The Seventh Heaven (1927)

"THE SEVENTH HEAVEN" (1927)
By AUSTIN STRONG
Screen Play by
BENJAMIN GLAZER
FOX FILM CORP.

Hollywood, Calif.
PREFATORY NOTE:
This playscript by Benjamin Glazer for Frank Borzage's 1927 silent film
Seventh Heaven, starring Charles Farrell and Janet Gaynor, is said to be
"in the public domain" and has been accordingly made accessible to the
movie public. It differs somewhat significantly from the actual movie
which was edited and titled by Katherine Hilliker and H.H. Caldwell.
Note that Chico's "lifeless" body did not actually die (he was "missing",
rather than "dead"), as explained in this version of the author's intent.
FADE IN.
SCENE 1.
CLOSE SHOT.
A stream of dark slimy water flowing
slowly between stone walls. A spear
and a rake move in and out of scene
at work.
DISSOLVE INTO
INTERIOR PARIS SEWER.

LONG SHOT.
It is old and very dark. On either
side of the sewer channel is a narrow
stone pavement. An iron ladder leads
up to a manhole which lets in sun-
light from the street above. Chico with
a long spear, and The Rat with a long
handled rake are working side by side.
SCENE 2.
CHICO AND THE RAT.
CLOSE SHOT.
As they work side by side clearing the
channel and spearing large objects
floating on the water, which they
throw in a little heap alongside
them. The Rat looks up toward the
manhole out of scene, and sees some-
thing which causes him to grin sensually,
point and exclaim. Chico looks in the
direction of his pointing finger.
SCENE 3.
TOP OF THE LADDER AND MANHOLE OPENING
CLOSE SHOT.
From their angle. Just opposite the
open manhole two women have stopped.
Only their legs are visible. Visible
as far as the knee. Behind them the
feet and legs of other passers-by can be
seen.
SCENE 4.
CHICO AND THE RAT.
CLOSE SHOT.
Chico turns from looking at the manhole.
He sees that The Rat is looking at the
legs salaciously, and craning forward
over the brink of the channel the better
to see. With an expression of disgust
Chico gives him a little push, causing
him to lose his balance and fall into
the water.
SCENE 5.
SEWER.
MEDIUM SHOT.
As Chico pushes The Rat and he falls.
SCENE 6.
THE RAT.
CLOSE SHOT.
As he emerges from the dirty water,
puffing and gasping. Chico's spear
comes into scene. The Rat grasps it,
and is drawn up toward the camera until
his dirty, dripping face is close up.
SCENE 7.
THE SEWER.
MEDIUM SHOT.
As Chico pulls The Rat out, and dumps
him from the end of his spear into
the pile of refuse on the pavement.
The Rat scrambles to his feet whining
a protest. Chico begins to lecture
him, shaking his forefinger at him.
Suddenly both raise their heads and
listen.
DISSOLVE INTO
STEAM WHISTLE AGAINST THE SKY.
It blows.
DISSOLVE INTO
SEWER.
MEDIUM SHOT.
Chico and The Rat drop their tools
and start toward the ladder.
SCENE 8.
MANHOLE.
CLOSE SHOT.
Shooting up the ladder into the sun.
Chico and The Rat enter the scene and
climb the ladder.
SCENE 9.
EXTERIOR PARIS STREET.
LONG SHOT.
In the foreground is the manhole from
which Chico and The Rat emerge. On
the left a dilapidated old taxicab stands
at the curb. Its hood is raised, and
Boul is perspiringly engaged in tinker-
ing with the motor. On the opposite
side, divided from the street by an
iron railing, is the side wall of a
church. In this wall is the Sacristy
door, and near it a huge stained glass
window, depicting a scene from the life
of St. Anthony. In the background, a little
wine shop and restaurant stands at right
angles to the church, but is divided from
it by a narrow winding alley. When The
Rat comes out of the manhole, his appearance
startles the two women who have been standing
alongside it talking. They move off,, mutter-
ing resentment. Chico and The Rat go toward
the taxicab.
SCENE 10.
BOUL.
CLOSE SHOT.
Who is bent over the open hood of his taxi-
cab, tinkering with the motor, a rusty affair
much patched with wire and tin. His face is
not visible until Chico and The Rat enter the
scene. At the sound of Chico's voice, he
raises his head. Chico says:
CHICO
Good morning, Boul. How
Is Eloise today?
Back to scene. Boul looks at his
taxi, shakes his head sorrowfully:
BOUL
She's in a temper this morning.
Nothing I can do will make her
start.
Back to scene. Chico laughs
at him and exits from scene
around the front of the taxi. Boul
closes the hood, and follows.
SCENE 11.
AT THE CURB AND THE TAXI ALONGSIDE IT.
CLOSE SHOT.
Chico comes into scene and seats him-
self on the curbstone, his feet under
the running board of the taxi. Boul
follows him, opens the door of the
taxi, takes out some bread, an onion
SCENE 11 (Cont'd)
And a bottle of red wine. The Rat

comes around the rear end of the
taxi, and sits opposite Chico.
Boul sits and they begin to eat,
using the running board for a
table.
SCENE 12.
CHICO, BOUL AND THE RAT.
CLOSE SHOT.
Shooting across the running board
at their faces as they eat. Chico
is saying:
CHICO
My dear friend Boul, have you ever
stopped to think that your patron
saint has cheated you?
Back to scene. Boul looks at
him aghast at the suggestion
that a saint could cheat. The
Rat preserves an expression of
neutrality. Chico laughs and
continues.
CHICO
When your old cab horse died,
you prayed to St. Anthony for a
new one -- .
Back to scene. Boul nods ruefully.
Chico continues triumphantly:
CHICO
-- and what he sent you was this
worthless old piece of junk you
call "Eloise" -- .
Back to scene. Chico's gesture
sweeps the cab fore and aft with
great derision. Boul's expression
says that the cab might have been
better, yet, on the whole, it might
have been worse. Chico brings his
point home with an emphatic pound-
ing of his fist in his open palm.
CHICO
-- and yet you believe in God!
SCENE 12 (Cont'd)
Back to scene. Boul nods and

crosses himself devoutly. Chico
slaps himself on the chest and
finishes vigorously:
CHICO
I know better I am an
Atheist!
Back to scene. Such blasphemy
is too much for Boul and The Rat.
They look apprehensively toward
the Church.
SCENE 13
STAINED GLASS WINDOW.
CLOSE SHOT.
From their angle. From the center
of the window the head of St. Anthony
looks out upon the world, patient,
sorrowful, resigned, but, as they
look, the eyes blaze up with an
inner light, and seem to burn at
them accusingly.
SCENE 14
CLOSE SHOT.
Chico is not looking at the window.
Boul and The Rat recoil, and rise
to their feet in amazement and super-
stitious fright.
SCENE 15.
INTERIOR CHURCH.
REVERSE SIDE OF THE WINDOW.
CLOSE SHOT.
A gallery leads along the wall cutting
the stained glass in half. Across
it moves an altar boy with a lighted
candelabra. In this shot it should
be made clear that it is the candles
passing behind the eyes of St. Anthony
which causes the apparent miracle.
(TAKE PROTECTION SHOT DISSOLVING FROM

FRONT OF STAINED GLASS WINDOW TO
REVERSE SIDE.)
SCENE 16.
CLOSE SHOT.
All are looking at the stained glass window.
Boul is crossing himself.
SCENE 17.
THE WINDOW FROM THEIR ANGLE.
CLOSE SHOT
It is quite normal now.
SCENE 18.
BOUL, CHICO AND THE RAT.
CLOSE SHOT.
Boul is affirming that St. Anthony
glared at him and moved his eyes.
The Rat confirms this story. Chico
is derisive, skeptical, sacrilegious.
All three stand facing the window as
Chico explains to them it was only a
superstitious hallucination on their
part.
SCENE 19.
INTERIOR CHURCH.
CLOSE SHOT.
The altar boy with the lighted candel-
abra comes back across the gallery
toward the stained glass window.
SCENE 20.
CLOSE SHOT.
Chico is in the midst of his discourse.
He has half-convinced them that it was
an illusion. They are still looking
toward the window.
SCENE 21.
EXTERIOR WINDOW.
CLOSE SHOT.
The eyes of St. Anthony light up again
and slowly fade.
SCENE 22.
BOUL
There it is again!
(points Boul, crossing
himself)
The Rat's knees quake
beneath him. Even Chico is
impressed, but he hides it, throws
it off, and turns his back as he
says with bravado:
CHICO
I still don't believe it.
SCENE 23.
STREET.
MEDIUM SHOT.
Chico turns and resumes his seat
at the luncheon table. Boul pauses
for one more look at the window, sees
that St. Anthony is calm and benign
again, turns and joins Chico at the
curb. The Rat remains staring fascinated,
open-mouthed at the window until they call
to him, whereupon he joins them. Maximillan
Gobin stalks through the scene majestically,
wheeling his street cleaning apparatus.
Chico's eyes are fixed on him with envy.
SCENE 24.
STREET.
MEDIUM CLOSE SHOT.
Taking in the pavement, the taxi cab
and tables before the wine shop in
the background. Chico, Boul and The
Rat turn their heads anticipating the
entrance of Gobin. When he enters
scene, Chico greets him with great
deference:
CHICO
Good morning, Citizen Street
Cleaner.
Back to scene. Gobin ignores
the greeting and passes through
scene toward one of the tables
in the background as if Chico
and his friends did not exist.
Their heads follow after him as
he goes. They watch him sit at
one of the tables and give his
order to the waiter. Chico is
deeply wounded by the snub he has
received, but pretends to laugh
it off philosophically:
CHICO
There is social inequality for
you. We are only sewer men
but he is a street cleaner!
Back to scene. Chico continues
his harangue about social injustice
to which Boul listens, greatly im-
pressed and nodding approval. It is
all too deep for the Rat to understand.
He is still thinking of the miracle
and casting surreptitious glances toward
the stained glass window.
SCENE 25.
INTERIOR CHURCH.
MEDIUM SHOT.
Shooting toward stained glass window.
Brissac enters on the left, pauses,
looks around as if in search of some-
one, sees and starts toward:
SCENE 26.
SACRISTY FROM HIS ANGLE.
MEDIUM SHOT.
Through the doorway he can see
Father Chevillon in the act of
removing his ceremonial robes. He
is looking through the open door,
sees Brissac out of scene, gives
him a friendly wave and smile
of greeting. Brissac enters the
scene, comes into the Sacristy.
SCENE 27.
INTERIOR SACRISTY.
CLOSE SHOT.
Brissac and Father Chevillon
greet each other, and as the
priest continues to remove
his robes, Brissac says:
BRISSAC
Father Chevillon, I am searching
for two girls I wonder if you
would help me find them.
Back to scene. The priest
looks at him dubiously, warily,
and shakes his head before he
answers:
FATHER CHEVILLON
My dear Brissac, you ought to
know better than ask the Church
to help you in your police work.
Back to scene. Brissac
laughingly reassures him:
BRISSAC
I don't want to arrest these girls
I want to bring them good fortune.
Back to scene. Now the
priest shows a little interest.
FATHER CHEVILLON
What are their names?
Brissac gives him an official
memorandum, which he reads:
INSERT:
CLOSEUP of memorandum in Father Chevillon's
hands. Under the printed heading:
"OFFICE OF THE PREFECTURE OF POLICE"
are written the names:
NANA VULMIR,
Present age about 26,
DIANE VULMIR,
Present age about 19,
Left Brittany April 1908,
Present whereabouts unknown.
Back to scene. Father Chevillon

studies the names, scratching his head.
He does not know them, alas! At least
not by these names. Brissac continues:
BRISSAC
Their uncle has just returned
from Tahiti, very rich, and wants
to find them and give them a home.
nods approval of such a desire,
pockets the memorandum, saying he
will do his best. Brissac thanks
him with a smile and says:
BRISSAC
You have never failed me yet,
Father, when there was a good
deed to be done.
protests that it is nothing. He
is only too glad to help in such
matters that he can. Brissac
takes out his wallet, scribbles
something on the backs of two or
three cards, and gives them to
Father Chevillon, saying:
BRISSAC
You spoke of wanting municipal
jobs for a few of your worthy
parishioners.
looks at him very eagerly and
then back at the cards in his
hand. Brissac finishes.
BRISSAC
Just write the name on the back
Of the card send your man to
the proper department, and the
thing is done.
Back to scene. Chevillon
thanks him gratefully, they
shake hands. Father Chevillon
escorts him to the door.
SCENE 28.
MEDIUM SHOT.
Shooting towards Chico, Boul and
The Rat at luncheon in the left
foreground and the Sacristy door
in the right background. Chico
is still orating to his friends
on the subject of religious bigotry
and social inequality. The better
to make himself understood he has
risen from the curb and seated him-
self on the running board of the
taxicab facing them. He is saying
CHICO
I work in a sewer the lowest
kind of work. Yet do I feel that
I myself am low? No! I am a very
remarkable fellow!
Boul rises in disgust with
the sacrilegious sentiments
which Chico has been preaching,
wipes his mouth with the back
of his hand and comes around
the front of his taxi, raises
the hood on the opposite side
and busies himself again with
the inner organs of Eloise.
Across the street the Sacristy
Door opens. Father Chevillon
SCENE 28 (Cont'd).
and Brissac come out. They

shake hands again, Brissac
raises his hat and exits toward
the right. Father Chevillon
looks after him a moment, then turns
and sees Boul's back, crosses the
street toward him and speaks a word
of greeting. Boul turns at the
sound of his voice, sees that it is
Father Chevillon, takes off his hat,
stands listening respectfully.
Chico, too, turns and sees the
priest. As if unwilling to remain
in such close proximity to a servant
of the church, he gathers up the
remnants of the luncheon, beckons
to The Rat to follow him and leads
the way toward the manhole.
SCENE 29.
CURB AT THE MANHOLE.
CLOSE SHOT.
Chico enters the scene followed
by The Rat. They sit on the curb-
stone, their backs to the manhole
and resume their luncheon while
Chico, glancing toward the priest,
out of scene, makes disparaging
remarks about religion.
SCENE 30.
CLOSE SHOT.
Boul, Father Chevillon and Eloise.
The priest is showing Boul the
memorandum which he obtained
from Brissac. Boul spells out
the names laboriously, ponders,
scratches his head, gets an idea,
brightens and says:
BOUL
Climb in, Father. If I can
persuade Eloise to start, I
can drive you right to the
spot where they live.
SCENE 31
EXT. PARIS STREET
CLOSE SHOT
Shooting straight on the radia-
tor of the taxicab. Boul holds
the door while Father Chevillon
climbs in to the rear seat,
closes it, comes around to the
front of the cab, begins with
some misgivings to crank. As
Eloise shows no signs of life,
he stops, coaxes, pats the radia-
tor cap, pleads:
BOUL
Come on, Eloise be a nice girl!
Back to scene. Boul grinds the
crank again without success. At
last he stops, shakes his finger
at the cab, scolds her, comes
around to the side, takes off the
brake, turns the wheels so that
they are no longer pointing toward
the curb, moves around behind the
cab where he disappears from view.
Eloise moves out with a sudden jerk
and vanishes from the scene reveal-
ing Boul, hands extended looking after
her in open-mouthed surprise.
SCENE 32.
EXT. PARIS STREET
MEDIUM SHOT
In the foreground on the curb sit
Chico and The Rat, eating their
luncheon. The taxicab rolls past,
going down hill, rapidly gathering
speed. As they look after her they
see, coming out of the background
along the intersecting street, a big
truck. It is clear that the truck
and Eloise are in imminent danger
of a right angle collision. Chico
starts swiftly in pursuit of the
taxicab.
SCENE 33
EXT. PARIS STREET
MEDIUM SHOT
The intersection of the two streets
is in the foreground. The truck is
coming at high speed toward the
camera. The taxicab rolls in from
the left with Chico in close pursuit.
He jumps on the running board, spins
the wheel causing the taxicab to
SCENE 33 (Cont'd)
swerve just in time to avert

a collision. As the truck rolls
past in the foreground, the taxi-
cab rolls toward the background
almost grazing the truck as they
pass each other.
(COMBINE THE THREE PRECEDING

SCENES IN ONE MOVING CAMERA SHOT)
SCENE 34
TAXICAB
CLOSE SHOT
From moving camera. Chico guides it
until it approaches the curb and
stops. Then for the first time he
turns to ascertain who is its pass-
enger. When he sees that it is a
priest, his face falls, he scowls,
swings into the driver's seat, throws
the taxicab into reverse gear and
backs it so that stands broadside
to the traffic. There, without once
looking back at the priest, he alights
from the cab and exits in the direction
of the manhole out of scene. Boul comes
puffing into scene uttering thanks-
giving for the priest's miraculous
rescue. The priest stares after Chico
in bewilderment and amusement.
SCENE 35
AT THE MANHOLE
CLOSE SHOT
The Rat stands looking excitedly
toward the scene of the rescue. Chico
enters to him muttering resentfully:
CHICO
I'm always doing the things
I don't want to do.
Back to scene. Chico finishes
the title, beckons to The Rat to
follow him, climbs down the man-
hole and vanishes from sight. The
Rat starts to follow, looking back
over his shoulder in the direction of
SCENE 36
TAXICAB
CLOSE SHOT
Father Chevillon is assuring Boul
that he is perfectly unharmed. At
his direction Boul climbs into the
SCENE 36 (Cont'd)
driver's seat and drives the
taxicab out of scene. The
traffic, which has been stalled
by the taxicab's blockade of the
narrow street, now begins to move.
FADE OUT
FADE IN
SCENE 37
A WHIP WIELDED BY A WOMAN'S HAND.
CLOSEUP.
It lashes savagely at some invis-
ible object. Bring camera back
until it reveals Nana whipping and
reviling a girl who is huddled on
the floor in a corner, her face
turned away from the camera and
wrapped in her arms for protection
against the stinging lashes. From
Nana's left hand dangles a man's
watch and chain. She pauses at
last weary from her own exertion
and says:
NANA
Have you got enough? Will
you do what I tell you now?
SCENE 38
THE GIRL ON THE FLOOR
CLOSEUP
Now that the whipping has stopped,
she raises her head and turns it
toward the camera. The face which
is thus revealed is cowed, abject,
tear-stained. It is Diane. Quaver-
ing, fearful, she nods her head to
indicate that she will obey. Nana's
hand holding the watch and chain
comes into scene. Diane takes them
and, still cringing, begins to rise.
SCENE 39
NANA AND DIANE
CLOSE SHOT
As Diane rises and slinks past Nana
one arm half-raised to fend off the
expected blow of the whip. She
slinks out of the scene.
SCENE 40
NANA AND DIANE'S ROOM
MEDIUM SHOT
Diane hurries toward the door and
exits. Nana looks after her menac-
ingly until she has gone. Then
SCENE 40 (Cont'd)
flings down the whip and
moves toward the table, where
stands an empty absinthe bottle
and glass. The room is bare
and shabby. Empty bottles are
its chief adornment. There is
a broken and lumpy mattress in
the corner with a mussed and
soiled blanket upon it. There
is a rusty iron stove with cooking
utensils upon it. There is a single
window, dirty and with broken panes.
The door leads to an outside stair-
case over the roof of a shed to the
street. Nana picks up the absinthe
bottle, puts it to her lips trying
to squeeze one more drop out of it.
SCENE 41
EXT. DIANE'S HOUSE
MEDIUM SHOT
Diane comes down the steps to the
pavement just as Eloise rolls into
scene and pulls up at the curb.
Boul sees Diane, climbs off his
box, opens the door for Father
Chevillon and as he alights, points
after Diane saying, "There's one of
the girls you are looking for."
Father Chevillon makes no effort
to call her, but stands watching
until she vanishes from the scene,
shakes his head sorrowfully, looks
up at the house from which she has
come, shakes his head again, and
starts up the steps. Boul waits
beside his cab.
SCENE 42
NANA AND DIANE'S ROOM
MEDIUM SHOT
Nana is still at the table, trying
to squeeze another drop of absinthe
from the bottle. Failing, she flings
it with a snarl into a distant corner.
She hears a knock at the door. "Come
in" she growls. Father Chevillon
enters. Nana scowls at him in sus-
picion and surprise. Before he can
speak she advances to him, hands on
her hips and says:
NANA
If you have come to spout relig-
ion to me save your breath!
SCENE 42 (Cont'd)
Back to scene. Father Chev-
illon pays no attention to this
remark but consults the name on
Brissac's memorandum. "Are you
Nana Vulmir?" he asks. Nana
admits that she is. Father
Chevillon continues: FATHER CHEVILLON
I have good news for you, my
child your uncle has come back.
Back to scene. Nana's lips curl with
scorn. She is not interested in her
uncle. The priest continues. He is rich and wishes to
provide you and your sister
with a decent home.
Back to scene. At the word
"rich" Nana pricks up her ears.
Her demeanor changes. She becomes
attentive, ingratiating even. She
invites Father Chevillon to be
seated. He does so. Nana begins
to ask him questions.
SCENE 43
EXT. PARIS STREET
LONG SHOT
Diane enters on the left past the
open manhole, passes the place
where Boul's taxi is accustomed
to stand and enters the wine shop.
SCENE 44
INT. WINE SHOP
MEDIUM SHOT
On one side is a counter behind
which are shelves stocked with
wines and liquors in bottles.
There are two casks on the counter
with a funnel and a litre measure.
At the door, joining with the counter
at right angles, is a cashier's desk.
Along the opposite wall are several
tables. At one table an old man sits
reading a newspaper, a half-empty
glass before him. At another table
are two men absorbed in a game of
dominoes. Each has a glass of beer
at his elbow. One is a fat man with
fishy eyes. Behind the cashier's
desk, the proprietress is going over
her accounts. Diane enters from the
street, looks timidly around. Clutched
tightly under her bodice, she holds the
watch and chain. She sees the fat domino
player and starts toward him.
SCENE 45
DOMINO PLAYERS
CLOSE SHOT
They are absorbed in their game. Diane
enters the scene, pauses timidly at the
fat man's elbow. He looks around, sees
who it is, but pays no attention to her,
goes on with his game. Diane stands
waiting for him to notice her. Once or
twice she seems on the point of speak-
ing to attract his attention, but she loses
courage. At last he turns to her: "Well?"
Diane produces the watch and chain,
gives them to him. He examines them
superficially, drops them into a side
pocket of his coat, produces a little
leather purse from his trousers pocket,
counts a few coins into her hand, takes
a sip of his beer and goes on with his
game. The other player has not once
looked up from his study of the dominoes.
Diane looks at the coins in her hand, is
dismayed by the small amount she has
received, would like to protest, but lacks
the courage, hesitates, then turns and exits
from the scene.
SCENE 46
INT. WINE SHOP
MEDIUM SHOT
Diane goes to the counter and stands
waiting. The proprietress sees her,
leaves the cashier's desk and comes
behind the counter. Diane gives her
order. The woman reaches up on the
shelves, pulls down a bottle of absinthe
but does not give it to Diane until she
has received all but one of the coins
which Diane obtained for the watch.
Diane hides the bottle under her bodice
and clutching the one remaining coin in
her fist, exits into the street. The
woman starts back toward the cashier's
desk to put the money away.
SCENE 47
INT. NANA AND DIANE'S ROOM
MEDIUM SHOT
Nana is ushering out the priest. They
come to the door which is in the fore-
ground. "Thank you, Father" Nana is
saying with humility. She finishes: NANA
My sister and I never go anywhere.
Whenever they come they can find
us here.
SCENE 47 (Cont'd)
Back to scene. She kisses the

priest's hand as he exits. When
the door is closed behind him,
she makes an insulting face in
his direction, throws back her head
and laughs. Then she stands re-
flecting and gloating on the good
fortune in store for her. As she
repeats the words "Rich, Uncle
Vulmir rich!"
FADE OUT
FADE IN
SCENE 48
STEAM WHISTLE AGAINST THE SKY
CLOSE SHOT
It blows. SOUND
Whistle blowing
DISSOLVE INTO
EXT. PARIS STREET

LONG SHOT
Eloise is in her accustomed place
at the curb. Boul sits on his
box, drowsing. He hears the whistle,
wakes up. The Rat comes out of the
manhole and goes to him. Boul asks
for Chico. The Rat tells him he will
be up pretty soon. They begin to
spread their luncheon on the running board.
DISSOLVE INTO
EXT. NANA AND DIANE's HOUSE

An expensive car drives into the
scene and stops before the house.
The Chauffeur alights and helps out
Brissac, Vulmir and Valentine.
SCENE 49.
AT THE CURB IN FRONT OF THE HOUSE
CLOSE SHOT
Brissac, Valentine, Vulmir and the
chauffeur. Brissac points the way
to the stairs. Valentine is touched
by the squalor of the street and the
meanness of the house in which her
nieces live. Vulmir, on the other
hand, scrutinizes the place with sus-
picion and displeasure. They start
toward the steps.
SCENE 50
INT. NANA AND DIANE's ROOM
MEDIUM SHOT
It has been washed into a fair
semblance of cleanliness. The
bottles have been hidden, the
blanket has been smoothed and
folded, neatly covering the straw
pallet on the floor. Nana is at
the window peering out. She sees
Brissac and Vulmir enter and turns
into the room with a sharp warning
to Diane who is trying to clean the
rusty stove with a bit of cloth.
"Drop that!" orders Nana. "Here
they come!" At the sound of her
voice, Diane starts as if she had
been struck and hastily stuffs the
cloth into the stove, bangs down
the lid and turns wiping her hands
on her dress. Nana crosses to her
and takes her by the arm and hisses
in her ear: NANA
Remember not a word out of you.
As Nana finishes, she gives
Diane's arm a pinch, which causes
Diane to utter a stifled scream.
"Will you shut up?" threatens Nana,
her eye on the door. Diane cowers
and moves out of her reach. There
is a knock at the door. Nana com-
poses her features in an expression
of sweetness and calls "Come in."
Brissac opens the door, stands aside
to let Valentine and Vulmir enter,
and then enters himself, and closes
it. He stands near the door watching
the ensuing scene with amusement and
understanding.
TAKE CLOSEUP ACTION of Brissac's

reaction to what goes on.
SCENE 51
AT THE DOOR
CLOSE SHOT
Brissac, Valentine and Vulmir. They
enter. Vulmir's eyes take in the
place with marked disapproval. Valen-
tine's eyes search eagerly for the
girls. Nana comes into the scene to
greet them. First she goes to Vulmir
and kisses him on the cheek. He does
not like the smell of her. Then she
SCENE 31 (Cont'd)
permits Valentine to embrace

and kiss her. Valentine is
overjoyed. Nana is the picture
of dutiful, humble obedience.
"Where is the baby Diane?" asks
Valentine eagerly. Nana steps
aside. They look past her.
SCENE 32
DIANE
CLOSEUP
From their angle. She stands
timidly apart but staring wide-
eyed at Valentine, not daring to
speak before she has been spoken to.
SCENE 33
VALENTINE, NANA, VULMIR AND BRISSAC
CLOSE SHOT
From Diane's angle. Valentine
extends her arms and moves toward
the camera. Diane comes into scene
quickly and throws herself in Valen-
tine's embrace. When they have
kissed each other Valentine turns
her toward Vulmir but still holds
her in her arms, saying with emotion:
"See, Georges, our baby! She is a
woman!" Vulmir takes one of her
hands and holds it, looking her up
and down. Diane kisses him shyly.
In an excess of emotion, Valentine
draws Diane to her again. Diane
responds to the caress like a child
starving for affection, buries her
head in Valentine's bosom.
SCENE 54
DIANE AND VALENTINE
CLOSEUP
Diane buries her head in Valentine's
bosom, keeps it there a long time,
as if she found rest and solace there.
Then she slowly turns up her face,
saying: DIANE
How good you smell of
sandalwood of fresh linen
You smell of home.
Diane buries her face again.
Valentine turns a radiant smile
toward her husband as she explains:
SCENE 54 (Cont'd)
VALENTINE
Did you hear, Georges? The
little puppy she smells her
kind!
Overcome, half sad, half happy,
Valentine begins to weep.
SCENE 55
MEDIUM SHOT
Vulmir waves off brusquely his
wife's sentimentality: "Stop it!"
he growls, "or you'll flood us all
out with your tears." He advances
into the room, looking it over
critically. Nana follows him. He
sits on the only serviceable chair.
She stands before him. He begins to
question her sternly. Her replies
are modest, quite palpably as false
as her demeanor is hypocritical. At
the first of his questions, Diane
turns to listen, Valentine's arms
are still around her. Brissac watches
with cynical amusement.
SCENE 56
NANA AND VULMIR
CLOSE SHOT
He is regarding her with a skeptical
eye while she says: NANA
Yes, Uncle Vulmir, I've had
a hard time of it with Diane
to take care of and protect
from harm.
As she finishes she looks toward
Diane with a smile of tender
sweetness. Uncle Vulmir follows
her gaze.
SCENE 57
DIANE AND VALENTINE
CLOSE SHOT
Diane shrinks a little from their
gaze. She is afraid they will ask
her questions.
SCENE 58
NANA AND VULMIR
CLOSE SHOT
Nana turns to him and continues:
SCENE 58 (Cont'd)
NANA
You have no idea how hard
it has been to keep decent in
a place like this.
At the word "decent" Vulmir

scrutinizes her dubiously from
head to foot. Then he turns and
looks in Diane's direction.
Beckons to Diane with his finger
to come closer to him.
Scene 59
DIANE AND VALENTINE
CLOSE SHOT
As Diane meets his gaze fearfully,
then urged by Valentine's gentle
hands, starts toward him out of scene.
SCENE 60
CLOSE SHOT NANA AND VULMIR
They anticipate Diane's entrance
into scene. When she has entered
and stands tremblingly confronting
Vulmir, Nana puts an arm around her
with hypocritical tenderness.
Uncle Vulmir's eyes bore into hers
sternly, accusingly, as he asks: VULMIR
You tell me and mind you
don't lie.
BACK TO SCENE:
Diane quakes, takes a step back-

ward but Nana's fingers close
over her arm in warning, painful
pressure. Vulmir growls: VULMIR
If you and your sister haven't
been honest women, I don't want
you in my house.
Diane hesitates, frightened out

of her speech. Nana interrupts,
begins to expostulate, but Vulmir
silences her with a gesture as he
hammers at Diane: VULMIR
I want the truth. Have you been good?
Diane drops her head as if she

cannot endure his gaze any longer.
She remarks: DIANE
No, Uncle Vulmir, we have not
been good, we have not been good.
Vulmir rises saying in disgust: VULMIR

I thought as much.
SCENE 61
MEDIUM SHOT
Diane, Nana, Vulmir, Valentine and
Brissac. Vulmir turns towards his wife - VULMIR
Come, Valentine
She is reluctant to go, begins to

plead with him to relent, but he
is obdurate. She appeals to him: VALENTINE
We cannot leave them like this
they are poor.
SCENE 61 (Cont'd)
BACK TO SCENE:
Vulmir takes some bank notes

from his wallet and throws
them on the table and starts
for the door, ordering Valentine
peremptorily to follow him.
She does so with great reluctance.
Nana pounces on the money, folds
it and puts it away in her bodice.
Diane has not moved.
SCENE 62
AT THE DOOR CLOSE SHOT
Brissac waits until Vulmir has
led the heart-broken Valentine
out. Then he turns and looks
back toward the girls.
SCENE 63
DIANE AND NANA CLOSE SHOT
From his angle. Nana has finished
putting away the money and is
looking toward Diane with menace
thinly veiled.
SCENE 64
CLOSE SHOT AT THE DOOR
Brissac understands what is going
to happen to Diane. For the
moment he is tempted to inter-
fere but changes his mind with
a shrug that says: "After all,
why should I get mixed up in it?"
Turns and goes out, closing
the door behind him.
SCENE 65
MEDIUM CLOSE SHOT DIANE AND NANA
When the door has closed, Nana
stands perfectly still looking
at Diane with growing cold menace.
Diane stands watching her as a
fascinated bird might watch a
snake. Terror has made her too
weak to move. She watches while
Nana backs very slowly to the wall
where the whip is hidden behind a
picture frame. As she sees Nana's
hand go slowly up toward the frame,
she begins to plead: DIANE
Nana no no Nana Please!
SCENE 65 (Cont'd)
Nana's only answer is to snatch

the whip with one quick movement
and, brandishing it, to pounce on
Diane like a cat. Diane endures
a blow or two before she breaks
and runs for the door with Nana
in close pursuit, whipping her as
she goes.
SCENE 66
EXT. NANA AND DIANE'S HOUSE
MEDIUM SHOT
Diane comes running down the steps
pursued by Nana, who is lashing at
her with the whip. Diane dodges and
crosses the pavement and out of
scene with Nana in close pursuit.
A male passerby looks after them
laughing. A woman who stands on
the pavement, evidently a resident
of the house, shakes her head in
mild disapproval as if the thing
is a deplorable but familiar story
to her.
SCENE 67
EXT. PARIS STREET LONG SHOT
Eloise stands at her place by the
curb. Boul and The Rat have given
up waiting for Chico and have begun
their luncheon, using Eloise's run-
ning board for a table as before.
Diane comes running into scene
breathless, sobbing, beside her-
self with terror. Nana is close
on her heels. As they round the
corner Nana lets go a vicious swing
of the whip. The lash curls round
Diane's legs, causing her to trip
and fall to her face close by the
manhole. Nana pounces on her, takes
her by the throat with one hand while
with the other she raises the butt
of the whip to strike.
SCENE 68
CLOSE SHOT BY THE MANHOLE
Diane is on the pavement. Nana is
over her, whip upraised. Chico comes
out of the manhole and sees them. His
first reaction is amusement, but seeing
SCENE 68 (Cont'd)
Diane's terror and Nana's maniacal

rage, he catches Nana by the back
of the neck, disengages her grasp
on Diane and holds her at arm's
length, her feet and hands kicking
and clawing in the air. When he sets
her down with a sharp warning to let
the girl alone, she turns on him in
fury, whereupon he grasps both her
wrists, deftly kicks her feet from
under her, and drops her into the
manhole where she hangs suspended
by both wrists. There he holds
her, saying: CHICO
Now we can discuss this thing
more calmly
BACK TO SCENE:
Nana pleads with him not to drop

her. Boul and The Rat enter the
scene and stand watching, grinning.
Chico demands: Do you promise not to abuse
this girl any more?
Nana promises eagerly and begs
to be lifted out.
All right!
And Chico lifts her out and sets
her on her feet
Now if I ever catch you abusing
her again, I'll come and get you
wherever you are, and I'll cut
out your gizzard and fry it.
Nana is intimidated by his pretended
ferocity. (shouting)
Get out!
He takes a step toward her waving
his arms. She runs out in terror.
He takes a bandana handkerchief
out of his pocket and wipes his
forehead.
CHICO
(turning to his comrades)
Now what did I do that for?
I'm always doing the thing I
don't want to do.
SCENE 68 (Cont'd)
They look down at the prostrate
Diane who is lying face downward
in the gutter. Boul shakes his
head and ventures the opinion: BOUL
The woman would probably have
killed her.
Chico regards Diane with contempt

as he says: CHICO
A thing like that would be
better off dead.
BACK TO SCENE:
Come on, let's eat
(finishing)
I'm famished!
Chico, followed by The Rat,

exits from the scene. Boul
lingers bending over Diane who
lies quite still. She has fainted.
SCENE 69
EXT. PARIS STREET ANGLE
Chico and The Rat move toward the
taxi. Seeing that Boul is lingering
behind, Chico calls to him to let
the girl be and come finish his
luncheon. His attitude is that she
is not worth bothering about. Re-
luntantly Boul leaves Diane and
joins them at the taxi.
SCENE 70
CLOSE SHOT AT THE TAXI.
The three of them sit by the curb.
Boul and The Rat resume their luncheon.
Chico takes out his clasp knife and
cuts a huge chunk of bread from the
loaf on the running board. The Rat
is peeling an onion. Boul thrusts
the neck of the wine bottle in his
mouth and takes a long drink. On
the point of biting into the bread,
Chico turns his head and looks over
his shoulder in the direction of Diane.
He is frowning at his own weakness.
SCENE 71
CLOSE SHOT AT THE CURB
Diana from his angle. She is
lying prone on the ground,
apparently unconscious.
SCENE 72
CLOSEUP CHICO
In spite of himself he feels
sympathy for Diane. He tries
to shrug it off, but his eyes
keep turning toward her. Finally
he yields to his impulse and rises.
SCENE 73
Chico comes slowly toward Diane
and stands over her, looking
down at her. His companions
at the taxi go on eating. Again
he struggles with the impulse
to help her, and finally yields
to it. He lifts her up and
carries her nearer to the taxi-
cab, sets her on the curbstone,
holds her upright and calls to
The Rat to bring him the onion.
The Rat brings it. Chico spears
it on the end of his knife and holds
it under Diane's nose. She re-
vives and shrinks away from it.
The Rat laughs loudly.
CHICO
There she's cured.
Chico gives the onion back to

The Rat who returns to his luncheon.
Chico walks away, but he has only gone
a pace or two before he stops, turns
and looks back at Diane saying CHICO
What are you sitting there for?
Are you hungry?
Diane looks up at him and says

weakly DIANE
No, thank you!
Chico frowns at her, saying

angrily: CHICO
Better come and eat something
You can't sit there like some-
thing dead, and spoil our luncheon.
SCENE 73 (Cont'd)
BACK TO SCENE:
Boul calls to him. BOUL

Aw, leave her alone, Chico.
CHICO
I will not.
Chico goes back to her,

raises her up and leads her
toward the taxicab, where he
makes her sit down opposite him.
SCENE 74
CLOSE SHOT TAXICAB
As Chico helps Diane to sit
on the curbstone, then sits
himself. The others regard
her with distaste. Chico cuts
her a slice of bread, pushes
it toward her with instructions
to eat. She does not do so.
He scolds: CHICO
The trouble with you is you're
licked I never admit I'm
licked That's why I'm a very
remarkable fellow!
Chico pats himself on the chest.

Seeing that her head remains
apathetically bowed, he gives
her up in disgust and turns to
Boul saying belligerently: (turning to Boul
belligerently)
Did your God make her on
purpose to live in the gutter
to be beaten and strangled?
Boul is dubious on this point.

He can only murmur that Chico
does not understand that God in
His inscrutable wisdom made all
creatures to serve His divine
ends. Chico is unimpressed.
He demands: Did God make me?
Boul nods that He did.

(pointing to Boul)
And you?
BOUL
(cheerfully)
Of course!
SCENE 74 (Cont'd)
CHICO
(indicating The Rat)
And that?
Boul hesitates, looks at The

Rat, bends nearer to Chico
and whispers confidentially: BOUL
Well everybody makes mistakes
sometimes.
CHICO
(in disgust)
Bah!
Boul lights his pipe and observes

patronizingly: BOUL
Chico, the trouble with you is
you're ignorant. You know
nothing of the beauty and con-
solation of religion.
Chico is thoroughly aroused. He

refutes this statement hotly.
CHICO
I've been through all that
I gave religion a fair chance
before I became an Atheist.
Chico rants on. The Rat eats

greedily. Boul puffs his pipe
and listens with a superior air.
Diane sits on the curbstone, her
head on her knees, like something
dead.
SCENE 75
ANGLE EXT. PARIS STREET
Father Chevillon comes out of the
church door, sees Eloise and the
group before her right running
board, crosses the street and
comes into the foreground where
he stands on the left of Eloise
unobserved by the rest.
SCENE 76
CLOSE SHOT
AT THE CURB
Chico, Diane, Boul and The Rat
as before. Father Chevillon
stands behind Eloise listening.
Chico is saying: CHICO
If there was a God, He must
have heard me I gave Him
a fair chance twice!
Boul takes his pipe out of his

mouth and listens impressed.
Even The Rat stops to listen.
Father Chevillon smiles. Chico
continues: (continuing)
First I went to a big ca-
thedral spent five francs
for candles and prayed to
God to take me out of the
sewer and make me a Street
Washer.
BACK TO SCENE:
Chico finishes the title and
makes a resigned gesture indicating
that his prayer was not answered.
(holding up five fingers)
Five francs wasted.
(continuing)
Yet I gave him another chance
burnt another candle and
prayed for a good wife
with yellow hair.
Chico finishes this title rather

wistfully with a little smile of
embarrassment. Boul laughs at
him. Chico nods ruefully and says: (nods ruefully)
The only kind of woman I could
get is a creature like that.
He points to Diane who hears him

and turns from him with a slight
movement. Chico raises up both
hands with fingers extended as
he declares. That makes ten francs
totally wasted on your
God. That's why I'm an Atheist.
SCENE 76 (Cont'd)
Father Chevillon comes around the

front of the taxicab with a depre-
cating little smile saying: FATHER CHEVILLON
I don't think you really are,
my son. Else you would never
have saved an old priest's life.
Chico bristles at his approach.

Father Chevillon takes hold of
both of his shoulders and thanks
him warmly. Chico tries to
wriggle free, saying: CHICO
If I had known there was a
priest in that cab I never
would have run after it.
Father Chevillon laughs heartily

and takes the cards which Brissac
had given him from his pocket, asks
Chico his name. Chico tells him
suspiciously. The priest scribbles
on one of the cards, holds it out
toward Chico between his thumb and
forefinger and says: FATHER CHEVILLON
God has given me the power
to grant you one of your
wishes the hose is yours.
Chico looks incredulously at the

card, takes it from the priest's
fingers, reads it, is overcome with
awe. And the next minute he becomes
suspicious that the priest is only
having fun with him. Father
Chevillon hastens to reassure him.
Present this card at the
offices of the Department of
Streets tomorrow morning and
the appointment is yours.
Chico sees that he means it and is

too overcome to speak. Boul and The
Rat stand open mouthed. Chuckling,
the priest continues. (chuckling)
And now, I want to ask you to
do something for me.
SCENE 76 (Cont'd)
They all watch him as he fumbles

in the deep pocket of his soutain
and produces a small plush box,
which he opens and shows to Chico.
INSERT: CLOSEUP of a hinged box held

in the priest's hand. On
each side is a small silver
medal. One represents St.
John and the other St. Agnes.
Chico frowns down at the medals and

examines with distaste. CHICO
(distastefully)
Religious medals?
The priest chuckles and turns away

leaving the open box in Chico's hand,
saying, FATHER CHEVILLON
Keep them, Citizen Street
Washer The saints have been
known to preserve even an Atheist!
Laughing heartily, Father Chevillon

exits from the scene toward his
church. Chico stares after him.
(TAKE CLOSE UP ACTION OF FOREGOING

SCENE.)
SCENE 77
CLOSEUP CHICO
In one hand he holds the open box,
in the other the card. He turns
from looking after the priest and
looks from the box to the card in
stupefaction. The head of Boul
comes into scene, peering closely
at the open box. As he looks a slow
smile illumines his face and his
grimy finger points to a little
price tag on one corner of the box.
INSERT: CLOSEUP the box with Boul's

finger pointing to the tag
marked "10 fr."
SCENE 77 (Cont'd)
As Chico looks at the tag

indicated by Boul's finger,
Boul says solemnly: BOUL
(solemnly)
God has paid you back your
ten francs! Now do you
believe?
SCENE 78
CLOSE SHOT - THE STAINED GLASS
WINDOW From his angle.
SCENE 80
CLOSE SHOT BOUL AND CHICO
Chico is looking at the stained
glass window out of scene. He
turns back to Boul with a shrug
and says: CHICO
No! It's a mere coincidence!
Let's have a glass of Cognac
to celebrate my appointment!
SCENE 81
EXT. PARIS STREET
ANGLE
Chico finishes this title and

indicates the wine shop. Boul
and The Rat accept the invita-
tion with alacrity. All three
start toward the wine shop.
Diane is quite forgotten. As
they near the wine shop Gobin
comes out of the alley, wheel-
ing his hose. Chico sees him,
stops short, indicates for the
others to go into the wine shop.
They do so. Chico waits for
Gobin's approach.
SCENE 82
BEFORE WINE SHOP
CLOSE SHOT
Chico stands waiting while Gobin

comes toward him slowly, majesti-
cally. "Monsieur Gobin" Chico
greets him. Gobin is prepared
to pass him as if he did not hear.
CHICO
(pushing the card into his face)
I have just been elevated to the hose.
Gobin stops, looks at him in
surprise, takes the card, reads
it, unbends and with a charming
smile offers his hand to Chico. GOBIN
Welcome, comrade!
Chico puffs up with delight at

the word "comrade". He replies: CHICO
Thank you, comrade.
They shake hands again. Gobin

bows.
GOBIN
Good day, comrade.
Chico returns his bow formally. CHICO

Good day, comrade.
Gobin waddles off pompously,

leading his hose. Chico stares
after him in admiration long
after her has left the scene.
Then turns to enter the wine
shop. On the threshold he
pauses, looks back and sees:
SCENE 83
DIANE
CLOSE SHOT
For a moment she sits perfectly

still staring at Chico's knife
which he has left lying on the
running board of Eloise. Then,
slowly, her hand goes out toward
it and picks it up. Her expres-
sion is one of desperation and
despair.
SCENE 84
CHICO
CLOSEUP
As he realizes she is about to

kill herself, and starts quickly
from the scene toward her.
SCENE 85
DIANE
CLOSE SHOT
The knife is held upraised in her

hand. Chico comes quickly into
the scene, catches her wrist before
the knife descends. She cries
wildly: DIANE
No no! Don't stop me. Let go!
He answers tearing the knife out

of her hand. She collapses into
the gutter, shaking with emotion.
He stands away breathing heavily,
staring at her, wipes the cold
sweat from his hands and neck,
saying: CHICO
That's a terrible thing to do.
What did you want to do that for?
She rises suddenly and tries to

snatch the knife again. He
turns away from her and snaps
the knife shut, saying to her: Not with my knife! If you
must kill yourself, go jump
into the Seine.
Back to scene. She stands

motionless. He turns out of scene.
SCENE 86
EXT. PARIS STREET
MEDIUM CLOSE SHOT
Chico starts toward the wine shop.

Something stays hm. He looks
back. Pity wells up in him. He
scratches his head and takes a
step nearer to her saying: CHICO
Now what did you want to do
a thing like that for?
DIANE
(savagely)
Leave me alone!
Back to scene. Chico becomes

suddenly angry again. CHICO
All right go on and do it.
There's the boulevard to the river.
He points the way and turns saying: It's none of my affair what
you do.
Back to scene. He stalks off

toward the wine shop. Diane sits
on the running board of the taxi cab.
SCENE 87
DIANE
CLOSE SHOT
As she sits on the running board

brooding, despairing, hopeless.
Only Chico's feet can be seen.
They start to move out of the
scene, waver, stop, turn back,
come slowly back a few steps,
pause irresolutely half-turning
away again. Then, as if Chico
had come to a sudden decision
they turn decisively toward
Diane and approach her. Now
Chico squats into the scene and
sits beside her on the running
board. He asks: CHICO
What do you want to kill your-
self for?
Diane does not move. She

speaks as if to herself. DIANE
Because I can't go on living
like this.
Back to scene. Chico looks at
her astonished and asks softly:
SCENE 87 (Cont'd)
CHICO
You don't like what you are?
Back to scene. She shivers

and shakes her head. Chico
rejoins triumphantly: Well, if you don't like it,
you're not bad.
Back to scene. There is a

pause while Diane takes this
idea in. Then she raises her
head to him slowly and asks: DIANE
Why?
Chico shrugs as if to say

"I don't know, but it's true."
He reflects a moment before
he finds words to explain.
CHICO
Take me for instance ---
Back to scene. She regards
him with grave interest as
he continues: -- When I was a sewer man I
was as near nothing as a
fellow can be
Back to scene. Her eyes do

not waver from his face as
he continues with pride: -- but all the time I felt
like a king
Back to scene. She is impressed,
but Chico himself sees the humor
of it. He finishes with a whim-
sical smile and a little gesture
of his hands, palms upward: -- for no reason at all!

title and drives home the moral
of his speech by pointing at
her saying: It's the same with you. It
isn't what you are that counts,
but the way you feel about it.
This is a new idea to Diane.

She is turning it over in her mind.
SCENE 88
EXT. PARIS STREET
MEDIUM SHOT
The intersection of the two

streets is in the foreground.
Eloise with Chico and Diane
on her running board is in
SCENE 88 (Cont'd)
the background. Around the

corner comes Nana escorted
by two gendarmes followed by
a little crowd of curious on-
lookers. Nana looks around
as if in search of someone,
sees Diane, points and says: NANA
There she is my sister
if you take me, you have got
to take her too.
Back to scene. The gendarmes
are looking in the direction
she indicates. They move
toward Chico and Diane, followed
by the crowd.
SCENE 89
CHICO AND DIANE
CLOSE SHOT
On the running board. He is

lecturing her on courage. She
is deeply engrossed in his
words. He is the first to see
the approaching gendarmes and
Nana. Diane sees the look of
surprise on his face, turns
and follows his gaze. The old
cowed and terrified expression
comes over her face, and she
rises quickly, her hand to her
heart.
SCENE 90
EXT. PARIS STREET
ANGLE
Chico remains sitting where he

was. Diane stands waiting in
terror while the gendarmes, Nana
and the crowd enter from the
right background. While one
gendarme retains his hold on
Nana's arm, the other steps
nearer to Diane, takes out
his notebook and asks her name.
She gives it. He asks her
occupation. She hesitates
and answers "seamstress". He
asks her where she works. She
answers: DIANE
I have no job at present.
SCENE 90 (Cont'd)
Back to scene. The gendarme
looks her up and down dubiously,
and then takes her arm saying: GENDARME
Then you'd better come along
with me.
Back to scene. Diane is

terrified, instinctively
draws away.
SCENE 91
CHICO
CLOSEUP
Torn between the impulse to in-

terfere and the desire to keep
out of it he rises, steps between
the gendarme and Diane and
remonstrates. The gendarme tells
him, kindly enough: GENDARME
Sorry, Chico, but it's my
duty she's a vagrant.
Back to scene. He starts to

push Chico aside, but Chico
restrains him saying: CHICO
No, you can't arrest her
she's not a vagrant. She's

waits for him to finish, but
he hesitates. GENDARME
What?
Much against his will, Chico

blurts out: CHICO
She's my wife!

releases Diane's arm and smiles
at Chico apologetically. He
asks with a wave of his hand. GENDARME
Why didn't you say so in the
first place?
and turns away toward the other
gendarme and Nana. Diane stands
looking at Chico as if she can
scarcely believe her ears. Chico
looks as if he would give anything
on the world to retract what he
said. But Nana, just as they are
about to lead her away, turns
snarling toward Chico and Diane
and cries:
SCENE 91 (Cont'd)
NANA
It's a lie she is not his wife!
Back to scene. Chico and

Diane stand dismayed. The
gendarme says: GENDARME
What's this?
He turns to them suspiciously:
then slowly approaches them
again. His eyes bore into
Diane as he asks: Where do you and your husband live?
Back to scene. Diane falters

and cannot reply. Chico inter-
poses quickly: CHICO
32 Rue Notre Dame de Lorette.
Very deliberately the gendarme

writes the address in his note-
book. Then he closes it with
a snap and says to Chico: GENDARME
This will be investigated. If
you are lying, you'll get in
trouble.

waits until these words have
sunk in; then he turns back
to Nana and takes her other
arm, saying: Come along, you.
They drag her off protesting,

the crowd follows.
SCENE 92
CHICO AND DIANE
CLOSE SHOT
Chico stand looking after the

gendarmes in blank dismay.
Diane's eyes are lowered. She
dare not look at him. He
exclaims despairingly: CHICO
Now what did I do that for?
Back to scene. He gets no

answer from her, nor does he
expect one. Ignoring her,
pacing up and down, he wails
over and over to himself: Oh, what have I done Oh, what
have I done?
Diane looks up timidly and

suggests:
SCENE 92 (Cont'd)
DIANE
It'll be all right, I'll go away.
He stops in front of her

and thunders: CHICO
You fool! When they come to
my house and find I have no
wife, they'll take the hose
away from me.
Back to scene. He sits
dejectedly on the running
board, his elbows on his
knees, his hands in his
hair, rocking from side
to side as he laments
what a fool he has been.
Diane goes a step nearer
to him and suggests timidly: DIANE
Couldn't you let me stay at
your house until the police
come? Then I'd go away
and not trouble you.
Back to scene. He brightens
a little at this suggestion,
but the next moment discovers
the flaw in it. CHICO
That won't do our marriage
is not on the records.
Back to scene. He is all
gloom again until Diane
proposes: DIANE
We could say we were married
in Italy or Belgium or
somewhere.
Back to scene. His face
clears as if by magic. He
rises highly elated, looks
at her with new interest
and says admiringly: CHICO
You have a great head.
Back to scene. Diane

responds to this praise
in an unexpected manner.
Tears fill her eyes and
she says gulpingly: DIANE
You have a great heart.
Back to scene. Diane takes his

hand and attempts to kiss it.
He draws it away exclaiming: CHICO
Don't do that. You mustn't do that.
He wipes against his trousers the back
of his hand where she had kissed it.
SCENE 93
EXT. PARIS STREET
ANGLE
Bouls enters from the wine shop

and comes toward Chico protesting: BOUL
What's the matter with you?
Where did you get to?
Chico ignores the question,

points to Eloise and demands
that he crank her up. When
Boul hesitates, not quite sure
what he means, Chico pushes
him toward the front of the
taxicab and instructs him
to crank her up.
SCENE 94
BOUL
CLOSEUP
As he comes in front of Eloise,

takes ahold of the crank, looks
up in Chico's direction and says: BOUL
Optimist!
Back to scene. Boul turns the
crank once, twice and to his
utter amazement Eloise starts
to go. Boul takes a step back
in amazement exclaiming, A miracle!
SCENE 95
BOUL, DIANE AND CHICO
CLOSE SHOT
With a broad expansive gesture,

chest up, shoulders back, head
high Chico commands: CHICO
Drive me home me and my bride!
Back to scene. At the word

"bride", Boul gapes at Diane
almost bursting with astonish-
ment. Chico ignores him.
Still staring, he climbs into
the driver's seat and begins
to fumble with the gears. A
sudden doubt strikes Chico.
He looks at Diane distrust-
fully and leans nearer to
whisper warningly: CHICO
You know you are not to take this
seriously? You won't take
advantage of me?
SCENE 95 (Cont'd)
Back to scene. Very earnestly

Diane promises she will not. He
breathes a sigh of relief, then
takes her by the hand and assists
her into the taxi like a queen.
Chico pauses, one foot on the
running board, to give final
instructions to Boul: CHICO
First to the Champs Elysees,
then to the Place de la
Concorde; then drive to the
Arc de Triomphe, then home
And the devil take the expense!
He jumps into the cab, closes
the door with a slam. The
taxi moves out of the scene
with a jolt which knocks them
back into their seats.
SCENE 96
EXT. PARIS STREET
LONG SHOT
Eloise jolts towards the corner,

stops dead and then starts again
with a violent leap and slowly,
shakingly, creeps away, leaving
the street empty save for the
Rat who has come out of the wine
shop and stands staring after
her in amazement.
FADE OUT
FADE IN:
SCENE 97
STREET BEFORE CHICO'S HOUSE
LATE AFTERNOON. MEDIUM SHOT.
Eloise comes out of the background

toward the camera, apparently headed
for destruction. Boul pulls franti-
cally on his emergency brake, but
fails to check her speed, whereupon
he maneuvers so that the front
wheels graze the curb, thus bring-
ing her to a gradual jolting stop
so close to the camera that the
front of her almost fills the screen.
SCENE 97 (Cont'd)
Boul turns his head to watch his

passengers alight. He waves in
response to their farewells, then
throws Eloise into gear and starts
her out.
SCENE 98
EXT. STREET
MEDIUM SHOT
Shooting toward Chico's home.

Eloise moves jerkingly out of
scene with a farewell backfire
of smoke through which, for the
first time we see Chico and
Diane on the sidewalk. Chico
is waving goodbye. When the
car has vanished from the scene,
he turns to Diane and with a
grandiose gesture invites her
to enter. They enter closing
the door behind them.
SCENE 99
INT. CHICO's HOUSE
MOVING CAMERA
The scene begins with a MEDIUM

SHOT of the lower hallway with
Chico and Diane in the foreground
as they enter from the street and
close the door behind them. The
closing of the door will leave
the lower hallway quite dim. In
response to Chico's gestures
toward the stairs, Diane looks up.
The camera PANS from her angle

until it reveals the whole
well of the staircase, seven
stories high, climbing from
darkness into the light let in by
a skylight on the seventh floor.
SCENE 99 (Cont'd)
The camera PANS down as

Diane's gaze is lowered
until it takes in only
the first flight of stairs
up which Diane and Chico
start moving. The camera
follows them up. They
move quickly at first.
Diane is animated by a
sort of eager curiosity,
Chico by the pride of
ownership.
At the first landing,

indicated by a legend
printed on the wall in
fading letters "1-Etage"
they pause a moment.
Here an apartment door
stands open and the
occupant looks out at
them with curiosity.
She is a very pretty
girl, but of a flashy
type. She has not quite
finished dressing, but
that fact does not seem
to disturb her. So
much of her apartment
as can be seen through
the open door is also
flashy and tawdry. She
gives Chico a dazzling
smile of welcome, but
he only raises his hat
gravely and passes on
with Diane.
(continued)
SCENE 99 (Cont'd)
The camera follows them up the next

flight. They pass the landing marked
"2-Etage" without pausing.
They mount the third flight. Here Diane

slackens her pace, a bit out of breath,
and under the legend "3-Etage", pauses
for breath. On this floor the owner
of the apartment is an old man who makes
mechanical birds which flap their wings
and sing. His work-room adjoins the hall
in the background and his old wife can be
seen busy with her housekeeping. Chico
points out a mechanical bird to Diane
and elicits a faint smile from her. Then
he waves a cheery greeting to the old
toy-maker and leads Diane on up the next
flight.
Now the camera keeps pace with Chico who

in his eagerness sometimes is a bit ahead
of Diane, who is fast wearying.
Thus they pass the landings marked "4-Etage"

and "5-Etage". And the higher up they go
the brighter becomes the light. On this
floor Diane's progress is very slow indeed.
Chico has to take her by the elbow and help
her. Finding that even this sort of progress
is too slow, he picks her up and carries her
up the last half of the sixth flight, an
act which frightens Diane and causes her to
protest weakly that she is able to walk.
Accordingly he sets her down on the land-
ing marked "6-Etage" and runs up the seventh
flight ahead of her.
Panting and weary Diane starts to follow.

Camera moves with her. The scene is now
brightly lighted for they are almost under
the sky-light. Halfway up the seventh
flight, the illumination becomes brilliant
for Chico, running on ahead, has thrown
open his door, letting in the light from
his room. It is thus that Diane sees him
as she reaches the last steps of her climb,
standing in his doorway, a bright light
behind him, pointing the way, like an angel
at the gates of Paradise.
This last angle should be idealized, glori-

fied, more to represent Diane's over-emotional
impression of the thing than the prosaic reality.
SCENE 99 (Cont'd)
Chico waits until Diane has entered his room,

then enters himself, and closes the door behind him.
(NOTE: A moving camera shot up seven flights

of stairs is apt to run into much footage.
It is therefore suggested that, for protection,
a series of dissolves be taken indicating the
progress of Chico and Diane from landing to
landing, and keeping the printed number of
the floor on each landing prominently in view.
Thus the actual walk up the stairs can be
eliminated, except on the seventh flight which
is absolutely essential.
It is also recommended for the sake of variety

that the angle be changed in the moving camera
shot as frequently as possible. In other words,
as camera follows Chico and Diane, it can shoot
now at their feet alone; now at their heads
alone; now at their full figures; now behind
them; now in front of them; now up at them
and now down on them. The most effective
changes of angle can be determined with cer-
tainty only on the actual set.)
SCENE 100
INT. CHICO'S ROOM MEDIUM SHOT
It is meagerly furnished, but very clean.

There are two windows with little iron
balconies outside them. One looks toward
the crest of Montmartre with the dome of
the Sacre Coeur at its apex; the other
looks over the Seine with the Eiffel tower
in the far distance. Sunset gilds the
roof tops and the bare walls of the attic.
Chico and Diane enter from the hall. She

is tired and out of breath; but even as
she leans against the wall near the door
resting, her eyes sweep the room, its
furnishings and its view.
SCENE 101
CLOSEUP DIANE
As she takes in her surroundings with

admiration and a sort of awe.
SCENE 102
INT. CHICO'S ROOM MED. SHOT
Chico notes with satisfaction that

she is impressed. He waves his hand
about the room with a proprietary air,
beckons to her to follow him and admire
his favorite view. He starts toward
the upper window. She follows him.
103
THE BALCONY CLOSE SHOT
Framing on the window. A narrow plank

or two constitutes a perilous bridge
to the adjoining roof. In the back-
ground Montmartre mounts to the sky.
Chico and Diane step out on the balcony

and stand admiring the view.
104
ROOFS OF MONTMARTRE LONG SHOT
From their angle, gilded by the

setting sun.
105
CHICO AND DIANE ON BALCONY
CLOSE SHOT
Still looking at the view, Diane

murmurs rapturously: DIANE
It's like heaven!
Chico nods understandingly, points

to the plank bridge and declares: CHICO
This is my back door.
In pantomime he indicates that

one goes over the bridge to the
adjoining roof, around a chimney
pot, down a ladder and so to the
inner staircase of a building three
doors away, and down to the street.
Diane looks at the bridge with a
little shudder. "Nonsense," he
asserts, beckoning her to follow.
She shudders at the idea. He urges
her. She tries to obey but lacks
the courage. He shrugs and comes
SCENE 105 (Cont'd)
back to her shaking his head dis-

approvingly: "Everything is easy
if you are not afraid. I am never
afraid! That's what makes me a very
remarkable fellow." He makes her sit
beside him on the ledge of the bal-
cony. In trembling fascination she
looks down.
SCENE 106
EXT. STREET AND SIDE OF BUILDING
FROM DIANE'S ANGLE
It is a sheer drop seven stories down.
SCENE 107
EXT. BALCONY CHICO AND DIANE
CLOSE SHOT
Diane shudders giddily and closes

her eyes. Chico, observing her
closely, shakes his head in dis-
approval. He puts his hand under
her chin, tilts it up, pries open
her eyes, and says: "Never look
down always look up!" He waves
across the roof tops toward the
horizon. Diane obeys.
SCENE 108
ROOF TOPS OF MONTMARTRE FROM THEIR
ANGLE LONG SHOT
The sun is rapidly setting. The

gilt on the dome of the Sacre Coeur
is beginning to fade. Gradually
darkness falls, and tiny lights be-
gin to appear in the windows. The
silver ribbons of the street lights
flash on, one by one, in symmetrical
rows. It is night.
(NOTE: - for protection dissolve this

shot from sunset into night. The ef-
fect to be sought after is, however,
not of dissolve but a gradual light
change over a panorama in miniature.)
SCENE 109
EXT. BALCONY NIGHT CLOSE SHOT
Shooting toward the window from the

outside. Diane and Chico sit on the
ledge as before, watching the view
in dreamy, brooding silence. At least
Diane is dreamy. Chico has seen the
view often before. Though he has come
to regard it as his own particular view
the novelty of showing it to another
soon wears off. Moreover, he is tired.
It has been a very exciting day. He
yawns, stretches himself and
moves into the room which is now in
darkness. Diane's gaze follows him,
though she keeps her seat on the ledge.
She sees him lighting the lamp. The
room is now softly illuminated. Now
she sees him take off his blouse, and
wash his face and hands in the basin
which stands opposite the bed. Next
he dries his face, takes a night-shirt
out of the box which serves him as a
bureau, shakes it out, lays it across
the bed, takes up one of the bed
coverings and walks toward Diane, trail-
ing it behind him.
SCENE 110
DIANE CLOSEUP
As she watches these proceedings. She

is a little cynical and a little dis-
appointed. After all, he is going to
be like all the rest.
(INTERCUT THIS WITH PREVIOUS SCENE)
SCENE 111
INT. CHICO'S ROOM NIGHT ANGLE
(TOWARD WINDOW)
Diane sits very still on the balcony

ledge. Chico comes as far as the
window and beckons her to enter. Slowly,
mechanically, resignedly, she does so.
Just inside the window she pauses,
waiting for further instructions. He
points toward the nightgown and the bed
indicating for her to get undressed and
go to bed. Diane hesitates. But with-
out waiting to see whether she is obey-
ing, Chico exits from the scene trailing
his quilt. She stares after him in surprise.
SCENE 112
INT.CHICO'S ROOM MED. CLOSE
SHOT
Shooting toward other window from

Diane's angle. Chico enters the
scene trailing his quilt, goes out
on the other balcony, spreads his
quilt, kicks off his shoes, and makes
unmistakable preparations for going
to sleep out there.
113
DIANE CLOSE SHOT
As she realizes that Chico is indeed

"a very remarkable fellow." A soft,
sad, grateful smile illuminates her
face. She moves toward the bed.
114
Taking in both windows and the bed,

Diane starts to undress near the
bed. Chico is settling himself to
rest on the balcony.
115
CHICO ON BALCONY CLOSE SHOT
The floor of the balcony is hard.

The quilt scarcely helps. Chico
twists and turns trying to find a
comfortable spot. In his twisting,
his bare feet protrude from under
his quilt. Chico kicks the quilt down
angrily, as he mutters to himself: CHICO
I'm always doing the thing I
don't want to do.
Grumbling, he continues to
settle himself.
116
INT. CHICO'S ROOM CLOSE SHOT
AT THE BED
The night shirt is just descending

over Diane and swallows her
up in its fullness. She manages
to wriggle her head and arms through,
and emerges a quaint but very pretty
picture. She starts to get into
SCENE 116 (Cont'd)
bed, but pauses and looks toward

Chico. A tender little smile of
pity animates her face. She takes
the other quilt off the bed and
exits from the scene carrying it.
SCENE 117
EXT. BALCONY CLOSE SHOT
SHOOTING FROM THE ROOM NIGHT
Chico is curled up on the floor

of the balcony. Diane enters the
scene carrying her quilt. He opens
one eye to watch her, then closes it,
pretending to be asleep. She bends
over him, spreads the quilt over him.
Her face is quite expressionless.
She goes back into the room.
When she has gone, he settles him-
self more comfortably, rocks his
head from side to side cockily,
grins with self-satisfaction and
says to himself so slowly that his
lips are plain to read: "I am a
very remarkable fellow."
FADE OUT
SCENE 118
FADE IN EXT. BALCONY
CLOSE SHOT SHOOTING FROM THE
ROOM MORNING
Chico lies curled up under his

covers on the balcony. The rising
sun shines in his eyes. He wakes
blinkingly, starts to uncurl him-
self, stretches and frowns wryly
at how stiff he feels. Painfully
he sits up frowning. Then a puzzled
expression comes into his face and
he starts sniffing curiously:
INSERT: CLOSEUP of a coffee pot on

stove. It is about to boil
over. Diane's hand comes
into the scene, pouring cold
water from a cup. The grounds
settle and steam sizzles up.
BACK TO SCENE: Chico smells the coffee.

Grinning he springs to his feet and enters the
room.
SCENE 119
Diane is carrying the coffee pot

to the table where breakfast has
been laid for one. It consists of
two crescent-shaped rolls, a pat
of butter and coffee. The plate
on which the rolls and butter re-
pose is cracked and chipped at the
edge. The cup and saucer do not
match.
Chico enters from the balcony,

stands a moment watching Diane
pour the coffee; then, nonchalantly,
as if it were quite the thing he
had expected of her, he saunters
to the washstand and begins to wash.
SCENE 120
AT THE TABLE CLOSE SHOT
Chico, while washing, casts cur-

ious and surreptitious glances
in Diane's direction. He is
pleased and flattered by her ser-
vice, but also a little suspicious.
SCENE 121
Diane pours the coffee, sets the

milk and sugar where it will be
handy, and steps back from the
table anticipating Chico's en-
trance into the scene. He comes
in, finishes drying himself, flings
the towel out of scene, and sits
down to his breakfast without a
word. Diane stands watching him.
He breaks off a bit of the roll,
butters it, thrusts it into his
mouth, takes a sip of the coffee,
finds it very delicious to his taste,
and cannot resist an exclamation
of approval. Then he looks up at
her through narrowed eyes as he
says earnestly: CHICO
You needn't think you can get
around me this way I'll not
let you stay.
Diane nods with wistful ear-
nestness, assuring him that
she understands perfectly. He
SCENE 121 (Cont'd)
resumes his breakfast. Both

hear something and look out of
scene toward
SCENE 122
UPPER BALCONY FROM THEIR ANGLE
On the opposite of the plank

bridge stands Gobin looking to-
ward them and saying with a wave
of his hand "Good morning, comrade."
SCENE 122
INT. CHICO'S ROOM TABLE IN
FOREGROUND UPPER BALCONY AND
BRIDGE IN BACKGROUND ANGLE
Chico rises, wipes his mouth with

the back of his hand and turns,
delighted at the prospect of such
a distinguished visitor. He beck-
ons cordially with his hand "come
in, Monsieur Gobin". Gobin starts
across the bridge, reaches the
balcony, enters the room and comes
down to them. He shakes hands with
Chico very pompously and says: GOBIN
I've always known we were neigh-
bors, comrade. This morning
I thought I'd stop for you and
escort you to the hose.
Chico beams, bows his thanks,
leaving his breakfast unfinished
he grabs his coat and announces
that he is ready, indicating the
way to the door. Gobin starts
toward it, exiting from the scene.
Chico is about to follow, but re-
members something, turns back,
takes one more gulp of that de-
licious coffee and then hurries
out of scene. When he turns back
Diana brightens, thinking that
he has paused to say goodbye to
her, but as he ignores her and
goes to the coffee instead, her
face falls. Her eyes are on the
floor as he starts to exit.
SCENE 124
AT THE DOOR CLOSE SHOT
Gobin is watching Chico who enters

to him. Gobin looks back in sur-
prise and says: GOBIN
You are not going without kissing
your wife goodbye?
Chico is in a predicament. He
wavers, turns uneasily towards
Diane, hesitates, then starts
toward her very sheepishly.
Gobin watches him go with a
benevolent smile.
SCENE 125
Diane, too, is embarrassed. She

turns away slowly as Chico enters
the scene. He approaches her,
hesitates again, and gives her a
sudden peck on the cheek.
SCENE 126
GOBIN CLOSE SHOT
As he watches them a moment smil-

ing, and then with overdone tact
turns his back.
SCENE 127
CHICO AND DIANE CLOSE SHOT
Chico looks toward Gobin, sees

that his back is turned and whis-
pers quickly, earnestly in Diane's ear: CHICO
I didn't mean it, you know
You can't stay here!
She nods and averts her head,

close to tears. Chico exits
quickly toward the door.
SCENE 128
INT. CHICO'S ROOM ANGLE
Diane is in left foreground; Gobin

is at right; upper window is in
background. She watches Chico and
SCENE 128 (Cont'd)
Gobin leave the room and close

the door behind them. For a
moment she stands pensive. Then
she turns and walks slowly toward
the upper balcony.
SCENE 129
UPPER BALCONY CLOSE SHOT
SHOOTING FROM THE ROOM
Diane comes out on the balcony,

stands looking at the bridge, re-
members Chico's lecture on cour-
age. Involuntarily she looks down
to the street over the edge of the
balcony and shudders. Then by an
effort of will she raises her eyes
again, squares her shoulders with
a determined little shake, lifts
up her chin with her own hand and
faces the ordeal of crossing that
bridge. With one foot on it, she
pauses irresolute. She starts to
raise the other foot but shrinks
involuntarily. Then with a great
effort she forces herself to go on.
Two timid steps and she is in the
middle of the bridge.
SCENE 130
DIANE CLOSEUP
She stands swaying in the middle

of the bridge between the two
buildings. She is completely
frightened but is saying gamely
to herself: DIANE
I'm not afraid I'm not afraid!
The words seem to give her more

courage. Steadily now she fin-
ishes the walk across the bridge
and on the other side turns back.
As she starts walking steadily
courageously back toward the balcony
FADE OUT
SCENE 131
FADE IN:
EXT. PARIS STREET LONG SHOT
MORNING
A waiter is cleaning the tables on

the pavement before the wine shop.
Out of the alley between the wine
shop and the church come Chico and
Gobin, wheeling a complicated
arrangement of hose on wheels which
is to be Chico's tool in the future.
SCENE 132
AT THE PAVEMENT BEFORE THE ALLEY
CLOSE SHOT
Chico regards his hose with great

pride and admiration. Gobin is about
to instruct him in its use, but Chico
waves his hand airily. He knows quite
well how to use it. Gobin shakes his
hand formally.
GOBIN
Well, good luck to you, Comrade.
and stalks off. Chico turns
on the water, levels the nozzle
of the hose and begins his work.
No artist could be prouder or
more painstaking. The camera
follows him as he moves along
the pavement, hosing as he goes.
Here is a spot which is not quite
washed. Chico painstakingly goes
back and washes it over again. Here
is a spot where a bit of newspaper
is stuck on a cobblestone. Chico
scrapes the newspaper loose with
the sole of his boot, then hoses
it out of sight. By this time he
has reached the curb opposite the
manhole.
SCENE 133
EXTERIOR PARIS STREET. ANGLE
Chico washes the street with the

same slow majestic dignity which
Gobin had displayed. Father Chevillon
appears in the church door and gives
him a cordial, smiling greeting.
Chico pauses, raises his hat and
returns the greeting with dignity.
SCENE 133 (Cont'd)
The Rat's head emerges from the

manhole. He calls a derisive
greeting to Chico. Chico turns his
head toward him, gives him a non-
chalant nod and goes on with his
work. The Rat is plainly envious.
RAT
Think you're a hell of a lot with
those hose, don't you?
Chico ignores him.
Yah.
Screams the Rat, and wiggles
his fingers to his nose, but
without looking in his direction
Chico calmly moves the nozzle of
the hose so that a stream of water
hits The Rat and literally washes
him into his sewer. Chico, as if
nothing had happened, calmly resumes
his hosing of the street. In the
church doorway, Father Chevillon
laughs so heartily that his fat
belly shakes.
FADE OUT.
(TAKE CLOSEUP ACTION OF THE FORE-

GOING SCENE FOR PROTECTION)
Scene 134
FADE IN:
EXT. CHICO'S HOUSE, NIGHT. MED. SHOT
A gendarme enters the scene, look-

ing at house numbers, compares the
number over the door with a number
in the memorandum book which he holds
in his hand, assures himself that it
is correct and enters.
SCENE 135
INT. CHICO'S ROOM. NIGHT. CLOSE UP
A bleary framed mirror reflects

Chico's face, quite pleased with
himself. A towel is wrapped around
his neck. He holds himself very
still as a pair of scissors come
into the scene and begin clipping
his hair. Chico watches anxiously
as the scissors threaten a favorite
lock, but they avoid the lock and
carefully clip around it. Chico
SCENE 135 (Cont'd)
smiles and speaks a word of commenda-

tion over his shoulder.
SCENE 136
INT. CHICO'S ROOM. CLOSE SHOT
Diane is cutting Chico's hair, ever

so timidly, ever so adoringly when
she feels that he cannot see her.
Her hand, for instance, lingers a
bit longer than is absolutely necessary
on the back of his head on the pretense
of smoothing his hair into place. Judicious-
ly he is studying the effect in the mirror.
He commands her to look in the mirror also.
SCENE 137
INT. CHICO'S ROOM. CLOSE UP
The mirror which reflects Chico's judiciously

frowning face. Diane's reflection comes in over
his shoulder, smiling her complete approval,
fixing a lock of hair here and there. Chico melts
into a contented smile. Her eyes, soft and shining,
meet his in the mirror. Suddenly a startled look
comes into both pairs of eyes and both turn
toward the door.
INSERT: CLOSE UP, Gendarme's

hand knocking on the door.
SCENE 138
INT. CHICO'S ROOM. MEDIUM SHOT
Chico and Diane look at each other in

perturbation. Then with lofty scorn of
her nervousness, he whips the towel off
his neck, strides boldly to the door and
flings it open, revealing the gendarme.
SCENE 139
Diane, her eyes widened with fear.
SCENE 140
INT CHICO'S ROOM, AT THE DOORWAY
CLOSE SHOT
The gendarme has out a book from which

he looks up to Chico and questions
him. He asks Chico's name. Chico gives
it. The gendarme makes a check mark
SCENE 140 (Cont'd)
opposite one memorandum in his book.

Then he looks toward Diane and asks
Chico: GENDARME
Is this your wife?
SCENE 141
Diane tries her best to look brave,

but makes a bad job of it.
SCENE 142
Chico looks toward Diane, stiffens

his figure and squares his shoulders
as if thereby to convey a suggestion
of courage to her. The gendarme's
eye roves suspiciously from Diane to
Chico. "Yes" answers Chico, "That's
my wife." The gendarme asks another
question. Chico replies.
SCENE 143
Diane, under the gendarme's gaze, she

swallows her fear, stiffens and nods
emphatically in confirmation.
SCENE 144
At the doorway. The gendarme smiles

indulgently, knowingly, marks the
information in his book, grins
at both of them, salutes and exits,
with a "good night", closing the
door behind him. When he has gone,
Chico laughs aloud, makes a mocking
bow to the closed door, struts a step
or two, patting himself on the chest,
proud of the way he has carried the
situation off. Full of himself, he
does not notice Diane.
SCENE 145
Diane. All the happiness and buoyancy

has gone from her. She knows now that
the end has come. With dull resignation
she turns slowly from the scene.
SCENE 146
INT. CHICO'S ROOM. MEDIUM SHOT
Still laughing, Chico turns from

the door, picks up the towel, puts
it around his neck, raises the
mirror and seats himself. "Are
you ready?" he calls to Diane
over his shoulder, and waits. Then,
realizing that she has been a long
time, he turns sharply in her
direction. What he sees puzzles
him. He rises slowly.
SCENE 147
Diane from his angle. She is putting

on her hat, slowly, sadly.
SCENE 148
Chico, all his fine dash, his

spirit is gone, as his hurt lonely-
seeming eyes follow her movements.
A long moment.
SCENE 149
Diane is all ready to go. She comes

slowly into the middle of the room
uncertain as to whether she can trust
herself to say goodbye. Little furtive
glances flutter toward him out of
scene and are as quickly averted
while she bites her lips hard and
tries to control herself. Near the
door she pauses at last, her face
twisted pitifully with her struggle
to keep her feelings hidden. She
must think courage and she will be
courageous! She manages to smile
a ghost of a smile and says, "Goodbye,
Chico."
SCENE 150
CHICO. CLOSE UP
Without a word, without a movement,

he is watching her. Now that she
is at the door, he frowns as if
ashamed of his real feelings, and
exits from the scene toward her.
SCENE 151
INT. CHICO'S ROOM, AT THE DOOR
CLOSE SHOT
Chico enters to Diane and asks gruffly,

not trusting himself to look at her. CHICO
Where will you go at this time
of night?
BACK TO SCENE. Diane shakes her

head. She doesn't know. She'll be
all right. "Good-bye." She turns to
go. For a moment it seems as if
Chico will reach out for her, restrain
her, and take her in his arms. But he
checks the impulse, turns away and looks
down at the floor while he says awkwardly: CHICO
If you want to stay you're
not in my way.
BACK TO SCENE. A sudden radiance

comes over face. She looks at
him, eyes shining. But he does not
look at her. With exaggerated
indifference he exits slowly from the
scene.
SCENE 152
INT. CHICO'S ROOM. ANGLE
Chico walks slowly to the table,

where the mirror is lying, picks it
up and pretends to be absorbed in his
hair-cut. Diane turns eagerly from the
doorway, scarcely able to believe her
good fortune. While she takes off her
hat and lays aside her things, he puts
the towel back around his neck and
sits down. She crosses to him, picks
up the scissors. She is very eager
and tremulous. He is very cool and
matter-of-fact on the surface. She
raises the scissors with a trembling
hand. Instead of cutting, she stands
looking down at him, scissors upraised.
Chico notices the delay and looks up
at her over his shoulder. Diane says
fervently:
SCENE 152 (Cont'd)
DIANE
Chico, it must have been God
who brought you to me.
SCENE 153
INT. CHICO'S ROOM CLOSE UP
Diane finished the foregoing

title. Chico tosses his head
condescendingly as he replies: CHICO
Don't bother your head with
such big thoughts. Leave them
to me.
BACK TO SCENE. Diane accepts

these instructions with uncritical
simplicity. "I will" she nods
eagerly. Chico smiles to indicate
that this is as it should be. As she
begins to cut his hair,
FADE OUT
SCENE 154
FADE IN:
CLOSEUP
The nozzle of Chico's hose held in

Chico's hand. It sprays the streets
with water, moving slowly over the
cobblestones. The camera follows it
until it halts by a blockade of
densely packed feet and legs, some
of them on tip-toe as if the owners of
them were craning to see over the heads
of a crowd.
DISSOLVE TO:
EXT. PARIS STREET. MEDIUM SHOT
Chico is in the foreground. He has

been compelled to stop his work because
the crowd of people block the street,
their backs to the camera. They are
pushing, stretching and craning to
see something which is not yet visible
to the camera.
SCENE 154 (Cont'd)
On the fringe of the crowd a coachman

stops his horse, jumps down from his
box and leaves his fiacre in the
middle of the street, while he pushes
into the crowd.
A chauffeur standing up in front of his

taxicab is looking over the heads of
the crowd.
One big man in his shirt sleeves

shoulders his way out of the crowd.
He has a stunned expression on his
face as he walks off shaking his head.
Chico's curiosity is aroused. He calls

to the crowd to make way for the hose.
No one pays any attention to him, where-
upon he levels his hose at the nearest
heels, which give way before the water.
Thus he scatters the crowd, grumbling,
to the right and left, clearing a passageway
for himself into the very front line. Here
he stops and looks up at the thing which
has attracted so much attention a
placard tacked on the side of a building:
INSERT: CLOSEUP of the placard.

It is an official proclamation calling
upon all Reservists of the First,
Second, and Third Classes to report
on the morning of July 31st, 1914.
The text of this proclamation in

authentic form is seen first in French
and DISSOLVES INTO ENGLISH.
The shadow of Chico's hand is

thrown over the placard. It moves a
little in the effort of reading, then
becomes still very still.
SCENE 155
EXT. PARIS STREET. FULL LENGTH
CLOSE UP
Towards Chico's back as he stands

motionless before the placard. On one
side of Chico is a little man with spec-
tacles who is copying the text of the
placard word for word, in a dirty
little notebook. On the other side of
him is a seamstress, a bit
SCENE 155 (Cont'd)
of work still in her hands. She

is staring at the placard like one
struck dumb. Slowly Chico turns
toward the camera, his face very
grave and thoughtful. Then he exits
from the scene, past the camera.
RUN a few feet on the placard

and then
DISSOLVE INTO:
INTERIOR GROCERY STORE. DAY. ANGLE
A young housewife comes up to the

counter to be served by the grocer.
She asks for sugar, gesturing toward
the bin. The grocer points to the
price mark which has been crossed out,
and an amount twice as large written
over it. The young wife bristles indig-
nantly at the price. She shakes her
head, refusing to pay, and exits indig-
nantly from the scene. An old woman
steps up to the place she has left at the
counter. She shakes her head pityingly
after the young housewife. She lays her
basket on the counter. Eagerly she indi-
cates to the grocer that she will take all
the sugar her basket will hold and four
sacks of white flour besides. He raises
his eyebrows in amazement at the size
of her order. She nods ruefully and says: WOMAN
Soon we won't be able to buy
at any price I have been
through it before War is
Hunger!
BACK TO SCENE: The grocer nods
sorrowfully and begins to fill her
order.
SCENE 156
CASHIER'S DESK IN SAME GROCERY
STORE. CLOSE SHOT. ANOTHER ANGLE.
The grocer and the old woman are in

the background. In the foreground a
customer with an armful of purchases
is paying with a large bank-note.
SCENE 156 (Cont'd)
The cashier is counting out the

change in gold and silver coins.
The grocer sees this and comes
hastily towards the cashier's cage
calling to the cashier to wait a
minute. The cashier waits until
the grocer enters the cage.
The grocer whispers to him: GROCER
Don't give out any gold.
He picks up the gold pieces
and puts them in a safe under
the cashier's till. The cashier
makes change in paper money and
the customer departs. The grocer
opens the till, and removes all
the gold and silver coins to be
found there. As he starts to
put them in the safe, he says
gruffly to his cashier: GROCER
Soon there will be no more
gold to be had War is Panic!
Back to scene. As he puts the

gold into the safe which already
contains a hoard of such coins,
DISSOLVE TO:
SCENE 156-A
BENCH IN PUBLIC SQUARE
CLOSE SHOT
A tall blonde-bearded man sits

opposite a girl. He is not
looking at her. He is holding
her hand, slowly fumbling her
ring. She is watching the
smoke of his cigarette just
watching without a word. Her
eyes are wet with tears. RUN
a few feet on them in this
attitude before the man turns
his head to look at her, sees
her tears, bites his lip, nods
and says: MAN
Yes, my dear War is
Separation!
Back to scene. He turns his
head again and looks sadly
into space as before. She
continues to look at the curl-
ing smoke of his cigarette.
They sit quite still. RUN a
few feet and DISSOLVE TO:
SCENE 156-B
INT. CHICO'S HOUSE
SECOND FLOOR APARTMENT
CLOSE SHOT
The pretty girl whom we saw

in Scene 99, has evidently
just come in from the street
for she is dressed in her
tawdry finery and her hand
bag still swings from her
wrist. She is wringing her
hands and lamenting tearfully
to the old woman who is scrub-
bing her floor: GIRL
What will I do now, with war coming
on? No one will look at me now!
The old scrub woman looks at
her cynically, balancing her
dripping washcloth as she says: SCRUB WOMAN
You needn't cry you'll have
more men now than you ever had
before War is Lust!
Back to scene. While the young
woman looks at her in surprise
not quite understanding what she
means, the old woman slaps the
wet cloth angrily on the floor
and goes on with her work.
DISSOLVE INTO:
SCENE 156-C
INT. CHICO'S HOUSE
THIRD FLOOR APARTMENT
MEDIUM CLOSE SHOT
The old man who makes the

mechanical birds sits at his
work bench. At this close
range it can be seen that
he has only one arm. He
is carving with one hand,
his left sleeve dangling
empty. There is a war medal
and a ribbon of the Legion
of Honour on his lapel.
His son, a stalwart handsome

boy of twenty, comes running
in from the street, excited
and breathless, announcing
the news that war is imminent
and general mobilization has
been ordered. The boy's eyes
are flashing. He is looking
SCENE 156-C (Cont'd)
forward to war as a glorious

adventure. He fingers his
father's medal and hopes that
he may earn one, too. The old
man is thoughtful, thrilled,
remembering his past glories.
He rises to his feet, and puts
his arm around his son's
shoulder. The old mother
comes into the scene while
the boy is still speaking.
On her face is only shock
and horror. Her eyes are
fixed on her husband's coat
sleeve. The boy finishes
speaking and rushes excitedly
out of the scene. The father's
eyes follow him with pride; the
mother's with dull apathetic
brooding apprehension. The
old man sees this, goes to
her, starts to comfort her,
telling her not to worry
he is a big, strong lad, and
that he will be all right.
She shakes her head, refusing
to be consoled and murmurs: THE MOTHER
I still remember War is Death!
Back to scene. She stares
before her with tearless
brooding eyes, as if she is
already looking upon the
mangled corpse of her only boy.
DISSOLVE INTO:
SCENE 156-D
INT. PARIS CITY HALL
MEDIUM CLOSE SHOT
At a doorway marked "BUREAU

OF MARRIAGES". A dense crowd
of couples, young and old, are
pushing their way in and out of
the Marriage Bureau. None of
them is very happy. They
appear like people walking in
a dream. Some have their arms
around each other. Some come
out clutching their precious
licenses, looking dumbly into
each other's faces as if re-
solved to impress each other
indelibly in their memory. Some
SCENE 156-D (Cont'd)
are even crying. But there is no

pushing, no hurrying. It is as if
their common grief and their
common purpose has made them
into one big sympathetic family.
Chico comes into the scene,

reads the sign over the door,
and slowly makes his way into
the Bureau. Just as he leaves
the scene Aunt Valentine enters
it passing the door of the
Marriage Bureau from right to
left. They do not see each other.
DISSOLVE INTO:
SCENE 156-E
INT. PARIS CITY HALL
CLOSE SHOT
At a door marked "PREFECTURE OF

POLICE". The door is closed. Aunt
Valentine enters the scene, reads the
inscription on the door and enters.
SCENE 157-8-9
OUTER OFFICE
PREFECTURE OF POLICE
MEDIUM SHOT
Aunt Valentine enters and an

attendant inquires her business.
She asks for Colonel Brissac,
and presents her card. He takes
the card, bids her wait and exits
into an inner room.
SCENE 160
NEWS VENDOR
CLOSE UP
As he cries: NEWS VENDOR

Russia declares war against
Austria! Germany mobilizing!
France in danger!
Back to scene. As he shouts

he sells papers with feverish haste.
SCENE 161
INT. BRISSAC'S OFFICE
MEDIUM SHOT
Aunt Valentine is shown in.

Brissac turns from the window
to receive her.
SCENE 162
AT BRISSAC'S DESK
CLOSE SHOT
Brissac comes down to the desk

from the background. Aunt
Valentine enters from the right.
He greets her. He bids her sit
down. Seats himself. She
plunges nervously into the
nature of her errand. AUNT VALENTINE
Can you find my niece Diane
for me again? I have persuaded
my husband to take her back.
Back to scene. She waits

anxiously for Brissac's
answer. He nods approvingly
and says: BRISSAC
I am glad to hear it That
girl impressed me very much,
there is fine stuff in her.
Back to scene. He continues

to speak, assuring her that
there will be no difficulty
in finding Diane again.
DISSOLVE INTO:
SCENE 162-A
EXT. CHICO'S HOUSE
DAY. MEDIUM SHOT
Eloise rolls into the scene.

Boul is driving. Chico is
in the back seat, balancing
a big package on his knees.
As before, Boul has to carom
Eloise off the curb in order
to make her stop. She pulls
up with a jerk in front of
Chico's house. Chico alights,
tells Boul he won't be long
and exits into the house.
Chico carries, in addition
to the package, a flower pot
wrapped in paper.
SCENE 163
INT. CHICO'S ROOM
MEDIUM SHOT
Diane sits at the table, mending Chico's

coat. She hears a step on the stair, looks
up. Chico enters, carrying the package
under his arm. He crosses to her.
SCENE 164
INT. CHICO'S ROOM
CLOSE SHOT
At the table. Chico enters to

Diane, puts the package on the
table. He is greatly excited
but is doing his best to appear
matter-of-fact. She notes his
agitation, looks from him to the
package in some surprise. He
points to the flower pot and
tells her to unwrap it, then
pretends to be very busy as
he undoes the large package.
SCENE 165
DIANE
CLOSEUP
As she unwraps the flower pot.

As she inhales the fragrance
of the Narcissus we see how
greatly she appreciates Chico's
thought of her. She raises her
eyes to Chico.
SCENE 166
AT THE TABLE
CLOSE SHOT
Chico meets her glance and looks

bashfully back at the package which
he has unwrapped. From it he takes
out a wedding gown which he holds
up before her. Diane is surprised. She
cannot grasp the significance of the
wedding gown. Chico pretends to be
very gruff as he holds it out to her for
her to take. CHICO
Don't you want to marry me?
Back to scene. For a moment

she cannot reply. She is be-
wildered. He pushes it towards
her with a matter-of-fact air as
SCENE 166 (Cont'd)
he observes: CHICO
You'd better hurry then I
have got to be at the Mobili-
zation Depot at eleven
There's going to be a war.
Back to scene. War is some-

thing outside the scope of
Diane's experience; the fact
that Chico has asked her to
marry him is at the moment
far more important. She
takes in what he said about
the war, looking at him in
a blank puzzled way. Then
her hands enfold the wedding
gown and she clasps it to
her. She gulps in emotional
ecstasy then lowers her head.
CHICO
What's the matter?
She looks up at him hesi-

tates lowers her head again: DIANE
You asked me to marry you, but
Back to scene. Chico demands

impatiently: CHICO
But what?
Diane finishes timidly: DIANE

-- but you never said you loved me.
Back to scene. Chico finds

this notion most unreasonable.
He makes an exasperated ges-
ture with his hands, and then
turns away from her.
SCENE 167
DIANE
CLOSEUP
She is afraid to look at him

as she begs: DIANE
Couldn't you say it just once?
SCENE 168
CHICO
CLOSE UP
Her plea moves him. He knows

that he should say it. He
tries. His lips begin to form
the words "I love" but he
breaks off, for it is too
silly to say, and turns away
from her. After taking a step
or two he turns back towards
her and tries again without
success. He gives up with a shrug. CHICO
I can't say it It's too silly.
SCENE 169
DIANE
CLOSE UP
As she waits eagerly for him

to say the words, and is crest-
fallen that he cannot.
(INTERCUT WITH PRECEDING SCENE)
SCENE 170
CHICO
CLOSE UP
As he sees how disappointed

Diane is, he starts toward her
out of scene.
SCENE 171
DIANE
CLOSE SHOT
As Chico enters to her. He is

frowning as if impatient with
the necessity of talking about
it. He begins, CHICO
This is the way I feel about it
and here his expression

softens. He points to himself: Chico
Back to scene. He points to

her and continues: Diane
Back to scene. He makes a

gesture which takes in the
SCENE 171 (Cont'd)
entire room as he finishes: CHICO

-- Heaven!
SCENE 172
DIANE
CLOSE UP
His words are the dearest,

tenderest, sweetest music
she has ever heard. She
closes her eyes and begs
dreamily: DIANE
Say it again!
SCENE 173
CHICO AND DIANE
CLOSE SHOT
Displeased with the need to

say it again. He does so
manfully, making the same
gestures as before.
SCENE 174
DIANE
CLOSE UP
She hears it even more

ecstatically than before.
Again she murmurs with
half closed eyes: DIANE
Say it again!
SCENE 175
CHICO AND DIANE
CLOSE SHOT
Diane finishes title.

Chico begins angrily, CHICO
Now look here what are you
trying to do?
He stalks sulkily out of
scene, leaving her hugging
the wedding dress to her
heart.
SCENE 176
AT THE WINDOW
CLOSE SHOT
Chico enters the scene still

angry. He looks back toward
her. His expression softens
into tenderness when he sees
how happy she is.
CHICO
Get a move on you or it will
be too late. I have got Boul
waiting for us downstairs.
He finishes by pointing down-
ward to the street.
SCENE 177
DIANE
CLOSE UP
She hears what he says. Then

she asks hopefully: DIANE
Are we going to be married in
a church?
SCENE 178
CHICO
CLOSE UP
As he hears her question,

outraged, and starts back
toward her.
SCENE 179
AT THE TABLE
CLOSE SHOT
Diane anticipates Chico's

entrance into the scene.
He enters. The table is
between them. He replies: CHICO
No. I am an Atheist!

this title and sits down suddenly,
leaning heavily against his
coat on the side of the chair.
He winces and cries out in pain
as he rises again. Something in
the pocket of his coat has hurt
him. He fumbles in the pocket
and produces the small box
of twin medals. He exclaims
in surprise.
SCENE 179 (Cont'd)
Diane asks: DIANE

What's the matter?
Chico frowns and opens the box.
INSERT: CLOSE UP of the open

box in Chico's hand
showing the two medals.
Back to scene. Chico looks at the

medals in superstitious awe. Then
recovers himself and answers: CHICO
Nothing only a coincidence.
Back to scene. He throws the

medals on the table, inflates
his chest, puts the last of this
superstitious feeling behind
him as he tells her: Hurry now, I'll clear out and
let you dress.
SCENE 180
INT. CHICO'S ROOM
MEDIUM SHOT
Diane moves toward the alcove

where the bed is. Chico starts
toward the door.
SCENE 181
EXT. CHICO'S HOUSE
MEDIUM SHOT
Boul is standing at the curb in

front of Eloise. He looks at his
watch impatiently. Brissac's
car drives into the scene and
pulls up behind Eloise. Brissac
alights and helps out Aunt
Valentine. Brissac takes out a
typewritten memorandum, looks
at it, looks for the number of the
house, fails to find one, turns
to Boul, asks if this is number
thirty-two. Boul salutes and says
that it is. Brissac consults his
memorandum again and asks
Boul if he knows whether Chico
lives there. Boul answers: BOUL
That's right. Seventh floor
and adds: I'm waiting for them now

They are going to be married today.
SCENE 182
EXT. CHICO'S HOUSE
MEDIUM CLOSE SHOT
Boul, Brissac and Aunt

Valentine. Aunt Valentine
receives this information
with consternation. She gasps:
AUNT VALENTINE
Married!
Brissac observes: BRISSAC

Luckily, we have come in time.
Back to scene. Boul looks at

them wonderingly. Chico comes
out of the house. Boul points
him out, saying: BOUL
There he is now.
Chico comes down to them, very

happy, not knowing at all who
they are or what their errand is.
He pays no attention to Brissac
and Aunt Valentine, but advances
smilingly to Boul, saying: CHICO
It's all right. She's dressing.
She'll be down in a minute.
Brissac and Aunt Valentine are

looking at him with great interest.
Boul jerks his thumb in their
direction as if to say, "These
people want to see you." Chico
turns to them in surprise.
SCENE 183
EXT. CHICO'S HOUSE
CLOSE SHOT
Chico, Brissac and Aunt Valentine.

Boul and Eloise are in the back-
ground. Brissac addresses Chico: BRISSAC
You are the young man with whom
Diane Vulmir is living?
Chico looks him over slowly, then

gravely acknowledges that he is.
Brissac makes a little gesture
toward Valentine. This is Diane's aunt from the
country. She has come to take her home.
Chico says to them in bewilderment:

SCENE 183 (Cont'd)
CHICO
Take Diane away? But you can't
We are being married today.
BACK TO SCENE
Aunt Valentine is about to burst into

protest and expostulations but Brissac
restrains her with a gesture which says,
"Let me handle this." Suavely, per-
suasively, he addresses Chico: BRISSAC
You love this girl, eh?
BACK TO SCENE
Chico maintains stoutly that he does.

Brissac goes on. Do you love her enough to consider
her interests ahead of your own?
BACK TO SCENE.
Chico thinks this over a moment

before he replies that he does.
Brissac continues relentlessly: Her uncle wants to take her back
educate her clothe her decently
give her the comforts and advan-
tages of the station to which she
belongs and perhaps make her
his heiress someday.
BACK TO SCENE
Chico listens, half dazed.

Brissac continues: Diane is entitled to these things
Would you stand in her way?
BACK TO SCENE
Chico hesitates. He doesn't know

what to say. Brissac mistakes his
hesitation for something else and
adds suavely: Of course, we are prepared to
make it worth your while
BACK TO SCENE
Chico's eyes flash dangerously,

but Brissac goes on: What would you say to ten
thousand francs?
SCENE 184
EXT. CHICO'S HOUSE CLOSE UP
Boul his eyes pop, his mouth opens
with astonishment as he hears "ten
thousand francs". He waits breathlessly
for Chico's answer.
SCENE 185
EXT. CHICO'S HOUSE CLOSE SHOT
Brissac, Chico and Valentine. Chico's
eyes narrow, his fists clench. "Don't say
that again," he breathes menacingly. Aunt
Valentine, with a woman's intuition,
understands him better. She says appealingly,
"I see you love my niece too much to stand
in her way." Chico's hand droops. He knows
that he is beaten. A despairing little shrug
tells them that he has yielded.
(NOTE: All the titles in Scenes 183 to 185

are, strictly speaking, not necessary. In cutting
the picture, it will probably be decided to omit
some of them as well as to shorten the action
of these scenes. For protection, therefore, take
some "shots" of Diane to cut away to. These
"shots" should show her happy, singing, uncon-
scious of any threat to her happiness, as she puts
on her wedding dress, fixes her hair, etc.)
SCENE 186
EXT. CHICO'S HOUSE CLOSE UP
BoulHe is greatly disappointed and utterly
disgusted with Chico for letting so much
money slip through his fingers.
SCENE 187
EXT. CHICO'S HOUSE CLOSE SHOT
Brissac, Chico and Valentine. Sad and
resigned, Chico indicates to Brissac and
Valentine that they may go upstairs. They
will find Diane there. "Aren't you coming
too?" asks Brissac. "She may not believe us."
The idea of having to tell Diane appalls Chico.
He makes a gesture of protest. "Help us,"
begs Valentine, "Please help us."
SCENE 187 (Cont'd)
Again he yields, saying: CHICO

You tell her first I'll
be up later.
BACK TO SCENE
They exit from the scene. He does

not watch them go, but remains
standing motionless, dis-spirited,
his eyes cast down to the ground.
SCENE 188
In the foreground are Chico and
Boul on his cab. In the background
Brissac and Valentine enter the
house. When they have gone, Chico
dismisses Boul with a pathetic
little wave of his hand. CHICO
You needn't wait, Boul
There isn't going to be a wedding.
BACK TO SCENE
Chico does not look at Boul. He

stands sadly, eyes averted, lost in
gloomy thoughts of his own. Boul,
however, shakes his head and regards
him with reproach and disgust. He says: BOUL
Ten thousand francs! No
woman is worth that much.
BACK TO SCENE
Chico does not seem to hear him.

Boul waits for an answer, fails to get
one, slams his cab in gear, releases
his brake, and says disparagingly: What can you expect of an Atheist?
BACK TO SCENE
Boul drives out, leaving Chico

standing there. When the cab has
disappeared from the scene, Chico
turns slowly toward the house.
SCENE 169
INTERIOR CHICO'S ROOM, MED. SHOT
Diane is at the mirror putting the
finishing touches to her toilette.
She is very girlish and beautiful
in her wedding dress. Her face is
transfigured with happiness.
SCENE 189 (Cont'd)
There is a knock on the door. She

turns toward it, imagining it to
be Chico and calls happily "Come
in, I'm just ready." The door opens
and Aunt Valentine and Brissac enter.
SCENE 190
INT. CHICO'S ROOM CLOSE UP.
Diane, as she sees them, the happy
expectant smile is wiped from her face.
It is as if she had a premonition of evil.
SCENE 191
INT. CHICO'S ROOM CLOSE SHOT.
At the doorway. Brissac has permitted
Aunt Valentine to enter first, then enters
himself, closing the door behind him.
Aunt Valentine starts toward Diane, arms
extended. Brissac follows her more slowly.
SCENE 192
Diane. As she anticipates Aunt Valen-
tine's approach. Her pleasure in seeing
Aunt Valentine is modified by dread.
Aunt Valentine enters arms extended.
Brissac comes in behind her and pauses
near the right frame line while Valentine
embraces Diane and tells her: AUNT VALENTINE
Diane, dear, your uncle has
forgiven you. I have come to
take you home with me.
BACK TO SCENE
Diane does not take this news at all

kindly. "I don't want to go back with
you," she answers. "I'm going to be
married." Aunt Valentine shakes her
head, "No, dear," she says patiently,
as one explains to a child. Chico isn't going to marry you.
He has agreed to give you up.
SCENE 193
Diane. As she receives this state-
ment. Stunned at first, then slowly
incredulous. "I don't believe it,
I don't believe it," she repeats over
and over again with growing terror.
SCENE 194
Brissac as he watches her. He cannot
help but admire her spirit, her faith.
SCENE 195
INT. CHICO'S ROOM MED. SHOT.
Diane, Valentine and Brissac. Diane
is still asserting that she doesn't believe
it. The door opens. Chico enters. They
turn to him. Aunt Valentine says "Here
he is. Let him tell you himself." Diane
comes slowly toward Chico.
SCENE 196
Near the doorway. Chico stands waiting,
sadly, uneasily. Diane enters to him,
saying: "Chic, Chico, say it isn't true."
SCENE 197
Diane and Chico. Diane's fists are clenched,
her eyes are blazing, Chico stands with
bowed head, not looking up, even when
she cries to Valentine: DIANE
I'm not going with you
No matter what you say I shall
marry Chico.
SCENE 198
Valentine and Brissac. They look at her,
one in consternation, the other in admir-
ation, but both in amazement.
SCENE 199
Diane and Chico. Still he dare not
look up. Diane is very angry but is
containing herself as she orders
Valentine and Brissac: DIANE
Please go.
SCENE 199 (Cont'd)
BACK TO SCENE
She looks toward the door.
SCENE 200
Brissac and Valentine. They
hear her command. Valentine is
hopeless and beaten. Brissac
touches her arm gently as if to say,
"It's no use, we had better go."
Reluctantly she starts from the
scene, he follows.
SCENE 201
At the doorway. Chico stands,
eyes cast down as before. Diane
is looking towards Valentine and
Brissac out of scene, anticipating
their entrance. They come in on
their way to the door. Aunt Valen-
tine extends her hands as if to
make a last appeal to Diane, but
Diane's stubborn frozen expression
deters her. Wiping away a tear,
she crosses to the door, escorted by
Brissac. Diane and Chico stand
perfectly still until they have gone.
When they have gone, Diane's
resolution suddenly leaves her.
She is afraid to look at Chico.
Chico, on his part, is afraid to look
at her. Once he raises his eyes to her,
but quickly looks down again. For
another moment they stand thus,
perfectly still. Then with an in-
stinctive movement she comes to
him arms extended. With a sudden
rush of tenderness he takes her in
his arms: CHICO
Diane, my Diane, I nearly
lost you.
BACK TO SCENE
He holds her very tight, his

expression is tense, prayerful.
She can say nothing. She buries
her face in his shoulder.
SCENE 202
CHICO AND DIANE CLOSE UP
Shooting at Chico's face across
Diane's shoulder. He breathes softly: CHICO
I love you, Diane.
SCENE 203
Diane and Chico. Shooting on
Diane across Chico's shoulder.
She hears his words. Her eyes open
and her mouth opens a little too
in astonishment and gratification.
She declares ecstatically: DIANE
You've said it all by yourself!
SCENE 204
Diane and Chico. Shooting up at
Chico's face over Diane's shoulder.
Chico realizes what he has said.
"So I have," he says to himself
half-incredulously. Diane raises
her head and moves so that her
profile is toward the camera,
then she begs: DIANE
Say it again!
BACK TO SCENE
Chico says it again, and she listens

as if to divine music. "Say it again,"
she repeats. Chico makes a protesting
movement. "Now look here " he
begins, but she laughs at him and
hugs him close to her.
SCENE 205
INT. CHICO'S ROOM ANGLE
In the foreground, Diane and Chico
stand in close embrace. In the
background across the plank bridge
toward the balcony comes Gobin.
Across his shoulder a canvas
haversack is slung. His mien is
sober and determined. As he enters
from the balcony Chico and Diane
hear him and quietly separate. He
comes down to them, saying: GOBIN
Are you ready, Comrade? We
have only forty minutes to get
to the Gare du Nord, and the
streets will be crowded.
SCENE 205 (Cont'd)
BACK TO SCENE
Gobin finishes, looking at his watch.

Chico comes to with a start. In the
stress of all this emotion he had
forgotten the war, the wedding and
the need for haste. In dismay he
realizes that he has sent Boul away and
there will be no time for the marriage.
"Give me five minutes and I'll be with
you," he tells Gobin soberly. Under-
standing that he wishes to be alone to
bid his wife goodbye, Gobin nods and
goes out the way he came. Diane looks
from one to the other realizing now for
the first time that her Chico is being
taken away from her after all. A noise
from the street makes her raise her head
to listen.
SCENE 206
EXT. PARIS STREET CLOSE SHOT
The legs of marching men, cutting
at the waist line. They are not in uniform.
The feet of women and children run along
beside them as if escorting them. In the
middle of the procession is a man with a
kettle drum which he beats in monotonous
rhythm with hands that protrude from the
upper frame line.
SCENE 207
Chico and Diane are listening to the
drums. She puts her hand to her heart.
Her eyes are fixed far away as she listens.
He looks at her and asks: CHICO
Are you afraid?
She turns to him with a smile that

is both tender and proud. Her eyes
flash bravely: DIANE
I'll never be afraid again.
BACK TO SCENE
SCREEN 207 (Cont'd)
Chico nods approvingly. Diane con-

tinues with a gallant attempt at humor: DIANE
You've made a very remarkable
fellow of me, too.
BACK TO SCENE
He hugs her to him in admiration

and approval. Then holds her from
him as if to feast his eyes on her.
The significance of the wedding gown
-- the fact that they were to have been
married before he started for the front,
strikes him with full force. He tells her: CHICO
We were to have been man and wife
before I left but we haven't time.
BACK TO SCENE
Then his eyes turn in the direction

of the table and fall upon the two
medallions.
INSERT: CLOSEUP medals from his angle.

His fingers come in and touch them.
BACK TO SCENE
Chico fingers the medals, struck with

a sudden idea. "I have it!" he says.
CHICO
We will marry now
BACK TO SCENE
Diane's eyes follow his pointing

finger. "Yes" she nods "with these".
Chico looks from the medals up toward
the ceiling as if he were trying to
see through into heaven, then looks
at her and says with all seriousness: CHICO
I am an Atheist but I will
give God one more chance.
BACK TO SCENE
He takes both her hands in his and

stands facing her, raises his eyes
toward the ceiling and speaks:
SCENE 207 (Cont'd)
CHICO
Dear God, if there is any truth
in the idea of You, please make
this a true marriage.
SCENE 208
INT. CHICO'S ROOM VERY CLOSE UP
Chico and Diane. Only their faces
upraised to God in supplication
that he make their marriage
a true one.
INSERT CLOSEUP of drums and march-

ing feet. Take enough for
several cuts.
SCENE 209
Chico and Diane. With great
reverence he takes one of the
medals from the table and places
it around her neck, saying: CHICO
I take you, Diane, for my wife
BACK TO SCENE
Diane takes up the other medal,

kisses it and holds it out to him
saying: DIANE
I take you, Chico, for my husband
forever.
BACK TO SCENE
He takes the medal from her with

great reverence, kisses it and
puts it in his pocket. Then he says
quaintly: CHICO
Now we're married.
BACK TO SCENE
She nods happily. They move into

each other's arms as if an unseen
force propelled them.
SCENE 210
INTERIOR CHICO'S ROOM CLOSE SHOT
At the window. Gobin enters from
the balcony, watch in hand, saying,
"Hurry up, comrade, it is time."
Scene 211
Diane and Chico. They hear Gobin's
voice and look toward him without
separating this time. Chico keeps
one arm around Diane and with the
other takes out his watch and looks at it.
INSERT: CLOSEUP watch in his hand,

the hands point to the hour
of eleven
Back to scene. Chico nods energetic-

cally. "Now I must go," he says.
He kisses her once more. Turns out
his pockets, leaves all his money
on the table, embraces her again
long and lingeringly, then turns
towards the balcony where Gobin is
waiting. Diane makes as if to fol-
low him. He holds up his hand re-
straining her. "No," he says, "stand
still, don't follow me. Let me fill
my eyes with you." She obeys.
SCENE 212
INTERIOR CHICO'S ROOM CLOSE UP
Chico. He takes a step or two toward
the balcony, still facing her, then
he stops and declares solemnly: CHICO
"Every day at this hour, -
no matter where I am
my spirit will be here with you."
SCENE 213
INTERIOR CHICO'S ROOM CLOSE UP
She takes in his words confidently,
unquestioningly and nods as if seal-
ing a rendezvous.
DIANE
Every day at eleven, I'll
feel you close beside me.
SCENE 214
INTERIOR CHICO'S ROOM ANGLE
Diane is turned from camera.
Chico is facing her and backs
away from the camera toward
the balcony in the background
where Gobin stands waiting.
Diane makes a move as though
to start for Chico but he stops
her with his arm outstretched
as he speaks. CHICO
Let me fill my eyes with you.
Back to scene. Diana does not

move but stands perfectly still
as she is bidden until Chico has
joined Gobin and started with
him across the plank bridge. When
their backs are turned to cross
the bridge, she starts up to the balcony.
SCENE 215
THE BALCONY FRAMING ON THE WIN-_
DOW -- CLOSE SHOT.
As Chico and Gobin walk across
the bridge to the adjoining roof,
Diane comes into the scene and
stands with her back to the
camera, watching them go. Without
turning they vanish around a chim-
ney pot on the adjoining roof.
Still she stands, her back half
turned to the camera.
RUN A FEW FEET ON HER.
(NOTE: For protection in cutting

take a shot of Nana's entrance
from the street into Chico's
house. Atmosphere of mobiliza-
tion around her.)
SCENE 216
INTERIOR CHICO'S ROOM ANGLE.
The door is in the right foreground.
The balcony on which Diane stands,
with her back to the camera, is in
the left background. The door is
pushed slightly open and Nana enters,
her face is livid and swollen with
absinthe. She comes into the room,
surveys it with an evil sneer, sees
Diane on the balcony, laughs gloat-
ingly, Diane hears her, turns.
SCENE 217
INTERIOR CHICO'S ROOM CLOSE UP.
Diane as she recognizes Nana.
Her first reaction is instinctive
unreasoning fear. Slowly, halt-
ingly she comes down into the
room toward her sister.
SCENE 218
Nana. Her mouth is curled into some-
thing between a frown and an evil
smile as she waits for Diane to come
down to her out of the background.
She is a tigress ready to spring.
When Diane is within arm's length
of her, she seizes her suddenly and
pulls her toward her. Diane does not
resist. Nana holds her off looking
her up and down and says with a sneer. NANA
So the war's got your
sewerman?
Back to scene. Diane does not answer

her. Nana laughs triumphantly, and
continues her derisive inspection of
Diane's clothing and hair. The saint's
medal hanging from Diane's neck at-
tracts her eye. She clutches it and
takes possession of it, tearing the
chain. Holding it in her palm, she
examines it as she asks: NANA
What's this? Something
the sewerman gave you?
Back to scene. At the loss of her

medal, Diane is suddenly aflame.
"Give that back to me," she demands.
"Huh?" exclaims Nana, unable to be-
lieve her ears. "Give it back to me,
I tell you," demands Diane. Nana's
eyes narrow menacingly. She flings
the medal to the floor. She snarls: NANA
Get your things. You're
coming home with me.
Back to scene. As Diane makes no

motion to obey, Nana draws from
beneath her shawl a snake-like whip.
Her expression tells Diane what
to expect. "I'm not afraid of you,
Nana," declares Diane, facing her
sister resolutely and not moving
back an inch. "Huh!" exclaims Nana
derisively. "I'm not afraid of
SCENE 218 (Cont'd)
you, I tell you," declares Diane.
"Get your things," snarls Nana,
with a wave toward the door.
Diane does not move. Slowly Nana
raises the whip. Without a word
Diane springs on her. They struggle.
A chair is overturned. Diane wrests
the whip from Nana's hand with such
force that Nana half falls to the floor.
SCENE 219
INTERIOR CHICO'S ROOM ANGLE
The door is in the foreground.
Stumbling and dodging Nana moves to-
ward the door. Diane follows her
lashing at her with the whip as hard
as she can while she repeats over
and over again, "I'm not afraid of
you! I'm not afraid!" As Nana
slinks through the open door, Diane
flings the whip after her and slams
it shut. Then she turns toward the
camera, her back against the door,
panting with excitement, chin up-
raised, her eyes bright and fearless
as she cries. DIANE
Chico! Chico! I am brave
Back to scene. Diane finishes title.
SCENE 220
EXTERIOR CHICO'S HOUSE MEDIUM SHOT.
The street is filled with marching
men, each with a canvas haversack
over his shoulder. They are going to
the Mobilization place. Some are ac-
companied by wives, sweethearts and
families. As they march, they sing
the Marseillaise.
RUN A FEW FEET on these singing men
before Nana comes out of the house
rubbing her bruised shoulders, and
slinks into the crowd.
RUN A FEW FEET MORE ON the singing men.
SCENE 221
INTERIOR CHICO'S ROOM CLOSE UP.
Diane stands with her back to the
door as before. She hears the singing.
Her spirit is singing too, "I am brave!
I am brave!"
FADE OUT.
FADE IN
SCENE 221-A
TRICK SILHOUETTE SHOT
As suggested by Mr. Borzage and
Mr. Wurtzel showing silhouettes
in relief cast by the advancing
horde of Von Kluck's army as it
sweeps from the banks of and across
the Marne to a point beyond the
little French village of Senlis.
Shadows of the uhlans on their
horses will stand out boldly
against the sky together with
the effect of thousands of German
helmets. Blend this into title
to the effect that the grey horde
had almost reached the gates of
Paris. Continue these scenes for
sufficient footage to establish
the menace against Paris.
FADE OUT
FADE IN
SCENE 221-B
ON A LONG SHOT OF A FRENCH VILLAGE
The streets of which are filled
with refugees fleeing for their
lives before the advancing Germans.
Peasants old men women
children Some are carrying their
worldly possessions on their backs.
Others have stacked their few posses-
sions in ox carts others with wheel-
barrows filled with mattress and furniture.
It is a sad, endless, slow-moving
procession of disheartened
humanity. On the faces of all
we see the mental anguish and
terror which war has caused.
FADE OUT.
FADE IN
SCENE 222
INTERSECTING STREETS. PARIS.
NIGHT. LONG SHOT.
Taxicabs, motor busses and commandeered
vehicles of all descriptions are con-
verging toward the main boulevard under
the supervision of the military. There
is an effect of speed, precision and
utter quiet. The street lights are out.
The headlights are dimmed and shaded,
giving a mysterious, ghostlike aspect
SCENE 222 (Cont'd)
to the scene.
SCENE 223
EXT. PARIS STREET. NIGHT. CLOSE SHOT.
At an intersection a soldier is on
duty. A speeding taxi comes toward
him. The soldier places himself in
its path with gun outstretched
signaling it to stop. The taxi driver
obeys. The soldier opens the door of
the tonneau and bids the occupants of
the taxicab alight. Two women, much
painted and bejeweled, and two men of
the fat elderly profiteer type step
out of the taxi. They expostulate with
the soldier and question him. He
answers briefly that the taxi is
commandeered, slams the door shut and
gives an order to the driver who drives
off around the corner in the direction
indicated. The four passengers continue
to protest that it is an outrage. The
soldier ignores them, his eye alert for
more vehicles to commandeer.
SCENE 224
PUBLIC SQUARE. NIGHT. LONG SHOT.
It is packed with taxicabs and with
soldiers, awaiting their turn. Motor
transport officers are in charge. Cabs
are being loaded and dispatched with
great precision and speed. There is
no cheering or excitement. The work
is deadly serious. As the taxicab
train makes it way along the roads
in the direction of Von Kluck's army, show
the refugees as the taxis pass them. They
line the side of the road and cheer
Gallieni's army on.
SCENE 225
PUBLIC SQUARE. AT THE CURB.
NIGHT. FOREGROUND SHOT.
On the left a tightly packed
mass of soldiers are waiting
their turn to enter the cabs.
In the center is a cleared space
where the motor transport offi-
cers are giving their orders.
On the right, the curb of the
street where an endless line of
taxicabs moves out of the back-
ground, takes each its load of
soldiers and starts again into
the foreground, dimmed headlights
flashing into the camera. Taxi
after taxi takes on its load of
soldiers and moves out. Suddenly
Eloise rolls into the foreground
with Boul on her box.
SCENE 226
ELOISE. CLOSE SHOT
as she moves out of the scene. She
is filled with soldiers.
SCENE 227
EXT. PARIS STREET. NIGHT.
LONG SHOT.
It is a broad boulevard crowded from curb
to curb with crawling taxicabs, filled and
covered with soldiers. As far as the eye
can reach these taxicabs move at low
relentless speed toward the gates of Paris.
Eloise swings around the corner in the

foreground and joins the procession. She
is distinguishable by her comic lumbering
gait and her dilapidated appearance. As she
reaches the middle ground Eloise begins to
falter in her pace and finally she comes to
a slow jolting stop.
SCENE 228
ELOISE. CLOSE SHOT.
She is stalled in the middle of the
street. Traffic surges past and on
either side of her. Boul, on the box,
is excited and despairing, alternately
cursing and pleading with Eloise not to
misbehave when her country needs her
so. Soldiers hop off the cab whose
course has been halted immediately
behind her and begin to push Eloise
ignominiously toward the curb. The
SCENE 228 (Cont'd)
soldiers inside of Eloise stick their

faces through her window and scold Boul,
who replies with a helpless shrug and
more imprecations against Eloise. The
camera follows Eloise as she threads
her way through the traffic toward the
curb. Suddenly with a bang and a violent
backfire her motor starts again. Boul's
face clears, smiles expansively. "Good
girl", he murmurs, and slams her into
gear. Eloise moves off under her own
power, joining the throng.
SCENE 229
EXT. PARIS STREET. LONG SHOT
An interminable procession of soldier-
filled taxicabs as far as the eye can reach.
(This scene should be so dark that it
will be easy to trick American cabs
into the semblance of French ones and
to give the illusion of many thousands
plowing with dimmed lights into the
darkness. It is important that camera
speed and running speed of the taxis in
this shot shall be brisk.)
SCENE 230
A gate frames the foreground. Through
it the procession of taxicabs appear,
plowing into the dark countryside be-
yond. Run a long time on the procession
before Eloise appears. Now she falters.
She seems about to stop. Boul murmurs
an encouraging word. She seems to take
heart. She hurries. In vain Boul tries
to check her. As usual, the brakes will
not work. He has to thread his way pre-
cariously through the procession. The
drivers and soldiers swear at him as he
passes. Far in the background can be
seen Eloise, winding her way through the
procession, going much faster than all
the other taxicabs.
SCENE 231
EXT. SUBURBS OF PARIS. NIGHT. ANGLE.
The procession of taxicabs wind inter-
minably. Eloise crosses the foreground,
going faster than the rest.
SCENE 232
ELOISE. CLOSE SHOT
From a moving CAMERA shooting
toward Boul on the box. He
is pleading with Eloise.
BOUL
Be reasonable, Eloise There's
no hurry You'll be in time.
Back to scene. He continues

to plead, but Eloise does
not moderate her speed.
SCENE 233
EXT. SUBURBS OF PARIS.
NIGHT. LONG SHOT.
The procession winds on. Eloise
threads her way swiftly toward the
background. RUN on the passing
taxicabs until she is well out of sight.
SCENE 234
EXT. COUNTRY ROAD. NIGHT.
The taxicab train moves rapidly
along the road. First the head
of the procession can be seen.
It consists of a number of scouts
on motorcycles, followed by a
touring car filled with officers.
These pass the camera a little in
advance of the taxicab train.
RUN a few feet on the taxicab

train before Eloise appears, going
faster than ever, rapidly nearing
the head of the procession. Boul
is calling wildly upon Eloise to
restrain herself. The soldiers who
are her passengers are enjoying the
sensation of out-distancing the rest
and are cheering gaily.
SCENE 235
EXT. COUNTRY ROAD.
NIGHT. ANGLE
The head of the procession comes
toward the camera out of the b.g.
Before it quite reaches the fore-
SCENE 235 (Cont'd)
ground Eloise emerges, leaps to

the front, scattering the motor-
cyclists on either side. She is
now frankly a runaway. With Boul
desperately pulling on her useless
brakes she forges ahead of the motor-
cyclists straight into the camera.
SCENE 236
EXT. COUNTRY ROAD. NIGHT.
RUNNING SHOT.
Eloise is running along far in ad-
vance of the taxicab train. Suddenly
she goes dead, stops short. Boul
curses. Suddenly the first shell
falls with a bang precisely in the
spot where Eloise would have been if
she had not stopped. "Good girl!"
says Boul approvingly, and starts
her up again. She moves forward
and, "Bang!" A shell drops in the
spot she has just evacuated. Boul
gives a soldier a glance of triumph
which says, "See, she knows what she
is doing!" Once more Eloise falters,
slows up, and a shell bursts in the
roadway just ahead of her. Boul crosses
himself and starts to detour around the
crater. Whenever Eloise leaves a spot
a shell seems to fall on it. It is as
if she were endowed with supernatural
intelligence.
SCENE 237
EXT. SKY. NIGHT.
The camera points upward. A German
airplane flies overhead, dropping
bombs, which come hurtling down to-
ward the camera.
SCENE 238
ELOISE. FROM A MOVING CAMERA.
STRAIGHT ON. CLOSE SHOT.
She swerves and dodges, halts and
starts. Boul clings to her steer-
ing wheel, speaking aloud to her as
if she were human: "Steady now, Eloise,
calm yourself. Patriotism is all right,
but too much is no good."
SCENE 239
EXT. COUNTRY ROAD.
NIGHT. LONG SHOT.
Eloise plunges along the road as
before. The head of the taxicab
train is visible in the far back-
ground. Overhead (double expose
if necessary) a German plane is hov-
ering. A bomb drops from the plane
toward Eloise.
SCENE 240
EXT. COUNTRY ROAD.
RUNNING SHOT. (FAIRLY CLOSE)
The bomb explodes in the road just
beside Eloise. She swerves. A
fragment strikes her and her occu-
pants jump for safety. Boul is thrown.
SCENE 241
EXT. AT THE SIDE OF THE ROAD.
CLOSE SHOT.
The occupants have just jumped
from Eloise. Boul comes sailing
into the scene through the air and
lands on the ground in a sitting
position. On his face is an ex-
pression of great surprise. In one
hand he holds Eloise's horn and in
the other a bit of her steering
wheel. All look toward Eloise out
of scene.
SCENE 242
EXT. COUNTRY ROAD.
FROM THEIIR ANGLE.
Eloise, quite empty now, is careen-
ing along the road at a steady pace.
Over her the German airplane hovers.
SCENE 243
GERMAN AIRPLANE IN MOTION.
NIGHT. CLOSE SHOT.
The German pilot and his observer are
looking downward, puzzled. The pilot is
pointing, the observer has a bomb ready to drop.
SCENE 244
EXT. FIELD BESIDE THE ROADWAY. NIGHT.
Shooting downward from the airplane.
Eloise has left the road and is running
steadily across the field in the gen-
eral direction of Berlin.
SCENE 245
GERMAN AIRPLANE IN MOTION
CLOSE SHOT.
The pilot is puzzled by the mystifying
behavior of Eloise. He says some-
thing to his observer who shouts
back that they had better follow.
SCENE 246
EXT. ROAD. FIELD AND SKY. LONG SHOT.
Boul and the other soldiers who had
ridden in Eloise, stand in a group
at the side of the road watching the
airplane and Eloise. They see the
airplane swerve and chase her. Lower
and lower the airplane flies until,
when it is directly over Eloise, a
bomb is let go. It barely misses her.
A fragment tears off part of her roof.
She swerves like something human and
is off in another direction. The air-
plane gives chase. On the brow of a
hill, where she is silhouetted plainly
against the moonlit sky, she stops dead.
The airplane circles around her. Another
bomb falls. Eloise vanishes in a cloud
of smoke. When the smoke clears away,
Eloise is seen to collapse slowly into
a little heap of fragments on the grass.
SCENE 247
EXT. DITCH BESIDE THE ROAD. NIGHT.
CLOSE SHOT.
The group which has been watching the
death of Eloise, cheering her on,
pulling for her and praying for her,
now register with despair when the
Germans have got her. Boul is in tears.
He hugs the horn and the fragment of the
steering wheel to his breast. The others
take off their hats as in the presence of
the dead. Boul sinks to a sitting posi-
tion on the edge of the ditch at the
side of the road. A soldier pats his
shoulder comfortingly, but Boul will not
be comforted.
(Intercut this scene with preceding one.)
SCENE 248
BOUL. CLOSE UP
As he says tearfully: BOUL
Poor Eloise! She gave up her
life for France.
SCENE 249
EXT. DITCH AND ROADWAY
MEDIUM CLOSE SHOT.
The head of the taxicab train
begins to stream across the back-
ground. One by one the soldiers
of the little group at the ditch
hop on the passing taxis. Boul
remains sitting where he was. A
soldier asks him "Aren't you coming,
too?" Boul shakes his head. The
soldier waves his hand in farewell
and hops on the running board of a
passing taxi.
SCENE 250
EXT. DITCH AND ROADWAY. CLOSE UP.
Boul. He sits at the edge of the
ditch. Behind him the wheels of
the taxicab train pass. But Boul
sees nothing. He mourns the death
of Eloise, clutching the precious
relics to his breast.
FADE OUT.
(Note: If necessary and in order to

show what Gallienti's taxicab army
accomplished, we can use the trick
silhouette shot again, only this
time we will show Von Kluck's army
in silhouette as it retreats.)
FADE IN:
SCENE 250-A
A FIELD OF GROWING WHEAT.
With the effect of poppies and the
corn flowers of France mingling
with the golden wheat which stretches
as far as the eye can see. A peaceful
beautiful, pastoral scene.
DISSOLVE SLOWLY TO:
A churned, ugly, foreboding stretch

of torn earth covered with shell
holes and jagged mine craters, the
effect of war on Mother Earth where
once everything was alive.
SCENE 250-B
AN APPLE OR PLUM ORCHARD
In full bloom stretching from the
foreground into the far distance.
Sunlight vivid a scene of pic-
torial beauty.
DISSOLVE SLOWLY TO:
The same orchard as war affected it.

The trees are now charred and gaunt
a grim, stark, unwholesome sight.
SCENE 250-C
A VINEYARD OF FRANCE
Orderly, symmetrical, rows of vines
the wine of France.
DISSOLVE SLOWLY TO:
These same vines, turned to gnarled

and twisted barbed wire.
SCENE 250-D
A FRENCH VILLAGE
Calm, peaceful in its streets
peasants oxen cattle and other
animal life.
DISSOLVE SLOWLY TO:
The same village as war affected it.

A mass of tumbled brick and mortar
ruins devastation and desolation.
FADE OUT:
FADE IN:
TITLE: To the effect that while the
men of France were at war, the soft
hands of women did the work they left
behind them.
FADE OUT:
FADE IN:
SCENE 251
INT. MUNITIONS FACTORY. NIGHT. ANGLE.
In the foreground a mountain of fuse
caps fills all but the right hand
corner of the screen. In this corner
is a vista of machines in a long row
with women industriously tending them.
(See stock shot which Mr. Borzage and
I selected.)
DISSOLVE INTO:
ONE OF THE MACHINES. CLOSE SHOT.

Diane sits at the machine. RUN
a few feet on her as she works
before Brissac enters the scene
and stands looking down at her.
She does not raise her head at his
approach nor do her hands pause a
second in the rhythm of their motion.
(During this and all subsequent
scenes in the munitions factory,
try for angles which will show the
machine relentlessly pounding and
Diane's hands ever moving.)
"Good evening, Diane", Brissac

greets her. She murmurs a reply
to his greeting. He is very smart
and distinguished in his uniform
of a Lieutenant attached to the
Military Intelligence. Without
looking up Diane asks him: DIANE
Why do you keep coming here?
I have asked you many times not
to come.
Back to scene. The glance with

which Brissac answers her has in
it admiration, tenderness and a
little despair.
BRISSAC
Why don't you let me help you, Diane?
Back to scene. She shakes her

head and works on as she answers
that she needs no help. "Why
don't you let me find you lighter
work? Work more suitable to your
delicate body?" he proposes. She
shakes her head and pauses now for
a moment, a faraway expression in
her eyes as she answers: DIANE
I don't mind the work it
brings me nearer to Chico some-
how It's what he would want
me to do.
Back to scene. She finishes

with a smile which is a caress
to Chico across the distances
which separate them. Then she
resumes her work. Brissac bends
nearer arguing, coaxing, pleading.
SCENE 251 (Cont'd)
If she is listening she gives no

sign of it. Her hands move rhythmically.
The machines pound.
DISSOLVE INTO:
MACHINES. CLOSEUP. NIGHT.

Only pounding hammers revolving wheels,
an impression of relentless power and
motion.
DISSOLVE INTO:
AN ENDLESS CHAIN OF CONVEYORS.

CLOSE UP. NIGHT.
They carry the fuse caps rapidly to a truck.
DISSOLVE INTO:
EXT. AMMUNITION DUMP. DAY. CLOSE SHOT.

Truck loads of shells are being unloaded.
DISSOLVE TO:
EXTERIOR AMMUNITION DUMP. DAY. LONG SHOT.

It stands near a broad stretch of field
and shell-torn woods. Close by is a shat-
tered farmhouse in and around which a French
regiment is quartered. The military atmos-
phere should be the leisurely informal rout-
ine of the third line.
Sitting on the ground, their backs against

the wall, is a group of French privates,
including Chico, The Rat, and Gobin.
SCENE 252
EXT. FRENCH FARM HOUSE. CLOSE SHOT.
Chico, The Rat, Gobin and about ten other
privates lounge about comfortably at rest.
Chico and The Rat are in the foreground
near them Gobin is seated busily engaged
with a curious form of equipment. It is the
gas tank and hose of the liquid fire apparatus
squad of which our three friends are members.
Gobin is taking loving care and pains with the
hellish apparatus. As he handles the nozzle of
the hose, he almost caresses it.
SCENE 253
EXT. FRENCH FARM HOUSE. CLOSE SHOT.
Chico and The Rat are engaged in their
toilette. Chico is standing with his
SCENE 253 (Cont'd)
waist tightly encircled by one end

of the long French flannel belly-band.
On the other end about six or seven
feet away, The Rat is holding the
band taut. Chico moves slowly to-
wards The Rat, turning as he approaches
him and winding the band about his
waist. The Rat is taking great pride
in performing this service for Chico
who is evidently the cock of the walk
as far as the squad is concerned. Chico
is arguing as usual, very cockily, about
military strategy. "If I were a general
--" he is saying. They all laugh ex-
cept The Rat, who sees nothing extra-
ordinary in the notion that Chico could
be a general. Chico is surprised at
their laughter. "I could be a general
if I had the chance," he declares. "I'm
a very remarkable fellow." The Rat nods
in confirmation and suddenly he raises
his head and sniffs as if he smelt some-
thing delicious and turns his head to
see where it comes from. All their heads
follow his glance.
SCENE 253-A
EXT. FARM HOUSE FROM THEIR ANGLE.
CLOSE SHOT
Of the camp cook as he bends over a French
field range. He is evidently preparing
the officers' mess. From a large iron pot
he extracts a well-cooked fowl. He places
it on a platter and places a silver cover
over it then moves for a moment out of
the scene with his back to the group of
soldiers.
SCENE 254
EXT. FARM HOUSE. CLOSE SHOT OF
Chico, The Rat, Gobin and soldiers as they
look in the direction of the stove nostrils
distended mouths watering. The Rat is
evidently seized with an insane desire to
possess the fowl and taking advantage of
the psychological moment when the cook's
back is turned, he slinks out of scene in
the direction of the stove.
SCENE 255
EXT. FARM HOUSE AT STOVE CLOSE SHOT.
The Rat crawls into the scene and in a
SCENE 255 (Cont'd)
moment has raised the cover seized

the fowl and placed a small piece
of wood in its place. He starts out
of scene with it, a triumphant grin
on his face.
SCENE 256
EXT. RANCH HOUSE CLOSE SHOT.
Chico, Gobin and other soldiers as
the Rat enters and snatching a
tunic from the ground, quickly
covers the fowl with it and seats
himself with a wink at his comrades.
The cook enters the scene carrying
the empty platter in his hands. He
looks at them sees how they ap-
parently covet the food he carries
smiles at them condescendingly,
evidently hurls some insult at them
and moves out of the scene.
SCENE 257
EXT. FARM HOUSE CLOSE SHOT.
As The Rat, Chico, Gobin and the
others thumb their fingers to their
noses at the departing cook.
SCENE 258
INTERIOR FARM HOUSE MEDIUM SHOT.
It is a room set apart for the
officers mess. The officers are
already at table. Orderlies are
removing the first course, which
was soup. The cook enters bearing
his covered platter with a jaunty
triumphant air.
SCENE 259
INTERIOR FARM HOUSE AT THE
TABLE CLOSE SHOT.
The cooks into the scene, sets
the platter down in the middle of
the table and with an air of great
pride raises the cover. The
officers watch with hungry anticipa-
tion, but when the cover is raised,
there is only the piece of wood which
The Rat has substituted.
INSERT CLOSEUP of the wood on the platter.
Back to scene. The officers glare

at the cook, whose face is a study
in blank dismay.
SCENE 260
EXTERIOR FARMHOUSE. CLOSE SHOT.
The Rat is dividing the chicken
between Chico, himself and Gobin
and the other soldiers. He slices
off a whole leg for Chico and keeps
the other leg for himself. They are
all proud of him and he is very proud
of himself.
SCENE 261
EXTERIOR FARMHOUSE. CLOSEUP.
Chico as he raises the chicken leg
and begins hungrily to eat it. His
eye falls on his wrist watch whereupon
he stops eating suddenly, leaving his
chicken leg suspended in the air.
INSERT CLOSEUP of Chico's wrist

watch showing eleven o'clock.
Back to scene. A soft tender glow

kindles Chico's face.
SCENE 262
EXT. FARM HOUSE. MEDIUM SHOT.
Without looking at his companions,
Chico rises and moves away. They
all stop eating, look at him in
surprise, except The Rat and
Gobin who understand. He moves
toward a tree in the farmhouse yard.
SCENE 263
EXT. FARM HOUSE. AT THE TREE.
CLOSE SHOT.
Chico enters, stands under the
tree. With his right hand he fumbles
under his shirt and produces the
saint's medal. Holding it tight,
he breathes deeply and closes his eyes.
SCENE 264
EXT. FARM HOUSE. AT THE WALL.
CLOSE SHOT.
Chico's companions are looking in
his direction, laughing and jeering,
all except The Rat and Gobin.
SCENE 265
EXT. FARM HOUSE. AT THE TREE.
FROM THE SOLDIER'S ANGLE.
Chico's face is upraised and his
figure is strained as if with the
effort to commune with someone
far away. The medal is clutched
tight in his hand.
SCENE 266
EXT. FARM HOUSE. MED. SHOT.
The angle should take in both
Chico and the group of soldiers
at the wall. They are jeering. Some
of them are imitating his attitude
and gestures; some shout derisively.
The Rat restrains them is about
to pitch into them. Gobin holds him
back then turning to the group
of soldiers, he explains: GOBIN
Every day at this hour he talks
like that to his wife.
Back to scene. The soldiers are

impressed. The last gesture of
their derision dies out.
SCENE 267
EXT. FARM HOUSE. CLOSEUP.
Chico. Only his face with closed eyes
and the medal upraised in his hand as
his lips murmur: CHICO
Chico Diane Heaven!
DISSOLVE INTO
SCENE 268
INT. CHICO'S BEDROOM MED SHOT.
Diane, as she bends over the
Narcissus which still blooms in
its pot. She is pouring some
water into the pot, her manner
indicating clearly how she treasures
the little flower which Chico had
given her. As she turns from the
flower with a caressing glance, her
eyes fall on the clock.
INSERT: C.U. of clock showing the

hands at the hour of eleven.
SCENE 268-A CLOSE UP OF DIANE.

A rapt, esthetic expression comes
over her face as the appointed hour
of her commune with Chico arrives.
She stands with eyes closed as though
reaching out to Chico, forcing her
spirit to meet his. From her neck
she takes the Saint's medal which
hangs suspended by a little chain.
She holds it out before her in
precisely the same way Chico holds
it and her lips murmur: DIANE
Chico Diane Heaven!
DISSOLVE INTO
CHICO CLOSEUP
as he, too, repeats these words,
rapt, the whole force of his being
concentrated in the transfusion
of himself.
DISSOLVE INTO
INTERIOR CHICO'S ROOM. CLOSE UP.

Diane. Her expression is exactly
like his. She feels his presence.
INSERT CLOSEUP of gloved
hand knocking on the door.
Back to scene. DIANE hears, turns

her face toward the door. The
spell is broken.
SCENE 269
INTERIOR CHICO'S ROOM. MED. SHOT.
The door opens, disclosing Lieut.
Brissac, who carries under his arm
packages containing wine, fruit and
candy. Diane admits him. He
kisses her hand, then crosses to
the centre of the room. She closes
the door.
SCENE 270
INTERIOR CHICO'S ROOM AT THE TABLE.
CLOSE SHOT.
Brissac puts his packages down, begins
to open them, disclosing the contents.
Diane comes into the scene. "Candy and
fruit!" she exclaims as she sees what he
has brought. "You really shouldn't."
He replies with a smile: BRISSAC
Oh, it is nothing only a
few delicacies I wish you
would really let me do some-
thing for you.
Back to scene. Diane shakes her

head, saying:
DIANE
There's nothing I want.
Back to scene. He makes a dis-

paraging little gesture and looks
around the room as if to say, "You
are easily pleased." She ignores
this and finishes: DIANE
Besides, I shouldn't accept
gifts from you I am a
married woman.
Back to scene. He brushes this

aside frowning. "Married!" he
repeats. "Why do you insist upon
calling that thing a marriage?
You are no more married than I am."
She answers with a nod and a
smile full of confidence:
SCENE 270 (Cont'd)
DIANE
Yes, Chico and I were married
in the eyes of God.
Back to scene: Brissac has

moved to a point where he stands
directly beside the little table
on which the Narcissus blooms.
The full beauty and significance
of what Diane has said is lost upon
him. We see that he keenly desires
this girl and is endeavoring to
dispel all thoughts of Chico. His
hand wanders abstractly to the
Narcissus as we see a struggle of
desire going on within him.
INSERT: CLOSE UP of the Narcissus

as Brissac's hand is about to
crush it.
Back to scene. As Diane calls to him

"Stop! Don't do that! You mustn't
touch that flower it is the only
thing alive I have of Chico's."
SCENE 271
INT. CHICO'S ROOM. CLOSE UP.
Brissac as he looks at her with
admiration and desire. He moves
toward her slowly and with
determination.
SCENE 272
Diane as Brissac enters to her. He
takes her hands and holds them to
his chest as he says:
BRISSAC
Diane, I love you. Since first
I saw you I have not been able
to put you out of my mind.
Back to scene. She tries to free

herself, protesting that he must
not say such things to her. But
he not only draws her closer to him,
slips one arm around her and
whispers almost against her cheek: BRISSAC
Diane, let me take you out of
this and give you the clothes,
the surroundings and the
advantages your beauty deserves.
SCENE 272 (Cont'd)
Back to scene. Again she struggles

to free herself. The loose blouse
slips from one shoulder, revealing her
bare throat and neck. He draws her to
him even closer and rains kisses on
her shoulder and throat. "Lieut.
Brissac!" she cries on a note that
brings him to his senses. He releases
her. She draws herself up with indig-
nation, settling the dressing gown
over her shoulder again. He murmurs
an apology: BRISSAC
I'm sorry, Diane I forgot
myself Please forgive me.
SCENE 273
INT. CHICO'S ROOM. MED. SHOT.
While Brissac finishes his apology,
Madam Gobin appears over the plank
bridge and into the room from the
balcony. Her coming breaks the
tension of their attitudes. Diane
goes up to greet Madam Gobin who
is holding her infant son in her
arms. Diane introduces them. "Am
I disturbing you?" Madam Gobin asks
with a wave from her to Brissac.
Diane answers significantly: DIANE
No, you are not disturbing us.
Lieut. Brissac was just going.
Back to scene. Her expression

almost commands him to go. Brissac
takes the hint, says goodbye and
leaves. When the door has closed
behind him, Diane sits down for a
chat with Madam Gobin and invites
her to eat the chocolates and fruit.
SCENE 274
INT. CHICO'S ROOM. CLOSE SHOT.
Madam Gobin and Diane. Both sit at
the table. She munches a pear which
Diane offers her. Diane bends closely
over Madam Gobin's baby. She pets
its little cheek and pleads with
Madam Gobin to be allowed to take
him in her arms. Madam Gobin hands
her the child with a smile.
SCENE 274-A
CLOSE SHOT AT THE TABLE.
As Diane seats herself rocking
the child in her arms, crooning
over it. In her expression we
see the yearning and tender
thoughts of motherhood. If she
only had a child of her own.
SCENE 274-B
MADAM GOBIN
As she looks at Diane a soft sym-
pathetic smile comes over her
face. She feels for Diane. There
is a sympathetic bond of under-
standing between the two women.
She breaks Diane's thoughts by
speaking: MADAM GOBIN
What's the news of Chico?
Back to scene. Diane's face

lights up at the mention of Chico's
name. She begins to pour her news
out eagerly. Only a fragment or
two of her remarks need be shown
on the screen.
DIANE
and after that battle they
made him a corporal:
Back to scene. Madam Gobin nods

approval. She continues her
narrative. DIANE
If the war lasts much longer
he'll be a general. See if he isn't!
Back to scene. Madam Gobin permits

herself to doubt this, but she is
too polite to show it. Diane finishes. DIANE
He is really a very remarkable fellow.
Back to scene. Madam Gobin is

heartily in accord with this
sentiment and as the two women
rise from the table, Madam Gobin
indicates that she must leave.
Diane returns the child in
Madam Gobin's arms. Madam Gobin
places her arm around Diane's
shoulders for a minute in a
motherly way.
SCENE 274-C
MED. SHOT OF MADAM GOBIN
as she takes her departure over
the bridge. After Diane bids
her friend goodbye and as Madam
Gobin exits, Diane stands, her
eyes following her, a look of
yearning on her face. A yearning
for a baby of her own.
FADE OUT
FADE IN.
SCENE 275
A MACHINE IN THE MUNITIONS
FACTORY. CLOSE UP.
Again the turning wheels, the
pounding hammers, the spinning
blades of the lathe and the hands
of Diane working monotonously,
unceasingly.
DISSOLVE INTO
DIANE
Weary years of it.
DISSOLVE INTO
CLOSE UP DIANE'S HANDS

and the machine as before.
DISSOLVE INTO
MUNITIONS FACTORY. DAY.

MEDIUM SHOT.
Diane sits at her machine patiently
at work. Around her at other
machines women are working.
FADE OUT.
(NOTE: Take protection DISSOLVE INTO next scene).
FADE IN.
SCENE 276
FRONT LINE TRENCH NIGHT.
MEDIUM SHOT.
Chico, Gobin and The Rat, and other
members of the liquid fire brigade are
standing in tense, expectant attitudes
with the nozzles of their fire appa-
ratus pointed in the direction of the
enemy. An officer moves along the
trench encouraging his men. It is
evidently the hour of attack.
SCENE 277
FRONT LINE TRENCH CLOSE SHOT.
As the officer enters the scene and
speaks to Chico and Gobin who nod
their heads in comprehension of what he
is saying. Gobin smiles as he grasps
the nozzle of his apparatus as he
tells his Lieutenant
GOBIN
We'll wash them down, mon
Lieutenant. We have had lots
of practice at it.
Back to scene. He grins at Chico

who nods his head in admiration
of Gobin's prowess with the hose.
Gobin is a sergeant or corporal
of the squad.
SCENE 278
FRONT LINE TRENCH LONG SHOT
The officer gives a signal and at a
word of command, Chico, Gobin, The
Rat and others bring the nozzles of
their fire apparatus to a level above
the trench and in an instant the scene
is ablaze with the liquid fire spouting
from the nozzles in a molten, red
stream against the black night in the
direction of the enemy dug-outs and lines.
SCENE 279
FRONT LINE TRENCH CLOSE SHOT
of the officer as he issues a command.
SCENE 280
FRONT LINE TRENCH LONG SHOT
of Chico, Gobin and the others as they
climb out of the trench and start
moving in the direction of the enemy.
SCENE 281
NO MAN'S LAND
PERAMBULATING SHOT
as the camera closely follows Chico,
Gobin and The Rat. They move very
slowly, the hoses of their apparatus
grasped in their hands spouting
forth their streams of molten fire.
Gobin, the expert, is wielding his
hose in the same majestic manner in
which he washed down the streets of
Paris. Chico, next to him, is emulat-
ing his movements a look of admir-
ation in his face. About them, shells
are dropping. The reflection from the
red molten streams casts its red glow
on the faces of the three. They look
like devils as they move slowly on.
The Rat throws himself flat as though
ducking a shell which had passed over-
head, on his face a look of terror.
Chico stoops to pick him up. The Rat
gains control of himself.
SCENE 282
NO MAN'S LAND
CLOSE SHOT.
Gobin is wounded in the arm. He
sinks down and weeps bitterly because
he is unable to continue the advance
with the others. He tries to get
his apparatus going again but it is
useless. Chico waves at him as he
passes onward out of the scene. Gobin
waves back at him encouraging him to go
on. A cheer on his lips then he
sinks back on the ground.
SCENE 283
NO MAN'S LAND
MEDIUM SHOT.
There is a terrific explosion. A shell
has landed in close proximity to Chico
and The Rat. They sink to the ground
almost buried by a mountain of earth.
Their apparatus extinguishes shells
break to the left of them and to the
right, as the scene fades out.
FADE OUT
SCENE 284
EXTERIOR "NO MAN'S LAND"
DAY MEDIUM SHOT.
Chico and The Rat are in a large
shell hole. We have the impression
that The Rat has worked throughout
the remaining hours of the night
to dig himself and Chico from out
of the earth which has almost buried
them. Chico is badly wounded. He
stirs occasionally. The Rat works
over him endeavoring to bring him to
consciousness. Around them, shells
are still breaking. They are isolated
in "No Man's Land", their comrades
having fallen back to their trenches.
The Rat has unscrewed the top of Chico's
water bidon but it is empty. There is
not a drop in his own bidon. He cries
aloud in his grief at being unable to
help Chico.
SCENE 285
SHELL HOLE
DAY MEDIUM SHOT
As The Rat pokes his head cautiously
above the edge of the shell hole and
sees nearby a partly ruined chateau.
His eyes light up as he sees near the
crumpled wall of the chateau, a small
wine keg.
SCENE 286
EXTERIOR "NO MAN'S LAND" -
LONG SHOT.
As the Rat crawls on his belly regard-
less of bursting shells, to the spot
where the keg lies. He grasps the keg
and starts back with it on a run. In
the shell hole, Chico has regained con-
sciousness but he is badly wounded.
The water in the shell hole covers the
lower portion of Chico's legs but he is
too weak to drag himself from it. The
Rat jumps into the shell hole and removes
the plug from the keg and pours the wine
into his canteen cup. He holds Chico's
head under his arm as he offers him the
wine to drink. Chico takes a big draught
which strengthens him considerably then
smiles gratefully at The Rat.
SCENE 287
SHELL HOLE CLOSEUP
Chico and The Rat as The Rat
starts to guzzle his wine. Chico's
glance falls on the wrist watch.
INSERT CLOSEUP of wrist

watch, hands pointing
to the hour of eleven.
SCENE 288
CLOSEUP CHICO
as his face becomes transfigured
with tenderness. He fumbles in
his blouse for the medal. He holds
it before him in the customary way
his face is upraised. He is murmuring
the magic words - CHICO
Chico Diane Heaven
DISSOLVE TO
SCENE 289 Out.
SCENE 290
MUNITIONS FACTORY-
CLOSEUP DAY.
Diane raises her head as if, above
all the clatter of the machines, she
has heard her name called. Her weary
face is transfigured with a smile.
Underneath her bodice she clutches
the precious medal.
SCENE 291
EXTERIOR NO MAN'S LAND.
SMALL CRATER. CLOSE SHOT.
Chico is absorbed in his communion
with Diane. The Rat removes his
mouth from the keg, takes a deep
breath and begins another long drink.
Each is too absorbed to notice a
shadow creeping stealthily, ominously
over the crater a shadow of
a German soldier, clearly identifiable
by the shape of the helmet. The shadow
draws closer closer towering
over Chico with a bayonet upraised.
Then it springs.
DISSOLVE INTO
INTERIOR MUNITIONS FACTORY.
CLOSE SHOT.
Diane sits at her machine
happily absorbed in her communion
with Chico. A sudden presentiment
of evil seems to seize her. She
shudders, feels that Chico is in
danger. Over her a shadow creeps,
slowly nearer and nearer. In her
vague and deep concern, she does
not notice it. For a moment it
seems as if it is the same shadow
which is threatening Chico, but
no it is a French uniform
it is Brissac. He comes into the
scene and regards her with concern.
BRISSAC
Why Diane! What is the
matter? Is anything wrong?
Diane comes to with a start.
DIANE
Nothing nothing,
she answers, but her hand is
pressed to her heart and in her
eyes are torment and vague premon-
ition that Chico is in trouble.
DISSOLVE INTO
EXTERIOR NO MAN'S LAND

SMALL CRATER.
CLOSE SHOT.
The German soldier lies dead across
the edge of the crater. The Rat is
just withdrawing his bloody bayonet
as if from the dead German's chest.
But Chico is down too, down in a
senseless heap, the blood streaming
from a wound across his eyes. The
Rat turns to Chico, throws down his
gun, takes Chico under the arms and
begins to half drag and half carry him
in the direction of the French lines.
SCENE 292
EXTERIOR NO MAN'S LAND AND FRENCH
FRONT LINE TRENCH. LONG SHOT
The Rat appears from No Man's Land
half dragging and half carrying
the unconscious Chico. The Rat's
strength is nearly spent. When
SCENE 293
FRONT LINE TRENCH
DAY CLOSE SHOT.
as The Rat and Chico topple head
first into the trench. A call
goes out for a stretcher-bearer.
Pere Chevillon enters the scene.
He is nearest to The Rat. He
kneels beside him. The Rat is
mortally wounded tho' still con-
scious. As Pere Chevillon holds
him in his arms a curious smile
comes over The Rat's face. The
priest smiles back at The Rat in
an effort to cheer him up. The
Rat shakes his head indicating that
he knows he is done for. With his
eyes half closed with approaching
death, he gazes up into the priest's
face and reaching in his tunic he
takes out a large watch and chain
which he holds up to the priest motion-
ing for him to take it. It is The Rat's
confessional. His desire to make re-
stitution before he passes to the
beyond. The priest appreciates the sign-
ificance of the Rat's actions and blesses
him. The Rat's eyes close his face
breaks into a contented smile then
he sinks back lifeless. The good father's
work as far as The Rat is concerned is
finished. He steps to the man who has
been placed on the stretcher and takes
him in his arms. It is Chico.
SCENE 294
FRONT LINE TRENCH
CHICO PERE CHEVILLON CLOSEUP
as the priest raises Chico in his arms.
Chico's eyes open. He regains con-
sciousness smiles as he recognizes the
old priest. He beckons with his finger
for the priest to bend close as he
whispers - CHICO
I gave your Bon Dieu his third
chance when I married Diane
Perhaps he will take care of her.
Back to scene. Chico, with a

terrific effort of will, succeeds
in extracting the medallion from
his tunic. He holds it out to
Pere Chevillon and asks him -
CHICO
If you see her, give it to
her with my love.
Back to scene. As he finishes

speaking and the priest takes
the medallion from him, Chico
sinks back lifeless on the
stretcher.
Scene 295
FRONT LINE TRENCH
WIDE ANGLE.
as two stretcher bearers enter the
scene and stand near Chico and the
priest. Pere Chevillon is saying
a benediction over the prostrate
form of Chico. He rises to his
feet. The stretcher bearers raise
up the stretcher. One of them
shakes his head at Pere Chevillon
as much as to say "It is no use
he is gone." They start to move
out of the scene. Pere Chevillon
raises his eyes to heaven and
silently prays.
FADE OUT
FADE IN
SCENE 296
PAGE OF OFFICIAL REPORT.
CLOSE UP.
First in French and then in English.
A finger moves down the column of
names under the heading "Dead or
Missing". It stops at the name
of "Chico Duval".
SCENE 297
INTERIOR BRISSAC'S OFFICE.
DAY. MEDIUM SHOT.
Brissac is at his desk scanning
the official report, his finger
held at Chico's name. he looks
up from the report with an ex-
pression both hopeful and grave.
He rises, folds the report, puts
it in his pocket and exits from
the scene.
FADE OUT.
FADE IN
SCENE 298
EXTERIOR WINE-SHOP
FULL SHOT DAY.
At one of the tables on a pavement
sit Gobin and Boul. Before them
on the table, their half empty
Bocks. Gobin is holding in his left
hand, a copy of the official report
of Chico's death. They are both
very sad and dejected.
SCENE 299
EXTERIOR WINE SHOP AT TABLE
CLOSE SHOT DAY.
of Gobin and Boul as they look at
one another. Gobin is saying
GOBIN
We must go to her. She will
need her friends today.
Boul nods sadly in agreement.
SCENE 300
EXTERIOR WINE SHOP AT TABLE
MEDIUM SHOT DAY.
as Gobin and Boul rise from the
table. Gobin turns and for the
first time we see the dangling
empty sleeve of his right arm.
Madam Gobin and the little Gobin,
now a boy of nearly four years,
enter the scene. The little Gobin
breaks from his mother's grasp and
springs at his father. He clutches
in his hand the empty sleeve as he
glances up at his father with a look
of adoration on his face. Gobin,
with his left arm, sweeps him up
to his bosom and strains him to
himself. At the table, Madam Gobin
is looking at the official report
which Boul has shown her. She sadly
shakes her head as she realizes the
full significance of what the news
will mean to Diane. As the three
start to exit from the scene.
FADE OUT
SCENE 300-A
INTERIOR CHICO'S ROOM. DAY.
MEDIUM SHOT.
Diane is alone. She is singing gaily
to herself as she does her housework.
Now she lingers affectionately over
the Narcissus and some articles of
personal use or apparel which Chico
has left behind him. There is a knock
on the door.
DIANE
(cheerfully)
Come in.
Brissac enters. When she sees

him Diane's face sets coldly,
disapprovingly. He crosses to her.
SCENE 300-B
INTERIOR CHICO'S ROOM.
CLOSE SHOT.
Diane and Brissac. She does not
greet him as he enters to her, but
stands waiting for him to speak. He
is very grave and respectful as he says:
BRISSAC
I know you forbade me to come
here anymore, Diane, -- and I
would not have come only
there is something --,
Back to scene. He breaks

off, hesitates. She stands
waiting for him to finish. He
continues: First I want to tell you
again that I love you --,
Back to scene. She puts

out her hand as if to stop him,
but he goes on very solemnly: Diane, will you be my wife?
Back to scene. She makes an

impatient movement of protest.
DIANE
Thank you for the honor, --
but --.
Brissac interrupts her gently.

BRISSAC
Wait, Diane. I know what you are
going to say, but I have news for
you bad news, I'm afraid.
He takes the folded report from his
pocket. While he does so she looks
at him, a bit frightened by his
solemn face. Without a word he gives
her the report, pointing to Chico's name.
SCENE 301
CLOSEUP
Diane as she takes the report and
reads the name. She takes in the
significance of it, then shakes
her head with a soft slow confident
smile: DIANE
It isn't true! Chico is alive!
SCENE 302
CLOSE SHOT.
Brissac and Diane. She finishes
title, gives him back the report.
He expostulates that it must be
true. She affirms with unshaken
confidence, DIANE
He is alive!
Brissac cannot share her faith.

He asks gently: BRISSAC
When was your last letter
from him dated?
Back to scene. She thinks a

moment before she answers: DIANE
About four months ago.
Back to scene. He shrugs as

if to say, "Well, then, that
proves it."
SCENE 303
CLOSEUP.
Diane as she asserts with unshaken
faith: DIANE
Just the same he has been here
with me in this room
every morning at eleven.
SCENE 304
Brissac makes a helpless little
gesture and averts his face to
hide the skepticism which is
written there. There is a knock
on the door. Diane says, "Come in."
Gobin and Madam Gobin enter.
They are very sad and reluctant,
plainly the bearers of bad news.
Gobin holds his hand against the
side pocket of his jacket, from
which a copy of the official
report protrudes. Madam Gobin
speaks first. "My child, I am
afraid we have" but meets
Brissac's eye and pauses. Brissac
makes a little movement of the re-
port he holds in his hand. His
attitude and gesture say, "I have
told her but " He finishes with
a shrug. Diane understands what
their errand is.
SCENE 305
INT. CHICO'S ROOM CLOSEUP.
Diane as she exclaims with un-
shaken faith: DIANE
Chico is alive! I have felt
him here, heard him here every day.
SCENE 306
INT. CHICO'S ROOM MED. SHOT.
Diane finishes her title. The
others look at one another as if
to say: "What can we do if she
takes it like that?"
SCENE 307
EXT. CHICO'S HOUSE MED. SHOT
PERE CHEVILLON In his mud-
stained uniform of the trenches,
enters the scene. He stops before
the entrance as tho' reluctant to
perform his tragic errand
then slowly and sadly enters
the house.
SCENE 308
Brissac, Gobin and his wife are in
a group around Diane in the fore-
ground. She is clutching the medal
in her hand while she endeavors to
explain to them how sure she is
SCENE 308 (Cont'd)
that Chico cannot be dead,
but as she turns first from one,
then to the other they cannot
meet her glance. Each finds her
faith touching, even tragic, but
he cannot share it. The door opens.
They hear it, and turn. Pere Chev-
illon enters the room. He sees the
attitudes of the group around Diane
and hears Diane affirm her faith in
the thought that Chico is alive.
Pere Chevillon slowly enters the
room his mission is a difficult one.
SCENE 309
INTERIOR CHICO'S ROOM. CLOSEUP.
Diane as she looks at the priest,
half frightened, half glad.
SCENE 310
The priest as he looks at her,
still reluctant to break the news.
SCENE 311
Diane slowly leaves the group and
moves toward the priest.
SCENE 312
INTERIOR CHICO'S ROOM. CLOSE SHOT
of the priest as he stands with arms
outstretched as tho' to give comfort
to Diane. Diane enters to him.
DIANE
You have news of Chico?
You have seen him?
BACK TO SCENE.
The priest nods and tells her:
PRIEST
Have courage, my child.
"What is it? Tell me", she demands,

thoroughly frightened now. The
priest places his around her
shoulder as he gently tells her: PRIEST
I was with him when they
carried him off.
Back to scene. Diane's body sways

a bit backward. Just as she seems
about to fall she catches herself
and exclaims:
SCENE 312 (Cont'd)
DIANE
It isn't true! I won't believe it!
Back to scene. The priest bows

his head and takes from his
pocket the saint's medal which
Chico had given to him. He
tells her - PRIEST
He asked me to tell you that he
loved you!
SCENE 313
Diane as she sees the medal.
INSERT CLOSEUP: MEDAL IN

THE PRIEST'S HAND
Back to scene. Diane sticks out

a trembling hand for it, takes
it, mechanically compares it with
the one which hangs from her neck,
drops both hands slowly, sways and
slowly collapses. Brissac enters
the scene just in time to catch her.
SCENE 314
Brissac carries Diane to the table
where he puts her in a chair.
Father Chevillon pours a glass of
water and holds it to her lips.
On the other side of the table,
Gobin looks on solicitously, while
they try to revive her. Madam Gobin
brushes Brissac aside and bends
anxiously over Diane.
SCENE 315
INTERIOR CHICO'S ROOM. CLOSE SHOT
OF PERE CHEVILLON
as he enters to Gobin. Both men
shake their heads, showing how deeply
they feel the sadness of the occasion.
Pere Chevillon whispers to Gobin
"Perhaps it was the will of God,
just like that" as he points to Gobin's
empty sleeve. Gobin looks down at
the sleeve as he nods his head philo-
sophically. "I guess you're right
perhaps I am lucky."
SCENE 316
INTERIOR CHICO'S ROOM. CLOSE SHOT.
Diane sits at the table, her eyes
are wide open and staring life-
lessly. Brissac is beside her,
half bending over her. Father
Chevillon enters and stands be-
side her. In a dazed way she is
murmuring: DIANE
Then he didn't come to me
here every day?
Back to scene. "No", answers

Brissac very gently. She re-
peats the word with a little
shake of her head, "No". She
continues hopelessly: DIANE
He never came at all.
Back to scene. Brissac answers

gently, "No, Diane." She continues: DIANE
It seems so foolish, now!
Back to scene. Brissac puts his

hand on her shoulder and pats
it gently, saying: BRISSAC
Courage, Diane.
Back to scene. Diane laughs

outright with a vehemence which
shocks them. "Courage!" she
repeats, "Courage!" Brissac
soothes her, bending nearer: BRISSAC
From now on, Diane, I shall take care of you.
Back to scene. She waves her

hand helplessly and replies,
"Yes What does it matter?"
SCENE 317
MEDIUM SHOT.
They are all looking at her,
very sorry for her. Behind
them over the plank bridge and
from the balcony, Corporal Boul
bursts into the room in high excitement.
SCENE 318
CLOSEUP.
Boul. His face is ecstatic with
joy. He is shouting: BOUL
They have signed it! They
have signed the Armistice!
The war is over!
SCENE 319
MEDIUM SHOT.
They all turn to him. Involun-
tarily they move toward the window.
Their faces are bright with joy.
Diane does not seem to hear and
remains at her seat. Brissac
stands beside her. At the window
Boul, Father Chevillon and Gobin
look out and listen.
SCENE 320.
SIRENS, HORNS, CANNON, FLAGS,
CONFETTI, WAVING HANDKERCHIEFS,
ECSTATIC FACES
all intermingled, booming, waving
and roaring in a series of quick
DISSOLVES and superimposed shots
to indicate the noise and excite-
ment of the Armistice as heard
from Chico's window.
SCENE 321
MEDIUM SHOT.
The men turn away from the window,
wildly enthusiastic, forgetting
Diane and her sorrow. But Father
Chevillon suddenly remembers. He
comes down to her, puts his hand on
her head in an attitude of blessing.
SCENE 322
CLOSE SHOT.
Diane, Father Chevillon and
Brissac. Father Chevillon says: CHEVILLON
It was God's will my child.
We must not question it.
Back to scene. Diane throws

off his hand with a bitter
laugh. Derisively she repeats: DIANE
God!
Back to scene. She springs up

from her chair and confronting
him, savagely repeats, "God!" DIANE
For four years I have called
this place heaven I prayed
I believed Oh, how I believed!
Back to scene. She puts her

clenched fists to her eyes and
pulls them away with a vehement
action and continues:
SCENE 322 (Cont'd)
DIANE
-- and all the time it was
nothing.
Back to scene. "Nothing,"

she repeats, and points her
finger at the priest
accusingly: DIANE
That's what your God is
Nothing!
Back to scene. The priest

holds up his hands as though
scandalized then his expression
changes into one of compassionate
understanding as he realizes that
it is Diane's great grief that
has made her turn on her God.
Brissac puts his arm around her
and tries to calm her. He says: BRISSAC
Come away, Diane, please.
Back to scene. For a moment it seems

as though Diane, in her dazed condi-
tion, would succumb to Brissac's
offer and accompany him. She starts
out of the scene then suddenly
stops and draws away from Brissac.
Her eyes traverse the room and her
glance rests on
INSERT: CLOCK IT IS ABOUT FIVE

MINUTES TO ELEVEN
She closes her eyes for an instant,

her whole being wracked with grief.
She fights her rising emotions
but she must be alone alone for
one last communion with Chico. She
appeals to Pere Chevillon and
pleads with him to take the others
pantomiming that they are all to
leave the room.
SCENE 323
as the priest, Brissac, the Gobins and
Boul slowly exit through the window
across the little bridge to the Gobin's
apartment. Diane follows them.
SCENE 324
CLOSE UP BY WINDOW
Diane as she stands for a moment look-
ing after them then down at the street.
SCENE 325
EXT. STREET BELOW SEVENTH HEAVEN
FROM DIANE'S ANGLE
It is crowded with people celebrating
shouting, weeping with joy, throwing
confetti and torn newspapers
waving flags blowing horns
dancing with one another.
SCENE 326
as Diane reacts to the frenzy of joy
which is going on in the street below
her. She closes the window as though
to shut out the noise of it all.
She must be alone with her Chico. The
joy of others the Armistice celebra-
tion everything means nothing to
her. She walks as though in a trance
to the little table and sinks
apathetically in a chair.
SCENE 327
CLOSE UP OF DIANE AT THE TABLE.
Her glance again rests on the clock
her eyes close as she makes an effort
of concentration to commune with
Chico. Her little hand clenches
as she pounds it upon her knee,
rocking her lips murmuring the words
over and over again: "Chico Diane
Heaven!" "Chico Diane Heaven!"
Suddenly the realization comes over
her of the futility of it all. Chico
won't come to her he can't. Her
expression changes to one of purpose
determination then exaltation
She has it! If Chico can't come to
her, she will go to Chico. She springs
to her feet, a hysterical laugh on
her lips. Why hadn't she thought of
it before ?
SCENE 328
MEDIUM SHOT OF DIANE
as she rises to her feet
gives one last look around the
room as though to say goodbye
to the place which had almost been
heaven then she runs to the
window and flings it wide open.
SCENE 329
EXT. STREET
Just a flash of the Armistice
crowd as it surges below.
SCENE 330
CHICO'S ROOM AT WINDOW
MEDIUM CLOSE
of Diane as she mounts the ledge.
Suddenly she pauses and turns.
Her eyes rest on the little cupboard
at the side of the wall. The thought
flashes through her mind she will
go to Chico as his bride in her wed-
ding gown. She will greet him as he last
left her, still his bride.
SCENE 331
MEDIUM SHOT
as Diane rushes to the cupboard
opens it and takes out the wedding
gown. She hugs it to her bosom
as she murmurs pathetically: DIANE
Madam Chico!
Back to scene. Her fingers start
tearing at her blouse.
CUT TO:
SCENE 332
EXT. FRENCH HOSPITAL GARDEN
FULL SHOT
A scene of pictorial beauty
flowers and brilliant sunshine.
It is the garden of an old hotel
which has been converted into a
hospital during the war. The
garden is divided from the street
by a stone wall about five feet high.
A small, iron grilled gate in the wall
leads from the garden to the street out-
side. Near the wall, reclining in a hos-
pital wheel chair, is Chico. Perhaps at
first we do not know that it is Chico as
the eyes and forehead are bandaged.
SCENE 333
HOSPITAL GARDEN NEAR WALL AND
GATE MEDIUM CLOSE
of Chico as he half reclines in the
chair, a silent, inert, motionless
figure. The sunlight is beating
down on his upturned face but he
doesn't stir. A very dignified
military doctor and nurse enter
the scene. They pause at Chico's
chair. They look at one another
as though speculating on the
recovering of the helpless Chico.
The doctor shakes his head. The
red area nurse places her hand on
Chico's shoulder. He doesn't
move at the contact. The nurse
turns to the doctor with the remark: NURSE
Isn't it sad he doesn't
know the Armistice is signed
He doesn't even know who he is.
With a sympathetic nod of agreement,
the doctor moves on and the nurse,
with one last compassionate glance
at Chico, follows him.
CUT TO
SCENE 334
THE FACE OF A CLOCK
in a church steeple. The hands are
exactly on the hour of eleven.
DISSOLVE TO
SCENE 335
THE BELLS RINGING
The bells in the church steeple.
SCENE 336
CLOSE UP OF CHICO
Super-impose or blend the ringing bells
over Chico's silent form. The bells
fade out. Chico stirs as though the
bells ringing out the psychic hour
of eleven were stirring him to
consciousness. Again the bells
blend over him. Chico is regaining
himself. He sits up one of his
hands reaches for the bandage over
his eyes. Again the bells blend
over him again they fade. Chico
is fully alive. The hour of eleven
SCENE 336 (Cont'd)
has struck. He is conscious

he knows who he is. His hand
tears the bandage from his eyes.
He blinks up into the sunlight.
A stunned expression comes over
his face the realization that
he is blind. His hand passes
before his eyes.
SCENE 337
CLOSE UP CHICO'S FACE
Blank eyes as the hand passes
before them. They are unseeing.
SCENE 338
HOSPITAL GARDEN MEDIUM CLOSE
of Chico as he calls out:
CHICO
Diane!
Back to scene. As Chico listens.

He hears the noise of the celebra-
tion going on in the street outside.
SCENE 329
EXT. STREET NEAR WALL
Just a flash of the revelers as
they race and dance by.
Scene 340
EXT. HOSPITAL GARDEN
as Chico stumbles against the wall
his hands feel along it until they
come in contact with the gate. He
opens it.
SCENE 341
EXT. STREET NEAR GARDEN WALL
MEDIUM SHOT
as Chico comes out of the gate
attired in his denim hospital garb.
The crowd jostles him bumps him
tramples him. He slips to the
pavement. A small urchin helps him
up. Chico inquires: CHICO
Where are we?
The boy answers him evidently

telling him the street they are
on and adds, "The war is over."
SCENE 341 (Cont'd)
Then realizing the futility of

finding his way through the
crowd to Seventh Heaven, Chico
calls to the boy who realizes he
is blind: CHICO
Take me to the nearest sewer.
Back to scene. The boy nods

and they start off with Chico's
hand resting on the little one's shoulder.
SCENE 342
INT. CHICO'S ROOM MEDIUM CLOSE
of Diane attired in her wedding
gown. She is thrilled. She laughs
half hysterically as she finishes
hooking her gown up. She is in a
fever of excitement of exalta-
tion. She is going to Chico.
Again she crosses to the windows
and throws them wide open.
SCENE 343
EXT. STREET BELOW
Excitement and celebration seems at
its wildest. People are laughing
and weeping at the same time.
Strangers are kissing each other.
SCENE 344
MEDIUM CLOSE AT WINDOW
Diane mounts the window ledge
turns for one last glance at the
room. She sees the narcissus.
A softened expression comes over
her face. No, she can't leave the
flower alone. It, too, must go to
Chico. She crosses from the ledge
to the table and for the first time,
plucks the flower.
SCENE 345
CLOSE UP OF DIANE
as she inhales the fragrance of the
narcissus.
SCENE 346
EXT. STREET
IN FRONT OF SEVENTH HEAVEN
as Chico emerges from the man-
hole and pushes his way through
the crowd up to the first flight
of steps of Seventh Heaven.
SCENE 347
INT. FIRST LANDING SEVENTH
HEAVEN
As Chico stumbles in and calls
"Diane! Diane!" CHICO
DIANE!
Back to scene. This is a blurred

weird effect as Chico calls from
the seven flights below.
CUT DIRECT TO
Perhaps Super-impose Title over
Diane at window.
SCENE 348
INT. CHICO'S ROOM
as Diane pauses on her way to
the window. She starts the sound
of Chico's cry has reached her ears
but she, thinking it is Chico calling
to her from heaven, in the exaltation
of the moment calls back:
DIANE
Yes, Chico, I am coming!
Back to scene, As Diane starts

out of window onto the little bridge.
CUT TO
SCENE 349
CHICO
as he stumbles blindly up the stairs.
Again he calls "Diane!"
SCENE 350
INT. CHICO'S ROOM
This time super-impose the title
across the window a trifle more
distinctly than before. Diane
has one foot out on the bridge.
Again she pauses then throws
her arms above head as though
answering him above, "Yes,
I am coming, Chico," She looks down.
SCENE 351
FROM DIANE'S ANGLE
Just a flash of the milling crowd
below.
SCENE 352
CLOSE UP DIANE OF BRIDGE
as she closed her eyes and sways
dizzily on the narrow bridge.
She is about to jump.
SCENE 353
INT. CHICO'S ROOM CLOSE UP AT
FLOOR.
As the door bursts open and Chico
enters, his face turned in the
direction of Diane in the open
window. He calls with arms
outstretched, trying to visualize
through his sightless eyes as he
speaks: CHICO
Let me fill my eyes with you.
SCENE 354
CLOSE UP OF DIANE ON THE NARROW
BRIDGE
as she turns at Chico's voice.
Half fearfully she sees him as
he stands with arms outstretched
calling to her. Her hand crosses
over her eyes as though she were
brushing away a hallucination.
She looks again.
SCENE 355
CLOSE UP OF CHICO
as he stands expectant waiting.
SCENE 356
MEDIUM SHOT
as Diane comes slowly from the bridge
onto the ledge then into the room.
She is almost afraid to approach him.
SCENE 357
CLOSE SHOT OF CHICO
as Diane enters to him. Her hand
reaches timidly up to his face.
Chico's eyes stare straight ahead.
He is not looking at Diane but
gazes straight ahead still he
feels the nearness of her presence.
Diane passes her hand before his eyes.

They do not follow the movement of
her hand. She realizes that he is
blind. She reaches for Chico's hand
then presses it to her lips then
sinks sobbing on her knees at his feet.
Chico's face is transfigured. He bends
down and placing his forefinger under her
chin, he tilts her face to his then
draws her slowly up to him as he voices
the lesson he has learned through the war: Chico
Never look down Always look up!
Back to scene. Diane's arms creep

around Chico's neck. He clasps her
tightly to his bosom. As they cling to
one another half laughing, half sobbing,
their spiritual and earthly union
complete. Diane raises her face to
his sightless eyes her hand creeps up
to his face, her fingers rest lightly on
his eyebrow as she tells him; DIANE
I will be your eyes.
Back to scene as she finishes. Chico,

for the first time, voices his belief
in God the renunciation of his Atheistic
viewpoint He has gone through his
Gethsemane.
CHICO
I know the Bon Dieu who gave you
back to me will not keep me blind.
Back to scene as Diane looks

up to him, her face showing clearly
the uplift of Chico's conviction.
As they stand clasped in one another's
arms their faces aglow with the rays
of sunlight which pour through the
window, the scene slowly fades out.
THE END
Revisions by Philip Klein

January 8 1927.

The Seventh Heaven (1927)

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"THE SEVENTH HEAVEN" (1927)

FOX FILM CORP.

INTERIOR PARIS SEWER.

And a bottle of red wine. The Rat

Back to scene. Boul nods and

(TAKE PROTECTION SHOT DISSOLVING FROM

Back to scene. Father Chevillon

and Brissac come out. They

swerve just in time to avert

(COMBINE THE THREE PRECEDING

Back to scene. She kisses the

EXT. PARIS STREET

EXT. NANA AND DIANE's HOUSE

TAKE CLOSEUP ACTION of Brissac's

permits Valentine to embrace

At the word "decent" Vulmir

Diane quakes, takes a step back-

Diane hesitates, frightened out

Diane drops her head as if she

Vulmir rises saying in disgust: VULMIR

She is reluctant to go, begins to

Vulmir takes some bank notes

Nana's only answer is to snatch

Diane's terror and Nana's maniacal

Nana pleads with him not to drop

Chico regards Diane with contempt

Chico, followed by The Rat,

Chico gives the onion back to

Diane looks up at him and says

Chico frowns at her, saying

Boul calls to him. BOUL

Chico goes back to her,

Chico pats himself on the chest.

Boul is dubious on this point.

Boul nods that He did.

Boul hesitates, looks at The

Boul lights his pipe and observes

Chico is thoroughly aroused. He

Chico rants on. The Rat eats

Boul takes his pipe out of his

Chico finishes this title rather

He points to Diane who hears him

Father Chevillon comes around the

Chico bristles at his approach.

Father Chevillon laughs heartily

Chico looks incredulously at the

Chico sees that he means it and is

They all watch him as he fumbles

INSERT: CLOSEUP of a hinged box held

Chico frowns down at the medals and

The priest chuckles and turns away

Laughing heartily, Father Chevillon

(TAKE CLOSE UP ACTION OF FOREGOING

INSERT: CLOSEUP the box with Boul's

As Chico looks at the tag

Chico finishes this title and

Chico stands waiting while Gobin

Chico puffs up with delight at

They shake hands again. Gobin

Chico returns his bow formally. CHICO

Gobin waddles off pompously,

For a moment she sits perfectly

As he realizes she is about to

The knife is held upraised in her