Of - QUT · baby, and they walk down the deck. ... CHAPLIN No trouble at all, ... He falls backwards onto the sofa near her,

A CITIZEN OF rrm WORLD

A Pilm Biography

O f

CHARLIE CHAPLIN

bY

ANTHONY SI-IAPFER

1st D R A F T I3 AUGUST, 1 9 8 7

N . B . Though t h e s c r e e n p l a y ends on Page 98, i t must be borne i n m i n d that room h a s b e e n l e f t t o nccomoda te a t l eas t half a dozen m u s i c a l numbers .

ACT ONE -

1 EXT. MANHATTAN P I E R - DAY

I t is September 1 7 t h , 1 9 5 2 , a f a c t e v i d e n c e d b y an e l e c t r i c s i g n o n a d i s t a n t b u i l d i n g w h i c h also shows t h e .time - noon .

The Queen E l i z a b e t h i s about t o s l i p h e r m o o r i n g a n d h e a d for E u r o p e . A l a r g e crowd h a s assembled t o see h e r o f f . A s s i r e n s h o o t a n d s-treaniers f l y t h r o u g h t h e a i r , w e no-to among t h e crowd a number of characters w e are t o meet l a t e r i n t h e f i l m - p r i n c i p a l l y James R g e e t h e N e w York c r i t i c who h a d d e f e n d e d C h a r l i e C h a p l i n d u r i n g h i s momentous p r e s s c o n f e r e n c e d u r i n g M o n s i e u r V e r d o u x , a n d h i s g r e a t f r i e n d Tirn D u r r a n t who i n t r o d u c e d h im t o Joan U a r r y . O b s e r v i n g the s c e n e w i t h g r i m s a t i s f a c t i o n t h r o u g h b i n o c u l a r s f rom a c l o s c c l car is Lhe U S A t t o r n e y G e n e r a l J a m e s McGranery and a n a i d e . On h i s l a p is a b r i e f case w i t h h i s name o n i t w h i c h w e n o t e i n CU. The camera f i n a l l y comes t o rest on James Agee w a v i n g a n d s h o u t i n g .

JAMES AGEE Good l u c k C h a r l i e !

2 EXT. TOP DECK OF THE QUEEN ELIZABETH - DAY

We pan up t o t h e d e c k of t h e g i a n t s h i p a n d zoom i n t o ECU C h a r l i e C h a p l i n . He s t a n d s w i t h Oona ancl four of h i s c h i l d r e n . Waving ancl s m i l i n g t h e y are G e r a l d i n e ( 8 ) , M i c h a e l ( G ) , J o s e p h i n e ( 3 ) a n d V i c t o r i a (1). H e h e a r s A g e e ' s s h o u t , loca tes h im i n t h e c rowd a n d s h o u t s back.

CIIAPL I P? ' B y e , James! Thank you € o r y o u r courage !

Agee waves h i s acknowledgemen t t h a t he has heard . C h a p l i n t u r n s t o face D u r r a n t .

CHAPLI N

( d e c l a i m i n g ) 'Bye Tim! ...

A m e r i c a , I ' m l e a v i n g you for a s h o r t t i m e , b u t I ' l l be back v e r y soon.

3 INT. CAR - DAY

James IilcCxsanery s i ts o b s e r v i n g t h e s c e n e . I-Ie s l o w l y lowers h i s b i n o c u l a r s ,

CONT I NU ED

2

Cont inuecl

McGRANERY Good r i d d a n c e t o b a d r u b b i s h !

T h e a ide s h o o t s h im a s h o c k e d a n d p u z z l e d l o o k .

A I DE Huh?

Mc G RAME RY He is a n a l i e n g u i l t y of. a d e g r e e of moral t u r p i t u d e wh,ich disqualifies him from c i t i e n s h i p .

The a ide n o d s s y c o p h a n t i c a l l y .

4 EXT. PIER IdANI-IATTEN - DAY

W i t h a g r e a t b l a s t of i t s s i r e n , t h e Queen E l i z a b e t h l e a v e s its m o o r i n g s ancl s w i n g s o u t i n t o open water.

5 EXT. TOP DECK QUEEN ELIZABETH - DAY

C h a p l i n , O o n a and t h e f o u r c h i l d r e n walk t h e deck.

OONA ( t o C h a p l i n )

You know t h i s ' l l be o u r f i r s t h o l i d a y a l l t o g e t h e r .

CHAPLIN What !

OONA Wi th a l l t h e k i d s I mean,

CI-IAPL I N Well V i c k y l s n o t e v e n a y e a r o l d yet, s o it's n o t s u r p r i s i n g .

, OONA S h e i s s o !

C€IAPL IN Well just.

If y o u l r e so grown u p , l e t ' s see how w e l l you can walk,

( t o V i c t o r i n )

He t a k e s t h e c h i l d f r o m Oonsi ' s arms a n d s e t s h e r on t h e d e c k . H o l d i n g h e r arm he t r o t s by her s i d e as s h e t o d d l e s a l o n g .

CONTINUED

3

5 C o n t i n u e d

CHAPLIN She ' s r e a d y f o r t h e n e x t m a r a t h o n . She m i l s t b e t h r e e a l r e a d y .

OONA ( p o i n t i n g a t J o s e p h i n e and l a u g h i n g )

And J o s e p h i n e I s s i x , 1 duppose .

CHAPLIN N o . I know L h a t ' s M i c h a e l . I-Ie t a l k e d m e i n t o - the h u n d r e d p i e c e t r a i n s e t on h i s s i x t h only l a s t w e e k ,

A n d t h a t o n e over t h e r e , Jemima i s . .

(he p o i n t s t o G e r a l d i n e )

OONA (mock s e v e r e )

G e r a l d i n e !

H e p i c k s h e r up .

cIiAPLIr4 E x a c t l y . Jeinima i s n i n e .

OONA G e r a l d i n e ' is e i g h t

CHAPL I N Well I c a n ' t p o s s i b l y k e e p up . F o u r k i d s i n n i n e y e a r s . . . !

OONA Welre o n l y half way t h e r e .

She slips h e r hand t h r o u g h h i s arm, as he p i c k s up t h e baby , and t h e y walk down t h e deck. They pass t h e s h i p ' s c inema where a s i g n p r o c l a i m s a f e s t i v a l of C h a p l i n ' s films i n honour of t h e g r e a t man b e i n g on b o a r d . The f irst o n e t o b e screened t h a t a f t e r n o o n a t 4 p n is The Colcl Rush. A p h o t o g r a p h o f Georgia Hale i s p r o m i n e n t , C h a p l i n s t o p s to examine i t .

CIIAPLIN She made ,z w o n d e r f u l Georgia.. She was born t o p l a y h e r , u n l i k e , . ,

OONA L i t a G r e y ?

CI-IAFLIN P r e c i s e l y .

M I X TO

6 INT. THREE CORNERED C A B I N SET O F THE GOLD RUSH - DAY

C h a p l i n i s showing L i t & Grey -the G o l d Rush s e t . I t i s on p u l l e y s , a n d rises and tilts to o r d e r . C h a p l i n d e m o n s t r a t e s .

CHAPLIN And s o you see Miss Grey , it w i l l do v i r t u a l l y a n y t h i n g you w a n t i t t o do. I t ' l l r i se o r fall. I t ' l l t e e t e r . I t ' l l t o t t e r .

LITA GREY I t ' s j u s t w o n d e r f u l C h a r l i e . I d o n ' t s u p p o s e t h e r e ' s a p a r t f o r m e i n i t , i s t h e r e ?

CI-IAPLIN T h e r e ' s t h e d a n c e h a l l g i r l o f c o u r s e . You c o u l d . t e s t f o r t h a t i f you l i k e d .

, LITA G l W Y Yes p l e a s e ! I ' l l g i v e i t my a l l , C h a r l i e . Y o u ' l l s e e !

7 INT. SCREENING ROOM - DAY

BLACK AND WHITE 1 6 FRAMES. Lita G r e y is p o s t u r i n g and vamping, inouing and p o u t i n g . We pul l . back t o see C h a r l i e w a t c h i n g t h e s c r e e n t es t . With him is Chuck R e i s n e r , a n a s s i s t a n t , gagman and f r i e n d .

24 FRAMES. SOUND. COLOUR.

CHAPLIN I 11 t e l l you s o m e t h i n g , Chuck, t h i s g i r l h a s great s p i r i t u a l i t y .

RE I SNER ( d r i l y )

S p i r i t u a l i t y huh? I t t akes a rea l a r t i s t t o s p o t t h a t !

C h a r l i e shoots R e i s n e r a s u s p i - c i o u s l o o k a s t h e f i l m e n d s and t h e l i g h t s come up . They l e a v e the s c r e e n i n g room.

8 INT. LOUNGE OUTSIDE SCREENING ROOM - DAY

L i t a Grey i s w a i t i n g as C h a p l i n and R e i s n o r exit t h e s c r e e n i n g room.

CONTINUED

5

8 C o n t i n u e d

LITA GREY Was i t a l r i g h t ? What d i d y a t h i n k C h a r l i e ?

CI-IAPL I N Nol ; b ad , L i t a . T h a t p a r t ' s your s . I ' l l g i v e you s e v e n t y f i v e bucks a week.

LITA GREY Goody goody! B u t c a n ' t you make i - L a h u n d r e d , C h a r l i e ?

CHAPLIN S e v e n t y f i v e , a n d a l l t h e w h e a t i e s you c a n e a t .

She kisses h i m .

LITA GREY Okay ! I t I s a deal ! Thanks C h a r l i e . . . and ;L l u n c h ?

CHAPLIN D i n n e r t o n i g h t at my h o u s e .

LITA GREY F i n e , bu t 1'11 h a v e t o b r i n g Mom. S h e w o n ' t l e t m e go out a t n i g h t by m y s e l f .

CHAPLIN B r i n g y o u r guard dog i f you w a n t , b u t d o n ' t be l a t e r t h a n s e v e n t h i r t y .

9 INT. CHAPLIN'S D I N I N G ROOM - EVENING

C h a p l i n i s d i n i n g w i t h L i t a Grey and h e r m o t h e r Mrs McMurray, a m a t r o n l y f i g u r e of r e l e n t l e s s i d o m i t a b i l i t y , Sudden ly s h e clasps h e r stomach , h a l f r i s e s a n d c o l l a p s e s i n h e r cha i r .

MRS McMURRAY Excuse me.. . I don I t f e e l so good.

L i t a Grey rises a n d goes t o h e r m o t h e r , as does C h a p l i n .

LITA GREY What i s it mom?

CONTINUl3D

9 Con t inued G

MRS McMURRAY I d o n ' t know. I t ' s someth ing i n my s-tomacli. T h e r e a r e some pills i n my p u r s e .

L i t a G r e y f i n d s t h e p i l l s a n d p u t s one i n h e r mouth. C h a p l i n h o l d s the g l a s s of water o u t of which she d r i n k s greedi1 .y .

CII A P L I N h 4 r s McMurray , you s imply mustn ' t t h i n k of g o i n g home. You must s t a y t o n i g h t , and tomorrow I suggest you s h o u l d have a n X r a y .

L I T A GREY C h a r l i e ' s r i g h t , mom. You must g o t o bed h e r e , a n d take i t easy.

C h a r l i e r i n g s cl. b e l l fo r s e r v a n t s .

M I X TO

1 0 INT. BEDROOM CI-IAPLIN HOUSE - NIGHT

Mrs McMurray i s b e i n g h e l p e d t o becl by two m a i d s , and h e r d a u g h t e r . T h e r e is a knock a n d C h a r l i e e n t e r s .

CI-IAPL I N H o w are y o u now NIrs McMurray?

MRS McMURRAY A l i t t l e be t te r t h a n k y o u .

C H A P L I N I hope you'll b e c o m f o r t a b l e h e r e . I f t h e r e ' s a n y t h i n g you want you o n l y have t o r i n g t h a t b e l l .

MRS McMURRAY Thank you C h a r l i e , I ' m s o r r y t o be such t rouble .

CHAPLIN N o t r o u b l e at a l l , I a s su re you. I t ' s my p l e a s u r e t o have you here...I'11 see a room is made up f o r L i t a . Goodnight Mrs McMurray.

MRS McMURRAY G o o d n i g h t , C h a r l i e .

CONTINUED

7

1 0 C o n t i n u e d

He l e a v e s s h o o t i n g a look a t L i t a wh ich h e r m o t h e r i n t e r c e p t s . L i t a h a s t e n s t o b e s o l i c i t o u s , p lumping t h e p i l l o w s and g e n e r a l l y f u s s i n g a b o u t .

11 INT. CHAPLIN'S DRAWING ROOM - NIGHT

C h a r l i e s t a n d s by t h e f i r e p l a c e . Lita enters a n d sits on t h e sofa.

C €1 APL I N Your mother c o m f o r t a b l e ?

LITA GREY S h e ' s j u s t fine. S h e ' l l b e a s l e e p i n a few m i n u t e s .

An awkward p a u s e . C h a r l i e looks a t he r s p e c u l a t i v e l y ,

CI-IAPLIN T e l l me, h a v e you any p r o b l e m s w i t h t he s c r i p t , my d e a r ?

LITA GREY One o r two. For i n s t a n c e i n t h a t l a s t s c e n e , a f t e r y o u ' v e f a l l e n off t h e t o p deck i n t o t h e c o i l o f r o p e i n s t e e r a g e , how do I say "You! I t h o u g h t I ' d n e v e r see you a g a i n " , w i t h o u t making i t seem f u n n y ?

CFTAPL I N I t a l l d e p e n d s on how 1 f a l l , and how I look a t you. The a u d i e n c e h a s g o t t o see a n i n s t a n t and joyous bond between them. I'll show y o u . . .

H e f a l l s backwards o n t o t h e s o f a near h e r , and looks up at h e r a d o r i n g l y .

LITA GREY You! I t h o u g h t I ' d never see y o u again.

T h e y s t a r e a t e a c h o t h e r f o r a l o n g b e a t , and t h e n go i n t o a p a s s i o n a t e embrace .

CI-IA PL 1 N How t h o u g h t f u l of y o u r mother t o g e t s i c k .

MIX TO

8

1 2 INT. CHAPLIN'S BEDROOM - NIGHT

C h a r l i e a n d L i t & a re s i t t i n g on t h e bed .

CHAPLIN Does i t w o r r y you t h a t I ' m t w e n t y y e a r s o l d e r t h a n you?

LITA GREY Worry m e ? Why s h o u l d it?

CE-I APL I N Some p e o p l e migh t t h i n k i t was u g l y or p e r v e r s e .

LITA GREY I t ' s as u g l y a n d p e r v e r s e as a s u n r i s e .

CI-I APL I N T h a t ' s v e r y s w e e t of you .

They k i s s , a n d tumble i n t o b e d and s t a r t t o make l o v e .

1 3 INT. STUDIO GOLD RUSH DANCE HALL - DAY

C h a r l i e is d i r e c t i n g h i s own e n t r a n c e . He s t a n d s i n t h e doorway , t h e camera b e h i n d h i m , looking f o r l o r n l y a r o u n d . H e sees L i - t a as t h e d a n c e hall g i r l and i s f a s c i n a t e d . S h e t u r n s , sees an a c q u a i n t a n c e also named C h a r l i e , s t a n d i n g n e x t t o h im.

LITA GREY C h a r l i e !

She s m i l e s a n d a d v a n c e s t o meet h e r f r i e n d . C h a p l i n , h a p p i l y , i n c r e d u l o u s l y s m i l e s , b u t s h e w a l k s p a s t h i m t o h e r f r i e n d .

CHAPLIN C u t ! And p r i n t i t !

( t o L i t a ) T h a t w a s e x c e l l e n t , my d e a r . L e t ' s go s t r a i g h t on t o the dance s c e n e . We are g o i n g t o need Malcolm a n d t h e dog a n d cat h a n d l e r s . . . R e h e a r s a l light!

The g r e e n l i g h t comes up on a w a l l .

M a l c o l m Waite p l a y i n g Jack Cameron w a l k s o n s e t as d o e s t h e dog h a n d l e r a n d a huge hound which h e t e t h e r s t o a t a b l e with a l e n g t h of rope , a n d the cat h a n d l e r who h o l d s a ca t r e a d y to b e re leased.

CONTINUED

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1 3 Cont inuecl

CHAPLIN Malcolm, you swagger up t o L i t a a n d g i v e h e r y o u r l i n e . 1 '11 s t a n d a b o u t h e r e .

Malcolm Waite d o e s a s i n s t r u c t e d .

MALjCOLhl WA ITE Me and you are g o i n g t o d a n c e !

L i t a l o o k s c o n t e m p t u o u s l y a t h i m , a n d t h e n abou t h e r , and p i c k s t h e sor r ies t l o o k i n g p a t r o n of the h a l l a s her p a r t n e r - C h a r l i e .

A s t h e y dance, h i s t r o u s e r s b e g i n t o f a l l clown. He u s e s t h e r o p e dog l eash t o t i e them u p , n o t s e e i n g it is a t t a c h e d t o t h e g i a n t d o g . The ca t i s r e l e a s e d a t t h i s m o m e n t a n d the dog s p u r t s away to c h a s e it. C h a p l i n crashes t o (;he ground, a n d is h a u l e d across t h e f l o o r , l e g s k i c k i n g d e s p e r a t e l y .

1 4 INT. CE-IAPLIN'S DRAWING ROOM - DAY

C h a r l i e sits i n a c h a i r s u r r o u n d e d b y a small semi-c i rc le of a c c u s a t o r y f i g u r e s . They i n c l u d e the s l i g h t l y r o t u n d f i g u r e of L i t a , h e r mother Mrs McMurray, a n d L i t a ' s u n c l e Edwin McMurray .

MRS McMURRAY T h e g i r l i s p r e g n a n t C h a r l i e . . . P r e g n a n t , d o you u n d e r s t a n d ? ... I t ' s a t r a g e d y !

CIIAPLIN A new soul i n t h e wor ld c a n s c a r c e l y be c a l l e d a t r a g e d y .

EDWIN D o n ' t ge t smart , p a l . I'm t a l k i n g marriage.

CI-IAPLIN Marriage !

EDW I N Marry t h e g i r l o r w e sue - a n d I g u e s s you know w h a t that'll meant

CI-IAPLIN D o I ?

CONTINUED

1 0

14 C o n t i n u e d

EDWIN I t m e a n s t h e p e n , C h a r l i e boy. Or t o a posh Limey b a s t a r d l i k e you - t h e p e n i t e n t i a r y .

C h a p l i n r i s e s a n d paces . t h o u g h t f u l l y .

CHAPLIN A l r i g h t . B u t I'm very much a f r a i d i t also means s h e ' s o u t of t h e film.

LITA ( p l e a d i n g )

You c a n ' - ( ; do t h a t C h a r l i e ! I ' v e a l r e a d y done f i v e weeks s h o o t i n g .

CI-I A PL I N Y o u ' v e o n l y clone a few s c e n e s . They c a n b e r e s h o t .

MRS McMURRAY T h a t ' s a crumby t r i c k . Y o u ' l l break h e r h e a r t .

LITA GREY I t ' s a lousy way t o g e t e v e n , C h a r l i e .

CHAPL I N I ' m n o t g e t t i n g even, l o v e . Bu t I d o n ' t h a v e a c h o i e - and you do.

LITA GREY What do you mean?

CHAPLIN Y o u ' r e p r e g n a n t . T h i s is a s i x month s h o o t . What w i l l you l o o k l i k e i n six months?

LITA GREY I see what you m e a n . Shucks!

CHAPLIN Of cou r se i f you d e c i d e n o t t o h a v e i t , w e can a l w a y s go on a s we a r e . . .

EDWIN She I s gonna h a v e t h e k i d , and you ' r e gonna m a r r y h e r . Get i t?

C h a p l i n s h r u g s .

CONTINUED

11


CIIARLIE

I t ' s y o u r c h o i c e . ( t o L i t a )

L i t a Grey s ta r t s t o c r y .

LITA GREY Who w i l l you get t o rep lace m e , Char 1 i e ?

CKAPLIN I have i n mind a girl ca l led G e o r g i a Hale.

L i t a breaks down i n t e a r s . C h a r l i e s t a l k s f rom t h e room as t h e McMurrays s ta r t t o examine t h e f u r n i t u r e a n d o r n a m e n t s i n t h e room i n a p r o p r i e t o r i a l way .

1 5 EXT. CHURCH EMPALME SONORA MEXICO - DAY

C h a r l i e a n d L i t a come o u t o f t h e c h u r c h i n wedding ga rb . They a r e f l a n k e d by Mrs McMurray, E d w i n a n d Chuck Reisner . Mrs McMurray k i s s e s a s t o n y - f a c e d C h a p l i n , who t u r n s a w a y t o s h a k e R e i s n e r ' s o u t s t r e t c h e d hand.

RE I SNER C o n g r a t u l a t i o n s , C h a r l i e . You don I .t l o o k s o happy t h o u g h . What a re you t h i n k i n g ?

CHAPLIN I am t h i n k i n g t h a t t h i s is b e t t e r t h a n t h e p e n i t e n t i a r y , bu t o n l y j u s t !

1 6 INT. STUDIO GOLD RUSH DANCE HALL - DAY

C h a r l i e i s d i r e c t i n g h i s own e n t r a n c e i n t h e d a n c e h a l l s c e n e i n t h e Gold R u s h , b u t t h i s t i m e w i t h Georgia Hale i n p l a c e of L i t a G r e y . A s b e f o r e , i n s c e n e 1 3 , h e s t a n d s i n t h e doorway, t h e camera b e h i n d him, l o o k i n g f o r l o r n l y a r o u n d , H e sees G e o r g i a as t h e dance h a l l g i r l a n d is f a s c i n a t e d . S h e t u r n s , sees a n a c q u a i n t a n c e a l s o named C h a r l i e , s t a n d i n g n e x t t o h im.

GEORGIA HALE C h a r l i e !

She smiles and a d v a n c e s t o meet h e r f r i e n d . C h a p l i n , h a p p i l y , i n c r e d u l o u s l y , smiles, b u t s h e walks p a s t him t o h e r f r i e n d .

1 2

1 7

1 8

1 9

INT. SMALL SITTING ROOM I N CHAPLIN HOUSE - DAY

A b o r e d L i t a Grey i s l o o k i n g o u t of t h e window. She yawns, p i c k s up a book , and p e t u l a n t l y t h r o w s it t o t h e f l o o r .

INT. CUTTING ROOM - N I G H T

C h a p l i n s i ts a t a m o v i e o l a e d i t i n g t h e Gold Rush. We h e a r a s n i p p e t of s o u n d w e have h e a r d b e f o r e .

MALCOLM WAITE ( V . 0 . ) Me and you a re g o i n g -to d a n c e !

INT. CI-EAPLIN HOUSE DRAWING ROOM - NIGHT

A p a r t y is i n progress. Lita G r e y i s p r o m i n e n t , d r u n k e n l y d a n c i n g on t h e t a b l e , e n c o u r a g e d by a dozen o r s o o f h e r f r i e n d s i n l i k e c o n d i t i o n . The f l o o r i s a mess of food and b o t t l e s s h e has k i c k e d o f f t h e t a b l e .

The p a r t y f a l l s g r a d u a l l y s i l e n t , a s a t i r e d C h a p l i n e n t e r s , c a r r y i n g a b u l g i n g b r i e f c a s e . She waves t i p s i l y to him, t o t t e r s t o t h e e n d of t h e t a b l e , a n d f a l l s i n t o h i s arms almost u n c o n s c i o u s . H e smacks her face i n a r e f l e x of r e p u l s i o n .

LITA GREY ( s h o c k e d )

C h a r l i e !

CHAPL I N G e t y o u r f r i e n d s o u t of h e r e !

A FEMALE FRIEND Hey! You c a n ' t t r e a t h e r l i k e t h a t !

CHAPLIN I t ' s none of your b u s i n e s s . . . I t ' s l a t e ! P e r h a p s y o u ' d a l l b e t t e r g o !

LITA GREY But C h a r l i e . . , t h e n i g h t is young !

CE-IAPL I N Not f o r m e it i s n ' t . ..

( s u d d e n l y s h o u t i n g a t t h e g u e s t s )

O u t ! , . . A l l of you out!

They shuffle o u t i n e m b a r r a s s m e n t , a s s i s t e d by t h e i r a t e C l h n n l i n who s h o v e s a number of them t o w a r d s t h e door .

13

2 0 INT. D I N I N G ROOM S A N SIMEON - NIGHT

A t e i t h e r end of a long s i x t e e n t h c e n t u r y t a b l e s i t Randolph Hearst and Marion D a v i e s . They a r e a t l e a s t t w e n t y f ee t a p a r t . C h a p l i n is h a r a n g u i n g them, s w i v e l i n g t o f a c e them i n t u r n l i k e a s p e c t a t o r a t a t e n n i s match.

CHAPLIN You must see I had no c h o i c e , M a r i o n .

MARION DAVIES B u t t o h i t h e r C h a r l i e ! . . . I d o n ' t know t h a t t h a t ' s s o h o t .

CHAPLIN An a r t i s t must be a l l o w e d some e x c e s s e s - d o n ' t you a g r e e W i l l i a m ?

I-I EA 13 S T Never a p p r o a c h a woman w i t h o u t a w h i p , as t h a t K r a u t f e l l o w p u t i t , e h ?

H e l a u g h s .

MARION DAVIES O r a mailed f i s t !

CHAPLIN I t w a s n ' t as b a d as a l l t h a t . I t ' s w e l l known I have t h e d a i n t i e s t h a n d s i n t h e w o r l d .

H e s p r e a d s them.

B e s i d e s , s h e w a s d runk - h y s t e r i c a l . You c o u l d c a l l it t h e r a p e u t i c i f you l i k e d .

HEARST I a l w a y s t h o u g h t a r s e - k i c k i n g was y o u r t h e r a p y , C h a r l i e .

C h a p l i n t a k e s t h e s u g g e s t i o n s e r i o u s l y .

CI-IAPLIN P e r h a p s you're r i g h t , Maybe I ' d h a v e d o n e b e t t e r t o . . . .

He looks d e s p e r a t e l y f rom o n e t o t h e o t h e r as t h e y b u r s t ou t l a u g h i n g , a n d t h e n becomes i n c e n s e d .

CONTINUED


CHAPLIN

You d o n ' t understand. S h e ' s interrupting my work. No one c a n do that!...No o n e !

(furiously)

T h e i r l a u g h t e r grows as h e thumps t h e t a b l e , somewhat out of c o n t r o l .

END OF ACT ONE

1 5

ACT TWO

2 1 EXT. TOP DECK QUEEN ELIZABETH - DAY

CU p h o t o g r a p h o f G e o r g i a Hale. We p u l l b a c k t o s e e C h a p l i n , O o n a , and t h e f o u r c h i l d r e n , G e r a l d i n e , Michael., J o s e p h i n e , and Victor ia where w e l e f t them o n t h e d e c k . T h e y a r e l o o k i n g a t the p h o t o g r a p h o f G e o r g i a I f a l e .

OONA S h e s e r v e d you w e l l e n o u g h , C h a r l i e .

CHAPLIN I t was a b l e s s i n g i n d i s g u i s e . S h e w a s a hundred times b e t t e r t h a n Li-La.

OONA G e o r g i a may have g i v e n you The Go ld R u s h , b u t L i t a g a v e you g o l d t o o - two g r e a t k i d s .

' CIlAPL I N It's t r u e . I w i s h s h e ' d u n d e r s t o o d m e a b i t b e t t e r - I mean my need t o work - t o c r ea t e .

A steward t a k e s down t h e p i c t u r e of Hale a n d t h e p o s t e r f o r T h e Gold Rush, and p u t s up t w o new p o s t e r s f o r f i l m s t o be s c r e e n e d a t 6 pm and 1 0 pm. The f i r s t one i s Modern Times : t h e s e c o n d The Great D i c t a t o r . A p h o t o g r a p h o f P a u l e t t e GoddEtrd i s p r o m i n e n t l y d i s p l a y e d .

OONA Well a t least your t h i r d w i f e d i d , at least i n s o f a r as s h e r e z o g n i s e d yo$r need t o have a m a i t r e - p r o t 6 g e r e l a t i o n s h i p

CI-IAPL I N ( g r i n n i n g s h a m e f a c e d l y )

How c a n you p o s s i b l y b e l i e v e t h a t I need s u c h a t h i n g ?

A three y e a r o l d g i r l r uns up t o J o s e p h i n e , a l s o aged th ree , a n d t r i e s t o p l a y w i t h her, o f f e r i n g a d o l l s h e is c a r r y i n g . J o s e p h , n e t akes i t . I t is however , immedia t e ly s n a t c h e d back by t h e f i r s t g i r l ' s o u t r a g e d m o t h e r .

MOTI-IER Come a l o n g , J a n e . You're n o t t o p l a y w i t h t h a t trash !

CONTINUED

1 6


CI-IAPL I N ( i c i l y )

E x c u s e m e , madam. Am I t o u n d e r - s t a n d t h a t my d a u t h e r is somehow n o t good e n o u g h f o r y o u r s ?

MOTHER T h a t ' s i t i n a n u t s h e l l , Mr C h a p l i n . I w i l l n o t h a v e my d a u g h t e r a s s o c i a t i n g w i t h t r a i t o r s a n d sex maniacs.

She h a u l s t h e k i d off. C h a p l i n p u t s h i s arm round J o s e p h i n e .

CHAP L I N (to Oona)

They may n o t l i k e m e , b u t why take i - t out o n t h e c h i l d ?

OONA We a l l t a k e i t out on someone.

We pan up t o t h e p h o t o g r a p h of P a u l e t t e Goddard as C h a r l i e i n s t i n c t i v e l y looks a t i t .

2 2 EXT. JOSEPH SCI-IENK'S YACHT - DAY

C h a p l i n i s s i t t i n g w i t h Pau le t t e Goddard 011 .the deck of t h e y a c h t .

CE-IAPL I N So w h a t ' s your real name, Miss Goddard?

PAULETTE GODDARD I was born P a u l i n e Levy, bu t e v e r y b o d y ' s f o r g o t t e n t h a t except Hal Roach.

CI-IAPLIN Why h a s n ' t he f o r g o t t e n it too?

PAULETTE GODDARD T h a t was t h e name h e c o n t r a c t e d me u n d e r .

CI-IAPL I N Well I shall c o n t r a c t you u n d e r t h e name of P a u l e t t e Goddard .

CONTINUED

17


PAULETTE GODDARD But you c a n ' t . I ' m a l r e a d y contracted t o M r Roach.

CHAPL I N You were c o n t r a c t e d , you mean. I j u s t bought your c o n - t r a c t f rom him.

PAULETTE GODDARD Was it v e r y e x p e n s i v e ?

CHAPLIN I t was wor th e v e r y penny,

PAULETTE GODDARD My y o u ' r e a f a s t w o r k e r , M r C h a p l i n . When do I s t a r t ?

CHAPLIN A s soon a s I ' v e t o l d M r Roach.

Joe Schenk j o i n s them, d r e s s e d v i r t u a l l y as an Admiral of t h e F l e e t . C h a p l i n examines him k e e n l y .

CIIAPLIN Does t h i s b o a t e v e r l e a v e t h e h a r b o u r , Joe?

JOE SCHENK Are you c r a z y ? D i d C h r i s t o p h e r Cohen d i s c o v e r America?

2 3 INT. REGISTRY CANTON - DAY

P a u l e t t e Goddard and C h a p l i n s t a n d i n f r o n t of a Ch inese R e g i s t r a r . Sydney C h a p l i n i s a l s o p r e s e n t . H e is abou t t e n y e a r s o l d .

REGISTRAR ( C h i n e s e accent 1

By the a u t h o l i t y i n v e s t e d i n m e by t h e P l o v i n c e of Can ton , 1 now p lonounce you man and w i f e .

They k i s s .

CHAPLIN I hope t h e y d o n ' t t h low f l i e d l i c e .

PAULETTE GODDARD SSl? !

CONTINUED

18


SYDNEY C o n g r a t u l a t i o n s dad - P a u l e t t e !

CI-IAPL IN Don ' t you mean c o n g l a t u l a t i o n s number one s o n ? I ' m su re w e ' l l he v e l l y v e l l y happy.

H e p u l l s h i s e y e s i n t o s l i ts , and d o e s a l o t of comic c e r e m o n i a l bowing .

P a u l e t t e l a u g h s , and t r ies h a l f - h e a r t e d l y t o s t o p him.

MIX TO

2 4 EXT. DOCIi/DECIC OF SHIP - DAY

C h a r l i e C h a p l i i i a n d P a u l e t t e Goddard watch a p p r e h e n s i v e l y from t h e d e c k o f a n ocean l i n e r as t h e g a n g p l a n k i s b e i n g l o w e r e d t o where a crowd of newspaper r e p o r t e r s wai t s on t h e docltside.

CHAPLIN T h e y ' r e l i k e a pack of r a v e n i n g wolves. L e t ' s tease them a l i t t l e , what do you s a y ?

PAULETTE GODDARD Tease them?

CHAPLIN Y e s . L e t ' s n o t t e l l t hem w h e t h e r we ' re marr ied or n o t . A f t e r all, it ' s o u r b u s i n e s s , no t theirs.

PAULETTE: GODDARD Won' t t h e y be r a the r a n g r y ?

CHAPLIN E x t r e m e l y p e t u l a n t I e x p e c t . I t ' l l do t h e m no end of good.

PAULETTE GODDARD ( c h u c k l i n g )

O . K . , I ' m game!

CI-IAPL I N J u s t think: o f t h e h e a d l i n e s . Is C h a r l i e L i v i n g i n S in !

PAULETTE GODDARD P a u l e t t e and C h a r l i e - The B i g M a r r i a g e M y s t e r y !

CONTINUED

1 9


2 5

CIMPLIN Sydney C h a p l i n Says C h a r l i e Married I n C a n t o n . P a u l e t t e R e f u s e s t o C o n f i r m . C h i l d i s h P r a n k A l l e g e d !

PAULETTE GODDARD Amer ican League of Decency To Demand Proof of M a r r i a g e From C h a p l i n !

CHAPLIN C h a p l i n T e l l s League Mind Your Own E loody B u s i n e s s !

They g i g g l e t o g e t h e r as t h e r e p o r t e r s r u n up t h e g a n g p l a n k .

PAULETTE GODDARD We're f o r i t now.

1ST REPORTER H i Mrs C h a p l i n !

PAULETTE GODDARD ( g r a n d l y 1

Whom c a n you p o s s i b l y mean?

2ND REPORTER You're Mrs C h a p l i n a i n t c h a ?

PAULETTE GODDARD My name is P a u l e t t e Goddard .

They w a l k a f f e c t e d l y away down t h e d e c k p u r s u e d b y t h e mob of r e p o r t e r s .

REPORTERS Come on now. Are you marr ied o r n o t f o r C h r i s t s a k e ? What l i i n d a runa round is t h i s ? G i v e us a b r e a k , C h a r l i e , w h a t ' s t h e s c o r e ? Are you t w o h i t c h e d o r wha t? e t c . e t c .

INT. FOYER HOTEL - NIGHT

CU s i g n r e a d i n g D a u g h e r s o f t he American R e v o l u t i o n . The camera p a n s p a s t a g l a s s door which b r i e f l y opens t o a d m i t a s t o u t , f o r m i d a b l e f e m a l e o f middle y e a r s .

2 0

26 INT. LOUNGE HOTEL - NIGHT

We see many r e d o u b t a b l e l a d i e s s i t t i n g angry and v i r t u o u s on g i l t c h a i r s f a c i n g a s t n a l l r o s t r u m on which s t a n d s one of L h e i r number, e v e n a n g r i e r and more v i r t u o u s t h a n t h e m s e l v e s , who is h a r a n g u i n g them.

FEMALE SPEAKER . . . And I s a y . t h a t C h a p l i n and Gocldard s h o u l d t e l l u s whe the r o r n o t t h e y a re i n f a c t mar r i ed , o r f a c e a b o y c o t t f rom u s o f t h e i r f i l m s . H e c a n n o t be allowed t o s h e l t e r b e h i n d h i s t a l e n t t o amuse u s . I say a g a i n , i f t h e y a r e l i v i n g i n s i n , w e c a n n o t condone i t . T h e i r work must b e b a n n e d . . .

The door c loses .

2 7 INT. STUDIO - DAY

C h a r l i e r e h e a r s e s t h e s c e n e i n Modern T i m e s where he a s a n i g h t watchman i n a large d e p a r t m e n t s t o r e , wrap P a u l e t t e Gocldard i n a n e r m i n e s p r e a d , a n d e n t e r t a i n s h e r by r o l l e r s k a t i n g b e t w e e n h i s t i m e s t a t i o n s . H i s e x h i b i t i o n almost e n d s i n c a t a s t r o p h e as h e skates backwards i n a g r e a t a rc t o a h a i r l i n e away f rom a b r o k e n b a l c o n y r a i l i n g .

PAULETTE Wonderfu l C h a r l i e ! . . . I t ' s s i m p l y w o n d e r f u l !

CHAPLIN ( w h i s p e r i n g )

I l o v e you . You make me s o happy.

M I X TO

28 INT. CHAPLIN'S DEN I N HIS HOUSE - DAY

C h a r l i e s t a n d s s t a r i n g o u t of t h e window, t h e p roud p a t e r f a m i l i a s ,

2 9 EXT. CHAPLIN GARDEN - ,DAY

C h a r l i e ' s POV. P a u l e t t e i s p l a y i n g basebal l with Sydney J n r . a n d C h a r l i e J n r . Sydney h i t s t h e b a l l i n t o some d i s t a n t t rees . P a u l e t t e i n d i c a t e s s h e ' s had enough and r u n s i n t o t h e h o u s e .

21

30 INT. CHAPLIN'S DEN - DAY

A bea t .

PAULETTE T h e y ' r e so b i g now t h e y d o n ' t know t h e i r own s t r e n g t h .

CHAPLIN You must g e t t i r e d of p l a y i n g w i t h them.

PAULETTE Not r e a l l y , but I ' d r a t h e r work.

C h a r l i e p r e t e n d s n o t t o have h e a r d .

PAULETTE ( p e r s i s t i i ig 1

D i d 1 t e l l y o u t h a t Se lzn ic l c h a s o f f e r e d t o t e s t me T O Y S c a r l e t t O ' I I a r a i n Gone With The Wind?

CI-IAPL I N I t ' s n o t s u i t a b l e . I t ' s a p a r l o u r m a i d ' s v i e w of h i s t o r y . I t ' s s l u s h .

PAULETTE S l u s h ! J u s t a b o u t e v e r y a c t r e s s i n Hollywood i s a f t e r t h a t p a r t .

CHAPLIN T h a t ' s why you s h o u l d n ' t be . Anyway I've g o t o t h e r p l a n s f o r you .

PAULETTE You a l w a y s s a y t h a t .

CUAPLIN I t ' s t r u e . I'm work ing on a new s c r e e n p l a y .

PAULETTE About wha t?

CHAPLIN I t ' s a b o u t H i t l e r . Many p e o p l e have t o l d me I l o o k l i k e him,

PAULETTE (flash of t e m p e r )

So how t h e hell does t h a t h e l p me? I s u p p o s e I g e t t o p l a y G o e r i n g . He was a lways c h a n g i n g i n t o d r e s s e s wasn L h e ?

CONTINUED

2 2


CIIAPL I N N o w ! Now ! Temper ! Temper ! You h a v e n ' t h e a r d what I have i n m i n d . You p l a y t h e p a r t of a n o r p h a n who b e f r i e n d s a J e w i s h b a r b e r who looks e x a c t l y l i k e II i t ler a n d . . .

PAULETTE I ' d r a t h e r p l a y S c a r l e - L t . Hhe-kt Bu t l e r 's more i n t e r e s t i n g t h a n a J e w i s h barber .

CHAPLIN Not n e c e s s a r i l y .

PAULETTE Well I t h i n k t h e r e ' s no c o n t e s t , a n d I ' l l p l a y h e r i f I w a n t t o .

CHAPLIN You seem t o h a v e f o r g o t t e n y o u ' r e u n d e r c o n t r a c t t o m e .

They g l a r e a t e a c h o t h e r i n d e e p a n i m o s i t y .

PAULETTE C o n t r a c t s c a n b e b r o k e n !

SLOW FADE TO

31 INT. FILM STUDIOS - DAY

C h a r l i e i s d i r e c t i n g t h e scene i n The Great D i c t a t o r where P a u l e t t e Goddard , b r i n g i n g home a b a s k e t of f r e s h l a u n d r y i s p e l t e d w i t h t o m a t o e s b y s o l d i e r s . They are t h r o w i n g them w i t h no great f o r c e , a n d a i m i n g t o m i s s h e r .

CHAPLIN C u t ! C u t ! How c a n s h e p l a y the s c e n e i f you d o n ' t h i t h e r ? S p a t t e r h e r and t h e l a u n d r y ! Make a r i g h t mess of h e r ! And P a u l e t t e you r e a l l y g i v e them w h a t f o r ! D o n ' t j u s t s h a k e y o u r f ist - s p i t a t t h e m , make some o b s c e n e g e s t u r e s . For C h r i s t ' s s a k e y o u ' r e p l a y i n g i t l i k e a young v i r g i n on h e r way t o c o n f e s s i o n a l - a l l t h a t c r i n g i n g and s m i r k i n g . Show some g u t s damn i t . A g a i n ! ... L e t ' s do it a g a i n !

CONTINUED

23

31 Continuecl

She i s n e a r l y i n tears .

PAULETTE We've done i t n e a r l y f i f t y times. Give m e a b r e a k , C h a r l i e .

CIIAPL I N You g e t t h e break a f t e r y o u ' v e done i t r i g h t . S t a r t i n g p o s i t i o n s !

The c l a p b o a r d r e a d s Take 4 7 a s t h e y go t o t h e i r s t a r t i n g p o s i t i o n s . T h i s t i m e t h e tomatoes r a i n on P a u l e t t e , making a f i l t h y mess, and r e a l l y h u r t i n g h e r as s h e tries t o d o d g e . However h e r r e a c t i o n is s t i l l t o o weak f o r C h a r l i e .

CHAPLIN Cut ! How b l o o d y p a t h e t i c c a n you g e t . S w e a r ! Throw some of them b a c k ! D o s o m e t h i n g wh ich i s n t s o goddamn s p i n e l e s s !

PAULETTE I ' m t r y i n g , C h a r l i e , I ' m r ea l ly t r y i n g .

CHAPLIN Good God! My m o t h e r would h a v e known how t o p l a y t h i s scene b e t t e r t h a n you. She was a rea l t o u g h i e .

PAULETTE And a s mad a s a meat axe.

CHAPLIN Don ' t you d a r e t a l k about my mother l i k e t h a t .

PAULETTE I f you want her s o b a d l y , why d o n ' t you go a n d d i g h e r u p ,

CHAPLIN

What d i d you s a y ? ( d a n g e r o u s )

PAULETTE Oh grow u p !

CHAPLIN My mothe r was a s a i n t ,

PAULETTE And s h e spawned a t r a m p !

CONTINUED

24


CIlAPL I N Y o u ' r e t h e t r a m p r o u n d h e r e !

PAULETTE I c a n ' t take a n y more of t h i s . You c a n s t i c k y o u r s t u p i d f i l m where t h e s u n d o n ' t s h i n e . I ' m off.

She s torms ac ross t h e s t u d i o f l o o r and e x i t s . C h a p l i n c a l l s v a i n l y a f t e r her.

CHAPLIN ( s h o u t i n g i n a n g u i s h )

P a u l e t t e ! !

The crew l o o k a t him d e e p l y e m b a r r a s s e d as w e zoom i n t o a CU of his t o r t u r e d Pace.

END O F ACT TWO

2 5

ACT THREE

3 2 EXT. TIM DURRANT'S TENNIS COURT - DAY

C h a p l i n i s p l a y i n g t e n n i s w i t h h i s g rea t F r i e n d T i m D u r r a n t . He moves l i s t l e s s l y , and Tim w i n s a coup le of s h a r p p o i n t s t o t a k e t h e ma tch .

TIM DURRANT T h a t ' s it ! . . .You know t h a t s t h e f i rs t t i m e I e v e r beat you.

CI-IAPL I N Y e s . I t h o u g h t i t was a b o u t t i m e I l e t you , i f I wan ted t o keep you as my best f r i e n d .

TIM DURRANT Come o n now!

He sees t h a t C l i ap l in is k i d d i n g , a n d down,

Well t h a n k s f o r t h e c o u r t e s y . . . CHAPLIN

A p l e a s u r e . Maybe I ' l l l e t you do it a g a i n i n a n o t h e r s i x months t i m e .

They leave t h e c o u r t , C h a p l i n s i t s d e s p o n d e n t l y .

I ' m s o r r y I d i d n ' t g i v e you a b e t t e r game. My mind is on other t h i n g s .

TIM DURRANT L i k e what f o r example .

CHAPL I N L i k e P a u l e t t e m a i n l y . E i g h t y e a r s is a damn l o n g t i m e .

TIM DURRANT I d o n ' t know why you a l w a y s have t o m a r r y them. You know i t ' s j u s t a n o t h e r way of s a y i n g goodbye.

CIiAPL I N I suppose y o u ' r e r i g h t , b u t I ' v e a l w a y s b e e n l i k e t h a t .

(posh v o i c e ) Doing t h e d e c e n t t h i n g d o n ' t y e know.

CONTINUED

2 6


They l e a v e t h e c o u r t and wa lk u p t o t h e h o u s e .

TIM DURRANT I suppose d i v o r c e is d o i n g t h e decent t h i n g t o o , huh?

C h a p l i n s h o o t s h i m SL d i r t y l o o k .

I g u e s s i t ' s a l w a y s h e l l , b u t I know someone w h o ' l l soon t a k e your mind o f f all t h a t - a young actress . , She s h o u l d be h e r e i n a moment.

CHAPLIN I d o n ' t know t h a t I ' m q u i t e r e a d y for t h a t , Tim.

TIM DURRANT Ready or n o t s h e ' l l be h e r e i n a few m i n u t e s .

CIiAPL I N Well I ' m n o t s u r e - I w i l l b e .

C h a p l i n l o o k s o f f s c r e e n as w e h e a r a car a p p r o a c h i n g .

Oh lord! I t h i n k i t ' s t o o l a t e . W h a t ' s h e r name?

The answer i s drowned out b y t h e r o a r of a n open B u g a t t i spo r t s car as i t s k i d s t o SL h a l t on t h e g r a v e l d r i v e . A t t h e w h e e l is a v e r y d r u n k J o a n B a r r y , w e a r i n g s c a r f , c a p a n d r a c i n g g o g g l e s - t h e who le f l a p p e r - a s - g r a n - p r i x - d r i v e r b i t .

TIM DURRANT Joan B a r r y !

J O A N BARRY ( s l u r r e d v o i c e )

H i you a l l !

TIM DURRANT T h i s is C h a r l i e C h a p l i n .

JOAN BARRY I s u r e as h e l l didn't t h i n k i t was Mickey Mouse. P l e a s e d t o meet y a .

S h e g e t s o u t of t h e car and t r i e s t o do &n i m i t a t i o n of C h a p l i n ' s walk as t h e t r a m p , b u t is s o d runk s h e f a l l s o n h e r b u t t .

CONTINUED

2 7


J O A N BARRY Gee! I g u e s s i t ' s n o t as s i m p l e as it looks .

She r u e f u l l y p u l l s o f f h e r r a c i n g cap a l l o w i n g h e r r e d h a i r t o c a s c a d e o u t . C h a p l i n , much i n t r i g u e d h e l p s h e r U P

CHAPL I N ' C o u r s e i t i s , b u t you need a cane.

He se izes one from a n e a r b y r o s e bush and does t h e famous walk, t w i r l i n g t h e cane. She l a u g h s d e l i g h t e d l y , and r u n s a f t e r h im, and Lakes h i s arm. They walk o f f t o g e t h e r watched by an amused Tim D u r r a n t , h e d o i n g the t r a m p walk and s h e l u r c h i n g a l o n g i n a p a r o d y of i t s q u e a l i n g w i t h clrunken g l e e .

I t ' s a match Prom t h e s t a r t .

INT. CHAPLIN'S DEN - DAY

C h a p l i n a n d Joan B a r r y are a l o n e .

CHAPLIN B r i d g e t i n Shadow and S u b s t a n c e is hand t a i l o r e d f o r you. A r e d h a i r e d I r i s h g i r l of deep s p i r i t u a l i t y and f i e r y c o n v i c t i o n . I've a l r e a d y s t a r t e d t h e s c r e e n p l a y .

JOAN BARRY T h a t I s w o n d e r f u l , C h a r l i e J u s t g r e a t ! When d o w e start?

CHAPLIN N o t t i l l y o u ' v e had your a c t i n g l e s s o n s .

J O A N BARRY A c t i n g l e s s o n s ?

CI-I APL IN I ' m senc l ing you t o Max R e i n h a r d t A c t i n g S c h o o l .

J O A N BARRY B u t C h a r l i e , I d o n ' t need . . .

She s u b s i d e s u n d e r h i s i c y s ta re .

28

3 4 INT. MAX Rl!:INIIARDT'S STUDIO - DAY

A d o z e n g i r l s s i t a t d e s k s f a c i n g Max R e i n h a r d t . Joan B a r r y i s p r o m i n e n t .

RIIINHARDT Now s o n o r o u s l y f rom t h e d i aphragm, as L u g o s i i n Dracula . "Good e v e n i n g . I b i d you welcomet ' .

CLASS Good e v e n i n g . 1 b i d you welcome.

RE I NI-IARDT Deeper and darker , Miss B a r r y .

J O A N BARRY ( b r e a t h l e s s l y )

Good e v e n i n g . I b i d y o u . . . RE I NHARDT

N e i n ! N e i n ! N e i n ! From t h e d i aphragm.

(basso p r o f u n d o ) Good e v e n i n g . I b i d you welcome...

SLOW MIX TO

35 INT. RUINHARDT'S STUDIO - DAY

The c l a s s o f g i r l s r e h e a r s e s a s t h e camera p a n s a l o n g t h e l i n e of desks.

RE I NHARDT You must e n u n c i a t e c l e a r l y . Give m e f u l l vowel t o n e s .

CLASS How now brown c o w . . .

C o n s p i c u o u s b y her a b s e n c e i s J o a n B a r r y . The camera p a u s e s t o n o t e h e r empty cleslr.

M I X TO

36 INT. BAR - DAY

J o a n B a r r y s i t s a t t h e bar d r i n k i n g S c o t c h a n d beer chasers. Sudden ly she throws h e r arms w i d e .

J O A N BARRY ( d e c l a i m i n g )

TI3 or not T B . T h a t i s c o n g e s t i o n .

CONTINUXU

2 9


S lowly s h e t o p p l e s from t h e bar s t o o l t o t h e f l o o r , where s h e l i e s i n e r t . The barman an o . v i o u s o u t o f work a c t o r , s tares down a t h e r t h o u g h t f u l l y f o r a f e w moments.

BARMAN Whe the r i t is n o b l e r i n t h e m i n d To l e a v e t h e d r u n k e n broad w h e r e she f e l l . O r t a k e u p her arms a n d r e i n t r o d u c e h e r t o h e r s ea of t r o u b l e s , B u t i-l; s u r e won't e n d them.

H e t u r n s a n d c a l l s C h a p l i n ' s h o u s e on t h e t e l e p h o n e .

C h a p l i n r e s i d e n c e ? I'm c a l l i n g f rom t h e G r e e n Marmoset on S u n s e t . Joan B a r r y ' s passed o u t clown h e r e w i t h a s n o o t f u l . . . Y e s I t h o u g h t you would . T h i n k n o t h i n g of i t . Maybe y o u ' d l i ke t o s t o p by a n d s c r a p e her o f f t h e d e c k . Well p a l , i t ' s e i t h e r you o r t h e cops - s l i ce i t any w h i c h way you l i k e . . . R i g h t .

He r e p l a c e s t h e phone .

37 INT. CHAPLIN DEN - EVENING

C h a r l i e s t a n d s o v e r t h e hung o v e r J o a n B a r r y l e c t u r i n g h e r .

CHAPLIN I d o n ' t know why I b o t h e r t o pay f o r l e s s o n s w i t h Max R e i n h a r d t w h i c h you d o n ' t e v e n b o t h e r t o a t t e n d .

J O A N BARRY I ' m s o r r y C h a r l i e , I j u s t g o t

I h a d t o g e t ou t of t h e r e , f o r a b r e a k .

CHAPL I N What ai-e y o u s a y i n g - t h a t it was the f i r s t time?

J O A N BARRY S u r e t h i n g , C h a r l i e . I t w o n ' t happen a g . .

CI-IAPLIN D o n ' t l i e t o m e . M x j u s t t o l d m e you h a d n ' t b e e n t o c lass i n a mon th .

CONTINUED

30

37 C o n L i n u e d

She r e m a i n s s i l e n t .

CI-IAPL I: N 1 '11 . t e l l you o n e t h i n g , Y o u ' r e n o t g o i n g t o g e t t o p l a y B r i d g e t . l ike t h i s .

J O A N BARRY P l e a s e C h a r l i e , you p r o m i s e d . I t ' s my p a r t .

CHAPLIN I don't n e e d a soak as a l e a d i n g l a d y . You 've l o s t i t !

She t h r o w s h e r s e l f a t his f e e t .

J O A N BARRY P l e a s e C h a r l i e ! . . . P l e a s e ! I'll be good.. . I won't take a n o t h e r d r i n k , I swear i t .

C H A P L I N I t ' s n o t o n l y t h e c l r in l r ing , Y o u ' r e t o o l a z y t o l e a r n your c r a f t .

JOAN BARRY I ' l l l e a r n ! . . , I ' l l l e a r n !

C H A P L I N I ~ ' S t o o l a t e . P l e a s e go now.

R e t u r n s h i s back. She rises a n d t r a i l s t o t h e door , p a u s i n g t h e r e f o r him t o r e l e n t . IIe d o e s n ' t . W i t h a

' f i n a l p l e a d i n g look s h e g o e s .

C h a r l i e is s i t t i n g r e a d i n g Shadow and S u b s t a n c e by t h e f i r e s i d e . S u d d e n l y a b r i c k c r a s h e s t h r o u g h t h e window s h a t t e r i n g i t . a g u n . S h e p o i n t s it a t C h a p l i n .

I t is f o l l o w e d by Joan B a r r y d runk waving

JOAN BARRY ( s l - u r r e d )

T h i s is a st ick u p ! Stay where you m e , a l l of you.

CONTINUED

31

3 8 Cont i n u e d

CHAPLIN N o w J o a n , you know t h i s i s j u s t s i l l y , I'll h a v e t o c a l l t h e police a n d . . .

JOAN BARRY

Y o u ' l l never make t h e t e l e p h o n e a l i v e !

(melodramatic 1

CHAPLIN C a l m down now. What is i t you w a n t ?

J O A N BARRY My p a r t b'acl:. You know what I want.

CI-IAPLI N V e r y well . Here it is .

H e s l i n g s t h e book of Shadow and S u b s t a n c e t o h e r . I t t h r o w s h e r o f f b a l a n c e s u f f i c i e n t l y t o a l low C h a r l i e t o make a n a t h l e t i c l e a p and g r a b t h e gun . She g r a b s h i m , and t h e y go i n t o a c l i n c h , f a l l i n g o n t o t h e s o f a where t h e y s t a r t t o make v i o l e n t l o v e w i t h J o a n B a r r y t e a r i n g o f f h e r own a n d t h e n C h a r l i e ' s c lo thes .

FADE TO BLACK

39 INT. CI-IAPLIN D I N I N G ROOM - NIGHT

C h a p l i n is d i n i n g w i t h Hearst, and Marion D a v i e s , and Mary P i c k f o r d . Hearst is l o o k i n g v e r y so lemn .

HEARST I u n d e r s t a n d , C h a r l i e , you began y o u r s p e e c h l a s t n i g h t t o t h e American Committee f o r R u s s i a n War R e l i e f w i t h t h e word comrades .

CHAPL I N I d i d y e s , why? I t got a b i g l augh .

HEARST N o t from t h e S1;ate Depar tment i t d i d n ' t . I t was most ill advisec l .

C I3 A PL I N I o n l y meant f r i e n d s .

CONTINUED

32


HEARST I t w o n ' t be t a k e n l i k e t h a t . People w i l l t h i n k y o u ' r e a p i n k o .

CHAPLIN N o n s e n s e . ' I t o l d t h e m I w a s n ' t a Communist .

HEARST Y o u ' l l be damned b y a s s o c i a t i o n . 11; c o u l d r u i n y o u r career. You also ca l led f o r a s e c o n d f r o n t I b e l i e v e .

CHAPLIN I d i d . We c a n ' t a f f o r d t o p l a y sa fe

MARION DAVIES We c a n ' t a f f o r d n o t t o .

MARY PICICFORD And w e a t U n i t e d Art is ts c a n ' t a f f o r d all t h i s a d v e r s e p u b l i c i t y y o u ' r e g e t t i n g . I f y o u r ex- p a r t n e r poor Dougie had been a r o u n d , h e ' d h a v e t o l d you t h e same t h i n g !

CHAPLIN ( s o u r l y )

I t was most i n c o n s i d e r a t e of h i m t o d i e , e h ?

MARY PICKFORD D o n ' t be c h i l d i s h , C h a r l i e !

C h a p l i n g e t s u p a n d does a w i l d ser ies of p i r o u e t t e s r o u n d t h e t a b l e .

CHAPLI N ( s i n g i n g t o t h e t u n e of C h a s e m e C h a r l i e )

C h i l d i s h C h a r l i e , C h i l d i s h C h a r l i e , C h a s e m e r o u n d t h e t a b l e C h i l d i s h C h a r 1 i e C h i l d i s h . . .

They l a u g h a t him, c h a n g i n g t h e mood. L i g h t s f l a s h p a s t t h e p a r t l y c u r t a i n e d window, accompan ied b y t h e s o u n d o f a s p e e d i n g car .

CONTINUED

3 3

39 Con-l; i n u e d

CHAPLIN Oh Chris-L;! . . .Here she i s a g a i n !

H e p u l l s b a c k t h e d r a p e s .

40 EXT. DRIVEWAY CHAPLIN HOUSE - NIGHT

C h a r l i e ' s POV. J o a n B a r r y i n her open B u g a t t i is d r u n k e n l y u s i n g t h e c i r c u l a r d r i v e w a y a s a r a c e t r a c k . Her s c a r f skreams b e h i n d h e r , and a champagne g l a s s is a t h e r l i p s u n d e r the d r i v i n g g o g g l e s . Round s h e comes a g a i n , s h o u t i n g and t o a s - k i n g and d r i v i n g e r r a t i c a l l y .

JOAN BARRY C h e e r s , C h a r l i e ! Want t o come f o r SL s p i n ?

CHAPL I N ( s h o u t i n g V / O )

Go away!

4 1 INT. CI-IAPLIN D I N I N G ROOM - NIGHT

H e a r s t , D a v i e s , P i c k f o r d and C h a p l i n look on a g h a s t , t h e l a t t e r making d i s m i s s i v e g e s t u r e s . I n f i n a l e x a s p e r a t i o n h e o p e n s the F r e n c h windows a n d s t e p s out o n t o t h e t e r race .

4 2 EXT. TERRACB/DRIVEWAY CHAPLIN HOUSE - N I G H T

C h a p l i n s t a n d s on t h e t e r r a c e semaphor ing w i l d l y .

CHAPLIN G o home, do you h e a r m e !

J o a n B a r r y is s p e e d i n g t h r o u g h a n o t h e r c i r c u i t o f t h e d r i v e w a y . She s u d d e n l y loses c o n t r o l o f t h e ca r , leaves t h e g r a v e l and c u t s a s w a t h e t h r o u g h t h e rose g a r d e n , r e t a i n s c o n t r o l a n d t h e d r i v e w a y , and p a s s e s t h e f u r i o u s C h a p l i n , s h o w e r i n g him w i t h s t o n e s . C h a p l i n t u r n s away a n g r i l y and e n t e r s t h e house.

43 INT. CFIAPLIN D I N I N G ROOM - NIGHT

C h a r l i e b r u s h e s a s i d e Hearst, D a v i e s and P i c k f o r d and r i n g s t h e b e l l f o r his b u t l e r .

CHAPLIN T h a t bloody woman.

CONT I NU ED

3 4


MARY PICKPORD Who is t h a t ? -

CI-IAPL I N Someone I should n e v e r have got i n v o l v e d w i t h .

MARION DAVIES ( r o g u i s h l y )

You t u r n e v e r y h e a d , C h a r l i e , Must you h a v e e v e r y woman you meet ?

CHAPL I N Y e s . I m u s t .

I learst l ooks s u s p i c i o u s l y b e t w e e n t h e two. H e n r y t h e b u t l e r e n t e r s .

CIIAPL I N Henry s e n d f o r t h e p o l i c e . I ' v e g o t t o p u t a s t o p t o t h i s .

HENRY What c h a r g e s s h a l l I i n d i c a t e , sir?

CHAPLIN Any one of a h u n d r e d . D i s t u r b i n g t h e p e a c e , . Drunken d r i v i n g . A s s a u l t b y g r a v e l . M a l i c i o u s v a n d a l i s a t i o n of a rose g a r d e n . You plclc i t . Choose the l a s t o n e .

HENRY I ' m n o t so s u r e a b o u t t h a t , s i r .

CHAPL I N You're n o t s o s u r e a b o u t i t ! My clear H e n r y , t h e r e ' s a new s t r a i n of l a s i i i i u m r o s a e which w i l l n e v e r be t h e same a g a i n o u t t h e r e .

HENRY V e r y good s i r . I shou ld have t h o u g h t vagrancy would c o v e r i t .

He l e a v e s .

BE A RST I t seems t o m e , C h a r l i e , t h a t your p r i v a t e l i f e is as ill conceived as y o u r p u b l i c .

CONTINUED

35


CI-IAPL 1 N C o n c e i v e d ! D o n ' t men t ion t h a t word t o me!

Hearst l a u g h s a n d l e a d s t h e way b a c k t o t h e t a b l e ancl resumes e a t i n g . The women j o i n him. The camera p a n s p a s t t h e F r e n c h windows a s C h a r l i e o p e n s t h e d r a p e s .

CB AI? L I N I ' l l h a v e t o pay t h a t way b a c k t o N e w York. I t migh t save he r P r o m a v a g r a n c y c h a r g e !

4.1. E X T . CHAPLIN GARDEN - NIGHT

C h a p l i n ' s POV. Through t h e glass w e see t h a t Joan B a r r y s t i l l careers r o u n d Lhe o v a l d r i v e w a y . B e h i n d h e r R p o l i c e car suclclenly e n t e r s t h rough t h e g a t e s , and p a r k s across t h e o v a l , r ed l i g h t s f l a s h i n g . A s we w a t c h , Joan comes t o a s c r e e c h i n g , s k i d d i n g h a l t n a r r o w l y missing the squad car . Two po l i ce o f f i c e r s a p p r o a c h h e r , and escort her t o i t . S h e t u r n s and s h a k e s a f i s t i n t h e d i y e c t i o n of C h a r l i e ' s h o u s e , and s p i t s ,

J O A N BARRY You b a s t a r d , C h a r l i e ! You j u s t wa i t !

R e l u c t a n t l y , s h e e n t e r s t h e s q u a d car. I t d r i v e s o f f .

4 5 EXT. CEIAPLIN GARDEN - N I G H T

A r e v e r s e a n g l e shows C h a p l i n ' s s t r a i n e d , w h i t e f a c e , a n e x p r e s s i o n of d e e p c o m p a s s i o n on i t , s t a r i n g t h r o u g h t h e g l a s s . The red l i g h t s o f - t he cop car f l a s h across i t , a n d a re gone. H e l e t s t h e d r a p e s f a l l b a c k i n t o p l a c e , m a k i n g t h e c u t .

46 INT. M I N N A WALLIS THEATRICAL AGENCY - DAY

CU t h e words Minna Wallace T h e a t r i c a l Agency w r i t t e n o n a f r o s t e d g l a s s door. We p u l l b a c k t o f i n d Minna on t h e p h o n e , a n d Oona O'Neill s i t t i n g i n f r o n t of her d e s k .

MINNA WALLIS Mr C h a p l i n , I know you have b e e n l o o k i n g for someone t o p l a y B r i d g e t i n Shadow and Substance Well I h a v e j u s t t h e g i r l f o r you.

CONTINUED

36


M I N N A WALLIS (Con t ) S h e h a s a l l t h e s p i r i t u a l i t y you c o u l d w i s h for, and a n added p i n c h O f gamine charm.

47 INT. CHAPLIN'S DEN - DAY

CU C l m p l i n on the p h o n e .

CI-I APL I N P e t i t e gamine charm e h ? You i n t e re s t m e s t r a n g e l y .

48 INT. M I N N A WALLIS TIIEATRICAL AGENCY - DAY

Minna Wal l i s smiles e n c o u r a g i n g l y over a t Oona.

Y I N N A WALLIS I t h o u g h t I m i g h t . Her name i s Oona O ' N e i l l . . . T h a t ' s r i g h t . She I s t h e d a u g h t e r of Eugene O ' N e i l 1 you know - t h e p l a y w r i g h t !

4 9 INT. CHAPLIN'S DEN - DAY

CU C h a p l i n o n t e l e p h o n e , as b e f o r e .

CHAPLIN Well l e t h o p e i t ' s n o t g o i n g t o be a l o n g d a y ' s j o u r n e y i n t o n i g h t ,

H e l aughs well p l e a s e d w i t h h i m s e l f .

A LONG MIX TO

50 INT. HEDDA TIOPPER'S OFFICE - DAY

CU newspaper s h o w i n g t h e date 1 7 t h June 1 9 4 3 and a p h o t o g r a p h of C h a r l i e a n d Ooiia s t a n d i n g o u t s i d e t h e c h u r c h . A h e a d l i n e reads marries O o n s . We pan up t o see Joan B a r r y t a l k i n g b i t t e r l y t o Hedda Hopper , whose name is on a p l a q u e o n h e r desk.

J O A N BARRY What do you t h i n k of t h a t l o u s e huh? He's a r ea l go ld p l a t e d , r i n g t a i l e d s t i n k e r . He t h r e w m e ou t of his h o u s e . H e h a d m e a - a n d m e without a

CONTINUED

37


J O A N BARRY (Cont ) buck t o my name and w h a t ' s more c a r r y i n g h i s chil.cl.

Iledda Hopper's e y e s s n a p o p e n . T h i s is j u i c y s t u f f i n d e e d !

I-IEDDA HOPPER Y o u ' r e p r e g n a n t by Charlie huh? Grea t ! T h i s ' l l w ipe t h e smile o f f the new Mrs C h a p l i n ' s f a c e .

We pan down t o ECU p a p e r where O o n a smiles o u t of t h e p h o t o g r a p h a t u s .

FADE THROUGH TO

5 1 EXT. STREET SCENE - DAY

CU a g r i m unhappy p i c t u r e of Oona s t a n d i n g n e x t to C h a r l i e , who is l o o k i n g e q u a l l y gr im. T h i s is on t h e f r o n t p a g e o f a newspape r w h i c h i s p a r t of a f a n of n e w s p a p e r s w i t h s t r i d e n t a n t i - C h a l i n h e a d l i n e s h e l d by a newsboy. He s h o u t s them o u t .

NEWS I3 OY C h a p l i n L e a v e s P r e g n a n t G i r l f r i e n d D e s t i t u t e ! C h a p l i n T h r o w s P r e g n a n t G i r l f r i e n d Out O f His House! C h a p l i n Has Pregnan- t G i r l f r i e n d A r r r e s t e d ! Read a l l a b o u t i t !

5 2 INT. BO ITAL WARD - DAY

J o a n B a r r y is p r e s e n t e d w i t h h e r baby b y a nurse . Her l a w y e r is s t a n d i n g b y t h e bed.

L AWY EH. C o n g r a t u l a t i o n s , Joan. What a re you g o i n g t o c a l l h e r ?

JOAN BARRY Carol Ann C h a p l i n - B a r r y .

LAWYER D o n ' t you t h i n k y o u ' d b e t t e r wai t u n t i l i t ' s d e c i d e d i n c o u r t .

JOAN BARRY No. T h a t ' s h e r name. I ' m g o i n g Lo g e t t h e b a s t a r d !

LAWYER So you really want t o go a h e a d w i t h t h e p a t e r n i t y s u i t ?

CONTINUED

3 8


JOAN BARRY You b e t . D o it! I've t o l d you a t h o u s a n d t i m e s . I s s u e t h e damn t h i n g f o r C h r i s s a k e !

LAWYER OK, OK. Goodbye Miss Chap l in -Bar ry .

He t a k e s h i s l e a v e .

J o a n B a r r y b o u n c e s t h e baby h a p p i l y .

JOAN BARRY We'l l d i g R mounta in of g o l d for you o u t of t h a t o l d g o a t , w o n ' t w e s w e e t i e p i e ? ...

( hard 1 I'll t e n c h him t o go and g e t marr ied .

5 3 INT. CIIAPLIN'S DRAWING ROOM - DAY C h a p l i n a n d Oona are s t a n d i n g l o o k i n g down g loomi ly a t t h e h e a d l i n e s i n t h e p a p e r s s p r e a d o u t o n t h e t a b l e i n f r o n t of them.

OONA Well i t ' s c e r t a i n l y a g r e a t wedding p r e s e n t , C h a r l i e !

CHAPLIN I ' m s o r r y s w e e t h e a r t . I d i d n ' t mean it t o be l i k e t h i s , The woman's q u i t e mad. T h e r e ' s n o t a word of t r u t h i n i t . To t e l l t h e t r u t h I d i d h a v e a l i t t l e fling w i t h h e r , b u t t h a t was months ago. I j u s t know t h i s i s n ' t my c h i l d .

I OONA I u n d e r s t a n d . D o n ' t t h i n k i t ' l l make any d i f f e r e n c e t o u s . Q u i t e a m a z i n g l y w e came t o g e t h e r i n mid- life and n o t h i n g and n o b o d y ' s g o i n g t o r u i n it.

CIIAPL I N 1lardl.y m i d l i f e i n your case. You're s c a r c e l y ...

CONTINUED

3 9


OONA S s h !

She k i s s e s him. The t e l e p h o n e s h r i l l s . Oona p i c k s i t u p .

Hel lo , y e s ?

GEISLER (V.0) I t ' s G e r r y Ge i s l e r here , Oona. Can I s p e a k t o C h a r l i e ? It ' s n o t good news, I ' m a f r a i d .

OONA ( t o C h a r l i e )

I t ' s y o u r l a w y e r . He sounds gr im.

She h a n d s t h e phone t o C h a r l i e .

CIIAPL I N Yes. G e r r y ?

54 INT. GERRY GEISLER'S OFFICE - DAY

G e r r y is a t h i s d e s k on t h e phone .

GEISLER L i s t e n , C h a r l i e . I t ' s b a d news, a n d i t Is n o t a b o u t t h e p a t e r n i t y s u i t . T h e y ' v e i n d i c t e d you u n d e r t h e Mann A c t f o r t h a t t r i p l a s t y e a r i n October you p a i d f o r Joan B a r r y t o go t o N e w York .

CHAPLIN ( V . 0 . ) The Mann A c t ?

GEISLER The t r a n s p o r t a t i o n o f women from o n e S t a t e t o a n o t h e r f o r immoral p u r p o s e s . T h e r e are f o u r c o u n t s .

5 5 INT. CI-IAPLIN'S DRAWING ROOM - DAY

C h a p l i n is o n t h e p h o n e , a s b e f o r e . O o n a watches a n x i o u s l y .

CI-IAPLIN D o n ' t be crazy!

H e t u r n s s l i g h t l y away from Oona t o mask wha t he is s a y i n g .

CONTINUED

40


CHAPLIN Look, i f I ' c l wan ted t o bang h e r , I c o u l d h a v e done so p e r f e c t l y e a s i l y h e r e . Why would I t r a n s p o r t h e r all t h e way t o N e w York?

56 INT. GERRY GEISLER'S OFFICE - DAY

Geis le r is o n t h e p h o n e , a s b e f o r e .

GI31 SLER T h a t ' s t he v e r y p o i n t I'll make t o t h e j u r y - you c a n b e v e r y s u r e . Meanwhile i t ' s g o i n g t o b e a bumpy r i d e , s o y o u ' d b e t t e r s t a r t e a t i n g y o u r w h e a t i e s !

He p u t s t h e phone down.

SLOW MIX TO

57 I N T . CORRIDOR I N OURT BUILDING - DAY C h a r l i e a n d Geisler s i t t o g e t h e r on a bench i n t h e corridor.

GEISLER I d o n ' t know wha t ' s k e e p i n g them. T h e y ' v e been ou t t h r e e h o u r s .

CHAPLIN Maybe t h e y I re s h o o t i n g f o r a n o t h e r f r e e b i e n i g h t i n N e w York.

A b e l l r i n g s . Ge i s l e r a n d C h a r l i e are beckoned by a c o u r t u s h e r , They h e a d back i n t o c o u r t . The camera t r a c k s u s t h r o u g h t h e s w i n g d o o r s of t h e c o u r t .

58 INT. COU ROOM - DAY

The j u r y t ake t h e i r s e a t s a s Ge i s l e r a n d C h a r l i e h u r r y t o t h e i r s . C h a r l i e a p p e a r s l o n e l y , f o r l o r n a n d p a t h e t i c , h i s f e e t b a r e l y t o u c h i n g t h e g r o u n d . The j u d g e b a n g s his g a v e l t o b r i n g t h e c o u r t t o o r d e r .

J U D G E I hope t h a t a f t e r f o u r s e p a r a t e d e l i b e r a t ions you have f i n a l l y r e a c h e d a v e r d i c t .

CONTINUED


, FOREMAN OF JURY I n d e e d w e y o u r honour . On t h e f i r s t c h a r g e , n o t g u i l t y . On t h e s e c o n d c h a r g e , n o t g u i l t y . On t h e L h i r d c h a r g e n o t g u i l t y . On t h e f o u r t h c h a r g e , n o t g u i l t y !

C h e e r s a n d boos i n t e r m i n g l e . W h i l s t C h a r l i e is e c s t a t i c th rowing . h i s h a t i n t h e a i r , and d o i n g a l i t t l e comic d a n c e , it i s a l s o o b v i o u s t h a t h e h a s l o s t a l o t i n p o p u l a r i t y . T h e r e a r e many p r e s e n t who wan ted him s e n t down.

GEISLER Take it e a s y . You 've s t i l l got t h e p a t e r n i t y r a p t o b e a t .

CHAPLIN You'll win t h a t one t o o , G e r r y . No sweat.

GEISLER I w o n ' t be d o i n g t h a t o n e , C h a r l i e . I guess I ' m t o o h i g h powered . I ' m a f r a i d i t ' l l l o o k b a d , p u t t i n g m e i n aga ins t poor l i t t l e o r p h a n Annie . U s e P a t M i l l i l r a n . H e s h o u l d s w i n g it f o r you.

LONG M I X TO

59 I N T . C H A P L I N BEDROOM - NIGHT

O o n a and C h a p l i n l i e i n becl w a t c h i n g Walter W i n c h e l l on t h e TV. The camera moves t o a CU of t h e s c r e e n .

WALTER WINCHELL I n t h e C h a r l i e C h a p l i n p a t e r n i t y case h e r e t o d a y , a hung j u r y v o t e d 7 - 5 f o r a c q u i t a l . A s a r e s u l t a m i s t r i a l h a s been d e c l a r e d .

O o n a s w i t c h e s t h e set o f f .

OONA Poor C h a r l i e . You're g o i n g t o h a v e t o go t h r o u g h t h e whole t h i n g a g a i n . With t h e e v i d e n c e , t h e t r i a l s h o u l d n e v e r have t a k e n p l a c e , b u t I g u e s s t h e y ' r e o u t t o get you .

CHAPLIN Yes, b u t w h o ' s t h e y ?

CONTINUED

42


OONA The p o w e r f u l , a n d t h e e n v i o u s . Who do you t h i n k ?

She p u t s h e r arms p r o t e c t i v e l y r o u n d him.

6 0 INT. COURT ROOM - DAY

C h a r l i e sits w i t h his l a w y e r Char les M i l l i k a n , l i s t e n i n g g l o o m i l y t o J o a n Barry's l a w y e r , J o s e p h S c o t t , ha rangue tlie j u r y i n an o l d f a s h i o n e d , t h e a t r i c a l , b a r n s t o r m i n g way. Joan B a r r y dressed i n a b s u r d l y demure c l o t h e s , s i t s , h e r e y e s t u r n e d down i n p r a c t i c e d modesty.

JOSEPH SCOTT I t e l l y o u , l a d i e s and gen t l emen of t h e j u r y , tha t t h i s f e l l o w C h a r l i e C h a p l i n i s n o t a t a l l t h e h a p l e s s , p a t h e t i c c lown h e a f f e c t s t o p l a y . H e is i n f a c t , a l e c h e r o u s s w i n e , a l i t t l e r u n t of a S v e n g a l i , a master mechan ic i n t h e a r t of s e d u c t i o n , a c h e a p cockney cad, and a r u t t i n g , d i s s i p a t e d , lewd, g r e y h a i r e d o l d bawdy b u z z a r d t o b o o t ! My c l i e n t may n o t b e an a n g e l , b u t i n comparison t o this d i s s o l u t e r e p t i l e s h e is a l i v i n g Magdalene. H e t r e a t e d h e r as s o much c a r r i o n , and would you b e l i e v e t h a t when h e h a d f i n a l l y had h i s way w i t h her, he had t l i e e f f r o n t e r y t o sit her down and read her a s c r i p t a b o u t B l u e b e a r d !

MIX TO

6 1 INT. COURT ROOM - DAY

M i l l i k a n is o n h i s f ee t a d d r e s s i n g the j u r y .

M I LL I I< AN ... And s o , l a d i e s and gen t l emen of t h e j u r y , I ' m s u r e you have b e e n as wearied a s I h a v e been b y my learned f r i e n d ' s l u d i c r o u s , b a r n s t o r m i n g h i s t r i o n i c s - ancl as u n c o n v i n c e d ! Mere a b u s i v e c l ap t r ap s c a r c e l y r e b u t s the o n l y d e f e n c e t o these charges t h a t mat te rs - a n d t h a t is the e v i d e n c e of t h e blood t e s t . Miss B a r r y ' s blood is g r o u p A . The c h i l d is B , and M r C l i a p l i n ' s is 0, s o he p l a i n l y c o u l d n ' t

CONTINUED

43


MILLIKAN ( C o n t ) be t h e f a t h e r . E v e r y t h i n g e l s e is r h e t o r i c , and b e s i d e t h e p o i n t . You may n o t l i k e my c l i e n t , or a p p r o v e of h i s mora ls , b u t you s i m p l y c a n n o t i g n o r e t h e e v i d e n c e o f t h e blood t e s t . A cockney &ad h e may be, a S v e n g a l i t o o , b u t f a t h e r o f t h i s c h i l d h e c a n n o t p o s s i b l y be! I r e s t my case ,

M I X TO

6 2 I N T . COURT ROOM - LATE AFTERNOON

The foreman of t h e j u r y i s on h i s f e e t .

J U D G E Have you r e a c h e d a v e r d i c t , M r Fo r ema n ?

FOREMAN Yes, y o u r h o n o u r , w e h a v e . We f i n d Lhe d e f e n d a n t g u i l t y b y a m a j o r i t y o f e l e v e n t o o n e .

C h a r l i e jumps t o h i s f e e t , s h o u t i n g p a s s i o n a t e l y .

CFIAPL I N I t ' s o u t r a g e o u s 1 The b l o o d t es t p r o v e d I c o u l d n ' t be t h e f a t h e r , Why are you a l l h o u n d i n g m e l i k e t h i s ? What h a v e I done t o y o u ? . . , What have 1 done?

The j u d g e hammers w i t h h i s g a v e l .

J U D G E S i l e n c e ! . . . S i l e n c e i n C o u r t !

C h a p l i n i s p u l l e d down by M i l l i k a n .

J U D G E M r C h a p l i n , t h e j u r y has d e c i d e d you are t h e t r u e f a t h e r of Caro l Ann B a r r y . You w i l l pay s e v e n t y f i v e d o l l a r s a w e e k s u p p o r t f o r h e r u n t i l s h e is t w e n t y one y e a r s o l d 1

The C o u r t r ises , C h a p l i n s i ts t h e r e - a f o r l o r n figure.

CONTINUED

4 4

6 2 Con t i n u e d

M I L L I I< AN I'm s o r r y , Char l ie . I d i d my b e s t .

CI-IAPLIN I t ' s n o t y o u r f a u l t . They all h a t e m e n o w , F o r h a v i n g h e r arrested and so o n . They d o n ' t know what s h e was l i k e .

MILLIICAN Take a l o n g h o l i d a y - i n Europe , I t h i n k . Be t t e r make s u r e t h e y ' l l g i v e you a r e - e n t r y p e r m i t .

CHAPL I N Why s h o u l d n I t t h e y ?

M I LL I IC A N Well t h a t s p e e c h of y o u r s l a s t week i n San F r a n c i s c o o n beha l f of R u s s i a n War R e l i e f d i d n ' t e x a c t l y make you b u d d i e s w i t h t h e S t a t e D e p a r t m e n t . How d i d i t go now. Can y o u remember?

C h a p l i n rises and o r a t e s t o the e m p t y c o u r t .

CHAPL I N On the b a t t l e f i e l d s of R u s s i a , democracy w i l l l i v e o r d i e . The f a t e of t h e a l l i e d n a t i o n s is i n t h e hands of t h e Communists. We must h e l p t h e m . We must s u s t a i n t h e m . We must be t r u e f r i e n d s , n o t p r e t e n d a l l i e s ! , . . . I t was s o m e t h i n g l ike t h a t .

MI LL I K A N Well e x a c t l y . You migh t have got y o u r s e l f some b i g p rob lems .

6 3 EXT. IMMIGRATION DEPARTMENT O F F I C E - DAY

Chap1i.n moun t s the s t e p s of t h e I m m i g r a t i o n Depar tment . I t is so named i n l a rge g i l t l e t t e r s above t h e ped imen t s of i t s mock C o r i n t h i a n co lumns .

G4 I N T . IMMIGRATION DEPARTMENT O F F I C E - DAY

C h z t p l i n s i ts ai; a t a b l e w i t h t h r e e men and a woman. Wire r e c o r d e r s a re open on the t a b l e . One of the men c o n s u l t s a doss ie r .

CONTINUED

4 5


1ST MAN N o w , M r C , h a p l i n , you s a y y o u ' v e n e v e r been n Communist?

CI-IAPL I N Neve r . I h a v e n e v e r j o i n e d a p o l . i t i c a 1 o r g a n i s a t i o n , i n my l i f e .

2ND MAN You made cz s p e e c h i n which you sa id Comrades. What d i d you mean by t h a t ?

CHAPLIN I3xae t ly t h a t . Look it up i n the d i c t i o n a r y . I t m e a n s f r i e n d s - p e o p l e who work t o g e t h e r . T h e Communists have no p r i o r i t y on t h a t word.

3 R D MAN Have you e v e r commit ted a d u l t e r y ?

CIl APL I N What is t h e d e f i n i t i o n o f a d u l t e r y ?

3RD MAN L e t ' s s a y f o r n i c a t i o n w i t h a n o t h e r man's w i f e .

CHAPLIN Not t o my knowledge .

2ND MAN If t h i s c o u n t r y were i n v a d e d , would you f i g h t f o r i t ?

CKAPL I N O f c o u r s e , I l o v e t h i s c o u n t r y - t h i s i s my home. I ' v e l i v e d here f o r f o r t y years .

1ST MAN But you h a v e n e v e r become a c i t i z e n ?

CHAPL I N T h e r e ' s no law a g a i n s t t ha t . However, I pay my t a x e s here .

1ST MAN But why do you fo l low t h e p a r t y l i n e ?

CRAPL I N I d o n ' t . You know I o n l y got i n t o a l l t h i s t r o u b l e by o b l i g i n g y o u r gove rnmen t .

CONTINUED

46

6 4 Con t inued

1ST MAN R e a l l y ?

CBAPL I N Yes. Your former Ambassador t o Russia I v l r J o s e p h D a v i e s was t o speak i n San F r a n c i s c o o n b e h a l f of R u s s i a n Wkr R e l i e f , bu t was taken a t t h e l a s t m i n u t e w i t h l a r y n g y t i s , and I was a s k e d t o s p e a k i n h i s p l a c e , by a man i n h i g h o f f i c e i n y o u r government . You can c h e c k i t o u t i f you l i k e .

The 1st Man s u d d e n l y smiles w a r m l y .

1ST MAN T h a t w o n ' t be n e c e s s a r y . I a c c e p t what you s a y . We have d e l a y e d you l o n g enough. Here is y o u r p e r m i t ,

He hands t h e p e r m i t o v e r and as C h a p l i n s i g n s it i n r e l i e f , t h e camera p a n s t o t h e g l a s s p a n e l i n t h e d o o r . James McGranery, t h e U S A t t o r n e y G e n e r a l , whom w e f i r s t m e t i n t h e car a t t h e d o c k s i n S c e n e 1, loolcs i n t o t h e room and smiles s a r d o n i c a l l y .

MIX TO

6 5 EXT. COMPANIONWAY AND CORRIDOR QUEEN ELIZABETH - DAY

C h a r l i e and Oona and t h e f o u r c h i l d r e n walk down t h e s t a i r s and a l o n g t h e c o r r i d o r t o t h e i r stateroom and e n t e r i t .

CHAPLIN I t all d o e s n ' t seem v e r y fair!

6 6 INT. CHAPLIN STATEROOM ON QUEEN ELIZABETH - DAY

Cl iap l in s l u m p s m o r o s e l y i n a c h a i r .

OONA Come o n C h a r l i e , you d o n ' t have t o w o r r y about any of t h a t any more . I t l s a l l water under the b r i d g e , , L e t ' s r e l a x ancl e n j o y o u r s e l v e s .

CONTINUED

47


CHARLIE You're q u i t e r i g h t , Oona. I've b e e n a l l o w i n g the malice t o g e t to m e . L e t ' s f o r g e t t h i s p a s t year, a n d l e t ' s h a v e f u n . What do you s a y , k i d s ?

They c h e e r as he bounds t o h i s fee t ancl s t a r t s t o romp w i t h t h e m , d o i n g c a r t w h e e l s and back f l i p s round t h e c a b i n . His f i n a l f l i p b r i n g s h i m o p p o s i t e t h e door , and c o i n c i d e s w i t h a knock on i t , a n d the e n t r a n c e i n t o t h e s t a t e r o o m of a s t eward , b e a r i n g a t e l e g r a m .

STEWARD Beg p a r d o n , s i r , b u t this has just a r r i v e d f o r you.

C h a r l i e r i p s it open . We move t o i s o l a t e him i n s h o t as h e reads it o u t t o Oona i n a s h o c k e d t o n e o f v o i c e .

CHAPLIN ( r e a d i n g )

To Char les C h a p l i n . Your r e - e n t r y p e r m i t h a s b e e n r e s c i n d e d . You c a n n o t r e t u r n t o the U n i t e d S t a t e s w i t h o u t f a c i n g an I m m i g r a t i o n Board o f I n q u i r y t o answer c h a r g e s of a p o l i t i c a l na-Lure, and of moral t u r p i t u d e . James McGranery. U.S. A t t o r n e y G e n e r a l .

00NA ( a great c r y )

Oh n o !

She r u n s t o h i m , and h o l d s h i m . We zoom i n t o an ECU C h a p l i n ' s distraught f a c e .

CHAPLIN E x i l e d !

END OF ACT THREE

48

ACT POUR

6 7 INT. CHAPLIN STATEROOM - DAY

C h a r l i e s i t s o n (;he sofa w i t h head bowed. The c rumpled telegram l i e s a t his f e e t . The f o u r subduecl c h i l d r e n a n d Ooiia w a t c h him w a r i l y .

CI-IAPL I N T h i s s h o u l d t e a c h m e f o r my p r e s u m p t i o n i n t r y i n g t o be a c i . t i z e n of t h e w o r l d . . . P e o p l e d o n ' t want t h a t . They want t r i b a l i s m . They want n a t i o n a l i s t s and p a t r i o t s . They want t he B l u e men a g a i n s t t h e Red men, The G r e e n men a g a i n s t t h e Y e l l o w men.

He l aughs b i t t e r l y .

OONA B u t why h a v e t h e y done t h i s , C h a r l i e ? I t ' s a l l s o s n e a k y - t o g i v e you a p e r m i t , a n d t h e n t a k e i t away l i k e t h i s a c o u p l e of d a y s l a t e r . T h e r e must be a reason .

CHAPLIN I guess someone w i t h a l o t of c l o u t d o e s n ' t l i k e m e . Hearst warned m e o n c e a g a i n s t making speeches on b e h a l f of t h e R u s s i a n s . You know Oona, I t h i n k i t was t h a t s p e e c h I made by t e l e p h o n e t o t h e T r a d e Union Worke r s i n Madison Square P a r k i n ' 4 2 i n s u p p o r t of t h e s e c o n d f r o n t t h a t r e a l l y d i d t h e damage.

M I X TO

68 EXT. MADISON SQUARE PARK - EVENING ( A p o s s i b l e f i l m c l i p )

A crowded S q u a r e f u l l of w o r k e r s h o l d i n g b a n n e r s , C h a p l i n s vo ice comes o v e r the l o u d s p e a k e r s as w e t r a c k amongst t h e m .

CHAPLIN ( V . 0 . ) R u s s i a is f i g h t i n g w i t h h e r b a c k a g a i n s t t h e wall! The w a l l is t h e A l l i e s s t r o n g e s t d e f e n c e ! We d e f e n d e d L i b y a and l o s t . We d e f e n d e d Crete and l o s t . We defended t h e P h i l i p p i n e s and o t h e r i s l a n d s i n t h e P a c i f i c

CONTINUED


CI-IAPLIN ( C o n t ) a n d l o s t . But w e c a n n o t a f f o r d t o l o s e R u s s i a f o r t h a t i s t h e a g g r e s s i v e f r o n t l i n e of democracy. . .

6 9 IN%. CHAPLIN'S DRAWING ROOM - E V E N I N G

CU TV screen shows the c rowds i n Madison S q u a r e P a r k s u r g i n g e n t h u s i a s t i c a l l y , a n d s t r a i n i n g f o r the words coming o v e r t h e s p e a k e r s . We widen o u t t o show t h a t C h a r l i e i s s p e a k i n g o n t h e t e l e p h o n e wa tched by e n g i n e e r s who h a v e hooked him up .

CIlAPL I N I f t h e Russians l o s e t h e Caucasus t h e y w i l l l o s e t h e i r o i l , and i t w i l l be t h e g r e a t e s t d isaster o f t h e a l l i e d c a u s e . Then w a t c h o u t for t he a p p e a s e r s , f o r t h e y ' l l come o u t of t h e i r h o l e s . They w i l l want t o make p e a c e w i t h a v i c t o r i o u s H i t l e r . They w i l l s a y i t ' s u s e l e s s t o s a c r i f i c e a n y more American l i v e s . - We can make a good d e a l w i t h Hitler. I s a y w a t c h o u t for t h i s Naz i s n a r e , a n d t h e b e u i l e n i e n t s of t h e s e r e a c t i o n a r y e x p l o i t e r s . The Nazi wo lves w i l l change i n t o s h e e p I s c l o t h i n g . They w i l l make p e a c e v e r y a t t r a c t i v e t o u s , and t h e n s u d d e n l y w e s h a l l be e n s l a v e d . They w i l l t a k e away o u r l i b e r t y and c o n t r o l o u r m i n d s . Human p r o g r e s s w i l l b e l o s t , T h e r e w i l l be no more m i n o r i t y r i g h t s , no w o r k e r s ' r i g h t s , no c i t i z e n s ' r i g h t s . H i t l e r ' s b r u t a l o r d e r , i n a l l i a n c e w i t h b u s i n e s s , w i l l c o n t r o l t h e e a r t h .

CUT BACK TO

7 EXT. MADISON SQUARE PARK - EVENING

The huge crowd of trade u n i o n i s t s s t a n d s h e l d by C h a p l i n ' s s o n o r o u s c a d e n c e s . We move amongst them a s t h e s p e e c h c o n t i n u e s over. the l o u d s p e a k e r s

CHAPLIN ( V . 0 . ) I say a g a i n w a t c h o u t f o r t h e r i g h t w ing a p p e a s e r s - t h e men who even now want R u s s i a and z t l l s h e stands f o r o v e r t h r o w n . 1 s a y a g a i n g i v e u s a c t i o n . L e t us t a k e a c h a n c e ! Give u s a second f r o n t now and l e t u s t r u l y s p p o r t our g r e a t and f e a r l e s s f r i e n d s t h e R u s s i a n p e o p l e !

CONTINUED

50

7 0

7 1

7 2

7 3

7 4

C o n t i n u e d

The crowd c h e e r s . The camera moves t o i s o l a t e James McGranery s t a n d i n g a.par.t u n d e r a t r e e , s c o w l i n g and m a k i n g n o t e s ,

INT. CHAPLIN STATEROOM - DAY

C h a p l i n , Oona a n d t h e c h i l d r e n as t h e y were a t t h e e n d of scene 6 7 .

A s t e w a r d p a s s e s t h e door b a n g i n g a gong. Oona moves ' towards the d o o r .

STEWARD ( V . 0 . ) Boolr y o u r s e a t s now for t h e s c r e e n i n g t o n i g h t at Led pm. of C h a r l i e C h a p l i n ' s w icked f i l m a b o u t t h e F r e n c h B l u e b e a r d Monsewer Verdoux which y o u ' v e a l l h e a r d so much about ! I t ' s s e x y ! I t ' s sensat ioiial ! I t I s C h a r l i e a s you I v e n e v e r s e e n h i m b e f o r e ! T h a t ' s t e n pm laclies a n d g e n t s i n t h e c inema t o n i g h t f o r Monsewer Verdoux.

INT. COMPANIONWAY OUTSIDE CBAPLIN SUITE - DAY

Oona looks out and sees t h e b a c k of t h e s t e w a r d r e t r ea t ing down t h e pas sageway . O t h e r p a s s e n g e r s g l a r e a t h e r a n d s lam t h e i r door s .

INT. STATEROOM - DAY

Oona c loses t h e d o o r .

CI-IAPLIN ( b i t t e r )

D o you remember t h e p r e s s c o n f e r e n c e a f t e r Verdoux i n New York?

Oona s m i l e s s a d l y a n d s h a k e s h e r h e a d .

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INT. HOTEL ROOM - DAY

C h a p l i n s t a n d s on a s m a l l r o s t r u m f a c i n g some t w e n t y members of t h e press, H e i s p l a i n l y a p p r e h e n s i v e .

CHAPLIN How do YOU do l a d i e s and g e n t l e m e n . I a m h e r e t o i m p a r t any f a c t s t h a t

CONTINUED

5 1


CI-IAPLIN (Con t 1 m i g h t i n t e r e s t you i n c o n n e c t i o n w i t h my p i c t u r e Monsieur Verdoux, a n d my future p l a n s .

A s i l e n c e .

D o n ' t a l l s p e a k a t o n c e . P r o c e e d w i t h t h e b u t c h e r y . F i r e away a t t h i s o l d g r e y h e a d .

WOMAN JOURNALIST Are you a Communist?

CI-IAPLIN No. The . n e x t q u e s t i o n p l e a s e .

A man s t a r t s r e a d i n g i n d i s t i n c t l y f rom a m a n u s c r i p t .

MAN ..We of t h e C a t h o l i c War

V e t e r a n s . . .

CI-IAPL I N I ' m n o t here t o answer any C a t h o l i c War V e t e r a n s . T h i s is a m e e t i n g of t h e press.

2ND WOMAN Why h a v e n ' t you become a c i t i z e n ?

CHAPLIN I see no r e a s o n t o change my n a t i o n a l i t y . I c o n s i d e r myse l f a c i t i z e n of t h e world.

A MAN JOURNALIST But you e a r n y o u r money i n America?

CHAPL I N On ly a small p a r t of i t . 7 0 % of a 1 3 my income is e a r n e d a b r o a d - ancl w h a t s more the U S government e n j o y s 1 0 0 % t a x a t i o n o n i t . So a s you see I ' m a v e r y good p a y i n g g u e s t ,

CATHOLIC WAR VETERAN MAN Whether you e a r n y o u r money h e r e o r n o t , w e who l a n d e d o n t h o s e b e a c h e s i n F r a n c e r e s e n t you n o t b e i n g a c i t i z e n of t h i s c o u n t r y .

CONTINUED

5 2


CHAPL I N Are you s p e a k i n g f o r e v e r y o n e who l a n d e d on t h o s e b e a c h e s ?

CATHOLIC WAR VETERAN MAN I g u e s s s o . Yeah.

CHAPLIN Well my two s o n s were t h e r e i n P a t t o n ' s a rmy, r i g h t u p i n t h e f r o n t l i n e , and t h e y don't resent m e .

MAN JOURNALIST Would you s a y you had c e a s e d t o be a good comedian s i n c e you s t a r t e d iliaking message p i c t u r e s ?

CI-EAPL IN The two a re n o t a n t i p a t h e t i c . Humour i s a s e r i o u s t h i n g .

WOMAN JOURNALIST But a r e n ' t you y o u r s e l f sometimes too p a t h e t i c and s a d i n your f i l m s ? D o n ' t you r e l y o u t r a g e o u s l y o n t h e s y m p a t h i e s of y o u r a u d i e n c e ?

CHAPL IN A s Mark Twain s a i d ... e v e r y t h i n g human is p a t h e t i c . The secret s o u r c e of Humour i t se l f is n o t j o y , b u t sol-row, T h e r e is no humour i n h e a v e n , - and s t i l l less it a p p e a r s vh the r a n k s of t h e p r e s s corps .

Murmurs o f r e s e n t m e n t a n d boos. James Agee, whom w e m e t o n t h e d o c k s i d e i n t h e f irst s c e n e , s t a n d s up s h a k i n g w i t h f u r y .

JAMES AGEE I-IOW d o e s i t f e e l t o be an a r t i s t who h a s e n r i c h e d t h e w o r l d w i t h so much h a p p i n e s s and u n d e r s t a n d i n g of t h e l i t t l e p e o p l e , t o be d e r i d e d and h e l d up t o h a t e a n d s c o r n by t h e so-called r e p r e s e n t a t i v e s of t h e American press?

C h a p l i n looks a t him w i t h s u r p r i s e d g r a t i t u d e as r e n e w e d e x p r e s s i o n s of rage grow amongst t h e j o u r n a l i s t s ,

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53


CII APL I N No comment . . . b u t t h a n k y o u , Thank you F o r y o u r s o l i c i t u d e , M r . . . ?

JAMES AGEE Agee. I ' m Janies Agee, a special f e a b u r e w r i t e r for Time Magazine.

CI-IAPL I N 0% course you a re . I ' m most t r u l y g r a t e f u l . -to you .

JAMES AGEE Not a t a l l . I t i s I who am g r a t e f u l t o you for g i v i n g m e t h i s o p p o r t u n i t y of s e e i n g t h e t r u l y h y p o c r i t i c a l Pace of American j our n a1 i sm .

More boos a n d h i s s e s f rom t h e a n g r y p res smen ,

What are p e o p l e who r e a l l y g i v e a damn a b o u t freedom t o t h i n k of a c o u n t r y w h o s e p e o p l e p r y i n t o w h a t a man's c i t i z e n s h i p i s , t r y t o t e l l him h i s b u s i n e s s , and exe r t a public moral b l a c k m a i l a g a i n s t him f o r n o t b e i n g an American c i t i z e n ? I t i s a l l bunkum and b a l o n e y , calumny and c a n t ! I want you t o know, s i r , I c o m p l e t e l y d i s a s s o c i a t e myse l f f rom t h i s pack of r a b i d dogs!

In t h e up roa r C h a r l i e blows h im a k i s s .

75 INT. C H A P L I N ' S STATEROOM - EVENING

O o n a , C h a r l i e and t h e k i d s as b e f o r e .

CHAPLIN T h e r e were some d e c e n t b l o k e s a b o u t , mind. Agee f o r o n e . D i d you see him i n t h e crowcl a t - the dock when w e left?

OONA Yes, h e ' s a good f r i e n d ?

CHAFL I N We don't h a v e s o many.

CONTINUED


7 6 EXT.

OONA P e r h a p s w e t l l f i n d more i n England .

CHAPLIN I s i n c e r e l y hope so. Remember we're e x i l e s now.

OONA Nonsense. You're g o i n g home.

MIX TO

MONTAGE THE OCEAN - NIGHTjDAY

The &&uge l i n e r s a i l s s e r e n e l y EastwarLa smoke b i l l o w i n g Prom i t s f o u r f u n n e l s . Over t h i s w e h e a r t h e them f r o m L i m e l i g h t s w e l l i n g ,

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7 7 EXT. DECK QUEEN E L I Z A B E T H - NIGHT

The p a s s e n g e r s sit a b o u t i n e v e n i n g d r e s s on t h e f i r s t class b o a t deck s i p p i n g cocktai ls s e r v e d by busy s t e w a r d s , The s h i p ' s band is p l a y i n g t h e L i m e l i g h t theme. Suddenly w e h e a r the C a p t a i n ' s v o i c e o v e r t h e l o u d s p e a k e r s y s t e m .

C A P T A I N ( V . O . ) L a d i e s a n d g e n t l e m e n , t h i s b e i n g o u r l a s t n i g h t t o g e t h e r , we h a v e managed t o p e r s u a d e C h a r l i e C h a p l i n who a s you know is t r a v e l l i n g w i t h u s , t o show us h i s l a t e s t f i l m L i m e l i g h t wh ich h e is t o open s h o r t l y i n London.

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

C A P T A I N (V.O.) The p e r f o r m a n c e w i l l t a k e p l a c e i n the cinema a t n i n e p m , and M r C h a p l i n w i l l make. a p e r s o n a l a p p e a r a n c e , ancl an a d d r e s s of a p p r e c i a t i o n w i l l be macle t o h i m by Monsieur Roger F e r d i n a n d , the P r e s i d e n t of -the S o c i e t e / des A u t e u r s e t C o m p o s i t e u r s Dramat iques i n P a r i s .

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

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55

78 INT. CINEMA QUEEN ELIZABETH - NIGHT C h a p l i n sits on t h e s t a g e b e i n g l a u d e d by Roger Fe rd inand who r e a d s from a paper. The camera p a n s down t h e l i n e s OP c e n s o r W u 5 (-W+ i n t h e a u d i e n c e as h e d o e s s o , c o u n t e r - p o i n t i n g Lhe a r t i s t ' s and t h e g e n e r a l p u b l i c ' s view of recent e v e n t s .

ROGER FERDINAND When w e saw L i m e l i g h t w e l a u g h e d h e a r t i l y and w e wept w i t h rea l t e a r s . I t is your m a r v e l l o u s g i f t t o u s t o be ab le t o make u s do t h i s . One c a n o n l y g u e s s what s u f f e r i n g s you h a v e y o u r s e l f unde r - gone t o be able t o p o r t r a y i n d e t a i l all t h o s e l i t t l e t h i n g s t h a t t o u c h us so d e e p l y , and which you have t a k e n froin moments i n your own l i f e . For you have a good memory. You a r e f a i t h f u l t o t h e memories of your c h i l d h o o d . You have n e v e r b e t r a y e d your s a d y o u t h , and fame h a s n e v e r had t h e power t o s e p a r a t e you from t h e p a s t . T h i s f i d e l i t y t o y o u r e a r l i e s t memories is your g r e a t e s t mer i t , and t h e r ea l r e a s o n why t h e crowds a d o r e you. It is why your work is a lways so g e n e r o u s l y i n d i r e c t t o u c h w i t h t h e h e a r t s of o t h e r s , , It is f o r e v e r a c o n f e s s i o n a c o n f i d e n c e , a n d a p r a y e r . We l o v e y o u , C h a r l o t . Je vous remercie

He k i s s e s C h a r l i e on b o t h c h e e k s . A few t r y and c l a p , The o v e r e l m i n g majori ty r ema in s i l e n t . C h a r l i e is sudden ly made aware of t h e d i s c r e p a n c y between F e r d i n a n d ' s words , and t h e a u d i e n c e ' s f r o s t y r e c e p t i o n t o them, H e s t e p s forward to a d d r e s s them.

CHAPLIN You see b e f o r e you an e x i l e . Now more t h a n e v e r b e f o r e , my f a m i l y and myself need t h a t l o v e . If w e do n o t g e t i t , I ' m a f r a i d w e must l e a v e t h e L i m e l i g h t f o r e v e r .

1-10 g i v e s t h e m a l o n g s t a r e a n d walks up t h e s i l e n t aisle -to Oona who s t a n d s a t t h e b a c k of t h e a u d i t o r i u m . They l e a v e t h e thea t re as t h e l i g h t s dim and t h e o p e n i n g music s ta r t s .

56

7 9 EXT. BOAT DZCK - NIGHT/EARLY MORNING

C h a r l i e s t a n d s m o t i o n l e s s l o o k i n g o v e r t h e r a i l . Oona is a t h i s s i d e . B a t h wear heavy c o a t s a g a i n s t t h e c h i l l . The s k y g r a d u a l l y l i g h t e n s t o a m i s t y o p a l e s c e n t dawn.

CHAPLIN 1 t h i n k t h a t f e l l o w Eric B e n t l e y is r i g h t , L i m e l i g h t i s a g l o r i o u s f a i l u r e about a g l o r i o u s f a i l u r e .

OONA And who is t h e g l o r i o u s f a i l u r e d a r l i n g - t h e o l d clown C a l v e r o ?

CHAPLIN No. M y s e l f , A f t e r a l l t h e s e years you see what p e o p l e r e a l l y t h i n k of m e , Never mind a l l t h a t f l o w e r y s t u f f f rom t h a t F rench f e l low. The w o r l d sees m e a s a f a i l e d comedian; as a t r a i t o r ; a s a s u b v e r s i v e a n a r c h i s t ; a s a r a v e n i n g s e x maniac and c h i l d s e d u c e r , I ' v e been away t o o l o n g . I d o n ' t know who I a m a n y more. I ' v e g o t t o f i n d o u t . Y o u ' r e r i g h t , I a m g o i n g home - and t h a n k God f o r i t r I t ' l l g i v e me a c h a n c e t o f i n d o u t who C a r l o t r e a l l y is !

OONA We'll v i s i t y o u r o l d h a u n t s - t h e p l a c e s you've a l w a y s t o l d m e a b o u t . The workhouse - where you l i v e d w i t h your f a t h e r when your mother was i n . . .

CHAPLIN The asylum! You can s a y i t . It d o e s n ' t u p s e t m e any l o n g e r .

OONA We'll v i s i t a l l t h e o l d p l a c e s of y o u r c h i l d h o o d , t hough I s u p p o s e many of them h a v e been l tnocked down,

CH APL IN ( w i t h r i s i n g e x c i t e m e n t 1

Well, Oona w e ' l l j u s t have t o b u i l d them up a g a i n . I ' l l make a f i l m a b o u t it - t h a t ' s what I ' l l d o ! I ' l l make a f i l m about how t h e t ramp came t o b e ! ! T h a t f e l l o w was r i g h t .

CONT I NUED

5 7

79 Con t inued

CHAPLIN ( C o n t ) The t r a m p came f r o m my background , and I m u s t n ' t ever f o r g e t t h a t . He wallrecl r i g h t i n t o p e o p l e ' s h e a r t s , He w a s n ' t a r e d , o r a c h i l d m o l e s t e r , o r a n y t h i n g l i k e t h a t . He was the L i t t l e F e l l a !

OONA Bravo! The t r a m p d o e s n ' t s p e a k , You c a n make a n o t h e r s i l e n t f i l m . You were always h a p p i e r d o i n g t h a t ,

CIl APL I N Y e s . Yes . Yes . That's what w e ' l l clo - The Early Years!!

He swings h e r r o u n d and r o u n d . A s h e does so the f o g sudclonly r ises , r e v e a l i n g i n the d i s t a n c e t h e w h i t e c l i f f s of t h e Z n g l i s h c o a s t ,

C h a r l i e re leases Oona and f l i e s t o the r a i l d e c l a i m i n g i n a s i m i l a r v e i n t o t h e way h e used on h i s a r r i v a l i n New York, (and which we w i l l use l a t e r i n t h e f i l m w i t h i n a f i l m . )

C H A P L I N E n g l a n d I'm coining t o conquer you Every man woman a n d c h i l d s h a l l speak my name w i t h l o v e !

A s u r g e of I m p e r i a l niusic b r i n g s t h e Act t o a c l o s e , as Oona i r o n i c a l l y a p p l a u d s h im.

END O F ACT FOUR

ACT F I V E --

8 0 INT. ~ l ' U D 1 0 - DAY A s low mix takes u s t h r o u g h t o a huge r e p l i c a of many p a r t s of Charl ie 's E a s t End background c o n s t r u c t e d as a movie se t - E a s t L a n e , Wal.wort11, West S q u a r e , S t George I s Road, L a m b e t h , and the I i enn ing ton Road, S t u d i o c o n s t r u c t i o n worke r s a r e s t i l l a t work o n i t . I-Ie moves t o examine t h e West S q u a r e house and p o i n t s i t o u t t o Oona who is opened mouthed a t t h e e l a b o r a t e s e t s .

CKAPL I N T h a t ' s where w e l i v e d i n West S q u a r e , Lambe th . I t l o o k s e x a c t l y l i k e i t , though t h e post box was more t o w a r d s t h e c o r n e r .

He moves t h e p a p i e r mache p o s t box.

OONA D o you remember what you t o l d m e y o u r mother s a i d was your f i r s t c o n t r i b u t i o n t o comedy?

CHAPLIN Remind me.

OONA A f t e r w a t c h i n g t h e ne ighbour - hood dogs, you a l w a y s c o n n e c t e d b o n e s w i t h s w a l l o w i n g , a n d l o o k i n g a t y o u r inother I s knee , you s a i d you must have swal lowed a b i g one t o h a v e it stick o u t l i k e t h a t .

CE-IAPLI N I t w a s n ' t h e r knee . I t was her a n k l e b o n e .

I-Ie p o i n t s t o a r e p l i c a of t h e Canteen thea t re , A l d e r s h o t .

And t h a t ' s where my f i r s t r e a l c o n t r i b u t i o n came - t h e c a n t e e n Theatre A l d e r s h o t .

H e and Oona walls: t o w a r d s i t .

59

83. INT. CANTEEN THEATRE ALDERSHOT AUDITORIUM - DAY

Oona and C h a r l i e e n t e r and walk down t h e c e n t r e a i s l e .

CHAPL I N I was : f i v e a t t h e t i m e , and my mother who worked t h e h a l l s u n d e r t h e name of L i l y H a r l e y had a n u n f o r t u n a t e breakdown t h e r e . I n f a c t i t was t h e l a s t t i m e s h e p l a y e d anywhere , and - my f i r s t .

OONA Was s h e any good?

C1lAPI.i I N Wonderful ! . , .Dark b l u e e y e s , l o n g s i l k y brown h a i r , the smallest most e l o q u e n t h a n d s , a n d a gamine , p i q u a n t charm t h a t c o u l d m e l t your h e a r t . U n f o r t u n a t e l y my dad had l a r g e l y abandoned u s by t h e n , and mum had t o k e e p u s , and w h a t w i t h one t h i n g and a n o t h e r t h e s t r a j n of it b r o k e h e r . I t was h e r v o i c e t h a t gave o u t , I t was n e v e r s t r o n g , and t h i s p l a c e f i n i s h e d h e r o f f .

Suddenly i n t h e a u d i t o r i u m w e h e a r f a i n t l y t h e v o i c e o f L i l y H a r l e y s i n g i n g .

C h a r l i e c l i m b s on a camera d o l l y , a s l i g h t s come up on s t a g e , I n a series of mixes t h e a u d i t o r i u m f i l l s mos t ly w i t h E n g l i s h m i l i t a r y p e r s o n n e l of t h e p e r i o d . A c l a p - b o a r d r e a d i n g "Chapl in . The E a r l y Years! is c l a p p e d .

CHAPLIN Act i o n !

The d o l l y is pushed i n , and a s p o t comes up f i r s t l y on a c a r d a t t h e s i d e of t h e s t a g e r e a d i n g The D a i n t y and T a l e n t e d L i l y H a r l e y , Ser io-Comedienne , I m p e r s o n a t o r , and Dancer ; and s e c o n d l y on L i l y H a r l e y h e r s e l f d o i n g a song and dance of a pe rky I r i s h march.

LILY HARLEY

" R i l e y , R i l e y , T h a t ' s t h e boy t o ( s i n g i n g )

b e g u i l e y e , R i l e y , R i l e y t h a t ' s t h e boy f o r m e . I n a l l t h e armies g r e a t and small T h e r e ' s none so t r i m a n d neat A s t h e n o b l e S e r g e a n t R i l e y Of the g a l l a n t e i g h t y - e i g h t . I '

CONTINUED

G O


Her v o i c e c r a c k s f e q u e n t l y , a n d s i n l r s t o a husky w h i s p e r as b u n s a n d f r u i t r a i n on t h e s t a g e , a n d f a l s e t t o c a t - c a l l s and s h o u t s of " C a n l t ' ea r y e r ! " r e v e r b e r a t e r o u n d t h e t h e a t r e . She r u n s off t h e s t age i n t o t h e wings s o b b i n g , where the Stage Manager s t a n d s w a t c h i n g w i t h t h e f i v e y e a r o l d Charlie C h a p l i n . IIe i m n e d i a t e l y d r a g s t h e boy o n t o t h e s t a g e .

STAGE MANAGER " L a d i e s and Gent lemen and now f o r a special t r e a t ! I g i v e you L i l y H a r l e y ' s a s t o n i s h i n g l y t a l e n t e d l i t t l e l a d C h a r l i e ! He i s o n l y f i v e y e a r s o l d , b u t is a l r e a d y t h e s o l e s u p p o r t of a l o v e l y a r t i s t e i n h e r d e c l i n i n g y e a r s . I know you w i l l be g e n e r o u s , and n o t o n l y w i t h y o u r a p p l a u s e ! I t h a n k you .

BOY CHARLIE " J a c k J o n e s w e l l a n d known t o

e v e r y b o d y Round a b o u t t h e marke t d o n ' t y e r see I ' v e n o f a u l t t o f i n d w i t h J a c k a t all.. . I t

He s t o p s s i n g i n g t o c o l l e c t t h e c o i n s b e i n g thrown o n t o t h e s t age .

CHAPLIN cut !

C h a p l i n s e n i o r l e a v e s t h e d o l l y and c l i m b s o n t o t h e s t a g e t o show t h e young boy how t o react t o t h e shower of money.

CI-IAPLI N D o n l t go for t h e money i m m e d i a t e l y , I want you t o t h i n k a t f i r s t t h e y ' r e h o s t i l e , l i k e t h e y were t o y o u r mum. Then r e a l i s e i t ' s a s i g n of a p p r o v a l , smi l e , beckon you want more money, a n d w a i t t i l l t h e e n d of t h e v e r s e when t h e Stage Manager w i l l a p p e a r w i t h a h a n d k e r c h i e f t o h e l p you col lect i t . G o t i t?

BOY CIlARLIE Y e s , sir.

CI-IAPL I N Good 9 boy 1

CONT I NUED

8 1 Cont i n u e d

He jumps clown from t h e s tage i n t o t h e a u d i t o r i u m and r u n s back t o t h e camera.

CHAPL I N A c t i o n !

BOY CHARLIE ( s ii ig i n g )

" J a c k Jones w e l l a n d know t o e v e r y b o d y Round a b o u t t h e marke t d o n ' t y e r

I ' v e no f a u l t t o f i n d w i t h Jack a t all Not when '8s a s * e u s e d t o be But now les ' a d t h e b u l l i o n l e f t him ' e ' a s a l t e r ed f o r t h e w o r s t . "

See

The S t a g e Manager e n t e r s c a r r y i n g a h a n d k e r c h i e f . He h e l p s t h e boy f i l l it w i t h t h e money o n the s t a g e . H e t h e n s tar ts t o l e a v e t h e s t a g e b u t t h e boy s e t s u p a g r e a t howl .

BOY CHARLIE "Ile s s t e a l i n g my money ! ' I

The a u d i e n c e b o o s . The boy s e i z e s t h e h a n d k e r c h i e f from t h e b e w i l d e r e d Manager who w a s o n l y t r y i n g to h e l p , and now has t o r u n o f f t h e s t age f rom t h e a n g r y p a t r o n s .

BOY CHARLIE " I f you g i v e m e some more , I ' l l

s i n g a l o t . "

More c o i n s r a i n o n t h e s t a g e and go i n t o t h e h a n d k e r c h i e f , a f t e r wh ich the s e l f - p o s s e s s e d boy c o n s e n t s t o s i n g the s e c o n d v e r s e .

BOY CHARLIE ( s i n g i n g )

"For t o see t h e way h e t r e a t s a11 h i s o l d p a l s P i l l s m e w i t h n o t h i n g b u t d i s g u s t Each Sunday morn ing h e r e a d s t h e Te 1 e g r aph O n c e he w a s c o n t e n t e d w i t h t h e S t a r S i n c e Jack J o n e s h a s come i n t o a. l i t t l e cash Well le d o n ' t know where * e are ."

The l a s t l i n e is s u n g i n a n i m i t a t i o n of h i s m o t h e r ' s c r a c k e d v o i c e , a n d t h e n h e b r i n g s h e r on t o t r i u m p h a n t a p p l a u s e .

6 2

8 2 INT. EDITING ROOM - DAY

C h a p l i n s i t s w i t h h i s E d i t o r a n d C a p t i o n Man w a t c h i n g a M o v i e l o l a screen.

CI-IAPL I N ( t o E d i t o r )

We've g o t t o see t h e change i n him when h e rea l i ses t h e y ' r e n o t h o s t i l e , b u t are a c t u a l l y s h o w e r i n g him w i t h money.

EDITOR I s n It it o b v i o u s ?

, CHAPLIN To u s , maybe, b u t n o t t o h i m , Ted.

We c u t t o ECU SCREEN.

The f i l m now moves i n t o BLACK AND WHITE, 1 6 FRAMES PER SECOND,

The moment when C h a r l i e sees t h e r e a l money and u n d e r s t a n d s t h e y l i k e him.

CHAPLIN (V.O. T h e r e ! , , .Hold t h e moment A b i g , l o n g c l o s e up .

The S t a g e Manager a p p e a r s w i t h t h e h a n d k e r c h i e f which h e and C h a r l i e f i l l . The S t a g e Manager is a b o u t t o l e a v e when C h a p l i n c r i e s o u t .

CHAPLIN ( V . 0 . ) The c a p t i o n w i l l come h e r e .

The Movieola s t o p s .

CHAPLIN ( V . 0 . ) Mark i t .

The E d i t o r marks i t on t h e f i l m .

CI-IAPLIN ( V . 0 . ) I t w i l l r e a d "IIe's s t e a l i n g my money ! ' I

We c u t b a c k t o 24 FRAMES, COLOUR. SOUND. The C a p t i o n Man makes a n o t e . C h a p l i n p o i n t s to t h e now unseen s c r e e n .

CIIAPLIN And h e r e , "If you g i v e m e some more , I'll s i n g a l o t , " Got i t ?

CONTINUED

6 3

8 2 Cont i n u e d

CAPTION MAN If you g i v e m e some more I ' l l s i n g a l o t .

C€I APL I N R i g h t ! And t h e n h e starts t h e s e c o n d ve r se .

I-Ie l eans f o r w a r d t o w a t c h t h e Boy s t a r t t h e second v e r s e of t h e s o n g .

8 3 E X T / I N T . MONTAGE - NIGI-IT/DAY

S h o t s of IIannah s c r u b b i n g f l o o r s , and working a t h e r n e e d l e - work are I n t e r c u t w i t h o t h e r s ole Sydney s e l l i n g newspape r s , and C h a r l i e s i n g i n g i n t h e s t reets t o a b a r r e l o r g a n o u t s i d e p u b s . He does a l i t t l e dance t o c o m p l e t e his a c t , O u t s i d e The Q u e e n ' s h e a d , Lambeth, and i n t h e l a s t f r a m e s of t h e s e q u e n c e he sees Rummy Binl is t h e o s t l e r a t t h e pub , a n d we n o t e h i s s p l a y f o o t e d walk as h e l e a d s t h e h o r s e s t o t h e water t r o u g h . C h a r l i e i m i t a t e s , and w e g e t our f i r s t i n t i m a t i o n o f what is t o come.

CAPTION: '!But two years l a t e r a l l is n o t "... h a r d work a n d s o r r o w . "

84 EXT. MONTAGE SEQUENCE BEACH PIER FUN FAIR SOUTHEND - DAY

CAPTION : "Sou thend - P l a y g r o u n d o f t h e Poor.

A montage s e q u e n c e f o l l o w s w i t h Sydney, Hannah and C h a r l i e hamming it up a t S o u t h e n d , and r e c o r d i n g :

a ) ON THE BEACH C h a r l i e ' s f i r s t r a p t u r o u s look a t t h e sea . H e t h e n s i t s i n a deck c h a i r and t w i d d l e s h i s t o e s i n t h e water, o n l y 'to be r e c a l l e d t o a s e n s e of r e a l i t y b y a deck c h a i r a t t e n d a n t demanding money f rom him.

A s C h a r l i e r e l u c t a n t l y g i v e s him t h e c a s h , we n o t e i n a n i r i s t h a t t h e a t t e n d a n t is wear ing a bow t i e , ~ziicl t o o t i g h t wais tcoa t .

b ) ON THE PIER Char l i e is admonished f o r h i g h s p i r i t s by a c o m m i s s i o n a i r e w e a r i n g a tail c o a t , a g n i n t o o small f o r him, and a g a i n marked by an i r is which f r a m e s him i n CU.

CONTINUED


c ) I N THE HALL O F DISTORTING MIRRORS C h a r l i e ' s b o o t s s u d d e n l y a p p e a r huge and h i s h e a d small.

d ) I N THE COCONUT SHY C h a r l i e ' s w i l d t h r o w t a k e s h i m round i n a c o m p l e t e c i r c l e t o h i t his b r o t h e r who is st a n d i n g be s i d e h i m .

Hannah a n d Sydney and C h a r l i e march t o w a r d s a f i s h and c h i p shop . They emerge a few moments l a t e r w i t h l a r g e p a c k e t s of f i s h a n d c h i p s wrapped i n t r a d i t i o n newspaper . 'We i r is i n t o t h e i r c o n t e n t e d , g r e a s y f a c e s a s t h e y gorge , s t r o l l i n g i n the sea.

CAPTION : I ' Un f or t u n a t e l y €Ian n ah Chap 1 i n was u n e q u a l t o t h e task of s u p p o r t i n g h e r l i t t l e f a m i l y . "

8 5 INT. CHAPLINS' CHEAP ROOM - DAY

24 FRAMES. COL0,UR. SOUND.

We see H a n n a h ' s s e w i n g machine b e i n g r e p o s s e s s e d b y b a i l i f f s , d i r e c t e d b y C h a p l i n a t f i r s t on t h e camera d o l l y , and t h e n t a k i n g h i s mothe r s p a r t .

He a c t s o u t t h e h e a r t b r e a k i n g s c e n e , making it i n t o w i l d comedy, b y h o l d i n g g r i m l y o n t o t h e machine as i t i s removed, and b e i n g d r a g g e d a c r o s s t h e f l o o r , h i s f e e t s c o o p i n g up c a r p e t , f i r e g r a t e , lamp s t a n d s , g a t e l e g g e d t a b l e , e t c . e t c . , s o t h a t t h e e n t i r e c o n t e n t s of t h e room end p i l e d up a t t h e doorway, w i t h him u n d e r i t - and o n l y h i s h a n d s p r o t r u d i n g t o g r a s p t h e sewing machine .

8 6 INT. PAWNBROKER'S SHOP - DAY

Hannah pawns S y d n e y ' s t h r e a d b a r e s u i t i n t h e p r e s e n c e of C h a r l i e , w i t h C h a p l i n d i r e c t i n g .

PAWNBROKER I f I ' m s o r r y Mrs C h a p l i n , I can

o n l y o f f e r you t h r e e bob . "

I-IANNAII I'But y o u ' v e a l w a y s g i v e n ine seven bob b e f o r e .

PAWNBROKER IlTheyIre worn o u t , d e a r . A c t u a l l y

t h e y ' r e o n l y w o r t h h a l f a crown.Il

CONTINUED

6 5


HANNAH "But how w i l l w e manage?"

PAWNBROKZR " I t m s o r r y . I c a n do no more."

C h a p l i n h a n d s t h e Pawnbroker a t o o s i n a l l bowler hat .

CIIAPL I N Wear this i n the s c e n e . I t ' l l 1 i g h t e n t h i n g s u p .

T h e Pawnbroker s h r u g s and l i f t s h i s t o o small bowler h a t . We i r i s i n t o a CU of t h e g e s t u r e ,

8 7 EXT. COURTYARD LAMBETH WORKHOUSE DAY

We s t a r t o n a n ECU s i g n r e a d i n g Lambeth Workhouse, We pan down t o see Hannah, and Sydney ( a g e d 11) and C h a r l i e ( a g e d 7 ) b e i n g a d m i t t e d to t h e Lambeth Workhouse. I n t h e c o u r t y a r d a pompous J a n i t o r w e a r i n g a t i n y mous tache d i r e c t s them t o d i f f e r e n t p l a c e s . I r is i n t o ECU m o u s t a c h e .

Of c o u r s e w h a t i s a c t u a l l y s a i d on t h e set is much a t v a r i a n c e n o t o n l y w i t h t h e mood of the s c e n e , b u t also w i t h what w e see w r i t t e n i n c a p t i o n fo rm l a t e r .

JANITOR " S i l l y o l d cows t o t h e l e f t .

Bloody s n o t t y nosed b r a t s t o the r i g h t . 'I

H e g i v e s h e r a s h o v e .

HANNAH " G e t away f rom m e you boozy

b u g g e r . You watch i t o r I'll kick you i n t h e c o b b l e r s - t h a t ' s i f you've g o t a n y , which I d o u b t . "

The J a n i t o r w r e n c h e s them a p a r t and p u s h e s them of f i n o p p o s i t e d i r e c t i o n s . Cl iap l in ( d i r e c t i n g ) s t r i d e s i n t o shot .

CHAPL I N N o n o ! . .Th ink i t t h r o u g h , You're b e i n g p a r t e d f rom your c h i l d r e n for t h e f i r s t t i m e i n y o u r l i f e , and u n d e r h o r r i b l e c i r c u m s t a n c e s , Welve g o t t o f ee l t h e m i s e r y and

CONTINUED

6 6

8 7 Cont i i iued

CWAPLIN (Cont ) t h e d i s g r a c e o f i t , d e a r , R e a l l y look a t that c o u r t y a r d , a n d t h e n a t t h e b o y s . P l e a d n o t t o b e s e p a r a t e d . . . P l e a d !

I-Ie ac t s i t o u t , s i n k i n g t o his k n e e s as t h e m o t h e r , t h e n t a k i n g t h e p a r t o f t h e s t e r n , u n c a r i n g o f f i c i a l

CUT TO

88 INT. EDITING ROOM DAY

C h a p l i n s i t t i n g b e f o r e a Movieola s c r e e n i n an e d i t i n g room, We t r ack i n t o a n ECU O F THE SCREEN.

16 FRAMES. BLACK AND WHITE, SILENT.

We see t h e s c e n e i n t h e workhouse c o u r t y a r d f rom t h e s t a r t w i t h the o f f i c i a l s e p a r a t i n g Hannah and Sydney and Charl ie , a n d p u s h i n g h e r .

CAPTION : "Women t o t h e l e f t . C h i l d r e n t o t h e r i g h t . "

Hannah looks p i t e o u s l y a r o u n d h e r a t t h e g r i m c o u r t y a r d , a n d h o l d s o u t h e r h a n d s i n s u p p l i c a t i o n .

CAPTION : " C a n ' t w e p l e a s e s t a y t o g e t h e r ... I ' m t h e i r m o t h e r , . .We've n e v e r been a p a r t , ( I

They a re b r u t a l l y wrenched a p a r t and s e n t t h e i r s e p a r a t e ways.

89 A MONTAGE SEQUENCE composed of t h e f o l l o w i n g e l e m e n t s :

a ) C h a r l i e and Sydney b e i n g g i v e n t r e a t m e n t f o r r ingworm. More h a i r c r o p p i n g a n d i o d i n e .

b ) C h a r l i e a n d Sydney b e i n g b r u t a l l y b a t h e d by 1 4 y e a r o l d g i r l s which e m b a r r a s s e s them,

c ) The b o y s s c r u b b i n g t h e c o u r t y a r d on t h e i r k n e e s i n w i n t r y c o n d i t i o n s .

e ) The gymnasium. The i n m a t e s are l i n e d up t o fo rm t h r e e s i d e s of a s q u a r e i n t h e c e n t r e o f which i s a l o n g t a b l e . C h a r l i e f a c e s t h e h e a d m a s t e r .

CONTINUED

6 7


The Headmaster p o i n t s t o t h e t a b l e n e x t t o which s t a n d s C a p t a i n I-Iinclrum h o l d i n g a f o u r f o o t , t h i c k l o n g cane.

C APT I ON : "Three s t r o k e s ! ' I

His f e e t are bound ancl h e l d by a S e r g e a n t . Be i s l a i d o v e r t h e t a b l e . Ano the r S e r g e a n t pulls o u t h i s s h i r t o v e r h i s h e a d . The massive CaptainHincirum a d m i n i s t e r s t h e three s t r o k e s w i t h p a r a l y s i n g f o r c e . C h a r l i e is t h e n c a r r i e d t o a mattress a n d l e f t t o w r i t h e and s q u i r m ,

CAPTION: " M e r c i f u l l y i n t o t h i s l o n g n i g h t - inare e v e n t u a l l y came rescue! ' I

9 0 EXT. COURTYARD WORICI-IOUSE - SUNNY DAY

We see Hannah a r r i v i n g a t t h e g a t e s of t h e work- h o u s e , a n d C h a r l i e ancl Sydney r u n n i n g j o y o u s l y o u t t o meet h e r . The l i t t l e f a m i l y is r e u n i t e d again a f t e r e i g h t e e n t e r r i b l e months .

9 1 I N T . CI-IAPLIN HOME - EVENING

2 4 FRAMES. COLOUR. SOUND - C h a r l i e C h a p l i n S e n i o r is s e t t i n g t h e s c e n e f o r a huge blow o u t a t t h e C h a p l i n home. The d i n n e r t ab l e groans unde r t h e w e i g h t of f o o d , t h e whole t h i n g r e m i n i s c e n t i n f e e l i n g of t h e Y u l e t i d e meal w i t h T iny T i m i n A C h r i s t m a s C a r o l . Sydney pus l ies h i s c h a i r back and l o o s e n s h i s b e l t .

SYDNEY "1 h a v e n ' t t a s t e d g r u b l i ke t h a t s ince b e f o r e w e went t o t h e work- h o u s e .

The s c e n e c o n t i n u e s s o p o r i f i c a l l y w i t h Hannah t r y i n g t o t empt Sydney a n d C h a r l i e t o ea t more.

HANNAH "Have some more, You h a v e n ' t h a r d l y t o u c h e d i t .

C b a p l i n l e a v e s h i s p l a c e by t h e camera and r u n s o u t t o t a k e a11 t h e p a r t s .

CI-IAPL I N No no n o ! I t l s s t o n e d e a d . L e t ' s have some f u n w i t h i t .

CONT I NUED

6 8


I-Ie t a l r e s a p e a s h o o t e r f rom h i s p o c k e t and races round t h e t ab le showing t h e young C h a p l i n how t o u s e i t , employing t h e peas on h i s p l a t e as ammuni t ion .

C H A P L I N ( t o C h a p l i n J u n i o r )

Here u s e t h i s . F i r e ' e m a t Sydney. Tha t 11 l i v e n t h i n g s u p .

H e a l s o ac t s o u t Sydney b e i n g h i t by a p e a , and t h e n a c t s Hannah l a u g h i n g a n d s c o l d i n g ,

C H A P L I N ( a s Hannah)

You n a u g h t y boy! ... G i v e o v e r . Those p e a s c o s t good money! . . .

C h a p l i n S e n i o r a s Sydney t h r o w s back b r e a d r o l l s a t Chap l in J u n i o i - , t h e n r e s u m e s h i s p o s i t i o n i n I-Iannali's c h a i r .

CH A P L A I N ( a s Hannah)

Now d o n ' t you s t a r t ! . . .The bread r o l l s cos t more t h a n t h e peas...

And now Sydney I t h i n k C h a r l i e c h a s e s you round t h e t a b l e .

( i n h i s own v o i c e )

He p r o c e e d s t o do t h a t blowi.ng h i s p e a s h o o t e r and h u r l i n g a n y t h i n g e l se on t h e t a b l e lie c a n l a y h i s hands on.

BOY CHARLIE Can I have my p a r t b a c k , now please s i r ,

CEIAPL I N A s l o n g as you do it p r o p e r l y .

9 2 We now see a b i t of t h e pea shooter b u s i n e s s i n 16 FRAMES BLACK AND WHITE. SILENT.

and t h e n a

CAPTION: IlBu-l; p r o s p e r i t y and h a p p i n e s s were n o t t o l a s t l o n g , f o r tho boys, T h e i r mother s mind c o l l a p s e d , and she was s e n t t o an asy lum. ' '

69

9 3 INT. PADDED CELL ASYLUM - DAY

Held i n a s h a f t of l i g h t from a window set h i g h i n t h e w a l l o f a padded rooin, Sydney and C h a r l i e s i l e n t l y enibrace t h e i r mother . I t is c l e a r f rom h e r v a c a n t e x p r e s s i o n t h a t s h e d o e s n o t r e c o g n i s e them, C h a r l i e loolrs up a t h e r d e s o l a t e d .

CAPTION: "Why d i d you do i t , mothe r? Why? , . ,Why?"

A s we mix t h r o u g h t o 24 FRAMES. COLOUR.

9 4 EXT. 2 8 7 ICENNINGTON ROAD - DAY

The e x t e r i o r of 287 Kenn ing ton Road. C h a r l i e l u r k s b e h i n d a hedge as h i s f a t h e r and his mistress L o u i s e come out and walk clown t h e g a r d e n p a t h . Ile jumps o u t and g r a b s C h a r l i e S e n i o r Is l e g , who makes a g e s t u r e t o shif I; him r e m i n i s c e n t of t h e t r a m p I s s u b s e q u e n t Leg gestures.

CIIARLI: E I S PATIIER " G e t o f f ! . , ,What I s your name?"

C h a r l i e loolrs a d o r i n g l y up a t h i s f a t h e r .

BOY CHARLIE C h a r l e s C h a p l i n ,

The f a t h e r embraces t h e son.

CIlARL I E * S FATHER Y o u ' r e my s o n !

BOY CHARLIE F a t h e r !

Loui se l o o k s on s o u r l y a s fa ther and s o n hug, and even more s o u r l y as Sydney s u d d e n l y emerges from b e h i n d t h e hedge a n d is a l so embraced .

SYDNEY M o t h e r ' s i n t h e A s y l u m .

CHARLIE'S FATHER What! T ry n o t to worry about i t , You must come and l i v e w i t h us !

Genera l r e j o i c i n g . But L o u i s e i s n o t so happy. We move i n t o a CU of h e r m a l e v o l e n t face and fade t o b lack ,

M I X TO

7 0

9 5 INT. STAIRCASE CI-IAPLIN'S FATHER'S HOUSE - NIGHT

We see C h a r l i e c r e e p i n g up t h e s ta i rs t o t h e bedroom and b e i n g d e t e c t e d by L o u i s e who p o i n t s d r a m a t i c a l l y t o the f r o n t d o o r .

LOUISE You d o n ' t l i v e h e r e ! I d o n ' t want you !

BOY CHARLIE Where am I t o s l e e p ?

LOUISE Ask your f a t h e r - i f you can F i n d what b o o z e r h e ' s i n !

C h a r l i e w a l k s down t h e s ta i r s and i n t o t h e n i g h t - a n i n e year o l d boy w i t h o u t a home.

A slow d i s s o l v e t akes u s t o C h a r l i e wa lk ing d i s c o n s o l a t e l y down Lhe Kenn ing ton Road. P a s s i n g The White Hart c o r n e r pub h e h e a r s "The Honeysuck le And The Bee" p l a y e d w i t h " r a d i a n t v i r t u o s i t y " ( C h a p l i n s own words ) on a harmonium and c l a r i n e t , The harmonium p l a y e r is b l i n d and c a d a v e r o u s , and wears baggy t rousers s e v e r a l s i z e s too b i g f o r him. The young boy s t o p s , e n t r a n c e d , t o l i s t e n , and t ea r s form i n h i s e y e s , We t r a c k i n t o a CU of t h e Harmonium P l a y e r f a v o u r i n g t h e baggy p a n t s .

CHAPLIN ( V . 0 . ) c u t !

96 Cut t o a reverse shot of t h e r e h e a r s a l i n t h e f i l m s t u d i o , C h a p l i n , much moved, l e a v e s t h e s i d e of t h e n i n e y e a r o l d boy h e i s d i r e c t i n g i n t h e s t r e e t s c e n e o u t s i d e t h e White Hart and g o e s t o s t a n d w i t h t h e m u s i c i a n s .

CHAPLIN I so w e l l remember t h a t moment, I t c r y s t a l i z e d f o r m e t h e m y s t e r y of mus ic . I s u d d e n l y knew t h a t i t hacl a rare b e a u t y t h a t h a s g l a d d e n e d and h a u n t e d m e from t h a t moment.

He sudden ly s tar ts t o s i n g p a s s i o n a t e l y , accompanied by t h e Harmonica P l a y e r and C l a r i n e t i s t .

CHAPLIN You m e t h e Honeysuck le I am t h e b e e I ' d l i k e t o s i p t h e honey , dear, f rom t h o s e red l i p s you s e e ,

CONTINUED

7 1


CI-IAPLIN (Con’t ) I l o v e you , dear ie , dearie a n d I want you to love me. You are my honey, h o n e y s u c k l e , I ELITI y o u r bee.

The film crew applauds . C h a p l i n bows to them well pleased, as we fade to black.

END OF ACT F I V E

7 2

ACT SIX

9 7 INT. THEATRE STAGE - DAY

CU a c a r d r e a d i n g :

"The E i g h t L a n c a s h i r e Lads"

P u l l b a c k t o see it s t a n d s on t h e s i d e of a s t a g e on which a l i n e of young b o y s are c l o g d a n c i n g e n e r g e t i c a l l y . I t is a b i g p r o d u c t i o n number. P rominen t is C h a r l i e a b o u t t w e l v e y e a r s o l d .

M I X TO:

9 8 INT. THEATRE STAGE/AUDITORIUM - DAY

C h a r l i e d r e s s e d i n a ca t mask p l a y i n g w i t h Marce l ine t h e French Clown d r e s s e d as a dog. He s n i f f s t h e rear e n d of t h e dog, a n d p u l l s a s t r i n g which winks a s t a r i n g e y e . The a u d i e n c e of c h i l d r e n g o e s w i l d , as he c o c k s a l e g a g a i n s t t h e p r o s c e n i u m a r c h . I n t h e wings t h e Manager of t h e T h e a t r e s h a k e s h i s f i s t and screams abuse.

MANAGER t t D o n i t you ever do t h a t a g a i n , T h e y ' l l c l o s e u s down!"

C h a r l i e thumbs h i s n o s e .

9 9 EXT. GARDEN 287 KENNINGTON ROAD - DAY

Hannah r e t u r n s f rom t h e Asylum t o c o l l e c t t h e boys f rom 287 Kenn ing ton Road. They r u n i n t o h e r arms t o g r e e t h e r i n t h e f r o n t g a r d e n . L o u i s e s t a r e s b a l e f u l l y f rom a n u p p e r window as t h e y l e a v e f o r t h e i r new home,

EXT. DUKE O F YORK'S THEATRE LONDON - NIGHT

We iris o u t a g a i n o n a p o s t e r of! C h a r l i e now d r e s s e d as Holmes' Page Boy , , B i l l y o u t s i d e t l i e .Duke of Y o r k ' s T h e a t r e i n the West End of London. We pan up t o see t h e Marquee t w i n k l i n g i n the n i g h t : William G i l l e t t e i n The P a i n f u l P r e d i c a m e n t of' S h e r l o c k Holmes w i t h C l i a r l e s C h a p l i n .

M I X TO:

7 3

1 0 9 INT. STUDIO THEATRE SET - DAY

C h a p l i n i s d i r e c t i n g liimself a t age 1 6 i n t h e p l a y w i t h Gi l le t te .

CHAP L I N You must rea l i se t h a t i n t h i s t e n minu te c u r t a i n r a i s e r Slierloclc Holmes doesn I t speak a s i n g l e word. A woman e x h o r t s Holmes i n a s t a c c a t o monologue t o s o l v e a. m y s t e r i o u s case.

Chapl i i i s i ts p l a y i n g t h e woman, arms ex tended i n s u p p l i c a t i o n .

CHAPLIN

You must help m e , M r Holmes. R e a l l y you must . No one e l s e b e l i e v e s m e , b u t I know you w o n ' t f a i l me.. .

( h i g h f a l s e t t o )

H o l m e s b e c k o n s B i l l y o v e r and g i v e s him a n o t e . ( C h a p l i n ac t s i t o u t ) .

CHAPL I N

You, B i l l y dash ou t , and two burly men come i n t o remove the l a d y . . .You, B i l l y now r e t u r n and g i v e the las t l i n e s of t h e p l a y . f'You were r i g h t s i r ! I t was the r i g h t Asyluln!"

(no rma l v o i c e )

H o l m e s nods g r a v e l y , and smiles a t B i l l y .

A s b e f o r e , C h a p l i n has p l a y e d all t h e p a r t s - himself a s a boy, G i l l e t t e , t h e madwoman, and t h e b u r l y men.

H e now t u r n s t o Oona who is wa tch ing ' the r e h e r s a l .

CI-IRPLIN I f t he re is s u c h a t h i n g as t h e r i g h t asylum.

OONA What do you mean C h a r l i e ?

CONTINUED

74

1 0 1 Con t inued

CHAPLIN I mean, Ooiia, t h a t i t was a b o u t t h i s t i m e t h a t my mother went i n t o a n asylum a g a i n . . . (Voice over t h e n e x t scene) The poor dear had been d i s t r i b u t i n g lumps of c o a l to t h e n e i g h b o u r s as b i r t h d a y p r e s e n t s f o r t h e i r ch i lc l re i i .

1 0 2 EXT. BRIEF MONTAGE LONDON STREETS - DAY/NIGHT 16 FRAMES BLACK AND WHITE SILENT

We see Hannah p r e s e n t b e w i l d e r e d n e i g h b o u r s w i t h luinps of coal.

103 EXT. LONDON STREETS BRIEF MONTAGE - DAY

Mix t o C h a r l i e l e a d i n g h e r t o the i n f i r m a r y , watched by c u r i o u s though s y m p a t h e t i c n e i g h b o u r s , as s h e weaves h e r u n s t e a d y way.

CRAPLIN ( v o i c e over c o n t i n u e d )

I h a d t o wa lk h e r t h e m i l e o r so t o the i n s t i t u t i o n . I t was a t e r r i b l e b u s i n e s s . You see s h e knew where she was g o i n g .

104 EXT. INFIRMARY - DAY

A t t h e i n f i r m a r y Hannah b e n d s a h e a r t b r e a k i n g loolr of d e s p a i r on C h a r l i e as t h e y p a r t .

CAPTION : “Goodbye Mum! I t .

CU C h a r l i e l o o k i n g f o r l o r n l y a f t e r h i s mo the r . t r i e s t o g r i n and wave, b u t i t ’ s n o good.

I-Ie

A s low mix t a k e s u s t o t h e n e x t s c e n e .

1 9 5 INT. STUDIO CHEAP L I V I N G ROOM - DAY 2 4 FRAMES COLOUR SOUND

ECU b u r n i n g o m e l e t t e i n a p a n . Sydney a t t h e s t o v e c o o k i n g a meal f o r Charl ie who sits w a i t i n g a t a t a b l e i n t h e box s e t .

We p u l l back t o see

CONTINUED

7 5

1 0 5 Con t inued

C h a p l i n and t h e crew are i n mid r e h e a r s a l .

Sydney t a k e s t h e i n c i n e r a t e d e g g s o v e r t o C h a r l i e ancl s e t s them down i n f r o n t of him. C h a r l i e examines them f a s t i d i o u s l y .

SYDNEY l 1 A l r i g 1 i t , s o it Is n o t mum's c o o k i n g , b u t i t l s t h e bes t 1 C&H do I I '

BOY CHARLIE l t I t ' s f i n e . I ' v e a l w a y s l i k e d omelette aux a s h e s . ' I

They l a u g h compan ionab ly .

SYDNEY ltLoolr, now t h a t m u m ' s gone , why d o n ' t I see i f 1 c a n g e t you a j o b w i t h ine a t F red K a r n o ' s ? ' '

BOY CHARLIE I I H e ' l l n e v e r take m e . H e ' l l t h i n k I ' m t o o young."

SYDNEY "You look o l d e r t h a n your y e a r s . . . I 1

The s t u d i o d o o r o p e n s w i t h a c r a s h .

CIlAPLI N For God I s s a k e c a n t someone p u t a r e h e a r s a l b e l l up? :

H e t u r n s a n g r i l y t o see Mary P i c k f o r d f ramed i n t h e doorway.

CHAPLIN Mary! Wha-l; are you d o i n g h e r e ?

She advances i n t o t h e s t u d i o .

MARY P I CICFORD I came o v e r on t h e Normandie. I t h o u g h t I ' d see how you were s p e n d i n g o u r money.

CONTINUED

7 6

1.05 C o n t i n u e d

CHAPL I N Have I e v e r f a i l e d t o make money fo r U n i t e d A r t i s t s ?

MARY PICICF'ORD Verdoux w a s n ' t n o g o l d m i n e , b u t who ' s c o u n t i n g ?

' CHAPLIN You are .

They embrace .

I ' d l i k e you t o meet J o h n Ly le who's p l a y i n g young Sydney, and Harold Copping w h o ' s p l a y i n g me as a late t e e n a g e r .

She g i v e s them b o t h a d a z z l i n g smile and sweeps p a s t them t a k i n g C h a p l i n w i t h h e r .

MARY PICKFORD Now t h a t ' s e x a c t l y what I wanted t o t a l k t o you a b o u t , C h a r l i e .

CHAPLIN What?

MARY PICKFORD The whole U n i t e d Artists b o a r d wants you t o abandon t h e s e s t a n d - i n s . You've r e a c h e d a p o i n t i n t h e p i c t u r e where you c a n t a k e ove r y o u r s e l f . People d o n ' t want t o see s t a n d - i n s . They w a n t t o see you.

CHAPLIN R e a l l y , Mary. I ' m t o o o l d t o p l a y t e e n a g e r s .

MARY PICKPORD Nonsense ! Dougie p l a y e d f i f t e e n y e a r s younger a l l h i s l i f e , and 1 ve p l a y e d t h i r t y !

CHAPLIN I t ' s t r u e , you have. But I ' m n o Mary P i c k f o r d . . . S t i l l I ' l l have a go!

M I X TO:

7 7

106 INT. FRED K A R N O ' S OFFICE - DAY

On tlie f r o s t e d g l a s s door is w r i t t e n F red Karno I-Iead O f f i c e . Ilarno h i m s e l f , a clumpy, a g g r e s s i v e i n a n , sits b e h i n d a large desk c l u t t e r e d w i t h papers a n d the r ema ins of meals. C h a r l i e , now p layed by C h a p l i n S e n i o r s t a n d s n e r v o u s l y on t h e o t h e r s i d e of t h e desk .

KARNO Do you t h i n k you could p l a y oppos i -be H a r r y Weldon i n t h e F o o t b a l l Match?

C h a r l i e t h r u s t s h i s c h e s t o u t .

CI-IRRLI E A l l I need is t h e o p p o r t u n i t y .

IGARNO You look a b i t too o l d t o me.

A t r emendous s h r u g from C h a r l i e .

CHARLIE That's o n l y a q u e s t i o n of make-up !

With g r e a t s l e i g h t of h a n d lie on a b lond wig and mous tache which makes him look t w e n t y and starts to s k i p a r o u n d t h e o f f i c e . Itarno r o a r s w i t h a p p r e c i a t i v e l a u g h t e r .

KARNO 1'11 g i v e you a two week t r i a l a t t h r e e pounds t e n a week!

MIX TO:

107 INT. DRESSING ROOM THEATRE ROYAL BRIGHTON - N I G H T

Sydney C h a p l i n s i t s i n h i s d r e s s i n g room i n tlie T h e a t r e Royal B r i g h t o n . A d e l i v e r y boy enters w i t h a telegram. H e t e a r s it o p e n , and we see it i n CU, it reads. . .

"Sydney C h a p l i n T h e a t r e Royal B r i g h t o n . Have s i g n e d cont rac t w i t 1 1 Karno f o r one y e a r a t 4 pouncls p e r week.

Sydney grins and c a r e f u l l y a t t a c h e s i t t o h i s mirror.

Love C h a r l i e " .

7s

10G INT. CORRIDOR THEATRE ROYAL DRIGIlTON - NIGHT

He t h e n wanders o u t i n t o - t h e c o r r i d o r and h e a d s t o w a r d s t h e s t a g e , f o l l o w e d by C h a p l i n on the camera dol 1. y .

109 I N T . AUDITORIUM/ STAGE TI-IEATRE ROYAL BRIGHTON - N I G H T

I n t h e empty a u d i t o r i u m of t h e Theatre Royal B r i g h t o n , Sydney s t a n d s on s tage l o o k i n g at t h e boxes n e x t t o i t . S u d d e n l y as i f b y magic h i s b r o t h e r C h a r l i e pops i n t o o n e of them a t t i r e d . i n w h i t e t i e , t a i l s a n d t o p h a t , a n d goes i n t o h i s d runken s w e l l ac t i n t h e Munlmingbircl sketch. (Known i n t h e U S as A N i c h t I n A n E n g l i s h Mus ic I I a l . 1 ) . I t is a show w i t h i n a show - a b u r l e s q u e v a r i e t y e n t e r t a i n m e n t c o n t i n u a l l y i n t e r r u p t e d b y members of t h e " a u d i e n c e " . , p r i n c i p a l l y a f a t boy who throws food From t h e O . P . box a n d C h a r l i e who j o i n s i n b i b u l o u s l y f rom t h e Prompt; s i d e . The a c t s come i n q u i c k order: a p a i r o f scraggly c a n c a n g i r l s , a comic s i n g e r so awfu l t h a t the clrunlc c h a s e s him o f f s t age , a r a n c i d ham actor who rec i tes The T r a i l o f the Yukon t o a g o n i s e d g r o a n s f rom t h e f a t boy and the d r u n k , and a q u a r t e t of male r u s t i c s s i n g i n g i n t e r m i n a b l e v e r s e s of "I-Iail S m i l i n g Morn T h a t Tops The Hills With G o l d " u n t i l t h e y a r e p e l t e d of f s tage w i t h buns . F i n a l l y , we get Marconi A l i "The T e r r i b l e T u r k , t h e G r e a t e s t Wrestler E v e r to Appear Before the B r i t i s h P u b l i c , t 1

w h o i s p r e p a r e d t o wrestle anyone i n the a u d i e n c e f o r o n e h u n d r e d p o u n d s . C h a r l i e t a l r e s up t h e c h a l l e n g e a n d downs t h e T u r k b y a p p e a r i n g i n l o n g underwear t r i m m e d w i t h red r i b b o n s , and t i c k l i n g h im i n t o s u r r e n d e r .

N.B. A s t h i s Mumrningbird S k e t c h was o b v i o u s l y a c o n s i d e r a b l e t o u r de force for C h a p l i n a n d i n d e e d was w h a t g o t him h i s j o b w i t h Mack S e n n e t t l a t e r , i t may w e l l be t h a t i t s h o u l d be performed i n i t s e n t i r e t y w i t h C h a p l i n d i r e c t i n g and p e r f o r m i n g i t .

A s t h e o r i g i n a l s c r i p t had i t , " t h e show c o n c l u d e s w i t h a - t y p i c a l l y Karno c l i m a x . " A g e n e r a l melee e n s u e s a n d t h e c u r t a i n s close on an u p r o a r i o u s scene, a s C h a r l i e t r i es d r u n k e n l y t o a v o i d t h e v e n g e f u l T u r k , h i d i n g b e h i n d i n t u r n the comic s i n g e r , the ham ac to r , a n i n c o m p e t e n t c o n j u r e r , t h e male q u a r t e t , a n d t h e d e s i c a - b e d c a n c a n g i r l s , a l l of whom a r e a t t e m p t i n g t o s i g n o f f w i t h samples of t h e i r a r t . Most of t h e i r p r o p s end up on t h e f l o o r a long wi th C h a r l i e h imse l f , be ing m e r c i l e s s l y pummelled by M a r c o n i , l y i n g i n the m i d s t of t o t a l c h a o s .

END O F ACT S I X

7 9

ACT SEVEN

1 1 0 I N T . TIIERTRE BACKSTAGE - NIGIlT

A s h e comes o f f s t a g e C h a r l i e catches t h e e y e of a b e a u t i f u l young g i r l who asks him to h o l d a small mirror for h e r w h i l e s h e does her h a i r , C h a r l i e g a z e s a t her i n r a p t u r e .

CHARLIE "What s y o u r name?"

IIETT Y I lHet ty K e l l y .I'

CI-IARLIE "My name s C h a r l i e C h a p l i n .

HETTY ' 1 I lr110w. ' I

CI-IARLI E t l H o w d i d you like the sketch?"

HETTY "Not much ! I '

CHARLIE ''Oh! I'm s o r r y . ' '

HBTTY "You're OK though. Smashing a c t u a l l y . ' I

CI-IARLI E I1Thanks er Miss K e l l y . I '

HETTY I'You can c a l l m e H e t t y . "

CHARLIE l l W i l l you meet m e Sunday a f t e r n o o n H e t - t y ? t t

IIETTY I migh t . I '

He r u b s o f f h i s r e d n o s e , and removes h i s w i g , hat and t a i l s and smiles d e v a s t a t i n g l y .

CONTINUED

1 1 0 C o n t i n u e d

CH A n L I E ''1 t h o u g h t I I d show you what I l o o k e d l i k e , so youlll be a b l e t o r e c o g n i s e me."

EIETT Y " 0 0 , y o u ' r e q u i t e n ice ."

CHARLIE "Kenn ing ton Gate 4 o c l o c k Sun d a y ? ( I

I-IETTY " A l r i g h t e r M r C h a p l i n . I '

CHARLIE " C a l l m e C h a r l i e .

lIIETTY A l r igh-l; C h a r 1 i e . 'I

She smiles a t h im. I-le jumps i n t h e a i r and d o e s a s e r i e s of en t r echa t s wh ich t a k e h im f rom o u r s i g h t . She bursts out l a u g h i n g .

I11 EXT. KENNINGTON GATE - DAY

C h a r l i e d r e s s e d u p t o t h e n i n e s i n d a r k s u i t w i t h n i p p e d i n waist a n d d a r k s t o c k t i e , s p a t s a n d a b l a c k ebony c a n e wa i t s a n x i o u s l y by t h e tramcar s t o p . A s u c c e s s i o n of h i d e o u s l y p l a i n g i r l s ge t s off a number of tram cars, a n d come t o w a r d s him. I n e a c h case h e ra i ses h i s ha ( ; , a n d smi les a n d as t h e y pass him by t h e s m i l e c h a n g e s to one of r e l i e f .

A p r e t t y g i r l gets o f f a n d h e a d s t o w a r d s him. H e smiles a n d raises h i s h a t . She sloshes him. H e reels b a c k i n t o t h e arms of an even p r e t t i e r one - t h e r e a l I-Ietty K e l l y who i s w e a r i n g a s t u n n i n g l i t t l e s a i l o r h a t and r e e f e r j a c k e t .

I-IETTY IlYoulre a l w a y s c l o w n i n g .

' CHARLIE I t h o u g h t you weren t coming.

I-IETTY ''1 s a i d I would d i d n ' t I? Where are w e g o i n g ? "

CONT I NUED


CHAR L I E " U p West t o d i n n e r , I t h o u g h t the T r o c . "

HETTY 'I I ' v e had d i n n e r .

C H A R L I E "IIave t w o .

HETTY "No t h a n k s . I'll watch ~ 0 u . I ~

He u s h e r s h e r i n t o a t a x i and t h e y d r i v e o f f ,

112 INT. TROCADERO RESTAURANT - NIGHT

I n the T r o c a d e r o C h a r l i e o r d e r s a f r u g a l d i n n e r as b e f i t s t h e s t a t e o f his f i n a n c e s . To h i s a l a r m H e t t y s u d d e n l y c h a n g e s h e r mind, about n o t e a t i n g .

HETTY " P e r h a p s I c o u l d j u s t be t e m p t e d . What Is t h a t ? "

S h e p o i n t s t o an u r n of c a v i a r s t a n d i n g i n an ice bucket on a t r o l l e y . C h a r l i e b l a n c h e s .

CHARLIE " C a v i a r ! I t

C h a r l i e shakes h i s head i n d i s c o u r a g e m e n t .

IIYou w o u l d n l t l i k e i t ."

I FIETTY "Oh I d o n ' t know. I t looks l i k e fish jam. And I l i k e f i s h and 1 l ike j a m so why s h o u l d n ' t I l i k e i t?"

She h e l p s herse l f t o a des se r t s p o o n f u l of it - l i k e s i t and goes f o r s e c o n d s . The appal led C h a r l i e t r i e s d e s p e r a t e l y t o p r e v e n t h e r , f i n a l l y p u s h i n g t h e t r o l l e y away with a l u n g e of h i s f o o t .

I t careers a c r o s s the rooin, c r a s h i n g i n t o t h e back of t h e head w a i t e r who t u r n s o u t r a g e d t o see t h e t r o l l e y

CONT I NUED

8 2

1 1 2 C o n t i n u e d

113

o v e r t u r n s p i l l i n g i t s p r e c i o u s c o n t e n t s o n t o t h e f l o o r . F u r i o u s , he c r o s s e s t o C h a r l i e ' s t a b l e and wags a f i n g e r u n d e r h i s n o s e .

HEAD WAITER "That w i l l be s 1 0 0 !

C h a r l i e shows h i s empty p o c k e t s .

MIX TO:

INT. KITCHEN - NIGHT

I n t h e k i t c h e n C h a r l i e is washing up a m i l e h igh s t a c k of d i s h e s . G i g g l i n g , I - Ie t ty comes i n , and g i v e s him ;L h a n d .

CHAR L IF: ' 'You a re my n e m e s i s ! "

HETTY "What t h e h e l l Is t h a t ? "

CHARLIE "It m e a n s t h a t y o u ' r e t o o b e a u t i f u l . If

* HETTY " G e t away w i t h you."

1.1.1 MONTAGE LONDON STREETS - NIGIIT/DAY

O u t s i d e , i n a l o n g r o m a n t i c montage of s e v e r a l n i g h t s i l l u s t r a t e d b y c h a n g e s i n t h e s h a p e a n d s i z e of t h e moon, t h e y walk t h r o u g h t h e n i g h t s t r e e t s t o Camberwell , h o l d i n g hands .

A r e p r i s e of the harmonium c l a r i n e t d u e t of The Honeysuck le and The Bee s t e a l s o n t o t h e s o u n d t r a c k as w e d i s s o l v e t h r o u g h t o see dawn r i s e , and C h a r l i e and I-Ietty w a l k i n g b a c k t h e o t h e r way t o work, a long the C a m b e r w e l l Road, sti l l h o l d i n g hands . We p u l l back t o see t h e m f o l l o w e d by t h e camera d o l l y . C h a p l i n ' s i n s t r u c t i n g He-t ty as t h e y wa lk .

CHAPLIN Keep moving away I-Ietty. T h a t ' s i t . . , T h a t t s it. Now I pur sue you and walk i n t o t h e dog mess and hop a l o n g b e h i n d s t i l l t r y i n g t o h o l d your hand .

CONTINUED

83


Charl. i e does as h e I s s a i d , hopp ing a l o n g b e h i n d t r y i n g t o s c r a p e h i s s h o e , a t t h e s m e t i m e . I t is v e r y funny t o watch .

We i s o l a t e him g r a b b i n g f r e n e t i c a l l y a t I l e t t y I s hand , and f i n a l l y t u m b l i n g o v e r still h o l d i n g i t .

We c u t i n t o a CU f o r t h e d i a l o g u e .

CHARLIE "1 see you d o n ' t r e a l l y l o v e m e . I t

HETTY I d o n ' t even know you.11

CHARLIE ''What nonsense ! W i l l you marry me?"

HETTY "1 d o n ' t Want t o get m a r r i e d y e t . 'I

CHARLIE " I f you were compe l l ed t o marry would it be m e or someone e l se ?

HETTY "I d o n ' t know. Honest C h a r l i e , I d o n ' t know."

CHARLIE ( d r a m a t i c a l l y ! )

tfYou 've g o t t o know! I '

HETTY " I d o n ' t . I h a v e n ' t t h o u g h t abou t i t . C a n ' t you g i v e me some t ime? We just met."

CI-IARL I E "1 c a n o n l y g i v e you love! D o n ' t t r i f l e w i t h my a f f e c t i o n s !

HETTY "1 'm n o t t r i f l i n g w i t h them. ' I

CONTINUED

84

1.14 Cont inued

She looks a r o u n d h e r , c o n s i d e r a b l y embarrassed .

I-IETTY "It I s j u s t t h a t p e o p l e c a n h e a r you. I t

CI-IARL 1 E "Let them! ! I'

1m.r T Y "It was t h e same w i t h my mother l a s t n i g h t . 'I

I CHARLIE " S o t h a t ' s why you wou ldn ' t l e t m e kiss you . "

IIETTY ''1 suppose s o . 'I

CHARLIE "Then you c a n ' t l o v e me. Other p e o p l e come f i r s t . I have l e t t h i s t h i n g go t o o f a r ! I t h i n k we 'd b e t t e r p a r t , and n e v e r see e a c h o the r again!"

He s h a k e s h e r hand s o l e m n l y .

CI-IARL I E ( d r a m a t i c a l l y )

I1Goodbye.. . I t 's b e t t e r t h i s way. A l ready you have t o o much power o v e r me. I '

HETTY "Goodbye t h e n , I ' m sor ry . ' I

CHARLIE " Y o u ' r e l e a v i n g ! ? "

I Ie t ty d i s a p p e a r s down t h e Underground. t o t a l l y d i s c o u n t e n a n c e d by H e t t y ' s immediate accep tance o f h i s h i s t r i o n i c s , wallts away from u s absolutely b e r e f t .

C h a r l i e ,

M I X TO:

1 1 5 EXT. THAMES EMBANKMENT - DAY

Charlie goes down t o t h e Thames Embankment and jumps i n t h e r i v e r . I t is f r e e z i n g , and q u i c k l y coming t o his s e n s e s he climbs o u t . P a s s e r s b y , dere l ic t s and n a n n i e s

CONTINUED

85


p u s h i n g prams laugh immodera t e ly a t t h i s f u t i l e , d r a m a t i c g e s t u r e .

I-Ie t r i e s t o s h a k e water o u t o f the l e g of h i s p a n t s , ancl h i s u n i n v i t e d a u d i e n c e l a u g h a l l t h e h a r d e r , a s we n o t e y e t a n o t h e r of the famous Chapl i n inannerisms of =he f u t u r e .

C h a r l i e looks a t them somewhat , b u t n o t t o t a l l y u n c o m p r e h e n d i n g l y , g r a s p i n g t h a t comedy ancl pa thos a r e v e r y c l o s e l y r e l a t e d .

MIX TO:

116 INT. FRED KARNO'S OFFICE - DAY

C h a p l i n r e h e a r s e s h i m s e l f , F r e d Karno, and h i s Aiiierican Manager A l f Reeves i n t h e f o r i n e r ' s o f f i c e .

ICARNO I want you t o meet Alf Reeves , C h a r l i e . He's my American Manager.

C h a p l i n a n d Reeves s h a k e h a n d s .

C H A P L I N How do you d o .

REEVES P l e a s e d t o m e e t c h a . Say, d i d n ' t I see you i n t h e Mummingbird s k e t c h ? W h e r e n ' t you t h e d r u n k ?

CI-IAPLIN Y e s , Did you l i k e i t ?

REEVES Did I l i k e i t? Boy, i t was s e n s a t i o n a l . I t ' l l go g r e a t i n t h e S t a t e s . What d ' y a t h i n k , F r e d ?

ICARNO I f h e goes t o t h e S t a t e s , h e ' l l go w i t h t h e 'wow Wows.

! 'But F r e d , t h e Wow Wows s t i n k s . "

! 'Did t h e water come up t o your

CI-I ARL I E

( d e r is ive )

CONTINUED

8 6

1 1 6 C o n t i n u e d

' CHARLIE ( Cont ) e x p e c t a t i o n s ? . . .No it o n l y r e a c h e d my lrnees. . . J e s u s ! . . . They ' 11 k i l l us !

ICARNO " T h e y ' v e g o t a l l sorts of secret soc ie t i e s and f r a t e r n i t i e s o u t t h e r e , T h e y ' l l l o v e i t ."

CHARLIE "What have secre-t s o c i e t i e s g o t t o do w i t h b r e a k i n g eggs i n p e o p l e s p o c k e t s ? "

U R N 0 "1'11 b r e a k y o u r h e a d i f you d o n ' t g e t ou t of h e r e . "

A s e q u e n c e s t a r t s which C h a p l i n d i r e c t s , d i v i n g h i m s e l f u n d e r t h e d e s k , and t h r o u g h Karno's l e g s . The scene e n d s i n c h a o s , w i t h C h a r l i e r u n n i n g o u t o f t h e o f f i c e s h o u t i n g t o Karno.

CHARLIE ' II '11 s e n d you a postcard. 'I

KARNO IlTlie n o t i c e s w i l l do ."

1 1 7 EXT. BOAT DECK SS CAIRNROMA - DAY

On b o a r d t h e SS Cai rn roma , C h a r l i e c h a s e s a p r e t t y g i r l round t h e deck, d o i n g h i s famous s k i d d i n g s q u a r e t u r n . S t a n L a u r e l , s i t t i n g i n a l o u n g e r , t r i p s him u p , a n d s e n d s h i m s p r a w l i n g i n t o t h e s c u p p e r s . The camera crew r e c o r d s t h e i n c i c l e n t , as Char l i e d u s t s h i m s e l f down, u s i n g more C h a p l i n e s q u e mannerisms ancl g a u c h e , b u t t e r - w o u l d n I t-melt f a c i a l disclaimers.

Alf Reeves a p p e a r s ancl s h a k e s a mino to ry f i n g e r .

REEVES " C h a r l i e , i f you d o n ' t behave y o u r s e l f , 1'11 have t o s e n d you home. Half t h e c h o r u s h a s compla ined a b o u t you a l r e a d y . They have been e x t r e m e l y voca l .

CONT I NUED

87


CHARLIE t1\\7ell you lrnow how it is - t h e i r ba rk i s worse t h a n t h e i r b i t e . "

C h a r l i e s a u n t e r s n o n c h a l a n t l y o f f clown t h e d e c k , s l i p p i n g h i s arm th rough t ha t of a n o t h e r c h o r u s g i r l as h e rounds t h e deck and d i s a p p e a r s f rom s i g h t .

The f u n n e l blows b l a c k smoke which f i l l s t h e s c r e e n and c a m o u f l a g e s t h e l o n g mix t h r o u g h i-l; which t a k e s us t o t h e next s c e n e . We h e a r sounds o f l a n d ahoy , e tc .

118 EXT. NEW YORK I-IARBOUR - DAY 1 6 FRAMES. BLACK AND WHITE. SILENT

L i b r a r y Foo tage - N e w York Harbour i n t h e f i r s t decade of t h e c e n t u r y . C h a r l i e r u n s fo rward t o t h e r a i l waving h i s h a t .

1 1 9 EXT. DECK O F S S CAIRNROMA - DAY

CUT TO 24 FRAMES. COLOUR. SOUND a s h i s f i l m crew d o l l y a f t e r him t o end i n a t i g h t CU.

C H A R L I E "America I a m coming t o conquer you! Every man, woman and c h i l d sha l l have my name on t h e i r l i p s - C h a r l e s Spence r C h a p l i n ! I I

T h e Company boo him a f f e c t i o n a t e l y . H e sweeps them a b o w .

1 2 0 INT. THEATRE - NIGHT

The Wow Wows s k e t c h is i n f u l l c r y w i t h a r e p r i s e of some of t h e t l b u s i n e s s t t r e f e r r e d t o i n t h e Karno o f f i c e , i n t h e l a s t sequence. Chap l in i n t h e r o l e of t h e I-Ionourable Archie Binlrs is cook ing brea l r f a s t . H e poc l i e t s a n e g g a n d prompt ly smashes it w h i l e k n e e l i n g t o d e c l a r e h i s l o v e f o r a l a d y v i s i t o r .

FEED t lDid t h e water come up t o your e x p e c t a t i o n s ? "

CONTINUED

88


CI-IAPLLI E "No i - t o n l y r e a c h e d my k n e e s . "

M o r e s t o n e d f a c e d a u d i e n c e react ion.

I n CU we see C h a r l i e and S t a n L a u r e l exchange g l a n c e s of d e s p e r a t i o n . I n t h e wings Alf Reeves looks glum. A s t h e y come o f % h e s p e a k s t o them w i t h r e so lu t e c h e e r f u l n e s s .

REEVES "Never mind, b o y s , I t l l l go b e t t e r tomorrow. T h u r s d a y ' s t h e n i g h t t h e E n g l i s h domestics i n New York come out t o p l a y , and t h e y 11 u n d e r s t a n d t h e g a g s ! 'I

CUT TO:

121 INT. THEATRE - N I G H T

The a u d i e n c e l a u g h i n g h u g e l y a t C h a r l i e d o i n g t h e same e g g b u s i n e s s as i n t h e p r e v i o u s s c e n e . We move i n t o i s o l a t e Mack S e n n e t t and Mabel Normand i n t h e s t a l l s . H e is o b v i o u s l y most i m p r e s s e d with t h e a u d i e n c e r e s p o n s e to C h a p l i n . H e s p e a k s t o Norman.

M A C K SENNETT ''I d o n ' t know wha t t h e y ' v e b e e n l a u g h i n g a t , b u t they sure as h e l l f i n d it f u n n y . . .so i t must b e !

H e s c r i b b l e s on a v i s i t i n g c a r d .

CUT TO:

1 2 2 INT. DRESSING ROOM - NIGHT

CU Card .

"You were s e n s a t i o n a l . You I 1 1

b e h e a r i n g f rom us. Mack S e n n e t t , Keys tone F i l m s . I I

P u l l b a c k t o see C h a r l i e r e a d i n g t h e card i n h i s d r e s s i n g room, H e smiles b r o a d l y .

1 2 3 MONTAGE

Montage o f T r a i n Wheels, T e l e g r a p h Wires and Trunk s t i c k e r s r e a d i n g Bute Montana, S a l t Lake C i t y , S t . P a u l , Tacoma, S a n F r a n c i s c o , P h i l a d e l p h i a .

I n t e r c u t w i t h s l a p s t i c k 1 6 PRAMZS. BLACK AND WHITE SILENT s e q u e n c e s f rom A Night; i n A London Music Hall, A N i g h t i n a London Club ( A h y b r i d of the Wow Wows and The Mummingbi rds) , Jimmy The F e a r l e s s - The Boy ' E r 0 who c o m i n g home l a t e , h i g h ha t s his p a r e n t s and g i v e s h i m s e l f a i r s , p r e p a r a t o r y t o f a l l i n g i n t o a Dream Sequence on a P e n n y D r e a d f u l t h e r m , w i t h s c e n e s set i n t h e s a l o o n of a s e t t l e r s ' camp i n t h e Wild West where a c a p t u r e d g i r l is r e s c u e d s i n g l e handed by t h e v a l i a n t Jimmy. H e s u b s e q u e n t l y d e f e a t s t h e r o b b e r s ' c h i e f i n a sword f i g h t .

R e t u r n i n g home ri.cb, he s a v e s h i s o l d f o l k s from e v i c t i o n . Then conies the t w i s t ; . W r a t h f u l f a t h e r wakes him from h i s c l r e a m ancl p u t s t h e would be h e r o a c r o s s h i s knee , and soundly s p a n k s h i m .

2 4 FRAMES COLOUR SOUND.

The f i n a l scene o f t h e montage i s C h a r l i e reKding a c a b l e h a n d e d t o h i m by A l f R e e v e s .

A CU r e v e a l s .

Alf R e e v e s , Manager Karno Company Nixon T h e a t r e P h i l a d e l p h i a , PA I s t h e r e a man named C h a f f i n i n your company, or s o m e t h i n g l i k e t h a t . S t o p . If so w i l l he communicate w i t h ICessel a n d Bauman, 24 Longacre B u i l d i n g , Broadway, New York .

C h a r l i e g e t s exc i t ed , a n d t h r o w s h i s h a t i n t h e a i r .

CI-IAPL I N " T h e y ' r e b i g lawyers. A d i s t a n t r e l a t i v e has d i e d and l e f t m e a f o r t u n e ! ' l

1 2 4 INT. THE OFFICES O F KESSEL AND BAUMAN - DAY

C h a p l i n is d i r e c t i n g h i m s e l f i n t h e scene a l o n g w i t h Kessel and Baunian. IIe i l l .us t ra tes what he says w i t h

CONT I NUED

90

1 2 4 Con t inued

f e b r i l e a c t i v i t y , g o i n g P r o m one t o t h e o t h e r .

CI-IAPLI N 1 must be more a n x i o u s h e r e . . . How much have I been l e f t ? Is it i n s tocks o r c a s h ? Is Lhere a house i n t h e c o u n t r y o r o n l y one i n town? P e r h a p s t h e r e ' s a motor ca r a s w e l l ?

ICES S EL "Mr Cliaf f i n . . .

CHARLIE IIChaplin. I '

ICESSEL l l E x a c t l y . M r C l i a f f i n , w e are not l a w y e r s . We are p a r t n e r s i n t h e New York Motion P i c t u r e Company, and on b e h a l f o f M r Mack S e n n e t t d i r e c t o r of p r o d u c t i o n s and o u r s u b s i d i a r y The Keystone Film Company, . w e are empowered t o offer you 1 2 5 d o l l a r s p e r week f o r 5 2 weeks.

CHARLIE "On my behalf I am empowered t o a c c e p t 1 5 0 d o l l a r s per week f o r three months, and 1 7 5 f o r t h e r e m a i n i n g n i n e . "

Kessel looks a t Bauman. Bauman a t Kessel.

KESSEL tlWell I d o n ' t know."

CHARLIE "Take i t o r l e a v e i t . I have my poor mother t o s u p p o r t . t l

BAUMAN "Very w e l l , w e a c c e p t . M r C h a f f i n welcome t o Keys tone .

CHARLIE " M r C h a f f i n i s p leased t o s h a k e your hand. c o n t r a c t o u t t o M r Chap l in won I t you?"

But make t h e

CONTINUED

91

1 2 4 C o n t i n u e d

H e hugs tlie s u r p r i s e d p r o d u c e r s , and d o e s a back f l i p of d e l i g h t o v e r their v a s t p a r t n e r ' s desk u s i n g t h e i r s h o u l d e r s as l e v e r a g e .

1 2 5 INT. M A I N STAGE KEYSTONE STUDIOS - DAY

We see a y e l l o w board f l o o r c o v e r i n g two blocks, l y i n g i n a b l a z e of s u n l i g h t i n t e n s i f i e d by dozens of w h i t e c a n v a s r e f l e c t o r s s t r e t ched o v e r h e a d . On i t is a w i l d e r n e s s of "sets" - drawing rooms, p r i s o n i n t e r i o r s , lauiiclries, b a l c o n i e s , s ta i rcases , c o v e s , f i r e e s c a p e s , k i t c h e n s , c e l l a r s . F i v e companies a re p l a y i n g i n f r o n t of f i v e c l i c k i n g c a m e r a s .

C h a p l i n b e c k o n s h i s camera d o l l y t o f o l l o w him t h r o u g h the maze of sets as he wabches t h e v a r i o u s s c e n e s of p i e t h r o w i n g , arse k i ck ing , p r a t f a l l s and chases, w i t h o u t e n t hu s i asm . Mack S e n n e t t a p p e a r s and welcomes Char l i e , and i n t r o d u c e s h i m t o Henry Lehrman.

MACK SENNETT 'IOur s e n i o r d i r e c t o r Mr Henry Lehrman w i l l p u t you t o work.11

LEHRMAN "You do a dude Limey a c t , d o n ' t you? Silk t oppe r , Oxford cut away, c h e c k waistcoat, p o l k a - d o t c r a v a t , w a l r u s w h i s k e r s , monocle?"

CHARLIE ( s t u t 1; e 1' i n g )

t t T h a t l s i t s i r . He's s o r t of an a r i s t o c r a t i c c h a r a c t e r . A t o f f as w e p d s a y i n E n g l a n d . 1 1

LEHRMAN "Go g e t changed a n d macle u p . Meet m e here i n a h a l f hour . I '

CHARLIE "R igh t you a re s i r . One h a l f h o u r i t is ."

Wipe D i s s o l v e .

9 2

126 INT. M A I N STAGE KEYSTONE STUDIO - DAY

C h a r l i e , n o w cos tumed a s t h e t o f f , a p p e a r s w i t h h i s face made u p f o r t h e s t a g e .

We FADE THE COLOUR OUT BRIEFLY t o show what Lehrman d e s c r i b e s .

LZHRMAN ( V . 0 . ) "Look a t your s k i n , man. I t w i l l r e g i s t e r g r e y - a n d t h o s e l i n e s - you c a n ' t u s e l ines l i k e t h a t i n t h e p i c t u r e s . You'll l ook l i k e a n a e r i a l v i e w of a r a i l w a y s t a t i o n . For C h r i s s a k e s w i l l someone go show him how t o make u p ! I '

The h u m i l i a t e d Char l i e i s l e d away t o t h e make-up rooms.

MIX TO

1 2 7 INT. MAKE UP ROOM - DAY

C h a r l i e i n t h e make-up room, h i s face b e i n g p a i n t e d b r i c k b rown , and h i s e y e l a s h e s l o a d e d w i t h heavy b l a c k .

The Make-up Man d i r ec t s C h a r l i e t o l o o k a t t h e mir ror , as C h a r l i e p e e r s f o r w a r d w e reverse c u t t o see him r e f l e c t e d i n BLACK A N D WHITE, l o o k i n g p e r f e c t for t h e photography of t h e d a y .

128 INT. STUDIO - DAY

A s w e t r a c k i n t o CU t h e mirror t h e f i l m r e v e r s e s to NEGATIVE, a n d w e see a s e q u e n c e i n 16 FRAMES i n which C h a r l i e h a s a BLACK FACE AND WHITE MOUSTACHE.

The p e r f o r m a n c e i s s t i l t e d , un funny and u n p r o f e s s i o n a l , f o r e x a m p l e , e v e r y t u m b l e t a k e s him out of camera range . The o t h e r s i n t h e company i n c l u d i n g F a t t y Arbuck le , C h a r l e s Avery , C h e s t e r Con l r l i n , Mack Swain , Llinto Durfee a n d Ford S t e r l i n g , are a l l t h o r o u g h l y famil iar w i t h t h e t e c h n i q u e s r e q u i r e d

1 2 9 INT. S C R E E N I N G ROOM - DAY

2 4 FRAMES, COLOUR SOUND

A s t h e l i g h t s come up w e are i n a s c r e e n i n g room with Lehrman and Mack S e n n e t t l o o k i n g a c c u s i n g l y a t C h a r l i e ,

CONTINUED

93

1 2 9 Con t inued

CHARLIE "Why are w e r u n n i n g i n n e g a t i v e ? "

LEHRMAN "Cos i t ' s n o t wor th t h e cos t of p r i n t i n g up . IT

CI-I ARL IE " I ' m s o r r y Mr Lehrman, M r S e n n e t t ,

I know i t ' s not v e r y good."

, MACK SENNETT "Good! I t l s a g o l d p l a t e d , c o p p e r bot tomed c l i n k e r . You ' r e I - lecr ib le Char l ie . You c o u l d n ' t g e t a l a u g h o u t of n drunken h y s t e r i c . You ' r e s t i f f , you t e l e g r a p h e v e r y r e a c t i o n . Every tumble i s o u t of cstiiiera s h o t . I must have been mac1 t o s i g n you up !

CHARLIE

1'11 do b e t t e r . " I I I ' m s o r r y M r S e n n e t t . H o n e s t l y

MACK SENNETT IIYou be t your l i f e you w i l l . ' '

CHARLIE " I t ' s a l l t h a t s l a p s t i c k , Mr S e n n e t t - p i e t h r o w i n g , and a r s e k i c k i n g and c h a s i n g a r o u n d . It's n o t really my s t y l e . Don't you t h i n k i t ' s s o r t of o l d f a s h i o n e d - done t o d e a t h ? "

MACK SENNETT "No, I do n o t ! If a n y t h i n g ' s so r t a

o l d f a s h i o n e d and done t o d e a t h i t ' s t h a t Limey dude c h a r a c t e r of y o u r s . L e t me t e l l you s o m e t h i n g , C h a r l i e , h e s imply a i n t funny

CI-IARLI E ( t hull d e r s t r uck )

"Ain I t funny ! ?I1

MACK SENNETT "Ain t , r e p e a t , a i n I t funny , Come w i t h me r i g h t now and I'll show you what i s funny . "

3_

H e r u n s o u t of the room f o l l o w e d by C h a r l i e ,

9 4

1 3 0 EXT. BACK LOT - DAY

On t h e back l o t a f u l l Keys tone c h a s e is b e i n g r e h e a r s e d w i t h c a r s , c o p s and t h e e n t i r e company. C h a r l i e wa tches u n i m p r e s s e d .

CUT TO

131 INT. SCREENING ROOM' - D A Y

1 6 FRAMES. BLACK AND WHITE

We r e p r i s e t h e c h a s e w e saw r e h e a r s e d .

24 FRAMES. COLOUR SOUND

The l i g h t s come up i n t h e s c r e e n i n g room a s t h e b l a c k and w h i t e mater ia l f i n i s h e s . S e n n e t t t u r n s t o Chap l in i n t h e p r e s e n c e of Lehrman.

MACK SENNETT "Well now you know. S o , I want

you t o go t o wardrobe p r o n t o and se lec t a cos tume t h a t is funny . O r go pack your b a g s and ge t t h e h e l l o u t . G e t i t ? ' '

CHARLIE " 0 . I(. "

1 3 2 EXT. STUDIO - DAY

C h a r l i e t r a i l s m i s e r a b l y back a c r o s s t h e s t u d i o t o wardrobe .

1 3 3 I N T , WARDROBE DEPARTMENT - DAY

I-Ie e n t e r s . F a t t y Arbucl t le , Charles Avery , Mttck Swain , Min ta D u r f e e , Fo rd S t e r l i n g and C h e s t e r Conk l in are s i t t i n g a b o u t p l a y i n g p i n o c h l e .

W e a r i l y C h a r l i e c o l l a p s e s o n t o a c h a i r . a t him s y m p a t h e t i c a l l y .

They a l l l o o k

CH ARL I E ( s o t t o voce t o h i m s e l f )

"1 s i m p l y a i n ' t funny ... I ' v e g o t t o f i n d a way t o make t h e s e Yankees l a u g h . ' I

His e y e s Ta l l on Ford S t e r l i n g ' s s i z e 1 4 boo-ts.

CONTINUED

9 5


We d i s so lve t o a q u i c k f l a s h b a c k of t h e d i s t o r t i n g m i r r o r i n t h e h a l l of m i r r o r s i n S o u t h e n d , showing t h e g i a n t b o o t s . Ile p u t s them on t h e wrong f e e t .

His e y e now f a l l s on P a t t y A r b u c l r l e ' s huge t rouse r s l y i n g across t h e back of a c h a i r .

We d i s s o l v e t o a q u i c k f l a s h b a c k of t h e large t rousers on t h e I-Iarmonica P l a y e r p l a y i n g The Honeysuck le and t h e Bee, He p u t s 'them o n . Arbuck le l a u g h s a t t h e c o m b i n a t i o n of l a r g e b o o t s and t r o u s e r s .

He now sees Chester C o n k l i n ' s bow t i e a n d w a i s t c o a t .

We mix Lo a f l a s h b a c k of t h e Deck Cha i r A t t e n d a n l ' s too t i g h l w a i s t c o a l ; and bow - t i e on Lhe b e a c h at S o u t h e n d . IIe p u t s them on t o i n c r e a s i n g s o u n d s of approba t i . on .

Next he sees Charles A v e r y ' s t i n y t a i l c o a t .

We mix t o a q u i c k f l a s h b a c k of t h e Commiss iona i r e at S o u t h e n d P i e r s t a n d i n g i n h i s p o s h , t o o t i g h t t a i l c o a t . The c h u c k l e s grow as h e p u t s i t o n , and it b u n c h e s over t h e t r o u s e r s .

The n e x t o b j e c t of h i s a t t e n t i o n is Mack S w a i n ' s mous tache .

A q u i c k f l a s h b a c k takes u s t o t h e J a n i t o r i n t h e c o u r t y a r d of t h e workhouse who s e p a r a t e d t h e C h a p l i n s on a r r i v a l . He is w e a r i n g a t o o small m o u s t a c h e . C h a r l i e c u t s down S w a i n ' s mous tache ancl s t i cks i t on t w i t c h i n g i t t o s t i m u l a t e l a u g h t e r .

Min ta Durfee now o f f e r s h e r f a t h e r ' s b o w l e r h a t ,

MINTA DURFEE

Charlie. I t ' l l t o p it all o f f j u s t g r ea t . I '

"Why d o n ' t you wear my d a d ' s Derby

We f l a s h b a c k b r i e f l y -to t h e Pawnbroker p u t t i n g on the t o o small bowler h a t i n h i s s h o p . C h a r l i e now p u t s t h e t i n y h a t o n , f e a t h e r i n g it a b o v e his head .

F i n a l l y his e y e f a l l s o n a cane h a n g i n g o n the w a l l , We f l a s h back q u i c k l y to the cane i n t h e h a n d s of Capka in Hindrum i n t h e gym at I l a n w e l l workhouse , A s he r a i s e s it o n h i g h w e mix t h r o u g h t o Charlie t a k i n g down the cane t o more applause f rom t h e -Lroupe.

A f lashback takes u s t o Rummy Binlrs w a t e r i n g t h e h o r s e s o u t s i d e t h e Queens IIead, Lambeth, ancl moving w i t h h i s

CONTINUED

1 3 3 C o n t i n u e d

p e c u l i a r s p l a y f o o t e d walk .

Uaclc i n t h e wardrobe room C h a r l i e a d o p t s i t , and 'to roars of g l e e and a p p l a u s e h e s t r u t s a round the room, t i p s h i s h a t , and is gone .

The tramp has been b o r n !

134 INT. B I G STAGE KEYSTONE STUDIOS - DAY

On t h e b i g s t age Mack S e n n e t t and Henry Lelirman s i t w a i t i n g i m p a t i e n t l y for C h a r l i e . I t is empty e x c e p t f o r t h e camera crew and d o l l y . Mary P i c l r f o r d also now a p p e a r s t o check on t h e p r o g r e s s of t h e f i l m . She a p p r o a c h e s t h e camera o p e r a t o r , R o l l a n d T o t h e r o h ,

MARY PI CICPORD So h o w ' s it g o i n g , R o l l y ?

ROLLY We're n e a r l y done Mary. A s a mat te r of f a c t y o u ' v e j u s t come i n t i m e .

H e p o i n t s d r a m a t i c a l l y as t h e b i g d o o r s open and t h e d i m i n u t i v e f i g u r e o f C h a r l i e a p p e a r s d r e s s e d as t h e t r amp . H e p a r a d e s round t h e s t a g e , c a n e t w i r l i n g , p i r o u e t t i n g , p r a t f a l l i n g , s h a k i n g h i s l e g s , s h r u g g i n g h i s s h o u l d e r s , t i p p i n g h i s h a t , a n d d o i n g a l l t h e tramp b u s i n e s s i n c l u d i n g o f c o u r s e t h e s p l a y f o o t e d w a l k , f o r S e n n e t t and t h e camera.

S e n n e t t s m i l e s b r o a d l y .

Lehrman scowls.

MACK SENNETT "I l o v e i t ! . . . T e l l m e a b o u t him. I '

CHARLIE "Well you know, l ie 's a many s i d e d b l o k e . H e ' s a t r a m p , a g e n t l e - man, a d r e a m e r , a l o n e l y f e l l o w , a l w a y s h o p e f u l of romance a n d a d v e n t u r e . H e would h a v e you b e l i e v e h e ' s a s c i e n t i s t , a m u s i c i a n , a duke , a p o l o p l a y e r . However, h e i s n o t above p i c k i n g u p c i g a r e t t e b u t t s , o r r o b b i n g a. baby of i ts c a n d y . And of c o u r s e i f t h e o . ccas ion w a r r a n t s it h e will k i c k a l a d y up t h e b u t t - b u t o n l y i n extreme a n g e r . "

CONT I NUED

9 7

1 3 4 Con-t:inued

MACK SENNDT "And lie's more t h a n a l l t l iat ,

I I e I s a c l i i l c l t s v iew of a man. I I e I s huge a t t h e bottom a n d L i n y a t t h e Lop, Char l i e , what more can 1 s a y . I l o v e him. Le I; s hope eve rybody e l se w i l l too."

C:liarl i~ does a t h a n k f u l skip i n t h e air.

LEI-IRMAN ''1 c a n ' t s e e it m y s e l f , The

wur.1.d ai .n ' t : f u l l o f c h i l d r e n . L t I ll . n e v e r work

1 0 F'IiAM13S . ljLlACIC AND WI-IITE. SILENT

C h a r l i e a s t h e t r a m p cvallrs away from us u p t h e l o n g f a m i l i a r r o a d . Halfway up it h e g i v e s t h a t same l i t t l e s k i p of h a p p i n e s s a n d hope .

U S ATTORNEY GENERAL McGRANERY ( V . O . )

III-Ie's nn a l i e n g u i l t y of a d e g r e e of m o r a l t u r p i t u d e which d i s q u a l i f i e s him f rom c i t i z e n s h i p .

COMMENTATOR (V. 0 , ) l lTwenty y e a r s l a t e r i n A p r i l

1 9 7 2 , the e x i l e w a s p e r m i t t e d t o r e t u r n t o t h e U n i t e d S t a t e s . IIe wEis g i v e n a n Honorary Oscar, It would go t o an a c t o r , a wr i te r , il d i r e c t o r , a p r o d u c e r and a composer , a n d i t would p r o v e t h a t C h a r l i e C h a p l i n was, as h e liad a l w a y s c l a i m e d t o be , a c i t i z e n of t h e worlcl . ' I

FINIS

Documents

Of - QUT · baby, and they walk down the deck. ... CHAPLIN No trouble at all, ... He falls backwards onto the sofa near her,