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FOR EDUCATIONAL PURPOSES ONLY
FADE IN
1. EXTERIOR - MONTAGE
Quick shots of a car speeding around curves in a mountainous
region. The car jumps a bridge, hurtles into space, crashes in a
fireball. Followed by newsboys hawking special editions, people on
streetcorners buying and reading newspapers with a succession of
banner headlines:
"MARTIN W. SEMPLE, FINANCIER, DIES IN ITALY,"
"CIVIC LEADER KILLED IN AUTO ACCIDENT,"
"DISCLOSURE OF BANKER'S WILL AWAITED" and finally
"SEMPLE HEIR AS YET UNKNOWN"
DISSOLVE TO:
2. INTERIOR - EDITOR'S OFFICE, DAILY MAIL
CLOSE SHOT
of Mac, the editor, at his desk, barking into the telephone.
MAC
Say listen, Corny, who do you think you're
talking to? If the Semple attorneys don't know
who the heir is, who does?
(listens)
Aw, come on, Corny. I've done you a lot of
favors. What do you say - who's getting the
Semple dough?
CUT TO:
3. INTERIOR - CEDAR'S PRIVATE OFFICE
CLOSE SHOT
Of Cornelius Cobb - a hardened ex-newspaperman, customarily
impatient, grouchy and nervous - victim of the New York tempo. His
friends call him "Corny."
COBB
(on the phone)
You're asking the wrong guy, Mac. I'm only a
press agent.
THE CAMERA PULLS BACK GRADUALLY TO REVEAL a plush law office,
leather chairs and shelves of books. Arthur Cedar, attorney,
briskly enters scene and seats himself at his desk. Cedar is in the
neighborhood of fifty - grey-templed - dignified - sharp. Cobb is
using the phone on his desk. Cedar glances at him.
CEDAR
Newspaperman?
COBB
(covering mouthpiece - confidentially)
Wants to know who the heir is.
CEDAR
(firmly)
Hang up.
COBB
(returning to the phone)
Sorry, Mac, I can't. Yeah, Mac. Sure, but I
ain't the attorney --
CEDAR
(more firmly)
Hang up.
THE CAMERA PULLS BACK FURTHER TO REVEAL another attorney at one end
of the desk, reviewing a pile of papers.
COBB
(continuing)
Mr. Cedar is, and I haven't seen him in two
days.
(hangs up the phone)
Listen, Cedar, we've got to do something about
the newspapers.
CEDAR
(barely glancing up)
I'm not interested in the newspapers.
COBB
But it's a great story. Somewhere in this
country a guy is walking into twenty million
bucks.
CEDAR
Yes, I know. My first concern is to locate the
lucky man. When I do, it's your job to keep the
newspapers away from him.
COBB
(resignedly)
It's okay with me as long as my weekly stipend
keeps coming in.
THE CAMERA PULLS BACK TO A FULL SHOT as two men rush in with a
flurry of excitement. One of them is Anderson, an obsequious employee
of Cedar's. With him is another lawyer, one of the Cedar brothers.
ANDERSON
We located him, Mr. Cedar! We found out where
he is.
CEDAR
Good!
FIRST BROTHER
Yes, John, we got him.
ANDERSON
Here's the report: Longfellow Deeds, single, 28,
lives in Mandrake Falls, Vermont.
CEDAR
(glancing at the report)
Thank heaven.
FIRST BROTHER
Better wire him right away, John.
CEDAR
I'll do no such thing. I'm going there myself.
You're going with me too, Anderson - and you
too, Cobb.
He pushes a button on the intercom.
VOICE
Yes?
CEDAR
Make three reservations on the first train out to
Mandrake Falls, Vermont.
VOICE
(skeptically)
Where?
CEDAR
Mandrake Falls.
(begins to spell as scene fades)
M-A-N--
CUT TO:
EXT. A STATION
4. MEDIUM SHOT
It is a pleasantly rural scene - with just a handful of local
characters scattered about. At one end of the platform - some mail -
newspapers - and a few pieces of freight are being loaded. Cedar,
Cobb and Anderson stand in front of a welcome sign. The three
obviously are out of their element here - obviously "City folks."
Over their shoulders. We hear Cobb's voice as he reads:
COBB'S VOICE
Welcome to Mandrake Falls
Where the scenery enthralls
Where no hardship e'er befalls
Welcome to Mandrake Falls
5. MEDIUM SHOT
Cobb and Cedar exchange glances.
COBB
That's pretty.
CEDAR
Are you sure this is the town he lives in?
ANDERSON
Yes sir, Mr. Cedar. This is the town all right.
CEDAR
Well, I dropped everything at the office - I hope
it's not a wild goose chase.
ANDERSON
No, sir. We checked it thoroughly. He lives here
all right.
COBB
Ah! I spy a native. Let's ask him.
CAMERA MOVES WITH THEM as they cross to a small, one-story old
brick building, covered with ivy. This is the ticket and freight
office combined. In front of it is a very old man, a stoop-
shouldered rail agent with a face of a million wrinkles - puttering
around some packages.
CEDAR
(as they approach)
Good morning.
AGENT
(glances up)
Morning, neighbors. Morning.
He picks up a package and disappears into the building. Cedar and
Cobb look at each other.
COBB
That's an excellent start. At least we've broken
the ice.
The old man returns to his pile of packages.
CEDAR
I say, my friend, do you know a fellow by the
name of Longfellow Deeds?
AGENT
Deeds?
CEDAR
Yes.
AGENT
Yes, sir. Yes, indeedy. Everyone knows Deeds.
CEDAR
Yes, I--
He again disappears.
COBB
Must be a game he's playing.
The old man shows up again.
CEDAR
We'd like to get in touch with him. It's very
important.
AGENT
Who's that?
CEDAR
Deeds! Who do you think I'm talking about?
AGENT
Oh, yes - Deeds. Fine fellow. Very democratic.
You won't have no trouble at all. Talk to
anybody.
Whereupon the old man carries another package inside. Cobb is properly
exasperated now.
CEDAR
I guess we'd better try somebody else.
COBB
No, we won't! The next time that jumping jack
comes out, I'll straddle him while you ask him
your questions.
The old man emerges from the building and looks up at them as if
he's never seen them before.
AGENT
Morning, neighbors.
6. TWO SHOT - COBB AND AGENT (FEATURING COBB)
Cobb grabs the old man as he turns to head back into the building.
COBB
Remember us? We're the fellows who were here a
minute ago.
AGENT
Oh, yes. Yes, indeedy. I never forget a face.
He turns again but Cobb holds him by the arm and sets him down on
a small packing case.
COBB
Listen, Pop, we've come all the way from New
York to look up a fellow by the name of Deeds.
It's important - very important!
AGENT
(releasing his arm)
You don't have to get rough, neighbor. All you
got to do is ask.
COBB
Then please pretend, for just one fleeting moment,
that I'm asking. Where does he reside?
AGENT
Who?
Cobb turns away in disgust. Anderson steps forward.
7. CLOSE SHOT - THE THREE
ANDERSON
Longfellow Deeds - where does he live?
AGENT
Oh, that's what you want! Well, why didn't you
say so in the first place instead of beating
around the bush? Those other fellows don't know
what they're talking about.
(as he exits scene)
Come on, I'll take you there in my car. If
they'd only explained to me what they wanted,
there would be no trouble.
He leaves Cobb and Cedar staring after him killingly.
DISSOLVE TO:
8. INT. LONGFELLOW'S LIVING ROOM
MEDIUM SHOT
A little old lady, Mrs. Meredith, answers a knock at the door.
Cedar, Cobb and Anderson stand there, with the old man at their
heels. Mrs. Meredith is a sweet, soft-voiced, timid and fluttery
little creature.
MRS. MEREDITH
Oh, will you come in please, gentlemen?
CEDAR
Is Mr. Deeds in?
MRS. MEREDITH
No - he's over to the park arranging for the
bazaar, so's to raise money for the fire engine.
(to old man)
Mal, you shoulda knowed he was in the park.
AGENT
Knew it all the time. But these men said they
wanted to see the house.
(mumbling as he exits)
Can't read their minds if they don't say what
they want.
9. GROUP SHOT
Cobb glares after him exasperatedly. Mrs Meredith turns to Cobb
and Cedar.
MRS. MEREDITH
Come in, please. Come in. Can I get you a cup
of tea?
CEDAR
No, thanks.
MRS. MEREDITH
Sit down. Sure I couldn't get you a glass of
lemonade or something?
CEDAR
That's very kind of you. Are you related to him?
MRS. MEREDITH
No, I'm his housekeeper.
CEDAR
Well, we'd like to find out something about him.
What does he do for a living?
MRS. MEREDITH
He and Jim Mason own the Tallow Works. But
that's not where he makes his money. He makes
most of it from his poetry.
10. CLOSE SHOT - THE THREE
Featuring Cobb.
COBB
(skeptically)
He writes poetry?
MRS. MEREDITH
Oh, my goodness, yes. Longfellow's famous. He
writes all those things on postcards. You know,
for Christmas - and Easter - and birthdays. Sit
down, please.
She reaches over to a desk and picks one up.
MRS. MEREDITH
Here's one - he got $25 for this one.
11. CLOSEUP - MRS. MEREDITH
As she reads - with feeling:
MRS. MEREDITH
"When you've nowhere to turn - and you're filled
with doubt
Don't stand in midstream, hesitating,
For you know that your mother's heart cries out -
'I'm waiting, my boy, I'm waiting.'"
(she looks up)
Isn't that beautiful?
12. CLOSEUP - COBB
His eyes open unbelievingly.
MRS. MEREDITH'S VOICE
Isn't it a lovely sentiment?
COBB
(flatly)
Yeah.
A dog enters, racing toward the door, scratching at it and whining.
MRS. MEREDITH
(as she heads toward the door)
Here he is now.
She opens the door and goes out, with the dog racing ahead.
COBB
(to Cedar - sotto voce)
I suggest you break it to him gently. He's liable
to keel over from the shock.
Mrs. Meredith re-appears. We hear her voice as she comes through
the doorway.
MRS. MEREDITH
They've been waiting a long while.
Longfellow Deeds trails behind her.
LONGFELLOW
Who are they?
MRS. MEREDITH
I don't know.
CEDAR
(standing - formally)
Mr. Longfellow Deeds?
LONGFELLOW
Yes.
CEDAR
How do you do.
LONGFELLOW
(shaking hands)
How do you do.
CEDAR
(extending card)
I'm John Cedar - of the New York firm of Cedar,
Cedar, Cedar and Budington.
13. CLOSE SHOT - GROUP
Featuring Cobb. He watches Longfellow who is glancing at the card.
LONGFELLOW
(reads to himself)
Cedar, Cedar, Cedar and Budington.
(looks up; smiles)
Budington must feel like an awful stranger,
hmm?
Cobb's eyes pop at the nifty.
CEDAR
Mr. Cornelius Cobb and Mr. Anderson.
They exchange greetings. Longfellow gestures to chairs.
LONGFELLOW
You gentlemen make yourselves comfortable.
COBB AND ANDERSON
Thanks.
14. MEDIUM SHOT
Longfellow crosses to his tuba near a chair. He takes a mouthpiece
out of his pocket.
LONGFELLOW
New mouthpiece. Been waiting two weeks for this.
Kids keep swiping them all the time. They use
'em for bean shooters.
(he blows a note)
What can I do for you gentlemen?
MRS. MEREDITH
You gentlemen going to stay for lunch?
CEDAR
(right to the point; ignoring her)
I'd like to ask you a few questions.
LONGFELLOW
All right.
Longfellow looks at them strangely and sits down beside his tuba.
CEDAR
Mr. Deeds, are you the son of Dr. Joseph and
Mary Deeds?
LONGFELLOW
Yes.
CEDAR
Are your parents living?
LONGFELLOW
Why, no.
CEDAR
Mr. Deeds, does the name of Martin W. Semple
mean anything to you?
LONGFELLOW
Not much. He's an uncle of mine, I think. I
never saw him, but my mother's name was Semple,
you know.
CEDAR
Well, he passed on. He was killed in a motor
accident in Italy.
LONGFELLOW
He was? Gee, that's too bad. If there's anything
I can do to--
While he speaks, he has been adjusting the tuba between his legs
and now sucks on the mouthpiece, preparatory to playing.
CEDAR
I have good news for you, sir. Mr. Semple left a
large fortune when he died. He left it all to
you, Mr. Deeds. Deducting the taxes, it amounts
to something in the neighborhood of $20,000,000.
15. CLOSEUP - LONGFELLOW
His lips are over the mouthpiece of the tuba. His only reaction to
the startling news is to lift his eyes in Cedar's direction.
16. GROUP SHOT
MRS. MEREDITH
How about lunch? Are the gentlemen going to
stay - or not?
LONGFELLOW
Of course they're going to stay.
(to the gentlemen)
She's got some fresh orange layer cake. You
know, with the thick stuff on the top?
(to Mrs. Meredith)
Sure, they don't want to go to the hotel.
Mrs. Meredith leaves. Cobb and Cedar have watched this by-play,
open-mouthed, and are now even more astounded to see Longfellow
blow into his tuba.
17. CLOSER SHOT - THE THREE
CEDAR
(over the noise of the tuba)
Perhaps you didn't hear what I said, Mr. Deeds!
The whole Semple fortune goes to you!
$20,000,000!
LONGFELLOW
Oh, yes, I heard you all right. $20,000,000.
That's quite a lot, isn't it?
COBB
Oh, it'll do in a pinch.
LONGFELLOW
(impressed)
Yes, indeed. I wonder why he left me all that
money? I don't need it.
He resumes his 'Oompahs.'
18. CLOSE SHOT - CEDAR AND COBB
Staring, unbelievingly.
DISSOLVE TO:
INT. AN ALCOVE
19. FULL SHOT
The three men sit around a table, having lunch. By Longfellow's
side is, as expected, the tuba.
CEDAR
Mr. Cobb here is an ex-newspaperman associated
with your uncle for many years - as a sort of
buffer.
LONGFELLOW
Buffer?
COBB
Yeah. A glorified doormat.
CEDAR
Yes, you see, rich people need someone to keep
the crowds away. The world's full of pests. Then
there's the newspapers to handle. One must know
when to seek publicity - and when to avoid it.
During Cedar's speech, Longfellow seems to have been lost in his
own thoughts.
20. CLOSE SHOT - LONGFELLOW AND COBB
Favoring Longfellow.
LONGFELLOW
Cedar, Cedar, Cedar and Budington. Funny, I
can't think of a rhyme for Budington.
COBB
Why should you?
LONGFELLOW
Well, whenever I run across a funny name, I
always like to poke around for a rhyme. Don't
you?
COBB
Nah.
LONGFELLOW
I've got one for Cobb--
21. CLOSE SHOT - THE GROUP
LONGFELLOW
"There once was a man named Cobb,
Who kept Semple away from the mob
Came the turn of the tide
And Semple - he died
And now poor Cobb's out of a job!"
COBB
Sounds like a two weeks' notice to me.
LONGFELLOW
Huh?
COBB
I've gotten the 'sackaroo' in many ways - but
never in rhyme.
LONGFELLOW
Oh, I don't mean that. I'm sure I'm going to
need your help.
COBB
Oh, that's different if it's just poetry.
22. WIDE ANGLE
As Mrs. Meredith enters with coffee which she pours.
CEDAR
Are you a married man, Mr. Deeds?
LONGFELLOW
Who - me? No.
MRS. MEREDITH
No, he's too fussy for that. That's what's the
matter with him. There are lots of nice girls
right here in Mandrake Falls who're dying to be
married--
LONGFELLOW
Don't pay any attention to her.
MRS. MEREDITH
He's got a lot of foolish notions about saving
a lady in distress.
LONGFELLOW
Now you keep out of this!
CEDAR
(diplomatically)
Saving a lady in distress, eh? Well, I suppose
we all have dreams like that when we are young.
(rising)
Incidentally, we'd better get started. You'll
have to pack.
LONGFELLOW
What for?
CEDAR
You're going to New York with us.
LONGFELLOW
When?
COBB
This afternoon - at four o'clock.
LONGFELLOW
I don't think we've got any suitcases.
MRS. MEREDITH
Well, we could borrow a couple from Mrs.
Simpson. You know, she went to Niagara Falls
last year.
LONGFELLOW
I'm kind of nervous. I've never been away from
Mandrake Falls in my life. Kind of like to see
Grant's Tomb, though.
CEDAR
(all business)
I can understand that.
(rises to go)
We'll take a walk around town, meet you at the
train at four o'clock.
(shakes his hand)
Congratulations, Mr. Deeds. You're one of the
richest men in the country. We'll see you later.
(to Mrs. Meredith)
Goodbye and thank you.
COBB
See you later, kid.
ANDERSON'S VOICE
(as he too exits)
Good day, sir.
They exit.
23. TWO SHOT - LONGFELLOW AND MRS. MEREDITH
LONGFELLOW
Hear what he said? You know how much twenty
million is?
MRS. MEREDITH
I don't care how much it is. You sit right there
and eat your lunch. You haven't touched a thing.
Longfellow nibbles at some food, staring into space thoughtfully.
DISSOLVE TO:
24. EXT. STATION
LONG SHOT
The whole town is out. The band is playing "He's a Jolly Good Fellow"
- the crowd sings. It's a festive occasion. A large, awkwardly painted
sign looms over everyone's head. It reads:
FAREWELL
LONGFELLOW DEEDS
THE PRIDE OF MANDRAKE FALLS
25. MEDIUM SHOT - CEDAR AND ANDERSON
They peer anxiously around, looking for someone, when Cobb dashes in.
COBB
(breathlessly)
I can't find him.
CEDAR
You can't?
COBB
I looked everywhere. I even went to his house.
It's locked up.
ANDERSON
He probably had a change of heart.
CEDAR
He wasn't very anxious to come in the first
place.
COBB
(looking on)
Here comes the train.
Cedar glances off.
26. LONG SHOT (STOCK)
Of train approaching.
27. CLOSE SHOT - CEDAR AND COBB
The band has already begun and is now in the midst of "For He's A
Jolly Good Fellow."
At this moment, as he looks off, a startled expression comes into
Cobb's eyes. He grabs Cedar by the arm - who glances in the direction
he points.
COBB
Look!
CEDAR
What?
COBB
That tuba player!
28. MEDIUM SHOT - THE BAND
With Longfellow, in his customary position, blowing on his tuba.
CONTINUATION SCENE 27
Cedar and Cobb stare, wide-eyed, as the song is finished.
COBB
Well, now I've seen everything.
DISSOLVE TO:
EXT. STATION
29. LONG SHOT
In the b.g. is the train with Longfellow standing on the observation
platform, clutching his tuba. On either side of him is Cedar and Cobb.
In the f.g. the crowd yells its farewell. Several of them stuff
baskets of fruit into his hands. The band plays "Auld Lang Syne."
30. CLOSE SHOT
Over Longfellow and Cobb's shoulders. As the train begins pulling out,
Longfellow smiles wanly and waves.
LONGFELLOW
Goodbye, Mrs. Meredith! Goodbye, Jim! Bye,
Buddy! Goodbye, everybody!
(a pause)
Gosh. I've got a lot of friends.
Cobb looks up into Longfellow's face - affected by the scene.
DISSOLVE TO:
INT. TRAIN DRAWING ROOM
31. FULL SHOT Longfellow is slumped in his seat, his legs sprawled out, his
eyes ceilingward - in deep thought. Cobb sits across from him. Cedar
enters, hangs up his coat, hat and cane.
COBB
(opening a snifter - generously)
Have a drink?
LONGFELLOW
(distractedly)
No, thanks.
Cobb and Cedar exchange a look.
CEDAR
Will you have a cigar?
LONGFELLOW
No, thank you.
Cedar sits down.
CEDAR
(breaking the silence)
I wouldn't worry if I were you. Of course, a
large fortune like this entails a great
responsibility - but you'll have a good deal of
help. So don't worry. Leave everything to me.
LONGFELLOW
Oh, I wasn't worried about that.
CEDAR
No?
LONGFELLOW
I was wondering where they're going to get
another tuba player for the band.
Cobb has just finished taking a drink and can't help but nearly spit
it out.
FADE OUT:
FADE IN
32. LONG SHOT (STOCK)
The 20th Century crossing the Harlem River.
DISSOLVE TO:
33. ANOTHER STOCK SHOT
Of the 20th Century going under the street level on Park Avenue.
DISSOLVE TO:
34. CLOSE SHOT OF OFFICE DOOR
Upon which we read: "CEDAR, CEDAR, CEDAR & BUDINGTON - ENTRANCE."
CAMERA PULLS BACK to take in Cedar, who opens the door and walks
through.
INT. GENERAL OFFICE
35. CLOSE TRUCKING SHOT
With Cedar as he strides across the room - in business-like fashion.
He comes to a door marked "PRIVATE OFFICES." He pushes this door
open and disappears.
MAN'S VOICE
(as Cedar passes by)
Hello, John. Where have you been?
CEDAR
(as he walks briskly)
I've been fishing.
In the background is typical office hub-bub.
CEDAR
(to a secretary as he passes)
Good morning, Celia.
SECRETARY
Good morning, Mr. Cedar.
A chorus of "Good Morning, Mr. Cedar!" issues from the clerks. A
secretary looks up.
INT. PRIVATE OFFICES
36. CLOSE TRUCKING SHOT
With Cedar - as he passes through the room - arriving at a door
marked "JOHN CEDAR, PRIVATE." He goes through the door.
INT. CEDAR'S PRIVATE OFFICES - ANTEROOM
37. FULL SHOT
Cedar breezes in and speaks to a secretary.
CEDAR
Good morning. Where are they?
SECRETARY
Waiting for you in the other office.
He strides across the room to still another door marked "PRIVATE" and
he disappears.
DISSOLVE TO:
INT. CEDAR'S PRIVATE OFFICE
38. FULL SHOT
A group of associates sit around in large leather chairs, as Cedar
barges in.
CEDAR
(beaming)
Good morning. Hello, boys.
The men come to life. Some rise - others lean forward. Two of them are
brothers of Cedar - tall and athletic. The third is a small, frightened-
looking man. He is Budington.
MEN
(ad-lib)
Hello, John.
What happened?
Well, what's he like?
CEDAR
We've got nothing to worry about. He's as naive
as a child.
BUDINGTON
John--
CEDAR
Close that door.
(into dictograph)
Will you get Mrs. Cedar on the phone, please?
FIRST BROTHER
Come on, John. What happened?
CEDAR
(to associates)
The smartest thing I ever did was to make that
trip.
BUDINGTON
(anxiously)
John, did you get the - uh--
39. MED. SHOT - GROUP
Favoring Cedar.
CEDAR
(interrupting)
No, Budington, I didn't get the Power of
Attorney. But don't worry, I will.
(beaming to his brothers)
I asked him last night what he was going to do
with the money, and what do you suppose he
said?
THE TWO BROTHERS
(gathering around him)
What?
I can't imagine.
CEDAR
He said he guessed he'd give it away.
THE TWO BROTHERS
(laughing)
Give it away!?
The boy must be a nit-wit!
Budington hasn't enjoyed the joke - his mind still on their problem.
ONE OF THE BROTHERS
Well, John, you had the right hunch!
BUDINGTON
John, if you don't mind my saying so - we can't
afford to--
CEDAR
(irascibly)
I know, Budington. We can't afford to have the
books investigated right now. You must have said
that a thousand times already.
BUDINGTON
But what if they fall into somebody else's hands,
why - uh--
CEDAR
Well, it hasn't happened yet - has it?
BUDINGTON
(wailing)
But a half million dollars! My goodness, where
are we going to get--
CEDAR
(exploding)
Will you stop worrying! It was I who got old
man Semple to turn everything over to us,
wasn't it? And who got the Power of Attorney
from him! All right, and I'll get it
again!
(pause - change of tone)
I'll take it easy. Those books'll never leave
this office.
DISSOLVE TO:
INT. AN APARTMENT
40. MEDIUM SHOT
George Semple, a ne'er-do-well, prominent for the pouches under his
eyes and a perpetual nose twitch, is sprawled out in a chair reading a
newspaper. A nagging wife walks around him.
WIFE
A yokel! Nothing but a yokel! Your uncle must
have been mad to leave all that money to him!
You're as closely related to him as he is, and
what did you get?
She storms around the room. George merely twitches his nose but says
nothing.
WIFE
(slaps the paper George is reading)
I say, what did you get?
GEORGE
Stop yelling. Can I help it if my uncle didn't
like me?
WIFE
I told you to be nice to him. Ten years we've
been waiting for that old man to kick off. And
then we were going to be on Easy Street. Yeah -
on Easy Street!
GEORGE
Oh, shut up! It's too late now, and you're a
nuisance!
WIFE
That's just what I'm going to be - a nuisance.
I'm going to be a nuisance until I get hold of
some of that money!
DISSOLVE TO:
INT. EDITOR'S OFFICE, DAILY MAIL
42. FULL SHOT
The editor stands in front of his desk. Four or five reporters in
front of him - several photographers. In the b.g., leaning against
the wall near the door, apparently indifferent, is Babe Bennett. The
editor, Mac, is haranguing them.
MAC
(as he blows his nose)
He's news! Every time he blows his nose, it's
news. A cornfed bohunk like that falling into
the Semple fortune is hot copy... But it's got
to be personal. It's got to have an angle. What
does he think about? How does it feel to be a
millionaire! Is he going to get married! What
does he think of New York! Is he smart? Is he
dumb? ... A million angles!
42. CLOSE SHOT - BABE
She has a string in her hand which she keeps flicking, trying to get
a knot into it - in the manner of cowboys with a rope. Mac's voice
continues over scene:
43. MEDIUM SHOT
Of them all, as Mac continues:
MAC
He's been here three days, and what have you
numbskulls brought in! Any halfwit novice could
have done better!
REPORTER'S VOICE
Yeah, we tried too--
MAC
Am I talking too loud? Or annoying anybody?
REPORTER
You know Corny Cobb. He's keeping him under
lock and key.
MAC
Cobb, Cobb! Never mind about Cobb. Use what
little brains you've got! Find out something
yourselves, you imbecilic stupes! Now get out
of here before I really tell you what I think
of you. Come on, get out!
They scramble to their feet. One of the reporters mumbles something
as he passes Mac on the way to the door.
REPORTER
(Mumbles.)
MAC
(alert)
What was that?
REPORTER
(thinking fast - covering up)
Huh? I said you had dirty plaster.
44. MED. CLOSE SHOT AT DOOR
As Babe is still flicking her string, trying to get a knot. The
reporters file past her on their way out. Just as the last one is
approaching, she succeeds in doing the trick.
45. MEDIUM SHOT
As Mac turns to Babe.
MAC
You too! Thought I could depend on you, but
you're getting as bad as the rest of them.
He grabs up a handful of papers and starts out.
BABE
(flicking the string)
Look, I can do it!
MAC
What's gotten into you, Babe? I remember the
time when you'd blast this town wide open
before you'd let Cobb get away with a thing
like this.
46. CLOSE TWO SHOT
BABE
Oh, he's not getting away with anything.
MAC
(excited)
Listen, Babe - get me some stuff on this guy,
and you can have--
BABE
Can I have a month's vacation?
MAC
With pay!
BABE
With pay!
MAC
Uh-huh.
BABE
(casually, as she starts away)
Leave four columns open on the front page
tomorrow.
47. MEDIUM SHOT
As Babe crosses to door.
MAC
Now you're talking, Babe. I'll keep the whole
front page open. What are you going to do?
BABE
(at door)
Have lunch.
She exits. Mac's face lights up happily.
DISSOLVE TO:
EXT. RESIDENCE
48. LONG SHOT
Of a large, imposing-looking residence.
INT. LONGFELLOW'S BEDROOM
49. MEDIUM SHOT
Longfellow stands awkwardly between two tailors who chalk and pin a
suit on him. After a few seconds of silence:
LONGFELLOW
It's the first time I ever had a suit made on
purpose.
The tailors smile accommodatingly as CAMERA PULLS BACK and we discover
that both Cedar and Cobb are present. Cobb is slumped in a chair, and
Cedar is carefully putting some papers away in a portfolio.
CEDAR
It's merely a suggestion. I don't wish to press
the point, Mr. Deeds, but if you'll give me
your Power of Attorney we'll take care of
everything. It'll save you a lot of petty
annoyances. Every shark in town will be trying
to sell you something.
LONGFELLOW
Oh, yes, there've been a lot of them around
here already. Strangest kind of people.
Salesmen - politicians - moochers - all want
something. I haven't had a minute to myself.
Haven't seen Grant's Tomb yet.
CEDAR
Well, you see, your uncle didn't bother with
that sort of thing. He left everything to us.
He traveled most of the time, and enjoyed
himself. You should do the same thing, Mr.
Deeds.
LONGFELLOW
Besides wanting to be my lawyer, you also want
to handle my investments too?
CEDAR
Yes. That is to say--
LONGFELLOW
Well, outside of your regular fee, how much
extra will it cost?
CEDAR
(too quickly)
Oh - nothing. No extra charge.
LONGFELLOW
That involves a lot of extra work, doesn't it?
CEDAR
(generously)
Yes, but that's an added service a firm like
Cedar, Cedar, Cedar and Budington usually
donates.
LONGFELLOW
Budington. Funny, I can't think of a rhyme for
Budington yet.
50. WIDER ANGLE
As a butler stands in the doorway.
BUTLER
The gentlemen from the opera are still waiting
in the board room, sir. They're getting a
trifle impatient, sir.
LONGFELLOW
They are? I forgot all about them.
(to Cedar)
What do you think they want?
CEDAR
Well, your uncle was Chairman of the Board of
Directors. They probably expect you to carry
on.
COBB
(rising)
I'll tell those mugs to keep their shirts on,
that you'll be right down.
LONGFELLOW
Thanks.
(suddenly)
Oh, did you send that telegram to Jim Mason?
COBB
Jim Mason? Oh, yeah. Yeah. No, I didn't send it.
I've got it written out, though. Here it is.
(reaches into his pocket and reads)
"Arthur's been with the Tallow Works too long.
STOP. Don't think we should fire him.
Longfellow."
LONGFELLOW
Fine. Send it right away. I don't want him to
fire Arthur.
COBB
Oh, sure. Sure. We don't want to fire Arthur.
LONGFELLOW
He was the last baby my father delivered,
Arthur was.
CEDAR
I think you ought to give this matter some
thought, Mr. Deeds.
LONGFELLOW
Huh?
CEDAR
I mean, about the Power of Attorney.
LONGFELLOW
Oh, yes. Yes, I will.
Cobb has stalled long enough to hear Longfellow's decision before
he goes out of the room.
LONGFELLOW
I'll give it a lot of thought. There was a
fellow named Winslow here a little while ago,
wanted to handle my affairs for nothing too.
It puzzles me why these people all want to work
for nothing. It isn't natural. So I guess I'd
better think about it some more.
51. MEDIUM SHOT
Longfellow, Cedar and the two tailors.
TAILOR
That's that.
LONGFELLOW
You go to an awful lot of work to keep a fellow
warm, don't you?
TAILOR
Yes, sir.
A butler enters again.
BUTLER
A Mr. Hallor to see you, sir.
CEDAR
(quickly)
Did you say Hallor?
BUTLER
Yes, sir.
CEDAR
Well, don't let him in.
LONGFELLOW
Why not? Who is he?
CEDAR
A lawyer representing some woman with a claim
against the estate.
(to butler)
Tell him to see me at the office.
LONGFELLOW
Well, if he has a claim, we'd better see him.
(to butler)
Send him in.
The butler disappears.
CEDAR
He's capable of causing you a lot of trouble,
Mr. Deeds.
LONGFELLOW
How can he make any trouble for me? I haven't
done anything.
The butler reappears, followed by Hallor. The minute he appears,
Cedar speaks up belligerently.
CEDAR
I thought I told you to take up this matter
with me, Hallor.
52. MED. CLOSE GROUP SHOT
HALLOR
I'm a little tired of being pushed around by
you, Mr. Cedar - I don't care how important
you are.
(to Longfellow)
Mr. Deeds, I represent Mrs. Semple.
LONGFELLOW
(eyebrows raised)
Mrs. Semple?
HALLOR
Yes. Your uncle's common-law wife. She has a
legal claim on the estate.
CEDAR
We'll let the courts decide what her legal
position is.
HALLOR
You wouldn't dare go into court with a case
like this - and you know it!
He turns to Longfellow, who has listened to them studyingly.
HALLOR
I leave it to you. Mr. Deeds. Can you conceive
of any court not being in sympathy with any
woman who gave up the best years of her life
for an old man like your uncle?
LONGFELLOW
What kind of wife did you say she was?
HALLOR
Common-law wife. On top of that, there's a
child.
LONGFELLOW
A child? My uncle's?
HALLOR
Yes, sir.
LONGFELLOW
That's awful. The poor woman should be taken
care of immediately.
HALLOR
(pleased)
I'm glad to see you're willing to be reasonable,
Mr. Deeds.
LONGFELLOW
If she was his wife, she should have all the
money. That's only fair. I don't want a penny
of it.
He yanks his trousers off and hands them to the tailor.
CEDAR
Don't make any rash promises--
As the tailors exit, Cobb returns.
COBB
You'd better get right down there. That opera
mob is about to break into the Mad Song from
"Lucia."
LONGFELLOW
(to Hallor)
Oh, I don't want to keep them waiting any longer.
They're important people.
(to Cobb)
I wish you'd go along with me, Cobb. They're
all strangers to me.
HALLOR
Well, what about it, Mr. Deeds?
LONGFELLOW
(getting into robe - to Hallor)
You'll excuse me, won't you? I'll be right back.
He exits with Cobb.
INT. CORRIDOR
53. MED. TRUCKING SHOT
As Longfellow and Cobb come out and start down corridor.
LONGFELLOW
Gee, I'm busy. Did the opera people always come
here for their meetings?
COBB
Uh-huh.
LONGFELLOW
That's funny. Why is that?
COBB
(wisely)
Why do mice go where there's cheese?
INT. BOARD ROOM
54. FULL SHOT
A group of eight distinguished-looking men sit around a long table,
awaiting Longfellow's arrival. At the head of the table is a Mr.
Douglas.
DOUGLAS
From what I'm led to believe, the young man's
quite childish. I don't think we'll have any
difficulty in getting him to put up the entire
amount. After all, it's only a matter of
$180,000.
CHORUS OF VOICES
A drop in the bucket for him.
An excellent idea!
Why not? ...
DOUGLAS
(slyly)
You know, gentlemen, we're really very fortunate
the young man is so sympathetic toward music.
(winking)
He plays the tuba in the town band.
MAN
(who has been watching at door)
Here he comes.
DOUGLAS
Good.
There is a shuffle of preparation.
DISSOLVE TO:
INT. DIRECTOR'S ROOM
55. SAME SCENE
With Longfellow and Cobb present. Longfellow looks around, completely
awed.
DOUGLAS
Now, gentlemen, the first order of business
will be the election of a new Chairman of the
Board.
A MAN
(rising)
As a sentimental gesture toward the best friend
opera ever had, the late Mr. Semple, I think it
only fitting that his nephew, Mr. Longfellow
Deeds, should be made our next Chairman. I
therefore nominate him.
A VOICE
Second.
DOUGLAS
All those in favor ...
EVERYBODY
Aye.
DOUGLAS
Carried.
(rises)
My congratulations, Mr. Deeds.
56. CLOSER SHOT
Featuring Longfellow.
LONGFELLOW
(self-consciously)
I'm Chairman?
DOUGLAS
(humoring a child)
Oh yes, of course - you've just been elected.
LONGFELLOW
(to Cobb)
I'm Chairman.
COBB
(dryly)
Happy voyage.
DOUGLAS
Right here. Mr. Deeds.
57. WIDER ANGLE
As Longfellow is led to the president's chair. Douglas sits next
to him.
DOUGLAS
Now, the next order of business is the reading
of the Secretary's minutes ...
A VOICE
Move we dispense with it.
ANOTHER VOICE
Second.
DOUGLAS
All in favor?
CHORUS OF VOICES
Aye!
Longfellow looks his surprise.
DOUGLAS
I think they can be dispensed with. We're ready
now for the reading of the Treasurer's report.
A VOICE
Move we dispense with it.
ANOTHER VOICE
Second.
DOUGLAS
All in favor?
CHORUS OF VOICES
Aye!
DOUGLAS
Quite right! Now, gentlemen, the next business
will be--
58. MED. CLOSE SHOT
Featuring Longfellow, as he interrupts:
LONGFELLOW
Wait a minute. What does the Chairman do?
DOUGLAS
Why, the Chairman presides at the meetings.
LONGFELLOW
That's what I thought. If you don't mind, I'm
rather interested in the Treasurer's report.
I'd like to hear it.
There is an uncomfortable shuffle. For a few minutes, no one speaks.
From the rear, a tall man rises.
59. CLOSE SHOT
Featuring treasurer.
TREASURER
The treasurer reports a deficit of $180,000 for
the current year.
60. CLOSE SHOT - LONGFELLOW
He is stunned.
LONGFELLOW
A deficit! You mean we've lost that much?
61. WIDER ANGLE
To include all at table.
DOUGLAS
You see, Mr. Deeds, the opera is not conducted
for profit.
LONGFELLOW
It isn't? What is it conducted for?
DOUGLAS
Why, it's an artistic institution--
LONGFELLOW
We own an opera house, don't we?
A VOICE
We do.
LONGFELLOW
And we give shows?
DOUGLAS
We provide opera.
LONGFELLOW
But you charge. I mean, you sell tickets?
VOICE
Of course.
LONGFELLOW
And it doesn't pay?
62. MED. CLOSE SHOT
Featuring Douglas and Longfellow.
DOUGLAS
That's impossible. The opera has never paid.
LONGFELLOW
(conclusively)
Well, then, we must give the wrong kind of
shows.
Cobb smiles. The directors are stumped.
DOUGLAS
The wrong kind! There isn't any wrong or right
kind. Opera is opera!
LONGFELLOW
I guess it is. But I personally wouldn't care to
be head of a business that kept losing money.
That wouldn't be common sense. Incidentally,
where is the $180,000 coming from?
DOUGLAS
Well, we were rather expecting it to come from
you.
LONGFELLOW
Me?!
DOUGLAS
Naturally.
LONGFELLOW
Excuse me, gentlemen, there's nothing natural
about that.
He is suddenly startled. His ears prick up.
63. SHOT OF DIRECTORS
They all stare at Longfellow. Over scene comes the low wailing cry of
a siren, which increases in volume as it gets closer to the building.
64. MEDIUM SHOT
Longfellow jumps up.
LONGFELLOW
Hey, a fire engine!
He rushes to the window and peers out. The others stare unbelievably.
The shriek of the siren finally dies down. Longfellow turns back.
LONGFELLOW
(admiringly)
Gee, that was a pip!
(as he goes back to his seat)
We expect we're going to have one like that in
Mandrake Falls pretty soon - with a siren, too.
There is a pause while he gets seated.
LONGFELLOW
Now, where were we?
65. MED. CLOSE SHOT AT TABLE
DOUGLAS
You see, Mr. Deeds, the opera is not conducted
like any ordinary business.
LONGFELLOW
Why not?
DOUGLAS
Because it just isn't a business, that's all!
LONGFELLOW
Well, maybe it isn't to you, but it certainly is
a business to me, if I have to make up a loss of
$180,000. If it's losing that much money, there
must be something wrong. Maybe you charge too
much. Maybe you're selling bad merchandise. Maybe
lots of things. I don't know. You see, I expect
to do a lot of good with that money. And I can't
afford to put it into anything that I don't look
into. That's my decision for the time being,
gentlemen. Goodbye, and thank you for making me
Chairman.
66. MED. SHOT - DIFFERENT ANGLE
He exits, followed by Cobb, whose eyes shriek his admiration. The
directors watch them leave, flabbergasted. Cobb's head reappears in
the doorway.
COBB
Gentlemen, you'll find the smelling salts in
the medicine chest.
He disappears. The Board of Directors stare in dumb stupefaction at
the door.
WIPE OFF TO:
INT. LONGFELLOW'S BEDROOM
67. MED. SHOT
As Longfellow enters. Hallor and Cedar rise.
LONGFELLOW
Sorry to keep you waiting so long. Those opera
people are funny. They wanted me to put up
$180,000.
HALLOR
What about it, Mr. Deeds?
LONGFELLOW
Why, I turned them down, naturally.
HALLOR
No, I mean about my client.
LONGFELLOW
Oh - we'll have to do something about the
common wife.
Longfellow's valet, Walter, enters and holds up a full dress suit.
WALTER
Tails tonight, sir?
LONGFELLOW
What - tails?
(turns and sees it)
Why, that's a monkey suit! Do you want people
to laugh at me? I never wore one of those things
in my life.
WALTER
Yes, sir.
The tailors are leaving.
TAILOR
(shaking hands with Longfellow)
Goodbye, and thank you sir.
LONGFELLOW
Goodbye.
(turning to the others)
Wants me to wear a monkey suit.
Cedar and Hallor smile accommodatingly. Walter hands him a pair of
trousers.
68. CLOSER SHOT OF GROUP
As Longfellow starts getting into the trousers.
HALLOR
Of course, we don't want to appear greedy, Mr.
Deeds.
LONGFELLOW
Huh?
HALLOR
I say we don't want to appear greedy.
LONGFELLOW
Oh. That.
Walter has gotten down on his knees and holds the ends of the pants.
LONGFELLOW
What do you think you're doing?
WALTER
Why, I'm assisting you, sir.
LONGFELLOW
Get up from there. I don't want anybody holding
the ends of my pants. Get up from there!
WALTER
(rising)
Yes, sir.
LONGFELLOW
(to others)
Imagine that - holding the ends of my pants!
Hallor smiles feebly - his impatience growing.
HALLOR
Mrs. Semple is entitled by law to one-third of
the estate.
LONGFELLOW
(to Walter)
And don't ever get down on your knees again,
understand?
WALTER
No, sir.
LONGFELLOW
(to Hallor)
Excuse me. What did you say?
HALLOR
Mrs. Semple is entitled to one-third of the
estate.
LONGFELLOW
One-third? That's about $7,000,000, isn't it?
HALLOR
(quietly)
Well, we didn't expect that much. I'm sure I
can get her to settle quietly for one million.
CEDAR
If there's any talk of settlement, Hallor, take
it up with me at the office.
HALLOR
I'll do no such thing--
LONGFELLOW
That's right. Don't you go to his office.
There's only one place you're going, and that's
out the door.
Hallor looks up, surprised.
HALLOR
You're making a mistake, Mr. Deeds.
LONGFELLOW
Oh no. I'm not. I don't like your face.
Besides, there's something fishy about a person
who would settle for a million dollars when they
can get seven million. I'm surprised that Mr.
Cedar, who's supposed to be a smart man,
couldn't see through that.
HALLOR
Now wait a minute, buddy.
69. MED. SHOT
Longfellow crosses to bell cord and pulls it.
LONGFELLOW
There's one nice thing about being rich - you
ring a bell and things happen. When the servant
comes in, Mr. Hallor, I'm going to ask him to
show you to the door. Many people don't know
where it is.
HALLOR
No use in getting tough. That'll get you nowhere,
Mr. Deeds.
(strongly)
You know, we've got letters.
As a butler enters, Longfellow turns to him.
LONGFELLOW
Will you show Mr. Hallor to the front door?
BUTLER
Yes, sir.
70. CLOSE SHOT AT DOOR
As Hallor gets to it. Longfellow grabs him by the shirt front and half
lifts him off the floor.
LONGFELLOW
And listen, there isn't any wife - there aren't
any letters - and I think you're a crook. So you
better watch your step.
He shoves Hallor violently and he stumbles out of scene. Cobb enters
to Longfellow, his hand extended.
COBB
I can't hold out on you any longer. Lamb bites
wolf.
(shakes his head)
Beautiful.
LONGFELLOW
Only common sense.
71. MED. SHOT
Cedar has been most uncomfortable through the scene, but now suavely
assumes an admiring attitude.
CEDAR
(a forced smile)
I can't hold out any longer either, Mr. Deeds.
(holds out his hand)
Being an attorney for you will be a very simple
affair.
LONGFELLOW
You're not my attorney yet, Mr. Cedar. Not till
I find out what's on your mind. Suppose you get
the books straightened out quick so I can have
a look at them.
CEDAR
Yes, of course, if you wish. But you must be
prepared. This sort of thing will be daily
routine.
(picks up his hat)
If it becomes annoying, you let me know. Goodbye,
Mr. Deeds. Goodbye, sir.
Longfellow shakes his hand. Cedar exits. Longfellow stares after him
disgustedly, wiping his hands with his handkerchief.
LONGFELLOW
Even his hands are oily.
Walter has entered and holds up a coat for Longfellow.
COBB
Well, how about tonight? What would you like in
the way of entertainment?
LONGFELLOW
Entertainment?
72. CLOSE TWO SHOT
COBB
Your uncle had a weakness for dark ones, tall
and stately. How would you like yours? Dark or
fair, tall or short, fat or thin, tough or
tender?
LONGFELLOW
What're you talking about?
COBB
Women! Ever heard of 'em? Name your poison and
I'll supply it.
LONGFELLOW
Some other time, Cobb. Some other time.
COBB
Okay, you're the boss.
(as he goes)
When your blood begins to boil, yell out. I'll
be seeing you!
73. MED. SHOT
As Cobb exits. Longfellow turns to Walter, the valet.
LONGFELLOW
He talks about women as if they were cattle.
WALTER
Every man to his taste, sir.
LONGFELLOW
Tell me, Walter, are all those stories I hear
about my uncle true?
WALTER
Well, sir, he sometimes had as many as twenty
in the house at the same time.
LONGFELLOW
Twenty! What did he do with them?
WALTER
That was something I was never able to find
out, sir.
WIPE OFF TO:
EXT. CORRIDOR
74. MED. SHOT
Longfellow, exiting his bedroom, wearing a coat and hat. He comes to
the top of a grand staircase, looks around slyly and sees that no one
is watching. He slides down the bannister and touches the statue at
the bottom for good luck.
He starts for the door. When he gets there he finds his way barred by
two husky-looking mugs. He looks up surprised.
FIRST BODYGUARD
Hey, you going out?
LONGFELLOW
Why, yes. Isn't that all right?
2ND BODYGUARD
No. Don't ever want to go out without telling
us.
LONGFELLOW
Who are you?
BODYGUARDS
We're your bodyguards.
LONGFELLOW
Oh, yeah.
2ND BODYGUARD
Yeah, Mr. Cobb said stick to your tail no
matter what.
LONGFELLOW
That's very nice of Mr. Cobb - but I don't want
anybody sticking to my tail no matter what.
FIRST BODYGUARD
Sorry, mister. Orders is orders.
LONGFELLOW
Is that so?
2ND BODYGUARD
Yes, sir. We gotta get you up in the morning
and we gotta put you to bed at night.
FIRST BODYGUARD
Only it's all right. No matter what we see -
we don't see nuttin', see?
LONGFELLOW
(smiling)
That's going to be fun.
2ND BODYGUARD
Some people like it.
Longfellow glances around the room thoughtfully, then continues:
LONGFELLOW
Uh, will you do something for me before we go
out?
FIRST BODYGUARD
Sure!
The first bodyguard eagerly takes out a pistol. The second bodyguard
slaps it away.
2ND BODYGUARD
(to first bodyguard)
Put that away, slug!
(to Longfellow)
At your service!
LONGFELLOW
I got a trunk in that room. Will you get it
out for me?
2ND BODYGUARD
Certainly.
FIRST BODYGUARD
With pleasure.
The two bodyguards accommodatingly enter a closet. The moment they are
gone, Longfellow closes the door calmly and turns the key.
BODYGUARDS
(ad-lib)
Hey, hey! We're your bodyguards. You can't do
this!
Longfellow whistles as he exits.
DISSOLVE TO:
EXT. FRONT OF HOUSE
75. MED. CLOSE SHOT
Longfellow comes out, glances over the horizon. The air is filled
with a slight drizzle and he sighs happily.
CUT TO:
INT. TAXI CAB
76. CLOSE SHOT
Babe and two photographers, Bob and Frank, are huddled conspiratorially
in the back seat of a taxi cab.
BABE
(pointing)
There he is. Yep, that's him.
BOB
That's who?
BABE
Get the cameras ready and follow me.
FRANK
What are you going to do?
BABE
Never mind. Follow me and grab whatever you can
get.
BOB
I suppose it's going to be the same old thing.
FRANK
I tell you that dame's nuts.
BOB
Right.
CUT TO:
EXT. FRONT OF HOUSE
77. MED. CLOSE SHOT
Longfellow is exiting front gate.
78. MED. SHOT
From his angle. Out of the shadows a girl comes into view and staggers
forward. She reaches a tree and clutches it weakly. Then her strength
failing, she crumples to the ground.
79. MED. CLOSE SHOT
Longfellow's eyes widen in apprehension as he starts forward -
CAMERA FOLLOWING HIM. He reaches the girl and bending down, lifts
her head. We see it is Babe Bennett. Her eyes are closed, apparently
in a dead faint.
80. CLOSE SHOT - LONGFELLOW AND BABE - LOW ANGLE
Longfellow studies her face for a moment, then starts to lift her.
As he does so, her eyes open and she looks up at him, feigning
bewilderment.
LONGFELLOW
You fainted.
BABE
(feebly)
Oh, did I? I'm sorry...
She struggles to get to her feet.
81. WIDER ANGLE
Longfellow tries to assist her.
LONGFELLOW
Can I help you?
BABE
No, thank you. I'll be all right.
LONGFELLOW
Look, this is my house. I'd like to--
BABE
Oh, no, really - I'll be all right.
LONGFELLOW
What happened?
BABE
Well, I guess I walked too much. I've been
looking for a job all day. I found one, too.
I start tomorrow.
(backing away)
You've been awfully kind. Thank you very much.
As she leaves him, Longfellow watches her, full of sympathy. She
takes a few steps and, again feigning weakness, falls against the
iron fence, clutching it. Longfellow rushes to her assistance.
82. CLOSE TWO SHOT
LONGFELLOW
(looking around)
Hey, taxi!
CUT TO:
INT. TAXI CAB
83. CLOSE SHOT
BOB
(to driver)
Hey, stupe! Follow that cab they just got into,
will you? Hurry up! Step on it!
FRANK
Come on, come on!
BOB
Hurry up!
DISSOLVE TO:
INSERT: AN ELECTRIC SIGN:
"TULLIO'S -- EAT WITH THE LITERATI"
DISSOLVE TO:
INT. TULLIO'S
84. MED. CLOSE SHOT
A corner table, surrounded by ferns, at which Longfellow and Babe sit.
She's still eating.
LONGFELLOW
Feel better now?
BABE
Mmm, it tastes so good. Mr. Deeds, I don't know
how I can ever thank you.
LONGFELLOW
Tell me more about yourself.
BABE
Well, I guess I've told you almost everything
there is to tell. My folks live in a small town
near Hartford. I'm down here alone trying to
make a living.
(hanging her head)
Oh, I'm really just a nobody.
Longfellow spots a strolling violinist. He furtively beckons the
fellow over. The musician leans into them with romantic strains.
BABE
(as the musician finishes and strolls away)
Oh, that was so lovely. Thank you.
LONGFELLOW
You were a lady in distress, weren't you?
BABE
(looks up)
What?
LONGFELLOW
Oh - uh - nothing.
85. WIDER ANGLE
As a waiter enters the scene and begins removing dishes.
LONGFELLOW
Waiter! Has anybody come in yet?
WAITER
Huh? Oh, no. Nobody important.
LONGFELLOW
Be sure and point 'em out to me, won't you?
WAITER
Uh-huh.
LONGFELLOW
I'm a writer myself, you know.
The waiter throws Longfellow a sidelong glance of complete boredom.
WAITER
Uh-huh.
LONGFELLOW
I write poetry.
WAITER
Uh-huh.
He exits.
86. CLOSE TWO SHOT - BABE AND LONGFELLOW
BABE
You've been having quite an exciting time here,
haven't you? All those meetings and business
deals and society people - haven't you been
having fun?
LONGFELLOW
No. That is, I didn't --
(pause - while he looks at her)
Until I met you. I like talking to you, though--
(moodily)
Imagine my finding you right on my doorstep.
87. WIDER ANGLE
The waiter enters again.
WAITER
Brookfield just came in.
LONGFELLOW
Oh, the poet? Where?
WAITER
Over at that big round table. The one that
looks like a poodle.
Longfellow stares off scene - his eyes full of worship.
LONGFELLOW
(to Babe)
Look - there's Brookfield, the poet.
BABE
(looks also)
Really?
88. MED. SHOT
From their angle, to show people at a table, engaged in conversation.
89. MED. CLOSE SHOT
At Longfellow's table. He stares off at them, awed. Babe watches his
face.
90. MED. SHOT - AUTHOR'S TABLE
A group of five men, drinking - as the waiter enters.
WAITER
(confidentially - indicating Longfellow)
Pardon. Longfellow Deeds, who just inherited the
Semple fortune, wants to meet you.
BROOKFIELD
Oh, yes. I read about him. He writes poetry on
postcards.
HENABERRY
Let's invite him over. Might get a couple of
laughs. Getting rather dull around here.
MORROW
It's always dull here.
BROOKFIELD
(rising)
I'll get him.
HENABERRY
Good.
DISSOLVE TO:
91. MED. SHOT - ROUND TABLE
At which they are all seated now. Babe sits next to Longfellow, who is
the center of attraction. Brookfield is just finishing introductions.
BROOKFIELD
Henaberry, Mr. Morrow, Bill - this is Mr. Deeds
and his fiancee from Mandrake Falls.
92. MED. CLOSE SHOT
THE GROUP
(ad-lib)
How do!
Hello!
Nice to meet you!
LONGFELLOW
Nice of you to ask us to come and sit with you.
Back home we never get a chance to meet famous
people.
BILL
(calling waiter)
Waiter! A little service here.
THE GROUP
(ad-lib)
Yes!
Mr. Deeds is a distinguished poet.
A drink for Mr. Deeds!
HENABERRY
He's a poet. Have a drink.
LONGFELLOW
I don't want it, thank you.
HENABERRY
Why, you must drink! All poets drink!
92. MED. CLOSE SHOT - THE GROUP
BILL
Tell us, Mr. Deeds. How do you go about writing
your poems? We craftsmen are very interested in
one another's methods.
HENABERRY
Yes. Do you have to wait for an inspiration, or
do you just dash it off?
LONGFELLOW
(self-consciously)
Well, I don't know. I--
HENABERRY
Mr. Morrow, over there, for instance, just
dashes them off.
MORROW
Yes. That's what my publishers have been
complaining about.
They all laugh superficially.
93. CLOSE SHOT GROUP - BABE AND LONGFELLOW
Babe glances up at Longfellow, to see if he's aware that he is being
laughed at. But he apparently isn't.
LONGFELLOW
(laughing feebly)
Your readers don't complain, Mr. Morrow.
MORROW'S VOICE
Oh, thanks. Thanks.
BROOKFIELD
How about you, Mr. Deeds?
LONGFELLOW
Well, I write mine on order. The people I work
for just tell me what they want and then I go
to work and write it.
BROOKFIELD
Amazing! Why, that's true genius!
HENABERRY
Yes. Have you any peculiar characteristics when
you are creating?
LONGFELLOW
Well, I play the tuba.
They all laugh.
MORROW
I've been playing the harmonica for forty years -
didn't do me a bit of good.
94. CLOSE SHOT - GROUP
BROOKFIELD
You wouldn't have one in your pocket, would you,
Mr. Deeds?
LONGFELLOW
(smiling)
What? A tuba?
They all laugh.
BROOKFIELD
No, a postcard - with one of your poems on it.
Longfellow is beginning to sense he is being kidded.
LONGFELLOW
(his face sober)
No.
HENABERRY
You mean to tell me you don't carry a pocketful
around with you?
BROOKFIELD
Too bad! I was hoping you'd autograph one for
me.
HENABERRY
I was too.
BILL
Quite right.
95. MED. GROUP SHOT
As they keep on. Longfellow has his eyes leveled on each speaker in
turn, obviously cognizant of their ill-concealed jibes.
HENABERRY
Wait a minute, boys. Perhaps Mr. Deeds would
recite one for us.
THE OTHER'S VOICES
(ad-lib)
Yes!
BROOKFIELD
That's a very good idea. Nothing like a poet
reciting his own stuff.
ONE OF THE OTHERS
How about a Mother's Day poem, Mr. Deeds?
HENABERRY
Exactly! Give us one that wrings the great
American heart.
THE GROUP
(ad-lib)
Yes.
Babe has been watching Longfellow, interested. Now, when their voices
die down - and they wait expectantly - he speaks quietly.
LONGFELLOW
(deeply hurt)
I guess I get the idea. I guess I know why I
was invited here. To make fun of me.
96. MED. SHOT - GROUP
SEVERAL VOICES
(ad-lib)
Oh, come now.
I wouldn't say that.
HENABERRY
Look, he's temperamental.
LONGFELLOW
(leveling off at him)
Yeah, what if I am? What about it?
Henaberry's face sobers.
LONGFELLOW
(simply)
It's easy to make fun of somebody if you don't
care how much you hurt 'em.
(to Brookfield)
I think your poems are swell, Mr. Brookfield,
but I'm disappointed in you. I know I must look
funny to you, but maybe if you went to Mandrake
Falls you'd look just as funny to us. Only
nobody would laugh at you and make you feel
ridiculous - 'cause that wouldn't be good
manners.
97. CLOSE SHOT - LONGFELLOW
As he rises, continuing:
LONGFELLOW
I guess maybe it is comical to write poems for
postcards, but a lot of people think they're
good. Anyway, it's the best I can do. So if
you'll excuse me, we'll be leaving. I guess I
found out that all famous people - aren't big
people.
98. MED. SHOT
The group watches him silently as he leaves the table accompanied by
Babe. For a moment they are nonplussed - then they break into raucous
laughter - all but Morrow.
99. CLOSE TRUCKING SHOT
With Longfellow and Babe as they take several steps. Then he abruptly
stops.
LONGFELLOW
(turning to them)
There's just one thing more. If it weren't for
Miss Dawson being here with me, I'd probably
bump your heads together.
BABE
(quickly)
Oh, I don't mind.
Longfellow stares at her for a moment.
LONGFELLOW
Then I guess maybe I will.
He starts back toward the table.
100. MED. SHOT AT TABLE
Protectively, Brookfield and Henaberry rise from their chairs. But
they are too late, for Longfellow clips Brookfield on the chin first
with his left fist - and with his right catches Henaberry on the jaw.
The punches are almost simultaneous. The surprise attack catches the
men off-guard and they fall backward. A waiter rushes forward to
escort Longfellow and Babe out.
WAITER
(calling out)
Manager!
Morrow, who never budged from his chair, and who has watched
Longfellow with great admiration, now rises to catch up to him.
MORROW
(an outcry)
Eureka!
INT. FOYER OF TULLIO'S
101. MED. SHOT
As Morrow catches up to Longfellow and Babe, who are on their way
out. The waiter is shooing people away.
WAITER
Step aside, step aside!
Morrow barges forward. Longfellow and Babe turn.
MORROW
(obviously groggy with drink)
Say fellow, you neglected me - and I feel very
put out.
(points to his chin)
Look, sock it right there, will you? Lay one
right on the button, but sock it hard.
102. CLOSE SHOT - THE THREE
LONGFELLOW
That's all right. I got it off my chest.
MORROW
The difference between them and me is I know
when I've been a skunk. You take me to the
nearest news-stand and I'll eat a pack of your
postcards raw. Raw!
Longfellow and Babe smile. As Morrow continues to speak, he sways
drunkenly and would fall over backwards a couple of times in
midsentence if the alert Longfellow didn't have a clutch on his
collar.
MORROW
Oh, what a magnificent deflation of smugness.
Pal, you've added ten years to my life! A poet
with a straight left and a right hook -
delicious! Delicious! You're my guest from now
on - forever and a day - even unto eternity.
LONGFELLOW
Thanks, but Miss Dawson and I are going out to
see the sights.
MORROW
Fine, fine. Swell. You just showed me a sight
lovely to behold, and I'd like to reciprocate.
Listen, you hop aboard my magic carpet--
(Longfellow catches him before he falls backward
in his enthusiasm)
--thanks - and I'll show you sights that you've
never seen before.
LONGFELLOW
I'd kind of like to see Grant's Tomb - and the
Statue of Liberty.
103. CLOSE SHOT - GROUP
Favoring Morrow.
MORROW
Well, you'll not only see those, but before the
evening's half through, you'll be leaning
against the Leaning Tower of Pisa - you'll mount
Mt. Everest. I'll show you the Pyramids and all
the little Pyramiddes, leaping from sphinx to
sphinx. Pal, how would you like to go on a real,
old fashioned binge?
LONGFELLOW
(puzzled)
Binge?
MORROW
Yes. I mean the real McCoy. Listen, you play
saloon with me, and I'll introduce you to every
wit, every nitwit, and every half-wit in New
York. We'll go on a twister that'll make Omar
the soused philosopher of Persia look like an
anemic on a goat's milk diet.
Longfellow saves him - once again - from crashing over.
104. CLOSE SHOT - GROUP
Featuring Longfellow.
LONGFELLOW
(vaguely)
That ought to be fun.
MORROW
Fun? Say, listen, I'll take you on a bender that
will live in your memory as a thing of beauty
and joy forever.
(to someone off)
Boy! Boy! My headpiece!
He exits from the scene. CAMERA FOLLOWING HIM.
MORROW
(to the world in general)
Oh, Tempora! Oh, Moeraes! Oh, Bacchus!
He bumps into a woman, who glares at him.
WOMAN
Oh, you're drunk.
MORROW
(unmindful)
Oh, you're right.
105. CLOSEUP - BABE AND LONGFELLOW
LONGFELLOW
(to Babe)
I guess if we go with him, we'll see things,
huh?
She looks up at his face, amazed at his innocence.
BABE
Yes, I guess we will.
FADE OUT:
INT. MAC'S OFFICE
106. MED. SHOT
Mac is reading the story, eyes sparkling. Babe is sprawled in a chair,
doing tricks with a coin.
MAC
(reads)
"I play the tuba to help me think.' This is one
of the many startling statements made by
Longfellow Deeds - New York's new Cinderella
Man - who went out last night to prove that his
uncle, the late M.W. Semple - from whom he
inherited $20,000,000 - was a rank amateur in
the art of 'standing the town on its cauliflower
ear' ..."
He looks up.
MAC
Cinderella Man! That's sensational, Babe!
Sensational!
BABE
It took some high-powered acting, believe me.
MAC
Did it?
BABE
I was the world's sweetest ingenue.
MAC
Is he really that big a sap?
107. CLOSE SHOT - THE TWO
Favoring Babe.
BABE
He's the original. There are no carbon copies
of that one.
MAC
Cinderella Man! Babe, you stuck a tag on that
hick that'll stick to him the rest of his life.
Can you imagine Cobb's face when he reads this?
BABE
If we could sell tickets, we'd make a fortune.
She covers the coin with palm of other hand, and the coin disappears.
But Mac is too excited to pay any attention.
MAC
How'd you get the picture?
BABE
Had the boys follow us.
MAC
Marvelous!
(reads again)
"At two o'clock this morning, Mr. Deeds tied up
traffic while he fed a bagful of doughnuts to a
horse. When asked why he was doing it, he
replied: 'I just wanted to see how many
doughnuts this horse would eat before he'd ask
for a cup of coffee."
(laughs)
Beautiful! What happened after that?
BABE
I don't know. I had to duck to get the story
out. He was so far along he never even missed
me.
MAC
When're you going to see him again?
BABE
Tonight, maybe.
(looks at her watch)
I'll phone him at noon.
(explaining)
Oh, my lunch hour. I'm a stenographer, you
know. Mary Dawson.
108. MED. SHOT - THE TWO
Favoring Mac.
MAC
(laughing)
You're a genius, Babe - a genius!
BABE
I even moved into Mabel Dawson's apartment - in
case old snoopy Cobb might start looking around.
MAC
(all excited)
Good! Good! Stay there. Don't show your face
down here. I'll tell everybody you're on your
vacation. They'll never know where the stories
are coming from. Stick close to him, Babe - you
can get an exclusive story out of him every day
for a month. We'll have the other papers crazy.
(starts for her)
Babe, I could kiss you!
109. WIDER ANGLE
BABE
(sidestepping)
Oh, no. No. Our deal was for a month's vacation
with pay.
MAC
Sure.
BABE
With pay!
She is out the door.
MAC
(yelling after her)
You'll get it, Babe. You'll get it.
DISSOLVE TO:
INT. LONGFELLOW'S BEDROOM
110. CLOSE SHOT
Walter leans over the bed violently, shaking Longfellow, who is lost
in drunken sleep.
WALTER
Mr. Deeds - Mr. Deeds, sir - you really must
get up. It's late!
LONGFELLOW
(without budging - without opening his eyes)
You're Walter, aren't you?
WALTER
Yes, sir.
LONGFELLOW
I just wanted to make sure.
111. CLOSE SHOT - WALTER
He smiles.
WALTER
If you'll permit me to say so, sir, you were
out on quite a bender last night, sir.
112. CLOSE SHOT - LONGFELLOW
Longfellow opens one eye - and then the other, blinking. As
consciousness returns to him, he glances around the room as if to
get his bearings.
LONGFELLOW
Bender? You're wrong, Walter. We started out to
a binge but we never got to it.
113. MED. CLOSE SHOT - THE TWO
Walter offers him a drink on a tray.
WALTER
(humoring him)
Yes, sir.
LONGFELLOW
What's that?
WALTER
A Prairie Oyster, sir.
LONGFELLOW
(slow to comprehend anything)
Prairie? Oysters?
WALTER
Yes, sir. It makes the head feel smaller.
Longfellow takes it and downs it in one swig.
LONGFELLOW
(his face finally reacting)
Oh. Oh!
(remembering)
Has Miss Dawson called yet?
WALTER
Miss Dawson, sir? No, sir. No Miss Dawson has
called, sir.
LONGFELLOW
She was a lady in distress. She wouldn't let me
help her. Got a lot of pride. I like that.
WALTER
Oh, I do too, sir.
LONGFELLOW
I'd better call her up and apologize. I don't
remember taking her home last night.
WALTER
I'd venture to say, sir, you don't remember much
of anything that happened last night, sir.
114. CLOSE SHOT - THE TWO
Favoring Longfellow.
LONGFELLOW
What do you mean? I remember everything! Hand
me my pants - I wrote her phone number on a
piece of paper.
WALTER
You have no pants, sir.
Longfellow looks up slowly. Walter goes on:
WALTER
You came home last night - without them.
LONGFELLOW
(after a double take)
I did what!
WALTER
As a matter of fact, you came home without any
clothes. You were in your - uh - shorts. Yes,
sir.
LONGFELLOW
Oh, don't be silly, Walter. I couldn't walk
around in the streets without any clothes. I'd
be arrested.
WALTER
That's what the two policemen said, sir.
LONGFELLOW
What two policemen?
WAITER
The ones who brought you home, sir. They said
you and another gentleman kept walking up and
down the streets, shouting: "Back to nature!
Clothes are a blight on civilization! Back to
nature!"
Longfellow watches his face, fascinated. Slowly it is all coming back
to him.
LONGFELLOW
Listen, Walter, if a man named Morrow calls up,
tell him I'm not in. He may be a great author,
but I think he's crazy. The man's crazy, Walter.
115. REVERSE ANGLE
Favoring Walter.
WALTER
Yes, sir. By the way, did you--
Longfellow slowly swings out of bed into a sitting position. Walter
kneels to put on Longfellow's slippers. Longfellow balks, points,
silently reminding Walter that he has broken his promise not to kneel
down in front of him.
LONGFELLOW
(pointing)
Please!
WALTER
But how'll I put on the slipper, sir?
Longfellow's expression begs no disagreement. Walter stands, fumbling
with the shoes from a stooped posture.
WALTER
(continuing)
Yes, sir. I beg pardon, sir, but did you ever
find what you were looking for, sir?
LONGFELLOW
Looking for?
WALTER
You kept searching me last night, sir. Going
through my pockets. You said you were looking
for a rhyme for Budington.
LONGFELLOW
(flatly)
Better bring me some coffee, Walter.
WALTER
Very good, sir.
(remembering)
Oh, I beg pardon. A telegram came for you, sir.
(he hands the telegram to Longfellow)
I'll get you some black coffee, sir.
116. MEDIUM SHOT
Following Walter's exit. Longfellow quickly opens the telegram. His
face clouds. At this moment, Cobb comes bursting into the room - a
newspaper in his hand.
COBB
(wildly)
Did you see all this stuff in the papers?
LONGFELLOW
(holding out telegram)
Arthur wants to quit!
COBB
Arthur! Who's Arthur?
LONGFELLOW
He's the shipping clerk at the Tallow Works.
Wants a $2 raise - or he'll quit.
COBB
(he goes crazy)
What do I care about Arthur! Did you see this
stuff in the paper? How'd it get in there?
What'd you do last night? Who were you talking
to?
He flings the paper on the bed. Longfellow glances at it, and his
face clouds.
COBB
(while Longfellow reads)
And what'd you do to those bodyguards? They quit
this morning. Said you locked them up.
LONGFELLOW
Oh, they insisted on following me.
117. TWO SHOT
COBB
(wildly)
What do you think bodyguards are for?
LONGFELLOW
(glances up)
What do they mean by this - "Cinderella Man!"
COBB
Are those stories true?
118. CLOSE SHOT - LONGFELLOW AND COBB
Longfellow has his eyes glued on the paper.
LONGFELLOW
I don't remember. "Cinderella Man!" What do
they mean by that?
COBB
They'd call you anything if you gave them half
a chance. They've got you down as a sap.
LONGFELLOW
(calmly)
I think I'll go down and punch this editor on
the nose.
COBB
(quickly)
No, you don't! Get this clear: Socking people is
no solution for anything.
119. TWO SHOT
LONGFELLOW
Sometimes it's the only solution.
COBB
Not editors. Take my word for it. Not editors!
LONGFELLOW
If they're going to poke fun at me, I'm going
to--
COBB
(bends over, earnestly)
Listen. Listen, Longfellow. You've got brains,
kid. You'll get along swell if you'll only curb
your homicidal instincts - and keep your trap
shut. Don't talk to anybody! These newshounds
are out gunning for you.
LONGFELLOW
(referring to paper)
But what about this "Cinderella Man"?
COBB
That's my job. I'll take care of that. I'll
keep that stuff out of the papers - if you'll
help me. But I can't do anything if you go
around talking to people. Will you promise me
to be careful from now on?
LONGFELLOW
Yes, I guess I'll have to.
COBB
(mopping his brow)
Thank you.
(as he goes)
If you feel the building rock, it'll be me
blasting into this editor.
120. MED. SHOT
He exits. During the scene Walter has entered with a tray, which he
has adjusted on Longfellow's knee.
LONGFELLOW
Cobb's right. I mustn't talk to anybody.
BUTLER
(entering)
Miss Dawson on the phone, sir.
LONGFELLOW
(alertly)
Who? Miss Dawson?
BUTLER
Yes, sir.
LONGFELLOW
Fine. I'll talk to her. Give me the phone,
quick. She's the only one I'm going to talk to
from now on.
As the butler scurries around for the phone,
DISSOLVE TO:
EXT. TOP OF FIFTH AVENUE BUS - NIGHT - (PROCESS)
121. CLOSE SHOT - BABE AND LONGFELLOW
Longfellow looks around, absorbed. Babe watches him.
LONGFELLOW
It's awfully nice of you to show me around like
this.
BABE
I enjoy it.
LONGFELLOW
The Aquarium was swell. If I lived in New York,
I'd go there every day. I'll bet you do.
BABE
Well, I'd like to - but I have a job to think
of.
EXT. STREET
122. MED. CLOSE SHOT - A TAXI
Directly behind the bus. A man's head is stuck out of taxi window. We
recognize it as one of the photographers, Bob.
BOB
(to driver)
Hey, flap-ears! You better keep following that
bus!
DRIVER'S VOICE
Keep your shirt on!
INT. THE TAXI - PROCESS
123. CLOSE SHOT - BOB AND FRANK
Two photographers, with their equipment. They keep their eyes glued
on the bus in front. They return to their seats.
BOB
It don't look as though we're gonna get any
pictures tonight.
FRANK
Babe ought to get him drunk again.
EXT. TOP OF BUS
124. CLOSE SHOT - BABE AND LONGFELLOW
BABE
Got any news--
(catches herself)
I mean, has anything exciting been happening
lately?
LONGFELLOW
Sure. I met you.
BABE
(laughs)
Oh. What's happening about the opera?
LONGFELLOW
Oh, that - well, we had another meeting. I told
them I'd go on being Chairman if--
(explaining)
I'm Chairman, you know.
BABE
Yes, I know.
LONGFELLOW
I told 'em I'd play along with them if they
lowered their prices - and cut down expenses -
and broadcast.
BABE
What did they say?
LONGFELLOW
Gosh, you look pretty tonight.
BABE
What did they say?
LONGFELLOW
Huh? Oh. They said I was crazy. Said I wanted to
run it like a grocery store.
BABE
What are they going to do?
LONGFELLOW
(leans over close to her)
Do you always wear your hair like that?
125. WIDER SHOT
At this point, two girls pass by, chattering. One girl has a paper
open.
FIRST GIRL
Isn't it a scream - "Cinderella Man!" The dope!
2ND GIRL
I'd like to get my hooks into that guy.
FIRST GIRL
Don't worry. Somebody's probably taking him
for plenty.
They are gone. Longfellow glares after them. Babe is afraid to look
up.
LONGFELLOW
(quietly)
If they were men, I'd knock their heads together.
Babe is silent. Longfellow watches her for a moment.
126. CLOSE SHOT - THE TWO
Favoring Longfellow.
LONGFELLOW
Have you seen the papers?
BABE
Uh-huh.
LONGFELLOW
That's what I like about you. You think about a
man's feelings. I'd like to go down to that
newspaper and punch the fellow in the nose
that's writing that stuff--
127. MED. CLOSE SHOT - THE TWO
She looks up, startled.
LONGFELLOW
--"Cinderella Man!" I guess pretty soon
everybody will be calling me "Cinderella Man."
Babe has had an uncomfortable time of it and quickly changes the
subject.
BABE
Would you like to walk the rest of the way? It's
so nice out.
LONGFELLOW
Yes.
BABE
Yeah, let's.
She jumps up from her seat, and Longfellow follows.
INT. THE TAXI
128. MED. CLOSE SHOT
Favoring the taxi driver.
DRIVER
Hey, wise guys. He's getting off.
This sets off a mad scramble.
BOB AND FRANK
(ad-lib)
Hey, come on!
Pull over to the curb!
DISSOLVE TO:
EXT. RIVERSIDE DRIVE - GRANT'S TOMB
129. MED. CLOSE SHOT - LONGFELLOW AND BABE
He stands across the street from Grant's Tomb, looking solemn. His
eyes moist. She is unaware of his emotion.
BABE
Come on, don't you want to see it?
INT. THE TAXI
130. MED. SHOT - BOB AND FRANK
FRANK
Feast your eyes. Grant's Tomb!
BOB
Is that it?
(to driver)
Hey, beetle-puss! The Tomb!
131. MED. CLOSE SHOT - LONGFELLOW AND BABE
As they approach the monument.
BABE
There you are. Grant's Tomb. I hope you're not
disappointed.
LONGFELLOW
(throatily)
It's wonderful.
BABE
To most people, it's an awful letdown.
LONGFELLOW
(in awe)
Huh?
BABE
I say, to most people it's a washout.
LONGFELLOW
That depends on what they see.
BABE
(looks up at him)
Now, what do you see?
132. CLOSEUP - LONGFELLOW
LONGFELLOW
Me? Oh, I see a small Ohio farm boy becoming a
great soldier. I see thousands of marching men.
I see General Lee with a broken heart,
surrendering, and I can see the beginning of a
new nation, like Abraham Lincoln said. And I
can see that Ohio boy being inaugurated as
President--
(dreamily)
Things like that can only happen in a country
like America.
133. CLOSEUP - BABE
To intercut with above speech. During his recital, she watches his
face, fascinated. Her impulse is to laugh, but she finds that she
can't.
LONGFELLOW
(overcome - he almost chokes on his final words)
Excuse me!
FADE OUT:
INT. PRIVATE OFFICES
134. MED. CLOSE SHOT
A switchboard operator fielding calls.
SWITCHBOARD OPERATOR
Sorry, Mr. Hopper. Mr. Cedar won't answer his
phone. Sorry.
OFFICE CLERK
(passing by)
Say, what's going on in the boss's office?
SWITCHBOARD OPERATOR
Search me. The three 'Cs' and little 'B' have been
in there for over an hour.
INT. CEDAR'S PRIVATE OFFICE
135. FULL SHOT
Cedar paces the floor. His brothers look worried. Budington is
enthroned at Cedar's desk.
BUDINGTON
I don't want to be critical, John, but here it
is--
CEDAR
(pouncing on him)
Yes, I know. A week's gone by and we haven't got
the Power of Attorney yet!
BUDINGTON
Yes, but you said--
CEDAR
(walking way from him)
I don't care what I said. I can't strangle him,
can I?
FIRST BROTHER
It's ridiculous for us to have to worry about a
boy like that.
(crosses to desk)
Look at these articles about him! "Cinderella
Man!" Why, he's carrying on like an idiot.
BUDINGTON
Exactly what I was saying to my wife when
this--
FIRST BROTHER
Who cares what you were saying to your wife?
There is a moment's awkward silence. The silence is broken by the
buzzing of the dictograph. Cedar crosses to it and snaps the
button.
136. CLOSE SHOT AT DESK
As secretary's voice comes over dictograph:
CEDAR
Yes?
SECRETARY'S VOICE
Mr. and Mrs. Semple are still waiting.
CEDAR
(irritated)
I can't help it. Let them wait!
He snaps the dictograph off.
137. MED. SHOT GROUP
FIRST BROTHER
Those people have been in to see me every day
this week.
2ND BROTHER
Who are they?
CEDAR
(dismissing it)
Relatives of old man Semple.
FIRST BROTHER
They keep insisting they should have some
nuisance value.
CEDAR
Nuisance value?
FIRST BROTHER
They say if it hadn't been for Deeds, they'd
have gotten all the money.
CEDAR
(suddenly)
Nuisance value.
(thinks a minute - crosses to door)
Maybe they have! Maybe they have! Maybe they
have!
(opens door)
Mr. and Mrs. Semple, please. How do you do?
The others all stand around - as the Semples enter.
MRS. SEMPLE
We've been trying to--
138. MED. CLOSE SHOT - CEDAR AND THE SEMPLES
CEDAR
(smoothly cutting her off)
I'm so sorry to have kept you waiting. How are
you, sir? I don't know what my secretary could
have been thinking to keep you waiting this
long.
(to one of his brothers)
Will you bring the chairs? Quickly. Will you
have a cigar, Mr. Semple?
MR. SEMPLE
Thanks.
Semple takes the cigar - rather flabbergasted at all the sudden
attention showered upon him.
DISSOLVE TO:
EXT. ROOF OF TALL BUILDING - NIGHT
139. MED. SHOT - LONGFELLOW AND BABE
From over their shoulders, looking down on the lights and teeming
activity of Times Square.
BABE
There's Times Square.
LONGFELLOW
You can almost spit on it, can't you?
BABE
Why don't you try?
He does try. The wind blows it back on him. She laughs, takes out a
handkerchief and wipes it off his coat.
BABE
(as she wipes)
Oh! It's breezy up here.
He doesn't say anything right away.
BABE
You're worried about those articles they're
writing about you, aren't you?
LONGFELLOW
I'm not worrying any more. I suppose they'll go
on writing them till they get tired. You don't
believe all that stuff, do you?
A guilty look spreads over Babe's face.
BABE
Oh, they just do it to sell the newspapers, you
know.
LONGFELLOW
Yeah, I guess so. What puzzles me is why people
seem to get so much pleasure out of hurting
each other. Why don't they try liking each
other once in a while?
An awkward pause.
BABE
Shall we go?
DISSOLVE TO:
EXT. CENTRAL PARK - NIGHT
140. MED TRUCKING SHOT
As Babe and Longfellow walk.
BABE
(spotting a park bench)
Here's a nice place.
LONGFELLOW
Yeah. Anyway, there aren't any photographers
around.
EXT. PARK - BEHIND SOME BUSHES
141. MEDIUM SHOT
Bob and Frank, sneaking around in the bushes.
142. CLOSE SHOT - LONGFELLOW AND BABE
BABE
You know, you said something to me when you
first met me that I've thought about a great
deal.
LONGFELLOW
What's that?
BABE
You said I was a lady in distress.
LONGFELLOW
Oh, that--
BABE
What did you mean by that?
LONGFELLOW
Nothing--
There is a pause.
LONGFELLOW
Have you got a - are you - uh - engaged or
anything?
143. CLOSEUP
The corners of her mouth go up in sympathetic amusement.
BABE
No. Are you?
LONGFELLOW'S VOICE
No.
BABE
You don't go out with girls very much, do you?
LONGFELLOW'S VOICE
I haven't.
BABE
Why not?
144. CLOSE SHOT - THE TWO
Favoring Longfellow.
LONGFELLOW
Oh, I don't know.
BABE
You must have met a lot of swell society girls
since you've been here. Don't you like them?
LONGFELLOW
I haven't met anybody here that I like,
particularly. They all seem to have the St.
Vitus Dance.
(awkwardly)
Except you, of course.
(a pause)
People here are funny. They work so hard at
living - they forget how to live.
(thoughtfully; leans back)
Last night, after I left you, I was walking
along and looking at the tall buildings and I
got to thinking about what Thoreau said. They
created a lot of grand palaces here - but they
forgot to create the noblemen to put in them.
145. REVERSE ANGLE
Favoring Babe. She stares at him curiously.
LONGFELLOW
I'd rather have Mandrake Falls.
BABE
I'm from a small town too, you know.
LONGFELLOW
(interested)
Really?
BABE
Probably as small as Mandrake Falls.
LONGFELLOW
(finding a kindred soul)
Gosh! What do you know about that!
Babe leans her head back in a reminiscent mood. We get a feeling that,
for the moment, she has forgotten she is Babe Bennett, out on a story.
BABE
Ah, it's a beautiful little town, too. A row of
poplar trees right along Main Street. Always
smelled as if it just had a bath.
146. MED. CLOSE SHOT - THE TWO
Longfellow watches her face intently.
BABE
I've often thought about going back.
LONGFELLOW
You have?
BABE
Oh, yes. I used to have a lot of fun there when
I was a little girl. I used to love to go
fishing with my father. That's funny. He was a
lot like you, my father was. Talked like you,
too. Sometimes he'd let me hold the line while
he smoked - and we'd just sit there for hours.
And after awhile, for no reason, I'd go over
and kiss him and sit in his lap. He never said
very much but once I remember him saying: "No
matter what happens, honey, don't complain."
LONGFELLOW
He sounds like a person worth while knowing.
There is a pause while Longfellow watches her, and she is lost in
thought.
BABE
(continuing)
He played in the town band, too.
LONGFELLOW
He did? I play the tuba--
BABE
Yeah, I know.
LONGFELLOW
What did he play?
BABE
The drums. He taught me to play some.
LONGFELLOW
He did?
BABE
Yes. I can do "Swanee River." Would you like to
hear me?
LONGFELLOW
(enthusiastically)
Sure!
147. MEDIUM SHOT
She picks up a couple of branches. With the two sticks she drums on
the bench seat- and sings "Swanee River."
When she is finished, though clearly delighted, he shows her a long
face of mock-disappointment.
BABE
Oh, I suppose you could do better.
LONGFELLOW
Sure. I can sing "Humoresque."
BABE
"Humoresque"? I'll bet you don't even know how
it goes.
LONGFELLOW
Sure. Look! You sing it over again, and I'll do
"Humoresque" with you.
BABE
It had better be good.
She starts again and he sings "Humoresque" in counterpoint to her
drumming.
CUT TO:
EXT. PARK - BEHIND SOME BUSHES
148. CLOSE SHOT - BOB AND FRANK
They wait with their camera. When they hear the singing, they look
up, and then at each other in surprise.
BOB
I wonder if they'd want to make it a quartet.
FRANK
Shhh!
149. MEDIUM SHOT
Longfellow and Babe. They are having a grand time with their singing.
A policeman saunters into the scene and stands watching them for a
few seconds, without their being conscious of his presence. He smiles,
shakes his head and passes on out of scene. Over the shot we hear the
low moan of a siren in the distance.
150. CLOSE SHOT - THE TWO
They reach the climax of their song - and laugh joyously. At this
moment, the shrieking of the siren is nearer and louder. Longfellow
looks up quickly. Excited, he jumps up and runs toward street. Babe
looks up, surprised.
LONGFELLOW
(as he runs off)
Fire engine! Fire engine! I want to see how they
do it. Wait for me, will you?
151. CLOSE SHOT - BOB AND FRANK BEHIND BUSHES
Frank grabs the camera.
FRANK
Looks like the evening is not going to be
wasted!
152. MEDIUM SHOT
They dash by the policeman, who looks up, startled.
153. LONG SHOT
As the fire engine slows down - and people are beginning to gather.
We see Longfellow running toward the truck and hopping aboard.
154. MED. SHOT AT FIRE TRUCK
As Longfellow jumps on.
FIREMAN
Hello - what do you want?
LONGFELLOW
(short salute)
Captain Deeds - fire volunteer - Mandrake Falls.
FIREMAN
(amused)
Hi, Cap! Boys, meet the Captain!
155. LONG SHOT - REVERSE ANGLE
Bob and Frank running with their cameras toward Longfellow.
DISSOLVE TO:
INT. LIVING ROOM OF MABEL DAWSON'S STUDIO
156. CLOSEUP
Of typewriter carriage. It contains a paper upon which the following
is typed:
"CINDERELLA MAN FIRE-EATING DEMON"
"Longfellow Deeds, 'The Cinderella Man,' last night
threw a 'defy' into the teeth of the New York Fire
Department, that when it comes to extinguishing
conflagrations - they had better look to their
laurels--"
CAMERA PULLS BACK and we find Babe, staring at the sheet of paper in
front of her. Her eyes have a distant look.
157. FULL SHOT
Several feet away from her Mabel Dawson stands in front of an easel,
working silently on a painting. She dabs at it and turning, pauses a
moment to watch Babe, who at the moment rests her forehead on the
typewriter carriage.
MABEL
(softly)
What's the matter, hon?
BABE
(quickly)
Nothing.
Babe is too much absorbed to hear this. Getting no response, Mabel
turns and studies her for a few seconds.
MABEL
What's up, Babe? Something's eating you.
BABE
No. It's nothing.
MABEL
My unfailing instinct tells me something's gone
wrong with the stew.
BABE
(murmuring)
Don't be ridiculous.
She again resumes her typing. Mabel crosses to her and looks over her
shoulder.
MABEL
You haven't gotten very far, have you? That's
where you were an hour ago. Come on, let's
knock off and go down to Joe's. The gang's
waiting for us.
BABE
(jumping up)
I can't write it, Mabel! I don't know what's
the matter with me.
Babe lights a cigarette. Mabel studies her.
MABEL
(quietly)
Uh-huh. I think I can tell you.
The phone bell rings. Mabel picks it up.
158. CLOSE SHOT AT PHONE
MABEL
(into phone)
Hello ...
(listens)
Yes, she's here. Who wants her?
(listens)
Who?
(listens)
Oh, yes. Yes, just a moment.
(her hand over the mouthpiece)
It's him - whatcha-ma-call-him - the
"Cinderella Man." The "Cinderella Man"!
Babe grabs the phone.
BABE
Hello.
INT. LONGFELLOW'S BEDROOM
159. CLOSE SHOT - LONGFELLOW
Who lies dressed in bed, phone in hand.
LONGFELLOW
(into phone)
Couldn't sleep. Kinda wanted to talk to you. Do
you mind?
INT. MABEL'S LIVING ROOM
160. CLOSE SHOT - BABE AT PHONE
BABE
(sincerely)
No - not at all. I couldn't sleep either.
INT. LONGFELLOW'S BEDROOM
161. CLOSE SHOT - LONGFELLOW
At phone.
LONGFELLOW
I wanted to thank you again for going out with
me.
(listens)
Huh? Well, I don't know what I'd do without you.
You've made up for all the fakes that I've met.
CONTINUATION SCENE 160
BABE
Well, that's very nice. Thank you.
CONTINUATION SCENE 161
LONGFELLOW
You know what I've been doing since I got home?
Been working on a poem.
(listens)
It's about you.
(listens)
Sometimes it's kinda hard for me to say things
so I write 'em.
CONTINUATION SCENE 160
BABE
(touched)
I'd like to read it some time.
She listens for a moment, apparently moved by his sweetness.
CONTINUATION SCENE 161
LONGFELLOW
Maybe I'll have it finished next time I see you.
(listens)
Will I see you soon?
(listens)
Gosh, that's swell, Mary.
(listens)
Good night.
He hangs up, and lies back - enthralled.
CONTINUATION SCENE 160
BABE
Good night.
INT. APT. LIVING ROOM
162. MED. CLOSE SHOT - AT PHONE
BABE
Mabel, that guy's either the dumbest, the
stupidest, the most imbecilic idiot in the
world or he's the grandest thing alive. I can't
make him out.
163. MED. CLOSE SHOT - THE TWO
MABEL
(knowingly)
Uh-huh.
BABE
I'm crucifying him.
MABEL
People have been crucified before.
BABE
Why? Why do we have to do it?
MABEL
You started out to be a successful newspaper
woman, didn't you?
BABE
Yeah, then what?
MABEL
(shrugging)
Search me. Ask the Gypsies.
BABE
Here's a guy that's wholesome and fresh. To us
he looks like a freak. You know what he told me
tonight? He said when he gets married he wants
to carry his bride over the threshold in his
arms.
MABEL
The guy's balmy.
BABE
Is he? Yeah, I thought so, too. I tried to
laugh, but I couldn't. It stuck in my throat.
MABEL
Aw, cut it out, will you? You'll get me
thinking about Charlie again.
BABE
He's got goodness, Mabel. Do you know what
that is?
MABEL
Huh?
BABE
No - of course you don't. We've forgotten.
We're too busy being smart-alecks.
(sits at her typewriter)
Too busy in a crazy competition for nothing.
FADE OUT:
FADE IN
SERIES OF INSERTS:
"Cinderella Man Fire-Eating Demon --
Punches Photographer."
DISSOLVE TO:
"Cinderella Man to Reform Opera-
Must be put on paying basis - or else -
says post-card poet."
DISSOLVE TO:
"Madame Pomponi, Famous Opera Singer,
To Launch Deeds on Social Career"
DISSOLVE TO:
INT. LONGFELLOW'S BEDROOM
164. MEDIUM SHOT
Longfellow is in bed in his pajamas, playing the tuba. Walter enters.
WALTER
I beg pardon, sir. I beg pardon, sir.
Longfellow stops, looking daggers at him.
WALTER
Madame Pomponi is on the telephone, sir.
LONGFELLOW
Who?
WALTER
Madame Pomponi. She says everything is all set
for the reception.
LONGFELLOW
What do you mean by coming in here when I'm
playing?
WALTER
But she's on the telephone--
LONGFELLOW
Get out.
(pointing)
The evil finger's on you. Get out!
Walter hurries out. Longfellow jumps up and chases him down the grand
staircase. Longfellow stops at the top of the stairs, struck by an
idea.
INT. GRAND STAIRCASE
165. WIDE ANGLE
Showing Walter at the bottom of the stairs and Longfellow at the top.
LONGFELLOW
Stop!
Walter halts. Longfellow gives a shout from the top of the stairs.
There is a discernible echo.
LONGFELLOW
Hey, did you hear that?
WALTER
What, sir?
Longfellow gives another shout. There is another echo. He tries it
again - louder. Another echo. It is all very satisfactory.
WALTER
(pleased)
Why, that's an echo, sir!
LONGFELLOW
You try it.
WALTER
(timidly)
Me, sir?
LONGFELLOW
(an order)
Yeah.
Walter gives a bird-like hoot. There is an echo.
LONGFELLOW
(firmly)
Louder.
Walter gives a louder hoot. And louder. Each time, an echo.
A butler in a bathrobe emerges to see what all the hullabaloo is
about. Longfellow spots him.
LONGFELLOW
(to butler)
You try it.
BUTLER
Me, sir?
But the butler clearly relishes the opportunity. He gives a little
high-pitched squeak.
LONGFELLOW
Louder!
The butler tries it again - much better. Another man-servant has
emerged. Longfellow points to him.
LONGFELLOW
You try it!
The manservant tries it - very raspy, another tone altogether.
LONGFELLOW
(waving like a conductor)
All together!
A symphony of hoots, shrieks, barks and echoes.
LONGFELLOW
Again !
The household staff do it again.
LONGFELLOW
(surveying the scene - then, dramatically)
Let that be a lesson to you.
With that, Longfellow spins on his heel and returns to his bedroom.
There is a pause. The butler takes command of the other two.
BUTLER
(gesturing imperiously)
Go back to your room, both of you!
Walter and the man-servant hasten to exit.
The butler waits until nobody is looking, then gives one, final hoot.
He murmurs to himself with satisfaction as he exits.
DISSOLVE TO:
EXT. LONGFELLOW'S HOME - NIGHT
166. LONG SHOT
Limousines arriving - from which guests emerge - in full evening
dress.
INT. DRAWING ROOM - NIGHT
167. MED. SHOT AT DOOR
Madame Pomponi greets a group of guests. Ad-lib chatter is heard.
From inside music emanates.
AD-LIB CHATTER
Oh, hello darling.
So good of you to come.
Sweet of you to ask me.
Where is he?
I'm just dying to see the "Cinderella Man."
CAMERA MOVES SWIFTLY among groups of people picking out vignettes of
conversation. Longfellow is the hot topic.
A husband and a wife whispering:
A HUSBAND
Shh! - he may hear you.
A WIFE
Even if he heard you, he wouldn't understand.
A man and a woman gossiping:
A MAN
I hear he still believes in Santa Claus.
A WOMAN
Will he be Santa Claus? That's what I want to
know.
Another man holding forth to two elegantly-dressed women:
ANOTHER MAN
Have you all got your slippers ready for the
"Cinderella Man"?
WOMEN
(ad-lib)
Yes, I have.
Everybody laughs.
FIRST WOMAN
With $20,000,000, he doesn't have to have
looks!
2ND WOMAN
He won't have it long with that Pomponi woman
hanging around him.
Two women in evening dress twittering like birds:
FIRST WOMAN
(to other woman)
My dear, I hear he can't think unless he plays
his tuba!
DISSOLVE TO:
INT. MABEL'S BEDROOM
168. FULL SHOT
Babe is listlessly packing her few things in a small handbag. She
slowly and meticulously folds a silken undergarment, wrapping it in
tissue. Her eyes have a distant look. Mabel watches her, concerned.
There is a long pause before either of them speaks.
MABEL
(breaking the silence)
You're a fool, Babe.
BABE
I just couldn't stand seeing him again.
MABEL
Running away is no solution.
169. MED. CLOSE SHOT - THE TWO
Babe is unresponsive.
MABEL
(after a pause)
What'll I tell him if he calls up?
BABE
Tell him I had to leave suddenly. I got a job in
China - some place.
MABEL
You're acting like a school girl.
BABE
(suddenly - tensely)
What else can I do? Keeping this up is no good.
He's bound to find out sometime.
(softly)
At least I can save him that.
They are suddenly startled by the boisterous entrance of Bob and
Frank, whose voices are heard as they barge in.
170. MEDIUM SHOT
Babe, not wishing to explain to them, hides her bag - and follows
Mabel to greet them in the living room.
INT. LIVING ROOM
171. MED. FULL SHOT
The boys cross to a table and drop their cameras.
BOB AND FRANK
Say, where is everybody? Come on, Babe - the
artillery's ready.
Mabel enters. Babe stands in doorway.
MABEL
(by way of greeting)
It's those two sore spots again.
172. CLOSE SHOT
BOB
You shoulda been down to the office today, Babe.
FRANK
Yeah. Mac threw Cobb out again.
BOB
Boy, was he burning.
FRANK
(reaching for a bottle)
Just one little drink - and then we're ready to
shoot.
MABEL
(grabbing it away)
Just a minute. No, you don't.
BABE
We're not going out tonight.
BOB
Thought you had a date with him.
BABE
It's off. He's having a party at his house.
173. MED. CLOSE SHOT
Frank, Bob and Mabel.
FRANK
Say, what's the matter with her now!
MABEL
You wouldn't know if I drew you a diagram. Now,
run along and peddle your little tin-types.
BOB
What is this? Throwing us out of here's getting
to be a regular habit.
There is a knock on the door. They all look up.
174. CLOSE SHOT AT DOOR
As Mabel opens the door slightly. We see Longfellow. Mabel's eyes open
in surprise.
LONGFELLOW
Is Mary Dawson here? I'm Longfellow Deeds.
175. CLOSE SHOT - BOB AND FRANK
They stand - stupefied.
176. CLOSE SHOT - MABEL
She waves her hand back of her, for them to hide.
MABEL
(loud - for the boys)
Oh! Oh, yes, of course. Longfellow Deeds. Come
in. Step in, please.
177. CLOSE SHOT - BOB AND FRANK
They duck behind the sofa, CAMERA PANNING WITH THEM.
178. FULL SHOT
Longfellow enters. Mabel closes the door behind him, watching him
speculatively. Longfellow turns to Mabel.
LONGFELLOW
You're Mabel - her sister - aren't you?
MABEL
(flustered)
Huh? Oh, yes - yes, of course. Her sister. Yes,
I've been her sister for a long time.
LONGFELLOW
Is she home?
MABEL
Yeah. What?
LONGFELLOW
Is Mary home?
They look at each other stupidly - smiling feebly.
179. CLOSE SHOT ON TABLE
Featuring the camera. A hand comes in from behind the sofa and yanks
the camera out of sight.
180. MEDIUM SHOT
Mabel and Longfellow still standing, looking at each other.
MABEL
Oh, Mary? Yes, of course. Well, I don't know
whether she's home or not. I'll see.
As she turns, Babe appears in doorway.
MABEL
Why there she is! Of course she's home.
(feebly)
Stupid of me ...
BABE
Hello.
LONGFELLOW
Hello, Mary. I waited in the park for you over
an hour. I thought maybe you'd forgotten.
181. MED. CLOSE SHOT - LONGFELLOW AND BABE
Mabel in b.g.
BABE
I didn't think you could come with the party and
everything.
LONGFELLOW
Oh, I wouldn't let them stop me from seeing you.
So I threw them out!
BABE
You threw them out!
182. CLOSER SHOT
MABEL
You mean--
(gesturing with hands)
--by the neck or something?
LONGFELLOW
Sure. They got on my nerves, so I threw 'em out.
Mabel raises her eyebrows.
LONGFELLOW
I guess that'll be in the papers tomorrow. It
will give 'em something else to laugh at.
183. CLOSEUP - BABE
Her face clouds - miserably.
LONGFELLOW'S VOICE
(lightly)
I don't mind though. I had a lot of fun
doing it.
BABE
(quickly)
Would you like to go for a walk?
184. MED. CLOSE SHOT
LONGFELLOW
Yes, if it isn't too late.
BABE
(going to bedroom)
I'll get my hat.
She disappears, leaving Mabel and Longfellow again staring at each
other, self-consciously. Mabel smiles, ill-at-ease.
LONGFELLOW
Nice day out - er, nice night - wasn't it? -
isn't it?
MABEL
(tremulously)
Yes, lovely. We've had a lot of nice weather
lately.
LONGFELLOW
(after a pause)
It would be a nice night to go for a walk, don't
you think?
MABEL
Oh yes, I think it'd be a swell night to go for
a walk. A nice long one.
185. CLOSE SHOT - BEHIND SOFA
Bob and Frank, holding their breaths.
186. MEDIUM SHOT
Babe comes out of bedroom.
BABE
Ready?
LONGFELLOW
Gosh, she looks better every time I see her.
BABE
(vaguely)
Thank you.
She crosses to the door.
LONGFELLOW
(to Mabel)
Goodnight. Don't worry. I won't keep her out
late.
MABEL
Thank you so much. Good night.
They exit. Mabel sighs relievedly. The boys jump from their crouching
positions.
FRANK
(wobbling forward)
Ow! My foot's asleep!
BOB
(grabbing camera)
Come on - let's go!
Frank grabs his camera and both bolt toward the door. Mabel gets there
one step ahead of them, and blocks their path.
MABEL
No, you don't. Just a minute. No more
photographs.
DISSOLVE TO:
EXT. FRONT OF BABE'S HOME
187. CLOSE TRUCKING SHOT
As they walk slowly down the front steps.
LONGFELLOW
The reason why I wanted to take a walk, Mary, is
'cause I wanted to talk to you.
BABE
Let's just walk, okay?
LONGFELLOW
All right.
188. CLOSE TRUCKING SHOT
As they walk along a foggy street, on their faces.
LONGFELLOW
Mary, I'm going home
BABE
Are you? When?
LONGFELLOW
In a day or so, I think.
BABE
I don't blame you.
189. CLOSE TWO SHOT
Continuing on them, as they slowly walk around the block.
LONGFELLOW
A man ought to know where he fits in. I just
don't fit in around here. I once had an idea I
could do something with the money, but they
kept me so busy here, I haven't had time to
figure it out. I guess I'll wait till I get
back home.
There is a long pause. Both lost in their own thoughts.
LONGFELLOW
Do you mind if I talk to you, Mary? You don't
have to pay any attention to me.
BABE
No. I don't mind.
LONGFELLOW
All my life, I've wanted somebody to talk to.
Back in Mandrake Falls, I always used to talk to
a girl.
BABE
A girl?
LONGFELLOW
Oh, an imaginary one. I used to hike a lot
through the woods and I'd always take this
girl with me so I could talk to her. I'd show
her my pet trees and things. Sounds kind of
silly but we had a lot of fun doing it.
(smiling)
She was beautiful.
(then moodily)
I haven't married 'cause I've been kinda
waiting. You know, my mother and father were a
great couple. I thought I might have the same
kind of luck. I've always hoped that some day
that imaginary girl would turn out to be real.
They have arrived back at the front steps of Babe's home.
LONGFELLOW
Well, here we are again.
BABE
Yes, here we are again.
(after a pause)
Good night.
LONGFELLOW
(then, quickly - his voice faltering)
Mary - I - excuse me--
190. CLOSE TWO SHOT
Favoring Babe. She cuts him off, her voice shaking.
BABE
Goodbye, darling. Don't let anybody hurt you
again - ever. They can't anyway. You're much
too real. You go back to Mandrake Falls. That's
where you belong - goodbye!
191. WIDER ANGLE
She runs up the steps.
LONGFELLOW
Mary--
She stops and turns. He walks up close to her.
192. CLOSER SHOT - THE TWO
LONGFELLOW
You know the poem I told you about? It's
finished.
His hand goes to his breast pocket - and then slowly is withdrawn -
without bringing out the poem.
LONGFELLOW
Would you like to read it? It's to you.
BABE
(scarcely audible)
Yes, of course.
He now takes the poem out. The paper is folded. He hands it to her and
she slowly unfolds it. Just as she is about to read Longfellow lays a
hand on her arm.
LONGFELLOW
(a little frightened)
You don't have to say anything, Mary. You can
tell me tomorrow what you think.
She looks into his eyes, but does not respond. Then she holds the
paper up and begins reading. Longfellow watches her anxiously.
193. CLOSEUP - BABE
Reading softly:
BABE
"I tramped the earth with hopeless beat -
Searching in vain for a glimpse of you.
Then heaven thrust you at my very feet,
A lovely angel - too lovely to woo."
The last words come with difficulty. Babe's eyes are slowly welling up.
194. CLOSE SHOT - THE TWO
Babe continues reading:
BABE
"My dream has been answered, but my life's just
as bleak,
I'm handcuffed and speechless in your presence
divine -
For my heart longs to cry out, if it only would
speak,
'I love you, my angel - be mine, be mine.'"
Her voice is choked when she finishes. She does not look up until she
refolds the paper. He stands close to her, waiting expectantly.
Finally, she glances up. Her cheeks are moist, and her face clouded.
Impulsively, she throws her arms around his neck, kissing him.
BABE
Oh, darling!
Longfellow's arms encircle her and for a few moments they remain in
an emotional embrace.
LONGFELLOW
(huskily)
You don't have to say anything now. I'll wait
till tomorrow - till I hear from you.
195. CLOSEUP - BABE
Her eyes are beset with fears. She loves him - but knows how hopeless
it all is. She slowly starts freeing herself from his embrace.
196. MED. CLOSE SHOT - THE TWO
As Babe, weeping softly, frees herself from his embrace.
Longfellow gives a yelp of joy and leaps down the steps. He trips over
a garbage pail and bumps into passersby, making a racket as he zig-zags
down the street and out of scene.
A VOICE
(shouting)
Hey, what's the big idea?
FADE OUT:
FADE IN
INT. NEWSPAPER OFFICE - DAY
197. CLOSE SHOT - MAC
Behind his desk.
MAC
Stop it. Babe! Stop it! What do you mean,
you're quitting! You might as well tell me I'm
quitting.
As he speaks, CAMERA DRAWS BACK to reveal Babe near a window, peering
out moodily. Mac crosses over to her side.
MAC
What's bothering you, huh?
BABE
(after a pause)
Last night he proposed to me.
MAC
Proposed to you! You mean he asked you to marry
him?
BABE
Yes.
MAC
(alert)
Why, Babe - that's terrific!
(sees it in print)
"Cinderella Man Woos Mystery Girl!
Who is the Mysterious Girl That--"
BABE
Print one line of that, and I'll blow your
place up!
198. MED. CLOSE SHOT - THE TWO
MAC
Sorry, Babe. Sorry. It would have made a swell
story. I just got carried away. That's too bad.
So he proposed to you, huh?
(intrigued)
What a twist! You set out to nail him - and
he--
BABE
(bitterly)
Yeah. Funny twist, isn't it?
MAC
(suddenly)
Say, you haven't gone and fallen for that mug,
have you?
Babe's silence is eloquent.
MAC
Well, I'll be--
He places an arm tenderly around her shoulder.
MAC
That's tough, Babe.
Babe smiles wryly.
MAC
(interested)
What're you going to do?
BABE
(walking away)
I'm going to tell him the truth.
MAC
Tell him you're Babe Bennett? Tell him you've
been making a stooge out of him?
BABE
I'm having lunch with him today. He expects an
answer. It's going to be pretty.
MAC
You're crazy! You can't do that!
199. MED. CLOSE SHOT - THE TWO
Over their shoulders, from behind, as Mac comforts her.
BABE
He'll probably kick me right down the stairs. I
only hope he does.
MAC
I'll put you on another job. You need never see
him again, eh?
BABE
That's the rub.
MAC
Oh, as bad as that, huh?
BABE
(far-away)
Telling him is the long shot - I'm going to
take it.
He watches her sympathetically. Babe sighs resignedly.
BABE
(looking around)
Well, it was fun while it lasted, Mac. I'll
clean out my desk.
She leaves him. Mac is deeply moved by her problem.
DISSOLVE TO:
INT. GRAND STAIRCASE
200. WIDE SHOT
As Longfellow, in a buoyant mood, emerges from his room and slides
down the bannister of the grand staircase.
INT. INTIMATE DINING ROOM
201. MEDIUM SHOT
Table is set for two. Two butlers putter around. Longfellow enters
full of expectant enthusiasm. He is in his shirt sleeves. He hovers
over them, checking their preparations.
LONGFELLOW
How's it going? Okay?
BUTLER
Yes, quite all right. Thank you, sir.
LONGFELLOW
(picking up a salt shaker and examining it)
Gold, eh?
BUTLER
(as he continues his puttering)
Yes, sir.
LONGFELLOW
Fourteen carat?
BUTLER
Yes, sir.
LONGFELLOW
Is that the best you've got?
BUTLER
Oh, yes sir.
LONGFELLOW
(seizing on another detail)
Those flowers are too high. Won't be able to
see her.
(lifts a bowl of flowers off)
Get a smaller bowl, will you?
BUTLER
(repeating his command as he hands the bowl to the
other butler)
A smaller bowl of flowers.
2ND BUTLER
(exiting with flowers)
Yes, sir. A smaller bowl of flowers.
LONGFELLOW
(to butler)
Did you get that stuff I was telling you about?
BUTLER
Stuff, sir?
LONGFELLOW
That goo. That stuff that tastes like soap.
BUTLER
Oh, yes, sir. Here it is, sir. The pate de fois
gras, sir.
LONGFELLOW
Yeah, that's fine. Have a lot of it because she
likes it.
BUTLER
Yes, sir.
The other butler returns with a small bowl of flowers which he places
in the center of the table.
LONGFELLOW
Now you got the idea. Fine.
He sits in one of the chairs and leans forward in an imaginary
conversation with Babe - his lips move but we hear nothing.
LONGFELLOW
(motions to butler)
Sit over there, will you?
BUTLER
Me sir?
LONGFELLOW
Yes.
The butler sits.
LONGFELLOW
Yes. You're too tall. Slink lower, will you?
The butler does it.
LONGFELLOW
More. Now forward.
They are practically nose to nose over the flowers.
BUTLER
(seriously)
How is this, sir?
LONGFELLOW
(rising)
Perfect! Perfect!
BUTLER
I wish you luck, sir.
LONGFELLOW
Thank you. Now don't touch a thing. Leave
everything as it is.
He hurries toward his bedroom.
DISSOLVE TO:
INT. BEDROOM
202. FULL SHOT
Longfellow enters.
LONGFELLOW
(yelling)
Walter! Walter! Walter, where are you?
Walter enters, panic-stricken.
WALTER
Yes, sir. What is it, sir? Anything happened?
203. MED. CLOSE SHOT
LONGFELLOW
Anything happened? I've got to get dressed! I
can't meet her like this!
WALTER
But she isn't due for an hour, sir.
LONGFELLOW
An hour? What's an hour! You know how time
flies, Walter. My tie? Get it.
WALTER
Yes, sir. Very good, sir. Here it is right here,
sir. There, sir.
While putting it on, he sings "Humoresque" loudly and gaily.
204. MEDIUM SHOT
At this moment, Cobb bursts in - his face grim:
COBB
Just as I suspected, wise guy! I don't mind you
making a sap out of yourself - but you made one
out of me, too.
LONGFELLOW
(to Walter - merrily)
Will you tell the gentleman I'm not in?
COBB
Mary Dawson, huh? Mary Dawson, my eye. That dame
took you for a sleigh ride that New York will
laugh about for years. She's the slickest,
two-timing, double-crossing--
At the mention of the name, Longfellow turns for the first time.
205. CLOSEUP - LONGFELLOW
His face goes livid, as Cobb's voice continues:
LONGFELLOW
(between clenched teeth)
What are you talking about?
206. MEDIUM SHOT
Longfellow has started out toward him. In two long strides, Longfellow
has grabbed Cobb by the shirt-front, ready to strangle him.
COBB
All right. Go ahead. Sock away, and then try to
laugh this off.
With his free hand, he reaches into his coat pocket. He unrolls a
newspaper. Longfellow shifts his glance over to the photograph in the
newspaper Cobb holds up, and slowly his grip on Cobb relaxes. He takes
the newspaper.
207. CLOSEUP - LONGFELLOW
As he looks at the picture.
INSERT: PICTURE OF BABE BENNETT
Under which is the following:
"Louise (Babe) Bennett - wins Pulitzer Prize
for reportorial job on Macklyn love triangle."
BACK TO SCENE
Longfellow stares long and unbelievingly at the picture.
208. MED. CLOSE SHOT - COBB AND LONGFELLOW
COBB
(adjusting his clothes)
She's the star reporter on The Mail. Every
time you opened your kisser, you gave her
another story. She's the dame who slapped that
monicker on you - "Cinderella Man." You've been
making love to a double dose of cyanide!
LONGFELLOW
(an outcry)
Shut up!
Longfellow, stunned, crosses to the bed - CAMERA PANNING WITH HIM.
He slumps down and continues staring at picture.
209. MEDIUM SHOT
Cobb crosses to phone and picks up receiver.
CUT TO:
INT. NEWSPAPER OUTER OFFICE
210. MED. CLOSE SHOT
Babe is at her desk. She has just finished rummaging through her desk.
Many articles are on top. Mac is by her side. Babe flicks the pages
of a small loose-leaf book, and hands it to Mac.
BABE
This is for you, Mac. The names of all
the headwaiters in town. You can always buy a
bit of choice scandal from them at reasonable
prices.
MAC
Aw, listen Babe, I can't let you quit now.
You're not going through with this thing, are
you?
Babe shakes her head with finality, as the phone bell rings.
MAC
(picking up receiver)
I've seen 'em get in a rut like you before -
but they always come back.
(into phone)
Hello ... Yes. Just a minute
He holds the receiver out to her.
MAC
It's for you. In a couple weeks you'll get the
itch so bad, you'll be working for nothing.
BABE
(into phone)
Hello ...
INT. LONGFELLOW'S BEDROOM
211. MEDIUM SHOT
Cobb is at the phone.
COBB
Babe Bennett? Just a minute.
He listens and hands phone to Longfellow.
LONGFELLOW
(into phone)
Hello, Mary?
INT. NEWSPAPER OUTER OFFICE
212. CLOSE SHOT - BABE
BABE
(at phone)
Oh, hello darling.
Her face goes dead as she realizes she is speaking to Longfellow.
INT. LONGFELLOW'S BEDROOM
213. CLOSE SHOT - LONGFELLOW
LONGFELLOW
(at phone; strained)
Is it you who's been writing those articles
about me?
INT. NEWSPAPER OUTER OFFICE
214. CLOSE SHOT At phone.
BABE
Why - uh - I was just leaving - I'll be up there
in a minute--
(listens)
Look - uh, yes, I did - but I was just coming up
to explain--
The words die in her throat. She looks dully at the receiver.
INT. LONGFELLOW'S BEDROOM
215. CLOSEUP - LONGFELLOW
BABE'S VOICE
(coming over phone)
Oh listen, darling, wait a minute! Please!
Listen--
He hangs up. His face is a dead mask, every illusion shattered.
Slowly, a wry smile appears on his face and, rising, he wanders around
the room in deep abstraction. Cobb and Walter watch him
sympathetically.
Longfellow is silent a long time.
216. MEDIUM SHOT
As a butler enters.
BUTLER
I beg pardon, sir. Shall I serve the wine with
the squab, sir?
Longfellow doesn't hear him.
BUTLER
(tries again)
I beg pardon, sir.
217. CLOSEUP - COBB
His face softens.
COBB
If I knew you were going to take it so hard, I
woulda kept my mouth shut. Sorry.
218. MEDIUM SHOT
As finally Longfellow speaks, without turning.
LONGFELLOW
(quietly)
Pack my things, Walter. I'm going home.
WALTER
Yes, sir.
He immediately busies himself.
DISSOLVE TO:
INT. CORRIDOR
219. WIDE SHOT
Longfellow emerges from his bedroom, walking briskly toward the
staircase, immediately followed by Cobb and Walter. Walter is loaded
down with suitcases. Longfellow is wearing coat and hat.
COBB
(trying to keep up with Longfellow)
You shouldn't be running away like this. What's
going to happen to the Estate?
LONGFELLOW
They can have the Estate.
As they approach the staircase, a commotion is heard from stairs.
Cobb hurries ahead to see what is going on.
INT. GRAND FOYER
220. MEDIUM SHOT
Two butlers are struggling with a wild eyed man of middle age. They
shout in unison.
BUTLERS FARMER
(simultaneously)
You can't come up here! Let me go! I wanna see him!
He's not home, I tell you! I wanna see that guy!
We'll send for the police! Let me go!
They continue to struggle as Cobb reaches them.
COBB
What's going on here?
The man yanks himself free.
FARMER
There he is! I just wanted to get a look at him.
He sees Longfellow over Cobb's shoulder
FARMER
There you are! I just wanted to see what kind
of a man you were!
He struggles to thrust Cobb aside.
221. FULL SHOT
Favoring Longfellow, who has reached the bottom of the staircase and
watches the man warily.
FARMER
(wildly)
I just wanted to see what a man looks like that
can spend thousands of dollars on a party -
while people around him are hungry! The
"Cinderella Man," huh? Did you ever stop to
think how many families could have been fed on
the money you pay out to get on the front
pages?
Cobb forcibly restrains the man.
COBB
Come on! Take him out of here!
FARMER
Let me go!
LONGFELLOW
(an order)
Let him alone.
FARMER
Let me alone!
(threateningly)
If you know what's good for you - you'll let me
get this off my chest!
(to Longfellow)
How did you feel feeding doughnuts to a horse?
Get a kick out of it, huh? Got a big laugh?
(sarcastically)
Did you ever think of feeding doughnuts to
human beings! No!
Longfellow stares at him.
WALTER
(quietly)
Shall I call the police, sir?
LONGFELLOW
No!
(to man)
What do you want!!
FARMER
Yeah - that's all that's worrying you. What do
I want? A chance to feed a wife and kids! I'm a
farmer. A job! That's what I want!
LONGFELLOW
A farmer, eh! You're a moocher, that's what you
are! I wouldn't believe you or anybody else on a
stack of bibles! You're a moocher like all the
rest of them around here, so get out of here!
FARMER
Sure - everybody's a moocher to you. A mongrel
dog eating out of a garbage pail is a moocher to
you!
COBB
(starting to push him towards the door)
This won't do you any good--
The man shoves him away, suddenly whips out a gun and levels it at him.
FARMER
Stay where you are, young feller. Get over
there.
Cobb backs away and the man points the gun at Longfellow, who remains
staring at him, immobilely.
FARMER
(tensely)
You're about to get some more publicity, Mr.
Deeds! You're about to get on the front page
again! See how you're going to like it this
time!
(voice rises)
See what good your money's going to do when
you're six feet under ground. You never thought
of that, did you? No! All you ever thought of
was pinching pennies - you money-grabbing hick!
You never gave a thought to all of those starving
people--
(his voice wavers)
--standing in the bread lines--
(huskily)
--not knowing where their next meal was coming
from! Not able to feed their wife and kids.
(voice breaks)
Not able to--
He can't go on. A sob escapes. He reaches up and brushes away a tear
with a rough hand. It seems to bring him to his senses. He glances
down and seeing the gun in his hand - stares at it in surprise. He
realizes what he was about to do.
FARMER
(scarcely audible)
Oh!
222. MED. SHOT - THE GROUP
The man slumps into a chair and the gun drops to the floor. Cobb bends
quickly and picks it up. Longfellow never moves.
FARMER
(dead voice - staring into space)
I'm glad I didn't hurt nobody. Excuse me.
He turns his head slowly and peers at them with non-seeing eyes, then
suddenly he hides his face in his hands and sobs.
FARMER
(muffled)
Crazy. You get all kinds of crazy ideas.
Longfellow watches him pityingly.
FARMER
Sorry. I didn't know what I was doing.
The rest of it seems to come out of him effortfully - his voice
breaking.
FARMER
Losing your farm after twenty years' work -
seeing your kids go hungry - a game little wife
saying "Everything's going to be all right."
(stridently)
Standing there in the bread lines. It killed me
to take a handout.
(pathetically)
I ain't used to it.
(resigned)
Go ahead and do what you want with me, mister.
(scarcely audible)
I guess I'm at the end of my rope.
He sobs openly. While he was speaking, Longfellow was peering into the
man's face intently. As the man finishes
DISSOLVE TO:
EXT. INTIMATE DINING ROOM
223. CLOSE SHOT
At the table that was all set for Babe. The man sits, eating. He
seriously bends over his food. Longfellow sits opposite him - his
eyes glued on the man, absorbed in profound thought.
MAN [FARMER]
(tentatively)
Can I take some of this home with me?
Longfellow nods.
DISSOLVE TO:
INSERT: NEWSPAPER HEADLINES
"LONGFELLOW DEEDS TO GIVE FORTUNE AWAY
Huge farming district to be divided into ten
acre farms - fully equipped - at a cost of
eighteen million dollars."
WIPE OFF TO:
INSERT: SECOND NEWSPAPER HEADLINE
"DEEDS' PLAN STARTLES FINANCIAL WORLD"
WIPE OFF TO:
INSERT: THIRD NEWSPAPER HEADLINE
"STAFF OF WORKERS INVESTIGATE APPLICANTS"
WIPE OFF TO:
INSERT: FOURTH NEWSPAPER HEADLINE
"THOUSANDS OF UNEMPLOYED STORM DEEDS HOME FOR
FARM DONATIONS"
WIPE OFF TO:
EXT. LONGFELLOW DEEDS' HOME
224. LONG SHOT
A mob of shouting men and women clamor at the gates, being jostled
around by the police.
INT. LONGFELLOW'S DRAWING ROOM
225. FULL SHOT
It has been transformed into an office. Longfellow sits at one end of
the room. Clerks are at several desks. On one side and leading out
into the hall, is a long line of men waiting to be interviewed.
226. MED. SHOT
VOICE
Go on. Step lively.
At Longfellow's desk. He has a two days' growth of beard and looks
worn. Next to him is a clerk. In front of him is an applicant.
LONGFELLOW
(as the camera moves in on him)
Are you married?
APPLICANT
Yes, sir.
LONGFELLOW
Any children?
APPLICANT
No, no children.
LONGFELLOW
All right, Mr. Dodsworth. I think you'll qualify.
(he hands him a form)
Take this to that desk over there for further
instructions.
APPLICANT
(gratefully - exiting)
Thank you very much.
LONGFELLOW
Next, please.
A man steps forward and stands in front of his desk.
227. MED. CLOSE SHOT AT DESK
Longfellow, clerk and applicant.
LONGFELLOW
(to clerk)
How many does that make?
CLERK
You've okayed 819.
LONGFELLOW
(wearily)
Is that all?
CLERK
That's all.
LONGFELLOW
It's going awfully slow. We need 1100 more.
(phone rings)
Hello ... oh, yes. Yes. The water development
seems okay - but I don't like the road layout
yet. Come up tonight about ten and bring the
maps. Right.
He hangs up.
228. WIDER ANGLE
As the farmer in previous sequence approaches.
FARMER
Here's the order for the plows. We got a good
price on them.
LONGFELLOW
That's fine. Thanks. I'll look 'em over later.
FARMER
Oh. Mr. Deeds--
Longfellow looks up. Farmer goes on:
FARMER
--my wife wanted me to tell you she--
(hesitates)
--she prays for you every night.
LONGFELLOW
(embarrassed)
Well, thanks, I - uh--
(to applicant in front of him)
How do you do? What is your name?
RANKIN
George Rankin, sir.
While Longfellow writes--
229. CLOSE SHOT AT A DESK
Cobb is on the phone.
COBB
(into phone)
No! No! We're not buying any bulls. What's that?
Listen, fellow, bull's what I've been selling
all my life!
He slams down the receiver.
INT. CEDAR'S OFFICE
230. MEDIUM SHOT
Cedar behind his desk. In front of him is Henry Semple and his nagging
wife. Cedar shoves a paper in front of Semple.
CEDAR
We have very little time. He's ordered me to
turn everything over to him immediately. We
have to work fast before he disposes of every
penny.
WIFE
See! I told you something could be done. I knew
it all the time. Sign it, dear.
SEMPLE
(hesitating)
We may get into trouble.
WIFE
Oh, don't be so squeamish.
CEDAR
There are millions involved. After all, you
have your legal rights. You're his only living
relatives.
231. CLOSE SHOT AT DESK
As Semple picks up the paper.
SEMPLE
What's it say?
WIFE
That's your agreement with Mr. Cedar, if we win.
CEDAR
You see, my end is going to be rather expensive.
I have a lot of important people to take care
of. I have the legal machinery all set and
ready to go. I've been working on nothing else
for the last week. You say the word, and we'll
stop this yokel dead in his tracks.
WIFE
Sign it!
SEMPLE
Oh, all right.
With the perturbed expression still on his face, Semple reaches over
to sign the document. Simultaneously, Cedar flicks a button on his
dictagraph.
CEDAR
(into dictagraph)
Charlie, we're off! Papers all set?
VOICE
All set.
CEDAR
Okay, then. Go to it.
(afterthought)
And, Charlie--
VOICE
Yeah?
CEDAR
Find out who wrote those newspaper articles and
subpoena them right away.
VOICE
Okay.
DISSOLVE TO:
INT. LONGFELLOW'S DRAWING ROOM
232. MEDIUM SHOT
A large, raw-boned Swede stands before Longfellow.
LONGFELLOW
What is your name?
SVENSON
Christian Svenson.
LONGFELLOW
Farmer?
SVENSON
Yes, ma'am.
LONGFELLOW
Where is your farm?
SVENSON
South Dakota north.
LONGFELLOW
South Dakota - north?
SVENSON
South Dakota - but on the top.
LONGFELLOW
Oh. Oh!
233. WIDER ANGLE
Cobb enters - very businesslike.
COBB
What about your knocking off for lunch?
LONGFELLOW
Not hungry. I want to get through this work in a
hurry, and then I want to go home. What price
did you get on those trucks?
COBB
Come on, come on. What are you trying to do,
kid? Keel over? You haven't been out of this
house in two weeks.
LONGFELLOW
(tired)
Well, maybe I will have a sandwich.
(to Swede)
Do you mind waiting a few minutes?
SVENSON
(undoing paper package)
Oh, sure, sure. If you like to have a sandwich,
I can give you one, please.
He brings out two huge sandwiches, and hands one to Longfellow.
LONGFELLOW
(smiling)
Thanks. Thank you. Never mind, Cobb.
He takes it, and he and the Swede silently eat. Longfellow looks up.
LONGFELLOW
Good.
The Swede smiles. Longfellow nibbles his sandwich, then glances around
the room. His gaze rests on:
234. LONG SHOT
Of the long line of applicants waiting for an audience
235. MEDIUM SHOT
LONGFELLOW
(calls to Cobb)
Cobb! Get lunch for the rest of them.
COBB
(entering)
What? There must be 2000 of them out there.
LONGFELLOW
Well, that doesn't make 'em any less hungry.
COBB
Okay, Santa Claus. 2000 lunches.
He exits. Longfellow glances over at the line, smiling.
236. FULL SHOT
In front of the line there is a slight scuffle, as a man is being
pushed forward by some others. He mumbles a protest, tries to get back
into position, but the men push him forward again.
GROUP
(ad-lib)
Go on, say something. Say something!
237. CLOSEUP - LONGFELLOW
He looks up inquiringly.
238. MED. CLOSE SHOT - MEN IN LINE
The man finally is resigned, and stands shifting, ill-at-ease, his head
hanging bashfully.
MAN
Mr. Deeds, the boys here wanted me to say a
little something. They just wanted me to say
that--
(clears his throat)
Well, they wanted me to say that--
(quickly gets it out)
We think you're swell - and that's no baloney.
MAN'S VOICE
Say something more!
239. CLOSE SHOT - LONGFELLOW
He smiles self-consciously.
240. MED. CLOSE SHOT OF MEN
The spokesman apparently has not finished yet. Directly behind the
line, three officious looking men have made their appearance and wait
for him to conclude.
MAN
Give me a chance, fellas. We're all down and
out but when a fellow like you comes along,
kinda gives us a little hope - and they just
wanted me to say--
It's as far as he gets - as the three strangers break their way
through the line and approach Longfellow's desk.
ONE OF THE SHERIFFS
(ad-lib)
Break it up.
241. MED. SHOT AT DESK
FIRST DEPUTY SHERIFF
(pointing to Longfellow)
That's him.
2ND DEPUTY SHERIFF
Are you Longfellow Deeds?
LONGFELLOW
(looks up)
Yes?
FIRST DEPUTY SHERIFF
Sheriff's office.
(shows paper)
We've got a warrant to take you into custody.
LONGFELLOW
(without moving)
A what?
FIRST DEPUTY SHERIFF
A warrant for your arrest. You'll have to come
along with us.
Cobb enters.
COBB
What's up? What do you mugs want?
FIRST DEPUTY SHERIFF
I don't know nothing, buddy. All I know is the
Sheriff gives me an insanity warrant to execute.
COBB
Insanity! Who's says he's insane?
They all turn to Charlie, who comes forward.
CHARLIE
The complainant is a relative of the late
Martin Semple. The charges are that Mr. Deeds
is insane and incapable of handling the Estate.
COBB
Oh, somebody got panic-stricken about his
giving his dough away, eh?
(to sheriff)
Where do you think you're going to take him?
FIRST DEPUTY SHERIFF
To the County Hospital.
CHARLIE
Of course, that's only temporary. A hearing
will follow immediately.
242. CLOSEUP - LONGFELLOW
As he speaks quietly.
LONGFELLOW
That's fine. Just because I want to give this
money to people who need it, they think I'm
crazy.
(cynically)
That's marvelous. That makes everything
complete.
243. WIDER ANGLE
To include group.
FIRST DEPUTY SHERIFF
Let's get going!
COBB
Wait a minute! Not so fast. We're going to get
a lawyer. I'll call Cedar.
LONGFELLOW
(thoroughly disillusioned)
No, don't bother.
CHARLIE
As a matter of fact, I'm from Mr. Cedar's
office. He represents the complainant.
COBB
Oh.
Longfellow glances up at him and smiles bitterly.
FIRST DEPUTY SHERIFF
Well, let's go. We're wasting a lot of time.
He goes to one side of Longfellow, and his partner to the other.
They take Longfellow by the arms. He glances down casually and,
suddenly, violently pushes the deputies away from him. They are thrown
backward; their eyes widen in surprise.
LONGFELLOW
(calmly rising)
All right, I'll go. But get your hands off me!
244. MEDIUM SHOT
Longfellow starts to walk forward, accompanied by Cobb - and the two
deputies and Charlie falls in behind them.
THE SHERIFFS
(ad-lib)
Make way! Make way!
245. CLOSE SHOTS OF CLERKS
To be intercut with above scene. They stare, petrified, and mumble to
each other.
246. MEDIUM SHOT
Of the farmers and other applicants. The line has fallen out and they
stand in a bunch, staring pathetically and hopelessly at the departing
group.
247. CLOSEUP OF THE FARMER
Who stands in f.g. of bunch. What is taking place has slowly
penetrated his befuddled brain. The disappointment he feared is here.
His body imperceptibly sags, his eyes dim - all hope having gone out
of them.
FADE OUT:
FADE IN
INSERT: SIGN reading: "COUNTY HOSPITAL"
DISSOLVE THRU TO:
INT. CORRIDOR OF HOSPITAL
248. MEDIUM SHOT
A guard sits at a desk near a door, talking on the telephone.
GUARD
(on phone)
Yes, most everybody in town has been here to see
him. Yes, sir. I won't. Goodbye--
Babe rounds the corner quickly, heading for the door. The guard
hurriedly hangs up and stands to block her.
GUARD
Sorry, lady--
(recognizes her)
Oh, it's you again.
BABE
Oh, please! I've got to see him.
GUARD
Now listen, sister, for the fourteenth and last
time he don't want to see nobody.
BABE
(pleading)
Will you just give him my name?
GUARD
(confidentially)
Listen, toots, just between us, there ain't a
thing in the world the matter with that guy till I
mention your name, then he goes haywire!
Babe winces under the blow.
INT. HOSPITAL ROOM
249. MEDIUM SHOT
Longfellow is seated by the far wall, peering moodily out the window.
Cobb paces about. Suddenly, he wheels on Longfellow.
COBB
What are you going to do - just sit back and let
them railroad you? It's as pretty a frameup as
ever hit this rotten town! If you'd just let me
get you a lawyer!
Longfellow pays no attention to him.
250. MED. CLOSE SHOT
As Cobb continues.
COBB
(raises his voice)
You can't walk into that courtroom without
being ready to protect yourself in the clinches.
Cedar's too smart. With the array of talent
he's got lined up against you - you're cooked!
Longfellow is still unresponsive. Cobb thinks a moment, watching him
studiously; then pleading tenderly:
COBB
Listen, pal - I know just how you feel. A
blonde in Syracuse put me through the same
paces. I came out with a sour puss - but full
of fight. Come on, you don't want to lay down
now.
Longfellow is still unresponsive.
COBB
Do you realize what's happening? They're trying
to prove that you're nuts! If they win the case,
they'll shove you in the bughouse. The moment
they accuse you of it, they have you half
licked. You've got to fight!
Longfellow disregards him and Cobb sighs, resignedly.
INT. CORRIDOR OUTSIDE DOOR
251. MED. CLOSE SHOT
The guard is reading his paper. Babe is still waiting, pacing.
GUARD
Go on, sit down, won't you?
252. MED. CLOSE SHOT AT DOOR
As Cobb comes out. The guard gets up to check the door is locked.
GUARD
So long, Mr. Cobb.
Cobb, in a troubled frame of mind, doesn't respond and starts down
corridor - CAMERA TRUCKS WITH HIM. Babe catches up with him.
BABE
Corny!
Cobb doesn't stop. Babe grabs his arm:
BABE
Corny!
Cobb stops.
253. CLOSE TWO SHOT
Cobb glares at Babe belligerently.
BABE
I've got to see him! I've got to talk to him!
COBB
Haven't you done enough damage already?
BABE
(ignoring his attack)
Somebody's got to help him! He hasn't got a
chance against Cedar. Look, I've been all over
town talking to everybody. I've got Mac all
lined up - and the paper's behind him. And I
can get him Livingston, too. With a lawyer like
Livingston, he's got a fighting chance.
COBB
(coldly)
You're wasting your time. He doesn't want any
lawyers. He's sunk so low, he doesn't want help
from anybody.
(bitterly)
You can take a bow for that.
(huskily)
As swell a guy as ever hit this town, and you
crucified him! For a couple of stinking
headlines! You've done your bit - now stay out
of his way!
He exits abruptly, leaving Babe staring despairingly at his
disappearing back, his brutal diatribe ringing harshly in her ears.
FADE OUT:
FADE IN
INSERT: NEWSPAPER HEADLINES
"DEEDS SANITY HEARING TODAY!
Semple Heir Charged With Incompetency!
'Should Be Confined To An Institution,'
Declares Cedar.
"Longfellow Deeds Refuses Counsel; Remains
Incommunicado."
"Farmers Aroused At Efforts to Balk Their
Benefactor."
"Police Surround Courthouse In Anticipation
Of Outbreak."
DISSOLVE TO:
EXT. COURTHOUSE
254. LONG SHOT
Of an unruly mob - being jostled by the police.
INT. CORRIDOR OF COURTHOUSE
255. LONG SHOT
The corridor is jammed with curious public endeavoring to gain
entrance. Perspiring police fight to keep them back.
INT. COURTROOM
256. FULL SHOT
It is practically full. The few empty seats are being quickly filled.
People stumble over each other to find a seat. The judge is not yet at
his bench. There is a general chatter of excitement and anticipation.
257. MED. SHOT - FRONT OF COURTROOM
Among the spectators Babe sits beside Mac. She stares, expressionless.
Mac glances at her sympathetically.
258. MED. SHOT
Featuring the farmer who broke into Longfellow's house. Near him is
the Swede we saw - and others.
259. SHOT INSIDE RAILING
Cedar and his assistants arrange their papers. Two dignified gentlemen,
psychiatrists, await action, arms folded. Near them is Henry Semple,
the complainant, his nose twitching nervously. By his side is his
wife, sparkling expectantly.
260. SHOT AT LONG TABLE
At which sit a dozen newspaper reporters.
261. MED. CLOSE SHOT
From a side door Longfellow enters, accompanied by his guard.
Immediately the place is astir. As he advances to a chair in front of
a table--
262. MED. FULL SHOT - COURTROOM
Necks crane for a glimpse. Whispered conversations take place.
263. CLOSE SHOT - HENRY SEMPLE
He looks guilty, nose twitching more violently than ever.
SEMPLE
(to Cedar)
Here he is!
264. CLOSE SHOT - BABE AND MAC
Babe sits up, her eyes riveted on Longfellow. Impulsively she starts
to rise, but Mac puts a restraining hand on her.
265. MED. CLOSE SHOT
Longfellow turns neither to left nor right. He is slumped low in his
chair, staring solemnly into space. Cobb breaks into scene and sits
down beside him.
COBB
(full of excitement)
Cedar just sent for me. Wants to make a
settlement. Here's your chance to get out of
the whole mess. What do you say?
He gets no response from Longfellow.
There is a stir in the courtroom.
266. MED. LONG SHOT
The bailiff calls out as the judge proceeds to his bench.
BAILIFF
Quiet, please! The Supreme Court of the State of
New York, County of New York, is now in session,
the Honorable John May, Judge, presiding. Be
seated.
267. MED. CLOSE SHOT
To include Judge and Longfellow.
JUDGE
The court wishes to warn those present that it
will tolerate no disturbances.
(to Longfellow)
Regarding the sanity hearing of Longfellow
Deeds, are you represented by counsel, Mr.
Deeds?
Almost imperceptibly, Longfellow shakes his head no. The Judge looks
troubled. There is a stir in the courtroom.
JUDGE
I understand that you have no counsel, Mr.
Deeds. In fact, that you have no intention of
defending any of these charges. Now, if you
wish to change your mind, the hearing can be
postponed.
Getting no response from Longfellow, the Judge shrugs his shoulders.
JUDGE
Proceed.
DISSOLVE TO:
INT. COURTROOM
268. MEDIUM SHOT
Cedar is on his feet.
CEDAR
(addressing the court)
--and in the interests of my client, the only
other living relative of the late Martin W.
Semple, we cannot permit a fortune so huge to
be dissipated by a person whose incompetency
and abnormality we shall prove beyond any
reasonable doubt.
269. PANNING SHOT OF SPECTATORS
CEDAR'S VOICE
I have before me a series of articles written
by a newspaper woman who was an eyewitness to
his conduct ever since he came to New York.
CAMERA STOPS on Babe and Mac. Cedar's voice goes on:
CEDAR
She tells how, in the midst of a normal
conversation, he would suddenly begin playing
his tuba. She tells of his attacks upon several
of our eminent writers - for no apparent reason.
In fact, there are many instances not recorded
in these articles in which Mr. Deeds satisfied
an unnatural desire to smash people up without
provocation.
270. MED. SHOT - FRONT OF COURTROOM
CEDAR
I, myself, unable to keep pace with his mental
quirks, and constantly fearful of assault,
turned down an opportunity to represent him as
his attorney. This newspaper woman, whom we
have subpoenaed to testify, tells how he tied
up traffic for an hour feeding doughnuts to a
poor horse. And by his own statement, waiting
for that horse to ask for a cup of coffee.
There is laughter in the courtroom - which quickly subsides when the
Judge pounds his gavel
CEDAR
We have photographs to substantiate this little
episode, and other photographs showing Mr.
Deeds jumping upon a fire engine. This scarcely
sounds like the action of a man in whom the
disposition of twenty million dollars may safely
be entrusted. This writer of these articles -
a woman whose intelligence and integrity in the
newspaper world is unquestioned - held him in
such contempt that she quite aptly named him
"The Cinderella Man."
271. CLOSEUP - LONGFELLOW
CEDAR'S VOICE
We have witnesses here from Mandrake Falls, his
own home town, who will tell of his conduct
throughout his lifetime, proving that his
derangement is neither recent nor a temporary
one.
Longfellow's interest is only slightly aroused. He lifts his eyes in
a casual glance around him.
272. MED. CLOSE SHOT
Featuring Cedar.
CEDAR
We have others who will tell of his unusual
behavior when he invited the great leaders of
the musical world to his home, and then
proceeded to forcibly eject them. Only recently
when he was in the County Hospital for
observation, he not only refused to be examined
by these gentlemen, the state psychiatrists, but
he actually made a violent attack upon them.
273. CLOSE SHOT - THE JUDGE
As Cedar continues talking, CAMERA PULLS BACK to WIDER SHOT.
CEDAR
In these times, with the country incapacitated
by economic ailments, and endangered with an
undercurrent of social unrest, the promulgation
of such a weird, fantastic and impractical plan
as contemplated by the defendant, is capable of
fomenting a disturbance from which the country
may not soon recover. It is our duty to stop it!
Our government is fully aware of its
difficulties and can pull itself out of its
economic rut without the assistance of Mr.
Deeds, or any other crackpot.
274. MED. PANNING SHOT
Of farmers, the Swede and others.
CEDAR'S VOICE
His attempted action must therefore be
attributed to a diseased mind afflicted with
hallucinations of grandeur, and obsessed with
an insane desire to become a public benefactor.
275. CLOSE SHOT AT FRONT OF COURTROOM
Featuring Cedar.
CEDAR
(suddenly)
Your Honor, at this time, we would like to call
our first witness: Miss Louise - Babe - Bennett.
276. FULL SHOT
There is a mild stir, and all wait expectantly for Babe to appear.
CLERK
Miss Bennett, please.
Babe, eyes on Longfellow, slowly walks to the stand.
277. CLOSEUP - LONGFELLOW
He has his face averted and doesn't look at her.
278. MEDIUM SHOT
Babe continues to rivet her eyes on Longfellow, as she is sworn in.
CLERK
Raise your right hand, please.
She does so.
CLERK
Do you solemnly swear the testimony you may
give before this court to be the truth, the
whole truth and nothing but the truth, so help
you God?
BABE
I do.
CLERK
State your right name, please.
BABE
Louise Bennett.
CLERK
Take the stand.
279. MED. CLOSE SHOT AT WITNESS STAND
As Cedar steps up to question Babe. Judge in f.g.
CEDAR
Miss Bennett, are you employed by the Morning
Mail?
There is no answer. Babe continues to stare off at Longfellow, hoping
he will look up. Cedar speaks to her again:
CEDAR
I must ask you to direct your attention to me.
But Babe's attention remains focused on Longfellow.
BABE
(appealing to Judge)
Your Honor, this is ridiculous!
JUDGE
Please answer the questions.
BABE
(wildly)
The whole hearing's ridiculous! That man's no
more insane than you are.
The suddenness of her outbreak is startling. The Judge pounds his
gavel.
280. WIDER ANGLE - FRONT OF COURTROOM
The judge pounding his gavel.
JUDGE
Miss Bennett, please!
CEDAR
This is outrageous!
BABE
(rising to stand)
It's obviously a frameup. They're trying to
railroad this man for the money they can get
out of him!
CEDAR
Your Honor!
The Judge pounds his gavel throughout her speech.
JUDGE
(highly)
Young lady, another outburst like that and I
shall hold you in contempt! We're not interested
in your opinion of the merits of this case.
You're here to testify. Sit down and answer the
questions. Proceed.
Cedar beams victoriously.
CEDAR
Thank you, Your Honor. Are you employed by the
Morning Mail?
BABE
(sharply)
No!
Cedar's eyes widen in surprise. There is a light stir.
CEDAR
(threateningly)
You are under oath, Miss Bennett. I ask you
again - are you employed by the Morning Mail?
BABE
(irritably)
No! I resigned last week!
281. CLOSE SHOT - LONGFELLOW
As Cedar proceeds without interruption.
CEDAR'S VOICE
Well, prior to that time were you employed by
the Morning Mail?
BABE'S VOICE
(laconically)
Yes.
282. CLOSE SHOT AT WITNESS STAND - BABE AND CEDAR
CEDAR
Were you given an assignment to follow the
activities of Longfellow Deeds?
BABE
Yes.
CEDAR
Did you subsequently write a series of articles
about him?
BABE
Yes!
CEDAR
(holding them up)
Are these the articles?
BABE
Yes!
CEDAR
Were you present when all these things took
place?
BABE
Yes!
CEDAR
Are they true!
BABE
NO!
CEDAR
But they did take place?
BABE
They're colored! Just to make him look silly!
CEDAR
And you saw them happen?
BABE
Yes, but I--
CEDAR
(preemptorily)
That's all, Miss Bennett.
BABE
(half shrieking)
It isn't all! I'd like to explain--
CEDAR
(brusquely)
That's all, Miss Bennett. That's all.
283. MEDIUM SHOT
A bailiff takes Babe by the arm.
BAILIFF
Come on, miss - come on!
CEDAR
(simultaneously, to Judge)
Your Honor, I'd like to submit these articles
as evidence.
Babe struggles away from the bailiff.
BABE
(frantically)
Let go of me!
(steps up to Judge; wildly)
What kind of hearing is this? What are you
trying to do - persecute the man? He's not
defending himself. Somebody's got to do it!
Throughout her tirade, the Judge has been angrily pounding his gavel.
JUDGE
Miss Bennett, please!
284. CLOSER SHOT
Featuring Babe and Judge.
BABE
I've got a right to be heard! I've attended
dozens of cases like this. They're usually
conducted without any formality at all.
Anybody can be heard! My opinion is as good as
these quack psychiatrists. I know him better
than they do.
JUDGE
Miss Bennett, if you have quite finished, I
should like to inform you that one more
utterance from you and I shall place you under
arrest.
(leans back)
I'm willing to hear anything anyone has to say
but I insist on it being done in an orderly
fashion. When you have learned to show some
respect for this court, you may return.
(dismissing her)
Until then, you'd better go back to your seat
and calm down.
BAILIFF
This way, miss.
285. WIDER ANGLE
As Babe is led away, there is another courtroom stir.
BAILIFF'S VOICE
Order in the court!
When Babe is out of sight, the Judge turns to Longfellow.
JUDGE
Mr. Deeds, have you anything to say in defense
of these articles?
286. CLOSE SHOT - LONGFELLOW AND COBB
Longfellow shakes his head. Cobb glances to him helplessly.
287. CLOSE SHOT - JUDGE
He shrugs.
288. CLOSE SHOT - BABE
As she sits down beside Mac - who places an affectionate arm around
her shoulders.
JUDGE
Mr. Deeds?
(again no reply)
Mark these Exhibit A for the plaintiff.
CLERK
Yes, Your Honor.
JUDGE
Proceed.
DISSOLVE TO:
289. MED. SHOT - FRONT OF COURTROOM
Two old ladies are being led to the witness stand. Their eyelids
flutter excitedly as they go.
290. CLOSE SHOT - LONGFELLOW
He looks up, sees the old ladies and smiles at them friendily.
291. MED. CLOSE SHOT AT JUDGE'S BENCH
Against the drone of the clerk, who swears witnesses in:
CEDAR
The Falkner sisters are rather timid, Your Honor,
and wish to be together. If the court pleases, I
will only have one of them testify.
JUDGE
(impatiently)
Yes! Yes! Let's get on with it.
Cedar turns to them.
292. MED. CLOSE SHOT AT WITNESS STAND
As Cedar addresses one of the old ladies.
CEDAR
What is your name, please?
JANE
Jane Falkner. This is my sister, Amy.
AMY
(agreeing)
Amy. Yes.
CEDAR
I'll direct my questions to you, Miss Jane.
You can answer for both. Do you know the
defendant, Mr. Longfellow Deeds?
The two old ladies look at each other, then in the direction in which
Cedar points.
JANE
Oh yes, yes - of course we know him.
CEDAR
(a little nervously)
How long have you known him?
Jane turns to her sister, and they whisper to each other.
JANE
(turns to Cedar)
Since he was born.
AMY
Yes. Elsie Taggart was the midwife.
JANE
He was a seven-months baby.
CEDAR
Thank you, that's fine. Do you see him very often?
The two old ladies have their whispered conference again.
JANE
Most every day.
AMY
Sometimes twice.
JUDGE
(irascibly)
Must we have the echo?
CEDAR
Suppose you just answer, Miss Jane. Now, will you
tell the Court what everybody at home thinks of
Longfellow Deeds?
The two old ladies consult each other once more.
JANE
They think he's pixilated.
AMY
Oh yes, pixilated.
JUDGE
(leaning forward)
He's what?
CEDAR
(concerned)
What was that you said he was?
JANE
Pixilated.
AMY
Uh-huh.
CEDAR
(patiently)
Now, that's a rather strange word to use, Miss
Jane. Can you tell the court exactly what it
means?
While the two ladies go into a huddle:
293. CLOSE SHOT - PSYCHIATRISTS
As one of them speaks up.
PSYCHIATRIST
Perhaps I can explain, Your Honor. The word
pixilated is an early American expression -
derived from the word 'pixies,' meaning elves.
They would say, 'The pixies had got him,' as
we nowadays would say a man is 'balmy.'
294. MEDIUM SHOT
The Judge nods his understanding. The Falkner sisters nod in pleasant
agreement. Cedar sighs victoriously.
CEDAR
Is that correct?
JANE
Uh-huh.
AMY
Uh-huh.
JUDGE
Now tell me, why does everyone think he's - uh -
pixilated? Does he do peculiar things?
295. MED. SHOT TOWARD WITNESS STAND
JANE
(after conferring with Amy)
He walks in the rain, without his hat, and
talks to himself.
AMY
Sometimes he whistles.
JANE
And sings.
CEDAR
Anything else?
JANE
Recently he gave Chuck Dillon a thumping.
AMY
Blacked his eye.
CEDAR
And why?
JANE
For no reason, I guess. He always does it. We
always run into the house when we see him
coming.
AMY
Never can tell what he's going to do.
JANE
He sure is pixilated.
AMY
Oh, yes - he's pixilated all right
CEDAR
Thank you, ladies. That's all.
Cedar beams. The old ladies leave to resume their seats.
DISSOLVE TO:
296. CLOSE SHOT IN WITNESS STAND
A Policeman in uniform.
POLICEMAN
They kept hollering: "Back to Nature! Back to
Nature!" I thought they looked harmless enough
so I took them home. I never thought he was
cracked.
WIPE OFF TO:
297. CLOSE SHOT IN WITNESS STAND
The waiter at "Tullio's."
WAITER
I'm a waiter. He kept pressing me to point out
the celebrities, and so help me Hannah I'm
coming out of the kitchen a coupla minutes
later and there he is moppin' up the floors
with them. I never figured he was a guy
looking for trouble.
WIPE OFF TO:
298. CLOSE SHOT IN WITNESS STAND
Mme. Pomponi.
MME. POMPONI
(expostulating)
He threw us out bodily! But bodily!
WIPE OFF TO:
299. MED. CLOSE SHOT IN WITNESS STAND
Of one of the bodyguards on witness stand.
BODYGUARD
We was hired as his bodyguard, see? Well, the
first crack out of the box, he throws us in a
room and locks the door, see? Now, if a thing
like that gets around in our profession, we'd
get the bird - see? So I says to my partner,
"Let's quit this guy, he's nuts!"
WIPE OFF TO:
300. CLOSE SHOT IN WITNESS STAND
A Cockney cabman.
CABMAN
I'm very fond of Clara, sir. She's a nice 'orse.
And when this bloke 'ere started feedin' 'er
doughnuts, I yelled down to him, "Mind what
you're doin' down there! Mind what you're
doing!" Of course I wouldn't mind, sir, but
Clara won't eat nothin' but doughnuts, now.
WIPE OFF TO:
301. WIDE SHOT
Of one of the photographers (Bob) and enlarged photographs of
Longfellow's antics.
BAILIFF'S VOICE
Come to order.
CEDAR
Your Honor, I wish to call your attention to
these exhibits. Mr. Davis, do you recognize
these reproductions?
BOB
Sure, they're good enlargements. Where'd you
have them made?
CEDAR
Did you make the originals of them?
BOB
Sure. I took the originals. Taking pictures is
my business. I photograph a lot of nuts.
WIPE OFF TO:
As Cedar speaks.
CEDAR
And now, Your Honor, if the court pleases, I
shall call upon Dr. Emil Von Holler, if he will
be good enough to give us his opinion. Dr. Von
Holler, as you know, is the eminent Austrian
psychiatrist - probably the greatest authority
on the subject in the world. At present he is
in this country on a lecture tour, and has
graciously volunteered his services. Dr. Von
Holler?
While he is still speaking,
VOICE OF BAILIFF
Dr. Von Holler!
DISSOLVE TO:
302. WIDER ANGLE
As the clerk finishes swearing Dr. Von Holler in.
CLERK
Do you solemnly swear the testimony you are
about to give in the case now pending before
this court shall be the truth, the whole truth
and nothing but the truth, so help you God?
State your right name, please.
VON HOLLER
(a slight Austrian accent)
Emil Von Holler.
CLERK
Take the stand.
303. MED. CLOSE SHOT AT WITNESS STAND
On Von Holler and Cedar.
CEDAR
Now Dr. Von Holler will you kindly tell the
court what your opinion is on this case?
VON HOLLER
This is purely a case of manic depression. In
cases of this kind, patients sometimes go on
for years before being detected.
He turns to one of the psychiatrists, sitting with the Judge.
VON HOLLER
You remember, Dr. Fosdick, in my last book there
are some very fine examples.
DR. FOSDICK
(nodding)
Uh-huh.
VON HOLLER
Especially, the one of the young nobleman, you
remember?
DR. FOSDICK
Oh, yes. Yes, of course Dr. Von Holler. Very
interesting.
VON HOLLER
It reminds me very much of this one. Nicht wahr?
DR. FOSDICK
Ja.
VON HOLLER
It takes so long to detect them--
(to Judge)
--because their mood changes so often and so
quickly. Now, Your Honor, may I show you? May I
use the chart?
JUDGE
By all means.
He moves to a blackboard. There are chalk marks on it. A straight line
runs diagonally across the center. Other lines run zig-zag over and
below this center line.
VON HOLLER
(indicating chart)
Below here, they are extremely depressed,
melancholy, impossible to live with, and
often become violent.
(running a line up)
From this mood the manic depressive might
gradually change until they reach this state.
(he reaches the center line)
Here is lucidity. Here they are perfectly
normal. As normal as you or I--
(smiling)
--assuming, of course, that we are normal.
(he starts up with chalk)
Then, the mood changes again until--
(chalk reaches top)
--they reach this state, a state of highest
exaltation. Here everything is fine. Here the
world is beautiful. Here they are so elated -
how do you express it?
(quickly, as it comes to him)
--they would give you the shirt off their
backs!
CEDAR
Dr. Von Holler, how would you say that applied
to Mr. Deeds's case?
VON HOLLER
The symptoms are obvious.
(points to top line)
When he was here, on top of the wave, he felt
nothing but kindliness and warmth toward his
fellow-men. He wanted them around him. So he
decided he would give a big reception. But in
the meantime, his mood has changed.
(chalk goes down)
He is now at the bottom of the wave - depressed
- melancholy. So, when his guests arrive, he
throws them out. They are now his imaginary
enemies.
304. CLOSE SHOT - LONGFELLOW
As Von Holler's voice continues:
VON HOLLER'S VOICE
Other instances of high elation are when he
plays his tuba, when he writes his poetry, when
he chases fire engines in his desire to help
humanity. This is contrasted with his present
mood, which is so low that even the instinct
for self-preservation is lacking.
305. MED. SHOT FRONT OF COURTROOM
Von Holler still continues:
VON HOLLER
Oh, the man is verrukt. Your Honor, this is
decidedly a case of a manic depressive.
CEDAR
Thank you, Dr. Von Holler.
Dr. Von Holler returns to his seat.
306. FULL SHOT - COURTROOM
CEDAR
Your Honor, we rest.
There is a shifting of bodies, and a renewed interest, as they wait
for the next move. The Judge and his own two experts go into an
inaudible huddle.
307. CLOSE SHOT - COBB AND LONGFELLOW
Longfellow is slumped in his seat, head down.
COBB
Come on, what're you going to do? Let them get
away with it? They got you cooked.
Longfellow does not budge.
There is an expectant stir in the courtroom among the spectators and
rows of reporters.
308. MED. CLOSE SHOT - THE JUDGE AND HIS EXPERTS
Judge comes out of his huddle and glances at Longfellow.
JUDGE
(leaning forward)
Mr. Deeds, before the court arrives at a
decision, isn't there anything you wish to say?
309. CLOSE SHOT - LONGFELLOW AND COBB
Longfellow shakes his head slightly.
COBB
(whispering)
Come on - don't be a sap!
CONTINUATION SCENE 308
The Judge watches him a few moments, hesitatingly, and then turns to
his experts.
310. MED. SHOT - NEWSPAPER REPORTERS
A REPORTER
He's sunk.
311. CLOSE SHOT - CEDAR AND HIS CLIENTS, ASSISTANTS ETC.
They smirk confidently.
312. CLOSE SHOT - BABE AND MAC
She stares, panic-stricken.
313. MED. SHOT
Of the Swede, the farmer, and others. Their faces show their
resentment.
314. MED. SHOT FRONT OF COURTROOM
JUDGE
(to the two experts)
You both concur?
EXPERTS
(ad-lib)
Oh, positively.
The Judge emerges from his consultation with his experts and
addresses Longfellow.
JUDGE
Mr. Deeds, in view of the extensive testimony
and your continued silence and upon
recommendation of the doctors, the Court
considers it advisable for your own safety that
you be committed to an institution as prescribed
by law. You need medical attention, Mr. Deeds.
(shrugs)
Perhaps in a little while--
Suddenly the air is rent with the shrill voice of Babe.
BABE
No! No! No! Wait a minute!
All are startled and look up. Babe runs right to the judge.
BABE
You can't do it! You've got to make him talk.
CEDAR'S VOICE
Your Honor, I object!
She turns directly to Longfellow - leaning over close to him.
315. CLOSE SHOT - BABE AND LONGFELLOW
BABE
(pleading softly)
Oh, darling, please. I know everything I've
done. I know how horrible I've been. No matter
what happens, if you never see me again, do
this for me.
JUDGE'S VOICE
Miss Bennett, please!
BABE
(frantically)
You said I could speak! You said I could have
my say if I were rational. I'm rational. Please,
let me take the witness chair.
316. WIDER ANGLE
BABE
He must be made to defend himself before you
arrive at a decision.
JUDGE
Very well. Take the stand.
Babe goes up to the witness stand and sits down.
BABE
Oh, thank you!
CEDAR
(shouting)
Your Honor, what she is saying has no bearing
on the case. I object.
JUDGE
Let her speak.
BABE
I know why he won't defend himself! That
has a bearing on the case, hasn't it? He's been
hurt! He's been hurt by everybody's he met
since he came here, principally by me. He's
been the victim of every conniving crook in
town. The newspapers pounced on him - made him
a target for their feeble humor.
317. CLOSE SHOT - BABE
BABE
I was smarter than the rest of them! I got
closer to him so I could laugh louder. Why
shouldn't he keep quiet? Every time he said
anything it was twisted around to sound
imbecilic.
318. CLOSEUP BABE
As she continues
BABE
He can thank me for it! I handed the gang a
grand laugh. This is a fitting climax to my
sense of humor.
319. WIDER ANGLE
As Cedar protests.
CEDAR
But Your Honor - this is preposterous!
The judge waves him down with a dismissing gesture of his hand.
BABE
Certainly I wrote those articles. I was going
to get a raise - and a month's vacation! But I
stopped writing them when I found out what he
was all about! When I realized how real he was.
320. CLOSE SHOT - LONGFELLOW
As Babe's voice continues:
BABE'S VOICE
He could never fit in with our distorted
viewpoint because he's honest and sincere - and
good. If that man is crazy, Your Honor, the
rest of us belong in straight-jackets.
321. MED. SHOT
Cedar jumps up.
CEDAR
Your Honor, this is absurd. The woman's
obviously in love with him.
BABE
What's that got to do with it?
CEDAR
(shouting)
Well, you are in love with him, aren't you?
BABE
(shouting back)
What's that got to do with it?
CEDAR
(louder)
You are, aren't you?
BABE
(just as loud)
Yes!!!
322. CLOSEUP - LONGFELLOW
To be intercut during her speech. At first he merely glances up at
her speculatively. Finally, he begins to show some interest.
323. MED. SHOT FRONT OF COURTROOM
Cedar turns to the Judge.
CEDAR
Your Honor, her testimony is of no value. Why
shouldn't she defend him? It's a tribute to
American womanhood - the instinct to protect
the weak. I'm not saying that nobody likes the
boy. I cherish a fond affection for him myself.
But that doesn't mean to say--
In the middle of his speech, Mac - the editor - appears at his elbow.
MAC
When the windbag here gets through, Your Honor,
I'd like to verify what Miss Bennett said. I'm
her editor. When she quit her job, she told me
what a swell fellow this man was. And anything
Babe Bennett says is okay with me.
JUDGE
If you have anything to say, you will take the
stand.
MAC
I've already said it, Your Honor. I just
thought I'd like to get my two cents in.
As he starts to go, CAMERA PANNING WITH HIM, he passes Longfellow. He
nudges him.
MAC
Don't be a sucker, pal. Stand up and speak your
piece.
He disappears to his seat.
COBB
Your Honor. I've got a couple of cents I'd like
to put in--
JUDGE
Sit down!
COBB
I've been with this man ever since he came to
New York--
324. MED. SHOT
Shooting toward the judge. He pounds his gavel, interrupting Cobb.
JUDGE
Sit down! There will be no further
interruptions.
Almost simultaneously with the Judge's speech, the farmer, somewhere
in the audience, rises to his feet.
FARMER
How about us, Mr. Deeds!
325. MED. SHOT
Shooting toward audience. As the farmer finishes, a dozen others are
on their feet.
CROWD
(ad-lib)
Yes! What about us, Mr. Deeds!
You're not going to leave us out in the cold!
They're trying to frame you, Mr. Deeds!
The turmoil is general, with bailiffs running to quiet them. The Judge
pounding his gavel, incensed.
BAILIFF'S VOICE
Order! Order!
JUDGE
(when quiet reigns)
In the interest of Mr. Deeds, I have tolerated
a great deal of informality. But if there is
one more outburst, I shall have the courtroom
cleared.
LONGFELLOW
Your Honor--
JUDGE
(surprised)
Yes?
LONGFELLOW
I'd like to get in my two cents' worth.
JUDGE
Take the stand!
There is a general stir of excitement - and whispering.
326. CLOSE SHOT - BABE
Her eyes sparkle happily.
327. CLOSE SHOT - CEDAR AND CLIENTS
The clients look up at Cedar, concerned. Cedar comforts them with a
confident grimace.
328 MED. SHOT
To include Longfellow, Judge, and others around them. Longfellow
hesitates.
JUDGE
Proceed.
LONGFELLOW
Well, I don't know where to begin. There's been
so many things said about me that I--
329. CLOSE SHOT AT WITNESS STAND
Longfellow continues:
LONGFELLOW
About my playing the tuba. Seems like a lot of
fuss has been made about that. If a man's
crazy just 'cause he plays the tuba, then
somebody better look into it, 'cause there are
a lot of tuba players running around loose. Of
course, I don't see any harm in it. I play mine
whenever I want to concentrate. That may sound
funny to some people - but everybody does
something silly when they're thinking. For
instance, the Judge here is an O-filler ...
330. WIDER ANGLE
Front of courtroom.
JUDGE
A what?
LONGFELLOW
An O-filler. You fill in all the spaces in the
O's, with your pencil.
(points to desk)
I was watching you.
The Judge looks down at a paper in front of him.
INSERT: OF A PRINTED DOCUMENT
Of some sort. All the O's and P's and R's have the white spaces
pencilled in.
331. CLOSEUP - JUDGE
As he looks up from the document. He is a trifle self-conscious.
Laughter comes from the courtroom.
LONGFELLOW'S VOICE
That may make you look a little crazy, Your
Honor, just sitting around filling in O's - but
I don't see anything wrong 'cause that helps
you to think. Other people are doodlers.
JUDGE
Doodlers?
332. MED. SHOT - FRONT OF COURTROOM
LONGFELLOW
That's a name we made up back home for people
who make foolish designs on paper when they're
thinking. It's called doodling. Almost
everybody's a doodler. Did you ever see a
scratch pad in a telephone booth? People draw
the most idiotic pictures when they're thinking.
Dr. Von Holler, here, could probably think up a
long name for it, because he doodles all the
time.
Dr. Von Holler, who is in the middle of some doodling, flinches. A
roar of laughter comes from the spectators. Longfellow reaches over
to where Dr. Von Holler sits and picks up a piece of paper.
LONGFELLOW
(to Dr. Von Holler)
Thank you.
(returning to the stand)
This is a piece of paper he was scribbling on.
(scrutinizes it)
I can't figure it out. One minute it looks like
a chimpanzee - and the next minute it looks
like a picture of Mr. Cedar.
(hands it to him)
You look at it, Judge.
The Judge, with a serious mien, takes the paper.
INSERT: OF PAPER
It is a doodle face.
BACK TO SCENE:
Dr. Von Holler is somewhat uncomfortable.
LONGFELLOW
Exhibit A - for the defense.
(after a pause)
Looks kind of stupid, doesn't it, Your Honor?
But I guess that's all right if Dr. Von Holler
has to doodle to help him think. That's his
business. Everybody does something different.
Some people are--
(demonstrates)
ear-pullers - some are nail-biters--
(pointing)
That Mr. Semple over there is a nose-twitcher.
333. CLOSE SHOT - SEMPLE AND HIS WIFE
He looks up, startled, his nose twitching more violently than ever.
The courtroom rocks with laughter.
His wife, in her nervousness, pulls at her fingers.
LONGFELLOW'S VOICE
And the lady next to him is a knuckle-cracker.
Mrs. Semple quickly drops her hands in her lap, as the courtroom
again fills with laughter.
334. CLOSE SHOT - COBB
He swings a key-ring around his forefinger. Suddenly he realizes
Longfellow might get to him, and he hastily palms the keys and shoves
them in his pocket.
335. MED. CLOSE SHOT - NEWSPAPER REPORTERS
One is leaning forward, listening intently - biting the end of his
pencil. The one next to him nudges him and silently points to the
pencil in his mouth. The reporter gets the idea and, smiling
sheepishly, yanks it out of his mouth.
336. MED. CLOSE SHOT - FRONT OF COURTROOM
LONGFELLOW
So you see, everybody does silly things to help
them think.
(in conclusion)
Well, I play the tuba.
337. CLOSE SHOT - MAC
As he bursts forth.
MAC
Nice work, toots!
The crowd echoes him with shouts and laughter.
338. CLOSE SHOT - JUDGE
He glares off scene at Mac, reprimandingly.
339. CLOSE SHOT - BABE
She is amused at the embarrassment Longfellow has caused them all.
340. CLOSE SHOT - CEDAR AND HIS CLIENTS
They squirm uncomfortably.
341. MED. CLOSE SHOT AT WITNESS STAND
Longfellow in chair - Judge at bench, b.g.
JUDGE
Mr. Deeds, do you recall forcibly ejecting
people from your home?
LONGFELLOW
Oh, yes. Yes. About my throwing those people out
of my house. Mrs. Pomponi told the truth. I did
throw them out because I didn't want the party
in the first place. I didn't invite anybody. Mrs.
Pomponi did all that. They just came to see what
kind of a freak the "Cinderella Man" was. I
don't know how people like that are supposed to
act, Your Honor, but if that Pomponi woman is an
example, I'll stick to simple folks. She just
came in, talked my ear off, and took charge of
everything. If I were a friend of hers, I'd have
her examined.
342. MED. SHOT OF COURTROOM
Featuring Longfellow. Cedar, who cannot stand it any longer, jumps
to his feet.
CEDAR
Your Honor, this is becoming farcical. I demand
that Mr. Deeds dispense with side remarks and
confine himself to facts! Let him explain his
wanderings around the streets in underclothes,
his feeding doughnuts to horses!
JUDGE'S VOICE
Proceed.
LONGFELLOW
Mr. Cedar's right. Those things do look kind of
bad, don't they? But to tell the truth, Your
Honor, I don't remember them. I guess they
happened, all right, because I don't think a
policeman would lie about a thing like that,
but I was drunk. It was the first time I was
ever drunk in my life. It's probably happened
to you, some time. I mean, when you were
younger, of course.
The Judge clears his throat in embarrassment. Several women giggle.
The Judge sternly pounds his gavel.
343. CLOSE SHOT - LONGFELLOW
LONGFELLOW
It's likely to happen to anybody. Just the
other morning I read in the paper about Mr.
Cedar's own son - about how he got drunk and
insisted on driving a taxi-cab, while the
driver sat inside. Isn't that so, Mr. Cedar?
Isn't that so, Mr. Cedar?
344. MED. SHOT OF COURTROOM
All eyes have turned to Cedar.
345. CLOSE SHOT - CEDAR
His eyes are beginning to blaze angrily.
CEDAR
Your Honor, I object.
JUDGE
Proceed.
346. MEDIUM SHOT
LONGFELLOW
Now about the Falkner sisters. That's kind of
funny. I mean about Mr. Cedar going all the way
to Mandrake Falls to bring them here. Do you
mind if I talk to them?
JUDGE
Not at all.
Longfellow turns. Everybody stretches to get a better look at them.
LONGFELLOW
Jane, who owns the house you live in?
347. CLOSE SHOT - THE SISTERS
The girls consult with each other.
JANE
Why, you own it, Longfellow.
AMY
Yes, you own it.
LONGFELLOW'S VOICE
Do you pay any rent?
JANE
(after conferring with Amy)
No, we don't pay any rent.
AMY
Good heavens, no! We never pay rent.
348. WIDER ANGLE
As Longfellow continues questioning:
LONGFELLOW
Are you happy there?
JANE
Oh, yes.
AMY
Yes, indeed.
LONGFELLOW
Now, Jane, a little while ago you said I was
pixilated. Do you still think so?
JANE
(after the usual conference)
Why, you've always been pixilated, Longfellow.
AMY
Always.
LONGFELLOW
(smiling)
That's fine. I guess maybe I am.
(seriously)
Now tell me something, Jane. Who else in
Mandrake Falls is pixilated?
Jane turns to her sister and this time they go into a prolonged
huddle. It is apparently a difficult thing to figure out. Finally they
come out of it.
JANE
Why, everybody in Mandrake Falls is
pixilated - except us.
AMY
Uh-huh.
349. MED. SHOT OF SPECTATORS
There is an outburst of laughter which the Judge quickly quells with
his gavel.
350. MED. SHOT - DIFFERENT ANGLE
LONGFELLOW
Now, just one more question. Do you see the
Judge here? He's a nice man, isn't he?
JANE & AMY
Uh-huh.
LONGFELLOW
Do you think he's pixilated?
JANE
(quickly)
Oh, yes.
AMY
Yes, indeedy.
There is more laughter. More pounding of the judiciary gavel.
351. CLOSE SHOT - CEDAR
He feels his case slowly crumbling.
352. CLOSE SHOT - BABE
She can scarcely conceal her elation.
353. MED. SHOT - FRONT OF COURTROOM
JUDGE
Mr. Deeds, you haven't yet touched upon a most
important thing. This rather fantastic idea of
yours to want to give away your entire fortune.
It is, to say the least, most uncommon.
LONGFELLOW
Oh yes, I was getting to that, Your Honor.
CAMERA MOVES TO CLOSER SHOT, featuring Longfellow and judge, as
former continues:
LONGFELLOW
Suppose you were living in a small town and
getting along fine, and suddenly somebody
dropped $20,000,000 in your lap. Supposing you
discovered that all that money was messing up
your life, was bringing a lot of vultures around
your neck, and making you lose faith in
everybody. You'd be a little worried, wouldn't
you? You'd feel that you had a hot potato in
your hand, and you'd want to drop it. I guess
Dr. Von Holler would say you were riding on--
(points to chart)
--those bottom waves, 'cause you wanted to drop
something that was burning your fingers.
354. MEDIUM SHOT
Cedar springs to his feet.
CEDAR
(shouting)
If this man is permitted to carry out his plan,
repercussions will be felt that will rock the
foundations of our entire governmental system!
The Judge has pounded him into silence.
JUDGE
Please, Mr. Cedar!
(to Longfellow)
Proceed.
355. MED. CLOSE SHOT AT WITNESS STAND
LONGFELLOW
Personally, I don't know what Mr. Cedar's
raving about. From what I can see, no matter
what system of government we have, there will
always be leaders and always be followers.
356. MED. CLOSE SHOT
Farmers in audience, as Longfellow's voice continues:
LONGFELLOW'S VOICE
It's like the road out in front of my house.
It's on a steep hill. Every day I watch the
cars climbing up. Some go lickety-split up that
hill on high--
357. FULL SHOT
LONGFELLOW
--some have to shift into second - and some
sputter and shake and slip back to the bottom
again. Same cars - same gasoline - yet some
make it and some don't. And I say the fellows
who can make the hill on high should stop once
in a while and help those who can't.
358. MEDIUM SHOT
LONGFELLOW
(making his point)
That's all I'm trying to do with this money.
Help the fellows who can't make the hill on
high.
359. CLOSE SHOT LONGFELLOW
LONGFELLOW
(hotly)
What does Mr. Cedar expect me to do with it?
Give it to him - and a lot of other people who
don't need it?
(rising; sarcastically)
If you don't mind, Your Honor, I'll ride on
those top waves for a minute.
(calls out)
Hey, all you fellows out there! All those who
applied for a farm, stand up!
360. REVERSE ANGLE
Showing most of the audience struggling to their feet.
361. MED. CLOSE SHOT - WITNESS CHAIR
LONGFELLOW
See all those fellows? They're the ones I'm
trying to help. They need it!
(pointing)
Mr. Cedar and that Mr. Semple don't need
anything. They've got plenty! It's like I'm out
in a big boat and I see one fellow in a rowboat
who's tired of rowing and wants a free ride and
another fellow who's drowning. Who would you
expect me to rescue? Mr. Cedar, who just got
tired of rowing and wants a free ride? Or those
men out there who are drowning? Any ten-year
old child will give you the answer to that.
(to farmers, etc. - in courtroom)
All right, fellows. Thank you. Sit down.
362. MEDIUM SHOT - FRONT OF COURTROOM
LONGFELLOW
Now, my plan is very simple. I was going to
give each family ten acres - a horse, a cow and
some seed. And if they work the farm for three
years, it's theirs. Now, if that's crazy, maybe
I ought to be sent to an institution. But I
don't think it is. And what's more, Mr. Cedar
doesn't either.
(vehemently)
Just before the hearing started, he offered to
call the whole thing off if I made a settlement
with him. So you see, he wouldn't think I was
crazy if he got paid off.
363. CLOSE SHOT - CEDAR
He jumps to his feet, highly incensed.
CEDAR
It's a lie!
JUDGE
Mr. Cedar!
CEDAR
Mr. Deeds is drawing on his warped imagination!
364. CLOSE SHOT - LONGFELLOW
As he listens to Cedar, watching him antagonistically.
CEDAR'S VOICE
I've never heard anything so colossally stupid
in my life!
Longfellow's eyes narrow resentfully.
365. WIDER ANGLE
To include Longfellow, Cedar and Judge.
CEDAR
It's an insult to our intelligence to sit here
and listen to his childish ravings.
Throughout his speech the judge has been pounding his gavel.
Longfellow has his eyes leveled off on Cedar.
JUDGE
(when quiet reigns)
You will please permit Mr. Deeds to finish.
CEDAR
But Your Honor--
JUDGE
Mr. Cedar!
Cedar, grumblingly, remains standing. Judge asks Longfellow:
JUDGE
Anything else, Mr. Deeds?
LONGFELLOW
(eye still on Cedar)
No.
(changes his mind; turns to Judge)
Yes. There's just one more thing I'd like to
get off my chest before I finish.
JUDGE
Proceed.
LONGFELLOW
Thank you, Your Honor.
He rises to his feet, takes one step forward, and clouts Cedar flush
on the jaw. As Cedar falls into the arms of an associate, pandemonium
breaks loose.
BAILIFF'S VOICE
Order! Order! Order in the court!
366. FULL SHOT OF COURTROOM
The judge pounds his gavel. There are cries of approval from the
spectators. In the midst of the commotion--
DISSOLVE TO:
INT. COURTROOM
367. MED. PANNING SHOT
Showing spectators, waiting breathlessly for a decision. All eyes are
on the Judge.
368. CLOSE SHOT AT BENCH
The Judge holds a whispered conversation with his experts.
369. CLOSE SHOT - BABE
She is apprehensive.
370. CLOSE SHOT - LONGFELLOW
He glances furtively at Babe, off scene.
371. MED. SHOT OF FARMERS
Leaning forward. Their entire future hangs in the balance.
372. MED. CLOSE SHOT AT BENCH
The Judge comes out of the huddle; his face is very stern.
373. QUICK FLASHES
Of Babe - Cobb - Longfellow - Mac - the farmers.
BAILIFF'S VOICE
Remain seated and come to order. The Court is
again in session.
JUDGE
Before the Court announces its decision, I want
to warn all who are here that the police have
orders to arrest anyone creating a disturbance.
374. INSERT: CLOSE SHOT - JUDGE
The Judge's preface augurs ill.
375. CLOSEUP - CEDAR
His mouth curls up in a contented grimace.
376. FULL SHOT - COURTROOM
All eyes are upon the Judge, who clears his throat.
JUDGE
(serious mien)
Mr. Deeds, there has been a great deal of
damaging testimony against you. Your behavior,
to say the least, has been most strange.
An audible gasp is heard from audience. The Judge goes on:
JUDGE
But in the opinion of the Court, you are not
only sane, but you are the sanest man that ever
walked into this courtroom. Case dismissed!
The shout that greets this is tumultuous. The Judge smiles warmly,
and clasps Longfellow's hand. Immediately, Longfellow is surrounded
by a crowd of people who come running down the aisles.
377. CLOSE SHOT - CEDAR AND GROUP
They sit, stunned, disappointed. Mrs. Semple turns to her husband and
slaps him.
MRS. SEMPLE
You nose-twitcher!
Budington rises to confront Cedar.
BUDINGTON
Oh, I knew it! I knew it! You, you--
Cedar disgustedly pushes him in the face, aside.
378. CLOSE SHOT - BABE
She smiles ecstatically, too excited to move. Suddenly she rises.
379. MEDIUM SHOT
As Babe tries to get to Longfellow, but finds herself on the fringe
of a jubilant crowd in the center of which is Longfellow. She tries
to break through, but finds it impossible. Desperately, she jumps on
a chair and tries frantically to get a glimpse of him. At that moment,
several farmers have lifted Longfellow on their shoulders.
380. FULL SHOT - COURTROOM
As jubilantly, Longfellow is carried out on the shoulders of the
excited crowd.
381. MEDIUM CLOSE SHOT
As Babe frantically tries to reach Longfellow, but is jostled aside.
The parade envelops her.
382. LONG SHOT FROM REAR
The shouting mob is heading for the door at end of courtroom. Everyone
crowds forward.
383. CLOSE SHOT IN REAR
Babe is left helplessly out.
DISSOLVE TO:
384. FULL SHOT OF COURTROOM
Empty - except for the Falkner sisters, still whispering to each
other, and Babe, sitting helpless and forlorn.
385. CLOSE SHOT - BABE
Her eyes are filled. Dismally she starts forward. We hear a rising
commotion from the outside, at this moment.
386. WIDER ANGLE
Longfellow running toward camera with the mob, shouting, back of him.
He reaches courtroom, slams the doors shut behind him. Babe, attracted
by the noise, looks up. He runs toward her, and swoops her up in his
arms.
387. CLOSE SHOT - JANE & AMY
JANE
He's still pixilated.
AMY
He sure is.
388. CLOSE SHOT - BABE AND LONGFELLOW
She kisses him over and over again. He looks around and over his
shoulder at the mob, a little dazed. Finally, he notices her effort,
and gives her one passionately back.
All that is heard is the cheering of the crowd outside and the
Columbia music.
FADE OUT.
THE END