TLE LA.

A film Tr t for a screenplay n. about the

BY

ANTHONY SHAFFER.

NOTES

1) In this treatment speeches have been used as a narrational device o n l y , and they are not necessarily to be regarded as f i n i s h e d d i a l o g u e to be used in the screenplay .

2 ) Numbers are not precise scene numbers, b u t are often sequence numbers, employed s o l e l y f o r the purpose of easy identification. Within these sequences many individual scenes take place which share the same technique, e.g., 16 or 24 frames etc. etc.

1.

24 FRAMES. COLOUR. SOUND

1. The t i m e i s A p r i l 1 6 t h 1 9 2 8 . C h a p l i n ' s 39 th b i r t h d a y and s i x months a f t e r t h e b i r t h of t h e t a l k i e s . H e i s s l i g h t l y g r e y . The p l a c e i s t h e Romanesque swimming pool a t WR Hea r s t ' s c a s t l e San Simeon. P r e s e n t a r e C h a r l i e C h a p l i n , Randolph Hearst and Marion Davies , h i s mistress . ChapLin c o n f e s s e s t h a t t h e coming of

sound h a s induced i n him a profound c r e a t i v e b l o c k , s i n c e a l l h i s p r o f e s s i o n a l l i f e has c e n t r e d round m i m e r a t h e r t h a n s p e e c h .

H e a r s t , h i s long t i m e f r i e n d , and of c o u r s e m u l t i - m i l l i o n a i r e w i t h v a s t i n t e r e s t s i n newspapers, i n f o r m s him t h a t b o t h he and Marion are aware of t h i s

problem, and a d v i s e him t o make a f i l m of h i s own l i f e s t o r y .

Chap l in demurs. H e d o e s n ' t want t o t h i n k about t h e h e a r t - b r e a k i n g e a r l y y e a r s , he says, and c e r t a i n l y no one w i l l want t o see them, he claims. The contemplat ion of g r i n d i n g p o v e r t y i s scarcely e n t e r t a i n i n g .

"That may be, b u t i t ' s a t least s i 1 e n t 'I

r e p l i e s Marion Davies , "and t h e r e won't be t o o many s i l e n t s u b j e c t s f rom now on i n . "

2 . T h e y c o n t i n u e t o a rgue as t h e y l e a v e t h e house and make t h e i r way t o a l a n d i n g s t r i p i n t h e grounds, and board a l i g h t a i r c r a f t , which i s p i l o t e d f o r

them by a young f l i e r i n Hearst 's employ.

2 .

2 . CONT'D

3 .

From t h e a i r , w h i l e t h e y c o n t i n u e t h e d i s c u s s i o n over a spec ia l b i r t h d a y l u n c h , we bank away from t h e

i n c r e d i b l e ca s t l e , and head down t h e g l i t t e r i n g c o a s t t owards Cosmopol i tan , Hearst 's F i l m S t u d i o s , which a l s o h a s i t s own p r i v a t e a i r s t r i p .

W i t h i n t h e s t u d i o t h e y w a l k across the many stages where l e n g t h s of m a t e r i a l a r e hung t o s o f t e n t h e

s u n l i g h t s h i n i n g on t h e many p r o d u c t i o n s i n p r o g r e s s , t h rough t h e t r a n s l u c e n t roo f , and sides of t h e b u i l d i n g , b o t h of w h i c h , as w e see, are removeable . There a r e a number of f i l m s i n p r o d u c t i o n , and it i s a l l , i n C h a p l i n ' s own words, "a r o a r of confused sounds - screams, l a u g h s , a n e x p l o s i o n , shou ted commands, pounding, w h i s t l i n g , t h e bark of a dog, The a i r i s t h i c k w i t h t h e s m e l l o f new lumber i n t h e sun, f l a s h l i g h t powder, and c i g a r e t t e smoke."

4 . They t u r n a c o r n e r , and m i r a c u l o u s l y e v e r t h i n g suddenly becomes tranquil, w i t h t h e sound and bustle f ad ing away t o t a k e us i n e s s e n c e back t o t h e days of very e a r l y s i l e n t f i l m making, and t h e E a s t End of London 1 8 8 9 wor ld where C h a r l i e was bo rn . T h i s i s C h a r l i e ' s b i r t h d a y p r e s e n t : a huge r e p l i c a of many p a r t s of C h a r l i e ' s East End background - E a s t Lane Walworth, West Square , St. G e o r g e ' s Road, Lambeth, and the Kennington Road.

Hearst has had c o n s t r u c t e d f o r him

Charlie s t a n d s a g h a s t .

"We t h o u g h t we'd g i v e you a s t a r t ' ' s a y s Hearst .

"Happy b i r t h d a y ! ' I

4. CONT'D

"You remember how you always used t o b u i l d a set t o g i v e y o u r s e l f i d e a s "

"Many happy r e t u r n s , C h a r l i e ! I' adds Marion.

She kisses him. H e i s overwhelmed.

"You're t o o much" he s a y s .

" I t ' s t h e b e s t p r e s e n t anyone e v e r had. 'I

5 . H e moves t o examine t h e West Square house .

" T h a t ' s where w e l i v e d i n West Squa re , Lambeth"

" I t looks e x a c t l y l i k e i t , though t h e p o s t box was more towards t h e c o r n e r . ' I

he s a y s .

H e moves t h e pap ie r mach6 p o s t box.

Marion a s k s him whether he rememberswhat h i s mother used t o s a y was h i s f i r s t c o n t r i b u t i o n t o comedy.

"Remind m e . ' I

s a y s C h a r l i e .

" A f t e r wa tch ing t h e neighbourhood dogs , you always connected bones w i t h swal lowing , a n d l o o k i n g a t your m o t h e r ' s knee you s a i d you must have swallowed a big one t o

4 .

5. CONT'D

have i t s t i c k o u t l i k e t h a t . "

" I t w a s n ' t h e r knee" amends C h a r l i e .

" I t was h e r anklebone . . .and t h a t ' s where my f i r s t r e a l c o n t r i b u t i o n came 'I

he adds as t h e y t u r n a c o r n e r , and sees a r e p l i c a of t h e c a n t e e n t h e a t r e A l d e r s h o t .

6 . The p a r t y e n t e r i t .

"1 w a s five a t t h e t i m e , and my mother who worked the h a l l s under the name of L i l y Har l ey had an u n f o r t u n a t e breakdown there. I n f a c t i t was t h e l a s t t i m e s h e p l a y e d anywhere, and - my f i r s t . "

"Was she any good?'' e n q u i r e s Hearst.

I' Wo nder f u 1 'I

r e p l i e s Chap l in . "Dark b l u e e y e s , l ong s i l k y brown h a i r , t h e s m a l l e s t most eloquent hands , and a gamine p i q u a n t charm that cou ld m e l t you r h e a r t . U n f o r t u n a t e l y my dad had largely abandoned us by t h e n , and mum had t o keep u s , and what w i t h one t h i n g and a n o t h e r t h e s t r a i n of it broke h e r . I t was h e r voice t h a t gave o u t . It w a s never s t r o n g , and t h i s p l a c e f i n i s h e d h e r off , I 1

5 .

6. CONT'D

"Don ' t t e l l u s " Hearst s a y s .

"F i lm it!"

" H e s r i g h t "

" I t ' s g o t t o be a r emarkab le j o u r n e y . I'

u r g e s Marion.

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

C h a r l i e climbs on a camera d o l l y , as l i g h t s come up on the s t a g e . I n a ser ies of mixes t h e aud i to r ium f i l l s mostly w i t h English m i l i t a r y p e r s o n n e l , and

we see it i s sudden ly lit w i t h t h e movie l i g h t s of t h e p e r i o d . A c l a p b o a r d r e a d i n g Chapl in The E a r l y Years i s c l a p p e d .

" k c t i o n ! ' I

r o a r s C h a p l i n as t h e d o l l y i s pushed i n , and a s p o t comes up, f i r s t l y on a card a t t h e s i d e of the

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

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

6.

6. CONT'D

H e r v o i c e c r a c k s f r e q u e n t l y and s i n k s t o a husky wh i spe r as buns and f r u i t r a i n on t h e s t a g e , and f a l s e t t o c a t c a l l s and s h o u t s of "Cant 'ear y e r " reverbera te round t h e t h e a t r e .

She r u n s o f f sobbing i n t o t h e wings where t h e S t a g e Manager s t a n d s watching w i t h t h e f i v e y e a r old C h a r l i e C h a p l i n .

H e immedia te ly d r a g s t h e boy o n t o t h e s t a g e and s t a r t s t o i n t r o d u c e him as t h e t a l e n t e d son and s o l e s u p p o r t & h i s poor o l d mum.

C h a r l i e S e n i o r on t h e camera d o l l y sends him back t e l l i n g him t o make h i s e n t r a n c e l a t e r i n o r d e r t o l e t t h e h o s t i l i t y of t h e aud ience b u i l d . I t a l s o r e - e s t a b l i s h e s w e are i n a f i l m w i t h i n a f i l m .

The boy C h a r l i e s t a r t s h i s song, and i s t h e n d i r e c t e d by t h e o lder C h a r l i e who throughout t h e scene shows

him how t o p i c k up t h e money which i s thrown a t him, and how t o t i m e t h e cont re temps w i t h t h e s t a g e manager.

" Jack J u n e s well and known t o everybody Round about t h e market d o n ' t y e r see I ' v e no f a u l t t o f i n d w i t h Jack a t a l l Not when 'e5 as ' e used t o be But now ' es ' a d t h e b u l l i o n l e f t him ' e h a s a l t e r ed f o r t h e worst ."

The aud ience throws s h i l l i n g s and p e n n i e s ,

7 .

6 . C O N T ' D

C h a r l i e t h i n k s t h e y are d i s a p p r o v i n g , b u t no , i t ' s r e a l money. H e t r i es t o p i c k it up, then dec ides t o r e a c h t h e end of t h e verse a t which p o i n t t h e S t a g e Manager a p p e a r s w i t h a handkerch ie f which C h a r l i e and he f i l l . The S t a g e Manager i s about t o l e a v e w i t h it when C h a r l i e cries o u t ,

" H e ' s stealing m y money. I '

The crowd boos. C h a r l i e s e i z e s t h e handkerchief from t h e b e w i l d e r e d Manager who w a s o n l y t r y i n g t o h e l p t h e boy and s a y s ,

" I f you g i v e m e some more 1'11 s i n g a l o t . "

More c o i n s r a i n on t h e s t a g e and go i n t o t h e h a n d k e r c h i e f , a f t e r which t h e s e l f - p o s s e s s e d boy

c o n s e n t s t o s i n g t h e secund verse .

"For t o see t h e way he t reats a l l h i s old p e l s Fills m e w i t h n o t h i n g b u t d i s g u s t Each Sunday morning he r e a d s The T e l e g r a p h Once he was c o n t e n t e d w i t h t h e S ta r

S i n c e J a c k J o n e s has come i n t o a l i t t l e c a s h Well ' e d o n ' t kr~ow where ' e a r e . "

H e e n d s by i m i t a t i n g h i s m o t h e r ' s c r acked voice, then b r i n g s h e r on t o t r i u m p h a n t a p p l a u s e .

7 , W e c u t t o a n E d i t i n g Room. e d i t o r and C a p t i o n Man wa tch ing an e a r l y rnovieola screen.

C h a r l i e s i t s w i t h h i s

8 .

7 . C O N T ' D

CHARLIE

(To E d i t o r )

We've g o t t o see t h e change i n him when he r e a l i s e s t h e y ' r e n o t h o s t i l e , but a r e a c t u a l l y shower ing him w i t h money.

EDITOR Isn't it o b v i o u s ?

CHARLIE

To u s , maybe, b u t n o t t o him, T e d .

W e c u t t o ECU s c r e e n .

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

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

CHARLIE

(Voice over) There! ... Hold t h e moment. A b i g , l o n g c l o s e up.

The S tage Manager a p p e a r s w i t h the handkerch ie f wliich he and C h a r l i e f i l l . The S t a g e Manager is abou t t o l e a v e when C h a r l i e cr ies out.

CHARLIE

(Voice o v e r ) The c a p t i o n w i l l come here.

The Movieola s t o p s .

9.

8 . CONT'D

CHARLIE (Voice over )

Mark it.

The E d i t o r marks it on t h e film.

CHARLIE (Voice over) I t w i l l read "He's s t e a l i n g m y money! ' I

9 , We cut back to 2 4 FRAMES. COLOUR. SOUND. The C a p t i o n Man makes a n o t e . C h a r l i e p o i n t s t o t h e now unseen s c r e e n .

CHARLIE "If you give m e some more, And h e r e .

I ' l l s i n g a l o t . I' G o t i t ?

CAPTION MAN I f Y G U g i v e m e some more I'll s i n g a lob.

CHARLIE R i g h t ! And t h e n he s t a r t s t h e second verse .

H e l e a n s forward t o watch the boy start t h e second verse of t h e song .

10. The f i l m not: moves i n t o BLACK AND WHITE SILENT 16 FRAME PER SECOND

C h a r l i e and h i s mo the r , Hannah a re r i d i n g th rough t h e main s t r e e t s of London towards t h e i r home,

10.

10. CONT'D

on t o p of a h o r s e drawn b u s . C h a r l i e i s p l u c k i n g blossoms from t h e tree t o p s and waving t o the f lower g i r l s who a re making gay b o u t o n n i e r e s from t i n s e l and ferns. They g e t o f f the bus o u t s i d e t h e Queens Head pub on Lambeth Walk.

11. The o s t l e r a t t h i s pub i s one Rummy B h k s whose s p l a y f o o t e d w a l k as he l e a d s t h e h o r s e s t o t h e water t r o u g h , c a p t i v a t e s C h a r l i e . T o h i s m o t h e r ' s h o r r o r he s tarts t o i m i t a t e h im, and w e g e t o u r f i r s t i n t i m a t i o n of what i s t o come. W e i r is i n t o Rummy E i n k s and read o u r f i r s t c a p t i o n .

C A P T I O N "Abandoned b y t h e i r f a t h e r and s u p p o r t e d o n l y by t h e i r m o t h e r ' s p o o r l y p a i d sewing work, C h a r l i e and h i s b r o t h e r Sydney f i n d themselves i n ever more humble c i r c u m s t a n c e s . Three rooms s h r a n k t o twO, and then t o one . . . ' I

1 2 . W e see Sydney an$ C h a r l i e s i t t i n g a t a t a b l e w i t h

a c a n d l e on i t , and h a l f a l o a f of b r e a d , and a

b o w l of beef d r i p p i n g . Suddenly Hai-mah e n t e r s d r a m a t i c a l l y and e n e r g e t i c a l l y m i m e s a p l e a d i n g scene h o l d i n g a baby i n h e r arn.s.

CAP T I OR " B u t t h e unconquerab le s p i r i t o f t h e i r mother k e p t them g o i n g , and imbued them w i t h a sen5e of t h e a t r e " .

11.

1 2 . C O N T ' D

The pleading scene c o n t i n u e s . We p u l l back t o see t h a t C h a r l i e S e n i o r i s watching the d a i l i e s in a s c r e e n i n g room, and for t h i s we have t o go t o . . .

13. 2 4 FRAMES. COLOUR. SOUND

A s C h a r l i e watches t h e s c r e e n pantomine he grows i n c r e a s i n g l y res t less . F i n a l l y he says t o o t h e r s p r e s e n t ,

"It d o e s n ' t work. W e d o n ' t know who s h e i s . "

1 4 . W e c u t back t o t h e s t u d i o where C h a r l i e Senior i s d i r e c t i n g t h e actress p l a y i n g h i s m o t h e r . H e i s

p u t t i n g t h e f i n a l touches t o h e r Ne11 Gwynne costume, p a y i n g p a r t i c u l a r a t t e n t i o n t o t h e bosom, and saying,

" W e m u s t n ' t see too much of t h i s .

LE'S a f a m i l y m o v i e , but a t least w e now know who you're meant t o be."

The actress goes i n t o h e r p l e a d i n g and baby ho ld ing which s h e i l l u s t r a t e s by.a rag d o l l t aken from t h e

same p r o p s b a s k e t as t h e costume.

ACTRESS S i r e , g i v e t h i s bloody l i t t l e b a s t a r d a name, o r 1'11 dash it t o the ground.

W e r e t u r n t o BLACK AND WHITE SILENT t o see a CAPTION o n t h e screen i n C . U .

12.

1 4 . C O N T ' D

CAPTION "S i r e , g i v e t h i s sweet c h i l d a name o r 1'31 dash it t o t h e ground. I'

CAPTION " A l r i g h t ! The Duke of S t . Albans!"

C h a r l i e and Sydney applaud wildly from t h e i r p l a c e s a t t h e t a b l e .

CAPTION "Months of g r i n d i n g pove r ty fo l lowed , w i t h t h e l i t t l e family t a k i n g any job t o s t a y a l i v e " .

1 5 . Shots of Hannah s c r u b b i n g floors, and working a t h e r needlework are i n t e r c u t w i t h o t h e r s of Sydney s e l l i n g newspapers , and Char l ie s i n g i n g i n the s t reets t o a ba r re l o rgan o u t s i d e pubs. dance t o complete h i s a c t , and i n t h e l a s t frames of t h e sequence water i s thrown over him f r o m an upper window.

H e does a l i t t l e

16. 24 FIIAMES. COLOUR. SOUND

W e c u t t o Marion Dav ies ' l u x u r i o u s Beach House where a l av ish p a r t y is i n p r o g r e s s , w i t h Char l e s tons succeecl- i n g B lack Bottoms, and t h e p l a c e awash w i t h b o o t l e g

Champagne.

Only C h a r l i e i s gloomy, morosely keeping t o h i m s e l f , and r e s i s t i n g h i s h o s t e s s ' s e f f o r t s t o cheer him u p ,

and o r i n t r o d u c e him t o a p r e t t y g i r l . H e t e l l s her and H e a r s t t h a t he does n o t want t o go on w i t h the f i l m . what i s abou t t o come up.

I t d e p r e s s e s h i m t o o much t o contemplate

13.

16. CONT'CI

'I Nons en s e 'I

Marion d e c l a r e s s t o u t l y . "There must be some wonderful moments of happiness you can r e c a l l . "

"A few" admits Chap l in .

"Good. I'

she r e p l i e s . "I i n s i s t you s t a r t w i t h one f i r s t thing tomorrow morning, but meanwhile e n j o y y o u r s e l f , and stop l o o k i n g so goddamned gloomy. I'

She t h r u s t s Chapl in i n t o t h e arms of a voluptuous s i r e n , and l a u g h s a s t h e y t a k e o f € i n a s inuous tango.

"Remember C h a r l i e " s h e c a l l s a f t e r them,

"Shoct somet.hing happy! I'

17. 1 6 FRAMES. BLACK AND WHITE. SILENT

CAPTIOS "Eut t w o y e a r s l a t e r a l l i s no t hard work and sorrow. 'I

18 . Sydney, r i d i n g on t o p of a horsedrawn bus f i n d s a p u r s e left or1 a s e a t .

1 8 . C O N T ' D

C A P T I O R "Someone has l e f t t h e i r p u r s e " .

H e opens it q u i c k l y and sees it i s f u l l of co ins . H e c l o s e s i t and l o o k s around him a t the empty bus. Then CU his u n c e r t a i n f a c e .

CAPTION "Perhaps I should give it t o t h e conductor ' ' .

The conduc to r approaches Sydney, who sits, sturn,

and makes no e f f o r t t o hand t h e purse over.

CAPTION "Mother w i l l know what's best t o do" .

W e c u t t o Hannah ' s e x c i t e d f a c e a s h a l f a dozen g u i n e a s cascade from t h e p u r s e onto the bed. She

s p e a k s t o Sydney and C h a r l i e (now 7 ) .

CAPTIOR "We have no means of tracing t h e owner. So. . . I'

They w a i t e x p e c t a n t l y .

CAPTION "I t h i n k w e all dese rve a hol iday!"

CAP T 101; " S o u t h e n d - Playground of the E a s t End".

1 5 .

1 9 . A montage sequence f o l l o w s w i t h Sydney, Hannah an2 C h a r l i e hamming it up a t Southend, and r e c o r d i n g on t h e beach, C h a r l i e ' s f i r s t r a p t u r o u s look a t t he s e a , and him s i t t i n g on a d e c k c h a i r t w i d d l i n g h i s t o e s in t h e water , only t o be recal led t o a s e n s e o f r e a l i t y by a deck c h a i r a t t e n d a n t demanding a c o i n from him.

W e n o t e i n an i r i s t h a t t h e a t t e n d a n t i s wear ing a bow t i e and t o o t i g h t w a i s t c o a t . More c a p e r s follow, w i t h C h a r l i e b e i n g admonished f o r h i g h

s p i r i t s by a commiss iona i r e on t h e p i e r wea r ing a t a i l c o a t , a g a i n t o o s m a l l for h i m , and a g a i n marked by an i r i s , which frames h i m i n CU, - on t h e f e r r i s wheel ; i n t h e h a l l of d i s t o r t i n g mirrors where C h a r l i e ' s b o o t s sudden ly appea r huge and h i s head s m a l l ; i n t h e coconu t shie; i n t h e

p h o t o g r a p h i c c u t o u t s ; and l a s t l y i n t h e p a l m i s t s boo th where C h a r l i e so l emnly o f f e r s h i s hand f o r e x a m i n a t i o n t o a t u r b a n n e d gypsy w i t h a c r y s t a l ball i n f r o n t of her .

CAPTION "You will have an e x t r a o r d i n a r y career, and make a l o t of money, marry t h r e e t i m e s , and d i e a n o l d b u t r i c h and happy m a n " .

2 0 . C h a r l i e is o v e r t h e moon, and is o n l y b rough t back t o e a r t h by h i s mother and Sydney f rogmarching him t o a f i s h an2 ch ip shop , and demanding t h a t he pay f o r l u n c h which i s d e l i v e r e d i n t r a d i t i o n a l newspaper . I r i s in t o t h e i r c o n t e n t e d g r e a s y faces a s t h e y g o r g e , s t r o l l i n g i n t h e sea.

CAPTION " U n f o r t u n a t e l y Hannah Chap l in was unequa l t o t h e task of s u p p o r t i n g h e r l i t t l e f a m i l y " .

1 6 .

21 . 2 4 FRAMES. COLOUR. SOUND

A s c e n e follows of h e r sewing machine be ing re- possessed by b a i l i f f s , d i r e c t e d by C h a r l i e a t first on t h e camera dolly, and t h e n t a k i n g h i s m o t h e r ' s p a r t .

He ac ts o u t t h e h e a r t b r e a k i n g s c e n e , making it i n t o w i l d comedy, by h o l d i n g g r i m l y o n t o t h e machine as it i s removed, and b e i n g dragged a c r o s s t h e f l o o r , h i s f e e t scoop ing up c a r p e t , f i r e g ra t e , lamp s t a n d s , g a t e l egged t a b l e , e t c . e t c . , so t h a t t h e e n t i r e c o n t e n t s of t h e room end p i l e d up a t t h e doorway, w i t h him under it - and o n l y h i s hands p r o t r u d i n g t o g r a s p the s e w i n g machine.

2 2 . And t h i s i s followed by Hannah pawning Sydney ' s t h r e a d b a r e s u i t i n t h e p r e s e n c e of C h a r l i e , w i t h C h a r l i e S e n i o r d i r e c t i n g .

PAWNBROKER "I'm sorry f.:rs. C h a p l i n . I c a ~

only o f f e r you t h r e e bob."

HANNAH

"But y o u ' v e a lways g i v e n m e s e v e n bob b e f o r e . If

PAWNBROKER "They're worn out, d e a r . A c t u a l l y t h e y ' r e o n l y wor th h a l f a crown. I '

HAN'NAH

ut how w i l l w e manage?"

1 7 .

2 2 . CONT'D

PAWNBROKER

"I'm s o r r y . I can do no more."

Chap l in hands t h e Pawnbroker a too small bowler h a t .

C W L I N

Wear this in t h e scene. It'll lighten t h i n g s up.

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

2 3 . I n 1 6 F W E S BLACK AND WHITE SILENT we reprise the g e s t u r e .

CAPTION "And so t h e t h r e a t of t h e workhouse, 513 l o n q h e l d at bay , became a r e a l i t y " .

CHAP L I N (Voice over)

And now T e d , t h e n e x t caption w i l l be "The Lambeth Workhouse", and we'll go s t r a i g h t t o it.

2 4 . I n 2 4 FRAMES. COLOUR. SOUND we see Hannah, and Sydney (aged 11) and Charl ie (aged 7 ) b e i n g admitted to t h e Lambeth Workhouse. I n t h e

c o u r t y a r d a pompous j a n i t o r wea r ing a t i n y moustache

18.

2 4 . CONT'D

di rec ts them t o d i f f e r e n t p l a c e s . Ir is i n t o ECU

mous tache . A s b e f o r e i n t h e N e 1 1 Gwynne s k e t c h , what i s a c t u a l l y s a i d on t h e se t i s much a t va r i ance n o t o n l y w i t h t h e mood of t h e scene, b u t a l s o w i t h

what w e see w r i t t e n i n c a p t i o n form later.

JANITOR

S i l l y o l d cows t o t h e left. Bloody s n o t t y nosed bra t s t o t h e

r i g h t .

H e g i v e s her a shove.

HANNAH

G e t away from m e you boozy bugger . You watch i t o r I'll k i c k you i n t h e c o b b l e r s - t h a t ' s i f you 've got any, w h i c h I doub t .

The J a n i t o r wrenches them a p a r t and pushes them o f f i n o p p o s i t e d i r e c t i o n s . Chap l in S e n i o r s t r i d e s i n t o sho t .

CHAPLIN SENIOR N o no! . . .Think it th rough . You're b e i n g p a r t e d from your c h i l d r e n f o r t h e f i r s t t i m e i n your l i f e , and under h o r r i b l e c i r c u m s t a n c e s . We've go t t o f e e l t h e m i s e r y and t h e d i s g r a c c of it d e a r , R e a l l y look a t t h a t

c o u r t y a r d , and t h e n a t t h e boys. P l e a d n o t t o be s e p a r a t e d . , .P lead!

19.

2 4 . CONT'D

H e ac t s it o u t , s i n k i n g t o h i s knees as t h e mother , t hen t a k i n g t h e p a r t of t h e s t e r n , unca r ing o f f i c i a l .

We c u t t o C h a r l i e s i t t i n g b e f o r e a movieola screen i n a n e d i t i n g room. W e t r a c k i n t o a n ECU of t h e s c r e e n .

2 5 . 1 6 FIIAME BLACK AND WHITE SILENT

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

CAPTION "Women t o t h e l e f t . Children t o t h e r i g h t " .

Hannah looks p i t e o u s l y around 'her a t t h e gr im c o u r t y a r d , and holds out her hands i n s u p p l i c a t i o n .

CAPTION " C a n ' t w e please s t a y t o g e t h e r ? . . . I'm t h e i r mother . . .We've neve r been a p a r t ! I'

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

s e p a r z t e ways.

CAPTION " I n t h e workhouse f a m i l y r e u n i o n s were f e w and f a r between".

Ne i r i s to Hannah i n workhouse uniform comfor t ing Sydney and Charlie also i n workhouse c l o t h e s , by

2 0 .

2 5 . C O N T ' D

p a t t i n g t h e i r cropped h a i r w i t h obvious d i s t a s t e , and o f f e r i n g them coconu t candy.

CAPTION "Don ' t d e s p a i r , my d a r l i n g s .

Soon we'll a l l be t o g e t h e r a g a i n " .

CHARLIE SENIOR (Voice o v e r )

I only hope no one can l i p r e a d .

CP-PTION "And soon t h e boys were s e n t t o :

2 6 . CAPTION " H a n w e l l School fo r D e s t i t u t e C h i l d r e n 'I

A montage sequence composed of t h e f o l l o w i n g e lements :

C h a r l i e and Sydney be ing g i v e n t r e a t m e n t f o r ringworm. More h a i r c ropp ing and i o d i n e .

C h a r l i e and Sydney b e i n g b r u t a l l y ba thed by 1 4 y e a r o l d girls which embarasses them.

k c r o c o d i l e of d i s F i i r i t e d , cropped and uni formed boys walk ing the c o u n t r y s i d e , jeered a t by local boys .

2 7 . CAPTION "Here come t h e Booby Hatch Boys".

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

2 3 .

27. CONT'D

( e ) I n the courtyard, the boys freeze as we

see the massive Captain Hindrum address them through a megaphone.

CAPTION "For setting fire to the l a t r i n e s Charles Chaplin will be punished at 12 noon".

(f) The gymnasium. The inmates are lined up to form three sides of a square in the centre of which is a l o n g table. Charlie faces the headmaster.

CAPTION "1 am innocent! I'

The headmaster points to the table next to which stands Captain Hindrum holding a four foot thick l o n g cane.

CAPTION "Three strokes! I'

His feet are bound and held by a sergeant. He is l a i d over t h e table. Another sergeant pulls out his shirt over his head. Captain Hindrum administers t h e three strokes with paralysing force. Charlie is t h e n carried t o a mattress and left to writhe and squirm.

28 . CAPTION "Sydney leaves to join the Royal Navy training ship Exmouth".

2 2 .

2 8 . CONT'D

The b r o t h e r s s a y goodbye t o e a c h o t h e r i n t h e c o u r t y a r d . Sydney w a l k s t h r o u g h t h e gates w i t h h i s

g r i p , l e a v i n g C h a r l i e waving d e s o l a t e l y a f t e r h i m .

CAPTION " C h a r l i e i s now a l l alone".

He t r a i l s m i s e r a b l y back towards t h e buildings. The s c r e e n g o e s blank. The l i g h t s came up.

2 9 . 24 FRAMES. COLOUR. SOUND

C h a r l i e S e n i o r i s s e e n s i t t i n g w i t h Marion Davies i n a screening room.

Marion says t o h i m ,

"Why don't you leave your miserable c h i l d h o o d and come and

d i n e w i t h u s . We've g o t E i n s t e i n coming t o d i n n e r , and h e ' s t h r e a t e n e d t o br incj h i s v i o l i n t o p l a y f o r u s . "

C h a p l i n a g r e e s , and as they leave t h e room, he

r e m a r k s t o h e r t h a t he h a s h e a r d i t sa id t h a t i f

Hearst p e r s i s t s i n a t t a c k i n g Wall Street in h i s newspapers he w i l l l o s e a m i l l i o n dollars a year.

" A t t h a t ra te he can s t a y i n b u s i n e s s for a n o t h e r e i g h t y y e a r s . "

s a y s Mar ion as s h e sweeps o u t .

2 3 .

3 0 . Davies and Chapl in f l y t o San Simeon i n a l i g h t

a i r c r a f t .

31. At d i n n e r i n Hearst Cas t l e , M r s . E i n s t e i n t e l l s t h e s t o r y of t h e day h e r husband d iscovered t h e theo ry of r e l a t i v i t y .

"I have a wonderful i d e a . I have t o work i t out" he s a i d . "He l o c k e d h imsel f i n h i s s tudy and two weeks l a t e r h e came o u t w i t h

two p i e c e s of pape r . A l l t h a t

t ime f o r two l i t t l e pages!"

I n t h e l a u g h t e r Marion Davies r u f f l e s E i n s t e i n ' s h a i r and asks him

"Why d o n ' t you g e t your h a i r c u t ? "

Eins tc ; i I ; sr,,i;es icily, r i s e s a22 t a k e s h i s v i c l i n 0 ~ 2 1

t o where t h e pianist Schnabel i s sitting a t t h e

p i a n o . H e makes a f a l s e s t a r t on a Beethoven s o n a t a .

"Can ' t you count!?" y e l l s Schnabel .

"One two t h r e e . . .One t w o t h r e e ! 'I

E i n s t e i n g r i n s s h e e p i s h l y a s t h e company roa r w i t h d e l i g h t .

C h a r l i e excuses h i m s e l f , s ay ing he has t o be r e a d y f o r e a r l y morning s h o o t i n g ,

24.

3 1 . CONT'D

"More misery? I'

asks Marion.

" J u s t a l i t t l e " r e p l i e s C h a r l i e .

"The business w i t h mother, though t h e r e were some b r i g h t s p o t s b e f o r e t h e t ragedy. . . 'I

3 2 . We c u t t o the c o u r t y a r d of t h e workhouse where C h a r l i e i s positioning C h a r l i e J u n i o r where w e last saw h i m .

CHARLIE Remember, u t t e r d e j e c t i o n . L i f e

c a n ' t g e t b l a c k e r .

H e m i m e s a "Lower Depths" s h u f f l e ,

CHARLIE off you go now. Act ion !

33. Cut t o 1 6 FRAMES BLACK WHITE SILENT

C h a r l i e i s where we l a s t saw him, t r a i l i n g m i s e r a b l y a c r o s s t h e c o u r t y a r d o f t h e workhouse a f t e r Sydney ' s c i epa r tu re . We i r i s in and o u t t o a -

CAPTIOE " M e r c i f u l l y i n t o t h i s long n i g h t m a r e , e v e n t u a l l y came r e s c u e ! ' I

2 5 .

33 . CONT'D

We see Hannah and Sydney a r r i v i n g a t t h e g a t e s of t h e workhouse, and C h a r l i e r u n n i n g joyously o u t t o meet them. The l i t t l e f a m i l y i s r e u n i t e d a g a i n a f t e r 18 t e r r i b l e months.

W e f a d e i n a CU of a hand w r i t i n g i n a r e g i s t e r :

C h a p l i n C h a r l e s . Aged 7 . P r o t e s t a n t . A d m i t t e d on t h e 1 8 t h J u n e 1 8 9 6 . L e f t t o r e t u r n t o h i s mother 1 8 t h J a n u a r y 1 8 9 8 .

34 . A montage sequence fo l lows of Hannah and Sydney and C h a r l i e r a p t u r o u s l y p l a y i n g w i t h a ball i n t h e Kennington P a r k , and g e n e r a l l y l a r k i n g about i n t h e c h i l d r e n ' s p l a y g r o u n d i n a n e x c e s s of h igh s p i r i t s . They s i m p l y c a n ' t bel ieve t h e i r l u c k i n a l l b e i n g t o g e t h e r a g a i n .

The sequence c l i m a x e s w i t h a huge b l o w o u t a t home, t h e d i n n e r t a b l e g r o a n i n g under t h e w e i g h t of food , t h e whole t h i n g r e m i n i s c e n t i n f e e l i n g of t h e

Y u l e t i d e m e a l w i t h Tiny T i m i n A Christmas C a r o l .

3 5 . Tht? scene changes t o 24 FXVIES. COLOUR. SOUND as Chapl in S e n i o r r e d i r e c t s t h e scene, as u s u a l t a k i n g a l l t h e parts. H e i n t r o d u c e s a pea s h o o t e r and r a c e s r ~ u n d t h e t a b l e showing t h e young Chapl in how t o u s e i t , and employing t h e peas on his p l a t e

a s m u n i t i o n . H e also acts o u t Sydney b e i n g h i t by a p e a , and Hannah l a u g h i n g and s c o l d i n g . H e goes on for so long t h a t t h e young Chaplin i s forced t o t e l l him t o q u i t and hand t h e p a r t back .

26 .

3 6 . We now see a b i t of t h e pea shooter b u s i n e s s

i n 1 6 FRAMES. BLACK AND WHITE. SILENT

and t h e n a

CAPTION "But P r o s p e r i t y and h a p p i n e s s were n o t t o l a s t l o n g , D e s t i t u t e once more o u r l i t t l e h e r o e s a g a i n f i n d themsleves i n t h e workhouse. . ' I

CAPTION "This t i m e a t Norwood"

37 . We see g e n e r a l views of a gloomy i n s t i t u t i o n - t h e d o r m i t o r i e s , c l a s s r o o m s , k i t c h e n s e t c , ending i n a v i s i t t o t h e s p o r t s f i e l d s . A game of s o c c e r i s i n p r o g r e s s w i t h Sydney prominent .

CAPTION "And even worse was t o follow!"

A n u r s e p u l l s Sydney from t h e game and t a l k s e a r n e s t l y t o him. H e mouths t w o t e r r i f i e d words a t h e r .

CAPTION "Mother Mad 1 ? I'

Sydney s i n k s to t h e ground wracked by sobs. C h a r l i e comes up and p u t s h i s a r m round him. Sydney e x p l a i n s what he has been t o l d t o t h e younger boy w h i l e the s o c c e r game goes on i n the background.

CAPTION "Her mind has c o l l a p s e d . She i s a t t h e Cane H i l l A s y l u m . ' '

3 7 . CONT'D

C h a r l i e makes a r e s o l u t e ges tu re .

C A P T I O N "We mus t go t o h e r ! 'I

The s o c c e r b a l l i s k i c k e d h igh i n t h e a i r Out Of

p l a y towards him. C h a r l i e n o n c h a l a n t l y h e a d s it back i n t o p l a y , once a g a i n u n d e r s c o r i n g t h e t r a n s i e n t n a t u r e of p a t h o s .

C A P T I O N "The Asylum".

38 . Held i n a s h a f t of l i g h t from a window set h i g h in t h e w a l l of a padded room, Sydney and C h a r l i e s i l e n t l y embrace t h e i r mother. I t i s clear f r o m h e r v a c a n t e x p r e s s i o n t h a t she does n o t r e c o g n i s e them. C h a r l i e looks up a t her d e s o l a t e d .

CAPTION "Why d i d you do it, mother? Why?. . .Why? ' I

3 9 . We mix th rouqh t o t h e E x t e r i o r o f 2 8 7 K e n n i n g t o n Road. C h a r l i e l u r k s beh ind a hedge as his f a the r and! h i s mistress L o u i s e come o u t an2 walk down t h e garden p a t h . H e jumps o u t and grabs Charlie S e n i o r ' s l e g , who makes a gesture t o s h i f t h i m r e m i n i s c e n t o f t h e t r a m p ' s subsequent leg g e s t u r e s ,

CAPTION "Get off!. . .What ' s your name?11

28 .

3 9 . CONT'D

C h a r l i e looks a d o r i n g l y up a t his father.

CAPTIOE " C h a r l e s Chap l in . 'I

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

CAPTION "Son: I t

CAPTION " F a t h e r ! I t

Loui se looks on sourly as f a t h e r and s o n hug , and

even more s o u r l y as Sydney suddenly emerges from beh ind t h e hedge and i s also embraced,

CAPTION "Mothe r ' s i n t h e A s y l u m ! I'

CAPTION "What! You must come and l i v e w i t h us!"

Genera l r e j o i c i n g . But Louise is n o t so happy . W e i r i s i n t o a CU of her malevolent face and f ads to black.

CAPTIOl? "From the s t a r t Lausie made t h i n g s d i f f i c u l t f o r t h e boys . O f t e n when C h a r l i e S e n i o r w a s n ' t around she threw them o u t of t h e house".

29 .

4 0 . We s e e C h a r l i e c r e e p i n g up t h e s t a i r s t o t h e bedroom

and b e i n g d e t e c t e d by L o u i s e who p o i n t s d r a m a t i c a l l y t o t h e f r o n t d o o r .

CAPTION "You d o n ' t l i v e here! I d o n ' t want you! I'

CAPTION "Where am I t o s leep?"

CPJ'TION "Ask your f a t h e r - i f you can f i n d what b o o z e r he's i n ! "

C h a r l i e walks down t h e s t a i r s and i n t o t h e n i g h t - ii n i n e y e a r old boy w i t h o u t a home.

4 1 . 2 4 F M E S . COLOUR. SOUND

I n t h e s t u d i o t h e f i l m crew i s w a i t i n g a n x i o u s l y f o r Chap l in t o a r r i v e . H e i s more t h a n t h r e e hour s l a t e . The cameraman c a l l s Marion Davies , t o r e p o r t h i s absence .

"I'll f i n d him" s h e says g r i m l y .

4 2 . We c u t t o a yacht i n a small h a r b o u r . On t h e deck sits C h a r l i e , mood i ly f i s h i n g . Marion Davies a p p e a r s , anE p roceeds t o upbraid him f o r n o t b e i n g a t w o r k .

"i c a n ' t go on" says C h x l i e

I1I c a n ' t f i n i s h t h e f i l m . I t ' s

t o t a l m i s e r y f o r m e r e l i v i n g t h o s e days. You'll have t o t e l l W i l l i a m , I'

3 0 .

42. CONT'D

Unr e 1 i e ve d ? 'I

asks Davies. ''Rubbish! Don't be such a quitter. You never have been before in your life. Q u i t e the reverse in fact. Why now?"

"I 'm sorry"

"It's just that the memories are so a w f u l . "

Chaplin replies

"Made more so by self p i t y "

"You must have had some pleasures - some g r e a t adventures."

s h e snaps at h i m .

He brightens up suddenly as he hauls a huge fish o u t of the water, landing on h i s backside in t h e process, and doing a whole "landing of the whale" number. Marion laughs but returns to the attack,

"Well didn It you. . . ? If

"Well yes of c o u r s e " he admits.

"There was one night in particular 1'11 always remember..."

43. A slow dissolve takes us to 16 F W S . BLACK AND KKITE. SILENT.

Charlie is walking disconsolately down the Kennington Road. Passing the White Hart corner pub he hears

31.

4 3 . CONT ' D

"The Honeysuckle And The Bee" played w i t h " r a d i a n t v i r t u o s i t y " ( C h a p l i n ' s own words) on a harmonium and c l a r i n e t . The harmonium p l a y e r i s b l i n d and

cadaverous ,and wears baggy t r o u s e r s severa; s i z e s t o o b i g f o r him. The young boy stops, e n t r a n c e d , t o l i s t e n , and t ea r s form i n h i s e y e s . W e i r i s i n t o a CU of t h e Harmonium p l a y e r f a v o u r i n g t h e baggy p a n t s

4 4 . Cut t o 2 4 FRAMES. COLOUR. SOUND

We a re i n a rehearsal i n t h e f i l m s t u d i o . C h a r l i e

Senior, much moved l e a v e s t h e s i d e of the n i n e y e a r o l d boy h e i s d i r e c t i n g i n t h e s t reet scene outside t h e White Hart, and goes t o s t a n d w i t h

t h e m u s i c i a n s .

"I so w e l l remember that moment" he s a y s .

" I t c r y s t a l i z e d for m e t h e mystery of music. I sudden ly know t h a t it had ii x i i r e b e a u t y that has gladdened and haunted m e from t h a t moment.

H e suddenly s t e r t s t o s i n g p a s s i o n a t e l y , accompanied by the harmonica p l a y e r and c l a r i n e n t i s t .

"You are t h e honeysuckle, I a m t h e bee I ' d l i k e t o s i p t h e honey, dear ,

from those r e d lips you see. I love you, dear ie , dearie, and I

You are m y honey , honeysuckle , want you t o love m e .

I am your bee."

32.

4 4 . CONT'D

Douglas Fairbanks suddenly emerges from the shadows of t h e se t t o j o i n i n the l a s t l i n e . The mus ic i ans applaud a s the two o l d f r i e n d s embrace.

CHARLIE Douglas! . . . How g r e a t to s e e you!

FAIRBANKS C h a r l i e , I hope I don't i n t e r r u p t . 1 was i n the s t u d i o s and had t o come and say hello. HOW'S it going?

CHARLIE We're g e t t i n g t h e r e . May 1 p r e s e n t to you o u r young s t a r who p l a y s m e at n i n e years old, Master Harold Copping. M r . Douglas Fairbanks!

The boy looks s u i t a b l y awestruck a s they g rave ly shake hands.

FAIRBANKS Why d o n ' t you use Coogan when you g e t a bit older. n o t h i n g w i t h him since The Kid .

You've done

CHARLIE A great i d e a . now?

How old is Jackie

3 3 .

4 4 . C O N T ' D

FAIRBANKS 1 2 t o 1 3 .

CHAFGIE Good. He'll be j u s t r i g h t f o r t h e music hall s t u f f .

45. Cut t o 1 6 FRAMES. BLACK AND WHITE. SILENT

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

We c u t t o a l i n e of young boys c l o g dancing e n e r g e t i c a l l y . Prominent is a J a c k i e Coogan look

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

4 6 . Mix through t o C h a r l i e d r e s s e d i n a c a t mask p l a y i n g w i t h Marce l ine t h e French Clown d r e s s e d as a dog.

H e s n i f f s t h e rear end of t h e dog, and pulls a s t r i n g which winks a s t a r i n g e y e . The a u d i e n c e of c h i l d r e n go w i l d , as h e cocks a l e g against the proscenium a r c h . I n t h e wings t h e Manager of the T h e a t r e shakes h i s f i s t and screams abuse.

CAPTION "Dont' you ever do t h a t a g a i n , T h e y ' l l c lose u s down! ' I

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

4 7 . Hannah r e t u r n s from t h e Asylum t o collect t h e boys from 2 8 7 Kennington Road. a r n s t o greet h e r i n t h e f r o n t g a r d e n . L o u i s e

They run into h e r

34.

4 7 . CONT ' D

stares balefully from an upper window.

Hannah, Sydney and Charlie stagger down Pownall Terrace carrying their suitcases. They pass the open door of a slaughterhouse, and a sheep runs o u t ,

48. Cut to 24 FRAMES. COLOUR. SOUND

Chaplin Senior directs t h e rehearsal of the chase of the sheep by the slaughterers and neighbourhood boys , from the camera dolly. It passes under a

ladder, causing a painter to drop his paint pot on it, striping it Like a zebra. It u n s e a t s a mounted policeman, causes a collision of bicycles, and knocks down a baker's boy ca r ry ing a tray of jam t a r t s which cover it.

Charlie p l a y s a11 the parts - painter, policeman, bicyclist, and baker's boy, showing how t o

tumble to t h e best advantage. He ends up showing the Jackie Coogsn lookalike how to rugger tackle the sheep and bring it down.

43. We revert to 16 FRAMES. BLACK AND WHITE. SILENT to see the whole speeded up chase take p l a c e , culminating in the capture of the sheep, and Cnarlie's sudden look of understanding as t h e slaughterers in their blood-stained aprons walk it back t o the slaughterhouse. He protests to his mother .

CAPTION " M u m , they're going to k i l l it!.. T h e y ' r e going t o kill it!

35.

4 9 . C O N T ' D

Ir is i n t o h i s anguished face as he contemplates t h e combinat ion of the comic and t h e t rag ic .

5 0 . W e i r i s o u t a g a i n on a pos te r of Char l ie now dressed as H o l m e s ' Page Boy, B i l l y o u t s i d e t h e

Duke of York's T h e a t r e i n t h e West End of London. We pan up t o s e e t h e Marquee t w i n k l i n g i n t he n i g h t : W i l l i a m G i l l e t t e i n Sherlock H o l m e s w i t h C h a r l e s C h a p l i n .

5 1 . We m i x through t o the i n s i d e of the t h e a t r e t o see P r o f e s s o r M o r i a r t y r e p u l s e d , gnashing h i s t ee th , and B i l l y thanked by Holmes for h i s t i m e l y a i d .

CAPTION " B i l l y ! You're a good boy:"

CAPTION "Yes s i r . Thank you s i r ! "

The c u r t a i n f a l l s . Hannah i s applauding w i l d l y i n t h e a u d i e n c e . I n t h e c u r t a i n c a l l we n o t i c e Sydney as we l l as C h a r l i e .

CAPTION "Ancl for t h e moment a l l was well".

5 2 . C h c r l i e , Sydney and Hannah d r ink a toast t o g e t h e r C h a r l i e serves the i n a b a c k s t a g e d r e s s i n g room,

d r i n k s i n h i s page boy costume.

We pan o f f t h e happy group i n t o a CU of a pos t e r on t h e w a l l p roc la iming The P a i n f u l Predicament of S h e r l a c k Holmes.

3 6 .

53 . Mix th rough t o 2 4 FRAMES, COLOUR. SOUND.

C h a r l i e i s d i r e c t i n g h imse l f a t age 1 6 i n t h e p l a y w i t h G i l l e t t e .

CHARLIE (SENIOR) You must r e a l i s e t h a t i n t h i s t e n minu te curtain r a i s e r S h e r l o c k Holmes d o e s n ' t speak

a s i n g l e word. A woman e x h o r t s Holmes i n a s t a c c a t o monologue t o s o l v e a m y s t e r i o u s c a s e .

C h a r l i e s i t s p l a y i n g t h e woman, arms extended i n s u p p l i c a t i o n .

CHARLIE (SENIOR) (High F a l s e t t o )

You m u s t h e l p m e , M r . H o l m e s . R e a l l y you mus t . No one e l se b e l i e v e s m e , but I know you won ' t f a i l m e . ..

H o l m e s beckons Billy o ~ e r and gives him a no te . ( C h a r l i e a c t s it out).

CHARLIE (SENIOR) (Normal v o i c e )

You, B i l l y dash o u t , and t w o b u r l y men come in t o remove t h e

l ady . . .You, B i l l y now r e t u r n and g i v e t h e l a s t l i n e s of the p l a y . "You were right sir! It was t h e right Asylum!"

3 7 .

5 3 . CONT ' D

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

As b e f o r e , Chaplin has played all the p a r t s - h imse l f a s a boy, G i l l e t t e , t he madwoman, and t h e burly men.

H e now t u r n s t o Mary P i c k f o r d who i s watching t h e r e h e a r s a l s i t t i n g i n a cha i r labelled Mary Pickford.

CHARLIE I f t h e r e i s such a t h i n g as the r i g h t asylum.

MARY PICKFORD

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

CHARLIE I mean, Mary, t h a t it was about t h i s t i m e t h a t my mother w e n t i n t o an asylum a g a i n . . .

(Voice over t h e nex t scene) The poor dear had been d i s t r i b u t i n g lumps of c o a l ' t o t h e ne ighbours as b i r t h d a y p r e s e n t s f o r t h e i r c h i l d r e n .

54. 16 FFUMES, BLACK AND WHITE. SILENT

We see Hannah p r e s e n t bewi ldered neighbours wi th I m p s of coa l .

38.

55. Mix to Charlie leading h e r t o t h e i n f i r m a r y , watched by c u r i o u s though sympa the t i c ne ighbours , as she weaves h e r uns t eady way.

CHARLIE

(Voice o v e r c o n t i n u e d ) I had t o walk h e r the m i l e o r s o t o t h e i n s t i t u t i o n . I t was a t e r r i b l e b u s i n e s s . You see s h e knew where she was going.

5 6 . A t t he i n f i r m a r y Hannah bends a hea r tb reak ing look of d e s p a i r on C h a r l i e as t h e y p a r t .

CAPTION "Goodbye M u m !

CU C h a r l i e looking f o r l o r n l y a f t e r h i s mother. H e t r i e s t o g r i n and wave, b u t i t ' s no good.

A s l o w mix t a k e s us t h r o u g h t o t h e next scene.

5 7 . 24 FWIES. COLOUR. SOUND

CU C h a r l i e J u n i o r ' s f o r l o r n face w i t h t h e same e x p r e s s i o n . c o u r t a t P i c k f a i r e , b e i n g p a r t n e r e d by C h a r l i e S e n i o r . On t h e o p p o s i t e s i d e of t h e n e t i s Sydney and B i l l

Ti lde11 t h e t e n n i s champion. b a l l e t i c a l l y a l l over t h e c o u r t watched bemusedly by h i s young p a r t n e r who never touches the h a l l .

C h a r l i e f i n a l l y w i n s t h e p o i n t w i t h a s p e c t a c u l a r l e a p and over t h e s h o u l d e r s h o t . T i l d e n now s e r v e s t o C h a r l i e J u n i o r , and aces h i m so completely

\;e p u l l back to see he i s on t h e t e n n i s

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

t h a t he d o e s n ' t even have t i m e t o move...

3 9 .

5 7 . CONT'D

TILDEN That's t h e s e t and t h e match, I t h i n k .

CHARLIE SENIOR Thanks t o my f i l m son here . You're dreaming boy. You c a n ' t expec t t o rece ive s e r v i c e from B i l l T i l d e n

h a l f a s l e e p .

Charlie S e n i o r jumps the n e t , and does a whole b i t of comic b u s i n e s s , c a t c h i n g h i s foot i n it, and doing a pratfall, stretched from it l i k e an arrow i n a bow.

A s t h e y walk o f f t h e p a v i l i o n Char l i e Junior a d d r e s s e s C h a r l i e S e n i o r .

CHARLIE JUNIOR I ' m sorry, C h a r l i e , I guess my mind w a s n ' t on t h e game. I was t h i n k i n g about your poor mum going i n t o t h e b i n t h e second t i m e . I t must have been r e a l t o u g h .

CHARLIE SENIOR Well m y advice t o you i s t o f o r g e t i t , I want you up and spa rky f o r t h a t s cene tomorrow, Have you got it down? Do you bo th know what you're going t o be d o i n g ?

40.

5 7 . CONT'D

J u s t o u t s i d e t h e p a v i l i o n Sydney s t r i k e s a pose, h o l d i n g Char l i e J u n i o r ' s s h o u l d e r , and g o e s i n t o the s c e n e .

SYDNEY N o w t h a t mum's gone, why d o n ' t I see if I can get you a job

w i t h m e at Fred Karno ' s?

CHARLIE JUNIOR He'll neve r t a k e m e . He'll t h i n k I'm t o o young.

SYDNEY

You ' re s e v e n t e e n , and look o l d e r .

CHARLIE JUNIOR ( t o C h a r l i e Senior) I d~! ; ' t though.

5 8 . They e n t e r t h e p a v i l i o n and go through t o t h e

washroom.

CHARLIE SENIOR Try p u t t i n g on masses of g r e y i n g h a i r , and a moustache. Hunch the shoulders a bit t o o .

H e demonstrates h i l a r i o u s l y , becoming i n s t a n t l y an o l d man, w i t h t h e a i d of a grey mop head f o r a wig w h i c h he t a k e s from a c l e a n i n g woman's cupboard,

41.

5 8 . CONT'D

a small n a i l b r u s h fo r a moustache t a k e n from a hand

b a s i n , and t h e mop h a n d l e for a stick t o s u p p o r t h i s t o t t e r i n g walk . The o t h e r s l a u g h .

TILDEN N o wonder w e won so eas i ly p l a y i n g an o c t o g e n a r i a n !

Mary P i c k f o r d and Douglas Fa i rbanks a re o u t s i d e t h e p a v i l i o n .

MARY PICKFORD J o i n Doug and m e for d r i n k s before you go home, C h a r l i e , won ' t you?

C h a r l i e p u t s h i s bewigged head o u t of t h e window, and speaks i n a h i g h cracked o l d man's v o i c e .

CHARLIE S E N I O R

I'm a f ra id a l l t h e y a l l o w m e these days i s a l i t t l e b u t t e r m i l k , m'dear.

More l a u g h t e r and applause. F a i r b a n k s s a l u t e s the c h a r a c t e r i z a t i o n w i t h a g l a s s of champagne.

FAIRBANKS

I t ' s w o n d e r f u l , b u t have you t h o u g h t - i f you can p l ay old you c a n p l a y young.

PICKFORD Doug's p layed f i f t e e n years younger t h a n he i s a l l h i s l i f e .

FAIRBANKS S u r e I have. And so can you. Why d o n ' t you?

CHAPLIN

Meaning what e x a c t l y ?

FA1 RBANK S Meaning people d o n ' t want t o see s t a n d - i n s f o r you. They want t o see you. Why d o n ' t you t ake over your se l f now i n the film?

CHAPLIN D o you r e a l l y t h i n k I should?

A r e s o u n d i n g chorus of "Yes" from Fairbanks and P i c k f o r d .

5 9 . On t h e frosted g l a s s door is w r i t t e n Fred Karno Head O f f i c e Karno' h imsel f I a dumpy aggress ive man, s i t s behind a la rge desk c l u t t e r e d wi th papers and thg r ema ins of meals. C h a r l i e , now played b;.

Cha r l i e S e n i o r s t a n d s nervous ly on t h e o t h e r s i d e of t h e desk .

43.

5 9 . C O N T ' D

6 0

KARNO

D o you t h i n k you cou ld p l a y o p p o s i t e H a r r y Weldon i n The F o o t b a l l Match?

Chap l in t h r u s t s h i s c h e s t o u t .

CHAPLIN A l l I need i s t h e o p p o r t u n i t y .

KARNO

You look a bit too o ld t o m e .

A tremendous s h r u g from C h a r l i e .

C H A P L I N

T h a t ' s only a q u e s t i o n of make-up!

With g r e a t s l e i g h t of hand he puts on a blond w i g and moustache which makes h i m look t w e n t y and starts t o s k i p around t h e office. a p p r e c i a t i v e l a u g h t e r .

Karno roars w i t h

I ' l l g i v e you a two week t r i a l a t t h r e e pounds t e n a week!''

C u t to 1 6 F W S . B L A C K AND WHITE, SILENT.

Mix to C h a r l i e e n t e r i n g on s t a g e i n The Football Match, w i t h h i s back t o t h e a u d i e n c e . p l a y i n g t h e V i l l a i n , come t o b r i b e Weldon,

He is

44.

6 0 . CONT ' D

t h e s t a r goa lkeepe r i n t o th rowing the game. He is d r e s s e d i n a slouch h a t , o v e r s i z e Inverness Cape, and small b lack moustache. H e s u d d e n l y t u r n s

round , and t h e a u d i e n c e sees he has reddened h i s n o s e , and l a u g h s . I n q u i c k s u c c e s s i o n he scores more l a u g h s , t r i p p i n g o v e r a d u m b e l l , and becoming e n t a n g l e d w i t h a punch bag. H i s p a n t s f a l l down and he looks f o r t h e m i s s i n g b u t t o n , p i c k i n g up and d i s c a r d i n g someth ing .

CAPTION "These confounded r a b b i t s ! "

More l a u g h t e r and w e see Weldon s c o w l i n g i n t h e w i n g s . H e s p e a k s t o t h e Stage Manager.

CAPTION "We've never had l a u g h s here b e f o r e ! "

He goes o n s t a g e . C h a r l i e g r a b s h i s w r i s t .

CAPTION " Q u i c k . I ' m undone! A p i n : "

T:--fzrE is more laughter Weldon, f u r i o u s , s t r i k e s C h a p l i n a v i c i o u s blow under cover of t h e s l a p s t i c k c a u s i n g a n o s e b l e e d . H e wh i spe r s in Charlie's ear.

CAPTION "I have more t a l e n t in my arse t h a n you have in your e n t i r e body."

4 5 .

C h a r l i e w h i s p e r s back

CAPTIOK "That s where your t a l e n t lies. I'

W e i r i s i n a s t h e b a t t l e continues.

61. Mix th rough to t h e n e x t s c e n e . 2 4 F W S . COLOUR. SOUND.

Sydney C h a p l i n s i t s i n h i s d r e s s i n g room i n t h e T h e a t r e Royal B r i g h t o n . a t e l e g r a m . H e t ea r s it open , and w e see it i n CU. It r e a d s :

A d e l i v e r y boy e n t e r s w i t h

"Sydney C h a p l i n T h e a t r e Royal B r i g h t o n . Have s i g n e d cont rac t w i t h Xarno f o r o n e y e a r a t 4 pounds p e r week. Love C h a r l i e . I'

Sydney g r i n s and c a r e f u l l y a t t a c h e s it t o h i s mir ror . H e t h e n wanders o u t i n t o t h e corr idor and heads towards t h e s t a g e , followed by Charlie S e n i o r on t h e camera d o l l y .

I n t h e empty a u d i t o r i u m of the T h e a t r e Rayal Br ighton Sydney s t a n d s on stage l o o k i n g a t the boxes n e x t t o i t . Suddenly a s i f by magic his h r o t h e r C h a r l i e pops i n t o one of them a t t i r e d i n w h i t e t i e , t a i l s and top hap, and goes i n t o h i s drunken swel l a c t i n t h e Mummingbird'sketch. (Known i n the US a s A N igh t In An E n g l i s h Music

H a l l ) . I t is a show within a show - a burlesque v a r i e t y e n t e r t a i n m e n t c o n t i n u a l l y i n t e r r u p t e d by

46.

6 1 . CONT'D

members of t h e " a u d i e n c e " . , p r i n c i p a l l y a f a t boy who throws food from t h e O.P. box and C h a r l i e who j o i n s i n b i b u l o u s l y from t h e Prompt s i d e . The acts come i n q u i c k order: a p a i r of s c r a g g l y c a n can g i r l s , a comic s i n g e r so awful t h a t t h e drunk chases him o f f s t a g e , a r a n c i d ham a c t o r who r e c i t e s The T r a i l o f t h e Yukon t o agon i sed g r o a n s from t h e f a t boy a n d the d r u n k , and a q u a r t e t of male r u s t i c s s i n g i n g i n t e r m i n a b l e verses of " E a i l

Smi l ing Morn T h a t Tops The H i l l s With Gold" u n t i l t h e y a re p e l t e d o f f s t a g e w i t h buns. F i n a l l y , w e g e t Marconi Ali "The T e r r i b l e Turk , t h e Greatest Wrestler Ever t o Appear Before t h e B r i t i s h P u b l i c , " who i s p r e p a r e d t o wrestle anyone i n t h e a u d i e n c e f o r one hundred pounds . C h a r l i e t a k e s up t h e c h a l l e n g e and downs t h e Turk by a p p e a r i n g i n long underwear trimmed w i t h r e d r i b b o n s , and t i c k l i n g h i m i n t o s u r r e n d e r .

A s t h e o r i g i n a l s c r i p t had i t , t h e show conc ludes w i t h a t y p i c a l l y Karno c l imax . "A g e n e r a l melee e n s u e s and t h e c u r t a i n s c l o s e on a n u p r o a r i o u s s c e n e , as C h a r l i e t r i e s d r u n k e n l y t o avcsi? the v e n g e f u l Turk, h i d i n g behind i n turn t h e comic s i n g e r , t h e ham a c t o r , a n incompetent c o n j u r e r , the male q u a r t e t , and the d e s i c a t e d can c a n girls, a l l of whom are a t t e m p t i n g t o s i g n o f f w i t h samples of t h e i r a r t . Most of t h e i r p r o p s e n d u p on t h e f l o o r a long with C h a r l i e h i m s e l f ,

b e i n g m e r c i l e s s l y pummelled by Marconi.

N . B . A s t h i s M m i n g b i r d Ske tch was o b v i o u s l y a c o n s i d e r a b l e t o u r de f o r c e f o r Chap l in , and indeed was what g o t him h i s job wi th Mack S e n n e t t l a t e r , it may w e l l be t h a t it should be per formed i n i t s e n t i r ~ t y w i t h Chap l in S e n i o r d i r e c t i n g , iind

pe r fo rming it.

4 7 .

6 2 . A s he comes o f f s tage C h a r l i e catches the eye of a

beautiful young g i r l who asks him t o hold a small mirror f o r h e r w h i l e she does h e r h a i r . C h a r l i e

gazes at h e r i n rapture.

CHARLIE "What s your name?"

HETTY

"He t ty K e l l y . I '

CHARLIE

"My name I s Charlie Chaplin. I'

HETTS

"1 know. I'

CHARLIE "HOW d i d you l i k e t h e s k e t c h ? "

HETTY

"Not much 1

CHARL I E "Oh! I ' m s o r r y . "

HETTY

"You're OK though. Smashing actually. I'

CHARLIE "Thanks e r Miss Ke l ly . I t

HETTS

"You can call m e He t ty . "

CHARLIE "Will you meet m e Sunday a f t e rnoon Het ty? 'I

4 8 .

6 2 . CONT'D

HETTY "I might . 'I

H e r u b s off h i s red nose, and r e m o v e s h i s w i g ,

h a t and t a i l s , and s m i l e s d e v a s t a t i n g l y .

CHARLIE I though t I'd show you what I

looked l i k e , so you'll be able t o r e c o g n i s e m e .

HETTY " 0 0 , y o u ' r e q u i t e n i c e . I'

CHARLIE "Kennington Gate 4 o I clock Sunday?"

HETTY "Alright er M r . Chap l in . 'I

CHARLIE " C a l l m e C h a r l i e . ' I

HETTY

" A l r i g h t C h a r l i e . "

She smiles a t him. H e jumps in t h e a i r and does

a series of e n t r e c h a t s which t a k e h im from o u r s i g h t . She b u r s t s o u t laughing.

G 3 . 16 FRAMES. BLACK AND WHITE. SILENT

C h a r l i e d re s sed up t o the n i n e s i n dark s u i t w i t h

nipped in waist a n d d i r k s tock t i e , spats and a

49.

63. CONT'D

b l a c k ebony cane w a i t s a n x i o u s l y by t h e tramcar s t o p . A s u c c e s s i o n of h ideous ly p l a i n g i r l s gets o f f a number of tram cars, and come towards h i m .

I n each case h e ra ises h i s h a t , and smiles and as t h e y pass h i m by t h e s m i l e changes t o one of r e l i e f ,

A s u c c e s s i o n of c a p t i o n s are i n t e r c u t w i t h t h i s a c t i v i t y .

CAPTION "What an u g l y c r e a t u r e ! "

CAPTION "Stage make up c a n be so d e c e i v i n g , "

CAPTION "I do hope s h e ' s n o t mine!" e tc . e t c .

A p r e t t y girl g e t s off and heads towards h im.

CAPTION "Ah, this o n e ' s mine!''

Hi siriFles ~ n 2 raises h i s h a t . She sloshes him.

H e reels back i n t o t h e arms of an even p r e t t i e r one - t h e r e a l Hetty K e l l y who i s wearing a s t u n n i n g l i t t l e s a i l o r h a t and reefer j a c k e t . I n t e r c u t c a r d s a s b e f o r e .

CAPTION "You're always clowning. I '

CAPTION "1 t h o u g h t you w e r e n ' t corning. I t

CAPTIOV " I s a i d I would d i d n ' t I?"

"Where are w e go ing?"

CAPTION "Up West t o d i n n e r . I thought the T r n c . 'I

50 .

6 3 . C O N T ' D

CAPTION "I 've had d i n n e r . ' I

CAPTION "Have t w o . I t

CAPTION "NO t h a n k s . I'll watch you."

H e u s h e r s h e r i n t o a t a x i and t h e y d r i v e off.

6 4 . I n t h e Trocade ro C h a r l i e orders a f r u g a l d i n n e r as b e f i t s t h e s t a t e o f h i s f i n a n c e s . Ta h i s alarm H e t t y suddenly changes h e r mind, about n o t e a t i n g .

CAPTION "Perhaps I could j u s t be tempted . What ' s t h a t ? "

She p o i n t s t o a n u r n of c a v i a r s t a n d i n g i n an ice bucke t on a t r o l l e y . C h a r l i e b l anches .

CAPTION "Cav ia r ! I '

CharliE sliekes his head i n d iscouragement .

CAPTION "You wouldn't l i k e it. "

CAPTIOK "Oh I d o n ' t know. I t looks l i k e f i s h jam. And I l i k e f i s h and I l i k e jam so why shouldn't I l i k e it?"

She h c l p s h e r s e l f t o a desser t spoonfu l of it - l i k e s i t and g o e s f a r seconds. The a p p a l l e d C h a r l i e t r i e s d e s p e r a t e l y t o p r e v e n t h e r , f i n a l l y p u s h i n g

the t r o l l e y away w i t h a lunge of h i s f o o t , I t

c a r e e r s a c r o s s t h e room, c r a s h i n g i n t o t h e back of

t h e head waiter who t u r n s o u t r a g e d t o see t h e trolley

64. CONT'D

overturn spilling its precious contents onto the floor. Furious, he crosses to Charlie's table and wags a finger under his nose.

CAPTION "That will be $ l o o ! "

Charlie shows his empty pockets.

We mix to

65. In the kitchen Chzrlie is washing up a mile h igh stack of d i s h e s . Giggling, Hetty comes in, and gives him a hand. Intercut captions -

CAPTION "You are my nemisis!"

CAPTION "What t h e hell's that?"

CAPTION "It means that you're too beautiful."

66. Outside, in a long romantic montage of several nights illustrated by changes in the shape and s i z e of the moon, t hey walk through the n i g h t streets to Camberwell, holding hands.

A reprise of t h e harmonium clarinet duet of The Honeysuckle and The Bee s t ea l s onto the sound-

t r a c k as we revertto -

6 7 . 2 4 FRATES. COLOUR. SOUND to see dawn rise, and Charlie and Hetty walking back the other way to

5 2 .

6 7 . C O N T ' D

work, a l o n g t h e C a m b e r w e l l r o a d s t i l l h o l d i n g hands .

We p u l l back t o see them followed by t h e camera d o l l y . wa lk .

C h a r l i e i s i n s t r u c t i n g H e t t y as t h e y

CHARLIE Keep moving away H e t t y . T h a t ' s i t . . . T h a t ' s it. Now I

pur sue you and walk i n t o the dog mess and hop a l o n g behind s t i l l t r y i n g t o h o l d your hand.

C h a r l i e does as h e ' s said, hopping a long b e h i n d t r y i n g t o s c r a p e h i s s h o e , a t t h e same t i m e . I t

i s v e r y funny t o wa tch .

We i s o l a t e him g r a b b i n g f r e n e t i c a l l y a t Hetty's hand, and f i n a l l y t u m b l i n g ove r s t i l l ho ld ing i t .

We c u t i n t o a CU for t h e d i a l o g u e .

CHARLIE I see you d o n ' t r e a l l y lGve me.

HETTY Course I do.

CHARLIE Then w i l l you marry m e .

HETTY

I d o n ' t want t o g e t married y e t .

5 3 .

6 7 . CONT'D

CHARLIE If you were compelled t o marry would i t m e m e O K someone e l s e ?

HETTY I d o n ' t know. Honest Charlie, I d o n ' t know.

CHARLIE

( d r a m a t i c a l l y ) Then you c a n ' t love m e ! I

have l e t t h i s t h i n g go too far: I t h i n k we 'd be t te r p a r t , and n e v e r see each o t h e r aga in !

H e shakes her hand solemnly.

( d r a m a t i c a l l y ) Goodbye!. . I t ' s b e t t e r t h i s way. A l r e a d y you have t o o much power over m e ,

HETTY

Goodbye t h e n . I ' m sorry.

H e t t y d i s a p p e a r s down t h e Underground. C h a r l i e , t o t a l l y d i s c o u n t e n a n c e d by H e t t y ' s immediate accep tance of h i s h i s t i o n i c s , walks away from u s t o t a l l y bereft.

6 6 . 1 6 F W l E S . BLACK AND WHITE, SILENT

Char l ie goes down t o t h e Thomas Embankment and jumps i n t h e r i v e r . It i s f r e e z i n g , and quickly coming t o his s e n s e s he cl imbs o u t , Passers by - d e r e l i c t s , and n a n n i e s pushing prams laugh immoderately a t this f u t i l e , d r a m a t i c g e s t u r e .

5 4 .

6 8 . CONT'D

H e t r i e s t o shake water o u t of t h e leg of h i s p a n t s ,

and h i s u n i n v i t e d aud ience l a u g h s all t h e harder , as - w e n o t e y e t a n o t h e r of t h e famous Chapl in mannerisms of t h e f u t u r e .

C h a r l i e looks a t them somewhat, b u t no t totally uncomprehendingly, f o r he has a l r e a d y g r a s p e d , e . g . , i n t h e runaway sheep i n c i d e n t , t h a t comedy and pa thos are ve ry c l o s e l y r e l a t e d .

6 9 . 2 4 FRAMES. COLOUR. SOUND

C h a r l i e and Marion are i n t h e s c r e e n i n g room. C h a r l i e i s l a u g h i n g o u t r a g e o u s l y a s t h e image o n t h e screen d i e s and t h e l i g h t s come up.

CHARLIE

You see, Marion, how closely comedy and p a t h o s a re r e l a t e d . T o him its thE most impor t an t t h i n g i n t h e w o r l d - a m a t t e r o f l i f e and d e a t h . T o t h e m i t ' s l u d i c r o u s .

7 0 . Mix through t o C h a r l i e w h i r l i n g round i n t h e roller A t t h e end of it C h a r l i e s k a t i n g ske tch f o r Karno.

f l o p s i n a r i n k s i d e sea t su rvey ing t h e chaos he

has caused . A man i n t r o d u c e s himself t o h i m ,

ALF REEVES A l f Reeves. I ' m t h e Manager of Karno ' s American Company.

CHARLIE P l e a s e d t o meet you.

55.

7 0 . CONT'D

REEVES Boy, could we use you in the States. Br ing t h i s and the Mumingbi rd Ske tch , and you'll l a y 'em dead, though I guess it cou ld use a new t i t l e . "

CHARLIE How abou t A Nigh t i n An

English Music Hall?

REEVES Great !

CHARLIE You'll have to ask Mr. Karno

7 1 . I n Karno's chaotic o f f i c e , Karno, Reeves and C h a r l i e

are lockes in battle as t h e latter rehearses t h m .

KARNO

If I l e t you go to America, y o u ' l l go w i t h the Wow Wows.

CHARLIE But Fred , t h e Wow Wows s t i n k s .

(derisive) Did t h e water come up t o your expectations?,..No it o n l y reached my k n e e s . . . J e s u s ! . . . They'll k i l l u s !

5 6 .

71. CONT'D

XARNO

They 've g o t all s o r t s of secret s o c i e t i e s and f r a t e r n i t i e s o u t t h e r e . T h e y ' l l love it .

CHARLIE What have secret s o c i e t i e s g o t t o do w i t h b reak ing eggs i n p e o p l e s p o c k e t s ?

KARNO I ' I1 b r e a k your head i f you d o n ' t ge t o u t of here.

A chase sequence s ta r t s which Chapl in directs, d i v i n g h imse l f unde r the d e s k , and through Xarno's

l e g s . The s c e n e ends in chaos, w i t h Charlie i-z.!-li:-.; ccc c.f t h r - o f f i c e s h o u t i n g to Karno.

CHARL I E

I'll send you a p o s t c a r d .

ELYRNQ

The n o t i c e s w i l l do.

7 2 . A Dock Scene as C h a r l i e i s d i r e c t i n g t h e d e p a r t u r e of the SS Cairnroma. S t reamers are thrown a n d t e a r f u l farewells t a k e n .

Douglas F a i r b a n k s , a c r i p p l e d f i g u r e i n neck brace and p l a s t e r leg cast a r r i v e s , pushed i n a w h e e l c h a i r .

57.

7 2 . CONT ' D

CHARLIE

what happened?

FAIRBANKS I t ' s a l l t h i s damned swordplay. The h e l l w i t h p l a y i n g f i f t e e n years younger . How are you f i n d i n g i t ?

CHARLIE I l i k e i t . I get to chase t h e g i r l s - and c a t c h them!

FAIRBANKS

T h a t c a n p u t you i n a chair q u i c k e r t h a n a n y t h i n g .

H e i s wheeled away l a u g h i n g and waving.

7 3 . On board t n e S S Cairnroma, C h a r l i e chases a p r e t t y g i r l round t h e deck , doing h i s famous skidding s q u a r e t u r n . S t a n L a u r e l , s i t t i n g i n a l o u n g e r , t r i p s him up, and sends him s p r a w l i n g i n t o the s c u p p e r s . The camera crew r e c o r d s t h e i n c i d e n t , as C h a r l i e d u s t s himself down, u s i n g more Chaplinesque mannerisms and gauche , bu t t e r -wou ldn ' t -me l t f a c i a l d i s c l a i m e r s .

A l f Reeves appears and shakes a minotory f i n g e r .

5 8 .

7 3 . CONT'D

REEVES

C h a r l i e , if you don't behave y o u r s e l f , I ' l l have t o send you home. Half t h e chorus has complained about you a l r e a d y . They have been e x t r e m e l y v o c a l .

CHARLIE Well you know how it is - t h e i r b a r k is worse t h a n t h e i r b i t e .

C h a r l i e s a u n t e r s n o n c h a l a n t l y o f f down t h e deck , s l i p p i n g h i s arm t h r o u g h t h a t of another chorus g i r l a s he rounds t h e deck and d i s a p p e a r s from sight.

The f u n n e l blows b l a c k smoke which fills t h e screen and camouflages t h e l o n g mix through it which t a k e s u s t o t h e n e x t s c e n e . We h e a r sounds of l and ahoy, e t c .

7 4 . 16 FRRMES. BLACK AND WHITE., SILENT L i b r a r y Footaqe - New York harbour i n t h e f i r s t decade of t h e c e n t u r y . C h a r l i e r u n s forward t o the r a i l waving h i s h a t .

7 5 . Cut t o 2 4 FRAMES. COLOUR. SOUND as his f i l m crew d o l l y a f t e r him t o en6 i n E t i g h t CU.

CHARLIE

America 1 a m coming t o conquer you! Every man woman and c h i l d s t d l have my name on t h e i r l i p s - C h a r l e s Spencer Chapl in!

The Company boo k A i m a f f e c t i o n a t e l y . them a bow.

He sweeps

5 9 .

7 6 . The Wow Wows s k e t c h i s i n full CKY w i t h a r e p r i s e of some of t h e "business" referred t o in t h e Karno o f f i c e , i n t h e l a s t sequence , C h a p l i n i n t h e role of

the Honourable A r c h i e Binks i s cooking breakfast. H e pocke t s an egg and promptly smashes it w h i l e k n e e l i n g t o declare h i s l o v e f o r a lady visitor. The aud ience s i t s s t o n e f a c e d .

FEED

" D i d t h e water come up t o your e x p e c t a t i o n s ? 'I

CHARLIE "No it o n l y r eached my knees."

More s t o n e faced aud ience r e a c t i o n .

In CU we see C h a r l i e and Stan Laure l exchange g l a n c e s of desperation. I n t h e wings Alf Reeves looks glum. As they come off he speaks t o them with r e s o l u t e c h e e r f u l n e s s .

REEVES

"Never mind, boys, it 'll go b e t t e r tomorrow. T h u r s d a y ' s t h e n i g h t t h e E n g l i s h d o m e s t i c s i n New York come out t o p l a y , and t h e y ' l l unde r s t and t h e gags!"

7 7 . Cut LO tile aud ience l a u g h i n g hugely a t Charl ie do ing t h e same egg b u s i n e s s as i n t he p r e v i o u s scene. We move i n t o i so l a t e Mack S e n n e t t and Mabel Normand i n t h e s t a l l s . H e is obv ious ly m o s t impres sed w i t h t h e aud ience r e s p o n s e t o C h a p l i n . H e speaks t o Normand.

60 .

7 7 . CONT ' D

MACK SENNETT T h e r e ' s a guy we shou ld s i g n up 1

7 8 . H e s c r i b b l e s on a v i s i t i n g card. Wipe to C h a r l i e

r e a d i n g t h e card i n h i s d r e s s i n g room.

79 * Cut t o CU card .

"You were s e n s a t i o n a l . You'll be h e a r i n g from u s . Mack S e n n e t t , t h e American Mutoscope and Biograph Company. 'I

8 0 . Montage of T r a i n Wheels, Telegraph Wires and Trunk s t i c k e r s r e a d i n g Bute Montana, S a l t Lake C i t y , S t . P a u l , Tacoma, San F r a n c i s c o , P h i l a d e l p h i a .

8 1 . I n t e r c u t w i t h s l a p s t i c k 1 6 FRAME, BLACK AND WHITE.

SILENT sequences from A Night i n A London M u s i c Wall. A Nigh t i n a London Club (A h y b r i d of t h e Wow Wows and The M m i n g b i r d s ) , Jimmy The F e a r l e s s - t h e E o y 'Er0 who coming home l a t e , h i g h h a t s h i s p a r e n t s , and gives himself a i r s , p r e p a r a t o r y t o f a l l i n g i n t o a Dream Sequence on a Penny Dreadfu l theme, w i t h s c e n e s set i n t h e s a l o o n of a s e t t l e r s camp i n t h e Wild West where a c a p t u r e d g i r l i s r e s c u e d s i n g l e handed by t h e v a l i a n t Jimmy. H e subsequen t ly d e f e a t s t h e r o b b e r s ' c h i e f i n a sword f i g h t . Return ing home r i c h , h e s a v e s h i s o ld folks from e v i c t i o n . Then comes t h e t w i s t . h i s dream, and p u t s t h e would be he ro across h i s

Wrathfu l f a t h e r wakes h i m from

knee , and soundly spanks him.

61.

The f i n a l s c e n e of t h e montage is Chapl in r e a d i n g a cable handed t o him by Alf Reeves. A CU reveals:

A l f Reeves, Manager, Karno Company, Nixon T h e a t r e P h i l a d e l p h i a , PA

i s t h e r e a man named C h a f f i n i n your company, or something l i k e t h a t . S t o p . I f so w i l l he communicate w i t h Kessel and Bauman, 2 4 Longacre B u i l d i n g Broadway, New York,

C h a r l i e g e t s e x c i t e d , and throws h i s h a t i n t h e a i r .

CAPTION " T h e y ' r e b i g lawyers. A d i s t a n t r e l a t i v e h a s d i e d and l e f t me a f o r t u n e ! I know it!"

6 2 - 2 4 F%&;LS. COLOUR. SOUKD

The offices of Kessel and Bauman. C h a r l i e i s d i r e c t i n g h imsel f i n t h e scene a long wi th Kessel and Bauman. H e i l l u s t r a t e s w h a t he s a y s w i t h febrile a c t i v i t y , go ing from one t o t h e o t h e r .

CHARLIE 1 m u s t be more anx ious h e r e . How much have I been left? Is it i n s t o c k s o r cash? Is there a house i n t h e coun t ry o r o n l y one i n town? Perhaps t h e r e ' s a motor c a r as w e l l ?

62

8 2 . CONT'D

KESSEL M r . C h a f f i n . . .

CHARLIE

Chap l in .

KESSEL

E x a c t l y . M r . C h a f f i n , we are n o t l a w y e r s . W e are p a r t n e r s i n the New York Motion P i c t u r e Company, arid on b e h a l f of Mr. Mack S e n n e t t d i r e c t o r o f p r o d u c t i o n s and our subsidiary The Keystone Film Company, we

are ernpowered t o offer you 125 d o l l a r s per week f o r 52 weeks.

C H m L I E

On m y b e h a l f I a m empowered t o a c c e p t 1 5 0 dollars p e r week f o r t h r e e months, and 175 f o r t h e

remaining n i n e .

Kessel l o o k s a t B a u n a n . Baurflan a t Kessel.

KESSEL Well I d o n ' t know

CHARLIE Take it o r leave it. I have m y poor mother to s u p p o r t .

63.

82 , CONT'D

BAUMAN Very well, we accept. Mr. Chaffin, welcome to Keystone.

CHAPLIN Mr. Chaffin is pleased to shake your hand. But make the contract out to Mr. Chaplin won't you?

He hugs the surprised producers, and does a back flip of d e l i g h t over their vast partner's desk using their shoulders as leverage.

83 . Mix through to the main stage of the Keystone studios.

S T I L L IN 24 FRAMES. COLOUR. SOUND we see a yellow board floor covering two blocks, lying on a

blaze of sunlight intensified by dozens of white canvas reflectors stretched overhead. On it is a wilderness of "sets" - drawing rooms, prison interiors, laundries, balconies, staircases, coves, fire escapes, kitchens, cellars. Five companies are playing in front of f ive clicking cameras.

Charlie beckons h i s camera dolly to follow him through the maze of s e t s as he watches the various scenes of pie throwing, arse kicking, pratfalls and chases, without enthusiasm.

6 4 .

83. Mack Senne t t a p p e a r s and welcomes Charlie, and introduces him to Henry Lehrman.

MACK SENNETT Our s e n i o r director M r . Henry Lehrman will p u t you t o work.

LEHRMAN

You do a dude Limey act, don't you? S i l k t o p p e r , Oxford cutaway, check waistcoat, polka-dot c r a v a t , walrus w h i s k e r s , monocle?

CHARLIE ( t o Lehrman) I think I s h o u l d be nervous h e r e , n o t cocky.

LEHRMAN

Ok! OK!

He mimes a b i t of U r i a h Heap handwashing e t c .

CHAPLIN

( s t u t t e r i n g )

That's it sir, He's sort of an aristocratic character. A t o f f

as we'd say in England.

LEHRMAN

Go get changed and made up. Meet me here in a ha l f hour.

6 5 .

83. CONT'D

CHAPLIN Right you are s i r . One h a l f hour it is .

Wipe d i s s o l v e .

8 4 - Chapl in Junior, n o t costumed as t h e t o f f , a p p e a r s w i t h h i s f a c e made up f o r t h e s t a g e . W e FADE THE

COLOUR OUT BRIEFLY t o show what Lehrman d e s c r i b e s .

LEHRMAN ( v o i c e over)

Look a t your skin, man. It

will regis ter grey, - and t h o s e l i n e s - you can't u s e l i n e s l i k e t h a t i n t h e pictures. Y o u ' l l look l i k e a n a e r i a l view of a r a i l w a y s t a t i o n . For Chr i s sakes will someone go show him how t o make up!

The humi l i a t ed C h a r l i e i s led away t o t h e make-up rooms.

E 5 . Nix to C h a r l i e i n t h e make-up room, h i s f a c e b e i n g p a i n t e d b r i c k brown, and h i s e y e l a s h e s loaded w i t h heavy b lack .

T h e make-up man d i r e c t s C h a r l i e t o look a t t h e m i r r o r , as C h a r l i e p e e r s forward we reverse c u t t o see him r e f l e c t e d i n BLACK AND WHITE, l ook ing p e r f e c t f o r

t h e photography of t h e day.

66.

8 6 . A s w e t r a c k i n t o CU t h e mirror t h e film r e v e r s e s t o NEGATIVE, and w e see a sequence in 1 6 FRAMES i n which C h a r l i e has a BLACK FACE AND WHITE MOUSTACHE. The per formance i s s t i l t e d , unfunny and u n p r o f e s s i o n a l , - for example, e v e r y tumble t a k e s him o u t of camera r a n g e . The o t h e r s i n t h e company i n c l u d i n g F a t t y Arbuckle , Charles Avery, C h e s t e r C o n k l i n , Mick Swain, Minton Durfee and Ford Sterling, are a11 t ho rough ly famil iar w i t h t h e t e c h n i q u e s r e q u i r e d .

8 7 . 2 4 FRAMES. COLOUR. SOUND.

A s t h e l i g h t s come up w e are i n a s c r e e n i n g room w i t h Lehrman and Mack S e n n e t t l ook ing a c c u s i n g l y a t Cha r l i e .

CHARLIE

Why a r e we r u n n i n g i n negative?

LEHRMAN Cos i t ' s n o t wor th t h e cos t o f p r i n t i n g up.

CHARLIE

I'm s o r r y M r . Lehrman, M r .

S e n n e t t . I know it's n o t very good.

MACK SENNETT Good! It's a gold plated, copper bottomed c l i n k e r . You ' r e t e r r i b l e C h a r l i e . You c o u l d n ' t get a l augh o u t of a drunken h y s t e r i c , You ' re s t i f f , you t e l e g r a p h every r e a c t i o n , Every tumble i s o u t of camera s h o t . I must have been mad t o s i g n you up !

6 7 .

8 7 , CONT'D

CHARLIE

I ' m s o r r y M r . S e n n e t t . Hones t ly I'll do b e t t e r

MACK SENNETT You b e t your ass you will.

CHARLIE 1t"s a l l t h a t s l a p s t i c k , M r . S e n n e t t - p i e throwing , and arse k i c k i n g and chas ing around. I t ' s n o t r e a l l y my s t y l e . Don't you t h i n k i t ' s sor t of o ld f a s h i o n e d - done t o d e a t h ?

MACK SENNETT

No, I do n o t ! I f a n y t h i n g ' s s o r t a old f a s h i o n e d and done t o death i t ' s t h a t Limey dude c h a r a c t e r of y o u r s . Let m e t e l l you someth ing , Charlie, he s imply a i n t funny.

CHARLIE ( t h u n d e r s t r u c k ) A i n t funny?

SENNETT

A i n t , r e p e a t , a i n t funny. I want you t o go t o wardrobe now

and se lec t a costume t h a t I_ i s funny. O r go pack your bags and g e t t h e h e l l o u t . Get i t ?

CHARLIE y e s s i r .

6 8 .

CONT ' D 8 7 .

8 8 .

He rises and leaves the screening room.

Charlie trails miserably back across the studio to wardrobe. He enters. Fatty Arbuckle, Charles Avery, Mick Swain, Minta Durfee, Ford Sterling and Chester Conklin are sitting about playing pinochle. Charlie collapses onto a chair. him sympathetically.

Wearily They a l l look at

CHARLIE (Sotto voice to himself) I simply aint funny ... I've got to find a way to make these Yankees laugh.

His eyes fall on Ford Sterling's size 14 boo t s .

We dissolve to a quick flashback of the distorting mirror in the hall of mirrors in Southend. He puts them on the wrong feet.

H i s eye now falls on Fatty Arbuckle's huge trousers lying across the back of a chair. We dissolve to a quick flashback of the large trousers on the harmonica player playing The Honeysuckle and the Bee. He puts them on. Arbuckle laughs at the combination of large boots and t r o u s e r s .

He now sees Chester Conklin's bow tie and waist- coat. We mix to a quick flashback of the deck chair attendant's too tight waistcoat and bow tie on the beach at Southend. He puts them on to increasing sounds of appropbation.

Next he sees Charles Avery's tiny tail coat. We mix to a quick flashback of the Commissionaire at Southend pier standing in his posh, too tight

Sailnoat. The chuckles qrow as he puts it on, and

69.

8 6 . CONT'D

it bunches o v e r t h e trousers.

T h e n e x t o b j e c t of h i s a t t e n t i o n i s Mick S w a i n ' s mous tache , A q u i c k f l a s h b a c k t a k e s u s t o t h e j a n i t o r i n t h e c o u r t y a r d of t h e workhouse who separated t h e C h a p l i n s on a r r i v a l . H e is wear ing a t o o s m a l l mous tache . C h a r l i e c u t s down S w a i n ' s mous tache and s t i c k s it on, t w i t c h i n g i t t o s t i m u l a t e l a u g h t e r .

Min ta Durfee now o f f e r s her f a t h e r ' s bowler hat.

MINTA DURFEE

Why d o n ' t you wear my d a d ' s derby C h a r l i e . I t ' l l t o p it a l l o f f

just grea t .

W e f l a s h b a c k b r i e f l y t o t h e pawnbroker p u t t i n g on

t h e t o o s m a l l bowler h a t i n h i s shop. C h a r l i e now p u t s t h e t i n y h a t o n , f e a t h e r i n g it above h i s h e a d .

F i n a l l y h i s e y e f a l l s on a cane hanging on t h e w a l l . W e flash back q u i c k l y t o t h e cane i n t h e hands of C a p t a i n Hindrum i n t h e G y m a t Hanwell workhouse. A s he ra i ses it on h i g h w e mix through to C h a r l i e t a k i n g down t h e cane t o more app lause from t h e t r o u p e .

A l a s t f l a s h b a c k takes u s t o Rummy Binks w a t e r i n 9 t h e h o r s e s o u t s i d e t h e Queens Head, Lambeth, and moving w i t h h i s p e c u l i a r s p l a y f o o t e d w a l k . i n t h e wardrobe room C h a r l i e adop t s i t , and t o roars o f glee and a p p l a u s e he s t r u s t s a round the room, t i p s h i s h a t , and i s gone.

Back

70.

8 8 . CONT'D

The t ramp h a s been born!

8 9 . On t h e b i g s t a g e Mack S e n n e t t and Henry Lehrman s i t w a i t i n g f o r C h a r l i e . I t i s empty e x c e p t for t h e camera crew and d o l l y . W i l l i a m Randolph Hearst and Marion Davies also now appear t o check on t h e p r o g r e s s of t h e f i l m . They approach t h e camera o p e r a t o r , Rol land To the roh ,

HEARST So how's it go ing , Rolly?

ROLLY We're n e a r l y done, As a matter of f a c t you've j u s t come i n t i m e .

H e p o i n t s d r a m a t i c a l l y a s t h e big doors open and t h e d i m i n u t i v e f i g u r e of C h a r l i e appea r s d r e s s e d

as t h e t ramp. H e p a r a d e s round t h e s t a g e , cane t w i r l i n g , p i r o u e t t i n g , p r a t f a l l i n g , shaking h i s legs, sh rugg ing h i s s h o u l d e r s , t i p p i n g h i s h a t , and do ing a l l t h e tramp b u s i n e s s i n c l u d i n g of c o u r s e t h e s p l a y f o o t e d walk, for S e n n e t t and t h e camera.

S e n n e t t smiles broadly. Lehrman scowls.

MACK SENNETT

I love i t ! . . T e l l me abou t him.

CHARLIE Well you know, h e ' s a many s i d e d

bloke. He's a tramp, a gent leman,

7 1 .

8 9 . C O N T ' D

CHARLIE (Cont I d )

a dreamer, a l o n e l y fellow, always hope fu l of romance and a d v e n t u r e . H e would have you b e l i e v e h e ' s a s c i e n t i s t , a musician, a duke, a p o l o p l a y e r . However, he i s n o t above p i c k i n g up c i g a r e t t e b u t t s , or of robb ing a baby of i t s candy. And of c o u r s e i f t h e occasion warrants it h e w i l l k i c k a l a d y up the arse - bu t o n l y i n extreme ange L- .

MACK SENNETT

And h e ' s mare t h a n a l l t h a t . He's a c h i l d ' s view of a man. He's huge a t t h e bot tom and tiny a t t he top. C h a r l i e , what more can I say. I

l o v e him. L e t ' s hope everybody e l se w i l l t o o .

C h a r l i e docs a t h a n k f u l skip in t h e a i r .

L E H W

1 c a n ' t see it m y s e l f . The world a i n t f u l l of c h i l d r e n . I t ' l l

never work.

16 FRAMES. BLACK AND WHITE. SILENT

C1iarli.e a s t h e t ramp w a l k s away from u s up t h e long l a m i l i a r road , Halfway up it he g i v e s t h a t same l i t t l c s k i p o f happ iness and hope.

I r i s t o b l a c k

F I N I S