True Confession Page #3

Synopsis: Helen and Ken are a pretty strange couple. She is a pathological liar, and he is a scrupulously honest (and therefore unsuccessful) lawyer. Helen starts a new job, and when her employer is found dead, all the (circumstantial) evidence points at her. She is put on trial for murder, and her husband defends her. He thinks she is lying again when she says she didn't do it, and insists she plead that she did, but in self defense. Charlie, a shady, odd character who may or may not know something about what really happened, hangs around the courtroom and jail making rude comments and noises. After Helen is acquitted, he tries to blackmail them.
Genre: Comedy, Crime
Director(s): Wesley Ruggles
Production: Paramount Pictures
 
IMDB:
7.4
APPROVED
Year:
1937
85 min
91 Views


Thank you, sir. If I only knew-

Otto. Otto- if I only

knew how to get started, I-

You're, uh, married, didn't you say? Yes, sir

- Otto.

Uh, what sort of a man is he?

Fine.

How do you mean?

Bring your chair a little closer.

A little closer.

That's better. For instance,

suppose we had some work to do

on a weekend, out of town.

Oh, I couldn't do that.

Everything's all right.

We'll find a way.

Well, well, another day.

Take a letter.

Oh, I can't. Remember?

Oh, that's right.

Do you know any word games

or anything?

No, Sir. But all the while I'm working,

I'm going to be learning shorthand.

I'm gonna get one of those little books with

all the funny markings in it. That's fine.

Maybe if you talk real slow. I think you should

be getting something for your money, don't you?

Yes, indeed.

You're going to like it here, Helen.

And I'm going to like you.

The first thing we must do

is reach an understanding.

You know what I mean? Yes, Otto,

that we understand each other.

That's right. Sit down.

No- No, thanks.

I mean, I'm sitting already.

Oh, that's no way to act.

Oh, come on.

Don't you think we should start

answering your mail or something?

If you'll just go back and read

those letters. Quit following me!

I'm not following you.

Now, don't get excited.

After all, old friend of the family, $50

a week, three hours a day. Stand still!

Now, Helen, nothing's going to happen.

After all, you're new here.

But I've been in business

for 25 years.

Let go of me! I quit!

Helen, we're starting off all wrong.

Uh- Oh! Oh!

I- It's all right. It's my fault.

Well, uh- ooh!

Hey, listen, the next time a guy offers

you $50 a week for three hours work,

five days a week, and you decide that a

new day has dawned for the working girl-

This is it.

Heh, you call that an office?

It's both. He lives here too.

Well, I wouldn't give you a nickel

for the business he does in that layout.

Well, go ahead in and tell him you've

come for my hat, coat and purse.

I'll wait right here.

Oh, is that so?

Listen, I'll do the waiting

right outside the door.

And if you know what's good for you, you'll-you'll just

try and sneak in and get your things without his seeing you.

Why won't you go in with me?

Well, somebody has to be outside

to call for help when, uh-

when you don't come out.

Oh, please.

Please, look at me. I'm

all upset. That's too bad.

All right.

Here's the end of everything.

Try the door.

Maybe it's unlocked.

What's that?

- Police.

- Why?

Well, how should I know?

They're coming in here.

Let's beat it.

Howdy, sisters.

What are you doing here?

We, uh

- That's fine. Bring 'em inside, boys.

Hey, you!

Keep the giris here.

Go on.

Sit down.

What goes on here?

I'm a stranger.

Search everything.

Why, the way they're acting, you'd

think somebody's been murdered. Yeah.

Hey, Prince.

Yes, sir.

Show the men around the house.

Yes, sir.

Joe, take the front.

Harry, the back.

And don't let no reporters in

till you get word from me. Sure.

Who's he?

I don't know.

What are you whispering about?

Nothing.

Don't tell me nothin'!

I heard you whispering!

You did?

We were just wondering

if that's your own hair.

What were you doin'

out in front?

Nothing.

Yes, we were.

She came here to get her hat and coat and purse.

And let's get 'em and get out of this joint.

Oh, by all means.

So, you come

to get your things, huh?

Would you mind telling me

when you left them here?

This morning, in there.

Grand. Let's go get 'em.

Certainly will be glad

to get out of this place.

Why I ever took

such a crazy thing-

See? They're- They're right here like I

told you, and I put my purse over here-

- What's that?

- You wouldn't know, would ya, honey?

Ohh!

I- It's a man.

Otto.

Otto?

A nice point.

And through the carpet too.

What happened?

How's about you telling me?

And how about you?

Were you here this morning too?

Let's get out of here, Daisy.

I wouldn't leave.

Let's go back

to the other room and talk.

Don't do it. You don't have to talk without

a lawyer. Get Ken. What's there to talk about?

I was here this morning,

but I didn't have anything to do with

- with that.

No, of course not. But let's

talk anyway, just for fun.

You don't have to do it.

Get Ken. I can't get Ken!

I don't want him

to know I was-

Was what, honey?

Nothing.

And don't call me ''Honey''!

You said ''was.''

You were gonna say ''was'' something.

Right.

Helen-

Let's see.

Why is your girlfriend with you?

I asked her. I didn't want

to come back here alone.

Why not?

Don't talk!

I have to talk.

I have to tell him what I know.

Listen, it would be better for me

if my husband doesn't know I was here.

If I answer all the questions, is there any way

of keeping my husband from hearing about this?

Probably.

Oh, that's fine.

What I mean is, if you keep him

locked in a dark room with no radio.

All right. What do you want

to know? Why did you do it?

All I did was run out of here.

Okay. Why did you do that?

Well, I mean,

I hit him first before I ran out.

You hit him, eh? Two fist marks,

eh? Right through the head!

Is he shot?

Where did you hide the gun?

I didn't have a gun.

No, of course not.

Where's the dough? Where's the

$12,000 that you took out of that desk?

You know something?

No, what?

I think you're crazy,

and I'm going home!

Oh, no, you're not. You're going

downtown with me later, honey.

I am not.

Oh, yes, you are.

Don't talk. You don't have

to talk without a lawyer.

No, no. Never talk

without a lawyer.

Listen, honey,

I- I hate to complain,

but as long as you had

to kill somebody,

why couldn't it be her?

Eh-

There he sits!

There he sits, the man that you thought

loved you, but he don't love you anymore.

He just told ya.

So you stand,

looking at this man-

lookin'and hatin'

as only a dame can hate.!

All of a sudden,

out comes your gun and bam!

- Bam! Bam!

- Bam. Bam. Uh, b-

Huh-J-

Uh, Krayler topples off the chair-

Wham! On the floor, dead as a doughnut.

You fly out on the lam, so excited

you forget your purse and stuff!.

There you are.

Just as simple as that.

You mean, I did it because he-

That's it. That's it. Now, wait.

Now, wait-

Come on now, confess.

We'll duck the electric chair.

I guarantee that you get

nothing worse than life! Life?

Yeah.

But I didn't do it.

I said you did. I did not! If I did it like

you said, where does the $12,000 come in?

Uh- Oh, that, huh?

Shh. Uh-

Now I know what happened!

All at once it's clear to me.

That's fine.

You don't love him, see?

You never did love him!

You don't love nobody.

You're that type of a dame!

Oh, gee.

You know he's got

$12,000 in that desk,

so you wait around

till he ain't lookin', and bam!

Bam.

You let him have it.

Then you get the dough.

Then you start to arrange Krayler

so it looks like suicide.

And all of a sudden

you hear the butler coming.

You get excited and you run out,

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Claude Binyon

Claude Binyon (October 17, 1905 Chicago, Illinois – February 14, 1978 Glendale, California) was a screenwriter and director. His genres were comedy, musicals, and romances. As a Chicago-based journalist for the Examiner newspaper, he became city editor of the show business trade magazine Variety in the late 1920s. According to Robert Landry, who worked at Variety for 50 years including as managing editor, Binyon came up with the famous 1929 stock market crash headline, "Wall Street Lays An Egg." (However, writer Ken Bloom ascribes the headline to Variety publisher Sime Silverman.)He switched from writing about movies for Variety to screenwriting for the Paramount Studio with 1932's If I Had A Million; his later screenwriting credits included The Gilded Lily (1935), Sing You Sinners (1938), and Arizona (1940). Throughout the 1930s, Binyon's screenplays were often directed by Wesley Ruggles, including the "classic" True Confession (1938). Fourteen feature films by Ruggles had screenplays by Binyon. Claude Binyon was also the scriptwriter for the second series of the Bing Crosby Entertains radio show (1934-1935). In 1948, Binyon made his directorial bow with The Saxon Charm (1948), for which he also wrote the screenplay. He went on to write and direct the low-key comedy noir Stella (1950), Mother Didn't Tell Me (1950), Aaron Slick of Pun'kin Crick (1952), and the Clifton Webb farce Dreamboat (1952). He directed, but didn't write, Family Honeymoon (1949) as well as Bob Hope's sole venture into 3-D, Here Come the Girls (1953). After his death on February 14, 1978, he was buried at the Forest Lawn Memorial Park in Glendale, California. more…

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