The apartment
Executive Summary
Poster

Overview
Genres: Drama, Comedy, Romance, Character Study, Romantic Comedy, Family
Setting: 1959, New York City, primarily in a brownstone apartment and corporate office buildings
Overview: The story follows Bud Baxter, a diligent insurance worker in New York City, who finds himself caught in a web of corporate exploitation and personal loneliness. At the beginning, Bud lends his apartment to his colleagues for their extramarital affairs, hoping to gain favor and advance his career. As the narrative unfolds, he develops feelings for Fran Kubelik, an elevator operator entangled in a relationship with his manipulative boss, J.D. Sheldrake. The middle of the story explores Bud's internal struggles as he grapples with his moral compass and the consequences of his choices, particularly when Fran's emotional turmoil leads to a suicide attempt. In the end, Bud must confront his own integrity and decide whether to continue being exploited or to assert himself and pursue genuine connection with Fran.
Themes: Integrity vs. Ambition, Loneliness and Connection, Exploitation and Power Dynamics, Infidelity and Moral Compromise, Redemption and Empathy
Conflict and Stakes: Bud's struggle to navigate his feelings for Fran while dealing with Sheldrake's manipulative behavior and the consequences of their affair, with personal and professional stakes at risk.
Overall Mood: Bittersweet and comedic, with moments of tension and romance.
Mood/Tone at Key Scenes:
- Scene 1: Light-hearted and humorous as Bud shares quirky facts about New York City, setting a comedic tone.
Standout Features:
- Unique Hook: The use of an apartment as a central plot device for romantic entanglements and corporate manipulation.
- Character Dynamics: The complex relationships between Bud, Fran, and Sheldrake create a rich narrative filled with tension and humor.
- Setting: The 1950s New York City backdrop adds a nostalgic charm and enhances the story's themes of ambition and romance.
- Humor and Heart: The screenplay balances comedic elements with serious themes, making it both entertaining and thought-provoking.
Comparable Scripts:
- The Apartment (1960)
- The Graduate (1967)
- Mad Men (TV Series, 2007-2015)
- The Secret Life of Walter Mitty (2013)
- The Odd Couple (Play/Film, 1965)
- The 40-Year-Old Virgin (2005)
- The Pursuit of Happyness (2006)
- The Office (US, TV Series, 2005-2013)
- The Great Gatsby (Novel, 1925)
Writing Style:
The screenplay exhibits a blend of sharp wit, character-driven narratives, and sophisticated humor, often exploring complex relationships and workplace dynamics. There is a clear emphasis on dialogue-driven scenes with a naturalistic and engaging tone.
Style Similarities:
- Billy Wilder
- Aaron Sorkin
- Nora Ephron
Pass/Consider/Recommend
Highly Recommend
Explanation: Billy Wilder & I.A.L. Diamond's The Apartment is a nearly faultless blend of romantic comedy, social satire and bittersweet human drama. The script builds a clear, compelling throughline around C.C. "Bud" Baxter's ethical choices and emotional maturation, uses a tightly controlled set of recurring motifs (the key, the apartment, the elevator) and balances broad comic set-pieces with genuinely moving dramatic moments (Fran's overdose, Bud's moral decision). Strengths are its voice (VO and comic narration), layered character work (especially Baxter), razor-sharp dialogue and thematic unity (loneliness, corporate amorality, small acts of decency). Areas to improve — primarily if this were being adapted for a contemporary audience — include deepening Fran's interiority, interrogating the gender power imbalance more explicitly, and trimming a few comic set-pieces that slow the middle act. Overall pace, structure, and payoff are strong; the final scenes deliver an emotionally earned, quietly optimistic resolution. This is a classic screenplay with commercial and artistic longevity.
USP: The screenplay's unique selling proposition lies in its ability to balance biting corporate satire with genuine human emotion, creating a story that is both hilarious and heartbreaking. Its exploration of moral compromise in the workplace feels remarkably contemporary, while the central romance develops with uncommon authenticity. The film's distinctive voice-over technique and seamless integration of comedy and drama set it apart from conventional romantic comedies.
Market Analysis
Budget Estimate:$15-25 million
Target Audience Demographics: Adults aged 25-54, particularly those who enjoy romantic comedies and character-driven dramas.
Marketability: The screenplay features relatable themes of love and ambition, with a strong character arc and potential for star power, appealing to a broad audience.
The mix of humor and drama, along with a nostalgic setting, can attract both older audiences and younger viewers interested in classic storytelling.
While it has strong character development and engaging dialogue, the pacing may not appeal to all viewers, limiting its broader market potential.
Profit Potential: Moderate to high, as the film could perform well at the box office, especially with a strong marketing campaign and potential for awards recognition.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a blend of sharp, witty dialogue, observational humor, and subtle social commentary, often conveyed through naturalistic interactions and a focus on the mundane aspects of everyday life, particularly within a corporate setting. The writer's style incorporates both irony and genuine emotion, creating a nuanced and engaging narrative.
Best representation: Scene 17 - Elevator Anticipation. This scene is the best representation because it encapsulates the writer's ability to blend witty dialogue, subtle character interactions, and the mundane realities of office life into a cohesive and engaging narrative. Kirkeby's manipulation, Bud's compliance, and the brief glimpse into Sylvia's personal life showcase the writer's talent for revealing complex relationships and emotions through seemingly ordinary conversations. The dry humor and understated social commentary are also prominent features of the writer's unique style, making this scene a perfect encapsulation of their voice.
Memorable Lines:
- Bud: I love you, Miss Kubelik. (Scene 60)
- Bud: Some people take, some people get took -- and they know they're getting took -- and there's nothing they can do about it. (Scene 49)
- Bud: You fool -- you damn fool. (Scene 51)
- Bud: Now don't go getting any ideas, Miss Kubelik. (Scene 45)
- FRAN: Of course I'm not here -- because the whole thing never happened -- I never took those pills -- I never loved you -- we never even met -- isn't that the way you want it? (Scene 48)
Characters
C.C. Baxter (Bud):A 30-year-old insurance employee who is detail-oriented and struggles with personal relationships.
Fran Kubelik:A charming elevator operator who becomes the object of Bud's affection, dealing with her own emotional turmoil.
Jeff Sheldrake:The manipulative director of personnel who has an affair with Fran and uses Bud's apartment for his own purposes.
Mr. Kirkeby:A colleague of Bud's who is self-serving and often pressures Bud regarding the use of his apartment.
Dr. Dreyfuss:Bud's neighbor and a doctor who provides comic relief and medical assistance during critical moments.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Bud's Humorous Introduction to Corporate Life | Informative, Reflective | 8.2 | 9 | 8 | 8 | 8 | 6 | 8 | 7.5 | 6 | 8 | 7 | 8 | 7 | 7 | 8 | 9 | 8.5 | 8 | 8.5 | |
2 - Lonely Routine | Dry Humor, Observational, Melancholic | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 7.5 | 6 | 8 | 5 | 8 | 7 | 8 | 8 | 8.5 | 8.5 | 9 | 9 | |
3 - A Cha Cha and a Martini | Sardonic, Witty, Melancholic | 8.5 | 8 | 8 | 7.5 | 9 | 7 | 8 | 7.5 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
4 - Secrets in the Rain | Humorous, Tense, Sarcastic | 8.5 | 8 | 9 | 7.5 | 9 | 8 | 8 | 7.5 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 8.5 | 8 | 8 | 8 | |
5 - Shadows and Secrets | Sarcastic, Humorous, Tense | 8.2 | 8 | 8 | 7 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 6 | 8 | 8 | 7 | 8 | 8 | 8 | |
6 - After the Party | Sardonic, Resigned, Wry | 8.2 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 8 | 8 | 8.5 | 8 | 8 | 8 | |
7 - Awkward Exchanges | Sarcastic, Witty, Cynical | 8.2 | 8 | 8 | 8 | 9 | 6 | 8 | 6 | 6 | 6 | 5 | 7 | 6 | 7 | 9 | 8 | 7 | 7 | 7 | |
8 - A Night in Routine | Reflective, Lonely, Melancholic | 8.5 | 8 | 8 | 8 | 8 | 6 | 8 | 6 | 2 | 4 | 3 | 5 | 5 | 9 | 7 | 7 | 8 | 9 | 9 | |
9 - The Reluctant Favor | Resigned, Humorous, Obnoxious | 8.2 | 8 | 8 | 8 | 9 | 7 | 8 | 7.5 | 8 | 8 | 8 | 8 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
10 - Midnight Eavesdropping | Tension, Humor, Discomfort | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 8.5 | 9 | 9 | |
11 - Deception and Isolation | Suspenseful, Humorous, Melancholic | 8.5 | 8 | 9 | 8.5 | 8 | 7 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8.5 | 8 | |
12 - Morning Routine in the Lobby | Mundane, Melancholic, Satirical | 7.5 | 8 | 7 | 7 | 8 | 4 | 8 | 7 | 4 | 7 | 3 | 6 | 6 | 5 | 8 | 8 | 8 | 9 | 9 | |
13 - Elevator Encounters | Humorous, Casual, Sarcastic | 8.5 | 8 | 8 | 7 | 9 | 6 | 8 | 7 | 4 | 7 | 3 | 6 | 6 | 8 | 9 | 9 | 8 | 8 | 8 | |
14 - Office Dynamics and Personal Aspirations | Humorous, Sarcastic, Casual | 8.5 | 8 | 8 | 8.5 | 9 | 5 | 8 | 7.5 | 5 | 8 | 4 | 6 | 7 | 6 | 9 | 8.5 | 8 | 8 | 8 | |
15 - Key Mix-Up and Temperature Check | Humorous, Sarcastic, Witty | 8.5 | 8 | 9 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
16 - Corporate Conflicts and Calendar Chaos | Humorous, Conversational, Formal | 8.5 | 8 | 9 | 8 | 9 | 6 | 8 | 7.5 | 6 | 8 | 5 | 8 | 7 | 7 | 9 | 9 | 8.5 | 8 | 8 | |
17 - Schedule Switch and Date Night | Casual, Humorous, Businesslike | 8.2 | 8 | 8 | 8 | 9 | 5 | 8 | 7.5 | 6 | 8 | 4 | 7 | 7 | 6 | 9 | 9 | 8.5 | 8 | 8 | |
18 - Elevator Anticipation | Humorous, Conversational, Professional | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 7.5 | 6 | 8 | 5 | 8 | 7 | 7 | 9 | 8.5 | 8.5 | 9 | 9 | |
19 - Elevator Banter | Hopeful, Playful, Flirtatious | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 7.5 | 3 | 8 | 4 | 7 | 7 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
20 - A Moment of Support | Humorous, Wistful, Nostalgic | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 8 | 7 | 8 | 8 | 8 | 9 | 8.5 | 8 | 9 | 9 | |
21 - Confrontation in Sheldrake's Office | Serious, Humorous, Confrontational | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 7 | 8 | 8 | 8.5 | 8.5 | 9 | 9 | |
22 - The Price of Secrecy | Humorous, Conversational, Serious | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
23 - Unresolved Invitations | Romantic, Witty, Casual | 8.5 | 8 | 8 | 9 | 9 | 6 | 8 | 7 | 3 | 7 | 4 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
24 - A Night Out and a Dash of Humor | Playful, Hopeful, Nostalgic | 8.7 | 9 | 8 | 8 | 9 | 7 | 8 | 7.5 | 6 | 7 | 5 | 8 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
25 - A Tense Reunion at The Rickshaw | Wistful, Nostalgic, Emotional, Reflective | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 7 | 8 | 6 | 7 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
26 - A Bittersweet Reunion | Tense, Emotional, Reflective | 8.7 | 9 | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
27 - A New Beginning | Melancholic, Reflective, Lonely | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 3 | 7 | 2 | 6 | 6 | 9 | 8 | 7.5 | 8 | 8 | 8 | |
28 - Office Politics and Hidden Agendas | Tense, Sarcastic, Serious | 8.5 | 8 | 9 | 7.5 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
29 - Holiday Revelations | Light-hearted, Playful, Sarcastic | 8.5 | 8 | 9 | 8.5 | 9 | 7 | 8 | 7.5 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | 9 | 8 | 8.5 | 8 | |
30 - Unraveling Connections | Melancholic, Hopeful, Nostalgic | 8.7 | 9 | 8 | 8.5 | 9 | 9 | 8 | 7.5 | 8 | 7 | 7 | 8 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
31 - Lonely Spirits on Christmas Eve | Melancholic, Reflective, Lonely | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 6 | 8 | 5 | 7 | 7 | 9 | 8 | 8.5 | 8.5 | 9 | 9 | |
32 - Christmas Eve Despair | Melancholic, Reflective, Emotional | 9.2 | 9 | 9 | 9 | 10 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
33 - Closing Time at the Bar | Melancholic, Lonely, Intimate | 8.5 | 8 | 8 | 7.5 | 9 | 8 | 8 | 7.5 | 6 | 7 | 5 | 6 | 8 | 9 | 8 | 8.5 | 8.5 | 8 | 8 | |
34 - A Flirtatious Encounter | Melancholic, Sarcastic, Lonely | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
35 - From Flirtation to Desperation | Tense, Emotional, Sarcastic, Anxious | 9.2 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
36 - Desperate Measures | Anxious, Tense, Frantic, Concerned, Sarcastic | 8.7 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
37 - Dawn of Reckoning | Anxious, Regretful, Reflective | 8.7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
38 - The Noisy Neighbor | Tense, Anxious, Regretful | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
39 - Christmas Deception | Serious, Anxious, Concerned | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8.5 | 9 | 9 | |
40 - A Christmas Morning of Care | Melancholic, Regretful, Compassionate | 8.7 | 9 | 9 | 8.5 | 9 | 9 | 8 | 7.5 | 8 | 8 | 8 | 9 | 7 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
41 - A Bitter Exchange | Contemptuous, Regretful, Sarcastic | 8.5 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
42 - A Fragile Morning | Melancholic, Reflective, Compassionate | 8.7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
43 - Unexpected Guests | Tense, Confrontational, Emotional | 8.5 | 8 | 9 | 9 | 9 | 7 | 8 | 7.5 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
44 - Secrets and Misunderstandings | Tense, Emotional, Intimate | 8.7 | 9 | 8 | 8 | 9 | 9 | 8 | 7.5 | 9 | 7 | 8 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
45 - A Moment of Concern | Melancholic, Reflective, Tender | 8.7 | 9 | 8 | 8.5 | 9 | 7 | 8 | 7.5 | 4 | 8 | 5 | 6 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
46 - Bitter Farewell | Tense, Emotional, Confrontational | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 8.5 | 8.5 | 9 | 9 | |
47 - Silent Tensions | Tense, Emotional, Confrontational | 8.5 | 8 | 9 | 8.5 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
48 - Eavesdropping and Betrayal | Emotional, Confrontational, Reflective | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
49 - Gas Leak and Growing Connection | Anxious, Reflective, Light-hearted | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 6 | 7 | 5 | 7 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
50 - A Brother's Concern | Suspenseful, Humorous, Dramatic | 8.5 | 8 | 9 | 8.5 | 8 | 7 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
51 - A Tense Evening: Love and Conflict | Tender, Light-hearted, Tense | 8.5 | 8 | 9 | 8.5 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
52 - A Bold Proposal Amidst Mockery | Tension, Humor, Emotional | 8.5 | 8 | 9 | 8.5 | 9 | 9 | 8 | 7.5 | 9 | 8 | 8 | 9 | 7 | 9 | 8 | 8.5 | 8.5 | 9 | 9 | |
53 - Unexpected Revelations | Tense, Revealing, Confrontational | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8.5 | |
54 - A Promotion with Strings Attached | Tension, Resignation, Surprise | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
55 - Lonely Promotions | Reflective, Bittersweet, Resigned | 8.7 | 9 | 8 | 8 | 9 | 9 | 8 | 7.5 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 8.5 | 8 | 9 | 9 | |
56 - The Key to Compromise | Serious, Tense, Confrontational | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8.5 | 9 | 9 | |
57 - A Bold Departure | Resignation, Defiance, Transformation | 9.2 | 9 | 9 | 8 | 9 | 10 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
58 - New Year's Reflections | Reflective, Resigned, Casual | 8.5 | 8 | 8 | 7.5 | 9 | 7 | 8 | 7.5 | 3 | 8 | 4 | 6 | 7 | 8 | 8 | 8.5 | 8 | 8 | 8 | |
59 - Midnight Departure | Reflective, Melancholic, Regretful | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7.5 | 6 | 8 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
60 - A New Beginning | Romantic, Reflective, Hopeful | 8.5 | 8 | 8 | 8.5 | 9 | 7 | 9 | 7.5 | 4 | 8 | 3 | 7 | 7 | 9 | 9 | 9 | 8.5 | 9 | 9 |
Scene 1 - Bud's Humorous Introduction to Corporate Life
by
Billy Wilder
&
I.A.L. Diamond
Converted by D'Bear for pdfscreenplays.net
FADE IN:
A DESK COMPUTER
A man's hand is punching out a series of figures on the
keyboard.
BUD (V.O.)
On November first, 1959, the
population of New York City was if
you laid all these people end to
end, figuring an average height of
five feet six and a half inches,
they would reach from Times Square
to the outskirts of Karachi,
Pakistan. I know facts like this
because I work for an insurance
company --
THE INSURANCE BUILDING - A WET, FALL DAY
It's a big mother, covering a square block in lower
Manhattan, all glass and aluminum, jutting into the leaden
sky.
BUD (V.O.)
-- Consolidated Life of New York.
We are one of the top five
companies in the country -- last
year we wrote nine-point-three
billion dollars worth of policies.
Our home office has 31,259
employees -- which is more than the
entire population of Natchez,
Mississippi, of Gallup, New Mexico.
Ratings
Scene 2 - Lonely Routine
Acres of gray steel desk, gray steel filing cabinets, and
steel-gray faces under indirect light. One wall is lined
with glass-enclosed cubicles for the supervisory personnel.
It is all very neat, antiseptic, impersonal. The only human
tough is supplied by a bank of IBM machines, clacking away
cheerfully in the background.
BUD (V.O.)
I work on the nineteenth floor --
Ordinary Policy Department -
Premium Accounting Division -
Section W -- desk number 861.
(CONTINUED)
CONTINUED:
DESK 861
Like every other desk, it has a small name plate attached to
the side. This one reads C.C. BAXTER.
BUD (V.O.) (CONT’D)
My name is C.C. Baxter - C. for
Calvin, C. for Clifford -- however,
most people call me Bud. I've been
with Consolidated Life for three
years and ten months. I started in
the branch office in Cincinnati,
then transferred to New York. My
take-home pay is $94.70 a week, and
there are the usual fringe
benefits.
BAXTER is about thirty, serious, hard-working, unobtrusive.
He wears a Brooks Brothers type suit, which he bought
somewhere on Seventh Avenue, upstairs. There is a stack of
perforated premium cards in front of him, and he is totaling
them on the computing machine. He looks off.
ELECTRIC WALL CLOCK
It shows 5:19. With a click, the minute hand jumps to 5:20,
and a piercing bell goes off.
BUD (V.O.)
The hours in our department are to
5:20 --
FULL SHOT - OFFICE
Instantly all work stops. Papers are being put away,
typewriters and computing machines are covered, and everybody
starts clearing out. Within ten seconds, the place is empty -
- except for Bud Baxter, still bent over his work, marooned
in a sea of abandoned desks.
BUD (V.O.)
-- they're staggered by floors, so
that sixteen elevators can handle
the 31,259 employees without a
serious traffic jam. As for
myself, I very often stay on at the
office and work for an extra hour
or two -- especially when the
weather is bad. It's not that I'm
overly ambitious -- it's just a way
of killing time, until it's all
right for me to go home.
(MORE)
(CONTINUED)
CONTINUED:
BUD (V.O.) (CONT'D)
You see, I have this little problem
with my apartment --
DISSOLVE TO:
STREET IN THE WEST SIXTIES - EVENING
Bud, wearing a weather-beaten Ivy League raincoat and a
narrow-brimmed brown hat, comes walking slowly down the
street skirting the puddles on the sidewalk. He stops in
front of a converted brownstone, looks up.
BUD (V.O.)
I live in the West Sixties - just
half a block from Central Park. My
rent is $84 a month. It used to be
eighty until last July when Mrs.
Lieberman, the landlady, put in a
second-hand air conditioning unit.
The windows on the second floor are lit, but the shades are
drawn. From inside drifts the sound of cha cha music.
BUD (V.O.) (CONT’D)
It's a real nice apartment -
nothing fancy -- but kind of cozy --
just right for a bachelor. The only
problem is - I can't always get in
when I want to.
Ratings
Scene 3 - A Cha Cha and a Martini
What used to be the upstairs parlor of a one-family house in
the early 1900's has been chopped up into living room,
bedroom, bathroom and kitchen. The wallpaper is faded, the
carpets are threadbare, and the upholstered furniture could
stand shampooing.
There are lots of books, a record player, stacks of records,
a television set (21 inches and 24 payments), unframed prints
from the Museum of Modern Art (Picasso, Braque, Klee) tacked
up on the walls. Only one lamp is lit, for mood, and a cha
cha record is spinning around on the phonograph.
On the coffee table in front of the couch are a couple of
cocktail glasses, a pitcher with some martini dregs, an
almost empty bottle of vodka, a soup bowl with a few melting
ice cubes at the bottom, some potato chips, an ashtray filled
with cigar stubs and lipstick-stained cigarette butts, and a
woman's handbag.
(CONTINUED)
CONTINUED:
MR. KIRKEBY, a dapper, middle-aged man, stands in front of
the mirror above the fake fireplace, buttoning up his vest.
He does not notice that the buttons are out of alignment.
KIRKEBY
(calling off)
Come on, Sylvia. It's getting
late.
SYLVIA, a first baseman of a dame, redheaded and saftig,
comes cha cha-ing into the room, trying to fasten a necklace
as she hums along with the music. She dances amorously up to
Kirkeby.
KIRKEBY (CONT’D)
Cut it out, Sylvia. We got to get
out of here.
He helps her with the necklace, then turns off the
phonograph.
SYLVIA
What's the panic? I'm going to
have another martooni.
She crosses to the coffee table, starts to pour the remnants
of the vodka into the pitcher.
KIRKEBY
Please, Sylvia! It's a quarter to
nine!
SYLVIA
(dropping slivers of ice
into the pitcher)
First you can't wait to get me up
here, and now -- rush, rush, rush!
Makes a person feel cheap.
KIRKEBY
Sylvia -- sweetie -- it's not that -
- but I promised the guy I'd be out
of here by eight o'clock,
positively.
SYLVIA
(pouring martini)
What guy? Whose apartment is this,
anyway?
(CONTINUED)
CONTINUED: (2)
KIRKEBY
(exasperated)
What's the difference? Some
schnook that works in the office.
Ratings
Scene 4 - Secrets in the Rain
Bud is pacing back and forth, throwing an occasional glance
at the lit windows of his apartment. A middle-aged woman
with a dog on a leash approaches along the sidewalk. She is
MRS. LIEBERMAN, the dog is a Scottie, and they are both
wearing raincoats. Seeing them, Bud leans casually against
the stoop.
MRS. LIEBERMAN
Good evening, Mr. Baxter.
BUD
Good evening, Mrs. Lieberman.
MRS. LIEBERMAN
Some weather we're having. Must be
from all the meshugass at Cape
Canaveral.
(she is half-way up the
steps)
You locked out of your apartment?
BUD
No, no. Just waiting for a friend.
Good night, Mrs. Lieberman.
MRS. LIEBERMAN
Good night, Mr. Baxter.
She and the Scottie disappear into the house. Bud resumes
pacing, his eyes on the apartment windows. Suddenly he stops
-- the lights have gone out.
INT. SECOND FLOOR LANDING - EVENING
Kirkeby, in coat and hat, stands in the open doorway of the
darkened apartment.
KIRKEBY
Come on -- come on, Sylvia!
Sylvia comes cha cha-ing out, wearing an imitation Persian
lamb coat, her hat askew on her head, bag, gloves, and an
umbrella in her hand.
(CONTINUED)
CONTINUED:
SYLVIA
Some setup you got here. A real,
honest-to-goodness love nest.
KIRKEBY
Sssssh.
He locks the door, slips the key under the doormat.
SYLVIA
(still cha cha-ing)
You're one button off, Mr. Kirkeby.
She points to his exposed vest. Kirkeby looks down, sees
that the buttons are out of line. He starts to rebutton them
as they move down the narrow, dimly-lit stairs.
SYLVIA (CONT’D)
You got to watch those things.
Wives are getting smarter all the
time. Take Mr. Bernheim -- in the
Claims Department -- came home one
night with lipstick on his shirt --
told his wife he had a shrimp
cocktail for lunch -- so she took
it out to the lab and had it
analyzed -- so now she has the
house in Great Neck and the
children and the new Jaguar --
KIRKEBY
Don't you ever stop talking?
Ratings
Scene 5 - Shadows and Secrets
Bud, standing on the sidewalk, sees the front door start to
open. He moves quickly into the areaway, almost bumping into
the ashcans, stands in the shadow of the stoop with his back
turned discreetly toward Kirkeby and Sylvia as they come down
the steps.
KIRKEBY
Where do you live?
SYLVIA
I told you -- with my mother.
KIRKEBY
Where does she live?
SYLVIA
A hundred and seventy-ninth street -
- the Bronx.
(CONTINUED)
CONTINUED:
KIRKEBY
All right -- I'll take you to the
subway.
SYLVIA
Like hell you will. You'll buy me
a cab.
KIRKEBY
Why do all you dames have to live
in the Bronx?
SYLVIA
You mean you bring other girls up
here?
KIRKEBY
Certainly not. I'm a happily
married man.
They move down the street. Bud appears from the areaway,
glances after them, then mounts the steps, goes through the
front door.
INT. VESTIBULE - EVENING
There are eight mailboxes. Bud opens his, takes out a
magazine in a paper wrapper and a few letters, proceeds up
the staircase.
INT. SECOND FLOOR LANDING - EVENING
Bud, glancing through his mail, comes up to the door of his
apartment. As he bends down to lift the doormat, the door of
the rear apartment opens and MRS. DREYFUSS, a jovial well-fed
middle-aged woman, puts out a receptacle full of old papers
and empty cans. Bud looks around from his bent position.
BUD
Oh. Hello there, Mrs. Dreyfuss.
MRS. DREYFUSS
Something the matter?
BUD
I seem to have dropped my key.
(faking a little search)
Oh -- here it is.
He slides it out from under the mat, straightens up.
(CONTINUED)
CONTINUED:
MRS. DREYFUSS
Such a racket I heard in your place
-- maybe you had burglars.
BUD
Oh, you don't have to worry about
that -- nothing in there that
anybody would want to steal...
(unlocking door quickly)
Good night, Mrs. Dreyfuss.
He ducks into the apartment.
Ratings
Scene 6 - After the Party
Bud snaps on the lights, drops the mail and the key on a
small table, looks around with distaste at the mess his
visitors have left behind. He sniffs the stale air, crosses
to the window, pulls up the shade, opens it wide.
Now he takes off his hat and raincoat, gathers up the remains
of the cocktail party from the coffee table. Loaded down
with glasses, pitcher, empty vodka bottle, ice bowl and
potato chips, he starts toward the kitchen.
The doorbell rings. Bud stops, undecided what to do with the
stuff in his hands, then crosses to the hall door, barely
manages to get it open. Mr. Kirkeby barges in past him.
KIRKEBY
The little lady forgot her
galoshes.
He scours the room for the missing galoshes.
BUD
Mr. Kirkeby, I don't like to
complain -- but you were supposed
to be out of here by eight.
KIRKEBY
I know, Buddy-boy, I know. But
those things don't always run on
schedule -- like a Greyhound bus.
BUD
I don't mind in the summer -- but
on a rainy night -- and I haven't
had any dinner yet --
(CONTINUED)
CONTINUED:
KIRKEBY
Sure, sure. Look, kid -- I put in
a good word for you with Sheldrake,
in Personnel.
BUD
(perking up)
Mr. Sheldrake?
KIRKEBY
That's right. We were discussing
our department -- manpower-wise --
and promotion-wise --
(finds the galoshes behind
a chair)
-- and I told him what a bright boy
you were. They're always on the
lookout for young executives.
BUD
Thank you, Mr. Kirkeby.
KIRKEBY
(starting toward door)
You're on your way up, Buddy-boy.
And you're practically out of
liquor.
BUD
I know. Mr. Eichelberger -- in the
Mortgage Loan Department -- last
night he had a little Halloween
party here --
KIRKEBY
Well, lay in some vodka and some
vermouth -- and put my name on it.
BUD
Yes, Mr. Kirkeby. You still owe me
for the last two bottles --
KIRKEBY
I'll pay you on Friday.
(in the open doorwaY)
And whatever happened to those
little cheese crackers you used to
have around?
He exits, shutting the door.
(CONTINUED)
CONTINUED: (2)
BUD
(making a mental note)
Cheese crackers.
He carries his load into the kitchen. The kitchen is minute
and cluttered. On the drainboard are an empty vermouth
bottle, some ice-cube trays, a jar with one olive in it, and
a crumpled potato-chip bag. Bud comes in, dumps his load on
the drainboard, opens the old-fashioned refrigerator. He
takes out a frozen chicken dinner, turns the oven on, lights
it with a match, rips the protective paper off the aluminum
tray and shoves it in. Now he starts to clean up the mess on
the drainboard.
He rinses the cocktail glasses, is about to empty the martini
pitcher into the sink, thinks better of it. He pours the
contents into a glass, plops the lone olive out of the jar,
scoops up the last handful of potato chips, toasts an
imaginary companion, and drinks up.
Then he pulls a wastebasket from under the sink. It is
brimful of liquor bottles, and Bud adds the empty vodka and
vermouth bottles and the olive jar. Picking up the heavy
receptacle, he carries it through the living room toward the
hall door.
Ratings
Scene 7 - Awkward Exchanges
The door of Bud's apartment opens, and Bud comes out with the
wastebasket full of empty bottles. Just then, DR. DAVID
DREYFUSS, whose wife we met earlier, comes trudging up the
stairs. He is a tall, heavy-set man of fifty, with a bushy
mustache, wearing a bulky overcoat and carrying an aged
medical bag.
DR. DREYFUSS
Good evening, Baxter.
BUD
Hi, Doc. Had a late call?
DR. DREYFUSS
Yeah. Some clown at Schrafft's
Street ate a club sandwich, and
forgot to take out the toothpick.
BUD
Oh.
(sets down wastebasket)
'Bye, Doc.
(CONTINUED)
CONTINUED:
DR. DREYFUSS
(indicating bottles)
Say, Baxter -- the way you're
belting that stuff, you must have a
pair of cast-iron kidneys.
BUD
Oh, that's not me. It's just that
once in a while, I have some people
in for a drink.
DR. DREYFUSS
As a matter of fact, you must be an
iron man all around. From what I
hear through the walls, you got
something going for you every
night.
BUD
I'm sorry if it gets noisy --
DR. DREYFUSS
Sometimes, there's a twi-night
double-header.
(shaking his head)
A nebbish like you!
BUD
(uncomfortable)
Yeah. Well -- see you, Doc.
(starts to back through
door)
DR. DREYFUSS
You know, Baxter -- I'm doing some
research at the Columbia Medical
Center -- and I wonder if you could
do us a favor?
BUD
Me?
DR. DREYFUSS
When you make out your will -- and
the way you're going, you should --
would you mind leaving your body to
the University?
BUD
My body? I'm afraid you guys would
be disappointed. Good night, Doc.
(CONTINUED)
CONTINUED: (2)
DR. DREYFUSS
Slow down, kid.
He starts into the rear apartment as Bud closes the door.
Ratings
Scene 8 - A Night in Routine
Bud, loosening his tie, goes into the kitchen, opens the
oven, turns off the gas. He takes a coke out of the
refrigerator, uncaps it, gets a knife and fork from a drawer,
and using his handkerchief as a potholder, pulls the hot
aluminum tray out of the oven. He carries everything out
into the living room. In the living room, Bud sets his dinner
down on the coffee table, settles himself on the couch.
He rears up as something stabs him, reaches under his
buttocks, pulls out a hairpin. He drops it into an ashtray,
tackles his dinner. Without even looking, he reaches over to
the end table and presses the remote TV station-selector.
He takes a sip from the coke bottle, his eyes on the TV
screen across the room. The picture on the TV set jells
quickly. Against a background of crisscrossing searchlights,
a pompous announcer is making his spiel.
ANNOUNCER
-- from the world's greatest
library of film classics, we
proudly present --
(fanfare)
Greta Garbo -- John Barrymore --
Joan Crawford -- Wallace Beery --
and Lionel Barrymore in --
(fanfare)
GRAND HOTEL!
There is an extended fanfare. Bud leans forward, chewing
excitedly on a chicken leg.
ANNOUNCER
But first, a word from our sponsor.
If you smoke the modern way, don't
be fooled by phony filter claims --
Bud, still eating, automatically reaches for the station-
selector, pushes the button. A new channel pops on. It
features a Western -- Cockamamie Indians are attacking a
stagecoach. That's not for Bud.
He switches to another station. In a frontier saloon, Gower
Street cowboys are dismantling the furniture and each other.
(CONTINUED)
CONTINUED:
Bud wearily changes channels. But he can't get away from
Westerns -- on this station, the U.S. Cavalry is riding to
the rescue. Will they get there in time? Bud doesn't wait to
find out.
He switches channels again, and is back where he started. On
the screen, once more, is the announcer standing in front of
the crisscrossing searchlights.
ANNOUNCER (CONT’D)
And now, Grand Hotel -- starring
Greta Garbo, John Barrymore, Joan
Crawford --
(Bud is all eyes and ears
again)
-- Wallace Beery, and Lionel
Barrymore. But first -- a word
from our alternate sponsor.
(unctuously)
Friends, do you have wobbly
dentures -- ?
That does it. Bud turns the set off in disgust. The TV
screen blacks out, except for a small pinpoint of light in
the center, which gradually fades away.
In the bathroom, Bud, in pajamas by now, is brushing his
teeth. From the shower rod hang three pairs of socks on
stretchers. Bud takes a vial from the medicine shelf, shakes
out a sleeping pill, washes it down with a glass of water.
He turns the light off, walks into the bedroom.
In the bedroom, the single bed is made, and the lamp on the
night table is on. Bud plugs in the electric blanket, turns
the dial on. Then he climbs into bed, props up the pillow
behind him. From the night table, he picks up the magazine
that arrived in the mail, slides it out of the wrapper, opens
it.
It's the new issue of PLAYBOY. Bud leafs through it till he
comes to the piece de resistance of the magazine. He unfolds
the overleaf, glances at it casually, refolds it, then turns
to the back of the magazine and starts to read.
What he is so avidly interested in is the men's fashion
section. There is a layout titled WHAT THE YOUNG EXECUTIVE
WILL WEAR with a sub-head reading The Bowler is Back.
Illustrating the article are several photographs of male
models wearing various styles of bowlers. Bud is definitely
in the market for a bowler, but somehow his mind starts
wandering.
(CONTINUED)
CONTINUED: (2)
He turns back to the overleaf again, unfolds it, studies it,
then holds the magazine up vertically to get a different
perspective on the subject. By now the sleeping pill is
beginning to take effect, and he yawns.
He drops the magazine on the floor, kills the light, settles
down to sleep. The room is dark except for the glow from the
dial of the electric blanket. Three seconds.
Then the phone jangles shrilly in the living room. Bud
stumbles groggily out of bed, and putting on his slippers,
makes his way into the living room. He switches on the
light, picks up the phone.
BUD
Hello? -- Hello? -- yes, this is
Baxter.
Ratings
Scene 9 - The Reluctant Favor
On the night is a hearty man of about forty-five, nothing gut
personality, most of it obnoxious. His name is DOBISCH.
Outside the booth is a blonde babe, slightly boozed, and
beyond there is a suggestion of the packed, smoky joint.
DOBISCH
Hiya, Buddy-boy. I'm in this bar
on Sixty-first Street -- and I got
to thinking about you -- and I
figured I'd give you a little buzz.
BUD - ON PHONE
BUD
Well, that's very nice of you --
but who is this?
INT. PHONE BOOTH
DOBISCH
Dobisch -- Joe Dobisch, in
Administration.
BUD - ON PHONE
BUD
(snapping to attention)
Oh, yes, Mr. Dobisch. I didn't
recognize your voice --
INT. PHONE BOOTH
DOBISCH
That's okay, Buddy-boy. Now like I
was saying, I'm in this joint on
Sixty-first -- and I think I got
lucky --
(glances toward blonde)
-- she's a skater with the Ice Show
(he chuckles)
-- and I thought maybe I could
bring her up for a quiet drink.
BUD - ON PHONE
BUD
I'm sorry, Mr. Dobisch. You know I
like to help you guys out -- but
it's sort of late -- so why don't
we make it some other time?
INT. PHONE BOOTH
DOBISCH
Buddy-boy -- she won't keep that
long -- not even on ice. Listen,
kid, I can't pass this up -- she
looks like Marilyn Monroe.
BUD - ON PHONE
BUD
I don't care if it is Marilyn
Monroe -- I'm already in bed -- and
I've taken a sleeping pill -- so
I'm afraid the answer is no.
INT. PHONE BOOTH
DOBISCH
(pulling rank)
Look, Baxter -- we're making out
the monthly efficiency rating --
and I'm putting you in the top ten.
Now you don't want to louse
yourself up, do you?
BUD - ON PHONE
BUD
Of course not. But -- how can I be
efficient in the office if I don't
get enough sleep at night?
INT. PHONE BOOTH
DOBISCH
It's only eleven -- and I just want
the place for forty-five minutes.
The blonde opens the door of the phone booth, leans in.
BLONDE
I'm getting lonely. Who are you
talking to, anyway?
DOBISCH
My mother.
BLONDE
That's sweet. That's real sweet.
Dobisch shuts the door in her face.
DOBISCH
(into phone again)
Make it thirty minutes. What do
you say, Bud?
BUD - ON PHONE
BUD
(a last stand)
I'm all out of liquor -- and
there's no clean glasses -- no
cheese crackers -- no nothing.
INT. PHONE BOOTH
DOBISCH
Let me worry about that. Just
leave the key under the mat and
clear out.
INT. THE APARTMENT
BUD
(into phone; resigned)
Yes, Mr. Dobisch.
He hangs up, shuffles back into the bedroom.
BUD (CONT’D)
(muttering to himself)
Anything you say, Mr. Dobisch -- no
trouble at all, Mr. Dobisch -- be
my guest --
(CONTINUED)
CONTINUED:
He reappears from the bedroom, pulling his trousers on over
his pajama pants.
BUD (CONT’D)
-- We never close at Buddy-boy's --
looks like Marilyn Monroe --
(he chuckles a la Dobisch)
Putting on his raincoat and hat, Bud opens the hall door,
takes the key from the table, shoves it under the doormat.
His eyes fall on the Dreyfuss apartment, and there is some
concern on his face. He picks up a pad and pencil from the
table, prints something in block letters.
Tearing off the top sheet, he impales it on the spindle of
the phonograph, then walks out, closing the door behind him.
The note reads: NOT TOO LOUD
THE NEIGHBORS ARE COMPLAINING
Ratings
Scene 10 - Midnight Eavesdropping
Bud comes out the door, in slippered feet, pants and raincoat
over his pajamas. As he sleep-walks down the steps, a cab
pulls up in front of the house. Bud ducks discreetly into
the areaway.
Mr. Dobisch, bareheaded, emerges cautiously from the cab.
Between the fingers of his hands he is carrying four long-
stemmed glasses, brimful of stingers. The blonde steps out,
holding his hat.
BLONDE
This the place?
DOBISCH
Yeah.
(to cab driver)
How much?
CABBIE
Seventy cents.
Dobisch, his hands full of stingers, turns to the blonde,
indicates his pants pocket.
DOBISCH
Get the money, will you?
The blonde plants the hat on top of his head, unbuttons his
overcoat, reaches into his pants pocket. As she does so, she
jogs his elbow.
(CONTINUED)
CONTINUED:
DOBISCH (CONT’D)
Watch those stingers!
The blonde has taken out Dobisch's money clip, with about a
hundred dollars in it.
DOBISCH (CONT’D)
Give him a buck.
The blonde peels a bill off, hands it to the cabbie, hangs on
to the rest of the roll just a second too long.
DOBISCH (CONT’D)
Now put it back, honey.
(she does)
Atta girl.
The cab drives off. Dobisch and the blonde start up the
steps to the house.
BLONDE
You sure this is a good idea?
DOBISCH
Can't think of a better one.
BLONDE
(holding door open for
him)
I mean - barging in on your mother -
- in the middle of the night?
DOBISCH
(edging past her with
stingers)
Don't worry about the old lady. One
squawk from her, and she's out of a
job.
In the areaway, Bud has overheard them, and it doesn't make
him any happier. He steps out on the sidewalk, shuffles down
the street.
Ratings
Scene 11 - Deception and Isolation
The blonde and Dobisch, his hands full of stingers, come up
to Bud's door.
DOBISCH
Get the key, will you.
Automatically, she reaches into his pocket.
(CONTINUED)
CONTINUED:
DOBISCH (CONT’D)
Not there. Under the mat.
BLONDE
(puzzled)
Under the mat?
(picks up key)
DOBISCH
(impatiently)
Open up, open up -- we haven't got
all night.
The blonde unlocks the door to the apartment, opens it.
BLONDE
(suspiciously)
So this is your mother's apartment?
DOBISCH
That's right. Maria Ouspenskaya.
BLONDE
(sticking her head in)
Hiya, Ouspenskaya.
Dobisch nudges her inside with his knee, kicks the door shut
behind him. The landing is empty for a second. Then the
door of the rear apartment opens, and Dr. Dreyfuss, in a
beaten bathrobe, sets out a couple of empty milk bottles with
a note in them. Suddenly, from Bud's apartment, comes a
shrill female giggle. Dr. Dreyfuss reacts. Then the cha cha
music starts full blast.
DR. DREYFUSS
(calling to his wife, off-
screen)
Mildred -- he's at it again.
Shaking his head, he closes the door.
EXT. CENTRAL PARK - NIGHT
Bud, in raincoat and slippered feet, turns in off the street,
plods along a path in the deserted park. He stops at a damp
bench under a lamp post, sits.
In the background, lights shine from the towering buildings
on Central Park South. Bud huddles inside his raincoat,
shivering. He is very sleepy by now.
(CONTINUED)
CONTINUED:
His eyes close and his head droops. A gust of wind sends wet
leaves swirling across the bench. Bud doesn't stir. He is
all in.
FADE OUT.
FADE IN:
Ratings
Scene 12 - Morning Routine in the Lobby
It's a quarter to nine of a gray November morning, and work-
bound employees are piling in through the doors. Among them
is Bud, bundled up in a raincoat, hat, heavy muffler and wool
gloves, and carrying a box of Kleenex. He coughs, pulls out
a tissue, wipes his dripping nose. He has a bad cold. The
lobby is an imposing, marbled affair, as befits a company
which last year wrote 9.3 billion dollars worth of insurance.
There are sixteen elevators, eight of them marked LOCAL -
FLOORS 1-18, and opposite them eight marked EXPRESS - FLOORS
18-37. The starter, a uniformed Valkyrie wielding a clicker,
is directing the flow of traffic into the various elevators.
Bud joins the crowd in front of one of the express elevators.
Also standing there is Mr. Kirkeby, reading the Herald-
Tribune.
BUD
(hoarsely)
Good morning, Mr. Kirkeby.
KIRKEBY
(as if he just knew him
vaguely)
Oh, how are you, Baxter. They
keeping you busy these days?
BUD
Yes, sir. They are indeed.
(he sniffs)
The elevator doors open, revealing the operator. She is in
her middle twenties and her name is FRAN KUBELIK. Maybe it's
the way she's put together, maybe it's her face, or maybe
it's just the uniform -- in any case, there is something very
appealing about her. She is also an individualist -- she
wears a carnation in her lapel, which is strictly against
regulations. As the elevator loads, she greets the
passengers cheerfully.
(CONTINUED)
CONTINUED:
FRAN
(rattling it off)
Morning, Mr. Kessel -- Morning,
Miss Robinson -- Morning, Mr.
Kirkeby -- Morning, Mr. Williams --
Morning, Miss Livingston --
Morning, Mr. McKellway -- Morning,
Mr. Pirelli -- Morning, Mrs.
Schubert --
Interspersed is an occasional "Morning, Miss Kubelik" from
the passengers.
FRAN (CONT’D)
Morning, Mr. Baxter.
BUD
Morning, Miss Kubelik.
He takes his hat off -- he is the only one. The express is
now loaded.
STARTER
(working the clicker)
That's all. Take it away.
FRAN
(shutting the door)
Watch the door, please. Blasting
off.
Ratings
Scene 13 - Elevator Encounters
Bud is standing right next to Fran as the packed express
shoots up.
BUD
(studying her)
What did you do to your hair?
FRAN
It was making me nervous, so I
chopped it off. Big mistake, huh?
BUD
I sort of like it.
He sniffs, takes out a Kleenex, wipes his nose.
FRAN
Say, you got a lulu.
(CONTINUED)
CONTINUED:
BUD
Yeah. I better not get too close.
FRAN
Oh, I never catch colds.
BUD
Really? I was looking at some
figures from the Sickness and
Accident Claims Division -- do you
know that the average New Yorker
between the ages of twenty and
fifty has two and a half colds a
year?
FRAN
That makes me feel just terrible.
BUD
Why?
FRAN
Well, to make the figures come out
even -- since I have no colds a
year -- some poor slob must have
five colds a year.
BUD
That's me.
(dabs his nose)
FRAN
You should have stayed in bed this
morning.
BUD
I should have stayed in bed last
night.
The elevator has slowed down, now stops. Fran opens the
door.
FRAN
Nineteen. Watch your step.
About a third of the passengers get out, including Bud and
Mr. Kirkeby. As Kirkeby passes Fran, he slaps her behind
with his folded newspaper. Fran jumps slightly.
FRAN (CONT’D)
(all in the day's work)
And watch your hand, Mr. Kirkeby!
(CONTINUED)
CONTINUED: (2)
KIRKEBY
(innocently)
I beg your pardon?
FRAN
One of these days I'm going to shut
those doors on you and --
She withdraws her hand into the sleeve of her uniform, and
waves the "amputated" arm at him.
FRAN (CONT’D)
Twenty next.
The doors close.
Ratings
Scene 14 - Office Dynamics and Personal Aspirations
Kirkeby turns away from the elevator, and grinning smugly,
falls in beside Bud.
KIRKEBY
That Kubelik -- boy! Would I like
to get her on a slow elevator to
China.
BUD
Oh, yes. She's the best operator
in the building.
KIRKEBY
I'm a pretty good operator myself --
but she just won't give me a tumble
-- date-wise.
BUD
Maybe you're using the wrong
approach.
KIRKEBY
A lot of guys around here have
tried it -- all kinds of approaches
-- no dice. What is she trying to
prove?
BUD
Could be she's just a nice,
respectable girl -- there are
millions of them.
KIRKEBY
Listen to him. Little Lord
Fauntleroy!
(CONTINUED)
CONTINUED:
Leaving Bud at the employees' coat-racks, Kirkeby heads
toward his office, one of the glass-enclosed cubicles. Bud
hangs up his hat and raincoat, stows away the gloves and
muffler.
Out of his coat pocket he takes a plastic anti- histamine
sprayer and a box of cough drops, and still carrying the
Kleenex, threads his way to his desk. Most of the desks are
already occupied, and the others are filling rapidly. Once
seated at his desk, Bud arranges his medicaments neatly in
front of him.
He takes a Kleenex out of the box, blows his nose, then
leaning back in his swivel chair sprays first one nostril,
then the other. Suddenly the piercing bell goes off -- the
workday has begun.
Being the ultra-conscientious type, Bud instantly sits
upright in his chair, removes the cover from his computing
machine, picks up a batch of perforated premium cards, starts
entering figures on his computer. After a few seconds, he
glances around to make sure that everybody in the vicinity is
busy. Then he looks up a number in the company telephone
directory, dials furtively.
BUD
(cupping hand over phone
mouthpiece)
Hello, Mr. Dobisch? This is Baxter,
on the nineteenth floor.
Ratings
Scene 15 - Key Mix-Up and Temperature Check
It is a glass-enclosed cubicle on the twenty-first floor.
Through the glass we see another enormous layout of desks,
everybody working away. Dobisch is holding the phone in one
hand, running an electric shaver over his face with the
other.
DOBISCH
Oh, Buddy-boy. I was just about to
call you.
(shuts off electric
shaver)
I'm sorry about that mess on the
living room wall. You see, my
little friend, she kept insisting
Picasso was a bum -- so she started
to do that mural -- but I'm sure it
will wash off -- just eyebrow
pencil.
BUD - ON PHONE
BUD
It's not Picasso I'm calling about.
It's the key -- to my apartment --
you were supposed to leave it under
the mat.
DOBISCH - ON PHONE
DOBISCH
I did, didn't I? I distinctly
remember bending over and putting
it there --
BUD - ON PHONE
BUD
Oh, I found a key there, all right -
- only it's the wrong key.
DOBISCH - ON PHONE
DOBISCH
It is?
(takes Bud's key out of
his pocket)
Well, how about that? No wonder I
couldn't get into the executive
washroom this morning.
BUD - ON PHONE
BUD
And I couldn't get into my
apartment -- so at four a. m. I had
to wake up the landlady and give
her a whole song and dance about
going out to mail a letter and the
door slamming shut.
DOBISCH - ON PHONE
DOBISCH
That's a shame. I'll send the key
right down. And about your
promotion --
(leafs through report on
desk)
-- I'm sending that efficiency
report right up to Mr. Sheldrake,
in Personnel.
(MORE)
(CONTINUED)
CONTINUED:
DOBISCH (CONT'D)
I wouldn't be surprised if you
heard from him before the day is
over.
BUD - ON PHONE
BUD
Thank you, Mr. Dobisch.
He hangs up, feels his forehead. It is warm. Clipped to his
handkerchief pocket are a black fountain pen and, next to it,
a thermometer in a black case. Bud unclips the thermometer
case, unscrews the cap, shakes the thermometer out, puts it
under his tongue. He resumes work.
A messenger comes up to his desk with an interoffice
envelope.
MESSENGER
From Mr. Dobisch.
BUD
(thermometer in mouth)
Wait.
He turns away from the messenger, unties the string of the
envelope, takes his key out, puts it in a coat pocket. From a
trouser pocket, he extracts Dobisch's key to the executive
washroom, slips it discreetly into the envelope, reties it,
hands it to the messenger.
BUD (CONT’D)
(thermometer in mouth)
To Mr. Dobisch.
Puzzled by the whole procedure, the messenger leaves. Bud now
removes the thermometer from his mouth, reads it. It's worse
than he thought. He puts the thermometer back in the case,
clips it to his pocket, takes his desk calendar out of a
drawer, turns a leaf.
Under the date WEDNESDAY, NOVEMBER 4 there is an entry in his
handwriting -- MR. VANDERHOF. Bud consults the telephone
directory again, picks up the phone, dials.
Ratings
Scene 16 - Corporate Conflicts and Calendar Chaos
This is another glass-enclosed cubicle on another floor. MR.
VANDERHOF, a Junior Chamber of Commerce type, is dictating to
an elderly secretary who sits across the desk from him.
(CONTINUED)
CONTINUED:
VANDERHOF
Dear Mr. MacIntosh --
(phone rings and he picks
it up)
Vanderhof, Public Relations. Oh,
yes, Baxter. Just a minute.
(to secretary)
All right, Miss Finch -- type up
what we got so far.
(he waits till she is out
of the office; then, into
phone)
Now what is it, Baxter?
BUD - ON PHONE
BUD
Look, Mr. Vanderhof -- I've got you
down here for tonight -- but I'm
going to be using the place myself -
- so I'll have to cancel.
VANDERHOF - ON PHONE
VANDERHOF
Cancel? But it's her birthday -- I
already ordered the cake --
BUD - ON PHONE
BUD
I hate to disappoint you -- I mean,
many happy returns -- but not
tonight --
VANDERHOF - ON PHONE
VANDERHOF
That's not like you, Baxter. Just
the other day, at the staff
meeting, I was telling Mr.
Sheldrake what a reliable man you
were.
BUD - ON PHONE
BUD
Thank you, Mr. Vanderhof. But I'm
sick -- I have this terrible cold --
and a fever -- and I got to go to
bed right after work.
VANDERHOF - ON PHONE
VANDERHOF
Buddy-boy, that's the worst thing
you can do. If you got a cold, you
should go to a Turkish bath --
spend the night there -- sweat it
out --
BUD - ON PHONE
BUD
Oh, no. I'd get pneumonia -- and if
I got pneumonia, I'd be in bed for
a month -- and if I were in bed for
a month --
VANDERHOF - ON PHONE
VANDERHOF
Okay, you made your point. We'll
just have to do it next Wednesday --
that's the only night of the week I
can get away.
BUD - ON PHONE
BUD
Wednesday -- Wednesday --
(leafing through calendar)
I got somebody penciled in -- let
me see what I can do -- I'll get
back to you.
He hangs up, riffles through the directory, finds the number,
and with a furtive look around, dials again.
BUD (CONT’D)
(into phone)
Mr. Eichelberger? Is this Mortgage
and Loan? I'd like to speak to Mr.
Eichelberger. Yes, it is urgent.
INT. EICHELBERGER'S OFFICE - DAY
Also glass-enclosed, but slightly larger than the others. MR.
EICHELBERGER, a solid citizen of about fifty, is displaying
some mortgage graphs to three associates. A fourth one has
answered the phone.
(CONTINUED)
CONTINUED:
ASSOCIATE
(holding out phone to
Eichelberger)
For you, Mel.
Eichelberger puts the charts down, takes the phone.
EIGHELBERGER
Eichelberger here -- oh, yes,
Baxter --
(a glance at his
associates; then
continues, as though it
were a business call)
What's your problem? -- Wednesday
is out? -- oh -- that throws a
little monkey wrench into my agenda
-- Thursday? No, I'm all tied up on
Thursday -- let's schedule that
meeting for Friday.
BUD - ON PHONE
BUD
Friday?
(checks calendar)
Let me see what I can do. I'll get
back to you.
He hangs up, consults the directory, starts to dial a number.
Ratings
Scene 17 - Schedule Switch and Date Night
It's another of those glass-enclosed cubicles, on the
nineteenth floor. Kirkeby is talking into a dictaphone.
KIRKEBY
Premium-wise and billing-wise, we
are eighteen percent ahead of last
year, October-wise.
The phone has been ringing. Kirkeby switches off the machine,
picks up the phone.
KIRKEBY (CONT’D)
Hello? Yeah, Baxter. What's up?
BUD - ON PHONE
BUD
Instead of Friday -- could you
possibly switch to Thursday? You'd
be doing me a great favor --
KIRKEBY - ON PHONE
KIRKEBY
Well -- it's all right with me,
Bud. Let me check. I'll get back to
you.
He presses down the button on the cradle, dials Operator.
INT. SWITCHBOARD ROOM
There is a double switchboard in the center, with nine girls
on each side, all busy as beavers. In the foreground we
recognize Sylvia, Kirkeby's date of last night.
SYLVIA
Consolidated Life -- I'll connect
you -- Consolidated Life --
The girl next to her turns and holds out a line.
SWITCHBOARD GIRL
Sylvia -- it's for you.
Sylvia plugs the call into her own switchboard.
SYLVIA
Yes? Oh, hello -- sure I got home
all right -- you owe me forty-five
cents.
KIRKEBY - ON PHONE
KIRKEBY
Okay, okay. Look, Sylvia -- instead
of Friday - could we make it
Thursday night?
SYLVIA - AT SWITCHBOARD
SYLVIA
Thursday? That's The Untouchables --
with Bob Stack.
KIRKEBY - ON PHONE
KIRKEBY
Bob WHO? -- all right, so we'll
watch it at the apartment. Big
deal.
(he hangs up, dials)
Baxter? It's okay for Thursday.
Ratings
Scene 18 - Elevator Anticipation
Bud, at his desk, is on the phone.
BUD
Thank you, Mr. Kirkeby.
(hangs up, consults
directory, dials)
Mr. Eichelberger? It's okay for
Friday.
(hangs up, consults
directory, dials)
Mr. Vanderhof? It's okay for
Wednesday.
During this, the phone has rung at the next desk, and the
occupant, MR. MOFFETT, has picked it up. As Bud hangs up --
MOFFETT
(into phone)
All right -- I'll tell him.
(hangs up, turns to Bud)
Hey, Baxter -- that was Personnel.
Mr. Sheldrake's secretary.
BUD
Sheldrake?
MOFFETT
She's been trying to reach you for
the last twenty minutes. They want
you up stairs.
BUD
Oh!
He jumps up, stuffs the nose-spray into one pocket, a handful
of Kleenex into the other.
MOFFETT
What gives, Baxter? You getting
promoted or getting fired?
BUD
(cockily)
Care to make a small wager?
MOFFETT
I've been here twice as long as you
have --
BUD
Shall we say -- a dollar?
(CONTINUED)
CONTINUED:
MOFFETT
It's a bet.
Bud snake-hips between the desks like a broken-field runner.
At the elevator, Bud presses the UP button, paces nervously.
One of the elevator doors opens, and as Bud starts inside,
the doors of the adjoining elevator open, and Fran Kubelik
sticks her head out.
FRAN
Going up?
Hearing her voice, Bud throws a quick "Excuse me" to the
other operator, exits quickly and steps into Fran's elevator.
BUD
Twenty-seven, please. And drive
carefully. You're carrying precious
cargo -- I mean, manpower-wise.
Fran shuts the doors.
Ratings
Scene 19 - Elevator Banter
Fran presses a button, and the elevator starts up.
FRAN
Twenty-seven.
BUD
You may not realize it, Miss
Kubelik, but I'm in the top ten --
efficiency-wise and this may be the
day -- promotion-wise.
FRAN
You're beginning to sound like Mr.
Kirkeby already.
BUD
Why not? Now that they're kicking
me upstairs --
FRAN
Couldn't happen to a nicer guy.
(Bud beams)
You know, you're the only one
around here who ever takes his hat
off in the elevator.
BUD
Really?
(CONTINUED)
CONTINUED:
FRAN
The characters you meet. Something
happens to men in elevators. Must
be the change of altitude -- the
blood rushes to their head, or
something -- boy, I could tell you
stories --
BUD
I'd love to hear them. Maybe we
could have lunch in the cafeteria
sometime -- or some evening, after
work --
The elevator has stopped, and Fran opens the doors.
FRAN
Twenty-seven.
Ratings
Scene 20 - A Moment of Support
It is pretty plush up here -- soft carpeting and tall
mahogany doors leading to the executive offices. The elevator
door is open, and Bud steps out.
FRAN
I hope everything goes all right.
BUD
I hope so.
(turning back)
Wouldn't you know they'd call me on
a day like this -- with my cold and
everything --
(fumbling with his tie)
How do I look?
FRAN
Fine.
(stepping out of elevator)
Wait.
She takes the carnation out of her lapel, starts to put it in
Bud's buttonhole.
BUD
Thank you. That's the first thing I
ever noticed about you -- when you
were still on the local elevator --
you always wore a flower --
The elevator buzzer is now sounding insistently. Fran steps
back inside.
(CONTINUED)
CONTINUED:
FRAN
Good luck. And wipe your nose.
She shuts the doors. Bud looks after her, then takes a
Kleenex out of his pocket, and wiping his nose, crosses to a
glass door marked J. D. SHELDRAKE, DIRECTOR OF PERSONNEL. He
stashes the used Kleenex away in another pocket, enters.
Ratings
Scene 21 - Confrontation in Sheldrake's Office
It is a sedate office with a secretary and a couple of
typists. The secretary's name is MISS OLSEN. She is in her
thirties, flaxen- haired, handsome, wears harlequin glasses,
and has an incisive manner. Bud comes up to her desk.
BUD
C. C. Baxter -- Ordinary Premium
Accounting -- Mr. Sheldrake called
me.
MISS OLSEN
I called you -- that is, I tried to
call you -- for twenty minutes.
BUD
I'm sorry, I --
MISS OLSEN
Go on in.
She indicates the door leading to the inner office. Bud
squares his shoulders and starts in.
INT. SHELDRAKE'S OFFICE - DAY
Mr. Sheldrake is a $14,000 a year man, and rates a four-
window office. It is not quite an executive suite, but it is
several pegs above the glass cubicles of the middle echelon.
There is lots of leather, and a large desk behind which sits
MR. SHELDRAKE.
He is a substantial looking, authoritative man in his middle
forties, a pillar of his suburban community, a blood donor
and a family man. The latter is attested to by a framed
photograph showing two boys, aged 8 and 10, in military
school uniforms. As Baxter comes through the door, Sheldrake
is leafing through Dobisch's efficiency report. He looks up
at Bud through a pair of heavy-rimmed reading glasses.
SHELDRAKE
Baxter?
(CONTINUED)
CONTINUED:
BUD
Yes, sir.
SHELDRAKE
(studying him)
I was sort of wondering what you
looked like. Sit down.
BUD
Yes, Mr. Sheldrake.
He seats himself on the very edge of the leather armchair
facing Sheldrake.
SHELDRAKE
Been hearing some very nice things
about you -- here's a report from
Mr. Dobisch -- loyal, cooperative,
resourceful --
BUD
Mr. Dobisch said that?
SHELDRAKE
And Mr. Kirkeby tells me that
several nights a week you work late
at the office -- without overtime.
BUD
(modestly)
Well, you know how it is -- things
pile up.
SHELDRAKE
Mr. Vanderhof, in Public Relations,
and Mr. Eichelberger, in Mortgage
and Loan -- they'd both like to
have you transferred to their
departments.
BUD
That's very flattering.
Sheldrake puts the report down, takes off his glasses, leans
across the desk toward Bud.
SHELDRAKE
Tell me, Baxter -- just what is it
that makes you so popular?
BUD
I don't know.
(CONTINUED)
CONTINUED: (2)
SHELDRAKE
Think.
Bud does so. For a moment, he is a picture of intense
concentration. Then --
BUD
Would you mind repeating the
question?
SHELDRAKE
Look, Baxter, I'm not stupid. I
know everything that goes on in
this building -- in every
department -- on every floor --
every day of the year.
BUD
(in a very small voice)
You do?
SHELDRAKE
(rises, starts pacing)
In 1957, we had an employee here,
name of Fowler. He was very
popular, too. Turned out he was
running a bookie joint right in the
Actuarial Department tying up the
switchboard, figuring the odds on
our I.B.M. machines -- so the day
before the Kentucky Derby, I called
in the Vice Squad and we raided the
thirteenth floor.
BUD
(worried)
The Vice Squad?
SHELDRAKE
That's right, Baxter.
BUD
What -- what's that got to do with
me? I'm not running any bookie
joint.
SHELDRAKE
What kind of joint are you running?
BUD
Sir?
(CONTINUED)
CONTINUED: (3)
SHELDRAKE
There's a certain key floating
around the office -- from Kirkeby
to Vanderhof to Eichelberger to
Dobisch -- it's the key to a
certain apartment -- and you know
who that apartment belongs to?
BUD
Who?
SHELDRAKE
Loyal, cooperative, resourceful C.
C. Baxter.
BUD
Oh.
SHELDRAKE
Are you going to deny it?
BUD
No, sir. I'm not going to deny it.
But if you'd just let me explain --
SHELDRAKE
You better.
BUD
(a deep breath)
Well, about six months ago -- I was
going to night school, taking this
course in Advanced Accounting --
and one of the guys in our
department -- he lives in Jersey --
he was going to a banquet at the
Biltmore -- his wife was meeting
him in town, and he needed
someplace to change into a tuxedo --
so I gave him the key and word
must have gotten around -- because
the next thing I knew, all sorts of
guys were suddenly going to
banquets -- and when you give the
key to one guy, you can't say no to
another and the whole thing got out
of hand -- pardon me.
He whips out the nasal-spray, administers a couple of quick
squirts up each nostril.
(CONTINUED)
CONTINUED: (4)
SHELDRAKE
Baxter, an insurance company is
founded on public trust. Any
employee who conducts himself in a
manner unbecoming --
(shifting into a new gear)
How many charter members are there
in this little club of yours?
BUD
Just those four -- out of a total
of 31,259 -- so actually, we can be
very proud of our personnel --
percentage-wise.
SHELDRAKE
That's not the point. Four rotten
apples in a barrel -- no matter how
large the barrel -- you realize
that if this ever leaked out --
BUD
Oh, it won't. Believe me. And it's
not going to happen again. From now
on, nobody is going to use my
apartment --
In his vehemence he squeezes the spray bottle, which squirts
all over the desk.
SHELDRAKE
Where is your apartment?
BUD
West 67th Street. You have no idea
what I've been going through --
with the neighbors and the landlady
and the liquor and the key --
SHELDRAKE
How do you work it with the key?
BUD
Well, usually I slip it to them in
the office and they leave it under
the mat -- but never again -- I can
promise you that --
The phone buzzer sounds, and Sheldrake picks up the phone.
SHELDRAKE
Yes, Miss Olsen.
Ratings
Scene 22 - The Price of Secrecy
Miss Olsen is on the phone.
MISS OLSEN
Mrs. Sheldrake returning your call -
- on two --
She presses a button down, starts to hang the phone up,
glances around to see if the typists are watching, then
raises the receiver to her ear and eavesdrops on the
conversation.
INT. SHELDRAKE'S OFFICE - DAY
Sheldrake is talking into the phone.
SHELDRAKE
Yes, dear -- I called you earlier --
where were you? Oh, you took Tommy
to the dentist --
During this, Bud has risen from his chair, started inching
toward the door.
SHELDRAKE (CONT’D)
(turning to him)
Where are you going, Baxter?
BUD
Well, I don't want to intrude --
and I thought -- since it's all
straightened out anyway --
SHELDRAKE
I'm not through with you yet.
BUD
Yes, sir.
SHELDRAKE
(into phone)
The reason I called is -- I won't
be home for dinner tonight. The
branch manager from Kansas City is
in town -- I'm taking him to the
theatre Music Man, what else? No,
don't wait up for me -- 'bye,
darling.
(hangs up, turns to Bud)
Tell me something, Baxter -- have
you seen Music Man?
(CONTINUED)
CONTINUED:
BUD
Not yet. But I hear it's one swell
show.
SHELDRAKE
How would you like to go tonight?
BUD
You mean -- you and me? I thought
you were taking the branch manager
from Kansas City --
SHELDRAKE
I made other plans. You can have
both tickets.
BUD
Well, that's very kind of you --
only I'm not feeling well -- you
see, I have this cold -- and I
thought I'd go straight home.
SHELDRAKE
Baxter, you're not reading me. I
told you I have plans.
BUD
So do I -- I'm going to take four
aspirins and get into bed -- so you
better give the tickets to somebody
else --
SHELDRAKE
I'm not just giving those tickets,
Baxter -- I want to swap them.
BUD
Swap them? For what?
Sheldrake picks up the Dobisch reports, puts on his glasses,
turns a page.
SHELDRAKE
It also says here -- that you are
alert, astute, and quite
imaginative --
BUD
Oh?
(the dawn is breaking)
Oh!
(CONTINUED)
CONTINUED: (2)
He reaches into his coat pocket, fishes out a handful of
Kleenex, and then finally the key to his apartment. He holds
it up.
BUD (CONT’D)
This?
SHELDRAKE
That's good thinking, Baxter. Next
month there's going to be a shift
in personnel around here -- and as
far as I'm concerned, you're
executive material.
BUD
I am?
SHELDRAKE
Now put down the key --
(pushing a pad toward him)
-- and put down the address.
Bud lays the key on the desk, unclips what he thinks is his
fountain pen, uncaps it, starts writing on the pad.
BUD
It's on the second floor - my name
is not on the door -- it just says -
Suddenly he realizes that he has been trying to write the
address with the thermometer.
BUD (CONT’D)
Oh -- terribly sorry. It's that
cold --
SHELDRAKE
Relax, Baxter.
BUD
Thank you, sir.
He has replaced the thermometer with the fountain pen, and is
scribbling the address.
BUD (CONT’D)
You'll be careful with the record
player, won't you? And about the
liquor -- I ordered some this
morning -- but I'm not sure when
they'll deliver it --
(CONTINUED)
CONTINUED: (3)
He has finished writing the address, shoves the pad over to
Sheldrake.
SHELDRAKE
Now remember, Baxter -- this is
going to be our little secret.
BUD
Yes, of course.
SHELDRAKE
You know how people talk.
BUD
Oh, you don't have to worry --
SHELDRAKE
Not that I have anything to hide.
BUD
Oh, no sir. Certainly not. Anyway,
it's none of my business -- four
apples, five apples -- what's the
difference -- percentage-wise?
SHELDRAKE
(holding out the tickets)
Here you are, Baxter. Have a nice
time.
BUD
You too, sir.
Clutching the tickets, he backs out of the office.
DISSOLVE TO:
Ratings
Scene 23 - Unresolved Invitations
It is about 6:30, and the building has pretty well emptied
out by now. Bud, in raincoat and hat, is leaning against one
of the marble pillars beyond the elevators. His raincoat is
unbuttoned, and Fran's carnation is still in his lapel. He is
looking off expectantly toward a door marked EMPLOYEES'
LOUNGE - WOMEN.
Some of the female employees are emerging, dressed for the
street. Among them are Sylvia and her colleague from the
switchboard.
(CONTINUED)
CONTINUED:
SYLVIA
So I figure, a man in his position,
he's going to take me to 21 and El
Morocco -- instead, he takes me to
Hamburg Heaven and some schnook's
apartment --
They pass Bud without paying any attention to him. Bud has
heard the crack, and looks after Sylvia, a little hurt. Then
he glances back toward the door of the lounge, as it opens
and Fran Kubelik comes out. She is wearing a wool coat over a
street dress, no hat.
FRAN
(passing Bud)
Good night.
BUD
(casually)
Good night.
She is about three paces beyond him when he suddenly realizes
who it is.
BUD (CONT’D)
Oh -- Miss Kubelik.
(he rushes after her,
taking off his hat)
I've been waiting for you.
FRAN
You have?
BUD
I almost didn't recognize you --
this is the first time I've ever
seen you in civilian clothes.
FRAN
How'd you make out on the twenty-
seventh floor?
BUD
Great. Look -- have you seen The
Music Man?
FRAN
No.
BUD
Would you like to?
(CONTINUED)
CONTINUED: (2)
FRAN
Sure.
BUD
I thought maybe we could have a
bite to eat first -- and then --
FRAN
You mean tonight?
BUD
Yeah.
FRAN
I'm sorry, but I can't tonight. I'm
meeting somebody.
BUD
Oh.
(a beat)
You mean -- like a girl-friend?
FRAN
No. Like a man.
She proceeds across the lobby toward the street entrance, Bud
following her.
BUD
I wasn't trying to be personal --
it's just that the fellows in the
office were -- whether you
wondering about you ever --
FRAN
Just tell 'em -- now and then.
BUD
This date -- is it just a date --
or is it something serious?
FRAN
It used to be serious -- at least I
was -- but he wasn't -- so the
whole thing is more or less kaputt.
BUD
Well, in that case, couldn't you?
FRAN
I'm afraid not. I promised to have
a drink with him -- he's been
calling me all week --
(CONTINUED)
CONTINUED: (3)
BUD
Oh, I understand.
He follows her out through the revolving doors.
Ratings
Scene 24 - A Night Out and a Dash of Humor
Fran and Bud come out.
BUD
(putting his hat on)
Well, it was just an idea -- I hate
to see a ticket go to waste --
FRAN
(stops)
What time does the show go on?
BUD
Eight-thirty.
FRAN
(looks at her watch)
Well -- I could meet you at the
theatre -- if that's all right.
BUD
All right? That's wonderful! It's
the Majestic -- 44th Street.
FRAN
Meet you in the lobby. Okay?
Bud nods happily, falls in beside her as she starts down the
street.
BUD
You know, I felt so lousy this
morning -- a hundred and one fever -
- then my promotion came up -- now
you and I -- eleventh row center --
and you said I should have stayed
in bed.
FRAN
How is your cold?
BUD
(high as a kite)
What cold? And after the show, we
could go out on the town --
(does a little cha cha
step)
(MORE)
(CONTINUED)
CONTINUED:
BUD (CONT'D)
I've been taking from Arthur
Murray.
FRAN
So I see.
BUD
They got a great little band at El
Chico, in the Village -- it's
practically around the corner from
where you live.
FRAN
Sounds good.
(a sudden thought)
How do you know where I live?
BUD
Oh, I even know who you live with --
your sister and brother-in-law -- I
know when you were born -- and
where -- I know all sorts of things
about you.
FRAN
How come?
BUD
A couple of months ago I looked up
your card in the group insurance
file.
FRAN
Oh.
BUD
I know your height, your weight and
your Social Security number -- you
had mumps, you had measles, and you
had your appendix out.
They have now reached the corner, and Fran stops.
FRAN
Well, don't tell the fellows in the
office about the appendix. They may
get the wrong idea how you found
out.
(turning the corner)
'Bye.
(CONTINUED)
CONTINUED: (2)
BUD
(calling after her)
Eight-thirty!
He watches her walk away, an idiot grin on his face. Despite
what he told Fran, his nose is stuffed up, so he takes out
the anti-histamine and sprays his nostrils. Then, carried
away, he squirts some of the stuff on the carnation in his
buttonhole, moves off in the opposite direction.
Ratings
Scene 25 - A Tense Reunion at The Rickshaw
Fran comes hurrying along the street. She is late. Her
objective is a small Chinese restaurant, with a neon sign
reading THE RICKSHAW - COCKTAILS - CANTONESE FOOD. She starts
down a flight of steps leading to the entrance.
INT. CHINESE RESTAURANT - EVENING
The bar is a long, narrow, dimly-lit room with booths along
one side. Beyond a bamboo curtain is the main dining room,
which does not concern us. The place is decorated in Early
Beachcomber style rattan, fish-nets, conch-shells, etc. The
help is Chinese.
At this early hour, there are only half a dozen customers in
the place -- all at the bar except for one man, sitting in
the last booth with his back toward camera. At a piano, a
Chinese member of Local 808 is improvising mood music.
Fran comes through the door, and without looking around,
heads straight for the last booth. The bartender nods to her -
- they know her there. As she passes the piano player, he
gives her a big smile, segues into JEALOUS LOVER. Fran comes
up to the man sitting in the last booth.
FRAN
(a wistful smile)
Good evening, Mr. Sheldrake.
Sheldrake, for that's who it is,
looks around nervously to make sure
no one has heard her.
SHELDRAKE
Please, Fran -- not so loud.
(he gets up)
FRAN
Still afraid somebody may see us
together?
(CONTINUED)
CONTINUED:
SHELDRAKE
(reaching for her coat)
Let me take that.
FRAN
No, Jeff. I can't stay very long.
(sits opposite him, with
her coat on)
Can I have a frozen daiquiri?
SHELDRAKE
It's on the way.
(sits down)
I see you went ahead and cut your
hair.
FRAN
That's right.
SHELDRAKE
You know I liked it better long.
FRAN
Yes, I know. You want a lock to
carry in your wallet?
A waiter comes up with a tray: two daiquiris, fried shrimp,
eggrolls, and a bowl of sauce.
WAITER
(showing all his teeth)
Evening, lady. Nice see you again.
FRAN
Thank you.
The waiter has set everything on the table, leaves.
SHELDRAKE
How long has it been -- a month?
FRAN
Six weeks. But who's counting?
SHELDRAKE
I missed you, Fran.
FRAN
Like old times. Same booth, same
song --
SHELDRAKE
It's been hell.
(CONTINUED)
CONTINUED: (2)
FRAN
(dipping shrimp)
-- same sauce -- sweet and sour.
SHELDRAKE
You don't know what it's like --
standing next to you in that
elevator, day after day -- Good
morning, Miss Kubelik -- Good
night, Mr. Sheldrake -- I'm still
crazy about you, Fran.
FRAN
(avoiding his eyes)
Let's not start on that again, Jeff
-- please. I'm just beginning to
get over it.
SHELDRAKE
I don't believe you.
FRAN
Look, Jeff -- we had two wonderful
months this summer -- and that was
it. Happens all the time -- the
wife and kids go away to the
country, and the boss has a fling
with the secretary or the
manicurist -- or the elevator girl.
Comes September, the picnic is over
-- goodbye. The kids go back to
school, the boss goes back to the
wife, and the girl --
(she is barely able to
control herself)
They don't make these shrimp like
they used to.
SHELDRAKE
I never said goodbye, Fran.
FRAN
(not listening)
For a while there, you try kidding
yourself that you're going with an
unmarried man. Then one day he
keeps looking at his watch, and
asks you if there's any lipstick
showing, then rushes off to catch
the seven-fourteen to White Plains.
(MORE)
(CONTINUED)
CONTINUED: (3)
FRAN (CONT'D)
So you fix yourself a cup of
instant coffee -- and you sit there
by yourself -- and you think -- and
it all begins to look so ugly --
There are tears in her eyes. She breaks off, downs what's
left of the daiquiri.
SHELDRAKE
How do you think I felt -- riding
home on that seven-fourteen train?
FRAN
Why do you keep calling me, Jeff?
What do you want from me?
SHELDRAKE
(taking her hand)
I want you back, Fran.
FRAN
(withdrawing her hand)
Sorry, Mr. Sheldrake -- I'm full
up. You'll have to take the next
elevator.
SHELDRAKE
You're not giving me a chance,
Fran. I asked you to meet me
because -- I have something to tell
you.
FRAN
Go ahead -- tell me.
SHELDRAKE
(a glance around)
Not here, Fran. Can't we go some
place else?
FRAN
No. I have a date at eight-thirty.
SHELDRAKE
Important?
FRAN
Not very -- but I'm going to be
there anyway.
(CONTINUED)
CONTINUED: (4)
She takes out an inexpensive square compact with a fleur de
lis pattern on it, opens it, starts to fix her face. The
waiter comes up with a couple of menus.
WAITER
You ready order dinner now?
FRAN
No. No dinner.
SHELDRAKE
Bring us two more drinks.
CUT TO:
EXT. MAJESTIC THEATRE - EVENING
It is 8:25, and there is the usual hectic to-do -- taxis
pulling up, people milling around the sidewalk and crowding
into the lobby. In the middle of this melee, buffeted by the
throng, stands Bud, in raincoat and hat, looking anxiously
for Fran.
CUT TO:
Ratings
Scene 26 - A Bittersweet Reunion
Fran and Sheldrake, in the booth, are working on the second
round of drinks.
SHELDRAKE
Fran -- remember that last weekend
we had?
FRAN
(wryly)
Do I. That leaky little boat you
rented -- and me in a black
negligee and a life preserver --
SHELDRAKE
Remember what we talked about?
FRAN
We talked about a lot of things.
SHELDRAKE
I mean -- about my getting a
divorce.
FRAN
We didn't talk about it -- you did.
(CONTINUED)
CONTINUED:
SHELDRAKE
You didn't really believe me, did
you?
FRAN
(shrugging)
They got it an a long playing
record now - Music to String Her
Along By. My wife doesn't
understand me -- We haven't gotten
along for years -- You're the best
thing that ever happened to me --
SHELDRAKE
That's enough, Fran.
FRAN
(going right on)
Just trust me, baby -- we'll work
it out somehow --
SHELDRAKE
You're not being funny.
FRAN
I wasn't trying.
SHELDRAKE
If you'll just listen to me for a
minute --
FRAN
Okay. I'm sorry.
SHELDRAKE
I saw my lawyer this morning -- I
wanted his advice -- about the
best way to handle it --
FRAN
Handle what?
SHELDRAKE
What do you think?
FRAN
(looking at him for a long
moment - then)
Let's get something straight, Jeff -
- I never asked you to leave your
wife.
(CONTINUED)
CONTINUED: (2)
SHELDRAKE
Of course not. You had nothing to
do with it.
FRAN
(her eyes misting up
again)
Are you sure that's what you want?
SHELDRAKE
I'm sure. If you'll just tell me
that you still love me --
FRAN
(softly)
You know I do.
SHELDRAKE
Fran --
He takes her hand, kisses it. The bar has been filling up,
and now two couples are seating themselves in a nearby booth.
One of the women is Miss Olsen.
FRAN
(pulling her hand away
gently)
Jeff -- darling --
She indicates the other customers. Sheldrake glances over his
shoulder.
SHELDRAKE
It is crowding up. Let's get out of
here.
They rise. Sheldrake leaves some money on the table, leads
Fran toward the entrance. As they pass Miss Olsen's booth,
she turns around slowly, and putting on her glasses, looks
after them.
Sheldrake slips a bill to the piano player, who gives them a
big smile, slides into JEALOUS LOVER again. Retrieving his
hat and coat from the checkroom girl, Sheldrake steers Fran
through the door. Miss Olsen watches them with a cold smile.
EXT. CHINESE RESTAURANT - EVENING
Fran and Sheldrake come up the steps.
SHELDRAKE
(to a passing cab)
Taxi!
(CONTINUED)
CONTINUED:
It passes without stopping.
FRAN
I have that date -- remember?
SHELDRAKE
I love you -- remember?
Another taxi approaches. Sheldrake gives a shrill whistle,
and it pulls up. He opens the door.
FRAN
Where are we going, Jeff? Not back
to that leaky boat --
SHELDRAKE
I promise.
He helps her into the cab, takes out of his coat pocket the
page from the pad on which Bud wrote the address of the
apartment.
SHELDRAKE (CONT’D)
(to cab driver)
West Sixty-Seventh.
He gets in beside Fran, shuts the door. As the cab pulls
away, through the rear window the two can be seen kissing.
CUT TO:
Ratings
Scene 27 - A New Beginning
It's 9 o'clock, the lobby is deserted, and standing on the
sidewalk all by himself, is Bud. He takes a Kleenex out of
his pocket, blows his nose, stuffs the used Kleenex in
another pocket. He looks up and down the street, consults his
watch, decides to wait just a little longer.
FADE OUT:
FADE IN:
BAXTER'S DESK CALENDAR
The leaves are flipping over. Mr. Sheldrake seems to be using
The Apartment regularly -- for the name Sheldrake, in Bud's
handwriting, appears on the pages dated Monday, November 9,
Thursday, November 12, Thursday, November 19, Monday,
November 23, and Monday, November 30.
(CONTINUED)
CONTINUED:
Mr. Sheldrake also seems to be Baxter's only customer by now,
since the other leaves of the calendar are blank.
DISSOLVE TO:
INT. NINETEENTH FLOOR - INSURANCE BUILDING - DAY
It is a gloomy December morning, and hundreds of desk-bound
employees are bent over their paper-work. Bud Baxter, in
raincoat and hat, is clearing out his desk. He has piled
everything on his blotter pad -- reference books, papers, a
fountain pen set, pencils, paper clips and the calendar.
Watching him from the next desk is a dumbfounded Moffett.
Bud picks up the blotter pad with his stuff on it, and as he
moves past Moffett's desk, Moffett takes out a dollar bill,
drops it grudgingly on the loaded pad. Bud flashes him a
little grin, continues between the desks toward the row of
glass-enclosed offices housing the supervisory personnel.
He comes up to an unoccupied cubicle. A sign painter is
brushing in some new lettering on the glass door -- it reads
C. C. BAXTER, Second Administrative Assistant. Bud studies
the sign with a good deal of satisfaction.
BUD
(to painter)
Would you mind --?
(the painter turns around)
C. C. Baxter -- that's me.
With an "Oh, " the painter opens the door for him.
Ratings
Scene 28 - Office Politics and Hidden Agendas
Bud enters his new office, deposits his stuff on the bare
desk, looks around possessively. The small cubicle boasts one
window, carpeting on the floor, a filing cabinet, a couple of
synthetic-leather chairs, and a clothes-tree -- to Bud, it is
the Taj Mahal. He crosses to the clothes-tree, removes his
hat and coat, hangs them up. From OFF comes --
KIRKEBY'S VOICE
Hi, Buddy-boy.
DOBISCH'S VOICE
Congratulations, and all that jazz.
Bud turns. Kirkeby, Dobisch, Eichelberger and Vanderhof have
come into the office.
BUD
Hi, fellas.
(CONTINUED)
CONTINUED:
EICHELBERGER
Well, you made it, kid -- just like
we promised.
VANDERHOF
Quite an office -- name on the door
-- rug on the floor -- the whole
schmear.
BUD
Yeah.
DOBISCH
Teamwork -- that's what counts in
an organization like this. All for
one and one for all -- know what I
mean?
BUD
I have a vague idea.
Kirkeby signals to Vanderhof, who shuts the door. The four
charter members of the club start closing in on Bud.
KIRKEBY
Baxter, we're a little disappointed
in you -- gratitude-wise.
BUD
Oh, I'm very grateful.
EIGHELBERGER
Then why are you locking us out,
all of a sudden?
BUD
It's been sort of rough these last
few weeks -- what with my cold and
like that --
He has picked up the desk calendar, shoves it discreetly into
one of the drawers.
DOBISCH
We went to bat for you -- and now
you won't play ball with us.
BUD
Well, after all, it's my apartment -
- it's private property -- it's not
a public playground.
(CONTINUED)
CONTINUED: (2)
VANDERHOF
All right, so you got yourself a
girl -- that's okay with us -- but
not every night of the week.
KIRKEBY
How selfish can you get?
(to the others)
Last week I had to borrow my
nephew's car and take Sylvia to a
drive-in in Jersey. I'm too old for
that sort of thing -- I mean, in a
Volkswagen.
BUD
I sympathize with your problem --
and believe me, I'm very sorry --
DOBISCH
You'll be a lot sorrier before
we're through with you.
BUD
You threatening me?
DOBISCH
Listen, Baxter, we made you and we
can break you.
He deliberately flips a cigar ash on Bud's desk. At the same
time, the door opens, and Sheldrake comes striding in
briskly.
BUD
Good morning, Mr. Sheldrake.
The others swivel around.
SHELDRAKE
Morning, gentlemen.
(to Bud)
Everything satisfactory? You like
your office?
BUD
Oh, yes, sir. Very much. And I want
to thank you --
SHELDRAKE
Don't thank me -- thank your
friends here -- they're the ones
who recommended you.
(CONTINUED)
CONTINUED: (3)
The four friends manage to work up some sickly smiles.
DOBISCH
We just dropped in to wish him the
best.
Dorbisch quickly brushes cigar ash off desk
KIRKEBY
(as they move toward the
door)
So long, Baxter. We know you won't
let us down.
BUD
So long, fellas. Drop in any time.
The door is always open -- to my
office.
They leave. Sheldrake and Bud are alone.
SHELDRAKE
I like the way you handled that.
Well, how does it feel to be an
executive?
BUD
Fine. And I want you to know I'll
work very hard to justify your
confidence in me --
SHELDRAKE
Sure you will.
(a beat)
Say, Baxter, about the apartment -
now that you got a raise, don't you
think we can afford a second key?
BUD
Well -- I guess so.
SHELDRAKE
You know my secretary -- Miss Olsen
--
BUD
Oh, yes. Very attractive. Is she --
the lucky one?
(CONTINUED)
CONTINUED: (4)
SHELDRAKE
No, you don't understand. She's a
busybody -- always poking her nose
into things -- and with that key
passing back and forth -- why take
chances?
BUD
Yes, sir. You can't be too careful.
He glances toward the glass partitions to make sure that
nobody is watching.
BUD (CONT’D)
I have something here -- I think it
belongs to you.
Out of his pocket he has slipped the compact with the fleur-
de-lis pattern we saw Fran use at the Rickshaw. He holds it
out to Sheldrake.
SHELDRAKE
To me?
BUD
I mean -- the young lady -- whoever
she may be -- it was on the couch
when I got home last night.
SHELDRAKE
Oh, yes. Thanks.
BUD
The mirror is broken.
(opens compact, revealing
crack in mirror)
It was broken when I found it.
SHELDRAKE
So it was.
(takes the compact)
She threw it at me.
BUD
Sir?
SHELDRAKE
You know how it is -- sooner or
later they all give you a bad time.
BUD
(man-of-the-world)
I know how it is.
(CONTINUED)
CONTINUED: (5)
SHELDRAKE
You see a girl a couple of times a
week -- just for laughs -- and
right away she thinks you're going
to divorce your wife. I ask you --
is that fair?
BUD
No, sir. That's very unfair --
especially to your wife.
SHELDRAKE
Yeah.
(shifting gears)
You know, Baxter, I envy you.
Bachelor -- all the dames you want -
- no headaches, no complications --
BUD
Yes, sir. That's the life, all
right.
SHELDRAKE
Put me down for Thursday again.
BUD
Roger. And I'll get that other key.
Sheldrake exits. Bud takes the calendar out of the desk
drawer, makes an entry.
DISSOLVE TO:
BAXTER'S DESK CALENDAR
Again the leaves are flipping over, and again we see
Sheldrake's name in Bud's handwriting -- booked for the
following dates: Monday, December 14, Thursday, December 17,
Monday, December 21, Thursday, December 24.
DISSOLVE TO:
Ratings
Scene 29 - Holiday Revelations
Perched on top of the switchboard is a small decorated
Christmas tree, and the operators are dispensing holiday
greetings to all callers.
OPERATORS
Consolidated Life -- Merry
Christmas -- I'll connect you --
Consolidated Life -- Merry
Christmas -- I'm ringing --
(CONTINUED)
CONTINUED:
In the foreground, Sylvia is engaged in a private
conversation of her own.
SYLVIA
(into mouthpiece)
Yeah? -- YEAH? -- Where? -- You bet
--
She tears off her headset, and turns to the other girls.
SYLVIA (CONT’D)
Somebody watch my line -- there's a
swinging party up on the nineteenth
floor --
She scoots out the door. The other girls immediately abandon
their posts, and dash after her.
INT. NINETEENTH FLOOR - DAY
It's a swinging party, all right. Nobody is working. Several
desks have been cleared and pushed together, and on top of
this improvised stage four female employees and Mr. Dobisch,
with his pants-legs rolled up, are doing a Rockette kick
routine to the tune of JINGLE BELLS.
Employees are ringed around the performers, some drinking out
of paper cups, others singing and clapping in rhythm. One of
the cubicles has been transformed into a bar, and it is
jammed with people.
Mr. Kirkeby and Mr. Vanderhof are pouring -- each has a
couple of bottles of liquor in his hands, and is emptying
them into the open top of a water- cooler. But the stuff is
flowing out as fast as it flows in -- everybody is in line
with a paper cup waiting for a refill.
Bud comes shouldering his way out of the crowded cubicle,
holding aloft two paper cups filled with booze. Since his
promotion he has bought himself a new suit, dark flannel, and
with it he wears a white shirt with a pinned round collar,
and a foulard tie.
He also has quite a glow on. Detouring past necking couples,
he heads in the direction of the elevators. The doors of
Fran's elevator are just opening, and the switchboard
operators, led by Sylvia, come streaming out.
SYLVIA
(to a colleague)
-- so I said to him: Never again! --
either get yourself a bigger car or
a smaller girl --
(CONTINUED)
CONTINUED:
As they head for the party, they pass Bud, who is approaching
the elevator with the two drinks. Fran is just closing the
elevator doors.
BUD
Miss Kubelik.
The doors slide open again, and Fran looks out. Instead of
the customary carnation in the lapel of her uniform, she
wears a sprig of holly.
BUD (CONT’D)
(holding out one of the
drinks)
Marry Christmas.
FRAN
Thank you.
(takes drink)
I thought you were avoiding me.
BUD
What gave you that idea?
FRAN
In the last six weeks you've only
been in my elevator once -- and
then you didn't take your hat off.
BUD
Well, as a matter of fact, I was
rather hurt when you stood me up
that night --
FRAN
I don't blame you. It was
unforgivable.
BUD
I forgive you.
FRAN
You shouldn't.
BUD
You couldn't help yourself. I mean,
when you're having a drink with one
man, you can't just suddenly walk
out on him because you have another
date with another man. You did the
only decent thing.
(CONTINUED)
CONTINUED: (2)
FRAN
Don't be too sure. Just because I
wear a uniform -- that doesn't make
me a Girl Scout.
BUD
Miss Kubelik, one doesn't get to be
a second administrative assistant
around here unless he's a pretty
good judge of character -- and as
far as I'm concerned, you're tops.
I mean, decency-wise -- and
otherwise-wise.
(toasting)
Cheers.
FRAN
Cheers.
They down their drinks. Bud takes the empty cup from her.
BUD
One more?
FRAN
(indicating elevator)
I shouldn't drink when I'm driving.
BUD
You're so right.
He reaches into the elevator, takes a cardboard sign off a
hook, hangs it on the elevator door. It reads USE OTHER
ELEVATOR.
BUD (CONT’D)
By the power vested in me, I
herewith declare this elevator out
of order.
(leading her toward the
party)
Shall we join the natives?
FRAN
Why not?
(as they pass a kissing
couple)
They seem friendly enough.
(CONTINUED)
CONTINUED: (3)
BUD
Don't you believe it. Later on
there will be human sacrifices --
white collar workers tossed into
the computing machines, and punched
full of those little square holes.
FRAN
How many of those drinks did you
have?
BUD
(holding up four fingers)
Three.
FRAN
I thought so.
They have now reached the entrance to the bar, which is
overflowing with thirsty natives.
BUD
You wait here. I think I hear the
sound of running water.
He leaves her outside the cubicle, and elbows his way through
the crowd toward the booze-filled water cooler. Out of
another cubicle comes Miss Olsen, cup in hand. She too has
had quite a few. Seeing Fran, she walks up to her, with an
acid smile on her face.
MISS OLSEN
Hi. How's the branch manager from
Kansas City?
FRAN
I beg your pardon?
MISS OLSEN
I'm Miss Olsen -- Mr. Sheldrake's
secretary.
FRAN
Yes, I know.
MISS OLSEN
So you don't have to play innocent
with me. He used to tell his wife
that I was the branch manager from
Seattle -- four years ago when we
were having a little ring-a-ding-
ding.
(CONTINUED)
CONTINUED: (4)
FRAN
I don't know what you're talking
about.
MISS OLSEN
And before me there was Miss Rossi
in Auditing -- and after me there
was Miss Koch in Disability -- and
just before you there was Miss
What's-Her-Name, on the twenty-
fifth floor --
FRAN
(wanting to get away)
Will you excuse me?
MISS OLSEN
(holding her by the arm)
What for? You haven't done anything
-- it's him -- what a salesman --
always the last booth in the
Chinese restaurant -- and the same
pitch about divorcing his wife --
and in the end you wind up with egg
foo yong on your face.
Bud comes burrowing out of the crowded cubicle, balancing the
two filled paper cups, spots Fran.
BUD
Miss Kubelik.
Fran turns away from Miss Olsen.
FRAN
Well -- thank you.
MISS OLSEN
Always happy to do something for
our girls in uniform.
She moves off as Bud joins Fran, who is looking a little
pale.
BUD
You all right? What's the matter?
FRAN
Nothing.
(takes the drink)
There are just too many people
here.
(CONTINUED)
CONTINUED: (5)
BUD
Why don't we step into any office?
There's something I want your
advice about, anyway.
(leads her toward his
cubicle)
I have my own office now,
naturally. And you may be
interested to know I'm the second
youngest executive in the company --
the only one younger is a grandson
of the chairman of the board.
Ratings
Scene 30 - Unraveling Connections
Bud ushers Fran in, and is confronted by a strange couple
necking in the corner. He gestures them out, crosses to his
desk.
BUD
Miss Kubelik, I would like your
honest opinion. I've had this in my
desk for a week -- cost me fifteen
dollars -- but I just couldn't get
up enough nerve to wear it --
From under the desk he has produced a hatbox, and out of the
hatbox a black bowler, which he now puts on his head.
BUD (CONT’D)
It's what they call the junior
executive model. What do you think?
Fran looks at him blankly, absorbed in her own thoughts.
BUD (CONT’D)
Guess I made a boo-boo, huh?
FRAN
(paying attention again)
No -- I like it.
BUD
Really? You mean you wouldn't be
ashamed to be seen with somebody in
a hat like this?
FRAN
Of course not.
BUD
Maybe if I wore it a little more to
the side --
(MORE)
(CONTINUED)
CONTINUED:
BUD (CONT'D)
(adjusting hat)
is that better?
FRAN
Much better.
BUD
Well, as long as you wouldn't be
ashamed to be seen with me -- how
about the three of us going out
this evening -- you and me and the
bowler -- stroll down Fifth Avenue -
- sort of break it in --
FRAN
This is a bad day for me.
BUD
I understand. Christmas -- family
and all that --
FRAN
I'd better get back to my elevator.
I don't want to be fired.
BUD
Oh, you don't have to worry about
that. I have quite a bit of
influence in Personnel. You know
Mr. Sheldrake?
FRAN
(guardedly)
Why?
BUD
He and I are like this.
(crosses his fingers)
Sent me a Christmas card. See?
He has picked up a Christmas card from his desk, shows it to
Fran. It is a photograph of the Sheldrake clan grouped around
an elaborate Christmas tree -- Mr. and Mrs. Sheldrake, the
two boys in military school uniforms, and a big French
poodle.
Underneath it says: SEASON'S GREETINGS from the SHELDRAKES
Emily, Jeff, Tommy, Jeff Jr., and Figaro.
FRAN
(studying the card
ruefully)
Makes a cute picture.
(CONTINUED)
CONTINUED: (2)
BUD
I thought maybe I could put in a
word for you with Mr. Sheldrake --
get you a little promotion -- how
would you like to be an elevator
starter?
FRAN
I'm afraid there are too many other
girls around here with seniority
over me.
BUD
No problem. Why don't we discuss it
sometime over the holidays -- I
could call you and pick you up and
we'll have the big unveiling --
(touching the brim of his
bowler)
-- you sure this is the right way
to wear it?
FRAN
I think so.
BUD
You don't think it's tilted a
little too much --
Fran takes her compact out of her uniform pocket, opens it,
hands it to Bud.
FRAN
Here.
BUD
(examining himself in the
mirror)
After all, this is a conservative
firm -- I don't want people to
think I'm an entertainer --
His voice trails off. There is something familiar about the
cracked mirror of the compact -- and the fleur-de-lis pattern
on the case confirms his suspicion. Fran notices the peculiar
expression on his face.
FRAN
What is it?
BUD
(with difficulty)
The mirror -- it's broken.
(CONTINUED)
CONTINUED: (3)
FRAN
I know. I like it this way -- makes
me look the way I feel.
The phone has started to ring. Bud doesn't hear it. He closes
the compact, hands it to Fran.
FRAN (CONT’D)
Your phone.
BUD
Oh.
(picks up phone from desk)
Yes?
(throws a quick look at
Fran)
Just a minute.
(covers mouthpiece; to
Fran)
If you don't mind -- this is sort
of personal
FRAN
All right. Have a nice Christmas.
She exits, closing the door. Bud takes his hand off the
mouthpiece.
BUD
(every word hurts)
Yes, Mr. Sheldrake -- no, I didn't
forget -- the tree is up and the
Tom and Jerry mix is in the
refrigerator -- yes, sir -- same to
you.
He hangs up, stands there for a moment, the bowler still on
his head, the noise from the party washing over him. He
slowly crosses to the clothes-tree. picks up his coat -- a
new, black chesterfield. With the coat over his arm, he
starts out of the office.
INT. NINETEENTH FLOOR - DAY
The party has picked up tempo. On top of the desks, Sylvia is
doing a mock strip tease -- without taking any clothes off.
There is hollering, drinking and clapping all around her. Bud
moves past the floor show, paying no attention. Kirkeby spots
him, detaches himself from the cheering section around
Sylvia.
(CONTINUED)
CONTINUED:
KIRKEBY
Where you going, Buddy-boy? The
party's just starting.
(catching up with him)
Listen, kid -- give me a break,
will you -- how about tomorrow
afternoon? I can't take her to that
drive-in again -- the car doesn't
even have a heater four o'clock --
okay?
Bud ignores him, continues walking through the ranks of empty
desks.
DISSOLVE TO:
Ratings
Scene 31 - Lonely Spirits on Christmas Eve
It is six o'clock, and the joint is crowded with customers
having one for the road before joining their families for
Christmas Eve. There are men with gaily wrapped packages,
small trussed-up Christmas trees, a plucked turkey in a
plastic bag.
Written across the mirror behind the bar, in glittering white
letters, is HAPPY HOLIDAYS. Everybody is in high spirits,
laughing it up and toasting each other. Everybody except Bud
Baxter.
He is standing at the bar in his chesterfield and bowler,
slightly isolated, brooding over an almost empty martini
glass. The bartender comes up, sets down a fresh martini with
an olive on a toothpick, takes his payment from a pile of
bills and coins lying in front of Bud.
Bud fishes out the olive, adds it to half a dozen other
impaled olives neatly arranged in fan shape on the counter.
He is obviously trying to complete the circle. A short,
rotund man dressed as Santa Claus hurries in from the street,
and comes up to the bar beside Bud.
SANTA CLAUS
(to bartender)
Hey, Charlie -- give me a shot of
bourbon -- and step on it -- my
sleigh is double parked.
He laughs uproariously at his own joke, nudges Bud with his
elbow. Bud stares at him coldly, turns back to his martini.
The laughter dies in Santa Claus' throat. He gets his short
of bourbon, moves down the bar to find more convivial
company.
(CONTINUED)
CONTINUED:
Standing near the end of the curved bar is a girl in her
middle twenties wearing a ratty fur coat. Her name is MARGIE
MacDOUGALL, she is drinking a Rum Collins through a straw,
and she too is alone. From a distance, she is studying Bud
with interest.
On the bar in front of her is a container of straws in paper
wrappers. She takes one of them out, tears off the end of the
paper, blows through the straw -- sending the wrapper
floating toward Bud.
The paper wrapper passes right in front of Bud's nose. He
doesn't notice it. Margie, undaunted, lets go with another
missile. This time the wrapper lands on the brim of Bud's
bowler. No reaction. Another wrapper comes floating in, hits
Bud's cheek.
He never takes his eye off his martini. Margie leaves her
place, and carrying her handbag and her empty glass, comes up
alongside Bud. Without a word, she reaches up and removes the
wrapper from Bud's bowler.
MARGIE
You buy me a drink, I'll buy you
some music.
(sets the glass down)
Rum Collins.
Not waiting for an answer, she heads for the juke box. Bud
looks after her noncommittally, then turns to the bartender.
BUD
Rum Collins.
(indicating martini glass)
And another one of these little
mothers.
At the juke box, Margie has dropped a coin in and made her
selection. The music starts -- ADESTE FIDELIS. She rejoins
Bud at the bar just as the bartender is putting down their
drinks in front of them. Bud removes the new olive, adds it
to the pattern on the counter in front of him. They both
drink, staring straight ahead. For quite a while, there is
complete silence between them.
MARGIE
(out of nowhere)
You like Castro?
(a blank look from Bud)
I mean -- how do you feel about
Castro?
(CONTINUED)
CONTINUED: (2)
BUD
What is Castro?
MARGIE
You know, that big-shot down in
Cuba with the crazy beard.
BUD
What about him?
MARGIE
Because as far as I'm concerned,
he's a no good fink. Two weeks ago
I wrote him a letter -- never even
answered me.
BUD
That so.
MARGIE
All I wanted him to do was let
Mickey out for Christmas.
BUD
Who is Mickey?
MARGIE
My husband. He's in Havana -- in
jail.
BUD
Oh. Mixed up in that revolution?
MARGIE
Mickey? He wouldn't do nothing like
that. He's a jockey. They caught
him doping a horse.
BUD
Well, you can't win 'em all.
They sit there silently for a moment, contemplating the
injustices of the world.
MARGIE
(to herself)
'Twas the night before Christmas
And all through the house Not a
creature was stirring -- Nothing --
No action -- Dullsville!
(drinks; to Bud)
You married?
(CONTINUED)
CONTINUED: (3)
BUD
No.
MARGIE
Family?
BUD
No.
MARGIE
A night like this, it sort of
spooks you to walk into an empty
apartment.
BUD
I said I had no family -- I didn't
say I had an empty apartment. They
both drink.
CUT TO:
Ratings
Scene 32 - Christmas Eve Despair
The living room is dark, except for a shaft of light from the
kitchen, and the glow of the colored bulbs on a small
Christmas tree in front of the phony fireplace. Hunched up in
one corner of the couch is Fran, still in her coat and
gloves, crying softly.
Pacing up and down is Sheldrake. His coat and hat are on a
chair, as are several Christmas packages. On the coffee table
are an unopened bottle of Scotch, a couple of untouched
glasses, and a bowl of melting ice.
SHELDRAKE
(stops and faces Fran)
Come on, Fran -- don't be like
that. You just going to sit there
and keep bawling?
(no answer)
You won't talk to me, you won't
tell me what's wrong --
(a new approach)
Look, I know you think I'm stalling
you. But when you've been married
to a woman for twelve years, you
don't just sit down at the
breakfast table and say "Pass the
sugar -- and I want a divorce."
It's not that easy.
(he resumes pacing; Fran
continues crying)
Anyway, this is the wrong time.
(MORE)
(CONTINUED)
CONTINUED:
SHELDRAKE (CONT'D)
The kids are home from school -- my
in- laws are visiting for the
holidays -- I can't bring it up
now.
(stops in front of her)
This isn't like you, Fran -- you
were always such a good sport --
such fun to be with --
FRAN
(through tears)
Yeah -- that's me. The Happy Idiot -
- a million laughs.
SHELDRAKE
Well, that's more like it. At least
you're speaking to me.
FRAN
Funny thing happened to me at the
office party today -- I ran into
your secretary -- Miss Olsen. You
know -- ring-a-ding-ding? I laughed
so much I like to died.
SHELDRAKE
Is that what's been bothering you --
Miss Olsen? That's ancient history.
FRAN
I was never very good at history.
Let me see -- there was Miss Olsen,
and then there was Miss Rossi --
no, she came before -- it was Miss
Koch who came after Miss Olsen --
SHELDRAKE
Now, Fran --
FRAN
And just think -- right now there's
some lucky girl in the building
who's going to come after me --
SHELDRAKE
Okay, okay, Fran. I deserve that.
But just ask yourself -- why does a
man run around with a lot of girls?
Because he's unhappy at home --
because he's lonely, that's why --
all that was before you, Fran --
I've stopped running.
(CONTINUED)
CONTINUED: (2)
Fran has taken a handkerchief out of her bag and is dabbing
her eyes.
FRAN
How could I be so stupid? You'd
think I would have learned by now --
when you're in love with a married
man, you shouldn't wear mascara.
SHELDRAKE
It's Christmas Eve, Fran -- let's
not fight.
FRAN
Merry Christmas.
She hands him a flat, wrapped package.
SHELDRAKE
What is it?
He strips away the wrapping to reveal a long-playing record.
The cover reads: RICKSHAW BOY - Jimmy Lee Kiang with
Orchestra.
SHELDRAKE (CONT’D)
Oh. Our friend from the Chinese
restaurant. Thanks, Fran. We better
keep it here.
FRAN
Yeah, we better.
SHELDRAKE
I have a present for you. I didn't
quite know what to get you --
anyway it's a little awkward for
me, shopping --
(he has taken out a money
clip, detaches a bill)
-- so here's a hundred dollars --
go out and buy yourself something.
He holds the money out, but she doesn't move. Sheldrake slips
the bill into her open bag.
SHELDRAKE (CONT’D)
They have some nice alligator bags
at Bergdorf's --
(CONTINUED)
CONTINUED: (3)
Fran gets up slowly and starts peeling off her gloves.
Sheldrake looks at her, then glances nervously at his wrist
watch.
SHELDRAKE (CONT’D)
Fran, it's a quarter to seven --
and I mustn't miss the train -- if
we hadn't wasted all that time -- I
have to get home and trim the tree -
Fran has started to remove her coat.
FRAN
Okay.
(shrugs the coat back on)
I just thought as long as it was
paid for --
SHELDRAKE
(an angry step toward her)
Don't ever talk like that, Fran!
Don't make yourself out to be
cheap.
FRAN
A hundred dollars? I wouldn't call
that cheap. And you must be paying
somebody something for the use of
the apartment --
SHELDRAKE
(grabbing her arms)
Stop that, Fran.
FRAN
(quietly)
You'll miss your train, Jeff.
Sheldrake hurriedly puts on his hat and coat, gathers up his
packages.
SHELDRAKE
Coming?
FRAN
You run along -- I want to fix my
face.
SHELDRAKE
(heading for the door)
Don't forget to kill the lights.
See you Monday.
(CONTINUED)
CONTINUED: (4)
FRAN
Sure. Monday and Thursday -- and
Monday again -- and Thursday again -
SHELDRAKE
(that stops him in the
half-open door)
It won't always be like this.
(coming back)
I love you, Fran.
Holding the packages to one side, he tries to kiss her on the
mouth.
FRAN
(turning her head)
Careful -- lipstick.
He kisses her on the cheek, hurries out of the apartment,
closing the door. Fran stands there for a while, blinking
back tears, then takes the long-playing record out of its
envelope, crosses to the phonograph.
She puts the record on, starts the machine -- the music is
JEALOUS LOVER. As it plays, Fran wanders aimlessly around the
darkened room, her body wracked by sobs. Finally she regains
control of herself, and picking up her handbag, starts
through the bedroom toward the bathroom.
In the bathroom, Fran switches on the light, puts her bag on
the sink, turns on the faucet. Scooping up some water, she
washes the smeared mascara away, then turns the faucet off,
picks up a towel.
As she is drying her face, she notices in the pull-away
shaving mirror the magnified reflection of a vial of pills on
the medicine shelf. Fran reaches out for the vial, turns it
slowly around in her hand.
The label reads: SECONAL - ONE AT BEDTIME AS NEEDED FOR
SLEEP. Fran studies the label for a second, then returns the
vial to the shelf.
She opens her handbag, takes out a lipstick. As she does so,
she sees the hundred dollar bill Sheldrake left in the bag.
Her eyes wander back to the vial on the medicine shelf.
Then very deliberately she picks up Bud's mouthwash glass,
removes the two toothbrushes from it, turns on the faucet,
starts filling the glass with water.
DISSOLVE TO:
Ratings
Scene 33 - Closing Time at the Bar
The joint is deserted now except for the Santa Claus, who is
leaning against the bar, quite loaded, and Bud and Margie
MacDougall, who are dancing to a slow blues coming from the
juke box. Bud is still in his overcoat and bowler, and Margie
is wearing her fur coat. The bartender is sweeping up the
place.
BARTENDER
(to Santa Claus)
Drink up, Pop. It's closing time.
SANTA CLAUS
But it's early, Charlie.
BARTENDER
Don't you know what night this is?
SANTA CLAUS
I know, Charlie. I know. I work for
the outfit.
He polishes off his drink, walks out unsteadily. The
bartender approaches the dancers.
BARTENDER
Hey, knock it off, will you? Go
home.
Bud and Margie ignore him, continue dancing -- or rather
swaying limply cheek-to-cheek. The bartender crosses to the
juke box, pulls the plug out. The music stops, but not Bud
and Margie -- they continue dancing.
BARTENDER (CONT’D)
O-U-T -- out!
He goes to the front of the bar, starts to extinguish the
lights. Margie picks up her handbag from the bar, and Bud
downs the remains of his drink.
MARGIE
Where do we go -- my place or
yours?
BUD
(peering at his watch)
Might as well go to mine --
everybody else does.
(CONTINUED)
CONTINUED:
He leads her through the dark bar toward the entrance. The
bartender holds the door open for them as they go out.
DISSOLVE TO:
Ratings
Scene 34 - A Flirtatious Encounter
Bud and Margie come walking down the street. As they reach
the house, Bud starts up the steps, but Margie continues
along the sidewalk.
MARGIE
Poor Mickey -- when I think of him
all by himself in that jail in
Havana --
(opening her handbag)
-- want to see his picture?
BUD
(from steps)
Not particularly.
Margie, realizing her mistake, hurries back to join him.
MARGIE
He's so cute -- five-foot-two --
ninety-nine pounds...like a little
chihuahua.
They pass through the front door into the vestibule.
INT. STAIRCASE - BROWNSTONE HOUSE - NIGHT
Bud and Margie are mounting the stairs toward the apartment.
MARGIE
Can I ask you a personal question?
BUD
No.
MARGIE
You got a girl-friend?
BUD
She may be a girl -- but she's no
friend of mine.
MARGIE
Still stuck on her, huh.
(CONTINUED)
CONTINUED:
BUD
Stuck on her! Obviously, you don't
know me very well.
MARGIE
I don't know you at all.
BUD
Permit me -- C.C. Baxter -- junior
executive, Arthur Murray graduate,
lover.
MARGIE
I'm Mrs. MacDougall -- Margie to
you.
Bud has taken the key out of his pocket, opened the door to
his apartment.
BUD
This way, Mrs. MacDougall.
He ushers her in.
Ratings
Scene 35 - From Flirtation to Desperation
It is exactly the way we left it. There is no sign of Fran,
except for the gloves she dropped on the coffee table
earlier. Bud switches on the light, shuts the door.
MARGIE
(looking around)
Say, this is Snugsville.
BUD
(helping her out of her
coat)
Mrs. MacDougall, I think it is only
fair to warn you that you are now
alone with a notorious sexpot.
MARGIE
(a gleam)
No kidding.
BUD
Ask anybody around here. As a
matter of fact, when it's time for
me to go -- and I may go just like
that --
(snaps his fingers)
-- I have promised my body to the
Columbia Medical Center.
(CONTINUED)
CONTINUED:
MARGIE
(shuddering deliciously)
Gee. Sort of gives you goose-bumps
just to think about it.
BUD
Well, they haven't got me yet,
baby. Dig up some ice from the
kitchen and let's not waste any
time -- preliminary-wise.
MARGIE
I'm with you, lover.
She takes the bowl of melted ice Bud has handed her,
disappears into the kitchen. As Bud starts to remove his
coat, he becomes aware of a scratching noise from the
phonograph.
He crosses to it, sees that the needle is stuck in the last
groove of a long-playing record. Bud lifts the record off,
examines it curiously, then puts it aside and substitutes the
cha cha record. As the music starts, he dances over to the
coat-rack beside the door, hangs up his chesterfield and
bowler.
He turns back into the room, still dancing, suddenly spots
Fran's gloves on the coffee table. He picks up the gloves,
looks around for some convenient place to get rid of them.
Moving over to the bedroom door, he opens it, tosses the
gloves toward the bed inside.
He shuts the door, starts to turn away, freezes in a delayed
reaction to something he saw inside. He quickly opens the
door again, looks. Sprawled across the bed, on top of the
bedspread, is Fran.
The light from the bathroom falls across her. She is fully
dressed, still in her coat, and apparently asleep. Bud steps
into the bedroom, closing the door behind him, walks over to
Fran.
BUD
All right, Miss Kubelik -- get up.
It's past checking-out time, and
the hotel management would
appreciate it if you would get the
hell out of here.
(Fran doesn't stir)
Look, Miss Kubelik, I used to like
you -- I used to like you a lot --
but it's all over between us -- so
beat it -- O-U-T -- out!
(MORE)
(CONTINUED)
CONTINUED: (2)
BUD (CONT'D)
(no reaction; he puts a
hand on her shoulder,
shakes her)
Come on -- wake up!
She doesn't respond. But something falls out of her hand,
rolls across the bed. Bud picks it up, looks at it -- it is
his sleeping-pill vial, now uncapped and empty.
BUD (CONT’D)
(a hoarse whisper)
Oh, my God.
For a second he is paralyzed. Then he drops the vial, grabs
Fran, lifts her into a sitting position on the bed, shakes
her violently.
BUD (CONT’D)
Miss Kubelik! Miss Kubelik!
Fran's head droops to one side, like a rag doll's. Bud lets
go of her, rushes out.
In the living room, the phonograph is still cha cha-ing away.
Bud dashes to the phone, picks it up. Then it occurs to him
that he doesn't know whom to call and he hangs up. Out of the
kitchen comes Margie, with a bowlful of ice cubes.
MARGIE
I broke a nail trying to get the
ice-tray out. You ought to buy
yourself a new refrigerator.
Bud, not listening, runs past her to the hall door and out.
MARGIE (CONT’D)
(calling after him)
I didn't mean right now.
INT. SECOND FLOOR LANDING - NIGHT
Bud arrives at the door of the Dreyfuss apartment, starts
ringing the doorbell and pounding with his fist.
BUD
Dr. Dreyfuss! Hey, Doc!
The door opens, and Dr. Dreyfuss stands there sleepily,
pulling on his beaten bathrobe.
BUD (CONT’D)
(words tumbling over each
other)
(MORE)
(CONTINUED)
CONTINUED:
BUD (CONT’D)
There's a girl in my place -- she
took some sleeping pills -- you
better come quick -- I can't wake
her up.
DR. DREYFUSS
Let me get my bag.
He disappears from the doorway.
BUD
Hurry up, Doc.
Bud turns and runs back into his apartment.
Ratings
Scene 36 - Desperate Measures
Margie has settled herself comfortably on the couch, and is
fixing the drinks. The cha cha music is still going. Bud
comes flying in, heads for the bedroom.
MARGIE
Hey -- over here, lover.
Bud stops in his tracks, suddenly aware of her.
MARGIE (CONT’D)
What's all this running around?
You're going to wear yourself out.
Bud strides over to her purposefully, yanks her up to her
feet.
MARGIE (CONT’D)
Not so rough, honey.
BUD
(taking the glass out of
her hand)
Good night.
MARGIE
Good night?
BUD
(thrusting the fur coat at
her)
The party's over.
MARGIE
What's the matter? Did I do
something wrong?
(CONTINUED)
CONTINUED:
BUD
(easing her toward door)
It's an emergency -- see you some
other time.
Dr. Dreyfuss comes hurrying in, carrying his medical bag. He
stops, bewildered by the sound of music and the sight of a
wide-awake girl in the apartment.
BUD (CONT’D)
Not this one --
(pointing to the bedroom)
-- in there, Doc.
Dr. Dreyfuss proceeds into the bedroom.
MARGIE
Say, what's going on here, anyway?
BUD
Nothing.
(propelling her toward the
door)
Just clear out, will you?
MARGIE
(pointing back)
My shoes.
Bud reaches under the coffee table, where she left her shoes,
retrieves them.
MARGIE (CONT’D)
(bitterly)
Some lover you are. Some sexpot!
Bud shoves the shoes at her, takes a bill out of his wallet,
hands it to her.
BUD
Here -- find yourself a phone booth
and call your husband in Havana.
MARGIE
You bet I will. And when I tell him
how you treated me, he'll push your
face in.
(he shoves her through the
open door)
You fink!
Bud slams the door shut, starts toward the bedroom. Halfway
there, he becomes aware that the cha cha record is still on.
(CONTINUED)
CONTINUED: (2)
He detours to the phonograph, switches it off, continues into
the bedroom. In the bedroom, the overhead light is on, and
Dr. Dreyfuss is working on the unconscious Fran. He has
removed her coat, and is shining a flashlight into her eyes,
examining her pupils. Bud approaches the bed worriedly.
BUD
She going to be all right, Doc?
DR. DREYFUSS
How many pills were in that bottle?
BUD
It was half-full -- about a dozen
or so. You going to have to take
her to the hospital?
Dr. Dreyfuss ignores him. Out of his medical bag, he takes a
stomach tube with a rubber funnel at the end. Then he starts
to lift Fran off the bed.
DR. DREYFUSS
Help me, will you?
Between them, they get Fran into an upright position.
DR. DREYFUSS (CONT’D)
Into the bathroom.
They half-carry, half-drag Fran's limp form toward the
bathroom.
BUD
What are you going to do, Doc?
DR. DREYFUSS
Get that stuff out of her stomach --
if it isn't too late. You better
put some coffee on -- and pray.
Bud starts away as Dr. Dreyfuss takes Fran into the bathroom.
Bud loses no time getting into the kitchen. He fills an
aluminum kettle with water, strikes a match, lights the gas
burner, puts the kettle on.
Then he takes a jar of instant coffee and a chipped coffee
mug out of the cupboard, shakes an excessive portion of
coffee into the mug, sticks a spoon in it. He watches the
kettle for a moment, mops his brow with a handkerchief, then
starts back toward the bedroom.
Bud crosses the bedroom to the half-open door of the
bathroom, looks in anxiously.
(CONTINUED)
CONTINUED: (3)
From inside come the sounds of a coughing spasm and running
water. Bud turns away, undoes his tie and collar, paces the
bedroom floor.
Something on the night table attracts his attention --
resting against the base of the lamp is a sealed envelope.
Bud picks it up -- on it, in Fran's handwriting, is one word,
JEFF.
He turns the letter over in his hand, trying to decide what
to do with it. Dr. Dreyfuss emerges from the bathroom,
carrying a pale, still unconscious Fran. Bud quickly conceals
the suicide note behind his back.
DR. DREYFUSS (CONT’D)
Bring my bag.
He lugs Fran into the living room. Bud stashes the letter in
his back pocket, picks up the medical bag, follows them. In
the living room, Dr. Dreyfuss lowers Fran into a chair. Her
chin falls to her chest. Dreyfuss takes the bag from Bud,
fishes out a hypodermic syringe, draws 2 c.c.'s from a bottle
of picrotoxin.
DR. DREYFUSS (CONT’D)
Roll up her right sleeve.
Bud does so. Dr. Dreyfuss hands the hypodermic to Bud,
searches for a spot for the injection.
DR. DREYFUSS (CONT’D)
Nice veins.
He swabs the spot with alcohol, takes the hypodermic back
from Bud.
DR. DREYFUSS (CONT’D)
Want to tell me what happened?
BUD
I don't know -- I mean -- I wasn't
here -- you see -- we had some
words earlier -- nothing serious,
really -- what you might call a
lovers' quarrel --
DR. DREYFUSS
(making off-scene
injection)
So you went right out and picked
yourself up another dame.
(CONTINUED)
CONTINUED: (4)
BUD
Something like that.
DR. DREYFUSS
You know, Baxter, you're a real
cutie-pie -- yes, you are.
Bud just stands there, taking it. Fran stirs slightly, and
from her parched lips comes a low moan. Dr. Dreyfuss grabs
her by the hair, lifts her head up.
DR. DREYFUSS (CONT’D)
If you'd come home half an hour
later, you would have had quite a
Christmas present.
With his free hand, Dr. Dreyfuss slaps Fran viciously across
the face. Bud winces. Dreyfuss, still holding Fran by the
hair, takes a box of ammonia ampules out of his bag. He
crushes one of the ampules in his hand, passes it under her
nose.
Fran tries to turn her head away. Dreyfuss slaps her again,
hard, crushes another ampule, repeats the process. Bud is
watching tensely. From the kitchen comes the whistle of the
boiling kettle, but Bud pays no attention.
DR. DREYFUSS (CONT’D)
Get the coffee.
Bud hurries into the kitchen. He turns off the gas, pours the
boiling water into the mug with the instant coffee, stirs it.
From off, come the sounds of more slapping and some moaning.
Bud carries the coffee out.
In the living room, Dr. Dreyfuss is working another ammonia
ampule under Fran's nose. Her eyes start fluttering. Dreyfuss
takes the coffee mug from Bud, forces it between Fran's lips,
pours coffee into her mouth. Fran resists instinctively, half
the coffee dribbling over her chin and dress, but Dr.
Dreyfuss keeps at it.
DR. DREYFUSS (CONT’D)
Let's get some air in here. Open
the windows.
Bud complies promptly -- pulls up the shades, opens the
windows wide.
DR. DREYFUSS (CONT’D)
(putting the empty mug
down)
What's her name?
(CONTINUED)
CONTINUED: (5)
BUD
Miss Kubelik -- Fran.
DR. DREYFUSS
(to Fran, slowly)
Fran, I'm a doctor. I'm here
because you took too many sleeping
pills. Do you understand what I'm
saying?
(Fran mutters something)
Fran, I'm Dr. Dreyfuss -- I'm here
to help you. You took all those
sleeping pills -- remember?
FRAN
(mumbling groggily)
Sleeping pills.
DR. DREYFUSS
That's right, Fran. And I'm a
doctor.
FRAN
Doctor.
DR. DREYFUSS
Dr. Dreyfuss.
FRAN
Dreyfuss.
DR. DREYFUSS
(to Bud)
Get more coffee. Bud picks up the
mug, leaves.
DR. DREYFUSS (CONT’D)
(to Fran)
Tell me again -- what's my name?
FRAN
Dr. Dreyfuss.
DR. DREYFUSS
And what happened to you?
FRAN
I took sleeping pills.
DR. DREYFUSS
Do you know where you are, Fran?
(CONTINUED)
CONTINUED: (6)
FRAN
(looking around blankly)
No.
DR. DREYFUSS
Yes, you do. Now concentrate.
FRAN
I don't know.
Bud is coming back with the coffee.
DR. DREYFUSS
(pointing to Bud)
Do you know who this is?
(Fran tries to focus)
Look at him.
FRAN
Mr. Baxter -- nineteenth floor.
BUD
Hello, Miss Kubelik.
DR. DREYFUSS
(to Bud)
Mister -- Miss -- such politeness!
BUD
(to Dr. Dreyfuss,
discreetly)
Well -- we work in the same
building -- and we try to keep it
quiet --
FRAN
(to Bud, puzzled)
What are you doing here?
Bud throws Dr. Dreyfuss a look, as if to say that Fran's mind
still wasn't functioning properly.
BUD
(to Fran)
Don't you remember? We were at the
office party together --
FRAN
Oh, yes -- office party -- Miss
Olsen --
(CONTINUED)
CONTINUED: (7)
BUD
That's right.
(to Dr. Dreyfuss;
improvising rapidly)
I told you we had a fight -- that's
what it was about -- Miss Olsen --
you know that other girl you saw --
FRAN
(still trying to figure
out Bud's presence)
I don't understand --
BUD
It's not important, Fran -- the
main thing is that I got here in
time -- and you're going to be all
right --
(to Dr. Dreyfuss)
-- isn't she, Doc?
FRAN
(closing her eyes)
I'm so tired --
DR. DREYFUSS
Here -- drink this.
He forces her to swallow some coffee.
FRAN
(pushing the mug away)
Please -- just let me sleep.
DR. DREYFUSS
You can't sleep.
(shaking her)
Come on, Fran -- open your eyes.
(to Bud)
Let's get her walking. We've got to
keep her awake for the next couple
of hours.
They lift her from the chair, and each draping one of her
arms over his shoulder, they start to walk her up and down
the room.
DR. DREYFUSS (CONT’D)
(urging Fran on)
Now walk, Fran.
(MORE)
(CONTINUED)
CONTINUED: (8)
DR. DREYFUSS (CONT’D)
One, two, three, four -- one, two,
three, four -- that's the idea --
left, right, left, right -- now we
turn -- one, two, three, four --
At first, Fran's feet just drag along the floor between them.
But gradually, as Dr. Dreyfuss' voice continues droning
hypnotically, she falls into the rhythm of it, repeating the
words after him and putting her weight on her feet.
DR. DREYFUSS (CONT’D)
Left, right, left, right -- walk,
walk, walk -- one, two, three, four
-- turn -- left, right, left, right
-- now you got it --
DISSOLVE TO:
Ratings
Scene 37 - Dawn of Reckoning
Through the bedroom window comes the first faint light of
dawn. Fran has been put to bed by an exhausted Dr. Dreyfuss.
She is in her slip, and Dreyfuss is just drawing the blanket
over her. Her eyes are closed, and she is moaning fitfully.
Watching from the doorway is Bud, in shirtsleeves now, weary
and disheveled.
DR. DREYFUSS
She'll sleep on and off for the
next twenty-four hours. Of course,
she'll have a dandy hangover when
she wakes up --
BUD
Just as long as she's okay.
DR. DREYFUSS
(massaging his calves)
These cases are harder on the
doctor than on the patient. I ought
to charge you by the mile.
They have now moved out into the living room, where the
overhead light and the Christmas tree bulbs are still on.
DR. DREYFUSS (CONT’D)
Any of that coffee left?
BUD
Sure.
(CONTINUED)
CONTINUED:
He goes into the kitchen. Dr. Dreyfuss takes a small notebook
with a fountain pen clipped to it out of his bag, sinks down
on the couch.
DR. DREYFUSS
How do you spell her last name?
BUD
(from kitchen)
Kubelik -- with two k's.
DR. DREYFUSS
What's her address?
(no answer from Bud)
Where does she live?
Bud appears from the kitchen, stirring the coffee powder in a
cup of hot water.
BUD
(apprehensive)
Why do you want to know, Doc? You
don't have to report this, do you?
DR. DREYFUSS
It's regulations.
BUD
(setting the coffee down)
She didn't mean it, Doc -- it was
an accident -- she had a little too
much to drink and -- she didn't
know what she was doing -- there
was no suicide note or anything --
believe me, Doc, I'm not thinking
about myself --
DR. DREYFUSS
(sipping the hot coffee)
Aren't you?
BUD
It's just that she's got a family --
and there's the people in the
office -- look, Doc, can't you
forget you're a doctor -- let's
just say you're here as a neighbor -
DR. DREYFUSS
(a long look at Bud)
Well, as a doctor, I guess I can't
prove it wasn't an accident.
(closes notebook)
(MORE)
(CONTINUED)
CONTINUED: (2)
DR. DREYFUSS (CONT'D)
But as your neighbor, I'd like to
kick your keester clear around the
block.
(indicating coffee)
Mind if I cool this off?
He uncaps the bottle of Scotch, pours a large slug into his
coffee.
BUD
Help yourself.
DR. DREYFUSS
(taking a big gulp of the
spiked coffee)
I don't know what you did to that
girl in there -- and don't tell me -
- but it was bound to happen, the
way you carry on. Live now, pay
later. Diner's Club!
(another swig)
Why don't you grow up, Baxter? Be a
mensch! You know what that means?
BUD
I'm not sure.
DR. DREYFUSS
A mansch -- a human being! So you
got off easy this time -- so you
were lucky --
BUD
Yeah, wasn't I?
DR. DREYFUSS
(finishing coffee)
But you're not out of the woods
yet, Baxter -- because most of them
try it again!
(picks up bag, starts
toward door)
You know where I am if you need me.
He walks out, closing the door after him. Bud dejectedly
turns off the overhead light, kicks out the plug of the
Christmas tree lights, trudges into the bedroom. Fran is fast
asleep. Bud picks up her dress, gets a hanger, drapes the
dress over it, hangs it from the door.
An early morning chill has invaded the room, and Bud switches
an the electric blanket to keep Fran warm. Then he slumps
into a chair beside the bed, looks at Fran compassionately.
(CONTINUED)
CONTINUED: (3)
The light on the dial of the electric blanket glows in the
grayish room. Bud just sits there, watching Fran.
FADE OUT:
FADE IN:
Ratings
Scene 38 - The Noisy Neighbor
Mrs. Lieberman, followed by her dog, is climbing the stairs
to Bud's apartment, puffing asthmatically. She seems quite
angry as she arrives at the door and rings the bell. There is
no answer. She starts knocking impatiently.
MRS. LIEBERMAN
Mr. Baxter. Open up already!
Finally the door opens a crack, and Bud peers out. He looks
like a man who has slept in his clothes -- rumpled, bleary-
eyed, unshaven.
BUD
Oh -- Mrs. Lieberman.
MRS. LIEBERMAN
So who did you think it was -- Kris
Kringle? What was going on here
last night?
BUD
Last night?
MRS. LIEBERMAN
All that marching -- tramp, tramp,
tramp -- you were having army
maneuvers maybe?
BUD
I'm sorry, Mrs. Lieberman -- and
I'll never invite those people
again.
MRS. LIEBERMAN
What you get from renting to
bachelors. All night I didn't sleep
ten minutes -- and I'm sure you
woke up Dr. Dreyfuss.
BUD
Don't worry about Dr. Dreyfuss -- I
happen to know he was out on a
case.
(CONTINUED)
CONTINUED:
MRS. LIEBERMAN
I'm warning you, Mr. Baxter -- this
is a respectable house, not a honky-
tonky.
(to the dog)
Come on, Oscar.
Bud watches her start down the stairs with the dog, withdraws
into the apartment.
INT. THE APARTMENT - DAY
Bud closes the door, crosses toward the bedroom, looks
inside. Fran is asleep under the electric blanket, breathing
evenly. He tries to shut the bedroom door, but it won't close
completely because Fran's dress, on a hanger. is hooked over
the top. He goes to the phone, picks it up, dials the
operator.
BUD
(his voice low)
Operator, I want White Plains, New
York -- Mr. J. D. Sheldrake --
(an added thought)
-- make it person to person.
Ratings
Scene 39 - Christmas Deception
The decor is split-level Early American. There is a huge
Christmas tree and a jumble of presents, open gift boxes, and
discarded wrappings. Sheldrake and his two sons, TOMMY and
JEFF JR., are squatting on the floor, testing a Cape
Canaveral set the kids got for Christmas.
Sheldrake is in a brand new dressing gown, with a
manufacturer's tag still dangling from it, and the boys are
in pajamas and astronaut's helmets. As for the Cape Canaveral
set, it is a miniature layout of block-houses, launching
pads, and assorted space-missiles. Tommy has his finger on
the button controlling one of the rockets.
SHELDRAKE
(counting down)
-- let her rip!
Tommy presses the button, and a spring sends the rocket
toward the ceiling. Just then, the phone in the entrance hall
starts ringing.
JEFF JR.
I'll get it.
(CONTINUED)
CONTINUED:
He hurries to the phone.
TOMM
Hey, Dad -- why don't we put a fly
in the nose cone and see if we can
bring it back alive?
SHELDRAKE
It's a thought.
TOMMY
Maybe we should send up two flies --
and see if they'll propagate in
orbit.
SHELDRAKE
See if they'll what?
TOMMY
Propagate -- you know, multiply --
baby flies?
SHELDRAKE
Oh -- oh!
JEFF JR.
(coming back from the
phone)
It's for you, Dad. A Mr. Baxter.
SHELDRAKE
(getting up)
Baxter?
JEFF JR.
Person to person.
Sheldrake heads quickly for the phone.
TOMMY
(to Jeff Jr.)
Come on -- help me round up some
flies.
In the entrance hall, Sheldrake picks up the phone, turns his
back toward the living room, speaks in a low voice.
SHELDRAKE
Hello? -- yes -- what's on your
mind, Baxter?
BUD - ON PHONE
BUD
I hate to disturb you, but
something came up -- it's rather
important -- and I think it would
be a good idea if you could see me -
- at the apartment -- as soon as
possible.
SHELDRAKE - ON PHONE
SHELDRAKE
You're not making sense, Baxter.
What's this all about?
BUD - ON PHONE
BUD
I didn't want to tell you over the
phone but that certain party -- you
know who I mean -- I found her here
last night -- she had taken an
overdose of sleeping pills.
SHELDRAKE - ON PHONE
SHELDRAKE
What?
From the stairway beyond him comes:
MRS. SHELDRAKE'S VOICE
What is it, Jeff? Who's on the
phone?
Sheldrake turns from the phone. Halfway down the stairs is
Mrs. Sheldrake, in a quilted house-robe.
SHELDRAKE
(a nice recovery)
One of our employees had an
accident -- I don't know why they
bother me with these things on
Christmas Day.
(into phone)
Yes, Baxter -- just how serious is
it?
Out of the corner of his eye, he watches Mrs. Sheldrake come
down the stairs, pass behind him on the way to the living
room.
BUD - ON PHONE
BUD
Well, it was touch and go there for
a while -- but she's sleeping it
off now.
He glances through the half-open door toward the sleeping
Fran.
BUD (CONT’D)
I thought maybe you'd like to be
here when she wakes up.
SHELDRAKE - ON PHONE
SHELDRAKE
That's impossible.
(an apprehensive look
toward the living room)
You'll have to handle this
situation yourself -- as a matter
of fact, I'm counting on you --
Ratings
Scene 40 - A Christmas Morning of Care
BUD
(into phone)
Yes, sir -- I understand.
(taking Fran's letter out
of his pocket)
She left a note -- you want me to
open it and read it to you?
(a beat)
Well, it was just a suggestion --
no, you don't have to worry about
that, Mr. Sheldrake -- I kept your
name out of it so there'll be no
trouble, police-wise or newspaper-
wise --
As Bud continues talking on the phone, Fran, in the bedroom,
opens her eyes, looks around vaguely, trying to figure out
where she is. She sits up in bed, winces, holds her head in
her hands -- she has a fierce hangover.
(CONTINUED)
CONTINUED:
BUD (CONT’D)
(into phone)
-- you see, the doctor, he's a
friend of mine -- we were very
lucky in that respect -- actually,
he thinks she's my girl -- no, he
just jumped to the conclusion --
around here, I'm known as quite a
ladies' man --
In the bedroom Fran, becoming aware of Bud's voice, crawls
out of bed and holding on to the furniture, moves unsteadily
toward the living room door.
BUD (CONT’D)
(into phone)
-- of course, we're not out of the
woods yet -- sometimes they try it
again -- yes sir, I'll do my best --
it looks like it'll be a couple of
days before she's fully recovered,
and I may have a little problem
with the landlady --
Behind him, Fran appears in the bedroom doorway, barefooted
and in her slip. She leans groggily against the door post,
trying to focus on Bud and to concentrate on what he's
saying.
BUD (CONT’D)
(into phone)
-- all right, Mr. Sheldrake, I'll
keep her in my apartment as long as
I can -- any sort of message you
want me to give her? -- well, I'll
think of something -- goodbye, Mr.
Sheldrake.
He hangs up the phone slowly.
FRAN
(weakly)
I'm sorry.
Bud turns around, sees her standing there on rubbery legs.
FRAN (CONT’D)
I'm sorry, Mr. Baxter.
BUD
Miss Kubelik --
(hurries toward her)
-- you shouldn't be out of bed.
(CONTINUED)
CONTINUED: (2)
FRAN
I didn't know -- I had no idea this
was your apartment --
BUD
(putting his arm around
her)
Let me help you.
He leads her back into the bedroom.
FRAN
I'm so ashamed. Why didn't you just
let me die?
BUD
What kind of talk is that?
(he lowers her onto the
bed)
So you got a little over- emotional
-- but you're fine now.
FRAN
(a groan)
My head -- it feels like a big wad
of chewing gum. What time is it?
BUD
Two o'clock.
FRAN
(struggling to her feet)
Where's my dress? I have to go
home.
Her knees buckle. Bud catches her.
BUD
You're in no condition to go
anywhere -- except back to bed.
FRAN
You don't want me here --
BUD
Sure I do. It's always nice to have
company for Christmas.
He tries to put her back to bed. Fran resists.
BUD (CONT’D)
Miss Kubelik, I'm stronger than you
are --
(CONTINUED)
CONTINUED: (3)
FRAN
I just want to go brush my teeth --
BUD
Oh -- of course. I think there's a
new toothbrush somewhere.
He crosses to the bathroom, takes a plaid robe off the hook
on the back of the door, hands it to Fran.
BUD (CONT’D)
Here -- put this on.
In the bathroom, he finds an unused toothbrush in a plastic
container. His eyes fall on his safety razor. With a glance
toward the bedroom, he unscrews the razor, removes the blade,
drops it in his shirt pocket. Then he empties the blades from
the dispenser, puts those in his pocket. Now he notices a
bottle of iodine on the medicine shelf, stashes that in
another pocket, just as Fran appears in the doorway wearing
the robe.
BUD (CONT’D)
(handing her the
toothbrush)
Here. How about some breakfast?
FRAN
No -- I don't want anything.
BUD
I'll fix you some coffee.
He crosses the bedroom, heading for the kitchen, stops.
BUD (CONT’D)
Oh -- we're all out of coffee --
you had quite a lot of it last
night --
He thinks for a moment, hurries toward the hall door.
Ratings
Scene 41 - A Bitter Exchange
Bud comes out of his apartment, leaving the door half open,
heads for the Dreyfuss apartment. He rings the bell, peers
down over the banister to make sure Mrs. Lieberman isn't
snooping around. Mrs. Dreyfuss opens the door.
BUD
Mrs. Dreyfuss, can I borrow some
coffee -- and maybe an orange and a
couple of eggs?
(CONTINUED)
CONTINUED:
MRS. DREYFUSS
(contemptuously)
Eggs he asks me for. Oranges. What
you need is a good horse-whipping.
BUD
Ma'am?
MRS. DREYFUSS
From me the doctor has no secrets.
Poor girl -- how could you do a
thing like that?
BUD
I didn't really do anything --
honest -- I mean, you take a girl
out a couple of times a week --
just for laughs -- and right away
she thinks you're serious --
marriage-wise.
MRS. DREYFUSS
Big shot! For you, I wouldn't lift
a finger -- but for her, I'll fix a
little something to eat.
She slams the door in his face, Bud starts back to his
apartment.
Ratings
Scene 42 - A Fragile Morning
Fran enters shakily from the bedroom, looks around for the
phone, locates it, picks it up. As she starts dialing, Bud
comes in from the hall.
BUD
Who are you calling, Miss Kubelik?
FRAN
My sister -- she'll want to know
what happened to me.
BUD
(alarmed)
Wait a minute -- let's talk this
over first.
(hurries up to her, takes
the receiver away)
Just what are you going to tell
her?
(CONTINUED)
CONTINUED:
FRAN
Well, I haven't figured it out,
exactly.
BUD
You better figure it out --
exactly. Suppose she asks you why
you didn't come home last night?
FRAN
I'll tell her I spent the night
with a friend.
BUD
Who?
FRAN
Someone from the office.
BUD
And where are you now?
FRAN
In his apartment.
BUD
His apartment?
FRAN
I mean -- her apartment.
BUD
What's your friend's name?
FRAN
Baxter.
BUD
What's her first name?
FRAN
Miss.
(she is impressed with her
own cleverness)
BUD
When are you coming home?
FRAN
As soon as I can walk.
BUD
Something wrong with your legs?
(CONTINUED)
CONTINUED: (2)
FRAN
No -- it's my stomach.
BUD
Your stomach?
FRAN
They had to pump it out.
BUD
(hanging up the phone)
Miss Kubelik, I don't think you
ought to call anybody -- not till
that chewing gum is out of your
head.
(leads her into bedroom)
FRAN
But they'll be worried about me --
my brother-in-law may be calling
the police --
BUD
That's why we have to be careful --
we don't want to involve anybody --
after all, Mr. Sheldrake is a
married man --
FRAN
Thanks for reminding me.
She pulls away from him, starts to get into bed.
BUD
(contritely)
I didn't mean it that way -- I was
just talking to him on the phone --
he's very concerned about you.
FRAN
He doesn't give a damn about me.
BUD
Oh, you're wrong. He told me --
FRAN
He's a liar. But that's not the
worst part of it -- the worst part
is -- I still love him.
The doorbell rings.
(CONTINUED)
CONTINUED: (3)
BUD
Must be Mrs. Dreyfuss --
(starts into living room)
-- remember the doctor -- from last
night -- that's his wife.
He opens the hall door. Mrs. Dreyfuss brushes past him with a
tray full of food.
MRS. DREYFUSS
So where is the victim?
(Bud indicates the
bedroom)
Max the Knife!
She sweeps into the bedroom, Bud tagging along.
MRS. DREYFUSS (CONT’D)
(to Fran)
Nu, little lady, how are we feeling
today?
FRAN
I don't know -- kind of dizzy.
MRS. DREYFUSS
Here. The best thing for dizzy is a
little noodle soup with chicken --
white meat -- and a glass tea. She
sets the tray down on Fran's lap.
FRAN
Thank you. I'm really not hungry.
MRS. DREYFUSS
Go ahead! Eat! Enjoy!
She hands her the soup spoon, turns to Bud.
MRS. DREYFUSS (CONT’D)
You wouldn't have such a thing as a
napkin, would you?
BUD
Well, I have some paper towels --
MRS. DREYFUSS
Beatnik! Go to my kitchen -- third
drawer, under the good silver,
there is napkins.
BUD
Yes, Mrs. Dreyfuss.
(CONTINUED)
CONTINUED: (4)
He starts out with a worried backward glance toward the two.
Fran is just sitting there, the spoon in her hand, not
touching the soup.
MRS. DREYFUSS
So what are you waiting for -- a
singing commercial?
FRAN
I can't eat.
Mrs. Dreyfuss takes the spoon from her, starts to feed her.
MRS. DREYFUSS
You must eat -- and you must get
healthy -- and you must forget him.
Such a fine boy he seemed when he
first moved in here -- clean and
cut -- a regular Ivy Leaguer. Turns
out he is King Farouk. Mit the
drinking -- mit the cha cha -- mit
the no napkins. A girl like you,
for the rest of your life you want
to cry in your noodle soup? Who
needs it! You listen to me, you
find yourself a nice, substantial
man -- a widower maybe -- and
settle down -- instead of nashing
all those sleeping pills -- for
what, for whom? -- for some Good
Time Charlie?
(sees Bud approaching with
napkin)
Sssh!
BUD
(gaily)
One napkin, coming up.
(hands it to Fran)
I wish we had some champagne to
wrap it around.
MRS. DREYFUSS
(to Fran)
What did I tell you?
BUD
(uncomfortable)
Look, Mrs. Dreyfuss, you don't have
to wait around. I'll wash the
dishes and --
(CONTINUED)
CONTINUED: (5)
MRS. DREYFUSS
You wash 'em, you break 'em. I'll
come back for them later.
(to Fran)
If he makes trouble, give me a
yell.
She exits.
FRAN
She doesn't seem to like you very
much.
BUD
Oh, I don't mind. As a matter of
fact, I'm sort of flattered -- that
anybody should think a girl like
you -- would do a thing like this --
over a guy like me.
FRAN
(glancing at night table)
Oh. Did you find something here --
an envelope -- ?
BUD
Yes, I've got it.
(takes envelope out of
back pocket)
Don't you think we'd better destroy
it? So it won't fall into the wrong
hands -- ?
FRAN
Open it.
Bud tears open the envelope, takes out Sheldrake's hundred
dollars.
BUD
There's nothing here but a hundred
dollar bill.
FRAN
That's right. Will you see that Mr.
Sheldrake gets it?
BUD
(shrugging)
Sure.
He puts the money in his pocket.
(CONTINUED)
CONTINUED: (6)
FRAN
(holding out tray)
Here -- take this, will you?
Bud relieves her of the tray, sets it down.
BUD
You want me to move the television
set in here?
(Fran shakes her head)
You play gin rummy?
FRAN
I'm not very good at it.
BUD
I am. Let me get the cards.
FRAN
You don't have to entertain me.
Bud opens the bureau drawer, takes out a deck of cards, a
score pad, and a pencil.
BUD
Nothing I'd like better -- you know
togetherness. Guess what I did last
Christmas. Had an early dinner at
the automat, then went to the zoo,
then I came home and cleaned up
after Mr. Eichelberger -- he had a
little eggnog party here. I'm way
ahead this year.
He pulls a chair up to the bed, starts to shuffle the cards.
BUD (CONT’D)
Three across, spades double, high
deals.
(they cut)
Eight -- ten.
(he starts to deal)
FRAN
(pensively)
I think I'm going to give it all
up.
BUD
Give what up?
(CONTINUED)
CONTINUED: (7)
FRAN
Why do people have to love people,
anyway?
BUD
Yeah -- I know what you mean.
(flips over down card)
Queen.
FRAN
I don't want it.
BUD
Pick a card.
She does, and they start playing.
FRAN
What do you call it when somebody
keeps getting smashed up in
automobile accidents?
BUD
A bad insurance risk?
FRAN
(nodding)
That's me with men. I've been
jinxed from the word go -- first
time I was ever kissed was in a
cemetery.
BUD
A cemetery?
FRAN
I was fifteen -- we used to go
there to smoke. His name was George
-- he threw me over for a drum
majorette.
BUD
Gin.
He spreads his hand. Fran lays her cards down, and Bud adds
them up.
BUD (CONT’D)
Thirty-six and twenty-five --
that's sixty-one and two boxes.
(enters score on pad)
(CONTINUED)
CONTINUED: (8)
FRAN
I just have this talent for falling
in love with the wrong guy in the
wrong place at the wrong time.
BUD
(shuffling)
How many guys were there?
FRAN
(holding up four fingers)
Three. The last one was manager of
a finance company, back home in
Pittsburgh -- they found a little
shortage in his accounts, but he
asked me to wait for him -- he'll
be out in 1965.
BUD
(pushing the deck toward
her)
Cut.
FRAN
(she does, and he starts
dealing)
So I came to New York and moved in
with my sister and her husband --
he drives a cab. They sent me to
secretarial school, and I applied
for a job with Consolidated - but I
flunked the typing test --
BUD
Too slow?
FRAN
Oh. I can type up a storm, but I
can't spell. So they gave me a pair
of white gloves and stuck me in an
elevator -- that's how I met Jeff --
(her eyes mist up, and she
puts her cards down)
Oh, God, I'm so fouled up. What am
I going to do now?
BUD
You better win a hand -- you're on
a blitz.
FRAN
Was he really upset when you told
him?
(CONTINUED)
CONTINUED: (9)
BUD
Mr. Sheldrake? Oh, yes. Very.
FRAN
Maybe he does love me -- only he
doesn't have the nerve to tell his
wife.
BUD
I'm sure that's the explanation.
FRAN
You really think so?
BUD
No doubt about it.
FRAN
(a thoughtful beat, then)
Can I have that pad and the pencil?
BUD
(handing her score pad and
pencil)
What for?
FRAN
I'm going to write a letter to Mrs.
Sheldrake.
BUD
You are?
FRAN
As one woman to another -- I'm sure
she'll understand --
BUD
Miss Kubelik, I don't think that's
such a good idea.
He gently takes the pad and pencil away from her.
FRAN
Why not?
BUD
Well, for one thing, you can't
spell. And secondly -- if you did
something like that -- you'd hate
yourself.
(CONTINUED)
CONTINUED: (10)
FRAN
(fighting back tears)
I don't like myself very much
anyway.
BUD
Pick up your cards and let's go.
FRAN
Do I have to?
BUD
You bet. I got a terrific hand.
Fran, her eyes drooping sleepily, picks up her cards, makes a
discard.
BUD (CONT’D)
You sure you want to throw that
card?
FRAN
Sure.
BUD
Gin.
He removes the cards from her hand, starts to add them up.
BUD (CONT’D)
Fifty-two and twenty-five -- that's
seventy-seven -- spades is double --
a hundred and fifty-four -- and
four boxes -- you're blitzed in two
games.
He enters the score on the pad. As he starts to shuffle
again, he notices that Fran has slid down on the pillow, and
that her eyes are closed -- she is asleep. Bud rises, adjusts
the blanket over her.
He stands there looking at her for a moment, runs his hand
over his chin. Realizing he needs a shave, he crosses to the
bathroom. In the bathroom, Bud washes his face, squirts some
shaving cream into his hand, starts to apply it.
Ratings
Scene 43 - Unexpected Guests
A Volkswagen draws up to the curb in front of the house.
Kirkeby gets out on the street side, Sylvia squeezes herself
out through the other door. Kirkeby raises the front hood of
the Volkswagen, reaches into the luggage compartment, takes
out a cardboard bucket with a bottle of champagne on ice.
(CONTINUED)
CONTINUED:
Together, he and Sylvia start up the steps of the house,
Sylvia already cha cha-ing in anticipation.
INT. APARTMENT - DAY
In the bathroom, Bud has just finished lathering his face
when the doorbell rings. He starts into the bedroom.
BUD
(muttering to himself)
All right -- all right, Mrs.
Dreyfuss.
He glances at the sleeping Fran, picks up the tray, carries
it into the living room, pulling the bedroom door closed
behind him. But it doesn't shut completely, because of Fran's
dress hooked over the top. Bud crosses to the hall door,
opens it. Outside are Kirkeby, with the champagne bucket, and
Sylvia.
KIRKEBY
Hi, Baxter.
BUD
(blocking the door)
What do you want?
KIRKEBY
What do I -- ?
(to Sylvia)
Just a minute.
He pushes his way into the apartment past Bud.
BUD
You can't come in.
KIRKEBY
(closing the door behind
him)
What's the matter with you, Buddy-
boy? I made a reservation for four
o'clock, remember?
He heads for the coffee table, sets the champagne down. Bud
shoots a quick glance toward the bedroom door, gets rid of
the tray.
BUD
Look, you can't stay here. Just
take your champagne and go.
(CONTINUED)
CONTINUED:
KIRKEBY
Baxter, I don't want to pull rank
on you -- but I told the lady it
was all set -- you want to make a
liar out of me?
BUD
Are you going to leave, Mr.
Kirkeby, or do I have to throw you
out?
As Bud spins him around, Kirkeby notices the dress on the
bedroom door.
KIRKEBY
Buddy-boy, why didn't you say so?
(indicating dress)
You got yourself a little playmate,
huh?
BUD
Now will you get out?
Ratings
Scene 44 - Secrets and Misunderstandings
Outside the door of Bud's apartment, Sylvia is cha cha-ing
impatiently. Up the stairs comes Dr. Dreyfuss, in his
overcoat and carrying his medical bag.
SYLVIA
(knocking on the door)
Hey, come on, what are we waiting
for? Open up, will you?
She continues cha-cha-ing. Dr. Dreyfuss has unlocked the door
to his apartment, and is watching Sylvia, appalled by the
fact that Baxter seems to be at it again. He starts inside.
DR. DREYFUSS
(calling)
Mildred -- !
He shuts the door behind him.
SYLVIA
(knocking on Baxter's
door)
What's holding things up?
INT. APARTMENT - DAY
Kirkeby looks toward the door in response to Sylvia's
knocking.
(CONTINUED)
CONTINUED:
KIRKEBY
Say, why don't we have ourselves a
party -- the four of us?
BUD
No!
He forces Kirkeby toward the hall door. Kirkeby, glancing
past him through the partly-open door of the bedroom, catches
sight of Fran asleep in bed.
KIRKEBY
(grinning smugly)
Well, I don't blame you. So you hit
the jackpot, eh kid -- I mean,
Kubelik-wise?
(Bud opens the door,
gestures him out)
Don't worry. I won't say a word to
anybody.
INT. SECOND FLOOR LANDING - DAY
Kirkeby comes backing out the door of Bud's apartment, minus
the champagne bucket.
KIRKEBY
Stay with it, Buddy-boy!
(Bud shuts the door on
him)
Come on, Sylvia.
SYLVIA
What gives?
KIRKEBY
A little mixup in signals. Let's
go.
SYLVIA
Go where?
KIRKEBY
(leading her toward
stairs)
What's your mother doing this
afternoon?
SYLVIA
She's home -- stuffing a turkey.
(CONTINUED)
CONTINUED:
KIRKEBY
Why don't we send her to a movie --
like Ben-Hur?
SYLVIA
That's fine. But what are we going
to do about grandma and Uncle
Herman and Aunt Sophie and my two
nieces --
Ratings
Scene 45 - A Moment of Concern
Bud comes into the bedroom. As he heads for the bathroom,
Fran stirs slightly, opens her eyes.
FRAN
Who was that?
BUD
Just somebody delivering a bottle
of champagne. Like some?
FRAN
(shaking her head)
Would you mind opening the window?
She turns off the electric blanket as Bud crosses to the
window, pushes it up. Then a thought strikes him, and he
looks at Fran suspiciously.
BUD
Now don't go getting any ideas,
Miss Kubelik.
FRAN
I just want some fresh air.
BUD
It's only one story down -- the
best you can do is break a leg.
FRAN
So they'll shoot me -- like a
horse.
BUD
(approaching the bed)
Please, Miss Kubelik, you got to
promise me you won't do anything
foolish.
(CONTINUED)
CONTINUED:
FRAN
Who'd care?
BUD
I would.
FRAN
(sleepily)
Why can't I ever fall in love with
somebody nice like you?
BUD
(ruefully)
Yeah. Well -- that's the way it
crumbles, cookie-wise. Go to sleep.
Fran closes her eyes. Bud returns to the bathroom, picks up
his razor, starts to shave. But something seems to be wrong
with the razor -- and unscrewing it, he realizes that there
is no blade. Sheepishly, he takes out the blade he hid in his
shirt pocket, inserts it in his razor, screws it shut. Then
he resumes shaving.
FADE OUT:
FADE IN:
Ratings
Scene 46 - Bitter Farewell
It is the morning after Christmas, and Miss Olsen and the
other girls are just settling down to work. Sheldrake, in hat
and coat, approaches from the elevators, comes through the
glass doors.
SECRETARIES
(ad lib)
Good morning, Mr. Sheldrake.
SHELDRAKE
(ignoring them)
Miss Olsen, will you come into my
office, please?
He strides into the inner office. Miss Olsen picks up her
stenographic pad, follows him in.
INT. SHELDRAKE'S OFFICE - DAY
Sheldrake is removing his hat and coat as Miss Olsen comes
in, shuts the door behind her.
MISS OLSEN
Did you have a nice Christmas?
(CONTINUED)
CONTINUED:
SHELDRAKE
Lovely. You were a big help.
MISS OLSEN
Me?
SHELDRAKE
Thank you for giving that little
pep talk to Miss Kubelik at the
office party.
MISS OLSEN
(dropping her business-
like mask)
I'm sorry, Jeff. You know I could
never hold my liquor --
SHELDRAKE
But I thought you could hold your
tongue.
MISS OLSEN
It won't happen again.
SHELDRAKE
You bet it won't. I'll arrange for
you to get a month's severance pay -
(she looks at him,
uncomprehending)
That's right, Miss Olsen. I'm
letting you go.
MISS OLSEN
(quietly)
You let me go four years ago, Jeff.
Only you were cruel enough to make
me sit out there and watch the new
models pass by.
SHELDRAKE
I'd appreciate it if you'd be out
of here as soon as you can.
MISS OLSEN
(formal again)
Yes, Mr. Sheldrake.
She turns and walks out of the office, shutting the door.
Sheldrake looks after her for a moment, then goes to his
desk, picks up the phone, dials the operator.
(CONTINUED)
CONTINUED: (2)
SHELDRAKE
(into phone)
This is Mr. Sheldrake. I'd like Mr.
Baxter's home telephone number --
that's C.C. Baxter, in Ordinary
Premium Accounting --
INT. SHELDRAKE'S ANTEROOM - DAY
Miss Olsen has put on her coat, and is going through her desk
drawers, cleaning out her personal belongings -- nail polish,
emery boards, an extra pair of glasses, etc. As she stows
them away in her handbag, one of the buttons on the telephone
lights up. Miss Olsen hesitates for a second, then with a
quick look around, she pushes the button down, carefully
picks up the receiver, listens in.
INT. SHELDRAKE'S OFFICE - DAY
Sheldrake is dialing the last two digits of a telephone
number. After a moment, someone answers.
SHELDRAKE
Hello, Baxter? Jeff Sheldrake. Can
you talk?
Ratings
Scene 47 - Silent Tensions
Bud, wearing slacks, a shirt open at the neck, and a cardigan
sweater, is at the phone. A pillow and a blanket on the
living room couch indicate where he spent the night.
BUD
(looking off)
Yes, she's in the shower -- she's
coming along fine, considering.
SHELDRAKE - ON PHONE
SHELDRAKE
Good. Is there anything you need --
money -- ?
BUD - ON PHONE
BUD
No, thank you, Mr. Sheldrake. As a
matter of fact, I've got some money
for you -- a hundred dollars --
SHELDRAKE - ON PHONE
SHELDRAKE
Oh.
(a beat)
Well, if there's anything I can do
for you --
BUD - ON PHONE
BUD
For me? I don't think so. But I was
hoping maybe you could do something
for her --
SHELDRAKE - ON PHONE
SHELDRAKE
Like what? Put yourself in my
place, Baxter -- how can I help her
-- my hands are tied --
INT. APARTMENT - DAY
Fran now appears in the bedroom, wearing the plaid robe, and
toweling her damp hair.
BUD
(into phone)
Well, at least you can talk to her -
- let me put her on -- and please
be gentle --
He puts the receiver down, crosses toward the bedroom door.
BUD (CONT’D)
There's a call for you --
FRAN
(approaching)
For me?
BUD
-- Mr. Sheldrake.
FRAN
I don't want to talk to him.
BUD
I think you should. I have to run
down to the grocery anyway -- all
that's left around here is one
frozen pizza --
(MORE)
(CONTINUED)
CONTINUED:
BUD (CONT'D)
(takes raincoat and old
hat from hanger)
I'll be right back -- okay?
Fran nods, watches him go out. Then she glances toward the
phone, which is off the hook. Reluctantly she advances toward
it, picks it up.
FRAN
(into phone)
Hello, Jeff.
(a long beat)
Yes, I'm all right.
SHELDRAKE - ON PHONE
SHELDRAKE
Fran, why did you do it? It's so
childish -- and it never solves
anything -- I ought to be very
angry with you, scaring me like
that -- but let's forget the whole
thing -- pretend it never happened -
- what do you say, Fran?
(no answer)
Fran --
Ratings
Scene 48 - Eavesdropping and Betrayal
Miss Olsen, glued to the phone, is listening intently.
SHELDRAKE - ON PHONE
SHELDRAKE
Are you there, Fran?
FRAN - ON PHONE
FRAN
Of course I'm not here -- because
the whole thing never happened -- I
never took those pills -- I never
loved you -- we never even met --
isn't that the way you want it?
SHELDRAKE - ON PHONE
SHELDRAKE
There you go again -- you know I
didn't mean it that way, Fran. Just
get well -- do what the nurse tells
you -- I mean Baxter -- and I'll
see you as soon as I can.
(MORE)
(CONTINUED)
CONTINUED:
SHELDRAKE (CONT'D)
Bye, Fran.
(he hangs up)
INT. SHELDRAKE'S ANTEROOM - DAY
Miss Olsen hangs up the phone, sits there for a moment,
weighing what she has overheard. Then she makes a decision,
picks up the phone again, dials a number. As she waits for an
answer, she glances toward Sheldrake's office.
MISS OLSEN
(into phone)
Hello, Mrs. Sheldrake? This is Miss
Olsen -- fine, thank you -- Mrs.
Sheldrake, I was wondering if we
could have lunch together? -- well,
I don't know how important it is,
but I think you might find it
educational -- it concerns your
husband -- all right, one o'clock,
at Longchamp's, Madison and 59th.
She looks up as the door to the inner office opens and
Sheldrake comes out. He stops when he sees that Miss Olsen is
still there.
MISS OLSEN (CONT’D)
(hanging up phone)
Don't worry, I'm on my way.
(she rises)
I was just making a personal call.
She opens her handbag, takes out a coin, puts it down on the
desk.
MISS OLSEN (CONT’D)
Here's a dime.
She marches out through the glass doors toward the elevators
as Sheldrake stands there, watching her.
DISSOLVE TO:
Ratings
Scene 49 - Gas Leak and Growing Connection
Bud comes down the street, carrying a large brown paper bag
overflowing with groceries. He goes up the steps of the house
and through the front door.
INT. STAIRCASE AND SECOND FLOOR LANDING - DAY
As Bud starts up the stairs, with the groceries, Mrs.
Lieberman comes hurrying down toward him.
(CONTINUED)
CONTINUED:
MRS. LIEBERMAN
(breathlessly)
Oh, Mr. Baxter -- I'm glad you're
here -- I was just going to get the
passkey.
BUD
What for?
MRS. LIEBERMAN
I thought I smelled gas coming from
your apartment.
BUD
Gas?
He races up the stairs two at a time, fumbling frantically
for his key. Reaching the door of his apartment, he unlocks
it, dashes in.
INT. THE APARTMENT - DAY
Bud comes bursting through the door. The living room is
empty, and the bedclothes have been removed from the couch.
BUD
(calling)
Miss Kubelik!
He dumps the bag of groceries on a table, rushes into the
kitchen. The burner has been turned on under the kettle, but
there is no flame, and gas is hissing from the vents. Bud
snaps it off, starts out again.
BUD (CONT’D)
Miss Kubelik!
Meanwhile Fran has appeared from the bathroom, and is
approaching the bedroom door. She is still in her robe, and
is holding a double sock-stretcher with one of Bud's socks on
it. Bud, rounding the corner from the kitchen at full speed,
collides with Fran in the bedroom doorway. He grabs her arms
with obvious relief.
BUD (CONT’D)
Are you all right?
FRAN
Sure.
(sniffs)
What's that funny smell?
(CONTINUED)
CONTINUED:
BUD
Gas.
(indicating kitchen)
Didn't you turn it on?
FRAN
Yes. I was boiling some water to
get the coffee stains out of my
dress.
BUD
(accusingly)
You turned it on -- but you didn't
light it.
FRAN
Are you supposed to?
BUD
In this house, you're supposed to.
FRAN
Oh.
Bud starts to take off his hat and coat, notices the sock-
stretcher in her hand.
BUD
What are you doing with that?
FRAN
I was washing my stockings, so I
decided I might as well do your
socks.
BUD
Thank you.
FRAN
It's very curious -- I could only
find three and a half pair.
BUD
Well, things are a little
disorganized around here.
He carries the bag of groceries into the kitchen, Fran
trailing after him. During the following, he removes the
contents of the bag -- bread, eggs, bacon, spaghetti, ground
round, frankfurters, and assorted canned goods -- sets them
out on the drainboard.
(CONTINUED)
CONTINUED: (2)
FRAN
I'd say. What's a tennis racquet
doing in the kitchen?
She produces the racquet from behind the stove.
BUD
Tennis racquet? Oh, I remember -- I
was cooking myself an Italian
dinner.
(Fran looks at him oddly)
I used it to strain the spaghetti.
FRAN
(thinking it over)
Why not?
BUD
As a matter of fact, I'm a pretty
good cook -- but I'm a lousy
housekeeper.
FRAN
Yes, you are,
(indicating the living
room)
When I was straightening up the
couch, you know what I found? Six
hairpins, a lipstick, a pair of
false eyelashes, and a swizzle
stick from the Stork Club.
BUD
(shrugging)
It's just that I'm the kind of guy
who can't say no -- I don't mean to
girls -- I mean --
FRAN
You mean to someone like Mr.
Sheldrake.
BUD
I guess so.
FRAN
I know so. He's a taker.
BUD
A what?
(CONTINUED)
CONTINUED: (3)
FRAN
Some people take, some people get
took -- and they know they're
getting took -- and there's nothing
they can do about it.
BUD
I wouldn't say that --
(trying to change the
subject)
What would you like to have for
diner? There's onion soup and
canned asparagus --
FRAN
I really ought to be getting home.
My family will be flipping by now.
She starts into the living room. Bud follows her.
BUD
You can't leave yet. The doctor
says it takes forty-eight hours to
get the stuff out of your system.
FRAN
(wistfully)
I wonder how long it takes to get
someone you're stuck on out of your
system? If they'd only invent some
kind of a pump for that --
She sits on the arm of a chair.
BUD
I know how you feel, Miss Kubelik.
You think it's the end of the world
-- but it's not, really. I went
through exactly the same thing
myself.
FRAN
You did?
BUD
Well, maybe not exactly -- I tried
to do it with a gun.
FRAN
Over a girl?
(CONTINUED)
CONTINUED: (4)
BUD
Worse than that -- she was the wife
of my best friend -- and I was mad
for her. But I knew it was hopeless
-- so I decided to end it all. I
went to a pawnshop and bought a
forty-five automatic and drove up
to Eden Park -- do you know
Cincinnati?
FRAN
No, I don't.
BUD
Anyway, I parked the car and loaded
the gun -- well, you read in the
papers all the time that people
shoot themselves, but believe me,
it's not that easy -- I mean, how
do you do it? -- here, or here, or
here --
(with cocked finger, he
points to his temple,
mouth and chest)
-- you know where I finally shot
myself?
FRAN
Where?
BUD
(indicating kneecap)
Here.
FRAN
In the knee?
BUD
Uh-huh. While I was sitting there,
trying to make my mind up, a cop
stuck his head in the car, because
I was illegally parked -- so I
started to hide the gun under the
seat and it went off -- pow!
FRAN
(laughing)
That's terrible.
BUD
Yeah. Took me a year before I could
bend my knee -- but I got over the
girl in three weeks.
(MORE)
(CONTINUED)
CONTINUED: (5)
BUD (CONT'D)
She still lives in Cincinnati, has
four kids, gained twenty pounds --
she sends me a fruit cake every
Christmas.
FRAN
(suddenly suspicious)
Are you just making that up to make
me feel better?
BUD
Of course not. Here's the fruit
cake.
(shows it to her under
Christmas tree)
And you want to see my knee?
(starts to raise pant-leg)
FRAN
No, thanks. The fellows in the
office may get the wrong idea how I
found out.
BUD
So let 'em. Look, I'm going to cook
dinner for us. We'll have the fruit
cake for dessert. You just sit
there and rest. You've done enough
for one day.
FRAN
(smiling)
Yes, nurse.
Bud starts happily into the kitchen.
DISSOLVE TO:
Ratings
Scene 50 - A Brother's Concern
It is mid-afternoon, and traffic is light. A Yellow Cab has
pulled up in front of the entrance, and the driver, a
stockily-built young man in a leather jacket and cap, gets
out and comes through the revolving doors into the lobby. His
name is KARL MATUSCHKA, and he is Fran's brother-in-law. As
he cases the elevators, the starter comes up to him.
ELEVATOR STARTER
Can I help you?
MATUSCHKA
I'm looking for one of the elevator
girls -- Miss Kubelik.
(CONTINUED)
CONTINUED:
ELEVATOR STARTER
So am I. She didn't report this
morning.
MATUSCHKA
She didn't. Where can I get some
information -- who's in charge
here?
ELEVATOR STARTER
That comes under General Office
Administration. See Mr. Dobisch,
twenty-first floor.
MATUSCHKA
Thanks.
He steps into an elevator, the doors of which are just
closing.
INT. DOBISCH'S OFFICE - DAY
Dobisch is sitting behind his desk, lighting a cigar.
Kirkeby, who has dropped in for a little visit, is perched on
the edge of the desk.
KIRKEBY
-- so yesterday afternoon I take
Sylvia up to the apartment, and
guess who he's got stashed away in
the bedroom?
DOBISCH
Who?
KIRKEBY
Kubelik.
DOBISCH
No kidding. Buddy-boy and Kubelik
having themselves a little toot!
KIRKEBY
Toot? It's more like a lost
weekend. Neither of them showed up
for work today.
DOBISCH
A.W.O.L.?
(CONTINUED)
CONTINUED:
KIRKEBY
What gripes me is the two of them
were guzzling my champagne while
Sylvia and I wound up at the
Guggenheim Museum.
The glass door opens and Matuschka comes in.
MATUSCHKA
Mr. Dobisch?
DOBISCH
Yeah.
MATUSCHKA
My name is Karl Matuschka -- my
sister-in-law, she runs one of the
elevators here -- Fran Kubelik.
KIRKEBY
(exchanging a glance with
Dobisch)
Miss Kubelik?
MATUSCHKA
You know her?
DOBISCH
Of course. There may be a lot of
employees here -- but we're one big
happy family.
MATUSCHKA
Well, she lives with us -- and my
wife, she's getting a little
nervous -- on account of Fran
hasn't been home for two days.
KIRKEBY
(another look at Dobisch)
That so.
MATUSCHKA
Anyway, we was wondering if
somebody in the office would know
what happened to her.
DOBISCH
I see.
(to Kirkeby)
What do you think, Al? Can we help
the man?
(CONTINUED)
CONTINUED: (2)
KIRKEBY
(after a pregnant pause)
Why not? We don't owe Buddy-boy
anything.
DOBISCH
Yeah. What's Buddy-boy done for us
lately?
MATUSCHKA
(scowling)
Who is Buddy-boy?
DISSOLVE TO:
Ratings
Scene 51 - A Tense Evening: Love and Conflict
Buddy-boy is bending over a hot stove, preparing an Italian
dinner. He takes a saucepan of spaghetti off the fire, and
picking up the tennis racquet with the other hand, pours the
spaghetti on top of the racquet strings. Then he turns on the
faucet, runs water over the spaghetti. With the combined
technique of Brillat-Savarin and Pancho Gonzales, he gently
agitates the racquet, letting the water drain off the
spaghetti. As he works, he hums a theme from Tschaikowsky's
Capriccio Italien. Fran walks in, still in her robe.
FRAN
Are we dressing for dinner?
BUD
No -- just come as you are.
FRAN
(watching him)
Say, you're pretty good with that
racquet.
BUD
You ought to see my backhand.
(dumping spaghetti into
platter)
And wait till I serve the
meatballs.
(demonstrates)
FRAN
Shall I light the candles?
BUD
It's a must -- gracious-living-
wise.
(CONTINUED)
CONTINUED:
As Fran starts into the living room, Bud begins to ladle meat
sauce onto the spaghetti, humming operatically. In the living
room, the small table has been set for two, and prominent on
it is the champagne bottle that Mr. Kirkeby left behind,
still in its cardboard bucket, but freshly iced. As Fran
lights the candles, she notices the napkins on the table,
peels a price-tag off the corner of one of them.
FRAN
I see you bought some napkins.
BUD
Might as well go all the way.
He carries the platter of spaghetti and meat sauce in from
the kitchen, sets it on the table, sprinkles some cheese on
it. Then he crosses to the coffee table, where a full martini
pitcher stands in readiness, fills a couple of glasses. Fran
seats herself at the table.
BUD (CONT’D)
You know, I used to live like
Robinson Crusoe -- shipwrecked
among eight million people. Then
one day I saw a footprint in the
sand -- and there you were --
(hands her martini)
It's a wonderful thing -- dinner
for two.
FRAN
You usually eat alone?
BUD
Oh, no. Sometimes I have dinner
with Ed Sullivan, sometimes with
Dinah Shore or Perry Como -- the
other night I had dinner with Mae
West -- of course, she was much
younger then.
(toasting)
Cheers.
FRAN
Cheers.
They drink.
BUD
You know what we're going to do
after dinner?
(CONTINUED)
CONTINUED: (2)
FRAN
The dishes?
BUD
I mean, after that?
FRAN
What?
BUD
You don't have to if you don't want
to --
FRAN
I don't?
BUD
We're going to finish that gin
game.
FRAN
Oh.
BUD
So I want you to keep a clear head.
The door bell rings. Carrying his martini glass, Bud crosses
to the door, starts to open it.
BUD (CONT’D)
Because I don't want to take
advantage of you -- the way I did
yesterday in bed.
By now the door is open, and Bud is speaking to Fran over his
shoulder. He turns, finds himself face to face with Karl
Matuschka, who is standing grimly in the doorway.
MATUSCHKA
Baxter?
BUD
Yes?
Matuschka shoves him roughly aside, strides past him toward
Fran, who has risen to her feet.
MATUSCHKA
What's with you, Fran -- did you
forget where you live?
(CONTINUED)
CONTINUED: (3)
FRAN
(to Bud)
This is my brother-in-law, Karl
Matuschka.
BUD
(friendly)
How do you do, Mr. Matuschka?
MATUSCHKA
(pushing Bud away; to
Fran)
Okay, get your clothes on. I got
the cab downstairs.
BUD
Now, wait a minute. I know what
you're thinking -- but it's not as
bad as it looks --
MATUSCHKA
(shoving him away)
It's none of my business what you
do, Fran -- you're over twenty- one
-- but your sister happens to think
you're a lady.
BUD
All we were going to do is eat and
wash the dishes --
MATUSCHKA
(grabbing him)
Look, Buddy-boy -- if there wasn't
a lady present, I'd clobber you.
FRAN
(separating them)
All right, Karl -- I'll get
dressed.
She exits into the bedroom, removing her dress from the door,
and closing it. Matuschka leans against the wall beside the
hall door, eyeing Bud truculently. Bud raises a finger to
remonstrate with him -- then breaks into a nervous,
ingratiating smile.
BUD
Care for a martini? Champagne?
(Matuschka continues
glaring at him)
How about a little spaghetti with
meat sauce? Made it myself.
(MORE)
(CONTINUED)
CONTINUED: (4)
BUD (CONT'D)
(Matuschka just scowls)
Your sister-in-law sure is
terrific...
(realizes his mistake;
switching abruptly)
Must be murder driving a cab in New
York -- I mean, with all that cross-
town traffic --
He gestures with the martini glass, spilling the contents
over his shirtfront. Through the partly open hall door, Dr.
Dreyfuss sticks his head in.
DR. DREYFUSS
Hi, Baxter.
He steps into the apartment, passing Matuschka without seeing
him.
DR. DREYFUSS (CONT’D)
How's the patient?
BUD
(quickly)
Oh, I'm fine, Doc.
DR. DREYFUSS
Not you -- Miss Kubelik.
MATUSCHKA
(stepping forward)
What's the matter with Miss
Kubelik?
BUD
Oh, this is Mr. Matuschka -- he's
Miss Kubelik's -- he's got a cab
downstairs --
MATUSCHKA
(to Dreyfuss)
Fran been sick or something?
Dr. Dreyfuss looks at Bud.
BUD
No, no -- just had a little
accident.
MATUSCHKA
(to Dreyfuss)
What does he mean, accident?
(CONTINUED)
CONTINUED: (5)
DR. DREYFUSS
Well, these things happen all the
time --
MATUSCHKA
What things?
(grabbing Dreyfuss)
Say, what kind of doctor are you,
anyway?
BUD
(hastily)
Oh, not that kind.
He just gave her a shot and pumped her stomach out -- Behind
them, the bedroom door has opened, and Fran comes out,
wearing her coat over her dress.
MATUSCHKA
What for?
FRAN
(coming up)
Because I took some sleeping pills.
But I'm all right now -- so let's
go.
MATUSCHKA
Why did you take sleeping pills?
BUD
(promptly)
On account of me.
MATUSCHKA
(whirling on him)
You?
BUD
Who else?
Matuschka lashes out with a left to Bud's jaw, and while he
is off balance, catches him with a right to the eye. Bud
falls back against the Christmas tree, which topples with a
crash. Fran pulls Matuschka away from him.
FRAN
Leave him alone, Karl.
She kneels beside Bud.
(CONTINUED)
CONTINUED: (6)
FRAN (CONT’D)
(tenderly)
You fool -- you damn fool.
MATUSCHKA
Come on, Fran.
FRAN
Goodbye, Mr. Baxter.
She kisses him on the cheek, rises, starts toward the door.
FRAN (CONT’D)
Goodbye, doctor.
She follows Matuschka out. Bud looks after her, starry-eyed.
DR. DREYFUSS
I don't want to gloat, but just
between us, you had that coming to
you.
(tilts Bud's chin up,
examines his eye)
Tch, tch, tch. Are you going to
have a shiner tomorrow. Let me get
my bag.
(he starts out)
BUD
(calling after him)
Don't bother, Doc. It doesn't hurt
a bit.
He is on Cloud Nine.
FADE OUT:
FADE IN:
Ratings
Scene 52 - A Bold Proposal Amidst Mockery
Bud is coming from the elevators toward his office. He is
wearing his chesterfield, bowler, and a pair of dark glasses.
He opens the office door, starts in.
INT. BUD'S OFFICE - DAY
Bud crosses directly to the phone, removes his glasses
revealing a swollen left eye. He dials a number.
BUD
(into phone)
Mr. Sheldrake's office?
(MORE)
(CONTINUED)
CONTINUED:
BUD (CONT'D)
This is C.C. Baxter. Would you
please tell Mr. Sheldrake I'd like
to come up and see him? It's rather
important. Will you call me back,
please?
He hangs up, takes off his hat and coat, deposits them on the
clothes- tree. Then he paces around the office, rehearsing a
speech out loud.
BUD (CONT’D)
Mr. Sheldrake, I've got good news
for you. All your troubles are
over. I'm going to take Miss
Kubelik off your hands.
(nods to himself with
satisfaction)
The plain fact is, Mr. Sheldrake,
that I love her. I haven't told her
yet, but I thought you should be
the first to know. After all, you
don't really want her, and I do,
and although it may sound
presumptuous, she needs somebody
like me. So I think it would be the
thing all around --
(the phone rings and he
picks it up)
-- solution-wise.
(into phone)
Yes? I'll be right up.
He hangs up, crosses to the door, opens it.
BUD (CONT’D)
(to himself)
Mr. Sheldrake, I've got good news
for you --
Putting on his dark glasses, he heads for the elevators,
still talking to himself.
INT. NINETEENTH FLOOR - DAY
Kirkeby and Dobisch are just stepping out of an elevator when
Bud approaches. They grin smugly when they see that he is
wearing dark glasses.
KIRKEBY
Hi, Buddy-boy. What happened to
you?
(CONTINUED)
CONTINUED:
DOBISCH
Hit by a swinging door? Or maybe a
Yellow Cab?
Bud pays no attention, walks right past them into the
elevator, still muttering to himself. The doors close.
KIRKEBY
(as they move away from
the elevators)
That guy really must've belted him.
DOBISCH
Yeah, he's punchy. Talking to
himself.
Ratings
Scene 53 - Unexpected Revelations
The elevator doors open.
ELEVATOR OPERATOR
Twenty-seven.
Bud steps out. As he heads for Sheldrake's office, he
continues rehearsing his speech.
BUD
You see, Mr. Sheldrake, those two
days she spent in the apartment --
it made me realize how lonely I'd
been before. But thanks to you, I'm
in a financial position to marry
her -- if I can ever square things
with her family.
He opens the door to Sheldrake's anteroom.
INT. SHELDRAKE'S OFFICE - DAY
Sheldrake is pacing in front of his desk. A couple of
suitcases are standing in a corner of the room. The intercom
buzzes, and Sheldrake presses the lever down.
SECRETARY'S VOICE
Mr. Baxter is here.
SHELDRAKE
Send him in.
A beat, then the door opens, and Bud marches in determinedly.
(CONTINUED)
CONTINUED:
BUD
Mr. Sheldrake, I've got good news
for you --
SHELDRAKE
And I've got good news for you,
Baxter. All your troubles are over.
BUD
(reacting to the echo)
Sir?
SHELDRAKE
I know how worried you were about
Miss Kubelik -- well, stop worrying
-- I'm going to take her off your
hands.
BUD
(stunned)
You're going to take her off my
hands?
SHELDRAKE
That's right.
(indicating suitcases)
I've moved out of my house -- I'm
going to be staying in town, at the
Athletic Club.
BUD
You left your wife?
SHELDRAKE
Well, if you must know -- I fired
my secretary, my secretary got to
my wife, and my wife fired me.
Ain't that a kick in the head?
BUD
Yeah --
SHELDRAKE
Now what was your news, Baxter?
BUD
(recovering with
difficulty)
It's about Miss Kubelik -- she's
all right again -- so she went back
home.
(CONTINUED)
CONTINUED: (2)
SHELDRAKE
Swell. And don't think I've
forgotten what you did for me.
(opens door to adjoining
office)
This way, Baxter.
Bud advances slowly toward the door.
Ratings
Scene 54 - A Promotion with Strings Attached
It is a slightly smaller and less lavish edition of Sheldrake
s office. Sheldrake ushers Bud through the door, points to
the chair behind the desk.
SHELDRAKE
Sit down. Try it on for size.
Bud obeys like an automaton, lowers himself into the chair.
SHELDRAKE (CONT’D)
You like?
(indicating office)
It's all yours.
BUD
Mine?
SHELDRAKE
My assistant, Roy Thompson, has
been shifted to the Denver office,
and you're taking his place.
(no reaction from Bud)
What's the matter, Baxter? You
don't seem very excited.
BUD
Well, it's just that so many things
have been happening so fast -- I'm
very pleased -- especially for Miss
Kubelik. Now that I've gotten to
know her better, I think she's the
kind of girl that definitely ought
to be married to somebody --
SHELDRAKE
Oh, sure, sure. But first the
property settlement has to be
worked out -- then it takes six
weeks in Reno -- meanwhile, I'm
going to enjoy being a bachelor for
a while.
(MORE)
(CONTINUED)
CONTINUED:
SHELDRAKE (CONT'D)
(starts back toward his
own office)
Oh, by the way, you can now have
lunch in the executive dining room -
BUD
Yes, sir.
He removes his dark glasses reflectively.
SHELDRAKE
That's just one of the privileges
that goes with this job. You also
get a nice little expense account,
the use of the executive washroom --
(breaks off, peers at
Bud's face)
Say, what happened to you, Baxter?
BUD
I got kicked in the head, too.
SHELDRAKE
Oh?
With a shrug, he exits into his own office, closing the door
behind him. Bud sits there, unconsciously bending the glasses
in his hand until they suddenly snap in two. Bud glances down
at the two broken halves, as though surprised by his own
violence, tosses them on the desk.
DISSOLVE TO:
Ratings
Scene 55 - Lonely Promotions
We are close on the building directory. Listed under
PERSONNEL is J.D. SHELDRAKE, Director, and just below that a
man's hand is inserting the name C.C. BAXTER in the slot
marked Asst. Director. The lettering is complete except for
the final R.
Camera pulls back to reveal the sign painter we saw earlier,
working on the directory. Watching him is Bud. He is wearing
his chesterfield and bowler, and still has a slight welt
under his left eye. It is after six o'clock, and there is
very little activity in the lobby. Fran, wearing her coat
over street clothes, approaches from the direction of the
elevators, stops when she sees Bud.
FRAN
Good evening, Mr. Baxter.
Bud turns to her in surprise, removes his bowler.
(CONTINUED)
CONTINUED:
BUD
Oh, Miss Kubelik. How do you feel?
FRAN
Fine. How's your eye?
BUD
Fine.
There is a moment of constraint between them.
FRAN
How's everything at the apartment?
BUD
Nothing's changed. You know, we
never finished that gin game --
FRAN
I know.
(a beat)
I suppose you heard about Mr.
Sheldrake --?
BUD
You mean, leaving his wife? Yeah.
I'm very happy for you.
FRAN
I never thought he'd do it.
BUD
I told you all along. You see, you
were wrong about Mr. Sheldrake.
FRAN
I guess so.
BUD
For that matter, you were wrong
about me, too. What you said about
those who take and those who get
took? Well, Mr. Sheldrake wasn't
using me -- I was using him. See?
(indicating his name on
directory)
Last month I was at desk 861 on the
nineteenth floor -- now I'm on the
twenty-seventh floor, paneled
office, three windows -- so it all
worked out fine -- we're both
getting what we want.
(CONTINUED)
CONTINUED: (2)
FRAN
Yes.
(looks at her watch)
You walking to the subway?
BUD
No, thank you.
(fumbling)
I -- well, to tell you the truth --
(glancing around lobby)
-- I have this heavy date for
tonight --
He points off toward the newsstand. Standing there is a tall,
attractive brunette, obviously waiting for someone. Fran
looks off in the indicated direction.
FRAN
Oh.
BUD
Aren't you meeting Mr. Sheldrake?
FRAN
No. You know how people talk. So I
decided it would be better if we
didn't see each other till
everything is settled, divorce-
wise.
BUD
That's very wise.
FRAN
Good night, Mr. Baxter.
BUD
Good night, Miss Kubelik.
Fran walks toward the revolving doors. Bud watches her for a
moment, then strides briskly across the lobby toward the
newsstand. He goes right past the waiting brunette, stops in
front of a rack of pocket books, examines the merchandise. A
man now comes out of a phone booth, joins the waiting
brunette, and they go off together. Bud picks out a couple of
paperbacks, pays the clerk behind the counter. Stuffing a
book into each coat pocket, he moves slowly toward the
revolving doors.
DISSOLVE TO:
Ratings
Scene 56 - The Key to Compromise
Sheldrake is swiveled around sideways behind his desk, with a
bootblack kneeling in front of him, shining his shoes.
Reaching for the intercom, Sheldrake presses down one of the
levers.
SHELDRAKE
Baxter -- would you mind stepping
in here for a minute?
BAXTER'S VOICE
Yes, Mr. Sheldrake.
The bootblack finishes the second shoe with a flourish,
gathers up his equipment. Sheldrake tosses him a half dollar.
BOOTBLACK
Much obliged.
He exits into the anteroom as the door of the adjoining
office opens and Bud comes in, carrying several charts. There
is no trace left of his black eye.
BUD
(putting charts on desk)
Here's the breakdown of figures on
personnel turnover. Thirty-seven
percent of our female employees
leave to get married, twenty-two
percent quit because --
SHELDRAKE
(breaking in)
You're working too hard, Baxter.
It's New Year's Eve -- relax.
BUD
Yes, sir.
SHELDRAKE
I suppose you'll be on the town
tonight -- celebrating?
BUD
Naturally.
SHELDRAKE
Me, too. I'm taking Miss Kubelik
out -- I finally talked her into
it...
(CONTINUED)
CONTINUED:
BUD
I see.
SHELDRAKE
The only thing is I'm staying at
the Athletic Club -- and it's
strictly stag so if you don't
mind...
BUD
Don't mind what?
SHELDRAKE
You know that other key to your
apartment -- well, when we had that
little scare about Miss Kubelik, I
thought I'd better get rid of it
quick -- so I threw it out the
window of the commuter train.
BUD
Very clever.
SHELDRAKE
Now I'll have to borrow your key.
BUD
Sorry, Mr. Sheldrake.
SHELDRAKE
What do you mean, sorry?
BUD
You're not going to bring anybody
up to my apartment.
SHELDRAKE
I'm not just bringing anybody --
I'm bringing Miss Kubelik.
BUD
Especially not Miss Kubelik.
SHELDRAKE
How's that again?
BUD
(flatly)
No key!
(CONTINUED)
CONTINUED: (2)
SHELDRAKE
Baxter, I picked you for my team
because I thought you were a bright
young man. You realize what you're
doing? Not to me -- but to
yourself. Normally it takes years
to work your way up to the twenty-
seventh floor -- but it takes only
thirty seconds to be out on the
street again. You dig?
BUD
(nodding slowly)
I dig.
SHELDRAKE
So what's it going to be?
Without taking his eyes off Sheldrake, Bud reaches into his
pocket, fishes out a key, drops it on the desk.
SHELDRAKE (CONT’D)
Now you're being bright?
BUD
Thank you, sir.
He turns abruptly, starts back into his own office.
Ratings
Scene 57 - A Bold Departure
Bud comes in, shutting the door behind him, stands rooted to
the spot for a moment. Then he takes some pencils out of his
breast pocket and drops them into a container on the desk,
closes his account book, slams a couple of open file drawers
shut. As he crosses to the clothes closet, the connecting
door opens and Sheldrake comes in, key in hand.
SHELDRAKE
Say, Baxter -- you gave me the
wrong key.
BUD
No I didn't.
SHELDRAKE
(holding it out)
But this is the key to the
executive washroom.
(CONTINUED)
CONTINUED:
BUD
That's right, Mr. Sheldrake. I
won't be needing it -- because I'm
all washed up around here.
He has taken his chesterfield and bowler out of the closet,
and is putting the coat on.
SHELDRAKE
What's gotten into you, Baxter?
BUD
Just following doctor's orders.
I've decided to become a mensch.
You know what that means? A human
being.
SHELDRAKE
Now hold on, Baxter --
BUD
Save it. The old payola won't work
any more. Goodbye, Mr. Sheldrake.
He opens the door to the anteroom, starts out.
INT. SHELDRAKE'S ANTEROOM - DAY
Bud comes out of his office, carrying his bowler, strides
past the secretaries and through the glass doors to the
foyer. An elevator is just unloading, and beside it a
handyman is cleaning out one of the cigarette receptacles.
Bud crosses to the elevator, and as he passes the handyman,
he jams his bowler on the man's head -- surrendering his
crown, so to speak. The elevator doors close. The handyman
straightens up, looks around in bewilderment.
DISSOLVE TO:
Ratings
Scene 58 - New Year's Reflections
Bud is in the process of packing. In the middle of the living
room are several large cardboard cartons filled with his
possessions. The art posters are off the walls, the bric-a-
brac has been removed from the shelves, and Bud is stowing
away the last of his books and records.
He crosses to the fireplace, opens one of the drawers in the
cabinet above it, takes out a forty-five automatic. He holds
the gun in the palm of his hand, studies it appraisingly. The
doorbell rings. Bud snaps out of his reverie, drops the gun
into one of the cartons, goes to the door and opens it.
(CONTINUED)
CONTINUED:
Standing outside is Dr. Dreyfuss, with a plastic ice bucket
in his hand.
DR. DREYFUSS
Say, Baxter -- we're having a
little party and we ran out of ice -
- so I was wondering --
BUD
Sure, Doc.
DR. DREYFUSS
(stepping inside)
How come you're alone on New Year's
Eve?
BUD
Well, I have things to do --
DR. DREYFUSS
(noticing cartons)
What's this -- you packing?
BUD
Yeah -- I'm giving up the
apartment.
He goes into the kitchen, opens the refrigerator, starts to
pry out the ice-cube trays.
DR. DREYFUSS
Where are you moving to?
BUD
I don't know. All I know is I got
to get out of this place.
DR. DREYFUSS
Sorry to lose you, Baxter.
BUD
Me? Oh, you mean my body. Don't
worry, Doc -- it'll go to the
University -- I'll put it in
writing --
He dumps the ice-cubes, still in their trays, into the bucket
Dr. Dreyfuss is holding. Then he pulls Kirkeby's unopened
bottle of champagne out of the refrigerator.
BUD (CONT’D)
Can you use a bottle of champagne?
(CONTINUED)
CONTINUED: (2)
DR. DREYFUSS
Booze we don't need. Why don't you
join us, Baxter? We got two brain
surgeons, an ear, nose and throat
specialist, a proctologist, and
three nurses from Bellevue.
BUD
No, thanks -- I don't feel like it.
Look, Doc -- in case I don't see
you again -- how much do I owe you
for taking care of that girl?
DR. DREYFUSS
Forget it -- I didn't do it as a
doctor -- I did it as a neighbor.
(stopping in doorway)
By the way, whatever happened to
her?
BUD
(airily)
You know me with girls. Easy come,
easy go. Goodbye, Doc.
DR. DREYFUSS
Happy New Year.
Bud closes the door, returns to the kitchen, brings out a box
of glassware and the tennis racquet. As he starts to deposit
the racquet in a carton, he notices a strand of spaghetti
clinging to the strings. He removes it gently, stands there
twirling the limp spaghetti absently around his finger.
CUT TO:
Ratings
Scene 59 - Midnight Departure
It is five minutes before midnight, New Year's Eve. Sitting
alone in the last booth is Fran, a paper hat on her head, a
pensive look on her face. There are two champagne glasses on
the table, and the usual noisemakers, but the chair opposite
her is empty.
Above the general hubbub, the Chinese pianist can be heard
playing. After a moment, Fran glances off. Threading his way
through the merrymakers crowding the bar and overflowing from
the booths is Sheldrake. He is in dinner clothes, topped by a
paper hat. Reaching the last booth, he drops into the chair
facing Fran.
(CONTINUED)
CONTINUED:
SHELDRAKE
Sorry it took me so long on the
phone. But we're all set.
FRAN
All set for what?
SHELDRAKE
I rented a car -- it's going to be
here at one o'clock -- we're
driving to Atlantic City.
FRAN
Atlantic City?
SHELDRAKE
I know it's a drag -- but you can't
find a hotel room in town -- not on
New Year's Eve.
FRAN
(a long look at Sheldrake)
Ring out the old year, ring in the
new. Ring-a-ding-ding.
SHELDRAKE
I didn't plan it this way, Fran --
actually, it's all Baxter's fault.
FRAN
Baxter?
SHELDRAKE
He wouldn't give me the key to the
apartment.
FRAN
He wouldn't.
SHELDRAKE
Just walked out on me -- quit --
threw that big fat job right in my
face.
FRAN
(a faint smile)
The nerve.
SHELDRAKE
That little punk -- after all I did
for him!
(MORE)
(CONTINUED)
CONTINUED: (2)
SHELDRAKE (CONT'D)
He said I couldn't bring anybody to
his apartment -- especially not
Miss Kubelik. What's he got against
you, anyway?
FRAN
(a faraway look in her
eye)
I don't know. I guess that's the
way it crumbles -- cookie-wise.
SHELDRAKE
What are you talking about?
FRAN
I'd spell it out for you -- only I
can't spell.
The piano player is consulting the watch on his upraised left
arm. He drops the arm in a signal, and the lights go out. At
the same time, he strikes up AULD LANG SYNE. All over the
dimly lit room, couples get to their feet, embracing and
joining in the song. In the last booth, Sheldrake leans
across the table, kisses Fran.
SHELDRAKE
Happy New Year, Fran.
Fran's expression is preoccupied. Sheldrake faces in the
direction of the pianist, and holding his glass aloft, sings
along with the others. As AULD LANG SYNE comes to an end, the
place explodes noisily -- there is a din of horns, ratchets,
and shouted greetings. The lights come up again. In the last
booth, Sheldrake turns back toward Fran -- but she is no
longer there. Her paper hat lies abandoned on her vacated
chair.
SHELDRAKE (CONT’D)
Fran --
(looking around)
-- where are you, Fran?
He rises, cranes his neck, trying to spot her in the crowd.
DISSOLVE TO:
Ratings
Scene 60 - A New Beginning
Fran, a coat thrown over the dress she was wearing at the
Rickshaw, comes down the street almost at a run. There is a
happy, expectant look on her face. She hurries up the steps
of the house and through the front door.
INT. STAIRCASE AND SECOND FLOOR LANDING - NIGHT
Fran mounts the stairs eagerly. As she reaches the landing
and heads for Bud's apartment, there is a loud, sharp report
from inside. Fran freezes momentarily, then rushes to the
door.
FRAN
Mr. Baxter!
(pounding on door)
Mr. Baxter! Mr. Baxter!
The door opens and there stands Bud, the bottle of champagne
he has just uncorked still foaming over in his hand. He
stares at Fran unbelievingly.
FRAN (CONT’D)
(sagging with relief)
Are you all right?
BUD
I'm fine.
FRAN
Are you sure? How's your knee?
BUD
I'm fine all over.
FRAN
Mind if I come in?
BUD
(still stunned)
Of course not.
INT. THE APARTMENT - NIGHT
Fran comes in and Bud shuts the door. The room is the same as
we left it, except for an empty champagne glass standing on
the coffee table.
BUD
Let me get another glass.
He goes to one of the cartons, takes out a champagne glass
wrapped in newspaper, starts to unwrap it.
FRAN
(looking around)
Where are you going?
(CONTINUED)
CONTINUED:
BUD
Who knows? Another neighborhood --
another town -- another job -- I'm
on my own.
FRAN
That's funny -- so am I.
(Bud, pouring champagne,
looks up at her)
What did you do with the cards?
BUD
(indicating carton)
In there.
Fran takes the deck of cards and the gin rummy score pad out
of the carton, settles herself on the couch, starts to
shuffle the cards expertly.
BUD (CONT’D)
What about Mr. Sheldrake?
FRAN
I'm going to send him a fruit cake
every Christmas.
Bud sinks down happily on the couch, and Fran holds out the
deck to him.
FRAN (CONT’D)
Cut.
Bud cuts a card, but doesn't look at it.
BUD
I love you, Miss Kubelik.
FRAN
(cutting a card)
Seven --
(looking at Bud's card)
-- queen.
She hands the deck to Bud.
BUD
Did you hear what I said, Miss
Kubelik? I absolutely adore you.
FRAN
(smiling)
Shut up and deal!
(CONTINUED)
CONTINUED: (2)
Bud begins to deal, never taking his eyes off her. Fran
removes her coat, starts picking up her cards and arranging
them. Bud, a look of pure joy on his face, deals -- and deals
-- and keeps dealing. And that's about it. Story-wise.
FADE OUT.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
bud | Bud's character arc follows his journey from a passive, somewhat naive insurance worker to a self-assured individual who learns to prioritize his emotional well-being and assert his needs. Initially, Bud is depicted as a pushover, accommodating the demands of his colleagues and struggling with social interactions. As the story progresses, he faces moral dilemmas that challenge his sense of responsibility and compassion, particularly in relation to Fran's struggles. Through these experiences, Bud begins to confront his own vulnerabilities and insecurities, ultimately leading to a moment of empowerment where he stands up for himself and embraces change. By the end of the screenplay, Bud has transformed into a more confident and resilient person, willing to take risks in both his professional and personal life. | While Bud's character arc is compelling, it could benefit from a clearer trajectory and more defined turning points. The evolution from a passive character to one who asserts himself is present, but the screenplay may lack specific moments that highlight this transformation. Additionally, Bud's internal conflicts could be explored in greater depth, allowing the audience to connect more with his struggles and triumphs. The balance between his comedic traits and serious moments is well-handled, but there may be instances where the humor overshadows the emotional weight of his journey, potentially diluting the impact of his growth. | To improve Bud's character arc, consider incorporating more pivotal moments that clearly illustrate his growth. For instance, specific scenes where he confronts his fears or stands up to colleagues could serve as significant turning points. Additionally, deepening his backstory could provide context for his vulnerabilities and motivations, making his journey more relatable. It may also be beneficial to create a stronger contrast between his initial state and his final transformation, emphasizing the stakes involved in his personal growth. Finally, ensure that the balance between humor and emotional depth is maintained, allowing for moments of levity without undermining the seriousness of his internal struggles. |
bud baxter | Bud Baxter's character arc begins with him as a lonely, routine-driven individual who finds comfort in his predictable life. As the story progresses, he faces unexpected challenges and moral dilemmas that force him to confront his feelings of inadequacy and desire for connection. His interactions with characters like Fran and Sheldrake catalyze his internal struggles, leading him to question his values and the consequences of his actions. By the climax, Bud experiences a moment of crisis that propels him towards self-discovery and growth. He learns to assert himself, confront his feelings, and take responsibility for his choices. Ultimately, Bud emerges as a more confident and self-aware individual, having transformed his longing for validation into a sense of self-worth and connection with others. | While Bud's character arc is compelling, it could benefit from a clearer trajectory and more defined turning points. The screenplay presents him as a multifaceted character, but at times, his internal conflicts may feel repetitive without significant progression. The balance between his humor and emotional depth is well-executed, yet there are moments where his growth could be more pronounced, particularly in his relationships with other characters. Additionally, the stakes surrounding his moral dilemmas could be heightened to create a more impactful transformation. | To improve Bud's character arc, consider introducing more distinct moments of realization that propel his growth forward. For instance, specific events that challenge his values or force him to confront his fears could serve as pivotal turning points. Additionally, enhancing the stakes of his relationships, particularly with Fran and Sheldrake, could create more tension and urgency in his journey. Incorporating flashbacks or inner monologues could also deepen the audience's understanding of Bud's motivations and regrets, making his eventual transformation more resonant. Finally, ensuring that his humor evolves alongside his character growth will help maintain his relatability while showcasing his development. |
kirkeby | Kirkeby's character arc begins with him as a confident and somewhat arrogant figure who thrives on manipulation and control. As the story unfolds, he faces challenges that force him to confront the consequences of his actions, particularly in his relationships with Sylvia and Bud. His initial flippancy and casual demeanor are tested as he navigates the complexities of loyalty, integrity, and personal ambition. By the climax, Kirkeby experiences a moment of vulnerability that leads him to reassess his approach to relationships and power dynamics. Ultimately, he evolves from a self-serving manipulator to a more self-aware individual who recognizes the value of genuine connections and the importance of integrity in both personal and professional realms. | Kirkeby's character arc is intriguing but may benefit from deeper emotional exploration. While he exhibits confidence and manipulation, the screenplay could enhance his development by providing more backstory that explains his motivations and insecurities. This would create a more relatable character and allow the audience to understand the reasons behind his arrogance and manipulative behavior. Additionally, the transition from a self-serving individual to a more self-aware character could be more gradual, with clear turning points that highlight his internal struggle. | To improve Kirkeby's character arc, consider incorporating flashbacks or dialogue that reveals his past experiences, shaping his current behavior. Introduce a pivotal moment where he must choose between personal gain and loyalty to a friend, which could serve as a catalyst for his transformation. Additionally, allow for moments of vulnerability that humanize him, making his eventual growth more impactful. Finally, ensure that his interactions with Sylvia and Bud evolve meaningfully throughout the screenplay, reflecting his changing perspective and the consequences of his actions. |
dobisch | Throughout the screenplay, Dobisch begins as an obnoxious and manipulative figure, using his authority to pressure others, particularly Bud. As the story progresses, he faces challenges that force him to confront the consequences of his actions and the impact of his manipulative behavior on his relationships. By the climax, Dobisch experiences a moment of vulnerability that leads him to reevaluate his approach to power and influence. In the resolution, he emerges as a more self-aware character, recognizing the value of genuine connections over mere manipulation, ultimately leading to a more collaborative and respectful dynamic with his colleagues. | While Dobisch's character is well-defined with a clear manipulative nature, his arc may feel predictable and lacks significant transformation. The initial portrayal of him as merely obnoxious and self-serving could benefit from deeper exploration of his motivations and vulnerabilities. This would create a more nuanced character that audiences can relate to or empathize with, rather than just viewing him as a typical antagonist. | To improve Dobisch's character arc, consider introducing a backstory that explains his manipulative tendencies, perhaps stemming from past failures or insecurities. This could provide depth and make his eventual transformation more impactful. Additionally, incorporating moments of genuine conflict or moral dilemmas could challenge his worldview and facilitate a more gradual and believable evolution. Finally, showcasing interactions that reveal his capacity for growth, such as mentorship or acts of kindness, could enhance audience investment in his character development. |
fran kubelik | Fran's character arc follows her journey from a guarded and sarcastic employee to a more open and emotionally resilient individual. Initially, she uses humor as a defense mechanism to cope with her past hurts and the monotony of her life. As she interacts with Bud, she begins to confront her vulnerabilities and the emotional pain stemming from her past. The climax of her arc occurs during her suicide attempt, which serves as a turning point, forcing her to reevaluate her life and relationships. By the end of the feature, Fran emerges with a renewed sense of hope and a willingness to embrace her emotions, leading to a more authentic connection with Bud and a clearer vision for her future. | While Fran's character arc is compelling and showcases her emotional depth, it may benefit from a clearer progression of her internal conflicts and resolutions. The transition from her initial sarcasm to vulnerability could be more gradual, allowing the audience to witness her struggles in a more nuanced way. Additionally, her relationships with other characters, particularly Bud and Sheldrake, could be further developed to highlight the impact of these interactions on her growth. | To improve Fran's character arc, consider incorporating more scenes that illustrate her internal struggles and the gradual shift in her emotional state. This could include flashbacks or moments of reflection that provide context for her sarcasm and emotional pain. Additionally, enhancing her interactions with Bud and Sheldrake to show how they influence her journey could create a richer narrative. Finally, allowing Fran to have moments of agency in her decisions, rather than solely reacting to her circumstances, would empower her character and make her transformation more impactful. |
fran | Fran's character arc begins with her as a confident and witty woman who uses humor to deflect personal questions and mask her vulnerabilities. As the story progresses, she confronts her emotional struggles and the consequences of her past actions, particularly her relationship with Sheldrake. This leads to a turning point where she grapples with her feelings of regret and loneliness, culminating in a moment of crisis that forces her to confront her inner turmoil. Following her suicide attempt, Fran embarks on a journey of self-discovery and healing, seeking solace and understanding in her relationships, particularly with Bud. By the end of the feature, Fran emerges as a more self-aware and resilient individual, having found a sense of closure and acceptance regarding her past, and a renewed hope for the future. | While Fran's character arc is rich and emotionally resonant, it may benefit from a clearer progression and more defined turning points. The transition from her initial confidence to her emotional vulnerability could be more gradual, allowing the audience to witness her internal struggles develop over time. Additionally, her interactions with Bud could be further explored to highlight how they influence her growth and self-acceptance. The balance between her humor and emotional depth is well-crafted, but there may be moments where her vulnerability could be more explicitly tied to her actions and decisions, enhancing the audience's understanding of her character. | To improve Fran's character arc, consider incorporating more scenes that showcase her internal conflict and the impact of her past on her present relationships. This could involve flashbacks or conversations that reveal her history with Sheldrake and how it shapes her interactions with Bud. Additionally, providing more moments of vulnerability in her dialogue could deepen the audience's connection to her struggles. It may also be beneficial to include a mentor or supportive character who helps guide Fran through her emotional journey, reinforcing her growth and resilience. Finally, ensure that her resolution feels earned by allowing her to actively confront her fears and take steps toward healing, rather than simply arriving at a place of acceptance. |
sheldrake | Sheldrake begins as a confident and authoritative figure, focused on maintaining control and power in the office. As he becomes increasingly involved with Fran, his internal conflicts surface, revealing his nostalgia and regret. Throughout the screenplay, he grapples with his emotions and the consequences of his manipulative behavior, leading to moments of vulnerability. By the climax, Sheldrake faces a critical choice between his professional ambitions and his personal desires, ultimately leading to a moment of self-realization. In the resolution, he must confront the impact of his actions on those around him, particularly Fran, and decide whether to continue his manipulative ways or seek redemption and genuine connection. | While Sheldrake's character arc is rich with internal conflict and complexity, it risks becoming overly reliant on manipulation as a defining trait. This could lead to a lack of relatability for the audience, as his actions may come off as purely self-serving without sufficient moments of genuine connection or growth. Additionally, the arc may benefit from clearer stakes and consequences that highlight the impact of his choices on both his professional and personal life. | To improve Sheldrake's character arc, consider incorporating more moments of vulnerability that allow the audience to empathize with his struggles. This could involve deeper exploration of his family life and the pressures he faces, making his choices more relatable. Additionally, introducing a pivotal moment where he must confront the consequences of his manipulative behavior could serve as a catalyst for change, pushing him towards a more redemptive path. Finally, ensuring that his interactions with Fran and other characters reflect a gradual evolution in his understanding of loyalty and genuine connection could enhance the depth of his character development. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High Dialogue and Character Quality, Consistently Strong | The 'Dialogue' and 'Characters' scores are consistently high (mostly 8s and 9s) across all scenes. This suggests a strength in your writing: your dialogue is engaging, and your characters are well-defined and compelling. However, the lack of significant variation might also indicate an opportunity to explore broader ranges or more nuanced character interactions in some scenes. |
Humor as a Dominant Tone, but Potential for Overuse | Humor, in various forms (sarcastic, witty, casual), is a recurring tone throughout the screenplay. While humor can be effective, its frequent use might overshadow other emotional dimensions. Consider varying the tone more intentionally to heighten the impact of non-humorous scenes and give them more weight. |
Emotional Impact and Conflict: A Disconnect in Early Scenes | In the early scenes (especially before scene 8), there's a lower 'Emotional Impact' score, frequently paired with a middling 'Conflict' score. The dialogue and characters may be well-written (high scores), but the scenes might lack a strong emotional hook or a driving conflict to fully engage the audience early on. Intensifying conflict and emotional stakes in these initial scenes may be necessary. |
Move Story Forward vs. Stakes: An Area for Improvement | There seems to be a subtle inverse relationship between scenes that 'Move Story Forward' (generally scoring well) and scenes that have 'High Stakes'. When plot progression is prioritized, the sense of immediate threat or significant consequence seems to diminish. This suggests that while the story is progressing, the audience may not feel a strong sense of investment or urgency. Consider ways to intertwine plot advancement with escalating stakes to maintain audience engagement. |
Melancholy and Reflection Leading to High Grades | Melancholy and reflective tones are often associated with higher 'Overall Grade' scores, especially in the latter half of the screenplay. This indicates a potential strength in writing introspective or emotionally resonant scenes. Exploring these tones more intentionally could lead to consistently high-quality scenes. |
Character Changes Correlate with Tense and Emotional Scenes | Significant 'Character Changes' tend to occur in scenes marked as 'Tense' and 'Emotional'. This suggests that moments of heightened emotion and conflict are catalysts for character development. Focus on creating more of these high-stakes scenarios to drive character arcs forward. |
Limited Variation in Character Changes in the First Third. | Character Changes show little variation at the start of the film. To keep the character alive and engaging it is important to create opportunities early for growth and change, even minor ones. A consistent character can become dull and predictable quickly. |
Low Emotional Impact in Early Humor Scenes May Need Adjustment. | Many of the early scenes are graded as humorous but also graded low in Emotional Impact. While its important to have humorous scenes, scenes that are graded low in the emotional area should be re-worked so they have more impact, or cut if they are not moving the story forward and are simply there to make someone laugh. |
Tone Combinations Create Opportunities | There is an almost even split in most scenes between multiple tones. You should see if any tone is cancelling another out, and how they could be used to compliment each other. For example, the frequent combination of humor and sarcasm might be masking the melancholic tone. Is that intentional? |
Writer's Craft Overall Analysis
The screenplay demonstrates a consistent ability to craft engaging scenes with a good balance of humor, tension, and character development. The writer excels at writing dialogue-driven scenes and establishing character dynamics, often within confined settings. However, there is a recurring suggestion to enhance the depth and complexity of character interactions, especially regarding subtext and moral dilemmas. The overall narrative showcases potential, but could benefit from a deeper exploration of themes and increased narrative tension in certain scenes to elevate the dramatic impact.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Screenplay | Read 'The Apartment' screenplay by Billy Wilder and I.A.L. Diamond | This screenplay is repeatedly suggested because it masterfully balances humor, drama, and poignant character interactions within a workplace setting, providing a blueprint for crafting nuanced and emotionally resonant scenes. It's a superb example of how to integrate subtext, moral ambiguity, and sharp dialogue. |
Screenplay | Read 'Some Like It Hot' screenplay by Billy Wilder and I.A.L. Diamond | Another Wilder and Diamond classic, this screenplay demonstrates expert blending of humor and complex situations, providing insight into comedic timing, character dynamics, and narrative pacing. Studying its dialogue and plot construction can enhance the writer's ability to balance different emotions in a narrative. |
Book | Read 'Screenplay: The Foundations of Screenwriting' by Syd Field | This book offers fundamental insights into screenplay structure, character development, and crafting engaging dialogue. It serves as a solid foundation for understanding the core elements of screenwriting and improving overall craft. |
Book | Read 'Anatomy of Story' by John Truby | Truby's book is an excellent resource for understanding character development and narrative structure, offering valuable insights into crafting complex characters and compelling stories. It will help with developing richer internal lives for characters and building more engaging plots. |
Exercise | Dialogue with Conflicting Motivations: Write a dialogue-heavy scene between two characters who have opposing goals, where the conflict is not immediately apparent on the surface. Focus on using subtext and veiled intentions.Practice In SceneProv | This exercise directly addresses the need to enhance dialogue depth and subtext. By forcing a conflict without explicitly stating it, the writer will practice crafting conversations that reveal more than they say, adding layers of complexity to character interactions. |
Exercise | Moral Dilemma Scene: Create a scene where a character faces a difficult moral choice with no easy or clearly "right" answer. Explore the character's internal conflict and the consequences of their decision.Practice In SceneProv | This exercise directly addresses the need to explore moral ambiguity and character complexity. By placing characters in situations with significant ethical stakes, the writer will practice portraying internal struggles and the impact of decisions on character arcs and thematic resonance. |
Exercise | Escalating Conflict: Write a scene that starts with a mundane situation and gradually escalates into a significant conflict. Focus on building tension incrementally through dialogue, action, and reveals.Practice In SceneProv | This exercise addresses the need to increase narrative tension and conflict escalation. Starting from a low-stakes scenario and gradually increasing the pressure will help the writer understand how to build tension effectively and prevent scenes from feeling stagnant. |
Stories Similar to this one
Story | Explanation |
---|---|
The Apartment (1960) | This film shares a similar setting in a corporate environment and explores themes of loneliness, unrequited love, and moral dilemmas involving infidelity. The protagonist, C.C. Baxter, navigates his relationships with coworkers and a love interest, mirroring Bud's experiences with Fran and the complexities of office politics. |
The Graduate (1967) | Both stories feature a young man caught in a web of adult relationships and societal expectations. The protagonist's romantic entanglement with an older woman leads to personal conflict and self-discovery, paralleling Bud's relationship with Fran and his struggles with identity and ambition. |
Mad Men (TV Series, 2007-2015) | Set in the corporate world of advertising in the 1960s, this series explores themes of ambition, infidelity, and the personal lives of its characters. The show captures the same tone of dark humor and social commentary found in Bud's story, particularly regarding workplace dynamics and romantic entanglements. |
The Secret Life of Walter Mitty (2013) | This film follows a daydreamer who escapes his mundane life through fantasy. Similar to Bud's character, Walter Mitty embarks on a journey of self-discovery and romance, highlighting the contrast between ordinary life and the pursuit of dreams. |
The Odd Couple (Play/Film, 1965) | This story features two mismatched roommates navigating their differences and personal lives, much like Bud's interactions with his neighbors and coworkers. The humor and character dynamics reflect the same comedic tone and exploration of relationships. |
The 40-Year-Old Virgin (2005) | Both stories center on a male protagonist who is socially awkward and struggles with romantic relationships. The comedic elements and themes of personal growth and self-acceptance resonate with Bud's journey throughout the screenplay. |
The Pursuit of Happyness (2006) | This film tells the story of a man's struggle to provide for his family while pursuing his dreams. Similar to Bud's journey, it explores themes of perseverance, personal sacrifice, and the quest for a better life amidst challenging circumstances. |
The Office (US, TV Series, 2005-2013) | This mockumentary-style series delves into the lives of office workers, highlighting their relationships, ambitions, and the absurdities of corporate life. The humor and character interactions reflect the same workplace dynamics and personal struggles seen in Bud's story. |
The Great Gatsby (Novel, 1925) | Both stories explore themes of aspiration, love, and the complexities of social relationships. The protagonist's pursuit of a romantic interest amidst societal expectations parallels Bud's experiences with Fran and his aspirations within the corporate world. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The Everyman | Bud Baxter is portrayed as a relatable, ordinary man working in a corporate environment, dealing with personal and professional challenges. | The Everyman trope represents a character who is relatable and embodies the average person's struggles. An example is Arthur Dent from 'The Hitchhiker's Guide to the Galaxy', who finds himself in absurd situations while trying to navigate life. |
Office Romance | Bud's interactions with Fran Kubelik develop into a romantic subplot amidst the corporate backdrop. | Office Romance is a common trope where characters develop romantic feelings in a workplace setting. A classic example is Jim and Pam from 'The Office', whose relationship evolves over time in a corporate environment. |
The Love Triangle | Bud finds himself in a complicated situation involving Fran and Mr. Sheldrake, creating tension and conflict. | The Love Triangle trope involves three characters where romantic interests conflict, often leading to drama. An example is the triangle between Katniss, Peeta, and Gale in 'The Hunger Games'. |
Corporate Culture | The screenplay highlights the sterile, impersonal environment of the insurance company where Bud works. | Corporate Culture is often depicted in stories to showcase the monotony and challenges of office life. 'The Office' portrays this through the daily lives of employees in a mundane corporate setting. |
The Mentor | Dr. Dreyfuss serves as a mentor figure to Bud, offering advice and support throughout the story. | The Mentor trope involves a character who guides and supports the protagonist, often providing wisdom. An example is Mr. Miyagi in 'The Karate Kid', who teaches Daniel life lessons through karate. |
The Unrequited Love | Bud harbors feelings for Fran, who is initially involved with Mr. Sheldrake, creating tension. | Unrequited Love is a common trope where one character loves another who does not return their feelings. An example is Ross's feelings for Rachel in 'Friends' during the early seasons. |
The Misunderstanding | Miscommunications and misunderstandings between Bud and Fran create conflict and tension in their relationship. | Misunderstanding is a trope where characters misinterpret each other's intentions, leading to conflict. An example is the misunderstandings between Elizabeth Bennet and Mr. Darcy in 'Pride and Prejudice'. |
The Downward Spiral | Bud's life deteriorates as he becomes entangled in the affairs of his coworkers and faces personal challenges. | The Downward Spiral trope depicts a character's gradual decline due to poor choices or circumstances. An example is the character of Walter White in 'Breaking Bad', whose decisions lead to his moral and personal downfall. |
The Redemption Arc | Bud ultimately seeks to improve his life and relationships, particularly with Fran, leading to a hopeful conclusion. | The Redemption Arc involves a character who seeks to atone for past mistakes and improve themselves. An example is Tony Stark in 'Iron Man', who evolves from a self-centered billionaire to a hero. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Integrity vs. Ambition | Bud's initial willingness to lend his apartment for career advancement versus his eventual rejection of the corporate ladder and Sheldrake's exploitation. Fran's moral struggles with her affair with Sheldrake. Bud's choice to become a 'mensch' rather than continue being exploited. | This theme explores the tension between pursuing success within a corrupt system and maintaining one's moral compass. It questions whether personal integrity is compatible with achieving ambition in a morally compromised environment. | ||||||||||||
Strengthening Integrity vs. Ambition:
| ||||||||||||||
Loneliness and Connection | Bud's isolated existence and the lack of genuine relationships. Fran's emotional isolation despite her affair. The characters' desperate attempts to connect, both authentically and superficially. | The film examines the pervasive loneliness within a seemingly vibrant city and corporate environment. It emphasizes the human need for connection and how this vulnerability can be exploited, or conversely, lead to genuine relationships. | ||||||||||||
Exploitation and Power Dynamics | The executives' use of Bud's apartment. Sheldrake's manipulation of Fran. The power imbalance in the corporate hierarchy and its effect on personal relationships. | This theme exposes the abuse of power within the corporate structure and in personal relationships. It demonstrates how those in positions of authority exploit others for personal gain, creating a system of dependence and moral compromise. | ||||||||||||
Infidelity and Moral Compromise | Sheldrake's multiple affairs. The casual nature of infidelity within the corporate culture. The consequences of these actions on those involved. | This theme delves into the complex moral landscape of relationships and the impact of infidelity on individuals and families. It questions the ethical implications of personal choices and the ripple effects of such decisions. | ||||||||||||
Redemption and Empathy | Bud's transformation from a 'schnook' to a man of integrity. Fran's eventual rejection of Sheldrake. The moments of genuine empathy and connection between characters. | This theme focuses on the possibility of personal growth and moral transformation. It suggests that even in a corrupt environment, individuals can find redemption through empathy, compassion, and a commitment to ethical behavior. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
---|---|
Summary: | The writer's voice is characterized by a blend of sharp, witty dialogue, observational humor, and subtle social commentary, often conveyed through naturalistic interactions and a focus on the mundane aspects of everyday life, particularly within a corporate setting. The writer's style incorporates both irony and genuine emotion, creating a nuanced and engaging narrative. |
Voice Contribution | The writer's voice contributes to the script by adding depth to the characters, enhancing the themes of identity, conformity, and the search for genuine connection, and creating a distinct atmosphere that is both humorous and melancholic. The dialogue-driven narrative, combined with detailed scene direction, immerses the audience in the world of the screenplay and emphasizes the subtle tensions and power dynamics at play. |
Best Representation Scene | 17 - Schedule Switch and Date Night |
Best Scene Explanation | This scene is the best representation because it encapsulates the writer's ability to blend witty dialogue, subtle character interactions, and the mundane realities of office life into a cohesive and engaging narrative. Kirkeby's manipulation, Bud's compliance, and the brief glimpse into Sylvia's personal life showcase the writer's talent for revealing complex relationships and emotions through seemingly ordinary conversations. The dry humor and understated social commentary are also prominent features of the writer's unique style, making this scene a perfect encapsulation of their voice. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay presents a fresh and engaging take on familiar themes of love, loneliness, and corporate life, utilizing unique character dynamics and witty dialogue. The protagonist's introspective journey, combined with the interplay of humor and serious themes, adds depth and originality to the narrative. The use of statistical musings and dry humor to depict corporate life, along with the exploration of personal struggles against a backdrop of office politics, contributes to its originality.
- Most unique situations: The most unique situations in the screenplay are Bud's statistical musings about New York City, the unconventional use of a tennis racquet to drain spaghetti, and the humorous yet poignant interactions surrounding the use of Bud's apartment for extramarital affairs. Additionally, the exploration of themes like suicide attempts and the complexities of relationships in a comedic context adds layers of originality.
- Overall unpredictability score: 7
- Overall unpredictability explanation: While the screenplay follows a somewhat traditional romantic comedy structure, it incorporates unexpected twists, such as the revelation of Fran's suicide attempt and the complexities of Bud's relationships with his colleagues and Fran. The interactions between characters often lead to surprising developments, particularly in the dynamics of power and vulnerability, which keeps the audience engaged and guessing about the characters' fates.
Goals and Philosophical Conflict | |
---|---|
internal Goals | Throughout the script, Bud Baxter's internal goals evolve from seeking acceptance and validation in his corporate world to confronting his loneliness and ultimately committing to a loving relationship with Fran. His journey reflects a shift from compromise and moral conflict to self-actualization and emotional honesty. |
External Goals | Bud's external goals shift from wanting to climb the corporate ladder and gain recognition to protecting his personal life and supporting Fran in her recovery. His ambitions evolve from superficial career gains to meaningful connections. |
Philosophical Conflict | The overarching philosophical conflict in the screenplay revolves around the tension between individual fulfillment (personal integrity, love, and connection) versus societal expectations (conformity, professional ambition, and moral compromises). This conflict is central to Bud's journey, as he must navigate his desire for authentic relationships in a corporate culture that often prioritizes power and manipulation. |
Character Development Contribution: The evolution of Bud's goals and the resulting conflicts contribute to his character development by illustrating his journey from a passive, compliant employee to an empowered individual who takes control of his destiny and embraces vulnerability in love.
Narrative Structure Contribution: These goals and conflicts drive the narrative structure by creating a tension that unfolds as Bud navigates his professional vs. personal life and ultimately seeks resolution through meaningful choices, aligning his external actions with internal realizations.
Thematic Depth Contribution: The intertwined goals and conflicts deepen the themes of love, loneliness, and the cost of ambition, inviting audiences to reflect on the values of connection over career success and the importance of personal integrity in a morally ambiguous world.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
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How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay depicts a world grounded in the bustling, urban environment of 1959 New York City. From the imposing glass and aluminum skyscrapers of lower Manhattan to the cramped apartments in converted brownstones, the physical setting emphasizes a sense of density, with contrasts between corporate opulence and working-class grit. The settings range from bustling lobbies and office floors to dimly lit bars, Chinese restaurants and a deserted Central Park, as well as the intimacy of people's appartments. All the settings contribute to the moods and scenes.
- Culture: The culture is a mix of mid-20th-century American norms and values, influenced by corporate hierarchies, social gatherings, and evolving social dynamics. There's an emphasis on office culture, relationships, social gatherings and cocktail culture and cocktail culture and an undercurrent of social anxiety, loneliness and a shifting moral landscape. These elements are portrayed by constant casual and somewhat casual drinking and smoking and the parties, that are always happening and invite certain characters to the apartment, and is reflected in the casual banter, interactions and relationships portrayed between the characters. The screenplay explores themes of love, relationships, class, loyalty, ambition and power. They are constantly challenged, especially through the complex interplay between the characters.
- Society: The screenplay reveals a hierarchical society with distinct social strata. Corporate structures, social norms, and gender roles are all present. The characters have very limited amount of privacy because of the neighborly atmosphere and all the neighbours constantly knowing your business. The office hierarchy dictates the characters' actions and aspirations, while societal expectations influence their relationships and choices. Relationships seem to be viewed very transactionally.
- Technology: Technology in the screenplay is largely reflective of the late 1950s setting. The presence of IBM machines, elevators, landline phones, TVs, electric shavers, record players, tape dictaphones, and household appliances helps to ground the story in its time period. The reliance on these technologies highlights the era's emphasis on efficiency, communication, and convenience, while also contributing to a sense of nostalgia and retro charm.
- Characters influence: The unique physical environment, culture, society, and technology intricately shape the characters' experiences and actions. Bud's actions and decisions are strongly influenced by his desire for advancement in the corporate hierarchy, which is also why it is so hard for him to make better ethical decisions. Fran is constantly seeking love but is ultimately manipulated by Mr. Sheldrake. The pressures of the city, office politics, and limited living spaces also contribute to the characters' feelings of isolation, desperation, and the search for genuine connection. Technological advancements, like the use of the telephone, directly impacts how characters communicate, build relationships, and navigate complex social situations. The characters seem to lack control of certain aspects of their lives, and are being used for the benefit of other characters, making the viewer really feel for them and their situations.
- Narrative contribution: The world elements contribute significantly to the narrative by providing a rich backdrop for the characters' struggles and triumphs. The corporate setting is central to the narrative of ambition, success, and moral compromises. The detailed apartment and bar scenes establish a sense of loneliness, isolation, and social pressure, reflecting the characters' inner lives. The social interactions and power dynamics of the characters are on full display in those types of scenes. Ultimately, the world elements contribute to the conflict and resolution of the themes.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by exploring themes of moral compromise, the search for genuine human connection, the cost of ambition, and the struggle against societal pressures. These themes are all explored in scenes where power dynamics are questioned, morality is tested and characters are forced to make important decisions for the betterment of others. The setting of the screenplay provides the characters with the opporunities and challenges that help shape their arcs.
central conflict
The central conflict revolves around Bud Baxter's struggle to navigate his personal and professional life while dealing with his unrequited love for Fran Kubelik and the manipulative behavior of his superiors, particularly Mr. Sheldrake.
primary motivations
- Bud's desire for love and companionship, particularly with Fran.
- Fran's quest for genuine affection and escape from her toxic relationship with Sheldrake.
- Sheldrake's pursuit of personal gratification and maintaining his affairs while managing his professional image.
catalysts
- Bud's promotion at work, which brings new opportunities but also new challenges.
- Fran's suicide attempt, which forces Bud to confront his feelings and responsibilities.
- Sheldrake's manipulative request for Bud's apartment key, which complicates Bud's relationship with Fran.
barriers
- Bud's low self-esteem and fear of rejection prevent him from pursuing Fran openly.
- Sheldrake's power and influence create obstacles for Bud in both his career and personal life.
- Fran's emotional turmoil and attachment to Sheldrake hinder her ability to commit to Bud.
themes
- The complexities of love and relationships in a corporate environment.
- The moral dilemmas of ambition and personal integrity.
- The impact of loneliness and the search for connection in urban life.
stakes
The stakes include Bud's emotional well-being, his career advancement, and Fran's mental health and future happiness, as well as the potential fallout from Sheldrake's manipulations.
uniqueness factor
The story uniquely blends romantic comedy with social commentary on corporate culture and the personal sacrifices made for success.
audience hook
The audience is hooked by the relatable themes of love, ambition, and the comedic yet poignant exploration of workplace dynamics.
paradoxical engine or bisociation
The paradoxical engine lies in Bud's simultaneous desire for personal fulfillment and professional success, creating tension between his romantic aspirations and the demands of his job.
paradoxical engine or bisociation 2
Another bisociation could be the contrast between the romantic ideal of love and the harsh realities of corporate manipulation, highlighting the conflict between personal desires and societal expectations.
Pass / Consider / Recommend Analysis
GPT5
Executive Summary
- Distinct, economical voice and world-building: Bud’s voiceover immediately establishes stakes, tone and his small, sympathetic neuroses. The opening sequences (1–2) set up the corporate ecosystem and the odds of anonymity vs. loneliness in the city; they make the film’s social satire intelligible and funny while rooting us in Bud’s interior life. high ( Scene 1 Scene 2 (Nineteenth Floor) )
- Tight plot mechanics and escalation: the key-as-currency conceit is simple and brilliantly elastic — it creates repetitive-but-escalating complications (Dobisch, Kirkeby, Sheldrake). The middle sequences demonstrate how the setup is used to raise stakes, produce complications and pivot to a promotion that catalyzes Baxter’s choice. high ( Scene 9 Scene 21 (Sheldrake's Office) Scene 28 (Baxter's Office) )
- Masterful tonal balance between comedy and real danger: the overdose sequence is handled with both dark humor and genuine pathos; the doctor's pragmatic neighborliness (Dr. Dreyfuss) and Bud's panic create dramatic urgency while keeping the film’s comic voice. This is where the script earns its emotional pay-off. high ( Scene 32 (Bud's Apartment - Fran's OD) Scene 36 (Resuscitation / Dr. Dreyfuss) Scene 37 (Aftermath / Bud watches over Fran) )
- Dialogue and character chemistry: exchanges between Bud and Fran (and Fran’s scenes with Sheldrake) are economical and revealing — comic banter coexists with vulnerability. The script writes behavior not exposition, letting small actions (flower in lapel, taking off hat) communicate attraction and class differences. high ( Scene 13 (Elevator / Fran introduction) Scene 29 (Office party / Bud and Fran) )
- Thematic unity and a quietly earned ending: motifs (key, elevator, holiday rituals) recur and pay off — Bud's moral arc completes believably. The final scenes deliver an intimate, hopeful close rather than a brazen fairy-tale reversal; the script respects the characters' growth. high ( Scene 55 (Lobby — directory sign) Scene 60 (Final gin games in the apartment) )
- Fran’s interiority and agency: Fran is a strong, sympathetic character, but much of her arc is observed through others (Bud, Sheldrake, Dreyfuss). The script could give her more active choices and inner life — deeper scenes where she explains motives, fears, or asserts desires would make her agency feel less reactive and increase emotional payoff. high ( Scene 32 (Fran's OD / aftermath) Scene 50 (Kirkeby/Dobisch react to missing Fran) )
- Middle-act pacing & focus: several comic set pieces and detours (office parties, repeated brief elevator gags) slightly elongate the middle. Trimming or sharpening some beats would tighten momentum toward the overdose and moral crisis without losing the social texture. medium ( Scene 22 (Sheldrake / Ticket swap) Scene 28 (Baxter's office celebration) )
- Ethical stakes could be amplified: while the script has a clear moral arc, the broader consequences of the apartment-briefing scheme (legal, reputational) are minimized. Increasing the felt risk (e.g., a nearer miss with exposure, or a bigger threat from the clique) would raise suspense and make Baxter’s sacrifice more costly. medium ( Scene 21 (Sheldrake's interrogation of Baxter) )
- Supporting characters underused: Margie, Mrs. Dreyfuss and others are colorful but could be better integrated into the main arc (Margie’s subplot ends abruptly, Mrs. Dreyfuss is mostly comic relief). Either deepen their connection to Baxter's choices or streamline them to maintain focus. low ( Scene 31 (Cheap bar / Margie) )
- Opening information density: the VO is witty and functional, but the opening is heavy with statistic-based humor that slightly delays the emotional hook. A tighter hook focusing sooner on Baxter’s apartment problem might accelerate audience investment. low ( Scene 1 (Opening VO) )
- Clear resolution for Sheldrake-Fran relationship: Sheldrake leaves his wife, but the script doesn't deeply explore what a long-term relationship between him and Fran (or between Fran and Baxter) will look like. An added scene showing Fran's feelings about Sheldrake's real-world commitment or a clearer signpost about whether Sheldrake will change would reduce ambiguity about that subplot. medium ( Scene 32 (Fran's note JEFF / aftermath) )
- Consequences for the 'club' beyond Baxter: the quartet's leverage and how personnel politics actually shift after the reveal are hinted at but not shown. A brief scene after Baxter's resignation (or before he gives up the key) showing ripple effects in the office would complete the social satire arc. low ( Scene 21 (Sheldrake's promotion decision) )
- Investigation / Social fallout: given the overdose and the apartment's use as tryst ground, the script skirts any official investigation or gossip that could plausibly follow. The omission keeps the focus intimate, but introducing a single credible institutional consequence could heighten stakes. low ( Scene 36 (Resuscitation) )
- Deeper background on Fran's family situation: we learn she lives with sister and has a cab-driver brother-in-law, but her aspirations and longer-term plans are underexplored. A scene that gives one strong detail (an ambition, a fear) would make her more three-dimensional. medium ( Scene 29 (Party / Fran & Baxter) )
- Baxter’s lowest point: the script gestures at possible self-destruction (gun) but never revisits it in a way that frames his new moral stance as hard-won. A short interior beat or flashback reinforcing why Baxter refuses the easy route would strengthen his arc's completeness. low ( Scene 58 (Bud packing - gun moment) )
- Economy of a single prop driving plot: the key functions like a Greek unities device — comic, plot-driving and thematic. It's an elegantly simple motor for escalation and metaphor (access, secrecy, corporate barter). high ( Scene 9 (Dobisch phone call / key exchange) )
- Bold tonal shifts handled with confidence: Wilder & Diamond transition from light workplace comedy to life-or-death drama without jarring the audience; that tonal dexterity is a signature strength and not easy to pull off. high ( Scene 32 (Fran's overdose) Scene 36 (Dreyfuss treatment) )
- Small physical details as character shorthand: Fran's carnation, Bud's habit of removing his hat, the cracked compact mirror — these economical details reveal class, habit and vulnerability without heavy exposition. medium ( Scene 13 (Fran introduction (elevator)) )
- Corporate satire is specific and affectionate: the script skewers 1950s corporate bureaucracy (efficiency reports, elevator politics) in a way that is precise and funny rather than mean-spirited. medium ( Scene 21 (Sheldrake / personnel interrogation) )
- An ending that privileges small human acts: rather than melodramatic closure, the film rewards everyday intimacy (a card game, shared food). That restraint makes the ending feel earned and true to character. high ( Scene 60 (Final gin rummy / closure) )
- gender/agency blindspot Fran is a vividly drawn character, but much of her inner life is described or acted on by men (Sheldrake, Bud, Dreyfuss). The script relies on older genre conventions where the male protagonist's moral growth is the primary arc while the female lead functions as impetus and prize. Examples: Fran's overdose is framed largely as a problem for Baxter to solve (Sequences 32, 36, 37) and at points her choices (e.g., staying in Baxter's apartment) are explained away rather than explored. Contemporary readers/viewers may read this as limiting her autonomy. high
- moral consequence blindspot The office 'key-for-assignments' scheme is a clear ethical breach, but legal and broader social consequences are minimized. The script treats the misuse as social comedy rather than a systemic power abuse. While tonally intentional, this could read as an avoidance of addressing institutional responsibility (Sequences 9, 21, 28). medium
- period-specific idiom and stereotypes The screenplay contains mid-20th-century slang and social attitudes (e.g., 'dame', 'nebbish', casual sexual double-standards, some ethnic humor via background characters) that mark it as period work. These are not 'errors' but can feel dated if presented without contextual framing (seen across sequences with party banter and character descriptions). low
- occasional exposition in voiceover The opening voiceover (Sequence 1) is charming but information-dense; at times the script leans on VO to deliver social context rather than dramatizing it. This can feel like a stage habit rather than pure cinematic writing. low
Grok
Executive Summary
- The dialogue is sharp, witty, and natural, driving humor and character revelation without feeling forced, enhancing the screenplay's comedic and dramatic elements. high ( Scene 3 Scene 14 )
- Bud's character arc from a passive pushover to a man of integrity is well-developed and satisfying, providing emotional depth and a clear transformation. high ( Scene 56 Scene 59 )
- Themes of loneliness, moral compromise, and redemption are consistently woven throughout, creating a cohesive narrative that resonates deeply. high
- The pacing is efficient, with a strong build-up and resolution, keeping the audience engaged from the opening voice-over to the heartfelt conclusion. medium ( Scene 1 Scene 60 )
- Emotional scenes, like Fran's suicide attempt and recovery, add significant depth and stakes, balancing humor with real human drama. medium ( Scene 36 Scene 42 )
- Some female characters, like Sylvia and Fran, are portrayed with stereotypical traits, limiting their depth and agency in certain scenes. medium ( Scene 3 Scene 25 )
- The screenplay could benefit from more diverse representation in characters and settings to enhance inclusivity and modern relevance. low
- Expository scenes in the middle act occasionally drag, with repetitive elements that could be tightened for better flow. medium ( Scene 11 Scene 15 )
- The romantic resolution between Bud and Fran feels somewhat abrupt, lacking more buildup to strengthen emotional payoff. medium ( Scene 60 )
- Antagonist Sheldrake remains somewhat one-dimensional, with potential for more nuanced development to heighten conflict. low
- Deeper exploration of secondary characters, such as Mrs. Sheldrake or Dr. Dreyfuss, could add more layers to the supporting cast. medium
- Additional subplots might enrich the narrative, providing more conflict or contrast to the main story. low
- More detailed visual descriptions in some scenes could enhance the cinematic quality, though the script is concise. low
- Cultural or historical context of 1950s New York could be expanded to ground the story further, but it's not essential. low
- A stronger epilogue might reinforce themes, but the ending is satisfying as is. low
- The use of voice-over narration effectively sets up the story and character, adding a unique expository style. medium ( Scene 1 Scene 2 )
- Satirical elements critiquing corporate culture are cleverly integrated, providing social commentary. high ( Scene 14 Scene 28 )
- Holiday settings (e.g., Christmas and New Year's) symbolize emotional states and add thematic resonance. medium
- High-tension dramatic scenes, like the suicide attempt, showcase the screenplay's ability to shift tones adeptly. high ( Scene 36 )
- The understated romantic climax highlights the screenplay's strength in subtle character interactions. medium ( Scene 60 )
- Underestimation of female agency The writer appears to have a blind spot in portraying female characters primarily through their relationships with men, limiting their independence; for example, Fran is often reactive to Sheldrake's actions in sequences like 25 and 55, and Sylvia is depicted as a caricature in sequence 3, reducing opportunities for deeper female-driven narratives. medium
- Over-reliance on coincidence The script occasionally uses contrived coincidences for plot advancement, such as Bud discovering Fran in his apartment in sequence 36, which might feel less organic and could be seen as a novice error, though it's mitigated by strong character work overall. low
DeepSeek
Executive Summary
- Exceptional character arc for Bud Baxter, transforming from passive opportunist to principled individual high ( Scene 1 (Opening voice-over) Scene 12 (Elevator introduction) Scene 56 (Bud's resignation) )
- Fran Kubelik's complex emotional journey from despair to self-realization is beautifully developed high ( Scene 25 (Chinese restaurant confrontation) Scene 32 (Suicide attempt) Scene 60 (Final scene) )
- Razor-sharp dialogue that balances comedy and drama while revealing character high ( Scene 3 (Apartment aftermath) Scene 15 (Phone call with Dobisch) Scene 28 (Office confrontation) )
- Brilliant corporate satire that remains relevant decades later high ( Scene 1 (Opening statistics) Scene 14 (Office party) Scene 54 (Executive promotion) )
- Perfect pacing that balances comedic and dramatic elements throughout high ( Scene 38 (Morning after) Scene 42 (Recovery scenes) Scene 59 (New Year's Eve) )
- The Margie MacDougall character feels slightly stereotypical compared to other well-developed characters low ( Scene 31 (Bar scene with Margie) )
- Some medical details of the suicide attempt might benefit from more technical accuracy low ( Scene 7 (Dr. Dreyfuss conversation) )
- Slightly more development of Sheldrake's home life and motivations could add depth to his character medium
- Additional background on Fran's family situation beyond her sister and brother-in-law low
- Innovative use of statistical voice-over to establish theme and character high ( Scene 1 (Opening voice-over) )
- The Miss Olsen subplot provides excellent thematic reinforcement and plot propulsion medium ( Scene 46 (Miss Olsen's firing) )
- Perfect ending that pays off all character arcs without sentimental resolution high ( Scene 60 (Final scene) )
- Period-specific gender dynamics While remarkably progressive for its time, some aspects of the workplace gender dynamics may require contextual understanding for modern audiences low
- None evident The screenplay demonstrates professional mastery in all aspects - structure, dialogue, character development, and thematic integration N/A
Gemini
Executive Summary
- Exceptional opening establishing Bud's character, his world, and the central premise with economical voiceover and visual storytelling. The voiceover is particularly effective at communicating key information and setting the tone. high ( Scene 1-3 )
- Strong character development of Bud Baxter, transitioning from an ambitious but ultimately decent man caught in a compromising situation to a person willing to make morally sound choices. high ( Scene 3-10 )
- Witty and insightful dialogue throughout the screenplay. The back-and-forth exchanges are sharp, often humorous, and reveal character effectively. Note particularly the dialogue between Fran and Sheldrake in the Chinese restaurant. high ( Scene 25 Scene 26 )
- Consistent thematic exploration of loneliness, ambition, and moral compromise in a corporate setting. The screenplay does a good job of weaving these themes throughout the narrative. medium ( Scene All )
- The ending provides a satisfying resolution to Bud's arc, with him finally choosing integrity over ambition. The final line is iconic and perfectly encapsulates the themes of the film. high ( Scene 59 Scene 60 )
- Fran's character arc could be better developed. While she serves as a catalyst for Bud's transformation, her motivations and desires are sometimes less clear, particularly in moments where she expresses love for Sheldrake even after recognizing his flaws. medium ( Scene All )
- The pacing lags somewhat in the middle acts, especially after Fran's suicide attempt. Some scenes could be tightened or combined to maintain momentum. The story becomes episodic with the events directly related to the supporting characters seemingly resolved. low ( Scene 45-50 )
- In contemporary screenwriting, it is no longer common to use sequence numbers. They can be removed to modernize the script. low ( Scene Various )
- The shift in dynamic between the characters after the incident is a bit too abrupt, as it becomes apparent Bud has the upper hand. This takes away from some of the more compelling parts of Bud’s character. low ( Scene 51 )
- The constant back and forth with Sheldrake calling Bud, instead of more dramatic storytelling, pulls away from the overall gravity of the story. The events could play out more organically. low ( Scene All )
- A deeper exploration of Fran's backstory and motivations would enrich her character and make her decisions more understandable. Her vulnerability is obvious, but delving into the experiences that led her to her current state would enhance the narrative. medium
- The screenplay could benefit from a more nuanced portrayal of the supporting characters beyond their roles as lecherous executives. Exploring their motivations and vulnerabilities would add depth to the social commentary and make them more compelling. low
- While the ending is satisfying, a more direct confrontation between Bud and Sheldrake regarding their views on morality would enhance the resolution and more directly address a central theme of the script. low
- The consequences of Bud’s actions have very little impact on the overall story. Exploring more of what it is like to lose that job may drive home more of the message. low
- It's very important to show the real desperation a person like Fran goes through, and a lot of that gets glossed over. Digging into her motivations and feelings, showing her actions instead of hearing about them (such as the suicide attempt) will go a long way to making that character stronger. medium
- The use of irony is a defining characteristic, contrasting Bud's outward conformity with his inner turmoil and the hypocrisy of the corporate culture. The visual storytelling is also strong, using set design and camera angles to reinforce thematic elements. high ( Scene Several )
- The screenplay excels at creating memorable and quotable lines of dialogue that contribute to the film's iconic status. Many scenes build from the witty dialogue. medium ( Scene Various )
- The screenplay provides a fascinating snapshot of social and gender dynamics in the 1950s, although some aspects may be viewed differently by modern audiences. low ( Scene Several )
- The names and actions of the secondary characters help with the characterization of Bud and with Sheldrake. It helps to round out the script and tell a great story. low ( Scene Several )
- The use of the Christmas holiday as a setting provides a particularly poignant contrast to the loneliness and moral compromises experienced by the characters. medium ( Scene Several )
- Emotional Range While the script skillfully portrays cynicism and dark humor, it sometimes shies away from fully exploring the depths of emotional vulnerability, particularly in Fran's character. While hinted at, the level of despair for a character so close to death is a missed opportunity. medium
- Motivation Motivation for supporting characters is not made completely clear. There is the sense they are chasing the same goals of Sheldrake, but there is no real definition of why that is, or if there are ulterior motives. low
- Over-reliance on Dialogue for Exposition At times, characters explicitly state information or feelings that could be conveyed more subtly through action and subtext. This can make the dialogue feel unnatural and overly explanatory. The exposition is good and well-presented, but could be elevated with more natural action. low
- Occasional Contrived Plot Devices Certain plot points, such as Sheldrake's sudden declaration that he's leaving his wife, feel somewhat forced and serve primarily to advance the plot rather than arising organically from the characters and their circumstances. low
Claude
Executive Summary
- The screenplay opens with a strong, engaging introduction to the protagonist, Baxter, and his world. The detailed descriptions of the insurance company setting and Baxter's routine provide valuable context and set the tone for the story. high ( Scene 1 (The Apartment) Scene 2 (INT. NINETEENTH FLOOR) )
- The screenplay effectively develops the supporting characters, such as Fran Kubelik and the other employees at the insurance company, and explores their relationships with Baxter in a way that adds depth and complexity to the story. medium ( Scene 29 (INT. SWITCHBOARD ROOM - DAY) Scene 30 (INT. BAXTER'S OFFICE - DAY) )
- The interactions between Baxter and Sheldrake are well-written, with strong dialogue that reveals the power dynamics and moral dilemmas at the heart of their relationship. high ( Scene 21 (INT. SHELDRAKE'S ANTEROOM - DAY) Scene 22 (INT. SHELDRAKE'S OFFICE - DAY) )
- The screenplay effectively handles the climactic moment when Fran attempts suicide and Baxter's subsequent actions, creating a powerful and emotionally resonant sequence that drives the story forward. high ( Scene 36 (INT. THE APARTMENT - NIGHT) Scene 37 (INT. THE APARTMENT - DAWN) )
- The final act of the screenplay brings the story to a satisfying and emotionally impactful conclusion, with Baxter and Fran's reunion and the resolution of their relationship. high ( Scene 59 (INT. CHINESE RESTAURANT - NIGHT) Scene 60 (EXT. BROWNSTONE HOUSE - NIGHT) )
- The screenplay could benefit from tighter pacing in certain sections, such as the extended sequence where Baxter flips through television channels, which feels a bit drawn out. medium ( Scene 8 (INT. GRAND HOTEL) )
- While the screenplay effectively establishes the setting and Baxter's world, there could be more thematic depth and exploration of the broader social and corporate dynamics at play, beyond Baxter's personal story. medium ( Scene 1 (The Apartment) Scene 2 (INT. NINETEENTH FLOOR) )
- The screenplay could benefit from more explicit exploration of the power dynamics and gender dynamics within the corporate setting, as these themes are present but could be more fully developed. medium ( Scene 29 (INT. SWITCHBOARD ROOM - DAY) Scene 30 (INT. BAXTER'S OFFICE - DAY) )
- The screenplay's handling of Fran's suicide attempt and Baxter's response is a standout sequence, demonstrating the writers' skill in crafting emotionally impactful and morally complex moments. high ( Scene 36 (INT. THE APARTMENT - NIGHT) Scene 37 (INT. THE APARTMENT - DAWN) )
- The final act of the screenplay, with Baxter and Fran's reunion and the resolution of their relationship, is a well-executed and satisfying conclusion to the story. high ( Scene 59 (INT. CHINESE RESTAURANT - NIGHT) Scene 60 (EXT. BROWNSTONE HOUSE - NIGHT) )
- Lack of Diversity The screenplay primarily focuses on the experiences of white, heteronormative characters, with limited representation of diverse backgrounds and perspectives. While the story is compelling, the lack of diversity in the main cast and supporting characters may limit the screenplay's appeal to a broader audience. medium
- Overuse of Exposition In a few instances, the screenplay relies too heavily on expository dialogue and narration to convey information, which can feel heavy-handed and disrupt the natural flow of the story. For example, the opening sequence with Baxter's voiceover provides a significant amount of background information that could be more organically woven into the narrative. low
Memorable lines in the script:
Scene Number | Line |
---|---|
60 | Bud: I love you, Miss Kubelik. |
49 | Bud: Some people take, some people get took -- and they know they're getting took -- and there's nothing they can do about it. |
51 | Bud: You fool -- you damn fool. |
45 | Bud: Now don't go getting any ideas, Miss Kubelik. |
48 | FRAN: Of course I'm not here -- because the whole thing never happened -- I never took those pills -- I never loved you -- we never even met -- isn't that the way you want it? |