Reel-2
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 broken–down 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