Actor Point >> Movie Scripts >> Citizen Kane Film Script

Citizen Kane Movie Script

Writer(s) : Herman J. Mankiewicz, Orson Welles

Genres : Drama, Mystery

Search IMDb : Citizen Kane


                                  Citizen Kane 

                                        By

                              Herman J. Mankiewicz 

                                        & 

                                   Orson Welles
           
           

                                     PROLOGUE

          FADE IN:

          EXT. XANADU - FAINT DAWN - 1940 (MINIATURE)

          Window, very small in the distance, illuminated.

          All around this is an almost totally black screen.  Now, as 
          the camera moves slowly towards the window which is almost a 
          postage stamp in the frame, other forms appear; barbed wire, 
          cyclone fencing, and now, looming up against an early morning 
          sky, enormous iron grille work.  Camera travels up what is now 
          shown to be a gateway of gigantic proportions and holds on the 
          top of it - a huge initial "K" showing darker and darker against 
          the dawn sky.  Through this and beyond we see the fairy-tale 
          mountaintop of Xanadu, the great castle a sillhouette as its 
          summit, the little window a distant accent in the darkness.

                                     

                                                                  DISSOLVE:

          A SERIES OF SET -UPS, EACH CLOSER TO THE GREAT WINDOW, ALL 
          TELLING SOMETHING OF: 

          The literally incredible domain of CHARLES FOSTER KANE.

          Its right flank resting for nearly forty miles on the Gulf 
          Coast, it truly extends in all directions farther than the eye 
          can see.  Designed by nature to be almost completely bare and 
          flat - it was, as will develop, practically all marshland when 
          Kane acquired and changed its face - it is now pleasantly 
          uneven, with its fair share of rolling hills and one very good-
          sized mountain, all man-made.  Almost all the land is improved, 
          either through cultivation for farming purposes of through 
          careful landscaping, in the shape of parks and lakes.  The 
          castle dominates itself, an enormous pile, compounded of several 
          genuine castles, of European origin, of varying architecture - 
          dominates the scene, from the very peak of the mountain.

                                                                  DISSOLVE:

          GOLF LINKS (MINIATURE)

          Past which we move.  The greens are straggly and overgrown, 
          the fairways wild with tropical weeds, the links unused and 
          not seriously tended for a long time.

                                                              DISSOLVE OUT:

                                                               DISSOLVE IN:

          WHAT WAS ONCE A GOOD-SIZED ZOO (MINIATURE)

          Of the Hagenbeck type.  All that now remains, with one 
          exception, are the individual plots, surrounded by moats, on 
          which the animals are kept, free and yet safe from each other 
          and the landscape at large.  (Signs on several of the plots 
          indicate that here there were once tigers, lions, girrafes.)

                                                                  DISSOLVE:

          THE MONKEY TERRACE (MINIATURE)

          In the foreground, a great obscene ape is outlined against the 
          dawn murk.  He is scratching himself slowly, thoughtfully, 
          looking out across the estates of Charles Foster Kane, to the 
          distant light glowing in the castle on the hill.

                                                                  DISSOLVE:

          THE ALLIGATOR PIT (MINIATURE)

          The idiot pile of sleepy dragons.  Reflected in the muddy water - 
          the lighted window.

          THE LAGOON (MINIATURE)

          The boat landing sags.  An old newspaper floats on the surface 
          of the water - a copy of the New York Enquirer."  As it moves 
          across the frame, it discloses again the reflection of the 
          window in the castle, closer than before.

          THE GREAT SWIMMING POOL (MINIATURE)

          It is empty.  A newspaper blows across the cracked floor of 
          the tank.

                                                                  DISSOLVE:

          THE COTTAGES (MINIATURE)

          In the shadows, literally the shadows, of the castle.  As we 
          move by, we see that their doors and windows are boarded up 
          and locked, with heavy bars as further protection and sealing.

                                                              DISSOLVE OUT:

                                                               DISSOLVE IN:

          A DRAWBRIDGE (MINIATURE)

          Over a wide moat, now stagnant and choked with weeds.  We move 
          across it and through a huge solid gateway into a formal garden, 
          perhaps thirty yards wide and one hundred yards deep, which 
          extends right up to the very wall of the castle.  The 
          landscaping surrounding it has been sloppy and causal for a 
          long time, but this particular garden has been kept up in 
          perfect shape.  As the camera makes its way through it, towards 
          the lighted window of the castle, there are revealed rare and 
          exotic blooms of all kinds.  The dominating note is one of 
          almost exaggerated tropical lushness, hanging limp and 
          despairing.  Moss, moss, moss.  Ankor Wat, the night the last 
          King died.

                                                                  DISSOLVE:

          THE WINDOW (MINIATURE)

          Camera moves in until the frame of the window fills the frame 
          of the screen.  Suddenly, the light within goes out.  This 
          stops the action of the camera and cuts the music which has 
          been accompanying the sequence.  In the glass panes of the 
          window, we see reflected the ripe, dreary landscape of Mr. 
          Kane's estate behind and the dawn sky.

                                                                  DISSOLVE:

          INT. KANE'S BEDROOM - FAINT DAWN -

          A very long shot of Kane's enormous bed, silhouetted against 
          the enormous window.

                                                                  DISSOLVE:

          INT. KANE'S BEDROOM - FAINT DAWN - SNOW SCENE.  

          An incredible one.  Big, impossible flakes of snow, a too 
          picturesque farmhouse and a snow man.  The jingling of sleigh 
          bells in the musical score now makes an ironic reference to 
          Indian Temple bells - the music freezes -

           

                                    KANE'S OLD OLD VOICE
                        Rosebud...

          The camera pulls back, showing the whole scene to be contained 
          in one of those glass balls which are sold in novelty stores 
          all over the world.  A hand - Kane's hand, which has been 
          holding the ball, relaxes.  The ball falls out of his hand and 
          bounds down two carpeted steps leading to the bed, the camera 
          following.  The ball falls off the last step onto the marble 
          floor where it breaks, the fragments glittering in the first 
          rays of the morning sun.  This ray cuts an angular pattern 
          across the floor, suddenly crossed with a thousand bars of 
          light as the blinds are pulled across the window.

          The foot of Kane's bed.  The camera very close.  Outlined 
          against the shuttered window, we can see a form - the form of 
          a nurse, as she pulls the sheet up over his head.  The camera 
          follows this action up the length of the bed and arrives at 
          the face after the sheet has covered it.

                                                                  FADE OUT:

          FADE IN:

          INT. OF A MOTION PICTURE PROJECTION ROOM

          On the screen as the camera moves in are the words:

                                   "MAIN TITLE"

          Stirring, brassy music is heard on the soundtrack (which, of 
          course, sounds more like a soundtrack than ours.)

          The screen in the projection room fills our screen as the second 
          title appears:

                                    "CREDITS"

          NOTE:  Here follows a typical news digest short, one of the 
          regular monthly or bi-monthly features, based on public events 
          or personalities.  These are distinguished from ordinary 
          newsreels and short subjects in that they have a fully developed 
          editorial or storyline.  Some of the more obvious 
          characteristics of the "March of Time," for example, as well 
          as other documentary shorts, will be combined to give an 
          authentic impression of this now familiar type of short subject.  
          As is the accepted procedure in these short subjects, a narrator 
          is used as well as explanatory titles.

                                                                  FADE OUT:

                                    NEWS DIGEST NARRATOR
                        Legendary was the Xanadu where 
                        Kubla Kahn decreed his stately 
                        pleasure dome -
                               (with quotes in his 
                               voice)
                        "Where twice five miles of fertile 
                        ground, with walls and towers were 
                        girdled 'round."

                                    (DROPPING THE QUOTES)
                        Today, almost as legendary is 
                        Florida's XANADU - world's largest 
                        private pleasure ground.  Here, on 
                        the deserts of the Gulf Coast, a 
                        private mountain was commissioned, 
                        successfully built for its landlord.  
                        Here in a private valley, as in 
                        the Coleridge poem, "blossoms many 
                        an incense-bearing tree."  Verily, 
                        "a miracle of rare device."

          U.S.A.

          CHARLES FOSTER KANE

          Opening shot of great desolate expanse of Florida coastline 
          (1940 - DAY)

                                                                  DISSOLVE:

          Series of shots showing various aspects of Xanadu, all as they 
          might be photographed by an ordinary newsreel cameraman - nicely 
          photographed, but not atmospheric to the extreme extent of the 
          Prologue (1940).

                                    NARRATOR
                               (dropping the quotes)
                        Here, for Xanadu's landlord, will 
                        be held 1940's biggest, strangest 
                        funeral; here this week is laid to 
                        rest a potent figure of our Century - 
                        America's Kubla Kahn - Charles 
                        Foster Kane.  In journalism's 
                        history, other names are honored 
                        more than Charles Foster Kane's, 
                        more justly revered.  Among 
                        publishers, second only to James 
                        Gordon Bennet the First: his 
                        dashing, expatriate son; England's 
                        Northcliffe and Beaverbrook; 
                        Chicago's Patterson and McCormick;

          TITLE:

          TO FORTY-FOUR MILLION U.S. NEWS BUYERS, MORE NEWSWORTHY THAN 
          THE NAMES IN HIS OWN HEADLINES, WAS KANE HIMSELF, GREATEST 
          NEWSPAPER TYCOON OF THIS OR ANY OTHER GENERATION.

          Shot of a huge, screen-filling picture of Kane.  Pull back to 
          show that it is a picture on the front page of the "Enquirer," 
          surrounded by the reversed rules of mourning, with masthead 
          and headlines. (1940)

                                                                  DISSOLVE:

          A great number of headlines, set in different types and 
          different styles, obviously from different papers, all 
          announcing Kane's death, all appearing over photographs of 
          Kane himself (perhaps a fifth of the headlines are in foreign 
          languages).  An important item in connection with the headlines 
          is that many of them - positively not all - reveal passionately 
          conflicting opinions about Kane.  Thus, they contain variously 
          the words "patriot," "democrat," "pacifist," "war-monger," 
          "traitor," "idealist," "American," etc.

          TITLE:

          1895 TO 1940 - ALL OF THESE YEARS HE COVERED, MANY OF THESE 
          YEARS HE WAS.

          Newsreel shots of San Francisco during and after the fire, 
          followed by shots of special trains with large streamers: "Kane 
          Relief Organization."  Over these shots superimpose the date - 
          1906.

          Artist's painting of Foch's railroad car and peace negotiators, 
          if actual newsreel shot unavailable.  Over this shot 
          sumperimpose the date - 1918.

                                    NARRATOR
                        Denver's Bonfils and Sommes; New 
                        York's late, great Joseph Pulitzer; 
                        America's emperor of the news 
                        syndicate, another editorialist 
                        and landlord, the still mighty and 
                        once mightier Hearst.  Great names 
                        all of them - but none of them so
                        loved, hated, feared, so often 
                        spoken - as Charles Foster Kane.
                        The San Francisco earthquake.  
                        First with the news were the Kane 
                        papers.  First with Relief of the 
                        Sufferers, First with the news of 
                        their Relief of the Sufferers.
                        Kane papers scoop the world on the 
                        Armistice - publish, eight hours 
                        before competitors, complete details 
                        of the Armistice teams granted the 
                        Germans by Marshall Foch from his 
                        railroad car in the Forest of 
                        Compeigne.  For forty years appeared 
                        in Kane newsprint no public issue 
                        on which Kane papers took no stand.
                        No public man whom Kane himself 
                        did not support or denounce - often 
                        support, then denounce.  Its humble 
                        beginnings, a dying dailey -

          Shots with the date - 1898 (to be supplied)

          Shots with the date - 1910 (to be supplied)

          Shots with the date - 1922 (to be supplied)

          Headlines, cartoons, contemporary newreels or stills of the 
          following:

          1. WOMAN SUFFRAGE

          The celebrated newsreel shot of about 1914.

          2. PROHIBITION

          Breaking up of a speakeasy and such.

          3.  T.V.A.

          4. LABOR RIOTS

          Brief clips of old newreel shots of William Jennings Bryan, 
          Theodore Roosevelt, Stalin, Walter P. Thatcher, Al Smith, 
          McKinley, Landon, Franklin D. Roosevelt and such.  Also, recent 
          newsreels of the elderly Kane with such Nazis as Hitler and 
          Goering; and England's Chamberlain and Churchill.

          Shot of a ramshackle building with old-fashioned presses showing 
          through plate glass windows and the name "Enquirer" in old-
          fashioned gold letters. (1892)

                                                                  DISSOLVE:

                                    NARRATOR
                        Kane's empire, in its glory, held 
                        dominion over thirty-seven 
                        newpapers, thirteen magazines, a 
                        radio network.  An empire upon an 
                        empire.  The first of grocery 
                        stores, paper mills, apartment 
                        buildings, factories, forests,
                        ocean-liners - An empire through 
                        which for fifty years flowed, in 
                        an unending stream, the wealth of 
                        the earth's third richest gold 
                        mine...  Famed in American legend 
                        is the origin of the Kane fortune...  
                        How, to boarding housekeeper Mary 
                        Kane, by a defaulting boarder, in 
                        1868 was left the supposedly 
                        worthless deed to an abandoned 
                        mine shaft: The Colorado Lode.
                        The magnificent Enquirer Building 
                        of today.

          1891-1911 - a map of the USA, covering the entire screen, which 
          in animated diagram shows the Kane publications spreading from 
          city to city.  Starting from New York, minature newboys speed 
          madly to Chicago, Detroit, St. Louis, Los Angeles, San 
          Francisco, Washington, Atlanta, El Paso, etc., screaming 
          "Wuxtry, Kane Papers, Wuxtry."

          Shot of a large mine going full blast, chimneys belching smoke, 
          trains moving in and out, etc.  A large sign reads "Colorado 
          Lode Mining Co." (1940)  Sign reading; "Little Salem, CO - 25 
          MILES."

                                                                  DISSOLVE:

          An old still shot of Little Salem as it was 70 years ago 
          (identified by copper-plate caption beneath the still). (1870)

          Shot of early tintype stills of Thomas Foster Kane and his 
          wife, Mary, on their wedding day.  A similar picture of Mary 
          Kane some four or five years later with her little boy, Charles 
          Foster Kane.

                                    NARRATOR
                        Fifty-seven years later, before a 
                        Congressional Investigation, Walter 
                        P.  Thatcher, grand old man of 
                        Wall Street, for years chief target 
                        of Kane papers' attack on "trusts," 
                        recalls a journey he made as a 
                        youth...

          Shot of Capitol, in Washington D.C.

          Shot of Congressional Investigating Committee (reproduction of 
          existing J.P. Morgan newsreel).  This runs silent under 
          narration.  Walter P. Thatcher is on the stand.  He is flanked 
          by his son, Walter P. Thatcher Jr., and other partners.  He is 
          being questioned by some Merry Andrew congressmen.  At this 
          moment, a baby alligator has just been placed in his lap, 
          causing considerable confusion and embarrassment.

          Newsreel close-up of Thatcher, the soundtrack of which now 
          fades in.

                                    THATCHER
                        ...  because of that trivial 
                        incident...

                                    INVESTIGATOR
                        It is a fact, however, is it not, 
                        that in 1870, you did go to 
                        Colorado?

                                    THATCHER
                        I did.

                                    INVESTIGATOR
                        In connection with the Kane affairs?

                                    THATCHER
                        Yes.  My firm had been appointed 
                        trustees by Mrs. Kane for the 
                        fortune, which she had recently 
                        acquired.  It was her wish that I 
                        should take charge of this boy, 
                        Charles Foster Kane.

                                    NARRATOR
                        That same month in Union Square -

                                    INVESTIGATOR
                        Is it not a fact that on that 
                        occasion, the boy personally 
                        attacked you after striking you in 
                        the stomach with a sled?

          Loud laughter and confusion.

                                    THATCHER
                        Mr. Chairman, I will read to this 
                        committee a prepared statement I 
                        have brought with me - and I will 
                        then refuse to answer any further 
                        questions.  Mr.  Johnson, please!

          A young assistant hands him a sheet of paper from a briefcase.

                                    THATCHER
                               (reading it)
                        "With full awareness of the meaning 
                        of my words and the responsibility 
                        of what I am about to say, it is 
                        my considered belief that Mr.  
                        Charles Foster Kane, in every 
                        essence of his social beliefs and
                        by the dangerous manner in which 
                        he has persistently attacked the 
                        American traditions of private 
                        property, initiative and opportunity 
                        for advancement, is - in fact - 
                        nothing more or less than a 
                        Communist."

          Newsreel of Union Square meeting, section of crowd carrying 
          banners urging the boycott of Kane papers.  A speaker is on 
          the platform above the crowd.

                                    SPEAKER
                               (fading in on 
                               soundtrack)
                        - till the words "Charles Foster 
                        Kane" are a menace to every working 
                        man in this land.  He is today 
                        what he has always been and always 
                        will be - A FASCIST!

                                    NARRATOR
                        And yet another opinion - Kane's 
                        own.

          Silent newsreel on a windy platform, flag-draped, in front of 
          the magnificent Enquirer building.  On platform, in full 
          ceremonial dress, is Charles Foster Kane.  He orates silently.

          TITLE: 

          "I AM, HAVE BEEN, AND WILL BE ONLY ONE THING - AN AMERICAN."  
          CHARLES FOSTER KANE.

          Same locale, Kane shaking hands out of frame.

          Another newsreel shot, much later, very brief, showing Kane, 
          older and much fatter, very tired-looking, seated with his 
          second wife in a nightclub.  He looks lonely and unhappy in 
          the midst of the gaiety.

                                    NARRATOR
                        Twice married, twice divorced - 
                        first to a president's niece, Emily 
                        Norton - today, by her second 
                        marriage, chatelaine of the oldest 
                        of England's stately homes.  Sixteen 
                        years after that - two weeks after
                        his divorce from Emily Norton - 
                        Kane married Susan Alexander, 
                        singer, at the Town Hall in Trenton, 
                        New Jersey.

          TITLE: 

          FEW PRIVATE LIVES WERE MORE PUBLIC.

          Period still of Emily Norton (1900).

                                                                  DISSOLVE:

          Reconstructed silent newsreel.  Kane, Susan, and Bernstein 
          emerging from side doorway of City Hall into a ring of press 
          photographers, reporters, etc.  Kane looks startled, recoils 
          for an instance, then charges down upon the photographers, 
          laying about him with his stick, smashing whatever he can hit.

                                    NARRATOR
                        For wife two, one-time opera singing 
                        Susan Alexander, Kane built 
                        Chicago's Municipal Opera House.  
                        Cost: three million dollars.  
                        Conceived for Susan Alexander Kane, 
                        half-finished before she divorced 
                        him, the still unfinished Xanadu.  
                        Cost: no man can say.

          Still of architect's sketch with typically glorified "rendering" 
          of the Chicago Municipal Opera House.

                                                                  DISSOLVE:

          A glamorous shot of the almost-finished Xanadu, a magnificent 
          fairy-tale estate built on a mountain. (1920)

          Then shots of its preparation. (1917)

          Shots of truck after truck, train after train, flashing by 
          with tremendous noise.

          Shots of vast dredges, steamshovels.

          Shot of ship standing offshore unloading its lighters.

          In quick succession, shots follow each other, some 
          reconstructed, some in miniature, some real shots (maybe from 
          the dam projects) of building, digging, pouring concrete, etc.

                                    NARRATOR
                        One hundred thousand trees, twenty 
                        thousand tons of marble, are the 
                        ingredients of Xanadu's mountain.
                        Xanadu's livestock: the fowl of 
                        the air, the fish of the sea, the 
                        beast of the field and jungle - 
                        two of each; the biggest private 
                        zoo since Noah.  Contents of Kane's 
                        palace: paintings, pictures, 
                        statues, the very stones of many 
                        another palace, shipped to Florida 
                        from every corner of the earth, 
                        from other Kane houses, warehouses, 
                        where they mouldered for years.  
                        Enough for ten museums - the loot 
                        of the world.

          More shots as before, only this time we see (in miniature) a 
          large mountain - at different periods in its development - 
          rising out of the sands.

          Shots of elephants, apes, zebras, etc. being herded, unloaded, 
          shipped, etc. in various ways.

          Shots of packing cases being unloaded from ships, from trains, 
          from trucks, with various kinds of lettering on them (Italian, 
          Arabian, Chinese, etc.) but all consigned to Charles Foster 
          Kane, Xanadu, Florida.

          A reconstructed still of Xanadu - the main terrace.  A group 
          of persons in clothes of the period of 1917.  In their midst, 
          clearly recognizable, are Kane and Susan.

                                    NARRATOR
                        Kane urged his country's entry 
                        into one war, opposed participation 
                        in another.  Swung the election to 
                        one American President at least, 
                        was called another's assassin.  
                        Thus, Kane's papers might never 
                        have survived - had not the 
                        President.

          TITLE:

          FROM XANADU, FOR THE PAST TWENTY-FIVE YEARS, ALL KANE 
          ENTERPRISES HAVE BEEN DIRECTED, MANY OF THE NATIONS DESTINIES 
          SHAPED.

          Shots of various authentically worded headlines of American 
          papers since 1895.

          Spanish-American War shots. (1898)

          A graveyard in France of the World War and hundreds of crosses. 
          (1919)

          Old newsreels of a political campaign.

          Insert of a particularly virulent headline and/or cartoon.

          HEADLINE: "PRESIDENT SHOT"

                                    NARRATOR
                        Kane, molder of mass opinion though 
                        he was, in all his life was never 
                        granted elective office by the 
                        voters of his country.  Few U.S. 
                        news publishers have been.
                        Few, like one-time Congressman 
                        Hearst, have ever run for any office - 
                        most know better - conclude with 
                        other political observers that one 
                        man's press has power enough for 
                        himself.  But Kane papers were 
                        once strong indeed, and once the 
                        prize seemed almost his.  In 1910, 
                        as Independent Candidate for 
                        governor, the best elements of the 
                        state behind him - the White House 
                        seemingly the next easy step in a 
                        lightning political career -

          NIGHT SHOT OF CROWD BURNING CHARLES FOSTER KANE IN EFFIGY.  
          THE DUMMY BEARS A GROTESQUE, COMIC RESEMBLANCE TO KANE.  IT IS 
          TOSSED INTO THE FLAMES, WHICH BURN UP -

          AND THEN DOWN...  (1910)

                                                                  FADE OUT:

          TITLE:

          IN POLITICS - ALWAYS A BRIDESMAID, NEVER A BRIDE

          Newsreel shots of great crowds streaming into a building - 
          Madison Square Garden - then shots inside the vast auditorium, 
          at one end of which is a huge picture of Kane.  (1910)

          Shot of box containing the first Mrs. Kane and young Howard 
          Kane, age five.  They are acknowledging the cheers of the crowd.  
          (Silent Shot)  (1910)

          Newreel shot of dignitaries on platform, with Kane, alongside 
          of speaker's table, beaming, hand upraised to silence the crowd.  
          (Silent Shot)  (1910)

                                    NARRATOR
                        Then, suddenly - less than one 
                        week before election - defeat!  
                        Shameful, ignominious - defeat 
                        that set back for twenty years the 
                        cause of reform in the U.S., forever 
                        cancelled political chances for 
                        Charles Foster Kane.  Then, in the 
                        third year of the Great 
                        Depression...  As to all publishers, 
                        it sometimes must - to Bennett, to 
                        Munsey and Hearst it did - a paper 
                        closes!  For Kane, in four short 
                        years: collapse!
                        Eleven Kane papers, four Kane 
                        magazines merged, more sold, 
                        scrapped -

          Newreel shot - closeup of Kane delivering a speech...  (1910)

          The front page of a contemporary paper - a screaming headline.  
          Twin phots of Kane and Susan.  (1910)

          Printed title about Depression.

          Once more repeat the map of the USA 1932-1939.  Suddenly, the 
          cartoon goes into reverse, the empire begins to shrink, 
          illustrating the narrator's words.

          The door of a newspaper office with the signs: "Closed."

                                    NARRATOR
                        Then four long years more - alone 
                        in his never-finished, already 
                        decaying, pleasure palace, aloof, 
                        seldom visited, never photographed, 
                        Charles Foster Kane continued to 
                        direct his falling empire ... vainly 
                        attempting to sway, as he once 
                        did, the destinies of a nation 
                        that has ceased to listen to him 
                        ... ceased to trust him...

          SHOTS OF XANADU.  (1940)

          Series of shots, entirely modern, but rather jumpy and obviously 
          bootlegged, showing Kane in a bath chair, swathed in summer 
          rugs, being perambulated through his rose garden, a desolate 
          figure in the sunshine.  (1935)

                                    NARRATOR
                        Last week, death came to sit upon 
                        the throne of America's Kubla Khan - 
                        last week, as it must to all men, 
                        death came to Charles Foster Kane.

                                                                  DISSOLVE:

          Cabinent Photograph (Full Screen) of Kane as an old, old man.  
          This image remains constant on the screen (as camera pulls 
          back, taking in the interior of a dark projection room.

          INT. PROJECTION ROOM - DAY -

          A fairly large one, with a long throw to the screen.  It is 
          dark.

          The image of Kane as an old man remains constant on the screen 
          as camera pulls back, slowly taking in and registering 
          Projection Room.  This action occurs, however, only after the 
          first few lines of encuring dialogue have been spoken.  The 
          shadows of the men speaking appear as they rise from their 
          chairs - black against the image of Kane's face on the screen.

          NOTE:  These are the editors of a "News Digest" short, and of 
          the Rawlston magazines.  All his enterprises are represented 
          in the projection room, and Rawlston himself, that great man, 
          is present also and will shortly speak up.

          During the entire course of this scene, nobody's face is really 
          seen.  Sections of their bodies are picked out by a table light, 
          a silhouette is thrown on the screen, and their faces and bodies 
          are themselves thrown into silhouette against the brilliant 
          slanting rays of light from the projection room.

          A Third Man is on the telephone.  We see a corner of his head 
          and the phone.

                                    THIRD MAN
                               (at phone)
                        Stand by.  I'll tell you if we 
                        want to run it again.
                               (hangs up)

                                    THOMPSON'S VOICE
                        Well?

          A short pause.

                                    A MAN'S VOICE
                        It's a tough thing to do in a 
                        newsreel.  Seventy years of a man's 
                        life -

          Murmur of highly salaried assent at this.  Rawlston walks toward 
          camera and out of the picture.  Others are rising.  Camera 
          during all of this, apparently does its best to follow action 
          and pick up faces, but fails.  Actually, all set-ups are to be 
          planned very carefully to exclude the element of personality 
          from this scene; which is expressed entirely by voices, shadows, 
          sillhouettes and the big, bright image of Kane himself on the 
          screen.

                                    A VOICE
                        See what Arthur Ellis wrote about 
                        him in the American review?

                                    THIRD MAN
                        I read it.

                                    THE VOICE
                               (its owner is already 
                               leaning across the 
                               table, holding a 
                               piece of paper 
                               under the desk 
                               light and reading 
                               from it)
                        Listen:  Kane is dead.  He 
                        contributed to the journalism of 
                        his day - the talent of a 
                        mountebank, the morals of a 
                        bootlegger, and the manners of a 
                        pasha.  He and his kind have almost 
                        succeeded in transforming a once 
                        noble profession into a seven 
                        percent security - no longer secure.

                                    ANOTHER VOICE
                        That's what Arthur Ellis is writing 
                        now.  Thirty years ago, when Kane 
                        gave him his chance to clean up 
                        Detroit and Chicago and St. Louis, 
                        Kane was the greatest guy in the
                        world.  If you ask me -

                                    ANOTHER VOICE
                        Charles Foster Kane was a...

          Then observations are made almost simultaneous.

                                    RAWLSTON'S VOICE
                        Just a minute!

          Camera moves to take in his bulk outlined against the glow 
          from the projection room.

                                    RAWLSTON
                        What were Kane's last words?

          A silence greets this.

                                    RAWLSTON
                        What were the last words he said 
                        on earth?  Thompson, you've made 
                        us a good short, but it needs 
                        character -

                                    SOMEBODY'S VOICE
                        Motivation -

                                    RAWLSTON
                        That's it - motivation.  What made 
                        Kane what he was?  And, for that 
                        matter, what was he?  What we've 
                        just seen are the outlines of a 
                        career - what's behind the career?  
                        What's the man?  Was he good or 
                        bad?  Strong or foolish?  Tragic 
                        or silly?  Why did he do all those 
                        things?  What was he after?
                               (then, appreciating 
                               his point)
                        Maybe he told us on his death bed.

                                    THOMPSON
                        Yes, and maybe he didn't.

                                    RAWLSTON
                        Ask the question anyway, Thompson!
                        Build the picture around the 
                        question, even if you can't answer 
                        it.

                                    THOMPSON
                        I know, but -

                                    RAWLSTON
                               (riding over him 
                               like any other 
                               producer)
                        All we saw on that screen was a 
                        big American -

                                    A VOICE
                        One of the biggest.

                                    RAWLSTON
                               (without pausing 
                               for this)
                        But how is he different from Ford?
                        Or Hearst for that matter?  Or 
                        Rockefeller - or John Doe?

                                    A VOICE
                        I know people worked for Kane will 
                        tell you - not only in the newspaper 
                        business - look how he raised 
                        salaries.  You don't want to forget -

                                    ANOTHER VOICE
                        You take his labor record alone, 
                        they ought to hang him up like a 
                        dog.

                                    RAWLSTON
                        I tell you, Thompson - a man's 
                        dying words -

                                    SOMEBODY'S VOICE
                        What were they?

          Silence.

                                    SOMEBODY'S VOICE
                               (hesitant)
                        Yes, Mr. Rawlston, what were Kane's 
                        dying words?

                                    RAWLSTON
                               (with disgust)
                        Rosebud!

          A little ripple of laughter at this, which is promptly silenced 
          by Rawlston.

                                    RAWLSTON
                        That's right.

                                    A VOICE
                        Tough guy, huh?
                               (derisively)
                        Dies calling for Rosebud!

                                    RAWLSTON
                        Here's a man who might have been 
                        President.  He's been loved and 
                        hated and talked about as much as 
                        any man in our time - but when he 
                        comes to die, he's got something 
                        on his mind called "Rosebud."  
                        What does that mean?

                                    ANOTHER VOICE
                        A racehorse he bet on once, 
                        probably, that didn't come in - 
                        Rosebud!

                                    RAWLSTON
                        All right.  But what was the race?

          There is a short silence.

                                    RAWLSTON
                        Thompson!

                                    THOMPSON
                        Yes, sir.

                                    RAWLSTON
                        Hold this thing up for a week.  
                        Two weeks if you have to...

                                    THOMPSON
                               (feebly)
                        But don't you think if we release 
                        it now - he's only been dead four 
                        days it might be better than if -

                                    RAWLSTON
                               (decisively)
                        Nothing is ever better than finding 
                        out what makes people tick.  Go 
                        after the people that knew Kane 
                        well.  That manager of his - the 
                        little guy, Bernstein, those two 
                        wives, all the people who knew 
                        him, had worked for him, who loved 
                        him, who hated his guts -
                               (pauses)
                        I don't mean go through the City
                        Directory, of course -

          The Third Man gives a hearty "yes-man" laugh.

                                    THOMPSON
                        I'll get to it right away, Mr.
                        Rawlston.

                                    RAWLSTON
                               (rising)
                        Good!

          The camera from behind him, outlines his back against Kane's 
          picture on the screen.

                                    RAWLSTON'S VOICE
                        It'll probably turn out to be a 
                        very simple thing...

                                                                  FADE OUT:

          NOTE:  Now begins the story proper - the seach by Thompson for 
          the facts about Kane - his researches ... his interviews with 
          the people who knew Kane.

          It is important to remember always that only at the very end 
          of the story is Thompson himself a personality.  Until then, 
          throughout the picture, we photograph only Thompson's back, 
          shoulders, or his shadow - sometimes we only record his voice.  
          He is not until the final scene a "character".  He is the 
          personification of the search for the truth about Charles Foster 
          Kane.  He is the investigator.

          FADE IN:

          EXT. CHEAP CABARET - "EL RANCHO" - ATLANTIC CITY - NIGHT - 
          1940 (MINIATURE) - RAIN

          The first image to register is a sign:

          "EL RANCHO"

          FLOOR SHOW

          SUSAN ALEXANDER KANE

          TWICE NIGHTLY

          These words, spelled out in neon, glow out of the darkness at 
          the end of the fade out.  Then there is lightning which reveals 
          a squalid roof-top on which the sign stands.  Thunder again, 
          and faintly the sound of music from within.  A light glows 
          from a skylight.  The camera moves to this and closes in.  
          Through the splashes of rain, we see through the skylight down 
          into the interior of the cabaret.  Directly below us at a table 
          sits the lone figure of a woman, drinking by herself.

                                                                  DISSOLVE:

          INT. "EL RANCO" CABARET - NIGHT -

          Medium shot of the same woman as before, finishing the drink 
          she started to take above.  It is Susie.  The music, of course, 
          is now very loud.  Thompson, his back to the camera, moves 
          into the picture in the close foreground.  A Captain appears 
          behind Susie, speaking across her to Thompson.

                                    THE CAPTAIN
                               (a Greek)
                        This is Mr. Thompson, Miss 
                        Alexander.

          Susan looks up into Thompson's face.  She is fifty, trying to 
          look much younger, cheaply blonded, in a cheap, enormously 
          generous evening dress.  Blinking up into Thompson's face, she 
          throws a crink into ther mouth.  Her eyes, which she thinks is 
          keeping commandingly on his, are bleared and watery.

                                    SUSAN
                               (to the Captain)
                        I want another drink, John.

          Low thunder from outside.

                                    THE CAPTAIN
                               (seeing his chance)
                        Right away.  Will you have 
                        something, Mr. Thompson?

                                    THOMPSON
                               (staring to sit 
                               down)
                        I'll have a highball.

                                    SUSAN
                               (so insistently as 
                               to make Thompson 
                               change his mind 
                               and stand up again)
                        Who told you you could sit down 
                        here?

                                    THOMPSON
                        Oh!  I thought maybe we could have 
                        a drink together?

                                    SUSAN
                        Think again!

          There is an awkward pause as Thompson looks from her to the 
          Captain.

                                    SUSAN
                        Why don't you people let me alone?
                        I'm minding my own business.  You 
                        mind yours.

                                    THOMPSON
                        If you'd just let me talk to you 
                        for a little while, Miss Alexander.
                        All I want to ask you...

                                    SUSAN
                        Get out of here!
                               (almost hysterical)
                        Get out!  Get out!

          Thompson looks at the Captain, who shrugs his shoulders.

                                    THOMPSON
                        I'm sorry.  Maybe some other time -

          If he thought he would get a response from Susan, who thinks 
          she is looking at him steelily, he realizes his error.  He 
          nods and walks off, following the Captain out the door.

                                    THE CAPTAIN
                        She's just not talking to anybody 
                        from the newspapers, Mr. Thompson.

                                    THOMPSON
                        I'm not from a newspaper exactly, 
                        I -

          They have come upon a waiter standing in front of a booth.

                                    THE CAPTAIN
                               (to the waiter)
                        Get her another highball.

                                    THE WAITER
                        Another double?

                                    THE CAPTAIN
                               (after a moment, 
                               pityingly)
                        Yes.

          They walk to the door.

                                    THOMPSON
                        She's plastered, isn't she?

                                    THE CAPTAIN
                        She'll snap out of it.  Why, until 
                        he died, she'd just as soon talk 
                        about Mr. Kane as about anybody.  
                        Sooner.

                                    THOMPSON
                        I'll come down in a week or so and 
                        see her again.  Say, you might be 
                        able to help me.  When she used to 
                        talk about Kane - did she ever 
                        happen to say anything - about 
                        Rosebud?

                                    THE CAPTAIN
                        Rosebud?

          Thompson has just handed him a bill.  The Captain pockets it.

                                    THE CAPTAIN
                        Thank you, sir.  As a matter of 
                        fact, yesterday afternoon, when it 
                        was in all the papers - I asked 
                        her.  She never heard of Rosebud.

                                                                  FADE OUT:

          FADE IN:

          INT. THATCHER MEMORIAL LIBRARY - DAY -

          An excruciatingly noble interpretation of Mr. Thatcher himself 
          executed in expensive marble.  He is shown seated on one of 
          those improbable Edwin Booth chairs and is looking down, his 
          stone eyes fixed on the camera.

          We move down off of this, showing the impressive pedestal on 
          which the monument is founded.  The words, "Walter Parks 
          Thatcher" are prominently and elegantly engraved thereon.  
          Immediately below the inscription we encounter, in a medium 
          shot, the person of Bertha Anderson, an elderly, manish 
          spinnster, seated behind her desk.  Thompson, his hat in his 
          hand, is standing before her.  Bertha is on the phone.

                                    BERTHA
                               (into phone)
                        Yes.  I'll take him in now.
                               (hangs up and looks 
                               at Thompson)
                        The directors of the Thatcher 
                        Library have asked me to remind 
                        you again of the condition under 
                        which you may inspect certain 
                        portions of Mr. Thatcher's 
                        unpublished memoirs.  Under no 
                        circumstances are direct quotations 
                        from his manuscript to be used by 
                        you.

                                    THOMPSON
                        That's all right.

                                    BERTHA
                        You may come with me.

          Without watching whether he is following her or not, she rises 
          and starts towards a distant and imposingly framed door.  
          Thompson, with a bit of a sigh, follows.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. THE VAULT ROOM - THATCHER MEMORIAL LIBRARY - DAY -

          A room with all the warmth and charm of Napolean's tomb.

          As we dissolve in, the door opens in and we see past Thompson's 
          shoulders the length of the room.  Everything very plain, very 
          much made out of marble and very gloomy.  Illumination from a 
          skylight above adds to the general air of expensive and 
          classical despair.  The floor is marble, and there is a 
          gigantic, mahogany table in the center of everything.  Beyond 
          this is to be seen, sunk in the marble wall at the far end of 
          the room, the safe from which a guard, in a khaki uniform, 
          with a revolver holster at his hip, is extracting the journal 
          of Walter P. Thatcher.  He brings it to Bertha as if he were 
          the guardian of a bullion shipment.  During this, Bertha has 
          been speaking.

                                    BERTHA
                               (to the guard)
                        Pages eighty-three to one hundred 
                        and forty-two, Jennings.

                                    GUARD
                        Yes, Miss Anderson.

                                    BERTHA
                               (to Thompson)
                        You will confine yourself, it is 
                        our understanding, to the chapter 
                        dealing with Mr. Kane.

                                    THOMPSON
                        That's all I'm interested in.

          The guard has, by this time, delivered the precious journal.  
          Bertha places it reverently on the table before Thompson.

                                    BERTHA
                        You will be required to leave this 
                        room at four-thirty promptly.

          She leaves.  Thompson starts to light a cigarette.  The guard 
          shakes his head.  With a sigh, Thompson bends over to read the 
          manuscript.  Camera moves down over his shoulder onto page of 
          manuscript.

          Manuscript, neatly and precisely written:

          "CHARLES FOSTER KANE

          WHEN THESE LINES APPEAR IN PRINT, FIFTY YEARS AFTER MY DEATH, 
          I AM CONFIDENT THAT THE WHOLE WORLD WILL AGREE WITH MY OPINION 
          OF CHARLES FOSTER KANE, ASSUMING THAT HE IS NOT THEN COMPLETELY 
          FORGOTTEN, WHICH I REGARD AS EXTREMELY LIKELY.  A GOOD DEAL OF 
          NONSENSE HAS APPEARED ABOUT MY FIRST MEETING WITH KANE, WHEN 
          HE WAS SIX YEARS OLD...  THE FACTS ARE SIMPLE.  IN THE WINTER 
          OF 1870..."

          The camera has not held on the entire page.  It has been 
          following the words with the same action that the eye does the 
          reading.  On the last words, the white page of the paper

                                                            DISSOLVES INTO:

          EXT. MRS. KANE'S BOARDINGHOUSE - DAY -

          The white of a great field of snow, seen from the angle of a 
          parlor window.

          In the same position of the last word in above Insert, appears 
          the tiny figure of Charles Foster Kane, aged five (almost like 
          an animated cartoon).  He is in the act of throwing a snowball 
          at the camera.  It sails toward us and over our heads, out of 
          scene.

          Reverse angle - on the house featuring a large sign reading:

          MRS. KANE'S BOARDINGHOUSE

          HIGH CLASS MEALS AND LODGING

          INQUIRE WITHIN

          Charles Kane's snowball hits the sign.

          INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY -

          Camera is angling through the window, but the window-frame is 
          not cut into scene.  We see only the field of snow again, same 
          angle as in previous scene.  Charles is manufacturing another 
          snowball.  Now -

          Camera pulls back, the frame of the window appearing, and we 
          are inside the parlor of the boardinghouse.  Mrs. Kane, aged 
          about 28, is looking out towards her son.  Just as we take her 
          in she speaks:

                                    MRS. KANE
                               (calling out)
                        Be careful, Charles!

                                    THATCHER'S VOICE
                        Mrs. Kane -

                                    MRS. KANE
                               (Calling out the 
                               window almost on 
                               top of this)
                        Pull your muffler around your neck, 
                        Charles -

          But Charles, deliriously happy in the snow, is oblivious to 
          this and is running away.  Mrs. Kane turns into camera and we 
          see her face - a strong face, worn and kind.

                                    THATCHER'S VOICE
                        think we'll have to tell him now -

          Camera now pulls back further, showing Thatcher standing before 
          a table on which is his stove-pipe hat and an imposing 
          multiplicity of official-looking documents.  He is 26 and, as 
          might be expected, a very stuffy young man, already very 
          expensive and conservative looking, even in Colorado.

                                    MRS. KANE
                        I'll sign those papers -

                                    KANE SR.
                        You people seem to forget that I'm 
                        the boy's father.

          At the sound of Kane Sr.'s voice, both have turned to him and 
          the camera pulls back still further, taking him in.

          Kane Sr., who is the assistant curator in a livery stable, has 
          been groomed as elegantly as is likely for this meeting ever 
          since daybreak.

          From outside the window can be heard faintly the wild and 
          cheerful cries of the boy, blissfully cavorting in the snow.

                                    MRS. KANE
                        It's going to be done exactly the
                        way I've told Mr. Thatcher -

                                    KANE SR.
                        If I want to, I can go to court.
                        father has a right to -

                                    THATCHER
                               (annoyed)
                        Mr. Kane, the certificates that 
                        Mr.  Graves left here are made out 
                        to Mrs.  Kane, in her name.  Hers 
                        to do with as she pleases -

                                    KANE SR.
                        Well, I don't hold with signing my 
                        boy away to any bank as guardian
                        just because -

                                    MRS. KANE
                               (quietly)
                        I want you to stop all this 
                        nonsense, Jim.

                                    THATCHER
                        The Bank's decision in all matters 
                        concerning his education, his place 
                        of residence and similar subjects 
                        will be final.
                               (clears his throat)

                                    KANE SR.
                        The idea of a bank being the 
                        guardian -

          Mrs. Kane has met his eye.  Her triumph over him finds 
          expression in his failure to finish his sentence.

                                    MRS. KANE
                               (even more quietly)
                        I want you to stop all this 
                        nonsense, Jim.

                                    THATCHER
                        We will assume full management of 
                        the Colorado Lode - of which you, 
                        Mrs. Kane, are the sole owner.

          Kane Sr. opens his mouth once or twice, as if to say something, 
          but chokes down his opinion.

                                    MRS. KANE
                               (has been reading 
                               past Thatcher's 
                               shoulder as he 
                               talked)
                        Where do I sign, Mr. Thatcher?

                                    THATCHER
                        Right here, Mrs. Kane.

                                    KANE SR.
                               (sulkily)
                        Don't say I didn't warn you.

          Mrs. Kane lifts the quill pen.

                                    KANE SR.
                        Mary, I'm asking you for the last 
                        time - anyon'd think I hadn't been
                        a good husband and a -

          Mrs. Kane looks at him slowly.  He stops his speech.

                                    THATCHER
                        The sum of fifty thousand dollars 
                        a year is to be paid to yourself 
                        and Mr. Kane as long as you both 
                        live, and thereafter the survivor -

          Mrs. Kane puts pen to the paper and signs.

                                    KANE SR.
                        Well, let's hope it's all for the 
                        best.

                                    MRS. KANE
                        It is.  Go on, Mr. Thatcher -

          Mrs. Kane, listening to Thatcher, of course has had her other 
          ear bent in the direction of the boy's voice.  Thatcher is 
          aware both of the boy's voice, which is counter to his own, 
          and of Mrs. Kane's divided attention.  As he pauses, Kane Sr. 
          genteelly walks over to close the window.

          EXT. MRS. KANE'S BOARDINGHOUSE - DAY -

          Kane Jr., seen from Kane Sr.'s position at the window.  He is 
          advancing on the snowman, snowballs in his hands, dropping to 
          one knee the better to confound his adversary.

                                    KANE
                        If the rebels want a fight boys, 
                        let's give it to 'em!

          He throws two snowballs, missing widely, and gets up and 
          advances another five feet before getting on his knees again.

                                    KANE
                        The terms are underconditional 
                        surrender.  Up and at 'em!  The 
                        Union forever!

          INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY -

          Kane Sr. closes the window.

                                    THATCHER
                               (over the boy's 
                               voice)
                        Everything else - the principal as 
                        well as all monies earned - is to 
                        be administered by the bank in 
                        trust for your son, Charles Foster 
                        Kane, until his twenty-fifth 
                        birthday, at which time he is to 
                        come into complete possession.

          Mrs. Kane rises and goes to the window.

                                    MRS. KANE
                        Go on, Mr. Thatcher.

          Thatcher continues as she opens the window.  His voice, as 
          before, is heard with overtones of the boy's.

          EXT. KANE'S BOARDINGHOUSE - DAY -

          Kane Jr., seen from Mrs. Kane's position at the window.  He is 
          now within ten feet of the snowman, with one snowball left 
          which he is holding back in his right hand.

                                    KANE
                        You can't lick Andy Jackson!  Old 
                        Hickory, that's me!

          He fires his snowball, well wide of the mark and falls flat on 
          his stomach, starting to crawl carefully toward the snowman.

                                    THATCHER'S VOICE
                        It's nearly five, Mrs. Kane, don't
                        you think I'd better meet the boy -

          INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY -

          Mrs. Kane at the window.  Thatcher is now standing at her side.

                                    MRS. KANE
                        I've got his trunk all packed -
                               (she chokes a little)
                        I've it packed for a couple of 
                        weeks -

          She can't say anymore.  She starts for the hall day.  Kane 
          Sr., ill at ease, has no idea of how to comfort her.

                                    THATCHER
                        I've arranged for a tutor to meet 
                        us in Chicago.  I'd have brought 
                        him along with me, but you were so
                        anxious to keep everything secret -

          He stops as he realizes that Mrs. Kane has paid no attention 
          to him and, having opened the door, is already well into the 
          hall that leads to the side door of the house.  He takes a 
          look at Kane Sr., tightens his lips and follows Mrs. Kane.  
          Kane, shoulders thrown back like one who bears defeat bravely, 
          follows him.

          EXT. MRS. KANE'S BOARDINGHOUSE - DAY -

          Kane, in the snow-covered field.  With the snowman between him 
          and the house, he is holding the sled in his hand, just about 
          to make the little run that prefaces a belly-flop.  The Kane 
          house, in the background, is a dilapidated, shabby, two-story 
          frame building, with a wooden outhouse.  Kane looks up as he 
          sees the single file procession, Mrs. Kane at its head, coming 
          toward him.

                                    KANE
                        H'ya, Mom.

          Mrs. Kane smiles.

                                    KANE
                               (gesturing at the 
                               snowman)
                        See, Mom?  I took the pipe out of 
                        his mouth.  If it keeps on snowin',
                        maybe I'll make some teeth and -

                                    MRS. KANE
                        You better come inside, son.  You 
                        and I have got to get you all ready
                        for - for -

                                    THATCHER
                        Charles, my name is Mr. Thatcher -

                                    MRS. KANE
                        This is Mr. Thatcher, Charles.

                                    THATCHER
                        How do you do, Charles?

                                    KANE SR.
                        He comes from the east.

                                    KANE
                        Hello.  Hello, Pop.

                                    KANE SR.
                        Hello, Charlie!

                                    MRS. KANE
                        Mr. Thatcher is going to take you 
                        on a trip with him tonight, Charles.
                        You'll be leaving on Number Ten.

                                    KANE SR.
                        That's the train with all the 
                        lights.

                                    KANE
                        You goin', Mom?

                                    THATCHER
                        Your mother won't be going right 
                        away, Charles -

                                    KANE
                        Where'm I going?

                                    KANE SR.
                        You're going to see Chicago and 
                        New York - and Washington, maybe...
                        Isn't he, Mr. Thatcher?

                                    THATCHER
                               (heartily)
                        He certainly is.  I wish I were a 
                        little boy and going to make a 
                        trip like that for the first time.

                                    KANE
                        Why aren't you comin' with us, 
                        Mom?

                                    MRS. KANE
                        We have to stay here, Charles.

                                    KANE SR.
                        You're going to live with Mr. 
                        Thatcher from now on, Charlie!  
                        You're going to be rich.  Your Ma 
                        figures - that is, re - she and I 
                        have decided that this isn't the 
                        place for you to grow up in.
                        You'll probably be the richest man 
                        in America someday and you ought 
                        to -

                                    MRS. KANE
                        You won't be lonely, Charles...

                                    THATCHER
                        We're going to have a lot of good 
                        times together, Charles...  Really 
                        we are.

          Kane stares at him.

                                    THATCHER
                        Come on, Charles.  Let's shake 
                        hands.
                               (extends his hand.  
                               Charles continues 
                               to look at him)
                        Now, now!  I'm not as frightening 
                        as all that!  Let's shake, what do 
                        you say?

          He reaches out for Charles's hand.  Without a word, Charles 
          hits him in the stomach with the sled.  Thatcher stumbles back 
          a few feet, gasping.

                                    THATCHER
                               (with a sickly grin)
                        You almost hurt me, Charles.
                               (moves towards him)
                        Sleds aren't to hit people with.
                        Sleds are to - to sleigh on.  When 
                        we get to New York, Charles, we'll
                        get you a sled that will -

          He's near enough to try to put a hand on Kane's shoulder.  As 
          he does, Kane kicks him in the ankle.

                                    MRS. KANE
                        Charles!

          He throws himself on her, his arms around her.  Slowly Mrs. 
          Kane puts her arms around him.

                                    KANE
                               (frightened)
                        Mom!  Mom!

                                    MRS. KANE
                        It's all right, Charles, it's all 
                        right.

          Thatcher is looking on indignantly, occasionally bending over 
          to rub his ankle.

                                    KANE SR.
                        Sorry, Mr. Thatcher!  What the kid 
                        needs is a good thrashing!

                                    MRS. KANE
                        That's what you think, is it, Jim?

                                    KANE SR.
                        Yes.

          Mrs. Kane looks slowly at Mr. Kane.

                                    MRS. KANE
                               (slowly)
                        That's why he's going to be brought 
                        up where you can't get at him.

                                                                  DISSOLVE:

          1870 - NIGHT (STOCK OR MINIATURE)

          Old-fashioned railroad wheels underneath a sleeper, spinning 
          along the track.

                                                                  DISSOLVE:

          INT. TRAIN - OLD-FASHIONED DRAWING ROOM - NIGHT -

          Thatcher, with a look of mingled exasperation, annoyance, 
          sympathy and inability to handle the situation, is standing 
          alongside a berth, looking at Kane.  Kane, his face in the 
          pillow, is crying with heartbreaking sobs.

                                    KANE
                        Mom!  Mom!

                                                              DISSOLVE OUT:

          The white page of the Thatcher manuscript.  We pick up the 
          words:

          "HE WAS, I REPEAT, A COMMON ADVENTURER, SPOILED, UNSCRUPULOUS, 
          IRRESPONSIBLE."

          The words are followed by printed headline on "Enquirer" copy 
          (as in following scene).

          INT. ENQUIRER CITY ROOM - DAY -

          Close-up on printed headline which reads:

          "ENEMY ARMADA OFF JERSEY COAST"

          Camera pulls back to reveal Thatcher holding the "Enquirer" 
          copy, on which we read the headline.  He is standing near the 
          editorial round table around which a section of the staff, 
          including Reilly, Leland and Kane are eating lunch.

                                    THATCHER
                               (coldly)
                        Is that really your idea of how to 
                        run a newspaper?

                                    KANE
                        I don't know how to run a newspaper, 
                        Mr. Thatcher.  I just try everything 
                        I can think of.

                                    THATCHER
                               (reading headline 
                               of paper he is 
                               still holding)
                        "Enemy Armada Off Jersey Coast."  
                        You know you haven't the slightest 
                        proof that this - this armada - is 
                        off the Jersey Coast.

                                    KANE
                        Can you prove it isn't?

          Bernstein has come into the picture.  He has a cable in his 
          hand.  He stops when he sees Thatcher.

                                    KANE
                        Mr. Bernstein, Mr. Thatcher -

                                    BERNSTEIN
                        How are you, Mr. Thatcher?

                                    THATCHER
                        How do you do? -

                                    BERNSTEIN
                        We just had a wire from Cuba, Mr. 
                        Kane -
                               (stops, embarrassed)

                                    KANE
                        That's all right.  We have no 
                        secrets from our readers.  Mr. 
                        Thatcher is one of our most devoted 
                        readers, Mr.  Bernstein.  He knows 
                        what's wrong with every issue since 
                        I've taken charge.  What's the 
                        cable?

                                    BERNSTEIN
                               (reading)
                        The food is marvelous in Cuba the 
                        senoritas are beautiful stop I 
                        could send you prose poems of palm 
                        trees and sunrises and tropical 
                        colors blending in far off 
                        landscapes but don't feel right in 
                        spending your money for this stop 
                        there's no war in Cuba regards 
                        Wheeler.

                                    THATCHER
                        You see!  There hasn't been a true 
                        word -

                                    KANE
                        I think we'll have to send our 
                        friend Wheeler a cable, Mr. 
                        Bernstein.  Of course, we'll have 
                        to make it shorter than his, because 
                        he's working on an expense account 
                        and we're not.  Let me see -
                               (snaps his fingers)
                        Mike!

                                    MIKE
                               (a fairly tough 
                               customer prepares 
                               to take dictation, 
                               his mouth still 
                               full of food)
                        Go ahead, Mr. Kane.

                                    KANE
                        Dear Wheeler -
                               (pauses a moment)
                        You provide the prose poems - I'll 
                        provide the war.

          Laughter from the boys and girls at the table.

                                    BERNSTEIN
                        That's fine, Mr. Kane.

                                    KANE
                        I rather like it myself.  Send it 
                        right away.

                                    MIKE
                        Right away.

                                    BERNSTEIN
                        Right away.

          Mike and Bernstein leave.  Kane looks up, grinning at Thatcher, 
          who is bursting with indignation but controls himself.  After 
          a moment of indecision, he decides to make one last try.

                                    THATCHER
                        I came to see you, Charles, about 
                        your - about the Enquirer's campaign 
                        against the Metropolitan Transfer 
                        Company.

                                    KANE
                        Won't you step into my office, Mr.
                        Thatcher?

          They cross the City Room together.

                                    THATCHER
                        I think I should remind you, 
                        Charles, of a fact you seem to 
                        have forgotten.  You are yourself 
                        one of the largest individual 
                        stockholders.

          INT. KANE'S OFFICE - DAY -

          Kane holds the door open for Thatcher.  They come in together.

                                    KANE
                        Mr. Thatcher, isn't everything 
                        I've been saying in the Enquirer 
                        about the traction trust absolutely 
                        true?

                                    THATCHER
                               (angrily)
                        They're all part of your general
                        attack - your senseless attack -
                        on everything and everybody who's 
                        got more than ten cents in his 
                        pocket.  They're -

                                    KANE
                        The trouble is, Mr. Thatcher, you 
                        don't realize you're talking to
                        two people.

          Kane moves around behind his desk.  Thatcher doesn't understand, 
          looks at him.

                                    KANE
                        As Charles Foster Kane, who has                         
                        eighty-two thousand, six hundred 
                        and thirty-one shares of 
                        Metropolitan Transfer - you see, I 
                        do have a rough idea of my holdings -
                        I sympathize with you.  Charles 
                        Foster Kane is a dangerous 
                        scoundrel, his paper should be run 
                        out of town and a committee should 
                        be formed to boycott him.  You 
                        may, if you can form such a 
                        committee, put me down for a 
                        contribution of one thousand 
                        dollars.

                                    THATCHER
                               (angrily)
                        Charles, my time is too valuable 
                        for me -

                                    KANE
                        On the other hand -
                               (his manner becomes 
                               serious)
                        I am the publisher of the Enquirer.
                        As such, it is my duty - I'll let 
                        you in on a little secret, it is 
                        also my pleasure - to see to it 
                        that decent, hard-working people 
                        of this city are not robbed blind 
                        by a group of money - mad pirates 
                        because, God help them, they have 
                        no one to look after their 
                        interests!  I'll let you in on 
                        another little secret, Mr. Thatcher.  
                        I think I'm the man to do it.  You 
                        see, I have money and property -

          Thatcher doesn't understand him.

                                    KANE
                        If I don't defend the interests of 
                        the underprivileged, somebody else 
                        will - maybe somebody without any 
                        money or any property and that 
                        would be too bad.

          Thatcher glares at him, unable to answer.  Kane starts to dance.

                                    KANE
                        Do you know how to tap, Mr. 
                        Thatcher?  You ought to learn -
                               (humming quietly, 
                               he continues to 
                               dance)

          Thatcher puts on his hat.

                                    THATCHER
                        I happened to see your consolidated 
                        statement yesterday, Charles.  
                        Could I not suggest to you that it 
                        is unwise for you to continue this 
                        philanthropic enterprise -
                               (sneeringly)
                        this Enquirer - that is costing 
                        you one million dollars a year?

                                    KANE
                        You're right.  We did lose a million 
                        dollars last year.

          Thatcher thinks maybe the point has registered.

                                    KANE
                        We expect to lost a million next
                        year, too.  You know, Mr. Thatcher -
                               (starts tapping 
                               quietly)
                        at the rate of a million a year -
                        we'll have to close this place in 
                        sixty years.

                                                                  DISSOLVE:

          INT. THE VAULT ROOM - THATCHER MEMORIAL LIBRARY - DAY

          Thompson - at the desk.  With a gesture of annoyance, he is 
          closing the manuscript.

          Camera arcs quickly around from over his shoulder to hold on 
          door behind him, missing his face as he rises and turns to 
          confront Miss Anderson, who has come into the room to shoo him 
          out.  Very prominent on this wall is an over-sized oil painting 
          of Thatcher in the best Union League Club renaissance style.

                                    MISS ANDERSON
                        You have enjoyed a very rare 
                        privilege, young man.  Did you 
                        find what you were looking for?

                                    THOMPSON
                        No.  Tell me something, Miss 
                        Anderson.  You're not Rosebud, are 
                        you?

                                    MISS ANDERSON
                        What?

                                    THOMPSON
                        I didn't think you were.  Well, 
                        thanks for the use of the hall.

          He puts his hat on his head and starts out, lighting a cigarette 
          as he goes.  Miss Anderson, scandalized, watches him.

                                                                  FADE OUT:

          FADE IN:

          INT. BERNSTEIN'S OFFICE - ENQUIRER SKYSCRAPER - DAY -

          Closeup of a still of Kane, aged about sixty-five.  Camera 
          pulls back, showing it is a framed photograph on the wall.  
          Over the picture are crossed American flags.  Under it sits 
          Bernstein, back of his desk.  Bernstein, always an undersized 
          Jew, now seems even smaller than in his youth.  He is bald as 
          an egg, spry, with remarkably intense eyes.  As camera continues 
          to travel back, the back of Thompson's head and his shoulders 
          come into the picture.

                                    BERNSTEIN
                               (wryly)
                        Who's a busy man?  Me?  I'm Chairman 
                        of the Board.  I got nothing but 
                        time ...  What do you want to know?

                                    THOMPSON
                               (still explaining)
                        Well, Mr. Bernstein, you were with 
                        Mr.  Kane from the very beginning -

                                    BERNSTEIN
                        From before the beginning, young 
                        fellow.  And now it's after the 
                        end.
                               (turns to Thompson)
                        Anything you want to know about 
                        him - about the paper -

                                    THOMPSON
                        -  We thought maybe, if we can 
                        find out what he meant by that 
                        last word - as he was dying -

                                    BERNSTEIN
                        That Rosebud?  Maybe some girl?  
                        There were a lot of them back in 
                        the early days, and -

                                    THOMPSON
                        Not some girl he knew casually and 
                        then remembered after fifty years,
                        on his death bed -

                                    BERNSTEIN
                        You're pretty young, Mr. -
                               (remembers the name)
                        Mr. Thompson.  A fellow will 
                        remember things you wouldn't think 
                        he'd remember.  You take me.  One 
                        day, back in 1896, I was crossing 
                        over to Jersey on a ferry and as 
                        we pulled out, there was another
                        ferry pulling in -
                               (slowly)
                        - and on it, there was a girl 
                        waiting to get off.  A white dress 
                        she had on - and she was carrying 
                        a white pastrol - and I only saw 
                        her for one second and she didn't 
                        see me at all - but I'll bet a 
                        month hasn't gone by since that I 
                        haven't thought of that girl.
                               (triumphantly)
                        See what I mean?
                               (smiles)
                        Well, so what are you doing about 
                        this "Rosebud," Mr. Thompson.

                                    THOMPSON
                        I'm calling on people who knew Mr. 
                        Kane.  I'm calling on you.

                                    BERNSTEIN
                        Who else you been to see?

                                    THOMPSON
                        Well, I went down to Atlantic City -

                                    BERNSTEIN
                        Susie?  I called her myself the 
                        day after he died.  I thought maybe 
                        somebody ought to...
                               (sadly)
                        She couldn't even come to the 
                        'phone.

                                    THOMPSON
                        You know why?  She was so -

                                    BERNSTEIN
                        Sure, sure.

                                    THOMPSON
                        I'm going back there.

                                    BERNSTEIN
                        Who else did you see?

                                    THOMPSON
                        Nobody else, but I've been through 
                        that stuff of Walter Thatcher's.
                        That journal of his -

                                    BERNSTEIN
                        Thatcher!  That man was the biggest
                        darn fool I ever met -

                                    THOMPSON
                        He made an awful lot of money.

                                    BERNSTEIN
                        It's not trick to make an awful 
                        lot of money if all you want is to 
                        make a lot of money.
                               (his eyes get 
                               reflective)
                        Thatcher!

          Bernstein looks out of the window and keeps on looking, seeming 
          to see something as he talks.

                                    BERNSTEIN
                        He never knew there was anything 
                        in the world but money.  That kind 
                        of fellow you can fool every day 
                        in the week - and twice on Sundays!
                               (reflectively)
                        The time he came to Rome for Mr. 
                        Kane's twenty-fifth birthday...  
                        You know, when Mr. Kane got control 
                        of his own
                        money...  Such a fool like Thatcher -
                        I tell you, nobody's business!

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. BERNSTEIN'S OFFICE - DAY -

          Bernstein speaking to Thompson.

                                    BERNSTEIN
                        He knew what he wanted, Mr. Kane 
                        did, and he got it!  Thatcher never 
                        did figure him out.  He was hard 
                        to figure sometimes, even for me.  
                        Mr. Kane was a genius like he said.  
                        He had that funny sense of humor.  
                        Sometimes even I didn't get the 
                        joke.  Like that night the opera 
                        house of his opened in Chicago...  
                        You know, the opera house he built 
                        for Susie, she should be an opera 
                        singer...
                               (indicates with a 
                               little wave of his 
                               hand what he thinks 
                               of that; sighing)
                        That was years later, of course - 
                        1914 it was.  Mrs. Kane took the 
                        leading part in the opera, and she 
                        was terrible.  But nobody had the 
                        nerve to say so - not even the 
                        critics.  Mr. Kane was a big man 
                        in those days.  But this one fellow, 
                        this friend of his, Branford Leland -

          He leaves the sentence up in the air, as we

                                                                  DISSOLVE:

          INT. CITY ROOM - CHICAGO ENQUIRER - NIGHT -

          It is late.  The room is almost empty.  Nobody is at work at 
          the desks.  Bernstein, fifty, is waiting anxiously with a little 
          group of Kane's hirelings, most of them in evening dress with 
          overcoats and hats.  Eveybody is tense and expectant.

                                    CITY EDITOR
                               (turns to a young 
                               hireling; quietly)
                        What about Branford Leland?  Has 
                        he got in his copy?

                                    HIRELING
                        Not yet.

                                    BERNSTEIN
                        Go in and ask him to hurry.

                                    CITY EDITOR
                        Well, why don't you, Mr. Bernstein?
                        You know Mr. Leland.

                                    BERNSTEIN
                               (looks at him for a 
                               moment; then slowly)
                        I might make him nervous.

                                    CITY EDITOR
                               (after a pause)
                        You and Leland and Mr. Kane - you 
                        were great friends back in the old 
                        days, I understand.

                                    BERNSTEIN
                               (with a smile)
                        That's right.  They called us the 
                        "Three Musketeers."

          Somebody behind Bernstein has trouble concealing his laughter.  
          The City Editor speaks quickly to cover the situation.

                                    CITY EDITOR
                        He's a great guy - Leland.
                               (another little 
                               pause)
                        Why'd he ever leave New York?

                                    BERNSTEIN
                               (he isn't saying)
                        That's a long story.

                                    ANOTHER HIRELING
                               (a tactless one)
                        Wasn't there some sort of quarrel 
                        between -

                                    BERNSTEIN
                               (quickly)
                        I had nothing to do with it.
                               (then, somberly)
                        It was Leland and Mr. Kane, and 
                        you couldn't call it a quarrel 
                        exactly.  Better we should forget 
                        such things -
                               (turning to City 
                               Editor)
                        Leland is writing it up from the 
                        dramatic angle?

                                    CITY EDITOR
                        Yes.  I thought it was a good idea.
                        We've covered it from the news 
                        end, of course.

                                    BERNSTEIN
                        And the social.  How about the 
                        music notice?  You got that in?

                                    CITY EDITOR
                        Oh, yes, it's already made up.  
                        Our Mr. Mervin wrote a small review.

                                    BERNSTEIN
                        Enthusiastic?

                                    CITY EDITOR
                        Yes, very!
                               (quietly)
                        Naturally.

                                    BERNSTEIN
                        Well, well - isn't that nice?

                                    KANE'S VOICE
                        Mr. Bernstein -

          Bernstein turns.

          Medium long shot of Kane, now forty-nine, already quite stout.  
          He is in white tie, wearing his overcoat and carrying a folded 
          opera hat.

                                    BERNSTEIN
                        Hello, Mr. Kane.

          The Hirelings rush, with Bernstein, to Kane's side.  Widespread, 
          half-suppressed sensation.

                                    CITY EDITOR
                        Mr. Kane, this is a surprise!

                                    KANE
                        We've got a nice plant here.

          Everybody falls silent.  There isn't anything to say.

                                    KANE
                        Was the show covered by every 
                        department?

                                    CITY EDITOR
                        Exactly according to your 
                        instructions, Mr. Kane.  We've got 
                        two spreads of pictures.

                                    KANE
                               (very, very casually)
                        And the notice?

                                    CITY EDITOR
                        Yes - Mr. Kane.

                                    KANE
                               (quietly)
                        Is it good?

                                    CITY EDITOR
                        Yes, Mr. kane.

          Kane looks at him for a minute.

                                    CITY EDITOR
                        But there's another one still to 
                        come - the dramatic notice.

                                    KANE
                               (sharply)
                        It isn't finished?

                                    CITY EDITOR
                        No, Mr. Kane.

                                    KANE
                        That's Leland, isn't it?

                                    CITY EDITOR
                        Yes, Mr. Kane.

                                    KANE
                        Has he said when he'll finish?

                                    CITY EDITOR
                        We haven't heard from him.

                                    KANE
                        He used to work fast - didn't he, 
                        Mr. Bernstein?

                                    BERNSTEIN
                        He sure did, Mr. Kane.

                                    KANE
                        Where is he?

                                    ANOTHER HIRELING
                        Right in there, Mr. Kane.

          The Hireling indicates the closed glass door of a little office 
          at the other end of the City Room.  Kane takes it in.

                                    BERNSTEIN
                               (helpless, but very 
                               concerned)
                        MR. KANE -

                                    KANE
                        That's all right, Mr. Bernstein.

          Kane crosses the length of the long City Room to the glass 
          door indicated before by the Hireling.  The City Editor looks 
          at Bernstein.  Kane opens the door and goes into the office, 
          closing the door behind him.

                                    BERNSTEIN
                        Leland and Mr. Kane - they haven't 
                        spoke together for ten years.
                               (long pause; finally)
                        Excuse me.
                               (starts toward the 
                               door)

          INT. LELAND'S OFFICE - CHICAGO ENQUIRER - NIGHT -

          Bernstein comes in.  An empty bottle is standing on Leland's 
          desk.  He has fallen over his typewriter, his face on the keys.  
          A sheet of paper is in the machine.  A paragraph has been typed.  
          Kane is standing at the other side of the desk looking down on 
          him.  This is the first time we see murder in Kane's face.  
          Bernstein looks at Kane, then crosses to Leland.  He shakes 
          him.

                                    BERNSTEIN
                        Hey, Brad!  Brad!
                               (he straightens, 
                               looks at Kane; 
                               pause)
                        He ain't been drinking before, Mr. 
                        Kane.  Never.  We would have heard.

                                    KANE
                               (finally; after a 
                               pause)
                        What does it say there?

          Bernstein stares at him.

                                    KANE
                        What's he written?

          Bernstein looks over nearsightedly, painfully reading the 
          paragraph written on the page.

                                    BERNSTEIN
                               (reading)
                        "Miss Susan Alexander, a pretty 
                        but hopelessly incompetent amateur -
                               (he waits for a 
                               minute to catch 
                               his breath; he 
                               doesn't like it)
                        - last night opened the new Chicago 
                        Opera House in a performance of - 
                        of -"
                               (looks up miserably)
                        I can't pronounce that name, Mr. 
                        Kane.

                                    KANE
                        Thais.

          Bernstein looks at Kane for a moment, then looks back, tortured.

                                    BERNSTEIN
                               (reading again)
                        "Her singing, happily, is no concern 
                        of this department.  Of her acting, 
                        it is absolutely impossible to..."
                               (he continues to 
                               stare at the page)

                                    KANE
                               (after a short 
                               silence)
                        Go on!

                                    BERNSTEIN
                               (without looking up)
                        That's all there is.

          Kane snatches the paper from the roller and reads it for 
          himself.  Slowly, a queer look comes over his face.  Then he 
          speaks, very quietly.

                                    KANE
                        Of her acting, it is absolutely 
                        impossible to say anything except 
                        that it represents a new low...
                               (then sharply)
                        Have you got that, Mr. Bernstein?
                        In the opinion of this reviewer -

                                    BERNSTEIN
                               (miserably)
                        I didn't see that.

                                    KANE
                        It isn't here, Mr. Bernstein.  I'm 
                        dictating it.

                                    BERNSTEIN
                               (looks at him)
                        I can't take shorthand.

                                    KANE
                        Get me a typewriter.  I'll finish 
                        the notice.

          Bernstein retreats from the room.

                                                        QUICK DISSOLVE OUT:

          QUICK DISSOLVE IN:

          INT. LELAND'S OFFICE - CHICAGO ENQUIRER - NIGHT -

          Long shot of Kane in his shirt sleeves, illuminated by a desk 
          light, typing furiously.  As the camera starts to pull even 
          farther away from this, and as Bernstein - as narrator - begins 
          to speak -

                                                            QUICK DISSOLVE:

          INT. BERNSTEIN'S OFFICE - DAY -

          Bernstein speaking to Thompson.

                                    BERNSTEIN
                        He finished it.  He wrote the worst 
                        notice I ever read about the girl 
                        he loved.  We ran it in every paper.

                                    THOMPSON
                               (after a pause)
                        I guess Mr. Kane didn't think so 
                        well of Susie's art anyway.

                                    BERNSTEIN
                               (looks at him very 
                               soberly)
                        He thought she was great, Mr. 
                        Thompson.  He really believed that.  
                        He put all his ambition on that 
                        girl.  After she came along, he 
                        never really cared for himself 
                        like he used to.  Oh, I don't
                        blame Susie -

                                    THOMPSON
                        Well, then, how could he write 
                        that roast?  The notices in the 
                        Kane papers were always very kind 
                        to her.

                                    BERNSTEIN
                        Oh, yes.  He saw to that.  I tell 
                        you, Mr. Thompson, he was a hard 
                        man to figure out.  He had that 
                        funny sense of humor.  And then, 
                        too, maybe he thought by finishing 
                        that piece he could show Leland he 
                        was an honest man.  You see, Leland 
                        didn't think so.  I guess he showed 
                        him all right.  He's a nice fellow, 
                        but he's a dreamer.  They were 
                        always together in those early 
                        days when we just started the 
                        Enquirer.

          On these last words, we

                                                                  DISSOLVE:

          INT. CITY ROOM - ENQUIRER BUILDING - DAY -

          The front half of the second floor constitutes one large City 
          Room.  Despite the brilliant sunshine outside, very little of 
          it is actually getting into the room because the windows are 
          small and narrow.  There are about a dozen tables and desks, 
          of the old-fashioned type, not flat, available for reporters.  
          Two tables, on a raised platform at the end of the room, 
          obviously serve the city room executives.  To the left of the 
          platform is an open door which leads into the Sanctrum.

          As Kane and Leland enter the room, an elderly, stout gent on 
          the raised platform, strikes a bell and the other eight 
          occupants of the room - all men - rise and face the new 
          arrivals.  Carter, the elderly gent, in formal clothes, rises 
          and starts toward them.

                                    CARTER
                        Welcome, Mr. Kane, to the 
                        "Enquirer."  I am Herbert Carter.

                                    KANE
                        Thank you, Mr Carter.  This is Mr.
                        Leland.

                                    CARTER
                               (bowing)
                        How do you do, Mr. Leland?

                                    KANE
                               (pointing to the 
                               standing reporters)
                        Are they standing for me?

                                    CARTER
                        I thought it would be a nice gesture
                        the new publisher -

                                    KANE
                               (grinning)
                        Ask them to sit down.

                                    CARTER
                        You may resume your work, gentlemen.
                               (to Kane)
                        I didn't know your plans and so I 
                        was unable to make any preparations.

                                    KANE
                        I don't my plans myself.

          They are following Carter to his raised platform.

                                    KANE
                        As a matter of fact, I haven't got 
                        any.  Except to get out a newspaper.

          There is a terrific crash at the doorway.  They all turn to 
          see Bernstein sprawled at the entrance.  A roll of bedding, a 
          suitcase, and two framed pictures were too much for him.

                                    KANE
                        Oh, Mr. Bernstein!

          Bernstein looks up.

                                    KANE
                        If you would come here a moment,
                        please, Mr. Bernstein?

          Bernstein rises and comes over, tidying himself as he comes.

                                    KANE
                        Mr. Carter, this is Mr. Bernstein.
                        Mr. Bernstein is my general manager.

                                    CARTER
                               (frigidly)
                        How do you do, Mr. Bernstein?

                                    KANE
                        You've got a private office here, 
                        haven't you?

          The delivery wagon driver has now appeared in the entrance 
          with parts of the bedstead and other furniture.  He is looking 
          about, a bit bewildered.

                                    CARTER
                               (indicating open 
                               door to left of 
                               platform)
                        My little sanctum is at your 
                        disposal.  But I don't think I 
                        understand -

                                    KANE
                        I'm going to live right here.
                               (reflectively)
                        As long as I have to.

                                    CARTER
                        But a morning newspaper, Mr. Kane.
                        After all, we're practically closed 
                        twelve hours a day - except for 
                        the business offices -

                                    KANE
                        That's one of the things I think 
                        must be changed, Mr. Carter.  The 
                        news goes on for twenty-four hours 
                        a day.

                                                                  DISSOLVE:

          INT. KANE'S OFFICE - LATE DAY -

          Kane, in his shirt sleeves, at a roll-top desk in the Sanctum, 
          is working feverishly on copy and eating a very sizeable meal 
          at the same time.  Carter, still formally coated, is seated 
          alongside him.  Leland, seated in a corner, is looking on, 
          detached, amused.  The furniture has been pushed around and 
          Kane's effects are somewhat in place.  On a corner of the desk, 
          Bernstein is writing down figures.  No one pays any attention 
          to him.

                                    KANE
                        I'm not criticizing, Mr. Carter, 
                        but here's what I mean.  There's a 
                        front page story in the "Chronicle,"
                               (points to it)
                        and a picture - of a woman in 
                        Brooklyn who is missing.  Probably 
                        murdered.
                               (looks to make sure 
                               of the name)
                        A Mrs. Harry Silverstone.  Why 
                        didn't the "Enquirer" have that 
                        this morning?

                                    CARTER
                               (stiffly)
                        Because we're running a newspaper, 
                        Mr.  Kane, not a scandal sheet.

          Kane has finished eating.  He pushes away his plates.

                                    KANE
                        I'm still hungry, Brad.  Let's go 
                        to Rector's and get something 
                        decent.
                               (pointing to the 
                               "Chronicle" before 
                               him)
                        The "Chronicle" has a two-column 
                        headline, Mr. Carter.  Why haven't 
                        we?

                                    CARTER
                        There is no news big enough.

                                    KANE
                        If the headline is big enough, it 
                        makes the new big enough.  The 
                        murder of Mrs. Harry Silverstone -

                                    CARTER
                               (hotly)
                        As a matter of fact, we sent a man 
                        to the Silverstone home yesterday 
                        afternoon.
                               (triumphantly)
                        Our man even arrived before the 
                        "Chronicle" reporter.  And there's 
                        no proof that the woman was murdered -
                        or even that she's dead.

                                    KANE
                               (smiling a bit)
                        The "Chronicle" doesn't say she's 
                        murdered, Mr. Carter.  It says the 
                        neighbors are getting suspicious.

                                    CARTER
                               (stiffly)
                        It's not our function to report 
                        the gossip of housewives.  If we 
                        were interested in that kind of 
                        thing, Mr. Kane, we could fill the 
                        paper twice over daily -

                                    KANE
                               (gently)
                        That's the kind of thing we are 
                        going to be interested in from now 
                        on, Mr. Carter.  Right now, I wish 
                        you'd send your best man up to see 
                        Mr. Silverstone.  Have him tell 
                        Mr.  Silverstone if he doesn't 
                        produce his wife at once, the 
                        "Enquirer" will have him arrested.
                               (he gets an idea)
                        Have him tell Mr. Silverstone he's 
                        a detective from the Central Office.
                        If Mr. Silverstone asks to see his 
                        badge, your man is to get indignant 
                        and call Mr. Silverstone an 
                        anarchist.

          Loudly, so that the neighbors can hear.

                                    CARTER
                        Really, Mr. Kane, I can't see the
                        function of a respectable newspaper -

          Kane isn't listening to him.

                                    KANE
                        Oh, Mr. Bernstein!

          Bernstein looks up from his figures.

                                    KANE
                        I've just made a shocking discovery.
                        The "Enquirer" is without a 
                        telephone.  Have two installed at 
                        once!

                                    BERNSTEIN
                        I ordered six already this morning!
                        Got a discount!

          Kane looks at Leland with a fond nod of his head at Bernstein.  
          Leland grins back.  Mr. Carter, meantime, has risen stiffly.

                                    CARTER
                        But, Mr. Kane -

                                    KANE
                        That'll be all today, Mr. Carter.
                        You've been most understanding.
                        Good day, Mr. Carter!

          Carter, with a look that runs just short of apoplexy, leaves 
          the room, closing the door behind him.

                                    LELAND
                        Poor Mr. Carter!

                                    KANE
                               (shakes his head)
                        What makes those fellows think 
                        that a newspaper is something rigid, 
                        something inflexible, that people
                        are supposed to pay two cents for -

                                    BERNSTEIN
                               (without looking up)
                        Three cents.

                                    KANE
                               (calmly)
                        Two cents.

          Bernstein lifts his head and looks at Kane.  Kane gazes back 
          at him.

                                    BERNSTEIN
                               (tapping on the 
                               paper)
                        This is all figured at three cents 
                        a copy.

                                    KANE
                        Re-figure it, Mr. Bernstein, at 
                        two cents.

                                    BERNSTEIN
                               (sighs and puts 
                               papers in his pocket)
                        All right, but I'll keep these 
                        figures, too, just in case.

                                    KANE
                        Ready for dinner, Brad?

                                    BERNSTEIN
                        Mr. Leland, if Mr. Kane, he should 
                        decide to drop the price to one 
                        cent, or maybe even he should make 
                        up his mind to give the paper away 
                        with a half-pound of tea - you'll 
                        just hold him until I get back, 
                        won't you?

                                    LELAND
                        I'm not guaranteeing a thing, Mr.
                        Bernstein.  You people work too 
                        fast for me!  Talk about new brooms!

                                    BERNSTEIN
                        Who said anything about brooms?

                                    KANE
                        It's a saying, Mr. Bernstein.  A 
                        new broom sweeps clean.

                                    BERNSTEIN
                        Oh!

                                                                  DISSOLVE:

          INT.PRIMITIVE COMPOSING AND PRESSROOM - NEW YORK ENQUIRER - 
          NIGHT -

          The ground floor witht he windows on the street - of the 
          "Enquirer."  It is almost midnight by an old-fashioned clock 
          on the wall.  Grouped around a large table, on which are several 
          locked forms of type, very old-fashioned of course, but true 
          to the period - are Kane and Leland in elegant evening clothes, 
          Bernstein, unchanged from the afternoon, and Smathers, the 
          composing room foreman, nervous and harassed.

                                    SMATHERS
                        But it's impossible, Mr. Kane.  We 
                        can't remake these pages.

                                    KANE
                        These pages aren't made up as I 
                        want them, Mr. Smathers.  We go to 
                        press in five minutes.

                                    CARTER
                               (about to crack up)
                        The "Enquirer" has an old and 
                        honored tradition, Mr. Kane...  
                        The "Enquirer" is not in competition 
                        with those other rags.

                                    BERNSTEIN
                        We should be publishing such rags,
                        that's all I wish.  Why, the 
                        "Enquirer" - I wouldn't wrap up 
                        the liver for the cat in the 
                        "Enquirer" -

                                    CARTER
                               (enraged)
                        Mr. Kane, I must ask you to see to 
                        it that this - this person learns 
                        to control his tongue.

          Kane looks up.

                                    CARTER
                        I've been a newspaperman my whole 
                        life and I don't intend -
                               (he starts to sputter)
                        - if it's your intention that I 
                        should continue to be harassed by 
                        this - this -
                               (he's really sore)
                        I warn you, Mr. Kane, it would go 
                        against my grain to desert you 
                        when you need me so badly - but I 
                        would feel obliged to ask that my 
                        resignation be accepted.

                                    KANE
                        It is accepted, Mr. Carter, with 
                        assurances of my deepest regard.

                                    CARTER
                        But Mr. Kane, I meant -

          Kane turns his back on him, speaks again to the composing room 
          foreman.

                                    KANE
                               (quietly)
                        Let's remake these pages, Mr. 
                        Smathers.  We'll have to publish a 
                        half hour late, that's all.

                                    SMATHERS
                               (as though Kane 
                               were talking Greek)
                        We can't remake them, Mr. Kane.  
                        We go to press in five minutes.

          Kane sighs, unperturbed, as he reaches out his hand and shoves 
          the forms off the table onto the floor, where they scatter 
          into hundreds of bits.

                                    KANE
                        You can remake them now, can't 
                        you, Mr. Smathers?

          Smather's mouth opens wider and wider.  Bradford and Bernstein 
          are grinning.

                                    KANE
                        After the types 've been reset and 
                        the pages have been remade according 
                        to the way I told you before, Mr.
                        Smathers, kindly have proofs pulled 
                        and bring them to me.  Then, if I 
                        can't find any way to improve them
                        again -
                               (almost as if 
                               reluctantly)
                        - I suppose we'll have to go to 
                        press.

          He starts out of the room, followed by Leland.

                                    BERNSTEIN
                               (to Smathers)
                        In case you don't understand, Mr.
                        Smathers - he's a new broom.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          EXT. NEW YORK STREET - VERY EARLY DAWN -

          The picture is mainly occupied by a large building, on the 
          roof of which the lights spell out the word "Enquirer" against 
          the sunrise.  We do not see the street or the first few stories 
          of this building, the windows of which would be certainly 
          illuminated.  What we do see is the floor on which is located 
          the City Room.  Over this scene, newboys are heard selling the 
          Chronicle, their voices growing in volume.

          As the dissolve complete itself, camera moves toward the one 
          lighted window - the window of the Sanctrum.

                                                                  DISSOLVE:

          INT. KANE'S OFFICE - VERY EARLY DAWN -

          The newsboys are still heard from the street below - fainter 
          but very insistent.

          Kane's office is gas-lit, of course, as is the rest of the 
          Enquirer building.

          Kane, in his shirt sleeves, stands at the open window looking 
          out.  The bed is already made up.  On it is seated Bernstein, 
          smoking the end of a cigar.  Leland is in a chair.

                                    NEWSBOYS' VOICES
                        CHRONICLE!  CHRONICLE!  H'YA - THE 
                        CHRONICLE - GET YA!  CHRONICLE!

          Kane, taking a deep breath of the morning air, closes the window 
          and turns to the others.  The voices of the newsboys, naturally, 
          are very much fainter after this.

                                    LELAND
                        We'll be on the street soon, Charlie - 
                        another ten minutes.

                                    BERNSTEIN
                               (looking at his 
                               watch)
                        It's three hours and fifty minutes
                        late - but we did it -

          Leland rises from the chair, stretching painfully.

                                    KANE
                        Tired?

                                    LELAND
                        It's been a tough day.

                                    KANE
                        A wasted day.

                                    BERNSTEIN
                               (looking up)
                        Wasted?

                                    LELAND
                               (incredulously)
                        Charlie?!

                                    BERNSTEIN
                        You just made the paper over four
                        times today, Mr. Kane.  That's all -

                                    KANE
                        I've changed the front page a 
                        little, Mr. Bernstein.  That's not 
                        enough - There's something I've 
                        got to get into this paper besides 
                        pictures and print -  I've got to 
                        make the "New York Enquirer" as 
                        important to New York as the gas 
                        in that light.

                                    LELAND
                               (quietly)
                        What're you going to do, Charlie?

          Kane looks at him for a minute with a queer smile of happy 
          concentration.

                                    KANE
                        My Declaration of Principles -
                               (he says it with 
                               quotes around it)
                        Don't smile, Brad -
                               (getting the idea)
                        Take dictation, Mr. Bernstein -

                                    BERNSTEIN
                        Can't take shorthand, Mr. Kane -

                                    KANE
                        I'll write it myself.

          Kane grabs a piece of rough paper and a grease crayon.  Sitting 
          down on the bed next to Bernstein, he starts to write.

                                    BERNSTEIN
                               (looking over his 
                               shoulder)
                        You don't wanta make any promises, 
                        Mr. Kane, you don't wanta keep.

                                    KANE
                               (as he writes)
                        These'll be kept.
                               (stops for a minute 
                               and reads what he 
                               has written; reading)
                        I'll provide the people of this 
                        city with a daily paper that will 
                        tell all the news honestly.
                               (starts to write 
                               again; reading as 
                               he writes)
                        will also provide them -

                                    LELAND
                        That's the second sentence you've
                        started with "I" -

                                    KANE
                               (looking up)
                        People are going to know who's 
                        responsible.  And they're going to
                        get the news - the true news -
                        quickly and simply and 
                        entertainingly.
                               (he speaks with 
                               real conviction)
                        And no special interests will be 
                        allowed to interfere with the truth 
                        of that news.

          He looks at Leland for a minute and goes back to his writing, 
          reading as he writes.

          Bernstein has risen and crossed to one side of Kane.  They 
          both stand looking out.  Leland joins him on the other side.  
          Their three heads are silhouetted against the sky.  Leland's 
          head is seen to turn slightly as he looks into Kane's face - 
          camera very close on this - Kane turns to him and we know their 
          eyes have met, although their faces are almost in sillhouette.  
          Bernstein is still smoking a cigar.

                                                                  DISSOLVE:

          Front page of the "Enquirer" shows big boxed editorial with 
          heading:

          MY PRINCIPLES - A DECLARATION BY CHARLES FOSTER KANE

          Camera continues pulling back and shows newspaper to be on the 
          top of a pile of newspapers.  As we draw further back, we see 
          four piles, and as camera contines to pull back, we see six 
          piles and go on back until we see a big field of "Enquirers" - 
          piles of "Enquirers" - all 26,000 copies ready for distribution.

          A wagon with a huge sign on its side reading

          "ENQUIRER - CIRCULATION 26,000"

          passes through foreground, and we wipe to:

          A pile of "Enquirers" for sale on a broken down wooden box on 
          a street corner, obviously a poor district.  A couple of coins 
          fall on the pile.

          The stoop of a period door with old-fashioned enamel milk can 
          and a bag of rolls.  Across the sidewalk before this, moves 
          the shadow of an old-fashioned bicycle with an enormous front 
          wheel.  A copy of the "Enquirer" is tossed on the stoop.

          A breakfast table - beautiful linen and beautiful silver - 
          everything very expensive, gleaming in the sunshine.  Into a 
          silver newspaper rack there is slipped a copy of the "Enquirer".  
          Here, as before, the boxed editorial reading MY PRINCIPLES - A 
          DECLARATION BY CHARLES FOSTER KANE, is very prominent on the 
          front page.

          The wooden floor of a railroad station, flashing light and 
          dark as a train behind the camera rushes by.  On the floor, 
          there is tossed a bound bundle of the "New York Enquirer" - 
          the Declaration of Principles still prominent.

          Rural Delivery - a copy of the "Enquirer"s being put into bins, 
          showing state distribution.

          The railroad platform again.  We stay here for four images.  
          On each image, the speed of the train is faster and the piles 
          of the "Enquirer" are larger.  On the first image, we move in 
          to hold on the words "CIRCULATION - 31,000."  We are this close 
          for the next pile which reads 40,000; the next one which reads 
          55,000, and the last which is 62,000.  In each instance, the 
          bundles of newspapers are thicker and the speed of the moving 
          train behind the camera is increased.

          The entire montage above indicated is accompanied by a 
          descriptive complement of sound - the traffic noises of New 
          York in the 1890's; wheels on cobblestones and horses' hooves; 
          bicycle bells; the mooning of cattle and the crowing of roosters 
          (in the RFD shot), and in all cases where the railroad platform 
          is used - the mounting sound of the railroad train.

          The last figure "62,000" opposite the word "CIRCULATION" on 
          the "Enquirer" masthead changes to:

          EXT. STREET AND CHRONICLE BUIDING - DAY -

          Angle up to wall of building - a painter on a cradle is putting 
          the last zero to the figure "62,000" on an enormous sign 
          advertising the "Enquirer."  It reads:

          THE ENQUIRER  THE PEOPLE'S NEWSPAPER  CIRCULATION 62,000

          Camera travels down side of building - takes in another building 
          on which there is a sign which reads:

          READ THE ENQUIRER  AMERICA'S FINEST  CIRCULATION 62,000

          Camera continues to travel down to sidewalk in front of the 
          Chronicle office.  The Chronicle office has a plateglass window 
          in which is reflected traffic moving up and down the street, 
          also the figures of Kane, Leland and Bernstein, who are munching 
          peanuts.

          Inside the window, almost filling it, is a large photograph of 
          the "Chronicle" staff, with Reilly prominently seated in the 
          center.  A sign over the photo reads: EDITORIAL AND EXECUTIVE 
          STAFF OF THE NEW YORK CHRONICLE.  A sign beneath it reads: 
          GREATEST NEWSPAPER STAFF IN THE WORLD.  The sign also includes 
          the "Chronicle" circulation figure.  There are nine men in the 
          photo.

                                    BERNSTEIN
                               (looking up at the 
                               sign - happily)
                        Sixty-two thousand -

                                    LELAND
                        That looks pretty nice.

                                    KANE
                               (indicating the 
                               Chronicle Building)
                        Let's hope they like it there.

                                    BERNSTEIN
                        From the Chronicle Building that 
                        sign is the biggest thing you can 
                        see - every floor guaranteed - 
                        let's hope it bothers them - it 
                        cost us enough.

                                    KANE
                               (pointing to the 
                               sign over the 
                               photograph in the 
                               window)
                        Look at that.

                                    LELAND
                        The "Chronicle" is a good newspaper.

                                    KANE
                        It's a good idea for a newspaper.
                               (reading the figures)
                        Four hundred sixy thousand.

                                    BERNSTEIN
                        Say, with them fellows -
                               (referring to the 
                               photo)
                        - it's no trick to get circulation.

                                    KANE
                        You're right, Mr. Bernstein.

                                    BERNSTEIN
                               (sighs)
                        You know how long it took the 
                        "Chronicle" to get that staff 
                        together?  Twenty years.

                                    KANE
                        I know.

          Kane, smiling, lights a cigarette, at the same time looking 
          into the window.  Camera moves in to hold on the photograph of 
          nine men, still holding the reflection of Kane's smiling face.

                                                                  DISSOLVE:

          INT. CITY ROOM - THE ENQUIRER - NIGHT -

          Nine men, arrayed as in the photograph, but with Kane beaming 
          in the center of the first row.  The men, variously with 
          mustaches, beards, bald heads, etc. are easily identified as 
          being the same men, Reilly prominent amongst them.

          As camera pulls back, it is revealed that they are being 
          photographed - by an old-type professional photographer, big 
          box, black hood and all - in a corner of the room.  It is 1:30 
          at night.  Desks, etc. have been pushed against the wall.  
          Running down the center of the room is a long banquet table, 
          at which twenty diners have finished their meals.  The eleven 
          remaining at their seats - these include Bernstein and Leland - 
          are amusedly watching the photographic ceremonies.

                                    PHOTOGRAPHER
                        That's all.  Thank you.

          The photographic subjects rise.

                                    KANE
                               (a sudden thought)
                        Make up an extra copy and mail it 
                        to the "Chronicle."

          Chuckling and beaming, he makes his way to his place at the 
          head of the table.  The others have already sat down.  Kane 
          gets his guests' attention by rapping on the table with a knife.

                                    KANE
                        Gentlemen of the "Enquirer"!  This 
                        has, I think, been a fitting welcome
                        to those distinguished journalists -
                               (indicates the eight 
                               men)
                        Mr. Reilly in particular - who are 
                        the latest additions to our ranks.
                        It will make them happy to learn 
                        that the "Enquirer's" circulation 
                        this morning passed the two hundred 
                        thousand mark.

                                    BERNSTEIN
                        Two hundred and one thousand, six 
                        hundred and forty-seven.

          General applause.

                                    KANE
                        All of you - new and old -  You're 
                        all getting the best salaries in 
                        town.  Not one of you has been 
                        hired because of his loyalty.  
                        It's your talent I'm interested 
                        in.  That talent that's going to 
                        make the "Enquirer" the kind of 
                        paper I want - the best newspaper 
                        in the world!

          Applause.

                                    KANE
                        However, I think you'll agree we've 
                        heard enough about newspapers and 
                        the newspaper business for one 
                        night.  There are other subjects 
                        in the world.

          He puts his two fingers in his mouth and lets out a shrill 
          whistle.  This is a signal.  A band strikes up a lively ditty 
          of the period and enters in advance a regiment of very 
          magnificent maidens, as daringly arrayed as possible in the 
          chorus costumes of the day.  The rest of this episode will be 
          planned and staged later.  Its essence is that Kane is just a 
          healthy and happy young man having a wonderful time.

          As some of the girls are detached from the line and made into 
          partners for individual dancing -

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          THE "ENQUIRER" SIGN:  THE ENQUIRER  AMERICA'S FINEST  
          CIRCULATION 274,321

          Dissolve just completes itself - the image of Kane dancing 
          with a girl on each arm just disappears as camera pans down 
          off the Temple Bldg. in the same action as the previous street 
          scene.  There is a new sign on the side of the building below.  
          It reads:

          READ THE ENQUIRER GREATEST STAFF IN THE WORLD

          Camera continues panning as we

                                                                  DISSOLVE:

          A montage of various scenes, between the years 1891-1900.

          The scenes indicate the growth of the "Enquirer" under the 
          impulse of Kane's personal drive.  Kane is shown, thus, at 
          various activities:

          Move down from the sign: READ THE ENQUIRER  GREATEST STAFF IN 
          THE WORLD to street in front of saloon with parade passing 
          (boys going off to the Spanish-American War)-  A torchlight 
          parade with the torches reflected in the glass window of the 
          saloon - the sound of brass band playing "It's a Hot Time."  
          In the window of the saloon is a large sign or poster "REMEMBER 
          THE MAINE"

          INSERT:  Remington drawing of American boys, similar to the 
          parade above, in which "Our Boys" in the expeditionary hats 
          are seen marching off to war.

          Back of observation car.  Shot of Kane congratulating Teddy 
          Roosevelt (the same shot as in the News Digest - without 
          flickering).

          The wooden floor of the railroad platform again - a bundle of 
          "Enquirers" - this time an enormous bundle - is thrown down, 
          and the moving shadows of the train behind the camera indicate 
          that it is going like a bat out of hell.  A reproduction of 
          Kane and Teddy shaking hands as above is very prominent in the 
          frame and almost hogs the entire front page.  The headline 
          indicates the surrender of Cuba.

          INT. ENQUIRER OFFICE

          Cartoon, highly dramatic and very involved as to content - 
          lousy with captions, labels, and symbolic figures, the most 
          gruesome and recognizable - "Capitalistic Greed."  This cartoon 
          is almost finished and is on a drawing board before which stand 
          Kane and the artist himself.  Kane is grinning over some 
          suggestion he has made.

                                                                  DISSOLVE:

          The cartoon finished and reproduced on the editorial page of 
          the "Enquirer" - in quite close, with an editorial and several 
          faces of caps shown underneath.  The entire newspaper is crushed 
          with an angry gesture and thrown down into an expensive-looking 
          wastebasket (which is primarily for ticker tape) tape is 
          pouring.

          INT. ENQUIRER OFFICE

          Cartoonist and Kane working on comic strip of "Johnny the Monk."

                                                                  DISSOLVE:

          Floor of room -  Two kids on floor, with newspaper spread out, 
          looking at the same comic strip.

          Kane's photographic gallery with photographers, stooges, and 
          Kane himself in attendance on a very hot-looking item of the 
          period.  A sob sister is interviewing this hot number and Kane 
          is arranging her dress to look more seductive.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          The hot number reproduced and prominently displayed and covering 
          almost half a page of the "Enquirer."  It is being read in a 
          barber shop and is seen in an over-shoulder shot of the man 
          who is reading it.  He is getting a shine, a manicure, and a 
          haircut.  The sob-sister caption over the photograph reveals: 
          "I DIDN'T KNOW WHAT I WAS DOING, SAYS DANCER.  EVERYTHING WENT 
          RED."  An oval photograph of the gun is included in the lay-
          out of the pretty lady with a headline which says: "DEATH GUN."

          STREET - SHOT OF BUCKET BRIGADE

          Shot of Kane, in evening clothes, in obvious position of danger, 
          grabbing camera from photographer.  Before him rages a terrific 
          tenement fire.

                                                                  DISSOLVE:

          INSERT:  Headline about inadequacy of present fire equipment.

                                                                  DISSOLVE:

          Final shot of a new horse-drawn steam engine roaring around a 
          street corner (Stock).

                                                                  DISSOLVE:

          A black pattern of iron bars.  We are in a prison cell.  The 
          door is opened and a condemned man, with priest, warden and 
          the usual attendants, moves into foreground and starts up the 
          hall past a group which includes phtographers, Kane's sob-
          sister, and Kane.  The photographers take pictures with a mighty 
          flash of old-fashioned flash powder.  The condemned man in the 
          foreground (in silhouette) is startled by this.

                                                                  DISSOLVE:

          A copy of the "Enquirer" spread out on a table.  A big lay-out 
          of the execution story includes the killer as photographed by 
          Kane's photographers, and nearby on the other page there is a 
          large picture of the new steam fire engine (made from the stock 
          shot) with a headline indicating that the "Enquirer" has won 
          its campaign for better equipment.  A cup of coffee and a 
          doughnut are on the newspaper, and a servant girl - over whose 
          shoulder we see the paper - is stirring the coffee.

          The Beaux Art Ball.  A number of elderly swells are jammed 
          into a hallway.  Servants suddenly divest them of their furs, 
          overcoats and wraps, revealing them to be in fancy dress 
          costume, pink fleshings, etc., the effect to be very surprising, 
          very lavish and very very ridiculous.  We see, among others, 
          Mr. Thatcher himself (as Ben Hur) ribbon around, his bald head 
          and all.  At the conclusion of this tableau, the image freezes 
          and we pull back to show it reproduced on the society page of 
          the "New York Enquirer."

          Over the "Enquirer"'s pictorial version of the Beaux Art Ball 
          is thrown a huge fish - then coffee grounds - altogether a 
          pretty repulsive sight.

          The whole thing is bundled up and thrown into a garbage can.

          Extreme close-up of the words: "OCCUPATION - JOUNALIST."

          Camera pulls back to show passport open to the photograph page 
          which shows Kane, registering birth, race, and nationality.  
          Passport cover is closed, showing it to be an American passport.

          EXT. CUNARD DOCKS - GANGPLANK AND DECK OF BOAT - NIGHT -

          As camera pulls back over shoulder of official, taking in Kane, 
          Leland, and Bernstein, we see the bustle and noise of departing 
          ocean liner.  Behind the principles can be seen an enormous 
          plain sign which reads: "FIRST CLASS."  From offstage can be 
          heard the steward's cry, indispensable in any Mercury 
          production, the old familiar cry, "All Ashore That's Going 
          Ashore!" - gongs, also blasts of the great whistle and all the 
          rest of it.

                                    THE OFFICIAL
                        There you are, Mr. Kane.  Everything 
                        in order.

                                    KANE
                        Thank you.

          Kane and Leland and Bernstein start up the gangplank.

                                    THE OFFICIAL
                               (calling)
                        Have a good rest, Mr. Kane.

                                    KANE
                        Thanks.

                                    BERNSTEIN
                        But please, Mr. Kane, don't buy 
                        any more paintings.  Nine Venuses 
                        already we got, twenty-six Virgins - 
                        two whole warehouses full of stuff -

                                    KANE
                        I promise not to bring any more 
                        Venuses and not to worry - and not 
                        to try to get in touch with any of
                        the papers -

                                    STEWARD'S VOICE
                        All ashore!

                                    KANE
                        - and to forget about the new 
                        feature sections - and not to try 
                        to think up and ideas for comic 
                        sections.

                                    STEWARD'S VOICE
                        All ashore that's going ashore!

          Kane leaves Leland and Bernstein midway up gangplank, as he 
          rushes up to it, calling back with a wave:

                                    KANE
                        Goodbye, gents!
                               (at the top of the 
                               gangplank, he turns 
                               and calls down)
                        Hey!

                                    KANE
                               (calling down to 
                               them)
                        You don't expect me to keep any of 
                        those promises, do you?

          A band on deck strikes up "Auld Lang Syne."  Bernstein and 
          Leland turn to each other.

                                    BERNSTEIN
                        Do you, Mr. Leland?

                                    LELAND
                               (smiling)
                        Certainly not.

          They start down the gangplank together.

                                                                  DISSOLVE:

          LONG SHOT OF THE ENQUIRER BUILDING - NIGHT

          The pattern of telegraph wires, dripping with rain, through 
          which we see the same old building but now rendered fairly 
          remarkable by tremendous outline sign in gold which reads "THE 
          NEW YORK DAILY ENQUIRER."  A couple of lights show in the 
          building.  We start toward the window where the lights show, 
          as we -

                                                                  DISSOLVE:

          EXT. OUTSIDE THE WINDOW AT BERNSTEIN'S DESK - NIGHT

          The light in the window in the former shot was showing behind 
          the letter "E" of the Enquirer sign.  Now the letter "E" is 
          even larger than the frame of the camera.  Rain drips 
          disconsolately off the middle part of the figure.  We see 
          through this and through the drizzle of the window to 
          Bernstein's desk where he sits working under a blue shaded 
          light.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          Same setup as before except that it is now late afternoon and 
          late in the winter of the year.  The outline "E" is hung with 
          icicles which are melting, dripping despairingly between us 
          and Mr. Bernstein, still seated at his desk - still working.

                                                                  DISSOLVE:

          Same setup as before except that it is spring.  Instead of the 
          sad sounds of dripping rain or dripping icicles, we hear the 
          melancholy cry of a hurdy-gurdy in the street below.  It is 
          spring and through the letter "E" we can see Bernstein working 
          at his desk.  Pigeons are gathering on the "E" and on the sill.  
          Bernstein looks up and sees them.  He takes some crumbs from 
          his little homemade lunch which is spread out on the desk before 
          him, carries them to the windows and feeds the pigeons, looking 
          moodily out on the prospect of spring on Park Row.  The birds 
          eat the crumbs - the hurdy-gurdy continues to play.

                                                                  DISSOLVE:

          The same setup again, it is now summer.  The window was half-
          open before .. now it's open all the way and Bernstein has 
          gone so far as to take off his coat.  His shirt and his 
          celluloid collar are wringing wet.  Camera moves toward the 
          window to tighten on Bernstein and to take in the City Room 
          behind him, which is absolutely deserted.  It is clear that 
          there is almost nothing more for Bernstein to do.  The hurdy-
          gurdy in the street is playing as before, but a new tune.

                                                                  DISSOLVE:

          A beach on Coney Island.

          Bernstein in a rented period bathing suit sits alone in the 
          sand, reading a copy of the "Enquirer."

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. CITY ROOM - ENQUIRER BUILDING - DAY -

          The whole floor is now a City Room.  It is twice its former 
          size, yet not too large for all the desks and the people using 
          them.  The windows have been enlarged, providing a good deal 
          more light and air.  A wall calendar says September 9th.

          Kane and Bernstein enter and stand in the entrance a moment.  
          Kane, who really did look a bit peaked before, is now clear-
          eyed and tanned.  He is wearing new English clothes.  As they 
          come into the room, Bernstein practically walking sideways, is 
          doing nothing but beaming and admiring Kane, quelling like a 
          mother at the Carnegie Hall debut of her son.  Seeing and 
          recognizing Kane, the entire staff rises to its feet.

                                    KANE
                               (referring to the 
                               staff; with a smile)
                        Ask them to sit down, Mr. Bernstein.

                                    BERNSTEIN
                        Sit down, everybody - for heaven's 
                        sake!

          The order is immediately obeyed, everybody going into business 
          of feverish activity.

                                    BERNSTEIN
                        So then, tonight, we go over 
                        everything thoroughly, eh?  
                        Especially the new papers -

                                    KANE
                        We certainly do.  Vacation's over -
                        starting right after dinner.  But
                        right now - that lady over there -
                               (he indicates a 
                               woman at the desk)
                        - that's the new society editor, I 
                        take it?  You think I could 
                        interrupt her a moment, Mr. 
                        Bernstein?

                                    BERNSTEIN
                        Huh?  Oh, I forgot - you've been 
                        away so long I forgot about your
                        joking -

          He trails after Kane as he approaches the Society Editor's 
          desk.  The Society Editor, a middle-aged spinster, sees him 
          approaching and starts to quake all over, but tries to pretend 
          she isn't aware of him.  An envelope in her hand shakes 
          violently.  Kane and Bernstein stop at her desk.

                                    BERNSTEIN
                        Miss Townsend -

          Miss Townsend looks up and is so surprised to see Bernstein 
          with a stranger.

                                    MISS TOWNSEND
                        Good afternoon, Mr. Bernstein.

                                    BERNSTEIN
                        This is Mr. Kane, Miss Townsend.

          Miss Townsend can't stick to her plan.  She starts to rise, 
          but her legs are none too good under her.  She knocks over a 
          tray of copy paper as she rises, and bends to pick it up.

                                    KANE
                               (very hesitatingly 
                               and very softly)
                        Miss Townsend -

          At the sound of his voice, she straightens up.  She is very 
          close to death from excitement.

                                    KANE
                        I've been away for several months, 
                        and I don't know exactly how these 
                        things are handled now.  But one 
                        thing I wanted to be sure of is 
                        that you won't treat this little 
                        announcement any differently than 
                        you would any other similar 
                        announcement.

          He hands her an envelope.  She has difficulty in holding on to 
          it.

                                    KANE
                               (gently)
                        Read it, Miss Townsend.  And 
                        remember - just the regular 
                        treatment!  See you at nine o'clock, 
                        Mr. Bernstein!

          Kane leaves.  Bernstein looks after him, then at the paper.  
          Miss Townsend finally manages to open the envelope.  A piece 
          of flimsy paper, with a few written lines, is her reward.

                                    MISS TOWNSEND
                               (reading)
                        Mr. and Mrs. Thomas Moore Norton 
                        announce the engagement of their 
                        daughter, Emily Monroe Norton, to 
                        Mr.  Charles Foster Kane.

                                    BERNSTEIN
                               (starts to read it)
                        Mr. and Mrs. Thomas Moore Norton
                        announce -

                                    MISS TOWNSEND
                               (fluttering - on 
                               top of him)
                        She's - she's the niece of - of 
                        the President of the United States -

                                    BERNSTEIN
                               (nodding proudly)
                        know.  Come on, Miss Townsend -
                        From the window, maybe we can get 
                        a look.

          He takes her by the hand and leads her off.

          Angle toward open window.  Bernstein and Miss Townsend, backs 
          to camera, rushing to the window.

          EXT. STREET OUTSIDE ENQUIRER BUILDING - DAY -

          High angle downward - what Bernstein and Miss Townsend see 
          from the window.

          Kane is just stepping into an elegant barouch, drawn up at the 
          curb, in which sits Miss Emily Norton.  He kisses her full on 
          the lips before he sits down.  She acts a bit taken aback, 
          because of the public nature of the scene, but she isn't really 
          annoyed.  As the barouche starts off, she is looking at him 
          adoringly.  He, however, has turned his head and is looking 
          adoringly at the "Enquirer."  He apparently sees Bernstein and 
          Miss Townsed and waves his hand.

          INT. CITY ROOM - ENQUIRER - DAY -

          Bernstein and Miss Townsend at window.

                                    BERNSTEIN
                        A girl like that, believe me, she's 
                        lucky!  Presiden't niece, huh!  
                        Say, before he's through, she'll 
                        be a Presiden't wife.

          Miss Townsend is now dewey-eyed.  She looks at Bernstein, who 
          has turned away, gazing down at the departing couple.

                                                                  DISSOLVE:

          Front page of the "Enquirer."  Large picture of the young couple - 
          Kane and Emily - occupying four columns - very happy.

                                                                  DISSOLVE:

          INT. BERNSTEIN'S OFFICE - ENQUIRER - DAY -

          Bernstein and Thompson.  As the dissolve comes, Bernstein's 
          voice is heard.

                                    BERNSTEIN
                        The way things turned out, I don't 
                        need to tell you - Miss Emily Norton 
                        was no rosebud!

                                    THOMPSON
                        It didn't end very well, did it?

                                    BERNSTEIN
                               (shaking his head)
                        It ended -
                               (a slight pause)
                        Then there was Susie - that ended, 
                        too.
                               (shrugs, a pause; 
                               then looking up 
                               into Thompson's 
                               eyes)
                        guess he didn't make her very happy -

                                    (A PAUSE)
                        You know, I was thinking - that 
                        Rosebud you're trying to find out 
                        about -

                                    THOMPSON
                        Yes -

                                    BERNSTEIN
                        Maybe that was something he lost.  
                        Mr. Kane was a man that lost - 
                        almost everything he had -
                               (a pause)
                        You ought to talk to Bradford 
                        Leland.  He could tell you a lot.  
                        I wish I could tell you where Leland 
                        is, but I don't know myself.  He 
                        may be out of town somewhere - he 
                        may be dead.

                                    THOMPSON
                        In case you'd like to know, Mr.
                        Bernstein, he's at the Huntington 
                        Memorial Hospital on 180th Street.

                                    BERNSTEIN
                        You don't say!  Why I had no idea -

                                    THOMPSON
                        Nothing particular the matter with
                        him, they tell me.  Just -
                               (controls himself)

                                    BERNSTEIN
                        Just old age.
                               (smiles sadly)
                        It's the only disease, Mr. Thompson, 
                        you don't look forward to being 
                        cured of.
                               (pauses)
                        You ought to see Mr. Leland.  
                        There's a whole lot of things he 
                        could tell you - if he wanted to.

                                                                  FADE OUT:

          FADE IN:

          EXT. HOSPITAL ROOF - DAY -

          Close shot - Thompson.  He is tilted back in a chair which 
          seems to be, and is, leaning against a chimney.  Leland's voice 
          is heard for a few moments before Leland is seen.

                                    LELAND'S VOICE
                        When you get to my age, young man, 
                        you don't miss anything.  Unless 
                        maybe it's a good drink of bourbon.
                        Even that doesn't make much 
                        difference, if you remember there 
                        hasn't been any good bourbon in 
                        this country for twenty years.

          Camera has pulled back, during above speech, revealing that 
          Leland, wrapped in a blanket, is in a wheel chair, talking to 
          Thompson.  They are on the flat roof of a hospital.  Other 
          people in wheel chairs can be seen in the background, along 
          with a nurse or two.  They are all sunning themselves.

                                    THOMPSON
                        Mr. Leland, you were -

                                    LELAND
                        You don't happen to have a cigar, 
                        do you?  I've got a young physician - 
                        must remember to ask to see his 
                        license - the odds are a hundred 
                        to one he hasn't got one - who 
                        thinks I'm going to stop smoking...  
                        I changed the subject, didn't I?  
                        Dear, dear!  What a disagreeable 
                        old man I've become.  You want to 
                        know what I think of Charlie Kane?  
                        Well - I suppose he has some private 
                        sort of greatness.  But he kept it 
                        to himself.
                               (grinning)
                        He never - gave himself away -  He
                        never gave anything away.  He just -
                        left you a tip.  He had a generous 
                        mind.  I don't suppose anybody 
                        ever had so many opinions.  That 
                        was because he had the power to 
                        express them, and Charlie lived on 
                        power and the excitement of using 
                        it -  But he didn't believe in
                        anything except Charlie Kane.  He 
                        never had a conviction in his life.  
                        I guess he died without one -  
                        That must have been pretty 
                        unpleasant.  Of course, a lot of 
                        us check out with no special 
                        conviction about death.  But we do 
                        know what we're leaving ... we 
                        believe in something.
                               (looks sharply at 
                               Thompson)
                        You're absolutely sure you haven't 
                        got a cigar?

                                    THOMPSON
                        Sorry, Mr. Leland.

                                    LELAND
                        Never mind -  Bernstein told you 
                        about the first days at the office, 
                        didn't he?  Well, Charlie was a 
                        bad newspaper man even then.  He 
                        entertained his readers, but he 
                        never told them the truth.

                                    THOMPSON
                        Maybe you could remember something
                        that -

                                    LELAND
                        I can remember everything.  That's 
                        my curse, young man.  It's the 
                        greatest curse that's ever been 
                        inflicted on the human race.  Memory -  
                        I was his oldest friend.
                               (slowly)
                        As far as I was concerned, he 
                        behaved like swine.  Maybe I wasnt' 
                        his friend.  If I wasn't, he never 
                        had one.  Maybe I was what nowadays
                        you call a stooge -

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. CITY ROOM - THE ENQUIRER - NIGHT -

          The party (previously shown in the Bernstein sequence).

          We start this sequence toward the end of the former one, but 
          from a fresh angle, holding on Leland, who is at the end of 
          the table.  Kane is heard off, making a speech.

                                    KANE'S VOICE
                        Not one of you has been hired 
                        because of his loyalty.  It's your 
                        talent I'm interested in.  That 
                        talent that's going to make the 
                        "Enquirer" the kind of paper I 
                        want - the best newspaper in the 
                        world!

          Applause.  During above, Bernstein has come to Leland's side.

                                    BERNSTEIN
                        Isn't it wonderful?  Such a party!

                                    LELAND
                        Yes.

          His tone causes Bernstein to look at him.

                                    KANE'S VOICE
                        However, I think you'll agree we've 
                        heard enough about newspapers and 
                        the newspaper business for one 
                        night.

          The above speeches are heard under the following dialogue.

                                    BERNSTEIN
                               (to Leland)
                        What's the matter?

                                    LELAND
                        Mr. Bernstein, these men who are 
                        now with the "Enquirer" - who were 
                        with the "Chronicle" until yesterday -
                        weren't they just as devoted to 
                        the "Chronicle" kind of paper as 
                        they are now to - our kind of paper?

                                    BERNSTEIN
                        Sure.  They're like anybody else.
                        They got work to do.  They do it.
                               (proudly)
                        Only they happen to be the best 
                        men in the business.

                                    KANE
                               (finishing his speech)
                        There are other subjects in the 
                        world -

          Kane whistles.  The band and the chorus girls enter and hell 
          breaks loose all around Leland and Bernstein.

                                    LELAND
                               (after a minute)
                        Do we stand for the same things 
                        that the "Chronicle" stands for, 
                        Mr. Bernstein?

                                    BERNSTEIN
                               (indignantly)
                        Certainly not.  So what's that got 
                        to do with it?  Mr. Kane, he'll 
                        have them changed to his kind of 
                        newspapermen in a week.

                                    LELAND
                        Probably.  There's always a chance, 
                        of course, that they'll change Mr.
                        Kane - without his knowing it.

          Kane has come up to Leland and Bernstein.  He sits down next 
          to them, lighting a cigarette.

                                    KANE
                        Well, gentlemen, are we going to 
                        war?

                                    LELAND
                        Our readers are, anyway, I don't 
                        know about the rest of the country.

                                    KANE
                               (enthusiastically)
                        It'll be our first foreign war in 
                        fifty years, Brad.  We'll cover it 
                        the way the "Hickville Gazette" 
                        covers the church social!  The 
                        names of everybody there; what 
                        they wore; what they ate; who won 
                        the prizes; who gave the prizes -
                               (gets excited)
                        I tell you, Brad, I envy you.
                               (quoting)
                        By Bradford Leland, the "Enquirer's"
                        Special Correspondent at the Front.
                        I'm almost tempted -

                                    LELAND
                        But there is no Front, Charlie.
                        There's a very doubtful civil war.
                        Besides, I don't want the job.

                                    KANE
                        All right, Brad, all right - you 
                        don't have to be a war correspondent 
                        unless you want to - I'd want to.
                               (looking up)
                        Hello, Georgie.

          Georgie, a very handsome madam has walked into the picture, 
          stands behind him.  She leans over and speaks quietly in his 
          ear.

                                    GEORGIE
                        Is everything the way you want it, 
                        dear?

                                    KANE
                               (looking around)
                        If everybody's having fun, that's 
                        the way I want it.

                                    GEORGIE
                        I've got some other little girls
                        coming over -

                                    LELAND
                               (interrupting)
                        Charles, I tell you there is no 
                        war!  There's a condition that 
                        should be remedied - but between 
                        that and a -

                                    KANE
                               (seriously)
                        How would the "Enquirer" look with 
                        no news about this non-existent 
                        war - with Benton, Pulitzer and 
                        Heart devoting twenty columns a 
                        day to it?

                                    LELAND
                        They do it only because you do!

                                    KANE
                               (grins)
                        And I do it because they do it, 
                        and they do it - it's a vicious 
                        circle, isn't it?
                               (rises)
                        I'm going over to Georgie's, Brad -
                        you know, Georgie, don't you?

          Leland nods.

                                    GEORGIE
                               (over Kane's next 
                               lines)
                        Glad to meet you, Brad.

          Leland shudders.

                                    KANE
                        I told you about Brad, Georgie.
                        He needs to relax.

          Brad doesn't answer.

                                    KANE
                        Some ships with wonderful wines 
                        have managed to slip through the 
                        enemy fleet that's blockading New
                        York harbor -
                               (grins)
                        Georgie knows a young lady whom 
                        I'm sure you'd adore - wouldn't 
                        he, Georgie?  Why only the other 
                        evening I said to myself, if Brad 
                        were only here to adore this young 
                        lady - this -
                               (snaps his fingers)
                        What's her name again?

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. GEORGIE'S PLACE - NIGHT -

          Georgie is introducing a young lady to Branford Leland.  On 
          sound track we hear piano music.

                                    GEORGIE
                               (right on cue from 
                               preceding scene)
                        Ethel - this gentlemen has been 
                        very anxious to meet you -  This 
                        is Ethel.

                                    ETHEL
                        Hello, Mr. Leland.

          Camera pans to include Kane, seated at piano, with girls 
          gathered around him.

                                    ONE OF THE GIRLS
                        Charlie!  Play the song about you.

                                    ANOTHER GIRL
                        Is there a song about Charlie?

          Kane has broken into "Oh, Mr. Kane!" and Charlie and the girls 
          start to sing.  Ethel leads the unhappy Leland over to the 
          group.  Kane, seeing Leland and taking his eye, motions to the 
          professor who has been standing next to him to take over.  The 
          professor does so.  The singing continues.  Kane rises and 
          crosses to Leland.

                                    KANE
                        Say, Brad.
                               (draws him slightly 
                               aside)
                        I've got an idea.

                                    LELAND
                        Yes?

                                    KANE
                        I mean I've got a job for you.

                                    LELAND
                        Good.

                                    KANE
                        You don't want to be a war 
                        correspondent - how about being a 
                        dramatic critic?

                                    LELAND
                               (sincerely, but not 
                               gushing; seriously)
                        I'd like that.

          Kane starts quietly to dance in time to the music.  Leland 
          smiles at him.

                                    KANE
                        You start tomorrow night.  Richard 
                        Carl in "The Spring Chicken."
                               (or supply show)
                        I'll get us some girls.  You get 
                        tickets.  A drama critic gets them 
                        free, you know.
                               (grins)
                        Rector's at seven?

                                    LELAND
                        Charlie -

                                    KANE
                        Yes?

                                    LELAND
                               (still smiling)
                        It doesn't make any difference 
                        about me, but one of these days 
                        you're going to find out that all 
                        this charm of yours won't be enough -

                                    KANE
                               (has stopped dancing)
                        You're wrong.  It does make a 
                        difference to you -  Rector's, 
                        Brad?
                               (starts to dance 
                               again)
                        Come to think of it, I don't blame 
                        you for not wanting to be a war 
                        correspondent.  You won't miss 
                        anything.  It isn't much of a war.
                        Besides, they tell me there isn't 
                        a decent restaurant on the whole 
                        island.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. RECTOR'S - NIGHT -

          Leland, Kane, two young ladies at Rector's.  Popular music is 
          heard over the soundtrack.  Everybody is laughing very, very 
          hard at something Kane has said.  The girls are hysterical.  
          Kane can hardly breathe.  As Leland's laughter becomes more 
          and more hearty, it only increases the laughter of the others.

                                                                  DISSOLVE:

          EXT. CUNARD LOCKS - GANGPLANK AND DECK OF BOAT - NIGHT -

          As told by Bernstein.  Kane is calling down to Leland and 
          Bernstein (as before).

                                    KANE
                        You don't expect me to keep any of 
                        those promises, do you?

          A band on deck strikes up "Auld Lang Syne" and further ship-to-
          shore conversation is rendered unfeasible.

          Bernstein and Leland on deck.

                                    BERNSTEIN
                               (turns to Leland)
                        Do you, Mr. Leland?

                                    LELAND
                               (smiling)
                        Certainly not.

          Slight pause.  They continue on their way.

                                    BERNSTEIN
                        Mr. Leland, why didn't you go to 
                        Europe with him?  He wanted you
                        to.  He said to me just yesterday -

                                    LELAND
                        I wanted him to have fun - and 
                        with me along -

          This stops Bernstein.  Bernstein looks at him.

                                    LELAND
                        Mr. Bernstein, I wish you'd let me
                        ask you a few questions, and answer 
                        me truthfully.

                                    BERNSTEIN
                        Don't I always?  Most of the time?

                                    LELAND
                        Mr. Bernstein, am I a stuffed shirt?  
                        Am I a horse-faced hypocrite?  Am 
                        I a New England school-marm?

                                    BERNSTEIN
                        Yes.

          Leland is surprised.

                                    BERNSTEIN
                        If you thought I'd answer different 
                        from what Mr. Kane tells you - 
                        well, I wouldn't.

                                    LELAND
                               (good naturedly)
                        You're in a conspiracy against me, 
                        you two.  You always have been.

                                    BERNSTEIN
                        Against me there should be such a 
                        conspiracy some time!

          He pauses.  "Auld Lang Syne" can still be heard from the deck 
          of the department steamer.

                                    BERNSTEIN
                               (with a hopeful 
                               look in his eyes)
                        Well, he'll be coming back in 
                        September.  The Majestic.  I got 
                        the reservations.  It gets in on 
                        the ninth.

                                    LELAND
                        September the ninth?

          Leland puts his hand in his pocket, pulls out a pencil and 
          small engagement book, opens the book and starts to write.

          Leland's pencil writing on a page in the engagement book open 
          to September 9: "Rector's - 8:30 p.m."

                                                                  DISSOLVE:

          Front page "Enquirer."  Large picture of the young couple - 
          Kane and Emily - occupying four columns - very happy.

          EXT. HOSPITAL ROOF - DAY -

          Leland and Thompson.  Leland is speaking as we dissolve.

                                    LELAND
                        I used to go to dancing school 
                        with her.

          Thompson had handed Leland a paper.

                                    LELAND
                        What's this?

                                    THOMPSON
                        It's a letter from her lawyers.

                                    LELAND
                               (reading aloud from 
                               the letter)
                        David, Grobleski & Davis -  My
                        dear Rawlston -
                               (looks up)

                                    THOMPSON
                        Rawlston is my boss.

                                    LELAND
                        Oh, yes.  I know about Mr. Rawlston.

                                    THOMPSON
                        He knows the first Mrs. Kane 
                        socially -  That's the answer we 
                        got.

                                    LELAND
                               (reading)
                        I am in receipt of your favor of 
                        yesterday.  I beg you to do me the 
                        courtesy of accepting my assurance 
                        that Mrs. Whitehall cannot be 
                        induced to contribute any more 
                        information on the career of Charles 
                        Foster Kane.

          She has authorized me to state on previous occasions that she 
          regards their brief marriage as a distateful episode in her 
          life that she prefers to forget.  With assurances of the highest 
          esteem - Leland hands the paper back to Thompson.

                                    LELAND
                        Brief marriage!  Ten years!
                               (sighs)

                                    THOMPSON
                        Was he in love?

                                    LELAND
                        He married for love -
                               (a little laugh)
                        That's why he did everything.  
                        That's why he went into politics.  
                        It seems we weren't enough.  He 
                        wanted all the voters to love him, 
                        too.  All he really wanted out of 
                        life was love.  That's Charlie's 
                        story - it's the story of how he 
                        lost it.  You see, he just didn't 
                        have any to give.  He loved Charlie 
                        Kane, of course, very dearly - and 
                        his mother, I guess he always loved 
                        her.  As for Emily - well, all I 
                        can tell you is Emily's story as 
                        she told it to me, which probably 
                        isn't fair - there's supposed to 
                        be two sides to every story - and 
                        I guess there are.  I guess there's
                        more than two sides -

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          Newspaper - Kane's marriage to Emily with still of group on 
          White House lawn, same setup as early newsreel in News Digest.

                                                                  DISSOLVE:

          Screaming headline: OIL SCANDAL!

                                                                  DISSOLVE:

          Headline reading: KANE TO SEE PRESIDENT

                                                                  DISSOLVE:

          Big headline on "Enquirer" front page which reads: KANE TO SEE 
          PRESIDENT

          Under this, one of those big box signed editorials, typical of 
          Kane, illustrated, on subject of the power of the president, 
          expressed in about nine different cases of type, and illustrated 
          by a cartoon of the White House, on which camera tightens, as 
          we -

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. THE WHITE HOUSE - THE PRESIDENT'S EXECUTIVE OFFICE - DAY -

          This scene is shot so as never to show the President - or at 
          least never his face.  There is present the President's 
          Secretary, sitting on one side of the desk, intently taking 
          notes.  Kane is on his feet, in front of the desk, tense and 
          glaring.

                                    THE PRESIDENT
                        It is the unanimous opinion of my 
                        Cabinent - in which I concur - 
                        that the proposed leases are in 
                        the best interests of the 
                        Governement and the people.
                               (pauses)
                        You are not, I hope, suggesting 
                        that these interests are not 
                        indentical?

                                    KANE
                        I'm not suggesting anything, Mr.
                        President!  I've come here to tell 
                        you that, unless some action is 
                        taken promptly - and you are the 
                        only one who can take it - the oil 
                        that is the property of the people 
                        of this country will be turned 
                        over for a song to a gang of high-
                        pressure crooks!

                                    THE PRESIDENT
                               (calmly)
                        I must refuse to allow you to 
                        continue in this vein, Mr. Kane.

                                    KANE
                               (screaming)
                        It's the only vein I know.  I tell 
                        the facts the way I see them.  And
                        any man that knows that facts -

                                    THE PRESIDENT
                        I know the facts, Mr. Kane.  And I 
                        happen to have the incredible 
                        insolence to differ with you as to 
                        what they mean.
                               (pause)
                        You're a man of great talents, Mr. 
                        Kane.

                                    KANE
                        Thanks.

                                    THE PRESIDENT
                        I understand that you have political 
                        ambitions.  Unfortunately, you 
                        seem incapable of allowing any 
                        other opinion but your own -

                                    KANE
                               (building to a frenzy)
                        I'm much obliged, Mr. President, 
                        for your concern about me.  However, 
                        I happen to be concerned at this 
                        moment with the matter of extensive 
                        oil lands belonging to the people 
                        of the United States, and I say 
                        that if this lease goes through, 
                        the property of the people of the 
                        United States goes into the hands 
                        of -

                                    THE PRESIDENT
                               (interrupting)
                        You've made your point perfectly 
                        clear, Mr. Kane.  Good day.

          The Secretary rises.  Kane, with every bit of will power 
          remotely at his disposal to control what might become an 
          hysterical outburst, manages to bow.

                                    KANE
                        Mr. President.

          He starts out of the office.

                                                                  DISSOLVE:

          INT. COMPOSING ROOM - ENQUIRER - NIGHT -

          Kane, Reilly, Leland and a composing room Foreman, in working 
          clothes, bending over a table with several forms of type.  
          They are looking, at this moment, at a made-up headline - but 
          Kane's back is in the way ... so we can't read it.

                                    FOREMAN
                        How about it, Mr. Kane?

          Reilly glances at his wrist watch and makes a face.  Kane smiles 
          as he notices this.

                                    KANE
                        All right.  Let her slide!

          He turns away, and we can now read the headline.

          Insert of the headline, which reads: "OIL THEFT BECOMES LAW AS 
          PRESIDENT WITHOLDS VETO"

                                                                  DISSOLVE:

          Here follows a quick montage (presently to be worked out) of 
          no more than four or five images in which the President, by 
          means of cartoons, editorials, headlines (all faithfully 
          reproduced from period yellow journalism) is violently attacked.  
          The montage ends on the word TREASON.  The music cuts.

          A hand reaches in a side pocket which contains a newspaper - 
          recognizably the "Enquirer."  The hand removes a gun.  The gun 
          is shot.  Many arms seize the hand which is pulled up - gun 
          still firing.  As the arm is raised in the air, we see that 
          the other arms holding the arm and struggling with it are 
          uniformed, and we see the White House beyond.

                                                                  DISSOLVE:

          News ticker which is spelling out the words: "ASSASSINATED 
          7:45 P.M."

          NOTE:  Under the following - a down shot, below the "Enquirer," 
          shows a crowd forming, looking angrily up toward the camera.  
          Crowd noises on the soundtrack under music.

          A hand snatches the ticker tape away and as the image of the 
          crowd dissolves out, we pull back to show:

          INT. OF KANE'S OFFICE - NIGHT -

          The ticker tape is in Reilly's hand.  Reilly has a phone to 
          his ear.

                                    REILLY
                        Looks bad for us, Mr. Kane.  How 
                        shall we handle it?

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. GEORGIE'S PLACE -

          Kane in shirtsleeves at phone.

                                    KANE
                        It's a news story!  Get it on the 
                        street!

                                                                  DISSOLVE:

          Headline under "Enquirer" masthead which reads: 

          "PRESIDENT ASSASSINATED"

          Newsboy is crying the headline at the same time.  We pull back 
          to show him and -

                                                                  DISSOLVE:

          INT. THEATRE - NIGHT

          The camera is in tight on a box which contains Emily and 
          distinguished elderly ladies and gentlemen, obviously family 
          and friends.  On the soundtrack, very limpid opera music.  
          Another elderly gent, in white tie but still wearing an 
          overcoat, comes into the box and whispers to Emily.  He has a 
          copy of the "Enquirer" in his hand.  Emily rises.  He shows 
          the paper to her.

                                                                  DISSOLVE:

          EXT. STREET OUTSIDE ENQUIRER BUILDING - NIGHT -

          An angry crowd seen from the window of Kane's office.  They 
          make a deep threatening sound which is audible during the 
          following scene.  Across the heads of the crowd are two great 
          squares of light from the windows above them.  One of these 
          disappears as the blind is pulled.  As the dissolve completes 
          itself, the second square of light commences to reduce in size, 
          and then the entire street is cut off by a blind which Leland 
          pulls down, covering the entire frame.

          INT. KANE'S OFFICE - ENQUIRER - NIGHT -

          The staff standing around, worried to death, in their 
          shirtsleeves.

                                    KANE
                               (to Reilly)
                        Take dictation -  Front page 
                        editorial -  "This afternoon a 
                        great man was assassinated.  He 
                        was the President of the United 
                        States -"

                                    LELAND
                        Charlie -

                                    KANE
                        Yes?

                                    LELAND
                        Do you think you're the one who 
                        should call him a great man?

                                    KANE
                        Why not?

                                    LELAND
                        Why not?  Well - nobody's a great 
                        man in your estimation until he's 
                        dead.

                                    REILLY
                               (quickly)
                        Maybe we'd better wait for more 
                        word on the President's condition.

                                    KANE
                               (still looking at 
                               Leland)
                        What do you mean by that?

                                    LELAND
                               (quietly)
                        Competition.

                                    REILLY
                        He may recover -

                                    KANE
                               (still holding on 
                               Leland)
                        What do you mean by that?

                                    LELAND
                               (steadily)
                        Yesterday morning you called the 
                        President a traitor.  What do you 
                        think that crowd is doing down 
                        there?  They think you murdered 
                        him.

                                    KANE
                        Because the crackpot who did it 
                        had a copy of the "Enquirer" in 
                        his pocket?

                                    LELAND
                        - and that copy of the "Enquirer" 
                        said the President should be killed.

                                    KANE
                        I said treason was a capital offense
                        punishable by death -

                                    LELAND
                        You've said a lot of things about 
                        the President in the last few 
                        months.

                                    KANE
                        They're true!  Everything I said!
                        Witholding that veto was treason!

                                    LELAND
                               (interrupting)
                        Charlie!

                                    KANE
                               (riding over him)
                        Oil belonging to the people of the 
                        United States was leased out for a 
                        song to a gang of high-pressure
                        crooks -  Nobody can blame me 
                        because -

                                    LELAND
                        Look out that window.

          Kane stops - looks at him.

                                    LELAND
                        There are the people of the United
                        States, and they are blaming you -
                        Oh, I know it doesn't make any 
                        sense, but at least you can learn 
                        a lesson from it.

                                    KANE
                               (snarling)
                        What lesson?  Not to expose fraud 
                        when I see it?  Not to fight for 
                        the right of the people to own 
                        their own property?
                               (he turns to Reilly)
                        Run it the way I said, Reilly - 
                        "This afternoon a great man was 
                        assassinated -"

                                    LELAND
                        Charlie!  Now you're not making 
                        sense.

                                    KANE
                               (sharply)
                        I don't have to.  I run a newspaper 
                        with half a million readers and 
                        they're getting a martyred president 
                        this morning with their breakfast.
                        I can't help that.  Besides, they 
                        all know I'm married to his niece.  
                        I've got to think of her.

                                    LELAND
                        What?

                                    KANE
                        I've got to think of Emily -

                                    LELAND
                               (after a silence)
                        I'd like to talk to you about that.

                                    KANE
                        Go ahead.

          Leland looks back at Kane, is conscious of the boys standing 
          around.

                                    LELAND
                        Finish your editorial.

          Leland walks out in to the City Room.  More staff members in 
          shirt sleeves in a state of panic.  Leland goes to his desk, 
          takes out a bottle, pours himself a very stiff drink.  A door 
          opens.  A Policeman enters with Bernstein.  Bernstein is badly 
          battered.  The boys crowd around.

                                    LELAND
                               (worried)
                        What's happened?

                                    BERNSTEIN
                               (smiling)
                        I'm all right, Mr. Leland.  Only 
                        there was some fellows out front 
                        that thought they ought to take 
                        things up with me.  I learned 'em!
                        Didn't I, officer?

                                    THE COP
                               (grinning)
                        You sure did -  Say, the 
                        Commissioner said I was to stand 
                        by and protect Mr. Kane until 
                        further orders, no matter how he 
                        felt about it.  Where is he?

                                    LELAND
                               (finishing his drink)
                        In there.

                                    BERNSTEIN
                        If you hadn't come along and 
                        protected me when you did, I'd 
                        have killed them fellows.

                                    LELAND
                               (pouring himself 
                               another drink)
                        Go and get yourself washed up, Mr.
                        Bernstein.
                               (he looks his face 
                               over thoroughly)
                        There doesn't seem to be an serious 
                        injury.

                                    BERNSTEIN
                        Not to me.  But you will let that 
                        cop go home with Mr. Kane, won't 
                        you?

                                    LELAND
                        Yes, Mr. Bernstein.

          Bernstein leaves the picture with sympathetic attendance.  
          Leland finishes his second drink.

                                                                  DISSOLVE:

          INT. KANE'S OFFICE - NIGHT -

          The bottle is finished.  The door in the Sanctrum opens.  Reilly 
          and the others leave.

                                    REILLY
                               (as they go)
                        Goodnight, Mr. Kane.

          Kane stands in the door, waiting for Leland.  Leland gets up 
          and moves toward the office - goes in, sits down across from 
          Kane at the desk.  An uncomfortable pause.  Then Kane smiles 
          ingratiatingly.  Leland tries to cope with this.

                                    LELAND
                        First of all -
                               (he can't go on)

                                    KANE
                               (not cruelly - 
                               genuinely kind)
                        What's wrong, Brad?

                                    LELAND
                        I'm drunk.

                                    KANE
                        I'll get you some coffee.

          He rises and goes to the door.

                                    LELAND
                        First of all, I will not write a 
                        good review of a play because 
                        somebody paid a thousand dollars 
                        for an advertisement in the 
                        "Enquirer."

                                    KANE
                               (gently - opening 
                               the door)
                        That's just a little promotion 
                        scheme.  Nobody expects you -
                               (calling)
                        Mike, will you try and get Mr. 
                        Leland some coffee?

                                    MIKE'S VOICE
                        Sure thing, Mr. Kane.

          Kane turns back to Leland.  Leland doesn't look up at him.

                                    LELAND
                        Charlie, it's just no go.  We can't 
                        agree anymore.  I wish you'd let 
                        me go to Chicago.

                                    KANE
                        Why, Brad?

                                    LELAND
                        I want to be transferred to the 
                        new paper.  You've been saying 
                        yourself you wish you had somebody 
                        to -
                               (he is heartsick, 
                               inarticulate)
                        That's not what I wanted to talk 
                        about.

          Kane goes around behind the desk and sits down.

                                    KANE
                        I'll tell you what I'll do, Brad -
                        I'll get drunk, too - maybe that'll 
                        help.

                                    LELAND
                        No, that won't help.  Besides, you 
                        never get drunk.  I wanted to talk 
                        about you and Emily.

          Kane looks at Leland sharply before he speaks.

                                    KANE
                               (quietly)
                        All right.

                                    LELAND
                               (without looking at 
                               him)
                        She's going to leave you -

                                    KANE
                        I don't think so, Brad.  We've 
                        just had word that the President 
                        is out of danger.
                               (ruefully)
                        It seems I didn't kill him after 
                        all.

                                    LELAND
                               (takes his eye)
                        She was going to leave you anyway -

          Kane takes this in.

                                    LELAND
                        Emily's going south next week with 
                        the child.  As far as anybody's to 
                        know, it's a holiday.  When they 
                        get back -

                                    KANE
                               (sharply)
                        Brad, you are drunk.

                                    LELAND
                        Sure I am.  She wants full custody 
                        of the child no matter what happens.
                        If you won't agree to that, she'll 
                        apply for a divorce regardless of 
                        the President's wishes.  I can't 
                        tell her she's wrong, because she 
                        isn't wrong -

                                    KANE
                        Why is she leaving me?

                                    LELAND
                               (it's very hard for 
                               him to say all 
                               this)
                        She hasn't any friends left sine 
                        you started this oil business, and 
                        she never sees you.

                                    KANE
                        Do you think the "Enquirer" 
                        shouldn't have campaigned against 
                        the oil leases?

                                    LELAND
                               (hesitating)
                        You might have made the whole thing 
                        less personal!

          No answer from Kane.

                                    LELAND
                        It isn't just that the President 
                        was her uncle - everyone she knows, 
                        all the people she's been brought 
                        up with, everything she's ever 
                        been taught to believe is important -

          Still no answer from Kane.

                                    LELAND
                        There's no reason why this - this
                        savage personal note -

                                    KANE
                        The personal note is all there is 
                        to it.  It's all there ever is to 
                        it.  It's all there every is to 
                        anything!  Stupidity in our 
                        government, complacency and self-
                        satisfaction and unwillingness to 
                        believe that anything done by a 
                        certain class of people can be 
                        wrong - you can't fight those things 
                        impersonally.  They're not 
                        impersonal crimes against people.  
                        They're being done by actual persons - 
                        with actual names and positions 
                        and - the right of the American 
                        people to own their own country is 
                        not an academic issue, Brad, that 
                        you debate - and then the judges 
                        retire to return a verdict and the 
                        winners give a dinner for the 
                        losers.

                                    LELAND
                        You almost convince me.
                               (rising)
                        I'm just drunk enough to tell you 
                        the truth.  I have to be a little 
                        drunk for that because I'm a coward.  
                        You know that.  That's why you 
                        keep me around.
                               (smiles)
                        You only associate with your 
                        inferiors, Charlie.  I guess that's 
                        why you ran away from Emily.  
                        Because you can't stand the company 
                        of your equals.  You don't like to 
                        admit they exist - the other big 
                        people in your world are dead.
                        I told you that.

          Kane looks at Leland, but Leland can't be stopped now.  He 
          speaks very quietly - no poison in his voice - no personal 
          indignation - as though he were explaining the nature of a 
          disease.

                                    LELAND
                        You talk about the people of the 
                        United States as though they 
                        belonged to you.  When you find 
                        out they don't think they are, 
                        you'll lose interest.  You talk 
                        about giving them their rights as 
                        though you could make a present of 
                        liberty.  Remember the working 
                        man?  You used to defend him quite 
                        a good deal.  Well, he's turning 
                        into something called organized 
                        labor and you don't like that at 
                        all.  And listen, when your precious 
                        underprivileged really get together - 
                        that's going to add up to something 
                        bigger than - than your privilege 
                        and then I don't know what you'll 
                        do - sail away to a desert island, 
                        probably, and lord it over the 
                        monkeys.

                                    KANE
                        Are you finished?

                                    LELAND
                        Yes.
                               (looking down)
                        Now, will you let me go to Chicago?

                                    KANE
                               (with a little smile)
                        You're not going to like it in 
                        Chicago.  They wind comes howling 
                        in from the lake.  And there's
                        practically no opera season at all -
                        and the Lord only knows whether
                        they've ever heard of Lobster 
                        Newburg -

                                    LELAND
                        That's all right.
                               (he won't be charmed 
                               out of his duty)
                        What are you going to do about 
                        Emily?

                                    KANE
                               (his face hardning 
                               a little)
                        Nothing - if she dosen't love me -

          Leland has risen.  He speaks as he turns away, starting towards 
          the door.

                                    LELAND
                        You want love on your own terms,
                        don't you, Charlie -
                               (he stops - his 
                               back turned to 
                               Kane)
                        Love according to your own rules.
                        And if anything goes wrong and 
                        you're hurt - then the game stops, 
                        and you've got to be soothed and 
                        nursed, no matter what else is 
                        happening - and no matter who else 
                        is hurt!

                                    KANE
                        It's simpler than that, Brad.  A 
                        society girl can't stand the gaff, 
                        that's all.  Other things are 
                        important to her - social position, 
                        what they're saying on the front 
                        porches at Southampton, is it going 
                        to be embarrassing to meet somebody
                        or the other at dinner -

          Leland has turned, taking his eye again.  Now Kane stops and 
          smiles.

                                    KANE
                        She can leave me.  As a matter of 
                        fact, I've already left her.  Don't 
                        worry, Brad - I'll live.

                                    LELAND
                        I know you will.

                                    KANE
                               (with all his charm)
                        Hey, Brad!  I've been analyzed an 
                        awful lot tonight - let's have 
                        another brandy.

          Leland shakes his head.  Kane lifts his glass.

                                    KANE
                        To love on my terms.  Those are 
                        the only terms anybody knows ...  
                        his own.

                                                                  DISSOLVE:

          EXT. ENQUIRER BUILDING - NIGHT -

          Kane, Leland, and a couple of policemen make their way out of 
          the front toward a hansom cab.

                                    A VOICE FROM THE CROWD
                        You moiderer!

          A rock is thrown.  It hits Leland on the face.  A little blood 
          flows.  Kane doesn't see it at first.  Then when he's in the 
          hansom cab, he turns and notices it.

                                    KANE
                        Are you hurt?

          Leland has a handkerchief to his face.

                                    LELAND
                        No.  I wish you'd go home to Emily.
                        She'll be pretty upset by all this -
                        She still loves you -

          The crowd, pushed by the cops, retreats in the background, but 
          still hard by.

                                    KANE
                        You still want to be transferred 
                        to the other paper?

                                    LELAND
                        Yes.

                                    KANE
                               (leaning out of the 
                               hansom cab)
                        Well, you've been getting a pretty 
                        low salary here in New York.  It 
                        seems to me that the new dramatic 
                        critic of our Chicago paper should 
                        get what he's worth.
                               (almost as a question)

                                    LELAND
                               (with handkerchief 
                               still attached to 
                               his face)
                        I couldn't possibly live on as 
                        little as that, Charlie.  We'll 
                        let the salary stay where it is.

          The hansom cab starts up.  We hold on Leland's face as we

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. KANE'S NEW YORK HOME - KANE'S BEDROOM - EARLY MORNING -

          Emily is in bed, a damp cloth over her temples.  Kane is 
          standing at the foot of the bed.  The baby's bed is in a corner 
          of the room.  The baby's nurse is standing near the crib, a 
          nurse for Emily is near her.  Kane is looking fixedly on Emily, 
          who is staring tiredly at the ceiling.

                                    KANE
                               (to the nurse)
                        Excuse us a moment, please.

          The nurse looks at Emily.

                                    KANE
                               (peremptorily)
                        I said, excuse us a moment.

          The nurse, unwilling, leaves.

                                    KANE
                        I've been talking to Leland.  Emily -
                        You can't leave me now - not now -

          Silence.

                                    KANE
                        It isn't what it would do to my 
                        changes in politics, Emily -  That 
                        isn't it -  They were talking of 
                        running me for governor, but now,
                        of course, we'll have to wait -
                        It isn't that, Emily -  It's just -
                        the president is your uncle and 
                        they're saying I killed him.

          Still silence.

                                    KANE
                        That story about the murderer having 
                        a copy of the "Enquirer" in his 
                        pocket - the "Chronicle" made that 
                        up out of whole cloth -  Emily, 
                        please - He's going to be all right, 
                        you know, he's going to recover -
                               (bitterly)
                        If it will make you any happier, 
                        we had nine pages of advertising 
                        cancelled in the first mail this 
                        morning.  Bernstein is afraid to 
                        open any more letters.  He -

          He stops.  He sees that he's getting no place with Emily.

                                    KANE
                               (exasperated)
                        What do you expect me to do?  What
                        in the world -

                                    EMILY
                               (weakly)
                        Charles.

          He waits for her to continue.

                                    EMILY
                        Do you really think -
                               (she can't continue)
                        Those threatening letters, can
                        they really -

          She sits up and looks at the crib.  She almost continues to 
          look at the crib, with almost unseeing eyes.

                                    KANE
                               (uncomfortably)
                        They won't do anything to Junior, 
                        darling.
                               (contemptuously)
                        Anonymous letter writers -   I've 
                        got guards in front of the house,
                        and I'm going to arrange -

                                    EMILY
                               (turning her face 
                               toward him)
                        Please don't talk any more, Charles.

          Kane is about to say something, but bites his lips instead.  
          Emily keeps staring at him.

                                    EMILY
                        Have they heard from father yet?
                        Has he seen -

                                    KANE
                        I've tried to tell you, Emily.
                        The President's going to be all 
                        right.  He had a comfortable night.
                        There's no danger of any kind.

          Emily nods several times.  There is an uncomforable silence.  
          Suddenly there is a cry from the crib.  Emily leaps from the 
          bed and rushes to him.  She bends over the crib.

                                    EMILY
                               (murmuring)
                        Here I am, darling...  Darling!...  
                        Darling, it's all right...  Mother's 
                        here.

                                    KANE
                        Emily - you musn't leave me now -
                        you can't do that to me.

                                    EMILY
                        They won't hurt you, darling.
                        Mother's with you!  Mother's looking 
                        after you!

          Kane, unwanted, ignored, looks on.  Tightening his lips, he 
          walks out.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. KANE'S OFFICE - NIGHT

          By the desk light, Kane is seen working with his usual 
          intensity,  Reilly standing beside him at the desk.

                                    KANE
                        We'll withdraw support completely.
                        Anything else?

                                    REILLY
                        Mr. Leland sent back that check.

                                    KANE
                        What check?

                                    REILLY
                        You made it out to him last week 
                        after he left for Chicago.

                                    KANE
                        Oh, yes, the bonus.

                                    REILLY
                        It was for twenty-five thousand 
                        dollars.

          Kane is perplexed and worried, but we can see in a moment his 
          mind will be on something else.

                                    REILLY
                        He sent it back torn up - all torn 
                        up into little bits, and he enclosed 
                        something else -  I can't make it 
                        out.

          Kane doesn't answer.  Reilly goes on.  He has brought out a 
          piece of paper and is reading it.

                                    REILLY
                        It says here, "A Declaration of
                        Principles" -
                               (he still reads)
                        "I will provide the people of this 
                        city with a daily paper that will
                        tell all the news honestly" -

          Kane has looked up sharply.  Reilly, sensing his look, stops 
          reading and meets his eye.  Slowly, Kane reaches out his hand.  
          Reilly hands him the piece of paper.  Without reading it, Kane 
          tears it up, throws it into the wastebasket at his side.

                                                                  DISSOLVE:

          INT. MADISON SQUARE GARDEN - NIGHT -

          The evening of the final great rally.  These shots remind us 
          of and are identical with and supplementary to the "News Digest" 
          scenes earlier.  The vast auditorium with a huge picture of 
          Kane, cheering crowds, etc.  Emily and Junior are to be seen 
          in the front of a box.  Emily is tired and wears a forced smile 
          on her face.  Junior, now aged nine and a half, is eager, bright-
          eyed and excited.  Kane is just finishing his speech.

                                    KANE
                        It is no secret that I entered 
                        upon this campaign with no thought 
                        that I could be elected Governor 
                        of this state!  It is now no secret 
                        that every straw vote, every 
                        independent pole, shows that I 
                        will be elected.  And I repeat to 
                        you - my first official act as 
                        Governor will be to appoint a 
                        special District Attorney to arrange 
                        for the indictment, prosecution 
                        and conviction of Boss Edward G. 
                        Rogers!

          Terrific screaming and cheering from the audience.

                                                              DISSOLVE OUT:

          INT. MADISON SQUARE GARDEN - NIGHT -

          The Speaker's Platform.  Numerous officials and civic leaders 
          are crowding around Kane.  Cameramen take flash photographs 
          with old-fashioined flash powder.

                                    FIRST CIVIC LEADER
                        Great speech, Mr. Kane.

                                    SECOND LEADER
                               (pompous)
                        One of the most notable public 
                        utterances ever made by a candidate
                        in this state -

                                    KANE
                        Thank you, gentlemen.  Thank you.

          He looks up and notices that the box in which Emily and the 
          boy were sitting is now empty.  He starts toward the rear of 
          the platform, through the press of people, Reilly approaches 
          him.

                                    REILLY
                        A wonderful speech, Mr. Kane.

          Kane pats him on the shoulder as he walks along.

                                    REILLY
                        I just got word from Buffalo, Mr.
                        Kane.  They're going to throw you 
                        the organization vote - and take a 
                        chance maybe you'll give them a
                        break -

          This is said almost inquiringly, as if he were hoping that 
          Kane would give him some assurance that McDonald is not making 
          a mistake.  There is no answer from Kane.

                                    REILLY
                        On an independent ticket there's 
                        never been anything like it!  If 
                        the election were held today, you'd 
                        be elected by a hundred thousand 
                        votes - and every day between now 
                        and November 7th is just going to 
                        add to your majority.

          Kane is very pleased.  He continues with Reilly slowly through 
          the crowd - a band playing off.  Bernstein joins him.

                                    KANE
                        It does seem too good to be true, 
                        doesn't it, Mr. Bernstein?

                                    REILLY
                        Rogers isn't even pretending.  He 
                        isn't just scared anymore.  He's 
                        sick.  Frank Norris told me last 
                        night he hasn't known Rogers to be 
                        that worried in twenty-five years.

                                    KANE
                        I think it's beginning to dawn on 
                        Mr. Rogers that I mean what I say.
                        With Mr. Rogers out of the way, 
                        Reilly, I think we may really begin 
                        to hope for a good government in 
                        this state.
                               (stopping)
                        Well, Mr. Bernstein?

                                    BERNSTEIN
                               (clearly not meaning 
                               it)
                        It's wonderful, Mr. Kane.  
                        Wonderful.  Wonderful.

                                    KANE
                        You don't really think so?

                                    BERNSTEIN
                        I do.  I do.  I mean, since you're 
                        running for Governor - and you 
                        want to be elected -  I think it's 
                        wonderful you're going to be 
                        elected.  Only -
                               (interrupts himself)
                        -  Can I say something?

                                    KANE
                        Please, Mr. Bernstein.

                                    BERNSTEIN
                        Well, the way I look at it -
                               (comes out with it)
                        -  You want to know what I really 
                        think would be wonderful?

          Kane indicates he is to proceed.

                                    BERNSTEIN
                        Well, you're running for Governor 
                        and going to be elected - my idea 
                        is how wonderful it would be if 
                        you don't run at all and don't get 
                        elected.

                                                                  DISSOLVE:

          EXT. ONE OF THE EXITS - MADISON SQUARE GARDEN - NIGHT -

          Emily and Junior are standing, waiting for Kane.

                                    JUNIOR
                        Is Pop Governor yet, Mom?

          Just then, Kane appears, with Reilly and several other men.  
          Kane rushes toward Emily and Junior, as the men politely greet 
          Emily.

                                    KANE
                        Hello, Butch!  Did you like your 
                        old man's speech?

                                    JUNIOR
                        Hello, Pop!  I was in a box.  I 
                        could hear every word.

                                    KANE
                        I saw you!
                               (he has his arm 
                               around Junior's 
                               shoulder)
                        Good night, gentlemen.

          There are good nights.  Kane's car is at the curb and he starts 
          to walk toward it with Junior and Emily.

                                    EMILY
                        I'm sending Junior home in the
                        car, Charles - with Oliver -

                                    KANE
                        But I'd arranged to go home with 
                        you myself.

                                    EMILY
                        There's a call I want you to make 
                        with me, Charles.

                                    KANE
                        It can wait.

                                    EMILY
                        No, it can't.
                               (she bends down and 
                               kisses Junior)
                        Good night, darling.

                                    JUNIOR
                        Good night, Mom.

          The driver is holding the rear door open as Emily guides Junior 
          in.

                                    KANE
                               (as car starts to 
                               drive off)
                        What's this all about, Emily?  
                        I've had a very tiring day and -

                                    EMILY
                        It may not be about anything at 
                        all.

          A cab has pulled up.

                                    THE DRIVER
                        Cab?

          Emily nods to him.

                                    EMILY
                        I intend to find out.

                                    KANE
                        I insist on being told exactly 
                        what you have in mind.

                                    EMILY
                        I'm going to -
                               (she looks at a 
                               slip of paper in 
                               her hand)
                        - 185 West 74th Street.

          Kane's reaction indicates that the address definitely means 
          something to him.

                                    EMILY
                        If you wish, you can come with 
                        me...

          Kane nods.

                                    KANE
                        I'll go with you.

          He opens the door and she enters the cab.  He follows her.

                                                                  DISSOLVE:

          INT. CAB - NIGHT -

          Kane and Emily.  He looks at her, in search of some kind of 
          enlightenment.  Her face is set and impassive.

                                                                  DISSOLVE:

          EXT. AND INT. APARTMENT HOUSE HALLWAY - NIGHT -

          Kane and Emily, in front of an apartment door.  Emily is 
          pressing the bell.

                                    KANE
                        I had no idea you had this flair 
                        for melodrama, Emiliy.

          Emily does not answer.  The door is opened by a maid, who 
          recognizes Kane.

                                    THE MAID
                        Come in, Mr. Kane, come in.

          They enter, Emily first.

          INT. SUSAN'S APARTMENT - NIGHT -

          There is first a tiny reception room, through which an open 
          door shows the living room.  Kane and Emily enter from the 
          hallway and cross to the living room.  As they enter, Susan 
          rises from a chair.  The other person  in the room - a big, 
          heavyset man, a little past middle age - stays where he is, 
          leaning back in his chair, regarding Kane intently.

                                    SUSAN
                        It wasn't my fault, Charlie.  He 
                        made me send your wife a note.
                        He said I'd - oh, he's been saying 
                        the most terrible things, I didn't
                        know what to do...  I -
                               (she catches sight 
                               of Emily)

                                    ROGERS
                        Good evening, Mr. Kane.
                               (he rises)
                        I don't suppose anybody would 
                        introduce us.  Mrs. Kane, I am 
                        Edward Rogers.

                                    EMILY
                        How do you do?
                               (pauses)
                        I came here - and I made Mr. Kane 
                        come with me...
                               (she consults the 
                               note in her hand 
                               without reading it 
                               again)
                        because I recieved this note -

                                    ROGERS
                        I made Miss - Miss Alexander send 
                        you the note.  She was a little
                        unwilling at first -
                               (he smiles grimly)
                        but she did it.

                                    SUSAN
                        I can't tell you the things he 
                        said, Charlie.  You haven't got
                        any idea -

                                    KANE
                               (turning on Rogers)
                        Rogers, I don't think I will 
                        postpone doing something about you 
                        until I'm elected.
                               (he starts toward 
                               him)
                        To start with, I'll break your 
                        neck.

                                    ROGERS
                               (not giving way an 
                               inch)
                        Maybe you can do it and maybe you 
                        can't, Mr. Kane.

                                    EMILY
                        Charles!
                               (he stops to look 
                               at her)
                        Your - your breaking this man's
                        neck -
                               (she is clearly 
                               disgusted)
                        would scarcely explain this note -
                               (glancing at the 
                               note)
                        Serious consequences for Mr. Kane -
                               (slowly)
                        for myself, and for my son.  What
                        does this note mean, Miss -

                                    SUSAN
                               (stiffly)
                        I'm Susan Alexander.
                               (pauses)
                        I know what you think, Mrs. Kane,
                        but -

                                    EMILY
                               (ignoring this)
                        What does this note mean, Miss 
                        Alexander?

                                    ROGERS
                        She doesn't know, Mrs. Kane.  She 
                        just sent it - because I made her 
                        see it wouldn't be smart for her 
                        not to send it.

                                    KANE
                        In case you don't know, Emily,
                        this - this gentleman -
                               (he puts a world of 
                               scorn into the 
                               word)
                        is -

                                    ROGERS
                        I'm not a gentleman, Mrs. Kane, 
                        and your husband is just trying to 
                        be funny calling me one.  I don't 
                        even know what a gentleman is.
                               (tensely, with all 
                               the hatred and 
                               venom in the world)
                        You see, my idea of a gentleman, 
                        Mrs.  Kane - well, if I owned a 
                        newspaper and if I didn't like the 
                        way somebody else was doing things - 
                        some politican, say - I'd fight 
                        them with everything I had.  Only 
                        I wouldn't show him in a convict 
                        suit, with stripes - so his children 
                        could see the picture in the paper.  
                        Or his mother.
                               (he has to control 
                               himself from hurling 
                               himself at Kane)
                        It's pretty clear - I'm not a 
                        gentleman.

                                    EMILY
                        Oh!!

                                    KANE
                        You're a cheap, crooked grafter -
                        and your concern for your children
                        and your mother -

                                    ROGERS
                        Anything you say, Mr. Kane.  Only 
                        we're talking now about what you 
                        are.  That's what the note is about, 
                        Mrs. Kane.  Now I'm going to lay 
                        all my cards on the table.  I'm 
                        fighting for my life.  Not just my 
                        political life.  My life.  If your
                        husband is elected governor -

                                    KANE
                        I'm going to be elected governor.
                        And the first thing I'm going to
                        do -

                                    EMILY
                        Let him finish, Charles.

                                    ROGERS
                        I'm protecting myself every way I 
                        know how, Mrs. Kane.  This last 
                        week, I finally found out how I 
                        can stop your husband from being 
                        elected.  If the people of this 
                        state learn what I found out this 
                        week, he wouldn't have a chance to - 
                        he couldn't be elected Dog Catcher.  
                        Well, what I'm interested in is 
                        seeing that he's not elected.  I 
                        don't care whether they know what 
                        I know about him.  Let him keep 
                        right on being the Great, Noble, 
                        Moral -
                               (he stresses the 
                               world)
                        Champeen of the people.  Just as 
                        long as -

                                    EMILY
                        I think I understand, Mr. Rogers, 
                        but wonder if -
                               (she leaves her 
                               sentence unfinished)

                                    KANE
                        You can't blackmail me, Rogers, 
                        you can't -

                                    SUSAN
                               (excitedly)
                        Charlie, he said, unless you 
                        withdrew your name -

                                    ROGERS
                        That's the chance I'm willing to 
                        give you, Mr. Kane.  More of a 
                        chance than you'd give me.  Unless 
                        you make up your mind by tomorrow 
                        that you're so sick that you've 
                        got to go away for a year or two -
                        Monday morning every paper in this 
                        State will carry the story I'm 
                        going to give them.

          Kane starts to stare at him intently.

                                    EMILY
                        What story, Mr. Rogers?

                                    ROGERS
                        The story about him and Miss 
                        Alexander, Mrs. Kane.

          Emily looks at Kane.

                                    SUSAN
                        There is no story.  It's all lies.
                        Mr. Kane is just -

                                    ROGERS
                               (to Susan)
                        Shut up!
                               (to Kane)
                        I've had a dozen men doing nothing 
                        but run this thing down - we've 
                        got evidence enough to - well, the 
                        evidence would stand up in any 
                        court of law.  You want me to give 
                        you the evidence, Mr. Kane?

                                    KANE
                        You do anything you want to do.
                        The people of this state can decide 
                        which one of us to trust.  If you 
                        want to know, they've already 
                        decided.  The election Tuesday'll 
                        be only -

                                    ROGERS
                        Mrs. Kane, I'm not asking you to
                        believe me.  I'd like to show you -

                                    EMILY
                        You don't have to show me anything, 
                        Mr. Rogers.  I believe you.

                                    ROGERS
                        I'd rather Mr. Kane withdrew without 
                        having to get the story published.
                        Not that I care about him.  But 
                        I'd be better off that way -
                               (he pauses)
                        - and so would you, Mrs. Kane.

                                    SUSAN
                        What about me?
                               (to Kane)
                        He said my name'd be dragged through 
                        the mud.  He said everywhere I'd 
                        go from now on -

                                    EMILY
                        There seems to be only one decision 
                        you can make, Charles.  I'd say 
                        that it has been made for you.
                               (pauses)
                        I suppose the details can be 
                        arranged tomorrow, Mr. Rogers.  
                        About the statements by the doctors -

                                    KANE
                        Have you gone completely mad, Emily?

          Emily looks at him.

                                    KANE
                        You don't think I'm going to let 
                        this blackmailer intimidate me, do 
                        you?

                                    EMILY
                        I don't see what else you can do, 
                        Charles.  If he's right - and the
                        papers publish this story he has -

                                    KANE
                        Oh, they'll publish it all right.
                        But that's not going to stop me -

                                    EMILY
                        Charles, this - this story - doesn't 
                        concern only you.  I'll be in it, 
                        too, won't I?
                               (quickly)
                        And Junior?

                                    KANE
                               (squirming a bit)
                        I suppose so, but - I'm not afraid 
                        of the story.  You can't tell me
                        that the voters of this state -

                                    EMILY
                        I'm not interested in the voters 
                        of this state right now.  I am 
                        interested in - well, Junior, for 
                        one thing.

                                    SUSAN
                        Charlie!  If they publish this
                        story -

                                    EMILY
                        They won't.  Goodnight, Mr. Rogers.
                               (she starts out)
                        There's nothing more to be said, 
                        Charles.

                                    KANE
                        Oh yes, there is.

                                    EMILY
                        I don't think so.  Are you coming, 
                        Charles?

                                    KANE
                        No.

          She looks at him.  He starts to work himself into a rage.

                                    KANE
                        There's only one person in the 
                        world to decide what I'm going to 
                        do - and that's me.  And if
                        you think - if any of you think -

                                    EMILY
                        You decided what you were going to 
                        do, Charles - some time ago.
                               (she looks at Susan)
                        You can't always have it your own 
                        way, regardless of anything else 
                        that may have happened.
                               (she sighs)
                        Come on, Charles.

                                    KANE
                        Go on!  Get out!  I can fight this 
                        thing all alone!

                                    ROGERS
                        You're making a bigger fool of 
                        yourself than I thought you would, 
                        Mr. Kane.  You're licked.  Why 
                        don't you -

                                    KANE
                               (turning on him)
                        Get out!  I've got nothing to talk 
                        to you about.  If you want to see 
                        me, have the Warden write me a 
                        letter.

                                    ROGERS
                        I see!
                               (he starts toward 
                               the door)

                                    SUSAN
                               (starting to cry)
                        Charlie, you're just excited.  You
                        don't realize -

                                    KANE
                        I know exactly what I'm doing.
                               (he is screaming)
                        Get out!

                                    EMILY
                               (quietly)
                        Charles, if you don't listen to
                        reason, it may be too late -

                                    KANE
                        Too late for what?  Too late for
                        you and this -
                               (he can't find the 
                               adjective)
                        this public thief to take the love 
                        of the people of this state away 
                        from me?  Well, you won't do it, I 
                        tell you.  You won't do it!

                                    SUSAN
                        Charlie, there are other things to 
                        think of.
                               (a sly look comes 
                               into her eyes)
                        Your son - you don't want him to
                        read in the papers -

                                    EMILY
                        It is too late now, Charles.

                                    KANE
                               (rushes to the door 
                               and opens it)
                        Get out, both of you!

                                    SUSAN
                               (rushes to him)
                        Charlie, please don't -

                                    KANE
                        What are you waiting here for?
                        Why don't you go?

                                    EMILY
                        Goodnight, Charles.

          She walks out.  Rogers stops as he gets directly in front of 
          Kane.

                                    ROGERS
                        You're the greatest fool I've ever 
                        known, Kane.  If it was anybody 
                        else, I'd say what's going to happen 
                        to you would be a lesson to you.  
                        Only you're going to need more 
                        than one lesson.  And you're going 
                        to get more than one lesson.
                               (he walks past Kane)

                                    KANE
                        Don't you worry about me.  I'm 
                        Charles Foster Kane.  I'm no cheap, 
                        crooked politician, trying to save 
                        himself from the consequences of
                        his crimes -

          INT. APARTMENT HOUSE HALLWAY - NIGHT -

          Camera angling toward Kane from other end of the hall.  Rogers 
          and Emily are already down the hall, moving toward foreground.  
          Kane in apartment doorway background.

                                    KANE
                               (screams louder)
                        I'm going to send you to Sing Sing, 
                        Rogers.  Sing Sing!

          Kane is trembling with rage as he shakes his fist at Rogers's 
          back.  Susan, quieter now, has snuggled into the hollow of his 
          shoulder as they stand in the doorway.

                                                                  DISSOLVE:

          The "Chronicle" front page with photograph (as in the "News 
          Digest") revealing Kane's relations with Susan.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          Front page of "Chronicle" - Headline which reads:

          ROGERS ELECTED

                                                                  DISSOLVE:

          Front page of "Enquirer" - Headline which reads:

          FRAUD AT POLLS

                                                                  DISSOLVE:

          INT. LIVING ROOM - NIGHT -

          Emily is opening the door for Leland.

                                    EMILY
                        Hello, Brad -

                                    LELAND
                        Emily -

          He pauses.  Leland comes in.  Emily closes the door.

                                    EMILY
                        I'm sorry I sent for you, Brad -
                        didn't -

                                    LELAND
                        Chicago is pretty close to New
                        York nowadays - only twenty hours -

          She doesn't have anything to say.

                                    LELAND
                        I'm glad to see you.

          She smiles at him and we know that there isn't anybody else in 
          the world for her to smile at.  She's too grateful to talk.

                                    EMILY
                        Are all the returns in?

          Leland puts his hat unconsciously on his coat by the newspaper.

                                    EMILY
                        Let me see it.

          Leland takes the newspaper out of his pocket and hands it to 
          her.  She takes it.  We see the headline, not an insert, but 
          it registers.  It reads: "Fraud at Polls."  Emily is looking 
          at the paper with unseeing eyes, and a little smile.

                                    LELAND
                               (after a pause)
                        Almost two to one -

                                    EMILY
                        I'm surprised he got the votes he 
                        did.

                                    LELAND
                        Emily!

                                    EMILY
                        Why should anyone vote for him?  
                        He's made it quite clear to the 
                        people what he thinks of them.
                        Children - to be told one thing 
                        one day, something else the next, 
                        as the whim seizes him.  And they're 
                        supposed to be grateful and love 
                        and adore him - because he sees to 
                        it that they get cheap ice and 
                        only pay a nickel in the street 
                        cars.

                                    LELAND
                        Emily, you're being - a little 
                        unfair -  You know what I think of 
                        Charles' behavior - about your
                        personal lives -

                                    EMILY
                        There aren't any personal lives 
                        for people like us.  He made that
                        very clear to me nine years ago -
                        If I'd thought of my life with
                        Charles as a personal life, I'd
                        have left him then -

                                    LELAND
                        know that, Emily -

                                    EMILY
                               (on top of Leland)
                        Maybe I should have - the first 
                        time he showed me what a mad dog 
                        he really was.

                                    LELAND
                               (on the cue "dog")
                        Emily, you -

                                    EMILY
                        Brad, I'm -  I'm not an old woman
                        yet -

                                    LELAND
                        It's - all over -

          He stops himself.

                                    EMILY
                               (after a pause)
                        Know it is, Brad -

                                    LELAND
                        He's paying for it, Emily.  Those 
                        returns tonight - he's finished.
                        Politically -
                               (he thinks)
                        - socially, everywhere, I guess.
                        don't know about the papers, but -

                                    EMILY
                        If you're asking me to sympathize 
                        with him, Brad, you're wasting 
                        your time.
                               (pauses)
                        There's only one person I'm sorry
                        for, as a matter of fact.  That -
                        that shabby little girl.  I'm really 
                        sorry for her, Brad.

                                                                  DISSOLVE:

          Front page Chicago "Enquirer," with photograph proclaiming 
          that Susan Alexander opens at new Chicago Opera House in 
          "Thais," as in "News Digest."

          On soundtrack during above we hear the big, expectant murmur 
          of an opening night audience and the noodling of the orchestra.

                                                                  DISSOLVE:

          INT. CHICAGO OPERA HOUSE - NIGHT - SET FOR "THAIS" -

          The camera is just inside the curtain, angling upstage.  We 
          see the set for "Thais" - the principals in place - stage 
          managers, stage hands, etc., and in the center of all this, in 
          an elaborate costume, looking very small and very lost, is 
          Susan.  She is almost hysterical with fright.  Maids, singing 
          teacher, and the rest are in attendance.  Her throat is sprayed.  
          Applause is heard at the opening of the shot, and now the 
          orchestra starts thunderously.  The curtain starts to rise -
          the camera with it - the blinding glare of the foots moves up 
          Susan's body and hits her face.  She squints and starts to 
          sing.  Camera continues on up with the curtain, up past Susan, 
          up the full height of the proscenium arch and then on up into 
          the gridiron into a world of ropes, brick walls and hanging 
          canvas - Susan's voice still heard - but faintly.  The camera 
          stops at the top of the gridiron as the curtain stops.  Two 
          typical stage hands fill the frame.  They are looking down on 
          the stage below.  Some of the reflected light gleams on their 
          faces.  They look at each other.  One of them puts his hand to 
          his nose.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. LELAND'S OFFICE - CHICAGO ENQUIRER - NIGHT -

          Leland, as in the same scene in the Bernstein sequence, is 
          sprawled across his typewriter, his head on the keys.  The 
          paper is gone from the roller.  Leland stirs and looks up 
          drunkenly, his eyes encountering Bernstein, who stands beside 
          him (also as in the previous scene).

                                    BERNSTEIN
                        Hello, Mr. Leland.

                                    LELAND
                        Hello, Bernstein.

          Leland makes a terrific effort to pull himself together.  He 
          straightens and reaches for the keys - then sees the paper is 
          gone from the machine.

                                    LELAND
                        Where is it - where's my notice?
                        I've got to finish it!

                                    BERNSTEIN
                               (quietly)
                        Mr. Kane is finishing it.

                                    LELAND
                        Kane?  Charlie?
                               (painfully, he rises 
                               to his feet)
                        Where is he?

          During all this, the sound of a typewriter has been heard off - 
          a busy typewriter.  Leland's eyes follow the sound.  Slowly he 
          registers Kane in the City Room beyond.  This is almost the 
          same shot as in the previous Bernstein story.

          INT. CITY ROOM - CHICAGO ENQUIRER - NIGHT -

          Kane, in white tie and shirt sleeves, is typing away at a 
          machine, his fingers working briskly and efficiently, his face, 
          seen by the desk light before him, set in a strange half-smile.

          Leland stands in the door of his office, staring across at 
          him.

                                    LELAND
                        I suppose he's fixing it up - I 
                        know I'd never get that through.

                                    BERNSTEIN
                               (moving to his side)
                        Mr. Kane is finishing your piece 
                        the way you started it.

          Leland turns incredulously to Bernstein.

                                    BERNSTEIN
                        He's writing a roast like you wanted
                        it to be -
                               (then suddnely - 
                               with a kind of 
                               quiet passion rather 
                               than a triumph)
                        - I guess that'll show you.

          Leland picks his way across the City Room to Kane's side.  
          Kane goes on typing, without looking up.  After a pause, Kane 
          speaks.

                                    KANE
                        Hello, Brad.

                                    LELAND
                        Hello, Charlie -

                                    (ANOTHER PAUSE)
                        I didn't know we were speaking.

          Kane stops typing, but doesn't turn.

                                    KANE
                        Sure, we're speaking, Brad -
                        you're fired.

          He starts typing again, the expression on his face doesn't 
          change.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          EXT. HOSPITAL ROOF - DAY -

          Thompson and Leland on the roof, which is now deserted.  It is 
          getting late.  The sun has just about gone down.

                                    LELAND
                        Well, that's about all there is -
                        and I'm getting chills.  Hey, nurse!
                               (pause)
                        Five years ago, he wrote from that
                        place of his down South -
                               (as if trying to 
                               think)
                        - you know.  Shangri-la?  El Dorado?
                               (pauses)
                        Sloppy Joe's?  What's the name of 
                        that place?  You know...  All right.  
                        Xanadu.  I knew what it was all 
                        the time.  You caught on, didn't 
                        you?

                                    THOMPSON
                        Yes.

                                    LELAND
                        I guess maybe I'm not as hard to 
                        see through as I think.  Anyway, I 
                        never even answered his letter.
                        Maybe I should have.  I guess he 
                        was pretty lonely down there those 
                        last years.  He hadn't finished it 
                        when she left him - he never 
                        finished it - he never finished 
                        anything.  Of course, he built it 
                        for her -

                                    THOMPSON
                        That must have been love.

                                    LELAND
                        I don't know.  He was disappointed 
                        in the world.  So he built one of 
                        his own -  An absolute monarchy -
                        It was something bigger than an 
                        opera house anyway -
                               (calls)
                        Nurse!
                               (lowers his voice)
                        Say, I'll tell you one thing you 
                        can do for me, young fellow.

                                    THOMPSON
                        Sure.

                                    LELAND
                        On your way out, stop at a cigar 
                        store, will you, and send me up a 
                        couple of cigars?

                                    THOMPSON
                        Sure, Mr. Leland.  I'll be glad 
                        to.

                                    LELAND
                        Hey, Nurse!

          A Nurse appears.

                                    NURSE
                        Hello, Mr. Leland.

                                    LELAND
                        I'm ready to go in now.  You know 
                        when I was a young man, there was 
                        an impression around that nurses 
                        were pretty.  It was no truer then
                        than it is now.

                                    NURSE
                        Here, let me take your arm, Mr. 
                        Leland.

                                    LELAND
                               (testily)
                        All right, all right.
                               (he has begun to 
                               move forward on 
                               the Nurse's arm; 
                               turning to Thompson)
                        You won't forget, will you, about 
                        the cigars?  And tell them to wrap 
                        them up to look like toothpaste, 
                        or something, or they'll stop them 
                        at the desk.  That young doctor I 
                        was telling you about, he's got an 
                        idea he wants to keep me alive.

                                                                  DISSOLVE:

          EXT. "EL RANCHO" CABARET IN ATLANTIC CITY - EARLY DAWN -

          NEON SIGN ON THE ROOF:

          "EL RANCHO"

          FLOOR SHOW

          SUSAN ALEXANDER KANE

          TWICE NIGHTLY

          glows on the dark screen as in the previous sequence earlier 
          in the script.  Behind the lights and through them, we see a 
          nasty early morning.  Camera as before, moves through the lights 
          of the sign and down on the skylight, through which is seen 
          Susan at her regular table,  Thompson seated across from her.

          Very faintly during this, idle piano music playing.

                                                                  DISSOLVE:

          INT. "EL RANCHO" CABARET - EARLY DAWN -

          Susan and Thompson are facing each other.  The place is almost 
          deserted.  Susan is sober.  On the other side of the room, 
          somebody is playing a piano.

                                    SUSAN
                        How do you want to handle the whole 
                        thing - ask questions?

                                    THOMPSON
                        I'd rather you just talked.  
                        Anything that comes into your mind - 
                        about yourself and Mr. Kane.

                                    SUSAN
                        You wouldn't want to hear a lot of 
                        what comes into my mind about myself 
                        and Mr. Charlie Kane.

          Susan is thinking.

                                    THOMPSON
                        How did you meet him?

                                    SUSAN
                        I had a toothache.

          Thompson looks at her.

                                    SUSAN
                        That was thiry years ago - and I 
                        still remember that toothache.
                        Boy!  That toothache was just 
                        driving me crazy...

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          EXT. CORNER DRUG STORE AND STREET ON THE WEST SIDE OF NEW YORK - 
          NIGHT -

          Susan, aged twenty, neatly but cheaply dressed in the style of 
          the period, is leaving the drug store.  It's about 8 o'clock 
          at night.  With a large, man-sized handkerchief pressed to her 
          cheek, she is in considerable pain.  The street is wet - after 
          a recent rain.

          She walks a few steps towards the middle of the block, and can 
          stand it no longer.  She stops, opens a bottle of Oil of Cloves 
          that she has in her hand, applies some to her finger, and rubs 
          her gums.

          She walks on, the pain only a bit better.  Four or five houses 
          farther along, she comes to what is clearly her own doorway - 
          a shabby, old four-story apartment house.  She turns toward 
          the doorway, which is up a tiny stoop, about three steps.

          As she does so, Kane, coming from the opposite direction, almost 
          bumps into her and turns to his left to avoid her.  His shoulder 
          bumps hers and she turns.  As she does so, Kane, forced to 
          change his course, steps on the loose end of a plank which 
          covers a puddle in the bad sidewalk.  The plank rises up and 
          cracks him on the knee, also covering him with mud.

                                    KANE
                               (hopping up and 
                               down and rubbing 
                               his knee)
                        Ow!

          Susan, taking her handkerchief from her jaw, roars with 
          laughter.

                                    KANE
                        It's not funny.

          He bites his lip and rubs his knee again.  Susan tries to 
          control her laughter, but not very successfully.  Kane glares 
          at her.

                                    SUSAN
                        I'm sorry, mister - but you do 
                        look awful funny.

          Suddenly, the pain returns and she claps her hand to her jaw.

                                    SUSAN
                        Ow!

                                    KANE
                        What's the matter with you?

                                    SUSAN
                        Toothache.

                                    KANE
                        Hmm!

          He has been rubbing his clothes with his handkerchief.

                                    SUSAN
                        You've got some on your face.

                                    KANE
                        If these sidewalks were kept in 
                        condition - instead of the money
                        going to some cheap grafter -

          Susan starts to laugh again.

                                    KANE
                        What's funny now?

                                    SUSAN
                        You are.  You look like you've 
                        been making mud pies.

          In the middle of her smile, the pain returns.

                                    SUSAN
                        Oh!

                                    KANE
                        You're no Venus de Milo.

                                    SUSAN
                               (points to the 
                               downstair window)
                        If you want to come in and wash 
                        your face -  I can get you some 
                        hot water to get that dirt off
                        your trousers -

                                    KANE
                        Thanks.

          Susan starts, with Kane following her.

                                                                  DISSOLVE:

          INT. SUSAN'S ROOM - NIGHT -

          It's in moderate disorder.  The Mansbach gas lights are on.  
          It's not really a classy room, but it's exactly what you're 
          entitled to in 1910, for $5.00 a week including breakfast.

          There is a bed, a couple of chairs, a chiffonier, and a few 
          personal belongings on the chiffonier.  These include a 
          photograph of a gent and lady, obviously Susan's parents, and 
          a few objets d'art.  One, "At the Japanese Rolling Ball Game 
          at Coney Island," and - perhaps this is part of the Japanese 
          loot - the glass globe with the snow scene Kane was holding in 
          his hand in the first sequence.

          Susan comes into the room, carrying a basin, with towels over 
          her arm.  Kane is waiting for her.  She doesn't close the door.

                                    SUSAN
                               (by way of 
                               explanation)
                        My landlady prefers me to keep 
                        this door open when I have a 
                        gentleman caller.
                               (starts to put the 
                               basin down)
                        She's a very decent woman.
                               (making a face)
                        Ow!

          Kane rushes to take the basin from her, putting it on the 
          chiffonier.  To do this, he has to shove the photograph to one 
          side of the basin.  Susan grabs the photograph as it is about 
          to fall over.

                                    SUSAN
                        Hey, you should be more careful.
                        That's my ma and pa.

                                    KANE
                        I'm sorry.  They live here, too?

                                    SUSAN
                        No.  They've passed on.

          Again she puts her hand to her jaw.

                                    KANE
                        Where's the soap?

                                    SUSAN
                        In the water.

          Kane fishes the soap out of the water.  It is slippery, however, 
          and slips out of his hand, hitting him in the chest before it 
          falls to the floor.  Susan laughs as he bends over.

                                    KANE
                               (starting to wash 
                               his hands)
                        You're very easily amused.

                                    SUSAN
                        I always like to see the funny 
                        side of things.  No sense crying 
                        when you don't have to.  And you're 
                        so funny.  Looking at you, I forget 
                        all about my toothache.

          Her face distorts in pain again.

                                    SUSAN
                        Oh!

                                    KANE
                        I can't stay here all night chasing 
                        your pain away.

                                    SUSAN
                               (laughs)
                        I know...  But you do look so silly.

          Kane, with soaped hands, has rubbed his face and now cannot 
          open his eyes, for fear of getting soap in them.

                                    KANE
                        Where's the towel?

                                    SUSAN
                        On the chiffonier.  Here.

                                    KANE
                               (rubs his face dry)
                        Thanks.

                                    SUSAN
                               (on her way to closet)
                        I've got a brush in the closet.  
                        As soon as the mud on your trousers 
                        is all dry - you just brush it 
                        off.

                                    KANE
                        I'll get these streets fixed, if 
                        it's the last thing I do.

          Susan comes out of the closet.  She holds out the brush with 
          her left hand, her right hand to her jaw in real distress.

                                    KANE
                               (takes the brush)
                        You are in pain, aren't you, you 
                        poor kid?

          Susan can't stand it anymore and sits down in a chair, bent 
          over, whimpering a bit.

                                    KANE
                               (brushing himself)
                        Wish there was something I could -

          He stops and thinks.  Susan, her face averted, is still trying 
          hard not to cry.

                                    KANE
                        I've got an idea, young lady.
                               (there is no response)
                        Turn around and look at me.
                               (there is still no 
                               response)
                        I said, turn around and look at 
                        me, young lady.

          Slowly, Susan turns.

                                    KANE
                        Did you ever see anybody wiggle 
                        both his ears at the same time?

          It takes a second for Susan to adapt herself to this.

                                    KANE
                        Watch closely!
                               (he wiggles his 
                               ears)
                        It took me two solid years at the 
                        finest boys' school in the world 
                        to learn that trick.  The fellow 
                        who taught me is President of 
                        Venezuela now.

          He's still wiggling his ears as Susan starts to smile.

                                    KANE
                        That's it!  Smile!

          Susan smiles, very broadly.

                                                                  DISSOLVE:

          INT. SUSAN'S ROOM - NIGHT -

          Closeup of a duck, camera pulls back showing it to be a 
          shadowgraph on the wall, made by Kane, who is now in his shirt 
          sleeves.  It is about an hour later than preceding sequence.

                                    SUSAN
                               (hesitatingly)
                        A chicken?

                                    KANE
                        No.  But you're close.

                                    SUSAN
                        A rooster?

                                    KANE
                        You're getting farther away all 
                        the time.  It's a duck.

                                    SUSAN
                        Excuse me, Mr. Kane.  I know this 
                        takes a lot of nerve, but - who 
                        are you?  I mean - I'm pretty 
                        ignorant, guess you caught on to 
                        that -

                                    KANE
                               (looks squarely at 
                               her)
                        You really don't know who I am?

                                    SUSAN
                        No.  That is, I bet it turns out 
                        I've heard your name a million 
                        times, only you know how it is -

                                    KANE
                        But you like me, don't you?  Even 
                        though you don't know who I am?

                                    SUSAN
                        You've been wonderful!  I can't 
                        tell you how glad I am you're here, 
                        I don't know many people and -
                               (she stops)

                                    KANE
                        And I know too many people.  
                        Obviously, we're both lonely.
                               (he smiles)
                        Would you like to know where I was 
                        going tonight - when you ran into 
                        me and ruined my Sunday clothes?

                                    SUSAN
                        I didn't run into you and I bet 
                        they're not your Sunday clothes.
                        You've probably got a lot of 
                        clothes.

                                    KANE
                               (as if defending 
                               himself from a 
                               terrible onslaught)
                        I was only joking!
                               (pauses)
                        This evening I was on my way to
                        the Western Manhattan Warehouses -
                        in search of my youth.

          Susan is bewildered.

                                    KANE
                        You see, my mother died, too - a 
                        long time ago.  Her things were 
                        put into storage out west because 
                        I had no place to put them then.
                        I still haven't.  But now I've 
                        sent for them just the same.  And 
                        tonight I'd planned to make a sort 
                        of sentimental journey -
                               (slowly)
                        - to the scenes of my youth - my 
                        childhood, I suppose - to look 
                        again at -
                               (he changes mood 
                               slightly)
                        and now -

          Kane doesn't finish.  He looks at Susan.  Silence.

                                    KANE
                        Who am I?  Well, let's see.  Charles 
                        Foster Kane was born in New Salem,
                        Colorado in eighteen six -
                               (he stops on the 
                               word "sixty" - 
                               obviously a little 
                               embarrassed)
                        I run a couple of newspapers.  How 
                        about you?

                                    SUSAN
                        Oh, me -

                                    KANE
                        How old did you say you were?

                                    SUSAN
                               (very bright)
                        I didn't say.

                                    KANE
                        I didn't think you did.  If you 
                        had, I wouldn't have asked you 
                        again, because I'd have remembered.
                        How old?

                                    SUSAN
                        Pretty old.  I'll be twenty-two in 
                        August.

                                    KANE
                               (looks at her 
                               silently for a 
                               moment)
                        That's a ripe old age -  What do 
                        you do?

                                    SUSAN
                        I work at Seligman's.

                                    KANE
                        Is that what you want to do?

                                    SUSAN
                        I want to be a singer.
                               (she thinks for a 
                               moment)
                        I mean, I didn't.  Mother did for 
                        me.

                                    KANE
                               (sympathetically)
                        What happened to the singing?
                        You're not in a show, are you?

                                    SUSAN
                        Oh, no!  Nothing like that.  Mother 
                        always thought - she used to talk 
                        about Grand Opera for me.  Imagine!
                        An American girl, for one thing -
                        and then my voice isn't really 
                        that kind anyway, it's just that 
                        Mother - you know what mothers are 
                        like.

          A sudden look comes over Kane's face.

                                    KANE
                        Yes -

                                    SUSAN
                        As a matter of fact, I do sing a 
                        little.

                                    KANE
                               (points to the piano)
                        Would you sing for me?

                                    SUSAN
                               (bashful)
                        Oh, you wouldn't want to hear me 
                        sing.

                                    KANE
                        Yes, I would.  That's why I asked.

                                    SUSAN
                        Well, I -

                                    KANE
                        Don't tell me your toothache is 
                        bothering you again?

                                    SUSAN
                        Oh, no, that's all gone.

                                    KANE
                        Then you have no alibi at all.
                        Please sing.

          Susan, with a tiny ladylike hesitancy, goes to the piano and 
          sings a polite song.  Sweetly, nicely, she sings with a small, 
          untrained voice.  Kane listens.  He is relaxed, at ease with 
          the world.

                                                                  DISSOLVE:

          INT. "EL RANCHO" CABARET - EARLY DAWN -

          Susan tosses down a drink, then goes on with her story.

                                    SUSAN
                        I did a lot of singing after that.
                        I sang for Charlie -  I sang for 
                        teachers at a hundred bucks an 
                        hour - the teachers got that, I
                        didn't -

                                    THOMPSON
                        What did you get?

                                    SUSAN
                               (glares at him 
                               balefully)
                        What do you mean?

          Thompson doesn't answer.

                                    SUSAN
                        I didn't get a thing.  Just the 
                        music lessons.  That's all there 
                        was to it.

                                    THOMPSON
                        He married you, didn't he?

                                    SUSAN
                        He was in love with me.  But he 
                        never told me so until after it 
                        all came out in the papers about 
                        us - and he lost the election and
                        that Norton woman divorced him.

                                    THOMPSON
                        What about that apartment?

                                    SUSAN
                        He wanted me to be comfortable -
                        Oh, why should I bother?  You don't 
                        believe me, but it's true.  It 
                        just happens to be true.  He was 
                        really interested in my voice.
                               (sharply)
                        What are you smiling for?  What do 
                        you think he built that opera house 
                        for?  I didn't want it.  I didn't
                        want to sing.  It was his idea -
                        everything was his idea - except 
                        my leaving him.

                                                                  DISSOLVE:

          INT. LIVING ROOM OF KANE'S HOUSE IN NEW YORK - DAY -

          Susan is singing.  Matisti, her voice teacher, is playing the 
          piano.  Kane is seated nearby.  Matisti stops.

                                    MATISTI
                        Impossible!  Impossible!

                                    KANE
                        Your job isn't to give Mrs. Kane 
                        your opinion of her talents.
                        You're supposed to train her voice.
                        Nothing more.

                                    MATISTI
                               (sweating)
                        But, it is impossible.  I will be 
                        the laughingstock of the musical
                        world!  People will say -

                                    KANE
                        If you're interested in what people 
                        say, Signor Matisti, I may be able 
                        to enlighten you a bit.  The 
                        newspapers, for instance.  I'm an 
                        authority on what the papers will 
                        say, Signor Matisti, because I own 
                        eight of them between here and San 
                        Francisco...  It's all right, dear.
                        Signor Matisti is going to listen 
                        to reason.  Aren't you, maestro?
                               (he looks him square 
                               in the eyes)

                                    MATISTI
                        Mr. Kane, how can I persuade you -

                                    KANE
                        You can't.

          There is a silence.  Matisti rises.

                                    KANE
                        I knew you'd see it my way.

                                                                  DISSOLVE:

          INT. CHICAGO OPERA HOUSE - NIGHT -

          It is the same opening night - it is the same moment as before - 
          except taht the camera is now upstage angling toward the 
          audience.  The curtain is down.  We see the same tableau as 
          before - the terrified and trembling Susan, the apprehensive 
          principals, the maids and singing teachers, the stage hands.  
          As the dissolve commences, there is the sound of applause 
          (exactly as before) and now as the dissolve completes itself, 
          the orchestra breaks frighteningly into opening chords of the 
          music - the stage is cleared - Susan is left alone, terribly 
          alone.  The curtain rises.  The glare of the footlights jump 
          into the image.  The curtain is now out of the picture and 
          Susan starts to sing.  Beyond her, we see the prompter's box, 
          containing the anxious face of the prompter.  Beyond that, out 
          in the darkness - an apprehensive conductor struggles with his 
          task of coordinating an orchestra and an incompetent singer.  
          Beyond that - dimly white shirt fronts and glistening bosoms 
          for a couple of rows, and then deep and terrible darkness.

          Closeup of Kane's face - seated in the audience - listening.

          Sudden but perfectly correct lull in the music reveals a voice 
          from the audience - a few words from a sentence - the kind of 
          thing that often happens in a theatre -

                                    THE VOICE
                        - really pathetic.

          Music crashes in and drowns out the rest of the sentence, but 
          hundreds of people around the voice have heard it (as well as 
          Kane) and there are titters which grow in volume.

          Closeup of Susan's face - singing.

          Closeup of Kane's face - listening.

          There is the ghastly sound of three thousand people applauding 
          as little as possible.  Kane still looks.  Then, near the 
          camera, there is the sound of about a dozen people applauding 
          very, very loudly.  Camera moves back, revealing Bernstein and 
          Reilly and other Kane stooges, seated around him, beating their 
          palms together.  The curtain is falling - as we can see by the 
          light which shutters down off their faces.

          The stage from Kane's angle.

          The curtain is down - the lights glowing on it.  Still, the 
          polite applause dying fast.  Nobody comes out for a bow.

          Closeup of Kane - breathing heavily.  Suddenly he starts to 
          applaud furiously.

          The stage from the audience again.

          Susan appears for her bow.  She can hardly walk.  There is a 
          little polite crescendo of applause, but it is sickly.

          Closeup of Kane - still applauding very, very hard, his eyes 
          on Susan.

          The stage again.

          Susan, finishing her bow, goes out through the curtains.  The 
          light on the curtain goes out and the houselights go on.

          Closeup of Kane - still applauding very, very hard.

                                                                  DISSOLVE:

          INT. STUDY - KANE'S NEW YORK HOME - DAY -

          Some weeks later.  Susan, in a negligee, is at the window.  
          There are the remains of her breakfast tray on a little table.

                                    SUSAN
                        You don't propose to have yourself 
                        made ridiculous?  What about me?
                        I'm the one that has to do the 
                        singing.  I'm the one that gets 
                        the razzberries.
                               (pauses)
                        Last week, when I was shopping, 
                        one of the salesgirls did an 
                        imitation of me for another girl.  
                        She thought I didn't see her, but -  
                        Charlie, you might as well make up 
                        your mind to it.  This is one thing 
                        you're not going to have your own 
                        way about.  I can't sing and you 
                        know it -  Why can't you just -

          Kane rises and walks toward her.  There is cold menace in his 
          walk.  Susan shrinks a little as he draws closer to her.

                                    KANE
                        My reasons satisfy me, Susan.  You 
                        seem unable to understand them.  I 
                        will not tell them to you again.
                               (he is very close 
                               to her)
                        You will continue with your singing.

          His eyes are relentlessly upon her.  She sees something in 
          them that frightens her.  She nods her head slowly, indicating 
          surrender.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          Front page of the "San Francisco Enquirer" containing a large 
          portrait of Susan as Thais (as before).  It is announced that 
          Susan will open an independent season in San Francisco in 
          "Thais."  The picture remains constant but the names of the 
          papers change from New York to St. Louis, to Los Angeles to 
          Cleveland, to Denver to Philadelphia - all "Enquirers."

          During all this, on the soundtrack, Susan's voice is heard 
          singing her aria very faintly and far away, her voice cracking 
          a little.

          At the conclusion of this above, Susan has finished her song, 
          and there is the same mild applause as before - over the sound 
          of this, one man loudly applauding.  This fades out as we -

                                                                  DISSOLVE:

          INT. SUSAN'S BEDROOM - KANE'S NEW YORK HOME - LATE NIGHT -

          The camera angles across the bed and Susan's form towards the 
          door, from the other side of which voices can be heard.

                                    KANE'S VOICE
                        Let's have your keys, Raymond.

                                    RAYMOND'S VOICE
                        Yes, sir.

                                    KANE'S VOICE
                        The key must be in the other side.
                               (pause)
                        We'll knock the door down, Raymond.

                                    RAYMOND'S VOICE
                               (calling)
                        Mrs. Kane -

                                    KANE'S VOICE
                        Do what I say.

          The door crashes open, light floods in the room, revealing 
          Susan, fully dressed, stretched out on the bed, one arm dangling 
          over the side.  Kane rushes to her.

                                    KANE
                        Get Dr. Corey.

                                    RAYMOND
                        Yes, sir.

          He rushes out.  Susan is breathing, but heavily.  Kane loosens 
          the lace collar at her throat.

                                                                  DISSOLVE:

          INT. SUSAN'S ROOM - LATE NIGHT -

          A little later.  All the lights are lit.  Susan, in a nightgown, 
          is in bed, asleep.  Raymond and a nurse are just leaving the 
          room, Raymond closing the door quietly behind him.  Dr. Corey 
          rises.

                                    DR. COREY
                        She'll be perfectly all right in a 
                        day or two, Mr. Kane.

          Kane nods.  He has a small bottle in his hand.

                                    DR. COREY
                        The nurse has complete instructions, 
                        but if you care to talk to me at 
                        any time, I should be only too 
                        glad -  I shall be here in the 
                        morning.

                                    KANE
                        Thank you.  I can't imagine how 
                        Mrs. Kane came to make such a silly 
                        mistake.  The sedative Dr. Wagner 
                        gave her is in a somewhat larger 
                        bottle -  I suppose the strain of 
                        preparing for her trip has excited 
                        and confused her.

                                    DR. COREY
                        I'm sure that's it.
                               (he starts out)

                                    KANE
                        There are no objections to my 
                        staying here with her, are there?

                                    DR. COREY
                        Not at all.  I'd like the nurse to 
                        be here, too.

                                    KANE
                        Of course.

          Dr. Corey leaves.  Kane settles himself in a chair next to the 
          bed, looking at Susan.  In a moment, the nurse enters, goes to 
          a chair in the corner of the room, and sits down.

                                                                  DISSOLVE:

          INT. SUSAN'S ROOM - DAY -

          Susan, utterly spent, is lying flat on her back in her bed.  
          Kane is in the chair beside her.  The nurse is out of the room.

                                    SUSAN
                               (in a voice that 
                               comes from far 
                               away)
                        I couldn't make you see how I felt, 
                        Charlie.  I just couldn't -  I 
                        couldn't go threw with singing 
                        again.  You don't know what it 
                        means to feel - to know that people - 
                        that an audience don't want you.  
                        That if you haven't got what they 
                        want - a real voice -
                        they just don't care about you.  
                        Even when they're polite - and 
                        they don't laugh or get restless 
                        or - you know...  They don't want 
                        you.  They just -

                                    KANE
                               (angrily)
                        That's when you've got to fight 
                        them.  That's when you've got to 
                        make them.  That's -

          Susan's head turns and she looks at him silently with pathetic 
          eyes.

                                    KANE
                        I'm sorry.
                               (he leans over to 
                               pat her hand)
                        You won't have to fight them 
                        anymore.
                               (he smiles a little)
                        It's their loss.

          Gratefully, Susan, with difficulty, brings her other hand over 
          to cover his.

                                                                  DISSOLVE:

          EXT. ESTABLISHING SHOT OF XANADU - HALF BUILT

          INT. THE GRAND HALL IN XANADU -

          Closeup of an enormous jigsaw puzzle.  A hand is putting in 
          the last piece.  Camera moves back to reveal jigsaw puzzle 
          spread out on the floor.

          Susan is on the floor before her jigsaw puzzle.  Kane is in an 
          easy chair.  Behind them towers the massive Renaissance 
          fireplace.  It is night and Baroque candelabra illuminates the 
          scene.

                                    SUSAN
                               (with a sigh)
                        What time is it?

          There is no answer.

                                    SUSAN
                        Charlie!  I said, what time is it?

                                    KANE
                               (looks up - consults 
                               his watch)
                        Half past eleven.

                                    SUSAN
                        I mean in New York.

                                    KANE
                        Half past eleven.

                                    SUSAN
                        At night?

                                    KANE
                        Yes.  The bulldog's just gone to 
                        press.

                                    SUSAN
                               (sarcastically)
                        Hurray for the bulldog!
                               (sighs)
                        Half past eleven!  The shows have 
                        just let out.  People are going to 
                        night clubs and restaurants.  Of 
                        course, we're different.  We live 
                        in a palace - at the end of the 
                        world.

                                    KANE
                        You always said you wanted to live 
                        in a palace.

                                    SUSAN
                        Can't we go back, Charlie?

          Kane looks at her smilingly and turns back to his work.

                                    SUSAN
                        Charlie -

          There is no answer.

                                    SUSAN
                        If I promise to be a good girl!
                        Not to drink - and to entertain 
                        all the governors and the senators
                        with dignity -
                               (she puts a slur 
                               into the word)
                        Charlie -

          There is still no answer.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          Another picture puzzle - Susan's hands fitting in a missing 
          piece.

                                                                  DISSOLVE:

          Another picture puzzle - Susan's hands fitting in a missing 
          piece.

                                                                  DISSOLVE:

          INT. XANADU - LIVING ROOM - DAY -

          Another picture puzzle.

          Camera pulls back to show Kane and Susan in much the same 
          positions as before, except that they are older.

                                    KANE
                        One thing I've never been able to 
                        understand, Susan.  How do you 
                        know you haven't done them before?

          Susan shoots him an angry glance.  She isn't amused.

                                    SUSAN
                        It makes a whole lot more sense 
                        than collecting Venuses.

                                    KANE
                        You may be right -  I sometimes 
                        wonder - but you get into the
                        habit -

                                    SUSAN
                               (snapping)
                        It's not a habit.  I do it because 
                        I like it.

                                    KANE
                        I was referring to myself.
                               (pauses)
                        I thought we might have a picnic 
                        tomorrow - it might be a nice change 
                        after the Wild West party tonight.  
                        Invite everybody to go to the 
                        Everglades -

                                    SUSAN
                               (throws down a piece 
                               of the jigsaw puzzle 
                               and rises)
                        Invite everybody!  Order everybody, 
                        you mean, and make them sleep in 
                        tents!  Who wants to sleep in tents 
                        when they have a nice room of their
                        own - with their own bath, where 
                        they know where everything is?

          Kane has looked at her steadily, not hostilely.

                                    KANE
                        I thought we might invite everybody 
                        to go on a picnic tomorrow.  Stay 
                        at Everglades overnight.
                               (he pats her lightly 
                               on the shoulder)
                        Please see that the arrangements 
                        are made, Susan.

          Kane turns away - to Bernstein.

                                    KANE
                        You remember my son, Mr. Bernstein.

          On the soundtrack we hear the following lines of dialogue:

                                    BERNSTEIN'S VOICE
                               (embarrased)
                        Oh, yes.  How do you do, Mr. Kane?

                                    CHARLIE JR.'S VOICE
                        Hello.

          During this, camera holds on closeup of Susan's face.  She is 
          very angry.

                                                                  DISSOLVE:

          EXT. THE EVERGLADES CAMP - NIGHT -

          Long shot - of a number of classy tents.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. LARGE TENT - EVERGLADES CAMP - NIGHT -

          Two real beds have been set up on each side of the tent.  A 
          rather classy dressing table is in the rear, at which Susan is 
          preparing for bed.  Kane, in his shirt-sleeves, is in an easy 
          chair, reading.  Susan is very sullen.

                                    SUSAN
                        I'm not going to put up with it.

          Kane turns to look at her.

                                    SUSAN
                        I mean it.
                               (she catches a slight 
                               flicker on Kane's 
                               face)
                        Oh, I know I always say I mean it, 
                        and then I don't - or you get me 
                        so don't do what I say I'm going 
                        to - but -

                                    KANE
                               (interrupting)
                        You're in a tent, darling.  You're 
                        not at home.  And I can hear you 
                        very well if you just talk in a 
                        normal tone of voice.

                                    SUSAN
                        I'm not going to have my guests
                        insulted, just because you think -
                               (in a rage)
                        - if people want to bring a drink 
                        or two along on a picnic, that's
                        their business.  You've got no 
                        right -

                                    KANE
                               (quickly)
                        I've got more than a right as far 
                        as you're concerned, Susan.

                                    SUSAN
                        Oh, I'm sick and tired of you 
                        telling me what I must and what I 
                        musn't do!

                                    KANE
                               (gently)
                        You're my wife, Susan, and -

                                    SUSAN
                        I'm not just your wife, I'm a person 
                        all by myself - or I ought to be.  
                        I was once.  Sometimes you get me 
                        to believing I never was.

                                    KANE
                        We can discuss all this some other
                        time, Susan.  Right now -

                                    SUSAN
                        I'll discuss what's on my mind 
                        when I want to.  You're not going 
                        to keep on running my life the way 
                        you want it.

                                    KANE
                        As far as you're concerned, Susan, 
                        I've never wanted anything -  I 
                        don't want anything now - except 
                        what you want.

                                    SUSAN
                        What you want me to want, you mean.
                        What you've decided I ought to 
                        have - what you'd want if you were 
                        me.  But you've never given me 
                        anything that -

                                    KANE
                        Susan, I really think -

                                    SUSAN
                        Oh, I don't mean the things you've 
                        given me - that don't mean anything 
                        to you.  What's the difference 
                        between giving me a bracelet or 
                        giving somebody else a hundred 
                        thousand dollars for a statue you're 
                        going to keep crated up and never 
                        look at?  It's only money.  It 
                        doesn't mean anything.  You're not 
                        really giving anything that belongs 
                        to you, that you care about.

                                    KANE
                               (he has risen)
                        Susan, I want you to stop this.
                        And right now!

                                    SUSAN
                        Well, I'm not going to stop it.  
                        I'm going to say exactly what I 
                        think.
                               (she screams)
                        You've never given me anything.  
                        You've tried to buy me into giving 
                        you something.  You're -
                               (a sudden notion)
                        - it's like you were bribing me!  
                        That's what it's been from the 
                        first moment I met you.  No matter 
                        how much it cost you - your time, 
                        your money - that's what you've 
                        done with everybody you've ever 
                        known.  Tried to bribe them!

                                    KANE
                        Susan!

          She looks at him, with no lessening of her passion.

                                    KANE
                        You're talking an incredible amount 
                        of nonsense, Susan.
                               (quietly)
                        Whatever I do -  I do - because I 
                        love you.

                                    SUSAN
                        Love!  You don't love anybody!  Me 
                        or anybody else!  You want to be 
                        loved - that's all you want!  I'm 
                        Charles Foster Kane.  Whatever you 
                        want - just name it and it's yours!
                        Only love me!  Don't expect me to
                        love you -

          Without a word, Kane slaps her across the face.  They look at 
          each other.

                                    SUSAN
                        You - you hit me.

          Kane continues to look at her.

                                    SUSAN
                        You'll never have another chance 
                        to hit me again.
                               (pauses)
                        Never knew till this minute -

                                    KANE
                        Susan, it seems to me -

                                    SUSAN
                        Don't tell me you're sorry.

                                    KANE
                        I'm not sorry.

                                    SUSAN
                        I'm going to leave you.

                                    KANE
                        No, you're not.

                                    SUSAN
                               (nods)
                        Yes.

          They look at each other, fixedly, but she doesn't give way.  
          In fact, the camera on Kane's face shows the beginning of a 
          startled look, as of one who sees something unfamiliar and 
          unbelievable.

                                                                  DISSOLVE:

          INT. KANE'S STUDY - XANADU - DAY -

          Kane is a the window looking out.  He turns as he hears Raymond 
          enter.

                                    RAYMOND
                        Mrs. Kane would like to see you, 
                        Mr. Kane.

                                    KANE
                        All right.

          Raymond waits as Kane hesitates.

                                    KANE
                        Is Mrs. Kane -
                               (he can't finish)

                                    RAYMOND
                        Marie has been packing since 
                        morning, Mr. Kane.

          Kane impetuously walks past him out of the room.

          INT. SUSAN'S ROOM - XANADU - DAY -

          Packed suitcases are on the floor, Susan is completely dressed 
          for travelling.  Kane bursts into the room.

                                    SUSAN
                        Tell Arnold I'm ready, Marie.  He 
                        can get the bags.

                                    MARIE
                        Yes, Mrs. Kane.

          She leaves.  Kane closes the door behind her.

                                    KANE
                        Have you gone completely crazy?

          Susan looks at him.

                                    KANE
                        Don't you realize that everybody 
                        here is going to know about this?
                        That you've packed your bags and
                        ordered the car and -

                                    SUSAN
                        - And left?  Of course they'll
                        hear.  I'm not saying goodbye -
                        except to you - but I never imagined 
                        that people wouldn't know.

          Kane is standing against the door as if physically barring her 
          way.

                                    KANE
                        I won't let you go.

                                    SUSAN
                        You can't stop me.

          Kane keeps looking at her.  Susan reaches out her hand.

                                    SUSAN
                        Goodbye, Charlie.

                                    KANE
                               (suddenly)
                        Don't go, Susan.

                                    SUSAN
                        Let's not start all over again, 
                        Charlie.  We've said everything 
                        that can be said.

                                    KANE
                        Susan, don't go!  Susan, please!

          He has lost all pride.  Susan stops.  She is affected by this.

                                    KANE
                        You mustn't go, Susan.  
                        Everything'll be exactly the way 
                        you want it.  Not the way I think 
                        you want it - by your way.  Please, 
                        Susan - Susan!

          She is staring at him.  She might weaken.

                                    KANE
                        Don't go, Susan!  You mustn't go!
                               (almost blubbering)
                        You - you can't do this to me,
                        Susan -

          It's as if he had thrown ice water into her face.  She freezes.

                                    SUSAN
                        I see - it's you that this is being 
                        done to!  It's not me at all.  Not 
                        how I feel.  Not what it means to 
                        me.
                               (she laughs)
                        I can't do this to you!
                               (she looks at him)
                        Oh, yes I can.

          She walks out, past Kane, who turns to watch her go, like a 
          very tired old man.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. "EL RANCHO" CABARET - NIGHT -

          Susan and Thompson at a table.  There is silence between them 
          for a moment.

                                    SUSAN
                        In case you've never heard of how 
                        I lost all my money - and it was
                        plenty, believe me -

                                    THOMPSON
                        The last ten years have been tough 
                        on a lot of people.

                                    SUSAN
                        They haven't been tough on me.  I 
                        just lost my money.  But when I 
                        compare these last ten years with
                        the twenty I spent with him -

                                    THOMPSON
                        I feel kind of sorry for him, all
                        the same -

                                    SUSAN
                               (harshly)
                        Don't you think I do?
                               (pause)
                        You say you're going down to Xanadu?

                                    THOMPSON
                        Monday, with some of the boys from 
                        the office.  Mr. Rawlston wants 
                        the whole place photographed 
                        carefully - all that art stuff.  
                        We run a picture magazine, you 
                        know -

                                    SUSAN
                        I know.  If you're smart, you'll 
                        talk to Raymond.  That's the butler.
                        You can learn a lot from him.  He 
                        knows where the bodies are buried.

          She shivers.  The dawn light from the skylight above has grown 
          brighter, making the artificial light in the night club look 
          particularly ghastly, revealing mercilessly every year of 
          Susan's age.

                                    SUSAN
                        Well, what do you know?  It's 
                        morning already.
                               (looks at him)
                        You must come around and tell me 
                        the story of your life sometime.

                                                                  FADE OUT:

          FADE IN:

          INT. GREAT HALL - XANADU - NIGHT -

          An open door shows the pantry, which is dark.  Thompson and 
          Raymond are at a table.  There is a pitcher of beer and a plate 
          of sandwiches before them.  Raymond drinks a glass of beer and 
          settles back.

                                    RAYMOND
                        Yes, sir - yes, sir, I knew how to 
                        handle the old man.  He was kind 
                        of queer, but I knew how to handle 
                        him.

                                    THOMPSON
                        Queer?

                                    RAYMOND
                        Yeah.  I guess he wasn't very happy 
                        those last years - he didn't have
                        much reason to be -

                                                                  DISSOLVE:

          INT. CORRIDOR AND TELEGRAPH OFFICE - XANADU - NIGHT -

          Raymond walking rapidly along corridor.  He pushes open a door.  
          At a desk in a fairly elaborate telegraph office sits a wireless 
          operator named Fred.  Near him at a telephone switchboard sits 
          a female operator named Katherine (not that it matters).

                                    RAYMOND
                               (reading)
                        Mr. Charles Foster Kane announced 
                        today that Mrs. Charles Foster 
                        Kane has left Xanadu, his Florida 
                        home, under the terms of a peaceful 
                        and friendly agreement with the 
                        intention of filing suit for divorce 
                        at an early date.  Mrs. Kane said 
                        that she does not intend to return 
                        to the operatic career which she 
                        gave up a few years after her 
                        marriage, at Mr.  Kane's request.  
                        Signed, Charles Foster Kane.

          Fred finishes typing and then looks up.

                                    RAYMOND
                        Exclusive for immediate 
                        transmission.  Urgent priority all 
                        Kane papers.

                                    FRED
                        Okay.

          There is the sound of the buzzer on the switchboard.  Katherine 
          puts in a plug and answers the call.

                                    KATHERINE
                        Yes ... yes...  Mrs. Tinsdall -
                        Very well.
                               (turns to Raymond)
                        It's the housekeeper.

                                    RAYMOND
                        Yes?

                                    KATHERINE
                        She says there's some sort of 
                        disturbance up in Mrs. Alexander's 
                        room.  She's afraid to go in.

                                                                  DISSOLVE:

          INT. CORRIDOR OUTSIDE SUSAN'S BEDROOM - XANADU - NIGHT -

          The housekeeper, Mrs. Tinsdall, and a couple of maids are near 
          the door but are too afraid to be in front of it.  From inside 
          can be heard a terrible banging and crashing.  Raymond hurries 
          into scene, opens the door and goes in.

          INT. SUSAN'S BEDROOM - XANADU -

          Kane, in a truly terrible and absolutely silent rage, is 
          literally breaking up the room - yanking pictures, hooks and 
          all off the wall, smashing them to bits - ugly, gaudy pictures - 
          Susie's pictures in Susie's bad taste.  Off of occasional 
          tables, bureaus, he sweeps Susie's whorish accumulation of 
          bric-a-brac.

          Raymond stands in the doorway watching him.  Kane says nothing.  
          He continues with tremendous speed and surprising strength, 
          still wordlessly, tearing the room to bits.  The curtains (too 
          frilly - overly pretty) are pulled off the windows in a single 
          gesture, and from the bookshelves he pulls down double armloads 
          of cheap novels - discovers a half-empty bottle of liquor and 
          dashes it across the room.  Finally he stops.  Susie's cozy 
          little chamber is an incredible shambles all around him.

          He stands for a minute breathing heavily, and his eye lights 
          on a hanging what-not in a corner which had escaped his notice.  
          Prominent on its center shelf is the little glass ball with 
          the snowstorm in it.  He yanks it down.  Something made of 
          china breaks, but not the glass ball.  It bounces on the carpet 
          and rolls to his feet, the snow in a flurry.  His eye follows 
          it.  He stoops to pick it up - can't make it.  Raymond picks 
          it up for him; hands it to him.  Kane takes it sheepishly - 
          looks at it - moves painfully out of the room into the corridor.

          INT. CORRIDOR OUTSIDE SUSAN'S BEDROOM - XANADU -

          Kane comes out of the door.  Mrs. Tinsdall has been joined now 
          by a fairly sizable turnout of servants.  They move back away 
          from Kane, staring at him.  Raymond is in the doorway behind 
          Kane.  Kane looks at the glass ball.

                                    KANE
                               (without turning)
                        Close the door, Raymond.

                                    RAYMOND
                        Yes, sir.
                               (he closes it)

                                    KANE
                        Lock it - and keep it locked.

          Raymond locks the door and comes to his side.  There is a long 
          pause - servants staring in silence.  Kane gives the glass 
          ball a gentle shake and starts another snowstorm.

                                    KANE
                        Raymond -
                               (he is almost in a 
                               trance)

                                    RAYMOND
                        Yes, sir -

          One of the younger servants giggles and is hushed up.  Kane 
          shakes the ball again.  Another flurry of snow.  He watches 
          the flakes settle - then looks up.  Finally, taking in the 
          pack of servants and something of the situations, he puts the 
          glass ball in his coat pocket.  He speaks very quietly to 
          Raymond, so quietly it only seems he's talking to himself.

                                    KANE
                        Keep it locked.

          He slowly walks off down the corridor, the servants giving way 
          to let him pass, and watching him as he goes.  He is an old, 
          old man!

                                                                  DISSOLVE:

          INT. KANE'S CHAPEL - XANADU - LATE AFTERNOON -

          As the dissolve completes itself, camera is travellling across 
          the floor of the chapel past the crypts of Kane's father and 
          mother - (marked: James Kane - 18- TO 19-; Mary Kane - 18- TO 
          19-;) - past a blank crypt, and then holding on the burial of 
          Kane's son.  A group of ordinary workmen in ordinary clothes 
          are lowering a very expensive-looking coffin into its crypt.  
          Kane stands nearby with Raymond, looking on.  The men strain 
          and grunt as the coffin bangs on the stone floor.  The men now 
          place over it a long marble slab on which is cut the words:

          CHARLES FOSTER KANE II.

          1907 - 1938

                                    ONE OF THE WORKMEN
                        Sorry, Mr. Kane, we won't be able
                        to cement it till tommorrow.  We -

          Kane looks right through him.  Raymond cuts him short.

                                    RAYMOND
                        Okay.

          The men tip their hats and shuffle out of the chapel.  Kane 
          raises his head, looks at the inscription on the wall.  It is 
          a little to one side of Junior's grave, directly over the blank 
          place which will be occupied by Kane himself.

                                    KANE
                        Do you like poetry, Raymond?

                                    RAYMOND
                        Can't say, sir.

                                    KANE
                        Mrs. Kane liked poetry -

          Raymond is now convinced that the old master is very far gone 
          indeed - not to say off his trolley.

                                    RAYMOND
                        Yes, Mr. Kane.

                                    KANE
                        Not my wife - not either of them.

          He looks at the grave next to his son's - the grave marked 
          "MARY KANE."

                                    RAYMOND
                               (catching on)
                        Oh, yes, sir.

                                    KANE
                               (looking back up at 
                               the wall)
                        Do you know what that is?

                                    RAYMOND
                               (more his keeper 
                               than his butler 
                               now)
                        It's a wall you bought in China, 
                        Mr. Kane.

                                    KANE
                        Persia.  It belonged to a king.

                                    RAYMOND
                        How did you get him to part with 
                        it, Mr. Kane?

                                    KANE
                        He was dead...  That's a poem.  Do 
                        you know what it means?

                                    RAYMOND
                        No, I don't, Mr. Kane.

                                    KANE
                        I didn't used to be afraid of it.

          A short pause.  His eyes still on the wall, but looking through 
          it, Kane quotes the translation.

                                    KANE
                        The drunkeness of youth has passed 
                        like a fever, And yet I saw many 
                        things, Seeing my glory in the 
                        days of my glory, I thought my 
                        power eternal And the days of my 
                        life Fixed surely in the years But 
                        a whisper came to me From Him who 
                        dies not.  I called my tributary 
                        kings together And those who were 
                        proud rulers under me, I opened 
                        the boxes of my treasure to them, 
                        saying: "Take hills of gold, 
                        moutains of silver, And give me 
                        only one more day upon the earth."
                        But they stood silent, Looking 
                        upon the ground; So that I died 
                        And Death came to sit upon my 
                        throne.  O sons of men You see a 
                        stranger upon the road, You call 
                        to him and he does not step.  He 
                        is your life Walking towards time, 
                        Hurrying to meet the kings of India 
                        and China.
                               (quoting)
                        O sons of men You are caught in 
                        the web of the world And the spider 
                        Nothing waits behind it.  Where 
                        are the men with towering hopes?
                        They have changed places with owls, 
                        Owls who have lived in tombs And 
                        now inhabit a palace.

          Kane still stares at the wall, through it, and way beyond it.  
          Raymond looks at him.

                                                              DISSOLVE OUT:

          DISSOLVE IN:

          INT. GREAT HALL - XANADU - NIGHT -

          Thompson and Raymond.  Raymond has finished his beer.

                                    RAYMOND
                               (callously)
                        That's the whole works, right up 
                        to date.

                                    THOMPSON
                        Sentimental fellow, aren't you?

                                    RAYMOND
                        Yes and no.

                                    THOMPSON
                               (getting to his 
                               feet)
                        Well, thanks a lot.

                                    RAYMOND
                        See what I mean?  He was a little 
                        gone in the head - the last couple 
                        of years, anyway - but I knew how 
                        to handle him.
                               (rises)
                        That "Rosebud" - that don't mean 
                        anything.  I heard him say it.
                        He just said "Rosebud" and then he 
                        dropped that glass ball and it 
                        broke on the floor.  He didn't say 
                        anything about that, so I knew he 
                        was dead - He said all kind of 
                        things I couldn't make out.  But I 
                        knew how to take care of him.

          Thompson doesn't answer.

                                    RAYMOND
                        You can go on asking questions if 
                        you want to.

                                    THOMPSON
                               (coldly)
                        We're leaving tonight.  As soon as 
                        they're through photographing
                        the stuff -

          Thompson has risen.  Raymond gets to his feet and goes to the 
          door, opening it for him.

                                    RAYMOND
                        Allow yourself plenty of time.  
                        The train stops at the Junction On 
                        signal - but they don't like to 
                        wait.  Not now.  I can remember 
                        when they'd wait all day ... if 
                        Mr. Kane said so.

          Raymond ushes Thompson into

          INT. THE GREAT HALL - XANADU - NIGHT -

          The magnificent tapestries, candelabra, etc., are still there, 
          but now several large packing cases are piled against the walls, 
          some broken open, some shut and a number of objects, great and 
          small, are piled pell mell all over the place.  Furniture, 
          statues, paintings, bric-a-brac - things of obviously enormous 
          value are standing beside a kitchen stove, an old rocking chair 
          and other junk, among which is also an old sled, the self-same 
          story.  Somewhere in the back, one of the vast Gothic windows 
          of the hall is open and a light wind blows through the scene, 
          rustling the papers.

          In the center of the hall, a Photographer and his Assistant 
          are busy photographing the sundry objects.  The floor is 
          littered with burnt-out flash bulbs.  They continue their work 
          throughout the early part of the scene so that now and then a 
          flash bulb goes off.  In addition to the Photographer and his 
          Assistant, there are a Girl and Two Newspaperment - the Second 
          and Third Men of the projection room scene - also Thompson and 
          Raymond.

          The Girl and the Second Man, who wears a hat, are dancing 
          somewhere in the back of the hall to the music of a phonograph.  
          A flash bulb goes off.  The Photographer has just photographed 
          a picture, obviously of great value, an Italian primitive.  
          The Assistant consults a label on the back of it.

                                    ASSISTANT
                        NO. 9182

          The Third Newspaperman starts to jot this information down.

                                    ASSISTANT
                        "Nativity" - attributed to 
                        Donatello, acquired Florence 1921, 
                        cost 45,000 lira.  Got that?

                                    THIRD NEWSPAPERMAN
                        Yeah.

                                    PHOTOGRAPHER
                        All right!  Next!  Better get that 
                        statue over there.

                                    ASSISTANT
                        Okay.

          The Photographer and his Assitant start to move off with their 
          equipment towards a large sculpture in another part of the 
          hall.

                                    RAYMOND
                        What do you think all that is worth, 
                        Mr. Thompson?

                                    THOMPSON
                        Millions - if anybody wants it.

                                    RAYMOND
                        The banks are out of luck, eh?

                                    THOMPSON
                        Oh, I don't know.  They'll clear 
                        all right.

                                    ASSISTANT
                        "Venus," Fourth Century.  Acquired 
                        1911.  Cost twenty-three thousand.
                        Got it?

                                    THIRD NEWSPAPERMAN
                        Okay.

                                    ASSISTANT
                               (patting the statue 
                               on the fanny)
                        That's a lot of money to pay for a 
                        dame without a head.

                                    SECOND ASSISTANT
                               (reading a label)
                        No. 483.  One desk from the estate 
                        of Mary Kane, Little Salem, 
                        Colorado.  Value $6.00.

                                    THIRD NEWSPAPERMAN
                        Okay.

          A flashlight bulb goes off.

                                    SECOND ASSISTANT
                        We're all set to get everything.  
                        The junk as well as the art.

          Thompson has opened a box and is idly playing with a handful 
          of little pieces of cardboard.

                                    THIRD NEWSPAPERMAN
                        What's that?

                                    RAYMOND
                        It's a jigsaw puzzle.

                                    THIRD NEWSPAPERMAN
                        We got a lot of those.  There's a 
                        Burmese Temple and three Spanish 
                        ceilings down the hall.

          Raymond laughs.

                                    PHOTOGRAPHER
                        Yeah, all in crates.

                                    THIRD NEWSPAPERMAN
                        There's a part of a Scotch castle 
                        over there, but we haven't bothered 
                        to unwrap it.

                                    PHOTOGRAPHER
                        I wonder how they put all those 
                        pieces together?

                                    ASSISTANT
                               (reading a label)
                        Iron stove.  Estate of Mary Kane.
                        Value $2.00.

                                    PHOTOGRAPHER
                        Put it over by that statue.  It'll 
                        make a good setup.

                                    GIRL
                               (calling out)
                        Who is she anyway?

                                    SECOND NEWSPAPERMAN
                        Venus.  She always is.

                                    THIRD NEWSPAPERMAN
                        He sure liked to collect things, 
                        didn't he?

                                    RAYMOND
                        He went right on buying - right up 
                        to the end.

                                    PHOTOGRAPHER
                        Anything and everything - he was a 
                        regular crow.

                                    THIRD NEWSPAPERMAN
                        wonder -  You put all this together -
                        the palaces and the paintings and 
                        the toys and everything - what 
                        would it spell?

          Thompson has turned around.  He is facing the camera for the 
          first time.

                                    THOMPSON
                        Charles Foster Kane.

          Another flash bulb goes off.  The Photographer turns to Thompson 
          with a grin.

                                    PHOTOGRAPHER
                        Or Rosebud?  How about it, Jerry?

                                    THIRD NEWSPAPERMAN
                               (to the dancers)
                        Turn that thing off, will you?  
                        It's driving me nuts!  What's 
                        Rosebud?

                                    PHOTOGRAPHER
                        Kane's last words, aren't they, 
                        Jerry?
                               (to the Third 
                               Newspaperman)
                        That was Jerry's angle, wasn't it, 
                        Jerry?  Did you ever find out what 
                        it means, Jerry?

                                    THOMPSON
                        No, I didn't.

          The music has stopped.  The dancers have come over to Thompson.

                                    SECOND NEWSPAPERMAN
                        Say, what did you find out about 
                        him, anyway, Jerry?

                                    THOMPSON
                        Not much.

                                    SECOND NEWSPAPERMAN
                        Well, what have you been doing?

                                    THOMPSON
                        Playing with a jigsaw puzzle -   I 
                        talked to a lot of people who knew 
                        him.

                                    GIRL
                        What do they say?

                                    THOMPSON
                        Well - it's become a very clear 
                        picture.  He was the most honest 
                        man who ever lived, with a streak 
                        of crookedness a yard wide.  He 
                        was a liberal and a reactionary; 
                        he was tolerant - "Live and Let 
                        Live" - that was his motto.  But 
                        he had no use for anybody who 
                        disagreed with him on any point, 
                        no matter how small it was.  He 
                        was a loving husband and a good 
                        father - and both his wives left 
                        him and his son got himself killed 
                        about as shabbily as you can do 
                        it.  He had a gift for friendship 
                        such as few men have - he broke 
                        his oldest friend's heart like 
                        you'd throw away a cigarette
                        you were through with.  Outside of 
                        that -

                                    THIRD NEWSPAPERMAN
                        Okay, okay.

                                    GIRL
                        What about Rosebud?  Don't you 
                        think that explains anything?

                                    THOMPSON
                        No, I don't.  Not much anway.  
                        Charles Foster Kane was a man who 
                        got everything he wanted, and then 
                        lost it.  Maybe Rosebud was 
                        something he couldn't get or lost.  
                        No, I don't think it explains
                        anything.  I don't think any word 
                        explains a man's life.  No -  I 
                        guess Rosebud is just a piece in a 
                        jigsaw puzzle - a missing piece.

          He drops the jigsaw pieces back into the box, looking at his 
          watch.

                                    THOMPSON
                        We'd better get along.  We'll miss 
                        the train.

          He picks up his overcoat - it has been resting on a little 
          sled - the little sled young Charles Foster Kane hit Thatcher 
          with at the opening of the picture.  Camera doesn't close in 
          on this.  It just registers the sled as the newspaper people, 
          picking up their clothes and equipment, move out of the great 
          hall.

                                                                  DISSOLVE:

          INT. CELLAR - XANADU - NIGHT -

          A large furnace, with an open door, dominates the scene.  Two 
          laborers, with shovels, are shovelling things into the furnace.  
          Raymond is about ten feet away.

                                    RAYMOND
                        Throw that junk in, too.

          Camera travels to the pile that he has indicated.  It is mostly 
          bits of broken packing cases, excelsior, etc.  The sled is on 
          top of the pile.  As camera comes close, it shows the faded 
          rosebud and, though the letters are faded, unmistakably the 
          word "ROSEBUD" across it.  The laborer drops his shovel, takes 
          the sled in his hand and throws it into the furnace.  The flames 
          start to devour it.

          EXT. XANADU - NIGHT -

          No lights are to be seen.  Smoke is coming from a chimney.

          Camera reverses the path it took at the beginning of the 
          picture, perhaps omitting some of the stages.  It moves finally 
          through the gates, which close behind it.  As camera pauses 
          for a moment, the letter "K" is prominent in the moonlight.

          Just before we fade out, there comes again into the picture 
          the pattern of barbed wire and cyclone fencing.  On the fence 
          is a sign which reads:

          "PRIVATE - NO TRESPASSING"

                                                                  FADE OUT:

                                     THE END