Scene by Scene: 'Shadow of a Doubt'

[s***@yahoo.co.uk]

Not to steal Rich's thunder (in fact there's no reason why a thread of
this sort can't run as a complement to Rich's) ... I'd like to see a
thread that goes through 'Shadow of a Doubt', scene by scene, with
people throwing in comments as and when they see fit.

[s***@yahoo.co.uk]

Titles:
Loud and brash Tiomkin music (typical of his style, in my opinion) over
live action image of men and women waltzing, while title and credits
appear over.

[s***@yahoo.co.uk]

1. EXT - CITY - DAY.
Open with image of a city, CAMERA placed close to ugly-looking river
bed. As the CAMERA PANS right, we can see two (what look like)
vagrants, possibly fishing.
DISSOLVE to-
2. EXT - CITY - DAY.
Image of broken-down car in FOREGROUND and the city in the BACKGROUND.
CAMERA continues to PAN right.
DISSOLVE to-
3. EXT - CITY - DAY.
Image of a street. A group of children play. One or two shots appear to
move CAMERA progressively closer to a house (No.13), then to a window
in the house until we CUT TO-
4. INT - ROOM - DAY. A man.
We see a man lying prostrate on a bed, smoking a cigar. Someone knocks
at the door and enters. From her talk, she must be the landlady. The
two converse.
The landlady addresses the man as "Mr Spencer" and is obviously very
concerned about him ... two men, claiming to be his friends, had just
been there enquiring after him but she got suspicious and said Mr
Spencer wasn't in. She shows great concern when she sees that 'Mr
Spencer' has left money lying around.
'Mr Spencer' informs the landlady that she did the right thing (in
turning the two men away) and that he doesn't even know them ("I never
met them before in my life. That's funny, isn't it?"). The landlady
agrees and leaves, not before pulling down the blind. As she lowers it,
we see 'Mr Spencer''s face as a shadow comes over it. We then hear the
door close and 'Mr Spencer' rises. He puts his cigar on the bedside
table, picks up a glass and drinks something down. He then stands up
and throws the glass at the wall, smashing it.
He goes to the window. We're given a POV shot of two men across the
street and we hear 'Mr Spencer' taunt the two men (to himself) with
what little they really know. A much lighter and more playful 'version'
of 'The Merry Widow Waltz' can be heard on the soundtrack.

[s***@yahoo.co.uk]

I've always thought 'what an introduction to a character' ... Uncle
Charlie's admittance to his landlady that he didn't know the men and
that they've never even seen him.
This not only demonsrates how much he's charmed the landlady (so much,
in fact, that she believes and trusts him more than two other
strangers) ... but it also shows how motherly she is towards him (to
the point of protecting 'her little boy' from the two bullies out on
the street).

[b***@aol.com]

Comments about the film are exactly what I built the website for.
By posting here, they can be easily added to the site with reference to
who the poster is. In addition, any missed photos can be inserted as
the site grows. I cannot learn anything from my own point of view, but
I certainly can from others.
In the opening, the innitial view of the (can I say handsome?)
bridge is quickly changed to reveal the blight of abandoned cars. At
the water's edge, I think that I see the front of a small boat near the
two men who are probably fishing. Growing up near the Detroit River,
this is a common scene any day along the river-front.
I really liked how Hitchcock focused on the "Rooms" sign leaving no
doubt that this was not Mr. Spencer's residence.
Finally, there is much to say about the state of a woman's life in
a small town, especially in the 1940s. I'd like to talk about each
character since they are each unique, yet most are leading a miserable
life according to the story.

[sawakatoome]

The fact that while we hear Cotten's voice taunting the men without
seeing an image of his face leads me to assume its not a voiceover.
Also, the fact that a voiceover is never utilitised elsewhere in the
film would seem to go a long way to proving this.

[s***@yahoo.co.uk]

'Mr Spencer' exits the room. CUT TO-

EXT - STREET - DAY.
'Mr Spencer' comes out of the house. There is a backwards tracking shot
as he walks towards the CAMERA and past it. He walks past the two men
and down the street.
A striking shot of the backs of the two men as they look after 'Mr
Spencer' walking away down the street. Then they walk in time together,
with the music accompanying them rhythmically. CUT TO-

EXT - ABANDONED LOT - DAY.

From a high angle shot, we can see that 'Mr Spencer' enters the lot,

looks behind him, then scurries away out of shot. The two soon follow,
split up and chase after him. One shot later (high-angle again) and we
can see that they've lost him. CAMERA PANS up and to the left, where we
can see 'Mr Spencer' observing them and smoking. (Cue a playful riff on
a clarinet.) DISSOLVE TO-

INT - POOL HALL - DAY. 'Mr Spencer'.
At first, we're given a CU shot of a hand and finger dialling some
numbers, then DISSOLVE TO-
same scene but MEDIUM SHOT of 'Mr Spencer'. He's on the phone dictating
a telegram he wants sent to some family in Santa Rosa, California. We
learn his name is actually Charlie and he's known to the family as
Uncle Charlie.
As Uncle Charlie repeats "Santa Rosa, California", DISSOLVE TO-

EXT - SANTA ROSA - DAY.
Assorted SHOTS and DISSOLVES as we see everyday life on the streets of
small town America.
Eventually, we find ourselves on a street, DISSOLVING closer and closer
to a house until we have a SHOT of an upstairs bedroom window. DISSOLVE
TO-

INT - YOUNG CHARLIE'S ROOM - DAY. Young Charlie.
She's lying back in the same position as Uncle Charlie was in his first
scene (apart from the cigar and also, Young Charlie has her hands
behind her head). CUT TO-

[s***@yahoo.co.uk]

Though there's no violence on the screen during these opening scenes,
there's an undeniable strong hint of menace; Uncle Charlie is shown to
be forceful and the kind of guy who doesn't seem to be afraid to play
with danger (telling his landlady that the two men have never even seen
him, throwing down the gauntlet to the waiting police outside by
audaciously walking up to and past them).
That shot where Charlie walks out of the house and towards the camera,
with the camera pulling back almost seems to set up the relationship
between the character and the audience ... we find ourselves pulling
back out of the sheer force of the man's determination.

[Jason Wells]

The scenes of "Mr. Spencer" walking past the two men and small 'chase',
were not Joseph Cotton. Hitch had those scenes filmed prior to the
final casting. He had a short, med and tall man photo doubles shot.
The tall man version was used. In the scene where the window shade was
pulled down, a small doll of a woman with the cord around her neck was
in the story.... but never used. We had to have doubt.

[Old Movie Fan]

***@webtv.net (Jason=A0Wells) writes:

The scenes of "Mr. Spencer" walking past the two men and small 'chase',
were not Joseph Cotton. Hitch had those scenes filmed prior to the final
casting. He had a short, med and tall man photo doubles shot. The tall
man version was used. =A0 In the scene where the window shade was pulled
down, a small doll of a woman with the cord around her neck was in the
story.... but never used. We had to have doubt.

Very interesting. I went back and watched the scene in slow motion
and the man does seem slightly different from Joseph Cotton, although
about the same height.
Perhaps this also helps explain why we have a different partner with
McDonald Carry for the rest of the story.

Rich Wagner


http://community.webtv.net/BigMovieFan/ShadowofaDoubt

http://community.webtv.net/BigMovieFan/TheCast

http://community.webtv.net/BigMovieFan/TheStory

[sawakatoome]

Donald Spoto wrote the following of the opening to 'Shadow of a Doubt'.
"With this stunning double sequence and its ironic discourse, Alfred
Hitchcock announces not only the structure of the entire film, but also
its ethic, for 'Shadow of a Doubt' explores the moral links between a
psychopathic killer and the innocent niece who is named for him. More
important, by extension he offers what amounts to a tract on the very
nature of moral ambiguity. Uncle Charlie will indeed 'come to save
them'. He will 'shake them all up' by indicating precisely the nature
of a part of life that has been ignored: the impulses to decadence that
lurk within even the prettiest lives." - 'The Art of Alfred Hitchcock'
(p.119)

[Old Movie Fan]

Bravo to you.

Your thread visualizes the entire story. I do remember Ann calling
Charlie by another name and I completely agree with the marriage analogy
concerning the ring being placed on Young Charlie's finger.

Re: Scene by Scene: 'Shadow of a Doubt'
Group: alt.movies.hitchcock Date: Sat, Feb
I wonder if the whole thing about Uncle
Charlie being possibly 'damaged'
psychologically by an accident he had with
his bike when he was a child was included
simply to keep a certain portion of the
audience happy, that portion which Hitchcock
liked to refer to as being overly interested in
story logic. Its given so little screen time in the
film that I can't but laugh at it, whether I
should or not.

As you probably already know, I am one of those interested in story
logic. So many of Hitchcock's films thread the most insignificant
things together that it's usually important to pay careful attention to
the story. If not you can sometime miss the best part.

In this case, learning about the childhood accident helped to make sense
of the whole relationship between Emma and her brother.
I ended up feeling sorry or Uncle Charlie.

Rich Wagner

[s***@yahoo.co.uk]

INT - NEWTON'S LIVING ROOM - DAY. Anne.
Phone rings. Young Charlie calls to Anne to answer the phone.
Joe (the father) enters. Some light humour in Joe and Anne's
conversation.
He eventually goes upstairs. CUT TO-

INT - YOUNG CHARLIE'S ROOM - DAY. Young Charlie.
Joe enters the scene. He stays outside her room and they talk. We learn
that Charlie's feeling very despondent about her mother's lot in life
("dinner, then dishes, then bed").
The mother soon arrives and, unlike Joe, comes straight into the room.
Joe follows her in. She sits on Charlie's bed as they talk.
We hear Anne calling her mother from downstairs. The mother leaves. The
other two follow. CUT TO-

[s***@yahoo.co.uk]

I don't know if I'm supposed to or not but I always see Joe's standing
at Young Charlie's bedroom door (without going in) as a demonstration
of how distant he is to her. I don't see this as any kind of indictment
of the man but merely as a canny way for the filmmakers to emphasise
the mother's warmth soon after (when she walks straight into the room
on arrival).

I think Charlie's mother-centred conversation with her father shows
where the 'problem' of the film lies for her character and the line
("dinner, then dishes, then bed") and its delivery calls to my mind the
age-old and ugly sexist adage that holds that women are good for only
two things.

[sawakatoome]

Ken Mogg writes of this scene that "Young Charlie's state of mind in
the early part of the film resembles what the philosopher Kierkegaard
called 'dread', a state of innocence or dreaming that awakens a thirst
for the prodigious and the mysterious" (The Alfred Hitchcock Story', p.
84)'.

[s***@yahoo.co.uk]

INT - STAIRCASE - DAY. Emma, Joe.
Charlie enters scene; she's obviously just gotten an idea. She asks her
mother for her Uncle Charlie's address; it turns out she was named
after him and she wants to send him a telegram; she reckons he's the
only person in the whole world who can 'save' them right now, who can
make the situation right. Joe exits the frame while Emma and Young
Charlie talk.
The youngest son, Roger, enters and immediately tells those present
some trivial fact (about how many steps it took him to get to
someplace). (Note- Characters, in this scene, talk over each other
almost constantly.)
Charlie exits via the front door.
Joe re-enters the scene with a beer and pours it. The phone rings. Emma
answers. It's the telgraph clerk informing Mrs Newton of a telegram
from her brother. Emma replies that Charlie was the youngest, "the
baby". When the phone conversation ends, the scene ends with Joe and
Emma speculate over what made Young Charlie think of sending a telegram
to Uncle Charlie.

[s***@yahoo.co.uk]

This seems to be the first instance of a hint by Hitchcock of a
paranormal connection between the two Charlies, later, of course,
strengthened by the fact that Young Charlie will start humming the
"Merry Widow Waltz" *after* she's received the ring from Uncle Charlie.

[s***@yahoo.co.uk]

INT - TELEGRAPH OFFICE - DAY. Young Charlie, telegraph clerk.
Young Charlie is writing a telegram to her uncle. The clerk interrupts
to tell her she's just off the phone, dictating a telegram *received*
from the very same uncle! Young Charlie marvels at this and leaves. CUT
TO-

[s***@yahoo.co.uk]

EXT - STREET - DAY. Young Charlie.
Young Charlie walks towards the CAMERA (the CAMERA pulling back),
smiling broadly and saying, "he heard me, he heard me". DISSOLVE TO-

[s***@yahoo.co.uk]

This is the second time we get a character (again, one of the Charlies)
walking towards us with purpose and we (the CAMERA) pull back.

[s***@yahoo.co.uk]

ESTABLISHING (ESTB) SHOT- Train, moving.
DISSOLVE TO-

INT - TRAIN CAR - DAY. Passengers, porter, Uncle Charlie.
Although Uncle Charlie is in this scene, we never get to see him
because he's claiming to be sick ... and he's hidden away behind a dark
curtain for privacy. (His alias in this scene seems to be "Mr Otis".)
Hitchcock's cameo occurs here. He's at a table, playing bridge with
three others and the man opposite him, a doctor, says to him that he
doesn't look too good ... we're then shown his hand in an INSERT, all
spades, the best possible hand ever in bridge. DISSOLVE TO-

EXT - TRAIN STATION - DAY.
The Newtons' car pulls up. The whole family, minus the mother, is here.
They get out.
The train pulls into the station, emitting thick black smoke as it
does.
Uncle Charlie is helped off the train, limping. Those who helped him
get back on and the train starts to move again.
Young Charlie sees all this and is both delighted and puzzled; she
thinks he's somehow sick. When she greets him and tells him, he laughs
off the suggestion.
The rest of the family, who are present, greet Uncle Charlie and carry
his bags for him. The CAMERA pulls back as all in the scene walk
towards it. All but Uncle Charlie walk past the CAMERA, leaving the
uncle the only one left in the frame. DISSOLVE TO-

[s***@yahoo.co.uk]

EXT - STREET - DAY.
The Newtons' car pulls up. Uncle Charlie gets out of the car and he
sees Emma, as she comes out of the house. Uncle Charlie says to Emma
that he doesn't see Emma Newton, he sees "Emma Spencer Oakley".
SHOT of Young Charlie looking very happy for her mother. DISSOLVE TO-

INT - YOUNG CHARLIE'S ROOM - DAY. Uncle Charlie, Joe.
Uncle Charlie wants to put his hat on the bed but Joe asks him not to,
out of superstitiion; he doesn't believe in inviting trouble. Joe exits
scene. Charlie looks around the room (photograph of Young Charlie's
graduation class) and out the window (smalltown 'innocent' life).
Self-satisfied, he finally throws his hat on the bed. FADE TO BLACK.

[s***@yahoo.co.uk]

With the film's first FADE TO BLACK occurring here (finally!), it gives
it the feeling that the film's introduction is over, the pieces are in
place and 'middle game' can begin.

[b***@aol.com]

Post by s***@yahoo.co.uk
With the film's first FADE TO BLACK occurring here (finally!), it gives
it the feeling that the film's introduction is over, the pieces are in
place and 'middle game' can begin.

For me, the introduction ended with Young Charlie leaving the
Telegraph office and then the double exposure of the train on it's way
to Santa Rosa. The characters have been introduced and the plot has
been explained.
The 'middle game' for me is from this point until Young Charlie
learns the truth about her Uncle Charlie.

Rich Wagner

[s***@yahoo.co.uk]

I guess I just like the neatness of the fact that the introductions (of
the two Charlies) are over and they're together at last, ready and
waiting for the film's main events to unfold ... all coninciding with
the film's first utilisation of a FADE TO BLACK. Neat and tidy. (Or is
that "neat and fussy", like Saunders?)

[s***@yahoo.co.uk]

FADE IN-
INT - DINING ROOM - NIGHT. Newton family, Uncle Charlie.
The scene opens with Uncle Charlie, holding court (so-to-speak),
telling his stories with an air of confidence. Everyone is listening
and smiling. There follows some dialogue about the dress that Young
Charlie is wearing being from Uncle Charlie himself, which reminds him
that he got the family some presents ('presents' for the two younger
kids, a wristwatch for Joe, a stole and a couple of photographs in a
picture frame of Charlie and Emma's parents for Emma). Roger points out
that the photographs were taken in 1888, "fifty three years ago".
Uncle Charlie then wants to give a present to Young Charlie but she
tells him she doesn't want for anything right now and exits the scene,
walking into the kitchen. They talk about her for a minute (Joe
admiringly speaks of the fact that she was the "smartest girl in her
class") and then Uncle Charlie exits the scene too by following Young
Charlie. CUT TO-

[s***@yahoo.co.uk]

INT - KITCHEN - NIGHT. Young Charlie.
Uncle Charlie enters. The two chat. She speaks of how she believes
there to be a kind of paranormal connection between them and that there
can never really be any secrets between them. He tells her that
sometimes it can be dangerous to find out too much.
He eventually gives her her present, a ring. It turns out there's an
inscription on it ("TS from BM"); we realise it must have belonged to
one of his victims and he overlooked the engraving. She likes the fact
that it once belonged to someone else and decides to keep it, against
Uncle Charlie's wishes. (Note- Violins play the "Merry Widow Waltz"
from now on.)
Young Charlie exits. Uncle Charlie's left, brooding, walking in the
direction of the CAMERA, while the "Merry Widow Waltz" gets louder on
the soundtrack.
The image of the dancing waltzers is superimposed over the image of
Uncle Charlie and the latter DISSOLVES into the former. DISSOLVE TO-

INT - DINING ROOM - NIGHT. Newton family, Uncle Charlie.
The dinner continues. Uncle Charlie speaks of depositing money in the
bank where Joe works.
Young Charlie is humming the "Merry Widow Waltz" to herself. She wants
the others to help her identify it, in the hope that it'll make it go
away. Uncle Charlie has a looks perturbed. Emma says she reckons it's
a waltz "and its Victor Herbert". (Roger corrects her that "Victor
Herbert" wasn't a waltz.)
Uncle Charlie: "I know, its 'The Blue Danube' waltz".
Young Charlie: "Oh yes, of course. <pause> No, Uncle Charlie, I know
what it is, its 'The Merry Wid-...", at which Uncle Charlie knocks over
his wine glass, thereby nicely interrupting the conversation.
They all get up and walk to the living room. Joe's friend, Herbert, has
arrived and is standing at the front door. The two exit the scene by
going out. CUT TO-

EXT - NEWTONS' HOUSE - NIGHT.
Herb and Joe are exiting the house. They talk about fictional
detectives and the topic of murder.
The scene ends on Herb's line, "I'd tried to murder you so it didn't
look like murder." CUT TO-

INT - LIVING ROOM - NIGHT. Uncle Charlie, Anne.
Scene opens with head on SHOT of Uncle Charlie, reading the paper. From
his expression, we know that he sees something he doesn't like
(probably about himself). He calls Anne over and pretends to make a
paper house for her. Roger enters and protests that "That's Papa's
paper!"
Young Charlie enters the scene and says the exact same thing. She
begins attempting to put it back together but is missing one page. In
an INSERT SHOT, we can see that Uncle Charlie has the page, folded up
in his hands behind his back. DISSOLVE TO-

[sawakatoome]

Ken Mogg writes, of the ring, that it "has several meanings". He says
that Uncle Charlie's face, when he presents the ring, is eloquent - "he
invests the gift with great spiritual weight, associated with the
dream-like image of dancing couples".
Mogg points out that Young Charlie hadn't wanted a gift at all and that
"her own inital reaction likewise has a spiritual intensity". ('The
Alfred Hitchcock Story', p. 86)

[s***@yahoo.co.uk]

INT - STAIRS - NIGHT. Young Charlie.
Young Charlie is going to her room (where her uncle is staying). She
knocks on the door and goes in. The shadows of the uprights of the
banister throw very evocative shadows (of prison bars) on the wall and
on the door to her room, where Uncle Charlie is. CUT TO-

INT - YOUNG CHARLIE'S ROOM - NIGHT. Uncle Charlie.
Young Charlie comes in. She sees the scrunched up page of the newspaper
in Uncle Charlie's jacket pocket and reminds him that he can never
succeed in keeping anything from her ... that she'll find it out. She
plucks the page from his jacket, at which he immediately gets up and
violently wrenches it from her grip, causing her to cry out. He
apologises and simply says that the story was something nasty about
someone he once knew. She exits. DISSOLVE TO-

ESTB SHOT- The Newtons' home at night.
DISSOLVE TO-

INT - ANNE'S ROOM - NIGHT. Anne, Young Charlie.
Young Charlie gets Anne to say her prayers. The last image here is of
Young Charlie, lying back, smiling and about to go to sleep, humming
the "Merry Widow Waltz" to herself (like a lullaby). CUT TO-

INT - YOUNG CHARLIE'S ROOM - NIGHT. Uncle Charlie.
One SHOT, Uncle Charlie, sitting up in bed, brooding and smoking his
cigar. He blows a smoke circle. FADE TO BLACK.

[s***@yahoo.co.uk]

Again, the FADE TO BLACK closes another chapter. In this one, Uncle
Charlie has set himself up in the household as the charming,
aristocratic bon vivant. He has also practically 'married' his niece in
the kitchen. And once he did, we saw that he somehow 'transmitted' the
"Merry Widow Waltz" melody to her!

[s***@yahoo.co.uk]

FADE IN- ESTB SHOT- The Newtons' home in the daytime.
DISSOLVE TO-

INT - YOUNG CHARLIE'S ROOM - DAY. Uncle Charlie.
Uncle Charlie is sitting up in bed, reading a newspaper. Emma enters
the scene, coming into the room with breakfast for him.

From their conversation, we learn that Emma would like him to give a

speech at her womens' club. She also tells him that he's not the only
celebrity in the town; apparently, the whole Newton Family have been
selected by a government institution for some survey or other. Also,
she's been told they'll be taking pictures too. This irks Uncle Charlie
and he shows it.
Young Charlie enters. Emma shows that she's a little taken aback at
Uncle Charlie's attitude (to the idea of the survey men).
Uncle Charlie remarks that he's never been photgraphed in his life "and
I never want to be", he says. Emma says she has one photograph and
sends Young Charlie to get it. It turns out to be a photograph of Uncle
Charlie as a young boy, taken on the day he had some bad accident with
his bike, an accident which their mother felt had possibly changed him
forever; in fact, their mother, according to Emma, wondered if he'd
ever look the same after that, indeed if he'd ever *be* the same.
(As Emma tells Young Charlie this story, the CAMERA is positionned in
such a way that Uncle Charlie is in the foreground, brooding.)
Uncle Charlie derides the story with, "What's the use in looking
backwards? What's the use in looking ahead? Today's the thing. That's
my philosophy ... today."
Emma and Young Charlie exit the room and the CAMERA moves in such a awy
as to put Uncle Charlie in face-on medium shot, as he drinks his
coffee. DISSOLVE TO-

EXT - SANTA ROSA STREETS - DAY. Uncle Charlie, Young Charlie.
Assorted SHOTS (of traffic warden, Young Charlie's old school friends)
until the two arrive at the bank where Joe works. They go in. CUT TO-

INT - BANK - DAY. Uncle Charlie, Young Charlie.
They come in and go straight over to the window where Joe is
stationned. The three talk. Uncle Charlie is joking inappropriately and
loudly.
He tells Joe he wants to see the president of the bank. Joe leaves the
scene to go the president's office.
After a little time, Joe signals from there for them to come over. They
do. CUT TO-

[sawakatoome]

I wonder if the whole thing about Uncle Charlie being possibly
'damaged' psychologically by an accident he had with his bike when he
was a child was included simply to keep a certain portion of the
audience happy, that portion which Hitchcock liked to refer to as being
overly interested in story logic. Its given so little screen time in
the film that I can't but laugh at it, whether I should or not.

[sawakatoome]

First, disrespect for the past and the future (in the conversation with
Emma and Young Charlie as he eats breakfast), now disrespect for social
customs and politeness (in the bank where Joe works), Uncle Charlie's
certainly exercising his full personality ... now that he's settled in.

[s***@yahoo.co.uk]

INT - MR GREEN'S OFFICE - DAY. Mr Green, Joe.
Uncle Charlie and Young Charlie enter. Uncle Charlie chats with Mr
Green and arranges for the opening of an account, with an initial
deposit of $40,000, which he happens to have on him in cash.
When Mr Green gets Uncle Charlie to fill out a deposit slip, the latter
remarks, "Ah, details. I'm so glad you're a man who understands
details, Mr Green. They're so important to me. Most important. All the
little details."
Mr Green's wife and her friend, Mrs Potter, enter. Mrs Potter is
wearing a black veil and she takes an immediate shine to Uncle Charlie.
Mrs Green asks Mr Green for some money, at which Mrs Potter laughs,
"Well, there's one good thing about being a widow, isn't there? You
don't have to ask your husband for money." Mrs Green and Mrs Potter
exit.
At Mr Green's request, Joe sees Uncle Charlie and Young Charlie to the
door of his office. The two Charlie's exit. FADE TO BLACK.

[sawakatoome]

Ah, Mrs Potter. What an audacious inclusion in the film! Every time I
watch 'Shadow of a Doubt', I find myself laughing at scenes when she
appears in them, with her flirtatious eyes and her broad smile;
essentially, I think she's a joke by Hitchcock, who's using the
blackest of black humour here.
I mean, the poor woman, she says, "Well, there's one good thing about
being a widow, isn't there? You don't have to ask your husband for
money", at which all present laugh heartily and we think to ourselves,
'oh my god, if only she realised what kind of a man she was speaking
this line to'.

[sawakatoome]

So, the third 'chapter' closes with us having seen Uncle Charlie's
disrespect for both people and institutions (and, earlier, Life itself)
becoming more public.

[s***@yahoo.co.uk]

FADE IN-
EXT - NEWTON'S HOUSE - DAY. Two men.
We see two men sitting in the front seat of a car and looking back over
their shoulders. "That's him", one of them says. We see their POV:
Uncle Charlie and Young Charlie getting out of a taxi. Obviously, the
two men must be detectives. One has a camera. They get out of the car
and walk up to the front door of the house.
Uncle Charlie and Young Charlie also walk up to the front door. Young
Charlie remarks that "they must be the questionnaire men".
Uncle Charlie doesn't want to see them and walks straight into the
house. He walks up the stairs, throwing a suspicious glance back near
the top. CUT TO-

INT - LIVING ROOM - DAY. Emma, Young Charlie, Jack, Saunders.
All four chat.
Emma brings Saunders out to the kitchen. There's an INSERT (up the
stairs) of Uncle Charlie looking down with suspicion. He moves back
towards his room. CUT TO-

INT - KITCHEN - DAY. Emma, Young Charlie, Jack, Saunders.
Jack wants to see the upstairs. Young Charlie brings him up and
Saunders follows. The three exit. CUT TO-

INT - UPSTAIRS - DAY.
Young Charlie and Jack are coming up. She tells him about her uncle and
that he's staying in her room. Jack wants to see her room.
Saunders enters the scene. Jack gets Young Charlie to knock on the
door, to prove that he's right, that Uncle Charlie isn't in there. She
does. When she gets no answer, she opens the door. The room's empty.
Saunders goes in, ostensibly to photograph the room. They close it on
him and chat. He intimates that maybe she only *thinks* her uncle is so
wonderful, which reminds her of the violence with which he grabbed her
wrist the previous day.
Emma calls from downstairs that Saunders should hurry down, as she's
"about to break the eggs". Jack spots Uncle Charlie about to enter
through the back door. He raises his voice to alert Saunders, who
immediately enters from Young Charlie's room. He pretends to ostensibly
take a photograph of the hall. Uncle Charlie notices the flash. He
chats for a moment, then demands (politely but firmly) that Saunders
hand over the film, saying that he doesn't like being photographed.
Saunders hands it over. Uncle Charlie goes into his room. The others go
downstairs. CUT TO-

[s***@yahoo.co.uk]

INT - DOWNSTAIRS - DAY. Emma, Young Charlie, Jack, Saunders.
Emma is waiting impatiently. Jack says they'll be back tomorrow. Jack
arranges for Charlie to show him around Santa Rosa.
Saunders remarks that he can photograph Emma making the cake then. To
which Emma responds, "Look, I want to help with the important work but
I can't go on making cakes."
They all walk out. CUT TO-

EXT - PORCH - DAY. Emma, Young Charlie, Jack, Saunders.
Emma and Young Charlie see the two men off. Jack and Saunders exit the
frame. We hear a car start up and drive away. DISSOLVE TO-

EXT - "GUNNER'S GRILL" DINER - NIGHT.
Through the window, we can see Young Charlie and Jack seated at a
table. They get up and come out. They're both laughing heartily.
DISSOLVE TO-

EXT - STREET - NIGHT. Young Charlie, Jack.
They bump into the same two friends Young Charlie had bumped into
earlier when she was with Uncle Charlie.
Young Charlie appears embarassed; she'd made the excuse to her friend,
Catherine, that she was feeling sick. The two couples part. Young
Charlie and Jack laugh to each other. DISSOLVE TO-

EXT - PARK - NIGHT. Young Charlie, Jack.
The scene opens with a CU of Young Charlie, looking distraught; Jack
has begun telling her his story and the real reason for his being in
Santa Rosa. The CAMERA pulls back to a more conventional shot of the
two as they argue. DISSOLVE TO-

[s***@yahoo.co.uk]

EXT - NEWTON'S HOUSE - NIGHT.
Jack's car pulls up. Jack and Young Charlie get out. Jack says good
night and gets back into his car. Young Charlie walks up to the front
door.
On the porch, she turns and looks in through the living room window.
She sees her mother, seated and Uncle Charlie, smoking and pacing.
Charlie goes to the back of the house, intending to go in via the back
door. She bumps into Joe and Herb. They talk for a moment, then Young
Charlie contines, exiting the scene.
Joe and Herb are walking and discussing some other macabre topic. For
the second time, Herb ends the scene with an hilarious-gruesome line
("For all you knew, you might as well have just been dead now"). CUT
TO-

INT - UPSTAIRS HALL - NIGHT.
Young Charlie enters via the back door. She's about to go into Anne's
room (where she's sleeping at the moment), thinks and goes into her own
room. CUT TO-

INT - YOUNG CHARLIE'S ROOM - NIGHT.
Young Charlie enters. She rummages in the bin and finds the newspaper
and takes it. She exits. CUT TO-

INT - UPSTAIRS HALL - NIGHT.
Young Charlie comes out of her own room and goes into Anne's. CUT TO-

INT - ANNE'S ROOM - NIGHT. Anne.
Young Charlie enters. The light is on, Anne is reading.
Young Charlie can't seem to find what she's looking for in the pieces
of newspaper. Anne prompts her to go to the library. Young Charlie says
that its not important but asks what time the library closes. Young
Charlie exits. CUT TO-

INT - UPSTAIRS HALL - NIGHT.
Young Charlie comes out of Anne's room and exits via the back door. CUT
TO-

EXT - NEWTONS' HOUSE - NIGHT. Young Charlie.
Young Charlie descends the stairs and begins walking away from the
house. Tiomkin's music is getting increasingly histrionic. DISSOLVE TO-

EXT - SANTA ROSA - NIGHT. Young Charlie.
Young Charlie walks briskly towards the CAMERA, the CAMERA pulling
back. She's in such a rush, she attempts to run across the road,
getting in trouble with the traffic warden.
Eventually, she gets to the library, where we can see the lights going
out one by one. Young Charlie goes up to the door, can't see anyone,
moves back, sees more lights being turned off and goes back to the
door. She knocks on the door. The librarian comes to the door and
motions to Young Charlie that its very late. Young Charlie pleads with
her to let her in. CUT TO-

INT - LIBRARY - NIGHT. Librarian.
The librarian eventually opens the door to Charlie. The librarian is
annoyed and surprised at Charlie's apparent lack of respect for the
rules. She gives Charlie just three minutes to get what she wants. The
librarian exits the scene.
Charlie peruses the newspaper section, finds one she wants and brings
it to a reading desk. She sits down and goes through the paper. She
stops; she's seen what she's looking for.
In a downward-PANNING POV SHOT, we get to read the entire article
(about the murder of a widow), as Tiomkin's music virtually screams the
"Merry Widow Waltz" at us.
When she's finished reading, we get a profile SHOT of her. She looks
down and we get a POV shot of her hand as she takes off her ring. She
checks the inscription (INSERT of the engraving) and sees that the
initials match the characters in the newspaper article. The POV shot
pulls back and up to a high angle as Charlie stands up and begins
exiting the library.
A superimposed image of the waltzing couples is DISSOLVED into the
image of Charlie. DISSOLVE TO-

[sawakatoome]

As an aside, I believe its when Charlie goes into Anne's room with the
pieces of newspaper that we hear, for the one and only time in the
film, her full first name ... when Anne addresses her as "Charlotte".

[sawakatoome]

I believe this may be the one and only time in the film that the
superimposition of the image of the waltzing couples occurs *without*
the presence of Uncle Charlie. Does this mean he's affecting her more
and more ... first, the transference of the melody, now the
transference of the image of the waltzers?

[s***@yahoo.co.uk]

EXT - NEWTON'S HOUSE - DAY. Uncle Charlie, Roger, Anne.
Roger and Anne are playing. Uncle Charlie is walking. Emma sticks her
head out a window and tells Uncle Charlie that Young Charlie is still
asleep. DISSOLVE TO-

ESTB SHOT- The Newtons' home at night.
DISSOLVE TO-

INT - LIVING ROOM - NIGHT. Uncle Charlie.
Emma enters via the stairs and tells Uncle Charlie that Young Charlie
is just getting up and that she feels that somehow, Young Charlie
needed that sleep. CUT TO-

INT - UPSTAIRS HALL - NIGHT. Young Charlie.
Young Charlie is looking down the stairs, obviously listening to Uncle
Charlie's and her mother's conversation. She exits via the back door.
CUT TO-

INT - KITCHEN - NIGHT. Emma.
Young Charlie enters and takes over the preparing of the dinner from
her mother.
Emma begins humming the "Merry Widow Waltz". Young Charlie gets upset
and asks her mother to promise never to hum that tune again.
Emma goes to the kitchen door and calls everybody down to get ready for
dinner. Anne enters. She asks her mother to not have her sit beside her
uncle and that Roger said he didn't mind swapping with her. Emma is
reticent but Young Charlie says she should let her.
Young Charlie makes the two go into the dining room. Anne and Emma exit
into the dining room. CUT TO-

[s***@yahoo.co.uk]

INT - DINING ROOM - NIGHT.
Emma and Anne enter from the kitchen. Charlie, Joe and Roger enter from
the living room. Joe begins reading the paper. Emma tells him to put it
away. Before he does, Charlie wants a quick read of it. CUT TO-

INT - KITCHEN - NIGHT. Young Charlie.
We can see her readying herself (putting on a brave face, etc.) before
entering the dining room. She moves to the living room (and we move
with her).

INT - LIVING ROOM - NIGHT. Family, Uncle Charlie.
Young Charlie claims she had nightmares about her uncle. She says she
dreamt he was on a train and that he was going somewhere and that that
thought somehow made her happy.
All through the meal this time, Young Charlie is walking around,
setting out or collecting the dishes. Uncle Charlie sends Roger into
the kitchen to get a bottle of wine. Roger and Anne exit the scene.
Young Charlie follows them, not before snidely saying to her uncle that
he need not play games with the newspaper tonight.
Young Charlie and Anne re-enter from the kitchen with more plates and
food for the main course. Roger re-enters carrying the wine.
Emma wonders what Charlie's going to talk about for his upcoming
speech. He asks what women do in this town and when he hears Emma say
they're busy with their homes, he delivers a speech right there and
then:
"Women keep busy in towns like this. The cities are full of widows,
their husbands dead, the husbands who spent their lives making fortunes
and then they die, they leave their money to their wives, their silly
wives. And what do the wives do, these useless women? You see them in
the hotels, the best hotels every day, by the thousands, drinking their
money, eating their money, losing their money at bridge ... smelling of
money, proud of their jewellery but of nothing else. Faded, fat, greedy
women."
When Young Charlie protests, "But they're alive, they're human beings",
Uncle Charlie (the screen now filled with his face, suddenly turned
towards us) tersely replies, "Are they?"
Soon after, Herbert arrives. ("He always comes when we're eating",
remarks Emma to Charlie.) He sits on the far side of Joe and they
continue their discussion of murder, which causes Young Charlie to get
up from the table, upset. This is accompanied by a high angle SHOT.
Young Charlie exits the house. The CAMERA immediately closes in on
Uncle Charlie, as he's realising more and more that his niece probably
knows.
Emma sends Roger to bring Young Charlie back but Uncle Charlie says no,
he'll get her. He exits. DISSOLVE TO-

[s***@yahoo.co.uk]

EXT - STREET - NIGHT. Uncle Charlie, Young Charlie.
TRAVELLING SHOT of Uncle Charlie, from behind, closely following Young
Charlie, as they walk away. They talk momentarily with the traffic
warden.
They leave him and continue walking. Young Charlie breaks away for a
second and Uncle Charlie ushers her into a cocktail bar, the "'Til Two"
bar. CUT TO-

INT - "'TIL TWO" BAR - NIGHT. Uncle Charlie, Young Charlie.
Uncle Charlie sits Young Charlie on a seat in a booth. He sits opposite
her. The waitress, Louise Finch, comes over. She knows Charlie. It
turns out Louise was in Charlie's class in school.
Louise, by her manner and voice, seems very downbeat, bored and
depressed, especially compared to Young Charlie at the beginning of the
film. Uncle Charlie orders a ginger ale for Young Charlie and a double
brandy for himself.
Young Charlie is lit very low-key in this scene, whereas Uncle Charlie
has extremes of bright light and demonic dark causing his face to look
quite diabolical. He tries to calm her by telling her innocent stories
of his travels. All the while she can't help but see that he's
practically strangling a paper napkin.
She takes out the ring and puts it in the middle of the table. Louise
returns. Placing their drinks on the table, she can't help but marvel
at the ring. Uncle Charlie downs the brandy and orders another. The
waitress leaves. Young Charlie makes to go but Uncle Charlie orders her
to sit down.
"You think you know something, don't you? You think you're the clever
little girl who knows something. There's so much you don't know, so
much. What do you know, really? You're just an ordinary little girl, in
an ordinary little town ... You go through your ordinary little day and
at night, you sleep your untroubled ordinary little sleep filled with
peaceful stupid dreams ... and I brought you nightmares. Or did I? Or
was it a silly inexpert little lie? You live in a dream. You're a
sleepwalker, blind. How do you know what the world is like? Do you know
that the world is a foul sty? Do you know that if you rip the fronts
off houses, you find swine? The world's a hell, what does it matter
what happens in it? Wake up, Charlie, use your wits. Learn something."
Young Charlie finally leaves. Louise comes back with the brandy. Uncle
Charlie downs it in one. He follows his niece. CUT TO-

[s***@yahoo.co.uk]

INT - "'TIL TWO" BAR - NIGHT. Uncle Charlie, Young Charlie.
There are a bunch of military-type men going in, as Young Charlie, then
Uncle Charlie, come out. DISSOLVE TO-

EXT - NEWTON'S HOUSE - NIGHT. Uncle Charlie, Young Charlie.
The two are walking along. He asks her to help him, to give him a few
days headstart. Otherwise, if Emma found out, it'd kill her. Young
Charlie agrees.
Uncle Charlie exits the scene by going in through the front door ahead
of Young Charlie. The CAMERA follows her as she begins to make her
entrance into the house. She stops before she gets to the door. She
sees Joe giving Anne a 'piggy-back' up the stairs. SHOT of Young
Charlie, as we see her receive the full import of this playful,
innocent little scene. She turns towards the CAMERA, tears in her eyes
and looking up to heaven. FADE TO BLACK.

[sawakatoome]

The fourth 'chapter' ends and its been a busy chapter indeed; we learn
the police are on Uncle Charlie's tail, one gets into Young Charlie's
confidence and she proceeds to learn about her uncle. Since then, her
attitude towards the man has changed so much ... so much so, in fact,
that the pair had an intense scene about it together. Life has changed
irreversibly for Young Charlie.

[s***@yahoo.co.uk]

FADE IN-
EXT - CHURCH - DAY.
The congregation has obviously just come out from the church after
service.
We see Anne and Roger play-fighting. We can see that Jack and Saunders
are here. They call Anne over ... they say they want to speak to Young
Charlie. Anne goes to get her.
She soon returns with Charlie and her friend, Catherine. Jack,
Catherine and Anne walk ahead. Saunders and Charlie are alone to talk
and conspire.
We learn that Saunders, in that earlier scene, gave Uncle Charlie the
wrong film from his camera and that they've since checked out his
photograph and, further, that he is indeed one of the two suspects
they're after.
Jack enters the frame (having left Catherine and Anne, the latter we
hear reciting the superstition, 'Step on a crack, you'll break your
mother's back').
Eventually, we get a SHOT that has Catherine and Anne in the foreground
and includes Jack, Charlie and Saunders a short ways back. Saunders
calls Anne and the two turn around, making it a group of five again. As
Saunders mentions that he asks Anne questions and she answers them but
he's never sure what's true and what she's making up, we get a quick
INSERT of Young Charlie's face, looking slightly guilty; she gets the
reference he's really making to herself.
The scene ends with the three girls walking away from the two
detectives. CUT TO-

EXT - NEWTON'S HOUSE - DAY. Young Charlie, Anne, Uncle Charlie.
Anne walks straight into the house. Uncle Charlie is sitting on the
porch, relaxing. When Young Charlie walks up the garden path, he taunts
her with cynical comments about the church and religion. This sequence
is not only shot in shot-/reverse shot- format but Young Charlie's POV
SHOTS (of Uncle Charlie standing on the porch) are travelling forward.
When she gets close to Uncle Charlie, Herb and Joe walk by, discussing
the Merry Widow Murderer case. It turns out they caught the suspect in
the East, after he ran into the propeller of an aeroplane, cutting him
'to shreds'. Apparently, after he was identified (by his clothes), the
case was closed. They continue walking, walking out of the scene.
Uncle Charlie is elated. He strides into the house, the CAMERA
following him.

INT - STAIRS - DAY. Uncle Charlie.
He continues striding up the stairs, then stops, thinks, turns. We see,
in a POV SHOT from the top of the stairs, Young Charlie standing in the
frame of the doorway. Reaction SHOT of Uncle Charlie, looking worried
as he turns towards his room. FADE TO BLACK.

[sawakatoome]

Though Uncle Charlie ended the fourth 'chapter' saying he'd go away, he
seems to languish through this relatively short fifth chapter as if he
hadn't a care in the world; he even taunts Young Charlie about her life
and religion.
When he learns that the police are off his back, everything seems fine
for him again ... except for one thing, Young Charlie.

[sawakatoome]

That little sequence, where Young Charlie is walking up the garden path
towards Uncle Charlie, he waiting on the porch ... strikes me as being
very similar to the one in 'Psycho', where Lila approaches the Bates
house and we get the same shot-/reverse shot- with, again, only one set
of POV shots (Lila's, of the house) 'travelling'.

[s***@yahoo.co.uk]

FADE IN-
INT - YOUNG CHARLIE'S ROOM - DAY. Uncle Charlie.
A striking tilted angle shot of Uncle Charlie, as he paces back and
forth. Even the music sounds angry. Charlie looks out the window and
sees Young Charlie standing at the roadside. The shot of Uncle Charlie
PANS down and we see that his hand has dropped a cigar he was holding,
both his hands coming together to form what looks like a strangling
grip.
Jack pulls up in his car, gets out and the two hurry off out of the
frame (of Uncle Charlie's POV SHOT). CUT TO-

EXT - GARAGE - DAY. Young Charlie, Jack.
They chat, Young Charlie learns that the police believe the case to be
closed. They enter the garage. CUT TO-

INT - GARAGE - DAY. Young Charlie, Jack.
They chat mostly about love. In fact, its in this scene that Jack
professes his love for Young Charlie for the first time.
While they're joking together, the door suddenly slams shut, darkening
the scene considerably. They force open the door and make it out. CUT
TO-

EXT - GARAGE - DAY.
They see Uncle Charlie walking across the lawn in a direction away from
them. They go over to him. CUT TO-

EXT - NEWTON'S HOUSE - DAY. Young Charlie, Jack, Uncle Charlie.
They seem to have a jovial conversation, Uncle Charlie says his
goodbyes to Jack and walks back to the house porch. Young Charlie says
her goodbyes, Jack gets in his car, begins to drive away and Young
Charlie calls out to him with fear, "Jack!" He doesn't hear (the music
wells up) and Young Charlie is left, suddenly realising what she's done
and that her uncle is looking at her from the porch. She begins walking
back to the front door, turns and goes towards the back entrance
instead. FADE TO BLACK.

[sawakatoome]

The sixth 'chapter' shows us how desperate and indeed mad Uncle Charlie
is now, realising that only Young Charlie stands between him and
'peace'. She herself, we can see, is now more fearful than ever.

[s***@yahoo.co.uk]

FADE IN-
EXT - BACK STAIRS - DAY. Young Charlie.
Young Charlie is shouting to her mother (who's in the kitchen), asking
what she needs from the shop. She starts walking down the stairs and
almost immediately falls. A SHOT occurs that shows her fall and, in a
pull back, also shows Uncle Charlie as he observes what's happened.
(Obviously, he must have arranged for this.)
Her fall wasn't too serious though, although we see (in an INSERT) that
she understands it could have been much worse. CUT TO-

INT - UPSTAIRS HALL - DAY. Uncle Charlie.
Uncle Charlie is looking out the back entrance at the scene. DISSOLVE
TO-

EXT - BACK STAIRS - NIGHT. Young Charlie.
In a very dark scene, Young Charlie is checking the back stairs out
with a torch. She hears a noise, turns off the torch and looks up. She
sees Uncle Charlie at the top of the stairs and goes up to him.
This scene is so dark, that there is a window behind him (with light
coming through) and a small light behind her, just enough so that we
can clearly make out their silhouettes.
The Young Charlie in this scene is very different to the Young Charlie
that started the film. She's not evil herself, of course, but she seems
to have a deep understanding of it now.
She ends the scene with the lines, "Go away or I'll kill you myself.
See? That's the way I feel about you now." FADE TO BLACK.

[sawakatoome]

What a comeback. In this seventh 'chapter', Uncle Charlie has shown his
hand, he's attempted to kill his niece. She's survived the attempt and
she's not going to take it lying down; realising the old Young Charlie
(!?) would be no match for her diabolical uncle, she hits back with a
mortal threat of her own.

[s***@yahoo.co.uk]

FADE IN-
EXT - GARAGE - NIGHT.
Uncle Charlie comes out from the garage. In an INSERT SHOT, we can see
that the inside of the garage is full of smoke; the car's engine is
running. Uncle Charlie forces the door shut and walks out of the frame.
CUT TO-

EXT - NEWTON'S HOUSE - NIGHT. Uncle Charlie.
Uncle Charlie walks through the garden and into the house. CUT TO-

INT - LIVING ROOM - NIGHT. Emma, Joe.
Emma is giving Joe a perfumed handkerchief ("just the ... fresh smell
of lavender"). Uncle Charlie enters the scene via the stairs. He looks
back up the stairs and sees Young Charlie coming down.
Like before, most of the family are talking over each other in this
scene. Young Charlie wants to travel to the womens' club event with her
mother and pleads with her. She exits the scene (to get the car). CUT
TO-

EXT - NEWTON'S HOUSE - NIGHT. Young Charlie.
Young Charlie walks over to the garage. CUT TO-

EXT - GARAGE - NIGHT. Young Charlie.
Young Charlie makes her way into the garage and goes to the car's
ignition (to turn it off). She finds that the key is missing. SHOT of
the door, closing, apparently, by itself. Charlie runs to the door and
attempts to open it but fails. CUT TO-

INT - LIVING ROOM - NIGHT. Emma, Roger, Anne.
The shadows of the bars (of the stairs' banister) on the wall again.
Uncle Charlie descends the stairs.
He closes the window and turns up the radio. Suddenly, Herb appears at
the front door, saying he hears someone caught in the garage. Joe comes
down the stairs quickly and they all exit the house, running. CUT TO-

EXT - HOUSE - NIGHT. Uncle Charlie, Joe, Emma, Roger, Anne, Herbert.
They continue running over to the garage. CUT TO-

EXT - GARAGE - NIGHT. Uncle Charlie, Joe, Emma, Roger, Anne, Herbert.
Uncle Charlie attempts to force the door open. In an INSERT, we see him
kick a piece of wood, that was jamming it shut, from the base. He opens
the door. Young Charlie falls out, gasping. Uncle Charlie goes in. CUT
TO-

INT - GARAGE - NIGHT. Uncle Charlie.
Uncle Charlie puts the key into the ignition and switches off the
engine. He exits. CUT TO-

EXT - GARAGE - NIGHT. Uncle Charlie, Newton family, Herbert.
They pull Charlie away. CUT TO-

EXT - NEWTON'S HOUSE - NIGHT. Uncle Charlie, Newton family, Herbert.
Uncle Charlie is bending over Young Charlie, trying to revive her. She
comes to, sees him and says quietly but threateningly, "Go away, go
away". Uncle Charlie backs away and lets Emma do the reviving instead.
Joe wants to call the lecture off. Uncle Charlie agrees but Young
Charlie tells them they have to go, that she can wait at home and get
things ready for the party.
They all, minus Young Charlie, eventually go, via the Newton's car.
Young Charlie rushes back to the house. DISSOLVE TO-

[s***@yahoo.co.uk]

INT - STAIRS - NIGHT. Young Charlie.
Through the bars of the stairs, we can see Young Charlie as she
telephones some residence, looking for Jack. She gets a negative
response. DISSOLVE TO-

same scene, different angle, further up the stairs
Young Charlie is trying another residence. Again, no luck. DISSOLVE TO-

same scene, different angle, further up the stairs
Again, Young Charlie attempts to contact Jack and again, to no avail.
This time, she walks towards the front door, turns and looks up in the
direction of the CAMERA. She comes up the stairs and goes into her
room. (Bars shadows on her door and the wall again.) She searches for
something.
Eventually, we see, from the top of the stairs, that the rest of the
Newton family, along with guests, are coming in the front door. In
another shot, we can that Young Charlie has found what she was looking
for -- the ring. CUT TO-

INT - LIVING ROOM - NIGHT. Uncle Charlie, Emma, guests.
Mrs Potter is still making eyes at Uncle Charlie, who's pouring the
champagne.
He begins to propose a toast, looks up and sees Young Charlie coming
down the stairs. In a forward-tracking POV shot, we can clearly see the
ring on her finger. His reaction SHOT shows how much that affected him.
("Charlie, you're just in time. I hate to break the news but tomorrow,
I must leave Santa Rosa. Not forever, not forever.")
Emma is distraught, to say the least. She begins a heart-breakingly
touching speech on how good it was to have her brother back. As she
finishes it, the CAMERA tracks forward on a medium SHOT of Young
Charlie, looking forlorn. FADE TO BLACK.

[sawakatoome]

The penultimate 'chapter' effectively resolves Young Charlie's story.
Everything comes to a head here; Uncle Charlie makes another attempt on
her life and she puts paid to any more attempts by running him out of
town. A job well done ... only its not over yet ...

[sawakatoome]

Concerning Young Charlie's new-found ruthlessness, in his book ('The
Alfred Hitchcock Story', pp.86-7), Ken Mogg quotes Hitchcock's saying
to critic Charles Thomas Samuels, "She [Young Charlie] is ruthless. She
comes down those stairs wearing that ring and thus tells him [Uncle
Charlie] that he must leave of be executed."

[s***@yahoo.co.uk]

FADE IN-
EXT - TRAIN STATION - DAY. Uncle Charlie, locals.
The locals and the Newton family are seeing Uncle Charlie off. He
invites all three children to say goodbye to him on the train. He
touchingly says goodbye to his sister (INSERT SHOT of Young Charlie
looking on, dressed in black) and Joe and gets on board. CUT TO-

INT - TRAIN CAR - DAY. Roger, Anne, Young Charlie, Uncle Charlie.
Roger and Anne are playing on seats, Young Charlie trying to keep them
in check. In the same SHOT, we can see Uncle Charlie coming from down a
corridor. He waves to someone. POV, and we see its Mrs Potter,
travelling on the same train and smiling broadly.
Roger and Anne disembark. Young Charlie begins to but Uncle Charlie
keeps her back. The train starts to move, Uncle Charlie keeps a firm
grip on his niece and moves her towards a door. He opens the door and
strengthens his grip on Young Charlie. A SHOT PANS down the length of
their bodies as they turn, effectively swapping sides.
Excitement builds as he waits for the train to get faster and, all of a
sudden, Young Charlie somehow gets the better of her uncle. He spins
around and out (INSERT SHOT of outside the train and Uncle Charlie
falling out and onto the path of an oncoming train). The image of the
waltzing couples is superimposed over. DISSOLVE TO-

EXT - SANTA ROSA - DAY.
A funeral procession rounding a corner. DISSOLVE TO-

ESTB SHOT- CHURCH - DAY.
DISSOLVE TO-

EXT - CHURCH - DAY. Young Charlie, Jack.
We can hear the reverend's sermon inside the church, as he speaks
glowingly of the son that Santa Rosa has lost. Young Charlie speaks
truer words of the real Uncle Charlie. She obviously has a lot of
sympathy for the man and feels that he was always in pain in this
world. She has so much sympathy for all concerned in fact, that she's
going to keep the secret of 'Uncle Charlie the widow murderer' to
herself. DISSOLVE TO-

SHOT of the church. "The End - A Universal Picture" appears over it.
FADE TO BLACK.
Credits appear the same shot of the church again.

[sawakatoome]

Uncle Charlie could have gotten clean away (his niece had promised not
to tell about him, knowing how much it would affect her mother) but his
very nature drives him to make yet another, this time desperate,
attempt to kill her. We can see her killing of him (however accidental)
was the best possible outcome of the story, especially as she realises
Uncle Charlie not only was a murderer but that, too, he could never
ever have been truly happy in this world.