"HIS GIRL FRIDAY"
screenplay by
Charles Lederer
Based on the play
"The Front Page"
by
Ben Hecht and Charles MacArthur
1939
SHOOTING DRAFT
FADE IN: INT. ANTEROOM CLOSE SHOT SWITCHBOARD
Two telephone operators sit at switchboard busy plugging in
and out answering calls.
1ST OPERATOR
This is the Morning Post... The City
Room? Just a moment, I'll connect
you.
(plugs in call)
2ND OPERATOR
Morning Post... Sports Department?
Just a moment --
(plugs in call)
CAMERA PULLS BACK to disclose the rest of the anteroom. To
Camera left are the elevators -- at back wall directly behind
switchboard are chairs and a table for visitors. Next to
switchboard are stairs leading downward to the next floor. A
waist-high iron grill with a gate in it separates the
switchboard from the anteroom, a similar grill separating it
again from the city room which stretches on beyond
switchboard. At a table in the switchboard enclosure sits an
office boy, about fifteen, doing a crossword puzzle. The big
clock on the back wall shows that it is nearly one o'clock.
CLOSE SHOT OFFICE BOY
as he bends over paper. We catch a glimpse of the squares of
a crossword puzzle.
MED. SHOT
as a reporter comes out of the City Room, clanging gate to
behind him. The office boy looks up.
OFFICE BOY
What's a seven-letter word for --?
REPORTER
Don't ask me! If I knew any seven-
letter words, I'd be something better
than a reporter!
He catches a glimpse of the far elevator going down.
REPORTER
Hey! Down! Down!
MED. SHOT ELEVATORS
as reporter runs in to the closed elevator door and pounds
on it. It comes back, the door opens, and he gets in. The
door closes, as elevator goes down. The near elevator comes
up and discharges Hildy Johnson and Bruce Baldwin. Bruce
carries an umbrella and wears a raincoat.
MED. CLOSE SHOT TABLE
office boy looking over his puzzle as Hildy and Bruce come
into the scene.
HILDY
(with a smile)
Hello, Skinny. Remember me?
OFFICE BOY
(looks up; then a
glowing smile)
Hildy Johnson!
CLOSE SHOT SWITCHBOARD
Hildy approaches the switchboard.
HILDY
(to operator)
Hello, Maisie.
The first operator looks up.
MAISIE
Hello -- Hildy! You coming back?
HILDY
No, just visiting. Tell me, is the
lord of the universe in today?
MAISIE
He is -- and in a very bad humor. I
think somebody stole one of his crown
jewels. Shall I announce you?
HILDY
No, never mind -- I'll blow my own
trumpet.
THREE SHOT BRUCE, HILDY AND OPERATOR
Hildy turns to Bruce.
HILDY
I won't be more than ten minutes, I
promise you.
BRUCE
Even ten minutes is a long time to
be away from you.
We hear a giggle off scene.
CLOSE SHOT OFFICE BOY
He looks towards Bruce and Hildy and giggles.
TWO SHOT BRUCE AND HILDY
HILDY
What did you say, Bruce?
Bruce, embarrassed, looks at the office boy, then looks back
at Hildy as they turn toward second gate leading into City
Room.
BRUCE
I said -- uh -- I said even ten
minutes -- is a long time -- to be
away from you.
HILDY
Don't be embarrassed, Bruce. I heard
it, but I just wanted to hear it
again. I can stand being spoiled a
little. The gentleman I'm going to
have a chat with did very little
spoiling.
BRUCE
(grimly)
I'd like to spoil him just once.
Sure you don't want me to go in with
you?
HILDY
My job, Bruce. I started it -- and
I'll finish it.
BRUCE
I suppose you're right -- but if it
gets rough, remember I'm here.
HILDY
I'll come a-running, pardner.
She starts to push open the iron-grilled gate leading into
the City Room. Bruce quickly springs forward and opens it
for her. Hildy smiles.
HILDY
Thanks, Bruce.
She kisses his cheek and walks through. He looks after her.
The office boy whistles. Bruce pays no attention, but stares
after Hildy.
MEDIUM SHOT - SHOOTING DOWN LENGTH OF CITY ROOM
Hildy starts to walk through City Room.
TRUCKING SHOT - HILDY
as she walks the length of the City Room. It's a long walk,
because it's a room that takes up practically the whole floor.
The scene is a busy one. But, gradually, as Hildy starts
down, one after another recognize her. There are cries of:
"Hildy!" "Hello, Hildy", etc., from the men as Hildy goes
straight down the aisle. She never stops but waves her own
greetings: "Jim!" "Hi, good-looking!" "Laura" "Hullo, Pop"
"Nan!" "Eddie!" "Hello, Mac" "Pete!" "Frank" "Oscar!", and
gets responses from each of them. One man is bent over his
desk reading his copy -- he is standing up. Hildy slaps him
as she goes by. He turns around: "Say, who did that?" As he
sees Hildy: "Hello, Hildy!" Hildy: "Hi, Jake." She passes a
middle-aged woman, almost an Edna May Oliver type, seated at
a desk pounding out copy and smoking a cigarette. As Hildy
comes up to her she slaps the woman on the back.
HILDY
Hello, Beatrice. How's "Advice to
the Lovelorn"?
BEATRICE
(looking up)
Hildy! I'll be a monkey's uncle!
What are you doing here?
HILDY
Point of information -- what does a
girl say on meeting her divorced
husband? OR:
(What does a girl do,
etc.)
BEATRICE
(illustrating)
My advice is duck and cross with
your right.
Hildy moves on. CAMERA TRUCKS WITH HER to the end of the
room where she pauses before the frosted glass partition
which separates Walter Burns' office from the rest of the
City Room.
INT. BURNS' OFFICE LONG SHOT
as she opens the door. Burns is shaving with an electric
razor and Louie is holding the mirror up in front of him.
CLOSE SHOT BURNS
shaving, Louie holding the mirror.
LOUIE
A little more round the chin, Boss.
MEDIUM SHOT
There is a sound of the door closing and Burns, without
looking up, says:
BURNS
What do you want?
HILDY
Why, I'm surprised, Mr. Burns. That's
no way to talk to your wife -- even
if she's no longer your wife.
BURNS
(grinning)
Hello, Hildy!
HILDY
Hello, Walter.
(to Louie)
Hi, Louie -- how's the slotmachine
king?
LOUIE
Oh, I ain't doing that any more. I'm
retired. I'm one of you fellas now --
a newspaper man.
HILDY
Editorials?
BURNS
Get going, Louie. I got company.
The door flies open and Duffy comes busting in.
DUFFY
Walter!
BURNS
I'm busy, Duffy.
DUFFY
Well, you're not too busy to know
that the Governor hasn't signed that
reprieve!
BURNS
What?
DUFFY
And that means Earl Williams dies
tomorrow morning and makes a sucker
out of us!
BURNS
You're crazy. Where's Mac?
DUFFY
He's on my phone. He just called me.
BURNS
They can't do that to me!
He grabs the phone on his desk:
BURNS
Give me that call on Duffy's wire!
Hello -- Mac? Burns. Where's the
Governor? -- What do you mean, you
can't locate him?
(apparently pleading
to the one man in
the world who can
help him)
Mac, you know what this means. We're
the only paper in town defending
Earl Williams and if he hangs tomorrow
we're washed up! Find the Governor
and when you find him tell him we
want that reprieve!... Tell him I
elected him and I can have him
impeached! Sure, you can do it, Mac --
I know you can. I always said you
were the greatest reporter in the
country and now you can prove it.
Get going! Attaboy!
He hangs up.
BURNS
(to Duffy,
sarcastically)
The greatest reporter in the country!
First I gotta tell him what news to
get! Gotta tell him how to get it --
then I gotta write it for him
afterward! Now if you were a decent
City Editor --
CLOSE SHOT DUFFY AND BURNS
with Louie and Hildy in the b.g.
DUFFY
Don't blame me. I'm City Editor in
name only. You do all the hiring
around here.
BURNS
Yeah! Well, I do the firing, too.
Remember that, Duffy, and Keep a
civil tongue in your head.
MEDIUM SHOT
HILDY
I don't like to interfere with
business, but would you boys pardon
us while we have a little heart-to-
heart talk?
DUFFY AND LOUIE
(together)
Well -- But I gotta --
They look at Burns.
BURNS
Scram, you guys.
They start to go.
HILDY
You won't miss anything. You'll
probably be able to hear him just as
well outside as here.
They go.
HILDY
Mind if I sit down?
Hildy sits.
CLOSE SHOT DUFFY AND LOUIE
going out of the door. They cast an interested look back and
linger a second. Over scene comes Burns' voice.
BURNS' VOICE
I said scram!
They close the door hurriedly.
MED. CLOSE SHOT BURNS AND HILDY
HILDY
May I have a cigarette, please?
Burns reaches into his pocket, extracts a cigarette and tosses
it on the desk. Hildy reaches for it.
HILDY
Thanks. A match?
Burns delves into pockets again, comes up with matchbox,
tosses it to Hildy, who catches it deftly, and strikes the
match.
BURNS
How long is it?
Hildy finishes lighting her cigarette, takes a puff, and
fans out the match.
HILDY
How long is what?
BURNS
You know what. How long since we've
seen each other?
HILDY
Let's see. I was in Reno six weeks --
then Bermuda... Oh, about four months,
I guess. Seems like yesterday to me.
CLOSEUP BURNS
BURNS
(slyly)
Maybe it was yesterday. Been seeing
me in your dreams?
MEDIUM CLOSE SHOT THE TWO
HILDY
(casually)
No -- Mama doesn't dream about you
any more, Walter. You wouldn't know
the old girl now.
BURNS
(with conviction)
Oh, yes I would. I'd know you any
time --
He grows lyrical and, rising from his seat, is about to start
toward her, as he continues:
BURNS AND HILDY
(together)
-- any place, anywhere --
He sits.
HILDY
(half-pityingly)
You're repeating yourself! That's
the speech you made the night you
proposed.
(she burlesques his
fervor)
"-- any time -- any place --
anywhere!"
CLOSE SHOT HILDY AND BURNS
BURNS
(growling)
I notice you still remember it.
HILDY
I'll always remember it. If I hadn't
remembered it, I wouldn't have
divorced you.
BURNS
You know, Hildy, I sort of wish you
hadn't done it.
HILDY
Done what?
BURNS
Divorced me. It sort of makes a fellow
lose faith in himself. It almost
gives him a feeling he wasn't wanted.
HILDY
Holy mackerel! Look, Walter, that's
what divorces are for.
BURNS
Nonsense. You've got the old-fashioned
idea that divorces are something
that last forever -- till 'death us
do part'. Why, a divorce doesn't
mean anything today. It's only a few
words mumbled over you by a judge.
We've got something between us nothing
can change.
HILDY
I suppose that's true in a way. I am
fond of you, Walter. I often wish
you weren't such a stinker.
BURNS
Now, that's a nice thing to say.
HILDY
Well, why did you promise me you
wouldn't fight the divorce and then
try and gum up the whole works?
BURNS
Well, I meant to let you go -- but,
you know, you never miss the water
till the well runs dry.
ANOTHER ANGLE
HILDY
A fellow your age, hiring an airplane
to write:
(she gestures above
to indicate sky-
writing)
'Hildy: Don't be hasty -- remember
my dimple. Walter.! It held things
up twenty minutes while the Judge
ran out to watch it.
BURNS
Well, I don't want to brag, but I've
still got the dimple -- and in the
same place -- I just acted like any
husband who doesn't want to see his
home broken up.
HILDY
What home?
WALTER
What home? Don't you remember the
home I promised you?
HILDY
Oh, yes -- we were to have it right
after our honeymoon -- honeymoon!
BURNS
Was it my fault? Did I know that
coal mine was going to have another
cave-in? I meant to be with you on
our honeymoon, Hildy -- honest I
did.
HILDY
All I know is that instead of two
weeks in Atlantic City with my
bridegroom, I spent two weeks in a
coal mine with John Kruptzky -- age
sixty-three -- getting food and air
out of a tube! You don't deny that.
Do you?
BURNS
Deny it! I'm proud of it! We beat
the whole country on that story.
HILDY
Well, suppose we did? That isn't
what I got married for. What's the
good of -- Look, Walter, I came up
here to tell you that you'll have to
stop phoning me a dozen times a day --
sending twenty telegrams -- all the
rest of it, because I'm --
BURNS
Let's not fight, Hildy. Tell you
what. You come back to work on the
paper and if we find we can't get
along in a friendly way, we'll get
married again.
HILDY
What?!!
BURNS
I haven't any hard feelings.
HILDY
Walter, you're wonderful in a
loathesome sort of way. Now, would
you mind keeping quiet long enough
for me to tell you what I came up
here for?
BURNS
(rising, reaching for
his hat)
Sure, come on. We'll have some lunch
and you can tell me everything.
HILDY
(also rising)
I have a lunch date. I just want --
BURNS
You can break it, can't you?
HILDY
No, I can't.
BURNS
Sure you can. Come on.
DIFFERENT ANGLE
HILDY
Don't tell me what to do! We're
divorced -- I'm a free woman. You're
not my husband and you're not my
boss! And what's more, you're not
going to be my boss.
BURNS
What do you mean by that?
HILDY
Just what I said. That's what I --
BURNS
You mean you're not coming back to
work here?
HILDY
That's the first time you've been
right today. That's what I --
BURNS
(still interrupting)
You've had a better offer, eh?
HILDY
You bet I've got a better offer.
BURNS
Well, go on and take it. Work for
somebody else! That's the gratitude
I get for --
HILDY
I know, Walter, but I --
BURNS
(ignoring her)
What were you when you came here
five years ago? A little college
girl from a School of Journalism! I
took a little doll-faced mugg --
HILDY
You wouldn't have taken me if I hadn't
been doll-faced!
BURNS
Why should I? I thought it would be
a novelty to have a face around here
a man could look at without
shuddering.
HILDY
Listen, Walter --
BURNS
(going right on)
I made a great reporter out of you,
Hildy, but you won't be half as good
on any other paper, and you know it.
You need me and I need you -- and
the paper needs both of us.
HILDY
Well, the paper'll have to learn to
do without me. And so will you. It
just didn't work out, Walter.
WIDER ANGLE
BURNS
It would have worked if you'd been
satisfied with just being editor and
reporter. But no! You had to marry
me and spoil everything.
HILDY
(indignantly)
I wasn't satisfied! I suppose I
proposed to you!
BURNS
Well, you practically did! Making
goo-goo eyes at me for two years
till I broke down. And I still claim
I was tight the night I proposed. If
you'd been a gentleman you'd have
forgotten all about it. But not you!
HILDY
(speechless)
You -- you --
She grabs something and chucks it at him. He ducks. The phone
rings.
BURNS
(to Hildy)
You're losing your eye. You used to
be able to pitch better than that.
(he reaches for phone)
Hello... Yeah... What? Sweeney? Well,
what can I do for you?
CLOSE SHOT DUFFY
seated at his desk, talking into phone.
DUFFY
What's the matter with you? Are you
drunk? This is Duffy, not Sweeney!
CLOSE SHOT BURNS AND HILDY
Burns into phone:
BURNS
Sweeney! You can't do that to me!
Not today, of all days! Jumping
Jehosophat! Oh, no, Sweeney... Well,
I suppose so... All right. If you
have to, you have to.
(he hangs up)
How do you like that? Everything
happens to me -- with 365 days in
the year -- this has to be the day.
HILDY
What's the matter?
BURNS
Sweeney.
HILDY
Dead?
BURNS
Not yet. Might just as well be. The
only man on the paper who can write --
and his wife picks this morning to
have a baby!
CLOSE SHOT HILDY
HILDY
Sweeney?
(she laughs)
Well, after all, he didn't do it on
purpose, did he?
CLOSE SHOT BURNS AND HILDY
BURNS
I don't care whether he did or not.
He's supposed to be covering the
Earl Williams case and there he is --
waiting at the hospital! Is there no
sense of honor left in this country?
HILDY
(practically)
Well, haven't you got anybody else?
BURNS
There's nobody else on the paper who
can write! This'll break me, unless --
(he stares at Hildy;
then a light breaks)
Hildy!
HILDY
No!
BURNS
You've got to help me, Hildy.
HILDY
Keep away --
BURNS
It'll bring us together again, Hildy --
just the way we used to be.
HILDY
That's what I'm afraid of. "Any time --
any place -- anywhere!"
BURNS
Don't mock, Hildy, this is bigger
than anything that's happened to us.
Don't do it for me! Do it for the
paper.
HILDY
Get away, Svengali.
BURNS
If you won't do it for love, how
about money? Forget the other offer
and I'll raise you twenty-five bucks
a week.
HILDY
Listen, you bumble-headed baboon --
BURNS
All right -- thirty-five, and not a
cent more!
HILDY
Please! Will you just --
BURNS
Great grief! What's that other paper
going to give you?
HILDY
I'm not working for any other paper!
BURNS
Oh! In that case, the raise is off
and you go back to your old salary
and like it. Trying to blackjack --
HILDY
Look at this!
(pulling her glove
off her left hand)
CLOSEUP HILDY
She gets glove off left hand and holds up an engagement ring
for him to see.
HILDY
Do you see this? Do you know what an
engagement ring is?
CLOSEUP BURNS
He looks at ring, swallows, then:
MED. SHOT
Burns and Hildy.
HILDY
I tried to tell you right away but
you started reminiscing. I'm getting
married, Walter, and also getting as
far away from the newspaper business
as I can get! I'm through.
BURNS
(himself again)
Get married all you want to, Hildy,
but you can't quit the newspaper
business.
HILDY
You can't sell me that, Walter.
BURNS
Who says I can't? You're a newspaper
man.
HILDY
That's why I'm quitting. I want to
go some place where I can be a woman.
BURNS
I know you, Hildy, and I know what
it would mean. It would kill you.
CLOSER SHOT
HILDY
(bitterly)
A journalist! Peeking through keyholes --
running after fire engines -- waking
people up in the middle of the night
to ask them if they think Hitler's
going to start a war -- stealing
pictures off old ladies of their
daughters that got chased by apemen!
I know all about reporters -- a lot
of daffy buttinskies going around
without a nickel in their pockets,
and for what? So a million hired
girls and motormen's wives will know
what's going on! No, Walter, I'm
through.
BURNS
Where'd you meet this man?
HILDY
Bermuda.
BURNS
Bermuda... Rich, eh?
HILDY
Not what you'd call rich. Makes about
five thousand a year.
BURNS
What's his line?
HILDY
He's in the insurance business.
BURNS
(looks up)
The insurance business?
HILDY
(on the defensive)
It's a good, honest business, isn't
it?
ANOTHER ANGLE
BURNS
Oh sure, it's honest. But somehow, I
can't picture you with a guy who
sells policies.
HILDY
Well, I can, and I love it! He forgets
the office when he's with me. He
doesn't treat me like an errand-boy --
he treats me like a woman.
BURNS
He does, does he? How did I treat
you -- like a water buffalo?
HILDY
I don't know about water buffaloes,
but I know about him. He's kind and
sweet and considerate. He wants a
home -- and children.
BURNS
Say, sounds more like a guy I ought
to marry. What's his name?
HILDY
Well, I'll give you a hint. By
tomorrow they'll be calling me Mrs.
Bruce Baldwin.
BURNS
Tomorrow? Tomorrow... as quick as
that?
HILDY
The quicker the better. Well -- I
finally got out what I came in to
tell you.
(she extends her hand)
So long, Walter, and better luck
next time.
BURNS
(taking her hand)
I wish you everything I couldn't
give you, Hildy.
HILDY
Thanks...
BURNS
Too bad I couldn't see this guy first.
I'm pretty particular about whom my
wife marries.
HILDY
(laughing)
Well, he's waiting in the anteroom
for me now.
BURNS
Say, could I meet him?
HILDY
Oh, better not, Walter. Wouldn't do
any good.
BURNS
You're not afraid, are you?
HILDY
Afraid? I should say not!
BURNS
All right then, come on and let's
see this paragon.
(gets hat)
Is he as good as you say?
HILDY
Better.
MED. SHOT OFFICE
Burns has his hat. They start toward the door.
BURNS
Then what does he want with you?
HILDY
(laughing)
Now you got me.
BURNS
Nothing personal. I was just asking.
At the door, Burns walks ahead, opens door and walks out.
INT. CORRIDOR OUTSIDE BURNS' OFFICE MED. CLOSE SHOT BURNS
BURNS
After all --
He stops as he realizes she's not there. The door opens.
Hildy comes out.
HILDY
You wouldn't believe this, Walter,
but Bruce holds the door open for
me.
BURNS
(incredulous)
No kidding?
INT. CITY ROOM FULL SHOT
Reporters conversing. They stop as Hildy and Burns enter
scene.
TRUCKING SHOT
as Hildy follows Burns through the City Room. This time, in
contrast to Hildy's original walk through the room, the groups
are silent as they watch the two.
HILDY
(trying to keep pace)
And he takes his hat off when he's
with a lady.
BURNS
(over his shoulder)
What for?
HILDY
(shouting)
And when he walks with a lady, he
waits for her!
BURNS
(stops)
Oh, I'm sorry.
Burns, at this point, has reached the switchboard. He says,
under his breath, to Maisie:
BURNS
(under his breath)
Have Duffy call me in the restaurant
in twenty minutes.
Hildy, a little out of breath, catches up with him. At the
iron gate that opens into anteroom Hildy jumps ahead, opens
the gate and holds it for Burns.
HILDY
Allow me.
BURNS
(walking right through)
Thanks.
Hildy follows him out.
INT. ANTEROOM MED. SHOT
as Hildy follows Burns in. Bruce is sitting on the bench. On
the end of a bench sits an old, grizzled Western Union "boy".
Ignoring Bruce, Burns strides over to the "boy", seizes his
hand, shakes it and says:
BURNS
I can see right away my wife picked
out the right husband for herself.
CLOSE SHOT BRUCE
Hildy behind him. Bruce registers amazement at this.
CLOSE SHOT BURNS AND MESSENGER
The messenger is more amazed than Bruce as Burns keeps pumping
his hand vigorously.
MESSENGER
There must be some mistake. I'm
already married.
BURNS
(you never saw a more
surprised man)
Already married!
(turning to Hildy
o.s.)
Hildy, why didn't you tell me?
CLOSEUP HILDY
She shakes her head at Burns' antics, but can't help smiling
nevertheless.
MEDIUM SHOT BURNS AND MESSENGER
BURNS
(again seizing
messenger's hand)
Congratulations again, Mr. Baldwin!
MESSENGER
But my name --
BRUCE
(as he enters scene)
Mr. Burns!
Burns turns slightly but doesn't release messenger's hand.
BURNS
Yeah? You'll have to excuse me --
I'm busy with Mr. Bruce Baldwin here.
Just leave your card with the boy.
CLOSE SHOT BRUCE AND BURNS
Bruce takes hold of Burns' coat and shakes it to get his
attention. Burns turns on him:
BURNS
I'm very sorry, but I'm busy! Look --
(he points o.s.)
-- there's the boy. Take your card
and leave it with him.
He turns away again. Bruce, determinedly, takes hold of his
sleeve and pulls at it.
BRUCE
Mr. Burns --
BURNS
(wheeling around)
I've just told you I was busy with
Mr. Bruce Baldwin!
BRUCE
I'm Bruce Baldwin!
MEDIUM SHOT
Burns, still pumping the dazed messenger's hand, stops at
this, drops hand, and turns to Bruce:
BURNS
You're Bruce Baldwin?
BRUCE
Yes!
BURNS
(accusing to messenger)
Then who are you?
MESSENGER
(falteringly)
My name's Pete Davis.
BURNS
Pete Davis! Well, Mr. Davis, this is
no concern of yours and after this
I'll thank you to keep out of my
affairs!
The messenger isn't quite sure what he's done but he slinks
back to his seat as Burns turns to Bruce.
CLOSEUP HILDY
She is beginning to get sore, but reluctantly again she is
compelled to smile at Walter's behavior.
CLOSE SHOT BURNS AND BRUCE
BURNS
(reaches for Bruce's
hand but grabs the
umbrella and begins
shaking the handle
up and down)
This is a pleasure, Mr. Baldwin, and
I'm sorry about the mistake.
BRUCE
(he tries to shift
the umbrella, calling
Burns' attention to
it, and offers his
hand instead)
BURNS
Oh, I thought there was something
funny... You see, Bruce, you don't
mind if I call you Bruce, do you?
After all, we're practically related --
BRUCE
(completely unnerved
by this time, and
you can't quite blame
him)
Mr. -- well -- no -- no -- not at
all.
BURNS
You see, my wife -- I mean, your
wife -- that is, I mean Hildy -- had
led me to expect that she was marrying
a much older man.
BRUCE
(this is the final
crusher)
Oh.
BURNS
But I see, she didn't mean old in
years. You always carry an umbrella,
Bruce?
BRUCE
Well, er -- it looked a little cloudy
this morning.
BURNS
That's right. -- Rubbers, too, I
hope? A man ought to be prepared for
any emergency.
Burns looks down. Bruce, in unconscious responses, helplessly
lifts his foot up and we see the rubber.
BURNS
Attaboy!
(taking Bruce's arm
and leading him toward
elevator)
Come on, Bruce.
BRUCE
(going along, but
worried)
Where are we going?
BURNS
Where are we going? I'm going to buy
you two lunch -- didn't Hildy tell
you?
BRUCE
(a helpless look back
at Hildy)
No -- she didn't.
BURNS
Just wanted to surprise you, I guess.
(as the elevator is
about to pass, he
calls)
Down!
(practically shoving
Bruce in)
After you, Bruce!
(as Bruce disappears
inside he turns toward
Hildy)
Come on, Hildy, my treat!
CLOSE SHOT BURNS NEAR OPEN ELEVATOR
We don't see the passengers. Hildy comes into scene.
HILDY
I suppose I can't call this off
without creating a scene -- but
remember, it's your last fling.
BURNS
(hurt)
How do you like that? Here I am being
nice to you and your sweet-heart and
that's the thanks I get!
He jumps into the elevator -- in a second he hops out.
BURNS
(very sweetly -- he
almost sings it)
Oh -- after you, Hildy!
With a look of disgust Hildy gets in. Burns follows and the
door slams on them.
CLOSEUP OFFICE BOY
He looks after departed elevator and whistles. Then he grins
all over.
DISSOLVE TO:
INT. RESTAURANT CLOSEUP - A BEAMING WAITER
HE GRINS ALL OVER AND SAYS:
WAITER
Don't tell me it's you, Hildy!
CAMERA PULLS BACK and discloses our three at a restaurant
table. Nothing swanky -- a place like Jack Blake's in New
York, say.
HILDY
(beaming at waiter)
Nobody else.
She extends her hand. The waiter takes it; they shake.
HILDY
How's everything, Gus?
GUS
I can't complain.
BURNS
(studying menu)
Well, I can. I'm hungry. Roast beef
sandwich -- rare. And some coffee.
GUS
Shall I put a little rum in the
coffee? It's a nasty day.
BURNS
Good idea. How about you, Hildy?
HILDY
(discarding menu)
Oh -- I'll take the same, I guess.
And coffee.
GUS
Little rum in yours, too?
HILDY
I guess so.
Bruce looks at her. She hurriedly changes her mind.
HILDY
No -- just coffee, Gus.
GUS
(crestfallen)
Just coffee.
(to Bruce)
And you, sir?
BRUCE
(putting menu down)
Oh, I'll take the same, I guess. And
a glass of milk.
GUS
(incredulous)
Milk?
BRUCE
(thinks he hasn't
heard)
Yes.
GUS
(shaking his head as
he writes it down)
Milk.
BURNS
And don't put any rum in it, Gus.
CLOSEUP - GUS
Gus gives him a look and goes.
ANOTHER ANGLE - THE TRIO AT TABLE
Burns surveys the others quizzically.
BURNS
(a sigh)
Well, so you're getting married
tomorrow, eh? How does it feel, Bruce?
BRUCE
Feels awful good. Yes, sir -- we're
taking the four o'clock train to
Albany and tomorrow we'll be married.
BURNS
(it's the Puritan in
him)
Taking the train today -- and being
married tomorrow?
He whistles.
BRUCE
(rising to the bait)
Oh, it isn't like that.
HILDY
(reassuring Mrs. Grundy)
It will be perfectly all right,
Walter. Mother is coming with us on
the train.
BURNS
Mother? But your mother --
BRUCE
No. My mother.
BURNS
(he gets it and
underlines it)
Oh. Your mother -- well, of course,
that relieves my mind.
HILDY
(to Bruce)
Isn't it sweet of Walter -- still
wanting to protect me?
She gives Burns that too-sweet look.
BURNS
(apparently taking
this at face value)
I know I wasn't a good husband, Hildy,
but you can always count on me.
TWO SHOT - FEATURING BRUCE AND HILDY
BRUCE
(a little cookily)
I don't think she'll need you very
much -- I aim to do most of the
protecting myself.
He pats Hildy's arm -- she smiles at him.
THREE SHOT - HILDY, BRUCE AND BURNS
BURNS
Well, I'll tell you one thing, old
man, she never looked at me the way
she's looking at you.
HILDY
I might have, Walter, but you were
never there.
BURNS
Anyway, I'm glad you two are going
to be happy and have all the things
I couldn't give her. You know, Hildy
is about the best reporter in the
country -- and that goes regardless
of sex. But all she really ever wanted
was a home.
BRUCE
Well, I'll try to give her one.
BURNS
I know you will, Bruce. Are you going
to live with your mother?
BRUCE
Just for the first year.
BURNS
(sighing)
That'll be nice. A home with mother.
A real honeymoon. In Albany, too.
Ow!
That "ow" is sotto voce, but it's the direct result of a
kick under the table from Hildy.
BRUCE
Mighty nice little town, Albany.
They've got the State Capitol there,
you know.
BURNS
Yes, I know...
(he chuckles)
Hildy, will you ever forget the night
you brought the Governor back to
your hotel room and found me taking
a bath? She didn't even know I was
in town...
His laugh stops cold and he clutches for his shin again.
Hildy just looks. Providentially, the waiter enters the scene.
GUS
Well, here we are.
He begins serving them.
BURNS
(trying to pick up
again after a second)
How's business, Bruce?
BRUCE
Well, Albany's a mighty good insurance
town. Most people there take it out
pretty early in life.
BURNS
I don't blame them.
Gus, who has just managed to come between Hildy and Burns,
lets out a startled "ouch".
HILDY
Oh, I'm sorry, Gus! My foot must
have slipped.
GUS
(a pained expression
belies his words)
That's all right.
BURNS
I sometimes wish I'd taken out
insurance -- but, of course, now it
doesn't matter. Still, I suppose it
would have been the smart thing to
do.
BRUCE
Well, I honestly feel that way. I
figure I'm in one line of business
that really helps people. Of course,
we don't help you much when you're
alive -- but afterward -- that's
what counts.
BURNS
I see what you mean.
They fall to.
CLOSE SHOT - HILDY
She sips her coffee and acts surprised.
HILDY
Gus, this --
CLOSEUP - GUS
GUS
(winking)
Good coffee, isn't it?
CLOSEUP - HILDY
She smiles and winks back, and takes another sip.
GROUP SHOT AT TABLE
Gus starts to go.
BRUCE
You've forgotten my milk.
GUS
Oh. The milk. Yes.
He leaves scene, shaking his head. Burns sips his coffee. He
likes it. He lifts his cup to Hildy.
BURNS
Here's luck to the bride and
bridegroom.
HILDY
(lifts cup)
Thank you.
BRUCE
(looking for something
to respond with --
apologetically)
He hasn't brought my milk yet.
A bus boy comes into scene and stops before Burns.
BUS BOY
They want you on the phone, Mr. Burns.
BURNS
They would!
Boy goes, Burns rises, starts off, comes back for his cup of
coffee, which he then takes off with him.
TWO SHOT - BRUCE AND HILDY
BRUCE
(looking after him)
You know, Hildy, he's not a bad
fellow.
HILDY
(looking at him
maternally)
You're so nice, Bruce, you think
everybody else is.
BRUCE
Oh, he's not the man for you. I can
see that. But I sort of like him.
Got a lot of charm.
HILDY
He comes by it naturally. His
grandfather was a snake.
BRUCE
(shaking his head)
If anybody had told me I'd be sitting
at lunch with him -- but he swept me
right off my feet.
HILDY
That's what he did to me. Swept me
right off my feet -- and left me
lying on the floor.
INT. PHONE BOOTH FULL SHOT
Burns is listening, has coffee on ledge and sips it now and
then.
BURNS
Get this -- get Sweeney off that
yarn and out of town on a two weeks'
vacation -- and right away... All
right, Duffy, keep your shirt on.
Hildy's coming back... No. She doesn't
know it yet. But she'll be there. I
promise you, Duffy. And tell Louie
to stick around.
He hangs up, smiles, and finishes the coffee. Then he girds
himself for being crushed. He gradually begins to look sunk.
He pulls out a small mirror to study his expression till he
finally gets what he wants. He holds that expression as he
comes out of the booth.
INT. RESTAURANT MED. SHOT AT TABLE
Gus is entering the scene.
GUS
Your milk, sir.
He serves Bruce.
GUS
And I brought you another cup of
coffee, Hildy.
Gus serves her and puts still another cup in front of Burns'
chair.
HILDY
Thanks, Gus.
She takes a sip and almost chokes.
BRUCE
Too hot?
HILDY
(gasping for breath)
No. It's strong.
(quickly)
But I like it that way.
Gus goes, smiling.
BRUCE
(looking off)
Say, what's happened to Burns? He
looks sunk, doesn't he?
HILDY
(beaming)
He certainly -- hic -- does!
Burns comes into scene, looking like a 1929 banker just before
jumping off a roof, and sits down.
BRUCE
Anything the matter?
BURNS
Just Sweeney again. One of my best
reporters.
HILDY
What now?
BURNS
His wife had twins and he went out
to celebrate and got as drunk as a
lord. They can't even find him.
(he sips his coffee)
I tell you, drink is the ruin of
this nation.
HILDY
(sipping hers)
You said it.
BURNS
So -- Sweeney gets twins -- and Earl
Williams gets hanged tomorrow.
BRUCE
Just what is the lowdown on Williams?
BURNS
It's simple. A poor little dope who
lost his job went berserk and shot a
cop who was coming after him to quiet
him down.
HILDY
If he's nuts, why doesn't the State
just put him away?
BURNS
Because it happened to be a colored
policeman.
HILDY
(for Bruce's benefit)
The colored vote happens to be very
important to the Mayor of this town.
BURNS
Especially with an election coming
up in a few days.
BRUCE
Are you sure Williams is not all
there?
BURNS
All you've got to do is talk to him.
But the Mayor would hang his own
grandmother to be re-elected.
BRUCE
But couldn't you show the man wasn't
responsible?
CLOSEUP - BURNS
BURNS
(there's a sly
expression on his
face)
How?
HILDY'S VOICE
You could run an interview that would
prove it. Remember the interview I
wrote with Jimmy Wellman? That saved
his life.
BURNS
(slapping hands
together)
Yes, you could do it, Hildy. You
could save that poor devil's life.
You could -- but --
(the enthusiasm dies
away)
-- you're going away. I forgot.
THREE SHOT
BRUCE
How long would the interview take?
BURNS
Oh -- an hour for the interview.
Another hour to write it.
BRUCE
We could take the six o'clock train,
Hildy. If it would save a man's life.
HILDY
No, Bruce, dear. Don't you see? This
is a trick to get your sympathy. No,
Walter, I've been waiting for
something like this -- but I wasn't
sure when you'd spring it. If you
want to save Earl Williams' life,
you can interview him yourself. You're
still a good reporter. Bruce and I
will be on that four o'clock train --
and thanks just the same.
BURNS
I'm an editor. I know what ought to
be written, but I can't write it the
way you could. It needs a woman's
heart --
HILDY
Why, Walter, you're getting poetic!
BURNS
(to Bruce)
You see what I had to put up with?
She never trusted me! You argue with
her -- otherwise you're going on a
honeymoon with blood on your hands!
Bruce gulps.
BURNS
How can you have any happiness after
that? All through the years you'll
remember that a man went to the
gallows because you were too selfish
to wait two hours! I tell you, Earl
Williams' face will come between you
on the train tonight -- and at the
preacher's tomorrow -- and all the
rest of your lives!
HILDY
(breaking into applause)
What a performance! Bravo! Don't let
him fool you, Bruce -- it's only an
act!
BURNS
What do you mean, only an act? Haven't
you got any feeling?
HILDY
Well, it's either an act on your
part or a miracle on Sweeney's.
BURNS
What do you mean?
HILDY
I happen to know Sweeney was married
only three months ago. If he's got
twins this morning, I claim it was
done with mirrors.
BURNS
(laughs, throws up
his hands)
All right, Hildy, I'm licked. But
I'll make you and Bruce a business
proposition.
HILDY
We're not interested.
BURNS
(to Bruce)
Maybe you'll be. You're a smart young
man. You let Hildy do this story for
me and you can write out a $100,000.00
insurance policy for me. What do you
say?
BRUCE
I don't use my wife for business
purposes, Mr. Burns!
HILDY
Wait a minute, Bruce. What's
commission on a $100,000.00 policy?
BRUCE
Well, at his age, twenty payment
life, a little over a thousand
dollars.
HILDY
And what's the matter with a thousand
dollars?
BRUCE
But --
HILDY
According to the budget, we laid out
that's more than our food bill for a
whole year. Listen, Bruce, I don't
want Walter Burns to use me, but I'm
perfectly willing to use him. How
long will it take to get him examined?
BRUCE
I could get a company doctor in twenty
minutes.
BURNS
Now you're talking!
HILDY
(turning on Burns)
You keep out of this. Bruce, suppose
you examine Mr. Burns in his office.
I'll get my bag and go over to the
Press Room in the Criminal Courts
Building. You phone me as soon as
Mr. Burns has given you his check.
Then I'll go get the interview and
you phone Mother that we're taking
the six o'clock train.
(back to Burns)
And no tricks, Walter!
BURNS
What tricks would I pull?
HILDY
Oh, nothing! Of course, you might
cancel the check. Yes! Wait a minute!
What would be his first payment on
that policy?
BRUCE
About twenty-five hundred dollars.
HILDY
Better make that a certified check,
Walter.
BURNS
(indignantly)
What do you think I am -- a crook?
HILDY
Yes --- and that's putting it mildly!
No certified check -- no story --
Get me?
BURNS
All right. The check will be
certified. Want my fingerprints?
HILDY
(rising)
No thanks, I've still got those.
Well, I'll step into some working
clothes and hop over to the Press
Room for the background on this yarn.
It'll be kind of fun to see the boys
again, too. Remember, Bruce, it must
be certified.
BRUCE
All right, dear.
HILDY
Wait a minute, Bruce. Have you got
that money?
BRUCE
(feeling his pocket)
The five hundred? Sure.
HILDY
On second thought, would you let me
have it? I'll get the tickets.
BRUCE
But --
HILDY
Believe me, Bruce, I know what I'm
doing. He'd get you in a crap game --
BRUCE
But I don't gamble, Hilda!
HILDY
I know a lot of men who didn't do
anything till they met Walter Burns.
Please, dear.
BRUCE
(reluctantly)
All right.
(he pulls out his
wallet)
One -- two -- three -- four -- five.
Five hundred. Be careful, honey.
HILDY
I'll be careful, darling. You be,
please.
She kisses him, kisses her hand and pats it to Burns' cheek.
HILDY
So long, husbands.
She goes.
TRUCKING SHOT - HILDY
leaving. She weaves just a bit.
MED. CLOSE SHOT - THE TWO MEN
They look after her.
BRUCE
(smiling a little)
I never knew Hildy to be so determined
before.
BURNS
You haven't seen anything yet.
Bruce turns to look at Burns -- they look at each other.
FADE OUT:
FADE IN: INT. PRESS ROOM - CRIMINAL COURTS BLDG - DAY CLOSE
SHOT AT TELEPHONE
It is ringing. A hand comes in to take the phone. CAMERA
DRAWS BACK A LITTLE to show Endicott taking the phone. He
has an eye shade over his eyes and five cards in his other
hand.
ENDICOTT
(into phone)
Criminal Courts Press Room... This
is Endicott... No, nothing new on
the Williams case yet boss. Well,
you bet I'm here plugging away every
minute.
(hangs up and studies
his cards)
Up a dime.
CAMERA PANS SLOWLY to reveal the other players as they speak.
Playing are reporters Murphy, Endicott, Wilson, Schwartz and
McCue.
MURPHY
(dropping his cards)
By me.
WILSON
(also dropping)
Droparoo.
Schwartz knocks on table and drops cards.
MCCUE
(reluctantly)
I'll call.
ENDICOTT
Three sixes. Is that any good?
HILDY'S VOICE
It sure looks good from here.
The boys all look up toward sound of Hildy's voice.
CLOSE SHOT HILDY JOHNSON
framed in the doorway. She is carrying a bag and has changed
her costume to a tailored travelling suit. She grins and
comes into the room.
MED. SHOT REPORTERS
They are all talking at once as Hildy comes into the scene.
There are ad libs of "Hildy!" "Where'd you come from?" "Holy
Mackeral, Hildy Johnson!", etc. Hildy raises her hand for
silence.
HILDY
One at a time, boys.
She enters to a desk, places her bag on top of the desk,
takes her hat off and hangs it on a clothes tree in the
corner, comes back to desk and opens the travelling bag. All
through the above action she is talking rapidly.
HILDY
No, I'm not back for good. I'm just
covering the Earl Williams story for
Mr. Sweeney who had a sudden attack
of something but will be all right
by tomorrow. No, I haven't made up
with Walter Burns -- far from it! As
a matter of fact, I'm leaving tonight
for Albany and I'll be married
tomorrow morning. The lucky man is
Mr. Bruce Baldwin, a gentleman in
the insurance business -- and when I
say gentleman, I mean gentleman! Are
there any other questions?
Hildy takes notebook and pencil out of bag, looks at the
stockings she is wearing, sees she has a run and takes a
fresh pair out of the bag. She sits down and begins to put
on the new stockings.
ENDICOTT
(grinning)
Well, that about covers everything.
HILDY
Good. Now I want to ask you fellows
a couple of questions. Did Earl
Williams know what he was doing when
he fired that gun?
MURPHY
If you ask us, no. If you ask the
state alienists, the answer is yes.
MCCUE
It's a simple story. Earl Williams
works for the E.J. McClosky
Manufacturing Company as a bookkeeper
for fourteen years. He starts in at
twenty dollars a week and gradually
works his way up to twenty-two fifty.
A year ago the McClosky Company goes
out of business and Williams loses
his job.
(waving his hand toward
Wilson)
Take it away, Fred Wilson!
WILSON
Well -- Williams goes a little balmy
and begins making speeches on a plan
he's got to save the world. Only he
makes his speeches, usually, on a
very busy street and neglects to get
a license for it. Well, the cops let
him alone as much as they can because
he's harmless and they're kinda sorry
for him. But one day he decides to
hold a meeting right in the middle
of a Veteran's Parade and the cops
chase him. He gets scared and goes
into hiding.
(gesturing toward
Schwartz)
Come in, Dave Schwartz.
SCHWARTZ
His Honor, the Mayor, now comes out
with a statement that Earl Williams
is a dangerous character in the employ
of two or three foreign governments
and the police are going to get him
dead or alive. Somebody sends out a
tip that this guy is hiding in Molly
Malloy's joint. And this colored
policeman, Daniels, goes over to
pick Williams up. Williams has read
the papers, thinks the cop is going
to kill him and shoots first. That
is all.
HILDY
Thanks, boys. That's all I want to
know.
Hildy gets up, rolls the pair of stockings she has just
discarded into a ball, crosses to Bensinger's desk and puts
the stockings in a drawer.
ENDICOTT
Say, that's old Prissy Bensinger's
desk.
HILDY
I know, I just want to give him a
thrill.
Hildy crosses back to desk and sits down.
HILDY
All right, boys, now that everything
is settled, deal me in.
Hildy glances toward clock on wall. The hands show 2:45 PM.
INSERT: CLOCK - Hands pointing to 2:45 PM.
CLOSE SHOT HILDY
She picks up phone nearest her on desk and starts to dial,
picking up cards dealt her with one hand.
HILDY
(into phone)
Hello, this is Hildy Johnson. Get me
Walter Burns.
(she studies her cards --
then, into phone)
Hello, Walter. How's the old double-
crosser?
CLOSE SHOT WALTER BURNS
Telephone at his ear.
BURNS
Hello, my fine-feathered friend.
Thought I might be hearing from you.
What have you got to report?
CAMERA PULLS BACK TO MEDIUM SHOT and we see that Burns is
stripped to the waist. A doctor is applying a stethoscope to
his chest. We HOLD the picture a second: Burns listening
intently on the phone and the doctor listening intently to
his chest.
BURNS
(into phone)
Going all right, eh?
DOCTOR
(nodding)
Fine.
Doctor suddenly realizes what he's said and looks up.
BURNS
(putting hand over
mouthpiece of phone)
Doctor, will you please keep quiet a
minute? How do you expect me to get
any work done?
CAMERA PULLS BACK to include Bruce, who has some papers in
front of him at the desk. Bruce grins.
DOCTOR
How do you expect me to get anywhere
if you're going to keep on that phone?
If you'll just give me two minutes
more --
BURNS
(into phone)
Well, they haven't finished with me
yet but I'm hoping to get my shirt
back. Oh, no. I'm in the pink of
condition. They found two new dimples.
CUT TO:
INT. PRESS ROOM - CRIMINAL COURTS BLDG. CLOSE SHOT HILDY AT
TELEPHONE
cards in her other hand.
HILDY
How about that check? All right, Mr.
Burns, but remember, no checkee --
no story. Well, as soon as they decide
whether you live or not will you
have that new man of mine call me
up? Yes, sir.
(she hangs up)
All right, boys. Up a dime.
ENDICOTT'S VOICE
Right back at you.
MED. SHOT
MCCUE
(dropping his cards)
You fight it cut.
HILDY
And up a dime.
ENDICOTT
(studying a second)
I call. What you got?
HILDY
(displaying her cards)
Three bullets! Any good?
ENDICOTT
(throwing his cards
away)
Beats king up.
Hildy rakes in the money.
MCCUE
What are you going to do with all
that money, Hildy?
WILSON
Yeah -- you can't spend it in Albany.
HILDY
Oh, I'll think of something.
MED. SHOT
taking in door and including group. Bensinger, another
reporter, comes in from the corridor. He stands out from the
others because of his tidy appearance, and carries a book
under his arm.
MURPHY
Hello, Harvard! Got anything new on
the hanging?
CLOSE SHOT BENSINGER
BENSINGER
(cockily)
Why don't you fellows get your own
news?
CLOSE SHOT HILDY
HILDY
Can't you say 'hello' to a fellow?
TWO SHOT FEATURING HILDY AND BENSINGER
BENSINGER
Hildy!
He comes over to shake hands.
BENSINGER
Are you back?
HILDY
No, just a farewell appearance,
batting for Sweeney. I'm going into
business for myself.
BENSINGER
What doing?
HILDY
I'm getting married tomorrow.
BENSINGER
Well, congratulations! Good luck!
THE TABLE ANOTHER ANGLE
ENDICOTT
Why don't you use him for a
bridesmaid, Hildy?
SCHWARTZ
Come on, Hildy, your deal.
CLOSE SHOT BENSINGER AT HIS DESK
He opens a drawer, the one in which Hildy put her stockings.
BENSINGER
Say, who put these stockings in my
desk?
(he turns to the group)
McCUE's VOICE I don't know, but I think they got rats in the
building.
BENSINGER
(makes a gesture of
disgust and picks up
telephone)
This is Bensinger. I just saw the
Sheriff. He won't move the hanging
up a minute... All right, I'll talk
to him again, but it's no use. The
execution is set for seven in the
morning. Get me a rewrite man.
CLOSE SHOT ENDICOTT
dealing the cards.
ENDICOTT
Why can't they hang that guy at a
reasonable hour, so we can get some
sleep?
CLOSE SHOT BENSINGER
BENSINGER
(into phone)
Jake, new lead on the hanging. This
new alienist from New York -- Dr.
Max J. Egelhoffer -- is going to
interview Williams in about half an
hour -- in the Sheriff's office.
MED. SHOT AT TABLE - FEATURING MURPHY
Murphy reaches for the phone. Without dropping his cards, he
jiggles the hook.
MURPHY
That must be the tenth alienist
they've had on Williams. Even if he
wasn't crazy before, he would be
after ten of those babies got through
psychoanalyzing him.
(into phone)
Gimme the desk.
ENDICOTT
This Egelhoffer's pretty good.
MURPHY
Yeah? What did he ever do for his
country?
ENDICOTT
Don't you remember? He's the guy
went to Washington to interview the
Brain Trust, and gave out a statement
that they were all sane. It created
a sensation!
CLOSE SHOT BENSINGER
He is referring to his notes as he talks:
BENSINGER
(into phone)
Here's the situation on the eve of
the hanging:
CLOSE SHOT MURPHY
He continues playing his cards:
MURPHY
(into phone)
This is Murphy. More slop on the
hanging.
CLOSE SHOT BENSINGER
BENSINGER
(into phone)
A double guard's been thrown around
the jail, municipal buildings,
railroad terminals, and elevated
stations to prepare for the expected
general uprising of radicals at the
hour of execution.
CLOSE SHOT MURPHY
MURPHY
(into phone)
Ready? The Sheriff's just put two
hundred more relatives on the payroll
to protect the city against the Red
Army -- which is leaving Moscow in a
couple of minutes.
(consults his hand)
Up a dime.
CLOSE SHOT BENSINGER
BENSINGER
(into phone)
The Sheriff has just received four
more letters threatening his life,
but he says nothing can interfere
with his duty.
CLOSE SHOT MURPHY
MURPHY
(into phone)
And to prove to the voters that the
Red Menace is on the level, the
Sheriff has written himself four
more letters, threatening his life.
I know he wrote 'em on account of
the misspellings.
MED. SHOT AT TABLE FEATURING HILDY
ENDICOTT
Trouble is, when the Red Menace shows
up the Sheriff will still be crying
'Wolf!'
MURPHY
What have you got, Hildy?
HILDY
Kings and sixes.
MURPHY
(throwing down)
That's good.
HILDY
(sweeping coins in)
'Kings and sixes The pot affixes'...
Poetry. I learned that at my grandma's
knee.
WILSON
That's why I keep losing. My grandma
was a modest woman -- nobody ever
saw her knees, not even my grandpop.
INT. WALTER BURNS' OFFICE MED. SHOT
The doctor has gone. Burns is adjusting his shirt. Bruce is
sitting at the desk.
BRUCE
I don't know. This makes me feel
funny.
TWO SHOT
BURNS
Why shouldn't I make Hildy my
beneficiary? I've got nobody else to
leave it to.
BRUCE
I feel I ought to take care of her.
BURNS
Well, you'll take care of her. After
all, if that doctor's right, I'm
going to live for a long time yet.
Look, Bruce, this is a debt of honor.
I was a very bad husband: Hildy could
have got a lot of alimony if she'd
wanted to, but she wouldn't take
any. She had it coming to her, but
she was too independent.
BRUCE
Well, I'm independent, too.
BURNS
Figure it this way: I ought to be
good for twenty-five years. By that
time, you'll probably have made enough
so that the money won't mean anything.
But suppose you haven't made good --
don't you think Hildy's entitled to
a quiet old age without any worries?
BRUCE
Well, of course, if you put it that
way.
BURNS
(everything he has on
the ball)
And remember this, Bruce! I love
her, too.
BRUCE
I'm beginning to realize that.
BURNS
And the beauty of it is she'll never
have to know 'till I've passed on.
Maybe she'll think kindly of me ---
after I'm gone.
BRUCE
(a lump in his throat)
Gee, you almost make me feel like a
heel -- coming between you.
BURNS
No, Bruce, you didn't come between
us. It was all over for her before
you came on the scene. For me --
it'll never be over.
He turns away, wipes his eyes, and sneaks a glance to see
how that goes over. It goes over big -- Bruce hurriedly wipes
a tear away.
MED. SHOT
as Duffy comes into the room. He advances toward the desk.
DUFFY
(placing check on
desk)
Here's that certified check, Walter.
(sotto voce)
I drew out my wife's savings, and if
this isn't back by 5:30 I'm a ruined
man!
BURNS
(also sotto voce)
Don't worry, Duffy, you'll have it
back by five.
(louder)
Thanks, Duffy. Stick around.
(picking up check he
rises)
He walks over to Bruce.
BURNS
Well, Bruce, here you are -- certified
and everything.
BRUCE
(also rising)
Certified! I'm afraid Hildy'd feel
ashamed to think she hadn't trusted
you.
CLOSEUP DUFFY
He reacts to this sweetly solemn thought.
BURNS AND BRUCE
CAMERA FOLLOWS THEM as Burns walks Bruce toward door, his
arm around him.
BRUCE
Well, she'll know some day.
BURNS
That's all I ask. Oh, wait a minute.
He releases Bruce, runs back and gets umbrella and brings it
to him.
BURNS
Don't want to forget this, you know.
Might start to rain again.
BRUCE
Thanks. I'll phone Hildy right away
to get that story.
They are at the door. Burns opens the door for Bruce.
SHOT FEATURING LOUIS
Louis is sitting at a desk, apparently engrossed in a
newspaper. He is all alert, however. Bruce and Burns come
into the scene talking.
BURNS
Well, anyway, I know Hildy's getting
a good man.
BRUCE
(embarrassed)
Thanks a lot.
They pass Louis. He looks up.
BRUCE AND BURNS
Bruce, still embarrassed, looks down. Burns turns and signals
to Louis.
CLOSE SHOT LOUIS
watching.
CLOSE SHOT BURNS
Burns points to Bruce's back.
CLOSE SHOT LOUIS
Louis nods.
BRUCE AND BURNS
BURNS
Well, I got to get back. You can
find your way out, can't you?
BRUCE
Oh, sure.
(he extends his hand)
Well, thanks for everything.
BURNS
Don't thank me. I should thank you.
So long.
BRUCE
So long.
He turns and goes. Burns watches him.
REVERSE ANGLE
Bruce is going out, his back toward Camera. Burns watches.
Louis comes between Burns and Bruce and follows Bruce out as
we see Bruce going toward outer door.
CLOSEUP BURNS
He rubs his hands in glee as he starts back for his office.
INT. PRESS ROOM SHOT FEATURING HILDY
She is raking in a pot.
HILDY
I don't know why you boys are so
good to me.
MCCUE
(throwing cards down)
Your poker's improved a lot, Hildy.
Lend me two bucks, will you?
HILDY
Nothing doing. I'm playing for keeps.
There is a whirr and crash from the gallows. They start.
BENSINGER AT WINDOW
BENSINGER
I wish they'd stop that practicing.
The others drift into the scene and look out of the window.
INT. COURTYARD THE GALLOWS
The trap is sprung by two or three earnest men.
INT. PRESS ROOM GROUP AT WINDOW
HILDY
(turns away)
Well, anyhow, I won't be covering
stuff like this any more.
SCHWARTZ
What's the matter? Getting yellow?
MED. SHOT
A phone rings. McCue answers it.
MCCUE
For you, Hildy.
Hildy goes toward phone.
CLOSE SHOT HILDY AT PHONE
HILDY
Hildy Johnson... Oh, hello, Bruce.
Have you got it? Is it certified?
INT. PHONE BOOTH CLOSE SHOT BRUCE
BRUCE
Certified and everything. Got it
right here in my wallet... What? No,
he's not here -- I'm in a phone booth.
INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE
McCue is hovering near.
MCCUE
Certified, eh? Who is it -- your
milkman?
HILDY
(in phone)
But, Bruce, don't keep it in your
wallet!... Well, you see --
(she is thinking
rapidly)
-- there's an old newspaper
superstition that the first big check
you get you -- you put in the lining
of your hat. That brings you good
luck for ten years.
MCCUE
Say, I've been a reporter twenty
years and never heard any hooey like
that. Where'd you get it?
HILDY
(to McCue)
I made it up just now, and who's
asking you?
(into phone)
I know it's silly, honey, but do it
for me, won't you?... Yes, right
now.
INT. PHONE BOOTH CLOSE SHOT BRUCE
BRUCE
All right. Wait a minute.
He takes check out of wallet, folds it into lining of hat.
BRUCE
All right. I've done it. Now, are
you satisfied?
INT. PRESS ROOM CLOSE SHOT HILDY AT PHONE
HILDY
Fine. And here's a kiss for you.
She blows a kiss into the phone. Immediately we hear kiss
sounds all over. She looks up and glares. Then back to phone:
HILDY
Now, darling, you go back to the
hotel and pack and you and Mother
pick me up here about half-past five.
Goodbye, dear.
INT. PHONE BOOTH CLOSE SHOT BRUCE
He blows a kiss into the phone and hangs up.
EXT. OUTSIDE RESTAURANT LOUIS
Studying a paper, reads it for a moment. Bruce comes out of
restaurant and starts out. After a second, Louis follows
him.
INT. ENTRANCE TO A CELL BLOCK OF COUNTY JAIL MED. SHOT
Warden Cooley sits at a desk near the grilled doorway that
leads to the cells. He is studying a Racing Form. Hildy's
hand reaches into the shot and flicks the newspaper. He looks
up. THE CAMERA PULLS BACK to include Hildy.
COOLEY
Hello, Hildy! What are you doing
around here?
HILDY
I want to interview Earl Williams,
Warden. How about a little service?
COOLEY
No more interviews. Besides, a
doctor's coming over.
Hildy reaches down out of camera range -- comes up with bill.
HILDY
Say, isn't this your twenty dollars?
COOLEY
(looks at bill eagerly)
I think it is.
HILDY
(handing it over)
I thought so. Come on, I'm in a hurry.
Cooley pockets the twenty and reaches for his key ring.
EXT. STREET SCENE
There is a milling mob around a center of activity that the
Camera can't find.
SHOT OF COP
as he sees this and strolls determinedly toward it.
THE CROWD
The cop comes in and breaks ranks. He pushes his way toward
center and looks down.
CLOSE SHOT BRUCE
lying down, held by Louis.
MED. SHOT
COP
What's going on?
LOUIS
This guy stole my watch.
COP
(lugging them both to
feet)
Have you got his watch?
BRUCE
He's crazy. I haven't any watch.
LOUIS
I saw him. He put it in his back
pocket.
BRUCE
I haven't got --
COP
Wait a minute.
The cop reaches into Bruce's back pocket. Watch comes out.
COP
(to Louis)
Is this yours?
LOUIS
Yeah! That's it!
COP
What about it?
BRUCE
I never saw it before.
Cop grabs Bruce. Louis grabs his other arm.
COP
Come on!
He whistles.
COP
(to mob)
Beat it!
CLOSE SHOT THREE
as they go through crowd. The look on poor Bruce's face,
muddy anyhow, is something. Suddenly, Bruce cries:
BRUCE
My hat!
COP
Get his hat, somebody.
CLOSEUP BRUCE'S HAT
lying top up, in a puddle. Hand reaches in and picks it up.
CLOSE SHOT THREE
as hat is passed to cop, who jams it down on Bruce's head.
Another takem from Bruce.
INT. COUNTY JAIL MED. CLOSE SHOT
at the door of Earl Williams' cell. Hildy sits on a stool at
the door, pencil and copy paper in hand. Earl Williams sits
at the edge of his cot, facing Hildy. There is a bouquet of
roses in a water pitcher by the cot. Our first impression of
Williams is that he's a rational, well-poised citizen. It is
only under Hildy's questioning that he gradually reveals
himself.
WILLIAMS
I couldn't plead insanity, because
you see I'm just as sane as anybody
else.
HILDY
(puzzled and worried)
You didn't mean to kill that
policeman?
WILLIAMS
Of course not. I couldn't kill anybody --
it's against everything I've ever
stood for. They know it was an
accident. They're not hanging me for
that -- they're hanging me for my
beliefs.
HILDY
What are your beliefs, Earl?
WILLIAMS
They're very simple. I believe in
the Golden Rule. I'm not the first
man to die for preaching it. But if
they would only listen to it -- we
could have a fine, decent world
instead of this mass of hate that
makes man do such cruel things.
HILDY
How would you go about applying the
Golden Rule, Earl?
WILLIAMS
I'd do away with the profit system
and have production for use only.
There's enough food and clothing and
shelter for everybody if we'd use
some sense.
HILDY
(writing)
"Production for use only." Well,
maybe that's the answer.
WILLIAMS
It's the only answer. Everything has
a use and if we let it be used for
its purpose, we could solve all our
problems. Food was meant to be eaten,
not stored away in restaurants while
poor people starved; clothing was
meant to be worn, not piled up in
stores while people went naked.
Doesn't that make sense?
CLOSEUP HILDY
HILDY
(thoughtfully)
Yes, that makes a lot of sense, Earl.
WILLIAM'S VOICE
Just use things for what they were
meant, that's all.
HILDY
Sure.
(she studies him a
moment)
What's the purpose of a gun, Earl?
CLOSEUP WILLIAMS
WILLIAMS
A gun?
(he thinks -- then a
revealing smile breaks
out)
Why -- to shoot, of course.
MED. CLOSE TWO SHOT
HILDY
Is that how you came to shoot the
policeman?
WILLIAMS
Sure. You see, I'd never had a gun
in my hand before and I didn't know
what to do with it. Well, when I get
stuck, I know that there's an answer
for everything in production for
use. So it came to me in a flash:
what's a gun for? To shoot! So I
shot. Simple isn't it?
HILDY
(writing)
Very simple, Earl.
WILLIAMS
There's nothing crazy about that, is
there?
HILDY
No, Earl, not at all.
(she indicates the
flowers)
Who sent you the flowers, Earl?
WILLIAMS
(reverently)
Miss Mollie Malloy. She's a wonderful
person.
HILDY
(pointing to picture
pinned on wall)
Isn't that her picture?
WILLIAMS
(turning toward it)
Yes. Isn't she beautiful?
INSERT: PICTURE OF MOLLIE
HILDY'S VOICE
If you should be pardoned, are you
figuring on marrying Mollie?
EARL'S VOICE
Oh, no, she's much too good for me.
HARTMAN'S VOICE
How'd you get in here?
MEDIUM SHOT
Sheriff Hartman has come into the scene. Hildy turns toward
him.
HILDY
Same way you did.
(pointing)
Through that gate.
HARTMAN
I gave strict orders that nobody was
to interview Williams without my
permission.
HILDY
All right, then, I'll just run the
story that Sheriff Hartman is afraid
to let reporters interview his
prisoner. Of course, with election
coming, that might do you a lot of
harm, but just as you say.
HARTMAN
Now, wait a minute! I'm not afraid
of anything. What were you going to
write about Williams?
HILDY
Oh, nothing much. Just that the state
had proved he was sane -- and he
admits it himself. If you don't want
me to run it --
HARTMAN
(beaming)
Oh, that'll be all right, Hildy. Go
ahead, run it. And you can say I
treated him well, too.
(turning toward
Williams)
'Lo, Earl. How are you feeling?
WILLIAMS
Fine, thanks, Sheriff.
HARTMAN
That's good, Earl. Oh, they've got
another alienist to see you. He ought
to be here any minute. Don't go to
sleep, will you?
WILLIAMS
I won't.
HARTMAN
(to Hildy)
Hildy, how'd you like a couple of
tickets for the hanging?
HILDY
(in a low voice so
Williams won't
overhear)
No, thanks Sheriff. I'm leaving town
tonight.
HARTMAN
(just as loud as ever)
You ought to stay over. You always
wrote a good hanging story, Hildy.
HILDY
That's awful kind of you, Sheriff.
I've got to get started on my
interview. See you later.
WILLIAMS
Don't forget about production for
use.
HILDY
I won't, Earl.
(she goes)
INT. PRESS ROOM GROUP SHOT POKER GAME - NIGHT
The game is on. Bensinger, at his desk, is reading a book.
The electric lights have been switched on.
MURPHY
(raking in a pot)
Well, a guy can win when Hildy ain'