at Gus in surprise. Moore regards him thoughtfully. Then: MOORE The food is all right? GUS Oh, sure, sure -- MOORE Then what's gripin' you? GUS (hesitantly) I kind of hate to say this, Mack... you're not a man I'd like to hurt... your feelin's, I mean... but -- (he dwindles to a pause) MOORE Yeah? GUS Well, if you don't see me around for awhile, don't be surprised. I've sort of been thinkin' I might start eatin' down at Nick's for a change. MOORE Nick's? GUS Yeah. MOORE Nick's! GUS What's the matter with Nick's? A pause. Moore shakes his head. MOORE (slowly) No-o-o... there's nothing the matter with Nick's... I suppose -- if you like that type of place -- (a slight pause) So you're goin' to start eatin' down at Nick's. (Pause. Moore turns to Adams; pleasantly) It's a nice day, we're havin'. ADAMS Beautiful day. MOORE It's all that and more. (he pauses and studies Gus who is eating diligently. Then:) So you're goin' to start eatin' at Nicks, eh? GUS Just thought I might for awhile. MOORE (to Adams) It takes all kinda people to make a world... all kinds... and some of them haven't a trace of friendship, or loyalty, or -- (he whirls on Gus) You get as good a cornbeef and cabbage down at Nick's? GUS You can't even get it there, Mack. MOORE But the beer is better down there? GUS Same beer. MOORE (vehemently) Then what in the name of all the saints are you goin' to eat down at Nick's for? GUS Look, Mack, nothing personal. But a fellow likes a change once in awhile. MOORE A change from what? GUS Well, it's... er -- (looks around, and then with a shuddering gesture) It's the joint... it's... it's the room... it's -- (quietly) It's dark, Mack. MOORE Dark? GUS The woodwork... that dark woodwork -- (Motions at the panelling. Then, almost cheerfully) Nick's got nice, bright tile down there. MOORE Tile! GUS Yeah. You should brighten it up... brighten up the joint, Mack. Everytime I polish that hack of mine, I do good business... People like things to look good. A pause. Adams and Gus eat. Moore regards Gus a minute, then looks thoughtfully around the room. Then: MOORE I'll be puttin' no tile in this restaurant and bar. GUS No... no... I wouldn't want you to anything like that, Mack. MOORE What would you want me to do? GUS (at first he seems puzzled for a solution) I don't know exactly... It's not an easy problem with all that dark wood... but the other day I was sittin' here, I got lookin' at that wall... an' all of a sudden I says to myself: "Timothy Augustin, wouldn't it be cheerful to be lookin' at some nice green trees, with maybe a sup of river runnin' between them... an' maybe a little Kerry cow or two, munchin' the grass... or maybe -- Adams looks at him quickly, suspicious. GUS (continuing) -- a whole scene from Killarney itself... or may be, the Gap of Dunlow -- MOORE (interrupting) Is it pictures, you mean? GUS Well, I don't know, Mack. I hadn't thought that far. MOORE (dubiously) Suppose I could hang a stray picture here and there... GUS (quickly) Oh, they'd have to be the right kinda pictures... an', anyway, I don't think a few pictures would do it... It's a cryin' shame that you couldn't have a big scene painted right on the wall... but -- (he pauses) Of course I know that can't be done. MOORE Why can't it be done? Didn't ye ever hear of muriels? GUS Muriels, huh? MOORE They're painted right onto a wall. GUS You don't tell me -- (he begins to get excited) Ye know, Mack, I think you hit on the very thing yourself -- (he stops in astonishment) What d'ye know about that? MOORE Now what's bitin' ye? GUS This guy -- (points to Adams) He's an artist, Mack... one of the best in the world... He can tell us all about it. MOORE (turning to Adams) That so? GUS (cutting in fast) Is Mack right? Is it possible to paint a picture right on the wall? ADAMS (playing up) Of course it's possible... It's done often. MOORE (to Gus) See, ye dumb ox! ADAMS As a matter of fact, that wall would lend itself to a mural very well. GUS (suddenly, to Moore) Look, what are we thinkin' of! Here we got one of the grandest artists in the world sittin' right at our table. Why don't we talk him into doin' somethin'? (he turns to Adams) You could squeeze it in, Mack?... Oh, I know, I know, you're as busy as a fiddler at a hurling match... but somehow you could squeeze it... I mean, between all your other -- ah -- (he reaches for the word) -- commissions. ADAMS Well, I don't know, Gus -- GUS (indicating Moore) Mack here is one of my oldest friends. Anything you do for him, you're doin' for me. ADAMS I'd have to think it over -- MOORE (butting in) Wait a minute -- wait a minute -- This is goin' to cost money! GUS An' what's money to an artist? If we can talk him into doin' this, it won't cost you a cent. (to Adams) You could drop in just now an' then in your spare time -- say around noon or suppertime -- you got to eat somewhere, haven't you, Mack? ADAMS Yes, I suppose I have. GUS Then that solves the whole problem... Come in here for your meals. . .an' take a few minutes out after each breakfast an' dinner an' supper... just a few minutes to paint after each meal -- (turns to Moore admiringly) You're a smart man, Mack. Gettin' yourself a work of art for a few meals a day. A pause. Gus and Adams continue to eat industriously. Moore looks from one to the other, speculatively. He smells a rat. He looks down at the poster in his hand. MOORE Excuse me a moment. I've got to post this. He gets up and slowly goes to the wall and tacks up the poster. GUS (without looking up from his plate) Lost him! Had him and I lost him! ADAMS (uncomfortable) Let it go, Gus. Don't say anything more. GUS Had him and lost him! Smelled a rat! (he looks up slyly and sees Moore is posting the poster. It is an announcement concerning St. Patrick's Day. Gus thinks shrewdly for a moment. Then he raises his head and his beer. He calls to Moore) Up the rebels! MOORE (turning and smiling) Up the rebels! GUS Mack! Did ye ever see Mic Collins? MOORE I never did an' I've always regretted it. GUS He musta been the boyo!... A real Irish patriot! MOORE (coming back to them) He was all that, an' more. GUS (firing his last broadside) An' we sit chatterin' of trees an' rivers an' Kerry cows!... A fine collection of idiots we are!... Here's what you should do, Mack... Right over that service door there... a painting of Michael Collins... Mic Collins himself, an' he leadin' his men into battle against the might of England. MOORE Now wait a minute, Gus -- GUS Man alive... it'd be the greatest thing to ever hit this town... Moore's Alhambra would be the rallyin' place for every Irish patriot to come to... Can't you see them gatherin' in droves to buy a beer an' get a good look at Mic Collins himself?... Why, you wouldn't have standin' room at the bar... An' all you have to do... an' you with the gift of the gab... is to talk Mack here into painting it for ye. An' it wouldn't cost ye a penny in cash. MOORE (reflectively) Well -- it does sound kinda interesting... Gus gets up. He moves around, acting out the scene. 53. PAN SHOT CAMERA PANS with Gus as he gets up and walks toward the service door. He plants himself in front of it, looking at an imaginary painting above it. GUS Here's how I see it: (with a nod to Adams) Or should I say how my friend Mack sees it? (dramatically) It's early dawn on a small hill in Ireland... Wisps of fog are floating over the ground, but the sun is already rising behind Loch Allen. And there... (he points) There on a carpet of Shamrock, under an old elm stands Mic Collins. He's leaning on his gun -- waitin' for zero hour. And all the Murphys and Flannagans and O'Sheas are waitin' with him. (to Moore) An' you know what they're waitin' for? They're waitin' for the day of liberation. They don't know it yet, but this is the day! In a brief moment, Mic himself will lead them into battle and will lead them to victory! (he raises his glass) Up the rebels! Adams and Moore have come up behind him. Moore's eyes are shining as he raises his glass to the imaginary painting of the Irish Patriot. MOORE (Elatedly) Up the rebels! (he turns quickly to Adams) You've got to paint it, Mr. Adams! GUS You've got to do it, Mack! A second's pause as they wait for his decision. Adams looks from one to the other, slowly rises and pounds his fist on the table. ADAMS I'll do it! GUS (quickly seizes the victory) Up the rebels! MOORE Up the rebels! ADAMS Up the rebels! CAMERA FALLS BACK to a picture of them all toasting and quaffing, as we DISSOLVE TO: 54. LONG SHOT - THE SKATERS ON THE POND IN CENTRAL PARK CAMERA PULLS BACK and we see Adams standing at a window watching the scene, CAMERA shooting over his shoulder. As he looks, we hear: MATHEWS' VOICE (sadly) Flowers! Flowers and landscapes! ADAMS (annoyed) See here, I asked you not to look through those. I just came in to give you the fifty cents change on the one you did buy. CAMERA DRAWS BACK TO SHOW INTERIOR MATHEWS GALLERY Mathews is standing looking through Adams' portfolio, Spinney looking over his shoulder as he runs through the sketches. MATTHEWS I know, I know, Mr. Adams... (suddenly spotting something) Here! What's this? ADAMS What? He crosses to them and looks down at the sketch Mathews is holding. 55. ANGLE SHOOTING DOWN OVER THEIR SHOULDERS AT SKETCH OF JENNIE ADAMS Oh, that's nothing. Just a sketch of a little girl I saw in the park. MATTHEWS Ah, but this is different! It's alive. It's very good, isn't it, Miss Spinney? SPINNEY (studying the sketch) Yes -- you seem to have something here, Adams. MATTHEWS Do you know why I like it? ADAMS Why? MATTHEWS Because there's a quality about that girl reminds me of long ago... (reaching for his feeling) It feels like when I was young. ADAMS (slowly, thinking back) She did have a look of not belonging -- not altogether belonging to today. MATTHEWS (happily) That's it... It's more as if I've seen her before -- somewhere in the past. And yet I couldn't tell you where. SPINNEY Yes -- there's something -- timeless about it -- MATTHEWS That's it. And there ought to be something timeless about a woman -- something eternal. You can see it in all great portraits of the past; they make you feel you could meet those women -- anywhere -- and be inspired by them. (he stops and faces Adams. He squares his shoulders, defiantly) Well, then, Mr. Adams, I'll tell you what I'll do. I'll take that girl and I'll give you twenty-five dollars for it -- and I don't care what Miss Spinney says. He looks at Spinney defiantly. Spinney gives a faint smile. SPINNEY (quietly) In that case, I won't say anything. Now you don't have to feel quite so sorry for yourself any more, Adams. Mathews has been fishing for his wallet and brings out some bills. ADAMS (suddenly happy) No. Things are looking up. I get three meals a day for doing a mural -- and now I sell a sketch for twenty- five dollars! (he turns to get his hat) Well -- thanks. (he picks up his hat and starts for the door) SPINNEY Where are you going now? ADAMS (gaily) Oh -- nowhere -- anywhere -- (suddenly he remembers something) Where I come from Nobody knows; And where I'm going Everything goes. Mathews looks at him as though he's mad, then looks at Spinney. SPINNEY What's that? ADAMS Oh, something that little girl in the Park sang. (gesturing toward the sketch) SPINNEY Well, if you don't know whether you're coming or going, maybe you need a cup of coffee. ADAMS Okay. Don't mind if I do. SPINNEY Come along, then. They start to the office. DISSOLVE TO: 56. SPINNEY'S OFFICE Adams is standing at the window, a cup of coffee in his hands, looking out. 57. LONG SHOT OF WHAT HE SEES The skaters on the pond in Central Park. 58. ADAMS As he turns from the window and goes back into the room. ADAMS You know, I haven't skated since I was a kid up in Maine. 59. TWO SHOT - ADAMS AND MISS SPINNEY As Adams sinks into a chair near where she is sitting. There is a comfortable, cozy feeling. A fire is burning in a little fireplace. SPINNEY You were brought up in Maine? ADAMS (grinning) South Paris, Maine. Pretty swanky, eh? Spinney smiles at him. ADAMS Nice little town. Lakes and mountains and rivers -- My father ran the General Store until he died. SPINNEY How old were you then? ADAMS Oh, fifteen or so. My mother died a couple of years later. So I pulled out and worked my way through three years of college, and then -- (he pauses a moment and looks at her) Fascinating, isn't it? SPINNEY It's interesting. Suddenly Adams leans forward, serious. ADAMS Look, Miss Spinney. I don't feel sorry for myself, the way you said. And I don't even think I'm particularly bitter. I know that every artist that ever lived -- if he was worth his salt -- went through a lot more than I have -- But they were great artists. They knew they had something. You can take a lot of beating if you're reasonably sure you've got something inside of you that makes it worthwhile. But I'm faced with a very practical problem. Have I got anything like that in me -- anything worth saying? There're thousands and thousands who haven't. Who do I think I am? A pause. Then -- SPINNEY Adams, you say that every great artist went through more than you. What do you mean by that? You mean they went through hunger, poverty, loneliness? Why, of course they did. But do you think that's all they suffered? You think they didn't also suffer -- doubt? Do you think they knew -- anymore than you do -- whether they had anything in them worth saying? Of course they didn't. You should know that. Certainly you can take any amount of punishment -- if you know you're going to win in the end. And of course it's the not knowing that's brutal. But don't think for a minute this doubt is unique with you. It's what every artist has faced since the beginning of time. A pause. Adams looks at her. Then, quietly: ADAMS You're right, Spinney. Adams rises, goes slowly to the window. Spinney's eyes follow him. There is a sad, nostalgic, almost misty light in them. It is the first time he has called her "Spinney." She gets up and stands behind him at the window. SPINNEY It was a lot simpler when you were a kid in Maine, wasn't it? Adams smiles at her. ADAMS And more fun, too... How's about you and me taking a whirl on the ice right now? SPINNEY Oh, go on with you! Adams pats her lightly on the cheek twice and smiles, then leaves. She turns and watches him go with deep affection. DISSOLVE TO: 60. LONG SHOT - EXTERIOR PARK - SKATERS - DAY (already shot) The late afternoon sun is shining on the big lake. Skaters, singly and in pairs, glide by, circle, race. It is a picture reminiscent of a "Currier and Ives." 60A. LONG SHOT - THE SKATERS (already shot) 61. CLOSER ANGLE OF THE SKATERS (already shot) Adams skates through the crowd and forward toward CAMERA. JENNIE'S VOICE (very faint; reverberated effect) Hello!... Adams looks around as he continues to skate forward. JENNIE'S VOICE (still faint; reverberated effect) Hello!... Adams looks around, still not sure, as he skates by CAMERA and out of scene. 62. REVERSE ANGLE - LOW CAMERA - ADAMS (already shot) As he skates away from CAMERA, Jennie's voice is again heard. JENNIE'S VOICE (closer now; calling; reverberated effect) Mr. Adams!... He looks around in the direction of the voice. 63. MEDIUM SHOT - JENNIE - SKYLINE B.G. (already shot) She skates forward toward CAMERA, silhouetted against the sun. 64. CLOSEUP - ADAMS (already shot) As he sees her and his face lights up. 65. CLOSE SHOT - JENNIE - SKYLINE B.G. (already shot) As she skates closer to CAMERA, silhouetted against the sun, waves and calls. JENNIE Hello... 66. MEDIUM LONG SHOT (already shot) As they meet and skate together, Jennie skating in a circle around him. ADAMS I can't believe it's you. JENNIE Why not? ADAMS You look so much taller. JENNIE Well, maybe you didn't see me so good before. ADAMS I'm sure you've grown. They stop skating. JENNIE Of course I have. I'm hurrying. Don't you remember our wish? (she takes his arm) Let's skate. They continue to skate. 67. MEDIUM CLOSE TWO SHOT (already shot) As they skate arm in arm. JENNIE Let's go a little faster. 68. CLOSEUP - ADAMS (PROCESS) (TO BE SHOT) A little frightened as they pick up speed. 69. MEDIUM TWO SHOT (already shot) Jennie and Adams skating in a fast circle. 69a. CLOSEUP - ADAMS (PROCESS) (TO BE SHOT) He is becoming more frightened. 69b. CLOSEUP - JENNIE (PROCESS) (TO BE SHOT) Enjoying his fright, laughing at him. 69c. BACK TO MEDIUM TWO SHOT (already shot) As they skate faster and faster in a circle. 69d. CLOSEUP - ADAMS' FEET (TO BE SHOT) Slipping out from under him. 69e. CLOSEUP - ADAMS (PROCESS) (TO BE SHOT) Falling out of CAMERA. 69f. CLOSEUP - JENNIE (PROCESS) (TO BE SHOT) Laughing. 69g. CLOSE SHOT - ADAMS (already shot) Hitting the ice. 69h. CLOSEUP - JENNIE - LOW CAMERA SHOOTING UP (PROCESS) (TO BE SHOT) Looking down and laughing at him. JENNIE You look so funny. 69j. CLOSE SHOT - ADAMS (PROCESS) (TO BE SHOT) He picks himself up off the ice. ADAMS (laughing and collecting himself) I feel so funny. 70. TWO SHOT AND INDIVIDUALS - JENNIE AND ADAMS (PROCESS) (TO BE SHOT) As Adams gets up into the SHOT, he brushes off his coat, and as he brushes off his pocket, he sees a corner of the scarf sticking out of the pocket and suddenly remembers. ADAMS Oh, by the way, Jennie. I have something of yours. Here -- (he takes the scarf from his pocket) JENNIE What a pretty scarf! ADAMS It was in the parcel on the bench. You said it was yours. Adams is watching her intently. JENNIE (puzzled) Did I?... (dismissing it) Well, if I said so it must be true... I'll tell you what: Why don't you keep it for me till I grow up? Then I'll have one more reason to grow up fast. ADAMS (he takes this rather curiously, smiles) Oh, all right. (puts scarf into his right pocket, takes out his gloves from left pocket) I owe you a favor, anyway. 71. TWO SHOT AND INDIVIDUALS - JENNIE AND ADAMS (already shot) JENNIE You do? Why? ADAMS I did a little sketch of you the other day and I sold it. JENNIE I'm glad. ADAMS The man who bought it told me I ought to paint portraits. What do you think of that? JENNIE (cautiously) Well... who would you paint, Mr. Adams? They start to skate again. ADAMS (appearing casual) Oh, I don't know. I haven't decided yet. JENNIE (after a pause) Maybe... (quickly and eagerly) Will you let it be me? ADAMS (laughs) Who else? With a wild sweep, Jennie whirls around excitedly. JENNIE Wheeeee! (stops, faces Adams) I'm going to have my picture painted! Won't Emily be mad? ADAMS Emily? JENNIE Emily's my best friend. She had her picture painted by Mr. Fromkes and I said you were going to do mine. ADAMS (looking at her, startled) How did you know that? JENNIE Well, I wished it, and then I closed my eyes and turned around three times. Adams laughs. 71A. CLOSEUP - JENNIE - OVER ADAMS' SHOULDER (PROCESS) (TO BE SHOT) (Plate No. X68X, Take 1) (TO BE INTERCUT WITH CLOSEUP ADAMS, ALREADY SHOT) JENNIE But Emily still said you wouldn't paint me and so I slapped her. ADAMS Emily? I thought it was Cecily you always fought with. JENNIE (surprised) Cecily?. . . (she suddenly remembers but can't quite believe this is who he means) You don't mean Cecily Brown, do you? Why, she moved away to Boston three