FADE IN:
INT. MORNING POST - SWITCHBOARD - DAY (1930s)
Two
female
telephone
OPERATORS
bus
il
y
answer calls,
plug
ging
in and out
.
1st OPERATOR
This is the Morning Post... The City Room? Just a moment, I'll connect you.
She
plugs in
the
call
.
2nd OPERATOR
Morning Post... Sports Department? Just a moment --
She
plugs in
the
call
.
ANTEROOM
A bank of
elevators
are across from the switchboard. At
the
back wall directly behind
the
switchboard
is a waiting area
. Next to
the
switchboard
is an exit to stairs
.
A waist-high iron grill gate separates the switchboard from the anteroom
. A
similar grill separat
es
it again from the city room
,
which stretches on beyond switchboard.
At a table in the switchboard enclosure sits an
OFFICE BOY
,
15
, doing a crossword puzzle.
The big clock on the back wall shows that it is nearly one o'clock.
A
s a
REPORTER
comes out of the City Room, clanging
the
gate behind him
, t
he office boy looks up.
OFFICE BOY
What's a seven-letter word for --?
REPORTER
Don't ask me! If I knew any seven-letter words, I'd be something better than a reporter!
He catches a glimpse of the far elevator going down.
REPORTER
Hey! Down! Down!
ELEVATORS
The
reporter runs into the closed elevator door and pounds on it. It comes back, the door opens, and he gets in. The door closes
and the
elevator goes down. The near elevator comes up and discharges
HILDY JOHNSON, in a dress and stylish hat,
and
BRUCE BALDWIN who
carries an umbrella and wears a raincoat.
O
ffice boy look
s
over his puzzle as Hildy and Bruce
approach
.
HILDY
(with a smile)
Hello, Skinny. Remember me?
OFFICE BOY
(looks up; then a glowing smile)
Hildy Johnson!
Hildy approaches the switchboard.
HILDY
(to operator)
Hello, Maisie.
The first operator looks up.
1st OPERATOR/
MAISIE
Hello -- Hildy! You coming back?
HILDY
No, just visiting. Tell me, is the lord of the universe in today?
MAISIE
He is -- and in a very bad humor. I think somebody stole one of his crown jewels. Shall I announce you?
HILDY
No, never mind -- I'll blow my own trumpet.
Hildy turns to Bruce.
HILDY
I won't be more than ten minutes, I promise you.
BRUCE
Even ten minutes is a long time to be away from you.
Office boy
looks toward Bruce and Hildy and giggles.
HILDY
What did you say, Bruce?
Bruce, embarrassed, looks at the office boy, then looks back at Hildy as they turn toward
the
second gate leading into City Room.
BRUCE
I said -- uh -- I said even ten minutes -- is a long time -- to be away from you.
HILDY
Don't be embarrassed, Bruce. I heard it, but I just wanted to hear it again. I can stand being spoiled a little. The gentleman I'm going to have a chat with did very little spoiling.
BRUCE
(grimly)
I'd like to spoil him just once. Sure you don't want me to go in with you?
HILDY
My job, Bruce. I started it -- and I'll finish it.
BRUCE
I suppose you're right -- but if it gets rough, remember I'm here.
HILDY
I'll come a-running,
pardner
.
She starts to push open the iron-grilled gate leading into the City Room. Bruce quickly springs forward and opens it for her. Hildy smiles.
HILDY
Thanks, Bruce.
She kisses his cheek and walks through. He looks after her. The office boy whistles. Bruce pays no attention, but stares after Hildy.
CITY ROOM
Hildy starts
the
long walk
of the
room that takes up practically the whole floor. The scene is a busy one. But, gradually, as Hildy starts down, one after another
of the STAFF
recognize her.
STAFF MEMBERS (AD LIB)
"Hildy!"
"Hello, Hildy
.
"
Hildy goes straight down the aisle without stopping
but waves her own greetings
...
HILDY (AD LIB)
"Jim!"
"Hi, good-looking!"
"Laura
.
"
"Hullo, Pop
.
"
"Nan!"
"Eddie!"
"Hello, Mac
.
"
"Pete!"
"Frank
.
"
"Oscar!"
...
and
gets responses from each of them.
JAKE, standing,
is bent over his desk reading copy. Hildy slaps him as she goes by. He turns around
.
JAKE
Say, who did that?
H
e sees Hildy
.
JAKE
Hello, Hildy!
HILDY
Hi, Jake.
She passes
BEATRICE,
a middle-aged Edna May Oliver type
woman
seated at a desk pounding out copy and smoking a cigarette. As Hildy comes up to her she slaps
her
on the back.
HILDY
Hello, Beatrice. How's "Advice to the Lovelorn"?
BEATRICE
(looking up)
Hildy! I'll be a monkey's uncle! What are you doing here?
HILDY
Point of information -- what does a girl say on meeting her divorced husband?
BEATRICE
(illustrating)
My advice is duck and cross with your right.
Hildy moves on
to the end of the room where she pauses before the frosted
-
glass partition which separates
an
office from the rest of the City Room.
INT.
Walter's
OFFICE
- CONTINUOUS
A
s she opens the door
,
WALTER BURNS
is shaving with an electric razor and
LOUIE
is holding the mirror up
for
him.
LOUIE
A little more
’
round the chin, Boss.
The
sound of the door
doesn't make Walter look up.
WALTER
What do you want?
HILDY
Why, I'm surprised, Mr. Burns. That's no way to talk to your wife
–
- even if she's no longer your wife.
WALTER
(grinning)
Hello, Hildy!
HILDY
Hello, Walter.
(to Louie)
Hi, Louie -- how's the slot
-
machine king?
LOUIE
Oh, I ain't doing that anymore. I'm retired. I'm one of you
fellas
now
–
- a newspaper man.
HILDY
Editorials?
WALTER
Get going, Louie. I got company.
The door flies open and
DUFFY
comes busting in.
DUFFY
Walter!
WALTER
I'm busy, Duffy.
DUFFY
Well, you're not too busy to know that the Governor hasn't signed that reprieve!
WALTER
What?
DUFFY
And that means Earl Williams dies tomorrow morning and makes a sucker out of us!
WALTER
You're crazy. Where's Mac?
DUFFY
He's on my phone. He just called me.
WALTER
They can't do that to me!
He grabs the phone on his desk
.
WALTER
(into phone)
Give me that call on Duffy's wire!
...
Hello -- Mac? Burns. Where's the Governor? -- What do you mean, you can't locate him?
(apparently pleading to the one man in the world who can help him)
Mac, you know what this means. We're the only paper in town defending Earl Williams and if he hangs tomorrow we're washed up! Find the Governor and when you find him tell him we want that reprieve!... Tell him I elected him and I can have him impeached!
...
Sure, you can do it, Mac -- I know you can. I always said you were the greatest reporter in the country and now you can prove it. Get going!
Attaboy
!
He hangs up.
WALTER
(to Duffy, sarcastically)
The greatest reporter in the country! First I gotta tell him what news to get! Gotta tell him how to get it -- then I gotta write it for him afterward! Now if you were a decent City Editor --
DUFFY
Don't blame me. I'm City Editor in name only. You do all the hiring around here.
WALTER
Yeah! Well, I do the firing, too. Remember that, Duffy, and Keep a civil tongue in your head.
HILDY
I don't like to interfere with business, but would you boys pardon us while we have a little heart-to-heart talk?
DUFFY AND LOUIE
(together)
Well -- But I gotta --
They look at
Walter
.
WALTER
Scram, you guys.
They start to go.
HILDY
You won't miss anything. You'll probably be able to hear him just as well outside as here.
They go.
HILDY
Mind if I sit down?
Hildy sits.
INT. OUTSIDE THE OFFICE - CONTINUOUS
Duffy and Louie exit
. They cast an interested look back and linger a second.
WALTER (O.S.)
I said scram!
They close the door hurriedly.
INT. Walter's OFFICE - SAME
HILDY
May I have a cigarette, please?
Walter
reaches into his pocket, extracts a cigarette and tosses it on the desk. Hildy reaches for it.
HILDY
Thanks. A match?
Walter
delves into pockets again, comes up with
a
matchbox
. He
tosses it to Hildy, who catches it deftly and strikes the match.
WALTER
How long is it?
Hildy finishes lighting her cigarette, takes a puff, and fans out the match.
HILDY
How long is what?
WALTER
You know what. How long since we've seen each other?
HILDY
Let's see. I was in Reno six weeks -- then Bermuda... Oh, about four months, I guess. Seems like yesterday to me.
WALTER
(slyly)
Maybe it was yesterday. Been seeing me in your dreams?
HILDY
(casually)
No -- Mama doesn't dream about you
anymore
, Walter. You wouldn't know the old girl now.
WALTER
(with conviction)
Oh, yes I would. I'd know you any time --
He grows lyrical and, rising from his seat, is about to start toward her, as he continues:
WALTER
AND HILDY
(together)
-- any place, anywhere --
He sits.
HILDY
(half-pityingly)
You're repeating yourself! That's the speech you made the night you proposed.
(she burlesques his fervor)
"-- any time -- any place -- anywhere!"
WALTER
(growling)
I notice you still remember it.
HILDY
I'll always remember it. If I hadn't remembered it, I wouldn't have divorced you.
WALTER
You know, Hildy, I sort of wish you hadn't done it.
HILDY
Done what?
WALTER
Divorced me. It sort of makes a fellow lose faith in himself. It almost gives him a feeling he wasn't wanted.
HILDY
Holy mackerel! Look, Walter, that's what divorces are for.
WALTER
Nonsense. You've got the old-fashioned idea that divorces are something that last forever -- till
"
death us do part.
"
Why, a divorce doesn't mean anything today. It's only a few words mumbled over you by a judge. We've got something between us nothing can change.
HILDY
I suppose that's true in a way. I am fond of you, Walter. I often wish you weren't such a stinker.
WALTER
Now, that's a nice thing to say.
HILDY
Well, why did you promise me you wouldn't fight the divorce and then try and gum up the whole works?
WALTER
Well, I meant to let you go -- but, you know, you never miss the water till the well runs dry.
HILDY
A fellow your age, hiring an airplane to write:
(she gestures above to indicate sky-writing)
"
Hildy: Don't be hasty -- remember my dimple. Walter
."
!
It held things up twenty minutes while the Judge ran out to watch it.
WALTER
Well, I don't want to brag, but I've still got the dimple -- and in the same place -- I just acted like any husband who doesn't want to see his home broken up.
HILDY
What home?
WALTER
What home? Don't you remember the home I promised you?
HILDY
Oh, yes -- we were to have it right after our honeymoon -- honeymoon!
WALTER
Was it my fault? Did I know that coal mine was going to have another cave-in? I meant to be with you on our honeymoon, Hildy -- honest I did.
HILDY
All I know is that instead of two weeks in Atlantic City with my bridegroom, I spent two weeks in a coal mine with John
Kruptzky
-- age sixty-three -- getting food and air out of a tube! You don't deny that. Do you?
WALTER
Deny it! I'm proud of it! We beat the whole country on that story.
HILDY
Well, suppose we did? That isn't what I got married for. What's the good of -- Look, Walter, I came up here to tell you that you'll have to stop phoning me a dozen times a day -- sending twenty telegrams -- all the rest of it, because I'm --
WALTER
Let's not fight, Hildy. Tell you what. You come back to work on the paper and if we find we can't get along in a friendly way, we'll get married again.
HILDY
What?!!
WALTER
I haven't any hard feelings.
HILDY
Walter, you're wonderful in a loathsome sort of way. Now, would you mind keeping quiet long enough for me to tell you what I came up here for?
WALTER
(rising, reaching for his hat)
Sure, come on. We'll have some lunch and you can tell me everything.
HILDY
(also rising)
I have a lunch date. I just want --
WALTER
You can break it, can't you?
HILDY
No, I can't.
WALTER
Sure you can. Come on.
HILDY
Don't tell me what to do! We're divorced -- I'm a free woman. You're not my husband and you're not my boss! And what's more, you're not going to be my boss.
WALTER
What do you mean by that?
HILDY
Just what I said. That's what I --
WALTER
You mean you're not coming back to work here?
HILDY
That's the first time you've been right today. That's what I --
WALTER
You've had a better offer,
eh
?
HILDY
You bet I've got a better offer.
WALTER
Well, go on and take it. Work for somebody else! That's the gratitude I get for --
HILDY
I know, Walter, but I --
WALTER
(ignoring her)
What were you when you came here five years ago? A little college girl from a School of Journalism! I took a little doll-faced mug --
HILDY
You wouldn't have taken me if I hadn't been doll-faced!
WALTER
Why should I? I thought it would be a novelty to have a face around here a man could look at without shuddering.
HILDY
Listen, Walter --
WALTER
(going right on)
I made a great reporter out of you, Hildy, but you won't be half as good on any other paper, and you know it. You need me and I need you -- and the paper needs both of us.
HILDY
Well, the
paper'll
have to learn to do without me. And so will you. It just didn't work out, Walter.
WALTER
It would have worked if you'd been satisfied with just being editor and reporter. But no! You had to marry me and spoil everything.
HILDY
(indignantly)
I wasn't satisfied! I suppose I proposed to you!
WALTER
Well, you practically did! Making goo-goo eyes at me for two years till I broke down. And I still claim I was tight the night I proposed. If you'd been a gentleman you'd have forgotten all about it. But not you!
HILDY
(speechless)
You -- you --
She grabs
her purse
off the desk
and chucks it at him. He ducks. The phone rings.
WALTER
(to Hildy)
You're losing your eye. You used to be able to pitch better than that.
(reaches for phone)
Hello... Yeah... What? Sweeney? Well, what can I do for you?
CITY ROOM
Duffy sits
at his desk, talking into
the
phone.
DUFFY
What's the matter with you? Are you drunk? This is Duffy, not Sweeney!
Walter's OFFICE
WALTER
(into phone)
Sweeney! You can't do that to me! Not today, of all days! Jumping
Jehosophat
! Oh, no, Sweeney... Well, I suppose so... All right. If you have to, you have to.
(he hangs up)
How do you like that? Everything happens to me -- with
three hundred sixty-five
days in the year -- this has to be the day.
HILDY
What's the matter?
WALTER
Sweeney.
HILDY
Dead?
WALTER
Not yet. Might just as well be. The only man on the paper who can write -- and his wife picks this morning to have a baby!
HILDY
Sweeney?
(she laughs)
Well, after all, he didn't do it on purpose, did he?
WALTER
I don't care whether he did or not. He's supposed to be covering the Earl Williams case and there he is -- waiting at the hospital! Is there no sense of honor left in this country?
HILDY
(practically)
Well, haven't you got anybody else?
WALTER
There's nobody else on the paper who can write!
This'll
break me, unless --
(he stares at Hildy; then a light breaks)
Hildy!
HILDY
No!
WALTER
You've got to help me, Hildy.
HILDY
Keep away --
WALTER
It'll bring us together again, Hildy -- just the way we used to be.
HILDY
That's what I'm afraid of. "Any time -- any place -- anywhere!"
WALTER
Don't mock, Hildy, this is bigger than anything that's happened to us. Don't do it for me! Do it for the paper.
HILDY
Get away,
Svengali
.
WALTER
If you won't do it for love, how about money? Forget the other offer and I'll raise you twenty-five bucks a week.
HILDY
Listen, you bumble-headed baboon --
WALTER
All right -- thirty-five, and not a cent more!
HILDY
Please! Will you just --
WALTER
Great grief! What's that other paper going to give you?
HILDY
I'm not working for any other paper!
WALTER
Oh! In that case, the raise is off and you go back to your old salary and like it. Trying to blackjack --
HILDY
Look at this!
She pulls her glove off her left hand
and holds up an engagement ring for him to see.
HILDY
Do you see this? Do you know what an engagement ring is?
He looks at
the
ring, swallows
.
HILDY
I tried to tell you right away but you started reminiscing. I'm getting married, Walter, and also getting as far away from the newspaper business as I can get! I'm through.
WALTER
(himself again)
Get married all you want to, Hildy, but you can't quit the newspaper business.
HILDY
You can't sell me that, Walter.
WALTER
Who says I can't? You're a newspaper man.
HILDY
That's why I'm quitting. I want to go some place where I can be a woman.
WALTER
I know you, Hildy, and I know what it would mean. It would kill you.
HILDY
(bitterly)
A journalist! Peeking through keyholes -- running after fire engines -- waking people up in the middle of the night to ask them if they think
Hitler's
going to start a war -- stealing pictures off old ladies of their daughters that got chased by apemen! I know all about reporters -- a lot of daffy buttinskies going around without a nickel in their pockets, and for what? So a million hired girls and motormen's wives will know what's going on! No, Walter, I'm through.
WALTER
Where'd
you meet this man?
HILDY
Bermuda.
WALTER
Bermuda... Rich,
eh
?
HILDY
Not what you'd call rich. Makes about five thousand a year.
WALTER
What's his line?
HILDY
He's in the insurance business.
WALTER
(looks up)
The insurance business?
HILDY
(on the defensive)
It's a good, honest business, isn't it?
ANOTHER ANGLE
WALTER
Oh sure, it's honest. But somehow, I can't picture you with a guy who sells policies.
HILDY
Well, I can, and I love it! He forgets the office when he's with me. He doesn't treat me like an errand-boy -- he treats me like a woman.
WALTER
He does, does he? How did I treat you -- like a water buffalo?
HILDY
I don't know about water buffaloes, but I know about him. He's kind and sweet and considerate. He wants a home -- and children.
WALTER
Say, sounds more like a guy I ought to marry. What's his name?
HILDY
Well, I'll give you a hint. By tomorrow they'll be calling me Mrs. Bruce Baldwin.
WALTER
Tomorrow? Tomorrow... as quick as that?
HILDY
The quicker the better. Well -- I finally got out what I came in to tell you.
(she extends her hand)
So long, Walter, and better luck next time.
He takes her hand.
WALTER
I wish you everything I couldn't give you, Hildy.
HILDY
Thanks...
WALTER
Too bad I couldn't see this guy first. I'm pretty particular about whom my wife marries.
HILDY
(laughing)
Well, he's waiting in the anteroom for me now.
WALTER
Say, could I meet him?
HILDY
Oh, better not, Walter. Wouldn't do any good.
WALTER
You're not afraid, are you?
HILDY
Afraid? I should say not!
WALTER
All right then, come on and let's see this paragon.
(gets hat)
Is he as good as you say?
HILDY
Better.
They start toward the door.
WALTER
Then what does he want with you?
HILDY
(laughing)
Now you got me.
WALTER
Nothing personal. I was just asking.
At the door,
Walter
walks ahead, opens door and walks out.
OUTSIDE THE OFFICE
WALTER
After all --
He stops as he realizes she's not there. Hildy comes out.
HILDY
You wouldn't believe this, Walter, but Bruce holds the door open for me.
WALTER
(incredulous)
No kidding?
INT. CITY ROOM
- DAY
Reporters convers
e
. They stop as Hildy and
Walter
rush through
. This time
the staff
are silent as they watch the two.
HILDY
(trying to keep pace)
And he takes his hat off when he's with a lady.
WALTER
(over his shoulder)
What for?
HILDY
(shouting)
And when he walks with a lady, he waits for her!
WALTER
(stops)
Oh, I'm sorry.
Walter
, at this point, has reached the switchboard.
WALTER
(
to Maisie,
under his breath)
Have Duffy call me in the restaurant in twenty minutes.
Hildy, a little out of breath, catches up with him. At the iron gate that opens into anteroom Hildy jumps ahead, opens the gate and holds it for
Walter
.
HILDY
Allow me.
WALTER
(walking right through)
Thanks.
Hildy follows him
into the
ANTEROOM
Bruce
sits
on
a
bench. On the end of a bench sits an old, grizzled Western Union
MESSENGER
"boy.
"
Ignoring Bruce,
Walter
strides over to the
MESSENGER
, seizes his hand, shakes it
.
WALTER
I can see right away my wife picked out the right husband for herself.
Hildy
stands
behind
Bruce who
registers amazement at
Walter
.
The messenger is more amazed than Bruce as
Walter
keeps pumping his hand vigorously.
MESSENGER
There must be some mistake. I'm already married.
WALTER
(surprised)
Already married!
?
(turn
s
to Hildy)
Hildy, why didn't you tell me?
Hildy
shakes her head at
Walter's
antics, but can't help smiling nevertheless.
Walter again seizes the messenger's hand.
WALTER
Congratulations again, Mr. Baldwin!
MESSENGER
But my name --
BRUCE
Mr. Burns!
Walter
turns slightly but doesn't release messenger's hand.
WALTER
Yeah? You'll have to excuse me -- I'm busy with Mr. Bruce Baldwin here. Just leave your card with the boy.
Bruce takes hold of
Walter's
coat and shakes it to get his attention.
Walter
turns on him
.
WALTER
I'm very sorry but I'm busy! Look
–
-
(he points
at the office boy
)
-- there's the boy. Take your card and leave it with him.
He turns away again. Bruce, determinedly, takes hold of his sleeve and pulls at it.
BRUCE
Mr. Burns --
WALTER
(wheeling around)
I've just told you I was busy with Mr. Bruce Baldwin!
BRUCE
I'm Bruce Baldwin!
Walter
, still pumping the dazed messenger's hand, stops at this, drops
the
hand, and turns to Bruce
.
WALTER
You're Bruce Baldwin?
BRUCE
Yes!
WALTER
(accusing to messenger)
Then who are you?
MESSENGER
(falteringly)
My name's Pete Davis.
WALTER
Pete Davis! Well, Mr. Davis, this is no concern of yours and after this I'll thank you to keep out of my affairs!
The messenger isn't quite sure what he's done but he slinks back to his seat as
Walter
turns to Bruce.
Hildy
is beginning to get
perturbed
, but reluctantly again she is compelled to smile at
Walter's
behavior.
Walter reaches for Bruce's hand but grabs the umbrella and begins shaking the handle up and down.
WALTER
This is a pleasure, Mr. Baldwin, and I'm sorry about the mistake.
Bruce tries to shift the umbrella, calling Walter's attention to it, and offers his hand instead.
WALTER
Oh, I thought there was something funny... You see, Bruce, you don't mind if I call you Bruce, do you? After all, we're practically related --
BRUCE
(completely unnerved by this time)
Mr. -- well -- no -- no -- not at all.
WALTER
You see, my wife -- I mean, your wife -- that is, I mean Hildy -- had led me to expect that she was marrying a much older man.
BRUCE
(
it'
s the final crusher)
Oh.
WALTER
But I see, she didn't mean old in years. You always carry an umbrella, Bruce?
BRUCE
Well,
er
-- it looked a little cloudy this morning.
WALTER
That's right. --
Rubbers
an unintended double
entendre
to today's audience - could work
or
change to galoshes
, too, I hope? A man ought to be prepared for any emergency.
Walter
looks down. Bruce, in unconscious response, helplessly lifts his foot up
to
see the rubber.
WALTER
Attaboy
!
Walter takes Bruce's arm and leads him toward the elevator.
WALTER
Come on, Bruce.
BRUCE
(going along, but worried)
Where are we going?
WALTER
Where are we going? I'm going to buy you two lunch -- didn't Hildy tell you?
BRUCE
(a helpless look back at Hildy)
No -- she didn't.
WALTER
Just wanted to surprise you, I guess.
(as the elevator is about to pass, he calls)
Down!
The elevator stops and opens.
Walter practically shoves Bruce in.
WALTER
After you, Bruce!
As Bruce disappears inside Walter turns toward Hildy.
WALTER
Come on, Hildy, my treat!
HILDY
I suppose I can't call this off without creating a scene -- but remember, it's your last fling.
WALTER
(hurt)
How do you like that? Here I am being nice to you and your sweet-heart and that's the thanks I get!
He jumps into the elevator -- in a second he hops out.
WALTER
(very sweetly -- he almost sings it)
Oh -- after you, Hildy!
With a look of disgust Hildy gets in.
Walter
follows and the door slams on them.
The office boy
looks after
the
departed elevator and whistles. Then he grins all over.
INT. RESTAURANT
- DAY
A beaming WAITER grins big.
WAITER
Don't tell me it's you, Hildy!
The
trio are
at a table
in the not-too-swank eatery
.
HILDY
(beaming at waiter)
Nobody else.
She extends her hand. The waiter takes it; they shake.
HILDY
How's everything, Gus?
WAITER/
GUS
I can't complain.
WALTER
(studying menu)
Well, I can. I'm hungry. Roast beef sandwich -- rare. And some coffee.
GUS
Shall I put a little rum in the coffee? It's a nasty day.
WALTER
Good idea. How about you, Hildy?
HILDY
(discarding menu)
Oh -- I'll take the same, I guess. And coffee.
GUS
Little rum in yours, too?
HILDY
I guess so.
Bruce looks at her. She hurriedly changes her mind.
HILDY
No -- just coffee, Gus.
GUS
(crestfallen)
Just coffee.
(to Bruce)
And you, sir?
BRUCE
(putting menu down)
Oh, I'll take the same, I guess. And a glass of milk.
GUS
(incredulous)
Milk?
BRUCE
(thinks he hasn't heard)
Yes.
GUS
(shaking his head as he writes it down)
Milk.
WALTER
And don't put any rum in it, Gus.
Gus gives him a
"glad I'm not you"
look and goes.
Walter
surveys the others quizzically.
WALTER
(a sigh)
Well, so you're getting married tomorrow,
eh
? How does it feel, Bruce?
BRUCE
Feels awful good. Yes, sir -- we're taking the four o'clock train to Albany and tomorrow we'll be married.
WALTER
(
piously
)
Taking the train today -- and being married tomorrow?
He whistles.
BRUCE
(rising to the bait)
Oh, it isn't like that.
HILDY
(reassuring
and proper
)
It will be perfectly all right, Walter. Mother is coming with us on the train.
WALTER
Mother? But your mother --
BRUCE
No. My mother.
WALTER
(he gets it and underlines it)
Oh. Your mother -- well, of course, that relieves my mind.
HILDY
(to Bruce)
Isn't it sweet of Walter -- still wanting to protect me?
She gives
Walter
that too-sweet look.
WALTER
(apparently taking this at face value)
I know I wasn't a good husband, Hildy, but you can always count on me.
BRUCE
(a little co
c
kily)
I don't think she'll need you very much -- I aim to do most of the protecting myself.
He pats Hildy's arm -- she smiles at him.
WALTER
Well, I'll tell you one thing, old man, she never looked at me the way she's looking at you.
HILDY
I might have, Walter, but you were never there.
WALTER
Anyway, I'm glad you two are going to be happy and have all the things I couldn't give her. You know, Hildy is about the best reporter in the country -- and that goes regardless of
gender
"
sex
" is the proper word, but in the spirit of the G rating, it doesn't play well for today's audience.
. But all she really ever wanted was a home.
BRUCE
Well, I'll try to give her one.
WALTER
I know you will, Bruce. Are you going to live with your mother?
BRUCE
Just for the first year.
WALTER
(sighing)
That'll
be nice. A home with mother. A real honeymoon. In Albany, too.
(sotto voce)
Ow!
Th
e
"ow" is
a
direct result of a kick under the table from Hildy.
BRUCE
Mighty nice little town, Albany. They've got the State Capitol there, you know.
WALTER
Yes, I know...
(he chuckles)
Hildy, will you ever forget the night you brought the Governor back to your hotel room and found me taking a bath? She didn't even know I was in town...
His laugh stops cold and he clutches for his shin again. Hildy just looks. Providentially, the waiter
appears
.
GUS
Well, here we are.
He begins serving them.
WALTER
(trying to pick up again after a second)
How's business, Bruce?
BRUCE
Well, Albany's a mighty good insurance town. Most people there take it out pretty early in life.
Gus manages to come between Hildy and Walter.
WALTER
I don't blame them.
GUS
Ouch!
HILDY
Oh, I'm sorry, Gus! My foot must have slipped.
GUS
(a pained expression belies his words)
That's all right.
WALTER
I sometimes wish I'd taken out insurance -- but, of course, now it doesn't matter. Still, I suppose it would have been the smart thing to do.
BRUCE
Well, I honestly feel that way. I figure I'm in one line of business that really helps people. Of course, we don't help you much when you're alive -- but afterward -- that's what counts.
WALTER
I see what you mean.
Hildy
sips her coffee and acts surprised.
HILDY
Gus, this --
GUS
(wink
s
)
Good coffee, isn't it?
She smiles and winks back, and takes another sip.
Gus starts to go.
BRUCE
You've forgotten my milk.
GUS
Oh. The milk. Yes.
He leaves, shaking his head.
Walter
sips his coffee. He likes it. He lifts his cup to Hildy.
WALTER
Here's luck to the bride and bridegroom.
HILDY
(lifts cup)
Thank you.
BRUCE
(looking for something to respond with -- apologetically)
He hasn't brought my milk yet.
A
BUS BOY
approaches
Walter
.
BUS BOY
They want you on the phone, Mr. Burns.
WALTER
They would!
The b
oy goes,
Walter
rises, starts off, comes back for his cup of coffee, which he then takes off with him.
BRUCE
(looking after him)
You know, Hildy, he's not a bad fellow.
HILDY
(maternally)
You're so nice, Bruce, you think everybody else is.
BRUCE
Oh, he's not the man for you. I can see that. But I sort of like him. Got a lot of charm.
HILDY
He comes by it naturally. His grandfather was a snake.
BRUCE
(shaking his head)
If anybody had told me I'd be sitting at lunch with him -- but he swept me right off my feet.
HILDY
That's what he did to me. Swept me right off my feet -- and left me lying on the floor.
INT. PHONE BOOTH
- DAY
Walter
listens
, has coffee on ledge
,
and sips it now and then.
WALTER
Get this -- get Sweeney off that yarn and out of town on a two weeks' vacation -- and right away... All right, Duffy, keep your shirt on. Hildy's coming back... No. She doesn't know it yet. But she'll be there. I promise you, Duffy. And tell Louie to stick around.
He hangs up, smiles, and finishes the coffee. Then he girds himself for being crushed.
He gradually begins to look sunk. He pulls out a small mirror to study his expression till he finally gets what he wants.
He holds that expression as he comes out of the booth.
INT. RESTAURANT
- TABLE - DAY
Gus
approaches Hildy and Bruce
.
GUS
Your milk, sir.
He serves Bruce.
GUS
And I brought you another cup of coffee, Hildy.
Gus serves her and puts still another cup in front of
Walter's
chair.
HILDY
Thanks, Gus.
She takes a sip and almost chokes.
BRUCE
Too hot?
HILDY
(gasping for breath)
No. It's strong.
(quickly)
But I like it that way.
Gus goes, smiling.
BRUCE
(looking off)
Say, what's happened to Burns? He looks sunk, doesn't he?
HILDY
(beaming)
He certainly --
hic
-- does!
Walter
approaches
, looking like a 1929 banker just before jumping off a roof, and sits down.
BRUCE
Anything the matter?
WALTER
Just Sweeney again. One of my best reporters.
HILDY
What now?
WALTER
His wife had twins and he went out to celebrate and got as drunk as a lord. They can't even find him.
(he sips his coffee)
I tell you, drink is the ruin of this nation.
HILDY
(sipping hers)
You said it.
WALTER
So -- Sweeney gets twins -- and Earl Williams gets hanged tomorrow.
BRUCE
Just what is the lowdown on Williams?
WALTER
It's simple. A poor little dope who lost his job went berserk and shot a cop who was coming after him to quiet him down.
HILDY
If he's nuts, why doesn't the State just put him away?
WALTER
Because it happened to be a
colored
policeman.
HILDY
(for Bruce's benefit)
The
colored
vote happens to be very important to the Mayor of this town.
WALTER
Especially with an election coming up in a few days.
BRUCE
Are you sure Williams is not all there?
WALTER
All you've got to do is talk to him. But the Mayor would hang his own grandmother to be re-elected.
BRUCE
But couldn't you show the man wasn't responsible?
WALTER
(a sly expression on his face)
How?
HILDY
You could run an interview that would prove it. Remember the interview I wrote with Jimmy
Wellman
? That saved his life.
WALTER
(slapping hands together)
Yes, you could do it, Hildy. You could save that poor devil's life. You could -- but --
(the enthusiasm dies away)
-- you're going away. I forgot.
BRUCE
How long would the interview take?
WALTER
Oh -- an hour for the interview. Another hour to write it.
BRUCE
We could take the six o'clock train, Hildy. If it would save a man's life.
HILDY
No, Bruce, dear. Don't you see? This is a trick to get your sympathy. No, Walter, I've been waiting for something like this -- but I wasn't sure when you'd spring it. If you want to save Earl Williams' life, you can interview him yourself. You're still a good reporter. Bruce and I will be on that four o'clock train -- and thanks just the same.
WALTER
I'm an editor. I know what ought to be written, but I can't write it the way you could. It needs a woman's heart --
HILDY
Why, Walter, you're getting poetic!
WALTER
(to Bruce)
You see what I had to put up with? She never trusted me! You argue with her -- otherwise you're going on a honeymoon with blood on your hands!
Bruce gulps.
WALTER
How can you have any happiness after that? All through the years you'll remember that a man went to the gallows because you were too selfish to wait two hours! I tell you, Earl Williams' face will come between you on the train tonight -- and at the preacher's tomorrow -- and all the rest of your lives!
HILDY
(breaking into applause)
What a performance! Bravo! Don't let him fool you, Bruce -- it's only an act!
WALTER
What do you mean, only an act? Haven't you got any feeling?
HILDY
Well, it's either an act on your part or a miracle on Sweeney's.
WALTER
What do you mean?
HILDY
I happen to know Sweeney was married only three months ago. If he's got twins this morning, I claim it was done with mirrors.
WALTER
(laughs, throws up his hands)
All right, Hildy, I'm licked. But I'll make you and Bruce a business proposition.
HILDY
We're not interested.
WALTER
(to Bruce)
Maybe you'll be. You're a smart young man. You let Hildy do this story for me and you can write out a
hundred-thousand-dollar
insurance policy for me. What do you say?
BRUCE
I don't use my wife for business purposes, Mr. Burns!
HILDY
Wait a minute, Bruce. What's commission on a
hundred-thousand-dollar
policy?
BRUCE
Well, at his age, twenty payment life, a little over a thousand dollars.
HILDY
And what's the matter with a thousand dollars?
BRUCE
But --
HILDY
According to the budget we laid out that's more than our food bill for a whole year. Listen, Bruce, I don't want Walter Burns to use me, but I'm perfectly willing to use him. How long will it take to get him examined?
BRUCE
I could get a company doctor in twenty minutes.
WALTER
Now you're talking!
HILDY
(turning on
Walter
)
You keep out of this. Bruce, suppose you examine Mr. Burns in his office. I'll get my bag and go over to the Press Room in the Criminal Courts Building. You phone me as soon as Mr. Burns has given you his check. Then I'll go get the interview and you phone Mother that we're taking the six o'clock train.
(back to
Walter
)
And no tricks, Walter!
WALTER
What tricks would I pull?
HILDY
Oh, nothing! Of course, you might cancel the check. Yes! Wait a minute! What would be his first payment on that policy?
BRUCE
About twenty-five hundred dollars.
HILDY
Better make that a certified check, Walter.
WALTER
(indignantly)
What do you think I am -- a crook?
HILDY
Yes --- and that's putting it mildly! No certified check -- no story -- Get me?
WALTER
All right. The check will be certified. Want my fingerprints?
HILDY
(rising)
No thanks, I've still got those. Well, I'll step into some working clothes and hop over to the Press Room for the background on this yarn. It'll be kind of fun to see the boys again, too. Remember, Bruce, it must be certified.
BRUCE
All right, dear.
HILDY
Wait a minute, Bruce. Have you got that money?
BRUCE
(feeling his pocket)
The five hundred? Sure.
HILDY
On second thought, would you let me have it? I'll get the tickets.
BRUCE
But --
HILDY
Believe me, Bruce, I know what I'm doing. He'd get you in a
crap
game
–
-
BRUCE
But I don't gamble, Hilda!
HILDY
I know a lot of men who didn't do anything till they met Walter Burns. Please, dear.
BRUCE
(reluctantly)
All right.
(pulls out his wallet)
One -- two -- three -- four -- five. Five hundred. Be careful, honey.
HILDY
I'll be careful, darling. You be
[?]
, please.
She kisses him, kisses her hand and pats it to
Walter's
cheek.
HILDY
So long, husbands.
She goes
, just a bit tipsy
.
The
two men
look after her.
BRUCE
(smiling a little)
I never knew Hildy to be so determined before.
WALTER
You haven't seen anything yet.
Bruce turns to look at
Walter
-- they look at each other.
INT. CRIMINAL COURTS BLDG -
PRESS ROOM -
DAY
A telephone rings.
A hand comes in to take the phone.
ENDICOTT
tak
es
the phone. He has an eyeshade over his eyes and five cards in his other hand.
ENDICOTT
(into phone)
Criminal Courts Press Room... This is Endicott... No, nothing new on the Williams case yet boss. Well, you bet I'm here plugging away every minute.
(hangs up and studies his cards)
Up a dime.
T
he other players
come into view
as they speak. Playing
at table with several phones on it
are
weary
reporters
MURPHY
,
WILSON
,
SCHWARTZ
and
MCCUE
.
MURPHY
(drop
s
his cards)
By me.
WILSON
(also drop
s
)
Droparoo
.
Schwartz knocks on table and drops cards.
MCCUE
(reluctantly)
I'll call.
ENDICOTT
Three sixes. Is that any good?
HILDY
(O.S.)
It sure looks good from here.
The boys all look up toward
the
sound of Hildy's voice.
F
ramed in the doorway
, Hildy carries
a
travel
bag and has changed
in
to a tailored
traveling
suit
with matching hat
. She grins and
enters
.
The
reporters
all talk at once.
REPORTERS (AD LIB)
"Hildy!"
"
Where'd
you come from?"
"Holy
Mackeral
, Hildy Johnson!"
Hildy raises her hand for silence.
HILDY
One at a time, boys.
As she speaks rapidly, s
he
goes
to
a
desk
with a typewriter on it
, places her bag on
the desk
, takes her hat off and hangs it on a clothes tree in the corner, comes back to
the
desk and opens the travel bag
:
HILDY
No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns -- far from it! As a matter of fact, I'm leaving tonight for Albany and I'll be married tomorrow morning. The lucky man is Mr. Bruce Baldwin, a gentleman in the insurance business -- and when I say gentleman, I mean gentleman! Are there any other questions?
Hildy takes
a
notebook and pencil out of
the
bag, looks
down and notices
she has a run
in her stockings. She
takes a fresh pair out of the bag
,
sits down and begins to
change into
the new
roll-up
stockings.
ENDICOTT
(grinning)
Well, that about covers everything.
HILDY
Good. Now I want to ask you fellows a couple of questions. Did Earl Williams know what he was doing when he fired that gun?
MURPHY
If you ask us, no. If you ask the state alienists, the answer is yes.
MCCUE
It's a simple story. Earl Williams works for the
E.J
.
McClosky
Manufacturing Company as a bookkeeper for fourteen years. He starts in at twenty dollars a week and gradually works his way up to twenty-two fifty. A year ago the
McClosky
Company goes out of business and Williams loses his job.
(wav
es
his hand toward Wilson)
Take it away,
Fred
Wilson!
WILSON
Well -- Williams goes a little balmy and begins making speeches on a plan he's got to save the world. Only he makes his speeches, usually, on a very busy street and neglects to get a license for it. Well, the cops let him alone as much as they can because he's harmless and they're
kinda
sorry for him. But one day he decides to hold a meeting right in the middle of a Veteran's Parade and the cops chase him. He gets scared and goes into hiding.
(gestur
es
toward Schwartz)
Come in,
Dave
Schwartz.
SCHWARTZ
His Honor, the Mayor, now comes out with a statement that Earl Williams is a dangerous character in the employ of two or three foreign governments and the police are going to get him dead or alive. Somebody sends out a tip that this guy is hiding in Molly
Malloy's
joint. And this
colored
policeman, Daniels, goes over to pick Williams up. Williams has read the papers, thinks the cop is going to kill him and shoots first. That is all.
HILDY
Thanks, boys. That's all I want to know.
Hildy gets up, rolls the pair of stockings she has just discarded into a ball, crosses to
a roll-top
desk and puts the stockings in a drawer.
ENDICOTT
Say, that's old Prissy Bensinger's desk.
HILDY
I know, I just want to give him a thrill.
Hildy crosses back to
the table
and sits down.
HILDY
All right, boys, now that everything is settled, deal me in.
Hildy glances toward
the
wall
clock
. The hands show 2:45 PM.
Hildy
picks up
the
phone nearest her on
the table
and starts to dial, picking up cards dealt her with
her free
hand.
HILDY
(into phone)
Hello, this is Hildy Johnson. Get me Walter Burns.
(she studies her cards -- then, into phone)
Hello, Walter. How's the old double-crosser?
INT. Walter's OFFICE - SAME
Telephone at
Walter's
ear.
WALTER
Hello, my fine-feathered friend. Thought I might be hearing from you. What have you got to report?
Walter
is stripped to the waist. A
DOCTOR
appl
ies
a stethoscope to his chest.
Walter
listen
s
intently on the phone and the doctor listen
s
intently to his chest.
WALTER
(into phone)
Going all right,
eh
?
DOCTOR
(nodding)
Fine.
Doctor suddenly realizes what he's said and looks up.
WALTER
(put
s
hand over mouthpiece of phone)
Doctor, will you please keep quiet a minute? How do you expect me to get any work done?
Bruce, who has some papers in front of him at the desk
,
grins.
DOCTOR
How do you expect me to get anywhere if you're going to keep on that phone? If you'll just give me two minutes more --
WALTER
(into phone)
Well, they haven't finished with me yet but I'm hoping to get my shirt back. Oh, no. I'm in the pink of condition. They found two new dimples.
INT. PRESS ROOM
- SAME
Hildy looks at her cards while talking into the phone.
HILDY
How about that check?
...
All right, Mr. Burns, but remember, no
checkee
-- no story. Well, as soon as they decide whether you live or not will you have that new man of mine call me up?
...
Yes, sir.
(she hangs up)
All right, boys. Up a dime.
ENDICOTT
Right back at you.
MCCUE
(drop
s
his cards)
You fight it cut.
HILDY
And up a dime.
ENDICOTT
(stud
ies
a second)
I call. What you got?
Hildy shows her cards. [Three aces.]
HILDY
Three bullets! Any good?
ENDICOTT
(throw
s
his cards away)
Beats king up.
Hildy rakes in the money.
MCCUE
What are you going to do with all that money, Hildy?
WILSON
Yeah -- you can't spend it in Albany.
HILDY
Oh, I'll think of something.
T
aking in door and including group
,
BENSINGER
, another reporter, comes in from the corridor. He stands out from the others
with
his tidy appearance
. He
carries a book under his arm.
MURPHY
Hello, Harvard! Got anything new on the hanging?
BENSINGER
(cockily)
Why don't you fellows get your own news?
HILDY
Can't you say
"
hello
"
to a fellow?
BENSINGER
(notices her)
Hildy!
He comes over to shake hands.
BENSINGER
Are you back?
HILDY
No, just a farewell appearance, batting for Sweeney. I'm going into business for myself.
BENSINGER
What doing?
HILDY
I'm getting married tomorrow.
BENSINGER
Well, congratulations! Good luck!
ENDICOTT
Why don't you use him for a bridesmaid, Hildy?
SCHWARTZ
Come on, Hildy, your deal.
Bensinger goes to his roll-top desk,
opens
the drawer
in which Hildy put her stockings.
BENSINGER
Say, who put these stockings in my desk?
(he turns to the group)
MCCUE
I don't know, but I think they got rats in the building.
Bensinger makes a gesture of disgust, picks up a telephone and speaks into it.
BENSINGER
This is Bensinger. I just saw the Sheriff. He won't move the hanging up a minute... All right, I'll talk to him again, but it's no use. The execution is set for seven in the morning. Get me a rewrite man.
Endicott deals
the cards.
ENDICOTT
Why can't they hang that guy at a reasonable hour, so we can get some sleep?
BENSINGER
(into phone)
Jake, new lead on the hanging. This new alienist from New York -- Dr. Max J. Egelhoffer -- is going to interview Williams in about half an hour -- in the Sheriff's office.
Murphy reaches for the phone. Without dropping his cards, he jiggles the hook.
MURPHY
That must be the tenth alienist they've had on Williams. Even if he wasn't crazy before, he would be after ten of those babies got through psychoanalyzing him.
(into phone)
Gimme
the desk.
ENDICOTT
This Egelhoffer's pretty good.
MURPHY
Yeah? What did he ever do for his country?
ENDICOTT
Don't you remember? He's the guy went to Washington to interview the Brain Trust, and gave out a statement that they were all sane. It created a sensation!
Bensinger refers
to his notes as he talks
into the phone.
BENSINGER
Here's the situation on the eve of the hanging
...
Murphy
continues playing his cards
.
MURPHY
(into phone)
This is Murphy. More slop on the hanging.
BENSINGER
(into phone)
A double guard's been thrown around the jail, municipal buildings, railroad terminals, and elevated stations to prepare for the expected general uprising of radicals at the hour of execution.
MURPHY
(into phone)
Ready? The Sheriff's just put two hundred more relatives on the payroll to protect the city against the Red Army -- which is leaving Moscow in a couple of minutes.
(consults his hand)
Up a dime.
BENSINGER
(into phone)
The Sheriff has just received four more letters threatening his life, but he says nothing can interfere with his duty.
MURPHY
(into phone)
And to prove to the voters that the Red Menace is on the level, the Sheriff has written himself four more letters, threatening his life. I know he wrote 'em on account of the misspellings.
The card game continues.
ENDICOTT
Trouble is, when the Red Menace shows up the Sheriff will still be crying
"
Wolf
"
!
MURPHY
What have you got, Hildy?
HILDY
Kings and sixes.
MURPHY
(throw
s
down)
That's good.
HILDY
(sweep
s
coins in)
"
Kings and sixes
,
The pot affixes
"
... Poetry. I learned that at my grandma's knee.
WILSON
That's why I keep losing. My grandma was a modest woman -- nobody ever saw her knees, not even my
grandpop
.
INT.
Walter's
OFFICE
- DAY
The doctor has gone.
Walter
adjusts
his shirt
and sits in a chair
. Bruce
sits
at the desk.
BRUCE
I don't know. This makes me feel funny.
WALTER
Why shouldn't I make Hildy my beneficiary? I've got nobody else to leave it to.
BRUCE
I feel I ought to take care of her.
WALTER
Well, you'll take care of her. After all, if that doctor's right, I'm going to live for a long time yet. Look, Bruce, this is a debt of honor. I was a very bad husband
.
Hildy could have got a lot of alimony if she'd wanted to, but she wouldn't take any. She had it coming to her, but she was too independent.
BRUCE
Well, I'm independent, too.
WALTER
Figure it this way: I ought to be good for twenty-five years. By that time, you'll probably have made enough so that the money won't mean anything. But suppose you haven't made good -- don't you think Hildy's entitled to a quiet old age without any worries?
BRUCE
Well, of course, if you put it that way.
WALTER
(
uncharacteristically honest
)
And remember this, Bruce! I love her, too.
BRUCE
I'm beginning to realize that.
WALTER
And the beauty of it is she'll never have to know till I've passed on. Maybe she'll think kindly of me --- after I'm gone.
BRUCE
(a lump in his throat)
Gee, you almost make me feel like a heel -- coming between you.
WALTER
No, Bruce, you didn't come between us. It was all over for her before you came on the scene. For me -- it'll never be over.
He turns away, wipes his eyes, and sneaks a glance to see how that goes over. It goes over big -- Bruce hurriedly wipes a tear away.
Duffy
enters and places a check on the desk.
DUFFY
Here's that certified check, Walter.
(sotto voce)
I drew out my wife's savings, and if this isn't back by
five-thirty
I'm a ruined man!
WALTER
(also sotto voce)
Don't worry, Duffy, you'll have it back by five.
(louder)
Thanks, Duffy. Stick around.
(pick
s
up check
,
rises)
He walks over to Bruce.
WALTER
Well, Bruce, here you are -- certified and everything.
BRUCE
(also rising)
Certified! I'm afraid
Hildy'd
feel ashamed to think she hadn't trusted you.
Duffy
reacts to this
in
solemn thought.
Walter
walks Bruce toward
the
door, his arm around him.
BRUCE
Well, she'll know some day.
WALTER
That's all I ask. Oh, wait a minute.
He releases Bruce, runs back and gets umbrella and brings it to him.
WALTER
Don't want to forget this, you know. Might start to rain again.
BRUCE
Thanks. I'll phone Hildy right away to get that story.
Walter
opens the door for Bruce.
Loui
e
sits
at a desk, apparently engrossed in a newspaper. He is all alert, however. Bruce and
Walter
approach
talking.
WALTER
Well, anyway, I know Hildy's getting a good man.
BRUCE
(embarrassed)
Thanks a lot.
They pass Loui
e
. He looks up.
Bruce, still embarrassed, looks down.
Walter
turns and signals to Loui
e
.
Louie
watch
es
.
Walter
points to Bruce's back.
Loui
e
nods.
WALTER
Well, I got to get back. You can find your way out, can't you?
BRUCE
Oh, sure.
(extends his hand)
Well, thanks for everything.
WALTER
Don't thank me. I should thank you. So long.
BRUCE
So long.
Bruce
turns and goes.
Walter
watches him.
Loui
e
comes between
Walter
and Bruce and follows Bruce out as
he
heads
toward
the exit
.
Walter
rubs his hands in glee as he starts back
to
his office.
INT. PRESS ROOM
- DAY
Hildy
rakes
in a pot.
HILDY
I don't know why you boys are so good to me.
MCCUE
(throw
s
cards down)
Your poker's improved a lot, Hildy. Lend me two bucks, will you?
HILDY
Nothing doing. I'm playing for keeps.
A
whir and crash from the gallows
startle all.
Bensinger goes to the window, looks out.
BENSINGER
I wish they'd stop that practicing.
The others drift
over to
look out of the window.
EXT
. COURTYARD THE GALLOWS
- SAME
The trap is sprung by two or three earnest men.
INT. PRESS ROOM
- SAME
HILDY
(turns away)
Well, anyhow, I won't be covering stuff like this
anymore
.
SCHWARTZ
What's the matter? Getting yellow?
A phone rings.
McCue
answers it.
MCCUE
For you, Hildy.
Hildy
takes the phone and speaks into it.
HILDY
Hildy Johnson... Oh, hello, Bruce. Have you got it? Is it certified?
INT. PHONE BOOTH
- SAME
BRUCE
Certified and everything. Got it right here in my wallet... What? No, he's not here -- I'm in a phone booth.
INT. PRESS ROOM
- SAME
McCue
hovers
near.
MCCUE
Certified,
eh
? Who is it -- your milkman?
HILDY
(in
to
phone)
But, Bruce, don't keep it in your wallet!... Well, you see --
(she is thinking rapidly)
-- there's an old newspaper superstition that the first big check you get you -- you put in the lining of your hat. That brings you good luck for ten years.
MCCUE
Say, I've been a reporter twenty years and never heard any hooey like that.
Where'd
you get it?
HILDY
(
covers receiver;
to
McCue
)
I made it up just now, and who's asking you?
(into phone)
I know it's silly, honey, but do it for me, won't you?... Yes, right now.
INT. PHONE BOOTH
- SAME
BRUCE
All right. Wait a minute.
Bruce
takes
the
check out of
his
wallet, folds it into
the
lining of
his
hat.
BRUCE
All right. I've done it. Now, are you satisfied?
INT. PRESS ROOM
- SAME
HILDY
Fine. And here's a kiss for you.
Hildy
blows a kiss into the phone. Immediately kiss
ing
sounds
fill the room
. She looks up and glares.
HILDY
(into phone)
Now, darling, you go back to the hotel and pack and you and Mother pick me up here about half-past five. Goodbye, dear.
INT. PHONE BOOTH
- SAME
He blows a kiss into the phone and hangs up.
EXT. RESTAURANT
- DAY
Studying a paper,
Louie
reads for a moment. Bruce comes out and starts
down the street
. After a second, Loui
e
follows.
INT.
COUNTY JAIL -
CELL BLOCK
ENTRANCE - DAY
WARDEN COOLEY
sits at a desk near the grilled doorway that leads to the cells. He
studies
a
r
acing
f
orm.
Hildy's hand reaches and flicks the newspaper.
Cooley
looks up
to see Hildy.
COOLEY
Hello, Hildy! What are you doing around here?
HILDY
I want to interview Earl Williams, Warden. How about a little service?
COOLEY
No more interviews. Besides, a doctor's coming over.
Hildy reaches down -- comes up with
a $20
bill.
HILDY
Say, isn't this your twenty dollars?
COOLEY
(looks at bill eagerly)
I think it is.
She hands it over.
HILDY
I thought so. Come on, I'm in a hurry.
Cooley pockets the twenty and reaches for his key ring.
EXT. STREET
- DAY
There is a milling mob around a
n unseen
center of activity.
A COP
sees this and strolls determinedly toward
the crowd
.
The cop comes in and breaks ranks. He pushes his way toward center and looks down.
Bruce is
held
down on the ground
by Loui
e
.
COP
What's going on?
LOUI
e
This guy stole my watch.
The cop lugs Bruce and Louie to their feet.
COP
Have you got his watch?
BRUCE
He's crazy. I haven't any watch.
LOUI
E
I saw him. He put it in his back pocket.
BRUCE
I haven't got --
COP
Wait a minute.
The cop reaches into Bruce's back pocket.
The w
atch comes out.
COP
(to
Louie
)
Is this yours?
Louie
Yeah! That's it!
COP
What about it?
BRUCE
I never saw it before.
The c
op grabs Bruce.
Louie
grabs his other arm.
COP
Come on!
The cop
whistles.
COP
(to mob)
Beat it!
A
s they go through crowd
, t
he look on poor Bruce's face, muddy anyhow, is something. Suddenly, Bruce cries:
BRUCE
My hat!
COP
Get his hat, somebody.
Bruce's hat lies
top up, in a puddle.
A h
and
from the crowd
reaches in and picks it up.
The
hat is passed to
the
cop, who jams it down on Bruce's head.
Another
takem
from Bruce.
have no idea what "takem" is
INT. COUNTY JAIL
- DAY
A
t the door of Earl Williams' cell
,
Hildy sits on a stool, pencil and copy paper in hand.
EARL WILLIAMS
sits at the edge of his cot, facing Hildy. There is a bouquet of roses in a water pitcher by the cot.
At first, Williams seems
a rational, well-poised citizen
.
WILLIAMS
I couldn't plead insanity, because you see I'm just as sane as anybody else.
HILDY
(puzzled and worried)
You didn't mean to kill that policeman?
WILLIAMS
Of course not. I couldn't kill anybody -- it's against everything I've ever stood for. They know it was an accident. They're not hanging me for that -- they're hanging me for my beliefs.
HILDY
What are your beliefs, Earl?
WILLIAMS
They're very simple. I believe in the Golden Rule. I'm not the first man to die for preaching it. But if they would only listen to it -- we could have a fine, decent world instead of this mass of hate that makes man do such cruel things.
HILDY
How would you go about applying the Golden Rule, Earl?
WILLIAMS
I'd do away with the profit system and have production for use only. There's enough food and clothing and shelter for everybody if we'd use some sense.
HILDY
(writing)
"Production for use only." Well, maybe that's the answer.
WILLIAMS
It's the only answer. Everything has a use and if we let it be used for its purpose, we could solve all our problems. Food was meant to be eaten, not stored away in restaurants while poor people starved; clothing was meant to be worn, not piled up in stores while people went naked. Doesn't that make sense?
HILDY
(thoughtfully)
Yes, that makes a lot of sense, Earl.
WILLIAM
Just use things for what they were meant, that's all.
HILDY
Sure.
(she studies him a moment)
What's the purpose of a gun, Earl?
WILLIAMS
A gun?
H
e thinks -- then a revealing smile breaks out
.
WILLIAMS
Why -- to shoot, of course.
HILDY
Is that how you came to shoot the policeman?
WILLIAMS
Sure. You see, I'd never had a gun in my hand before and I didn't know what to do with it. Well, when I get stuck, I know that there's an answer for everything in production for use. So it came to me in a flash: what's a gun for? To shoot! So I shot. Simple isn't it?
HILDY
(writing)
Very simple, Earl.
WILLIAMS
There's nothing crazy about that, is there?
HILDY
No, Earl, not at all.
(she indicates the flowers)
Who sent you the flowers, Earl?
WILLIAMS
(reverently)
Miss Mollie
Malloy
. She's a wonderful person.
HILDY
(pointing to picture pinned on wall)
Isn't that her picture?
WILLIAMS
(turning toward it)
Yes. Isn't she beautiful?
INSERT: PICTURE OF MOLLIE
HILDY
If you should be pardoned, are you figuring on marrying Mollie?
EARL
Oh, no, she's much too good for me.
HARTMAN
(O.S.)
How'd
you get in here?
SHERIFF HARTMAN
approaches
. Hildy turns toward him.
HILDY
Same way you did.
(pointing)
Through that gate.
HARTMAN
I gave strict orders that nobody was to interview Williams without my permission.
HILDY
All right, then, I'll just run the story that Sheriff Hartman is afraid to let reporters interview his prisoner. Of course, with election coming, that might do you a lot of harm, but just as you say.
HARTMAN
Now, wait a minute! I'm not afraid of anything. What were you going to write about Williams?
HILDY
Oh, nothing much. Just that the state had proved he was sane -- and he admits it himself. If you don't want me to run it --
HARTMAN
(beaming)
Oh,
that'll
be all right, Hildy. Go ahead, run it. And you can say I treated him well, too.
(turning toward Williams)
'Lo, Earl. How are you feeling?
WILLIAMS
Fine, thanks, Sheriff.
HARTMAN
That's good, Earl. Oh, they've got another alienist to see you. He ought to be here any minute. Don't go to sleep, will you?
WILLIAMS
I won't.
HARTMAN
(to Hildy)
Hildy,
how'd
you like a couple of tickets for the hanging?
HILDY
(in a low voice so Williams won't overhear)
No, thanks Sheriff. I'm leaving town tonight.
HARTMAN
(just as loud as ever)
You ought to stay over. You always wrote a good hanging story, Hildy.
HILDY
That's awful kind of you, Sheriff. I've got to get started on my interview. See you later.
WILLIAMS
Don't forget about production for use.
HILDY
I won't, Earl.
She leaves.
INT. PRESS ROOM - NIGHT
The
poker
game is on. Bensinger, at his desk,
reads
a book. The electric lights have been switched on.
MURPHY
(rak
es
in a pot)
Well, a guy can win when Hildy ain't around.
ENDICOTT
Who's this guy she's
gonna
marry?
WILSON
Baldwin -- his name is.
SCHWARTZ
I give that marriage six months.
MCCUE
Why?
SCHWARTZ
Hildy won't be able to stay away from a paper any longer than that. Did you see her eyes light up when she came in here? Like an old fire horse.
MURPHY
She says she's
gonna
write fiction.
ENDICOTT
Well, if she's
gonna
write fiction, there's nothing like being a reporter.
SCHWARTZ
I'll give ten to five that marriage won't last six months. Hildy's a newspaper man. She's got headlines in her veins -- the way we all have or we'd be out of these lousy jobs.
MOLLIE
MALLOY
, pretty, street-tough,
appears in
the
doorway. She moves slowly into the room.
MCCUE
Well, well -- Miss Mollie
Malloy
.
MURPHY
Hello, Mollie.
WILSON
How's tricks, Mollie?
MOLLIE
I've been
lookin'
for you tramps.
ENDICOTT
Kid, those were pretty roses you sent Earl. What do you want done with them tomorrow morning?
MOLLIE
(tensely)
A lot of wise guys, ain't you?
SCHWARTZ
(uncomfortably)
You're breaking up the game, Mollie. What do you want?
MOLLIE
I want to tell you what I think of you -- all of you.
Hildy appears in the doorway and comes into the room.
MURPHY
Keep your shirt on.
MOLLIE
(to Murphy)
If you was worth breaking my fingers on, I'd tear your face wide open.
Hildy goes to
the typing desk
and begins typing away.
MURPHY
What are you sore about, sweetheart? Wasn't that a swell story we gave you?
MOLLIE
You crumbs have been making a fool out of me long enough!
BENSINGER
(ris
es
and com
es
over)
She oughtn't be allowed in here!
MOLLIE
(flaring)
I never said I loved Earl Williams and was willing to marry him on the gallows! You made that up! And about my being his soul
mate and having a love
nest with him.
Endicott
look
s
up at her.
ENDICOTT
You've been sucking around that cuckoo ever since he's been in the death-house. Everybody knows you're his sweetheart.
Mollie
blows up.
MOLLIE
That's a lie! I met Mr. Williams just once in my life when he was wandering around in the rain without his hat and coat on, like a sick dog, the day before the shooting. I went up to him like any human being would and I asked him what was the matter, and he told me about being fired after working at the same place for fourteen years, and I brought him up to my room because it was warm there.
Hildy types
away, stops to look over at Mollie, then resolutely turns away, studies her
notes
, and begins typing again.
MURPHY
Aw
, put it on a phonograph!
MOLLIE
Just because you want to fill your lying paper with a lot of dirty scandal, you got to crucify him and make a stooge out of me!
ENDICOTT
(to Mollie)
Got a match?
MOLLIE
(heedless)
I tell you he just sat there talking to me -- all night. And never once laid a hand on me. In the morning he went away, and I never saw him again till that day at the trial!
The boys laugh.
Mollie
lashes out at them.
MOLLIE
Go on, laugh! I'd like to know some curses bad enough for your greasy souls! Sure, I was his witness -- the only one he had. Yes -- me -- cheap little Mollie
Malloy
! I'm everything the District Attorney said I was. And still I was the only one with guts enough to stand up for him! I told the truth and the District Attorney knows it! That's why you're
persecutin'
me! Because Earl Williams treated me decent and not like an animal -- and I said so!
MURPHY
(finally irritated)
Go into your dance! This is the Press Room. We're busy.
WILSON
Why don't you go and see your boyfriend?
ENDICOTT
(winks at the others)
But you'll have to hurry up -- he left a call for seven A.M.
MOLLIE
(through her teeth)
It's a wonder a bolt of lightning don't come down and strike you all dead!
The
sound of the gallows
comes from outside
. Mollie gasps.
ENDICOTT
(suddenly uncomfortable)
Don't get hysterical, kid.
MOLLIE
(begins to sob)
Shame on you!
Mollie stares at Murphy.
MOLLIE
(hysterically)
A poor little fellow that never meant nobody no harm! Sitting there alone this minute with the Angel of Death beside him, and you cracking jokes!
Hildy
typ
es
away furiously, regardless of this. She ends a page. The sound of Mollie sobbing
sweeps
over the scene. Hildy inserts a fresh page.
MURPHY
If you don't shut up, we'll give you something to cry about!
Hildy looks
back
and rises determinedly.
Mollie backs away from Murphy,
still sobbing. Hildy
gets up and
puts her arm around Mollie.
HILDY
(gently)
Come on, Mollie. This is no place for you.
S
he leads Mollie toward
the
door
.
MOLLIE
They're not human!
HILDY
They're newspaper men, Mollie. They can't help themselves. The Lord made them that way.
Mollie gives one look back as Hildy leads her out door.
MOLLIE
It wasn't the Lord! It was the devil!
Hildy and Mollie exit. There is a pause. The boys look at each other uncomfortably. The phone rings. Wilson goes to answer.
MURPHY
(picking up cards)
You guys wanna play some more poker?
ENDICOTT
What's the use? I can't win a pot.
WILSON
(into phone)
Who? Hildy Johnson? She just stepped out. She'll be back in a second. Who? Oh, Mr. Baldwin. Well, if you'll hang on a minute, she ought to be right in. All right.
H
e covers
the
transmitter
, eyeing the door.
WILSON
(to others)
Baldwin. The blushing bridegroom -- himself.
SCHWARTZ
What's he want?
WILSON
Wants Hildy -- and sounds very excited.
Hildy comes back. Looks at them and stares contemptuously.
HILDY
Gentlemen of the Press! Always picking on somebody who can't defend himself -- the littler the better.
WILSON
Phone for you, Hildy.
HILDY
(going toward it)
Who is it?
WILSON
Oh, some insurance man. Are you in?
HILDY
(grabbing phone)
Give me that!
HILDY
(into phone)
Hello! Hello! Bruce?...
W
hat?... Where are you?... You're where?... How did that happen?...
(she listens unbelievingly a second)
I'll be right over!
A
s Hildy hangs up and darts out of room
, t
he others watch in amazement.
MURPHY
Boy, did you see her go?
ENDICOTT
"
Lioness Rushes to Defense of Cub.
"
WILSON
I told you Baldwin was in trouble.
MCCUE
Probably went out without his hankie and wants Mamma to wipe his nose.
SCHWARTZ
I still give that marriage six months.
Bensinger on the
phone.
BENSINGER
Hello, baby, get me the Sheriff's offic
e
, will you... Hello, Sheriff Hartman?... This is Bensinger. How about that favor? You know what: once and for all, will you hang this guy at five A.M.
instead
of seven? It won't hurt you and we can make the City Edition.
INT. SHERIFF'S OFFICE
- NIGHT
SHERIFF HARTMAN
on the
phone.
HARTMAN
(indignantly)
Once and for all, I'm not going to hang anybody except at the legal hour... What? Don't threaten me, Bensinger! I'm not afraid of any newspapers. Yeah?... Oh, shut up!
H
e hangs up
. I
n afterthought
he calls
the
operator
.
HARTMAN
And, operator, I told you not to disturb me! I don't care who calls
–
- I don't want to be disturbed again till I tell you!
H
e hangs up
and
turns to
someone unseen in the room.
HARTMAN
How do you like that, Dr. Egelhoffer? Want me to hang williams at their convenience!
Williams, Sheriff Hartman and
DR
.
EGELHOFFER
are the only occupants of room. Williams is seated facing a large standing searchlight.
EGELHOFFER
The newspapers! Sheriff, they're the scum of modern civilization.
HARTMAN
You said it!
EGELHOFFER
They're always after me for interviews.
HARTMAN
Me, too.
EGELHOFFER
(fencing)
Of course, I sort of promised them I would give out a statement when I got through here. You don't mind?
HARTMAN
(not liking it)
Well, I don't know if that's ethical. You see, all statements are supposed to come from me.
EGELHOFFER
(he'll bargain)
We'll have to satisfy them. What would you say to giving them a joint interview? I could give them some of the psychological aspects of the case and you could give them the legal aspects.
HARTMAN
(he buys)
A joint interview,
eh
? That might be all right. We could have our pictures taken together, Doctor.
EGELHOFFER
Yes, shaking hands. I don't take a very good picture, though.
HARTMAN
It doesn't matter. The publicity's the main thing.
EGELHOFFER
Yes, I suppose so. It all helps.
WILLIAMS
(just a spectator
till
now)
Are you gentlemen all through with me?
EGELHOFFER
Oh, I'm sorry. I forgot you were here. No, Mr. Williams, we still have some questions for you. Sheriff, will you kindly extinguish the lights?
Hartman
puts out the lights and the Doctor switches on the searchlight, which shines in Williams' face.
EGELHOFFER
You know you are to be executed, Mr. Williams. Who do you feel is responsible for that?
WILLIAMS
The system. But I'm not afraid to die, Doctor. I'm dying for what I believe.
EGELHOFFER
I see. You realize, however, that you committed a crime?
WILLIAMS
In a legal sense, yes. But not actually. Actually, I'm innocent. I didn't do anything.
INT. POLICE CELL
- NIGHT
Bruce looks out through the bars.
BRUCE
I'm innocent. I didn't do anything. I never stole a watch in my life.
Hildy
is
outside. A police
LIEUTENANT
is
with her in
the
b.g
.
HILDY
I know you didn't, Bruce.
She whirls on
the
lieutenant.
HILDY
(to lieutenant)
Let him out of here, Lieutenant.
LIEUTENANT
(
conciliatingly
)
But, Hildy, I can't. He's accused of stealing a watch. And they found the watch on him.
HILDY
And who accused him? Diamond
Louie
! One of the worst crooks in town! Why don't you arrest
Louie
instead of innocent people that he frames?
LIEUTENANT
Now, Hildy --
HILDY
Don't Hildy me! Are you going to let him out?
LIEUTENANT
I can't.
HILDY
All right. You can't. But tomorrow the Post will run the story of that roulette game on
Forty-thi
rd Street that your brother-in-law runs. And we'll print that you get five hundred a month for forgetting about it!
LIEUTENANT
Now, Hildy, don't be hasty! I can't let him out.
HILDY
You can let him out on bail, can't you?
LIEUTENANT
Five hundred dollars.
HILDY
You'll take fifty and like it!
LIEUTENANT
(wavers)
Well, all right. But I'm liable to get into a jam.
He starts to open cell door.
HILDY
You'll get into a worse one if you don't.
INT. TAXI
- NIGHT
Hildy is combing Bruce's hair. He begins to look presentable. He fumbles in his breast pocket.
HILDY
What's the matter?
BRUCE
I lost my wallet.
HILDY
(stops)
The check, Bruce!
Bruce picks up his hat and
takes the
check out of
the
lining.
BRUCE
That's right here. Gee, it was lucky your telling me about that old newspaper superstition.
Hildy takes the check and puts it away.
HILDY
Yes, wasn't it?
BRUCE
I can't imagine who did it. I can't think of any enemies I have.
HILDY
(looking at him fondly)
I'm sure you haven't any.
BRUCE
For a minute, I thought maybe Walter Burns was at the back of it. But then I realized he couldn't have been.
HILDY
Oh, no. How could you ever think of such a thing?
BRUCE
Oh, I realized right away. He's really a very nice fellow, Hildy -- I found that out.
HILDY
Yes, he is... Look, Bruce, we're taking that next train -- and when I say next train, this time I mean it!
BRUCE
Did you finish the interview?
HILDY
(to driver)
The Criminal Courts Building.
The driver nods.
HILDY
(to Bruce)
No -- but I'm sure it'll be all right with Walter.
BRUCE
But, gee, Hildy -- he gave us that insurance business -- and you promised --
HILDY
Well, the story's practically finished. I'll just go upstairs and send it over with a messenger.
The cab stops. Hildy gets out and Bruce starts to follow. Hildy turns and pushes him back in the cab.
EXT. STREET
- CONTINUOUS
Hildy's a
t door of
the
cab. Bruce
is
in
the
cab.
HILDY
No, you stay here. I'm not taking any more chances. I'll be down in three minutes -- and don't you dare move!
Hildy turns and starts for
the
stairs of Criminal Courts Building.
INT. PRESS ROOM
- NIGHT
At the typing desk,
Schwartz
reads
Hildy's interview to the other boys, who are grouped around. Bensinger is at his
roll-top
desk, a book open, but listening.
SCHWARTZ
(reading)
"But the State has a production for use plan, too. It has a gallows and at seven A.M., unless a miracle occurs, that gallows will be used to separate the soul of Earl Williams from his body. And out of Moll
ie
Malloy's
life will go the one kindly soul she ever knew --"
(he stops)
That's as far as Hildy got. But, I ask you, can that girl write an interview?
BENSINGER
I don't think it's very ethical reading other people's stuff.
ENDICOTT
Don't give us that ethics stuff. You'll be the only one who'll swipe any of it.
SCHWARTZ
I still say anybody that writes like that ain't going to give it up permanently to sew sox for a guy in the insurance business. Now I give that marriage three months and I'm laying three to one. Any takers?
HILDY
(O.S.)
I'll take that bet.
They turn. Hildy comes in
and goes to her phone, picks it up.
HILDY
It's getting so a girl can't step out of the room without being discussed by a bunch of old ladies.
(into phone; her voice assumes a silken quality)
Hello, Post... Mr. Walter Burns, please.
SCHWARTZ
(embarrassed)
Well, Hildy, we were only saying that a swell reporter like you wouldn't give this up so easily.
HILDY
(into phone)
This is Hildy Johnson...
(to Schwartz)
Oh, I can give it up all right. Without a single quiver. I'm going to live like a human being -- not like you rats.
(into phone)
Oh, is that you, Walter dear? Oh, I didn't mean "dear." That was just habit, I guess.
..
Oh, be
have
yourself, Walter. I've got some news for you... Yes, I got the interview, but I've got some news that's more important.
The others are listening, suspecting a scoop.
HILDY
Better get a pencil out and write it down. All ready?
(then with a sudden change of pace)
Get this, you double-crossing chimpanzee, there ain't
gonna
be any interview and there ain't
gonna
be any story... Huh? That certified check of yours is leaving with me in twenty minutes. And if I ever see you again, it's going to be just too bad...
Eh
?... Oh, you don't know what I'm angry about, do you? If you come over I'll be very glad to tell you the story of Louie's watch. I dare you to come over, you -- you -- skunk in sheep's clothing! And bring that bodyguard of yours, too -- you'll need him.
The others hold back their impressed and awed reactions.
HILDY
...And I just want you to listen to one more thing.
She gets her story out of
the
typewriter, applies it to
the
transmitter and tears it up.
HILDY
Hear that? That's the interview I wrote... Yes, I know we made a bargain. I just said I'd write it -- I didn't say I wouldn't tear it up. Yes, it's all in little pieces now, Walter, and I hope to do the same for you some time!
She hangs up
and
reaches under
the typing
desk, pulls up
her
bag, talking all the time. The others are too startled to do anything but listen.
HILDY
And that's my farewell to the newspaper game. I'm going to live a normal life and have a home.
She reaches into the desk
drawer
and gets some stuff which she puts into bag.
HILDY
I'm going to be a woman, not a
newsgetting
machine. I'm going to have babies and nurse them and love them and give 'em cod liver oil and worry about their new teeth -- and the minute I catch one of them even looking at a newspaper, I'm going to brain him! Where's my hat?
Someone points to her hat. She rises and goes toward it. Her bag is still open. Her phone rings. Schwartz answers it.
SCHWARTZ
(subdued tones)
Hello, Mr. Burns. Yes, she's still here.
HILDY
(stopping midway to her hat)
I'll take it.
S
he comes over
and takes the
phone
, talks into it.
HILDY
What's the matter, Mr. Burns
...
don't you understand English?
...
Why, your language is shocking, Mr. Burns -- positively shocking! I don't mind because I was married to you and know what to expect, but suppose Central is listening in... Oh, did you hear that, Central? We ought to report him, don't you think?... Oh,
ph
ooey on you!
She pulls the phone out of the wall, walks toward
the
window and tosses it out of the window. She waits for the crash
and
turns back
.
HILDY
Now where was that hat? Oh, yes.
She starts toward it.
INT. SHERIFF HARTMAN'S OFFICE
- NIGHT
WILLIAMS
I hope you're pretty nearly through with me, Doctor, I'm getting a little fatigued.
HARTMAN
Yeah, you don't want to tire him out, Doctor.
EGELHOFFER
Just one thing more. I'd like to reenact the crime, Mr. Williams. May I have your gun, please, Sheriff?
Hartman starts to take gun out, hesitates.
HARTMAN
I don't know --
EGELHOFFER
(insistently)
Come, come, Sheriff, lightning doesn't strike in the same place twice. Nothing's going to happen.
Hartman hands him the gun.
EGELHOFFER
Now, the Sheriff will be Mollie
Malloy
, in whose room you were. You will be Earl Williams. And I will be the policeman. Follow me, Mr. Williams
.
WILLIAMS
Yes, sir.
Egelhoffer hands the gun to Williams and then backs up a few paces.
EGELHOFFER
So -- now I say to you:
"
Earl Williams, you are under arrest!
"
and
you point your gun at me.
WILLIAMS
(hesitantly)
Well, it wasn't exactly that way --
EGELHOFFER
(insistently)
Point the gun at me!
Williams does so.
EGELHOFFER
Then what did you do?
Williams hesitates for a moment and then pulls the trigger. Hartman promptly dives under the desk as Egelhoffer topples over.
WILLIAMS
(pathetically)
Now can I go, please?
There is a loud banging on the door
.
DEPUTY (O.S.)
Hey, Sheriff! Open up! What happened?
Williams, alarmed by
the
voice, turns and starts toward
the
window.
INT. PRESS ROOM
- NIGHT
Hildy is now wearing her hat and gloves. She picks up her bag and starts for the door.
ENDICOTT
Goodbye,
Yonson
.
MCCUE
So long, Hildy.
MURPHY
Send us a postcard, kid.
SCHWARTZ
W
e
'll keep the lamp in the window for you.
BENSINGER
Goodbye, Hildy.
Hildy has crossed to
the
doorway
.
She turns and faces the room to make a last bravura speech.
HILDY
Well, goodbye, you wage-slaves. When you're crawling up fire escapes, getting kicked out of front doors, and eating Christmas dinners in one-armed joints, don't forget your pal, Hildy Johnson! And, remember, my husband sells insurance!
She turns and starts on a bit of verse:
HILDY
"It takes a heap o'
livin'
to make a house a home."
She is interrupted by a terrific fusillade of shots in the courtyard. A roar of excited voices
follow
.
For a tense second, everyone
in the room
is motionless. There is another volley of shots. Wilson, Endicott and Murphy jump for the window.
DEPUTIES (AD LIB) (O.S.)
"
Get the riot guns!
"
"
Spread out, you fellows!
"
WILSON
There's a jail-break!
MURPHY
Cooley! What's the matter
?
What's happened?
COOLEY (O.S.)
Watch the gate! He's probably trying the gate!
Outside, a siren begins to wail.
ENDICOTT
(out the window)
Who got away? Who was it?
COOLEY (O.S.)
Earl... Williams!!!
REPORTERS
(AD LIB)
"
Who? Who'd he say?
"
"
Earl Williams!
"
"
It was Earl Williams!
"
"
He got away!
"
MCCUE
Holy --!
Gimme
that telephone!
(works hook frantically)
Hurry! Hurry up! This is important!
Searchlights hit the windows, sweeping from
the
direction of the jail.
Hildy stands paralyzed, her bundle in her hand.
There is another rifle volley. Two windowpanes crash into the room. Some plaster falls. Gongs sound above the siren.
The boys
jump
for their telephones. Another windowpane goes.
MCCUE
(screaming)
Look out!
MURPHY
(out the window)
Look out where you're aiming, will you?
A QUICK MONTAGE
- REPORTERS AT THEIR PHONES
REPORTERS (AD LIB)
"
Gimme
the desk!"
"Flash!"
"Earl Williams just escaped!"
"Don't know yet -- call you back."
After each man communicates with his paper, he dashes for the door
until t
he last of the reporters is gone.
Hildy's
bag, almost unnoticed, falls to the floor
as she moves back into the room, absently grabbing and trailing a chair.
HILDY
Ahhh
--
She lets go of the chair and takes one of the telephones.
HILDY
Morning Post?... Get me Walter Burns -- quick! Hildy Johnson calling.
Very calmly she sits on the long table, her back against the wall and waits.
HILDY
Walter?... Hildy. Earl Williams just escaped from the County Jail. Yep... yep... yep... don't worry! I'm on the job!
She hangs up.
There is another volley outside. Hildy sails her hat
to the coat tree
and starts peeling off her gloves as she jumps for the door.
EXT. COURTYARD -
NIGHT
The reporters join armed guards leaping into squad cars ready for the chase.
Cooley is beside the gate.
T
he gate opens and out they go.
EXT.
DOOR LEADING FROM BUILDING TO COURTYARD
- NIGHT
Hildy comes on a run from this door, hesitates a moment, then
notices
something and runs for it.
EXT.
SQUAD CAR
- NIGHT
A
s it comes careening across
the
courtyard toward gate
,
Hildy
runs
, jumps for and makes the running-board, and hangs there as the car swerves up to the gate.
EXT. GATE - CONTINUOUS
Hildy notices Cooley as the car, gathering speed, goes by him. She leaps from the running-board and lands
hard
on Cooley
, knocking him to the ground. She ends up
sitting on him.
HILDY
Cooley, I want to talk to you.
COOLEY
(trying to get up)
Hildy -- I can't. I'm busy -- I -- Let me up, Hildy. Earl Williams has escaped --
He struggles.
HILDY
There's money in it, Cooley.
COOLEY
I can't Hildy. It means my job! It means --
HILDY
(interrupting him)
A lot of money.
(she opens her bag)
Four hundred and fifty dollars --
She fingers the bills.
COOLEY
How much?
HILDY
Four hundred and fifty dollars. Is it a deal?
COOLEY
It's a deal. Let me up.
Cooley gets up and dusts himself off.
COOLEY
Let's see the money.
HILDY
(money still in her hand)
First we talk. How did Earl Williams get that gun?
Cooley looks around quickly.
COOLEY
Come on, and I'll tell you.
He jerks his head, indicating to Hildy to follow him.
They move off as the gates are closed.
INT. PRESS ROOM -
NIGHT
The room is empty. All the telephones are ringing crazily. Endicott enters hurriedly, crosses to his phone.
ENDICOTT
(into phone)
Endicott talking.
..
No -- nobody knows where he got the gun, but I think Mollie
Malloy
smuggled it in to him. He ran up the fire-escape, and went back in the infirmary window. Then he got out through the skylight. He must have slid down the rain-pipe to the street.
MURPHY
(O.S.)
Gimme
the Desk.
Murphy and Endicott
are
at separate phones.
ENDICOTT
No, I tell you! Nobody knows where he got it.
MURPHY
The Crime Commission has offered a reward of ten thousand dollars for Williams' capture.
ENDICOTT
Call you back.
He hangs up swiftly and goes out.
MURPHY
No clue yet as to Earl Williams' whereabouts. Here's a little feature though: There's been an accident about a tear bomb --
Wilson enters and picks up his phone.
WILSON
(into phone)
Wilson talking.
MURPHY
Yeah -- tear bomb. Criminals cry for it.
Hartman
enters as he turns back to someone
unseen
in
the
corridor
.
HARTMAN
If the Mayor wants me, he knows where I am.
MURPHY
(into phone)
This tear bomb went off unexpectedly in the hands of Sheriff Hartman's Bombing Squad.
HARTMAN
What went off?
MURPHY
(into phone)
Four of Mr. Hartman's Deputy Sheriffs were rushed to the hospital --
HARTMAN
A fine fair-weather friend you are!
MURPHY
(remorselessly, into phone)
The names are
Merwyn
D. Mayor, who is the Mayor's brother-in-law --
HARTMAN
After all I've done for you --
MURPHY
(continuing)
Howard
Shenken
, the Sheriff's uncle on his mother's side --
WILSON
(into phone)
Hello, Jim? Sidelights on Sheriff Hartman's manhunt.
Hartman
spins around -- another enemy. At this moment Hildy enters the room and crosses casually to her telephone where she stands waiting.
MURPHY
(into phone)
William
Lungren
, who is the Sheriff's landlord, and Lester
Bartow
who married the Sheriff's niece. You remember, the very homely dame. Call you back.
He hangs up.
WILSON
(into phone)
Mrs. William
Tausig
, age fifty-five, scrub lady, while at work scrubbing the eighth floor of the Commerce Building, was shot in the left leg by one of Sheriff Hartman's deputies.
Hartman groans. There is a sound of machine-gun firing in the courtyard.
HILDY
There goes another scrub lady.
WILSON
(into phone)
I'll go right after it.
He hangs up and exits.
MURPHY
(to Hildy)
Any dope yet on how he got out?
HILDY
From all I can get the Sheriff let him out so's he could vote for him.
HARTMAN
I'm very disappointed in you, Hildy Johnson.
He turns and exits.
MURPHY
How do you suppose Williams got that gun?
As Hildy shrugs, there is another flurry of machine-gun fire. Murphy leaves precipitately.
Hildy, alone at last, picks up the phone
and speaks into it.
HILDY
Give me Walter Burns -- quick --
She lays down the telephone receiver and crosses to the door
,
which she closes, then returns to the phone.
HILDY
(picking up phone)
Walter, listen. I've got the inside story on how Williams got the gun and escaped.
INT.
Walter's
OFFICE -
SAME
Walter is
at his desk, telephone to his ear.
WALTER
Exclusive? That's great.
INT. PRESS ROOM - NIGHT
HILDY
It cost me four hundred and fifty bucks to tear it out of Cooley.
INT. Walter's OFFICE - SAME
WALTER
Never mind that. What's the story?
INT. PRESS ROOM - NIGHT
HILDY
Never mind it? That's not my money! That's Bruce's money!
INT. Walter's OFFICE - SAME
WALTER
You'll get it. Now what's the story?
(he raises his hand)
I'll have the paper send the money right down to you. I swear it on my mother's grave.
INT. PRESS ROOM - NIGHT
HILDY
Wait a minute. Your mother's alive.
INT. Walter's OFFICE - SAME
WALTER
I meant on my grandmother's grave. Don't be so technical, Hildy. What's the story?!
INT. PRESS ROOM - NIGHT
HILDY
Well, this expert Dr. Egelhoffer, from New York, decides to make Williams re-enact the crime --
She starts to giggle at the thought.
HILDY
Well, I'm coming to it. It seems the Professor had to have a gun to re-enact the crime with -- and who do you suppose supplied it? Nobody else but that great thinker, Sheriff Hartman!
INT. Walter's OFFICE - SAME
WALTER
(laughing)
No kidding, Hildy.
(suspiciously)
Say, this isn't a rib?
INT. PRESS ROOM - NIGHT
HILDY
No, this is on the level, Walter. I'm not good enough to make this one up. The Sheriff gave his gun to the Professor, the Professor gave it to Earl, and Earl gave it right back to the Professor -- right in the
stomach
! Who? No, Egelhoffer wasn't hurt badly. They took him to the County Hospital where they're afraid he'll recover.
INT. Walter's OFFICE - SAME
WALTER
That's great work, Hildy... Huh? Oh, will you stop worrying about the money? I'll see you get it in fifteen minutes.
INT. PRESS ROOM - NIGHT
HILDY
It better be fifteen minutes, because Bruce is waiting downstairs in a taxicab and that meter's clicking away to beat the band.
INT. Walter's OFFICE - SAME
WALTER
Hold on a minute.
Louie
and a
BLONDE
sit on a divan in
Walter's
office.
Walter
beckons the blonde
, his hand carefully over the receiver.
The blonde stands up and approaches.
WALTER
There's a guy waiting in a taxi in front of the Criminal Courts building. His name is Bruce Baldwin. Can you do your stuff?
BLONDE
I've never flopped on you, have I?
WALTER
Then scram! You've got about two minutes.
She exits.
WALTER
(into phone)
Sorry to keep you waiting. How much was it again? Four hundred and fifty dollars? Hang on a second.
Walter
puts his hand over the phone and beckons to
Louie
.
Louie stands.
WALTER
I need four hundred and fifty dollars in counterfeit money. You know where I can get it?
Louie
It's awful funny -- I happen to have some on me.
WALTER
(into phone)
It's coming right over. I'm sending it over with
Louie
. Thanks for the story and good luck on your honeymoon.
INT. PRESS ROOM
- SAME
HILDY
Keep the thanks, but just see that the money gets here!
She hangs up. The door opens and
McCue
enters and crosses to his phone.
MCCUE
Hello, Hildy. I thought you were gone.
HILDY
I thought so, too.
Hildy takes a look at the clock, rises and begins to pace up and down, pounding her hands together.
MCCUE
(into phone)
McCue
speaking. Mrs. Phoebe
DeWolfe
, eight
sixty-one and a half South State Street,
colored
, gave birth to a
pickaninny
in a patrol wagon with Sheriff Hartman's special Rifle Squad acting as nurses. Well -- Phoebe was walking along the street when all of a sudden she began -- that's right. So the police coaxed her into the patrol wagon and they started a race with the stork. When the
pickaninny
was born the Rifle Squad examined him carefully to see if it was Earl Williams who they knew was hiding somewhere.
Hildy is still pacing.
McCue
laughs at his own joke.
MCCUE
(to Hildy)
Did you get that, Hildy?
HILDY
No -- what?
Hildy's phone rings. She answers.
HILDY
Hello -- Bruce! I thought you were downstairs in a -- What? Arrested again! What for this time, Bruce? Mashing! Oh, Bruce, can't I leave you alone for three minutes even? Well, where are you? The
Twenty-seventh
Precinct? All right, I'll be right over --
(looks at her bag on the desk)
I'll be over in twenty minutes, Bruce.
(hangs up)
If I ever see Walter Burns --
(picks up phone and dials viciously)
Get me Walter Burns... Hildy Johnson! Well, he was there just a minute ago! Have him call me back!
She hangs up.
HILDY
(to
McCue
)
If Walter Burns calls, hold the wire for me, will you? I'll be right back.
S
he goes out
.
MCCUE
Okay, Hildy.
(into phone)
Well, we can't get any official statement --
The door opens and the
MAYOR
enters.
MCCUE
(into phone)
Oh, wait a minute -- here's the Mayor. Maybe he'll give us one.
The Mayor
turn
s
away with a wave of his hand.
MAYOR
Don't pester me now, please. I got a lot on my mind.
MCCUE
(into phone)
His Honor won't say anything.
He hangs u
p
.
The Mayor looks at the door.
Murphy and Endicott come in.
MAYOR
(to
McCue
)
Have you seen Sheriff Hartman?
MCCUE
It's hard to say, Your Honor. The place is so full of cockroaches.
MURPHY
Say, Your Honor, what effect's this jailbreak going to have on the
colored
voters?
MAYOR
Not an iota. In what way can an unavoidable misfortune of this sort influence the duty of every citizen,
colored
or otherwise?
ENDICOTT
Your Honor, is there a Red Menace or ain't there?
Hartman
comes scooting in.
MAYOR
(to
Hartman
)
Hartman, I've been looking for you!
He closes in on
Hartman
, followed by the reporters.
MURPHY
So have we!
ENDICOTT
What's the dope, Sheriff?
MURPHY
Who engineered this getaway?
HARTMAN
Just a minute! We've got him located.
ENDICOTT
Williams?
MURPHY
Where is he?
HARTMAN
Where he used to live. You can catch the Riot Squad -- it's just going out.
The boys beat it, fast.
MAYOR
Pete, I want to talk to you!
HARTMAN
I ain't got time, Fred, honest. I'll see you after.
MAYOR
Did you actually give Williams that gun?
HARTMAN
(a wail)
The professor asked me for it -- I thought it was for something scientific!
MAYOR
Pete, I've got a mighty unpleasant task to perf --
Hartman
suddenly nudges him for quiet, and the Mayor, turn
s to see:
Schwartz
com
es
in and go
es
to the phone. He is whistling.
SCHWARTZ
Hiya
, Your Honor.
(into phone)
Schwartz calling.
(to the Mayor)
How about it, Your Honor? Any statement on the Red uprising tomorrow?
MAYOR
What Red uprising?
HARTMAN
There'll
be no Red uprising!
SCHWARTZ
(into phone)
Gimme
rewrite --
(to the Mayor)
The Governor says the situation calls for the militia.
MAYOR
You can quote me as saying that anything the Governor says is a tissue of lies.
SCHWARTZ
(into phone)
Hello, Jake. Here's a red-hot statement from the Governor. He claims that the Mayor and the Sheriff have shown themselves to be a couple of
eight-year-olds
playing with fire.
SCHWARTZ
Quote him as follows: "It is a lucky thing for the city that next Tuesday is Election Day, as the citizens will thus be saved the expense of impeaching the Mayor and the Sheriff." That's all -- call you back.
Schwartz
hangs up and starts out.
SCHWARTZ
Nice to have seen you, Mayor.
He exits, whistling.
MAYOR
We've got to go somewhere private, Pete. I've got to talk to you straight from the shoulder.
As they exit Hildy enters, almost crossing them but not quite noticing them as she starts pounding her hands together and pacing up and down
the
Press Room.
INT. HALLWAY - CONTINUOUS
Hartman and the Mayor
walk
down the hall
.
HARTMAN
(beside himself)
Now, listen, Fred. Just give me a few hours before you make any decisions. I'll get results. I'm doing everything humanly possible. I've just sworn in four hundred deputies.
MAYOR
Four hundred! Do you want to bankrupt this administration?
HARTMAN
(pleadingly)
I'm getting them for twelve dollars a night.
MAYOR
Twelve dollars! -- For those rheumatic uncles of yours?
Out shooting everybody they see for the fun of it?
HARTMAN
(with dignity)
If you're talking about my brother-in-law, he's worked for the city fifteen years.
They come to the door of the Sheriff's office. Hartman opens door and the Mayor enters, Hartman following.
INT. SHERIFF'S OFFICE
- CONTINUOUS
Hartman closes door and turns to
the
Mayor, who faces him portentously.
MAYOR
Pete, you're through!
HARTMAN
(stunned)
What do you mean -- through?
MAYOR
I mean I'm scratching your name off the ticket Tuesday and running
Czernecki
in your place. It's nothing personal. And, Pete -- it's the only way out. It's a sacrifice we all ought to be glad to make.
HARTMAN
(heartbroken)
Fred!
MAYOR
Now, Pete! Please don't appeal to my Sentimental side.
HARTMAN
Fred, I don't know what to say. A thing like this almost destroys a man's faith in human nature.
MAYOR
I wish you wouldn't talk like that, Pete.
HARTMAN
Our families, Fred. I've always looked on Bessie as my own sister.
MAYOR
(wavering and desperate)
If there was any way out...
A
phone rings
.
HARTMAN
There is a way out. I've got Williams surrounded, haven't I? What more do you want?
(into phone)
Hello... Yes... Hello!
(wildly)
Four hundred suppers! Nothing doing! This is a man-hunt -- not a banquet!... The twelve dollars includes everything!!
He hangs up.
HARTMAN
That gives you an idea of what I'm up against!
MAYOR
(hotly)
We're up against a lot more than that with that nutty slogan you invented:
"
Reform the Reds
w
ith a Rope.
"
Hartman
winces.
MAYOR
Williams ain't a Red, and you know it!
HARTMAN
Well, there's a lot of Communistic sympathizers around --
MAYOR
I know it! But they've got nothing to do with this case! Do you realize there are two hundred thousand votes at stake and unless we hang Earl Williams we're going to lose 'em?
HARTMAN
But we're going to hang him, Fred. He can't get away.
A knock on the door.
MAYOR
What do you mean he can't get away?! He got away, didn't he?
Knocking louder.
MAYOR
Who's out there?
PINKUS
(O.S.)
Is Sheriff Hartman in there?
Hartman
starts for
the
door.
HARTMAN
(relieved)
Ah! For me!
Hartman
opens the door.
PINKUS, a
small, very colorless and ineffectual man is there.
HARTMAN
I'm Sheriff Hartman. You want me?
Pinkus enters.
PINKUS
You're certainly a hard fellow to find, Sheriff.
MAYOR
(annoyed)
What do you want?
Pinkus takes a document from his pocket and proffers it to Hartman.
PINKUS
I'm a messenger at the State House. This is from the Governor.
MAYOR
What's from the Governor?
PINKUS
The reprieve for Earl Williams.
HARTMAN
(stunned)
For who?
PINKUS
(amiably)
Earl Williams. The reprieve.
MAYOR
W-wait
a minute.
The Mayor gets
his bearings.
HARTMAN
(bursting forth)
The Governor gave me his word of honor he wouldn't interfere. Two days ago!
MAYOR
And you fell for it, Pete. It frightens me what I'd like to do to you.
(to Pinkus)
Who else knows about this?
Hartman
, with shaking hands, opens and begins to read the thing.
PINKUS
They were all standing around when he wrote it. It was after they got back from fishing.
MAYOR
(to
Hartman
)
Get the Governor on the phone!
PINKUS
(helpfully)
You can't get him on the phone. He's out duck
shooting now.
MAYOR
Fishing! Duck
shooting! How do you like that
?
A guy does nothing more strenuous for forty years than play pinochle -- he gets elected Governor and right away he thinks he's
Tarzan
!
HARTMAN
(thrusting the document at the Mayor)
Read it! Insane, he says.
(shaking a finger in Pinkus' face)
He knows very well that Williams ain't insane!
PINKUS
Yeah. But I --
MAYOR
(interrupting)
Pure politics!
HARTMAN
An attempt to ruin us!
The phone rings. Hartman starts for it.
MAYOR
(reading)
Dementia praecox
.
Oh-h-h
!
HARTMAN
We got to think fast before those lying reporters get hold of this.
What'll
we tell 'em?
MAYOR
Tell 'em the party is through in this State on account of you.
HARTMAN
Ah, Fred --
(into phone)
Hello... this is Hartman --
MAYOR
(apoplectic)
And you can tell 'em as an afterthought that I want your resignation now!
HARTMAN
(
to Mayor
)
S
h
h. Wait, Fred.
(excitedly, into phone)
What?... Where?... Where? Holy Moses!
MAYOR
What is it?
HARTMAN
They got him!
(back to phone)
Wait a minute -- hold the wire.
(to Mayor)
They got Earl Williams surrounded -- the Riot Squad has -- in his house.
MAYOR
Tell 'em to hold the wire.
HARTMAN
I did.
(into phone)
Hold the wire.
MAYOR
Cover up that transmitter!
Hartman
does so. Mayor faces
Pinkus
.
MAYOR
Now, listen! You never arrived here with this -- reprieve. Get it?
PINKUS
(blinking)
Yes, I did, just now. Don't you remember?
MAYOR
How much do you make a week?
PINKUS
Huh?
MAYOR
(impatiently)
How much do you make a week? What's your salary?
PINKUS
(reluctantly)
Forty dollars.
HARTMAN
(into phone)
No -- don't
c
ut me off.
MAYOR
How would you like to have a job for three hundred and fifty dollars a month
?
That's almost a hundred dollars a week!
PINKUS
Who? Me?
MAYOR
(exasperated)
Who do you think!
Pinkus is a little startled; the Mayor hastens to adopt a milder manner.
MAYOR
Now, listen. There's a fine opening for a fellow like you in the City Sealer's office.
PINKUS
The what?
MAYOR
The City Sealer's office!
PINKUS
You mean here in the city?
MAYOR
(foaming)
Yes, yes!
HARTMAN
(
into
phone)
Well, wait a minute, will you? I'm in conference.
PINKUS
(a very deliberate intellect)
No, I couldn't do that.
MAYOR
Why not?
PINKUS
I couldn't work in the city. You see, I've got my family in the country.
MAYOR
(desperate)
But you could bring 'em in here! We'll pay all your expenses.
PINKUS
(with vast thought)
No, I don't think so.
MAYOR
For heaven's sake, why not?
PINKUS
I got two kids going to school there, and if I changed them from one town to another, they'd lose a grade.
MAYOR
No, they wouldn't -- they'd gain one! And I guarantee that they'll graduate with highest honors!
PINKUS
(lured)
Yeah?
HARTMAN
(into phone)
Hold your horses -- will you, Olsen?
(to Mayor)
Hurry up, Fred!
MAYOR
Now what do you say?
PINKUS
This puts me in a peculiar hole.
MAYOR
No, it doesn't.
(hands him the reprieve)
Now, remember: you never delivered this.
The Mayor rushes Pinkus to the door.
MAYOR
You got caught in the traffic, or something.
(open
s
door)
Now, get out of here and don't let anybody see you.
PINKUS
But how do I know...?
MAYOR
Come in and see me in my office tomorrow. What's your name?
PINKUS
Pinkus.
MAYOR
(tak
es
out his wallet)
All right, Mr. Pinkus, all you've got to do is lay low and keep your mouth shut. Here!
The Mayor hands Pinkus a card.
MAYOR
Go to this address. It's a nice, homey little place, and they'll take care of you for the night. Just tell 'em Fred sent you. And here's fifty dollars on account.
He pushes money into Pinkus's hand and pushes him through the door. Pinkus goes.
HARTMAN
(into phone, desperately)
Will you wait, Olsen? I'll tell you in a minute!
The door opens again and Pinkus comes back in.
PINKUS
You forgot to tell me what a City Sealer has to do.
MAYOR
(turn
s
hastily toward Pinkus)
I'll explain it tomorrow!
PINKUS
Is it hard?
MAYOR
No! It's easy -- it's very easy!
HARTMAN
(pleadingly, into phone)
Just one second --
PINKUS
That's good, because my health ain't what it used to be.
The Mayor pushes Pinkus out the door.
MAYOR
We'll fix that, too.
HARTMAN
(into phone)
Just -- one -- second!
He turns to the Mayor with a gesture of appeal. The Mayor closes the door
behind Pinkus
and turns to Hartman.
MAYOR
(huskily)
All right. Tell 'em to shoot to kill.
HARTMAN
What?
MAYOR
Shoot to kill, I said.
HARTMAN
I don't know, Fred. There's that reprieve
;
if they ever find out.
..
MAYOR
Nobody reprieved that policeman he murdered. Now, do as I tell you.
HARTMAN
(into phone)
Hello, Olsen... Listen...
(his voice is weak)
Shoot to kill... That's the orders
;
pass the word along... No! We don
'
t want him! And listen, Olsen, five
hundred bucks for the guy that does the job... Yes, I'll be right out there.
(hangs up)
Well, I hope that's the right thing to do.
MAYOR
Now take that guilty look off your face, Pete -- and stop trembling like a horse.
HARTMAN
(mopping his brow)
If we didn't have election Tuesday I'd have this on my conscience.
INT. CORRIDOR OUTSIDE PRESS
- NIGHT
Louie comes from the direction of the stairs and crosses toward
the
door to
the
Press Room. He pauses a moment, puts his hand in his pocket, pulls out some bills, counts them.
INT. PRESS ROOM
- NIGHT
Hildy
still paces
, pound
s
her hands together and glanc
es
every so often at the clock on the wall. Suddenly she crosses to her phone, picks
it up.
HILDY
(into phone)
Will you try --
LOUIE
(O.S.)
Hildy.
HILDY
(wheeling toward door)
Louie!
She drops the phone and hurries towards him.
HILDY
Have you got my dough?
Louie
Oh, sure. The boss sent me over with it. Four hundred dollars, wasn't it?
HILDY
Four hundred and fifty and I'll cut your throat if you try any tricks!
Louie
All right, all right. You can't blame a guy for
tryin'
, can you?
HILDY
Come on with that money!
Louie
First you got to sign a receipt.
(he pulls out a receipt)
HILDY
Where's the money?
Louie
Keep your shirt on. I got it -- right here.
(he picks out money and counts)
One hundred -- two hundred -- three hundred -- four hundred -- and fifty. Now sign.
Hildy grabs the money, signs and gives the receipt back.
HILDY
Here!
Louie
Thanks. So long, Hildy!
She grabs him.
HILDY
So long, nothing! Where's Bruce Baldwin's wallet?
Louie
Huh?
HILDY
None of that innocent stuff, you double-crossing hyena! You stuck Bruce Baldwin in jail this afternoon on a phony charge that he swiped your watch, and you frisked his wallet! Now, give me that wallet or I'll stick you in jail and it won't be on any phony charge either! It'll be for life!
Louie
Now don't get excited, Hildy! I don't know what you're talking about -- but is this Mr. Baldwin's wallet?
He takes Bruce's wallet out.
She grabs it from him.
HILDY
You know it is!
Louie
I didn't frisk him. He must have dropped it in Burns' office. I didn't know whose it was.
HILDY
No -- and you don't know that your cheap boss has had Mr. Baldwin arrested again -- do you?
Louie
(surprised)
What -- already? Why, the dame left only a minute before I did!
He suddenly realizes what he's said and sprints for the door. Hildy chucks
something
from the table
at him. It just misses as he ducks out of the door.
Hildy casts a savage look after the departed Louie, takes another look at the clock and grabs a phone and starts to dial.
HILDY
(into phone)
Precinct Station House?
Hildy stops short, arrested by a sound
..
.
She turns and sees Earl Williams
standing in front of the open window
, looking more inoffensive and exhausted than ever, indeed on the verge of collapse. He
points
a large revolver
at her
.
The search
lights that have been playing in the courtyard strike into the windows again.
WILLIAMS
Drop that phone --
Hildy drops the phone back on the hook.
WILLIAMS
You're not going to phone anybody where I am.
HILDY
(brac
es
herself)
Put down that gun, Earl.
He advances steadily toward Hildy, the gun aimed at her.
HILDY
You're not going to shoot me, Earl. I'm your friend, remember? I've got to write that story about your "Production for Use.
"
WILLIAMS
Yes -- that's right. Production for use.
Hildy
walks
toward him, slowly.
HILDY
Earl, you don't want to hurt your friends, do you?
WILLIAMS
Don't move!
Hildy stops.
WILLIAMS
Maybe you're my friend and maybe you're not -- but don't come any nearer. You can't trust anybody in this crazy world. Say, I'll bet I could shoot you from here.
HILDY
Sure you could, Earl -- but you wouldn't want to do that, would you? You wouldn't want to kill anybody.
WILLIAMS
No, no, you're right. I don't want to kill anybody. All I want to do is be le
f
t alone.
Hildy sneaks another step forward.
HILDY
Earl, there's just one thing I ought to clear up for the interview.
WILLIAMS
What's that? Only -- you're getting too near. I don't trust anybody.
HILDY
I don't blame you, Earl.
(another step forward)
If I were in your place I wouldn't trust anybody, either.
WILLIAMS
(suddenly)
Keep away!
He pulls the trigger
. A
faint "click!"
WILLIAMS
(weakly)
I guess I used all the
shells
.
He drops the gun and clutches at the edge of the
roll-top
desk for support.
Hildy lurches forward and she grabs the other side of the desk for support. And at this moment she looks more tired than he does. She looks at Earl and breathes heavily.
HILDY
Earl, you must never do that again.
WILLIAMS
Oh, I'm awful tired. I couldn't go through another day like this.
HILDY
(more her old self now)
Well, maybe you think I could!
S
he retrieves the gun and jams it in her purse, jumps to the windows, pulls down the shades.
WILLIAMS
I'm not afraid to die. I was
tellin'
the
fella
that when he handed me the gun.
Hildy crosses swiftly to the door, locks it and puts out the lights, so that they are visible only faintly in the light from the areaway.
HILDY
Don't talk too loud.
WILLIAMS
(babbl
es
on as she moves about)
Wakin'
me up in the middle of the night --
talkin'
to me about things they don't understand.
Callin'
me a Bolshevik. I'm an anarchist. It's got
nothin'
to do with bombs. It's the philosophy that guarantees every man freedom. You see that, don't you?
HILDY
Sure I do, Earl.
Hildy is looking around for a hiding place for him.
WILLIAMS
I wish they'd take me back and hang me. I done my best.
He abruptly crumples and falls to the floor
, unconscious
.
Hildy stands for a second, desperate. Then she picks him up and half carries, half drags him over toward a chair and places him in it. Then she makes a quick dash for her phone.
HILDY
(into phone)
Hello...
Gimme
Walter Burns -- quick!
Another phone there rings. Hildy answers it, propping the receiver of her own phone between ear and shoulder.
HILDY
(into second phone)
Hello --
hel
-- Oh, hello, Bruce... Oh, Bruce, please -- I know I said I'd be down in fifteen minutes, but something terrific's happened! Hang on, Bruce --
(into first phone)
Walter?... Hildy. Come over here -- right away!... Wait!
(into second phone)
Bruce, just a second, Bruce -- I'll explain everything.
(into first phone)
Walter! Get this: I've got Earl Williams... Yes! Here in the Press Room... Honest! On the level. Hurry -- I need you.
She hangs up and turns into
the
second phone.
HILDY
Bruce, this is the biggest thing that ever happened...
(lowers voice)
I just captured Earl Williams -- you know -- the murderer --
There is knocking on the door, but she doesn't hear it.
HILDY
Bruce, I'll be down -- Well, Bruce, the minute I turn him over to the paper I'll be right down. Bruce, don't you -- Bruce, I can't now -- I can't, don't you realize?
There is a click from the phone. He has hung up. Hildy dejectedly hangs up the phone.
T
he sound of knocking on the door
captures her attention
. Hildy glares apprehensively, then crosses to
the door
.
HILDY
(cautiously)
Who's there?
MOLLIE
(O.S.)
It's me, Mollie
Malloy
! Let me in.
Hildy carefully unlocks the door. Mollie bounds in like a wildcat and seizes her.
MOLLIE
Where
'v
e
they gone? You know where they are?
HILDY
Wait a minute, Mollie.
She manages to
relock
the door, then turns, leaning against it, facing Mollie.
MOLLIE
They got him surrounded some place --
gonna
shoot him like a dog!
HILDY
Mollie, they haven't got him. You gotta help me, Mollie! We've got to do something!
MOLLIE
What do you mean?
There is a sound -- a groan -- as Williams starts to come to.
MOLLIE
(spinning around)
What's that?
HILDY
Quiet, Mollie!
MOLLIE
There's
somethin'
funny going on around here.
Mollie crosses to wall and switches on the lights. She sees Williams, sobs and rushes over to him.
Mollie gets down on her knees and begins ministering to
Williams
. He opens his eyes.
WILLIAMS
Hello, Mollie.
Mollie begins to sob.
Hildy comes over
.
HILDY
Quiet, Mollie, quiet!
Williams strokes Mollie's hair.
WILLIAMS
Don't cry, Mollie
;
there's nothing to cry about.
HILDY
How'd
you get here, Earl?
WILLIAMS
Down the drainpipe. I didn't mean to shoot him. You believe me, don't you, Mollie?
They get up.
MOLLIE
Of course I believe you.
WILLIAMS
I forgot to thank you for those roses. They were beautiful.
MOLLIE
That's all right, Mr. Williams...
(to Hildy)
You're a woman. You got to help us. You got to get him out of here, some place where I can take care of him.
HILDY
Stop screaming, Mollie or we're sunk. I'm trying to think of something before those reporters get back.
WILLIAMS
Let 'em take me. It's better that way.
MOLLIE
No -- I'll never let 'em!
The door is tried outside.
MOLLIE
They'll get him! They'll get him!
HILDY
S
h
h!
INT. CORRIDOR OUTSIDE PRESS ROOM
- SAME
Endicott
tries
to get in.
ENDICOTT
Who locked the door?
INT. PRESS ROOM
- SAME
HILDY
(calling)
Just a second, Mike ---
(whispering to Mollie)
Mollie, I got it!
Hildy jumps
up
to the
roll-top
desk and opens it, turning to
Williams
in a tense whisper:
HILDY
Can you get in this desk?
INT. CORRIDOR
- NIGHt
Wilson is there too, now, and he and Endicott are pounding on the door.
WILSON
What's going on in there?
INT. PRESS ROOM
- NIGHT
Mollie and Earl are with Hildy in front of desk now. They speak in whispers.
WILLIAMS
What
good'll
it do?
HILDY
We'll get you out in ten minutes.
INT. CORRIDOR
- SAME
ENDICOTT
Open up there, will you!
INT. PRESS ROOM
- SAME
HILDY
(crying)
All right -- all right!
MOLLIE
(to
Williams
)
Go on!
(shov
es
him to desk)
Please!
WILLIAMS
They'll find me anyhow.
There is further and louder pounding on the door. Earl gets in the desk. Hildy and Mollie pull the roll-top down over him.
HILDY
(call
s
)
I'm coming!
(to
Williams
)
Keep dead quiet. Don't even breathe.
MOLLIE
(to
Williams
)
I'll be right here. I won't leave you.
INT. CORRIDOR
- SAME
Endicott gives the a door a terrific kick.
ENDICOTT
Hey!
INT. PRESS ROOM CLOSE SHOT HILDY AND MOLLIE
HILDY
(to Mollie)
Mollie, drop down here! You've fainted!
MOLLIE
What's the idea?
HILDY
Never mind! Just play dead.
Hildy rapidly unbuttons Mollie's
vest
and throws it back.
The kicking at the door continues.
Hildy rushes over to
the
windows and pulls up the shades.
Mollie
lies
quietly on the floor with her eyes closed.
Hildy rushes over to
the
water cooler and gets a paper cup full of water. She throws the water in Mollie's face.
MOLLIE
(spluttering)
Hey --
HILDY
(fiercely)
Shut up, you!
Hildy crosses swiftly to the door.
INT. CORRIDOR
- SAME
The door opens in Endicott's face and there is
Hildy
, quite cool.
ENDICOTT
Kind of exclusive, ain't you? We got calls to make, you know.
HILDY
Run down and get some smelling salts, will you?
WILSON
Smelling salts! What's going on here?
They catch sight of Mollie, stretched out on the floor.
ENDICOTT
Mollie
Malloy
-- what happened to her?
Endicott and Wilson enter the room.
HILDY
Came up here -- had hysterics and passed out. I've been trying to get her to come to.
INT. PRESS ROOM
- CONTINUOUS
Mollie
shakes
her head.
ENDICOTT
She looks as though she's going to come to.
HILDY
Give me a hand with her, will you?
ENDICOTT
Okay.
Endicott lifts Mollie up.
ENDICOTT
Up you go, Mollie.
Hildy
helps
Endicott lift Mollie
into
a chair. Wilson crosses to his phone.
WILSON
(into Phone)
City Desk.
ENDICOTT
She'll be all right.
Endicott crosses to his phone.
ENDICOTT
(into phone)
The Desk.
WILSON
(into phone)
Well, they surrounded the house, all right, only they forgot to tell Williams, and he wasn't there.
Murphy comes in
, sees Hildy who has been fastening Mollie's vest.
MURPHY
Hildy, I thought you were gone --
HILDY
Well -- I was going, but Mollie fainted away and I thought I ought to do what I could.
MURPHY
Some Hallowe'en
goin'
on outside. The whole police force standing on it's ear.
Murphy crosses to his phone.
McCue
comes in.
MCCUE
(panting)
What a chase!
ENDICOTT
(into phone)
No luck on Williams, yet -- call you back.
He hangs up.
WILSON
(into phone)
Okay, later.
He hangs up.
MURPHY
(into phone)
Murphy talking.
Schwartz comes in.
HILDY
Any news?
SCHWARTZ
Yeah. I was never so tired in my life.
He picks up his phone.
MCCUE
(into phone)
Where? Harrison Street Station? All right, connect me.
SCHWARTZ
(into phone)
Schwartz calling... Out with Hartman's deputies. I'm in a drugstore. You can't call me back because I'm going right on with them.
He hangs up -- puts his feet on the desk.
HILDY
Are you all right, now?
MOLLIE
Yeah, I'm
feelin'
fine.
MURPHY
Sure, Mollie, you never looked better in your life.
MCCUE
Yeah, hold the line.
(turns from phone)
Hey, this looks good. An old lady just called the detective bureau and claims Williams is hiding in her cellar. Well - we've looked every other place. Want to go out on it?
ENDICOTT
Aw
, nuts with chasing around
anymore
. I spent a dollar
forty on taxis already.
SCHWARTZ
I say we don't go out
anymore
. Let Earl Williams come to us.
HILDY
A fine bunch of reporters. Biggest story in two years and they're too lazy to go after it.
ENDICOTT
It's easy for you to talk. You're retired. We're still working.
MCCUE
Okay.
(into phone)
Forget it.
(he hangs up)
HILDY
What's the matter with you boys? Afraid it might rain? If you want to go, I'll cover this end.
MURPHY
Say, Hildy, if I know you, you sound pretty anxious to get rid of us. Are you trying to scoop us or something?
ENDICOTT
Something smells around here. If you ask me Mollie gave her the story on how Williams got that gun.
(turning on Mollie)
Did you smuggle that gun in
to Williams, Mollie?
MOLLIE
I didn't do
nothin'
.
MCCUE
(crossing to Mollie)
Come clean, Mollie.
Wilson, Endicott and Murphy follow
McCue
toward
Mollie
.
ENDICOTT
Better let us in on it, Mollie.
HILDY
Aw
, why don't you let her alone? She's ill!
MURPHY
Oh, you two are pals now -- I think you're right, Endicott. Mollie did give her some kind of story.
ENDICOTT
I tell you, it's a screwy set-up. We better hold on
to 'em both.
MRS. BALDWIN
appears in the doorway. Hildy gasps and starts for her.
Mrs. Baldwin is in a very righteous mood.
MRS. BALDWIN
Well?
Hildy
comes to her.
HILDY
Mother!
MRS. BALDWIN
Don't you mother me! Playing cat-and-mouse with my poor boy! Keeping him lo
c
ked up -- making us miss two trains -- and supposed to be married tomorrow!
HILDY
Mother, I can explain everything. I'll go with you in five minutes and --
MRS. BALDWIN
You don't have to go with me at all! Just give me my son's money and you can stay here forever as far as I'm concerned. Stay with that murderer you caught!
The reporters catch
this. Reactions as they glance at one another.
MRS. BALDWIN
(continuing)
Which one of these men is it? They all look like murderers to me!
MURPHY
Where does she get that stuff?
SCHWARTZ
Shall we tell her what
he
looks like?
ENDICOTT
Wait a minute! What murderer did you catch, Hildy?
The reporters are looking intently at Hildy and Mrs. Baldwin.
HILDY
I don't know what she's talking about. I never said any such thing.
MRS. BALDWIN
I'm quoting my son, and he has never lied to me.
The reporters move toward Hildy and Mrs. Baldwin.
REPORTERS
(AD LIB)
(all at once)
"
I knew something stunk around here
."
"
Who says she caught him?
"
"
What do you mean she caught a murderer?
"
HILDY
(desperately)
But I never said anything like that!
MRS. BALDWIN
Yes, you did!
MOLLIE
She never told her that!
HILDY
I said I was trying to catch one.
(to Mrs. Baldwin)
You got it balled up, Mother.
Murphy stalks toward
Mollie.
MURPHY
What do you know about it? How do you know she didn't?
He grabs
Mollie
cruelly by an arm.
MOLLIE
Let go!
ENDICOTT
Hold on to her, Jimmy -- she's in with Hildy on this.
Hildy
is
tense with anxiety, her eyes on Mollie.
Murphy
lets Mollie go and
jerks Hildy by an arm.
MURPHY
Who you holding out on? Come clean, or we'll make you wish you had --
T
he rest of the reporters surround Hildy menacingly.
ENDICOTT
Hildy, are you
gonna
cross us for Walter Burns after the way you told him off?
WILSON
Give in, Hildy -- you can't get away with it.
MOLLIE
(wildly)
Wait! You stool-pigeons! She don't know where Williams is. I'm the one that knows.
The reporters
turn on Mollie.
ENDICOTT
What do you mean, you know?
They start for Mollie.
Mollie begins backing slowly around the table, away from them, toward the window.
MOLLIE
Go find out, you heels! You don't think I'm
gonna
tell!
Hildy remains
riveted at desk.
HILDY
Let her alone! She's goofy!
Hemmed in by the massed reporters,
Mollie
makes a sudden lunge for the door.
REPORTERS
"
Look out!
"
"
Close that door!
"
They split, some of them heading her off at
the
door, others from
the
opposite side of
the
table, so that she runs back between window and table.
MCCUE
You ain't
gettin'
out o' here!
ENDICOTT
Now, where is he?
WILSON
Where you
hidin'
him?
MOLLIE
I ain't
gonna
squeal! I ain't
goin'
to!
MURPHY
(leaning across table)
Come on, you! Before we slap you down.
ENDICOTT
Do you want us to call the cops and have them give you the boots?
MURPHY
Where is he, before we beat it out of you?
MOLLIE
(back
s up
)
Don't you come near me, you kidney foot!
Murphy continues to advance on her. The reporters start for her from the other side. Mollie snatches up a chair and swings it at the advancing circle of men.
MOLLIE
(wild and blubbering)
Let me alone or I'll knock your heads off!
ENDICOTT
Put down that chair!
SCHWARTZ
Get around -- get on the side of her.
MOLLIE
(still back
s up
)
No, you don't!
(scream
s
)
Keep away!
WILSON
Grab her!
A
last, wild look at her encircling foes.
MOLLIE
You'll never get it out of me!
(hurls chair at them)
I'll never tell! Never!
She makes a desperate leap for the open window and disappears out. Her scream of terror is heard as she drops.
T
he reporters rush
to the window
and look out, an assortment of awed and astonished exclamations rising from them.
Mrs. Baldwin
turns away from the window and hides her face in her hands.
MRS. BALDWIN
Take me out of here! Take me --
(a moan)
Oh-h
--
She collapses to a chair.
MCCUE
(turning)
Get the cops, somebody.
MURPHY
(turn
s
)
Come on,
fellas
.
They start in a rush for the door
and exit
.
Hildy crosses, dazed to the window.
HILDY
Gee! The poor kid... the poor kid.
Reaching the window, she looks out.
EXT. PAVEMENT
BELOW - SAME
The form of Mollie on the pavement below moves slightly in the moonlight as
GUARDS
rush to her.
GUARDS (AD LIB)
"
Get a doctor!
"
"
Take her to the infirmary!
"
"
She ain't killed -- she's moving!
"
INT. PRESS ROOM
- SAME
Hildy turns, shaken, back into the room from the window and sees advancing to her across the room Walter
Walter
.
Diamond Louie has entered with
him
and stands leaning by the door.
Mrs. Baldwin's face is still hidden by her hands.
Hildy starts for
Walter
.
HILDY
Walter! D-did you see --
(gesturing back to window)
-- that?
WALTER
Yes. Where is he?
Hildy is in a dazed.
HILDY
She jumped out of the window.
WALTER
I know. Where is he, I said.
[MISSING PAGE
- transcribed from FILM
]
HILDY
Anyway, she isn't dead--
Walter pries her attention back.
WALTER
Come to, Hildy. Where have you got Williams?
She thinks a second.
HILDY
He's in the desk.
Walter crosses to the desk.
HILDY
I'm glad she didn't kill herself.
Walter opens the roll-top a few inches.
WALTER
How you doing?
WILLIAMS
Let me out. I can't stand it.
WALTER
Keep quiet. You're sitting pretty.
Mrs. Baldwin rushes to the desk.
MRS. BALDWIN
What's in there?
WALTER
(turns to her, surprised)
Who are you?
MRS. BALDWIN
What are you doing?
Hildy hurries over. Walter turns to her and points at Mrs. Baldwin.
WALTER
Who is she?
HILDY
This is Mrs. Baldwin, Bruce's mother.
MRS. BALDWIN
What are you doing
here
?
WALTER
Shut up!
MRS. BALDWIN
I won't shut up!
Y
ou're doing something wrong. What's in that desk?
Walter
slams closed the desk and steps to Louie.
WALTER
Louie, take this lady over to
Polack
Mike's and lock her up. See that she doesn't ta
lk
to anyone on the way.
MRS. BALDWIN
What's that -- what's that?
Louie
goes
to Mrs. Baldwin.
HILDY
Wait a minute, Walter. You can't do that!
Louie extends his hand as if to shake hands with Mrs. Baldwin.
LOUIE
My name is
Louie
Peluso.
S
he responds, only to find herself jerked and spun around so that one of Louie's arms is about her waist and the other hand over her mouth. Louie
leads
her to door.
WALTER
Tell 'em it's a case of delirium tremens.
Hildy catch
es
up
to Louie
.
HILDY
Now, let go of her, Louie. Listen, Walter,
this'll
get me in a terrible jam with my fiancé and I don't stand so well with him now. Don't worry, Mother, this is only temporary.
At the door, Louie gets Mrs. Baldwin out and disappears with her. Hildy starts after them, when
Walter's
arm
catches
her.
WALTER
Where do you think you're going?
HILDY
Let go o' me! I've got to get Bruce out of jail! Oh, Walter, why did you have to do this to me?
WALTER
(scornfully)
Get Bruce out of jail! How can you worry about a man who's resting comfortably in a quiet police station while this is going on? Hildy, this is war! You can't desert now!
HILDY
Oh, get off that trapeze!
(indicat
es
desk)
There's your story! Smear it all over the front page -- Earl Williams caught by the Morning Post! And take all the credit -- I covered your story for you and I got myself in a fine mess doing it
–
- and now I'm getting out! I know I told you that twice before today
–
- but this time I mean it!
WALTER
You drooling idiot! What do you mean, you're getting out! There are three hundred and sixty-five days in the year one can get married -- but how many times have you got a murderer locked up in a desk? -- Once in a lifetime! Hildy, you've got the whole city by the seat of the pants!
HILDY
I know, but --
WALTER
You know! You've got the brain of a pancake! That wasn't just a story you covered -- it was a revolution! Hildy! This is the greatest yarn in journalism since Livingstone discovered Stanley for the New York Herald!
Walter
quickly closes the door
.
HILDY
(slightly bewildered)
Wait a minute -- wasn't it Stanley who discovered Livingstone?
WALTER
Don't get technical at a time like this! Do you realize what you've done? You've taken a city that's been graft-ridden for forty years under the same old gang and with this yarn you're kicking 'em out and giving us a chance to have the same kind of government that New York's having under La
Guardia
! We'll make such monkeys out of these ward-heelers next Tuesday that
nobody'll
vote for them -- not even their wives!
HILDY
(the fire upon her)
I'd like to think.
WALTER
Well, think it then, because it's true! We'll crucify that mob. We're going to keep Williams under cover till morning so the Post can break the story exclusive. Then we'll let the Governor in on the capture -- share the glory with him.
HILDY
(excited)
I get it!
WALTER
You've kicked over the whole City Hall like an applecart. You've got the Mayor and Hartman backed against a wall. You've put one administration out and another in. This isn't a newspaper story -- it's a career! And you stand there bellyaching about whether you catch an eight o'clock train or a nine o'clock train! Still a doll-faced mug! That's all you are.
HILDY
Let me get at that typewriter and I'll show you how a doll-faced mug can write!
WALTER
Attagirl
! Why, they'll be naming streets after you -- Hildy Johnson Street!
There'll
be statues of you in the parks, Hildy. The
radio'll
be after you -- the movies!
(slap
s
his fist against his open palm)
By tomorrow morning I'll
betcha
there's a Hildy Johnson cigar! I can see the billboards now. Light up with Hildy Johnson!
HILDY
Whoa -- wait a minute. We can't leave Williams here. One of the other
fellows'll
--
WALTER
We're going to take him over to my private office.
(turn
s
)
Where's our phone?
HILDY
That one -- how you
gonna
take him? They'll see him.
Walter
takes a
phone and jiggles the hook.
WALTER
(to Hildy)
Not if he's inside the desk. We'll carry the desk over.
(into phone)
Give me Duffy!
HILDY
You can't take that desk out. It's crawling with cops outside.
WALTER
We'll lower it out of the window with pulleys. Quit
stallin'
.
Hildy seems
di
stracted
.
WALTER
Hildy!
HILDY
(coming to)
Huh!
?
WALTER
Get the lead out of your typewriter and start pounding out a load, will you? Snap into it!
HILDY
How much do you want on it?
WALTER
All the words you've got.
HILDY
(turning)
Where's some paper?
She looks around.
WALTER
(into phone)
Hello...! Hello!
Hildy goes
to
the roll-top
desk
and
turns to
Walter.
HILDY
Can I call the Mayor a bird of prey -- or is that libelous?
WALTER
Call him a love-child, if you want to.
(into phone)
Duffy!
Having opened the drawers of Bensinger's desk,
Hildy tosses
play manuscripts, syringes, patent medicines and old socks into the air in a frantic search for paper.
HILDY
(calling to
Walter
)
How about the time he had his house painted by the Fire Department?
WALTER
Give him the works.
(into phone)
Hello, Duffy, get set! We've got the biggest story in the world. Earl Williams caught by the Morning Post -- exclusive!
Hildy has unearthed a package of Bensinger's private station
e
ry. She rises with it.
WALTER
(to Hildy)
Fine!
(into phone)
Now, listen, Duffy -- I want you to tear out the whole front page... That's what I said -- the whole front page! Never mind the European war! We've got something a whole lot bigger than that. Hildy Johnson's writing the lead and I'll phone it over to you as soon as she's finished.
(starts to hang up
...
thinks of something else)
Oh, Duffy! Get hold of Butch O'Connor and tell him I want him to come up here with half a dozen other wrestlers -- right away! Tell him we'll run his picture on the sport page for two weeks straight. What? I've got a desk I want moved. Never mind what desk!
EXT. STREET
- NIGHT
A
taxi darts through traffic, narrowly avoiding cars, trucks, etc., it comes almost head-on to an oncoming car.
INT. TAXICAB - NIGHT
Louie, worried, ducks unconsciously. Mrs. Baldwin faints across his lap.
EXT. STREET
- SAME
The taxi swerves just in time to duck the oncoming car. As it starts forward again a truck comes toward the cab, head on.
INT. TAXICAB -
NIGHT
Diamond Louie pushes Mrs. Baldwin into an upright position, takes a look through the windshield, sees the truck and gives a big
"
takem
"
and faints across Mrs. Baldwin.
EXT. STREET
- NIGHT
The truck and taxicab crash and the screen blacks out.
INT. PRESS ROOM - NIGHT
At the
typewriter, smoke rising from her cigarette
,
a fairly disheveled Hildy typ
es
away furiously.
WALTER
(
i
nto phone)
"The
b
lackest cesspool in American city life!" Hold on Duffy, I'll see if she's got any more.
Walter
tears a page out of Hildy's typewriter.
Hildy
inserts another one without noticing.
Walter
goes back to the phone as
she
continues
mad
typ
ing
.
WALTER
(into phone)
Duffy -- Duffy!
(click
s
the phone furiously)
Operator! Operator! Get me Duffy back. Somebody cut us off!
Bruce Baldwin enters.
BRUCE
Hildy!
WALTER
What the devil do you want? Listen, Bruce, you can't come in here now! We're busy!
(suddenly, into phone)
Where you been, Duffy? Stick around! What? What Chinese earthquake? The deuce with it... what's that?
Hildy
typ
es
away madly. Bruce
approaches
.
BRUCE
Hildy!
HILDY
(look
s
up very casually)
Hello, Bruce...
She resumes her typing, then suddenly realizes and jumps up.
HILDY
BRUCE!!
How'd
you get out?
BRUCE
(the hands-off attitude)
Not through any help of yours, Hildy.
HILDY
Bruce, I know, but I was in the biggest jam --
WALTER
Hildy!
Hildy turns toward,
Walter
,
who
still
has
the phone in his hand.
WALTER
For Pete's sake, Hildy, they're waiting for the rest of that story!
HILDY
(resignedly)
Okay, Walter.
Hildy
sits down at her typewriter again
, types.
BRUCE
I waited and waited and then I had an idea and wired Albany to send me a hundred dollars so I could get out on bail...
(desperately)
I don't know what they'll think -- they sent it to the police station!
HILDY
(she barely stops typing)
We'll explain the whole thing to them.
She types madly.
BRUCE
I know I got you into this, Hildy, but it does seem to me that you can't care much for me if you're willing to let me stay locked up for two hours.
HILDY
Bruce, you know I'm mad about you and stop talking like that.
(call
s
to
Walter
)
Walter!
WALTER
(into phone)
Take the President's speech and run it on the funny page...
(turns to Hildy)
What is it, Hildy?
HILDY
What was the name of the Mayor's first wife?
WALTER
You mean the one who drank so much? Tillie!
HILDY
Thanks.
S
he types furiously
.
The roll-top
opens slowly and Williams' head sticks out.
WALTER
(screaming)
Get back in there, you mock turtle!
The desk-top falls, the fugitive disappearing within.
Bruce
turn
s
around toward
Walter
.
BRUCE
Did you say anything, Mister Burns?
Walter
cover
s
, fast.
WALTER
No -- I was just talking to one of the guys at the office.
(indicating phone in his hand)
BRUCE
(to
Walter
)
Oh.
(turns to Hildy)
I wonder what's keeping mother? She was supposed to come down and get you.
HILDY
Oh, she was here.
BRUCE
Where'd
she go?
HILDY
Out some place.
She types away. Bruce grabs her and stops her.
BRUCE
Hildy! Where's mother?
HILDY
Oh -- mother -- she -- I don't know where she went.
BRUCE
Did you give her the money?
HILDY
No, I was going to give it to her -- but she left hurriedly.
BRUCE
Then suppose you give me the money. Four hundred and fifty dollars.
HILDY
Oh, yes. Here it is.
She gets the wallet.
Walter
comes into the scene and pulls another page out of her machine.
HILDY
Here it is, Bruce. One -- two -- three -- four hundred -- and fifty dollars.
BRUCE
(dr
y
ly)
Thank you.
Walter
watch
es
this with a grin.
BRUCE
(to Hildy)
And I'll take that certified check, too. I've decided I can handle things around here...
WALTER
Come on, Hildy, we've got to keep going! Sorry, Bruce, but --
HILDY
Just a second, Walter. Here, Bruce, here's the check... And, oh, Bruce, here's your wallet. I got it back.
BRUCE
(taking it and surveying it coldly)
You got it back,
eh
? There's something funny going on around here.
WALTER
Hildy!
HILDY
All right, Walter.
She sits down and begins to type.
BRUCE
I'm taking the nine o'clock train, Hildy. And you can meet us at the station.
HILDY
Fine.
She types away.
WALTER
(
approaches
Bruce)
I'll see she's there, Bruce, I promise you.
BRUCE
(dramatically)
If she's not there, mother and I are leaving anyhow!
But Hildy continues typing and doesn't even get it.
Walter
leads Bruce away toward
the
door.
WALTER
I know how you feel, Bruce, but you've got to forgive her. She's only a woman, after all.
BRUCE
Suppose she is -- I have feelings, too! Do you know where I've been for the last couple of hours? Locked up in a police station and she didn't move to do anything about it.
WALTER
Ts
!
Ts
!
Ts
!
BRUCE
And now I don't know where my mother is. She may be lost.
WALTER
I'll find her, Bruce, if I have to put every detective in the city on the job. Tell you what -- go over to the Missing Persons Bureau and describe your mother. What does she look like?
BRUCE
She's -- well, she's very motherly. That's about the best description I know.
WALTER
(nodding)
That's the kind of stuff they want!
They go out the door.
INT. CORRIDOR
- NIGHT
Bruce and Walter
come out.
WALTER
Oh, Bruce, let me see that money Hildy gave you.
BRUCE
The money? Why?
WALTER
There's a lot of counterfeit big bills going around.
BRUCE
(worried)
Gee! Take a look, will you?
He hands the money to
Walter
.
Walter
looks at it carefully and hands it back.
WALTER
Oh, this is all right, Bruce. I just wanted to be sure.
BRUCE
Say, I want to be sure, too!
INT. PRESS ROOM
- NIGHT
Hildy
types
furiously.
Walter
enters, grinning, locks the door behind him and goes to
the
phone and picks it up.
WALTER
(into phone)
Duffy. Good. Stick close.
He turns and crosses quickly to look out the window.
WALTER
(despairingly)
Now the moon's out!
He turns away, crossing to the desk
where
he taps three times, being answered by three taps from within.
WALTER
Fine. Three taps is me. Don't forget! You're sitting pretty now. Got enough air?
He raises
the roll-
top an inch or two and fans air in to Williams.
WALTER
Is that better? Now breathe deep!
A
n intake of breath from inside the desk.
WALTER
Attaboy
!
Walter
closes the desk and turns back to the table.
H
e passes Hildy, who still typ
es
rapidly
.
WALTER
That's the stuff! Lam it into 'em, Hildy.
He jerks the sheet from Hildy's machine, crosses to his desk and picks up the phone.
WALTER
(into phone)
Hello! Duffy, ready? Here we go!
Walter
read
s
from the page he has taken from Hildy's typewriter.
WALTER
(into phone)
"In the darkest hour of the city's history
...
"
INT. CRIMINAL COURTS BUILDING
- MAIN FLOOR - NIGHT
At the end of the hall are glass doors through which can be seen a turmoil of activity in the street outside -- newsboys, a crowd, and a mounted policeman or two.
Bruce comes down the hall, his face set and angry. As he goes, he sees a sign set over a doorway in the hall. It reads:
"
MISSING PERSONS BUREAU.
"
He stops and enters.
INT. PRESS ROOM - NIGHT
Walter speaks into the phone.
WALTER
Listen, did you impress it on Butch that I want him and his gang here right away? You did? Every minute counts. All right.
(puts receiver down on table)
Duffy's getting old!
HILDY
Where's Butch?
WALTER
He's on the way.
HILDY
(over her typing)
He'd better hurry. The
boys'll
be coming back to phone.
WALTER
(peer
s
over her shoulder)
Well, keep going! We want an extra out on the streets before it's too late!
HILDY
(looking up suddenly)
Where's Bruce?
WALTER
Bruce? Oh --
er
-- he went out to get the tickets.
HILDY
What tickets?
WALTER
Railroad tickets.
HILDY
Is he coming back here?
WALTER
Didn't you hear him? Of course he's coming back here. Keep going, will you?
Walter
leaves Hildy and goes over to pick up his phone again.
WALTER
(into phone)
Duffy!
EXT. CORRIDOR OUTSIDE DOOR - NIGHT
Finding the door locked,
Bensinger
knocks.
INT. PRESS ROOM - NIGHT
A
nother knock comes.
HILDY
(call
s
)
Who is it?
EXT. CORRIDOR
- NIGHT
BENSINGER
What's the idea of locking this?
INT. PRESS ROOM - NIGHT
Hildy looks at Walter.
HILDY
That's Bensinger. That's his desk.
WALTER
(whispering)
What's his name?
The door knob rattle
s
violently.
HILDY
Bensinger -- of the Tribune.
EXT. CORRIDOR OUTSIDE DOOR - NIGHT
BENSINGER
Open this door!
INT. PRESS ROOM
- NIGHT
Walter
starts for the door.
WALTER
I'll handle him.
He goes
to the door.
WALTER
The Tribune,
eh
? Watch me!
He opens the door.
Bensinger enters.
BENSINGER
Ain't you got any more sense than to --?
(sees
Walter
and is overcome)
Oh,
h-hello
, Mr. Burns. Why, quite an honor having you come over here.
WALTER
(casually)
Hello, Bensinger.
BENSINGER
Excuse me, I just want to --
He starts for the desk. Hildy's typing goes on.
Walter suddenly blocks Bensinger's path.
WALTER
Quite a coincidence, my running into you tonight. Isn't it, Hildy?
HILDY
Ye
a
h.
BENSINGER
How do you mean?
WALTER
I was having a little chat about you just this afternoon -- with our Mister Duffy.
BENSINGER
(essaying a pleasantry)
Nothing -- ah -- detrimental, I hope.
WALTER
I should say not! That was one swell story you had in the paper this morning.
BENSINGER
(deeply moved)
Oh, did you -- care for the poem, Mr. Burns?
WALTER
(startled)
The poem?... The poem was great!
BENSINGER
(blinking at these words)
Remember the ending?
(and he recites)
" -- and all is well, outside his cell, But in his heart he hears the hangman
c
alling and the gallows falling And his white-haired mother's tears..."
WALTER
(overcome)
Heartbreaking! How would you like to work for me?
BENSINGER
What?
WALTER
(to Bensinger)
We need somebody like you. All we've got now are a lot of low-brows. Like Johnson here.
He starts shoving Bensinger away from the desk, toward the table.
BENSINGER
Seriously, Mr. Burns?
Clinging to him,
Walter
takes him to the phone.
WALTER
(into phone)
Duffy! I'm sending Bensinger over to see you.
(look
s
up at Bensinger)
Mervyn
, isn't it?
BENSINGER
No. Roy. Roy V.
WALTER
(laugh
s
at his own forgetfulness)
Of course!
(into phone)
Roy Bensinger, the poet. Of course you wouldn't know! You probably never heard of Shakespeare, either! Put Mr. Bensinger right on the staff.
(to Bensinger)
How much are you getting
at
the Tribune, Roy?
BENSINGER
Seventy-five.
WALTER
I'll give you a hundred and a by-line.
(into phone)
Let him have everything he wants.
(puts down the receiver; turns to Bensinger)
Now hustle and write me a story from the point of view of the escaped man.
Walter acts it out...
WALTER
He hides, cowering... Afraid of every light, of every sound... hears footsteps... his heart going like that... And all the time they're closing in... Get the sense of an animal at bay!
BENSINGER
Sort of a Jack London style?
WALTER
Exactly!
Leads him hurriedly to the door.
BENSINGER
(indicates desk)
I got my rhyming dictionary in --
Walter shuffles him to the door.
WALTER
It doesn't have to rhyme!
Bensinger turns
at the door
.
BENSINGER
Gee, I'm terribly grateful, Mister Burns. Do you suppose there might be an opening some time as foreign correspondent? I parley a little French, you know.
Walter
shakes hands with him and opens the door with the other hand.
WALTER
I'll keep you in mind.
BENSINGER
(going)
Au revoir,
mon
capitaine
.
WALTER
Bon jour!
Walter
gets the door closed and
relocked
and turns for the table, singing as he does so:
WALTER
Mademoiselle from
Armontieres
, parlay --
Walter
returns alertly to
the
table, not noticing that Hildy has stopped typing, and sits.
WALTER
(into phon
e
)
Duffy! G
e
t this!
A rat from the Tribune is coming over to get a job -- Bensinger, the guy I told you about. Handle him with kid gloves. Tell him to get busy writing poetry... No, we don't want him. Stall him along until the extra comes out. Then tell him his poetry stinks and kick him downstairs.
He lays down receiver.
Hildy
looks up at him.
HILDY
Double-crossing swine!
WALTER
You said it! But
this'll
teach him a lesson. He won't quit his paper without giving notice after this.
Hildy doesn't bother to reply. She rests her chin on her hands and stares moodily ahead.
WALTER
Tear into it, will you? Don't sit there like a frozen robin!
HILDY
I'm finished.
WALTER
Finished!
He grabs the last sheet of paper out of her typewriter, kisses her and rushes over to the telephone.
WALTER
(into phone)
Duffy! All right -- here we go! And g
e
t it out as soon as you can. I want this paper out on the streets in half an hour!
(reading Hildy's copy)
"So once more the Morning Post --"
EXT. CRIMINAL COURTS BLDG - NIGHT
Diamond Louie, bearing evidence of a mishap, his hat crushed, his face bruised and his clothes torn, comes running down the sidewalk and up the steps into the building.
INT. PRESS ROOM - NIGHT
Hildy is up now, pacing.
HILDY
Bruce ought to be back by now. Walter, you're not trying anything again, are you?
WALTER
Hildy, you think I could? After this story?
(tak
es
a flask from his pocket)
Here! You're just nervous.
Hildy takes the flask and takes a drink. There is a knock on the door.
Walter
takes the flask from her, restores it to his pocket and goes to the door.
WALTER
Who is it?
LOUIE
(O.S.)
It's me, Boss -- Louie.
WALTER
(open
s
the door)
It's Louie!
Louie slips in and
Walter
relocks
the door.
WALTER
(seeing Louie's disarray)
What's the matter?
Hildy crosses to Louie.
HILDY
(frantically)
Where's Mrs. Baldwin?
WALTER
What did you do with her?
HILDY
(almost afraid to speak)
What happened?
WALTER
You been in a fight?
LOUIE
(still out of breath)
Down Western Avenue. We were going sixty-five miles an hour. You know what I mean?
WALTER
Take that mush out of your mouth!
HILDY
Where's the old lady?
LOUIE
I'm telling you!
Louie
gets breath and blurts:
LOUIE
We run smack into a police patrol. You know what I mean? We broke it in half!
HILDY
(moaning)
Oh-h-h
...
was
she hurt?
WALTER
Where is she? Tell me!
HILDY
Louie!
LOUIE
I'm telling you. Can you imagine bumping into a load of cops?! They come
rollin'
out like oranges!
HILDY
(seizing him)
What did you do with her?
LOUIE
Search me! When I come to I was running down Thirty-fifth Street.
HILDY
You were with her. You were in the cab, weren't you?
LOUIE
(exposing his bruised scalp)
Was I? The driver got knocked cold.
WALTER
Butter-fingers! I give you an old lady to take somewhere, and you hand her over to the cops!
LOUIE
What do you mean, I handed her? The patrol wagon was on the wrong side of the street.
WALTER
Now everything's fine. She's probably squawking her head off in some police station.
LOUIE
I don't think she's talking much... You know what I mean?
He winks reassuringly.
HILDY
(paralyzed)
Don't tell me -- was she killed?
WALTER
(hopefully)
Was she? Did you notice?
LOUIE
Say, me with a gun on my hip and a kidnapped old lady on my hands, I should stick around asking questions from a lot of cops! You know what I mean?
Hildy sinks into a chair.
HILDY
Dead... dead! That's the end!
Walter
goes
to her.
WALTER
It's Fate, Hildy. What will be, will be.
HILDY
(wildly)
What am I going to say to Bruce?
What'll
I tell him?
WALTER
If he really loves you, you won't have to tell him anything.
(whack
s
her on the shoulder)
Snap out of it! Would you rather have had the old dame dragging the whole police force in here?
HILDY
I killed her. I'm responsible.
Oh-h
...
what
can I do now? How can I ever face him? Oh, I hope he never comes back!
She buries her face in her hands.
WALTER
Look at me, Hildy --
HILDY
(springing up)
I'm looking at you -- you murderer!
WALTER
If it was my own mother, I'd carry on! You know I would. For the paper!
HILDY
(to Louie)
Louie,
where'd
it happen? I'm going out!
The Post phone rings.
WALTER
(grab
s
Hildy)
You stay here. I'll find out everything.
LOUIE
(to Hildy)
Western an' Thirty-fourth.
Hildy jumps for the outside phone on the desk.
WALTER
(into phone)
Hello -- hello...
HILDY
(into phone)
Gimme
Western four-five-five-seven.
WALTER
(guarded)
Who?
(wildly)
Hello, Butch! Where are you?
HILDY
(into phone)
Mission Hospital?
Gimme
the Receiving Room.
WALTER
(into phone)
What are you doing there? Haven't you even started?
HILDY
(into phone)
Hello -- Eddie? Hildy Johnson. Was there an old lady brought in from an auto smashup?
WALTER
(into phone)
Oh, for --
(yelling)
H. Sebastian -- Butch! Listen, it's a matter of life and death! Listen!
HILDY
(into phone)
Nobody?
(jiggles hook)
Morningside
three-one-two-four.
WALTER
(into phone)
I can't hear... You got who? Speak up! A what?... You can't stop for a dame now!
HILDY
(into phone)
Is this the Community Hospital?
WALTER
(howl
s
into phone)
I don't care if you've been after her for six years! Butch, our whole lives are at stake! Are you going to let a woman come between us after all we've been through?
HILDY
(into phone)
Hello, Max, Hildy Johnson. Was there an old lady --?
WALTER
(into phone, drown
s
out Hildy)
Butch! I'd put my arm in fire for you -- up to here!
(indicates up to where)
Now, you can't double-cross me!... She does? All right -- put her on. I'll talk to her... Hello! Oh, hello, Madam... Now listen, you ten-cent glamour girl, you can't keep Butch away from his duty... What's that? You say that again and I'll come over there and knock your eye out! Hello?
(turning, as he hangs up)
I'll kill 'em! I'll kill both of 'em!
(into Post phone)
Duffy!
(to the universe)
Mousing around with some big blonde Annie on my time! That's cooperation!
(scream
s
into phone)
Duffy!!
HILDY
Shut up, will you?
(into phone)
You sure? Nobody?
WALTER
(into phone)
Duffy!!!!
(listen
s
)
Duffy!!!!
(listen
s
)
Well, where is Duffy?
(throw
s
receiver
on
desk)
Diabetes! I ought to know better than to hire anybody with a disease.
(turn
s
)
Louie.
It's up to you.
LOUIE
(loyally)
Anything you want, Boss.
WALTER
Beat it out and get hold of some guys.
LOUIE
Who do you want?
WALTER
(start
s
for the door, followed by Louie)
Anybody with hair on his chest. Get 'em off the street -- anywhere. Offer them anything -- only get them.
(confidentially)
We've got to get this desk out of here.
He unlocks the door.
LOUIE
You know me. The shirt off my back.
WALTER
You got plenty of money?
LOUIE
Sure, boss.
WALTER
I mean real money -- not counterfeit!
LOUIE
I always have both.
Louie
goes out.
WALTER
(call
s
after him)
And don't bump into anything.
Walter
relocks
the door.
HILDY
Lafayette two-one-hundred.
WALTER
(turn
s
from door)
That dumb
immigrant'll
flop on me. I know it.
(bitterly)
Can you imagine Butch doing this to me -- at a time like this?
Walter
steps into scene.
WALTER
(confidentially)
If Louie doesn't come back in five minutes we'll get it out alone. There's millions of ways. We can start a fire and get the firemen to carry it out in the confusion.
He crosses to the desk and inspects it.
HILDY
(into phone)
Ring that number, will you?
WALTER
(to Hildy, oblivious of her telephoning)
Come here. See if we can move it.
HILDY
(into phone)
Hello -- hello! Is this the
Lying-In H
ospital? Did you have an auto accident in the last --
WALTER
Will you come here?
HILDY
(into phone)
Oh, I see. I beg your pardon.
WALTER
When I'm surrounded, with my back against the wall, you're not going to lay down on me, are you --
HILDY
Yes.
She jiggles the phone hook.
WALTER
(going to her)
Hildy, you just can't leave me out on a limb now. It -- it wouldn't be
cricket
!
strictly
British term
Was it in use in USA in 1939?
HILDY
I don't care what you say. I'm going to find Bruce's mother.
(jiggles the hook madly)
Oh-h
...
(hangs up)
I'm going out and find her!
Grabbing her hat and purse,
Hildy
starts for the door.
There is a loud knocking on the door.
WALTER
Don't open that!
HILDY
Who says? I'm going to the morgue -- to look --
She unlocks the door.
Hildy flings the door open only to find
Hartman
, accompanied by two
DEPUTIES
and surrounded by
McCue
, Murphy, Schwartz, Wilson and Endicott.
MURPHY
There she is!
MCCUE
Say, Hildy...
Hildy makes a decision and tries to push through them, but
Hartman
grabs her and pushes her back.
HARTMAN
Just a minute, Johnson!
HILDY
Let go o' me. What's the idea?
MCCUE
What's your hurry?
MURPHY
We want to see you.
The deputies seize her.
HILDY
Take your paws off me!
HARTMAN
Hold her, boys!
Walter
comes into scene.
WALTER
(to
Hartman
)
Who do you think you are, breaking in here like this?
HARTMAN
You can't bluff me, Burns. I don't care who you are or what paper you're editor of.
HILDY
(struggl
es
)
Let me go!
(hysterically)
Fellows, something's happened to my mother-in-law.
HARTMAN
Hang on
to her! Keep her in here!
Hildy breaks loose and retreats back into the room before Hartman and the deputies.
MCCUE
We know what you're up to.
ENDICOTT
Probably
goin'
out to get Williams.
SCHWARTZ
The door was locked.
WILSON
She and Mollie were talking.
HILDY
I don't know anything, I tell you. There's been an accident.
HARTMAN
Johnson, there's something very peculiar going on.
HILDY
You can send somebody with me if you don't believe me!
HARTMAN
I wasn't born yesterday. Now the boys tell me you and this Mollie
Malloy
--
HILDY
Nobody's trying to put anything over on you. I'm getting out of here and you can't stop me!
MURPHY
You're not going anywhere.
(to
Hartman
)
She's got the story sewed up, Pete.
That's why Burns is here.
SCHWARTZ
We're on to you, Hildy. Let us in on it.
WALTER
(purr
s
)
If you've any accusations to make, Hartman, make them in the proper manner. Otherwise, I'll have to ask you to get out.
HARTMAN
(pop-eyed; stammer
s
)
You'll ask me to what?
WALTER
Get out!
HARTMAN
(to deputies)
Close that door. Don't let anybody in or out.
MURPHY
Come on, Pinky! Give 'em a little third degree.
ENDICOTT
Make them talk and you got Williams, Pinky!
HARTMAN
Johnson, I'm going to the bottom of this. What do you know about Williams? Are you going to talk or aren't you?
HILDY
What do I know about Williams?
HARTMAN
All right, boys. Take her along. I got ways of making her talk.
The deputies seize Hildy. She struggles.
HILDY
Look out, you --
MCCUE
(nervously)
What's the use of fighting, Hildy?
Hildy manages to get in a few resounding smacks on the deputies' faces. The reporters swarm around the struggling trio.
REPORTERS (AD LIB)
"I got her!"
"No, you don't!"
"
Aw
, Hildy..."
In the struggle, Hildy suddenly drops her purse. It lands with a clank and comes open. A gun is revealed on the floor. Hildy picks it up.
DEPUTIES
(AD LIB)
"
Hey, she's got a gun!
"
"
Look out, she's got a gun!
"
The deputies and reporters start to close in on her cautiously.
HILDY
(face
s
all directions)
No, you don't! Walter!
WALTER
What is it? Here!
She tosses the gun to Walter, but one of the deputies intercepts the throw.
HARTMAN
Gimme
that.
Hartman
takes the gun from the deputy and
stands frozen, staring at
it
.
HARTMAN
(to Hildy)
Where'd
you get this?
HILDY
I've got a right to carry a gun if I want to.
HARTMAN
Not this gun!
Walter
comes into scene.
WALTER
(easily)
I can explain that, Hartman. When Hildy told me she wanted to interview Earl Williams I thought it might be dangerous and I gave her a gun to defend herself.
HARTMAN
Oh, you did! Well, that's very, very interesting. This happens to be the gun that Earl Williams shot his way out with!
REPORTERS
(AD LIB)
"
What?
"
"
What's that?
"
WALTER
(advancing on
Hartman
)
Are you trying to make me out a liar?
MURPHY
(bitterly at Hildy)
It's the last time I ever trust a woman, Hildy.
SCHWARTZ
Maybe Williams was
gonna
be her best man.
WILSON
That's pretty rotten, Hildy. Crossing your own pals.
HARTMAN
(shov
es
up to Hildy; trembling)
Where is Earl Williams? Where you got him?
WALTER
(sympathetically)
You're barking up the wrong tree, Hartman.
HARTMAN
I'll give you three minutes to tell me where he is.
HILDY
He went over to the hospital to call on Professor Egelhoffer.
HARTMAN
(outraged)
What?
HILDY
With a bag of marshmallows.
Hartman
stands silent -- then hastily turns.
REPORTERS
(AD LIB)
"
Come on, Hildy. Where is he?...
"
"
This is a sweet trick, Hildy...
"
"
I thought we were friends...
"
(to
Hartman
)
"
Look here, Pete! What about Mister Burns?...
"
"
Ask the Master Mind! What's he doing over here?
"
HARTMAN
(grab
s
Walter's
arm)
Speak up! What do you know about this.
Walter gently but firmly disengages Hartman's hand.
WALTER
My dear Hartman!
He
holds his place
before the desk.
MURPHY
Can that! Where is he?
WALTER
(to
Hartman
)
The Morning Post is not obstructing justice or hiding criminals. You ought to know that.
HARTMAN
No? Well --
(turn
s
to Hildy)
Johnson, you're under arrest.
(turn
s
to
Walter
)
You, too, Burns.
WALTER
(calmly)
Who's under arrest? You pimple-headed, square-toed spy -- do you realize what you're doing?
HARTMAN
I'll show you what I'm doing. Burns, you're guilty of obstructing justice and so is the Morning Post. I'm going to see that the Post is fined ten thousand dollars for this.
WALTER
You'll see nothing of the kind, Sheriff.
HARTMAN
We'll just start by impounding the Post property.
(point
s
to Bensinger's desk, address
es
Hildy)
Is that your desk?
HILDY
(jump
s
)
No!
WALTER
(almost simultaneously)
Yes! What are you afraid of Hildy? I dare him to move that desk out of here.
HARTMAN
Oh, you do,
eh
?
(to deputies)
All right, boys. Confiscate that desk.
Several of the deputies start toward the desk.
WALTER
(trying to intercept deputies)
Hartman, if you take this desk out of this building, I'll put you behind bars.
HARTMAN
You will,
eh
? Well, we'll see about that.
(to deputies)
All right, boys. Take it.
WALTER
I'm warning you -- it'll be a Federal offense.
(to deputy nearest him)
And you'll be an accessory!
HARTMAN
We'll take a chance on that, Burns.
(to deputies)
Go ahead, boys.
T
he deputies continue toward the desk
.
INT. CORRIDOR
- NIGHT
Flanked by two
POLICEMEN
, Mrs. Baldwin, disheveled, with her hat over one ear,
marches
toward the Press Room, bound for vengeance.
Bruce, considerably upset, is with her.
As they reach the door to the Press Room, Mrs. Baldwin stops.
MRS. BALDWIN
You wait outside, Bruce.
BRUCE
But, mother --
MRS. BALDWIN
(firmly)
No! You'll weaken when you see that little
Jezebel
! I'm going to tell her what I think of her!
She plumps her hat down more firmly on her head and marches into the Press Room followed by the two policemen. Bruce remains outside the door.
INT. PRESS ROOM
- CONTINUOUS
Mrs. Baldwin, followed by the policemen, comes in.
HILDY
(leap
s
forward)
Mother!
MRS. BALDWIN
(point
s
out
Walter
to the
policemen
)
That man there!
Hildy hugs Mrs. Baldwin.
HILDY
Mother! Oh, I'm so glad to see you! Are you all right? Tell me.
Mrs. Baldwin indignantly shakes her off.
HARTMAN
What's the idea here?
POLICEMAN
This lady claims she was kidnapped.
HARTMAN
What?
MRS. BALDWIN
They dragged me all the way down the stairs --
HARTMAN
Just a minute. Did -- did --
(points to
Walter
)
-- this man have anything to do with it?
MRS. BALDWIN
He was the one in charge of everything! He told them to kidnap me!
WALTER
(amazed)
Are you referring to me, Madam?
MRS. BALDWIN
You know you did!
HARTMAN
What about this, Burns? Kidnapping,
eh
?
WALTER
(round-eyed)
Oh, trying to frame me,
eh
! I never saw this woman before in my life!
MRS. BALDWIN
Oh, what a thing to say! I was standing right here - after the girl jumped out of the window.
HARTMAN
Did you get the Mayor?
DEPUTY
He's coming over.
WALTER
(to Mrs. Baldwin)
Now, Madam -- be honest. If you were out joy-riding, drunk, and got into some scrape, why don't you admit it, instead of accusing innocent people?
MRS. BALDWIN
(beginning to doubt her senses)
You ruffian! How dare you say a thing like that?
HILDA
Please, Mother, he's just crazy!
MRS. BALDWIN
(to
Hartman
)
I'll tell you something more. I'll tell you why they did it!
WALTER
(fidget
s
)
Come on, Sheriff. We've got to get bail.
MRS. BALDWIN
(continu
es
crescendo)
I was in here -- and they had some kind of murderer in with them. They were hiding him!
This is a bombshell. The room is electrified.
HARTMAN
Hiding him? In here?
MURPHY
Hiding him where?
HILDY
Mother!
REPORTERS
(AD LIB)
"
Where was he?...
"
"
Where'd
they have him?...
"
WALTER
(with superb indignation)
Madam, you're a cockeyed liar! And you know it!
To emphasize his righteousness, he pounds on the desk three times. Then, realizing what he has done, he
winces
.
Walter
advances from
the
desk
. T
he others retreat before him.
WALTER
(anxiously)
Come on, Sheriff, we've got to get bail.
Three answering knocks come from the desk.
Everyone
jump
s
around to face the desk.
HARTMAN
(whispering)
What was that?
REPORTERS
(AD LIB)
"
He's in the desk!
"
"
For the love of
"
"
He's in there!
"
HARTMAN
Aha! I thought so! Stand back, everybody!
1st
DEPUTY
Look out, Sheriff. He may shoot!
HARTMAN
Get your guns out!
The policemen and deputies get out their guns.
HILDY
He's harmless.
HARTMAN
Don't take any chances. Shoot through the desk.
HILDY
He can't hurt anybody. You've got his gun.
MRS. BALDWIN
(panic-stricken)
Oh, dear! Oh, dear!
WALTER
You gr
a
y-haired old Judas!
MRS. BALDWIN
Let me out! Let me out of here!
She
beelines
for the door, flings it open and goes. The reporters tear
off
to their telephones
and begin barking orders to their respective papers.
HARTMAN
(to policeman)
You stand there!
MURPHY
City Desk! Quick!
SCHWARTZ
Gimme
the Desk!
HARTMAN
(to another policeman)
You there!
ENDICOTT
City Desk! Hurry!
MCCUE
Gimme
Emil...
HARTMAN
(to a Deputy, pointing with his gun toward the window)
You cover the window.
MURPHY
(to Hartman)
Look out where you're pointing that gun!
Hartman
draws his men in around the desk, their guns drawn on it.
WILSON
Lemme have the Desk! Quick!
MURPHY
Hold the wire! I've got a flash for you!
WALTER
(to Hildy)
Call Duffy!
HARTMAN
No, you don't!
WALTER
(to
Hartman
, furiously)
Do you want to get us scooped?
MCCUE
Emil? Hang on for a second.
HARTMAN
Now then, everybody aim at the center. And when I say three --
HILDY
That's murder!
HARTMAN
(changing his mind)
All right! Carl! Frank! One of you get on each side of the desk. Take hold of the cover.
The
two deputies flank the desk and grab on
.
HARTMAN
Now then! We got you covered, Williams. Don't try to move. Now! Everybody quiet and ready for an emergency. I'm going to count
to
three.
The reporters shout into their phones.
SCHWARTZ
Hold it! Something coming up.
HARTMAN
One!
ENDICOTT
Hold the phone!
MURPHY
I'll have it in a minute.
HARTMAN
Two!
WILSON
Right away now!
HARTMAN
(turn
s
back to desk)
Everybody ready? All right. Now then, up with it.
Two deputies raise the cover. Williams is revealed, cowering in the desk, his hands over his face.
Hartman
rushes on him, jabbing his gun into him.
HARTMAN
Got you, Williams!
WILLIAMS
(a wail)
Go on -- shoot me!
A
s the police and deputies come in to assist
Hartman, t
he reporters are telephoning in, the police shouting -- all the voices mixing
together
in incredible confusion
a
s
Hartman
rushes Williams to the door and takes him out.
MURPHY
Earl Williams was just captured in the Press Room of the Criminal Courts Building, hiding in a desk.
DEPUTIES AND POLICEMEN (AD LIB)
(all talking at once)
"
Grab him!
"
"
That's him!
"
"
Don't let him shoot!
"
"
Stick 'em up!
"
MCCUE
...Williams in a roll
-
top --
WILSON
-- nabbed Williams hiding --
ENDICOTT
-- found Williams' hiding place.
SCHWARTZ
He offered no resistance.
MCCUE
Williams put up a desperate struggle but the police overpowered --
MURPHY
-- tried to shoot it out with the cops but his gun wouldn't work, so
–
-
WILSON
-- trying to break through the cordon of police --
ENDICOTT
Williams was unconscious when they opened the desk --
Walter
grab
s
the Post phone.
WALTER
(into phone)
Duffy! The Morning Post just turned Earl Williams over to the Sheriff.
Hartman re-enters
with
the
two policemen and leap
s
to get the phone away from
Walter
.
WALTER
(into phone)
Duffy!
HARTMAN
(indicat
es
Walter
and Hildy)
Put the cuffs on those two!
The police handcuff Hildy and
Walter
.
ENDICOTT
An anonymous note received by the Sheriff led to Williams' capture. More later.
He hangs up.
MURPHY
(into phone)
An old sweetheart of Williams'
doublecrossed
him. Call you back.
He hangs up.
REPORTERS
(AD LIB)
"
Where's that old lady?
"
"
Hey, Madam!
"
"
Where'd
she go?
"
"
Where's the old dame?
"
They run out after Mrs. Baldwin, the Mayor entering just after they go.
Walter
and Hildy, handcuffed together, stand near
Hartman
.
HARTMAN
(into phone)
Hello,
girlie
--
gimme
Cooley. Quick!
WALTER
Hart
man
, you're going to wish you'd never been born!
The Mayor comes into scene.
MAYOR
Fine work, Pete! You certainly delivered the goods. I'm proud of you.
HARTMAN
(holding the phone)
Look kind o' natural, don't they, Fred?
MAYOR
(happily)
A sight for sore eyes!
HARTMAN
Aiding an escaped criminal! And a little charge of kidnapping I'm looking into.
(into phone
,
suddenly)
But that's the jail! There must be somebody there!
MAYOR
Well! Looks like about ten years apiece for you birds!
WALTER
Does it? You forget the power that always watches over the Morning Post.
MAYOR
Your luck's not with you now!
HARTMAN
(into phone)
Cooley?... I caught Williams single-handed -- we're going to proceed with the hanging per schedule!
He wiggles the hook for another call.
WALTER
(to Mayor)
You're going to be in office for exactly two days more and then we're pulling your nose out of the feed bag.
HARTMAN
(into phone)
Give me the District Attorney's office.
(to
Walter
)
I'll tell you what you'll be doing -- making brooms in the State penitentiary.
(into phone)
Hello,
D'Arrasty
! This is Hart
man
. Come over to my office, will you? I've just arrested a couple of important birds and I want to take their confessions.
He hangs up.
Walter
makes a sudden lunge for the Morning Post phone and cries into it.
WALTER
(into phone)
Duffy! Get
Liebowitz
!
MAYOR
All the lawyers in the world aren't going to help you!
WALTER
This is the Morning Post you're talking to!
MAYOR
(enjoying himself)
The power of the press, huh!
He laughs. Pinkus, the Governor's messenger, plentifully stewed, reels in the door. He approaches the Mayor and
Hartman
who have their backs to him.
WALTER
(at the Mayor)
Bigger men than you have found out what the power of the press is... President!... Yes -- and Kings!
PINKUS
(woozy; hand
s
Sheriff the reprieve over his shoulder)
Here's your reprieve.
The Mayor and
Hartman
spin around.
MAYOR
(in a panic)
Get out of here!
PINKUS
You can't bribe me!
WALTER
What's this?
HARTMAN
Get out of here, you!
PINKUS
I won't. Here's your reprieve.
HILDY
What?
PINKUS
I don't want to be City Sealer. I don't like seals anyhow. They smell.
MAYOR
Who is this man?
HARTMAN
(to a
deputy
)
Throw him out, Frank.
HILDY
(seiz
es
Pinkus with her free hand)
Who was bribing you?
Walter
also seizes Pinkus who is being pulled out of shape.
PINKUS
They wouldn't take it.
MAYOR
You're insane!
WALTER
(triumphant)
What did I tell you? An unseen power!
(to Pinkus)
What's your name?
PINKUS
Silas
F. Pinkus.
MAYOR
You drunken idiot! Arrest him! The idea of coming here with a cock-and-bull story like that!
HARTMAN
It's a frame-up! Some imposter!
HILDY
Wait a minute!
(to the
deputies
)
Let go there!
WALTER
(to
Hartman
and Mayor)
Murder,
h
uh?
HILDY
Hanging an innocent man to win an election!
HARTMAN
That's a lie!!
MAYOR
I never saw him before!
WALTER
(to Pinkus)
When did you deliver this first?
HILDY
Who did you talk to?
PINKUS
They started right in bribing me!
HILDY
Who's
"
they
"
?
PINKUS
(indicat
es
the Mayor and
Hartman
)
Them!
MAYOR
That's absurd on the face of it, Mr. Burns! He's talking like a child.
WALTER
Out of the mouths of babes.
MAYOR
He's insane or drunk or something. Why, if this unfortunate man, Williams, has really been reprieved, I personally am tickled to death. Aren't you, Pete?
HILDY
Go on, you'd kill your mother to get elected!
MAYOR
That's a horrible thing to say, Miss Johnson, about anybody!
Now, look here, Walter, you're an intelligent man --
WALTER
Just a minute.
All right, Mr. Pinkus. Let's have your story.
PINKUS
Well, I been married for ten years and --
WALTER
Skip all that.
MAYOR
(loudly)
Take those handcuffs off our friends, Pete. That wasn't at all necessary.
HARTMAN
(springing to obey)
I was just going to!
He gets the key from the
deputy
.
MAYOR
Walter, I can't tell you how badly I feel about this. There was no excuse for Hart
man
to fly off the handle.
HARTMAN
(unlock
s
the handcuffs)
I was only doing my duty. Nothing personal in it.
They are set free.
HILDY
You guys better quit politics and take in washing.
MAYOR
(look
s
over the reprieve)
Sheriff, this document is authentic! Earl Williams has been reprieved, this Commonwealth has been spared the painful necessity of shedding blood.
WALTER
Save that for the Tribune.
MAYOR
(to Pinkus)
What did you say your name was -- Pinkus?
PINKUS
That's right.
He shows the Mayor a locket.
PINKUS
Here's the picture of my wife.
MAYOR
A very fine-looking wom
a
n.
PINKUS
(mysteriously angered)
She's good enough for me! And if I was to go home and tell my wife --
MAYOR
I understand perfectly, Mr. Pinkus, and as long as I am Mayor --
WALTER
Which ought to be about three hours more, I'd say.
HILDY
Just until we can get out a special edition asking for your impeachment.
WALTER
And your arrest. You'll each get about ten years, I think.
MAYOR
Don't make any hasty decisions, Mr. Burns
. Y
ou might run into a thumping big libel suit.
HILDY
You're going to run into the Governor.
MAYOR
(tr
ies
to brush it off)
Now, my old friend the Governor and I understand each other perfectly.
HARTMAN
(eagerly)
And so do I!
MAYOR
(with superb contempt)
So do you what, you hoodoo!
(to Pinkus, suavely)
And now, Mr. Pinkus, if you'll come with us, we'll take you over to the Warden's office and deliver this reprieve.
Hartman
, Pinkus and the Mayor go out of scene.
WALTER
(dreamily)
Wait till those two future jailbirds read the Morning Post tomorrow.
Walter turns to Hildy and they suddenly smile at each other.
HILDY
How was that for a tight squeeze?
WALTER
Don't tell me you were worried!
HILDY
Worried! I was petrified. Weren't you?
WALTER
Uh-uh. As long as we were in there together pitching -- they couldn't lick us. Well, it's been a lot of fun.
HILDY
In a way.
WALTER
(laughs)
I mean -- working together. Just like the old days. The things we've been through, Hildy.
HILDY
We've certainly been in some swell jams.
WALTER
Remember the time we broke into the
D.A.'s
office, and copied
Fifi
Randell's
diary?
HILDY
Yeah. What about the time we hid the missing heiress in the sauerkraut factory? Six scoop interviews!
WALTER
Yeah - but that time we stole Old Lady
Haggerty's
stomach off the Coroner's physician. We proved she was poisoned though, didn't we?
HILDY
(laughing)
We sure did, but we had to go in hiding for a week.
WALTER
In the
Shoreland
Hotel. And our only chaperon was the poor old lady's stomach.
HILDY
Don't remind me. That's how we happened to --
She breaks off. There is a moment's pause.
WALTER
Sorry, Hildy. I didn't mean to be making love to another man's fianc
é
e.
HILDY
That's all right, Walter. It's as much my fault as yours.
WALTER
(glancing at the clock)
Bruce is making the nine o'clock train. I told him you'd be on it -- unless you want to write this story yourself.
HILDY
Well, if it's my last story, I'd like it to be a good one. But -- I guess I can't, Walter.
WALTER
Suit yourself, kid. This isn't for me to decide. Of course, you could make a later train and still be in Albany tomorrow morning.
HILDY
Yeah. I suppose I could. But, Walter --
WALTER
He's going to have you the rest of his life, Hildy. Can't you give me another hour?
HILDY
I don't know what to do, Walter.
WALTER
Flip a coin.
HILDY
All right.
(takes coin from her bag)
Heads I go -- tails I stay to write the story. Ready?
Walter gazes
nervously at the hand holding the coin.
WALTER
Ready.
She flips and catches the coin. She holds it tightly clasped in her hand, afraid to look. They stare at each other a second.
WALTER
(nervously)
Well -- what is it?
HILDY
(almost breaking)
What's the difference? I'm going to write that story -- and you know it!
She puts the coin away without looking at it.
Walter
rushes to her, tries to take her in his arms.
WALTER
Hildy!
HILDY
(furiously)
Don't touch me! I'm not doing it for you!
WALTER
(softly)
Then why are you doing it?
HILDY
Because I'm a newspaper woman, Heaven help me!
MONTAGE
- THE STORY
CITY ROOM
-
Hildy typ
es
away furiously. Copy Boy tear
s
sheets from her typewriter as she writes.
Walter
com
es
in and tear
s
sheets from typewriter.
Linetype
machines.
Presses going.
INT. Walter's OFFICE - DAY
Headline:
"
THE POST SAVES EARL WILLIAMS!
"
The
sound of newsboys call "Extra! Extra!"
The
subtitle
:
"Impeachment Proceedings Launched Against Mayor For Attempting to Conceal Governor's Reprieve!"
The byline: "
By Hildegarde Johnson
"
Walter
and Hildy look at
the
paper on
Walter's
desk.
WALTER
(enthusiastically)
The greatest yarn ever written by anybody. My hat's off to you, Hildy!
HILDY
(grimly)
Thanks.
WALTER
And what a way to quit. While you're still champion! That's the way to leave, Hildy!
HILDY
Yeah. Only -- only I'm not leaving, Walter.
WALTER
What do you mean?
Bruce'll
be waiting for you in Albany.
HILDY
No, he won't. I wired him that I wasn't coming.
WALTER
Where'd
you wire him?
HILDY
On the nine o'clock train. That's the one he took, isn't it?
WALTER
Sure.
HILDY
It's awfully clear now. Bruce needs a wife who can give him a home -- and affection -- and peace. I couldn't do that for him, Walter. I'm what you made me -- a cheap reporter who'd give up her soul for a story!... Is that job still open?
WALTER
Both jobs are open, Hildy. The paper -- and being Mrs. Walter Burns.
HILDY
Thanks, Walter, but it's no good. We tried it.
WALTER
Sure, it was good -- it was wonderful! Only you expected it to be like other marriages. It can't be like other marriages -- we're different! We're a different world. Look at what we went through today. I wouldn't trade that for any honeymoon in the world. I bet you wouldn't, either.
HILDY
A fine honeymoon, with a murderer right in the boudoir! And that other honeymoon in a coal mine!
WALTER
That's what makes it romantic. Every other married couple goes away on a honeymoon and for two weeks the bride knows just where the groom is, and vice versa. But us -- you never know where I am and I'm not sure where you are. That's Romance!
HILDY
Well, maybe I'd like to know just once!
WALTER
Hildy, if that's what you want, all right. We'll even go to -- how about Niagara Falls?
HILDY
(jump
s
)
Niagara Falls! Walter, you don't mean that?
WALTER
Sure I do. And I'll tell you something else -- I'd like a baby.
HILDY
Walter!
WALTER
Sure, I can't last forever. I want a son I can train to take my place on this paper.
HILDY
What would you do if it was a daughter?
WALTER
Well, if she looked like you -- Say! My brains and your looks -- that mightn't be such a bad combination.
HILDY
What's the matter with my brains?
WALTER
What's the good of arguing about something that probably doesn't exist? Look, Hildy, I'm proposing to you. What do you say?
HILDY
Well, I'd like to be lady-like and think it over.
WALTER
I don't want to rush you. Take a couple of seconds.
Louie marches in with a
JUDGE
, half-dressed. Louie has the judge in a tight grip.
WALTER
Hello, Judge!
JUDGE
This is an outrage, Mr. Burns! Sending a gunman to kidnap me!
WALTER
Now, wait a minute, Judge. This isn't a kidnapping. You've got the legal power to perform a marriage ceremony, haven't you?
HILDY
What!
?
WALTER
Now don't argue, Hildy.
(to Judge)
How about it, Judge?
JUDGE
Yes, but --
WALTER
Then go ahead. Come on, Hildy.
HILDY
Nobody's going to rush me into anything!
Louie sticks a gun in her ribs
.
HILDY
(scared)
You keep away from me!
LOUIE
All right, Judge.
INT. CITY ROOM
- DAY
Reporters
stand
on desks to watch through the glass partition of
Walter's
office.
1st REPORTER
I'll be doggoned! A shotgun marriage!
2nd REPORTER
Don't they usually keep the gun on the man?
INT.
Walter's
OFFICE
- SAME
The Judge reads
the marriage ceremony
.
JUDGE
"
...
so
long as you both do live?"
WALTER
I will.
HILDY
That's what he said the last time. Don't believe him, Judge.
WALTER
Hildy, from this time on no tricks, no double-crossing -- everything on the level!
HILDY
You're not fooling anybody.
JUDGE
"Hildegarde Johnson, will you have this man as your wedded husband, to live together in the ordinances and estate of Matrimony?"
HILDY
What would you do with a gun in your back?
LOUIE
(poking her)
Quiet!
JUDGE
"Will you love him, comfort him, honor and keep him in sickness or in health; --
"
HILDY
If I know where he is.
JUDGE
" -- and, forsaking all others, keep thee only unto him, so long as you both do live?"
HILDY
I will -- if he will.
JUDGE
(to
Walter
)
Have you got a ring?
Walter
starts searching his pockets
. He looks at Hildy's engagement ring.
WALTER
How about Bruce's?
HILDY
Walter, you can't do that!
WALTER
Sure, I can. Look at the policy I gave him!
He removes her ring, then places it back on while reciting:
BRUCE
"With this ring I thee wed and with all my worldly goods I thee endow: And thereto I plight thee my troth."
INT. CITY ROOM
- SAME
REPORTER
Say, I'm surprised she got the ring back!
INT.
Walter's
OFFICE
- DAY
JUDGE
"
...
pronounce
you Man and Wife."
Walter
throws his arms around Hildy and kisses her.
WALTER
Hildy, darling!
HILDY
Yes --
"
Hildy, darling.
"
I'm just a fool. That's what I am. I know what it's going to be like.
WALTER
It'll be Heaven!
HILDY
Sure, Heaven! You've probably thought up another coal mine to send me down in -- to get a new story for your paper!
Hildy turns over copy of the extra lying on
Walter's
desk.
She stops cold.
HILDY
Walter!
INSERT
-
NEWSPAPER
:
"COUNTERFEIT PASSER CAUGHT!"
"Attempting to pass five hundred dollars worth of counterfeit money at the Union station, a man giving his name as Bruce Baldwin of Albany, New York, was arrested last night --"
BACK TO SCENE
HILDY
Counterfeit money! That's the money you sent me, Walter! You -- you --
WALTER
But, Hildy, listen --
Walter
retreats from Hildy
. S
he runs after him. He dashes through
the
door into
an
adjoining office.
Hildy throws her bag at him and it smashes the glass pane in the door.
INT. ADJOINING OFFICE
- DAY
Hildy
pursues Walter
around
a desk
.
WALTER
But, Hildy -- I can explain --
HILDY
You -- you!!
INT.
Walter's
OFFICE
- SAME
LOUIE
(to Judge)
I think it's going to work out all right this time.
FADE OUT:
THE END
HIS GIRL FRIDAY
by
Charles
Lederer
Based on the play
"The Front Page"
by
Ben
Hecht
and Charles
MacArthur
p.d
. 1939
SHOOTING DRAFT
Final Draft transcription sample by:
Proofreader@
ProofMySpec.com
1st DEPUTY
1st OPERATOR
1st OPERATOR/MAISIE
1st REPORTER
2nd OPERATOR
2nd REPORTER
BEATRICE
BENSINGER
BLONDE
BRUCE
BUS BOY
COOLEY
COP
DEPUTIES
DEPUTIES AND POLICEMEN
DEPUTY
DOCTOR
DUFFY
DUFFY AND LOUIE
EARL
EGELHOFFER
ENDICOTT
GUARDS
GUS
HARTMAN
HILDA
HILDY
JAKE
JUDGE
LIEUTENANT
LOUIE
MAISIE
MAYOR
MCCUE
MESSENGER
MOLLIE
MRS. BALDWIN
MURPHY
OFFICE BOY
PINKUS
POLICEMAN
REPORTER
REPORTERS
SCHWARTZ
STAFF MEMBERS
WAITER
WAITER/GUS
WALTER
WALTER AND HILDY
WILLIAM
WILLIAMS
WILSON
(AD LIB)
(O.S.)
[MISSING
A
ANOTHER
ANTEROOM
CITY
ELEVATORS
EXT
INSERT
INT
MONTAGE
OUTSIDE
THE
Walter's
ADJOINING OFFICE
ANGLE
CITY ROOM
CORRIDOR
CORRIDOR OUTSIDE DOOR
CORRIDOR OUTSIDE PRESS
CORRIDOR OUTSIDE PRESS ROOM
COUNTY JAIL
COUNTY JAIL - CELL BLOCK ENTRANCE
COURTYARD
COURTYARD THE GALLOWS
CRIMINAL COURTS BLDG
CRIMINAL COURTS BLDG - PRESS ROOM
CRIMINAL COURTS BUILDING - MAIN FLOOR
DOOR LEADING FROM BUILDING TO COURTYARD
END
GATE
HALLWAY
MORNING POST - SWITCHBOARD
OFFICE
OUTSIDE THE OFFICE
PAGE
PAVEMENT BELOW
PHONE BOOTH
PICTURE OF MOLLIE
POLICE CELL
PRESS ROOM
PRESS ROOM CLOSE SHOT HILDY AND MOLLIE
QUICK MONTAGE
RESTAURANT
RESTAURANT - TABLE
ROOM
SHERIFF HARTMAN'S OFFICE
SHERIFF'S OFFICE
SQUAD CAR
STREET
TAXI
TAXICAB
THE OFFICE
THE STORY
Walter's OFFICE
CONTINUOUS
DAY
DAY (1930s)
NIGHT
REPORTERS AT THEIR PHONES
SAME
THE STORY
transcribed from movie]
FADE OUT: