A Bill of Divorcement Page #2

Synopsis: After spending fifteen years in an asylum, Hilary Fairfield escapes from the institution after regaining his sanity. He finds that things at home are different than when he left them. His wife has divorced him and is already planning her next marriage, and his daughter has grown up throughout the years and is planning to marry as well.
Genre: Drama
Director(s): George Cukor
Production: RKO Radio Pictures Inc.
  1 win.
 
IMDB:
6.6
PASSED
Year:
1932
70 min
350 Views


Put them on.

I love being spoilt.

Hadn't had much of it,

had you Meg.

- Don't call me Meg.

- Why not?

I want you to call

me something no one

else has ever used.

Well you're getting one new

name pretty soon any how.

New year, new

name, new life.

Listen.

- Don't you love it?

- Church bell?

Wedding bells.

Do you think

I'm sentimental.

You're pure 19th century.

- There goes the twentieth.

- I'll answer mother.

Hello?

You rang me up?

Sorry he's in trouble.

Theres surely someone

trying to get us.

- Come along. Church bells have stopped.

- They stopped when the bell rang.

Why mother, whats the matter?

- Run darling, you're late.

- Come along my dear.

Its too good to be true.

- What Margaret?

- Everything.

What a fool I am!

- Goodbye, Darling.

- Goodnight, mother.

- Bye, Sydney.

- Goodbye.

- Sydney, the telephone.

- All right, aunty.

Someones being trying

to get us all morning.

Hello? Yes?

No, Mrs. Fairfield is out.

Would you leave a message?

This is Miss Fairfield speaking.

Its about pap.

Yes? What?

This morning?

No, we know nothing.

No, he's not here.

I see.

Ofcourse we'll let you know.

You let us know at once

Yes thanks.

Fathers gone away.

- Who spoke to you?

- The head of the asylum.

Fathers been very much better lately.

- In the last week he

showed marked improvement

I always had faith

he'll get well ?

- Quite possible.

- After all these years?

It took even longer

with your Aunt Grace.

What aunt Grace?

Why do you mention her?

I don't know.

I was thinking.

In connection with pap.

Was she ever in an asylum?

No. She was very

ill for a long time.

Aunty, you're not

telling me the truth.

Wasn't it only shell

shock with father?

He's well again.

They told you. He's well again.

Aunty, you're trying

to hide something.

What is shell shock?

It was foregone by shellshock.

So...

in all family

there's insanity.

You shouldn't say that!

There are troubles in every family,

but one doesn't

talk about them.

Suppose father really is

well what will he do?

- Its a question of what

your mother will do.

- Pretty well concerns mother.

- Won't it?

- What are you driving at?

I can't discuss it with you.

Aunty!

- What are you looking for?

- Someone has moved them...

Meg! Meg, my darling!

I'm not Meg.

Ofcourse.

I beg your pardon.

I thought you were another girl.

I've been away

for a long time.

Where have you come from?

That place.

That place.

I took a car...

- Who are you?

- I think I'm your daughter.

Daughter!

Daughter!

Thats good!

My wife's not my wife,

- she is my daughter.

- You're forgetting its

been years and years.

Ofcourse. It is years.

Its a lifetime!

My daughters lifetime.

Whats your name, daughter?

- Sydney.

- Sydney.

Sydney, eh?

My mother was Sydney.

I like Sydney.

I...

I suppose we are a bit of a

shock to each other, Sydney.

No, you're not a shock to me.

- But I'm afraid...

- Is my...?

Is your...? Where is Margaret?

- At church.

- She'll be back soon, eh?

- Yes. Thats why I'm afraid...

- I think

- I go and meet her.

- Oh I wouldn't.

Come and sit down.

Wait for her.

Very well.

- Sit down.

- Thanks.

Isn't this odd?

Makes me want to cry.

Why?

My dear child thats all over.

Laugh. Laugh.

Thats the thing to do.

What a lovely room this is!

I can't say I like these

funny things. Do you?

No, I like leathers

ones better too.

Those aren't the only changes.

Everything changes.

I bet your aunt Hester hasn't.

I bet you...

I say...

Is your mother such a darling still?

- Look here father, you know...

- Father.

We got to get things straight

before she comes back.

Yes be back soon, eh?

Why has Meg moved the clock?

Much better where

we had it before.

We will have that put back.

Its 1 o'clock, she's late.

I really think I'll go

and meet your mother.

- No. You're to stay here.

- Very well.

- I'll do as I like about that.

- I'll not let you right now!

- I'll frighten her?

- You will realise what a

shock would do to her.

I never knew anyone

will die of joy.

Father you don't understand.

- You and mother are...

- This is nothing to do with you.

- But you mustn't!

- I tell you I won't be hecked !

I can't stand it!

I've had enough of it!

- I had enough of it!

- Don't you talk to mother like that!

Meg understands!

So do I understand.

I believe you do.

You got wild.

All in a moment.

Thats my way too.

I means nothing

Meg can't see with

it means nothing.

But it makes a man

wild you know

to be browbeat when he is sane...

I am sane!

Thats all over, isn't it?

-I am sane, daughter.

- Father.

Don't let me get the

way I was just now.

Its bad.

Help me go slow

I am as well as you are,

you know...

but its new.

It happened today.

Like a curtain lifting.

- I was standing in the garden...

- I can't just see how you got away.

I was led like Peter

out of prison.

I went through the gates, open.

Their eyes were blinded.

It was sheer luck.

There were some visitors leaving,

and I left along with them,

talking.

Nobody ever spotted me,

heap service,

of them I mean I tried.

But you had no money!

I took the first taxi I saw

and promised him double.

He's at the lower gate

now waiting to be paid.

- Father!

- Your mother will see to it.

- Thats him.

I expect he got tired waiting.

- No. That will be mother.

- You stay here. You must let me...

- Daughter! Is that your mother?

Give me a minute.

Give me a minute!

Whose taxi?

- Hilary!

- Meg!

Eres Meg?

Is it Meg.

Meg I've come home

- Sydney!

- Its all right mother.

Meg, I'm well.

I'm well, Meg!

It came over me

like a lantern fly,

like a face turning to you.

I was in the garden, lost.

I'll never make

anyone understand.

I was never really like the rest of them.

I was always really sane.

But face was turned away.

- What face?

- The face of God.

- Sydney, is he...?

- Its all right mother.

He's come to himself.

So...

- What am I to do?

- Whats that?

I...

I...

You don't say a word.

Aren't you glad to see me.

Ofcourse.

I'm glad...

Your poor Hilary!

If you only knew what it

was like to say to myself:

"I'm home!"

That place...

Forbid that was a bit comfort.

It was hell.

- Hell.

- They were good to you?

- Good enough.

- They didn't...

- ill treat you?

- Mother you know you

did the very best.

I fit had been heaven,

Wwhat difference does it make?

I was a dead man.

Do you know what the

dead do in heaven?

They sit on their golden

chairs sicken for home.

- Why did you never come?

- They wouldn't let me.

- It made you worse.

- Because I wanted you so much.

- You didn't know me.

- My voice didn't.

And my speech and

my action didn't.

But I knew you, Meg.

Behind the curtain,

and the dreams, and the noises

and the abandonment of God.

I wanted you.

I wanted...

We mustn't talk about these things.

It isn't safe. I tell you,

when I talk, I see a

black hand reaching

up through the floor.

You see? That wide

Rate this script:3.0 / 4 votes

Howard Estabrook

Howard Estabrook (born Howard Bolles, July 11, 1884 – July 16, 1978) was an American actor, film director and producer, and screenwriter. more…

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Submitted on August 05, 2018

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