1

# "THE PHILADELPHIA STORY"

1 After the M-G-M Trademark, but with no title announcement,

WE FADE IN ON:
AN AEROPLANE SHOT

taken from plane as it flies over three or four large estates outside Philadelphia. We see the main buildings, the stables, the greenhouses, and so forth.

We also pass over the Merior or some other Cricket Club where a cricket game or a horse show is in progress.

These shots should always be from a sufficient distance to give the feeling of exclusiveness and inaccessibility to the candid camera.

Voice (on s.t. -- an "American" voice, preferably middle-western)

Outside of Philadelphia which - you will remember - is on the Eastern Coast of the United States, lies a district as unknown and inaccessible to the average American as though it were a strange kingdom at the bottom of the sea. Within this district, known as the "Main Line", lives that ultra-exclusive world - Philadelphia society.

DISSOLVE TO:

## 2-10 SERIES OF DISSOLVES OF MOVING SHOTS

taken from automobile as it approaches various forbidding gates, all of which are closed. THE CAMERA seems to hesitate momentarily at each gate as though waiting for it to open, then passes on to the next.

Announcer's Voice (on s.t.)

These gates seem to be closed to us. Hidden away on their large estates, and carefully protected from the rude lens of the candid camera, or the vulgar questions of the inquiring reporter, the people behind these gates try to live that rarest of American phenomena -- "private lives".

DISSOLVE TO:

2

11 MOVING SHOT (FROM AUTOMOBILE) ON ROAD

leading up to large stone gate, beside which
is a small, unostentatious sign reading:

"Seth Lord"

THE CAMERA COMES TO A STOP AND CONCENTRATES
ON THE GATE

Announcer's Voice

Well, this gate seems to be closed too. But if it
could open -- if we could take a closer look --
what would we see?

As he speaks, the title:

"THE PHILADELPHIA STORY"

appears across the bars of the gate. This
is followed by the various credit titles and
as the last of these fades out,

12 THE GATE

swings open to admit the entrance of a lim-
ousine.

13 PANORAMIC SHOT OF ESTATE

as car nears stables. In the far distance,
on the top of a hill, is the main house,
built about nineteen ten. The stables are
in the middle foreground.

DISSOLVE TO:

14 EXT. STABLE YARD

as the limousine drives up and stops.

15 CLOSE SHOT - LIMOUSINE

In the back seat sits George Kittredge in new,
spotlessly clean riding clothes. He is looking
at the pictures in Spy magazine. Piled up
on the front seat beside John, the chauffeur,
are several packages from the express company.

CONTINUED:

Philadelphia 15
Story Change
Stewart 7-3-40

CONTINUED (2)

John gets out to open the door for George.
George beats him to it.

Stewart

3

George
Thank you, Robert.

John
Excuse me, Mr. Kittredge. I'm John.

George (patting John apologetically on the shoulder)
I apologize, John!

John
If I were being married Saturday, sir, I shouldn't
remember anybody's name.

George
(with a smile and another pat)
That's no excuse, though. You don't forget my
name -- I have no right to forget yours.
(he reaches in the car and takes out the
copy of Spy. John starts back toward
his seat)

And say, John--
(John stops)
--tell Miss Tracy to stop on it, will you?
(he laughs)
Not in those words, of course.

Yes, sir.

The limousine drives off.

DISSOLVE TO:

16

16-X1

OUT
EXT. MAIN HOUSE - SIDE ENTRANCE

The limousine has stopped in front of the gate.
Edward, the butler, is unloading the packages.
John gets out of the driver's seat and helps
him.

John
Bridegroom number two is waiting at the stables.

They start toward the sunroom door, THE
CAMERA TRUCKING WITH THEM.

Edward
(a bit snooty)
That is an extremely vulgar way of referring to
Mr. Kittredge and objectionable to Miss Tracy,
the family -- and me.

As they come to the sunroom door, they discover
Dinah, in riding clothes, seated on the steps,
playing with a yoyo.

CONTINUED:

Philadelphia
Story
Change
Stewart
7-3-40

16-X1

CONTINUED (2)

Dinah (surveying the presents)
Jeepers. Sister's getting more loot for
this wedding than the other one!

She gets up and follows them.

CUT TO:

16-X2

SUN ROOM

THE CAMERA TRUCKING WITH THEM as they go through,
Dinah still following.

Edward (a-la Emily Post)
Her first wedding was an elopement, Miss Diana;
gifts were not expected.

Dinah
Then I'll never elope.

CUT TO:

16-X3

LOGGIA

as they enter, THE CAMERA STILL TRUCKING
WITH THEM. Thomas, another butler, who
has been standing guard over the presents,
takes one or two of the boxes from Edward
and John.

Dinah (peeking at the boxes)
More candlesticks and nut dishes, I bet. People
must think she's going to just sit in the dark and
eat nuts!

She plays with the yoyo dangerously near the
wedding presents, and then changes the cards
on three or four of them.

Edward (bothered by this)
Miss Diana, Mr. Kittredge is waiting at the stable
for you and Miss Tracy -

Dinah (yelling)
Tracy:

Edward shudders. Dinah goes to the porch
door.

Dinah

Tracy:

She walks along the loggia toward the hall.

CUT TO:

5

Philadelphia 16-X4
Story Change
Stewart 7-3-40

INT. HALL

Dinah

Tracy!!

Still no answer. She moves over toward the parlor.

CUT TO:

16-X5

INT. PARLOR

Dinah

Tracy!!

Still there is no answer. She moves up to the door into the sitting room and pushes it open.

17-20

OUT

20-X1

INT. SITTING ROOM

22-X1

as Dinah enters.

Dinah (a very loud yell)

Tra---aaa---acy!

THE CAMERA PANS from Dinah to show Tracy, who is lying on the lounge engaged in writing thank-you notes on a leather portfolio.

Tracy (quietly, after a moment)
How do you spell omelet?

Dinah turns, furious.

Dinah

Oh you! I've been yelling my head off!

Margaret enters from front hall with a list of wedding guests.

Margaret

(to Tracy, indicating the list)

Ninety-four for the ceremony, five-hundred and six for the reception. I don't know where we'll put them all, if it should rain.

Dinah

It won't rain.

Tracy won't stand for it.

Tracy (throwing Dinah a look)

Mother, how do you spell omelet?

Margaret

O-m-m-e-l-e-t.

Tracy

I thought there was another "L".

CONTINUED:

6

Phila-

delphia

20-X1

Story

22-X1

Change

Stewart

7-3-40

CONTINUED (2)

Dinah (going toward the door into the loggia)

That's a funny wedding present - an omelet.

Margaret (sweetly to Dinah)

It was a dish, dear -- a silver dish.

Dinah exits onto the loggia. Margaret and Tracy follow.

CUT TO:

22-X2

LOGGIA

as Margaret and Tracy enter. Dinah is examining one of the presents - a rather horrible porcelain vase.

Dinah

This stinks.

Margaret

Don't say stinks, darling. If absolutely necessary "smells", but only if absolutely necessary.

Tracy (examining the presents)

These cards have been changed again.

Dinah (innocently)

There must be a ghost loose in the house - maybe the ghost of bridegroom number one.

Margaret

Don't talk about Dexter as though he were dead!

Dinah

He might as well be, for all Tracy cares.

Tracy

(emphatically)

Right!

Margaret

Oh, I wouldn't say that, dear.

Tracy

Mother, if I never see Mr. C.K. Dexter-Haven again --

(she picks up a particularly awful-looking lamp)

Isn't this awful!

Margaret

(looking at the card)

They're friends of your father's.

CONTINUED:

Phila-

Delphia

Story

Change

Stewart

7-3-40

22-X2

CONTINUED (2)

Tracy

Wouldn't you know? What are they - tap dancers or just musical comedy producers?

Margaret

That's hardly fair to your father's interest in the Arts.

Tracy

(contemptuously)

The arts! Art of putting up hundreds of thousands of dollars to display the shapely legs of --

Margaret

(glancing at Dinah)

That will do, Tracy!

Tracy

Oh, I give up! If you'd just face facts squarely as I did --

Margaret

We both might face the fact that neither of us has proved to be a very great success as a wife.

Tracy

We just picked the wrong first husbands, that's all.

Margaret

Let's not argue about it. You wanted me to take a stand and I've taken it.

CONTINUED:

22-X2

9

CONTINUED (4)

Margaret
(shuddering)
Don't put the idea in her head.

Tracy
(looking at her wrist-watch)
George isn't usually late.

Dinah (nonchalantly)
Oh, that's right. He's waiting for us at the stables.

Tracy (furiously)
Waiting for us!
(to Margaret)
Mother, really, if I don't choke her before Saturday --

Dinah
That would postpone the wedding, wouldn't it?

Tracy (to Dinah)
It would not: You be in the car when I come down.

Tracy rushes away.

Dinah
She's so mean about Dexter.

Margaret
He was rather mean to her, my dear.

Dinah
Did he really sock her?

Margaret
Please, Dinah.

Dinah
But did he really? The papers were full of innundo.

Margaret
Of what?

Dinah
Of innundo. Cruelty and drunkenness it said.

Margaret (busying herself with the wedding list)
Darling, you go out and wait in the car.

Dinah
Mother, why won't Tracy ask her own father to the wedding?

CONTINUED:

11

23-X2

LIMOUSINE

Dinah (in a whisper to Tracy)
Uncle Willie's asleep.

Tracy smiles, puts her fingers to her lips
and takes from the limousine a small flask
of perfume. She removes the stopper, sniffs,
makes a face. Dinah leans over and sniffs.

Dinah (appreciatively)
Mmmmm--Pash!

Tracy pours some of the perfume into her handkerchief, puts the flask back and gets out of the car. As they start on tiptoe to Uncle Willie,

23-X3

UNCLE WILLIE ON BENCH

as Tracy and Dinah come up to him. Tracy
waves the perfumed handkerchief under Uncle
Willie's nose, and the expression on his face
changes to an ecstatic smile. Dinah turns
her back to him in order to lean over and
look at the magazine. Uncle Willie's eyes
slowly open, then close again. He reaches
out, and gives Dinah a pinch.

Dinah (yelling and jumping)
Ouch!

Uncle Willie
Never play with fire, child.

Dinah
You're really a wicked old man, aren't you, Uncle
Willie?

She points to the picture in Spy. He winks,
closes the magazine and makes as though to
pinch her again. She jumps away.

Tracy (picking up the magazine)
Who takes this filthy thing -- your cook?

Dinah
I love it. It's got pictures of everything.

Tracy (emphatically)
It certainly has.
(she looks toward the stable door,
and her face lights up)
Who is that terribly attractive man?

24

OUT

12

24-X1

EXIT TO STABLEYARD FROM STABLES

George, followed by two grooms leading four
horses, saddled. He sees Tracy, smiles and
waves.

24-X2

TRACY, UNCLE WILLIE AND DINAH

Tracy (softly)
Can Tracy pick them, or can't she?

Dinah
If you're asking me --

Tracy (quickly)
I'm not.

She walks off to meet George. As they meet,
he poses for a moment, to show off his new
clothes.

George
How do you like me, darling?

Tracy
George, I love you, but you look awful!

George (disappointed)
Awful?

Tracy (dropping Spy on the ground
as she bends over to pick up some dirt)
You look like something right out of a store win-
dow --

(she rubs the dirt with both hands over
George's immaculate riding trousers)

George (shocked)
Hey! They're new!

Tracy
Yes, darling, that's just it. They're new.
(she spits on her hands)

But they're not going to be.
(she again rubs her hands on the
trousers and stands back to survey her
handiwork)

Now, that's more like it.

The grooms have brought the horses up. Dinah
and Uncle Willie mount theirs.

CONTINUED:

24-X2

CONTINUED (2)

13

### George

I don't get it. When I was a coal miner, the idea was to get enough dough so you could buy clean clothes, and now that I'm general manager -- (he surveys his dirty trousers, and then bends over to pick up the copy of Spy. He speaks in a disappointed tone) Not a thing in here about the wedding.

Tracy has been about to mount her horse, but with one foot in the stirrups, she stops.

### Tracy

What do you mean?

### George

Oh, I thought maybe -- you being practically the oldest family in Philadelphia -- and me getting fairly important myself -- luck of course, but -- (he notices that she is staring at him) What's the matter?

Tracy (taking the magazine, pointing to a page of pictures and reading:) "An average day in the life of a congressman -- (she points to a picture)

The Congressman's wife -- the kitchon who is prepared one banana, sliced, two fried eggs -- the congressman kisses his wife good morning --" (she throws the magazine on the ground)

### George

Lots of people like publicity.

### Tracy

George Kittredge, you get on that horse! Of all the filthy ideas - having someone come into a private home with a camera -- ugh!

She mounts her horse. The groom brings up George's horse.

### George

What would happen if I got it into my head some day to go into politics?

### Tracy

You'd be elected president.

### George (smiling modestly)

Oh, I don't know. But I mean -- about publicity.

### Tracy

Not in my home.

### George

You mean _our_ home, don't you?

Tracy (with a smile that asks forgiveness)

Sorry dear -- I mean very much _our_ home.

CONTINUED:

24-X2

14

CONTINUED (3)

George (to groom, who is holding the stirrup for him)

I'll get up myself, Eddie.

The groom tips his hat and moves away. George pats the horse on the flank.

George
Steady, Bossie, old girl.

He makes one or two unsuccessful and awkward attempts to mount.

Dinah
Grab the bridle, George.

(George gives her an annoyed look which has no effect upon her)

With the left hand.

(George again attempts to mount and the horse moves away. Dinah gives Uncle Willie a look of disgust)

Put salt on his tail.

Tracy
Shut up, Dinah.

George looks at Dinah, and then forces a laugh.

George
Not a bad idea.
(once more he pats the horse)
Come on now, Bossie, old girl.

George clutches the bridle and swings himself up. There is a moment of suspense as to whether he will or will not succeed, but he finally does. Tracy breathes a sigh of relief.

Uncle Willie (quietly)
Hi, ho, Silver.
George's horse turns around to look at him.

George (patting the horse on the neck)
What's that matter, Bossie, old girl? You look worried.

Dinah
Maybe it's because his name is Jack!

Tracy
Come on, let's go.

As she starts forward on her horse, she rides directly over the copy of Spy magazine, and as her horse's hooves press it into the ground, WE PAN THE CAMERA DOWN to the magazine cover, and

DISSOLVE TO:

Philadelphia Story
Chgs. 27
7-5-40

16

## INT. THIRD DOOR - CLOSE SHOT

An extremely impressive door, possibly with carvings. On it appears, in quite small and unimpressive letters, the name:

"Mr. Kidd"

The CAMERA PULLS BACK to a MEDIUM SHOT as Mike and Liz enter the scene. Mike gestures as though he were making a speech, ending by pounding the palm of his left hand with his right fist as his lips move.

Liz (glancing at him)

Just that!

Mike knocks on the door.

Kidd's Voice (inside)

Come in.

As Mike starts to open the door, Liz reaches up and takes off his hat. They enter.

28

## INT. SIDNEY KIDD'S OFFICE

Sidney Kidd, a small, quiet man with very bright eyes and a firm jaw, is seated at his desk. He is turning over the pages of a layout of Spy Magazine and does not look up as Mike and Liz come up to the desk.

Mike

I don't think you're fair to me, Mr. Kidd.

Kidd (without looking up)

No?

Mike

No! You're treating me like you do all your other writers.

Kidd looks up and smiles a rather cold smile.

Kidd

You really hate me, don't you, Connor?

Mike

No.

(ruggedly)

I don't like you, though.

Kidd (to Liz)

You hate me, I trust, Miss Imbrie?

CONTINUED:

28

CONTINUED (2)

17

Liz

I can't afford to hate anybody. I'm only a photographer.

The dictograph on Kidd's desk buzzes.

Kidd (into dictograph)

Well?... He did? He agreed? Any trouble?

(he smiles)

Send him in.

(he shuts off the dictograph)

(to Mike and Liz)

Your assignment will be Spy's most sensational achievement. Tracy Lord. Big game hunting in Africa - fox hunting in Pennsylvania - married on impulse and divorced in a rage - and always unapproachable by the Press. The unapproachable Miss Lord....

(he leans back in his chair and closes his eyes as he begins to compose captions for the pictures)

"The Philadelphia Story -- closed were the portals of snobbish fox-hunting--" No, wait -- "No hunter of foxes is Spy Magazine. Nevertheless, presented for the first time -- quote -- a wedding day inside "Main Line" Society -- "

Mike (angrily)

-- or what the kitchen maid saw through the key-hole -- unquote.

Kidd

Go ahead, Connor. Writing is your job. I'm only the publisher.

Mike

All right, publisher--take this:-- Quote -- no hunter of buckshot in the rear is cagey, crafty Connor -- unquote -- close paragraph.

Liz

Close job. Close bank account. But look, Mr. Kidd, how could we possibly get inside the Lord estate, let alone the house?

Mike

Liz, we won't do it! It's degrading, demeaning, and undignified!

Liz

So is an empty stomach.

(to Kidd)

How do we get in?

There is a knock at the door.

Kidd (smiling at Liz)

Come in.

Phila-
delphia

Story
Change

7/5/40

30

CONTINUED (2)

19

Dexter

That's right. How do you know about it?

Liz

I was the one photographer whose camera you didn't smash. You were terribly nice about it. You threw it in the ocean.

Mike

(somewhat belligerently to Dexter)

Oh -- one of those.

Dexter stares at Mike's necktie until Mike becomes somewhat conscious of it and puts his hand to the tie.

Dexter

Yeah. I rather thought our honeymoon was our own business.

Liz

Incidentally, he paid for all the cameras. I got a sweet letter of apology, too.

Mike (with a sneer)

Always the gentleman.

Dexter (with a tight smile)

I wouldn't count on that.

Kidd

Now, what are the plans? The wedding is Saturday. This is Thursday. They should spend tomorrow night as guests of the Lords.

Mike

(contemplating Dexter thoughtfully)

Something's screwy here. If you've resigned -- why are you doing this -- unless -- oh.

(his face lights up)

Oh! I get it -- you want to get even with your ex-bride!

Dexter (to Mike)

As one gentleman to another, that may be just what I'm up to.

(to Kidd)

I'll have a car meet them in North Philadelphia at noon tomorrow.

Quietly and calmly he picks up his hat and leaves the office.

Liz (offering Mike her handkerchief)

Here, Mike. There's a little spit in your eye. It shows.

DISSOLVE TO:

Phila-
delphia
Story
Change

7/5/40

31

31-X1

OUT

EXT. LORD ESTATE - NEWCOMER - DAY

Dexter's roadster, with Mike and Liz beside
him, is driving up toward the main entrance.

WIPE TO:

32

EXT. FRONT ENTRANCE - LORD HOME

as Dexter's roadster drives up. Dexter,
Mike, and Liz descend.

Mike
(looking around at the splendor of the
dwelling)
"Be it ever so humble" --

Dexter rings the doorbell.

Mike (to Dexter)
Maybe they'd rather we went in the servant's
entrance.

Dexter
I should have thought of that.
(he rings the doorbell)

Liz (to Mike)
Fix your tie. Really, Mike.

She scrapes a couple of spots off his coat.
Dexter gives Mike's coat a little tug in order
to make it fit better.

The door is opened to disclose Edward.

Dexter
Good morning, Edward.

Edward (very surprised)
Why, Mr. Haven!

Dexter
Just got back. Is Mrs. Haven -- I mean, Miss
Tracy -- in? Or her mother?

Edward
They may be at the swimming pool. Shall I announce
you?

Dexter
No. I'll go around myself and surprise them.

Edward
It will indeed be a surprise.

CONTINUED:

32

CONTINUED (2)

Edward hears a click and looks around to see that Liz has taken a photograph of him.

Dexter

Edward, these are friends of Mr. Junius. They might wait in the south parlor.

Edward (regarding Liz's camera sourly)

Certainly, Mr. Haven.

Liz (as Dexter starts away)

Just give us a fifty yard start.

Dexter smiles at her and exits. Liz once more straightens Mike's tie and tries again to take spots off his suit. As he glowers at her, they enter.

33

INT. ENTRANCE HALL

as they follow Edward. Their manner is definitely that of tourists going through a museum. Edward opens the door to the parlor, as they approach it.

Mike

The south parlor, I presume?

Edward bows with dignity. Mike bows to Liz.

Mike

Miss Imbrie, the South parlor.

(Liz enters; to Edward.)

The queen will have bread and honey at the usual time.

As Edward glares at him, there is the sound of a click and he turns. Liz has just snapped another photograph. Edward shudders, closes the door, and exits.

34

OUT

34-X1

INT. PARLOR

Mike and Liz move past the piano toward the door into the sitting room. The parlor is an extremely formal, stiff room. Liz snaps one or two photographs as Mike surveys the room.

CONTINUED:

21

34-X4

23

SITTING ROOM (AS MIKE ENTERS)

Liz is clicking a photograph. Mike closes the door behind him.

Mike

Say, what's this guy Haven up to?

Liz.

C.K. Dexter Haven?

Mike

Yeah. What kind of a name is that in the first
place - C.K. Dexter Haven?

Liz

Macaulay Connor is not such a homespun tag, my pet.

Mike

Just try calling me Macaulay.

Liz

I knew a plain Joe Smith once. He was only a clerk
in a hardware store, but he was an absolute rat!

Miko

C.K. Dexter Haven plays polo and designs sail boats --
"class" boats, they call them. Very upper class,
of course.

Liz

Don't despair. He's out, and Kittredge, man of the
people, is in.

Mike

From all reports, quite a comer, too. Political
timber. Poor fellow, I wonder how he fell for it.

In his meanderings, he comes upon a very
elaborate house telephone, full of buttons
and gadgets.

Mike

Look, Liz -- what'd I tell you?

(he starts to read off the buttons)
"South Parlør," "Sitting Room," "Torrace," "Pool,"
"Stables,"...

Liz

Probably so they can talk to the horses without
having them in the house.

(she sees what Mike is doing and calls)
Don't, Mike!

She is too late. Mike has pushed one of the
buttons at random and stands, receiver at
car, waiting for the worst.

Philadelphia
Story Chg.
7/5/40

35
35-X1

OUT
INT. SUN ROOM

The doors to the terrace are open. Tracy and Margaret have been opening wedding presents and listing them! The house telephone rings. Margaret picks it up.

Yes?

Margaret

Mike's Voice
This is the bridal suite. Send up two caviar sandwiches and a bottle of beer!

Margaret
What? Who is this?

Mike's Voice
This is the voice of Doom. Your days are numbered. To the Seventh Son of the Seventh Son -

There is a click. Margaret rattles the plunger.

Hello! Hello!

Margaret

Tracy (absently)
What's the matter?

Margaret (worried)
One of the servants has been at the sherry again. I'd better go see.

She rises and as she does so, hears a sound that electrifies her. It is Dexter's whistle, and it has the effect of bringing Tracy to her feet instantly, too.

Dinah's Voice (from the terrace)
Dexter! Dexter! You've come back!

Dexter's Voice
Dinah, my dream girl!

Tracy and Margaret stare at each other in horror.

Tracy
What in the name of seventeen devils --?

Margaret
But it can't be! He went to South America for two years!

Dexter's Voice
Edward said they were at the swimming pool...

CONTINUED:

Philadelphia
Story
Chg.

7/5/40

35-X1

CONTINUED (2-3)

25

Dexter and Dinah appear at the door.

Dexter (smiling)
...but they seem to be here.

Margaret (horrified)
Dexter, don't you know tomorrow's the wedding?

Dexter
That's right...so it is.

Tracy
(brandishing a pair of scissors)
You go right back where you came from!

Dexter
I can't. Dinah says it's too awful here without me.
(he takes Margaret by the shoulder and
kisses her cheeks)
Hello, you sweet thing.
(he gazes at Tracy admiringly)
Redhead, don't you look in the pink! You don't
think I'd miss the wedding, do you?

Margaret (shocked)
Dexter, you wouldn't --

Tracy
I'm not so sure he wouldn't!

Dexter (with a reassuring smile)
No, Mother Lord, I wouldn't. There I go, still
calling you Mother Lord!

Margaret (pleased)
When did you arrive? Tell us all about Junius.

Dinah
Stay to lunch.

Tracy
Sure -- don't bother to open your house. Stay
here. We're having no house guests over the wedding.

Dexter (smiling mysteriously)
No?
(after a moment)
How about the groom?

Dinah
He's staying at the gate house.

Dexter (to Margaret)
Junius is fine.

Margaret
Oh, he should be here.

CONTINUED:

35-X1

CONTINUED (4)

26

**Dexter**

He's heartbroken. I suggested representing him
as best man, but --

**Tracy**

I'm afraid George would prefer to have his best
man sober.

**Dinah**

I wish you'd represent George.

**Dexter**

That's my loyal little girl. But you'll like the
people Junius did send, I'm sure.

**Tracy**

You haven't switched from liquor to dope, by any
chance, Dexter?

**Margaret**

The - people Junius sent - did you say?

**Dexter**

You don't happen to know a Macaulay Connor, do you?
Or Elizabeth Imbrie?

Tracy (starting to leave, and
indicating the wedding presents)

We can finish these later, mother.

Dexter (as she starts through
the door)

I'd better come along and introduce you.

Tracy (not comprehending at first)

Call me for --
(to Dexter)

Introduce me to whom?

**Dexter**

To Miss Imbrie and Mr. Connor. Then you can tell
them what rooms they're to have. And Mr. Connor
wants to know whether to wear a black or white
tie for the party tonight.

**Margaret**

Rooms?

**Dexter**

Yes. Maybe I'd better start at the beginning.
They're great friends of Junius.

**Margaret**

And they expect to stay here over the wedding? I
think that's very queer.

CONTINUED:

Philadelphi
Story
Change
7-5-40
35-X1

CONTINUED (5)

27

Tracy

I think it's queerer than that -- I think it's
paranoic!

Dexter

Well, it was Junius' idea. They've been terri-
bly nice to him and they were going to be in
Philadelphia just now, so Junius thought -

Tracy

Dexter Haven, you're lying! I can always tell.

Dexter (with a bland smile)

Can you, Red?

Margaret

Dear, if they're Junius' friends -

Tracy (to Dexter)

You went to work after the divorce, didn't you?

Dexter

Well, there was a brief interlude in a couple of
alcoholic sanitariums.

Tracy

But you took a job in South America after that?
Who for?

Dexter

A magazine.

Tracy (her eyes lighting up)

Ah! It wasn't by any chance Spy magazine?

Dexter

You're just a mass of intuition.

Tracy (triumphantly)

And I don't suppose Junius' friends are photo-
graphers by any chance?

(she turns on Dexter furiously)

Oh, I thought you were low, but I never thought--

(she starts to pick up the telephone)

Margaret

What are you going to do?

Tracy

After I've telephoned Junius, I'm going to do
plenty!

Dexter (putting his hand down
on the telephone)

Wait, Tracy. You don't have to call Junius.
I confess.

CONTINUED:

35-X1

CONTINUED (6)

Tracy gives him a furious look.

Dexter (calmly, with a smile)
You're slipping, Red. I used to be afraid of that
look -- the withering glance of the goddess.

Tracy
I didn't think that alcohol would destroy your
last shred of decency so soon.

She exits from the room and Dexter goes after
her. Dinah starts in the same direction.

Margaret
Dinah!
(Dinah stops)
Stay here.

Dinah (eagerly)
Oh please, Mother! Maybe he's going to sock her!

Margaret
Don't say "sock", darling. Strike is quite an
ugly enough word.

36

OUT

36-X1

LOGGIA

Dexter catches up with Tracy who is on her
way to the distant closed door to the sitting
room.

Tracy
Who do they think they are, barging in on peaceful
people?

Dexter (putting his finger to his
lips with a smile)
Shh! They'll think you don't want them.

Tracy
I want them out! And you too!

Dexter (taking some magazine proof
sheets from his inner pocket)
Yes, your majesty. But first could I interest
you in some small blackmail --
(holding out the proof sheets to her)

Tracy
No, you... what?

CONTINUED:

36-XI

CONTINUED (2)

29

Dexter (lowering his voice)
An article complete with snapshots, details and insinuations - ready for publication in Spy - about your father and that dancer in New York -

Tracy
Father - and Tina Mara!

Dexter (pointing toward the sunroom)
Shh! Dinah!

Tracy (grabbing the proof sheets and looking at them with mounting horror)
But they can't - they can't - even if it's true!
Where did you get these?

Dexter
From Sidney Kidd. Editor and publisher.

Tracy (in despair)
But he's got to be stopped!

Dexter
He is stopped--temporarily...
(he points toward the sitting room)
...if you allow those two to turn in a story of your wedding. And when Kidd says a story, he means a *story*...

Tracy
I'm going to be sick.

Dexter
Yes, dear - "an intimate day with a society bride."

Tracy
I *am* sick.

Dexter
(not particularly sympathetically)
It's tough, but that's the way it seems to be -

Tracy
And I'm to be examined, undressed, and generally humiliated at fifteen cents a copy - and you're loving it!

Dexter (quietly)
Am I, Red?

She hands him the proof sheets and turns back to the sunroom.

37

OUT

37-X1

30

SUN ROOM

as Tracy enters, followed by Dexter.

Tracy
Well, Mother, we're hooked!

Dinah (excitedly)
Are they really reporters?

Margaret
Not even friends of Junius?

Tracy
They aren't anybody's friends. But we're to pretend they are.

Margaret
(looking from Dexter to Tracy)
But why?

Tracy
Don't ask me. There's a good reason, and it's my wedding, so please.

Dinah
I'll bet it's on account of father and that dancer in New York.

Margaret and Tracy look at her in astonishment.

Margaret
Dinah, what do you know?

Dinah
Oh, I listen around.

Margaret
Oh dear - is there no such thing as privacy any more?

Tracy
Only in bed - and not always there!

(with increasing anger)

In our home -- watching every little mannerism, jolting down notes on how we sit and stand and eat and move --

Dinah
Will they do that?

Tracy
And all in that horrible, snide, corkscrew English! Well, if we have to submit to it to save father's face, which, incidentally doesn't deserve it, I'm for giving them a picture that will stand their hair on end!

CONTINUED:

Philadelphia
Story
Change
7-5-40

37-X1

CONTINUED (2)

31

Margaret

No, Tracy. We must just be ourselves - very much
ourselves.

Dinah

But you want us to create a good impression, don't
you?

Margaret

They don't know that we know what they're really
here for, I hope?

Dexter

No -- that was understood. The girl's rather
nice. He writes short stories. Very down to
earth.

Tracy

They'd love us...

Margaret

Oh, dear.

(she looks at the girls' clothes)

You had both better change.

(she notices that Tracy and Dinah are
looking at each other in a manner
which promises some sort of deviltry)

And please - both of you - promise to behave like
ladies in front of these creatures.

Tracy

We'll do our best, Mrs. Lord. I don't know how
good that will be.

Tracy and Dinah exit.

Margaret

Dexter - how perfectly dreadful! And what will
they say about Seth not being here for his own
daughter's wedding?

(she waves despairingly in the direct-
ion of the sitting room)

Go in and tell them how terribly, terribly happy
we are to have them.

Dexter

That's the old Quaker spirit, Mother Lord. Keep
swinging.

He exits.

DISSOLVE TO:

38

CUT

32

38-X1

INTERIOR SITTING ROOM

as Dexter quietly enters from loggia. Both
Mike and Liz have their backs to him and do
not hear him enter. Mike has picked up a
silver cup from the mantelpiece and is reading
the inscription on it. Liz is leafing through
a magazine. Dexter clears his throat and Mike
quickly puts the cup back in its place as
though he had been caught stealing. Then he
turns around to face Dexter.

Mike

Oh, I thought it was that butler.

Dexter

The family will be down to welcome you in a moment.

Mike (suspiciously)

What with?

Dexter

Open arms. They're terribly, terribly happy to have
any friends of Junius.

Liz

They don't know about us, do they?

Dexter

Not a thing.

Mike

Why should they?

(he takes out some cards)

Say, Haven -- the research department didn't give
us much data.

(he looks at a card)

This girl's fiancée -- George Kittredge -- age
thirty-two -- know him well?

Dexter

Well enough.

Mike (reading)

General manager, Quaker State Coal. Controlling
interest in company owned by Seth Lord. That's her
father.

Liz

What a coincidence!

Mike

How did he meet her?

Dexter

Heaven brought them together, I imagine.

CONTINUED:

Philadelphia
Story
Chg.
7-5-40

41

REVERSE ANGLE

Dinah finishes the song as Tracy enters the scene. She has changed into a rather demure dress, high in the neck and ample of skirt.

Tracy (without noticing Mike and Liz, and speaking in French)
Ah, my little sister -- how charmingly you play the piano!

Dinah
(in French)
You think?

Tracy
(in French)
But certainly.

She looks at Dinah's face closely.

Tracy
(in French)
But what is this? Alas, you appear pale. Show me your tongue.

Dinah sticks out her tongue obediently.

Tracy
(in French)
Oh, I do hope that it is not the "smallpox". (the word "smallpox" should always be spoken in English)

Dinah (in French)
The "smallpox"?

Tracy
(in French)
But yes. Let me see your chest.

Dinah obediently opens the front of her dress. Tracy looks carefully.

Dinah
(in French)
Is it the "smallpox"?

Tracy pats Dinah tenderly on the head.

Tracy
(in French)
Perhaps not. Go tell Mother to hurry.

CONTINUED:

36

Philadelphia
Story
Chgs.
7-5-40

41

CONTINUED (2)

As Dinah exits Tracy looks after her for a moment and then turns toward the sitting room, and discovers Mike and Liz standing in the doorway with puzzled expressions on their faces. Tracy, cool, collected and charming, all sweetness and light, starts toward them.

Tracy
Oh, how do you do?

41-X1

SITTING ROOM

as Tracy enters.

Tracy
I'm Tracy Lord. It's so nice having you here.

She shakes hands with Liz and Mike.

Tracy
How did you leave Julius?

Mike
We left Julius fine.
(he indicates the direction in which
Dinah has exited)
And your little sister?

Tracy
Isn't she a dear, and so talented.
(to Liz)
Julius is such a lamb, isn't he?

Liz
Isn't he?

Tracy
It's a pity that none of the male members of our
family can be here to greet you.

Mike (quickly)
Where is your father?

Tracy (with a smile that discourages
- further questioning)
Darling papa! I do hope that you will stay for
my wedding.

Liz
We would like to very much.

Mike
In fact, that was our idea.

CONTINUED:

41-X1

37

CONTINUED (2)

Tracy
I'm so pleased that it occurred to you. The house
is in rather a mess, of course.

Mike takes out a pack of cigarettes.

Tracy
We'll all have to huddle here and overflow onto
the porch.

Tracy passes a cigarette box. Both take
cigarettes. Mike strikes a match.

Mike
Is your father sick?

Tracy (noticing Liz's camera and
holding lighter toward Mike as she talks
to Liz)
What a cunning little camera.

Mike promptly bends forward to accept the
light. He then blows the match out and she
very graciously smiles at him.

Liz (lighting her cigarette from
Tracy's lighter)
I'm afraid I'm rather a nuisance with it.

Tracy
You couldn't be. I hope you'll take loads. Dear
Papa and Mama aren't allowing any reporters in -
that is, except for little Mr. Grace, who does
the social news.

(to Mike)
Can you imagine a grownup man having to sink so
low?

Mike
It does seem pretty bad.

Tracy
You're a sort of writer, aren't you, Mr. Connor?

Mike
Sort of.

Tracy
A book?
(Mike nods)
Under what name do you publish?

Mike
My own, Macaulay Connor.

Tracy
What's the Macaulay for?

CONTINUED:

Philadelphia
Story
Chg.

7/5/40

41-X1

CONTINUED (3)

38

Mike

My father taught English history. I'm "Mike" to my
friends.

Tracy

Of whom you have many, I am sure. English History
has always fascinated me. Cromwell -- Robin Hood --
Jack The Ripper -- where did he teach? I mean your
father?

Mike

In the high-school in South Bend, Indiana.

Tracy

South Bend! It sounds like dancing, doesn't it?
You must have had a most happy childhood there.

Mike

It was terrific.

Tracy

I'm so glad.

Mike

I didn't mean it that way.

Tracy

I'm so sorry. Why?

Mike

Lack of wherewithall I guess.

Tracy

But that doesn't always cause unhappiness does it?
Not if you are the right kind of man. George
Kittredge, my fiancée, never had anything either,
but he - are either of you married?

Mike

No.

Liz

Why - er - er - that is, no.

Tracy

You mean *you* were, but now you're divorced?

Liz (embarrassed)

Well - the fact is -

Tracy

Come now, Miss Imbrie, surely you're not ashamed
of it!

Liz

Of course I'm not ashamed of it.

Mike

Wha--at?

Liz

It was ages ago when I was a mere kid -- in Duluth.

Mike

Good heavens, Liz! You never told me that you were -

CONT'D.

41-X2

42

CONTINUED (2)

another cigarette in his mouth and is looking
around for a match. He picks up a little
silver match box on the table of wedding
presents. He discovers that it contains no
matches, but at that moment Edward gives him
a light from a lighter which has been on a
nearby table.

Mike (startled)

Oh, thank you.

As he lights his cigarette, he unconsciously
puts the silver match box into his coat pocket.
Both Tracy and Edward watch him do this.
Then Tracy takes a card from the table of
wedding presents and hands it to Mike.

Tracy

This card goes with the match box, Mr. Connor.

Mike

What?

Tracy tucks the card into the pocket where he
has put the match box, and as he sticks his
hand in after it, he brings out the match box.

Mike (glancing at Edward,
then at Tracy)

I don't know how --
(he puts the match box back on the table)

Tracy (sweetly)

I have some lovely presents, don't you think?

She picks up the lamp which she had previously
designated as "awful".

Tracy

This is my favorite. Isn't it perfect?

There is the sound of a click and Tracy
looks around to see that Liz has taken a
photograph of her holding the horror.
Tracy frowns as Liz smiles.

Liz

Perfect!

George enters from the front hall.

George

Hello, everybody. Hope I'm not late?

Margaret

You're never late, George. We have such a nice
surprise. Junius has sent us these two dear people
as a wedding present. Mr. Kittredge, this is Miss
-- uh -- I'm so sorry --

CONTINUED:

41-X2

CONTINUED (3)

43

Liz

Imbrie.

George (shaking her hand)
Any friend of Junius is a friend of mine.

Margaret (slurring the name)
And Mr. Bum-bum.

George (shaking hands with Mike)
I didn't get the name?

Mike

Connor.

Tracy

Macaulay Connor.

Mike glares at her.

Margaret

He's a writer.

Mike

Don't apologize, Mrs. Lord.

George (heartily)

No apology necessary. I have great respect for
writers.

Mike

Thank you. Any kind word --

George (kissing Tracy)

How do you feel, dear?

Tracy

Much better -- now that you're here.

Mike

I guess this must be love.

George

Your guess is correct, Mr. Connor.

Tracy

I'm just his faithful old dog Tray.

George

Give me your paw.

She does.

Tracy

You've got it.

CONTINUED:

44

41-X2

CONTINUED (4)

He takes her hand and kisses it. There is
another click. Liz has another photograph.

Liz
How sweet.

Tracy glares and George beams.

George
I'd like to see one of those, Miss Imbrie.

Liz (meaningfully)
You will.

Margaret
Do let's have some sherry.

41-X3

PORCH

as Margaret enters from loggia, followed by
the others. Edward and Thomas prepare to
serve the sherry.

Margaret (to Mike)
Junius has probably told you all about our happy
little family.

She stops as she sees Uncle Willie asleep
in a chair in one corner of the room.

Tracy (rushing forward)
Papa! Dear papa! When did you come?

Uncle Willie (opening his eyes,
bewildered)
What? Who?

Tracy (excitedly)
Papa, you angel! What a lovely, lovely surprise,
isn't it, mama?

Margaret
In--indeed it is.
(to Thomas)
Another plate for luncheon, Thomas.

Thomas bows and exits.

Dinah
Hi, Pops.

Edward passes near Uncle Willie with the
sherry tray. Uncle Willie quickly rises
and downs one, and takes another.

George (with a false laugh)
I don't get it.

CONTINUED:

41-X3

45

CONTINUED (2)

Tracy gives George a quick look.

Tracy
Fix your tie, George.

Uncle Willie
Kittredge -- Dinah --
(he turns to Margaret and bows)
Margaret, my sweet.

He gives Margaret an unexpected pinch. Margaret represses a desire to yell and smiles sweetly.

Tracy
This is Mr. Connor and Miss Imbrie, father --
friends of Junius.

Uncle Willie smiles, puts his sherry in his
left hand, and moves toward Liz.

Uncle Willie
Ah -- welcome.

Liz quickly stops away in order to avoid
the pinch, and Uncle Willie's hand, which
had started on a pinching expedition,
swings into a handshake with Mike.

Uncle Willie
(still looking at Liz, although he
speaks to Mike)
Thrice welcome.

Uncle Willie takes another drink of sherry,
still looking at Liz.

Uncle Willie
Well, well -- here I am back in the bosom --
(he suddenly gags on his sherry
as he sees Dexter coming on to the
porch from the torrace)

Dexter
Hello, friends and enemies!

Uncle Willie
Remove yourself, young man!

Dexter goes up to Uncle Willie and shakes
his hand.

Dexter
How are you, sir?

Uncle Willie
I don't know. Get along!

CONTINUED:

41-X3

CONTINUED (3)

46

Dexter (to Margaret)
I changed my mind. I will stay for lunch.

Margaret (to Edward)
Another place, Edward.

Edward bows and exits. Thomas returns.

Dexter (to George)
Hello, Kittredge.

George
How are you, Haven?

Tracy (sarcastically)
Just Damon and Pythias.

Dexter (shaking hands with George)
No -- Grant and Lee.

There is the click of Liz' camera as the men shake hands, and Tracy once more registers disapproval. Liz smiles pleasantly, and in order to take some sherry, puts her camera down on the edge of a high table.

Dexter
What's the matter, Kittredge? You don't look as well as when I last saw you.

(he pats his arm sympathetically)

Poor fellow -- I know just how you feel.

(he turns to Mike and Liz)

How's it coming?

Margaret (cheerfully)
Oh, beautifully, Dexter. We're so indebted to you for these lovely people.

Tracy
It's almost impossible to repay that debt.

Dexter
But you'll manage, eh, Red?

Margaret (somewhat inanely to Liz)
They grew up together, you know.

Liz
How nice.

Dexter (to Tracy)
You don't look old enough to marry anyone -- even for the first time. You never did. She needs trouble to mature her, Kittredge. Give her lots of it.

George
I'm afraid she can't count on me for that.

CONTINUED:

41-X3

47

CONTINUED (4)

Dexter

No? Too bad.

(to Tracy)

Sometimes, for your own sake, I think you should
have stuck to me longer, Red.

Tracy

I thought it was for life, but the nice judge
gave me a full pardon.

Dexter

That's the old Red-head. No bitterness, no re-
crimination -- just a good quick left to the jaw.

Liz (to Mike)

They grew up together!

Edward (returning)

Luncheon is served, Madame.

Margaret

Thank you, Edward.

She takes Dinah by the hand and Uncle Willie
by the arm, making sure that Uncle Willie
doesn't get around behind her.

Margaret

Come, Seth, we have so much to talk about.

Uncle Willie (going with her)

I don't suppose a man ever had a better or finer
family.

(he stops at the table and takes
another quick sherry)

I wake in the night and say to myself -- Seth, you
lucky dog -- what have you done to deserve it?

Margaret

And what have you?

Margaret, Uncle Willie and Dinah exit into
the loggia.

Tracy (to Liz, with a smile)

Shall we go in?

She reaches for Liz' camera to hand it to
her, and as if by accident, knocks it off
on the floor, where it smashes.

Tracy

Oh, how awkward. I'm so sorry.

(she bends over to pick it up)

Liz (sweetly)

I'm sure you are. Isn't it fortunate I've removed
the film...

CONTINUED:

48

41-X3

CONTINUED (5)

Dinah comes running out from the loggia, an expression of horror on her face. She grabs Tracy and speechlessly points toward the front hall. Tracy looks at her, then runs quickly into the house.

CUT TO:

42

FRONT HALL

AS TRACY ENTERS from the loggia. Margaret and Uncle Willie are standing in horror, looking toward the front door.

Tracy

What?

Margaret can't speak. She points toward the front door, through which enters Seth.

Margaret (in a hoarse whisper)

Seth!

Dinah, George, Dexter, Mike and Liz enter behind Tracy from the loggia. Tracy gives one glance around, then starts toward Seth.

Tracy

Uncle Willie!

42-X1

SETH

as Tracy runs up to him.

Tracy

Uncle Willie--how nice!

(she turns and calls to the others)

Please go on into lunch, everyone. I want a word with Uncle Willie.

43

GROUP

as they start in through the dining room door.

Margaret (weakly)

Another plate, Thomas.

44

SETH AND TRACY

Seth

I'm afraid I don't understand.

Tracy

(with a glance around to see if the others have gone, and speaking in a low, tense voice)

You never have. But you came anyway, didn't you?

Seth (nodding)

Still Justice with her shining sword - eh, daughter?

Who's on the spot?

Tracy

We are; thanks to you - Uncle Willie.

FADE OUT.

Philadelphia 45
Story
Change
7-5-40

49
Shivart

FADE IN:

PASTURE NEAR ROAD ON LORD ESTATE -
CLOSE SHOT - DINAH

standing on her head, her face toward the
audience. She is wearing riding clothes.

Dinah

How's that?

PULL THE CAMERA BACK to disclose Liz in the
act of photographing Dinah with a Graflex.
Nearby is Uncle Willie on a milk stool be-
side a cow. Beside him stands Seth. In the
b.g. can be seen Mike seated beside the
driver's seat in a station wagon.

Uncle Willie

It's my turn.

Mike toots impatiently on the horn.

Liz (indicating Mike)

I've _got_ to drive Mike to the library.

Uncle Willie (teasing)

Oh, please, Miss Imbrie--just one more--for your
memory book.

Liz (obviously harassed and wanting
to get away)

All right, Mr. Lord - one more.
(she indicates the cow's udders)

Can you work those things?

Uncle Willie (proudly)

Can I?

(he efficiently begins to milk the cow)

How's that?

Liz

Beautiful. I love the bagpipe.

Seth (drily)

Isn't it fortunate for polarity that you brought
more than one camera.

Liz snaps the picture. Uncle Willie slyly
squirts a stream of milk in Liz's direction,
but misses her.

Uncle Willie

Oops: Sorry.

Dinah has climbed up on the cow's back and
assumed the position of a bareback rider.

Dinah

Now take me like this.

Seth

I'd rather you weren't photographed any more, Dinah.

CONTINUED:

45

CONTINUED (2)

50

Dinah (impishly to Uncle Willie)
Oh, father -- can't I?

Uncle Willie
I don't see why not, my child.

Once more Mike toots impatiently on the horn.

Liz
I really must go -- I've got to get my hair done
for Mr. Tracy's dance tonight.

Uncle Willie
I like it that way.

He moves his hand around as though to pinch
her, but Liz steps away in time.

Seth (rebukingly)
Be your age, old boy.

Uncle Willie (maliciously)
Speaking of your party tonight, Uncle Willie, why
don't you invite that little dancer, Tina Mara,
to come dance for the guests?

Seth
Excellent. It might put an end to the ridiculous
gossip about you and her.

Uncle Willie
Is there gossip?

Seth
There seems to be.

Uncle Willie
Is it ridiculous?

Seth
All gossip is ridiculous.

Once more the automobile horn sounds.

Liz (calling)

Coming!

(she runs toward the fence separating the pasture from the road, calling back as she runs)

It's been so much fun. Thank you -

Uncle Willie

Thank you -

CUT TO:

45-X1

51

FENCE

as Liz runs up and starts to climb through
it, she puts the Graflex on top of a post.
Just as she gets in a particularly embarrass-
ing position where she has one leg on one
side of the wire and one on the other, she
hears a click and turns around as WE PULL
THE CAMERA BACK to disclose Dinah grinning
fiendishly, having just taken a photograph
of Liz in that position.

Thank you!

Not at all.

Dinah (professionally)

Liz (somewhat sourly)

Just as she gets through the fence, her leg
catches in the wire and knocks the Graflex
off the top of the post, and it smashes.
Dinah bursts into fiendish laughter as we

DISSOLVE TO:

INT. STATION WAGON - DAY
en route to village. Liz is at the wheel,
Mike beside her.

Liz
It's only two hours and eight minutes to New York.

Why?

Mike

Liz
Oh, nothing. Just an interesting fact--in case
we were thinking of going.

Mike
Certainly not. There's several angles I hadn't
counted on. Take Kittredge, for instance. He's
quite an interesting guy. Get him on coal, some-
time.

Liz
I'd rather have him on toast.

Mike
He's in a tough spot with Haven prowling around.

Liz
- is a sinister fellow, Dexter.

Mike
Very. And then, what is all this masquerade about
Uncle Willie? Don't they imagine that we've ever
seen pictures of Soth Lord?

CONTINUED:

46

46

52

CONTINUED (2)

Liz

Sure - right out under the Red General's arm.

Mike

She's a new one on me. Maybe Philadelphia produces a different brand of monkey.

Liz looks at him keenly.

Liz

You're a funny one, Mike.

Mike

Why?

Liz

You and your angles.

He looks at her, and from her expression, understands what she's driving at.

Mike

Now you couldn't be wronger there, Liz. Women like that bore the pants off me.

Liz

For a writer you choose your verbs most peculiarly.

DISSOLVE TO:

47

EXT. PUBLIC LIBRARY - DAY (IN ONE OF THE SMALL MAIN LINE TOWNS)

The station wagon pulls up, and Mike gets out.

Liz

How long will you be researching?

Mike

Not long if they have the right books. Family history and so forth.

Liz

There's a cousin Joanna who's definitely crazy.

Mike

Who told you?

Liz

Dinah.

Mike

Dinah should know.

Liz

Come across the street when you've finished.

Miss Hobson's establishment. Right on the corner.

CONTINUED:

47

CONTINUED (2)

53

Right. Mike

Liz (shifting gears)
And say, Mike -
(a little self-consciously)
Forget what I said about Tracy, will you?

Mike
When? Oh -- sure. You didn't mean anything by it,
anyway.

Liz
That's right. I have a beautiful soul, haven't
I, Mike? Now I'll see what Miss Hobson can do
for the body.

She drives away and Mike turns into the
library.

WIPE TO:

48

LIBRARIAN'S DESK

behind which sits a prim, elderly lady
librarian. Mike comes up to the desk.

Librarian (with a pleasant smile)
What dost thou wish?

Mike gives her a double take.

Mike
Why -- uh -- just some local biography. History.

Librarian
(indicating the general reading room)
If thou wilt consult my colleague in there --

Mike
(he hesitates, then looks at his hands
and lowers his voice)
Does thee have a washroom?
(she smiles and indicates a direction to-
ward the rear of the library)
Thank thee.
(he walks off)

49

ROW OF STACKS

in deserted section of library, as Mike comes
along. He looks down one row, sees a girl
dressed in sport clothes seated at the window
reading a book. He walks past, then returns
and takes another look, then he moves somewhat
cautiously toward the girl.

Philadelphia 50
Story chr.
7-2-40

55

CONTINUED (2)

Tracy
Yes. I know a little about that.

Mike
Do you?
Tracy
Quite a lot.

There is a hissing sound behind them and they turn to discover the librarian with her finger to her lips, cautioning silence. They nod agreement; Tracy picks up the book.

DISSOLVE TO:

51

EXT. LIBRARY

as they come out. Tracy has Mike's book under her arm. A limousine which has been waiting across the street, pulls up at the curb.

Tracy
Let's walk home. I can talk better when I walk. (to John the Chauffeur, as she tosses Mike's book into the car)

Tell Mr. Kittredge we'll meet him at the pool. We're walking.

John touches his cap and drives away. THE CAMERA TRUCKS WITH TRACY AND MIKE as they cross the street toward Miss Hobson's Beauty Parlor.

Tracy
Your story called "With the Rich and Mighty" -- I think I liked it best.

Mike
I got it from a Spanish peasant's proverb -- "With the rich and mighty always a little patience."

Tracy
I like that.

By now they are walking past the window of the beauty parlor, and the CAMERA MOVES INSIDE TO DISCLOSE LIZ seated in a booth, her hair held up in a permanent wave machine. A manicurist is working on her nails. Her eyes follow Tracy and Mike as they walk on past, and the hand the manicurist is buffeting involuntarily tightens.

Manicurist
What's the matter? a little too rough?

CONTINUED:

Philadelphia 51
Story
Adds
7-2-40

CONTINUED (2)

Liz
A little but I'm used to it.

56

DISSOLVE TO:

52

PATH ACROSS FIELDS - DAY - MIKE AND TRACY

THE CAMERA TRUCKING WITH THEM, as they trudge
along.

Tracy

Tell me something, will you? When you can write
a book like that, how can you possibly do anything
else?

Mike

You'll never believe it, but there are people
in this world who have to earn their living.

Tracy

Of course! But people buy books, don't they?

Mike (grinning)

Not if there's a library around.
(seriously)

That book of mine represents two solid years'
work. It netted Connor something under six hun-
dred dollars.

Tracy

But that shouldn't be!

Mike

Only unhappily, it is.

(after a moment he stops and indicates
the surrounding territory with a wave
of his hand)

This is beautiful country. What is it all, anyway?

Tracy

It's part of our farm.

Mike

All of it?

Tracy

I guess so, I've never bothered. Tell me -
what about your Miss Imbrie?

Mike

Miss Imbrie is in somewhat the same fix. She's
a born painter, and might be an important one.
But Miss Imbrie must eat. Also, she prefers a
roof over her head to being constantly out in the
rain and snow...

CONTINUED:

52

CONTINUED (3)

57

Tracy (thoughtfully)
Food and a roof - food and a roof -
Mike gives her a look, and they trudge on.

DISSOLVE TO:

53

53-X1

OUT
EXT. SWIMMING POOL - DAY

which is situated in a grove near the house,
and is decorated with draped statues of Greek
and Roman goddesses. Tracy and Mike, carrying
bathing suits, approach the dressing rooms.
Tracy is still in a thoughtful mood. In the
b.g., Edward is depositing a pitcher of orange
juice and three or four glasses on a table.

Mike (surveying the beauty of the pool)
Judas! You've got something here, haven't you!

Tracy (looking up)
Where?
Mike indicates the swimming pool.

Tracy (as a matter of course)
Oh, yes.
(she indicates a dressing room)
Use that one -- will you?

She goes into her dressing room as Mike enters
his.

CUT TO:

53-X2

INT. TRACY'S DRESSING ROOM

as Tracy begins to undress. Her eyes suddenly
light up.

Tracy
Connor, I've got an idea.

Mike's Voice on s.t.)
What?

Tracy
Listen, I've got the most marvelous little house in
Unionville. It's up on a hill with a view that would
knock you silly.

CUT TO:

53-X3

MIKE
who is undressing as he listens.

Tracy's Voice
I'm never there, except in the hunting season, and
not much then, and I'd be happy to know it was of
use to someone.

Mike frowns.

CUT TO:

Phila-

delphia

Story

Change

7-5-40

53-X4

## TRACY'S DRESSING ROOM

She is now in her bathing suit and she puts on a bathrobe.

Tracy

There's a brook, and a small lake, no size really --

She exits from her dressing room.

CUT TO:

53-X5

## EXT. DRESSING ROOMS

Mike, also in a bathrobe, is already waiting for her.

Tracy (as she exits)

--and a patch of woods, and in any kind of weather--

She is interrupted by the sound of an o.s. whistle from Dexter. (The whistle should be of a distinctive, identifying type, presumably one she and Dexter were accustomed to use.)

Tracy

Heck, that's Dexter! If he comes here, stand by, will you? I don't want to be alone with him.

Mike

Certainly - if you like.

As they move down toward the table on which is the orange juice, THE CAMERA TRUCKING WITH THEM, Tracy speaks in an unintended, but nevertheless somewhat patronizing "Lady Bountiful" manner:

Tracy

And I'm delighted that I can offer you that house in Unionville.

Mike

Well, it's terribly nice of you, but --

They stop at the orange juice table.

Tracy

I wouldn't be trouping in every minute. I'd never come, except when expressly asked to.

CONTINUED:

53-X5

CONTINUED (2)

59

Mike

It isn't that. It's just that -- er -- you see, the idea of artists depending upon a patron "Lady Bountiful" has more or less gone out, and --

Tracy

(looking at him, hurt)

I see.

(after a moment)

That wasn't especially kind of you, Mr. Connor. And I'm sorry to have seemed -- patronizing.

Mike

I didn't quite mean --

Tracy

Please don't bother, really.

Mike

(after a moment)

Yes, I guess you do.

Tracy

What?

Mike

Know about it. That little skin-saving device. That rough exterior.

Dexter enters the scene carrying a small, tissue-wrapped picture, which he puts down on the orange-juice table.

Tracy

(to Dexter)

If you've come over to play with Dinah, she's taking her nap -

Dexter

(pouring himself a glass)

Your orange juice is the talk of the countryside. I crave it.

Tracy

Don't tell me you've forsaken your beloved whiskey and whiskies.

Dexter

I go in for the pale pastel shades now. They're more becoming to me.

(to Mike)

How about you, Mr. Connor? You drink, don't you? Alcohol, I mean.

Mike

A little.

CONTINUED:

53-X5

53 CONTINUED (3)

60

**Dexter**

A little? And you a writer? I thought all
writers drank to excess and beat their wives.
I expect that at one time I secretly wanted to
be a writer.

He glances at Tracy, then puts his glass
on the table.

**Tracy**

Dexter--would you do something for me?

**Dexter**

Anything. What?

**Tracy**

Crawl into some small hole till after the wedding.

**Dexter**

Oh, no, I couldn't do that. That wouldn't be
fair to you. You need me too much.

**Tracy**

Just what are you hanging around for?
(Mike starts back toward the dressing
room)

No, please don't go.

**Dexter**

Yes, do stay, Mr. Connor. As a writer, this ought
to be right up your street.

**Tracy**

Don't miss a word. We're going to talk about me -

**Dexter**

It's astonishing what money can do for people,
don't you agree, Mr. Connor? Not too much, you
know -- just more than enough? Look at Tracy
-- never a blow that hasn't been softened for her.
Never one that won't be softened. It's even
changed her shape - she was a dumpy little thing
at one time --

**Tracy**

Only as it happens, I'm not interested in myself
at the moment.

**Dexter**

Not interested in yourself! You're fascinated!
You're far and away your favorite person in the
world!

(to Mike)

Of course, Mr. Connor, she's a girl who is generous
to a fault -

CONTINUED:

Philadelphia
Story

56

TRACY AND DEXTER

62

Tracy (hotly)

I told you I never had the slightest recollection -

Dexter

I know. You drew a blank. You wanted to. Mr. Connor, what would you say - (they both turn and discover that Mike has gone)

Tracy

A nice story for Spy, incidentally.

Dexter

A pity we can't supply photographs of you on the roof.

Tracy

Honestly, the fuss you made over that silly, childish..

Dexter

It was enormously important and most revealing. The moon is also a goddess, chaste and virginal.

Tracy

Stop using those foul words! Dexter, what are you trying to make me out as!

Dexter

Tracy, what do you fancy yourself as? (he comes closer to her)

When I read you were going to marry Kittredge, I couldn't believe it. How in the world can you even think of it?

Tracy

Because he's everything you're not: He's been poor and he's had to work and he's had to fight for everything and I love him as I never even began to love you!

Dexter

You may, but I doubt it. I think it's just a swing from me--but it's too violent a swing. That's why I'm here. Kittredge is no great tower of strength, you know, Tracy. He's just a tower.

Tracy

You hardly know him!

Dexter

To hardly know him, is to know him well. And perhaps it offends my vanity to have anyone who was even remotely my wife, remarry so obviously beneath her -

Tracy

Beneath me! How dare you - in this day and age - use such a -

CONTINUED:

56

CONTINUED (2)

63

Dexter

I'm talking about difference in mind - and spirit. You could marry Mac, the night watchman, and I'd cheer for you. No, Tracy, George is not for you -

Tracy

He is for me -- he's a great man and a good man; already he's of national importance.

Dexter

You sound like Spy magazine talking. But whatever he is, you'll have to stick, Tracy. He'll give you no out as I did.

Tracy

You seem quite contemptuous of me all of a sudden.

Dexter

Not of you, Red, never of you! You could be the finest woman on this earth. I'm contemptuous of something inside you, you either can't help, or make no attempt to; your so-called "strength" - your prejudice against weakness - your blank in-tolerance -

Tracy

Is that all?

Dexter

That's the jist of it: because you'll never be a first class woman or a first class human being until you've learned to have some regard for human frailty. It's a pity your own foot can't slip a little sometime - but your sense of inner divinity won't allow it. This goddess must and shall remain intact. There are more of you than people realize. A special class of the American female - the Married Maidens -

Tracy (furiously)

So help me, Dext -- if you say another word -!

Dexter

I'm through Tracy -- for the moment I've had my say.
George enters the scene.

George (smiling, with a great attempt at good humor)

I suppose I ought to object to this two-some.

Dexter

That would be most objectionable. Well, any time either of you want my advice -

George

We'll give you a ring, Haven.

CONTINUED:

56

CONTINUED (3)

64

Dexter

Do that, will you? So long, Red - I left you
a little wedding present.

(he points to the package on the table)

Sorry I hadn't any ribbon to tie it up with.

He exits.

George

You see - it's no use even attempting to be friendly.

Tracy gazes after Dexter for a moment, then
tensely divests herself of her bathrobe, and
starts toward the pool. George picks up the
wedding present and opens it.

CUT TO:

57 PHOTOGRAPH OF TRUE LOVE

CUT TO:

58 OUT

57X-1 GEORGE

He gazes at it for a moment, puzzled, then
glances toward the swimming pool.

CUT TO:

59 OUT

59X-1 TRACY

poised on top of one of the columns which
has been used for diving purposes. She poses
for an instant, arms outstretched, and then
dives.

As she comes to the surface, she swims to the
edge of the pool and climbs out near where
George is standing.

Tracy

Aren't you swimming?

George (looking at his watch)

Haven't time. Uncle Willie wants us at eight.

(he shows her the photograph)

Here's what your friend considers a wedding present.

Tracy

Why, it's a photograph of the "True Love".

George

The--what's that?

Tracy

We sailed her up the coast of Maine and back the
summer we were married. My, she was yare. CONT'D:

59X-1

65

CONTINUED (2)

George

Yara? -- What's that?

Tracy

It means -- oh, what does it mean? Easy to handle --
quick to the helm -- fast -- bright -- everything
a boat should be.

(she gazes at the photograph a moment,
without speaking, and then drops it upon
the table)

Until they develop dry rot...

(she turns to him suddenly, almost
pleadingly)

Oh, George -- to get away - somehow to feel useful
in the world!

George

Useful? You - Tracy? Why, I'm going to build you
an ivory tower with my own two hands.

Tracy

Like fun you are. I've been in one too long.

George

You know, we're going to represent something, Tracy
-- you and I, and our home. Something straight and
sound and fine. And then perhaps Mr. Haven may be
somewhat less condescending.

Tracy (looking at him)

George --you don't really mind him, do you? I mean
the fact of him --?

George

The fact of him? What do you mean?

Tracy

I mean that -- you know -- that he ever was -- was
my lord and master --

George

I don't believe he ever was - not really. I don't
believe anyone ever was -- or ever will be. That's
the wonderful thing about you, Tracy.

Tracy (startled)

What? How?

George

You're like some marvelous, distant -- oh, queen,
I guess. You're so cool and fine -- and always so
much your own. I - I - when you stood up there,
there was a kind of a beautiful purity about you -
like a statue...

Tracy (frightened)

George --!

George

Oh, it's grand, Tracy. It's what everyone feels
about you - what I first worshipped you for, from
afar.

Tracy

George -- listen!

CONTINUED:

59-X1

CONTINUED (3)

66

George
First, now, and always.

(he leans toward her)
Only from a little nearer now, eh, darling?

Tracy
But George, I don't want to be worshipped! I
want to be loved.

George
You're that too. You're that all right.

Tracy
I mean really loved.

George
But that goes without saying, Tracy.

Tracy
And now it's you who doesn't see what I mean.

George looks at his watch.

George
I've got to go dress, dear. I hate to be late.

He kisses her quickly and starts away.

Tracy
George -- listen!

George turns with a slight frown, which he
changes into a smile.

Yes?

Tracy (smiling, after a moment)
Run along. I'll be dressed when you come back.

George hurries away. Tracy looks after him,
then puts on her bath-robe, also her slippers.
She starts toward the path through the trees,
then suddenly stops as she glances up. PAN
THE CAMERA UP to concentrate on the face of
the statue-goddess, cold, forbidding, austere.

TRACY

She gazes for a moment at the statue, then
changes her course and starts to walk around
behind it. Then she throws her head up in
the air and passes in front of the statue
and along the path through the trees.

60

61

EXIT FROM GROVE ONTO LAWN OUTSIDE TERRACE

as Tracy emerges. In the b.g. Margaret and
Seth are walking up and down on the lawn.

CONTINUED:

61

CONTINUED (2)

67

THE CAMERA FOLLOWS TRACY as she walks slowly and thoughtfully across the lawn.

61-X1

EXT. TERRACE

as Tracy starts to enter the house. Margaret waves to her and Tracy absent-mindedly waves back. Margaret and Seth turn and start along the grass away from Tracy and Margaret laughs at something Seth has said. As Tracy looks after them, Seth puts his hand around Margaret's shoulders. This bit of familiarity causes Tracy to stop, and instead of going into the house, she walks over to where Margaret and Seth are standing.

CUT TO:

62

SETH AND MARGARET

as they turn to see Tracy. Seth takes his hand off Margaret's shoulder as Tracy comes into the shot.

Margaret

Tracy, you're Uncle Willie's guest of honor. You mustn't be late.

Seth

Your fiance just roared away from here on two wheels. Does he, by any chance, ever slow down?

Tracy (a little belligerently)

When he likes, I expect.

Seth

I have a feeling he's going to take the ring tomorrow, and go through center with it.

Margaret (laughing)

Seth, you idiot.

Tracy

That's very amusing, I'm sure. Almost as amusing as the sight of you with your arm around mother.

Seth

I find very <u>unamusing</u> the stupid, undignified spectacle we're making of ourselves for the benefit of those two newspaper people.

Tracy

Whose fault is it?

CONTINUED:

62

CONTINUED (2)

68

Seth

That's beside the point. They can publish what they like about me, but--

Tracy

My idea is, they'll publish nothing about any of us.

Margaret

How can you stop them?

Tracy

I don't know. There must be some way.

Seth

At any rate I insist that we inform Connor and the camera lady that we're all quite aware of their purpose here.

Tracy

All right. I'll tell them.

Seth

It would look better coming from me, don't you think --as, at least, the titular head of the family?

Tracy (in a deliberately harsh voice)

Of course, inasmuch as you let us in for it in the first place.

Seth

Do keep that note out of your voice, Tracy. It's most unattractive.

Tracy

Oh? How does your dancer friend talk? Or does she purr?

Margaret

Tracy!

Seth

It's all right, Margaret.

Tracy

Sweet and low, I suppose--dulcet--very lady-like. You've got a fine right, you have--after the way you've treated Mother--after the way you've treated us all. A magnificent right you've got to come back here in your best head-of-the-family manner--

Margaret

Stop it instantly, Tracy!

Tracy

I can't help it. It's sickening. As if he'd done nothing at all!

Seth

Which happens to be the truth.

Margaret

Anyway, it's not your affair, Tracy. If it concerns anyone--well, actually, I don't know whom it concerns except your father.

CONTINUED:

62

CONTINUED (3)

69

Seth

That's very wise of you, Margaret. What most
wives won't seem to realize is that their husband's
philandering---even as innocuous as my own -- has
nothing whatever to do with them.

Tracy

Oh? Then what has it to do with it?

Seth

A reluctance to grow old, I think. I suppose the
best mainstay a man can have as he gets along in
years is a daughter -- the right kind of daughter.

Tracy

How sweet.

Seth

I'm talking seriously about something I've thought
out thoroughly. I've had to. I think a devoted
young daughter gives a man the illusion that youth
is still his.

Tracy

Very important, I suppose.

Seth

Very -- and without her he is inclined to go in
search of his youth again because it's as precious
to him as it is to any woman. But with a girl of
his own, full of warmth for him, full of foolish,
unquestioning, uncritical affection --

Tracy

None of which I've got --

Seth

None. You have a good mind, a pretty face, and a
disciplined body that does what you tell it. You
have everything it takes to make a lovely woman
except the one essential -- an understanding heart.
Without it, you might just as well be made of bronze!

Tracy (after a moment)

That's an awful thing to say to anyone.

(after another moment)

So I'm to blame for Tina whatever-her-name-is,
am I?

Seth

To some extent, I expect you are.

Tracy

You coward

Seth

No. But better to be that than a prig -- and a
perennial spinster, however many marriages.

CONTINUED:

62

CONTINUED (3A)

70

Margaret
Seth! That's too much.

Seth
I'm afraid it's not enough.

Tracy (staring at her father)
Wha -- what did you say I was?

Seth
Do you want me to repeat it?

Margaret
Seth, please. And I think I understand a great
deal now, that I didn't before --

Seth (tenderly, to Margaret)
It's all past, Margaret. It has been for some time.
Forgive me. You won't have to, again.

Margaret takes his hand affectionately.

Tracy
"A prig, and a --" You mean -- you mean you think
I think I'm some kind of a goddess, or something?

Seth (nodding)
If your ego wishes to call it that - yes.

He and Margaret walk to the porch as Edward
enters with a tray containing cocktails and a
bottle of champagne with glasses.

Tracy (after a moment)
What's the matter with everyone all at once, any-
how?

Uncle Willie, in sports-clothes, and Dinah, in
her new party-dress, enter.

Uncle Willie
I've been asleep. What time is it?

Seth
After seven.

Uncle Willie (to Edward)
Would you telephone my house I'm on my way?

Edward bows and exits.

Uncle Willie (to Seth)
You'd better come with me. After all, you are the
host tonight, Uncle Willie.

Seth
We're going to drop all that. You're yourself again,
Uncle Willie - and so am I.

CONTINUED:

Philadelphia 62
Story
Change
7-5-40

71

CONTINUED (4)

Uncle Willie
Have you told them?

Seth
I shall at the first opportunity.

Dinah
Well, anyway, I'm going to stay up til three o'clock.

Margaret (surveying Dinah's dress)
You are not. And I think that dress hikes up a little behind.

Dinah
No, it's me that does.

Tracy
You look adorable, Dinah.

Dinah
Oh, thanks, Tracy. Thanks ever so much.

Margaret
Tracy, you *must* go dress.

Mike and Liz, in evening clothes, enter.

Mike (to Margaret)
Look Mrs. Lord --
(to Uncle Willie)
and Mr. Lord -- we want to say something.

Uncle Willie
I'm all ears. Miss Imbrie, you are a dream of loveliness.
(he smilingly prepares to pinch her)
Cocktail - or champagne?

Liz (smiling back as she moves away from the pinch)
Champagne, please.

Mr. Connor?

Uncle Willie (to Mike)

Mike
Champagne. But first we want to say --

Seth
No -- first there is something I want to say.
I am Seth Lord.

Liz (throwing up her hands in mock surprise)
No?
(she points to Uncle Willie)
And that makes you --

CONTINUED: