The Little Foxes Page #11

Synopsis: The ruthless, moneyed Hubbard clan lives in, and poisons, their part of the deep South at the turn of the 20th century. Regina Giddons née Hubbard has her daughter under her thumb. Mrs. Giddons is estranged from her husband, who is convalescing in Baltimore and suffers from a terminal illness. But she needs him home, and will manipulate her daughter to help bring him back. She has a sneaky business deal that she's cooking up with her two elder brothers, Oscar and Ben. Oscar has a flighty, unhappy wife and a dishonest worm of a son. Will the daughter have to marry this contemptible cousin? Who will she grow up to be - her mother or her aunt? Or can she escape the fate of both?
Genre: Drama, Romance
Director(s): William Wyler
Production: RKO
  Nominated for 9 Oscars. Another 3 wins.
 
IMDB:
8.2
Rotten Tomatoes:
100%
APPROVED
Year:
1941
116 min
2,088 Views


Would you pour me a brandy, please?

Get one for yourselves.

Perhaps we're all going to need it.

Are you getting a cold, Oscar?

Ben, shall we take up

our conversation where we left off?

What more is there

to talk about?

Really, Oscar, you're not

very bright, are you?

Ben, would you like to

or shall I explain to Oscar...

that you were quite safe while Horace

lived to say he lent you the bonds.

But Horace is not alive now.

I've already said I want 75 percent of

the new firm in exchange for the bonds.

This I have not said:

If I don't get what I want,

I'll put all of you in jail.

What are you talking about?

On what evidence would you

put Oscar and Leo in jail?

Listen to him, Oscar. He's getting ready

to swear it was you and Leo.

Don't be angry, Oscar.

I'll see he goes in with you.

They were Horace's bonds.

There's nothing you can do.

- He was willing to loan them to us.

- Stop pretending.

- Tomorrow I'm going to Judge Simms.

- What proof of all this...

The bonds are missing, and they're

with Marshall. That's proof enough.

If it isn't,

I'll add what's necessary.

- I'm sure of that.

- We'll deny...

Deny your heads off.

What jury would believe you?

I don't think you could find 12 men

in this state you haven't cheated.

What kind of talk is this?

We're your own brothers.

How can you talk this way

when not five minutes ago...

Yes, Mama...

not five minutes ago.

We know how you feel.

The whole town loved

and respected your father.

Did you love him,

Uncle Oscar?

Did you love him,

Uncle Ben?

And you, Mama,

did you love him too?

Go lie down, my dear.

It takes time for all of us...

to get over a shock like this.

Please go.

What was Papa doing

on the staircase?

Go and rest.

- I want to talk to you, Mama.

- Not now.

I'll wait.

I've plenty of time now.

As I was saying, tomorrow morning

I'm going to Judge Simms.

- I shall tell him about Leo.

- Not in front of the child.

I didn't ask her to stay.

Where was I?

Yes, they'll convict you.

But, of course, you have your choice.

I don't want to hear any more.

There will be no more bargaining!

I'll take my 75 percent

and forget the story forever.

That's one way of doing it

and the way I prefer.

You should know me well enough to know

I don't mind taking the other way.

None of us have ever

known you well enough.

You're getting old, Ben. Your tricks

aren't as smart as they used to be.

All right, then, I take it that's

settled, and I get what I asked for.

- Are you going to let her do this?

- You have a suggestion?

No, he hasn't.

Come, Leo and Oscar.

You can go home now.

Good night.

You too, Ben.

If you all behave yourselves,

I'll forget anybody saw the bonds.

You can draw up

the necessary papers tomorrow.

Be quick about it because I'm not

very good at this legal business.

You boys are sort of working

for me from now on.

You're a good loser.

I like that.

I say to myself:

What's the good?

You and I aren't like Oscar.

We're not sour people.

I think that comes

from a good digestion.

Then too, one loses today

and wins tomorrow.

I say to myself:
Years of planning

and I get what I want.

Then I don't get it.

But I'm not discouraged.

The world's open for people

like you and me.

There's thousands of us

all over the world.

We'll own this country some day.

They won't try to stop us.

- We'll get along.

- I think so.

Then too, I say to myself:

Things may change.

I agree with Alexandra.

What was a man in a wheelchair

doing on a staircase?

- I ask myself that.

- And what do you answer?

I have no answer.

Maybe someday I will.

Maybe never,

but maybe someday.

- When I do, I'll let you know.

- Write me. I'll be in Chicago.

I will.

Good night, Alexandra.

You're turning out to be

a right interesting girl.

Good night.

What was it you wanted

to talk to me about?

I've changed my mind, Mama.

There's nothing

to talk about now.

I know you've had a bad shock...

but you must have

expected this to come.

You knew how sick he was.

Yes, we all knew

how sick he was.

I'm very tired,

and I'm going up to bed.

Put all the lights out

or the whole town will be over.

Be sure the windows are all closed.

The rain may come in.

Don't sit there

staring like that.

You've been with Birdie so much,

you're getting just like her.

That's what Aunt Birdie said.

Yes, I might have been

just like her.

Don't grieve too much. You'll be better

when you get to Chicago.

I'm gonna get you the world

I always wanted.

I don't want the world, Mama.

I'm not going to Chicago with you.

You're very upset.

Let's talk about it tomorrow.

There's nothing to talk about.

I'm going away from you

because I want to.

Because I know Papa

would want me to.

You know your papa would want you

to go away from me?

Yes.

And if I say no?

Say it, Mama.

Say it and see what happens.

You're very serious about this,

aren't you?

You'll change your mind

in a couple of days.

I've come to the end of my rope!

Somewhere there's got to be

what I want too. Life goes too fast.

You can go where you want,

do what you want, think what you want.

I'd like to keep you with me,

but I won't make you stay.

You couldn't, Mama, because

I don't want to stay with you.

Because I'm beginning

to understand about things.

Addie said there were people

who ate the Earth...

and people who stood around

and watched them do it.

Just now, Uncle Ben said the same thing,

really the same thing.

Tell him for me, Mama,

I'm not going to watch you do it.

Tell him I'll be fighting

as hard as he is...

someplace where people

don't just stand around and watch.

Why, you have spirit after all.

I used to think

you were all sugar water.

We don't have to be bad friends.

I don't want us to be bad friends.

Would you like

to talk with me, Alexandra?

Would you like to sleep

in my room tonight?

Why, Mama?

Are you afraid?

Rate this script:5.0 / 1 vote

Lillian Hellman

Lillian Florence Hellman (June 20, 1905 – June 30, 1984) was an American dramatist and screenwriter known for her success as a playwright on Broadway, as well as her left-wing sympathies and political activism. She was blacklisted after her appearance before the House Committee on Un-American Activities (HUAC) at the height of the anti-communist campaigns of 1947–52. Although she continued to work on Broadway in the 1950s, her blacklisting by the American film industry caused a drop in her income. Many praised Hellman for refusing to answer questions by HUAC, but others believed, despite her denial, that she had belonged to the Communist Party. As a playwright, Hellman had many successes on Broadway, including Watch on the Rhine, The Autumn Garden, Toys in the Attic, Another Part of the Forest, The Children's Hour and The Little Foxes. She adapted her semi-autobiographical play The Little Foxes into a screenplay, which starred Bette Davis and received an Academy Award nomination in 1942. Hellman was romantically involved with fellow writer and political activist Dashiell Hammett, author of the classic detective novels The Maltese Falcon and The Thin Man, who also was blacklisted for 10 years until his death in 1961. The couple never married. Hellman's accuracy was challenged after she brought a libel suit against Mary McCarthy. In 1979, on The Dick Cavett Show, McCarthy said that "every word she writes is a lie, including 'and' and 'the'." During the libel suit, investigators found errors in Hellman's popular memoirs such as Pentimento. They said that the "Julia" section of Pentimento, which had been the basis for the Oscar-winning 1977 movie of the same name, was actually based on the life of Muriel Gardiner. Martha Gellhorn, one of the most prominent war correspondents of the twentieth century, as well as Ernest Hemingway's third wife, said that Hellman's remembrances of Hemingway and the Spanish Civil War were wrong. McCarthy, Gellhorn and others accused Hellman of lying about her membership in the Communist Party and being an unrepentant Stalinist. more…

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Submitted on August 05, 2018

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    "The Little Foxes" Scripts.com. STANDS4 LLC, 2024. Web. 26 Jul 2024. <https://www.scripts.com/script/the_little_foxes_12659>.

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