on his mind called "Rosebud."  
                        What does that mean? (A PAUSE)
                        You know, I was thinking - that 
                        Rosebud you're trying to find out 
                        about -

                                    THOMPSON
                        Yes - got everything he wanted, and then 
                        lost it.  Maybe Rosebud was 
                        something he couldn't get or lost. THIRD NEWSPAPERMAN
                        Okay, okay.

                                    GIRL
                        What about Rosebud?  Don't you 
                        think that explains anything? BERNSTEIN
                        That Rosebud?  Maybe some girl?  
                        There were a lot of them back in 
                        the early days, and - 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 word "ROSEBUD" across it.  The laborer drops his shovel, takes 
          the sled in his hand and throws it into the furnace.  The flames THE CAPTAIN
                        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. guess Rosebud is just a piece in a 
                        jigsaw puzzle - a missing piece. able to help me.  When she used to 
                        talk about Kane - did she ever 
                        happen to say anything - about 
                        Rosebud? THOMPSON
                        No.  Tell me something, Miss 
                        Anderson.  You're not Rosebud, are 
                        you?

                                    MISS ANDERSON
                        What? this "Rosebud," Mr. Thompson. KANE'S OLD OLD VOICE
                        Rosebud... RAWLSTON
                        That's right.

                                    A VOICE
                        Tough guy, huh?
                               (derisively)
                        Dies calling for Rosebud! Another flash bulb goes off.  The Photographer turns to Thompson 
          with a grin.

                                    PHOTOGRAPHER
                        Or Rosebud?  How about it, Jerry? RAWLSTON
                               (with disgust)
                        Rosebud!

          A little ripple of laughter at this, which is promptly silenced 
          by Rawlston. He picks up his overcoat - it has been resting on a little 
          sled - the little sled young Charles Foster Kane hit Thatcher THE CAPTAIN
                        Rosebud?

          Thompson has just handed him a bill.  The Captain pockets it. fortune, which she had recently 
                        acquired.  It was her wish that I 
                        should take charge of this boy, 
                        Charles Foster Kane.
KANE
                        Who am I?  Well, let's see.  Charles 
                        Foster Kane was born in New Salem, KANE
                        Mom!  Mom!

                                                              DISSOLVE OUT:

          The white page of the Thatcher manuscript.  We pick up the 
          words: KANE
                        Where is he?

                                    ANOTHER HIRELING
                        Right in there, Mr. Kane. 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, unwanted, ignored, looks on.  Tightening his lips, he 
          walks out.

                                                              DISSOLVE OUT:

          DISSOLVE IN: Kane. KANE
                        Thanks.

          Susan starts, with Kane following her.

                                                                  DISSOLVE: KANE
                        In case you don't know, Emily,
                        this - this gentleman -
                               (he puts a world of 
                               scorn into the 
                               word)
                        is - KANE
                        I'm going to live right here.
                               (reflectively)
                        As long as I have to. Kane some four or five years later with her little boy, Charles 
          Foster Kane. Kane has looked up sharply.  Reilly, sensing his look, stops 
          reading and meets his eye.  Slowly, Kane reaches out his hand. KANE
                        You always said you wanted to live 
                        in a palace.

                                    SUSAN
                        Can't we go back, Charlie? The scenes indicate the growth of the "Enquirer" under the 
          impulse of Kane's personal drive.  Kane is shown, thus, at 
          various activities: Kane's office is gas-lit, of course, as is the rest of the 
          Enquirer building. KANE
                        Susan, don't go!  Susan, please!

          He has lost all pride.  Susan stops.  She is affected by this. Mr. Kane said so. KANE
                        Raymond -
                               (he is almost in a 
                               trance)

                                    RAYMOND
                        Yes, sir - Kane acquired and changed its face - it is now pleasantly 
          uneven, with its fair share of rolling hills and one very good- KANE
                        No.

          She looks at him.  He starts to work himself into a rage. fortune, which she had recently 
                        acquired.  It was her wish that I 
                        should take charge of this boy, 
                        Charles Foster Kane.
KANE
                        Thanks.

          Susan starts, with Kane following her.

                                                                  DISSOLVE: KANE
                        Susan!

          She looks at him, with no lessening of her passion. SUSAN
                        There is no story.  It's all lies.
                        Mr. Kane is just - SUSAN
                        I mean it.
                               (she catches a slight 
                               flicker on Kane's KANE
                        Susan, don't go!  Susan, please!

          He has lost all pride.  Susan stops.  She is affected by this. KANE
                        Thais.

          Bernstein looks at Kane for a moment, then looks back, tortured. MRS. KANE
                        It is.  Go on, Mr. Thatcher - THATCHER
                        I did.

                                    INVESTIGATOR
                        In connection with the Kane affairs? He throws himself on her, his arms around her.  Slowly Mrs. 
          Kane puts her arms around him.

                                    KANE
                               (frightened)
                        Mom!  Mom! 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. Kane is a the window looking out.  He turns as he hears Raymond 
          enter.

                                    RAYMOND
                        Mrs. Kane would like to see you, 
                        Mr. Kane. gave up a few years after her 
                        marriage, at Mr.  Kane's request.  
                        Signed, Charles Foster Kane. Kane and Emily.  He looks at her, in search of some kind of 
          enlightenment.  Her face is set and impassive.

                                                                  DISSOLVE: ROGERS
                        The story about him and Miss 
                        Alexander, Mrs. Kane.

          Emily looks at Kane. MRS. KANE
                        That's what you think, is it, Jim?

                                    KANE SR.
                        Yes. RAYMOND
                        Yes, Mr. Kane.

                                    KANE
                        Not my wife - not either of them. He rushes out.  Susan is breathing, but heavily.  Kane loosens 
          the lace collar at her throat.

                                                                  DISSOLVE: KANE
                        You're talking an incredible amount 
                        of nonsense, Susan.
                               (quietly)
                        Whatever I do -  I do - because I 
                        love you. He stops as he realizes that Mrs. Kane has paid no attention 
          to him and, having opened the door, is already well into the Kane continues to look at her.

                                    SUSAN
                        You'll never have another chance 
                        to hit me again.
                               (pauses)
                        Never knew till this minute -
She walks on, the pain only a bit better.  Four or five houses 
          farther along, she comes to what is clearly her own doorway - How, to boarding housekeeper Mary 
                        Kane, by a defaulting boarder, in 
                        1868 was left the supposedly He looks at the grave next to his son's - the grave marked 
          "MARY KANE."

                                    RAYMOND
                               (catching on)
                        Oh, yes, sir. Some weeks later.  Susan, in a negligee, is at the window.  
          There are the remains of her breakfast tray on a little table. frame building, with a wooden outhouse.  Kane looks up as he 
          sees the single file procession, Mrs. Kane at its head, coming 
          toward him. of Mary Kane, Little Salem, 
                        Colorado.  Value $6.00. 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. At the sound of his voice, she straightens up.  She is very 
          close to death from excitement. 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 and other junk, among which is also an old sled, the self-same 
          story.  Somewhere in the back, one of the vast Gothic windows He stands for a minute breathing heavily, and his eye lights 
          on a hanging what-not in a corner which had escaped his notice. 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 ASSISTANT
                               (reading a label)
                        Iron stove.  Estate of Mary Kane.
                        Value $2.00. 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. fortune, which she had recently 
                        acquired.  It was her wish that I 
                        should take charge of this boy, 
                        Charles Foster Kane. 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: Kane comes out of the door.  Mrs. Tinsdall has been joined now 
          by a fairly sizable turnout of servants.  They move back away She sits up and looks at the crib.  She almost continues to 
          look at the crib, with almost unseeing eyes. 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
                        You see, my mother died, too - a 
                        long time ago.  Her things were
Susan is singing.  Matisti, her voice teacher, is playing the 
          piano.  Kane is seated nearby.  Matisti stops.

                                    MATISTI
                        Impossible!  Impossible! Susan, finishing her bow, goes out through the curtains.  The 
          light on the curtain goes out and the houselights go on.

          Closeup of Kane - still applauding very, very hard. Closeup of Susan's face - singing.

          Closeup of Kane's face - listening. KANE
                        Susan, don't go!  Susan, please!

          He has lost all pride.  Susan stops.  She is affected by this. SUSAN
                        You can't stop me.

          Kane keeps looking at her.  Susan reaches out her hand.

                                    SUSAN
                        Goodbye, Charlie. SUSAN
                        As a matter of fact, I do sing a 
                        little.

                                    KANE
                               (points to the piano)
                        Would you sing for me? KANE
                               (he has risen)
                        Susan, I want you to stop this.
                        And right now! Closeup of Kane - still applauding very, very hard, his eyes 
          on Susan.

          The stage again. professor does so.  The singing continues.  Kane rises and 
          crosses to Leland. Kane continues to look at her.

                                    SUSAN
                        You'll never have another chance 
                        to hit me again.
                               (pauses)
                        Never knew till this minute - KANE
                        Don't go, Susan!  You mustn't go!
                               (almost blubbering)
                        You - you can't do this to me,
                        Susan - KANE
                        Thanks.

          Susan starts, with Kane following her.

                                                                  DISSOLVE: KANE
                        My reasons satisfy me, Susan.  You 
                        seem unable to understand them.  I SUSAN
                               (rushes to him)
                        Charlie, please don't -

                                    KANE
                        What are you waiting here for?
                        Why don't you go? 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. Kane impetuously walks past him out of the room.

          INT. SUSAN'S ROOM - XANADU - DAY - She leaves.  Kane closes the door behind her.

                                    KANE
                        Have you gone completely crazy?

          Susan looks at him. Kane rises and walks toward her.  There is cold menace in his 
          walk.  Susan shrinks a little as he draws closer to her. He rushes out.  Susan is breathing, but heavily.  Kane loosens 
          the lace collar at her throat.

                                                                  DISSOLVE: KANE
                        As far as you're concerned, Susan, 
                        I've never wanted anything -  I 
                        don't want anything now - except 
                        what you want.
KANE
                        Susan, don't go!  Susan, please!

          He has lost all pride.  Susan stops.  She is affected by this. KANE
                        Thanks.

          Susan starts, with Kane following her.

                                                                  DISSOLVE: Closeup of Kane - still applauding very, very hard, his eyes 
          on Susan.

          The stage again. Kane rises and walks toward her.  There is cold menace in his 
          walk.  Susan shrinks a little as he draws closer to her. SUSAN
                        I mean it.
                               (she catches a slight 
                               flicker on Kane's He rushes out.  Susan is breathing, but heavily.  Kane loosens 
          the lace collar at her throat.

                                                                  DISSOLVE: KANE
                        Susan!

          She looks at him, with no lessening of her passion. SUSAN
                        There is no story.  It's all lies.
                        Mr. Kane is just - Kane impetuously walks past him out of the room.

          INT. SUSAN'S ROOM - XANADU - DAY - Kane looks at her smilingly and turns back to his work.

                                    SUSAN
                        Charlie -

          There is no answer. KANE
                               (he has risen)
                        Susan, I want you to stop this.
                        And right now! SUSAN
                        I work at Seligman's.

                                    KANE
                        Is that what you want to do? KANE
                        You're talking an incredible amount 
                        of nonsense, Susan.
                               (quietly)
                        Whatever I do -  I do - because I 
                        love you. KANE
                        Yes, I would.  That's why I asked.

                                    SUSAN
                        Well, I - SUSAN
                        You can't stop me.

          Kane keeps looking at her.  Susan reaches out her hand.

                                    SUSAN
                        Goodbye, Charlie. Susan, finishing her bow, goes out through the curtains.  The 
          light on the curtain goes out and the houselights go on.

          Closeup of Kane - still applauding very, very hard. He bites his lip and rubs his knee again.  Susan tries to 
          control her laughter, but not very successfully.  Kane glares 
          at her. KANE
                        Don't go, Susan!  You mustn't go!
                               (almost blubbering)
                        You - you can't do this to me,
                        Susan - KANE
                        Hmm!

          He has been rubbing his clothes with his handkerchief.

                                    SUSAN
                        You've got some on your face. KANE
                        As far as you're concerned, Susan, 
                        I've never wanted anything -  I 
                        don't want anything now - except 
                        what you want.
A glamorous shot of the almost-finished Xanadu, a magnificent 
          fairy-tale estate built on a mountain. (1920)

          Then shots of its preparation. (1917) Series of shots showing various aspects of Xanadu, all as they 
          might be photographed by an ordinary newsreel cameraman - nicely 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. INT. KANE'S CHAPEL - XANADU - LATE AFTERNOON - FROM XANADU, FOR THE PAST TWENTY-FIVE YEARS, ALL KANE NARRATOR
                               (dropping the quotes)
                        Here, for Xanadu's landlord, will EXT. XANADU - NIGHT -

          No lights are to be seen.  Smoke is coming from a chimney. that place?  You know...  All right.  
                        Xanadu.  I knew what it was all 
                        the time.  You caught on, didn't Kane has left Xanadu, his Florida 
                        home, under the terms of a peaceful 
                        and friendly agreement with the 
                        intention of filing suit for divorce INT. SUSAN'S BEDROOM - XANADU - EXT. ESTABLISHING SHOT OF XANADU - HALF BUILT

          INT. THE GRAND HALL IN XANADU - him, the still unfinished Xanadu.  
                        Cost: no man can say. SUSAN
                               (harshly)
                        Don't you think I do?
                               (pause)
                        You say you're going down to Xanadu? mountaintop of Xanadu, the great castle a sillhouette as its 
          summit, the little window a distant accent in the darkness. NEWS DIGEST NARRATOR
                        Legendary was the Xanadu where 
                        Kubla Kahn decreed his stately EXT. XANADU - FAINT DAWN - 1940 (MINIATURE)

          Window, very small in the distance, illuminated. Arabian, Chinese, etc.) but all consigned to Charles Foster 
          Kane, Xanadu, Florida. INT. GREAT HALL - XANADU - NIGHT -

          Thompson and Raymond.  Raymond has finished his beer. 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:

          INT. CELLAR - XANADU - NIGHT -
other political observers that one 
                        man's press has power enough for 
                        himself.  But Kane papers were 
                        once strong indeed, and once the KANE
                               (sharply)
                        I don't have to.  I run a newspaper CARTER
                               (stiffly)
                        Because we're running a newspaper, 
                        Mr.  Kane, not a scandal sheet. The scenes indicate the growth of the "Enquirer" under the 
          impulse of Kane's personal drive.  Kane is shown, thus, at 
          various activities: KANE
                               (sharply)
                        It isn't finished?

                                    CITY EDITOR
                        No, Mr. Kane. I sympathize with you.  Charles 
                        Foster Kane is a dangerous 
                        scoundrel, his paper should be run KANE
                               (very, very casually)
                        And the notice?

                                    CITY EDITOR
                        Yes - Mr. Kane. 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. KANE
                        I don't know how to run a newspaper, 
                        Mr. Thatcher.  I just try everything 
                        I can think of. Loudly, so that the neighbors can hear.

                                    CARTER
                        Really, Mr. Kane, I can't see the
                        function of a respectable newspaper - CARTER
                        But a morning newspaper, Mr. Kane.
                        After all, we're practically closed 
                        twelve hours a day - except for 
                        the business offices - KANE
                               (quietly)
                        Is it good?

                                    CITY EDITOR
                        Yes, Mr. kane. SUSAN
                        There is no story.  It's all lies.
                        Mr. Kane is just - 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 - to do with it?  Mr. Kane, he'll 
                        have them changed to his kind of 
                        newspapermen in a week. 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. gave up a few years after her 
                        marriage, at Mr.  Kane's request.  
                        Signed, Charles Foster Kane. BERNSTEIN
                               (moving to his side)
                        Mr. Kane is finishing your piece 
                        the way you started it.

          Leland turns incredulously to Bernstein. was terrible.  But nobody had the 
                        nerve to say so - not even the 
                        critics.  Mr. Kane was a big man BERNSTEIN
                        Maybe that was something he lost.  
                        Mr. Kane was a man that lost -
Kane, until his twenty-fifth 
                        birthday, at which time he is to 
                        come into complete possession. Kane's twenty-fifth birthday...  
                        You know, when Mr. Kane got control 
                        of his own 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. KANE
                        Who am I?  Well, let's see.  Charles 
                        Foster Kane was born in New Salem, KANE
                        Where is he?

                                    ANOTHER HIRELING
                        Right in there, Mr. Kane. He throws himself on her, his arms around her.  Slowly Mrs. 
          Kane puts her arms around him.

                                    KANE
                               (frightened)
                        Mom!  Mom! SUSAN
                        Oh, me -

                                    KANE
                        How old did you say you were? KANE
                        As Charles Foster Kane, who has                         
                        eighty-two thousand, six hundred 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
                        It is accepted, Mr. Carter, with 
                        assurances of my deepest regard.

                                    CARTER
                        But Mr. Kane, I meant - He stops as he realizes that Mrs. Kane has paid no attention 
          to him and, having opened the door, is already well into the 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. planned and staged later.  Its essence is that Kane is just a 
          healthy and happy young man having a wonderful time. KANE
                        Are you finished?

                                    LELAND
                        Yes.
                               (looking down)
                        Now, will you let me go to Chicago? did figure him out.  He was hard 
                        to figure sometimes, even for me.  
                        Mr. Kane was a genius like he said. KANE
                        Oh, yes, the bonus.

                                    REILLY
                        It was for twenty-five thousand 
                        dollars. Kane some four or five years later with her little boy, Charles 
          Foster Kane. MRS. KANE
                        That's what you think, is it, Jim?

                                    KANE SR.
                        Yes. KANE
                        I didn't think you did.  If you 
                        had, I wouldn't have asked you 
                        again, because I'd have remembered.
                        How old?
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. 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 There is first a tiny reception room, through which an open 
          door shows the living room.  Kane and Emily enter from the KANE
                        Where is he?

                                    ANOTHER HIRELING
                        Right in there, Mr. Kane. 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 a shabby, old four-story apartment house.  She turns toward 
          the doorway, which is up a tiny stoop, about three steps. Camera pulls back, the frame of the window appearing, and we 
          are inside the parlor of the boardinghouse.  Mrs. Kane, aged 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 The ground floor witht he windows on the street - of the 
          "Enquirer."  It is almost midnight by an old-fashioned clock Thompson and Leland on the roof, which is now deserted.  It is 
          getting late.  The sun has just about gone down. 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. NARRATOR
                        Then four long years more - alone 
                        in his never-finished, already One of the younger servants giggles and is hushed up.  Kane 
          shakes the ball again.  Another flurry of snow.  He watches frame building, with a wooden outhouse.  Kane looks up as he 
          sees the single file procession, Mrs. Kane at its head, coming 
          toward him. 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. A glamorous shot of the almost-finished Xanadu, a magnificent 
          fairy-tale estate built on a mountain. (1920)

          Then shots of its preparation. (1917) The Beaux Art Ball.  A number of elderly swells are jammed 
          into a hallway.  Servants suddenly divest them of their furs, 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. A very long shot of Kane's enormous bed, silhouetted against 
          the enormous window.

                                                                  DISSOLVE: Over a wide moat, now stagnant and choked with weeds.  We move 
          across it and through a huge solid gateway into a formal garden,
At the sound of his voice, she straightens up.  She is very 
          close to death from excitement. 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: NARRATOR
                        Last week, death came to sit upon 
                        the throne of America's Kubla Khan - broke on the floor.  He didn't say 
                        anything about that, so I knew he 
                        was dead - He said all kind of alongside a berth, looking at Kane.  Kane, his face in the 
          pillow, is crying with heartbreaking sobs. 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. And Death came to sit upon my 
                        throne.  O sons of men You see a 
                        stranger upon the road, You call last week, as it must to all men, 
                        death came to Charles Foster Kane. 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, 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. BERNSTEIN
                        Just old age.
                               (smiles sadly)
                        It's the only disease, Mr. Thompson, 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. He stands for a minute breathing heavily, and his eye lights 
          on a hanging what-not in a corner which had escaped his notice. Susan appears for her bow.  She can hardly walk.  There is a 
          little polite crescendo of applause, but it is sickly. things?  What was he after?
                               (then, appreciating 
                               his point)
                        Maybe he told us on his death bed. Kane stands nearby with Raymond, looking on.  The men strain 
          and grunt as the coffin bangs on the stone floor.  The men now conviction about death.  But we do 
                        know what we're leaving ... we 
                        believe in something.
                               (looks sharply at hated and talked about as much as 
                        any man in our time - but when he 
                        comes to die, he's got something 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. As Kane and Leland enter the room, an elderly, stout gent on 
          the raised platform, strikes a bell and the other eight
Mrs. Kane has met his eye.  Her triumph over him finds 
          expression in his failure to finish his sentence. KANE
                        It is accepted, Mr. Carter, with 
                        assurances of my deepest regard.

                                    CARTER
                        But Mr. Kane, I meant - KANE
                        Goodbye, gents!
                               (at the top of the 
                               gangplank, he turns 
                               and calls down)
                        Hey! KANE
                        I know exactly what I'm doing.
                               (he is screaming)
                        Get out! KANE
                        Where is he?

                                    ANOTHER HIRELING
                        Right in there, Mr. Kane. RAWLSTON
                        What were Kane's last words?

          A silence greets this. A short pause.  His eyes still on the wall, but looking through 
          it, Kane quotes the translation. He throws himself on her, his arms around her.  Slowly Mrs. 
          Kane puts her arms around him.

                                    KANE
                               (frightened)
                        Mom!  Mom! Susan, finishing her bow, goes out through the curtains.  The 
          light on the curtain goes out and the houselights go on.

          Closeup of Kane - still applauding very, very hard. Kane looks at Leland sharply before he speaks.

                                    KANE
                               (quietly)
                        All right. KANE
                               (turning on him)
                        Get out!  I've got nothing to talk Kane is a the window looking out.  He turns as he hears Raymond 
          enter.

                                    RAYMOND
                        Mrs. Kane would like to see you, 
                        Mr. Kane. hard at something Kane has said.  The girls are hysterical.  
          Kane can hardly breathe.  As Leland's laughter becomes more KANE
                        Raymond -
                               (he is almost in a 
                               trance)

                                    RAYMOND
                        Yes, sir - 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. Emily does not answer.  The door is opened by a maid, who 
          recognizes Kane.

                                    THE MAID
                        Come in, Mr. Kane, come in. KANE
                        Susan, don't go!  Susan, please!

          He has lost all pride.  Susan stops.  She is affected by this. KANE
                        Thais.

          Bernstein looks at Kane for a moment, then looks back, tortured. SUSAN
                        I mean it.
                               (she catches a slight 
                               flicker on Kane's 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.
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. THOMPSON
                        I'm calling on people who knew Mr. 
                        Kane.  I'm calling on you. BERNSTEIN
                               (moving to his side)
                        Mr. Kane is finishing your piece 
                        the way you started it.

          Leland turns incredulously to Bernstein. KANE
                        Thais.

          Bernstein looks at Kane for a moment, then looks back, tortured. SUSAN
                        There is no story.  It's all lies.
                        Mr. Kane is just - KANE
                               (very, very casually)
                        And the notice?

                                    CITY EDITOR
                        Yes - Mr. Kane. KANE
                        Oh, Mr. Bernstein!

          Bernstein looks up. 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. MISS TOWNSEND
                        Good afternoon, Mr. Bernstein.

                                    BERNSTEIN
                        This is Mr. Kane, Miss Townsend. KANE
                               (sharply)
                        It isn't finished?

                                    CITY EDITOR
                        No, Mr. Kane. Thompson has turned around.  He is facing the camera for the 
          first time.

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

          Susan starts, with Kane following her.

                                                                  DISSOLVE: THOMPSON
                        I'd rather you just talked.  
                        Anything that comes into your mind - 
                        about yourself and Mr. Kane. KANE
                        Who am I?  Well, let's see.  Charles 
                        Foster Kane was born in New Salem, As told by Bernstein.  Kane is calling down to Leland and 
          Bernstein (as before). KANE
                        Thank you, Mr Carter.  This is Mr.
                        Leland.

                                    CARTER
                               (bowing)
                        How do you do, Mr. Leland? KANE
                        It is accepted, Mr. Carter, with 
                        assurances of my deepest regard.

                                    CARTER
                        But Mr. Kane, I meant - KANE
                        Where is he?

                                    ANOTHER HIRELING
                        Right in there, Mr. Kane. KANE
                               (quietly)
                        Is it good?

                                    CITY EDITOR
                        Yes, Mr. kane.
at Thompson)
                        The directors of the Thatcher 
                        Library have asked me to remind 
                        you again of the condition under 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. THOMPSON
                        Nobody else, but I've been through 
                        that stuff of Walter Thatcher's.
                        That journal of his - 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. Thompson.  He really believed that.  
                        He put all his ambition on that 
                        girl.  After she came along, he 
                        never really cared for himself It is important to remember always that only at the very end 
          of the story is Thompson himself a personality.  Until then, 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. Bernstein speaking to Thompson. shot, the person of Bertha Anderson, an elderly, manish 
          spinnster, seated behind her desk.  Thompson, his hat in his Thompson had handed Leland a paper.

                                    LELAND
                        What's this?

                                    THOMPSON
                        It's a letter from her lawyers. THOMPSON
                        In case you'd like to know, Mr.
                        Bernstein, he's at the Huntington 
                        Memorial Hospital on 180th Street. BERNSTEIN
                        Oh, yes.  He saw to that.  I tell 
                        you, Mr. Thompson, he was a hard life that she prefers to forget.  With assurances of the highest 
          esteem - Leland hands the paper back to Thompson. Thompson - at the desk.  With a gesture of annoyance, he is 
          closing the manuscript. Thompson has opened a box and is idly playing with a handful 
          of little pieces of cardboard.

                                    THIRD NEWSPAPERMAN
                        What's that? to travel back, the back of Thompson's head and his shoulders 
          come into the picture. SECOND NEWSPAPERMAN
                        Say, what did you find out about 
                        him, anyway, Jerry?

                                    THOMPSON
                        Not much. (turns to Thompson)
                        Anything you want to know about 
                        him - about the paper - THOMPSON
                        I'm going back there.

                                    BERNSTEIN
                        Who else did you see? THOMPSON
                        No, I don't.  Not much anway.  
                        Charles Foster Kane was a man who
KANE
                        Who am I?  Well, let's see.  Charles 
                        Foster Kane was born in New Salem, KANE
                        Mom!  Mom!

                                                              DISSOLVE OUT:

          The white page of the Thatcher manuscript.  We pick up the 
          words: fortune, which she had recently 
                        acquired.  It was her wish that I 
                        should take charge of this boy, 
                        Charles Foster Kane. KANE
                        Where is he?

                                    ANOTHER HIRELING
                        Right in there, Mr. Kane. 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 some four or five years later with her little boy, Charles 
          Foster Kane. Kane, unwanted, ignored, looks on.  Tightening his lips, he 
          walks out.

                                                              DISSOLVE OUT:

          DISSOLVE IN: KANE
                        You always said you wanted to live 
                        in a palace.

                                    SUSAN
                        Can't we go back, Charlie? KANE
                        Thanks.

          Susan starts, with Kane following her.

                                                                  DISSOLVE: KANE
                        Hello.  Hello, Pop.

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

          EXT. KANE'S BOARDINGHOUSE - DAY - KANE
                        I'm going to live right here.
                               (reflectively)
                        As long as I have to. 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 is a the window looking out.  He turns as he hears Raymond 
          enter.

                                    RAYMOND
                        Mrs. Kane would like to see you, 
                        Mr. Kane. KANE
                        Raymond -
                               (he is almost in a 
                               trance)

                                    RAYMOND
                        Yes, sir - KANE
                        Susan, don't go!  Susan, please!

          He has lost all pride.  Susan stops.  She is affected by this. KANE
                        You see, my mother died, too - a 
                        long time ago.  Her things were He throws himself on her, his arms around her.  Slowly Mrs. 
          Kane puts her arms around him.

                                    KANE
                               (frightened)
                        Mom!  Mom! 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. KANE
                        The drunkeness of youth has passed 
                        like a fever, And yet I saw many
KANE
                        Mom!  Mom!

                                                              DISSOLVE OUT:

          The white page of the Thatcher manuscript.  We pick up the 
          words: That was years later, of course - 
                        1914 it was.  Mrs. Kane took the 
                        leading part in the opera, and she He stops as he realizes that Mrs. Kane has paid no attention 
          to him and, having opened the door, is already well into the Kane some four or five years later with her little boy, Charles 
          Foster Kane. 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 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 see, my mother died, too - a 
                        long time ago.  Her things were Kane's office is gas-lit, of course, as is the rest of the 
          Enquirer building. He throws himself on her, his arms around her.  Slowly Mrs. 
          Kane puts her arms around him.

                                    KANE
                               (frightened)
                        Mom!  Mom! KANE
                        All right.  Let her slide!

          He turns away, and we can now read the headline. 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. 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. Kane comes out of the door.  Mrs. Tinsdall has been joined now 
          by a fairly sizable turnout of servants.  They move back away MRS. KANE
                        It is.  Go on, Mr. Thatcher - KANE
                        H'ya, Mom.

          Mrs. Kane smiles. INQUIRE WITHIN

          Charles Kane's snowball hits the sign.

          INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY - Kane doesn't answer.  Reilly goes on.  He has brought out a 
          piece of paper and is reading it. Kane and Emily.  He looks at her, in search of some kind of 
          enlightenment.  Her face is set and impassive.

                                                                  DISSOLVE: Mr.  Graves left here are made out 
                        to Mrs.  Kane, in her name.  Hers 
                        to do with as she pleases - 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, unwanted, ignored, looks on.  Tightening his lips, he 
          walks out.

                                                              DISSOLVE OUT:

          DISSOLVE IN: KANE
                        Thanks.

          Susan starts, with Kane following her.

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

          He starts out of the office.

                                                                  DISSOLVE: He stops as he realizes that Mrs. Kane has paid no attention 
          to him and, having opened the door, is already well into the KANE
                        Mom!  Mom!

                                                              DISSOLVE OUT:

          The white page of the Thatcher manuscript.  We pick up the 
          words: KANE
                        Where is he?

                                    ANOTHER HIRELING
                        Right in there, Mr. Kane. KANE
                        All right.  Let her slide!

          He turns away, and we can now read the headline. KANE
                        Susan, don't go!  Susan, please!

          He has lost all pride.  Susan stops.  She is affected by this. The men tip their hats and shuffle out of the chapel.  Kane 
          raises his head, looks at the inscription on the wall.  It is Shot of Kane, in evening clothes, in obvious position of danger, 
          grabbing camera from photographer.  Before him rages a terrific 
          tenement fire.

                                                                  DISSOLVE: KANE
                        In case you don't know, Emily,
                        this - this gentleman -
                               (he puts a world of 
                               scorn into the 
                               word)
                        is - KANE
                        Goodbye, gents!
                               (at the top of the 
                               gangplank, he turns 
                               and calls down)
                        Hey! KANE
                               (turning on him)
                        Get out!  I've got nothing to talk Kane is just stepping into an elegant barouch, drawn up at the 
          curb, in which sits Miss Emily Norton.  He kisses her full on 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
                               (as car starts to 
                               drive off)
                        What's this all about, Emily?  
                        I've had a very tiring day and - 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 and Emily.  He looks at her, in search of some kind of 
          enlightenment.  Her face is set and impassive.

                                                                  DISSOLVE: Kane is perplexed and worried, but we can see in a moment his 
          mind will be on something else.
KANE
                        Where is he?

                                    ANOTHER HIRELING
                        Right in there, Mr. Kane. KANE
                        Mr. Carter, this is Mr. Bernstein.
                        Mr. Bernstein is my general manager. Kane isn't listening to him.

                                    KANE
                        Oh, Mr. Bernstein!

          Bernstein looks up from his figures. MISS TOWNSEND
                        Good afternoon, Mr. Bernstein.

                                    BERNSTEIN
                        This is Mr. Kane, Miss Townsend. KANE
                        Thank you, Mr Carter.  This is Mr.
                        Leland.

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

          Susan starts, with Kane following her.

                                                                  DISSOLVE: KANE
                        Thais.

          Bernstein looks at Kane for a moment, then looks back, tortured. ROGERS
                        Good evening, Mr. Kane.
                               (he rises)
                        I don't suppose anybody would 
                        introduce us.  Mrs. Kane, I am 
                        Edward Rogers. SUSAN
                        There is no story.  It's all lies.
                        Mr. Kane is just - KANE
                        It is accepted, Mr. Carter, with 
                        assurances of my deepest regard.

                                    CARTER
                        But Mr. Kane, I meant - KANE
                               (very, very casually)
                        And the notice?

                                    CITY EDITOR
                        Yes - Mr. Kane. KANE
                        Raymond -
                               (he is almost in a 
                               trance)

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

          INT. OF KANE'S OFFICE - NIGHT - after the people that knew Kane 
                        well.  That manager of his - the 
                        little guy, Bernstein, those two BERNSTEIN
                               (quietly)
                        Mr. Kane is finishing it. THATCHER
                        Charles, my name is Mr. Thatcher -

                                    MRS. KANE
                        This is Mr. Thatcher, Charles. BERNSTEIN
                        Hello, Mr. Kane.

          The Hirelings rush, with Bernstein, to Kane's side.  Widespread, 
          half-suppressed sensation. INT. KANE'S OFFICE - DAY -

          Kane holds the door open for Thatcher.  They come in together. KANE
                               (sharply)
                        It isn't finished?

                                    CITY EDITOR
                        No, Mr. Kane.
KANE
                        Thais.

          Bernstein looks at Kane for a moment, then looks back, tortured. Kane, unwanted, ignored, looks on.  Tightening his lips, he 
          walks out.

                                                              DISSOLVE OUT:

          DISSOLVE IN: KANE
                        In case you don't know, Emily,
                        this - this gentleman -
                               (he puts a world of 
                               scorn into the 
                               word)
                        is - Kane has looked up sharply.  Reilly, sensing his look, stops 
          reading and meets his eye.  Slowly, Kane reaches out his hand. KANE
                        And I know too many people.  
                        Obviously, we're both lonely.
                               (he smiles) THATCHER
                        We're going to have a lot of good 
                        times together, Charles...  Really 
                        we are.

          Kane stares at him. KANE
                        Where is he?

                                    ANOTHER HIRELING
                        Right in there, Mr. Kane. KANE
                        Thanks.

          Susan starts, with Kane following her.

                                                                  DISSOLVE: KANE
                        Susan, don't go!  Susan, please!

          He has lost all pride.  Susan stops.  She is affected by this. KANE
                        Goodbye, gents!
                               (at the top of the 
                               gangplank, he turns 
                               and calls down)
                        Hey! Kane still stares at the wall, through it, and way beyond it.  
          Raymond looks at him.

                                                              DISSOLVE OUT:

          DISSOLVE IN: ROGERS
                        Good evening, Mr. Kane.
                               (he rises)
                        I don't suppose anybody would 
                        introduce us.  Mrs. Kane, I am 
                        Edward Rogers. 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
                        Raymond -
                               (he is almost in a 
                               trance)

                                    RAYMOND
                        Yes, sir - Kane looks at her smilingly and turns back to his work.

                                    SUSAN
                        Charlie -

          There is no answer. KANE
                        Oh, Mr. Bernstein!

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

                                    CARTER
                        But Mr. Kane, I meant - Kane isn't listening to him.

                                    KANE
                        Oh, Mr. Bernstein!

          Bernstein looks up from his figures. Kane and Emily.  He looks at her, in search of some kind of 
          enlightenment.  Her face is set and impassive.

                                                                  DISSOLVE: Kane looks right through him.  Raymond cuts him short.

                                    RAYMOND
                        Okay.
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 KANE
                        Don't you worry about me.  I'm 
                        Charles Foster Kane.  I'm no cheap, Thompson has turned around.  He is facing the camera for the 
          first time.

                                    THOMPSON
                        Charles Foster Kane. anything.  I heard him say it.
                        He just said "Rosebud" and then he 
                        dropped that glass ball and it last week, as it must to all men, 
                        death came to Charles Foster Kane. fortune, which she had recently 
                        acquired.  It was her wish that I 
                        should take charge of this boy, 
                        Charles Foster Kane. In the same position of the last word in above Insert, appears 
          the tiny figure of Charles Foster Kane, aged five (almost like U.S.A.

          CHARLES FOSTER KANE

          Opening shot of great desolate expanse of Florida coastline 
          (1940 - DAY) RAWLSTON
                        That's right.

                                    A VOICE
                        Tough guy, huh?
                               (derisively)
                        Dies calling for Rosebud! gave up a few years after her 
                        marriage, at Mr.  Kane's request.  
                        Signed, Charles Foster Kane. KANE
                        Who am I?  Well, let's see.  Charles 
                        Foster Kane was born in New Salem, lost it.  You see, he just didn't 
                        have any to give.  He loved Charlie 
                        Kane, of course, very dearly - and loved - that's all you want!  I'm 
                        Charles Foster Kane.  Whatever you 
                        want - just name it and it's yours! old man I've become.  You want to 
                        know what I think of Charlie Kane?  
                        Well - I suppose he has some private He throws himself on her, his arms around her.  Slowly Mrs. 
          Kane puts her arms around him.

                                    KANE
                               (frightened)
                        Mom!  Mom! THATCHER
                        Charles, my name is Mr. Thatcher -

                                    MRS. KANE
                        This is Mr. Thatcher, Charles. RAYMOND
                               (reading)
                        Mr. Charles Foster Kane announced 
                        today that Mrs. Charles Foster decaying, pleasure palace, aloof, 
                        seldom visited, never photographed, 
                        Charles Foster Kane continued to Charles Foster Kane.  Then, in the 
                        third year of the Great 
                        Depression...  As to all publishers, (A PAUSE)
                        You know, I was thinking - that 
                        Rosebud you're trying to find out 
                        about -

                                    THOMPSON
                        Yes -
Kane has left Xanadu, his Florida 
                        home, under the terms of a peaceful 
                        and friendly agreement with the 
                        intention of filing suit for divorce KANE
                        Who am I?  Well, let's see.  Charles 
                        Foster Kane was born in New Salem, KANE
                        Thanks.

          Susan starts, with Kane following her.

                                                                  DISSOLVE: KANE
                        Where is he?

                                    ANOTHER HIRELING
                        Right in there, Mr. Kane. U.S.A.

          CHARLES FOSTER KANE

          Opening shot of great desolate expanse of Florida coastline 
          (1940 - DAY) KANE
                        You always said you wanted to live 
                        in a palace.

                                    SUSAN
                        Can't we go back, Charlie? THATCHER
                        Charles, my name is Mr. Thatcher -

                                    MRS. KANE
                        This is Mr. Thatcher, Charles. Kane is a the window looking out.  He turns as he hears Raymond 
          enter.

                                    RAYMOND
                        Mrs. Kane would like to see you, 
                        Mr. Kane. fortune, which she had recently 
                        acquired.  It was her wish that I 
                        should take charge of this boy, 
                        Charles Foster Kane. He throws himself on her, his arms around her.  Slowly Mrs. 
          Kane puts her arms around him.

                                    KANE
                               (frightened)
                        Mom!  Mom! INT. KANE'S NEW YORK HOME - KANE'S BEDROOM - EARLY MORNING - THATCHER
                        Yes.  My firm had been appointed 
                        trustees by Mrs. Kane for the 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. One of the younger servants giggles and is hushed up.  Kane 
          shakes the ball again.  Another flurry of snow.  He watches Kane, unwanted, ignored, looks on.  Tightening his lips, he 
          walks out.

                                                              DISSOLVE OUT:

          DISSOLVE IN: The men tip their hats and shuffle out of the chapel.  Kane 
          raises his head, looks at the inscription on the wall.  It is KANE
                        All right.  Let her slide!

          He turns away, and we can now read the headline. 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. ROGERS
                        Good evening, Mr. Kane.
                               (he rises)
                        I don't suppose anybody would 
                        introduce us.  Mrs. Kane, I am 
                        Edward Rogers. 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.
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. Susan, finishing her bow, goes out through the curtains.  The 
          light on the curtain goes out and the houselights go on.

          Closeup of Kane - still applauding very, very hard. 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. He throws himself on her, his arms around her.  Slowly Mrs. 
          Kane puts her arms around him.

                                    KANE
                               (frightened)
                        Mom!  Mom! KANE
                        Where is he?

                                    ANOTHER HIRELING
                        Right in there, Mr. Kane. A hand snatches the ticker tape away and as the image of the 
          crowd dissolves out, we pull back to show:

          INT. OF KANE'S OFFICE - NIGHT - BERNSTEIN
                               (quietly)
                        Mr. Kane is finishing it. from Kane, staring at him.  Raymond is in the doorway behind 
          Kane.  Kane looks at the glass ball. 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. SUSAN
                        You can't stop me.

          Kane keeps looking at her.  Susan reaches out her hand.

                                    SUSAN
                        Goodbye, Charlie. SUSAN
                        No.  They've passed on.

          Again she puts her hand to her jaw.

                                    KANE
                        Where's the soap? Closeup of a still of Kane, aged about sixty-five.  Camera 
          pulls back, showing it is a framed photograph on the wall. 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 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. DISSOLVE:

          INT. KANE'S STUDY - XANADU - DAY - Shot of Kane, in evening clothes, in obvious position of danger, 
          grabbing camera from photographer.  Before him rages a terrific 
          tenement fire.

                                                                  DISSOLVE: 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. Thompson has turned around.  He is facing the camera for the 
          first time.

                                    THOMPSON
                        Charles Foster Kane. Kane doesn't answer.  Reilly goes on.  He has brought out a 
          piece of paper and is reading it. DISSOLVE:

          INT. KANE'S BEDROOM - FAINT DAWN -
THIRD NEWSPAPERMAN
                        Okay, okay.

                                    GIRL
                        What about Rosebud?  Don't you 
                        think that explains anything? (A PAUSE)
                        You know, I was thinking - that 
                        Rosebud you're trying to find out 
                        about -

                                    THOMPSON
                        Yes - THE CAPTAIN
                        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. on his mind called "Rosebud."  
                        What does that mean? Another flash bulb goes off.  The Photographer turns to Thompson 
          with a grin.

                                    PHOTOGRAPHER
                        Or Rosebud?  How about it, Jerry? of years, anyway - but I knew how 
                        to handle him.
                               (rises)
                        That "Rosebud" - that don't mean word "ROSEBUD" across it.  The laborer drops his shovel, takes 
          the sled in his hand and throws it into the furnace.  The flames THIRD NEWSPAPERMAN
                               (to the dancers)
                        Turn that thing off, will you?  
                        It's driving me nuts!  What's 
                        Rosebud? anything.  I heard him say it.
                        He just said "Rosebud" and then he 
                        dropped that glass ball and it fortune, which she had recently 
                        acquired.  It was her wish that I 
                        should take charge of this boy, 
                        Charles Foster Kane. personification of the search for the truth about Charles Foster 
          Kane.  He is the investigator. got everything he wanted, and then 
                        lost it.  Maybe Rosebud was 
                        something he couldn't get or lost. able to help me.  When she used to 
                        talk about Kane - did she ever 
                        happen to say anything - about 
                        Rosebud? BERNSTEIN
                        That Rosebud?  Maybe some girl?  
                        There were a lot of them back in 
                        the early days, and - THOMPSON
                        No.  Tell me something, Miss 
                        Anderson.  You're not Rosebud, are 
                        you?

                                    MISS ANDERSON
                        What? this "Rosebud," Mr. Thompson. RAWLSTON
                        That's right.

                                    A VOICE
                        Tough guy, huh?
                               (derisively)
                        Dies calling for Rosebud! KANE
                               (very, very casually)
                        And the notice?

                                    CITY EDITOR
                        Yes - Mr. Kane. guess Rosebud is just a piece in a 
                        jigsaw puzzle - a missing piece. Thompson has turned around.  He is facing the camera for the 
          first time.

                                    THOMPSON
                        Charles Foster Kane.
Kane's twenty-fifth birthday...  
                        You know, when Mr. Kane got control 
                        of his own Kane, until his twenty-fifth 
                        birthday, at which time he is to 
                        come into complete possession. fortune, which she had recently 
                        acquired.  It was her wish that I 
                        should take charge of this boy, 
                        Charles Foster Kane. KANE
                        Who am I?  Well, let's see.  Charles 
                        Foster Kane was born in New Salem, THATCHER
                        Yes.  My firm had been appointed 
                        trustees by Mrs. Kane for the He throws himself on her, his arms around her.  Slowly Mrs. 
          Kane puts her arms around him.

                                    KANE
                               (frightened)
                        Mom!  Mom! KANE
                        Where is he?

                                    ANOTHER HIRELING
                        Right in there, Mr. Kane. 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. SUSAN
                        Oh, me -

                                    KANE
                        How old did you say you were? KANE
                        As Charles Foster Kane, who has                         
                        eighty-two thousand, six hundred KANE
                        It is accepted, Mr. Carter, with 
                        assurances of my deepest regard.

                                    CARTER
                        But Mr. Kane, I meant - 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 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. THATCHER
                        We're going to have a lot of good 
                        times together, Charles...  Really 
                        we are.

          Kane stares at him. KANE
                        Thais.

          Bernstein looks at Kane for a moment, then looks back, tortured. KANE
                        Raymond -
                               (he is almost in a 
                               trance)

                                    RAYMOND
                        Yes, sir - He bites his lip and rubs his knee again.  Susan tries to 
          control her laughter, but not very successfully.  Kane glares 
          at her. MRS. KANE
                        That's what you think, is it, Jim?

                                    KANE SR.
                        Yes. Kane has looked up sharply.  Reilly, sensing his look, stops 
          reading and meets his eye.  Slowly, Kane reaches out his hand. Kane looks at Leland sharply before he speaks.

                                    KANE
                               (quietly)
                        All right.
The scenes indicate the growth of the "Enquirer" under the 
          impulse of Kane's personal drive.  Kane is shown, thus, at 
          various activities: KANE
                               (sharply)
                        I don't have to.  I run a newspaper other political observers that one 
                        man's press has power enough for 
                        himself.  But Kane papers were 
                        once strong indeed, and once the 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. KANE
                        I don't know how to run a newspaper, 
                        Mr. Thatcher.  I just try everything 
                        I can think of. CARTER
                        But a morning newspaper, Mr. Kane.
                        After all, we're practically closed 
                        twelve hours a day - except for 
                        the business offices - KANE
                               (very, very casually)
                        And the notice?

                                    CITY EDITOR
                        Yes - Mr. Kane. 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
                               (quietly)
                        Is it good?

                                    CITY EDITOR
                        Yes, Mr. kane. KANE
                               (sharply)
                        It isn't finished?

                                    CITY EDITOR
                        No, Mr. Kane. KANE
                        All right.  Let her slide!

          He turns away, and we can now read the headline. INT. KANE'S OFFICE - VERY EARLY DAWN -

          The newsboys are still heard from the street below - fainter 
          but very insistent. 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. KANE
                        It's a news story!  Get it on the 
                        street!

                                                                  DISSOLVE: newpapers, thirteen magazines, a 
                        radio network.  An empire upon an 
                        empire.  The first of grocery 
                        stores, paper mills, apartment 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 - 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 CARTER
                               (stiffly)
                        Because we're running a newspaper, 
                        Mr.  Kane, not a scandal sheet. Loudly, so that the neighbors can hear.

                                    CARTER
                        Really, Mr. Kane, I can't see the
                        function of a respectable newspaper - A hand snatches the ticker tape away and as the image of the 
          crowd dissolves out, we pull back to show:

          INT. OF KANE'S OFFICE - NIGHT -
daughter, Emily Monroe Norton, to 
                        Mr.  Charles Foster Kane. Kane is just stepping into an elegant barouch, drawn up at the 
          curb, in which sits Miss Emily Norton.  He kisses her full on Emily is opening the door for Leland.

                                    EMILY
                        Hello, Brad -

                                    LELAND
                        Emily - his mother, I guess he always loved 
                        her.  As for Emily - well, all I 
                        can tell you is Emily's story as 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. It isn't that, Emily -  It's just -
                        the president is your uncle and 
                        they're saying I killed him. Another elderly gent, in white tie but still wearing an 
          overcoat, comes into the box and whispers to Emily.  He has a Just then, Kane appears, with Reilly and several other men.  
          Kane rushes toward Emily and Junior, as the men politely greet 
          Emily. BERNSTEIN
                        The way things turned out, I don't 
                        need to tell you - Miss Emily Norton 
                        was no rosebud! EMILY
                        How do you do?
                               (pauses)
                        I came here - and I made Mr. Kane Kane and Emily.  He looks at her, in search of some kind of 
          enlightenment.  Her face is set and impassive.

                                                                  DISSOLVE: KANE
                        In case you don't know, Emily,
                        this - this gentleman -
                               (he puts a world of 
                               scorn into the 
                               word)
                        is - Emily does not answer.  The door is opened by a maid, who 
          recognizes Kane.

                                    THE MAID
                        Come in, Mr. Kane, come in. LELAND
                        Emily, you're being - a little 
                        unfair -  You know what I think of 
                        Charles' behavior - about your
                        personal lives - copy of the "Enquirer" in his hand.  Emily rises.  He shows 
          the paper to her. NARRATOR
                        Twice married, twice divorced - 
                        first to a president's niece, Emily 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. 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? MISS TOWNSEND
                               (reading)
                        Mr. and Mrs. Thomas Moore Norton 
                        announce the engagement of their Emily nods to him.

                                    EMILY
                        I intend to find out.
He throws himself on her, his arms around her.  Slowly Mrs. 
          Kane puts her arms around him.

                                    KANE
                               (frightened)
                        Mom!  Mom! KANE
                        Thanks.

          Susan starts, with Kane following her.

                                                                  DISSOLVE: He stops as he realizes that Mrs. Kane has paid no attention 
          to him and, having opened the door, is already well into the 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. 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
                        Susan!

          She looks at him, with no lessening of her passion. Emily does not answer.  The door is opened by a maid, who 
          recognizes Kane.

                                    THE MAID
                        Come in, Mr. Kane, come in. MRS. KANE
                        It is.  Go on, Mr. Thatcher - gave up a few years after her 
                        marriage, at Mr.  Kane's request.  
                        Signed, Charles Foster Kane. He rushes out.  Susan is breathing, but heavily.  Kane loosens 
          the lace collar at her throat.

                                                                  DISSOLVE: KANE
                        Is Mrs. Kane -
                               (he can't finish)

                                    RAYMOND
                        Marie has been packing since 
                        morning, Mr. Kane. SUSAN
                        I mean it.
                               (she catches a slight 
                               flicker on Kane's SUSAN
                        There is no story.  It's all lies.
                        Mr. Kane is just - RAYMOND
                        Yes, Mr. Kane.

                                    KANE
                        Not my wife - not either of them. Mrs. Kane rises and goes to the window.

                                    MRS. KANE
                        Go on, Mr. Thatcher. EMILY
                        How do you do?
                               (pauses)
                        I came here - and I made Mr. Kane KANE
                        Thais.

          Bernstein looks at Kane for a moment, then looks back, tortured. Susan, finishing her bow, goes out through the curtains.  The 
          light on the curtain goes out and the houselights go on.

          Closeup of Kane - still applauding very, very hard. Kane is just stepping into an elegant barouch, drawn up at the 
          curb, in which sits Miss Emily Norton.  He kisses her full on KANE
                        Susan, don't go!  Susan, please!

          He has lost all pride.  Susan stops.  She is affected by this.
Closeup of Susan's face - singing.

          Closeup of Kane's face - listening. Susan is singing.  Matisti, her voice teacher, is playing the 
          piano.  Kane is seated nearby.  Matisti stops.

                                    MATISTI
                        Impossible!  Impossible! Susan, finishing her bow, goes out through the curtains.  The 
          light on the curtain goes out and the houselights go on.

          Closeup of Kane - still applauding very, very hard. SUSAN
                        You can't stop me.

          Kane keeps looking at her.  Susan reaches out her hand.

                                    SUSAN
                        Goodbye, Charlie. SUSAN
                        As a matter of fact, I do sing a 
                        little.

                                    KANE
                               (points to the piano)
                        Would you sing for me? KANE
                        Susan, don't go!  Susan, please!

          He has lost all pride.  Susan stops.  She is affected by this. KANE
                               (he has risen)
                        Susan, I want you to stop this.
                        And right now! She leaves.  Kane closes the door behind her.

                                    KANE
                        Have you gone completely crazy?

          Susan looks at him. KANE
                        Thanks.

          Susan starts, with Kane following her.

                                                                  DISSOLVE: Closeup of Kane - still applauding very, very hard, his eyes 
          on Susan.

          The stage again. professor does so.  The singing continues.  Kane rises and 
          crosses to Leland. Kane impetuously walks past him out of the room.

          INT. SUSAN'S ROOM - XANADU - DAY - He rushes out.  Susan is breathing, but heavily.  Kane loosens 
          the lace collar at her throat.

                                                                  DISSOLVE: Kane continues to look at her.

                                    SUSAN
                        You'll never have another chance 
                        to hit me again.
                               (pauses)
                        Never knew till this minute - 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. Kane rises and walks toward her.  There is cold menace in his 
          walk.  Susan shrinks a little as he draws closer to her. KANE
                        Don't go, Susan!  You mustn't go!
                               (almost blubbering)
                        You - you can't do this to me,
                        Susan - 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. SUSAN
                               (rushes to him)
                        Charlie, please don't -

                                    KANE
                        What are you waiting here for?
                        Why don't you go? at an early date.  Mrs. Kane said 
                        that she does not intend to return 
                        to the operatic career which she
on his mind called "Rosebud."  
                        What does that mean? (A PAUSE)
                        You know, I was thinking - that 
                        Rosebud you're trying to find out 
                        about -

                                    THOMPSON
                        Yes - got everything he wanted, and then 
                        lost it.  Maybe Rosebud was 
                        something he couldn't get or lost. 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 THIRD NEWSPAPERMAN
                        Okay, okay.

                                    GIRL
                        What about Rosebud?  Don't you 
                        think that explains anything? word "ROSEBUD" across it.  The laborer drops his shovel, takes 
          the sled in his hand and throws it into the furnace.  The flames THE CAPTAIN
                        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. BERNSTEIN
                        That Rosebud?  Maybe some girl?  
                        There were a lot of them back in 
                        the early days, and - THOMPSON
                        No.  Tell me something, Miss 
                        Anderson.  You're not Rosebud, are 
                        you?

                                    MISS ANDERSON
                        What? guess Rosebud is just a piece in a 
                        jigsaw puzzle - a missing piece. Another flash bulb goes off.  The Photographer turns to Thompson 
          with a grin.

                                    PHOTOGRAPHER
                        Or Rosebud?  How about it, Jerry? able to help me.  When she used to 
                        talk about Kane - did she ever 
                        happen to say anything - about 
                        Rosebud? RAWLSTON
                        That's right.

                                    A VOICE
                        Tough guy, huh?
                               (derisively)
                        Dies calling for Rosebud! KANE'S OLD OLD VOICE
                        Rosebud... RAWLSTON
                               (with disgust)
                        Rosebud!

          A little ripple of laughter at this, which is promptly silenced 
          by Rawlston. He picks up his overcoat - it has been resting on a little 
          sled - the little sled young Charles Foster Kane hit Thatcher lost it.  You see, he just didn't 
                        have any to give.  He loved Charlie 
                        Kane, of course, very dearly - and this "Rosebud," Mr. Thompson. fortune, which she had recently 
                        acquired.  It was her wish that I 
                        should take charge of this boy, 
                        Charles Foster Kane.
What was Rosebud? Where did Kane grow up? Who did Kane have an affair with? What did Mary find on her property? Why did Kane finally allow Susan to end her singing career? What was Kane pursuing professionally when he began his affair with Susan? Where was Xanadu located? Why did Kane have to sell his control of his newspaper? What age was Kane when he gained full access to his trust fund? Where is the mansion located? Who is on his deathbed? What word does Kane utter? Who interviews Kane's friends? Who'se archive does Thompson go to? Where did Kane's Childhood begin? What was discovered on Kane's mother's property in 1871? What career does Kane embark on? Who is Kane's business manager? Who is Kane's estranged best friend? What word does Charles Foster Kane utter on his deathbed? What is the name of Kane's estate in Florida? What is Kane holding in his hand on his deathbed? Which reporter is tasked with discovering the meaning of the word "rosebud"? How old is Kane when he gains control of his trust fund? Which newspaper does Kane take control of? Who is Emily Norton's uncle? With whom does Kane begin an extramarital affair? After what event does Kane allow Susan to quit her singing career? What is the meaning of the word "rosebud" revealed to be?
Kane's sled. the trade name of a sled
Colorado. Colorodo
Susan Alexander. A singer named Susan Alexander
A gold mine. Gold Mine
She tried to commit suicide. she tried to commit suicide
Governor of New York. running for Governor of New York
In Florida. Florida
Stock market crashed. stock market crash
25. 25
Florida Xanadu
Kane Charles Foster Kane
Rosebud Rosebud
Thompson Jerry Thompson
Walter  Walter Parks Thatcher
Colorado Colorado
A gold mine A gold mine
Journalism Yellow journalism
Bernstein Bernstein
Jedediah Jedediah LeLand
Rosebud. Rosebud
Xanadu. Xanadu
A snow globe. A snow globe
Jerry Thompson. Jerry Thompson
Twenty five. 25
The New York Inquirer. New York Inquirer
The President of the United States. The President of the United States
Susan Alexander. Susan Alexander
Her attempted suicide. She tries to kill herself
The trade name of Kane's childhood sled. the trade name of a sled