CITIZEN KANE (1941)
      
Directed by Orson Welles
      
Written by Herman J. Mankiewicz & Orson Welles 
   
   
   Joseph Cotten ...... Jedediah Leland/Newsreel Reporter 
Dorothy Comingore ............... Susan Alexander Kane 
Agnes Moorehead ....................... Mrs. Mary Kane 
Ruth Warrick ................ Emily Monroe Norton Kane 
Ray Collins ............... Boss James 'Jim' W. Gettys 
Erskine Sanford ..... Herbert Carter/Newsreel Reporter
Everett Sloane ......................... Mr. Bernstein
William Alland ...... Jerry Thompson/Newsreel Narrator 
Paul Stewart .................. Raymond, Kane's Butler 
George Coulouris ............... Walter Parks Thatcher 
Fortunio Bonanova ..................... Signor Matiste
Gus Schilling ......................... The Headwaiter 
Philip Van Zandt ........................ Mr. Rawlston 
Georgia Backus ................................ Bertha 
Harry Shannon .......................... Kane's Father 
Sonny Bupp ................... Charles Foster Kane III 
Buddy Swan ........................... Kane, age eight 
Orson Welles ..................... Charles Foster Kane
       
   
                               PROLOGUE

     FADE IN:

 1   EXT. XANADU - FAINT DAWN - 1940 (MINIATURE)                    1   

     Window, very small in the distance, illuminated.

     All around this is an almost totally black screen.  Now, as 
     the camera moves slowly towards the window which is almost a 
     postage stamp in the frame, other forms appear; barbed wire, 
     cyclone fencing, and now, looming up against an early morning 
     sky, enormous iron grille work.  Camera travels up what is 
     now shown to be a gateway of gigantic proportions and holds 
     on the top of it - a huge initial "K" showing darker and 
     darker against the dawn sky.  Through this and beyond we see 
     the fairy-tale mountaintop of Xanadu, the great castle a 
     sillhouette as its summit, the little window a distant accent 
     in the darkness.

                                                        DISSOLVE:

     A SERIES OF SET-UPS, EACH CLOSER TO THE GREAT WINDOW, ALL 
     TELLING SOMETHING OF:

     The literally incredible domain of CHARLES FOSTER KANE.

     Its right flank resting for nearly forty miles on the Gulf 
     Coast, it truly extends in all directions farther than the 
     eye can see.  Designed by nature to be almost completely 
     bare and flat - it was, as will develop, practically all 
     marshland when Kane acquired and changed its face - it is 
     now pleasantly uneven, with its fair share of rolling hills 
     and one very good-sized mountain, all man-made.  Almost all 
     the land is improved, either through cultivation for farming 
     purposes or through careful landscaping, in the shape of 
     parks and lakes.  The castle dominates itself, an enormous 
     pile, compounded of several genuine castles, of European 
     origin, of varying architecture - dominates the scene, from 
     the very peak of the mountain.

                                                        DISSOLVE:

     GOLF LINKS (MINIATURE)

     Past which we move.  The greens are straggly and overgrown, 
     the fairways wild with tropical weeds, the links unused and 
     not seriously tended for a long time.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                 p. 2
     9-9-02                                                      


                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

     WHAT WAS ONCE A GOOD-SIZED ZOO (MINIATURE) Of the Hagenbeck 
     type.  All that now remains, with one exception, are the 
     individual plots, surrounded by moats, on which the animals 
     are kept, free and yet safe from each other and the landscape 
     at large.  (Signs on several of the plots indicate that here 
     there were once tigers, lions, girrafes.)

                                                        DISSOLVE:

     THE MONKEY TERRACE (MINIATURE)

     In the foreground, a great obscene ape is outlined against 
     the dawn murk.  He is scratching himself slowly, thoughtfully, 
     looking out across the estates of Charles Foster Kane, to 
     the distant light glowing in the castle on the hill.

                                                        DISSOLVE:

     THE ALLIGATOR PIT (MINIATURE)

     The idiot pile of sleepy dragons.  Reflected in the muddy 
     water - the lighted window.

     THE LAGOON (MINIATURE)

     The boat landing sags.  An old newspaper floats on the surface 
     of the water - a copy of the New York Enquirer.  As it moves 
     across the frame, it discloses again the reflection of the 
     window in the castle, closer than before.

     THE GREAT SWIMMING POOL (MINIATURE)

     It is empty.  A newspaper blows across the cracked floor of 
     the tank.

                                                        DISSOLVE:

     THE COTTAGES (MINIATURE)

     In the shadows, literally the shadows, of the castle.  As we 
     move by, we see that their doors and windows are boarded up 
     and locked, with heavy bars as further protection and sealing.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                 p. 3
     9-9-02                                                      


     A DRAWBRIDGE (MINIATURE)

     Over a wide moat, now stagnant and choked with weeds.  We 
     move across it and through a huge solid gateway into a formal 
     garden, perhaps thirty yards wide and one hundred yards deep, 
     which extends right up to the very wall of the castle.  The 
     landscaping surrounding it has been sloppy and casual for a 
     long time, but this particular garden has been kept up in 
     perfect shape.  As the camera makes its way through it, 
     towards the lighted window of the castle, there are revealed 
     rare and exotic blooms of all kinds.  The dominating note is 
     one of almost exaggerated tropical lushness, hanging limp 
     and despairing.  Moss, moss, moss.  Ankor Wat, the night the 
     last King died.

                                                        DISSOLVE:

     THE WINDOW (MINIATURE)

     Camera moves in until the frame of the window fills the frame 
     of the screen.  Suddenly, the light within goes out.  This 
     stops the action of the camera and cuts the music which has 
     been accompanying the sequence.  In the glass panes of the 
     window, we see reflected the ripe, dreary landscape of Mr. 
     Kane's estate behind and the dawn sky.

                                                        DISSOLVE:

 2   INT. KANE'S BEDROOM - FAINT DAWN -                             2   

     A very long shot of Kane's enormous bed, silhouetted against 
     the enormous window.

                                                        DISSOLVE:

 3   INT. KANE'S BEDROOM - FAINT DAWN -                             3   

 4   SNOW SCENE.  AN INCREDIBLE ONE.  BIG, IMPOSSIBLE FLAKES OF 
     SNOW, A TOO PICTURESQUE FARMHOUSE AND A SNOW MAN.  THE 
     JINGLING OF SLEIGH BELLS IN THE MUSICAL SCORE NOW MAKES AN 
     IRONIC REFERENCE TO INDIAN TEMPLE BELLS - THE MUSIC FREEZES -  4   

                           KANE'S OLD OLD VOICE
               Rosebud...

     The camera pulls back, showing the whole scene to be contained 
     in one of those glass balls which are sold in novelty stores 
     all over the world.  A hand - Kane's hand, which has been 
     holding the ball, relaxes.  The ball falls out of his hand 
     and bounds down two carpeted steps leading to the bed, the 
     camera following.  The ball falls off the last step onto the 
     marble floor where it breaks, the fragments glittering in 
     the first rays of the morning sun.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                 p. 4
     9-9-02                                                      


     This ray cuts an angular pattern across the floor, suddenly 
     crossed with a thousand bars of light as the blinds are pulled 
     across the window.

     The foot of Kane's bed.  The camera very close.  Outlined 
     against the shuttered window, we can see a form - the form 
     of a nurse, as she pulls the sheet up over his head.  The 
     camera follows this action up the length of the bed and 
     arrives at the face after the sheet has covered it.

                                                        FADE OUT:

     FADE IN:

 5   INT. OF A MOTION PICTURE PROJECTION ROOM                       5   

     On the screen as the camera moves in are the words:

                             "MAIN TITLE"

     Stirring, brassy music is heard on the soundtrack (which, of 
     course, sounds more like a soundtrack than ours.)

     The screen in the projection room fills our screen as the 
     second title appears:

                              "CREDITS"

     NOTE:  Here follows a typical news digest short, one of the 
     regular monthly or bi-monthly features, based on public events 
     or personalities.  These are distinguished from ordinary 
     newsreels and short subjects in that they have a fully 
     developed editorial or storyline.  Some of the more obvious 
     characteristics of the "March of Time," for example, as well 
     as other documentary shorts, will be combined to give an 
     authentic impression of this now familiar type of short 
     subject.  As is the accepted procedure in these short 
     subjects, a narrator is used as well as explanatory titles.

                                                        FADE OUT:

                           NEWS DIGEST NARRATOR
               Legendary was the Xanadu where Kubla 
               Kahn decreed his stately pleasure 
               dome-
                    (with quotes in his 
                    voice)
               "Where twice five miles of fertile 
               ground, with walls and towers were 
               girdled 'round."
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                 p. 5
     9-9-02                                                      


                           NEWS DIGEST NARRATOR (CONT'D)
                    (dropping the quotes)
               Today, almost as legendary is 
               Florida's XANADU - world's largest 
               private pleasure ground.  Here, on 
               the deserts of the Gulf Coast, a 
               private mountain was commissioned, 
               successfully built for its landlord.  
               Here in a private valley, as in the 
               Coleridge poem, "blossoms many an 
               incense-bearing tree." Verily, "a 
               miracle of rare device." U.S.A.

     CHARLES FOSTER KANE

     Opening shot of great desolate expanse of Florida coastline 
     (1940 - DAY)

                                                        DISSOLVE:

     Series of shots showing various aspects of Xanadu, all as 
     they might be photographed by an ordinary newsreel cameraman - 
     nicely photographed, but not atmospheric to the extreme extent 
     of the Prologue (1940).

                           NARRATOR
                    (dropping the quotes)
               Here, for Xanadu's landlord, will be 
               held 1940's biggest, strangest 
               funeral; here this week is laid to 
               rest a potent figure of our Century -
               America's Kubla Kahn - Charles Foster 
               Kane.  In journalism's history, other 
               names are honored more than Charles 
               Foster Kane's, more justly revered.  
               Among publishers, second only to 
               James Gordon Bennet the First: his 
               dashing, expatriate son; England's 
               Northcliffe and Beaverbrook; Chicago's 
               Patterson and McCormick;

     TITLE:

     TO FORTY-FOUR MILLION U.S. NEWS BUYERS, MORE NEWSWORTHY THAN 
     THE NAMES IN HIS OWN HEADLINES, WAS KANE HIMSELF, GREATEST 
     NEWSPAPER TYCOON OF THIS OR ANY OTHER GENERATION.

     Shot of a huge, screen-filling picture of Kane.  Pull back 
     to show that it is a picture on the front page of the 
     "Enquirer," surrounded by the reversed rules of mourning, 
     with masthead and headlines. (1940)

                                                        DISSOLVE:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                 p. 6
     9-9-02                                                      


     A great number of headlines, set in different types and 
     different styles, obviously from different papers, all 
     announcing Kane's death, all appearing over photographs of 
     Kane himself (perhaps a fifth of the headlines are in foreign 
     languages).  An important item in connection with the 
     headlines is that many of them - positively not all - reveal 
     passionately conflicting opinions about Kane.  Thus, they 
     contain variously the words "patriot," "democrat," "pacifist," 
     "war-monger," "traitor," "idealist," "American," etc.

     TITLE:

     1895 TO 1940 - ALL OF THESE YEARS HE COVERED, MANY OF THESE 
     YEARS HE WAS.

     Newsreel shots of San Francisco during and after the fire, 
     followed by shots of special trains with large streamers: 
     "Kane Relief Organization."  Over these shots superimpose 
     the date - 1906.

     Artist's painting of Foch's railroad car and peace 
     negotiators, if actual newsreel shot unavailable.  Over this 
     shot sumperimpose the date - 1918.

                           NARRATOR (CONT'D)
               Denver's Bonfils and Sommes; New 
               York's late, great Joseph Pulitzer; 
               America's emperor of the news 
               syndicate, another editorialist and 
               landlord, the still mighty and once 
               mightier Hearst.  Great names all of 
               them -but none of them so loved, 
               hated, feared, so often spoken -
               as Charles Foster Kane.  The San 
               Francisco earthquake.  First with 
               the news were the Kane papers.  First 
               with Relief of the Sufferers, First 
               with the news of their Relief of the 
               Sufferers.
                    Kane papers scoop the world on 
               the Armistice - publish, eight hours 
               before competitors, complete details 
               of the Armistice teams granted the 
               Germans by Marshall Foch from his 
               railroad car in the Forest of 
               Compeigne.  For forty years appeared 
               in Kane newsprint no public issue on 
               which Kane papers took no stand.
                    No public man whom Kane himself 
               did not support or denounce - often 
               support, then denounce.       Its 
               humble beginnings, a dying daily -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                 p. 7
     9-9-02                                                      


 6   SHOTS WITH THE DATE - 1898 (TO BE SUPPLIED)                    6   

 7   SHOTS WITH THE DATE - 1910 (TO BE SUPPLIED)                    7   

 8   SHOTS WITH THE DATE - 1922 (TO BE SUPPLIED)                    8   

     Headlines, cartoons, contemporary newreels or stills of the 
     following:

     1.  WOMAN SUFFRAGE

     The celebrated newsreel shot of about 1914.

     2.  PROHIBITION

     Breaking up of a speakeasy and such.

     3.  T.V.A.

     LABOR RIOTS

     Brief clips of old newreel shots of William Jennings Bryan, 
     Theodore Roosevelt, Stalin, Walter P. Thatcher, Al Smith, 
     McKinley, Landon, Franklin D. Roosevelt and such.  Also, 
     recent newsreels of the elderly Kane with such Nazis as Hitler 
     and Goering; and England's Chamberlain and Churchill.

     Shot of a ramshackle building with old-fashioned presses 
     showing through plate glass windows and the name "Enquirer" 
     in old-fashioned gold letters. (1892)

                                                        DISSOLVE:

                           NARRATOR
               Kane's empire, in its glory, held 
               dominion over thirty-seven newpapers, 
               thirteen magazines, a radio network.
                    An empire upon an empire.  The 
               first of grocery stores, paper mills, 
               apartment buildings, factories, 
               forests,
               ocean-liners - An empire through 
               which for fifty years flowed, in an 
               unending stream, the wealth of the 
               earth's third richest gold mine...
                    Famed in American legend is the 
               origin of the Kane fortune...  How, 
               to boarding housekeeper Mary Kane, 
               by a defaulting boarder, in 1868 was 
               left the supposedly worthless deed 
               to an abandoned mine shaft:
               The Colorado Lode.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                 p. 8
     9-9-02                                                      


     The magnificent Enquirer Building of today.

     1891-1911 - a map of the USA, covering the entire screen, 
     which in animated diagram shows the Kane publications 
     spreading from city to city.  Starting from New York, minature 
     newboys speed madly to Chicago, Detroit, St. Louis, Los 
     Angeles, San Francisco, Washington, Atlanta, El Paso, etc., 
     screaming "Wuxtry, Kane Papers, Wuxtry."

     Shot of a large mine going full blast, chimneys belching 
     smoke, trains moving in and out, etc.  A large sign reads 
     "Colorado Lode Mining Co." (1940)  Sign reading; "Little 
     Salem, CO - 25 MILES."

                                                        DISSOLVE:

     An old still shot of Little Salem as it was 70 years ago 
     (identified by copper-plate caption beneath the still). (1870)

     Shot of early tintype stills of Thomas Foster Kane and his 
     wife, Mary, on their wedding day.  A similar picture of Mary 
     Kane some four or five years later with her little boy, 
     Charles Foster Kane.

                           NARRATOR (CONT'D)
               Fifty-seven years later, before a 
               Congressional Investigation, Walter 
               P. Thatcher, grand old man of Wall 
               Street, for years chief target of 
               Kane papers' attack on "trusts," 
               recalls a journey he made as a 
               youth...

     Shot of Capitol, in Washington D.C.

     Shot of Congressional Investigating Committee (reproduction 
     of existing J.P. Morgan newsreel).  This runs silent under 
     narration.  Walter P. Thatcher is on the stand.  He is flanked 
     by his son, Walter P. Thatcher Jr., and other partners.  He 
     is being questioned by some Merry Andrew congressmen.  At 
     this moment, a baby alligator has just been placed in his 
     lap, causing considerable confusion and embarrassment.

     Newsreel close-up of Thatcher, the soundtrack of which now 
     fades in.

                           THATCHER
               ...  because of that trivial 
               incident...

                           INVESTIGATOR
               It is a fact, however, is it not, 
               that in 1870, you did go to Colorado?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                 p. 9
     9-9-02                                                      


                           THATCHER
               I did.

                           INVESTIGATOR
               In connection with the Kane affairs?

                           THATCHER
               Yes.  My firm had been appointed 
               trustees by Mrs. Kane for the fortune, 
               which she had recently acquired.  It 
               was her wish that I should take charge 
               of this boy, Charles Foster Kane.

                           NARRATOR
               That same month in Union Square -

                           INVESTIGATOR
               Is it not a fact that on that 
               occasion, the boy personally attacked 
               you after striking you in the stomach 
               with a sled?

     Loud laughter and confusion.

                           THATCHER
               Mr. Chairman, I will read to this 
               committee a prepared statement I 
               have brought with me - and I will 
               then refuse to answer any further 
               questions.  Mr.
               Johnson, please!

     A young assistant hands him a sheet of paper from a briefcase.

                           THATCHER (CONT'D)
                    (reading it)
               "With full awareness of the meaning 
               of my words and the responsibility 
               of what I am about to say, it is my 
               considered belief that Mr.  Charles 
               Foster Kane, in every essence of his 
               social beliefs and by the dangerous 
               manner in which he has persistently 
               attacked the American traditions of 
               private property, initiative and 
               opportunity for advancement, is - in 
               fact - nothing more or less than a 
               Communist."

     Newsreel of Union Square meeting, section of crowd carrying 
     banners urging the boycott of Kane papers.  A speaker is on 
     the platform above the crowd.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 10
     9-9-02                                                      


                           SPEAKER
                    (fading in on 
                    soundtrack till the 
                    words "Charles Foster 
                    Kane")
               are a menace to every working man in 
               this land.  He is today what he has 
               always been and always will be - A 
               FASCIST!

                           NARRATOR
               And yet another opinion - Kane's 
               own.

     Silent newsreel on a windy platform, flag-draped, in front 
     of the magnificent Enquirer building.  On platform, in full 
     ceremonial dress, is Charles Foster Kane.  He orates silently.

     TITLE:

     "I AM, HAVE BEEN, AND WILL BE ONLY ONE THING - AN AMERICAN."  
     CHARLES FOSTER KANE.

     Same locale, Kane shaking hands out of frame.

     Another newsreel shot, much later, very brief, showing Kane, 
     older and much fatter, very tired-looking, seated with his 
     second wife in a nightclub.  He looks lonely and unhappy in 
     the midst of the gaiety.

                           NARRATOR (CONT'D)
               Twice married, twice divorced - first 
               to a president's niece, Emily Norton - 
               today, by her second marriage, 
               chatelaine of the oldest of England's 
               stately homes.
                    Sixteen years after that - two 
               weeks after his divorce from Emily 
               Norton - Kane married Susan Alexander, 
               singer, at the Town Hall in Trenton, 
               New Jersey.

     TITLE:

     FEW PRIVATE LIVES WERE MORE PUBLIC.

     Period still of Emily Norton (1900).

                                                        DISSOLVE:

     Reconstructed silent newsreel.  Kane, Susan, and Bernstein 
     emerging from side doorway of City Hall into a ring of press 
     photographers, reporters, etc.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 11
     9-9-02                                                      


     Kane looks startled, recoils for an instance, then charges 
     down upon the photographers, laying about him with his stick, 
     smashing whatever he can hit.

                           NARRATOR (CONT'D)
               For wife two, one-time opera singing 
               Susan Alexander, Kane built Chicago's 
               Municipal Opera House.  Cost: three 
               million dollars.  Conceived for Susan 
               Alexander Kane, half-finished before 
               she divorced him, the still unfinished 
               Xanadu.  Cost: no man can say.

     Still of architect's sketch with typically glorified 
     "rendering" of the Chicago Municipal Opera House.

                                                        DISSOLVE:

     A glamorous shot of the almost-finished Xanadu, a magnificent 
     fairy-tale estate built on a mountain. (1920)

     Then shots of its preparation. (1917)

     Shots of truck after truck, train after train, flashing by 
     with tremendous noise.

     Shots of vast dredges, steamshovels.

     Shot of ship standing offshore unloading its lighters.

     In quick succession, shots follow each other, some 
     reconstructed, some in miniature, some real shots (maybe 
     from the dam projects) of building, digging, pouring concrete, 
     etc.

                           NARRATOR (CONT'D)
               One hundred thousand trees, twenty 
               thousand tons of marble, are the 
               ingredients of Xanadu's mountain.  
               Xanadu's livestock: the fowl of the 
               air, the fish of the sea, the beast 
               of the field and jungle - two of 
               each; the biggest private zoo since 
               Noah.
                    Contents of Kane's palace: 
               paintings, pictures, statues, the 
               very stones of many another palace, 
               shipped to Florida from every corner 
               of the earth, from other Kane houses, 
               warehouses, where they mouldered for 
               years.  Enough for ten museums - the 
               loot of the world.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 12
     9-9-02                                                      


     More shots as before, only this time we see (in miniature) a 
     large mountain - at different periods in its development - 
     rising out of the sands.

     Shots of elephants, apes, zebras, etc. being herded, unloaded, 
     shipped, etc. in various ways.

     Shots of packing cases being unloaded from ships, from trains, 
     from trucks, with various kinds of lettering on them (Italian, 
     Arabian, Chinese, etc.) but all consigned to Charles Foster 
     Kane, Xanadu, Florida.

     A reconstructed still of Xanadu - the main terrace.  A group 
     of persons in clothes of the period of 1917.  In their midst, 
     clearly recognizable, are Kane and Susan.

                           NARRATOR (CONT'D)
               Kane urged his country's entry into 
               one war, opposed participation in 
               another.  Swung the election to one 
               American President at least, was 
               called another's assassin.  Thus, 
               Kane's papers might never have 
               survived - had not the President.

     TITLE:

     FROM XANADU, FOR THE PAST TWENTY-FIVE YEARS, ALL KANE 
     ENTERPRISES HAVE BEEN DIRECTED, MANY OF THE NATIONS DESTINIES 
     SHAPED.

     Shots of various authentically worded headlines of American 
     papers since 1895.

     Spanish-American War shots. (1898)

     A graveyard in France of the World War and hundreds of 
     crosses. (1919)

     Old newsreels of a political campaign.

     Insert of a particularly virulent headline and/or cartoon.

     HEADLINE: "PRESIDENT SHOT"

                           NARRATOR (CONT'D)
               Kane, molder of mass opinion though 
               he was, in all his life was never 
               granted elective office by the voters 
               of his country. Few U.S. news 
               publishers have been.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 13
     9-9-02                                                      


                           NARRATOR (CONT'D)
               Few, like one-time Congressman Hearst, 
               have ever run for any office - most 
               know better - conclude with other 
               political observers that one man's 
               press has power enough for himself.  
               But Kane papers were once strong 
               indeed, and once the prize seemed 
               almost his.  In 1910, as Independent 
               Candidate for governor, the best 
               elements of the state behind him - 
               the White House seemingly the next 
               easy step in a lightning
               political career -

     Night shot of crowd burning Charles Foster Kane in effigy.  
     The dummy bears a grotesque, comic resemblance to Kane.  It 
     is tossed into the flames, which burn up -

     AND THEN DOWN...  (1910)

                                                        FADE OUT:

     TITLE:

     IN POLITICS - ALWAYS A BRIDESMAID, NEVER A BRIDE

     Newsreel shots of great crowds streaming into a building - 
     Madison Square Garden - then shots inside the vast auditorium, 
     at one end of which is a huge picture of Kane.  (1910)

     Shot of box containing the first Mrs. Kane and young Howard 
     Kane, age five.  They are acknowledging the cheers of the 
     crowd.  (Silent Shot)  (1910)

     Newreel shot of dignitaries on platform, with Kane, alongside 
     of speaker's table, beaming, hand upraised to silence the 
     crowd.  (Silent Shot)  (1910)

                           NARRATOR (CONT'D)
               Then, suddenly - less than one week 
               before election - defeat!  Shameful, 
               ignominious - defeat that set back 
               for twenty years the cause of reform 
               in the U.S., forever cancelled 
               political chances for Charles Foster 
               Kane.
                    Then, in the third year of the 
               Great Depression...  As to all 
               publishers, it sometimes must - to 
               Bennett, to Munsey and Hearst it did - 
               a paper closes!
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 14
     9-9-02                                                      


                           NARRATOR (CONT'D)
               For Kane, in four short years: 
               collapse!
                    Eleven Kane papers, four Kane 
               magazines merged, more sold, scrapped -

     Newreel shot - closeup of Kane delivering a speech...  (1910)

     The front page of a contemporary paper - a screaming headline.  
     Twin phots of Kane and Susan.  (1910)

     Printed title about Depression.

     Once more repeat the map of the USA 1932-1939.  Suddenly, 
     the cartoon goes into reverse, the empire begins to shrink, 
     illustrating the narrator's words.

     The door of a newspaper office with the signs: "Closed."

                           NARRATOR (CONT'D)
               Then four long years more - alone in 
               his never-finished, already decaying, 
               pleasure palace, aloof, seldom 
               visited, never photographed, Charles 
               Foster Kane continued to direct his 
               falling empire ... vainly attempting 
               to sway, as he once did, the destinies 
               of a nation that has ceased to listen 
               to him ... ceased to trust him...

     SHOTS OF XANADU.  (1940)

     Series of shots, entirely modern, but rather jumpy and 
     obviously bootlegged, showing Kane in a bath chair, swathed 
     in summer rugs, being perambulated through his rose garden, 
     a desolate figure in the sunshine.  (1935)

                           NARRATOR (CONT'D)
               Last week, death came to sit upon 
               the throne of America's Kubla Khan - 
               last week, as it must to all men, 
               death came to Charles Foster Kane.

                                                        DISSOLVE:

     Cabinent Photograph (Full Screen) of Kane as an old, old 
     man.  This image remains constant on the screen (as camera 
     pulls back, taking in the interior of a dark projection room.

 9   INT. PROJECTION ROOM - DAY -                                   9   

     A fairly large one, with a long throw to the screen.  It is 
     dark.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 15
     9-9-02                                                      


     The image of Kane as an old man remains constant on the screen 
     as camera pulls back, slowly taking in and registering 
     Projection Room.  This action occurs, however, only after 
     the first few lines of encuring dialogue have been spoken.  
     The shadows of the men speaking appear as they rise from 
     their chairs - black against the image of Kane's face on the 
     screen.

     NOTE:  These are the editors of a "News Digest" short, and 
     of the Rawlston magazines.  All his enterprises are 
     represented in the projection room, and Rawlston himself, 
     that great man, is present also and will shortly speak up.

     During the entire course of this scene, nobody's face is 
     really seen.  Sections of their bodies are picked out by a 
     table light, a silhouette is thrown on the screen, and their 
     faces and bodies are themselves thrown into silhouette against 
     the brilliant slanting rays of light from the projection 
     room.

     A Third Man is on the telephone.  We see a corner of his 
     head and the phone.

                           THIRD MAN
                    (at phone)
               Stand by.  I'll tell you if we want 
               to run it again.
                    (hangs up)

                           THOMPSON'S VOICE
               Well?

     A short pause.

                           A MAN'S VOICE
               It's a tough thing to do in a 
               newsreel.  Seventy years of a man's 
               life -

     Murmur of highly salaried assent at this.  Rawlston walks 
     toward camera and out of the picture.  Others are rising.  
     Camera during all of this, apparently does its best to follow 
     action and pick up faces, but fails.  Actually, all set-ups 
     are to be planned very carefully to exclude the element of 
     personality from this scene; which is expressed entirely by 
     voices, shadows, sillhouettes and the big, bright image of 
     Kane himself on the screen.

                           A VOICE
               See what Arthur Ellis wrote about 
               him in the American review?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 16
     9-9-02                                                      


                           THIRD MAN
               I read it.

                           THE VOICE
                    (its owner is already 
                    leaning across the 
                    table, holding a 
                    piece of paper under 
                    the desk light and 
                    reading from it)
               Listen:  Kane is dead.  He contributed 
               to the journalism of his day - the 
               talent of a mountebank, the morals 
               of a bootlegger, and the manners of 
               a pasha.
                    He and his kind have almost 
               succeeded in transforming a once 
               noble profession into a seven percent 
               security - no longer secure.

                           ANOTHER VOICE
               That's what Arthur Ellis is writing 
               now.  Thirty years ago, when Kane 
               gave him his chance to clean up 
               Detroit and Chicago and St. Louis, 
               Kane was the greatest guy in the 
               world.  If you ask me - Charles Foster 
               Kane was a...

     Then observations are made almost simultaneous.

                           RAWLSTON'S VOICE
               Just a minute!

     Camera moves to take in his bulk outlined against the glow 
     from the projection room.

                           RAWLSTON
               What were Kane's last words?

     A silence greets this.

                           RAWLSTON (CONT'D)
               What were the last words he said on 
               earth?  Thompson, you've made us a 
               good short, but it needs character -

                           SOMEBODY'S VOICE
               Motivation -

                           RAWLSTON
               That's it - motivation.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 17
     9-9-02                                                      


                           RAWLSTON (CONT'D)
               What made Kane what he was?  And, 
               for that matter, what was he?  What 
               we've just seen are the outlines of 
               a career - what's behind the career?  
               What's the man?  Was he good or bad?  
               Strong or foolish?  Tragic or silly?  
               Why did he do all those things?  
               What was he after?
                    (then, appreciating 
                    his point)
               Maybe he told us on his death bed.

                           THOMPSON
               Yes, and maybe he didn't.

                           RAWLSTON
               Ask the question anyway, Thompson!  
               Build the picture around the question, 
               even if you can't answer it.

                           THOMPSON
               I know, but -

                           RAWLSTON
                    (riding over him like 
                    any other producer)
               All we saw on that screen was a big 
               American -

                           A VOICE
               One of the biggest.

                           RAWLSTON
                    (without pausing for 
                    this)
               But how is he different from Ford?  
               Or Hearst for that matter?  Or 
               Rockefeller - or John Doe?

                           A VOICE
               I know people worked for Kane will 
               tell you - not only in the newspaper 
               business - look how he raised 
               salaries.  You don't
               want to forget -

                           ANOTHER VOICE
               You take his labor record alone, 
               they ought to hang him up like a 
               dog.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 18
     9-9-02                                                      


                           RAWLSTON
               I tell you, Thompson - a man's dying 
               words -

                           SOMEBODY'S VOICE
               What were they?

     Silence.

                           SOMEBODY'S VOICE (CONT'D)
                    (hesitant)
               Yes, Mr. Rawlston, what were Kane's 
               dying words?

                           RAWLSTON
                    (with disgust)
               Rosebud!

     A little ripple of laughter at this, which is promptly 
     silenced by Rawlston.

                           RAWLSTON (CONT'D)
               That's right.

                           A VOICE
               Tough guy, huh?
                    (derisively)
               Dies calling for Rosebud!

                           RAWLSTON
               Here's a man who might have been 
               President.  He's been loved and hated 
               and talked about as much as any man 
               in our time - but when he comes to 
               die, he's got something on his mind 
               called "Rosebud."  What does that 
               mean?

                           ANOTHER VOICE
               A racehorse he bet on once, probably, 
               that didn't come in - Rosebud!

                           RAWLSTON
               All right.  But what was the race?

     There is a short silence.

                           RAWLSTON (CONT'D)
               Thompson!

                           THOMPSON
               Yes, sir.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 19
     9-9-02                                                      


                           RAWLSTON
               Hold this thing up for a week.  Two 
               weeks if you have to...

                           THOMPSON
                    (feebly)
               But don't you think if we release it 
               now - he's only been dead four days 
               it might be better than if -

                           RAWLSTON
                    (decisively)
               Nothing is ever better than finding 
               out what makes people tick.  Go after 
               the people that knew Kane well.  
               That manager of his - the little 
               guy, Bernstein, those two wives, all 
               the people who knew him, had worked 
               for
               him, who loved him, who hated his 
               guts -
                    (pauses)
               I don't mean go through the City
               Directory, of course -

     The Third Man gives a hearty "yes-man" laugh.

                           THOMPSON
               I'll get to it right away, Mr.
               Rawlston.

                           RAWLSTON
                    (rising)
               Good!

     The camera from behind him, outlines his back against Kane's 
     picture on the screen.

                           RAWLSTON'S VOICE
               It'll probably turn out to be a very 
               simple thing...

                                                        FADE OUT:

     NOTE:  Now begins the story proper - the seach by Thompson 
     for the facts about Kane - his researches ... his interviews 
     with the people who knew Kane.

     It is important to remember always that only at the very end 
     of the story is Thompson himself a personality.  Until then, 
     throughout the picture, we photograph only Thompson's back, 
     shoulders, or his shadow - sometimes we only record his voice.  
     He is not until the final scene a "character".

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 20
     9-9-02                                                      


     He is the personification of the search for the truth about 
     Charles Foster Kane.  He is the investigator.

     FADE IN:

10   EXT. CHEAP CABARET - "EL RANCHO" - ATLANTIC CITY - NIGHT - 
     1940 (MINIATURE) - RAIN                                       10   

     The first image to register is a sign:

     "EL RANCHO"

     FLOOR SHOW

     SUSAN ALEXANDER KANE

     TWICE NIGHTLY

     These words, spelled out in neon, glow out of the darkness 
     at the end of the fade out.  Then there is lightning which 
     reveals a squalid roof-top on which the sign stands.  Thunder 
     again, and faintly the sound of music from within.  A light 
     glows from a skylight.  The camera moves to this and closes 
     in.  Through the splashes of rain, we see through the skylight 
     down into the interior of the cabaret.  Directly below us at 
     a table sits the lone figure of a woman, drinking by herself.

                                                        DISSOLVE:

11   INT. "EL RANCO" CABARET - NIGHT -                             11   

     Medium shot of the same woman as before, finishing the drink 
     she started to take above.  It is Susie.  The music, of 
     course, is now very loud.  Thompson, his back to the camera, 
     moves into the picture in the close foreground.  A Captain 
     appears behind Susie, speaking across her to Thompson.

                           THE CAPTAIN
                    (a Greek)
               This is Mr. Thompson, Miss Alexander.

     Susan looks up into Thompson's face.  She is fifty, trying 
     to look much younger, cheaply blonded, in a cheap, enormously 
     generous evening dress.  Blinking up into Thompson's face, 
     she throws a crink into ther mouth.  Her eyes, which she 
     thinks is keeping commandingly on his, are bleared and watery.

                           SUSAN
                    (to the Captain)
               I want another drink, John.

     Low thunder from outside.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 21
     9-9-02                                                      


                           THE CAPTAIN
                    (seeing his chance)
               Right away.  Will you have something, 
               Mr. Thompson?

                           THOMPSON
                    (staring to sit down)
               I'll have a highball.

                           SUSAN
                    (so insistently as to 
                    make Thompson change 
                    his mind and stand 
                    up again)
               Who told you you could sit down here?

                           THOMPSON
               Oh!  I thought maybe we could have a 
               drink together?

                           SUSAN
               Think again!

     There is an awkward pause as Thompson looks from her to the 
     Captain.

                           SUSAN (CONT'D)
               Why don't you people let me alone? 
               I'm minding my own business.  You 
               mind yours.

                           THOMPSON
               If you'd just let me talk to you for 
               a little while, Miss Alexander.  All 
               I want to ask you...

                           SUSAN
               Get out of here!
                    (almost hysterical)
               Get out!  Get out!

     Thompson looks at the Captain, who shrugs his shoulders.

                           THOMPSON
               I'm sorry.  Maybe some other time -

     If he thought he would get a response from Susan, who thinks 
     she is looking at him steelily, he realizes his error.  He 
     nods and walks off, following the Captain out the door.

                           THE CAPTAIN
               She's just not talking to anybody 
               from the newspapers, Mr. Thompson.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 22
     9-9-02                                                      


                           THOMPSON
               I'm not from a newspaper exactly, I -

     They have come upon a waiter standing in front of a booth.

                           THE CAPTAIN
                    (to the waiter)
               Get her another highball.

                           THE WAITER
               Another double?

                           THE CAPTAIN
                    (after a moment, 
                    pityingly)
               Yes.

     They walk to the door.

                           THOMPSON
               She's plastered, isn't she?

                           THE CAPTAIN
               She'll snap out of it.  Why, until 
               he died, she'd just as soon talk 
               about Mr. Kane as about anybody.  
               Sooner.

                           THOMPSON
               I'll come down in a week or so and 
               see her again.  Say, you might be 
               able to help me.  When she used to 
               talk about Kane - did she ever happen 
               to say anything - about Rosebud?

                           THE CAPTAIN
               Rosebud?

     Thompson has just handed him a bill.  The Captain pockets 
     it.

                           THE CAPTAIN (CONT'D)
               Thank you, sir.  As a matter of fact, 
               yesterday afternoon, when it was in 
               all the papers - I asked her.  She 
               never heard of Rosebud.

                                                        FADE OUT:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 23
     9-9-02                                                      


     FADE IN:

12   INT. THATCHER MEMORIAL LIBRARY - DAY -                        12   

     An excruciatingly noble interpretation of Mr. Thatcher himself 
     executed in expensive marble.  He is shown seated on one of 
     those improbable Edwin Booth chairs and is looking down, his 
     stone eyes fixed on the camera.

     We move down off of this, showing the impressive pedestal on 
     which the monument is founded.  The words, "Walter Parks 
     Thatcher" are prominently and elegantly engraved thereon.  
     Immediately below the inscription we encounter, in a medium 
     shot, the person of Bertha Anderson, an elderly, mannish 
     spinster, seated behind her desk.  Thompson, his hat in his 
     hand, is standing before her.  Bertha is on the phone.

                           BERTHA
                    (into phone)
               Yes.  I'll take him in now.
                    (hangs up and looks 
                    at Thompson)
               The directors of the Thatcher Library 
               have asked me to remind you again of 
               the condition under which you may 
               inspect certain portions of Mr. 
               Thatcher's unpublished memoirs.  
               Under no circumstances are direct 
               quotations from his manuscript to be 
               used by you.

                           THOMPSON
               That's all right.

                           BERTHA
               You may come with me.

     Without watching whether he is following her or not, she 
     rises and starts towards a distant and imposingly framed 
     door.  Thompson, with a bit of a sigh, follows.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

13   INT. THE VAULT ROOM - THATCHER MEMORIAL LIBRARY - DAY -       13   

     A room with all the warmth and charm of Napolean's tomb.

     As we dissolve in, the door opens in and we see past 
     Thompson's shoulders the length of the room.  Everything 
     very plain, very much made out of marble and very gloomy.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 24
     9-9-02                                                      


     Illumination from a skylight above adds to the general air 
     of expensive and classical despair.  The floor is marble, 
     and there is a gigantic, mahogany table in the center of 
     everything.  Beyond this is to be seen, sunk in the marble 
     wall at the far end of the room, the safe from which a guard, 
     in a khaki uniform, with a revolver holster at his hip, is 
     extracting the journal of Walter P. Thatcher.  He brings it 
     to Bertha as if he were the guardian of a bullion shipment.  
     During this, Bertha has been speaking.

                           BERTHA
                    (to the guard)
               Pages eighty-three to one hundred 
               and forty-two, Jennings.

                           GUARD
               Yes, Miss Anderson.

                           BERTHA
                    (to Thompson)
               You will confine yourself, it is our 
               understanding, to the chapter dealing 
               with Mr. Kane.

                           THOMPSON
               That's all I'm interested in.

     The guard has, by this time, delivered the precious journal.  
     Bertha places it reverently on the table before Thompson.

                           BERTHA
               You will be required to leave this 
               room at four-thirty promptly.

     She leaves.  Thompson starts to light a cigarette.  The guard 
     shakes his head.  With a sigh, Thompson bends over to read 
     the manuscript.  Camera moves down over his shoulder onto 
     page of manuscript.

     Manuscript, neatly and precisely written:

     "CHARLES FOSTER KANE

     WHEN THESE LINES APPEAR IN PRINT, FIFTY YEARS AFTER MY DEATH, 
     I AM CONFIDENT THAT THE WHOLE WORLD WILL AGREE WITH MY OPINION 
     OF CHARLES FOSTER KANE, ASSUMING THAT HE IS NOT THEN 
     COMPLETELY FORGOTTEN, WHICH I REGARD AS EXTREMELY LIKELY.  A 
     GOOD DEAL OF NONSENSE HAS APPEARED ABOUT MY FIRST MEETING 
     WITH KANE, WHEN HE WAS SIX YEARS OLD...  THE FACTS ARE SIMPLE.  
     IN THE WINTER OF 1870..."

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 25
     9-9-02                                                      


     The camera has not held on the entire page.  It has been 
     following the words with the same action that the eye does 
     the reading.  On the last words, the white page of the paper

     DISSOLVES INTO:

14   EXT. MRS. KANE'S BOARDINGHOUSE - DAY -                        14   

     The white of a great field of snow, seen from the angle of a 
     parlor window.

     In the same position of the last word in above Insert, appears 
     the tiny figure of Charles Foster Kane, aged five (almost 
     like an animated cartoon).  He is in the act of throwing a 
     snowball at the camera.  It sails toward us and over our 
     heads, out of scene.

     Reverse angle - on the house featuring a large sign reading:

     MRS. KANE'S BOARDINGHOUSE

     HIGH CLASS MEALS AND LODGING

     INQUIRE WITHIN

     Charles Kane's snowball hits the sign.

15   INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY -               15   

     Camera is angling through the window, but the window-frame 
     is not cut into scene.  We see only the field of snow again, 
     same angle as in previous scene.  Charles is manufacturing 
     another snowball.  Now -

     Camera pulls back, the frame of the window appearing, and we 
     are inside the parlor of the boardinghouse.  Mrs. Kane, aged 
     about 28, is looking out towards her son.  Just as we take 
     her in she speaks:

                           MRS. KANE
                    (calling out)
               Be careful, Charles!

                           THATCHER'S VOICE
               Mrs. Kane -

                           MRS. KANE
                    (calling out the window 
                    almost on top of 
                    this)
               Pull your muffler around your neck, 
               Charles -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 26
     9-9-02                                                      


     But Charles, deliriously happy in the snow, is oblivious to 
     this and is running away.  Mrs. Kane turns into camera and 
     we see her face - a strong face, worn and kind.

                           THATCHER'S VOICE
               I think we'll have to tell him now -

     Camera now pulls back further, showing Thatcher standing 
     before a table on which is his stove-pipe hat and an imposing 
     multiplicity of official-looking documents.  He is 26 and, 
     as might be expected, a very stuffy young man, already very 
     expensive and conservative looking, even in Colorado.

                           MRS. KANE
               I'll sign those papers -

                           KANE SR.
               You people seem to forget that I'm 
               the boy's father.

     At the sound of Kane Sr.'s voice, both have turned to him 
     and the camera pulls back still further, taking him in.

     Kane Sr., who is the assistant curator in a livery stable, 
     has been groomed as elegantly as is likely for this meeting 
     ever since daybreak.

     From outside the window can be heard faintly the wild and 
     cheerful cries of the boy, blissfully cavorting in the snow.

                           MRS. KANE
               It's going to be done exactly the 
               way I've told Mr. Thatcher -

                           KANE SR.
               If I want to, I can go to court.
               A father has a right to -

                           THATCHER
                    (annoyed)
               Mr. Kane, the certificates that Mr. 
               Graves left here are made out to 
               Mrs. Kane, in her name.  Hers to do 
               with as she pleases -

                           KANE SR.
               Well, I don't hold with signing my 
               boy away to any bank as guardian 
               just because -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 27
     9-9-02                                                      


                           MRS. KANE
                    (quietly)
               I want you to stop all this nonsense, 
               Jim.

                           THATCHER
               The Bank's decision in all matters 
               concerning his education, his place 
               of residence and similar subjects 
               will be final.
                    (clears his throat)

                           KANE SR.
               The idea of a bank being the guardian -

     Mrs. Kane has met his eye.  Her triumph over him finds 
     expression in his failure to finish his sentence.

                           MRS. KANE
                    (even more quietly)
               I want you to stop all this nonsense, 
               Jim.

                           THATCHER
               We will assume full management of 
               the Colorado Lode - of which you, 
               Mrs. Kane, are the sole owner.

     Kane Sr. opens his mouth once or twice, as if to say 
     something, but chokes down his opinion.

                           MRS. KANE
                    (has been reading 
                    past Thatcher's 
                    shoulder as he talked)
               Where do I sign, Mr. Thatcher?

                           THATCHER
               Right here, Mrs. Kane.

                           KANE SR.
                    (sulkily)
               Don't say I didn't warn you.

     Mrs. Kane lifts the quill pen.

                           KANE SR. (CONT'D)
               Mary, I'm asking you for the last 
               time - anyone'd think I hadn't been 
               a good husband and a -

     Mrs. Kane looks at him slowly.  He stops his speech.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 28
     9-9-02                                                      


                           THATCHER
               The sum of fifty thousand dollars a 
               year is to be paid to yourself and 
               Mr. Kane as long as you both live, 
               and thereafter the survivor -

     Mrs. Kane puts pen to the paper and signs.

                           KANE SR.
               Well, let's hope it's all for the 
               best.

                           MRS. KANE
               It is.  Go on, Mr. Thatcher -

     Mrs. Kane, listening to Thatcher, of course has had her other 
     ear bent in the direction of the boy's voice.  Thatcher is 
     aware both of the boy's voice, which is counter to his own, 
     and of Mrs. Kane's divided attention.  As he pauses, Kane 
     Sr. genteelly walks over to close the window.

16   EXT. MRS. KANE'S BOARDINGHOUSE - DAY -                        16   

     Kane Jr., seen from Kane Sr.'s position at the window.  He 
     is advancing on the snowman, snowballs in his hands, dropping 
     to one knee the better to confound his adversary.

                           KANE
               If the rebels want a fight boys, 
               let's give it to 'em!

     He throws two snowballs, missing widely, and gets up and 
     advances another five feet before getting on his knees again.

                           KANE (CONT'D)
               The terms are underconditional 
               surrender.  Up and at 'em!  The Union 
               forever!

17   INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY -               17   

     Kane Sr. closes the window.

                           THATCHER
                    (over the boy's voice)
               Everything else - the principal as 
               well as all monies earned -is to be 
               administered by the bank in trust 
               for your son, Charles Foster Kane, 
               until his twenty-fifth birthday, at 
               which time he is to come into complete 
               possession.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 29
     9-9-02                                                      


     Mrs. Kane rises and goes to the window.

                           MRS. KANE
               Go on, Mr. Thatcher.

     Thatcher continues as she opens the window.  His voice, as 
     before, is heard with overtones of the boy's.

18   EXT. KANE'S BOARDINGHOUSE - DAY -                             18   

     Kane Jr., seen from Mrs. Kane's position at the window.  He 
     is now within ten feet of the snowman, with one snowball 
     left which he is holding back in his right hand.

                           KANE
               You can't lick Andy Jackson!  Old 
               Hickory, that's me!

     He fires his snowball, well wide of the mark and falls flat 
     on his stomach, starting to crawl carefully toward the 
     snowman.

                           THATCHER'S VOICE
               It's nearly five, Mrs. Kane, don't 
               you think I'd better meet the boy -

19   INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY -               19   

     Mrs. Kane at the window.  Thatcher is now standing at her 
     side.

                           MRS. KANE
               I've got his trunk all packed -
                    (she chokes a little)
               I've had it packed for a couple of 
               weeks -

     She can't say anymore.  She starts for the hall day.  Kane 
     Sr., ill at ease, has no idea of how to comfort her.

                           THATCHER
               I've arranged for a tutor to meet us 
               in Chicago.  I'd have brought him 
               along with me, but you were so anxious 
               to keep everything secret -

     He stops as he realizes that Mrs. Kane has paid no attention 
     to him and, having opened the door, is already well into the 
     hall that leads to the side door of the house.  He takes a 
     look at Kane Sr., tightens his lips and follows Mrs. Kane.  
     Kane, shoulders thrown back like one who bears defeat bravely, 
     follows him.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 30
     9-9-02                                                      


20   EXT. MRS. KANE'S BOARDINGHOUSE - DAY -                        20   

     Kane, in the snow-covered field.  With the snowman between 
     him and the house, he is holding the sled in his hand, just 
     about to make the little run that prefaces a belly-flop.  
     The Kane house, in the background, is a dilapidated, shabby, 
     two-story frame building, with a wooden outhouse.  Kane looks 
     up as he sees the single file procession, Mrs. Kane at its 
     head, coming toward him.

                           KANE
               H'ya, Mom.

     Mrs. Kane smiles.

                           KANE (CONT'D)
                    (gesturing at the 
                    snowman)
               See, Mom?  I took the pipe out of 
               his mouth.  If it keeps on snowin', 
               maybe I'll make some teeth and -

                           MRS. KANE
               You better come inside, son.  You 
               and I have got to get you all ready 
               for - for -

                           THATCHER
               Charles, my name is Mr. Thatcher -

                           MRS. KANE
               This is Mr. Thatcher, Charles.

                           THATCHER
               How do you do, Charles?

                           KANE SR.
               He comes from the east.

                           KANE
               Hello.  Hello, Pop.

                           KANE SR.
               Hello, Charlie!

                           MRS. KANE
               Mr. Thatcher is going to take you on 
               a trip with him tonight, Charles. 
               You'll be leaving on Number Ten.

                           KANE SR.
               That's the train with all the lights.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 31
     9-9-02                                                      


                           KANE
               You goin', Mom?

                           THATCHER
               Your mother won't be going right 
               away, Charles -

                           KANE
               Where'm I going?

                           KANE SR.
               You're going to see Chicago and New 
               York - and Washington, maybe... Isn't 
               he, Mr. Thatcher?

                           THATCHER
                    (heartily)
               He certainly is.  I wish I were a 
               little boy and going to make a trip 
               like that for the first time.

                           KANE
               Why aren't you comin' with us, Mom?

                           MRS. KANE
               We have to stay here, Charles.

                           KANE SR.
               You're going to live with Mr. Thatcher 
               from now on, Charlie!  You're going 
               to be rich.  Your Ma figures - that 
               is, er - she and I have decided that 
               this isn't the place for you to grow 
               up in.  You'll probably be the richest 
               man in America someday and you ought 
               to -

                           MRS. KANE
               You won't be lonely, Charles...

                           THATCHER
               We're going to have a lot of good 
               times together, Charles...  Really 
               we are.

     Kane stares at him.

                           THATCHER (CONT'D)
               Come on, Charles.  Let's shake hands.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 32
     9-9-02                                                      


                           THATCHER (CONT'D)
                    (extends his hand.  
                    Charles continues to 
                    look at him)
               Now, now!  I'm not as frightening as 
               all that!  Let's shake, what do you 
               say?

     He reaches out for Charles's hand.  Without a word, Charles 
     hits him in the stomach with the sled.  Thatcher stumbles 
     back a few feet, gasping.

                           THATCHER (CONT'D)
                    (with a sickly grin)
               You almost hurt me, Charles.
                    (moves towards him)
               Sleds aren't to hit people with.
               Sleds are to - to sleigh on.  When 
               we get to New York, Charles, we'll 
               get you a sled that will -

     He's near enough to try to put a hand on Kane's shoulder.  
     As he does, Kane kicks him in the ankle.

                           MRS. KANE
               Charles!

     He throws himself on her, his arms around her.  Slowly Mrs. 
     Kane puts her arms around him.

                           KANE
                    (frightened)
               Mom!  Mom!

                           MRS. KANE
               It's all right, Charles, it's all 
               right.

     Thatcher is looking on indignantly, occasionally bending 
     over to rub his ankle.

                           KANE SR.
               Sorry, Mr. Thatcher!  What the kid 
               needs is a good thrashing!

                           MRS. KANE
               That's what you think, is it, Jim?

                           KANE SR.
               Yes.

     Mrs. Kane looks slowly at Mr. Kane.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 33
     9-9-02                                                      


                           MRS. KANE
                    (slowly)
               That's why he's going to be brought 
               up where you can't get at him.

                                                        DISSOLVE:

21   1870 - NIGHT (STOCK OR MINIATURE)                             21   

     Old-fashioned railroad wheels underneath a sleeper, spinning 
     along the track.

                                                        DISSOLVE:

22   INT. TRAIN - OLD-FASHIONED DRAWING ROOM - NIGHT -             22   

     Thatcher, with a look of mingled exasperation, annoyance, 
     sympathy and inability to handle the situation, is standing 
     alongside a berth, looking at Kane.  Kane, his face in the 
     pillow, is crying with heartbreaking sobs.

                           KANE
               Mom!  Mom!

                                                    DISSOLVE OUT:

     The white page of the Thatcher manuscript.  We pick up the 
     words:

     "HE WAS, I REPEAT, A COMMON ADVENTURER, SPOILED, UNSCRUPULOUS, 
     IRRESPONSIBLE."

     The words are followed by printed headline on "Enquirer" 
     copy (as in following scene).

23   INT. ENQUIRER CITY ROOM - DAY -                               23   

     Close-up on printed headline which reads:

     "ENEMY ARMADA OFF JERSEY COAST"

     Camera pulls back to reveal Thatcher holding the "Enquirer" 
     copy, on which we read the headline.  He is standing near 
     the editorial round table around which a section of the staff, 
     including Reilly, Leland and Kane are eating lunch.

                           THATCHER
                    (coldly)
               Is that really your idea of how to 
               run a newspaper?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 34
     9-9-02                                                      


                           KANE
               I don't know how to run a newspaper, 
               Mr. Thatcher.  I just try everything 
               I can think of.

                           THATCHER
                    (reading headline of 
                    paper he is still 
                    holding)
               "Enemy Armada Off Jersey Coast."  
               You know you haven't the slightest 
               proof that this - this armada - is 
               off the Jersey Coast.

                           KANE
               Can you prove it isn't?

     Bernstein has come into the picture.  He has a cable in his 
     hand.  He stops when he sees Thatcher.

                           KANE (CONT'D)
               Mr. Bernstein, Mr. Thatcher -

                           BERNSTEIN
               How are you, Mr. Thatcher?

                           THATCHER
               How do you do? -

                           BERNSTEIN
               We just had a wire from Cuba, Mr. 
               Kane -
                    (stops, embarrassed)

                           KANE
               That's all right.  We have no secrets 
               from our readers.  Mr.  Thatcher is 
               one of our most devoted readers, Mr. 
               Bernstein.  He knows what's wrong 
               with every issue since I've taken 
               charge.
               What's the cable?

                           BERNSTEIN
                    (reading)
               The food is marvelous in Cuba the 
               senoritas are beautiful stop I could 
               send you prose poems of palm trees 
               and sunrises and tropical colors 
               blending in far off landscapes but 
               don't feel right in spending your 
               money for this stop there's no war 
               in Cuba regards Wheeler.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 35
     9-9-02                                                      


                           THATCHER
               You see!  There hasn't been a true 
               word -

                           KANE
               I think we'll have to send our friend 
               Wheeler a cable, Mr.  Bernstein.  Of 
               course, we'll have to make it shorter 
               than his, because he's working on an 
               expense account and we're not.  Let 
               me see -
                    (snaps his fingers)
               Mike!

                           MIKE
                    (a fairly tough 
                    customer prepares to 
                    take dictation, his 
                    mouth still full of 
                    food)
               Go ahead, Mr. Kane.

                           KANE
               Dear Wheeler -
                    (pauses a moment)
               You provide the prose poems - I'll 
               provide the war.

     Laughter from the boys and girls at the table.

                           BERNSTEIN
               That's fine, Mr. Kane.

                           KANE
               I rather like it myself.  Send it 
               right away.

                           MIKE
               Right away.

                           BERNSTEIN
               Right away.

     Mike and Bernstein leave.  Kane looks up, grinning at 
     Thatcher, who is bursting with indignation but controls 
     himself.  After a moment of indecision, he decides to make 
     one last try.

                           THATCHER
               I came to see you, Charles, about 
               your - about the Enquirer's campaign 
               against the Metropolitan Transfer 
               Company.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 36
     9-9-02                                                      


                           KANE
               Won't you step into my office, Mr. 
               Thatcher?

     They cross the City Room together.

                           THATCHER
               I think I should remind you, Charles, 
               of a fact you seem to have forgotten. 
               You are yourself one of the largest 
               individual stockholders.

24   INT. KANE'S OFFICE - DAY -                                    24   

     Kane holds the door open for Thatcher.  They come in together.

                           KANE
               Mr. Thatcher, isn't everything I've 
               been saying in the Enquirer about 
               the traction trust absolutely true?

                           THATCHER
                    (angrily)
               They're all part of your general 
               attack - your senseless attack -on 
               everything and everybody who's got 
               more than ten cents in his pocket.  
               They're -

                           KANE
               The trouble is, Mr. Thatcher, you 
               don't realize you're talking to two 
               people.

     Kane moves around behind his desk.  Thatcher doesn't 
     understand, looks at him.

                           KANE (CONT'D)
               As Charles Foster Kane, who has                         
               eighty-two thousand, six hundred and 
               thirty-one shares of Metropolitan 
               Transfer - you see, I do have a rough 
               idea of my holdings - I sympathize 
               with you.  Charles Foster Kane is a 
               dangerous scoundrel, his paper should 
               be run out of town and a committee 
               should be formed to boycott him.  
               You may, if you can form such a 
               committee, put me down for a 
               contribution of one thousand dollars.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 37
     9-9-02                                                      


                           THATCHER
                    (angrily)
               Charles, my time is too valuable for 
               me -

                           KANE
               On the other hand -
                    (his manner becomes 
                    serious)
               I am the publisher of The Enquirer.  
               As such, it is my duty - I'll let 
               you in on a little secret, it is 
               also my pleasure - to see to it that 
               decent, hard-working people of this 
               city are not robbed blind by a group 
               of money-mad pirates because, God 
               help them, they have no one to look 
               after their interests!  I'll let you 
               in on another little secret, Mr. 
               Thatcher.  I think I'm the man to do 
               it.  You see, I have
               money and property -

     Thatcher doesn't understand him.

                           KANE (CONT'D)
               If I don't defend the interests of 
               the underprivileged, somebody else 
               will - maybe somebody without any 
               money or any property and that would 
               be too bad.

     Thatcher glares at him, unable to answer.  Kane starts to 
     dance.

                           KANE (CONT'D)
               Do you know how to tap, Mr. Thatcher?  
               You ought to learn -
                    (humming quietly, he 
                    continues to dance)

     Thatcher puts on his hat.

                           THATCHER
               I happened to see your consolidated 
               statement yesterday, Charles.  Could 
               I not suggest to you that it is unwise 
               for you to continue this
               philanthropic enterprise -
                    (sneeringly)
               this Enquirer - that is costing you 
               one million dollars a year?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 38
     9-9-02                                                      


                           KANE
               You're right.  We did lose a million 
               dollars last year.

     Thatcher thinks maybe the point has registered.

                           KANE (CONT'D)
               We expect to lost a million next
               year, too.  You know, Mr. Thatcher -
                    (starts tapping quietly)
               at the rate of a million a year -
               we'll have to close this place in 
               sixty years.

                                                        DISSOLVE:

25   INT. THE VAULT ROOM - THATCHER MEMORIAL LIBRARY - DAY         25   

     Thompson - at the desk.  With a gesture of annoyance, he is 
     closing the manuscript.

     Camera arcs quickly around from over his shoulder to hold on 
     door behind him, missing his face as he rises and turns to 
     confront Miss Anderson, who has come into the room to shoo 
     him out.  Very prominent on this wall is an over-sized oil 
     painting of Thatcher in the best Union League Club renaissance 
     style.

                           MISS ANDERSON
               You have enjoyed a very rare 
               privilege, young man.  Did you find 
               what you were looking for?

                           THOMPSON
               No.  Tell me something, Miss Anderson.  
               You're not Rosebud, are you?

                           MISS ANDERSON
               What?

                           THOMPSON
               I didn't think you were.  Well, thanks 
               for the use of the hall.

     He puts his hat on his head and starts out, lighting a 
     cigarette as he goes.  Miss Anderson, scandalized, watches 
     him.

                                                        FADE OUT:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 39
     9-9-02                                                      


     FADE IN:

26   INT. BERNSTEIN'S OFFICE - ENQUIRER SKYSCRAPER - DAY -         26   

     Closeup of a still of Kane, aged about sixty-five.  Camera 
     pulls back, showing it is a framed photograph on the wall.  
     Over the picture are crossed American flags.  Under it sits 
     Bernstein, back of his desk.  Bernstein, always an undersized 
     Jew, now seems even smaller than in his youth.  He is bald 
     as an egg, spry, with remarkably intense eyes.  As camera 
     continues to travel back, the back of Thompson's head and 
     his shoulders come into the picture.

                           BERNSTEIN
                    (wryly)
               Who's a busy man?  Me?  I'm Chairman 
               of the Board.  I got nothing but 
               time ...  What do you want to know?

                           THOMPSON
                    (still explaining)
               Well, Mr. Bernstein, you were with 
               Mr. Kane from the very beginning -

                           BERNSTEIN
               From before the beginning, young 
               fellow.  And now it's after the end.
                    (turns to Thompson)
               Anything you want to know about him - 
               about the paper -

                           THOMPSON
               We thought maybe, if we can find out 
               what he meant by that last word - as 
               he was dying -

                           BERNSTEIN
               That Rosebud?  Maybe some girl?  
               There were a lot of them back in the 
               early days, and -

                           THOMPSON
               Not some girl he knew casually and 
               then remembered after fifty years, 
               on his death bed -

                           BERNSTEIN
               You're pretty young, Mr. -
                    (remembers the name)
               Mr. Thompson.  A fellow will remember 
               things you wouldn't think he'd 
               remember.  You take me.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 40
     9-9-02                                                      


                           BERNSTEIN (CONT'D)
               One day, back in 1896, I was crossing 
               over to Jersey on a ferry and as we 
               pulled out, there was another ferry 
               pulling in -
                    (slowly)
               and on it, there was a girl waiting 
               to get off.  A white dress she had 
               on and she was carrying a white 
               parisol
               and I only saw her for one second 
               and she didn't see me at all - but 
               I'll bet a month hasn't gone by since 
               that I haven't thought of that girl.
                    (triumphantly)
               See what I mean?
                    (smiles)
               Well, so what are you doing about 
               this "Rosebud," Mr. Thompson.

                           THOMPSON
               I'm calling on people who knew Mr. 
               Kane. I'm calling on you.

                           BERNSTEIN
               Who else you been to see?

                           THOMPSON
               Well, I went down to Atlantic City -

                           BERNSTEIN
               Susie?  I called her myself the day 
               after he died.  I thought maybe 
               somebody ought to...
                    (sadly)
               She couldn't even come to the 'phone.

                           THOMPSON
               You know why?  She was so -

                           BERNSTEIN
               Sure, sure.

                           THOMPSON
               I'm going back there.

                           BERNSTEIN
               Who else did you see?

                           THOMPSON
               Nobody else, but I've been through 
               that stuff of Walter Thatcher's. 
               That journal of his -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 41
     9-9-02                                                      


                           BERNSTEIN
               Thatcher!  That man was the biggest 
               darn fool I ever met -

                           THOMPSON
               He made an awful lot of money.

                           BERNSTEIN
               It's not tricky to make an awful lot 
               of money if all you want is to make 
               a lot of money.
                    (his eyes get 
                    reflective)
               Thatcher!

     Bernstein looks out of the window and keeps on looking, 
     seeming to see something as he talks.

                           BERNSTEIN (CONT'D)
               He never knew there was anything in 
               the world but money.  That kind of 
               fellow you can fool every day in the 
               week - and twice on Sundays!
                    (reflectively)
               The time he came to Rome for Mr. 
               Kane's twenty-fifth birthday...  You 
               know, when Mr. Kane got control of 
               his own money...  Such a fool like 
               Thatcher - I tell you, nobody's 
               business!

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

27   INT. BERNSTEIN'S OFFICE - DAY -                               27   

     Bernstein speaking to Thompson.

                           BERNSTEIN
               He knew what he wanted, Mr. Kane 
               did, and he got it!  Thatcher never 
               did figure him out.  He was hard to 
               figure sometimes, even for me.  Mr. 
               Kane was a genius like he said.  He 
               had that funny sense of humor.  
               Sometimes even I didn't get the joke.  
               Like that night the opera house of 
               his opened in Chicago...  You know, 
               the opera house he built for Susie, 
               she should be an opera singer...
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 42
     9-9-02                                                      


                           BERNSTEIN (CONT'D)
                    (indicates with a 
                    little wave of his 
                    hand what he thinks 
                    of that; sighing)
               That was years later, of course - 
               1914 it was.  Mrs. Kane took the 
               leading part in the opera, and she 
               was terrible.  But nobody had the 
               nerve to say so - not even the 
               critics.  Mr. Kane was a big man in 
               those days.  But this one fellow, 
               this friend of his, Branford Leland -

     He leaves the sentence up in the air, as we

                                                        DISSOLVE:

28   INT. CITY ROOM - CHICAGO ENQUIRER - NIGHT -                   28   

     It is late.  The room is almost empty.  Nobody is at work at 
     the desks.  Bernstein, fifty, is waiting anxiously with a 
     little group of Kane's hirelings, most of them in evening 
     dress with overcoats and hats.  Eveybody is tense and 
     expectant.

                           CITY EDITOR
                    (turns to a young 
                    hireling; quietly)
               What about Branford Leland?  Has he 
               got in his copy?

                           HIRELING
               Not yet.

                           BERNSTEIN
               Go in and ask him to hurry.

                           CITY EDITOR
               Well, why don't you, Mr. Bernstein? 
               You know Mr. Leland.

                           BERNSTEIN
                    (looks at him for a 
                    moment; then slowly)
               I might make him nervous.

                           CITY EDITOR
                    (after a pause)
               You and Leland and Mr. Kane - you 
               were great friends back in the old 
               days, I understand.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 43
     9-9-02                                                      


                           BERNSTEIN
                    (with a smile)
               That's right.  They called us the 
               "Three Musketeers."

     Somebody behind Bernstein has trouble concealing his laughter.  
     The City Editor speaks quickly to cover the situation.

                           CITY EDITOR
               He's a great guy - Leland.
                    (another little pause)
               Why'd he ever leave New York?

                           BERNSTEIN
                    (he isn't saying)
               That's a long story.

                           ANOTHER HIRELING
                    (a tactless one)
               Wasn't there some sort of quarrel 
               between -

                           BERNSTEIN
                    (quickly)
               I had nothing to do with it.
                    (then, somberly)
               It was Leland and Mr. Kane, and you 
               couldn't call it a quarrel exactly. 
               Better we should forget such things -
                    (turning to City Editor)
               Leland is writing it up from the 
               dramatic angle?

                           CITY EDITOR
               Yes.  I thought it was a good idea. 
               We've covered it from the news end, 
               of course.

                           BERNSTEIN
               And the social.  How about the music 
               notice?  You got that in?

                           CITY EDITOR
               Oh, yes, it's already made up.  Our 
               Mr. Mervin wrote a small review.

                           BERNSTEIN
               Enthusiastic?

                           CITY EDITOR
               Yes, very!
                    (quietly)
               Naturally.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 44
     9-9-02                                                      


                           BERNSTEIN
               Well, well - isn't that nice?

                           KANE'S VOICE
               Mr. Bernstein -

     Bernstein turns.

     Medium long shot of Kane, now forty-nine, already quite stout.  
     He is in white tie, wearing his overcoat and carrying a folded 
     opera hat.

                           BERNSTEIN
               Hello, Mr. Kane.

     The Hirelings rush, with Bernstein, to Kane's side.  
     Widespread, half-suppressed sensation.

                           CITY EDITOR
               Mr. Kane, this is a surprise!

                           KANE
               We've got a nice plant here.

     Everybody falls silent.  There isn't anything to say.

                           KANE (CONT'D)
               Was the show covered by every 
               department?

                           CITY EDITOR
               Exactly according to your 
               instructions, Mr. Kane.  We've got 
               two spreads of pictures.

                           KANE
                    (very, very casually)
               And the notice?

                           CITY EDITOR
               Yes - Mr. Kane.

                           KANE
                    (quietly)
               Is it good?

                           CITY EDITOR
               Yes, Mr. kane.

     Kane looks at him for a minute.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 45
     9-9-02                                                      


                           CITY EDITOR (CONT'D)
               But there's another one still to 
               come the dramatic notice.

                           KANE
                    (sharply)
               It isn't finished?

                           CITY EDITOR
               No, Mr. Kane.

                           KANE
               That's Leland, isn't it?

                           CITY EDITOR
               Yes, Mr. Kane.

                           KANE
               Has he said when he'll finish?

                           CITY EDITOR
               We haven't heard from him.

                           KANE
               He used to work fast - didn't he, 
               Mr. Bernstein?

                           BERNSTEIN
               He sure did, Mr. Kane.

                           KANE
               Where is he?

                           ANOTHER HIRELING
               Right in there, Mr. Kane.

     The Hireling indicates the closed glass door of a little 
     office at the other end of the City Room.  Kane takes it in.

                           BERNSTEIN
                    (helpless, but very 
                    concerned)
               Mr. Kane -

                           KANE
               That's all right, Mr. Bernstein.

     Kane crosses the length of the long City Room to the glass 
     door indicated before by the Hireling.  The City Editor looks 
     at Bernstein.  Kane opens the door and goes into the office, 
     closing the door behind him.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 46
     9-9-02                                                      


                           BERNSTEIN
               Leland and Mr. Kane - they haven't 
               spoke together for ten years.
                    (long pause; finally)
               Excuse me.
                    (starts toward the 
                    door)

29   INT. LELAND'S OFFICE - CHICAGO ENQUIRER - NIGHT -             29   

     Bernstein comes in.  An empty bottle is standing on Leland's 
     desk.  He has fallen over his typewriter, his face on the 
     keys.  A sheet of paper is in the machine.  A paragraph has 
     been typed.  Kane is standing at the other side of the desk 
     looking down on him.  This is the first time we see murder 
     in Kane's face.  Bernstein looks at Kane, then crosses to 
     Leland.  He shakes him.

                           BERNSTEIN
               Hey, Brad!  Brad!
                    (he straightens, looks 
                    at Kane; pause)
               He ain't been drinking before, Mr. 
               Kane.  Never.  We would have heard.

                           KANE
                    (finally; after a 
                    pause)
               What does it say there?

     Bernstein stares at him.

                           KANE (CONT'D)
               What's he written?

     Bernstein looks over nearsightedly, painfully reading the 
     paragraph written on the page.

                           BERNSTEIN
                    (reading)
               "Miss Susan Alexander, a pretty but 
               hopelessly incompetent amateur -
                    (he waits for a minute 
                    to catch his breath; 
                    he doesn't like it)
               last night opened the new Chicago 
               Opera House in a performance of - of
                    (looks up miserably)
               I can't pronounce that name, Mr. 
               Kane.

                           KANE
               Thais.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 47
     9-9-02                                                      


     Bernstein looks at Kane for a moment, then looks back, 
     tortured.

                           BERNSTEIN
                    (reading again)
               "Her singing, happily, is no concern 
               of this department.  Of her acting, 
               it is absolutely impossible to..."
                    (he continues to stare 
                    at the page)

                           KANE
                    (after a short silence)
               Go on!

                           BERNSTEIN
                    (without looking up)
               That's all there is.

     Kane snatches the paper from the roller and reads it for 
     himself.  Slowly, a queer look comes over his face.  Then he 
     speaks, very quietly.

                           KANE
               Of her acting, it is absolutely 
               impossible to say anything except 
               that it represents a new low...
                    (then sharply)
               Have you got that, Mr. Bernstein?  
               In the opinion of this reviewer -

                           BERNSTEIN
                    (miserably)
               I didn't see that.

                           KANE
               It isn't here, Mr. Bernstein.  I'm 
               dictating it.

                           BERNSTEIN
                    (looks at him)
               I can't take shorthand.

                           KANE
               Get me a typewriter.  I'll finish 
               the notice.

     Bernstein retreats from the room.

                                              QUICK DISSOLVE OUT:

                                               QUICK DISSOLVE IN:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 48
     9-9-02                                                      


30   INT. LELAND'S OFFICE - CHICAGO ENQUIRER - NIGHT -             30   

     Long shot of Kane in his shirt sleeves, illuminated by a 
     desk light, typing furiously.  As the camera starts to pull 
     even farther away from this, and as Bernstein - as narrator - 
     begins to speak -

                                                  QUICK DISSOLVE:

31   INT. BERNSTEIN'S OFFICE - DAY -                               31   

     Bernstein speaking to Thompson.

                           BERNSTEIN
               He finished it.  He wrote the worst 
               notice I ever read about the girl he 
               loved.  We ran it in every paper.

                           THOMPSON
                    (after a pause)
               I guess Mr. Kane didn't think so 
               well of Susie's art anyway.

                           BERNSTEIN
                    (looks at him very 
                    soberly)
               He thought she was great, Mr. 
               Thompson. He really believed that.  
               He put all his ambition on that girl.  
               After she came along, he never really 
               cared for himself like he used to.  
               Oh, I don't blame Susie -

                           THOMPSON
               Well, then, how could he write that 
               roast?  The notices in the Kane papers 
               were always very kind to her.

                           BERNSTEIN
               Oh, yes.  He saw to that.  I tell 
               you, Mr. Thompson, he was a hard man 
               to figure out.  He had that funny 
               sense of humor.  And then, too, maybe 
               he thought by finishing that piece 
               he could show Leland he was an honest 
               man. You see, Leland didn't think 
               so.  I guess he showed him all right.  
               He's a nice fellow, but he's a 
               dreamer.  They were always together 
               in those early days when we just 
               started the Enquirer.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 49
     9-9-02                                                      


     On these last words, we

                                                        DISSOLVE:

32   INT. CITY ROOM - ENQUIRER BUILDING - DAY -                    32   

     The front half of the second floor constitutes one large 
     City Room.  Despite the brilliant sunshine outside, very 
     little of it is actually getting into the room because the 
     windows are small and narrow.  There are about a dozen tables 
     and desks, of the old-fashioned type, not flat, available 
     for reporters.  Two tables, on a raised platform at the end 
     of the room, obviously serve the city room executives.  To 
     the left of the platform is an open door which leads into 
     the Sanctrum.

     As Kane and Leland enter the room, an elderly, stout gent on 
     the raised platform, strikes a bell and the other eight 
     occupants of the room - all men - rise and face the new 
     arrivals.  Carter, the elderly gent, in formal clothes, rises 
     and starts toward them.

                           CARTER
               Welcome, Mr. Kane, to the "Enquirer." 
               I am Herbert Carter.

                           KANE
               Thank you, Mr Carter.  This is Mr. 
               Leland.

                           CARTER
                    (bowing)
               How do you do, Mr. Leland?

                           KANE
                    (pointing to the 
                    standing reporters)
               Are they standing for me?

                           CARTER
               I thought it would be a nice gesture - 
               the new publisher -

                           KANE
                    (grinning)
               Ask them to sit down.

                           CARTER
               You may resume your work, gentlemen.
                    (to Kane)
               I didn't know your plans and so I 
               was unable to make any preparations.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 50
     9-9-02                                                      


                           KANE
               I don't know my plans myself.

     They are following Carter to his raised platform.

                           KANE (CONT'D)
               As a matter of fact, I haven't got 
               any.  Except to get out a newspaper.

     There is a terrific crash at the doorway.  They all turn to 
     see Bernstein sprawled at the entrance.  A roll of bedding, 
     a suitcase, and two framed pictures were too much for him.

                           KANE (CONT'D)
               Oh, Mr. Bernstein!

     Bernstein looks up.

                           KANE (CONT'D)
               If you would come here a moment, 
               please, Mr. Bernstein?

     Bernstein rises and comes over, tidying himself as he comes.

                           KANE (CONT'D)
               Mr. Carter, this is Mr. Bernstein. 
               Mr. Bernstein is my general manager.

                           CARTER
                    (frigidly)
               How do you do, Mr. Bernstein?

                           KANE
               You've got a private office here, 
               haven't you?

     The delivery wagon driver has now appeared in the entrance 
     with parts of the bedstead and other furniture.  He is looking 
     about, a bit bewildered.

                           CARTER
                    (indicating open door 
                    to left of platform)
               My little sanctum is at your disposal. 
               But I don't think I understand -

                           KANE
               I'm going to live right here.
                    (reflectively)
               As long as I have to.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 51
     9-9-02                                                      


                           CARTER
               But a morning newspaper, Mr. Kane. 
               After all, we're practically closed 
               twelve hours a day - except for the
               business offices -

                           KANE
               That's one of the things I think 
               must be changed, Mr. Carter.  The 
               news goes on for twenty-four hours a 
               day.

                                                        DISSOLVE:

33   INT. KANE'S OFFICE - LATE DAY -                               33   

     Kane, in his shirt sleeves, at a roll-top desk in the Sanctum, 
     is working feverishly on copy and eating a very sizeable 
     meal at the same time.  Carter, still formally coated, is 
     seated alongside him.  Leland, seated in a corner, is looking 
     on, detached, amused.  The furniture has been pushed around 
     and Kane's effects are somewhat in place.  On a corner of 
     the desk, Bernstein is writing down figures.  No one pays 
     any attention to him.

                           KANE
               I'm not criticizing, Mr. Carter, but 
               here's what I mean.  There's a front 
               page story in the "Chronicle,"
                    (points to it)
               and a picture - of a woman in Brooklyn 
               who is missing.  Probably murdered.
                    (looks to make sure 
                    of the name)
               A Mrs. Harry Silverstone.  Why didn't 
               the "Enquirer" have that this morning?

                           CARTER
                    (stiffly)
               Because we're running a newspaper, 
               Mr. Kane, not a scandal sheet.

     Kane has finished eating.  He pushes away his plates.

                           KANE
               I'm still hungry, Brad.  Let's go to 
               Rector's and get something decent.
                    (pointing to the 
                    "Chronicle" before 
                    him)
               The "Chronicle" has a two-column 
               headline, Mr. Carter.  Why haven't 
               we?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 52
     9-9-02                                                      


                           CARTER
               There is no news big enough.

                           KANE
               If the headline is big enough, it 
               makes the new big enough.  The murder 
               of Mrs. Harry Silverstone -

                           CARTER
                    (hotly)
               As a matter of fact, we sent a man 
               to the Silverstone home yesterday 
               afternoon.
                    (triumphantly)
               Our man even arrived before the 
               "Chronicle" reporter.  And there's 
               no proof that the woman was murdered - 
               or even that she's dead.

                           KANE
                    (smiling a bit)
               The "Chronicle" doesn't say she's 
               murdered, Mr. Carter.  It says the 
               neighbors are getting suspicious.

                           CARTER
                    (stiffly)
               It's not our function to report the 
               gossip of housewives.  If we were 
               interested in that kind of thing, 
               Mr. Kane, we could fill the paper 
               twice over daily -

                           KANE
                    (gently)
               That's the kind of thing we are going 
               to be interested in from now on, Mr. 
               Carter.  Right now, I wish you'd 
               send your best man up to see Mr. 
               Silverstone.  Have him tell Mr. 
               Silverstone if he doesn't produce 
               his wife at once, the "Enquirer" 
               will have him arrested.
                    (he gets an idea)
               Have him tell Mr. Silverstone he's a 
               detective from the Central Office. 
               If Mr. Silverstone asks to see his 
               badge, your man is to get indignant 
               and call Mr. Silverstone an anarchist.  
               Loudly, so that the neighbors can 
               hear.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 53
     9-9-02                                                      


                           CARTER
               Really, Mr. Kane, I can't see the 
               function of a respectable newspaper -

     Kane isn't listening to him.

                           KANE
               Oh, Mr. Bernstein!

     Bernstein looks up from his figures.

                           KANE (CONT'D)
               I've just made a shocking discovery. 
               The "Enquirer" is without a telephone. 
               Have two installed at once!

                           BERNSTEIN
               I ordered six already this morning! 
               Got a discount!

     Kane looks at Leland with a fond nod of his head at Bernstein.  
     Leland grins back.  Mr. Carter, meantime, has risen stiffly.

                           CARTER
               But, Mr. Kane -

                           KANE
               That'll be all today, Mr. Carter.  
               You've been most understanding. Good 
               day, Mr. Carter!

     Carter, with a look that runs just short of apoplexy, leaves 
     the room, closing the door behind him.

                           LELAND
               Poor Mr. Carter!

                           KANE
                    (shakes his head)
               What makes those fellows think that 
               a newspaper is something rigid, 
               something inflexible, that people 
               are supposed to pay two cents for -

                           BERNSTEIN
                    (without looking up)
               Three cents.

                           KANE
                    (calmly)
               Two cents.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 54
     9-9-02                                                      


     Bernstein lifts his head and looks at Kane.  Kane gazes back 
     at him.

                           BERNSTEIN
                    (tapping on the paper)
               This is all figured at three cents a 
               copy.

                           KANE
               Re-figure it, Mr. Bernstein, at two 
               cents.

                           BERNSTEIN
                    (sighs and puts papers 
                    in his pocket)
               All right, but I'll keep these 
               figures, too, just in case.

                           KANE
               Ready for dinner, Brad?

                           BERNSTEIN
               Mr. Leland, if Mr. Kane, he should 
               decide to drop the price to one cent, 
               or maybe even he should make up his 
               mind to give the paper away with a 
               half-pound of tea - you'll just hold 
               him until I get back, won't you?

                           LELAND
               I'm not guaranteeing a thing, Mr. 
               Bernstein.  You people work too fast 
               for me!  Talk about new brooms!

                           BERNSTEIN
               Who said anything about brooms?

                           KANE
               It's a saying, Mr. Bernstein.  A new 
               broom sweeps clean.

                           BERNSTEIN
               Oh!

                                                        DISSOLVE:

34   INT. PRIMITIVE COMPOSING AND PRESSROOM - NEW YORK ENQUIRER - 
     NIGHT -                                                       34   

     The ground floor with the windows on the street - of the 
     "Enquirer."  It is almost midnight by an old-fashioned clock 
     on the wall.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 55
     9-9-02                                                      


     Grouped around a large table, on which are several locked 
     forms of type, very old-fashioned of course, but true to the 
     period - are Kane and Leland in elegant evening clothes, 
     Bernstein, unchanged from the afternoon, and Smathers, the 
     composing room foreman, nervous and harassed.

                           SMATHERS
               But it's impossible, Mr. Kane.  We 
               can't remake these pages.

                           KANE
               These pages aren't made up as I want 
               them, Mr. Smathers.  We go to press 
               in five minutes.

                           CARTER
                    (about to crack up)
               The "Enquirer" has an old and honored 
               tradition, Mr. Kane...  The "Enquirer" 
               is not in competition with those 
               other rags.

                           BERNSTEIN
               We should be publishing such rags, 
               that's all I wish.  Why, the 
               "Enquirer" - I wouldn't wrap up the 
               liver for the cat in the "Enquirer" -

                           CARTER
                    (enraged)
               Mr. Kane, I must ask you to see to 
               it that this - this person learns to 
               control his tongue.

     Kane looks up.

                           CARTER (CONT'D)
               I've been a newspaperman my whole 
               life and I don't intend -
                    (he starts to sputter)
               if it's your intention that I should 
               continue to be harassed by this - 
               this -
                    (he's really sore)
               I warn you, Mr. Kane, it would go 
               against my grain to desert you when 
               you need me so badly -but I would 
               feel obliged to ask that my 
               resignation be accepted.

                           KANE
               It is accepted, Mr. Carter, with 
               assurances of my deepest regard.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 56
     9-9-02                                                      


                           CARTER
               But Mr. Kane, I meant -

     Kane turns his back on him, speaks again to the composing 
     room foreman.

                           KANE
                    (quietly)
               Let's remake these pages, Mr. 
               Smathers.  We'll have to publish a 
               half hour late, that's all.

                           SMATHERS
                    (as though Kane were 
                    talking Greek)
               We can't remake them, Mr. Kane.  We 
               go to press in five minutes.

     Kane sighs, unperturbed, as he reaches out his hand and shoves 
     the forms off the table onto the floor, where they scatter 
     into hundreds of bits.

                           KANE
               You can remake them now, can't you, 
               Mr. Smathers?

     Smather's mouth opens wider and wider.  Bradford and Bernstein 
     are grinning.

                           KANE (CONT'D)
               After the types've been reset and 
               the pages have been remade according 
               to the way I told you before, Mr. 
               Smathers, kindly have proofs pulled 
               and bring them to me.  Then, if I 
               can't find any way to improve them
               again -
                    (almost as if 
                    reluctantly)
               I suppose we'll have to go to press.

     He starts out of the room, followed by Leland.

                           BERNSTEIN
                    (to Smathers)
               In case you don't understand, Mr. 
               Smathers - he's a new broom.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 57
     9-9-02                                                      


35   EXT. NEW YORK STREET - VERY EARLY DAWN -                      35   

     The picture is mainly occupied by a large building, on the 
     roof of which the lights spell out the word "Enquirer" against 
     the sunrise.  We do not see the street or the first few 
     stories of this building, the windows of which would be 
     certainly illuminated.  What we do see is the floor on which 
     is located the City Room.  Over this scene, newboys are heard 
     selling the Chronicle, their voices growing in volume.

     As the dissolve complete itself, camera moves toward the one 
     lighted window - the window of the Sanctrum.

                                                        DISSOLVE:

36   INT. KANE'S OFFICE - VERY EARLY DAWN -                        36   

     The newsboys are still heard from the street below - fainter 
     but very insistent.

     Kane's office is gas-lit, of course, as is the rest of the 
     Enquirer building.

     Kane, in his shirt sleeves, stands at the open window looking 
     out.  The bed is already made up.  On it is seated Bernstein, 
     smoking the end of a cigar.  Leland is in a chair.

                           NEWSBOYS' VOICES
               CHRONICLE!  CHRONICLE!  H'YA - THE 
               CHRONICLE - GET YA!  CHRONICLE!

     Kane, taking a deep breath of the morning air, closes the 
     window and turns to the others.  The voices of the newsboys, 
     naturally, are very much fainter after this.

                           LELAND
               We'll be on the street soon, Charlie 
               another ten minutes.

                           BERNSTEIN
                    (looking at his watch)
               It's three hours and fifty minutes 
               late - but we did it -

     Leland rises from the chair, stretching painfully.

                           KANE
               Tired?

                           LELAND
               It's been a tough day.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 58
     9-9-02                                                      


                           KANE
               A wasted day.

                           BERNSTEIN
                    (looking up)
               Wasted?

                           LELAND
                    (incredulously)
               Charlie?!

                           BERNSTEIN
               You just made the paper over four 
               times today, Mr. Kane.  That's all -

                           KANE
               I've changed the front page a little, 
               Mr. Bernstein.  That's not enough - 
               There's something I've got to get 
               into this paper besides pictures and 
               print.  I've got to make the "New 
               York Enquirer" as important to New 
               York as the gas in that light.

                           LELAND
                    (quietly)
               What're you going to do, Charlie?

     Kane looks at him for a minute with a queer smile of happy 
     concentration.

                           KANE
               My Declaration of Principles -
                    (he says it with quotes 
                    around it)
               Don't smile, Brad -
                    (getting the idea)
               Take dictation, Mr. Bernstein -

                           BERNSTEIN
               I can't take shorthand, Mr. Kane -

                           KANE
               I'll write it myself.

     Kane grabs a piece of rough paper and a grease crayon.  
     Sitting down on the bed next to Bernstein, he starts to write.

                           BERNSTEIN
                    (looking over his 
                    shoulder)
               You don't wanta make any promises, 
               Mr. Kane, you don't wanta keep.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 59
     9-9-02                                                      


                           KANE
                    (as he writes)
               These'll be kept.
                    (stops for a minute 
                    and reads what he 
                    has written; reading)
               I'll provide the people of this city 
               with a daily paper that will tell 
               all the news honestly.
                    (starts to write again; 
                    reading as he writes)
               I will also provide them -

                           LELAND
               That's the second sentence you've 
               started with "I" -

                           KANE
                    (looking up)
               People are going to know who's 
               responsible.  And they're going to 
               get the news - the true news -quickly 
               and simply and entertainingly.
                    (he speaks with real 
                    conviction)
               And no special interests will be 
               allowed to interfere with the truth 
               of that news.

     He looks at Leland for a minute and goes back to his writing, 
     reading as he writes.

     Bernstein has risen and crossed to one side of Kane.  They 
     both stand looking out.  Leland joins him on the other side.  
     Their three heads are silhouetted against the sky.  Leland's 
     head is seen to turn slightly as he looks into Kane's face -
     camera very close on this - Kane turns to him and we know 
     their eyes have met, although their faces are almost in 
     sillhouette.  Bernstein is still smoking a cigar.

                                                        DISSOLVE:

     Front page of the "Enquirer" shows big boxed editorial with 
     heading:

     MY PRINCIPLES - A DECLARATION BY CHARLES FOSTER KANE

     Camera continues pulling back and shows newspaper to be on 
     the top of a pile of newspapers.  As we draw further back, 
     we see four piles, and as camera contines to pull back, we 
     see six piles and go on back until we see a big field of 
     "Enquirers" - piles of "Enquirers" - all 26,000 copies ready 
     for distribution.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 60
     9-9-02                                                      


     A wagon with a huge sign on its side reading

     "ENQUIRER - CIRCULATION 26,000"

     passes through foreground, and we wipe to -

     A pile of "Enquirers" for sale on a broken down wooden box 
     on a street corner, obviously a poor district.  A couple of 
     coins fall on the pile.

     The stoop of a period door with old-fashioned enamel milk 
     can and a bag of rolls.  Across the sidewalk before this, 
     moves the shadow of an old-fashioned bicycle with an enormous 
     front wheel.  A copy of the "Enquirer" is tossed on the stoop.

     A breakfast table - beautiful linen and beautiful silver - 
     everything very expensive, gleaming in the sunshine.  Into a 
     silver newspaper rack there is slipped a copy of the 
     "Enquirer".  Here, as before, the boxed editorial reading MY 
     PRINCIPLES - A DECLARATION BY CHARLES FOSTER KANE, is very 
     prominent on the front page.

     The wooden floor of a railroad station, flashing light and 
     dark as a train behind the camera rushes by.  On the floor, 
     there is tossed a bound bundle of the "New York Enquirer" - 
     the Declaration of Principles still prominent.

     Rural Delivery - a copy of the "Enquirer"s being put into 
     bins, showing state distribution.

     The railroad platform again.  We stay here for four images.  
     On each image, the speed of the train is faster and the piles 
     of the "Enquirer" are larger.  On the first image, we move 
     in to hold on the words "CIRCULATION - 31,000."  We are this 
     close for the next pile which reads 40,000; the next one 
     which reads 55,000, and the last which is 62,000.  In each 
     instance, the bundles of newspapers are thicker and the speed 
     of the moving train behind the camera is increased.

     The entire montage above indicated is accompanied by a 
     descriptive complement of sound - the traffic noises of New 
     York in the 1890's; wheels on cobblestones and horses' hooves; 
     bicycle bells; the mooning of cattle and the crowing of 
     roosters (in the RFD shot), and in all cases where the 
     railroad platform is used - the mounting sound of the railroad 
     train.

     The last figure "62,000" opposite the word "CIRCULATION" on 
     the "Enquirer" masthead changes to -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 61
     9-9-02                                                      


37   EXT. STREET AND CHRONICLE BUIDING - DAY -                     37   

     Angle up to wall of building - a painter on a cradle is 
     putting the last zero to the figure "62,000" on an enormous 
     sign advertising the "Enquirer."  It reads:

     THE ENQUIRER - THE PEOPLE'S NEWSPAPER

     CIRCULATION 62,000

     Camera travels down side of building - takes in another 
     building on which there is a sign which reads:

     READ THE ENQUIRER - AMERICA'S FINEST

     CIRCULATION 62,000

     Camera continues to travel down to sidewalk in front of the 
     Chronicle office.  The Chronicle office has a plateglass 
     window in which is reflected traffic moving up and down the 
     street, also the figures of Kane, Leland and Bernstein, who 
     are munching peanuts.

     Inside the window, almost filling it, is a large photograph 
     of the "Chronicle" staff, with Reilly prominently seated in 
     the center.  A sign over the photo reads: EDITORIAL AND 
     EXECUTIVE STAFF OF THE NEW YORK CHRONICLE.  A sign beneath 
     it reads: GREATEST NEWSPAPER STAFF IN THE WORLD.  The sign 
     also includes the "Chronicle" circulation figure.  There are 
     nine men in the photo.

                           BERNSTEIN
                    (looking up at the 
                    sign - HAPPILY)
               Sixty-two thousand -

                           LELAND
               That looks pretty nice.

                           KANE
                    (indicating the 
                    Chronicle Building)
               Let's hope they like it there.

                           BERNSTEIN
               From the Chronicle Building that 
               sign is the biggest thing you can 
               see - every floor guaranteed - let's 
               hope it bothers them - it cost us 
               enough.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 62
     9-9-02                                                      


                           KANE
                    (pointing to the sign 
                    over the photograph 
                    in the window)
               Look at that.

                           LELAND
               The "Chronicle" is a good newspaper.

                           KANE
               It's a good idea for a newspaper.
                    (reading the figures)
               Four hundred sixy thousand.

                           BERNSTEIN
               Say, with them fellows -
                    (referring to the 
                    photo)
               it's no trick to get circulation.

                           KANE
               You're right, Mr. Bernstein.

                           BERNSTEIN
                    (sighs)
               You know how long it took the 
               "Chronicle" to get that staff 
               together?  Twenty years.

                           KANE
               I know.

     Kane, smiling, lights a cigarette, at the same time looking 
     into the window.  Camera moves in to hold on the photograph 
     of nine men, still holding the reflection of Kane's smiling 
     face.

                                                        DISSOLVE:

38   INT. CITY ROOM - THE ENQUIRER - NIGHT -                       38   

     Nine men, arrayed as in the photograph, but with Kane beaming 
     in the center of the first row.  The men, variously with 
     mustaches, beards, bald heads, etc. are easily identified as 
     being the same men, Reilly prominent amongst them.

     As camera pulls back, it is revealed that they are being 
     photographed - by an old-type professional photographer, big 
     box, black hood and all - in a corner of the room.  It is 
     1:30 at night.  Desks, etc. have been pushed against the 
     wall.  Running down the center of the room is a long banquet 
     table, at which twenty diners have finished their meals.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 63
     9-9-02                                                      


     The eleven remaining at their seats - these include Bernstein 
     and Leland - are amusedly watching the photographic 
     ceremonies.

                           PHOTOGRAPHER
               That's all.  Thank you.

     The photographic subjects rise.

                           KANE
                    (a sudden thought)
               Make up an extra copy and mail it to 
               the "Chronicle."

     Chuckling and beaming, he makes his way to his place at the 
     head of the table.  The others have already sat down.  Kane 
     gets his guests' attention by rapping on the table with a 
     knife.

                           KANE (CONT'D)
               Gentlemen of the "Enquirer"!  This 
               has, I think, been a fitting welcome 
               to those distinguished journalists -
                    (indicates the eight 
                    men)
               Mr. Reilly in particular - who are 
               the latest additions to our ranks.  
               It will make them happy to learn 
               that the "Enquirer's" circulation 
               this morning passed the two hundred 
               thousand mark.

                           BERNSTEIN
               Two hundred and one thousand, six 
               hundred and forty-seven.

     General applause.

                           KANE
               All of you - new and old -  You're 
               all getting the best salaries in 
               town.  Not one of you has been hired 
               because of his loyalty.  It's your 
               talent I'm interested in.  That talent 
               that's going to make the "Enquirer" 
               the kind of paper I want -the best 
               newspaper in the world!

     Applause.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 64
     9-9-02                                                      


                           KANE (CONT'D)
               However, I think you'll agree we've 
               heard enough about newspapers and 
               the newspaper business for one night.  
               There are other subjects in the world.

     He puts his two fingers in his mouth and lets out a shrill 
     whistle.  This is a signal.  A band strikes up a lively ditty 
     of the period and enters in advance a regiment of very 
     magnificent maidens, as daringly arrayed as possible in the 
     chorus costumes of the day.  The rest of this episode will 
     be planned and staged later.  Its essence is that Kane is 
     just a healthy and happy young man having a wonderful time.

     As some of the girls are detached from the line and made 
     into partners for individual dancing -

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

     THE "ENQUIRER" SIGN:

     THE ENQUIRER - AMERICA'S FINEST

     CIRCULATION 274,321

     Dissolve just completes itself - the image of Kane dancing 
     with a girl on each arm just disappears as camera pans down 
     off the Temple Bldg. in the same action as the previous street 
     scene.  There is a new sign on the side of the building below.  
     It reads:

     READ THE ENQUIRER

     GREATEST STAFF IN THE WORLD

     Camera continues panning as we

                                                        DISSOLVE:

     A montage of various scenes, between the years 1891-1900.

     The scenes indicate the growth of the "Enquirer" under the 
     impulse of Kane's personal drive.  Kane is shown, thus, at 
     various activities:

     Move down from the sign:

     READ THE ENQUIRER

     GREATEST STAFF IN THE WORLD

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 65
     9-9-02                                                      


     to street in front of saloon with parade passing (boys going 
     off to the Spanish-American War)-  A torchlight parade with 
     the torches reflected in the glass window of the saloon - 
     the sound of brass band playing "It's a Hot Time."  In the 
     window of the saloon is a large sign or poster

     "REMEMBER THE MAINE"

     INSERT:  Remington drawing of American boys, similar to the 
     parade above, in which "Our Boys" in the expeditionary hats 
     are seen marching off to war.

     Back of observation car.  Shot of Kane congratulating Teddy 
     Roosevelt (the same shot as in the News Digest - without 
     flickering).

     The wooden floor of the railroad platform again - a bundle 
     of "Enquirers" - this time an enormous bundle - is thrown 
     down, and the moving shadows of the train behind the camera 
     indicate that it is going like a bat out of hell.  A 
     reproduction of Kane and Teddy shaking hands as above is 
     very prominent in the frame and almost hogs the entire front 
     page.  The headline indicates the surrender of Cuba.

39   INT. ENQUIRER OFFICE                                          39   

     Cartoon, highly dramatic and very involved as to content - 
     lousy with captions, labels, and symbolic figures, the most 
     gruesome and recognizable - "Capitalistic Greed."  This 
     cartoon is almost finished and is on a drawing board before 
     which stand Kane and the artist himself.  Kane is grinning 
     over some suggestion he has made.

                                                        DISSOLVE:

     The cartoon finished and reproduced on the editorial page of 
     the "Enquirer" - in quite close, with an editorial and several 
     faces of caps shown underneath.  The entire newspaper is 
     crushed with an angry gesture and thrown down into an 
     expensive-looking wastebasket (which is primarily for ticker 
     tape) tape is pouring.

40   INT. ENQUIRER OFFICE                                          40   

     Cartoonist and Kane working on comic strip of "Johnny the 
     Monk."

                                                        DISSOLVE:

     Floor of room -  Two kids on floor, with newspaper spread 
     out, looking at the same comic strip.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 66
     9-9-02                                                      


     Kane's photographic gallery with photographers, stooges, and 
     Kane himself in attendance on a very hot-looking item of the 
     period.  A sob sister is interviewing this hot number and 
     Kane is arranging her dress to look more seductive.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

     The hot number reproduced and prominently displayed and 
     covering almost half a page of the "Enquirer."  It is being 
     read in a barber shop and is seen in an over-shoulder shot 
     of the man who is reading it.  He is getting a shine, a 
     manicure, and a haircut.  The sob-sister caption over the 
     photograph reveals: "I DIDN'T KNOW WHAT I WAS DOING, SAYS 
     DANCER.  EVERYTHING WENT RED."  An oval photograph of the 
     gun is included in the lay-out of the pretty lady with a 
     headline which says: "DEATH GUN."

     STREET - SHOT OF BUCKET BRIGADE

     Shot of Kane, in evening clothes, in obvious position of 
     danger, grabbing camera from photographer.  Before him rages 
     a terrific tenement fire.

                                                        DISSOLVE:

     INSERT:  Headline about inadequacy of present fire equipment.

                                                        DISSOLVE:

     Final shot of a new horse-drawn steam engine roaring around 
     a street corner (Stock).

                                                        DISSOLVE:

     A black pattern of iron bars.  We are in a prison cell.  The 
     door is opened and a condemned man, with priest, warden and 
     the usual attendants, moves into foreground and starts up 
     the hall past a group which includes phtographers, Kane's 
     sob-sister, and Kane.  The photographers take pictures with 
     a mighty flash of old-fashioned flash powder.  The condemned 
     man in the foreground (in silhouette) is startled by this.

                                                        DISSOLVE:

     A copy of the "Enquirer" spread out on a table.  A big lay-
     out of the execution story includes the killer as photographed 
     by Kane's photographers, and nearby on the other page there 
     is a large picture of the new steam fire engine (made from 
     the stock shot) with a headline indicating that the "Enquirer" 
     has won its campaign for better equipment.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 67
     9-9-02                                                      


     A cup of coffee and a doughnut are on the newspaper, and a 
     servant girl - over whose shoulder we see the paper - is 
     stirring the coffee.

     The Beaux Art Ball.  A number of elderly swells are jammed 
     into a hallway.  Servants suddenly divest them of their furs, 
     overcoats and wraps, revealing them to be in fancy dress 
     costume, pink fleshings, etc., the effect to be very 
     surprising, very lavish and very very ridiculous.  We see, 
     among others, Mr. Thatcher himself (as Ben Hur) ribbon around, 
     his bald head and all.  At the conclusion of this tableau, 
     the image freezes and we pull back to show it reproduced on 
     the society page of the "New York Enquirer."

     Over the "Enquirer"'s pictorial version of the Beaux Art 
     Ball is thrown a huge fish - then coffee grounds - altogether 
     a pretty repulsive sight.

     The whole thing is bundled up and thrown into a garbage can.

     Extreme close-up of the words: "OCCUPATION - JOUNALIST."

     Camera pulls back to show passport open to the photograph 
     page which shows Kane, registering birth, race, and 
     nationality.  Passport cover is closed, showing it to be an 
     American passport.

41   EXT. CUNARD DOCKS - GANGPLANK AND DECK OF BOAT - NIGHT -      41   

     As camera pulls back over shoulder of official, taking in 
     Kane, Leland, and Bernstein, we see the bustle and noise of 
     departing ocean liner.  Behind the principles can be seen an 
     enormous plain sign which reads: "FIRST CLASS."  From offstage 
     can be heard the steward's cry, indispensable in any Mercury 
     production, the old familiar cry, "All Ashore That's Going 
     Ashore!" - gongs, also blasts of the great whistle and all 
     the rest of it.

                           THE OFFICIAL
               There you are, Mr. Kane.  Everything 
               in order.

                           KANE
               Thank you.

     Kane and Leland and Bernstein start up the gangplank.

                           THE OFFICIAL
                    (calling)
               Have a good rest, Mr. Kane.

                           KANE
               Thanks.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 68
     9-9-02                                                      


                           BERNSTEIN
               But please, Mr. Kane, don't buy any 
               more paintings.  Nine Venuses already 
               we got, twenty-six Virgins - two 
               whole warehouses full of stuff -

                           KANE
               I promise not to bring any more 
               Venuses and not to worry - and not 
               to try to get in touch with any of 
               the papers -

                           STEWARD'S VOICE
               All ashore!

                           KANE
               - and to forget about the new feature 
               sections - and not to try to think 
               up and ideas for comic sections.

                           STEWARD'S VOICE
               All ashore that's going ashore!

     Kane leaves Leland and Bernstein midway up gangplank, as he 
     rushes up to it, calling back with a wave:

                           KANE
               Goodbye, gents!
                    (at the top of the 
                    gangplank, he turns 
                    and calls down)
               Hey!
                    (calling down to them)
               You don't expect me to keep any of 
               those promises, do you?

     A band on deck strikes up "Auld Lang Syne."  Bernstein and 
     Leland turn to each other.

                           BERNSTEIN
               Do you, Mr. Leland?

                           LELAND
                    (smiling)
               Certainly not.

     They start down the gangplank together.

                                                        DISSOLVE:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 69
     9-9-02                                                      


42   LONG SHOT OF THE ENQUIRER BUILDING - NIGHT                    42   

     The pattern of telegraph wires, dripping with rain, through 
     which we see the same old building but now rendered fairly 
     remarkable by tremendous outline sign in gold which reads 
     "THE NEW YORK DAILY ENQUIRER."  A couple of lights show in 
     the building.  We start toward the window where the lights 
     show, as we -

                                                        DISSOLVE:

43   EXT. OUTSIDE THE WINDOW AT BERNSTEIN'S DESK - NIGHT           43   

     The light in the window in the former shot was showing behind 
     the letter "E" of the Enquirer sign.  Now the letter "E" is 
     even larger than the frame of the camera.  Rain drips 
     disconsolately off the middle part of the figure.  We see 
     through this and through the drizzle of the window to 
     Bernstein's desk where he sits working under a blue shaded 
     light.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

     Same setup as before except that it is now late afternoon 
     and late in the winter of the year.  The outline "E" is hung 
     with icicles which are melting, dripping despairingly between 
     us and Mr. Bernstein, still seated at his desk - still 
     working.

                                                        DISSOLVE:

     Same setup as before except that it is spring.  Instead of 
     the sad sounds of dripping rain or dripping icicles, we hear 
     the melancholy cry of a hurdy-gurdy in the street below.  It 
     is spring and through the letter "E" we can see Bernstein 
     working at his desk.  Pigeons are gathering on the "E" and 
     on the sill.  Bernstein looks up and sees them.  He takes 
     some crumbs from his little homemade lunch which is spread 
     out on the desk before him, carries them to the windows and 
     feeds the pigeons, looking moodily out on the prospect of 
     spring on Park Row.  The birds eat the crumbs - the hurdy-
     gurdy continues to play.

                                                        DISSOLVE:

     The same setup again, it is now summer.  The window was half-
     open before .. now it's open all the way and Bernstein has 
     gone so far as to take off his coat.

                                                        DISSOLVE:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 70
     9-9-02                                                      


     His shirt and his celluloid collar are wringing wet.  Camera 
     moves toward the window to tighten on Bernstein and to take 
     in the City Room behind him, which is absolutely deserted.  
     It is clear that there is almost nothing more for Bernstein 
     to do.  The hurdy-gurdy in the street is playing as before, 
     but a new tune.

                                                        DISSOLVE:

     A beach on Coney Island.

     Bernstein in a rented period bathing suit sits alone in the 
     sand, reading a copy of the "Enquirer."

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

44   INT. CITY ROOM - ENQUIRER BUILDING - DAY -                    44   

     The whole floor is now a City Room.  It is twice its former 
     size, yet not too large for all the desks and the people 
     using them.  The windows have been enlarged, providing a 
     good deal more light and air.  A wall calendar says September 
     9th.

     Kane and Bernstein enter and stand in the entrance a moment.  
     Kane, who really did look a bit peaked before, is now clear-
     eyed and tanned.  He is wearing new English clothes.  As 
     they come into the room, Bernstein practically walking 
     sideways, is doing nothing but beaming and admiring Kane, 
     quelling like a mother at the Carnegie Hall debut of her 
     son.  Seeing and recognizing Kane, the entire staff rises to 
     its feet.

                           KANE
                    (referring to the 
                    staff; with a smile)
               Ask them to sit down, Mr. Bernstein.

                           BERNSTEIN
               Sit down, everybody - for heaven's 
               sake!

     The order is immediately obeyed, everybody going into business 
     of feverish activity.

                           BERNSTEIN (CONT'D)
               So then, tonight, we go over 
               everything thoroughly, eh?  Especially 
               the new papers -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 71
     9-9-02                                                      


                           KANE
               We certainly do.  Vacation's over - 
               starting right after dinner.  But 
               right now - that lady over there -
                    (he indicates a woman 
                    at the desk)
               that's the new society editor, I 
               take it?  You think I could interrupt 
               her a moment, Mr. Bernstein?

                           BERNSTEIN
               Huh?  Oh, I forgot - you've been 
               away so long I forgot about your
               joking -

     He trails after Kane as he approaches the Society Editor's 
     desk.  The Society Editor, a middle-aged spinster, sees him 
     approaching and starts to quake all over, but tries to pretend 
     she isn't aware of him.  An envelope in her hand shakes 
     violently.  Kane and Bernstein stop at her desk.

                           BERNSTEIN (CONT'D)
               Miss Townsend -

     Miss Townsend looks up and is so surprised to see Bernstein 
     with a stranger.

                           MISS TOWNSEND
               Good afternoon, Mr. Bernstein.

                           BERNSTEIN
               This is Mr. Kane, Miss Townsend.

     Miss Townsend can't stick to her plan.  She starts to rise, 
     but her legs are none too good under her.  She knocks over a 
     tray of copy paper as she rises, and bends to pick it up.

                           KANE
                    (very hesitatingly 
                    and very softly)
               Miss Townsend -

     At the sound of his voice, she straightens up.  She is very 
     close to death from excitement.

                           KANE (CONT'D)
               I've been away for several months, 
               and I don't know exactly how these 
               things are handled now.  But one 
               thing I wanted to be sure of is that 
               you won't treat this little 
               announcement any differently than
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 72
     9-9-02                                                      


                           KANE (CONT'D)
               you would any other similar 
               announcement.

     He hands her an envelope.  She has difficulty in holding on 
     to it.

                           KANE (CONT'D)
                    (gently)
               Read it, Miss Townsend.  And remember 
               just the regular treatment! See you 
               at nine o'clock, Mr. Bernstein!

     Kane leaves.  Bernstein looks after him, then at the paper.  
     Miss Townsend finally manages to open the envelope.  A piece 
     of flimsy paper, with a few written lines, is her reward.

                           MISS TOWNSEND
                    (reading)
               Mr. and Mrs. Thomas Moore Norton 
               announce the engagement of their 
               daughter, Emily Monroe Norton, to 
               Mr. Charles Foster Kane.

                           BERNSTEIN
                    (starts to read it)
               Mr. and Mrs. Thomas Moore Norton
               announce -

                           MISS TOWNSEND
                    (fluttering - on top 
                    of him)
               She's - she's the niece of - of the 
               President of the United States -

                           BERNSTEIN
                    (nodding proudly)
               I know.  Come on, Miss Townsend -
               From the window, maybe we can get a 
               look.

     He takes her by the hand and leads her off.

     Angle toward open window.  Bernstein and Miss Townsend, backs 
     to camera, rushing to the window.

45   EXT. STREET OUTSIDE ENQUIRER BUILDING - DAY -                 45   

     High angle downward - what Bernstein and Miss Townsend see 
     from the window.

     Kane is just stepping into an elegant barouch, drawn up at 
     the curb, in which sits Miss Emily Norton.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 73
     9-9-02                                                      


     He kisses her full on the lips before he sits down.  She 
     acts a bit taken aback, because of the public nature of the 
     scene, but she isn't really annoyed.  As the barouche starts 
     off, she is looking at him adoringly.  He, however, has turned 
     his head and is looking adoringly at the "Enquirer."  He 
     apparently sees Bernstein and Miss Townsed and waves his 
     hand.

46   INT. CITY ROOM - ENQUIRER - DAY -                             46   

     Bernstein and Miss Townsend at window.

                           BERNSTEIN
               A girl like that, believe me, she's 
               lucky!  Presiden't niece, huh!  Say, 
               before he's through, she'll be a 
               Presiden't wife.

     Miss Townsend is now dewey-eyed.  She looks at Bernstein, 
     who has turned away, gazing down at the departing couple.

                                                        DISSOLVE:

     Front page of the "Enquirer."  Large picture of the young 
     couple - Kane and Emily - occupying four columns - very happy.

                                                        DISSOLVE:

47   INT. BERNSTEIN'S OFFICE - ENQUIRER - DAY -                    47   

     Bernstein and Thompson.  As the dissolve comes, Bernstein's 
     voice is heard.

                           BERNSTEIN
               The way things turned out, I don't 
               need to tell you - Miss Emily Norton 
               was no rosebud!

                           THOMPSON
               It didn't end very well, did it?

                           BERNSTEIN
                    (shaking his head)
               It ended -
                    (a slight pause)
               Then there was Susie - that ended, 
               too.
                    (shrugs, a pause; 
                    then looking up into 
                    Thompson's eyes)
               I guess he didn't make her very happy -
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 74
     9-9-02                                                      


                           BERNSTEIN (CONT'D)
                    (a pause)
               You know, I was thinking - that 
               Rosebud you're trying to find out 
               about -

                           THOMPSON
               Yes -

                           BERNSTEIN
               Maybe that was something he lost. 
               Mr. Kane was a man that lost - almost 
               everything he had -
                    (a pause)
               You ought to talk to Bradford Leland.  
               He could tell you a lot.  I wish I 
               could tell you where Leland is, but 
               I don't know myself.  He may be out 
               of town somewhere - he may be dead.

                           THOMPSON
               In case you'd like to know, Mr.
               Bernstein, he's at the Huntington 
               Memorial Hospital on 180th Street.

                           BERNSTEIN
               You don't say!  Why I had no idea -

                           THOMPSON
               Nothing particular the matter with 
               him, they tell me.  Just -
                    (controls himself)

                           BERNSTEIN
               Just old age.
                    (smiles sadly)
               It's the only disease, Mr. Thompson, 
               you don't look forward to being cured 
               of.
                    (pauses)
               You ought to see Mr. Leland.  There's 
               a whole lot of things he could tell 
               you - if he wanted to.

                                                        FADE OUT:

     FADE IN:

48   EXT. HOSPITAL ROOF - DAY -                                    48   

     Close shot - Thompson.  He is tilted back in a chair which 
     seems to be, and is, leaning against a chimney.  Leland's 
     voice is heard for a few moments before Leland is seen.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 75
     9-9-02                                                      


                           LELAND'S VOICE
               When you get to my age, young man, 
               you don't miss anything.  Unless 
               maybe it's a good drink of bourbon. 
               Even that doesn't make much 
               difference, if you remember there 
               hasn't been any good bourbon in this 
               country for twenty years.

     Camera has pulled back, during above speech, revealing that 
     Leland, wrapped in a blanket, is in a wheel chair, talking 
     to Thompson.  They are on the flat roof of a hospital.  Other 
     people in wheel chairs can be seen in the background, along 
     with a nurse or two.  They are all sunning themselves.

                           THOMPSON
               Mr. Leland, you were -

                           LELAND
               You don't happen to have a cigar, do 
               you?  I've got a young physician - I 
               must remember to ask to see his 
               license -the odds are a hundred to 
               one he hasn't got one - who thinks 
               I'm going to stop smoking...  I 
               changed the subject, didn't I?  Dear, 
               dear!  What a disagreeable old man 
               I've become.  You want to know what 
               I think of Charlie Kane?  Well - I 
               suppose he has some private sort of 
               greatness.
               But he kept it to himself.
                    (grinning)
               He never - gave himself away -  He 
               never gave anything away.  He just - 
               left you a tip.  He had a generous 
               mind.  I don't suppose anybody ever 
               had so many opinions.  That was 
               because he had the power to express 
               them, and Charlie lived on power and 
               the excitement of using it -  But he 
               didn't believe in anything except 
               Charlie Kane.  He never had a 
               conviction in his life.  I guess he 
               died without one -  That must have 
               been pretty unpleasant.  Of course, 
               a lot of us check out with no special 
               conviction about death.  But we do 
               know what we're leaving ... we believe 
               in something.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 76
     9-9-02                                                      


                           LELAND (CONT'D)
                    (looks sharply at 
                    Thompson)
               You're absolutely sure you haven't 
               got a cigar?

                           THOMPSON
               Sorry, Mr. Leland.

                           LELAND
               Never mind -  Bernstein told you 
               about the first days at the office, 
               didn't he?  Well, Charlie was a bad 
               newspaper man even then.  He 
               entertained his readers, but he never 
               told them the truth.

                           THOMPSON
               Maybe you could remember something 
               that -

                           LELAND
               I can remember everything.  That's 
               my curse, young man.  It's the 
               greatest curse that's ever been 
               inflicted on the human race.  Memory 
               was his oldest friend.
                    (slowly)
               As far as I was concerned, he behaved 
               like swine.  Maybe I wasn't his 
               friend.  If I wasn't, he never had 
               one.  Maybe I was what nowadays you 
               call a stooge -

                                                    DISSOLVE OUT:

     DISSOLVE IN:

49   INT. CITY ROOM - THE ENQUIRER - NIGHT -                       49   

     The party (previously shown in the Bernstein sequence).

     We start this sequence toward the end of the former one, but 
     from a fresh angle, holding on Leland, who is at the end of 
     the table.  Kane is heard off, making a speech.

                           KANE'S VOICE
               Not one of you has been hired because 
               of his loyalty.  It's your talent 
               I'm interested in.  That talent that's 
               going to make the "Enquirer" the 
               kind of paper I want - the best 
               newspaper in the world!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 77
     9-9-02                                                      


     Applause.  During above, Bernstein has come to Leland's side.

                           BERNSTEIN
               Isn't it wonderful?  Such a party!

                           LELAND
               Yes.

     His tone causes Bernstein to look at him.

                           KANE'S VOICE
               However, I think you'll agree we've 
               heard enough about newspapers and 
               the newspaper business for one night.

     The above speeches are heard under the following dialogue.

                           BERNSTEIN
                    (to Leland)
               What's the matter?

                           LELAND
               Mr. Bernstein, these men who are now 
               with the "Enquirer" - who were with 
               the "Chronicle" until yesterday - 
               weren't they just as devoted to the 
               "Chronicle" kind of paper as they 
               are now to - our kind of paper?

                           BERNSTEIN
               Sure.  They're like anybody else.  
               They got work to do.  They do it.
                    (proudly)
               Only they happen to be the best men 
               in the business.

                           KANE
                    (finishing his speech)
               There are other subjects in the world -

     Kane whistles.  The band and the chorus girls enter and hell 
     breaks loose all around Leland and Bernstein.

                           LELAND
                    (after a minute)
               Do we stand for the same things that 
               the "Chronicle" stands for, Mr. 
               Bernstein?

                           BERNSTEIN
                    (indignantly)
               Certainly not.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 78
     9-9-02                                                      


                           BERNSTEIN (CONT'D)
               So what's that got to do with it?  
               Mr. Kane, he'll have them changed to 
               his kind of newspapermen in a week.

                           LELAND
               Probably.  There's always a chance, 
               of course, that they'll change Mr.  
               Kane - without his knowing it.

     Kane has come up to Leland and Bernstein.  He sits down next 
     to them, lighting a cigarette.

                           KANE
               Well, gentlemen, are we going to 
               war?

                           LELAND
               Our readers are, anyway, I don't 
               know about the rest of the country.

                           KANE
                    (enthusiastically)
               It'll be our first foreign war in 
               fifty years, Brad.  We'll cover it 
               the way the "Hickville Gazette" covers 
               the church social!  The names of 
               everybody there; what they wore; 
               what they ate; who won the prizes; 
               who
               gave the prizes -
                    (gets excited)
               I tell you, Brad, I envy you.
                    (quoting)
               By Bradford Leland, the "Enquirer's" 
               Special Correspondent at the Front.
               I'm almost tempted -

                           LELAND
               But there is no Front, Charlie.
               There's a very doubtful civil war. 
               Besides, I don't want the job.

                           KANE
               All right, Brad, all right - you 
               don't have to be a war correspondent 
               unless you want to - I'd want to.
                    (looking up)
               Hello, Georgie.

     Georgie, a very handsome madam has walked into the picture, 
     stands behind him.  She leans over and speaks quietly in his 
     ear.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 79
     9-9-02                                                      


                           GEORGIE
               Is everything the way you want it, 
               dear?

                           KANE
                    (looking around)
               If everybody's having fun, that's 
               the way I want it.

                           GEORGIE
               I've got some other little girls
               coming over -

                           LELAND
                    (interrupting)
               Charles, I tell you there is no war!  
               There's a condition that should be 
               remedied - but between that and a -

                           KANE
                    (seriously)
               How would the "Enquirer" look with 
               no news about this non-existent war 
               with Benton, Pulitzer and Heart 
               devoting twenty columns a day to it?

                           LELAND
               They do it only because you do!

                           KANE
                    (grins)
               And I do it because they do it, and 
               they do it - it's a vicious circle, 
               isn't it?
                    (rises)
               I'm going over to Georgie's, Brad - 
               you know, Georgie, don't you?

     Leland nods.

                           GEORGIE
                    (over Kane's next 
                    lines)
               Glad to meet you, Brad.

     Leland shudders.

                           KANE
               I told you about Brad, Georgie.
               He needs to relax.

     Brad doesn't answer.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 80
     9-9-02                                                      


                           KANE (CONT'D)
               Some ships with wonderful wines have 
               managed to slip through the enemy 
               fleet that's blockading New York 
               harbor -
                    (grins)
               Georgie knows a young lady whom I'm 
               sure you'd adore - wouldn't he, 
               Georgie?  Why only the other evening 
               I said to myself, if Brad were only 
               here to adore this young lady - this -
                    (snaps his fingers)
               What's her name again?

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

50   INT. GEORGIE'S PLACE - NIGHT -                                50   

     Georgie is introducing a young lady to Branford Leland.  On 
     sound track we hear piano music.

                           GEORGIE
                    (right on cue from 
                    preceding scene)
               Ethel - this gentlemen has been very 
               anxious to meet you -  This is Ethel.

                           ETHEL
               Hello, Mr. Leland.

     Camera pans to include Kane, seated at piano, with girls 
     gathered around him.

     ONE OF THE GIRLS

     Charlie!  Play the song about you.

                           ANOTHER GIRL
               Is there a song about Charlie?

     Kane has broken into "Oh, Mr. Kane!" and Charlie and the 
     girls start to sing.  Ethel leads the unhappy Leland over to 
     the group.  Kane, seeing Leland and taking his eye, motions 
     to the professor who has been standing next to him to take 
     over.  The professor does so.  The singing continues.  Kane 
     rises and crosses to Leland.

                           KANE
               Say, Brad.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 81
     9-9-02                                                      


                           KANE (CONT'D)
                    (draws him slightly 
                    aside)
               I've got an idea.

                           LELAND
               Yes?

                           KANE
               I mean I've got a job for you.

                           LELAND
               Good.

                           KANE
               You don't want to be a war 
               correspondent - how about being a 
               dramatic critic?

                           LELAND
                    (sincerely, but not 
                    gushing; seriously)
               I'd like that.

     Kane starts quietly to dance in time to the music.  Leland 
     smiles at him.

                           KANE
               You start tomorrow night.  Richard 
               Carl in "The Spring Chicken."
                    (or supply show)
               I'll get us some girls.  You get 
               tickets.  A drama critic gets them 
               free, you know.
                    (grins)
               Rector's at seven?

                           LELAND
               Charlie -

                           KANE
               Yes?

                           LELAND
                    (still smiling)
               It doesn't make any difference about 
               me, but one of these days you're 
               going to find out that all this charm 
               of yours won't be enough -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 82
     9-9-02                                                      


                           KANE
                    (has stopped dancing)
               You're wrong.  It does make a 
               difference to you -  Rector's, Brad?
                    (starts to dance again)
               Come to think of it, I don't blame 
               you for not wanting to be a war 
               correspondent.  You won't miss 
               anything.  It isn't much of a war.  
               Besides, they tell me there isn't a 
               decent restaurant on the whole island.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

51   INT. RECTOR'S - NIGHT -                                       51   

     Leland, Kane, two young ladies at Rector's.  Popular music 
     is heard over the soundtrack.  Everybody is laughing very, 
     very hard at something Kane has said.  The girls are 
     hysterical.  Kane can hardly breathe.  As Leland's laughter 
     becomes more and more hearty, it only increases the laughter 
     of the others.

                                                        DISSOLVE:

52   EXT. CUNARD LOCKS - GANGPLANK AND DECK OF BOAT - NIGHT -      52   

     As told by Bernstein.  Kane is calling down to Leland and 
     Bernstein (as before).

                           KANE
               You don't expect me to keep any of 
               those promises, do you?

     A band on deck strikes up "Auld Lang Syne" and further ship-
     to-shore conversation is rendered unfeasible.

     Bernstein and Leland on deck.

                           BERNSTEIN
                    (turns to Leland)
               Do you, Mr. Leland?

                           LELAND
                    (smiling)
               Certainly not.

     Slight pause.  They continue on their way.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 83
     9-9-02                                                      


                           BERNSTEIN
               Mr. Leland, why didn't you go to 
               Europe with him?  He wanted you
               to.  He said to me just yesterday -

                           LELAND
               I wanted him to have fun - and with 
               me along -

     This stops Bernstein.  Bernstein looks at him.

                           LELAND (CONT'D)
               Mr. Bernstein, I wish you'd let me 
               ask you a few questions, and answer 
               me truthfully.

                           BERNSTEIN
               Don't I always?  Most of the time?

                           LELAND
               Mr. Bernstein, am I a stuffed shirt?  
               Am I a horse-faced hypocrite?  Am I 
               a New England school-marm?

                           BERNSTEIN
               Yes.

     Leland is surprised.

                           BERNSTEIN (CONT'D)
               If you thought I'd answer different 
               from what Mr. Kane tells you - well, 
               I wouldn't.

                           LELAND
                    (good naturedly)
               You're in a conspiracy against me, 
               you two.  You always have been.

                           BERNSTEIN
               Against me there should be such a 
               conspiracy some time!

     He pauses.  "Auld Lang Syne" can still be heard from the 
     deck of the department steamer.

                           BERNSTEIN (CONT'D)
                    (with a hopeful look 
                    in his eyes)
               Well, he'll be coming back in 
               September.  The Majestic.  I got the 
               reservations.  It gets in on the 
               ninth.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 84
     9-9-02                                                      


                           LELAND
               September the ninth?

     Leland puts his hand in his pocket, pulls out a pencil and 
     small engagement book, opens the book and starts to write.

     Leland's pencil writing on a page in the engagement book 
     open to September 9: "Rector's - 8:30 p.m."

                                                        DISSOLVE:

     Front page "Enquirer."  Large picture of the young couple - 
     Kane and Emily - occupying four columns - very happy.

53   EXT. HOSPITAL ROOF - DAY -                                    53   

     Leland and Thompson.  Leland is speaking as we dissolve.

                           LELAND
               I used to go to dancing school with 
               her.

     Thompson had handed Leland a paper.

                           LELAND (CONT'D)
               What's this?

                           THOMPSON
               It's a letter from her lawyers.

                           LELAND
                    (reading aloud from 
                    the letter)
               David, Grobleski & Davis -  My dear 
               Rawlston -
                    (looks up)

                           THOMPSON
               Rawlston is my boss.

                           LELAND
               Oh, yes.  I know about Mr. Rawlston.

                           THOMPSON
               He knows the first Mrs. Kane socially 
               That's the answer we got.

                           LELAND
                    (reading)
               I am in receipt of your favor of 
               yesterday.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 85
     9-9-02                                                      


                           LELAND (CONT'D)
               I beg you to do me the courtesy of 
               accepting my assurance that Mrs. 
               Whitehall cannot be induced to 
               contribute any more information on 
               the career of Charles Foster Kane.
               She has authorized me to state on 
               previous occasions that she regards 
               their brief marriage as a distateful 
               episode in her life that she prefers 
               to forget.  With assurances of the 
               highest esteem -

     Leland hands the paper back to Thompson.

                           LELAND (CONT'D)
               Brief marriage!  Ten years!
                    (sighs)

                           THOMPSON
               Was he in love?

                           LELAND
               He married for love -
                    (a little laugh)
               That's why he did everything.  That's 
               why he went into politics.  It seems 
               we weren't enough.  He wanted all 
               the voters to love him, too.  All he 
               really wanted out of life was love.  
               That's Charlie's story - it's the 
               story of how he lost it.  You see, 
               he just didn't have any to give.  He 
               loved Charlie Kane, of course, very 
               dearly - and his mother, I guess he 
               always loved her.  As for Emily - 
               well, all I can tell you is Emily's 
               story as she told it to me, which 
               probably isn't fair -there's supposed 
               to be two sides to every story - and 
               I guess there are.  I guess there's 
               more than two sides -

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

     Newspaper - Kane's marriage to Emily with still of group on 
     White House lawn, same setup as early newsreel in News Digest.

                                                        DISSOLVE:

     Screaming headline:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 86
     9-9-02                                                      


     OIL SCANDAL!

                                                        DISSOLVE:

     Headline reading:

     KANE TO SEE PRESIDENT

                                                        DISSOLVE:

     Big headline on "Enquirer" front page which reads:

     KANE TO SEE PRESIDENT

     Under this, one of those big box signed editorials, typical 
     of Kane, illustrated, on subject of the power of the 
     president, expressed in about nine different cases of type, 
     and illustrated by a cartoon of the White House, on which 
     camera tightens, as we -

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

54   INT. THE WHITE HOUSE - THE PRESIDENT'S EXECUTIVE OFFICE - 
     DAY -                                                         54   

     This scene is shot so as never to show the President - or at 
     least never his face.  There is present the President's 
     Secretary, sitting on one side of the desk, intently taking 
     notes.  Kane is on his feet, in front of the desk, tense and 
     glaring.

                           THE PRESIDENT
               It is the unanimous opinion of my 
               Cabinent - in which I concur - that 
               the proposed leases are in the best 
               interests of the Government and the 
               people.
                    (pauses)
               You are not, I hope, suggesting that 
               these interests are not identical?

                           KANE
               I'm not suggesting anything, Mr.
               President!  I've come here to tell 
               you that, unless some action is taken 
               promptly - and you are the only one 
               who can take it - the oil that is 
               the property of the people of this 
               country will be turned over for a 
               song to a gang of high-pressure 
               crooks!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 87
     9-9-02                                                      


                           THE PRESIDENT
                    (calmly)
               I must refuse to allow you to continue 
               in this vein, Mr. Kane.

                           KANE
                    (screaming)
               It's the only vein I know.  I tell 
               the facts the way I see them.  And 
               any man that knows the facts -

                           THE PRESIDENT
               I know the facts, Mr. Kane.  And I 
               happen to have the incredible 
               insolence to differ with you as to 
               what they mean.
                    (pause)
               You're a man of great talents, Mr. 
               Kane.

                           KANE
               Thanks.

                           THE PRESIDENT
               I understand that you have political 
               ambitions.  Unfortunately, you seem 
               incapable of allowing any other 
               opinion but your own -

                           KANE
                    (building to a frenzy)
               I'm much obliged, Mr. President, for 
               your concern about me.  However, I 
               happen to be concerned at this moment 
               with the matter of extensive oil 
               lands belonging to the people of the 
               United States, and I say that if 
               this lease goes through, the property 
               of the people of the United States 
               goes into the hands of -

                           THE PRESIDENT
                    (interrupting)
               You've made your point perfectly 
               clear, Mr. Kane.  Good day.

     The Secretary rises.  Kane, with every bit of will power 
     remotely at his disposal to control what might become an 
     hysterical outburst, manages to bow.

                           KANE
               Mr. President.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 88
     9-9-02                                                      


     He starts out of the office.

                                                        DISSOLVE:

55   INT. COMPOSING ROOM - ENQUIRER - NIGHT -                      55   

     Kane, Reilly, Leland and a composing room Foreman, in working 
     clothes, bending over a table with several forms of type.  
     They are looking, at this moment, at a made-up headline - 
     but Kane's back is in the way ... so we can't read it.

                           FOREMAN
               How about it, Mr. Kane?

     Reilly glances at his wrist watch and makes a face.  Kane 
     smiles as he notices this.

                           KANE
               All right.  Let her slide!

     He turns away, and we can now read the headline.

     Insert of the headline, which reads:

     "OIL THEFT BECOMES LAW AS PRESIDENT WITHOLDS VETO"

                                                        DISSOLVE:

     Here follows a quick montage (presently to be worked out) of 
     no more than four or five images in which the President, by 
     means of cartoons, editorials, headlines (all faithfully 
     reproduced from period yellow journalism) is violently 
     attacked.  The montage ends on the word TREASON.  The music 
     cuts.

     A hand reaches in a side pocket which contains a newspaper - 
     recognizably the "Enquirer."  The hand removes a gun.  The 
     gun is shot.  Many arms seize the hand which is pulled up - 
     gun still firing.  As the arm is raised in the air, we see 
     that the other arms holding the arm and struggling with it 
     are uniformed, and we see the White House beyond.

     DISSOLVE:

     News ticker which is spelling out the words:

     "ASSASSINATED 7:45 P.M."

     NOTE:  Under the following - a down shot, below the 
     "Enquirer," shows a crowd forming, looking angrily up toward 
     the camera.  Crowd noises on the soundtrack under music.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 89
     9-9-02                                                      


     A hand snatches the ticker tape away and as the image of the 
     crowd dissolves out, we pull back to show:

56   INT. OF KANE'S OFFICE - NIGHT -                               56   

     The ticker tape is in Reilly's hand.  Reilly has a phone to 
     his ear.

                           REILLY
               Looks bad for us, Mr. Kane.  How 
               shall we handle it?

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

57   INT. GEORGIE'S PLACE -                                        57   

     Kane in shirtsleeves at phone.

                           KANE
               It's a news story!  Get it on the 
               street!

                                                        DISSOLVE:

     Headline under "Enquirer" masthead which reads:

     "PRESIDENT ASSASSINATED"

     A newsboy is crying the headline at the same time.  We pull 
     back to show him and -

                                                        DISSOLVE:

58   INT. THEATRE - NIGHT                                          58   

     The camera is in tight on a box which contains Emily and 
     distinguished elderly ladies and gentlemen, obviously family 
     and friends.  On the soundtrack, very limpid opera music.  
     Another elderly gent, in white tie but still wearing an 
     overcoat, comes into the box and whispers to Emily.  He has 
     a copy of the "Enquirer" in his hand.  Emily rises.  He shows 
     the paper to her.

                                                        DISSOLVE:

59   EXT. STREET OUTSIDE ENQUIRER BUILDING - NIGHT -               59   

     An angry crowd seen from the window of Kane's office.  They 
     make a deep threatening sound which is audible during the 
     following scene.  Across the heads of the crowd are two great 
     squares of light from the windows above them.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 90
     9-9-02                                                      


     One of these disappears as the blind is pulled.  As the 
     dissolve completes itself, the second square of light 
     commences to reduce in size, and then the entire street is 
     cut off by a blind which Leland pulls down, covering the 
     entire frame.

60   INT. KANE'S OFFICE - ENQUIRER - NIGHT -                       60   

     The staff standing around, worried to death, in their 
     shirtsleeves.

                           KANE
                    (to Reilly)
               Take dictation -  Front page editorial -  
               "This afternoon a great man was 
               assassinated.  He was the President 
               of the United States -"

                           LELAND
               Charlie -

                           KANE
               Yes?

                           LELAND
               Do you think you're the one who should 
               call him a great man?

                           KANE
               Why not?

                           LELAND
               Why not?  Well - nobody's a great 
               man in your estimation until he's 
               dead.

                           REILLY
                    (quickly)
               Maybe we'd better wait for more word 
               on the President's condition.

                           KANE
                    (still looking at 
                    Leland)
               What do you mean by that?

                           LELAND
                    (quietly)
               Competition.

                           REILLY
               He may recover -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 91
     9-9-02                                                      


                           KANE
                    (still holding on 
                    Leland)
               What do you mean by that?

                           LELAND
                    (steadily)
               Yesterday morning you called the 
               President a traitor.  What do you 
               think that crowd is doing down there?  
               They think you murdered him.

                           KANE
               Because the crackpot who did it had 
               a copy of the "Enquirer" in his 
               pocket?

                           LELAND
               And that copy of the "Enquirer"
               said the President should be killed.

                           KANE
               I said treason was a capital offense 
               punishable by death -

                           LELAND
               You've said a lot of things about 
               the President in the last few months.

                           KANE
               They're true!  Everything I said!  
               Witholding that veto was treason!

                           LELAND
                    (interrupting)
               Charlie!

                           KANE
                    (riding over him)
               Oil belonging to the people of the 
               United States was leased out for a 
               song to a gang of high-pressure crooks -  
               Nobody can blame me because -

                           LELAND
               Look out that window.

     Kane stops - looks at him.

                           LELAND (CONT'D)
               There are the people of the United 
               States, and they are blaming you -
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 92
     9-9-02                                                      


                           LELAND (CONT'D)
               Oh, I know it doesn't make any sense, 
               but at least you can learn a lesson 
               from it.

                           KANE
                    (snarling)
               What lesson?  Not to expose fraud 
               when I see it?  Not to fight for the 
               right of the people to own their own 
               property?
                    (he turns to Reilly)
               Run it the way I said, Reilly - "This 
               afternoon a great man was assassinated -
               "

                           LELAND
               Charlie!  Now you're not making sense.

                           KANE
                    (sharply)
               I don't have to.  I run a newspaper 
               with half a million readers and 
               they're getting a martyred president 
               this morning with their breakfast.  
               I can't help that.  Besides, they 
               all know I'm married to his niece.  
               I've got to think of her.

                           LELAND
               What?

                           KANE
               I've got to think of Emily -

                           LELAND
                    (after a silence)
               I'd like to talk to you about that.

                           KANE
               Go ahead.

     Leland looks back at Kane, is conscious of the boys standing 
     around.

                           LELAND
               Finish your editorial.

     Leland walks out in to the City Room.  More staff members in 
     shirt sleeves in a state of panic.  Leland goes to his desk, 
     takes out a bottle, pours himself a very stiff drink.  A 
     door opens.  A Policeman enters with Bernstein.  Bernstein 
     is badly battered.  The boys crowd around.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 93
     9-9-02                                                      


                           LELAND (CONT'D)
                    (worried)
               What's happened?

                           BERNSTEIN
                    (smiling)
               I'm all right, Mr. Leland.  Only 
               there was some fellows out front 
               that thought they ought to take things 
               up with me.  I learned 'em!  Didn't 
               I, officer?

                           THE COP
                    (grinning)
               You sure did -  Say, the Commissioner 
               said I was to stand by and protect 
               Mr. Kane until further orders, no 
               matter how he felt about it.  Where 
               is he?

                           LELAND
                    (finishing his drink)
               In there.

                           BERNSTEIN
               If you hadn't come along and protected 
               me when you did, I'd have killed 
               them fellows.

                           LELAND
                    (pouring himself 
                    another drink)
               Go and get yourself washed up, Mr.  
               Bernstein.
                    (he looks his face 
                    over thoroughly)
               There doesn't seem to be an serious 
               injury.

                           BERNSTEIN
               Not to me.  But you will let that 
               cop go home with Mr. Kane, won't 
               you?

                           LELAND
               Yes, Mr. Bernstein.

     Bernstein leaves the picture with sympathetic attendance.  
     Leland finishes his second drink.

                                                        DISSOLVE:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 94
     9-9-02                                                      


61   INT. KANE'S OFFICE - NIGHT -                                  61   

     The bottle is finished.  The door in the Sanctrum opens.  
     Reilly and the others leave.

                           REILLY
                    (as they go)
               Goodnight, Mr. Kane.

     Kane stands in the door, waiting for Leland.  Leland gets up 
     and moves toward the office - goes in, sits down across from 
     Kane at the desk.  An uncomfortable pause.  Then Kane smiles 
     ingratiatingly.  Leland tries to cope with this.

                           LELAND
               First of all -
                    (he can't go on)

                           KANE
                    (not cruelly - 
                    genuinely kind)
               What's wrong, Brad?

                           LELAND
               I'm drunk.

                           KANE
               I'll get you some coffee.

     He rises and goes to the door.

                           LELAND
               First of all, I will not write a 
               good review of a play because somebody 
               paid a thousand dollars for an 
               advertisement in the "Enquirer."

                           KANE
                    (gently - opening the 
                    door)
               That's just a little promotion scheme.  
               Nobody expects you -
                    (calling)
               Mike, will you try and get Mr. Leland 
               some coffee?

                           MIKE'S VOICE
               Sure thing, Mr. Kane.

     Kane turns back to Leland.  Leland doesn't look up at him.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 95
     9-9-02                                                      


                           LELAND
               Charlie, it's just no go.  We can't 
               agree anymore.  I wish you'd let me 
               go to Chicago.

                           KANE
               Why, Brad?

                           LELAND
               I want to be transferred to the new 
               paper.  You've been saying yourself 
               you wish you had somebody to -
                    (he is heartsick, 
                    inarticulate)
               That's not what I wanted to talk 
               about.

     Kane goes around behind the desk and sits down.

                           KANE
               I'll tell you what I'll do, Brad -
               I'll get drunk, too - maybe that'll 
               help.

                           LELAND
               No, that won't help.  Besides, you 
               never get drunk.  I wanted to talk 
               about you and Emily.

     Kane looks at Leland sharply before he speaks.

                           KANE
                    (quietly)
               All right.

                           LELAND
                    (without looking at 
                    him)
               She's going to leave you -

                           KANE
               I don't think so, Brad.  We've just 
               had word that the President is out 
               of danger.
                    (ruefully)
               It seems I didn't kill him after 
               all.

                           LELAND
                    (takes his eye)
               She was going to leave you anyway -

     Kane takes this in.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 96
     9-9-02                                                      


                           LELAND (CONT'D)
               Emily's going south next week with 
               the child.  As far as anybody's to 
               know, it's a holiday.  When they get 
               back -

                           KANE
                    (sharply)
               Brad, you are drunk.

                           LELAND
               Sure I am.  She wants full custody 
               of the child no matter what happens.  
               If you won't agree to that, she'll 
               apply for a divorce regardless of 
               the President's wishes.  I can't 
               tell her she's wrong, because she 
               isn't wrong -

                           KANE
               Why is she leaving me?

                           LELAND
                    (it's very hard for 
                    him to say all this)
               She hasn't any friends left since 
               you started this oil business, and 
               she never sees you.

                           KANE
               Do you think the "Enquirer" shouldn't 
               have campaigned against the oil 
               leases?

                           LELAND
                    (hesitating)
               You might have made the whole thing 
               less personal!

     No answer from Kane.

                           LELAND (CONT'D)
               It isn't just that the President was 
               her uncle - everyone she knows, all 
               the people she's been brought up 
               with, everything she's ever been 
               taught to believe is important -

     Still no answer from Kane.

                           LELAND (CONT'D)
               There's no reason why this - this 
               savage personal note -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 97
     9-9-02                                                      


                           KANE
               The personal note is all there is to 
               it.  It's all there ever is to it.  
               It's all there ever is to anything!  
               Stupidity in our government, 
               complacency and self-satisfaction 
               and unwillingness to believe that 
               anything done by a certain class of 
               people can be wrong - you can't fight 
               those things impersonally.  They're 
               not impersonal crimes against people.  
               They're being done by actual persons - 
               with actual names and positions and - 
               the right of the American people to 
               own their own country is not an 
               academic issue, Brad, that you debate - 
               and then the judges retire to return 
               a verdict and the winners give a 
               dinner for the losers.

                           LELAND
               You almost convince me.
                    (rising)
               I'm just drunk enough to tell you 
               the truth.  I have to be a little 
               drunk for that because I'm a coward.  
               You know that.  That's why you keep 
               me around.
                    (smiles)
               You only associate with your 
               inferiors, Charlie.  I guess that's 
               why you ran away from Emily.  Because 
               you can't stand the company of your 
               equals.  You don't like to admit 
               they exist - the other big people in 
               your world are dead.  I told you 
               that.

     Kane looks at Leland, but Leland can't be stopped now.  He 
     speaks very quietly - no poison in his voice - no personal 
     indignation - as though he were explaining the nature of a 
     disease.

                           LELAND (CONT'D)
               You talk about the people of the 
               United States as though they belonged 
               to you.  When you find out they don't 
               think they are, you'll lose interest.  
               You talk about giving them their 
               rights as though you could make a 
               present of liberty.  Remember the 
               working man?
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 98
     9-9-02                                                      


                           LELAND (CONT'D)
               You used to defend him quite a good 
               deal.
               Well, he's turning into something 
               called organized labor and you don't 
               like that at all.  And listen, when 
               your precious underprivileged really 
               get together - that's going to add 
               up to something bigger than - than 
               your privilege and then I don't know 
               what you'll do - sail away to a desert 
               island, probably, and lord it over 
               the monkeys.

                           KANE
               Are you finished?

                           LELAND
               Yes.
                    (looking down)
               Now, will you let me go to Chicago?

                           KANE
                    (with a little smile)
               You're not going to like it in 
               Chicago.  They wind comes howling in 
               from the lake.  And there's 
               practically no opera season at all - 
               and the Lord only knows whether 
               they've ever heard of Lobster Newburg -

                           LELAND
               That's all right.
                    (he won't be charmed 
                    out of his duty)
               What are you going to do about Emily?

                           KANE
                    (his face hardning a 
                    little)
               Nothing - if she doesn't love me -

     Leland has risen.  He speaks as he turns away, starting 
     towards the door.

                           LELAND
               You want love on your own terms,
               don't you, Charlie -
                    (he stops - his back 
                    turned to Kane)
               Love according to your own rules.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                                p. 99
     9-9-02                                                      


                           LELAND (CONT'D)
               And if anything goes wrong and you're 
               hurt - then the game stops, and you've 
               got to be soothed and nursed, no 
               matter what else is happening - and 
               no matter who else is hurt!

                           KANE
               It's simpler than that, Brad.  A 
               society girl can't stand the gaff, 
               that's all.  Other things are 
               important to her - social position, 
               what they're saying on the front 
               porches at Southampton, is it going 
               to be embarrassing to meet somebody 
               or the other at dinner -

     Leland has turned, taking his eye again.  Now Kane stops and 
     smiles.

                           KANE (CONT'D)
               She can leave me.  As a matter of 
               fact, I've already left her.  Don't 
               worry, Brad - I'll live.

                           LELAND
               I know you will.

                           KANE
                    (with all his charm)
               Hey, Brad!  I've been analyzed an 
               awful lot tonight - let's have another 
               brandy.

     Leland shakes his head.  Kane lifts his glass.

                           KANE (CONT'D)
               To love on my terms.  Those are the 
               only terms anybody knows ...  his 
               own.

                                                        DISSOLVE:

62   EXT. ENQUIRER BUILDING - NIGHT -                              62   

     Kane, Leland, and a couple of policemen make their way out 
     of the front toward a hansom cab.

                           A VOICE FROM THE CROWD
               You moiderer!

     A rock is thrown.  It hits Leland on the face.  A little 
     blood flows.  Kane doesn't see it at first.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 100
     9-9-02                                                      


     Then when he's in the hansom cab, he turns and notices it.

                           KANE
               Are you hurt?

     Leland has a handkerchief to his face.

                           LELAND
               No.  I wish you'd go home to Emily.  
               She'll be pretty upset by all this - 
               She still loves you -

     The crowd, pushed by the cops, retreats in the background, 
     but still hard by.

                           KANE
               You still want to be transferred to 
               the other paper?

                           LELAND
               Yes.

                           KANE
                    (leaning out of the 
                    hansom cab)
               Well, you've been getting a pretty 
               low salary here in New York.  It 
               seems to me that the new dramatic 
               critic of our Chicago paper should 
               get what he's worth.
                    (almost as a question)

                           LELAND
                    (with handkerchief 
                    still attached to 
                    his face)
               I couldn't possibly live on as little 
               as that, Charlie.  We'll let the 
               salary stay where it is.

     The hansom cab starts up.  We hold on Leland's face as we

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

63   INT. KANE'S NEW YORK HOME - KANE'S BEDROOM - EARLY MORNING -  63   

     Emily is in bed, a damp cloth over her temples.  Kane is 
     standing at the foot of the bed.  The baby's bed is in a 
     corner of the room.  The baby's nurse is standing near the 
     crib, a nurse for Emily is near her.  Kane is looking fixedly 
     on Emily, who is staring tiredly at the ceiling.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 101
     9-9-02                                                      


                           KANE
                    (to the nurse)
               Excuse us a moment, please.

     The nurse looks at Emily.

                           KANE (CONT'D)
                    (peremptorily)
               I said, excuse us a moment.

     The nurse, unwilling, leaves.

                           KANE (CONT'D)
               I've been talking to Leland.  Emily - 
               You can't leave me now - not now -

     Silence.

                           KANE (CONT'D)
               It isn't what it would do to my 
               chances in politics, Emily -  That 
               isn't it -  They were talking of 
               running me for governor, but now, of 
               course, we'll have to wait - It isn't 
               that, Emily -  It's just -the 
               president is your uncle and they're 
               saying I killed him.

     Still silence.

                           KANE (CONT'D)
               That story about the murderer having 
               a copy of the "Enquirer" in his pocket - 
               the "Chronicle" made that up out of 
               whole cloth -  Emily, please - He's 
               going to be all right, you know, 
               he's going to recover -
                    (bitterly)
               If it will make you any happier, we 
               had nine pages of advertising 
               cancelled in the first mail this 
               morning.  Bernstein is afraid to 
               open any more letters.  He -

     He stops.  He sees that he's getting no place with Emily.

                           KANE (CONT'D)
                    (exasperated)
               What do you expect me to do?  What 
               in the world -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 102
     9-9-02                                                      


                           EMILY
                    (weakly)
               Charles.

     He waits for her to continue.

                           EMILY (CONT'D)
               Do you really think -
                    (she can't continue)
               Those threatening letters, can
               they really -

     She sits up and looks at the crib.  She almost continues to 
     look at the crib, with almost unseeing eyes.

                           KANE
                    (uncomfortably)
               They won't do anything to Junior, 
               darling.
                    (contemptuously)
               Anonymous letter writers -   I've 
               got guards in front of the house, 
               and I'm going to arrange -

                           EMILY
                    (turning her face 
                    toward him)
               Please don't talk any more, Charles.

     Kane is about to say something, but bites his lips instead.  
     Emily keeps staring at him.

                           EMILY (CONT'D)
               Have they heard from father yet?
               Has he seen -

                           KANE
               I've tried to tell you, Emily.
               The President's going to be all right.  
               He had a comfortable night.  There's 
               no danger of any kind.

     Emily nods several times.  There is an uncomforable silence.  
     Suddenly there is a cry from the crib.  Emily leaps from the 
     bed and rushes to him.  She bends over the crib.

                           EMILY
                    (murmuring)
               Here I am, darling...  Darling!...  
               Darling, it's all right...  Mother's 
               here.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 103
     9-9-02                                                      


                           KANE
               Emily - you musn't leave me now -
               you can't do that to me.

                           EMILY
               They won't hurt you, darling.  
               Mother's with you!  Mother's looking 
               after you!

     Kane, unwanted, ignored, looks on.  Tightening his lips, he 
     walks out.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

64   INT. KANE'S OFFICE - NIGHT                                    64   

     By the desk light, Kane is seen working with his usual 
     intensity,  Reilly standing beside him at the desk.

                           KANE
               We'll withdraw support completely. 
               Anything else?

                           REILLY
               Mr. Leland sent back that check.

                           KANE
               What check?

                           REILLY
               You made it out to him last week 
               after he left for Chicago.

                           KANE
               Oh, yes, the bonus.

                           REILLY
               It was for twenty-five thousand 
               dollars.

     Kane is perplexed and worried, but we can see in a moment 
     his mind will be on something else.

                           REILLY (CONT'D)
               He sent it back torn up - all torn 
               up into little bits, and he enclosed 
               something else -  I can't make it 
               out.

     Kane doesn't answer.  Reilly goes on.  He has brought out a 
     piece of paper and is reading it.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 104
     9-9-02                                                      


                           REILLY (CONT'D)
               It says here, "A Declaration of
               Principles" -
                    (he still reads)
               "I will provide the people of this 
               city with a daily paper that will 
               tell all the news honestly" -

     Kane has looked up sharply.  Reilly, sensing his look, stops 
     reading and meets his eye.  Slowly, Kane reaches out his 
     hand.  Reilly hands him the piece of paper.  Without reading 
     it, Kane tears it up, throws it into the wastebasket at his 
     side.

                                                        DISSOLVE:

65   INT. MADISON SQUARE GARDEN - NIGHT -                          65   

     The evening of the final great rally.  These shots remind us 
     of and are identical with and supplementary to the "News 
     Digest" scenes earlier.  The vast auditorium with a huge 
     picture of Kane, cheering crowds, etc.  Emily and Junior are 
     to be seen in the front of a box.  Emily is tired and wears 
     a forced smile on her face.  Junior, now aged nine and a 
     half, is eager, bright-eyed and excited.  Kane is just 
     finishing his speech.

                           KANE
               It is no secret that I entered upon 
               this campaign with no thought that I 
               could be elected Governor of this 
               state!  It is now no secret that 
               every straw vote, every independent 
               pole, shows that I will be elected.  
               And I repeat to you - my first 
               official act as Governor will be to 
               appoint a special District Attorney 
               to arrange for the indictment, 
               prosecution and conviction of Boss 
               Edward G. Rogers!

     Terrific screaming and cheering from the audience.

                                                    DISSOLVE OUT:

66   INT. MADISON SQUARE GARDEN - NIGHT -                          66   

     The Speaker's Platform.  Numerous officials and civic leaders 
     are crowding around Kane.  Cameramen take flash photographs 
     with old-fashioined flash powder.

                           FIRST CIVIC LEADER
               Great speech, Mr. Kane.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 105
     9-9-02                                                      


                           SECOND LEADER
                    (pompous)
               One of the most notable public 
               utterances ever made by a candidate 
               in this state -

                           KANE
               Thank you, gentlemen.  Thank you.

     He looks up and notices that the box in which Emily and the 
     boy were sitting is now empty.  He starts toward the rear of 
     the platform, through the press of people, Reilly approaches 
     him.

                           REILLY
               A wonderful speech, Mr. Kane.

     Kane pats him on the shoulder as he walks along.

                           REILLY (CONT'D)
               I just got word from Buffalo, Mr. 
               Kane.  They're going to throw you 
               the organization vote - and take a 
               chance maybe you'll give them a break -

     This is said almost inquiringly, as if he were hoping that 
     Kane would give him some assurance that McDonald is not making 
     a mistake.  There is no answer from Kane.

                           REILLY (CONT'D)
               On an independent ticket there's 
               never been anything like it!  If the 
               election were held today, you'd be 
               elected by a hundred thousand votes - 
               and every day between now and November 
               7th is just going to add to your 
               majority.

     Kane is very pleased.  He continues with Reilly slowly through 
     the crowd - a band playing off.  Bernstein joins him.

                           KANE
               It does seem too good to be true, 
               doesn't it, Mr. Bernstein?

                           REILLY
               Rogers isn't even pretending.  He 
               isn't just scared anymore.  He's 
               sick.  Frank Norris told me last 
               night he hasn't known Rogers to be 
               that worried in twenty-five years.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 106
     9-9-02                                                      


                           KANE
               I think it's beginning to dawn on 
               Mr. Rogers that I mean what I say.  
               With Mr. Rogers out of the way, 
               Reilly, I think we may really begin 
               to hope for a good government in 
               this state.
                    (stopping)
               Well, Mr. Bernstein?

                           BERNSTEIN
                    (clearly not meaning 
                    it)
               It's wonderful, Mr. Kane.  Wonderful.  
               Wonderful.

                           KANE
               You don't really think so?

                           BERNSTEIN
               I do.  I do.  I mean, since you're 
               running for Governor -and you want 
               to be elected -  I think it's 
               wonderful you're going to be elected.  
               Only -
                    (interrupts himself)
               Can I say something?

                           KANE
               Please, Mr. Bernstein.

                           BERNSTEIN
               Well, the way I look at it -
                    (comes out with it)
               You want to know what I really
               think would be wonderful?

     Kane indicates he is to proceed.

                           BERNSTEIN (CONT'D)
               Well, you're running for Governor 
               and going to be elected - my idea is 
               how wonderful it would be if you 
               don't run at all and don't get 
               elected.

                                                        DISSOLVE:

67   EXT. ONE OF THE EXITS - MADISON SQUARE GARDEN - NIGHT -       67   

     Emily and Junior are standing, waiting for Kane.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 107
     9-9-02                                                      


                           JUNIOR
               Is Pop Governor yet, Mom?

     Just then, Kane appears, with Reilly and several other men.  
     Kane rushes toward Emily and Junior, as the men politely 
     greet Emily.

                           KANE
               Hello, Butch!  Did you like your old 
               man's speech?

                           JUNIOR
               Hello, Pop!  I was in a box.  I could 
               hear every word.

                           KANE
               I saw you!
                    (he has his arm around 
                    Junior's shoulder)
               Good night, gentlemen.

     There are good nights.  Kane's car is at the curb and he 
     starts to walk toward it with Junior and Emily.

                           EMILY
               I'm sending Junior home in the
               car, Charles - with Oliver -

                           KANE
               But I'd arranged to go home with you 
               myself.

                           EMILY
               There's a call I want you to make 
               with me, Charles.

                           KANE
               It can wait.

                           EMILY
               No, it can't.
                    (she bends down and 
                    kisses Junior)
               Good night, darling.

                           JUNIOR
               Good night, Mom.

     The driver is holding the rear door open as Emily guides 
     Junior in.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 108
     9-9-02                                                      


                           KANE
                    (as car starts to 
                    drive off)
               What's this all about, Emily?  I've 
               had a very tiring day and -

                           EMILY
               It may not be about anything at all.

     A cab has pulled up.

                           THE DRIVER
               Cab?

     Emily nods to him.

                           EMILY
               I intend to find out.

                           KANE
               I insist on being told exactly what 
               you have in mind.

                           EMILY
               I'm going to -
                    (she looks at a slip 
                    of paper in her hand)
               West 74th Street.

     Kane's reaction indicates that the address definitely means 
     something to him.

                           EMILY (CONT'D)
               If you wish, you can come with me...

     Kane nods.

                           KANE
               I'll go with you.

     He opens the door and she enters the cab.  He follows her.

                                                        DISSOLVE:

68   INT. CAB - NIGHT -                                            68   

     Kane and Emily.  He looks at her, in search of some kind of 
     enlightenment.  Her face is set and impassive.

                                                        DISSOLVE:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 109
     9-9-02                                                      


69   EXT. AND INT. APARTMENT HOUSE HALLWAY - NIGHT -               69   

     Kane and Emily, in front of an apartment door.  Emily is 
     pressing the bell.

                           KANE
               I had no idea you had this flair for 
               melodrama, Emiliy.

     Emily does not answer.  The door is opened by a maid, who 
     recognizes Kane.

                           THE MAID
               Come in, Mr. Kane, come in.

     They enter, Emily first.

70   INT. SUSAN'S APARTMENT - NIGHT -                              70   

     There is first a tiny reception room, through which an open 
     door shows the living room.  Kane and Emily enter from the 
     hallway and cross to the living room.  As they enter, Susan 
     rises from a chair.  The other person  in the room - a big, 
     heavyset man, a little past middle age - stays where he is, 
     leaning back in his chair, regarding Kane intently.

                           SUSAN
               It wasn't my fault, Charlie.  He 
               made me send your wife a note.  He 
               said I'd - oh, he's been saying the 
               most terrible things, I didn't know 
               what to do...  I -
                    (she catches sight of 
                    Emily)

                           ROGERS
               Good evening, Mr. Kane.
                    (he rises)
               I don't suppose anybody would 
               introduce us.  Mrs. Kane, I am Edward 
               Rogers.

                           EMILY
               How do you do?
                    (pauses)
               I came here - and I made Mr. Kane 
               come with me...
                    (she consults the 
                    note in her hand 
                    without reading it 
                    again)
               Because I received this note -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 110
     9-9-02                                                      


                           ROGERS
               I made Miss - Miss Alexander send 
               you the note.  She was a little 
               unwilling at first -
                    (he smiles grimly)
               but she did it.

                           SUSAN
               I can't tell you the things he said, 
               Charlie.  You haven't got any idea -

                           KANE
                    (turning on Rogers)
               Rogers, I don't think I will postpone 
               doing something about you until I'm 
               elected.
                    (he starts toward him)
               To start with, I'll break your neck.

                           ROGERS
                    (not giving way an 
                    inch)
               Maybe you can do it and maybe you 
               can't, Mr. Kane.

                           EMILY
               Charles!
                    (he stops to look at 
                    her)
               Your - your breaking this man's
               neck -
                    (she is clearly 
                    disgusted)
               would scarcely explain this note -
                    (glancing at the note)
               Serious consequences for Mr. Kane -
                    (slowly)
               - for myself, and for my son.  What 
               does this note mean, Miss -

                           SUSAN
                    (stiffly)
               I'm Susan Alexander.
                    (pauses)
               I know what you think, Mrs. Kane, 
               but -

                           EMILY
                    (ignoring this)
               What does this note mean, Miss 
               Alexander?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 111
     9-9-02                                                      


                           ROGERS
               She doesn't know, Mrs. Kane.  She 
               just sent it - because I made her 
               see it wouldn't be smart for her not 
               to send it.

                           KANE
               In case you don't know, Emily, this - 
               this gentleman -
                    (he puts a world of 
                    scorn into the word)
               is -

                           ROGERS
               I'm not a gentleman, Mrs. Kane, and 
               your husband is just trying to be 
               funny calling me one.  I don't even 
               know what a gentleman is.
                    (tensely, with all 
                    the hatred and venom 
                    in the world)
               You see, my idea of a gentleman, 
               Mrs.  Kane - well, if I owned a 
               newspaper and if I didn't like the 
               way somebody else was doing things - 
               some politican, say - I'd fight them 
               with everything I had.  Only I 
               wouldn't show him in a convict suit, 
               with stripes -so his children could 
               see the picture in the paper.  Or 
               his mother.
                    (he has to control 
                    himself from hurling 
                    himself at Kane)
               It's pretty clear - I'm not a 
               gentleman.

                           EMILY
               Oh!!

                           KANE
               You're a cheap, crooked grafter -and 
               your concern for your children and 
               your mother -

                           ROGERS
               Anything you say, Mr. Kane.  Only 
               we're talking now about what you 
               are.  That's what the note is about, 
               Mrs. Kane.  Now I'm going to lay all 
               my cards on the table.  I'm fighting 
               for my life.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 112
     9-9-02                                                      


                           ROGERS (CONT'D)
               Not just my political life.  My life.  
               If your husband is elected governor -

                           KANE
               I'm going to be elected governor.  
               And the first thing I'm going to do -

                           EMILY
               Let him finish, Charles.

                           ROGERS
               I'm protecting myself every way I 
               know how, Mrs. Kane.  This last week, 
               I finally found out how I can stop 
               your husband from being elected.  If 
               the people of this state learn what 
               I found out this week, he wouldn't 
               have a chance to - he couldn't be 
               elected Dog Catcher.  Well, what I'm 
               interested in is seeing that he's 
               not elected.  I don't care whether 
               they know what I know about him.  
               Let him keep right on being the Great, 
               Noble, Moral -
                    (he stresses the world)
               Champeen of the people.  Just as 
               long as -

                           EMILY
               I think I understand, Mr. Rogers, 
               but I wonder if -
                    (she leaves her 
                    sentence unfinished)

                           KANE
               You can't blackmail me, Rogers, you 
               can't -

                           SUSAN
                    (excitedly)
               Charlie, he said, unless you withdrew 
               your name -

                           ROGERS
               That's the chance I'm willing to 
               give you, Mr. Kane.  More of a chance 
               than you'd give me.  Unless you make 
               up your mind by tomorrow that you're 
               so sick that you've got to go away 
               for a year or two -  Monday morning 
               every paper in this State will carry 
               the story I'm going to give them.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 113
     9-9-02                                                      


     Kane starts to stare at him intently.

                           EMILY
               What story, Mr. Rogers?

                           ROGERS
               The story about him and Miss 
               Alexander, Mrs. Kane.

     Emily looks at Kane.

                           SUSAN
               There is no story.  It's all lies.  
               Mr. Kane is just -

                           ROGERS
                    (to Susan)
               Shut up!
                    (to Kane)
               I've had a dozen men doing nothing 
               but run this thing down - we've got 
               evidence enough to -well, the evidence 
               would stand up in any court of law.  
               You want me to give you the evidence, 
               Mr. Kane?

                           KANE
               You do anything you want to do.
               The people of this state can decide 
               which one of us to trust.  If you 
               want to know, they've already decided.  
               The election Tuesday'll be only -

                           ROGERS
               Mrs. Kane, I'm not asking you to
               believe me.  I'd like to show you -

                           EMILY
               You don't have to show me anything, 
               Mr. Rogers.  I believe you.

                           ROGERS
               I'd rather Mr. Kane withdrew without 
               having to get the story published.  
               Not that I care about him.  But I'd 
               be better off that way -
                    (he pauses)
               and so would you, Mrs. Kane.

                           SUSAN
               What about me?
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 114
     9-9-02                                                      


                           SUSAN (CONT'D)
                    (to Kane)
               He said my name'd be dragged through 
               the mud.  He said everywhere I'd go 
               from now on -

                           EMILY
               There seems to be only one decision 
               you can make, Charles.  I'd say that 
               it has been made for you.
                    (pauses)
               I suppose the details can be arranged 
               tomorrow, Mr. Rogers.  About the 
               statements by the doctors -

                           KANE
               Have you gone completely mad, Emily?

     Emily looks at him.

                           KANE (CONT'D)
               You don't think I'm going to let 
               this blackmailer intimidate me, do 
               you?

                           EMILY
               I don't see what else you can do, 
               Charles.  If he's right - and the
               papers publish this story he has -

                           KANE
               Oh, they'll publish it all right.  
               But that's not going to stop me -

                           EMILY
               Charles, this - this story - doesn't 
               concern only you.  I'll be in it, 
               too, won't I?
                    (quickly)
               And Junior?

                           KANE
                    (squirming a bit)
               I suppose so, but - I'm not afraid 
               of the story.  You can't tell me 
               that the voters of this state -

                           EMILY
               I'm not interested in the voters of 
               this state right now.  I am interested 
               in - well, Junior, for one thing.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 115
     9-9-02                                                      


                           SUSAN
               Charlie!  If they publish this
               story -

                           EMILY
               They won't.  Goodnight, Mr. Rogers.
                    (she starts out)
               There's nothing more to be said, 
               Charles.

                           KANE
               Oh yes, there is.

                           EMILY
               I don't think so.  Are you coming, 
               Charles?

                           KANE
               No.

     She looks at him.  He starts to work himself into a rage.

                           KANE (CONT'D)
               There's only one person in the world 
               to decide what I'm going to do - and 
               that's me.  And if you think - if 
               any of you think -

                           EMILY
               You decided what you were going to 
               do, Charles - some time ago.
                    (she looks at Susan)
               You can't always have it your own 
               way, regardless of anything else 
               that may have happened.
                    (she sighs)
               Come on, Charles.

                           KANE
               Go on!  Get out!  I can fight this 
               thing all alone!

                           ROGERS
               You're making a bigger fool of 
               yourself than I thought you would, 
               Mr. Kane.  You're licked.  Why don't 
               you -

                           KANE
                    (turning on him)
               Get out!  I've got nothing to talk 
               to you about.  If you want to see 
               me, have the Warden write me a letter.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 116
     9-9-02                                                      


                           ROGERS
               I see!
                    (he starts toward the 
                    door)

                           SUSAN
                    (starting to cry)
               Charlie, you're just excited.  You 
               don't realize -

                           KANE
               I know exactly what I'm doing.
                    (he is screaming)
               Get out!

                           EMILY
                    (quietly)
               Charles, if you don't listen to 
               reason, it may be too late -

                           KANE
               Too late for what?  Too late for
               you and this -
                    (he can't find the 
                    adjective)
               this public thief to take the love 
               of the people of this state away 
               from me?  Well, you won't do it, I 
               tell you.  You won't do it!

                           SUSAN
               Charlie, there are other things to 
               think of.
                    (a sly look comes 
                    into her eyes)
               Your son - you don't want him to 
               read in the papers -

                           EMILY
               It is too late now, Charles.

                           KANE
                    (rushes to the door 
                    and opens it)
               Get out, both of you!

                           SUSAN
                    (rushes to him)
               Charlie, please don't -

                           KANE
               What are you waiting here for?  Why 
               don't you go?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 117
     9-9-02                                                      


                           EMILY
               Goodnight, Charles.

     She walks out.  Rogers stops as he gets directly in front of 
     Kane.

                           ROGERS
               You're the greatest fool I've ever 
               known, Kane.  If it was anybody else, 
               I'd say what's going to happen to 
               you would be a lesson to you.  Only 
               you're going to need more than one 
               lesson.  And you're going to get 
               more than one lesson.
                    (he walks past Kane)

                           KANE
               Don't you worry about me.  I'm Charles 
               Foster Kane.  I'm no cheap, crooked 
               politician, trying to save himself 
               from the consequences of his crimes -

71   INT. APARTMENT HOUSE HALLWAY - NIGHT -                        71   

     Camera angling toward Kane from other end of the hall.  Rogers 
     and Emily are already down the hall, moving toward foreground.  
     Kane in apartment doorway background.

                           KANE
                    (screams louder)
               I'm going to send you to Sing Sing, 
               Rogers.  Sing Sing!

     Kane is trembling with rage as he shakes his fist at Rogers's 
     back.  Susan, quieter now, has snuggled into the hollow of 
     his shoulder as they stand in the doorway.

                                                        DISSOLVE:

     The "Chronicle" front page with photograph (as in the "News 
     Digest") revealing Kane's relations with Susan.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

     Front page of "Chronicle" - Headline which reads:

     ROGERS ELECTED

                                                        DISSOLVE:

     Front page of "Enquirer" - Headline which reads:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 118
     9-9-02                                                      


     FRAUD AT POLLS

                                                        DISSOLVE:

72   INT. LIVING ROOM - NIGHT -                                    72   

     Emily is opening the door for Leland.

                           EMILY
               Hello, Brad -

                           LELAND
               Emily -

     He pauses.  Leland comes in.  Emily closes the door.

                           EMILY
               I'm sorry I sent for you, Brad -
               I didn't -

                           LELAND
               Chicago is pretty close to New
               York nowadays - only twenty hours -

     She doesn't have anything to say.

                           LELAND (CONT'D)
               I'm glad to see you.

     She smiles at him and we know that there isn't anybody else 
     in the world for her to smile at.  She's too grateful to 
     talk.

                           EMILY
               Are all the returns in?

     Leland puts his hat unconsciously on his coat by the 
     newspaper.

                           EMILY (CONT'D)
               Let me see it.

     Leland takes the newspaper out of his pocket and hands it to 
     her.  She takes it.  We see the headline, not an insert, but 
     it registers.  It reads: "Fraud at Polls."  Emily is looking 
     at the paper with unseeing eyes, and a little smile.

                           LELAND
                    (after a pause)
               Almost two to one -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 119
     9-9-02                                                      


                           EMILY
               I'm surprised he got the votes he 
               did.

                           LELAND
               Emily!

                           EMILY
               Why should anyone vote for him?  
               He's made it quite clear to the people 
               what he thinks of them.  Children - 
               to be told one thing one day, 
               something else the next, as the whim 
               seizes him.  And they're supposed to 
               be grateful and love and adore him - 
               because he sees to it that they get 
               cheap ice and only pay a nickel in 
               the street cars.

                           LELAND
               Emily, you're being - a little unfair -  
               You know what I think of Charles' 
               behavior - about your personal lives -

                           EMILY
               There aren't any personal lives for 
               people like us.  He made that very 
               clear to me nine years ago - If I'd 
               thought of my life with Charles as a 
               personal life, I'd have left him 
               then -

                           LELAND
               I know that, Emily -

                           EMILY
                    (on top of Leland)
               Maybe I should have - the first time 
               he showed me what a mad dog he really 
               was.

                           LELAND
                    (on the cue "dog")
               Emily, you -

                           EMILY
               Brad, I'm -  I'm not an old woman 
               yet -

                           LELAND
               It's - all over -

     He stops himself.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 120
     9-9-02                                                      


                           EMILY
                    (after a pause)
               I know it is, Brad -

                           LELAND
               He's paying for it, Emily.  Those 
               returns tonight - he's finished.  
               Politically -
                    (he thinks)
               socially, everywhere, I guess. I 
               don't know about the papers, but -

                           EMILY
               If you're asking me to sympathize 
               with him, Brad, you're wasting your 
               time.
                    (pauses)
               There's only one person I'm sorry 
               for, as a matter of fact.  That - 
               that shabby little girl.  I'm really 
               sorry for her, Brad.

                                                        DISSOLVE:

     Front page Chicago "Enquirer," with photograph proclaiming 
     that Susan Alexander opens at new Chicago Opera House in 
     "Thais," as in "News Digest."

     On soundtrack during above we hear the big, expectant murmur 
     of an opening night audience and the noodling of the 
     orchestra.

                                                        DISSOLVE:

73   INT. CHICAGO OPERA HOUSE - NIGHT - SET FOR "THAIS" -          73   

     The camera is just inside the curtain, angling upstage.  We 
     see the set for "Thais" - the principals in place - stage 
     managers, stage hands, etc., and in the center of all this, 
     in an elaborate costume, looking very small and very lost, 
     is Susan.  She is almost hysterical with fright.  Maids, 
     singing teacher, and the rest are in attendance.  Her throat 
     is sprayed.  Applause is heard at the opening of the shot, 
     and now the orchestra starts thunderously.  The curtain starts 
     to rise - the camera with it - the blinding glare of the 
     foots moves up Susan's body and hits her face.  She squints 
     and starts to sing.  Camera continues on up with the curtain, 
     up past Susan, up the full height of the proscenium arch and 
     then on up into the gridiron into a world of ropes, brick 
     walls and hanging canvas - Susan's voice still heard - but 
     faintly.  The camera stops at the top of the gridiron as the 
     curtain stops.  Two typical stage hands fill the frame.  
     They are looking down on the stage below.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 121
     9-9-02                                                      


     Some of the reflected light gleams on their faces.  They 
     look at each other.  One of them puts his hand to his nose.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

74   INT. LELAND'S OFFICE - CHICAGO ENQUIRER - NIGHT -             74   

     Leland, as in the same scene in the Bernstein sequence, is 
     sprawled across his typewriter, his head on the keys.  The 
     paper is gone from the roller.  Leland stirs and looks up 
     drunkenly, his eyes encountering Bernstein, who stands beside 
     him (also as in the previous scene).

                           BERNSTEIN
               Hello, Mr. Leland.

                           LELAND
               Hello, Bernstein.

     Leland makes a terrific effort to pull himself together.  He 
     straightens and reaches for the keys - then sees the paper 
     is gone from the machine.

                           LELAND (CONT'D)
               Where is it - where's my notice? 
               I've got to finish it!

                           BERNSTEIN
                    (quietly)
               Mr. Kane is finishing it.

                           LELAND
               Kane?  Charlie?
                    (painfully, he rises 
                    to his feet)
               Where is he?

     During all this, the sound of a typewriter has been heard 
     off - a busy typewriter.  Leland's eyes follow the sound.  
     Slowly he registers Kane in the City Room beyond.  This is 
     almost the same shot as in the previous Bernstein story.

75   INT. CITY ROOM - CHICAGO ENQUIRER - NIGHT -                   75   

     Kane, in white tie and shirt sleeves, is typing away at a 
     machine, his fingers working briskly and efficiently, his 
     face, seen by the desk light before him, set in a strange 
     half-smile.

     Leland stands in the door of his office, staring across at 
     him.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 122
     9-9-02                                                      


                           LELAND
               I suppose he's fixing it up - I know 
               I'd never get that through.

                           BERNSTEIN
                    (moving to his side)
               Mr. Kane is finishing your piece the 
               way you started it.

     Leland turns incredulously to Bernstein.

                           BERNSTEIN (CONT'D)
               He's writing a roast like you wanted 
               it to be -
                    (then suddnely - with 
                    a kind of quiet 
                    passion rather than 
                    a triumph)
               I guess that'll show you.

     Leland picks his way across the City Room to Kane's side.  
     Kane goes on typing, without looking up.  After a pause, 
     Kane speaks.

                           KANE
               Hello, Brad.

                           LELAND
               Hello, Charlie -
                    (another pause)
               I didn't know we were speaking.

     Kane stops typing, but doesn't turn.

                           KANE
               Sure, we're speaking, Brad - you're 
               fired.

     He starts typing again, the expression on his face doesn't 
     change.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

76   EXT. HOSPITAL ROOF - DAY -                                    76   

     Thompson and Leland on the roof, which is now deserted.  It 
     is getting late.  The sun has just about gone down.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 123
     9-9-02                                                      


                           LELAND
               Well, that's about all there is - 
               and I'm getting chills.  Hey, nurse!
                    (pause)
               Five years ago, he wrote from that 
               place of his down South -
                    (as if trying to think)
               you know.  Shangri-la?  El Dorado?
                    (pauses)
               Sloppy Joe's?  What's the name of 
               that place?  You know...  All right. 
               Xanadu.  I knew what it was all the 
               time.  You caught on, didn't you?

                           THOMPSON
               Yes.

                           LELAND
               I guess maybe I'm not as hard to see 
               through as I think.  Anyway, I never 
               even answered his letter.  Maybe I 
               should have.  I guess he was pretty 
               lonely down there those last years.  
               He hadn't finished it when she left 
               him - he never finished it - he never 
               finished anything.  Of course, he 
               built it for her -

                           THOMPSON
               That must have been love.

                           LELAND
               I don't know.  He was disappointed 
               in the world.  So he built one of 
               his own -  An absolute monarchy -  
               It was something bigger than an opera 
               house anyway -
                    (calls)
               Nurse!
                    (lowers his voice)
               Say, I'll tell you one thing you can 
               do for me, young fellow.

                           THOMPSON
               Sure.

                           LELAND
               On your way out, stop at a cigar 
               store, will you, and send me up a 
               couple of cigars?

                           THOMPSON
               Sure, Mr. Leland.  I'll be glad to.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 124
     9-9-02                                                      


                           LELAND
               Hey, Nurse!

     A Nurse appears.

                           NURSE
               Hello, Mr. Leland.

                           LELAND
               I'm ready to go in now.  You know 
               when I was a young man, there was an 
               impression around that nurses were 
               pretty.  It was no truer then than 
               it is now.

                           NURSE
               Here, let me take your arm, Mr. 
               Leland.

                           LELAND
                    (testily)
               All right, all right.
                    (he has begun to move 
                    forward on the Nurse's 
                    arm; turning to 
                    Thompson)
               You won't forget, will you, about 
               the cigars?  And tell them to wrap 
               them up to look like toothpaste, or 
               something, or they'll stop them at 
               the desk.  That young doctor I was 
               telling you about, he's got an idea 
               he wants to keep me alive.

                                                        DISSOLVE:

77   EXT. "EL RANCHO" CABARET IN ATLANTIC CITY - EARLY DAWN -      77   

     NEON SIGN ON THE ROOF:

     "EL RANCHO"

     FLOOR SHOW

     SUSAN ALEXANDER KANE

     TWICE NIGHTLY

     glows on the dark screen as in the previous sequence earlier 
     in the script.  Behind the lights and through them, we see a 
     nasty early morning.  Camera as before, moves through the 
     lights

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 125
     9-9-02                                                      


     TWICE NIGHTLY

     of the sign and down on the skylight, through which is seen 
     Susan at her regular table,  Thompson seated across from 
     her.

     Very faintly during this, idle piano music playing.

     DISSOLVE:

78   INT. "EL RANCHO" CABARET - EARLY DAWN -                       78   

     Susan and Thompson are facing each other.  The place is     
     almost deserted.  Susan is sober.  On the other side of the 
     room, somebody is playing a piano.

                           SUSAN
               How do you want to handle the whole 
               thing - ask questions?

                           THOMPSON
               I'd rather you just talked.  Anything 
               that comes into your mind - about 
               yourself and Mr. Kane.

                           SUSAN
               You wouldn't want to hear a lot of 
               what comes into my mind about myself 
               and Mr. Charlie Kane.

     Susan is thinking.

                           THOMPSON
               How did you meet him?

                           SUSAN
               I had a toothache.

     Thompson looks at her.

                           SUSAN (CONT'D)
               That was thiry years ago - and I 
               still remember that toothache.  Boy!  
               That toothache was just driving me 
               crazy...

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 126
     9-9-02                                                      


79   EXT. CORNER DRUG STORE AND STREET ON THE WEST SIDE OF NEW 
     YORK - NIGHT -                                                79   

     Susan, aged twenty, neatly but cheaply dressed in the style 
     of the period, is leaving the drug store.  It's about 8 
     o'clock at night.  With a large, man-sized handkerchief 
     pressed to her cheek, she is in considerable pain.  The street 
     is wet - after a recent rain.

     She walks a few steps towards the middle of the block, and 
     can stand it no longer.  She stops, opens a bottle of Oil of 
     Cloves that she has in her hand, applies some to her finger, 
     and rubs her gums.

     She walks on, the pain only a bit better.  Four or five houses 
     farther along, she comes to what is clearly her own doorway - 
     a shabby, old four-story apartment house.  She turns toward 
     the doorway, which is up a tiny stoop, about three steps.

     As she does so, Kane, coming from the opposite direction, 
     almost bumps into her and turns to his left to avoid her.  
     His shoulder bumps hers and she turns.  As she does so, Kane, 
     forced to change his course, steps on the loose end of a 
     plank which covers a puddle in the bad sidewalk.  The plank 
     rises up and cracks him on the knee, also covering him with 
     mud.

                           KANE
                    (hopping up and down 
                    and rubbing his knee)
               Ow!

     Susan, taking her handkerchief from her jaw, roars with 
     laughter.

                           KANE (CONT'D)
               It's not funny.

     He bites his lip and rubs his knee again.  Susan tries to 
     control her laughter, but not very successfully.  Kane glares 
     at her.

                           SUSAN
               I'm sorry, mister - but you do look 
               awful funny.

     Suddenly, the pain returns and she claps her hand to her 
     jaw.

                           SUSAN (CONT'D)
               Ow!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 127
     9-9-02                                                      


                           KANE
               What's the matter with you?

                           SUSAN
               Toothache.

                           KANE
               Hmm!

     He has been rubbing his clothes with his handkerchief.

                           SUSAN
               You've got some on your face.

                           KANE
               If these sidewalks were kept in 
               condition - instead of the money 
               going to some cheap grafter -

     Susan starts to laugh again.

                           KANE (CONT'D)
               What's funny now?

                           SUSAN
               You are.  You look like you've been 
               making mud pies.

     In the middle of her smile, the pain returns.

                           SUSAN (CONT'D)
               Oh!

                           KANE
               You're no Venus de Milo.

                           SUSAN
                    (points to the 
                    downstair window)
               If you want to come in and wash your 
               face -  I can get you some hot water 
               to get that dirt off your trousers -

                           KANE
               Thanks.

     Susan starts, with Kane following her.

                                                        DISSOLVE:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 128
     9-9-02                                                      


80   INT. SUSAN'S ROOM - NIGHT -                                   80   

     It's in moderate disorder.  The Mansbach gas lights are on.  
     It's not really a classy room, but it's exactly what you're 
     entitled to in 1910, for $5.00 a week including breakfast.

     There is a bed, a couple of chairs, a chiffonier, and a few 
     personal belongings on the chiffonier.  These include a 
     photograph of a gent and lady, obviously Susan's parents, 
     and a few objets d'art.  One, "At the Japanese Rolling Ball 
     Game at Coney Island," and - perhaps this is part of the 
     Japanese loot - the glass globe with the snow scene Kane was 
     holding in his hand in the first sequence.

     Susan comes into the room, carrying a basin, with towels 
     over her arm.  Kane is waiting for her.  She doesn't close 
     the door.

                           SUSAN
                    (by way of explanation)
               My landlady prefers me to keep this 
               door open when I have a gentleman 
               caller.
                    (starts to put the 
                    basin down)
               She's a very decent woman.
                    (making a face)
               Ow!

     Kane rushes to take the basin from her, putting it on the 
     chiffonier.  To do this, he has to shove the photograph to 
     one side of the basin.  Susan grabs the photograph as it is 
     about to fall over.

                           SUSAN (CONT'D)
               Hey, you should be more careful.  
               That's my ma and pa.

                           KANE
               I'm sorry.  They live here, too?

                           SUSAN
               No.  They've passed on.

     Again she puts her hand to her jaw.

                           KANE
               Where's the soap?

                           SUSAN
               In the water.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 129
     9-9-02                                                      


     Kane fishes the soap out of the water.  It is slippery, 
     however, and slips out of his hand, hitting him in the chest 
     before it falls to the floor.  Susan laughs as he bends over.

                           KANE
                    (starting to wash his 
                    hands)
               You're very easily amused.

                           SUSAN
               I always like to see the funny side 
               of things.  No sense crying when you 
               don't have to.  And you're so funny.  
               Looking at you, I forget all about 
               my toothache.

     Her face distorts in pain again.

                           SUSAN (CONT'D)
               Oh!

                           KANE
               I can't stay here all night chasing 
               your pain away.

                           SUSAN
                    (laughs)
               I know...  But you do look so silly.

     Kane, with soaped hands, has rubbed his face and now cannot 
     open his eyes, for fear of getting soap in them.

                           KANE
               Where's the towel?

                           SUSAN
               On the chiffonier.  Here.

                           KANE
                    (rubs his face dry)
               Thanks.

                           SUSAN
                    (on her way to closet)
               I've got a brush in the closet.  As 
               soon as the mud on your trousers is 
               all dry - you just brush it off.

                           KANE
               I'll get these streets fixed, if 
               it's the last thing I do.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 130
     9-9-02                                                      


     Susan comes out of the closet.  She holds out the brush with 
     her left hand, her right hand to her jaw in real distress.

                           KANE (CONT'D)
                    (takes the brush)
               You are in pain, aren't you, you 
               poor kid?

     Susan can't stand it anymore and sits down in a chair, bent 
     over, whimpering a bit.

                           KANE (CONT'D)
                    (brushing himself)
               Wish there was something I could -

     He stops and thinks.  Susan, her face averted, is still trying 
     hard not to cry.

                           KANE (CONT'D)
               I've got an idea, young lady.
                    (there is no response)
               Turn around and look at me.
                    (there is still no 
                    response)
               I said, turn around and look at me, 
               young lady.

     Slowly, Susan turns.

                           KANE (CONT'D)
               Did you ever see anybody wiggle both 
               his ears at the same time?

     It takes a second for Susan to adapt herself to this.

                           KANE (CONT'D)
               Watch closely!
                    (he wiggles his ears)
               It took me two solid years at the 
               finest boys' school in the world to 
               learn that trick.  The fellow who 
               taught me is President of Venezuela 
               now.

     He's still wiggling his ears as Susan starts to smile.

                           KANE (CONT'D)
               That's it!  Smile!

     Susan smiles, very broadly.

                                                        DISSOLVE:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 131
     9-9-02                                                      


81   INT. SUSAN'S ROOM - NIGHT -                                   81   

     Closeup of a duck, camera pulls back showing it to be a 
     shadowgraph on the wall, made by Kane, who is now in his 
     shirt sleeves.  It is about an hour later than preceding 
     sequence.

                           SUSAN
                    (hesitatingly)
               A chicken?

                           KANE
               No.  But you're close.

                           SUSAN
               A rooster?

                           KANE
               You're getting farther away all the 
               time.  It's a duck.

                           SUSAN
               Excuse me, Mr. Kane.  I know this 
               takes a lot of nerve, but - who are 
               you?  I mean - I'm pretty ignorant, 
               guess you caught on to that -

                           KANE
                    (looks squarely at 
                    her)
               You really don't know who I am?

                           SUSAN
               No.  That is, I bet it turns out 
               I've heard your name a million times, 
               only you know how it is -

                           KANE
               But you like me, don't you?  Even 
               though you don't know who I am?

                           SUSAN
               You've been wonderful!  I can't tell 
               you how glad I am you're here, I 
               don't know many people and -
                    (she stops)

                           KANE
               And I know too many people.  
               Obviously, we're both lonely.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 132
     9-9-02                                                      


                           KANE (CONT'D)
                    (he smiles)
               Would you like to know where I was 
               going tonight - when you ran into me 
               and ruined my Sunday clothes?

                           SUSAN
               I didn't run into you and I bet 
               they're not your Sunday clothes.  
               You've probably got a lot of clothes.

                           KANE
                    (as if defending 
                    himself from a 
                    terrible onslaught)
               I was only joking!
                    (pauses)
               This evening I was on my way to the 
               Western Manhattan Warehouses -in 
               search of my youth.

     Susan is bewildered.

                           KANE (CONT'D)
               You see, my mother died, too - a 
               long time ago.  Her things were put 
               into storage out west because I had 
               no place to put them then.  I still 
               haven't.  But now I've sent for them 
               just the same.  And tonight I'd 
               planned to make a sort of sentimental 
               journey -
                    (slowly)
               to the scenes of my youth - my 
               childhood, I suppose - to look again 
               at -
                    (he changes mood 
                    slightly)
               and now -

     Kane doesn't finish.  He looks at Susan.  Silence.

                           KANE (CONT'D)
               Who am I?  Well, let's see.  Charles 
               Foster Kane was born in New Salem, 
               Colorado in eighteen six -
                    (he stops on the word 
                    "sixty" - obviously 
                    a little embarassed)
               I run a couple of newspapers.  How 
               about you?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 133
     9-9-02                                                      


                           SUSAN
               Oh, me -

                           KANE
               How old did you say you were?

                           SUSAN
                    (very bright)
               I didn't say.

                           KANE
               I didn't think you did.  If you had, 
               I wouldn't have asked you again, 
               because I'd have remembered.  How 
               old?

                           SUSAN
               Pretty old.  I'll be twenty-two in 
               August.

                           KANE
                    (looks at her silently 
                    for a moment)
               That's a ripe old age -  What do you 
               do?

                           SUSAN
               I work at Seligman's.

                           KANE
               Is that what you want to do?

                           SUSAN
               I want to be a singer.
                    (she thinks for a 
                    moment)
               I mean, I didn't.  Mother did for 
               me.

                           KANE
                    (sympathetically)
               What happened to the singing?  You're 
               not in a show, are you?

                           SUSAN
               Oh, no!  Nothing like that.  Mother 
               always thought - she used to talk 
               about Grand Opera for me.  Imagine!  
               An American girl, for one thing - 
               and then my voice isn't really that
               kind anyway, it's just that Mother - 
               you know what mothers are like.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 134
     9-9-02                                                      


     A sudden look comes over Kane's face.

                           KANE
               Yes -

                           SUSAN
               As a matter of fact, I do sing a 
               little.

                           KANE
                    (points to the piano)
               Would you sing for me?

                           SUSAN
                    (bashful)
               Oh, you wouldn't want to hear me 
               sing.

                           KANE
               Yes, I would.  That's why I asked.

                           SUSAN
               Well, I -

                           KANE
               Don't tell me your toothache is 
               bothering you again?

                           SUSAN
               Oh, no, that's all gone.

                           KANE
               Then you have no alibi at all.  Please 
               sing.

     Susan, with a tiny ladylike hesitancy, goes to the piano and 
     sings a polite song.  Sweetly, nicely, she sings with a small, 
     untrained voice.  Kane listens.  He is relaxed, at ease with 
     the world.

                                                        DISSOLVE:

82   INT. "EL RANCHO" CABARET - EARLY DAWN -                       82   

     Susan tosses down a drink, then goes on with her story.

                           SUSAN
               I did a lot of singing after that.  
               I sang for Charlie -  I sang for 
               teachers at a hundred bucks an hour - 
               the teachers got that, I didn't -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 135
     9-9-02                                                      


                           THOMPSON
               What did you get?

                           SUSAN
                    (glares at him 
                    balefully)
               What do you mean?

     Thompson doesn't answer.

                           SUSAN (CONT'D)
               I didn't get a thing.  Just the music 
               lessons.  That's all there was to 
               it.

                           THOMPSON
               He married you, didn't he?

                           SUSAN
               He was in love with me.  But he never 
               told me so until after it all came 
               out in the papers about us - and he 
               lost the election and that Norton 
               woman divorced him.

                           THOMPSON
               What about that apartment?

                           SUSAN
               He wanted me to be comfortable - Oh, 
               why should I bother?  You don't 
               believe me, but it's true.  It just 
               happens to be true.  He was really 
               interested in my voice.
                    (sharply)
               What are you smiling for?  What do 
               you think he built that opera house 
               for?  I didn't want it.  I didn't 
               want to sing.  It was his idea -
               everything was his idea - except my 
               leaving him.

                                                        DISSOLVE:

83   INT. LIVING ROOM OF KANE'S HOUSE IN NEW YORK - DAY -          83   

     Susan is singing.  Matisti, her voice teacher, is playing 
     the piano.  Kane is seated nearby.  Matisti stops.

                           MATISTI
               Impossible!  Impossible!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 136
     9-9-02                                                      


                           KANE
               Your job isn't to give Mrs. Kane 
               your opinion of her talents.  You're 
               supposed to train her voice.  Nothing 
               more.

                           MATISTI
                    (sweating)
               But, it is impossible.  I will be 
               the laughingstock of the musical 
               world!  People will say -

                           KANE
               If you're interested in what people 
               say, Signor Matisti, I may be able 
               to enlighten you a bit.  The 
               newspapers, for instance.  I'm an 
               authority on what the papers will 
               say, Signor Matisti, because I own 
               eight of them between here and San 
               Francisco...  It's all right, dear.  
               Signor Matisti is going to listen to 
               reason.  Aren't you, maestro?
                    (he looks him square 
                    in the eyes)

                           MATISTI
               Mr. Kane, how can I persuade you -

                           KANE
               You can't.

     There is a silence.  Matisti rises.

                           KANE (CONT'D)
               I knew you'd see it my way.

                                                        DISSOLVE:

84   INT. CHICAGO OPERA HOUSE - NIGHT -                            84   

     It is the same opening night - it is the same moment as before - 
     except that the camera is now upstage angling toward the 
     audience.  The curtain is down.  We see the same tableau as 
     before - the terrified and trembling Susan, the apprehensive 
     principals, the maids and singing teachers, the stage hands.  
     As the dissolve commences, there is the sound of applause 
     (exactly as before) and now as the dissolve completes itself, 
     the orchestra breaks frighteningly into opening chords of 
     the music - the stage is cleared - Susan is left alone, 
     terribly alone.  The curtain rises.  The glare of the 
     footlights jump into the image.  The curtain is now out of 
     the picture and Susan starts to sing.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 137
     9-9-02                                                      


     Beyond her, we see the prompter's box, containing the anxious 
     face of the prompter.  Beyond that, out in the darkness - an 
     apprehensive conductor struggles with his task of coordinating 
     an orchestra and an incompetent singer.  Beyond that - dimly 
     white shirt fronts and glistening bosoms for a couple of 
     rows, and then deep and terrible darkness.

     Closeup of Kane's face - seated in the audience - listening.

     A sudden but perfectly correct lull in the music reveals a 
     voice from the audience - a few words from a sentence - the 
     kind of thing that often happens in a theatre -

                           THE VOICE
               - really pathetic.

     Music crashes in and drowns out the rest of the sentence, 
     but hundreds of people around the voice have heard it (as 
     well as Kane) and there are titters which grow in volume.

     Closeup of Susan's face - singing.

     Closeup of Kane's face - listening.

     There is the ghastly sound of three thousand people applauding 
     as little as possible.  Kane still looks.  Then, near the 
     camera, there is the sound of about a dozen people applauding 
     very, very loudly.  Camera moves back, revealing Bernstein 
     and Reilly and other Kane stooges, seated around him, beating 
     their palms together.  The curtain is falling -as we can see 
     by the light which shutters down off their faces.

     The stage from Kane's angle.

     The curtain is down - the lights glowing on it.  Still, the 
     polite applause dying fast.  Nobody comes out for a bow.

     Closeup of Kane - breathing heavily.  Suddenly he starts to 
     applaud furiously.

     The stage from the audience again.

     Susan appears for her bow.  She can hardly walk.  There is a 
     little polite crescendo of applause, but it is sickly.

     Closeup of Kane - still applauding very, very hard, his eyes 
     on Susan.

     The stage again.

     Susan, finishing her bow, goes out through the curtains.  
     The light on the curtain goes out and the houselights go on.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 138
     9-9-02                                                      


     Closeup of Kane - still applauding very, very hard.

                                                        DISSOLVE:

85   INT. STUDY - KANE'S NEW YORK HOME - DAY -                     85   

     Some weeks later.  Susan, in a negligee, is at the window.  
     There are the remains of her breakfast tray on a little table.

                           SUSAN
               You don't propose to have yourself 
               made ridiculous?  What about me?  
               I'm the one that has to do the 
               singing.  I'm the one that gets the 
               razzberries.
                    (pauses)
               Last week, when I was shopping, one 
               of the salesgirls did an imitation 
               of me for another girl.  She thought 
               I didn't see her, but -  Charlie, 
               you might as well make up your mind 
               to it.  This is one thing you're not 
               going to have your own way about.  I 
               can't sing and you know it -  Why 
               can't you just -

     Kane rises and walks toward her.  There is cold menace in 
     his walk.  Susan shrinks a little as he draws closer to her.

                           KANE
               My reasons satisfy me, Susan.  You 
               seem unable to understand them.  I 
               will not tell them to you again.
                    (he is very close to 
                    her)
               You will continue with your singing.

     His eyes are relentlessly upon her.  She sees something in 
     them that frightens her.  She nods her head slowly, indicating 
     surrender.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

     Front page of the "San Francisco Enquirer" containing a large 
     portrait of Susan as Thais (as before).  It is announced 
     that Susan will open an independent season in San Francisco 
     in "Thais."  The picture remains constant but the names of 
     the papers change from New York to St. Louis, to Los Angeles 
     to Cleveland, to Denver to Philadelphia - all "Enquirers."

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 139
     9-9-02                                                      


     During all this, on the soundtrack, Susan's voice is heard 
     singing her aria very faintly and far away, her voice cracking 
     a little.

     At the conclusion of this above, Susan has finished her song, 
     and there is the same mild applause as before - over the 
     sound of this, one man loudly applauding.  This fades out as 
     we -

                                                        DISSOLVE:

86   INT. SUSAN'S BEDROOM - KANE'S NEW YORK HOME - LATE NIGHT -    86   

     The camera angles across the bed and Susan's form towards 
     the door, from the other side of which voices can be heard.

                           KANE'S VOICE
               Let's have your keys, Raymond.

                           RAYMOND'S VOICE
               Yes, sir.

                           KANE'S VOICE
               The key must be in the other side.
                    (pause)
               We'll knock the door down, Raymond.

                           RAYMOND'S VOICE
                    (calling)
               Mrs. Kane -

                           KANE'S VOICE
               Do what I say.

     The door crashes open, light floods in the room, revealing 
     Susan, fully dressed, stretched out on the bed, one arm 
     dangling over the side.  Kane rushes to her.

                           KANE
               Get Dr. Corey.

                           RAYMOND
               Yes, sir.

     He rushes out.  Susan is breathing, but heavily.  Kane loosens 
     the lace collar at her throat.

                                                        DISSOLVE:

87   INT. SUSAN'S ROOM - LATE NIGHT -                              87   

     A little later.  All the lights are lit.  Susan, in a 
     nightgown, is in bed, asleep.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 140
     9-9-02                                                      


     Raymond and a nurse are just leaving the room, Raymond closing 
     the door quietly behind him.  Dr. Corey rises.

                           DR. COREY
               She'll be perfectly all right in a 
               day or two, Mr. Kane.

     Kane nods.  He has a small bottle in his hand.

                           DR. COREY (CONT'D)
               The nurse has complete instructions, 
               but if you care to talk to me at any 
               time, I should be only too glad -  I 
               shall be here in the morning.

                           KANE
               Thank you.  I can't imagine how Mrs. 
               Kane came to make such a silly 
               mistake.  The sedative Dr. Wagner 
               gave her is in a somewhat larger 
               bottle -  I suppose the strain of 
               preparing for her trip has excited 
               and confused her.

                           DR. COREY
               I'm sure that's it.
                    (he starts out)

                           KANE
               There are no objections to my staying 
               here with her, are there?

                           DR. COREY
               Not at all.  I'd like the nurse to 
               be here, too.

                           KANE
               Of course.

     Dr. Corey leaves.  Kane settles himself in a chair next to 
     the bed, looking at Susan.  In a moment, the nurse enters, 
     goes to a chair in the corner of the room, and sits down.

                                                        DISSOLVE:

88   INT. SUSAN'S ROOM - DAY -                                     88   

     Susan, utterly spent, is lying flat on her back in her bed.  
     Kane is in the chair beside her.  The nurse is out of the 
     room.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 141
     9-9-02                                                      


                           SUSAN
                    (in a voice that comes 
                    from far away)
               I couldn't make you see how I felt, 
               Charlie.  I just couldn't -  I 
               couldn't go through with singing 
               again.  You don't know what it means 
               to feel - to know that people - that 
               an audience don't want you.  That if 
               you haven't got what they want - a 
               real voice - they just don't care 
               about you.  Even when they're polite - 
               and they don't laugh or get restless 
               or - you know...  They don't want 
               you.  They just -

                           KANE
                    (angrily)
               That's when you've got to fight them.  
               That's when you've got to make them.  
               That's -

     Susan's head turns and she looks at him silently with pathetic 
     eyes.

                           KANE (CONT'D)
               I'm sorry.
                    (he leans over to pat 
                    her hand)
               You won't have to fight them anymore.
                    (he smiles a little)
               It's their loss.

     Gratefully, Susan, with difficulty, brings her other hand 
     over to cover his.

                                                        DISSOLVE:

89   EXT. ESTABLISHING SHOT OF XANADU - HALF BUILT                 89   

90   INT. THE GRAND HALL IN XANADU -                               90   

     Closeup of an enormous jigsaw puzzle.  A hand is putting in 
     the last piece.  Camera moves back to reveal jigsaw puzzle 
     spread out on the floor.

     Susan is on the floor before her jigsaw puzzle.  Kane is in 
     an easy chair.  Behind them towers the massive Renaissance 
     fireplace.  It is night and Baroque candelabra illuminates 
     the scene.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 142
     9-9-02                                                      


                           SUSAN
                    (with a sigh)
               What time is it?

     There is no answer.

                           SUSAN (CONT'D)
               Charlie!  I said, what time is it?

                           KANE
                    (looks up - consults 
                    his watch)
               Half past eleven.

                           SUSAN
               I mean in New York.

                           KANE
               Half past eleven.

                           SUSAN
               At night?

                           KANE
               Yes.  The bulldog's just gone to 
               press.

                           SUSAN
                    (sarcastically)
               Hurray for the bulldog!
                    (sighs)
               Half past eleven!  The shows have 
               just let out.  People are going to 
               night clubs and restaurants.  Of 
               course, we're different.  We live in 
               a palace - at the end of the world.

                           KANE
               You always said you wanted to live 
               in a palace.

                           SUSAN
               Can't we go back, Charlie?

     Kane looks at her smilingly and turns back to his work.

                           SUSAN (CONT'D)
               Charlie -

     There is no answer.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 143
     9-9-02                                                      


                           SUSAN (CONT'D)
               If I promise to be a good girl!  Not 
               to drink - and to entertain all the 
               governors and the senators with 
               dignity -
                    (she puts a slur into 
                    the word)
               Charlie -

     There is still no answer.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

     Another picture puzzle - Susan's hands fitting in a missing 
     piece.

                                                        DISSOLVE:

     Another picture puzzle - Susan's hands fitting in a missing 
     piece.

                                                        DISSOLVE:

91   INT. XANADU - LIVING ROOM - DAY -                             91   

     Another picture puzzle.

     Camera pulls back to show Kane and Susan in much the same 
     positions as before, except that they are older.

                           KANE
               One thing I've never been able to 
               understand, Susan.  How do you know 
               you haven't done them before?

     Susan shoots him an angry glance.  She isn't amused.

                           SUSAN
               It makes a whole lot more sense than 
               collecting Venuses.

                           KANE
               You may be right -  I sometimes wonder - 
               but you get into the habit -

                           SUSAN
                    (snapping)
               It's not a habit.  I do it because I 
               like it.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 144
     9-9-02                                                      


                           KANE
               I was referring to myself.
                    (pauses)
               I thought we might have a picnic 
               tomorrow - it might be a nice change 
               after the Wild West party tonight.  
               Invite everybody to go to the 
               Everglades -

                           SUSAN
                    (throws down a piece 
                    of the jigsaw puzzle 
                    and rises)
               Invite everybody!  Order everybody, 
               you mean, and make them sleep in 
               tents!  Who wants to sleep in tents 
               when they have a nice room of their 
               own - with their own bath, where 
               they know where everything is?

     Kane has looked at her steadily, not hostilely.

                           KANE
               I thought we might invite everybody 
               to go on a picnic tomorrow.  Stay at 
               Everglades overnight.
                    (he pats her lightly 
                    on the shoulder)
               Please see that the arrangements are 
               made, Susan.

     Kane turns away - to Bernstein.

                           KANE (CONT'D)
               You remember my son, Mr. Bernstein.

     On the soundtrack we hear the following lines of dialogue:

                           BERNSTEIN'S VOICE
                    (embarrased)
               Oh, yes.  How do you do, Mr. Kane?

                           CHARLIE JR.'S VOICE
               Hello.

     During this, camera holds on closeup of Susan's face.  She 
     is very angry.

                                                        DISSOLVE:

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 145
     9-9-02                                                      


92   EXT. THE EVERGLADES CAMP - NIGHT -                            92   

     Long shot - of a number of classy tents.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

93   INT. LARGE TENT - EVERGLADES CAMP - NIGHT -                   93   

     Two real beds have been set up on each side of the tent.  A 
     rather classy dressing table is in the rear, at which Susan 
     is preparing for bed.  Kane, in his shirt-sleeves, is in an 
     easy chair, reading.  Susan is very sullen.

                           SUSAN
               I'm not going to put up with it.

     Kane turns to look at her.

                           SUSAN (CONT'D)
               I mean it.
                    (she catches a slight 
                    flicker on Kane's 
                    face)
               Oh, I know I always say I mean it, 
               and then I don't - or you get me so 
               don't do what I say I'm going to - 
               but -

                           KANE
                    (interrupting)
               You're in a tent, darling.  You're 
               not at home.  And I can hear you 
               very well if you just talk in a normal 
               tone of voice.

                           SUSAN
               I'm not going to have my guests 
               insulted, just because you think -
                    (in a rage)
               if people want to bring a drink or 
               two along on a picnic, that's their 
               business.  You've got no right -

                           KANE
                    (quickly)
               I've got more than a right as far as 
               you're concerned, Susan.

                           SUSAN
               Oh, I'm sick and tired of you telling 
               me what I must and what I musn't do!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 146
     9-9-02                                                      


                           KANE
                    (gently)
               You're my wife, Susan, and -

                           SUSAN
               I'm not just your wife

                           KANE
               We can discuss all this some other 
               time, Susan.  Right now -

                           SUSAN
               I'll discuss what's on my mind when 
               I want to.  You're not going to keep 
               on running my life the way you want 
               it.

                           KANE
               As far as you're concerned, Susan, 
               I've never wanted anything -  I don't 
               want anything now - except what you 
               want.

                           SUSAN
               What you want me to want, you mean.  
               What you've decided I ought to have 
               what you'd want if you were me.  But 
               you've never given me anything that -

                           KANE
               Susan, I really think -

                           SUSAN
               Oh, I don't mean the things you've 
               given me - that don't mean anything 
               to you.  What's the difference between 
               giving me a bracelet or giving 
               somebody else a hundred thousand 
               dollars for a statue you're going to 
               keep crated up and never look at?  
               It's only money.  It doesn't mean 
               anything.  You're not really giving 
               anything that belongs to you, that 
               you care about.

                           KANE
                    (he has risen)
               Susan, I want you to stop this.  And 
               right now!

                           SUSAN
               Well, I'm not going to stop it.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 147
     9-9-02                                                      


                           SUSAN (CONT'D)
               I'm going to say exactly what I think.
                    (she screams)
               You've never given me anything.  
               You've tried to buy me into giving 
               you something.  You're -
                    (a sudden notion)
               it's like you were bribing me!  That's 
               what it's been from the first moment 
               I met you.  No matter how much it 
               cost you - your time, your money - 
               that's what you've done with everybody 
               you've ever known.  Tried to bribe 
               them!

                           KANE
               Susan!

     She looks at him, with no lessening of her passion.

                           KANE (CONT'D)
               You're talking an incredible amount 
               of nonsense, Susan.
                    (quietly)
               Whatever I do -  I do - because I 
               love you.

                           SUSAN
               Love!  You don't love anybody!  Me 
               or anybody else!  You want to be 
               loved - that's all you want!  I'm 
               Charles Foster Kane.  Whatever you 
               want - just name it and it's yours!  
               Only love me!  Don't expect me to 
               love you -

     Without a word, Kane slaps her across the face.  They look 
     at each other.

                           SUSAN (CONT'D)
               You - you hit me.

     Kane continues to look at her.

                           SUSAN (CONT'D)
               You'll never have another chance to 
               hit me again.
                    (beat)
               I never knew till this minute -

                           KANE
               Susan, it seems to me -

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 148
     9-9-02                                                      


                           SUSAN
               Don't tell me you're sorry.

                           KANE
               I'm not sorry.

                           SUSAN
               I'm going to leave you.

                           KANE
               No, you're not.

                           SUSAN
                    (nods)
               Yes.

     They look at each other, fixedly, but she doesn't give way.  
     In fact, the camera on Kane's face shows the beginning of a 
     startled look, as of one who sees something unfamiliar and 
     unbelievable.

                                                        DISSOLVE:

94   INT. KANE'S STUDY - XANADU - DAY -                            94   

     Kane is a the window looking out.  He turns as he hears 
     Raymond enter.

                           RAYMOND
               Mrs. Kane would like to see you, Mr. 
               Kane.

                           KANE
               All right.

     Raymond waits as Kane hesitates.

                           KANE (CONT'D)
               Is Mrs. Kane -
                    (he can't finish)

                           RAYMOND
               Marie has been packing since morning, 
               Mr. Kane.

     Kane impetuously walks past him out of the room.

95   INT. SUSAN'S ROOM - XANADU - DAY -                            95   

     Packed suitcases are on the floor, Susan is completely dressed 
     for travelling.  Kane bursts into the room.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 149
     9-9-02                                                      


                           SUSAN
               Tell Arnold I'm ready, Marie.  He 
               can get the bags.

                           MARIE
               Yes, Mrs. Kane.

     She leaves.  Kane closes the door behind her.

                           KANE
               Have you gone completely crazy?

     Susan looks at him.

                           KANE (CONT'D)
               Don't you realize that everybody 
               here is going to know about this?  
               That you've packed your bags and 
               ordered the car and -

                           SUSAN
               And left?  Of course they'll hear.  
               I'm not saying goodbye - except to 
               you - but I never imagined that people 
               wouldn't know.

     Kane is standing against the door as if physically barring 
     her way.

                           KANE
               I won't let you go.

                           SUSAN
               You can't stop me.

     Kane keeps looking at her.  Susan reaches out her hand.

                           SUSAN (CONT'D)
               Goodbye, Charlie.

                           KANE
                    (suddenly)
               Don't go, Susan.

                           SUSAN
               Let's not start all over again, 
               Charlie.  We've said everything that 
               can be said.

                           KANE
               Susan, don't go!  Susan, please!

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 150
     9-9-02                                                      


     He has lost all pride.  Susan stops.  She is affected by 
     this.

                           KANE (CONT'D)
               You mustn't go, Susan.  Everything'll 
               be exactly the way you want it.  Not 
               the way I think you want it - by 
               your way. Please, Susan - Susan!

     She is staring at him.  She might weaken.

                           KANE (CONT'D)
               Don't go, Susan!  You mustn't go!
                    (almost blubbering)
               You - you can't do this to me, Susan -

     It's as if he had thrown ice water into her face.  She 
     freezes.

                           SUSAN
               I see - it's you that this is being 
               done to!  It's not me at all.  Not 
               how I feel.  Not what it means to 
               me.
                    (she laughs)
               I can't do this to you!
                    (she looks at him)
               Oh, yes I can.

     She walks out, past Kane, who turns to watch her go, like a 
     very tired old man.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

96   INT. "EL RANCHO" CABARET - NIGHT -                            96   

     Susan and Thompson at a table.  There is silence between 
     them for a moment.

                           SUSAN
               In case you've never heard of how I 
               lost all my money - and it was plenty, 
               believe me -

                           THOMPSON
               The last ten years have been tough 
               on a lot of people.

                           SUSAN
               They haven't been tough on me.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 151
     9-9-02                                                      


                           SUSAN (CONT'D)
               I just lost my money.  But when I 
               compare these last ten years with 
               the twenty I spent with him -

                           THOMPSON
               I feel kind of sorry for him, all 
               the same -

                           SUSAN
                    (harshly)
               Don't you think I do?
                    (pause)
               You say you're going down to Xanadu?

                           THOMPSON
               Monday, with some of the boys from 
               the office.  Mr. Rawlston wants the 
               whole place photographed carefully -
               all that art stuff.  We run a picture 
               magazine, you know -

                           SUSAN
               I know.  If you're smart, you'll 
               talk to Raymond.  That's the butler.  
               You can learn a lot from him.  He 
               knows where the bodies are buried.

     She shivers.  The dawn light from the skylight above has 
     grown brighter, making the artificial light in the night 
     club look particularly ghastly, revealing mercilessly every 
     year of Susan's age.

                           SUSAN (CONT'D)
               Well, what do you know?  It's morning 
               already.
                    (looks at him)
               You must come around and tell me the 
               story of your life sometime.

                                                        FADE OUT:

                                                         FADE IN:

97   INT. GREAT HALL - XANADU - NIGHT -                            97   

     An open door shows the pantry, which is dark.  Thompson and 
     Raymond are at a table.  There is a pitcher of beer and a 
     plate of sandwiches before them.  Raymond drinks a glass of 
     beer and settles back.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 152
     9-9-02                                                      


                           RAYMOND
               Yes, sir - yes, sir, I knew how to 
               handle the old man.  He was kind of 
               queer, but I knew how to handle him.

                           THOMPSON
               Queer?

                           RAYMOND
               Yeah.  I guess he wasn't very happy 
               those last years - he didn't have 
               much reason to be -

                                                        DISSOLVE:

98   INT. CORRIDOR AND TELEGRAPH OFFICE - XANADU - NIGHT -         98   

     Raymond walking rapidly along corridor.  He pushes open a 
     door.  At a desk in a fairly elaborate telegraph office sits 
     a wireless operator named Fred.  Near him at a telephone 
     switchboard sits a female operator named Katherine (not that 
     it matters).

                           RAYMOND
                    (reading)
               Mr. Charles Foster Kane announced 
               today that Mrs. Charles Foster Kane 
               has left Xanadu, his Florida home, 
               under the terms of a peaceful and 
               friendly agreement with the intention 
               of filing suit for divorce at an 
               early date.  Mrs. Kane said that she 
               does not intend to return to the 
               operatic career which she gave up a 
               few years after her marriage, at Mr. 
               Kane's request.  Signed, Charles 
               Foster Kane.

     Fred finishes typing and then looks up.

                           RAYMOND (CONT'D)
               Exclusive for immediate transmission.  
               Urgent priority all Kane papers.

                           FRED
               Okay.

     There is the sound of the buzzer on the switchboard.  
     Katherine puts in a plug and answers the call.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 153
     9-9-02                                                      


                           KATHERINE
               Yes ... yes...  Mrs. Tinsdall - Very 
               well.
                    (turns to Raymond)
               It's the housekeeper.

                           RAYMOND
               Yes?

                           KATHERINE
               She says there's some sort of 
               disturbance up in Mrs. Alexander's 
               room.  She's afraid to go in.

                                                        DISSOLVE:

99   INT. CORRIDOR OUTSIDE SUSAN'S BEDROOM - XANADU - NIGHT -      99   

     The housekeeper, Mrs. Tinsdall, and a couple of maids are 
     near the door but are too afraid to be in front of it.  From 
     inside can be heard a terrible banging and crashing.  Raymond 
     hurries into scene, opens the door and goes in.

100   INT. SUSAN'S BEDROOM - XANADU -                             100   

     Kane, in a truly terrible and absolutely silent rage, is 
     literally breaking up the room - yanking pictures, hooks and 
     all off the wall, smashing them to bits - ugly, gaudy pictures - 
     Susie's pictures in Susie's bad taste.  Off of occasional 
     tables, bureaus, he sweeps Susie's whorish accumulation of 
     bric-a-brac.

     Raymond stands in the doorway watching him.  Kane says 
     nothing.  He continues with tremendous speed and surprising 
     strength, still wordlessly, tearing the room to bits.  The 
     curtains (too frilly - overly pretty) are pulled off the 
     windows in a single gesture, and from the bookshelves he 
     pulls down double armloads of cheap novels - discovers a 
     half-empty bottle of liquor and dashes it across the room.  
     Finally he stops.  Susie's cozy little chamber is an 
     incredible shambles all around him.

     He stands for a minute breathing heavily, and his eye lights 
     on a hanging what-not in a corner which had escaped his 
     notice.  Prominent on its center shelf is the little glass 
     ball with the snowstorm in it.  He yanks it down.  Something 
     made of china breaks, but not the glass ball.  It bounces on 
     the carpet and rolls to his feet, the snow in a flurry.  His 
     eye follows it.  He stoops to pick it up - can't make it.  
     Raymond picks it up for him; hands it to him.  Kane takes it 
     sheepishly - looks at it - moves painfully out of the room 
     into the corridor.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 154
     9-9-02                                                      


101   INT. CORRIDOR OUTSIDE SUSAN'S BEDROOM - XANADU -            101   

     Kane comes out of the door.  Mrs. Tinsdall has been joined 
     now by a fairly sizable turnout of servants.  They move back 
     away from Kane, staring at him.  Raymond is in the doorway 
     behind Kane.  Kane looks at the glass ball.

                           KANE
                    (without turning)
               Close the door, Raymond.

                           RAYMOND
               Yes, sir.
                    (he closes it)

                           KANE
               Lock it - and keep it locked.

     Raymond locks the door and comes to his side.  There is a 
     long pause - servants staring in silence.  Kane gives the 
     glass ball a gentle shake and starts another snowstorm.

                           KANE (CONT'D)
               Raymond -
                    (he is almost in a 
                    trance)

                           RAYMOND
               Yes, sir -

     One of the younger servants giggles and is hushed up.  Kane 
     shakes the ball again.  Another flurry of snow.  He watches 
     the flakes settle - then looks up.  Finally, taking in the 
     pack of servants and something of the situations, he puts 
     the glass ball in his coat pocket.  He speaks very quietly 
     to Raymond, so quietly it only seems he's talking to himself.

                           KANE
               Keep it locked.

     He slowly walks off down the corridor, the servants giving 
     way to let him pass, and watching him as he goes.  He is an 
     old, old man!

                                                        DISSOLVE:

102   INT. KANE'S CHAPEL - XANADU - LATE AFTERNOON -              102   

     As the dissolve completes itself, camera is travelling across 
     the floor of the chapel past the crypts of Kane's father and 
     mother - (marked: James Kane - 18- TO 19-; Mary Kane - 18- 
     TO 19-;) - past a blank crypt, and then holding on the burial 
     of Kane's son.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 155
     9-9-02                                                      


     A group of ordinary workmen in ordinary clothes are lowering 
     a very expensive-looking coffin into its crypt.  Kane stands 
     nearby with Raymond, looking on.  The men strain and grunt 
     as the coffin bangs on the stone floor.  The men now place 
     over it a long marble slab on which is cut the words:

     CHARLES FOSTER KANE II.

     1907 - 1938

                           ONE OF THE WORKMEN
               Sorry, Mr. Kane, we won't be able to 
               cement it till tommorrow.  We -

     Kane looks right through him.  Raymond cuts him short.

                           RAYMOND
               Okay.

     The men tip their hats and shuffle out of the chapel.  Kane 
     raises his head, looks at the inscription on the wall.  It 
     is a little to one side of Junior's grave, directly over the 
     blank place which will be occupied by Kane himself.

                           KANE
               Do you like poetry, Raymond?

                           RAYMOND
               Can't say, sir.

                           KANE
               Mrs. Kane liked poetry -

     Raymond is now convinced that the old master is very far 
     gone indeed - not to say off his trolley.

                           RAYMOND
               Yes, Mr. Kane.

                           KANE
               Not my wife - not either of them.

     He looks at the grave next to his son's - the grave marked 
     "MARY KANE."

                           RAYMOND
                    (catching on)
               Oh, yes, sir.

                           KANE
                    (looking back up at 
                    the wall)
               Do you know what that is?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 156
     9-9-02                                                      


                           RAYMOND
                    (more his keeper than 
                    his butler now)
               It's a wall you bought in China, Mr. 
               Kane.

                           KANE
               Persia.  It belonged to a king.

                           RAYMOND
               How did you get him to part with it, 
               Mr. Kane?

                           KANE
               He was dead...  That's a poem.  Do 
               you know what it means?

                           RAYMOND
               No, I don't, Mr. Kane.

                           KANE
               I didn't used to be afraid of it.

     A short pause.  His eyes still on the wall, but looking 
     through it, Kane quotes the translation.

                           KANE (CONT'D)
               The drunkeness of youth has passed 
               like a fever, And yet I saw many 
               things, Seeing my glory in the days 
               of my glory, I thought my power 
               eternal And the days of my life Fixed 
               surely in the years But a whisper 
               came to me From Him who dies not.  I 
               called my tributary kings together 
               And those who were proud rulers under 
               me, I opened the boxes of my treasure 
               to them, saying: "Take hills of gold, 
               moutains of silver, And give me only 
               one more day upon the earth."  But 
               they stood silent, Looking upon the 
               ground; So that I died And Death 
               came to sit upon my throne.  O sons 
               of men You see a stranger upon the 
               road, You call to him and he does 
               not step.  He is your life Walking 
               towards time, Hurrying to meet the 
               kings of India and China.
                    (quoting)
               O sons of men You are caught in the 
               web of the world And the spider 
               Nothing waits behind it.
                           (MORE)

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 157
     9-9-02                                                      


                           KANE (CONT'D)
               Where are the men with towering hopes?  
               They have changed places with owls, 
               Owls who have lived in tombs And now 
               inhabit a palace.

     Kane still stares at the wall, through it, and way beyond 
     it.  Raymond looks at him.

                                                    DISSOLVE OUT:

                                                     DISSOLVE IN:

103   INT. GREAT HALL - XANADU - NIGHT -                          103   

     Thompson and Raymond.  Raymond has finished his beer.

                           RAYMOND
                    (callously)
               That's the whole works, right up to 
               date.

                           THOMPSON
               Sentimental fellow, aren't you?

                           RAYMOND
               Yes and no.

                           THOMPSON
                    (getting to his feet)
               Well, thanks a lot.

                           RAYMOND
               See what I mean?  He was a little 
               gone in the head - the last couple 
               of years, anyway - but I knew how to 
               handle him.
                    (rises)
               That "Rosebud" - that don't mean 
               anything.  I heard him say it.  He 
               just said "Rosebud" and then he 
               dropped that glass ball and it broke 
               on the floor.  He didn't say anything 
               about that, so I knew he was dead -
               He said all kind of things I couldn't 
               make out.  But I knew how to take 
               care of him.

     Thompson doesn't answer.

                           RAYMOND (CONT'D)
               You can go on asking questions if 
               you want to.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 158
     9-9-02                                                      


                           THOMPSON
                    (coldly)
               We're leaving tonight.  As soon as 
               they're through photographing the 
               stuff -

     Thompson has risen.  Raymond gets to his feet and goes to 
     the door, opening it for him.

                           RAYMOND
               Allow yourself plenty of time.  The 
               train stops at the Junction on signal 
               but they don't like to wait.  Not 
               now.  I can remember when they'd 
               wait all day ... if Mr. Kane said 
               so.

     Raymond ushes Thompson into

104   INT. THE GREAT HALL - XANADU - NIGHT -                      104   

     The magnificent tapestries, candelabra, etc., are still there, 
     but now several large packing cases are piled against the 
     walls, some broken open, some shut and a number of objects, 
     great and small, are piled pell mell all over the place.  
     Furniture, statues, paintings, bric-a-brac - things of 
     obviously enormous value are standing beside a kitchen stove, 
     an old rocking chair and other junk, among which is also an 
     old sled, the self-same story.  Somewhere in the back, one 
     of the vast Gothic windows of the hall is open and a light 
     wind blows through the scene, rustling the papers.

     In the center of the hall, a Photographer and his Assistant 
     are busy photographing the sundry objects.  The floor is 
     littered with burnt-out flash bulbs.  They continue their 
     work throughout the early part of the scene so that now and 
     then a flash bulb goes off.  In addition to the Photographer 
     and his Assistant, there are a Girl and Two Newspapermen - 
     the Second and Third Men of the projection room scene - also 
     Thompson and Raymond.

     The Girl and the Second Man, who wears a hat, are dancing 
     somewhere in the back of the hall to the music of a 
     phonograph.  A flash bulb goes off.  The Photographer has 
     just photographed a picture, obviously of great value, an 
     Italian primitive.  The Assistant consults a label on the 
     back of it.

                           ASSISTANT
               NO. 9182

     The Third Newspaperman starts to jot this information down.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 159
     9-9-02                                                      


                           ASSISTANT (CONT'D)
               "Nativity" - attributed to Donatello, 
               acquired Florence 1921, cost 45,000 
               lire.  Got that?

                           THIRD NEWSPAPERMAN
               Yeah.

                           PHOTOGRAPHER
               All right!  Next!  Better get that 
               statue over there.

                           ASSISTANT
               Okay.

     The Photographer and his Assitant start to move off with 
     their equipment towards a large sculpture in another part of 
     the hall.

                           RAYMOND
               What do you think all that is worth, 
               Mr. Thompson?

                           THOMPSON
               Millions - if anybody wants it.

                           RAYMOND
               The banks are out of luck, eh?

                           THOMPSON
               Oh, I don't know.  They'll clear all 
               right.

                           ASSISTANT
               "Venus," Fourth Century.  Acquired 
               1911.  Cost twenty-three thousand.  
               Got it?

                           THIRD NEWSPAPERMAN
               Okay.

                           ASSISTANT
                    (patting the statue 
                    on the fanny)
               That's a lot of money to pay for a 
               dame without a head.

                           SECOND ASSISTANT
                    (reading a label)
               No. 483.  One desk from the estate 
               of Mary Kane, Little Salem, Colorado.  
               Value $6.00.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 160
     9-9-02                                                      


                           THIRD NEWSPAPERMAN
               Okay.

     A flashlight bulb goes off.

                           SECOND ASSISTANT
               We're all set to get everything.  
               The junk as well as the art.

     Thompson has opened a box and is idly playing with a handful 
     of little pieces of cardboard.

                           THIRD NEWSPAPERMAN
               What's that?

                           RAYMOND
               It's a jigsaw puzzle.

                           THIRD NEWSPAPERMAN
               We got a lot of those.  There's a 
               Burmese Temple and three Spanish 
               ceilings down the hall.

     Raymond laughs.

                           PHOTOGRAPHER
               Yeah, all in crates.

                           THIRD NEWSPAPERMAN
               There's a part of a Scotch castle 
               over there, but we haven't bothered 
               to unwrap it.

                           PHOTOGRAPHER
               I wonder how they put all those pieces 
               together?

                           ASSISTANT
                    (reading a label)
               Iron stove.  Estate of Mary Kane.  
               Value $2.00.

                           PHOTOGRAPHER
               Put it over by that statue.  It'll 
               make a good setup.

                           GIRL
                    (calling out)
               Who is she anyway?

                           SECOND NEWSPAPERMAN
               Venus.  She always is.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 161
     9-9-02                                                      


                           THIRD NEWSPAPERMAN
               He sure liked to collect things, 
               didn't he?

                           RAYMOND
               He went right on buying - right up 
               to the end.

                           PHOTOGRAPHER
               Anything and everything - he was a 
               regular crow.

                           THIRD NEWSPAPERMAN
               I wonder -  You put all this together - 
               the palaces and the paintings and 
               the toys and everything - what would 
               it spell?

     Thompson has turned around.  He is facing the camera for the 
     first time.

                           THOMPSON
               Charles Foster Kane.

     Another flash bulb goes off.  The Photographer turns to 
     Thompson with a grin.

                           PHOTOGRAPHER
               Or Rosebud?  How about it, Jerry?

                           THIRD NEWSPAPERMAN
                    (to the dancers)
               Turn that thing off, will you?  It's 
               driving me nuts!  What's Rosebud?

                           PHOTOGRAPHER
               Kane's last words, aren't they, Jerry?
                    (to the Third 
                    Newspaperman)
               That was Jerry's angle, wasn't it, 
               Jerry?  Did you ever find out what 
               it means, Jerry?

                           THOMPSON
               No, I didn't.

     The music has stopped.  The dancers have come over to 
     Thompson.

                           SECOND NEWSPAPERMAN
               Say, what did you find out about 
               him, anyway, Jerry?

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 162
     9-9-02                                                      


                           THOMPSON
               Not much.

                           SECOND NEWSPAPERMAN
               Well, what have you been doing?

                           THOMPSON
               Playing with a jigsaw puzzle -   I 
               talked to a lot of people who knew 
               him.

                           GIRL
               What do they say?

                           THOMPSON
               Well - it's become a very clear 
               picture.  He was the most honest man 
               who ever lived, with a streak of 
               crookedness a yard wide.  He was a 
               liberal and a reactionary; he was 
               tolerant - "Live and Let Live" - 
               that was his motto.  But he had no 
               use for anybody who disagreed with 
               him on any point, no matter how small 
               it was.  He was a loving husband and 
               a good father - and both his wives 
               left him and his son got himself 
               killed about as shabbily as you can 
               do it.  He had a gift for friendship 
               such as few men have - he broke his 
               oldest friend's heart like you'd 
               throw away a cigarette you were 
               through with.  Outside of that -

                           THIRD NEWSPAPERMAN
               Okay, okay.

                           GIRL
               What about Rosebud?  Don't you think 
               that explains anything?

                           THOMPSON
               No, I don't.  Not much anway.  Charles 
               Foster Kane was a man who got 
               everything he wanted, and then lost 
               it.  Maybe Rosebud was something he 
               couldn't get or lost.  No, I don't 
               think it explains anything.  I don't 
               think any word explains a man's life.  
               No -  I guess Rosebud is just a piece 
               in a jigsaw puzzle - a missing piece.

                                                       (CONTINUED)

-----------------------------------------------------------------------------------------------------
     Screenplay-Citizen_Kane                               p. 163
     9-9-02                                                      


     He drops the jigsaw pieces back into the box, looking at his 
     watch.

                           THOMPSON (CONT'D)
               We'd better get along.  We'll miss 
               the train.

     He picks up his overcoat - it has been resting on a little 
     sled - the little sled young Charles Foster Kane hit Thatcher 
     with at the opening of the picture.  Camera doesn't close in 
     on this.  It just registers the sled as the newspaper people, 
     picking up their clothes and equipment, move out of the great 
     hall.

                                                        DISSOLVE:

105   INT. CELLAR - XANADU - NIGHT -                              105   

     A large furnace, with an open door, dominates the scene.  
     Two laborers, with shovels, are shovelling things into the 
     furnace.  Raymond is about ten feet away.

                           RAYMOND
               Throw that junk in, too.

     Camera travels to the pile that he has indicated.  It is 
     mostly bits of broken packing cases, excelsior, etc.  The 
     sled is on top of the pile.  As camera comes close, it shows 
     the faded rosebud and, though the letters are faded, 
     unmistakably the word "ROSEBUD" across it.  The laborer drops 
     his shovel, takes the sled in his hand and throws it into 
     the furnace.  The flames start to devour it.

106   EXT. XANADU - NIGHT -                                       106   

     No lights are to be seen.  Smoke is coming from a chimney.

     Camera reverses the path it took at the beginning of the 
     picture, perhaps omitting some of the stages.  It moves 
     finally through the gates, which close behind it.  As camera 
     pauses for a moment, the letter "K" is prominent in the 
     moonlight.

     Just before we fade out, there comes again into the picture 
     the pattern of barbed wire and cyclone fencing.  On the fence 
     is a sign which reads:

     "PRIVATE - NO TRESPASSING"

                                                        FADE OUT:

                               THE END