MR DEEDS GOES TO TOWN
Written by Robert previous hit Riskin
based on a story by Clarence Budington Kelland
FADE IN
EXTERIOR - MONTAGE
1. 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:
INTERIOR - EDITOR'S OFFICE, DAILY MAIL
2. 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:
INTERIOR - CEDAR'S PRIVATE OFFICE
3. 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—
? 336 ?
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.
? 337 ?
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-
? 338 ?
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.
? 339 ?
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.
? 340 ?
DISSOLVE TO:
INT. LONGFELLOW'S LIVING ROOM
8. 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?
? 341 ?
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.
? 342 ?
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.[1]
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.
? 343 ?
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.
? 344 ?
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 'Oom-pahs.'
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?
? 345 ?
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. WIDER 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!
? 346 ?
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.
? 347 ?
Longfellow nibbles at some food, staring
into space thoughtfully.
DISSOLVE TO:
EXT. STATION
24. 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!
? 348 ?
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.
? 349 ?
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 &
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 opens 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.
? 350 ?
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—
? 351 ?
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.
? 352 ?
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
41. FULL SHOT
The editor stands in front of his desk.
Four of 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 corn-fed 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:
? 353 ?
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.
? 354 ?
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.
? 355 ?
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 Cobb)
What do you think they want?
? 356 ?
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.
? 357 ?
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 my 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.
? 358 ?
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."[2]
? 359 ?
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?[3]
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.
? 360 ?
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.
? 361 ?
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.
? 362 ?
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?
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.
62. MED. CLOSE SHOT
Featuring Douglas and Longfellow.
DOUGLAS
The wrong kind! There isn't any wrong
or right kind. Opera is opera!
? 363 ?
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![4]
(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!
? 364 ?
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 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![5] Do you
want people to laugh at me? I never
wore one of those things in my life.
WALTER
Yes, sir.
? 365 ?
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?
? 366 ?
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.
? 367 ?
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.
? 368 ?
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?
LONGFELLOW
Oh.
COBB
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:
? 369 ?
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?
? 370 ?
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.
? 371 ?
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.
? 372 ?
(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.
? 373 ?
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? On, 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.
? 374 ?
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.
? 375 ?
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 fiancée from Mandrake
Falls.
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
No - 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.
? 376 ?
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.
? 377 ?
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 levelled 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.
? 378 ?
LONGFELLOW
(levelling 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.
? 379 ?
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,[6] 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.
? 380 ?
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 nit-wit, and
every half-wit in New York. We'll go
on a twister that'll make Omar the soused
philosopher of Persia[7] 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![8]
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?
? 381 ?
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' . . . "[9]
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?
? 382 ?
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.
? 383 ?
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.[10]
LONGFELLOW
(slow to comprehend anything)
Prairie? Oysters?
? 384 ?
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 policemén said,
sir.
? 385 ?
LONGFELLOW
What two policemen?
WALTER
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.
? 386 ?
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.
? 387 ?
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.
? 388 ?
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![11] 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.
? 389 ?
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.
? 390 ?
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!
? 391 ?
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.
? 392 ?
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?
? 393 ?
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 minutes - 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
? 394 ?
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?
? 395 ?
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 - BABE
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?
? 396 ?
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.[12]
(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.
? 397 ?
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."
? 398 ?
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.
? 399 ?
FRANK
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.
? 400 ?
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.
? 401 ?
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.
? 402 ?
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—
? 403 ?
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?
? 404 ?
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 man-servant 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.
? 405 ?
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"?
? 406 ?
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.
? 407 ?
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.
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.
172. CLOSE SHOT - BABE
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.
? 408 ?
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 . . .
? 409 ?
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.
? 410 ?
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.
? 411 ?
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
? 412 ?
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.
? 413 ?
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 zigzags down the street
and out of scene.
? 414 ?
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?
? 415 ?
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.
? 416 ?
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?
? 417 ?
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.
? 418 ?
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
happened3
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?
? 419 ?
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 triange."
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?
? 420 ?
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 - BABE
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.
? 421 ?
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.
? 422 ?
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
(simultaneously)
FARMER
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!
? 423 ?
(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—
? 424 ?
(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.
? 425 ?
MAN
(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.
VOICE
Go on. Step lively.
226. MED. SHOT
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?
? 426 ?
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:
? 427 ?
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.
? 428 ?
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.
? 429 ?
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.
? 430 ?
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.
? 431 ?
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.
? 432 ?
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
fall 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"
? 433 ?
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!
? 434 ?
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.
? 435 ?
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, expression-less. 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.
? 436 ?
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?
? 437 ?
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 eye-witness 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.
? 438 ?
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.
? 439 ?
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!
? 440 ?
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.
? 441 ?
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—
? 442 ?
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!
? 443 ?
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.
JUDGE
Mr. Deeds?
(again no reply)
Mark these Exhibit A for the plaintiff.
CLERK
Yes, Your Honor.
JUDGE
Proceed.
288. CLOSE SHOT - BABE
As she sits down beside Mac - who places
an affectionate arm around her shoulders.
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)
Yes - Amy.
? 444 ?
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?
? 445 ?
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.
? 446 ?
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!"
? 447 ?
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[13]
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!
? 448 ?
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 cause 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?
? 449 ?
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.
? 450 ?
CEDAR
Thank you, Dr. Von Holler.
Dr. Von Holler returns to his seat.
CEDAR
Your Honor, we rest.
306. FULL SHOT - COURTROOM
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 EXHIBITS
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?
? 451 ?
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!
? 452 ?
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.
? 453 ?
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—
? 454 ?
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.
? 455 ?
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?
? 456 ?
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.
? 457 ?
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 embarassment 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.
? 458 ?
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?
? 459 ?
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 in
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.
? 460 ?
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!
? 461 ?
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.
? 462 ?
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.
? 463 ?
Throughout his speech the Judge has
been pounding his gavel. Longfellow
has his eyes levelled 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
(eyes 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.
? 464 ?
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.
373. QUICK FLASHES
Of Babe - Cobb - Longfellow - Mac -
the farmers.
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.
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.
? 465 ?
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
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