AMERICAN MADNESS
Screenplay by Robert Riskin
Shooting Draft, 1932
Property of
Columbia Pictures
FADE IN
EXT. BUILDING - DAY - LONG SHOT
Of a large, impressive-looking building on the corner of a
busy, New York business street.
LAP DISSOLVE TO:
EXT. BUILDING - DAY - CLOSE SHOT
A dignified brass plate sign on the side of the building,
reading: UNION NATIONAL BANK.
LAP DISSOLVE TO:
INT. FOYER OF BUILDING - MED. SHOT
Lower portion of high bronze doors, one side of which is
partly opened. Sitting in front of the closed side is a
uniformed officer, greeting, ad lib, the various employees
as they enter.
LAP DISSOLVE TO:
INT. OF BANK - CLOSEUP
Of a cover being yanked off an adding machine.
CUT TO:
CLOSE SHOT AT SWITCHBOARD
A telephone operator, busily plugging in wires.
OPERATOR
(mechanically sweet
voice)
Good morning . . . Union National
Bank . . . Just a minute—
LAP DISSOLVE TO:
INT. ENTRANCE ROOM TO VAULTS - MED. SHOT
Of the inside of a massive vault door, made impressive by
the shining, finely cut steel bolts and the many other
intricate-looking instruments which adorn it.
CAMERA PANS UP to a clock overhead which registers 9:03.
A group of young men, paying tellers, are impatiently
watching a teller struggle with the lock that will admit
them to the vault.
TELLER
Come on, come on, Oscar, what are
we waiting for?
2ND TELLER
What's the matter? Can't you find
it?
3RD TELLER
Sneak up on it, boy!
4TH TELLER
Oscar, come on!
CHARLIE
Say, if it had lipstick on it,
he'd find it!
They all laugh, as Oscar finds the combination.
OSCAR
Almonds to you![1] Almonds!
TELLERS
Now, now, Oscar - not almonds!
The CAMERA MOVES WITH THEM as they pass through the first
portal.
CHARLIE
Nine o'clock and all is lousy!
1ST TELLER
Yes, I spend half of my life waiting
for these time clocks to open.
Say, where's Matt?
CHARLIE
Probably upstairs thinking up that
daily joke.
2ND TELLER
That guy kills me with his
wisecracks.
3RD TELLER
Say, when he comes in, let's put
on a frozen face. Let's not smile.
They ad-lib agreement.
1ST TELLER
Shhh! Nix! Here he comes—
7. MED. SHOT
CAMERA PICKS UP Matt Brown, the chief teller, as he strides
briskly in and begins turning the combination dial to the
main vault. He is about twenty-six, a clean-looking,
personable youngster. Several of the tellers are standing
close to him, looking on.
MATT
How are you doing slaves?
TELLERS
Hello, Matt. How're you Matt?
Matt begins to work the combination of the main lock.
MATT
(with his back to
them)
Say, did you boys ever hear the
story of the pawnbroker with the
glass eye?
1ST TELLER
No Matt, what is the story about
the pawnbroker with the glass eye?
MATT
(as he continues to
fiddle with the
lock)
Well, I'll tell you. A fellow went
into this shop to pawn his watch.
The pawnbroker said, "I'll give
you $50 for it, if you can tell me
which is my glass eye." The fellow
said, "All right, I'll do that.
It's the right one." The pawnbroker
said, "That's correct. But how did
you know it was the right one?"
The fellow said, "well, it's got
more sympathy than the other one."
He turns, expecting their laugh, but is confronted by stone
faces.
MATT
Sympathy! You know, the right one
had more sympathy than the other
one!
1ST TELLER
What's the matter? Can't you get
this thing open?
Matt stares in disbelief, then gets the joke.
MATT
(contemptuously)
Six reasons why banks fail!
This cracks them all up, as a uniformed officer, who has
been standing by, works a lever attached to the floor,
which lowers a section of the floor, directly in front of
the vault. This permits the vault door, which is sunk below
the floor level, to swing open.
TELLERS
(ad-libbing)
I love your jokes, Matt! They're
so entertaining! A very funny man!
8. MED. SHOT
Matt opens the inside door, made up of perpendicular steel
bars. The tellers scurry into the cavernous-looking
interior. Someone
8. MED. SHOT
snaps on a light. CAMERA TRUCKS UP TO VAULT.
The back walls of the vault are lined with steel cabinets
divided into many small compartments. On one side is a
wall safe which is also opened by a combination and which
contains the surplus cash carried by the bank. Matt is in
charge of this. All around the room are numerous hand trucks -
one for every teller. These trucks contain the cash in the
charge of the individual tellers. While the tellers in the
b.g. obtain their keys and open the drawers of their trucks,
Matt examines the time clock which is attached to the inside
of the vault door.
INT. VAULT - MED. CLOSE SHOT
At the door, as Matt enters and goes directly to the burglar
alarm box to the left of the doorway. He leans over to
throw off the burglar alarm switch.
CUT TO:
10. CLOSEUP - BURGLAR ALARM SWITCH
The handle of the switch points in the direction of a sign
reading ON. Matt's hand comes into the scene and throws
the switch up toward a sign reading OFF. This is done with
no comment, it being a routine matter with Matt.
MATT
Come on, white collars. The day's
started!
11. MED. SHOT
As the tellers file out with their trucks. Before they do,
however, each one signs the cashbook. One or two exit
silently.
CLOSE SHOT - MATT
As one of the tellers comes into scene. Matt examines the
cashbook.
MATT
You're carrying too much money on
you, Hank. You better turn some in
tonight.
TELLER
(as he goes)
Okay, Matt.
He exits out of scene.
MATT
How are you fixed?
TELLER
I'm okay, Matt.
MATT
(to another teller)
You've got enough?
2ND TELLER
I'll be all right.
Charlie, the last man, comes up.
CHARLIE
Say Matt, I'll have to have some
money for those Manville payrolls.
MATT
How much?
CHARLIE
About twenty-four thousand.
MATT
(counting out money)
It was more than that last week.
CHARLIE
Yeah.
MATT
Here's twenty-five thousand.
He hands Charlie four stacks of bills. As Charlie is signing
the cash book, Matt speaks:
MATT
Say, do me a favor, will you
Charlie?
CHARLIE
Yeah.
MATT
Let me have ten bucks?
CHARLIE
(aghast)
Ten bucks? Say, if I had ten bucks,
I'd quit.
MATT
Charlie!
CHARLIE
Yeah?
Charlie starts out. Matt follows him.
13. OUTSIDE OF VAULT - MED. CLOSE SHOT
As Charlie comes out, followed by Matt. CAMERA TRUCKS ALONG
WITH THEM as they walk.
MATT
(as they walk)
I'll pay it back to you Saturday -
on the level I will. Give a guy a
break, will you? I've got to get
it back in my account. If Helen
ever finds out that I—
CHARLIE
(unsympathetically)
Baby, I can't give you anything
but love...
LAP DISSOLVE TO:
INT. MAIN FLOOR OF BANK - BACKSTAGE
CAMERA TRUCKS with them as Charlie pushes his truck forward
and Matt walks alongside of him. En route, CAMERA TAKES IN
ATMOSPHERIC SHOTS of the general activity backstage of the
bank.
Male and female clerks stand around at various angles,
checking away at adding machines. Several are assisted by
someone who calls off figures to them as they record it on
machines. We hear these figures read in a monotone as we
pass them.
Matt is still trying to pry the ten dollars loose from
Charlie.
MATT
Now listen Charlie. I'll give you
an I.O.U. I'll give you a note,
I'll pay your mortgage, it's a
matter of life and death—
Ad-lib conversations from the other clerks distract his
attention.
CHARLIE
Whose death?
MATT
It'll be yours if you don't kick
in with that ten bucks.
CHARLIE
Say pal, did you ever hear of a
Depression?
MATT
Aw, nerts!
Charlie arrives at his cage. CAMERA STOPS with them.
CHARLIE
Come over and see us sometime.
CAMERA CONTINUES TO FOLLOW Matt as he continues on to his
cage, muttering half to himself.
MATT
I'm not asking you to pay off the
Depression. I'm only asking you
for ten bucks!
Another teller is busy in the cage next to him. Matt
addresses him, referring to Charlie.
MATT
That mug reminds me of a guy with
his second dollar.
TELLER
Yeah, what did he do with his first
one?
MATT
Bought himself a pocketbook!
The teller laughs heartily.
15. MED. SHOT
THE CAMERA PICKS UP Helen as she crosses the main floor of
the bank, reaches Matt's teller window and pushes it open.
MATT
Hello, Helen!
HELEN
(conspiratorially)
Matt, come here!
MATT
Why?
HELEN
Come here, honey!
He leans over, and she gives him a quick kiss.
MATT
Hey, look out, somebody's likely
to see us!
HELEN
(already walking
away)
Oh, is that so?
She quickly kisses him again, crosses back, and takes the
grand stairs up to the outer office of the bank president
as Matt watches with a grin.
INT. MAIN FLOOR OF BANK - FULL SHOT
Just then, a group of five or six important-looking men
enter scene on the way to the conference room. One of the
men looks towards Helen's desk.
17. MED. SHOT
On Helen and a secretary standing next to her.
SECRETARY
(to Helen)
Oh, oh. Look who's here.
18. MED. SHOT
The other clerks and tellers, noticing the newcomers as
they file past.
TELLER
Hey, psst!
OSCAR
Oh, oh. Five ill winds.
TELLER
(standing next to
Oscar)
And blowing no good for the old
man, either.
19. CLOSER SHOT ON HELEN'S DESK
Shooting toward Helen.
HELEN
(acidly)
The four-and-a-half horsemen.
GIRL
What are they doing here? There's
no board meeting today.
HELEN
Search me.
By this time, the important group of men have reached Helen,
and are passing her by, with perfunctory nods.
CLARK
(the most important
of the important-
looking men; to
Helen)
Mr. Dickson in yet?
HELEN
Not yet, Mr. Clark.
CLARK
When he comes in, tell him we're
waiting for him in the board room.
HELEN
Yes, sir.
CLARK
And tell him not to delay.
HELEN
Yes, sir.
The group of men file through the board room door, and out
of sight.
GIRL
(to Helen)
Looks like trouble for your boss.
HELEN
Takes more than two tons of
directors to make trouble for my
boss.
GIRL
(as she turns to go)
Sez you!
INT. CONFERENCE ROOM - MED. SHOT
Taking in all of room. The directors are all here, and
some sit around a long, narrow mahogany table. Clark, the
sour-faced old bird we saw previously talking to Helen,
paces back and forth agitatedly.
CLARK
I've sent for the cashier,
gentlemen. He has a list of the
loans that Dickson made last month.
MED. CLOSE SHOT - CLARK
As he stops in his pacing a moment and addresses the
directors further:
CLARK
And as I told you at breakfast, it
is time we did something about it.
CLOSE SHOT - SCHULTZ
In thorough accord with Clark's violent attitude is Schultz,
a German, whose instinctive conservatism rebels against
Dickson's liberal banking methods.
SCHULTZ
Mr. Clark's right. Dickson will
ruin this bank if we don't stop
him.
AMES
(another conservative
stalwart)
Looks to me as if we're in hot
water already.
A very dignified but meek little old man, Jonathan Ives,
tries horning in:
IVES
(feeble-voiced)
Gentlemen, I was just wondering—
23. MED. SHOT
As another of the directors, O'Brien, a large, bull-faced,
thunderous-voiced contractor, rises to Dickson's defense.
(O'Brien is always filing his nails, even while he talks.)
O'BRIEN
Personally, I think you're getting
panic-stricken about nothing.
Dickson's all right.
CLARK
(interrupting)
Oh, is he? We carry more unsecured
paper than any other institution
in the city. We're fools to tolerate
it.
SCHULTZ
That's what I say. And the only
way to end it is to get Dickson
out.
CLOSE SHOT - O'BRIEN
He looks toward Schultz.
O'BRIEN
Don't make me laugh, Schultz!
MED. CLOSE SHOT - CLARK
CLARK
Dickson doesn't have to go. But he
must agree to this merger with New
York Trust—
O'BRIEN
What good will that do?
CLARK
What good will that do? Why, it
will take control away from him.
We'll put somebody else in charge,
call in all doubtful loans, and be
on safe ground again. That's what
good it will do!
MED. CLOSE SHOT
Including Ives in scene with Clark and O'Brien. Ives is
seated, O'Brien and Clark standing by table. Ives tries to
speak again.
IVES
It has just occurred to me—
O'BRIEN
(interrupting)
You're wasting your time, I tell
you. Dickson won't stand for it.
CLARK
He'll stand for it, if I have
anything to say about it.
Just then they hear door open, and they all look towards
door leading thru to main floor.
MED. CLOSE SHOT - CLUETT
As he shuts the door behind him. He is immaculately groomed,
obviously cuts quite a dash with the women. He looks off
toward the men as Clark's voice comes in:
CLARK'S VOICE
Ah - come in, Cluett.
CAMERA PANS WITH CLUETT as he comes forward and puts a
paper on the table before Clark.
CLUETT
Here's the list.
CLARK
Yes, thank you.
CLUETT
Anything else?
CLARK
No. Nothing.
Cluett exits toward door again. Clark picks up the list
and looks at it. Then he addresses the other men:
CLARK
Look at this. Just look at this.
It's outrageous. Henry Moore -
thirty-six thousand. Manny Goldberg -
eighty-five hundred. Tony Consero -
fifty-six thousand dollars. Joseph
McDonald - eighteen thousand. Alvin
Jones - sixty-six thousand dollars
to a hotel that's on its last legs.
I tell you, people get loans in
this bank that couldn't borrow
five cents anywhere else.
28. WIDER ANGLE
As the other men group around the loan list, which Clark
has put back down on the table. They all scrutinize it
carefully.
SCHULTZ
(to the men at large)
And on what? "Hunches," he calls
it.
AMES
Some day he'll get a "hunch" about
a man and give the bank away.
CLARK
He's almost done that already. Our
chief teller, Matt Brown, is an
example of that. He breaks into
Dickson's house, holds him up, and
the next day gets a job in the
bank.
IVES
Well, as far as I'm concerned—
SCHULTZ
A boy who should be in jail,
handling a bank's cash!
CUT TO:
INT. MAIN FLOOR OF BANK - MED. CLOSE SHOT
Shooting toward Matt, inside the teller's cage, busily
counting the money he is getting ready for Charlie.
Helen is outside the cage.
30. CLOSE SHOT
Shooting toward Helen.
HELEN
(skeptically)
What did you do with it?
MATT
With what?
HELEN
The ten dollars.
MATT
(quickly)
Oh, ten dollars—
HELEN
Yes.
MATT
(catches himself in
time)
A friend of mine - yeah, really -
his mother was terribly sick and
she was dying, would you believe
it?
31. CLOSE SHOT
Shooting toward Matt.
AS SHE INTERRUPTS HIM:
HELEN
No.
MATT
Oh, you think I'm lying?
HELEN
Yes.
MATT
All right, I'm lying. Don't forget
you called me a liar.
HELEN
Oh, Matt.
He reaches forward and takes her hands.
MATT
Oh honey, why don't we get married?
Then you can handle it all.
Just then Oscar enters the scene, en route somewhere. He
stops beside Matt, notices he and Helen are holding hands.
MED. CLOSE SHOT
As Helen and Matt separate guiltily.
OSCAR
Say, Matt! Matt! Did you hear the
news?
MATT
No, what?
OSCAR
Pardon me. All the big shots are
in a huddle, and it looks like
Dickson's out on his ear.
Helen and Matt react to this piece of news. They look at
one another. Apparently, it will have a definite effect on
their lives.
MATT
(to Oscar)
Oh, you're kidding me, aren't you?
OSCAR
No, I'm not kidding. Everybody's
talking about it. Ask her.
HELEN
I haven't heard about it.
OSCAR
Sure, everybody's talking about
it.
CLOSE UP - MATT
As he speaks sadly.
MATT
If that's on the level, there goes
my assistant cashier's job.
MED. CLOSE SHOT
Taking the three in.
OSCAR
Well, I just thought I'd drop by
and cheer you up a bit.
As he turns to go out of scene, he looks at Matt.
OSCAR
I'll be seeing you, Matt - in the
breadline.
CUT TO:
INT. CONFERENCE ROOM MED. - SHOT
The men are all gathered around the table now. Apparently,
they have been discussing ways and means of ousting Dickson.
As we cut to this scene, Ives is pouring himself a glass
of water.
IVES
That ham I had this morning was
very salty—
CLOSER SHOT ON THE GROUP
CLARK
Gentlemen, let's get organized
before Dickson gets here. Schultz,
can I count on you?
37. CLOSE SHOT
On Schultz, who is seated next to
Clark.
SCHULTZ
Absolutely.
CLARK
What about you, Ames?
38. CLOSE SHOT
On Ames, who is seated next to Schultz.
AMES
That's the way I feel about it.
CLARK
Ives, how about you?
39. CLOSE SHOT
IVES
Well, the way I look at it, it
seems that—
CLARK
(interrupting)
All right. O'Brien?
40. CLOSE SHOT
At other end of table, where O'Brien
is.
O'BRIEN
Well, you've got an awful fight on
your hands. That's all I've got to
say.
41. CLOSE SHOT
On Clark, determined.
CLARK
Gentlemen, I think it's time that
we do fight.
CUT TO:
INT. MAIN FLOOR OF BANK - FULL SHOT
The outer offices of the bank are in this shot. A spacious
stretch of desks occupied by clerks and junior officers,
all busily at work.
A wizened old doorman is greeting clerks as they arrive.
CLERK
(passing by)
Hello, Gardiner.
GARDINER
Good morning. You're on time this
morning. It's about time.
We see Dickson, looming in the doorway, for the first time.
43. CLOSE SHOT
As Dickson stops to speak to the doorman. Dickson is a man
of about fifty, whose looks belie his years. There is a
robustness and virility about him that is compelling. His
very walk radiates power.
He now puts his hand on the old man's shoulder.
GARDINER
Good morning, Mr. Dickson.
DICKSON
John, how's your wife this morning?
GARDINER
(looking up, worship
in his eyes)
Much better this morning, thank
you.
DICKSON
Got a handkerchief?
Gardiner hurriedly produces a handkerchief, and starts to
blow his nose.
GARDINER
Excuse me—
DICKSON
Wait a minute.
(he takes the
handkerchief, and
polishes the brass
on Gardiner's
uniform)
How do you feel this morning?
GARDINER
I'm feeling fine this morning.
DICKSON
That makes it unanimous. I feel
all right too.
GARDINER
Thank you!
AS DICKSON EXITS FROM SCENE:
CUT TO:
TRUCKING SHOT WITH DICKSON
The smile on his face disappears as he sees something which
annoys him.
DICKSON
(sternly)
Oh, Carter!
A young man looks up quickly. He is smoking a cigarette.
CARTER
Yes sir?
DICKSON
You know the rules about smoking...
Carter quickly crushes out the cigarette. Even as he does
so, Dickson reaches into his pocket and flips Carter a
fresh one, which Carter pockets for later.
CARTER
Thank you, sir.
Now Dickson passes Matt's cage.
DICKSON
(catching Matt's
attention)
Oh, Matt!
Matt looks up. Dickson tosses him a wink, and Matt winks
back.
Dickson walks on towards his office. CAMERA TRUCKS AHEAD
OF HIM. On the way he is greeted by his employees.
AD-LIB FROM EMPLOYEES
Good morning, Mr. Dickson. Etc.,
etc.
DICKSON
(pleasantly)
Morning. Good morning—
He is joined by Bill Saunders, a friend of his. Bill walks
along with Dickson.
BILL
Hello, Tom.
DICKSON
(firmly, but
pleasantly)
You here again? What do you want?
He does not stop. Continues his walk toward his office.
Bill along-side of him.
BILL
(smiling)
What do you suppose anybody wants?
Money, money, money!
DICKSON
Listen, I told you I wasn't
interested in that deal, didn't I?
BILL
I want to know why .
Dickson notices a man, a janitor without a uniform, passing
by.
DICKSON
(to the man)
Wait a minute. Where's your uniform?
JANITOR
I haven't any.
DICKSON
You haven't got a uniform?
JANITOR
No, sir.
DICKSON
My goodness, you ought to have a
uniform. How much does one cost?
JANITOR
Why, I don't know.
DICKSON
You see Sampson. Tell him I sent
you. You've got to have a uniform.
The man exits scene. Bill picks up the conversation where
he left off.
BILL
Tom, I never had trouble getting
credit from you before. When I was
flat broke you gave me all the
money I wanted. Now I come to you
with a swell deal, and the greatest—
DICKSON
(interrupting)
I'll tell you why. I don't like
the crowd you're mixed up with.
(softening)
Personally, you can have all the
credit you want. But for that deal -
not a cent.
BILL
But listen, Tom, I—
They have now reached the anteroom of Dickson's private
chamber, where Helen sits at her desk.
INT. DICKSON'S OUTER OFFICE - MED. CLOSE SHOT
As Dickson comes up to Helen at her desk. A lady sits
nearby. Dickson notices her.
DICKSON
Good morning, Mrs. Pembroke.
MRS. PEMBROKE
Good morning, Mr. Dickson.
DICKSON
Got my letter?
MRS. PEMBROKE
Yes, thank you.
DICKSON
Hello, Helen.
HELEN
Good morning.
DICKSON
Helen, you're becoming more
beautiful every day. What are we
going to do about it?
HELEN
I don't know.
DICKSON
Guess we'll just have to sacrifice
the bank. When are you and Matt
going to get married?
HELEN
(awkwardly)
Why - well, I—
DICKSON
Ummm. Stalling, eh?
(changing tone,
professionally)
Anything new?
HELEN
Why, the directors are waiting for
you in the board room.
DICKSON
Directors, eh? Long faces?
He gestures accordingly.
HELEN
(she trumps his
gesture)
Longer.
DICKSON
(half-under his
breath)
I haven't got any new stories for
them this morning, either.
Mrs. Pembroke has been standing by, waiting to get a word
in edgewise. CAMERA PANS SLIGHTLY with him to take in the
lady:
MRS. PEMBROKE
Mr. Dickson?
DICKSON
Ah, Mrs. Pembroke. I spoke to Mr.
Schaffer at the Guaranty. He's
going to take care of that mortgage
for you . . .
During this speech the phone bell rings.
46. MEDIUM SHOT
As Helen picks up the phone and quietly answers it. Bill
Saunders is standing nearby, still waiting to talk to
Dickson again.
HELEN
(into phone)
Hello . . .
(she turns to Dickson)
Mrs. Dickson on the phone.
Dickson comes over to the desk and as he picks up the
receiver, he looks toward Mrs. Pembroke.
DICKSON
(to Mrs. Pembroke)
You'd better hurry over there.
He's waiting for you.
(then into phone)
Hello, dear . . .
CLOSE SHOT - DICKSON
AS HE CONTINUES, INTO PHONE:
DICKSON
Where are you? . . . Sure, well,
come on down right away. Huh? . .
. Yes, of course I remember. It's
tonight.
(smiles)
See what a social hound I'm
becoming! . . . All right, goodbye,
dear.
He hangs up. Mrs. Pembroke is waiting for him to finish.
She has apparently been disappointed in the news he has
for her.
MRS. PEMBROKE
But, Mr. Dickson, I thought you
were going to take care of the
mortgage. I only want ten thousand.
The property is worth sixty.
DICKSON
(ill-at-ease)
Mr. Schaffer will take good care
of you. He'll give you fifteen -
maybe twenty . . .
MED. CLOSE SHOT
He continues talking to the lady, trying to get rid of
her.
DICKSON
Better hurry now. Goodbye. Good
luck to you!
Mrs. Pembroke, bewildered, starts to leave.
MRS. PEMBROKE
(muttering)
Thank you.
CAMERA PANS WITH HIM as Mrs. Pembroke leaves.
DICKSON
(to Helen)
Oh, if Mrs. Dickson comes in, will
you tell her to see Cluett if she
needs any money?
Bill Saunders is still waiting. He corners Dickson.
BILL
What's the idea of turning her
down? It sounds like a perfectly
safe investment.
DICKSON
She's a widow. I don't like taking
mortgages from widows.
BILL
(puzzled)
Why not?
CLOSE SHOT OF THE TWO
Shooting toward Dickson.
DICKSON
If she can't pay, I'll have to
foreclose, won't I?
BILL
(dumbly)
Yes - sure—
DICKSON
(mimicking him)
Yeah - sure!
He turns to address a man below - the janitor without a
uniform.
DICKSON
Oh, make that uniform blue.
JANITOR
Yes, sir.
Abruptly, he heads for the board room. Bill is still baffled
by Dickson's queer reasoning. Suddenly, it dawns on him.
He shakes his head admiringly.
CUT TO:
INT. CONFERENCE ROOM - MED. SHOT
Dickson enters.
DICKSON
(blithely; as he
counts the board
members present)
One - two - three - four - five.
Seven more and you'd have a jury!
He grabs a walking cane and wields it like a golf putter.
DICKSON
Well, it's a nice morning,
gentlemen. How about two foursomes
of golf?
IVES
(eagerly)
Oh, I say, that would be . . .
Ives's voice trails off as he realizes Clark is scowling
at him.
DICKSON
(undeterred; still
practicing his
golf swing)
Say, you know, I found out something
yesterday about hitting a golf
ball. You've got to hit with the
left hand, and from the inside
out, it's the only way you can hit
anything—
CLARK
(huffy)
I think, Mr. Dickson, we would
like to have a little of your very
valuable time here at the bank
this morning, if you don't mind.
DICKSON
Oh, you would, eh? All right. If
it's more important than golf, go
ahead. What's on your mind?
CUT TO:
INT. LOBBY OF BANK - LONG SHOT
Shooting from one end of the lobby toward the front door.
Depositors are scattered all over the place. Some at the
windows. Some at the writing tables. Others sitting inside
the railing, talking to junior executives. The scene is
peaceful, though very active.
CAMERA STARTS TRUCKING FORWARD, passing en route, the
different types of individuals who frequent the bank. People
from all walks of life. CAMERA TRAVELS SLOWLY, picking up
following little scenes.
TELLER
(at window)
The check is no good.
SADIE (A FEMALE CUSTOMER)
What?
CLERK
The check is no good. The man has
no account here.
SADIE
Holy mackerel! I've been robbed.
CLERK
I'm sorry, madam.
SADIE
So am I. And don't call me madam!
CAMERA NEXT PICKS UP an elderly lady talking to a bank
guard.
GUARD
Yes, ma'am, you can deposit your
money here.
LADY
Is it safe?
GUARD
Absolutely.
LADY
It's his life insurance money, you
know.
BANK GUARD
That's all right. You come with
me, and I'll show you where to
deposit your money.
CAMERA GOES PAST and now singles out three men who are
coming forward. One glance and we know they are here for
no kosher reason.
They are typical gangster types. One of them, the leader,
is dressed in everything but the kitchen sink. Light
fedora, stiff shirt and collar with stripes running
perpendicularly. Flashy gray suit - spats - and walking
stick. The other two are just tough hombres, but dressed
to kill.
As they walk toward camera, they glance around the bank
with a professional casualness, but obviously very much
impressed. Their eyes rove around the place and finally
land on some object where they stop.
CUT TO:
CLOSEUP - CHARLIE
As he quickly counts out several thousand dollars in bills.
CUT TO:
53. CLOSE SHOT - THREE RACKETEERS
Their eyes glisten. Their mouths water, as they watch
Charlie off scene.
CUT TO:
54. MEDIUM SHOT
Inside the railing. Cluett emerges from his office and
starts forward, business-like, when he suddenly stops in
his tracks.
CLOSEUP - CLUETT
He stares off at the racketeers. A look of fright comes
into his eyes. His impulse is to turn back.
CLOSE GROUP SHOT
The three gangsters. A quick flash. Their eyes light on
Cluett off scene, and they glare menacingly at him.
LEADER
There he is! Good morning!
MED. CLOSE SHOT - CLUETT
He changes his mind about avoiding them. His face breaks
into a feeble smile of affability as he walks toward them.
CAMERA PANS WITH HIM as he approaches the three men, his
hand outstretched in forced amiability.
CLUETT
(shaking)
Good morning! Who do you want to
see?
The gangsters shake hands with him, their expressions
remaining unchanged, which adds immeasurably to Cluett's
discomfort.
LEADER
(flatly)
You.
1ST GANGSTER
(drawling)
Yeah. We wanna talk to you about a
big deal.
There is a sinister significance in the manner in which he
emphasizes "a big deal." Cluett is perceptibly ill-at-ease.
CLUETT
(uncertainly - sickly
smile)
Oh, yes. Well, come right this
way.
He opens the swinging gate in front of him, permitting the
three racketeers to enter. They start for Cluett's office.
INT. ANTE ROOM DICKSON'S OFFICE - MED. CLOSE SHOT
Helen sits at her typewriter near a railing, overlooking
the bank below. Another girl stands by her, both are staring
off scene.
CUT TO:
INT. BANK LOBBY - MED. LONG SHOT
FROM HELEN'S ANGLE.
Cluett and the three gangsters going into Cluett's office.
INT. ANTE ROOM OF DICKSON'S OFFICE - MED. CLOSE SHOT
Helen and other secretary.
HELEN
Hey Pat, come here! Look!
SECRETARY
(to Helen)
That's Dude Finlay, all right -
I've seen his picture in the papers
hundreds of times.
HELEN
I wonder what he's doing with Mr.
Cluett.
SECRETARY
(still staring -
thrilled -
shuddering)
Gee, I'm scared. He's one of the
toughest gangsters in town.
CUT TO:
INT. CONFERENCE ROOM - MED. LONG SHOT
Shooting down the length of the table. The men are all
sitting around the large table. Dickson is on his feet.
DICKSON
(firmly)
Gentlemen, you're only wasting
your time. There'll be no merger.
MED. CLOSE SHOT
As Dickson continues.
DICKSON
(the injustice kills
him)
Why should I turn this bank over
to anybody else? I've worked twenty-
five years night and day to build
it up, and now you're asking me to
dump it into somebody's lap—
(with finality)
Nothing doing!
Schultz, who is seated near Dickson, looks up at him:
SCHULTZ
You can make a handsome profit on
your stock.
DICKSON
I'm not interested in profits. I'm
interested in the bank. In the
depositors. They're my friends.
They're looking to me for
protection, and I'm not walking
out on them.
Clark and O'Brien, also seated around close to Dickson.
CLARK
How are you protecting your
depositors? By making a lot of
idiotic loans!
O'BRIEN
(admonishing him)
Take it easy, Clark.
Ives, seated next to Schultz, becomes alarmed.
IVES
(still trying)
My dear friends . . .
DICKSON
(unruffled, paying
no attention to
Ives)
It's all right. Let him go ahead.
Let him speak his piece. I like
it. Go on.
CLARK
All right. I'll speak my piece.
Dickson, you've got to change your
policy.
63. CLOSER SHOT
As Dickson retorts:
DICKSON
What's the matter with my policy?
How many losses has this bank taken
in the last twenty-five years?
(he looks around -
silence)
I'll tell you. Not a single one!
(defiantly)
What's wrong with that kind of
banking?
CLARK
(mumbles disdainfully)
Just pure luck!
64. CLOSE SHOT
Ames, seated beyond Ives, now speaks
up:
AMES
Conditions have changed. These are
precarious times. Banks today have
got to be careful. And you've been
more liberal than ever.
Dickson's voice comes in over scene:
DICKSON'S VOICE
Yes, and I'm going to continue to
be liberal . . .
CLOSEUP - DICKSON
AS HE CONTINUES:
DICKSON
The trouble with this country today
is there's too much hoarded cash.
Idle money is no good to industry.
Where is all the money today? In
the banks, vaults, socks, old tin
cans, buried in the ground! I tell
you, we've got to get the money in
circulation before you'll get this
country back to prosperity.
CLOSE SHOT - CLARK
CLARK
Who are we going to give it to?
Men like Jones? Last week you
made him an extra loan of fifty
thousand dollars. Do you call that
intelligent banking?
67. CLOSE SHOT - SCHULTZ AND DICKSON
SCHULTZ
He can't pay his bills. How do you
expect him to pay us?
DICKSON
That's a fair question, Schultz.
Now let's see how bad a risk Jones
is. What's his history? He's been
a successful business man for thirty-
five years. Two years ago business
started falling off. Today Jones
needs money, and if he doesn't get
it, he goes into bankruptcy and
throws nine hundred men out of
work. Answer - unemployment.
CLOSEUP - O'BRIEN
As he listens intently, Dickson's voice coming in:
DICKSON'S VOICE
It also means his creditors aren't
paid. They're in trouble. They go
to banks and are turned down . . .
more bankruptcies . . .
CLOSEUP - DICKSON
AS HE CONTINUES:
DICKSON
It's a vicious circle, my friends,
and the only place to cure it is
right here at the source. Help
Jones and you help the whole circle.
Now, when Jones comes to me, I ask
myself two questions. First - is
he honest? Yes. Second - is he as
good a business man as he was
before? And the answer is - he's
better .
CLOSEUP - CLARK
Showing his reaction, as part of Dickson's speech comes
over scene:
DICKSON'S VOICE
He is not only older and wiser,
but his present trouble has taught
him precaution. In my estimation,
gentlemen, Jones is no risk. Neither
are the thousands of other Joneses
throughout the country . . .
CLOSEUP - SCHULTZ
To intercut with Dickson's speech.
CLOSEUP - AMES
To intercut with Dickson's speech.
CLOSEUP - IVES
To intercut with Dickson's speech.
MED. CLOSE SHOT
The group, as Dickson concludes his speech.
DICKSON
It's they who built this nation up
to the richest in the world, and
it's up to the banks to give them
a break. Disraeli said security is
the prosperity of the nation—[4]
AMES
(cutting him off)
Why, Disraeli didn't say anything
of the kind.
DICKSON
Well, he should have said it. It's
as true now as it was then. And
let us get the right kind of
security. Not stocks and bonds
that zig-zag up and down, not
collateral on paper, but character!
CLARK
(indignantly)
Character, hmmpf! That's your idea?
DICKSON
Not at all. That's Alexander
Hamilton's idea[5] - the finest
banking mind this country has ever
known. Those are his exact words,
gentlemen. Character! It's the
only thing you can bank on, and
it's the only thing that will pull
this country out of the doldrums.
CUT TO:
INT. CLUETT'S PRIVATE OFFICE - MED. CLOSE SHOT
Cluett sits at his desk, his face drawn, panic-stricken.
He is like an animal at bay. The leader of the trio, Dude
Finlay, sits in a chair directly in front of Cluett. The
other two men stand on either side of the desk.
DUDE
(menacingly)
You know what we do to welchers,
Cluett, don't you?
CLUETT
(trembling)
I know, I know, Dude. Oh, I must
have been crazy! I lost my head
completely!
DUDE
That's your funeral. We've got
fifty thousand dollars comin' to
us.
CLUETT
(helplessly)
I haven't got it.
CLOSE SHOT - DUDE
Shooting past Cluett.
DUDE
(barking)
Then what did you want to gamble
for? If you'd have beat us out of
fifty G's, you'd have been paid,
wouldn't you? Well, we want our
dough.
CLUETT
I'm sorry, Dude, but—I—
DUDE
That don't do us any good.
CLUETT
But after all, you can't take blood
from a stone.
DUDE
(threateningly -
quietly)
We can take blood from anything —
(pauses)
If it's comin' to us.
MED. CLOSE SHOT
Shooting toward Cluett. Dude on opposite side of desk, the
other two men still standing by the desk.
A look of alarm spreads over Cluett's face. There is nothing
hidden in this threat.
CLUETT
(wants time to think)
Perhaps if you'll wait a little
while, I might be able—
ONE OF THE MEN
(snappily)
We waited long enough!
DUDE
(shrewdly - to the
men)
Nix. Lay off.
(to Cluett)
Now - what's the use of getting
excited, Cluett? It oughta be
easy for you to lay your mitts on
that kind of dough . . .
CLOSE SHOT - CLUETT
Shooting past Dude, as Dude continues, slowly, deliberately:
DUDE
There's plenty of it in this bank -
laying around loose.
Cluett looks up - horror-stricken.
CLUETT
(pop-eyed, choked
voice)
Good heavens, man! You're not
suggesting that I—
DUDE
Why not?
CLUETT
(perspiring freely)
Why, I couldn't do that . . . !
DUDE
(flatly)
You don't have to do nothing.
Cluett looks up toward the men - then at Dude.
CLUETT
(slowly)
What do you mean?
DUDE
All you gotta do is fix a few things
for us , and we'll do the rest,
see?
There is a pause while Cluett stares at them, horrified,
his confused mind trying to assimilate the ghastliness of
their proposal. Suddenly he starts to rise.
79. MEDIUM SHOT
As Cluett gets to his feet and faces Dude across the desk.
CLUETT
NO, NO, I COULDN'T - I COULDN'T DO ANYTHING LIKE THAT. I—
Smack! The rest of his speech dies in his throat. The man
to his right has slapped him across the face with his open
palm. Taken unaware, Cluett's hand goes to his cheek. He
stares at them, bewildered and frightened.
Cluett, feeling himself trapped and helpless, slowly sinks
into his chair.
CUT TO:
INT. ANTEROOM DICKSON'S OFFICE - MED. SHOT
Helen sits at her typewriter. A very dignified, beautiful
woman of thirty approaches her. She is Phyllis Dickson,
Dickson's wife. She radiates refinement and culture.
MRS. DICKSON
(pleasantly)
Good morning, Helen.
81. CLOSER SHOT
At Helen's desk, as Helen looks up
at Mrs. Dickson.
HELEN
How-do-you-do, Mrs. Dickson.
MRS. DICKSON
Is that busy husband of mine busy?
HELEN
(indicating
conference room)
He's at a board meeting.
MRS. DICKSON
(not unexpected)
Board meeting. Oh, that means hours,
I suppose.
HELEN
I'm afraid so.
MRS. DICKSON
Helen, did you ever try competing
with a bank?
HELEN
No.
MRS. DICKSON
Well, take my word for it, and
don't try it. It's useless! If it
were some other woman, I could
handle her, but after all, you
can't scratch a bank's eyes out
now, can you?
HELEN
Hardly.
CLOSE SHOT - MRS. DICKSON
Shooting past Helen.
MRS. DICKSON
Oh, well. I guess the only other
thing for me to do is to go out
and buy myself a few sticks of
dynamite. When he comes out, you
tell him I'll be back. He hasn't
gotten rid of me!
HELEN
All right.
83. MEDIUM SHOT
Helen laughs as Mrs. Dickson leaves in the direction of
Cluett's office.
CUT TO:
INT. CYRIL CLUETT'S OFFICE - MED. CLOSE SHOT AT DOOR
The three racketeers are preparing to leave. Dude has his
hand on the doorknob.
CLUETT
(nervously)
Dude - there's not any chance of
my becoming involved in this, is
there?
DUDE
You? No, you'll be all right, so
long as you establish an alibi for
tonight.
CLUETT
know, but—
DUDE
Be sure you're with somebody
responsible in case any questions
are asked. Understand?
CLUETT
But Dude, listen - couldn't we
make this some other time?
DUDE
(positively)
Listen, buddy, you're getting by
pretty easy. Quit squawking!
Cluett looks at Dude, then at the others, and realizes he
is helpless.
He opens the door and the men file out, silently. Cluett
shuts the door and CAMERA PANS WITH HIM as he crosses back
to his desk, shaking perceptibly. He reaches into a desk
drawer and extracts a bottle of liquor.
As he takes a drink, Mrs. Dickson enters unannounced.
CUT TO:
MED. CLOSE SHOT
As Mrs. Dickson stands watching Cluett.
MRS. DICKSON
(playful reproach)
Oh, oh!
Cluett turns quickly. Upon seeing her, he makes an attempt
to conceal the terror he feels.
CLUETT
(smiling feebly)
Oh, hello, Phyllis.
She advances toward him as he rises.
MRS. DICKSON
(shaking her head)
This won't do. Not during business
hours . . .
CLUETT
Why, I needed a—
(OFFERING HER DRINK)
Want one?
MRS. DICKSON
(screwing up her
face)
Heavens, no! Do you mind putting
up with me until the financial
genius gets thru genius-ing?
CLUETT
No, no, of course not. Not at all.
Oh, here.
As she takes out a cigarette, he offers her a light. Mrs.
Dickson notices that he is rather nervous.
MRS. DICKSON
What is the matter with you? You're
trembling?
CLOSE SHOT - CLUETT
CLUETT
(trying to be light)
Am I? Why, I - I don't know any
reason why I should be, unless of
course it's you . . .
CLOSE TWO SHOT
MRS. DICKSON
Me?
CLUETT
Being alone with you has always
done this to me. You know that.
MRS. DICKSON
For a celebrated bounder, that is
an awful admission. Besides, I
never knew that any female could
do this to you .
CLUETT
Well, you can. You always could.
MRS. DICKSON
(smiling)
Liar! You're just suffering from
lack of sleep.
He takes this as premature defeat, and heads back toward
his desk.
MRS. DICKSON
(good-natured
admonishment)
Here, here, here, now! Don't you
go back to work on me, too. I'm
getting tired of this. Besides,
it's beginning to affect your looks—
CLUETT
(not understanding)
What is?
MRS. DICKSON
(finishing her little
joke)
—running around. Not your work.
(Cluett laughs in
relief)
You'd better start reforming, Cyril!
CLUETT
If I thought you were the slightest
bit interested, I would.
MRS. DICKSON
Not bad, not bad at all. Do you
know something? I've always been
curious about your line.
CLUETT
Line?
MRS. DICKSON
Whatever it is that makes you such
a riot with women.
He shrugs off the compliment.
MRS. DICKSON
(continuing)
Come on Cyril, try a little bit of
it out on me. I haven't had any
first-class blarney thrown at me
since the day I was married.
CLUETT
(trying hard)
But you see, it isn't blarney where
you're concerned.
MRS. DICKSON
(laughs)
Now let me see, what comes next?
(a mocking tone)
Oh yes, I know - what are you doing
tonight, Phyllis?
CLOSEUP - CLUETT
He is suddenly reminded of his pact with Dude Finlay. Terror
returns to his face.
CLUETT
Tonight?
He suddenly gets an idea. He was told to be with someone
around midnight. Someone who would be an alibi for him. He
stares off at Phyllis Dickson. Why not?
MRS. DICKSON
(continuing)
Doesn't that come next?
MED. CLOSE SHOT
CLUETT
Yes, yes, it does. What are you
doing tonight, Phyllis?
MRS. DICKSON
See, we're getting along famously!
CUT TO:
INT. CONFERENCE ROOM - MEDIUM SHOT
Clark is in a state of agitation. The other directors seem
worn by the ordeal. Dickson remains adamant.
DICKSON
Most of the creditors I know
personally. I've seen them grow up
in the community. I knew their
fathers and mothers before them.
CLARK
I know, Dickson. That's all very
well. But you're taking too many
chances. In these times a bank
should keep liquid in case of
trouble. In case of emergency!
CLOSER SHOT AT THE TABLE
All the men in the scene.
DICKSON
I know what you mean by that. You
want me to hang on to our cash.
Well, I don't believe in it. The
law demands that I carry a certain
legal reserve, and I'm doing it.
The rest of our money is out working
. . . working to help industry . .
. to help build up business . . .
CLOSEUP - CLARK
As he almost shouts at Dickson.
CLARK
In the meantime, you're jeopardizing
the safety of the bank. Well, we
won't stand for it!
MED. CLOSE SHOT
Of the group, as Dickson turns to Clark.
DICKSON
You have to stand for it.
Meek little Ives once again tries to say something:
IVES
(exhausted)
But my dear friends . . .
SCHULTZ
(interrupting)
You're forcing us to take action
against you, Dickson.
DICKSON LOOKS AT HIM:
DICKSON
Go ahead - take all the action you
want!
He looks about at the others as he continues:
DICKSON
I'm running this bank my way. Get
that clear!
CLARK
Gentlemen, you notice Mr. Dickson
refuses to consider our wishes. He
refuses an offer to merge with the
New York Trust - the only thing
that will put this bank on safe
ground. He insists upon running a
bank on so flimsy a thing as . . .
as faith!
DICKSON
Yes! You said it, Clark. That's
the only thing that means anything
to me.
CLOSEUP - CLARK
As Dickson's voice continues. Clark reacts appropriately.
DICKSON'S VOICE
Before I take a man into this bank,
and before I extend credit to
anyone, I satisfy myself on one
thing - do I believe in him?
CLOSE PAN SHOT
On the other men - CAMERA PANNING from one to the other as
Dickson's voice comes over the shot - finally CAMERA STOPS
on Dickson.
DICKSON
So far, my judgement has been right
one hundred per cent. One hundred
per cent! When I start going wrong,
you won't have to take any action.
I'll turn the bank over to you.
Then you can merge all you want
to. I won't be the fellow to run
it then. Good day, gentlemen!
He exits scene.
CAMERA TRUCKS AHEAD OF HIM as Dickson passes briskly through
his outer office, stopping only to speak to Helen at her
desk:
DICKSON
(cheerfully)
Helen, tell Matt I want to see
him.
HELEN
Yes, sir.
CUT TO:
INT. CLUETT'S PRIVATE OFFICE - CLOSE SHOT - CLUETT AND
PHYLLIS
CLUETT
(mid-stream)
—and after dinner, we could go—
MRS. DICKSON
(not at all angry)
Oh! Oh, no! I think I've done
enough experimenting for one day.
Congratulations, Cyril. You've
convinced me that you're a
philanderer of the very first order.
I shall recommend you highly.
CLUETT
(simply)
Please, please don't laugh at me,
Phyllis. I must see you tonight!
CLOSER SHOT OF THE TWO
Favoring Mrs. Dickson.
MRS. DICKSON
Tonight, Oh, never! Tonight I have
reserved for a very special
occasion. Believe it or not, it's
our wedding anniversary. Tom doesn't
probably even remember it. But
then, they never do, do they?
CLUETT'S VOICE
NO, THEY DON'T—
She shakes her head.
MRS. DICKSON
But I'm giving a party for him - a
real, old-fashioned surprise party.
Caps, bells, whistles, and
everything. I'm really terribly
excited about it. I've been planning
it for months.
CLUETT
(after a pause)
Well—
MRS. DICKSON
(smiling)
Well, what?
CLUETT
(he won't give up)
Well, aren't you going to invite
me?
MRS. DICKSON
(surprised)
You? No can do. It's all set. Just
a few of Tom's closest friends.
CLUETT
Now Phyllis, if you don't invite
me, I'm coming anyway.
MRS. DICKSON
Don't be silly, Cyril. These are
respectable people. They'd probably
bore you to death.
CLUETT
(desperate-sounding)
No, they won't. Not when you are
there. Oh, please, be a sport.
Please ask me.
MRS. DICKSON
(flattered, but a
little suspicious)
Why are you so anxious?
CLUETT
(intense sincerity)
Don't you know?
MRS. DICKSON
No.
CLUETT
I want to be near you!
He steps closer to her.
MRS. DICKSON
What?
CLUETT
Don't you know I've been crazy
about you for years?
MRS. DICKSON
(still flattered,
lightly)
Now wait a minute, wait a minute...
CLUETT
I've loved you ever since I can
remember, long before you married
Tom Dickson.
MRS. DICKSON
(still only half-
believing)
Why, Cyril, you're insane—
CLUETT
No. No, I'm not. I deliberately
avoided you. I was afraid of making
a fool of myself. But I won't stand
it any longer—
MRS. DICKSON
Cyril!
Before she realizes what has happened, he has swept her
into his arms and crushes her to him. CAMERA PANS AWAY
from them to the door to the outer office. The door opens
and Matt steps in. He stops, suddenly, transfixed by what
he sees off scene.
MEDIUM CLOSE SHOT
Phyllis Dickson in Cluett's arms (from Matt's angle). They
suddenly become conscious of someone in the room and Phyllis
struggles free, looking off scene toward Matt:
CUT TO:
CLOSE SHOT - MATT
From Cluett and Mrs. Dickson's angle.
He stares unbelievingly for a moment, and then collecting
himself, turns and leaves the room, closing the door after
him. CAMERA PANS BACK to Cluett and Mrs. Dickson. For a
moment she is terribly upset.
CLUETT
Please forgive me, Phyllis. I lost
my head for a minute. But I couldn't
help it, Phyllis.
As she starts for the door, CAMERA PANS WITH HER. Cluett
walks with her.
MRS. DICKSON
Please stop apologizing so much.
You're making it far too important.
As they reach the door.
CUT TO:
INT. ANTE ROOM OF CLUETT'S OFFICE - MED. SHOT
Matt stands there, in a daze. Cluett's secretary is not
there. He starts slowly forward, hardly knowing where he
is going - CAMERA TRUCKING AHEAD OF HIM - there is a far-
away look in his eyes. His hand clutches the list of
payrolls but as far as he is concerned, it is entirely
forgotten. Several people talk to him, but Matt walks on
heedlessly. He can't get over the shock of what he just
saw. He always had been under the impression that Dickson's
home life was a happy one. He never dreamed that Phyllis
Dickson represented anything but the height of
circumspection. And now - Cyril Cluett, of all people!
Helen comes running into scene, all excited.
HELEN
(happily)
Matt, where have you been? Mr.
Dickson wants to see you right
away. Hurry up!
He turns around mechanically and continues to walk in the
direction of Dickson's office - CAMERA TRUCKING AFTER HIM.
Helen falls into step with him.
HELEN
Say, I just heard the merger isn't
going thru. Isn't that grand?
MATT
(tonelessly)
Yeah, swell.
They reach Dickson's outer office. Matt crosses it and
exits into the private office. Helen looks after him - her
face falls in disappointment. Matt is acting very strangely.
She thought he'd be elated. She stares unhappily at his
forlorn figure as it disappears thru the door.
CUT TO:
INT. DICKSON'S PRIVATE OFFICE - MED. SHOT
Dickson sits at his desk when Matt enters. When he sees
Matt, his face breaks into a broad, pleasant smile.
DICKSON
(grandly)
Well, Matt, get ready for the big
moment. Starting tomorrow you become
assistant cashier. How's that?
Matt crosses to the desk as Dickson is speaking.
CLOSE SHOT AT DESK
As Matt stops in front of Dickson. Matt cannot share
Dickson's enthusiasm. The scene he just witnessed has taken
the joy out of everything.
MATT
It's all right. Thanks.
DICKSON
And what's more, keep up the good
work and who knows - some day you'll
be the fellow sitting behind that
desk . . .
(the idea pleases
him)
Not a bad thought, eh?
He suddenly notices Matt's lack of enthusiasm.
CLOSE SHOT OF THE TWO
Shooting toward Dickson.
He leans forward to look at Matt closely:
DICKSON
What's the matter? You don't seem
very excited about it.
MATT
(feebly)
Sure, I think it's swell.
DICKSON
(scrutinizing him
closely, very much
hurt)
Say, come on. Show a little
enthusiasm. What's the matter? Are
you sick or something? Go on, fake
it - even if it isn't real.
CLOSE SHOT - MATT
Shooting past Dickson.
Matt makes an attempt to snap out of it - and answers
quickly.
MATT
Aw, I'm sorry, Mr. Dickson. It's
just kind of sudden, that's all.
(working up a little
enthusiasm)
Sure, I'm excited. I think it's
great. Only, well, you've done so
much for me already . . . I'll
never be able to thank you enough.
105. MEDIUM SHOT
DICKSON
Aw, go on, forget it. You came
through, didn't you? That's all I
wanted. A lot of them didn't think
you would. You don't know how much
satisfaction it's been to me. It's
been swell. Well, when are you and
Helen going to get married?
MATT
Well, I—
DICKSON
I suppose you want me to fix that
up for you too, eh?
They are interrupted by the sudden appearance of Phyllis
Dickson. Both men look up as she appears in the door.
CLOSE SHOT - MRS. DICKSON
As she stops in doorway. She glances fearfully, first at
Matt and then at her husband, trying to sense whether Matt
has said anything. She is quickly assured by Dickson's
affable greeting.
MED. CLOSE SHOT
As Dickson comes toward her, arms extended:
DICKSON
Well, look who's here! Hello, dear.
MRS. DICKSON
Hello, darling.
He kisses her. Then throws his arms around her for an
exaggerated "teddybear" hug. Over Dickson's shoulder,
Phyllis looks gratefully at Matt.
CLOSE SHOT - MATT
He returns her glance. His eyes are unable to disguise his
contempt.
MED. CLOSE SHOT
Dickson and Phyllis. He releases her.
DICKSON
If this isn't a red-letter day for
Tom Dickson! First I trample on
the Board of Directors, then I
promote Matt here to assistant
cashier, and now to complete the
day I have a visit from my sweet
and lovely and gorgeous wife. What
a man, what a man!
MRS. DICKSON
(with a half-smile)
It's amazing that your sweet,
lovely, gorgeous wife can ever get
to see you.
DICKSON
Oooh! That has the earmarks!
He notices Matt, still standing there, uncomfortably.
DICKSON
(good-naturedly)
Are you still here? Go on - go to
work! What do you think I pay you
for?
Matt exits.
CUT TO:
INT. ANTE ROOM OF DICKSON'S PRIVATE OFFICE - MEDIUM SHOT
As Matt comes out and moves quickly forward as if anxious
to get away from the embarrassing situation he found himself
in. Helen, upon seeing him, jumps up.
HELEN
(excitedly)
What happened? What did he say?
Did you get the job?
MATT
(dolefully)
Yeah.
CLOSE TWO SHOT
She is perplexed by his unenthusiastic attitude.
HELEN
What's the matter, Matt? Gee, I
thought you'd be thrilled to death.
MATT
Come here.
(he takes her aside)
You know, a few minutes ago I was
in Cluett's office and Mrs. Dickson
was there.
HELEN
Well . . . ?
MATT
Well, he was making love to her.
Helen, although she had a vague suspicion, is shocked.
HELEN
(after a pause)
Oh Matt, you must be mistaken.
MATT
I tell you, I saw them!
Helen stares at him, horrified.
HELEN
In Cluett's office?
MATT
Yes, right in his office, the rat.
I'd like to take a crack at that
guy.
A telephone rings.
HELEN
(as she goes to
answer the phone)
Wait a minute. Now don't go away...
CUT TO:
INT. DICKSON'S PRIVATE OFFICE - MED. CLOSE SHOT
Dickson is seated with Mrs. Dickson on the arm of the chair.
DICKSON
(talking on the
phone, as Mrs
Dickson waits
patiently)
Yes George . . . yes, sure . . .
Oh, that's for tonight, eh? . . .
Yes, certainly, I'll be there . .
. Yes, we'll go down together and
have dinner in Philadelphia . . .
Mrs. Dickson gets so upset . . .
That's right. . . . Yeah. . . .
Just as soon as the bank closes. .
. . Right. . . . Goodbye. . . .
He punches the intercom, speaks to Helen in the outer
office.
HELEN'S VOICE
Yes?
DICKSON
Helen, I'm going to Philadelphia,
just as soon as the bank closes.
Make all the arrangements, will
you?
HELEN'S VOICE
Yes, sir.
Mrs. Dickson looks visibly upset. Dickson can't help but
notice.
DICKSON
What's the matter dear? What have
I done now?
MRS. DICKSON
Nothing. Tom, I thought you were
going out with me tonight.
DICKSON
Oh, I did have a date with you
tonight, didn't I?
MRS. DICKSON
Yes.
DICKSON
I'm terribly sorry. I'd forgotten
all about you. I'm so sorry, dear.
CLOSE SHOT OF THE TWO
Favoring Phyllis Dickson.
MRS. DICKSON
Now Tom, you simply cannot go to
Philadelphia tonight. That's all
there is to it.
DICKSON
But I have to go, dear. It's a
very important banker's meeting.
MRS. DICKSON
(interrupting)
I don't care whether it's important
or not. You said you were going
out with me, and if you hadn't
promised so faithfully, I wouldn't
have gone and planned the whole
thing.
DICKSON
Listen, it isn't so terribly
important. We can go to the theatre
any time.
MRS. DICKSON
The theatre?
MED. CLOSE SHOT
DICKSON
That's what it was you planned,
wasn't it?
MRS. DICKSON
(after a slight
hesitation)
Yes, of course.
DICKSON
You can take some of the girls.
You can take Mildred - or Gwynn—
MRS. DICKSON
The girls! I don't suppose it
ever occurred to you that I might
go out and find myself an attractive
young man . . .
CLOSE SHOT OF THE TWO
Shooting toward Dickson, as he laughs boisterously.
DICKSON
Ho! Ho! Ho!
MRS. DICKSON
Ho, ho, ho, yourself! I wouldn't
laugh if I were you. You may not
suspect it, but I'm still attractive -
to some.
DICKSON
Listen, don't go around being
attractive to anyone but me . . .
MRS. DICKSON
Well . . .
DICKSON
Don't you forget that I'm still
the head man around here too. Now
we'll get the tickets changed for
tomorrow night. You and I are going
out together. How's that?
MRS. DICKSON
Tomorrow night?
A buzzer sounds, and a visitor is announced on the intercom.
DICKSON
Yes?
VOICE
Mr. Gardner's here.
DICKSON
(answering the
intercom)
Oh, yes. That's that lawyer. All
right, let him have nine thousand.
(returning attention
to his wife)
Yes sir, I'll step you around this
town like you've never stepped
before. We will have dinner at the
St. Regis - then we'll go to a
nice, snappy show - then a nightclub -
we'll listen to soft music, and
who knows? Ha! - I might break
down and dance with you!
MRS. DICKSON
(still skeptical)
All right. I'll postpone the whole
thing until tomorrow night.
DICKSON
(assuringly)
Happy now?
MRS. DICKSON
(mock-pouting)
No.
116. MEDIUM SHOT
He takes her in his arms and kisses
her.
DICKSON
(tenderly)
Poor kid, you know, I have been
neglecting you.
MRS. DICKSON
Oh, I don't care, darling. I love
you, anyway.
A buzzer sounds again, and Dickson answers the intercom.
DICKSON
Yes?
HELEN'S VOICE
Mr. Sampson . . .
DICKSON
All right. Send him in.
There is a knock on the door. Dickson moves away from his
wife. He looks toward the door.
CLOSE SHOT AT DOOR
Sampson, an executive in the bank, enters. Sampson goes to
Dickson with some papers in his hand. He lays the papers
on the desk before Dickson.
DICKSON
Well, Sampson, what is it?
SAMPSON
Here's the data on the Clyde deal.
CLOSE SHOT AT DESK
Dickson is all absorbed.
DICKSON
Good. I'll take this along with
me. Tell Clyde I'll see him
tomorrow. I'm sick and tired of
the delay.
SAMPSON
I'm afraid he's been stalling.
DICKSON
That's just exactly what he has
been doing. This deal should have
been closed weeks ago. Tell him to
keep tomorrow open . . .
SAMPSON
He says he can't get away in the
daytime.
DICKSON
How about his nights? He's too
busy running around. Tell him to
keep tomorrow night open, come in
and sign this thing, or I'll call
this whole deal off.
SAMPSON
Yes, sir.
CLOSEUP - PHYLLIS DICKSON
She stands by a window, listening. There is despair in her
look as she hears him making arrangements for tomorrow
night. Dickson's voice comes over this shot:
DICKSON'S VOICE
I'm sick and tired of these people
dilly-dallying. People who can't
make up their minds . . .
Mrs. Dickson's eyes close hopelessly, and she feels
defeated. Again shut out from his scheme of things, she
realizes he is incurable. On this picture of resignation:
FADE OUT:
FADE IN:
INSERT: CLOCK OVER THE VAULT, reading 5:07 CAMERA PANS
DOWN to open vault.
INT. VAULT - MED. SHOT
Inside, several of the tellers are putting their cash away.
One of them is just entering with his truck.
MATT
Everybody in?
TELLER
I guess so.
MATT
Where's Charlie?
TELLER
(amused)
Charlie's upstairs as sore as a
pup. He's out fourteen cents, and
he can't find it.
AD-LIB VOICES
Good night. Good night, Matt.
CUT TO:
122. OUTSIDE OF VAULT - MED. CLOSE SHOT
Cyril Cluett is standing at the bottom of a spiral staircase
from which he has just descended. He stops a second and
watches Matt, off scene. Cluett has gloves on, his hat in
his hand, preparatory to going home. Matt does not see
Charlie.
CUT TO:
123. OUTSIDE OF THE VAULT - CLOSE SHOT
Matt and Helen standing near the vault door.
HELEN
What's keeping you?
MATT
Oh, Charlie again.
HELEN
Say Matt, you haven't done anything
about what you saw today, have
you?
MATT
(still upset)
Who? Cluett? No, not yet. But I'd
like to take a crack at that stiff-
necked, horse dollar.[6]
HELEN
Oh now, don't be silly.
MATT
(disgusted)
Can you imagine that guy? He was
kissing her.
HELEN
Now you've got me worried, dear.
(she kisses him)
Promise me you won't butt in.
MATT
Okay, honey - but just the same
I'd like to take a crack at that—
She puts her hand over her mouth:
HELEN
Shh . . . !
(whispering)
I'll wait for you upstairs.
MATT
All right, dear.
She leaves. Matt remains standing, a far-away look in his
eyes. It is obvious he is thinking about the thing
seriously.
124. MEDIUM SHOT
The boys who were inside the vault now file out, having
properly locked away their cash. At the same time, Charlie
wheels in his truck.
MATT
(kidding him)
Where you been?
CHARLIE
(annoyed)
Where do you think I've been?
(pointing to truck)
I took the baby for a stroll in
the park.
The men hurry out of sight, laughing. Charlie disappears
into the vault. Matt enters the vault, his mind still
preoccupied.
INTERIOR VAULT MED. SHOT
As Matt goes directly to the burglar alarm.
INSERT: BURGLAR ALARM
As Matt's hand comes into scene and throws the switch down
toward sign reading ON.
BACK TO SCENE:
MATT STARTS TO THE VAULT DOOR:
MATT
What's the matter, Charlie?
CHARLIE
I'm fourteen cents out, and it
took me half an hour to find the
mistake. And me with a date, too.
MATT
I remember once when your account
checked.
CHARLIE
Yeah.
Matt goes to the time clock to check it up. He tinkers
with it a moment.
CUT TO:
126. OUTSIDE OF VAULT - MED. CLOSE SHOT
Matt has just finished adjusting the time clock as Charlie
comes out of the vault.
MATT
(pointing to time
clock)
And listen, wise guy - I'm setting
friend time clock for exactly nine
o'clock, so no squawks out of you
guys in the morning.
CHARLIE
(as he exits)
Say, don't annoy me. I got troubles
of my own.
Matt smiles. He starts to shut the vault. He has it swinging
half-way around when Cluett enters. When Matt sees Cluett,
the smile dies on his lips.
CLUETT
Are the payrolls ready for tomorrow?
MATT
Yes, sir.
CLUETT
(peremptorily)
Let me see your cash book, will
you?
MATT
Now?
CLUETT
Yes, now.
Matt looks at him a moment antagonistically. He has half a
mind to talk to him right now, but he recalls Helen's
admonitions and thinks better of it.
MATT
All right, sir.
He exits into vault. The moment he is gone, Cluett crosses
quickly to the time clock.
INSERT: TIME CLOCK
As Cluett's gloved hand comes in and turns the indicator
back to 12 o'clock.
127. INTERIOR VAULT - MED. CLOSE SHOT
Matt has opened a compartment and has brought out several
sheets of paper. He goes thru them to find the one he wants.
INSERT: TIME CLOCK
Cluett's hand is seen throwing the switch up to indicator
reading OFF.
BACK TO SCENE:
As Matt comes up to Cluett with a cash report. Cluett
glances over it.
CLUETT
(returning sheet)
That's all right. But it seems to
me you're carrying too much cash.
He exits. Matt glares belligerently at him.
CAMERA PANS with him as he returns the paper to compartment.
He locks the compartment door, switches off the light in
vault and CAMERA PANS WITH HIM as he starts out of the
vault. As he swings the large vault door closed,
FADE OUT:
FADE IN:
EXT. SIDEWALK IN FRONT OF APT. HOUSE - NIGHT - MED. SHOT
As a cab drives up to curb in the middle of a downpour,
and stops.
INT. TAXICAB - CLOSE SHOT - CLUETT AND MRS. DICKSON
They are in evening clothes, apparently they had some
drinks, as phyllis is in a gay, frivolous mood.
CLUETT
(to driver)
Driver?
DRIVER'S VOICE
Yes.
CLUETT
Have you the correct time?
DRIVER'S VOICE
12:05.
CLUETT
12:05. Fine.
MRS. DICKSON
(looking out)
What's this?
CLUETT
My apartment.
MRS. DICKSON
(mock-melodramatic)
I knew I couldn't trust you. You
told me you were taking me home.
CLUETT
Come on up for just a few minutes.
We'll have just one drink, then
we'll go.
MRS. DICKSON
(definitely)
No. I know the answer to that one.
(shaking her head)
I think you'd better take me home.
CLUETT
What's the matter? Afraid papa
will spank?
CLOSER SHOT ON THE TWO
MRS. DICKSON
No. No, I'm afraid papa isn't that
much interested. He's too busy
rushing off to Philadelphia to
make stuffy, old speeches at stuffy,
old bankers' meetings. Too busy
closing big, important deals—
(on second thought)
I think I will have a drink.
CLUETT
Good for you. Come on.
LAP DISSOLVE TO:
INT. CORRIDOR OUTSIDE CLUETT'S APT. - MED. CLOSE SHOT
Cluett and Mrs. Dickson emerge from the elevator and cross
to his apartment, CAMERA FOLLOWING THEM. Cluett fumbles in
his pocket for the key.
MRS. DICKSON
You know, there ought to be a
Congressional Medal for men like
you. America's comfort to
misunderstood wives. I never thought
I would find myself in that class.
CLUETT
Oh, you're not so badly off. There's
something much worse than being a
misunderstood wife.
MRS. DICKSON
What is that, Mr. Bones?[7]
CLUETT
A misunderstood bachelor.
Cluett smiles. He has the door open by now and stands aside
to permit her to enter.
CUT TO:
INT. CLUETT'S APARTMENT - MED. CLOSE SHOT
At door. Phyllis Dickson has just stepped in, and Cluett
follows. He closes the door and locks it.
CLUETT
(mock-melodramatic)
And now fair woman, I have you in
my power.
MRS. DICKSON
(playing along)
I'm not afraid of you. You haven't
got a moustache!
CLUETT
I'll grow a moustache by the time
you get out of here.
CAMERA TRUCKS WITH THEM as he chases her into the next
room. She alights on a piano bench, and runs her fingers
up and down the scales. Suddenly Cluett stops. He stares
off, a look of amazement in his face. Mrs. Dickson turns
and follows his gaze and she, too, is startled.
CAMERA PANS QUICKLY over to the other side of the room.
Matt sits on the edge of a chair waiting for them. He rises,
looks off toward Cluett and Mrs. Dickson. As he starts
forward, CAMERA PANS BACK to Cluett and Phyllis.
MRS. DICKSON
Why, Matt!
CLUETT
(when he recovers
from his surprise)
What are you doing here?
Matt enters the scene.
MATT
The butler said I could stay. I
told him it was important.
CLUETT
Oh, yeah?
Cluett steps over to a bell cord and pulls it.
MATT
He's not here. He left at nine
o'clock. He said you gave him the
night off.
Cluett wheels around, infuriated.
CLUETT
What do you want?
CLOSE SHOT OF THE TWO
Favoring Matt.
MATT
(uncomfortably)
Well, I thought I'd like to have a
little talk with you.
CLUETT
(sharply)
I'm listening.
MATT
(hesitatingly)
It's funny - now that I'm here, I
don't know just how to go about
it.
(a glance toward
Mrs. Dickson)
You see, I kind of expected to
find you here alone.
AS CLUETT STARTS AWAY:
MATT
Do you mind stepping outside? We
could talk—
134. MEDIUM SHOT
Cluett crosses to the door, where he stands, ready to open
it. Mrs. Dickson stands by helplessly.
CLUETT
(a tone of dismissal)
Anything you have to say to me,
you can say in the morning.
MATT
Oh no, Mr. Cluett, if it's all the
same to you, I'd rather not wait.
It's about you and Mrs. Dickson.
Cluett releases his hold on the doorknob. Mrs. Dickson
looks at Matt uneasily - she is quickly sobering.
CLUETT
(aghast)
About me and . . .
He crosses slowly toward Matt.
PHYLLIS