"MARY POPPINS" (1964)

who 19 playing a mouth organ. CAMERA PULLS BACK, ravealing that Bert is nerforming upon an extraordinary ensemble of Cymbals, whistles, tweeters, bulbhorns and drums in addition to the mouth organ, most of which are strapped ta his person, In his hands is 2 amaiil battered Prench concertina, cn his toes are small, tinkling belis. Despite the encumbrances, he moves gracefully, and CAMERA PANS WITH HIN ag he performs 2 dahce step or two calculated to catch the interest of the padaersby. :

Ne 18 attracting 4 fairitsh crowd from the neighbeorhsed children, a tradesman or two, and some atroliers and shoppers, A POLICEMAN drifts onte the outer rim of the Spectators,

as he gestures ta the gathering crowd, inviting them closer.

CAMERA MOVES IN CLOSER to held on Bert «

MED, LOSS ON POLICEMAN 6

who Ls surrounded by children, and a few grownups, fia reacta to Sert‘s song with a dour amile, 35 the onlookers laugh.

(singing o.s.) The constable's responstable! Now - low does that sound?

' RED, SHOT - BERT T

He joima in the laughter. CAMERA MOVES WITH him as he appreaches MISS LARK.

il

Prod, 2162 3 (Lat Rev. 5/14/6353

ah, Mrs. Corry!

RENT (singing o.s.) A atory for you!

CAMERA POLLS BACK to reveal two enermous DAUGETERS, ranged on e@ither side ef Mra, Corry,

(singing) Dear Milas Persimmm, I --

A tall, vinegar-faced spinater leans Forward, listening, Jhe Vrles €G conceal her pleasure at being singled out by Bert,

{ CONTINUED)

Le

LT

Prod. 2152 i (lst Rew. 5/14/63)

CONTIOVED 12

He pauses, locks around and UP at the sky, his face gone wandering and gentis.

BER? (singing} Wind's in she east - There's a mist comin' in - Like somethin! 18 brewin! and ‘bout to begin --

MED, CLOSE - SPECTATORS ° 14

as they react wonderingly to the SOUND of the wind, <A Scatter of leaves and cherry blossoms gees THROUGH SCEXE.

CLOSE CN 3ERT i5

locking at Bert in puztlement.

aa he comes out of his reverie, and the wind dies away. SET {ro his crowd }

Serzry! Where was I?

CAMERA MOYES BACK TO WIDTR ANGLE, a5 Bert whacks into a rousing, headlong piecs of music, soneluding bis performance with a HINGING cymbal smash. ‘There is a ameatter of AFPLAUGSE, and Bert removes nis cap, shakes Lt cut deftly and goes among the ¢rowd.

Prod. 2252

ieee Bl

(lat Rev, 5/14/63 18 MED, CLOSE - BERT al

as he begins to move among the srowi.

18-4 WIDER ANGLE = SPECTATORS 18-

45 iney atart to LEAVE the SCEHE, 18-5 MF. CLOSE - SEAT AND MRS. CORRY o- a3 She dropa 4 few soins inte his aap.

CAMERA PULLS BACK with Bert as he moves among the remaining spectators. A GENTLEMAN drops a coin ints tha cap.

The grin on Bert's face dies away quickly, as he discovers he 1s inadvertently holding his Cap out to the Policeman, who regards him sternly,

Sert moves away, eliciting a final coin from Miss Lark,

Ag she goes COT, Bert next turns toward CAMERA, holding out the cap with the coins in it. Me lowers the cap, Saliing --

a8 he pockets the ¢coing, puts she gap back on hia head. -

1d-n

ig

19-a

Frod. 22462 & {lst Hey, 2/14/83}

SHOCTING toward Cherry Trea Lane, across from the scuare where Bert is Standing,

CAMERA MOVES WITH Bert, 25 he starts scroas <he Street, SHOOTING from the REAR, as he walks toward Chersy Tres Lene. The cymbals CLANG 4 little, and the drums SUMP as he walks.

WIDER AHULS - BENT 19 23 he stops in frent of Admiral Boom's house.

CAMEAA MOVES PagT BERT, FANNING OUP on Admire] Boom's house, The Righer it goes, the more Hautical tf becomes - with a dreadnought superstructure for 4 roof, sigmal flags in profusion, funnels tnsatead a? chitney3s, a crow's nest, and

@ Cannon of gleaming bresag, Poking its snout over the Parapet.

fo.s.} Likes an 'ouse ship-shape, ‘s does, Ship-shape and Bristel fashion.

CAMERA MOVES IN CLOSFR to tha roof-ship, as BIHWACLE, a Balty-looking figure, ENTEN3 SCENE. He is a miner naval Pating, dressed in garb that ¢ombines regulation attire With garments of a faintly pireatical cast. Re takes out a bodun's pipe.

CLOSER - THE RCOP-SHLF 19-4

a3 Binnacle standa st attention, and FIFES the Admtral aboard. ADMIRAL 30CM comes majesticaliy INTO SCENE, and look3 ont over the city with an air of Eroprietorship. Ne produces a golid-enerusted watch on a chain, and holda af to Ris sar, He BANGS it impatiently on the railing to set 10 going,

( COMPINUED)

199A

ao

al

ae

Prod. 2142 T (lst Rey. 5/4/63)

CORTINUSD 9

Three minutes, six seconds «+ TLOSE ON EBERT ao aa he turns to the audience,

BERT

Wot ‘e's famous for is punctuality. Te ‘Olé werld takes its time from Greenwich, but Greenwich, they say, takes its time from Admiral] Boon.

(locks up at roor-

deck and calis} Wet cheer, Admiral!

and Dinnscle on the rogof-deck, The Admital leans over the cannon and calls dow to Bert,

ALEIIRAL Boon Good afternoon to you, young man. Where ara you bound?

and Binnacle,

ea—A

a4

4A

eo

Prod. 2162 =| (lst Rev. 5/14/63}

BERT (leok’ng up at Admiral) Thank Fou, sim. fT'll keep an «ya sionmed., Hert turns, winks at CAMERA and MOVES OFF.

atanding on the rocf=deck on either side of the cannon.

tinnacle has a glowing punner’s match poised to teuckh to

the cannon. The Admiral locks at his watch again, and holds up 4 Dre-emptorr han.

A MOVING SHOT 25

of Bert os he walks down Cherry Tree Lane, As he approaches Number Seventeen, he turns to audience and indicates the houge,

OFF 3CERE, from inside the house, faintly comes the SOOND of SHOUTING, There is the SLAM of a door, a CRASH of dishes, and the tlangour of pots and pans betng SLAMMED about.

Prod. 2162 a {Lat Rev, 514/635

CONTINUED 5

Taere 18 another ao.3. series of CRASHES, Bert raises his eyebrows, as he- says +0 audience...

aFPor ‘Ulloa, 'Tlls, 'Ullot sAdmirel's right. ?=avy weather at Number

seVenteen and no mistake.

CAMCAA CONTINUES PAST Best toward the hous#, and the SHOCTING TNCREASES in volume. .

Don't teil mea wot to dal I dontt fave to take none of your sorce!

CAMERA MOVES UF CLOSER te front door of the Banks’ house, past the number "17" an the door post, ag we -

and advance toward the foot of the stairs in an erratic sevies of movementa., (They have been the vecal adversaries. |

( CONTLYTED)

ae

oF

25-40

Prod. 2162 Fo chav Aay, S/14/83]

CONTINUED é

- MAS. BRILL - IT never Liked 'er from the moment ehe set Foot in that doer:

ELLEN ; Sut ‘oo zeta stuck with the children With no Nanny in the 'cuse? Me - that's ‘og! —

There is the SOUND of a door slam fram upstairs, and Mrs. Brill and Eilen lock up te see --

THEIR VIEW 2

of KATIE NAMWA, coming down the Stairs, arim and shunderous. A Tommidable, large-podied woman with a disagreeable expression,

ANCTHEA ANGLE 28 ou af the bottom of, the staing --

Katie Nanna sweepa the protesting Ellen aside ilke a bit or chaff,

Ellen scuttles to the front @o0r and stands in frent of it.

(COMPINUED}

Ul Fi

CONTINUSD

Mrs.

Briii

ed, 2162 =:

(2nd Rev. 6/LLA.

cau

an

RaTI= MANNA {fanoring Mrs. Brill} stand away from that door, my girl:

Wot are we going +9 tell the Mzeater about the cnildren?

EATI= NANNA It's nw concern of mine! Those little heasts have run away from me for the last tine!

; _ ELLE But they must be someplace? Ind FOU loGgk round the Zoo in the Ferk? You know ‘ow Jane and Michael is -- (atops, Stricken by a sudden thought} Cog, You doen't think the lion could ‘ave got at them, do you? Tou koow ‘ow fond they waa of "angin! arcund the cage? _

KATIT= NANHA (thrusting her aside} - I've said my aay, and that's all I'll say! LC'ye done with this house!

Slams back into the tltcnen, ELLEN Ho, Katie Nanna! IF won't be able toa face the Mester and Mis4aus!

( CONTINUED)

HS = a

40-3

ho-c

rod. Slee 12-4 fend Hey, 6/26/63} 1T THE Door lous Katie Nanna struggles .to open the front door with Ellen clinging to her sleeve, From o.s. comes the SOUND of -- MAS. BARKS (atnging o,9.} Cast aff the shackles of yeatermtiay - Showldes to shoulder inte the fray -= 7 ELLEN

Mrs. Banks! She'aq |! ome! STREST EXTERICA LF Mrs. Banks, striding amartly up the front walk to her door, in attractive woman, with a bread Fibben across her front. It spells forth "VOTES POR WOMEN.”

MAS. BaXeS (singing)

(ur daushtera' daughters

WLlL aders wus

And they']1 sing

In grateful chorus,

Well done, sister suffragette! She ENTERS the partially OFEHED deer -~ INTORICH HALL 40-6

aa she comea IN, MRS. Banks (heartily }

Goad evening, Katie Nanna! feod evening, Ellen!

Srening, Mum,

Mrs. Banks - FT would like a word

with you -- ( COMTINUED |

Prod, 2162

40-0 CONTINUED

{2nd Rev, 6/26/53}

During the course of the SONG, feck returna to doorwar. Mrs. Banks places ribbons on Mrs, Brill, Ellen and Katia Nanna.

SONG:

. KATIE WANNA Bars. Hanks -- WAS. BANKS (singing)

Cast off the shackles of yester¢ay Shoulder to showlder inte the fray

Cur daughters! daughters willl adore ua And they'll sing in feateful chorus ‘Well done!, sister suffragette!!

Prom Fengiogten to Sllingsgate One Nears the restless cries From ev'ry corner of the rand Womarnkind. arise!

{ CONTINUED }

Prod. 2162 53 (lst Rev. 6/26/63)

MAS, BANKS (cont'd) (singing) Political equality and equal rights with men Take heart, for Mra, Pankhurst hes Been clapped in irona again! No More the meek and mild Subserviants, we We're fighting for our rights, militantly,..

{spoken} . Neves you fear! KATIE WANHA If I may nave 2 word, Madam.., MAS. BANES ( singing}

So - cass off the shackles of yesterday Shoulder to snoulder into the trey Our daughters! daughters will adore us 4nd they'll sing tn grateful chorus: ‘Well dene! Well done! Well done, sister -- ' (comnizant at last, Katia Nanng 1s trying tO engase her attention} What is it, Satie Nanna?

MAS, BANKS In the nursery. surely?

Careless of you! Toeasn't thts make the third time this week?

( CONTINUED)

4t

rrod, 2162 . iu {end Rev, 6/24/62" CCNTINUED - 3 wale

MAS, FAN (panicking) . Grecilous, Katie Nanna, you're not leaving! What will Mr, Banks say? He's going to be cross as it is, ta come home and find the children misstnog! {hurriedly removes her “VOTES POR wOREK" Tibben, and plucks theo -: from the bosoms of the athers } Eiilen - put these away, You know how the Cause infuristes Mr. Sanks!

Yes, Mum,

CAMERA FANS ELLEN AWAY from the Eroup to the hall closet, fa she opens it to put the ribbons tnside, more colored “ibbons are HEVEALED hanging from within. ‘They indicate the extent of Mrs. Banks! "sauses",

OWSERT 41

of the bali clesk. An ominous stretching and cracking SCUMD somes from within it. A shreik from Ellen O.4g,

|

a4

ho

Sred., 2162 Lies {and Rev, 6/26/631

GHOUF SHOT IN THE HALL 41-4 (rumns) Posts, everyone! ADMIAAL S00M'S ROOFTOP — . be

Admiral Room is poised, with upfiung hand, ready to give the order to fire off the cannon, Binnacie is ready to apply the gumner’s maten ta the foucn-hole,

{N THE FALL 43

Mrs. Banks, Ellen and Mrs, Beil] fan OUT Lnte the front room. Katie Nanna remains immobile in the hall, helding her suitcase, Watching grimly,

IN THE LIVING ROOM ho

Ellen runa OUT of SCENE, CAMERA LEFT. Mrs. Brill rons oof OF SCENE, CAMERA RIGHT. Mra. Banks turna to lert Just inside the doorway arch, and seizes Statue on pedestal - Just a8 the 9.53. BOOM from Admiral Boom's gun SOUNDS , Pictures on the wall, the Suatue, scarf on the piano - vase On the Piano JUMP, The piano beging to MOVE OUT OF SCENE vO GAMERA LEFT. The toppled vase rolls off pians lid as it does, and Mrs, Banks catches i+ with practised dexterity,

SLLEW 4s

as the corner ching cabinet. The China 13 rochwing from

fhe SOUND of the cannon in the PREVIOUS SCENE, She steadies them. Piano ROLLS IA from HIGHT. Ellen shoves it tack oot OF SCENE with her foot, Wall pictures are awry .

MRS. BRILL . Le

leaniamy against 2 bibelet cabinet in the other cernar of the room. steadying it, one arm around @ gqldvish bowl on 2 Pedestal. A vase topples off ons end of the cabinet, and She catches it neatly with the toe of her shoe.

MAS. BANKS _ AT

without loeking behind, replaces her vase on the plano. @3 it ROLLS BACK INTO SCEHE.

4a

0-4

4g

th ry}

Prod, 2162 iS (2nd Rev. 6/26 /€

7LLEN 43

bangs the wall with ber fiat, and all the awry pictures retum 6 their former position.

MAS, SANES uaag

atraightens the picture on her wall, casually. Then goes into the hall to resume her CGOnVETSation wlth Katie Nanna. .

SETSRIOR - CHERRY TREE LANE a)

MR. BANES. a fine-locking mean with a Pleasant senge of assurance, comes through the Park mates, approaching hia heme.

He wears a small rose in his buttonhole, a bowler, am. aah

a tightly furled umbralla in the Classic manner, He 14 tn exvremely good spirits, light-footing it across the street,

and whistling. Ha Looks Up bo Admiral Boom'sa reeortap o.s, ai

MR, BAKES {calling} ‘Bit early tonight, aren't Fou, Admiral Foom? ADMIRAL BOOM I

locicing DOWN from a position next to bis amcicing cannon, Eimnnacle is swabbing it out,

rates are moving - - I The British pound is the adeiratyon of the world. ; GLOSE GN ADMOIAAL BOON 52

AInAL Bo acd man! ap "

a3

Lay Lh

at

s9-G2

Prod, 21482 = 0 flat fev, 6/3/63}

MA. BANKS How do things look from where you Stand?

ROMIRAL BOOM

Slt chancey, Itd gay.

(raises a finger} . Wind's comin’ tp, and the glesa is a falling: Don's: like the Iook of Lt!

MED, CLOSE - MH. BANKS 2a aa he continues on his way.

Good! Geed!t Good! — =__=

MED, CLOSE - ADNTAAL Boon BA

a3 he leana ovar the Side of the roof-deck and calls after Mr. Banka.

WIDER ANGLE + MR. BANS . ST

As he approaches his house, whistling merrily, he sees « nangom cab waiting at the curb, He turns up the front walk and sees Katie Nanna EMERGING from the house, CAMERA PANS her down the front walk, where she encounters Mr. Banks.

He lifts his hat polisely and reaches for her bags.

MR, BANKS These mst be quite heavy, Katis Nanna. Permit me:

She gets INFO the cah, and Mr, Banks places the luggags in the vehicle with her. He lifts his hat again as the cad drives OFF.

MET. SHOT - MA. BANKS et

Whistling again, he heads up the walk to the front door, Concludes his whistling passage.

OMTSTED . 59-6:

ely

tal i]

on EZ

Pred. 2152 7

TNTEAIOS Soe

of the front hall, as Zilen aneng the door so Bomit Me. Banks. de semoves his powler and gloves,

I feel a surge of deep satisfaction

Much 23 4 king astride his noble steed (ands une bowler, cloves and umbrella to Hiten}

Thank you. (singing)

When I return from daily strife

To hearth and wife (he gives Mrs. Banks, who comes IN, a fleeting kisa}

How pleasant is tne life I lead - Ellen #oes OUT of stene,

M>. Banks strolls OUT of SCENE. inte living room, Mrs. Banks hurrying after hin.

ENT, LIVING Foc 65-6! a5 the Banks come Ty.

SHS, BANKS George, vhey're missing!

MR. SANES

[nat quite hearing,

he is gavoring the

words af his song) Splendid! Splendid!

(singing | Te's errand ta te an Englishman in nineteen-ten, Ring Etward's an the tarone, it's she Awe of men --

(CCHTINUED}

-

Mr. Banks leans Casually on She mantel, after taking hia

glass of sherry from a silver tray «-

i'm the lord of my castle The sovereign, the liege I trest oy Subjects, -- (Servanta, wife, children aisn a firm but gentle mand) Nobiesse oblige! --

He slopes into Ais #asy chair -

And so, I'll pat them on the head

And send them off to bed th, Lordly ia the life I lead!

Mr. Fanks turns to greet his children, not present.

' WR, BANKS (agitated) The children! Michaelt Jane!

‘They are - of course -

aiiired! Where are oy children?

MAS. BANKS

George - the children aren't nere,

MR. BANKS

Prepostercus! Of course they're here!

Where @#¢l1se would they be?

Mr, Hanks leaps out of his chair, CANERA PANS HIM to the

telephone on the wall in the hall --

MAS. BAnKS They simpiy haven't returned! Nanne looked evemehere!

Katia

Atk

-

59-80 ANOTHER ANGLE 6.-8

on tne hali. Mr. Banks cranks the hardls determinedly.

Th

re is

MF. BANES

Kindly do net attempt to cloud the jasue with facts. Gne fact - and one alone - pemains crystal clear, Katie Nanna has faltered at her post - ane nas let the family down, and I shail bring her. te beck without further --

(pauses, the wind

BOing aut of his satis} Oh = she's gone, nNasn't she?

@ MING at the frans deer, Mrs. Hanks goes -

Mrs. Banka opens the door to reveal POLITE CONSTABLE JOMES , a large, hulking man.

- MA. BANKS He 1a? (Ante prone) Thank Fou. Thank you. Splendid response, Good night.

69-46

Prod. 2162 . 20 (Ist Rev. 6/13/83)

MA. BaAnKS Come in, Constable. Come in.

From behind him, each flinging to a #iant hand, the Constable Craws forth two children, JANE BANAS, aged elght, and MOCHAEL BANKS, aged six. Michael carries a Battered kite.

She moves toward them, but Mr. Banks Palses a hand.

MA, BANES dinkfred: No emotionalism, please!

Jane and Michael slowly advance, Michael still carrying the remnants of the kite,

ay M

var

u

| u fl fu Lr LLP fh |-

mm

~ ONE Actually, 15 isn't a very good kite, Father, We made it surselves --

Mr. Banks takes thea kite from Michael and threws it on the desk.

The Constable smiles at the children, the smile fading as he locks up to Mr, Banks.

And ne goes ODT,

MS, BANKS I'm territly gorsy about all this, Gaorge. I expect youtill want to

discuss it, (rings bell lever on wall}

MH, BANKS Tdaceas it? With whom? The children? After 211, chey're not quite persons yet, ate shey? {ag Ellen comes IN} Flien - take Jane and Michael upst2izs straightaway.

( CONTINUED }

fu

9-80

61-sc

Pred. 2&2 Zz (lst Bev. 6/13/63) CONTINUED - 3 . 6g-

Mr, Banks GOES INTO living room, followed 2yY Mrs. Banks. fllen herds Jane and Michsel UP the Etairs,

Want 2m ‘ones= - ‘ard-working zirl around '#re - they want a ruddy ZO0+Keeper | DISSOLVE THE LIVING ROOM - NIGHT ) S1-<

Mr.. Banks i5 pacing restiessly back and forth, Mrs. Banks watching him anxiously. Mr. Banks is Wearing his smoking J2cket now, He puffs hia pipe Puridcusly.

,

Mi. BANKS Next time? My dear - you have angaged Six nannies in the past four months, and they've all been unqualified disasters!

; MAS. BAWES I quite agree.

BR. SANES

chegsing a nanny for the children 1S an important and delicate task. It requires insigat, balance, Judgment, and abtiity toe sead sharacter, Under ths clrcumstances, it may be apropos to take it upen myself to select the next persen --

( CONTINUED}

c

i mh

od, 2 a3 {lat Rev. 6/13/62)

CONTINUED ee

MRS, BANES (relieved) Oh, Gaerge - would you?

Mrs. Banks sits down to ner desk and takes Gp pen in resdiness.

The future Empire lies within her hands And sO the Person that we need To mould the breea Is 3 nanny who can give commands -

{to his wifey Are you getting this, Winicred - 7

A British bank i5 run with precision A British home requires nothing legs Tradition, discipline and rules Must be the tools Without them - disorder! Catastrophe! Anarchy ! In short, you have a ghastly mess!

Pacing, Mr. Banks turns to se# Jane and Michael in their nightclotnes, at the door.

Michael and Jane come in. Jane has a sheet of writing Paper in her hand.

Ii hy Al

I

' Ry cay }—

t 4}

7H. BANS wali?

MA, BANICS Very sensible. I shall be giad to have your help in this matter,

u SHE Thank you, Father. That's why Michael and I wrote this advertisement,

MA, BANKS Advertisement? Far what? JANE Por the new nanny - RRS. BANKS George, I think we ought to liaten - u ANE You said you wanted our heip - | MR, BANKS aut -- ch, Very well! J ANE Wanted - A Nanny For Two Acorable Children, MA. BANKS

Adorable: That's debatable, I mist gay.

{ CONTINUED)

Prod. 2162 26 (lst Rev. 6/13/63]

If you want this chotes position Have a cheery diapfoasition Rosy cheeks, mo warts -

Play fames - all sorta You must be kind fou must he witty , Very sweet and very pretty -- Take us on outings - give us treata Sing gongs - bring sweets --

Mrs. Banks looks warmingly at him - and he subsides. JANE - (einging) Hever be ross or ¢ru#l Never feed ua castor o11 or fru] Love us a5 @.s0n and daughter And never smell of barley water --

seashi Do be quiet, dear! { CONTINUED }

{lst fev. 5/13/82) A2-90 CONT - 4 ane

JANE

{singing} iz you won't scold and dominate ua We will never give you cauge tc hate us We won't pide your spectacles, go you can't see Fut toads in your bed Or pepper in your tea - Hurry, Nanny Many thanks Sincerely -

MR, BANKS Thank you, Most interesting.

Mr. Banks puts out hia hand for the sheet of paper with the advertisenenat written on it, Jane hands it to him.

Crestfallen, the children go OUT,

MH. BANKS

I'm aware they're ¢hildren, Watfred. Io only congratulate myself I decided to aten in and take a hand?

{glancing at the

ehildren's advertise-~

Ment, then slowly

tearing it up} . Give treats! Sing songs! Flay games! Ridiculous!

He throws the pieces tnta the cold fireplace, Then goa#s to the telephone,

MR, BANKS There's no quastion in mr mind whatsoever! Now 13 She time for action!

. Ge

oO Lak

ou

35-97

Prod, 2162 - tf {ist Rey, 5/15/63}

ANGLE INTO FLAEPLACS

The bita of paper begin to STIR in the iireplace --

MAR. HANES | Jz at the telephone.

ANGLE IN THE FIREPLACES o3

A sudden, mysterfaus WIND picks up the tern bits of paper with a gentile whooshing SOUND, and sends then murtling up the chimney.

2xt_ TOF OF CHIMNEY ara mie torn scraps of paper EMERGE from she chinmmerytop and soar upwards. CAMERA PANS OF with tha scraps of paper, as they whirl UPWARDS inte the moonlit night.

DISSOLVE

Next morning. Tha. wind, which has been whipping briskly from the WEST, begins to falter. The vane turns Slowly, and a new Breeze Comes on strongly from the EAST -- There is the SOUND of the tesun's WHISTLE 0.3,

CAMEHA PANS DOWN to reveal Admiral Boom being Piped aboard the

reof deck of his house. Blinnacle stands at attention.

( COMPINUED}

$5 -97F

GT -A

9a

Prod. 2162 29 (lat Rey, 547/83}

(ready with ganner's match for the cannon} Primed and ready, sir. {locking o.4,} Sir7!

ADMIRAL 800m What is it? :

a5 he looks over the side toward the Banks‘ hose, HIS View - DOW SHOP 96

A queue of grim-faced applicants for tne joao of Nenny, are lined up to the door and down the sidewalk, They are a somber, unattractive group, $12 losing very much alike,

sh the same drab clothes, the same dank haie Screwed up under a dingy bonnet, Zach haa a copy of the London Times sucked under her arm. They stand silently, waiting tha stroke of aight s' clack,

whe is looking out the window at the side of the front doer,

FER VIEW Loo of the stern, immobile faces standing in line,

MED, CLOSE - ELLEN 101

a6 she grimaces, turns from the window and foes INTO the dining room,

102-164

Prod. 2162

{ind Rev, 6/26/63}

Mr, and Mts, Sans are Breakfasting as Ellen comes IN.

here's a fair good queue of tem out

There, Sir. Shall I send 'em tn now?

MA, BANKS

Certainiy not! TI said #ight a'elock, and eight o'clock it shall jolly well

Be! (takes out hia watch to consult it - he stands up, lifting his coffer cup fren ita sancer)

Yes - eight seconds ta go. Six - five --

Ans. BASKS Pasta! Please! Tepes - two --

Mrs. Brill flashes through the dining room on her wey INTO she living room. Mra, danks and Fllen beth EXIT hastily t¢

the living room to taks# up their stations.

dt

Phere 18 a thundering BOOM! of the Admiral’e cannon hext door, The Sanka’ house QUILVERS, there is the SOUND of the piana .

BANGING arcund in the living room o.a.

TEE CAMERA is FEATURING Mr. Sans. The tabise in front of fim Rives a convulsive tremor. The curtaina shudder behind mim,

The china cabinet doors swing back and forth,

His chair, and

Fhe fern in the pot in the window bay to his rear give a noticeable twitch, The chandelier over his head aways back and forth. The table shimmers away from beneath hta hand.

Mr. Banka sways back and forth, with Gignity, like a sea captain on a stormy bridge... ‘The table shimmers BACK into its former position. He puts the «offes cup dawn in ita

exact former poaition.

ELLEN

positioned against the china cabinet in the front roon nearoy. The plang has come across the room and ts resting omoher hip. With a flip of her derriere, Elien propels if

OUT OF SCEWE back to its proper position,

Yea, siz,

Los

Prod, 2162 29=A {2nd Rev. 6/26/63

io5~-A IN THE DINING Roo 1o5--

Mr. Banks turns and glances at himself in the Still Swarms Mirrar, adjusting his tie, He aways gently te keep in line With the mirror,

BR, SANZ You may show them in - one at a time! 106 ZLLEN 106 steadying the cabinet once Beain, and going OUT -- ELLEN Yes, sir. icy =Z°T. NURSERY WINDOw - JANE AND MICHAEL Lov

looking down disconsclately at the queue of nannies,

( CONTINUED}

ay

1cé

108-4

108-3

1048-¢

108-D

LOg-A

109-3

Frod, 2162 a9 (lat Rev, 547/635

Io don't understand. They're not what wa advertised for at all.

THETA VIZwW - DOWN sHcr 103 of the queve of nannies, a Sucden WIND starts up,

SIT..NUASERE WINDOW ~ JANE AND MICHAEL, ‘LOE Michael its leaning our the window, pointing PXcitedclr. MICHAEL Jane! Look!

Jane Surns guickiy, and laans out the window ~- THEIR VIEW = DOWN AWGSLE - WUEDE OF NANNTES 106. on the front sidewalk. They are being severely buffeted’ By the wind, Their hats, papers and begs ere blew away,

and a couple of umbrellaa are blow open and ripped apert. It is & arene ef wild confusion,

CLOSER »« THE NANHIES 1cs-

They are desperately fighting the wind, Suddenly, 4a couple Of the nannies begin to rise off the ground,

the dog, who has been watching interestedly from behind a Post. He pulls back behind the post fearfully, as he sees «+

HIS VIEWPOINT - THE MANHIES 199 as they begin to blow away. WIDER ANGLE -~ THE NANWIES , LO5-,

biowilng THROUGH SCENE. ne Clings desperately to the fence railing, but ‘she too i3 Blown away,

looking down, watching the drama below.

iC9-¢

L19

lil

ilz

1L3

Prod. 2162 al (lat Rev, 5/17/6833

THEIR VIEW - THE NANHIES 109. aS they are being blown AWAY.

Michael points upward, as the two ¢hildren wateh the Plieht ar the departing nannies.

THEIR ¥inw ~10-

of tne fennies being blown over the treetocs and wp over the city, disappearing inte the distance,

Jane is still watching the nannies, WNicheel is Looking Out toward the Park. Suddenly he points,

THELA Yow Liz looking toward the Park. Acroas the trees, a FIGURE appears

to be blowing toward them. As it grows in size, we Baglin ta recognize Mary Foppins, clinging to her opened ugbrelle,

a2 ther watch the approaching figure, . AI CHAEL Do FOu suppose ft's 2 witen? J AME Of cqurse not! Witches have brooms! THETR Y¥IEW 114

of Mary Popping. She floats through thé air, swinging gently back and forth aa she ¢lings to the umbrella handle, Deapitea the wind, which is blowing her Like a parachutist CO the Banka! household, her clothes are unruffled, and her hair unmusged, She is elaborately unperturbed,

mie

Prod. 2162

FEVSHSE TO MARY POPPING i153

as she floats seross the Street, crossing the now deserted front walk and up --to the front porsh,

staring out of the nursery window,

" JAE fils she! It's the person! Sine answered our advertisement! Rogy cheeks and everything!

ANGLS TO FRONT PORCH 117

Mary Poppins comes IN fer ga graceful landing, puta down

er carpetbag, closes her umbrella, and sucks it lider her arm. We have a view of the umbrella handle - the carved Read of a jaded, choleric-locking parrot. She pulls the doorbell therd,

OMITTED 7 114

21-4 (nd Rey, 6/26/63"

THe FRONT HALL il...

sllen opens the deor to REVEAL Mary Poppins.

Mary Foppina meves past Ellen and inte the living room, OFT OF SCENE. HOLD ON Ellen a moment as she 1o8k3s out the door, puzzled by the deserted front walk. °

b+ I Ths ik

Bead, 2162

Lal ha

ia

oe

i

IT, LIVING AGOM

4a Mary Poppins comes IN. Mr. Banks ia potse¢ as the mantel, Pilling his pipe with a firm, executive air, de SVEPtsS Io speak .

Mr. Sanks frowns. She 1a mot quite what he expectec, Mor nad he expected her to speak so forthrightly.

HH, BANHS 4m —- You brought yotr references. May I see them? TI --

MR, BAHES Indeed? We'll just have to gee@ about -- {he pauses, Looking at the paper in ner pand - it La the advertisement written by Jane and Michaal, but pasted inta 2 single piece)

Mary Poppins takes the paper out of Mr, Banks' hand, {CONTINUED}

a

Many FPOFPINS (continuing) Ivem Three - I'm sure tn# ¢htlaren will find my games extremely diverting - {she pauses to look at Mr. Banks, who ta eroaucnes over, losking up the chimney) Have you lost something?

Mr. Sanks leoks up quickly, bang’ns his head on che mantei,

“A. BANKS (wl Confound it! No! ‘Tnat is -- yes! That paper - I thought T had --

MA. SANK® Yes --

(Mr. Banas 1s trying to reconstruct in pantomime what he did with the paper, He tore it us - and threw it in fn# fireplace,

{ CONTINUED}

LZ

CONTINUED - 2 Sa

dal

Mo. Banks 25 ciscline Mary Poppins, staring at her. She stands ner ground, sayine:

Mi. BANKS A trial Beriod? JI don's think --

Mii. SANKS (comolesely haffled) You spould mow?

Mary Poppins folds un the acvercisement, pops it in her beg and snaps it shut.

she turns on her heel and walks through the 4ser, CLOSe 126 an Mr. Banks. His face is a slcture of Prustration.

Mi, SANS But --

Mary Popping walks to foon of stairs - looks up.

HeR VYilew 126

Michael and Jane lacking down througn the railings of the First floor Landing,

Pred. 2142 35 fist Rey. S/1i/695

129 THEIR VIEW aes

of Mary Poppins at the foot of the atairs, as she erecefully hepa antec tne banniates, adjusting her Carpethas and umbrelia

in her hand.

-229-4 CLOSE ON JANE AND MICHAEL 129 peeling through the ratlings, a look of Puczlement cn their faces, .

229-2 8 THEIR VIEW ; 22g

of Mary Poppins as she starts to slide UP the cannister Oo the landing where the children are.

129-c CLOSE ON JANE AND MICHAEL 129 who stare through the ratlings, tranafized, 129-0 THETH ViI=w Leg

of Mary Foppins as ashe continues on Lp the bannister, nearing the landing.

4a they pull away from the bannister in ewe, hudd ling together against the lending wall.

huddling against the wall, as Mary Poppins SLIC'5 Ly¥ro SCEHE on the bannister,

. MARY POPPING (locking down at the chiidren, aternly) Close your mouth, Michael. Yeu are not a codftiah!

she hops off the bannlater. 131-4 CLOSE OA JANE AND MICHAEL, . 131+ Tne children ere too Surprised to say anything, Michael

Sloses fis mouth, but bath children continue te atera 23 Mary Poppins passes in front of them.

bs hal nh

235~136

Prod. 2162 35-4 {lat Rev, 6/14/63)

WIDER ANOLE = OW THE LawDInG L22

Mary Foppins passes in front of the children, 35 they stand staring at ner.

Me children turn te-lock at ner.

fimost against their om Will, they turn end march off Obedtentiy, up the stairs to the hursery on the ‘top floor,

IN THE STUDY 133-

Mr. Banks 13 ¢rouching at the fireplace, peering wp inta the chimney again, as Mrs. Banks comes INTO the Toon,

Mr. Banks involuntarily raises hia head, and bangs it againgat the bricks again.

FH, PANES One!

MAS, BANES You mean, you selected one already?

. WH, BANKS Yes, yes. It's all over.

{ COHTINUED }

Pred. 216

1327-136 CONTINUED

Mr. Banks

ak Oy

(Lat Rav, 2/13/65

H

ia

ia |

- MA. BANKS Where? Oh. (Opstairs in the nursery. Of course, I put her straightaway ta work,

MA, S3AHKS {dimly} Well - it all happened a0 quickly. T as MRS. BANKS

(quoting her husband} Is she firm? Will she give commands? Will she mould our young breed?

stares at her and his face begins to lighten -- MR. BANS Fou know, Winti-i2. I think she will! {he soles}

Yes! da - hat I think she will!

MA, BANES Oh - the others. Yas, of course! (calling) Ellen!

2LLEN {appearing a bit cis? too quickly)

(blankly } The others, sir?

( CONTINUED}

133-136

Prod. 2152

it, Ellen, how many nannies do you think we need in this house!

Fllem scurries to Ene door. CLOSSR SHOT - OVER SLLEN'S SHOULDER

Ags she opens the deor, no one ig on the front walk, save for andrew, the small, seated dog, who looks up curicusily.

CLOSEA

The dog turns and goes, ELLEN

Closes the door,

IN THE WURSERY

Mary Poppins is Standing in the center of the roan, looking around with a critical eye, The room is in disarray. Toys and elothes are littered about,

7 AWE (apologetically} I’m afraid the nursery's not very tidy.

Jan@ indicates: another, smaller room, adjoining the nursery and leada the way.

{CONTINUED}

(let Rev, S/lL/est.

Lat

L490

Foe, 2252 2a (lst Rev. 5/14/633

1uy CONT INVED . i=l MICHAEL To carry carpets in, you mean? MARY POFPINS

No. Made ef. fa they go through 4 Pair of dowbles doors -

Mary Poppins puts her bag and umbrella down, and looks around,

; -MAHY POPPINS (surveying the room)

L42 MED, CLOSE - MICHAEL 142

25 he peaches out te touch Mary Peppina umbrella, CAMERA MOVES IN CLOSER OW the parret's head handle, and we see the Parrots eyes are closed.

142-4 CLOSE - PARAC?T'S HEAD l4e- a8 Michaei's hand comes INTO SCENE te touch the pearrotis head, The parrot suddenly opens his eyes, and throws a warming glance in Michael's direction. Michael] quickly Graws back his hand, During above « . ANE

(o.s,) I'm afraid the room is rather Plain =

,42-B CLOSE ON MICHAEL 142 =

28 ne reacts 1m amazement ta the parrot’s head.

she removes her hat a4 she continues to look about the room,

144-4

Lesa

1465-5

Prad, 2162 a (lst Rev. =/14/63}

WIDER ANGLE - MARY POFPINS ROCM pub

Mary Foppina walks to the table where she hag Placed her Carpethag. The children stand watching Her, wonderingl;.

she opens the carnetbeg, and before Jane and Michsei's aavonlaned eFes, pulls out a hatrack,

MED, CLOSE - JAWE AND MICHAEL ~ Linh.

Aa Mary Poppins moves OUT of SCEWE to place the hatrack ina corner, Jane and Picheel lean forward anxicusly and look inside the carpetnag, only to find it empty. Michael Picka up the bag and turna it upside down,

She hangs up her hat and acarf on the hatrack, and then burns te leok inte a small mirrer hanging on the wall,

WIDEA ANGLE - GROUP SHOT 146 aa Mary Poppins gees back to the carpetbag -. MARY POPPINS I much prefer seeing all wy face at the same time, ;

4a the children watch, she lifts the bag over closer te her and removes a large, gilt-adged mirror,

MT CHAEL {in astontshmant to Jane} But there was nothing in it! MED, CLOSE - MAAY POPPINS 146 -:

She has hung the mirver over the chest of drawers, and is touching af he> nair aa she locka at her reflection appreciatively

fred, 2162 63 (lst fev. €/10/63}

146.5 COMP INGED ie ot MAHY POPPING

Never judge things by their appearance, Even carpetbags. I never co,

146-2 SLOSE ON JANE AND MICHAEL 146. at Shey stare at Mary Poppins, dumbfounded.

LAT WIDER ANGLE - GROUP SHOT Lat Mary Popping has moved back to the table and her Carpetbag. Ag vane ladks on, Michael crawls under the table to #X amine She underside of 4t. During this Mary Foppins reaches

into the carpetbag and -emoves a Large rubber Plant. She carries it out of scene as Jane and Michael watch.

147-4 MED. CLOSE - JANE AND MCCHAST, 147.

Michael 1s 38111 under the table, and he and Jane look after Mary Poppins with astonishment.

a3 she places the rubber plant near the window, and stands a back ta study it eriticallr.

aa Mary Poppins moves back toa the carpetbag, and removes a2 lighted Tleor lamp, which she carries over near the rubber

Plant. Michael cames cut feam under the Sable, and joins Jane, 148-4 CLOSE ON JANE AND MICHAEL 145-, J ARE

(aside to Michael} She's wonderful !

aS she puts the lamp down near the rubber plant.

149-4

149-5

149-6

149-5

Prod. 2162

WIDER ANGLE - GROUF SHOT

Mery Popping reaches ints her CaTpetoas again, search’ng for something,as Michael once again goes under the Table.

TPOR the carpetbag as

She peaeehes |) Now where did I nut my tape measure?

(she produces a rm

colled measuring tape) : Let's see how Fou two measure up!

a3 ashe holes up the cotled tape measure,

ME. CLOSE - JANE AND MICHAEL

Jane dces what Mary Poppins asks willingly. Michael grudgingly goes to stand naxt to his sister, as Mary Popping COMES aver to measure then.

Mary Poppins measures Michael frog head to tos.

ag she reads off the tape. The children stand watching her.

Michael locks indignantly at the measuring tape in Bary Popping' hands.

Mary Popping thrusts the tapa under Michael's nose,

“7 {lat Rey. 5/14/63} 14g

149-

149-

149-1

149-1

149-2

L350

E504, |

150-38

I51-A

Prod, 2162

INSERT + THE MEASURING TAPE which reads "EXTREMELY STUBBORN AND SUSPICIOUS"

MED. CLOSZ - JANE ANT MICHAEL

Mary Foppins moves around Jane, who is reesotion, dhe leans dow and Measures end yeads from the tape,

Rigeling as Michael's Jane from head toe toe,

Doesn't

Michael starta to laugh, anjoying Jane's ambarrasament. INSERT - THE MEASURING TAPE

THER INCLINED TO GIGGLE! DOESN'T PUT THrNGS

which reads "Ra

45 they lock up at Mary Poppins, o.4, Michael asks

eritically -

Bow about you? GLOSE OW MARY POPFINS as she helda cut the end of the tape to Michael.

She floor at Mary Foppina' feet, Beagure to Mary Foppins' toe, mi of the tape measure, which Mary CAMERA MOVES IN measure and reads if -

MH chael

as they sit on CAMERA PAWS UPWARD

holds the tape as Jane follows the cthes 2 Poppina holds te the top of

her own head,

-

om! bl —

(lst Rev, 5/14/63}

| ol

id

L5¢-.,

150-5

Lo1-A

—"

151-5

L51-D

i358

Prod. 2262

.

a2 (ist Rev. 5/14/63} INSERT = MEASURING TAPE 141

Which reads "MARY POPPINS, PRACTICALLY PERFers TH EVERY Way", MAHT FOPFINS

(reading o.3.) Mary Poppins, Practically perfect in avery war,

WIDER ANOLE = CROUP SHOT 152

Mery Poppins, followed oy the children, Walks back to The table and takes an apron from the group of things She has removed from her Carpetbag.

- WOCHAFL (suspiciously) Iodon't like the sound of tt.

Fred, 2152 ago (lat Rev. 5714/63}

ife-A 0 6CLOSE ON JANE AND MICHAEL l+a- MICHAEL {to Jane} I toid you she was tricky --

as she turns to look at she children, before entering nursery. MARY FPOFFINS Indeed? 154 GLOSE ON JANE AND MICHAEL 154 JANE Tt 13 @ game, ian's it, Mary Poppins? 155 WIDER ANGLE ~ GROUP SHOT 155 ae Mary Poppins stands looking down at the children. MARY POPPINS That depends on your Point of view, doesn't it? After all - (singing} - in #¥ery Jeb that mist be dons - 156-159 IN THE NURSERY 155-15

as Mary Poppins comes IN, picking up an o¢casional shoe, rubbing @ finger along the edge of the furnitures to Ceterming the amount of accumulated dust,

Michael and Jane have stopped at the doer te waten. Michael ia acernful -

We find the fun, and smack! The jotts a game!

( CONTINUED}

‘aor

—_ ls == + Poel

162-185

CONTINUED 125-1

That a spoonful af sugar H#ips the medicina zo down The medicines go sewni-own Medicine go town

Just 2 speenful of Sugar Helps the medicine geo down an 2 most daliteherul way --

{ apoken sturfy in here --

she goes to the window and throws Lf open, Locking cut -- RE VSZASE , 160 on Mary Foppins. «4 30UND sf 4 robin o.8,

. FER VIEW 1L6i

af 2 rooin and his mate ousy with nest huiiding --

while gathering Mis bits of twine and twig Though quite intent in Ais pursuit de haa a merry tune to -root fe knows a song Will move the fob along -

The male robin flies CUT of SCENE toward Mary Poooing --

perched on her finger. The robin whistles an INTHO and

CELIGATO 3a Mary Popping sings thea shorua,

{ CONTINUED}

a oO

ta : FA wn hi

F!

Magy FOPPINS

(singing) ror a apoonful of aussr delps the medicine go down, The medicine zo jown-own Mecicine mo down JUBt a spoonful of sugar Helps the medicine go down In a mest deligntful way --

The robin goes bash CUT sa finish pag nest, and Mary Poppins cleges the window,

Mary Foppins turns ts her task in the nursery. With a snap

of her fingers, piles af clothing leap off the floor, fokdin themselves in mid-air, placing themselves in Mary's hands. Bureay anil dpessér drawers open to receive Shem, Weary-lLooking enioals and dolls straighten up. Micha#l and Jane Took on, wide-eyed.

Jeane wants to help. Solis and baoks leap from their scattered Places into her arms.

Michael hesitates a moment, then Can't stand it any jonger. He ;oins the Tidying-Up Game and is virtually buried under the toys and clothes that leap at him,

MARY POPPINS 166

watone#s the children at work, then moves toward her owl room, removing the starched atron as she does .-

MARY POFPINS

Even such Practically Ferfect Fersons ag =

(singing) The noneybees that fetch the nectar Fran the flowers ta the cam Never tire of e#ever tuzzing Ta and fro,

7-150

rat |

a

{L hh par Th fu

oT

io

ay i

a)

IN MARY FPCPFINS’ FocM

she stands hetsre hes mitror eutelnag a stréanc of aair or owe in place, intent on her réflection. Im tn@ 3.68., Michael and Jan# sre scurrying areund the nursery, cleaning un -

MAnY POPTTINS (singing) Secaugse they take a littia rip - Mary 2eppins reflection in the mirrer STwas the next line. MARY POFPINS (ner reflection singing] Of avery flower chat they sip - Mary Poppins ‘and her reflection Sing the next line together,

(singing) And Aence They find

Their task is not a grind -

Ma>y Poppins begins to WHISTLE, Putting 4m ner hat. She comes INTS) the nursery,

IN THE HURSEAY L7O-1%

Mery Popping picks up the ¢hildren's hat and coats, She glences at her lapel watch,

With her umbrella, Mary Poppina TAPS OUT time, Bitking up the TEMPO of the music.

Now, the nursery fairly hums with the SPEEDE&o-pe activity. Shees spring up, assorting and resasorting, marching inte flosats, - the bed makes itself, the bureau tidies itself up

at a stern glance from Mary Foopins, Taya race inte their Proper places, and there is a finel frenzied burst af activity. Mary Fappina turna AWAY - but there is 2 a@tondary frenzy of MOVements 425 Che toys, bureau drawers, doors, Keep opening and shutting, reluctant to give un the game, Mary Poppins SUPT , watching lt all naughtily for 4 moment, Everyining subsides linger hear gaze,

Bashy POPPINS (teily} Tf you! rs guite finished!

( CONTINUED)

173-150

T30 -A,

Prod, 2162 Ls, flst ev, 5/14/63)

CONTINUED L7O-4

He picks up an arminad of toya and is about to burl them Back ante the floor,

The toys wriggle out of his arms and back snte Fhe shelves,

WIDER AMG - GROUP SECT 190-4

CAMERA PANS WITH them as Mary Poppins leads the wey to the door, with the children marching behind her, hastily putting on their hats and coats,

Por 2 apoonful of sugar

Helps the medicine ga down ~

As Mary Poppins goes OUT the door, CAMERA MOVES TH CLOSER on Jane and Michael as they hurry ater her.

Medicine go down-own ~

Ellen is dusting the balustrade. She looks OP 28 she HEARS the 0,4. ainginge.

JANE aND MICHAEL,

(singing 0.3.) Medicine @o down.

I9i-a

19I-¢

191-3

191-5

L51-F

Prod, 2152 Ls: (lat Rev. 5/14/63}

TSA VIEW Ll -

of Mary Poopins and the children, aa they coma Sliding down the beannister.

JANE AND MICHAEL, (singing } Just a apoonful of sugar - REVERSE AND CLOS# 131- on Ellen, a3 ane standa watching them, dumbyounded . JANE AND: MTCRAEL (singing o.s.)} Helps the medicine go down In a most delightful way - WIDER ANGLE 191 =

Salen stands back as Mary Poppins, Jan# and Michael} giides FAST her on the bannister, wart turns to amile at Ellen,

a3 ahe watches them continue on down the banister, BER VIEW - DOWN SHOT 191-1

of Mary Foppins and the children, sliding down toward the front door.

REVERSE AND CLOSE - I191L-F on Elien as She stares wide-eyed at the group. FER VIEW - DOWN SHOT Lo2

Of Mary Foppinsa and the children as they debark gracefully. Led by Mary Poppins, they march toward the front dear, which OPENS by Ltsel?, Without a pause, Mary Poppins goes ODT the deor, The childsen turn to wave at Filen, then follow Mary Poppins OUT the doer, as it CLOSES Dy itself behind them,

MELD. CLOSE - ELLEN 4193 Standing on the Landing. She looks at the balustrade, then Betting am idea, climha abeard it and Starts ta ailing.

(singing) Just a spoonful of Sugar =

196-4

Prod. 2162 — hg-a (lst Rev. S/14/621

who has just come INTO tne frent hall, ‘ne Looks up in astonishment at Ellen.

FER VIEW 439

of Zllen, as she slides down the bannister ts the front hall, singing and dusting as she goes,

Meficine go down-own -

REVERSE AND CLOSE 1965

On Mrs, Braili, who reacts in horror as she watched Ellen's descent.

Medicine go down -

HEN Yisw 196 -

of Ellen ag she hita the bottem et full speed. She

comes arf staggering slightly, regains her balance and

Gances past the astonished eyes of Mrs. Erill, flicking an imaginary bit of dust off her as she goes by, and OUT OF SCEHZ,

DISSoLve

196-A

Frad,. 2152 ur (lat Rev, 5/15/63}

SAT. - ENTRANCE TO THE PARK GATES - DAY - A LONG SHOT - LT CRANE MOVING DOWN

A Carrlage passes THROUGH SCERE in 2.8. <A half-@oren or

a0 portraits and landscapes have been done tn Colered

chalk on the sidewalk near she park wall. The subjects inelude variously - "Punting on the Thames", "Henry VIII", "A Stdil Lire", "A country Circus” and other time-worn crowd-plessers. A placard nearby states modestly, "ALL

My Own Work”. A few passersby step to leok at tna pictures, and then continue on their way.

The aidewalk artist 1s Bert, whom we met tn the opening Gtene a3 4 one-man band. CANMENA MOVES Cr BEHIND Bert, revealing him at work on 4 lovely acene of Pastoral England. The bright, fresh colors Stand out atrongly against thé surroundings.

With bits of chalk fitted ta the end of an axtension Stick, Bert moves around easily and axcberantly, SHADING, defining, artfully improving each picture with a practised nand.,

MET. CLOSE - THE CHALE DRAWINGS 198-,

198-3

is9

Fred. 2162 | 4a {Las Rar. 5/17/63)

{ Bpealctng } Not Royal Academy, I Tupposs - still they're better than a Pinger in the eye, ain't hey ?

WIOeR ANGLE - BEAT Loy

aS ne Ganges from portrais te POrtratt, using the PXtEnSlon stick to Souch-up and improve then.

MED, CLOSE - EBERT 200

as he gets down on his knees. Putting the extension stick aside, he selecta a few colored chelks from a pil¢, and quickly draws another picture.

Ho remuneration

Dees IT ask of yay

But me cap would be glad Of a copper or twa =+

INSERT 2ok

of tha picture Bert has Just completed. de Places His Cap in the middle of the picture, which haa a bannes Tunning across the top reading, "ALL COWTRISUTIONS WELCOME".

of Mary Poppins and the children, aa they appear on the PavTemenc. ;

(SONTIUED}

—_—

ee

eQe-4

ele |

Bod

204-4

204~-B

Peed, 2162

(ist Hav.

As Mary Popping!’ silnouetta appears over the portrats on which Bert is worlkeing --

INSERT - MARY FPOPPINS! SULNO0errs as Bert's hand traces eround it. BERT

(o,4,) T'd know that silhouette anywhere!

GROUP SHOT - MARY POPPINS, BEAT AND THE CHILDREN

Jane and Michael respond with 4a smal] ¢urtsy and bow,

- JANE “ Mary Foppina ta taking us te the Fark.

BERT

To the Park? Wet if I know Mary Foppinat Other nantiies take children to parks...,

6/13/63"

2u2-

208-

204.5

2OT

Prod. 2162

(lst Hey.

GROLP SHOT - EERT, MARY POPPINS anh THE CHILDREN

BERT

Mind you, it's not oy place to conjecture, but what she probably ‘aa in mind is a Jalay¥ ‘oliday 30mhewhere or other,

(leading the children

over to the drawings} Something along tnese lines, I shouldn's be surprised -~

AS the children look down at the drawings, Bert smiles aft Mary Poppins.

INSZRT

of the chatk drawing, "Funting an the Thames",

{o.s.} Punting on the Thames «= that's always good, if yau like autinga,

RED, CLOSE - SERT aND THE CHILDREN

with his drawing stick, Bers mimes the fellow poling the Boat in the drawing for the entertainment of the children. He pretends the pole becomes stuck tn the Mud, clambers on it and falls, The ¢hildren laugn.

BERT’ (clambering on the pole} River's a bit sticky today --

5/13/53

204 -]

oor

ag8

20a

alc

2135

Pred, 2162

Serz, I'il thank you not to stuff their heads with your MOnAgniss,

MED, CuCS= - BERT AND MICHATL

Sert kneels down tefers snothe> Cnalk c=awing --

3=RT {ineicating érawing} The <ircus! ‘= about a Lovely circus?

Lions and tigers! .. INSERT

A chalk drawing of a small SOUntry circus, A Mah on a unieyeie 15 performing,

fo.a.} ‘World famous artiates, performing Geath-~defying feats of dexterity and skill before your very ayes! MED. CLOSE = SERT AND MtcCHAZL

Mimicking the action of the Ppichure, Bert pretends so ride a unicycle for the benefits of the amused DoF.

whe looks ¢n, di sapprovingly, CLOSE OM JANE | a8 she locks down at one of the other chalk drawings, JANE Ch - that's lovely! TF you

Pleasé, i°d much rather go thers --.

( CONTINUED}

(lst Rev, 5/23/63}

Zia

ous

z17.

-

frod, gles

{lst Fay, 5/ia/F

‘CONTINUED

dert and Michael come up behind Jane to isok over her shoulder at the drawing,

Hant Seautimal, ain's 4c7

INSERT

of tne pastoral drawing +-

CLOSz ON EERT AND THE CHILDREN locking down at the picture,

INSERT - THE DRAWING

a road dewn the ¢entes of the Bieture,

One country “cad - suitable fer travel and ‘igh adventure!

GHOUP SHOT - ERT, MARY POPPING AND THE SHOLDREN

vane and Mi¢hael are Clamoring and bounding about Mary Pappina,

(CONTINTED }

el:

2162

“1T CONTINUED

(lst Rev. S/13/

Don't you

think 1t's lovely, Mary Foppins?

2l7-A ERT AND THE CMLLDREN BERT

How's the time, Mary Poppins!

5 No one'g looicing!

Mahy POFFINS

Ihave no intention of making a Spectacle of mrsalf, thank you.

2l> CLOSE OM ZERT AND THE CHILDREN

(eonspiratortald to Janwe and Michaaly Then I'll de is opself,

He fakes their handa, and gets ready BERT closing hia eyes) "You close your eyes and --

maakt WIDER ANGLE - BERT AND THE CHILDREN

to jump

CAMEHA SACOTING FROM BEHIND, aa holding hands, they

all jump into the chalk drawing --

{ CONTINUED}

63]

-=

en)

ero

ect

Zel

BEY

eeu

Prad. 2162

CONTIAVED

Jum ! !

——

sney land in the middle of the drawing, but much ta Bers's

Surprise, nothing happens.

Jane and Michael stand locicing’ up at Bert questioningir.

a ANE ZS something supposed to happen?

EEHT, MAWY POFFINS AND THE CHILDREN

Mary Foppins opens her umbrella, and atepa over to where Bert and the ehtldren are standing next to the pasterel atene,

Mary Popping holds her umbrella over the group, as thay stand in front of the drawing.

GROUP SHOT = WIDER ANOLE

On the count of three, they all leap up together, and INTO the chalk drawing.

They vapidiy diminish in SIZE, landing on the chalk road in he drawing, 28 a cloud of colored chalk goea up, momentarily cbsecuring their arrival.

eu {Lat Rev, 5/27/63)

wen

ce hl

nee

TURD

ee el

wH-e

vH~o

JH-6

rod, 2162 cs (ad Rsv. 6/1/83j

JOLLY HOLIDAY SEQUENCE - REPLACED BY JH-1 THRU JN-228 - TRY (LIVE ACTION AHD ANIMATION COMBINED) a

A stylized version of the pastoral SCENE - done in chalk

cones and nues. As the chalk dust settles, Mary Poprins and she otners look at each other in delight and surprise, aa they atand in tné middle of a winding country road,

MaTy Poeprins, iooking 2 great desl younger, 19 dressed in she aizries= af Saanion. A large sweeping hat, with a long curling Teather, sho#s with ciamond buckles, fine white gloves, and 2 Slik wumereila make up an ensemble to darzl® the eye,

Bert tac, 1s younger looklag. He looks scrubbed and shining an white flannels, red and green blazer, straw boater and cane, Michael and Jane, save for the chalky hue te their clothes,

are much tne same.

From o,8. comes the faint SOUND of mersy-go-round MISIC, DEAT AND MARY POPPINS | JH-2

MARY POFFINS You look fine, toc, Bert.

aa he reacts with pleasure, flicking the trig ef pis beater, JANE. JA-5 JANE

{locking around) Everything's 40 lovely!

MICHAEL wa AC CHAR

{to Bart} I thought you said there waa a fair.

ra-7

cH-o

woae-9

vH-10

eH-l2

hhh Lah

Prod. 2162 {lat Rar. 5/2/63}

ty

BAT AND MARY FOPFINS

. SERT Casing his cane ta point the way} So Ia4ig. Dewn the road, and ove the Will, remember?

a

Ch

viz AND MICHAEL

vane cakes Michael's hand, and they stars out in the <lreetion Bert Has incdiastad,

« AHE Come on! TF hear the musie from the merry-go-round!

SS they dtsappear over a ili -

SERT AND MANY POPFINS JH-9 BEET Tell tem Bert sent yout MART POPPING {calling}

Tean't fall dewn and smudge the drawing! a Bert vekes Mary Foppins’ arm, and they start down the road. SEAT AND MARY POPPINS vo-10 aa they walk along the country road,

HEAT

{singing} Ain't it a glerfous day! Rignt as a morin' in May -

CLOSFA - BERT AND MARY FOPPINS JH-12

They are Joined by a bird, who flits Baliy around them. Mary Poppins looks on aa Bert flapa his arms in imitation of the bist,

3ERS (singing } seel live IT could fly!

SEAT AMD MARY FOFFINS - LOWGFA ANGLE vH-12

AS Bert starts to waft upward, Mary Poppins reaches for his cont, Pulling him down. MARY FOFPINS {spoken} None of your larking about, now --

{CONTINUES}

Frad. 2162 ; , = (lat Rev. 72/67} ~

vH-1i CONTINUED wed {singing} Have you evar geen -- wel) SIRT AND MARY FPOPPINS - WIDFR ANGLE . wea REX? - |

(singing, gestures with his cane}

Th# Grae £6 stan?

Or 2 Eluer sky!

vH-l4 GERT ANU MARY POPPINS - CLOSER ANGLE Ht

uf-.5 LOSE ON MARY POPPINS JH-1 MARY POPPING ‘{spoken)

Haven't changed a bit, have weut

cH-2£ CLOSE ON BOAT ” JH-1! (Singing)

When the day {3 gray and omfinary -

7H-17 WIDER ANGLE - BERT AND MARY POPPTWS va-1"

ag they stroll along the path through the countryside.

(singtng) Mary makes the sun shine bright -

(lst Rev. =/2/63) ~

oH-19 AnVERSE - MARY POPFINS AND BERT ane BERT . f Singing) When Mery ‘oids your ‘and You Teal so grand -

CH-L9 OLCSE ON ESnr Ja-1: 25 ne places his hand insige “is soat sver bis heart, and demonstrates ifs pelpatations. With his cane he beats out ae InyFTam on the top of his boater, forsing 1% down cvew “13 ayes.

dx-22 WIDER ANGLE - MARY FOFPINS AND RET wH-2% They have come to a stile separating the lane from a speail rarayard. Hert lifts Mary Popping onto the stile, ani is PULLED OVER himself by the enesgy of his Testiure .

JH-23 EBERT ANT 4 GROUP OF FARM ANIMALS Jg-25 who gather around to edd their tributes te Mary Poppins,

ANIMAL AD=LIBS "Fart ‘Hari -- Rigeat yare:

Ja-24 MARY POFFINS AND BERT JH-24 Mary Popping sits on the fence, watching approvingly as Sert, uding ala cane as a baton, leads the animals in song.

JH-25 4 LARGE RAM JB-25

. = rv

vH~26

wH-2y

TH-26

Jt -29

JH-20

Prod, 2162

WIDER ANGLE - MARY POPPINS, HEAT AND THREE LANES The lambs bound past Mary Poppins and Bert, LANES

(singing) Mary makes your 'eart so liget! A DORAY HORSE DRA HORSE | (sanging} .

When the day is gray and ordinary -- He 15 joined by = Cow - . cow

(singing) Mary makes the sun shine bright --

{singing} 'ApPiness is bloomin' all around har -

The geese scatter an a PIG intrudes to add hia preises -

WICE ANGLE GHOUF SHOT - MARY FOPPINS, BERT aND THE ANIMALS Bert helps Mary Poppins down from the fence, and the animals

GROUF SHOT - DRAY HORSE AND ANIMALS

Using hia hoof, the dray horse beats cut the Thythms on a

washtub hanging against the barn wall.

(1st Rev. 5/2/63} 7”

wi-2

an

JH-2

H-2

JH=30

oH=-31

voi-32

JH-33

JH-34

oH-35

JH~36

da-37

Prod, 2102 oo (let Rev. 5/2/63}

GHCUF SHOT - MART FPOFPINS, BERT AND ANIMALS weet

Tne animals in b.g. lgok on 28 Mary Penpins and Bert watk shrough farmyard and CUT of SCENE.

RHIMALS & BERT {singing} It's a Jolly 'Oliday with Mary -- (HOLD Of GROOPF SHCT of ANIMALS singing} No wonder that 1t's Mary that we love! =

SUT. FARMYARD GATE - BERT AMD MARE POPPING vH-3 They are just soming throveh the gate. Hert closes i+ hehnind him and leans hla cane against i+, He takes Mary Foppinat

Earasei, and with & flourish, cloges it and leans it next te His cane.

WIDER ANGLE - SEXT AND MARY POPPINS FH-3.

mere takes Mary Foppins' hand, and they dance through ‘he countrysice, away from the farmyard.

CAN AND UMSAELLA oH~3

as they rise from their place egainst the gate, and float careugn the air in pursuit of Mery Foppins and Bert,

as they dance through the countryside, followed by the umbrella and sane in bz.

CLOS=R ~- BERT AND MANY POPPINS ‘TH -3¢

strolling hand-in-hand through = zrove of trees, A flock of birds fly overhead and the forest animals come out to greet then. <

SERT AHD MARY POPPING vH-3"

They stop in a field of wild flowers, Sert picks a bouquet and gallantly presents it to Mary Popping,

as shé apprectatively sniffs the flowers. Suddenly the

-lowers come to life in her hands, and ars transformed into & myriad of flying butterflies.

wH-39

st is

wore

vo-404

aw LP oe

wH=42 ub e424

weet JH-444

TH-45

JH-46

Jet

Prod.

1St fev. 5/2/53)

WIDSR ANGLE - BEAT AND MAAY POPPINS

Serol

sing through the forest, foliowee by the animale and

butterflies in * 8.

OMITTED

fora,

AHD MARY POFFIWS

The animals heave followed Bert and Mery Poppins to a pond

Ankak

So8e 2

St2¢ Gy two turtles, The ¢ane and parasol fly inta . and Hert and Masy Poppins seach up ta grasp them.

eLuCSEH - SFRT awl MARY POPPING

aS Uey ATRSp The parsacl and cane. chet rT sD BERT ANT) MARY POPFINS

AZ th# animeis lock on, Sart sessista Mary Foppins onto the

Sack

oF one of She tuetles.

OMITT=S

and f ontea

eet of Mary Foprins and Bert, as shey step ltentiy ene tacks of the turtles. .

OMT TTED

WIDE

AHGi. - BERT AND MARY POPPINS

a3 they glide across the pond on the backs of the Turtles.

In 3.

&- the forest animels watch the departing figures,

bobsing Lightly on she backs of the turties, WIDER ANGLE - SEAT OND MARY POPPING

Gliding down she pond, approaching a tank.

CLOSER - BERT AND MARY POPFINS

as th

aligzh

ey reach the bank, Zert helps Mary Poppins as she

e8 from the turtle's back, and turns to thank th® turtle.

JH-5)

vi =4;

AAs

JH-lG

vd-+8 8§=6CLOSE ON TURTLES ; oye.

tr

af Chey Teact with fleasurs. w= S=RT AND MARY FOPPINS - WIDER ANGIE vat

BO Inelud# ihe pond and turtles, ert and Mary Fappina svend ay the foot eof a small arfidze which spans a Stream, Masy Poppins waves zoodeye to ths vurtles, a5 Fert offers her als gra.

eaesc CLOGER = ERAT AND MARY POPPING , oH-5 23 Shey start atross th# bridge.

MaAPY FPOPFING

(singing) Qh, it‘s a Jolly Yotader with you, Beet - Centlemen like you are few -

2H-51 WIDE ANGLE - HERT AND MASY POPPIWS vH=-51 as chey pause in the middle of the bridze.

MASY POPPINS

{singing } ; Tough you're Just a diamond in the roush, Bert -« Inderneath your blood ig blue.

JH-52 SiOSER - BEST AND MARY FOPPIMWS 7 JH=52 (spoken} Commen lowwledge, you mieht aay, BANE POFPINS . (sdnging}

You'd never think of pressing your advantage - roroearagce 1s the hellmark of your creed,

cH+S3 CLOSE ON BEST vA=-33 SER?

{spoken} True ==

Cc | I La] hah

wH-56

JH-55

JH-59

TH-65

Prod. Z162

[ie Rev. 3/2/63)

SLOS= - MARY FOPPINS AMD HERT

SEFLECTION SHCT - SEED AND MARY POPPING

whose imazes ere reflected in the stream. . MARE POPPIKS' REPLECTION (singing)

On, it's a Jolly Holiday with you, Sart A Jolly Jolly Heliaday with you,

A SWAN 8n¢ her cyeneta clide the: atene, diaturting the reflection, whith disaclvea in their wake.

as they step frem the bridge and approach a charming tee Pavilion.

ESAT AND MARY POPFINS

They have entered the tea pavilion, and Bert bows Mary PoRRing gramdiy to a table. 4A hatreack stands in B.g.

aga he tims and tosses his boater toward the o.s. hatrack. THE HATRACK

Bert's het, cane and Mary Popping' parasol fly inte scene, and find their proper places on the rack.

CLOSrn ON HERP

peated at the table. Leesking off ta a door in b.g., he tlaps bis hands. ;

fealling} Waiter! Service, please!

The door in t.z. swings open, and waddling out at high speed com four FENOULNS,

o4.5t

JH 56

vH-57

FH-50

JH-59

JH -60

JR-63

JH-42

JH-64

oA~6u

JH-66

JH-67

JH-68

Prod. 2162 {lst Hev, 5/2/63)

arms, and are hearing water giasseg, napkins and menus, They rush forward to serve their o.s. customers,

BERT, MARY POPPING AMD THE FENGUINS

she penguins scuttle around tne table, Placing & clean cloth over iv, gatting down a vase of flowers and water glasses,

BERT, MANY POFPINS AMD THE PENGUINS

One of the penguins leaps onto the table, filling the fleases from a pitcher. Sa is joined by a second Peagiin, woe hops Onto the table to present Mary Poppins and Bert with menus.

GHOVP SHOT - TH PENGUINS

One of the penguins leaps off the table, and joins the other three, whe atand waiting for the order.

ao ehe atudiles the menu.

CLOSE OW SUARTET OF. FEHGUINS (einging) - Order what you will Thare'll be no bL1l1 It's somplizmentary CLOSE OF MARY POPP IWS BART POPPING {spoken} You're very icind,

gu

vo vl

| JH-62

vH-64

JH-64

vH-55

TH-46

7-57

JH-63

Prod. 2142 a5 , : {lst Rev. 5/2/63}

“H-69 CLOSE ON SECOND PENGUIN JH-5

w-TO BERT AND THE QUARTET OF PENGUTHS JH-7E al It's t2ue that - (singing }

Mavis anc Srbil nave weys that are Winning . Prudence and Gwendolyn ses your heam. spinning

a-Tl CLOSE ON MARY POPPINS JH-7i as she svudies the menu, tmoring Bert.

Jo-To Toe FPENGULNS wH-T2 PEMOULKS (singing) Felicia, Pelicity, Cynthia - JH-74 CLOSE ON BERT JH=T4 BERT (singing) Charming!

Winifred's dashing, Vivian's aweet Sephante's smashing, Priscilla a treat =

JH-74 CLOSE ON MARY POPP mys Je-7 4

reacting dlaapprovingly to Bert's observations,

JH-75 THE FENGTINS JH=T5 FERGUINS (singing) Veronica, Millicent, Agnes and Jane «- JH-76 CLOSE ON BERT . JH-76 {singing}

Convivial company, tine and again Bercas and Payrliis and Glynia are sorts Fill agrea are three jally good sports -

eH-7T

ei-7E

JH-To

JH-40

TH-82

J4-83

TH -u

wH=85

JH-86

Frod. 2162 (lst Rev. 5/72/62}

CLUCSE ON MaPY POPSINS who looks on with mounting disapproval, SERT (stnging, o.3.)

Sut team of the orep - Tip of the top --

Sant AND THE PENGWINS

™B penguins have leaped ante the table, and jotn Bert in sOmz ,

S=ofT AND PENGUINS {finging}

2-'s Mary Pappins end there we stop! catSE CM MARY TOPPINGS as she pescta with pleasure to theis choice, GROUP SHOT - BERT, MARY FOFPINS aXt THE PENOUTNS Bert takes @ galt shaker from the teble, unscrews the top and scatters the grains on the ground. The penguins and Mary Foopins #watcn es Bert does 2 sand danca, GROUP SHOT - BERT, MARY FOFPINS aNp TSE FENOUINS

Berl appraaches the table, and gestures for the Penguins to join him in the dance, as Mary Poprins leoks on,

A=AT AND THE PENGUINS

One by one tha penguitns leap from the table and follow Bert, 32AaT aX? THE PENGUINS

43 they dance,

CLOSt ON MARY POPPFINS

meacting with pleasure #4 shé watches.

BERT AND THE PENCUINS

dancing. Sert mimics the penguins, imftating their ZTSturess and eVements,

SLOSE ON MARY FOPPINS

a= she watches.

oh+T

oH~T

Jo-7'

Jo-a

JH-8:

Je Bb

JB-85

wi «86

nd

JH-37f

(lat Rev. 5/2/63) SSaT AND THE PENCUING Ee they continue the routine. Bert playfully forces “fe Denguins to one side of the dance floor. Ther reacl in surprisé, then pleasure, and start cut to “ellow 441m.

a5 he scurries away from the penguins, “hen tise on them sudde ena nelas gut 2 estTaining hand,

CiucSE ON FENGVINS

a5 shey Sklad t2 @ Stop, toppling betxward on their heels.

Gancing a gola,

CLuCSs ON BOAT's Ferm

LOSE ON HERT

ag Ge tuUrms toward the penguins, zasturing for them to imitate the step he hea just done.

as he performs another routine, with 2 finger Snapping ending.

GAOUP SHOT - THE PENGUINS

aa ney take turns attempting to imitate Bert's routine, BIaT AKD THE PENCULNS

Bert watches as one of the penguina successfully duplicates a St#p. Gert performs a tricky slide, ae the PeEncuins react in wide-eyed surprise,

LOSE CN JERT

48 he goes inte a complinated and frenzied routings,

ending if with a flourish in front of Mary Poppins, BATtLNE at the table.

_—

-5

tu

m1

cH-d

Ja-3

JH=9.

wo=9:

JH-9-

“= @AST oh heyy fey Bi3T JPU4 2aepuom on (PUTEUTE | ENTAONSS ONY Tea

‘3° Westy wo sxoot euTddog fey cs “s¥eas eeouwe anhutivas

SOOT-EL SNXLOONsd (Nv Lose - SLONy BT

~~ BQ-BR-89- EE he

aed HO GScrIo

“- BACT @a Jeu. Z2eW £,45T a9U4 Jepuom on (Supsuya } SNIQSSgI Cy Loe

"A7xe ataqg ay afese ayy BROI0E YLESS EUPRFUSd pur ateg ‘raqaaces SuUtddog LItW SI TuA

“OHS MHD

-- ATRW UjtH 4eptto, £TTor # 2,47 (aay o5 SuTauts} tae

-- PUN BEBIG Ftq & ant] iWPAbe BLISS Jtea, THer PURI of Toast nox Bug, whos epTo, AleW_ uss (Supzuts } SNIQONSa ON¥' Le

“BUTASTS §T @tTddog Arey sgacde 641 wsac woOuUeD ABW et Weds WITS Gh¥d YHEWYD “STRUTS Butenosr & Ut gausafo+ ujtof Asus

TOOT - Fe

0OT-EL

LOOT- HE

OOT- Hr SMTOONSd Ghai CNY Lise

“FEY 93 To gind pue ‘NabrgEy sun Woy suES Pur FEU $Ty Fayed af

COTA det NO FST *“étpmacd atag 22 dn soot Be ‘"‘HyoeUsey ats go isos jenf Sutddeas ‘dm auzt aua asec aura ‘ur SaDTTS

SUM “ETnatad 48fT ayy Jo] adaays "420g In avai I ut At pnesd dn sul pue twoos oLNT ZUTETTS attics SUTnEUed aus ation fq aug

é€-br SNINONSd CN¢ SHIiddOe ALYW ‘GHSE - FIOMy EgdIa "SaTddog Ae Pur Atee Jo uetisacto

a4 UP YAbwo ls sTy Uo sents Pie deat Sutiuum BeHE Wata

"SUT Wins “Us. ‘STIpHt & ut Faliedo5 Snbetl otaus gaey fay,

Po-ES SMINSMAd SHL - [OHS anon

{EQ/E/6 ‘ase geT} ac e3te “Pose

ZOOT“HE

qooT*He

oOO THE

H#lOT-Br

TOooOT-Ar

OO T- Wl?

go-HS

JA-100r

JH-i00G

wo=100H

JH-100-1

en LOGO]

JA-1O9K

JH-1LOOL

| JH-LOGOM

Pa

Geri,

rod. #142 6 (let Rev. 5/6/63}

SERT AND THE PENGUINS JH-100 SLAPPING their thighs in time to the music. SFT, PENGUINS AND MARY FOPPING v4-100

Mary Poppins watches as Bert and Fenmiing conelude thei> Performance, dancing OUT OF SCENE,

a3 she aptiaude.

BERT, PENGUINS AND MARY POPFINS © cH-106. Se=t and Fenguins come TNTO SCENE so take thelr bows in

front of Mary Popping. Bert extends his cane Seward the

tasle, forming a tridge for th® penguins. Ome by one They leap onte the cane,

CLOSER - HEAT, MANY POPPINS ANT PENGUIES wF+100.

Bert gives the penguins 2 gentle shove, aad they hop from the cane onto the table. Each takes «¢ bow and departs, except the last penguin, who stands looking shyly at Mary Fopoins.

The penguin gives Mary Popping a kiss, then turns shyly sway 2S ane reacts with pleasure, Bert's tang comes INTO SCENE, el¥ving the penguin “the hook” and pulling nim OUT,

WIJER ANGLE - BERT, MART POPPING AND THE PENCIFINS JH-=100L

The peoguins look on ag Bert bows gallently and invites wary Poppins to dance. He draws her to her fast, and they begin to waltz. The penguina dante around the wnirling figures.

EBERT, MARY FOPPINS aRD THE FENCUINS vo=1OGK

Sert and Mary Poppins waltz toward the o.8. merry-go-round, whose SOUND grows stronger in the waltz time. ‘The penguins pound gaily around the receding firures. The b.g- whirls Taster, and the whirling colors begin to take the shape of a mMeryy -£o-rocund,

MATCH DISSOLVE

JH-191

vH=ite

w4-123

JH-104

JH-15

air

JH-106

JH-107

tty

z

Prod. 1

(lat nev,

THE MEARY-GO-AcUND - DAY

The trightly-patnted horses plunge to the mitgic of a callicpe and bress ensemble.

uLGSan - GROUP SHOT

Mary fOppPing and 3ert are seated oh wtoden horses . sehindg Jane and Michael, whe are wildly excited. The horses bear a striking resemblance to thei =tderas. 2LCEE ON BIOCHAEL

as one excitedly urees mis steed forwasd,

orf This 15 such fun: Imarine! Clr Own Private merry-go-round!

who La riding his horses side-szddle. 3ERT (nonchalantly } at's Very mice. Yery nice indeed, {turns in his saddle, ao he is riding backward) If you doen't want to go anpwhere. CLOS& Of8} MAHY POPFINS as she ridea demurely atop har sveed.

CLOSER - MARY POPPINS

a3 she leans from hear horse and calls to o.s, guard.

5/6/63}

so-0

vH-16;

vH=10:

v¥E-

thn

7H-104

JH-107

da=-198

va=19g

JH-i10

JH-111

JH-112

JH-113

vH-114

wH-i15

Bl

Prod. 2162

(lat Rev. 5/6/63} THE CUARD meer

< dumpy, cheruhic little MAN, standing in the center by the caliieope, with a number of levers beside mim. He ltifta nia tap -

Hé pulls back on the t2elliest lever +.

wuOSE ON MAAY ScoPerys eoi=-10¢ MARY POFFINS Thank you. 4 LONG Yew wH-11¢

With a geries of crashing SOUNDS, the calliope and brass ensemole on the merry-go-round Brows louder, and it picks WE speed. AS 1t sping faster and faster, Mary Popping‘ sorse plunges from the whirling platform onto the ground. vane's horge quickly *ollows sc4t, Michael's and Bert's horses both follow,

THE GUARD JH-1}1 shoute excitedly.

A LONG VIEW - MARY POPPINS, THE SHILOREY AWD BERT JH-112 23 they tound away from the erry -—0o-round ,

as the horses gallop across the countryside. LONG YIEW - 4 BRIDGE FA+114

Mary Poppins' horse comes over the bridge, followed by Bert's and the children's horses.

JAMZ AND MICHAL. va-115 Fichael] urges his horse forward, and starts moring up.

unhwoil

JH-119

wH-120

Proc. 2162 Sé-7 {lst Rev. 5/6/67

SERT AND MICHAEL weil as Pichael's sorge passas Bert.

Berry's homs# Plunges forward alongside Micnael's, and tna SwO MODSES race past Mary Popping.

Clhiss ON MARY POPPINS JH-217

BERT AND MiCHAEL . JH-L1 Bert relens in hia horse,

a hand} hoa: You win! Easy now -- GHOUP SHOT - MARY POPPINS, JANE, MICHAEL AND HER? wN=119

Jane and Mary Popping, riding sedately Side-by-side, are re- deined by Bert and Michael, who now have contrel of thelr steada.

MARY POPPIG Sverything in its proper place, at the proper. time.

A HUNTING HORN sounds in the distance, and Mary Popping rescte knowingly . ;

wi-122

JH-1z2

JH~1l25

JH-124

JH-125

vH-126

oH-127

JH-128

Prod, 2162

LONG VIEW - 4 FOK HUNT

which ja in progress, As the nunting horn SOUNDS, nuntamen and hounds bound across the countryside.

MARY POPFFINS, S2n? aND TRE CHILDREN

fitcing atop the mersy-go-round hewses, Bert end the Ciiidren book expectantly at Mary Fopping. She starts ait, Leading the way te the fox hunt.

ae they ride off in pussult of the nuntsmen.

MARY POPPING AND ELDERLY HUNTSMAN

A dignified and elegantly dressed huntsman, Bouncing along

acop his ateed, 15 suddenly overtaken by Marcy Popping atep He> wodden horse.

aS sh@ pasaes the huntsman and node.

Neivher horee nor rider reacts immediately.

As Mary Topping gees sailing tmperturbebly over 4 stream, the nuntaman's heree panics, misses the jum and both rider and horse £0 crashing inte the stream,

aa n# sticks his head ap out af the water.

( CONTINUED}

{lat Rev, 5/6/63)"

re o<G

vi-i2:

JH-123

JH-124

va-125

JH-126

| JH-127

JH-128

JH-129 |

wH-130

JH=-131

JH-132

vM=133

4-134

Pred, 2162 55-H (lat Rev, 5/6/63}

CONTINUE}: 2H-12!

Michael's horse comes sailing over the stream. The merry -go- sound pole pushes the huntsman's head under water Geain., Ags tke huntaman comes up for the second time -

cerTt's hoarge comes IN™O SCENE, and *he merry-go-round pole agatn Plunges the huntsman under tha water,

Jane's horse somes INTO SCENE, and once more the Huntsman is SUOMeDped,

sitting side-by-side in the middle of the stream, locking after she merry-go-round horses in wonder.

BORSE _ etek hoe Nevey ! TH= MERRY-CO-ROUND HORSES ©H-130 as they leap Over 2 hayrack, sitting in front of a atens wall.

BICHAEL (shouting excitedly) FYotoaks! ¥oieka! WIDER ANGLE - MICHAEL JH-132

ag he comes up behind a portly huntswoman, riding serenely atop her steed. :

a8 the honteawoman's horse resets in Perror to Michael's Plarce-looclcing steed. WIDER ANGLE vo=l 54

As Michael and his horse beund cut of scene, the hunting norse bolss, throwing the stertled Frluar ts tha ground .

HISTONG HORSE : Marciful heavens!

JH-+236

JH-146

oA=L et

Prod. 22162

a5 it clampbers up 2 sree,

Bert, riding backward, reelijing against the merry-go-round POle, gallops past a second suntaman. SERT (dorfing his hat) het cheer, Guy CLOSE + SECOND HUNTSELLN ANT HIS HORSE

Ag they react in surprise, each loses Bis monotle,

rRT riding off, waving te the stsrtlea hunteman.

The heors# sits down incignantly, refusaiog so #0 on.

stili atop the seated horse.

WiTER ANGLE

Jane comes riding through scene, waving to the Hhuntaman atop the seated horse.

7 SHE Ta tasp ---

a (tet Fer, 5/6/63}

-

Dew

wH-12

m=

JH-139

78-146

JH-141

va-lid

oA~143

c4-tak

JH-14U5

wH=L46

JH-147

wH=-144

J

Prod. 2162 a=K

(lst Rev, 5/6/63} MASTER OF TSE SOUNDS ic ey

seated atop his horse, surrounded by his pack of mounds, Horse

and hounds alike are “pointing”, when guddenly all react to

something o,5. CLOSES - MASTER OF THE HOUNDS : vH-j4! and hig horse, as they both look off and react to what They see,

—_ MASTER OF THE HOUNDS View Haloo! Wreow Haloot

THEIR VIEW JH-1l

Cf a FOX ~ with an irish trogue - sitting atop a stone wali, locking tack at them,

a6one SOUNDS the call, and gallopa aff in Pureult of the fox. CcLOSE ON FOE , 7H-148

reacting witn Sear te the sounds. He looks arcund desperately and takes the nearest avenue of escape.

a3 they race in hot pursuss,

ag they bound over the stan wall, howling and bellowing.

Pred. 2142

eye (lst Rev. 5/6/63}

st

erying desperately to gut-run the hownds ,

vit=-150 CLOSES OM Otpr wH-25 wig has {foined the chsase «

vH=-151 CLOSE ON HOUNDS JH-15) growling and panting in hot PFUrSHit of the fox,

wH-:52 CLOSE ON FOX wH-15i

as he looks over nls shoulder at the pursuing hounds, ta se8@ that they are gaining on him. ;

' POX Saints preserve us! Yodeks! JH-155 BEAT JH-153 120mg dawn to Bcoop up the beleaguered quarry. w4#-154 CLOSE - A HOUKD _—— - JH-154

who Makes a desperate lunge at the fox'a tall, just as Bert Pulls the fox ont of scene, The hound coes =Prawling,

JH-i55 ERT AND THE For ° JH-155

3eTt pulls the fox inte frame by che taal, and sets him

BERT

Up you ge!

The confused and terrified fox closes his eyes and hangs an to Bert for dear life.

“1 i eo 4m oy

cH~137

Ja-1

Cy

JH-161 -

Prod. 2162 &-M

(lst Rey. £/6/63)_ WIDER ANGLE - BERT AND THE Fox . wH=1®

BtOP the merry-go-round horse aa they s81} #asiiy over a hedge, followed by she acrambling hounda.

Bert and the fox with the hounds in close pursuit, find themselves bounding R1Sng & Pace cours,

riding on the back of sha Merry -Ee-raund horee. He 1s beginning to enfoy Ais sbhvtous advantage ,

atiil in hot purswit,

who 45 jumping precariously on the back of the horse, Shalienging the hounda - For {Sauntingly}) C'mon an' fight! ¥' dirsy omadkauns!

AS Oné# of the hounda JUMPS up to snap at the fox, the Fox kicks him in the snout, and retreats to a safer position.

CLOSE CW FOX JH-162

who has teken a position on the head of the merry -£0-raund nopase.

For {to horse) _ Faster, me beauty! (reacting in terror to something o.s.) Arsrgh!

Food. 2142 66 -H (lat Rev. 5/6/63}

JM-182 HIS yitw JH-16é

of a pounding pack of STEEFLECHASE HORSES and sheir RIDERS, pearing down on them from the opposite direction.

JH-163 BERT AND THE FOK J4-16

Terrified, the fox leaps onto Bert's haad and up the merry- go-round pole. Bert's boater has been shoved down over hig eyes, Bomenterily restricting his vigion,.

JH-164 "CLOSE ON For oh~16! clinging desperately ta che tap af the pole, JH-165 WIDER aHGLE - BERT AND THE Pox JH-165 Reacting ta the danger ahead, Bert tries frantically to Tein up Ais horse. Ag the horse comes to a screeching halt, She PUrSUing havndgy coms Craahing into them from behind, Theme 18 4 growing THUNDER OF HOCVES, a8 the steeplechase horses come pounding INTO SCEHE, Bending the hounds off in

ali directions. As the dust Clears, we see Bert's merry-go- raund horse spinning violently on ita pole.

7H-166 THE AOUADS wH-166 racing away, howling and bellowing in terrer.

TH-167 CLOSE oN THE Por JH-147 clutching the top of the spinning pole. JH-158 BEAT AND THE Por 7H-148

The terrified fox drops down beside Bart, and extenda his Paw, Bert takea thea pew and shakes it. °

Fox G-bye --- lad --- JH-169 CLOSE ON THT Por / FHe169 Quickly shaking handa as he Looks nervously about, Fur An! -- t-th-thank ye --- It's @ --

Ee .- EF - grand th-thing -- ya've d-done this d-dey --

fe quickly jumps to the ground,

.vwH-1709

JH-171

JH-L72

J5-273

JH-274

JH-17T5

Fred. 2162

a5 he hides shakily hehind a pest --

Pa I'll never forget it --

Michael and Jeane come bounding INTO SCEWE.

PER? orikey:

AIS VIEW

The pounding pack of ateeplechase horses, Lnetluding Mary

Popping near the lead, BERT

WIEER ANTLE - STRAIGHT BACE

facing the two Leaders of the race, sheir facas tena,

their mounts straining. Mary FPoppina =ppears behind then On the Méersy-gp-round horse, coming up fest. She leana forward alightly, and with her unbreila, taps one of the

leaders on the shoulder,

Would Fou be good enough te let me pass, please?

{lst Rer. 5/6/63)"

J

o-0

aH=L7¢

Jd-17a

JH-172

JH-173

8-174

Jvo-17%

uH=175

vH-177

uH-1TS

wH-1486

JA-1821

JH-182

JH-183

Pred. 2162

SLOSE ON JOcK=EY

GROUP SHOT '- MARY POPFINS aND JOCHEYS

The jockers doef? their capa and more aside, allowing Mary Poppins to ride through, directly between then.

7 MARY FOFFINS Thank you.

eVChaYS Wot at a11, Mum --.+

CLOSE CN JOCKEYS

wha stare unbelievingly as Mery Poppins forpesa into the Laad.

A LONG VIEW

ef the finish, as Mary Foppins,in the lead, 18 cheered on By the crowd.

ricing demurely atop her merry-go-round horse. WIDE ANULE - THE FINISH LIKE

as Mary Fopping bounds across the finish line, well ahead of the other riders,

Pleased with herself as she rides toward the winner's circle.

IN THE STiWARD'S BOX - ORCOF SHOT Two #legentily dressed English gentlemen - the RACING

STEWARDS, are discussing tha finish, The first steward 14 gazing through tinoculars, whlle the gecond chesics

nis stopwatch, The other gentlemen in the Sox lock on mutely.

SiCOND STEWARD (looking up Trem stopwatch) Excellent time, fentlemen.

2é {lst Rev. 5/6/63}

JH-i77

JH-178

wH-179

aH-180

vH-191

JH-182

JH+183

JH-184

vH-125

JH-186

JH-187

JH-168

Prod. 2t6&2

a3 48 lowers she binoculars.

AD TEE WINHEA'S CIACLE

Mary Forpins, holding a bouquet of flowers, és Deing pnotographned. There 1s an 4.8. soqund of HUMMING, which Somes Sram & group of pearlies standing naarby.

FEARLIES (humming) "im diddcle diddle diddie, "Um diddle diddle diddie,

GROUP SHOT ~ BERT AND THE CHILDREN

'Um diddie ‘Tn diddle

Tim diddle ‘Om diddie

are sitving on a fence nearby, eating candied apples aa The merry-go-round horses are tetherea alongesige then.

THe WIKHEN'S CIRCLE

{lst Rev. 5/6/63) ae: Cee JH-16° Ay AF 7H-156 Ay ay tH: ‘F they waten, JH-188

Mary Poppins ia aurreunded by newspaper reporters, photographers, track officials, buskers, singing pearlies and ha'pemry bettors,

der merry-go-round horse stands elongside

Flowers around fle neck.

There is an explosion and a cloud of smoke

her, @ garland of

2 23 the photographer

takes the picture. CAMERA MOVES IN as Bary Toppings ia savrreunded

By the reporters.

the race?

SECON? HEPORTER Gaining fame and fortune --

JH -186

va-289

vn 9e

JH-195

JH-154

Prod. 2162

CORTIAUED

THInD? REPORTER Having your picture taken for the néeweabpaper -~- ;

FOURTH REPORTER ; Besides having your extreme zood looks, if I may 347 sc --

CLOS= ON MARY POPPINS MiFY POPPING On the contra>y - there's = very good word! Am T right, Bert?

WIDER ANGLE - MARY FOPPINS aND AEPORTSRS

candied apple}

Nov at all -= GHOUP SHOT - MARY POPPINS AND FEARLIES

Ma>y Poppins has walked over to join the peariies, who begin humming.

MART POPP TNS

(singing) Super-calid -fragil-istic-ex-pi-ali-doecious

(lst fev. 5/5/63}

TH-186

JH-149

J5-192

| JH-193

JH-194

Even though the sound of it 15 something quite atrocious If you say it loud enough, you'll always sound precocious -

TOeHe

S6T-AL

B6T-Es

LE 1-H

9c T-EP

(£9/o/¢ “ASE 46T) oo

TOU ,UPYSE SO PeAEE 3FULL Pane B Petites]? J APP Glo usy4 ang Puq &ta T ag Pio poy AESA FT SOU BO GALT Aalaes an mya aoe WO PQ LS - PET & senf EA J UeUR weeds Of PTeITE oem T wetness, _ (upsuze} ee

“TSEUS Ta PUG suey tizts SUTIATE Ueaq RAY ey alaym faouay eu J7o gaumf ay se

dan INY NSYTILAD Sl

- 4y¢ STRPTP Om, ETMYad Biwood

"Peqse? LTUETAST ‘urmon fTuzod gz ATHYSd Biwood WO Sscrr3

— STPPTP STPPIP STPOTe om, LDYAd COL

“Deal 4ued sutcted ‘ai0ue & LIVES GHlas XO g50°1o

ay SIPPTIP mn, ATH¥add GNOOS

“SUpinogdes, © TupIead "Wemod Petserp ATUETIEF utTU4 "ILE & ATHVEa CNCI35 NO aso071s

“- @TBPTP STRPTD SLePtp am, — ATdyvsd LL

“UEMST Iss PSOTUIT4en UT ‘Tle & ATHVSd Leyla Wo ZEcrIo “~ SO PSOP- TLe~ Pd- x5- S748 7- TT#eas-TTeo-dadns (2UTZu Te) BaD IvSd Ot snlddtd IMYW

selTeVad SHL ONY SNiddOd RHYH - LOHS dno

e9Te “Pole

Or He

Oo¢- He

66 7-Hr

pot-HE

£6T-al

S6T-Hr .

s6t-Hs

JH-202

JH-2705

TH+ 20k

JH-205

JH-206

Prod. #162 5 fist Rev. =/6/635

GROUP SHOT - BERT, MARY POPPINS AND PEARLIES vH~-20%

Ba (singing) THe DIggeSst word you ever 's« And this is ‘ow it goes! On --

Pert end Mary Poppins dance and sing a chorus.

Even though the sound af 4t ig something quit# atrectoug If you sar it Loud encugh, Fou'] always sound precocious

They Tesume their places in front of Pearlies, who join in songz.

EERT, MAAY FOPPINS AND PEARLIES Super+cali-fragil-istic-ex-pi-al4-dectous!

Watching happily from their place on tha fence,

WIDER ANGLE - GROUP SHOT - PEARLIES, MARY POPPING AND BERT JA-204 Sert and Mery Poppins wateh, as the Prarlies hom enthusiastically.

MARY POrPINS (singing} Re traveled all around tha world And averywhere he went . {bowing to Bart} Ha'd use hia word and folks would say Thera go#s a clever gent -

JH-207

JH- 296

vH-209

FH-210

JH-211

Prod. 2162

$6 jlat Rev, 6/6/63} GHCOF SHOT - BERT ARD MARY POFPINS JH 20 As the pearlies wateh from te

Bert and Mary Poppins sing and dance a chorus. .

SERT, MARY FOFPINS & PEAPLT=S3 (singing) Super-cali-frasil-istic-ex-pi-ali-docious Even though the sound of it 4g something quite atroriougs If you say it Load enough you'll always sound presesious -

BERT ARD MARY POPPINS JH-20é

Dancing with their hats cinped forward, Concesling their faces. AS they end the dance, they push thetr hats back -

CROUP SHOT - PEARLIES . JH-209 humming and dancing enthuslastically,

GHOUP SHOT - MARY POPFINS ASD THE REPORTERS JH+216

Just summon up this word and then Youty# got a let to aay - Sut better use it carefully Por it ¢un change your life -

(glances o.4.;-

Spoken} Por example -- -

wH-212

wH-213

JH=-214

-gH-215

JH-216

wH-217

JH-218

Prod. 2142

Sh i5 an #enoswous, farmidable-looking lummox. Sh# raises

ner tambourine aa she glares 2t the pearly with “isapprovai.

as the tambourine comes crashing down on his head.

(singing)

Shets Fae Se 72s CLOSs ON THE FEARLY'S wire amiling in se#lf+satisfaction. BEAT, MARY FOFPINS ASD FEARLIES (singing o.s8.} Super-cali-fragil-istic-ex -pi-eli-doctouas!

CLOSE OW THE THIRD FPRARLY

£6 [lst Rev. 5/6/63}

ait

JA-222

JH-217

JH-214

JH-215

JE-215

who is short and fat. He ia vigercusly strumming an instrument

a8 he aings, .BERT, MARY POPPINS. AnD PEARLIES

(singing o.9.) Super-cali-fragtl-istic-ex-pi-alt-doctouas!.

BERT AND MARE FOPP ING

(singing) Supar-cal? -fragil—-tstic-ex-pi-ali-docious:

WIRE ANGLE - GROUP SHUT

SERT, MARY POFPIWS aND FEARLIES (singing) Super-cali-fragil-Lstic-ex-pi-ali-—dectous!

Qver the last of this, there is a Sudden CLAP OF THUNDER,

JH-clT

JE-218

‘Inodumop std uy sBME SuTUEEM PUP Jaqyezeg SUPT ae efoToan ada TTY ‘"ATEMepTs au3 wo aTeagcod mTRUS £.325E 3 MMO SHA VUOMVo 'etag auting

-- Tory ses fay steta atom fo, aletLL (2uyoup } peas i=l

BHT dios LU

‘qUeteAB si 4é wMop Bupycct TIE 248 fguy (oo "HISUQ SuTUPET ST AL ‘HIE D sy3 JO JUGI] UT ATPASPTR 97 Uo ElTazqmm a4 depum Fuppuyss

2-He MERCTINO FHL day sHidacd Aw 'DGH - wos dow asco “Gi gaATOSS1O

“WEELIOL MY OF UPHeq tloTos XTeUA ata TLE FF aqerPaouyere of ufseq Aayy ‘“amoeduacp #74 gdgo9a 04 #[Lasewadsap ups

oH SATTHYsd 40 dhOud WoHLONt

7 ‘SUNors #4 Go sgaTppnd ThyloTos sett

e-Ke Sel To¥ad DHL . ‘ET Tagen 344 2epum fatqyeiot alTppnu TTE #etL ‘om 04 aBoT> AB4E

+4nege UI 4,0ed 3 jsuef 7 TeeuoTW SMIldddq S2vw

ga-HE HGHTITHS Gai dWY luzd ‘SNiadOd AVN - LOHS anew : "ae

pure sutddeg Ate F=EAKO> UT FUE fegue; sun gyo dumf wets EF

eo Ht TzyHIIN di axyl ‘eT Tada

dav uade o: eupseq supddog figg "BUC TISaI TP TTE UF ATE Ta cagledstp pace at Bay. puTyed FF ‘ive aun 48 dn Bupqcot

wank SNIlddOd ZiYW ONY GEHE - BSO1D ‘Caw

‘NodusoD UsSPPMe & usGs 8SuUTUIUETI gO USETI = FT saaal

a zr E¥S he (¢o/5/6 "A5H 9€T}

K-56 EBOTZ “pocd

Sze-Hr

qee-Hl

tca-He

Zeon "Al

Te2-ar

Ode-Al

Te-He

JH-22T

JA-228

Paog. 2142 66-2 ; (lst Rev. 3/6/63)

LOSS OH BERT JH-226

as he looks up. His grin widens as the rain beats mneavyily into Ale face.

WED. CLOSE - MARY POPFINS AND THE CHILDREN dH-277

She seizes the chileren and nurries them off in the . d4rection of the Banks! house.

4g Mary Pooping and the ehildren wun down the streat, he chiléren call their goodbyes.

Jaa AND MICHAEL

(shouting) Goodbye, Bart -- Goodbye --

Be turns up nis coat collar, re-cocks his hat, and with @ ; light-hearted little atep, dances through the disintegrating forms and colors of his sidewalk pictures, and into the park.

; BERT (singing) Crim chim-in-ey - Crim chim-ln-y - Chim, chim, cher-00 ---

As the pain beats down, abacuring the acene --

S408

321-5

331-5

332-1

Prod. 2162 : 6S =A {lst Rev. 5/15/63) whe IK INTERIOR TH] WUASEAY 331-4

A fire glows in the fireplace. tm the hearth are Jane's ang Michaei'’s shoes, drying out from the dash tnrougn ene pain. Over the fireacreen and 8 nearby chair are several nieces of wet clothing. Wary Poppins! umbrella

esns ageinst she fireplace near the screen. ME, CLOSE - MARY POPPINS AND VANE 341-3 Mary Poppins is tucking Jane inte bed,

TAKE

{looking wp Lovingly} Mery Poppins, you won't #Vver leave us, Wili you?

WED. CLOSE - MARY POFPINS AXD MICHAEL a31-

Mary Poppins turns to Michael's bed, and adjusts the blanket around fim. ; —

Lal

hil Let Lt | ae

tal Lat e i i

331-7

331-E

3351-L

i31-H

Peod, 2152

as he site up in bed.

ME, SLOSS = Many FOPPFING 23 she repoves some of the slothing fram the ffirescreen,

MET, CLOSE = JANE

v ANE {axcitedly) On, we couldn't possibly sileap} - 30 many lovely things have happened today

Mra, CLOSE - MARY POPPINS She site ina rocker near the floorlamp, mending.

WED. CLOSE - JANE

WIDER ANGLE ~ JAWE AND MICHAZL

‘MICHAEL And we rade the Rerry<-go-roaund « then ali tre nerses jumped off -~ !

; J AE And we all want riding over the rountryside!

as he pe-Llives the ride,

Sé33 (lst Rev. §/15/63}

232-3

331-5

334-0

331-2

a31-:

Bal -

hal

Lal I

Lad mal | ‘ul

Ral 1A k=

A3L-R

331-3

ae. =2

Prod. 2162 G : et hey.

MED, CLOSE - MARY POFPINS aa she gees back te her mending.

cLOSE ~- JASE J SHE

Mary Forpina - dontt you remember? You wor the norse race?

FED, CLOSE - MARY POPPINS as gh#® looks up sternly. MARY POPPINS (severely) A respectable person like me in a horse race? How dare you suggest such a thing?

MICHAEL But I saw you de itt WED, CLOSE - MARY POPFIKS Tgnecvming the s.avement, she goes back to her mending.

331-

331-

hal Lal rr h a

331-¥

A351 -%

331-T

a31-<

331-44

Prod, 2162

SLOS= ON JAE

Wen, CLOSZ - MANY FOPPINS

He defiantly sita back eeainet the pillow, detarmined not te go to sleep.

sitting in the rocker, mending.

CLOSE OW JANE

who Lia finding it inecreasingiy datrficult to keep her eye Open. m

Bbon't li® down upon your bed +=

whe has put nis head down on the pillow, Fis eyes are peginning ta close.

while the moon drifts in the skias --

CLOS= ON MARY FOPFINS

Stay awake --

fboen't close your eyas -

331-

331:

a3L

B51

22472

231-D0

Lal Lal t

I - ch

Prad. E1S2

66-21

(lat Rev. 5/15/63}

ClLJSa ON JANE

Her Fes are clased and she is sleaping soundly.

LCSr ON MICHAEL de toc 18 sound asleep.

Tnhevugn your pillow's soft and deep -

which is leaning against the fireplace. The parrot 's eF8S are open, and he 15 looking cover to where Mary Popping ta sitting 6.3.

You're not sleepy

AB yOu 5820

Tha parrot!s ayea begin ta slaae. He opens his beak and emits a YAwH,

Star awake - . Den't nod and dream --

The parret's eyes are closed. As he falis asleep, his head droops to ons side,

eLOSE - MARY POFPINS

MARY POPFINS

{ringing} stay awake Den't nod and dram,

DISSULVE

33143

431-¢

331-5

331 -EF

dal Lal

cx

hal

\

hFh

Tsog, 2152

{ist Rev.

FXTERIOR - ADMIRAL ROOM'S RCOF-DECK - DAY

The 08xt morming. A beawtir aay. The signal flags are whipping crisply in the spring breeze, Admire! som ia PIPE ONTO DECK by Binonacle, who stands at atvention a9 Admiral Geom strides his domain, aviciy snirring the morning ain,

SINNACLE

He joyously starts pushing large Keres of powder up [Oo th Cannon mouth,

bel i |

my

hal

bal

La | ry a] a] a

hu |I- | fit aya cut

al une Fanks! hous#. Mes. Zanks i5 at the sidscdard amrearnzins the flowers #5 Ellen comes IN with some of thé oreaklass thangs. Singing in a STrena, renetrating volte, A robin ia ctpairmipinsg loudly OUTEINE tne wincow,

MES, BANKS I’ve rather a full schedule isday. Did you put the spollec eggs ints my carmy-allt

AAS, BANKS After thea meeting at Albert Hall, we're all going to Dewning Street —_ to tnrow things at the Frime Minister.

And Zllen goes GUT, humming, as Mr. Banks comes IN from the hall, Mrs. Hanks goes to him with # flower far his buttenhole --

MA, SANES - (irrtitably) - What's all that fearful caterwauling in the kitchen?

{ CONTINUED)

broken a dish all mertiing.

MH, Sanit nealiy? That is #xvreordinary., BANKS So# and Tock always But taday -=-

Mrs. Hanks pauses and locks 0.5, toward the Mr. Banks follows ner gaze.

AT THE PANTRY DOOR

whien ia opening. Mts, Hril: is gracidusly holding tne

apen for Ellen.

you, far you,

Thanks, MR. SANHS reacting te this in puzzlement --~ GROUP SHOT

Ellen, with tne tray, somes IN, humming. @ggs and Nippers in trent of Mr. Banka,

with your nose. and shut the window!

That pird 15 giving me a neadache., ZLLFA

Very good, sir,

fahe soe#s to window,

looks aut, and CALLS} Gutet! ¥ou'lrte givin' the Master ‘an ‘eadache!

rantry doer.

door

an ak

Lal ayk mW

She Puts a plate of

Lat F:

Lak f- mi

Rus

ef the reoin in fis neat. Tre rosin subsices. with tniured diam: IN THE DINTNG FOCH tz Ellen ¢léses the window, gees SUT ta ine centry. wnistiing Ligntiy, Mr. Banks glares after her, MBS. BANKS I’m garry you're not feeling wall this morning, dz#ar, we. SAMHSA Whe said I'm net feeling well’ iim in absolutely tip-top ghape: MAS. Sates I'm so glad, ME. BANKS firritably} T just don'*s understand what everyone's. so confoundadiy ¢ecnéerful about! Mr. Barks turng at the SOND of Jane end Michael singing, “ "Supearcalifragiltaticexplalidecicus” OFFSCENE as they come cdownstaira. TH TS2 FRONT ALL a3 They march down tha last few stairs singing, and INTO the dining roo, THE LINING ARGON gan

a5 Jan@ and Michael come IN. hey march happily arcundc tn table, singing. Mr. Hanks watenes them halefuiliy --

45 Michael marches pest his mother, he puts a bouquet of morning Flawers in frant af her slate,

fal Ir cm

3H6 ~356

Peed, @Lsz ae

al Til FANTAY Door ae

ul

(mS. EPili ana Ellen tut whet heads CUT, to acd tneio yotces 3 She song.

rh 3

; aL.

LSiNg2ng, sete0t Mr. Banivs) supercaiifragtiisyic- Sxplalidecczous! Supercalifsea4t4+stin- Expialidsceiaus !

This la encuen fer Mr, 3arks. SHOTHER ANGLE aug.

MS. BaANss Cop! tap! Step!

da ANE Gooc morning, Father, Mary Poppins taught us tné most wonderful werd!

MR, BANS Ridiculous! If you ask me, the antire thing i139 - is + uh --

( CONTINUED }

Prod, 225

246-350 CCNTINUED

351 GLOSE

on the «cl

z= ry (1st Rav, 6/26/63 2L6-3 MA. BAHES Winifred! Willi you c# good snough co explain thia unseemly nullabaloo? MAS. BARES {calmly} Ioden't thing there's anything to exolain, do you? You're cbviously out of sorts thls momming, and the children came in to make you fae] better! ° MA. SANS (with an effort ta remain calm) I should like to make one thing clear, once and for all. I am not out of sorts. loam in a perfectly equable mond. TI de mot requir® being made to feel better!

ock on the sidetoard, a4 FINGING SOUND that heralds

tne approach of eight o'clock,

MAS. BANKS

fo.s.) - George - you are alwaya saying you want a theerful and pleasant household --

252 IN THE DINING ROOM 352

353 ANOTHER ANGLE 353

Ellen and Mes. Brill come recing OUT of the pantry, through ne dining room and ODT ints the living rocm. They are follawed by Mra, Banks, Mr. Sanks, Left alone, geta up from the breakfa

table,

CAMERA POLLOWS SIM to the archwey between the living reo

and dining room. There 15 4 thatr there,

( CONTINUED}

| hh Lal

35+

Prod. 2152

m1 Laihal +

(lst Rev, €/25/

4a im Lal

AR, BANES Ionave no objection to anyone baing Pleasant or aneerful, Sut I de insist on proper decorum -=

MRS, DANKS {o,a.)

Five - Sour - three -=-

Mm, BANES Efli well you ome thing, Winifred, I dean't propose te stand idiy by, and watch this woman, Mary Popping, under- mine the discipline tn ay family --

CPPSCENE, Admiral Boom's cannon goes OFF with @ shattering ROAR. More than Tals the usual SOUND, The entire house quivers and shakes, There 14 alao the SOUND of falling bric-a-brac and rurniture.

The chair in the archway jumps up and strikes Mr, Banks back of the kné@e#s. He sits down abruptly. A vase on the pedestal behind him rocks back and forth dangerously over Ais head.

The pianc comes RCLLING INTO 3CEHE, hemming him in somewhat. Sut in Ais indignation, he continues wltnout peuge --

Mr. BANKS There's been something odd - I might fay, axtremely odd, about the tenaviour of this household since shat woman arrived - and I want yau to know I've noticean it.

MmS. BANKS Tes, dear --

MR. DANES . . 35

sete his coffee cup onte the plans, and plunks a key irritably. It gives forth a dtscordant SOUND. He pushes the plano ODT OF SCENE -

3 1]

MRS, DANES 356 as the piano solla INTO SCEWE, and ashe places the vase on it... MRS, BANKS

oo ooaas4

158-362 363-365

Brod, 2lé2 Tu fond Rev, 6/26/62" MR, EaNKS 357 as ne rises and walks INTO SCENE with Mrs. san, MR. SANES IT suggest you have this plans repaired,

When I sit down te an instrument, I want it in tune!

— MAS. BANS Bot, George - fou don't play...

Ms. Banks - in archway to the hall - turns...

He anatches up his wobrell2 and bewler and slama OUT the frent do

as Mary Poppins comes OUT with Michael and Jane, Mary FPoppios— has a shopping list in her hand. The e«hildren are bounding happily amound her Lika puppies.

Than the piano tuner’s, After that, to Hrs. Corry's shop form some ” Fingerbresad --

Michael is walidng along, one foot on the curbing and ane foot in the gutter, playing "long leg, short leg

{ CONTINUED}

a7a

aTL

Prod, 2162 Tr, {and Rev, 6/26/63)

(o.s.} Ahoy! Ahoy, there!

- LONG SHOT ~ THEIR VIEW OF ADMIRAL BOOM'S HOUSE 464

The Admiral and nia man, Binnacle, are standing In a small Powoost suspended by ropes Banging from overhead davits, mounted on the roof, With a long handled bruah and a pail Of water, Binnacle 14 serubbing down the side of the house, under Admiral Boom's direction.

ACMIRAL BOOM

{ealling down) Geod day to rou!

MARY POPPINS AND CHOLDAHEA 367

ADMIRAL BOOM 368

Treapure?

| MCLCHAEL We're going to buy some Fish! ADMIRAL BOOM AND BINNACLE Iii THE COAT 37a ADMIRAL BOOM |

Very goed! Proceed eat flanking speed! . {to Binnacle}

Lat's put our backs into fit, lad!

More spit and polish -- that's what's

wanted around here!

OMITT=D 372

why

Feod. 21

~

inh

ManY POPPING, JANE AND MICHAEL

Srosges Che atrest, 2fpreaching the park cases, Ther turn a> tne SOVNG of SARKING o.s. ” .

3feada THEIR VIEW

Le “44 Lu

AT?

of andrew -- Miss Lark's dog -- running dow the street toward them,

Many FOPPINS anD. oe CHILIREN

ManY FOCPPINS MAHY POPPINS

Not go Yast, Please, I e¢an't mexe eut &@ word you're saying.

MatY POPPINS

a73

<= Te—3,

mn

aos. Se

You know best. 25 usual,

Mary Poppins takes the children by the hands and takes them in tne DIRECTION from which Andrew came -

MAY FOPPTHS

There's heen a cheng! of plana! Come along, please! Don't straggie!

They hurry #¢erogss the street, PISSOLVE

Food, elee ‘. (ist dev. =/2/£3°*

A street exterior near Tncls Albers's house. Mery Poprina approaches CAMERA with Jane and Michael,

322-4 EXTERIOR - DOORWAY OF UNCLE ALBER?T'S HOUSE ane

Mary roppins raps at the door with tne umbrella handl«, Bers ofens the door and locks OUT, His expression is

Serious, - MAAY FOPRFINS On, Sert, I'm glad you're here, BERT 383 HALLWAY INTERIOR 383

as they 311 com If,

BERT _ Never seen ‘im as bad as thia, and thatia She truth,

Prom OFFSCENE comes a series of gasping, high-pitched SOUNDS .

Mery Foppins mations for Jane and Michael to stand behind her a3 she opens the hall doer to the front room, and goeg iN.

a4 DXCLE ALBERT'S FRONT ROOM - SB Mary ropping and the sthers stand at the door, Looking UF. MARY POPFENS (indignantly) Tnele Albert!

( CONTINUED}

La. oo | on

Tred. 2la2 - wat Fay, 2/3/6

CAMEAA PONS UP to dasclese TNCOLE ALBERT. floating effortjesal Up near the cop of the teiitng, The pign-ottcked Ra sping SCUNDS nave come from rim. But rather shan showing any 3ig45 of Gistreas, me has csen gasping with laugnter --

THCLE -Laee Bless - bless sy sculi ia that Mary Poppins? 7's delizhved ca

see you: DCWH AKGLE cei en Mary Popping and the gvcer at the door. MARY POPEINS {sterniz) Onele Altest, you Promised!

UNCLE ALBERT I - I knew, oy dear! ££ cried - really if did! Sut I do ao enjoy laughing, you knew! . (starts to break up} And th# moment I atare -. 15 - itts all up with me!

They start to giggle. SEAT AMD MAY POPFINS 388

SENT

Yes - whatever you do - keep @ atreaiant face!

(tmying so stifle

nis own rising

laughter The last time -- the last time -- it todk us two days to zet him down!

age

Prod. 2162

(Lat Fay,

EOWG SHOT

of the room. Mary Popping and the others lasking UF aa Uncle Albert bursts into Song --

ONCLA ALBERT

(singing) I ilove to laugh --

MARY POPPINS AND IE Craens UNCLE ALEERT (ainging o.5.) Fo, he, ho, ho ---

AM UP AWGLE

Mary Foppine and Bers in thes f.g- Unecla Albert floating

and bobbing above them -+-

And it's getting worse every year!

BERT AND MARY POPPIRS

5/2/65}

389-

. 390

a="

Mary Poppins turns indimnantiy to Bert, who can no longer

contain Als own amusement.

The more I iaugh, Ha, ha, Ha, ha -- The more [ f111 with glee --

He bobs GFWARDS -

a33

Fred, 212 (ist Rev

vAHE AKDT MICHAEL bubbling with laughrer -- UNCLE ALSERT (singing 9.a.}

And the more the glee Hee, hee, hee, hee

The more I'm a mesriar me! Ha, ha, oe, no, he!

BERT AND MARY POPPINS

Bert snickering unchecked, as Mary Poopins regerds hig soldi; -

Sapf! Soprt Serr! Ridiculous! That's whet it i3!

; ONCLE ALEPRT Tzzz! Pe2zxrz! Trerz!

MARY POPPINS ANT 3ERT

- 5/2/63)

_ tal Ny

AST

396)

( CONTINUED}

Prod. 2162 “lst nev,

uoi CONTINUED MARY POPPINS {cont !d}

(singing ] Fizzing and hissing Like snakes!

{mimicking Uncie

Albert } TZZ!: Trez! Terz!

{spoken} 7 Not at all attractive to oy way of thinking! a

ace TNCLE ALBEAT fleating and bobbing and purbling --

sn ENCLE ALBERT » ay!

“03 REHT AND MARY POPFINS

(singing) Some laugh tes fast .- (a rapid laugh) some only blast! {aingle laugh blast} Guhers they twitter lik= birds! (bird-like yamumer}

403-4 BERT

(singing)

Then therets the icind

Wot can't make up their tind (a series of - inconclusive

Laughs } 4o3-B UNCLE ALSERT

a4 —_ 5/2 /e7

fied

Lee

tog

4o3-A

403-5

“o4

LOS=A

wor

Prad. 2142 #2 (las Rev, 5/2/63}

Bet? SND MARY PCPPINS Hoo UNCLE ALBERT {singing 0.3.) Tive get to let go -- BERT [sonvulaed and joining in Song wlth Uncle Albert} With a he, no, Ae, Ao! He rises from the floor, moving ODF of FRAME --~ A WIDE ANGLE . Los AS Bert RISES from the floor toward Unele Albert -- (singing) And 2 ha, ha, ha, ha, ha, ha, too! BERT AND UNCLE ALBERT aos-A as Uncle Albert greets Fin warmly --

‘MARY POPPINS a6

reacting with disdain -- A WIDE ANGLE ° 407 .

Mary Poppins in the f.g. locking UP to Bert and Uncle Albe= Performing an imprompty dance step as they sing --

JANE ASD MECHAEL ; Loe bursting into laughter, and starting to RISE OUT OF FRAME.

“06

Fred. 2162

ANOTHER AWGLE

ca " ne um Gl

as Mery Poppins seizes tnem cy the ankles ana vO haul them down --

SEAT AND UNCLE aLSeer

And the more the gles

Hee, hee, bee, hee -

Tn@ more we're a merrter we!

FANE AND MICHAEL

Joining delitghtedly in with Bert end Unels Aloerc>. Again they rise OUT OF FRAME,

ANOTHER ANOLE

Mary Poppins resismediy watches Jane and Michael AISE AND fo ODT OF FAAME ..

WIDE ANOLE

Mery in the f.g., looking UP as the children iain Bert and Uncle Albert --+

S? VaSt Rev. e/a/e2:

ise

4321

Kt

H7

MITaA

418-8

Fread. Ble

TLlst ev.

4 WIE ANGLES

Mary Poppins in tha f.z., Lecking teward tie Busbling foursome --

oERT SOU KNOW, aPeaming cf atghta, shat reminda me of uy bretrer .-— PERT AND UGNVLE ALS rT z

UNCLE aLSFAT A Drether! Iantt cnat interesting!

(NCLE ALBERT Is that ao? What does he do? BERT

You know wot 's does? {laughing ao he can hardly get the worts out] 'E stands around in thts watch factory all day and makes faces!

Tncle Albert sereeaches with appreciative laughter --

A WIDE ANGLE

Fa C3}

b 3}

aff

gE

a

4~§

Mary Poppins in the f.g. looking UF to Bert, Gnele Albert,

Jane and Michael, howling and rolling with Lavgehter --

BERT AND UNCLE ALBERT

VHCLE ALBERT

TNCLE ALBERT? L certainly def TS means seme poor hors# ia waiking around in his stocking fest!

ALT-A

4123

418-4

Prod, 2252 as

1ig BERT “29 Tumbles ahous in a pareaysm of L3ughitear -- 420 A LONGER ANGLI Ear

Unele Albert, Jane and Michael aaugh uncontrollably, er: has turned ail the way OPSIDE TOWN, and 48 atamping on the ceiling in helplesa dalignt --

on Mery Poppins, logking UF --

al A WITE AMGLE B21 on the getling foursome,

422 UNCLE ALBERT, JAWE AND MICHAEL 422

ORCLE aALBrAtT Really? What's the name of hia othe» leg?

All guffaw wildly, bebbing UPWARDS and banging against the eeatling,

A23-A MARY FOPP IWS . hogs

423 A LONG ANCLE 423

uAa.3

423-¢

423-D

Wok

Pood, #162 e6 {ist Bey, $/2/f€3)

UNCLE ALBERT 424-

MARY POPFINS a 4234 MARY PCFPINS — (loftily) May Ioask, wnat you expect me to do? UNCLE ALAFRT hoa. UNCLE ALBERT

Well - I dislike to ask these things, but you could Manage to pet the tee table to --

(he pauses, Locking

5 DOWN and O.5., pleased)

13 —— 3

THE TEA TABLE §233-]

quivers sitghtly, and RISES TOWARD THE CEILING «-

ONCLE ALBERT, JANE AND MICHAEL | hol UNCLE ALBERT

(Sa the children) Keep your fe@t back! Mind the jam!

A LONG .ABGLE ABs

as the tea table comes UF and settles itself? in the center of tha foursome --

Next thing, I suppose you'll te wanting me to pour out,

She RISES OUT OF FHAME toward the ceiling --

hee

Prod. 2152

(lst Hey.

AT THE TEA TABLE

a3 Macy Poppina EISES INTO SCENE at the end of the tea tabla.

(as Maby is pourt

milk into the cupa I'm so glad you're here. It wouldn!s: have been any fun without you,

(the suave conversationalist} Delightful weather wa!=s having for tynis time of year, don’t you agree? ;

(Mary Poppins gives hig

a cecl glance and hands

him his cup) UNCLE ALBERT

Starts to giggle --

_. BF 3/2/63} toy

42g

(COMTINUED}

Tea

479-¢

Fred. 2262

Speaking of weather, you kaow, a rriend of mine went to buy gome lor underwear. And the shop assistant gaid, ‘How Long do you want 457° And my Triend said, ‘2h, “rom about September to March?? ;

CANE AND MICHAEL

igugh uproariousiy, and babs upwarits -- SEAT

guffaws unrestratnediy --

A WIDE ANGLE

All ~ with the exception of Mary Poppins - laugh and btobtle

aboct. The tea table tips and aways precariously -- MART POPPINS AND UNCLE ALBERT Unmoved, she hands @ cup to Oncle Albert «.

Thank you, gy dear, I'm having such a good time, I wish you could afl stay up here with me always.

JAHE AND MICHAEL

We'll jolly well have to! ‘Phera's nO way to get down!

OMITTIo

UNCLE ALBERT

a6 (let Rev. 5/2/63}

43h

ET QC

ag =D

479-E

“79-P

430-8 480-5

430 -¢

480-0

Pred, 2162:

MARY FOPPINS UF at MARY POPFINS Then, do fet on with it, please! UNCLE ALBERT AND BERT LTO =< ONCLE ALBER?

Is works Like a charm. Let me gee? something sad. Oh - the very thing!

The Woman next door answered her bell yesterday - and 4 man was atanding there. He sald, ‘I'm most terribly sorry - T Just Tan over your cat -- |

JANE AND MICHAEL AT9-F

starting to DROP behind the tea fabl#, aS their faces crow aomber --

ME CHAET, The poor cat!

UNCLE ALBERT AND HERAT . 48r

Bert and Gnele Albert, who have begun to DROP behind the tea table, suddenly BOB UPWARDS, aa they burat inta roars of laughter,

JANE AHD MICHAEL hao A

sheot UP again --

MARY POFFINS aeo-5

regards thie disapprovingly --

UNCLE ALBERT . hgec UNCLE ALHERT

You see? Tide trpte be sad. But aamehow, @verything turna out hilarious!

Prod, 2162 G (lst Rev, 5/2/63)

481 SERT AND UNCLE aLBSRT - 482 They start to SINK agein --

UNCLE ALBERT ; That's Very unfortunate, ‘What happened ta the Boor fellow?

. HER We don't really know. Near ag we ¢an Make cut, something ‘e disagceed with ate ‘lm! ~~ ~

Trey guffaw and skhaot UF Again --

482 MARY FPOPFI 482 Glancing at her lapel wateh --

fo go home! 43 BERT, ONCLE ALBERT, JANE AND MICHAEL 884

They all begin to slowly DROP behind the tea table --

493-4 CLOSE hag-A on Unele Albart, as his head DROPS OUT OF FRAME «. ONCLE ALBENT That's the saddest thing I ever heard! 454 4 LONG ANGLE Hen

Mary Poppins i already down, waiting, as Bert, Dncle Albert, Jane and Michael DESCEND INTO SCENE from above, They ge unceremoniously to the floor, all ending in Sitting positions.

Must you really go?

Les

48 -A

t66-5 TWO SHOT - PAVORING UNCLE ALBERT

Frod, 2162 91 Rev. £/2/67%

SEST AND UNCLE ALBERT ; HAs

ah ti uu ck

AT THE DOOR lb

Ma>y Popping, Jane and Michael tause to leck back --

MICHAEL

Don's wor>y! We'll te tack soon! JANE

Thank you! We've had a lovely time! - MARY FOPPIWG

Io keep an #Fye on Incle Albert, will you, Bert?

BERT AND GHCLE ALBERT 468 Bert pubs an arm around the diaconsclate Oncle Albert --

TO SHOT - FAYORTNO BEAT HES - A

' BERT Alehte. About me granddadady, it is. ‘Ad a oightmare. Scared ‘im sq much, . ‘ae chewed ‘14s pillow to bits! Next morming, Io asked ‘lm 'ow he felt, ‘Kot bad,’ ‘a says + ‘juat 2a little down in the mouth!" ——

Uncle Albert tresks into fresh tears,

ug8-5

468-0

48g

4o0

doe |

SERT AND UNCLE aLBeer

Lo always say there's nothing like a good joka,

Jusk on Cherry Tree Lane. Admiral Boog ia standing next SO his cannon, with erm upflung, #7#5 on pia watch, ready tO give the signal te "FIRE!".” Binnacia stands next to the cannon, ready with the Bunner's match,

Einmnacle applies the match to the touch-hole. They brace themselves for the explosion, There is 2 Sizzling and arumbling SOUND from the cannon, but no explosion, They turn to iook questioningly at it,

Mrs. Banks, Elien and Mrs. Brill are all ready, varilously holding the bric-a-brac and bracing the china closet,

The explosion of the cannen fails te eVentuate, Puzzled, Gheir heads turn toward the direction of Admiral Boom's o.8. rooftep.

ON THE ADMIAAL'S ROOF

He is gazing irritably toward the cannon, from which the muttering and sizzling SOUND still comes, .

Bees to the moth of the cannon and Peers ints the sizzling barre], From the cannon comes the SOUND of 4

Brunt, 4 small apologetic belch anda spume of black amore ,

[2nd Rev. 514/635

4é!

4Bg

hoo

aol

ig2

ugk

495;

B96

Agr

Prod. 2162 >

ANOTHER ANGLE Fl

Binnacle pulis tack and turns te Admiral Boom, saluting. Sinnacle's Face is blackened -y¥ the smoke.

ADMIAAL BoC {crestfallen} Pity! Still - there are days when things don't ¢eite always zo 'Socn', aren't there?

Binnesle picks up a amail Keg of powder,

Admiral Boom salutes mechanically ag Binnacle GOES ot, Boom 166n3 over she Parapet, reacta.

HIS VIEW . 4g

of Mz. Danks, walking slowly Past, vent in thought, ADMTRAL BOOM . 4g

Puzzled, consults his watch. Leans over the sid= to bellow --

MA. BANKS . 4o6 sontinues walking, wrapped in meditation, ADMIRAL BOOs uct ADCMTAAL BOOM (calling after him}

anything the matter, Ganka? caries |

499-504

Pred, 2162

Lay oad

{lst Rev. S/1/é

THE FRONT WALE | 98

a2 Mr, Banks approaches his own frant door, unheeding Admiral Boom,

INTERIOR - SANKS' FRONT HALL : uga

as Ellen, holding a vase under one arm, OPENS the deor for Mr, Banks. He hands her his bowler and gloves, as he stéggers under an ONSLAUGHT oy Jane and Michael, wno race INTO SCENE. They are weering tneir night shines.

w ANE PLrst we went to Urmele Altertia — and we floated in the air - !

BH, SANES Just a moment, please --

( CONTINUED)

Prod, #242

499-304 CONTINUED

wO5

SOT

v ANE Mary Poppins says if we are goad, she'll take us there again when «- (Jane's speech trails off as she sees her father's axpressian]

MA. SANKS

looking o.9,. to --

MAHY FOFPINS

calmiy descending the ‘stairs, AR, BABICS

Mi. BANKS

{arinly} T see, Mary Foppins said that, did she?

{to the

thildren) Will Fou return to your room, Please? and Poppins - will rou be g60d enough ta some into the front room?

a?

Pred. 2162 35 (lst Rev, 6/13/53}

206 A WIDER ANGLZ sna

Subdued, the children go UP the staixs, Mary Poppins soes -nta the front room, fallowed oy Mr. Banks, wha carefully closes the double door l#ading to the mall.

4cQ ¢LasE £09 aon tne children. They cause on Ee ataira, reacting WrReasily ta

as Mary Poppins and Mr. Banks come IN. Mrs. Banka is fust replacing some of the brtc-a-brae in her arms.

MR, BANKS I'm afraid there ia,

RRS. BaWks Fes, George, Of course,

li AT TSE KITCHEN DOOR

Fillen and Mts. Brill, heads Cagether, are listening througn the door, ajar --

kal [= tel

al

( CONTINUED)

Prod, 2162 3 - [lst Fev, 5/14/78

Lm

ee

am CONTINVJED

MAS. BRILG ; I'li cre sorsy to ses her Ro. She wasn't a ad sort for all her Sorange ways -~

fo fu

912-526 ° IN THE LIVING Room . 4

Me. BANKS In iijght of what nas Happened -.

MAS. SaAnxKS SGOrg@ - aré¢ you certain Frau know what yoy're doing?

4 Eritish bank ts min with Precision A British home requtres nething leaa Tradition, discipline and rules Must De the tools Without them - Disorder! Chaos! Moral disintegration: In short, you have a ghastly mesg!

The children meat he aculded, Shaped and taught Theat life's a looming battle To be faced and fought!

(spoken} In short, Poppins. fT am, disturbed to hear oy children speak about Popping in and out of chatk Pavement pictures, Fox hunta - bongerting with race track Persona, having tea parties on the ceiling, and highly questionable Sutings of every Kind.

{ CONTINUED)

hil

ivr

ay fil

ith

And popping through pictures

Have littie# use, Fulfill no basic need They've got to learn the honest truth Jespite their youth

They muss learn -

H. SaANES Frecisely'

TG tread your straight and narrow sath

With oride. f cewetTNtre Tsk

“Ol "ft i ee mh | el mH ht ugk “Wa

Si2-325 CONTINUED - 2

hho FF Wh | aad

MA

» FANES Absoluvely corres

+

elt

Mi. BANKS Splendid! You've aft the nail directiy Bn che <= (pause }

At my sice? Where aro we going?

Mary Popping goes ODT,

Mr. dans fFurns somewhat dazgedly to his wifa --

BR, BANES i aay - did I say Fo waa going to take the children to the bank?

He chuckble#s in Sel?-satiafactian.

Fred. 2162 3 {lst fev. 6/'26/43+

THT, NURSERY 520.

-

Jane and Michael run te the door as * and clutch at her -- Mary Popping cemes TH

. JANE {tearfully} No, Mary Fopnins! WNo!f We won't let you go! a0? Go MARY POPPINS ° 7 What on #arth are you talkin about? d . MICHAEL Didn't you get sacked? MARY POPPINS Sacked? Certainly not! I am never Sacked! JANE (relieved)

Oh, Mary Poppins!

{ CONTINUED}

‘Peod, 2122 oo

CONTINUED = 36. MARY FOPPINS Oats buss, birds fly and children who are g0ing on an outing with tneir father mus: have thei> sleep. Come along, apit-apaot!

Mary Poppina, you must have put the idea An his fh@ad somenow.

Sh@ nas herded the children to their beds --

in the City? Oh, Michael - imagine! Tne City: We shall see all the sighta! Pather can point them out co uat

( CONTINUED)

he

From her dressing table near the connecting doar toa the nursery, Mary Popping nas taken off a Victorian -style paper- wetght. A small heavy crystal bali cantaining a replica of St. Paul's cathedral. As the children look --

aNd INSrat E34

An Li Fe

af the paperweight.

as Mary Poppins site on Jane's bed --

SOnG: MARY FOPFINS (singing } Early e#ach day To uhe atepa of Sr. Faulis The little old third lady comes rn her own spectal way To the people sh@ calls - ‘Come buy my bags full of erwnps'

{CONTINUED}

Lil day Ym l S[k Lek ma

aI Lat +]

hu fal iy l Lal

wo N tT INVED

MARY FOFPING feont'd} {singing} Come Seed che little birds show them you care and you'll te giad if you de Their young ones are hungry Taugis meats are so bare All it takes ta tuppence From you --

Mary Poppins turns the faperweiznt CVSH, then righea it again. CLOSE oT

on the péperwelent, 4 skhowe> of white Particles, suggesting birds, flutters DOWN and ABCIT tre replica of St. Paul's, tomersed 2n the liguid within the glass Ppaperweizhs.

DISSOLVE

ZiT. ST, PASL'S - Day - 636

her long akirts on the ground, They are in her pockets, on her shoulders, #nd in the atr about her,

MARY FOFFINS

{Singing 9.8. } Feed the birds Tuppencte a bag Tuppence, tuppence, cuppence @ bez Feed the tira That's what she ¢ries While overhead Her birds 7111 the skies

CAMEHA IS MOVING BACK to reveal more scope of the cathedral. ‘PANNING UFWARD, 1t reveals tne dome and large flocks of pigeons flying about is.

{ CONTINUED}

Lal on

S4r

Ele

Prod, 2162 0

Kal

(ist Rev, 5/27/63} CONTINUED 535

TNSTROUMENT AL MUSIC 28 the birds wheel and turn overkead - Tie birds flutter down around the Bird Woman, st111 poking lari her siirts, snuggling into her pockets, sitsang on aan nat.

DISSOLVE

eT toe plass paperweiset. MARY FPOFPINS 540 MARY FOPFINS (singing) Though her words are simple and few Listen, itsaten, she's calling to you - A WIDER ANGLE EAL 48 Mary Poppins tucks the covers closer about Jane 4nd Michael, who are asleep. MARY POPPING (singing } Feed tne birds, tuppence a bag Tuppance, tuppence Tuppence a bag. DISSOLVE ekT, DOME ST. FAUL'S CATHEDRAL - Day 542

CAMERA HOLDS ON the dome for a moment, then slowly pans DOWN 30 a city street nearby. OUT of the passersby emerges Mr, Banks, followed by Jane and Michael, holding hands. OVER SCEME we hear the HELLS.of 3t. Paul's.

CAMERA MOVES WITH Mr. Sanks, Jame and Michael as they Walk down the str#et, appreathing a corner.

(CONTINUED }

Bt

Pred, 2142 (lst Rev,

COMTIMUED

They have reached the carmer, Mr. Benks starts around when suddenly Jane reacts to something o.8.

JANE .

Michael! Look!

The two chtldren pause ts look 9,5, TH=In V¥VIow of the BIAD WOMAN, Seated on the Steps in front af &t, She is surrounded by walicing, flying, fluttering birds. preffers Gags of preadesrumbs to the Passershy --« BIRD wWwoMad Peed the birds! Tuppence a bag! Feed the birds.

JANE, MICHAEL AND MR. BANKS

Just where Mary Poppins aaid she'd bet MED, CLOSE - JANE, MISHAEL AND MA. SANE?

tou 5/87 fe

6 5

Sui Faul's,

dhe

Bs

S47

{ CONTINUED}

Su?

cag

549-4

BA9-5

549-D

Prod. 2162

THEIR YIiW - THE BIRD WOMAN

FANE © Please, Father, cay we feed the birds?

Nh. BANKS Whatever fot?

CLOS2Z - JANE AND MICHAEL Looting “Up pleadingly at their father.

7 ANE But Mary Fopping ssys --

LOSE - MA. BARKS

MR, BadKS Iam not interested in whet Mary Foppins Say". Nor do I wish to keep hearing her pame for the rest of the day. Now, come along!

{lat Rev, 5 fet fea)

BAT

og

5h9-1

59-5

549-c

549-D

4h

oo ee

S4o-F

ao0

oo2

Peed. 2162

CLOSE CH MICHAEL

Hé starts toward the bird Wwonhen ,

a3 he walks toward the Bird Woman in Doe. MA. BRANES [o,8.) Michael! Micha4l turna to leok at Aig father,

MR. BANKS Iwill not permtt you te theow your money away, MA, SANKS AND JANE MA. BANES sa Michael o.a,} When we get to the bank, { shall show

Fou what may be dong with your tupoence, Yau will find it extremely interesting,

atill looking back at his father, trring ta decide.

MP. Sanks starts down the street, aa Michael comes INTO . SCENE to join Jane... She takes Ris hand, and the chtidren Start down the street behind their father. Michael leon

back wistfully towerd the Bird Woman, o.3, SIRD WOMAN fo.s,} Feed the birds -- dIS View to# Bird Woman, as she looks after them impasaively.

DISSOLVE

it (1st Rev. 5/27/63,

Gi

wn

Wi

54g-2

i

550-5

ie

Kr

kIl

Lak

ait

eh

hm

oOo

Prod. 2142 T

j

{lat Hav. 5/2963

a

1] |

which ta on the pedimen: high aboye the columns af tne tank. CAMERA HOLDS on the plaque which reads: "THE DAWES, TOMES, MOUSLEY, GRUBES FIDELITY FISUCTARY ZANE “Tb,”

DISSCLy=

iy 16 4 massive, centuries-old structure of decorum and Prdpriaty. Mr. Sanks and the children descend the eteps leading So the tuge doors, which are Planked by stately eolumns. & deorman stands ready $6 admit them to the hank,

as the doorman opens the door for wre. Banks and the Children, ushering them into the Nein Hall.

SHOOTING DOWN on the counting and drawing hall whers the tellers! cages are, The atboaphere 13 hushed. Mr. Banks and the children walk toward cahera, mast wne Valler's cages.

CLOSER - MR, BANKS AND THE CHILDREN Ssh.

as they walk down the main aisle, Jane and Michael

100K about then in wide-eyed wonder as ther pass the tellers! cages, Both tellers and clienta Peak in tones Siightly above’a whisper, Messengers fo by on nodaeless feet. The interior of a cathedral could not be gore soleon.

Ag they reach the end of the hajl, they come upon the

lobby of the executive wing into which the directorst

affices and the board room open. Mr. Banks ond the

thildren stand waiting 2s the Messrs. DAWES, TOMES, MOUSLET and GHUEBS appreach than.

as Dawes, Tomes, Mmuster and Grubbs walk toward Br. Barks and thea children.

MAR. DAWES, JH, Hullo, Sanks, What's sll this about?

The Bankers sterd looking down at she culidren, {CONTINUED}

56-4

i

555-5

556-9

Prad. 2142 108 {lat Aevy, 5/29/63

CONTINUED 556

MA, GANKS These are oy children, Mr. Dawes.

MR. Dawes, JR, So I assumed. Sut why are they here?

REVSHSE SHOT - MA. BANKS AWD TSE CHILOREN “ 5aG-A So INCLUDE She backa of the bankers. Mr, BANKS Tey wish to open an account -- CLOSES ON THE BANSEZAS 656-B Their faces show their SPpreval, aS they continue to leok down at the children, MR. DAWES, JR, On capital! Capital! and how puch money do you have, young man? CLOSZ ON JANE AND MICHAEL 5a MICHAEL. (closing his fist protectively on the tuppence } Tuppence, but Io want it cto feed the birds. MA, DAWES, SR. {a.s,} . Tuppence! They turn. THEIR VIEW 555-1

SRCOTING ACHOSS the lobby to the far dear through which

AR. DAWES, SR. nas just emerged. Ha is a.fragile, stooped

man of minety-odd years, and a3 he] makas fis Way acrass the lobby toward the group, he leans heavily on a Z0ld-headed cane.

AR, DAWES, 3, Tuppencea! That 15 presisely how I started...

At hat mm ' ‘ay

aa

S37 -B

Frad. f1a2 174 (lst Rev, $/29/63}

2a he locks o.3. at the tiny bentsover man approsching him. WICHAEL {perplexedly} A giant? 313 VIEW 557 of Mi. Dawea, Sr. aa he totters aerosa the ichky towars ene group, CAMERA MOVES with nig sa he moves ints secane and stands directly in foont of Michael. MR. DAWES, JH, Thes#® are Benks's Shildren, Father. They want 79 open an account. MR, DAWES, SR, I know, boy - I know! Ag thé old man totters past his Son, he rapa the Jr, boawas! ankles with his cane, MA, DAWES, JR. Of course, Sorry, Pather. MA, DAWES, SR. (standing in front of Michsel and extending his heng) So you hare tuppence, May I be PeToltted to see it? FEVERSE ANGLE - MICHAEL SS7-A as he locks up fearfully at Mr. Dawes, Sr, Wi CHARL (clutching the tuppence in his fist} i need it to feed the birds. MEVEASE ANGLE - MR. DAWES, SH. 57-3

as he peers down into the boy's face.

AR, DAWES, SH. Fiddlesticks: Feed the birds and what have you got? Fat birds! But --ir Fou invest your money Wisely in the bank -

(ainging) safe and sqcund Soon that tuppencs Safely invested in the bantr Will compound. _..

37-0

557-3

55f -E

Prod. 21é2

[lst Sev.

pulling beck as Hr, Tawés, Go. leans over “in - AR, DAWES. Sk, (singing)

And you'll achieve that senge af conquest Aa your affluence expands --

MED, CLOSE - MA. DAWES, 3h. Surreunded by the other bankers in B.g. MA. DAWES, 5A, (singing) In the hands of the directors Who invest as propriety demands. H# Pauses, out of breath and exhausted, CLOSE OW MR. SANES

CLOSE OW MA. DAWES, SR.

MR, DAWES, SF. Garry on,

WIDER ANGLE - MR, HANKS AND MR. DAWES, SR.

5/2576

in f.g., With Dawes, JIr., Tomes, Mousley and Grubha in } a They all face the children, aa Nr. Banks tries to Lmpress

Eichaa] with ‘the-tmpertance of Saving his tuppence.

MR. BANES

{singing}: Raliwaye throwgh Africa! Dams across the Mie!

MR. DAWES, SH. {spoken} The ships! Tell htm about the ships?

Fleets of ocean greyhounds!

AR. DAWES, SR, {apokenj Moret Tell him more!

xin

-

a=

Lik

557-2

S5T -E

SST -F

557 -@

Prod. 2142 1 L5t Rev, 3/09/63

SST-H CLOSE ON MICHAEL 5

as he leaks cp at the Erour.

Mi: HANES {singing ¢.3.,} Majestic, seli-amortizing canals!

MA. DAWES, SR, . How it fires the imarinaticon!

Mr, Hanks and Mr, Dawes, Sr. in .g. with the other hankers in big.

BR. BAMES & TH DIRECTORS {singing} TupPpence = Prodentiy, thriftiiy, frugalir Invested in the --

BR. DAWES, 3, Ta bé apecifie .-

WR, BANKS & THE DIRFOTORS

(singing) In the Dawes, Tomes, Bousley;, Grubba -

; Fidelity, Fiduciary Bank! 553 WIDER ANGLE . 556 Jan# and Michael stand in f.g. watching a5 Mr. Dawas, dr, pounds on the floor with hts cane, Keeping time to the masic,as Mr, Hanks and the directars march past him, 558-4 CLOSE OM MR, DAWES, SR, S58-A

as he potinds his came on the fleer, The children Wwateh irom b.g. a3 they huddle together fearfully,

Frod. 2162 112 S80 dev. 3/29/63) f59-5 MED, CLOSE - THE BANKERS 558- Dawes, Jxr., Tomes, Mousley and Gruihhg as they march Past camera.

2a he leans over ané sxtends his hand «2 Michae? fer the tucpence, MA. Dawes, §R, Very well, my toy -- aS he Pulls back, sttil cautcning the tuppence in is ftat. MICHAEL Wo: Iowant !t ta feed the birds! 359-3 CLOSE ON MA. DAWES, SH, 559-3 as ne locks’ up angrily and shouts - MR. DAWES, SR, (shauting} Banka ! 530-0 CLOSE OM MA, BANKS S37-C BR, Bane {nervously} Yea, sir -- (leaning over Michael) How, Michael, when you depesiz uppence in a bank account == 2o9-D PEYVERSE - CLOSE OW MICHAEL 559-D MR, BANKS (singing o.a.} SCon you'll see +.

MA. BANS - {singing}

That 4t tleoms inte eredit Of a generdeas amount -- Semil~annually. Mr. Dawes, Sr. and thea ather bankers move in CLOSER ,

{ CORTTNUET }

qin LiF ‘oO i Pi

uh Car wh

vaa-0

2oo-H

Soda

Prod. 2142 / {let Rev. 5/204

abi! —— i ak

hhh

li Wi I

Isl

moss = MICHAL , 554-7 as Mr, Dawes, Sr. leans over kin. >

HIS VIEW 559-¢ of Mr. Dawes, Sr. who starts advancing toward them,

MA. DAWES, SR. (singing)

First and Sesond Trust Deeda - {apeken as he leans toward the children)

Think af the foreclosurea'!

REVERIE DOWN SHOT - JANE AND MTUCHAEL 559-8.

as they Look up perplexedly at Bt. Dewes, Sr. As h#® leans ciaser and closer, their expressiona change to fear.

MH, DAWES, SR, Bonds! Chattels! Dtridends! (leans closer} ahares ! °

During the ahove, Mr, Hanks and the other divectors EWPER FRAME and begin advancing on the children, who back away Pearfully, :

THE DIRECTORS - JAME AND MISHAEL"S F.o.Y. 559-7

Lead by Dawes, Sr,, the group continues te advance,

DAWES, JR. . Ali manner of private enterprise!

{EPUe VE poe ruz - PUETEUG Jo GAWed a4 PUSIE aTTUR "us ‘Stiavd "EW

"US3Ea LetPT Tus

PSeTSULOO.eU Be TS ‘Same teatro aylreg “2M pite “or ‘seared

THE

OHS dOOun - FIOKY HADIA Tea *BOLISI303 DE tpaeve ainda? &TY zo woles Bt]

{ATeeIeo fuerte TEyo #43 ae datuTy

SY JEwEIp ‘fueq & BSuTyenm4} “HS ‘“Saatd “ue

*EIogSaITD Ss] pues

SMUT ‘2h og papumedine "HS smaraxe UT “ag "ess “oh

1-055

"A’O°d S$, TIYEDIW Gay Wyo - GuoLogTd awe 8 =¥-O95

11 TAU a {ITEM 8 SUTRAS panoeg Sat TetucTe Pt eter) [RUOTIOWES Tea 86 jeueTIEdodiesr HOLA IC

"Meld Gory Agee Noe

23 GSNOTIUOS TSeUaTe pues esuer ge ‘dros Fupoateape aya jo

O35

“655

et

5/62/2 ‘asd 16T}

xt oe

PTOat YWocia age ' ¢e PLUUEL {‘s‘o] “Er “saayga pee TST T LoS {"e*D) b= Naboo iP TTSAURoIED at (7 B7O)} faWol | PPMEAA TUS {*s'a} ATISOOM

"Lime Buypaveg TAYEDIW IN ONYE& - LORS Mao H-625

fete “head

Fol=A

ul a | ed

Lut

261-2

661-0

eé1-F

561-6

Prod. 2162

‘lat Rev, + /2o/8

7eUSE ON MA, DAWES, SR.

He ia being propped up Dy ALS son anc Mr, Banks, who SUpport Aimoon either side, He leans over “he Chlildrean me@nactingly.

MR, DAWES, SH. , When 7211 tha banks of England - England falls! -

His Y¥iow ef che tercified shtldren, cringing agetnat the wall. MR, BEANS

fo.a.) You se¢, Michael, all for the lack of --

RED, CLOSE - MR. BANES AND DIRECTORS

MH. BANKS & DIRECTORS (singing) Tuppence, Petientiy, cautiously, trustingly --

WIDER ANGLE - MR. BANKS AND DIRECTORS to include Mr. Dawes, Sr, leening over the child-sn in a

Invested in the - To he epecific -

He ruba hts chin thoughtfully as he looks down at Michael.

MR, BARES AND DIRECTORS

{singing o.3.) In the Dawes, Tomea --

CLOSE OW MICHAEL

He pulla back in Fear and his Fingers loosen on the tuppence,

AR, BANKS AND SIARECTORS {singing o.3.) Boueley, Grubes -«

Scat

of the tuppence in Michsal's hand,

AR, = AHD DTRECTORS (singing o.s, Fidelity, Fiduciary «=

i-A

han on

361-3

561-1

S61-E

5e1-F

561-6

501-4

561-5

Peed. 2162

as he Maches forward,

MA, BANKS & DIRECTORS nank' (einging o.a,} ank |

Mr. Dawes, S>. snatehea the vUppence aut of Michael's hand. Hta eyes glitter as n= looks at the SUuppence,

MA. DAWES, 5H, (to Michael} Welcome! ~- Ta our joyful famtly af investors!

Mr. Dawes, Sr. and Michsel Struggl¢ over the tuppence,

INf, MAIN BALL - A TELLER'S CAGE

Two WOMEN standing at a teller's CRE react to the surmedi in the lobby, The atarcied teller looks os. in disbelier,

{ CONTINUED}

1i (lst Rev, S/aq/éa-

in

woe roa

561 -,

56) -E

Lae m ho

oro

ofl

Prac, Pi5a

COMTINUE

The settnd women grabs the lapels of the dumbfoundea teller,

MED, CLOSE - ANOTHER TELLZA'S CAGE

A GENTLOMAN client reacts to the woman's Yoles, as it CAAAIZS OVER, and pounds his ftst on the counter, demanding his money from another startled veller.,

<N THE MAIN HALL - WIDE ANOLE

Siall flurrtes of panic mount tnaroughout the room, *He

customers all race to the counters SHOITING for theiz mon#F .

SHOOTING OUT toward the onrushing mobs. As the SHOUTING INCHEASES, clerks begin to alam the wickets ahut.

aUNG SHOT - DOWH ANGLE

of the Main Hall, ag the panic spreads, The entire place is in an uprear. p

The MOISE inside the bank spreads the panies to the outside. and passersby storm up the front ateps, trying to gain entTence to the bank.

WIE ANGLE - MOB CF CIMSTCMERS

taying +o force their way through the doors leading into the Main Hall.

MED. SHOT - CLERKS

ag they hurriedly remove hags of bullton,

a3 he pushes shut a safe,

WIRER ANGLE

An #iderly clerk, staggering under a mountsinous atack of ledgers, collides with another clerk who rushes inta ScEwE

(lst nev. 5/29/63).

a

see

Rot

5ST

nog

aT

SoTL

CaiTying bags of bullian. Ag they collide, tullion and ledgers

gO flying.

are

ara

eT4

S76

ate

57a

a7g

rod, 2142 11a (at Rev, 5/29/63)

Of the panic stricken mob as 2 guard forces his way Shough tne confusian to alert the management,

as the guard whiapers to Dawes, Jr., wha reacts in norros. He leans over and whispers to Ras father, wno replies anerily -

DAWES, SR, Hen on the bank? Plddlesticks, boy | Hasn'® been 2 sun on this bank “er two hundred yeaerg!

WIDER ANGLE - GROUP 3HOT 74

Michasi takes this SPPOrTUnity ta retrieve his tuppence, Ha Teaches over and snatches the Cippence from Mr. Dawes, or. Jama and Micnael turn and Sun, a8 the tankers react in anger and surprise,

MR. DAWES, SH, (shaking hia cane} Stop that young ruffian!

vaNE AND MICHAEL oie as they run through the milling erewds in the Main Hall,

SLOSTR - JANE AND MICHAEL sTé pushing their way through the moh.

WIDER ANGLE - THE MAIN DOORS arr as the guards trey to shut the doors against tne mob cutatde. CLOSER ~- JANE AND MICHAFL STs pushing through the crowds,

4 GUARD " ato

whe is bursting Jane end Mienael through the milling throng.

5680

‘ah mu rar

poh

5e5

SET

Prod, 2162

7”: -

‘(lat Rev, 5/20/63) SANE AND MICHAEL 520

running through the erowd, followed by the guard. her =inally eacape by crawling under the Legs of the customers.

as Jane and Michael squeeze through the milling erowd outside, and -um down the Steps of the bank.

REVERSE SHCT - CLOSE GN GUARD Fee

as he tries to follow the chttdren Phrowsgh she doars, Puaghing against the Strugzling customers,

The doors slam in his face. aA City of London POLICEMAN outside the bank blows his WHISTLE,

Jané@ and Micha@] plummet dewn the street. Prom the distance comes the SOUND of a police WHISTLE.

LOSER - JANE AND MICHACI, 5B

TUNING down the street. 4s they turn a corner they Tun directly into a POLICFMAN, who hurries OFF in anawar te he police whistle, The “children dash arf in the opposite direction,

Jane and Michael come Tunning SCWARD CAMERA, down 2 long

narrow street. As they come in CLOSE, CAMERA HOLDS on their terrorized faces,

HEVERSE SHOT 526

as Jane and Michael run down the street, and around a corner, ,

CLOSER say

on the children as they turn the corner and find thengs@lres ima dead and. An evil-lootcing old CHROME, comes INTO SCENE. Jane and Michael turn and dodge fearfully peat hes pawing' hands,

_ The police WHISTLE SOONDS eaain o.s,

Sun ne gcrosa a bridge, apanning the river. They run down the steps and OFF into the distance,

531 & aoe

a90~

Prod, 2162 ce, (iat Rev. ¢/aq 93°

MED, CLOSE - JAN AND MICHAET, =o

a6 they run past a building, and are confronted by a viticus, snarling doz.

WIDER ANGLE - JAWE AND MOCHAEL aoe

es they turn and run back down the atreet. sg fney round a ferner they come te a sudden malt and leck up in terror at a atrange APPARITION. The apparition's face 44 smudzed

Slack, and peculiar brush-liks forms pretrude from fs in

every ditection,

OMITT=D S91 & S92 JAHE, MICHAEL AND APPSRIFTCH a. &o

Jane Screams, as the creature seizes both of then. Michael atruceglaes feroctoualiy.

Terror-stritken, the children enly fight the harder, APPARITION Come off it, young Michael! Jane - look at yourself. You're getting ail sooty.

Jane and Michael cease their struggles to look wornderingly af thelz captor -.- :

(loolcing Bert over with interest} You're filthy.

{ CONTINUED }

so3- Ec

Prod, 2162 ii (lst Fey, 6/2583) CONT INVED ake ; 223

Father brought us to see Ais bank, Ioden't know what we did, but it must have Deen something dreadful. He waa furious with us,

WO CHAE

He doasn't like us at all.-

Bart atid the children sit down on scme Steps. He puta B comforting arm around the: children,

{CONTINUED}

Frod@d. 22 fo

You know - hegzing your parden - tie one my ‘eart goes cut te 1a your fether. {the children look at him in puzziement) cmere '@ is, dn tha+ aid, 's#artless bank day after day. 'Sumed4 in on eveary Side by mounds of cold ‘eartlesas money, AS the lady in the too said, 'I tate «a gee any living thing caged up.'

BERT ; They Wake cages in all shapes and sizes, you know, Eank-shaped, some of ‘em, with carpets and all.

(seftiy} sure of that, ere you? {Jane end Michael cen- Sider thts thoughtfully) Leck at 1t thia way, You've get your mother to look after you. and Poppins, And Constable Jones, And me, ‘Oo looks aftar your father? Tell oe that! (Jane and Michael loek sheepish} if something terrible ‘appens, wot doeg ‘edo? Fends for ‘imself, ‘e does! 'Gs do#s 'e tell about it? Ne one. Teesn't blas his troubles at ‘ama, Just Pushes on at 'ta job, uncomplaining, Alone, 3ilent --

* f CONTINUED}

- —

nee (lat Rev, 5/20/62

o x o

red, 2262 132 - (lst Rev. 5/29/6833 CONTINUED - 3 242. écé BERT ‘Co knows? It's not a7 place to say. {rising} i oniy observe, a father can always do wif abit of 'elp. Come on, I'l] aes you ‘oma. Re takes the children =¥ the hand and leads Shem ap the sep, DISSOLVE STREET =XTERION Bog

Late afternoon on Chervy Tree Lane, Hert «a eoming through che Park gates with Jane and Michael. A PRSSERBY stops te shake hands with Bert. Jane and Michae] are ¢nterested by this,

Chim chisa-in-ey

Chim chim-in-ey

Chim chim cher-oo (he steps to shake hands)

food luck will rub off

When I shakes ‘ands with Fou! fas he continues

. On hia way) Oe blow mé a wita --

MET, CLOSE S10

Of a beautiful LADY in a Bassing hansem. She pauses to blow Bert 2 iiss.

BERT AND THE CHILOREN 611 SEPT

{singing} And that's Lusi, tao!

s} a4

Prod. 2162 : (lst fev. 3/29/

I

ih bak

612 BERT AND THO sHILDOGENW ei2 as they stroll soward CAMERA. BERTI (singing!)

Now as the ladder of life ‘as been strung . Tou gay think a sweep's on the bottommest Pung . Theugh I spends me time in the asn#s and snoke | In this ‘cle warld there's no lappier bloke!

He S20GS 26 shake hands wish another PASS=AB?, then conttanyes sn down the street with the children,

BEY? (singing) Chim chim-in-er Chin ching-in-er Chim chin cher-«« A sweep {35 ag lucky AS Lucky can be!

He hesitates a moment ta shake hands with geil) ancther PASSERSY.

BERT, JANE aND MICHAEL (singing) Chim cthim-+in-er Chig chin-in-ey Chin chio cher-#« A aweep is az lucky As lucky can be!

E13 BERT, JANE AND MICHAEL - sNOTHER ANGLE 613 as they walk up the path to the Hanks" house,

BEAT, JANE AWD MICHAEL (singing) Chim ehim-in-ey Chim ¢hin-in-e#F Chim chim cher.cao Good luck will rub off When I shakes ‘ands wif you!

dam reaches up and HINGS the dearpell.

G17

Fred. 2152 Le7=2 {lat Fev, 5/29/63}

Elien is helping Mrs, Benkg Pin on one of her panrers. MAS, BANKS see who it is, Ellen, and send them away. I'm dreadfully late.

aI

Bert starta toa bia “ke fhijcren Tsrewell.

aa she opens she front door, then turns to irs. Banks, in b.z.

MED, CLOSE - BERT AND CHILDREN SLT as they stand lecking at Mrs, Banks, BERT

They ‘aventt exacsiy been running away, Mim. They ‘ave ‘ad 2 bis of a rrignt, shough -- need someone ta look after ‘em!

MED, CLOSE - MAS, BANES AND =LLEW 615

ELLEW

{firmly} Sorry, itm - fT ‘“aven'® done me bragses --

G21

be4

Sa

Poga

ad. 2152

ta CULLOREN

The thileren ilsok up at Bert wistfullr.

CLOS= ON

CLOSE OW

MES, BANKS {o.g.) Will Fou ask Mes. Sriil? : ELLIW

Io weuleén't ges foot tn that kitchen ror an fundred quia. This ‘are is Baking 2ay, and you know how Ceok is!

MAS. SANES

MRS. BANKS

[turning to Bert} You've deen so kind abaut lesieing

after the children .«- BEAT

MAS. DANES

SERT, MES. BANKS AND THE CHITOREN The children giggle happily.

a5 Bert and the ¢hildren stand leaking at her.

£21

bau

E27

62a

B30

Prod, 2162

onOUP Sacr Mrs. Sanks walks past Bert and the ahildren,

MET. CLOSE - MAS. 2ANES

28 she turns to lack back a6 them as she fontinueas dow the walk.

MRS. BANKS © Ioreally must hursy!' cur Eallant ladies in prison are waiting for me to lead them in song.

SERT AND THE. CHILDFEN

Standing on the front doorstep. The children Look UD at Bert, ag he perplexediy stands Scratching his heaed,

MAS. BANKS

fo.s,} Bye bye, oy darlings --

DISSOLVE

Fert is putting down fis trushes, a8 Jane and Michzel drave sheets over the furniture.

The shildren join him tn front or the firaplace. They erouch down amj peer into the blackened flue.

(let Rev. 5/2

tk ‘

Bao

Prod, 21832 ha {let ev, 5/26/83,

a7

ch Lal i

Lh J

SEAT, JANE AMD MICHAEL - DOWN SHOT

Ag Bert and the children look “P into the tlackened flue, CAMERA shoots DOWH on ‘their Uptiurned faces,

3=RT (uaking up one az nis brushes} There! Yeu see haw wrong people can he? That there 18 wot 7Ou might call the qoorway m6 4 place ar ETLENENtMEeNt . (stinging) Up where tne smoke ts all biliersd and euriead Twit Pavement and stars qa the chimney aweep world {putting an extension SA the handle of the brush} When there's ‘ardiy ne day Nor tardly mo night There's things ‘al? in shadow And 'alfway in lizht On the poafteps af London Coo = t What a sight!

S31-A CLOSE ON JANE Sa A

631-3 CLOSE OW MICHAEL 631-8

ON BERT 631-¢

Fart gives Michael tne hendle of the orash, which he has extended up the Plus,

S31-c Los

( CONTINTED}

C37

Prod. 2162 tog. figs Ber, S29 621

CONTINUED , haz

Michael holds onto the handle of the brush. Gert and Jane surm 4s they hear -+

Stancing in the hall, taking off her gloves, She is wearing her hat and carrying her umbrella, having juat come in.

MED, SHUT - BERT, JANE AND MICHAEL S34 oy the fireplace, Beartand Jans are lecking at Mary Poppina

o,.3. when suddenly they hear a "WHOOSH!" from the chigmey,

Ther turn to s#e Michael, atLil holding the end of the brush,

as he flies OF tne chimey OUT OF SIGHT,

23 ahe@ looks off toward fireplace,

. MARY FOFPING Bother!

EYF. AOOFTOP 636

a8 Michael comas flying OUT of the chimmer, still holding ante the brush, anc starts downward toward the rooftop.

CLOSER - THE ROOFTOP 837

next to the chimmey, as Michael's feet COME INTO FRAME, as he lands géntly on the roof. He atands looking up at the chimney in awe,

Jane leans inte the Fireplace and peers up after Michael.

Bert turng to look at Mery Poppins, o.3.

E39

B42

G42-A

b42-8

642-0

Pood, 2162 123 .: (ist Rev, 6729/53. MEG, CLOSE - BERT AND MARY POP?rys 629 MARY POPPY I'hl thank you to stop Putting ideas in their heads. THE FIREPLACE B40 There 15 a second "WHOOSH'", and Jame flies DU? the chiomey, COT OF SCENE, ° MED. CLOSE ~ BERT AMD MaAaY FOP PING ; S44 MARY POPFINS Thers goes the other one -- BEAT Shalt Io ozo after ‘em? MARY POPPTNS ferosaly} Well, we can't have then bounding around the roofteps like kerngarcaca, can wa?

; J AWE B-don't be frightened, Michgel --

Té@ children turn around suddenly, reacting te 2 third "WHOOSH!"

Their faces area blackened, and their clothes are coverad with scot. They iook up in awe to see --

MARY POFP ING 642-5

sme shooting OUT of She chigmey. She is Holding her tlosed umbrella straight up in the alr. As she begins to dascend to the roeftap, the umbrella opens automatically,

locking up in wondar, as Mary Poppins comes ryTO FRAAC, reet first, for 2 zentle landing beside the childven, She holds out something to the children,

c4o—D

62-2

ot2—F

642-4

642-H

o42-7

642-5

Prod, 2162 li2-7 {lst fev, 5/2g/64)

MID, CLOSE - THE CHIMNEY &c2.0

es there ta a fourth "WHOOSH!", and Bert somes shooting oUT af the cnoimne;y.

SeQSE ON JANE AND MICHAEL Woe as they look up in wonder as they atrugzle into their coats. “IT. AQOFTOP - WIDER ANGL= fuon.-

The ehiieren continue $o look up-as Bert descends, feet first. Maty Ponpins stands looking down at them, as they strugzle with their coats,

The childsen manage to get thelr coats on as Bert lands on the rocfitop beside Mary Fopping, He looks down at the children.

CLOSE OF JANZ AND MICHAPL S42-9 . JAKE we didn't mean to --

sneir faces are smadged with soot. Mary Poppins looks at Bert disapprovingly, ,

THEIR VISW ~ THE ROOFTOFS | ghe-gs

CAMEHA PANS across the rooftops, In the soft, gathering early dusk of London, there is a feeling of fantasy about it, Roofs and chimneys loscm on all sides,

Bers turns to Mary Popping, who weers 2 look of disapproval, (COMTIAUED}

E42-L

644-4

643-3

S4q-0

Pead, 2152 *

lfe2 (lat Rev. 5/29/63' CONTINUED mes

a3 she taltea out 2 small compact and begins te powder her fate, MARY FOFPING Very well. If we mist, we mst.

Mary Poppina lines up Bert and the children in a single file.

‘MARY POPPINS Anéem!...-S0pedition!...Atten-shun!? (Bert and the children come $o attention) Tat: turn! “Tener turh and Mary Poopins heads the group} Sulek march!

Lead by Mary Poppins, the group marches THROUGH SCENE.

a8 ary Fopping leads the group THROUGH and CUT of SCENE.

She extends her umbrella, and.the group imitates her lead by axtending their brushes.

as Mary Poppins leads them across the reoftop and dewn the ateep slope of the reof.

as the group marches down the steep slope of the roof,

stepping off ita edge onto a flat adjoining roof covered with numeroua chimeys.,

644-H

A45

45-4

445-35

Ele

Prod. 2242 Lezet (ist Rev. §/29/63

CLOSEA ~ THE CHIMNEYS S443

4s Mary Foppins csomea IWTO SCENE, lea@ing ‘the zrourc dew a nerrow éisle past the chimneys.

CLOSE OW JANE Gus. CAMERA DOLLIES Back WITH HER as she looks arounc.

FEA VIEW - A MOVING Spo , S42.7 ofr the fany chinneys, belching foPth anoke.

FEVEASE SA0CT | $45-G

SECCTING DOWN a narrow aisle between the tail chimneys, 4a Mary Poppins COMES INTO SCENE, abading the group toward camera.

MED, CLOSE - M™CHAEL 643-H ag he stops te investigate one af the chimney? pipes. Ag he peers into it, a sudden cloud of sast shoots forth ante his face,

iecking down at Michael. BERT (laughing } It's just nice, ¢lean soot, Michael!

GROUP SHOT bas Mary Poppins, the children and Bert all join hands and dance along the edge of the roof, As they ascend a sloping Peak, they diaappear inte 4 ¢tloud of heavy smoke. THE ROOFTOPS 6S —. aticling cut of the smoke cloud. Mary Fonping, Bert end

toe children auddeniy come aut of the smoke cloud a4 they ascend the peaked root,

TOP OF THE ROOF | as Mary Poppins, Bert and the children ceack the top, GROUP SsHct bug

Mary Poppins, Bert and the children slide on their heels down Cha other side of the slopping roof, and St4p over to an adjoining peaked roor.

ENT -3

bL7 -c

647 -D

B47 -£

6x7 -F

Prod. 2162 iaf+M {lar dev. 5/29/43}

as the group walks single 71ie¢ slong she length ef the peaked roof toward tne edge. As snort way off in the h.z. stands a towering church steeple. Ags they teeter along the §$06¢¢p peak, Bert YOBELS.

CLOSER - SERT, MARY POPPINS AND THE CHILDREN BUT AA

The Braup stands before vhres smoking thimners, and isek uh at the towering ateeple o.s.

_ Watching Mary Foupina in wide-eyed wonder,

WIDER ANGLE - GROUF SHOT eT ic

The smoke fram the chimney has taken the form of steps, and Mary Foppins leads the group up then,

CLOSE OM MAHY POPPING 447 -D a8 sh# Gurns and waits for Bichaeal. WIDE ANULE + CLOSE ON SMOKE STATOWAT 647 -E

a3 Michael steps cautiously onto the smoke statrway, and follows Mary Poppins wp and OF of SCENE. Jane CORES TTO

SCENE, following Michaal. They each cling to the handle of the chimney brush in front of tneam, forming a chatn.

MARY POPPING

fo.s.) Do Keep 4@ steady line, plerasa,

LOHG SHOT - WIDE ANGLE 647

af the group as they walk up the smoke stairway, nearing the top of the church steeple.

G27 -G

S47 -H

a8

B45

649-5

549-5

Bag-c

649-5

Prod. 2162 12e-4 {lst Rev. 5/26/62)

ZT, STEEPLE FPLATRORM , S47 -G

Mary Poppine, Bert amd the children steno anto a emeall Platform at the ton oF the steepie,

MED, CLCGE - GROUF Shot Gul 4

Mary Poppins, Bert and the ¢hlldren stand leckizg aut over the cliy. ‘

THEIR VIEW -. THE CITy BLE,

Te last rays of sum shine ‘through the miat, bathing rooftops and ateeples if a golden haze, as the sun disappears beyond the herizen, @ faw lights in the city begin to come on,

CLOS2 - JAWE AND MICHAEL ) Bag JANE ; Wheat 32 lovely sunset!

MARY POFFINS

We must #11 come in out of tha nmisht Bir. Follow me, please,

WIDER ANGLE 649-2

Mary Foppins stepa off the platform onte a clond of smoke. Bert and the children follow, and she cloud begins to descend,

of Bert, Mary Popping and the children atop thea amoke claw, as is gently Orings them down from the church steeple in b.¢. We s#¢ the cloud {5 part of a long column of amoke, streaming from one of the chimneys below.

MAY POPFINS & HET (singing) fila chim-{n-#y Chim chim-in-«#y Chim chim cheree -

e49-F

649-G

640-n

649-7

Prod. #162 123.2 (Lat Rev. 5/29/63)

JANE AND MICHAEL (looking down; singing} When you're with a sweep - THESIS F.OL¥, 6ug-F

of the rooftop below, to include the ¢himmey and colin ef amoke. CAMERA MCVES IN AND DOWN, follewing the smoxe cdiumn as it ¢yclones back into the ¢hionery,

BERT, MARY POPPING & CHILDREN (singing o.3.} You're in glad company + Hownerge 15 trere -

MED, CLOSE - GROUP SHCT 649-G BSHT, MARY POPPINS & CHILDREN ( singing} A more tappler screw =.

CAMERA HOLDS on She chimney as the smoke pours back ints it. PenT, MAHY FOPPINS & CHILDREN {singing o.s,} Than them wot fings - Mary Foppins, Bert and the children descend inte frame feet first, atop the disappearing columm of smoka, As they step from Lt onto the chimney edge - BERT, MAHY FOFFINS & CHILDREN (singing) Chim chim ¢chéeree - They step onto the rooftop as the lest puffs of smoke DISAPPEAR down the chiomery, BERT, MARY POPPINS & CHILDHEK (dinging} Chim cherso

Than them wot sings - Chim cnim cheres Chim chergo (Bert looks o.3.; listena, then shoutad

Cheroot Chared! (Mary Popping reacts with disapproval}

Crm t

Pred. 21242 tea (lst Fev, 5/29/62}

Suddenly, from a dozen cnimneys, a Aunmber af Sweeps

axpliade in black puffs of smoke, They. ars dressed

like Bert, begrimed, grinning and dancing Tiercel;,

Acrobatic leaps, slides, vowaring, death-defying

vUMPS arounce tne rooftop arees,

Shey have a wild Cockney Song and Dance --

SONG: SWESFS - (Singing) Blex your imess up, Etep in time! Rick your knees up, step tn time! Never need a reason, never need a rayoe Kick your knees up, step in timet

Link your elbows, atep in time! Link your #lbows, step in ‘ime! Never need a reggon, never need a rayne Ling your elbows, step in time!

Spin about, and stem in time! Spin about, and step in time! Hever need 64 reason, never need a rivyme Spin about, and step in time!

Hound the chimney, atep in time!

Jump the chimmey, step in tire!

Never need 2 reazon, never need a Taye Round the chimney, step in time!

my fly | oi

665-869

670-675

; -LMIRaAL BOOM'S F00OFrTOoF

int

ali al

Atmiral Soom is peering SAQTaoWwen hig glass at she plaskened, whirling cervishes on the nelenbeoring roeftaps. Binnacie ap2 Sarnacle ara Standing nearby, with the ganner's match ap the ae

BINNACTE AWo BaARNACTa {stéunanly } saa f ADMTAAL SOCOM Cheeky devils! Give them the works!

aveTytoing, alc?

Pinnacle tilts the cannon back, Barnacle starta shoveling in Sigmal flares, Vary lights, fuses and cowder.,

CN THE BAKES! ROP 605 -d: Bert, and the sweens continue their raueous dance.

PEAT «AND SWEEPS (ginging} Flap like 3 birdie, step in sime! Plap like a birdie, step in time! Never need a reason, never nead 3 rhyme Flap itke 4 birdie, step in time!

There is a tremendous ROAR from o.s., and she air is rent By balls of fire, clota of sparks and exploding ¢olors, issuing from Admiral Boom's cannon. Bert seizes Jane and leaps DOWN the cnimmey. Anat: SWEEP grabs Michael and FOLLOWS --

INTEATOR - LIVING ROcM oT C-67

35 The sweeps come bursting OUT of the fireplace and continue dancing gally around tne room, Two of them Stand on either side of the fireplace ta caten Mary Poppins as she Plops IM thraudn a Cloud of sagt. Everyone, insluding one children, ig dancing.

{ CONTINUED}

£81

MICHAEL

Wiggie FOUS jars -= .

Mrs. Eriil and Ellen come INTO the room. Cook lets out a SCREAM, as they are grabbed and brought inte tha dancing circle,

Seeeamt Step in time! Scream!) Step in time! Never need a reasen, never nead a rhyme {Sereami} Step in time!

IX TRE FRONT HALL 630

Mrs. Banka has Just come IN. She i9 standing, with the "VOTES For WOMEN” ribbon a¢ross nar front, looking inte the living room.

i forget m' pamphlets.

A WITER ANGLE eal A couple of the sweeps come up, bow gallantly, and draw ner INTO the living recm and the dance. m5, BANKS Thank you, Bur ra#alliy, I den't think -- IN THE LIVING ROOM . . 682 25 they dance her gaily around the room —- ALL (singing)

Votes for Women, Ster in time!

Wetes for Women, Step in time! Nevre= need a teason, hever meed a rhyme ! Voves for Women, Step in time!

a

L-

665-889

91-895

Prod, 2252 ize aT THe FRONT DOCH ca: Iv is open. Mr. Banks 15 coming IN Slowly, watching, an incredulous expression on his ‘ace, MAS, BRILL gee locks 9.8. and sees Mr, Sanies. MRS. BRILL (tersified} Iv's the master! ALL (singing) Iu's the master, step in time! It's the master, aten in tima! Never heed a reason, nevar need a rhyme It's tne master, step in time! AT THE DOOR 6e5-6e

a, Barks, temporarily paralyzed by the signt, flnally iscsens a béllow of raze,

The sweeps grab Mr. Banks, dance him, atruggling vainly}, argsund the ream, He wrenches himself logse. They dance past him, out the open frent daar, pausing only te anake hands with aim vigorously as they GO -- SWEEPS Geod luck, guv'ner! Geed luck! Good luck!

They all doff their caps going out, sach revealing the stark white forehead atop the smudged faces.

EXTERIOR - STSE=T 690

as the dancing sweepa pour out of the Banks' house, 4Stt1li dancing, they go their roliicking way dawn sne street AWAY from CAMERA, Pauaing here and there to seize an Qutraged POLICEMAN or 4a startled PRSSERBY and whirl them around and around. They TO CUT OF SCENE, | some turning around tne corner, gome into the Park.

THT, THE LIVING ROOM e91-59¢

Mr. Sanks, shattered, disheveled, nia hands and cast covered with soot, 18 standing in the Middle of the roon, looking around. Tock ana Zllen have fled.

{ CONTINUED }

Prod. 2i6&a2 127 [ist Rev, 6/13/5351

-F2-+605 CONTINUED ; 6g. <<: JANE Oh, Father - I'm so g¢lad you got nome in time! MH. BANKS (dasediy}

wnat? Time for what?

Mrs. Banks takes this opportunity to go OUT - covertly removing the "VOTES FOR WOMEN” ribbon as she does.

MS, BANKS I believe I'll fust ge upstairs and freshen up,

JUSt a moment, Poppins! Poppins What 18 the meaning of thia outrage?

First af all, I showld like te make one point quite clear!

Yes? Mm.

. MARY POPPING I never explain anything!

MA. BANKS

But =+ MART POPPINS

Come along, children, Spit-snet! MH. SANE

But --+

(CONTINUED }

a4 WO ia

| hi sq}

oo7

agg

Pree, 2122

hi wv

CONTINUED a

Mary Poppins and the children go OUT. The thome BINGE 44 woa@ Aall. Mr. Banks goes to 15 and lifts the recetvar, MA. BAMICS

Yen? Danks here --

(ha stadffens suddeniy} Yes, yes, Mr. Dawes. Yea, sie - IT am dreadfully sarry about what happened Today. EZ can asayre you --

{he falters) Porulsnt, gir?

THT. DAWES! OFFICE

enh “2 ey

at the bank. Dawes, J>, 15 on the phone, talking to Mr, Bans. Mr. Dawes, Sr. 15 at nis side, prompting him,

MH. DAWES, JR, feoldiy) We shall expect you precisely at nine o'eleck, Banks,

Ma. DAWES, SR, Without Pail!

Mh. DAWES, JF. Without fail! {pause} Yea, Banks, I'm afraid it's extremely seriqns.

MR. DAWES, SR, We regret thts course of action. After all, you've been with us a good many years, Ags was your father before you -=

MH, TAWES, JR, [repeating it} We regret this course of action. After all -

, MA. BANES Yes, sir. Sar - does this mean tnat I - well, Fou woulen't be needing me anymore? (pause } Yes ~ yes, Mr. Dawes, I'll se there at nine alsiock.

Mr. [anks nangs up the phone. Stands quietly a moment. - AT THE LANDING . 598

on the aecond floor. Jane and Michael are looking down throwgh the banisters at their father,

Cy i

“ly

ta

Lh

Feod. flasz

] Fe Ik tl

IN THE LIVING 2OOM

Lia oth wah

q

Mr. Sanks comes siowl; INTO «ne living room, 31°85 jon A@avils., Hert i5 wrapping up his poles and tristles. Mr. Banks seems unaware Of his presence.

SONG: MH. BANKS

(singing) aA men has dreams Of walking with giants To farve his sicne Tn the #edittce af tine Mefore the mortir of nis zeal Has @ ¢hance 14 ¢sngeal The tup is dashed from nia lipa! The flame is snuffed a-perning. He's brought to rack and ruin in his prima!

{apeken]

Tie prize 15 snatched from his grasp!

{ CONTINUED}

a

Prod. 21£2

g°-7152 CONTINUED MR. BANKS You see? That's exactly wnat 7 mean! Changing oread and water into tea anc Cakes indeed! Wo wonder everything's Coming unAstTung arcund here!

(singtng)} A apoanful of sugar Goes 3 long, long way ‘Ave yourself an 'aalchy 'aelpin' avery day!

(scoken) An ‘ealthy ‘elsin' as trouble, if you ask met MWA. SANS (indignantly)

You know what she did? TI realize it mow! She tricked me ints taking Jane and Michael om an outing! That's how all the troubi#® started!

an outing? Dutrageous!: A man with all one important things you ‘ave to do? Shameful! | (singing) .

You're 4a man of ‘igh position Fateemed by your peerg

and when your little tykes

Ave cryin!

You 'aven't time to dry their tears And s¢e them grateful litsl# faces Smilin' up at you ‘Because their dad, 'e# always ismteows Just wot te de,

{aa Mr. Banks starts to pretest, Bert stops him}

I know, Ouvy'nor -

You've got to grind, grind, gzind

AG that grindstone Tndugh child'ood slipa

Like sand Ehrough a sieve

And ali toa acon, Sney've up and grown And then they've flown

And it's too late for you to give -

Just that spoonful of. sugar To 'elp the medicine go dewn, The medicine go dewn-ow Medicine go down fust a spoonful of sugar

| 'ELps the medicine go down In a moat ¢eligntrul way!

{ CONTINUED)

bal cx

d-4

Fi

fail

Tle

T13

Tis

"a a a EL ni

evh Md

a ea

CONTINUED - 2 2o0.7) SEAT (cont'd) {spoken} That's like all that other are- Barmy Mary Foopina 14 always talxin' about -- Sert has gathered up nis things and goes ta the hall. Se turns -- BERT Wel], good day, sin. Sarry te ‘ave troubled yau. Ye goes OT, MA. HANES Tid

Moved by Bert's sang, Mr. Banka sits quietly in his chair. After @ moment, ne looks up and off to --

JANE AND MICHAEL . Tae Standing 1h the deorway of the hall. MR. BANKS 713

A WIDER ANGLE 714

vane and Michael come slowly INTO the room,

JANE

We're sorry about the tuppence... MR. SANK

Yes? J ANE

We didn't know it would cause you 59 much trouble,

—

Tl?

Teo

Tel

fae

fed

rat |

o

Lh hi a In mi k t Lar

Ci.

IN THE FRONT ROOM Tt vane takes her *asher’s hand and Places the tuppenc® tnts a3

Mt. 3anks stares down... CLOSE ey

en the tuppencte in nis hand.

TN ToS ROOM Tid JANE Will that make everything ali right? Mt. BAWES

Yee, Thank you. Good night,

The chiidren go CUT. Mr. Banks looks at the tuppence resting in the palm of his hand,

“his way to the Bank,

ANOTHER STREET EXTERIOR - NIGH? feo

approaching the Bank, The area is deserted. He slowly walks thm steps,

AT THE DOOR Tei

A grim-faced custodian admits him to the interfor of the establishment.

THE DOOR Tee

of Che Eoard Roam. Mr. Banks pauges at the door a moment. So pluck up heart, opens the deor and goes In.

MA. SANKS' VIEW ves

of Mr, Dawes, Sr. and the Board of Directorg seated at a massive table In the meeting room, One by one, the heads

at the table turn toward him, shafts of Light glinting off thelr glassea and pince-nez, Plercing the dark Edwardian gloom or cha raom. The faces are stern and intractable.

Prod. 2162 433 (Lac Rev. 6/26/63}

MA. BANKS Taui-T2

walks slowly, bravely, toward the implacable faces, He Blancs before them, eIVInE 2O gather his composure,

Tnere is silence for a moment. Mr. Dawes, Sr. pokes his SOM with the cane,

MR. DAWES, SR, Goonf Get on with ir!

Yes, father,

(addressing Mr. Banks} tn the year 1775, an offictal of this bank unwisely logned a lerge sum of money to finance a shipment of tea to the American ¢olomtes, be YOu know what happened?

MA. DAWES, JR. Precisely! The loan waa defaulted, Panic ensued within these wells - and there Was @ run on the bank --

MR, DAWES, SR. Prog that tina ta now, sir - there has never been a run on this bank - until CALS morming! A run cataed by the Gisarsceful conduct of your son! be you deny it?

Mr. Banks squares his shoulders against the fury of Mr. Dawea, Sr...

BA, BANES 1 Idonot, sir, I shall he Elad to aSsiime the responsibility. for my 30n,

Mr. Dawes, Sr, squints at him, momentarily surprised at this Blint of courage - then Pokes Dawes, Jr, with hig cane,

{ CONTINUED}

weet

“24.727

Ta

T 32

Pred, 2162 Las flat fey. 6/26/69)

CONTINUED 724-7

DAWES, SPF, Well + what are you waiting far? fo on!

Me. Dawes, Jr., hig face grim and expressionless, comes around

ta Mr. canks and confronts him, Amid a deathly silence. ha

Cakes the rose from Mr. Banks' lapel and shreds it, the petals dropping to the floor, He takes the vilentiy furied umbrella

rram Mr. Banks' hand, uncoes the slip, and begins to shake it our.

Mi, MOUSLEY AND MR. GRUEES Tee at the table. Mr. Mousley flinches.

MR. GAUBES

{gripping his arm} Steady an!

MR. BANKS AND MA. DAWES, JA, 729

Mr, Dawes, dr. takes the umbrella and with a awift, cold movement of the handie, pulls it inside oul, the wibs going awry in every direction, We nands the umbrella back te

Mr, Banks, takes the bowler from his hand.

helds the bowler at arn's length, and with enother sawits movenent, Punches a hole through it. He hands the battered headpiece hack to Mr. Banks, Dawes, Jr. turna and oenumes his place at the table,

MA. DAWES, SR, Tae - Mh, DAWES, SH, Have you anything to say, Banks?

MA. SANES T33

vanding, shaken but unbowed, he has found something in his Pocket. Surprised, he lecks down to Jane and Michael's tuppence, “esting in the palm af fis hand.

OMITTED 734

Val ul oa | rT

Prod, 2lés

darts Ih

flat Rev. 6/26/6

4 GROUP ANGLE T:

MH, DAWES, 3, Contound it, Banks, I said, do you have anything to say?

wl

uh

oh

Mr, Banks tegins to snicker, The members of the Board, aghass, look av each other in wonder. -

MR, DAWES, SR, Yes?

MA, SANKS Supercalifragilisttcexpialidocious,

MR, DAWES, SH.

What? MA. BANKS supercalifragilisticexplalidecious! (chort ling)

Mary Poppins wae right! Extraordinary! It does make you feel better!

Mi. DAWES, SH, what are you talking about, man? here's no auch word!

a MR. FANS

(roaring with laughter} NO «nc, Mt, Dawes! Th is a word!’ aA Perfectly good word: Actually, you know what there's no such thing as? With all due respect, sir - it turns out, therets no such thing as You!

Mi. DAWES, Sr. Impertinence, sir!

| WA. BANES . [leaning in confideftially} Speaking of impertinenca, sir, would you like to near a marvelous joke? A real

snapper? _ MR. DAWES, SH. (blankly Joke? Snapper?

wR. BANES Well, sir - these two perfectly marvelous young people named Jane and Michael met ane Snotner on the street, Jane says to Michael: 'T know 2 man with = wooden lez famed Smith." And Michael says: ‘Really? What's the game of his other leg?!

(he laughs uproariously) f cone ;

Prad. 2162

729-742 CONTINUED MR. DAWES, SR, fagide to his aon) Ma's gone mad! Call the Ruard! (pauses as he sees My.

Banks coming toward him} Banks! Stop! Don's seme near me!

MA, SANES supercalifragilisticexpialidacioua! : I'm feeling better all the time!

MR. DAWES, JR, (trying to throw hig beady acrosa hia father}

{lat Rev, 6/26/63)

é ,

73-7

Don't you dare strike my father, Banks!

Mr. Banks setzes Mr. Dawes, 3r.‘a hand, opens the tlutching

fingers, and thrusts the tuppence into his hand.

wonderful, faterul, Bupercalifragilistic. faPpialidocious tuppence! ftuard it well!

Goodbye!

MF. DAWES, 5H. Banks! Where are you going?

Iden’ know! I sight pep farough 2 chalk Pavement picture. I might seize a horse oft a GAPE F-co-round and win the Derby! [I might Just go fly a idte! Gniy Mary Fopping

would know.

MAR. DAWES, 47, Popping?

Mr, Aanka cocks the battered bowler on his head, desecrated umbrella fauntily, and heads for the

ie Koes OUT, They atere after hin.

{to Mousley} Mad 26 4 Mareh hare!

(turns ta his father} Father =- ?

twirls the dear.

TAg

wh

| ‘

am

Er

I uF

A He is cesp in esntemplasion.

AR. JAWS, SF, (frowning) 4 ,oogsn leg named Smith?

Be looks down 5a -

on the tuppence in his snarled nand.

A LantGer ANGLE wus,

seaturing Mr, Dawes, Gr, with mis sen and the others yovering aporehensively about him. Mr. Dawes, 5r. snickers - then Eegins to cackl® in # high, reedy voice.

MAR. DAWES, JR. Father? Father - wnat 13 12?

MR. DAWES, SA, (gesping with mirth) 4 wood -- wooden leg named @mith! {and he Bursts into dry, heaving peals of laughter}

ind a6 ne laughs, Mr, Dawes, Sr. begins to PLOAT UPWAPDS. Tney ory 3 selze and held him in his chair.

MR, PAawWes, JR, Sather! Stop it! Come down!

Mr. Dawes, Sr. bubbles with uncentralleble jeughter and slowly

wafts Upwards, The partners sry to tring him down. CAMERA LOWLY MOVES BACK. " DISSOL¥a

The next morming. CLOSZ on the weather vane atoo Admiral Seem's house. The wind, which has been blowing steadily from she East, falters. The vane tebbles aimlessly for 4a moment, then turns, and steadies, as a fresh breeze comes in from the WEST --

CLOSE “FO on “Sinirsl Boom, squinting UP at it.

Jane and Mishael forlornly watch Mary Foupins pack ner things. {CONTINU}

alk a

—-] 1] Lad

for

Ped, 2162

she only promised to stay until the wind changed. Tan't that sa, Mary Fopoings?

WIDER ANGLE - MARY FOFPINS AND THE CHILDREN

she continues putting her personal effects tonto the farpettbag witheaut looking at the children,

as they pick up the hat stand,

She pauses for a moment, locking at the unhappy children, There ia a fleeting moment of tenderness in which we ses how much she does love Jane and Michael, Then it La gone.

she puta the hatstand into her carpetbag. Aa she pushes it down, it pushes up & hairorush, which she catches,

Constable Jones is at the telephone, speaking and occasionally referring ta nia notebook,

fo

(lat Rev. E563;

,

re |

T

LB]

fee

f53

75u

Prod. 2262 135 (lat Rev, 6/5/63)

Ta? CONTINUED 757

ANGLE WIDENS as CAMERA PULLS BACK te tnelude Mrs, Banks, extremely diatraught, as she crosses to where Ellen and Mrs. Arill are standing.

, ) CbICE CONSTABLE JONES o,8,

No tellin' wot 'e misht ‘ave done in a Fit of despondenc;.

(darkly } Wouldn'® turt to ‘ave them drag the river, There's a nice tit there by Southwark Bridge that's pepular with

Jumpers!

Mre. Banks, Jaba Zllen anarply in the riba,

Prom the direction of the cellar, o.s. comes the SOUND of Mr. Banks singing lustily in a Teuocus, operatia feahion,

“J

hg}

Frad. 2162 14

(lat Rev. 6/5/63) “ED. CLOSE 7=g

Ms. Banks, Ellen and Mes. Frill all lock toward o.4, Gellar with startled extressiona.

CLOSE CN POLICE COMSTABLE JONES . 760

TUE CELLAR DOOR Tel

There 19 the sound of FOOTSTEPS on the gteairs, and Mr. Ranks’ o.s. Singing. The cellar door 1s Slightly ajar.

MED, CLOSE - THREE SHOT 762 ‘rs. Hanks reacta happily to the 6.5. sounda, . MBS, BAILL {happily} Te'a tim. ELLEN (terrified) _ Or something that sounds like ‘im!

MET. CLOSE - CELLAR DOOR 763

Nr. Banks APPEARS in the doorway, Me is anudged, rumpled and disheveled. He is still wearing the bowler with the

broken, flapping crown, With one hand, he ia concealing

something behind hls back. :

. La La-fol, la, la, la, la!

7é5

m oy

TET

a-t=)

(lst Rev. 6/5/67 MED, CLOSE Tha

“irs. Banks, Ellen and Cock react with Surprise 3b his appearance.

MRS, BANKS Georges!

She rushes to nim, throwing her arma around nis neck. He Still bolas tne mysterious oblJecs behind his back, They wise. . MAS. BAnas (emotionally) Oh, George - you didn't ‘ump inte thas river! How very sensibls!

CLOSE CN CONSTABLE JONES TSS

CONSTABL= JONES {on the phones} T€'s all right, air. ‘E's just been found. No, alive, sir. Or so I Presume. ‘2s kissing Mrs. Senks.

WIDER ANGLE 767

Mr, Banks has put the objact he has been holding down naar vhe Cellar door, He picks up his wife and whiris her round merrily.

{whispering to Mrs. Brill ' Oone ‘round the bend, shat's wot ‘a's done! Dotty as rou please!

mM

Ta ve fel Ww a

ad

Sat om hat at

fiss

Mm, BANKS git a mMomens, oy dear. wheres are the @nildren? (looks 9.8, to 7 nursery; ¢alis) - vane; Michel!

[turns go#s back

to cellar door}

Mary Poppins ta finishing her packing. and look off tao the SOUND of Mr,

Tie children turn Banks' calling. MA. BANES ([o.8.} Jane! Mishael! MICHAEL Ana's that?

MARY POPPINS " Your father's calling you!

MA, BANKS

Jane! Michael!

fo.s.)

She turns and runs CUT. Michael atands hesitantly 2 moment, Looking Up at Mary Feoppins.

Fun along. Michael!

Spit -spot ! 7?lL WIDER ANGLE - STATHCASE Tri Jane and Michael race down the stairs. They stop on the Lancing ta look down at their fatner.

—-

Liz Rev. 6/6/53"

7ég —

TTS

——-

oT ik

Tra

or Mr. and Mrs. Banks loceing up taward the Landing,

Banks i6 heiding one object béhind- his sack, He brings it farward, aicwly. It £8 tne shildren's kita - ance battered

and ercken, maw rasterec to its fermer glory. fius= ON JaANe 4ND MIoCsAEL on the itanding, .

ar. and Mrs. Banks watch as the children come bounding down the stalra toward them.

CLOSr ON JANE 2ND BTCHAEL

Michael takes the kite and inapecta it. Jane Iooks up at her father.

FEATURING Mr. Banks, aa hé begins to sing.

watoning happily. -

With your feat on the ground

You're a bird in flight --

CLoSr CN MAR. BANKS

{singing} With your fist helding tight - To tme atring ¢f your kite --

{lst Rev, 6/5/64)

a3

Ts

TTS

TT4

TTré

TTS

ni:

Prod. 2162 lee ilat Ray. 6/5/63} -

TT CLOSE ON JANE AND MICHAEL 7?

Mr, Danks takes the cnitdren oy the hand, 28 Mrs. Banks 260k on with pleasure.

Tai WIDER ANGLE _ 78a

Mr. Banks leads the children toward the front door. Mrs. Banks turns, goes to the hall closet.

De! . Threugh the atmosphere! Up! Where the air is clear: (they turn ta

look at Mrs, Banka} Oh - let's go Fly 2 kite!

Tae MED. CLOSE - MAS. BANKS TB2

who has taken out her "VOTES FOR WOMEN” banner, She turns ' ta the group -

MAS, HARES A proper kite needs a preper tail, don't you. think?

Mr. Banka and the chiidren coring the kite to her, end she fastens the banner onte tne kite.

Pred. 2162 7

ca

(ist Rey. 5/5/6233

aT

73s EXT. BANKS EOUSE 73 as Mr. and Mrs. Sa@rks and the ¢héldren come ous of the house, ALE (singing } Let's go-rly a kite Up ta the nighest height - FES =tT, WINDOW - MARY POPPINS' nOOM 754

Mary Porpins, wearing her hat and Coat, looks down at tne departing zroup.

TRE HER VIEW - DOWN SHOT 786

of Mr, and Mrs. Banics holding the children's hands is they walk down Cherry Tree Lane.

T87 CLOSE ON MARY POPPINS 787

rast EXT. STHEET - Fee

near the Park gates. Bert is at his wsausl spot, gelling kites. He if surreunded by a small group.

/ BERT (singing) AS you watenh it flying ap there all at once you're lighter than air -

. 88-A CLOSE ON BERT THO-A BERT (singing) You ¢an dante on the breeze _ OFer 'oSuses and trees With your fist ‘olding tight To the string of your kite!

oe

Prod, 2162. - 1-3 (lat Rev. 6/5/63) >

MICHAEL aND JANE - EXT, PARK 789

near gates, Michael is holding the bali of twine, and is Letting out the atring. In b.g. we can see Several other kite flyera, colorfully dotting the arez,

MR. BANKS Tao

as he holds the kite in the air, and preparea to launch it.

GLOSE ON JANE AND MICHAEL Tl as Chey excitedly tug on the string as the kite zoes up.

SXT. FARK AHEA - WIDE ANGLE Tye

The sey above the Park 18 dotted with colorful, soaring kites. In f.g. Jame and Michael's kite begins to drift Upward, joining the others,

MED, CLOSE - MA, AND MRS. SANKS 733

Mrs. Benks looks at her husband proudly, aa he watches Jane and Michael 4.3, ,

; ALL (singing o.5.) Tp! Through the atmosphere! Ip! Where the air is clear!

Oh - let's go fly a lctte!

Mr. Banks puts nis arm around his wife. They bath look OFF, - as they hear -

MR, DARFES, JA, (o.3.) Ah, there you are Banks!

Tou

Ta7

79d

BO1

Prod. 2162

1=7 (lat Rev. 6/5/63} THEIR ¥IEw TOL of the banicing partners, Dawes, Jr., Tames, Mousley and Grubbs - who are all in holiday mead, happily all clinging to Kite strings. Mr. Dawes, Gr. is not. present. MA. DAWES, JR, Want to congratulate you! Capital Bit of humor - that. A woodan leg named Smith or Jones -- whatever t+ Was. Father died laughing! -

reacting sadir, - MR, BANKS He ~- I'm so sorry!

DAWES, JH,

Wonsense! Nothing ta be Sorry about: Mever saw Father so happy in Bis life! Left us with an opening for 4a new partner! Congratulations, again!

Mrs. Banks kisses her hustend on the cheek,

48 Mary Foppins comes OUT of tha house and leoka off to =; THE PARE - HER F.O.Y. T99

af the area in front of the Park gatea, She sees the eglorful area of kite flyers,

in a happy group. MED, CLOSE - MARY POPPING | Box and the Parrot -head umbrella.

PARROT -HEAD

That's gratitude for you. Didn't

even say goodbye! . { CONTINUED)

I

ered,

BO1

BO. ~-A

801-3

BOL-c

doe

oo2—4

Look at Chem. They think more of theiz father then they do of you!

CLOSER - MARY POPFINS

at the perrot-head.

thinking ++

FARROP-HEAD Is that sot? -- ¥su don't fool me a bit -- ! CLOSE OW MARY POPPIAS MARY POPFING Really? WIDER ANGLE PARROT -HEAD

Yea, realiy! I know what these children mean to Fou, and if you think I'm EGing to keep still any longer -- Glurgsna!

LiF-2 (les fev. 6/2/6: S01

BO1+a

801-5

ao1-c"

Boz

Boe- A

Mary Poppins has reached out and pulled the drawatring around the parrot-head's neck taut, effectively cutting

off his speech. MARY POPPINS

That wilil be quite enough of that,

thank row!

6o4

dos.

go8

cfnd he blows her a kiss...

aog F i-2 Saae Fat

Pood. 2162

EtT. FRONT DOOR - BANKS! HOUSE

Mary Popping turns the umbrella over and opens it. ag She doss a gust ef wind comea in and lofts her inte the air.

WIDER ANGLE

she rises gracefully from the doorstep, and dvifts upward toward the Fark area.

at

48 he sits watching Mary Poppins' ascent, MED, CLOSE - BERT at his place near the Park Bates. He looks up to see -

HIS VIEW

of Mary Poppins, ¢linging to her ambrella, rising among

the colorful array of kites in the akty . CLOS? Of BERT

{softly} Goodbye, Mary Poppins. Don't atay away too leng!

SSLOSE ON MARY POPPINS

3 she looks hack and smlles Slightly.

ina Aro i (BED, SHOT a=

a ae?

a a!

*. Sf Mary Foppins drifting, turming slowly, this wey and

ht chat, AWAY from CAMERA,

B11. <9 LONG SHOT

Of Mary Popping, outlined tn the rays af the mornin sur. Ag she watts past St. Paul's Cathedral, a elioud of birds RISE to provide her escort through the Landen sic.

Ag end tittle comes OVER steane -

raADE OOF

ist Rev. 6/5/63)

i

e1) im] Lal

e05

Bor

Bog

S11