The Little Foxes Page #6

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
2,159 Views


to tell you.

I was not asking for your sympathy.

Let's try to get along

a little better than we usually do.

Yes. It's foolish

for us to fight this way.

I didn't mean to be unpleasant.

It was very stupid of me.

I didn't either. I came home

wanting so much not to fight.

Yes, let's try to get along better.

I want to very much.

Can we pay our respects?

Yes, you can pay your respects,

as you say.

So the fugitives

have arrived at last.

Welcome home, Horace.

You had us all mighty worried.

- Hello, Ben, Oscar.

- It sure is good to see you.

- You're looking tip-top. Yes, sir.

- Am I?

Everybody in town's

been asking for you.

But then you only know how folks

really feel through an absence.

- Ain't that true?

- I hope so.

Horace! I just found out

you were back.

You don't look well.

No, you don't.

- What a thing to say.

- Oscar thinks I look tip-top.

What is that costume you have on?

Now that you're home, you'll feel

better. We'll take fine care of you.

I asked what is that strange costume

you're parading around in?

Me? Oh, it's my wrapper.

I was so excited about Horace...

Did you come across the street

dressed that way? My dear Birdie!

Just like old times.

- No fights. This is a holiday.

- I'll go right home.

You'll be running back

across the square like that.

I'm sorry, Oscar.

We've been having

some mighty fine weather.

Yes, sir. You'll enjoy

the good sunshine and fresh air...

I don't like to worry you

when you're tired...

but Ben has some very important

business to talk over with you.

- Tomorrow.

- I'd like to now.

It's very important to me,

very important to all of us.

Important to your beloved daughter.

She'll be a very great heiress.

- Will she? That's nice.

- Please.

You said we'll try

to get along better.

I'll try, I really will,

only please do this for me now.

You'll see what I've done for you

while you've been away.

Ben, tell Horace all about it,

only be quick because he's very tired...

and he must go to bed.

See how I've watched

your interests.

I think that your news

will be better for him...

than all the doctors

and medicine in the world.

I hope so,

but my news can wait.

Horace may not feel

like talking today.

What an old faker you are.

You know it can't wait.

You know the deal

must be closed this week.

You've been as anxious for him

to come home as I've been.

I suppose I have been.

And why not?

Horace has done Hubbard Sons

many a good turn.

Why shouldn't I be anxious

to help him now?

Help him when you need him.

That's what you mean.

What a woman you married, Horace.

Then I'll make it quick.

For 30 years I've cried...

"Bring the cotton mills

to the cotton. "

I'm here to tell you

they're on their way.

- Get...

- Can I get you something?

Water.

I'm sorry. I will.

You must excuse me now.

I'm feeling the trip.

- Would you ask Cal to come help me?

- Yes.

But the deal is coming to a close,

and Ben must move quickly.

- I understand.

- If you could listen a few minutes...

then I'll take care

of everything for you.

- Not today. Some other time.

- This is important to all of us.

Can't you see we've been waiting

for months for you to come home and...

I can see that you did

want me to come home.

We'll just run along home now.

We can talk about this tomorrow.

Come along, Oscar.

I didn't mean

that was the reason why...

I think you did mean it,

and that makes me very sad.

You think maybe he don't want

to go in with us?

It was a mistake

to talk to him today.

He's a sick man,

but he ain't a crazy one.

Suppose he is crazy.

What then?

Then we'll go outside

for the money.

- There's plenty who'll give it.

- They'll want a lot for what they give.

Ones that are rich enough to give

will be smart enough to want.

That means

we'd be working for them.

You don't have to tell me

the things I told you six months ago.

Regina, you're a fool.

Mama told you it's unwise

for a good-looking woman to frown.

I told you softness and a smile

will do more to the hearts of men.

I'll do things in my own way.

I know what I'm doing.

I hope you do.

There is nothing to worry about.

Come along, Oscar.

Oh, Lord

Sound the trump of thejudgment

Hallelujah

White people

may have the pianos...

but the colored folks

have got the voices.

- Weary arms are totin'ol'cotton

- Give me a push.

- Good night. We had a lovely evening.

- Thank you.

- We had such a good time.

- Good night, Sally.

- It's good to see Horace again.

- I'm sorry he had to go up so early.

He has to be careful

till he gets his strength back.

Yes, of course.

Good night.

Good night.

- Tell Horace I'll see him tomorrow.

- Yes, I will. Good night.

I'll be along in a minute.

Leo, take your mama home.

- Can't I wait for you and Uncle Ben?

- No, run along.

- I'll be back.

- Never mind. Go on.

Come along, Mama.

Good night, Aunt Regina.

Didn't you two notice

that the party is over?

- We got a little talking to do.

- Not much, just a simple question.

- Have you got any news for us?

- Not yet, but I've talked to Horace.

I imagined you had, Regina.

I didn't want to hurry him too much.

You saw what happened that first day.

There's got

to be a little hurrying done.

I had a rather urgent letter

from Marshall this morning.

This thing's got to be closed

the end of the week.

That means Oscar's got to leave

for Chicago tomorrow.

It turns out we're in more of a hurry

than you thought we were.

We got to know tonight whether you

and Horace are coming in with us.

That was the time

I was working in the...

- It's time you were coming in.

- Not yet, Mama.

I'm talking to David.

When you've finished your talking,

come straight to bed.

Yes, Mama.

- Good night, David.

- Good night, Mrs. Giddens.

That's the first time I ever heard

your mother tell you to do something...

and you didn't hop to do it.

That's a funny thing to say.

You know, you take one step

and then you take another.

After a while, you find out

you're walking all by yourself.

You don't understand

what I'm talking about, do you?

An awful lot of things

I don't understand lately.

Things that are happening here.

I could explain them to you,

but you wouldn't like me if I did.

You've got to find them out

for yourself.

You'll know tonight.

Let's walk around the square.

Come on.

This cannot wait any longer.

Talk to us about it now.

- I've been patient for days.

- And persistent.

All right.

I understand we're getting

a larger share. Why?

Because I did

a little bargaining for you.

Convinced my brothers they weren't

the only Hubbards with business sense.

Did you have to convince them of that?

How little people know about each other.

You'll know better

about Regina next time, Ben.

Yes.

- Who's getting less?

- Oscar.

Oscar's gotten unselfish.

What's happened to you?

I'll get mine in the end.

He's got his son's future

to think about.

Leo.

Everybody will get theirs.

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…

All Lillian Hellman scripts | Lillian Hellman 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

    "The Little Foxes" Scripts.com. STANDS4 LLC, 2024. Web. 18 Nov. 2024. <https://www.scripts.com/script/the_little_foxes_12659>.

    We need you!

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

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    In which year was "Back to the Future" released?
    A 1984
    B 1987
    C 1986
    D 1985