MR DEEDS GOES TO TOWN
Written by Robert previous hit Riskin
based on a story by Clarence Budington Kelland
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
"CIVIC LEADER KILLED IN AUTO ACCIDENT,"
"DISCLOSURE OF BANKER'S WILL AWAITED"
and finally "SEMPLE HEIR AS YET UNKNOWN"
INTERIOR - EDITOR'S OFFICE, DAILY MAIL
2. CLOSE SHOT
of Mac, the editor, at his desk, barking
into the telephone.
Say listen, Corny, who do you think
you're talking to? If the Semple attorneys
don't know who the heir is, who does?
Aw, come on Corny, I've done you a lot
of favors. What do you say - who's getting
the Semple dough?
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."
(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.
(covering mouthpiece - confidentially)
Wants to know who the heir is.
(returning to the phone)
Sorry, Mac, I can't. Yeah, Mac. Sure,
but I ain't the attorney—
? 336 ?
THE CAMERA PULLS BACK FURTHER TO REVEAL
another attorney at one end of the desk,
reviewing a pile of papers.
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.
(barely glancing up)
I'm not interested in the newspapers.
But it's a great story. Somewhere in
this country a guy is walking into twenty
Yes, I know. My first concern is to
locate the lucky man. When I do, it's
your job to keep the newspapers away
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
We located him, Mr. Cedar! We found
out where he is.
Yes, John, we got him.
Here's the report: Longfellow Deeds,
single, 28, lives in Mandrake Falls,
(glancing at the report)
Better wire him right away, John.
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.
Make three reservations on the first
train out to Mandrake Falls, Vermont.
(begins to spell as scene fades)
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
Over their shoulders. We hear Cobb's
voice as he reads:
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.
Are you sure this is the town he lives
Yes sir, Mr. Cedar. This is the town
Well, I dropped everything at the office
- I hope it's not a wild goose chase.
No, sir. We checked it thoroughly. He
lives here all right.
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
(as they approach)
Morning, neighbors. Morning.
He picks up a package and disappears
into the building. Cedar and Cobb look
at each other.
That's an excellent start. At least
we've broken the ice.
The old man returns to his pile of packages.
I say, my friend, do you know a fellow
by the name of Longfellow Deeds?
Yes, sir. Yes, indeedy. Everyone knows
He again disappears.
Must be a game he's playing.
The old man shows up again.
We'd like to get in touch with him.
It's very important.
Deeds! Who do you think I'm talking
Oh, yes - Deeds. Fine fellow. Very democratic.
You won't have no trouble at all. Talk
Whereupon the old man carries another
package inside. Cobb is properly exasperated
? 339 ?
I guess we'd better try somebody else.
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.
6. TWO SHOT - COBB AND AGENT (FEATURING
Cobb grabs the old man as he turns to
head back into the building.
Remember us? We're the fellows who were
here a minute ago.
Oh, yes. Yes, indeedy. I never forget
He turns again - but Cobb holds him
by the arm and sets him down on a small
Listen, Pop, we've come all the way
from New York to look up a fellow by
the name of Deeds. It's important -
(releasing his arm)
You don't have to get rough, neighbor.
All you got to do is ask.
Then please pretend, for just one fleeting
moment, that I'm asking. Where does
Cobb turns away in disgust. Anderson
7. CLOSE SHOT - THE THREE
Longfellow Deeds - where does he live?
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
? 340 ?
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
Oh, will you come in please, gentlemen?
Is Mr. Deeds in?
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
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.
Come in, please. Come in. Can I get
you a cup of tea?
Sit down. Sure I couldn't get you a
glass of lemonade or something?
That's very kind of you. Are you related
No, I'm his housekeeper.
Well, we'd like to find out something
about him. What does he do for a living?
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
He writes poetry?
? 341 ?
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
Here's one - he got $25 for this one.
11. CLOSEUP - MRS. MEREDITH
As she reads - with feeling:
"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?
A dog enters, racing toward the door,
scratching at it and whining.
(as she heads toward the door)
Here he is now.
She opens the door and goes out, with
the dog racing ahead.
(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.
They've been waiting a long while.
Longfellow Deeds trails behind her.
Who are they?
I don't know.
? 342 ?
(standing - formally)
Mr. Longfellow Deeds?
How do you do.
How do you do.
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.
(reads to himself)
Cedar, Cedar, Cedar and Budington.
(looks up; smiles)
Budington must feel like an awful stranger,
Cobb's eyes pop at the nifty.
Mr. Cornelius Cobb and Mr. Anderson.
They exchange greetings. Longfellow
gestures to chairs.
You gentlemen make yourselves comfortable.
COBB AND ANDERSON
14. MEDIUM SHOT
Longfellow crosses to his tuba near
a chair. He takes a mouthpiece out of
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?
You gentlemen going to stay for lunch?
(right to the point; ignoring her)
I'd like to ask you a few questions.
Longfellow looks at them strangely and
sits down beside his tuba.
? 343 ?
Mr. Deeds, are you the son of Dr. Joseph
and Mary Deeds?
Are your parents living?
Mr. Deeds, does the name of Martin W.
Semple mean anything to you?
Not much. He's an uncle of mine, I think.
I never saw him, but my mother's name
was Semple, you know.
Well, he passed on. He was killed in
a motor accident in Italy.
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.
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
16. GROUP SHOT
How about lunch? Are the gentlemen going
to stay - or not?
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
(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
(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!
Oh, yes, I heard you all right. $20,000,000.
That's quite a lot, isn't it?
Oh, it'll do in a pinch.
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
INT. AN ALCOVE
19. FULL SHOT
The three men sit around a table, having
lunch. By Longfellow's side is, as expected,
Mr. Cobb here is an ex-newspaperman
associated with your uncle for many
years - as a sort of buffer.
Yeah. A glorified doormat.
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
Cedar, Cedar, Cedar and Budington. Funny,
I can't think of a rhyme for Budington.
Why should you?
? 345 ?
Well, whenever I run across a funny
name, I always like to poke around for
a rhyme. Don't you?
I've got one for Cobb—
21. CLOSE SHOT - THE GROUP
"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!"
Sounds like a two weeks' notice to me.
I've gotten the 'sackaroo' in many ways
- but never in rhyme.
Oh, I don't mean that. I'm sure I'm
going to need your help.
Oh, that's different if it's just poetry.
22. WIDER ANGLE
As Mrs. Meredith enters with coffee
which she pours.
Are you a married man, Mr. Deeds?
Who - me? No.
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—
Don't pay any attention to her.
He's got a lot of foolish notions -
about saving a lady in distress.
Now you keep out of this!
? 346 ?
Saving a lady in distress, eh? Well,
I suppose we all have dreams like that
when we are young.
Incidentally, we'd better get started.
You'll have to pack.
You're going to New York with us.
This afternoon - at four o'clock.
I don't think we've got any suitcases.
Well, we could borrow a couple from
Mrs. Simpson. You know, she went to
Niagara Falls last year.
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.
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.
See you later, kid.
(as he too exits)
Good day, sir.
23. TWO SHOT - LONGFELLOW AND MRS. MEREDITH
Hear what he said? You know how much
twenty million is?
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.
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:
THE PRIDE OF MANDRAKE FALLS
25. MEDIUM SHOT - CEDAR AND ANDERSON
They peer anxiously around, looking
for someone, when Cobb dashes in.
I can't find him.
I looked everywhere. I even went to
his house. It's locked up.
He probably had a change of heart.
He wasn't very anxious to come in the
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
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.
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.
Well, now I've seen everything.
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.
Goodbye, Mrs. Meredith! Goodbye, Jim!
Bye, Buddy! Goodbye, everybody!
Gosh, I've got a lot of friends.
Cobb looks up into Longfellow's face
- affected by the scene.
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.
(opening a snifter - generously)
Have a drink?
Cobb and Cedar exchange a look.
Will you have a cigar?
No, thank you.
Cedar sits down.
(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 ?
Oh, I wasn't worried about that.
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.
32. LONG SHOT (STOCK)
The 20th Century crossing the Harlem
33. ANOTHER STOCK SHOT
Of the 20th Century going under the
street level on Park Avenue.
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.
(as Cedar passes by)
Hello, John. Where have you been?
(as he walks briskly)
I've been fishing.
In the background is typical office
(to a secretary as he passes)
Good morning, Celia.
Good morning, Mr. Cedar.
A chorus of "Good Morning, Mr. Cedar!"
issues from the clerks. A secretary
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
? 350 ?
INT. CEDAR'S PRIVATE OFFICES - ANTEROOM
37. FULL SHOT
Cedar breezes in and speaks to a secretary.
Good morning. Where are they?
Waiting for you in the other office.
He strides across the room to still
another door marked "PRIVATE" and he
INT. CEDAR'S PRIVATE OFFICE
38. FULL SHOT
A group of associates sit around in
large leather chairs, as Cedar barges
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.
Well, what's he like?
We've got nothing to worry about. He's
as naive as a child.
Close that door.
Will you get Mrs. Cedar on the phone,
Come on, John. What happened?
The smartest thing I ever did was to
make that trip.
John, did you get the - uh—
? 351 ?
39. MED. SHOT - GROUP
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)
I can't imagine.
He said he guessed he'd give it away.
THE TWO BROTHERS
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!
John, if you don't mind my saying so
- we can't afford to—
I know, Budington. We can't afford to
have the books investigated right now.
You must have said that a thousand times
But what if they fall into somebody
else's hands, why - uh—
Well, it hasn't happened yet - has it?
But a half million dollars! My goodness,
where are we going to get—
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 ?
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.
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.
(slaps the paper George is reading)
I say, what did you get?
Stop yelling. Can I help it if my uncle
didn't like me?
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
Oh, shut up! It's too late now, and
you're a nuisance!
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!
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.
(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
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:
He's been here three days, and what
have you numbskulls brought in! Any
halfwit novice could have done better!
Yeah, we tried too—
Am I talking too loud? Or annoying anybody?
You know Corny Cobb. He's keeping him
under lock and key.
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.
What was that?
(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.
You too! Thought I could depend on you,
but you're getting as bad as the rest
He grabs up a handful of papers and
(flicking the string)
Look, I can do it!
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
Oh, he's not getting away with anything.
Listen, Babe - get me some stuff on
this guy, and you can have—
Can I have a month's vacation?
(casually, as she starts away)
Leave four columns open on the front
47. MEDIUM SHOT
As Babe crosses to door.
Now you're talking, Babe. I'll keep
the whole front page open. What are
you going to do?
She exits. Mac's face lights up happily.
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:
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
? 355 ?
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.
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.
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.
Besides wanting to be my lawyer, you
also want to handle my investments too?
Yes. That is to say—
Well, outside of your regular fee, how
much extra will it cost?
Oh - nothing. No extra charge.
That involves a lot of extra work, doesn't
Yes, but that's an added service a firm
like Cedar, Cedar, Cedar and Budington
Budington. Funny, I can't think of a
rhyme for Budington yet.
50. WIDER ANGLE
As a butler stands in the doorway.
The gentlemen from the opera are still
waiting in the board room, sir. They're
getting a trifle impatient, sir.
They are? I forgot all about them.
What do you think they want?
? 356 ?
Well, your uncle was Chairman of the
Board of Directors. They probably expect
you to carry on.
I'll tell those mugs to keep their shirts
on, that you'll be right down.
Oh, did you send that telegram to Jim
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."
Fine. Send it right away. I don't want
him to fire Arthur.
Oh, sure. Sure. We don't want to fire
He was the last baby my father delivered,
I think you ought to give this matter
some thought, Mr. Deeds.
I mean, about the Power of Attorney.
Oh, yes. Yes, I will.
Cobb has stalled long enough to hear
Longfellow's decision before he goes
out of the room.
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.
? 357 ?
You go to an awful lot of work to keep
a fellow warm, don't you?
A butler enters again.
A Mr. Hallor to see you sir.
Did you say Hallor?
Well, don't let him in.
Why not? Who is he?
A lawyer representing some woman with
a claim against the estate.
Tell him to see me at my office.
Well, if he has a claim, we'd better
Send him in.
The butler disappears.
He's capable of causing you a lot of
trouble, Mr. Deeds.
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
I thought I told you to take up this
matter with me, Hallor.
52. MED. CLOSE GROUP SHOT
I'm a little tired of being pushed around
by you, Mr. Cedar - I don't care how
important you are.
Mr. Deeds, I represent Mrs. Semple.
? 358 ?
Yes. Your uncle's common-law wife. She
has a legal claim on the estate.
We'll let the courts decide what her
legal position is.
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.
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
What kind of wife did you say she was?
Common-law wife. On top of that, there's
A child? My uncle's?
That's awful. The poor woman should
be taken care of immediately.
I'm glad to see you're willing to be
reasonable, Mr. Deeds.
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.
Don't make any rash promises—
As the tailors exit, Cobb returns.
You'd better get right down there. That
opera mob is about to break into the
Mad Song from "Lucia."
? 359 ?
Oh, I don't want to keep them waiting
any longer. They're important people.
I wish you'd go along with me, Cobb.
They're all strangers to me.
Well, what about it, Mr. Deeds?
(getting into robe - to Hallor)
You'll excuse me, won't you? I'll be
He exits with Cobb.
53. MED. TRUCKING SHOT
As Longfellow and Cobb come out and
start down corridor.
Gee, I'm busy. Did the opera people
always come here for their meetings?
That's funny. Why is that?
Why do mice go where there's cheese?
INT. BOARD ROOM
54. FULL SHOT
A group of eight distinguished-looking
men sit around a long table, awaiting
Longfellow's arrival. At the head of
the table is a Mr. Douglas.
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? . . .
You know, gentlemen, we're really very
fortunate the young man is so sympathetic
He plays the tuba in the town band.
(who has been watching at door)
Here he comes.
? 360 ?
There is a shuffle of preparation.
INT. DIRECTOR'S ROOM
55. SAME SCENE
With Longfellow and Cobb present. Longfellow
looks around, completely awed.
Now, gentlemen, the first order of business
will be the election of a new Chairman
of the Board.
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.
All those in favor . . .
My congratulations, Mr. Deeds.
56. CLOSER SHOT
(humoring a child)
Oh Yes, of course - you've just been
Right here, Mr. Deeds.
? 361 ?
57. WIDER ANGLE
As Longfellow is led to the president's
chair. Douglas sits next to him.
Now, the next order of business is the
reading of the Secretary's minutes .
Move we dispense with it.
All in favor?
CHORUS OF VOICES
Longfellow looks his surprise.
I think they can be dispensed with.
We're ready now for the reading of the
Move we dispense with it.
All in favor?
CHORUS OF VOICES
Quite right! Now, gentlemen, the next
business will be—
58. MED. CLOSE SHOT
Featuring Longfellow, as he interrupts:
Wait a minute. What does the Chairman
Why, the Chairman presides at the meetings.
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
The treasurer reports a deficit of $180,000
for the current year.
60. CLOSE SHOT - LONGFELLOW
He is stunned.
A deficit! You mean we've lost that
61. WIDER ANGLE
To include all at table.
You see, Mr. Deeds, the opera is not
conducted for profit.
It isn't? What is it conducted for?
Why, it's an artistic institution—
We own an opera house, don't we?
And we give shows?
We provide opera.
But you charge. I mean, you sell tickets?
And it doesn't pay?
That's impossible. The opera has never
Well, then, we must give the wrong kind
Cobb smiles. The directors are stumped.
62. MED. CLOSE SHOT
Featuring Douglas and Longfellow.
The wrong kind! There isn't any wrong
or right kind. Opera is opera!
? 363 ?
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
Well, we were rather expecting it to
come from you.
Excuse me, gentlemen, there's nothing
natural about that .
He is suddenly startled. His ears prick
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.
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
Gee, that was a pip!
(as he goes back to his seat)
We expect we're going to have one like
that in Mandrake Falls pretty soon –
with a siren, too.
There is a pause while he gets seated.
Now, where were we?
65. MED. CLOSE SHOT AT TABLE
You see, Mr. Deeds, the opera is not
conducted like any ordinary business.
Because it just isn't a business, that's
? 364 ?
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.
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
Sorry to keep you waiting so long. Those
opera people are funny. They wanted
me to put up $180,000.
What about it, Mr. Deeds?
Why, I turned them down, naturally.
No, I mean - about my client.
Oh - we'll have to do something about
the common wife.
Longfellow's valet, Walter, enters and
holds up a full dress suit.
Tails tonight, sir?
What - tails?
(turns and sees it)
Why, that's a monkey suit! Do you
want people to laugh at me? I never
wore one of those things in my life.
? 365 ?
The tailors are leaving.
(shaking hands with Longfellow)
Goodbye, and thank you sir.
(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
Of course, we don't want to appear greedy,
I say we don't want to appear greedy.
Walter has gotten down on his knees
and holds the ends of the pants.
What do you think you're doing?
Why, I'm assisting you, sir.
Get up from there. I don't want anybody
holding the ends of my pants. Get up
Imagine that - holding the ends of my
Hallor smiles feebly - his impatience
Mrs. Semple is entitled by law to one-third
of the estate.
And don't ever get down on your knees
? 366 ?
Excuse me. What did you say?
Mrs. Semple is entitled to one-third
of the estate.
One-third? That's about $7,000,000 isn't
Well, we didn't expect that much. I'm
sure I can get her to settle quietly
for one million.
If there's any talk of settlement, Hallor,
take it up with me at the office.
I'll do no such thing—
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.
You're making a mistake, Mr. Deeds.
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.
Now wait a minute, buddy—
69. MED. SHOT
Longfellow crosses to bell cord and
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
No use in getting tough. That'll get
you nowhere, Mr. Deeds.
You know, we've got letters.
? 367 ?
As a butler enters, Longfellow turns
Will you show Mr. Hallor to the front
70. CLOSE SHOT AT DOOR
As Hallor gets to it. Longfellow grabs
him by the shirt front and half lifts
him off the floor.
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.
I can't hold out on you any longer.
Lamb bites wolf.
(shakes his head)
Only common sense.
71. MED. SHOT
Cedar has been most uncomfortable through
the scene, but now suavely assumes an
(a forced smile)
I can't hold out any longer either,
(holds out his hand)
Being an attorney for you will be a
very simple affair.
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.
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.
Even his hands are oily.
Walter has entered and holds up a coat
? 368 ?
Well, how about tonight? What would
you like in the way of entertainment?
72. CLOSE TWO SHOT
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?
What're you talking about?
Women! Ever heard of 'em?
Name your poison and I'll supply it.
Some other time, Cobb. Some other time.
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,
He talks about women as if they were
Every man to his taste, sir.
Tell me, Walter, are all those stories
I hear about my uncle true?
Well, sir, he sometimes had as many
as twenty in the house at the same time.
Twenty! What did he do with them?
That was something I was never able
to find out, sir.
WIPE OFF TO:
? 369 ?
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.
Hey, you going out?
Why yes. Isn't that all right?
No. Don't ever want to go out without
Who are you?
We're your bodyguards.
Yeah, Mr. Cobb said stick to your tail
no matter what.
That's very nice of Mr. Cobb - but I
don't want anybody sticking to my tail
no matter what.
Sorry, mister. Orders is orders.
Is that so?
Yes, sir. We gotta get you up in the
morning - and we gotta put you to bed
Only it's all right. No matter what
we see - we don't see nuttin', see?
That's going to be fun.
Some people like it.
Longfellow glances around the room thoughtfully,
Uh, will you do something for me before
we go out?
? 370 ?
The first bodyguard eagerly takes out
a pistol. The second bodyguard slaps
(to first bodyguard)
Put that away, slug!
At your service!
I got a trunk in that room. Will you
get it out for me?
The two bodyguards accommodatingly enter
a closet. The moment they are gone,
Longfellow closes the door calmly and
turns the key.
Hey, hey! We're your bodyguards. You
can't do this!
Longfellow whistles as he exits.
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.
INT. TAXI CAB
76. CLOSE SHOT
Babe and two photographers, Bob and
Frank, are huddled conspiratorially
in the back seat of a taxi cab.
There he is. Yep, that's him.
Get the cameras ready and follow me.
What are you going to do?
Never mind. Follow me and grab whatever
you can get.
? 371 ?
I suppose it's going to be the same
I tell you that dame's nuts.
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.
Oh, did I? I'm sorry . . .
She struggles to get to her feet.
81. WIDER ANGLE
Longfellow tries to assist her.
Can I help you?
No, thank you. I'll be all right.
Look, this is my house. I'd like to—
Oh, no, really - I'll be all right.
Well, I guess I walked too much. I've
been looking for a job all day. I found
one, too. I start tomorrow.
? 372 ?
You've been awfully kind. Thank you
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
INT. TAXI CAB
83. CLOSE SHOT
Hey, stupe! Follow that cab they just
got into, will you? Hurry up! Step on
Come on, come on!
INSERT: AN ELECTRIC SIGN:
"TULLIO'S — EAT WITH THE LITERATI"
84. MED. CLOSE SHOT
A corner table, surrounded by ferns,
at which Longfellow and Babe sit. She's
Feel better now?
Mmm, it tastes so good. Mr. Deeds, I
don't know how I can ever thank you.
Tell me more about yourself.
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
? 373 ?
(as the musician finishes and strolls
Oh, that was so lovely. Thank you.
You were a lady in distress, weren't
Oh - uh - nothing.
85. WIDER ANGLE
As a waiter enters the scene and begins
Waiter! Has anybody come in yet?
Huh? On, no. Nobody important.
Be sure and point 'em out to me, won't
I'm a writer myself, you know.
The waiter throws Longfellow a sidelong
glance of complete boredom.
I write poetry.
86. CLOSE TWO SHOT - BABE AND LONGFELLOW
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?
No. That is, I didn't—
(pause - while he looks at her)
Until I met you. I like talking to you,
Imagine my finding you right on my doorstep.
? 374 ?
87. WIDER ANGLE
The waiter enters again.
Brookfield just came in.
Oh, the poet? Where?
Over at that big round table. The one
that looks like a poodle.
Longfellow stares off scene - his eyes
full of worship.
Look - there's Brookfield, the poet.
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
(confidentially - indicating Longfellow)
Pardon. Longfellow Deeds, who just inherited
the Semple fortune, wants to meet you.
Oh, yes. I read about him. He writes
poetry on postcards.
Let's invite him over. Might get a couple
of laughs. Getting rather dull around
It's always dull here.
I'll get him.
? 375 ?
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.
Henaberry, Mr. Morrow, Bill - this is
Mr. Deeds and his fiancée from Mandrake
Nice to meet you!
Nice of you to ask us to come and sit
with you. Back home we never get a chance
to meet famous people.
Waiter! A little service here.
Mr. Deeds is a distinguished poet.
A drink for Mr. Deeds!
He's a poet. Have a drink.
No - I don't want it, thank you.
Why, you must drink! All poets drink!
92. MED. CLOSE SHOT - THE GROUP
Tell us, Mr. Deeds. How do you go about
writing your poems? We craftsmen are
very interested in one another's methods.
Yes. Do you have to wait for an inspiration,
or do you just dash it off?
Well, I don't know. I—
Mr. Morrow, over there, for instance,
just dashes them off.
? 376 ?
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.
Your readers don't complain, Mr. Morrow.
Oh, thanks. Thanks.
How about you, Mr. Deeds?
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.
Amazing! Why, that's true genius!
Yes. Have you any peculiar characteristics
when you are creating?
Well, I play the tuba.
They all laugh.
I've been playing the harmonica for
forty years - didn't do me a bit of
94. CLOSE SHOT - GROUP
You wouldn't have one in your pocket,
would you, Mr. Deeds?
What? A tuba?
They all laugh.
No, a postcard - with one of your poems
Longfellow is beginning to sense he
is being kidded.
(his face sober)
? 377 ?
You mean to tell me you don't carry
a pocketful around with you?
Too bad! I was hoping you'd autograph
one for me.
I was too.
95. MED. GROUP SHOT
As they keep on. Longfellow has his
eyes levelled on each speaker in turn,
obviously cognizant of their ill-concealed
Wait a minute, boys. Perhaps Mr. Deeds
would recite one for us.
THE OTHER'S VOICES
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?
Exactly! Give us one that wrings the
great American heart.
Babe has been watching Longfellow, interested.
Now, when their voices die down - and
they wait expectantly - he speaks quietly.
I guess I get the idea. I guess I know
why I was invited here. To make fun
96. MED. SHOT - GROUP
Oh, come now.
I wouldn't say that.
Look, he's temperamental.
? 378 ?
(levelling off at him)
Yeah, what if I am? What about it?
Henaberry's face sobers.
It's easy to make fun of somebody if
you don't care how much you hurt 'em.
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
97. CLOSE SHOT - LONGFELLOW
As he rises, continuing:
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
99. CLOSE TRUCKING SHOT
With Longfellow and Babe as they take
several steps. Then he abruptly stops.
(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.
Oh, I don't mind.
Longfellow stares at her for a moment.
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 ?
Morrow, who never budged from his chair,
and who has watched Longfellow with
great admiration, now rises to catch
up to him.
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.
Step aside, step aside!
Morrow barges forward. Longfellow and
(obviously groggy with drink)
Say fellow, you neglected me - and I
feel very put out.
(points to his chin)
Look, sock it right there, will you?
Lay one right on the button, but
sock it hard.
102. CLOSE SHOT - THE THREE
That's all right. I got it off my chest.
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
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!
Thanks, but Miss Dawson and I are going
out to see the sights.
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 ?
I'd kind of like to see Grant's Tomb
- and the Statue of Liberty.
103. CLOSE SHOT - GROUP
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?
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 look like an
anemic on a goat's milk diet.
Longfellow saves him - once again -
from crashing over.
104. CLOSE SHOT - GROUP
That ought to be fun.
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
(to the world in general)
Oh, Tempora! Oh, Moeraes! Oh, Bacchus!
He bumps into a woman, who glares at
Oh, you're drunk.
Oh, you're right.
105. CLOSEUP - BABE AND LONGFELLOW
I guess if we go with him, we'll see
? 381 ?
She looks up at his face, amazed at
Yes, I guess we will.
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.
"'I play the tuba to help me think.'
This is one of the many startling statements
made by Longfellow Deeds - New York's
new Cinderella Man - who went out last
night to prove that his uncle, the late
M.W. Semple - from whom he inherited
$20,000,000 - was a rank amateur in
the art of 'standing the town on its
cauliflower ear' . . . "
He looks up.
Cinderella Man! That's sensational,
It took some high-powered acting, believe
I was the world's sweetest ingenue.
Is he really that big a sap?
107. CLOSE SHOT - THE TWO
He's the original. There are no carbon
copies of that one.
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?
If we could sell tickets, we'd make
She covers the coin with palm of other
hand, and the coin disappears. But Mac
is too excited to pay any attention.
How'd you get the picture?
? 382 ?
Had the boys follow us.
"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.'"
Beautiful! What happened after that?
I don't know. I had to duck to get the
story out. He was so far along he never
even missed me.
When're you going to see him again?
(looks at her watch)
I'll phone him at noon.
Oh, my lunch hour. I'm a stenographer,
you know. Mary Dawson.
108. MED. SHOT - THE TWO
You're a genius, Babe - a genius!
I even moved into Mabel Dawson's apartment
- in case old snoopy Cobb might start
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
(starts for her)
Babe, I could kiss you!
109. WIDER ANGLE
Oh, no. No. Our deal was for a month's
vacation - with pay.
? 383 ?
She is out the door.
(yelling after her)
You'll get it, Babe. You'll get it.
INT. LONGFELLOW'S BEDROOM
110. CLOSE SHOT
Walter leans over the bed violently,
shaking Longfellow, who is lost in drunken
Mr. Deeds - Mr. Deeds, sir - you really
must get up. It's late!
(without budging - without opening his
You're Walter, aren't you?
I just wanted to make sure.
111. CLOSE SHOT - WALTER
If you'll permit me to say so, sir,
you were out on quite a bender last
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.
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.
A Prairie Oyster, sir.
(slow to comprehend anything)
? 384 ?
Yes, sir. It makes the head feel smaller.
Longfellow takes it and downs it in
(his face finally reacting)
Has Miss Dawson called yet?
Miss Dawson, sir? No, sir. No Miss Dawson
has called, sir.
She was a lady in distress. She wouldn't
let me help her. Got a lot of pride.
I like that.
Oh, I do too, sir.
I'd better call her up and apologize.
I don't remember taking her home last
I'd venture to say, sir, you don't remember
much of anything that happened last
114. CLOSE SHOT - THE TWO
What do you mean? I remember everything!
Hand me my pants - I wrote her phone
number on a piece of paper.
You have no pants, sir.
Longfellow looks up slowly. Walter goes
You came home last night - without them.
(after a double take)
I did what!
As a matter of fact, you came home without
any clothes. You were in your - uh -
shorts. Yes, sir.
Oh, don't be silly, Walter. I couldn't
walk around in the streets without any
clothes. I'd be arrested.
That's what the two policemén said,
? 385 ?
What two policemen?
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.
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
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.
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.
Yes, sir. I beg pardon, sir, but did
you ever find what you were looking
You kept searching me last night, sir.
Going through my pockets. You said you
were looking for a rhyme for Budington.
Better bring me some coffee, Walter.
Very good, sir.
Oh, I beg pardon. A telegram came for
(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.
Did you see all this stuff in the papers?
(holding out telegram)
Arthur wants to quit!
Arthur! Who's Arthur?
He's the shipping clerk at the Tallow
Works. Wants a $2 raise - or he'll quit.
(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.
(while Longfellow reads)
And what'd you do to those bodyguards?
They quit this morning. Said you locked
Oh, they insisted on following me.
117. TWO SHOT
What do you think bodyguards are for?
What do they mean by this - "Cinderella
Are those stories true?
118. CLOSE SHOT - LONGFELLOW AND COBB
Longfellow has his eyes glued on the
I don't remember. "Cinderella Man!"
What do they mean by that?
They'd call you anything if you gave
them half a chance. They've got you
down as a sap.
? 387 ?
I think I'll go down and punch this
editor on the nose.
No, you don't! Get this clear: Socking
people is no solution for anything.
119. TWO SHOT
Sometimes it's the only solution.
Not editors. Take my word for it. Not
If they're going to poke fun at me,
I'm going to—
(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.
(referring to paper)
But what about this "Cinderella Man"?
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?
Yes, I guess I'll have to.
(mopping his brow)
(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.
Cobb's right. I mustn't talk to anybody.
Miss Dawson on the phone, sir.
? 388 ?
Who? Miss Dawson?
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
EXT. TOP OF FIFTH AVENUE BUS - NIGHT
121. CLOSE SHOT - BABE AND LONGFELLOW
Longfellow looks around, absorbed. Babe
It's awfully nice of you to show me
around like this.
I enjoy it.
The Aquarium was swell. If I lived in
New York, I'd go there every day. I'll
bet you do.
Well, I'd like to - but I have a job
to think of.
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.
Hey, flap-ears! You better keep
following that bus!
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.
It don't look as though we're gonna
get any pictures tonight.
Babe ought to get him drunk again.
? 389 ?
EXT. TOP OF BUS
124. CLOSE SHOT - BABE AND LONGFELLOW
Got any news—
I mean, has anything exciting been happening
Sure. I met you.
Oh. What's happening about the opera?
Oh, that - well, we had another meeting.
I told them I'd go on being Chairman
I'm Chairman, you know.
Yes, I know.
I told 'em I'd play along with them
if they lowered their prices - and cut
down expenses - and broadcast.
What did they say?
Gosh, you look pretty tonight.
What did they say?
Huh? Oh. They said I was crazy. Said
I wanted to run it like a grocery store.
What are they going to do?
(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.
Isn't it a scream - "Cinderella Man!"
I'd like to get my hooks into that guy.
? 390 ?
Don't worry. Somebody's probably taking
him for plenty.
They are gone. Longfellow glares after
them. Babe is afraid to look up.
If they were men, I'd knock their heads
Babe is silent. Longfellow watches her
for a moment.
126. CLOSE SHOT - THE TWO
Have you seen the papers?
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
127. MED. CLOSE SHOT - THE TWO
She looks up, startled.
—"Cinderella Man!" I guess pretty soon
everybody will be calling me "Cinderella
Babe has had an uncomfortable time of
it - and quickly changes the subject.
Would you like to walk the rest of the
way? It's so nice out.
She jumps up from her seat, and Longfellow
INT. THE TAXI
128. MED. CLOSE SHOT
Favoring the taxi driver.
Hey, wise guys. He's getting off.
This sets off a mad scramble.
BOB AND FRANK
Hey, come on!
? 391 ?
Pull over to the curb!
EXT. RIVERSIDE DRIVE - GRANT'S TOMB
129. MED. CLOSE SHOT - LONGFELLOW AND
He stands across the street from Grant's
Tomb, looking solemn. His eyes moist.
She is unaware of his emotion.
Come on, don't you want to see it?
INT. THE TAXI
130. MED. SHOT - BOB AND FRANK
Feast your eyes. Grant's Tomb!
Is that it?
Hey, beetle-puss! The Tomb!
131. MED. CLOSE SHOT - LONGFELLOW AND
As they approach the monument.
There you are. Grant's Tomb. I hope
you're not disappointed.
To most people, it's an awful letdown.
I say, to most people it's a washout.
That depends on what they see.
(looks up at him)
Now, what do you see?
132. CLOSEUP - 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
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.
(overcome - he almost chokes on his
INT. PRIVATE OFFICES
134. MED. CLOSE SHOT
A switchboard operator fielding calls.
Sorry, Mr. Hopper. Mr. Cedar won't answer
his phone. Sorry.
Say, what's going on in the boss's office?
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.
I don't want to be critical, John, but
here it is—
(pouncing on him)
Yes, I know. A week's gone by and we
haven't got the Power of Attorney yet!
Yes, but you said—
(walking way from him)
I don't care what I said. I can't strangle
him, can I!
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
Exactly what I was saying to my wife
Who cares what you were saying to your
? 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:
Mr. and Mrs. Semple are still waiting.
I can't help it. Let them wait!
He snaps the dictograph off.
137. MED. SHOT GROUP
Those people have been in to see me
every day this week.
Who are they ?
Relatives of old man Semple.
They keep insisting they should have
some nuisance value.
They say if it hadn't been for Deeds,
they'd have gotten all the money.
(thinks a minutes - crosses to door)
Maybe they have! Maybe they have! Maybe
Mr. and Mrs. Semple, please. How do
The others all stand around - as the
We've been trying to—
138. MED. CLOSE SHOT - CEDAR AND THE
(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
(to one of his brothers)
Will you bring the chairs? Quickly.
Will you have a cigar, Mr. Semple?
Semple takes the cigar - rather flabbergasted
at all the sudden attention showered
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
There's Times Square.
You can almost spit on it, can't you?
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.
(as she wipes)
Oh! It's breezy up here.
He doesn't say anything right away.
You're worried about those articles
they're writing about you, aren't you?
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.
Oh, they just do it to sell the newspapers,
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
An awkward pause.
Shall we go?
? 395 ?
EXT. CENTRAL PARK - NIGHT
140. MED. TRUCKING SHOT
As Babe and Longfellow walk.
(spotting a park bench)
Here's a nice place.
Yeah. Anyway, there aren't any photographers
EXT. PARK - BEHIND SOME BUSHES
141. MEDIUM SHOT
Bob and Frank, sneaking around in the
142. CLOSE SHOT - LONGFELLOW AND BABE
You know, you said something to me when
you first met me that I've thought about
a great deal.
You said I was a lady in distress.
What did you mean by that?
There is a pause.
Have you got a - are you - uh - engaged
143. CLOSEUP - BABE
The corners of her mouth go up in sympathetic
No. Are you?
You don't go out with girls very much,
? 396 ?
144. CLOSE SHOT - THE TWO
Oh, I don't know.
You must have met a lot of swell society
girls since you've been here. Don't
you like them?
I haven't met anybody here that I like,
particularly. They all seem to have
the St. Vitus Dance.
Except you, of course.
People here are funny. They work so
hard at living - they forget how to
(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.
I'd rather have Mandrake Falls.
I'm from a small town too, you know.
Probably as small as Mandrake Falls.
(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.
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.
I've often thought about going back.
? 397 ?
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
He sounds like a person worth while
There is a pause while Longfellow watches
her, and she is lost in thought.
He played in the town band, too.
He did? I play the tuba—
Yeah, I know.
What did he play?
The drums. He taught me to play some.
Yes. I can do "Swanee River." Would
you like to hear me?
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
Oh, I suppose you could do better.
Sure. I can sing "Humoresque."
? 398 ?
"Humoresque"? I'll bet you don't even
know how it goes.
Sure. Look! You sing it over again,
and I'll do "Humoresque" with you.
It had better be good.
She starts again, and he sings "Humoresque"
in counterpoint to her drumming.
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.
I wonder if they'd want to make it a
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.
(as he runs off)
Fire engine! Fire engine! I want to
see how they do it. Wait for me, will
151. CLOSE SHOT - BOB AND FRANK BEHIND
Frank grabs the camera.
Looks like the evening is not going
to be wasted!
152. MEDIUM SHOT
They dash by the policeman, who looks
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 ?
Hello - what do you want?
Captain Deeds - fire volunteer - Mandrake
Hi, Cap! Boys, meet the Captain!
155. LONG SHOT - REVERSE ANGLE
Bob and Frank running with their cameras
INT. LIVING ROOM OF MABEL DAWSON'S STUDIO
Of typewriter carriage. It contains
a paper upon which the following is
"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.
What's the matter, hon?
Babe is too much absorbed to hear this.
Getting no response, Mabel turns and
studies her for a few seconds.
What's up, Babe? Something's eating
No. It's nothing.
My unfailing instinct tells me something's
gone wrong with the stew.
Don't be ridiculous.
? 400 ?
She again resumes her typing. Mabel
crosses to her and looks over her shoulder.
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.
I can't write it, Mabel! I don't know
what's the matter with me.
Babe lights a cigarette. Mabel studies
Uh-huh. I think I can tell you.
The phone bell rings. Mabel picks it
158. CLOSE SHOT AT PHONE
Hello . . .
Yes, she's here. Who wants her?
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.
INT. LONGFELLOW'S BEDROOM
159. CLOSE SHOT - LONGFELLOW
Who lies dressed in bed, phone in hand.
Couldn't sleep. Kinda wanted to talk
to you. Do you mind?
INT. MABEL'S LIVING ROOM
160. CLOSE SHOT - BABE AT PHONE
No - not at all. I couldn't sleep either.
INT. LONGFELLOW'S BEDROOM
161. CLOSE SHOT - LONGFELLOW
? 401 ?
I wanted to thank you again for going
out with me.
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
Well, that's very nice. Thank you.
CONTINUATION SCENE 161
You know what I've been doing since
I got home? Been working on a poem.
It's about you.
Sometimes it's kinda hard for me to
say things - so I write 'em.
CONTINUATION SCENE 160
I'd like to read it some time.
She listens for a moment, apparently
moved by his sweetness.
CONTINUATION SCENE 161
Maybe I'll have it finished next time
I see you.
Will I see you soon?
Gosh, that's swell, Mary.
He hangs up, and lies back - enthralled.
CONTINUATION SCENE 160
INT. APT. LIVING ROOM
162. MED. CLOSE SHOT - AT PHONE
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
? 402 ?
I'm crucifying him.
People have been crucified before.
Why? Why do we have to do it?
You started out to be a successful newspaper
woman, didn't you?
Yeah, then what?
Search me. Ask the Gypsies.
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.
The guy's balmy.
Is he? Yeah, I thought so, too. I tried
to laugh, but I couldn't. It stuck in
Aw, cut it out, will you? You'll get
me thinking about Charlie again.
He's got goodness, Mabel. Do you know
what that is?
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
SERIES OF INSERTS:
"Cinderella Man Fire-Eating Demon—
"Cinderella Man to Reform Opera—
? 403 ?
Must be put on paying basis - or else
- says post-card poet."
"Madame Pomponi, Famous Opera Singer,
To Launch Deeds on Social Career"
INT. LONGFELLOW'S BEDROOM
164. MEDIUM SHOT
Longfellow is in bed in his pajamas,
playing the tuba. Walter enters.
I beg pardon, sir. I beg pardon, sir.
Longfellow stops, looking daggers at
Madame Pomponi is on the telephone,
Madame Pomponi. She says everything
is all set for the reception.
What do you mean by coming in here when
But she's on the telephone—
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.
Walter halts. Longfellow gives a shout
from the top of the stairs. There is
a discernible echo.
Hey, did you hear that?
? 404 ?
Longfellow gives another shout. There
is another echo. He tries it again -
louder. Another echo. It is all very
Why, that's an echo, sir!
You try it.
Walter gives a bird-like hoot. There
is an echo.
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
You try it.
But the butler clearly relishes the
opportunity. He gives a little high-pitched
The butler tries it again - much better.
Another man-servant has emerged. Longfellow
points to him.
You try it!
The man-servant tries it - very raspy,
another tone altogether.
(waving like a conductor)
A symphony of hoots, shrieks, barks
The household staff do it again.
? 405 ?
(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.
Go back to your room, both of you!
Walter and the man-servant hasten to
The butler waits until nobody is looking,
then gives one, final hoot. He murmurs
to himself with satisfaction as he exits.
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
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
CAMERA MOVES SWIFTLY among groups of
people picking out vignettes of conversation.
Longfellow is the hot topic.
A husband and a wife whispering:
Shh! - he may hear you.
Even if he heard you, he wouldn't understand.
A man and a woman gossiping:
I hear he still believes in Santa Claus.
Will he be Santa Claus? That's what
I want to know.
Another man holding forth to two elegantly-dressed
Have you all got your slippers ready
for the "Cinderella Man"?
? 406 ?
Yes, I have.
With $20,000,000, he doesn't have to
He won't have it long with that Pomponi
woman hanging around him.
Two women in evening dress twittering
(to other woman)
My dear, I hear he can't think unless
he plays his tuba!
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.
(breaking the silence)
You're a fool, Babe.
I just couldn't stand seeing him again.
Running away is no solution.
169. MED. CLOSE SHOT - THE TWO
Babe is unresponsive.
(after a pause)
What'll I tell him if he calls up?
Tell him I had to leave suddenly. I
got a job in China - some place.
You're acting like a school girl.
(suddenly - tensely)
What else can I do? Keeping this up
is no good. He's bound to find out sometime.
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
BOB AND FRANK
Say, where is everybody? Come on, Babe
- the artillery's ready.
Mabel enters. Babe stands in doorway.
(by way of greeting)
It's those two sore spots again.
You shoulda been down to the office
Yeah. Mac threw Cobb out again.
Boy, was he burning.
(reaching for a bottle)
Just one little drink - and then we're
ready to shoot.
(grabbing it away)
Just a minute. No, you don't.
We're not going out tonight.
Thought you had a date with him.
172. CLOSE SHOT - BABE
It's off. He's having a party at his
173. MED. CLOSE SHOT
Frank, Bob and Mabel.
Say, what's the matter with her now
You wouldn't know if I drew you a diagram.
Now, run along and peddle your little
What is this? Throwing us out of here's
getting to be a regular habit.
There is a knock on the door. They all
? 408 ?
174. CLOSE SHOT AT DOOR
As Mabel opens the door slightly. We
see Longfellow. Mabel's eyes open in
Is Mary Dawson here? I'm Longfellow
175. CLOSE SHOT - BOB AND FRANK
They stand - stupefied.
176. CLOSE SHOT - MABEL
She waves her hand back of her, for
them to hide.
(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
178. FULL SHOT
Longfellow enters. Mabel closes the
door behind him, watching him speculatively.
Longfellow turns to Mabel.
You're Mabel - her sister - aren't you?
Huh? Oh, yes - yes, of course. Her sister.
Yes, I've been her sister for a long
Is she home?
Is Mary home?
They look at each other stupidly - smiling
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.
Oh, Mary? Yes, of course. Well, I don't
know whether she's home or not. I'll
As she turns, Babe appears in doorway.
Why there she is! Of course she's home.
Stupid of me . . .
? 409 ?
Hello, Mary. I waited in the park for
you over an hour. I thought maybe you'd
181. MED. CLOSE SHOT - LONGFELLOW AND
Mabel in b.g.
I didn't think you could come with the
party and everything.
Oh, I wouldn't let them stop me from
seeing you. So I threw them out!
You threw them out!
182. CLOSER SHOT
(gesturing with hands)
—by the neck or something?
Sure. They got on my nerves, so I threw
Mabel raises her eyebrows.
I guess that'll be in the papers tomorrow.
It will give 'em something else to laugh
183. CLOSEUP - BABE
Her face clouds - miserably.
I don't mind though. I had a lot of
fun doing it.
Would you like to go for a walk?
184. MED. CLOSE SHOT
Yes, if it isn't too late.
(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 ?
Nice day out - er, nice night - wasn't
it? - isn't it?
Yes, lovely. We've had a lot of nice
(after a pause)
It would be a nice night to go for a
walk, don't you think?
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.
Gosh, she looks better every time I
She crosses to the door.
Goodnight. Don't worry. I won't keep
her out late.
Thank you so much. Good night.
They exit. Mabel sighs relievedly. The
boys jump from their crouching positions.
Ow! My foot's asleep!
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
No, you don't. Just a minute. No more
? 411 ?
EXT. FRONT OF BABE'S HOME
187. CLOSE TRUCKING SHOT
As they walk slowly down the front steps.
The reason why I wanted to take a walk,
Mary, is 'cause I wanted to talk to
Let's just walk, okay?
188. CLOSE TRUCKING SHOT
As they walk along a foggy street, on
Mary, I'm going home.
Are you? When?
In a day or so, I think.
I don't blame you.
189. CLOSE TWO SHOT
Continuing on them, as they slowly walk
around the block.
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
There is a long pause. Both lost in
their own thoughts.
Do you mind if I talk to you, Mary?
You don't have to pay any attention
No, I don't mind.
All my life, I've wanted somebody to
talk to. Back in Mandrake Falls, I always
used to talk to a girl.
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
She was beautiful.
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.
Well, here we are again.
Yes, here we are again.
(after a pause)
(then, quickly - his voice faltering)
Mary - I - excuse me—
190. CLOSE TWO SHOT
Favoring Babe. She cuts him off, her
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
191. WIDER ANGLE
She runs up the steps.
She stops and turns. He walks up close
192. CLOSER SHOT - THE TWO
You know the poem I told you about?
His hand goes to his breast pocket -
and then slowly is withdrawn - without
bringing out the poem.
Would you like to read it? It's to you.
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
? 413 ?
(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
193. CLOSEUP - 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
The last words come with difficulty.
Babe's eyes are slowly welling up.
194. CLOSE SHOT - THE TWO
Babe continues reading:
"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
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.
Longfellow's arms encircle her and for
a few moments they remain in an emotional
You don't have to say anything now.
I'll wait till tomorrow - till I hear
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 ?
Hey, what's the big idea?
INT. NEWSPAPER OFFICE - DAY
197. CLOSE SHOT - MAC
Behind his desk.
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.
What's bothering you, huh?
(after a pause)
Last night he proposed to me.
Proposed to you! You mean he asked you
to marry him?
Why, Babe - that's terrific!
(sees it in print)
"Cinderella Man Woos Mystery Girl! Who
is the Mysterious Girl That—"
Print one line of that, and I'll blow
your place up!
198. MED. CLOSE SHOT - THE TWO
Sorry, Babe. Sorry. It would have made
a swell story. I just got carried away.
That's too bad. So he proposed to you,
What a twist! You set out to nail him
- and he—
Yeah. Funny twist, isn't it?
Say, you haven't gone and fallen for
that mug, have you?
? 415 ?
Babe's silence is eloquent.
Well, I'll be—
He places an arm tenderly around her
That's tough, Babe.
Babe smiles wryly.
What're you going to do?
I'm going to tell him the truth.
Tell him you're Babe Bennett? Tell him
you've been making a stooge out of him?
I'm having lunch with him today. He
expects an answer. It's going to be
You're crazy! You can't do that!
199. MED. CLOSE SHOT - THE TWO
Over their shoulders, from behind, as
Mac comforts her.
He'll probably kick me right down the
stairs. I only hope he does.
I'll put you on another job. You need
never see him again, eh?
That's the rub.
Oh, as bad as that, huh?
Telling him is the long shot - I'm going
to take it.
He watches her sympathetically. Babe
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 ?
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
How's it going? Okay?
Yes, quite all right. Thank you, sir.
(picking up a salt shaker and examining
(as he continues his puttering)
Is that the best you've got?
Oh, yes sir.
(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?
(repeating his command as he hands the
bowl to the other butler)
A smaller bowl of flowers.
(exiting with flowers)
Yes, sir. A smaller bowl of flowers.
Did you get that stuff I was telling
? 417 ?
That goo. That stuff that tastes like
Oh, yes, sir. Here it is, sir. The pate
de fois gras, sir.
Yeah, that's fine. Have a lot of it
because she likes it.
The other butler returns with a small
bowl of flowers which he places in the
center of the table.
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
(motions to butler)
Sit over there, will you?
The butler sits.
Yes. You're too tall. Slink lower, will
The butler does it.
More. Now forward.
They are practically nose to nose over
How is this, sir?
I wish you luck, sir.
Thank you. Now don't touch a thing.
Leave everything as it is.
He hurries toward his bedroom.
? 418 ?
202. FULL SHOT
Walter! Walter! Walter, where are you?
Walter enters, panic-stricken.
Yes, sir. What is it, sir? Anything
203. MED. CLOSE SHOT
Anything happened? I've got to get dressed!
I can't meet her like this!
But she isn't due for an hour, sir.
An hour? What's an hour! You know how
time flies, Walter. My tie? Get it.
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
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.
(to Walter - merrily)
Will you tell the gentleman I'm not
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
(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.
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
BACK TO SCENE
Longfellow stares long and unbelievingly
at the picture.
208. MED. CLOSE SHOT - COBB AND LONGFELLOW
(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, 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.
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.
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.
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.
(picking up receiver)
I've seen 'em get in a rut like you
before - but they always come back.
Hello . . . Yes. Just a minute.
He holds the receiver out to her.
It's for you. In a couple weeks you'll
get the itch so bad, you'll be working
Hello . . .
INT. LONGFELLOW'S BEDROOM
211. MEDIUM SHOT
Cobb is at the phone.
Babe Bennett? Just a minute.
He listens and hands phone to Longfellow.
INT. NEWSPAPER OUTER OFFICE
212. CLOSE SHOT - BABE
Oh, hello darling.
Her face goes dead as she realizes she
is speaking to Longfellow.
INT. LONGFELLOW'S BEDROOM
213. CLOSE SHOT - LONGFELLOW
(at phone; strained)
Is it you who's been writing those articles
INT. NEWSPAPER OUTER OFFICE
214. CLOSE SHOT - BABE
Why - uh - I was just leaving - I'll
be up there in a minute—
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
(coming over phone)
Oh listen, darling, wait a minute! Please!
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.
I beg pardon, sir. Shall I serve the
wine with the squab, sir?
Longfellow doesn't hear him.
I beg pardon, sir.
217. CLOSEUP - COBB
His face softens.
If I knew you were going to take it
so hard, I woulda kept my mouth shut.
218. MEDIUM SHOT
As finally Longfellow speaks, without
Pack my things, Walter. I'm going home.
He immediately busies himself.
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.
(trying to keep up with Longfellow)
You shouldn't be running away like this.
What's going to happen to the Estate?
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.
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
What's going on here?
The man yanks himself free.
There he is! I just wanted to get a
look at him.
He sees Longfellow over Cobb's shoulder.
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.
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
Cobb forcibly restrains the man.
Come on! Take him out of here!
Let me go!
Let him alone.
Let me alone!
If you know what's good for you - you'll
let me get this off my chest!
? 423 ?
How did you feel feeding doughnuts to
a horse? Get a kick out of it, huh?
Got a big laugh?
Did you ever think of feeding doughnuts
to human beings! No!
Longfellow stares at him.
Shall I call the police, sir?
What do you want!!
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!
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!
Sure - everybody's a moocher to you.
A mongrel dog eating out of a garbage
pail is a moocher to you!
(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.
Stay where you are, young feller. Get
Cobb backs away and the man points the
gun at Longfellow, who remains staring
at him, immobilely.
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!
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
? 424 ?
(his voice wavers)
—standing in the bread lines—
—not knowing where their next meal was
coming from! Not able to feed their
wife and kids.
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.
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.
(dead voice - staring into space)
I'm glad I didn't hurt nobody. Excuse
He turns his head slowly and peers at
them with non-seeing eyes, then suddenly
he hides his face in his hands and sobs.
Crazy. You get all kinds of crazy ideas.
Longfellow watches him pityingly.
Sorry. I didn't know what I was doing.
The rest of it seems to come out of
him effortfully - his voice breaking.
Losing your farm after twenty years'
work - seeing your kids go hungry -
a game little wife saying "Everything's
going to be all right."
Standing there in the bread lines. It
killed me to take a handout.
I ain't used to it.
Go ahead and do what you want with me,
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
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 ?
Can I take some of this home with me?
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
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
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
(as the camera moves in on him)
Are you married?
? 426 ?
No, no children.
All right, Mr. Dodsworth. I think you'll
(he hands him a form)
Take this to that desk over there for
(gratefully - exiting)
Thank you very much.
A man steps forward and stands in front
of his desk.
227. MED. CLOSE SHOT AT DESK
Longfellow, clerk and applicant.
How many does that make?
You've okayed 819.
Is that all?
It's going awfully slow. We need 1100
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.
Here's the order for the plows. We got
a good price on them.
That's fine. Thanks. I'll look 'em over
Oh, Mr. Deeds—
Longfellow looks up. Farmer goes on:
? 427 ?
—my wife wanted me to tell you she—
—she prays for you every night.
Well, thanks, I - uh—
(to applicant in front of him)
How do you do? What is your name?
George Rankin, sir.
While Longfellow writes—
229. CLOSE SHOT AT A DESK
Cobb is on the phone.
No! No! We're not buying any bulls.
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.
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.
See! I told you something could be done.
I knew it all the time. Sign it, dear.
We may get into trouble.
Oh, don't be so squeamish.
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.
What's it say?
That's your agreement with Mr. Cedar,
if we win.
? 428 ?
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.
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.
Charlie, we're off! Papers all set?
Okay, then. Go to it.
Find out who wrote those newspaper articles
and subpoena them right away.
INT. LONGFELLOW'S DRAWING ROOM
232. MEDIUM SHOT
A large, raw-boned Swede stands before
What is your name?
Where is your farm?
South Dakota north.
? 429 ?
South Dakota - north?
South Dakota - but on the top.
233. WIDER ANGLE
Cobb enters, very businesslike.
What about your knocking off for lunch?
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
Come on, come on. What are you trying
to do, kid? Keel over? You haven't been
out of this house in two weeks.
Well, maybe I will have a sandwich.
Do you mind waiting a few minutes?
(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.
Thanks. Thank you. Never mind, Cobb.
He takes it, and he and the Swede silently
eat. Longfellow looks up.
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
(calls to Cobb)
Cobb! Get lunch for the rest of them.
? 430 ?
What? There must be 2000 of them out
Well, that doesn't make 'em any less
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.
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
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
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.
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
Break it up.
241. MED. SHOT AT DESK
FIRST DEPUTY SHERIFF
(pointing to Longfellow)
? 431 ?
2ND DEPUTY SHERIFF
Are you Longfellow Deeds?
FIRST DEPUTY SHERIFF
We've got a warrant to take you into
FIRST DEPUTY SHERIFF
A warrant for your arrest. You'll have
to come along with us.
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.
Insanity! Who's says he's insane?
They all turn to Charlie, who comes
The complainant is a relative of the
late Martin Semple. The charges are
that Mr. Deeds is insane and incapable
of handling the Estate.
Oh, somebody got panic-stricken about
his giving his dough away, eh?
Where do you think you're going to take
FIRST DEPUTY SHERIFF
To the County Hospital.
Of course, that's only temporary. A
hearing will follow immediately.
242. CLOSEUP - LONGFELLOW
As he speaks quietly.
That's fine. Just because I want to
give this money to people who need it,
they think I'm crazy.
That's marvelous. That makes everything
? 432 ?
243. WIDER ANGLE
To include group.
FIRST DEPUTY SHERIFF
Let's get going!
Wait a minute! Not so fast. We're going
to get a lawyer. I'll call Cedar.
No, don't bother.
As a matter of fact, I'm from Mr. Cedar's
office. He represents the complainant.
Longfellow glances up at him and smiles
FIRST DEPUTY SHERIFF
Well, let's go. We're wasting a lot
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
All right, I'll go. But get your hands
244. MEDIUM SHOT
Longfellow starts to walk forward, accompanied
by Cobb - and the two deputies and Charlie
fall in behind them.
Make way! Make way!
245. CLOSE SHOTS OF CLERKS
To be intercut with above scene. They
stare, petrified, and mumble to each
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.
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.
Yes, most everybody in town has been
here to see him. Yes, sir. I won't.
Babe rounds the corner quickly, heading
for the door. The guard hurriedly hangs
up and stands to block her.
Oh, it's you again.
Oh, please! I've got to see him.
Now listen, sister, for the fourteenth
and last time he don't want to see nobody.
Will you just give him my name?
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
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.
(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:
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.
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,
INT. CORRIDOR OUTSIDE DOOR
251. MED. CLOSE SHOT
The guard is reading his paper. Babe
is still waiting, pacing.
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.
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
Cobb doesn't stop. Babe grabs his arm:
253. CLOSE TWO SHOT
Cobb glares at Babe belligerently.
I've got to see him! I've got to talk
Haven't you done enough damage already?
(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 ?
You're wasting your time. He doesn't
want any lawyers. He's sunk so low,
he doesn't want help from anybody.
You can take a bow for that.
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.
INSERT: NEWSPAPER HEADLINES
"DEEDS SANITY HEARING TODAY!
Semple Heir Charged With Incompetency!
'Should Be Confined To An Institution,'
"Longfellow Deeds Refuses Counsel; Remains
"Farmers Aroused At Efforts to Balk
"Police Surround Courthouse In Anticipation
254. LONG SHOT
Of an unruly mob - being jostled by
INT. CORRIDOR OF COURTHOUSE
255. LONG SHOT
The corridor is jammed with curious
public endeavoring to gain entrance.
Perspiring police fight to keep them
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
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.
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.
(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
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.
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.
The court wishes to warn those present
that it will tolerate no disturbances.
Regarding the sanity hearing of Longfellow
Deeds, are you represented by counsel,
? 437 ?
Almost imperceptibly, Longfellow shakes
his head no. The Judge looks troubled.
There is a stir in the courtroom.
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.
268. MEDIUM SHOT
Cedar is on his feet.
(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
269. PANNING SHOT OF SPECTATORS
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:
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
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.
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
271. CLOSEUP - LONGFELLOW
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
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
273. CLOSE SHOT - THE JUDGE
As Cedar continues talking, CAMERA PULLS
BACK to WIDER SHOT.
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
274. MED. PANNING SHOT
Of farmers, the Swede and others.
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
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.
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.
Raise your right hand, please.
She does so.
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?
State your right name, please.
Take the stand.
279. MED. CLOSE SHOT AT WITNESS STAND
As Cedar steps up to question Babe.
Judge in f.g.
Miss Bennett, are you employed by the
There is no answer. Babe continues to
stare off at Longfellow, hoping he will
look up. Cedar speaks to her again:
I must ask you to direct your attention
But Babe's attention remains focused
(appealing to Judge)
Your Honor, this is ridiculous!
? 440 ?
Please answer the questions.
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.
Miss Bennett please!
This is outrageous!
(rising to stand)
It's obviously a frameup! They're trying
to railroad this man for the money they
can get out of him!
The Judge pounds his gavel throughout
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.
Cedar beams victoriously.
Thank you, Your Honor. Are you employed
by the Morning Mail?
Cedar's eyes widen in surprise. There
is a light stir.
You are under oath, Miss Bennett. I
ask you again - are you employed by
the Morning Mail?
No! I resigned last week!
281. CLOSE SHOT - LONGFELLOW
As Cedar proceeds without interruption.
? 441 ?
Well, prior to that time - were you
employed by the Morning Mail?
282. CLOSE SHOT AT WITNESS STAND - BABE
Were you given an assignment to follow
the activities of Longfellow Deeds?
Did you subsequently write a series
of articles about him?
(holding them up)
Are these the articles?
Were you present when all these things
Are they true!
But they did take place?
They're colored! Just to make him look
And you saw them happen?
Yes, but I—
That's all, Miss Bennett.
It isn't all! I'd like to explain—
? 442 ?
That's all, Miss Bennett. That's all.
283. MEDIUM SHOT
A bailiff takes Babe by the arm.
Come on, miss - come on!
(simultaneously, to Judge)
Your Honor, I'd like to submit these
articles as evidence.
Babe struggles away from the bailiff.
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.
Miss Bennett, please!
284. CLOSER SHOT
Featuring Babe and Judge.
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.
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.
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.
Until then, you'd better go back to
your seat and calm down.
This way, miss.
285. WIDER ANGLE
As Babe is led away, there is another
Order in the court!
? 443 ?
When Babe is out of sight, the Judge
turns to Longfellow.
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
(again no reply)
Mark these Exhibit A for the plaintiff.
Yes, Your Honor.
288. CLOSE SHOT - BABE
As she sits down beside Mac - who places
an affectionate arm around her shoulders.
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:
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.
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.
What is your name, please?
Jane Falkner. This is my sister, Amy.
Yes - Amy.
? 444 ?
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
Oh yes, yes - of course we know him.
(a little nervously)
How long have you known him?
Jane turns to her sister, and they whisper
to each other.
(turns to Cedar)
Since he was born.
Yes. Elsie Taggart was the midwife.
He was a seven-months baby.
Thank you, that's fine. Do you see him
The two old ladies have their whispered
Most every day.
Must we have the echo?
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
They think he's pixilated.
Oh yes, pixilated.
What was that you said he was?
? 445 ?
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.
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.
Is that correct?
Now tell me, why does everyone think
he's - uh - pixilated? Does he do peculiar
295. MED. SHOT TOWARD WITNESS STAND
(after conferring with Amy)
He walks in the rain, without his hat,
and talks to himself.
Sometimes he whistles.
Recently he gave Chuck Dillon a thumping.
Blacked his eye.
? 446 ?
For no reason, I guess. He always does
it. We always run into the house when
we see him coming.
Never can tell what he's going to do.
He sure is pixilated.
Oh, yes - he's pixilated all right.
Thank you, ladies. That's all.
Cedar beams. The old ladies leave to
resume their seats.
296. CLOSE SHOT IN WITNESS STAND
A policeman in uniform.
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."
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
WIPE OFF TO:
298. CLOSE SHOT IN WITNESS STAND
He threw us out bodily! But bodily!
WIPE OFF TO:
299. MED. CLOSE SHOT IN WITNESS STAND
Of one of the bodyguards on witness
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
? 447 ?
WIPE OFF TO:
300. CLOSE SHOT IN WITNESS STAND
A Cockney 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,
WIPE OFF TO:
301. WIDE SHOT
Of one of the photographers (Bob) and
enlarged photographs of Longfellow's
Come to order.
Your Honor, I wish to call your attention
to these exhibits. Mr. Davis, do you
recognize these reproductions?
Sure, they're good enlargements. Where'd
you have them made?
Did you make the originals of them?
Sure. I took the originals. Taking pictures
is my business. I photograph a lot of
WIPE OFF TO:
As Cedar speaks.
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 ?
302. WIDER ANGLE
As the clerk finishes swearing Dr. Von
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.
(a slight Austrian accent)
Emil Von Holler.
Take the stand.
303. MED. CLOSE SHOT AT WITNESS STAND
On Von Holler and Cedar.
Now Dr. Von Holler, will you kindly
tell the court what your opinion is
on this case?
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.
You remember, Dr. Fosdick, in my last
book there are some very fine examples.
Especially, the one of the young nobleman,
Oh, yes. Yes, of course Dr. Von Holler.
It reminds me very much of this one.
It takes so long to detect them—
—because their mood changes so often
and so quickly. Now, Your Honor, may
I show you? May I use the chart?
? 449 ?
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
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
(he reaches the center line)
Here is lucidity. Here they are perfectly
normal. As normal as you or I—
—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
Dr. Von Holler, how would you say that
applied to Mr. Deeds's case?
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:
Oh, the man is verrukt. Your Honor,
this is decidedly a case of a manic
? 450 ?
Thank you, Dr. Von Holler.
Dr. Von Holler returns to his seat.
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
Come on, what're you going to do? Let
them get away with it? They got you
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
Judge comes out of his huddle and glances
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.
Come on - don't be a sap!
CONTINUATION SCENE 308
The Judge watches him a few moments,
hesitatingly, and then turns to his
310. MED. SHOT - NEWSPAPER REPORTERS
311. CLOSE SHOT - CEDAR AND HIS CLIENTS,
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
(to the two experts)
You both concur?
? 451 ?
The Judge emerges from his consultation
with his experts and addresses Longfellow.
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.
Perhaps in a little while—
Suddenly the air is rent with the shrill
voice of Babe.
No! No! No! Wait a minute!
All are startled and look up. Babe runs
right to the Judge.
You can't do it! You've got to make
Your Honor, I object!
She turns directly to Longfellow - leaning
over close to him.
315. CLOSE SHOT - BABE AND LONGFELLOW
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.
Miss Bennett, please!
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
316. WIDER ANGLE
He must be made to defend himself before
you arrive at a decision.
Very well. Take the stand.
Babe goes up to the witness stand and
Oh, thank you!
? 452 ?
Your Honor, what she is saying has no
bearing on the case. I object.
Let her speak.
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
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.
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.
But Your Honor - this is preposterous!
The Judge waves him down with a dismissing
gesture of his hand.
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:
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.
Your Honor, this is absurd. The woman's
obviously in love with him.
? 453 ?
What's that got to do with it?
Well, you are in love with him, aren't
What's that got to do with it?
You are , aren't you?
(just as loud)
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.
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.
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.
If you have anything to say, you will
take the stand.
I've already said it, Your Honor. I
just thought I'd like to get my two
As he starts to go, CAMERA PANNING WITH
HIM, he passes Longfellow. He nudges
Don't be a sucker, pal. Stand up and
speak your piece.
He disappears to his seat.
Your Honor, I've got a couple of cents
I'd like to put in—
? 454 ?
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.
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.
How about us, Mr. Deeds!
325. MED. SHOT
Shooting toward audience. As the farmer
finishes, a dozen others are on their
Yes! What about us, Mr. Deeds!
You're not going to leave us out in
They're trying to frame you, Mr. Deeds!
The turmoil is general, with bailiffs
running to quiet them. The Judge pounding
his gavel, incensed.
(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.
I'd like to get in my two cents' worth.
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
328. MED. SHOT
To include Longfellow, Judge, and others
around them. Longfellow hesitates.
Well, I don't know where to begin. There's
been so many things said about me that
329. CLOSE SHOT AT WITNESS STAND
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.
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
INSERT: OF A PRINTED DOCUMENT
Of some sort. All the O's and P's and
R's have the white spaces pencilled
331. CLOSEUP - JUDGE
As he looks up from the document. He
is a trifle self-conscious. Laughter
comes from the courtroom.
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.
? 456 ?
332. MED. SHOT - FRONT OF COURTROOM
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
(to Dr. Von Holler)
(returning to the stand)
This is a piece of paper he was scribbling
I can't figure it out. One minute it
looks like a chimpanzee - and the next
minute it looks like a picture of Mr.
(hands it to him)
You look at it, Judge.
The Judge, with a serious mien, takes
INSERT: OF PAPER
It is a doodle face.
BACK TO SCENE:
Dr. Von Holler is somewhat uncomfortable.
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
ear-pullers - some are nail-biters—
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.
And the lady next to him is a knuckle-cracker.
Mrs. Semple quickly drops her hands
in her lap, as the courtroom again fills
? 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
So you see, everybody does silly things
to help them think.
Well, I play the tuba.
337. CLOSE SHOT - MAC
As he bursts forth.
Nice work, toots!
The crowd echoes him with shouts and
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,
Mr. Deeds, do you recall forcibly ejecting
people from your home?
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
342. MED. SHOT OF COURTROOM
Featuring Longfellow. Cedar, who cannot
stand it any longer, jumps to his feet.
? 458 ?
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!
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
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.
Your Honor, I object.
346. MEDIUM SHOT
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?
Not at all.
Longfellow turns. Everybody stretches
to get a better look at them.
Jane, who owns the house you live in?
? 459 ?
347. CLOSE SHOT - THE SISTERS
The girls consult with each other.
Why, you own it, Longfellow.
Yes, you own it.
Do you pay any rent?
(after conferring with Amy)
No, we don't pay any rent.
Good heavens, no! We never pay rent.
348. WIDER ANGLE
As Longfellow continues questioning:
Are you happy there?
Now, Jane, a little while ago you said
I was pixilated. Do you still think
(after the usual conference)
Why, you've always been pixilated, Longfellow.
That's fine. I guess maybe I am.
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.
Why, everybody in Mandrake Falls in
pixilated - except us.
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
Now, just one more question. Do you
see the Judge here? He's a nice man,
JANE & AMY
Do you think he's pixilated?
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
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.
Oh yes, I was getting to that, Your
CAMERA MOVES TO CLOSER SHOT, featuring
Longfellow and Judge, as former continues:
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
354. MEDIUM SHOT
Cedar springs to his feet.
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.
Please, Mr. Cedar!
355. MED. CLOSE SHOT AT WITNESS STAND
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
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
—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
(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
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?
If you don't mind, Your Honor, I'll
ride on those top waves for a minute.
Hey, all you fellows out there! All
those who applied for a farm, stand
360. REVERSE ANGLE
Showing most of the audience struggling
to their feet.
? 462 ?
361. MED. CLOSE SHOT - WITNESS CHAIR
See all those fellows? They're the ones
I'm trying to help. They need it!
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
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.
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.
It's a lie!
Mr. Deeds is drawing on his warped imagination!
364. CLOSE SHOT - LONGFELLOW
As he listens to Cedar, watching him
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.
It's an insult to our intelligence to
sit here and listen to his childish
? 463 ?
Throughout his speech the Judge has
been pounding his gavel. Longfellow
has his eyes levelled off on Cedar.
(when quiet reigns)
You will please permit Mr. Deeds to
But Your Honor—
Cedar, grumblingly, remains standing.
Judge asks Longfellow:
Anything else, Mr. Deeds?
(eyes still on Cedar)
(changes his mind; turns to Judge)
Yes. There's just one more thing I'd
like to get off my chest before I finish.
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.
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—
367. MED. PANNING SHOT
Showing spectators, waiting breathlessly
for a decision. All eyes are on the
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 ?
Remain seated and come to order. The
Court is again in session.
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 -
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
Mr. Deeds, there has been a great deal
of damaging testimony against you. Your
behavior, to say the least, has been
An audible gasp is heard from audience.
Judge goes on:
But in the opinion of the Court, you
are not only sane, but you are the sanest
man that ever walked into this courtroom.
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
Budington rises to confront Cedar.
Oh, I knew it! I knew it! You, you—
Cedar disgustedly pushes him in the
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
? 465 ?
381. MEDIUM CLOSE SHOT
As Babe frantically tries to reach Longfellow,
but is jostled aside. The parade envelops
382. LONG SHOT FROM REAR
The shouting mob is heading for the
door at end of courtroom. Everyone crowds
383. CLOSE SHOT IN REAR
Babe is left helplessly out.
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
He's still pixilated.
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.