AMERICAN MADNESS
Screenplay by Robert Riskin
Shooting Draft, 1932
Property of
Columbia Pictures
FADE IN
EXT. BUILDING - DAY - LONG SHOT
Of a large, impressive-looking building on the corner of a
busy, New York business street.
LAP DISSOLVE TO:
EXT. BUILDING - DAY - CLOSE SHOT
A dignified brass plate sign on the side of the building,
reading: UNION NATIONAL BANK.
LAP DISSOLVE TO:
INT. FOYER OF BUILDING - MED. SHOT
Lower portion of high bronze doors, one side of which is
partly opened. Sitting in front of the closed side is a
uniformed officer, greeting, ad lib, the various employees
as they enter.
LAP DISSOLVE TO:
INT. OF BANK - CLOSEUP
Of a cover being yanked off an adding machine.
CUT TO:
CLOSE SHOT AT SWITCHBOARD
A telephone operator, busily plugging in wires.
OPERATOR
(mechanically sweet
voice)
Good morning . . . Union National
Bank . . . Just a minute—
LAP DISSOLVE TO:
INT. ENTRANCE ROOM TO VAULTS - MED. SHOT
Of the inside of a massive vault door, made impressive by
the shining, finely cut steel bolts and the many other
intricate-looking instruments which adorn it.
CAMERA PANS UP to a clock overhead which registers 9:03.
A group of young men, paying tellers, are impatiently
watching a teller struggle with the lock that will admit
them to the vault.
TELLER
Come on, come on, Oscar, what are
we waiting for?
2ND TELLER
What's the matter? Can't you find
it?
3RD TELLER
Sneak up on it, boy!
4TH TELLER
Oscar, come on!
CHARLIE
Say, if it had lipstick on it,
he'd find it!
They all laugh, as Oscar finds the combination.
OSCAR
Almonds to you![1] Almonds!
TELLERS
Now, now, Oscar - not almonds!
The CAMERA MOVES WITH THEM as they pass through the first
portal.
CHARLIE
Nine o'clock and all is lousy!
1ST TELLER
Yes, I spend half of my life waiting
for these time clocks to open.
Say, where's Matt?
CHARLIE
Probably upstairs thinking up that
daily joke.
2ND TELLER
That guy kills me with his
wisecracks.
3RD TELLER
Say, when he comes in, let's put
on a frozen face. Let's not smile.
They ad-lib agreement.
1ST TELLER
Shhh! Nix! Here he comes—
7. MED. SHOT
CAMERA PICKS UP Matt Brown, the chief teller, as he strides
briskly in and begins turning the combination dial to the
main vault. He is about twenty-six, a clean-looking,
personable youngster. Several of the tellers are standing
close to him, looking on.
MATT
How are you doing slaves?
TELLERS
Hello, Matt. How're you Matt?
Matt begins to work the combination of the main lock.
MATT
(with his back to
them)
Say, did you boys ever hear the
story of the pawnbroker with the
glass eye?
1ST TELLER
No Matt, what is the story about
the pawnbroker with the glass eye?
MATT
(as he continues to
fiddle with the
lock)
Well, I'll tell you. A fellow went
into this shop to pawn his watch.
The pawnbroker said, "I'll give
you $50 for it, if you can tell me
which is my glass eye." The fellow
said, "All right, I'll do that.
It's the right one." The pawnbroker
said, "That's correct. But how did
you know it was the right one?"
The fellow said, "well, it's got
more sympathy than the other one."
He turns, expecting their laugh, but is confronted by stone
faces.
MATT
Sympathy! You know, the right one
had more sympathy than the other
one!
1ST TELLER
What's the matter? Can't you get
this thing open?
Matt stares in disbelief, then gets the joke.
MATT
(contemptuously)
Six reasons why banks fail!
This cracks them all up, as a uniformed officer, who has
been standing by, works a lever attached to the floor,
which lowers a section of the floor, directly in front of
the vault. This permits the vault door, which is sunk below
the floor level, to swing open.
TELLERS
(ad-libbing)
I love your jokes, Matt! They're
so entertaining! A very funny man!
8. MED. SHOT
Matt opens the inside door, made up of perpendicular steel
bars. The tellers scurry into the cavernous-looking
interior. Someone
8. MED. SHOT
snaps on a light. CAMERA TRUCKS UP TO VAULT.
The back walls of the vault are lined with steel cabinets
divided into many small compartments. On one side is a
wall safe which is also opened by a combination and which
contains the surplus cash carried by the bank. Matt is in
charge of this. All around the room are numerous hand trucks -
one for every teller. These trucks contain the cash in the
charge of the individual tellers. While the tellers in the
b.g. obtain their keys and open the drawers of their trucks,
Matt examines the time clock which is attached to the inside
of the vault door.
INT. VAULT - MED. CLOSE SHOT
At the door, as Matt enters and goes directly to the burglar
alarm box to the left of the doorway. He leans over to
throw off the burglar alarm switch.
CUT TO:
10. CLOSEUP - BURGLAR ALARM SWITCH
The handle of the switch points in the direction of a sign
reading ON. Matt's hand comes into the scene and throws
the switch up toward a sign reading OFF. This is done with
no comment, it being a routine matter with Matt.
MATT
Come on, white collars. The day's
started!
11. MED. SHOT
As the tellers file out with their trucks. Before they do,
however, each one signs the cashbook. One or two exit
silently.
CLOSE SHOT - MATT
As one of the tellers comes into scene. Matt examines the
cashbook.
MATT
You're carrying too much money on
you, Hank. You better turn some in
tonight.
TELLER
(as he goes)
Okay, Matt.
He exits out of scene.
MATT
How are you fixed?
TELLER
I'm okay, Matt.
MATT
(to another teller)
You've got enough?
2ND TELLER
I'll be all right.
Charlie, the last man, comes up.
CHARLIE
Say Matt, I'll have to have some
money for those Manville payrolls.
MATT
How much?
CHARLIE
About twenty-four thousand.
MATT
(counting out money)
It was more than that last week.
CHARLIE
Yeah.
MATT
Here's twenty-five thousand.
He hands Charlie four stacks of bills. As Charlie is signing
the cash book, Matt speaks:
MATT
Say, do me a favor, will you
Charlie?
CHARLIE
Yeah.
MATT
Let me have ten bucks?
CHARLIE
(aghast)
Ten bucks? Say, if I had ten bucks,
I'd quit.
MATT
Charlie!
CHARLIE
Yeah?
Charlie starts out. Matt follows him.
13. OUTSIDE OF VAULT - MED. CLOSE SHOT
As Charlie comes out, followed by Matt. CAMERA TRUCKS ALONG
WITH THEM as they walk.
MATT
(as they walk)
I'll pay it back to you Saturday -
on the level I will. Give a guy a
break, will you? I've got to get
it back in my account. If Helen
ever finds out that I—
CHARLIE
(unsympathetically)
Baby, I can't give you anything
but love...
LAP DISSOLVE TO:
INT. MAIN FLOOR OF BANK - BACKSTAGE
CAMERA TRUCKS with them as Charlie pushes his truck forward
and Matt walks alongside of him. En route, CAMERA TAKES IN
ATMOSPHERIC SHOTS of the general activity backstage of the
bank.
Male and female clerks stand around at various angles,
checking away at adding machines. Several are assisted by
someone who calls off figures to them as they record it on
machines. We hear these figures read in a monotone as we
pass them.
Matt is still trying to pry the ten dollars loose from
Charlie.
MATT
Now listen Charlie. I'll give you
an I.O.U. I'll give you a note,
I'll pay your mortgage, it's a
matter of life and death—
Ad-lib conversations from the other clerks distract his
attention.
CHARLIE
Whose death?
MATT
It'll be yours if you don't kick
in with that ten bucks.
CHARLIE
Say pal, did you ever hear of a
Depression?
MATT
Aw, nerts!
Charlie arrives at his cage. CAMERA STOPS with them.
CHARLIE
Come over and see us sometime.
CAMERA CONTINUES TO FOLLOW Matt as he continues on to his
cage, muttering half to himself.
MATT
I'm not asking you to pay off the
Depression. I'm only asking you
for ten bucks!
Another teller is busy in the cage next to him. Matt
addresses him, referring to Charlie.
MATT
That mug reminds me of a guy with
his second dollar.
TELLER
Yeah, what did he do with his first
one?
MATT
Bought himself a pocketbook!
The teller laughs heartily.
15. MED. SHOT
THE CAMERA PICKS UP Helen as she crosses the main floor of
the bank, reaches Matt's teller window and pushes it open.
MATT
Hello, Helen!
HELEN
(conspiratorially)
Matt, come here!
MATT
Why?
HELEN
Come here, honey!
He leans over, and she gives him a quick kiss.
MATT
Hey, look out, somebody's likely
to see us!
HELEN
(already walking
away)
Oh, is that so?
She quickly kisses him again, crosses back, and takes the
grand stairs up to the outer office of the bank president
as Matt watches with a grin.
INT. MAIN FLOOR OF BANK - FULL SHOT
Just then, a group of five or six important-looking men
enter scene on the way to the conference room. One of the
men looks towards Helen's desk.
17. MED. SHOT
On Helen and a secretary standing next to her.
SECRETARY
(to Helen)
Oh, oh. Look who's here.
18. MED. SHOT
The other clerks and tellers, noticing the newcomers as
they file past.
TELLER
Hey, psst!
OSCAR
Oh, oh. Five ill winds.
TELLER
(standing next to
Oscar)
And blowing no good for the old
man, either.
19. CLOSER SHOT ON HELEN'S DESK
Shooting toward Helen.
HELEN
(acidly)
The four-and-a-half horsemen.
GIRL
What are they doing here? There's
no board meeting today.
HELEN
Search me.
By this time, the important group of men have reached Helen,
and are passing her by, with perfunctory nods.
CLARK
(the most important
of the important-
looking men; to
Helen)
Mr. Dickson in yet?
HELEN
Not yet, Mr. Clark.
CLARK
When he comes in, tell him we're
waiting for him in the board room.
HELEN
Yes, sir.
CLARK
And tell him not to delay.
HELEN
Yes, sir.
The group of men file through the board room door, and out
of sight.
GIRL
(to Helen)
Looks like trouble for your boss.
HELEN
Takes more than two tons of
directors to make trouble for my
boss.
GIRL
(as she turns to go)
Sez you!
INT. CONFERENCE ROOM - MED. SHOT
Taking in all of room. The directors are all here, and
some sit around a long, narrow mahogany table. Clark, the
sour-faced old bird we saw previously talking to Helen,
paces back and forth agitatedly.
CLARK
I've sent for the cashier,
gentlemen. He has a list of the
loans that Dickson made last month.
MED. CLOSE SHOT - CLARK
As he stops in his pacing a moment and addresses the
directors further:
CLARK
And as I told you at breakfast, it
is time we did something about it.
CLOSE SHOT - SCHULTZ
In thorough accord with Clark's violent attitude is Schultz,
a German, whose instinctive conservatism rebels against
Dickson's liberal banking methods.
SCHULTZ
Mr. Clark's right. Dickson will
ruin this bank if we don't stop
him.
AMES
(another conservative
stalwart)
Looks to me as if we're in hot
water already.
A very dignified but meek little old man, Jonathan Ives,
tries horning in:
IVES
(feeble-voiced)
Gentlemen, I was just wondering—
23. MED. SHOT
As another of the directors, O'Brien, a large, bull-faced,
thunderous-voiced contractor, rises to Dickson's defense.
(O'Brien is always filing his nails, even while he talks.)
O'BRIEN
Personally, I think you're getting
panic-stricken about nothing.
Dickson's all right.
CLARK
(interrupting)
Oh, is he? We carry more unsecured
paper than any other institution
in the city. We're fools to tolerate
it.
SCHULTZ
That's what I say. And the only
way to end it is to get Dickson
out.
CLOSE SHOT - O'BRIEN
He looks toward Schultz.
O'BRIEN
Don't make me laugh, Schultz!
MED. CLOSE SHOT - CLARK
CLARK
Dickson doesn't have to go. But he
must agree to this merger with New
York Trust—
O'BRIEN
What good will that do?
CLARK
What good will that do? Why, it
will take control away from him.
We'll put somebody else in charge,
call in all doubtful loans, and be
on safe ground again. That's what
good it will do!
MED. CLOSE SHOT
Including Ives in scene with Clark and O'Brien. Ives is
seated, O'Brien and Clark standing by table. Ives tries to
speak again.
IVES
It has just occurred to me—
O'BRIEN
(interrupting)
You're wasting your time, I tell
you. Dickson won't stand for it.
CLARK
He'll stand for it, if I have
anything to say about it.
Just then they hear door open, and they all look towards
door leading thru to main floor.
MED. CLOSE SHOT - CLUETT
As he shuts the door behind him. He is immaculately groomed,
obviously cuts quite a dash with the women. He looks off
toward the men as Clark's voice comes in:
CLARK'S VOICE
Ah - come in, Cluett.
CAMERA PANS WITH CLUETT as he comes forward and puts a
paper on the table before Clark.
CLUETT
Here's the list.
CLARK
Yes, thank you.
CLUETT
Anything else?
CLARK
No. Nothing.
Cluett exits toward door again. Clark picks up the list
and looks at it. Then he addresses the other men:
CLARK
Look at this. Just look at this.
It's outrageous. Henry Moore -
thirty-six thousand. Manny Goldberg -
eighty-five hundred. Tony Consero -
fifty-six thousand dollars. Joseph
McDonald - eighteen thousand. Alvin
Jones - sixty-six thousand dollars
to a hotel that's on its last legs.
I tell you, people get loans in
this bank that couldn't borrow
five cents anywhere else.
28. WIDER ANGLE
As the other men group around the loan list, which Clark
has put back down on the table. They all scrutinize it
carefully.
SCHULTZ
(to the men at large)
And on what? "Hunches," he calls
it.
AMES
Some day he'll get a "hunch" about
a man and give the bank away.
CLARK
He's almost done that already. Our
chief teller, Matt Brown, is an
example of that. He breaks into
Dickson's house, holds him up, and
the next day gets a job in the
bank.
IVES
Well, as far as I'm concerned—
SCHULTZ
A boy who should be in jail,
handling a bank's cash!
CUT TO:
INT. MAIN FLOOR OF BANK - MED. CLOSE SHOT
Shooting toward Matt, inside the teller's cage, busily
counting the money he is getting ready for Charlie.
Helen is outside the cage.
30. CLOSE SHOT
Shooting toward Helen.
HELEN
(skeptically)
What did you do with it?
MATT
With what?
HELEN
The ten dollars.
MATT
(quickly)
Oh, ten dollars—
HELEN
Yes.
MATT
(catches himself in
time)
A friend of mine - yeah, really -
his mother was terribly sick and
she was dying, would you believe
it?
31. CLOSE SHOT
Shooting toward Matt.
AS SHE INTERRUPTS HIM:
HELEN
No.
MATT
Oh, you think I'm lying?
HELEN
Yes.
MATT
All right, I'm lying. Don't forget
you called me a liar.
HELEN
Oh, Matt.
He reaches forward and takes her hands.
MATT
Oh honey, why don't we get married?
Then you can handle it all.
Just then Oscar enters the scene, en route somewhere. He
stops beside Matt, notices he and Helen are holding hands.
MED. CLOSE SHOT
As Helen and Matt separate guiltily.
OSCAR
Say, Matt! Matt! Did you hear the
news?
MATT
No, what?
OSCAR
Pardon me. All the big shots are
in a huddle, and it looks like
Dickson's out on his ear.
Helen and Matt react to this piece of news. They look at
one another. Apparently, it will have a definite effect on
their lives.
MATT
(to Oscar)
Oh, you're kidding me, aren't you?
OSCAR
No, I'm not kidding. Everybody's
talking about it. Ask her.
HELEN
I haven't heard about it.
OSCAR
Sure, everybody's talking about
it.
CLOSE UP - MATT
As he speaks sadly.
MATT
If that's on the level, there goes
my assistant cashier's job.
MED. CLOSE SHOT
Taking the three in.
OSCAR
Well, I just thought I'd drop by
and cheer you up a bit.
As he turns to go out of scene, he looks at Matt.
OSCAR
I'll be seeing you, Matt - in the
breadline.
CUT TO:
INT. CONFERENCE ROOM MED. - SHOT
The men are all gathered around the table now. Apparently,
they have been discussing ways and means of ousting Dickson.
As we cut to this scene, Ives is pouring himself a glass
of water.
IVES
That ham I had this morning was
very salty—
CLOSER SHOT ON THE GROUP
CLARK
Gentlemen, let's get organized
before Dickson gets here. Schultz,
can I count on you?
37. CLOSE SHOT
On Schultz, who is seated next to
Clark.
SCHULTZ
Absolutely.
CLARK
What about you, Ames?
38. CLOSE SHOT
On Ames, who is seated next to Schultz.
AMES
That's the way I feel about it.
CLARK
Ives, how about you?
39. CLOSE SHOT
IVES
Well, the way I look at it, it
seems that—
CLARK
(interrupting)
All right. O'Brien?
40. CLOSE SHOT
At other end of table, where O'Brien
is.
O'BRIEN
Well, you've got an awful fight on
your hands. That's all I've got to
say.
41. CLOSE SHOT
On Clark, determined.
CLARK
Gentlemen, I think it's time that
we do fight.
CUT TO:
INT. MAIN FLOOR OF BANK - FULL SHOT
The outer offices of the bank are in this shot. A spacious
stretch of desks occupied by clerks and junior officers,
all busily at work.
A wizened old doorman is greeting clerks as they arrive.
CLERK
(passing by)
Hello, Gardiner.
GARDINER
Good morning. You're on time this
morning. It's about time.
We see Dickson, looming in the doorway, for the first time.
43. CLOSE SHOT
As Dickson stops to speak to the doorman. Dickson is a man
of about fifty, whose looks belie his years. There is a
robustness and virility about him that is compelling. His
very walk radiates power.
He now puts his hand on the old man's shoulder.
GARDINER
Good morning, Mr. Dickson.
DICKSON
John, how's your wife this morning?
GARDINER
(looking up, worship
in his eyes)
Much better this morning, thank
you.
DICKSON
Got a handkerchief?
Gardiner hurriedly produces a handkerchief, and starts to
blow his nose.
GARDINER
Excuse me—
DICKSON
Wait a minute.
(he takes the
handkerchief, and
polishes the brass
on Gardiner's
uniform)
How do you feel this morning?
GARDINER
I'm feeling fine this morning.
DICKSON
That makes it unanimous. I feel
all right too.
GARDINER
Thank you!
AS DICKSON EXITS FROM SCENE:
CUT TO:
TRUCKING SHOT WITH DICKSON
The smile on his face disappears as he sees something which
annoys him.
DICKSON
(sternly)
Oh, Carter!
A young man looks up quickly. He is smoking a cigarette.
CARTER
Yes sir?
DICKSON
You know the rules about smoking...
Carter quickly crushes out the cigarette. Even as he does
so, Dickson reaches into his pocket and flips Carter a
fresh one, which Carter pockets for later.
CARTER
Thank you, sir.
Now Dickson passes Matt's cage.
DICKSON
(catching Matt's
attention)
Oh, Matt!
Matt looks up. Dickson tosses him a wink, and Matt winks
back.
Dickson walks on towards his office. CAMERA TRUCKS AHEAD
OF HIM. On the way he is greeted by his employees.
AD-LIB FROM EMPLOYEES
Good morning, Mr. Dickson. Etc.,
etc.
DICKSON
(pleasantly)
Morning. Good morning—
He is joined by Bill Saunders, a friend of his. Bill walks
along with Dickson.
BILL
Hello, Tom.
DICKSON
(firmly, but
pleasantly)
You here again? What do you want?
He does not stop. Continues his walk toward his office.
Bill along-side of him.
BILL
(smiling)
What do you suppose anybody wants?
Money, money, money!
DICKSON
Listen, I told you I wasn't
interested in that deal, didn't I?
BILL
I want to know why .
Dickson notices a man, a janitor without a uniform, passing
by.
DICKSON
(to the man)
Wait a minute. Where's your uniform?
JANITOR
I haven't any.
DICKSON
You haven't got a uniform?
JANITOR
No, sir.
DICKSON
My goodness, you ought to have a
uniform. How much does one cost?
JANITOR
Why, I don't know.
DICKSON
You see Sampson. Tell him I sent
you. You've got to have a uniform.
The man exits scene. Bill picks up the conversation where
he left off.
BILL
Tom, I never had trouble getting
credit from you before. When I was
flat broke you gave me all the
money I wanted. Now I come to you
with a swell deal, and the greatest—
DICKSON
(interrupting)
I'll tell you why. I don't like
the crowd you're mixed up with.
(softening)
Personally, you can have all the
credit you want. But for that deal -
not a cent.
BILL
But listen, Tom, I—
They have now reached the anteroom of Dickson's private
chamber, where Helen sits at her desk.
INT. DICKSON'S OUTER OFFICE - MED. CLOSE SHOT
As Dickson comes up to Helen at her desk. A lady sits
nearby. Dickson notices her.
DICKSON
Good morning, Mrs. Pembroke.
MRS. PEMBROKE
Good morning, Mr. Dickson.
DICKSON
Got my letter?
MRS. PEMBROKE
Yes, thank you.
DICKSON
Hello, Helen.
HELEN
Good morning.
DICKSON
Helen, you're becoming more
beautiful every day. What are we
going to do about it?
HELEN
I don't know.
DICKSON
Guess we'll just have to sacrifice
the bank. When are you and Matt
going to get married?
HELEN
(awkwardly)
Why - well, I—
DICKSON
Ummm. Stalling, eh?
(changing tone,
professionally)
Anything new?
HELEN
Why, the directors are waiting for
you in the board room.
DICKSON
Directors, eh? Long faces?
He gestures accordingly.
HELEN
(she trumps his
gesture)
Longer.
DICKSON
(half-under his
breath)
I haven't got any new stories for
them this morning, either.
Mrs. Pembroke has been standing by, waiting to get a word
in edgewise. CAMERA PANS SLIGHTLY with him to take in the
lady:
MRS. PEMBROKE
Mr. Dickson?
DICKSON
Ah, Mrs. Pembroke. I spoke to Mr.
Schaffer at the Guaranty. He's
going to take care of that mortgage
for you . . .
During this speech the phone bell rings.
46. MEDIUM SHOT
As Helen picks up the phone and quietly answers it. Bill
Saunders is standing nearby, still waiting to talk to
Dickson again.
HELEN
(into phone)
Hello . . .
(she turns to Dickson)
Mrs. Dickson on the phone.
Dickson comes over to the desk and as he picks up the
receiver, he looks toward Mrs. Pembroke.
DICKSON
(to Mrs. Pembroke)
You'd better hurry over there.
He's waiting for you.
(then into phone)
Hello, dear . . .
CLOSE SHOT - DICKSON
AS HE CONTINUES, INTO PHONE:
DICKSON
Where are you? . . . Sure, well,
come on down right away. Huh? . .
. Yes, of course I remember. It's
tonight.
(smiles)
See what a social hound I'm
becoming! . . . All right, goodbye,
dear.
He hangs up. Mrs. Pembroke is waiting for him to finish.
She has apparently been disappointed in the news he has
for her.
MRS. PEMBROKE
But, Mr. Dickson, I thought you
were going to take care of the
mortgage. I only want ten thousand.
The property is worth sixty.
DICKSON
(ill-at-ease)
Mr. Schaffer will take good care
of you. He'll give you fifteen -
maybe twenty . . .
MED. CLOSE SHOT
He continues talking to the lady, trying to get rid of
her.
DICKSON
Better hurry now. Goodbye. Good
luck to you!
Mrs. Pembroke, bewildered, starts to leave.
MRS. PEMBROKE
(muttering)
Thank you.
CAMERA PANS WITH HIM as Mrs. Pembroke leaves.
DICKSON
(to Helen)
Oh, if Mrs. Dickson comes in, will
you tell her to see Cluett if she
needs any money?
Bill Saunders is still waiting. He corners Dickson.
BILL
What's the idea of turning her
down? It sounds like a perfectly
safe investment.
DICKSON
She's a widow. I don't like taking
mortgages from widows.
BILL
(puzzled)
Why not?
CLOSE SHOT OF THE TWO
Shooting toward Dickson.
DICKSON
If she can't pay, I'll have to
foreclose, won't I?
BILL
(dumbly)
Yes - sure—
DICKSON
(mimicking him)
Yeah - sure!
He turns to address a man below - the janitor without a
uniform.
DICKSON
Oh, make that uniform blue.
JANITOR
Yes, sir.
Abruptly, he heads for the board room. Bill is still baffled
by Dickson's queer reasoning. Suddenly, it dawns on him.
He shakes his head admiringly.
CUT TO:
INT. CONFERENCE ROOM - MED. SHOT
Dickson enters.
DICKSON
(blithely; as he
counts the board
members present)
One - two - three - four - five.
Seven more and you'd have a jury!
He grabs a walking cane and wields it like a golf putter.
DICKSON
Well, it's a nice morning,
gentlemen. How about two foursomes
of golf?
IVES
(eagerly)
Oh, I say, that would be . . .
Ives's voice trails off as he realizes Clark is scowling
at him.
DICKSON
(undeterred; still
practicing his
golf swing)
Say, you know, I found out something
yesterday about hitting a golf
ball. You've got to hit with the
left hand, and from the inside
out, it's the only way you can hit
anything—
CLARK
(huffy)
I think, Mr. Dickson, we would
like to have a little of your very
valuable time here at the bank
this morning, if you don't mind.
DICKSON
Oh, you would, eh? All right. If
it's more important than golf, go
ahead. What's on your mind?
CUT TO:
INT. LOBBY OF BANK - LONG SHOT
Shooting from one end of the lobby toward the front door.
Depositors are scattered all over the place. Some at the
windows. Some at the writing tables. Others sitting inside
the railing, talking to junior executives. The scene is
peaceful, though very active.
CAMERA STARTS TRUCKING FORWARD, passing en route, the
different types of individuals who frequent the bank. People
from all walks of life. CAMERA TRAVELS SLOWLY, picking up
following little scenes.
TELLER
(at window)
The check is no good.
SADIE (A FEMALE CUSTOMER)
What?
CLERK
The check is no good. The man has
no account here.
SADIE
Holy mackerel! I've been robbed.
CLERK
I'm sorry, madam.
SADIE
So am I. And don't call me madam!
CAMERA NEXT PICKS UP an elderly lady talking to a bank
guard.
GUARD
Yes, ma'am, you can deposit your
money here.
LADY
Is it safe?
GUARD
Absolutely.
LADY
It's his life insurance money, you
know.
BANK GUARD
That's all right. You come with
me, and I'll show you where to
deposit your money.
CAMERA GOES PAST and now singles out three men who are
coming forward. One glance and we know they are here for
no kosher reason.
They are typical gangster types. One of them, the leader,
is dressed in everything but the kitchen sink. Light
fedora, stiff shirt and collar with stripes running
perpendicularly. Flashy gray suit - spats - and walking
stick. The other two are just tough hombres, but dressed
to kill.
As they walk toward camera, they glance around the bank
with a professional casualness, but obviously very much
impressed. Their eyes rove around the place and finally
land on some object where they stop.
CUT TO:
CLOSEUP - CHARLIE
As he quickly counts out several thousand dollars in bills.
CUT TO:
53. CLOSE SHOT - THREE RACKETEERS
Their eyes glisten. Their mouths water, as they watch
Charlie off scene.
CUT TO:
54. MEDIUM SHOT
Inside the railing. Cluett emerges from his office and
starts forward, business-like, when he suddenly stops in
his tracks.
CLOSEUP - CLUETT
He stares off at the racketeers. A look of fright comes
into his eyes. His impulse is to turn back.
CLOSE GROUP SHOT
The three gangsters. A quick flash. Their eyes light on
Cluett off scene, and they glare menacingly at him.
LEADER
There he is! Good morning!
MED. CLOSE SHOT - CLUETT
He changes his mind about avoiding them. His face breaks
into a feeble smile of affability as he walks toward them.
CAMERA PANS WITH HIM as he approaches the three men, his
hand outstretched in forced amiability.
CLUETT
(shaking)
Good morning! Who do you want to
see?
The gangsters shake hands with him, their expressions
remaining unchanged, which adds immeasurably to Cluett's
discomfort.
LEADER
(flatly)
You.
1ST GANGSTER
(drawling)
Yeah. We wanna talk to you about a
big deal.
There is a sinister significance in the manner in which he
emphasizes "a big deal." Cluett is perceptibly ill-at-ease.
CLUETT
(uncertainly - sickly
smile)
Oh, yes. Well, come right this
way.
He opens the swinging gate in front of him, permitting the
three racketeers to enter. They start for Cluett's office.
INT. ANTE ROOM DICKSON'S OFFICE - MED. CLOSE SHOT
Helen sits at her typewriter near a railing, overlooking
the bank below. Another girl stands by her, both are staring
off scene.
CUT TO:
INT. BANK LOBBY - MED. LONG SHOT
FROM HELEN'S ANGLE.
Cluett and the three gangsters going into Cluett's office.
INT. ANTE ROOM OF DICKSON'S OFFICE - MED. CLOSE SHOT
Helen and other secretary.
HELEN
Hey Pat, come here! Look!
SECRETARY
(to Helen)
That's Dude Finlay, all right -
I've seen his picture in the papers
hundreds of times.
HELEN
I wonder what he's doing with Mr.
Cluett.
SECRETARY
(still staring -
thrilled -
shuddering)
Gee, I'm scared. He's one of the
toughest gangsters in town.
CUT TO:
INT. CONFERENCE ROOM - MED. LONG SHOT
Shooting down the length of the table. The men are all
sitting around the large table. Dickson is on his feet.
DICKSON
(firmly)
Gentlemen, you're only wasting
your time. There'll be no merger.
MED. CLOSE SHOT
As Dickson continues.
DICKSON
(the injustice kills
him)
Why should I turn this bank over
to anybody else? I've worked twenty-
five years night and day to build
it up, and now you're asking me to
dump it into somebody's lap—
(with finality)
Nothing doing!
Schultz, who is seated near Dickson, looks up at him:
SCHULTZ
You can make a handsome profit on
your stock.
DICKSON
I'm not interested in profits. I'm
interested in the bank. In the
depositors. They're my friends.
They're looking to me for
protection, and I'm not walking
out on them.
Clark and O'Brien, also seated around close to Dickson.
CLARK
How are you protecting your
depositors? By making a lot of
idiotic loans!
O'BRIEN
(admonishing him)
Take it easy, Clark.
Ives, seated next to Schultz, becomes alarmed.
IVES
(still trying)
My dear friends . . .
DICKSON
(unruffled, paying
no attention to
Ives)
It's all right. Let him go ahead.
Let him speak his piece. I like
it. Go on.
CLARK
All right. I'll speak my piece.
Dickson, you've got to change your
policy.
63. CLOSER SHOT
As Dickson retorts:
DICKSON
What's the matter with my policy?
How many losses has this bank taken
in the last twenty-five years?
(he looks around -
silence)
I'll tell you. Not a single one!
(defiantly)
What's wrong with that kind of
banking?
CLARK
(mumbles disdainfully)
Just pure luck!
64. CLOSE SHOT
Ames, seated beyond Ives, now speaks
up:
AMES
Conditions have changed. These are
precarious times. Banks today have
got to be careful. And you've been
more liberal than ever.
Dickson's voice comes in over scene:
DICKSON'S VOICE
Yes, and I'm going to continue to
be liberal . . .
CLOSEUP - DICKSON
AS HE CONTINUES:
DICKSON
The trouble with this country today
is there's too much hoarded cash.
Idle money is no good to industry.
Where is all the money today? In
the banks, vaults, socks, old tin
cans, buried in the ground! I tell
you, we've got to get the money in
circulation before you'll get this
country back to prosperity.
CLOSE SHOT - CLARK
CLARK
Who are we going to give it to?
Men like Jones? Last week you
made him an extra loan of fifty
thousand dollars. Do you call that
intelligent banking?
67. CLOSE SHOT - SCHULTZ AND DICKSON
SCHULTZ
He can't pay his bills. How do you
expect him to pay us?
DICKSON
That's a fair question, Schultz.
Now let's see how bad a risk Jones
is. What's his history? He's been
a successful business man for thirty-
five years. Two years ago business
started falling off. Today Jones
needs money, and if he doesn't get
it, he goes into bankruptcy and
throws nine hundred men out of
work. Answer - unemployment.
CLOSEUP - O'BRIEN
As he listens intently, Dickson's voice coming in:
DICKSON'S VOICE
It also means his creditors aren't
paid. They're in trouble. They go
to banks and are turned down . . .
more bankruptcies . . .
CLOSEUP - DICKSON
AS HE CONTINUES:
DICKSON
It's a vicious circle, my friends,
and the only place to cure it is
right here at the source. Help
Jones and you help the whole circle.
Now, when Jones comes to me, I ask
myself two questions. First - is
he honest? Yes. Second - is he as
good a business man as he was
before? And the answer is - he's
better .
CLOSEUP - CLARK
Showing his reaction, as part of Dickson's speech comes
over scene:
DICKSON'S VOICE
He is not only older and wiser,
but his present trouble has taught
him precaution. In my estimation,
gentlemen, Jones is no risk. Neither
are the thousands of other Joneses
throughout the country . . .
CLOSEUP - SCHULTZ
To intercut with Dickson's speech.
CLOSEUP - AMES
To intercut with Dickson's speech.
CLOSEUP - IVES
To intercut with Dickson's speech.
MED. CLOSE SHOT
The group, as Dickson concludes his speech.
DICKSON
It's they who built this nation up
to the richest in the world, and
it's up to the banks to give them
a break. Disraeli said security is
the prosperity of the nation—[4]
AMES
(cutting him off)
Why, Disraeli didn't say anything
of the kind.
DICKSON
Well, he should have said it. It's
as true now as it was then. And
let us get the right kind of
security. Not stocks and bonds
that zig-zag up and down, not
collateral on paper, but character!
CLARK
(indignantly)
Character, hmmpf! That's your idea?
DICKSON
Not at all. That's Alexander
Hamilton's idea[5] - the finest
banking mind this country has ever
known. Those are his exact words,
gentlemen. Character! It's the
only thing you can bank on, and
it's the only thing that will pull
this country out of the doldrums.
CUT TO:
INT. CLUETT'S PRIVATE OFFICE - MED. CLOSE SHOT
Cluett sits at his desk, his face drawn, panic-stricken.
He is like an animal at bay. The leader of the trio, Dude
Finlay, sits in a chair directly in front of Cluett. The
other two men stand on either side of the desk.
DUDE
(menacingly)
You know what we do to welchers,
Cluett, don't you?
CLUETT
(trembling)
I know, I know, Dude. Oh, I must
have been crazy! I lost my head
completely!
DUDE
That's your funeral. We've got
fifty thousand dollars comin' to
us.
CLUETT
(helplessly)
I haven't got it.
CLOSE SHOT - DUDE
Shooting past Cluett.
DUDE
(barking)
Then what did you want to gamble
for? If you'd have beat us out of
fifty G's, you'd have been paid,
wouldn't you? Well, we want our
dough.
CLUETT
I'm sorry, Dude, but—I—
DUDE
That don't do us any good.
CLUETT
But after all, you can't take blood
from a stone.
DUDE
(threateningly -
quietly)
We can take blood from anything —
(pauses)
If it's comin' to us.
MED. CLOSE SHOT
Shooting toward Cluett. Dude on opposite side of desk, the
other two men still standing by the desk.
A look of alarm spreads over Cluett's face. There is nothing
hidden in this threat.
CLUETT
(wants time to think)
Perhaps if you'll wait a little
while, I might be able—
ONE OF THE MEN
(snappily)
We waited long enough!
DUDE
(shrewdly - to the
men)
Nix. Lay off.
(to Cluett)
Now - what's the use of getting
excited, Cluett? It oughta be
easy for you to lay your mitts on
that kind of dough . . .
CLOSE SHOT - CLUETT
Shooting past Dude, as Dude continues, slowly, deliberately:
DUDE
There's plenty of it in this bank -
laying around loose.
Cluett looks up - horror-stricken.
CLUETT
(pop-eyed, choked
voice)
Good heavens, man! You're not
suggesting that I—
DUDE
Why not?
CLUETT
(perspiring freely)
Why, I couldn't do that . . . !
DUDE
(flatly)
You don't have to do nothing.
Cluett looks up toward the men - then at Dude.
CLUETT
(slowly)
What do you mean?
DUDE
All you gotta do is fix a few things
for us , and we'll do the rest,
see?
There is a pause while Cluett stares at them, horrified,
his confused mind trying to assimilate the ghastliness of
their proposal. Suddenly he starts to rise.
79. MEDIUM SHOT
As Cluett gets to his feet and faces Dude across the desk.
CLUETT
NO, NO, I COULDN'T - I COULDN'T DO ANYTHING LIKE THAT. I—
Smack! The rest of his speech dies in his throat. The man
to his right has slapped him across the face with his open
palm. Taken unaware, Cluett's hand goes to his cheek. He
stares at them, bewildered and frightened.
Cluett, feeling himself trapped and helpless, slowly sinks
into his chair.
CUT TO:
INT. ANTEROOM DICKSON'S OFFICE - MED. SHOT
Helen sits at her typewriter. A very dignified, beautiful
woman of thirty approaches her. She is Phyllis Dickson,
Dickson's wife. She radiates refinement and culture.
MRS. DICKSON
(pleasantly)
Good morning, Helen.
81. CLOSER SHOT
At Helen's desk, as Helen looks up
at Mrs. Dickson.
HELEN
How-do-you-do, Mrs. Dickson.
MRS. DICKSON
Is that busy husband of mine busy?
HELEN
(indicating
conference room)
He's at a board meeting.
MRS. DICKSON
(not unexpected)
Board meeting. Oh, that means hours,
I suppose.
HELEN
I'm afraid so.
MRS. DICKSON
Helen, did you ever try competing
with a bank?
HELEN
No.
MRS. DICKSON
Well, take my word for it, and
don't try it. It's useless! If it
were some other woman, I could
handle her, but after all, you
can't scratch a bank's eyes out
now, can you?
HELEN
Hardly.
CLOSE SHOT - MRS. DICKSON
Shooting past Helen.
MRS. DICKSON
Oh, well. I guess the only other
thing for me to do is to go out
and buy myself a few sticks of
dynamite. When he comes out, you
tell him I'll be back. He hasn't
gotten rid of me!
HELEN
All right.
83. MEDIUM SHOT
Helen laughs as Mrs. Dickson leaves in the direction of
Cluett's office.
CUT TO:
INT. CYRIL CLUETT'S OFFICE - MED. CLOSE SHOT AT DOOR
The three racketeers are preparing to leave. Dude has his
hand on the doorknob.
CLUETT
(nervously)
Dude - there's not any chance of
my becoming involved in this, is
there?
DUDE
You? No, you'll be all right, so
long as you establish an alibi for
tonight.
CLUETT
know, but—
DUDE
Be sure you're with somebody
responsible in case any questions
are asked. Understand?
CLUETT
But Dude, listen - couldn't we
make this some other time?
DUDE
(positively)
Listen, buddy, you're getting by
pretty easy. Quit squawking!
Cluett looks at Dude, then at the others, and realizes he
is helpless.
He opens the door and the men file out, silently. Cluett
shuts the door and CAMERA PANS WITH HIM as he crosses back
to his desk, shaking perceptibly. He reaches into a desk
drawer and extracts a bottle of liquor.
As he takes a drink, Mrs. Dickson enters unannounced.
CUT TO:
MED. CLOSE SHOT
As Mrs. Dickson stands watching Cluett.
MRS. DICKSON
(playful reproach)
Oh, oh!
Cluett turns quickly. Upon seeing her, he makes an attempt
to conceal the terror he feels.
CLUETT
(smiling feebly)
Oh, hello, Phyllis.
She advances toward him as he rises.
MRS. DICKSON
(shaking her head)
This won't do. Not during business
hours . . .
CLUETT
Why, I needed a—
(OFFERING HER DRINK)
Want one?
MRS. DICKSON
(screwing up her
face)
Heavens, no! Do you mind putting
up with me until the financial
genius gets thru genius-ing?
CLUETT
No, no, of course not. Not at all.
Oh, here.
As she takes out a cigarette, he offers her a light. Mrs.
Dickson notices that he is rather nervous.
MRS. DICKSON
What is the matter with you? You're
trembling?
CLOSE SHOT - CLUETT
CLUETT
(trying to be light)
Am I? Why, I - I don't know any
reason why I should be, unless of
course it's you . . .
CLOSE TWO SHOT
MRS. DICKSON
Me?
CLUETT
Being alone with you has always
done this to me. You know that.
MRS. DICKSON
For a celebrated bounder, that is
an awful admission. Besides, I
never knew that any female could
do this to you .
CLUETT
Well, you can. You always could.
MRS. DICKSON
(smiling)
Liar! You're just suffering from
lack of sleep.
He takes this as premature defeat, and heads back toward
his desk.
MRS. DICKSON
(good-natured
admonishment)
Here, here, here, now! Don't you
go back to work on me, too. I'm
getting tired of this. Besides,
it's beginning to affect your looks—
CLUETT
(not understanding)
What is?
MRS. DICKSON
(finishing her little
joke)
—running around. Not your work.
(Cluett laughs in
relief)
You'd better start reforming, Cyril!
CLUETT
If I thought you were the slightest
bit interested, I would.
MRS. DICKSON
Not bad, not bad at all. Do you
know something? I've always been
curious about your line.
CLUETT
Line?
MRS. DICKSON
Whatever it is that makes you such
a riot with women.
He shrugs off the compliment.
MRS. DICKSON
(continuing)
Come on Cyril, try a little bit of
it out on me. I haven't had any
first-class blarney thrown at me
since the day I was married.
CLUETT
(trying hard)
But you see, it isn't blarney where
you're concerned.
MRS. DICKSON
(laughs)
Now let me see, what comes next?
(a mocking tone)
Oh yes, I know - what are you doing
tonight, Phyllis?
CLOSEUP - CLUETT
He is suddenly reminded of his pact with Dude Finlay. Terror
returns to his face.
CLUETT
Tonight?
He suddenly gets an idea. He was told to be with someone
around midnight. Someone who would be an alibi for him. He
stares off at Phyllis Dickson. Why not?
MRS. DICKSON
(continuing)
Doesn't that come next?
MED. CLOSE SHOT
CLUETT
Yes, yes, it does. What are you
doing tonight, Phyllis?
MRS. DICKSON
See, we're getting along famously!
CUT TO:
INT. CONFERENCE ROOM - MEDIUM SHOT
Clark is in a state of agitation. The other directors seem
worn by the ordeal. Dickson remains adamant.
DICKSON
Most of the creditors I know
personally. I've seen them grow up
in the community. I knew their
fathers and mothers before them.
CLARK
I know, Dickson. That's all very
well. But you're taking too many
chances. In these times a bank
should keep liquid in case of
trouble. In case of emergency!
CLOSER SHOT AT THE TABLE
All the men in the scene.
DICKSON
I know what you mean by that. You
want me to hang on to our cash.
Well, I don't believe in it. The
law demands that I carry a certain
legal reserve, and I'm doing it.
The rest of our money is out working
. . . working to help industry . .
. to help build up business . . .
CLOSEUP - CLARK
As he almost shouts at Dickson.
CLARK
In the meantime, you're jeopardizing
the safety of the bank. Well, we
won't stand for it!
MED. CLOSE SHOT
Of the group, as Dickson turns to Clark.
DICKSON
You have to stand for it.
Meek little Ives once again tries to say something:
IVES
(exhausted)
But my dear friends . . .
SCHULTZ
(interrupting)
You're forcing us to take action
against you, Dickson.
DICKSON LOOKS AT HIM:
DICKSON
Go ahead - take all the action you
want!
He looks about at the others as he continues:
DICKSON
I'm running this bank my way. Get
that clear!
CLARK
Gentlemen, you notice Mr. Dickson
refuses to consider our wishes. He
refuses an offer to merge with the
New York Trust - the only thing
that will put this bank on safe
ground. He insists upon running a
bank on so flimsy a thing as . . .
as faith!
DICKSON
Yes! You said it, Clark. That's
the only thing that means anything
to me.
CLOSEUP - CLARK
As Dickson's voice continues. Clark reacts appropriately.
DICKSON'S VOICE
Before I take a man into this bank,
and before I extend credit to
anyone, I satisfy myself on one
thing - do I believe in him?
CLOSE PAN SHOT
On the other men - CAMERA PANNING from one to the other as
Dickson's voice comes over the shot - finally CAMERA STOPS
on Dickson.
DICKSON
So far, my judgement has been right
one hundred per cent. One hundred
per cent! When I start going wrong,
you won't have to take any action.
I'll turn the bank over to you.
Then you can merge all you want
to. I won't be the fellow to run
it then. Good day, gentlemen!
He exits scene.
CAMERA TRUCKS AHEAD OF HIM as Dickson passes briskly through
his outer office, stopping only to speak to Helen at her
desk:
DICKSON
(cheerfully)
Helen, tell Matt I want to see
him.
HELEN
Yes, sir.
CUT TO:
INT. CLUETT'S PRIVATE OFFICE - CLOSE SHOT - CLUETT AND
PHYLLIS
CLUETT
(mid-stream)
—and after dinner, we could go—
MRS. DICKSON
(not at all angry)
Oh! Oh, no! I think I've done
enough experimenting for one day.
Congratulations, Cyril. You've
convinced me that you're a
philanderer of the very first order.
I shall recommend you highly.
CLUETT
(simply)
Please, please don't laugh at me,
Phyllis. I must see you tonight!
CLOSER SHOT OF THE TWO
Favoring Mrs. Dickson.
MRS. DICKSON
Tonight, Oh, never! Tonight I have
reserved for a very special
occasion. Believe it or not, it's
our wedding anniversary. Tom doesn't
probably even remember it. But
then, they never do, do they?
CLUETT'S VOICE
NO, THEY DON'T—
She shakes her head.
MRS. DICKSON
But I'm giving a party for him - a
real, old-fashioned surprise party.
Caps, bells, whistles, and
everything. I'm really terribly
excited about it. I've been planning
it for months.
CLUETT
(after a pause)
Well—
MRS. DICKSON
(smiling)
Well, what?
CLUETT
(he won't give up)
Well, aren't you going to invite
me?
MRS. DICKSON
(surprised)
You? No can do. It's all set. Just
a few of Tom's closest friends.
CLUETT
Now Phyllis, if you don't invite
me, I'm coming anyway.
MRS. DICKSON
Don't be silly, Cyril. These are
respectable people. They'd probably
bore you to death.
CLUETT
(desperate-sounding)
No, they won't. Not when you are
there. Oh, please, be a sport.
Please ask me.
MRS. DICKSON
(flattered, but a
little suspicious)
Why are you so anxious?
CLUETT
(intense sincerity)
Don't you know?
MRS. DICKSON
No.
CLUETT
I want to be near you!
He steps closer to her.
MRS. DICKSON
What?
CLUETT
Don't you know I've been crazy
about you for years?
MRS. DICKSON
(still flattered,
lightly)
Now wait a minute, wait a minute...
CLUETT
I've loved you ever since I can
remember, long before you married
Tom Dickson.
MRS. DICKSON
(still only half-
believing)
Why, Cyril, you're insane—
CLUETT
No. No, I'm not. I deliberately
avoided you. I was afraid of making
a fool of myself. But I won't stand
it any longer—
MRS. DICKSON
Cyril!
Before she realizes what has happened, he has swept her
into his arms and crushes her to him. CAMERA PANS AWAY
from them to the door to the outer office. The door opens
and Matt steps in. He stops, suddenly, transfixed by what
he sees off scene.
MEDIUM CLOSE SHOT
Phyllis Dickson in Cluett's arms (from Matt's angle). They
suddenly become conscious of someone in the room and Phyllis
struggles free, looking off scene toward Matt:
CUT TO:
CLOSE SHOT - MATT
From Cluett and Mrs. Dickson's angle.
He stares unbelievingly for a moment, and then collecting
himself, turns and leaves the room, closing the door after
him. CAMERA PANS BACK to Cluett and Mrs. Dickson. For a
moment she is terribly upset.
CLUETT
Please forgive me, Phyllis. I lost
my head for a minute. But I couldn't
help it, Phyllis.
As she starts for the door, CAMERA PANS WITH HER. Cluett
walks with her.
MRS. DICKSON
Please stop apologizing so much.
You're making it far too important.
As they reach the door.
CUT TO:
INT. ANTE ROOM OF CLUETT'S OFFICE - MED. SHOT
Matt stands there, in a daze. Cluett's secretary is not
there. He starts slowly forward, hardly knowing where he
is going - CAMERA TRUCKING AHEAD OF HIM - there is a far-
away look in his eyes. His hand clutches the list of
payrolls but as far as he is concerned, it is entirely
forgotten. Several people talk to him, but Matt walks on
heedlessly. He can't get over the shock of what he just
saw. He always had been under the impression that Dickson's
home life was a happy one. He never dreamed that Phyllis
Dickson represented anything but the height of
circumspection. And now - Cyril Cluett, of all people!
Helen comes running into scene, all excited.
HELEN
(happily)
Matt, where have you been? Mr.
Dickson wants to see you right
away. Hurry up!
He turns around mechanically and continues to walk in the
direction of Dickson's office - CAMERA TRUCKING AFTER HIM.
Helen falls into step with him.
HELEN
Say, I just heard the merger isn't
going thru. Isn't that grand?
MATT
(tonelessly)
Yeah, swell.
They reach Dickson's outer office. Matt crosses it and
exits into the private office. Helen looks after him - her
face falls in disappointment. Matt is acting very strangely.
She thought he'd be elated. She stares unhappily at his
forlorn figure as it disappears thru the door.
CUT TO:
INT. DICKSON'S PRIVATE OFFICE - MED. SHOT
Dickson sits at his desk when Matt enters. When he sees
Matt, his face breaks into a broad, pleasant smile.
DICKSON
(grandly)
Well, Matt, get ready for the big
moment. Starting tomorrow you become
assistant cashier. How's that?
Matt crosses to the desk as Dickson is speaking.
CLOSE SHOT AT DESK
As Matt stops in front of Dickson. Matt cannot share
Dickson's enthusiasm. The scene he just witnessed has taken
the joy out of everything.
MATT
It's all right. Thanks.
DICKSON
And what's more, keep up the good
work and who knows - some day you'll
be the fellow sitting behind that
desk . . .
(the idea pleases
him)
Not a bad thought, eh?
He suddenly notices Matt's lack of enthusiasm.
CLOSE SHOT OF THE TWO
Shooting toward Dickson.
He leans forward to look at Matt closely:
DICKSON
What's the matter? You don't seem
very excited about it.
MATT
(feebly)
Sure, I think it's swell.
DICKSON
(scrutinizing him
closely, very much
hurt)
Say, come on. Show a little
enthusiasm. What's the matter? Are
you sick or something? Go on, fake
it - even if it isn't real.
CLOSE SHOT - MATT
Shooting past Dickson.
Matt makes an attempt to snap out of it - and answers
quickly.
MATT
Aw, I'm sorry, Mr. Dickson. It's
just kind of sudden, that's all.
(working up a little
enthusiasm)
Sure, I'm excited. I think it's
great. Only, well, you've done so
much for me already . . . I'll
never be able to thank you enough.
105. MEDIUM SHOT
DICKSON
Aw, go on, forget it. You came
through, didn't you? That's all I
wanted. A lot of them didn't think
you would. You don't know how much
satisfaction it's been to me. It's
been swell. Well, when are you and
Helen going to get married?
MATT
Well, I—
DICKSON
I suppose you want me to fix that
up for you too, eh?
They are interrupted by the sudden appearance of Phyllis
Dickson. Both men look up as she appears in the door.
CLOSE SHOT - MRS. DICKSON
As she stops in doorway. She glances fearfully, first at
Matt and then at her husband, trying to sense whether Matt
has said anything. She is quickly assured by Dickson's
affable greeting.
MED. CLOSE SHOT
As Dickson comes toward her, arms extended:
DICKSON
Well, look who's here! Hello, dear.
MRS. DICKSON
Hello, darling.
He kisses her. Then throws his arms around her for an
exaggerated "teddybear" hug. Over Dickson's shoulder,
Phyllis looks gratefully at Matt.
CLOSE SHOT - MATT
He returns her glance. His eyes are unable to disguise his
contempt.
MED. CLOSE SHOT
Dickson and Phyllis. He releases her.
DICKSON
If this isn't a red-letter day for
Tom Dickson! First I trample on
the Board of Directors, then I
promote Matt here to assistant
cashier, and now to complete the
day I have a visit from my sweet
and lovely and gorgeous wife. What
a man, what a man!
MRS. DICKSON
(with a half-smile)
It's amazing that your sweet,
lovely, gorgeous wife can ever get
to see you.
DICKSON
Oooh! That has the earmarks!
He notices Matt, still standing there, uncomfortably.
DICKSON
(good-naturedly)
Are you still here? Go on - go to
work! What do you think I pay you
for?
Matt exits.
CUT TO:
INT. ANTE ROOM OF DICKSON'S PRIVATE OFFICE - MEDIUM SHOT
As Matt comes out and moves quickly forward as if anxious
to get away from the embarrassing situation he found himself
in. Helen, upon seeing him, jumps up.
HELEN
(excitedly)
What happened? What did he say?
Did you get the job?
MATT
(dolefully)
Yeah.
CLOSE TWO SHOT
She is perplexed by his unenthusiastic attitude.
HELEN
What's the matter, Matt? Gee, I
thought you'd be thrilled to death.
MATT
Come here.
(he takes her aside)
You know, a few minutes ago I was
in Cluett's office and Mrs. Dickson
was there.
HELEN
Well . . . ?
MATT
Well, he was making love to her.
Helen, although she had a vague suspicion, is shocked.
HELEN
(after a pause)
Oh Matt, you must be mistaken.
MATT
I tell you, I saw them!
Helen stares at him, horrified.
HELEN
In Cluett's office?
MATT
Yes, right in his office, the rat.
I'd like to take a crack at that
guy.
A telephone rings.
HELEN
(as she goes to
answer the phone)
Wait a minute. Now don't go away...
CUT TO:
INT. DICKSON'S PRIVATE OFFICE - MED. CLOSE SHOT
Dickson is seated with Mrs. Dickson on the arm of the chair.
DICKSON
(talking on the
phone, as Mrs
Dickson waits
patiently)
Yes George . . . yes, sure . . .
Oh, that's for tonight, eh? . . .
Yes, certainly, I'll be there . .
. Yes, we'll go down together and
have dinner in Philadelphia . . .
Mrs. Dickson gets so upset . . .
That's right. . . . Yeah. . . .
Just as soon as the bank closes. .
. . Right. . . . Goodbye. . . .
He punches the intercom, speaks to Helen in the outer
office.
HELEN'S VOICE
Yes?
DICKSON
Helen, I'm going to Philadelphia,
just as soon as the bank closes.
Make all the arrangements, will
you?
HELEN'S VOICE
Yes, sir.
Mrs. Dickson looks visibly upset. Dickson can't help but
notice.
DICKSON
What's the matter dear? What have
I done now?
MRS. DICKSON
Nothing. Tom, I thought you were
going out with me tonight.
DICKSON
Oh, I did have a date with you
tonight, didn't I?
MRS. DICKSON
Yes.
DICKSON
I'm terribly sorry. I'd forgotten
all about you. I'm so sorry, dear.
CLOSE SHOT OF THE TWO
Favoring Phyllis Dickson.
MRS. DICKSON
Now Tom, you simply cannot go to
Philadelphia tonight. That's all
there is to it.
DICKSON
But I have to go, dear. It's a
very important banker's meeting.
MRS. DICKSON
(interrupting)
I don't care whether it's important
or not. You said you were going
out with me, and if you hadn't
promised so faithfully, I wouldn't
have gone and planned the whole
thing.
DICKSON
Listen, it isn't so terribly
important. We can go to the theatre
any time.
MRS. DICKSON
The theatre?
MED. CLOSE SHOT
DICKSON
That's what it was you planned,
wasn't it?
MRS. DICKSON
(after a slight
hesitation)
Yes, of course.
DICKSON
You can take some of the girls.
You can take Mildred - or Gwynn—
MRS. DICKSON
The girls! I don't suppose it
ever occurred to you that I might
go out and find myself an attractive
young man . . .
CLOSE SHOT OF THE TWO
Shooting toward Dickson, as he laughs boisterously.
DICKSON
Ho! Ho! Ho!
MRS. DICKSON
Ho, ho, ho, yourself! I wouldn't
laugh if I were you. You may not
suspect it, but I'm still attractive -
to some.
DICKSON
Listen, don't go around being
attractive to anyone but me . . .
MRS. DICKSON
Well . . .
DICKSON
Don't you forget that I'm still
the head man around here too. Now
we'll get the tickets changed for
tomorrow night. You and I are going
out together. How's that?
MRS. DICKSON
Tomorrow night?
A buzzer sounds, and a visitor is announced on the intercom.
DICKSON
Yes?
VOICE
Mr. Gardner's here.
DICKSON
(answering the
intercom)
Oh, yes. That's that lawyer. All
right, let him have nine thousand.
(returning attention
to his wife)
Yes sir, I'll step you around this
town like you've never stepped
before. We will have dinner at the
St. Regis - then we'll go to a
nice, snappy show - then a nightclub -
we'll listen to soft music, and
who knows? Ha! - I might break
down and dance with you!
MRS. DICKSON
(still skeptical)
All right. I'll postpone the whole
thing until tomorrow night.
DICKSON
(assuringly)
Happy now?
MRS. DICKSON
(mock-pouting)
No.
116. MEDIUM SHOT
He takes her in his arms and kisses
her.
DICKSON
(tenderly)
Poor kid, you know, I have been
neglecting you.
MRS. DICKSON
Oh, I don't care, darling. I love
you, anyway.
A buzzer sounds again, and Dickson answers the intercom.
DICKSON
Yes?
HELEN'S VOICE
Mr. Sampson . . .
DICKSON
All right. Send him in.
There is a knock on the door. Dickson moves away from his
wife. He looks toward the door.
CLOSE SHOT AT DOOR
Sampson, an executive in the bank, enters. Sampson goes to
Dickson with some papers in his hand. He lays the papers
on the desk before Dickson.
DICKSON
Well, Sampson, what is it?
SAMPSON
Here's the data on the Clyde deal.
CLOSE SHOT AT DESK
Dickson is all absorbed.
DICKSON
Good. I'll take this along with
me. Tell Clyde I'll see him
tomorrow. I'm sick and tired of
the delay.
SAMPSON
I'm afraid he's been stalling.
DICKSON
That's just exactly what he has
been doing. This deal should have
been closed weeks ago. Tell him to
keep tomorrow open . . .
SAMPSON
He says he can't get away in the
daytime.
DICKSON
How about his nights? He's too
busy running around. Tell him to
keep tomorrow night open, come in
and sign this thing, or I'll call
this whole deal off.
SAMPSON
Yes, sir.
CLOSEUP - PHYLLIS DICKSON
She stands by a window, listening. There is despair in her
look as she hears him making arrangements for tomorrow
night. Dickson's voice comes over this shot:
DICKSON'S VOICE
I'm sick and tired of these people
dilly-dallying. People who can't
make up their minds . . .
Mrs. Dickson's eyes close hopelessly, and she feels
defeated. Again shut out from his scheme of things, she
realizes he is incurable. On this picture of resignation:
FADE OUT:
FADE IN:
INSERT: CLOCK OVER THE VAULT, reading 5:07 CAMERA PANS
DOWN to open vault.
INT. VAULT - MED. SHOT
Inside, several of the tellers are putting their cash away.
One of them is just entering with his truck.
MATT
Everybody in?
TELLER
I guess so.
MATT
Where's Charlie?
TELLER
(amused)
Charlie's upstairs as sore as a
pup. He's out fourteen cents, and
he can't find it.
AD-LIB VOICES
Good night. Good night, Matt.
CUT TO:
122. OUTSIDE OF VAULT - MED. CLOSE SHOT
Cyril Cluett is standing at the bottom of a spiral staircase
from which he has just descended. He stops a second and
watches Matt, off scene. Cluett has gloves on, his hat in
his hand, preparatory to going home. Matt does not see
Charlie.
CUT TO:
123. OUTSIDE OF THE VAULT - CLOSE SHOT
Matt and Helen standing near the vault door.
HELEN
What's keeping you?
MATT
Oh, Charlie again.
HELEN
Say Matt, you haven't done anything
about what you saw today, have
you?
MATT
(still upset)
Who? Cluett? No, not yet. But I'd
like to take a crack at that stiff-
necked, horse dollar.[6]
HELEN
Oh now, don't be silly.
MATT
(disgusted)
Can you imagine that guy? He was
kissing her.
HELEN
Now you've got me worried, dear.
(she kisses him)
Promise me you won't butt in.
MATT
Okay, honey - but just the same
I'd like to take a crack at that—
She puts her hand over her mouth:
HELEN
Shh . . . !
(whispering)
I'll wait for you upstairs.
MATT
All right, dear.
She leaves. Matt remains standing, a far-away look in his
eyes. It is obvious he is thinking about the thing
seriously.
124. MEDIUM SHOT
The boys who were inside the vault now file out, having
properly locked away their cash. At the same time, Charlie
wheels in his truck.
MATT
(kidding him)
Where you been?
CHARLIE
(annoyed)
Where do you think I've been?
(pointing to truck)
I took the baby for a stroll in
the park.
The men hurry out of sight, laughing. Charlie disappears
into the vault. Matt enters the vault, his mind still
preoccupied.
INTERIOR VAULT MED. SHOT
As Matt goes directly to the burglar alarm.
INSERT: BURGLAR ALARM
As Matt's hand comes into scene and throws the switch down
toward sign reading ON.
BACK TO SCENE:
MATT STARTS TO THE VAULT DOOR:
MATT
What's the matter, Charlie?
CHARLIE
I'm fourteen cents out, and it
took me half an hour to find the
mistake. And me with a date, too.
MATT
I remember once when your account
checked.
CHARLIE
Yeah.
Matt goes to the time clock to check it up. He tinkers
with it a moment.
CUT TO:
126. OUTSIDE OF VAULT - MED. CLOSE SHOT
Matt has just finished adjusting the time clock as Charlie
comes out of the vault.
MATT
(pointing to time
clock)
And listen, wise guy - I'm setting
friend time clock for exactly nine
o'clock, so no squawks out of you
guys in the morning.
CHARLIE
(as he exits)
Say, don't annoy me. I got troubles
of my own.
Matt smiles. He starts to shut the vault. He has it swinging
half-way around when Cluett enters. When Matt sees Cluett,
the smile dies on his lips.
CLUETT
Are the payrolls ready for tomorrow?
MATT
Yes, sir.
CLUETT
(peremptorily)
Let me see your cash book, will
you?
MATT
Now?
CLUETT
Yes, now.
Matt looks at him a moment antagonistically. He has half a
mind to talk to him right now, but he recalls Helen's
admonitions and thinks better of it.
MATT
All right, sir.
He exits into vault. The moment he is gone, Cluett crosses
quickly to the time clock.
INSERT: TIME CLOCK
As Cluett's gloved hand comes in and turns the indicator
back to 12 o'clock.
127. INTERIOR VAULT - MED. CLOSE SHOT
Matt has opened a compartment and has brought out several
sheets of paper. He goes thru them to find the one he wants.
INSERT: TIME CLOCK
Cluett's hand is seen throwing the switch up to indicator
reading OFF.
BACK TO SCENE:
As Matt comes up to Cluett with a cash report. Cluett
glances over it.
CLUETT
(returning sheet)
That's all right. But it seems to
me you're carrying too much cash.
He exits. Matt glares belligerently at him.
CAMERA PANS with him as he returns the paper to compartment.
He locks the compartment door, switches off the light in
vault and CAMERA PANS WITH HIM as he starts out of the
vault. As he swings the large vault door closed,
FADE OUT:
FADE IN:
EXT. SIDEWALK IN FRONT OF APT. HOUSE - NIGHT - MED. SHOT
As a cab drives up to curb in the middle of a downpour,
and stops.
INT. TAXICAB - CLOSE SHOT - CLUETT AND MRS. DICKSON
They are in evening clothes, apparently they had some
drinks, as phyllis is in a gay, frivolous mood.
CLUETT
(to driver)
Driver?
DRIVER'S VOICE
Yes.
CLUETT
Have you the correct time?
DRIVER'S VOICE
12:05.
CLUETT
12:05. Fine.
MRS. DICKSON
(looking out)
What's this?
CLUETT
My apartment.
MRS. DICKSON
(mock-melodramatic)
I knew I couldn't trust you. You
told me you were taking me home.
CLUETT
Come on up for just a few minutes.
We'll have just one drink, then
we'll go.
MRS. DICKSON
(definitely)
No. I know the answer to that one.
(shaking her head)
I think you'd better take me home.
CLUETT
What's the matter? Afraid papa
will spank?
CLOSER SHOT ON THE TWO
MRS. DICKSON
No. No, I'm afraid papa isn't that
much interested. He's too busy
rushing off to Philadelphia to
make stuffy, old speeches at stuffy,
old bankers' meetings. Too busy
closing big, important deals—
(on second thought)
I think I will have a drink.
CLUETT
Good for you. Come on.
LAP DISSOLVE TO:
INT. CORRIDOR OUTSIDE CLUETT'S APT. - MED. CLOSE SHOT
Cluett and Mrs. Dickson emerge from the elevator and cross
to his apartment, CAMERA FOLLOWING THEM. Cluett fumbles in
his pocket for the key.
MRS. DICKSON
You know, there ought to be a
Congressional Medal for men like
you. America's comfort to
misunderstood wives. I never thought
I would find myself in that class.
CLUETT
Oh, you're not so badly off. There's
something much worse than being a
misunderstood wife.
MRS. DICKSON
What is that, Mr. Bones?[7]
CLUETT
A misunderstood bachelor.
Cluett smiles. He has the door open by now and stands aside
to permit her to enter.
CUT TO:
INT. CLUETT'S APARTMENT - MED. CLOSE SHOT
At door. Phyllis Dickson has just stepped in, and Cluett
follows. He closes the door and locks it.
CLUETT
(mock-melodramatic)
And now fair woman, I have you in
my power.
MRS. DICKSON
(playing along)
I'm not afraid of you. You haven't
got a moustache!
CLUETT
I'll grow a moustache by the time
you get out of here.
CAMERA TRUCKS WITH THEM as he chases her into the next
room. She alights on a piano bench, and runs her fingers
up and down the scales. Suddenly Cluett stops. He stares
off, a look of amazement in his face. Mrs. Dickson turns
and follows his gaze and she, too, is startled.
CAMERA PANS QUICKLY over to the other side of the room.
Matt sits on the edge of a chair waiting for them. He rises,
looks off toward Cluett and Mrs. Dickson. As he starts
forward, CAMERA PANS BACK to Cluett and Phyllis.
MRS. DICKSON
Why, Matt!
CLUETT
(when he recovers
from his surprise)
What are you doing here?
Matt enters the scene.
MATT
The butler said I could stay. I
told him it was important.
CLUETT
Oh, yeah?
Cluett steps over to a bell cord and pulls it.
MATT
He's not here. He left at nine
o'clock. He said you gave him the
night off.
Cluett wheels around, infuriated.
CLUETT
What do you want?
CLOSE SHOT OF THE TWO
Favoring Matt.
MATT
(uncomfortably)
Well, I thought I'd like to have a
little talk with you.
CLUETT
(sharply)
I'm listening.
MATT
(hesitatingly)
It's funny - now that I'm here, I
don't know just how to go about
it.
(a glance toward
Mrs. Dickson)
You see, I kind of expected to
find you here alone.
AS CLUETT STARTS AWAY:
MATT
Do you mind stepping outside? We
could talk—
134. MEDIUM SHOT
Cluett crosses to the door, where he stands, ready to open
it. Mrs. Dickson stands by helplessly.
CLUETT
(a tone of dismissal)
Anything you have to say to me,
you can say in the morning.
MATT
Oh no, Mr. Cluett, if it's all the
same to you, I'd rather not wait.
It's about you and Mrs. Dickson.
Cluett releases his hold on the doorknob. Mrs. Dickson
looks at Matt uneasily - she is quickly sobering.
CLUETT
(aghast)
About me and . . .
He crosses slowly toward Matt.
PHYLLIS
Why Matt, what are you talking
about?
CLOSER SHOT OF THE THREE
MATT
(quickly)
I know I've got a lot of nerve
butting in like this, but I just
couldn't help it. I thought I could
stop two people from doing something
they'd be sorry for.
CLUETT
(livid)
I'm not interested in what you
think.
MATT
You've no right to do this to her,
Mr. Cluett. Why don't you think it
over? It's only gonna get you into
a lot of trouble.
CLUETT
I tell you, I'm not interested in
your opinion.
MATT
(turns to Phyllis)
No? Then maybe you'll understand,
Mrs. Dickson. Oh, gee, he's crazy
about you. Nobody knows it better
than you. If he ever finds out,
it'll kill him.
MRS. DICKSON
But Matt, you're mistaken about
the whole thing. There isn't
anything wrong. Mr. Cluett and I
simply came here—
136. CLOSE SHOT - MATT & CLUETT
Shooting toward Matt.
CLUETT
(to Phyllis)
Phyllis, you don't have to explain
anything.
(snappily, to Matt)
You'd do well to mind your own
business.
MATT
(wheeling on him)
This is my business. Mr. Dickson's
been like a father to me.
(his voice rising)
What has he ever done to you to
deserve a deal like this?
CLUETT
(livid)
That will be just about enough!
Now get out of here!
MATT
I guess I have said enough
(bitterly)
I'm just wasting my breath talking
to you.
137. WIDER ANGLE
Taking in Mrs. Dickson, who stands
slightly apart from the two men.
CLUETT
You're right for the first time.
Now get out!
Matt ignores Cluett and looks toward phyllis Dickson.
MATT
I'm appealing to you, Mrs. Dickson.
Think what you're doing to him.
You're passing up the whitest man
on earth—
(flaring up)
—for a dirty, no-good.
Before he finishes the sentence, Cluett punches him. Matt,
caught unawares, is thrown off balance and sent reeling.
He drops between two chairs. Now, livid with rage, he pulls
himself up, murder in his eyes. Cluett crosses quickly to
a desk near the door, opens a drawer and extracts a
revolver.
MRS. DICKSON
(frightened - cries
out)
Cyril!
Matt, who was started toward Cluett, stops in his tracks
upon seeing the gun.
138. CLOSE SHOT
Shooting toward Cluett.
CLUETT
(under his breath)
Now get out of here!
CAMERA PANS WITH MATT to the door.
MRS. DICKSON'S VOICE
Wait a minute, Matt!
Matt turns as she enters the scene.
MRS. DICKSON
I'll go with you.
CLUETT'S VOICE
But phyllis!
Mrs. Dickson steps closer to Matt's side. Cluett comes up
to them.
CLUETT
You needn't go on account of this
idiot.
Matt has opened the door.
MATT
(quietly)
You better carry that around with
you all the time - you're going to
need it.
Matt follows Mrs. Dickson out, leaving Cluett glaring after
them.
INT. OF BANK - NIGHT
SERIES OF QUICK VIGNETTES:
Cluett's watch, showing 12:07.
A wall clock, showing 12:07.
A night watchman, alerted by suspicious noise, creeping up
to the vault.
The night watchman, shot by figures in the shadows.
A small number of men rush out of the vault, clutching
money bags and toting guns.
The night watchman, getting off a shot, before he crumples
to the floor.
FADE OUT:
FADE IN
INT. VAULT ROOM OF BANK - CLOSEUP ON DOOR
The vault door, partly opened. Over the shot we hear excited
murmurs.
CAMERA STARTS TRUCKING BACK SLOWLY, until it takes in the
full room. A fingerprint expert is working on the time
clock for finger-print impressions. The medical examiner
bends over the body of the watchman, whose face is covered
with a cloth. A detective in charge of the proceedings
stands around, looking very officious.
DETECTIVE
What do you say, Doc?
DOCTOR
Oh, I'd say about eight or nine
hours.
DETECTIVE
Well, you'd better call the coroner.
CAMERA CONTINUES TRUCKING BACK, until it passes a group of
tellers and clerks in a huddle. They listen breathlessly
as Oscar, the youngest of the tellers, relates his story.
For the moment he is the center of attraction, and he revels
in it.
OSCAR
(breathlessly)
I was the first one to see it. I
was coming down the stairs, and
there was the dead watchman at my
feet. You coulda knocked me over
with a pin.
AD-LIB FROM LISTENERS
(murmuring)
Gee . . . Can you imagine . . .
OSCAR
Do you see that clock? Right there.
That's where the bullet hit. When
I saw that, you coulda knocked me
over with a pin.
CLERK
Was there much blood?
OSCAR
Blood!
(gesturing toward
body)
Come on over fellas. I'll show
you.
The clerks head toward the dead body, but are intercepted
by the officious detective.
DETECTIVE
(officiously)
Get back there . I don't want
anything touched until the Inspector
gets here.
The clerks, awe-stricken, retreat.
CHARLIE
(running up)
Oscar, what's the matter?
OSCAR
I was the first one to see it. I
was coming down the stairs, and
there was the watchman lying dead
at my feet.
CHARLIE
No kidding?
OSCAR
No kidding. When I saw it, you
could'a knocked me over with a
pin.
CHARLIE
Where's Matt?
OSCAR
Matt?
CHARLIE
Yeah. He'll have a tough time
thinking up a wise-crack for this
one . . .
OSCAR
The detectives got Matt up there
in Sampson's office.
CHARLIE
He has?
OSCAR
Yeah.
CLERK
Say, did Matt do it?
OSCAR
Don't look at me. I don't know.
TELLER
Say, he did look kind'a funny
yesterday, didn't you notice it?
OTHERS
Yeah, he did. I noticed it too.
OSCAR
You could'a knocked me over with a
pin!
CUT TO:
INT. SAMPSON'S OFFICE - CLOSEUP - MATT'S FRIGHTENED FACE
He sits in a chair. The side of his face is swollen from
Cyril Cluett's punch of the night before.
INSPECTOR'S VOICE
(like a tri-hammer)
Come on, come on. You might as
well tell me the truth. What did
you do with the money?
MATT
I didn't do it. I told you all I
know, Inspector.
CAMERA TRUCKS BACK revealing the other occupants of the
room. The Inspector leans over Matt, firing questions at
him. Two detectives are also there, one at the door, the
other near Matt. Helen stands in a corner, pale and fearful,
looking on.
INSPECTOR
You turned off the burglar alarm,
you set the time clock, came back
at twelve and emptied the boxes,
didn't you?
MATT
(rises in indignation)
wasn't anywhere near this place—
INSPECTOR
(shoving him back
down)
Sit down! When the watchman
surprised you, you shot him - what'd
you do with the gun?
MATT
(desperately)
I didn't do it! I haven't got a
gun!
INSPECTOR
You used to carry a gun, didn't
you?
142. MEDIUM SHOT
Sampson enters hesitantly.
SAMPSON
Pardon me, but I'd like to use my
office for awhile!
INSPECTOR
(bellowing)
You use some other office!
Sampson exits scene hurriedly.
CUT TO:
INT. LOBBY OF BANK AT ENTRANCE - MED. CLOSE SHOT
The doorman, Gardiner, stands at the door, blocking a
milling crowd, as Dickson, who apparently has already heard
the news, enters.
PEOPLE
Come on, open up!
DICKSON
Good morning, everybody. What's
the matter here? Open up the door.
Come on, open this door.
GARDINER
Shall we let the people come in?
DICKSON
(snappily)
Of course, let them in! You're
late now.
CAMERA TRUCKS WITH DICKSON as he proceeds toward interior
of bank. Helen rushes into the scene and up to him. CAMERA
STOPS.
HELEN
Oh, Mr. Dickson - they're going to
arrest Matt. They think he did it!
DICKSON
Where is he now?
HELEN
In Mr. Sampson's office.
DICKSON
Now don't you worry about it.
He crosses in that direction, followed by Helen.
CUT TO:
INT. ANTE ROOM OF CLUETT'S OFFICE - MED. SHOT
Cluett comes out of his office, looks around cautiously
and satisfied he is unobserved, walks toward front door of
bank.
CAMERA PANS over to a corner of the ante room. Detective
#3 is watching Cluett. As Cluett leaves, the detective
follows.
INT. SAMPSON'S OFFICE - MED. SHOT
Matt is still seated, with the detectives grilling him.
INSPECTOR
Then you did it and you did it
alone—
Dickson enters.
DICKSON
(to Matt)
What's the matter? What's going on
here?
(to the Inspector)
This is ridiculous! You can't hold
this boy on a vague suspicion.
CLOSER SHOT OF THE GROUP
INSPECTOR
I'm afraid I must, Mr. Dickson.
DICKSON
Why pick on him ?
INSPECTOR
It's an inside job. That's a cinch.
Whoever did it had a pretty good
picture of the layout. Now Brown,
here, is in charge of the vaults,
isn't he?
DICKSON
Yes.
CLOSEUP - MATT
Over which comes Inspector's voice as he continues:
INSPECTOR'S VOICE
The burglar alarm was turned off.
The time clock was set for 12
o'clock. What more do you want?
DICKSON'S VOICE
Somebody else could have done it,
couldn't they?
INSPECTOR'S VOICE
He admits that he set the clock
himself.
Matt looks up toward inspector.
MATT
I did. I set it for nine o'clock
this morning.
MED. CLOSE SHOT - GROUP
As the Inspector turns to Matt:
INSPECTOR
Then who changed it?
MATT
(helplessly)
I don't know.
DICKSON
Wait a minute. Wait a minute.
The Inspector turns back to Dickson.
DICKSON
What time did this thing happen?
INSPECTOR
The clock opposite the vault was
stopped by a bullet at 12:09.
DICKSON
All right. If the boy proves an
alibi, he's all right, isn't he?
INSPECTOR
If he can do it, yes.
DICKSON
Why, certainly he can.
(to Matt)
Matt, now all you've got to do is
tell them where you were last night,
between twelve and twelve-thirty,
and everything will be all right.
MATT
(averting Dickson's
gaze)
I already told him I was home.
DICKSON
(to Inspector)
There you are.
INSPECTOR
That's what he says. I got a man
from headquarters checking up on
it now.
DICKSON
(confidently)
Good.
(to Matt, smiling)
You've got nothing to worry about.
Soon as the report comes in, you'll
be released.
(to Inspector)
And listen, don't talk so loud.
Take it easy. Coast a little.
He exits scene.
INT. THE LOBBY OF THE BANK - FULL SHOT
Showing the normal activity of the bank in contrast to the
turmoil going on inside. Just a few people scattered about.
CAMERA TRUCKS towards the other end of the lobby,
establishing the calm and peace of the place along the
way. CAMERA STOPS on a CLOSE SHOT at the bank telephone
operator at the switchboard. Oscar, the young teller, is
relating his story for the hundredth time.
OSCAR
Gee, what do you think? There was
that watchman, that poor watchman,
lying on the floor right in front
of me. Oh, you could'a knocked me
over with a pin!
OPERATOR
(wide-eyed)
You don't say! Dead?
OSCAR
Dead? He was lifeless! You know, I
was the first one to see him. I
was coming down the stairs, and
there was the watchman lying on
the floor, right in front of me.
Dead! I tell you, you could'a
knocked—
OPERATOR
(interrupting)
Yeah, I could'a knocked you over
with a pin.
OSCAR
Yeah, you could'a—
(realizes he is
getting the brush-
off)
Oh - almonds to you! Almonds!
Oscar exits scene. The operator turns her attention to the
switch-board, apparently Oscar has interrupted a
conversation she has been having.
OPERATOR
Hello, Mame. This is Gert, again—
(PAUSE)
Say, listen - I just heard something
that'll make your head swim . . .
Listen to this . . . Yeah, the
bank was robbed last night. Yeah,
over a hundred thousand dollars.
149. ANOTHER SWITCHBOARD OPERATOR - CLOSE SHOT
MAME
(into phone)
Who did it?
GERT
I don't know who did it, but the
chief teller's in an awful jam.
MAME
Call me up later. I'm going to
call up Lou now.
She pulls the plug, plugs in another wire.
MAME
Hello, Lou. Did you hear what
happened over at the Union National
Bank?
(a light flashes)
Wait a minute, Lou.
(plugs in wire)
Hello? Yes, sir. I'm trying to
get them.
(pulls plug)
Yes, Lou, listen. They was robbed
over two hundred thousand dollars.
Can you beat that?
LAP DISSOLVE TO:
EXT. FRONT OF AN OFFICE BLDG. - MED. SHOT
Two men coming out of the building, engrossed in
conversation.
MAN
Stole over a quarter of a million.
Can you beat that?
The other man whistles in surprise.
2ND MAN
(whistling)
Whew! You can't laugh that off.
Several people in the crowd, overhearing them, turn and
stare.
LAP DISSOLVE TO:
EXT. A STREET CORNER - MED. CLOSE SHOT
Of an old lady, pitiful expression, begging alms. Two
gentlemen are beside her. One of them reaches in his pocket
for a coin.
3RD MAN
I thought the Union National was
pretty solid.
At the mention of the Union National, the old lady looks
up, startled.
4TH MAN
I did too.
3RD MAN
Half a million is a lot of money.
I wouldn't be surprised if they
had to close their doors.
The first man drops a coin in the old lady's palm and they
leave. The beggar woman, oblivious of the coin in her hand,
stares unbelieving, at the departing men. Suddenly her
face screws up in horror.
OLD LADY
Oh, good gracious!
She dashes out of scene.
LAP DISSOLVE TO:
EXT. A BOOTBLACK STAND - MEDIUM SHOT
A colored bootblack is brushing the coat of a customer.
MAN
Sammy, are you sure about that?
SAM
(emphatically)
Yes, suh! That messenga boy just
tol' me that Mr. Dickson took it
all hisself. And it was more than
a million dollars.
MAN
More than a million dollars?
SAM
(breathlessly)
Cross my heart. And I sure hopes
that man gets a long time in jail,
too!
MAN
Never mind my shoes, Sam.
He hastily exits scene.
LAP DISSOLVE TO:
INT. A BARBER SHOP - MED. CLOSE SHOT
Taking in two chairs. The man on the right, being shaved,
is in conversation with the barber.
CUSTOMER
Well, I always said the Union
National was a phony bank.
The second customer sits straight up in his chair.
ANOTHER CUSTOMER
Union National?
BARBER WITH FRENCH ACCENT
You had money in that bank, too?
SECOND CUSTOMER
Yes. Something wrong?
BARBER WITH FRENCH ACCENT
(hysterical)
Mon dieu, mon dieu! Run, run!
Second customer dashes out of scene.
LAP DISSOLVE TO:
INT. A BAR - MED. CLOSE SHOT
Two men are in conversation. Another man is alone. One of
the two men holding the conversation is the man of the
bootblack episode.
MAN
(of bootblack episode)
I tell you, I got it from the best
authority. Dickson got away with
several million dollars.
CLOSE SHOT - 3RD MAN
He is just reaching for his glass, and starts to lift it
to his lips when another man's voice comes into scene.
2ND MAN'S VOICE
Boy, that's the end of the Union
National Bank. That's the trouble
nowadays. You don't know who you
can trust.
MAN
You said it.
The third man drops the glass and turns toward the two,
panic-stricken.
156. MED. CLOSE SHOT OF THE THREE
3RD MAN
Say, is there something wrong with
the Union National Bank?
2ND MAN
Something wrong? Brother, that
ain't the half of it!
MAN
If you've got any money in there,
you can just kiss it goodbye.
3RD MAN
(throatily)
Naw, you're kidding—
MAN
No, I'm not.
3RD MAN
Holy smoke!
He rushes out of the scene. The other two stare after him.
2ND MAN
(over-his-shoulder,
to third man)
If you've got any friends, you'd
better call them up too.
MAN
That's a good idea. I have friends
of my own.
He dashes out of scene.
2ND MAN
(turning to
bartender, who has
been eavesdropping
with interest)
Imagine that!
BARTENDER
What bank did you say that was?
2ND MAN
Union National Bank. They're broke.
Haven't got a dime . . .
LAP DISSOLVE TO:
157. PHONE MONTAGE
Quick cuts of excited phone conversations.
MAN
(into phone)
Listen, Jack, go down to the Union
National and take your money out
of there. Don't ask me how I know.
I told you it's on the rocks. If
you've got any friends, you'd better
tell them too.
ANOTHER MAN
(into phone)
Better give all the men in your
plant a couple of hours off to get
their money out—
WOMAN
(into phone)
Tell Mrs. Hardy to tell everybody
in the apartment house—
TOUGH GUY
(into phone)
All right. I'll get it or bust a
few noses!
ANOTHER MAN
(into phone)
Holy smoke! I'll get right down
there if I have to fly!
ANOTHER WOMAN
(into phone)
Run down there and get your money
at once!
AD-LIB VOICES
(quick cuts - a
rising tide -
different languages)
Hello, dear . . . Hurry! . . .
Union National is sunk! . . . I
told you to put it in the vault .
. . I don't know what's wrong with
the bank . . . I wouldn't trust
anybody . . . everybody's taking
their money out . . . Union
National's broken . . . Why take
any chances? . . . Hurry! Call the
others! etc.
LAP DISSOLVE TO:
INT. LOBBY OF THE BANK - FULL SHOT
Showing in comparison to previous shot, the effect of the
rumors. The lobby is buzzing with activity. Lines form in
front of all the windows. Depositors crowd around the
writing tables. There are not enough pens to go around.
Frantic hands reach over shoulders for withdrawal blanks.
CAMERA MOVES FORWARD. Over the shot is heard the seething
blend of many voices.
CAMERA STOPS ON a Teller and a Man.
TELLER
Closing your account?
MAN
Yes, sir. I'm closing my account.
I wouldn't leave a nickel in this
bank.
CAMERA STOPS ON a 2nd Man talking to a Woman.
2ND MAN
It's getting so a man's money ain't
safe unless it's in his sock.
WOMAN
They're all a bunch of crooks.
2ND MAN
You said it.
CAMERA STOPS ON Jewish Man talking to a 4th Man standing
next to him.
JEWISH MAN
Say, did I know the bank was going
to go caflooey? What am I - a
fortune teller or something?
CAMERA STOPS on a MED. CLOSE SHOT of Molly (the Zasu Pitts
type). She is reaching over a man's shoulder to capture a
withdrawal blank.
MOLLY
(fluttering)
Oh, my goodness! Oh, my goodness!
Oh, my goodness!
MAN
What's the matter, lady?
MOLLY
Oh, mister, I gotta! I gotta!
MAN
Well, they only sign slips here.
MOLLY
Gimme your pen, please!
She grabs pen away from him. He turns to someone next to
him.
MAN
Will you loan me that pen of yours?
I'm in an awful hurry.
CAMERA MOVES ON to a CLOSE SHOT of a teller frantically
beckoning Sampson.
TELLER
I need some more money! All of the
depositors are withdrawing.
SAMPSON
I know, I know. I'll get you some.
He hurriedly exits scene.
CUT TO:
INT. SAMPSON'S OFFICE - MED. SHOT
Inspector is still holding his ground. Matt sits dejectedly
in the same place as before.
INSPECTOR
(to Dickson)
All I know is the bank's been robbed
and a murder's been committed. The
way I see it, Brown here looks
guilty.
CLOSER SHOT ON GROUP
DICKSON
What are you talking about? He had
no more to do with it than you
did.
INSPECTOR
Maybe. But I'm taking no chances.
(emphatically)
Why, this kid's got a record.
DICKSON
So have you. So have I. So's
everybody got a record. What
difference does that make? You
can't go around pinning crimes on
people just because they—
He is interrupted by the sound of the door opening. He
looks off toward door.
CLOSE SHOT AT DOOR
Sampson stands there, looking off toward the group.
SAMPSON
Mr. Dickson! Can I see you for a
minute?
DICKSON'S VOICE
No, I'm busy. See me later.
SAMPSON
But this is important, Mr. Dickson.
Looks like there's a run on the
bank.
MED. CLOSE SHOT
Dickson and the others. Dickson looks off at Sampson,
unbelievingly:
DICKSON
What? A run on the bank!
CAMERA PANS WITH HIM as he rushes over to the door to
Sampson.
SAMPSON
The lobby's half filled now.
DICKSON
What are you talking about?
Dickson goes out the door, followed by Sampson.
163. OUTER OFFICES OF BANK - MED. CLOSE SHOT
As Sampson and Dickson come into the scene.
SAMPSON
(pointing in front
of him)
Look!
Dickson looks in the direction in which Sampson points.
CUT TO:
INT. LOBBY OF BANK - LONG SHOT
From Dickson's angle.
This shot takes in the length of the bank. Clerks,
bookkeepers, stenographers in the f.g., the lobby in the
b.g. It seems a little more crowded than in previous shot.
CUT BACK TO:
164. OUTER OFFICES OF BANK - MED. CLOSE SHOT
Sampson and Dickson. Dickson's face clouds.
SAMPSON
They've been coming in steady all
morning. I have called for some
extra police.
DICKSON
(his eyes glued on
the crowd)
All right. Send down to the vaults
and have our reserve cash sent up
here right away.
SAMPSON
We haven't much on hand, you know.
If it gets any worse, I hope we
don't have to close the doors.
165. CLOSE SHOT
Favoring Dickson.
He turns to Sampson.
DICKSON
(flaring up)
The bank's reputation wouldn't be
worth a nickel after that. This is
just a flurry, that's all. They've
heard about the robbery and got
panic-stricken. Listen, get a hold
of our available securities and
have them turned into cash. Wait a
minute. Get my personal stuff and
have that turned into cash too.
Tell the boys anyone caught arguing
with a depositor will be fired on
the spot.
SAMPSON
Yes, sir.
166. MEDIUM SHOT
As Sampson leaves. Dickson starts out in the direction of
Sampson's office. He is stopped by his name being called:
CLARK
Mr. Dickson!
Dickson turns. Clark and several directors appear.
CLARK
(grimly)
We want to talk to you.
DICKSON
What about?
CLARK
We'll discuss that in the board
room.
He turns to follow, then is stopped by another voice.
DETECTIVE
Oh, Mr. Dickson! We got a check on
Brown's alibi. Do you want to hear
it?
DICKSON
(only a slight
hesitation)
All right.
(to Clark)
I'll be with you in a minute, Clark.
CUT TO:
INT. SAMPSON'S OFFICE - MED. CLOSE SHOT
Dickson is by Matt's side. The Inspector is also in scene.
Dickson puts a hand on Matt's shoulder.
DICKSON
Now don't worry, son. All you got
to do is answer the questions they
ask you, that's all.
CAMERA PANS TO THE DOOR as it opens and a detective enters,
beckons to the Inspector off scene.
168. MEDIUM SHOT
As the Inspector crosses to the new arrival, who whispers
something in his ear. The others in the room watch them,
interested. The Inspector whispers instructions to the
detective, who leaves. The Inspector then crosses slowly
to Matt.
MED. CLOSE SHOT
As the Inspector comes up to the group around Matt.
INSPECTOR
(carelessly)
So you were home last night?
MATT
(averting his gaze)
Yes.
INSPECTOR
What time did you get in?
MATT
(haltingly)
Well, about - uh - eleven o'clock.
INSPECTOR
Eleven o'clock, eh? Are you sure
it was that?
MATT
Yes.
The Inspector turns away and CAMERA PANS WITH the Inspector
as he crosses quickly to the door and beckons to the
detective outside.
INSPECTOR
All right, Kelley.
Kelley returns to the room accompanied by a little old
Irish woman. She looks around the room nervously. Inspector
leads her toward Matt.
MED. SHOT OF GROUP
As everyone stares at her curiously.
INSPECTOR
(indicating Matt)
Do you know this young man, Mrs.
Halligan?
MRS. HALLIGAN
Sure I do. He has the best room in
me house. The one with the fancy
wallpaper.
CLOSEUP - MATT
He feels himself cornered. The Inspector's voice comes
over the shot.
INSPECTOR'S VOICE
Did you happen to be awake when he
came in last night?
MRS. HALLIGAN
Yes, sir. I was having me hot
mustard bath.
INSPECTOR
What time was it?
MED. CLOSEUP - GROUP
As Mrs. Halligan continues.
MRS. HALLIGAN
—for the rheumatism, you know.
INSPECTOR
What time was it, Mrs. Halligan?
MRS. HALLIGAN
It was late, I know. The Dooley
sisters was already in. They work
at a show, you know.
The Inspector is getting impatient.
INSPECTOR
What time was it?
MRS. HALLIGAN
Huh?
INSPECTOR
What time did Matt Brown get in?
MRS. HALLIGAN
Now, let me see - a half hour after
the Dooley sisters - and the Dooley
sisters never get home until after—
INSPECTOR
(snappily)
I don't care about the Dooley
sisters - what time did he get in?
MRS. HALLIGAN
That's just what I'm trying to
tell you, sir. It was a half hour
after the Dooley sisters . . .
INSPECTOR
Was it twelve o'clock?
MED. CLOSE SHOT
Dickson, Matt, and the rest of the group. Some show their
amusement. Dickson and Matt, however, are serious. Mrs.
Halligan's voice comes into scene.
MRS. HALLIGAN
No, it wasn't twelve - 'cause the
Dooley sisters . . .
INSPECTOR'S VOICE
(interrupting her
quickly)
Was it one o'clock?
174. CLOSE SHOT
Inspector and Mrs. Halligan.
MRS. HALLIGAN
Yes, I guess it was one, 'cause...
INSPECTOR
(jumping her)
It couldn't have been earlier?
MRS. HALLIGAN
No. It wasn't earlier because...
INSPECTOR
Yes, I know. Cause the Dooley
sisters weren't in yet.
MRS. HALLIGAN
(firmly)
No - because me clock struck four,
and when it strikes four, it's
one.
INSPECTOR
(exasperated)
There you are!
175. MEDIUM SHOT
Matt speaks:
MATT
Aw, she doesn't know what she's
talking about.
Mrs. Halligan looks at him, offended.
MRS. HALLIGAN
Who don't know?
She comes toward him threateningly.
MRS. HALLIGAN
Listen here, young man - nobody
ever called me a liar yet and got
away with it—
INSPECTOR
(coming after her,
takes her arm)
That's all, Mrs. Halligan. Thanks.
Inspector leads her to the door. On the way Mrs. Halligan
continues to mumble her protest against Matt's insult.
MRS. HALLIGAN
For two nickels I'd knock his block
off. I never told a lie in me life.
She exits out of room.
MED. CLOSE SHOT
As Dickson steps closer to Matt.
DICKSON
(heartsick)
Is that true, Matt?
Inspector comes up to them now.
INSPECTOR
Of course it's true - and he knows
it.
DICKSON
(tenderly)
Listen, Matt. If you don't tell
the truth, I can't help you. Where
were you last night?
MATT
(after a pause)
Aw, she was right. I didn't get in
till after one o'clock.
Dickson is deeply disappointed.
MATT
(quickly -
appealingly)
But I wasn't here, Mr. Dickson.
Honest I wasn't . . .
THE INSPECTOR BARKS AT MATT:
INSPECTOR
Then where were you?
177. CLOSE SHOT
Favoring Dickson as he leans closer to Matt.
DICKSON
(to Inspector)
Wait a minute. Wait a minute.
(to Matt)
Matt, do you realize you're up
against something? You're being
charged with murder. It's serious,
son. Now come on, I know you didn't
do it.
(gestures toward
Inspector)
But we've got to make them believe
it. Come on, tell the truth, where
were you last night?
MATT
(doggedly)
I can't tell you.
Matt maintains a determined silence.
DICKSON
(getting an idea)
Listen, if I get them out of the
room, will you tell me ?
Matt looks at him. Dickson is the only person he cannot
tell his secret to.
MATT
No. I won't.
DICKSON
You're protecting somebody.
MATT
No, I'm not Mr. Dickson!
DICKSON
Yes, you are. You're protecting
somebody. Now listen, it doesn't
make any difference who it is. It
can't be as important as this. Now
come on, tell me. Where were you
last night?
(a note of
desperation)
Come on, don't be a fool. Matt,
you trust me, don't you?
No reply from Matt. Dickson is heartsick. He turns,
helplessly, away from Matt and walks out of Sampson's
office.
CUT TO:
INT. THE LOBBY OF THE BANK - CLOSE SHOT
Of Gert, the telephone operator.
GERT
(all excited - into
phone)
What a day, Mame! Everybody's coming
in and drawing their money out.
(innocently)
Gee, Mame - I wonder what started
it.
179. THE LOBBY OF THE BANK - LONG SHOT
Shouting from the offices. The lobby is now packed to the
doors with frantic depositors. The low grumbling of before
is now replaced by vociferous condemnation of the bank and
Dickson. Individual protestations are heard above the din
of the crowd.
Dickson enters scene, and CAMERA TRUCKS AHEAD OF HIM as he
quickly passes several tellers, giving them instructions
to pay the depositors without delay. Sampson catches up
with him.
SAMPSON
Look at them, Mr. Dickson. They're
going crazy.
DICKSON
Did you get the case for the
securities?
SAMPSON
Yes, sir.
DICKSON
Mine too?
SAMPSON
Yes, sir. But soon as our money
runs out, they'll mob the place.
Dickson looks off toward the crowd.
DICKSON
The fools! If they only knew it,
they're making things worse for
themselves. Somebody starts a silly
rumor, and they lose their heads.
SAMPSON
What'll we do?
DICKSON
I'll talk to them. Listen, go back
and tell the boys to stall as much
as possible. Tell 'em not to pay
any attention to what I said. Tell
'em to verify every signature.
HE LEAVES THE SCENE AS WE
CUT TO:
180. LOBBY OF THE BANK - LONG SHOT
Taking in a greater portion of the lobby. Dickson comes
into the scene in the b.g. and stands on the stairs, looking
down at the crowd. He suddenly holds up his hand and shouts:
DICKSON
Take your time, folks. Don't get
excited. Everybody stay in line.
You'll all be taken care of. Don't
worry about anything. Plenty of
time for everything.
He has to raise his voice even louder.
DICKSON
Now listen, everybody! Listen to
me!
Gradually their attention is attracted to him. All eyes
are turned in his direction.
MED. CLOSE SHOT
Shooting toward Dickson, past the crowd.
Dickson standing on the stairs. The people looking up at
him.
DICKSON
I want you to know that your money
is safe. This bank is in excellent
condition. If you've heard any
reports to the contrary, it's based
on malicious rumors.
AD-LIB FROM CROWD
Yeah? Maybe . . .
MAN
It's a lotta hooey! We want our
money!
DICKSON
All right. You'll get your money -
every penny!
AD-LIB FROM CROWD
We want it now! We don't want no
speeches!
CLOSE SHOT - DICKSON
AS HE ADDRESSES THE CROWD:
DICKSON
Listen to me now. It takes time.
I've got seven paying tellers
working just as fast as they can.
If you'll all calm down, I'm making
arrangements to keep the doors
open until four o'clock this
afternoon and you can be paid today.
MEDIUM SHOT OF THE CROWD
As they cheer their approval and return to their buddies.
MED. CLOSE SHOT
As Dickson starts back toward the offices, Sampson comes
to meet him.
SAMPSON
We can't keep open till four
o'clock. We haven't cash enough to
last an hour.
DICKSON
Don't you think I know it?
They both start walking toward Dickson's office - CAMERA
TRUCKING WITH THEM. As they pass the conference room,
Schultz comes out and stops Dickson.
SCHULTZ
We're still waiting for you,
Dickson.
Dickson looks up, studies Schultz a moment, as if trying
to make up his mind whether to consult the Board of
Directors or not.
CUT TO:
INT. DIRECTORS' ROOM - MED. SHOT
The door opens and Dickson enters, followed by Schultz.
They all look up. Dickson goes up to them.
DICKSON
Well, gentlemen, we've got about
one more hour to go. You know what
that means?
MED. CLOSE SHOT
Dickson and the Directors.
DICKSON
(continuing)
We'll be forced to shut the doors.
I've worked twenty-five years night
and day to keep this bank alive.
You've all made money out of it.
Are you willing to help?
CLARK
(defiantly)
What do you mean, help?
DICKSON
I know that among you, you have at
least a million dollars in various
banks throughout the city. Get
that money over here and I'll stop
this run within five minutes.
CLARK
That sounds very simple, Dickson,
but why should we jeopardize our
personal fortunes?
DICKSON
I have everything I own in it.
It's your bank as well as mine,
isn't it?
187. CLOSE SHOT
Clark and Schultz.
CLARK
(this is just what
he's been waiting
for)
Oh, is it? Since when? Judging
from the way you've ignored us,
you wouldn't think so.
SCHULTZ
We tried to reason with you, but
you wouldn't listen to us.
MED. CLOSE SHOT
Shooting toward Dickson.
CLARK
The depositors you were protecting
were the first ones to pounce on
you. You thought they were your
friends. Why don't you go out there
now and try and get some help from
them?
DICKSON
Aw, they've gone crazy. You can't
reason with a mob.
CLOSEUP - CLARK
CLARK
No. You can't reason with anyone
else when you're in a jam. We
pleaded with you to keep liquid,
but you wouldn't listen to us. You
preached to us about faith and a
lot of other rubbish. Now you want
our help. You want us to throw a
lot of cash into a bank that you've
wrecked. All right. There's one
way you can get it. Give us an
option on your stock and resign as
president.
CLOSEUP - DICKSON
DICKSON
(quietly - tense)
So, that's it, eh? You've waited a
long time for this chance, haven't
you?
(his voice rising)
Well, I'm not going to resign now -
or ever.
191. WIDER ANGLE
Taking in the others at the table.
SCHULTZ
You have no choice.
DICKSON
I haven't? I'll shut the bank first.
CLARK
(terrified)
Say, you can't do that—
DICKSON
I can't? You just wait and see. If
that run doesn't stop within the
next hour, I'll shut the doors.
You know what that means? The bank
examiner will step in tomorrow.
You'll be forced to liquidate.
I'll insist upon it. The depositors
will be paid one hundred cents on
the dollar. What's left you
gentlemen can have. But I'll
guarantee there won't be enough to
pay your next month's garage bill.
With which ultimatum, he crosses to the door and exits,
CAMERA PANNING WITH HIM.
CUT TO:
INT. OUTSIDE CONFERENCE ROOM - MED. CLOSE SHOT
As Dickson barges out. He stops in front of the door, and
looks off toward lobby.
INT. LOBBY OF BANK - FULL SHOT
Pandemonium has broken loose. Men and women are hysterical.
The police battle with recalcitrant depositors in a
desperate effort to maintain order. Strong men push weak
ones out of the lines. Wild-eyed women jostle and scramble
to get near the paying tellers. Sex and priority rights
are totally disregarded. Above it all the din is deafening.
Men and women are clamoring for their life's savings, ready
to commit murder to retrieve their little stakes.
CUT TO:
194. OUTSIDE CONFERENCE ROOM - CLOSEUP - DICKSON
His face clouds. As he stands there watching the chaos,
slowly the deep concern vanishes from his face and his jaw
sets in grim determination. He starts toward the stairs.
CUT TO:
195. ENTRANCE OF BANK - MED. CLOSE SHOT
Cyril Cluett enters from outside, looking guiltily around.
Then he starts forward and exits from scene. The moment he
is gone, Detective #3, who followed him out, appears in
the doorway and crosses in the direction taken by Cluett.
CUT TO:
196. OUTSIDE CONFERENCE ROOM - MEDIUM CLOSE SHOT
Dickson and Sampson.
SAMPSON
Mr. Dickson! Mr. Dickson!
DICKSON
Get all the big bills in the place.
Take them out and get them changed.
Get nothing but ones and fives.
Distribute them among the tellers.
Tell them to take their time. Stall
as much as possible. Count and
recount the money.
SAMPSON
Yes, sir.
DICKSON
I hate to do this, but I've got to
have time to dig up some help. I
think I know where I can get some
real cash. Snap into it, Sampson.
We will lick this thing yet.
He starts out of scene towards his office. CAMERA TRUCKS
AFTER HIM, as he crosses past Helen, talking without
breaking stride.
DICKSON
Come on in here, Helen. Bring your
book. I want some numbers to try
to get some action. Get Parker at
the Union-Leeds - the Exchange . .
. Winslow and old man Harris at
the Home Mortgage. Snap into it,
Helen. Just as quick as you can.
HELEN
Yes, sir.
CUT TO:
INT. LOBBY OF BANK - FULL SHOT
Pandemonium, din and increasingly hysterical, pushing
crowds.
CUT TO:
INT. CONFERENCE ROOM - MED. CLOSE SHOT
The directors apparently are having a battle of their own.
SCHULTZ
Look at that mob. They're going
crazy.
AMES
You know, this run isn't doing the
reputation of this bank any good.
IVES
My dear friends—
SCHULTZ
(interrupting)
How much longer is Dickson going
to hold out?
O'BRIEN
You know Dickson as well as we do.
He'll shut the doors before he
gives up control.
CLARK
All right, let him! I'm sick and
tired of hearing about him. If he
wants to run the bank, let him do
it. I don't want any part of it.
IVES
My dear friends—
CLARK
Oh, shut up!
CUT TO:
199. SOMEWHERE BACK OF TELLERS' CAGES - MEDIUM CLOSE SHOT
Sampson frantically advising tellers.
SAMPSON
Stall! Stall!
One teller faces an angry depositor.
TELLER
Er, is this your signature?
MAN
Certainly it's my signature. You've
seen it often enough.
TELLER
I'm sorry, but I'll have to verify
it.
CUT TO:
INT. DICKSON'S PRIVATE OFFICE - CLOSE SHOT - DICKSON
Seated at his desk, talking into the phone:
DICKSON
Hello, Parker. Listen. Listen,
I've got to have a million dollars
in cash, and I've got to have it
quick.
(pause)
What?
(pause)
No, no, no. Tomorrow is no good. I
need it now.
(pause)
Of course it's safe. Why, the bank's
in excellent condition. You know
that.
CUT TO:
INT. SAMPSON'S OFFICE - MED. SHOT
The Inspector is making preparations to take Matt down to
headquarters.
INSPECTOR
You'd better tell Mr. Dickson we're
taking Matt Brown downtown.
DETECTIVE
(to 2nd Detective)
Is the chief's car outside?
2ND DETECTIVE
Yes, sir.
INSPECTOR
Okay. Come on son. Let's go.
The detective takes Matt's arm and makes him get up from
the chair.
Helen rushes into the room and into Matt's arms.
202. CLOSER SHOT
Helen clings to Matt.
HELEN
(sobbing)
Oh, Matt . . .
MATT
(consoling her)
Don't cry, honey. Everything's
gonna be all right.
The detective touches her shoulder, tenderly.
DETECTIVE
Sorry, sister.
Helen does not move. She clings to Matt, sobbing violently.
MED. CLOSE SHOT AT DOOR
As Detective #3 enters the room. CAMERA PANS WITH HIM as
he crosses to the Inspector.
INSPECTOR
What did you find out, Mike?
MIKE
I've been trailing the cashier
like you told me. You're right
about that guy, chief. There's
something screwy somewhere.
INSPECTOR
Never mind all that. What did you
find out?
MIKE
He left here about an hour ago and
went down to Dude Finlay's joint.
INSPECTOR
Dude Finlay?
MIKE
Yes, sir.
CLOSE SHOT - MATT & HELEN
Helen slowly lifts her head from Matt's shoulder. Her eyes
widen as she hears the name of Dude Finlay. Mike's voice
comes over this shot.
MIKE'S VOICE
He stayed about half an hour, and
then he came right back here. He's
in his office now.
INSPECTOR
(slowly dawning
realization)
That's where I must have seen that
guy—
Helen starts out of scene.
205. MEDIUM SHOT
As Helen leaves Matt's side and crosses to the Inspector
and Mike.
HELEN
Did you say Dude Finlay?
INSPECTOR
Yes, why?
HELEN
He was in the bank yesterday.
CLOSER SHOT ON THE THREE
INSPECTOR
(suddenly alert)
He was here?
HELEN
He came to see Mr. Cluett.
INSPECTOR
Are you sure?
HELEN
Yes, sir.
CLOSE SHOT - MATT
As he listens intently to Helen and the Inspector.
INSPECTOR'S VOICE
Who was with him?
HELEN'S VOICE
Two other men. They all went into
Mr. Cluett's private office.
INSPECTOR'S VOICE
(pleased)
Now we're beginning to get
somewhere.
208. MED. SHOT
Taking in all the people in the room. The Inspector turns
to the detective and speaks quickly:
INSPECTOR
Kelly! You stay here with Brown.
(to Tim)
Tim, you and Mike come with me.
We're going down to Cluett's office.
He crosses to the door, followed by Tim and Mike.
MED. CLOSE SHOT AT DOOR
As the Inspector turns back and calls:
INSPECTOR
Oh, Kelly - call me up in Cluett's
office in about five minutes.
KELLY'S VOICE
What'll I say?
INSPECTOR
I don't care what you say. Sing
"Mother Machree"[8] if you want
to, but call me up.
Inspector, Tim and Mike go out.
CUT TO:
INT. LOBBY OF BANK - MEDIUM CLOSE SHOT
On the elderly lady depositor and bank guard, among the
milling crowd.
GUARD
(above the din)
Quiet down, please! Take it easy,
folks. Everything will be all right.
LADY
(to bank guard)
But you said it would be safe!
It's his life insurance money. Oh,
please, I'll go to the Old Ladies'
Home if you don't do something,
please!
GUARD
Please, lady. Please be quiet.
Everything will be all right.
(leading the old
lady - pushing a
path through the
crowd)
Open up here, folks. All right,
folks, please!
CUT TO:
INT. DICKSON'S PRIVATE OFFICE - CLOSE SHOT DICKSON
Seated at his desk, talking into the phone:
DICKSON
Good heavens, man, you're taking
no chances. No, I'm perfectly
willing to sign everything over to
you. What more do you want? I need
action. I've got to have it within
the next half hour.
(pause)
Yeah, sure - the board of directors
turned me down, but you know why.
(pause)
Listen. Listen, read it. It wouldn't
be a drop in the bucket to you.
(pause)
I see. Uh-huh. All right - ask me
for a favor some time, will you?
He slams the phone down angrily.
CUT TO:
INT. CLUETT'S PRIVATE OFFICE - MED. CLOSE SHOT
Cluett sits at his desk. The Inspector stands in front of
him.
INSPECTOR
(very suave)
I hope you don't mind me asking
you a few questions, Mr. Cluett.
CLUETT
Of course, yes. Just what would
you like to know, Inspector?
INSPECTOR
Where were you at twelve o'clock
last night?
CLUETT
(much relieved)
That's very simple. I was home.
213. CLOSE SHOT - INSPECTOR AND CLUETT
Shooting toward Cluett.
INSPECTOR
That is simple, isn't it? I assume
you can prove that if necessary.
CLUETT
(feeling very sure
of himself)
Oh yes, of course. There was someone
with me. A lady.
INSPECTOR
(smiling - affably)
Looks like you're going to have no
trouble at all. What was the lady's
name, Mr. Cluett?
CLUETT
If you don't mind, Inspector, I'd
rather not say - that is, unless
it becomes absolutely essential.
You see, she's married.
INSPECTOR
(a big understanding
grimace)
Oh!
CLUETT
(smiling)
You understand?
INSPECTOR
(assuringly)
Why, of course.
The telephone rings at this point. Cluett turns to answer
it.
CLUETT
Pardon me.
He picks up the receiver. The Inspector watches him closely.
214. WIDER ANGLE
As Cluett answers the phone.
CLUETT
Hello . . . who? Yes, he's here.
(to Inspector)
It's for you, Inspector.
Cluett gets up out of his chair to permit Inspector to get
to the phone.
INSPECTOR
Thanks.
CLUETT
(trying to be light)
Somebody must be in good humor. He
was humming "Mother Machree."
INSPECTOR
(laughing)
It's one of the boys from
headquarters. He always sings
"Mother Machree" whenever he's got
good news. Looks like this case'll
be settled in no time.
CLOSEUP - CLUETT
His face clouds at this. He listens while Inspector's voice
comes over scene:
INSPECTOR'S VOICE
Yeah, Kelly? Huh? Dude Finlay!
Where do you got him?
Inspector pauses, waiting for a reply.
CUT TO:
INT. SAMPSON'S OFFICE - CLOSEUP DETECTIVE
Detective Kelly, speaking on the phone:
KELLY
(into phone)
I ain't got nobody here. I'm with
Brown. Didn't you tell me to call
you up in five minutes?
INSPECTOR'S VOICE
Sure.
CUT TO:
INT. CLUETT'S OFFICE - CLOSEUP - CLUETT
Cluett is terrified. The Inspector's voice continues:
INSPECTOR'S VOICE
Take him right down to headquarters.
Cluett starts to edge out of scene.
218. MED. SHOT
The Inspector is still holding receiver to his ear. Cluett
has edged close to the door, his expression one of
desperation.
The Inspector watches Cluett out of the corner of his eye
as he continues.
INSPECTOR
(into phone)
Yeah. What? . . . You don't mean
Cyril Cluett, the cashier?
(long-drawn-out)
Yeah-h-h-h-h.
(pause)
Well! Did Dude Finlay tell you
that?
CUT TO:
INT. SAMPSON'S OFFICE - CLOSEUP - KELLY
KELLY
(into phone)
What? Dude Finlay? Sure, I got him
here! You know, for a minute I
didn't catch on . . .
CUT TO:
INT. CLUETT'S OFFICE - MED. SHOT
On the Inspector.
INSPECTOR
(into the phone)
Yeah. We got him here right now.
Yeah, yeah. Okay Kelly, good work.
Looks like—
CLOSE SHOT - CLUETT
He feels himself trapped. He glances around the room quickly
to determine his chances to escape. He keeps edging closer
to the door with his back to it. His hands sneaks down and
grabs hold of the doorknob.
Suddenly, Cluett snaps open the door and like a flash is
out of the room.
MED. SHOT OF ROOM
As Cluett's figure disappears. The detectives are startled
by the sudden move.
INSPECTOR
(hanging up receiver)
—get him!
The detectives dash out, Inspector following.
CUT TO:
223. SOMEWHERE IN THE CROWDED OUTER OFFICE - MED. CLOSE
SHOT
Cluett hurries through.
EXT. TO MEN'S LOCKER ROOM - MED. CLOSE SHOT
At the door of the men's locker room. Cluett comes into
scene and enters locker room.
CUT TO:
225. SOMEWHERE IN THE CROWDED OUTER OFFICE - MEDIUM SHOT
Inspector and detectives enter. Look around quickly.
DETECTIVE
(looking off, and
spotting Cluett)
There he goes!
They rush out of scene, their hands on their guns,
concealed.
CUT TO:
INT. MEN'S LOCKER ROOM - FULL SHOT
Metal lockers line the entire room. Cluett comes to door
on other side of the room. Just as he gets there, he hears
the detectives entering off scene. Quickly he changes his
mind and springs into a space between a row of lockers and
the wall, at the same time drawing his gun.
Inspector and detectives enter. The Inspector and one of
the detectives advance into the room cautiously, holding
their guns in front of them. Kelley, the other detective,
shrewdly separates from them.
DETECTIVE
He must be here. There's only one
door.
INSPECTOR
All right. Find him.
Cluett slips into a locker and closes the door behind him.
They hear the noise off scene.
INSPECTOR
What was that noise?
DETECTIVE
Sounded like a locker.
INSPECTOR
A locker, eh? Well, search every
one of them. He must be in one of
'em.
They search the lockers one by one, until the Inspector
happens upon the one with Cluett inside. He leaps out, gun
drawn.
CLOSE SHOT - CLUETT
From Inspector's angle.
CLUETT
Stand back Inspector, or I'll shoot.
Drop that gun.
INSPECTOR
(calming tone)
All right, Jack, all right.
MED. CLOSE SHOT
The detective and Inspector. The detective drops his gun,
but the Inspector keeps his levelled, toward Cluett, off
scene:
INSPECTOR
Don't be a fool, Cluett. This is
only going to make it worse for
you.
CLUETT
Stand back, Inspector. Let me out
of here, or I'll shoot you!
He starts slowly forward.
The Inspector ignores the warning. He takes a few more
steps forward.
CLOSEUP - CLUETT
From Inspector's angle.
CLUETT
I warn you, Inspector - I'll shoot!
He levels his gun.
CLOSEUP - KELLEY
He lifts his gun and aims for Cluett, off scene.
CLOSEUP - CLUETT
He is frightened, but desperate. He has his finger on the
trigger, ready to fire.
CLUETT
(nervously)
If you take another step, I'll—
A shot is heard. The gun drops out of Cluett's hand. His
arm goes limp. His face screws up in pain.
INSPECTOR
(rushing forward to
grab him - to the
detectives)
Let me see it! Let me see it! It's
only his finger. Get me a towel.
(to Cluett)
Now take it easy, buddy. Take it
easy. All we want to do is talk to
you.
CUT TO:
INT. A TELLER'S CAGE MED. - CLOSE SHOT
Shooting over the teller's shoulder.
People standing in line, an atmosphere of pandemonium and
hysteria.
INT. DICKSON'S PRIVATE OFFICE - CLOSE SHOT - DICKSON
Still at phone. His coat is now off and flung across the
desk. His face is worn. Perspiration rolls down his face.
His appearance indicates he has been on the phone a long
time.
DICKSON
(into phone -
defeated)
You can't do a thing. You're up to
your neck. All right.
He listens. He is being turned down. He hangs up receiver.
Over his face slowly comes a look of deep perturbation. He
refers to a small notebook open on his desk. His finger
runs down the list of names as he searches for another
prospect.
CAMERA PANS ACROSS as Inspector and other detectives, with
Cluett in custody, enter Dickson's office, all excited.
INSPECTOR
You were right, Mr. Dickson! Brown
didn't have anything to do with
it. Here's your man.
DICKSON
Why, you must be crazy. I've known
this man for years.
INSPECTOR
He's just confessed. He's been
mixed up with the toughest gangsters
in town.
CAMERA PANS BACK to Dickson, as he stares, unbelievingly,
at the shrunken figure of Cluett, who is trembling with
fear.
234. CLOSER SHOT
Favoring Cluett and Dickson.
DICKSON
Confessed! Cluett, in heaven's
name, what got into you?
CLUETT
(his voice shaking)
I don't know. It's all been like a
crazy nightmare, Mr. Dickson.
DICKSON
What happened? You're not a thief.
How'd you get mixed up with these
kind of people?
CLUETT
Gambling - I owed them a lot of
money. Last week I lost over fifty
thousand dollars!
DICKSON
(shocked)
Fifty thousand dollars!
CLUETT
(hysterically)
But I didn't kill that man last
night. Honest I didn't, Mr. Dickson!
CLOSEUP - CLUETT
AS HE CONTINUES:
CLUETT
(dully)
Yesterday they came to collect it.
I begged them to wait. I wanted
time to think, but they wouldn't
listen to me.
(his voice rises)
They threatened to kill me if I
didn't pay it! I was desperate! I
didn't know what to do!
CLOSEUP - DICKSON
As he reacts to Cluett's confession. Cluett's voice
continues over this shot.
CLUETT'S VOICE
(hoarsely - quickly)
Then they suggested that I help
them rob the bank. All I had to do
was turn off the alarm and ? 185 ?
fix the time clock. It all sounded so easy. It seemed like
a way out.
MED. CLOSE SHOT - GROUP
AS CLUETT CONTINUES:
CLUETT
(wildly)
I didn't know anybody was going to
be killed!
The Inspector addresses Cluett:
INSPECTOR
What were you doing at Finlay's
this morning?
CLUETT
They took my keys yesterday. I
went there to get them back.
DICKSON
(desperately)
If you were in a jam, why didn't
you come to me? I would have helped
you out. You know that.
238. CLOSE SHOT
Favoring Cluett.
CLUETT
I was crazy, I tell you, Mr.
Dickson. I didn't know what I was
doing. I wandered around in a daze.
All I could think of was that they
were going to kill me . . .
(pleading desperately)
You'll stand by me, won't you, Mr.
Dickson? You won't go back on me
now, will you? I'll die if they
send me to prison!
INSPECTOR
(practical)
Don't forget there's a dead watchman
downstairs.
CLUETT
(wild-eyed)
I didn't kill him! I had nothing
to do with that, I tell you! I was
home in my apartment last night -
I can prove it!
MED. CLOSE SHOT OF GROUP
INSPECTOR
(skeptically)
Claims he was there with a married
woman. Doesn't want to mention her
name.
CLUETT
(desperately - to
Dickson)
He won't believe it, Mr. Dickson.
But it's the truth - honest it is.
I was in my apartment last night -
ask your wife - she—
He stops dead. Suddenly he realizes what he is saying.
CLOSEUP - DICKSON
As he reacts electrically to the mention of his wife.
CLOSE SHOT - CLUETT
He slaps a hand over his mouth, as if to crush out anything
further he might say. He stares wide-eyed and frightened
at Dickson.
242. CLOSE TWO SHOT - DICKSON AND CLUETT
Dickson glares at Cluett, penetratingly. His brain slowly
absorbs the revelation that Phyllis was in Cluett's
apartment the night before.
DICKSON
(dully)
My wife? What's she got to do with
you?
INSPECTOR
(out of the side of
his mouth - to a
detective standing
next to him)
No wonder he didn't want to mention
her name.
Dickson comes over to Cluett, grabs him by the arm.
DICKSON
What was my wife doing in your
apartment last night?
CLUETT
(hysterically)
Nothing, nothing, Mr. Dickson.
Don't pay any attention to me. I
don't know what I'm saying.
DICKSON
You just mentioned her name. What
was she doing there? What was she
doing in your apartment?
CLUETT
She just came up for a drink. Just
for a few minutes.
Dickson grabs Cluett and shakes him.
DICKSON
(a shriek)
You're lying!
MED. CLOSE SHOT
INSPECTOR
Don't worry, Mr. Dickson. We'll
find out whether he's telling the
truth. I'll have a man from
headquarters check up on it right
away.
DICKSON
(hard)
You don't want to check up on
anybody. I'll do all the checking
up. Wait a minute.
CAMERA PANS WITH HIM as he crosses to his desk, and calls
Helen on the intercom.
DICKSON
Helen!
HELEN'S VOICE
Yes?
DICKSON
Get Mrs. Dickson on the phone.
There is an awkward pause while Dickson waits. He is
obviously agitated. Then the phone rings.
DICKSON
(answering it)
Listen, dear. I want to ask you
something. I know it's a silly
thing for me to ask you, but . . .
I want you to tell me the truth.
Where were you last night?
CUT TO:
INT. DICKSON HOME - CLOSEUP - MRS. DICKSON
MRS. DICKSON
(into phone -
disconcerted)
Last night? Er - why - uh, last
night . . .
CUT TO:
INT. DICKSON'S OFFICE - CLOSEUP - DICKSON
DICKSON
(very sombre)
Listen, dear. Now tell me the truth
about this. Were you in Cluett's
apartment?
CUT TO:
INT. DICKSON HOME - CLOSEUP - MRS. DICKSON
MRS. DICKSON
(into phone)
In Cluett's apartment? Well dear,
you see, I . . . I . . .
CUT TO:
INT. DICKSON'S OFFICE - MED. CLOSE SHOT
Favoring Dickson, but showing Cluett and the others.
Dickson slowly puts the phone receiver down. His face is
ashen. He is shaken to the core.
CLUETT
(miserably)
She wasn't to blame, Mr. Dickson.
It wasn't her fault. Honest, it
wasn't. I begged her to come up.
She didn't—
DICKSON
(an explosion)
Get out, get out!
INSPECTOR
All right. Let's go.
The detectives get on either side of Cluett and silently
they march him out of the room. Inspector and others follow,
leaving Dickson alone. When they have gone out:
CLOSE SHOT - DICKSON
Left alone, he is a tragic figure. An incessant parade of
disturbing thoughts tumble over each other in a hectic
march across his chaotic mind. He grips his throbbing
temples in an effort to crush out the torturous thought
that Phyllis was involved in an intrigue with Cyril Cluett.
CUT TO:
INT. CONFERENCE ROOM - MED. SHOT
Most of the directors seem to be weakening. O'Brien is
remaining staunch to Dickson. Clark alone, holds out.
O'BRIEN
Clark, you're insane to hold out
any longer. Now let's get some
money over here and stop this run.
AMES
If we close our doors, our stock
won't be worth a nickel.
Meek little Ives once more tries to speak:
IVES
My dear friends, I—
O'BRIEN
(interrupting)
I'll lay you ten to one, Dickson
won't give in.
250. CLOSER SHOT
Featuring Schultz and Clark, standing together.
SCHULTZ
Maybe they're right, Clark.
CLARK
(weakening)
All right, I'll go and have a talk
with him.
As he starts to walk toward the door:
CUT TO:
INT. DICKSON'S PRIVATE OFFICE - FULL SHOT
Dickson sits at his desk, his head cupped in his hands.
Clark enters thru door of outer office, quietly. He looks
at Dickson a moment, then crosses to the desk.
CLARK
Oh, Dickson . . .
CLOSE SHOT OF THE TWO
Shooting toward Dickson.
Dickson slowly looks up at Clark.
CLARK
(softly)
Dickson, I'd like to talk to you
about the bank.
DICKSON
(heartsick)
The bank. All right. Do anything
you want with it.
CLOSE SHOT - CLARK
His face lights up. This is a turn he never expected. He
really came in to capitulate.
CLARK
(smoothly)
Now you're talking sense.
(alert)
We'll draw up the option on your
stock - say, eighty dollars a share.
How's that?
CLOSE SHOT - DICKSON
He is not even interested, speaks vaguely:
DICKSON
Eighty dollars? That's fine -
anything you say.
He waves Clark away.
CLARK
Good, good. I'll draw it up at
once.
255. MED. SHOT
As Clark starts out of Dickson's office, elated, Helen
comes in.
HELEN
You want the rest of those numbers,
Mr. Dickson?
DICKSON
(toneless)
Numbers? No, never mind.
She stares at him, surprised, backs out of the room.
CUT TO:
INT. OUTER ROOM OF DICKSON'S OFFICE - HELEN AND MATT
IMMEDIATELY FOLLOWING:
MATT
What's he doing, honey? Is he
getting any help?
HELEN
Something's happened. He isn't
trying anymore.
MATT
They must have turned him down.
HELEN
Yes. He called some of the biggest
people in town.
MATT
Sure, they'd turn him down. He
ought to know that. I'm going in
there and talk to him.
AS HE ENTERS DICKSON'S OFFICE:
CUT TO:
INT. DICKSON'S OFFICE
CAMERA PANS ACROSS as Matt enters:
MATT
We haven't got much time left, Mr.
Dickson. We've got to do something
quick or it'll be too late.
DICKSON
(softly)
Why wouldn't you tell me where you
were last night?
MATT
(ignoring the
question)
You're not giving up, are you, Mr.
Dickson?
DICKSON
Were you in Cluett's apartment?
MATT
(dismissively)
Oh, I can explain about that later.
You're losing your bank - don't
you realize what that means?
DICKSON
(gravely)
Was Mrs. Dickson there?
MATT
Listen, Mr. Dickson, don't let
them lick you just because a couple
of big shots turned you down. You've
got more friends than anybody in
this town. Little guys - guys who
wouldn't be in business if it
weren't for you. All you've got to
do is—
DICKSON
(undeterred)
Wait a minute. Answer my question.
Was Mrs. Dickson there?
MATT
(fumbling for words)
Well . . . uh . . . I . . .
DICKSON
She was, wasn't she? How long has
this been going on? Do you know?
MATT
Aw, I don't know what you're talking
about. All I know is that you're
losing your bank and—
DICKSON
(firmly)
All right. That's all.
(poignantly)
Please, Matt.
Head bowed, Matt exits scene.
CUT TO:
INT. DICKSON'S OUTER OFFICE - MATT AND HELEN
IMMEDIATELY FOLLOWING:
HELEN
Did you talk to him?
MATT
(downcast)
Yeah.
(he has a sudden
inspiration)
I got an idea. Come on, let's get
to a telephone.
They exit scene hurriedly.
CUT TO:
INT. DICKSON'S PRIVATE OFFICE - MED. CLOSEUP
All of his beliefs are shaken by this seeming betrayal.
Dickson takes a framed photograph of Phyllis from his desk,
gingerly sets it face down in the center drawer of his
desk.
Also in the desk drawer is - he cannot help but notice - a
gun.
CUT TO:
INT. CONFERENCE ROOM - CLOSE SHOT - CLARK
As he dictates to someone off screen:
CLARK
—a thirty-day option on ten thousand
shares of stock of this company,
now registered in the name of Thomas
A. Dickson. Now make that in
triplicate and get it to me just
as fast as you can. Hurry!
CUT TO:
INT. SOMEWHERE IN THE BANK - CLOSE SHOT AT PAYROLL WINDOW
Shooting past cashier in f.g. towards line of laborers
waiting to be paid.
Cashier stands in front of a tall counter upon which is a
small metal box filled with currency. He is speaking into
the phone by his side as scene opens.
He hangs up receiver and turns to the men on the other
side of the window.
CASHIER
(speaking thru small
window)
Sorry ladies and gentlemen, there's
no more money. You'll have to go
on to the next window.
He snaps the window shut, slams down cover of little metal
box.
Angry ad-lib from line of laborers waiting to be paid.
CUSTOMER AD-LIBS
What do you mean there's no more
money? etc.
Panicked shouting and pushing. In the center of the crowd,
a woman faints.
CUT TO:
Another cashier, another window, another angry line of
depositors.
CASHIER
That's all there is!
More pushing, shouting, angry ad-lib.
CUT TO:
INT. DICKSON'S OUTER OFFICE - MEDIUM CLOSE SHOT
Phyllis Dickson, serious-faced, comes up steps and thru
ante room on the way to Dickson's private office.
She pounds on door of office. There is no reply from within.
Standing next to her is a bank guard, uncertain about what
to do. Throughout scene, there are b.g. sounds of melee in
the bank.
MRS. DICKSON
(to bank guard)
Are you sure he's in there?
GUARD
Yes, ma'am. He must be in there.
He hasn't come out.
She pounds on the door again.
MRS. DICKSON
(shouting)
Tom! Tom! Tom!
(to guard)
I've got to get in there. Can't
you find me a key?
GUARD
(reaching into
Helen's desk)
Yes, I think there's one right
here in the drawer.
CUT TO:
INT. DICKSON'S PRIVATE OFFICE - FULL SHOT
As Mrs. Dickson rushes in.
Dickson is standing by a window.
CLOSE SHOT - MRS. DICKSON
She walks over to him - CAMERA PANNING WITH HER - and stands
in back of him.
MRS. DICKSON
(softly - seriously)
Tom! Oh Tom, darling - I came to
explain about last night . . .
Dickson remains silent. Mrs. Dickson continues:
MRS. DICKSON
Cyril Cluett doesn't mean anything
to me, Tom. I went out with him
last night simply because . . .
well, I had begun to feel that I
didn't have any part in your life.
That I was an outsider. Tom, all
we did was to go to the theatre,
and then we went back to his
apartment afterward for a drink.
That's all it was. I didn't do
anything wrong, Tom. I couldn't do
anything wrong. I love you too
much. You know that.
CLOSEUP - DICKSON
As he stares dully out the window.
Mrs. Dickson's voice coming over shot:
MRS. DICKSON
(breaking down -
sobbing)
Oh, Tom! Tom!
CUT TO:
INT. SOMEWHERE IN BANK - MEDIUM CLOSE SHOT - MATT AND
HELEN
Favoring Matt.
They are furiously working two phones, going down a list
of people who owe Dickson and the bank a favor.
Although Matt has focus in the scene, Helen's voice is
always in b.g., as she handles calls, making the same pitch.
MATT
(into phone - rat-a-
tat)
Dickson's in a jam I tell you. The
run's getting worse.
HELEN
(simultaneously)
Mr. Williams . . .
MATT
(continuing)
The big guys have got the screws
on him. You've got to come through
for him, Mr. Conway. He came through
for you a hundred times. If his
friends don't help him, who is
going to help him?
HELEN
(looking up from
her own phone pitch)
Matt, look! There's Mr. Jones!
CUT TO:
INT. LOBBY OF BANK - MED. SHOT
As a man elbows his way thru the crowd to a receiving
teller's window. He is accompanied by a bank guard, who
sweeps the disbelieving crowd aside. He speaks loudly for
everyone's benefit:
JONES
Any bank that Tom Dickson has
anything to do with is all right.
I'm putting my money in here. Why
should you be afraid? Give him a
chance. Tom Dickson is all right!
He's perfectly square. I'm putting
my money in this bank! I know what
I'm doing!
He reaches a teller's window, which is closed. He pounds
on it.
JONES
Open up! I want to put some money
in here! I don't want to take any
out!
A teller's face appears, somewhat astonished.
TELLER
(recovering composure)
Certainly, Mr. Jones! Certainly!
Charlie!
CUT TO:
INT. SOMEWHERE IN BANK - MED. CLOSE SHOT - MATT AND HELEN
MATT
(into the phone -
rat-a-tat)
They're starting to come in already.
Yeah. Yeah. Well, listen. Don't
waste any time. Get all the money
you can lay your hands on, and
bring it down here right away.
Step on it.
He hangs up, dials another.
Helen has dialed another prospect also, and hands the phone
to Matt.
MATT
(to Helen)
Who's this?
(into one phone)
Mr. Williams?
(into the other
phone)
Mr. Gunther?
(to Helen)
I'll talk to both of them at once.
(holding both phones
up to his mouth)
Listen, both you fellows. Dickson's
in a jam. The run's getting worse.
Those big guys got the screws on
him. Yeah, both you fellows got to
come thru for him. Listen, if his
friends don't help him, who is
going to help him? Now he came
through for you a hundred times.
Yeah, listen. They're starting to
come in already. Yeah, listen.
Both of you fellas - get all the
money you can lay your hands on,
and bring it down here right away.
Both of you - step on it! All right.
CUT TO:
INT. LOBBY OF BANK - MED. SHOT
As several more people elbow their way thru the crowd on
their way to teller's windows, speaking aloud.
MAN
(loudly)
Get out of my way. I got money I
want to put into the bank.
CAMERA PANS WITH HIM and second man until they reach the
receiving teller's window, where they fall into a line
already containing ten or twelve people.
The second man shoves his way to the front, and addresses
the teller:
2ND MAN
I want to make a deposit. Four
thousand, six hundred dollars.
He's the best man in the world. I
believe in him.
CUT TO:
INT. DICKSON'S PRIVATE OFFICE - CLOSE TWO SHOT
Dickson and Phyllis Dickson. She is still explaining to
him.
MRS. DICKSON
It doesn't matter what you think
about me, there's something far
more important. Those people down
there. The bank, Tom. You can't
give that up.
She is interrupted by sound of door opening. They look
off.
CLOSE SHOT AT DOOR
As Sampson steps in. He looks off toward Dickson.
SAMPSON
Mr. Dickson! Come here a minute.
Look at this. Something wonderful
has happened. People are bringing
deposits. You won't believe it
until you see it. You have to come
out.
272. CLOSE SHOT
Dickson and Mrs. Dickson. He shambles over towards the
door.
INT. OUTSIDE OF DICKSON'S OFFICE - MED. CLOSE SHOT
As Sampson and Dickson come out from private office.
SAMPSON
(pointing off)
Look!
Dickson gazes in the direction he points.
CUT TO:
274. RECEIVING TELLER'S WINDOW - MEDIUM SHOT
From Dickson's angle.
The line has grown in size. Those trying to deposit their
money are just as excited as those who want to draw it
out.
MAN
(shouting)
Tom Dickson is a friend of mine!
I'll put money in his bank any
time!
ANOTHER MAN
(shouting)
Anybody who takes money out of
this bank is crazy! I'm going to
put a lot of money in! Here it is!
3RD MAN
I haven't got much, but here it
is!
WOMAN
Tom Dickson can have all my money
any time.
CUT TO:
INT. OUTSIDE OF DICKSON'S OFFICE - CLOSEUP
On Dickson, looking toward Receiving Teller's window. He
stares at the miraculous spectacle, deeply moved. He can
scarcely believe his own eyes. A smile grows on his face.
The sight of his friends coming to his rescue has an
electrical effect on Dickson. It revives his fighting
spirit. He sticks his jaw out determinedly. Without a word
he turns and crosses to door of conference room.
CUT TO:
INT. CONFERENCE ROOM - FULL SHOT
Dickson flings the door open. Clark and the other directors
are startled out of their business. Clark holds the
necessary transfer papers in his hand.
DICKSON
Come out here you pawnbrokers -
take a look at this!
CLARK
We've been waiting fifteen minutes—
DICKSON
(waving papers away)
You know what you can do with that!
Come on, take a look at this!
You'll see a demonstration of faith
that's worth more than all the
collateral in the world.
While he has been speaking, several of the directors have
edged over to the door. They are perceptibly impressed.
MED. CLOSE SHOT - CLARK
He has remained unmoved, staring at Dickson, as if trying
to determine what kind of ruse is this.
DICKSON'S VOICE
Come on boys! Come on Clark! It'll
do your heart good.
CAMERA PANS WITH CLARK, as he crosses slowly to the door
and looks out.
DICKSON
Look at that. They're shoving their
hard-earned money across the counter
with a ten to one chance against
them.
CLOSER SHOT OF GROUP
As they edge out onto balcony overlooking scene.
DICKSON
If you fellas want to save this
bank, get some real money over
here right away.
O'BRIEN
(decisively)
That's enough for me, Dickson. I'm
ashamed of myself. I'll have a
hundred thousand dollars over here
in five minutes.
O'Brien starts away and crosses to a phone.
Dickson turns to the others.
DICKSON
Now you're talking! Ames?
AMES
I'm sold.
He goes off.
DICKSON
All right. Schultz?
SCHULTZ
(only a moment's
hesitation)
This is your bank, Dickson, and
I'm with you!
DICKSON
Ives?
CLOSE SHOT - IVES
At last he can say something.
IVES
(shaky voice)
My dear friends, that's what I've
been trying to say all afternoon.
DICKSON
Go ahead and say it.
(turning to Clark)
Clark, you can do twice as much as
any of them. How about you?
CLOSE SHOT - CLARK
CLARK
Oh, I don't agree with you, but if
everybody's gone crazy, I'll go
crazy too!
CUT TO:
INT. CONFERENCE ROOM - SERIES OF CLOSEUPS
As Clark and the other directors make their urgent phone
calls.
SCHULTZ
(into phone)
This is Ben Schultz talking. Send
a hundred thousand cash over here
to the Union National right away.
CLARK
(into phone)
Send all your available cash to
Union National!
AMES
(into phone)
Currency - small denominations—
CLARK
(into phone)
—in tens and twenties—
IVES
(into phone)
Say, I want one hundred and fifty
thousand dollars over here right
away.
(listens)
I am in my right mind. No, no, no.
Not one hundred and fifty dollars.
Say, listen you guys, one hundred
and fifty thousand dollars. Yes!
LAP DISSOLVE TO:
EXT. CITY STREET - LONG SHOT
A string of armored cars speed toward camera, accompanied
by an escort of eight motorcycle cops. The procession
heralds its approach by the piercing wail of sirens.
POLICEMAN
Open up!
LAP DISSOLVE TO:
INT. BANK - AT THE DOOR
A dozen policemen precede the entrance of a parade of
uniformed guards, who carry in one hand sacks of money,
their other hands clasped firmly on their guns. The crowd
in the lobby stands aside, awe-stricken.
AD-LIB FROM COPS
Heads up—
Make way, there—
Hey, you, look out!
Murmurs of approval are heard from the crowd.
LAP DISSOLVE TO:
INT. BANK NEAR FRONT DOOR - MED. SHOT
As the crowd is leaving the bank. Everyone is smiling and
happy.
CAMERA SINGLES OUT VARIOUS INDIVIDUALS.
MAN
(to nearby man)
That's the trouble with people
nowadays. They hear a crazy rumor,
and right away they lose their
heads. Not me! You didn't see me
drawing my money out, did you?
LAP DISSOLVE TO:
INT. BANK - CLOSEUP - GERT
As she works the switchboard - the next day.
GERT
Good morning. Union National Bank.
Just a minute . . .
CUT TO:
INT. BANK VAULT - MEDIUM SHOT - GROUP OF TELLERS
As they gather for their morning ritual, waiting for Matt.
CHARLIE
Nine o'clock and all is lousy.
TELLER
Where's Matt?
CHARLIE
Ten to one he'll have a crack about
the run yesterday.
TELLER
It's a cinch bet. I wouldn't take
it.
2ND TELLER
If he pulls a gag about the run,
we'll murder the guy. Murder him!
They hear Matt approaching, and gesture silence. Matt
strides purposefully in. He works the mechanism on the
vault. There is a long silence, during which nobody says
anything, most surprisingly of all, not even Matt. Finally:
MATT
(after having opened
the lock - turning
to the group of
expectant tellers)
Well, I suppose you guys had a
good run for your money yesterday!
They tackle him to the ground.
CUT TO:
INT. BANK ENTRANCE MED. - CLOSE SHOT
As Dickson enters, and playfully pushes the hat down over
Gardiner, the old bank guard's face. The bank guard adjusts
his hat, annoyed, then sees it is the president of the
bank.
GARDINER
(merrily)
Good morning, Mr. Dickson. My wife
is much better this morning.
DICKSON
Well, that's too bad. Mine's all
right too.
Guard puzzles over his non-sequitur for a moment, then
smiles.
CAMERA TRUCKS AHEAD OF DICKSON, as he strides through the
lobby, passing various individuals from opening scenes.
He spots the teller with a habit of smoking on the job.
DICKSON
Carter!
The teller, from Dickson's angle, holds up his empty hands.
No cigarettes. Then, he opens his mouth and chews
elaborately, showing that he has switched to gum.
Hellos and Good Mornings greet Dickson as he continues on
his way. He passes the janitor in a new uniform, and stops
him.
DICKSON
Well, well, well - got your uniform,
eh?
JANITOR
Yes, sir.
DICKSON
Looks good. How much did it cost?
JANITOR
(proudly)
I don't know. Mr. Sampson bought
it for me.
Dickson opens his jacket, affects an unenthusiastic perusal
of his own well-worn suit of clothing.
DICKSON
(cheerfully)
Oh-oh. I guess I'll have to see
Sampson myself.
CAMERA FOLLOWS HIM as he approaches Helen's desk outside
his own private office. Helen looks up.
DICKSON
Good morning, Helen.
HELEN
Good morning.
DICKSON
Say, I know what's the matter with
you. Matt!
Matt, hearing his name, dashes up to stand next to Dickson.
MED. CLOSE SHOT
DICKSON
I want you both to take the day
off. Go downtown and get a license
and get married right away!
MATT
(weakly)
But I haven't . . .
DICKSON
I don't want to hear any more about
it. If you don't get married, I'll
fire both of you.
By now they are beaming. Dickson starts off, then has a
second thought.
DICKSON
Helen, while you're downtown, you
might stop in and make reservations
for the bridal suite on the
Berengaria sailing next week.
MATT
Gee, thanks, Mr. Dickson—
HELEN
Oh!
DICKSON
(cutting him off)
Oh, no! It's not for you. You're
only going to get married. Mrs.
Dickson and I are going to go on
the honeymoon.
With just the barest suggestion of a wink, he exits.
MATT LOOKS AT HELEN:
MATT
Come, on slave.
They exit arm in arm.
FADE OUT:
THE END