PLATINUM BLONDE
Story by Harry E. Chandlee and Douglas W. Churchill
Adaptation by Jo Swerling
Dialogue by Robert Riskin
Shooting Draft, 1931
Property of
Columbia Pictures
FADE IN:
INT. CITY ROOM OF NEWSPAPER OFFICE - DAY - FULL SHOT
General atmosphere, typical of a busy newspaper office.
Copy boys running about, shirt-sleeved reporters and rewrite
men pounding away on typewriters. Little wire baskets
containing cylinders of copy whizzing back and forth, such
as are used in some department stores, etc.
SOUND
Morkrum machines, typewriters, telephone bells and all
other sounds relative to a newspaper office when shot has
been fully established:
CAMERA STARTS TRUCKING DOWN MAIN AISLE
It takes in the battery of Morkrum machines clattering
away; the crescent-shaped copy desk; the desk of the
sporting editor, with a big cauliflower-eared pugilist and
his manager standing by the side of the sporting editor, a
hefty guy in his shirtsleeves, smoking a big cigar and
wearing a green eye-shade; the desk of the society editor,
a prissy old lady, who takes down a worn copy of the Blue
Book as the camera passes her and starts looking up some
data; and any other interesting or typical bits that can
be thought out. At the far end of the room is the desk of
Conroy, the City Editor.
Everything shows evidence of feverish activity and great
haste.
2. CLOSE SHOT
On Conroy, the City Editor at his desk, speaking on the
telephone.
CONROY
Yeah, that's all I ever get from
you guys - a lot of hard luck
stories. You come back here and
I'll give you an assignment. It
will be a last interview - with
the cashier!
He hangs up, looks around with a scowl.
Stew! Stew Smith!
REPORTER
Oh Mr. Conroy, give me a crack at
that Schuyler story, will you?
CONROY
You? If you ever got your foot
into a drawing room, you'd step on
a sliding rug! Stew is the only
man that's got brains enough to
handle this. Scram!
A Copy Boy rushes by on an errand.
CONROY
Say Spud, did you find Stew?
COPY BOY
Not yet.
CONROY
Well, did you look in the—
COPY BOY
First place I looked.
CONROY
Not there, eh? For cryin' out loud,
where is that—? Go and dig him up!
Stew! Stew Smith!
CAMERA TRUCKS ON:
Until it takes in a sort of make-shift screen, concealing
a corner of the room.
LAP DISSOLVE TO:
3. CLOSE SHOT
On the other side of the screen. Stew Smith is holding
something in his hand. His hat tilted back on his head,
and he is regarding this plaything intently. Gallagher is
sitting close to him, also gazing intently at the plaything.
Gallagher is a girl, one of the sob sisters[2] on the
newspaper, dressed in a trim but inexpensive little tailored
suit.
STEW
Here it is. Pray for me, Gallagher.
Pray for me. Hold everything . . .
4. CLOSE SHOT
On the object in his hand, one of those hand-puzzles where
you have to land jumping beans in the holes.
5. DOUBLE SHOT
GALLAGHER
Stew, your hands are shaking. You've
been drinking again.
STEW
Come on, come on. Here they come,
Gallagher! Here they come!
Conroy's shouts are heard in the background.
GALLAGHER
(conspiratorially)
The boss is getting hoarse.
STEW
There's the third one. If I don't
get the last one, there's a certain
sob sister I know that's going to
get a kick right in the . . . oh!
Whoops, almost had that.
MED. CLOSE SHOT
Conroy, the City Editor at his desk, looking about with a
scowl for Stew.
CONROY
(bellowing)
Stew! Stew Smith!
The Copy Boy races over to whisper something to Conroy.
CONROY
What? The screen?
7. CLOSE SHOT
On Stew Smith
STEW
Gallagher! I made it!
8. MEDIUM SHOT (FROM CONROY'S ANGLE)
The screen, concealing the washbasin corner.
CONTINUATION, SCENE 6
A wrathy Conroy, his eyes centering suspiciously on
something. With his eyes on the screen, Conroy reaches out
and grasps a heavy telephone book on the corner of his
desk. Still looking off, he heaves it forcefully.
MED. CLOSE SHOT
Showing the screen. The telephone book crashes into it,
overturning it and revealing Stew and Gallagher on the
other side. They both look up, startled. The newsroom erupts
in laughter.
CONTINUATION, SCENE 6
Conroy, glaring off fiercely.
CONROY
Come over here!
10. MEDIUM SHOT
Conroy at his desk. Stew saunters into the scene.
STEW
Look, I quit!
CONROY
Yeah?
STEW
Yeah.
CONROY
Yeah?
STEW
You're always picking on me. It
took me three hours to get those
little gadgets in those holes, and
you screw it up in a minute. Hey,
look!
He gives the hand-puzzle to Conroy, who is immediately
captivated by the fascinating object in his hand.
CLOSE DOUBLE SHOT
STEW
(superior)
Mmm, not as easy as it looks, is
it?
Conroy puts it down with a disgusted look.
CONROY
Aagh! No wonder you're batty. Would
it be imposing too much upon you
if I asked you to do a little work
today? Just to sort of break the
monotony?
STEW
With me you can always do business.
CONROY
Do you know what to do in a drawing-
room?
STEW
It isn't a question of knowing
what to do, it's knowing how to
get in one that counts.
The telephone rings, Conroy answers it.
CONROY
(speaking on the
phone)
Yeah, yeah. Okay, okay.
He hangs up, turns back to Stew.
CONROY
Now listen, we've got a tip that
the Schuyler family has finally
made a deal with that chorus dame.
STEW
Gloria Golden?
CONROY
Yeah, little Gloria.
STEW
The human cash register. Got her
hooks into the Schuyler kid, eh?
CONROY
Right - for the first time this
year.
STEW
(modestly)
Well - it's only April.
CONROY
Come on, get going, get going!
STEW
(loftily)
Get going where? I can write that
yarn without stepping out of the
office.
CONROY
Yeah - and get us into a million
dollar libel suit. It wouldn't be
the first time. Now, you get over
there and get a statement out of
the old lady, the sister, or the
kid. Any of them - but get it.
STEW
(resigned)
All right. Give me a voucher for
expenses.
12. CLOSE DOUBLE SHOT (ANOTHER ANGLE)
CONROY
What expenses? All you need is
carfare to Long Island. You'd better
get a shave and a shine, because
you, you're going to have a tough
time getting in there as it is.
STEW
I know those bluenoses. Their
ancestors refused to come over on
the Mayflower because they didn't
want to rub elbows with the
tourists. So they swam over.
He turns away and exits.
FADE OUT:
FADE IN:
EXT. THE SCHUYLER HOUSE - DAY - MEDIUM SHOT
Someone pacing outside the mansion gates.
EXT. THE SCHUYLER HOUSE (ANOTHER ANGLE) - DAY - CLOSE SHOT
A guard dog pacing inside the gates.
INT. INSIDE THE MANSION - DAY - CLOSE SHOT
A parrot on its perch, hopping from foot to foot.
INT. SCHUYLER DRAWING ROOM - DAY - CLOSE SHOT
Michael Schuyler, a callow youth with the usual dissipated,
spoiled look. His fingers are nipping out little chunks of
a folded piece of paper, dropping the bits on the floor.
This is indicative of a habit of the individual in question
when undergoing nervous stress. He is very fidgety and
apprehensive, as he glances around.
CAMERA PANS OVER TO SHOW
Anne Schuyler, a beautiful and aristocratic, though slightly
hard girl, a few years older than Michael.
CAMERA PANS OVER TO SHOW
Mrs. Stuyvesand Van Alstyne Schuyler, mother of Anne and
Michael. A grande dame, stern and glowering. Her attitude
indicates suppressed nervousness and anger. She glares
over in the direction of Michael. Then she turns and looks
in another direction.
MRS. SCHUYLER
(viciously)
Dexter Grayson, if you were any
kind of a lawyer, you'd get those
letters back!
CAMERA PANS OVER TO SHOW
Dexter Grayson, the family lawyer standing, his hands
clasped behind his back, just completing the pacing of a
few short steps in his best courtroom manner, his head
bowed in an attitude of deepest thought. He is dressed in
striped afternoon trousers and black coat. He turns to
regard Mrs. Schuyler.
GRAYSON
But I keep telling you how difficult
it is, Mrs. Schuyler. The last
time I asked her for those letters,
she made very uncouth noises with
her mouth.
CAMERA PANS OVER TO SHOW
Anne Schuyler, trying desperately to keep from laughing.
CAMERA DRAWS BACK
To reveal a full shot of the room and group. They are in
the magnificent drawing room of the Schuyler home,
resembling the Union Depot and furnished with almost
imperial splendor and magnificence. They very much resemble
a jury in session. As they continue:
MICHAEL
I don't know why you're making all
this fuss. I only sent her six of
them.
MRS. SCHUYLER
(sarcastic)
If you had to make a fool of
yourself, why didn't you tell it
to her instead of writing?
MICHAEL
Because I couldn't get her on the
phone.
MRS. SCHUYLER
Imbecile!
ANNE
You should have known better than
to write, Romeo. I found that out
a long time ago.
MRS. SCHUYLER
I should say you had. At the rate
you two are going, we'll have to
leave the country to save our faces.
ANNE
Splendid, Mother. Let's hop over
to Monte Carlo. It's a great place
to save a face.
MRS. SCHUYLER
Oh, shut up!
A butler appears in the doorway. He is about to say
something, but he stammers and turns.
MRS. SCHUYLER
(stopping him)
What is it, Smythe?
SMYTHE
Pardon me, madam - but what am I
to say to the newspapermen?
Mrs. Schuyler looks distractedly at Grayson.
17. CLOSER SHOT
Mrs. Schuyler and Grayson. She rises and speaks imperiously:
MRS. SCHUYLER
Dexter, go out and tell those
ruffians I have nothing to say.
Grayson faces her placatingly.
GRAYSON
You can't do that. Leave it to me.
I know how to handle reporters.
MRS. SCHUYLER
(with a shudder)
All right, then - get it over with.
MEDIUM FULL SHOT
Grayson turns officiously toward the waiting butler.
GRAYSON
We've decided to see the reporters.
Send in the man from the Tribune
first.
SMYTHE
Very good, sir.
MRS. SCHUYLER
Oh, Smythe, some bicarbonate of
soda, quick - double strength. I
know those news mongrels[3] will
upset me.
SMYTHE
I've anticipated it, madame. The
bicarbonate is ready.
The butler exits.
INT. SCHUYLER LIBRARY - DAY - FULL SHOT
This room resembles the Grand Central Station. It is lined
with bookcases filled with gorgeous first editions and
special bindings, and is furnished in the extreme of
magnificence and luxury.
Present are Stew and Bingy, reporter from the Tribune.
Stew is seated, idly leafing through a first edition.
Bingy, still with his hat on, spots an expensive music box
on a nearby table, opens it and does a little jig to the
tune that is emitted.
20. CLOSER SHOT
Bingy, as he lingers at the table. He is a lazy, sloppy-
looking guy. His face needs a shave and his pants need
pressing. There is a spot of dried ketchup on his tie. On
the table is a humidor. Bingy opens it and lifts out a
handful of cigars.
CLOSE SHOT - STEW
As he looks up from the book, he suggests:
STEW
Hey Bingy, you'll find the
silverware in the dining room.
CONTINUATION, SCENE 20
Bingy turns, putting the cigars in his pocket.
BINGY
Much obliged.
MEDIUM FULL SHOT
Smythe enters.
SMYTHE
(frigidly)
Mr. Grayson has decided to see
you.
Both Stew and Bingy start forward eagerly. Smythe continues:
SMYTHE
The gentleman from the Tribune,
first.
CLOSER THREE SHOT
Bingy beams broadly and Stew is disappointed.
STEW
There are no gentlemen on the
Tribune.
SMYTHE
I understand, sir.
Smythe leads the way out. As Bingy passes by, Stew trips
him.
BINGY
Say, take it easy! Take it easy!
Listen, my boy. No use you hanging
around here. Just buy the Tribune
tonight and read all about it. You
can rewrite it for your last
edition.
STEW
Couldn't make the last edition.
It'd take me four hours to translate
your story into English.
BINGY
Oh, is that so?
STEW
I'm afraid.
Bingy turns to leave.
STEW
Take off your hat. You might make
an impression.
Bingy dutifully doffs his hat.
STEW
Impossible. Put it on again.
BINGY
Hey, make up your mind, will you?
Bingy hurriedly puts his hat back on as he disappears.
INT. SCHUYLER DRAWING ROOM - DAY - MEDIUM CLOSE SHOT
By the door which leads out into the hall. The butler enters
and stops, standing stiffly. Bingy enters behind him,
shambling awkwardly. He stops in some consternation as he
sees:
25. MEDIUM SHOT (FROM HIS ANGLE)
The Schuyler jury. Grayson, Mrs. Schuyler, Anne and Michael,
all surveying him in varying degrees of unfriendliness.
CONTINUATION, SCENE 24
Bingy hesitates uneasily as he regards this impressive
assemblage. Quickly, he takes his hat back off. Then he
smiles nervously and starts forward.
BINGY
Hi, folks!
CONTINUATION, SCENE 25
Grayson comes forward to meet him, attempting to be very
cordial. Bingy is seized by a sudden impulse to sneeze. He
does so, violently. There is awkward silence. Mrs. Schuyler
throws off a visible shudder.
BINGY
What's the matter? Isn't there a
'bless you' in the crowd?
GRAYSON
You're the Tribune man?
BINGY
Yeah, hello. How are you?
Bingy extends his hand. Grayson pointedly ignores it.
GRAYSON
(cordially)
Fine. Have a seat.
BINGY
Thanks, I will.
Bingy crosses the room, taking note of the beauteous Anne.
GRAYSON
This way.
BINGY
Oh, man!
Bingy sits gingerly on the edge of a handsome chair.
BINGY
Oh, boy!
MEDIUM CLOSE SHOT
Bingy and Grayson. Grayson picks up a very flossy and
expensive cigarette box from the small end table beside
the chair. It is made of gold and semi-precious stones are
inset in the cover. Grayson opens the lid and takes out a
cigarette, but pointedly does not offer one to Bingy.
Grayson remains standing before the reporter, who is very
uncomfortable and ill at ease.
GRAYSON
Fine newspaper the Tribune.
BINGY
Well, I should say!
GRAYSON
I knew your managing editor very
well.
BINGY
Is that so?
GRAYSON
Yale '21, I believe.
BINGY
(uncomprehending)
Huh?
GRAYSON
We were classmates.
CLOSE SHOT - MRS. SCHUYLER
She clears her throat menacingly, as she looks sternly at
Grayson.
MRS. SCHUYLER
Ahem!
BINGY
What's the matter? She got a cold?
CONTINUATION, SCENE 26
Bingy and Grayson. Both look over. Grayson gives her a
quick reassuring glance, as though to say "leave it to me
now." He continues his conversation with the reporter.
GRAYSON
I got him his job on the paper.
I'm a stock-holder, you know.
BINGY
Is that so?
GRAYSON
As one Tribune man to another—
He laughs.
BINGY
(laughs)
Yeah!
GRAYSON
But right now I'm acting in the
capacity of Mrs. Schuyler's
attorney.
BINGY
Oh, that's all right with me. I
won't hold it against you. But you
see, I'm here to find out about—
GRAYSON
I know, I know. But there's no
truth in the story whatsoever.
BINGY
Oh yeah?
28. MEDIUM SHOT
Grayson and Bingy. He takes Bingy by the arm and leads him
over to a corner of the room, assuming a confidential pose.
GRAYSON
(speaking as they
walk)
However, I've taken the trouble to
prepare a little statement. Here
it is. Here.
CLOSER TWO SHOT
Grayson and Bingy. Grayson takes an envelope out of his
pocket and hands it to Bingy. Bingy opens the flap and
sees the contents.
INSERT: ENVELOPE
The corner of a fifty dollar bill protrudes.
BACK TO SCENE:
Bingy quickly shuts the envelope up. Grayson is watching
him closely.
GRAYSON
So, you see how silly that rumor
is?
BINGY
Why, sure. It's a lotta hooey.
GRAYSON
That's what I wanted to say, but I
couldn't think of it.
Grayson starts leading him toward the door. CAMERA PANS
WITH THEM as Grayson leads him toward the door, talking as
they walk.
GRAYSON
Thank you very much.
BINGY
All right, all right, don't mention
it.
GRAYSON
Give my regards to your managing
editor.
BINGY
I certainly will.
They stop at the door. Bingy extends a handshake, which is
again refused. He stops and looks back at the jury.
MEDIUM SHOT FROM HIS ANGLE
The Schuylers all sitting silently and contemplating him.
BINGY
Well, so long folks!
He flutters his eyes at Anne.
BINGY
Thanks!
He takes one last look at Mrs. Schuyler and is again gripped
by a violent sneeze.
MRS. SCHUYLER
(rising to the
occasion)
Uh, bless you!
ALL
Bless you!
BINGY
Thanks.
The butler appears in the doorway behind him. Bingy exits
past him, beaming.
BINGY
(waving to butler)
So long!
Grayson nods to the butler.
GRAYSON
Smythe, bring in the other reporter.
SMYTHE
Yes, sir.
INT. SCHUYLER DRAWING ROOM - MEDIUM FULL SHOT
The group awaiting the advent of the Post reporter. Stew
is shown in by the butler, still carrying the Conrad book
in his hand. They give him the once-over. Mrs. Schuyler
raises her lorgnette with a magnificent gesture. Stew eyes
them with animation, not in the slightest discouraged by
this supercilious scrutiny. He starts toward them.
32. MEDIUM SHOT
As Stew approaches them.
STEW
Schuyler's the name, I presume?
Yes, thank you, thank you. My name's
Smith - Stewart Smith. No relation
to John, Joe, Trade or Mark. Of
course you can't have everything.
He smiles engagingly on them. Stew addresses Mrs. Schuyler
ingratiatingly, disregarding her expression of obvious
distaste.
STEW
Nice set of Conrads you have out
there, Mrs. Schuyler. I was just
glancing through this one.
(indicates the book
in his hand)
What's Michael tearing the paper
about?
GRAYSON
Just a habit. Mr. Schuyler is a
bit put out by all the rumors going
around.
33. CLOSER SHOT - STEW AND GRAYSON
STEW
Rumors? Rumors? Since when is a
breach-of-promise case a rumor?
GRAYSON
No breach-of-promise case has been
filed. The matter has been settled
out of court.
STEW
(very cagey)
Oh I see, but Gloria doesn't seem
to be satisfied with the twenty
thousand dollars.
MEDIUM SHOT OF GROUP
At this, Mrs. Schuyler rises wrathfully.
MRS. SCHUYLER
(furiously to Grayson)
Dexter Grayson, you told me it was
only ten thousand—and you didn't
even get those letters from that
Jezebel!
STEW
Oh, so you did give her ten thousand
dollars, eh? and there are
letters...
Behind Stew's back, Grayson makes violent gestures for her
to shut up.
STEW
Well, well. That takes it out of
the rumor class, doesn't it?
GRAYSON
We admit nothing. However, I have
a little statement all prepared.
He takes Stew's arm and walks him off toward a corner much
in the same manner as he handled Bingy, and lowers his
voice confidentially.
35. CLOSER SHOT - STEW AND GRAYSON
Apart from the others.
STEW
A statement? Good.
GRAYSON
I have it here.
STEW
Good.
Grayson takes an envelope out of his pocket and hands it
to Stew. Stew puts the book under his arm, takes the
envelope and extracts the contents. It is another greenback.
STEW
(with interest)
Fifty bucks, eh?
He regards it a moment, then replaces the bill in the
envelope. His voice is matter-of-fact, and almost casual.
STEW
Don't you know you should never
offer a newspaper man more than
two dollars? If you do, he'll
think it's counterfeit. I don't
need fifty dollars. As a matter of
fact, I've got fifty dollars.
Grayson is considerably disconcerted. He tries again.
GRAYSON
The man from the Tribune seemed
perfectly satisfied.
STEW
Who, Bingy? Yeah, Bingy would. He
never saw fifty dollars before.
You could have bought him for six
bits. Funny thing about Bingy. The
more he gets - the more he prints.
He looks stupid, doesn't he? But
oh how smart he gets when he bends
over a typewriter.
He hands the envelope back to Grayson and turns away.
36. MEDIUM SHOT
Schuyler group - taking his action with dismay. Stew starts
walking back toward them, talking as he walks, Grayson
beside him, considerably distracted.
STEW
So ten grand was the amount you
gave the girl? Any other statement
you folks would like to make?
There is an explosive chorus from the group.
GROUP
(ad-lib talking at
the same time)
That's not so!
We have nothing more to say!
We'll make no statements.
He turns to them, holding up his hand and speaking
plaintively.
STEW
Wait a minute. Don't get excited.
I wouldn't worry about it. A little
publicity never hurt anybody.
CLOSE SHOT - MRS. SCHUYLER
She is on the point of an apopletic stroke. She advances
menacingly toward Stew. She calls to Grayson.
MRS. SCHUYLER
(shrieking at him)
Dexter, have this person leave
immediately.
MEDIUM SHOT - THE GROUP
Stew is not at all perturbed. Dexter takes him by the arm
and starts to lead him out.
GRAYSON
I think you'd better go.
STEW
Go?! Wait a minute - that's a great
story! Newspaper reporter was
forcibly ejected from Schuyler
Mansion, and—
Anne comes up to him.
ANNE
Wait a minute—
He faces her and cannot help but register an appreciation
of her beauty.
ANNE
Don't mind Mother.
STEW
(cheerfully)
I don't mind her if you don't.
CONTINUATION SCENE 37
Mrs. Schuyler, almost choking in her wrath at this
outrageous stranger.
MRS. SCHUYLER
Anne!
CLOSE SHOT - ANNE AND STEW
Anne stifles a smile at this cheerful insolence.
ANNE
I'm sure you're quite willing to
be decent about this.
STEW
Decent? Why Miss Schuyler, I want
to be noble.
Anne continues in her most devastating manner.
ANNE
You're not going to print this
silly thing, are you?
STEW
(noncomittally)
No? Why not?
She puts her hand lightly on his arm.
ANNE
Because my name's Schuyler too.
And I haven't done a thing, but
I'll suffer with Michael. And so
will Mother.
CLOSEUP - STEW
He has been listening to this and enjoying it immensely.
He looks over at Mrs. Schuyler.
41. REVERSE ANGLE ON MRS. SCHUYLER
Who is making a show of holding back a flood of tears.
CONTINUATION SCENE 40
STEW
Mother's suffering already!
CONTINUATION SCENE 39
Anne, not wanting to lose her point,
looks up at Stew pleadingly.
ANNE
As a special favor to me, you won't
print that story, will you?
CONTINUATION SCENE 40
Stew, looking down at her in frank approval and admiration.
ANNE
(pleading)
Please—
Stew hesitates still.
42. MEDIUM SHOT
Mrs. Schuyler, Michael, and Grayson. All watching the couple
intently, hanging on the next words—wondering if Anne is
going to succeed. They are tense and expectant.
CLOSE SHOT - ANNE AND STEW
He is looking down into her soft, melting eyes. Then he
smiles.
STEW
You know something, lady, if you
sold life insurance, I'd go for a
policy in sixty seconds.
ANNE
Oh, thank you, I knew you'd
understand.
CONTINUATION SCENE 42
The three. They relax and exchange
relieved and triumphant glances.
Apparently Anne has won.
MEDIUM SHOT - ENTIRE GROUP
Stew turns aside.
STEW
May I use your telephone?
ANNE
(eagerly)
Certainly. Right over there.
STEW
You're all right.
She indicates. Stew starts for the telephone. Anne walks
to her mother's side. Stew gets to the telephone and picks
up the receiver.
STEW
Hello, Beekman 1300?
(he turns to wink
at the group)
That's an unlucky number. You know
that, don't you?
CLOSE SHOT - STEW
At the telephone. He turns back to the instrument as he
gets his connection.
STEW
(into phone)
Hello, Toots? Is Conroy there?
Give me Conroy.
(pause)
He isn't? Try the washroom, will
you?
While he waits for the connection, he turns and addresses
the group expansively.
STEW
Say, I interviewed a swell guy the
other day - Einstein. Swell guy, a
little eccentric, but swell. Doesn't
wear any garters. Neither do I as
a matter of fact. What good are
garters anyway—?
(he turns back to
the phone)
Hello, Conroy? This is Smith
talking. I'm up at the Schuylers.
No, I'm not having tea - that is,
not yet.
(again, he winks
expansively at the
group—then returns
to Conroy)
Is she beautiful? Oh boss, her
pictures don't do her justice. If
I was that guy Ziegfield - what?
46. CLOSE SHOT - ANNE AND MRS. SCHUYLER
Anne smiles in spite of herself at this flattery. Stew's
voice goes on.
STEW'S VOICE
Yes, it's easy to see where her
beauty comes from. From her mother.
For the first time, Mrs. Schuyler unbends to the extent of
giving forth a smile. She cannot help but be pleased at
this compliment. The atmosphere is now very friendly.
Everybody feels that everything is all right.
CONTINUATION SCENE 45
Stew at the phone
STEW
Now wait a minute. Just hold on.
Keep your shirt on. I'm coming to
that. The Schuylers admit the story
is true. Right. They gave the gal
ten thousand bucks. But she's got
some letters - and she's holding
out for more dough - and it looks
to me like she's going to get it.
47. MEDIUM SHOT - SCHUYLER GROUP
Horrified and shocked at this betrayal and double-crossing.
STEW
(on the
phone—breezily)
Right boss. I'll be right over.
Right - no, I don't think I can
get any pictures now. Right.
He casually hangs up and turns from the phone.
MRS. SCHUYLER
(involuntary gasp)
Oh-h-h . . .!
Anne confronts him as if he were a reptile of the lowest
order.
ANNE
(voice cold as ice)
I've met some rotters in my time,
but without a doubt, you're the
lowest excuse for a man I've ever
had the misfortune to meet—
Stew starts walking toward the door, still holding his
book. The family is tremendously indignant and agitated.
Stew stops, turns, looks at them. He is met by icy glares.
He indignantly takes a nickel out of his pocket and hands
it to Grayson.
STEW
(with dignity)
Well, if you feel that way about
it, here's a nickel for the phone
call.
He glares at them—turns and walks out.
They watch him walk out, stunned and open-mouthed.
FADE OUT:
FADE IN:
DAY
INSERT: Dingy board sign outside a building.
JOE'S
LAP DISSOLVE TO:
INSERT: Three column heading in newspaper:
SCHUYLER HEIR SETTLES BREACH OF PROMISE SUIT FOR $10,000.
Gloria Golden, Follies Beauty, Retains Love Letters.
LAP DISSOLVE TO:
INT. JOE'S SPEAKEASY - DAY
MEDIUM FULL SHOT
A reasonably respectable speakeasy, smoke-filled. Quite a
number of men and a few women are leaning on the bar and
seated around at the tables. Stew and Gallagher are seated
at one of the rude round tables, smoking, drinks before
them. Gallagher is reading the newspaper story.
49. CLOSE SHOT - STEW AND GALLAGHER
She is grinning at the story.
STEW
—and she walked up to me and put
her hand on my shoulder and said,
(mimicking Anne)
'Mr. Smith, You wouldn't print
that story, would you?' Oh no, I
wouldn't print it - read it!
CLOSE SHOT - GALLAGHER
Over Stew's shoulder. She laughs at his attempted imitation.
GALLAGHER
You're sure going to be poison to
that Junior Leaguer[4] from now
on!
STEW
I hope not . . . I've got to call
on her this morning!
Gallagher looks up in astonishment.
GALLAGHER
You what?
STEW
Sure, I must drop in on the mad
wench. Her wounds need soothing.
GALLAGHER
For heaven's sake, Stew, are you
completely bats? What for? I thought
the story was cold. You can't go
back there.
STEW
Sure, the story is cold, but I'm
not. I'm sizzling - look! Psst!
He moistens a finger, touches it to his wrist, and makes a
sizzle noise.
Gallagher looks over quizzically—a little suspicious—a
little jealous.
GALLAGHER
(a drawn-out knowing
utterance)
O-o-oh! Came the dawn, came the
dawn!
CLOSE SHOT - STEW
Over Gallagher's shoulder.
STEW
And with it came love! Oh Gallagher,
you've got to meet her. She's it—
GALLAGHER
—and that—
STEW
(enthusing)
—and those and them.
Gallagher takes a sip of her drink before answering.
GALLAGHER
Well, I've seen her pictures, and
I don't think she's so hot.
STEW
(disparaging gesture)
Oh, you don't appreciate it. Her
pictures don't do her justice.
Why, Gallagher, she's queenly -
she is queenly - and I know queens!
(continues in
exaltation)
And oh, has she got herself a nose -
and I know noses too. That little
snozzle of hers is the berries, I
tell you. And is she cute when she
throws that little snozzle to the
high heavens!
52. DOUBLE SHOT
GALLAGHER
Of course I haven't got a nose.
Stew gives her a hurt look.
STEW
(shaking his head)
Sure, sure. You've got a nose,
Gallagher. You've got a nose. But
there's different women, Gallagher.
You know, like brewery horses and
thoroughbreds.
GALLAGHER
(deliberately
misunderstanding)
On now, Stew, don't be too hard on
her. I wouldn't call her a brewery
horse.
STEW
Gallagher! She's the real McCoy!
GALLAGHER
And the rest of us are truck horses?
STEW
(reproachfully)
There you go, talking like a woman!
GALLAGHER
(a trifle resentfully)
Well!
STEW
Well, you're my pal, aren't you?
Then don't turn female on me.
During these last few speeches, Gallagher has been regarding
him with a curious expression. She loves being his pal,
but wishes he would realize she is also a woman.
53. MEDIUM SHOT
Stew seems a little resentful of her attitude. He rises.
STEW
Pay that check, will you Gallagher?
I'll give it back to you some time.
Maybe.
He flourishes the book of Conrad, which has been lying on
the table in front of him, and makes a grand gesture.
STEW
I go now - I go with Conrad in
quest of my youth! Fry those
tomatoes, will you, Gallagher?
He strikes a pose—and exits.
Gallagher, sits, looking after him, considerably disturbed.
CLOSER SHOT - GALLAGHER
Sitting, looking dismally after Stew.
She opens her bag and takes out a mirror, surveying herself
with frank disapproval. She pulls out a curl of hair before
each ear, tries to soften the severe brim of the hat. She
puts a finger to the tip of her nose and tilts it up,
studying the effect. Then, with a sigh of disgust, she
throws mirror and bag onto the table.
LAP DISSOLVE TO:
INT. SCHUYLER ENTRANCE HALL - DAY - LONG SHOT
Smythe, the butler, previously introduced, comes from the
direction of the rear of the house, and proceeds down the
long, vast hallway towards the front door. The bell keeps
ringing steadily.
The butler reaches the wide front door.
56. CLOSER SHOT
As the butler opens the door and reveals Stew standing
outside, hatless, a book in his hand, a spring overcoat
slightly askew, the pockets bulging with contents. The
butler quickly tries to slam the door in Stew's face, but
Stew's right foot comes forward with a practiced
newspaperman's gesture and he forces his way into the room.
STEW
(reproachfully)
Now, now Jeeves.[5] Was that nice?
Was that being a gentleman, Jeeves?
Was it, Jeeves? Your name is Jeeves,
isn't it?
SMYTHE
(stiffly)
The name is Smythe.
STEW
Smythe! Well, well, well! With a Y
, huh?
(wags his head)
Congratulations! What a small world.
Brothers under livery. Shake!
(he grabs the
butler's hand)
Now, as a Smith to a Smythe—
SMYTHE
(glacially)
Mrs. Schuyler is not at home.
TWO SHOT - ANOTHER ANGLE
STEW
I know, I know. I waited outside
till she went out. She's a very
nice lady, but we don't vibrate
well together.
58. MEDIUM SHOT
Anne, dressed in smart sports
clothes, starts to cross thru the
hall. She stops as she sees the
butler engaged in conversation
with Stew.
SMYTHE
(hollowly)
No one's at home, sir.
Anne starts walking toward them. Stew spots her.
STEW
Now Jeeves, what would you call
this - 'no one'?
Anne comes up to them.
CLOSER THREE SHOT
Anne looks up and sees that the butler is frowning and
uncomfortable and addresses him.
ANNE
What's wrong?
SMYTHE
Mrs. Schuyler left orders, Miss,
that if this person came here again,
I was to call the police.
STEW
That's a good idea - telephone the
police. The number is Spring 3100.
Get a couple of cops over and we
can have a rubber of bridge.
ANNE
You may go, Smythe.
SMYTHE
But I—
STEW
Now the lady said you may go—
The butler bows stiffly and exits.
ANNE
(to Stew—directly)
What do you want?
STEW
Well, I tell you, yesterday when I
was here, I had one of your books
in my hand, and when I got outside,
I realized I still had your book
in my hand. So as long as I had
your book in my hand, I thought I
might as well take it home and
read it. This morning, I got up
and put your book in my hand, and
here's your book in your hand.
He extends the Conrad book, and Anne, making no effort to
take it, he throws it on the table.
ANNE
(haughty)
That's considerate of you.
STEW
Yeah, that was considerate of me.
I recommend you read it.
CLOSER TWO SHOT
ANNE
(stiffly)
I'm not interested in your literary
recommendations.
STEW
Well, maybe it's a bit heavy for
you. Perhaps if you'd like something
lighter - something with a touch
of romance—
He takes a package of letters out of his overcoat pocket
held together by a rubber band. He extracts one of them
and opens it.
STEW
Just listen to this—
(reading)
Adorable Babykins—
Does her miss her Baby? Him sends
his booful li'l sweetums a billion
oceans full of kisses. Bobo is so
lonely—!
ANNE
(interrupting coldly)
Just a moment. I don't see how
that trash could possibly concern
me.
Stew advances a little closer, putting up a finger.
STEW
(mysteriously)
Ah! But you don't know who Bobo
is. And you don't know who Babykins
is.
ANNE
I'm not interested. Smythe will
open the door.
She begins to walk away.
STEW
(brightly)
But Bobo is your brother, Michael.
And of course nobody would ever
guess who Babykins is.
Anne turns and stares at him, incredulously, for a moment.
ANNE
Where did you get those letters?
STEW
I stole them when I was interviewing
Babykins about Bobo.
Anne looks up coldly.
ANNE
I suppose you're going to print
them?
STEW
No - give you another guess.
61. MEDIUM CLOSE SHOT (TRUCK SHOT)
The two.
Anne surveys him with frank scorn and dislike.
ANNE
(scornfully)
Oh, I don't need another guess.
It's quite obvious.
STEW
So, it's obvious, huh?
She turns toward the library.
ANNE
Will you step into the library?
STEW
(with alacrity)
Sure, I'll take a chance.
Anne walks majestically with head held high—thru the
hall—thru the living room and to the library. CAMERA
TRUCKING AHEAD OF THEM. This is a very long walk with Anne
walking ahead, Stew trailing.
STEW
(while walking with
Anne single file)
You know, the Indians used to walk
like this.
(pause)
Except the squaw always walked in
the back—
(pause)
You know why that was? That was in
case of attack from the front.
(pause)
Of course, if the attack was from
the rear, she had to depend upon
her papoose.
(pause)
Oh yes, the papooses always had
bows and arrows.
(pause)
Of course, if she wasn't
married—then she'd have to protect
her own - er, er—
(indicates rear
with thumb over
shoulder - still
walking)
What country is this library in?
(pause)
Miss Schuyler, how about carfare
back to the front door, huh?
INT. SCHUYLER LIBRARY - MEDIUM SHOT
Anne sweeps in, followed by Stew. She walks directly to a
desk, opens a drawer and takes out a large check book. She
draws up a chair and seats herself.
63. CLOSE SHOT
Anne at the desk, starting to fill in the date on a blank
check.
ANNE
What are your initials - Mr. - er—
CLOSE SHOT - STEW
Who has remained standing. He is watching her with a
peculiar expression.
STEW
Smith. Stewart Smith. My friends
call me Stew. It's an injustice
too because I hold my liquor all
right.
CONTINUATION SCENE 63
Anne writes on the check. Then she looks up.
ANNE
Will - uh - five thousand be enough?
65. DOUBLE SHOT
STEW
For what?
ANNE
For the letters, of course.
MEDIUM CLOSE SHOT
As Stew walks closer and addreses her.
STEW
Gee, you shouldn't do that, Miss
Schuyler. That's all right for
your lawyer friend, but you
shouldn't go around thinking you
can buy people.
(hands her the
letters)
They're yours.
Anne has been listening to him with a puzzled expression,
impressed by his obvious sincerity.
ANNE
I don't know how to thank you.
Mother'll be so grateful - she'll
probably want to kiss you.
STEW
Your mother will want to kiss me?
Give me back my letters.
(grabs the letters)
That's the breaks I get. It's the
mothers that are always grateful
to me.
(with a smile, he
hands the letters
back)
Here.
ANNE
You're a peculiar person. Why the
other day I pleaded with you not
to send in that story and —
(gestures with
letters)
67. CLOSE TWO SHOT
STEW
(patiently again)
I know but that was news. This is
blackmail and I don't like
blackmail.
Anne is regarding him with searching scrutiny. She smiles.
Her icy, belligerent attitude has vanished.
ANNE
won't even pretend it isn't a very
great favor. I wish there was
something I could do for you—
STEW
Well, you could make this table a
little - uh - a little less wide.
(he leans over closer
to her)
There is something you can do for
me, Miss Schuyler.
The smile goes out of Anne's eyes—the suspicion returns—she
is saying to herself—"I was right the first time!"
STEW
(engagingly)
I haven't had any lunch yet. Have
you got anything in the icebox?
The hard, disdainful look leaves Anne's face as she stares
at this incredible guy with his incredible request. With a
twinkle in her eyes, she responds:
ANNE
Oh, you fool!
LAP DISSOLVE TO:
INT. SCHUYLER DINING ROOM
MED. FULL SHOT
A lovely, sunny room, cretonne drapes and colorful painted
furniture. Stew and Anne are sitting at the table. Anne
looks amused and definitely speculative. Stew has the manner
of having lived in this house all his life. He draws the
cup of tea to him and puts in a lump or two of sugar.
Between him and Anne on the corner of the table is a
modernistic, squatty little tea-pot.
STEW
After years of research, I finally
discovered that I was the only guy
in the world who hadn't written a
play, so believe it or not, in my
spare time I'm now writing a play.
CLOSE TWO SHOT
Anne is casually amused.
ANNE
Really?
STEW
Yeah, I haven't figured out the
plot yet, but it's laid in a
Siberian village.
ANNE
You're a bit eccentric, aren't
you?
STEW
Me? No - most ordinary guy in the
world, me. Only one thing wrong
with me—
ANNE
You don't wear garters!
Stew helps himself to another lump of sugar.
STEW
Naw, that's just a symbol of my
independence.
He leans closer, looking directly into her face.
STEW
I'm color blind. That's what's
wrong - I'm color blind. I've been
sitting here for a half hour looking
at you and I don't know yet whether
your eyes are blue or violet.
Anne smiles at this unexpected statement, and stares at
him very critically.
ANNE
I'm just beginning to believe that
something could be done with you.
STEW
Say, you could do anything with me
you wanted to. Putty - just putty,
that's me.
(leaning closer)
Now getting back to those eyes of
yours - would you mind if I kind
of got closer so I could see them?
ANNE
Not if you're going to lose any
sleep about it.
70. CLOSE SHOT
He gets closer, takes her chin in his hand and gets an
eyeful.
ANNE
Now, how would you like them—open
like this?
She smiles radiantly.
STEW
Close them both.
(getting warm)
Something tells me I'd better leave.
During the last speech Mrs. Schuyler enters and stops in
the doorway, surveying this astonishing scene with stupefied
indignation and rage.
Anne gets quickly to her feet as Mrs. Schuyler sails
forward.
MRS. SCHUYLER
That's an excellent idea.
ANNE
Oh, hello Mother!
STEW
(easily)
Hello - hello, Mrs. Schuyler. Come
right in. Will you have a slug of
tea?
He hospitably indicates the table. Mrs. Schuyler is
speechless with fury. She does not immediately reply. Then:
MRS. SCHUYLER
What is this person doing here?
ANNE
Why—
Stew goes on.
STEW
As a matter of fact, I was just
trying to decide the color of Anne's
eyes. I can't tell whether they're
blue, or whether they're violet.
What would you say, Mrs. Schuyler?
MRS. SCHUYLER
(bursting)
Why—
ANNE
(quickly)
Don't say it, Mother, please. Mr.
Smith came here today to do us a
great favor.
71. CLOSER SHOT
Anne, Mrs. Schuyler and Stew. Mrs. Schuyler, with an effort,
restraining her impulse to yank Stew out by the collar,
speaks:
MRS. SCHUYLER
(bursting with wrath)
Indeed? Perhaps he will do me a
great favor.
STEW
(elaborate bow)
With pleasure, Madame!
MRS. SCHUYLER
Get out of here.
ANNE
(distressed)
Oh, Mother!
STEW
(with dignity)
It's all right. It's all right,
Anne. I can take a hint. A bit
subtle, but I get it. It's all
right.
ANNE
Please go. I'll explain to Mother.
He steps close to Mrs. Schuyler's side.
STEW
The caviar was lovely, Madam.
72. WIDER SHOT
Stew starts to the door, smiles at Anne, and remarks to
Mrs. Schuyler as he passes her:
STEW
You must come over and see us
sometime.
Mrs. Schuyler freezes in inarticulate anger, as Stew gives
a courtly bow and exits.
FADE OUT:
FADE IN:
INT. SCHUYLER DRAWING ROOM - NIGHT
73. MEDIUM SHOT
Anne in a stunning evening dress is seated, a cocktail in
one hand, cigarette in the other. Dexter Grayson, in evening
clothes, is standing before her.
GRAYSON
Where were you yesterday?
CLOSE SHOT - ANNE
She has a faraway, speculative look in her eyes.
ANNE
Oh, Stew and I went for a long
ride.
(dreamily)
Dexter, is there any finishing
school we can send him to?
CLOSE SHOT - GRAYSON
GRAYSON
(witheringly)
Yes - Sing Sing.
CONTINUATION SCENE 74
Anne. She ignores this crack.
ANNE
Just the same, he's going to be a
different person when I get through
with him.
CONTINUATION SCENE 75
Grayson. He is looking at her,
deeply disturbed.
GRAYSON
When you get through with him?
76. DOUBLE SHOT
ANNE
Yes, it'll be a very interesting
experiment.
GRAYSON
(sneering)
To make a gentleman out of a tramp?
ANNE
Exactly.
GRAYSON
Now, Anne, you remember how much
it cost to get rid of that baseball
player?
ANNE
You don't seem to understand that
this one's different. He has brains.
MED. CLOSE SHOT
Grayson seats himself beside her on the divan.
GRAYSON
(fervently)
But what about me, Anne?
She looks at him coldly with almost an expression of
dislike.
ANNE
You? Oh, don't go serious on me,
Dexter.
LAP DISSOLVE TO:
INT. PENTHOUSE APT. - NIGHT
MED. SHOT TRUCKING
An elaborate, modernistic roof apartment, thronged with
people all in evening dress. Stew and Anne are walking
down among them. Anne is radiant, and Stew is happily
guiding her among the stuffed shirts. Anne stops before a
group. There is the sound of conversation, laughter, clink
of glasses, music from stringed invisible orchestra, etc.
ANNE
Hello, Natalie. Mr. Stewart Smith
. . . Miss Montgomery, Mrs. Eames,
Mrs. Radcliff, Mr. Radcliff—
STEW
How-di-do.
GROUP
(ad-lib
acknowledgements)
79. MED. CLOSE SHOT - DEXTER GRAYSON
Standing, helping himself to a cocktail, which a footman
is passing about. Dexter looks off with a frown of
disapproval.
80. CLOSE SHOT - GROUP OF WOMEN
They are looking off in Anne's direction.
FIRST WOMAN
Say, who's Anne's new boyfriend?
SECOND WOMAN
Well, if these old ears don't
deceive me, I believe his name is
Smith.
FIRST WOMAN
Smith! Can't be one of the brothers -
he hasn't a beard on.[6]
SECOND WOMAN
Well, he must have something if
Anne has got her clutches on him.
There is the sound of a piano chord being struck.
MED. FULL SHOT
Mrs. Baxter, the hostess, is standing importantly by the
grand piano at which is seated an anaemic-looking young
man. Beside her stands a stout, swarthy Italian with
bristling mustachios. Mrs. Baxter bows toward the swarthy
one, who bends almost double in acknowledgement. There is
a polite scattering of applause, and some of the guests
seat themselves.
Martini starts to sing.
Unnoticed by the rest, Stew and Anne slip out of the door
into the roof garden.
EXT. ROOF GARDEN
MED. FULL SHOT
A most beautiful, romantic spot. Rose trees in blossom, a
vine-covered pergola, a splashing fountain, a few choice
marble statues, low, deep chairs placed to make a gorgeous
spot. Stew and Anne enter from the direction of the house.
The garden is dark except for the lights from the interior
of the house. From within, comes the voice of the singer
rendering an extremely romantic, sentimental Italian love
song. This will continue to the FADE OUT of the scene.
Stew and Anne walk, still hand in hand, toward the edge of
the pergola where the shadows are deeper and where a couple
of glorified steamer chairs are placed. There is a full
moon overhead.
She leads him toward a waterfall effect, a glass partition
down which water trickles. They go behind the dimly lit
fountain and sit in a low, deep divan. We see them in
silhouette as they go into a passionate embrace. All we
hear is the faint voice of Martini—and the uninterrupted
splashing of the fountain.
CUT TO:
CLOSEUP - ANNE & STEW
On divan, arms around each other.
STEW
Anne, pinch me, will you? Throw me
out of here. Give me the air. Throw
me out of this joint, will you?
Anne smiles happily and pinches his nose.
ANNE
Why should I? We're happy, aren't
we, darling?
STEW
Throw me out - because I'm beginning
to get goofy ideas, and they concern
you, Anne.
ANNE
(passionately)
None of your ideas can be goofy,
Stew, if they concern me.
STEW
(struggling)
My name is Smith - well, that you
seem to have been able to stand
for the last month. I'm white,
male and over twenty-one. I've
never been in jail - that is, not
often. And I prefer Scotch to
Bourbon. I hate carrots, I hate
peas, I like black coffee and I
hate garters. I make seventy-five
bucks a week and I've got eight
hundred and forty-seven bucks in
the bank - and - I don't know yet
whether your eyes are blue or
violet.
ANNE
(although he is
very close to her)
That's because you're too far away,
Stew.
Throughout his speech, Anne never takes her eyes off him.
As he fumbles now, he turns. Their eyes meet. His
overwhelming desire for Anne overcomes him.
He dismisses as futile his effort to be practical, sweeps
her into his arms and kisses her passionately.
FADE OUT:
FADE IN:
INT. CITY ROOM OF MORNING POST - DAY
MEDIUM FULL SHOT
Typical atmosphere, as before.
LAP DISSOLVE TO:
85. MEDIUM SHOT
Featuring Stew at his desk, which is directly in front of
the battery of Morkrums whose clatter comes into the sound
track.
Stew finishes up a phone call. He sits at his desk, staring
pensively at his typewriter. He is smoking a pipe and is
in his shirt-sleeves. His hair is rumpled, and strewn over
the desk is a bunch of crumpled up pieces of paper,
indicating that he has made numerous unsuccessful starts
at writing something. A fresh blank sheet of paper is now
in the typewriter.
Nearby, at another desk, asleep in a swivel chair, with
his feet elevated to the desk, the low snoring of another
reporter blends with the sounds of the Morkrums and other
noises of the City Room. At the reporter's elbow is a
telephone.
86. MEDIUM SHOT
Desk of Conroy, the City Editor. A small upright plate on
his desk indicates his position. This is near the copy
desk. Characteristic activities are background for any
action that may take place. Reporters come up to throw
their stories on Conroy's desk; the phone rings, etc.
A boy comes in with a large number of newspapers under his
arm which he throws on Conroy's desk. There are several
copies of each of the rival newspapers in town. Conroy
spreads them out and begins to examine them.
CLOSE SHOT - STEW
It is evident that he is nervous and jumpy about something.
Finally he starts to pound the typewriter.
INSERT: Sheet of paper in typewriter on which is being
typed.
ACT 1
SCENE 1
A STREET IN ARABY 88. CLOSE SHOT - GALLAGHER
As she talks on the phone to one of her girlfriends
GALLAGHER
(sotto voce)
Sure I got a new dress. A new hat
too. (listens) Well, I'll try to
get Stew to come with me. (she
glances in his direction) Yeah -
he's all right. You know, he thinks
he's stuck on some society gal.
(listens) Naw, it won't last. It
better not last!
CLOSER SHOT - CONROY
Hastily glancing over the headlines of the papers. The
phone rings. Without looking at it, Conroy answers:
CONROY
What? Oh, I'll be surprised, eh?
Listen if there's any news in that
sheet that I haven't thrown in the
wastepaper basket, I'll eat it.
He is looking down at the papers and suddenly his eyes
focus on something which causes the cigar to drop from his
mouth and an expression of mingled amazement and rage comes
into his face. We do not see at this point what it is he
has read, but we know it must be something sensational.
Abruptly he hangs up the phone.
CUT TO:
CONTINUATION SCENE 87
Stew, as he studies his typewriter. Over his CLOSEUP comes
the excited outraged voice of Conroy.
CONROY'S VOICE
Hey Stew! Stew Smith!
A look of infinite weariness and disgust comes over Stew's
face and he grits his teeth.
STEW
Me?
His general expression registers "Good god, there he goes
again." With one finger he pounds out four letters:
INSERT: Sheet in typewriter: Next to
STREET IN ARABY
STEW HAS TYPED:
NUTS
He yanks the sheet out of the typewriter.
CONTINUATION SCENE 89
Conroy. He looks over and bellows furiously.
CONROY
You double-crossing hound! Come
over here!
CONTINUATION SCENE 87
Stew gets up from his machine, crumples the sheet of paper
into a wad and flings it at the sleeping reporter. The wad
strikes him in the face; he wakes abruptly and automatically
reaches for the phone. He picks up the receiver and in a
voice fogged with sleep calls a number. Stew exits.
90. MEDIUM SHOT
At Conroy's desk. Conroy's expression is one of bitter
reproach as he leans back in his swivel chair as Stew
approaches and stands by the desk.
STEW
Now listen boss, if you're going
to kick about that expense account—
CONROY
(interrupting
fiercely)
Do you call yourself a reporter?
91. MEDIUM SHOT
Of other reporters, the older man at the copy desk, and
perhaps a sob sister or two nearby, who look up with
expectant interest, expecting to hear Stew get a bawling
out.
CLOSE SHOT - GALLAGHER
At her desk. She looks up worried and apprehensive.
CONTINUATION SCENE 90
Stew and Conroy.
STEW
It has been alleged - yes—
CONROY
You wouldn't know news if you fell
into a mess of it, nose first. So
you're the bright lad that's never
been scooped!
STEW
(defensively)
Not on my own beat, no.
CONROY
(howling so that he
can be heard all
over the room)
No? Well, where were you when that
happened?
He slaps the copy of the Tribune furiously and shoves it
into Stew's face.
CLOSE SHOT - STEW
Not knowing what it is all about, Stew, with an injured
expression, takes the paper and looks at it.
INSERT: FRONT PAGE OF TRIBUNE
ANN SCHUYLER ELOPES WITH REPORTER
(with subheads giving more explicit information)
94. MEDIUM SHOT
The other reporters, copy readers, sob sisters, etc., seeing
the unusual commotion and Stew's bewildered reaction, get
out of their chairs and cross over to the City Desk, where
they take up other copies of the same paper to look at.
There are amazed and excited exclamations.
95. CLOSER SHOT - STEW AND CONROY
Stew, still staring dumbly at the paper. A few others are
crowding around, glancing over his shoulder, etc.
CONROY
I've heard of people being scooped
on their own funerals, but this!
Holy mackerel! Why, it's news when
Anne Schuyler gets her fingernails
manicured, but this! She gets
married to one of our own reporters
and the Tribune beat us to it!
(he notices other
reporters milling
around)
Well! What do you guys want? Go
on, get back to your desks. Go
back to your work.
(returning his
attention to Stew)
Now don't tell me you were drunk
at the time and don't remember! Or
is this one of Bingy's snow-storms?
STEW
No, no - it's true, all right,
only we didn't want to get it in
print yet, that's all.
CONROY
Why not?
STEW
Well, you see, I've acquired one
of those new mother-in-laws, and
we were afraid she wouldn't
understand the whole idea. So we
were going to wait till she went
to Europe.
CONROY
What do I care about your mother-
in-law! You're still working for
this paper, aren't you! Or are
you?
STEW
Yes, sir.
CONROY
Well, it's your business to get
news! And here you had a story
right in your own lap and you let
the Tribune scoop us on it. Making
a first class Grade A monkey out
of me. If it ever happens again -
just don't bother about coming
back. That's all.
He dismisses Stew with a wave of his hand.
STEW
Thanks for your congratulations.
96. MEDIUM SHOT
Stew turns away from Conroy's desk, and a group of his
confreres come up, surrounding him in a series of ad-lib
congratulations. (Some slightly profane, pounding him on
the back, whooping, and in general manifesting great
surprise and glee.) This group is increased by copy readers,
office boys and everybody jabbering and shouting at him.
GROUP
(ad-lib
congratulations)
Stew manages to break thru them
and exits from scene.
97. MEDIUM SHOT
Gallagher—to intercut with above scene. She gets up and
goes over, CAMERA PANNING WITH HER and picks up another
copy of the paper and reads the headlines.
CLOSER SHOT - GALLAGHER
Her face stricken and sick as she reads about Stew's
marriage. Abruptly she turns away, out of scene.
99. MEDIUM SHOT
At Gallagher's empty desk. Stew comes in trying to stave
off the mob. He turns on the congratulators, pushing them
off.
STEW
What's the matter with you mugs?
Can't a guy get married without
all this?
(looks around)
Where's Gallagher? Anybody seen
Gallagher?
He forcibly breaks away from them and walks back toward
the door, the last of the wisecracks and goodnatured jeers
being flung after him.
LAP DISSOLVE TO:
INT. JOE'S SPEAKEASY
MED. CLOSE SHOT
Gallagher is seated alone at a table, looking very forlorn.
Her life is suddenly empty. A drink is in front of her,
untouched. She is fighting hard to keep her emotions under
control.
Stew enters the speakeasy and mingles with patrons, who
offer congratulations. He comes to a stop by the table.
She looks up, forcing a smile.
STEW
Well, well, well! Gallagher, old
pal! There you are. What did you
run away for?
GALLAGHER
I didn't run away.
Stew draws out the other chair at the table and sits down.
CLOSER SHOT OF THE TWO
He looks across at her, grinning boyishly, utterly unaware
that what he has done has hurt her deeply.
STEW
Sure, you ran away. Aren't you
going to congratulate a guy?
GALLAGHER
(with sincerity)
Sure. I wish you all the luck in
the world, pal.
She puts her hand tenderly on his.
STEW
Thanks, thanks.
GALLAGHER
I hope you'll be very happy.
Stew expands under the comradeship of Gallagher. He wants
to talk.
STEW
Oh sure, we'll be happy. What's
the matter with your eyes?
GALLAGHER
It's the smoke.
STEW
(calling to bartender)
Joe! A little snifter.
(returning his
attention to
Gallagher)
Say, wasn't I a lucky guy to fall
into a girl like that, huh?
(he notices the
newspaper, which
Gallagher has been
reading)
Look at that! I don't know how I
rate that, Gallagher. Gosh, there's
a swell girl. I want you to meet
her.
GALLAGHER
Who me? She wouldn't want to meet
me. I'm just an old load of hay.
CLOSE SHOT - STEW
As his drink is served.
STEW
Ah! Thank you, Joe.
(returning his
attention to
Gallagher)
Tell you what - we'll have one of
those parties down at your house -
one of those spaghetti parties,
you know. Gee, we haven't had one
of those in a long time, have we
Gallagher?
CLOSE SHOT OF THE TWO
GALLAGHER
(quietly)
Not since you broke into society.
STEW
(waxing reminiscent)
Remember the time we had a spaghetti
party, and while I was serving the
spaghetti I dropped it on the floor,
and while those mugs weren't
looking, I picked it up and served
it to them anyway! Remember that?
Yes, Anne would love that.
CLOSE SHOT - GALLAGHER
Looking across at him.
GALLAGHER
Do you think your wife would walk
up three flights of stairs just to
eat out of paper plates?
105. DOUBLE SHOT
STEW
Who - Anne? Sure, Anne would love
that.
GALLAGHER
Remember, she's a Schuyler.
STEW
Now get this, Gallagher - Smith.
That's the name.
GALLAGHER
(murmurs)
My error.
STEW
Well, if she doesn't want to come,
I'll come down alone.
GALLAGHER
(shaking her head)
Oh no, you won't, Mr. Smith. You're
a married man now. Mother always
warned me never to run around with
married men.
STEW
(resentfully)
Say, what kind of a pal are you?
You're not going to leave me flat?
Gallagher tries to be elaborately casual.
GALLAGHER
Oh, I'll call you up some time.
And if your social duties permit -
why -
STEW
Cut that out. Just because I'm
married - there's no reason for
that.
Gallagher looks up and off, seeing something that startles
her.
106. MED. SHOT
Conroy, the City Editor, entering the speakeasy.
CONTINUATION SCENE 105
Stew and Gallagher.
GALLAGHER
(interrupting in a
whisper)
Hey, ixnay - here's the ossbay.
Stew looks around, also startled.
107. MED. SHOT
Stew buries his head in the newspaper, in pretense of
looking for something. Conroy appears at the table and
stops. He indicates Stew.
CONROY
What's the Benedict looking for in
the newspaper - his lost freedom?
Stew slowly sticks his head up over the top of the table,
looking up.
STEW
(grinning sheepishly)
Well, if it isn't old Fagin[9]
himself.
Conroy sits down at the table.
STEW
Gallagher and myself just came
over here to do a little work on a
story -
CONROY
(disgustedly)
Baloney!
(calls off)
Joe! Bring me a special!
CLOSER THREE SHOT
Gallagher tries to be very bright and smiling.
GALLAGHER
(to Conroy)
Isn't it swell about Stew's
marriage?
CONROY
(looking straight
at her)
Is it?
Gallagher, self-conscious, realizes this tough old buzzard
is on to her. She looks back at him for a moment - then
drops her head. Stew is oblivious to this by-play. Conroy
turns to Stew.
CONROY
Well, when are you quitting?
STEW
Quitting? I'm not thinking about
quitting.
Joe comes in with a drink for Conroy.
CONROY
take it you don't have to work for
a living any more—
He takes a sip of his drink and looks over meaningfully.
CONROY
—Mr. Schuyler .
STEW
(in a flash of anger)
Now get this, Conroy. My name is
Smith. Always was Smith - and always
gonna be Smith.
CONROY
Is that so?
STEW
That's so.
CLOSEUP - CONROY
He shows that he is genuinely interested in Stew and his
problems, but can't help being a little sarcastic.
CONROY
Anne Schuyler's in the Blue Book -
you're not even in the phone book.
Think that one over, sucker.
CAMERA PANS to CLOSEUP of GALLAGHER.
GALLAGHER
(quickly in Stew's
defense)
That doesn't make any difference—
(QUIETLY)
—if they love each other.
CAMERA PANS BACK to CLOSEUP of CONROY.
CONROY
Blah! It's like a giraffe marrying
a monkey.
(looking off at
Stew)
Listen - you'll never be anything
but just the reporter that married
the Schuyler's millions. Stew Smith
is dead and buried. From now on,
you'll be just Anne Schuyler's
husband. A rich wife's magnolia.
If you can smoke that without
getting sick, you're welcome to
it.
CAMERA PANS to CLOSEUP of STEW:
GALLAGHER'S VOICE
But that's perfectly ridiculous.
STEW
(defensively)
Wait a minute. Now, Gallagher, let
me do the talking. Get this, Conroy -
Anne Schuyler has got a lot of
dough, all right - and I married
her, all right - but her dough and
me? No connection.
MED. CLOSE THREE SHOT
Gallagher is looking fixedly at Stew - very much worried
about Conroy's dismal prophecies. Conroy shakes his head
in sorrowful gloom.
CONROY
(as if he had not
heard Stew)
Just a boid in a gilded cage -
STEW
A what?
CONROY
You heard me. A bird in a gilded
cage.
STEW
Aw, you've been reading a lot of
cheap tabloids. Anne and myself
are going to move downtown in a
nice little flat, we're gonna forget
all about this social stuff, and
we're gonna be known as Mr. and
Mrs. Stew Smith. How do you like
that?
CONROY
(sarcasm)
And live on your salary, I suppose?
STEW
Yeah, live on my salary - that is,
until I finish writing my play.
CONROY
(snorts)
What play?
STEW
My play.
CONROY
The one about the Siberian
bloodhound?
STEW
Siberian bloodhound? No. That's
been all rewritten. It's laid in
Araby now.
CONROY
Araby?
STEW
Sure.
CONROY
Araby, my eye—!
111. WIDER SHOT
Conroy, having finished his drink, pushes back his chair
and rises. He puts an affectionate hand on Stew's shoulder.
CONROY
Well, I'm sorry to see a good
reporter go blooey—
(starts away)
Let me know when you're quitting.
STEW
I'm not quitting!
CONROY
No?
STEW
No!
CONROY
(singing)
'For he's only a bird in a gilded
cage, a beautiful sight to see—'
(he waves his hand)
Tweet, tweet - ha, ha—
He laughs loud and raucously and exits.
112. CLOSE SHOT - STEW AND GALLAGHER
Stew glares after Conroy.
STEW
(under his breath)
Laugh - laugh, you hyena!
Gallagher realizes that Conroy has hit home with the truth
and is sorry for Stew. She puts her hand over his
sympathetically.
GALLAGHER
Don't pay attention to him, Stew.
He doesn't know what he's talking
about.
STEW
Pay attention? I'm not paying any
attention to him. You think that
guy could get me upset? Hah! Not
that mug. He's a tough mug - hard,
cynical. He doesn't know the fine
things in life - that guy.
(he swirls his drink,
thinking)
A bird in a gilded cage, huh?
It's getting so a guy can't step
out without being called a magnolia.
Stew Smith, a magnolia! Not me.
Say, I'm not going to hang around
and be a speakeasy rat all my life!
I'll tell you that. Not me, not
me. I'm going to step out and mean
something in this world. You watch
me.
(he swirls his drink,
clearly bothered,
lost in his own
thoughts)
Say, am I a lucky guy to be near
Anne Schuyler? I've been hit with
a carload of horseshoes, and believe
me I know it. Lucky, I'll say I'm
lucky!
(pause)
Don't you think I'm lucky,
Gallagher?
GALLAGHER
Sure - I think so, Stew.
STEW
I knew you would, pal.
(clearly bothered)
A bird in a gilded cage, eh?
GALLAGHER
How is her family going to feel
about it?
STEW
Her family? Oh, they'll be all
right. I'll bring them around.
(swirling his drink)
Gilded cage?! Besides, I'm not
marrying her family. Stew Smith in
a gilded cage! Stew Smith? Ha!
(clearly bothered)
That mug. What does he know?
LAP DISSOLVE TO:
INT. SCHUYLER DRAWING ROOM - DAY
MED. FULL SHOT
Another jury scene. This time it is Anne who's on the
carpet. Grayson, in correct afternoon attire, his hands
behind his back and his head sunk, is pacing back and forth
in a very depressed and gloomy fashion.
Anne is seated, her demeanor betokening sullen defiance.
Michael is pacing, nervously smoking a cigarette.
MICHAEL
I don't know what you need me here
for - it isn't my funeral.
Mrs. Schuyler stands by a table, staring at a spreadout
newspaper which is laid out on the table. She flings the
newspaper aside.
MRS. SCHUYLER
You stay right here, Michael. Some
day you'll be head of this family,
but thank heaven I shan't be here
when it happens. And I hope you
never have a daughter who gives
you gastritis as Anne has me!
She pulls the bell rope for the butler.
ANNE
Now Mother, calm yourself. There's
no use in getting so excited.
114. MEDIUM SHOT
Mrs. Schuyler is vastly agitated.
MRS. SCHUYLER
Oh, isn't there?
(as Anne starts to
get up)
Sit down!
(looking off)
Smythe!
The butler appears in the doorway.
MRS. SCHUYLER
(in a weak, agonized
voice)
Some bicarbonate - quick!
SMYTHE
Double strength!
The butler bows and exits. She passes a nervous hand over
her eyes. Anne comes up to her.
ANNE
Mother, if you keep this up, you'll
have a nervous breakdown before
you go to Europe.
115. CLOSER SHOT
Anne, Grayson and Mrs. Schuyler.
MRS. SCHUYLER
It's a good thing your father passed
away before he saw insanity ravage
the family. I can't imagine what
made you do such a thing. A
reporter! Of all things, a reporter!
A barbarian who lets his socks
come down!
ANNE
Mother, I promise you that he won't
be a reporter much longer. Once I
get him away from that atmosphere
and get him away from a man named
Gallagher—
MRS. SCHUYLER
(as Anne starts to
get up again)
Sit down!
116. WIDER SHOT
The butler enters with a tray on which is a glass of
bicarbonate of soda and brings it to Mrs. Schuyler. Walking
immediately behind the butler is Stew, airily debonair.
The butler glances somewhat uneasily at Mrs. Schuyler as
he presents the tray. She glares blackly at Stew without a
word of greeting, and taking the foaming glass from the
tray, starts to lift it to her lips.
STEW
(airily)
Drink hearty, Mother.
Once more, Anne starts to rise out of her seat.
MRS. SCHUYLER
Anne!
Mrs. Schuyler pauses - glowering at Stew. Stew nods
perfunctorily to each member of the jury, the total
innocent.
STEW
Hello, Anne. Mr. Grayson.
(to Michael)
And you.
(to Mrs. Schuyler)
Mrs. Schuyler!
Grayson does not acknowledge the greeting. Mrs. Schuyler,
having drained the glass, dismisses the butler with a wave
of the hand, and directs her attention again to the matter
at hand.
MRS. SCHUYLER
(in command)
Well, what's to be done? He's here
now.
They are all silent - reluctant to speak in front of Stew.
Stew looks at them all - a little puzzled - then he walks
over toward Mrs. Schuyler.
MEDIUM CLOSE SHOT
Mrs. Schuyler and Stew.
STEW
Nobody seems to want to do anything—
(to Mrs. Schuyler,
brightly)
Why not ask me? Perhaps I can offer
a suggestion. Do what about what?
MRS. SCHUYLER
(witheringly)
About what? Your marriage to Anne!
STEW
(with a tone of
dismissal)
Oh, my marriage to Anne. Now Mrs.
Schuyler, we don't want you to go
to any trouble about that. We just
want the usual blessings, that's
all.
118. MEDIUM SHOT
Mrs. Schuyler's eyes flash. She draws herself up with
haughty dignity.
MRS. SCHUYLER
Young man, I want you to know that
I object violently to this whole
affair!
This finally brings Anne out of her seat. She rises and
crosses to Stew, making a show of embracing him.
ANNE
Now Mother, your attitude is
perfectly ridiculous. It's done
now. Stewart and I are married.
STEW
(to Mrs. Schuyler)
I'm afraid she's right, Mrs.
Schuyler. I'm really very sorry,
Mrs. Schuyler, that you feel this
way. I was in hopes that you would
like me. I'm not the burglar that
you think I am. After all, we're
married. I think the thing to do
is to kiss and make up - Mother.
MRS. SCHUYLER
(furiously)
Stop calling me Mother!
STEW
(easily)
All right, Grandma—
MRS. SCHUYLER
(glaring)
This man's impossible! I can't
talk to him. Grayson, let's go
where we can talk - hic!
(she emits a burp,
then fixes a glacial
look at Anne)
See what you've done to me!?
Without another word, she turns and flounces angrily out
of the room. Grayson follows her. At the doorway he pauses,
starts to say something. They all look at him expectantly -
but no words come out.
STEW
Got it too, huh?
Grayson gives a harrumph and exits.
CLOSER MEDIUM SHOT
Anne, Michael and Stew. Michael grins at Stew.
MICHAEL
Who won that round?
Michael starts moving toward the door.
STEW
(ruefully)
I'm afraid your mother won that
round - that is, she got in the
last blow.
MICHAEL
I don't feel the way they do. You're
really not as bad as everybody
thinks.
STEW
(effusively - shaking
his hand)
You're beginning to appreciate me,
eh? Thanks!
MICHAEL
Don't worry too much about Mother -
she's enjoying this. Come on
upstairs, I'll give you a little -
He indicates a snifter, grins and exits. Anne crosses to
Stew and puts her arm around his shoulder.
STEW
(to Michael)
A little—? Sure, I'll be right up.
(to Anne)
He's all right. I like him.
ANNE
I'm glad.
He sees two figures pass above in a proscenium alcove,
first Mrs. Schuyler, then Grayson. He makes an elaborate
bow to each, and is impressed by Grayson's return bow.
STEW
He can bend!
120. CLOSER SHOT
Anne takes a step backwards and sits down with him on one
of the divans. CAMERA TILTING DOWN WITH THEM. He puts an
arm about her.
ANNE
Come here baby!
Anne starts fussing abstractedly at Stew's tie. They kiss.
ANNE
haven't seen you for three hours.
You're neglecting me already—
During her speech she has been picking away at a stain on
his tie. Stew looks down and notices it.
STEW
What's the matter? Something I et,
no doubt. Egg marks the spot—
ANNE
You ought to get some new ties,
Stewart.
STEW
I don't need any new ties. I've
got another tie - I've got another
one besides this one. And it's a
pip, too. There's only one thing
wrong with it. You know what that
is? It has a little weakness for
gravy, and once in a while it leans
a little toward ketchup. Of course
that's only in its weaker moments.
When you move down to my place,
I'll show it to you.
Anne is somewhat taken aback at the suggestion that she's
to move into his place.
ANNE
Your place?
TWO SHOT - ANOTHER ANGLE
STEW
Yeah. Oh, it's great. Of course it
doesn't compare with this coliseum
of yours here, but 'twill serve
m'lady, 'twill serve.
(elaborate)
The architecture has a little
feeling of Missouri Gothic - and
the furniture sort of leans toward
Oklahoma Renaissance - with a tiny
touch of Grand Rapids.
ANNE
(gently insistent)
Don't you think it's silly of us
to think of living there when we
have this whole big house—
STEW
When 'we' . . .? You mean, you'd
like to have me live here in your
house?
Anne cuddles closer into his collar.
ANNE
Sure. We can have the whole left
wing and be all by ourselves all
the time.
Stew is slightly dazed.
CLOSEUP - STEW
He is slightly dazed.
STEW
(cynically)
We could have the whole left wing?
Wouldn't that be nice! Would that
be room enough for us?
123. TWO SHOT