(07:38-09:38) Scene 4:
Horton House (Tom, Alice, Mickey, Marie, Tony)
Intercut: Police
Station (Julie, Detective)
[Intercut: Horton House.
Pick up with a concerned TOM, still on the phone.]
TOM: What do you mean,
you’re holding my daughter, Julie?
[Intercut: Police Station.
The DETECTIVE is talking on the phone, with JULIE sitting in the
background.]
DETECTIVE: For
shoplifting, Dr. Horton. She and two other girls were picked up in Bartlett’s
Department Store.
[Intercut: Horton
House]
TOM: Shoplifting?
Julie?
[Intercut: Police
Station.]
DETECTIVE: That’s right.
I’d suggest you get down here just as soon as you can.
[Return to Horton
House.]
TOM: All right. I’ll be
down there in twenty minutes.
[TOM hangs up the phone.
MICKEY enters the study.]
MICKEY: What, the hospital
need you dad?
TOM: Oh, Mickey, close the
door.
[MICKEY closes the
door.]
MICKEY: What’s the
matter?
TOM: Julie’s in some kind
of trouble with the police.
MICKEY: The
police?
TOM: She and two other
girls are being held for shoplifting.
MICKEY: What?
TOM: I’ve got to get down
there right away, Mickey. I want you to come with me.
MICKEY: How about Ben and
Addie. Have the police notified them?
[TOM puts his coat
on.]
TOM: Apparently
not.
MICKEY: Well, why not?
They’re Julie’s parents. They should be the first ones to know.
TOM: Julie said that her
name was Julie Horton, not Olson.
MICKEY:
Horton?
TOM: The police think
she’s my daughter.
MICKEY: Why, that crazy
kid!
TOM: Julie’s
not crazy, Mickey, but she’s in some kind of serious trouble. Now the sooner we
get down there, the quicker we can straighten it out.
MICKEY: Aren’t you going
to tell mom?
TOM: No, I
don’t want to worry her. I’ll tell her it’s an emergency at the hospital. You
try to reach Ben and Addie while I talk to your mother.
[MICKEY starts
dialing the phone number, while TOM walks back into the living room, where
ALICE, with her pad of paper, is talking to MARIE.
TONY is looking at the photos on the mantle.]
ALICE: Now you will call
that photographer first thing in the morning?
MARIE: Oh,
yes.
ALICE: All
right. Now about the music. (Sees Tom). Oh, Tom. Do you think that we should
have an accordion player at the wedding reception or
a pianist?
TONY (cuts in): I’m
holding out for the Beatles.
MARIE: Or a jazz
combo.
TONY: But no folk singers.
I draw the line at that ‘Shoo fly baby, daddy’s in the cornfield.’ Not at my
wedding.
ALICE: Now, Tom, what do
you think?
TOM: Well anything Tony
and Marie want is okay with me. Look, I’ve got to go downtown.
ALICE: Oh. Oh, that call
was an emergency then.
TOM: Yes, in a
way.
[MICKEY
enters.]
MICKEY: Dad.
TOM: Mickey’s going to
drive me down.
ALICE: Oh.
[TOM and MICKEY walk into
the foyer.]
TOM (whispers): You reach
Ben and Addie?
MICKEY: No, their cook
says they’re out at some party…as usual.
TOM: Oh, well we’ll try
again when we get down there.
[TOM and MICKEY
exit.]
FADE OUT FOR COMMERCIAL
POSITION # 3
COMMERCIAL # 3
(1:00) UNION CARBIDE-GLAD WRAP (Spot # C103-GL/B-60 "Verge of Breakup"
(09:38-13:17) Scene 5
Horton Kitchen (Alice, Marie, Tony)
[The “Days”
theme plays in the background. TONY and MARIE are sitting at the kitchen table
with coffee. ALICE sits down with a plate of cookies.]
ALICE: That chill in the
air. This hot coffee’s going to taste good.
TONY: Thanks, Mrs.
Horton.
ALICE: How long are you
going to call me Mrs. Horton?
TONY: Oh, well what would
you like me to call you? I can’t call you mother because I’ve already had one
real mother.
MARIE: And Mrs. Horton is
entirely too formal for a future son-in-law.
TONY: Well what do your
other children call you, Mrs. Horton?
ALICE: Well, they’ve
called me “Mom” and “Mama” and “Mommy.” And… (Looks at Marie) They’ve even
called me “Hey.”
TONY (laughing):
Hey?
MARIE: Ben calls you
Alice.
ALICE: Oh, that’s right
Tony. Why not call me Alice?
TONY: Well, if it’s
okay.
ALICE: Of course. I’d like
it.
TONY: Okay, you’ve got a
deal, Alice.
[MARIE offers TONY a
cookie.]
TONY: Thanks…You know I
just remembered…I can’t remember calling my own mother anything but
mother.
MARIE: Never
mom?
TONY: Or mama. I guess she
just wasn’t the type.
ALICE: I remember her very
well. Your mother was a gentle lady, Tony.
TONY (nods in agreement):
Yes, she was.
ALICE: You must have
missed her a great deal.
TONY: I did in the
beginning, but, I was 14 when she died.
ALICE: Well, I must say
your father’s done a wonderful job of bringing you up all by
himself.
TONY: He’s a great
guy.
ALICE: Oh, I just happened
to think.
TONY: What?
ALICE: He’ll wear his
uniform at the wedding, right?
MARIE (laughs): Oh, mom,
you’re absolutey mad. You’ve got a one-track mind.
ALICE: All right. I admit
it. I’m square. But your wedding is the most important thing in my mind these
days. Should I pretend it’s not?
MARIE: Of course
not.
ALICE: And so I just
happened to think that Craig looked so marvelous in his uniform.
TONY: I’m sure he’ll wear
it for you.
MARIE: Do you know what?
She tried to con my nephew into being ringbearer.
ALICE: Well, of course, it
was a fine idea.
TONY: What, Stevie? What’d
he say?
MARIE: He just looked at
mom as though she’d lost her mind.
ALICE: Well, he said that
he would play his drums at the wedding.
TONY: Oh, that would be a
great innovation.
MARIE: A little martial,
don’t you think?
TONY: Oh, I don’t know.
That’s what a wedding day is, after all, D-Day.
MARIE: D-Day! Is that how
you think of our wedding?
TONY: Sure.
ALICE (stands
up): You know, this is really the first real wedding we’ve ever had in this
family. Addie and Ben got married in Washington right
after the war. And poor Dan* (*Note: The
character’s name was changed to Tommy after this)
married Kitty down at city hall, just before he was
shipped overseas. Of course your father and I could never afford anything but a
very simple ceremony.
MARIE (stands up, walks
over to Alice): Well, I think mom deserves a real wedding, don’t you
darling?
TONY:
Absolutely.
MARIE: Hey, mom, are you
going to cry just like in the movies?
ALICE: You bet your boots
I’m going to cry.
TONY (stands up and hugs
Marie): That’s all right. I’ll probably cry a little bit myself…for my long lost
lovely bachelor days.
MARIE: Like
Mickey?
TONY: Oh, lucky
Mickey.
MARIE: Tony!
TONY: I am joining the
Benedicts with tears in my eyes.
[TONY lifts MARIE onto the
sink.]
ALICE: Why don’t you two
go out and breathe some of that lovely autumn air?
TONY: I think your
mother’s trying to tell us to cool off.
MARIE: The house doesn’t
have to fall on me. I can take a hint. Come on.
TONY: Good night…Alice.
Thanks for the coffee.
ALICE: Good night,
Tony.
[MARIE and TONY
exit]
FADE OUT FOR COMMERCIAL
POSITION # 4
COMMERCIAL # 4
(1:00) AMERICAN CHICLE - CERTS (Spot # CE-17)
(13:17-18:33) Scene 6:
Horton House (Marie, Tony)
[TONY and MARIE walk
outside the Horton house.]
TONY: Your mother’s right.
It’s a great night.
[TONY takes a leaf off a
nearby tree and sniffs it.]
TONY: Smells like burning
leaves and pumpkin.
MARIE: And
bayberry?
TONY: I don’t smell any
bayberry.
MARIE: Oh, you’ll smell
bayberry in Boston.
TONY: Now, why’d you bring
that up? Boston?
MARIE: Because you’ll be
there in a couple of days.
TONY: Won’t be much fun
without you.
MARIE: Oh, you’ll have far
too much on your mind to miss me.
TONY: Hey, why don’t you
come with me?
MARIE: Oh, now Tony, we’ve
gone over that before. You know it’s better that you go alone for these
interviews.
TONY: But suppose, I mean
just suppose, that I can’t get that teaching fellowship.
MARIE: But you’ve got to
think optimistically. There’s no question at all in my mind but that you’re
going to get that fellowship.
TONY: See, that’s what
love does to a girl. You don’t leave room for doubt in your mind.
MARIE: I certainly don’t.
We can’t afford to.
TONY: For the first time
in my life, I wish a were a millionaire.
MARIE (hugs
Tony): Mmm, I don’t. I’m glad you’re you. Besides with my working and with your
fellowship we’ll have enough to live on and we’ll be
together, that’s what counts.
TONY (kisses Marie on the
nose): That’s my girl.
MARIE: Only…
TONY: Only
what?
MARIE: Well, sometimes I
think we’re plunging into this marriage too soon.
TONY: Too
soon?
[MARIE sits down on the
bench.]
MARIE: I mean
it doesn’t seem fair to you. Oh, maybe we should have waited until you’re really
settled in Boston with an apartment and that
fellowship and at peace with the world.
[TONY kneels down beside
her.]
TONY: Hey, how long do you
think I’m going to be at peace with the world, without you?
MARIE: Well, I
could come up to Boston later. Maybe even transfer to the university, after next
semester. We could have a quiet, little wedding in
Boston.
TONY: And rob your mother
of all that fun?
MARIE (laughing): She’d
understand.
TONY: Yeah,
but I won’t. Hey, you don’t seem to remember the Thanksgiving wedding was my
idea. I’m the guy who can’t wait. I’m the one who’s
pushing this thing and I’m doing it out of pure and simple self-interest. Don’t
you know how much I love you? Don’t you know how very
dear you are to me? I’m worse than your mother. I just can’t wait until the day
that I hear that…that wedding march play. Stevie’s
drums. I don’t care what kind of music they play. Just as long as I can kiss my
bride on my wedding day.
MARIE: Oh, Tony, you’re a
nut!
[MARIE kisses
TONY.]
TONY: All right, now let’s
get down to practical things like where are we going to live?
MARIE: Well, if you get
the fellowship…
TONY: If I get the
fellowship?
MARIE: When you get the
fellowship.
TONY: Better.
MARIE: We’ll
have a bit more money and we can look for a little apartment in Boston. And then
I can find part-time work until I finish my degree, I
can get it in the chemistry lab.
TONY: Well, we can get a
little houseboat on the Charles River.
MARIE: Do they have any to
rent up there?
TONY: Well I don’t know, I
was…Well, I don’t know, maybe that’s kind of a quaint idea.
MARIE: Wouldn’t it be
rather chilly in the winter?
TONY: Well, if it is,
we’ve got our love to keep us warm.
MARIE: Hey, doesn’t the
Charles freeze in the winter?
TONY: I don’t know. If it
does, we’ll just skate off to class just like Hans Brinker.
MARIE: Oh, Tony, I wish we
were there right now.
TONY: Hey, first things
first. I mean, first the wedding and then the honeymoon.
MARIE: You’re so
conventional.
TONY: Yeah,
well one of us better be. You wanton hussy! You know, do you realize that you
and I have the whole long wonderful lives ahead of
us? You realize that?
MARIE: Oh,
Tony.
[MARIE and TONY
kiss.]
FADE OUT FOR COMMERCIAL
POSITION # 5
COMMERCIAL # 5
(1:00) DOW CHEMICAL - OVEN CLEANER (Spot # D-650-62 "Heat
Wave")
(18:33-21:50) Scene 7:
Police Station (Tom, Mickey, Julie, Detective, Carol, Diane)
[TOM and
MICKEY have arrived. TOM is holding the fur that JULIE stole. The DETECTIVE
looks on. CAROL and DIANE are sitting in the background.]
TOM: I still can’t
understand why you’d want this.
JULIE: I don’t want it. I
didn’t even take it.
DETECTIVE: Miss Olson, you
were caught right in the act of taking it.
MICKEY: What I don’t
understand is why you didn’t give your right name.
JULIE: I am a Horton,
isn’t that right, grandpa?
TOM: No, Julie, your name
is Olson. I’m your grandfather, but not your father.
DETECTIVE: Have you been
able to get in touch with her parents yet?
MICKEY: No, they’re still
out but I left word at the house when we called down here, as soon as they
return.
DETECTIVE: Well, we’re
going to have to hold her, you know. I can’t let her go until we talk to
them.
MICKEY: May I arrange for
a temporary release? I’m an attorney.
DETECTIVE: I know you are,
Mr. Horton, but no, not in a juvenile case. We’ve got to talk to the
parents.
MICKEY: Yeah, that’s
right. Wouldn’t you just know that Ben would be out at a party at a time like
this.
JULIE: That’s why I didn’t
give my right name, Uncle Mickey. I knew they’d never be able to find
dad.
TOM: Your mother and
father haven’t run away. They’re just out for the evening. A perfectly normal
occurence.
JULIE (angry): They’re
always out!
TOM: Now,
let’s get back to you for a moment. What’s behind all this Julie? You have a fur
jacket at home that’s worth twice what this is. Why did you want to take this out of the
store?
JULIE: I didn’t take it! I
was just going to try it on.
DETECTIVE: You took it out
of a display case. You put it into that bag and you didn’t try it on.
JULIE: It was just a gag.
We were just horsing around. Diane and Carol dared me to take it.
DIANE: Julie!
CAROL: We did
not!
JULIE: Oh, sure you did!
You called me chicken and you dared me to take it.
DIANE: Julie Horton that’s
an out-and-out lie and you know it. It was your idea and not ours.
CAROL: That’s the truth,
and you better know it.
JULIE: Oh, go ahead, gang
up on me.
DIANE: Well, that’s what
you get for blaming it on us.
DETECTIVE: All
right, all right now. Your folks will be here in a few minutes. You just simmer
down. (To Julie) And as for you, I saw you take it,
so don’t try to blame everybody else.
JULIE: Grandpa, are you
going to let him talk to me like that?
TOM: Julie, this is a
police station, not your own living room.
JULIE: Well why is
everybody accusing me without even a trial or anything?
TOM: Trial?
MICKEY: Julie, get this
through your head. This detective saw you take the stole with his own
eyes.
JULIE: Well, what was he
doing? Following me?
DETECTIVE: No,
Miss Olson, I was not following you. There have been a lot of thefts in that
store over the past few weeks. I’ve been stationed
there for one solid week just watching for shoplifters like
you.
JULIE (starts
to break down): Well, what am I, some kind of a criminal? I’ll pay for the old
stole. It was just a joke. I wasn’t going to keep it.
DETECTIVE: Sure, sure,
sure. That’s what they all say.
JULIE: Why are
you all against me? Grandpa, Uncle Mickey, why don’t you do something? I’m not a
thief. It was just a joke. It was all in fun. I
wasn’t gonna keep that ratty old stole. It was just a gag, can’t you understand?
Or maybe you don’t wanna understand. Let’s all gang
up on Julie and watch her crawl. Well, I’m not gonna crawl! You can keep me down
here in this jail for years! I don’t care! Why should
I care? Nobody else cares! Nobody in the whole world!
TOM (shouts):
Julie!
Julie (screaming): Nobody!
That’s what I said, nobody!
[JULIE falls on the
detective’s desk, sobbing, as a concerned TOM and MICKEY look on.]
FADE OUT FOR COMMERCIAL
POSITION # 6
COMMERCIAL # 6
(1:00) S.C. JOHNSON - SHOE POLISH/BRAVO (Spot #
20-37/35-65W49-40)
(21:50-22:00) Closing Hour Glass, Theme,
Credits with ED PRENTISS voiceover: "Be sure to
join us for the next episode of 'Days of Our Lives'.
Stay tuned now for ‘The Doctors’ next on NBC.”
Fashions by: The Broadway,
California.
A CORDAY PRODUCTIONS
SCREEN GEMS PRESENTATION in association with
NBC.