George is staring down at Fanny who has just sunk to the floor, her back resting against the hot water boiler. I said it was a painful satisfaction, Fanny. She looks off tears in eyes – Lowers letter –, INT ROOM-CU – Camera shooting up at George – He lowers letter looking to foreground grimly – Music heard – He turns- Goes to background – Camera pans down – He stops by fireplace – Starts to put letter in fire – Hesitates – Looks around – Comes to left Foreground – camera moving back – He goes to left to door – Opens it –, INT HALL SECOND FLOOR-MLS – Camera shooting down through columns in hall – George comes out door in background – Music heard – He crosses to right- Camera pans to follow – He exits right- Knock on door is heard –, INT BEDROOM-LS – Isabel going to door right background – Opens it – George comes in, INT ROOM-MCS – Isabel standing by door at left – George coming in grimly – Comes to foreground – Exits left foreground as she closes door – She talks anxiously –, INT ROOM-MS – George turning by fireplace in background –, INT ROOM-MCS – Isabel moving to right to bench before dresser – Talking –, INT ROOM-MS – George standing by fireplace in background holding letter –, He goes to right on other side of bed – Stops by divan – Talking –, It is simply the most offensive piece of writing that I’ve ever held in my hands, INT ROOM-CU – George looking to foreground – Talking –. It pairs with an earlier scene in which he visited his dying mother: Eugene has come to see her and—agonizingly, once again—been shown the door. Irish policeman in center talks to other policeman at right-. May I walk with you a little ways? an apartment building instead of these houses. She isn’t sure that George has heard. I haven’t helped out any by this infernal headlight scheme. I didn’t know what to say—I said I’d see. STREET OUTSIDE MORGAN AUTOMOBILE PLANT – DUSK (1912) CLOSE SHOT at Eugene’s car, ANGLING past the chauffeur in driver’s seat, toward back of the car. His comeuppance. EXT STREET-CU – Camera shooting up by August talking –. Here’s the Amberson Mansion again, only it’s Georgian instead of nondescript Romanesque; but it’s just the same Amberson Mansion my father built long before you were born. How ‘bout that kiss? They’re already doing it, Major, and it can’t be stopped. Thus, this technical instrument, due to necessity, must describe in detail what is heard and seen in the film. Jack talks as they go down walk to right background to entrance of mansion – Chauffeur closes door and exits left – Music heard, They go up steps to entrance at right background -Jack talking – Camera panning slightly –. . The property has gone down in value, and they assessed it lower than they did fifteen years ago. Yes, just because a man any woman would like a thousand times better was a little wild one night at a serenade! Wasn’t much of a fall to speak of. EXTEROR. INT HALL-CU – George looking over his shoulder to foreground – Wilbur on left facing him –. They stop by woman at left before mirror. I thought everybody knew him. EXTERIOR. SECOND FLOOR HALL – AMBERSON MANSION – NIGHT – (1910) At the end of the hall are Jack, George, and Major Amberson, clustered in a stricken group. Uncle Jack tells me the factory’s been doing quite well. 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