"REBECCA" March 26, 1940REBECCA rected by s+ eee *Prodiced by se ee Screen Play by « «+ Basod on the novel by « Adapted by » + + + Music by. wee ee Art Direction by. Photogreshy by . . Special Effects by “Film Editor... . cast Maxim de Winter Mrs. de Winter Jack Flavell . lis. Danvers ¢ Giles... se Frank Crawley « Colonel Julyon Beatrice ... Mrs. Van Hopper The Coroner . Dr. Baker . Ban eee Tantus Reith Robert . + Charleroft Harrison ane du Maurier «(Philip NacDonalé (Hichael Hogan » Franz Waxman + Lyle theeler + George Barnes + Jack Gosbrove » Hal C. Kern Lawrence Clivier Joan Fonteine Georze Sanders 7 Judith Anderson Nigel Bruce Re; C. Aubrey Sm Gladys Coozer Plorence Bates Melville Coopsr Leo 0. Carroll Leonard Carey Lunsden Hare Edward Fie’ Philip W Forrestereee ' © REBECCA "Its" vorce Last night I dreamt I went to Manderley again, It seemed to me I stood by the iron gate leading to the drive ané for a while I could not enter for the way was barred to me, Then, like all dreamers, I was possessed of a sudden with supernatural powers and passed like a spirit through the barrier before ms, The drive wound away in front of me, twisting and turning as it had always done, But as I advanced, I vas aware that a change had come upon it. jature had come into her own again and little by little had encroached upon the drive with long tenatious fingers, On and on wound the poor thread that had once been our drive, and finally there vas “anéerley. Manderley, secrative and silent, Time could not mar the perfect symmetry of those walls, Moonlight can play odé tricks uron the faney and sudéenly It seemed to me that light came from the windovs, And then a cloud came upon the moon and hovered an instant like a dark hand before a face, The illusion went vith it, I looked upon a desolate shell with no whisper of the past about its staring walls, Ye can never go back to Manderloy again, thet much 1s certain, But sometines, in my dreams, I Go go back to the strane days of my life vhich began for me in the south of France,e l Pape i EX. ARLEN ~ SENT 1K | : CARA MOVES over the face of x oO. English house of early Tudor yd ed stone work above the window 108, Gan: allow us to see that the building is nothing & out shell, CGAKERA takes a11 in th a SLO MOVEMEY' thon RETREATS to reveal that the gardens are . an overgrown mass of weeds, There is an increasing | uglinoss in all this as tho CALERA PULLS STILL Furi: BACK and includes the ond of a Griveway where tho ¢) is junglo-like, During this pictorial movemont, wo havo : deen hearing the sound of a girl's voice: ) "Its" voice landorloy was tho most beautiful house I ever saw == a of grace, exquiaite and faultless. Its clean grey stono he been moliowed by the conturics, Timo could not harm tke perfect ayrmotry of thoso walis, Its shining mullioned ' windows looked down upon bright’ gardons and trim volvot lawns which swopt in terrace after torraco to the sea...Wo can never go back thore again, Tho past is still too close to 1 us, But somotimos in my droans I do go back, (pause) «..to tho strange days of my lifo which began; for mo, on the top of a cliff, in tho South of Franco... é v \ \ At tho end of this spoech CAMERA is starting to-RETREAT down tho treo-linod but overgrown carriage drivo, Simul- tanoously with the final words the picture LAP DISSOLVES TO: EXT, CLIFF TOP - CLOSE UP - DAY : i BAO ; The agonized face of a man staring below him, The : CANERA PUSIS BACX and shows that he is standing on a precipice. e i is TONG SHO? : ) ALREADY ‘ . SHO? From his viewpoint pelow we’ sce tho angry sea dashing itself against coro rocks. i: Beg CLOSE UR Fst a { -arRRaDe SHOT By the man's exprosaion wo seo that ho is almost about " - to take a fatal step. Suddenly thoro 4s a tiny scream dohind him, His hood turns quickly, c 526 of IREA es Behind hin wo seo an opty open car and by it, as though just passing, 1s a young girl of twonty, Ho coxa bo atrido touards hor.8A &B clos up oomos wp to ner and asks ongraly: Maxim Wat the devil are you staring at? : a, on ” i Nothing.. only I thought... Moxim Oh - you're English, are youl What are you doing hore? i i ogn i Twas only walking.++Ieve Maxin Well, got on with your walking <= don't hang about here screaming. SEMI, LONG SHOT The girl hastens away and as she walks along the road, she glances back from time to time. She increases her pace as we hear tho sound of a car starting, She Grays to the side of the road as it pulle-into the foreground and moves slowly beside hor. SEMT CLOSE UP Moxim leans acress from the wheol and aka: i Mex Do you want a Lit? age No, thank you, Maxim Don't be silly -~ get in. "I" (stiffly) I'@.rather not, thank you, Maxim looks at her for a monents Maxim : Very well. He slips the car into low gear and shoots off avay, leaving hor standing thore a solitary figure. SEMI CLOSE UP "Z", after glancing at him, looks tack towards the i precipice, ‘ ContuNUED:88 CONTINUED (2 We can seeethat cho is troubled by tho atrangs bo haviour of this even stranger mans > ac LONG SHOT : From her eyoline wo “geo the olifftop whore Maxim last . stood and beyond it the diatant harbour of Monte Carto below. TAP DISSOLVE 202 aD LONG SHOT - EARLY EVENING i A nearer view of'Monte Carlo and the harbour. The ‘sw has gone dovn and the first ono or two lights aro } coming UP. . LAP DISSOLVE TO: au LONG SHO? - EVENING The familiar square as Monte Garie and the outside of the Hotel de Paris. Yu is overi darker and many more Lights havo come upe ” LAP DISSOLVE TOF 6 3F SEMI LONG SHOT + NIGHT A nearer view of tho front entrance of the Hotel’ de 5 Parise It is new quite dark and everywhere is fully 5 lite LAP DISSOLVE 7 ‘ 9 LONG SHOT The lounge of the Hotel, It 1s evening, We hear the strains of a small string orchestra playing selections from "The Dollar Princess." The CAMERA MOVES IN FROM THE LONG SHOT and passing through some of the guosts COMES TO REST finally on Mrs. Van Hopper and "I", lirs. Van Hopper is surveying the assemblage through her lorgnette end indicating acute distaste. Mrs, Van Hopper INL never come to Monte Carlo out of soason again. There isn't a single wellknown personality in the hotel. As shé says this she is not addressing her lines to i hor young companion at all. She sips her coffoe and makes a face. : : i Mrs. Van Hopper ; . Stone coldt. CONTINUED: ©» CONRINUED (2) A waitor passos by in tho fog. She calls after hiss. Mrs. Van Hopper Waiter. Garcon, O > = (she looks back to "I" with an exasperated expres~ 3 Pell him to got mo somo =s, sion) i (her expression ‘changes as she looks across : the Lounge) > any) SEMI LONG SHOT From hor eyolino coming across the lounge directly toward hor is Maxim de Winter, the man we saw at the top of the. lift. A CLOSE UP cot . . "2" pocognizes him 180. > Bn SEMI CLOSE UP : his. Van Hoppor and "I", Nes, Van Hopper's expression i shove thet she 48 preparing #0 groot an old friond gush E ingly. Mrs. Van Hopper Way! It's Max de Winter, 2B SEMI LONG SHOT Maxim coming nearer to thom, WA SEMI CLOSE UP The two, We see for some inexplicable reason, "I" is aved vy his approach, She starts to rice from her armohair, her hands gripping the arns. 2B SEMI CLOSE UP Maxim comes into the pioture by them, He looks straight through "I" as though he had never seen hor bafore and steers himself through the furniture to pass them. irs. Van Hoppor smiles eagerly and inclines hor head, Mrs. Van Hopper i ‘Wn, do Winter} How do you % SEMI GLOSE UP Maxim looks at her, He 4s not sure whore or her, or what hor namo 18, He is only sure th : want $0 see her now, CONTINED: en he’ met She deasntt4 i : } (2) Maxim (mncortaialy) How do you do. But Mrs, Van Hopper 4a not to be put off by cold formality She harpoons ain with quick effusivensss. 3 Mrs, Van Hopper I'm Edith Van Hoppor. It's so nice to run into you here, just whon I was boginning to despair of finding any old friona3 in Monto,..But = do sit down and Mave some coffee, (turns to "I") Mr, de Winter is having coffee with me, Go and ask that stupic waiter for another cup. Naxin notes this harsh troatment of the girl as sho starts to rise, But before she can got up, Maxim spenks: Maxim Im afraid I mst contradict you. You are both having coffees with me. looks at him gratefully. Mrs. Van Hopper 4s slightly annoyed. . . Maxim (tuens and calls) Garcon! Mrs, Van Hopper (rattling on) You know, I recognized you just as soon as you walked into the restaurant. Even though I haven't seen you since that night at the Casino in Palm Beach, (provocatively) But perhaps you don't remember an old woman 1ike mes.,Are you playing tho tables much here at Monte? Maxim . No. Ita afraid that sort of thing ceased to amuse me years ago, Irs, Van Hopper 2 I can well undorstand it, As for me, if J had_a home like Manderley I'd certainly never came to Monte, I hear it's one of the biggest places in that part of the country and that you just can't beat it for beauty. Maxim (not answering, but turning to "5") And what do you think‘of Monte Carlo? Or don't you think of it- at all? - "I" (embarrassed and tremblingly) I- It afraid I find it rather artificial, Mrs, Van Hopper (annoyed, interzupting) She's spoilt, ir, do Winter, That's hor trouble, Most ¢: would give their eyes for the chance to sco Monte, * "i" 4s embarrassed and humiliated. CONDINUED:i : i i i t CoNsinves (5) Maxim Wouldn't that rather dofeat the purpose? Mrs. Van Hoppor (imporvious to the dig Now that we've found each other agein, I hope I shall sco something of you. You must come and have a drink in my suite... I hope thay've given you a good room? The place 4s empty, so 4£ you're uncomfortable, mind you make a fuss. (Maxim stubs out his cagarette in the ash tray) Your valet has unpacked for you, 1 suppose? Maxim I don't possoas one, Perhaps you'd like to do,it for mo? Mrs, Van Hopper (at last embarrassed) Well = I hardly think -~ (turns to "I!") Perhaps you can meke yourself useful to lin, de Winter if he wants anything done, You've a capable child in many ways. . Maxim (with a faint sardonlo smile) A charming suggestion. But I cling to the old motto: "He travels fastest who travels alone." Perhaps you've not hoard of it. (he pisos, bowe, and exits) MRS. VAN HOPPER’ AND "I" , irs, Van Hopper looks after Maxim. Urs, Van Hopper What a funny thing} Do you suppose that sudden departure was a form of Humor? Wen do, auch extraordinary things rising Come, Don't sit there gawking, Let's go upstairs. "I" piges, Sho and Mrs, Van Hopper, during the following ascend,’ cross the lobby toward the lift. Mes. Van Hopper (without stopping) I remenber when I was younger there was a woll Imown writer who Used to dart down the back way whenever he saw ie coming. suppose he was in love with me and wasn't ’sure of himself... Wall, ctost 1a viel (turns to "I") By the way, my dear, don’t think I mean to be unkind, but you were just a tonny weeny bit forward with Mr, de Winter. Your effort to enter the conversation quise embarrasscd mo, as I'm sure it did him, Mon loathe that sort of thing. “ "I" shrivels at this attack. Mrs, Van Hoppor : Oh come, don't sulk, After all, I em responsible for your bow havior hore, Coney: NUED:contrnesp (2) Thoy avo 2 Porhaps he didn? (as lif door opons and thoy walk in) Poor thing, thoy say ho just can't got over his wifets doath. SHOOTING THROUGH OPEN DOOR INTO LIFT ~ As "I" turns around from entering lift, she looks at Mrs, Van Hopper but doesa't answer, Mrs, Van Hopper (oxplaining) Poor follow -- he Simply adored her. i By now the door is closed, and we . FADE our, 6 FADE IN: i IX, HOTEL DINT: G ROOM - SENT LONG SHOT ~ DAY "I", carrying @ portfolio of her sketoning para: comes into the dining room, Tho hoad walter conos & forward, Ho looks pass her, expectantly. Hoad Waiter i Mrs, Van Hopper is not lunching today? ue Ho. t Hoad Waitor Ohe i He imnodiatoly loses interest in "i", turns her over to a subordinate to take her to hor table. CAMERA NOVES i WITH HER across tho onormous,‘alnost empty zoon, ‘Two : or throc tables auay is Maxim, alono. Sho sces hin but 2 ho apparently does not sov hor, Sho 1s enbarrassed an : self conscious as sho walks towavd her tablo. an MEDIUM SHOT ~ "I'S" TABLE is toward unfolding: her napkin, sho awk asc of flovors, Sho looks off quickly to sco i. away tho vaso and tho sprawling floors, Maxim tomes into secne with his napkin,yi CONTIN (2) "I" (to waitor) O Please doh't bother, it doosn't nctter, ° ) Maxim (to waiter) Leave that - and sot another place at my table. Madomolseiio 3 wil} have lunch with'ne. 7 i 3 Tho waiter, with a look at Maxim, goos out of scons, nyu Oh, no + I couldn't possibly, Maxima Why not? : She 4s unable to think of « reason. i age Pleaso don't bo polite, It's very kind of you but I shall bo all right if the waiter just changes the cloth, . Maxim But I'm not being polite, I'd have asked you to have luncheon with mo even if you hadn't kmocked over that vase so clumsily. We nesdn't tale to cach other unless wo fool like it. i She looks at him, He now scems completely calm and - i reasonable, ot : i "x" (not mowing wiist else to say) : Thank you very much, i (she rises) i 8 SEMI LONG SHO i They cross to Maxim's table and seat themselves. Maxim's i lunchaon is already on the table, : j lees CLOSE SHOT - AT TABLE The head waiter comes into tho ploture and hands a menu fe tometer : nyo 5 Tush some scrambled eggs, please. Tho waiter exits with the menu, Maxim = — What's happoned to your friend? nge She's 411 in bed with a cold. CONTINUED:Naxdza Im sorry I was so rudo yestorday. The only excuse I can make is that I've becone boorish from living aloncees un oh, you woren't, really, You simply wanted to bo alone, and «= Maxin Is Mrs, Van Hoppor a relation of yours? Or just a friend? ago She's my employor, I'm what is known as a paid companion, Maxim 7 T!vo nevor belicved thet. companionship could be bought. "I" (with a smilo) I once looked up the word "companion" in tho. dictionary, Tt said "a friond of the bosom," During the course of the scene more guests have entered the restaurant. i Maxim } I don't onvy you the privilege. Mrs, Van Hopper seems a snob i and a boro, What.do you do it fort nye “ Shots quite kind, really, and = and - I have to earn my livi Maxim Haven't you any training for anything else? ogo “oh, I sketch a little, But not enough to matter,..You see, ny father was & painter, (shyly) He died a few years ago. Maxim (sympathetiealty) And your mother? aga She diod when I was a little girl. Maxim (ooking at hor sympathetically) So wetre both alone in the world, you and Ty Tho waiter enters with "its" food and places 4% on the table. Maxim So the friond of the boson has a holiday? What doos shs propos to do with 1t? age I thought I'd do some sketching.© CONTINUED (3) tt Whore? vq" (embarrassed) Well «I hadn't made up ay mind, Maxim I'LL avive you somewhere in the car, . eye : Ob bub really, I didn't mean to... Mexim (interrupting) Nonsense, Eat up that megs and we can gd, During this "I" has not touched her nye Qh, thank you... It's very nice of you, Tha hungry anyway, Mazdas Gone on « eat 1% up like a good gir. CLOSE UP - "x" SENS 25 & 26 ELININATED, i oges at all. DISSOLVE TO: I really don't think Shyly, rather embarrassed, she lifts a forkful of agg to’ hor mouth, keeping her eyes on Maxim,{ i i ‘ : i 28 32 38 ARLO BAY = DAY = A long flight of atops, with a terrace, leading éc: the soa, in tho f.g., at tho top of the stains, w soe Maxiu's car. CLOSE UP "I", seated on tho terrace. She 1s apparently skotch- ing the viow, though wo aro unable to sea what she is sketching. GAMERA MOVES BACK to roveal Maxim standing leaning over the railing of the balcony gazing at the bay. Thon he glances over towards "I", Maxim . You're taking a long time with that sketch, I shall expect a really fine work of art. "2" “pogins fovorishiy ‘to rub out, as she protests: Oh, no, you mustn't look,..4¢'s not nearly good enough, Maxim (getting to his feet) Te cantt be as bad.as that, Let me see before itty all rubbed out. . SER LOSE UP As ho comes ovor and stands behind her, "I" tries to cover up her sketch with her hende to prevent hin sooing it. wg : It = it's the perspective. I never gan got it right. CLOSE UP Maxim's face as he looks at the sketch. His expression changes to ono of comic surprise. + CLOSE UF Shooting over Maxim!s shoulder we see the sketch, It is a badly done childish drawing of himself. SEMI CLOSS. UP Tho two, "I" 4s looking up at him very ombarraescd. CONTINUED:: a. . oe CONTINUED (2) ‘ (looking dom at her) kod met Maxix And I thought you li nye I never meant you to s60..0.T don't really aketch poople « only scenery and... Maxim (interrupting vith mock gravity) Do you think 1t's the perspective that makes my nose take auch a bend in tho middlo? Seeing that he is only amusod and in no way offonded, "I" sakes hor cue from his mood, and smilos back happily at him, as she answors in her own defense. ays Youtre not_a very easy subject’ =~ your oxpresaion koops changing all tho tine. Maxim (pointing out to sea) I'd concentrate on the viow instead, if I wore you ~ much moro worth while. . (ao tums to soat himsolf on tho railing as he adds} Reminds mc of our coastlino at homo. I" follows him, and they sit fecing each other on tho railing. : Maxim (suddenly) Have you over been to Cornwall? age Yos, ty father took me thero once on holiday, Iwas ina Littlo shop and I saw a posteard of a beautiful houso right by tho sen. T asked what houso it was, and the old woman said, 'It's Mandorloy.' I folt asnouod for not knowing. Maxin Did you buy tho postcard? . wy On, yes. I'vo looked at it many timos and I often wondered who ‘lived thore. - Maxim And now you Imow «= a moody, irpitable sort of 5: the postcard didn't lio -- Mandorloy is beautiful! Thoro's © a little pathway leading dom to the Sa, rathor liko this... (ho indicates tho viow) But with azaloas and Rhododendrons nearby in massos. Son, Bub nw urs. Van Hoppor told mo Mandorloy isa show place. ,§ j i { 3 : i 4 Maxin speals with great bitterness, Moxin I imagine that's what 1t ts to people like her! A kind of pavilion on the end of a pler/ But to me = it was simply the place where I was bern and lived all my life. And now - I don't kriow 4£ I shall ever“seo it again, : His thoughts have obviously gone far avay. SEMI CLOSE UP The two, Behind them the view of the bay, "I" (sympathetically, after looting at hin a second, realizing his tragedy) 6 surely you'll go back there. is lost in thought, looking ov to sea, There is a silence while "I" thinks of something to say. She looks around for inspiration down toward the shore, Thon turning back to her companion, with a great - effort she starts to chat, ayn . Wetre lucky to be avay from home during the bad weather, aren't we? Isan't ever remember being able to enjoy sWimaing in England till about June, cen you? Maxim doesn't answer. CLOSE UP As seen from her viewpoint Maxim fails te react to her efforts, Ho remains silent. © CLOSE UP "I" 4s still striving to keep the conversation going. vgn The water's so warm here - I could stay in all day, Though a friond of Nira, Van Hopper‘s did tell me that it isn'z safe to swim out too far, There's a dangerous undertow = a man wae drowneg here last yearse. Phere is still no response from her companicn, She turns to look at him, SEMI CLOSE UP Maxim is no longer seated beside hor, : CLOSE UF "T's" astonished and bewildered face’$0685 4 46 SEMI LONG SHOT Maxim is standing at tho other ond of the motionless, staring ou aca, Aftor a r round and comes tavard CAMERA, As ho couos UP we see his grim expression, MEDIUM SHOT The two. "I" is sti11 looking at Maxim unhappily, unable to understand what she has said to upset hin. She gives a 7 little shiver, half of apprehension, half of cold, ue , A : It’s getting chilly. . . , Maxim orosses to hor, Maxim Yes, I'd better take you home, LAP DISSOLVE 70: INP, HOTEL CORRIDOR - SENI LONG SHOT ~ DAY "i" purries up to the door of irs, Van Hopper's sults. : She pauses a moment outside, then goos in, INT, MRS, VAN HOPPER'S SUITE - SEMI LONG SHOP - DAY Shooting into the foyer we can soe Mrs, Van Hopper propped. up in bod, Standing beside the bed a nurse is measuring out some modicins, Mrs, Van Hopper is chattering, "z" comes into f.g., and stope short as sho hears Mrs. Van Hopper say: Mrs, Van Hopper . Before she married she was the beautiful Rebecca Hildreth, you mow, It was an appalling tragedy, Sho’ was drowned, poor dear.. while ‘she was sailing...near Menderloy. He novor talke about it, of course, but hols a broken man. (she looks towards the foyer) Oh ~ thoro.you aro, And it's about time, too, Hurry up, I -, want To play some rummy. 7 cLoss UP : : "Its" startlod face as she takes in tho nows of how Rebecca dicds FADE OUT. FADE IN: INT, MRS, VAN HOPPER'S SUITE - SEMI CLOSE UP -. DAY Mrs, Van Hopper is etil) propped up in bed, a horns sight, Sho is awallowing somo pills which she washes conrinuED:“a courmsED (2) down with water, handed -h : arinks, she looks ovor-th 4 holding a tennis rackos, Mrs. Van Hoppsr Well.~ where are you gojng now? vgn I thought I'd take a tennis lesson; Mrs. Van Hopper I seo, I suppose you had a look at the pro ~ and ho!s dos- porately handsome, and you've conceived a schoolgirl crus! on him? All right, go ahead, make the most of it! "I" goes, DISSOLVE 0: 48 INT, LOBBY. Mz, SHOT ~ DAY "I" 4g walking through, toward the main door, when she stops short at tho sound of Maxim's voice, : Maxim Off duty? gn Yes. Mrs, Van Hopper's cold has turned to 'flu se shets got a@ trained nuwvse, Maxim Im sovry for the nurse... Keen on tennis? . ng 5 Not particularly ~ but + Maxim (talcing the racket. from her) Good! Wetll go for a drive. (ho puts the racket behind the potted palm and, taking her arm, leads hor towards the rovolving ) door) DISSOLVE TO: » INT, MRS. VAN HOPPER'S ROOM ~ SEMI GLOSE UP ~ DAY Mrs. Van Hopper looking at "I" with a malignant smile. Mrs. Van Hopper You got on rather well with him, didn't your ' 50 CLOSE UP "I" is startled by this question. She doesn't know 4 how to reply. Mrs. Van Hopper'a voice Youtve been gone for hourste yondo50 16 a SEXI CLOSE UP ; "IY 5t421 fearful that Mrs, Von Hopper has found ner owt. Mrs, Van Hopper That pro must have been teaching you other things than tennise. ' «Now hurry up. I want you to make sone calls. 1 wonder if Mr, de Winter is still in the hotel, DISSOLVE TO: ' 2 INT, HOTEL CORRIDOR - SEMI LONG SHOT - DAY Shooting down the corridor from Mrs. Van Hoppsr's suite, "I" dressed in a white tenniz frock, moves avay dow the ' g corridor, carrying her tennis racket. Along the other o ; side of the corridor is a maid cersying frash bed linen, ) i towols, ote, "I" bids her good mornings ' i ug } Bonjour, ! } Sho moves on down the corridor = e slight cagerness in t her stop. : t DISSOLVE % —~ 55 . “me, HOTEL FOYER - SEMI CLOSE UP ~ DAY q, § OL | A large mahogany tub near tho revolving door of the hotel. i We soe the lower part of "I's" cody come in the picture j as ehe hides the racket from view Dehind the tuo, (which holds 8 decorative trea), We see her logs exit throaga the revolving door. cS a QUICK FADE OUT. ls QUICK FADE IN: } INT, HOTEL CORRIDOR - SEKI LONG sHo? - DAY ; : oe 2 c Again "I" comes from the suite and proceeds dew the i corridor, This time 1t is a waiter pushing along a 28 breakfast table, who bids/her good morning, : : Waiter Bonjour, . - } ‘ "Zts! walk has almost bacome.a skip as she hastens’ away. : Dissorve 20; I CLOSE UP + D, 85 INT, HOPEL FOYER - SEI a Tho tennis racket being hidden as beforo, "I" passes thru tho revolving door which spins at a greater rate than tno last tino. . DISSOLVE TO: hs30, MRS, VAN HOPPER'S sUtIZ - DAY And, od 43 boing sed in spotless waite. rs. Van Hopper loud dressiz opons, and "I | } a ayn . ' : vay I go now? : i Mrs, Van Hoppor CG : For tho number of tennis lessons you've had, you ought to be Gg roady for Winbledon, But this will be your laste. the : nost of it, The trouble is, with me lald up ike this you haven't had onough to do, But Im getting rid of that nurse today, and from now on you'll stick to your jobs "Z's" exprossion becamos slightly desperate. ‘ 3 } wgn i Yos, Mrs, Van Hoppor. 3 7 (she turns and goes) é . DISSOLVE T0; ° E tee60 PICTURESQUE SECPION OF CORNIGHE ROAD - LONG Sor’ ~ DAY j Maxim's car is running at a comfortable pace, c Q) 5 acs MAXIM & "I" = IN CAR ; w : Maxim has an expression of calm contentment, "I" looks at i him ~ shyly, wletfully. x ‘ This 1s my-last day of freedon, “Maxim ” What do you moan? azo . lars.’ Van Hopper has recovered. Maxim * : Ohs “Iwas afraid that would happen, There is silence between them, looks straight ahead, Con her hands clasping hor knees. uge . Twish there could be an invention’ that bottled up a monory, like perfuno, And it never faded » and it never grow stale. And I could uncork tha bottle any tine I pleased, and live the momont all over again. Maxim | ; And what particular moment’ in your young Life would you like to keep? CONTINUED:CONTINGED (2) "I" (embarrassed) | Ohy all of them - from the last few da; (soarching for words) I think I've collected a whole shelf full of vottles. Maxim ie silont for @ moment, } Maxim (gravely) Sometimes, you know, those little bottles contain demons - | that pop out at you just whon youiro trying most desporacoly to forget. "I" 4s considerably let down, having gone 50 fav ao to : practically declare her love, Maxim turns and looks at hor, sees that she ic depressed and that her mood is changed, Naxim And what are you thinking about now? . qu 7 itm thinking that you know everything there 18 to lmow about me - but I know nothing more about you than I did’ the first day we met, i Maxim (looking at her) And what was that? vpn That you ovn Manderley and that you had lost your wife. He looks away and steps on the gas. The car gathers speed. There is a few moment's silence. "I" looking at hin nervously out of the corner of hor oyss starse biting her nails, Maxim (looking at her); Stop biting those riatlst ..| There ‘is anothor moment's silence while "I" yrooda 3 embarrassed and then she blurts out, ngu I wish I were a woman of thirty~six, dressed in black satin, with a string of poarls, Maxim You wouldn't ve hore with me if you wore. : Sho puts her hands in her lap, Sho seoms olose to teats. : Suddeniy she turns and speaks sharply: ; npn a I want to go back to-the hotel. . Maxim Why? Are you bored?6 CONTINGED { ) "Tt (passionately) Will you please teli me, Me. do Winter... ny do you ask mo to como ovt with you? Oh = it's obvious “that you wand to bo Kinde but why choose mo, for your charity? Ho stops the car and turns on hor. Maxim I csked. you to come with mo because I wanted your company. Youtva blotted out the past for me fav more than all the bright lights of Monte Garlo, But if you think Itm just velng charitable or kind, loave the car now end find your yay hone! Go on, open the door and got.out! Ho looks at hor, Hor face is averted, Tears hava startod from hor eyos. jooks back ahead. Suddenly he roachos in his pocket, pulls out his handkerchie?, tosses it into hor lap, Maxim You'd botter use She uses the handkorchlef, blowing her nose hard. Maxim And don't call me Mr. do # fintor. It makes mo feel even nore aged than I am, I havo soveral first nanes - (he laughs at himsel?) Cozrge Fortescue Haxinilian. You don't have to bother with al. of thom, ily family cali mo Mexin, Sno looks at him. Ho is certainly tho most unprodict~ able person sho has ever encountered, liaxim Locks baci at her for a moment, then suddenly sweeps hor into bis arms and kisses hor< Maxim, f£5 another’ thing = i went you to promise me never "te wear as ok satin, or pearls, or bo thirty-six years old, "I" (smiles) Yea = waxim, As he takes hor into his arms again, we : DISSOLVE 70: " LONG SHOT ~ CAR ~, DUSK = spooding along the road as tho scone FADES OUT,vy fhe moonl ith « feiad n. Hor lins do not move but ov and age: streans scro: movonent nox this we hear her voice saying, "Maxim," over ard over again with constantly varying inflections. it is as though she were experimenting with his none...lmagininy herself to be with him in ell manner of different situations which life together might bring. There is a MUSICAL ACCOMPANIMEN? which ewolls as the word, "Maxim," is repeated with increasing speed, and evon- tually rises to a crashing climax as "I" awakens with +8 convulsive start ond’sits bolt upright. FADE OUP. S" BEDROOM - MORNING Opon on CLOSE UP of only the signature "Maxim" at the ond of a note. CAMERA DRAWS BACK to take in tho rost of the toxt of the note, as it 1ics on a table in "Tis" room, next to a flowor box. GLOSE sHoT = "I" Sho 4s humming happily, arranging Uaxim's white flovers in a vese on the sane table, Sho ptoks up Mexim/s note, sticks it into her purse, and CAMERA MOVING AHEAD OF HER, she starts across the room to the door to Mve. Van Hoppor's room, still humming. Svidenly off sceno she hears Mrs. Ven Hopper let out a scream, Sho hurries into the noxt roon. + MRS. VAN ROPPER'S ROOM Mrs. Van Hopper is in bed, smoking a cigarette, an open cable in hor hand as "I" comes in. Hor broakfast tray still by her bed. Sho looks up at "I" and pabbles oxeitedlys Mrs. Van Hopper Waat do you think!” iy daughter's engaged to bo marriod! ue Roally? I'm so glad. lirs. Van Hoppor jumps out of bod and alips into hoy robo, still jabboring with excitement: Mrs. Veh Eoppor Wo must leave for Now Yori the first train and from Cherbourg. Hurry up! Find out the tine of CONTINUAD:oy CONTINUED (2) "i" is crostfallon. Mre. Van Hopper, now putting on hor slippers, noticos hot Look. : : Mrs. Van Hopper What in the nome of Poto are you pulling a face like that for? I didn't know you woro so fond of Monto. nye I've got used to it. Mes. Von oppor You can havo your own sot of frionds in Long Island. Ail in your own class. And you've nobody but that tennis pro hore! Eurry up and got & maid in to help us with tho pack- ing! Wo'vo no time Go waste. Goon ~ don't daudlol As she says this, Mrs. Van Hoppor snubs out hor gigarotte in the’ buttor pat on tho broakfast table. "I" goes swiftly from tho roomsv a 7 : a WZ LONG suo# Plash of "I" couing from Mrs. Von Hopperts zoom into the Ont lobby of the suite and turning into the door to her own Jj} Poms : 8 INT. "I's" BEDROOM ~ "CLOSE UP - DAY "I" comes %o the bedside telephone and, lifting the re- ceiver hurriedly, speaks quickly ané quietly: . ngn Mp. de Winter, please. , She waits for a moment, thon repeats the information 7 she receives as her face falls, ge Hots: gone owt? (Then, with a new thought, she asks:) Givé me the concierge, please. 0 y 69 INT, HOTEL DESK ~ CLOSE UP ~ DAY i Down at the desk the head porter picks up the telephone, : He listens for a moment and then replies: Concierge No, Madam, I don't kmow when Mr. deo Winter's expected back.* He’ went out riding early this morning. 70 INT. "Z's" BEDROOM - CLOSE UP ~ DAY "I" pangs up and bends over a suitcase and starts pack~ ing = with a downcast, despondont air. LAP DISSOLVE TO: a INT, MRS. VAN HOPFER'S SUITE - SENT LONG SHOT ~ DAY The floor of the room fillod with luggage which is | just boing removed by the porters, Thore is a gonordl bustling air of departure, tissue vapor over tho floor, open drawers, otc. "I", dressed in hor hat and coat, with her bag’in one hand, stends apart from Mrs. Van Hoppor, looking very misorable. Sho turns cudaenly to 5 : her omployer. yi f I'@ better make suro thore!'s nothing loft in my room. + She hurrios out of the door,B i % 7 OO » SEMI CLOSE UP - DAY INT, "ris" "I" hurries into the room and over to the telepno:tc, saying very quiotly: yn ir, de Winter's room, please. INT, MRS, VAN HOPPER'S SUITE - SEMI LONG SHOT = DAY Urs, Van Hopper looks around impatiently, then comes out into the lobby and towera "Ita" room, INT, "I'S" BEDROOM - SEMZ LONG SHOT = DAY As Mes, Van Hopper enters the room "I" springs avay fron the phone guiltily. lis, Van Hopper locke at hor suspici~ ously. 5 nye , I'm trying to find a book = I must have packed ite irs, Van Hopper Well, como on...tho carts waiting at the door, She turns to go ‘and "I" follows unwillingly. DISSOLVE 70: EXT, HOTEL DE PARIS - SEMZ CLOSE UP = DAY g a 5 Outside the hotel the hand luggego-is being loaded ii a Car. EX?, HOTEL DE PARIS - SEM CLOSE UP "I" gives a final despairing look back into the hotel. Then with sudden decision turns to Mzs. Van Hopper and says hurriedly: nyu I want to give the clerk my address ~ if they happen to find that book, Sho has leapt up the steps almost before she has finished speaking. hrs, Van Hopper opens her mouth to spesic angrily but the girl is gone. INT, HOTEL DESK - SEMI CLOSE UP - DAY "I" is speaking to the Conclerge. Conotorge Yes, Maan...3r. de Winter came in tvonty mimCONDUR 2 (2) ayu Would you call his room, please?’ | Concierge (picking up phone) ! Yes, Madam, (ante phone) wt inter 's room, Mr, de ¥ INT, MAXIM'S BEDROOM - SEMI LONG SHOT - DAY The telephone in f.g., of picture starts to ri . is the loud sound of tunning water from the ba (Probably the door might-be slightly opon and ste. emerges.) We can hear iaxim splashing in the bathroom, sufficiently loud to make him fail to near the telephone, INT, HOTEL DESK "I" waiting nervously while: the Concierge listens at the telephono, He puts down the phono and shakes: his head, Concierge No, Madem, there isn't any reply. "Z" turns away, EX2, HOTEL DE PARIS - SEMI CLOSE UP + DAY Mes, Vai 3 Hopper, just in the act of getting into the car, A turns ¢ head porter or Conmissionaire, i rs, Van Hopper i Tell hor to hurry tp, a IND, HOTEL LOBBY & DINING ROOK . "I" hurries across the loboy toriard the dining room, Sho : looks in, then quickly turns back into the lobby. EXT, HOTEL DE PARIS - SEMI CLOSE UP = DAY 8 Mrs, Van Hopper expostulating with the porters. irs. Van Hopper Wolle..somgone else go; sho was only going to the reception desk. ‘ One of the porters starts inside. 5 Ba ‘ “INT, HOTEL LOBBY - NEAR ELEVATORS "I" 4s talking t6 a pelide:g CONTINUED (2) "I" (protest: But I lmow hots in tho hovel! Boy IM very sorry, Madan, I haven't seen him. "I" tums in direction of the lift. 2B EX?, HOTEL ~ CLOSE UP «= MRS, VAN HOPPER Sho 4s tapping hor foot impatiently and looking at hor wateh, % EXT, MAXIM'S SUITE - CORRIDOR ($) ~ SEMI-CLOSE UP - DAY breathlessly arriving at the door, She mocks. Maxim's voice Come in, . She opens the door and is in the little foyer leading to the sitting room, (Beyond are Maxim's bedroom & bathroor & INT, MAXIM'S BEDROOM - SENT CLOSE UP = DAY Maxim stands in the half-open door of the bathroom, at tired in trousers and dressing gown, his face still lathered from shaving, He looks in astonishment as he sees who it is and comes toward "I", Maxim (eiping the remaining lather from his face . What at you want? Anything the matter? 85 SENI LONG SHOT = SITTING ROOM "I" advances further into the sitting room and stanes awkwardly. uge Ilve come to say good-bye....Welre going away. Kaxim What on earth are you talking about? "I" (coming to him) It's truco, Wotre leaving now, I was afraid Iw you again, ulants soo CAMERA MOVES UP TO SEXI CLOSE UP as Maxim says: Mectim Waero's sho taking you to? COMPINUED:87 nn : : fo Now York 4 and I don't want to go, Z shall hate iu, NLL be miseranio. : Maxim Why in-Hoavon's name go with her thon? nge . I've told you = I can't afford to lose my job. Maxiih: turns to go back into thé bathroom, pioling up: his clothes fro a nearby chair, Maxim IN11 dvess in here, I shan't be a minute, He goes back to. the bathroom, leaving the door half open. SEMI LONG SHOT . "I" stands a lonely figure in the middle of the room, There isa pause. Then wo hear Maxim's voice from the bathroom, Maxim's voice Which would you prefer, New York or Kanderley? "I" (calling ‘back appealingly) Please don't joke about it.,.mrs. Van Hoppor's waiting.,.1 think I'd better say good-bye, (she looks around nervously, worried about the tins) Maxim's voice INL repeat whet I said = elther you go to Amerida with lirs, Van Hoppor or you come home to Mandorley with me., SEMI CLOSH UP "I" Jooks puzzled. ng You mean you want'a secretary or something? Wo hear some water running from a tap. Moxim's voice Im asking you to marry me, you littlo fool. At this moment there is a knock on thaouter door, Maxim, his shirt now on, puts his head out of the bathroom door oyond and calis: : Maxim Como in, "I" looks alaraed. . CONPTRUED:CoNeINURD (2) . Maxim (veassuring nex) It's only my ‘breakzast. CAMGRA HAS PULLED BACK SLOWLY AGAIN until we get the same sort of Shot as befcre, The bewildered figure of "I" in the middle of the. sitting room, The waiter enters wheel ing the table and breakfast. ‘There is a long.ailence while he lays the breakfast out, pulls up a chair, ete, Evontually he goes out of the room, "I" still stands helplessly in the middie of the room. The bathroom door opens, and Maxim emerges putting on his coat. Re comes through tho bedroom and toward the teble, . i SENZ CLOSE UP Maxim site at the table and motions "I" "to a seat, He starts to spread butter on a piece of toast, and as ho procosds to eat it, speaks: Maxim My suggestion doesn't seem to have gone too well ~ Itm sorz: "I" leans forward, z ; age But you don't understand..,I!m not the sort of person men marry, Maxim (looking up) What on earth do you moan? age Well, Z don't velong in your sort of world, for one thing. Maxim (laughs a littlo) What 4s my world? vgs Woll ~ Manderley - you know what I mean. Biaxin im the person'to judgo whether you bolong there or not. Of course, if you don't love me, that's different, A fine blow to my concests SI" (desperately) Z do love youl I love you dreadfully, I've been miserable and ive boon crying ell morning because I thought I should never soe you again, He eughs and stretches a hand. out across the table to her. : : Hoxim Blesa you for that,,.Al] right thon = it's sottled, cont qivs!a CONTINUED (2) He starts to eat again, talie between mouthfuls of toast ang sips of coffee, Mexim (continuing) Now pour mé some more coffes, I take two lumps and milk, The samo with my tea, Don's forget. As "I" pours out the coffee, he continues; Maxim Fi fm Z going to break the news to lirs, Van Hopper, or are you? "I" (st412 scarcely beldeving it) You = you tell her - shofli be so-angry. : Ho pushes his plate away. Maxim . What's the number of her room? gn She isn't there, She's waiting downstairs in the car, He stretches out to the desk nearby and picks up the telephone. Maxin Givo me the. desk, pleass. (slight pause ) Mes, Ven Hopper is waiting at the front entrance. Would you give her uy compliments and ask her if she could come up to my roon, Yes, to my room, EXT, HOTEL DE PARIS - SEMI LONG SHOT - DAY The reception clerk ‘comes down the steps of the hotel ang g0es to the car waere Mrs, Van Hopper is still raging to the Commissionaire, He puts his head inside the car. INP, CAR - CLOSE UP - DAY Mrs, Van Hopper's angry expression suddenly changes to a slightly puzzled yet pleased one. irs. Van Hopper Mr, de Winter? ... Why certainly .., She starts to clamber cut assisted -by the Comissionsire, and clerk, INT, MAXIN'S SIPPING ROOH - SEMI CLOSE UP - DAY Maxim bends and with a hand-on her shoulder says: CONDINUED:ah CONTINUED (2) _ Maxiin This isn't your idea of a proposal, ie it? Ito a conservatory == you in & 0 frock with a ros : hana, and a violin playing in the distanco-~ and violent’ love to you bdehind-"a palm troe. t to, do in ta your should make "I" looks up at hima trifle self-consciously. Maxim Poor darling ~ nover mind. | \ t "I" (shiling happily) I gontt mind. There te a’knock at the door. "I" rises in elarn. Maxim pats her reassuringly. : Maxim Don't worry. You won't have to saya word. SEMI CLOSE UP Mexim holding open the door as firs. Van Hopper comes in. Her face is wreathed in smiles, Sho 4a chattering rapidly. Mrs. Ven Hopper . I'm so glad you called mo, Kr, do Winter. I was making such a hasty departure -- It was rude of me not to let you know, but a cable camo this morning ennounoing that ny daughter is engaged to be married. Maxim comes up beside her.. "I" is in beg. near the door. Maxim @hat's rathor a coincidence, Mrs. Van Hopper. I oallod you to announce my engagement. If Mrs. Van Hoppor took tho time to analyze this un-. expected announcement, sho would wonder way Maxim de Wintor would bo confiding in her. But all that she considers now 1s the fact that she has boen let in on somo vomarkably juley gossip. Eps. Ven Hopper You don't moan it! “But how porfoctly wonderful! How romantic. Who ig tho lucky jeay? Maxim merely gestures toward "I", Mrs. Van Hopror turns and looks. Hor faco prosonts a rrotty picture of utter bowildormont.. 8 eLosy ® 8 uP Mes. Van Hopper looks at "1 at fx, ", thon at Maxim, thoa again Yaxim's voice I have.to apologize for depriving you of your companion in . this abrupt way. I hope it. doosn't inconvenience you tod greatly, ot MED, SHOT Mes, Ven Hopper is recovering slowly. She is furious, but ‘she is trying to disguiso it with dolight. Mrs. Van’ Hoppor But -- when did all this happen? age : dust now = Yrs, Van Hoppor, Only a few minutes ago. Mrs. Van Hopper I simply can't believe itt (rogaishly) And I suppose I ought to scold you for not having breathed a . word of this to me, But ~ what am I thinking of » I must give you both my congratulations and my blessings, I'm so ery happy for you both] Whon and whore is the wedding to be? Maxin Hore, As soon as we can got the license. Mrs. Van Hopper is now gonuinely thrilled, She sees herself playing a leading role in one of the most widely publicized weddings in social history. Mrs. Van Hopper 4 whirlwind romance! Splendid! I can easily postpone my Sailing for a week, This poor child has no mother so I shall take responsibility for all the arrangements « the trouseau, the reception, everything! And I'll give the bride away. ‘" looks worried by this suggestion) But = my luggage (she wheels on "I" by force of habit) Go down and te21 the portor to take everything out of the car. "I" seems about to obey, but Maxim intorvenes, : Maccim I'LL go. (ne turns to Mrs. Van Hopper) Wotre most grateful to you, urs, Van Hoppor ~ bub I think wo both prefer to havo it all 'as quiot as possible, I couldn't allow, you to, change your plans for sailing. CONTINUED:conti: ED (2) divs. Van Hoppor, furious, starts to spoak. Mrs. Van Hoppor But ~~ - Maxim (going right on; .to "2") INL have your luggage orought baclr, Thank you, Maxim. I'11 bo right down. He locks into her eyes - sces sho 15 no longor afraid to faco Mrs. Van Hopper ~ and goos. Mrs. Van Hoppor turns on"Z" the minute Maxim has gone, dropping all pretense. Mrs. Van Hopper So this is vhat has beon happening during my illnods{ (she smiles unpleasantly) fennis lessons my foo . (ske goes close to "I") I suppose I've got to hand it to you for a fast worker. How itd Fou manage it? Still waters certainly run doep! But it's a lucky thing for you that you haven't a family to ask onbarrassing questions, When did you first weot him? ope The day after we arrived hore, Urs. Van Hopper Really! And all this time you've been listening to me talk about him ~ and nover a peep out.of you. And I took you for an innocent, unsophisticated child! ©! Sho takes a fow steps avay from "I" CAMERA FOLLOWING HER, then turns quickly round. Mrs. Van Hopper (talcing a cigarette out and ‘Lighting it) You realize that he's much older than you, SEMI CLOSE UP "I" slightly on the defensive, I'm old for my age. Mrs. Van Hopper comes back’ into pioture and laughs. : Mrs. Van Hopper You certainly are. Sho leans closer to "I" and speaks in a lower tono. Mrs, Van Hopper Toll mo -~ avo you hecn doing anything you shouldn't? CONPINGED:conn: WED (2) Sho looks "I" up and down appraisingly like a judge at a cattle show. "I* backs away from hors S "I" (with some indignation) Z don't. lmow what you mean, Mrs, Van Hopper shrugs her shoulders. Her cigarotte in her mouth, she takes out a compact and starts to aer her nose, : ; » . 4 Mrs, Van Hopper Gh, woll - nover sind. T aiviays did say Bngttshmon have strange tastes, But you'll certainly have your work cub out ac nistress of Randeriey, To be perfectly frank, my dear, I can't 300 you doing it. (she strolls out of picture} SEMI CLOSE UP She strolls into picture by the mirror cs she continue, Mrs. Van Hopper e You haven't the experience, you haven't the fa it means to be a great ledy, Personally, I think you're making a big mistake - one you will. bitterly regret. a Through tho mirror we sco "I" watching nor unhappily. “rs. Van Hopper starts to adjust a few stray hairs under her hat, Urs. Van Hoppor Of courso, you lmow why he's marrying you, don't you? You haven't flattered yourself that ho's in love with you. The fact is, that empty house got _on his norves to such an extent he nearly wont off his hoag, He just couldn't go oa living alone. ae SEMI CLOSE UP ° } : ; pane tho last long speech wo cut in a flash of "I" got~ i ting more and more unhappy and angry. j age £ You'd better go, Mrs. Van Hopper. You'll miss your train, —~ i CLOSE UP { Mrs, Van Hopper turns ond faces "I", A quoor twisted smito i erosses hor face. . y a Mrs. Van Hopper (with withering sarcasm) 7 QO: Mrs. ae Winter, (with @ sour laugh) Good-bye, my dear, and good 2VED (2) She turns and flovncos out, Tho slax of the door is hoard, $90)07 GLOSE UP "Zig" worried faco as sho looks after her. PADE OUT. 2108 FADE IN: EX?, MONTE CARI In'tho f.g. of picture stands Haxim's car - cimpty. Tt is a falely ousy xarkot stroct, 4 flight of stops lead up to a stone building outside which Maxim's car stands. CAMERA PANS UP until we sce the sign on the building. STREET. - LONG SHOP ~ DAY MATE From the éntrance coxe Maxim and "I", They welk down the stops, ‘Tho Mayor loans from one window, a cleric end a charwoman from another, to wish the newly mar- i riod couple "Bonne chance" and to thank them for the 7 handsome tips, Suddenly tho Meyor calls, excitedly: wy ¢ Mayor et Monsicwr} Mademol Vous avoz oublioz votre carnot do : Plage» i ugh ° f What is ho saying? £ Maxim (laughing) ; I forgot tho proof that we're married! (the Mayor passes it dow to him) Je vous remercio, Monsiour, 109 EXT. MONTE CARLO STREET - SEMI LONG SHOT - DAY Near the foot of the stops, which Maxim and "I" are descending, a gendarme stands talking to a flovor seller who sits with hor basket. We hear shouts - a noisy crowd of childron and a fow tovinspeople run into ploture, followed by a wedding group. The bride is in white and carries a shoaf of lilies. 220 SEMI CLOSE UP They strugglo through tno crowd tovard the car, Thoy ook af tho now wodding party, . : Moscian Somodody olse had tho samo idea. t CONTINUED:2) oa) ° : : i j 4 ue CONDINUED (2) . "I" (wistfully) She looks awoet, doosn't she? Maxin (giving her a quick look) You'd*have liked a bridal veil, or at least a bouquet, ‘wouldn't you! "I" doesn't answer, Maxim looks at her and realizes ho has boon right. He suddenly goes out of picturo, "I" geta into the car. mi SEMI CLOSE UP . Maxim goes over to the flover sellor, and pulling a nand~ ful of notes from his pocket, says: : Maxim Combion? Without waiting for a’reply, ho throws the notes in the old woman's lap and grabs the whole contents of the das- kot. Turning quickly back tovard the car,20 LS, & PLE SIREADY. SHOT BY 28 UNTT. we. HATS. aIRRADY SHOR Scared, darling? UM SHOT ng back to the car, ho throws tho lap, thon jumps quickly into the driving scat. ye Gown at ho? and sho smilos radiantly back ab Aime puts the car into goar, and they shoot off, DISSOLVE TO: BX?, FRENCH STRSET - SEMI LONG SHOT ~. DAY Wo see the car speed.away up the long rising, cobbled French street. FADE OUT. Pade i) EXT, NANDSRIEY GATES - CLOSE UP ~ DAY Worked into the wrought-iron scroll work of a pair of big gates, is tho word,’ "N:NDSRIEY." This fills the soreen, After a monont, it swings away from CAMERA ro - vealing that it is part of the big gates to Manderley. EXT. LARGE GATES ~ SENI LONG SHOT - DAY (COSGROVE) Maxim and "i", seated in the some open car that we have seen all through, drive up to the opening gates. The car slows down and contimios through gates, Haxin waves to the gate-keopor. I LONG SHOT Shot from the ‘car, Tho lodgo-keeper and his wife are dressed for tHe occasion, cetemonially, The lodgo-keepe> offs nis cap, His wife bows. Maxim aclmowledges thoir greetings with accustomed graco, "I" gives them a half~ Hoarted smile ~ out she soca, in tho windéws of tho lodge: children's faces peering at her curiously. EXT, DRIVE (24 UNIT)-LONG SHOT & ANGL3 OVER BONNET OF CAR A bend in the drive is ahead, Tho trees form a Gothic arch above. The car rounds the bend, Ahead is a long, gloomy stretch and’another bend, Hi TWO SHOT - "I" & MAXIM IN THE CAR "x" ts looking ahead, norvously, She suddonly shivers with a strango apprehension, Maxim locks at nor. Ma: cola? "Z™ (ygth a tremilous smilo) Just a little cold,CONTINUED (8) Maxim No need to ve frightened, you know, You've only got to be yourself and they'l? all adore you, And you don't have to worry: about the house -~ Mrs. Danvers does everything. Just leave St all to her. The length of this drive is oppressive. "I" thinks thas ‘beyond each bend sho will see the house. xexin, with a slight frown, looks up at the sky, Maxima sstarted to rain, Big raindrops begin to descend. "2" pulls a mackintosh from the back The rain increases. : Hello. > Maxim Wetd better hurry. We hear the car increase in speed, EXT. DRIVE (2d GaR’~ RAIN NIT)-LONG SHOT & ANGLE OVER BONNET OF Over their shoulders we see the bonnet of the car apprco~ aching another bend, and then another. At length the car turns a sharp bend and there, suddenly, is the house. The rain is now falling in'torrents but it ‘cannot conceal 5 the imposing building. CLOSE TWO SHOT = "I" AND MAXIM IN CAR + RAIN The sight of Manderley causes "I" to utter an exlamation Maxim turns to her, smiles, and waves his hand toward the house. © i Maxim, : That's it That's landerley! ee LONG SHOT MANDERLEY = MOVING POINT OF VIEW ~ (FOR INTER- ( : SHOP CUT WITH ABOVE) .~ (MINIATURE) = R. | 3 STUDIO Dd 3 LONG SHOP = ON EXT, MANDERLEY WITH MINIATURE CAR & DOLLS ISE AS RAIN A As tho oar comes to a standstill, we see a butler and foctman waiting on the steps. :1059 32 2 KANDERLEY ~ SEMI LONG $3 Tho butler concs running down she steps with an wibr while the othor nan starts to unload luggage fron Maxim and "I" rush out under the udbrella held by EXT. MANDERLEY - SEMI GLOSE UP - DAY As they mount the steps, Maxim says: Maxim Here wo are, Frith. “Everyone well? Prith . Yes, sir, hank you, sir. I'm glad to sea you kh ‘ Rope you've been keeping well me, sire I f Maxim ‘i + This.4s Mrs. de Winter, Frith, CLOSE UP - g "I" with wat wisps of hair hanging down her face. 1058 SEMI CLOSE UP "7" shyly puts out her hand:to Frith, as sho says: nyw 5 How do you do? Frith gives a little bow, then sees the outstretched hand, hesitates for a second as to what to do, and just as she is about to withdraw it, takes it. i use CLOSE UP Maxim is a witness of this little scene ~ and smiles a little tenderly at his wife. 3m INT. HALL - SEMI LONG SHOT - DAY SHOT FROM BEHIND THEM. As they enter the hall, removes the worella, Maxim stops. Boyond them about twenty servants lined up in a semi-circle, Mazin turns to Frith. Maxim (annoyed) I didn't expect the whole staff to be in attendance. During this “I" has been pulling the mackintosh from her head. Her hair has been flattened vy it, and wisps of hair have got wet and hang dow hor facc. Frith replies to Mexiin in a low voice. : te CONTINUEDi 5 i Bs us 39 CONRINUED (2) Frith Mrs, Danvers! orders, sir. oh. I'm sorry about this - but it won't tal Maxim (without expression) He turns to "I" from whom Frith is taking the mackin- tosh. r Maxim long. ‘They turn towards the group of waiting servants and start to go towards them, “LONG SHOT We get the impression of a tableau with Maxim guiding "I" towards the group. We must be vory conscious of the vastness of the hall with its minstrel gallery an broad sweeping staircase. ; SEMI CLOSE UP "I" going towards the group = rain still drips down her cheeks from the front of her hair, SEKI LONG SHOT We seo a tableau of the group of waiting servants and "TZ" peing piloted towards them by Maxim. SEKI CLOSE UP "I" and Maxim, We see the shyness overcoming her as she advances toward tho Camera, SEMI LONG SHOT Tho CAMERA, taking the place of "I", IS MOVING SLOWLY FORWARD towards the group, Alnost es though from no- where, the figure of a tall, gaunt woman steps. into the side of the picture and advances toward the Camera, plotting out the rest of the servants, CLOSE UP "I" se0s this newcomer and over it wo hear Maxim's voice. zl Maxim's voice is Mrs. Danvers.on, ie INT, HANDERLEY - CLOSE UP « MRS. DANVERS says "This is lirs. Danvers".) (fq out in after, Max: ties. Danvers (coldly to "I") How do you do, Madam. I havo overything in readiness for your CLosz SHOT ~ "I" (MAXIM IN B.C.) "I", unprepared for this, doesn't know how to reply. ne Oh, s+ that's good of you, I'm sure, I Aidn's expodtes, anything. She is avops it. In the b.g. we seo Maxim turn. ying with her glove in her, nervousnoss and Maxim's voice (from b.ge) Wotd like some toa, Frith. i Frita's voice It's ready in the library, sir. P-KRS. DANVERS AND "I" Mrs, Danvors stoops te pick up "Z"'g glove. She hands it to hex with the faintest trace of a smile of scorn, "I" is very unhap: ws. Danvers looks her straight in the vs eye. "I" oannot bear her look and lowers her eyes. i Maxim's voice é Come along, darling. i As "I" steals a look at Mrs. Danvers and turns away, the f CAMERA KOVES UP 20 A CLOSE UP OF xRS. DANVERS, and as : the scorn on her face incroases slightly, we i PADE ovr.132 FADE INT. "Z'S" SULTZ - LATE EVENING TWILIGHT ' OK i Phin streaks of light coming in from outs. ' y CLOSE SHOT ALICE - who is rathor distastofully handling 1 Its" vot elothos. | The CAMERA MOVES BACK to roveal the room and to soc I” ' soated at tho dressing tablo, trying to do somotning with hor lank hair. "I", furtively watening Alico in tho mirror, wishes she'd go. There is a kmock at the ' door. "I" looks up eagerly. vn y i Oh, Maxim? Como int 183 MED. SHOT ~ DOOR The door opens and in comes Mrs, Danvers. ‘ "I's" voice (disappointed) . + Oh, Good evoning, Mrs. Danvers, Mw Mrs. Danvers ‘ Good ovening, Madan, GAMERA MOVES with Mrs. Danvers into tho room, Sho glances at Alice ~ a glance of dismisoal. Alice puts "its" wet clothes over her arm, looks at Mrs, Danvers as wuch as to say "look at those rags ," and goes. Danvors 8 beon satisfactory, h dam? npn On, yes, thank you ~ porfectly. » lirs, Darivers She's the parlor-maid. Sho'll have to look aftor you until your own maid arrives, nye Thaven't got a maid, I'm sure Alico will do nicely. Mrs. Danvers (coldly) I'm afraid that would not do for very long, Madam. It's. usual for ladies in your position to hnve @ porsonal maid.ie CLos "I" Looking at uits. Danvers. She is unable to stand om. | the steady, freozing gaze of this woman, and turns away, C)y 3 pretending to be busy with her face powder. ng 7 If you think it necessary, porhaps you'd seo about 4% for me ~ somo young girl perhaps, wanting to train. 155 CLOSE UP Mrs. Danvers (impassive) As you wish, Madom. It is for you to say. 186 SEMI LONG SHOT Urs, Danvers goes over to inspect tho arrangemont of the beds. Perhaps she looks in a closet, whore "I's" scanty wardrobe has boen hung. She turns again to "I", ‘Mrs, Danvers I hope you approve the now decoration of theso rooms, Wadam. nga Oh, I didn't know they'd beon changed. Z hope you didn't have to go to too much trouble. ae aod Mes. Danvers I only followed out lir. de Winter's instructions. Mes, Danvers has moved close to "I", 187 SEMI CLOSE UP ge What did it look like before? Mrs. Danvers It had an old paper and different hangings, .It was never used much, except for’ occasional visitors. r age Then it wasn't Mr. do Winter's room originally? Mrs, Danvers No, Madam, He has never used the East ing before. She turns and goos ous of scone, co158 MED. SHO? ~ WINDOW . The ‘curtains are parted. é window. irs. Danvers Fl Of course, thore is no view of the sea from here. 159 CLOSE UP : choice. vy SEI LONG SHOT Mrs, Danvers tell mo. ua. SEMI CLOSE UP There is an awkward pause, brightness, "I" asks - myn than anyone’ else? Mrs, Danvers wy tone. Mes. Danvers I came here wien the first Mrs. I see. You didn't come until af "I" 4s looking toward vrs. Danvers. Mrs. Danvers! voice The only good view of ‘the sea is from the West wing. then with an effort at ter that? There is another slight pause. When Mrs. Danvers speaks it is with a slightly harder and less imporsone) do Winter was a bride. B "I" feels it is time to offer some defense of Maxim! Mrs. Danvers turning fron window and coming back to "7! Danvers cones up to the It's a very charming room and I'm suro I shall be comfortable. There is a moment's silence. "I" doesn't know what to do with herself; picks up hor brushes again. If there is anything you want dons, Madam, you have only to I suppose you've been at Manderley for many years ~~ longer Not so long as Frith. He was here when the ol4 gentloman was living ~ when lr. de Winter was a boy.CLOSE UP "IZ" Looks away sharply - far a sccond we see the effect of the words on hor face, then with an effort she simmons her courage and swinging round in her onair, faces irs. Danvers directly. ugn Mrs. Danvers, I hopo we shall be friends, But please be, patient with me. This sori of life is now to mo. And I do want to make a succoss of it and make Mr. do Winter happy. i : Imow I can leave all the household arrangements to you t Kes. Danvers (coiély) i Vory good. I hope i shall do everything to your satisfaction, : Madam. I have managed tha house since Mrs. de Wincor's deatn : and lr. do Wintor has nover complained. ; There is an awkward silence, Lous CLOSE UP i The faintest shadow of contempt comes into Mrs. Danvers! 2 face. She turns and welks toward the door. CAMERA WITH i EER. At tho deor she turns. : : f Mrs. Danvers ; Gan I do onything more for you? i "ris! votoe ‘ No, thank you. You've made overything very charming. I - 7 I think I'11"go dowstairs now. i She comes. into scene as Mrs, Danvers opens the door. ; "I" glances at rs. Danvers, soos the expression of dis~ i dain, Sho goes out. Mrs. Danvers follows hor out, ; shutting the door. ious INT. HALL - SEMI LONG suo? i Shooting along the ‘long passage. The two (Danvers and i "I") go towerd the stairs. : i us SEMI CLOSE UF : As they reach the top of the stairs, lirs, Danvors pauses and points to a door along the broad passago the othor ‘ side of tho stairs. Mrs. Danvers The room in the West wing I was telling you cout ts through that door. It's not usod now, It's the most ful room in the houso -» the only one that looks down aero: ce conti6 ur ua the lewns to the sea, conraivsD (2) Kre. Danvers (cont'd.) go Mrs, de Wintor's ro "i" hesitates while looking at the door. Sho turns and ' sees irs, Danvers! eyes ere fixed on hor. Mrs. Danvers | turns and moves swiftly out of pioture. "I" glances back toward the door, SEMI LONG SHOT Shooting along the other way of the broad passage over ' "I's" shoulder we soe tae mysterious door. CAMERA MOVES IN wo lose "I" and focus only on the door, thon PANS DOvN to see lying against the foot of, it, Rebecca's dog, Jasper, FADE OUT. FADE 3 IND, DINING ROOM ~ NIGHT Centered in tho f.g., on tho table is a wine glass bearing tho monogram: "R do Hy The wonogram is dono in an imitation of the same sloping handwriting on the first pago of the pootry book. Belind and through the glass wo seo "I's" face, CAMERA MOVES BACK AND UPWARD to reveal "I" staring at hor glass, » thon the wholo dining table, with iax at the head, urfolding his napkin, then tho whole ing room, with Frith and Robert romoving the service plates and preparing to serve the soup. . FADE OUT. FADE IN: EXT, MANDERLEY - LONG SHOT = DAY A long view of Wanderley in tho carly morning. It is @ beautiful, sunny, peaceful day. This shot should establish the rolation of the house to tho sea. DISSOLVE TO: IND, DINING ROOM ~ LONG SHOT ~ DAY "I" coues into the dining room carrying hor handbag, just as sho did in the hotel, She is surprised: sao a strangor soated at the table, noar Maxim's place, It is Frank Crawley, Ho has a groat ottcrs and papers tom hho 4s sorting out.Ho jumps to his root os CONTIMTED:150 161 Prank (awkwardly and shyly) oh, good morning. Good morning. Pronk You're urs. de Winter, aren't you? nq Yos. Frank (omberrassed) My name is Crawley. I manago the ostate for Maxim, (pause) : I'm awfully glad to meet you. Another awkward pause, then Frank points to the pile of papers. Prenk Avful lot of stuff piled up while Maxim was avey. aye Yes, I suppose there mist have doen. (Another embarrassed pause) I wish I coulé help with some of it. SENI CLOSE UP ~ DINTHG- ROO: DOOR Maxim has coms in, carrying somo letters. He has heard "Its" vemark. As he walks in, CAMBRA SWINGS WITH EIX to a MEDION SHOT OF THE THREE. Maxim Frank won't allow anyone to help him, He's like an old. mother hen with all. his bills and rents and taxes. Woll, come on, Frank, Lot's go over these ostinates. Frank, goes out of scene to gather up the papers. SEWI CLOSE UP Maxim You'll find quantities of breakfast over thore, on tho side- board. You must cat it all, or cook will be mortally offonded. "I" (smiling) I'll do my best, Maxim. Maxim : . havo to go over the pleco with Frank to make sure ho hasn't Jost any of it. But you can amuso yoursclf, I'm suro ~~ getting acquainted with your new home. CONTINUEDHe gives her a quick, perfunctory kiss on the forehead and turns and goos. 182 MEDIUM SHOT a i Maxim and Frank going to the door. Maxim turns. ' i Maxi i = On ~ I forgot to tell you - my sister, Beatrice, ani hey t Iusband, Giles Lacy, have invited themselves\over for lunch. 153 CLOSE UP ; "I's" smile fades. ayo ; “Today? . 3st SEMI CLOSE UP Maxin Yes. 1 suppose the old girl can't wait to look you over. You'll find her very diréot. If she doosn't like you she'll tell you so to your face. He laughs. i i 155 CLOSE UP "I" dsn't too anxious to be looked overs Maxim's voice But don't worry - I'll be back in time to protect you from her. Good-bye, darling. uge Good“vye, Maxim. She hears his voice fading out as he talks to Frank, saying, "They!re charging ogether too much for the new roof on the barn.” She knows the honeymoon is over. Maxim has come back to the place he loves and is absorved init, instead of her. She turns toward the side table. 166 SEMI CLOSE UP CAMERA MOVES WITH "I" as she lifts the lids of the nun erous covered dishos on the beaters. There aro eggs, ae CoNnTait30 mucn food destroys whatover appetite she my had. So pours horseif a cup of tea and takes it to her lonely place at the ond of the great table. Ths Times and Daily Telegraph are neatly foldod by her place. 157 MED. SHOT - SCREEN BEFORE PANTRY DOOR Frith cones out, looks toward "2", . Frith + Good morning, Madam. "I's". voice Good morning, Frith. Frith crosses to the side table, glances at the covered dishes, undisturbed, then turns again to "I". Frith . Isn't there anything I could get for you, Madam? 158 MED. SHOT : "I" is @rinking her tea. age No thank you. Really, I'm not hungry. Frith comes into scene. Robert appears in b.g. going to take the hot dishes out. "I" puts down her cup, rises, and starts to go. Frith The papers,’ Kadam. . He nas picked them‘up and handed them to here wy Oh - thank you. i i i She takes the papers and starts to the door. CAMERA WITH HER. As she comes near it, she slips on the Polished floor, almost falls.MEE you imow, once a, week. nyo That's nice. @); Frith and Robert rush forward to cateh her, ey i swings with them es they come up to her. : "I" (Zomely) : I m= Z slipped. ee ‘ She goes into the great hall, Frith steadies her for a . f few steps, guiding hor by the arm, i Thank you, Frith, t She looks about ‘the hall. : ° { an t It's very big, isn't it? i Frith : Yes, madam -- bianderley is a big place. This was the banquet i hall in the old days. 3 still used on great occasions, c { such as a big dinner or ball, and tho public 4s admitted here, i | She walks on, wnable to think of anything better to say, iI LONG SHOT - DAY 160 TNT. LIBRARY - 8: The windows are wide open and the curtains blowing. "2" © ; enters and gives ¢ er. She crosses to the windows, ; Jooks out. Masses of clouds aro blowing up fron over : the sea, covering the sun, Sho closes the windows, gocs i to the fireplace, looks about for matches. i e fds LIBRARY DOOR i Frith sppears in the doorway. ; Frith : Pardon mo, madam. {162 CLOSE UP 1 "I" turns quickly, guiltily. Sho feels sho!s boon : caught doing something she showldn's, i Frith's voice Ga ; I wished to say, madam, that.the fire is not usually 1it in eel) the library until the afternoon, :i { “ CLOSE UP Prith's face is exprassionless. Frith But you will find one in the morning room. Of course, if you wish this fire 1it now, madame. 164 SEMI CLOSE UP "Z" is moving away pe Oh, no == I wouldn't dream of it, ‘Thank you, Frith. om the fireplace. Frith lrs. de Winter -- (ne hesitates, fearing that he hes been tactloss) <- wh -~ uh ~- alvays did ber correspondence and telephoning in the morning roca after breakfast. age Thank you, Frith. She turns and goes back towards the hall. 165 IND. HALL - DAY - SEHI CLoss UP Outside the dining room door she takes a few steps, then pauses awkvardly. : Frith Is there anything wrong, madam? "I" (hesitating) - Which way is the morning room? Standing in the doorway, Frith proceeds to dire; Frith : : It's that door there, Madem ~~ on the left. esa “SEM LONG SHO? Frith in the f "Its" small figure crosses the large hall. 66 INT. MORNING ROOM - LONG SHOT - DAY + MI" comes into the small morning room. It is a bright and cheerful room, exquisitely furnished and obviously a woman's room by the quantities of flowers in it, There isa blazing fire, in front of which a dog is lying. "I" shyly inspects the room. . 167 “SEMI CLOSE UP Tne dog gots up from bofore the fire and embles ont the room.’169 70 m we "I" does not notice the dog has gone. She behaves almost as though she wore an intruder in the 7 She crosses to the writing desk, CA: HER, and. ogins to examine its contents, walch includo an ,Address book, Guest, Book and Menu Book. She looks al- ost furtively about’ hen, A slight sound from outeiée nakes her start guiltily avay, but after o moment she turns backs CLOSE UP She picks up an address book = CAKERA PANS DOWN 70 IP and we see tho initials 'R de Wt, CAMERA PANS UP AGAIN as "I" lowors herself into the chair. She row places the address book and opens a parchment-bound book lying on the centre of the blotting pad. Suddenly we hear a telephone ring. SEMI CLOSE UP 4I" starts, and with her eyes still fixed on the open book, lifts the telephone hurriedly. She puts the re~ ceiver to her car. She listens for a moment, and then apparently repeats what was said to her. : nyt . Mes, de Winter? I'm afraid you've made a miotake. lrs. de Winter has been dead for more than a years As she starts to replace the roceiver, she suddenly realizes her faux~pas and exclat: age Oh, += I moanese There is a slight scund behind her; she turns quickly and looks upwards. : CLOSE UP Mrs, Danvers stands behind her chair, regerding her witn expressionless oyes. 7 SEMI CLOSE UP "I" gots terribly flustered, and stammers. ogn I++ I'm sorry, Mrs, Danvers, I didn't realize the call was for mo. a Mrs. -Danvers (coldly) That 4s the house telephone, Madan. It was probably the head gardener wishing instructicts. GORRINvoy nerve makes hor oxtronc i "I" (Leneiy) Oh, I sco. (she makes a desperate effort) Did you want mo, lirs, Danvers? Mrs, Danvers I merely wished to Imow, Madam, if you approved of the menus for today, She bends over "I" and, picking up a menu from the: desi, proffers it to her, "1" (without locking at 4%) Oh, I'm sure they're very auitasle -- very nice, Indeed. ws CLOSE UP i & Mes. Danvers with expressionless face points to the ecard as she says: Mrs. Danvers You will notico, Madam, that I loft a black space for tho sauco, Mrs, de Winter was most particular about sauces, CLOSE UP "I" gots flustered again, nye on, woll,,.1et me seo,.,let!s have whatever you think Mrs, de Winter would have ordered, lirs, Danvers! voice I rather think Mrs, de Winter would have had a white wine sauce, Madam, . nye Yes..,very woll, I'm sure that will be delicious. 15-161 SEMI CLOSE UP irs, Danvers prepares to withdraw. She looks steedily at 2" as she says: Mre, Danvers Thank you, Madam, (as she goes she adds) When you havo ‘nished your letters, Madam, Robert will take thom to cho post, Sho goes out of picture, and we hear the door ‘open eless again, "2", feoling it incumbent on hor to do sone correspondence, hesitates - iooke around . thon opens tho drawer at the loft of the writing table. $ takes ous a sheot of tho sive note, pape, Gguh oF the dock ana site, Sho opens Ropecea’s Ook.8 ; 98-59 16 close Page of address book from over "Z's" al Rebecca's handwriting we see sevora} Lady Destry - Sloane 8862 Dibdin - Ploxnch 1518 Freddie D'drsay ~ Mayfair 4077 Duchoss of Eaton - Witley 25 uw SEMI CLOSE UP "I" opens hor handbag and takes oub her own ratty little address book. She looks through soveral pages that are absolutely blank until she cones to the "V" pages M6 INSERT Page of address book. ‘The only name on it is "Mrs. Ce : Van Hopper." Soveral previous addresses have beon crossed owt ~ London; Ritz ~ Paris; Ritz - st. Mordtz. The new one is: Ritz - New York. > i 4 M9 SEWL CLOSE UP exc: ft "2" closes her bool, puts 4t aside. With sudden:deter- . 3 : mination, she picks up the pen and writes. : 180 INSERT "Z's" handwriting, in an awkverd childish style. : "Dear Mrs. Van Hopper: Maxim and I are now happily settled at Manderley which, as you lmow, is a boautiful place ----i! Bl CLOSE UP "7" looking with mortification at her own handwriting. She comparss it with Rebecca's. She props Rebecca's book, open, on the desk before her, then writes on the same sheet of paver, in a orude attempt to imitate Rebecca's dashing hand: "Dear Mrs. Von Hopper: Maxim and I ere now happily settled.. 86 * “RADE oUt.j LB FADE INE. HALL ~ LONG SHO? ~ DAY We ara shooting down toward the front door, from waich Gilos and Boatrico are entering. hat and Boatrico's cape. rith is taking Giles! : Boatrice », Hello; Frith. “ Frith Good morning, Mrs. Lacy. Beatrice Whore's Mr. de Winter? Frith I believe he went down to the farm with Mr, Crawley. Beatrice How tiresome of him not to be here when we arrive - and how typical! During this the CAMERA HAS SWUNG slowly to reveal "I" in foreground, profile CLOSE UP at tho head of the stairs, shrinking back into tho shadows out of view. =| Gilos! voice What about a whiskey and sode, Frivh? Beatrice's voice Just before your lunch? No! Giles But I need it - for the approaching ordeal. Their voices die out as they go into the livrary, turns quickly as sie hears Mrs. Danvers’ voice. dirs. Danvers Major and Mrs. Lacy have arrived, Madam. They will be in the library. equ Thank you, irs. Danvers. She sees that Mrs. Danvers expects her to go down an greet the guests, so she goes. CLOSE UP - MKS, DANVERS Looking after "I", hor masklike face carrying just the faintest shadow of a omilo. CLOSE SHOT "I" » near the bottom of tho stairs. Sho looks dom nervously, stoals a half look back at lirs. Danvers, then approaehss tho door to tho library,j 186 187 188 gos Wu1Se59 a HALL LEADING 80 LEBRARY ~ MEDLUIL S! @ AP DOOR "Z" comes into the sceno and’ stops a few foot from tho door which is partially open. She stops to adjust hor eiothes a little and gives a fow frantic pats to her hair." She hears voices from the library.+.s+ Giles! Votes I wonder how Danvors likes it now - bedng ordered about by an ex-chorus girl. Beatrico's Voico Now ~ where on earth Gid you got the idea she's an ex-chorus girl? CLOSE UP = "x" She hesitates, wanting to run away «= Over this we hear the voices continuing. Gilos! Voice : He picked her up in the South of France, didn't he? Beatrice!s Voice 2 Whet if he dia? Giles! Voice “ Well «~~ I mean to say -~ there you are. Go "I" summons up ecurage and determines to go in, and face them. SEMI LONG SHOT I" pushes open the door and goes in. Shooting over her shoulder through the open door into the room, we seo Gilos and Beatrice look up as she goes in. . "£" (tamidiy) How do you do ~~ I'm Maxim's wife. For a moment they both stare at her, both obviously surprised, then Beatrice starts forward. Beatrice (murmuring as sho approachos} How do you.do? SEMI CLOSE UP Beatrico goos close to "I" end subjects her to close serutiny. Boatrics : Woll - I must say « you're quite aifforent from what I expoctod!48 upset as well as taken aback by Beatrics's remark. 190-395 SEMI CLOSE UP “ "I" shyly shakes the hand Beatrice is holding out to as Gilos enters into ploture and adds an embarrassed - Giios (palpably lying) Don't be so silly, Sho's exnotly what I tela you she'd be. He also holds oyt his hand and shakes very f4 "T4, as ho continues ~ Giles : Well = er ~ or » how d'you like Wanderley? ' wn It's very beautiful, isn't it? Beatrice and how are you gotting along with Mrs. Danvors? . ng Well, I've never seon anyone quite like her before. She's = er es : Giles You moan sho scaros you ~-- she's no o11 painting, is she? (he laughs uproariously at his own joke) Beatrice . Giles, you've vory much in the way here. Go somowhore elso. les (ecughing) 2 try to find Maxim. 411 right. (He goes out) al "r" (shyly) . I i I= I+ didn't mean tc say anything against urs. Danvers. : : Boatrice | i Oh, there's no need to bo frightonod of her, But I shouldn't Do you. rhumba? oa § ue i I've never tried. G Giles : You mist teach mo. : (ne tums tp Maxin) SENI LONG SHOT E + Giles (to Maxim) old doy -"Iive been trying to find out what your w Goes do. Maxin (smiles) She sketches a little. C t Giles L Sketches! Not this modern stuff, on? You know, picture of a lamp shade upside down to represent a scul in’ torment. ot (suddenly he is struck by a thought and lovers nis oo ; voice) of ; You don't ~ uh = you don't sail, do you? : "Z" (in a strained voico) No = I dontt. : Giles c Thank God for that! : There is general consternation about the table. CLOSE UP ~ MAXIK . Staring grimly inte spaces CLOSE UP = BEATRICE j Glaring at Giles as though she would sley nin. i : CLOSE UP Prenk, very embarrassed. 3 cLoss UP ~ "I" : Slowly the significance of what Giles has said & show on "I's" face She flushes with end looks down at how pla taea al 25 Boatrice looks off teyard tho deor, Boatrice Z sayl Thore's old Jasper. Como nore, boy. CLOSE UP ‘ Jasper, tho dog, 1s coming into the dining roo, his cars picked’ up. : INT, DINING ROOM - SEXI LONG SHOT ~ DAY Shot through the opea docr from Jasper's eyelins, Part of the figure and legs of "I" can be seen, Jasper sushes into the picture and directly over to "I", Beatrico's voice I was noticing the barn when we came up today, It needs a new root, ‘iles! voles Yes, Maxim, And I said to Boo, "Wetve needed a new roof on our house for ages, but you won't have it." Tne old girl Thinks moro of the cows than she does of mol {we hear his hear’y lovgh) (NOTE: The precoding voices follow through these shots; CLOSE UP - JASPER Looks up at "I", SEHI CLOSE UP ~ "x" Looks down end sees the Gog; she puts a hand dom to pat his hoad.) CLOSE UP Jaspor turns away and with a disconsolate movemsnt, axbles across toward the Piraplace. CLOSE UP "I" watches him and we see she fecls this canine sligh' very keenly. FADE OUT. FADE IN: INT, "I's" BEDROOM - SEML CLOSE UP - DAY Beatrice is adjusting hor nat before the mirror, "I" ts beside hor, ‘ Boatrice You're very mich in love with uaxin, arentt you?t t aon 220 fe CONTINUED (2) Boatrice Tecan see that you aro... (Pause, Beatrice notices the girl's face above hays in the mirror) Don't mind my saying so, but why don't you do soxething avout your hiir? why don't you have it cut... : (searching for something to’ suggest) +ss0P awoep it back behind your ears? "I" nolds her hair back behind her ears, turning her hoad for Eoatvico's inspoction, The latter looks at her eritically, Beatrice No, that's worse, What does Maxim say,,.Does he like it that? ny I don't know ~ he's nevor mentioned it. Beatrice locks surprised and gots up. Beatrice Oh, well = don't go by me. I can tell by the way you dress you don't care « Root now you look, But’ I wonder Mexia hasn't been at you, He's so partioular about clothes, age I don't believe ho, notices what I.wear at all, Beatrice (ne they start out) He mast have changed a lot, then... INT, UPPER CORRIDOR - DAY During this scene Beatrice and "I" ge to the stairs and down, reaching @ point in the lowor hali near the large table. Boatrice But don't worry about. dear old Maxim = and his moods, You never quite know what's going on in that quict mini of his. Now and then he bursts out in a terrible rago ~ and when ho dows! (she hints at terrible things) But = I don't think he'll lose his temper with you, You seem sugh a placid little thing, Giles! voice (from the front door) Come along, old girl, We're supposed to be on the first tee at thres ofolock, : Beatrice : ALL wight, I'm coming! Sho kisses *I* on the cheek.CONDINUED (2) _ Boatrice Well, goodbye, my dear. Forgive mo for asking’ so questions. Yio bovh roally hope you'll be vory-happ ny Peco Ye "3" (almost emotional in her hunger for kind~ ness) ** Oh, thank you, Beatrice, thank you very much} Boatrico And I must’ congratulate you on the way Maxim looks. Wo wore all very worried about him this tine lest yoar, But, of course, you Imow the whole story. As thoy go toward the lower hall, "I" looks at Beatrice, her worries returning. DISSOLVE TO: ba EXT, MANDERLEY - 8 LONG SHOT ~ DAY On tho steps of the front entrance stand Maxim and "I", Robert stands near tho door in the bege Giles and Boatrice are just pulling avay in a car, waving good~byo. It disappears out of the picture for e moment and then aveeps around the wide drive, avay into the distance. 222 SEMI CLOSE UP Maxim takes a step or two down and looks up into the sky. Max: “Thank heaven they're goned Wow, at last, wo can have a walk about tho place. it looks a bit like rain ~ but you wonts mind, will you? "it. (happily) of course not, Maxim, Wait till I run upstairs for a coat. Maxim There's a heap of mackintoshies in the flower room, (he goes up and steps inside the front door calling inside ) Robert] Fetch a coat from the flower room for hrs, de Winter. (he comes back to "rM) What did you think of Boatrice? azn I liked her very much, But.she kept saying I was quite diffor- ent from what sho oxpscted. i Maxi rT What the dovil did she expect? : - aye ©: Someone much smarter, more sophisticated, I suppose. (she pausos) De you like my hair?225 2258 GoNPINUSD {2 Maxim looks at her in astonishnel Tike is. What's tho matter with it7 Max: Your hair? Of cours age z Oh, nothing, I just wondered. Maxim (looking at her) How funny you are. Robert comes out from the house in b.g., carrying an oilskin coat. Maxim helps "I" into it. Maxim (to Jasper) Come on, you lazy little beggar, and take sce of that off. . » SEXI LONG SHOT They descend the steps and sot out, erm in arm, across the lawn. The dog, Jasper, following at Maxim's heels. CLOSE UP - JASPER As he follows behind them. DISSOLVE T0:EXT, MANDERLEY ~ LONG SHOT ~ DAY "Z" and Maxim walking over the: grounds away from house (shot through windows). Jasper with them. Sona Units EXT. LAWN - LONG SHOT‘ "I" and Maxim walking across lawn, toward camera, Jasper with ther. and Unit EXT, NEAR TOF OF CLIFF - with sea below (b.8.45, HOT) As they walk along, they come to a fork in the paths leading down to the sea and Jasper unhesitatingly runs ahead and disappoars down the path farthest to the right. CLOSE SHOT - "I" AND MAXIM (Againat Plate as shot) Maxim Som Jaspers Not that wayl Come here! JASPER As he starts to scamper down the stairs which lead to the beach. CLOSE SHOT - MAXIM AND "1" (Against Plate as shot) ed) 5 Where does that lead to? Maxim (briefly) fo a sali cove where we used to keep a boat. age Let's go down there, It would do us good to get a real sea blow. Maxim (irritably) - . It's quite dull and uninterosting - just like any other stretch of sand. nw Oh, all right, Maxim. Maxim (seoing her look of aisappointmont) ee: woll'= we'll walk down and take a look if you really went to. aD> j : i gnanges 10-7439 rd end Uadts 43 SHOE LONG SHOT "I" AND MAXIM start forward again. ond Unk LONG SHOT 48 SHOT "J" AND MAXIM turning from the top of the palisados down onto the stairs leading to the beach, and valking down. 227 JASPER (for insercut with above) 50 BE sEOT Half way down the stairs leading to the beach. AS SHOT LONG SHOT "I" AND MAXIM come down onto the beach. Jaspor has Aisoppoared, but they hoar his bark from the other side of rocks (rocks not in scons) 228-229 CLOSE SHOT "I" AND MAXIM ‘ (Against plate already made) "I" (pointing) That's Jasperl (worried) Thore may be something wrong - perhaps ho'a hurt himself. Mazin He's all right. Leave him alone. we Don't you think I'd better go and see? She turns to go - Maxim (angrily). : Don't bother about him, I tell you. Ho can't coma to any erm. He'll fing his own way back. But "I" has alvoady left the pleturo. LONG SHOT BEACH "I" puns away from Maxim and out of picture, in Aivection from which sho has heard Jaspor's bari.gos LO-TH29 SHOD } CLOS2 SHOT “I" (on her back frcm Maxim's anglo) ; (f0 BE SHOT ON STUDIO STAGE)” Sho starts clambering over rocks to got to Jasper, calling back over her shoulder: . hy » I won't be a minute. #1 ~—=—=s«GLOSE, UP MAXIM (Againet plate alvoady shot) ae Turning away with a shrug: (CATALINA, LOCATION: . 252 LONG SHOT - COVE ON OTHER SIDE OF ROCKS "I" has reached the other side of the rocks and is now ona stretch of boach in a cove, hidden from Maxim's view. This 48 a somi-natural harbor created by the rocks jutting out into the sea. A mooring bucy 1s a little way out from the ehore. : Shaded by the troos which come down yory nearly to the water's edge is a small cottage. “I" stands a moment as she sees the reason for Jasper's barkinge CATALINA LOOATION, 233, CLOSE SHOT - JASPER AND A MAN Jasper is running and leaping around a man dressed like a fisherman in boots and jersey. He seems to be Soarching in the shingle for something. * 234 CLOSE sHoT "I" . "I" comes forward a fow steps, calling. gn Jasper! Jasper, come hero! But Jasper obviously pays no heed. "I" glancos back ovor hor shoulder to sve whether Maxim is following, then jumps down and crosses over toward the fisherman. 235-236 CLOSE SHOT - AT SHORE As "I" approaches, tho man looks up, revoaling the feco ofan idiot. He suiles foolishly at hor. CONTINUED: » »27 258 age Good aftornoon. Ben Afternoon, Diggin! for shell, Been diggin! since forenoon, No shell tere. to wy : Oh, Itm sorry, Bon That's right. No shell ‘ere. "I" looks down at Jasper. ope Come on, Jasper, it's gotting late. . But Jaspor dashes out of the picture. "I" looks about her helplessly. Bon looks curiously efter Jasper, then pointe ing a finger at hin, seys: 5 Bon, I lmow that dog, He comes fr! the houses agi Yes, I want him to come back with me. Ben (eyes hor suspiojcusly) He's not your'n, "I" (patiently) Ho's Mr, do Winterts dog. Have you got anytining I could tle him with? Ben gapes open-mouthed at her, Supprossing her exasperas tion, she looks around and sees the boathouse. She moves quickiy out of pieture. LONG SHOT "I" goos over to the boathouse and tries the door which swings open, She steps ineidos INT, INNER BOATHOUSE "I" enters what appears to bo a boat store, filled with ropes, sails, pots of paint and other paraphernalia, As I" comes in, she looks round and finds a short pieca of thin rope, She picks it up and 1s about to hurry out with it, when hor oyos fall on a door open into another room She looks in surprise, : INT, ROOM (FROM "I'S" ANGLE) Although thé windows upon each side arc boarded up, t)Ae eg 260 242, 243, 25 A “I paw fee go dn. CONTINUED (2) place is complotely furnished with bookechelves, badlo, chairs, and bedesofa. BACK ‘TO "I" "Bho ataros a monent almost in fright, tompted to enter thon remembering Maxim is waiting for hor, turns and hurries oute EXT, COVE Ben is now standing near the boathouse, Jasper at his feet. "I" comes into picture and Jasper allows hor to run the cord through his collar, Ben (staring at hor) "I" (turns’ back) Yeo. It's all right. Mr. de Winter won't minds Bon oc Sho don'ts. go in thore nows Close UP = "zr" She is startled, then hesitantly repliese yn No, not now, CLOSE UP = BEN He looks at hor vaguely. Ben ' Shets gono in the dea, aint she? She won't come back no more. CLOSE TWO SHOT » "I" AND BEN Sie gently shakes her hoads uye No, she'li never odme backs Sho looks away tn the direction of the rocks, thon with a quick glance at Ben, turns to walle toward them, CLOSE SHOT ~ "I" _ As sho hurries toward the rocks with her head sligh' bowed, distresscd. She steals a ox at Bon o} hor shoulder, then centinues th shoads: | i 246. 70 BE SHOT 2nd Unit 246A, 10 BE SHOT nd Unit * 266AA 10 BE SHOT 2nd Unit 27 MEDIUM SHOT AT ROCKS (fo be shot on studio stage ~ roverso englo of #259. Ag "I" climbs back onto tho othsr asotjon of boach toward where she had oft XM ;+LONG SHOT = BEACH ., "I" (double) with Jasper on his make~ohift leash, cones back onto the beach to find it empty of Maxim. She hurries, Jasper running ahead of her, to the stairs and ups CLOSE SHOT - JASPER (Zor intorout with above) ° At ‘the end of his rope leash, running ahead of. "1" aoross tho beach. CLOSE SHOT - JASPER (for odditional interout) At the end of his ropo leash, running ahead of "1" “up the stairs. MEDIUM SHOT ON CLIFT AT TOP OF Stans (Against plate already made) Maxim soes "I" approach, turne end exits scons "I" runs into sceno, broathless, calling sftor him: un Maxim! What's the matter? 2nd Unit ALREADY. SHOT 48 She starts out after hime LONG SHOT Maxim striding angrily ahead «= "I", with Jacpor tugging at tho leash before har, trying desperately to catoh up with hima CLOSER ANGLE (Against plate already made) nyt i'm sorry I was such a time, but Jaoper wouldn't somos I had to got some rope.” Maxim strides forward sileatly, The dog lags bonind, delaying " down at him. P paces to look $a still fevi ", Maxim. t Maxim Hurry up, Jasper, for Heaven's sakeh42) wp You walk 50 fast wo can't keep up with yous : Main If you'd Listened to me instead of rushing over thos rookies Jaspor Jew his wey back Tee : age I thought ho might've got caught, and’I was afraid of the tides 1 : Maxim : Thoro wasn't any question of tidos+esT told you not to go over those rocks! "I" (breathless) Maxinl Please walt for mess Maxim stops and turns nd comes back @ fow steps to face hor. en CLOSE TWO SHOT ~ "I" AND MAXIM . : (Against stationary plate eiresdy made) : ngn What's wrong, Maxim? Why are you’so angry? Maxim A You know I didn't want you to go there “= but you doliterates Ly went. ope And why shouldn't I? hero was nothing thove bub thet cottage = and a man digging for shelise i Maxtin You didn't go into the cottage, did you? nye Yese The door was open = and I wantad + Maxim (interrupting) Don't ‘go in there again! Do you hear? aye Why not? What is 1t, Maxim? : , Moxim Becauso I hate the place == and Af you hed my memories, you woulda's want to go there or tail about it or even think’ about it, Ho _takos a step away from hor,. the CAMERA DEAl SLIGHTLY to tako in this actlone wpe Maxim, whot'a the matter? I'm corry, darling! PloscolJ JOLOSO +9 252, CONTINUED (2) . hox for a momenti, thon stops CLOsEity Ho still doesn't loole back tovard her again, ths CANERA AGALI iovING Maxam We ought to have stayod away. We should nover have come back to Manderley! What a fool I wasd ugn I've made you unhappy, Somehow ~ I've hurt yous I oan't boar to see you like this, I love you so mich. Maxim (tengely, searching hor face; takea ho in his arms) a a .Do you? Do you? (he kisses her, then relaxes his holds) Forgive me == (sees that "I" 41s crying) And Iive made you cryes.I always sco to be flying off the handle for no good reason, But = welll go up and have coma ten and forget all about 16, 5 . She smiles up at him through her teary, * ’ a age Yoo, let's forgot ali about tt, 7 ‘. Automatically she puts her hand in ‘tho pocket of tho mackintosh and pulls out a handkerchios, and puis 16 to her eyes, z CLOSE SHOP - "I" (Againat plate already mado) Sho glances down at the handkorchto? as che ‘starts to return it to her pockets : . Maxim's voice Here = lot mo have Jasper, INSERT ~ HANDKERCHIEF The handkerchief in "I's" hand te marked in the cornes with a large embroidered initial "Rl CLOSE UP = "Zz" As ohe stares down at the inttiol with a faravay lool. She automatioally ds tho dog's leash to:tinxim, FADS OUT,FADE Itt INT. HALL = SEMI CLOSH UP = DAY "X" seated with hoy legs curled mder her, on one of tho vy window seats in tho ange hall, looleing thovgusfutty out a of the window towards tho soa, : 255 EXT, MANDERISY = SEMI LONG SHOT » DAY Shot from tho house we can sce a-auggostion of the cove and boathouse through the treers 26 INT, HALL = SEMI CLOSE UP = DAY “gt looks very distuxbeds Sho turns avay from the window thinking hardo oa aT J SEMI LONG sHor . Robort: crosses the hall towards the library, carrying ; a tray with a glass of mille and biaoults, 258 "sum CLosz UP oO "it euddeniy jumps to nor foot and with a determined aly crosses to the library. 80 “IND, LIBRARY’ = SEMI LowG SHOT - DAY As she comes into the library wo can see through an open door another small room vhore Frank Orawley is seated at a dosk imorsed in his work, Robert is placing the tray bosido him and then comes back through tho -libraz | pM yositates for a second, then with studied casualness strolls across to the doors : A Gee #0 INT, OFFICE = SEMI IONG SHOT = DAY As "I" comes and stands in tho doorway, wo sce Frank is looking down despairingly at a numbor of grey oards which ave spread over the desk. Tho tray Robert has brought hin is beside him on the desk, and Frenk 4 sipping from his glass of milk. As ho soes "Z" ‘ne puts, ‘down the glass, = ho makos a noiso like an old. hen clucke ing over a diffiowlt brood of chlokens.* "y" (aa ho, rises) . No, please don't got ups, Franks. I was wondering if you roolly moant what you said the other day about showing me tho run of things? 7 conv TvED| | ' | i 261, i ' | } 4 | | | 4 $ to CONTINUED (2) Franke Of course I dide Won't you come in? aq" What are you doing novis Frank ‘I'm notifying all the tenants that tn celebration of Haxim!s return with his bride, this woek!s rent will bo,froe. All the servants got an extra woek's waged, too "I" (greatly pleased Was that Mexii's idea? . Frantt Of courset nyt He didn't toll mo, Couldn't I holp you? I could at least lick the stamps. Frank (weakly) “That's terribly nice of yous He starts handing hor envelopes as ho addresses theme Sho licks the stamps and applies them as they talk. "Tr" (asauming a mach too casual tono) i was down on the beach the othor day «= by the little cove with the breakwator. There was a wan there = a.queer sort of person. Frank gives her a Feet) look and thon hands her enotaer onvolopo. , tees Frank It must have boon Bon. Hets quite harmlosse I hope he didn't frighton yous aye . * : Oh, no = not at alle Two more oteuys are affixed without furthor comment. Thon "I" vesumos tho attaok. age I'm afraid that cottage placo dom thoro is going to wrack and ruin. Why isn't somothing dono about 1%? GLOSE UP FRANK Frank doos not answor at once but protends to ousy him- solf oxcossively with the cards. Ho roplies oventually without looicing wpe Fronk nk if Maxim wanted anything dono about 1%, ho'd toll mo«CLOSE UP : "z! Uicka anothor stamp; shore ista pauses thon sho asks quietly: . nye * What’ was the cottage used for? I thought from tho outside it was juat a boat house. Frank Zt vas originally, but Urs, do Winter had.te converted for her own Us0% ; . ug Did she use it a great deal? Frank (stictiy) Yos, she. did, The dont used to bo moored noay thores ug What boat? 6 Frank Hers. . . = He hands her another stamp and at the same time looks at her pleadingly, but her curiosity 1a too much for her, She returns the look unyleldingly as she Lola the stamp and’ hands 4+ backs uy : - Whaat hopponed to it? Was that the boat she was sailing when sho was drowned? i CLOSE UP Frank pauses with the stamp in his hand with a sort of heavy weariness, He imows he must anower. Franic : Yes, 1v capsized and sanity Sho was washed overboarde "rts" Volos (off scone) Woot made 4% capsize? «i Frank Zt oan be very squaliy in the bes CLOSE UP = THE THO . a "Its" oyes never leave his face as sho persists, nye ° a Coulda't ‘soncono have got out to hor? ,266 CONTINGED (2) Frank - : ‘ “Nobody saw tho accident, Tt vas at night, Nobody oven Imow she'd gone out. 7 age . Sho’ oust have been droifiied thon» eying to evin to shores Fronie : Yess age Wasn't she afraid to go out alono? Fraik She waon't afraid of anything. There is a slight pause, ug , Where 444 they find her? Frank gets up quietly and walks out of ploture, "Tr" watches him round with her oyes as‘ CAMERA MOVES IN TO GLOSE UP OF HER. Thovo-ta eiience, ‘hon Frank's voics. is heard from the windowe ne Frank's voice . Near Edgecoombe about forty miles wp channel = about two months afterwards, Maxim wont up to identify hors It was: .' horrible for him. eee UZ" yatohes him for a secend, then viseas SEMI CLOSE UP Frank standing by the window silontly loolting out. "1" comes into picture: beside him, She spoaks dosporately with great feoling, ze Please don't think me too horribly curious, It'a caly that = that somotimos I feel myself at such a disadvantage ‘= all tho time = whenever. I meet anyone + Maximis sistor » oven tho servants = theyfre all thinking the seue thing, al) comparing mo with == (she can't got the nano out) we with «= her, Fronk turns to her, vory much concerned. Frank You mustn't think that! For my part” I can't told you h elighted I om that you married Kexim, It's going to malo all tho difroronco to his 1ifo.s..And, porsonally, 161s vo: rofreshing to find somoone like yourself who 1 Rob ent {searching fer a word)2 8 a cox "x!" (now eyoa overed) ‘ Thank you, Fraulty i i ! 4 Hoyt: ys : Thoro 4s a silonoo, thon Fra: “4 twns and goon back to the desk, : 267 -” SEMI CLOSE UP Ho starts to busy himsolf again. "I" comes into ploturo and sits bosido him, Sho autowationlty tales tho atamp ho hands hor, : un + May I ask juat cho more question? Fronk looks at hor curiously. eqn What was Robocoa roally like? Frank (Looks ahoad rofleotively and answors slowly) I auppose sho was the most beausitul eroaturo T over saw in uy lifoe 268 _ OLOSE UP "I", with the stamp raised to her lips,’ looks ahoad unsoeingly, She abstractedly lowers the, stamp and lays it on the desk and rises oud of picture. ) , fo 269 * SEMI LONG sHOT "I" walks directly towards tho doov without a words. Frank watching her aa sho opens tho door and exits. 270 SENI CLOSE UP As the door closes Prank turns back.to the desk, picks up the stemp and as he commences to raise it te his lips we, i . : ; { : PADE 002,yp {am FADE It: INT, MANDURESY HALL - NIGHT Open:on CLOSE SHOT of the lower part of "I's lage. She * Le obvios beaubifully gowned and exquisitely shod. CAMERA TRUCKS IN FRONT OF HER AND UP, gradually unveiling . a new "I", rather sensationally dressed and beautiful eoiffed, and she woere,somewhut more lipstick than usual. (Ploase don't make her’ look ridiculous: She can bo lovely, but simply isn't the girl Maxim married.) As CAMERA REACHES HER FACE we seo that she is very con scious of her olothes and appearance, rather excited by thom, but very nervous, Sho and the CAMERA both atop in the doorway to the library, She stands a moment and cough: to attract Maxim's attentions \ 4 272 INT, LIBRARY - (Point of view ahot, or over shoulder shot) Maxim, his back to "I", is fixing some home movie fLime in a projector, A portable sorson is aot up ab the other end of tho labrery. We hoar "I'o" couga vepoated, Loudore Maxim stiJ1 doos not hear hore 273. CLOSE suo ~ "x" She is disappointed end epprehensive, but she pulls here self together. "ID" (nervously and highephichod) Good evening, Maxime 2m CLOSE SHOT ~ MAXIM - (HIS BACK TO CAMERA) Mexim (without turning) — “ Hello..,Zhe films of the honeynioon are finally heré.<.‘they took long enough about ite (on bic lest words he turns and gradually is avare of her appearance) 215 ; CLOSE TRUCKING SHOT < Wire "I" j CAMERA moving before hor aa she walks in, affected and i nervouse 275-280 MEDIUM SHOT Maxim approaches her dublouslys 7 Mexin : Whet on earth have you done to yoursele? "i" (casually) i Oh, nothingsesZ just ordered a new goun from London, 1 you don't minde ia CONTINUEDDo | 16-260 CONvINUER (2) j Maxiai : Of course Z dente mind, Onder’ thet you pleases Bubors (words fe41 him) ag voles i What'e- wrong? ™ Maxim Do you think that sort of thing 1a right for you? Xt aeom your typo at alie "I" (very let down) E Ghyco thought you'd like it. at Maxim (the ortiel mated) And what’ have you done to your hair? “GeiGocants answer Mascim seen he haa, tami hex, puts his arm eround her) Oh, Wolle.enovor mindse. (then, insincerely) You lock lovely, iste nice for a changes (dismissing tho whole thing) Shall ve run the pictures? i i . "I" (very let down) Oh, yes, yesere i (without enthueteom, her thoughts only on her conic failure) i “Ita love to seem thom. i 4 i Maxim goos over and turns out the lights. The room is now 14 only by the one lamp and the light from the pro- {ootor. Maxim ia more cr 1ese Lost in darimeas. It is ok to lose him here, but ploase don't lose eithor of thom in the scono over the projector, Let's see tho features of Maxim and "I" and get some interesting Light} ing from the projector up onto their faces.) Maxim's voice You won't mind 1f I leave you alone touorrew, will yout I * have to go up to Londen on sone businocs for the estates 7 ought to be back by late afternoon. “ c age . On, no, I don't mind, Of course note, By now Maxim is at tho projector and 4s starting the films. 281-289 FILMS ON THE SOREEN ] interout with * { MAXI AND WT" i Maxim : ’ 5 Oh, hore'a the stuff we took thet day ob___ a Romsaber’ ] I suppose Tim not what you'd call an expert phobographer, \ . . 5 . CONSTHUEDS————— ee © co: D (2) "I" (nor spirits ‘ploking up) | a; wasn't 4t wonderful, Maxim? Can't vo go back some day? Maxim Of course, of course. Look « hore's the film you made of mde I gvess-you're not much better at making thoes things than £ aime " (he, laughs) ‘The film suddenly comes off the sprockets and broakss + Maxim ‘ oh, hang it] I suppose T throadoa ib up wrong as usuale He crosses and turns ‘on the Mahtas As ho sronses we heat "Its" voice: "Ita" voice - Maxim, let's make scue pictures of Nenderleye I'd Uke to have ‘a whole sot showing the ontire place. 7 “By this time the lights in the room are. one. Frith entra, apparently having waited: He coughs» re Frith . : 4 Exouse me, sir, May I have a word with you? ¥ . Kexim (surprised) Yes, Frith, what is 16? Frith wears a stiff, solonm oxprossion, his lips pursed. He behaves as though a great tragedy is impending. Frith It's about Robert, sir. There's been a alight unpleasantness between him and bits, Danvers. Robert is very upset. Maxim makes a face at "I", Maxim Well, hore is trouble! ' (turns to Frith and settles himself, slightly annoyed, for a long story) Well, Frith, toll’us about 4t. Frith (with a nervous cough) It appears that Mrs. Danvers has accused Robert of stealing a valuable ornament from the-morning room, Robert denies tho accusation most emphatically, sire He's most distressed. Maxim I wondered why he handed mo the cutlets at lunch without give Ang mo a platoy.,0h woll, I suppose scnoone olse took the ornament. One of the nade, porhaps, “| Frith No, air, Nobody but Robert waa in tho room tho day 1t was miaoed + oxcept Haden , of covrsossstt makes it very unpleasant contacomriy: ED (3) Frith * . for Robert and myself, sir. q Maxim Yes, of course 4¢ does, What was the thing, anyway? DURING THE WHOLE DISCUSSION WE HAVES SHOTS OP "I" REACT ING: frightenod, almost apoalting, increasingly ombart assed, guilty and uncomfortable ag ahs roalizes what she's dons to poor Robert. Frith fhe china cupid, sir, that stood on the writing table. . . Maxim Oh, that's ons of our treasures, don't it? Woll, tell Mrs Danvers to get at the bottom of At, but that I'm sure that it wasn't Robert. : . Frith (relieved) Very good, sir, Thank you, sir. Ho exits, As soon, es he has’ gone Maxtm walls over tom ward the machine, : Maxim 7 Twondor way thoy have to come to mo with these’ squabbles, Im not used to them, Thoy!re part of your job, sweothearte. ‘This only increases "I's" embarrassment. Finally she decides to be braves “ fi : nye ; ae Maxim. ,.I watited to tell you before; bitoos but I forgot. The fact ia. . (sho gets ‘it out) . . ae Z broke the cupid. Maxim (very surprised) . You broke it? Well, way the devil didn't" you sey-so when Frith was here? fl 7 age Tdon't lmow, I didn't like to. Iwas afraid he would think me a fool, Maxim He'll thinte you much more of a fool now. Youll2 have to explain to him ond Mrs, Danvors. . . . ayn ° : Oh, no, please, Maxim! You toll thomess (eagoriy, Like a fxightoned child) Let mo go up stairs, CONTINUED:D (4) Maxim (very annoyed) : Don't bo a little Adios Anyone vould think you wore afratd of thon» Frith enters, nahoring | in ese Danvers, who te obviously vory’ angry. Mrs. Danvers Excuse me, Mr. de Winter, for troubling yous but eee Mexim (interrupting and obviously very annoyed with the whole thing) It's ella mistake, Yea» Danvers. Apparently Mrs. de Winter broke the cupid herself and forgot to say anything. Thore is a moment's silence as they all look at "I", and she feels like a foolish childe er) I'm so sorry. “I nevor thought, Robert would got into trouble. "2" rooks at Ms. Danvers eagerly, as though to a eupore dor, but Mrs. Danvers retwna her look coldlys Mes. Danvers Ie 4% possible to ropair the ornament, Madan? (She looks at "I" as though sho had Imom ail along that she was the culprite oye Im afraid not, It smashed in plecose - Moxim (with a mixture of amusement and oxaspere ation, lighting a cigarette) What dia you do with the pieces? : The sitvation 1s getting worse and worse for "I". She apoaks very quictiy, ready to break into tears? ogo Z put them at the back of one of the drawers 4n the writing desks Maxim (roatty exasperated, turns to Mrs. Danvers * Tt looks as though Mrs. de Winter though you would put her in prison, doesn't it, Mrs. Danvers? Well, porhaps you'll find the pleoos and ace 1f they can be mended. In any event, toil Robert to dry his tears, Frith, who bas been vory embarrassed through this whole proceeding, bows slightly and oxits, but Mrs» Danvers stayse Uiray Danvore (anxtous'no’ to lob "I" off! the hook a0 oasiiy) Z wilt apologize to Rebort, of cours, Forhapa 1f such @ thing happons again, lire. de Wintor will toll mo porsonally conpmuz:281-209 CONTINUED (5) 2 ; 7 . Maxim (Anteryupting impationtly) Yess yes, of course. (disniiasing hor) All ight, irs. Danvors, She leaves the room,”* Maxim goes about the business of repairing tho fim or of taking off the rool and putting in anothor, the scono contimiing tho while. Thove io a moment's atlence ax nedthor of thon epeelte Then: B un . : . Im awfully sorry, darling, It was very careless of me, I was just aneworing the telephone, and by accident I I brushed tho cupid off the desk, “Maxim an has My sweet child, forget 1t, What doos 1t matter? ‘ 7 age . I ought to have been more careful, Mrse Danvers mast be furious with moe, Maxim : Hang ro. Danvers! Why on cayth should you be afveid of hor? ug . a T don't noite can't explain oxactlyses ra Maxim : You do such extraordinary things, You'behave just Like an upstairs maid, not like tim mstress of tho house, nye “I lmow I do, But £ fecl so uncomfortable...I tzy my best every day, but it's awfully diffioult with éverybedy looking + me,up and,dow as though I were @ prize, cows Maxim (with a can of film in his hand) Who looks you up and down? un ALL the poopie down here, Everybody’, Maxim (putting the film into the projector) What does it mattor if they do? You must romonbor shat Life at’ Manderley is the only thing that interests anybody down here, wg. : What a slap in the; eyo I mist be to thom, thones.I suppose that's why you married me,,.You lmow T was dull and gaucho and inexporionesd, so there would novor be any, gossip about ney Maxim is suddonly angry, He crosses to hor, comrmipen2616269 CoKTINUED (6) : . Nox What éo you mean? no I-- Idon't know. I didnt like that, Maxim? 3 Ho stends tovoring with suppressed rage-above hers moon anythings Why do you lool Maxis What do you Imow about any gossip dow here? ngn Idon't. I only said 1t because == because of sonsthing to saye Don't look at mo like that!’ Maxim, what have I said? What!s the matter? Maxim Why did you say what you did? It was not a partioularly. attractive thing to say, was 1¢? a Le ng | 52g Nos Tt was rude, hateful, 5 Maxim walks off from here Maxim (coldly) Iwonder if I did a very selfish thing in marrying yous "I" 45 almost sick at her marriage apparently being threatened through this ally incidents < "I" (her roare almost a — 280 whisper, 'p With fright) How do you mean? 5 Macca I'm not much of a companion to yous am I? You ought to have married a boy of your om age, not == : "I" (interrupting) oh, “Maxim, don't say that! Of course we're companionse: \ Maxim tf arelnes don't knows I'm afraid Itm very aiffioult to live withe E "I" (cagerty) Youlre not difficult! You're easy, very casye Our marriage is a success =~ a groat svecess} Zon‘ it? (he dosen't answer's Sho continue: perate) . We're happy, aren't we? orrtbly happy? 7 Ploading,dos= He still docon": anawor, and bis failure to answor is & terrible blow to Fi" ~ Sho gooa to hine 7 CONVINUED:261209 CONTINUED (7) : 294 ngo If you don't think wolre. happy it would bo much bettor 41¢ you Giah'; protond. Ita much rathor go awoy =~ Why don't you answor mo? Sho 4s olose to him, looking up at him cagerlys . He looks into her faco'and, not unkindly, speaks! Maxim | How oon I answor you when I don't Imow the answer myself? You say we're happy} lot's loave it a% that. Happinosh 4s somen thing I mow nothing about. . During this speech Maxim has gone down to tho Might switeh » : 5 There is a silences ANGLE AT PROJECTOR = CLOSE SHOT - "I" Lit by tho lomp or the projector - crushed. Maxim comes into the scene and starts the projectors He-looks at the screon, not at hor, She trios to say-somothing, fails, and lowers her eyes. On the scroon appoar sone films which, as WE MOVE OVER THE WACHINE and through Maxim and "I", wo veveal aa boing ploturea of the happy mulling faces of Manta and Maxim's voice Look. Thoy're the pictures taken of us by that old womon at Caped. | Remonber? ; 5 - THE CAMERA is now on a large TWO SHOT on. the svcen of Maxim and "I"'s, laughing faces, as vo FADE 03?LEY ~ LONG SHOT ~ Laws Heavy clouds are soudding across a leaden sly.’ There is no sunshine, Tho placo has a cold ard cheorlesa appearance» DISSOLVE TCs 291 *INT, MORNING ROOM -"“SEML CLOSE UP - DAY CLOSE UP_a glass case of china. CAMERA MOVES BACK to reveal "I" ta standing gezing unhappily at it. Her mind is obviously occupiod with thougats of Rebecca. She has been crying, and wo can ot41i voo traces of her: tears. Alico, the parlour uaid, enters bringing in, afternoon tea, > ; 7 Alice ‘Pardon me, Madamsees ng Yea? : She averts her face from Alice ta sages efraid hor tears will be noticed. ‘ Alice Mr. de Winter just telephoned from London to sey thet ho wouldn't bo home until. evenings ag Oh + didn't he ask to spoak to mo? Or leavo any special message? ros Alico : No, Madem. He only said he would be lates 292 CLOSE UP : "I", She ia obviously very much upset that Iaxim has not asked to speak to hor. npn All right, Alice. Thank you very much» ‘Her eyes start to £411 once mores 295 SEMI CLOSE UP So that Alico shall not see her orying, "I" strolls over toward the window and looks idly oute nly her ate tention is arrested as sho need =. 294 SEMI LONG SHOT : A light-colored, unfamiliar, fiashing-Looking sports ear parked at some distance down tho drives295 2054 295B 2956 208 207 el "Z" Jooks rather puasled, thon’ her yes ave svddonly - drawn toward ths ieat winge (SEMI LONG SHOE . At one of the open windows 4a the figure of a atrango man, Standing boside him ean cloarly bo sen Mae Danvers. a ee art MEDIUM SHOT "T" 43 very curious. rn : age i cans Alice «= the West wing « woe ba (sho stops, hesitating) Alice looks up from the table where she is finishing setting the toa things, , 4 Alice & Yes, Madan? ed ees wy : f Nobody ever goes up there, do thoy? 5 : : Alice No, Madam, not since the death of Mrs. do Winters . "I" (puzzied) a Ohe She turns to look out of the window again, Alice surreptitiously gives hor a ourioua look and starts ‘about her business. SEMI LONG SHOT The figure of the man has now disappéared. Mrs,’ Danvers 4s in Ehe act of shutting the window. 3] fI CLOSE UP "I" makes a pretense of sipping tea wmitil Alice has left the room, Then she vises and goes swiftly towards the SEMI LONG SHOT "I comes out into the hall and peers curiously vp the atoirs, Suddenly we hear a door olose and footsteps coming toward the top of the stairs. ‘Thore is the Andis tinct wrnvr of a mants voice, followed by Mrs, Danvers? , conrrxUE:cour! 2D (2) “ire. Danvora! volco Come along, Im, Jack, or someono may see yous. The two are obviously about to descend the stairs 298 SEMI CLOSE UP "I" giarmed at the idea of meeting a stranger, slips into the library. 299 INT, LIBRARY « MED, sHOt = Day ‘ Jasper is in tho voom, "I" onters ang. stands just in~ | Side the door, We hear a man's leughy thon Mr2y Danvers! voice speaking more loudly fron the foot of the stairs * Mrs, Danvers! voice ‘Sho's in the morning room, If you go through the garden door she won't soo you. "7" waits @ second, then stealthily tiptoes round to try to get a glimpsé of tho stranger who she thinks is waiting in tho hail, Jasper starts to bark oxcltediy. He runs towards the window leading into tho gardens "I" dosan't look back at him, but motions with her hand Dohind her ee she contintoa peering into the, hally try=, ing to quiet hime npn oo shush, Jasper, ahushe Suddenly a_voice speaks ero behind | here She swings round in alarms: Favell Looking for me? 300 SEMI CLOSE UP Sitting on tho lodge of tho open window, is.a very self= assured individuel of rathor obvious good looks, flashy but with a certain charm for wouen, Ho fe smiling os ee ho adds: . 7 Favell. Didn't make you jump, aid I? so ". SEMI LONG SHOT "x" comos away from the door and ‘approaches the windo looking and feeling rather foolish, Sho says wieovtaine : equ : n Yop of course not, T wasntt quite sure who it wes,GLOSE UP Fovell and "2", He ta atill eltting on the window ledge. Jasper 1s jumping wp excitedly. Pavel] loans dom - to pat him: Favell Pleased to sce mo, old boy, aren't you? Ztm glad thoreta someone in the family to woleome me back to Mandorloy. (easily to "r") ; I Just popped over to sco old Danny » left the oar dow the te G@plvo so as not to dioturd anyone. Ho takes @ cigarette case from his pookot ond offers st to here . . ! "I" (stately) 1 No, thank yous I don't emokos Favell takes ono and lighto ste Favell : wet And how 4s doar old Max? eine ge = He 4s very well, thank yous She is plainly taken aback by hig familiarity. Pavel) I hear he's gone to London and left the young bride all alone. That's too bad. Ion't he afraid somoone will come and carry you Offers 2 | Ho breaks off as Mrs, Danvere enters the rooms =” Favoli Damny, all your precautions wore in Vaine The mistress of the house was hiding behind tho doors ; He laughs = there is a moment's pause before he sayss Pavell Well, what about presenting me to tho bride? Mrs. Danvers performs the introduction almost. unvilling, saying quictiy: : Mrs. Danvers This. is Mr, Favell, Mademe Favell impudontly holds out his hand to "I" end shakes her reluctant ones Pavel How do you do. . : : ne How do you dos GONRINUED:5) INUED (2) : d atone, "2! haa no ides how winttor, Tov glance fsils on hore 4s a moment's ax to entertain this atran, tho tea table. gn os eee Won't you stay to tear * ane Favell turns with a broad emile to Mra, Danvers. Favell Now dsn't that a charming invitation? I've been asked to tea, Danny, I've a good mind to accopt. os + He’ starts to ewing his lege ever the ledgo into the room, 301 BS CLOSE SHO? There is a warning Look in Mes, Danvors! Laces 301 0 SENZ CLOSE UP Favell gets the look and grinse Favell, Weld, perhaps you're wight. Pity, Just when we were getting along so well. Jasper starta.to bark, trying to attract his attention Favell looks down at him. — Favel2 ! Wo mustn't lead the bride astray, nust wo, Jasper? soe SEMI CLOSE UP Favell holds out his hand to "i" who is by this timo standing near the window. a Fevell Good-bye. It's been fun meeting you. By the way, it would bo very decent of you not to mention this little visit to your « revered husband, Ho dosen't exactly approve of ms. vgn : : All right. Favell That's vory sporting of yousssI wish’ Z had a bride of thro! months waiting for mo at hone, I'ma lenosone bachelor. Vy fare you well, : i : conraNunD. |90 302 CONTINUED (2) He swings his legs back over the ledge, vaisos his hat, and is about to dopart. Suddenly, he turns back again to add: ts Favell’ 7 Oh = I kmow there was something wrong with that introduction, Danny didn't toll you, did sho? Itm Reboceata favorite cousin, If you want to invite me down hore any tims,'drop ma a lines You'll find me in Rebsocata address book.” * He disappoare from tho windows soz A CLOSE UP : “Up pooling after him in bewilderment. ‘Sho turns to look | Dack into the room, ras : 305 > HE EMPTY ROOM + FROM "I'S" VIEWPOINT . fon Mrs, Danvers has Gtoappoarode E 504 CLOSE UP vote) "I" comes. to a sudden decision, She determinedly starts out of the, room Anto the hall, followed by Jasper. 305. IND, HALL - SENZ LONG SHO? ~ DAY "I" starts to ascend the stairs: Jasper at her heels. 308 _ OLOSE UP Jasper pushing his nose at "Zt" hoels. He: pushos past her, and begins running up the stairs, 307 SEMI LONG SHOT "I" peaches the top of the staira, She turns dem the corridor in the direction of tho West 308 “INT, CORRIDOR « SEMI LONG SHOT ~ DAY “os :/ "IM goos directly. toward the door of the t310 21939 : , 904 SEMI CLOSE UP . She glances rourd elmost furtively as she starts to turn tho handlo, Sho holds -hersolf in'a tense attitude when the wood makes a sound of orackling as it awings on its hinges, Opening 1t tho minimum amount of space she al= most sidles ine INT. REBECCA'S ROOM ~ LONG SHOT = DAY Inside tho room it is practically dark, Tho silence broken only by tho ticking of the clock. Just. tho vague shapes of furnittre oan be soon Lib from the alachely open door through whieh "2 hoa come, Wo ace her figure orosa toward the window, Sho raises her hand and with sudden resolve pulls the cord which parts the curtains. Phe flood of daylight reveals an astonishing scene. "I" swings round amazed, as she soes a most elegantly fur nished room, expresded in the lightest possible tones « white predominates nearly evoryvhero. The four poster ved is vory rogal on its double stopped dais, Tho bed is made up with tho coverlot folded back. A largo spray of lovoly frosh whito flowors is set in o prominent position. In anothor part of tho room is an ornate drossing table complote with brushos, combs, mirrors, @laborate bottles of porfuns, ote» CLOSE UP "1" gazos spellbound as hei eyos begin to take in moro dotails of the roome SEMI CLOSE UP Tho ‘CAMERA BEGINS 10 SWEEP round tho room taking in as it govs tho croam silkon bedcovor, (folded back over tho bod), tho cream volvet wrappod postors of tho bod, and on the cover, most astonishing of all, tho palost groy satin nightdross caso with tho black initial 'R! = down across tho vory dolicate light carpot, past tho 011 choval mirror and finally ovor to a chair sot ino prominout position in tho room. Ovor this lios draped in roadinoss a dolicatoly colored drossing rove. On tho floor at tho foot of the rove aro tvo tiny bodroom slippors, Thore is a suggestion of a slightly opon door in tho far cornor of tho room. : + SEMI CLOSE UP "Z" 49 almost dazzled by tho offoct. Thon starts to* movo across ‘tho roou, atooring -horsolf a9 though sho wore afraid to brush againat anything. Sho stops suddonly and swings back at a slight sound by tho oron windows Ono of tho under curtains of whito chiffon CONTINUED:313 CONTINUED (2) pillows out froma slight puff of wind. Sho moves on CANERA FOLLOWING HER past tho long choval mirror to tho drossing tablo ~ vo s00 tho brushoa and combs laid out, Through tho mirror wo 900 tho bed roflecsod = "I" "soos it and 1s dvam towards it. Sho moves ovor, up tho two stops and finds sho is staring down at tho nightdross case which lios on tho left-hand pillows sad ” cxosz uP stead nivineiunn inn Trinerren et "I" staros down at it = CAMERA PANS DOWN and wo sce hor fingor tracing tho ombossod stik of tho black 'R'. Wo hoar a sight sound. CAMERA SWREPS UP to hor faco again as sho looks startlod towards tho door in the far corner. 5 3152) SEMI CLOSE UP Jaspor coming from tho. slightly opon door of the bathe room : 5 316 “SENZ LONG SHOT He amblos across tho room, oblivious of "Its" prosonco. In o hushod whispor sho calla hime. J uy Jaspor ss. horo, boy. . +» But Jaspor takes no notioo and ambles over to anothor | part of the room. aur. SEMI CLOSE UP ; Jasper goos ovor towards tho door, ho pads about. roste lessly, in anticipation of a now arrival, Ho tuens and starts to como back into tho voons : 318, SEMI CLOSE UP = "I" ~ ‘standing by tho vod. 2 Mrs. Danvorst voice Do you wish anything, Madan? Sho looks up ag Mrs. Danvors comos through tho doorways Mra. Danvors stops short aa sho soos "I", Thore to a flash in hor oyos = a flash of triumph, "I" stands by tho bod ontiroly confused. She puts a hand bohind nor back almost like a guilty child and half lowers hor oyos. Thon looking up ao evallovs slightly ond says thinkdlys ; :MURD (2) eye I= I didn't oxpoet to sco you, Irs. Danvors, 1 noticed cno 518 col =n of the shutters wasn't ‘clozed and I camo up to peo 1f X could aid faston it. : : Mrs. Danvors* i Why aid you tell mo'tho shatter was open? I cloved 1t before Tdeft tho room. You opened 4b yoursel’, didn't you? ” 310 SEM LONG SHOT A Mrs. Danvers goos to the open window and, in a busincsse: | like way, sho closes it shutting out the sound of the Fioge Sho turns with hor back to the windows and faces | "I" who has come to the foot of the bed. Mrs. Danvers Youtvo always wanted to see this room, haven't you, Madan? Why did you never ask mo to show it to you? I vas ready to show it to you every day, It's a lovely room, ton't it? Tho oveliost room you've ever scons 5 Urs, Danvers comes across and stands by tho vase of aa flowors, indloating thom she says: Mes, Danvers 3 : Everything 19 kept just as lirs. de Winton Liked 4t. Wothing ’ i has beon altered since that last night. x nover allow any of } tho servants to set foot in here, Live always done everything i for her since she wes a Little girll 320 SEM CLOSE UP "I" st411 at the foot of the bode Hor oyos glance quickly from Mrs, Danvers! face to the flowers and back again, She is surprised at Mrs. Danvers! mood, which, for the first timo’ 4s not one oi fey, disdaintul formality. 322, SEMI LONG SHOT : . Tho girl autonatiecliy follow tira» Danvors aa cho passes to a small anterocm. - | see SEAT CLOSE UP . In a stiall antoroom Lined with oupboards iis. Danvors J : suddenly stops, Sho indicates the cupbcards to "I". J fers. Danvors . his 4s whore Z keop ali her clothes, You would lilo to 260 thom, wouldn't yout : CONMTNUED!323, 324, 25 26 (2) As sie opens the door of one, furs. She takes out a sable to Hit, CONriNUE ap, Shs helas Mrs. Danvers She wore this to the Lord-Liowtonant!a Gimor. Sho looks avey reminiscontly as ‘she replaces it, Hor ereg. jight on a chinchilla wraps. Sho holds that oub 0 Mes. Danvors Wowld you 1ike to fool it? Th vas a Christus present vom Ure do Winter. : CLOSE UP "I" cannot take her eyes from live. Danvors? faco as. the hinchille is held against hor cheelte ‘» SEMI CLOSE UP Mes. Danvers withdraws it and replacos 4% among ths other furs as she continues: e Mrs~ Danvers . . 7 : Mr, de Winter liked her to woar silver méstly, but of courso she could wear anything, stand any colors: ° {opening another wardrobe} : She looked veautiful in this velvet. (sho has oponed another Sopbosd, with tiers of shelves and drawers, one of which she opens) Hore are her underolothes in this draver. Thoy were made ~ speotally for her by the nuns in the Convent of St. Clatzo. CLOSE UP "XZ" backs slightly as her eyes look dowa towards the open drawer. Mrs Danvers? volce I always used to watt up for her, no matter how late. Sone times she and Mr. de Winter didn't cane home until dawn, . While she was undressing she'd tell mo about the party shetd been to...She knew everyone that mattered - and overyons loved her! "Its" head twns as sho. follows Mra, Danvers> SEMI CLOSE UP « DAY _ lirs, Danvers * Atver she had finisted her baths ake'd go ints the bedroom and put on hor robo. . (she turns to "2")528 350 CLOSE UP "I" tuwens hor hoad slowly és yho watehos Mrs, Danvora pass back into tho bodroom, Shs tuna slowly and follows automatically. INT, BEDROOM ~ SEMI CLOSE UP » DAY Mrs, ‘Danvers approaches the ‘chasx'on which the robe 4s laid; "ZI" close bohind hor. Mrs, Danvers picks up the robe,and holds it up almost against tho girl. Mrs, Danvers She was mich taller than you, You can see, Pub it up against you. Of course sho had such a beautiful figure. "I" draws back slightly. irs, Danvers replaces the robe darefully to ita original position, then. stooping, picks up the slippers fron the Poors She holds then out to M2", : Mrs. Danvers These dre her slippers, ‘Throw me. my slips» Danny! she used to say. "Z" gavances a step, hor oyes fixed on Mrs, Danvors, CLOSE UP = "i" Her eyes follow Mrs, Danvérs! movements-as she replaces tho slippers on thé floor, Following her movement hp again as she'rises. She is now completely under tho spell of Mrs, Danvers, who has now developed from hex queér matter-of-fact tones into a lowsvolced tonatic. dirs. Danvers turna and her oyes rest on the dressing table. Wis. Danvers . fen she'd go over to tho dressing table. She turns and goos towards it -« "I" following obediently. SEKI CLOSE UP By the dressing table, Mrs. Danvers puts hor hands of "Yip! shoulders and gontly pilots her onto tho stool. Mrs. Danvers (sudden2y) on, youtvo moved hor brushes, haven't you? (sho carefully straightons tho brushos) ” Thero, that's bettor, just as she always laid them downs ‘Come on, Danny, hile ‘Gill! aho would say. And I'd atend behind her 2iko this. : (sho moves “bohind, talcing up a brush) eesand brush avay for twonty minutes at a time, COND INVED:330 * GontinumD (2) | Sho pute the brush back carefully, thon twna and looks | towards the bed. "I" looks up fuvtively, venting to } Piso and get away from here irae Danvers Le saying in ‘ a faraway voles: \ 5 Mrs Danvors ~ ° | And thon she'd say, "Goodnight, Danny" ond atep into hor. bede Mrs. Danvere raises hor fren tho oteol and’ loads ne towards the bod. . 3h” SEMI CLOSE UP She leads hor right to the bedeide and up the two atepss "Ita" breathing decomes heavier end hoavier as she nears the breaking point, Mrs. Danvers Tt's a beautiful bed, isn't 4t? ZI keep this coveblet on 4t always. It was her favorites She lifts up tho monogramod nightdrens caso and cares fully takes from 4t a black chifvon nightdrcass : [eB CLOSE UP f ayy] Mrs. Danvera puts a hand inside, the ohisfon ani sproads A open hor fingors, We hoar her.aayt 5 ‘Mra. Danvers a 1 Dia you ever sce anything so delicate? Leok, you can aco ny” hand through ite \ 383 CLOSE UP i Mrs. Danvers! hoad almost fills tho scroon as she raises j her eyes from tho gown and stares at the girl with pene= trating eyes. 2 34 SEMI CLOSE UP "3" at last is driven to turn slowly a the bed. Mrs. Danvers veplaces: the ni i follows hor. to ths foot of tdress, then SEMI LONG SHOT Suddonly "I" breaks away and stumbles blindly tcvards tho door. irs, Danvers follows her quiotlyo » SEMI OLOSE UP j At tho door, Mrs. Danvors comea alongside her = saying INDED(2) ' in a low voice: CONTE: Mys. Danvers You wouldn't think she had been gone so long, would you? Scnotimos whon I walk along tho corridor I fancy I hoor hor just bohind mo =~ that quick, light step, I couldn't mistake it anyuhero. It's not only in this room = ibta 4m all the rooms in the house. I can almost hoar 1t nove {she 49 pleased by tho effect of her words on "I") Do zou think the doad come bacis and wateh:tho Living? "I" looks at har, wildly. "I" (too vehomentiy) NOt NO} I don't boliove 1%} Mres Danvers entles.slightly, es mich as to say, "Your denial dosn't fool met" Mrs, Danvers (whispers) a ; Sometimes I wonder if sho-doosn't come back kore to Maxderloy and. watch you and Mr. de Winter togethers As sho moves avay softly the window shutter comes open with e bang, and we hear’ the sound of the ewf pounding on the rocks. Mrs. Danvers You look tired. Why don't you stay here a while and restTeoe listen to the seas CAMERA MOVES T0 CLOSE UP of "I" who looks wildly abo the room - es though impelled by an impulse to run axok = tear it all to pieces. An omotional convulsione She bursts into sobse Ura. Danvers! voice It's so soothingereslistensesliston to the sonoes We hear the boom of the distant surf = tb grows louder ond louder. Mi" rashos to the doow, throvs 1 opsny funs out dito the corridor. 5 [FADE OUT.