The Diamond Necklace
STANDARD OPENING
VISUAL AUDIO
MEDIUM CLOSE SHOT. WAVING FIELD
OF FULL-GROWN TOBACCO.
(MUSIC: "LUCKY DAY" THEME UP AND UNDER.)
UNOPENED LUCKY STRIKE PACKAGE
RISES OUT OF TOBACCO.
LUCKY STRIKE PACKAGE GROWS TO
CLOSE SHOT AND HOLDS.
LETTERING "LUCKY STRIKE" FLIES OUT
OF BULLSEYE AND TAKES POSITION
ABOVE AND WELL CLEAR OF PACKAGE.
PACKAGE DISSOLVES OFF QUICKLY.
ANNOUNCER: (TRACK) (IN SYNC WITH
VISUAL)
Lucky Strike
THE WORD "PRESENTS" FADES IN
BELOW "LUCKY STRIKE" LETTERING.
presents
LETTERING "YOUR SHOW TIME" APPEARS
ON SCREEN BELOW "LUCKY STRIKE
PRESENTS". FREEZE ON BILLBOARD
PLATE.
"YOUR SHOW TIME"
(MUSIC UP SLIGHTLY. SEGUE WITH SHOW
THEME.)
FADE OUT
FADE IN
"THE DIAMOND NECKLACE"
1. INT. BOOKSHOP - MED SHOT - NIGHT
BOOKSHOP MAN
Ah, good evening...Welcome to "Your Show Time" ....
come in and make yourselves comfortable. It's
good to see you. I'm the Bookshop Man and I'll
have a story for you each time we get together.
All kinds of stories -- sad, funny, adventurous,
romantic, but they'll all be good stories. No -
maybe I'd better say they'll all be stories that
I liked. Stories that have excited me, that made
me laugh or cry -- stories that have made me
understand other people, and myself just a little
bit better. Take the one I've picked for this
evening. Ah....here - it's called..."The Diamond
Necklace". It's by the famous French writer -
Guy de Maupassant. De Maupassant died over fifty
years ago...and yet the people in this story are
as real to us today as they were to the people in
Paris in the 1880's. But first let's relax and
light up a Lucky.
(He lights a Lucky, sits back and takes puff.)
DISSOLVE TO:
COMMERCIAL
DISSOLVE TO:
1A INT. BOOKSHOP - MED SHOT - NIGHT
(No cigarette)
BOOKSHOP MAN
Yes, the people in the "Diamond Necklace" lived
in Paris...in the 1880's. The great Eiffel Tower
was just being planned. The city was already a
fashion-center, and bustles were the thing to
wear. A wage earner made three or four dollars
a week...but you could get a whole roast for a
quarter. These were the times in which the
Lazelles lived .........
DISSOLVE TO:
2. INT. LAZELLE LIVING ROOM - SILENT - DAY
Early morning. A young couple seated at the dining table;
Matilda is dawdling over her breakfast, while Henry is
gulping down his hot coffee.
BOOKSHOP MAN'S VOICE
..... Matilda and Henry Lazelle. They should have
been a happy couple .........
3. CLOSE SHOT - MATILDA
Pre-occupied.
BOOKSHOP MAN'S VOICE
....but there was something in Matilda's nature
that prevented it. She was young and pretty...
4. BACK TO FIRST ANGLE
as Henry gives his wife an unobserved look of affection.
BOOKSHOP MAN'S VOICE
Henry was a kind and thoughtful husband who
loved her very much. But that wasn't enough for
Matilda.
Henry finishes his coffee, gets up from table. He slips
into his coat, starts to gather some papers together that
are on the buffet back of the dining table.
BOOKSHOP MAN'S VOICE
The trouble was, Henry was only a government
clerk...while his wife was one of those women
who feel there is nothing more desirable than
to have the latest gowns and expensive jewels...
attend gay parties...and be charming and
sought after. Unfortunately, Henry was only
a government clerk. True, the commissioner
who was the head of his department, seemed to
like him and there was a chance for advancement.
But at the moment, Henry's job was minor and
routine and paid very little...certainly nowhere
near enough for Matilda to realize any of her
dreams.
With his papers tucked into a portfolio, Henry comes back to
the table, bends over Matilda and kisses her on the cheek.
Matilda snaps out of her reverie, and rises. CAMERA PANS as
she escorts Henry to the portieres. He starts to kiss her
again, but she avoids it, tells him to hurry or he'll be late.
Looking a little hurt, Henry goes on out. CAMERA STARTS to
MOVE IN on Matilda as she stands, leaning against door,
absently frowning.
BOOKSHOP MAN'S VOICE
It's not surprising then that Matilda was often
distressed that she'd been so foolish as to fall
in love with Henry. And this distress grew every
time she went to visit her friend .....
DISSOLVE TO:
5. INT. FORRESTER BOUDOIR - CLOSE SHOT - DAY
ON silver tea service, as a WOMAN'S HAND refills a half-
empty cup. CAMERA PULLS BACK to disclose Matilda
sitting at a low table in her friend's boudoir, while
ELSA FORRESTER, in an elegant negligee, pours tea.
BOOKSHOP MAN'S VOICE
... Elsa Forrester ... who had not
been so foolish ... who had managed
to marry a wealthy businessman.
As Elsa sets down the teapot, LIVE SOUNDS IN.
ELSA
There you are, darling. Now excuse
me a moment. I have something to
show you ...
Elsa exits. As she sips her tea, Matilda looks at the
fine china cup, then at the ornate silver service, then
around the room. Her eyes are filled with envy. She
tries to conceal this quickly as Elsa returns carrying
two new evening gowns. Matilda rises almost
involuntarily.
MATILDA
Oh, Elsa! They're lovely
(reaching out,
feeling one)
So fine ...
ELSA
One of Paul's orders, my dear.
His wife must wear only the best.
(with a smile)
I try not to let him down.
She holds the dresses up, studying them.
ELSA
But which shall I wear this evening?
MATILDA
Let me see that one ...
Elsa hands her the dress she indicates. Matilda holds
it up against herself.
MATILDA
This is very flattering, Elsa.
ELSA
Ye-es ... but I'm not sure it's
dressy enough for Paul. He's a
problem at times.
MATILDA
How can you say that! ...
(indicates surroundings)
... with all this --
ELSA
Oh, I'm not complaining. I know
what I've got - and I wouldn't
exchange it for anything.
6. CLOSE SHOT - MATILDA
She strokes the dress of Elsa's she is holding.
MATILDA
I should hope not!
7. MED. SHOT
ELSA
But that doesn't alter the fact,
my dear, that Paul is set in his
ways - and a little old.
MATILDA
I think he's distinguished-looking.
Elsa looks at her wryly.
ELSA
Because he has no hair? Well,
that may be. Anyway...
(dismissing it)
I'd probably better wear this.
One should please one's husband
now and then, don't you think?
Now what'll go with it?
(moving away)
Come, Matilda - help me decide.
8. MED. SHOT - AT VANITY TABLE
as Elsa and Matilda come IN. Elsa opens a jewel-box and
begins to try pieces against the dress she's selected,
while Matilda watches.
ELSA
How about this brooch?
MATILDA
It's lovely ... but I don't think ...
ELSA
You're right. Not with this dress.
She drops the brooch, extracts another piece from the
box, repeats the process of trying each piece against
the dress and discarding it. As she is busy with this,
Matilda's eye is attracted to something in the box.
She takes it out. It's a diamond necklace. She studies
it a moment admiringly in her hand.
9. CLOSE SHOT - MATILDA
as she brings the necklace up to her throat, and we see
it plainly. It is a glitteringly-handsome piece.
ELSA'S VOICE
I think this pin'll do it, don't
you, Matilda?
Enwrapped in dreams of herself and the necklace, Matilda
doesn't hear Elsa.
10. MED. SHOT
Elsa, holding a jewelled pin up to the dress, smiles at
her day-dreaming friend.
ELSA
Matilda!
Matilda starts, then embarrassedly drops the necklace
away from her throat, looks at what Elsa is showing her.
MATILDA
Oh, yes -- that's perfect.
Else turns back to the table, starts to gather together
the jewelry she's scattered, suddenly reacts to a small
clock on the table.
ELSA
Good heavens! It's nearly six!
You'd better run, dear. Tea
next week?
MATILDA
I'd love it.
ELSA
Fine.
(pressing Matilda's
hand)
Forgive me for not walking you
to the door, but I really must
hurry.
Carrying the dress and pin, Elsa starts to hurry across
toward her dressing room, stops and looks back at
Matilda, still at the vanity table.
ELSA
On your way out, darling, will
you tell the maid I need her
right away? Thanks.
Elsa exits. Matilda looks at the diamond necklace in
her hand, sighs, and drops it into the jewel box. Then
she turns and starts out of the room.
DISSOLVE TO:
11. INT. LAZELLE LIVING ROOM - NIGHT
Matilda, an apron over her dress, is dusting, her face
glum, her thoughts far away.
BOOKSHOP MAN'S VOICE
Yes - each time she returned from
Elsa's, Matilda got angrier ... at
herself ... and at Henry ... who
would never be able to give her the
things she felt she deserved ...
the only things she believed could
make her happy.
Now we HEAR LIVE SOUNDS as Matilda continues cleaning.
Suddenly she sees the tassel cord that holds the drape
hanging loose. She sighs with annoyance, moves to fix
it, then gets another idea. She takes the tassel cord
off, and with a graceful gesture, brings it up to her
throat as if it were a diamond necklace. Then she
pantomimes nonchalant acceptance of admiration for the
necklace from an onlooker.
MATILDA
Yes, it is a pretty thing. A
birthday gift from my husband ...
A SHARP HISSING SOUND from o.s. interrupts. Matilda
reacts, startled out of her day-dream.
12. CLOSE SHOT - POT ON STOVE
(Just a small section of kitchen and a doorway through
which we see the living room in b.g.) Pot is boiling
over. Matilda COMES IN scowling, tries to lift cover
off pot, burns her finger.
MATILDA
Oh! ..... zut!!
In the b.g. the apartment door opens and a man enters.
Matilda turns, sees him, reacts with increased anger,
as if it were his fault she burned herself. She exits
back toward living room.
13. INT. LAZELLE LIVING ROOM - NIGHT
The man who has entered is Henry. Matilda comes out to
him, gingerly holding her injured finger.
MATILDA
I burnt my finger on that stupid pot!
HENRY
I'm sorry, darling ...
(kisses her finger
smiles gently)
But wait a minute --
With a little air of mystery, which makes Matilda watch
him puzzledly, he searches through the tattered paper
portfolio he is carrying, brings out an envelope.
HENRY (cont'd)
(handing envelope to
Matilda)
Here's something to make up
for it.
He watches her eagerly as Matilda opens the envelope,
extracts a sheet of note paper, scans it quickly. Her
face lights up.
MATILDA
An invitation from the commissioner!
HENRY
A formal dinner party ... and
I'm the only clerk invited.
That must mean something, eh?
(going on proudly,
not noticing a change
in Matilda)
I told you Mr. Beaudine's been
warming up to me ...
MATILDA
Oh, it's ridiculous, Henry ...
We can't go.
HENRY
Can't go - ? But ... but ...
MATILDA
(indicating her
clothes)
In this?
HENRY
But your evening dress --
MATILDA
That rag was out of style two
years ago. No, Henry -
She tosses the invitation down on the table, stalks off
to the buffet in b.g.
MATILDA (cont'd)
All the women there in the newest
gowns .. covered with jewels ... and
me looking like some poor relation?
No thank you
HENRY
Could you buy the proper kind of
dress for ... five hundred francs?
Matilda comes back from the buffet with silverware.
MATILDA
Five hundred francs? Of course I
could ...
(starts setting table)
Stop talking nonsense ... We can't go.
HENRY
Matilda ... I - I've been putting a
little money aside for a vacation ...
Matilda stops setting table, looks up at him.
HENRY (cont'd)
You take it. Buy something nice ...
Matilda moves toward him with sudden eagerness.
MATILDA
Why, Henry - !
Henry takes her in his arms, pleased at her renewed
excitement.
HENRY
And as for a piece of jewelry,
wouldn't Mrs. Forrester lend you
something just for the evening?
MATILDA
(excitedly)
Sure she would ... Oh, Henry -
that's a wonderful idea
HENRY
(drawing her closer)
You see, darling, you shouldn't
become upset about these things.
We always manage to work them
out, don't we?
MATILDA
(absently)
Yes, Henry ...
(her hand goes to
her throat)
I know just what I'm going to get
from Elsa!
BOOKSHOP MAN'S VOICE
The diamond necklace ...
DISSOLVE TO:
14. CLOSE SHOT - MATILDA - NIGHT
Back of her head to Camera. She moves away a step, and
swings around, her face glowing, Elsa's diamond necklace
gleaming at her throat.
BOOKSHOP MAN'S VOICE (cont'd)
Elsa's brilliant diamond necklace!
Matilda felt she'd never looked so
beautiful in her life ...
MATILDA
How do you like it?
15. CAMERA PULLS BACK to disclose INT. LAZELLE LIVING ROOM,
with Matilda now in her new gown; Henry in evening
clothes. Henry shakes his head in mock warning.
HENRY
Every woman there's going to hate you -
He smiles, and Matilda laughs, pleased. Then she comes
forward to Henry, takes his arm.
MATILDA
Forgive me if I'm irritable sometimes ...
HENRY
There's nothing to forgive, darling.
I'm happy knowing that you married
me because you loved me. Obviously
it couldn't have been for money -
He smiles and kisses her gently. Then CAMERA MOVES with
them as the go toward the door. As they exit,
DISSOLVE TO:
16. INT. BEAUDINE'S FOYER - NIGHT
A small ante-room. Along the wall to our right a bench
and coat-rack, both filled with the formal cloaks and
toppers of the guests. Along the center wall, a small
marble-topped table, above it an ornate gilded mirror.
The wall to our left is broken by a drape-covered
archway which leads into the drawing room. From behind
the drapes we HEAR DANCE MUSIC, VOICES, LAUGHTER. The
MUSIC STOPS, the drapes part, and Matilda comes IN. She
is gay, slightly tipsy. She heads right for the mirror,
takes a stance before it, begins to adjust her hair. As
she does so, her eyes catch sight of the necklace in the
mirror. She fondles it admiringly, poses for herself.
She doesn't notice Henry COME IN. He pauses just inside
the drapes, holding a glass of champagne, watching her
antics amusedly.
HENRY
(after a pause)
I beg your pardon, Madame. Have
you seen my wife?
Matilda turns, a little startled; then, seeing Henry,
she plays along with his joke.
MATILDA
Your wife - ? I'm not quite
sure I know ---
HENRY
(with a little bow)
Lazelle is the name. She's just
about your size ... and ... well ..
His hands indicate their figures are about the same, too.
MATILDA
Oh, yes, of course. The Commissioner
introduced us. You're a lucky man,
Mr. Lazelle. A very attractive woman.
HENRY
(coming over to her)
I'll tell her that ...
MATILDA
(studying him coquettishly)
But now that I meet you - I think
she's rather lucky, too.
HENRY
I wish you'd tell her that yourself.
MATILDA
You're too modest. I'm sure your
wife already knows it --
HENRY
Must we talk only of my wife,
Madame?
MATILDA
Sir - ?
With a mock gleam in his eye, Henry chucks her under the
chin.
HENRY
Come, you're a handsome woman
yourself.
MATILDA
I happen to have a husband, sir.
HENRY
And I a wife ... But since neither
one's around right now, there couldn't
be any harm in your sharing a little
champagne with me, could there?
MATILDA
We--ll ...
(she glances about with
feigned nervousness;
then turns back to him
with a coy smile)
I guess not.
17. TIGHT TWO SHOT
as Matilda takes the glass from Henry, and sips the wine.
Then she offers the glass back to him, and he downs the
rest of it. Matilda, looking at him, suddenly giggles.
MATILDA
I hope you're not going to think
me bold, Mr. Lazelle ... I suppose
it's the champagne ... but I have a
sudden, overwhelming desire to -
kiss you!
She leans forward and kisses him. His arm goes around
her, and o.s. the DANCE MUSIC STARTS UP AGAIN. Their
faces are very close.
HENRY
(dropping pose)
Darling - having fun?
(Matilda nods
vigorously)
Come - dance with me before someone
else claims you. You're much too
popular tonight.
18. BACK TO ORIGINAL ANGLE
as Henry sets their glass down on the wall-table, then
takes Matilda in his arms, and they go waltzing gaily
off through the drapes.
DISSOLVE TO:
19. INT. LAZELLE LIVING ROOM - NIGHT
A key rattles in the lock, and then the door swings open.
Matilda dances into the room, whirling about in a gay
pirouette, obviously a bit tipsy. Henry closes the door,
watches her with amused affection.
MATILDA
Mmmmmm ... lovely party ...
wasn't it, darling?
(before Henry can reply)
What a home they have! Do you
think I made an impression on Mr.
Beaudine?
(again before he
can reply)
Of course I did! Didn't you notice
the way he looked at me when we were
leaving? I wouldn't be surprised if
they asked us over for dinner soon ...
just us ...
Matilda starts to undo the tie of her wrap, and Henry
comes up behind her to take it off her shoulders.
MATILDA (cont'd)
What a difference the right gown
makes. And a diamond necklace ...
why, I felt like --
Matilda gasps. Her hand has gone to her throat - and
the necklace isn't there!
HENRY
(holding her wrap)
What is it, Matilda?
MATILDA
The necklace! Elsa's necklace!
(wildly)
My wrap! Quickly - look in the
pockets!
Henry searches the pockets, feels through the wrap.
HENRY
No ..... nothing!
MATILDA
It was on me when I left the party ...
I know I had it then. Oh Henry, help
me find it!
She begins to search the floor. Henry joins her.
CAMERA PANS with them as they search back to the door.
Then Henry straightens up, his face white.
HENRY
You're sure you had it when we
left the Beaudines?
MATILDA
Yes, yes, I'm sure.
(tears in her eyes)
I looked at myself in the mirror
on our way out. I wanted to see
it once more.
HENRY
(thoughtfully)
Perhaps the cab -- or --
MATILDA
That's it! I must have dropped
it in the cab!
(grabbing the lapels
of his coat)
Oh, please, Henry...please...
you've got to find it!
Henry takes her hands, strokes them soothingly.
HENRY
All right, Matilda...easy now.
I'll check the cab. And I'll
go over the whole route between
here and the Beaudines -- street
by street, if I have to. You go
to bed, darling. I'll find it.
Henry pushes her gently toward the bedroom, and exits.
But Matilda just stands there staring after him.
DISSOLVE TO:
20. INT. BOOKSHOP - MED SHOT - NIGHT
(Lucky in hand)
BOOKSHOP MAN
But Matilda couldn't sleep, she was too
worried, too frightened... In a moment
I'll tell you what happened to the Lazelles
and the Diamond Necklace
(TAKES PUFF)
DISSOLVE TO:
COMMERCIAL
DISSOLVE TO:
20A INT. BOOKSHOP - MED SHOT - NIGHT
(Lucky in hand. He tamps out cigarette and into).
BOOKSHOP MAN
No - the necklace could not be found. Not
after a whole night's search...not after days
of offering a reward. And all at once that
borrowed necklace, which had been such a joy
to Matilda, became a curse on their lives.
Then Henry did what he had to do...he borrowed
on his salary as a government clerk for years
into the future.
DISSOLVE TO:
21. INT. LAZELLE LIVING ROOM - SILENT - NIGHT
A MAN is making a list of the items in the room, noting
their value, as Henry stands alongside, watching. Then
Matilda enters from kitchen, carrying a small chest
which she sets down on the table. She opens it,
displaying their family silverware to the man. He makes
an offer on it. Matilda angrily starts to argue. But
Henry, after a moment, interrupts, resignedly indicates
for the man to add the silverware to the list.
BOOKSHOP MAN'S VOICE
He mortgaged their furniture ... and
sold their few family heirlooms, and
finally, he had scraped together
twelve thousand francs -- for him, a
lifetime fortune! That was the price
a jeweler charged them for a duplicate
of the diamond necklace.
DISSOLVE TO:
22. INT. FORRESTER BOUDOIR - CLOSE SHOT - DAY
ON a lady's handkerchief being unwrapped, revealing the
duplicate diamond necklace.
ELSA'S VOICE
I wondered what had happened to you -
CAMERA PULLS BACK (NOTE: SAME DOLLY SHOT AS IN FIRST
BOUDOIR SCENE) to disclose Elsa and Matilda, the latter
in hat and street dress. Matilda extracts the necklace
from her handkerchief, watches with half-concealed
tension as she hands it to Elsa.
MATILDA
I'm sorry, Elsa. I meant to
return it the morning after the
party, but I - I haven't been
feeling well.
Elsa doesn't give the necklace a second glance.
ELSA
Oh, that's too bad, darling.
She crosses to the vanity table.
MATILDA
(her eyes follow,
still tense)
I'm fine now.
(moving after Elsa;
attempting to be
light)
I just hope you didn't miss the
necklace too much.
Elsa opens her jewel case, drops the necklace in.
23. LOW ANGLE - MATILDA - JEWEL CASE IN SHOT
as Matilda comes up to the vanity table, stares at the
jewel case.
ELSA'S VOICE
It's quite all right. As long
as you enjoyed it.
MATILDA
Enjoyed it - ?
(forcing her eyes
away from the case)
Oh yes ... very much. Why ...
it ... made me ... the belle of
the ball.
24. MED. CLOSE SHOT - AT TABLE
The strained note in Matilda's voice makes Elsa look up
at her.
ELSA
Matilda, are you sure you're all
right? You really don't look well.
MATILDA
(forcing a smile)
It's nothing. Perhaps I'm still a
little weak.
ELSA
Well, you worry me. I want you to
be sure and write me how you're
getting on.
MATILDA
Write you - ? Why, Elsa --
ELSA
(enjoying the surprise)
Yes .. we're moving .. moving to
Brussels.
MATILDA
Brussels! But when - ?
ELSA
Tomorrow. We've already sent the
maid on, so I've been packing
myself. Be a dear and help me,
won't you?
Without waiting for a reply, she picks up the jewel
case, carries it off.
25. MED. SHOT - NEAR SCREEN
revealing a half-packed trunk, and some piles of
clothing on a chair. Elsa comes IN, puts the jewel case
into the trunk.
ELSA
I really hate leaving Paris - but
Paul's business demands it. Anyway,
he's promised me the Brussels house
is even larger than this one.
Matilda comes IN, begins blankly folding clothes and
helping Elsa lay them into the trunk.
MATILDA
I'm sure it'll be lovely.
Elsa misinterprets Matilda's blankness, puts a hand on
her friend's arm.
ELSA
Don't feel too badly about my
going, darling.
(as she returns
to packing)
We're going to have a villa at
Ostend for the summers. Perhaps
you and Henry can come visit us.
Leave it to me -- I'll fix it
with Paul. But remember, I want
you to write and let me know ...
She continues chatting, but her VOICE FADES OUT. CAMERA
HOLDS the SCENE, NOW SILENT: Elsa prattling on as she
packs, Matilda helping, beginning to relax and chatter
back. The Bookshop Man's VOICE COMES OVER:
BOOKSHOP MAN'S VOICE
Matilda watched the duplicate necklace
disappear into the trunk ... and found
a release from her tension in helping
her friend pack. Secretly, she was
glad Elsa was moving away. It would
be easier not seeing her ... far easier
not being reminded of the lost piece
of jewelry.
DISSOLVE TO:
26. INT. LAZELLE LIVING ROOM - NIGHT
as Henry comes home from work. He sinks wearily into
a chair at the dining table, drops his portfolio on the
table, rubs his tired eyes. Suddenly he becomes aware
of a hat box on the table. He rises, looks into the
box, pulls out a new women's hat. Staring at it, he
shakes his head unhappily.
BOOKSHOP MAN'S VOICE
But it was a vain thought. There
was too much at home to remind her
of it. For as they began their
struggle to pay off the twelve
thousand francs, life squeezed the
Lazelles harder than ever ...
Henry glances at the kitchen o.s., then turns toward
the bedroom.
HENRY
(calling)
Matilda!
He turns the hat around in his hand as he waits.
27. ANOTHER ANGLE - INCLUDING BEDROOM DOOR
as Matilda appears.
HENRY
Matilda, did you buy this today?
Matilda nods as she crosses to him.
MATILDA
Wait'll you see it on. It's
very becoming.
She takes it from his hand, puts it on, glances at a
mirror o.s. and busies herself adjusting the hat.
HENRY
Darling - I thought we both
understood ---
MATILDA
(turning back to him)
There ... Like it?
HENRY
No, Matilda, I don't. We
can't afford it.
MATILDA
You haven't even asked how
much it was.
HENRY
I don't care. Whatever it
costs, we can't spare it ...
28. CLOSE SHOT - HENRY
as he moves toward her appealingly.
HENRY (cont'd)
Darling, don't you understand?
The salary I make isn't ours
anymore. It'll take every cent
we can save - and more, I'm afraid -
to pay off our loans.
29. CLOSE SHOT - MATILDA
Her face sullen, resentful.
MATILDA
You want me to go around looking
like an old drudge?
30. MED. SHOT
Henry smiles a little, trying to win her.
HENRY
You can never look like an .. "old
drudge" to me.
MATILDA
Other people see me, too, you
know.
HENRY
Matilda, don't care about other
people. Let's get our life
straightened out. I need your
help. That diamond necklace
cost --
Matilda's deep sense of guilt causes her to flare up.
MATILDA
That's right! Throw it up to me!
You never blame yourself, do you?
If you'd made a decent salary in
the first place, I wouldn't have
had to borrow any jewelry!
(yanking hat off
her head)
I'll take the hat back -- but I
tell you, I don't want to hear
about that necklace again!
(near tears)
I don't want to hear about it!
She shoves the hat into the box, picks it up, and
stalks off into the bedroom, leaving Henry looking after
her, quite miserable.
BOOKSHOP MAN'S VOICE
So the days turned into weeks ...
DISSOLVE TO:
31. CLOSE SHOT - MATILDA
at butcher scale. (SCENE 15, ORIGINAL SCRIPT)
BOOKSHOP MAN'S VOICE (cont'd)
... and the weeks into months ...
and Matilda slowly resigned herself
to the loss of even the few little
luxuries they used to enjoy.
DISSOLVE TO:
32. CLOSE SHOT - MATILDA
scrubbing clothes in a tub. (SCENE 13, ORIGINAL
PICTURE)
BOOKSHOP MAN'S VOICE (cont'd)
But it was a grudging resignation --
and she felt very sorry for herself ...
DISSOLVE TO:
33. INT. LAZELLE LIVING ROOM - NIGHT
Matilda in an armchair, sewing end patching a small
pile of clothes. She barely looks up as Henry enters
the apartment. He crosses to her, bends over to kiss
her, but she frowns, turns her head. He pecks at her
cheek, and then goes on into the bedroom.
BOOKSHOP MAN'S VOICE (cont'd)
Their lives were ruined - hopelessly
ruined - and she was not going to
let Henry forget it.
(pauses)
But however petty and selfish Matilda's
heart was, it was still a heart.
DISSOLVE TO:
34. MED. CLOSE SHOT - HENRY - NIGHT
working over books by lamplight. (SCENE 16, ORIGINAL
PICTURE)
BOOKSHOP MAN'S VOICE (cont'd)
As she watched her husband more
than share every burden ...
DISSOLVE TO:
35. WIDER ANGLE - LIVING ROOM - INCLUDING BEDROOM ENTRANCE
Henry has fallen asleep at the table, his head resting
on his ledger. The drapes that cover the entrance to
the bedroom are parted, and Matilda peers out. She
sees Henry asleep, smiles ruefully, sympathetically,
then comes out to him. She is covered with her old
wrapper.
BOOKSHOP MAN'S VOICE (cont'd)
... watched him work night after
night to earn extra money to meet
their debts ... for the first time,
she felt a sympathy for someone
else's pains.
36. CLOSER SHOT - AT DINING TABLE
as Matilda shakes Henry gently, awakens him. He looks
up at her, comically groggy. She smiles and helps him
to his feet.
BOOKSHOP MAN'S VOICE (cont'd)
The question was -- would this new
understanding bear fruit - or wither -
amid so many troubles ...
Matilda turns down the oil lamp, and helps Henry off
toward the bedroom.
DISSOLVE TO:
37. INT. LAZELLE LIVING ROOM - CLOSE SHOT - BUFFET - NIGHT
as a drawer is unlocked, and opened, revealing a small
pile of bills and change inside. We HEAR A MAN'S VOICE
O.S. as a HAND extracts the money from the drawer.
COLLECTOR'S VOICE
Mighty cold out this evening ...
Yes, sir, mighty cold ...
CAMERA PULLS BACK to reveal Henry in the b.g. at the
buffet, while a man in overcoat and wool muffler, his
hat under his arm, waits by the dining table in f.g.
The latter - a debt collector - is a large, florid man,
who talks with a professional heartiness.
COLLECTOR
Wouldn't be surprised to see snow
before the end of the week.
Closing the buffet drawer, Henry comes toward the dining
table. He looks worn and tired, wears a torn old
coat-sweater.
HENRY
Here's the money.
The collector makes a quick entry in a small notebook.
COLLECTOR
That's fine, Mr. Lazelle. You're
coming right along.
He tucks the notebook sway and takes the money from
Henry. He riffles through the bills, suddenly looks up
at Henry, all congeniality washed from his face.
COLLECTOR
There's only ninety-two francs here.
HENRY
It's every cent we've saved for the
month.
COLLECTOR
The payment's a hundred, you know
that.
HENRY
I just couldn't put aside any more.
There were some other bills - and
I --
COLLECTOR
(his voice rising)
I'm not interested in your other
bills, Lazelle -
Henry glances nervously off at the bedroom, afraid
Matilda will hear.
HENRY
(gesturing)
Please --
COLLECTOR
(ignoring him)
We made you a loan. Now either
you're going to live up to your
obligations - or we'll be forced
to take some very unpleasant steps.
MATILDA'S VOICE
What's the trouble, Henry?
38. WIDER ANGLE
as Matilda comes toward them from the bedroom. She,
too, looks tired, older.
HENRY
It's all right, Matilda.
COLLECTOR
A very simple matter, Mrs. Lazelle.
Your husband's eight francs short
in his payment.
Henry avoids Matilda's eyes, not knowing what her
reaction is going to be.
MATILDA
(to Henry)
I thought we had enough.
HENRY
I had to take some out. The
butcher was going to stop credit.
COLLECTOR
I'm sure you understand, Mrs.
Lazelle. My company can't ---
MATILDA
(interrupting;
quietly)
Yes, I understand. We owe you a
hundred francs, and it's no concern
of yours how or where we get it.
39. CLOSE SHOT - COLLECTOR
He makes a dissembling gesture which says, "You know
how it is."
MATILDA'S VOICE
We've paid you regularly month after
month. Now for the first time we're
a little short ... and you start
threatening my husband ...
The Collector reacts. He hadn't expected trouble from
Matilda.
40. TWO SHOT - HENRY AND MATILDA
Henry also reacts in surprise to Matilda's words.
MATILDA
Well, I understand something else,
too. Henry's been working day and
night - going without sleep - losing
his health - just so we can scrape
together enough to pay you. If
we're a little short this month,
we'll make it up next month ... or
the month after. But don't threaten
us.
41. GROUP SHOT
INCLUDING the Collector, as Matilda takes Henry's arm.
MATILDA
We're not going to be frightened ...
Can you understand that? You're
not going to grind us into the
earth!
The Collector hesitates a moment. Then, without a word,
he slaps his hat on and exits. There is silence in the
room as the outside door SLAMS. Henry regards his wife
gratefully.
HENRY
Matilda - I --
MATILDA
(a simple statement)
Henry, we've got to get more money.
I think I have a way ...
HENRY
How - ?
MATILDA
I'm going to learn bookkeeping.
HENRY
But you're doing enough now ...
MATILDA
(shaking her head)
I'm going to learn. Then you can
bring more work home - and I can
do it with you ...
(almost to herself)
Yes ... I'll work right with you.
Henry stares at Matilda an instant; then his hands go
to her shoulders and he draws her close to him. As
he holds her:
BOOKSHOP MAN'S VOICE
And though neither would once have
dreamed it possible ...
DISSOLVE TO:
42. CLOSE SHOT - MATILDA - NIGHT
working over some books at the table.
BOOKSHOP MAN'S VOICE
... Matilda did learn ...
CUT TO:
43. TWO SHOT - HENRY AND MATILDA - NIGHT
working side by side at the lamp-lit table. (SCENE 17,
ORIGINAL SCRIPT)
BOOKSHOP MAN'S VOICE
... and soon was able to work
alongside Henry. From then on -
together - they met all their
obligations.
(pauses)
It took ten years ...
DISSOLVE TO:
44. CLOSE SHOT - DINING TABLE - NIGHT
Table covered with a fresh cloth, and set for two
servings. A man's HANDS COME INTO SHOT, set down first
a vase of flowers, then a bottle of wine and two glasses.
BOOKSHOP MAN'S VOICE
... but the night finally arrived when
they were free ... when all their debts
were paid. It was a very happy night.
CAMERA PULLS BACK and we find Henry WHISTLING happily
as he pulls the loose cork from the wine bottle. He
grins as Matilda comes IN, carrying a toureen. She
grins back, lifts the lid of the toureen, extends it
toward him.
HENRY
(sniffing at it)
Ahhhh ......
He reaches for the ladle, but Matilda quickly slaps the
cover back on and puts the toureen on the table.
MATILDA
Pour the wine --
As Henry picks up the wine bottle, there is a KNOCK at
door o.s. Surprised, he pauses.
MATILDA
Go on ... I'll see -
She exits toward door while Henry looks after her
curiously.
45. MED. SHOT - AT FRONT DOOR
as Matilda comes up to it, opens it. Revealed outside
is Elsa Forrester, looking chic and scarcely older than
when we last saw her.
ELSA
I beg your pardon ... I was looking
for a Mrs. Lazelle. I wondered if
she still --
She breaks off, stares at Matilda.
MATILDA
Elsa ...
ELSA
Matilda!! Good heavens! I
hardly recognized -- I mean --
MATILDA
(quietly)
Come in, Elsa -
CAMERA PANS with Elsa as she comes into the room. Henry
comes IN to her.
HENRY
Mrs. Forrester - !
He gives her a little bow.
ELSA
Mr. Lazelle ...
Who stands there uncertainly, nervous and embarrassed
about the contrast between herself and her friend.
Matilda comes IN from the door.
MATILDA
You're upset about not recognizing
me, Elsa. Don't be. I know I've
changed.
ELSA
(trying to cover
her embarrassment)
Well ... it must be ten years
since I saw you last. Paul and
I just moved back to town ...
and ... well, I was passing
tonight and I thought ...
(seeing table set)
Oh ... but I shouldn't be inter-
rupting your dinner --
HENRY
No interruption ... Have a glass
of wine with us.
ELSA
Really, I can't stay ... I --
MATILDA
(to Henry)
Of course she will.
She goes to the buffet in the b.g. for a glass, while
Henry leads a reluctant Elsa over to the table.
HENRY
(helping Elsa into
chair)
It must have been Fate that brought
you here tonight.
Matilda returns, setting a glass down before Elsa.
MATILDA
We were having a little celebration -
and it concerns you ...
ELSA
Me - ?
Henry fills her glass with wine.
MATILDA
Remember the necklace you lent me?
(Elsa stares, puzzled)
Just before you left Paris ... ?
ELSA
(with a smile)
Oh, yes - the one you wanted for
a big party.
MATILDA
(nods)
I lost it that night.
ELSA
But I'm sure I remember your
returning it.
MATILDA
I returned a duplicate. We just
finished paying for it today.
(turning to Henry}
That's what we're celebrating ...
ELSA
(with sudden sharpness)
You just finished paying - ?!
MATILDA
(apologetically)
It was a fortune to us - twelve
thousand francs.
(then proudly)
But they were fine diamonds. You
see - you never knew the difference.
ELSA
(stricken)
But Matilda - Matilda! The one I
lent you was paste ... a copy!
Not worth more then a hundred
francs!
46. CLOSE SHOT - MATILDA
as she reacts.
47. CLOSE SHOT - HENRY
reacting.
48. CLOSE SHOT - MATILDA
Her head lowered, she starts to sob softly into her
handkerchief.
50. GROUP SHOT
as Elsa Forrester rises, comes over beside Matilda.
ELSA
Good heavens, Matilda! What a
terrible, terrible mistake!
(looking up at Henry)
Ten years of your lives - wasted!
There is a moment's pause. Then Henry speaks, half to
himself.
HENRY
Wasted? Wasted ... ?
He walks over to Matilda, stands looking down at her.
HENRY (cont'd)
Were they, Matilda -- ? Matilda -
were they wasted?
Slowly, Matilda looks up from her handkerchief; slowly a
smile breaks through her tears. Then she answers her
husband's question by taking his hand and pressing it to
her cheek. As they look at each other in secret under-
standing,
DISSOLVE TO:
50. INT. BOOKSHOP - NIGHT
as the Bookshop Man lights a fresh cigarette, exhales a
cloud of smoke with a pleasant sigh.
BOOKSHOP MAN
Of course, Elsa returned the necklace,
and Henry and Matilda sold it. And
the money helped them live a lot
easier ... but what helped even more
was the thing they'd found in their
years of struggle together ... Some-
thing more precious than the Diamond
Necklace itself.
He smiles, half to himself, half to us; then, taking the
book from the desk, he rises and steps back to the
shelf behind him.
(COMMERCIAL AND ANNOUNCEMENT OF NEXT WEEK'S STORY TO
FOLLOW)
FADE OUT.
INTERIOR BOOK SHOP - CLOSE SHOT - NIGHT
Bookshop Man is putting the book back in the shelves.
Then he turns to camera.
BOOKSHOP MAN
Next week, I'll have a story for
you that happened long ago --
back in the old days when a noble-
man ran his castle -- and the lives
in it -- to suit himself. It's a
story about a brave young man who
had to choose between death...and
marriage to a girl he'd never seen
before. She turned out to be young
and lovely -- but, as you'll see,
that only made the choice all the
more difficult.
He smiles and lights up a Lucky. He turns out lamp and
exits as camera starts pulling back.
DISSOLVE TO:
A MARSHALL GRANT-REALM PRODUCTION
written by Stanley Rubin & Louis Lantz
directed by Sobey Martin
CAST
Bookshop Man .........Arthur Shields
Henry ............... John Beal
Matilda ..............Marie Palmer
Elsa . .............. Fay Baker
Bill Collector .......Stanley Andrews
Production Supervisor ... R. E. Abel
Photographed by . . ......William Bradford
Editored by .............Jodie Kaplan
Music Supervisor .........William Lava
Art Director .............Eugene Lurie & Robert Boyle
Costumes by ............. Kitty Mager
STANDARD CLOSING
VISUAL AUDIO
WAVING FIELD OF FULL-GROWN
TOBACCO.
(MUSIC: "LUCKY DAY" THEME UP AND UNDER.)
CAMERA PANS LEFT ON TOBACCO FIELD
SHOT. SUPERIMPOSE LETTERING (MADE
WITH CIGARETTES) OVER TOBACCO FIELD
IN SYNC WITH ORAL. LETTERING
FREEZES.
(MUSIC: FADE WELL UNDER FOR.)
ANNOUNCER: (TRACK)
LS - MFT
Lucky Strike means fine tobacco.
LETTERING FADES OUT. CONTINUE PAN
ON TOBACCO FIELD. UNOPENED LUCKY
STRIKE PACKAGE RISES OUT OF TOBACCO
FIELD.
Mild, enjoyable tobacco that puts you
on the right level ... the Lucky Level ...
where it's fun to be alive.
DOLLY IN RAPIDLY TO LUCKY STRIKE
PACKAGE FULL SCREEN. TOBACCO
FIELD BACKGROUND DISAPPEARS OFF
SCREEN.
So, smoke a Lucky to feel your level best!
LUCKY STRIKE PACKAGE OPENS.
THREE CIGARETTES POP OUT. HOLD
OPENED LUCKY STRIKE PACKAGE
FULL SCREEN.
(MUSIC: UP FULL TO FINISH.)
_________________________________________
Originally broadcast January 21, 1949
Sponsored by THE AMERICAN TOBACCO COMPANY
Two commercials prepared for the program:
---------------------------------------------------------------------------
LEVEL BEST COMMERCIAL #1 - S
VISUAL AUDIO
(FILM)
UNOPENED LUCKY STRIKE PACKAGE FULL
SCREEN.
ANNOUNCER #1
Smoke a Lucky to feel your level best!
Smoke a Lucky to feel your level best!
PACKAGE OPENS AND THREE CIGARETTES
POP OUT. IMMEDIATE VERTICAL
BARNDOOR WIPE, SIMULATING CURTAIN,
RISES REVEALING APARTMENT DINNER
TABLE. ATTRACTIVE MAN (27) SITS
RELAXED AT END OF MEAL. HE IS
SIPPING COFFEE AND SMOKING LUCKY
STRIKE CIGARETTE. WIFE (23) RISES
ABRUPTLY FROM TABLE AND CLEARS HER
COFFEE CUP AND SAUCER FROM THE TABLE.
SHE DROPS CUP.
ANNOUNCER #2
Luckies' fine tobacco picks you up when
you're low ... calms you down when you're
tense.
(SOUND: CUP CRASHING TO FLOOR)
WIFE BENDS OVER DESPONDENTLY, PICKS
UP CUP AS HUSBAND SAYS.
HUSBAND: (SYMPATHETICALLY)
Having trouble, dear?
WIFE:
Oh, nothing's been right today. I'm all
keyed up.
WIFE THROWS BROKEN CUP ON TABLE.
HE CONSOLES HER. HE STILL HOLDS
LUCKY IN HAND. WIFE SITS DOWN.
HUSBAND OFFERS HER A LUCKY. SHE
ACCEPTS.
HUSBAND:
Here, light up a Lucky. You'll feel better.
HE LIGHTS HER CIGARETTE. SHE TAKES
SLOW, RELAXED PUFF, EXHALES, LOOKS
AT CIGARETTE AND THEN SMILES UP AT
HUSBAND. SHE THEN TAKES ANOTHER SLOW
PUFF. LOOKS DOWN AT CIGARETTE
APPROVINGLY.
WIFE: (AFTER FIRST PUFF, SMILES AT HUSBAND)
You're right, I don't feel so edgy, now.
ANNOUNCER #2
Yes, Luckies' fine tobacco picks you up
when you're low ... calms you down when you're
tense.
Puts you on the right level ... the Lucky
Level ... where you can feel and do your
level best. It's important for you as
smoker to know that fine tobacco can do
this for you.
DISSOLVE TO.
BIG CLOSEUP OF ATTRACTIVE HUSBAND (AS
BEFORE) HOLDING LUCKY STRIKE CIGARETTE.
HE IS PICTURE OF BUOYANCY AND HEALTH.
HE TAKES PUFF ON CIGARETTE AND SMILES.
SMOKE RISES. PAN UP WITH SMOKE.
ANNOUNCER 1:
And always remember!
LS - MFT.
ANNOUNCER 2:
Lucky Strike means fine tobacco. Smooth,
thoroughly enjoyable Lucky Strike Tobacco!
SMOKE DISSOLVES OUT. FULL SCREEN WHITE
LETTERING "SMOKE A LUCKY TO FEEL YOUR
LEVEL BEST," AGAINST DARK BACKGROUND IN
SYNC WITH ORAL. LETTERING FREEZES.
ANNOUNCER 1:
So, smoke a Lucky to feel your level best!
OPENED LUCKY STRIKE PACKAGE WITH THREE
CIGARETTES POPPED OUT ZOOMS FROM NOTHING
THROUGH LETTERING AS LETTERING FADES
OUT. LUCKY STRIKE PACKAGE CONTINUES TO
FULL SCREEN AND HOLDS.
ANNOUNCER 2:
Get on the Lucky Level where it's fun to be
alive! Get started today!
FADE OUT
---------------------------------------------------------------------------
LEVEL BEST COMMERCIAL #4 - SW
VISUAL AUDIO
HORIZONTAL OPTICAL FLIP REVEALS.
SINGLE LUCKY STRIKE PACKAGE
DANCING FORWARD.
(MUSIC: "SCARECROW." ESTABLISH
THEN UNDER FOR ORAL.)
ANNOUNCER #2
Mild, ripe, light tobacco .....
PACKAGE CONTINUES TO DANCE
FORWARD. OTHER PACKS APPEAR AND
DISAPPEAR BEHIND FRONT PACKAGE.
..... that makes a thoroughly enjoy-
able smoke.
TEN OR TWELVE PACKAGES FAN OUT
BEHIND ORIGINAL PACK. PACKAGES
FAN BACK AGAIN BEHIND ORIGINAL PACKAGE.
ANNOUNCER #1
So, smoke a Lucky to feel your level
best!
TWO CIGARETTES DANCE OUT THROUGH
FRONT OF PACKAGE WITHOUT BREAKING
OR DESTROYING PACKAGE. FIRST
CIGARETTE COMPLETES HALF-CIRCLE AND
STOPS AT RIGHT CENTER.
ANNOUNCER #2
Your level best! That's how you'll ....
SECOND CIGARETTE FOLLOWS MOVEMENT OF
FIRST CIGARETTE AND DISAPPEARS BEHIND
ORIGINAL CIGARETTE.
.... feel when you smoke a Lucky....
Because Luckies fine tobacco puts you
on the right level...the Lucky Level...
TWENTY CIGARETTES DANCE OUT FROM
BEHIND FIRST CIGARETTE, CIGARETTES
CIRCLE TO RIGHT.
....where you can feel your level best..
...do your level best!
CIGARETTES LEAP INTO THE AIR AND
COME DOWN AGAIN AS THEY CIRCLE.
CIGARETTES PASS INTO LEFT SIDE
OF PACKAGE AND EMERGE FROM RIGHT
SIDE WITHOUT BREAKING OR DESTROYING
PACKAGE.
ANNOUNCER #1
So, next time you buy cigarettes,
remember ...
CIGARETTES CIRCLE ROUND AND REPEAT
PREVIOUS MOVEMENT OF ENTERING LEFT
SIDE OF PACKAGE. SINGLE CIGARETTE
REMAINS STANDING IN CENTER SCREEN.
ANNOUNCER #2
Luckies fine tobacco picks you up when
you're low ... calms you down when you're
tense!
BOOK OF MATCHES FLIES IN. MATCH
COMES OUT OF BOOK, STRIKES ITSELF AND
LIGHTS CIGARETTE. CIGARETTE SMOKES.
BOOK OF MATCHES FLIES OFF SCREEN.
CUT TO.
MEDIUM SHOT. CIGARETTE TAKES OFF
AND FLIES TO UPPER LEFT-HAND SCREEN.
PAN UP WITH CIGARETTE.
ANNOUNCER #1
Smoke a Lucky to feel your level best!
MEDIUM SHOT. CIGARETTE LEAVES TRAIL
OF SMOKE AS IT MOVES ACROSS SCREEN
TO RIGHT.
Get a carton of Luckies and get started
right with ...
SMOKE TRAIL DISSOLVES QUICKLY INTO
LETTERING "LUCKY STRIKE."
Lucky Strike!
LUCKY STRIKE PACKAGE ZOOMS TO FULL
SCREEN. HOLD LETTERING "LUCKY STRIKE."
CURTAIN, FULL SCREEN.
BULLSEYE ON CENTER DROP.
SIDE CURTAINS PULL BACK AND DISAPPEAR.
CURTAIN CENTER DROP WITH LUCKY STRIKE
BULLSEYE RISES OUT FRAME.
REVEALING LEAF WITH LUCKY STRIKE
PACKAGE SUPERIMPOSED. PACKAGE SLIDES
DOWN LEAF AND WALKS TOWARD CAMERA.
ANNOUNCER #1
Smoke a Lucky to feel your level best!
Smoke a Lucky to feel your level best!
ANNOUNCER #2
Luckies' fine tobacco picks you up when
you're low ... calms you down when you're
tense.
DOLLY IN FOR CLOSEUP OF WALKING
PACKAGE.
It's important for you to know that fine
tobacco can do this for you.
DOLLY IN FOR VERY CLOSEUP SHOT OF
PACKAGE AS IT UNWRAPS. RED TAG
UNWINDS AND FLIES OFF. CELLOPHANE
PEELS OFF AND FLIES OUT OF FRAME.
LEAD FOIL OPENS, FORMS A BALL WHICH
JUMPS OFF PACKAGE AND ROLLS OFF-STAGE.
For as every smoker knows .........
DOLLY BACK FOR MEDIUM CLOSE SHOT AS
PACKAGE IS UNWRAPPING.
CIGARETTES FLY OUT OF PACKAGE TO SPELL
LETTERING SUPERIMPOSED ON LEAF IN
SYNC WITH ORAL. LETTERING FADES OUT.
ANNOUNCER #1
LS - MFT
LS - MFT
REPEAT LETTERING SEQUENCE.
LETTERING FREEZES.
Lucky Strike means fine tobacco.