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                                        AMERICAN  MADNESS
                                   Written by Robert Riskin

                         FADE IN
                         1. EXT. BUILDING - DAY - LONG SHOT
                         Of a large, impressive-looking building 
                         on the corner of a busy, New York business 
                         LAP DISSOLVE TO:
                         2. EXT. BUILDING - DAY - CLOSE SHOT
                         A dignified brass plate sign on the 
                         side of the building, reading: UNION 
                         NATIONAL BANK.
                         LAP DISSOLVE TO:
                         3. INT. FOYER OF BUILDING - MED. SHOT
                         Lower portion of high bronze doors, 
                         one side of which is partly opened. 
                         Sitting in front of the closed side 
                         is a uniformed officer, greeting, ad 
                         lib, the various employees as they enter.
                         LAP DISSOLVE TO:
                         4. INT. OF BANK - CLOSEUP
                         Of a cover being yanked off an adding 
                         CUT TO:
                         5. CLOSE SHOT AT SWITCHBOARD
                         A telephone operator, busily plugging 
                         in wires.
                         (mechanically sweet voice)
                         Good morning . . . Union National Bank 
                         . . . Just a minute—
                         LAP DISSOLVE TO:
                         6. INT. ENTRANCE ROOM TO VAULTS - MED. 
                         Of the inside of a massive vault door, 
                         made impressive by the shining, finely 
                         cut steel bolts and the many other intricate-looking 
                         instruments which adorn it.
                         CAMERA PANS UP to a clock overhead which 
                         registers 9:03.
                         A group of young men, paying tellers, 
                         are impatiently watching a teller struggle 
                         with the lock that will admit them to 
                         the vault.
                         Come on, come on, Oscar, what are we 
                         waiting for?
                         2ND TELLER
                         What's the matter? Can't you find it?
                         3RD TELLER
                         Sneak up on it, boy!
                         4TH TELLER
                         Oscar, come on!
                         Say, if it had lipstick on it, he'd 
                         find it!
                         They all laugh, as Oscar finds the combination.
                         ? 104 ?
                         Almonds to you![1] Almonds!
                         Now, now, Oscar - not almonds!
                         The CAMERA MOVES WITH THEM as they pass 
                         through the first portal.
                         Nine o'clock and all is lousy!
                         1ST TELLER
                         Yes, I spend half of my life waiting 
                         for these time clocks to open. Say, 
                         where's Matt?
                         Probably upstairs thinking up that daily 
                         2ND TELLER
                         That guy kills me with his wisecracks.
                         3RD TELLER
                         Say, when he comes in, let's put on 
                         a frozen face. Let's not smile.
                         They ad-lib agreement.
                         1ST TELLER
                         Shhh! Nix! Here he comes—
                         7. MED. SHOT
                         CAMERA PICKS UP Matt Brown, the chief 
                         teller, as he strides briskly in and 
                         begins turning the combination dial 
                         to the main vault. He is about twenty-six, 
                         a clean-looking, personable youngster. 
                         Several of the tellers are standing 
                         close to him, looking on.
                         How are you doing slaves?
                         Hello, Matt. How're you Matt?
                         Matt begins to work the combination 
                         of the main lock.
                         (with his back to them)
                         Say, did you boys ever hear the story 
                         of the pawnbroker with the glass eye?
                         1ST TELLER
                         No Matt, what is the story about the 
                         pawnbroker with the glass eye?
                         (as he continues to fiddle with the 
                         Well, I'll tell you. A fellow went into 
                         this shop to pawn his watch. The pawnbroker 
                         said, "I'll give you $50 for it, if 
                         you can tell me which is my glass eye." 
                         The fellow said, "All right, I'll do 
                         that. It's the right one." The pawnbroker 
                         said, "That's correct. But how did you 
                         know it was the right one?" The fellow
                         ? 105 ?
                         said, "well, it's got more sympathy 
                         than the other one."
                         He turns, expecting their laugh, but 
                         is confronted by stone faces.
                         Sympathy! You know, the right one had 
                         more sympathy than the other one!
                         1ST TELLER
                         What's the matter? Can't you get this 
                         thing open?
                         Matt stares in disbelief, then gets 
                         the joke.
                         Six reasons why banks fail!
                         This cracks them all up, as a uniformed 
                         officer, who has been standing by, works 
                         a lever attached to the floor, which 
                         lowers a section of the floor, directly 
                         in front of the vault. This permits 
                         the vault door, which is sunk below 
                         the floor level, to swing open.
                         I love your jokes, Matt! They're so 
                         entertaining! A very funny man!
                         8. MED. SHOT
                         Matt opens the inside door, made up 
                         of perpendicular steel bars. The tellers 
                         scurry into the cavernous-looking interior. 
                         Someone snaps on a light. CAMERA TRUCKS 
                         UP TO VAULT.
                         The back walls of the vault are lined 
                         with steel cabinets divided into many 
                         small compartments. On one side is a 
                         wall safe which is also opened by a 
                         combination and which contains the surplus 
                         cash carried by the bank. Matt is in 
                         charge of this. All around the room 
                         are numerous hand trucks - one for every 
                         teller. These trucks contain the cash 
                         in the charge of the individual tellers. 
                         While the tellers in the b.g. obtain 
                         their keys and open the drawers of their 
                         trucks, Matt examines the time clock 
                         which is attached to the inside of the 
                         vault door.
                         9. INT. VAULT - MED. CLOSE SHOT
                         At the door, as Matt enters and goes 
                         directly to the burglar alarm box to 
                         the left of the doorway. He leans over 
                         to throw off the burglar alarm switch.
                         CUT TO:
                         10. CLOSEUP - BURGLAR ALARM SWITCH
                         The handle of the switch points in the 
                         direction of a sign reading ON. Matt's 
                         hand comes into the scene and throws 
                         the switch up toward a sign reading 
                         OFF. This is done with no comment, it 
                         being a routine matter with Matt.
                         Come on, white collars. The day's started!
                         11. MED. SHOT
                         As the tellers file out with their trucks. 
                         Before they do, however, each one signs 
                         the cashbook. One or two exit silently.
                         ? 106 ?
                         12. CLOSE SHOT - MATT
                         As one of the tellers comes into scene. 
                         Matt examines the cashbook.
                         You're carrying too much money on you, 
                         Hank. You better turn some in tonight.
                         (as he goes)
                         Okay, Matt.
                         He exits out of scene.
                         How are you fixed?
                         I'm okay, Matt.
                         (to another teller)
                         You've got enough?
                         2ND TELLER
                         I'll be all right.
                         Charlie, the last man, comes up.
                         Say Matt, I'll have to have some money 
                         for those Manville payrolls.
                         How much?
                         About twenty-four thousand.
                         (counting out money)
                         It was more than that last week.
                         Here's twenty-five thousand.
                         He hands Charlie four stacks of bills. 
                         As Charlie is signing the cash book, 
                         Matt speaks:
                         Say, do me a favor, will you Charlie?
                         Let me have ten bucks?
                         Ten bucks? Say, if I had ten bucks, 
                         I'd quit.
                         ? 107 ?
                         Charlie starts out. Matt follows him.
                         13. OUTSIDE OF VAULT - MED. CLOSE SHOT
                         As Charlie comes out, followed by Matt. 
                         CAMERA TRUCKS ALONG WITH THEM as they 
                         (as they walk)
                         I'll pay it back to you Saturday - on 
                         the level I will. Give a guy a break, 
                         will you? I've got to get it back in 
                         my account. If Helen ever finds out 
                         that I—
                         Baby, I can't give you anything but 
                         love . . .[2]
                         LAP DISSOLVE TO:
                         14. INT. MAIN FLOOR OF BANK - BACKSTAGE
                         CAMERA TRUCKS with them as Charlie pushes 
                         his truck forward and Matt walks alongside 
                         of him. En route, CAMERA TAKES IN ATMOSPHERIC 
                         SHOTS of the general activity backstage 
                         of the bank.
                         Male and female clerks stand around 
                         at various angles, checking away at 
                         adding machines. Several are assisted 
                         by someone who calls off figures to 
                         them as they record it on machines. 
                         We hear these figures read in a monotone 
                         as we pass them.
                         Matt is still trying to pry the ten 
                         dollars loose from Charlie.
                         Now listen Charlie. I'll give you an 
                         I.O.U. I'll give you a note, I'll pay 
                         your mortgage, it's a matter of life 
                         and death—
                         Ad-lib conversations from the other 
                         clerks distract his attention.
                         Whose death?
                         It'll be yours if you don't kick in 
                         with that ten bucks.
                         Say pal, did you ever hear of a Depression?
                         Aw, nerts!
                         Charlie arrives at his cage. CAMERA 
                         STOPS with them.
                         Come over and see us sometime.
                         CAMERA CONTINUES TO FOLLOW Matt as he 
                         continues on to his cage, muttering 
                         half to himself.
                         I'm not asking you to pay off the Depression. 
                         I'm only asking you for ten bucks!
                         ? 108 ?
                         Another teller is busy in the cage next 
                         to him. Matt addresses him, referring 
                         to Charlie.
                         That mug reminds me of a guy with his 
                         second dollar.
                         Yeah, what did he do with his first 
                         Bought himself a pocketbook!
                         The teller laughs heartily.
                         15. MED. SHOT
                         THE CAMERA PICKS UP Helen as she crosses 
                         the main floor of the bank, reaches 
                         Matt's teller window and pushes it open.
                         Hello, Helen!
                         Matt, come here!
                         Come here, honey!
                         He leans over, and she gives him a quick 
                         Hey, look out, somebody's likely to 
                         see us!
                         (already walking away)
                         Oh, is that so?
                         She quickly kisses him again, crosses 
                         back, and takes the grand stairs up 
                         to the outer office of the bank president 
                         as Matt watches with a grin.
                         16. INT. MAIN FLOOR OF BANK - FULL SHOT
                         Just then, a group of five or six important-looking 
                         men enter scene on the way to the conference 
                         room. One of the men looks towards Helen's 
                         17. MED. SHOT
                         On Helen and a secretary standing next 
                         to her.
                         (to Helen)
                         Oh, oh. Look who's here.
                         18. MED. SHOT
                         The other clerks and tellers, noticing 
                         the newcomers as they file past.
                         Hey, psst!
                         ? 109 ?
                         Oh, oh. Five ill winds.
                         (standing next to Oscar)
                         And blowing no good for the old man, 
                         19. CLOSER SHOT ON HELEN'S DESK
                         Shooting toward Helen.
                         The four-and-a-half horsemen.[3]
                         What are they doing here? There's no 
                         board meeting today.
                         Search me.
                         By this time, the important group of 
                         men have reached Helen, and are passing 
                         her by, with perfunctory nods.
                         (the most important of the important-looking 
                         men; to Helen)
                         Mr. Dickson in yet?
                         Not yet, Mr. Clark.
                         When he comes in, tell him we're waiting 
                         for him in the board room.
                         Yes, sir.
                         And tell him not to delay.
                         Yes, sir.
                         The group of men file through the board 
                         room door, and out of sight.
                         (to Helen)
                         Looks like trouble for your boss.
                         Takes more than two tons of directors 
                         to make trouble for my boss.
                         (as she turns to go)
                         Sez you!
                         20. INT. CONFERENCE ROOM - MED. SHOT
                         Taking in all of room. The directors 
                         are all here, and some sit around a 
                         long, narrow mahogany table. Clark, 
                         the sour-faced old
                         ? 110 ?
                         bird we saw previously talking to Helen, 
                         paces back and forth agitatedly.
                         I've sent for the cashier, gentlemen. 
                         He has a list of the loans that Dickson 
                         made last month.
                         21. MED. CLOSE SHOT - CLARK
                         As he stops in his pacing a moment and 
                         addresses the directors further:
                         And as I told you at breakfast, it is 
                         time we did something about it.
                         22. CLOSE SHOT - SCHULTZ
                         In thorough accord with Clark's violent 
                         attitude is Schultz, a German, whose 
                         instinctive conservatism rebels against 
                         Dickson's liberal banking methods.
                         Mr. Clark's right. Dickson will ruin 
                         this bank if we don't stop him.
                         (another conservative stalwart)
                         Looks to me as if we're in hot water 
                         A very dignified but meek little old 
                         man, Jonathan Ives, tries horning in:
                         Gentlemen, I was just wondering—
                         23. MED. SHOT
                         As another of the directors, O'Brien, 
                         a large, bull-faced, thunderous-voiced 
                         contractor, rises to Dickson's defense. 
                         (O'Brien is always filing his nails, 
                         even while he talks.)
                         Personally, I think you're getting panic-stricken 
                         about nothing. Dickson's all right.
                         Oh, is he? We carry more unsecured paper 
                         than any other institution in the city. 
                         We're fools to tolerate it.
                         That's what I say. And the only way 
                         to end it is to get Dickson out.
                         24. CLOSE SHOT - O'BRIEN
                         He looks toward Schultz.
                         Don't make me laugh, Schultz!
                         25. MED. CLOSE SHOT - CLARK
                         Dickson doesn't have to go. But he must 
                         agree to this merger with New York Trust—
                         ? 111 ?
                         What good will that do?
                         What good will that do? Why, it will 
                         take control away from him. We'll put 
                         somebody else in charge, call in all 
                         doubtful loans, and be on safe ground 
                         again. That's what good it will do!
                         26. MED. CLOSE SHOT
                         Including Ives in scene with Clark and 
                         O'Brien. Ives is seated, O'Brien and 
                         Clark standing by table. Ives tries 
                         to speak again.
                         It has just occurred to me—
                         You're wasting your time, I tell you. 
                         Dickson won't stand for it.
                         He'll stand for it, if I have anything 
                         to say about it.
                         Just then they hear door open, and they 
                         all look towards door leading thru to 
                         main floor.
                         27. MED. CLOSE SHOT - CLUETT
                         As he shuts the door behind him. He 
                         is immaculately groomed, obviously cuts 
                         quite a dash with the women. He looks 
                         off toward the men as Clark's voice 
                         comes in:
                         CLARK'S VOICE
                         Ah - come in, Cluett.
                         CAMERA PANS WITH CLUETT as he comes 
                         forward and puts a paper on the table 
                         before Clark.
                         Here's the list.
                         Yes, thank you.
                         Anything else?
                         No. Nothing.
                         Cluett exits toward door again. Clark 
                         picks up the list and looks at it. Then 
                         he addresses the other men:
                         Look at this. Just look at this. It's 
                         outrageous. Henry Moore - thirty-six 
                         thousand. Manny Goldberg - eighty-five 
                         hundred. Tony Consero - fifty-six thousand 
                         dollars. Joseph McDonald - eighteen 
                         thousand. Alvin Jones - sixty-six thousand 
                         dollars to a hotel that's on its last 
                         legs. I tell you, people get loans in 
                         this bank that couldn't borrow five 
                         cents anywhere else.
                         ? 112 ?
                         28. WIDER ANGLE
                         As the other men group around the loan 
                         list, which Clark has put back down 
                         on the table. They all scrutinize it 
                         (to the men at large)
                         And on what? "Hunches," he calls it.
                         Some day he'll get a "hunch" about a 
                         man and give the bank away.
                         He's almost done that already. Our chief 
                         teller, Matt Brown, is an example of 
                         that. He breaks into Dickson's house, 
                         holds him up, and the next day gets 
                         a job in the bank.
                         Well, as far as I'm concerned—
                         A boy who should be in jail, handling 
                         a bank's cash!
                         CUT TO:
                         29. INT. MAIN FLOOR OF BANK - MED. CLOSE 
                         Shooting toward Matt, inside the teller's 
                         cage, busily counting the money he is 
                         getting ready for Charlie.
                         Helen is outside the cage.
                         30. CLOSE SHOT
                         Shooting toward Helen.
                         What did you do with it?
                         With what?
                         The ten dollars.
                         Oh, ten dollars—
                         (catches himself in time)
                         A friend of mine - yeah, really - his 
                         mother was terribly sick and she was 
                         dying, would you believe it?
                         31. CLOSE SHOT
                         Shooting toward Matt.
                         As she interrupts him:
                         ? 113 ?
                         Oh, you think I'm lying?
                         All right, I'm lying. Don't forget you 
                         called me a liar.
                         Oh, Matt.
                         He reaches forward and takes her hands.
                         Oh honey, why don't we get married? 
                         Then you can handle it all.
                         Just then Oscar enters the scene, en 
                         route somewhere. He stops beside Matt, 
                         notices he and Helen are holding hands.
                         32. MED. CLOSE SHOT
                         As Helen and Matt separate guiltily.
                         Say, Matt! Matt! Did you hear the news?
                         No, what?
                         Pardon me. All the big shots are in 
                         a huddle, and it looks like Dickson's 
                         out on his ear.
                         Helen and Matt react to this piece of 
                         news. They look at one another. Apparently, 
                         it will have a definite effect on their 
                         (to Oscar)
                         Oh, you're kidding me, aren't you?
                         No, I'm not kidding. Everybody's talking 
                         about it. Ask her.
                         I haven't heard about it.
                         Sure, everybody's talking about it.
                         33. CLOSE UP - MATT
                         As he speaks sadly.
                         If that's on the level, there goes my 
                         assistant cashier's job.
                         34. MED. CLOSE SHOT
                         Taking the three in.
                         ? 114 ?
                         Well, I just thought I'd drop by and 
                         cheer you up a bit.
                         As he turns to go out of scene, he looks 
                         at Matt.
                         I'll be seeing you, Matt - in the breadline.
                         CUT TO:
                         35. INT. CONFERENCE ROOM MED. - SHOT
                         The men are all gathered around the 
                         table now. Apparently, they have been 
                         discussing ways and means of ousting 
                         As we cut to this scene, Ives is pouring 
                         himself a glass of water.
                         That ham I had this morning was very 
                         36. CLOSER SHOT ON THE GROUP
                         Gentlemen, let's get organized before 
                         Dickson gets here. Schultz, can I count 
                         on you?
                         37. CLOSE SHOT
                         On Schultz, who is seated next to Clark.
                         What about you, Ames?
                         38. CLOSE SHOT
                         On Ames, who is seated next to Schultz.
                         That's the way I feel about it.
                         Ives, how about you?
                         39. CLOSE SHOT
                         Well, the way I look at it, it seems 
                         All right. O'Brien?
                         40. CLOSE SHOT
                         At other end of table, where O'Brien 
                         Well, you've got an awful fight on your 
                         hands. That's all I've got to say.
                         41. CLOSE SHOT
                         On Clark, determined.
                         ? 115 ?
                         Gentlemen, I think it's time that we 
                         do fight.
                         CUT TO:
                         42. INT. MAIN FLOOR OF BANK - FULL SHOT
                         The outer offices of the bank are in 
                         this shot. A spacious stretch of desks 
                         occupied by clerks and junior officers, 
                         all busily at work.
                         A wizened old doorman is greeting clerks 
                         as they arrive.
                         (passing by)
                         Hello, Gardiner.
                         Good morning. You're on time this morning. 
                         It's about time.
                         We see Dickson, looming in the doorway, 
                         for the first time.
                         43. CLOSE SHOT
                         As Dickson stops to speak to the doorman. 
                         Dickson is a man of about fifty, whose 
                         looks belie his years. There is a robustness 
                         and virility about him that is compelling. 
                         His very walk radiates power.
                         He now puts his hand on the old man's 
                         Good morning, Mr. Dickson.
                         John, how's your wife this morning?
                         (looking up, worship in his eyes)
                         Much better this morning, thank you.
                         Got a handkerchief?
                         Gardiner hurriedly produces a handkerchief, 
                         and starts to blow his nose.
                         Excuse me—
                         Wait a minute.
                         (he takes the handkerchief, and polishes 
                         the brass on Gardiner's uniform)
                         How do you feel this morning?
                         I'm feeling fine this morning.
                         That makes it unanimous. I feel all 
                         right too.
                         Thank you!
                         As Dickson exits from scene:
                         ? 116 ?
                         CUT TO:
                         44. TRUCKING SHOT WITH DICKSON
                         The smile on his face disappears as 
                         he sees something which annoys him.
                         Oh, Carter!
                         A young man looks up quickly. He is 
                         smoking a cigarette.
                         Yes sir?
                         You know the rules about smoking . . 
                         Carter quickly crushes out the cigarette. 
                         Even as he does so, Dickson reaches 
                         into his pocket and flips Carter a fresh 
                         one, which Carter pockets for later.
                         Thank you, sir.
                         Now Dickson passes Matt's cage.
                         (catching Matt's attention)
                         Oh, Matt!
                         Matt looks up. Dickson tosses him a 
                         wink, and Matt winks back.
                         Dickson walks on towards his office. 
                         CAMERA TRUCKS AHEAD OF HIM. On the way 
                         he is greeted by his employees.
                         AD-LIB FROM EMPLOYEES
                         Good morning, Mr. Dickson. Etc., etc.
                         Morning. Good morning—
                         He is joined by Bill Saunders, a friend 
                         of his. Bill walks along with Dickson.
                         Hello, Tom.
                         (firmly, but pleasantly)
                         You here again? What do you want?
                         He does not stop. Continues his walk 
                         toward his office. Bill along-side of 
                         What do you suppose anybody wants? Money, 
                         money, money!
                         Listen, I told you I wasn't interested 
                         in that deal, didn't I?
                         ? 117 ?
                         I want to know why .
                         Dickson notices a man, a janitor without 
                         a uniform, passing by.
                         (to the man)
                         Wait a minute. Where's your uniform?
                         I haven't any.
                         You haven't got a uniform?
                         No, sir.
                         My goodness, you ought to have a uniform. 
                         How much does one cost?
                         Why, I don't know.
                         You see Sampson. Tell him I sent you. 
                         You've got to have a uniform.
                         The man exits scene. Bill picks up the 
                         conversation where he left off.
                         Tom, I never had trouble getting credit 
                         from you before. When I was flat broke 
                         you gave me all the money I wanted. 
                         Now I come to you with a swell deal, 
                         and the greatest—
                         I'll tell you why. I don't like the 
                         crowd you're mixed up with.
                         Personally, you can have all the credit 
                         you want. But for that deal - not a 
                         But listen, Tom, I—
                         They have now reached the anteroom of 
                         Dickson's private chamber, where Helen 
                         sits at her desk.
                         45. INT. DICKSON'S OUTER OFFICE - MED. 
                         CLOSE SHOT
                         As Dickson comes up to Helen at her 
                         desk. A lady sits nearby. Dickson notices 
                         Good morning, Mrs. Pembroke.
                         MRS. PEMBROKE
                         Good morning, Mr. Dickson.
                         Got my letter?
                         ? 118 ?
                         MRS. PEMBROKE
                         Yes, thank you.
                         Hello, Helen.
                         Good morning.
                         Helen, you're becoming more beautiful 
                         every day. What are we going to do about 
                         I don't know.
                         Guess we'll just have to sacrifice the 
                         bank. When are you and Matt going to 
                         get married?
                         Why - well, I—
                         Ummm. Stalling, eh?
                         (changing tone, professionally)
                         Anything new?
                         Why, the directors are waiting for you 
                         in the board room.
                         Directors, eh? Long faces?
                         He gestures accordingly.
                         (she trumps his gesture)
                         (half-under his breath)
                         I haven't got any new stories for them 
                         this morning, either.
                         Mrs. Pembroke has been standing by, 
                         waiting to get a word in edgewise. CAMERA 
                         PANS SLIGHTLY with him to take in the 
                         MRS. PEMBROKE
                         Mr. Dickson?
                         Ah, Mrs. Pembroke. I spoke to Mr. Schaffer 
                         at the Guaranty. He's going to take 
                         care of that mortgage for you . . .
                         During this speech the phone bell rings.
                         46. MEDIUM SHOT
                         As Helen picks up the phone and quietly 
                         answers it. Bill Saunders is standing 
                         nearby, still waiting to talk to Dickson 
                         ? 119 ?
                         (into phone)
                         Hello . . .
                         (she turns to Dickson)
                         Mrs. Dickson on the phone.
                         Dickson comes over to the desk and as 
                         he picks up the receiver, he looks toward 
                         Mrs. Pembroke.
                         (to Mrs. Pembroke)
                         You'd better hurry over there. He's 
                         waiting for you.
                         (then into phone)
                         Hello, dear . . .
                         47. CLOSE SHOT - DICKSON
                         As he continues, into phone:
                         Where are you? . . . Sure, well, come 
                         on down right away. Huh? . . . Yes, 
                         of course I remember. It's tonight.
                         See what a social hound I'm becoming! 
                         . . . All right, goodbye, dear.
                         He hangs up. Mrs. Pembroke is waiting 
                         for him to finish. She has apparently 
                         been disappointed in the news he has 
                         for her.
                         MRS. PEMBROKE
                         But, Mr. Dickson, I thought you were 
                         going to take care of the mortgage. 
                         I only want ten thousand. The property 
                         is worth sixty.
                         Mr. Schaffer will take good care of 
                         you. He'll give you fifteen - maybe 
                         twenty . . .
                         48. MED. CLOSE SHOT
                         He continues talking to the lady, trying 
                         to get rid of her.
                         Better hurry now. Goodbye. Good luck 
                         to you!
                         Mrs. Pembroke, bewildered, starts to 
                         MRS. PEMBROKE
                         Thank you.
                         CAMERA PANS WITH HIM as Mrs. Pembroke 
                         (to Helen)
                         Oh, if Mrs. Dickson comes in, will you 
                         tell her to see Cluett if she needs 
                         any money?
                         Bill Saunders is still waiting. He corners 
                         What's the idea of turning her down? 
                         It sounds like a perfectly safe investment.
                         ? 120 ?
                         She's a widow. I don't like taking mortgages 
                         from widows.
                         Why not?
                         49. CLOSE SHOT OF THE TWO
                         Shooting toward Dickson.
                         If she can't pay, I'll have to foreclose, 
                         won't I?
                         Yes - sure—
                         (mimicking him)
                         Yeah - sure!
                         He turns to address a man below - the 
                         janitor without a uniform.
                         Oh, make that uniform blue.
                         Yes, sir.
                         Abruptly, he heads for the board room. 
                         Bill is still baffled by Dickson's queer 
                         reasoning. Suddenly, it dawns on him. 
                         He shakes his head admiringly.
                         CUT TO:
                         50. INT. CONFERENCE ROOM - MED. SHOT
                         Dickson enters.
                         (blithely; as he counts the board members 
                         One - two - three - four - five. Seven 
                         more and you'd have a jury!
                         He grabs a walking cane and wields it 
                         like a golf putter.
                         Well, it's a nice morning, gentlemen. 
                         How about two foursomes of golf?
                         Oh, I say, that would be . . .
                         Ives's voice trails off as he realizes 
                         Clark is scowling at him.
                         (undeterred; still practicing his golf 
                         Say, you know, I found out something 
                         yesterday about hitting a golf ball. 
                         You've got to hit with the left hand, 
                         and from the inside out, it's the only 
                         way you can hit anything—
                         ? 121 ?
                         I think, Mr. Dickson, we would like 
                         to have a little of your very valuable 
                         time here at the bank this morning, 
                         if you don't mind.
                         Oh, you would, eh? All right. If it's 
                         more important than golf, go ahead. 
                         What's on your mind?
                         CUT TO:
                         51. INT. LOBBY OF BANK - LONG SHOT
                         Shooting from one end of the lobby toward 
                         the front door. Depositors are scattered 
                         all over the place. Some at the windows. 
                         Some at the writing tables. Others sitting 
                         inside the railing, talking to junior 
                         executives. The scene is peaceful, though 
                         very active.
                         CAMERA STARTS TRUCKING FORWARD, passing 
                         en route, the different types of individuals 
                         who frequent the bank. People from all 
                         walks of life. CAMERA TRAVELS SLOWLY, 
                         picking up following little scenes.
                         (at window)
                         The check is no good.
                         SADIE (A FEMALE CUSTOMER)
                         The check is no good. The man has no 
                         account here.
                         Holy mackerel! I've been robbed.
                         I'm sorry, madam.
                         So am I. And don't call me madam!
                         CAMERA NEXT PICKS UP an elderly lady 
                         talking to a bank guard.
                         Yes, ma'am, you can deposit your money 
                         Is it safe?
                         It's his life insurance money, you know.
                         BANK GUARD
                         That's all right. You come with me, 
                         and I'll show you where to deposit your 
                         CAMERA GOES PAST and now singles out 
                         three men who are coming forward. One 
                         glance and we know they are here for 
                         no kosher reason.
                         ? 122 ?
                         They are typical gangster types. One 
                         of them, the leader, is dressed in everything 
                         but the kitchen sink. Light fedora, 
                         stiff shirt and collar with stripes 
                         running perpendicularly. Flashy gray 
                         suit - spats - and walking stick. The 
                         other two are just tough hombres, but 
                         dressed to kill.
                         As they walk toward camera, they glance 
                         around the bank with a professional 
                         casualness, but obviously very much 
                         impressed. Their eyes rove around the 
                         place and finally land on some object 
                         where they stop.
                         CUT TO:
                         52. CLOSEUP - CHARLIE
                         As he quickly counts out several thousand 
                         dollars in bills.
                         CUT TO:
                         53. CLOSE SHOT - THREE RACKETEERS
                         Their eyes glisten. Their mouths water, 
                         as they watch Charlie off scene.
                         CUT TO:
                         54. MEDIUM SHOT
                         Inside the railing. Cluett emerges from 
                         his office and starts forward, business-like, 
                         when he suddenly stops in his tracks.
                         55. CLOSEUP - CLUETT
                         He stares off at the racketeers. A look 
                         of fright comes into his eyes. His impulse 
                         is to turn back.
                         56. CLOSE GROUP SHOT
                         The three gangsters. A quick flash. 
                         Their eyes light on Cluett off scene, 
                         and they glare menacingly at him.
                         There he is! Good morning!
                         57. MED. CLOSE SHOT - CLUETT
                         He changes his mind about avoiding them. 
                         His face breaks into a feeble smile 
                         of affability as he walks toward them. 
                         CAMERA PANS WITH HIM as he approaches 
                         the three men, his hand outstretched 
                         in forced amiability.
                         Good morning! Who do you want to see?
                         The gangsters shake hands with him, 
                         their expressions remaining unchanged, 
                         which adds immeasurably to Cluett's 
                         1ST GANGSTER
                         Yeah. We wanna talk to you about a big 
                         There is a sinister significance in 
                         the manner in which he emphasizes "a 
                         big deal." Cluett is perceptibly ill-at-ease.
                         ? 123 ?
                         (uncertainly - sickly smile)
                         Oh, yes. Well, come right this way.
                         He opens the swinging gate in front 
                         of him, permitting the three racketeers 
                         to enter. They start for Cluett's office.
                         58. INT. ANTE ROOM DICKSON'S OFFICE 
                         - MED. CLOSE SHOT
                         Helen sits at her typewriter near a 
                         railing, overlooking the bank below. 
                         Another girl stands by her, both are 
                         staring off scene.
                         CUT TO:
                         59. INT. BANK LOBBY - MED. LONG SHOT
                         From Helen's angle.
                         Cluett and the three gangsters going 
                         into Cluett's office.
                         60. INT. ANTE ROOM OF DICKSON'S OFFICE 
                         - MED. CLOSE SHOT
                         Helen and other secretary.
                         Hey Pat, come here! Look!
                         (to Helen)
                         That's Dude Finlay, all right - I've 
                         seen his picture in the papers hundreds 
                         of times.
                         I wonder what he's doing with Mr. Cluett.
                         (still staring - thrilled - shuddering)
                         Gee, I'm scared. He's one of the toughest 
                         gangsters in town.
                         CUT TO:
                         61. INT. CONFERENCE ROOM - MED. LONG 
                         Shooting down the length of the table. 
                         The men are all sitting around the large 
                         table. Dickson is on his feet.
                         Gentlemen, you're only wasting your 
                         time. There'll be no merger.
                         62. MED. CLOSE SHOT
                         As Dickson continues.
                         (the injustice kills him)
                         Why should I turn this bank over to 
                         anybody else? I've worked twenty-five 
                         years night and day to build it up, 
                         and now you're asking me to dump it 
                         into somebody's lap—
                         (with finality)
                         Nothing doing!
                         Schultz, who is seated near Dickson, 
                         looks up at him:
                         You can make a handsome profit on your 
                         ? 124 ?
                         I'm not interested in profits. I'm interested 
                         in the bank. In the depositors. They're 
                         my friends. They're looking to me for 
                         protection, and I'm not walking out 
                         on them.
                         Clark and O'Brien, also seated around 
                         close to Dickson.
                         How are you protecting your depositors? 
                         By making a lot of idiotic loans!
                         (admonishing him)
                         Take it easy, Clark.
                         Ives, seated next to Schultz, becomes 
                         (still trying)
                         My dear friends . . .
                         (unruffled, paying no attention to Ives)
                         It's all right. Let him go ahead. Let 
                         him speak his piece. I like it. Go on.
                         All right. I'll speak my piece. Dickson, 
                         you've got to change your policy.
                         63. CLOSER SHOT
                         As Dickson retorts:
                         What's the matter with my policy? How 
                         many losses has this bank taken in the 
                         last twenty-five years?
                         (he looks around - silence)
                         I'll tell you. Not a single one!
                         What's wrong with that kind of banking?
                         (mumbles disdainfully)
                         Just pure luck!
                         64. CLOSE SHOT
                         Ames, seated beyond Ives, now speaks 
                         Conditions have changed. These are precarious 
                         times. Banks today have got to be careful. 
                         And you've been more liberal than ever.
                         Dickson's voice comes in over scene:
                         DICKSON'S VOICE
                         Yes, and I'm going to continue to be 
                         liberal . . .
                         65. CLOSEUP - DICKSON
                         As he continues:
                         ? 125 ?
                         The trouble with this country today 
                         is there's too much hoarded cash. Idle 
                         money is no good to industry. Where 
                         is all the money today? In the banks, 
                         vaults, socks, old tin cans, buried 
                         in the ground! I tell you, we've got 
                         to get the money in circulation before 
                         you'll get this country back to prosperity.
                         66. CLOSE SHOT - CLARK
                         Who are we going to give it to? Men 
                         like Jones? Last week you made him an 
                         extra loan of fifty thousand dollars. 
                         Do you call that intelligent banking?
                         67. CLOSE SHOT - SCHULTZ AND DICKSON
                         He can't pay his bills. How do you expect 
                         him to pay us?
                         That's a fair question, Schultz. Now 
                         let's see how bad a risk Jones is. What's 
                         his history? He's been a successful 
                         business man for thirty-five years. 
                         Two years ago business started falling 
                         off. Today Jones needs money, and if 
                         he doesn't get it, he goes into bankruptcy 
                         and throws nine hundred men out of work. 
                         Answer - unemployment.
                         68. CLOSEUP - O'BRIEN
                         As he listens intently, Dickson's voice 
                         coming in:
                         DICKSON'S VOICE
                         It also means his creditors aren't paid. 
                         They're in trouble. They go to banks 
                         and are turned down . . . more bankruptcies 
                         . . .
                         69. CLOSEUP - DICKSON
                         As he continues:
                         It's a vicious circle, my friends, and 
                         the only place to cure it is right here 
                         at the source. Help Jones and you help 
                         the whole circle. Now, when Jones comes 
                         to me, I ask myself two questions. First 
                         - is he honest? Yes. Second - is he 
                         as good a business man as he was before? 
                         And the answer is - he's better .
                         70. CLOSEUP - CLARK
                         Showing his reaction, as part of Dickson's 
                         speech comes over scene:
                         DICKSON'S VOICE
                         He is not only older and wiser, but 
                         his present trouble has taught him precaution. 
                         In my estimation, gentlemen, Jones is 
                         no risk. Neither are the thousands of 
                         other Joneses throughout the country 
                         . . .
                         ? 126 ?
                         71. CLOSEUP - SCHULTZ
                         To intercut with Dickson's speech.
                         72. CLOSEUP - AMES
                         To intercut with Dickson's speech.
                         73. CLOSEUP - IVES
                         To intercut with Dickson's speech.
                         74. MED. CLOSE SHOT
                         The group, as Dickson concludes his 
                         It's they who built this nation up to 
                         the richest in the world, and it's up 
                         to the banks to give them a break. Disraeli 
                         said security is the prosperity of the 
                         (cutting him off)
                         Why, Disraeli didn't say anything of 
                         the kind.
                         Well, he should have said it. It's as 
                         true now as it was then. And let us 
                         get the right kind of security. Not 
                         stocks and bonds that zig-zag up and 
                         down, not collateral on paper, but character!
                         Character, hmmpf! That's your idea?
                         Not at all. That's Alexander Hamilton's 
                         idea[5] - the finest banking mind this 
                         country has ever known. Those are his 
                         exact words, gentlemen. Character! It's 
                         the only thing you can bank on, and 
                         it's the only thing that will pull this 
                         country out of the doldrums.
                         CUT TO:
                         75. INT. CLUETT'S PRIVATE OFFICE - MED. 
                         CLOSE SHOT
                         Cluett sits at his desk, his face drawn, 
                         panic-stricken. He is like an animal 
                         at bay. The leader of the trio, Dude 
                         Finlay, sits in a chair directly in 
                         front of Cluett. The other two men stand 
                         on either side of the desk.
                         You know what we do to welchers, Cluett, 
                         don't you?
                         I know, I know, Dude. Oh, I must have 
                         been crazy! I lost my head completely!
                         That's your funeral. We've got fifty 
                         thousand dollars comin' to us.
                         ? 127 ?
                         I haven't got it.
                         76. CLOSE SHOT - DUDE
                         Shooting past Cluett.
                         Then what did you want to gamble for? 
                         If you'd have beat us out of fifty G's, 
                         you'd have been paid, wouldn't you? 
                         Well, we want our dough.
                         I'm sorry, Dude, but—I—
                         That don't do us any good.
                         But after all, you can't take blood 
                         from a stone.
                         (threateningly - quietly)
                         We can take blood from anything —
                         If it's comin' to us.
                         77. MED. CLOSE SHOT
                         Shooting toward Cluett. Dude on opposite 
                         side of desk, the other two men still 
                         standing by the desk.
                         A look of alarm spreads over Cluett's 
                         face. There is nothing hidden in this 
                         (wants time to think)
                         Perhaps if you'll wait a little while, 
                         I might be able—
                         ONE OF THE MEN
                         We waited long enough!
                         (shrewdly - to the men)
                         Nix. Lay off.
                         (to Cluett)
                         Now - what's the use of getting excited, 
                         Cluett? It oughta be easy for you to 
                         lay your mitts on that kind of dough 
                         . . .
                         78. CLOSE SHOT - CLUETT
                         Shooting past Dude, as Dude continues, 
                         slowly, deliberately:
                         There's plenty of it in this bank - 
                         laying around loose.
                         Cluett looks up - horror-stricken.
                         ? 128 ?
                         (pop-eyed, choked voice)
                         Good heavens, man! You're not suggesting 
                         that I—
                         Why not?
                         (perspiring freely)
                         Why, I couldn't do that . . . !
                         You don't have to do nothing.
                         Cluett looks up toward the men - then 
                         at Dude.
                         What do you mean?
                         All you gotta do is fix a few things 
                         for us , and we'll do the rest, see?
                         There is a pause while Cluett stares 
                         at them, horrified, his confused mind 
                         trying to assimilate the ghastliness 
                         of their proposal. Suddenly he starts 
                         to rise.
                         79. MEDIUM SHOT
                         As Cluett gets to his feet and faces 
                         Dude across the desk.
                         No, no, I couldn't - I couldn't do anything 
                         like that. I—
                         Smack! The rest of his speech dies in 
                         his throat. The man to his right has 
                         slapped him across the face with his 
                         open palm. Taken unaware, Cluett's hand 
                         goes to his cheek. He stares at them, 
                         bewildered and frightened.
                         Cluett, feeling himself trapped and 
                         helpless, slowly sinks into his chair.
                         CUT TO:
                         80. INT. ANTEROOM DICKSON'S OFFICE - 
                         MED. SHOT
                         Helen sits at her typewriter. A very 
                         dignified, beautiful woman of thirty 
                         approaches her. She is Phyllis Dickson, 
                         Dickson's wife. She radiates refinement 
                         and culture.
                         MRS. DICKSON
                         Good morning, Helen.
                         81. CLOSER SHOT
                         At Helen's desk, as Helen looks up at 
                         Mrs. Dickson.
                         How-do-you-do, Mrs. Dickson.
                         MRS. DICKSON
                         Is that busy husband of mine busy?
                         ? 129 ?
                         (indicating conference room)
                         He's at a board meeting.
                         MRS. DICKSON
                         (not unexpected)
                         Board meeting. Oh, that means hours, 
                         I suppose.
                         I'm afraid so.
                         MRS. DICKSON
                         Helen, did you ever try competing with 
                         a bank?
                         MRS. DICKSON
                         Well, take my word for it, and don't 
                         try it. It's useless! If it were some 
                         other woman, I could handle her, but 
                         after all, you can't scratch a bank's 
                         eyes out now, can you?
                         82. CLOSE SHOT - MRS. DICKSON
                         Shooting past Helen.
                         MRS. DICKSON
                         Oh, well. I guess the only other thing 
                         for me to do is to go out and buy myself 
                         a few sticks of dynamite. When he comes 
                         out, you tell him I'll be back. He hasn't 
                         gotten rid of me!
                         All right.
                         83. MEDIUM SHOT
                         Helen laughs as Mrs. Dickson leaves 
                         in the direction of Cluett's office.
                         CUT TO:
                         84. INT. CYRIL CLUETT'S OFFICE - MED. 
                         CLOSE SHOT AT DOOR
                         The three racketeers are preparing to 
                         leave. Dude has his hand on the doorknob.
                         Dude - there's not any chance of my 
                         becoming involved in this, is there?
                         You? No, you'll be all right, so long 
                         as you establish an alibi for tonight.
                         I know, but—
                         Be sure you're with somebody responsible 
                         in case any questions are asked. Understand?
                         ? 130 ?
                         But Dude, listen - couldn't we make 
                         this some other time?
                         Listen, buddy, you're getting by pretty 
                         easy. Quit squawking!
                         Cluett looks at Dude, then at the others, 
                         and realizes he is helpless.
                         He opens the door and the men file out, 
                         silently. Cluett shuts the door and 
                         CAMERA PANS WITH HIM as he crosses back 
                         to his desk, shaking perceptibly. He 
                         reaches into a desk drawer and extracts 
                         a bottle of liquor.
                         As he takes a drink, Mrs. Dickson enters 
                         CUT TO:
                         85. MED. CLOSE SHOT
                         As Mrs. Dickson stands watching Cluett.
                         MRS. DICKSON
                         (playful reproach)
                         Oh, oh!
                         Cluett turns quickly. Upon seeing her, 
                         he makes an attempt to conceal the terror 
                         he feels.
                         (smiling feebly)
                         Oh, hello, Phyllis.
                         She advances toward him as he rises.
                         MRS. DICKSON
                         (shaking her head)
                         This won't do. Not during business hours 
                         . . .
                         Why, I needed a—
                         (offering her drink)
                         Want one?
                         MRS. DICKSON
                         (screwing up her face)
                         Heavens, no! Do you mind putting up 
                         with me until the financial genius gets 
                         thru genius-ing?
                         No, no, of course not. Not at all. Oh, 
                         As she takes out a cigarette, he offers 
                         her a light. Mrs. Dickson notices that 
                         he is rather nervous.
                         MRS. DICKSON
                         What is the matter with you? You're 
                         86. CLOSE SHOT - CLUETT
                         (trying to be light)
                         Am I? Why, I - I don't know any reason 
                         why I should be, unless of course it's 
                         you . . .
                         ? 131 ?
                         87. CLOSE TWO SHOT
                         MRS. DICKSON
                         Being alone with you has always done 
                         this to me. You know that.
                         MRS. DICKSON
                         For a celebrated bounder, that is an 
                         awful admission. Besides, I never knew 
                         that any female could do this to you 
                         Well, you can. You always could.
                         MRS. DICKSON
                         Liar! You're just suffering from lack 
                         of sleep.
                         He takes this as premature defeat, and 
                         heads back toward his desk.
                         MRS. DICKSON
                         (good-natured admonishment)
                         Here, here, here, now! Don't you go 
                         back to work on me, too. I'm getting 
                         tired of this. Besides, it's beginning 
                         to affect your looks—
                         (not understanding)
                         What is?
                         MRS. DICKSON
                         (finishing her little joke)
                         —running around. Not your work.
                         (Cluett laughs in relief)
                         You'd better start reforming, Cyril!
                         If I thought you were the slightest 
                         bit interested, I would.
                         MRS. DICKSON
                         Not bad, not bad at all. Do you know 
                         something? I've always been curious 
                         about your line.
                         MRS. DICKSON
                         Whatever it is that makes you such a 
                         riot with women.
                         He shrugs off the compliment.
                         MRS. DICKSON
                         Come on Cyril, try a little bit of it 
                         out on me. I haven't had any first-class 
                         blarney thrown at me since the day I 
                         was married.
                         ? 132 ?
                         (trying hard)
                         But you see, it isn't blarney where 
                         you're concerned.
                         MRS. DICKSON
                         Now let me see, what comes next?
                         (a mocking tone)
                         Oh yes, I know - what are you doing 
                         tonight, Phyllis?
                         88. CLOSEUP - CLUETT
                         He is suddenly reminded of his pact 
                         with Dude Finlay. Terror returns to 
                         his face.
                         He suddenly gets an idea. He was told 
                         to be with someone around midnight. 
                         Someone who would be an alibi for him. 
                         He stares off at Phyllis Dickson. Why 
                         MRS. DICKSON
                         Doesn't that come next?
                         89. MED. CLOSE SHOT
                         Yes, yes, it does. What are you doing 
                         tonight, Phyllis?
                         MRS. DICKSON
                         See, we're getting along famously!
                         CUT TO:
                         90. INT. CONFERENCE ROOM - MEDIUM SHOT
                         Clark is in a state of agitation. The 
                         other directors seem worn by the ordeal. 
                         Dickson remains adamant.
                         Most of the creditors I know personally. 
                         I've seen them grow up in the community. 
                         I knew their fathers and mothers before 
                         I know, Dickson. That's all very well. 
                         But you're taking too many chances. 
                         In these times a bank should keep liquid 
                         in case of trouble. In case of emergency!
                         91. CLOSER SHOT AT THE TABLE
                         All the men in the scene.
                         I know what you mean by that. You want 
                         me to hang on to our cash. Well, I don't 
                         believe in it. The law demands that 
                         I carry a certain legal reserve, and 
                         I'm doing it. The rest of our money 
                         is out working . . . working to help 
                         industry . . . to help build up business 
                         . . .
                         ? 133 ?
                         92. CLOSEUP - CLARK
                         As he almost shouts at Dickson.
                         In the meantime, you're jeopardizing 
                         the safety of the bank. Well, we won't 
                         stand for it!
                         93. MED. CLOSE SHOT
                         Of the group, as Dickson turns to Clark.
                         You have to stand for it.
                         Meek little Ives once again tries to 
                         say something:
                         But my dear friends . . .
                         You're forcing us to take action against 
                         you, Dickson.
                         Dickson looks at him:
                         Go ahead - take all the action you want!
                         He looks about at the others as he continues:
                         I'm running this bank my way. Get that 
                         Gentlemen, you notice Mr. Dickson refuses 
                         to consider our wishes. He refuses an 
                         offer to merge with the New York Trust 
                         - the only thing that will put this 
                         bank on safe ground. He insists upon 
                         running a bank on so flimsy a thing 
                         as . . . as faith!
                         Yes! You said it, Clark. That's the 
                         only thing that means anything to me.
                         94. CLOSEUP - CLARK
                         As Dickson's voice continues. Clark 
                         reacts appropriately.
                         DICKSON'S VOICE
                         Before I take a man into this bank, 
                         and before I extend credit to anyone, 
                         I satisfy myself on one thing - do I 
                         believe in him?
                         95. CLOSE PAN SHOT
                         On the other men - CAMERA PANNING from 
                         one to the other as Dickson's voice 
                         comes over the shot - finally CAMERA 
                         STOPS on Dickson.
                         So far, my judgement has been right 
                         one hundred per cent. One hundred per 
                         cent! When I start going wrong, you 
                         won't have to take any action. I'll 
                         turn the bank over to you. Then you 
                         ? 134 ?
                         merge all you want to. I won't be the 
                         fellow to run it then. Good day, gentlemen!
                         He exits scene.
                         CAMERA TRUCKS AHEAD OF HIM as Dickson 
                         passes briskly through his outer office, 
                         stopping only to speak to Helen at her 
                         Helen, tell Matt I want to see him.
                         Yes, sir.
                         CUT TO:
                         96. INT. CLUETT'S PRIVATE OFFICE - CLOSE 
                         SHOT - CLUETT AND PHYLLIS
                         —and after dinner, we could go—
                         MRS. DICKSON
                         (not at all angry)
                         Oh! Oh, no! I think I've done enough 
                         experimenting for one day. Congratulations, 
                         Cyril. You've convinced me that you're 
                         a philanderer of the very first order. 
                         I shall recommend you highly.
                         Please, please don't laugh at me, Phyllis. 
                         I must see you tonight!
                         97. CLOSER SHOT OF THE TWO
                         Favoring Mrs. Dickson.
                         MRS. DICKSON
                         Tonight, Oh, never! Tonight I have reserved 
                         for a very special occasion. Believe 
                         it or not, it's our wedding anniversary. 
                         Tom doesn't probably even remember it. 
                         But then, they never do, do they?
                         CLUETT'S VOICE
                         No, they don't—
                         She shakes her head.
                         MRS. DICKSON
                         But I'm giving a party for him - a real, 
                         old-fashioned surprise party. Caps, 
                         bells, whistles, and everything. I'm 
                         really terribly excited about it. I've 
                         been planning it for months.
                         (after a pause)
                         MRS. DICKSON
                         Well, what?
                         ? 135 ?
                         (he won't give up)
                         Well, aren't you going to invite me?
                         MRS. DICKSON
                         You? No can do. It's all set. Just a 
                         few of Tom's closest friends.
                         Now Phyllis, if you don't invite me, 
                         I'm coming anyway.
                         MRS. DICKSON
                         Don't be silly, Cyril. These are respectable 
                         people. They'd probably bore you to 
                         No, they won't. Not when you are there. 
                         Oh, please, be a sport. Please ask me.
                         MRS. DICKSON
                         (flattered, but a little suspicious)
                         Why are you so anxious?
                         (intense sincerity)
                         Don't you know?
                         MRS. DICKSON
                         I want to be near you!
                         He steps closer to her.
                         MRS. DICKSON
                         Don't you know I've been crazy about 
                         you for years?
                         MRS. DICKSON
                         (still flattered, lightly)
                         Now wait a minute, wait a minute . . 
                         I've loved you ever since I can remember, 
                         long before you married Tom Dickson.
                         MRS. DICKSON
                         (still only half-believing)
                         Why, Cyril, you're insane—
                         No. No, I'm not. I deliberately avoided 
                         you. I was afraid of making a fool of 
                         myself. But I won't stand it any longer—
                         MRS. DICKSON
                         ? 136 ?
                         Before she realizes what has happened, 
                         he has swept her into his arms and crushes 
                         her to him. CAMERA PANS AWAY from them 
                         to the door to the outer office. The 
                         door opens and Matt steps in. He stops, 
                         suddenly, transfixed by what he sees 
                         off scene.
                         98. MEDIUM CLOSE SHOT
                         Phyllis Dickson in Cluett's arms (from 
                         Matt's angle). They suddenly become 
                         conscious of someone in the room and 
                         Phyllis struggles free, looking off 
                         scene toward Matt:
                         CUT TO:
                         99. CLOSE SHOT - MATT
                         From Cluett and Mrs. Dickson's angle.
                         He stares unbelievingly for a moment, 
                         and then collecting himself, turns and 
                         leaves the room, closing the door after 
                         him. CAMERA PANS BACK to Cluett and 
                         Mrs. Dickson. For a moment she is terribly 
                         Please forgive me, Phyllis. I lost my 
                         head for a minute. But I couldn't help 
                         it, Phyllis.
                         As she starts for the door, CAMERA PANS 
                         WITH HER. Cluett walks with her.
                         MRS. DICKSON
                         Please stop apologizing so much. You're 
                         making it far too important.
                         As they reach the door.
                         CUT TO:
                         100. INT. ANTE ROOM OF CLUETT'S OFFICE 
                         - MED. SHOT
                         Matt stands there, in a daze. Cluett's 
                         secretary is not there. He starts slowly 
                         forward, hardly knowing where he is 
                         going - CAMERA TRUCKING AHEAD OF HIM 
                         - there is a far-away look in his eyes. 
                         His hand clutches the list of payrolls 
                         but as far as he is concerned, it is 
                         entirely forgotten. Several people talk 
                         to him, but Matt walks on heedlessly. 
                         He can't get over the shock of what 
                         he just saw. He always had been under 
                         the impression that Dickson's home life 
                         was a happy one. He never dreamed that 
                         Phyllis Dickson represented anything 
                         but the height of circumspection. And 
                         now - Cyril Cluett, of all people!
                         Helen comes running into scene, all 
                         Matt, where have you been? Mr. Dickson 
                         wants to see you right away. Hurry up!
                         He turns around mechanically and continues 
                         to walk in the direction of Dickson's 
                         office - CAMERA TRUCKING AFTER HIM. 
                         Helen falls into step with him.
                         Say, I just heard the merger isn't going 
                         thru. Isn't that grand?
                         ? 137 ?
                         Yeah, swell.
                         They reach Dickson's outer office. Matt 
                         crosses it and exits into the private 
                         office. Helen looks after him - her 
                         face falls in disappointment. Matt is 
                         acting very strangely. She thought he'd 
                         be elated. She stares unhappily at his 
                         forlorn figure as it disappears thru 
                         the door.
                         CUT TO:
                         101. INT. DICKSON'S PRIVATE OFFICE - 
                         MED. SHOT
                         Dickson sits at his desk when Matt enters. 
                         When he sees Matt, his face breaks into 
                         a broad, pleasant smile.
                         Well, Matt, get ready for the big moment. 
                         Starting tomorrow you become assistant 
                         cashier. How's that?
                         Matt crosses to the desk as Dickson 
                         is speaking.
                         102. CLOSE SHOT AT DESK
                         As Matt stops in front of Dickson. Matt 
                         cannot share Dickson's enthusiasm. The 
                         scene he just witnessed has taken the 
                         joy out of everything.
                         It's all right. Thanks.
                         And what's more, keep up the good work 
                         and who knows - some day you'll be the 
                         fellow sitting behind that desk . . 
                         (the idea pleases him)
                         Not a bad thought, eh?
                         He suddenly notices Matt's lack of enthusiasm.
                         103. CLOSE SHOT OF THE TWO
                         Shooting toward Dickson.
                         He leans forward to look at Matt closely:
                         What's the matter? You don't seem very 
                         excited about it.
                         Sure, I think it's swell.
                         (scrutinizing him closely, very much 
                         Say, come on. Show a little enthusiasm. 
                         What's the matter? Are you sick or something? 
                         Go on, fake it - even if it isn't real.
                         104. CLOSE SHOT - MATT
                         Shooting past Dickson.
                         Matt makes an attempt to snap out of 
                         it - and answers quickly.
                         ? 138 ?
                         Aw, I'm sorry, Mr. Dickson. It's just 
                         kind of sudden, that's all.
                         (working up a little enthusiasm)
                         Sure, I'm excited. I think it's great. 
                         Only, well, you've done so much for 
                         me already . . . I'll never be able 
                         to thank you enough.
                         105. MEDIUM SHOT
                         Aw, go on, forget it. You came through, 
                         didn't you? That's all I wanted. A lot 
                         of them didn't think you would. You 
                         don't know how much satisfaction it's 
                         been to me. It's been swell. Well, when 
                         are you and Helen going to get married?
                         Well, I—
                         I suppose you want me to fix that up 
                         for you too, eh?
                         They are interrupted by the sudden appearance 
                         of Phyllis Dickson. Both men look up 
                         as she appears in the door.
                         106. CLOSE SHOT - MRS. DICKSON
                         As she stops in doorway. She glances 
                         fearfully, first at Matt and then at 
                         her husband, trying to sense whether 
                         Matt has said anything. She is quickly 
                         assured by Dickson's affable greeting.
                         107. MED. CLOSE SHOT
                         As Dickson comes toward her, arms extended:
                         Well, look who's here! Hello, dear.
                         MRS. DICKSON
                         Hello, darling.
                         He kisses her. Then throws his arms 
                         around her for an exaggerated "teddybear" 
                         hug. Over Dickson's shoulder, Phyllis 
                         looks gratefully at Matt.
                         108. CLOSE SHOT - MATT
                         He returns her glance. His eyes are 
                         unable to disguise his contempt.
                         109. MED. CLOSE SHOT
                         Dickson and Phyllis. He releases her.
                         If this isn't a red-letter day for Tom 
                         Dickson! First I trample on the Board 
                         of Directors, then I promote Matt here 
                         to assistant cashier, and now to complete 
                         the day I have a visit from my sweet 
                         and lovely and gorgeous wife. What a 
                         man, what a man!
                         MRS. DICKSON
                         (with a half-smile)
                         It's amazing that your sweet, lovely, 
                         gorgeous wife can ever get to see you.
                         ? 139 ?
                         Oooh! That has the earmarks!
                         He notices Matt, still standing there, 
                         Are you still here? Go on - go to work! 
                         What do you think I pay you for?
                         Matt exits.
                         CUT TO:
                         110. INT. ANTE ROOM OF DICKSON'S PRIVATE 
                         OFFICE - MEDIUM SHOT
                         As Matt comes out and moves quickly 
                         forward as if anxious to get away from 
                         the embarrassing situation he found 
                         himself in. Helen, upon seeing him, 
                         jumps up.
                         What happened? What did he say? Did 
                         you get the job?
                         111. CLOSE TWO SHOT
                         She is perplexed by his unenthusiastic 
                         What's the matter, Matt? Gee, I thought 
                         you'd be thrilled to death.
                         Come here.
                         (he takes her aside)
                         You know, a few minutes ago I was in 
                         Cluett's office and Mrs. Dickson was 
                         Well . . . ?
                         Well, he was making love to her.
                         Helen, although she had a vague suspicion, 
                         is shocked.
                         (after a pause)
                         Oh Matt, you must be mistaken.
                         I tell you, I saw them!
                         Helen stares at him, horrified.
                         In Cluett's office?
                         Yes, right in his office, the rat. I'd 
                         like to take a crack at that guy.
                         ? 140 ?
                         A telephone rings.
                         (as she goes to answer the phone)
                         Wait a minute. Now don't go away . . 
                         CUT TO:
                         112. INT. DICKSON'S PRIVATE OFFICE - 
                         MED. CLOSE SHOT
                         Dickson is seated with Mrs. Dickson 
                         on the arm of the chair.
                         (talking on the phone, as Mrs Dickson 
                         waits patiently)
                         Yes George . . . yes, sure . . . Oh, 
                         that's for tonight, eh? . . . Yes, certainly, 
                         I'll be there . . . Yes, we'll go down 
                         together and have dinner in Philadelphia 
                         . . . Mrs. Dickson gets so upset . . 
                         . That's right. . . . Yeah. . . . Just 
                         as soon as the bank closes. . . . Right. 
                         . . . Goodbye. . . .
                         He punches the intercom, speaks to Helen 
                         in the outer office.
                         HELEN'S VOICE
                         Helen, I'm going to Philadelphia, just 
                         as soon as the bank closes. Make all 
                         the arrangements, will you?
                         HELEN'S VOICE
                         Yes, sir.
                         Mrs. Dickson looks visibly upset. Dickson 
                         can't help but notice.
                         What's the matter dear? What have I 
                         done now?
                         MRS. DICKSON
                         Nothing. Tom, I thought you were going 
                         out with me tonight.
                         Oh, I did have a date with you tonight, 
                         didn't I?
                         MRS. DICKSON
                         I'm terribly sorry. I'd forgotten all 
                         about you. I'm so sorry, dear.
                         113. CLOSE SHOT OF THE TWO
                         Favoring Phyllis Dickson.
                         MRS. DICKSON
                         Now Tom, you simply cannot go to Philadelphia 
                         tonight. That's all there is to it.
                         But I have to go, dear. It's a very 
                         important banker's meeting.
                         ? 141 ?
                         MRS. DICKSON
                         I don't care whether it's important 
                         or not. You said you were going out 
                         with me, and if you hadn't promised 
                         so faithfully, I wouldn't have gone 
                         and planned the whole thing.
                         Listen, it isn't so terribly important. 
                         We can go to the theatre any time.
                         MRS. DICKSON
                         The theatre?
                         114. MED. CLOSE SHOT
                         That's what it was you planned, wasn't 
                         MRS. DICKSON
                         (after a slight hesitation)
                         Yes, of course.
                         You can take some of the girls. You 
                         can take Mildred - or Gwynn—
                         MRS. DICKSON
                         The girls! I don't suppose it ever occurred 
                         to you that I might go out and find 
                         myself an attractive young man . . .
                         115. CLOSE SHOT OF THE TWO
                         Shooting toward Dickson, as he laughs 
                         Ho! Ho! Ho!
                         MRS. DICKSON
                         Ho, ho, ho, yourself! I wouldn't laugh 
                         if I were you. You may not suspect it, 
                         but I'm still attractive - to some.
                         Listen, don't go around being attractive 
                         to anyone but me . . .
                         MRS. DICKSON
                         Well . . .
                         Don't you forget that I'm still the 
                         head man around here too. Now we'll 
                         get the tickets changed for tomorrow 
                         night. You and I are going out together. 
                         How's that?
                         MRS. DICKSON
                         Tomorrow night?
                         A buzzer sounds, and a visitor is announced 
                         on the intercom.
                         ? 142 ?
                         Mr. Gardner's here.
                         (answering the intercom)
                         Oh, yes. That's that lawyer. All right, 
                         let him have nine thousand.
                         (returning attention to his wife)
                         Yes sir, I'll step you around this town 
                         like you've never stepped before. We 
                         will have dinner at the St. Regis - 
                         then we'll go to a nice, snappy show 
                         - then a nightclub - we'll listen to 
                         soft music, and who knows? Ha! - I might 
                         break down and dance with you!
                         MRS. DICKSON
                         (still skeptical)
                         All right. I'll postpone the whole thing 
                         until tomorrow night.
                         Happy now?
                         MRS. DICKSON
                         116. MEDIUM SHOT
                         He takes her in his arms and kisses 
                         Poor kid, you know, I have been neglecting 
                         MRS. DICKSON
                         Oh, I don't care, darling. I love you, 
                         A buzzer sounds again, and Dickson answers 
                         the intercom.
                         HELEN'S VOICE
                         Mr. Sampson . . .
                         All right. Send him in.
                         There is a knock on the door. Dickson 
                         moves away from his wife. He looks toward 
                         the door.
                         117. CLOSE SHOT AT DOOR
                         Sampson, an executive in the bank, enters. 
                         Sampson goes to Dickson with some papers 
                         in his hand. He lays the papers on the 
                         desk before Dickson.
                         Well, Sampson, what is it?
                         Here's the data on the Clyde deal.
                         ? 143 ?
                         118. CLOSE SHOT AT DESK
                         Dickson is all absorbed.
                         Good. I'll take this along with me. 
                         Tell Clyde I'll see him tomorrow. I'm 
                         sick and tired of the delay.
                         I'm afraid he's been stalling.
                         That's just exactly what he has been 
                         doing. This deal should have been closed 
                         weeks ago. Tell him to keep tomorrow 
                         open . . .
                         He says he can't get away in the daytime.
                         How about his nights? He's too busy 
                         running around. Tell him to keep tomorrow 
                         night open, come in and sign this thing, 
                         or I'll call this whole deal off.
                         Yes, sir.
                         120. CLOSEUP - PHYLLIS DICKSON
                         She stands by a window, listening. There 
                         is despair in her look as she hears 
                         him making arrangements for tomorrow 
                         night. Dickson's voice comes over this 
                         DICKSON'S VOICE
                         I'm sick and tired of these people dilly-dallying. 
                         People who can't make up their minds 
                         . . .
                         Mrs. Dickson's eyes close hopelessly, 
                         and she feels defeated. Again shut out 
                         from his scheme of things, she realizes 
                         he is incurable. On this picture of 
                         FADE OUT:
                         FADE IN
                         INSERT: CLOCK OVER THE VAULT, reading 
                         CAMERA PANS DOWN to open vault.
                         121. INT. VAULT - MED. SHOT
                         Inside, several of the tellers are putting 
                         their cash away. One of them is just 
                         entering with his truck.
                         Everybody in?
                         I guess so.
                         Where's Charlie?
                         ? 144 ?
                         Charlie's upstairs as sore as a pup. 
                         He's out fourteen cents, and he can't 
                         find it.
                         AD-LIB VOICES
                         Good night. Good night, Matt.
                         CUT TO:
                         122. OUTSIDE OF VAULT - MED. CLOSE SHOT
                         Cyril Cluett is standing at the bottom 
                         of a spiral staircase from which he 
                         has just descended. He stops a second 
                         and watches Matt, off scene. Cluett 
                         has gloves on, his hat in his hand, 
                         preparatory to going home. Matt does 
                         not see Charlie.
                         CUT TO:
                         123. OUTSIDE OF THE VAULT - CLOSE SHOT
                         Matt and Helen standing near the vault 
                         What's keeping you?
                         Oh, Charlie again.
                         Say Matt, you haven't done anything 
                         about what you saw today, have you?
                         (still upset)
                         Who? Cluett? No, not yet. But I'd like 
                         to take a crack at that stiff-necked, 
                         horse dollar.[6]
                         Oh now, don't be silly.
                         Can you imagine that guy? He was kissing 
                         Now you've got me worried, dear.
                         (she kisses him)
                         Promise me you won't butt in.
                         Okay, honey - but just the same I'd 
                         like to take a crack at that—
                         She puts her hand over her mouth:
                         Shh . . . !
                         I'll wait for you upstairs.
                         All right, dear.
                         She leaves. Matt remains standing, a 
                         far-away look in his eyes. It is obvious 
                         he is thinking about the thing seriously.
                         ? 145 ?
                         124. MEDIUM SHOT
                         The boys who were inside the vault now 
                         file out, having properly locked away 
                         their cash. At the same time, Charlie 
                         wheels in his truck.
                         (kidding him)
                         Where you been?
                         Where do you think I've been?
                         (pointing to truck)
                         I took the baby for a stroll in the 
                         The men hurry out of sight, laughing. 
                         Charlie disappears into the vault. Matt 
                         enters the vault, his mind still preoccupied.
                         125. INTERIOR VAULT MED. SHOT
                         As Matt goes directly to the burglar 
                         INSERT: BURGLAR ALARM
                         As Matt's hand comes into scene and 
                         throws the switch down toward sign reading 
                         BACK TO SCENE:
                         Matt starts to the vault door:
                         What's the matter, Charlie?
                         I'm fourteen cents out, and it took 
                         me half an hour to find the mistake. 
                         And me with a date, too.
                         I remember once when your account checked.
                         Matt goes to the time clock to check 
                         it up. He tinkers with it a moment.
                         CUT TO:
                         126. OUTSIDE OF VAULT - MED. CLOSE SHOT
                         Matt has just finished adjusting the 
                         time clock as Charlie comes out of the 
                         (pointing to time clock)
                         And listen, wise guy - I'm setting friend 
                         time clock for exactly nine o'clock, 
                         so no squawks out of you guys in the 
                         (as he exits)
                         Say, don't annoy me. I got troubles 
                         of my own.
                         Matt smiles. He starts to shut the vault. 
                         He has it swinging half-way around when 
                         Cluett enters. When Matt sees Cluett, 
                         the smile dies on his lips.
                         ? 146 ?
                         Are the payrolls ready for tomorrow?
                         Yes, sir.
                         Let me see your cash book, will you?
                         Yes, now.
                         Matt looks at him a moment antagonistically. 
                         He has half a mind to talk to him right 
                         now, but he recalls Helen's admonitions 
                         and thinks better of it.
                         All right, sir.
                         He exits into vault. The moment he is 
                         gone, Cluett crosses quickly to the 
                         time clock.
                         INSERT: TIME CLOCK
                         As Cluett's gloved hand comes in and 
                         turns the indicator back to 12 o'clock.
                         127. INTERIOR VAULT - MED. CLOSE SHOT
                         Matt has opened a compartment and has 
                         brought out several sheets of paper. 
                         He goes thru them to find the one he 
                         INSERT: TIME CLOCK
                         Cluett's hand is seen throwing the switch 
                         up to indicator reading OFF.
                         BACK TO SCENE:
                         As Matt comes up to Cluett with a cash 
                         report. Cluett glances over it.
                         (returning sheet)
                         That's all right. But it seems to me 
                         you're carrying too much cash.
                         He exits. Matt glares belligerently 
                         at him.
                         CAMERA PANS with him as he returns the 
                         paper to compartment. He locks the compartment 
                         door, switches off the light in vault 
                         and CAMERA PANS WITH HIM as he starts 
                         out of the vault. As he swings the large 
                         vault door closed,
                         FADE OUT:
                         FADE IN
                         128. EXT. SIDEWALK IN FRONT OF APT. 
                         HOUSE - NIGHT - MED. SHOT
                         As a cab drives up to curb in the middle 
                         of a downpour, and stops.
                         129. INT. TAXICAB - CLOSE SHOT - CLUETT 
                         AND MRS. DICKSON
                         They are in evening clothes, apparently 
                         they had some drinks, as phyllis is 
                         in a gay, frivolous mood.
                         ? 147 ?
                         (to driver)
                         DRIVER'S VOICE
                         Have you the correct time?
                         DRIVER'S VOICE
                         12:05. Fine.
                         MRS. DICKSON
                         (looking out)
                         What's this?
                         My apartment.
                         MRS. DICKSON
                         I knew I couldn't trust you. You told 
                         me you were taking me home.
                         Come on up for just a few minutes. We'll 
                         have just one drink, then we'll go.
                         MRS. DICKSON
                         No. I know the answer to that one.
                         (shaking her head)
                         I think you'd better take me home.
                         What's the matter? Afraid papa will 
                         130. CLOSER SHOT ON THE TWO
                         MRS. DICKSON
                         No. No, I'm afraid papa isn't that much 
                         interested. He's too busy rushing off 
                         to Philadelphia to make stuffy, old 
                         speeches at stuffy, old bankers' meetings. 
                         Too busy closing big, important deals—
                         (on second thought)
                         I think I will have a drink.
                         Good for you. Come on.
                         LAP DISSOLVE TO:
                         131. INT. CORRIDOR OUTSIDE CLUETT'S 
                         APT. - MED. CLOSE SHOT
                         Cluett and Mrs. Dickson emerge from 
                         the elevator and cross to his apartment, 
                         CAMERA FOLLOWING THEM. Cluett fumbles 
                         in his pocket for the key.
                         ? 148 ?
                         MRS. DICKSON
                         You know, there ought to be a Congressional 
                         Medal for men like you. America's comfort 
                         to misunderstood wives. I never thought 
                         I would find myself in that class.
                         Oh, you're not so badly off. There's 
                         something much worse than being a misunderstood 
                         MRS. DICKSON
                         What is that, Mr. Bones?[7]
                         A misunderstood bachelor.
                         Cluett smiles. He has the door open 
                         by now and stands aside to permit her 
                         to enter.
                         CUT TO:
                         132. INT. CLUETT'S APARTMENT - MED. 
                         CLOSE SHOT
                         At door. Phyllis Dickson has just stepped 
                         in, and Cluett follows. He closes the 
                         door and locks it.
                         And now fair woman, I have you in my 
                         MRS. DICKSON
                         (playing along)
                         I'm not afraid of you. You haven't got 
                         a moustache!
                         I'll grow a moustache by the time you 
                         get out of here.
                         CAMERA TRUCKS WITH THEM as he chases 
                         her into the next room. She alights 
                         on a piano bench, and runs her fingers 
                         up and down the scales. Suddenly Cluett 
                         stops. He stares off, a look of amazement 
                         in his face. Mrs. Dickson turns and 
                         follows his gaze and she, too, is startled.
                         CAMERA PANS QUICKLY over to the other 
                         side of the room. Matt sits on the edge 
                         of a chair waiting for them. He rises, 
                         looks off toward Cluett and Mrs. Dickson. 
                         As he starts forward, CAMERA PANS BACK 
                         to Cluett and Phyllis.
                         MRS. DICKSON
                         Why, Matt!
                         (when he recovers from his surprise)
                         What are you doing here?
                         Matt enters the scene.
                         The butler said I could stay. I told 
                         him it was important.
                         Oh, yeah?
                         ? 149 ?
                         Cluett steps over to a bell cord and 
                         pulls it.
                         He's not here. He left at nine o'clock. 
                         He said you gave him the night off.
                         Cluett wheels around, infuriated.
                         What do you want?
                         133. CLOSE SHOT OF THE TWO
                         Favoring Matt.
                         Well, I thought I'd like to have a little 
                         talk with you.
                         I'm listening.
                         It's funny - now that I'm here, I don't 
                         know just how to go about it.
                         (a glance toward Mrs. Dickson)
                         You see, I kind of expected to find 
                         you here alone.
                         As Cluett starts away:
                         Do you mind stepping outside? We could 
                         134. MEDIUM SHOT
                         Cluett crosses to the door, where he 
                         stands, ready to open it. Mrs. Dickson 
                         stands by helplessly.
                         (a tone of dismissal)
                         Anything you have to say to me, you 
                         can say in the morning.
                         Oh no, Mr. Cluett, if it's all the same 
                         to you, I'd rather not wait. It's about 
                         you and Mrs. Dickson.
                         Cluett releases his hold on the doorknob. 
                         Mrs. Dickson looks at Matt uneasily 
                         - she is quickly sobering.
                         About me and . . .
                         He crosses slowly toward Matt.
                         Why Matt, what are you talking about?
                         ? 150 ?
                         135. CLOSER SHOT OF THE THREE
                         I know I've got a lot of nerve butting 
                         in like this, but I just couldn't help 
                         it. I thought I could stop two people 
                         from doing something they'd be sorry 
                         I'm not interested in what you think.
                         You've no right to do this to her, Mr. 
                         Cluett. Why don't you think it over? 
                         It's only gonna get you into a lot of 
                         I tell you, I'm not interested in your 
                         (turns to Phyllis)
                         No? Then maybe you'll understand, Mrs. 
                         Dickson. Oh, gee, he's crazy about you. 
                         Nobody knows it better than you. If 
                         he ever finds out, it'll kill him.
                         MRS. DICKSON
                         But Matt, you're mistaken about the 
                         whole thing. There isn't anything wrong. 
                         Mr. Cluett and I simply came here—
                         136. CLOSE SHOT - MATT & CLUETT
                         Shooting toward Matt.
                         (to Phyllis)
                         Phyllis, you don't have to explain anything.
                         (snappily, to Matt)
                         You'd do well to mind your own business.
                         (wheeling on him)
                         This is my business. Mr. Dickson's been 
                         like a father to me.
                         (his voice rising)
                         What has he ever done to you to deserve 
                         a deal like this?
                         That will be just about enough! Now 
                         get out of here!
                         I guess I have said enough
                         I'm just wasting my breath talking to 
                         137. WIDER ANGLE
                         Taking in Mrs. Dickson, who stands slightly 
                         apart from the two men.
                         ? 151 ?
                         You're right for the first time. Now 
                         get out!
                         Matt ignores Cluett and looks toward 
                         phyllis Dickson.
                         I'm appealing to you, Mrs. Dickson. 
                         Think what you're doing to him. You're 
                         passing up the whitest man on earth—
                         (flaring up)
                         —for a dirty, no-good.
                         Before he finishes the sentence, Cluett 
                         punches him. Matt, caught unawares, 
                         is thrown off balance and sent reeling. 
                         He drops between two chairs. Now, livid 
                         with rage, he pulls himself up, murder 
                         in his eyes. Cluett crosses quickly 
                         to a desk near the door, opens a drawer 
                         and extracts a revolver.
                         MRS. DICKSON
                         (frightened - cries out)
                         Matt, who was started toward Cluett, 
                         stops in his tracks upon seeing the 
                         138. CLOSE SHOT
                         Shooting toward Cluett.
                         (under his breath)
                         Now get out of here!
                         CAMERA PANS WITH MATT to the door.
                         MRS. DICKSON'S VOICE
                         Wait a minute, Matt!
                         Matt turns as she enters the scene.
                         MRS. DICKSON
                         I'll go with you.
                         CLUETT'S VOICE
                         But phyllis!
                         Mrs. Dickson steps closer to Matt's 
                         side. Cluett comes up to them.
                         You needn't go on account of this idiot.
                         Matt has opened the door.
                         You better carry that around with you 
                         all the time - you're going to need 
                         Matt follows Mrs. Dickson out, leaving 
                         Cluett glaring after them.
                         139. INT. OF BANK - NIGHT
                         A series of quick vignettes:
                         Cluett's watch, showing 12:07.
                         ? 152 ?
                         A wall clock, showing 12:07.
                         A night watchman, alerted by suspicious 
                         noise, creeping up to the vault.
                         The night watchman, shot by figures 
                         in the shadows.
                         A small number of men rush out of the 
                         vault, clutching money bags and toting 
                         The night watchman, getting off a shot, 
                         before he crumples to the floor.
                         FADE OUT:
                         FADE IN
                         140. INT. VAULT ROOM OF BANK - CLOSEUP 
                         ON DOOR
                         The vault door, partly opened. Over 
                         the shot we hear excited murmurs.
                         CAMERA STARTS TRUCKING BACK SLOWLY, 
                         until it takes in the full room. A fingerprint 
                         expert is working on the time clock 
                         for finger-print impressions. The medical 
                         examiner bends over the body of the 
                         watchman, whose face is covered with 
                         a cloth. A detective in charge of the 
                         proceedings stands around, looking very 
                         What do you say, Doc?
                         Oh, I'd say about eight or nine hours.
                         Well, you'd better call the coroner.
                         CAMERA CONTINUES TRUCKING BACK, until 
                         it passes a group of tellers and clerks 
                         in a huddle. They listen breathlessly 
                         as Oscar, the youngest of the tellers, 
                         relates his story. For the moment he 
                         is the center of attraction, and he 
                         revels in it.
                         I was the first one to see it. I was 
                         coming down the stairs, and there was 
                         the dead watchman at my feet. You coulda 
                         knocked me over with a pin.
                         AD-LIB FROM LISTENERS
                         Gee . . . Can you imagine . . .
                         Do you see that clock? Right there. 
                         That's where the bullet hit. When I 
                         saw that, you coulda knocked me over 
                         with a pin.
                         Was there much blood?
                         (gesturing toward body)
                         Come on over fellas. I'll show you.
                         The clerks head toward the dead body, 
                         but are intercepted by the officious 
                         ? 153 ?
                         Get back there . I don't want anything 
                         touched until the Inspector gets here.
                         The clerks, awe-stricken, retreat.
                         (running up)
                         Oscar, what's the matter?
                         I was the first one to see it. I was 
                         coming down the stairs, and there was 
                         the watchman lying dead at my feet.
                         No kidding?
                         No kidding. When I saw it, you coulda 
                         knocked me over with a pin.
                         Where's Matt?
                         Yeah. He'll have a tough time thinking 
                         up a wise-crack for this one . . .
                         The detectives got Matt up there in 
                         Sampson's office.
                         He has?
                         Say, did Matt do it?
                         Don't look at me. I don't know.
                         Say, he did look kinda funny yesterday, 
                         didn't you notice it?
                         Yeah, he did. I noticed it too.
                         You coulda knocked me over with a pin!
                         CUT TO:
                         141. INT. SAMPSON'S OFFICE - CLOSEUP 
                         - MATT'S FRIGHTENED FACE
                         He sits in a chair. The side of his 
                         face is swollen from Cyril Cluett's 
                         punch of the night before.
                         ? 154 ?
                         INSPECTOR'S VOICE
                         (like a tri-hammer)
                         Come on, come on. You might as well 
                         tell me the truth. What did you do with 
                         the money?
                         I didn't do it. I told you all I know, 
                         CAMERA TRUCKS BACK revealing the other 
                         occupants of the room. The Inspector 
                         leans over Matt, firing questions at 
                         him. Two detectives are also there, 
                         one at the door, the other near Matt. 
                         Helen stands in a corner, pale and fearful, 
                         looking on.
                         You turned off the burglar alarm, you 
                         set the time clock, came back at twelve 
                         and emptied the boxes, didn't you?
                         (rises in indignation)
                         I wasn't anywhere near this place—
                         (shoving him back down)
                         Sit down! When the watchman surprised 
                         you, you shot him - what'd you do with 
                         the gun?
                         I didn't do it! I haven't got a gun!
                         You used to carry a gun, didn't you?
                         142. MEDIUM SHOT
                         Sampson enters hesitantly.
                         Pardon me, but I'd like to use my office 
                         for awhile!
                         You use some other office!
                         Sampson exits scene hurriedly.
                         CUT TO:
                         143. INT. LOBBY OF BANK AT ENTRANCE 
                         - MED. CLOSE SHOT
                         The doorman, Gardiner, stands at the 
                         door, blocking a milling crowd, as Dickson, 
                         who apparently has already heard the 
                         news, enters.
                         Come on, open up!
                         Good morning, everybody. What's the 
                         matter here? Open up the door. Come 
                         on, open this door.
                         Shall we let the people come in?
                         ? 155 ?
                         Of course, let them in! You're late 
                         CAMERA TRUCKS WITH DICKSON as he proceeds 
                         toward interior of bank. Helen rushes 
                         into the scene and up to him. CAMERA 
                         Oh, Mr. Dickson - they're going to arrest 
                         Matt. They think he did it!
                         Where is he now?
                         In Mr. Sampson's office.
                         Now don't you worry about it.
                         He crosses in that direction, followed 
                         by Helen.
                         CUT TO:
                         143. INT. ANTE ROOM OF CLUETT'S OFFICE 
                         - MED. SHOT
                         Cluett comes out of his office, looks 
                         around cautiously and satisfied he is 
                         unobserved, walks toward front door 
                         of bank.
                         CAMERA PANS over to a corner of the 
                         ante room. Detective #3 is watching 
                         Cluett. As Cluett leaves, the detective 
                         144. INT. SAMPSON'S OFFICE - MED. SHOT
                         Matt is still seated, with the detectives 
                         grilling him.
                         Then you did it and you did it alone—
                         Dickson enters.
                         (to Matt)
                         What's the matter? What's going on here?
                         (to the Inspector)
                         This is ridiculous! You can't hold this 
                         boy on a vague suspicion.
                         145. CLOSER SHOT OF THE GROUP
                         I'm afraid I must, Mr. Dickson.
                         Why pick on him ?
                         It's an inside job. That's a cinch. 
                         Whoever did it had a pretty good picture 
                         of the layout. Now Brown, here, is in 
                         charge of the vaults, isn't he?
                         ? 156 ?
                         146. CLOSEUP - MATT
                         Over which comes Inspector's voice as 
                         he continues:
                         INSPECTOR'S VOICE
                         The burglar alarm was turned off. The 
                         time clock was set for 12 o'clock. What 
                         more do you want?
                         DICKSON'S VOICE
                         Somebody else could have done it, couldn't 
                         INSPECTOR'S VOICE
                         He admits that he set the clock himself.
                         Matt looks up toward inspector.
                         I did. I set it for nine o'clock this 
                         147. MED. CLOSE SHOT - GROUP
                         As the Inspector turns to Matt:
                         Then who changed it?
                         I don't know.
                         Wait a minute. Wait a minute.
                         The Inspector turns back to Dickson.
                         What time did this thing happen?
                         The clock opposite the vault was stopped 
                         by a bullet at 12:09.
                         All right. If the boy proves an alibi, 
                         he's all right, isn't he?
                         If he can do it, yes.
                         Why, certainly he can.
                         (to Matt)
                         Matt, now all you've got to do is tell 
                         them where you were last night, between 
                         twelve and twelve-thirty, and everything 
                         will be all right.
                         (averting Dickson's gaze)
                         I already told him I was home.
                         (to Inspector)
                         There you are.
                         ? 157 ?
                         That's what he says. I got a man from 
                         headquarters checking up on it now.
                         (to Matt, smiling)
                         You've got nothing to worry about. Soon 
                         as the report comes in, you'll be released.
                         (to Inspector)
                         And listen, don't talk so loud. Take 
                         it easy. Coast a little.
                         He exits scene.
                         148. INT. THE LOBBY OF THE BANK - FULL 
                         Showing the normal activity of the bank 
                         in contrast to the turmoil going on 
                         inside. Just a few people scattered 
                         CAMERA TRUCKS towards the other end 
                         of the lobby, establishing the calm 
                         and peace of the place along the way. 
                         CAMERA STOPS on a CLOSE SHOT at the 
                         bank telephone operator at the switchboard. 
                         Oscar, the young teller, is relating 
                         his story for the hundredth time.
                         Gee, what do you think? There was that 
                         watchman, that poor watchman, lying 
                         on the floor right in front of me. Oh, 
                         you coulda knocked me over with a pin!
                         You don't say! Dead?
                         Dead? He was lifeless! You know, I was 
                         the first one to see him. I was coming 
                         down the stairs, and there was the watchman 
                         lying on the floor, right in front of 
                         me. Dead! I tell you, you coulda knocked—
                         Yeah, I coulda knocked you over with 
                         a pin.
                         Yeah, you coulda—
                         (realizes he is getting the brush-off)
                         Oh - almonds to you! Almonds!
                         Oscar exits scene. The operator turns 
                         her attention to the switch-board, apparently 
                         Oscar has interrupted a conversation 
                         she has been having.
                         Hello, Mame. This is Gert, again—
                         Say, listen - I just heard something 
                         that'll make your head swim . . . Listen 
                         to this . . . Yeah, the bank was robbed 
                         last night. Yeah, over a hundred thousand 
                         ? 158 ?
                         149. ANOTHER SWITCHBOARD OPERATOR - 
                         CLOSE SHOT
                         (into phone)
                         Who did it?
                         I don't know who did it, but the chief 
                         teller's in an awful jam.
                         Call me up later. I'm going to call 
                         up Lou now.
                         She pulls the plug, plugs in another 
                         Hello, Lou. Did you hear what happened 
                         over at the Union National Bank?
                         (a light flashes)
                         Wait a minute, Lou.
                         (plugs in wire)
                         Hello? Yes, sir. I'm trying to get them.
                         (pulls plug)
                         Yes, Lou, listen. They was robbed over 
                         two hundred thousand dollars. Can you 
                         beat that?
                         LAP DISSOLVE TO:
                         150. EXT. FRONT OF AN OFFICE BLDG. - 
                         MED. SHOT
                         Two men coming out of the building, 
                         engrossed in conversation.
                         Stole over a quarter of a million. Can 
                         you beat that?
                         The other man whistles in surprise.
                         2ND MAN
                         Whew! You can't laugh that off.
                         Several people in the crowd, overhearing 
                         them, turn and stare.
                         LAP DISSOLVE TO:
                         151. EXT. A STREET CORNER - MED. CLOSE 
                         Of an old lady, pitiful expression, 
                         begging alms. Two gentlemen are beside 
                         her. One of them reaches in his pocket 
                         for a coin.
                         3RD MAN
                         I thought the Union National was pretty 
                         At the mention of the Union National, 
                         the old lady looks up, startled.
                         4TH MAN
                         I did too.
                         3RD MAN
                         Half a million is a lot of money. I 
                         wouldn't be surprised if they had to 
                         close their doors.
                         ? 159 ?
                         The first man drops a coin in the old 
                         lady's palm and they leave. The beggar 
                         woman, oblivious of the coin in her 
                         hand, stares unbelieving, at the departing 
                         men. Suddenly her face screws up in 
                         OLD LADY
                         Oh, good gracious!
                         She dashes out of scene.
                         LAP DISSOLVE TO:
                         152. EXT. A BOOTBLACK STAND - MEDIUM 
                         A colored bootblack is brushing the 
                         coat of a customer.
                         Sammy, are you sure about that?
                         Yes, suh! That messenga boy just tol' 
                         me that Mr. Dickson took it all hisself. 
                         And it was more than a million dollars.
                         More than a million dollars?
                         Cross my heart. And I sure hopes that 
                         man gets a long time in jail, too!
                         Never mind my shoes, Sam.
                         He hastily exits scene.
                         LAP DISSOLVE TO:
                         153. INT. A BARBER SHOP - MED. CLOSE 
                         Taking in two chairs. The man on the 
                         right, being shaved, is in conversation 
                         with the barber.
                         Well, I always said the Union National 
                         was a phony bank.
                         The second customer sits straight up 
                         in his chair.
                         ANOTHER CUSTOMER
                         Union National?
                         BARBER WITH FRENCH ACCENT
                         You had money in that bank, too?
                         SECOND CUSTOMER
                         Yes. Something wrong?
                         BARBER WITH FRENCH ACCENT
                         Mon dieu, mon dieu! Run, run!
                         Second customer dashes out of scene.
                         ? 160 ?
                         LAP DISSOLVE TO:
                         154. INT. A BAR - MED. CLOSE SHOT
                         Two men are in conversation. Another 
                         man is alone. One of the two men holding 
                         the conversation is the man of the bootblack 
                         (of bootblack episode)
                         I tell you, I got it from the best authority. 
                         Dickson got away with several million 
                         155. CLOSE SHOT - 3RD MAN
                         He is just reaching for his glass, and 
                         starts to lift it to his lips when another 
                         man's voice comes into scene.
                         2ND MAN'S VOICE
                         Boy, that's the end of the Union National 
                         Bank. That's the trouble nowadays. You 
                         don't know who you can trust.
                         You said it.
                         The third man drops the glass and turns 
                         toward the two, panic-stricken.
                         156. MED. CLOSE SHOT OF THE THREE
                         3RD MAN
                         Say, is there something wrong with the 
                         Union National Bank?
                         2ND MAN
                         Something wrong? Brother, that ain't 
                         the half of it!
                         If you've got any money in there, you 
                         can just kiss it goodbye.
                         3RD MAN
                         Naw, you're kidding—
                         No, I'm not.
                         3RD MAN
                         Holy smoke!
                         He rushes out of the scene. The other 
                         two stare after him.
                         2ND MAN
                         (over-his-shoulder, to third man)
                         If you've got any friends, you'd better 
                         call them up too.
                         That's a good idea. I have friends of 
                         my own.
                         He dashes out of scene.
                         ? 161 ?
                         2ND MAN
                         (turning to bartender, who has been 
                         eavesdropping with interest)
                         Imagine that!
                         What bank did you say that was?
                         2ND MAN
                         Union National Bank. They're broke. 
                         Haven't got a dime . . .
                         LAP DISSOLVE TO:
                         157. PHONE MONTAGE
                         Quick cuts of excited phone conversations.
                         (into phone)
                         Listen, Jack, go down to the Union National 
                         and take your money out of there. Don't 
                         ask me how I know. I told you it's on 
                         the rocks. If you've got any friends, 
                         you'd better tell them too.
                         ANOTHER MAN
                         (into phone)
                         Better give all the men in your plant 
                         a couple of hours off to get their money 
                         (into phone)
                         Tell Mrs. Hardy to tell everybody in 
                         the apartment house—
                         TOUGH GUY
                         (into phone)
                         All right. I'll get it or bust a few 
                         ANOTHER MAN
                         (into phone)
                         Holy smoke! I'll get right down there 
                         if I have to fly!
                         ANOTHER WOMAN
                         (into phone)
                         Run down there and get your money at 
                         AD-LIB VOICES
                         (quick cuts - a rising tide - different 
                         Hello, dear . . . Hurry! . . . Union 
                         National is sunk! . . . I told you to 
                         put it in the vault . . . I don't know 
                         what's wrong with the bank . . . I wouldn't 
                         trust anybody . . . everybody's taking 
                         their money out . . . Union National's 
                         broken . . . Why take any chances? . 
                         . . Hurry! Call the others! etc.
                         LAP DISSOLVE TO:
                         158. INT. LOBBY OF THE BANK - FULL SHOT
                         Showing in comparison to previous shot, 
                         the effect of the rumors. The lobby 
                         is buzzing with activity. Lines form 
                         in front of all the windows. Depositors 
                         crowd around the writing tables. There 
                         are not
                         ? 162 ?
                         enough pens to go around. Frantic hands 
                         reach over shoulders for withdrawal 
                         blanks. CAMERA MOVES FORWARD. Over the 
                         shot is heard the seething blend of 
                         many voices.
                         CAMERA STOPS ON a Teller and a Man.
                         Closing your account?
                         Yes, sir. I'm closing my account. I 
                         wouldn't leave a nickel in this bank.
                         CAMERA STOPS ON a 2nd Man talking to 
                         a Woman.
                         2ND MAN
                         It's getting so a man's money ain't 
                         safe unless it's in his sock.
                         They're all a bunch of crooks.
                         2nd MAN
                         You said it.
                         CAMERA STOPS ON Jewish Man talking to 
                         a 4th Man standing next to him.
                         JEWISH MAN
                         Say, did I know the bank was going to 
                         go caflooey? What am I - a fortune teller 
                         or something?
                         CAMERA STOPS on a MED. CLOSE SHOT of 
                         Molly (the Zasu Pitts type). She is 
                         reaching over a man's shoulder to capture 
                         a withdrawal blank.
                         Oh, my goodness! Oh, my goodness! Oh, 
                         my goodness!
                         What's the matter, lady?
                         Oh, mister, I gotta! I gotta!
                         Well, they only sign slips here.
                         Gimme your pen, please!
                         She grabs pen away from him. He turns 
                         to someone next to him.
                         Will you loan me that pen of yours? 
                         I'm in an awful hurry.
                         CAMERA MOVES ON to a CLOSE SHOT of a 
                         teller frantically beckoning Sampson.
                         ? 163 ?
                         I need some more money! All of the depositors 
                         are withdrawing.
                         I know, I know. I'll get you some.
                         He hurriedly exits scene.
                         CUT TO:
                         159. INT. SAMPSON'S OFFICE - MED. SHOT
                         Inspector is still holding his ground. 
                         Matt sits dejectedly in the same place 
                         as before.
                         (to Dickson)
                         All I know is the bank's been robbed 
                         and a murder's been committed. The way 
                         I see it, Brown here looks guilty.
                         160. CLOSER SHOT ON GROUP
                         What are you talking about? He had no 
                         more to do with it than you did.
                         Maybe. But I'm taking no chances.
                         Why, this kid's got a record.
                         So have you. So have I. So's everybody 
                         got a record. What difference does that 
                         make? You can't go around pinning crimes 
                         on people just because they—
                         He is interrupted by the sound of the 
                         door opening. He looks off toward door.
                         161. CLOSE SHOT AT DOOR
                         Sampson stands there, looking off toward 
                         the group.
                         Mr. Dickson! Can I see you for a minute?
                         DICKSON'S VOICE
                         No, I'm busy. See me later.
                         But this is important, Mr. Dickson. 
                         Looks like there's a run on the bank.
                         162. MED. CLOSE SHOT
                         Dickson and the others. Dickson looks 
                         off at Sampson, unbelievingly:
                         What? A run on the bank!
                         CAMERA PANS WITH HIM as he rushes over 
                         to the door to Sampson.
                         ? 164 ?
                         The lobby's half filled now.
                         What are you talking about?
                         Dickson goes out the door, followed 
                         by Sampson.
                         163. OUTER OFFICES OF BANK - MED. CLOSE 
                         As Sampson and Dickson come into the 
                         (pointing in front of him)
                         Dickson looks in the direction in which 
                         Sampson points.
                         CUT TO:
                         164. INT. LOBBY OF BANK - LONG SHOT
                         From Dickson's angle.
                         This shot takes in the length of the 
                         bank. Clerks, bookkeepers, stenographers 
                         in the f.g., the lobby in the b.g. It 
                         seems a little more crowded than in 
                         previous shot.
                         CUT BACK TO:
                         164. OUTER OFFICES OF BANK - MED. CLOSE 
                         Sampson and Dickson. Dickson's face 
                         They've been coming in steady all morning. 
                         I have called for some extra police.
                         (his eyes glued on the crowd)
                         All right. Send down to the vaults and 
                         have our reserve cash sent up here right 
                         We haven't much on hand, you know. If 
                         it gets any worse, I hope we don't have 
                         to close the doors.
                         165. CLOSE SHOT
                         Favoring Dickson.
                         He turns to Sampson.
                         (flaring up)
                         The bank's reputation wouldn't be worth 
                         a nickel after that. This is just a 
                         flurry, that's all. They've heard about 
                         the robbery and got panic-stricken. 
                         Listen, get ahold of our available securities 
                         and have them turned into cash. Wait 
                         a minute. Get my personal stuff and 
                         have that turned into cash too. Tell 
                         the boys anyone caught arguing with 
                         a depositor will be fired on the spot.
                         Yes, sir.
                         ? 165 ?
                         166. MEDIUM SHOT
                         As Sampson leaves. Dickson starts out 
                         in the direction of Sampson's office. 
                         He is stopped by his name being called:
                         Mr. Dickson!
                         Dickson turns. Clark and several directors 
                         We want to talk to you.
                         What about?
                         We'll discuss that in the board room.
                         He turns to follow, then is stopped 
                         by another voice.
                         Oh, Mr. Dickson! We got a check on Brown's 
                         alibi. Do you want to hear it?
                         (only a slight hesitation)
                         All right.
                         (to Clark)
                         I'll be with you in a minute, Clark.
                         CUT TO:
                         167. INT. SAMPSON'S OFFICE - MED. CLOSE 
                         Dickson is by Matt's side. The Inspector 
                         is also in scene. Dickson puts a hand 
                         on Matt's shoulder.
                         Now don't worry, son. All you got to 
                         do is answer the questions they ask 
                         you, that's all.
                         CAMERA PANS TO THE DOOR as it opens 
                         and a detective enters, beckons to the 
                         Inspector off scene.
                         168. MEDIUM SHOT
                         As the Inspector crosses to the new 
                         arrival, who whispers something in his 
                         ear. The others in the room watch them, 
                         interested. The Inspector whispers instructions 
                         to the detective, who leaves. The Inspector 
                         then crosses slowly to Matt.
                         169. MED. CLOSE SHOT
                         As the Inspector comes up to the group 
                         around Matt.
                         So you were home last night?
                         (averting his gaze)
                         What time did you get in?
                         ? 166 ?
                         Well, about - uh - eleven o'clock.
                         Eleven o'clock, eh? Are you sure it 
                         was that?
                         The Inspector turns away and CAMERA 
                         PANS WITH the Inspector as he crosses 
                         quickly to the door and beckons to the 
                         detective outside.
                         All right, Kelley.
                         Kelley returns to the room accompanied 
                         by a little old Irish woman. She looks 
                         around the room nervously. Inspector 
                         leads her toward Matt.
                         170. MED. SHOT OF GROUP
                         As everyone stares at her curiously.
                         (indicating Matt)
                         Do you know this young man, Mrs. Halligan?
                         MRS. HALLIGAN
                         Sure I do. He has the best room in me 
                         house. The one with the fancy wallpaper.
                         171. CLOSEUP - MATT
                         He feels himself cornered. The Inspector's 
                         voice comes over the shot.
                         INSPECTOR'S VOICE
                         Did you happen to be awake when he came 
                         in last night?
                         MRS. HALLIGAN
                         Yes, sir. I was having me hot mustard 
                         What time was it?
                         172. MED. CLOSEUP - GROUP
                         As Mrs. Halligan continues.
                         MRS. HALLIGAN
                         —for the rheumatism, you know.
                         What time was it, Mrs. Halligan?
                         MRS. HALLIGAN
                         It was late, I know. The Dooley sisters 
                         was already in. They work at a show, 
                         you know.
                         The Inspector is getting impatient.
                         What time was it?
                         ? 167 ?
                         MRS. HALLIGAN
                         What time did Matt Brown get in?
                         MRS. HALLIGAN
                         Now, let me see - a half hour after 
                         the Dooley sisters - and the Dooley 
                         sisters never get home until after—
                         I don't care about the Dooley sisters 
                         - what time did he get in?
                         MRS. HALLIGAN
                         That's just what I'm trying to tell 
                         you, sir. It was a half hour after the 
                         Dooley sisters . . .
                         Was it twelve o'clock?
                         173. MED. CLOSE SHOT
                         Dickson, Matt, and the rest of the group. 
                         Some show their amusement. Dickson and 
                         Matt, however, are serious. Mrs. Halligan's 
                         voice comes into scene.
                         MRS. HALLIGAN
                         No, it wasn't twelve - 'cause the Dooley 
                         sisters . . .
                         INSPECTOR'S VOICE
                         (interrupting her quickly)
                         Was it one o'clock?
                         174. CLOSE SHOT
                         Inspector and Mrs. Halligan.
                         MRS. HALLIGAN
                         Yes, I guess it was one, 'cause . . 
                         (jumping her)
                         It couldn't have been earlier?
                         MRS. HALLIGAN
                         No. It wasn't earlier because . . .
                         Yes, I know. Cause the Dooley sisters 
                         weren't in yet.
                         MRS. HALLIGAN
                         No - because me clock struck four, and 
                         when it strikes four, it's one.
                         There you are!
                         175. MEDIUM SHOT
                         Matt speaks:
                         ? 168 ?
                         Aw, she doesn't know what she's talking 
                         Mrs. Halligan looks at him, offended.
                         MRS. HALLIGAN
                         Who don't know?
                         She comes toward him threateningly.
                         MRS. HALLIGAN
                         Listen here, young man - nobody ever 
                         called me a liar yet and got away with 
                         (coming after her, takes her arm)
                         That's all, Mrs. Halligan. Thanks.
                         Inspector leads her to the door. On 
                         the way Mrs. Halligan continues to mumble 
                         her protest against Matt's insult.
                         MRS. HALLIGAN
                         For two nickels I'd knock his block 
                         off. I never told a lie in me life.
                         She exits out of room.
                         176. MED. CLOSE SHOT
                         As Dickson steps closer to Matt.
                         Is that true, Matt?
                         Inspector comes up to them now.
                         Of course it's true - and he knows it.
                         Listen, Matt. If you don't tell the 
                         truth, I can't help you. Where were 
                         you last night?
                         (after a pause)
                         Aw, she was right. I didn't get in till 
                         after one o'clock.
                         Dickson is deeply disappointed.
                         (quickly - appealingly)
                         But I wasn't here, Mr. Dickson. Honest 
                         I wasn't . . .
                         The Inspector barks at Matt:
                         Then where were you?
                         177. CLOSE SHOT
                         Favoring Dickson as he leans closer 
                         to Matt.
                         ? 169 ?
                         (to Inspector)
                         Wait a minute. Wait a minute.
                         (to Matt)
                         Matt, do you realize you're up against 
                         something? You're being charged with 
                         murder. It's serious, son. Now come 
                         on, I know you didn't do it.
                         (gestures toward Inspector)
                         But we've got to make them believe it. 
                         Come on, tell the truth, where were 
                         you last night?
                         I can't tell you.
                         Matt maintains a determined silence.
                         (getting an idea)
                         Listen, if I get them out of the room, 
                         will you tell me ?
                         Matt looks at him. Dickson is the only 
                         person he cannot tell his secret to.
                         No. I won't.
                         You're protecting somebody.
                         No, I'm not Mr. Dickson!
                         Yes, you are. You're protecting somebody. 
                         Now listen, it doesn't make any difference 
                         who it is. It can't be as important 
                         as this. Now come on, tell me. Where 
                         were you last night?
                         (a note of desperation)
                         Come on, don't be a fool. Matt, you 
                         trust me, don't you?
                         No reply from Matt. Dickson is heartsick. 
                         He turns, helplessly, away from Matt 
                         and walks out of Sampson's office.
                         CUT TO:
                         178. INT. THE LOBBY OF THE BANK - CLOSE 
                         Of Gert, the telephone operator.
                         (all excited - into phone)
                         What a day, Mame! Everybody's coming 
                         in and drawing their money out.
                         Gee, Mame - I wonder what started it.
                         179. THE LOBBY OF THE BANK - LONG SHOT
                         Shouting from the offices. The lobby 
                         is now packed to the doors with frantic 
                         depositors. The low grumbling of before 
                         is now replaced by
                         ? 170 ?
                         vociferous condemnation of the bank 
                         and Dickson. Individual protestations 
                         are heard above the din of the crowd.
                         Dickson enters scene, and CAMERA TRUCKS 
                         AHEAD OF HIM as he quickly passes several 
                         tellers, giving them instructions to 
                         pay the depositors without delay. Sampson 
                         catches up with him.
                         Look at them, Mr. Dickson. They're going 
                         Did you get the case for the securities?
                         Yes, sir.
                         Mine too?
                         Yes, sir. But soon as our money runs 
                         out, they'll mob the place.
                         Dickson looks off toward the crowd.
                         The fools! If they only knew it, they're 
                         making things worse for themselves. 
                         Somebody starts a silly rumor, and they 
                         lose their heads.
                         What'll we do?
                         I'll talk to them. Listen, go back and 
                         tell the boys to stall as much as possible. 
                         Tell 'em not to pay any attention to 
                         what I said. Tell 'em to verify every 
                         He leaves the scene as we
                         CUT TO:
                         180. LOBBY OF THE BANK - LONG SHOT
                         Taking in a greater portion of the lobby. 
                         Dickson comes into the scene in the 
                         b.g. and stands on the stairs, looking 
                         down at the crowd. He suddenly holds 
                         up his hand and shouts:
                         Take your time, folks. Don't get excited. 
                         Everybody stay in line. You'll all be 
                         taken care of. Don't worry about anything. 
                         Plenty of time for everything.
                         He has to raise his voice even louder.
                         Now listen, everybody! Listen to me!
                         Gradually their attention is attracted 
                         to him. All eyes are turned in his direction.
                         181. MED. CLOSE SHOT
                         Shooting toward Dickson, past the crowd.
                         ? 171 ?
                         Dickson standing on the stairs. The 
                         people looking up at him.
                         I want you to know that your money is 
                         safe. This bank is in excellent condition. 
                         If you've heard any reports to the contrary, 
                         it's based on malicious rumors.
                         AD-LIB FROM CROWD
                         Yeah? Maybe . . .
                         It's a lotta hooey! We want our money!
                         All right. You'll get your money - every 
                         AD-LIB FROM CROWD
                         We want it now! We don't want no speeches!
                         182. CLOSE SHOT - DICKSON
                         As he addresses the crowd:
                         Listen to me now. It takes time. I've 
                         got seven paying tellers working just 
                         as fast as they can. If you'll all calm 
                         down, I'm making arrangements to keep 
                         the doors open until four o'clock this 
                         afternoon and you can be paid today.
                         183. MEDIUM SHOT OF THE CROWD
                         As they cheer their approval and return 
                         to their buddies.
                         184. MED. CLOSE SHOT
                         As Dickson starts back toward the offices, 
                         Sampson comes to meet him.
                         We can't keep open till four o'clock. 
                         We haven't cash enough to last an hour.
                         Don't you think I know it?
                         They both start walking toward Dickson's 
                         office - CAMERA TRUCKING WITH THEM. 
                         As they pass the conference room, Schultz 
                         comes out and stops Dickson.
                         We're still waiting for you, Dickson.
                         Dickson looks up, studies Schultz a 
                         moment, as if trying to make up his 
                         mind whether to consult the Board of 
                         Directors or not.
                         CUT TO:
                         185. INT. DIRECTORS' ROOM - MED. SHOT
                         The door opens and Dickson enters, followed 
                         by Schultz. They all look up. Dickson 
                         goes up to them.
                         Well, gentlemen, we've got about one 
                         more hour to go. You know what that 
                         ? 172 ?
                         186. MED. CLOSE SHOT
                         Dickson and the Directors.
                         We'll be forced to shut the doors. I've 
                         worked twenty-five years night and day 
                         to keep this bank alive. You've all 
                         made money out of it. Are you willing 
                         to help?
                         What do you mean, help?
                         I know that among you, you have at least 
                         a million dollars in various banks throughout 
                         the city. Get that money over here and 
                         I'll stop this run within five minutes.
                         That sounds very simple, Dickson, but 
                         why should we jeopardize our personal 
                         I have everything I own in it. It's 
                         your bank as well as mine, isn't it?
                         187. CLOSE SHOT
                         Clark and Schultz.
                         (this is just what he's been waiting 
                         Oh, is it? Since when? Judging from 
                         the way you've ignored us, you wouldn't 
                         think so.
                         We tried to reason with you, but you 
                         wouldn't listen to us.
                         188. MED. CLOSE SHOT
                         Shooting toward Dickson.
                         The depositors you were protecting were 
                         the first ones to pounce on you. You 
                         thought they were your friends. Why 
                         don't you go out there now and try and 
                         get some help from them?
                         Aw, they've gone crazy. You can't reason 
                         with a mob.
                         189. CLOSEUP - CLARK
                         No. You can't reason with anyone else 
                         when you're in a jam. We pleaded with 
                         you to keep liquid, but you wouldn't 
                         listen to us. You preached to us about 
                         faith and a lot of other rubbish. Now 
                         you want our help. You want us to throw 
                         a lot of cash into a bank that you've
                         ? 173 ?
                         wrecked. All right. There's one way 
                         you can get it. Give us an option on 
                         your stock and resign as president.
                         190. CLOSEUP - DICKSON
                         (quietly - tense)
                         So, that's it, eh? You've waited a long 
                         time for this chance, haven't you?
                         (his voice rising)
                         Well, I'm not going to resign now - 
                         or ever.
                         191. WIDER ANGLE
                         Taking in the others at the table.
                         You have no choice.
                         I haven't? I'll shut the bank first.
                         Say, you can't do that—
                         I can't? You just wait and see. If that 
                         run doesn't stop within the next hour, 
                         I'll shut the doors. You know what that 
                         means? The bank examiner will step in 
                         tomorrow. You'll be forced to liquidate. 
                         I'll insist upon it. The depositors 
                         will be paid one hundred cents on the 
                         dollar. What's left you gentlemen can 
                         have. But I'll guarantee there won't 
                         be enough to pay your next month's garage 
                         With which ultimatum, he crosses to 
                         the door and exits, CAMERA PANNING WITH 
                         CUT TO:
                         192. INT. OUTSIDE CONFERENCE ROOM - 
                         MED. CLOSE SHOT
                         As Dickson barges out. He stops in front 
                         of the door, and looks off toward lobby.
                         193. INT. LOBBY OF BANK - FULL SHOT
                         Pandemonium has broken loose. Men and 
                         women are hysterical. The police battle 
                         with recalcitrant depositors in a desperate 
                         effort to maintain order. Strong men 
                         push weak ones out of the lines. Wild-eyed 
                         women jostle and scramble to get near 
                         the paying tellers. Sex and priority 
                         rights are totally disregarded. Above 
                         it all the din is deafening. Men and 
                         women are clamoring for their life's 
                         savings, ready to commit murder to retrieve 
                         their little stakes.
                         CUT TO:
                         194. OUTSIDE CONFERENCE ROOM - CLOSEUP 
                         - DICKSON
                         His face clouds. As he stands there 
                         watching the chaos, slowly the deep 
                         concern vanishes from his face and his 
                         jaw sets in grim determination. He starts 
                         toward the stairs.
                         ? 174 ?
                         CUT TO:
                         195. ENTRANCE OF BANK - MED. CLOSE SHOT
                         Cyril Cluett enters from outside, looking 
                         guiltily around. Then he starts forward 
                         and exits from scene. The moment he 
                         is gone, Detective #3, who followed 
                         him out, appears in the doorway and 
                         crosses in the direction taken by Cluett.
                         CUT TO:
                         196. OUTSIDE CONFERENCE ROOM - MEDIUM 
                         CLOSE SHOT
                         Dickson and Sampson.
                         Mr. Dickson! Mr. Dickson!
                         Get all the big bills in the place. 
                         Take them out and get them changed. 
                         Get nothing but ones and fives. Distribute 
                         them among the tellers. Tell them to 
                         take their time. Stall as much as possible. 
                         Count and recount the money.
                         Yes, sir.
                         I hate to do this, but I've got to have 
                         time to dig up some help. I think I 
                         know where I can get some real cash. 
                         Snap into it, Sampson. We will lick 
                         this thing yet.
                         He starts out of scene towards his office. 
                         CAMERA TRUCKS AFTER HIM, as he crosses 
                         past Helen, talking without breaking 
                         Come on in here, Helen. Bring your book. 
                         I want some numbers to try to get some 
                         action. Get Parker at the Union-Leeds 
                         - the Exchange . . . Winslow and old 
                         man Harris at the Home Mortgage. Snap 
                         into it, Helen. Just as quick as you 
                         Yes, sir.
                         CUT TO:
                         197. INT. LOBBY OF BANK - FULL SHOT
                         Pandemonium, din and increasingly hysterical, 
                         pushing crowds.
                         CUT TO:
                         198. INT. CONFERENCE ROOM - MED. CLOSE 
                         The directors apparently are having 
                         a battle of their own.
                         Look at that mob. They're going crazy.
                         You know, this run isn't doing the reputation 
                         of this bank any good.
                         My dear friends—
                         ? 175 ?
                         How much longer is Dickson going to 
                         hold out?
                         You know Dickson as well as we do. He'll 
                         shut the doors before he gives up control.
                         All right, let him! I'm sick and tired 
                         of hearing about him. If he wants to 
                         run the bank, let him do it. I don't 
                         want any part of it.
                         My dear friends—
                         Oh, shut up!
                         CUT TO:
                         199. SOMEWHERE BACK OF TELLERS' CAGES 
                         - MEDIUM CLOSE SHOT
                         Sampson frantically advising tellers.
                         Stall! Stall!
                         One teller faces an angry depositor.
                         Er, is this your signature?
                         Certainly it's my signature. You've 
                         seen it often enough.
                         I'm sorry, but I'll have to verify it.
                         CUT TO:
                         200. INT. DICKSON'S PRIVATE OFFICE - 
                         CLOSE SHOT - DICKSON
                         Seated at his desk, talking into the 
                         Hello, Parker. Listen. Listen, I've 
                         got to have a million dollars in cash, 
                         and I've got to have it quick.
                         No, no, no. Tomorrow is no good. I need 
                         it now.
                         Of course it's safe. Why, the bank's 
                         in excellent condition. You know that.
                         CUT TO:
                         201. INT. SAMPSON'S OFFICE - MED. SHOT
                         The Inspector is making preparations 
                         to take Matt down to headquarters.
                         ? 176 ?
                         You'd better tell Mr. Dickson we're 
                         taking Matt Brown downtown.
                         (to 2nd Detective)
                         Is the chief's car outside?
                         2ND DETECTIVE
                         Yes, sir.
                         Okay. Come on son. Let's go.
                         The detective takes Matt's arm and makes 
                         him get up from the chair.
                         Helen rushes into the room and into 
                         Matt's arms.
                         202. CLOSER SHOT
                         Helen clings to Matt.
                         Oh, Matt . . .
                         (consoling her)
                         Don't cry, honey. Everything's gonna 
                         be all right.
                         The detective touches her shoulder, 
                         Sorry, sister.
                         Helen does not move. She clings to Matt, 
                         sobbing violently.
                         203. MED. CLOSE SHOT AT DOOR
                         As Detective #3 enters the room. CAMERA 
                         PANS WITH HIM as he crosses to the Inspector.
                         What did you find out, Mike?
                         I've been trailing the cashier like 
                         you told me. You're right about that 
                         guy, chief. There's something screwy 
                         Never mind all that. What did you find 
                         He left here about an hour ago and went 
                         down to Dude Finlay's joint.
                         Dude Finlay?
                         Yes, sir.
                         ? 177 ?
                         204. CLOSE SHOT - MATT & HELEN
                         Helen slowly lifts her head from Matt's 
                         shoulder. Her eyes widen as she hears 
                         the name of Dude Finlay. Mike's voice 
                         comes over this shot.
                         MIKE'S VOICE
                         He stayed about half an hour, and then 
                         he came right back here. He's in his 
                         office now.
                         (slowly dawning realization)
                         That's where I must have seen that guy—
                         Helen starts out of scene.
                         205. MEDIUM SHOT
                         As Helen leaves Matt's side and crosses 
                         to the Inspector and Mike.
                         Did you say Dude Finlay?
                         Yes, why?
                         He was in the bank yesterday.
                         206. CLOSER SHOT ON THE THREE
                         (suddenly alert)
                         He was here?
                         He came to see Mr. Cluett.
                         Are you sure?
                         Yes, sir.
                         207. CLOSE SHOT - MATT
                         As he listens intently to Helen and 
                         the Inspector.
                         INSPECTOR'S VOICE
                         Who was with him?
                         HELEN'S VOICE
                         Two other men. They all went into Mr. 
                         Cluett's private office.
                         INSPECTOR'S VOICE
                         Now we're beginning to get somewhere.
                         208. MED. SHOT
                         Taking in all the people in the room. 
                         The Inspector turns to the detective 
                         and speaks quickly:
                         Kelly! You stay here with Brown.
                         ? 178 ?
                         (to Tim)
                         Tim, you and Mike come with me. We're 
                         going down to Cluett's office.
                         He crosses to the door, followed by 
                         Tim and Mike.
                         209. MED. CLOSE SHOT AT DOOR
                         As the Inspector turns back and calls:
                         Oh, Kelly - call me up in Cluett's office 
                         in about five minutes.
                         KELLY'S VOICE
                         What'll I say?
                         I don't care what you say. Sing "Mother 
                         Machree"[8] if you want to, but call 
                         me up.
                         Inspector, Tim and Mike go out.
                         CUT TO:
                         210. INT. LOBBY OF BANK - MEDIUM CLOSE 
                         On the elderly lady depositor and bank 
                         guard, among the milling crowd.
                         (above the din)
                         Quiet down, please! Take it easy, folks. 
                         Everything will be all right.
                         (to bank guard)
                         But you said it would be safe! It's 
                         his life insurance money. Oh, please, 
                         I'll go to the Old Ladies' Home if you 
                         don't do something, please!
                         Please, lady. Please be quiet. Everything 
                         will be all right.
                         (leading the old lady - pushing a path 
                         through the crowd)
                         Open up here, folks. All right, folks, 
                         CUT TO:
                         211. INT. DICKSON'S PRIVATE OFFICE - 
                         CLOSE SHOT DICKSON
                         Seated at his desk, talking into the 
                         Good heavens, man, you're taking no 
                         chances. No, I'm perfectly willing to 
                         sign everything over to you. What more 
                         do you want? I need action. I've got 
                         to have it within the next half hour.
                         Yeah, sure - the board of directors 
                         turned me down, but you know why.
                         Listen. Listen, read it. It wouldn't 
                         be a drop in the bucket to you.
                         ? 179 ?
                         I see. Uh-huh. All right - ask me for 
                         a favor some time, will you?
                         He slams the phone down angrily.
                         CUT TO:
                         212. INT. CLUETT'S PRIVATE OFFICE - 
                         MED. CLOSE SHOT
                         Cluett sits at his desk. The Inspector 
                         stands in front of him.
                         (very suave)
                         I hope you don't mind me asking you 
                         a few questions, Mr. Cluett.
                         Of course, yes. Just what would you 
                         like to know, Inspector?
                         Where were you at twelve o'clock last 
                         (much relieved)
                         That's very simple. I was home.
                         213. CLOSE SHOT - INSPECTOR AND CLUETT
                         Shooting toward Cluett.
                         That is simple, isn't it? I assume you 
                         can prove that if necessary.
                         (feeling very sure of himself)
                         Oh yes, of course. There was someone 
                         with me. A lady.
                         (smiling - affably)
                         Looks like you're going to have no trouble 
                         at all. What was the lady's name, Mr. 
                         If you don't mind, Inspector, I'd rather 
                         not say - that is, unless it becomes 
                         absolutely essential. You see, she's 
                         (a big understanding grimace)
                         You understand?
                         Why, of course.
                         The telephone rings at this point. Cluett 
                         turns to answer it.
                         ? 180 ?
                         Pardon me.
                         He picks up the receiver. The Inspector 
                         watches him closely.
                         214. WIDER ANGLE
                         As Cluett answers the phone.
                         Hello . . . who? Yes, he's here.
                         (to Inspector)
                         It's for you, Inspector.
                         Cluett gets up out of his chair to permit 
                         Inspector to get to the phone.
                         (trying to be light)
                         Somebody must be in good humor. He was 
                         humming "Mother Machree."
                         It's one of the boys from headquarters. 
                         He always sings "Mother Machree" whenever 
                         he's got good news. Looks like this 
                         case'll be settled in no time.
                         215. CLOSEUP - CLUETT
                         His face clouds at this. He listens 
                         while Inspector's voice comes over scene:
                         INSPECTOR'S VOICE
                         Yeah, Kelly? Huh? Dude Finlay! Where 
                         do you got him?
                         Inspector pauses, waiting for a reply.
                         CUT TO:
                         216. INT. SAMPSON'S OFFICE - CLOSEUP 
                         Detective Kelly, speaking on the phone:
                         (into phone)
                         I ain't got nobody here. I'm with Brown. 
                         Didn't you tell me to call you up in 
                         five minutes?
                         INSPECTOR'S VOICE
                         CUT TO:
                         217. INT. CLUETT'S OFFICE - CLOSEUP 
                         - CLUETT
                         Cluett is terrified. The Inspector's 
                         voice continues:
                         INSPECTOR'S VOICE
                         Take him right down to headquarters.
                         Cluett starts to edge out of scene.
                         ? 181 ?
                         218. MED. SHOT
                         The Inspector is still holding receiver 
                         to his ear. Cluett has edged close to 
                         the door, his expression one of desperation.
                         The Inspector watches Cluett out of 
                         the corner of his eye as he continues.
                         (into phone)
                         Yeah. What? . . . You don't mean Cyril 
                         Cluett, the cashier?
                         Well! Did Dude Finlay tell you that?
                         CUT TO:
                         219. INT. SAMPSON'S OFFICE - CLOSEUP 
                         - KELLY
                         (into phone)
                         What? Dude Finlay? Sure, I got him here! 
                         You know, for a minute I didn't catch 
                         on . . .
                         CUT TO:
                         220. INT. CLUETT'S OFFICE - MED. SHOT
                         On the Inspector.
                         (into the phone)
                         Yeah. We got him here right now. Yeah, 
                         yeah. Okay Kelly, good work. Looks like—
                         221. CLOSE SHOT - CLUETT
                         He feels himself trapped. He glances 
                         around the room quickly to determine 
                         his chances to escape. He keeps edging 
                         closer to the door with his back to 
                         it. His hands sneaks down and grabs 
                         hold of the doorknob.
                         Suddenly, Cluett snaps open the door 
                         and like a flash is out of the room.
                         222. MED. SHOT OF ROOM
                         As Cluett's figure disappears. The detectives 
                         are startled by the sudden move.
                         (hanging up receiver)
                         —get him!
                         The detectives dash out, Inspector following.
                         CUT TO:
                         223. SOMEWHERE IN THE CROWDED OUTER 
                         OFFICE - MED. CLOSE SHOT
                         Cluett hurries through.
                         224. EXT. TO MEN'S LOCKER ROOM - MED. 
                         CLOSE SHOT
                         At the door of the men's locker room. 
                         Cluett comes into scene and enters locker 
                         ? 182 ?
                         CUT TO:
                         225. SOMEWHERE IN THE CROWDED OUTER 
                         OFFICE - MEDIUM SHOT
                         Inspector and detectives enter. Look 
                         around quickly.
                         (looking off, and spotting Cluett)
                         There he goes!
                         They rush out of scene, their hands 
                         on their guns, concealed.
                         CUT TO:
                         226. INT. MEN'S LOCKER ROOM - FULL SHOT
                         Metal lockers line the entire room. 
                         Cluett comes to door on other side of 
                         the room. Just as he gets there, he 
                         hears the detectives entering off scene. 
                         Quickly he changes his mind and springs 
                         into a space between a row of lockers 
                         and the wall, at the same time drawing 
                         his gun.
                         Inspector and detectives enter. The 
                         Inspector and one of the detectives 
                         advance into the room cautiously, holding 
                         their guns in front of them. Kelley, 
                         the other detective, shrewdly separates 
                         from them.
                         He must be here. There's only one door.
                         All right. Find him.
                         Cluett slips into a locker and closes 
                         the door behind him. They hear the noise 
                         off scene.
                         What was that noise?
                         Sounded like a locker.
                         A locker, eh? Well, search every one 
                         of them. He must be in one of 'em.
                         They search the lockers one by one, 
                         until the Inspector happens upon the 
                         one with Cluett inside. He leaps out, 
                         gun drawn.
                         227. CLOSE SHOT - CLUETT
                         From Inspector's angle.
                         Stand back Inspector, or I'll shoot. 
                         Drop that gun.
                         (calming tone)
                         All right, Jack, all right.
                         228. MED. CLOSE SHOT
                         The detective and Inspector. The detective 
                         drops his gun, but the Inspector keeps 
                         his levelled, toward Cluett, off scene:
                         Don't be a fool, Cluett. This is only 
                         going to make it worse for you.
                         ? 183 ?
                         Stand back, Inspector. Let me out of 
                         here, or I'll shoot you!
                         He starts slowly forward.
                         The Inspector ignores the warning. He 
                         takes a few more steps forward.
                         229. CLOSEUP - CLUETT
                         From Inspector's angle.
                         I warn you, Inspector - I'll shoot!
                         He levels his gun.
                         230. CLOSEUP - KELLEY
                         He lifts his gun and aims for Cluett, 
                         off scene.
                         231. CLOSEUP - CLUETT
                         He is frightened, but desperate. He 
                         has his finger on the trigger, ready 
                         to fire.
                         If you take another step, I'll—
                         A shot is heard. The gun drops out of 
                         Cluett's hand. His arm goes limp. His 
                         face screws up in pain.
                         (rushing forward to grab him - to the 
                         Let me see it! Let me see it! It's only 
                         his finger. Get me a towel.
                         (to Cluett)
                         Now take it easy, buddy. Take it easy. 
                         All we want to do is talk to you.
                         CUT TO:
                         232. INT. A TELLER'S CAGE MED. - CLOSE 
                         Shooting over the teller's shoulder.
                         People standing in line, an atmosphere 
                         of pandemonium and hysteria.
                         233. INT. DICKSON'S PRIVATE OFFICE - 
                         CLOSE SHOT - DICKSON
                         Still at phone. His coat is now off 
                         and flung across the desk. His face 
                         is worn. Perspiration rolls down his 
                         face. His appearance indicates he has 
                         been on the phone a long time.
                         (into phone - defeated)
                         You can't do a thing. You're up to your 
                         neck. All right.
                         He listens. He is being turned down. 
                         He hangs up receiver. Over his face 
                         slowly comes a look of deep perturbation. 
                         He refers to a small notebook open on 
                         his desk. His finger runs down the list 
                         of names as he searches for another 
                         CAMERA PANS ACROSS as Inspector and 
                         other detectives, with Cluett in custody, 
                         enter Dickson's office, all excited.
                         ? 184 ?
                         You were right, Mr. Dickson! Brown didn't 
                         have anything to do with it. Here's 
                         your man.
                         Why, you must be crazy. I've known this 
                         man for years.
                         He's just confessed. He's been mixed 
                         up with the toughest gangsters in town.
                         CAMERA PANS BACK to Dickson, as he stares, 
                         unbelievingly, at the shrunken figure 
                         of Cluett, who is trembling with fear.
                         234. CLOSER SHOT
                         Favoring Cluett and Dickson.
                         Confessed! Cluett, in heaven's name, 
                         what got into you?
                         (his voice shaking)
                         I don't know. It's all been like a crazy 
                         nightmare, Mr. Dickson.
                         What happened? You're not a thief. How'd 
                         you get mixed up with these kind of 
                         Gambling - I owed them a lot of money. 
                         Last week I lost over fifty thousand 
                         Fifty thousand dollars!
                         But I didn't kill that man last night. 
                         Honest I didn't, Mr. Dickson!
                         235. CLOSEUP - CLUETT
                         As he continues:
                         Yesterday they came to collect it. I 
                         begged them to wait. I wanted time to 
                         think, but they wouldn't listen to me.
                         (his voice rises)
                         They threatened to kill me if I didn't 
                         pay it! I was desperate! I didn't know 
                         what to do!
                         236. CLOSEUP - DICKSON
                         As he reacts to Cluett's confession. 
                         Cluett's voice continues over this shot.
                         CLUETT'S VOICE
                         (hoarsely - quickly)
                         Then they suggested that I help them 
                         rob the bank. All I had to do was turn 
                         off the alarm and
                         ? 185 ?
                         fix the time clock. It all sounded so 
                         easy. It seemed like a way out.
                         237. MED. CLOSE SHOT - GROUP
                         As Cluett continues:
                         I didn't know anybody was going to be 
                         The Inspector addresses Cluett:
                         What were you doing at Finlay's this 
                         They took my keys yesterday. I went 
                         there to get them back.
                         If you were in a jam, why didn't you 
                         come to me? I would have helped you 
                         out. You know that.
                         238. CLOSE SHOT
                         Favoring Cluett.
                         I was crazy, I tell you, Mr. Dickson. 
                         I didn't know what I was doing. I wandered 
                         around in a daze. All I could think 
                         of was that they were going to kill 
                         me . . .
                         (pleading desperately)
                         You'll stand by me, won't you, Mr. Dickson? 
                         You won't go back on me now, will you? 
                         I'll die if they send me to prison!
                         Don't forget there's a dead watchman 
                         I didn't kill him! I had nothing to 
                         do with that, I tell you! I was home 
                         in my apartment last night - I can prove 
                         239. MED. CLOSE SHOT OF GROUP
                         Claims he was there with a married woman. 
                         Doesn't want to mention her name.
                         (desperately - to Dickson)
                         He won't believe it, Mr. Dickson. But 
                         it's the truth - honest it is. I was 
                         in my apartment last night - ask your 
                         wife - she—
                         He stops dead. Suddenly he realizes 
                         what he is saying.
                         240. CLOSEUP - DICKSON
                         As he reacts electrically to the mention 
                         of his wife.
                         ? 186 ?
                         241. CLOSE SHOT - CLUETT
                         He slaps a hand over his mouth, as if 
                         to crush out anything further he might 
                         say. He stares wide-eyed and frightened 
                         at Dickson.
                         242. CLOSE TWO SHOT - DICKSON AND CLUETT
                         Dickson glares at Cluett, penetratingly. 
                         His brain slowly absorbs the revelation 
                         that Phyllis was in Cluett's apartment 
                         the night before.
                         My wife? What's she got to do with you?
                         (out of the side of his mouth - to a 
                         detective standing next to him)
                         No wonder he didn't want to mention 
                         her name.
                         Dickson comes over to Cluett, grabs 
                         him by the arm.
                         What was my wife doing in your apartment 
                         last night?
                         Nothing, nothing, Mr. Dickson. Don't 
                         pay any attention to me. I don't know 
                         what I'm saying.
                         You just mentioned her name. What was 
                         she doing there? What was she doing 
                         in your apartment?
                         She just came up for a drink. Just for 
                         a few minutes.
                         Dickson grabs Cluett and shakes him.
                         (a shriek)
                         You're lying!
                         243. MED. CLOSE SHOT
                         Don't worry, Mr. Dickson. We'll find 
                         out whether he's telling the truth. 
                         I'll have a man from headquarters check 
                         up on it right away.
                         You don't want to check up on anybody. 
                         I'll do all the checking up. Wait a 
                         CAMERA PANS WITH HIM as he crosses to 
                         his desk, and calls Helen on the intercom.
                         HELEN'S VOICE
                         ? 187 ?
                         Get Mrs. Dickson on the phone.
                         There is an awkward pause while Dickson 
                         waits. He is obviously agitated. Then 
                         the phone rings.
                         (answering it)
                         Listen, dear. I want to ask you something. 
                         I know it's a silly thing for me to 
                         ask you, but . . . I want you to tell 
                         me the truth. Where were you last night?
                         CUT TO:
                         244. INT. DICKSON HOME - CLOSEUP - MRS. 
                         MRS. DICKSON
                         (into phone - disconcerted)
                         Last night? Er - why - uh, last night 
                         . . .
                         CUT TO:
                         245. INT. DICKSON'S OFFICE - CLOSEUP 
                         - DICKSON
                         (very sombre)
                         Listen, dear. Now tell me the truth 
                         about this. Were you in Cluett's apartment?
                         CUT TO:
                         246. INT. DICKSON HOME - CLOSEUP - MRS. 
                         MRS. DICKSON
                         (into phone)
                         In Cluett's apartment? Well dear, you 
                         see, I . . . I . . .
                         CUT TO:
                         247. INT. DICKSON'S OFFICE - MED. CLOSE 
                         Favoring Dickson, but showing Cluett 
                         and the others.
                         Dickson slowly puts the phone receiver 
                         down. His face is ashen. He is shaken 
                         to the core.
                         She wasn't to blame, Mr. Dickson. It 
                         wasn't her fault. Honest, it wasn't. 
                         I begged her to come up. She didn't—
                         (an explosion)
                         Get out, get out!
                         All right. Let's go.
                         The detectives get on either side of 
                         Cluett and silently they march him out 
                         of the room. Inspector and others follow, 
                         leaving Dickson alone. When they have 
                         gone out:
                         ? 188 ?
                         248. CLOSE SHOT - DICKSON
                         Left alone, he is a tragic figure. An 
                         incessant parade of disturbing thoughts 
                         tumble over each other in a hectic march 
                         across his chaotic mind. He grips his 
                         throbbing temples in an effort to crush 
                         out the torturous thought that Phyllis 
                         was involved in an intrigue with Cyril 
                         CUT TO:
                         249. INT. CONFERENCE ROOM - MED. SHOT
                         Most of the directors seem to be weakening. 
                         O'Brien is remaining staunch to Dickson. 
                         Clark alone, holds out.
                         Clark, you're insane to hold out any 
                         longer. Now let's get some money over 
                         here and stop this run.
                         If we close our doors, our stock won't 
                         be worth a nickel.
                         Meek little Ives once more tries to 
                         My dear friends, I—
                         I'll lay you ten to one, Dickson won't 
                         give in.
                         250. CLOSER SHOT
                         Featuring Schultz and Clark, standing 
                         Maybe they're right, Clark.
                         All right, I'll go and have a talk with 
                         As he starts to walk toward the door:
                         CUT TO:
                         251. INT. DICKSON'S PRIVATE OFFICE - 
                         FULL SHOT
                         Dickson sits at his desk, his head cupped 
                         in his hands. Clark enters thru door 
                         of outer office, quietly. He looks at 
                         Dickson a moment, then crosses to the 
                         Oh, Dickson . . .
                         252. CLOSE SHOT OF THE TWO
                         Shooting toward Dickson.
                         Dickson slowly looks up at Clark.
                         Dickson, I'd like to talk to you about 
                         the bank.
                         ? 189 ?
                         The bank. All right. Do anything you 
                         want with it.
                         253. CLOSE SHOT - CLARK
                         His face lights up. This is a turn he 
                         never expected. He really came in to 
                         Now you're talking sense.
                         We'll draw up the option on your stock 
                         - say, eighty dollars a share. How's 
                         254. CLOSE SHOT - DICKSON
                         He is not even interested, speaks vaguely:
                         Eighty dollars? That's fine - anything 
                         you say.
                         He waves Clark away.
                         Good, good. I'll draw it up at once.
                         255. MED. SHOT
                         As Clark starts out of Dickson's office, 
                         elated, Helen comes in.
                         You want the rest of those numbers, 
                         Mr. Dickson?
                         Numbers? No, never mind.
                         She stares at him, surprised, backs 
                         out of the room.
                         CUT TO:
                         256. INT. OUTER ROOM OF DICKSON'S OFFICE 
                         - HELEN AND MATT
                         Immediately following:
                         What's he doing, honey? Is he getting 
                         any help?
                         Something's happened. He isn't trying 
                         They must have turned him down.
                         Yes. He called some of the biggest people 
                         in town.
                         Sure, they'd turn him down. He ought 
                         to know that. I'm going in there and 
                         talk to him.
                         As he enters Dickson's office:
                         CUT TO:
                         ? 190 ?
                         257. INT. DICKSON'S OFFICE
                         CAMERA PANS ACROSS as Matt enters:
                         We haven't got much time left, Mr. Dickson. 
                         We've got to do something quick or it'll 
                         be too late.
                         Why wouldn't you tell me where you were 
                         last night?
                         (ignoring the question)
                         You're not giving up, are you, Mr. Dickson?
                         Were you in Cluett's apartment?
                         Oh, I can explain about that later. 
                         You're losing your bank - don't you 
                         realize what that means?
                         Was Mrs. Dickson there?
                         Listen, Mr. Dickson, don't let them 
                         lick you just because a couple of big 
                         shots turned you down. You've got more 
                         friends than anybody in this town. Little 
                         guys - guys who wouldn't be in business 
                         if it weren't for you. All you've got 
                         to do is—
                         Wait a minute. Answer my question. Was 
                         Mrs. Dickson there?
                         (fumbling for words)
                         Well . . . uh . . . I . . .
                         She was, wasn't she? How long has this 
                         been going on? Do you know?
                         Aw, I don't know what you're talking 
                         about. All I know is that you're losing 
                         your bank and—
                         All right. That's all.
                         Please, Matt.
                         Head bowed, Matt exits scene.
                         ? 191 ?
                         CUT TO:
                         258. INT. DICKSON'S OUTER OFFICE - MATT 
                         AND HELEN
                         Immediately following:
                         Did you talk to him?
                         (he has a sudden inspiration)
                         I got an idea. Come on, let's get to 
                         a telephone.
                         They exit scene hurriedly.
                         CUT TO:
                         259. INT. DICKSON'S PRIVATE OFFICE - 
                         MED. CLOSEUP
                         All of his beliefs are shaken by this 
                         seeming betrayal. Dickson takes a framed 
                         photograph of Phyllis from his desk, 
                         gingerly sets it face down in the center 
                         drawer of his desk.
                         Also in the desk drawer is - he cannot 
                         help but notice - a gun.
                         CUT TO:
                         260. INT. CONFERENCE ROOM - CLOSE SHOT 
                         - CLARK
                         As he dictates to someone off screen:
                         —a thirty-day option on ten thousand 
                         shares of stock of this company, now 
                         registered in the name of Thomas A. 
                         Dickson. Now make that in triplicate 
                         and get it to me just as fast as you 
                         can. Hurry!
                         CUT TO:
                         261. INT. SOMEWHERE IN THE BANK - CLOSE 
                         SHOT AT PAYROLL WINDOW
                         Shooting past cashier in f.g. towards 
                         line of laborers waiting to be paid.
                         Cashier stands in front of a tall counter 
                         upon which is a small metal box filled 
                         with currency. He is speaking into the 
                         phone by his side as scene opens.
                         He hangs up receiver and turns to the 
                         men on the other side of the window.
                         (speaking thru small window)
                         Sorry ladies and gentlemen, there's 
                         no more money. You'll have to go on 
                         to the next window.
                         He snaps the window shut, slams down 
                         cover of little metal box.
                         Angry ad-lib from line of laborers waiting 
                         to be paid.
                         CUSTOMER AD-LIBS
                         What do you mean there's no more money? 
                         ? 192 ?
                         Panicked shouting and pushing. In the 
                         center of the crowd, a woman faints.
                         CUT TO:
                         Another cashier, another window, another 
                         angry line of depositors.
                         That's all there is!
                         More pushing, shouting, angry ad-lib.
                         CUT TO:
                         262. INT. DICKSON'S OUTER OFFICE - MEDIUM 
                         CLOSE SHOT
                         Phyllis Dickson, serious-faced, comes 
                         up steps and thru ante room on the way 
                         to Dickson's private office.
                         She pounds on door of office. There 
                         is no reply from within. Standing next 
                         to her is a bank guard, uncertain about 
                         what to do. Throughout scene, there 
                         are b.g. sounds of melee in the bank.
                         MRS. DICKSON
                         (to bank guard)
                         Are you sure he's in there?
                         Yes, ma'am. He must be in there. He 
                         hasn't come out.
                         She pounds on the door again.
                         MRS. DICKSON
                         Tom! Tom! Tom!
                         (to guard)
                         I've got to get in there. Can't you 
                         find me a key?
                         (reaching into Helen's desk)
                         Yes, I think there's one right here 
                         in the drawer.
                         CUT TO:
                         263. INT. DICKSON'S PRIVATE OFFICE - 
                         FULL SHOT
                         As Mrs. Dickson rushes in.
                         Dickson is standing by a window.
                         264. CLOSE SHOT - MRS. DICKSON
                         She walks over to him - CAMERA PANNING 
                         WITH HER - and stands in back of him.
                         MRS. DICKSON
                         (softly - seriously)
                         Tom! Oh Tom, darling - I came to explain 
                         about last night . . .
                         Dickson remains silent. Mrs. Dickson 
                         ? 193 ?
                         MRS. DICKSON
                         Cyril Cluett doesn't mean anything to 
                         me, Tom. I went out with him last night 
                         simply because . . . well, I had begun 
                         to feel that I didn't have any part 
                         in your life. That I was an outsider. 
                         Tom, all we did was to go to the theatre, 
                         and then we went back to his apartment 
                         afterward for a drink. That's all it 
                         was. I didn't do anything wrong, Tom. 
                         I couldn't do anything wrong. I love 
                         you too much. You know that.
                         265. CLOSEUP - DICKSON
                         As he stares dully out the window.
                         Mrs. Dickson's voice coming over shot:
                         MRS. DICKSON
                         (breaking down - sobbing)
                         Oh, Tom! Tom!
                         CUT TO:
                         266. INT. SOMEWHERE IN BANK - MEDIUM 
                         CLOSE SHOT - MATT AND HELEN
                         Favoring Matt.
                         They are furiously working two phones, 
                         going down a list of people who owe 
                         Dickson and the bank a favor.
                         Although Matt has focus in the scene, 
                         Helen's voice is always in b.g., as 
                         she handles calls, making the same pitch.
                         (into phone - rat-a-tat)
                         Dickson's in a jam I tell you. The run's 
                         getting worse.
                         Mr. Williams . . .
                         The big guys have got the screws on 
                         him. You've got to come through for 
                         him, Mr. Conway. He came through for 
                         you a hundred times. If his friends 
                         don't help him, who is going to help 
                         (looking up from her own phone pitch)
                         Matt, look! There's Mr. Jones!
                         CUT TO:
                         267. INT. LOBBY OF BANK - MED. SHOT
                         As a man elbows his way thru the crowd 
                         to a receiving teller's window. He is 
                         accompanied by a bank guard, who sweeps 
                         the disbelieving crowd aside. He speaks 
                         loudly for everyone's benefit:
                         Any bank that Tom Dickson has anything 
                         to do with is all right. I'm putting 
                         my money in here. Why should you be 
                         afraid? Give him a chance. Tom Dickson 
                         is all right! He's perfectly square. 
                         I'm putting my money in this bank! I 
                         know what I'm doing!
                         He reaches a teller's window, which 
                         is closed. He pounds on it.
                         ? 194 ?
                         Open up! I want to put some money in 
                         here! I don't want to take any out!
                         A teller's face appears, somewhat astonished.
                         (recovering composure)
                         Certainly, Mr. Jones! Certainly! Charlie!
                         CUT TO:
                         268. INT. SOMEWHERE IN BANK - MED. CLOSE 
                         SHOT - MATT AND HELEN
                         (into the phone - rat-a-tat)
                         They're starting to come in already. 
                         Yeah. Yeah. Well, listen. Don't waste 
                         any time. Get all the money you can 
                         lay your hands on, and bring it down 
                         here right away. Step on it.
                         He hangs up, dials another.
                         Helen has dialed another prospect also, 
                         and hands the phone to Matt.
                         (to Helen)
                         Who's this?
                         (into one phone)
                         Mr. Williams?
                         (into the other phone)
                         Mr. Gunther?
                         (to Helen)
                         I'll talk to both of them at once.
                         (holding both phones up to his mouth)
                         Listen, both you fellows. Dickson's 
                         in a jam. The run's getting worse. Those 
                         big guys got the screws on him. Yeah, 
                         both you fellows got to come thru for 
                         him. Listen, if his friends don't help 
                         him, who is going to help him? Now he 
                         came through for you a hundred times. 
                         Yeah, listen. They're starting to come 
                         in already. Yeah, listen. Both of you 
                         fellas - get all the money you can lay 
                         your hands on, and bring it down here 
                         right away. Both of you - step on it! 
                         All right.
                         CUT TO:
                         269. INT. LOBBY OF BANK - MED. SHOT
                         As several more people elbow their way 
                         thru the crowd on their way to teller's 
                         windows, speaking aloud.
                         Get out of my way. I got money I want 
                         to put into the bank.
                         CAMERA PANS WITH HIM and second man 
                         until they reach the receiving teller's 
                         window, where they fall into a line 
                         already containing ten or twelve people.
                         The second man shoves his way to the 
                         front, and addresses the teller:
                         ? 195 ?
                         2ND MAN
                         I want to make a deposit. Four thousand, 
                         six hundred dollars. He's the best man 
                         in the world. I believe in him.
                         CUT TO:
                         270. INT. DICKSON'S PRIVATE OFFICE - 
                         CLOSE TWO SHOT
                         Dickson and Phyllis Dickson. She is 
                         still explaining to him.
                         MRS. DICKSON
                         It doesn't matter what you think about 
                         me, there's something far more important. 
                         Those people down there. The bank, Tom. 
                         You can't give that up.
                         She is interrupted by sound of door 
                         opening. They look off.
                         271. CLOSE SHOT AT DOOR
                         As Sampson steps in. He looks off toward 
                         Mr. Dickson! Come here a minute. Look 
                         at this. Something wonderful has happened. 
                         People are bringing deposits. You won't 
                         believe it until you see it. You have 
                         to come out.
                         272. CLOSE SHOT
                         Dickson and Mrs. Dickson. He shambles 
                         over towards the door.
                         273. INT. OUTSIDE OF DICKSON'S OFFICE 
                         - MED. CLOSE SHOT
                         As Sampson and Dickson come out from 
                         private office.
                         (pointing off)
                         Dickson gazes in the direction he points.
                         CUT TO:
                         274. RECEIVING TELLER'S WINDOW - MEDIUM 
                         From Dickson's angle.
                         The line has grown in size. Those trying 
                         to deposit their money are just as excited 
                         as those who want to draw it out.
                         Tom Dickson is a friend of mine! I'll 
                         put money in his bank any time!
                         ANOTHER MAN
                         Anybody who takes money out of this 
                         bank is crazy! I'm going to put a lot 
                         of money in! Here it is!
                         3RD MAN
                         I haven't got much, but here it is!
                         Tom Dickson can have all my money any 
                         ? 196 ?
                         CUT TO:
                         275. INT. OUTSIDE OF DICKSON'S OFFICE 
                         - CLOSEUP
                         On Dickson, looking toward Receiving 
                         Teller's window. He stares at the miraculous 
                         spectacle, deeply moved. He can scarcely 
                         believe his own eyes. A smile grows 
                         on his face.
                         The sight of his friends coming to his 
                         rescue has an electrical effect on Dickson. 
                         It revives his fighting spirit. He sticks 
                         his jaw out determinedly. Without a 
                         word he turns and crosses to door of 
                         conference room.
                         CUT TO:
                         276. INT. CONFERENCE ROOM - FULL SHOT
                         Dickson flings the door open. Clark 
                         and the other directors are startled 
                         out of their business. Clark holds the 
                         necessary transfer papers in his hand.
                         Come out here you pawnbrokers - take 
                         a look at this!
                         We've been waiting fifteen minutes—
                         (waving papers away)
                         You know what you can do with that! 
                         Come on, take a look at this! You'll 
                         see a demonstration of faith that's 
                         worth more than all the collateral in 
                         the world.
                         While he has been speaking, several 
                         of the directors have edged over to 
                         the door. They are perceptibly impressed.
                         277. MED. CLOSE SHOT - CLARK
                         He has remained unmoved, staring at 
                         Dickson, as if trying to determine what 
                         kind of ruse is this.
                         DICKSON'S VOICE
                         Come on boys! Come on Clark! It'll do 
                         your heart good.
                         CAMERA PANS WITH CLARK, as he crosses 
                         slowly to the door and looks out.
                         Look at that. They're shoving their 
                         hard-earned money across the counter 
                         with a ten to one chance against them.
                         278. CLOSER SHOT OF GROUP
                         As they edge out onto balcony overlooking 
                         If you fellas want to save this bank, 
                         get some real money over here right 
                         That's enough for me, Dickson. I'm ashamed 
                         of myself. I'll have a hundred thousand 
                         dollars over here in five minutes.
                         ? 197 ?
                         O'Brien starts away and crosses to a 
                         Dickson turns to the others.
                         Now you're talking! Ames?
                         I'm sold.
                         He goes off.
                         All right. Schultz?
                         (only a moment's hesitation)
                         This is your bank, Dickson, and I'm 
                         with you!
                         279. CLOSE SHOT - IVES
                         At last he can say something.
                         (shaky voice)
                         My dear friends, that's what I've been 
                         trying to say all afternoon.
                         Go ahead and say it.
                         (turning to Clark)
                         Clark, you can do twice as much as any 
                         of them. How about you?
                         280. CLOSE SHOT - CLARK
                         Oh, I don't agree with you, but if everybody's 
                         gone crazy, I'll go crazy too!
                         CUT TO:
                         281. INT. CONFERENCE ROOM - SERIES OF 
                         As Clark and the other directors make 
                         their urgent phone calls.
                         (into phone)
                         This is Ben Schultz talking. Send a 
                         hundred thousand cash over here to the 
                         Union National right away.
                         (into phone)
                         Send all your available cash to Union 
                         (into phone)
                         Currency - small denominations—
                         (into phone)
                         —in tens and twenties—
                         ? 198 ?
                         (into phone)
                         Say, I want one hundred and fifty thousand 
                         dollars over here right away.
                         I am in my right mind. No, no, no. Not 
                         one hundred and fifty dollars. Say, 
                         listen you guys, one hundred and fifty 
                         thousand dollars. Yes!
                         LAP DISSOLVE TO:
                         282. EXT. CITY STREET - LONG SHOT
                         A string of armored cars speed toward 
                         camera, accompanied by an escort of 
                         eight motorcycle cops. The procession 
                         heralds its approach by the piercing 
                         wail of sirens.
                         Open up!
                         LAP DISSOLVE TO:
                         283. INT. BANK - AT THE DOOR
                         A dozen policemen precede the entrance 
                         of a parade of uniformed guards, who 
                         carry in one hand sacks of money, their 
                         other hands clasped firmly on their 
                         guns. The crowd in the lobby stands 
                         aside, awe-stricken.
                         AD-LIB FROM COPS
                         Heads up—
                         Make way, there—
                         Hey, you, look out!
                         Murmurs of approval are heard from the 
                         LAP DISSOLVE TO:
                         284. INT. BANK NEAR FRONT DOOR - MED. 
                         As the crowd is leaving the bank. Everyone 
                         is smiling and happy.
                         (to nearby man)
                         That's the trouble with people nowadays. 
                         They hear a crazy rumor, and right away 
                         they lose their heads. Not me! You didn't 
                         see me drawing my money out, did you?
                         LAP DISSOLVE TO:
                         285. INT. BANK - CLOSEUP - GERT
                         As she works the switchboard - the next 
                         Good morning. Union National Bank. Just 
                         a minute . . .
                         CUT TO:
                         286. INT. BANK VAULT - MEDIUM SHOT - 
                         GROUP OF TELLERS
                         As they gather for their morning ritual, 
                         waiting for Matt.
                         Nine o'clock and all is lousy.
                         ? 199 ?
                         Where's Matt?
                         Ten to one he'll have a crack about 
                         the run yesterday.
                         It's a cinch bet. I wouldn't take it.
                         2ND TELLER
                         If he pulls a gag about the run, we'll 
                         murder the guy. Murder him!
                         They hear Matt approaching, and gesture 
                         silence. Matt strides purposefully in. 
                         He works the mechanism on the vault. 
                         There is a long silence, during which 
                         nobody says anything, most surprisingly 
                         of all, not even Matt. Finally:
                         (after having opened the lock - turning 
                         to the group of expectant tellers)
                         Well, I suppose you guys had a good 
                         run for your money yesterday!
                         They tackle him to the ground.
                         CUT TO:
                         287. INT. BANK ENTRANCE MED. - CLOSE 
                         As Dickson enters, and playfully pushes 
                         the hat down over Gardiner, the old 
                         bank guard's face. The bank guard adjusts 
                         his hat, annoyed, then sees it is the 
                         president of the bank.
                         Good morning, Mr. Dickson. My wife is 
                         much better this morning.
                         Well, that's too bad. Mine's all right 
                         Guard puzzles over his non-sequitur 
                         for a moment, then smiles.
                         CAMERA TRUCKS AHEAD OF DICKSON, as he 
                         strides through the lobby, passing various 
                         individuals from opening scenes.
                         He spots the teller with a habit of 
                         smoking on the job.
                         The teller, from Dickson's angle, holds 
                         up his empty hands. No cigarettes. Then, 
                         he opens his mouth and chews elaborately, 
                         showing that he has switched to gum.
                         Hellos and Good Mornings greet Dickson 
                         as he continues on his way. He passes 
                         the janitor in a new uniform, and stops 
                         Well, well, well - got your uniform, 
                         Yes, sir.
                         ? 200 ?
                         Looks good. How much did it cost?
                         I don't know. Mr. Sampson bought it 
                         for me.
                         Dickson opens his jacket, affects an 
                         unenthusiastic perusal of his own well-worn 
                         suit of clothing.
                         Oh-oh. I guess I'll have to see Sampson 
                         CAMERA FOLLOWS HIM as he approaches 
                         Helen's desk outside his own private 
                         office. Helen looks up.
                         Good morning, Helen.
                         Good morning.
                         Say, I know what's the matter with you. 
                         Matt, hearing his name, dashes up to 
                         stand next to Dickson.
                         288. MED. CLOSE SHOT
                         I want you both to take the day off. 
                         Go downtown and get a license and get 
                         married right away!
                         But I haven't . . .
                         I don't want to hear any more about 
                         it. If you don't get married, I'll fire 
                         both of you.
                         By now they are beaming. Dickson starts 
                         off, then has a second thought.
                         Helen, while you're downtown, you might 
                         stop in and make reservations for the 
                         bridal suite on the Berengaria[9] sailing 
                         next week.
                         Gee, thanks, Mr. Dickson—
                         (cutting him off)
                         Oh, no! It's not for you. You're only 
                         going to get married. Mrs. Dickson and 
                         I are going to go on the honeymoon.
                         With just the barest suggestion of a 
                         wink, he exits.
                         ? 201 ?
                         Matt looks at Helen:
                         Come, on slave.
                         They exit arm in arm.
                         FADE OUT.

American Madness

Writers :   Robert Riskin
Genres :   Drama

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