CUT TO 

(SINGLE TAKE SCENE)

Lucy and George walk toward the camera surrounded by quests moving about while Jack and Eugene are now beside a buffet table behind them. George bumps into a guest and ignores the man who, insulted at George’s indifference,  turns to George. He is angry  

MAN

Look at that! Look at that boy. Sorry, your highness.

George takes little notice and refuses to be baited. At the end of his “speech,” the man walks off while Eugene and Jack come up behind Lucy and George close to the camera.  

The camera moves back a bit and Jack and Eugene stop close to it. Jack, having just observed George’s conduct with the quest

JACK

I can’t see why Isabel doesn’t see the truth about that boy!

Eugene doesn’t know who Jack is referring to.

EUGENE

Hm?

JACK

George.

EUGENE

What’s the matter with him?

JACK

Too much Amberson, I guess, for one thing. Yes, and for another, his mother just fell down and worshipped him from the day he was born. Oh, I don’t have to tell you what Isabel Amberson is, Gene.  Oh, she’s got a touch of the Amberson high stuff about her, but you can’t get anybody who ever knew her to deny that she’s just about the finest woman in the world.

EUGENE

No you can’t get anybody to deny that.

 

Walking closer to the camera, as they walk the camera travels in front of them as they move through a doorway into another room. With people swirling all about talking, Jack continues talking to Eugene as the two make their way around from room to room among the crowds of jovial quests.  

JACK

Well, she thinks he’s a little tin god on wheels. Why, she actually sits and worships him! You can hear it in her voice when she speaks to him. You can see it in her eyes when she looks at him. My gosh! What does she see when she looks at him?

   

They stop walking beside a woman in front of a mirror. Eugene’s expression of genial apprehension dissipates when he smiles and he becomes surprisingly winning.  

EUGENE

She sees something that we don’t see.

JACK

What’s that?

EUGENE

An angel.

JACK

An Angel!

 

A little man passes talking to a woman. Mrs. Johnson is among them. They are the same group who were at the buffet table earlier having failed to find something they were looking for. This time they have found it.  

HENRY

There they are.

EUGENE

I’ll take one of these.

Eugene takes an olive and he and Jack walk off as the others remain and the camera moves back a bit.

MRS JOHNSON

The Olives.

MISS GILBERT

Roger!

JACK’s VOICE

Angel?

MISS GILBERT

Come over here and look at the olives.

   

Surrounding a butler holding a food tray they reach for the olives on the tray. Henry, aged 45, walks over and looking vaguely at the tray picks one up, holds it between thumb and forefinger and examining it says through the chatter.  

HENRY

You’re supposed to eat ’em.

MRS. JOHNSON

Green things they are, something like a hard plum.

ROGER

A friend of mine told me they tasted a good deal like a bad hickory nut.

MRS. JOHNSON

I hear you gotta eat nine.

HENRY

And then you get to like them.

ELLIOTT

Well, I wouldn’t eat nine bad hickory nuts to get to like them.

ROGER

Kind of a woman’s dish, anyway, I suspect

MRS. JOHNSON

Well, I reckon most everybody’11 be makin’ a stagger to worm through nine of ’em, now Amberson’s brought ‘em to town.

The group laugh and after putting the olives back on the tray, they walk away. As the Butler walks towards the camera Mrs. Johnson watches him.

JACK’S VOICE

All mothers are like that.

EUGENE

Un-hum

Mrs. John reaches behind the butler, grabs olives from the tray while Eugene and Jack come on screen.  

As the Butler walks off screen Mrs. Johnson bumps into Eugene.

MRS. JOHNSON

Excuse me.

She rushes away while a servant walks by with a tray and Eugene puts his glass down on it saying to the Butler.

EUGENE

Here you are.

Jack and Eugene are walking while the camera pans. As Eugene walks to the Butler, Jack is surprised

EUGENE

Here take this.

 

    Talking, the two men walk close to the camera as it continues to move ahead of them through the rooms

EUGENE

That’s what she sees.

JACK

Angel? My nephew Do you see an angel?

EUGENE

No. All I see is a remarkably good looking fool-boy with the pride of Satan and a set of nice drawing-room manners.

JACK

What does that mean?

The two stop to talk.

EUGENE

Mothers are right. Mothers see the angel in us because the angel is there.

JACK.

A-ha. You mean Georgie’s mother is always right.

Eugene speaks lightly.

EUGENE

I’m afraid she always has been.

 

Eugene walks to the left and Jack, talking, accompanies him as the camera follows them to a fireplace…

… where they look away from each other towards the dancing. The mirror reflects the crowds in the ball room dancing. Rather than argue, Jack laughs knowingly.

JACK

Wait till you know young Georgie a little better.

EUGENE

Jack, if you were a painter, you’d paint mothers with angels’ eyes holding little devils in their laps.

 

Jacks laughs and Eugene moves closer to the camera.

EUGENE

Me, I’ll stick to the Old Masters and the cherubs.

The music stops and through the mirror we see the dancers applaud. Jack is amused.

JACK

Well, somebody’s eyes’ must have been pretty angelic if they’ve been persuading you that Georgie Minafer is a cherub!

Eugene heartily agrees.

EUGENE

They are. They’re more angelic than ever.

 

Eugene turns to Jack.

MUSIC-AT A GEORGIA CAMP MEETING.

EUGENE

Good-bye, I’ve got this dance with her.

 

The two begin moving towards camera as camera pulls back.

JACK

With whom?

Looking out searching Isabel out.

EUGENE

With Isabel, of course.

JACK

Eighteen years have passed but have they? Tell me, have you danced with poor old Fanny too, this evening?

EUGENE

Twice! Wilber…

 

The camera continuing to move backward, Wilber and Isabel come into the frame, Eugene takes Isabel’s hand, jack takes her other hand as they lead her forward with Wilber following. Jack speaks in earnest.  

JACK

My gosh! Old times are starting all over again.

Eugene laughs gaily

EUGENE

Old times? Not a bit! There aren’t any old times. When times are gone, they’re not old, they’re dead! There aren’t any times but new times.

 

As the camera continuous to move backward, Eugene takes Isabel in his arms and they dance towards the moving camera.

Surrounded by the other dancers, they glide on the floor as if they were always meant to dance together.

As they dance Lucy and George come into the frame and watch them and smile.

When Eugene and Isabel dance off Lucy and George walk forward and stop and face each other very close to the camera as guests dance behind them.

LUCY

What are you studying in school?

 GEORGE

I beg your pardon?

LUCY

What are you studying in school?

GEORGE

College!

LUCY

College?

GEORGE

Oh, lots o’useless guff!

LUCY

Then why don’t you study some useful guff?

GEORGE

What do you mean: “useful”?

LUCY

Something you’d use later, in your business or profession?

 

This idea irritates George and for him his answer is obvious.

GEORGE

I don’t expect to go into any “business or profession.”

LUCY

No?

GEORGE

No!

LUCY

Why not?

As Lucy looks at him seriously, George annoyed at the suggestion, indicates the people around them with a certain degree of displeasure.

GEORGE

Just look at them. That’s a fine career for a man, isn’t it! Lawyers, bankers, politicians! What do they get out of life, I’d like to know. What do they ever know about real things? Where do they ever get?

LUCY

What do you want to be?

 

George answers promptly and earnestly.

GEORGE

A yachtsman.

 

Lucy and George immediately dance away from the camera while other couples dance around them.

The music swells the camera moves back and Eugene and Isabel dancing comes into frame and they dance close to the camera.

DISSOLVE WITH MUSIC UNBROKEN

In the mansion’s entrance hall, members of the dance orchestra are playing while Eugene and Isabel are dancing. The Morgans are the last guests to go, and Eugene has obviously prevailed upon the musicians to play one final waltz.

With Isabel and Eugene close to the camera, Lucy and George walk down the steps

Sitting near the foot of the steps they talk. George is dismissive and insistent while Lucy holds her ground.

GEORGE

What good are they? They always break down.

LUCY

They do not always break down.

GEORGE

Of Course they do.

 

Lucy and George sitting on the steps and the camera slowly moves close to them.

GEORGE

Horseless carriages! Ottomobiles!

LUCY

Hmh?

GEORGE

People aren’t going to spend their lives lying on their backs in the road and letting grease drip in their faces. No, I think your father’s better forget ‘em.

 

Lucy’s reply is not only sarcastic but dismissive as well.

LUCY

Papa’d be so grateful if he could have your advice.

George is instantly taken back and offended

GEORGE

I don’t know that I’ve done anything to be insulted for!

Lucy smiles.

LUCY

You know, I don’t mind your being such a lofty person at all. I think it’s ever so interesting—but Papa’s great man!

George is both sincere and gracious in his answer.

GEORGE

Is he? Well, let us hope so. I hope so, I’m sure.

 

Both turn to look at Eugene and Isabel dancing.

Isabel and Eugene are dancing. Isabel is smiling.

LUCY

How lovely your mother is!

 

George is gentle in his agreement.

GEORGE

I think she is.

LUCY

She’s the grace-fullest woman! She dances like a girl of sixteen.

GEORGE

Most girls of sixteen are bum dancers.

 

George rises and helps Lucy up and then takes her by the arm.

They walk to the door as the camera moves backward to follow them.

CUT TO

  (SINGLE TAKE SCENE)

GEORGE

Anyhow, I wouldn’t dance with one unless I had to…The snow‘s fine for sleighing; I’ll come for you in a cutter at ten minutes after two.

 

Isabel and Eugene dance close to the camera. The music stops with the two smiling. Lucy and George stop. She is firm is with George.

LUCY

Tomorrow? I can’t possibly go.

EUGENE

Thank you, Isabel

There’s applause and Eugene looks over to Jack.

JACK’s VOICE

Bravo! Brvissimo!

Lucy walks up to Eugene and Isabel.

LUCY

Papa.

 

Isabel and Eugene turn to face Lucy and George. Eugene realizes that it’s time to go.

EUGENE

Lucy…I’ll get your things

Eugene walks away and the camera pans to follow him as it moves forward toward George and Lucy.   George is still persistent and refuses to accept “no.”

GEORGE

If you don’t, I’m going to sit in a cutter at your front of the gate and if you try to go out with anybody else he’s got to whip me before he gets you.

 

Lucy laughs and even blushes a little. She walks to Eugene and the camera pans to follow them as they head for the vestibule

JACK’s VOICE

Hey you two! I think you ought to take this in case you break down in that horseless carriage.

   

Jack comes into the frame with a coat and a fur robe heading for Eugene and Lucy. As everyone talks at once Fanny rushes up to Lucy.

FANNY

You better take this scarf, Lucy dear.

George calls back to Jack.

GEORGE

Uncle Jack?

JACK

What is it?

Isabel runs and joins the group in the vestibule.

EUGENE

Good night, Isabel.

 

Away from the others Jack and George talk quietly.  Lucy walks to Eugene while Jack joins George near the stairs, and for a moment they watch the others as everyone collects in the vestibule door. Eugene helps Lucy into her wrap. George whispers to Jack.

GEORGE

Come here.

ISABEL

Fanny, where are you going?

FANNY

Oh, just out to look.

ISABEL

Do you think you’ll be warm enough, Lucy?

Camera moves in on George and Jack.

ACK

Well?

GEORGE

Oh, Nothing

JACK

Here, hold this.

 

Jacks hands George a fur blanket and puts on his coat as he speaks. Others behind them are talking so George lowers his voice confidently.

GEORGE

Who is this fellow Morgan?

Jack smiles wisely.

JACK

Here’s a man with a pretty daughter, Georgie.

GEORGE

He certainly seems to feel awfully at home here, the way he was dancing with Mother and Aunt Fanny.

They have started moving slowly toward the door. As they near, they speak in increasingly hushed voices. Jack is smiling and speaks thoughtfully.

JACK

Well, I’m afraid your Aunt Fanny’s heart was stirred by—ancient recollections, Georgie.

GEORGE

You mean she used to be silly about him?

JACK

Oh, she wasn’t considered uh—singular. He was uh—he was popular.

GEORGE

Ohhh.

George hands the blanket back to Jack.

JACK

Do you take this same passionate interest in the parents of every girl you dance with?

GEORGE

Oh, dry up! I only wanted to know.

 

They walk into the vestibule and the camera follows. George approachesLucy.

GEORGE

Lucy—about that sleigh ride.

JACK

I want to look at that, uh, automobile carriage of yours Gene.

Lucy is on screen while everyone gathers in the darkened vestibule all talking at once.

FANNY

I’m coming out, too.

ISABEL

Fanny, you’ll catch cold.

JACK

If we’re going to ride in it tomorrow. I want to see if it’s safe.

EUGENE

Good-night, Isabel.

ISABEL

Good-night, Eugene.

 

Eugene leaves and Isabel, in dark profile looks at him, and one can only imagine what she is thinking. Lucy faces George. It soon becomes obvious he is someone who refuses to accept no for an answer.  

GEORGE

You be ready at ten minutes after two.

LUCY

No I won’t.

GEORGE

Yes, you will. Ten minutes after two.

As the people around them are talking Lucy smiles and says inpulsively.

LUCY

Yes, I will.

She goes through the door.

JACK’S VOICE

C’mon, Gene! Show us how it works.

EUGENE

If it does work.

 

The group run through the snow to Eugene’s automobile. The camera pans to follow them. Shivering, they laugh.

FANNY

I suppose you’ll break down.

EUGENE

Come On Lucy.

LUCY’s VOICE

I’m coming Papa.

FANNY

I hope you’re gonna be warm enough!

 

Eugene and Lucy step up into the car. The motor starts and Jack tosses the blankets to Eugene.

JACK

Here’s a blanket for you Eugene. Catch!

 

(SINGLE TAKE / SINGLE ANGLE SCENE)

Eugene and Lucy settle down on the front seat. Pulling blankets over their laps the loud motor is heard while the car shakes. Eugene speaks to the others.

EUGENE

Night!

VOICES

Night, Bye!

 

The car is moving and the wind is blowing. Lucy shivers as they speak over the motor noise

LUCY

Papa!

EUGENE

Huh?

LUCY

Papa, do you think George is terribly arrogant and domineering.

EUGENE

Oh, he’s still only a boy…Plenty of fine stuff in him…Can’t help but be, he’s—Isabel Amberson’s son.

LUCY

You liked her pretty well once. I guess Papa.

EUGENE

Do still.

LUCY

She’s lovely. Lovely! Papa, I wonder sometimes…

EUGENE

What!

LUCY

I wonder just how she happened to Marry Mr. Minafer

 

Eugene laughs

EUGENE

Oh. Wilber’s all right.

 

DISSOLVE TO 

In the mansion George and Isabel are climbing the stairs. When they reach the second floor the two walk down the hallway and the camera moves with them.

GEORGE’S VOICE

I know that isn’t all that’s worrying you.

ISABEL

Well, several things. I’ve been a little bothered about your father, too.

GEORGE

Why.

 

ISABEL

It seems to me be looks so badly.

GEORGE

He isn’t any different from the way he’s looked all his life: that I can see.

ISABEL

He’s been worrying about some investments he made last year. I think his worry has affected his health.

George doesn’t like what he hears and suddenly becomes demanding.

GEORGE

What investments? He isn’t going into Morgan’s automobile concern, is he?

ISABEL

Oh, No. The “automobile concern” is all Eugene’s.

 

A door is heard opening and a light shines on Isabel and George. They stop as does the camera.

ISABEL

No—your father’s rolling mills.

 

Wilber is standing in his bedroom door in his bathrobe and dressing gown. Isabel speaks to him.

ISABEL

Hello, dear.

 

Isabel and George are looking at Wilber while Jack and Funny approach

ISABEL

Have you had trouble sleeping?

George speaks abruptly

GEORGE

Look here father…

 

George comes up to his father.

GEORGE

…about this man Morgan and his old sewing-machine?

 

Wilber faces George.

GEORGE

Doesn’t he want to get Grandfather to put money into it? Isn’t that what he’s up to?

During George’s speech, Fanny, having come up the stairs has started for her bedroom. She stops and George looks at her as she mocks him.

FANNY VOICE

You little silly!

 

Isabel is standing while behind her Fanny is talking. Jack heads for his bedroom.

FANNY

What on earth are you talking about? Eugene Morgan’s perfectly able to finance his own inventions these days.

Fanny walks behind Isabel. George is insistent.

GEORGE’s VOICE

I’ll bet he borrows money from Uncle Jack.

Surprised, Isabel looks at George with grave perplexity

ISABEL

George, why do you say such a thing?

 

Looking over his shoulder George is persistent.

GEORGE

He just strikes me as that sort of man.

George looks back at Wilber

GEORGE

Isn’t he, Father?

WILBUR

He was a fairly wild young fellow twenty years ago. He was like you in one thing, Georgie: he spent too much money—only he didn’t have any mother…

 

Isabel is looking at Wilber and George. Fanny is in the background listening

WILBER

…to get money out of a grandfather for him.

 

George faces Wilber, as Wilber glances at Isabel and then turns to the doorway to his bedroom as he speaks.

WILBER

But I believe he’s done fairly well of late years…

 

Wilber walks into his bedroom. Isabel passes in front of George as she heads into her bedroom.

WILBER

…and I doubt if he needs anybody else’s money to back his horseless carriage.

 

George is speaking to his father.

GEORGE

Well, what’s he brought the old thing here for then?    People that own elephants don’t take their elephants around with ‘em when they go visiting.

 

Isabel is standing the bedroom doorway.

GEORGE

What’s he got it here for?

WILBUR’S VOICE

I’m sure I don’t know. You might ask him.

Isabel looks at George.

ISABEL

I’ll be in to say good night, dear.

 

She follows Wilbur and closes the door.

George turns to his Aunt Fanny and calls in an exited whisper.

GEORGE

Aunt Fanny!

 

Anxious to have his questions answered George approaches Fanny. Fanny speaks to him with little amiability.

FANNY

What in the world’s the matter with you?

George grows somber.

GEORGE

I suppose you don’t know why Father doesn’t want to go on that horseless carriage trip tomorrow.

 

Together they head into a hallway.

FANNY

What do you mean?

 

Fanny and George walk down the hallway. Behind them Sam, the Black servant, is putting out the lights. George is sarcastic.

GEORGE

You’re his only sister, and yet you don’t know!

FANNY

Why he—he—he never wants to go anywhere that I ever heard of. What is the matter with you?

GEORGE

He doesn’t want to go because he doesn’t like this man Morgan.

Fanny suddenly becomes impatient.

FANNY

Awwh. Good gracious.

A Door opens.

FANNY

Eugene Morgan isn’t in your father’s thoughts at all, one way or the other.

 

Annoyed, at the two keeping him up, Jacks walks out of his bedroom into the hallway.

JACK

Good Night!

FANNY

Why should he be?

GEORGE

Good night!

FANNY

Good night.

GEORGE

Hey!

JACK

Are you two at it again?

 

Fanny stops and turns to George

GEORGE

What makes you and everybody so excited over this man Morgan?

Jack repeats disparagingly

JACK

This man Morgan.

FANNY

Excited!

JACK

Oh shut up.

Fanny turns to Jack

FANNY

Can’t…

Jack goes back into his room. Fanny turns and moves down the hallway her voice rising uncomfortably. George is beside her, the camera pans to follow them

FANNY

…can’t people be glad to see an old friend without silly children like you having to make a to-do about it?

 

They stop beside at her door.

FANNY

I’ve just been suggesting to your mother that she might give a little dinner for them.

GEORGE

For who?

FANNY

For whom, Georgie!

 

Just to annoy Fanny George mimics her.

GEORGE

“For whom Georgie.”

 

Annoyed, Fanny hesitates.

FANNY

For Mr. Morgan and his daughter.

George is quick with his answer. He almost sounds frightened.

GEORGE

Look here! Don’t do that! Mother mustn’t do that. It wouldn’t look well.

Now it’s Fanny’s turn to mock George, her tone acerbic.

FANNY

“Mother mustn’t do that.”

GEORGE

It wouldn’t look well.

FANNY

“Wouldn’t look we—” See here, Georgie Minafer, I suggest that you just march straight on into your room! Sometimes you say things that show you have a pretty mean little mind!

 

 She goes in the door and slams it behind her. Astounded by this outburst George is curious

GEORGE

What upsets you this much?

JACK’S VOICE

Shut up!

FANNY

I know what you mean.

 

The door opens and Fanny burst out. She’s angry a white hot look on her face.

FANNY

You’re trying to insinuate that I’d get your mother to invite Eugene Morgan here on my account…

JACK’S VOICE

I’m going to move to a hotel.

FANNY

…because he’s a widower!

GEORGE

What?

FANNY

What!

 

George laughs and glaring at him Fanny laughs derisively.

GEORGE

I’m trying to insinuate that you’re setting your cap at him and getting Mother to help you?

FANNY

Oohhhh!

 

Angry and annoyed Fanny goes inside her room.

GEORGE

Is that what you mean?

 

She slams the door in his face.

 

George turns and moves down the hallway as the camera pans to follow him.   Jack comes out wanting them to stop so he can go to sleep.

FANNY’S VOICE

You attend to your own affairs!

Dumbfounded, George turns and looks at Fanny’s closed door amazed.

GEORGE

Well, I will be shot!

He turns to Jack

GEORGE

I will—I certainly will be shot!

Fanny can be heard raving.

FANNY’s VOICE

Ohh!

 JACK

Ohhh!

 

Relieved Jack goes back inside his room while George heads for his room laughing.

A moment later the door is heard slamming.

DISSOLVE TO

(SINGLE TAKE SCENE)

Lucy opens the barn door to their stable where Eugene stores his auto.   After opening the doors Lucy runs inside, gets out of the way. A couple of horses in their stalls whinny as Eugene drives his car inside. He yells.  

EUGENE

Look out. Lucy. Look out, dear.

LUCY

Right.

 

She follows him as he drives in and stops just in front of the horse stalls.

Lucy walks to the car and the two talk as he climbs out. She speaks thoughtfully. Obviously she was has been talking about George during most of the ride home.  

LUCY

You know, I wish George wasn’t so conceited and bad-tempered. He’s really quite nice.

     Preoccupied about something wrong with the auto, Eugene talks to her as the horses stomp and neigh.

EUGENE

What’s that dear?

LUCY

George! Maybe I shouldn’t call him exactly bad tempered.

EUGENE

Of course not, only when he’s cross about something.

 

Calming the horses, Eugene walks over and the camera pans to follow him

EUGENE

Whoa-Whoa-Whoa.

 

He’s walked around the auto to fix the front light. Lucy laughs.

EUGENE

You know, dear, you need only three things to explain all that’s good and bad about George.

 

They both walk to the side of the car where  Eugene kneels to fix the light. As the two horses stamp and rear behind him, Eugene speaks.

EUGENE

He’s Isabel’s only child. He’s an Amberson. He’s a boy.

LUCY

Well, Mr. Bones, of these three things, which are the good ones and which are the bad ones?

EUGENE

All of them.

 

Finished fixing the light he blows it out.

FADEOUT/FADE IN

MUSIC-CD-SNOW RIDE

 

The camera is shooting down to stream with snow covering both banks and reflects a moving sleigh.

Eugene’s horseless carriage has stalled on the road. Eugene is in front cranking while Jack stands beside him and, excited, Isabel and Fanny are hopping up and down in snow to keep warm.  

FANNY

Do you think you’ll get it to start?

 

In the woods a sleigh is circling around

The camera pans to follow. George is driving, Lucy beside him.

The camera is below car showing Eugene trying to crank it.

JACK

What’s wrong with it Eugene.

 

Camera shooting through Eugene’s legs as he continues to crank the car with a cheerful countenance.

EUGENE

I wish I knew.

 

The Sleigh races on from across the screen.

His back to the camera Eugene is cranking the car.

The Sleigh is racing’

It circles around bend in road

The camera pans to follow

Camera is shooting through Eugene’s legs. He cranks rapidly and the motor catches and then noise of the engine is heard.

Eugene is standing beside the car, Jack beside him.

Eugene leaps onto the car and Isabel and Fanny head for the auto. The motor is making a great deal of noise and adds to the confusion as they all talk at once.

Jack and Isabel and Fanny push the car and the camera pans to follow as it begins moving. Jack falls into the snow, the car stops and they all laugh.

George’s sleigh races across the screen.

 

Eugene, standing in stalled car, motions to and yells at the others.

EUGENE

C’mon push! Push, Jack!

 

The car begins to move as the sleigh comes on screen behind them. Lucy is laughing, rises and waves. George gestures mockingly.

GEORGE

Git a horse. Git a horse.

 

The sleigh passes the car.

The sleigh passes the car

The camera pans to follow it.

GEORGE

Git a horse.

LUCY

Git a horse.

 

Sleigh comes on above a snow bank and camera pans to follow it.

Just then the runner of George’s cutter snaps off.

GEORGE

Look out, Lucy

 

The little sleigh upsets and, after they tumble on the show, the two roll down the embankment while the horse runs off with the sleigh leaving Lucy and George rolling down together into a bank of snow.

Eugene’s sees the runaway sleigh.  Hearing Lucy crying out Eugene leaps off the car to help.

FANNY

What happened to them?

Isabel is distressed.

ISABEL’s VOICE

Oh, George

 

Eugene starts running toward the sleigh as, moving quickly, the others begin getting out of the car.

All talking at once, the four run from the car towards the sleigh.

George is holding onto Lucy as they roll down towards the camera. They stop close to the camera, both lying on the ground.

Eugene running. He stops and looks down at Lucy and George.

Lucy is lying in George’s arms. Flushed and breathing heavily she smiles at him. Looking at each other without speaking, George suddenly grabs and kisses her. She resists and terribly embarrassed pushes George away.

Eugene looks down at the two and smiles.

EUGENE

Are you all right?

 

George is holding Lucy In his arms. They sit up.

ISABEL’S VOICE

Georgie!

 

Grinning, Eugene turns to a worried Isabel who is running toward them ahead of Jack and Fanny.

EUGENE

They’re all right, Isabel. This snow’s a featherbed

 

As Eugene runs over to help, George holds Lucy in his arms. They sit up.

ISABEL’S VOICE

George!

 

Jack, Isabel and Fanny run over. Isabel is actually frightened.

EUGENE

Lucy, dear?

LUCY

I’m fine Papa.

Eugene helps Lucy and George up.

EUGENE

Nothing the matter with them at all.

Isabel comes into the scene and gasps.

ISABEL

Oh Georgie.

JACK

They’re all right.

Eugene helps Lucy while fanny crosses to them

FANNY

Are you sure you’re not hurt. Lucy dear.

 

George moves up the bank and the camera pans to follow.  Jack is in the back of them and Isabel speaks to George.

ISABEL

Georgie!

GEORGE

Don’t make a fuss, mother!

 

Eugene, Lucy and Fanny come close to the camera. Camera pans to George and Isabel as they move. George is annoyed and embarrassed by his mother’s attention and concern.

ISABEL

George, that terrible fall.

GEORGE

Please, Mother please.

 

The group are climbing over a fence.

GEORGE

I’m all right.

ISABEL

Are you sure. George? Sometimes one doesn’t realize the shock.

 

They hurray through the woods

JACK

Oh, Isabel.

ISABEL

I’ve just got to be sure, dear.

Pan continues as they move further away from camera.

GEORGE

I’ll be all right, mother. Nothing’s the matter.

ISABEL

Let me brush you off, dear.

EUGENE

You look pretty spry. All that snow becomes you.

JACK

That’s right. It does.

Jack has brought Lucy’s hat. Aunt Fanny acts as lady’s maid, and as they all help to restore George and Lucy to their usual appearance, they begin to laugh— all but George.  

The group comes down through the snow.

George is glum.

GEORGE

That darn horse.

 

The Horse is racing away pulling the overturned sleigh behind it.

JACK’S VOICE

Pendennis will be home long before we will. All we’ve got to depend on…

 

The group walk through the snow while the car which is shaking and the sound of the motor can be heard.

JACK

…is Gene Morgan’s brokendown chafing-dish yonder.

They laugh and an explosion from the car’s motor is head.   They all groan and run to the car.

EUGENE

She’ll go. All aboard.

 

They are all moving toward the car.

Laughing and talking the group climb into the car.

Fanny sits in the rear seat

JACK

You’ll have to sit on my lap Lucy!

LUCY

All right.

 

Isabel starts brushing off George. George is embarrassed.

ISABEL

Then stamp the snow off. You mustn’t ride with wet feet.

GEORGE

They’re not wet. For goodness sakes, get in. You standing in the snow yourself. Get in mother.

 

Eugene and George lift Isabel up into the car and Eugene tucks her in.

EUGENE

You’re the same Isabel I used to know. You’re divinely ridiculous woman.

 

Eugene turns to George

EUGENE

George, you’ll push till we get started, won’t you? Push?

 

A surprised, indignant and outraged George stares at Eugene in disbelief over being asked to do such a lowly thing. Isabel, thinking aloud speaks not displeased.

ISABEL’S VOICE

Divinely and ridiculous just counterbalance each other, don’t they.

 

Eugene is close and Isabel faces him with Lucy and Jack behind them.

ISABEL

Plus one and minus one equals nothing. So you mean I’m nothing in particular?

 

Eugene laughs and George stares at him a bit suspicious.

EUGENE

No, that doesn’t seem to be precisely what I meant.

 

Eugene cranks the car. After an explosion the car starts moving. Everyone yells and talk indistinctly as the camera tilts down to show George pushing it. The car stops again.

Eugene and Isabel are on the front seat while the three behind are laughing. The car shakes and more explosions occur.

George is behind the car as exhaust fumes blow in his face. George coughs and the group laughs.

Lucy, Jack, and Fanny are looking at George. Jacks calls George.

JACK

Come on. George, push!

 

It is a gloomy looking George behind the car who shouts.

GEORGE

I’m pushing.

 

Jack, Lucy and Fanny are laughing. The car shakes and makes noises.

JACK

Push Harder.

 

Behind the car George is pushing as motor noises are heard.

Eugene pulls back on the steering rod and an explosion is heard. Everyone is laughing as the car lurches forward.

With George pushing the car is moving accompanied to mechanical sounds and general laughter.

George leaps up on the back of the car but the car stalls again and everyone groans.

George is standing behind the car as fumes rise. Frowning, he grasps, groans but, most important,  pushes.

Jack climbs down

Eugene pulls back on the steering rod accompanied by laughter motor sounds.

Eugene, Isabel, Fanny and Lucy are in the car while Jack walks around beside George. The two push and the wheels spin in the snow. Jack calls to George.

JACK

Come on, Georgie, push!

 

Fumes in his face George is pushing and straining and is not happy about it.

GEORGE

What do you think I’m doing?

He is forced to wave the fumes away.  

Eugene climbs down leaving Isabel in the front seat while Fanny and Lucy are in the back seat talking. .

FANNY

Your father wanted to prove his horseless carriage would run, even in the snow.

 

Standing beside the car Jack starts to lustily sing THE MAN WHO BROKE THE BANK AT MONTE CARLO.

JACK

“As-s-s-s I walked along the boy de Boolong.

FANNY

It really does, too.

LUCY

Of course!

FANNY

It’s so interesting!

 

Funny chats to Lucy while Jack is singing.

FANNY

He says he’s going to have wheels all made of rubber and blown up with air. I should think they’d explode.

Isabel joins in the singing.

SINGING

“With an independent air/You can hear the girls declare/He must be a millionaire/You can hear them sigh…

 

Behind the car pushing George is coughing at the fumes.

FANNY

…but Eugene seems very confident.

 

Fanny is talking rapidly to Lucy.

FANNY

Oh, it seems so like old times to hear him talk.

SINGING

And wish to die/You can see them wink the other eye/AS the man who broke the bank at Monte Carlo.”

Fanny starts to sing with the others.

JACK

Here we go!

 

The car is moving and Jack leaps onto the back seat.

 George leaps onto the back runner.

GROUP

Hooray!

JACK

We’re off!

 

The whole group is on the car as it is moves through the snow. George is standing on the back as the singing continues.

SINGING

“As I walked along the boy de Boolong…

 

The car is moving while everyone sings.

SINGING

“With an independent air/Hear the girls declare”

 

Fanny and jack are sitting in the back seat facing Lucy. George leans over from the back between Fanny and Jack.

JACK

“Be a millionaire”

 

Lucy speaks to George as the others continue singing. Her tone is thoughtful.

LUCY

You tried to swing…

 

George leans over beside Jack.

LUCY’S VOICE

…underneath me and break the fall for me when we went over.

 

Lucy is smiling.

LUCY

I knew you were doing that, and—it was nice of you.

 

George is genuine in his reply.

GEORGE

Wasn’t any fall to speak of. How about that kiss?

 

To avoid answering, Lucy joins the singing.

LUCY WITH THE OTHERS

“Can hear them sigh and wish to die”

 

George Grins, smirks and joins in the singing. He is off key.

GEORGE AND OTHERS

You can see them wink the other eye

 

Fanny, Jack and George are all are singing.

SINGING

“At the man who broke the bank at Monte Carlo”

 

George is off key and Jack glares at him. Fanny starts singing again with Jack Joining in.

FANNY SINGS

“As I walk along the Boy de Boolong.”

 

In the front seat Eugene and Isabel along with the others are singing. Something suddenly occurs to Isabel.

ISABEL

When we get this far out-you can see there’s quite a little smoke hanging over town.

The singing stops and Jack states his opinion.

JACK

That’s because it’s growing.

EUGENE

Yes, and as it grows bigger, it seems to get ashamed of itself so it makes that cloud and hides in it.

 

Isabel is touched by his gentle sentiment.

ISABEL

Oh, Eugene.

 

Isabel listens as Eugene speaks. The car shakes.

EUGENE

You know, Isabel, I think it used to be nicer.

ISABEL

That’s because we were young.

EUGENE

Maybe. It always used to be sunshiny, and the air wasn’t like the air anywhere else. As I remember it, there always seemed to be gold dust in the air.

 

Lucy is sitting on Jack’s lap and Jack speaks to her. George leans forward not looking pleased.

JACK

How about it, young folks? Notice any gold dust?

Lucy laughs and George talks derisively.

GEORGE

Gold dust?

They talk while the car continues to shake.

LUCY

I wonder if we really do enjoy it as much as we’ll look back and think we did?

JACK

Of course not!

LUCY

I feel as if I must be missing something about it, somehow, because I don’t ever seem to be thinking about what’s happening at the present moment. I’m always looking forward to something. Thinking about things that will happen when I’m older.

George talks to Lucy as Jack reacts with a whistle. George’s reaction is gentle.

GEORGE

You’re a funny girl, but your voice sounds pretty nice when you think and talk along together like that!

They drive beside a section of the Amberson Estates. George glances over

GEORGE

Hey, look at those fences all smeared.

 

Fanny is whistling and George is holding onto the car frowning. The car is shaking violently.

LUCY

That must be from soot.

Fanny agrees

FANNY

Yes. There’s so many houses here now.

GEORGE

Grandfather owns a good many of these houses, I guess, for renting.

FANNY

He sold most of the lots, Georgie.

GEORGE

He ought to keep things up better. It’s getting all too much built up. Riffraff!

 

Lucy is laughing and whistling is heard.

GEORGE

He lets…

 

George talks indignantly.

GEORGE

…these people take too many liberties: they do anything they want to.

 

Lucy is whistling.

George is looking ahead as the car shakes.

GEORGE

You’ve got that way of seeming quietly…

 

Lucy is whistling along with Jack but George behind them is annoyed. He speaks sincerely.

GEORGE

…superior to everybody else. I don’t believe in that kind of thing.

LUCY

You don’t?

GEORGE

No. Not with me! I think the world’s like this.

George glares and is emphatic as he continues talking as Lucy and Jack sing.

GEORGE

There’s a few people that their birth and position, and so on, puts them on the top, and they ought to treat each other entirely as equals.

His voice suddenly betrays his emotions toward Lucy.

GEORGE

I wouldn’t speak like this to everybody.

 

George looks at Lucy exasperated. He grows angry while Lucy and Jack sing.

GEORGE

Oh, I had a notion before I came for you today that we were going to quarrel.

 

Lucy interrupts her singing to say:

LUCY

No, we won’t. It takes two!

She smiles and resumes singing.

LUCY SINGS

“As I walked…”

 

Eugene and Isabel are in the front seat singing. The other behind them sing as well. The car shakes.

 SINGING

“…walked along the Boy de Boolong/ With an independent air.”

 

George looks exasperated.

The town is seen in the far off as the car travels along through the snow moving away from the camera.

SINGING

“Hear the girls declare/HE must be a millionaire/You can hear them sigh/And wish to die…”

Singing and motor sound diminish as Eugene’s horseless carriage recedes into the distance. As the shot begins to iris out it leaves the impression that the audience unlike those in the car, are aware that they are watching the passing of an era

IRIS OUT