The Little Foxes Page #3

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


he doesn't want to.

Of course he wants to come home.

You can't move around with heart trouble

at any moment you choose.

You know what doctors are like

on a case like this.

If he wants to, why doesn't he?

Doctors or no doctors!

Has it ever occurred to you that Horace

is also a good businessman?

- The bank's proof of that.

- Then perhaps he's remaining silent...

because he doesn't think

he's getting enough for his money.

Seventy-five thousand he has to put up.

That's a lot of money.

Nonsense. That seventy-five thousand

will make him a million.

That ain't what Regina means.

May I interpret you?

Regina's saying Horace wants more

than a third of our share.

He's putting up a third of the money.

You put up a third, you get a third.

What else could he expect?

I don't know about those things.

It would seem if you put up a third,

you would get a third.

And yet again, there's no law

about it, is there?

I should think if you knew

your money was badly needed...

you might just say,

"I want more.

I want a larger share. "

You boys have done that.

I've heard you say so.

So you believe Horace

is deliberately holding out?

I don't.

But I do believe that's what you want.

Am I right, Regina?

I wouldn't like to persuade Horace

unless he gets a larger share.

He's my husband.

I must look after his interests.

Where would this larger share

be coming from?

I don't know about things like this.

Maybe it could come

off your share, Oscar.

What kind of talk is this?

I haven't said a thing.

You're talking big tonight.

Am I?

You should know me

well enough by now...

to know I don't ask for things

I don't think I can get.

I don't believe you can get the money

or get Horace to come home.

I can get him home.

How can you get him home?

I will send Alexandra

to Baltimore.

She will tell her father that

she wants him to come home...

that I miss him very much

and that I want him to come home.

You know Horace.

He'll come home.

I admire you, Regina.

But before he comes,

what's he going to get?

How much do you want?

Twice what you offered.

- You won't get it.

- You've gone crazy.

- I don't want to fight.

- I don't either, Regina.

You're holding us up.

Now, that's not pretty.

But we need you,

and I'm a peaceful man.

Here's what I'll do:

I'll give Horace 40 percent...

instead of the thirty-three and a third

he really should get...

provided he's home and his money is up

within two weeks.

- How's that?

- All right.

I've asked before:

Where is this extra share coming from?

- From your share.

- So that's my reward.

For 30 years I've worked for you,

done the things you didn't want to do.

My, I'm being attacked

on all sides tonight.

I can't believe the Lord means for

the strong to parade their strength...

but I don't mind doing it

if it's got to be done.

Oscar, you'll be a very rich man.

What does it matter if a little more

goes here, a little less goes there?

- It's all in the family.

- That's right.

I'll never marry, so my money

will go to Alexandra and Leo.

They might even marry someday.

That would make a great difference

in my feelings if they married.

- That's what I mean.

- Is that what you mean, Regina?

It's all too far away.

Addie, clean up.

- We'll talk about it in a few years.

- I want to talk about it now!

- But Zan is so young.

- There are many things to consider.

- They are first cousins.

- That isn't unusual.

Grandmother and Grandfather

were first cousins.

Yes, and look at us.

You're both being very gay

with my money.

Regina, Oscar is giving up

something for you.

You ought to try

and manage something for him.

- But Leo is a very wild boy.

- Yes, but...

please assure Oscar that you

will think about it seriously.

Very well. I assure you

I will think about it seriously.

- What kind of an answer is that?

- My, you're in a bad humor.

Now leave me alone.

Weren't those fine clothes

Mr. Marshall had?

Looks like maybe they were done

in England.

You should have come with us,

Aunt Birdie. It's a lovely night.

- Were you gracious to Mr. Marshall?

- I think so, Mama.

Good.

Now I have news for you.

You're going to Baltimore in the morning

to bring your father home.

Oh, Mama!

Addie, Papa's coming back.

We're going to bring him home.

You're going alone, Alexandra.

Going alone?

A child that age?

Mr. Horace ain't gonna like

Miss Zan traipsing...

Go upstairs and lay out

Miss Alexandra's things.

I'll attend

to your railroad ticket.

He'd expect me to be along.

I'll be up in a minute

to tell you what to pack!

Good night.

Have a nice trip.

- I could go with her.

- No, Birdie.

She's old enough

to assume some responsibility.

Better learn now.

Almost old enough to get married.

- Eh, son?

- Huh?

Old enough to get married,

you're thinking, huh?

Yes, sir. Lots of girls

get married at Zan's age.

Look at Mary Prester and Johanna.

Alexandra is not getting married

tomorrow...

but she is going to Baltimore.

So let's talk about that.

I should think you'd like to go. At your

age, I would have been delighted.

Addie has babied you too much.

I wanted to go before, Mama...

but you said you couldn't go

and that I couldn't go alone.

I've changed my mind. I must help Addie

get your things together.

Why don't you all go home?

Good night.

- Don't be long, Zan.

- Come along.

Imagine not wanting to go.

Wish it was me.

What I could do in a place

like Baltimore.

I can guess the kind of things

you could do.

No, you couldn't.

Oscar, don't be so glum.

You're getting to look as if

your shoes were always pinching.

- I must...

- I can take care of myself.

That's not what I'm worried about.

It's about Leo.

He's my own son, but you're more to me

than my own child.

- What's the matter?

- You're not going to marry Leo.

- Marry Leo?

- I couldn't stand to think of it.

Don't you understand?

They'll make you.

That's foolish.

I'm grown up.

Nobody can make me do anything.

I'm waiting for you.

Good night, Aunt Birdie.

Good night, Uncle Oscar.

What happened, Aunt Birdie?

Nothing, darling.

Nothing happened.

You go to bed.

I only twisted my ankle.

I'm coming, Mama.

And don't forget

about brushing your hair:

Fifty strokes in the morning,

a hundred at night.

- Mm-hmm.

- And don't use no store soap.

- Just use the soap I made you.

- Uh-huh.

Don't "uh-huh" me.

Are you listening?

- Yes.

- Good morning.

That Hannah Francis is sure

an ugly little girl, just like her ma.

There's smelling salts and perfumed

water in the little satchel.

Keep your gloves on so your hands

don't get dirty.

And don't talk to nobody on the train,

and don't get off more than you have to.

Just sit still like a lady.

Stop at Mrs. Hewitt's a minute.

I want to ask about my new dress.

- We ain't got no time to be stopping.

- Got plenty of time.

David!

Good morning.

Where are you going?

To Baltimore all by myself

to bring Papa home.

- I'll be gone a whole week maybe.

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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. 25 Jul 2024. <https://www.scripts.com/script/the_little_foxes_12659>.

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