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~

Howard: Got something. I've got something! Ha! Come to Papa Moon. That's it, come on. (grunts)

Old Gregg: Hi there.

Howard: Who are you?

Old Gregg: I'm Old Gregg. Pleased to meet you.

Howard: What do you want?

Old Gregg: Maybe I should ask you the same question. What you doing in my waters?

Howard: Just taking the air, you know. Not fishing!

Old Gregg: Then how come this hook's in my head, fool?

Howard: It's nothing to do with me, sir.

Old Gregg: It's attached to your rod, motherlicker!

Howard: Don't kill me, I've got so much to give.

Old Gregg: Easy now, fuzzy little man-peach, hmm? You ever drunk Bailey's from a shoe?

Howard: What?

Old Gregg: Wanna come to a club where people wee on each other?

Howard: No?

Old Gregg: I'm gonna hurt you.

Howard: Excuse me?

Old Gregg: I like you. What do you think of me?

Howard: I don't rightly know, sir.

Old Gregg: Make an assessment.

Howard: I think you're a nice, modern gentleman.

Old Gregg: Don't lie to me, boy!

Howard: I'm not lying!

Old Gregg: I know what you're thinking. Here comes Old Gregg, he's a scaly man-fish. You don't know me. You don't know what I got. I got something to show you. (bright light shines) You know what that is? That's Old Gregg's vagina. I've got a mangina! I'M OLD GREEEEEEEEGG! (Echoes)

(at Gregg's place)

Howard: What's happening?

Old Gregg: I'm Old Gregg.

Howard: What?

Old Gregg: I'm Old Gregg!

Howard: Where am I?

Old Gregg: Gregg's place. You've been asleep. Do you want a little drinky? I'll get you a drink. You like Bailey's? Mmmm... creamy. Soft, creamy beige.

Howard: Mmmm... delicious.

Old Gregg: Do you like Old Gregg's place? I've got all things that are good.

Howard: You've done some nice things with it.

Old Gregg: I've got this. This is good.

Howard: That's nice.

Old Gregg: You can have it.

Howard: I'm fine, thanks.

Old Gregg: I'll keep it here for you.

Howard: Well, is this the way ... out? Uhm, I better be scootin'. Got meetings and a friend of mine is waiting, so perhaps I should be...

Old Gregg: Why are you going? We got everything we need here. We got Bailey's... creamy. And everything we need. I'll get you another Bailey's.

Howard: I'm fine, thanks.

Old Gregg: I do watercolors.

Howard: Do you?

Old Gregg: Let me show you something. I call that one Old Gregg. And then that one I call Old Gregg. And this one, you know what I call that one?

Howard: Old Gregg?

Old Gregg: Yes sir, thank you sir. I got some more. I got these too. That one's Bailey's. That one's Bailey's a bit bigger. And that one's as close as you can get to Bailey's without your eyes getting wet.

Howard: Mmm, that is quite a portfolio you've got going on there. But I really should be heading off, so it's been good.

Old Gregg: We could do some watercolors together. You and I.

Howard: Well, that sounds like great fun. Let's do it in the week then Gregg.

Old Gregg: What do you mean?

Howard: Well, you free Thursday at all?

Old Gregg: Why can't we do it now?

Howard: Well, you know, I'm a busy man, Gregg. You know, I got things to do. Howard Moon, man about town. (laughs awkwardly)

Old Gregg: Do you love me?

Howard: Oh dear.

Old Gregg: Do you love me?

Howard: Umm, gonna have to pretend I didn't hear that, Gregg.

Old Gregg: You think you could ever love me?

Howard:Uh, it doesn't really work like that, Gregg.

Old Gregg: How does it work? Tell me how it works.

Howard: Well, you get to know someone, you hang out, you see where that goes. This, that, the other, eventually... you know. I don't know you!

Old Gregg: You know me, hmm? What about the boat times?

Howard: That wasn't really a time, was it, Gregg? That was more of just a... an exposure.

Old Gregg: That was our first date, hmm? You pulled me up with your strong arms!

Howard: Oh dear, look, Gregg, I don't know you!

Old Gregg: Oh, you know me. You've seen my downstairs mix-up.

Howard: Yeah, I didn't ask to see that, did I?

Old Gregg: What did it mean to you to see that? Did it mean you love me?

Howard: No, It didn't.

Old Gregg: Could you learn to love me?

Howard: No, I couldn't. I don't love you!

Old Gregg: You do love me.

Howard: No, I don't!

Old Gregg: You do love me.

Howard: No, I don't.

Old Gregg: You love me and you've seen me and you know me. I'm Old Gregg!

Howard: Yeah, I know you are. You've told me 89 times now.

Old Gregg: You must love me exactly as I love you.

Howard: Well, I don't love you and to be honest you're starting to get on my nerves a bit now. If anything I find you slightly pathetic, so deal with that!

Old Gregg: Maybe I will deal with it. Hmm? Maybe I'll deal with it the way I dealt with Curly Jefferson!

Howard: You know what Gregg? Maybe I was being a bit hasty there, uh, when I said I didn't love you. Perhaps now in this light with you in the tu-tu and the water playing off your... seaweed. Maybe I could love you.

1

2

ACT I
SCENE I. A desert place.
Thunder and lightning. Enter three Witches
First Witch
When shall we three meet again
In thunder, lightning, or in rain?
Second Witch
When the hurlyburly's done,
When the battle's lost and won.
Third Witch
That will be ere the set of sun.
First Witch
Where the place?
Second Witch
Upon the heath.
Third Witch
There to meet with Macbeth.
First Witch
I come, Graymalkin!
Second Witch
Paddock calls.
Third Witch
Anon.
ALL
Fair is foul, and foul is fair:
Hover through the fog and filthy air.
Exeunt

SCENE II. A camp near Forres.
Alarum within. Enter DUNCAN, MALCOLM, DONALBAIN, LENNOX, with Attendants, meeting a bleeding Sergeant
DUNCAN
What bloody man is that? He can report,
As seemeth by his plight, of the revolt
The newest state.
MALCOLM
This is the sergeant
Who like a good and hardy soldier fought
'Gainst my captivity. Hail, brave friend!
Say to the king the knowledge of the broil
As thou didst leave it.
Sergeant
Doubtful it stood;
As two spent swimmers, that do cling together
And choke their art. The merciless Macdonwald--
Worthy to be a rebel, for to that
The multiplying villanies of nature
Do swarm upon him--from the western isles
Of kerns and gallowglasses is supplied;
And fortune, on his damned quarrel smiling,
Show'd like a rebel's whore: but all's too weak:
For brave Macbeth--well he deserves that name--
Disdaining fortune, with his brandish'd steel,
Which smoked with bloody execution,
Like valour's minion carved out his passage
Till he faced the slave;
Which ne'er shook hands, nor bade farewell to him,
Till he unseam'd him from the nave to the chaps,
And fix'd his head upon our battlements.
DUNCAN
O valiant cousin! worthy gentleman!
Sergeant
As whence the sun 'gins his reflection
Shipwrecking storms and direful thunders break,
So from that spring whence comfort seem'd to come
Discomfort swells. Mark, king of Scotland, mark:
No sooner justice had with valour arm'd
Compell'd these skipping kerns to trust their heels,
But the Norweyan lord surveying vantage,
With furbish'd arms and new supplies of men
Began a fresh assault.
DUNCAN
Dismay'd not this
Our captains, Macbeth and Banquo?
Sergeant
Yes;
As sparrows eagles, or the hare the lion.
If I say sooth, I must report they were
As cannons overcharged with double cracks, so they
Doubly redoubled strokes upon the foe:
Except they meant to bathe in reeking wounds,
Or memorise another Golgotha,
I cannot tell.
But I am faint, my gashes cry for help.
DUNCAN
So well thy words become thee as thy wounds;
They smack of honour both. Go get him surgeons.
Exit Sergeant, attended

Who comes here?
Enter ROSS

MALCOLM
The worthy thane of Ross.
LENNOX
What a haste looks through his eyes! So should he look
That seems to speak things strange.
ROSS
God save the king!
DUNCAN
Whence camest thou, worthy thane?
ROSS
From Fife, great king;
Where the Norweyan banners flout the sky
And fan our people cold. Norway himself,
With terrible numbers,
Assisted by that most disloyal traitor
The thane of Cawdor, began a dismal conflict;
Till that Bellona's bridegroom, lapp'd in proof,
Confronted him with self-comparisons,
Point against point rebellious, arm 'gainst arm.
Curbing his lavish spirit: and, to conclude,
The victory fell on us.
DUNCAN
Great happiness!
ROSS
That now
Sweno, the Norways' king, craves composition:
Nor would we deign him burial of his men
Till he disbursed at Saint Colme's inch
Ten thousand dollars to our general use.
DUNCAN
No more that thane of Cawdor shall deceive
Our bosom interest: go pronounce his present death,
And with his former title greet Macbeth.
ROSS
I'll see it done.
DUNCAN
What he hath lost noble Macbeth hath won.
Exeunt

SCENE III. A heath near Forres.
Thunder. Enter the three Witches
First Witch
Where hast thou been, sister?
Second Witch
Killing swine.
Third Witch
Sister, where thou?
First Witch
A sailor's wife had chestnuts in her lap,
And munch'd, and munch'd, and munch'd:--
'Give me,' quoth I:
'Aroint thee, witch!' the rump-fed ronyon cries.
Her husband's to Aleppo gone, master o' the Tiger:
But in a sieve I'll thither sail,
And, like a rat without a tail,
I'll do, I'll do, and I'll do.
Second Witch
I'll give thee a wind.
First Witch
Thou'rt kind.
Third Witch
And I another.
First Witch
I myself have all the other,
And the very ports they blow,
All the quarters that they know
I' the shipman's card.
I will drain him dry as hay:
Sleep shall neither night nor day
Hang upon his pent-house lid;
He shall live a man forbid:
Weary se'nnights nine times nine
Shall he dwindle, peak and pine:
Though his bark cannot be lost,
Yet it shall be tempest-tost.
Look what I have.
Second Witch
Show me, show me.
First Witch
Here I have a pilot's thumb,
Wreck'd as homeward he did come.
Drum within

Third Witch
A drum, a drum!
Macbeth doth come.
ALL
The weird sisters, hand in hand,
Posters of the sea and land,
Thus do go about, about:
Thrice to thine and thrice to mine
And thrice again, to make up nine.
Peace! the charm's wound up.
Enter MACBETH and BANQUO

MACBETH
So foul and fair a day I have not seen.
BANQUO
How far is't call'd to Forres? What are these
So wither'd and so wild in their attire,
That look not like the inhabitants o' the earth,
And yet are on't? Live you? or are you aught
That man may question? You seem to understand me,
By each at once her chappy finger laying
Upon her skinny lips: you should be women,
And yet your beards forbid me to interpret
That you are so.
MACBETH
Speak, if you can: what are you?
First Witch
All hail, Macbeth! hail to thee, thane of Glamis!
Second Witch
All hail, Macbeth, hail to thee, thane of Cawdor!
Third Witch
All hail, Macbeth, thou shalt be king hereafter!
BANQUO
Good sir, why do you start; and seem to fear
Things that do sound so fair? I' the name of truth,
Are ye fantastical, or that indeed
Which outwardly ye show? My noble partner
You greet with present grace and great prediction
Of noble having and of royal hope,
That he seems rapt withal: to me you speak not.
If you can look into the seeds of time,
And say which grain will grow and which will not,
Speak then to me, who neither beg nor fear
Your favours nor your hate.
First Witch
Hail!
Second Witch
Hail!
Third Witch
Hail!
First Witch
Lesser than Macbeth, and greater.
Second Witch
Not so happy, yet much happier.
Third Witch
Thou shalt get kings, though thou be none:
So all hail, Macbeth and Banquo!
First Witch
Banquo and Macbeth, all hail!
MACBETH
Stay, you imperfect speakers, tell me more:
By Sinel's death I know I am thane of Glamis;
But how of Cawdor? the thane of Cawdor lives,
A prosperous gentleman; and to be king
Stands not within the prospect of belief,
No more than to be Cawdor. Say from whence
You owe this strange intelligence? or why
Upon this blasted heath you stop our way
With such prophetic greeting? Speak, I charge you.
Witches vanish

BANQUO
The earth hath bubbles, as the water has,
And these are of them. Whither are they vanish'd?
MACBETH
Into the air; and what seem'd corporal melted
As breath into the wind. Would they had stay'd!
BANQUO
Were such things here as we do speak about?
Or have we eaten on the insane root
That takes the reason prisoner?
MACBETH
Your children shall be kings.
BANQUO
You shall be king.
MACBETH
And thane of Cawdor too: went it not so?
BANQUO
To the selfsame tune and words. Who's here?
Enter ROSS and ANGUS

ROSS
The king hath happily received, Macbeth,
The news of thy success; and when he reads
Thy personal venture in the rebels' fight,
His wonders and his praises do contend
Which should be thine or his: silenced with that,
In viewing o'er the rest o' the selfsame day,
He finds thee in the stout Norweyan ranks,
Nothing afeard of what thyself didst make,
Strange images of death. As thick as hail
Came post with post; and every one did bear
Thy praises in his kingdom's great defence,
And pour'd them down before him.
ANGUS
We are sent
To give thee from our royal master thanks;
Only to herald thee into his sight,
Not pay thee.
ROSS
And, for an earnest of a greater honour,
He bade me, from him, call thee thane of Cawdor:
In which addition, hail, most worthy thane!
For it is thine.
BANQUO
What, can the devil speak true?
MACBETH
The thane of Cawdor lives: why do you dress me
In borrow'd robes?
ANGUS
Who was the thane lives yet;
But under heavy judgment bears that life
Which he deserves to lose. Whether he was combined
With those of Norway, or did line the rebel
With hidden help and vantage, or that with both
He labour'd in his country's wreck, I know not;
But treasons capital, confess'd and proved,
Have overthrown him.
MACBETH
[Aside] Glamis, and thane of Cawdor!
The greatest is behind.
To ROSS and ANGUS

Thanks for your pains.
To BANQUO

Do you not hope your children shall be kings,
When those that gave the thane of Cawdor to me
Promised no less to them?
BANQUO
That trusted home
Might yet enkindle you unto the crown,
Besides the thane of Cawdor. But 'tis strange:
And oftentimes, to win us to our harm,
The instruments of darkness tell us truths,
Win us with honest trifles, to betray's
In deepest consequence.
Cousins, a word, I pray you.
MACBETH
[Aside] Two truths are told,
As happy prologues to the swelling act
Of the imperial theme.--I thank you, gentlemen.
Aside

Cannot be ill, cannot be good: if ill,
Why hath it given me earnest of success,
Commencing in a truth? I am thane of Cawdor:
If good, why do I yield to that suggestion
Whose horrid image doth unfix my hair
And make my seated heart knock at my ribs,
Against the use of nature? Present fears
Are less than horrible imaginings:
My thought, whose murder yet is but fantastical,
Shakes so my single state of man that function
Is smother'd in surmise, and nothing is
But what is not.
BANQUO
Look, how our partner's rapt.
MACBETH
[Aside] If chance will have me king, why, chance may crown me,
Without my stir.
BANQUO
New horrors come upon him,
Like our strange garments, cleave not to their mould
But with the aid of use.
MACBETH
[Aside] Come what come may,
Time and the hour runs through the roughest day.
BANQUO
Worthy Macbeth, we stay upon your leisure.
MACBETH
Give me your favour: my dull brain was wrought
With things forgotten. Kind gentlemen, your pains
Are register'd where every day I turn
The leaf to read them. Let us toward the king.
Think upon what hath chanced, and, at more time,
The interim having weigh'd it, let us speak
Our free hearts each to other.
BANQUO
Very gladly.
MACBETH
Till then, enough. Come, friends.
Exeunt

SCENE IV. Forres. The palace.
Flourish. Enter DUNCAN, MALCOLM, DONALBAIN, LENNOX, and Attendants
DUNCAN
Is execution done on Cawdor? Are not
Those in commission yet return'd?
MALCOLM
My liege,
They are not yet come back. But I have spoke
With one that saw him die: who did report
That very frankly he confess'd his treasons,
Implored your highness' pardon and set forth
A deep repentance: nothing in his life
Became him like the leaving it; he died
As one that had been studied in his death
To throw away the dearest thing he owed,
As 'twere a careless trifle.
DUNCAN
There's no art
To find the mind's construction in the face:
He was a gentleman on whom I built
An absolute trust.
Enter MACBETH, BANQUO, ROSS, and ANGUS

O worthiest cousin!
The sin of my ingratitude even now
Was heavy on me: thou art so far before
That swiftest wing of recompense is slow
To overtake thee. Would thou hadst less deserved,
That the proportion both of thanks and payment
Might have been mine! only I have left to say,
More is thy due than more than all can pay.
MACBETH
The service and the loyalty I owe,
In doing it, pays itself. Your highness' part
Is to receive our duties; and our duties
Are to your throne and state children and servants,
Which do but what they should, by doing every thing
Safe toward your love and honour.
DUNCAN
Welcome hither:
I have begun to plant thee, and will labour
To make thee full of growing. Noble Banquo,
That hast no less deserved, nor must be known
No less to have done so, let me enfold thee
And hold thee to my heart.
BANQUO
There if I grow,
The harvest is your own.
DUNCAN
My plenteous joys,
Wanton in fulness, seek to hide themselves
In drops of sorrow. Sons, kinsmen, thanes,
And you whose places are the nearest, know
We will establish our estate upon
Our eldest, Malcolm, whom we name hereafter
The Prince of Cumberland; which honour must
Not unaccompanied invest him only,
But signs of nobleness, like stars, shall shine
On all deservers. From hence to Inverness,
And bind us further to you.
MACBETH
The rest is labour, which is not used for you:
I'll be myself the harbinger and make joyful
The hearing of my wife with your approach;
So humbly take my leave.
DUNCAN
My worthy Cawdor!
MACBETH
[Aside] The Prince of Cumberland! that is a step
On which I must fall down, or else o'erleap,
For in my way it lies. Stars, hide your fires;
Let not light see my black and deep desires:
The eye wink at the hand; yet let that be,
Which the eye fears, when it is done, to see.
Exit

DUNCAN
True, worthy Banquo; he is full so valiant,
And in his commendations I am fed;
It is a banquet to me. Let's after him,
Whose care is gone before to bid us welcome:
It is a peerless kinsman.
Flourish. Exeunt

SCENE V. Inverness. Macbeth's castle.
Enter LADY MACBETH, reading a letter
LADY MACBETH
'They met me in the day of success: and I have
learned by the perfectest report, they have more in
them than mortal knowledge. When I burned in desire
to question them further, they made themselves air,
into which they vanished. Whiles I stood rapt in
the wonder of it, came missives from the king, who
all-hailed me 'Thane of Cawdor;' by which title,
before, these weird sisters saluted me, and referred
me to the coming on of time, with 'Hail, king that
shalt be!' This have I thought good to deliver
thee, my dearest partner of greatness, that thou
mightst not lose the dues of rejoicing, by being
ignorant of what greatness is promised thee. Lay it
to thy heart, and farewell.'
Glamis thou art, and Cawdor; and shalt be
What thou art promised: yet do I fear thy nature;
It is too full o' the milk of human kindness
To catch the nearest way: thou wouldst be great;
Art not without ambition, but without
The illness should attend it: what thou wouldst highly,
That wouldst thou holily; wouldst not play false,
And yet wouldst wrongly win: thou'ldst have, great Glamis,
That which cries 'Thus thou must do, if thou have it;
And that which rather thou dost fear to do
Than wishest should be undone.' Hie thee hither,
That I may pour my spirits in thine ear;
And chastise with the valour of my tongue
All that impedes thee from the golden round,
Which fate and metaphysical aid doth seem
To have thee crown'd withal.
Enter a Messenger

What is your tidings?
Messenger
The king comes here to-night.
LADY MACBETH
Thou'rt mad to say it:
Is not thy master with him? who, were't so,
Would have inform'd for preparation.
Messenger
So please you, it is true: our thane is coming:
One of my fellows had the speed of him,
Who, almost dead for breath, had scarcely more
Than would make up his message.
LADY MACBETH
Give him tending;
He brings great news.
Exit Messenger

The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements. Come, you spirits
That tend on mortal thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty! make thick my blood;
Stop up the access and passage to remorse,
That no compunctious visitings of nature
Shake my fell purpose, nor keep peace between
The effect and it! Come to my woman's breasts,
And take my milk for gall, you murdering ministers,
Wherever in your sightless substances
You wait on nature's mischief! Come, thick night,
And pall thee in the dunnest smoke of hell,
That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark,
To cry 'Hold, hold!'
Enter MACBETH

Great Glamis! worthy Cawdor!
Greater than both, by the all-hail hereafter!
Thy letters have transported me beyond
This ignorant present, and I feel now
The future in the instant.
MACBETH
My dearest love,
Duncan comes here to-night.
LADY MACBETH
And when goes hence?
MACBETH
To-morrow, as he purposes.
LADY MACBETH
O, never
Shall sun that morrow see!
Your face, my thane, is as a book where men
May read strange matters. To beguile the time,
Look like the time; bear welcome in your eye,
Your hand, your tongue: look like the innocent flower,
But be the serpent under't. He that's coming
Must be provided for: and you shall put
This night's great business into my dispatch;
Which shall to all our nights and days to come
Give solely sovereign sway and masterdom.
MACBETH
We will speak further.
LADY MACBETH
Only look up clear;
To alter favour ever is to fear:
Leave all the rest to me.
Exeunt

SCENE VI. Before Macbeth's castle.
Hautboys and torches. Enter DUNCAN, MALCOLM, DONALBAIN, BANQUO, LENNOX, MACDUFF, ROSS, ANGUS, and Attendants
DUNCAN
This castle hath a pleasant seat; the air
Nimbly and sweetly recommends itself
Unto our gentle senses.
BANQUO
This guest of summer,
The temple-haunting martlet, does approve,
By his loved mansionry, that the heaven's breath
Smells wooingly here: no jutty, frieze,
Buttress, nor coign of vantage, but this bird
Hath made his pendent bed and procreant cradle:
Where they most breed and haunt, I have observed,
The air is delicate.
Enter LADY MACBETH

DUNCAN
See, see, our honour'd hostess!
The love that follows us sometime is our trouble,
Which still we thank as love. Herein I teach you
How you shall bid God 'ild us for your pains,
And thank us for your trouble.
LADY MACBETH
All our service
In every point twice done and then done double
Were poor and single business to contend
Against those honours deep and broad wherewith
Your majesty loads our house: for those of old,
And the late dignities heap'd up to them,
We rest your hermits.
DUNCAN
Where's the thane of Cawdor?
We coursed him at the heels, and had a purpose
To be his purveyor: but he rides well;
And his great love, sharp as his spur, hath holp him
To his home before us. Fair and noble hostess,
We are your guest to-night.
LADY MACBETH
Your servants ever
Have theirs, themselves and what is theirs, in compt,
To make their audit at your highness' pleasure,
Still to return your own.
DUNCAN
Give me your hand;
Conduct me to mine host: we love him highly,
And shall continue our graces towards him.
By your leave, hostess.
Exeunt

SCENE VII. Macbeth's castle.
Hautboys and torches. Enter a Sewer, and divers Servants with dishes and service, and pass over the stage. Then enter MACBETH
MACBETH
If it were done when 'tis done, then 'twere well
It were done quickly: if the assassination
Could trammel up the consequence, and catch
With his surcease success; that but this blow
Might be the be-all and the end-all here,
But here, upon this bank and shoal of time,
We'ld jump the life to come. But in these cases
We still have judgment here; that we but teach
Bloody instructions, which, being taught, return
To plague the inventor: this even-handed justice
Commends the ingredients of our poison'd chalice
To our own lips. He's here in double trust;
First, as I am his kinsman and his subject,
Strong both against the deed; then, as his host,
Who should against his murderer shut the door,
Not bear the knife myself. Besides, this Duncan
Hath borne his faculties so meek, hath been
So clear in his great office, that his virtues
Will plead like angels, trumpet-tongued, against
The deep damnation of his taking-off;
And pity, like a naked new-born babe,
Striding the blast, or heaven's cherubim, horsed
Upon the sightless couriers of the air,
Shall blow the horrid deed in every eye,
That tears shall drown the wind. I have no spur
To prick the sides of my intent, but only
Vaulting ambition, which o'erleaps itself
And falls on the other.
Enter LADY MACBETH

How now! what news?
LADY MACBETH
He has almost supp'd: why have you left the chamber?
MACBETH
Hath he ask'd for me?
LADY MACBETH
Know you not he has?
MACBETH
We will proceed no further in this business:
He hath honour'd me of late; and I have bought
Golden opinions from all sorts of people,
Which would be worn now in their newest gloss,
Not cast aside so soon.
LADY MACBETH
Was the hope drunk
Wherein you dress'd yourself? hath it slept since?
And wakes it now, to look so green and pale
At what it did so freel

Where did Ragnarok go?

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penis

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xxxx

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Earth is dead...

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Earth lives

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[Capulet's orchard. Enter Romeo]
Romeo
He jests at scars that never felt a wound.


[Romeo sees light coming from an upper window]
But, soft! What light through yonder window breaks?
It is the east, and Juliet is the sun.




Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief,
That thou, her maid, art far more fair than she.


Be not her maid since she is envious.
Her vestal livery is but sick and green,


And none but fools do wear it. Cast it off.
[Juliet appears at the window]
It is my lady, O, it is my love!
O, that she knew she were!
She speaks, yet she says nothing. What of that?
Her eye discourses; I will answer it.
I am too bold, 'tis not to me she speaks.
Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return.


What if her eyes were there, they in her head?
The brightness of her cheek would shame those stars,


As daylight doth a lamp. Her eye in heaven
Would, through the airy region, stream so bright
That birds would sing and think it were not night.
See, how she leans her cheek upon her hand.
O, that I were a glove upon that hand,
That I might touch that cheek!
Juliet
Ay me!
Romeo
She speaks.
O, speak again, bright angel, for thou art
As glorious to this night, being o'er my head,
As is a wingèd messenger of heaven
Unto the white upturnèd wond'ring eyes
Of mortals that fall back to gaze on him
When he bestrides the lazy puffing clouds
And sails upon the bosom of the air.


Juliet
O Romeo, Romeo! Wherefore art thou Romeo?


Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
Romeo
[Aside] Shall I hear more, or shall I speak at this?
Juliet
'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? It is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? That which we call a rose,
By any other word would smell as sweet.
So Romeo would — were he not Romeo called —
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name, which is no part of thee,
Take all myself.
Romeo
[Aloud] I take thee at thy word.
Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.
Juliet
What man art thou that, thus bescreened in night,
So stumblest on my counsel?
Romeo
By a name
I know not how to tell thee who I am.
My name, dear saint, is hateful to myself,
Because it is an enemy to thee.
Had I it written, I would tear the word.
Juliet
My ears have not yet drunk a hundred words
Of that tongue's uttering, yet I know the sound.
Art thou not Romeo and a Montague?
Romeo
Neither, fair maid, if either thee dislike.
Juliet
How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.
Romeo
With love's light wings did I o'erperch these walls,


For stony limits cannot hold love out;
And what love can do, that dares love attempt.


Therefore thy kinsmen are no stop to me.
Juliet
If they do see thee, they will murder thee.
Romeo
Alack, there lies more peril in thine eye
Than twenty of their swords. Look thou but sweet,
And I am proof against their enmity.
Juliet
I would not for the world they saw thee here.
Romeo
I have night's cloak to hide me from their eyes,
And but thou love me, let them find me here.
My life were better ended by their hate,
Than death proroguèd, wanting of thy love.
Juliet
By whose direction found'st thou out this place?
Romeo
By love, that first did prompt me to inquire.
He lent me counsel, and I lent him eyes.
I am no pilot, yet wert thou as far
As that vast shore washed with the farthest sea,
I would adventure for such merchandise.


Juliet
Thou knowest the mask of night is on my face,
Else would a maiden blush bepaint my cheek
For that which thou hast heard me speak tonight.
Fain would I dwell on form; fain, fain deny
What I have spoke. But farewell, compliment.
Dost thou love me? I know thou wilt say 'Ay,'
And I will take thy word; yet if thou swear'st,
Thou mayst prove false. At lovers' perjuries
They say Jove laughs. O gentle Romeo,



If thou dost love, pronounce it faithfully;


Or if thou thinkest I am too quickly won,
I'll frown and be perverse and say thee nay,
So thou wilt woo, but else not for the world.
In truth, fair Montague, I am too fond,
And therefore thou mayst think my behavior light.
But trust me, gentleman, I'll prove more true
Than those that have more coying to be strange.
I should have been more strange, I must confess,
But that thou overheard'st, ere I was ware,
My true-love passion. Therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discoverèd.


Romeo
Lady, by yonder blessèd moon I vow,
That tips with silver all these fruit-tree tops —


Juliet
O, swear not by the moon, th'inconstant moon,
That monthly changes in her circled orb,


Lest that thy love prove likewise variable.
Romeo
What shall I swear by?
Juliet
Do not swear at all,
Or, if thou wilt, swear by thy gracious self,
Which is the god of my idolatry,


And I'll believe thee.
Romeo
If my heart's dear love —
Juliet
Well, do not swear. Although I joy in thee,
I have no joy of this contract tonight.


It is too rash, too unadvised, too sudden,
Too like the lightning, which doth cease to be
Ere one can say 'It lightens.' Sweet, good night.
This bud of love, by summer's ripening breath,
May prove a beauteous flower when next we meet.


Good night, good night. As sweet repose and rest
Come to thy heart, as that within my breast!
Romeo
O, wilt thou leave me so unsatisfied?
Juliet
What satisfaction canst thou have tonight?
Romeo
The exchange of thy love's faithful vow for mine.
Juliet
I gave thee mine before thou didst request it.
And yet I would it were to give again.


Romeo
Wouldst thou withdraw it? For what purpose, love?
Juliet
But to be frank, and give it thee again,


And yet I wish but for the thing I have.
My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite.
[Nurse calls from within the house]
I hear some noise within; dear love, adieu!
[To Nurse]
Anon, good nurse!
[To Romeo]
Sweet Montague, be true.
Stay but a little, I will come again.
[Exit, above]
Romeo
O blessèd, blessèd night! I am afeard,
Being in night, all this is but a dream,
Too flattering sweet to be substantial.
[Re-Enter Juliet, above]
Juliet
Three words, dear Romeo, and good night indeed.
If that thy bent of love be honorable,
Thy purpose marriage, send me word tomorrow,
By one that I'll procure to come to thee,
Where and what time thou wilt perform the rite,
And all my fortunes at thy foot I'll lay,
And follow thee, my lord, throughout the world.
Nurse
[Within] Madam!
Juliet
I come, anon. [To Romeo] But if thou meanest not well,
I do beseech thee —
Nurse
[Within] Madam!
Juliet
By and by, I come!
[To Romeo]
To cease thy strife, and leave me to my grief.
Tomorrow will I send.
Romeo
So thrive my soul.
Juliet
A thousand times good night!
[Exit, above]
Romeo
A thousand times the worse, to want thy light.
Love goes toward love, as schoolboys from their books,
But love from love, toward school with heavy looks.
[Romeo retiring slowly. Re-Enter Juliet, above]
Juliet
Hist, Romeo, hist! O, for a falc'ner's voice


To lure this tassel-gentle back again!
Bondage is hoarse, and may not speak aloud;




Else would I tear the cave where Echo lies,
And make her airy tongue more hoarse than mine,
With repetition of my 'Romeo.'


Romeo
It is my soul that calls upon my name.


How silver-sweet sound lovers' tongues by night,
Like softest music to attending ears!
Juliet
Romeo!
Romeo
My nyas?


Juliet
At what o'clock tomorrow
Shall I send to thee?
Romeo
By the hour of nine.
Juliet
I will not fail; 'tis twenty year till then.
I have forgot why I did call thee back.
Romeo
Let me stand here till thou remember it.
Juliet
I shall forget, to have thee still stand there,
Remembering how I love thy company.


Romeo
And I'll still stay, to have thee still forget,
Forgetting any other home but this.
Juliet
'Tis almost morning, I would have thee gone;
And yet no farther than a wanton's bird,
Who lets it hop a little from his hand,
Like a poor prisoner in his twisted gyves,
And with a silk thread plucks it back again,
So loving-jealous of his liberty.
Romeo
I would I were thy bird.


Juliet
Sweet, so would I,
Yet I should kill thee with much cherishing.
Good night, good night! Parting is such sweet sorrow,
That I shall say good night till it be morrow.
[Exit above]
Romeo
Sleep dwell upon thine eyes, peace in thy breast.
Would I were sleep and peace, so sweet to rest.
Hence will I to my ghostly Friar’s close cell,
His help to crave, and my dear hap to tell.


[Exit]

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Citizen Kane By Herman J. Mankiewicz & Orson Welles PROLOGUE FADE IN: EXT. XANADU - FAINT DAWN - 1940 (MINIATURE) Window, very small in the distance, illuminated. All around this is an almost totally black screen. Now, as the camera moves slowly towards the window which is almost a postage stamp in the frame, other forms appear; barbed wire, cyclone fencing, and now, looming up against an early morning sky, enormous iron grille work. Camera travels up what is now shown to be a gateway of gigantic proportions and holds on the top of it - a huge initial "K" showing darker and darker against the dawn sky. Through this and beyond we see the fairy-tale mountaintop of Xanadu, the great castle a sillhouette as its summit, the little window a distant accent in the darkness. DISSOLVE: A SERIES OF SET -UPS, EACH CLOSER TO THE GREAT WINDOW, ALL TELLING SOMETHING OF: The literally incredible domain of CHARLES FOSTER KANE. Its right flank resting for nearly forty miles on the Gulf Coast, it truly extends in all directions farther than the eye can see. Designed by nature to be almost completely bare and flat - it was, as will develop, practically all marshland when Kane acquired and changed its face - it is now pleasantly uneven, with its fair share of rolling hills and one very good- sized mountain, all man-made. Almost all the land is improved, either through cultivation for farming purposes of through careful landscaping, in the shape of parks and lakes. The castle dominates itself, an enormous pile, compounded of several genuine castles, of European origin, of varying architecture - dominates the scene, from the very peak of the mountain. DISSOLVE: GOLF LINKS (MINIATURE) Past which we move. The greens are straggly and overgrown, the fairways wild with tropical weeds, the links unused and not seriously tended for a long time. DISSOLVE OUT: DISSOLVE IN: WHAT WAS ONCE A GOOD-SIZED ZOO (MINIATURE) Of the Hagenbeck type. All that now remains, with one exception, are the individual plots, surrounded by moats, on which the animals are kept, free and yet safe from each other and the landscape at large. (Signs on several of the plots indicate that here there were once tigers, lions, girrafes.) DISSOLVE: THE MONKEY TERRACE (MINIATURE) In the foreground, a great obscene ape is outlined against the dawn murk. He is scratching himself slowly, thoughtfully, looking out across the estates of Charles Foster Kane, to the distant light glowing in the castle on the hill. DISSOLVE: THE ALLIGATOR PIT (MINIATURE) The idiot pile of sleepy dragons. Reflected in the muddy water - the lighted window. THE LAGOON (MINIATURE) The boat landing sags. An old newspaper floats on the surface of the water - a copy of the New York Enquirer." As it moves across the frame, it discloses again the reflection of the window in the castle, closer than before. THE GREAT SWIMMING POOL (MINIATURE) It is empty. A newspaper blows across the cracked floor of the tank. DISSOLVE: THE COTTAGES (MINIATURE) In the shadows, literally the shadows, of the castle. As we move by, we see that their doors and windows are boarded up and locked, with heavy bars as further protection and sealing. DISSOLVE OUT: DISSOLVE IN: A DRAWBRIDGE (MINIATURE) Over a wide moat, now stagnant and choked with weeds. We move across it and through a huge solid gateway into a formal garden, perhaps thirty yards wide and one hundred yards deep, which extends right up to the very wall of the castle. The landscaping surrounding it has been sloppy and causal for a long time, but this particular garden has been kept up in perfect shape. As the camera makes its way through it, towards the lighted window of the castle, there are revealed rare and exotic blooms of all kinds. The dominating note is one of almost exaggerated tropical lushness, hanging limp and despairing. Moss, moss, moss. Ankor Wat, the night the last King died. DISSOLVE: THE WINDOW (MINIATURE) Camera moves in until the frame of the window fills the frame of the screen. Suddenly, the light within goes out. This stops the action of the camera and cuts the music which has been accompanying the sequence. In the glass panes of the window, we see reflected the ripe, dreary landscape of Mr. Kane's estate behind and the dawn sky. DISSOLVE: INT. KANE'S BEDROOM - FAINT DAWN - A very long shot of Kane's enormous bed, silhouetted against the enormous window. DISSOLVE: INT. KANE'S BEDROOM - FAINT DAWN - SNOW SCENE. An incredible one. Big, impossible flakes of snow, a too picturesque farmhouse and a snow man. The jingling of sleigh bells in the musical score now makes an ironic reference to Indian Temple bells - the music freezes - KANE'S OLD OLD VOICE Rosebud... The camera pulls back, showing the whole scene to be contained in one of those glass balls which are sold in novelty stores all over the world. A hand - Kane's hand, which has been holding the ball, relaxes. The ball falls out of his hand and bounds down two carpeted steps leading to the bed, the camera following. The ball falls off the last step onto the marble floor where it breaks, the fragments glittering in the first rays of the morning sun. This ray cuts an angular pattern across the floor, suddenly crossed with a thousand bars of light as the blinds are pulled across the window. The foot of Kane's bed. The camera very close. Outlined against the shuttered window, we can see a form - the form of a nurse, as she pulls the sheet up over his head. The camera follows this action up the length of the bed and arrives at the face after the sheet has covered it. FADE OUT: FADE IN: INT. OF A MOTION PICTURE PROJECTION ROOM On the screen as the camera moves in are the words: "MAIN TITLE" Stirring, brassy music is heard on the soundtrack (which, of course, sounds more like a soundtrack than ours.) The screen in the projection room fills our screen as the second title appears: "CREDITS" NOTE: Here follows a typical news digest short, one of the regular monthly or bi-monthly features, based on public events or personalities. These are distinguished from ordinary newsreels and short subjects in that they have a fully developed editorial or storyline. Some of the more obvious characteristics of the "March of Time," for example, as well as other documentary shorts, will be combined to give an authentic impression of this now familiar type of short subject. As is the accepted procedure in these short subjects, a narrator is used as well as explanatory titles. FADE OUT: NEWS DIGEST NARRATOR Legendary was the Xanadu where Kubla Kahn decreed his stately pleasure dome - (with quotes in his voice) "Where twice five miles of fertile ground, with walls and towers were girdled 'round." (DROPPING THE QUOTES) Today, almost as legendary is Florida's XANADU - world's largest private pleasure ground. Here, on the deserts of the Gulf Coast, a private mountain was commissioned, successfully built for its landlord. Here in a private valley, as in the Coleridge poem, "blossoms many an incense-bearing tree." Verily, "a miracle of rare device." U.S.A. CHARLES FOSTER KANE Opening shot of great desolate expanse of Florida coastline (1940 - DAY) DISSOLVE: Series of shots showing various aspects of Xanadu, all as they might be photographed by an ordinary newsreel cameraman - nicely photographed, but not atmospheric to the extreme extent of the Prologue (1940). NARRATOR (dropping the quotes) Here, for Xanadu's landlord, will be held 1940's biggest, strangest funeral; here this week is laid to rest a potent figure of our Century - America's Kubla Kahn - Charles Foster Kane. In journalism's history, other names are honored more than Charles Foster Kane's, more justly revered. Among publishers, second only to James Gordon Bennet the First: his dashing, expatriate son; England's Northcliffe and Beaverbrook; Chicago's Patterson and McCormick; TITLE: TO FORTY-FOUR MILLION U.S. NEWS BUYERS, MORE NEWSWORTHY THAN THE NAMES IN HIS OWN HEADLINES, WAS KANE HIMSELF, GREATEST NEWSPAPER TYCOON OF THIS OR ANY OTHER GENERATION. Shot of a huge, screen-filling picture of Kane. Pull back to show that it is a picture on the front page of the "Enquirer," surrounded by the reversed rules of mourning, with masthead and headlines. (1940) DISSOLVE: A great number of headlines, set in different types and different styles, obviously from different papers, all announcing Kane's death, all appearing over photographs of Kane himself (perhaps a fifth of the headlines are in foreign languages). An important item in connection with the headlines is that many of them - positively not all - reveal passionately conflicting opinions about Kane. Thus, they contain variously the words "patriot," "democrat," "pacifist," "war-monger," "traitor," "idealist," "American," etc. TITLE: 1895 TO 1940 - ALL OF THESE YEARS HE COVERED, MANY OF THESE YEARS HE WAS. Newsreel shots of San Francisco during and after the fire, followed by shots of special trains with large streamers: "Kane Relief Organization." Over these shots superimpose the date - 1906. Artist's painting of Foch's railroad car and peace negotiators, if actual newsreel shot unavailable. Over this shot sumperimpose the date - 1918. NARRATOR Denver's Bonfils and Sommes; New York's late, great Joseph Pulitzer; America's emperor of the news syndicate, another editorialist and landlord, the still mighty and once mightier Hearst. Great names all of them - but none of them so loved, hated, feared, so often spoken - as Charles Foster Kane. The San Francisco earthquake. First with the news were the Kane papers. First with Relief of the Sufferers, First with the news of their Relief of the Sufferers. Kane papers scoop the world on the Armistice - publish, eight hours before competitors, complete details of the Armistice teams granted the Germans by Marshall Foch from his railroad car in the Forest of Compeigne. For forty years appeared in Kane newsprint no public issue on which Kane papers took no stand. No public man whom Kane himself did not support or denounce - often support, then denounce. Its humble beginnings, a dying dailey - Shots with the date - 1898 (to be supplied) Shots with the date - 1910 (to be supplied) Shots with the date - 1922 (to be supplied) Headlines, cartoons, contemporary newreels or stills of the following: 1. WOMAN SUFFRAGE The celebrated newsreel shot of about 1914. 2. PROHIBITION Breaking up of a speakeasy and such. 3. T.V.A. 4. LABOR RIOTS Brief clips of old newreel shots of William Jennings Bryan, Theodore Roosevelt, Stalin, Walter P. Thatcher, Al Smith, McKinley, Landon, Franklin D. Roosevelt and such. Also, recent newsreels of the elderly Kane with such Nazis as Hitler and Goering; and England's Chamberlain and Churchill. Shot of a ramshackle building with old-fashioned presses showing through plate glass windows and the name "Enquirer" in old- fashioned gold letters. (1892) DISSOLVE: NARRATOR Kane's empire, in its glory, held dominion over thirty-seven newpapers, thirteen magazines, a radio network. An empire upon an empire. The first of grocery stores, paper mills, apartment buildings, factories, forests, ocean-liners - An empire through which for fifty years flowed, in an unending stream, the wealth of the earth's third richest gold mine... Famed in American legend is the origin of the Kane fortune... How, to boarding housekeeper Mary Kane, by a defaulting boarder, in 1868 was left the supposedly worthless deed to an abandoned mine shaft: The Colorado Lode. The magnificent Enquirer Building of today. 1891-1911 - a map of the USA, covering the entire screen, which in animated diagram shows the Kane publications spreading from city to city. Starting from New York, minature newboys speed madly to Chicago, Detroit, St. Louis, Los Angeles, San Francisco, Washington, Atlanta, El Paso, etc., screaming "Wuxtry, Kane Papers, Wuxtry." Shot of a large mine going full blast, chimneys belching smoke, trains moving in and out, etc. A large sign reads "Colorado Lode Mining Co." (1940) Sign reading; "Little Salem, CO - 25 MILES." DISSOLVE: An old still shot of Little Salem as it was 70 years ago (identified by copper-plate caption beneath the still). (1870) Shot of early tintype stills of Thomas Foster Kane and his wife, Mary, on their wedding day. A similar picture of Mary Kane some four or five years later with her little boy, Charles Foster Kane. NARRATOR Fifty-seven years later, before a Congressional Investigation, Walter P. Thatcher, grand old man of Wall Street, for years chief target of Kane papers' attack on "trusts," recalls a journey he made as a youth... Shot of Capitol, in Washington D.C. Shot of Congressional Investigating Committee (reproduction of existing J.P. Morgan newsreel). This runs silent under narration. Walter P. Thatcher is on the stand. He is flanked by his son, Walter P. Thatcher Jr., and other partners. He is being questioned by some Merry Andrew congressmen. At this moment, a baby alligator has just been placed in his lap, causing considerable confusion and embarrassment. Newsreel close-up of Thatcher, the soundtrack of which now fades in. THATCHER ... because of that trivial incident... INVESTIGATOR It is a fact, however, is it not, that in 1870, you did go to Colorado? THATCHER I did. INVESTIGATOR In connection with the Kane affairs? THATCHER Yes. My firm had been appointed trustees by Mrs. Kane for the fortune, which she had recently acquired. It was her wish that I should take charge of this boy, Charles Foster Kane. NARRATOR That same month in Union Square - INVESTIGATOR Is it not a fact that on that occasion, the boy personally attacked you after striking you in the stomach with a sled? Loud laughter and confusion. THATCHER Mr. Chairman, I will read to this committee a prepared statement I have brought with me - and I will then refuse to answer any further questions. Mr. Johnson, please! A young assistant hands him a sheet of paper from a briefcase. THATCHER (reading it) "With full awareness of the meaning of my words and the responsibility of what I am about to say, it is my considered belief that Mr. Charles Foster Kane, in every essence of his social beliefs and by the dangerous manner in which he has persistently attacked the American traditions of private property, initiative and opportunity for advancement, is - in fact - nothing more or less than a Communist." Newsreel of Union Square meeting, section of crowd carrying banners urging the boycott of Kane papers. A speaker is on the platform above the crowd. SPEAKER (fading in on soundtrack) - till the words "Charles Foster Kane" are a menace to every working man in this land. He is today what he has always been and always will be - A FASCIST! NARRATOR And yet another opinion - Kane's own. Silent newsreel on a windy platform, flag-draped, in front of the magnificent Enquirer building. On platform, in full ceremonial dress, is Charles Foster Kane. He orates silently. TITLE: "I AM, HAVE BEEN, AND WILL BE ONLY ONE THING - AN AMERICAN." CHARLES FOSTER KANE. Same locale, Kane shaking hands out of frame. Another newsreel shot, much later, very brief, showing Kane, older and much fatter, very tired-looking, seated with his second wife in a nightclub. He looks lonely and unhappy in the midst of the gaiety. NARRATOR Twice married, twice divorced - first to a president's niece, Emily Norton - today, by her second marriage, chatelaine of the oldest of England's stately homes. Sixteen years after that - two weeks after his divorce from Emily Norton - Kane married Susan Alexander, singer, at the Town Hall in Trenton, New Jersey. TITLE: FEW PRIVATE LIVES WERE MORE PUBLIC. Period still of Emily Norton (1900). DISSOLVE: Reconstructed silent newsreel. Kane, Susan, and Bernstein emerging from side doorway of City Hall into a ring of press photographers, reporters, etc. Kane looks startled, recoils for an instance, then charges down upon the photographers, laying about him with his stick, smashing whatever he can hit. NARRATOR For wife two, one-time opera singing Susan Alexander, Kane built Chicago's Municipal Opera House. Cost: three million dollars. Conceived for Susan Alexander Kane, half-finished before she divorced him, the still unfinished Xanadu. Cost: no man can say. Still of architect's sketch with typically glorified "rendering" of the Chicago Municipal Opera House. DISSOLVE: A glamorous shot of the almost-finished Xanadu, a magnificent fairy-tale estate built on a mountain. (1920) Then shots of its preparation. (1917) Shots of truck after truck, train after train, flashing by with tremendous noise. Shots of vast dredges, steamshovels. Shot of ship standing offshore unloading its lighters. In quick succession, shots follow each other, some reconstructed, some in miniature, some real shots (maybe from the dam projects) of building, digging, pouring concrete, etc. NARRATOR One hundred thousand trees, twenty thousand tons of marble, are the ingredients of Xanadu's mountain. Xanadu's livestock: the fowl of the air, the fish of the sea, the beast of the field and jungle - two of each; the biggest private zoo since Noah. Contents of Kane's palace: paintings, pictures, statues, the very stones of many another palace, shipped to Florida from every corner of the earth, from other Kane houses, warehouses, where they mouldered for years. Enough for ten museums - the loot of the world. More shots as before, only this time we see (in miniature) a large mountain - at different periods in its development - rising out of the sands. Shots of elephants, apes, zebras, etc. being herded, unloaded, shipped, etc. in various ways. Shots of packing cases being unloaded from ships, from trains, from trucks, with various kinds of lettering on them (Italian, Arabian, Chinese, etc.) but all consigned to Charles Foster Kane, Xanadu, Florida. A reconstructed still of Xanadu - the main terrace. A group of persons in clothes of the period of 1917. In their midst, clearly recognizable, are Kane and Susan. NARRATOR Kane urged his country's entry into one war, opposed participation in another. Swung the election to one American President at least, was called another's assassin. Thus, Kane's papers might never have survived - had not the President. TITLE: FROM XANADU, FOR THE PAST TWENTY-FIVE YEARS, ALL KANE ENTERPRISES HAVE BEEN DIRECTED, MANY OF THE NATIONS DESTINIES SHAPED. Shots of various authentically worded headlines of American papers since 1895. Spanish-American War shots. (1898) A graveyard in France of the World War and hundreds of crosses. (1919) Old newsreels of a political campaign. Insert of a particularly virulent headline and/or cartoon. HEADLINE: "PRESIDENT SHOT" NARRATOR Kane, molder of mass opinion though he was, in all his life was never granted elective office by the voters of his country. Few U.S. news publishers have been. Few, like one-time Congressman Hearst, have ever run for any office - most know better - conclude with other political observers that one man's press has power enough for himself. But Kane papers were once strong indeed, and once the prize seemed almost his. In 1910, as Independent Candidate for governor, the best elements of the state behind him - the White House seemingly the next easy step in a lightning political career - NIGHT SHOT OF CROWD BURNING CHARLES FOSTER KANE IN EFFIGY. THE DUMMY BEARS A GROTESQUE, COMIC RESEMBLANCE TO KANE. IT IS TOSSED INTO THE FLAMES, WHICH BURN UP - AND THEN DOWN... (1910) FADE OUT: TITLE: IN POLITICS - ALWAYS A BRIDESMAID, NEVER A BRIDE Newsreel shots of great crowds streaming into a building - Madison Square Garden - then shots inside the vast auditorium, at one end of which is a huge picture of Kane. (1910) Shot of box containing the first Mrs. Kane and young Howard Kane, age five. They are acknowledging the cheers of the crowd. (Silent Shot) (1910) Newreel shot of dignitaries on platform, with Kane, alongside of speaker's table, beaming, hand upraised to silence the crowd. (Silent Shot) (1910) NARRATOR Then, suddenly - less than one week before election - defeat! Shameful, ignominious - defeat that set back for twenty years the cause of reform in the U.S., forever cancelled political chances for Charles Foster Kane. Then, in the third year of the Great Depression... As to all publishers, it sometimes must - to Bennett, to Munsey and Hearst it did - a paper closes! For Kane, in four short years: collapse! Eleven Kane papers, four Kane magazines merged, more sold, scrapped - Newreel shot - closeup of Kane delivering a speech... (1910) The front page of a contemporary paper - a screaming headline. Twin phots of Kane and Susan. (1910) Printed title about Depression. Once more repeat the map of the USA 1932-1939. Suddenly, the cartoon goes into reverse, the empire begins to shrink, illustrating the narrator's words. The door of a newspaper office with the signs: "Closed." NARRATOR Then four long years more - alone in his never-finished, already decaying, pleasure palace, a

That was.... strange.....

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