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tioned with a Harvard accent, streamlined with the latest thing in tailoring and chromium-zippered brief cases. Those cases contained deadly "weepons," concealed weapons of the law, as terrifying as any derringer ever leveled at the marcelled gourd of a brave and comely Civil War hero.
Those oily shysters trying to prove that Mr. Deeds was insane gave that movie its initial hold on the audience but the suspense curve did not begin to climb in earnest until Mr. Deeds turned sphinx, his stony silence in the face of all the court's pleading, progressively convicting him.
The audience and the female Judas who sold Deed's love for a headline understood Deed's hurt silence, but the court was completely in the dark. That situational element, or why Deeds would not defend himself, heightened suspense.
Strange to say, The Late Christopher Bean was never billed as a mystery, yet complete withholding accounted for much of its grip.
To get hold of the suddenly valuable paintings discovered in the possession of their maid was the one desire possessing the doctor's whole family. To keep the doctor and his family from getting those paintings was the maid's.
Many in the audience may have assumed that the paintings belonged to the maid, or the doctor, but no one had definite knowledge or information on that point.
Neither a legal nor a moral right was clearly established until the play ended. In fact, ownership was as much a mystery to the maid and the old doctor as it was to the audience until the maid unwittingly produced the ring with which the artist had married her, establishing title to everything he had left. Up to that point neither ring, nor marriage, was even vaguely implied. The ring came as a complete surprise , the answer, the solution to who owned the paintings.
As long as ownership was left in question, as long as that wedding ring dangled unseen in the maid's bodice, the suspense curve stayed up. Leaving the ring there kept suspense up. To that factor add the doctor's divided sympathies: Nowr for the maid and
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