Rebecca of Sunnybrook Farm Page #2

Synopsis: Rebecca's Uncle Harry leaves her with Aunt Miranda who forbids her to associate with show people. But neighbor Anthony Kent is a talent scout who secretly set it up for her to broadcast.
Genre: Comedy, Drama, Family
Director(s): Allan Dwan
Production: Twentieth Century Fox Home Entertainment
 
IMDB:
7.1
APPROVED
Year:
1938
81 min
429 Views


Well, I've done all can for you.

I taught you all know.

Yes. I guess it just

wasn't enough.

Good-bye, Mr. Bartlett. I'm glad

everything's turned out so well.

So am I, Kent. And don't let anything

happen to that little girl.

Without her, there's no program.

- Just tune in next Wednesday night.

- I'll be glued to that radio.

- Yes?

- Okay for the next kid, chief?

What do you mean "the next kid"? Bring in

the little girl that just sang, and fast.

Well, I didn't think-You didn't-

I didn't think you liked her.

- She just left.

- She just-What? Get her back here!

I want that kid right now!

Oh, of all the stupid,

dumb morons

- Who, me?

- Oh, hello, Lola:

Well, that's a fine greeting

after last night's stand-up.

I'm sorry, Lola.

I was busy. I forgot.

I waited three hours for you.

- I said I'm sorry.

- You still haven't told me where you were.

Lola, can't you understand?

I've been busy, and when I say "busy,"

I mean crazy.

I've had kids in my hair day and night.

Now, please don't make it any worse!

- Well, you needn't scream.

- Who's screaming?

Hello. Stoddard?

Did you see a big girl with a little man?

I mean, a little man

with a big girl. l-

What's that? They're down there?

Hold them! Stop them! Yes.

Send them back to Kent's office

right away.

Oh, Myrtle,

I thought I made a mistake.

Impossible.

All right, all right.

If you insist, then I wasn't working.

I was out with a blonde,

a beautiful, gorgeous, luscious blonde.

And we're going to be married next week.

Are you satisfied?

Ah, Tony, we're crazy

fighting like this.

It's okay, chief.

They're on their way back up here.

Oh. Hello, Lola.

Hello, love of my life.

Aw, cut it out, Lola.

Can I help it if go all pieces

when I see you?

The man and the little girl

are here, Mr. Kent.

Oh!

Well, come right in. I'm certainly glad

we caught you in time.

When they tapped me on the shoulder,

I thought it was the cops.

But, chief, she isn't-

That isn't-

Keep quiet, Orville. Lola, I want you to

get a load of this kid's voice.

She's sensational. Sing me

that last chorus of your song, honey.

Wait a minute. Wait a minute.

Please. Oh, wait till he finds out.

- Just listen to this.

- Chief, chief.

Let her go, Florabelle!

#You got to each

your spinach, baby #

- Oh.

- Come on. Pull yourself

together, sweetheart!

Ouch!

- # You got to eat your spinach #

- That's plenty.

- That's plenty.

- Well, this guy-

- I said that's enough.

- This bird here-

You'll be hearing from me very soon,

very soon indeed.

- This guy told us...

- I'll be calling you up someday.

- But this fellow-

- Yes, yes. Good-bye. Good-bye.

- I am going to cut you

up and sell you for bait.

- It wasn't my fault.

Do you realize if we don't find that kid,

Bartlett cancels everything?

Careful, Tony. Remember your apoplexy.

I gotta run now, darling.

- Bye, Casanova.

- Good-bye, Lola.

I gotta hand it to you, Orville.

I've been out on a limb

before, but I've never had a

guy behind me sawing it off.

You realize we're on

the worst spot of the century?

You've got nothing to worry about, chief.

We've got the kid's address.

- You have?

- Of course. We've got all their addresses.

- Yes?

- Did you get the addresses of

every one of the applicants?

- Yes.

- Well.

That's a load off my mind.

Whew. I'm dead.

Between you and Lola and

getting this program set, I'm going screwy.

Why don't you take a run down

to Atlantic City for a few days?

Atlantic City. That's the sort of place

I'm trying to get away from.

I'm going up to my farm

where I can relax.

Birds, trees, new-mown hay,

the simple life.

Well, anyway, that's what I need.

Oh, when you find that kid,

be sure you get the contract signed.

Pay her anything she wants!

Well, within reason.

If you make any mistakes,

I'm going to tear your head off

and use it for a doorstop.

- Okay, chief. You know me.

- I'm still regretting it.

Now you're going to meet

your Aunt Miranda.

I wonder if she'll like me.

You be nice to her,

and she'll be nice to you.

Uncle Harry...

is this where my mother used to live

when she was a little girl?

Yup.

I think I'm going to like it here.

Wait for me.

How do you do?

I guess you must be my Aunt Miranda.

Heavens above.

It's Bess's child.

- How did you ever get here?

- Oh, we drove up on the village bus.

"We"? Who's we?

Why, Uncle Harry and I.

There ought to be a law

against loose planks.

- It's a miracle I'm still alive.

- It's no miracle.

It's a calamity. I suppose you want

something, as usual.

Let's not start by quarreling, Miranda.

I'm only going to be here a few minutes.

That's long enough for me.

My, this is a very fine boarding house.

This is no boarding house, honey.

I thought everyone took in roomers.

A nice environment

you've given her.

I want to have

my environment fixed.

- I'll wager the child hasn't

had a bit of food.

- Oh, yes, I have.

Uncle Harry bought me a candy bar.

Candy bar?

Take the child in the kitchen and

get her something decent to eat.

- Oh, I can help myself.

I'm very self-reliant.

- I'm hungry too.

Let's go together, huh?

My name's Rebecca Winstead.

What's yours?

- I'm Gwen Warren. We're first cousins.

- Oh, are we?

My, it's nice to get-out

in the country again.

You certainly have

a cozy little place here, Miranda.

Get to the point, Harry.

Well, Miranda, it's this way.

I've had Rebecca on my hands

for some time now.

It's been quite a burden. Of course,

I'm only too glad to take care of the child.

Although she really isn't

my own, you might say.

But lately I've had several

financial reverses, and I thought-

You're trying to tell me you want me

to take the child off your hands.

I'd hardly put it that way, Miranda,

but that's the general idea.

Listen to me, Harry Kipper.

I'll take Rebecca,

but only on one condition.

Promise to let me have her for good, so

I can give her the right kind of upbringing.

I don't want her to come to

a bad end like her mother.

Now, now, your sister

didn't do so bad.

- You're just against show people.

- Show people!

If Bess hadn't eloped with that

opera singer who died without a cent...

she wouldn't have had to marry

a no-good like you!

- Now, Miranda.

- Don't you "Now, Miranda" me!

Will you promise not to come back here

if I take the child?

It's a sacrifice, but I'll go for anything

that's good for Rebecca.

- You know me, Miranda.

- Yes, I know you.

- You're probably in a hurry. Good-bye.

- Oh, just one more thing.

I've been sort of short lately,

and I thought that maybe-

I wouldn't lend you a cent

if it was to save your life, Harry Kipper.

Well, no harm in asking.

Aunt Miranda,

you certainly are a good cook.

- Bye-bye, Rebecca. Don't miss me too much.

- I won't, Uncle Harry.

Well, see you folks in church.

Maybe it's for the best.

He has been an awful trial to me.

- Take her up to the side room.

- Come on, darling.

Rate this script:5.0 / 1 vote

Karl Tunberg

Karl Tunberg (March 11, 1907 − April 3, 1992) was an American screenwriter and occasional film producer. His screenplays for Tall, Dark and Handsome (1941) and Ben-Hur (1959) were nominated for the Academy Award for Best Original Screenplay and Best Adapted Screenplay, respectively. more…

All Karl Tunberg scripts | Karl Tunberg Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Rebecca of Sunnybrook Farm" Scripts.com. STANDS4 LLC, 2024. Web. 19 Nov. 2024. <https://www.scripts.com/script/rebecca_of_sunnybrook_farm_16651>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Rebecca of Sunnybrook Farm

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is a "MacGuffin" in screenwriting?
    A A type of camera shot
    B A subplot
    C An object or goal that drives the plot
    D A character's inner monologue