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+FADE IN:EXT. DELTA TERMINAL - KENNEDY AIRPORT - DAYOn a taxi arriving at the Delta terminal of Kennedy Airport.A man in a well-tailored gray suit gets out of the taxi.CUT TO a CLOSER SHOT of the man as he pays the cabbie. He isWILLCOX HILLYER, the middle-aged "Buddy" of this story andthe observer through whose eyes it is seen. He has a dry,ironic, rather agreeable manner and he should seem likeeveryone's idea of a successful author, a slightly graying,trim, still-youthful-looking fifty. The CAMERA follows him ashe walks into the terminal carrying a small travel bag.INT. DELTA TERMINAL - KENNEDY AIRPORT - DAYCUT TO a shot of Willcox Hillyer at a counter getting histicket processed. A little smile is on his face as he talksto a pretty airline girl. This character likes girls; hisaloofness is modified, his face changes when he talks tothem. The airline girl smiles back, she finds him attractive.We don't hear what they are saying, no dialogue on track --it is obvious he is flirting with the girl in a mild way, butnow a frown comes on his face and he turns his head as ifslightly annoyed by something.CUT TO a POV shot of a tall, gaunt, almost totally bald manat the next ticket counter. The man is about sixty-five andlooks like a half senile Great Dane. He is DAVE WILKIE,erstwhile husband of the heroine of this story. Age has notbeen at all kind to Dave; his face is lined with bitterness,he is a sour, angry, lonely man and now he is making a veryunpleasant scene with a ticket girl and an airlinerepresentative, waving his ticket and gesticulating angrily.He wears an expensive, ill-fitting suit and a Texas-type hat.We don't hear his angry complaints, no dialogue is on thetrack.CUT BACK to a CLOSE SHOT of Willcox Hillyer as he stares witha frown at the man. It's as if he knows the man but can'tplace him. The airline ticket girl speaks to him and he turnsback to her, his face softening as he answers her, obviouslysaying he'll carry his bag. He nods goodbye to the girl,turns and the CAMERA follows him as he walks some distanceaway and stops, looks back with another pensive frown at thetall, gaunt man at the next counter.CUT TO ANOTHER POV shot of Dave Wilkie, a longer shot thanthe first. The man is now arguing angrily with two airlinerepresentatives, still waving his ticket and shaking hishead. We don't hear him. Lip-readers might pick up what he issaying: "I'm supposed to be in first class, not tourist.What's the matter with this friggin' airline?"CUT BACK TO Willcox Hillyer, a CLOSE SHOT of his face as herubs his chin and frowns obviously struggling to remember theman. The CAMERA holds on him as he stares at the gaunt angryDave, racking his brain. He shakes his head, he cannot placethe man and yet he knows him. The CAMERA moves in closer onWillcox Hillyer's face as he stares in pensive puzzlement atthis ghost from the past and now we hear, as if from adistance, FAINT MUSIC on the track -- it is "Dixie," playedwith beautiful lazy mocking love by the great Louis Armstrongin his prime. At first we can barely hear it, then the MUSICbecomes LOUDER as Hillyer's frown deepens and he seems almostto know the man.MAIN TITLE (SUPERIMPOSED): "RAMBLING ROSE"The MUSIC remains a bit in the distance, but it can be heard.OTHER TITLES (SUPERIMPOSED): over the following action.VARIOUS SHOTS, on Willcox Hillyer. He gives up his effort torecognize the strangely familiar Dave with a little shrug,turns and walks away with his travel bag.INT. DELTA TERMINAL - LOUNGE - DAYWe see him entering the departure lounge and boarding theplane.INT. DELTA AIRPLANE - DAYA shot of him as he smiles rather nicely at a very attractiveyoung stewardess as he walks down the aisle of the plane. Heis not a crass or lewd flirt, but life comes into his facewhen he sees a pretty girl -- he seems to have a realaffection for girls: toward men he is polite but rather dryand ironic, almost aloof, but girls he likes. We see him sitin a seat, open his travel bag and take out long galleysheets. He stares for a moment rather wearily at the galleys,then sighs, puts on reading glasses and begins to makecorrections as boarding passengers walk by in the aisle.Something or someone disturbs him, he looks up with a slightfrown and CUT TO a POV shot of Dave Wilkie, all wonder andenthusiasm. This OVER the TITLES and we do not hear thedialogue they speak, what we heard is LOUIS ARMSTRONG, but Iwill put the dialogue in here so the actors can act it. We donot want to hear it, the sense of what they are saying willbe obvious from the acting. DAVE WILKIE (not on track) Buddd-dee! My God, if it ain't Buddy! Well, if this ain't the darnest thing!ANOTHER ANGLE, on them both as Dave blocks the aisle, anidiot false-toothed grin on his face. Hillyer has a painedembarrassed smile. WILLCOX HILLYER (not on track) Excuse me... your voice is familiar and I'm sure I know you from somewhere... DAVE WILKIE (not on track, with delighted injury) Awww-rr, Buddy, come on, you know me! WILLCOX HILLYER (not on track) Well, I... I... ah-h, let's see... DAVE WILKIE (not on track) It's Dave Wilkie! I'm Dave Wilkie, don't you remember me? WILLCOX HILLYER (not on track) Oh. Oh, God. Of course, Dave, how are you?The men shake hands, Dave enthusiastically, Hillyer less so.We see Dave stow his suitcase and take the seat next toHillyer.EXT. KENNEDY - DAYCUT TO a shot of a big Delta jet making its final taxiingturn and ROARING into a take-off.INT. KENNEDY - DAYCUT TO a dramatic underbelly shot of the jet going up.END OF TITLES. DISSOLVE TO:INT. DELTA AIRPLANE - DAYA shot of the attractive, young stewardess, harried as shefixes drinks.INT. DELTA AIRPLANE - DAYCUT TO Dave and Willcox Hillyer as the young stewardess givesthem drinks. Dave bestows a sour glance on her when he seesthe single drink, but at the moment he is in the midst of anaggressively self-satisfied conversation and says nothing toher. He speaks to Hillyer, who is making a real effort to bepolite but is less than happy about the encounter. DAVE WILKIE Well, I am in the construction business, Buddy, and without braggin' I have done real good at it. (with a meaningful bitterness) There are those who wouldn't have expected that out of me. (pauses as if waiting for a reaction, but Hillyer is very silent) Right now I'm buildin' a giant motel unit near Alexandria, outside Washington, D.C. Not fi-nance, I'm on the construction side. WILLCOX HILLYER (making polite talk) Well, that's interesting, Dave. I always liked Washington, it's a pretty town. DAVE WILKIE Oh, it's all right, beats Jew York. But the niggers have took it over, just like every other city we got, only worse.Hillyer gives a barely perceptible wince at this speech, butDave doesn't notice, he goes on with aggressive selfsatisfaction after a swallow of whiskey. DAVE WILKIE (CONT'D) But I have done real good in the construction field. What I don't know about buildin' ain't worth knowin'. I knocked off twenty-eight thousand smackeroos last year, how's that for an old country boy?Dave pauses, realizes this might not impress; glances downwith curiosity at the galley sheets, then an unpleasantsmile. DAVE WILKIE (CONT'D) Ha ha, course you make a lot more. (points at the galleys) What's that you got there, Buddy? WILLCOX HILLYER (reluctantly) Galley proof. DAVE WILKIE Galley what? WILLCOX HILLYER Page proof of a book I'm working on. DAVE WILKIE How about that. Well, you always were a screwball. WILLCOX HILLYER (lifts an eyebrow in mild irony) Oh, yeah? DAVE WILKIE (unfazed) I don't mean that the way it sounds. (stares at galleys as if rattlesnake) Imagine it, a book. And I used to know you personal way back when. (pauses, then earnestly) Tell me something, Buddy, how do you dream up all that stuff? WILLCOX HILLYER (absolutely straight) Well, actually, we have a little black boy named Her---t who lives in the garage. He does it for me. DAVE WILKIE (for a moment half believes it, then a slow, stupid grin) Heh heh heh heh, same old Buddy, always jokin' around. Almost as much of a joker as your Daddy. (drains his drink, grimaces; a heavy drinker, Dave) I saw your Daddy a coupla years ago, I was up in Glenville lookin' at a motel site. I guess that's where you're headed, huh, to see him? WILLCOX HILLYER (stares out of plane window) That's right, Dave, I'm headed for Glenville on a whisperin' jet. DAVE WILKIE (suddenly calls out) Hey, girl! Hey, you, give us another drink! (to Hillyer, sullenly) Dumb little bitch, supposed to give us two in the first place.Willcox Hillyer listens with a pained half smile, a hand athis temple. DAVE WILKIE (CONT'D) This friggin' airline's out of its mind. (a martyr) The sons of bitches tried to put me in tourist. (portentuously philosophical) But our whole civilization is screwed up, Buddy. The heebies and the coconuts have took it over and ruined it.Willcox Hillyer half closes his eyes in weariness, but saysnothing. Gently, he rubs his temple. It is plain Dave Wilkiegives him a headache.INT. DELTA AIRPLANEANOTHER ANGLE, on the pretty young stewardess as she bringstwo more drinks. Dave stares sourly at her, wholly unmoved byher charm. DAVE WILKIE Took your time gettin' here. WILLCOX HILLYER She has other things to do, Dave.Willcox smiles apologetically at girl. DAVE WILKIE Supposed to get two drinks in the first place. This friggin' airline can't do nothin' right.The stewardess purses her lips at Dave, who is bowed over hisdrink busy opening it. Hillyer lifts an eyebrow at the girlas if to say, "Don't blame me because of this damned idiot,"and she half smiles at him. WILLCOX HILLYER (obviously getting him off subject) Tell me about that job in Alexandria, Dave, the big motel you're building. DAVE WILKIE (with pedantic exactitude, the man is a complete pain in the ass) Near Alexandria. It isn't in Alexandria, it is outside it. WILLCOX HILLYER I see. Outside it. DAVE WILKIE That's correct -- outside it, not in it. As for the job, well, the Jewboy suppliers give me a lot of grief and we use a pile of niggers to haul and tote and they ain't worth a sorry-ass damn. (takes big swallow of drink) But I can build anything, Buddy. Give me the plans and I can build a goddamn staircase to the moon. It's a fact, I can build anything... (pauses, then bitterly) ... but she never believed that. Oh, hell, no, she never believed in me.This is another pointed bitter reference to the unknown"she." Once again, Willcox Hillyer is deliberatelyunresponsive. WILLCOX HILLYER Um-m, well... DAVE WILKIE (broodingly) Doubted my ability all along, the little bitch. I never remarried, Buddy, you know that, don't you? WILLCOX HILLYER Well, no, I didn't actually. DAVE WILKIE She's te reason -- cured me of women once and for all. Oh, I got rid of her, Buddy, I didn't waste no time kickin' that bitch out. Hell, she was screwin' everybody in Savannah. I caught her in a motel with this long tall son of a bitch and boy did I beat the everlastin' piss out of him!Dave Wilkie's eyes narrow with vindictive anger as he says itand one can well believe the streak of raw violence in theman. It is frightening even now; he is a clown, but he is adangerous clown. As his long, bitter, impassioned tiradecontinues, Willcox Hillyer becomes increasingly tense andpale -- it is obvious he detests what the man is saying andhe is struggling to control himself.Dave's tone and voice are laconically Southern, but thehatred and misery in his eyes are raw. DAVE WILKIE (CONT'D) She didn't marry him, though, later she married another guy and went to Winston-Salem. It didn't last That girl couldn't have no lastin' marriage, she left him and married another dumb sucker and went out west. Little bitch left him, too, and you know what she's married to right now? (puts a big finger on Hillyer's chest) A kike. That's right, some kind of kike horse doctor named Schapiro out in Seattle, who's got the nerve to have the same first name I got. Wouldn't you know it, Rose would wind up married to a goddamn kike? She was always out of her friggin' head and I'll tell you why. (his eyes narrow and again he puts a finger on Hillyer's chest) Buddy, she was sick in her mind and between her legs, too. She was a nymphomaniac. WILLCOX HILLYER (he has had enough; with a pale trembling anger and in even tone) Dave, you are as full of shit as a Christmas turkey and you know it. Now if you want to start a fight on this plane and get yourself in jail, go right ahead. But I am telling you, you are full of shit right up to your eyeballs. DAVE WILKIE (with surprising mildness; a little smile almost as if he is pleased) I don't want to start no fight with you, Buddy. Why do you say I'm full of shit? WILLCOX HILLYER Dave Schapiro is no horse doctor and Rose has been a good wife to him for a long time. To call her a nymphomaniac is the most stupid thing I ever heard in my life. DAVE WILKIE (again surprisingly mild) You loved her, didn't you. Well, so did I. (a little shrug) You'll have to admit she had four husbands. WILLCOX HILLYER Yeah, it took her a while to grow up and find Mr. Right, but she did it. She found him. DAVE WILKIE (another little smile) She used to call me Mr. Right. Remember that, Buddy? WILLCOX HILLYER (he is pale with anger) Yeah, I remember it.Willcox picks up galley sheets, half turns away. DAVE WILKIE Well, I tell you, I don't know what the world's come to these days. Things used to be better. We didn't have any money, but things were better. (grimaces in anger) Goddamn niggers and kikes burning the flag, rioting, raising hell -- they ought to shoot their asses off. I tell you, Buddy, where this country made its mistake was allowing people without property to vote.During this speech, Willcox Hillyer grits his teeth but saysnothing. He keeps his eyes down on the galley sheets. As Daveshakes his head in sorrow at the state of the nation .. DISSOLVE TO:INT. ATLANTA TERMINAL - HERTZ COUNTER - DAYA shot of Willcox Hillyer at a Hertz Counter in the Atlantaairport. A tense, wrought up Dave Wilkie is in the b.g. ofthe shot. During the following brief exchange, Hillyer ispolitely cool, Wilkie under a great strain. DAVE WILKIE (holds out hand) Well, got to get a plane to Savannah. Great running into you, Buddy. Give my best to your Daddy. WILLCOX HILLYER Yeah, I'll do that, Dave. DAVE WILKIE (sweating, tense, under some kind of awful emotional strain) Ah-h, if you happen to run into Rose sometime... do me a favor, give her a message for me, will you? WILLCOX HILLYER (a trifle wearily) Dave, I haven't seen Rose for years.Hillyer takes rental car papers from a pretty young HERTZGIRL, gives the girl a little smile, picks up his travel bag.In desperation, Dave takes his arm. DAVE WILKIE Buddy, I'm a sick man. I had a heart attack last year, I wasn't expected to live.Hillyer turns to Dave, puzzled and interested; Dave earnestlyexplains. DAVE WILKIE (CONT'D) You might see her. She writes your Daddy, and she and that doctor came to see him, didn't they? I wish you'd tell her something... I never could write letters. WILLCOX HILLYER (in a different tone, interested, curious) What do you want me to tell her, Dave? DAVE WILKIE (a painful inward struggle; the man is tormented, miserable) Oh, to hell with it, never mind. Don't tell her anything. Don't even tell her you saw me. (half turns his back, his face twisted with strong emotion) Got to run, Buddy, I'll miss my plane.Willcox Hillyer and the pretty young Hertz Girl stare afterDave Wilkie as he walks away with spasm-like steps. Hillyerseems affected, less hostile toward Dave now. He speaks halfto himself, half to the Hertz Girl. WILLCOX HILLYER He still loves her. The poor damn fool still loves her. HERTZ GIRL Who was she? WILLCOX HILLYER A girl named Rose. (pulls himself back into the world of reality) Still take R75 to Glenville? HERTZ GIRL Yes, sir.Willcox nods thanks and walks away carrying his travel bag.EXT. ATLANTA AIRPORT - ROAD - DAYCUT TO a shot of the red Ford driving from the airport.EXT. INTERSTATE 75 - DAYA shot of the red Ford on Interstate 75, Atlanta skyline inb.g.EXT. GEORGIA INTERSTATE - DAYOn the red Ford as it speeds along a Georgia Interstatethrough red clay hills in green springtime.INT./EXT. CAR - GEORGIA INTERSTATE - DAYCUT TO a shot on Willcox Hillyer CLOSE ON his face in thecar. He is lost in reflection. A look of bitter sweet emotionis on his face, an expression of sadness mixed withamusement. As the CAMERA holds on his face, we hear again onthe track Louis Armstrong's great version of "DIXIE," ormusic of comparable power, beauty and nostalgic evocation.Now the music is stronger, much stronger than behind thetitles, we are beginning to hear it full force. DISSOLVE TO:BLURRED SCREEN FLASHBACK:EXT. HILLYER HOME - DAYA shot of a thirteen-year-old boy on the front porch of ahouse in the sleepy Depression South of many years ago. He isBUDDY, Willcox Hillyer as a boy. The MUSIC continues as heshades his eyes to look at something far away.EXT. HILLYER HOME - DRIVEWAY - DAYCUT TO a LONG POV shot of a young and very pretty blonde girlwalking slowly up an oak-shaded driveway. A ZOOMAR LENSEtakes us TOWARD her. She is carrying a cardboard suitcasetied with a string. Her clothes are cheap, her shoes aredusty, runs are in her stockings. She is sweaty, tired andseems very nervous. ROSE is a very attractive girl, but herprimary quality is not sexiness, but an innocence andsweetness. She pauses to wipe sweat from her forehead withthe back of her hand and nervously moistens her lips as shestares ahead uncertainly at the "nice" Southern home which toher seems very grand. It is apparent she is badly frightenedand apprehensive about what lies ahead. She is also exhaustedfrom the heat and a long hot walk in the Southern sun. Sheblinks at perspiration, swallows in anxiety again and forcesherself to walk on.EXT. HILLYER HOME - PORCHCUT TO a shot of Buddy on the porch. Expressionless,unreadable, neither friendly nor hostile, he stares with aneven gaze directly into the CAMERA. He has his hands on hiships in a distinctive way that we will later see is amannerism of his father's.Buddy tries to imitate the style of his father, not alwayswith complete success. Unreadable as a Sphinx, he standsthere, waiting.EXT. HILLYER HOME PORCH - DAYCUT TO a POV shot of Rose at the foot of the porch steps. Atentative little smile is on her face. It is very plain sheis nervous and frightened. ROSE Hello. I'm Rose, and I've come to live with you and your family.Silence. The damn boy says nothing. A trifle crestfallen,Rose moistens his lips and swallows. She ventures anotherlittle smile and the CAMERA follows her as she walks up thesteps. The at-times-insufferable Buddy comes into the shot.He still has his hands on his hips Daddy-style and hisexpression is inscrutable, neither friendly nor hostile. ROSE (CONT'D) What's your name? What do they call you?Finally, the boy speaks -- and he is not so bad. He's a childafter all. BUDDY Lots of things. Buddy, mostly. ROSE (greatly reassured, a real smile now) Buddy. Well, now, that's a nice name, I like it. I am real pleased to meet you. (solemnly holds out her hand, they shake) Hey, look, do you think you got a cold drink of ice water somewhere? BUDDY Sure. Let me take your suitcase.A warm and beautiful smile comes on Rose's face and a littletwinkle comes into her eyes. The innocence and sweetness arenot lost, that is never lost, but this is a girl who likesboys and men. ROSE You're sweet.INT. HILLYER HOME BEDROOM STUDY - DAYCUT TO a shot of Buddy's mother, Mrs. Hillyer, in a Morrischair in her bedroom study.MOTHER is a sensitive, kind and rather appealing if slightlyeccentric lady of about 37 or 38. She wears glasses, has aVictorian hairdo and a 1930ish style dress. At the momentMother is absorbed in her studies -- notebooks and historybooks are littered and piled everywhere around her chair. Sheis drinking a Coca-Cola and smoking a cigarette held by abobbie pin. Calmly, she glances up as Buddy enters the room.The CAMERA pulls back to include him. BUDDY The new girl is here. MOTHER Wonderful. What's she like, Brother? What is your impression of her? BUDDY She talks a great deal and smiles a lot. She's very pretty, she has a real good figure. She's very girlish or womanish, if you know what I mean. She wouldn't hurt anybody, this girl. She couldn't.Mother accepts her son's precocious pronouncement asperfectly normal; talks to him as if he's an adult. MOTHER Your impression is very reassuring, Brother. Of course she's had troubles, poor thing, but I sensed that was that the girl was like and I'm glad to have it reconfirmed. BUDDY You mean confirmed, Mother. I didn't confirm it before. I would have had to confirm it previously, in order for it to be reconfirmed. MOTHER All right, all right. Doll and Waski are upstairs taking their nap, you go get them and bring them down to the living room. Where is the girl? BUDDY In the kitchen drinking all the ice water in Glenville. She walked out here, she didn't go by the hotel. MOTHER Walked, in all that heat? It's a wonder she hasn't got sunstroke. I'll phone Daddy and you go get Doll Baby and Waski. DISSOLVE TO:INT. HILLYER HOME - LIVING ROOMA shot of Mother, Rose, Buddy, Doll and Waski in the livingroom of the Hillyer household. DOLL is a pretty little girlof about 11, WASKI a boy of 5. Mother's tone is very gentle,very sweet, very kind. Her unabashed admiration for her ownchildren has an ingenuousness that is more amusing thanoffensive. MOTHER Rose, this is Waski. His real name is Warren but we call him Waski. He doesn't like it much and I suppose someday we'll have to stop calling him that. WASKI You can stop it right now. MOTHER When he was baby we called him "Wa Wa," a baby name, you know. You will find him a very good boy. His brother can be bad and so can his sister, but Waski is a very good boy. And as you can see he's beautiful. WASKI Oh, Mother, cut it out. MOTHER (serenely) There are plenty of girls who would give thousands of dollars to have your auburn hair. Beauty is beauty and that's all there is to it. Beauty is there and we have to recognize it. Now Rose, the little girl sitting across from you with the blue eyes is Doll Baby. She looks like an angel and she is an angel, but she can be a naughty angel sometimes, although her father won't believe it. Her real name is Frances, but we call her Dolly or Doll. DOLL I don't like that, either, it's worse than Waski. I want to be called Fran. MOTHER Daddy wouldn't hear that. Now the redhaired boy you see sitting there, of course you have met him, he is my oldest son and my most brilliant child. All children have great creative powers, but I don't want to rattle on about my children, they say I brag too much about them, especially about Brother. Am I boring you, Rose?Rose has not as yet caught on to Mother's style and isstaring at her with lips apart and blue eyes slightly popped. ROSE (feebly) Oh, no, ma'am. MOTHER Well, it's rather interesting about Brother, actually. I realized the remarkable thing he had when he was six weeks old. He looked at me and understood me, he knew exactly who I was. I know it sounds crazy but it's true. He's very remarkable, he was born for the ministry and could move millions, but he doesn't know that yet. I have to warn you about him, he can be very dangerous, there is an evil streak in him, a streak of pure sheer meanness. But at heart Brother is saintly and that is why he was born for the ministry even if he doesn't know it.Thus, Mother. Slightly cuckoo, a bit out of touch withreality, but no fool. A very intelligent woman really, andvery, very gentle and kind.Her style, however, takes a little getting used to and herlong speech throws Rose completely. She stares at Mother inspeechless open-mouthed awe, unable to say a word.The CAMERA moves in CLOSER on Rose as she moistens her lips,swallows, tries to talk and can't. She is very, very nervous.Now she flinches and looks around as we hear a deep masculineVOICE OVER the shot. It is the voice of DADDY, Mr. Hillyer,Buddy's father. DADDY'S VOICE Honey, you'll scare the gizzard out of the girl going into the fourth dimension like that.ANOTHER ANGLE on Daddy in the doorway of the living room. Heis a handsome man of about forty with a style and a mannerall his own. As extravagant as his remarks often are andfunny though he is at times, the man has a courtly Southerndignity that is never lost. He is no clown, he is not even acomedian, he is a man and a formidable man at that: all thecharacters in this story love and fear him. We see now whereBuddy got his unreadable expression thing and his hands onthe hips thing. Daddy is unreadable. A straw hat is on theback of his head, a rolled-up Glenville Tribune is in hishand, his hands are on his hips. He is staring with whatseems to be stern fierceness at them all, but his attitudereally is inscrutable. MOTHER It isn't the fourth dimension. To you it's the fourth dimension, maybe, to me it's simply the truth. DADDY (staring fiercely at Rose) Well, well, well. So Miss Rosebud has arrived. Un-hmm. And you're all assembled here. Yes, indeed. Un hmmm.Daddy walks in as Rose stares wide-eyed at him. It is obvioushe scares the absolute bejesus out of her, she looks actuallyas if she might faint, her hands trembling on her lap and herknees quivering beneath her cheap and tacky dress. But shehas a surprise coming. She is soon to lose all her fear ofhim, every bit of it. Daddy walks over and sits in a chairbeside her, stares fiercely at her for a moment, then beginsa long speech. Again, extravagant as this speech is, he is noclown, he is not "being funny," he means every word he says. DADDY (CONT'D) Well, Rosebud, now you are here, darling, and I swear to God graceful as the capital letter S. You will adorn our house, Rosebud, you will give a glow and a shine to these old walls. If there's one thing I like to have around, it's a frizzy-haired blonde. Now I assume Mrs. Hillyer and the children have introduced themselves and made your acquaintance, and so forth and so on?Rose can barely answer, eyes fixed in rapt fascination onhim, a half whisper. ROSE Yes, sir. DADDY All right. Now as head of this household I have a couple of remarks to make. It is my dear wife's belief, which I accept although I do not totally grasp it, that to hire a person to do household work is a criminal practice. Therefore, you are here not as a servant, you are here as a friend, as a guest and hopefully as a member of this family. You will eat your meals with us, you will share life itself with us -- in love and harmony, dear Rosebud, in love and harmony. Do you understand me? ROSE (a half whisper) Yes, sir.Daddy pauses, then in a different tone, his hidden gentlenessand kindness are much more plain; as he talks Rose's eyesbegin to well with tears. DADDY Now, I know you've had some troubles in your life, those... scoundrels in Birmingham and so forth trying to... lead you astray. I hope you find a safe haven here, honey, I know you've had a hard time. Life can be cruel to a young girl all alone. We welcome you to our home, Rosebud, we all welcome you from the heart and hope you are happy here.Rose bites her lip, her eyes are filled with tears; aninaudible whisper. ROSE Yes, sir.INT. HILLYER HOMEVARIOUS SHOTS of Rose doing household chores: sweeping thefloor, vacuuming, cooking. She is cheerful in her work,smiling, good-humored and she works hard. It is obvious sheis happy. We see the children in most of these shots. It isapparent Rose is a very good worker and very happy in her newhome.INT. HILLYER HOME - KITCHEN - DAYRose is washing the dishes while the children finishbreakfast. Buddy looks up from this cornflakes with aslightly sly expression. BUDDY Rose, who were those scoundrels in Birmingham? ROSE Nobody. BUDDY But who were they? ROSE They were just bad men, that's all. BUDDY In what sense were they bad? ROSE Bad is bad, Buddy. There ain't no sense to it. BUDDY Did they try to induce you to become a prostitute?Rose turns around, lifts her eyebrows, tosses down thedishcloth. ROSE I don't answer talk like that, Buddy. I just don't hear it, I turn my back and look away.Rose turns her back on him. BUDDY Was that what they tried to do? Was that why Daddy gave you the job, to save you from those scoundrels? ROSE Your Daddy is a wonderful man, I'll say that. He's the best and most kind-hearted man in the world. BUDDY Hey, Rose, did you hear about that terrible thing down in Cave Springs? ROSE What terrible thing in Cave Springs? BUDDY There was this old man that ate his niece.Rose stares emptily for a moment, then bites her lipstogether. ROSE I didn't hear you. I didn't hear that. BUDDY He really did, he ate his little niece. He made pork chops out of her. ROSE I don't hear you. I just turn my back on that kind of talk and look away. BUDDY Well, it's only the truth. There are horrible things in the world, Rose. ROSE Buddy, you are in one of your evil moods, I don't want to talk to you. I'm going out and sweep the patio.Rose exits and the CAMERA stays on Buddy, Doll and Waski. BUDDY Rose is almost as sentimental as Mother. If there's one thing I can't stand it's sentimentality. In Chattanooga this man committed an almost perfect murder. He killed his wife with a black widow spider. DOLL Oh, shut up, Buddy. WASKI Yeah, shut up.EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Rose on the stone patio of the Hillyerhouse, an attractive area with outdoor furniture andcrabapple tree limbs overhead. Rose is busy sweeping. TheCAMERA PANS to follow her and we pick up Mrs. Hillyer,Mother. It is a nice day and she is studying out on thepatio, books and notebooks piled around. Rose glances downcuriously at her. ROSE What are you studying now, Mrs. Hillyer? MOTHER More history, Rose. ROSE Are you going to get your degree soon? MOTHER Well, I am working on my thesis. ROSE (as she busily sweeps) It must be wonderful to be so smart. I don't see how you do it, reading all those books, learning all that stuff. MOTHER (looks up, and gently) Rose, you work too hard. Why don't you go sit down somewhere and drink a Co-Cola? ROSE (smiles, trusts and knows Mother now, not at all afraid of her) You're so sweet.Rose again busily sweeps. MOTHER Really, why don't you go sit down somewhere? ROSE I like to work. I don't mind work. It's the least I can do after all you and Mr. Hillyer have done for me. (stares worshipfully at Mother) You're so sweet. There never was nobody like you. MOTHER (gently) Well, you run on now. ROSE Yes, Ma'am.Exit Rose. Mother adjusts her notebook and turns the page ofa history book as she resumes her studies. We hear the soundof an approaching CAR and she glances up.EXT. HILLYER HOME - DRIVEWAY - DAYCUT TO a shot of a slightly worn-out 1932 Model-A Ford as itrolls up the driveway of the Hillyer home, Daddy at thewheel.EXT. HILLYER HOME - PATIO - DAYANOTHER ANGLE, on Daddy as he gets out of the Model-A. He hashis usual straw hat on the back of his head. The CAMERAFOLLOWS him as he walks onto the patio. DADDY Good morning, sweetheart. Beautiful day. MOTHER Yes, it's so nice I thought I'd work outside. DADDY How goes it, darlin'? MOTHER Slow, hon. But at least I can concentrate now that Rose is here. DADDY What do you think of her, honey?Mother doesn't answer, she writes on, head bowed over hernotebook. We see in this shot the hearing aid she wears andhear from it a faint BUZZ. DADDY (CONT'D) Turn up your hearing aid. MOTHER What? DADDY Your hearing aid, it's buzzing at me like a snake. MOTHER (adjusts hearing aid) Oh. Did you say something? DADDY I asked you what you think of Rosebud, now that she's been here a while. MOTHER Honey, she's perfect. She works all the time and she's wonderful with the children. And they love her, even Brother likes her though he won't admit it. I think she's just perfect. DADDY Um-hmm. Almost too perfect. MOTHER And she's such a good-hearted thing, there isn't an ounce of harm or malice in her. DADDY Well, I'll admit I don't see any flies on her yet. MOTHER There are no flies on Rose, I don't know what you're talking about. DADDY Well, she must have done something to encourage those scoundrels in Birmingham, even if she did run away from them.INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of Buddy in the window of the kitchen. He ispropped on his elbows and listening with keen interest to thetalk on the patio. We hear the VOICES of his parents OVER theshot. MOTHER'S VOICE If you mean... boys and men, I don't think so. Rose seems very calm about all of that. DADDY'S VOICE Well, so far I have to agree. She seems calm as lettuce.The CAMERA FOLLOWS Buddy as he draws back into the kitchen.We see Doll and Waski playing a game on the kitchen table. BUDDY Daddy says Rose is calm as lettuce. Do you believe that, Doll? DOLL No. WASKI Neither do I. BUDDY Oh, Waski, you don't even know what we're talking about. WASKI I do, too.Buddy turns, looks back out the window.EXT. HILLYER SOME - PATIO - DAYCUT TO Mother and Daddy on the patio. Daddy stands up. DADDY Well, let's hope for the best, darlin'. MOTHER Hope for the best? I don't understand all this skepticism. I thought you liked Rose. DADDY I love Rosebud, I am wild about Rosebud. I just hope she doesn't turn out to be a hidden hotcha character, that's all. We have growing children in the house. MOTHER Hotcha character. If I had to live with your cynicism, I wouldn't want to live at all. What you can't understand is that the creative forces of the universe are positive, not negative. DADDY (gently, his irony is mild) All right, darlin', don't go off into the fourth dimension. MOTHER I'm not in the fourth dimension -- (points a finger at him) -- you are in the fourth dimension, when you allow skepticism and doubt to take control. As Blake said, if God had doubt the sun would go out. DADDY (again gentle irony, always courtly toward her) Forgive my crudity, darlin'. I don't understand these deeper things the way you do. MOTHER (reaches up, takes his hand) Be nice to Rose. She's never had a real home. DADDY You're a wonderful woman, darlin'. As long as you're around, I'm sure the sun wouldn't dare go out.INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of Buddy and Doll and Waski in the kitchen.Doll and Waski are playing parchesi on the kitchen table.Buddy turns from eavesdropping at the window and strollsacross the kitchen, hands in his khaki pants. BUDDY It's pitiful. Neither one of them know. DOLL (as she shakes dice) I think Daddy suspects. BUDDY No, he doesn't. Not really.The CAMERA FOLLOWS Buddy as he goes to the hall door,carefully opens it to make no noise and peers down the hall.INT. HILLYER HOME - FRONT HALL - DAYCUT TO a POV shot of Rose busy dusting hall furniture,humming as she works. We hear on the track the SOUND of theModel-A starting, and Rose freezes. Then, quickly, Rosehurries down the hall toward the front door.ON Buddy as he watches her through a crack in the door. Hehas his hands on his hips Daddy-style and his face isexpressionless.ANOTHER ANGLE, POV of Buddy but CLOSER on Rose at the end ofthe hall. She is staring soulfully through the glass of thefront door as we hear the Model-A go down the driveway. Roselifts a hand between her breasts, sighs. A lovesickexpression is on her face.INT. HILLYER HOME - KITCHEN - DAYON Buddy, as he comes back into the kitchen sadly shaking hishead. BUDDY It's really pitiful. She's in bad shape. DOLL She's watching the car again? BUDDY Yeah. DOLL I get so irritated with Daddy. He's so dumb sometimes. WASKI Yeah, I know. BUDDY Oh, Waski, you don't know anything. WASKI I do, too! BUDDY All right, what do you know? WASKI Rose is madly in love with Daddy... DOLL (pauses, then solemnly) Well, don't tell Mother. WASKI Do you think I'm crazy? DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - NIGHTA shot of the family at dinner in the dining room at night.Daddy is at the head of the table, Mother is at the otherend.Buddy, Doll and Waski are all seated in neat, nice clothes,hands washed and hair combed. Rose is serving, but a place isset for her. She wears an attractive little apron and issmiling, blushing, happy as Daddy teases and jokes at her. DADDY (in a good humor) Rosebaby Blossom, these are the most delicious candied yams I ever ate! Why, they just melt in my mouth. And this fried chicken is fit for a king. How do you do it, Peachbird? What is the secret of your art, Plum Blossom, huh? ROSE (blushing, smiling) Oh, I don't know, I... I... DADDY Rosebird Baby, you are the light of my life, darlin'. How did we ever get by without you? ROSE (stares at him, stricken) I... I'll get the grits.The CAMERA FOLLOWS Rose as she exits, and STOPS on Buddy andDoll. Buddy slews his eyes toward his sister, who meets hisgaze for a moment then looks down at her plate. The CAMERAMOVES on to Mother, who is utterly oblivious of anythinggoing on between Rose and Daddy. MOTHER Rose does have a gift for cooking. She learns so fast, but mainly I think it's that she tries so hard.INT. HILLYER HOME - DINING ROOM - NIGHT (LATER)ANOTHER ANGLE, on the family as they eat dinner. Rose isseated at the table now. She is picking lifelessly at herfood and glancing from time to time with a lovesickexpression at Daddy, who is busy eating and seems whollyunaware of it. Mother also is wholly unaware, but all thechildren know what is happening. Rose takes a gravy for abiscuit and spills a little, her hand is trembling. MOTHER (gently, suspects absolutely nothing) Rose, you're in an awful dither tonight. What's the matter with you, honey, are you sick or something? ROSE (in a feeble voice) No, ma'am, I'm just fine. MOTHER You look sick if you ask me. I hate to leave you with the dishes and all, but I'm supposed to go to a meeting of the Garden Club this evening. (to Daddy) I'll need the car keys. DADDY I'll drive you, darlin'. You've got no business behind the wheel of an automobile. You don't think about what you're doing and you'll run into a telephone pole. MOTHER I think about what I'm doing all the time, and I've got as much business behind the wheel of an automobile as anybody. Besides, I want you to stay and help Rose with the dishes, the poor girl isn't feeling well. DADDY All right, darlin'. DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - NIGHT (LATER)A shot of Daddy alone in the dining room, reading a newspaperand drinking coffee. Rose comes INTO THE PICTURE, gets dishesas she clears the table. She stares with a lovesickexpression at Daddy, who is absorbed in paper. DADDY (to himself, mostly) Hmmp. Did you realize there are a thousand Coca-Cola millionaires in Atlanta?INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Buddy and Doll tiptoeing down the darkenedhall toward the front door. We hear the MODEL-A going downthe drive. They peer out of the glass of the front door. Theywhisper. BUDDY There goes Mother. DOLL Yeah. BUDDY Let's go peep from the living room. DOLL Okay.INT. HILLYER HOME - LIVING ROOM - NIGHTThe CAMERA FOLLOWS them as they tiptoe into the darkenedliving room. They go over to the sliding doors and silentlystruggle for the best peeping spot. Buddy gets up high, Dolldown low, at the crack in the doors through which lightshines.INT. HILLYER HOME - DINING ROOM - NIGHTCUT TO a POV shot of the dining room, as seen by children.Daddy sits absorbed in his paper, oblivious of Rose. She isstaring down at him with a pale look of love.INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO a CLOSE-UP of Buddy and Doll, their heads together.They whisper. DOLL I think she's gonna kiss him. BUDDY At least.INT. HILLYER HOME DINING ROOM - NIGHTCUT TO a POV shot of Daddy and Rose, as seen by children. Thetable now is cleared and Rose stands half behind Daddy,staring down at him with a stricken expression. DADDY (half to himself) Ehh, Lord, should have bought that stock when we had some money. A thousand millionaires.Rose suddenly makes up her mind, places her hand on hisshoulder, turns sideways, sits down on his lap, puts an armaround his neck. ROSE Oh, oh! Oh, Mr. Hillyer, I love you, I love you so much! I've tried, but I can't help it! Please kiss me -- will you kiss me?For a long time Daddy stares groggily at her with a halffrown as if he can't believe it. In order to stare at her, hemust tilt his head back and, handsome man though he is, helooks a bit like a startled rooster. Her breasts are pressedagainst him, and her eager -pink lips are waiting for a kiss. DADDY (finally clears his throat) Ahh-hem! Now, Rose, get off my lap. What are you doing, girl? Are you crazy? ROSE Yes, crazy about you! Kiss me, Mr. Hillyer! DADDY Why, I'm not going to kiss you, you crazy girl. Now I'm telling you again, get off my lap. Come on, Rose, get up. Now you get up, I say, and stop this! ROSE No, no! You don't understand, I love you! It's real love and I can't help it! Please kiss me, Mr. Hillyer, I love you, I love you so much...Rose breaks down and begins crying, her head on his shoulder.She has her arms wound tight around him and Daddy seems at aloss what to do. DADDY (in a shaken voice) All right, all right. Now calm down, Rose, the children will hear you. Calm down, let's talk... about this thing, let's discuss it. ROSE (sobbing) Don't make me... me... me... get up! DADDY Calm down, Rose, let's calm down and discuss it ...INT. HILLYER HOKE - LIVING ROOM - NIGHTCUT TO a shot of Buddy and Doll. Doll is down near the floorand can't see as well. They whisper. DOLL I can't see. What are they doing, what's happening? BUDDY They're discussing it. DOLL I can't see, let me see...Doll tries to rise up and Buddy puts a hand on her head andshoves her down. BUDDY This is my place and you can't have it. DOLL (a whispered moan of frustration) Ohhh-hh... what's happening now? BUDDY (his eyes open wide) He's trying to get up -- good God, one of her titties is out! DOLL Let me see!INT. HILLYER HOME - DINING ROOM - NIGHTCUT TO a POV shot of Daddy and Rose, as he struggles to risefrom the chair. They are half falling to the floor and nowthey fall, Rose still on his lap. One of her breasts has comeout of her dress, which is very loose and low-cut. She has nobra, the breast is bare. Daddy is staring groggily at thebreast as if slightly dazed.INT. HILLYER HOME - LIVING ROOM - NIGHTCUT BACK TO Buddy and Doll. Buddy is frustrated now. BUDDY Now I can't see. What are they doing? DOLL (happy, peeping through crack) Boy! Wow!Buddy groans and peers intently through crack.INT. HILLYER HOME - DINING ROOM - NIGHTA POV shot of scene as observed by Buddy. He is up too high,the dining table blocks his view. We see the lower half ofRose and Daddy. Rose's skirt is up well above her knees.INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO a shot of Buddy and Doll. DOLL Wow! Brrrother! BUDDY What are they doing? DOLL Buddy, this is amazing, you wouldn't believe it. BUDDY What are they doing, Doll? DOLL (staring, enthralled) He kissed her. BUDDY Is that all? DOLL (happily, enjoying it) He had his hand on her titty. BUDDY Let me look. (can't stand it, grabs her around waist and pulls her away; eagerly looks, sags) Aww-rr...CUT TO a POV shot of the scene in the dining room.INT. HILLYER HOME - DINING ROOM - NIGHTDOWN LOW, we can see under the dining room table now. Daddyhas his hands on Rose's shoulders and is firmly pushing heraway. DADDY All right, that is enough of this nonsense, and I mean enough! Get up off this floor, Rose, and put your damned tit back in your dress! Do you hear me, girl, get up off of that floor!Rose, on all fours, blonde hair over her face, making littlewhimpering noises of dismay: ROSE Ohh-hhh... ohh...INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO Buddy and Doll. BUDDY (disappointed) She's putting the titty back. DOLL (a furious whisper) Buddy, that was my place.Doll forces her way in and they both peep through crack indoor.INT. HILLYER HOME - DINING ROOM - NIGHTCUT TO a POV shot of Rose and Daddy. Rose stands sheepishlyby the dining room table, half-crying as she adjusts herdress. Daddy sits in his dining room chair. Daddy is glaringat her. DADDY Goddamn you, girl! You've made me make a fool out of myself, damn your hide, but let me tell you I am standing at the pass of Thermopylae and I won't budge! The very idea, my own home with children in the house, to say nothing of my wife -- oh-h, you had better believe I am standing at Thermopylae, you little nut, you had better believe it! What are you, crazy? A man is supposed to be a fool like this, but a woman is supposed to have some control and sense! Are you a nitwit? What's the matter with you? ROSE (weeping) Oh-h, I'm sorry. I'm sorry, Mr. Hillyer... I just... couldn't help myself. I'm sorry...INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO a shot of Buddy and Doll as they peep at the door.Doll whispers angrily at him. DOLL Buddy, that was pretty snotty of you, pushing me away like that just when it was interesting. BUDDY You shouldn't watch such things, Doll.They continue to peep with interest through the crack in thedoors.INT. HILLYER HOME - DINING ROOM - NIGHTCUT TO a shot of Rose and Daddy. Now Rose is sitting penitentand crying in one of Daddy's handkerchiefs. Daddy's anger isgone, he has gotten control of himself and speaks to her nowin a different tone.He sits beside her, an arm around her shoulders in a fatherlyway. DADDY Rose, Rose, Rose, you poor miserable little child, don't you know I love you? Do I have to put my hand on your body or kiss your pretty lips to prove it? You are beautiful to me, Rose, I've loved you since you first came here, darlin'. And don't you know Mrs. Hillyer loves you, too, that she's already taken you into her heart, and that that woman's heart is as wide as the blue sky itself and as deep as the stars? ROSE (weeping in handkerchief) Oh, I know. She's so sweet, she's been so good to me... DADDY Do you know what a friend you have got there? Do you know she would fight for you like a tiger, that she would fly to your defense in an instant with all the courage in her soul if anyone tried to hurt you? Is this any way to repay her trust and love? Are you ashamed as I am ashamed? (pauses as Rose sobs in handkerchief) Don't cry, honey, don't cry. But let me warn you, damn your hide, this is Thermopylae and I am standing here. Do you hear me, damn you. I am standing at Thermopylae and the Persians shall not pass! Now get your tail out of here and go wash those dishes, and stop crying!INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO Buddy and Doll in the darkened living room. Hegestures that they'd better leave, and they do. The CAMERAFOLLOWS them as they tiptoe out of the living room.INT. HILLYER HOME - FRONT STAIRS - NIGHTANOTHER ANGLE, on Buddy and Doll as they tiptoe up the frontstairs.INT. HILLYER HOME - TOP OF STAIRS - NIGHTON Buddy and Doll at the top of the stairs. They pause totalk and now they don't have to whisper. Doll is happy,pleased. DOLL Wasn't Daddy wonderful? He wanted to kiss her some more and play with her, but he didn't, because he loves Mother and all of us, and he loves Rose, too. Isn't he wonderful, isn't he great? BUDDY (dryly, aloof; he doesn't mean this really) Wonderful? He kissed her and played with her titty, and I don't see anything so great about that. He was probably afraid Mother would come back early and catch him. DOLL You know, Buddy, sometimes you make me sick.Doll gives him a venomous glance and walks away. The CAMERASTAYS on Buddy as he stares after her with a thin littlesmile. Be seems wryly amused that he has made her angry.After a moment, he turns and stares in the direction ofdownstairs and his face changes. His smile fades, then slowlyreturns as he thinks of what has happened. BUDDY (quietly, to himself) Thermopylae. The Persians shall not pass.It is obvious that secretly Buddy admires very much hisfather's behavior. DISSOLVE TO:INT. HILLYER HOME BUDDY'S BEDROOM - NIGHTA shot of Buddy at night in his small bedroom.He wears a rather skimpy old-fashioned nightshirt that comesmidway between his hips and knees. At the moment he isfinishing brushing his teeth at the bureau, using an oldfashioned water pitcher and bowl. The CAMERA FOLLOWS as hewalks across the room in the light of the lamp by his bed. Helooks around cautiously, then picks up the mattress of hisbed. He pushes it far back and we see springs. He takes out asmall "book" or pamphlet and stares gravely at it.CLOSE-UP: The front cover of the pamphlet. We see the overalltitle: LITTLE DIRTY COMIC BOOKS. And beneath it: BLONDIE ANDDAGWOOD. And beneath that, in smaller letters: "Mr. DithersComes to Dinner -- and How!" We see Buddy's hands in theshot, and he opens the pamphlet and we catch enough of aglimpse of the thing to know it is pretty awful -- a drawingmaybe of "Blondie" stark naked with a finger in her mouthgoing, "Tee-Hee!"ON Buddy, as he stares down with grave intentness at theLittle Dirty Comic Book. Slyly now, he retraces his steps tothe bureau and takes out a flashlight. He goes back to thebed, switches off the lamp, gets in the bed and turns on theflashlight and pulls the covers over his head. We hear afaint SOUND on the track and Buddy suddenly yanks back thecovers, puts the flashlight on the table by the bed andthrows the Little Dirty Comic Book under the bed. He lies onpillow and pretends he's asleep, and we hear the door of hisroom OPEN and a CREAKING on the floor.ANOTHER ANGLE, on a weepy Rose in a very thin nightgown. Theshot is FROM BELOW as Buddy might see her as she stands overhis bed. She looks very lonely and unhappy and is halfcrying. ROSE Buddy... are you asleep?ANOTHER ANGLE, on both of them. Buddy stares at her insurprise. It is dim in the room, but we can see them in themoonlight. BUDDY No, I'm awake. What's the matter? ROSE Buddy, I am wandering in a wilderness, lost. (sits glumly on edge of bed) I just feel awful. Do you mind if I get in bed with you for a little while? BUDDY Well, all right.ANOTHER ANGLE, on Rose and Buddy in the bed in the moonlight.It is all innocent enough, Buddy is a child and Roseobviously has no lewd intent in getting into his bed. Shelies back on a pillow staring up at the ceiling and smoking acigarette. ROSE I thought I'd go crazy back there in that room all by myself with nobody to talk to. As a child, I never had no room all to myself, we were awful poor. Buddy... I have got a confession to make. BUDDY What is it, Rose? ROSE It's so terrible I can't tell you. Oh, Buddy, you don't know how it hurts to have a broken heart, what a terrible feeling it is, and I've had a broken heart so many times. Men, I don't understand them, I can't figure them out and they break my heart, that's all. I can't find Mr. Right, Buddy, I can't find him no matter how hard I look, all I find is a whole pile of Mr. Wrongs. But this is the worst ever because it wasn't his fault. It was my fault, oh yes, my fault, I was bad -- oh God, I was bad, you wouldn't believe how bad I was. BUDDY (a little smile) What'd you do, Rose? ROSE Buddy, I was horrible. I can't tell you who it was, but do you know what I did? I sat on his lap and got ahold of him and wiggled and wiggled my ass on him and was worse'n you could know, a child like you. Why, I let one of my tits fall out deliberate on purpose and practically smack him in the face with it and I let my dern skirt come up so he could see my drawers... (pauses, realizes this isn't too dignified) But to get back serious to what I was sayin', it is not only, Buddy, the loss of him but my own bad behavior what bothers me so... BUDDY You were pretty bad, huh? ROSE Why, it has just made me ill, Buddy. I'm sick. I don't want to eat nothin', I don't, and me I got a good appetite, that ain't nat'ral for me. I'm ill. BUDDY (slyly, pretends he doesn't know) But, Rose, what is the cause of it all? ROSE Promise not to tell Doll? -- or nobody? Buddy, it's your Daddy! I'm so much in love with him I am out of my mind! BUDDY But, Rose, how could such a thing as that happen? ROSE I fell madly in love with him when he called me Rosebud. You know that first day when I come and he said I looked graceful like a capital letter S and called me Rosebud? I fell madly in love with that man right then. (sighs tragically) But it's a lost love, Buddy. He's a good man and won't have nothin' to do with me.ANOTHER ANGLE, on Rose and Buddy in the bed. Buddy haspropped on an elbow and is staring down at her breasts in themoonlight -- we see the soft notch between her breasts in theopen V of her thin nightgown. She is completely unselfconscious with him. BUDDY (casually) Can I touch you here?Before she can answer, he touches her breast with his fingerthrough her nightgown. BUDDY (CONT'D) Hmmm, it's soft. It's awful soft. ROSE (casually, doesn't object) What did you expect? BUDDY Well, I thought they were more like a cantaloupe. ROSE Ha ha ha, that's some idea, a cantaloupe. BUDDY (touches her breast more boldly, his hand outside the nightgown) There's some kind of gristle in it, though. ROSE Buddy, quit that, you're just a child, you're not supposed to be interested in such things. BUDDY Actually, I am, though. ROSE (dreamily, thinking of Daddy as she smokes cigarette and stares up at the ceiling) You know, that Daddy of yours is the funniest man, the things he says, you never know what's going to come out of his mouth next. BUDDY Can I put my hand inside your nightgown, Rose? ROSE No, you can't. And I'll tell you this -- he scares me. As kind as he is, he scares me. You can't fool around with him, not with that man. And, boy, I sure better not try nothin' like that with him again, he'll fire me. BUDDY Rose, can't I see what the nipple on it is like? ROSE (frowns) Buddy, what's come over you? A child like you, askin' such things. BUDDY But I'm curious, Rose.Puts his hand in her nightgown. ROSE Buddy, get your hand offa me! Quit it, get you hand away...Takes his wrist. BUDDY Just for a second. Please, Rose, what's the harm? ROSE (gently) Buddy, you don't realize it but what you're doing isn't nice. BUDDY Aw, come on, Rose, I want to see what the nipple on it is like. ROSE You don' t need to know that. It's none of your business. BUDDY Aw, be a good sport, Rose. (sweetly, almost sugarily) You like me, don't you? I like you a lot.INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT TO a shot of Mother's bedroom-study in the moonlight. Wesee Daddy lying wide-awake in a single bed staring broodinglyout into space. Mother lies asleep in a big four poster inthe background of the shot. Daddy sighs wearily to himself inthe grip of "insomnia in reverse."INT. HILLYER HOME - BUDDY'S BEDROOM - NIGHTCUT BACK to Buddy and Rose in bed. He has evidently sweettalked her into letting him fiddle with her; his hand is- inher nightgown. There is no indication of lewd interest onRose's part, a peeved and exasperated look is on her face.Buddy seems quite fascinated, however. ROSE Well, are you satisfied now? Can we just lie and talk, huh? BUDDY Hmmph. It has a nipple, all right. ROSE 'Course it does. BUDDY First I couldn't feel it, but now I feel it easily, it's like a little acorn. ROSE (moistens her lips, swallows; it is affecting her; she frowns) All right, that's enough. (firmly pushes his hand away) You're just a child and wouldn't understand it, but that type of thing can stir a girl up. Now lie back and we'll talk. BUDDY That was very interesting. Thank you, Rose. ROSE (lighting cigarette) Don't mention it. BUDDY (pensively, with the solemn pedanticness of a precocious child) It was softer'n I thought, that was my main impression. You know, if you hit a girl there it would hurt her a lot. ROSE Who would want to do such a thing as that? BUDDY Well, some fiend might. ROSE (stares wonderingly at him) You know, Buddy, sometimes I can't figure you out at all. You can be very nice, but like your mother said there's an evil streak in you. BUDDY There's an evil streak in everybody, Rose. ROSE There ain't none in your Daddy. You know, what happened has just made me love him all the more. I not only love him, I respect him, I admire him. BUDDY Rose, I have a serious favor to ask you. ROSE Most men wouldn't do what he done. If they can get a girl they go right ahead and get her -- I guess to hell they do, just like a dern rabbit. 'Course later they'll tell her she's no good when they done the same thing their selves. They're a bunch of monkeys. I like 'em, but they're a bunch of monkeys. BUDDY (trying to be casual) Rose, since you're here in bed with me and everything and I've already touched your titty...Can't quite say it; leans over and whispers in her ear and wedon't hear what he says. ROSE (her eyes open wide as he whispers) Why, Buddy, shut your mouth! What an awful thing to say, and where did you get any such idea as that, anyhow? BUDDY I'm curious to see what it's like. I'm very curious, Rose. ROSE Well, now that is just too bad! Curiosity killed the cat. BUDDY Yeah, but satisfaction brought him back. Can I? ROSE No! You ought to be ashamed of yourself astin' such a nasty things a child your age! BUDDY Can't I touch it a little, Rose -- not a lot, just a little? ROSE Of course you can't! I'm... I'm shocked at you, Buddy, real shocked! Now you be quiet or I'm going back to my own bed! BUDDY Please, Rose. I'm curious, that's all, I have a natural curiosity, it's only human. You're my friend, aren't you? Don't you like me? (again sweetly, almost sugarily) I like you, Rose, a lot -- in fact, I love you. ROSE (softens despite herself) Well, you're sweet, but you don't really love me. BUDDY Yes, I do. Please, Rose, be a good sport. ROSE Buddy, you're just a child. BUDDY I'm thirteen. And I have a natural curiosity. It's only nature, Rose, that's all. Now what's wrong with nature, huh? ROSE Well, nothin'.INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT TO a shot of Daddy sitting on the edge of his bed inpajamas. He looks frowzle-haired and glum. The CAMERA FOLLOWShim as he wearily gets up and walks across the bedroom in themoonlight and takes a package of cigarettes from a bureau. Beglances over his shoulder as we hear Mother. MOTHER What's the matter, hon? Is anything wrong? DADDY No, darlin'. Just that damnable insomnia in reverse. I sleep like a baby for an hour then I'm wide awake. You go back to sleep.Daddy lights a cigarette and walks to the window and staresout at the moonlit night.The CAMERA MOVES IN CLOSER on his face and we see a wearinessand strain he has not shown before. DADDY The Depression has got me. That miserable hotel, no money anywhere, strong men out of work, children hungry. It's a great life if you don't weaken. DISSOLVE TO:INT. HILLYER HOME - BUDDY'S BEDROOM - NIGHTA shot close on Rose and Buddy in bed. Evidently Rose hasweakened and is allowing him to fiddle with her, but we canonly surmise this, the shot is on their heads and shouldersand a cloud has crossed the moon, the light is more dim. Adifferent look is on her face, a solemn expression as if sheis listening to some far away sound that she finds strangelyhaunting. She moistens her lips, speaks in a slightly feeblevoice. ROSE You better quit that. BUDDY But Rose... ROSE I must be outta my mind. Buddy, quit it. BUDDY Am I hurting you? ROSE (pauses, stares off as if listening, then in an even feebler tone, a half whisper) No. No, you're not hurting me. (moistens her lips, swallows) But I think you better quit it. BUDDY But why, if I'm not hurting you? ROSE You wouldn't understand. (puts a hand on his shoulder as if to push him away, but can't; puts her other hand over her eyes) Oh, God, I must be outta my mind. What would your Momma think?The hand falls limply from Rose's eyes and she turns her headto the side and closes her eyes. Helplessly, she lies thereas the boy fiddles with her.INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Daddy walking down the downstairs hall in abathrobe and slippers. He looks very frowzled and sleepy.INT. HILLYER HOME - KITCHEN - NIGHTON Daddy as he walks into the kitchen, turns on the light. Hegoes to the ice box, an old-fashioned type made of wood thattakes cakes of ice. Be pours out a glass of milk.INT. HILLYER ROME - BUDDY'S BEDROOM - NIGHTCUT TO a very CLOSE SHOT on Rose's face. The light is dim butwe see perspiration on her forehead. Her breathing is notnormal. Her eyes are shut tight, her teeth are clenched.CUT TO a shot CLOSE on Buddy. We do not see what he is doing,but evidently he is fiddling with her. He seems quiteinterested in the proceedings. BUDDY Rose, beyond a doubt this is the most fascinating experience of my life.INT. HILLYER HOME - KITCHEN - NIGHTCUT TO a shot of Daddy in the kitchen as he sits rathergloomily at the kitchen table drinking the glass Of milk. DADDY (to himself) Ehh-hh, Lord, man born of woman hath few days and they are full of trouble.INT. HILLYER HOME - BUDDY'S BEDROOM - NIGHTCUT TO a shot close on Rose ai Buddy in the bed. The shot isof their heads and shoulders.She has an arm very tight around his shoulders and her eyesare shut tight. The moment of truth is at hand. ROSE Ohh-hh! Ohhh-hh! (it's all over; she twists sideways, puts both arms around him) Oh, Buddy, you're so sweet. I love you a lot.INT. HILLYER HOME - KITCHEN - NIGHTCUT TO a shot of Daddy as he washes out the glass in thesink.INT. HILLYER HOME - BUDDY'S BEDROOM - NIGHTCUT TO a shot of Rose and Buddy in the bed. The extremity ofher crime has dawned on Rose and she is sitting up in the bedwith a look of horror on her face. Buddy is staring worriedlyat her. BUDDY Rose, are you all right? Are you sick or something? ROSE (staring off in space, lost in horror) No. No, I'm all right. (turns, stares at him, puts a hand in woe on her forehead) Oh, God, what have I done? I have robbed a cradle and fallen into hell! (fumbles desperately on bed for cigarettes) I must be crazy, a child like you. Oh, God, oh, Lord. This is awful, this is terrible, I gotta get outta here!ANOTHER ANGLE, on Rose and Buddy as Rose in a panic gets outof the bed, pulls down her thin nightgown and tiptoes towardthe door. She stops and looks back as a chilling thoughtoccurs to her. ROSE Buddy, you wouldn't tell nobody, would you? BUDDY (a trifle too piously) Don't worry, Rose, I won't tell a soul. ROSE I sure hope you don't. (still in a panic) I gotta get outta here, good night. BUDDY (sweetly) Good night, Rose.INT. HILLYER SOME - UPSTAIRS HALL AND DOWNSTAIRS HALLCUT TO a shot of Daddy walking down the downstairs hall inhis bathrobe. The shot is down the staircase and Rose in theupstairs hall tiptoes into the picture. A floorboard creaksand he looks up and sees her. DADDY Rose, what are you doing up? ROSE Nothin', just goin' to the bathroom. DADDY Is anything wrong? ROSE No, sir. DADDY Well, good night.ANOTHER ANGLE on Rose in the upstairs hall. Fortunately forher the light is dim. Her knees are shaking beneath thenightgown, she looks as if she might faint. ROSE Good night.The CAMERA FOLLOWS her as she goes on shaky legs down thehall.INT. HILLYER HOME - ROSE'S BEDROOM - NIGHTCUT TO a shot of Rose as she enters her small bedroom.Feebly, as if totally exhausted, she shuts the door behindher then leans against a bureau and states into its mirror.The horror of her own criminality has overwhelmed her. Withtrembling hands, she takes a cigarette from her half emptypack and finds a wooden kitchen match on the bureau.Her hands tremble visibly as she strikes the match. She hasnot turned on the light in her room and her considerablecharms are very apparent in the orange glow of the match.Burning match in her fingers, she stares at her ownreflection in the bureau mirror, transfixed by a horriblerealization.INT. HILLYER HOME - DREAM - CELLARQUICK DISSOLVE TO BLURRED SCREEN: the border of the screen isblurred, we are obviously seeing a nightmare fantasy. Theshot is of an eager, excited, diabolically mischievous Buddyand an astonished, awed DOLL. They are in some far darkrecess of the cellar of the house and the scene is furtive,murky, cobwebby. BUDDY Wait till you hear what happened! Now you wont believe this, Doll, but Rose came in my room and got in my bed last night...ANOTHER ANGLE on Buddy from below with candlelight giving hischild's face a sinister look. Now he has "Dracula" teeth andevil arched eyebrows. BUDDY (CONT'D) ... and she sweated and snorted like a horse and had a horrible fit, her eyebrows were all scrunched up and she groaned like she was eying and foamed at the mouth!INT. HILLYER HOME - ROSE'S BEDROOM - NIGHTCUT TO a shot of Rose standing horrified before the mirror.The match is still burning in her fingers. QUICK CUT TO:INT. HILLYER HOME - MASTER BEDROOM/STUDYA shot of Mother in her study, a worried Doll stands beforeher. The border of the screen is blurred, it is another flashof fantasy. MOTHER Yes, dear, what is it? DOLL Mother, Buddy says Rose got in his bed last night and he fiddled with her and she snorted and had a fit -- and he says I would too if I was grown-up. Is it true, Mother -- would I sweat and snort and froth at the mouth and have a horrible fit like he says?Mother stares in consternation at Doll. QUICK CUT TO:INT. HILLYER HOME - FRONT PORCH - NIGHTA shot of Daddy and Rose on the front porch of the house. Thescene is murky, dark, gloomy night and the weather is bad.Daddy has his arm rigidly thrust outward as he points downthe driveway. A weeping, slumped Rose sadly walks down thesteps carrying her cardboard suitcase. Fantasy. DADDY Out! Out, you viper in the grass! Out! Never darken our doorstep, you immoral, terrible girl!INT. HILLYER HOME - ROSE'S BEDROOM - NIGHTCUT BACK to Rose standing before the mirror, sick withhorror. A feeble whimper-like groan comes from her. ROSE Ohh-hh, ohhh-hh... (match burns her fingers, she shakes it out) Ouch! Oh-hh... ohh...ANOTHER ANGLE on Rose as she turns from the bureau and staresoff into space, a very badly frightened girl. Half-crying,she speaks to herself. ROSE (CONT'D) He'll tell 'em for sure, he will. Oh, Lord, what can I do?INT. HILLYER HOME - BUDDY'S BEDROOM - NIGHTCUT TO a shot of Buddy half asleep in bed. The light of thelamp by his bed goes on and he sleepily opens his eyes. TheCAMERA COMES BACK and we see Rose in her nightgown standingby his bedside. She is very pale and tears are on her cheeks. ROSE I hate to turn on this light, you Daddy's awake downstairs, but I have to take the chance. (sits by him on bed) Buddy, please don't tell on me. BUDDY (rather coolly) I said I wouldn't. ROSE (her lip trembles) Buddy, I have to ask you, as bad as I've been please have pity on me and don't ruin me by telling them what I did. I know it was bad, it was bad and dumb. But mostly it was dumb, I didn't mean you no harm, I'd never want to hurt a hair on your head and that's the truth. I love you. But they'd think I did, they'd think I was awful, they'd despise me and hate me...Rose bows her head and begins crying into her hands.CUT TO a CLOSE SHOT of Buddy. We hear the soft sound of Roseweeping over the shot. Buddy is affected, his flinty child'sheart has been touched, but he is not quite ready to admit ityet. He is struggling with himself, trying to remain "cool"and not show his emotion. He frowns, moistens his lips,swallows. With seeming coolness, very much as in the scenewith Doll in which he deprecated Daddy's stand atThermopylae, he shrugs. BUDDY Well, I don't know what you're worried about. It was my idea, I was the one who thought of it, not you.The CAMERA PULLS BACK to include Rose. She is staring at theboy with hopeless despair. ROSE You don't understand. They'd blame me, not you. And they'd think I was awful, a disgustin' girl, which I am, but Buddy, please don't tell them. Please don't. Ill have to go and I love it here, I love your whole fam'ly, your Daddy, your Mother... (pauses, then makes her final and ultimate plea in a shaking voice as tears run down) Buddy, I know I'm no good, I'm a bad girl but I can't help it, please have pity on me and don't tell! Please don't, please...Too much for Buddy, he loses his "cool." He swallows andblinks as if he might cry, then sits erect in the bed andsquares his shoulders and assumes a stern expression Daddystyle. BUDDY (very solemnly) Rose, they could stick splinters under my fingernails, and I will never say a word! I will never tell them, because... I love you! ROSE (sees that he means it, smiles in relief and throws her arms around him) Oh, Buddy, you do love me! I knew you did, knew it all the time...INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT TO a shot of Daddy, lying in bed and staring upsleeplessly at the ceiling. Insomnia in reverse has got him. DADDY (a half whisper to himself) Ehh-hh, Lord... great life if you don't weaken.INT. HILLYER HOME - BUDDY'S BEDROOM - NIGHTCUT TO a shot of Rose and Buddy. Rose is sitting on the bedbeside him and she has dried her tears and got herself inhand. ROSE Well, Ill tell you this. I have learned a lesson tonight. I wasn't gonna run around, but when I start botherin' your Daddy and worse robbin' a cradle, I gotta face the facts of life. (pauses, then with firm resolution) Tomorrow mornin', I'm gonna get myself up and go out. BUDDY (a wee mite puzzled) You're going to get yourself up and go out? ROSE Buddy, Mr. Right is out there somewhere and I'm gonna find him! DISSOLVE TO:INT. HILLYER HOME - KITCHEN - DAYA shot of a coolly angry Mother in the kitchen. It is latemorning. As she talks the CAMERA PULLS BACK to show asheepish Buddy standing "on the carpet before her. The otherchildren, Doll and Waski, are seated at the kitchen tablehaving hamburgers for lunch. They are happily smiling withschadenfreude amusement at their brother's discomfiture. MOTHER Brother, when I have to wake you up at eleven o'clock in the morning you're either sick or you were up very late last night. (points a finger at him) And you weren't reading Huckleberry Finn. I looked and its not in your room. Now what were you doing? BUDDY (sheepish) Mother, I have to tell the truth. I wasn't reading Huckleberry Finn, I was reading one of those Little Dirty Comic Books. MOTHER (sadly) Oh, Brother, I am so disappointed in you. You mustn't look at those horrible things, they degrade the human image. BROTHER (hangs head) They're filthy, Mother. MOTHER Sex isn't ugly, sex is one of the most beautiful things in life, the creative power of the universe is behind it. BROTHER I know, Mother. MOTHER But we must respect that power, we must be in awe of it. BROTHER I am in awe of it, Mother. MOTHER I don't think you are sufficiently in awe of it. Get the castor oil. BROTHER (winces, as Doll and Waski happily smile) Oh, Mother, not the castor oil. MOTHER This isn't punishment, I don't believe in punishment. It's for your health. Obviously you're sick if you can act like that.As she talks, Buddy reluctantly gets a bottle of castor oiland a tablespoon from a shelf and brings it to her. A smilingDoll comes forward and hands Buddy half of an orange. Hemakes a face at her. Mother takes the bottle and pours out atablespoon of castor oil. BUDDY (wanly) Mother, cant you make it calomel instead of castor oil? MOTHER This is for your own good. When you look at negative, destructive things like those little filthy comic books, you are sick. Here, take this. BUDDY (he is resigned, there's no way out; he makes a face, swallows the castor oil) Geccch, yehh, guhhhh! MOTHER Stop gagging like that and putting on a show, and swallow it. BUDDY Uhhh, gahdam stuff! MOTHER What did you say, Brother? BUDDY I said ahhh-dam stuff. MOTHER No, you didn't say that, Brother. BUDDY Yes, I did, mother. Your hearing aid isn't working right. I said ahhh-dam stuff. DOLL No, Mother, he's lying... BUDDY Shut up, Doll. I'll cut your guts WASKI (happily excited, stammering) He did lie, and... and... and Mother, yesterday he stole money out of your pocketbook! BUDDY Quiet, you little muddy-eyed brat, or Ill kill you! MOTHER Children, children! Be quiet, all of you! (the children at once simmer down) The vibrations in this house are strange today. Where's Rose, anyhow? BUDDY She's getting herself up to go out. MOTHER (frowns, adjusts hearing aid) What'd you say, Brother? BUDDY She's getting herself up to go out. I think she's coming down the hall now. MOTHER Oh, yes, it's Thursday. (glances around at sound of an opening door) Hello, Rose, dear... (her eyes open wide as she stares at Rose, disconcerted; now weakly) ... my, you're... looking pretty...CUT TO a shot of Rose in the doorway of the kitchen. She isquite an apparition. She wears bright red lipstick, pinkrouge on her cheeks, mascara and her hair is coiffed up insome outlandish manner, but her clothes are the mostremarkable thing of all.The skirt is of strange, pink, semi-shiny and very thinmaterial and has about a dozen tiny little flowers that couldbe rosebuds sewed on it. It fits extremely snugly to say theleast. The blouse seems a composite: it has frilly whitesleeves that are opaque and otherwise is made of filmy whitematerial that is hardly opaque at all. She has no bra and herbreasts are half visible, the nipples denting the material.It is pretty wild for 1935. She seems to have on no underwearof any kind; the skirt, which clings to her like a bathingsuit, shows no panty seams. She is carrying a shiny blackpatent leather pocketbook and has on high heel black patentleather shoes and no stockings. An ingenuous little smile ison her face. ROSE How do you like my outfit? I made most of it myself.Rose walks in, "modeling" the outfit and the CAMERA PICKS UPMother. MOTHER (smiling, slightly aghast) Well, it's... very gay.We hear the SOUND of the Model A on the driveway. BUDDY Here comes Daddy. ROSE (staring down admiringly at the outfit) I have a knack for designing clothes. But I had to buy the shoes and the pocketbook. MOTHER (makes up her mind to defend Rose) Well, I think it's charming, Rose. (tactfully) But don't you think... ah, the skirt is a little tight? ROSE Oh, no, that's the style. It's meant to be clinging.We hear the PORCH DOOR SLAM. Smiling, happy, Rose glancesaround. We hear the SOUND of the kitchen door opening.CUT TO a POV SHOT of Daddy in the kitchen doorway. As usual,he has a rolled-up Glenville Tribune in his hand and a Strawhat on the back of his head.His hands are on his hips and heis hunched forward as if he cannot believe what he sees. DADDY Ye gods and little fishes. What have you done to yourself, Rose?ON THEM ALL. Rose is smiling, happy to be the center ofattention. ROSE Nothin'. I got myself up, that's all. DADDY Got yourself up? ROSE Yeah. I'm goin' out.Daddy walks slowly into the kitchen shaking his head. Sits attable. DADDY Um-hmm. Well, that is the damndest outfit I ever saw in my life. You walk down the street like that and they'll put you in jail, Rose. MOTHER Why, they won't either. She looks pretty. And I wish you wouldn't pick on the poor girl all the time. Don't listen to him, Rose, you look pretty, even beautiful. ROSE (smiles affectionately at Mother) You're so sweet. DADDY If you've got time before you go "out," get me a half-a-cup of coffee, Rose. Not a whole cup, a half-a-cup. ROSE Why, sure, always got time to get you a half-a-cup, and one of these days I'm gonna get you a whole cup and see what happens. DADDY (a growl, doesn't like jokes about his foibles) Um-hmmuhh. I never drink a whole cup, my nerves can't stand the caffeine. Ehh-hh, Lord awful insomnia in reverse last night. Lay there and sweated blood for hours. DOLL (sweetly) Daddy, Buddy was up late last night reading little dirty comic books. Mother gave him a dose of castor oil and he cursed it, he took the Lords name in vain, then claimed he hadn't said it. He lied, Daddy. MOTHER You mustn't be a tattletale, dear. You mustn't be Delilah-ish and Jezebel-ish toward your brother, dear. DOLL I'm only trying to help him, Mother. BUDDY Heh, what a hypocrite. MOTHER (to Daddy) I do wish you'd speak to Brother. It's true he's been looking at those horrible little books again. DADDY (stares sternly at Buddy) Lay off of that stuff, son. It upsets your mother. MOTHER (genuinely worried) I'm serious. We forget he's just a child. I wish you'd speak to him. DADDY I'll take him with me downtown. (glances at Rose as she comes with coffee) And you, too, Rose, if you want a ride. ROSE Sure, love one. Here's your half-a cup of coffee.Daddy is staring with a very dubious frown at Rose's skirt.He slowly shakes his head. DADDY That's a pretty stylish skirt, Rose. The only thing I don't understand is how did you ever get it on. ROSE (happy, pleased by his interest) Well, it has buttons.Points to little buttons on right side of the skirt. DADDY How can the buttons stand the pressure? ROSE There are more on the other side.Points to buttons on left side. DADDY Turn around, darlin'.Happy to oblige, Rose turns around. Her plump, round,feminine behind is only too plainly revealed through the thinmaterial. Daddy slowly shakes his head. DADDY (CONT'D) They'll put her in jail. The damn little fool might as well be naked. MOTHER (a wee mite worried) Well, it is a little tight. But it isn't as bad as all that. No one will notice unless they have such thoughts in the first place. DADDY Who doesn't have such thoughts? (glances at wristwatch) We'd better get going. MOTHER You're not having lunch? DADDY Just half-a-cup of coffee. I never eat, darlin', you know that. Not eating and reverse insomnia are my curses. Let's go, Rose, you and Brother, let's hit the road. MOTHER Rose, you and Brother wait in the car. I want to speak for a moment Lo Mr. Hillyer. ROSE Yes, Ma'am. MOTHER Doll, you and Waski run on, too.EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Rose and Buddy as they walk out onto thepatio of the house. Rose walks down the steps to the flowergarden and Buddy follows.ANOTHER ANGLE on Rose and Buddy as Rose picks a red rose andputs it in her hair.' ROSE Did your Momma really give you castor oil? BUDDY Yeah. ROSE (puts an arm around his shoulders) You're my sweetheart.INT. HILLYER HOME KITCHEN - DAYCUT TO Mother and Daddy at the kitchen table. MOTHER (earnestly) I wish you wouldn't pick on Rose and tease her like that. Of course her clothes are silly, but she's ignorant, naive, she doesn't know any better. DADDY The girl worries me. If she walks down the street like that, an army will be following her. MOTHER Well, I admit that outfit isn't very modest. But she doesn't mean any harm, she just wants to attract, attention. DADDY She will succeed. MOTHER I don't think you understand her. It isn't sex she wants, it's love she wants and this is the only way she knows how to get it. DADDY (musingly) That farmer in Gadsden was awful eager to get rid of her, and I'm beginning to see why. MOTHER He and his wife both said she had a fine moral character and was wonderful with children. DADDY Well, she loves children, all right. (adds dryly) She loves everybody. MOTHER But that's a wonderful quality, not a bad quality. (takes his hand) Have a little patience with her. She's such a good-hearted little thing and tries so hard. DADDY (stares pensively at her) You are the one who's good-hearted. (rises) As for Rose, let's hope for the best. MOTHER (rises, again takes his hand) Be kind to her. She loves you so much. (Daddy stiffens slightly, and she adds) In a perfectly proper way, of course. DADDY Yes, of course.EXT. HILLYER HOME - DRIVEWAY - DAYCUT TO a shot of Rose and Buddy waiting in a Model A. Rose issmiling, happy to be going out. The red rose is prominent inher hair, Daddy walks INTO THE SHOT, gets into the driver'sseat of the car, He glances in a wry manner at the flower inher hair. DADDY What have you got in your hair, girl? ROSE My rose. It's kind of like a motto. People will say, there comes Rose with her rose.Daddy gives her another wry stare and starts the Model A.CUT TO a shot of the Model A going down the driveway.EXT. MODEL A IN TOWN - DAYANOTHER SHOT or two of the Model A on the quiet summerstreets of a sleepy little town in the Depression South ofyears ago.INT./EXT. MODEL A - DAYCUT TO a shot of Daddy, Rose and Buddy in the car. Buddy isin the middle. Daddy is staring expressionlessly straightahead. His tone is sternly neutral as he speaks. DADDY You were up late last night, Brother. BUDDY Well, a little. DADDY Reading dirty comic bocks. (glances shrewdly at him) And you admitted it? BUDDY (a trifle uncomfortable) Well, yeah.Both Rose and Buddy begin to look increasingly tense.Hawkshaw the Detective is on the scent. Daddy stares ahead. DADDY You were up late last night, too, Rose. ROSE (meekly) Yes, sir. I had to go to the bathroom.A long pause, as Daddy stares ahead. His expression isinscrutable. DADDY (finally, "casually") Sometimes I think I was born to be a detective. I get a feeling about things. I'm not always right, but often I am.EXT. MODEL A BY LIGHT - DAYCUT TO a shot of the Model A as it stops for a red light.INT./EXT. MODEL A - DAYCUT TO a shot of Daddy, Rose and Buddy in the car. Daddyturns and stares sternly at Buddy. DADDY Son, was Rose in your room last night? BUDDY (scared, but a good liar) No. Why should Rose be in my room?Daddy sternly scans them both. They stare back "innocently"at him. Finally he seems to accept it. DADDY I can't imagine why. It was just a thought.Daddy shifts gears and faces front. Buddy glances upward inrelief, as if to say, "Wow, that was close." DADDY (CONT'D) Where do you want me to let you out, Rose? ROSE Oh, anywhere downtown. DADDY You don't know where you're going? ROSE Oh, I'll just mosey around here and there.EXT. MODEL A - DAYCUT TO a shot of the Model A as it stops off the main streetof a small sleepy Southern town.INT./EXT. MODEL A - DAY CUT TO a shot through the side window on Rose, Buddy andDaddy. DADDY Is this ill right? ROSE It'll do just fine. (gets out of car) Bye-bye, see you later.Rose waves goodbye and walks off down the sidewalk, swingingher hips and her pocketbook,INT./EXT. MODEL A - DAYCUT TO a front shot of Daddy and Buddy in the car as theystare after Rose.EXT. STREET - DAYCUT TO a shot of POV Daddy and Buddy of Rose walking along.MUSIC.INT./EXT. MODEL ACUT TO Daddy and Buddy. Daddy slowly shakes his head, shiftsgears..EXT. MODEL A - DAYCUT TO a shot of the Model A as it rolls along the mainstreet.EXT. MODEL A - DAYANOTHER SHOT of the Model A as it abruptly turns a corner.EXT. MODEL A - DAYON the Model A as it abruptly turns around corner. Evidentlyit is circling the block.EXT. STREET - DAYCUT TO a shot of Rose as she walks along, swinging her hipsand her pocketbook and smiling at whoever she sees. Shepasses a few people and she smiles cheerfully at them -- themen stare with a flat interest at her and the women frown,but she smiles at one and all.EXT. MODEL ACUT TO a shot of the Model A as it creeps along.INT./EXT. MODEL A - DAYOn Daddy and Buddy in the car.DADDY They might arrest her. I doubt it, but they might.EXT. STREET - BUS STOP - DAYCUT TO a shot of Rose as she walks up to a bus stop. A fairlyWELL-DRESSED MAN with a door-to-door salesman kit is standingthere. Rose glances at him then sidles up alongside him as ifshe's waiting for a bus. He glances at her for a moment withinterest, but doesn't want to stare, looks away. We see theModel A stop in the background of the SHOT.EXT. STREET - DAYCUT TO a shot of Daddy and Buddy in the car, watching Rose.EXT. STREET - DAYCUT TO a shot of Rose and the Young Salesman. Rose glances atthe man, glances at him again, then sighs and speaks. ROSE My feet sure do hurt. YOUNG SALESMAN (turns to her with a slow smile) Oh, yeah?EXT. STREET - DAYCUT TO a shot of Daddy and Buddy in the car, watching.EXT. STREET - DAYCUT TO a LONG POV SHOT of Rose and the Young Salesman. Theyare talking amiably. Both are smiling.EXT. STREET - DAYCUT TO a shot of Daddy and Buddy. DADDY She has made contact.EXT. STREET - DAYCUT TO ANOTHER POV SHOT of Rose and the Young Salesman. It isanother LONG SHOT. MUSIC ON TRACK. They are smiling, talking.The Young Salesman seems to ask Rose a question. She nods andtakes his arm and they walk off.EXT. STREET - DAYCUT TO Daddy and Buddy. Daddy is staring pensively at thescene. DADDY I never saw anything like it. How did she pick him up so fast? BUDDY I don't know. DADDY The girl strikes like a cobra.Slowly shaking his head, Daddy starts the car.EXT. STREET - DAYA shot of Rose and the Young Salesman as they walk along. Sheis holding his arm and they are smiling and talking as if thebest of friends. We hear MUSIC ON THE TRACK. The MUSICcontinues over the following MONTAGE OF SHOTS.INT. HONKY TONK - VARIOUS SHOTSON Rose in a beer "honky tonk" with the Young Salesman in abooth. He is drinking beer, she is drinking Coca Cola from abottle.ON Rose in the booth, ANOTHER ANGLE. A second man has joinedthem, a big beefy man -- he is BUSTER.EXT. STREET - LATE AFTERNOONON Rose as she walks down a sidewalk in late afternoon withBuster and still another man, a tall fellow in a Coca-ColaDelivery Man's uniform or shirt. Rose seems to be innocentlyhappy, but the men appear to be having a mild dispute.ON Rose getting into Busters car as Buster holds the door forher, smiling. The COCA-COLA DELIVERY MAN is left on thesidewalk, disappointed.INT./EXT. BUSTER'S CAR - DUSKCUT TO a shot of Rose in the car eating barbecue with Buster.She is talking animatedly and he seems enchanted with her. Itis dusk.EXT. HILLYER HOME - NIGHTCUT TO a shot of a car pulling up in the driveway of theHillyer house. Rose gets out, waves goodbye to Buster. It isnight. End MUSIC.INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT TO a shot of Daddy in pajamas peering out of the bedroomwindow. DADDY Well, she's back. MOTHER (O.S.) What time is it? DADDY Quarter of twelve. MOTHER (O.S.) Is she all right? DADDY I don't see any bruises or broken bones.CUT TO a shot of Mother in bed in the four poster. MOTHER Bruises and broken bones, what kind of thing is that to say?Daddy walks INTO THE SHOT, sits on the edge of the bed. MOTHER (CONT'D) Why shouldn't she go out and have boyfriends? DADDY No reason at all, darlin'. MOTHER Well, I wish you'd stop criticizing and picking on her. DADDY Forgive my crudity, darlin'. All I'm saying is that a girl who would wear clothes like that is going to get in trouble sooner or later. MOTHER (doubtfully) Well, time will tell, won't it? DADDY Yes, darlin', time will tell. DISSOLVE TO:EXT. HILLYER HOME - PATIO - DAYA SHOT of Mother on the patio studying. It is a sunnyafternoon. Mother looks up idly, looks back down at hernotebook, then looks up again with a frown.CUT TO A POV SHOT of a SCRUFFY-LOOKING KAN as he darts behindone tree to another. The Scruffy-looking Man does not seemsinister, but he definitely is scruffy.ON Mother. Frowning, she puts down her notebook and rises,walks toward the door of the kitchen.INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of Rose washing dishes in the kitchen. Asusual, she is in a cheerful good humor. We see Buddy at thekitchen table building a model airplane. Mother comes INTOTHE SHOT, worried, frowning. MOTHER Rose, that scruffy-looking man is out in the yard again. ROSE (her smile fades) Mrs. Hillyer, I don't know who he is, I really don't. MOTHER I had better call Daddy.INT. HOTEL - DAYCUT TO a shot of Daddy behind the desk of a slightly run-downsmall hotel of the Depression era. He is handing a key to aguest. DADDY Glad to have you with us, Mr. Watson. Make yourself at home. Shadrach, take Mr. Watson's bag.A black bellboy takes the guest's bag as Daddy turns toanswer a BUZZING switchboard.INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of Mother talking on a phone. MOTHER Hello, honey? That scruffy-looking man is out in the yard again.INT. HOTEL - DAYCUT TO a shot of Daddy at the switchboard. Be is grim. DADDY Luckily, Johnson just walked in to relieve me. I'll be right out there!INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of Buddy and Rose in the kitchen. BUDDY Rose, you must know who the fellow is. ROSE (innocently) Well, he might be that man who followed me home from the store the other day. But I don't know who he is, Buddy, I really don't.EXT. HILLYER HOME - YARDCUT TO a shot of the Scruffy-looking Man. Be is half-crouchedbehind a big oak, peering at the Hillyer house. We hear theapproach of a car and the man looks over his shoulder.CUT TO a shot of Daddy in the Model A. The TIRES SCREECH ashe puts on the brakes.CUT TO a shot of the Scruffy-looking Man as he turns andruns.On Daddy as he jumps out of the car. DADDY Come back here, sir! Come back here, you!Daddy runs after the man.CUT TO a shot of Daddy running after him.CUT TO A FINAL SHOT of the Scruffy-looking Man as he leaps ahedge in full stride.EXT. HILLYER HOUSE - FRONT PORCHCUT TO a shot of a worried-looking Mother on the front porchof the house. Buddy and a meek-looking Rose are in thebackground in the doorway. A weary, out-of-breath Daddy comesINTO THE SHOT and walks up the steps, straw hat in hand. DADDY I couldn't catch him. He ran like a deer.Daddy fixes a stern glance on Rose. As he does so, Mother andBuddy also turn and look at her. Rose smiles wanly. ROSE I don't know him. DISSOLVE TO:INT. HILLYER HOME - MASTER BEDROOM - DAYA SHOT of Mrs. Hillyer in her bedroom study. She is drinkinga Coca-Cola and smoking a cigarette held by a bobbie pin. Wehear the SOUND of an old-fashioned doorbell. She ignores it.EXT. HILLYER HOME - FRONT PORCH - DAYCUT TO a shot of a sullen-looking young boy on the frontporch. He is poorly dressed. He rings the doorbell. This isBILLY.INT. HILLYER HOME - MASTER BEDROOM - DAYCUT TO a shot of Mother. Frowning, she gets up.EXT. HILLYER HOME - FRONT PORCHON Mother as she opens the front door. A sullen Billy staresat her. MOTHER Yes? BILLY Is Rose here? MOTHER She must have gone out for a walk with the children. BILLY (sullenly) Well, I got to see her. MOTHER She isn't here. And I'm sorry, but Mr. Hillyer doesn't want her to have callers during working hours. BILLY (sullenly) Where is she? MOTHER I said she isn't here. NOW you go home. Be a nice boy and go home.Gently but firmly, Mother shuts the door in Billy's face.A SHOT of Billy frustrated on the front porch. Sadly,reluctantly, he turns and walks off the porch down the steps.INT. HILLYER HOME - FRONT HALL - DAYON mother, peering worriedly through the curtains of thefront door. DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - NIGHTA SHOT of the family at dinner at night. Daddy, Mother, Rose,Buddy, Doll and Waski. The SHOT FAVORS Mother. MOTHER That sulky boy was here again this afternoon. I was almost scared, he wouldn't go away. DADDY (throws his napkin on table) Rose, my patience is wearing thin. First a scruffy man who runs like a deer and now a sulky boy who wont go away. This is getting to be a regular monkey and dog show. ROSE I swear to God I don't know who in the world he is. Really, I don't, I don't know no boy like that, I don't.Slowly, his face grim, Daddy returns his napkin to his lapand resumes eating. The children are very silent and look atrifle scared. MOTHER (finally, in a small voice) Well, it isn't Rose's fault boys and men like her. You cant blame her for that, hon. DADDY Rose, I realize you don't know this boy, but if you know anybody who does know him, if you have even a faint clue as to who he might be, then convey to him that he had better stay away from my house and stop scaring my wife... and I don't mean maybe.INT. HILLYER SOME - BUDDY'S BEDROOM - NIGHTCUT TO a shot of Buddy in his room at night. He is dressedand at a study table listening with cheap earphones to ahomemade crystal radio set. Enter a rather somber-faced Dollin her nightgown. BUDDY (listening) Chattanooga. I had St. Louis, Missouri. DOLL Buddy, I'm worried about Rose. BUDDY So am I. DOLL She hasn't got any sense. In some ways, she's awful dumb. BUDDY (takes off earphones, gives it a moment of grave consideration, then his opinion) It isn't that she hasn't got any sense, Doll. Her basic intelligence is probably above average, maybe quite a bit above average. DOLL Then why does she act so dumb? BUDDY Dumbness doesn't concern her, Doll. And neither does smartness. You see --Buddy is interrupted by the SOUND of the distant angry shoutof a man's voice, evidently from somewhere outside in thewoods because Buddy and Doll turn at once toward the window.In shock they listen. FIRST MAN'S VOICE You son of a bitch, what are you doing here?! SECOND MAN'S VOICE I'd like to ask you the same question, you bastard! FIRST MAN'S VOICE I told you to stay away from her, goddamn you! SECOND MAN'S VOICE You got no right to tell me to stay away from her, I knew her before you did! BUDDY Oh, boy. Oh, boy, oh boy. Daddy isn't going to like this. FIRST MAN'S VOICE She told you to leave her alone, didn't she? SECOND MAN'S VOICE Like hell she did! You're the one she wants to get shed of! BUDDY Come on!He and Doll hurry from the room.INT. HILLYER HOME - UPSTAIRS HALL AND STAIRS - NIGHTCUT TO a shot of Buddy and Doll running down the upstairshall and down the stairs. The CAM M FOLLOWS them down thestairs.INT. HILLYER HOME - BACK HALL - NIGHTCUT TO a shot of Buddy and Doll as they slow down and creepcautiously down the back hall to the back porch. We hear themen yelling somewhere out in the dark bushes. FIRST MAN'S VOICE You'll swallow teeth yourself if you don't leave her alone, you ugly bastard! Go on, throw one, throw one! SECOND MAN'S VOICE I'll throw one, you son of a bitch!We hear a great CRASHING in the bushes, a SMACK of a fist, aGROAN of shock, an OATH, a SHOUT, more CRASHING.EXT. BACK PORCH - NIGHTCUT TO a shot from the POV of the children, on Daddy on theback porch as the lights blaze on. He wears his bathrobe andhas a big shotgun in his hands. Now he speaks in a loud,clear and very angry voice. DADDY All right, I have got a Parker shotgun here and it is loaded and the trigger is cocked and wherever you birds are and whatever you are doing you had better get the hell out of here goddamned quick!A sudden total silence ensues, then a sudden CRASHING in thebushes as the "birds" take off. DADDY (CONT'D) And do not come back, you sons of bitches! Stay away from my house and home and my wife and children or I'll blow your goddamned heads off!INT. HILLYER HOME - BACK HALL - NIGHTCUT TO a shot of Buddy and Doll as they cower in awe in thedownstairs hall. Daddy walks up to them carrying the shotgun.He is grim and furious, but his voice is surprisingly calm. DADDY You children go to bed. And Brother, stay away from Rose, I'll speak to her in the morning.INT. HILLYER HOME - UPSTAIRS HALL - NIGHTCUT TO a shot of Buddy and Doll in the upstairs hall. Dollmeekly goes to her room.Buddy hesitates, looks at Rose's door, glances nervously backat the stairs, then goes to Rose's door, knocks softly, opensit.INT. HILLYER HOME - ROSE'S BEDROOM - NIGHTCUT TO a shot of Buddy and Rose as he stands in the doorwayof her room. Rose is sitting on the edge of her bed in hernightgown, a damp cloth held against her jaw which seems alittle swollen. A look of fear and guilt is on her face. ROSE (rather feebly, as if it explains something) I got an awful toothache. BUDDY (quietly) Rose, if you don't keep your boyfriends away from the house, Daddy is going to fire you. ROSE (innocently) But I don't know who they are.Buddy makes an exasperated grimace and exits, shutting door.The CAMERA REMAINS on Rose as she rolls her eyes upward indismay. DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - DAYA shot of the family at breakfast in the dining room. Thesilence is deafening. Everyone looks depressed except Daddy,who is aloofly calm. Rose's head is bowed meekly over herplate as we hear the CLATTER of silverware. Finally, Daddyspeaks in an almost pleasant tone. DADDY Well, Rose, my sleep was a little disturbed last night, and so was Mrs. Hillyer's, and so was the children's. How about you? Was your sleep disturbed, too? ROSE (solemnly) Yes, Mr. Hillyer, it was. I... I heard strange voices in the night. DADDY (softly strumming fingers, finally) Strange voices, Rose? ROSE (innocent as an angel) Yes, sir. DADDY (still aloofly polite) Now Rose, stop behaving as if you're Bo Peep. Those men had a flight last night because of some female in this house, and it wasn't Dolly or Mrs. Hillyer. MOTHER (very tense) I don't think we ought to discuss this in front of the children. ROSE (weeping, a hand over her eyes) Oh... oh... oh! I think... maybe... one of 'em... was Foster... but I don't hardly know him! DADDY Oh, shut up, Rose. Shut your mouth and quit crying! MOTHER (draws herself up) I will not sit here and listen to you be brutal to this poor girl. DADDY I am not being brutal to her! MOTHER You certainly are! She has an awful toothache, look at her jaw, it's all swollen. DADDY (trying to restrain himself, aloofly polite to the utmost) Darlin', it is not my fault if the girl has epizootics ---- The word means "an animal epidemic," and it's a pet wordof Daddy's; he pronounces it epi-zoo-tics, not epi-zoo-ottics, and uses it to mean any outrageous human malady -- DADDY (CONT'D) -- I am not responsible for her epizootics and I did not bring about her epizootics. Now listen to me. When I have to get up in the middle of the night and defend my home with a shotgun against a couple of damned scoundrels fistfighting in the bushes -- MOTHER Scoundrels? They weren't scoundrels, they were just boys. DADDY Boys? You say to me boys? MOTHER Yes! Yes, I say that to you, they were boys! Boy friends of Rose, chat's what they were, and why shouldn't she have boy friends? Do you want her to be unnatural? Don't you think she's human the same way you are yourself? It's the South, that's what it is, the South with its horrible traditions, of slavery and crime and the oppression of women, who are just as good as men and just as human! DADDY (his eyes are a trifle glazed) Now darlin', what has the South got to do with this? MOTHER (in a real snit, afraid he will fire Rose) And when I try to talk to you seriously, when I try to explain to you the unlimited creative power of life, how beautiful it would be if we gave up this hopeless struggle and simply loved each other from our hearts, what do you do -- you mock me! DADDY (mildly, his eyes are even more glazed) I don't intend to mock you, dear. I respect your philosophy. It's beyond my comprehension, but I respect it. ROSE (head bowed, weeping in a little handkerchief) Ohhh-hh, ohhh... DADDY (exasperated) Oh, shut up, Rose, eat your cornflakes! ROSE (piteously) I'm not hungry.The word is hongry, not hungry. DADDY Now you listen to me, Rose -- MOTHER (with fire in her eyes) Just a moment! You are not going to fire this girl for an innocent thing like having boy friends, not while there is breath in my body! DADDY I don't intend to fire her, darlin'. MOTHER It isn't her fault if she's popular... what? DADDY I said I don't intend to fire her. I just want to ask her to keep her boy friends away from my home and hearth, that's all. MOTHER (simmers down at once, now calmly) Well, that's very reasonable. Howe I hate to bring it up, but she's got an awful toothache, we've got to carry her to the dentist. ROSE I don't want to go to the dentist. MOTHER Be quiet, Rose. DADDY Darlin', I'll take a taxi to the hotel. You and Brother can handle the girl's epizootics. I'll just say one more thing. (turns to Rose and, in a grave tone) Rose, I told you you had a friend in Mrs. Hillyer, didn't I, that she would fight for you like a tiger? ROSE (meekly) Yes, sir. DADDY All right, thanks to her, and thanks to this case of epizootics, you are getting another chance. (points a finger at her, and sternly) But don't try my patience again. We have growing children in this house. Do you understand me? ROSE Yes, sir.INT. DENTIST'S WAITING ROOM - DAYCUT TO a shot of Mother, Rose and Buddy in a dentist'swaiting room. Rose is holding a rubber ice bag to her jaw,which is quite swollen. She is groaning and half weeping inpain. MOTHER Poor thing. Does the ice help, Rose? ROSE Ohh-hh, a little. Oh-h, I ain't never been to no dentist before. He's gonna kill me, I just know it. MOTHER No, Rose, he'll help you.ANOTHER ANGLE, Rose shrinks in fear as, enter the dentist ina white coat, DR. WINTON, a kindly-looking, gray-haired man.We see a nurse behind him. He smiles in a reassuring manner. DR. WINTON Nurse says we have a nervous patient. Now, young lady, be calm. First of all, let me tell you, I am not going to hurt you. ROSE Yes, you are. DR. WINTON No, I am not. ROSE Look, you can't kid me. MOTHER (rises, takes her by the hand) Now, come on, Rose. Stop being so childish, come on.INT. DENTIST'S OFFICE - DAYANOTHER ANGLE, on Rose and Mother and Dr. Winton, as theyguide and lead Rose into the dentist's operating room.- Sheplants her feet and her eyes open wide with horror as shesees the chair and other equipment. ROSE I'm not goin' in there, I don't like the looks of it! MOTHER (annoyed) Rose, sit down in that chair and be quiet! We're trying to help you, you silly creature, sit in that chair! ROSE (very reluctantly sits in chair) Oh-hh, ohh-hh, Lord, he's gonna kill me. DR. WINTON You and the boy wait outside.INT. DENTIST'S WAITING ROOM - DAYCUT TO a shot of Mother and Buddy in the waiting room. EnterDr. Winton with a little frown. DR. WINTON Well, she finally let me look in her mouth. Is it true she's never been to a dentist? MOTHER She was raised on a poor dirt farm. I'm sure she's never seen a dentist or hardly even a doctor. DR. WINTON Well, she has one mouth in ten thousand, I don't see teeth like that once in ten years. Her trouble is an impacted wisdom tooth, but there isn't a cavity in her head, not a single one. She has perfect teeth. MOTHER But the wisdom tooth will have to be pulled? DR. WINTON Yes, and it's very bad. It probably should be done at the hospital under general anesthesia. MOTHER That would scare her to death. She's terrified of hospitals. To her, a hospital is where you go to die. DR. WINTON I think you're right, it would be harder on her. But you'd better call Mr. Hillyer, she's going to need help to get home. DISSOLVE TO:EXT. COUNTRY ROAD - DAYA shot of Daddy behind the wheel of the model-A. Rose liespale and exhausted on Mother's shoulder on the front seat. Atrace of bloody gauze can be seen in her mouth and her eyesare closed. Buddy is on the back seat. ROSE (a whisper, muffled by the bloody gauze) Never again, never again... MOTHER (with pity, gently) I know it was bad, honey. I'm sorry... ROSE No more dentists, no more dentists... MOTHER It'll get better now.EXT. HILLYER DRIVEWAY - DAYCUT TO a shot of the Model-A in the driveway of the Hillyerhome. Mother helps Rose out of the car, but Rose can't standon her feet. Daddy has to catch her from falling. Daddy picksher up in his arms and carries her up the steps as Buddy runsahead to open the front door. DISSOLVE TO:EXT. HILLYER PATIO - DAYA shot of Mother and Daddy and Buddy on the patio. It is abeautiful sunny morning. Mother and Daddy are seated at anoutdoor table about to have coffee. Daddy is opening mail andBuddy, in the b.g., is gluing up a kite. Enter a smiling andhealthy Rose with orange juice, toast, cups and coffee on atray. DADDY Good morning, Rose. And how do you feel today? ROSE Wonderful. Except I can touch the place back there with my tongue, I wouldn't even know I had that tooth pulled. DADDY (dryly, as he looks at mail) Well, I know it, I just got the bill for it. ROSE Boy, for four or five days there I didn't think I'd live. But I'm my old self again! DADDY Umm. Well. Yes. But no more strange voices in the night, Rose. ROSE Oh, no, sir. MOTHER Rose has learned her lesson, haven't you, Rose? ROSE Yes, ma'am. DISSOLVE TO:INT. HOTEL - MEZZANINE - DAYA shot of Daddy peering down at an old pool table in themezzanine of the family hotel. Buddy stands by with a poolstick in hand. In the b.g., we see a black bellboy, SHADRACH,approaching. DADDY I see my mother-in-law's face, son. Read 'em and weep, boy, I am playing a spectacular combination, a triple. The nine ball in the corner! (takes his stance with cue as Shadrach walks up) Read 'em and weep, boy, that's all she wrote. SHADRACH Mistah Hillyer, the Chief of Police wants you on the telephone. DADDY (about to make his shot, looks around) The Chief of Police? SHADRACH Yassuh.Daddy straightens up, sets his jaw, leans the cue against thetable and marches toward the elevator as Buddy stares afterhim. The CAMERA STAYS on Buddy.INT. HOTEL - DAYCUT TO a shot of Buddy going down the hotel stairs. He holdsonto the banister, sliding with his hands far ahead in orderto take four and even five steps at a time -- it is achildish trick, the point of the game is to touch as fewstairs as possible.ANOTHER ANGLE, on Buddy as he jumps down the last remainingfive steps and walks into the lobby. Daddy comes from behindthe desk, grim. DADDY Rose is in jail. She bit a policeman's thumb. Come on, son, Shadrach can run the hotel.EXT. MODEL-A - STREET - DAYCUT TO a shot of Daddy and Buddy in the Model-A. Daddy staresgrimly ahead. Buddy steals a worried glance at him.INT. LOCAL JAIL - DAYCUT TO a shot in the local jail. The shot is on Daddy as hestands before jail bars staring sternly into a cell. Hishands are on his hips, his straw hat is on the back of hishead and a bit to one side. Buddy stands beside him, a littlebit behind, a worried look on his face. The CHIEF OF POLICE,a fat man, is on the other side of Daddy.CUT TO a POV shot of Rose in the cell. Her hair is mussed,her dress is torn. A little innocent, frightened smile is onher face. The CAMERA PANS to include Daddy and the Chief ofPolice. CHIEF OF POLICE That was a awful brawl down at the Busy Beaver, Mr. Hillyer. You know that fat Horton, the bootlegger? DADDY Yes, I know the son of a bitch. CHIEF OF POLICE Son of a bitch is right, he dern near killed a man. And this girl was the cause of it all. What's more, she bit a police officer's thumb right to the bone. DADDY Well, Rose, what have you got to say for yourself? ROSE (coughs, then feebly) I got an awful bad cold. DADDY (nods slowly, then with aloof politeness) That's all you've got to say, you've got a bad cold? ROSE (coughs again) Well, I don't know what happened. They were arguin' about baseball, then all of 'em started fightin'. As for that policeman, I didn't bite him, I don't think I bit him.In dour silence, Daddy and the Chief of Police stare at Rose.She gives them a little smile, as if to say, "See howinnocent I am?" The Chief turns to Daddy and asks with dryirony: CHIEF OF POLICE Well, she's your girl, Mr. Hillyer. You want me to release her in your custody? DADDY No, not really. But I guess we'll have to do that, John. Let her out. Let the crazy creature out and I'll take her home.INT./EXT. MODEL-A - DAYCUT TO a shot of Daddy, Rose and Buddy in the Model A. Daddystares grimly ahead, silent. Buddy looks solemn. Rose isbadly frightened and still coughing. Finally she ventures alittle smile and speaks to Daddy. ROSE I got an awful cold, I think I'm sick.Daddy is silent, his eyes fixed ahead.EXT. HILLYER DRIVEWAY - DAYCUT TO a shot of the Model A as it turns onto the Hillyerdriveway.INT./EXT. MODEL ACUT TO a shot of Daddy, Rose and Buddy in the car. She triesagain. ROSE I didn't mean to bite him. He was hitting Horton with a blackjack in the meanest way and... and I bit him accidental. DADDY (stops the car, turns to Rose) I have to go back to the hotel. I'm on duty at the desk and who knows a quest might arrive. I will see you at suppertime, Rose. ROSE (a feeble smile) I didn't mean to bite him, I really didn't. DADDY I will see you at suppertime, Rose. ROSE (feebly) Yes, air.EXT. HILLYER HOME - FRONT STEPS - DAYCUT TO a shot of a shaky, slumped Rose going up the stepswith Buddy as the Model A drives away. Rose is coughing,looks miserable. DISSOLVE TO:INT. HILLYER HOME - LIVING ROOM - NIGHTA SHOT of Buddy and Doll in the living room of the Hillyerhome at night. Doll is half-heartedly practicing scales onthe piano and Buddy is pacing the floor, hands clasped behindhim in something like the style of his father. As the CAMERAFOLLOWS Buddy in his pacing we see Waski playing with marbleson the floor. DOLL (turns around on piano stool, to Buddy) What is Rose going to do? Where can she go? BUDDY They've been in there the longest kind of time. I can't stand it, I gotta find out what's going on. DOLL You better not snoop, Daddy'll kill you!INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Buddy coming with great furtiveness from theliving room out into the front hall. Very cautiously, hetiptoes across the hall and bows down and listens at the doorof his mother's bedroom-study. He crouches down, peepsthrough the keyhole.INT. HILLYER HOME - MASTER BEDROOM/STUDY - NIGHTCUT TO a "keyhole shot" of Daddy and Mother in the bedroom.Mother sits in her study chair, a handkerchief to her eyes.Daddy sits in a chair nearby. He looks depressed. DADDY I'm sorry, darlin', I hate it as much as you do. MOTHER (wanly) Well, she does seem to cause a lot of trouble, I admit. But she doesn't mean any harm and it'll break the children's hearts, they all love her. DADDY It's because of the children she's got to go. I don't want to be holier-than-thou, but the girl doesn't have the same outlook we do. Morals don't mean a thing to her, not a thing, and we can't have a girl like that in this house. MOTHER Who is to say our morals are better than hers? (frowns, sighs) But maybe you're right. She could... influence Dolly... DADDY That is exactly what I'm afraid of. (pauses, and firmly) The girl has got to go, darlin'. MOTHER But morals come from the heart, not from rigid rules and empty laws. And in her heart Rose has never hurt anyone and she never would. Therefore, she's not immoral. Not really. DADDY Now look, darlin', this is no time to go off into the fourth dimension. MOTHER But what I said is the simple truth. And now I see something else, I see more deeply into it...Mother has a slightly "other-worldly" look on her face. Daddyglances at the door of the bedroom, he suspects something. DADDY Just a moment, darlin'.INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Buddy crouched at the keyhole. With greatalacrity, he jumps up and hurries across the hall and shutsthe living room door just as Daddy whisks open the bedroomdoor. Daddy grimaces. DADDY Could of sworn that boy was out here.Daddy shuts the door and at once almost like the movement ofa ballet Buddy opens the living room door and tiptoes back tothe keyhole.INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT TO a Shot of Daddy and Mother. It is another "keyholeshot." MOTHER How could Rose really be a bad influence on Dolly? She has a loving nature, you ought to want someone like that around your children. Why do you think those boys and men like her? DADDY Well, I have a pretty good idea. MOTHER If you mean sex, you couldn't be more wrong. Rose likes those boys and men, she has love in her heart, and that is what they want. It's the most rare and beautiful thing in life and that is why they follow her. DADDY They follow her because she's a -- (he is about to say "piece of tail," but interrupts himself) -- no, I won't say that. MOTHER What she doesn't understand is that her behavior is disturbing to other people. She's young, she's got to learn to restrain the life force that's in her. Its creative, but in her case it's too creative. DADDY Darlin', Rose has got to go! MOTHER (rises) I'll talk to her, I'll reason with her.INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Buddy in the hall. He jumps up and hurriesacross the hall into the living room. Again, as the livingroom door shuts the bedroom door opens. Mother starts up thestairs, her mouth determined.INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO a shot of Buddy and Doll and Waski in the living room. DOLL What's happening? BUDDY Mother is struggling desperately. In fact she's fighting like a tiger. But I don't know, it's close, it's mighty close. DOLL (pauses, then in a low tone, slightly wide-eyed) Buddy... does Rose really... "do it" with all those boys and men? BUDDY (aloofly, like Daddy) Doll, don't ask childish questions. WASKI (indignantly, to Doll) Of course not! BUDDY Oh, Waski, you don't even know what we're talking about.INT. HILLYER HOME - UPSTAIRS HALL - NIGHTCUT TO a shot of Mother going down the upstairs hall. Sheknocks on Roses door and enters.INT. HILLYER HOME - ROSE'S BEDROOM - NIGHTCUT TO a shot of Mother as she walks over and stares down inshock at Rose on the bad. Rose is lying back on a pillow andstaring groggily at her, obviously not quite all there.Frowning with worry, Mother sits beside her and puts a handon her forehead. MOTHER Rose, you're very sick. You're burning up. Rose, can you hear me? Rose? ROSE (semi-delirious) What? Wha-at? Mrs. Hillyer?EXT. HILLYER SOME - NIGHTCUT TO a shot of an ambulance pulling up outside the Hillyerhouse. Attendants get out of it carrying a stretcher.INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Buddy, Doll and Waski in the front hall.They are badly frightened, even terrified.The CAMERA PANS to show the ambulance attendants carryingRose strapped in a stretcher down the stairs, as Mother helpsand Daddy follows, both of them very worried. Rose isconscious now and her eyes roll with terror toward thechildren. ROSE Buddy! Dolly! They're takin' me to the hospital! Don't let 'em, don't let 'em!The CAMERA STAYS on the frightened silent children as theystare after Rose on the stretcher. DISSOLVE TO:INT. HOSPITAL CORRIDOR - NIGHTA shot of Mother, Daddy, Buddy, Doll and Waski in thecorridor of a hospital. All look very solemn. A nurse leadsthem to a door and opens it.INT. HOSPITAL ROOM - NIGHTCUT TO a shot of a hospital room. A very pale, sick-lookingRose lies in a hospital bed. The nurse, mother, Daddy, Buddy,Doll and Waski enter, all of them looking very grave.ANOTHER ANGLE, CLOSE ON Rose as she weakly turns her head onthe pillow. Her eyes well with tears as she recognizes thechildren. ROSE (a feeble whisper) Pray for me...ANOTHER ANGLE, on the nurse as she speaks in a whisper wedon't hear to Mother and Daddy, obviously telling them they'dbetter go. Daddy beckons to the children and they start toleave, all looking depressed.INT. DOCTOR'S OFFICE - NIGHTCUT TO a shot of DR. F. ROBERT MARTINSON, a rather unpleasantman with a spade beard. He has a superior, patronizing way oftalking and very little Southern accent if any. The scene ishis office and he is in a swivel chair behind his desk.As he speaks the CAMERA PULLS BACK to show Daddy, Mother andthe Hillyer children. DR. MARTINSON Well, Mrs. Hillyer, the girl is strong as an ox and that is what is keeping her alive. But not many people walk away from double pneumonia, Madam, not many. MOTHER She looks terrible, just awful. DR. MARTINSON Of course she does and I must say I'm puzzled by your delay in getting her to the hospital. I should think ordinary powers of observation would have suggested to you that she was seriously ill. MOTHER She hid it from us, Doctor. She's afraid of the hospital. DR. MARTINSON (a thin superior smile) Afraid of the hospital? MOTHER Deathly afraid of it. Her people were poor tenant farmers and she doesn't know anything about doctors or medicine or hospitals. DR. MARTINSON (frowns in open disbelief) A tenant farm? Are you trying to tell me that girl is a product of the hookworm and pellagra belt? MOTHER Well, her people were very poor. She says she was often hungry as a child, and I'm sure the food she ate was pretty awful, not a balanced diet at all. DR. MARTINSON Exactly, and that's why she couldn't possibly have come from such a farm. DADDY (icily polite) Excuse me, sir, are you calling my wife a liar? MOTHER (embarrassed) Honey, please... DR. MARTINSON (a thin unpleasant smile) It's simply that I find it incredible, Mr. Hillyer. Aside from the girl's illness at the moment, she is very strong, a very healthy specimen of a young human female -- and a comely one, too. She must have gotten protein somewhere as a young child, if only sporadically. MOTHER It is kind of amazing. The dentist says she has perfect teeth, there isn't a cavity in her mouth. MR. MARTINSON (tries to make a supercilious joke) Her entire mouth is a cavity, Madam, ha ha ha. DADDY (dryly, doesn't like the man a bit) Ha ha ha ha.Mother frowns at Daddy and Dr. Martinson gives him an aloofglance. DR. MARTINSON (with spurious dignity) The point is you don't grow up like that on a diet of sorghum and hominy grits. She got protein somewhere, she's a very strong girl and I think she'll live... despite the delay in medical treatment. DADDY That's all I want to know. (rises) Lets get out of here before I get the epizootics myself. Thank you, Doctor, for your discourse, it was fascinating, no doubt. MOTHER Yes, thank you, Doctor. DR. MARTINSON (as they leave) I beg your pardon, epi-zoo-tics? Do you mean "epi-zoo-ot-tics," an animal epidemic? DADDY (icily polite, from the door) No, I mean epizootics.INT. HOSPITAL - NIGHTCUT TO a shot of Mother, Daddy, Buddy, Doll and Waski asDaddy comes out of the Doctor's office and shuts the door. DADDY I can't stand that polecat. They ought to hang him. MOTHER You don't like him because he's a Yankee. He's a brilliant doctor. DADDY He's a polecat, dear.INT. HOSPITAL ELEVATOR - NIGHTCUT TO a shot of Daddy, Mother and the Hillyer children in ahospital elevator as a black elevator operator runs themdown. Daddy has his hat politely removed and is staringpensively ahead. DADDY Rosebud looked pretty pitiful in that bed. (sighs, shakes his head) I hope she'll be all right, but I still think we ought to fire her. MOTHER I don't see how you can even think of it now.Daddy purses his lips but says nothing. It is obvious the"epizootics" have saved Rose, at least for the time being. DISSOLVE TO:INT. HILLYER HOME - ROSE'S BEDROOM - NIGHTA SHOT of Rose in bed in her own bedroom. She is propped upon pillows and wearing a rather attractive pink silkhousecoat of Mother's.A tray is on her lap and she is eating her supper as Buddysits on the edge of the bed talking with her, or ratherlistening to her. It is obvious she is well on the road backto health. ROSE Oh, he's so kind, so gentle inside, and so unhappy with that rich wife who doesn't understand him, her being a Southerner and everything, and what a bedside manner he has got -- so gentle and kind beneath the professor way he acts! BUDDY Rose, you are too uncritical of people. ROSE You don't know the bedside manner that man has got. Why, it does me good just to see him sit there all solemn and go pokin' in his bag like he's gonna cure me, which he did of course. And even more important he loves me, like a patient I mean, the other day he got tears in his eyes just listenin' to my heart beat. BUDDY He did? ROSE Yeah, he tried to hide it but I saw 'em, and a little bit he says to me, "You know, you are beautiful." Now wasn't that a nice thing for a doctor to say to a patient, wasn't it? What could cheer a girl up more? BUDDY Rose, I have got doubts about that doctor and so does Daddy. ROSE He's got doubts about hisself and that's the saddest thing of all. Would you believe that poor man thinks nobody likes him? BUDDY Yeah, I'd believe it. ROSE Well, I like him. I used to be afraid of doctors but not any more. Why, he could operate on me any old time and I wouldn't even be scared. BUDDY Rose, you are just entirely too uncritical of people. ROSE I ain't neither. Listen here, Buddy, besides all his vast medical knowledge, he has the most kindest heart beneath the professor way he acts -- he wants justice in the world and he's got some real interestin' ideas.INT. HILLYER HOME - FRONT DOOR - NIGHTCUT TO a shot of Mother opening the front door. Dr. Martinsonis there-with his black bag, an icy polite look on his face.; MOTHER Oh, good evening, Doctor. Rose is a lot better, I just gave her her supper. She's almost all well now. DR. MARTINSON Let me be the judge of that, Madam. MOTHER Yes. Well. She's upstairs.INT. HILLYER HOME - ROSE'S BEDROOM - DAY/NIGHTCUT TO a shot of Buddy and Rose in Rose's bedroom. ROSE Justice, that's what he wants, justice for everybody and especially for niggers. And I think that's real nice of him because black people don't have a very good life, you got to admit that, to be a nigger is sometimes practic'ly fatal, but the wife don't understand all of that, she thinks niggers are just so much dirt, which anybody ought to know better if they been on their ass their ownselves -- and that is the cause of his profound unhappiness, Buddy, that no-good-mean wife with all her Southern prejudice against niggers and everything!It is a very long speech and delivered with a non-stopvitality that leaves Buddy a trifle groggy. Slowly, he shakeshis head, as enter Mother. MOTHER The Doctor is here. And Brother, supper is ready. DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - NIGHTA SHOT of the Hillyer family minus Rose eating dinner in thedining room. The meal is almost finished, Daddy cutting applepie. DADDY Is that Doctor still up there, Brother. BUDDY Yeah, he's still up there. DADDY What's taking the rascal so long? MOTHER Honey, Dr. Martinson isn't a rascal, he's one of the finest physicians in Glenville. He studied at Johns Hopkins University. DADDY I don't care where the polecat studied. MOTHER Sometimes the negativism and cynicism in you makes me want to vomit. (shakes her head sadly as Buddy surreptitiously puts his napkin on table) Your real trouble is that you're anti-intellectual. The irony is women are supposed to be emotional, but I never saw anybody who depended more on emotion and prejudice than you do. BUDDY (a half audible murmur) Excuse me, gotta go to bathroom. MOTHER Now I have a plan about Rose, an educational plan. She's getting better and we don't want any more trouble -- (notices Buddy slipping out) Brother, you ought to hear this. BUDDY I'll be right back.The CAMERA FOLLOWS Buddy as he slips out during followingspeech. MOTHER First, those clothes she wears. They're too provocative. I've talked to her a lot about it and I think she understands...INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of Buddy as he goes down the hall, eyesnarrowed.ON Buddy posted in the doorway of the living room. He has hishands on his hips Daddy-style and is staring sternly up thestairs.CUT TO A POV SHOT of Dr. Martinson with his black bag in handand shoulders hunched coming down the stairs. The man isslinking, has quilt written all over him. As he goes down thestairs he glances to one side, sees Buddy and frowns. The mangives a sudden nervous start of fright as we hear Daddy'svoice loud on the TRACK. DADDY (O.S.) Everything all right, Doctor?CUT TO A POV shot of Daddy at the rear of the downstairshall, napkin in hand and hands on hips. He is staring sternlyat the doctor.CUT BACK TO the Doctor. He glances nervously again towardBuddy.ANOTHER POV SHOT of Buddy. Looks just like Daddy, hands onhips.ON Dr. Martinson, as he looks back at Daddy. DR. MARTINSON Oh, yes. Yes. Just fine. A few more days... a little more rest... she'll be perfectly healthy.ANOTHER ANGLE on Daddy as he walks forward down the halltoward Buddy. The CAMERA PICKS UP Buddy and both of themgrimly stare after the fleeing doctor. DADDY (in a low, conspiratorial tone) What do you think, Brother? BUDDY I don't know. But you better watch him like a hawk, if he comes back again. DADDY He's not coming back again. We scared the rascal off, son. (puts a hand on Buddy's shoulder) Come on back to supper. Your mother has a theory about how to educate Rose. DISSOLVE TO:INT. HILLYER HOME - KITCHEN - DAYA SHOT of Mother and Rose and the children in the kitchen. Wesee a sewing machine and evidences of dressmaking. Rose hason a new and modest little dress that Mother evidently hasmade for her. MOTHER You see, Rose? Now that's the kind of dress you ought to wear. ROSE (less than enthusiastic) Yeah, it's kinda nice. MOTHER You look very pretty in it, Rose. Really, you do. ROSE (smiles at Mother) Well, you're real sweet to make it for me. (puts an arm around Mother's shoulder) There never was nobody like you. And you don't need to worry, I ain't goin' out no more. MOTHER Well, there's no reason you shouldn't go out, Rose... in moderation. ROSE (a little shrug) I don't want to. When I was lyin' there in that hospital bed at death's door I says to myself, I ain't goin' out no more. If I ever get outta this, I'll just stay home.Rose casually pulls the dress over her head and stands therein panties and bra, oblivious of Buddy and the children. Shehas about as much modesty as a small child herself. ROSE (CONT'D) (rather sadly) Besides, there ain't no Mr. Right out there. Or if there is I can't find him, all I find is a pile of Mr. Wrongs. I ain't goin' out no more. DISSOLVE TO:EXT. CHURCH - DAYA SHOT of Daddy, Mother, Rose, and the children all in theirSunday best going up the steps of a church. Rose looksvirginal in the modest dress Mother made for her.INT. CHURCH - DAYA SHOT of Rose, Mother, Daddy and the children on a bench inchurch. We hear singing. Rose looks innocent, virginal as shesings. Mother gives her an approving look, exchanges glanceswith Daddy.EXT. CHURCH - DAYCUT TO a shot of the Hillyer family coming out of church. Wesee them shaking hands with the Minister. Rose smilessweetly, modestly.EXT. HILLYER DRIVEWAY - DAYCUT TO a shot of the Model A driving up in the driveway ofthe Hillyer house.ANOTHER ANGLE on them all as they get out of the car. Rosetakes Doll's hand with one hand and Waski's hand with theother. ROSE All right, we'll play monopoly then.Mother, Daddy and Buddy watch Rose go up the steps with Dolland Waski. MOTHER She's like a different person. Being so sick made a big impression on her. I really think she's learned a lesson. DADDY Um-hmm. (waits as Mother goes on up steps, then turns to Buddy and in a low tone) Come with me, Brother. I want to show you something.EXT. HILLYER HOME - ROSE GARDEN - DAYCUT TO a shot of Daddy and Buddy in a rose garden below thewindows of the house.It is Hawkshaw the Detective and his Unwilling Assistant.Daddy solemnly points to dim marks in the flower bed. DADDY See that, son? Now this is a heel, see, and there, that's the ball of a foot. Someone has been walking here. BUDDY (reluctantly) Well, it's not very plain. DADDY That is because it rained recently, the rain has obscured the evidence. But you could still take plaster casts of these footprints, then match up the plaster casts with whosever shoes they are, and that way you could catch him -- understand? BUDDY But how would you find him? DADDY Well. Well, what I mean is, you could prove it was his shoes if you did catch him. But look this, Brother, it is even more interesting. Look at this mark here, and that mark over there. Now wouldn't you say those marks are the marks of a ladder? BUDDY Well, I don't know. (trying to sound like a fellow detective, but doesn't want Rose to get caught) No, I don't know, Daddy, I think the rain has obscured it. DADDY True, but if you look sharply you can see that those marks are the marks of a ladder. Now let's go back to the garage and see if the ladder has been tampered with.INT. GARAGE - DAYCUT TO a shot of Daddy and Buddy back in the garage. They arescrutinizing a wooden ladder that hangs on pegs alongside thegarage. All Daddy needs is a cap and a pipe to be a deadringer for Sherlock Holmes. He is in dead earnest about this,it is no Joke and he does not dream of being funny. DADDY (points to ladder, eyes narrowed) See, son? The paint is flaked off here, freshly. Look at it, Brother, there is no question about it. Some person or persons unknown have very recently tampered with this ladder. BUDDY Well... maybe... DADDY And there's only one reason anybody would want this ladder -- to get up into Rose's bedroom in the dark of night! I am going to chain up this ladder and padlock it! -- and that is not all I am going to do!Buddy stares at him in apprehension. DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - NIGHTA shot of the whole family at dinner including Rose. Daddyputs down his napkin. DADDY That was a delicious repast, Rose, as usual. Now I have something of grave import to say to you and to Mrs. Hillyer. (pauses, points at Buddy) And I don't want you children snooping, do you hear me, Brother? Go up to your rooms.INT. HILLYER HOME - UPSTAIRS - NIGHTCUT TO a shot of Buddy, Doll and Waski in the upstairs. Theytiptoe along furtively.INT. HILLYER HOME - STAIRCASE - NIGHTCUT TO a shot of the children going down backstairs.INT. HILLYER HOME - CELLAR - NIGHTCUT TO a shot of Buddy leading Doll and Waski down the stepsof the cellar. The CAMERA follows as they walk past anancient coal-burning furnace and...INT. HILLYER HOME - CRAWL SPACE - NIGHTclimb up into 'a crawl space beneath the front of the house.A shot of Buddy, Doll and Waski crawling along on dirt in thecrawl space under the house. They come to a floor heatventillator grill and stop. Buddy holds his fingers to hislips and listens intently.INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT TO a shot of Daddy, Mother and Rose in Mother's bedroomstudy. We see the grillwork of the heat ventillator in thefloor. Daddy is at the climax of his speech. DADDY We all love you, Rose. Even more now, since you've bravely surmounted all these epizootics. We admire you, we esteem you, we hold your hand with love and affection, we have an investment in you -- and I don't mean money, although God knows we have that, too, considering those godawful hospital bills...INT. HILLYER HOME - CRAWL SPACE - NIGHTCUT TO a shot CLOSE on Buddy, Doll and Waski in the crawlspace. Buddy is smiling in relief. He whispers to Doll andWaski. BUDDY He's not going to fire her.INT. HILLYER HOME - MASTER BEDROOM - NIGHTCUT BACK TO Daddy, Mother and Rose in the bedroom-study. DADDY I mean a human investment, Rose, we care about you, you matter to us. But we have innocent and unformed children in this house and the monkey and dog show has got to stop. Do you hear me? ROSE (meekly) Yes, sir. MOTHER (a bit overwhelmed by Daddy) She hasn't actually done anything... DADDY (very firmly) Just a moment, dear. (turns to Rose and almost sadly) We can't have it, Rose. Can you behave yourself -- or not? That is the question, to behave or not to behave, to suffer the slings and arrows of outrageous chastity and keep your skirt down or to hoist it in the light of the moon and make whoopee -- that is the coil shuffling question. (a dramatic pause, then points at her) If you can't behave I am going to fire you and I say it in front of you and Mrs. Hillyer and I mean it. I point my rigid finger right at your nose, Rose, and I stare unwaveringly into your big blue eyes and I tell you... this is a final warning. Do you hear me? ROSE (very meekly) Yes, sir.INT. HILLYER HOME - CELLAR - NIGHTCUT TO a shot of Buddy, Doll and Waski as they climb from thecrawl space down into the cellar by the furnace. DOLL Well, if she's got any sense at all, she'll listen to that. BUDDY Sense doesn't mean anything to Rose. But I think we're on safe ground now. Daddy chained up the ladder, whoever it is can't get in the house. DISSOLVE TO:INT. HILLYER HOME - BUDDY'S BEDROOM - DAYA shot of Buddy sound asleep in his bed in the early graydawn. As we DISSOLVE IN on the shot, we hear a loud BANGINGand DADDY'S VOICE. DADDY (O.S.) Open that door! Open it up, open it this instant! Do you hear met open that door!Buddy sits quickly up in bed, at once pushes back the coversand gets out of the bed, hurriedly reaches for his khakipants.INT. HILLYER HOME - UPSTAIRS HALL - DAYCUT TO a shot of Daddy in the upstairs hall. He is fullydressed and is banging angrily on Rose's door. DADDY Rose! Rose! Open this goddamn door! Open it or I'll break it down!ANOTHER ANGLE on Buddy as he hurries down the hall up toDaddy, in khaki pants and pulling a shirt over his head. DADDY (CONT'D) Open that door, damn you! BUDDY Daddy, what's the matter? DADDY (glances around at him) She's got somebody in there, Brother! His shoes are on the back porch -- there they were, naked and smiling at me! (bangs on door) Rose, open this door immediately!ANOTHER ANGLE on Daddy as he bangs on the door. We see afrightened Doll in her nightgown in the b.g. down the hall, ahand to her mouth. Daddy commences kicking at the door.ANOTHER ANGLE, CLOSE ON Daddy. DADDY (CONT'D) Open up, Rose! Procrastination won't help you!Finally, the CLICK of a bolt and slowly the door opens. Wesee a wide-eyed, terrified Rose. She has a sheet around herand evidently nothing more. DADDY (CONT'D) (he pushes past her) All right, where is he? Where's the culprit?INT. HILLYER HOME - ROSE'S BEDROOM - DAYCUT TO a shot of Daddy in the bedroom. He yanks open thecloset door, looks under the bed as he talks. DADDY Where is he? I know he's in here, where is he, Rose? His shoes were on the back porch I smiling at met Where are you, you son of a bitch?In her distress and dismay, the sheet has come down overRose's shoulder and one of her breasts is exposed. ROSE (feebly, she is terrified) There ain't nobody here, Mr. Hillyer! Honest, there ain't! DADDY Where is he? Where have you got him hid? (notices curtain blowing in wide open window) Ah, ha!The CAMERA follows Daddy as he strides angrily toward thewindow and leans out of it and stares down. Rose makes alittle whimpering sound.EXT. HILLYER SOME - GARDEN - DAWNCUT TO a POV shot of the garden below as seen by Daddy fromthe window. We see lying on the ground BILLY, the Sulky Boywho scared Mother. He wears only undershorts and is groaning,holding his leg, which evidently he has injured in jumpingfrom the window.INT. HILLYER HOME - ROSE'S BEDROOM - DAWNOn Daddy, as he turns from the window to Rose. DADDY And who, Rose, may I ask, is that? ROSE Well, it's Billy. DADDY And what, may I ask, was Billy doing here? ROSE (a straight answer) Well, Mr. Hillyer, Billy's very poor, he don't have no money and there wasn't no place else to go. DADDY Well, it was a silly question. ROSE He's a nice boy, you'd like him. He wants to be a fireman. DADDY Ye gods and little fishes, a fireman. Put on some clothes, Rose, you're naked as a jay bird. When you're dressed, come on downstairs. I'm afraid your friend Billy is injured, where are his clothes? ROSE (begins weeping, both breasts now are exposed) Under the mattress. I hid 'em so you wouldn't be mad. He wants to marry me, he loves me. I can't marry him, he's too young and hasn't got no job, but he loves me... now you wouldn't hurt him, would you?Daddy gently pulls the sheet around her to cover her breasts. DADDY I won't hurt him, honey. DISSOLVE TO:INT. HILLYER HOME - KITCHEN - DAYA shot of Daddy, Mother and Rose at the kitchen tabledrinking coffee in the early morning. Daddy looks grave,Mother looks sad, and Rose is crying into a handkerchief. ROSE Mr. Hillyer, I know it was bad and I hadn't ought to of done it. But I'm only a human girl and I... I ain't always perfect. I promise I won't let him in the house no more, I promise. Won't you and Mrs. Hillyer forgive me? DADDY Rose, darlin', you break my heart. But I am only a human man myself of the father variety. Rose, pack your bag, baby, as of this moment you are hired, mired and fired. DISSOLVE TO:INT. HILLYER HOME - DINING ROOM - DAYA shot of the family at breakfast in the dining room. Thedissolve suggests that some time has gone by. Daddy looks abit grim, Rose has a wan and depressed expression. Motherlooks worried. DADDY (politely) Well, Rose, going out to look for a job today? ROSE (eyes down) What's the use, there ain't none. DADDY Mmm. Would you get me another half a-cup of coffee, dear?Rose rises and he watches her leave, then turns to Mother. DADDY (CONT'D) It has been three weeks since I "fired" her. Is there no way to get rid of this girl? Are we stuck with her for life? MOTHER She can't get a job, it's a depression. And we can't just throw her out on the street. DADDY The hell we can't.Rose returns with coffee and pours it out for Daddy. MOTHER Rose, you don't look well and you haven't eaten a bit of breakfast. ROSE I'm not hungry. I can't eat nothin', I haven't been able to eat since I got fired. I think maybe I'm sick. DADDY God forbid. You're not sick, Rose, forget it. Don't get any notions in your head, you're not sick. ROSE Yes, sir. MOTHER She does look a little peaky. DADDY No, she doesn't, she's fine, fine. She's perfectly healthy, don't give her ideas. ROSE Well, I'll do the dishes, then I'm goin' to lie down a minute and rest. My stomach hurts.Daddy watches Rose exit to the kitchen, then leans forwardand speaks to Mother, his expression a bit sly. DADDY Her plan is obvious, plain as day. She's going on a hunger strike. The question is, how do we foil her? MOTHER She's just nervous and worried. And you would be, too, if you had no job and no place to go. DADDY (thinking hard) Something has got to be done or Rose is going to be in this house forever. DISSOLVE TO:EXT. HILLYER HOME - DRIVEWAY AND PATIO - DAYA shot of the Model A coming up the driveway of the HillyerHouse. It is late afternoon.CUT TO a shot of Daddy getting out of the car. He has atriumphant little smile on his face.A shot of Daddy as he walks onto the patio, a rolled-up copyof the Glenville Tribune in his hand and his straw hat on theback of his head. He definitely has a triumphant expression.Buddy on the patio notices it.INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of the kitchen on Mother and Rose. Mother ishelping a rather wan Rose prepare dinner. Enter Daddy. DADDY (as if everyone will be pleased) Well, I have got news! I called long distance and spoke to Cousin Hop and you'll be glad to know, Rose, I have found you a job! ROSE Tennessee? DADDY Yes, Tennessee, a lovely state! ROSE Well. What kinda job is it? DADDY Ahh-hh, you'll like it. It's a fine, outdoor-type job. ROSE You mean a farm? DADDY No, no, not exactly. It isn't a farm in the sense that it's a farm. Not at all. It's a... dairy establishment. You'll 1ike it! I'm sure you'll like it because it's so... peaceful!Rose bows her head and begins crying. MOTHER Honey, Rose was born on a farm and has terrible memories of farm life. Now I don't think -- DADDY Just a minute, Rose, you don't understand. This isn't a dirt farm like the one you were born on, it's nice. A neighbor of Cousin Hop's, I talked to him on the phone, a fine man... it's not a farm, damn it, it's a beautiful dairy establishment! Stop crying, Rose! Do you hear me? Stop crying, it's ideal! MOTHER I don't know how you can call it ideal -- don't you know what the word "farm" means to her? DADDY I don't give a hoot in hell's hollow what it means to her! She can't stay in this house forever! I fired her, damn it! MOTHER It sounds like a farm to me. Calling it a dairy establishment, that's just trickery and flummery. DADDY Trickery and flummery or not, she's going there tomorrow on the bus! It's settled! And I must say we've been more than fair to you, Rose, it's pretty selfish and mean hearted of you to sit there and cry like that!Rose sits head bowed at the kitchen table. ROSE I'm not cryin' because of me, I'm cryin' because of somebody else. DADDY (stops in mid-air, so to speak) What?EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Buddy outside on the patio, listeningintently at the window. He leans forward with a keeninterest, eyes wide.INT. HILLYER HOME - KITCHENCUT TO a shot CLOSE on Daddy. He is peering intently at Rose. DADDY What did you say, Rose?CLOSE ON Rose, as she turns, weeping. ROSE Well, I was born on a farm myself... and I hate to think of the baby being born on one.On them all. Daddy and Mother stare in shock at Rose. DADDY What baby? What baby? What baby are you speaking about? ROSE Mine. DADDY Your baby? ROSE Yes, mine. I'm going to have one. DADDY (he is "poleaxed," staggered) Good God almighty. This is a catastrophe, they won't hire her. MOTHER (looks up, sees Buddy in patio window) Brother, get out of that window!Buddy ducks down out of eight instantly. Both Mother andDaddy, however, are too preoccupied and upset to be concernedwith him. DADDY (stares off groggily into space) This is a total catastrastroke. As of this moment I am stumped, I admit, I am stumped and treed both, the hound dogs have me surrounded. MOTHER (as Rose begins crying) Poor thing, don't cry, Rose. I know you feel awful, but don't cry, honey, nobody's perfect. Who's the father, dear? ROSE Well, I... I... I don't know... maybe it was... but no, you can't be sure about a thing like that. It wasn't Billy, I didn't know him. MOTHER (gently) I know it's embarrassing... but who were you exposed to, dear? ROSE Well, now, Mrs. Hillyer, I... ah-h, that's kinda hard to say. DADDY You're not going to get anywhere with that line of questioning. The problem is, what are we going to do? MOTHER That's why I'm asking her who the father is. It's the most vital question of all. Who's the father, dear? DADDY (offhand; he is thinking hard about what to do) She already told you, she doesn't know. MOTHER (naively) But she must know... unless... unless... Rose, was there more than one person? ROSE (weeping in handkerchief) Oh-h, Mrs. Hillyer, I... I can't think. I... I'm not really sure. MOTHER (gently, a tiny frown, a bit shocked) Rose, really, you shouldn't act like that. ROSE (weeping) Oh, I know. But I didn't, really. Honestly, I didn't. There was only one, but he's out of town and leave no forwardin' address. DADDY (a brilliant idea) Ah, ha! Hold the phone! No forwarding address, huh? (turns to Mother) In the shock of this brilliant move, I forgot something. MOTHER What did you forget? DADDY I forgot that Rose will lie like a child. She's no more pregnant than I am, she just doesn't want to go to that farm! ROSE Yes, I am. DADDY No, you're not. ROSE Yes, Mr. Hillyer, I am. DADDY (triumphant, sure he's right) All right, tell us, Rose, what makes you think you're pregnant? ROSE (simply) I haven't had my period for three months and my stomach is getting big. DADDY (again "poleaxed" for a moment, but pulls himself together) I don't believe it. ROSE It's so, Mr. Hillyer. DADDY All right, damn it. We've seen you with your clothes off around here, stand up and pull up your dress and let's take a look! MOTHER Honey! DADDY She doesn't have to take her panties off, we can see her stomach with 'em on. All she has to do is pull up her dress and let us see her belly. ROSE Well, all right, if you just won't believe me.Rose stands up. MOTHER Rose, you don't have to. ROSE I don't mind. DADDY Now, you will see, she's lying like she always does -- that belly will be flat as a pancake!Rose lifts her dress and Daddy leans forward eagerly toconfirm his belief. Rose stands there with her skirt lifted.She has on a pair of skimpy white panties. An unmistakable,definite protrusion can be seen in the area below her naveljust above the line of her panties. A stupefied look is onDaddy's face. MOTHER I'd say about three months. Are you satisfied? DADDY I am poleaxed and in a non compos mentis condition. I wash my hands or the whole thing.EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Doll walking up onto the patio withschoolbooks. The CAMERA follows her as she walks over toBuddy, who is crouched down eavesdropping at another window.She whispers to him. DOLL What's goin' on? BUDDY Rose says she's goin' to have a baby and she sure looks it, but I don't think so. DOLL A baby... and she isn't even married. BUDDY That's the least of her troubles. Rose had a rare tropic disease and the little tubes in her that babies swim down are all stopped up, she told me all about it. DOLL If it isn't a baby... what is it? DISSOLVE TO:INT. DR. MARTINSON'S HOME OFFICE WAITING ROOM - NIGHTA shot of Buddy and Rose in a rather elegant Doctor's waitingroom. It is night and they are alone on a small sofa. Buddyhas a very solemn and worried look. Rose lies weeping interror on his shoulder. ROSE Oh, Buddy, they're gonna cut me all up! They're gonna cut my stummick all open, I'll die! BUDDY (trying to be brave) You won't die, Rose. ROSE Buddy, I'm scared, I'm scared!INT. DR. MARTINSON'S SOME OFFICE - NIGHTCUT TO a shot of Dr. Martinson's private office in his home,quite a bit more luxurious than his office at the hospital. Asober-looking Mother and Daddy sit talking to him. He almostseems to relish the situation. DR. MARTINSON I'm not surprised you thought she was pregnant. An ovarian cyst can look very much like pregnancy. But it was pure wishful thinking on her part. The girl can never have children, she had gonorrhea at fifteen and it was untreated. MOTHER (shocked, rather feebly) Gonorrhea? DR. MARTINSON Don't worry, Madam, she can't infect your dear little kiddies. She long ago fully recovered, but the disease did irreparable damage. The girl is permanently barren. MOTHER Well, that's pathetic. Poor Rose, what a life she has had. DR. MARTINSON We make our own lives, Madam. As for malignancy, I don't think so, it's very unlikely. I probably shouldn't have even mentioned that possibility to her. MOTHER (rather coldly, seems disenchanted with him) No, you shouldn't have, it was needlessly cruel. She thinks she has cancer and is going to die. DR. MARTINSON She's an adult, Mrs. Hillyer, I was merely giving her the facts. DADDY Well, it's a disaster. I don't know what to say, Doctor, I am floored. How dangerous is the operation? DR. MARTINSON Any major operation is dangerous. However, as we know from her previous illness, she's a very strong girl. DADDY Well, if it isn't malignant and she can get through the operation all right, it might be better than her really being pregnant. She doesn't even know who the father might have been. DR. MARTINSON Oh, it's definitely better, beyond question. A fatherless child, an ignorant girl with no job, no money, no home. It's fortunate, a blessing really, and a stroke of good luck for another reason I want to mention to you. MOTHER (totally disenchanted with the Doctor) This conversation is making me a little sick. DADDY Honey, that's no way to talk to the Doctor, he's merely doing his job, dear.Oddly enough, in the stress of the situation, Daddy now seemsalmost friendly to Dr. Martinson, whom previously heconsidered a polecat.INT. DR. MARTINSON'S HOME OFFICE WAITING ROOM - NIGHTCUT TO a shot of Buddy and Rose in the waiting room. He ishelping her lie on the couch on pillows as she weeps, a handover her face. BUDDY I gotta find out what they're saying. You lie back and rest, Rose, and I'll give you a report on it. ROSE I don't want to know...INT. DR. MARTINSON'S HOME OFFICE - NIGHTCUT TO a CLOSE shot of Dr. Martinson. An expression ofdistaste is on his face. The CAMERA pulls back as he talks toMother and Daddy. DR. MARTINSON I'm sorry the truth nauseates you, Mrs. Hillyer, because before you leave there's a bit more of it I'd like to put to you. This operation provides a therapeutic opportunity that I feel is quite important in regard to this particular girl, who suffers not only from an ovarian cyst but from a certain psychoneurotic condition as well. MOTHER What do you mean, what kind of gobbledygook talk is that? DADDY Go ahead, Doctor, I think I am following you. DR. MARTINSON (gives Mother an aloof glance, then to Daddy) First, about the girl's history. Evidently she's been very promiscuous since early childhood, she has no control over her sexual impulses. Furthermore, she is permanently barren, she can't have children. DADDY Go on, Doctor. MOTHER (quietly) Yes, go on. DR. MARTINSON I am thinking particularly of the other ovary. As a rule I don't believe in removing it. The woman's hormonal system is profoundly disturbed, she is subject to possibly serious depression, she loses many of her secondary sexual characteristics for example, her breasts might shrink and become flabby, facial hair might appear along with a coarsening of the features, and of course her sexual drive is greatly diminished, especially in a girl or young woman. For these reasons I am opposed to removing the other ovary, as a rule. Do you follow me? DADDY I am ahead of you. DR. MARTINSON Then... may I speak quite frankly with you, Mr. Hillyer? DADDY Please do. DR. MARTINSON I have of course observed the girl in treating her. DADDY Of course. DR. MARTINSON I think we both know her. DADDY Yes, we know her. MOTHER What are you talking about? I don't understand all this mumbo jumbo and the funny looks on your faces. DR. MARTINSON Mrs. Hillyer, this girl is sick in more ways than one. She is an extreme psychoneurotic with uncontrollable sexual impulses. It would be a mercy to spare her the suffering she causes herself and others. Therefore I recommend as a therapeutic measure the removal of her second ovary. It is ethically and medically the only proper decision in this case and I suspect your husband agrees with me. DADDY Reluctantly, I do. It would be a blessing to her and everyone else. The girl is oversexed and I say -- spay her! MOTHER (slowly rises to her feet and in a trembling voice) Over... my... dead... body!A long, frozen pause as both Daddy and Dr. Martinson stare atMother in surprise. She stares at the Doctor with fire in hereyes. He seems already to shrink a little. Finally she speakswith a calm fury. MOTHER (CONT'D) Are you human beings or are you some kind of male monsters? Is there no limit to which you won't go to keep your illusions about yourselves? DR. MARTINSON (shrinking a little) Illusions, Madam? MOTHER You'd go so far as to mutilate a helpless girl who has no means to defend herself, you'd go that far? Don't you think I know what you've just said and don't you think I understand the dreadful and revolting crime you've just conspired to commit?Dr. Martinson stares at her in fear and shock, intimidated bythe calm fury and ice-cold moral indignation.He opens his mouth as if to speak, but no sound comes out.Mother turns to Daddy. MOTHER (CONT'D) I thought I knew you. I thought I knew you better, I thought in your heart you were a good and kind man. Well, I can't believe what I've just heard in this room. A defenseless girl depending on you for protection, and you propose to mutilate and destroy her. How could you listen even for a moment to that sadistic man? DADDY (slightly shattered) Well, now, darlin'... give me a chance to defend myself. MOTHER I can't believe you really meant it, if I did I'd want to die. You aren't a male monster, that man is but you aren't. Look me in the eye and tell me, do you really want to take Rose's womanhood away from her when it's all she has got? DADDY Well, I... I hadn't thought about it that much. I was thinking... well, it's an idea, the girl is oversexed, and... MOTHER Rose isn't oversexed, that's ridiculous. If you're going to talk nonsense, I don't want to talk to you at all. Rose is exactly the same as the rest of us, except more so. DADDY Well, I know, more so. That's why I was thinking... maybe she'd be better off. MOTHER (with a quiet fury) Better off? How could she ever find love and happiness, if you did what you're talking about? Are you insane? DR. MARTINSON (rather feebly) Now, may I say, I am against that particular procedure, as a general rule. But in a case of near nymphomania, it doesn't seem monstrous to me at all, but medically advisable.Both Mother and Daddy totally ignore him. Mother's eyes arefixed on Daddy and he is struggling with himself, staringdown at the floor. DADDY Well, now, I admit... in Rose's case, it would be cruel. If Rose wasn't attractive and pretty... well, it would probably be bad for almost any young woman. I don't know exactly what I was thinking about, the doctor said it and it sounded reasonable.Daddy finally looks up at Mother and admits his error like aman. DADDY (CONT'D) But you're right, darlin', you're absolutely dead right, it would be an awful and horrible thing to do. I'm sorry, honey, forgive me, I didn't mean it.Mother turns from Daddy and walks up to the desk and staresdown at Dr. Martinson as if he is a loathesome bug upon whichshe intends to step. MOTHER I will not cry like a woman. If I'm upset it's because of what my husband said, not because of you. You can't make me cry like a woman, a woman has got just as much intelligence and self-control as a man. And you get this in your head. If you hurt that girl, I'll hire lawyers and sue you for malpractice for every penny you have got, I'll do my level best to ruin you. Do you understand me? DR. MARTINSON (a sickly smile, he is licked totally) Yes, I understand you, but you have misunderstood me completely. MOTHER (icy cold) I understand you perfectly. You leave that girl alone, you wretched man, or you will be sorry. DR. MARTINSON (a foolish smile, as if Mother has paid him some kind of compliment) Actually of course I won't operate, I don't do major surgery. Dr. Hardy will operate and of course he'll be guided by your wishes in this respect. MOTHER Let him be guided not by my wishes and not by Rose's wishes, although I am sure they are identical. Let him be guided by the wishes of the creative power of life itself, because that is what has spoken through me tonight. DISSOLVE TO:EXT. STREET BY HOSPITAL - DAYA shot of the Model A parked on the street outside a hospitalin a small Southern town. We see Daddy slowly pacing back andforth in front of the hospital entrance, his head bowed andhis hands clasped behind him.ANOTHER ANGLE, CLOSER on the Model A. Buddy sits in themiddle on the front seat, Mother is at the window. Doll andWaski are on the back seat. They all are staring with paleworry at the pacing Daddy fifty feet away. All arefrightened, Mother is very pale. Doll has a tiny handkerchiefto her eyes and is half crying. Even Waski is very scared. WASKI (seems on verge of tears) Mother... is Rose going to die? MOTHER (in a trembly voice) No, Waski, she won't die, because we are praying for her.CUT TO a shot of Daddy from the POV of the car. He looks athis wristwatch, frowns and walks into the entrance of thehospital.ANOTHER ANGLE, on them all in the car. They wait, pale andsilent. Doll sniffles in her handkerchief. DOLL Why is it taking so long? BUDDY Here comes Daddy.CUT TO a POV shot of Daddy as he slowly walks up to the car,his straw hat in his hand.CUT TO a shot of Mother CLOSE on her face as she stares ather husband as if trying to read the news on his face. A tinyfrown comes on her forehead as icy fear comes in her eyes.ANOTHER ANGLE, CLOSE on Daddy as he walks up to the window ofthe car, hat in hand. A trace of tears can be seen in hiseyes, but when he speaks his voice is calm. DADDY (philosophically) Well, I thought I'd seen the limit, but these are the most great, gaga epizootics she's ever had.ANOTHER ANGLE on Daddy and them all. In pale fear, motherstares at him, uncertain what has happened. MOTHER How is she? DADDY Fine.As mother sighs in heartfelt relief... DISSOLVE TO:INT. HILLYER HOME - KITCHEN - DAYA shot of Daddy sitting with mother at the kitchen table.Bright cheerful sunshine comes in the window that opens onthe patio. Rose comes into the SHOT carrying a coffee pot, asunny smile on her face. DADDY You're looking very chipper this morning, Rose. Sow do you feel? ROSE Perfect, wonderful, good as I ever felt! Except for a big old scar on my stummick, I wouldn't even know I been in the hospital. DADDY (with mild irony, as she pours him coffee) Well, we know you were there. The bill that hospital sent was absolutely horrendous. ROSE (her smile fades a trifle) Well, I'll pay you that back sometime, Mr. Hillyer. MOTHER Don't worry about it, honey.Daddy pauses, seems to be struggling with himself, he isfrowning. DADDY Rose... I hate to be mean, but... (another pause, then a little shrug) Oh, nevermind, forget it. ROSE (in a little sad voice) What was it, Mr. Hillyer? DADDY (rises) Nothing, Rose.Daddy stops beside her, puts an arm around her shoulders andwith weary irony. DADDY (CONT'D) We all love you, darlin'.Daddy wearily picks up his straw hat from the kitchen counterand walks out of the kitchen on the patio, as the CAMERAstays on Rose and mother. MOTHER Don't worry, honey, you'll find something. ROSE I was offered that job as a waitress. MOTHER Forget about it, I don't want you working in one of those honky tonks.EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Buddy on the patio. He has eight or ninegourds on an outdoor table and is cutting round holes in themand emptying out the seed. He glances up as Rose walks up tohim, pocketbook in hand. She seems a little sad. But shesmiles at him. ROSE Hi, Buddy. (puts an arm around his shoulders) How's my sweetheart who never told on me when I was bad? BUDDY Okay. ROSE (picks up a hollowed out gourd) Makin' homes for purple martins, huh? We had 'em on the farm. They're the prettiest things. That's what I wish I was, a bird. Just fly around catch bugs and have a lot of fun. BUDDY What are you going to do, Rose? ROSE Take a little walk with me, huh?EXT. HILLYER HOME - GARDENCUT TO a shot of Rose and Buddy on a beautiful summer daywalking in the garden behind the Hillyer house. They walk upto an empty rabbit hutch. The hutch is made of rough lumberand chicken wire and has cubicles for about a dozen rabbits. ROSE (as she stares at the empty hutch) I guess I'll work as a waitress, Buddy. I done that before and it got me in worse trouble than you could know, but I can't stay here no more. Why did you get rid of your rabbits, Buddy? BUDDY They're dumb things. I got tired of them. ROSE (smiles, touches chicken wire) Did you know when I was a child we had pretty near five hundred rabbits? BUDDY Five hundred rabbits? ROSE Yep, we had 'em in orange crates all over. It was Daddy's dream. He was goin' to get rich raisin' rabbits. It was what killed Daddy. He didn't drown hisself till a long time later after Momma and Lunette died of typhoid, but it was them rabbits what killed him. BUDDY How did the rabbits kill him? ROSE He thought he could sell 'em, but nobody but country folks eat rabbits, Buddy, and they ain't got no money. We had to eat them dern rabbits our own selves. Every dern one, and it took about four years to eat 'em all up. BUDDY (a little smile) Well, that doctor said you got protein somewhere and I guess he was right. ROSE Boy did I get sick of rabbit. But later on after Momma died and Daddy wasn't doin' nothin' but drinkin', I sure would of been glad for a little rabbit stew. You know, I oughtn't to of told you about what Daddy done when I was a child. Until them rabbits ruined him, he was a real good man, Buddy. BUDDY What was your mother like? ROSE A saint just like your own mother. She's up in heaven right now, her and Lunette, there ain't no doubt about it.ANOTHER ANGLE as Buddy and Rose walk away hand in hand awayfrom the rabbit hutch. BUDDY Maybe it was eating all those rabbits that made you sexy, Rose. ROSE Buddy, sex don't mean a thing to me. It ain't nothin' but a mosquito bite. (stops, smiles, puts an arm around his shoulders) I'll tell you a secret. Girls don't want sex, Buddy, girls want love. DISSOLVE TO:HILLYER HOME - LIVING ROOM NIGHTA shot of Mother and Daddy in the Hillyer living room late atnight. Mother sits with a worried expression on a chair, akimono around her shoulders. Daddy is pacing worriedly inpajamas and a bathrobe. He looks at his wristwatch. DADDY It's twenty after one. MOTHER I don't understand it. Even in the wild days she was never as late as this. DADDY I'm afraid it's my fault. I made her feel guilty this morning -- (glances around, sees something in doorway) Brother, what are you doing up?ANOTHER ANGLE on Buddy in pajamas as he enters the livingroom. BUDDY I heard you talking. Hasn't Rose come in? DADDY No, she hasn't. (frowns, looks around) I think I hear a car.EXT. HILLYER HOME - DRIVEWAYCUT TO a shot of a 1930's automobile in the Hillyer drivewayat night as it drives up and stops before the front steps.ANOTHER ANGLE, CLOSE on Rose and Dave Wilkie in the car. HereDAVE is much YOUNGER, of course, and a rather handsome man ina stolid way. Even though he is younger than when we saw himon the plane, he is quite a bit older than Rose. Rose's eyesare opened wide, she is a bit breathless, obviously somethingimportant has happened. Dave stares at her as if fascinated,almost as if awed. DAVE (rather stiffly) I want to thank you for a wonderful afternoon and evenin'. Can I see you in the mornin'? ROSE (a bit breathless) Yes. Year you can, you sure can.INT. HILLYER HOME - LIVING ROOM - NIGHTCUT TO a shot of Daddy peering out of the window of theliving room. DADDY Why, that looks like Dave Wilkie, MOTHER Who? DADDY You know Dave, his wife used to do dressmaking for you before she died.EXT. HILLYER HOME - FRONT STEPS - NIGHTCUT TO a shot of Rose on the steps. Happy as a clam, sheturns and waves at Dave in the car, then goes on up thesteps.INT. HILLYER HOME - FRONT HALL - NIGHTCUT TO a shot of the front hall as Rose comes through thefront door. She is very excited, happy.INT. HILLYER HOME - LIVING ROOM - NIGHTThe CAMERA follows her as she goes into the living room withher big news. ROSE You'll never guess what happened! (pauses, then dramatically) I have met Mr. Right! I been with him all day and he loves me, I know he does, he loves me and he's going to marry met Be's practi'cly ast me already! MOTHER Well... well, that's wonderful, Rose. ROSE And who do you suppose he is? That policeman who arrested me, the one I bit! He is Mr. Right! DISSOLVE TO:INT. CHURCH - DAYVARIOUS SHOTS of a wedding in a tiny country church. We seeshots of Rose in a white wedding dress, smiling, happy. Daveis stiff and solemn in his best suit. Daddy gravely givesRose away. We hear no dialogue here, MUSIC on track. We seeMother, Buddy, Doll and Waski in the front row, all in Sundaybest and very solemn. We see a CLOSE SHOT of Rose's kneestrembling beneath her white wedding dress as a countryminister marries them. VARIOUS SHOTS of a rather idylliccountry wedding in a very plain, unpretentious countrychurch, and... DISSOLVE TO:EXT. CHURCH - DAYA shot of Rose, Dave, Buddy, Doll and Waski at a picniccelebration outside the church by a running brook.The scene should be beautiful in summertime. We see abarbecue pit, homemade ice cream in the metal can, otherpicnic things. A happy Rose is kissing first Buddy, thenDoll, then Waski. Dave smiles fondly, but rather stiffly ather. ROSE And now Waski, are you and Buddy and Dolly ready for some ice cream, huh? Do you like picnics or don't you? WASKI We like 'em! We love 'em! DAVE Well, it isn't a picnic, honey. It's a barbecue. ROSE (a little smile) Okay. DAVE A picnic doesn't involve roast meat, hon. At a barbecue you have a lot of roast meat.CUT TO a shot CLOSE on Buddy as he stares pensively at Dave.The CAMERA stays on him as we hear VOICES OVER. Rose ishappy, Dave phlegmatic. ROSE (V.O.) Well, all I know is there's ice cream. And I'm gonna have me a plate right now! DAVE (V.O.) Better wait, hon. It'll spoil your appetite. Have some barbecue first.The CAMERA stays on Buddy, as he stares pensively at Dave. Hehas no expression on his face at all. DISSOLVE TO:EXT. CHURCH - DAYA shot of Rose and Dave bidding goodbye to the Hillyers.Daddy, Mother, Buddy, Doll and Waski are in the model A. Roseis obviously on the verge of tears as Dave speaks solemnly toDaddy. DAVE Well, we are off to Savannah, Mr. Hillyer. No more police work, I'm getting in the construction field. DADDY Good luck, Dave. And good luck to you, too, Rosebud. ROSE (begins crying) Oh, Mr. Hillyer! I just can't stand to say goodbye!Daddy starts the Model A. ROSE (CONT'D) I love you all! Goodbye, Buddy! Goodbye, Dolly! Goodbye, Waski!ANOTHER ANGLE on Rose as she weeps and waves thehandkerchief. ROSE (CONT'D) Goodbye! Goodbye! DISSOLVE TO:INT./EXT. MODEL A - STREET - DAYA shot of Daddy and Mother in the Model A as Daddy drives. Wesee Doll and Waski solemn on the back seat, but Buddy is notvisible. DADDY Well, thank God we are rid of her at last. And the best thing of all is that she's happy. The little nut is happy, she found Mr. Right in the nick of time! MOTHER Well, yes, she's happy. Of course Dave doesn't have her life force, not at all. There isn't much furniture in his house, just a table and one or two chairs, whereas Rose has furniture coming out of the windows. DADDY Honey, he is Mr. Right. MOTHER (slowly nods) Yes, I think so. He adores her, it's almost pitiful the way he worships her. I just hope she isn't too much for him.Mother pauses, frowning, she has her doubts, looks over hershoulder. MOTHER (CONT'D) What do you think, Brother?Mother frowns in surprise.CUT TO a POV shot of Buddy on the back seat of the car. Nowit is clear why we couldn't see him in the other shot. Be islying down on the seat of the car with his Sunday coat pulledover his head.ANOTHER ANGLE on Mother and Buddy, Doll, Waski. Buddy lies onthe seat, motionless with his coat over his head. MOTHER (CONT'D) What's the matter with him? DOLL (seems awed, staring down at Buddy) I don't know. I think he's cryin'!CUT TO ANOTHER ANGLE on Mother, from the front as she slowlyturns back and stares thoughtfully ahead. The shot is also onDaddy. They both stare ahead in pensive silence. FinallyMother speaks. MOTHER (rather sadly) Maybe Brother is right. Maybe so. DISSOLVE TO:END OF FLASHBACKINT./EXT. HERTZ CAR ON INTERSTATE - DAYON Willcox Hillyer behind the wheel of the Hertz car. He isstaring pensively ahead, a faint trace of tears in his eyes.It is a very faint trace, a look of mild irony and amusementis on his face. WILLCOX HILLYER (dryly, to himself) Mr. Right. Dave Wilkie.Willcox slowly shakes his head.EXT. HERTZ CAR - INTERSTATE EXIT - DAYCUT TO a shot of the red Ford as it takes a turn-off from anInterstate.EXT. HERTZ CAR - BUSTLING CITY - DAYCUT TO a shot of the red Ford as it drives into a ratherbustling little Southern city that does not look at all likethe "Glenville" we have seen. A lot of traffic, new roads,filling stations, prosperity. It could be Rome, Georgia as itis today.EXT. CAR PAST HOLIDAY INN - DAYANOTHER SHOT of the red Ford going past a modern Holiday Innin the city.EXT. HILLYER HOME - DRIVEWAY - DAYON the red Ford as it turns into a familiar driveway, that ofthe old Hillyer home.But insofar as possible it looks different now, like a relicfrom the past.Maybe the house needs painting, the garden is in weeds -- theplace is not exactly dilapidated, but it is marked by time.A SHOT of Willcox Hillyer as he gets out of the red Ford andwalks up the familiar steps of the front porch, travel bag inhand.EXT. HILLYER HOME - FRONT PORCH - DAYON Willcox Hillyer at the front door. He tries the knob,opens the door and goes inside.INT. HILLYER HOME - FRONT HALL - DAYCUT TO a shot of Willcox Hillyer as he glances into theliving room. The room looks the same but different -it ismusty, dim.Willcox Hillyer stares at it as if haunted a bit, turns andthe CAMERA follows him as he crosses the hall and looks intoMother's old bedroom-study. This room is quite different. Thefour poster is gone. The room is dusty, musty, dark.Magazines are on the floor in a ring around Mother's oldstudy chair. We see "male" things. It is apparent Daddy livesalone in this room.A SHOT of Willcox Hillyer as he walks down the familiar hallback to the kitchen.INT. HILLYER HOME - KITCHEN - DAYHe looks around. No one is there. He glances at a modernrefrigerator that is in pretty poor shape, glances with afrown at dishes in the sink unwashed. He goes on out to thepatio.EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Daddy putting out seed for birds on a tableon the patio. Daddy now is a very old man, but hispersonality and style are the same as ever. He looks up witha stern frown as Willcox Hillyer comes out on the patio. DADDY Well, you rascal, where'd you come from? WILLCOX HILLYER Hello, Daddy. How are you? DADDY About as good as can be expected with one foot in the grave. Good to see you, son. (they shake hands) Did you bring any of that Yankee whisky with you? WILLCOX HILLYER It isn't Yankee whisky, Daddy, it's Scotch. DADDY It's Yankee whisky to me.Daddy takes him by the arm, leads him back into the kitchen. DADDY (CONT'D) How do you stand it up there, boy, in all that ice and snow? What are you, a polar bear?INT. HILLYER HOME - KITCHEN - DAYCUT TO a shot of Willcox Hillyer and Daddy as they enter thekitchen. The former opens his travel bag and takes out abottle of Teacher's. WILLCOX HILLYER I can use a drink after the plane ride I had. DADDY Your wife and children are back in New Hampshire in the snow? WILLCOX HILLYER (a little smile; it is summer, there couldn't be snow in New Hampshire) Yeah, they're in the snow.Willcox opens whisky, looks for glasses in the dusty familiarcupboard. DADDY Are they polar bears, too? WILLCOX HILLYER (frowns at cupboard) Good God, the way you live here. This place hasn't been dusted since Mother died. Look at that goddamned refrigerator. DADDY Got another twenty years in it, boy. (something seems to be bothering him) By the way, son, do you recall Rose, that pretty blonde girl who came to our house way back in 1935 or 1936 and caused such a damnable commotion. WILLCOX HILLYER (frowns, turns and stares at him) Of course I recall Rose. In fact I've been thinking of no one else for the last hour and a half. DADDY How could that be, son? WILLCOX HILLYER Dave Wilkie of all people was sitting by me on the plane -- her first husband. It's funny you would mention Rose. Did you hear from her?Willcox pours out whisky. DADDY (casually) Well, yes, in a manner of speaking. You'll have the back bedroom, son, Mother's old art room. Just be careful going down the stairs you don't break your Yankee neck.EXT. HILLYER HOME - PATIO - DAYCUT TO a shot of Willcox Hillyer and Daddy as they walk withtheir drinks out to the patio. WILLCOX HILLYER What's all this about Rose? What do you mean, you heard from her in a manner of speaking? DADDY Oh, I heard from her, I got a letter from her, she's fine. But there is some sad news. WILLCOX HILLYER What sad news? Did her cancer come back? DADDY Oh, no, no, she got all over that. Rose is fine. Let's sit down, son. WILLCOX HILLYER Is her husband sick or something? DADDY No, it's another thing. I was going to write you about it, but since you were coming down anyway I thought I'd wait till you got here. What did Dave Wilkie have to say?ANOTHER ANGLE on Willcox Hillyer and the aged Daddy as theysit on the patio sipping whisky. Willcox Hillyer is notdisturbed or worried about Rose, Daddy has been very casualand offhand about it and he has no inkling of what the newsreally is. WILLCOX HILLYER The pitiful son of a bitch said Rose was a nymphomaniac. DADDY Um-hmm, and I suppose that incensed you? WILLCOX HILLYER You're damn right it incensed me, the miserable bastard. He also said the kikes and the niggers have taken over Washington. D.C. DADDY (nods somberly) Yeah, I know, he was up here. It's pitiful like you say. When he lost Rose it ruined the man, it destroyed him totally when he lost Rose. WILLCOX HILLYER He didn't lose her, he threw her away. DADDY Yes, I guess he did. He threw her away and it was the mistake of his life. WILLCOX HILLYER (staring off pensively into space) You know, I don't know this town any more. All this traffic, new buildings, prosperity... (pauses, almost as if in pain) Where have the years gone, Daddy? Where is the little town I knew as a boy? DADDY At rest in the creative universe with Mother, son. WILLCOX HILLYER (a little smile) That's what she would say herself. DADDY (simply, he is not emoting) A wonderful woman, boy. WILLCOX HILLYER It always gives me a funny feeling to come home. Dear old Southland. Gone. It's all gone, Daddy -- (a fond little smile) -- except you, you're still here. DADDY (matter-of-factly) Not for long, boy. I've outstayed my welcome already. WILLCOX HILLYER It's funny you would mention Rose, I was thinking about her all the way up in the car. (gives him a glance) Or maybe it isn't so funny. DADDY (as if in previous thought) I'm older than hell, boy. But this Yankee whisky is mighty fine, I'll say that. WILLCOX HILLYER All right, Daddy. We have our drink, we're out on the patio, you have prepared me for it. Rose's cancer has come back, hasn't it? DADDY (simply, quietly) No, son, she is dead. WILLCOX HILLYER (numb with shock, for a moment can't speak or think) Dead, Rose is dead? You mean... she died? DADDY I am afraid so, son. About a week ago. Her husband phoned me, she had asked him to call me if anything happened. WILLCOX HILLYER (in awful shock) But... but how? She was young! Rose wasn't old! DADDY She was fifty-six, son. Of course she didn't look it, nowhere near it. The cancer came back, I'm afraid I fibbed about that. But it was very quick, son. She was in the hospital only two weeks, and the last week she didn't know anything. WILLCOX HILLYER (in distress, a slightly choked voice) Excuse me, I'll be right back.Willcox Hillyer rises with his drink in hand and walks acrossthe patio to the kitchen door.INT. HILLYER HOME KITCHEN - DAYCUT TO a shot of Willcox Hillyer as he goes into the kitchen.He picks up the whisky bottle and pours himself a very largedrink.ANOTHER ANGLE, CLOSE on Willcox Hillyer as he stares acrossthe kitchen lost in thought. DISSOLVE TO:BLUR-BORDERED SHOT OF ROSEin the kitchen, a sunny smile on her face as she pours coffeefor Daddy. A very quick moment, only a few seconds. DISSOLVE TO:A CLOSE SHOT OF WILLCOX HILLYERin the kitchen, drink in hand, a look of grief on his face.He struggles to control himself, puts a hand over his eyes,then pulls himself together, turns from the kitchen.SHOT OF THE PATIOON Willcox Hillyer and Daddy as the former walks up with hisrefreshed drink and sits down. He is in control now, his faceis expressionless and he is seemingly calm. WILLCOX HILLYER Well, you have knocked me for a hell of a loop, old man. A hell of a loop. DADDY (simply) I know. You loved her. So did I. It was an awful shock to me, too. An awful shock. Rose was so alive it's hard to believe. WILLCOX HILLYER I can't believe it, Daddy. I know it must be true, but I can't believe it. DADDY It's true, son. The girl with the cornflower eyes is dead, she is no more,Daddy pauses, in trouble emotionally, but gets a grip onhimself and in an almost dispassionate manner; but powerfulfeeling is behind his words. DADDY (CONT'D) She got cancer of the breast, was operated on and had a seven-year recovery, then after a brief illness passed on in her sleep, as the man with whom she'd lived in beautiful love and harmony for twenty-five years held her hand. That is what happened, son, and God rest her lovely soul!CUT TO a CLOSE SHOT of Willcox Hillyer. Despite his effortsto control himself, tears are in his eyes. He clenches histeeth, takes a big swallow of his drink.ANOTHER ANGLE on them both as Daddy rises. DADDY (CONT'D) And now, if you are through with that Yankee whisky, we'll go to the Holiday Inn and get some dinner.SHOT OF WILLCOX HILLYER AND DADDYas they walk toward the red rental Ford. Daddy uses a cane.He is a very old man. Willcox Hillyer looks in pain, hegrimaces as they walk along. WILLCOX HILLYER Why Rose? Why Rose, Daddy? DADDY Nobody lives forever, boy. Who'd want to? WILLCOX HILLYER That's a hell of a thing to say. Why, Rose? DADDY (stops and firmly) Now look, boy, get a grip on yourself. Rose had a good life. She found her. Right, didn't she? She triumphed over everything, what are you blubbering about? WILLCOX HILLYER I'm not blubbering.CUT TO a shot of the red Ford going down the familiardriveway.SHOT ON DADDY AND WILLCOX HILLYERin the car. Daddy is staring fiercely ahead, Willcox Hillyerstares ahead in gloom.SHOT OF THE RED FORDas it pulls up in front of the Holiday Inn we have alreadyseen.SHOT ON DADDY AND WILLCOX HILLYERin the car. Willcox Hillyer sits there staring off into spacein deep gloom. Daddy eyes him and now relents. We seesympathy in his face. DADDY (gently) Rose isn't dead, son. Not really. Some of us die, but some of us don't. Rose lives. As long as some little girl somewhere gets herself up and goes out, Rose lives.CUT TO a shot of Daddy and Buddy, now middle-aged WillcoxHillyer, as they walk toward the entrance of the Holiday Inn.MUSIC. THE END
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