THE LITTLE FELLA.

A f i l m Treatment f o r a s c r e e n p l a y about t h e e a r l y years of Charlie Chaplin.

BY

ANTHONY SHAFFER.

APRIL 1 9 8 7 . 1ST DRAFT.

NOTES

In this treatment speeches have been used as a narrational device only, and they are not necessarily to be regarded as finished dialogue to be used in the screenplay.

2 ) Numbers are not precise scene numbers, but are often sequence numbers, employed solely for the purpose of easy identification. Within these sequences many individual scenes take place which share the same technique e . g . , 16 or 24 frames etc. etc.

1

2 4 FRAMES. COLOUR. SOUND.

1. The t i m e i s A p r i l 1 6 t h 1 9 2 8 . C h a p l i n ' s 39 th b i r thday and s i x months a f t e r t h e b i r t h of t h e t a l k i e s . The p l a c e i s t h e Romanesque swimming poo l at WR Hearst 's c a s t l e San Simeon. P r e s e n t a re C h a r l i e Chapl in , Randolph H e a r s t and Marion Davies, h i s mistress. Chapl in c o n f e s s e s t h a t t h e coming of sound has induced i n him a profound creative b lock , s i n c e a11 h i s p r o f e s s i o n a l l i f e has c e n t r e d round m i m e ra ther t h a n speech .

H e a r s t , h i s l ong t i m e f r i e n d , and of c o u r s e mul t i - m i l l i o n a i r e w i t h v a s t i n t e r e s t s i n newspapers, in forms him t h a t b o t h he and Marion are aware 'o f t h i s problem, and a d v i s e him t o make a f i l m of h i s

own l i f e s t o r y .

Chap l in demurs. W e d o e s n ' t want t o t h i n k about t h e h e a r t - b r e a k i n g e a r l y years, he says , and c e r t a i n l y no one w i l l want t o see them, he claims. T h e

con templa t ion o f g r i n d i n g p o v e r t y i s s c a r c e l y

e n t e r t a i n i n g .

"That may be, b u t i t ' s a t l eas t s i l e n t 'I

r e p l i e s Marion Davies,

"and t h e r e won ' t be too many s i l e n t s u b j e c t s from now on i n . 'I

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

and board a l i g h t a i r c r a f t , which is p i l o t e d f o r them by a young f l i e r i n I-Iearst's employ.

2

2. CONT'D

From the air, while they continue the discussion over a s p e c i a l birthday lunch, we bank away from the incredible castle, and head down the glittering coast towards Cosmopolitan, Hearst's Film Studios, which also has its own private air strip.

3 . Within the studio they walk across the many stages where lengths of material are hung to soften the sunlight shining on the many productions in progress, through the translucent roof, and sides of the building, both of which, as we see, are removeable. There are a number of films in production, and it is a l l , in Chaplin's own words, "a roar of confused sounds - screams, laughs, an explosion, shouted commands, pounding, whistling, the bark of a dog. thick with the smell of new lumber in the sun, flash light powder, and cigarette smoke."

The air is

4. They turn a corner, and miraculously everything suddenly becomes tranquil, with the sound and bustle fading away to take us in essence back to the days of very early silent film making, and the East End of London 1889 world where Charlie was born. This is Charlie's birthday present! Hearst has had constructed for him a huge replica of many parts of Charlie's East End background - East Lane Walworth, West Square, St. George's Road, Lambeth, and the Kennington Road.

Charlie stands aghast.

"We thought we'd give you a start'' says Hearst.

"Happy birthday! I'

3

4. CONT'D

"You remember how you always used to build a set to give yourself ideas"

adds Marion. "Many happy returns, Charlie! "

She kisses him. He is overwhelmed.

"You're too much" he says.

"It's the best present anyone ever had. 'I

5 . He moves to examine the West Square house.

"That's where we lived in West Square, Lambeth"

he says. "It looks exactly like it.

Marion asks him whether he remembers what his mother used to say was his first contribution to comedy.

"Remind me. I' says Charlie.

"After watching the neighbourhood dogs, you always connected bones with swallowing, and looking at your mother's knee you said you must have swallowed a big one to have it stick out like that."

4

5 . CONT'D

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

"It w a s h e r anklebone. . . .and t h a t s where my f i r s t r e a l c o n t r i b u t i o n came.

he adds a s t h e y t u r n a co rne r , and sees a r e p l i c a of t h e c a n t e e n t h e a t r e Aldershot .

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

"I w a s f i v e a t t h e t i m e , and my mother who worked t h e h a l l s under t h e name of L i l y Harley had an u n f o r t u n a t e breakdown t h e r e . I n f a c t it w a s t h e las t ; t i m e she p layed anywhere, and - my f i r s t . "

" W a s she any good?" e n q u i r e s Hearst .

" W o nde r f u 1 I'

r e p l i e s Chapl in . "Dark b l u e eyes , long s i l k y brown h a i r , t h e smallest m o s t e loquen t hands, and a gamine p i q u a n t charm t h a t cou ld m e l t your h e a r t . Unfo r tuna te ly m y dad had l a r g e l y abandoned u s by t h e n , and mum had t o keep us , and what w i t h one t h i n g and ano the r t h e s t r a i n of it broke h e r . I t was h e r v o i c e t h a t gave o u t . I t w a s neve r s t r o n g , and t h i s p l a c e f i n i s h e d h e r off."

5

6. CONT'D

"Don' t t e l l us" H e a r s t s a y s .

" F i l m it!"

" H e s r i g h t "

u rges Marion. ' I I ~ I S g o t t o be a remarkable journey . 'I

I n t h e aud i to r ium of t h e t h e a t r e w e hea r f a i n t l y t h e voice of L i l y Harley s ing ing .

C h a r l i e c l imbs on a camera d o l l y , as l i g h t s come up on t h e s t a g e . I n a s e r i e s of mixes the audi tor ium f i l l s mos t ly w i t h Engl ish m i l i t a r y pe r sonne l , and w e see it i s suddenly lit wi th t h e movie l i g h t s of t h e p e r i o d . A c lapboard r ead ing Chapl in The

E a r l y Years i s clapped.

"Action! " r o a r s Chapl in as t h e d o l l y i s pushed i n , and a s p o t comes up, f i r s t l y on a ca rd a t t h e s i d e of t h e

stage r e a d i n g The Dainty and T a l e n t e d L i l y Harley, Serio-Comedienne, Impersonator, and Dancer; and secondly on L i l y Harley h e r s e l f doing a song and dance of a pe rky I r i s h march.

"Ri ley , R i l e y , T h a t ' s t h e boy t o begu i l e ye , R i l e y , R i l e y t h a t ' s t h e boy for m e . I n a l l t h e armies g r e a t and s m a l l T h e r e ' s none so t r i m and n e a t A s t h e noble Sergeant R i l e y O f t h e g a l l a n t e i g h t y - e i g h t . I'

6

6 . CONT'D

H e r voicecracks f r e q u e n t l y and s i n k s t o a husky whisper as buns and f r u i t r a i n on the s t a g e , and f a l s e t t o ca tca l l s and shou t s of "Can ' t 'ear y e r " r e v e r b e r a t e round t h e t h e a t r e .

She r u n s o f f sobbing i n t o t h e wings where t h e S tage Manager s t a n d s watching w i t h t h e f i v e yea r o l d

C h a r l i e Chapl in .

H e immediately drags t h e boy o n t o t h e s t a g e and s tar ts t o i n t r o d u c e him as t h e t a l e n t e d son and s o l e suppor t of h i s poor o l d mum.

Char l i e S e n i o r o n t h e camera d o l l y sends him back t e l l i n g him t o make h i s e n t r a n c e l a te r i n o r d e r t o l e t t h e h o s t i l i t y of t h e audience b u i l d . I t also r e - e s t a b l i s h e s w e are i n a f i l m w i t h i n a f i l m .

The boy C h a r l i e s t a r t s h i s song, and i s t h e n d i r e c t e d by t h e older C h a r l i e who throughout t h e scene shows him how t o p i c k up t h e money which i s thrown a t him, and how t o t i m e t h e contretemps w i t h t h e s t a g e manager.

"Jack Jones w e l l and known t o everybody Round about t h e market d o n ' t y e r see I ' v e no f a u l t t o f i n d w i t h Jack a t a l l N o t when ' e s as 'e used t o be.

But now 'es 'ad t h e b u l l i o n l e f t him ' e has a l t e r e d f o r t h e wors t . "

7

6. CONT'D

The audience th rows s h i l l i n g s and p e n n i e s .

C h a r l i e t h i n k s they are d i s a p p r o v i n g , b u t no, i t ' s real money. H e t r i e s t o p i c k it up, t h e n d e c i d e s t o r e a c h t h e end of t h e v e r s e a t which p o i n t t h e S tage Manager appears w i t h a handkerchief which C h a r l i e and he f i l l . The Stage Manager i s about t o l e a v e w i t h it when C h a r l i e c r i e s o u t ,

" H e ' s s t e a l i n g my money. I'

T h e crowd boos. C h a r l i e s e i z e s t h e handkerchief f r o m t he bewildered Manager who w a s on ly t r y i n g t o h e l p the boy and s a y s ,

"If you g ive m e some more 1'11 s i n g a l o t . "

More c o i n s r a i n on t h e s t a g e and go i n t o the

handkerch ie f , after which t h e s e l f - p o s s e s s e d boy c o n s e n t s t o s i n g t h e second v e r s e .

"For t o see t h e way he t rea ts a l l h i s o l d p a l s F i l l s m e w i t h no th ing but d i s g u s t Each Sunday morning he r e a d s t h e Telegraph Once he was con ten ted w i t h t h e S t a r .

S ince Jack Jones has come i n t o a l i t t l e cash Well ' e d o n ' t know w h e r e ' e a r e . "

H e ends by i m i t a t i n g h i s m o t h e r ' s c r acked v o i c e , t h e n b r i n g s h e r on t o t r iumphant app lause .

8

7. The f i l m now moves i n t o BLACK AND WHITE SIL,ENT

1 6 FRAME PER SECOND

C h a r l i e and h i s mother , Hannah a r e r i d i n g through t h e main streets of London towards t h e i r home, on t o p o f a horse drawn bus. C h a r l i e i s plucking blossoms from t h e t ree t o p s and waving t o t h e f lower g i r l s who are making gay boutonnieres from t i n s e l and f e r n s . They g e t o f f t h e bus o u t s i d e t h e Queens Head pub on Lambeth Walk.

8 . The o s t l e r a t t h i s pub i s one Rummy Binks whose s p l a y f o o t e d w a l k as he l e a d s t h e horses t o t h e

w a t e r t r o u g h , c a p t i v a t e s C h a r l i e . To h i s mother’s h o r r o r he s tar ts t o i m i t a t e h i m , and w e g e t our f i r s t i n t i m a t i o n of w h a t i s t o come. W e i r i s i n t o Rummy Binks and read our f irst capt ion .

CAPTION “Abandoned by t h e i r f a the r , and suppor ted only by t h e i r mother’s poor ly pa id sewing work, Char l i e and h i s b r o t h e r Sydney f i n d themselves i n e v e r more humble c i rcumstances . Three rooms shrank t o two, and then t o one . . . . ”

9 . W e see Sydney and C h a r l i e s i t t i n g a t a t a b l e w i t h a cand le on it, and h a l f a l o a f of bread , and a bowl of beef d r i p p i n g . Suddenly Hannah e n t e r s d r a m a t i c a l l y and e n e r g e t i c a l l y m i m e s a p leading scene ho ld ing a baby i n h e r arms.

CAPTION “But the unconquerable s p i r i t of their mother k e p t them going, and imbued them w i t h a sense of t h e a t r e ” .

9

9. CONT'D

The p l e a d i n g scene con t inues . W e p u l l back t o see t h a t C h a r l i e Senior i s watching t h e d a i l i e s i n a s c r e e n i n g room, and f o r t h i s w e have t o go t o ...

10. 24 FRAMEIS. COLOUR. SOUND

A s C h a r l i e watches the sc reen pantomime he grows i n c r e a s i n g l y restless. F i n a l l y he says t o o t h e r s p r e s e n t ,

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

11. We c u t back t o t h e s t u d i o where Char l i e Senior i s d i r e c t i n g t h e actress p lay ing h i s mother. H e i s p u t t i n g t h e f i n a l touches t o her N e 1 1 Gwynne costume, paying p a r t i c u l a r a t t e n t i o n t o t h e bosom, and say ing ,

" W e mus tn ' t see too much of this. I t ' s a f ami ly movie, bu t a t l e a s t we now know who y o u ' r e meant t o be."

The actress goes i n t o h e r p l ead ing and baby holding which she i l l u s t r a t e s by a r a g d o l l t aken from t h e

s a m e props b a s k e t as the costume.

ACTRESS Sire , g i v e t h i s bloody l i t t l e b a s t a r d a name, o r I'll dash it t o t h e ground.

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

1 0

12.

CAPTION "Sire , g i v e t h i s sweet c h i l d a name o r 1'11 dash it t o t h e ground. I'

CAPTION "Al r igh t ! The Duke of S t . Albans!"

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

CAPTION "Months of g r i n d i n g pover ty fol lowed, w i t h t h e l i t t l e

f ami ly t a k i n g any job t o s t a y a l i v e I' .

S h o t s of Hannah sc rubb ing f l o o r s , and working a t h e r

needlework are i n t e r c u t w i t h o t h e r s of Sydney s e l l i n g newspapers, and C h a r l i e s i n g i n g i n t h e s t r ee t s t o a b a r r e l organ o u t s i d e pubs. H e does a l i t t l e dance t o complete h i s a c t , and i n t h e l a s t frames of t h e sequence water i s thrown over h i m from an upper window.

CAPTION "But t w o y e a r s l a t e r , a l l i s n o t hard work and sorrow".

13 . Sydney, r i d i n g on t o p o f a horsedrawn bus f i n d s a p u r s e l e f t on a seat .

CAPTION "Someone has l e f t t h e i r pu r se" .

11

1 3 . C O N T ' D

H e opens it qu ick ly and sees it is f u l l of co ins . H e c l o s e s it and looks around him a t t h e empty bus . Then CU h i s u n c e r t a i n face.

CAPTION "Perhaps I should g ive i t t o t h e conductor. ' !

The conductor approaches Sydney, who s i t s stum, and makes no e f f o r t t o hand t h e purse over .

CAPTION "Mother will know w h a t ' s b e s t t o do."

W e c u t t o Hannah's exciked face as ha l f a dozen guineas cascade from t h e purse onto t h e bed. She speaks t o Sydney and Char l i e (now 7 ) .

CAPTION " W e have no means of t r a c i n g t h e owner. So.. . ."

They w a i t expec tan t ly .

CAPTION "1 t h i n k w e a l l deserve a holiday!"

CAPTION "Southend - Playground of t h e E a s t

End".

1 4 . A montage sequence fo l lows w i t h Sydney, Hannah and Char l i e hamming it up a t Southend, and recording on t h e beach, C h a r l i e ' s f i r s t rap turous look a t t he

sea, and h i m s i t t i n g on a deck c h a i r twiddl ing h i s t o e s i n t h e water, on ly t o be r e c a l l e d t o a sense of r e a l i t y by a deck c h a i r a t t endan t demanding a c o i n from him.

1 2

14. CONT'D

W e n o t e i n an i r i s t h a t t h e a t t e n d a n t i s wearing a bow t i e and t o o t i g h t waistcoat. More cape r s fo l low, w i t h C h a r l i e be ing ailmonished f o r high s p i r i t s by a commissionaire on t h e p i e r wearing a t a i l c o a t , a g a i n too s m a l l f o r him, and aga in marked by an i r i s , which frames him i n CU, - on t h e ferris wheel; i n t h e hall of d i s t o r t i n g mir rors where C h a r l i e ' s boots suddenly appear huge and h i s head s m a l l ; i n t h e coconut s h i e ; i n t h e photographic c u t o u t s ; and l a s t l y i n t h e p a l m i s t s booth where C h a r l i e solemnly o f f e r s h i s hand f o r examinat ion t o a turbanned gypsy w i t h

a c r y s t a l b a l l i n f r o n t of he r .

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

15 . C h a r l i e i s over t h e moon, and i s on ly brought back t o ea r th by h i s mother and Sydney frogmarching him t o a f i s h and c h i p shop, and demanding t h a t he pay f o r lunch which i s d e l i v e r e d i n t h e t r a d i t i o n a l newspaper. I r i s i n t o t h e i r con ten ted g reasy faces as t h e y gorge, s t r o l l i n g i n t h e sea.

CAP,TION "Unfo r tuna te ly Hannah Chapl in w a s unequal t o t h e t a s k of suppor t ing he r l i t t l e f ami ly" .

1 6 . A scene fo l lows of h e r sewing machine be ing re -possessed by b a i l i f f s .

13

1 6 . CONT ' D

CAPTION "Please don't take my sewing machine away. It is our sole means of support!"

17. And this is followed by Hannah pawning Sydney's threadbare suit in the presence of Charlie, with the Pawnbroker saying:

CAPTION "I'm sorry Mrs. Chaplin. I can only offer you three bob."

CAPTION "But you've always given me seven bob before. I '

CAPTION "They're worn out, dear. Actually they're o n l y worth half a crown. 'I

CAPTION "But how will we manage?"

CAPTION "I'm sorry. I can do no more."

The Pawnbroker shrugs and lifts his too small bowler hat. We iris in to a CU of the gesture.

CAPTION "And so the threat of the workhouse so long held at bay, became a reality".

18. CAPTION "The Lambeth Workhouse".

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1 8 . C O N T ' D

I n 2 4 FRAMES COLOUR AND SOUND w e see Hannah, and Sydney (aged 11) and C h a r l i e (aged 7 ) be ing admi t ted t o t h e Lambeth Workhouse. I n t h e c o u r t y a r d a pompous j a n i t o r wearing a t i n y moustache d i r e c t s them t o d i f f e r e n t p l a c e s . I r is i n t o ECU

moustache. A s b e f o r e i n t h e N e 1 1 Gwynne s k e t c h , what is a c t u a l l y s a i d on t h e s e t i s much a t v a r i a n c e n o t on ly w i t h t h e mood of t h e s cene r b u t also w i t h what w e see w r i t t e n i n c a p t i o n form l a t e r .

J A N I T O R

S i l l y o l d cows t o t h e l e f t .

Bloody s n o t t y nosed b r a t s t o t h e r i g h t .

H e g i v e s h e r a shove.

HANNAH

G e t away from m e you boozy bugger. You watch it o r I'll k ick you i n t h e cobb le r s - t h a t ' s if youlve g o t any, which I doubt .

The J a n i t o r wrenches them a p a r t and pushes them off i n o p p o s i t e d i r e c t i o n s . Chapl in Sen io r s t r i d e s i n t o s h o t .

CHAPLLN S E N I O R

N o no!....Think it through. You're be ing p a r t e d from your c h i l d r e n for t h e f i r s t t i m e i n your l i f e , and under h o r r i b l e c i rcumstances . We've got t o feel t h e misery and t h e d i s g r a c e of it d e a r . R e a l l y look a t t h a t

1 5

1 8 . CONT'D

19.

c o u r t y a r d , and t h e n a t t h e

boys. Plead n o t t o be s e p a r a t e d ... Plead!

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

W e c u t t o C h a r l i e s i t t i n g b e f o r e a movieola s c r e e n i n an e d i t i n g room. W e t rack i n t o an ECU of t h e sc reen .

1 6 FRAME BLACK AND WHITE SILENT

W e see t h e scene i n t h e workhouse cour tya rd from t h e s t a r t w i t h t h e o f f i c i a l s e p a r a t i n g Hannah and Sydney and C h a r l i e , and pushing h e r .

CAPTION "Women t o t h e l e f t . Ch i ld ren t o t h e r i g h t . "

Hannah looks p i t e o u s l y around h e r a t t h e grim c o u r t y a r d , and h o l d s o u t h e r hands i n s u p p l i c a t i o n .

CAPTION "Can ' t w e p l e a s e s t a y t o g e t h e r ? ... I'm t h e i r mother .... We've never been a p a r t ! I'

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

CAPTION " I n t h e workhouse f ami ly r eun ions w e r e f e w and f a r between".

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1 9 . C O N T ' D

W e i r is t o Hannah i n workhouse uniform comfort ing Sydney and C h a r l i e a l s o i n workhouse c l o t h e s , by p a t t i n g t h e i r cropped h a i r w i t h obvious d i s t a s t e , and o f f e r i n g them coconut candy.

CAPTION "Don ' t d e s p a i r , my d a r l i n g s . Soon w e ' l l a31 be t o g e t h e r aga in . I'

CHARLIE S E N I O R ' S VOICE OVER

1 o n l y hope no one can l i p read. -

CAPTION "And soon t h e boys were s e n t t o :

2 0 . CAPTION "Hanwell School For D e s t i t u t e Ch i ld ren" .

A montage sequence composed of t h e fo l lowing elements:

a ) C h a r l i e and Sydney be ing given t r e a t m e n t f o r ringworm. More h a i r cropping and i o d i n e .

b) C h a r l i e and Sydney be ing b r u t a l l y bathed by 1 4 yea r old g i r l s which embarreses them.

c) A c r o c o d i l e of d i s p i r i t e d , cropped and uniformed boys walking t h e c o u n t r y s i d e , j e e r e d a b by l o c a l boys.

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

1 7

2 0 . CONT'D

d ) The boys scrubbing t h e cour tyard on t h e i r knees i n win t ry c o n d i t i o n s .

e ) I n t h e c o u r t y a r d , t h e boys f r e e z e a s w e see t h e massive Cap ta in Hindrum addres s them through a megaphone.

CAPTION "For s e t t i n g f i r e t o the l a t r i n e s C h a r l e s Chapl in w i l l be punished a t 1 2 noon."

f ) The gymnasium. The inmates are l i n e d up t o f o r m t h r e e s i d e s o f a square i n the c e n t r e o f which i s a l ong t ab le . Char l i e f a c e s t h e headmaster.

CAPTION "1 a m innocent!"

The headmaster p o i n t s t o t h e t a b l e next t o which s t a n d s Cap ta in Hindrum hold ing a f o u r f o o t

t h i c k long cane .

CAPTION "Three s t r o k e s ! I'

H i s f e e t are bound and h e l d by a s e r g e a n t . H e i s l a i d ove r t h e t a b l e . Another s e r g e a n t p u l l s o u t h i s s h i r t over h i s head. Captain Hindrum admin i s t e r s t h e t h r e e s t r o k e s w i t h p a r a l y s i n g f o r c e . c a r r i e d t o a mat t ress and l e f t t o w r i t h e and s q u i r m .

Cha r l i e i s then

CAPTION "Sydney leaves t o j o i n t h e Royal Navy t r a i n i n g s h i p Exmouth".

The b r o t h e r s s a y goodbye t o each o t h e r i n t h e cour t -

yard .

g r i p , l e a v i n g Charlie waving d e s o l a t e l y a f t e r him.

Sydney w a l k s t h rough t h e gates w i t h h i s

18

20. CONT'D

C A P T I O N " C h a r l i e i s now a l l a lone" .

H e t r a i l s mise rab ly back towards t h e b u i l d i n g s . The s c r e e n goes blank. The l i g h t s come up.

21. 2 4 FRAMES. COLOUR. SOUND.

C h a r l i e Senior i s seen s i t t i n g w i t h Marion Davies i n a s c r e e n i n g room.

Marion s a y s t o h i m ,

"Why d o n ' t you l e a v e your miserable chi ldhood and come and d i n e w i t h u s . We've g o t E i n s t e i n coming t o d i n n e r , and h e ' s t h r e a t e n e d t o b r i n g h i s v i o l i n t o p l a y for us."

Chaplin a g r e e s , and as they l eave t h e room, he remarks t o her t h a t he has heard it s a i d t h a t i f Hearst p e r s i s t s . i n a t t a c k i n g W a l l Street in h i s newspapers he w i l l lose a m i l l i o n d o l l a r s a y e a r .

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

says Mar ion a s she sweeps o u t .

22. Davies and Chapl in f l y t o San Sirneon i n a l i g h t a i r c r a f t .

19

23. A t d inne r i n Hearst C a s t l e M r s . E i n s t e i n t e l l s t h e story of t h e day he r husband d iscovered t h e theo ry of r e l a t i v i t y .

''1 have a wonderful i d e a . I have t o work it o u t " he s a i d . " H e

locked himself i n h i s s tudy and two weeks l a t e r he came o u t w i t h two p i e c e s of paper . A l l t h a t t i m e f o r two l i t t l e pages!"

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

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

E i n s t e i n s m i l e s i c i l y , rises and t a k e s h i s v i o l i n over t o where t h e p i a n i s t Schnabel i s s i t t i n g a t t h e p iano . H e makes a f a l s e s t a r t on a Beethoven sona ta .

"Can ' t you count! ?I '

y e l l s Schnabel.

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

E i n s t e i n g r i n s s h e e p i s h l y as t h e company r o a r wi th d e l i g h t .

C h a r l i e excuses h i m s e l f , s a y i n g he has t o be ready f o r e a r l y morning shooting.

"More misery? I' , asks Marion.

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

20

2 3 . CONT'D

"The b u s i n e s s w i t h mother , though t h e r e w e r e some b r i g h t s p o t s b e f o r e t h e t r agedy . . . . I'

2 4 . C u t t o 1 6 FRAMES BLACK WHITE SILENT

C h a r l i e i s where w e l a s t saw him, t r a i l i n g miserably a c r o s s t h e c o u r t y a r d of t h e workhouse af ter Sydney's d e p a r t u r e . W e i r i s i n and o u t t o a

CAPTION "Merc i fu l ly i n t o t h i s long nightmare, e v e n t u a l l y came rescue :"

W e see Hannah and Sydney a r r i v i n g a t t h e g a t e s of

t h e workhouse, and C h a r l i e running joyously o u t t o m e e t them. The l i t t l e family i s r e u n i t e d aga in a f t e r 1 8 t e r r i b l e months.

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

Chapl in Char l e s . Aged 7 . P r o t e s t a n t . Admitted on t h e 1 8 t h June 1 8 9 6 . L e f t t o r e t u r n t o h i s mother 1 8 t h January 1 8 9 8 .

25 . A montage sequence f o l l o w s o f Hannah and Sydney and C h a r l i e r a p t u r o u s l y p l a y i n g w i t h a ball in t h e

Xennington Pa rk , and g e n e r a l l y l a r k i n g about i n t h e c h i l d r e n ' s playground i n an excess of h igh s p i r i t s . They simply c a n ' t believe t h e i r l uck in a11 being t o g e t h e r a g a i n .

21

2 5 . CONT D

The sequence climaxes with a huge blow out at home, the dinner table groaning under the weight of food, the whole thing reminiscent in feeling of the Yuletide meal with Tiny Tim in A Christmas Carol.

26. The scene changes to 24 FRAMES. COLOUR. SOUND as Chaplin Senior redirects the scene, as usual taking all the parts. He introduces a pea shooter and races round the table showing the young Chaplin how to use it, and employing the peas on his plate as ammunition. He also acts out Sydney being hit by a pea, and Hannah laughing and scolding. He goes on for so long that the young Chaplin is forced to tell him to quit and hand the part back.

27. We now see a bit of the pea shooter business in 16 FRAMES. BLACK AND WHITE SILENT.

and then a

CAPTION "But Prosperity and happiness were not to last long. Destitute once more our little heroes again find themselves in the workhouse...."

CAPTION "This time at Norwood".

28. We see general views of a gloomy institution - the dormitories, classrooms, kitchens etc, end in a visit to the sports fields. A game of soccer is in progress with Sydney prominent.

22

2 8 . C O N T ' D

CAPTION "And even worse w a s t o followl"

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

CAPTION "Mother Mad ! ? It

Sydney s i n k s t o ,he ground wracaLed by sobs. C,,arl .e comes up and puts h i s a r m round him. Sydney e x p l a i n s what he has been told t o t h e younger boy while t h e socce r game goes o n i n t h e background.

CAPTION " H e r mind has co l l apsed . She is a t t h e Cane H i l l Asylum."

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

CAPT,ION " W e must go t o her!"

The socce r b a l l is kicked high i n t h e a i r out of p l a y towards him. C h a r l i e nonchalant ly heads it back i n t o p l a y , once a g a i n underscoring t h e t r a n s i e n t n a t u r e of pa thos .

CAPTION "The Asylum".

2 9 . Held i n a s h a f t of l i g h t from a window set high i n t h e w a l l of a padded room, Sydney and C h a r l i e s i l e n t l y embrace t h e i r mother. It is c l e a r from her vacant

2 3

2 9 - CONT ' D

expres s ion t h a t she does no t r ecogn i se them. C h a r l i e looks up a t h e r d e s o l a t e d .

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

30 . W e mix through t o t h e Ex te r io r of 2 8 7 Kennington Road. C h a r l i e l u r k s behind a hedge as h i s f a t h e r and h i s mistress Louise come o u t and walk down t h e garden p a t h . leg, who makes a g e s t u r e t o s h i f t him reminiscent of t h e tramp's subsequent leg g e s t u r e s .

H e jumps o u t and grabs C h a r l i e S e n i o r ' s

CAPTION " G e t off! . . .What 's your name?"

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

CAPTION "Charles Chapl in . I'

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

CAPTION "Son!

CAPTION "Fa the r ! I'

Louise looks on s o u r l y as f a t h e r and son hug, and even more s o u r l y as Sydney suddenly emerges from behind t h e hedge and is a lso embraced.

CAPTION "Mother ' s i n t h e Asylum! I'

CAPTION "What! You must come and live w i t h us!"

2 4

30. C O N T ' D

General r e j o i c i n g . But L o u i s e i s no t so happy. W e i r i s i n t o a CU of her malevolent face and f ade t o black.

CAPTION "From t h e s t a r t L o u i s e made t h i n g s d i f f i c u l t for t h e boys. Of ten when C h a r l i e Sen io r w a s n ' t around she t h r e w them o u t of t h e house".

31. W e see C h a r l i e c r eep ing up t h e s ta i r s t o t h e bedroom, and be ing d e t e c t e d by Louise who p o i n t s d r a m a t i c a l l y t o t h e f r o n t door .

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

CAPTION "Where am I t o s l e e p ? "

CAPTION " A s k your fa ther - if you can f i n d what boozer h e ' s i n ! "

Cha r l i e walks down t h e s ta i r s and i n t o t h e n i g h t - a n ine yea r old boy wi thou t a home.

32. A slow d i s s o l v e takes us t o C h a r l i e walking d i s c o n s o l a t e l y down t h e Ksnnington Road. t h e White Hart c o r n e r pub he hears "The Honeysuckle And The Bee" p layed w i t h " r a d i a n t v i r t u o s i t y " (Chap l in ' s own words) on a harmonium and c l a r i n e t . The harmonium p l a y e r i s b l i n d and cadaverous and wears baggy t r o u s e r s s e v e r a l s i z e s too b i g f o r him. The young boy s t o p s , e n t r a n c e d , t o l i s t e n , and tears form i n h i s eyes . W e i r is in t o a CU of t h e

Harmonium p l a y e r f a v o u r i n g t h e baggy p a n t s .

Pass ing

25

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

W e are i n a r e h e a r s a l i n t h e f i l m s t u d i o . Char l ie S e n i o r , much moved l e a v e s t h e s i d e of t h e n ine year o l d boy he i s d i r e c t i n g i n t h e street scene o u t s i d e t h e White H a r t , and goes t o s t and wi th t h e music ians .

''1 so w e l l r e m e m b e r t h a t moment" he says.

" I t c r y s t a l l i z e d f o r m e t h e mystery of music. I suddenly know t h a t it had a rare beauty t h a t has gladdened and haunted m e f r o m t h a t moment. 'I

I-Ie suddenly s ta r t s t o s i n g p a s s i o n a t e l y , accompanied by t h e harmonica p l a y e r and c l a r i n e t i s t .

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

f r o m t h o s e r e d l i p s you see. I l o v e you, d e a r i e , dear ie , and I

want you t o l o v e m e . You a r e my honey, honeysuckle,

I a m your bee."

Douglas Fa i rbanks suddenly emerges from t h e shadows of t h e se t to j o i n i n t h e l a s t l i n e . The musicians

applaud a s t h e two o ld f r i e n d s embrace.

CIIARL I E

Douglas! .... How great t o see you!

FAIRBANKS

C h a r l i e , X hope I d o n ' t i n t e r r u p t . I w a s i n t h e s t u d i o s and had t o come

and say h e l l o . HOW'S it going?

26

3 3 . CONT'D

34.

CHARLIE

We're g e t t i n g there . May I p r e s e n t t o you ou r young s t a r who p l a y s m e a t n i n e y e a r s o l d , Master Harold Copping. M r . Douglas Fa i rbanks 1

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

FAIRBANKS

Why d o n ' t you use Caogan when you g e t a b i t o l d e r . You've done n o t h i n g w i t h h i m s i n c e The Kid.

CHARLIE

A g r e a t i d e a . How o l d i s J a c k i e now?

FAIRBANKS

1 2 t o 1 3 .

CHARLIE

Good. H e ' l l be just r i g h t for t he m u s i c h a l l s t u f f .

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

CAPTION "The Eight Lancash i r e Lads. "

W e c u t t o a l i n e of young boys c l o g dancing e n e r g e t i c a l l y . Prominent is a J a c k i e Coogan look a l i k e p l a y i n g Char l i e about twelve y e a r s old.

27

3 5 . Mix through t o C h a r l i e d re s sed i n a cat mask play- i n g w i t h Mercel ine t h e French Clown dressed as a

dog. H e s n i f f s t h e rear end of t h e dog, and p u l l s a s t r i n g which winks a s t a r i n g eye. The audience of

c h i l d r e n go w i l d , as he cocks a l e g a g a i n s t t h e

proscenium arch. I n t h e wings t h e Manager of t h e

Thea t r e shakes h i s f i s t and screams abuse.

CAPTION "Don' t you e v e r do t h a t again. T h e y ' l l c l o s e u s down!''

Cha r l i e thumbs h i s nose .

3 6 . Hannah r e t u r n s from t h e Asylum t o c o l l e c t t h e boys f r o m 287 Kennington Road. They run i n t o her arms t o g r e e t her i n t h e f r o n t garden. Louise s t a r e s b a l e f u l l y from an upper window.

Hannah, Sydney and C h a r l i e s t a g g e r down Pownall Terrace c a r r y i n g t h e i r s u i t c a s e s . They pass t h e open door of a s l augh te rhouse , and a sheep runs

o u t .

3 7 . Cut t o 2 4 FRAMES. COLOUR. SOUND

Chapl in S e n i o r d i r e c t s the r e h e a r s a l of t h e

chase o f t h e sheep by t h e s l a u g h t e r e r s and neighbourhood boys, f rom t h e camera d o l l y . It

p a s s e s under a l a d d e r , caus ing a p a i n t e r t o drop

h i s p a i n t p o t on it, s t r i p i n g it l i k e a zebra.

I t u n s e a t s a mounted policeman, causes a c o l l i s i o n

of b i c y c l e s , and knocks down a b a k e r ' s boy c a r r y i n g a t r a y of j a m t a r t s which cover it.

C h a r l i e p l a y s a l l t h e p a r t s - p a i n t e r , policeman, b i c y c l i s t , and b a k e r ' s boy, showing how t o tumble t o t h e b e s t advantage. H e ends up showing

2 8

37. CONT'D

the Jackie Coogan lookalike how to rugger tackle the sheep and bring it down.

38. We revert to 16 FRAME,S, BLACK AND WHITE SILENT to see the whole speeded up chase take place, culminating in the capture of the sheep, and Charlie's sudden look of understanding, as the slaughterers in their blood stained aprons walk it back to the slaughtekhouse. He protests to his mother.

CAPTION "Mum, they're going to kill it!... They're going to kill it!"

Iris in to his anguished face as he contemplates the combination of the comic and the tragic.

39. We iris out again on a poster of Charlie now dressed as Holmes' Page Boy Billy, outside the Duke of York's Theatre in the West End of London. We pan up to see the Marquee twinkling in the night: William Gillette in Sherlock Holmes with Charles Chaplin.

40. We mix through to the inside of the theatre to see Professor Moriarty repulsed, gnashing his teeth, and Billy thanked by Holmes for his timely aid.

CAPTION "Billy! You're a good boy!"

CAPTION "Yes sir. Thank you sir!"

29

4 0 . C O N T ' D

The c u r t a i n f a l l s . Hannah i s applauding wi ld ly i n t h e audience . I n t h e c u r t a i n call w e n o t i c e Sydney as w e l l a s Char l ie .

CAPTION "And fo r t h e moment a l l w a s w e l l " .

4 1 . C h a r l i e , Sydney and Hannah d r i n k a t o a s t t o g e t h e r i n a backs tage d r e s s i n g room. Char l i e serves the d r i n k s i n h i s page boy costume.

W e pan o f f t h e happy group i n t o a CU of a p o s t e r on t h e w a l l p roc la iming The P a i n f u l Predicament of Sher lock Holmes.

4 2 . Mix through t o 2 4 FR.AME,S. COLOUR. SOUND

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

CHARLIE

You must r ea l i s e t h a t i n t h i s t e n minute c u r t a i n raiser Sher lock Holmes d o e s n ' t speak a s i n g l e word. A woman exhor t s H o l m e s i n a s t a c c a t o monologue t o s o l v e a mys te r ious case.

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

3 0

42. CONT'D

CHARLIE

(High F a l s e t t o ) . You must h e l p m e , M r . Holmes. Rea l ly you must. N o one e l se b e l i e v e s m e , b u t I know you won't f a i l m e . . .

H o l m e s beckons B i l l y over and g ives h i m a note . ( C h a r l i e acts it o u t ) .

CHARLIE

(Normal V o i c e ) . You, B i l l y dash o u t , and two b u r l y men come i n t o remove t h e l ady .... You, B i l l y now r e t u r n and g i v e t h e l a s t l i n e s o f t h e p l ay . "You w e r e r i g h t sir! I t w a s t h e r i g h t Asylum!"

H o l m e s nods g rave ly , and smiles at B i l l y .

A s be fo re , Chapl in has p layed a l l t h e p a r t s - himself as a boy, G i l l e t t e , t h e madwoman, and t h e b u r l y men.

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

CIlARL I E

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

MARY P I C K F O R D

What do you mean Chaul ie?

31

42. CONT'D

43.

CHARLIE I mean, Mary, t h a t it was about t h i s t i m e t h a t m y mother went i n t o an asylum aga in . . . .

(Voice Over t h e nex t scene) The poor dea r had been d i s t r i b u t i n g lumps of coa l t o t h e neighbours as b i r thday p r e s e n t s f o r t h e i r c h i l d r e n .

16 FRAMES. BLACK AND WHITE. SILENT

W e see Hannah p r e s e n t bewildered neighbours w i t h

lumps of coal.

4 4 . Mix t o C h a r l i e l e a d i n g he r t o t h e in f i rmary , watched by c u r i o u s though sympathetic neighbours, a s she weaves h e r unsteady way.

CHARLIE (VOICE OVER CONT'D) I had t o walk h e r t h e mile o r s o t o the i n s t i t u t i o n . It was a terr ible bus iness . You see s h e knew where she was going.

45 . A t t h e in f i rmary Hannah bends a hear tbreaking look of d e s p a i r on C h a r l i e as they p a r t .

CAPTION "Goodbye Mum! "

3 2

45. CONT'D

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

A slow mix t a k e s us through t o t h e next scene.

46. 2 4 FRAMES. COLOUR. SOUND

CU C h a r l i e J u n i o r ' s f o r l o r n f a c e wi th t h e same expres s ion . cour t a t P i c k f a i r , be ing pa r tne red by C h a r l i e Senior . On t h e oppos i t e s i d e of t h e n e t i s Sydney and B i l l

T i lden t h e t e n n i s champion. Char l i e i s p i r o u e t t i n g b a l l e t i c a l l y a l l over t h e c o u r t watched bemusedly by h i s young p a r t n e r who never touches t h e b a l l . C h a r l i e f i n a l l y wins t h e p o i n t w i t h a spec tacu la r l e a p and over t h e shoulder s h o t .

t o C h a r l i e J u n i o r , and aces him so completely t h a t he d o e s n ' t even have t i m e t o move...

W e p u l l back t o see he i s on t h e t e n n i s

Ti lden now se rves

TILDEN T h a t ' s t h e set and t h e match, I t h i n k .

CHARLIE SENIOR

Thanks t o my f i l m son here. You're dreaming boy. You c a n ' t expec t t o r e c e i v e s e r v i c e from B i l l T i lden h a l f a s l eep .

C h a r l i e Senior jumps t h e n e t , and does a whole b i t of comic b u s i n e s s , c a t c h i n g h i s f o o t i n i t , and doing a p r a t f a l l , s t r e t c h e d from it l i k e

an arrow i n a bow.

33

4 6 . C O N T ' D

A s t hey walk o f f t o t h e p a v i l i o n Char l i e J u n i o r addres ses C h a r l i e Sen io r .

CHARLIE JUNIOR I ' m s o r r y , Cha r l i e . 1 guess my mind w a s n ' t on t h e game. I was t h i n k i n g about your poor mum going i n t o the b i n t h e second t i m e . I t m u s t have been real tough.

CHARLIE SENIOR

W e l l my advice t o you i s t o f o r g e t i t . I want you up and sparky f o r t h a t scene tomorrow. Have you g o t it down? Do you bo th know w h a t

y o u ' r e going t o be doing?

J u s t o u t s i d e t h e p a v i l i o n Sydney s t r ikes a pose, ho ld ing C h a r l i e J u n i o r ' s shoulder , and goes i n t o t h e scene.

SYDNEY

Now t h a t m u m ' s gone, why d o n ' t I see i f I can ge t you a job

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

CHARLIE JUNIOR H e ' l l never take m e . H e ' l l

t h i n k I ' m t o o young.

SYDNEY

You're s even teen , and look o l d e r .

34

4 6 . CONT'D

47

CHARLIE JUNIOR ( t o C h a r l i e Sen io r ) I d o n ' t though.

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

washroom.

CHARLIE SENIOR Try p u t t i n g on masses of grey ing h a i r , and a moustache. Hunch t h e shou lde r s a b i t t o o .

H e demonstrates h i l a r i o u s l y , becoming i n s t a n t l y an o l d man, w i t h t h e a i d of a g rey mop head f o r a wig which he t a k e s from a c l ean ing woman's cupboard, a s m a l l n a i l b rush f o r a moustache t aken from a hand b a s i n , and t h e mop handle f o r a s t i c k t o suppor t h i s t o t t e r i n g walk . The o t h e r s laugh.

TILDEN

N o wonder w e won so e a s i l y p l a y i n g an oc togenar ian :

Mary P ick fo rd and Douglas Fai rbanks are o u t s i d e t h e p a v i l i o n .

MARY PJCKFORD J o i n Doug and m e f o r d r i n k s be fo re you go home, C h a r l i e ,

won't you?

35

4 7 . CONT ' D

C h a r l i e p u t s h i s bewigged head o u t of t h e window, and speaks i n a h igh cracked old man's vo ice .

CHARLIE SENIOR I'm a f r a i d a l l t hey a l low m e t h e s e days i s a l i t t l e b u t t e r m i l k , m'dear .

More l a u g h t e r and applause . Fairbanks salutes t h e c h a r a c t e r i z a t i o n w i t h a glass of champagne, a s w e mix through t o t h e nex t scene .

4 8 . 16 FRAMES, BLACK AND WHITE, SILENT

O n t h e f r o s t e d g l a s s door is w r i t t e n Fred Karno Head Off ice . Karno h i m s e l f , a dumpy, aggress ive man, s i t s behind a l a r g e desk c l u t t e r e d w i t h papers and t h e remains of meals. The 1 7 yea r old Char l i e s t a n d s nervously on t h e o the r s ide of t h e desk .

CAPTION "DO you t h i n k you could play o p p o s i t e Harry Weldon i n The F o o t b a l l Match? I'

Chaplin t h r u s t s h i s c h e s t o u t .

CAPTION "All I need i s t h e oppor tuni ty!"

CAPTION "Seventeen ' s very young, and you look even younger^."

A tremendous shrug from C h a r l i e .

36

4 8 . C O N T ' D

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

With g r e a t s l e i g h t of hand he p u t s on a grey wig and moustache which makes h i m look e igh ty . A

suppor t ing cane appears as if by magic, and he l eans on it hunched and t r embl ing , be fo re t a k i n g a few t o t t e r i n g s t e p s . Karno r o a r s wi th a p p r e c i a t i v e l a u g h t e r .

CAPTION "1'11 g i v e you a t w o week t r i a l a t t h r e e pounds t e n a week!"

4 9 . Mix t o C h a r l i e e n t e r i n g on s t a g e i n The F o o t b a l l Match, w i t h h i s back t o t h e audience. H e i s p l a y i n g t h e V i l l a i n , come t o b r i b e Weldon, t h e s ta r goalkeeper i n t o throwing t h e game. H e i s d res sed i n a s louch h a t , o v e r s i z e Inverness Cape, and s m a l l b l ack moustache. He. suddenly t u r n s round, and t h e audience sees h e has reddened h i s nose, and laughs. I n qu ick success ion he scores more laughs , t r i p p i n g over a dumbell , and becoming en tangled w i t h a punch bag. H i s p a n t s f a l l down, and he looks f o r t h e miss ing b u t t o n , p i ck ing up and d i s c a r d i n g something.

CAPTION "These confounded r a b b i t s ! I'

More l a u g h t e r and w e see Weldon scowling i n t h e wings. H e speaks t o t h e Stage Manager.

37

4 9 . C O N T ' D

CAPTION "We've never had laughs here before! I'

H e goes on s t a g e . C h a r l i e g rabs h i s w r i s t .

CAPTION "Quick. I ' m undone! A p i n : "

T h e r e i s more l a u g h t e r . Weldon, f u r i o u s , s t r i k e s

Chaplin a v i c i o u s blow under cover of t h e s l a p s t i c k caus ing a nosebleed. H e whispers i n C h a r l i e ' s ear.

CAPTION ''1 have more t a l e n t i n my arse than you have i n your e n t i r e body."

C h a r l i e whispers back.

CAPTION " T h a t ' s where your t a l e n t l ies. 'I

W e i r is i n as t h e b a t t l e con t inues .

50. Mix through t o t h e next scene. 24 FRAMES. COLOUR. SOUND

Sydney Chapl in s i ts i n h i s d r e s s i n g room i n t h e Thea t re Royal Brighton. A d e l i v e r y boy e n t e r s with a te legram. H e tears it open, and w e see it i n CU.

I t r e a d s :

"Sydney Chapl in Thea t re Royal Br ighton , Have s igned c o n t r a c t w i th Karno f o r one year a t 4 pounds p e r week. Love C h a r l i e . "

38

5 0 . CONT'D

Sydney g r i n s and c a r e f u l l y attaches it t o h i s m i r r o r . H e t hen wanders o u t i n t o t h e c o r r i d o r and heads towards t h e s t a g e , followed by C h a r l i e Senior on t h e camera d o l l y .

51. I n t h e empty audi tor ium of t h e T h e a t r e Royal Brighton Sydney s t a n d s on s t a g e looking a t t he boxes next t o it. Suddenly a s if by magic h i s b r o t h e r Char l i e pops i n t o one of them a t t i r e d i n w h i t e t i e , t a i l s and t o p h a t , and goes i n t o h i s drunken swell a c t i n t h e Mummingbird ske tch . (Known i n t h e US a s A N i g h t I n An Engl i sh Music Ha l l ) . I t is a show w i t h i n a show - a bur lesque v a r i e t y en ter ta inment c o n t i n u a l l y i n t e r r u p t e d by members of t h e "audience". , p r i n c i p a l l y a f a t boy who throws food from the

O.P. box and Char l i e who j o i n s i n b ibulous ly from the Prompt s i d e . The acts come i n quick o rde r : a p a i r of s c r a g g l y can can g i r l s , a comic s inge r so awful t h a t t h e drunk chases him o f f s t a g e , a ranc id ham a c t o r who r e c i t e s The T r a i l of t h e Yukon t o agonised groans from t h e f a t boy and t h e drunk, and a q u a r t e t of m a l e r u s t i c s s ing ing in te rminable verses of " H a i l Smiling Morn That Tops The H i l l s

With Gold" u n t i l they are p e l t e d o f f s t a g e w i t h

buns. F i n a l l y w e g e t Marconi A l i "The T e r r i b l e Turk, t h e Greatest Wrestler Ever t o Appear Before t h e B r i t i s h P u b l i c , " who i s prepared t o wrestle anyone i n t h e audience f o r one hundred pounds. Char l i e t a k e s up t h e cha l l enge and downs t h e Turk by appearing i n long underwear trimmed w i t h r e d r ibbons , and t i c k l i n g him i n t o su r rende r .

A s t h e o r i g i n a l sc r ip t had it, t h e show concludes wi th a t y p i c a l l y Karno cl imax. "A gene ra l melee ensues and t h e c u r t a i n s c l o s e on an uproar ious scene"

3 9

51. CONT'D

52.

as C h a r l i e t r i e s drunkenly t o avoid t h e vengeful Turk, h i d i n g behind i n t u r n t h e comic s i n g e r , t h e

ham a c t o r , a n incompetent c o n j u r e r , t h e male q u a r t e t , and t h e d e s i c a t e d can can g i r l s , a11 of whom a r e a t t empt ing t o s i g n o f f w i t h samples of t h e i r a r t . Most of t h e i r props end up on t h e f l o o r a long wi th C h a r l i e h imse l f , being m e r c i l e s s l y pummelled by Marconi.

N.B. A s t h i s Mummingbird Sketch w a s obvious ly a cons ide rab le t o u r de f o r c e f o r Chaplin, and indeed was what g o t him h i s job w i t h Mack Sennet t l a t e r , it may w e l l be t h a t it should be performed i n i t s e n t i r e t y w i t h Chapl in Senior d i r e c t i n g , and

showing everybody how it was done.

1 6 FRAMES. BLACK AND WHITE. SILENT

A s he comes o f f s t a g e C h a r l i e c a t c h e s t h e eye of a f i f t e e n yea r o l d g i r l who a s k s him t o hold a small mi r ro r f o r he r whi le she does h e r h a i r . Cha r l i e gazes a t h e r i n r a p t u r e .

CAPTION "What ' s your name? 'I

CAPTION "Het ty Kel ly . I'

CAPTION " M y name s C h a r l i e Chaplin. 'I

CAPTION 'I I know. 'I

CAPTION "HOW d i d you l i k e the ske tch?"

40

52. CONT'D

CAPTION " N o t much! I'

CAPTION "Oh! I ' m s o r r y . "

C A P T I O N "You' r e OK though. Smashing a c t u a l l y . 'I

CAPTION "Thanks er M i s s Kelly."

CAPTION "You can c a l l me H e t t y . "

CAPTION " W i l l you meet m e Sunday a f t e rnoon , Het ty?"

CAP T I ON might . You're a b i t o l d ,

CAPTION " I ' m go ing on f o r n ine teen . "

CAPTION "Gertcha! ' I

CAPTION "Bonest! I t ' s m e r e d nose and

though. I'

t h e s e t o f f c l o t h e s . I'll show you."

He r u b s o f f h i s r e d nose , and removes h i s w i g , h a t and t a i l s , and smiles d e v a s t a t i n g l y .

CAPTION "00 , y o u ' r e q u i t e young! I'

CAPTION "Kennhgton Gate 4 o'clock Sunday?"

CAPTION " A l r i g h t er M r . Chapl in . ' I

CAPTION " C a l l me Charl ie . I'

CAPTION " A l r i g h t Charl ie" I'

4 1

52 . CONT'D

She smiles a t h i m . H e jumps i n t h e a i r and does a series of e n t r e c h a t s which t a k e him from our s i g h t . She b u r s t s o u t laughing.

53. C h a r l i e d re s sed up t o the n ines i n dark s u i t wi th nipped i n w a i s t and d a r k s t o c k t i e , s p a t s and a black ebony cane w a i t s anx ious ly by t h e tramcar s t o p . A success ion of h ideous ly p l a i n g i r l s g e t s o f f a number of t r a m c a r s , and come towards him.

I n each case he r a i s e s h i s h a t , and smiles and a s t h e y p a s s him by t h e s m i l e changes t o one of r e l i e f .

A success ion of c a p t i o n s are i n t e r c u t wi th t h i s a c t i v i t y .

CAPTION "What an ugly c r e a t u r e ! ' I

CAPTION "Stage make up can be so dece iv ing ."

CAPTION ''1 do hope s h e ' s n o t mine !" e tc . etc.

A p r e t t y g i r l g e t s o f f and heads towards him.

CAPTION "Ah , t h i s o n e ' s mine!

He smiles and raises h i s h a t . She s l o s h e s h i m .

He r ee l s back i n t o t h e a r m s of an even p r e t t i e r one - t h e r e a l He t ty Ke l ly who i s wearing a s tunn ing l i t t l e s a i l o r h a t and r e e f e r j a c k e t . I n t e r c u t c a r d s a s b e f o r e .

"You' re always clowning. 'I

42

53. CONT'D

CAPTION "I thought you weren ' t coming. 'I

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

"Where a re w e going?"

CAPTION ''Up W e s t t o d inner . I thought t h e t r o c . "

CAPTION ''1 ' ve had d inne r . 'I

CAPTION "Have two.

CAPTION "NO thanks . I'll watch you. 'I

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

54. I n t h e Trocadero C h a r l i e buys an e l a b o r a t e d inner for one. Course a f te r course a r r i v e s and he

s t r u g g l e s t o ea t it a l l wi th only t h e ske tch ie s t

no t ion of which c u t l e r y t o employ w i t h which d i s h , and g e t t i n g i n t o f e a r f u l d i f f i c u l t i e s w i t h

asparagus t o n g s and f i n g e r bowls. All t h e w h i l e she

cooly n i b b l e s a minute t r i a n g u l a r sandwich w i t h

d a i n t y p r e c i s i o n .

I n t e r c u t c a p t i o n s .

CAPTION "You are m y nemesis:"

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

CAPTION "It means t h a t y o u ' r e too b e a u t i f u l . "

CAPTION " G e t away w i t h you!"

43

55. Outs ide , i n a long romantic montage of s e v e r a l n i g h t s i l l u s t r a t e d by changes i n t h e shape and s i z e of t h e moon, t hey walk through the n i g h t

streets t o Camberwell, ho ld ing hands.

A r e p r i s e of t h e harmonium c l a r i n e t duet of The Honeysuckle and The B e e s t e a l s on to t h e soundtrack as we r e v e r t t o -

56. 2 4 FRAMES. COLOUR. SOUND to see dawn r ise , and C h a r l i e and Het ty walking back t h e o t h e r way t o work, a long t h e Camberwell road s t i l l hold ing hands. W e p u l l back t o see C h a r l i e Senior on t h e camera d o l l y c a l l i n g out t o t h e young couple through a megaphone.

CHARLIE SENIOR

Keep t r y i n g t o hold hands,

C h a r l i e . Keep moving away Het ty . T h a t ’ s i t . . . T h a t ’ s it. Now pursue he r and walk i n t o t h e dog m e s s .

C h a r l i e does as i n s t r u c t e d , t hen hops along behind t r y i n g t o s c r a p e it o f f h i s shoe.

CHARLIE SENIOR N o , no. N o t l i k e t h a t . Hop a long doing it, s t i l l t r y i n g t o hold he r hand.

H e demonst ra tes , hopping a long h i l a r i o u s l y bes ides t h e camera a l t e r n a t e l y sc rap ing his f o o t on t h e

4 4

5 6 . CONT'D

curb and g rabb ing a t H e t t y ' s hand, and f i n a l l y tumbling over s t i l l ho ld ing i t .

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

CHARLIE J U N I O R

I see you d o n ' t r e a l l y love m e .

I-IETTY

Course I do.

CHARLIE J U N I O R

Then w i l l you marry m e .

HETTY

I'm only f i f t e e n , and you're only e i g h t e e n .

CHARLIE J U N I O R

If you w e r e compelled t o marry would it be m e o r someone else.

HETTY

I d o n ' t know. Honest C h a r l i e ,

I d o n ' t know.

CHARLIE J U N I O R

( D r a m a t i c a l l y ) . Then you c a n ' t l o v e m e ! l e t t h i s t h i n g go t o o fa r ! . . .I t h i n k we'd be t te r p a r t , and never see each o t h e r aga in !

I have

45

56 . CONT'D

H e shakes h e r hand solemnly.

CHARLIE J U N I O R

( D r a m a t i c a l l y ) . Goodbye: ... I t ' s bet ter t h i s way. Already you have too much power ove r m e .

I-IETTY

Goodbye then . I ' m s o r r y .

He t ty d i s a p p e a r s down t h e Underground. t o t a l l y d iscountenanced by Het ty ' s immediate

acceptance o f h i s h i s t r i o n i c s , walks away from u s t o t a l l y b e r e f t .

C h a r l i e ,

5 7 . 1 6 FRAMES. BLACK AND WHITE. SILENT

C h a r l i e goes down t o t h e Thames Embankment and jumps i n t h e r i v e r . I t i s f r e e z i n g , and qu ick ly coming t o h i s s e n s e s he c l imbs o u t . Passers by - d e r e l i c t s , and nannies pushing prams laugh immoderately a t t h i s f u t i l e , d rama t i c g e s t u r e . H e t r i e s t o shake water o u t of t h e l e g of his p a n t s , and h i s un inv i t ed audience laughs a l l t h e h a r d e r , as we no te y e t another of t h e famous Chapl in mannerisms of t h e f u t u r e .

C h a r l i e looks a t them somewhat, b u t no t t o t a l l y uncomprehendingly, €or he has a l r e a d y grasped

e g . , i n t h e runaway sheep i n c i d e n t , t h a t comedy and pa thos are very c l o s e l y related.

H e w h i r l s round t r y i n g t o g e t warm and w e m i x th rough to :

4 6

5 8 . C h a r l i e a t n i n e t e e n w h i r l i n g round i n t h e r o l l e r s k a t i n g s k e t c h for Karno. A t t h e end of i t C h a r l i e f l o p s i n a r i n k s i d e seat surveying t h e chaos he has caused. A man i n t r o d u c e s himself t o him.

I n t e r c u t c a p t i o n s .

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

CAPTION "Pleased t o m e e t you."

CAPTION "Boy, could w e use you i n t h e S ta tes . Bring t h i s and t h e Mummingbird Ske tch , and y o u ' l l l a y ' e m dead, though I guess it could use a new t i t l e . "

CAPTION "HOW about A Night i n A n Engl ish Music H a l l ? "

CAPTION "Great! I'

CAPTION "You ' l l have t o ask M r . Karno."

59. 2 4 FRAMES. COLOUR. SOUND

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

a r e locked i n b a t t l e a s C h a r l i e Senior rehearses them.

KARNO

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

CHARLIE J U N I O R

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

47

59 . CONT'D

CHARLIE S E N I O R

Make t h e g e s t u r e .

H e ho lds h i s nose and makes cha in p u l l i n g gestures as he blows a r a s p b e r r y .

C H A R L I E J U N I O R

(Der i s ive ) .

Did t h e water come up t o your e x p e c t a t i o n s ? ... N o i t o n l y reached m y knees ... Jesus ! ... T h e y ' l l k i l l us !

XARNO

They've go t all sorts of secret societ ies , and f r a t e r n i t i e s o u t t h e r e . T h e y ' l l l o v e it.

C H A R L I E J U N I O R

What have secre t societ ies got t o do wi th b reak ing eggs i n p e o p l e ' s pocke t s?

XARNO

I'll break your head i f you d o n ' t ge t o u t of h e r e .

A chase sequence starts which Chaplin Senior d i r e c t s , d i v i n g himself under t h e desk , and through Karno's legs by way of i l l u s t r a t i o n . The scene ends i n chaos, w i t h C h a r l i e J u n i o r running o u t of t h e o f f i c e and shou t ing t o Karno.

4 8

5 9 . CONT'D

CHARLIE JUNIOR I'll send you a postcard.

KARNO

The notices will do.

60. On board the SS Cairnroma, Charlie Junior chases a pretty girl round the deck, doing his famous skidding square turn. Stan Laurel, sitting in a lounger, trips him up, and sends him sprawling into the scuppers. Charlie Senior and his camera crew record the incident, as Charlie Junior dusts himself down, using more Chaplinesque mannerisms and gauche, butter-wouldn't-melt facial disclaimers.

Alf Reeves appears and shakes a minotory finger.

REEVES Charlie, if you don't behave yourself I'll have to send you home. Half the chorus has complained about you already. They have been extremely vocal.

CHARLIE Well you know how it is - their bark is worse than their bite.

Charlie saunters nonchalantly off down the deck, slipping his arm through that of another chorus girl as he rounds the deck and disappears from sight.

4 9

60 . CONT'D

The funne l blows black smoke which f i l l s t h e screen and camouflages t h e l o n g mix through it which takes us t o t h e n e x t scene . W e hear sounds of l and ahoy, e tc .

6 1 . LIBRARY FOOTAGE

New York harbour i n t h e f i r s t decade of t h e century . C h a r l i e r u n s forward t o t h e r a i l waving h i s h a t , as C h a r l i e S e n i o r and h i s f i l m crew d o l l y a f t e r h i m .

CHARLIE JUNIOR America I a m coming t o conquer you! Every man woman and c h i l d s h a l l have my name on t h e i r l i p s - Charles

Spencer Chapl in!

The Company boos him a f f e c t i o n a t e l y . H e sweeps them a bow.

62. 16 FRAMES. BLACK AND WHITE. SILENT

The Wow Wows s k e t c h is i n f u l l c r y w i t h a r e p r i s e of some of t h e "bus iness" referred t o i n t h e Karno o f f i c e , i n t h e l a s t sequence. Chapl in i n t h e r o l e of t h e Honourable Arch ie Binks i s cooking b r e a k f a s t . H e pocke t s an egg and promptly smashes it whi le knee l ing t o d e c l a r e h i s love f o r a l ady v i s i t o r . The audience s i t s s t o n e f a c e d .

CAPTION "Did t h e w a t e r come up t o your expec t a t i o n s ? I'

5 0

62. CONT'D

CAPTION "NO it only reached my knees."

More stone faced audience reaction.

In CU we see Charlie and Stan Laurel exchange glances of desperation. In the wings Alf Reeves looks glum. As they come off he speaks to them with resolute cheerfulness.

CAPTION "Never mind, boys, it'll go better tomorrow. Thursday's the night the English domestics in New York come out to play, and they'll understand the gags!"

63. Cut to the audience laughing hugely at Charlie doing the same egg business as in the previous scene. We move in to isolate Mack Sennett and Mabel Normand in the stalls. He is obviously most impressed with the audience response to Chaplin. He speaks to Normand.

CAPTION "If ever.1 become a big shot in this business there's a guy 1'11 sign up! I'

64. He scribbles on a visiting card. Wipe to Charlie reading the card in his dressing room.

5 1

64 . CONT'D

Cut t o CU card.

"You w e r e s e n s a t i o n a l . You' 11 be h e a r i n g f r o m u s . Mack Senne t t , t h e American Mutoscope and Biograph Company.

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

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

SILENT sequences from A Night I n A London Music H a l l , A Night I n A London Club (A hybrid of t h e Wow Wows and The Mummingbirds), Jimmy The Fearless - The Boy ' E r 0 who coming home l a t e , high h a t s h i s

p a r e n t s , and g i v e s himself a i rs , p repa ra to ry t o f a l l i n g i n t o a Dream Sequence on a Penny Dreadful theme, w i th scenes set i n t h e sa loon of a sett lers camp i n t h e Wild W e s t where a captured g i r l i s r e scued s i n g l e handed by t h e v a l i a n t Jimmy. H e

subsequent ly d e f e a t s t h e r o b b e r s ' ch i e f i n a sword f i g h t . Return ing home r i c h , he saves h i s o l d f o l k s from e v i c t i o n . Then comes t h e t w i s t . Wrathful f a t h e r wakes him from h i s dream, and p u t s t h e would be he ro a c r o s s h i s knee, and soundly spanks him.

6 7 . The f i n a l s cene of t h e montage i s Chaplin reading a c a b l e handed t o him by A l f Reeves. A CU r evea l s :

5 2

67 . CONT'D

Alf Reeves, Manager, Karno Company, Nixon Thea t r e P h i l a d e l p h i a , PA.

Is t h e r e a man named Chaf f in i n your company, or something like t h a t . S top . I f so w i l l he communicate w i t h Kessel and Bauman, 2 4 Longacre Bu i ld ing , Broadway, New York.

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

CAPTION "They ' re b i g lawyers . A d i s t a n t r e l a t i v e has d i e d and l e f t m e a f o r t u n e ! I know it!

68. 2 4 FRAMES. COLOUR. SOUND

The o f f i c e s o f Kessel and Bauman. C h a r l i e Senior i s d i r e c t i n g t h e younger Chaplin i n t h e scene along w i t h K e s s e l and Bauman. H e i l l u s t r a t e s what he

s a y s w i t h f e b r i l e a c t i v i t y , going from one t o t h e o t h e r .

CHARLIE SENIOR B e m o r e anxious....How much have I

been l e f t ? Is it in s t o c k s or cash? Is t h e r e a house in t h e country o r o n l y one i n town? Perhaps t h e r e ' s a motor car as w e l l ?

KESSEL

M r . Cha f f in . ...

53

68 . CONT'D

CHARLIE J U N I O R

Chapl in .

KESSEL

E x a c t l y . M r . Cha f f in , w e a r e n o t lawyers . W e are p a r t n e r s i n t h e N e w York Motion P i c t u r e Company, and on beha l f of Mr. Mack Sennet t d i r e c t o r of p roduc t ions and our s u b s i d i a r y The Keystone F i l m

Company, w e a re empowered t o o f f e r you 1 2 5 d o l l a r s p e r week f o r 5 2 weeks.

CHARL 1 E J U N I O R

On my behal f I a m empowered t o accep t 1 5 0 d o l l a r s p e r week f o r t h r e e months, and 175 f o r t h e remaining n ine .

Kessel looks a t Bauman. Bauman a t Xessel.

KESSEL W e l l I d o n ' t know.

CHAPLIN J U N I O R

Take it o r l e a v e it. I have my poor mother t o s u p p o r t .

BAUMAN

Very w e l l , w e accept. M r . Cha f f in , welcome t o Keystone.

CHAPLIN J U N I O R

Mr. C h a f f i n i s p l e a s e d t o shake your hand. But make t h e c o n t r a c t o u t t o

Mr. Chapl in won ' t you?

54

68 . CONT'D

H e hugs t h e s u r p r i s e d p roduce r s , and does a back f l i p of d e l i g h t over t h e i r v a s t p a r n e r ' s desk us ing t h e i r shou lde r s as l e v e r a g e .

6 9 . Mix through t o t h e main s t a g e of t h e Keystone S tudios .

STILL I N 2 4 FRAMES. COLOUR. SOUND w e s e e a y e l l o w board f l o o r cove r ing two b locks , l y i n g i n a b l aze of s u n l i g h t i n t e n s i f i e d by dozens o f w h i t e canvas re f lec tors s t r e t c h e d overhead. On it i s a wi lderness of "sets" - drawing rooms, p r i s o n i n t e r i o r s , l a u n d r i e s , b a l c o n i e s , s ta i rcases , caves , f i r e escapes , k i t c h e n s , ce l la rs . Five companies are p lay ing i n f r o n t of f i v e c l i c k i n g cameras.

C h a r l i e S e n i o r , on h i s own camera d o l l y t r a c k s t h e nervous new boy, Char l i e J u n i o r through t h e maze of

s e t s , a s he watches t h e v a r i o u s scenes of p i e throwing,. arse k i c k i n g , p r a t f a l l s and chases , without enthusiasm.

Mack Senne t t appea r s and welcomes C h a r l i e , and i n t r o d u c e s h i m t o Henry Lehrman.

MACK SENNETT

Our s e n i o r d i r e c t o r M r . Henry Lehrman w i l l p u t you t o work.

LEHRMAN You do a dude Limey ac t , d o n ' t you? S i l k t o p p e r , Oxford cutaway, check

55

6 9 . CONT'D

waistcoat, po lka dot c r a v a t , wal rus whiskers , monocle?

CHAPLIN J U N I O R

Yeah.

CHAPLIN SENIOR ( C a l l i n g from t h e d o l l y ) .

More nervous C h a r l i e . Not so cocky. Grovel a b i t .

H e m i m e s a b i t of Uriah Heap handwashing e t c .

CHAPLIN J U N I O R

( S t u t t e r i n g ) . T h a t ' s it s i r . H e ' s s o r t of an a r i s t o c r a t i c c h a r a c t e r . A t o f f as we'd say i n England.

LEHRMAN

G o g e t changed and made up. Meet

m e h e r e i n a h a l f hour.

CHAPLIN J U N I O R

Right you a r e s i r . it i s .

One h a l f hour

Wipe d i s s o l v e .

70. Chaplin J u n i o r , now costumed as t h e t o f f , appears w i t h h i s f a c e made up for t h e s t age . We FADE THE

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

56

7 0 . CONT'D

LEHRMAN

(Voice Over) . Look a t your s k i n , man. It w i l l r e g i s t e r grey , - and t h o s e l i n e s - you c a n ' t use l i n e s l i k e t h a t i n t h e p i c t u r e s . You'll look l i k e an ae r i a l view of a r a i lway s t a t i o n . For Chrissakes w i l l someone go show him how t o make up!

The humil ia ted C h a r l i e i s led away t o t h e make-up rooms.

71 . Mix t o C h a r l i e i n t h e make-up room, h i s f a c e being p a i n t e d b r i c k brown, and h i s eye la shes loaded w i t h

heavy black.

The make-up man d i r e c t s Char l ie t o look i n t h e mirror . As C h a r l i e peers forward we r e v e r s e c u t t o see him r e f l e c t e d i n BLACK AND WHITE, looking p e r f e c t f o r t h e photography of t h e day.

7 2 . A s w e t r a c k i n t o CU t h e m i r r o r the f i l m r e v e r s e s t o NEGATIVE, and w e see a sequence i n 1 6 FRAMES i n which C h a r l i e has a BLACK FACE AND WHITE MOUSTACHE. The performance i s s t i l t ed , unfunny and unpro fes s iona l , - f o r example, every tumble takes h im out of camera range. The o t h e r s i n t h e company inc lud ing F a t t y Arbuckle, Char l e s Avery, Chester Conklin, Mick Swain, Minton Durfee and Ford S t e r l i n g , are a l l thoroughly f a m i l i a r w i t h t h e techniques r e q u i r e d .

57

7 3 . 2 4 FRAMES. COLOUR. SOUND

A s t h e l i g h t s come up w e a r e i n a s c r e e n i n g room wi th Lehrrnan and Mack S e n n e t t looking accus ing ly a t C h a r l i e J u n i o r .

CHARLIE

Why are w e running i n n e g a t i v e ?

LEHRMAN

C o s i t ' s n o t w o r t h t h e cos t of p r i n t i n g up.

CHARLIE

I ' m s o r r y M r . Lehrman, M r . S e n n e t t . I know i t ' s n o t v e r y good.

MACK SENNETT

Good! I t ' s a gold p l a t e d , copper bottomed c l i n k e r . You're terr ible C h a r l i e . You c o u l d n ' t get a l augh

o u t of a drunken h y s t e r i c . You ' re s t i f f , you t e l e g r a p h eve ry r e a c t i o n . Every tumble is o u t of camera shot. T must have been mad t o s i g n you up!

CHARLIE I ' m s o r r y Mu. S e n n e t t . Honest ly I ' l l do better,

MACK SENNETT

You b e t your ass you will.

CHARLIE

I t ' s a l l t h a t s l a p s t i c k , M r . Senne t t - p i e throwing, and arse k i c k i n g and chas ing around.

Don ' t you t h i n k i t ' s sort of o l d

fash ioned - done t o d e a t h .

It's n o t r e a l l y my s t y l e .

58.

7 3 . CONT'D

MACK SENNETT No, I do not! If anything's sorta old fashioned and done to death it's that Limey dude character of yours. Let me tell you something, Charlie, he simply aint funny.

CHARLIE (Thunderstruck) .

Aint funny?

SENNETT Aint, repeat, aint funny. I want you to go to wardrobe now and select a costume that is funny. Or go pack your bags and get the hell out. Get it?

-

CHARLIE Yes sir.

He rises and leaves the screening room.

74. Charlie trails miserably back across the studio to wardrobe. He enters. Fatty Arbuckle, Char les Avery, Mick Swain, Minta Durfee, Ford Sterling and Chester Conklin are sitting about playing pinochle. chair. They all look at him sympathetically.

Wearily Charlie collapses onto a

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

5 9

7 4 . H i s eyes f a l l on Ford S t e r l i n g ' s s i z e 1 4 boots . W e d i s s o l v e t o a qu ick f lashback of t h e d i s t o r t i n g m i r r o r in t h e h a l l of m i r r o r s i n Southend. H e p u t s them on t h e wrong f e e t .

H i s eye now f a l l s on F a t t y Arbuckle 's huge t r o u s e r s l y i n g across t h e back of a c h a i r . W e d i s s o l v e t o a qu ick f lashback of t h e l a r g e t r o u s e r s on t h e harmonica p l a y e r p l a y i n g The Honeysuckle and t h e

B e e . H e p u t s them on. Arbuckle laughs a t t he

combination of l a r g e boo t s and t r o u s e r s .

H e now sees C h e s t e r Conk l in ' s bow t i e and w a i s t - c o a t . W e mix t o a q u i c k f lashback of t h e deck chair

a t t e n d a n t ' s t o o t i g h t wa i s t coa t and bow t i e on t h e

beach a t Southend. H e p u t s them on t o increas ing sounds of approba t ion .

Next he sees Charles Avery ' s t i n y t a i l coa t . W e mix t o a quick f l a shback of t h e Commissionaire a t

Southend p i e r s t a n d i n g i n h i s posh, t oo t i g h t t a i l c o a t . The chuckles grow as he p u t s it on, and it bunches over t h e t r o u s e r s .

T h e n e x t o b j e c t of h i s a t t e n t i o n i s Mick S w a i n ' s

moustache. A qu ick f l a shback t a k e s us t o t h e j a n i t o r i n t h e c o u r t y a r d of t h e workhouse who

s e p a r a t e d t h e Chapl ins on a r r i v a l . H e is wearing a t o o s m a l l moustache. C h a r l i e c u t s down Swain ' s moustache and s t i c k s it on, twi tch ing it t o s t i m u l a t e l a u g h t e r .

Minta Durfee now o f f e r s her f a t h e r ' s bowler ha t .

60

7 4 . C O N T ' D

MINTA DURFEE

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

j u s t g r e a t .

H e p u t s t h e t i n y h a t on, f e a t h e r i n g it above h i s

head.

F i n a l l y h i s eye f a l l s on a cane hanging on t h e w a l l . W e f l a s h back q u i c k l y t o t h e cane i n t h e hands of Captain Hindrum i n t h e Gym a t Hanwell workhouse. A s he r a i s e s it on h igh w e mix through t o Char l i e t a k i n g down t h e cane t o more applause from t h e t roupe.

A l a s t f l a shback t a k e s us t o Rummy Binks water ing

t h e ho r ses o u t s i d e t h e Queens Head, Lambeth, and moving wi th h i s p e c u l i a r sp l ay footed walk. Back i n t h e wardrobe room C h a r l i e L adopts i t , and t o roa r s of glee and applause he struts around t h e room, t i p s

h i s h a t , and i s gone.

The tramp has been born!

75. On t h e b i g s t a g e Mack Senne t t and Henry Lehrman s i t wa i t ing for C h a r l i e . I t i s empty except f o r C h a r l i e Senior and t h e camera crew and d o l l y . W i l l i a m Randolph Hearst and Marion Davies a l s o now appear t o check on t h e p r o g r e s s of t h e f i lm .

HEARST

So how's it going, C h a r l i e ?

6 1

7 5 . CONT'D

CHARLES S E N I O R

Fine. We're nearly done. As a matter of fact you've just come in time.

He points dramatically as the big doors open and the diminutive figure of Charlie Junior appears dressed as the tramp. He parades round the stage, cane twirling, pirouetting, pratfalling, shaking his legs, shrugging his shoulders, tipping his hat, and doing all the tramp business including of course the splayfooted walk, for Sennett and the camera.

Sennett smiles broadly. Lehrman scowls.

MACK SENNETT I love it!...Tell me about him.

CHARLIE JUNIOR

Well you know, he's a many sided bloke. He's a tramp, a gentleman, a dreamer, a lonely fellow always hopeful of romance and adventure. He would have you believe he's a scientist, a musician, a duke, a polo player. However he is not above picking up cigarette butts, or of robbing a baby of its candy. And of course if the occasion warrants it he will kick a lady up the arse - but only in extreme anger.

62

75. CONT'D

MACK SENNETT And he's more than a11 that. He's a child's view of a man. He's huge at the bottom and tiny at the top. Charlie, what more can I say. I love him. Let's hope everybody else will too.

Charlie does a thankful skip in the air.

LEHRMAN I can't see it myself. The world aint full of children. It'll never work.

76. 16 FRAMES. BLACK AND WHITE. SILENT

Charlie as the tramp walks away from us up the l o n q familiar road. Halfway up it he gives that same little skip of happiness and hope.

Iris to black.

FINIS.