BERNSTEIN
(to Smathers)
In case you don't understand, Mr. Smathers – he's a new broom.
DISSOLVE OUT:
DISSOLVE IN:
EXT. NEW YORK STREET – VERY EARLY DAWN – 1891
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:
INT. KANE'S OFFICE – VERY EARLY DAWN – 1891
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.
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.
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.
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:
EXT. STREET AND CHRONICLE BUIDING – DAY – 1895
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.
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:
INT. CITY ROOM – THE ENQUIRER – NIGHT – 1895
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. 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
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.
KANE
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"
... 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.
INT. ENQUIRER OFFICE
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.
INT. ENQUIRER OFFICE
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.
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. 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.
EXT. CUNARD DOCKS – GANGPLANK AND DECK OF BOAT – NIGHT – 1900
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.
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!
KANE
(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:
LONG SHOT OF THE ENQUIRER BUILDING – NIGHT
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:
EXT. OUTSIDE THE WINDOW AT BERNSTEIN'S DESK – NIGHT
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. 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:
INT. CITY ROOM – ENQUIRER BUILDING – DAY – 1900
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
So then, tonight, we go over everything thoroughly, eh? Especially the new papers –
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
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
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 you would any other similar announcement.
He hands her an envelope. She has difficulty in holding on to it.
KANE
(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.
EXT. STREET OUTSIDE ENQUIRER BUILDING – DAY – 1900
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. 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.
INT. CITY ROOM – ENQUIRER – DAY – 1900
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:
INT. BERNSTEIN'S OFFICE – ENQUIRER – DAY – 1940
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 –
(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:
EXT. HOSPITAL ROOF – DAY – 1940
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.
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.
--------------------
影海茫茫。
影海茫茫。
