MR. DEEDS GOES TO TOWN
screenplay
by Robert Riskin
based on a story by
Clarence Budington Kelland
Shooting Draft, 1936
Property of
Columbia Pictures
FADE IN:
EXTERIOR - MONTAGE 1. QUICK SHOTS OF A CAR SPEEDING AROUND
CURVES IN A MOUNTAINOUS REGION. THE CAR JUMPS A BRIDGE,
HURTLES INTO SPACE, CRASHES IN A FIREBALL. FOLLOWED BY
NEWSBOYS HAWKING SPECIAL EDITIONS, PEOPLE ON STREETCORNERS
BUYING AND READING NEWSPAPERS WITH A SUCCESSION OF BANNER
HEADLINES:
"MARTIN W. SEMPLE, FINANCIER, DIES IN ITALY,"
"CIVIC LEADER KILLED IN AUTO ACCIDENT,"
"DISCLOSURE OF BANKER'S WILL AWAITED" AND FINALLY "SEMPLE
HEIR AS YET UNKNOWN"
DISSOLVE TO:
INTERIOR - EDITOR'S OFFICE, DAILY MAIL
2. CLOSE SHOT
of Mac, the editor, at his desk, barking into the telephone.
MAC
Say listen, Corny, who do you think
you're talking to? If the Semple
attorneys don't know who the heir
is, who does?
(listens)
Aw, come on Corny, I've done you a
lot of favors. What do you say -
who's getting the Semple dough?
CUT TO:
INTERIOR - CEDAR'S PRIVATE OFFICE
3. CLOSE SHOT
Of Cornelius Cobb - a hardened ex-newspaperman, customarily
impatient, grouchy and nervous - victim of the New York
tempo. His friends call him "Corny."
COBB
(on the phone)
You're asking the wrong guy, Mac.
I'm only a press agent.
THE CAMERA PULLS BACK GRADUALLY TO REVEAL a plush law
office, leather chairs and shelves of books. Arthur Cedar,
attorney, briskly enters scene and seats himself at his
desk. Cedar is in the neighborhood of fifty - grey-templed -
dignified - sharp. Cobb is using the phone on his desk.
Cedar glances at him.
CEDAR
Newspaperman?
COBB
(covering mouthpiece -
confidentially)
Wants to know who the heir is.
CEDAR
(firmly)
Hang up.
COBB
(returning to the
phone)
Sorry, Mac, I can't. Yeah, Mac.
Sure, but I ain't the attorney—
CEDAR
(more firmly)
Hang up.
THE CAMERA PULLS BACK FURTHER TO REVEAL another attorney
at one end of the desk, reviewing a pile of papers.
COBB
(continuing)
Mr. Cedar is, and I haven't seen
him in two days.
(hangs up the phone)
Listen, Cedar, we've got to do
something about the newspapers.
CEDAR
(barely glancing up)
I'm not interested in the
newspapers.
COBB
But it's a great story. Somewhere
in this country a guy is walking
into twenty million bucks.
CEDAR
Yes, I know. My first concern is
to locate the lucky man. When I
do, it's your job to keep the
newspapers away from him.
COBB
(resignedly)
It's okay with me as long as my
weekly stipend keeps coming in.
THE CAMERA PULLS BACK TO A FULL SHOT as two men rush in
with a flurry of excitement. One of them is Anderson, an
obsequious employee of Cedar's. With him is another lawyer,
one of the Cedar brothers.
ANDERSON
We located him, Mr. Cedar! We found
out where he is.
CEDAR
Good!
FIRST BROTHER
Yes, John, we got him.
ANDERSON
Here's the report: Longfellow Deeds,
single, 28, lives in Mandrake Falls,
Vermont.
CEDAR
(glancing at the
report)
Thank heaven.
FIRST BROTHER
Better wire him right away, John.
CEDAR
I'll do no such thing. I'm going
there myself. You're going with me
too, Anderson - and you too, Cobb.
He pushes a button on the intercom.
VOICE
Yes?
CEDAR
Make three reservations on the
first train out to Mandrake Falls,
Vermont.
VOICE
(skeptically)
Where?
CEDAR
Mandrake Falls.
(begins to spell as
scene fades)
M-A-N—
CUT TO:
EXT. A STATION
4. MEDIUM SHOT
It is a pleasantly rural scene - with just a handful of
local characters scattered about. At one end of the platform -
some mail - newspapers - and a few pieces of freight are
being loaded. Cedar, Cobb and Anderson stand in front of a
welcome sign. The three obviously are out of their element
here - obviously "City folks."
Over their shoulders. We hear Cobb's voice as he reads:
COBB'S VOICE
Welcome to Mandrake Falls -Where
the scenery enthralls -Where no
hardship e'er befalls -
Welcome to Mandrake Falls.
5. MEDIUM SHOT
Cobb and Cedar exchange glances.
COBB
That's pretty.
CEDAR
Are you sure this is the town he
lives in?
ANDERSON
Yes sir, Mr. Cedar. This is the
town all right.
CEDAR
Well, I dropped everything at the
office - I hope it's not a wild
goose chase.
ANDERSON
No, sir. We checked it thoroughly.
He lives here all right.
COBB
Ah! I spy a native. Let's ask him.
CAMERA MOVES WITH THEM as they cross to a small, one-story
old brick building, covered with ivy. This is the ticket
and freight office combined. In front of it is a very old
man, a stoop-shouldered rail agent with a face of a million
wrinkles - puttering around some packages.
CEDAR
(as they approach)
Good morning.
AGENT
(glances up)
Morning, neighbors. Morning.
He picks up a package and disappears into the building.
Cedar and Cobb look at each other.
COBB
That's an excellent start. At least
we've broken the ice.
The old man returns to his pile of packages.
CEDAR
I say, my friend, do you know a
fellow by the name of Longfellow
Deeds?
AGENT
Deeds?
CEDAR
Yes.
AGENT
Yes, sir. Yes, indeedy. Everyone
knows Deeds.
CEDAR
Yes, I—
He again disappears.
COBB
Must be a game he's playing.
The old man shows up again.
CEDAR
We'd like to get in touch with
him. It's very important.
AGENT
Who's that?
CEDAR
Deeds! Who do you think I'm talking
about?
AGENT
Oh, yes - Deeds. Fine fellow. Very
democratic. You won't have no
trouble at all. Talk to anybody.
Whereupon the old man carries another package inside. Cobb
is properly exasperated now.
CEDAR
I guess we'd better try somebody
else.
COBB
No, we won't! The next time that
jumping jack comes out, I'll
straddle him while you ask him
your questions.
The old man emerges from the building and looks up at them
as if he's never seen them before.
AGENT
Morning, neighbors.
6. TWO SHOT - COBB AND AGENT (FEATURING COBB)
Cobb grabs the old man as he turns to head back into the
building.
COBB
Remember us? We're the fellows who
were here a minute ago.
AGENT
Oh, yes. Yes, indeedy. I never
forget a face.
He turns again - but Cobb holds him by the arm and sets
him down on a small packing case.
COBB
Listen, Pop, we've come all the
way from New York to look up a
fellow by the name of Deeds. It's
important - very important!
AGENT
(releasing his arm)
You don't have to get rough,
neighbor. All you got to do is
ask.
COBB
Then please pretend, for just one
fleeting moment, that I'm asking.
Where does he reside?
AGENT
Who?
Cobb turns away in disgust. Anderson steps forward.
CLOSE SHOT - THE THREE
ANDERSON
Longfellow Deeds - where does he
live?
AGENT
Oh, that's what you want! Well,
why didn't you say so in the first
place instead of beating around
the bush? Those other fellows don't
know what they're talking about.
(as he exits scene)
Come on, I'll take you there in my
car. If they'd only explained to
me what they wanted, there would
be no trouble.
He leaves Cobb and Cedar staring after him killingly.
DISSOLVE TO:
INT. LONGFELLOW'S LIVING ROOM
8. MEDIUM SHOT
A little old lady, Mrs. Meredith, answers a knock at the
door. Cedar, Cobb and Anderson stand there, with the old
man at their heels. Mrs. Meredith is a sweet, soft-voiced,
timid and fluttery little creature.
MRS. MEREDITH
Oh, will you come in please,
gentlemen?
CEDAR
Is Mr. Deeds in?
MRS. MEREDITH
No - he's over to the park arranging
for the bazaar, so's to raise money
for the fire engine.
(to old man)
Mal, you shoulda knowed he was in
the park.
AGENT
Knew it all the time. But these
men said they wanted to see the
house.
(mumbling as he
exits)
Can't read their minds if they
don't say what they want.
9. GROUP SHOT
Cobb glares after him exasperatedly. Mrs. Meredith turns
to Cobb and Cedar.
MRS. MEREDITH
Come in, please. Come in. Can I
get you a cup of tea?
CEDAR
No, thanks.
MRS. MEREDITH
Sit down. Sure I couldn't get you
a glass of lemonade or something?
CEDAR
That's very kind of you. Are you
related to him?
MRS. MEREDITH
No, I'm his housekeeper.
CEDAR
Well, we'd like to find out
something about him. What does he
do for a living?
MRS. MEREDITH
He and Jim Mason own the Tallow
Works. But that's not where he
makes his money. He makes most of
it from his poetry.
CLOSE SHOT - THE THREE
Featuring Cobb.
COBB
(skeptically)
He writes poetry?
MRS. MEREDITH
Oh, my goodness, yes. Longfellow's
famous. He writes all those things
on postcards. You know, for
Christmas - and Easter - and
birthdays. Sit down, please.
She reaches over to a desk and picks one up.
MRS. MEREDITH
Here's one - he got $25 for this
one.
CLOSEUP - MRS. MEREDITH
AS SHE READS - WITH FEELING:
MRS. MEREDITH
"When you've nowhere to turn - and
you're filled with doubt - Don't
stand in midstream, hesitating,
For you know that your mother's
heart cries out - 'I'm waiting, my
boy, I'm waiting.'"
(she looks up)
Isn't that beautiful?
CLOSEUP - COBB
His eyes open unbelievingly.
MRS. MEREDITH'S VOICE
Isn't it a lovely sentiment?
COBB
(flatly)
Yeah.
A dog enters, racing toward the door, scratching at it and
whining.
MRS. MEREDITH
(as she heads toward
the door)
Here he is now.
She opens the door and goes out, with the dog racing ahead.
COBB
(to Cedar - sotto
voce)
I suggest you break it to him
gently. He's liable to keel over
from the shock.
Mrs. Meredith re-appears. We hear her voice as she comes
through the doorway.
MRS. MEREDITH
They've been waiting a long while.
Longfellow Deeds trails behind her.
LONGFELLOW
Who are they?
MRS. MEREDITH
I don't know.
CEDAR
(standing - formally)
Mr. Longfellow Deeds?
LONGFELLOW
Yes.
CEDAR
How do you do.
LONGFELLOW
(shaking hands)
How do you do.
CEDAR
(extending card)
I'm John Cedar - of the New York
firm of Cedar, Cedar, Cedar and
Budington.
CLOSE SHOT - GROUP
Featuring Cobb. He watches Longfellow who is glancing at
the card.
LONGFELLOW
(reads to himself)
Cedar, Cedar, Cedar and Budington.
(looks up; smiles)
Budington must feel like an awful
stranger, hmm?
Cobb's eyes pop at the nifty.[1]
CEDAR
Mr. Cornelius Cobb and Mr. Anderson.
They exchange greetings. Longfellow gestures to chairs.
LONGFELLOW
You gentlemen make yourselves
comfortable.
COBB AND ANDERSON
Thanks.
14. MEDIUM SHOT
Longfellow crosses to his tuba near a chair. He takes a
mouthpiece out of his pocket.
LONGFELLOW
New mouthpiece. Been waiting two
weeks for this. Kids keep swiping
them all the time. They use 'em
for bean shooters.
(he blows a note)
What can I do for you gentlemen?
MRS. MEREDITH
You gentlemen going to stay for
lunch?
CEDAR
(right to the point;
ignoring her)
I'd like to ask you a few questions.
LONGFELLOW
All right.
Longfellow looks at them strangely and sits down beside
his tuba.
CEDAR
Mr. Deeds, are you the son of Dr.
Joseph and Mary Deeds?
LONGFELLOW
Yes.
CEDAR
Are your parents living?
LONGFELLOW
Why, no.
CEDAR
Mr. Deeds, does the name of Martin
W. Semple mean anything to you?
LONGFELLOW
Not much. He's an uncle of mine, I
think. I never saw him, but my
mother's name was Semple, you know.
CEDAR
Well, he passed on. He was killed
in a motor accident in Italy.
LONGFELLOW
He was? Gee, that's too bad. If
there's anything I can do to—
While he speaks, he has been adjusting the tuba between
his legs and now sucks on the mouthpiece, preparatory to
playing.
CEDAR
I have good news for you, sir. Mr.
Semple left a large fortune when
he died. He left it all to you,
Mr. Deeds. Deducting the taxes, it
amounts to something in the
neighborhood of $20,000,000.
CLOSEUP - LONGFELLOW
His lips are over the mouthpiece of the tuba. His only
reaction to the startling news is to lift his eyes in
Cedar's direction.
16. GROUP SHOT
MRS. MEREDITH
How about lunch? Are the gentlemen
going to stay - or not?
LONGFELLOW
Of course they're going to stay.
(to the gentlemen)
She's got some fresh orange layer
cake. You know, with the thick
stuff on the top?
(to Mrs. Meredith)
Sure, they don't want to go to the
hotel.
Mrs. Meredith leaves. Cobb and Cedar have watched this by-
play, open-mouthed, and are now even more astounded to see
Longfellow blow into his tuba.
CLOSER SHOT - THE THREE
CEDAR
(over the noise of
the tuba)
Perhaps you didn't hear what I
said, Mr. Deeds! The whole Semple
fortune goes to you! $20,000,000!
LONGFELLOW
Oh, yes, I heard you all right.
$20,000,000. That's quite a lot,
isn't it?
COBB
Oh, it'll do in a pinch.
LONGFELLOW
(impressed)
Yes, indeed. I wonder why he left
me all that money? I don't need
it.
He resumes his 'Oom-pahs.'
18. CLOSE SHOT - CEDAR AND COBB
Staring, unbelievingly.
DISSOLVE TO:
INT. AN ALCOVE
19. FULL SHOT
The three men sit around a table, having lunch. By
Longfellow's side is, as expected, the tuba.
CEDAR
Mr. Cobb here is an ex-newspaperman
associated with your uncle for
many years - as a sort of buffer.
LONGFELLOW
Buffer?
COBB
Yeah. A glorified doormat.
CEDAR
Yes. You see, rich people need
someone to keep the crowds away.
The world's full of pests. Then
there's the newspapers to handle.
One must know when to seek publicity -
and when to avoid it.
During Cedar's speech, Longfellow seems to have been lost
in his own thoughts.
20. CLOSE SHOT - LONGFELLOW AND COBB
Favoring Longfellow.
LONGFELLOW
Cedar, Cedar, Cedar and Budington.
Funny, I can't think of a rhyme
for Budington.
COBB
Why should you?
LONGFELLOW
Well, whenever I run across a funny
name, I always like to poke around
for a rhyme. Don't you?
COBB
Nah.
LONGFELLOW
I've got one for Cobb—
CLOSE SHOT - THE GROUP
LONGFELLOW
"There once was a man named Cobb,
Who kept Semple away from the mob.
Came the turn of the tide
And Semple - he died -
And now poor Cobb's out of a job!"
COBB
Sounds like a two weeks' notice to
me.
LONGFELLOW
Huh?
COBB
I've gotten the 'sackaroo' in many
ways - but never in rhyme.
LONGFELLOW
Oh, I don't mean that. I'm sure
I'm going to need your help.
COBB
Oh, that's different if it's just
poetry.
22. WIDER ANGLE
As Mrs. Meredith enters with coffee which she pours.
CEDAR
Are you a married man, Mr. Deeds?
LONGFELLOW
Who - me? No.
MRS. MEREDITH
No, he's too fussy for that. That's
what's the matter with him. There
are lots of nice girls right here
in Mandrake Falls who're dying to
be married—
LONGFELLOW
Don't pay any attention to her.
MRS. MEREDITH
He's got a lot of foolish notions -
about saving a lady in distress.
LONGFELLOW
Now you keep out of this!
CEDAR
(diplomatically)
Saving a lady in distress, eh?
Well, I suppose we all have dreams
like that when we are young.
(rising)
Incidentally, we'd better get
started. You'll have to pack.
LONGFELLOW
What for?
CEDAR
You're going to New York with us.
LONGFELLOW
When?
COBB
This afternoon - at four o'clock.
LONGFELLOW
I don't think we've got any
suitcases.
MRS. MEREDITH
Well, we could borrow a couple
from Mrs. Simpson. You know, she
went to Niagara Falls last year.
LONGFELLOW
I'm kind of nervous. I've never
been away from Mandrake Falls in
my life. Kind of like to see Grant's
Tomb, though.
CEDAR
(all business)
I can understand that.
(rises to go)
We'll take a walk around town,
meet you at the train at four
o'clock.
(shakes his hand)
Congratulations, Mr. Deeds. You're
one of the richest men in the
country. We'll see you later.
(to Mrs. Meredith)
Goodbye and thank you.
COBB
See you later, kid.
ANDERSON'S VOICE
(as he too exits)
Good day, sir.
They exit.
23. TWO SHOT - LONGFELLOW AND MRS. MEREDITH
LONGFELLOW
Hear what he said? You know how
much twenty million is?
MRS. MEREDITH
I don't care how much it is. You
sit right there and eat your lunch.
You haven't touched a thing.
Longfellow nibbles at some food, staring into space
thoughtfully.
DISSOLVE TO:
EXT. STATION
24. LONG SHOT
The whole town is out. The band is playing "He's a Jolly
Good Fellow" - the crowd sings. It's a festive occasion. A
large, awkwardly painted sign looms over everyone's head.
It reads:
FAREWELL LONGFELLOW DEEDS THE PRIDE OF MANDRAKE FALLS
25. MEDIUM SHOT - CEDAR AND ANDERSON
They peer anxiously around, looking for someone, when Cobb
dashes in.
COBB
(breathlessly)
I can't find him.
CEDAR
You can't?
COBB
I looked everywhere. I even went
to his house. It's locked up.
ANDERSON
He probably had a change of heart.
CEDAR
He wasn't very anxious to come in
the first place.
COBB
(looking on)
Here comes the train.
Cedar glances off.
LONG SHOT (STOCK)
Of train approaching.
27. CLOSE SHOT - CEDAR AND COBB
The band has already begun and is now in the midst of "For
He's A Jolly Good Fellow."
At this moment, as he looks off, a startled expression
comes into Cobb's eyes. He grabs Cedar by the arm - who
glances in the direction he points.
COBB
Look!
CEDAR
What?
COBB
That tuba player!
MEDIUM SHOT - THE BAND
With Longfellow, in his customary position, blowing on his
tuba.
CONTINUATION SCENE 27
Cedar and Cobb stare, wide-eyed, as the song is finished.
COBB
Well, now I've seen everything.
DISSOLVE TO:
EXT. STATION
29. LONG SHOT
In the b.g. is the train with Longfellow standing on the
observation platform, clutching his tuba. On either side
of him is Cedar and Cobb. In the f.g. the crowd yells its
farewell. Several of them stuff baskets of fruit into his
hands. The band plays "Auld Lang Syne."
30. CLOSE SHOT
Over Longfellow and Cobb's shoulders. As the train begins
pulling out. Longfellow smiles wanly and waves.
LONGFELLOW
Goodbye, Mrs. Meredith! Goodbye,
Jim! Bye, Buddy! Goodbye, everybody!
(a pause)
Gosh, I've got a lot of friends.
Cobb looks up into Longfellow's face - affected by the
scene.
DISSOLVE TO:
INT. TRAIN DRAWING ROOM
31. FULL SHOT
Longfellow is slumped in his seat, his legs sprawled out,
his eyes ceilingward - in deep thought. Cobb sits across
from him. Cedar enters, hangs up his coat, hat and cane.
COBB
(opening a snifter -
generously)
Have a drink?
LONGFELLOW
(distractedly)
No, thanks.
Cobb and Cedar exchange a look.
CEDAR
Will you have a cigar?
LONGFELLOW
No, thank you.
Cedar sits down.
CEDAR
(breaking the silence)
I wouldn't worry if I were you. Of
course, a large fortune like this
entails a great responsibility -
but you'll have a good deal of
help. So don't worry. Leave
everything to me.
LONGFELLOW
Oh, I wasn't worried about that.
CEDAR
No?
LONGFELLOW
I was wondering where they're going
to get another tuba player for the
band.
Cobb has just finished taking a drink and can't help but
nearly spit it out.
FADE OUT:
FADE IN:
32. LONG SHOT (STOCK)
The 20th Century crossing the Harlem River.
DISSOLVE TO:
ANOTHER STOCK SHOT
Of the 20th Century going under the street level on Park
Avenue.
DISSOLVE TO:
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
CLOSE TRUCKING SHOT
With Cedar as he strides across the room - in business-
like fashion. He comes to a door marked "PRIVATE OFFICES."
He pushes this door opens and disappears.
MAN'S VOICE
(as Cedar passes by)
Hello, John. Where have you been?
CEDAR
(as he walks briskly)
I've been fishing.
In the background is typical office hub-bub.
CEDAR
(to a secretary as
he passes)
Good morning, Celia.
SECRETARY
Good morning, Mr. Cedar.
A chorus of "Good Morning, Mr. Cedar!" issues from the
clerks. A secretary looks up.
INT. PRIVATE OFFICES
CLOSE TRUCKING SHOT
With Cedar - as he passes through the room - arriving at a
door marked "JOHN CEDAR, PRIVATE." He goes through the
door.
INT. CEDAR'S PRIVATE OFFICES - ANTEROOM
37. FULL SHOT
Cedar breezes in and speaks to a secretary.
CEDAR
Good morning. Where are they?
SECRETARY
Waiting for you in the other office.
He strides across the room to still another door marked
"PRIVATE" and he disappears.
DISSOLVE TO:
INT. CEDAR'S PRIVATE OFFICE
38. FULL SHOT
A group of associates sit around in large leather chairs,
as Cedar barges in.
CEDAR
(beaming)
Good morning. Hello, boys.
The men come to life. Some rise - others lean forward. Two
of them are brothers of Cedar - tall and athletic. The
third is a small, frightened-looking man. He is Budington.
MEN
(ad lib)
Hello, John.
What happened?
Well, what's he like?
CEDAR
We've got nothing to worry about.
He's as naive as a child.
BUDINGTON
John—
CEDAR
Close that door.
(into dictograph)
Will you get Mrs. Cedar on the
phone, please?
FIRST BROTHER
Come on, John. What happened?
CEDAR
(to associates)
The smartest thing I ever did was
to make that trip.
BUDINGTON
(anxiously)
John, did you get the - uh—
MED. SHOT - GROUP
Favoring Cedar.
CEDAR
(interrupting)
No, Budington, I didn't get the
Power of Attorney. But don't worry,
I will.
(beaming to his
brothers)
I asked him last night what he was
going to do with the money, and
what do you suppose he said?
THE TWO BROTHERS
(gathering around
him)
What? I can't imagine.
CEDAR
He said he guessed he'd give it
away.
THE TWO BROTHERS
(laughing)
Give it away!? The boy must be a
nit-wit!
Budington hasn't enjoyed the joke - his mind still on their
problem.
ONE OF THE BROTHERS
Well, John, you had the right hunch!
BUDINGTON
John, if you don't mind my saying
so - we can't afford to—
CEDAR
(irascibly)
I know, Budington. We can't afford
to have the books investigated
right now. You must have said that
a thousand times already.
BUDINGTON
But what if they fall into somebody
else's hands, why - uh—
CEDAR
Well, it hasn't happened yet - has
it?
BUDINGTON
(wailing)
But a half million dollars! My
goodness, where are we going to
get—
CEDAR
(exploding)
Will you stop worrying! It was I
who got old man Semple to turn
everything over to us, wasn't it?
And who got the Power of Attorney
from him ! All right, and I'll get
it again!
(pause - change of
tone)
I'll take it easy. Those books'll
never leave this office.
DISSOLVE TO:
INT. AN APARTMENT
40. MEDIUM SHOT
George Semple, a ne'er-do-well, prominent for the pouches
under his eyes and a perpetual nose-twitch, is sprawled
out in a chair reading a newspaper. A nagging wife walks
around him.
WIFE
A yokel! Nothing but a yokel!
Your uncle must have been mad to
leave all that money to him! You're
as closely related to him as he
is, and what did you get?
She storms around the room. George merely twitches his
nose but says nothing.
WIFE
(slaps the paper
George is reading)
I say, what did you get?
GEORGE
Stop yelling. Can I help it if my
uncle didn't like me?
WIFE
I told you to be nice to him. Ten
years we've been waiting for that
old man to kick off. And then we
were going to be on Easy Street.
Yeah - on Easy Street!
GEORGE
Oh, shut up! It's too late now,
and you're a nuisance!
WIFE
That's just what I'm going to be -
a nuisance. I'm going to be a
nuisance until I get hold of some
of that money!
DISSOLVE TO:
INT. EDITOR'S OFFICE, DAILY MAIL
41. FULL SHOT
The editor stands in front of his desk. Four of five
reporters in front of him - several photographers. In the
b.g., leaning against the wall near the door, apparently
indifferent, is Babe Bennett. The editor, Mac, is haranguing
them.
MAC
(as he blows his
nose)
He's news! Every time he blows
his nose, it's news. A corn-fed
bohunk like that falling into the
Semple fortune is hot copy . . .
But it's got to be personal. It's
got to have an angle. What does he
think about? How does it feel to
be a millionaire! Is he going to
get married! What does he think
of New York! Is he smart? Is he
dumb? . . . A million angles!
CLOSE SHOT - BABE
She has a string in her hand which she keeps flicking,
trying to get a knot into it - in the manner of cowboys
with a rope. Mac's voice continues over scene:
43. MEDIUM SHOT
Of them all, as Mac continues:
MAC
He's been here three days, and
what have you numbskulls brought
in! Any halfwit novice could have
done better!
REPORTER'S VOICE
Yeah, we tried too—
MAC
Am I talking too loud? Or annoying
anybody?
REPORTER
You know Corny Cobb. He's keeping
him under lock and key.
MAC
Cobb, Cobb! Never mind about Cobb.
Use what little brains you've got!
Find out something yourselves, you
imbecilic stupes! Now get out of
here before I really tell you what
I think of you. Come on, get out!
They scramble to their feet. One of the reporters mumbles
something as he passes Mac on the way to the door.
REPORTER
(Mumbles.)
MAC
(alert)
What was that?
REPORTER
(thinking fast -
covering up)
Huh? I said you had dirty plaster.
MED. CLOSE SHOT AT DOOR
As Babe is still flicking her string, trying to get a knot.
The reporters file past her on their way out. Just as the
last one is approaching, she succeeds in doing the trick.
45. MEDIUM SHOT
As Mac turns to Babe.
MAC
You too! Thought I could depend on
you, but you're getting as bad as
the rest of them.
He grabs up a handful of papers and starts out.
BABE
(flicking the string)
Look, I can do it!
MAC
What's gotten into you, Babe? I
remember the time when you'd blast
this town wide open before you'd
let Cobb get away with a thing
like this.
CLOSE TWO SHOT
BABE
Oh, he's not getting away with
anything.
MAC
(excited)
Listen, Babe - get me some stuff
on this guy, and you can have—
BABE
Can I have a month's vacation?
MAC
With pay!
BABE
With pay!
MAC
Uh-huh.
BABE
(casually, as she
starts away)
Leave four columns open on the
front page tomorrow.
47. MEDIUM SHOT
As Babe crosses to door.
MAC
Now you're talking, Babe. I'll
keep the whole front page open.
What are you going to do?
BABE
(at door)
Have lunch.
She exits. Mac's face lights up happily.
DISSOLVE TO:
EXT. RESIDENCE
48. LONG SHOT
Of a large, imposing-looking residence.
INT. LONGFELLOW'S BEDROOM
49. MEDIUM SHOT
Longfellow stands awkwardly between two tailors - who chalk
and pin a suit on him. After a few seconds of silence:
LONGFELLOW
It's the first time I ever had a
suit made on purpose.
The tailors smile accommodatingly as CAMERA PULLS BACK and
we discover that both Cedar and Cobb are present. Cobb is
slumped in a chair, and Cedar is carefully putting some
papers away in a portfolio.
CEDAR
It's merely a suggestion. I don't
wish to press the point, Mr. Deeds,
but if you'll give me your Power
of Attorney we'll take care of
everything. It'll save you a lot
of petty annoyances. Every shark
in town will be trying to sell you
something.
LONGFELLOW
Oh, yes, there've been a lot of
them around here already. Strangest
kind of people. Salesmen -
politicians - moochers - all want
something. I haven't had a minute
to myself. Haven't seen Grant's
Tomb yet.
CEDAR
Well, you see, your uncle didn't
bother with that sort of thing. He
left everything to us. He traveled
most of the time, and enjoyed
himself. You should do the same
thing, Mr. Deeds.
LONGFELLOW
Besides wanting to be my lawyer,
you also want to handle my
investments too?
CEDAR
Yes. That is to say—
LONGFELLOW
Well, outside of your regular fee,
how much extra will it cost?
CEDAR
(too quickly)
Oh - nothing. No extra charge.
LONGFELLOW
That involves a lot of extra work,
doesn't it?
CEDAR
(generously)
Yes, but that's an added service a
firm like Cedar, Cedar, Cedar and
Budington usually donates.
LONGFELLOW
Budington. Funny, I can't think of
a rhyme for Budington yet.
50. WIDER ANGLE
As a butler stands in the doorway.
BUTLER
The gentlemen from the opera are
still waiting in the board room,
sir. They're getting a trifle
impatient, sir.
LONGFELLOW
They are? I forgot all about them.
(to Cobb)
What do you think they want?
CEDAR
Well, your uncle was Chairman of
the Board of Directors. They
probably expect you to carry on.
COBB
(rising)
I'll tell those mugs to keep their
shirts on, that you'll be right
down.
LONGFELLOW
Thanks
(suddenly)
Oh, did you send that telegram to
Jim Mason?
COBB
Jim Mason? Oh, yeah. Yeah. No, I
didn't send it. I've got it written
out, though. Here it is.
(reaches into his
pocket and reads)
"Arthur's been with the Tallow
Works too long. STOP. Don't think
we should fire him. Longfellow."
LONGFELLOW
Fine. Send it right away. I don't
want him to fire Arthur.
COBB
Oh, sure. Sure. We don't want to
fire Arthur.
LONGFELLOW
He was the last baby my father
delivered, Arthur was.
CEDAR
I think you ought to give this
matter some thought, Mr. Deeds.
LONGFELLOW
Huh?
CEDAR
I mean, about the Power of Attorney.
LONGFELLOW
Oh, yes. Yes, I will.
Cobb has stalled long enough to hear Longfellow's decision
before he goes out of the room.
LONGFELLOW
I'll give it a lot of thought.
There was a fellow named Winslow
here a little while ago, wanted to
handle my affairs for nothing too.
It puzzles me why these people all
want to work for nothing. It isn't
natural. So I guess I'd better
think about it some more.
51. MEDIUM SHOT
Longfellow, Cedar and the two tailors.
TAILOR
That's that.
LONGFELLOW
You go to an awful lot of work to
keep a fellow warm, don't you?
TAILOR
Yes, sir.
A butler enters again.
BUTLER
A Mr. Hallor to see you sir.
CEDAR
(quickly)
Did you say Hallor?
BUTLER
Yes, sir.
CEDAR
Well, don't let him in.
LONGFELLOW
Why not? Who is he?
CEDAR
A lawyer representing some woman
with a claim against the estate.
(to butler)
Tell him to see me at my office.
LONGFELLOW
Well, if he has a claim, we'd better
see him.
(to butler)
Send him in.
The butler disappears.
CEDAR
He's capable of causing you a lot
of trouble, Mr. Deeds.
LONGFELLOW
How can he make any trouble for
me? I haven't done anything.
The butler reappears, followed by Hallor. The minute he
appears, Cedar speaks up belligerently.
CEDAR
I thought I told you to take up
this matter with me, Hallor.
MED. CLOSE GROUP SHOT
HALLOR
I'm a little tired of being pushed
around by you, Mr. Cedar - I don't
care how important you are.
(to Longfellow)
Mr. Deeds, I represent Mrs. Semple.
LONGFELLOW
(eyebrows raised)
Mrs. Semple?
HALLOR
Yes. Your uncle's common-law wife.
She has a legal claim on the estate.
CEDAR
We'll let the courts decide what
her legal position is.
HALLOR
You wouldn't dare go into court
with a case like this - and you
know it!
He turns to Longfellow, who has listened to them studyingly.
HALLOR
I leave it to you, Mr. Deeds. Can
you conceive of any court not being
in sympathy with any woman who
gave up the best years of her life
for an old man like your uncle?
LONGFELLOW
What kind of wife did you say she
was?
HALLOR
Common-law wife. On top of that,
there's a child.
LONGFELLOW
A child? My uncle's?
HALLOR
Yes, sir.
LONGFELLOW
That's awful. The poor woman should
be taken care of immediately.
HALLOR
(pleased)
I'm glad to see you're willing to
be reasonable, Mr. Deeds.
LONGFELLOW
If she was his wife, she should
have all the money. That's only
fair. I don't want a penny of it.
He yanks his trousers off and hands them to the tailor.
CEDAR
Don't make any rash promises—
As the tailors exit, Cobb returns.
COBB
You'd better get right down there.
That opera mob is about to break
into the Mad Song from "Lucia."[2]
LONGFELLOW
(to Hallor)
Oh, I don't want to keep them
waiting any longer. They're
important people.
(to Cobb)
I wish you'd go along with me,
Cobb. They're all strangers to me.
HALLOR
Well, what about it, Mr. Deeds?
LONGFELLOW
(getting into robe -
to Hallor)
You'll excuse me, won't you? I'll
be right back.
He exits with Cobb.
INT. CORRIDOR
MED. TRUCKING SHOT
As Longfellow and Cobb come out and start down corridor.
LONGFELLOW
Gee, I'm busy. Did the opera people
always come here for their meetings?
COBB
Uh-huh.
LONGFELLOW
That's funny. Why is that?
COBB
(wisely)
Why do mice go where there's
cheese?[3]
INT. BOARD ROOM
54. FULL SHOT
A group of eight distinguished-looking men sit around a
long table, awaiting Longfellow's arrival. At the head of
the table is a Mr. Douglas.
DOUGLAS
From what I'm led to believe, the
young man's quite childish. I don't
think we'll have any difficulty in
getting him to put up the entire
amount. After all, it's only a
matter of $180,000.
CHORUS OF VOICES
A drop in the bucket for him.
An excellent idea!
Why not? . . .
DOUGLAS
(slyly)
You know, gentlemen, we're really
very fortunate the young man is so
sympathetic toward music.
(winking)
He plays the tuba in the town band.
MAN
(who has been
watching at door)
Here he comes.
DOUGLAS
Good.
There is a shuffle of preparation.
DISSOLVE TO:
INT. DIRECTOR'S ROOM
55. SAME SCENE
With Longfellow and Cobb present. Longfellow looks around,
completely awed.
DOUGLAS
Now, gentlemen, the first order of
business will be the election of a
new Chairman of the Board.
A MAN
(rising)
As a sentimental gesture toward
the best friend opera ever had,
the late Mr. Semple, I think it
only fitting that his nephew, Mr.
Longfellow Deeds, should be made
our next Chairman. I therefore
nominate him.
A VOICE
Second.
DOUGLAS
All those in favor . . .
EVERYBODY
Aye.
DOUGLAS
Carried.
(rises)
My congratulations, Mr. Deeds.
56. CLOSER SHOT
Featuring Longfellow.
LONGFELLOW
(self-consciously)
I'm Chairman?
DOUGLAS
(humoring a child)
Oh Yes, of course - you've just
been elected.
LONGFELLOW
(to Cobb)
I'm Chairman.
COBB
(dryly)
Happy voyage.
DOUGLAS
Right here, Mr. Deeds.
57. WIDER ANGLE
As Longfellow is led to the president's chair. Douglas
sits next to him.
DOUGLAS
Now, the next order of business is
the reading of the Secretary's
minutes . . .
A VOICE
Move we dispense with it.
ANOTHER VOICE
Second.
DOUGLAS
All in favor?
CHORUS OF VOICES
Aye!
Longfellow looks his surprise.
DOUGLAS
I think they can be dispensed with.
We're ready now for the reading of
the Treasurer's report.
A VOICE
Move we dispense with it.
ANOTHER VOICE
Second.
DOUGLAS
All in favor?
CHORUS OF VOICES
Aye!
DOUGLAS
Quite right! Now, gentlemen, the
next business will be—
MED. CLOSE SHOT
Featuring Longfellow, as he interrupts:
LONGFELLOW
Wait a minute. What does the
Chairman do?
DOUGLAS
Why, the Chairman presides at the
meetings.
LONGFELLOW
That's what I thought. If you don't
mind, I'm rather interested in the
Treasurer's report. I'd like to
hear it.
There is an uncomfortable shuffle. For a few minutes, no
one speaks. From the rear, a tall man rises.
59. CLOSE SHOT
Featuring treasurer.
TREASURER
The treasurer reports a deficit of
$180,000 for the current year.
CLOSE SHOT - LONGFELLOW
He is stunned.
LONGFELLOW
A deficit! You mean we've lost
that much?
61. WIDER ANGLE
To include all at table.
DOUGLAS
You see, Mr. Deeds, the opera is
not conducted for profit.
LONGFELLOW
It isn't? What is it conducted
for?
DOUGLAS
Why, it's an artistic institution—
LONGFELLOW
We own an opera house, don't we?
A VOICE
We do.
LONGFELLOW
And we give shows?
DOUGLAS
We provide opera.
LONGFELLOW
But you charge. I mean, you sell
tickets?
VOICE
Of course.
LONGFELLOW
And it doesn't pay?
DOUGLAS
That's impossible. The opera has
never paid.
LONGFELLOW
(conclusively)
Well, then, we must give the wrong
kind of shows.
Cobb smiles. The directors are stumped.
MED. CLOSE SHOT
Featuring Douglas and Longfellow.
DOUGLAS
The wrong kind! There isn't any
wrong or right kind. Opera is opera!
LONGFELLOW
I guess it is. But I personally
wouldn't care to be head of a
business that kept losing money.
That wouldn't be common sense.
Incidentally, where is the $180,000
coming from?
DOUGLAS
Well, we were rather expecting it
to come from you.
LONGFELLOW
Me?!
DOUGLAS
Naturally.
LONGFELLOW
Excuse me, gentlemen, there's
nothing natural about that .
He is suddenly startled. His ears prick up.
SHOT OF DIRECTORS
They all stare at Longfellow. Over scene comes the low
wailing cry of a siren, which increases in volume as it
gets closer to the building.
64. MEDIUM SHOT
Longfellow jumps up.
LONGFELLOW
Hey, a fire engine!
He rushes to the window and peers out. The others stare
unbelievably. The shriek of the siren finally dies down.
Longfellow turns back.
LONGFELLOW
(admiringly)
Gee, that was a pip![4]
(as he goes back to
his seat)
We expect we're going to have one
like that in Mandrake Falls pretty
soon – with a siren, too.
There is a pause while he gets seated.
LONGFELLOW
Now, where were we?
MED. CLOSE SHOT AT TABLE
DOUGLAS
You see, Mr. Deeds, the opera is
not conducted like any ordinary
business.
LONGFELLOW
Why not?
DOUGLAS
Because it just isn't a business,
that's all!
LONGFELLOW
Well, maybe it isn't to you, but
it certainly is a business to me,
if I have to make up a loss of
$180,000. If it's losing that much
money, there must be something
wrong. Maybe you charge too much.
Maybe you're selling bad
merchandise. Maybe lots of things.
I don't know. You see, I expect to
do a lot of good with that money.
And I can't afford to put it into
anything that I don't look into.
That's my decision for the time
being, gentlemen. Goodbye, and
thank you for making me Chairman.
66. MED. SHOT - DIFFERENT ANGLE
He exits, followed by Cobb, whose eyes shriek his
admiration. The directors watch them leave, flabbergasted.
Cobb's head reappears in doorway.
COBB
Gentlemen, you'll find the smelling
salts in the medicine chest.
He disappears. The Board of Directors stare in dumb
stupefaction at the door.
WIPE OFF TO:
INT. LONGFELLOW'S BEDROOM
67. MED. SHOT
As Longfellow enters. Hallor and Cedar rise.
LONGFELLOW
Sorry to keep you waiting so long.
Those opera people are funny. They
wanted me to put up $180,000.
HALLOR
What about it, Mr. Deeds?
LONGFELLOW
Why, I turned them down, naturally.
HALLOR
No, I mean - about my client.
LONGFELLOW
Oh - we'll have to do something
about the common wife.
Longfellow's valet, Walter, enters and holds up a full
dress suit.
WALTER
Tails tonight, sir?
LONGFELLOW
What - tails?
(turns and sees it)
Why, that's a monkey suit![5] Do
you want people to laugh at me? I
never wore one of those things in
my life.
WALTER
Yes, sir.
The tailors are leaving.
TAILOR
(shaking hands with
Longfellow)
Goodbye, and thank you sir.
LONGFELLOW
Goodbye.
(turning to the
others)
Wants me to wear a monkey suit.
Cedar and Hallor smile accommodatingly. Walter hands him a
pair of trousers.
CLOSER SHOT OF GROUP
As Longfellow starts getting into the trousers.
HALLOR
Of course, we don't want to appear
greedy, Mr. Deeds.
LONGFELLOW
Huh?
HALLOR
I say we don't want to appear
greedy.
LONGFELLOW
Oh. That.
Walter has gotten down on his knees and holds the ends of
the pants.
LONGFELLOW
What do you think you're doing?
WALTER
Why, I'm assisting you, sir.
LONGFELLOW
Get up from there. I don't want
anybody holding the ends of my
pants. Get up from there!
WALTER
(rising)
Yes, sir.
LONGFELLOW
(to others)
Imagine that - holding the ends of
my pants!
Hallor smiles feebly - his impatience growing.
HALLOR
Mrs. Semple is entitled by law to
one-third of the estate.
LONGFELLOW
(to Walter)
And don't ever get down on your
knees again, understand?
WALTER
No, sir.
LONGFELLOW
(to Hallor)
Excuse me. What did you say?
HALLOR
Mrs. Semple is entitled to one-
third of the estate.
LONGFELLOW
One-third? That's about $7,000,000
isn't it?
HALLOR
(quietly)
Well, we didn't expect that much.
I'm sure I can get her to settle
quietly for one million.
CEDAR
If there's any talk of settlement,
Hallor, take it up with me at the
office.
HALLOR
I'll do no such thing—
LONGFELLOW
That's right. Don't you go to his
office. There's only one place
you're going, and that's out the
door.
Hallor looks up, surprised.
HALLOR
You're making a mistake, Mr. Deeds.
LONGFELLOW
Oh no, I'm not. I don't like your
face. Besides, there's something
fishy about a person who would
settle for a million dollars when
they can get seven million. I'm
surprised that Mr. Cedar, who's
supposed to be a smart man, couldn't
see through that.
HALLOR
Now wait a minute, buddy—
69. MED. SHOT
Longfellow crosses to bell cord and pulls it.
LONGFELLOW
There's one nice thing about being
rich - you ring a bell and things
happen. When the servant comes in,
Mr. Hallor, I'm going to ask him
to show you to the door. Many people
don't know where it is.
HALLOR
No use in getting tough. That'll
get you nowhere, Mr. Deeds.
(strongly)
You know, we've got letters.
As a butler enters, Longfellow turns to him.
LONGFELLOW
Will you show Mr. Hallor to the
front door?
BUTLER
Yes, sir.
CLOSE SHOT AT DOOR
As Hallor gets to it. Longfellow grabs him by the shirt
front and half lifts him off the floor.
LONGFELLOW
And listen, there isn't any wife -
there aren't any letters - and I
think you're a crook. So you better
watch your step.
He shoves Hallor violently and he stumbles out of scene.
Cobb enters to Longfellow, his hand extended.
COBB
I can't hold out on you any longer.
Lamb bites wolf.
(shakes his head)
Beautiful.
LONGFELLOW
Only common sense.
71. MED. SHOT
Cedar has been most uncomfortable through the scene, but
now suavely assumes an admiring attitude.
CEDAR
(a forced smile)
I can't hold out any longer either,
Mr. Deeds.
(holds out his hand)
Being an attorney for you will be
a very simple affair.
LONGFELLOW
You're not my attorney yet, Mr.
Cedar. Not till I find out what's
on your mind. Suppose you get the
books straightened out quick so I
can have a look at them.
CEDAR
Yes, of course, if you wish. But
you must be prepared. This sort of
thing will be daily routine.
(picks up his hat)
If it becomes annoying, you let me
know. Goodbye, Mr. Deeds. Goodbye,
sir.
Longfellow shakes his hand. Cedar exits. Longfellow stares
after him disgustedly, wiping his hands with his
handkerchief.
LONGFELLOW
Even his hands are oily.
Walter has entered and holds up a coat for Longfellow.
COBB
Well, how about tonight? What would
you like in the way of
entertainment?
LONGFELLOW
Entertainment?
CLOSE TWO SHOT
COBB
Your uncle had a weakness for dark
ones, tall and stately. How would
you like yours? Dark or fair, tall
or short, fat or thin, tough or
tender?
LONGFELLOW
What're you talking about?
COBB
Women! Ever heard of 'em?
LONGFELLOW
Oh.
COBB
Name your poison and I'll supply
it.
LONGFELLOW
Some other time, Cobb. Some other
time.
COBB
Okay, you're the boss.
(as he goes)
When your blood begins to boil,
yell out. I'll be seeing you!
73. MED. SHOT
As Cobb exits. Longfellow turns to Walter, the valet.
LONGFELLOW
He talks about women as if they
were cattle.
WALTER
Every man to his taste, sir.
LONGFELLOW
Tell me, Walter, are all those
stories I hear about my uncle true?
WALTER
Well, sir, he sometimes had as
many as twenty in the house at the
same time.
LONGFELLOW
Twenty! What did he do with them?
WALTER
That was something I was never
able to find out, sir.
WIPE OFF TO:
EXT. CORRIDOR
74. MED. SHOT
Longfellow, exiting his bedroom, wearing a coat and hat.
He comes to the top of a grand staircase, looks around
slyly and sees that no one is watching. He slides down the
bannister and touches the statue at the bottom for good
luck.
He starts for the door. When he gets there he finds his
way barred by two husky-looking mugs. He looks up surprised.
FIRST BODYGUARD
Hey, you going out?
LONGFELLOW
Why yes. Isn't that all right?
2ND BODYGUARD
No. Don't ever want to go out
without telling us.
LONGFELLOW
Who are you?
BODYGUARDS
We're your bodyguards.
LONGFELLOW
Oh, yeah.
2ND BODYGUARD
Yeah, Mr. Cobb said stick to your
tail no matter what.
LONGFELLOW
That's very nice of Mr. Cobb - but
I don't want anybody sticking to
my tail no matter what.
FIRST BODYGUARD
Sorry, mister. Orders is orders.
LONGFELLOW
Is that so?
2ND BODYGUARD
Yes, sir. We gotta get you up in
the morning - and we gotta put you
to bed at night.
FIRST BODYGUARD
Only it's all right. No matter
what we see - we don't see nuttin',
see?
LONGFELLOW
(smiling)
That's going to be fun.
2ND BODYGUARD
Some people like it.
Longfellow glances around the room thoughtfully, then
continues:
LONGFELLOW
Uh, will you do something for me
before we go out?
FIRST BODYGUARD
Sure!
The first bodyguard eagerly takes out a pistol. The second
bodyguard slaps it away.
2ND BODYGUARD
(to first bodyguard)
Put that away, slug!
(to Longfellow)
At your service!
LONGFELLOW
I got a trunk in that room. Will
you get it out for me?
2ND BODYGUARD
Certainly.
FIRST BODYGUARD
With pleasure.
The two bodyguards accommodatingly enter a closet. The
moment they are gone, Longfellow closes the door calmly
and turns the key.
BODYGUARDS
(ad-lib)
Hey, hey! We're your bodyguards.
You can't do this!
Longfellow whistles as he exits.
DISSOLVE TO:
EXT. FRONT OF HOUSE
MED. CLOSE SHOT
Longfellow comes out, glances over the horizon. The air is
filled with a slight drizzle and he sighs happily.
CUT TO:
INT. TAXI CAB
76. CLOSE SHOT
Babe and two photographers, Bob and Frank, are huddled
conspiratorially in the back seat of a taxi cab.
BABE
(pointing)
There he is. Yep, that's him.
BOB
That's who?
BABE
Get the cameras ready and follow
me.
FRANK
What are you going to do?
BABE
Never mind. Follow me and grab
whatever you can get.
BOB
I suppose it's going to be the
same old thing.
FRANK
I tell you that dame's nuts.
BOB
Right.
CUT TO:
EXT. FRONT OF HOUSE
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.
MED. CLOSE SHOT
Longfellow's eyes widen in apprehension as he starts forward -
CAMERA FOLLOWING HIM. He reaches the girl and bending down,
lifts her head. We see it is Babe Bennett. Her eyes are
closed, apparently in a dead faint.
80. CLOSE SHOT - LONGFELLOW AND BABE - LOW ANGLE
Longfellow studies her face for a moment, then starts to
lift her. As he does so, her eyes open and she looks up at
him, feigning bewilderment.
LONGFELLOW
You fainted.
BABE
(feebly)
Oh, did I? I'm sorry . . .
She struggles to get to her feet.
81. WIDER ANGLE
Longfellow tries to assist her.
LONGFELLOW
Can I help you?
BABE
No, thank you. I'll be all right.
LONGFELLOW
Look, this is my house. I'd like
to—
BABE
Oh, no, really - I'll be all right.
LONGFELLOW
What happened?
BABE
Well, I guess I walked too much.
I've been looking for a job all
day. I found one, too. I start
tomorrow.
(backing away)
You've been awfully kind. Thank
you very much.
As she leaves him, Longfellow watches her, full of sympathy.
She takes a few steps and, again feigning weakness, falls
against the iron fence, clutching it. Longfellow rushes to
her assistance.
CLOSE TWO SHOT
LONGFELLOW
(looking around)
Hey, taxi!
CUT TO:
INT. TAXI CAB
83. CLOSE SHOT
BOB
(to driver)
Hey, stupe! Follow that cab they
just got into, will you? Hurry up!
Step on it!
FRANK
Come on, come on!
BOB
Hurry up!
DISSOLVE TO:
INSERT: AN ELECTRIC SIGN:
"TULLIO'S — EAT WITH THE LITERATI"
DISSOLVE TO:
INT. TULLIO'S
MED. CLOSE SHOT
A corner table, surrounded by ferns, at which Longfellow
and Babe sit. She's still eating.
LONGFELLOW
Feel better now?
BABE
Mmm, it tastes so good. Mr. Deeds,
I don't know how I can ever thank
you.
LONGFELLOW
Tell me more about yourself.
BABE
Well, I guess I've told you almost
everything there is to tell. My
folks live in a small town near
Hartford. I'm down here alone trying
to make a living.
(hanging her head)
Oh, I'm really just a nobody.
Longfellow spots a strolling violinist. He furtively beckons
the fellow over. The musician leans into them with romantic
strains.
BABE
(as the musician
finishes and strolls
away)
Oh, that was so lovely. Thank you.
LONGFELLOW
You were a lady in distress, weren't
you?
BABE
(looks up)
What?
LONGFELLOW
Oh - uh - nothing.
85. WIDER ANGLE
As a waiter enters the scene and
begins removing dishes.
LONGFELLOW
Waiter! Has anybody come in yet?
WAITER
Huh? On, no. Nobody important.
LONGFELLOW
Be sure and point 'em out to me,
won't you?
WAITER
Uh-huh.
LONGFELLOW
I'm a writer myself, you know.
The waiter throws Longfellow a sidelong glance of complete
boredom.
WAITER
Uh-huh.
LONGFELLOW
I write poetry.
WAITER
Uh-huh.
He exits.
86. CLOSE TWO SHOT - BABE AND LONGFELLOW
BABE
You've been having quite an exciting
time here, haven't you? All those
meetings and business deals and
society people - haven't you been
having fun?
LONGFELLOW
No. That is, I didn't—
(pause - while he
looks at her)
Until I met you. I like talking to
you, though—
(moodily)
Imagine my finding you right on my
doorstep.
87. WIDER ANGLE
The waiter enters again.
WAITER
Brookfield just came in.
LONGFELLOW
Oh, the poet? Where?
WAITER
Over at that big round table. The
one that looks like a poodle.
Longfellow stares off scene - his eyes full of worship.
LONGFELLOW
(to Babe)
Look - there's Brookfield, the
poet.
BABE
(looks also)
Really?
88. MED. SHOT
From their angle, to show people at a table, engaged in
conversation.
MED. CLOSE SHOT
At Longfellow's table. He stares off at them, awed. Babe
watches his face.
MED. SHOT - AUTHOR'S TABLE
A group of five men, drinking - as the waiter enters.
WAITER
(confidentially -
indicating
Longfellow)
Pardon. Longfellow Deeds, who just
inherited the Semple fortune, wants
to meet you.
BROOKFIELD
Oh, yes. I read about him. He writes
poetry on postcards.
HENABERRY
Let's invite him over. Might get a
couple of laughs. Getting rather
dull around here.
MORROW
It's always dull here.
BROOKFIELD
(rising)
I'll get him.
HENABERRY
Good.
DISSOLVE TO:
MED. SHOT - ROUND TABLE
At which they are all seated now. Babe sits next to
Longfellow, who is the center of attraction. Brookfield is
just finishing introductions.
BROOKFIELD
Henaberry, Mr. Morrow, Bill - this
is Mr. Deeds and his fiancée from
Mandrake Falls.
THE GROUP
(ad-lib)
How do!
Hello!
Nice to meet you!
LONGFELLOW
Nice of you to ask us to come and
sit with you. Back home we never
get a chance to meet famous people.
BILL
(calling waiter)
Waiter! A little service here.
THE GROUP
(ad-lib)
Yes!
Mr. Deeds is a distinguished poet.
A drink for Mr. Deeds!
HENABERRY
He's a poet. Have a drink.
LONGFELLOW
No - I don't want it, thank you.
HENABERRY
Why, you must drink! All poets
drink!
92. MED. CLOSE SHOT - THE GROUP
BILL
Tell us, Mr. Deeds. How do you go
about writing your poems? We
craftsmen are very interested in
one another's methods.
HENABERRY
Yes. Do you have to wait for an
inspiration, or do you just dash
it off?
LONGFELLOW
(self-consciously)
Well, I don't know. I—
HENABERRY
Mr. Morrow, over there, for
instance, just dashes them off.
MORROW
Yes. That's what my publishers
have been complaining about.
They all laugh superficially.
93. CLOSE SHOT GROUP - BABE AND LONGFELLOW
Babe glances up at Longfellow, to see if he's aware that
he is being laughed at. But he apparently isn't.
LONGFELLOW
(laughing feebly)
Your readers don't complain, Mr.
Morrow.
MORROW'S VOICE
Oh, thanks. Thanks.
BROOKFIELD
How about you, Mr. Deeds?
LONGFELLOW
Well, I write mine on order. The
people I work for just tell me
what they want and then I go to
work and write it.
BROOKFIELD
Amazing! Why, that's true genius!
HENABERRY
Yes. Have you any peculiar
characteristics when you are
creating?
LONGFELLOW
Well, I play the tuba.
They all laugh.
MORROW
I've been playing the harmonica
for forty years - didn't do me a
bit of good.
CLOSE SHOT - GROUP
BROOKFIELD
You wouldn't have one in your
pocket, would you, Mr. Deeds?
LONGFELLOW
(smiling)
What? A tuba?
They all laugh.
BROOKFIELD
No, a postcard - with one of your
poems on it.
Longfellow is beginning to sense he is being kidded.
LONGFELLOW
(his face sober)
No.
HENABERRY
You mean to tell me you don't carry
a pocketful around with you?
BROOKFIELD
Too bad! I was hoping you'd
autograph one for me.
HENABERRY
I was too.
BILL
Quite right.
MED. GROUP SHOT
As they keep on. Longfellow has his eyes levelled on each
speaker in turn, obviously cognizant of their ill-concealed
jibes.
HENABERRY
Wait a minute, boys. Perhaps Mr.
Deeds would recite one for us.
THE OTHER'S VOICES
(ad-lib)
Yes!
BROOKFIELD
That's a very good idea. Nothing
like a poet reciting his own stuff.
ONE OF THE OTHERS
How about a Mother's Day poem, Mr.
Deeds?
HENABERRY
Exactly! Give us one that wrings
the great American heart.
THE GROUP
(ad-lib)
Yes.
Babe has been watching Longfellow, interested. Now, when
their voices die down - and they wait expectantly - he
speaks quietly.
LONGFELLOW
(deeply hurt)
I guess I get the idea. I guess I
know why I was invited here. To
make fun of me.
MED. SHOT - GROUP
SEVERAL VOICES
(ad-lib)
Oh, come now.
I wouldn't say that.
HENABERRY
Look, he's temperamental.
LONGFELLOW
(levelling off at
him)
Yeah, what if I am? What about it?
Henaberry's face sobers.
LONGFELLOW
(simply)
It's easy to make fun of somebody
if you don't care how much you
hurt 'em.
(to Brookfield)
I think your poems are swell, Mr.
Brookfield, but I'm disappointed
in you. I know I must look funny
to you, but maybe if you went to
Mandrake Falls you'd look just as
funny to us . Only nobody would
laugh at you and make you feel
ridiculous - 'cause that wouldn't
be good manners.
CLOSE SHOT - LONGFELLOW
AS HE RISES, CONTINUING:
LONGFELLOW
I guess maybe it is comical to
write poems for postcards, but a
lot of people think they're good.
Anyway, it's the best I can do. So
if you'll excuse me, we'll be
leaving. I guess I found out that
all famous people - aren't big
people . . .
98. MED. SHOT
The group watches him silently as he leaves the table
accompanied by Babe. For a moment they are nonplussed -
then they break into raucous laughter - all but Morrow.
CLOSE TRUCKING SHOT
With Longfellow and Babe as they take several steps. Then
he abruptly stops.
LONGFELLOW
(turning to them)
There's just one thing more. If it
weren't for Miss Dawson being here
with me, I'd probably bump your
heads together.
BABE
(quickly)
Oh, I don't mind.
Longfellow stares at her for a moment.
LONGFELLOW
Then I guess maybe I will.
He starts back toward the table.
MED. SHOT AT TABLE
Protectively, Brookfield and Henaberry rise from their
chairs. But they are too late, for Longfellow clips
Brookfield on the chin first with his left fist - and with
his right catches Henaberry on the jaw. The punches are
almost simultaneous. The surprise attack catches the men
off-guard and they fall backward. A waiter rushes forward
to escort Longfellow and Babe out.
WAITER
(calling out)
Manager!
Morrow, who never budged from his chair, and who has watched
Longfellow with great admiration, now rises to catch up to
him.
MORROW
(an outcry)
Eureka!
INT. FOYER OF TULLIO'S
101. MED. SHOT
As Morrow catches up to Longfellow and Babe, who are on
their way out. The waiter is shooing people away.
WAITER
Step aside, step aside!
Morrow barges forward. Longfellow and Babe turn.
MORROW
(obviously groggy
with drink)
Say fellow, you neglected me - and
I feel very put out.
(points to his chin)
Look, sock it right there, will
you? Lay one right on the button,[6]
but sock it hard.
CLOSE SHOT - THE THREE
LONGFELLOW
That's all right. I got it off my
chest.
MORROW
The difference between them and me
is I know when I've been a skunk.
You take me to the nearest news-
stand and I'll eat a pack of your
postcards raw. Raw!
Longfellow and Babe smile. As Morrow continues to speak,
he sways drunkenly and would fall over backwards a couple
of times in midsentence if the alert Longfellow didn't
have a clutch on his collar.
MORROW
Oh, what a magnificent deflation
of smugness. Pal, you've added ten
years to my life! A poet with a
straight left and a right hook -
delicious! Delicious! You're my
guest from now on - forever and a
day - even unto eternity!
LONGFELLOW
Thanks, but Miss Dawson and I are
going out to see the sights.
MORROW
Fine, fine. Swell, You just showed
me a sight lovely to behold, and
I'd like to reciprocate. Listen,
you hop aboard my magic carpet—
(Longfellow catches
him before he falls
backward in his
enthusiasm)
—thanks - and I'll show you sights
that you've never seen before.
LONGFELLOW
I'd kind of like to see Grant's
Tomb - and the Statue of Liberty.
CLOSE SHOT - GROUP
Favoring Morrow.
MORROW
Well, you'll not only see those,
but before the evening's half
through, you'll be leaning against
the Leaning Tower of Pisa - you'll
mount Mt. Everest. I'll show you
the Pyramids and all the little
Pyramiddes, leaping from sphinx to
sphinx. Pal, how would you like to
go on a real, old-fashioned binge?
LONGFELLOW
(puzzled)
Binge?
MORROW
Yes. I mean the real McCoy. Listen,
you play saloon with me, and I'll
introduce you to every wit, every
nit-wit, and every half-wit in New
York. We'll go on a twister that'll
make Omar the soused philosopher
of Persia[7] look like an anemic
on a goat's milk diet.
Longfellow saves him - once again - from crashing over.
CLOSE SHOT - GROUP
Featuring Longfellow.
LONGFELLOW
(vaguely)
That ought to be fun.
MORROW
Fun? Say, listen, I'll take you
on a bender that will live in your
memory as a thing of beauty and
joy forever.
(to someone off)
Boy! Boy! My headpiece!
He exits from the scene. CAMERA FOLLOWING HIM.
MORROW
(to the world in
general)
Oh, Tempora! Oh, Moeraes! Oh,
Bacchus![8] He bumps into a woman,
who glares at him.
WOMAN
Oh, you're drunk.
MORROW
(unmindful)
Oh, you're right.
105. CLOSEUP - BABE AND LONGFELLOW
LONGFELLOW
(to Babe)
I guess if we go with him, we'll
see things, huh?
She looks up at his face, amazed at his innocence.
BABE
Yes, I guess we will.
FADE OUT:
INT. MAC'S OFFICE
106. MED. SHOT
Mac is reading the story, eyes sparkling. Babe is sprawled
in a chair, doing tricks with a coin.
MAC
(reads)
"'I play the tuba to help me think.'
This is one of the many startling
statements made by Longfellow Deeds -
New York's new Cinderella Man -
who went out last night to prove
that his uncle, the late M.W. Semple -
from whom he inherited $20,000,000 -
was a rank amateur in the art of
'standing the town on its
cauliflower ear' . . . "
He looks up.
MAC
Cinderella Man! That's sensational,
Babe! Sensational!
BABE
It took some high-powered acting,
believe me.
MAC
Did it?
BABE
I was the world's sweetest ingenue.
MAC
Is he really that big a sap?
CLOSE SHOT - THE TWO
Favoring Babe.
BABE
He's the original. There are no
carbon copies of that one.
MAC
Cinderella Man! Babe, you stuck a
tag on that hick that'll stick to
him the rest of his life. Can you
imagine Cobb's face when he reads
this?
BABE
If we could sell tickets, we'd
make a fortune.
She covers the coin with palm of other hand, and the coin
disappears. But Mac is too excited to pay any attention.
MAC
How'd you get the picture?
BABE
Had the boys follow us.
MAC
Marvelous!
(reads again)
"At two o'clock this morning, Mr.
Deeds tied up traffic while he fed
a bagful of doughnuts to a horse.
When asked why he was doing it, he
replied: 'I just wanted to see how
many doughnuts this horse would
eat before he'd ask for a cup of
coffee.'"
(laughs)
Beautiful! What happened after
that?
BABE
I don't know. I had to duck to get
the story out. He was so far along
he never even missed me.
MAC
When're you going to see him again?
BABE
Tonight, maybe.
(looks at her watch)
I'll phone him at noon.
(explaining)
Oh, my lunch hour. I'm a
stenographer, you know. Mary Dawson.
MED. SHOT - THE TWO
Favoring Mac.
MAC
(laughing)
You're a genius, Babe - a genius!
BABE
I even moved into Mabel Dawson's
apartment - in case old snoopy
Cobb might start looking around.
MAC
(all excited)
Good! Good! Stay there. Don't
show your face down here. I'll
tell everybody you're on your
vacation. They'll never know where
the stories are coming from. Stick
close to him, Babe - you can get
an exclusive story out of him every
day for a month. We'll have the
other papers crazy.
(starts for her)
Babe, I could kiss you!
109. WIDER ANGLE
BABE
(sidestepping)
Oh, no. No. Our deal was for a
month's vacation - with pay.
MAC
Sure.
BABE
With pay! She is out the door.
MAC
(yelling after her)
You'll get it, Babe. You'll get
it.
DISSOLVE TO:
INT. LONGFELLOW'S BEDROOM
110. CLOSE SHOT
Walter leans over the bed violently, shaking Longfellow,
who is lost in drunken sleep.
WALTER
Mr. Deeds - Mr. Deeds, sir - you
really must get up. It's late!
LONGFELLOW
(without budging -
without opening
his eyes)
You're Walter, aren't you?
WALTER
Yes, sir.
LONGFELLOW
I just wanted to make sure.
CLOSE SHOT - WALTER
He smiles.
WALTER
If you'll permit me to say so,
sir, you were out on quite a bender
last night, sir.
CLOSE SHOT - LONGFELLOW
Longfellow opens one eye - and then the other, blinking.
As consciousness returns to him, he glances around the
room as if to get his bearings.
LONGFELLOW
Bender? You're wrong, Walter. We
started out to a binge but we never
got to it.
MED. CLOSE SHOT - THE TWO
Walter offers him a drink on a tray.
WALTER
(humoring him)
Yes, sir.
LONGFELLOW
What's that?
WALTER
A Prairie Oyster, sir.[10]
LONGFELLOW
(slow to comprehend
anything)
Prairie? Oysters?
WALTER
Yes, sir. It makes the head feel
smaller.
Longfellow takes it and downs it in one swig.
LONGFELLOW
(his face finally
reacting)
Oh. Oh!
(remembering)
Has Miss Dawson called yet?
WALTER
Miss Dawson, sir? No, sir. No Miss
Dawson has called, sir.
LONGFELLOW
She was a lady in distress. She
wouldn't let me help her. Got a
lot of pride. I like that.
WALTER
Oh, I do too, sir.
LONGFELLOW
I'd better call her up and
apologize. I don't remember taking
her home last night.
WALTER
I'd venture to say, sir, you don't
remember much of anything that
happened last night, sir.
CLOSE SHOT - THE TWO
Favoring Longfellow.
LONGFELLOW
What do you mean? I remember
everything! Hand me my pants - I
wrote her phone number on a piece
of paper.
WALTER
You have no pants, sir.
Longfellow looks up slowly. Walter goes on:
WALTER
You came home last night - without
them.
LONGFELLOW
(after a double
take)
I did what!
WALTER
As a matter of fact, you came home
without any clothes. You were in
your - uh - shorts. Yes, sir.
LONGFELLOW
Oh, don't be silly, Walter. I
couldn't walk around in the streets
without any clothes. I'd be
arrested.
WALTER
That's what the two policemen said,
sir.
LONGFELLOW
What two policemen?
WALTER
The ones who brought you home,
sir. They said you and another
gentleman kept walking up and down
the streets, shouting: "Back to
nature! Clothes are a blight on
civilization! Back to nature!"
Longfellow watches his face, fascinated. Slowly it is all
coming back to him.
LONGFELLOW
Listen, Walter, if a man named
Morrow calls up, tell him I'm not
in. He may be a great author, but
I think he's crazy. The man's crazy,
Walter.
115. REVERSE ANGLE
Favoring Walter.
WALTER
Yes, sir. By the way, did you—
Longfellow slowly swings out of bed into a sitting position.
Walter kneels to put on Longfellow's slippers. Longfellow
balks, points, silently reminding Walter that he has broken
his promise not to kneel down in front of him.
LONGFELLOW
(pointing)
Please!
WALTER
But how'll I put on the slipper,
sir?
Longfellow's expression begs no disagreement. Walter stands,
fumbling with the shoes from a stooped posture.
WALTER
(continuing)
Yes, sir. I beg pardon, sir, but
did you ever find what you were
looking for, sir?
LONGFELLOW
Looking for?
WALTER
You kept searching me last night,
sir. Going through my pockets. You
said you were looking for a rhyme
for Budington.
LONGFELLOW
(flatly)
Better bring me some coffee, Walter.
WALTER
Very good, sir.
(remembering)
Oh, I beg pardon. A telegram came
for you, sir.
(he hands the
telegram to
Longfellow)
I'll get you some black coffee,
sir.
116. MEDIUM SHOT
Following Walter's exit. Longfellow quickly opens the
telegram. His face clouds. At this moment, Cobb comes
bursting into the room - a newspaper in his hand.
COBB
(wildly)
Did you see all this stuff in the
papers?
LONGFELLOW
(holding out telegram)
Arthur wants to quit!
COBB
Arthur! Who's Arthur?
LONGFELLOW
He's the shipping clerk at the
Tallow Works. Wants a $2 raise -
or he'll quit.
COBB
(he goes crazy)
What do I care about Arthur! Did
you see this stuff in the paper?
How'd it get in there? What'd you
do last night? Who were you talking
to?
He flings the paper on the bed. Longfellow glances at it,
and his face clouds.
COBB
(while Longfellow
reads)
And what'd you do to those
bodyguards? They quit this morning.
Said you locked them up.
LONGFELLOW
Oh, they insisted on following me.
117. TWO SHOT
COBB
(wildly)
What do you think bodyguards are
for?
LONGFELLOW
(glances up)
What do they mean by this -
"Cinderella Man!"
COBB
Are those stories true?
118. CLOSE SHOT - LONGFELLOW AND COBB
Longfellow has his eyes glued on the paper.
LONGFELLOW
I don't remember. "Cinderella Man!"
What do they mean by that?
COBB
They'd call you anything if you
gave them half a chance. They've
got you down as a sap.
LONGFELLOW
(calmly)
I think I'll go down and punch
this editor on the nose.
COBB
(quickly)
No, you don't! Get this clear:
Socking people is no solution for
anything.
119. TWO SHOT
LONGFELLOW
Sometimes it's the only solution.
COBB
Not editors. Take my word for it.
Not editors!
LONGFELLOW
If they're going to poke fun at
me, I'm going to—
COBB
(bends over,
earnestly)
Listen. Listen, Longfellow. You've
got brains, kid. You'll get along
swell if you'll only curb your
homicidal instincts - and keep
your trap shut. Don't talk to
anybody! These newshounds are out
gunning for you.
LONGFELLOW
(referring to paper)
But what about this "Cinderella
Man"?
COBB
That's my job. I'll take care of
that. I'll keep that stuff out of
the papers - if you'll help me.
But I can't do anything if you go
around talking to people. Will you
promise me to be careful from now
on?
LONGFELLOW
Yes, I guess I'll have to.
COBB
(mopping his brow)
Thank you.
(as he goes)
If you feel the building rock,
it'll be me blasting into this
editor.
120. MED. SHOT
He exits. During the scene Walter has entered with a tray,
which he has adjusted on Longfellow's knee.
LONGFELLOW
Cobb's right. I mustn't talk to
anybody.
BUTLER
(entering)
Miss Dawson on the phone, sir.
LONGFELLOW
(alertly)
Who? Miss Dawson?
BUTLER
Yes, sir.
LONGFELLOW
Fine. I'll talk to her. Give me
the phone, quick. She's the only
one I'm going to talk to from now
on.
As the butler scurries around for the phone,
DISSOLVE TO:
EXT. TOP OF FIFTH AVENUE BUS - NIGHT - (PROCESS)
121. CLOSE SHOT - BABE AND LONGFELLOW
Longfellow looks around, absorbed. Babe watches him.
LONGFELLOW
It's awfully nice of you to show
me around like this.
BABE
I enjoy it.
LONGFELLOW
The Aquarium was swell. If I lived
in New York, I'd go there every
day. I'll bet you do.
BABE
Well, I'd like to - but I have a
job to think of.
EXT. STREET
MED. CLOSE SHOT - A TAXI
Directly behind the bus. A man's head is stuck out of taxi
window. We recognize it as one of the photographers, Bob.
BOB
(to driver)
Hey, flap-ears![11] You better
keep following that bus!
DRIVER'S VOICE
Keep your shirt on!
INT. THE TAXI - PROCESS
123. CLOSE SHOT - BOB AND FRANK
Two photographers, with their equipment. They keep their
eyes glued on the bus in front. They return to their seats.
BOB
It don't look as though we're gonna
get any pictures tonight.
FRANK
Babe ought to get him drunk again.
EXT. TOP OF BUS
124. CLOSE SHOT - BABE AND LONGFELLOW
BABE
Got any news—
(CATCHES HERSELF)
I mean, has anything exciting been
happening lately?
LONGFELLOW
Sure. I met you.
BABE
(laughs)
Oh. What's happening about the
opera?
LONGFELLOW
Oh, that - well, we had another
meeting. I told them I'd go on
being Chairman if—
(EXPLAINING)
I'm Chairman, you know.
BABE
Yes, I know.
LONGFELLOW
I told 'em I'd play along with
them if they lowered their prices -
and cut down expenses - and
broadcast.
BABE
What did they say?
LONGFELLOW
Gosh, you look pretty tonight.
BABE
What did they say?
LONGFELLOW
Huh? Oh. They said I was crazy.
Said I wanted to run it like a
grocery store.
BABE
What are they going to do?
LONGFELLOW
(leans over close
to her)
Do you always wear your hair like
that?
125. WIDER SHOT
At this point, two girls pass by, chattering. One girl has
a paper open.
FIRST GIRL
Isn't it a scream - "Cinderella
Man!" The dope!
2ND GIRL
I'd like to get my hooks into that
guy.
FIRST GIRL
Don't worry. Somebody's probably
taking him for plenty.
They are gone. Longfellow glares after them. Babe is afraid
to look up.
LONGFELLOW
(quietly)
If they were men, I'd knock their
heads together.
Babe is silent. Longfellow watches her for a moment.
CLOSE SHOT - THE TWO
Favoring Longfellow.
LONGFELLOW
Have you seen the papers?
BABE
Uh-huh.
LONGFELLOW
That's what I like about you. You
think about a man's feelings. I'd
like to go down to that newspaper
and punch the fellow in the nose
that's writing that stuff—
MED. CLOSE SHOT - THE TWO
She looks up, startled.
LONGFELLOW
—"Cinderella Man!" I guess pretty
soon everybody will be calling me
"Cinderella Man."
Babe has had an uncomfortable time of it - and quickly
changes the subject.
BABE
Would you like to walk the rest of
the way? It's so nice out.
LONGFELLOW
Yes.
BABE
Yeah, let's.
She jumps up from her seat, and Longfellow follows.
INT. THE TAXI
MED. CLOSE SHOT
Favoring the taxi driver.
DRIVER
Hey, wise guys. He's getting off.
This sets off a mad scramble.
BOB AND FRANK
(ad-lib)
Hey, come on!
Pull over to the curb!
DISSOLVE TO:
EXT. RIVERSIDE DRIVE - GRANT'S TOMB
129. MED. CLOSE SHOT - LONGFELLOW AND BABE
He stands across the street from Grant's Tomb, looking
solemn. His eyes moist. She is unaware of his emotion.
BABE
Come on, don't you want to see it?
INT. THE TAXI
MED. SHOT - BOB AND FRANK
FRANK
Feast your eyes. Grant's Tomb!
BOB
Is that it?
(to driver)
Hey, beetle-puss! The Tomb!
131. MED. CLOSE SHOT - LONGFELLOW AND BABE
As they approach the monument.
BABE
There you are. Grant's Tomb. I
hope you're not disappointed.
LONGFELLOW
(throatily)
It's wonderful.
BABE
To most people, it's an awful
letdown.
LONGFELLOW
(in awe)
Huh?
BABE
I say, to most people it's a
washout.
LONGFELLOW
That depends on what they see.
BABE
(looks up at him)
Now, what do you see?
CLOSEUP - LONGFELLOW
LONGFELLOW
Me? Oh, I see a small Ohio farm
boy becoming a great soldier. I
see thousands of marching men. I
see General Lee with a broken heart,
surrendering, and I can see the
beginning of a new nation, like
Abraham Lincoln said. And I can
see that Ohio boy being inaugurated
as President—
(dreamily)
Things like that can only happen
in a country like America.
CLOSEUP - BABE
To intercut with above speech. During his recital, she
watches his face, fascinated. Her impulse is to laugh, but
she finds that she can't.
LONGFELLOW
(overcome - he almost
chokes on his final
words)
Excuse me!
FADE OUT:
INT. PRIVATE OFFICES
MED. CLOSE SHOT
A switchboard operator fielding calls.
SWITCHBOARD OPERATOR
Sorry, Mr. Hopper. Mr. Cedar won't
answer his phone. Sorry.
OFFICE CLERK
(passing by)
Say, what's going on in the boss's
office?
SWITCHBOARD OPERATOR
Search me. The three 'Cs' and little
'B' have been in there for over an
hour.
INT. CEDAR'S PRIVATE OFFICE
135. FULL SHOT
Cedar paces the floor. His brothers look worried. Budington
is enthroned at Cedar's desk.
BUDINGTON
don't want to be critical, John,
but here it is—
CEDAR
(pouncing on him)
Yes, I know. A week's gone by and
we haven't got the Power of Attorney
yet!
BUDINGTON
Yes, but you said—
CEDAR
(walking way from
him)
I don't care what I said. I can't
strangle him, can I!
FIRST BROTHER
It's ridiculous for us to have to
worry about a boy like that.
(crosses to desk)
Look at these articles about him!
"Cinderella Man!" Why, he's carrying
on like an idiot.
BUDINGTON
Exactly what I was saying to my
wife when this—
FIRST BROTHER
Who cares what you were saying to
your wife?
There is a moment's awkward silence. The silence is broken
by the buzzing of the dictograph. Cedar crosses to it and
snaps the button.
CLOSE SHOT AT DESK
As secretary's voice comes over dictograph:
CEDAR
Yes?
SECRETARY'S VOICE
Mr. and Mrs. Semple are still
waiting.
CEDAR
(irritated)
I can't help it. Let them wait!
He snaps the dictograph off.
MED. SHOT GROUP
FIRST BROTHER
Those people have been in to see
me every day this week.
2ND BROTHER
Who are they ?
CEDAR
(dismissing it)
Relatives of old man Semple.
FIRST BROTHER
They keep insisting they should
have some nuisance value.
CEDAR
Nuisance value?
FIRST BROTHER
They say if it hadn't been for
Deeds, they'd have gotten all the
money.
CEDAR
(suddenly)
Nuisance value.
(thinks a minutes -
crosses to door)
Maybe they have! Maybe they have!
Maybe they have!
(opens door)
Mr. and Mrs. Semple, please. How
do you do?
The others all stand around - as the Semples enter.
MRS. SEMPLE
We've been trying to—
138. MED. CLOSE SHOT - CEDAR AND THE SEMPLES
CEDAR
(smoothly cutting
her off)
I'm so sorry to have kept you
waiting. How are you, sir? I don't
know what my secretary could
Have been thinking to keep you
waiting this long.
(to one of his
brothers)
Will you bring the chairs? Quickly.
Will you have a cigar, Mr. Semple?
MR. SEMPLE
Thanks.
Semple takes the cigar - rather flabbergasted at all the
sudden attention showered upon him.
DISSOLVE TO:
EXT. ROOF OF TALL BUILDING - NIGHT
139. MED. SHOT - LONGFELLOW AND BABE
From over their shoulders, looking down on the lights and
teeming activity of Times Square.
BABE
There's Times Square.
LONGFELLOW
You can almost spit on it, can't
you?
BABE
Why don't you try?
He does try. The wind blows it back on him. She laughs,
takes out a handkerchief and wipes it off his coat.
BABE
(as she wipes)
Oh! It's breezy up here.
He doesn't say anything right away.
BABE
You're worried about those articles
they're writing about you, aren't
you?
LONGFELLOW
I'm not worrying any more. I suppose
they'll go on writing them till
they get tired. You don't believe
all that stuff, do you?
A guilty look spreads over Babe's face.
BABE
Oh, they just do it to sell the
newspapers, you know.
LONGFELLOW
Yeah, I guess so. What puzzles me
is why people seem to get so much
pleasure out of hurting each other.
Why don't they try liking each
other once in a while?
An awkward pause.
BABE
Shall we go?
DISSOLVE TO:
EXT. CENTRAL PARK - NIGHT
MED. TRUCKING SHOT
As Babe and Longfellow walk.
BABE
(spotting a park
bench)
Here's a nice place.
LONGFELLOW
Yeah. Anyway, there aren't any
photographers around.
EXT. PARK - BEHIND SOME BUSHES
141. MEDIUM SHOT
Bob and Frank, sneaking around in the bushes.
142. CLOSE SHOT - LONGFELLOW AND BABE
BABE
You know, you said something to me
when you first met me that I've
thought about a great deal.
LONGFELLOW
What's that?
BABE
You said I was a lady in distress.
LONGFELLOW
Oh, that—
BABE
What did you mean by that?
LONGFELLOW
Nothing—
There is a pause.
LONGFELLOW
Have you got a - are you - uh -
engaged or anything?
CLOSEUP - BABE
The corners of her mouth go up in sympathetic amusement.
BABE
No. Are you?
LONGFELLOW'S VOICE
No.
BABE
You don't go out with girls very
much, do you?
LONGFELLOW'S VOICE
I haven't.
BABE
Why not?
CLOSE SHOT - THE TWO
Favoring Longfellow.
LONGFELLOW
Oh, I don't know.
BABE
You must have met a lot of swell
society girls since you've been
here. Don't you like them?
LONGFELLOW
I haven't met anybody here that I
like, particularly. They all seem
to have the St. Vitus Dance.[12]
(awkwardly)
Except you, of course.
(a pause)
People here are funny. They work
so hard at living - they forget
how to live
(thoughtfully; leans
back)
Last night, after I left you, I
was walking along and looking at
the tall buildings and I got to
thinking about what Thoreau said.
They created a lot of grand palaces
here - but they forgot to create
the noblemen to put in them.
145. REVERSE ANGLE
Favoring Babe. She stares at him curiously.
LONGFELLOW
I'd rather have Mandrake Falls.
BABE
I'm from a small town too, you
know.
LONGFELLOW
(interested)
Really?
BABE
Probably as small as Mandrake Falls.
LONGFELLOW
(finding a kindred
soul)
Gosh! What do you know about that!
Babe leans her head back in a reminiscent mood. We get a
feeling that, for the moment, she has forgotten she is
Babe Bennett, out on a story.
BABE
Ah, it's a beautiful little town,
too. A row of poplar trees right
along Main Street. Always smelled
as if it just had a bath.
MED. CLOSE SHOT - THE TWO
Longfellow watches her face intently.
BABE
I've often thought about going
back.
LONGFELLOW
You have?
BABE
Oh, yes. I used to have a lot of
fun there when I was a little girl.
I used to love to go fishing with
my father. That's funny. He was a
lot like you, my father was. Talked
like you, too. Sometimes he'd let
me hold the line while he smoked -
and we'd just sit there for hours.
And after awhile, for no reason,
I'd go over and kiss him and sit
in his lap. He never said very
much but once I remember him saying:
"No matter what happens, honey,
don't complain."
LONGFELLOW
He sounds like a person worth while
knowing.
There is a pause while Longfellow watches her, and she is
lost in thought.
BABE
(continuing)
He played in the town band, too.
LONGFELLOW
He did? I play the tuba—
BABE
Yeah, I know.
LONGFELLOW
What did he play?
BABE
The drums. He taught me to play
some.
LONGFELLOW
He did?
BABE
Yes. I can do "Swanee River." Would
you like to hear me?
LONGFELLOW
(enthusiastically)
Sure!
147. MEDIUM SHOT
She picks up a couple of branches. With the two sticks she
drums on the bench seat - and sings "Swanee River."
When she is finished, though clearly delighted, he shows
her a long face of mock-disappointment.
BABE
Oh, I suppose you could do better.
LONGFELLOW
Sure. I can sing "Humoresque."
BABE
"Humoresque"? I'll bet you don't
even know how it goes.
LONGFELLOW
Sure. Look! You sing it over again,
and I'll do "Humoresque" with you.
BABE
It had better be good.
She starts again, and he sings "Humoresque" in counterpoint
to her drumming.
CUT TO:
EXT. PARK - BEHIND SOME BUSHES
148. CLOSE SHOT - BOB AND FRANK
They wait with their camera. When they hear the singing,
they look up, and then at each other in surprise.
BOB
I wonder if they'd want to make it
a quartet.
FRANK
Shhh!
149. MEDIUM SHOT
Longfellow and Babe. They are having a grand time with
their singing. A policeman saunters into the scene and
stands watching them for a few seconds, without their being
conscious of his presence. He smiles, shakes his head and
passes on out of scene. Over the shot we hear the low moan
of a siren in the distance.
CLOSE SHOT - THE TWO
They reach the climax of their song - and laugh joyously.
At this moment, the shrieking of the siren is nearer and
louder. Longfellow looks up quickly. Excited, he jumps up
and runs toward street. Babe looks up, surprised.
LONGFELLOW
(as he runs off)
Fire engine! Fire engine! I want
to see how they do it. Wait for
me, will you?
151. CLOSE SHOT - BOB AND FRANK BEHIND BUSHES
Frank grabs the camera.
FRANK
Looks like the evening is not going
to be wasted!
152. MEDIUM SHOT
They dash by the policeman, who looks up, startled.
153. LONG SHOT
As the fire engine slows down - and people are beginning
to gather. We see Longfellow running toward the truck and
hopping aboard.
MED. SHOT AT FIRE TRUCK
As Longfellow jumps on.
FRANK
Hello - what do you want?
LONGFELLOW
(short salute)
Captain Deeds - fire volunteer -
Mandrake Falls.
FIREMAN
(amused)
Hi, Cap! Boys, meet the Captain!
LONG SHOT - REVERSE ANGLE
Bob and Frank running with their cameras toward Longfellow.
DISSOLVE TO:
INT. LIVING ROOM OF MABEL DAWSON'S STUDIO
156. CLOSEUP
Of typewriter carriage. It contains a paper upon which the
following is typed:
"CINDERELLA MAN FIRE-EATING DEMON"
"Longfellow Deeds, 'The Cinderella Man,' last night threw
a 'defy' into the teeth of the New York Fire Department,
that when it comes to extinguishing conflagrations - they
had better look to their laurels—"
CAMERA PULLS BACK and we find Babe, staring at the sheet
of paper in front of her. Her eyes have a distant look.
157. FULL SHOT
Several feet away from her Mabel Dawson stands in front of
an easel, working silently on a painting. She dabs at it
and turning, pauses a moment to watch Babe, who at the
moment rests her forehead on the typewriter carriage.
MABEL
(softly)
What's the matter, hon?
BABE
(quickly)
Nothing.
Babe is too much absorbed to hear this. Getting no response,
Mabel turns and studies her for a few seconds.
MABEL
What's up, Babe? Something's eating
you.
BABE
No. It's nothing.
MABEL
My unfailing instinct tells me
something's gone wrong with the
stew.
BABE
(murmuring)
Don't be ridiculous.
She again resumes her typing. Mabel crosses to her and
looks over her shoulder.
MABEL
You haven't gotten very far, have
you? That's where you were an hour
ago. Come on, let's knock off and
go down to Joe's. The gang's waiting
for us.
BABE
(jumping up)
I can't write it, Mabel! I don't
know what's the matter with me.
Babe lights a cigarette. Mabel studies her.
MABEL
(quietly)
Uh-huh. I think I can tell you.
The phone bell rings. Mabel picks it up.
CLOSE SHOT AT PHONE
MABEL
(into phone)
Hello . . .
(listens)
Yes, she's here. Who wants her?
(listens)
Who?
(listens)
Oh, yes. Yes, just a moment.
(her hand over the
mouthpiece)
It's him - whatcha-ma-call-him -
the "Cinderella Man." The
"Cinderella Man"!
Babe grabs the phone.
BABE
Hello.
INT. LONGFELLOW'S BEDROOM
CLOSE SHOT - LONGFELLOW
Who lies dressed in bed, phone in hand.
LONGFELLOW
(into phone)
Couldn't sleep. Kinda wanted to
talk to you. Do you mind?
INT. MABEL'S LIVING ROOM
160. CLOSE SHOT - BABE AT PHONE
BABE
(sincerely)
No - not at all. I couldn't sleep
either.
INT. LONGFELLOW'S BEDROOM
CLOSE SHOT - LONGFELLOW
At phone.
LONGFELLOW
I wanted to thank you again for
going out with me.
(listens)
Huh? Well, I don't know what I'd
do without you. You've made up for
all the fakes that I've met.
CONTINUATION SCENE 160
BABE
Well, that's very nice. Thank you.
CONTINUATION SCENE 161
LONGFELLOW
You know what I've been doing since
I got home? Been working on a poem.
(listens)
It's about you.
(listens)
Sometimes it's kinda hard for me
to say things - so I write 'em.
CONTINUATION SCENE 160
BABE
(touched)
I'd like to read it some time.
She listens for a moment, apparently moved by his sweetness.
CONTINUATION SCENE 161
LONGFELLOW
Maybe I'll have it finished next
time I see you.
(listens)
Will I see you soon?
(listens)
Gosh, that's swell, Mary.
(listens)
Good night.
He hangs up, and lies back - enthralled.
CONTINUATION SCENE 160
BABE
Good night.
INT. APT. LIVING ROOM
162. MED. CLOSE SHOT - AT PHONE
BABE
Mabel, that guy's either the
dumbest, the stupidest, the most
imbecilic idiot in the world - or
he's the grandest thing alive. I
can't make him out.
MED. CLOSE SHOT - THE TWO
MABEL
(knowingly)
Uh-huh.
BABE
I'm crucifying him.
MABEL
People have been crucified before.
BABE
Why? Why do we have to do it?
MABEL
You started out to be a successful
newspaper woman, didn't you?
BABE
Yeah, then what?
MABEL
(shrugging)
Search me. Ask the Gypsies.
BABE
Here's a guy that's wholesome and
fresh. To us he looks like a freak.
You know what he told me tonight?
He said when he gets married he
wants to carry his bride over the
threshold in his arms.
MABEL
The guy's balmy.
BABE
Is he? Yeah, I thought so, too. I
tried to laugh, but I couldn't. It
stuck in my throat.
MABEL
Aw, cut it out, will you? You'll
get me thinking about Charlie again.
BABE
He's got goodness, Mabel. Do you
know what that is?
MABEL
Huh?
BABE
No - of course you don't. We've
forgotten. We're too busy being
smart-alecks.
(sits at her
typewriter)
Too busy in a crazy competition
for nothing.
FADE OUT:
FADE IN:
SERIES OF INSERTS:
"CINDERELLA MAN FIRE-EATING DEMON—
Punches Photographer."
DISSOLVE TO:
"CINDERELLA MAN TO REFORM OPERA—
Must be put on paying basis - or else - says post-card
poet."
DISSOLVE TO:
"Madame Pomponi, Famous Opera Singer, To Launch Deeds on
Social Career"
DISSOLVE TO:
INT. LONGFELLOW'S BEDROOM
164. MEDIUM SHOT
Longfellow is in bed in his pajamas, playing the tuba.
Walter enters.
WALTER
I beg pardon, sir. I beg pardon,
sir.
Longfellow stops, looking daggers at him.
WALTER
Madame Pomponi is on the telephone,
sir.
LONGFELLOW
Who?
WALTER
Madame Pomponi. She says everything
is all set for the reception.
LONGFELLOW
What do you mean by coming in here
when I'm playing?
WALTER
But she's on the telephone—
LONGFELLOW
Get out.
(pointing)
The evil finger's on you. Get out!
Walter hurries out. Longfellow jumps up and chases him
down the grand staircase. Longfellow stops at the top of
the stairs, struck by an idea.
INT. GRAND STAIRCASE
165. WIDE ANGLE
Showing Walter at the bottom of the stairs and Longfellow
at the top.
LONGFELLOW
Stop!
Walter halts. Longfellow gives a shout from the top of the
stairs. There is a discernible echo.
LONGFELLOW
Hey, did you hear that?
WALTER
What, sir?
Longfellow gives another shout. There is another echo. He
tries it again - louder. Another echo. It is all very
satisfactory.
WALTER
(pleased)
Why, that's an echo, sir!
LONGFELLOW
You try it.
WALTER
(timidly)
Me, sir?
LONGFELLOW
(an order)
Yeah.
Walter gives a bird-like hoot. There is an echo.
LONGFELLOW
(firmly)
Louder.
Walter gives a louder hoot. And louder. Each time, an echo.
A butler in a bathrobe emerges to see what all the
hullabaloo is about. Longfellow spots him.
LONGFELLOW
(to butler)
You try it.
BUTLER
Me, sir?
But the butler clearly relishes the opportunity. He gives
a little high-pitched squeak.
LONGFELLOW
Louder!
The butler tries it again - much better. Another man-servant
has emerged. Longfellow points to him.
LONGFELLOW
You try it!
The man-servant tries it - very raspy, another tone
altogether.
LONGFELLOW
(waving like a
conductor)
All together!
A symphony of hoots, shrieks, barks and echoes.
LONGFELLOW
Again!
The household staff do it again.
LONGFELLOW
(surveying the scene - then,
dramatically)
Let that be a lesson to you.
With that, Longfellow spins on his heel and returns to his
bedroom.
There is a pause. The butler takes command of the other
two.
BUTLER
(gesturing
imperiously)
Go back to your room, both of you!
Walter and the man-servant hasten to exit.
The butler waits until nobody is looking, then gives one,
final hoot. He murmurs to himself with satisfaction as he
exits.
DISSOLVE TO:
EXT. LONGFELLOW'S HOME - NIGHT
166. LONG SHOT
Limousines arriving - from which guests emerge - in full
evening dress.
INT. DRAWING ROOM - NIGHT
MED. SHOT AT DOOR
Madame Pomponi greets a group of guests. Ad-lib chatter is
heard. From inside music emanates.
AD-LIB CHATTER
Oh, hello darling. So good of you
to come.
Sweet of you to ask me.
Where is he?
I'm just dying to see the
"Cinderella Man."
CAMERA MOVES SWIFTLY among groups of people picking out
vignettes of conversation. Longfellow is the hot topic.
A husband and a wife whispering:
A HUSBAND
Shh! - he may hear you.
A WIFE
Even if he heard you, he wouldn't
understand.
MAN AND A WOMAN GOSSIPING:
A MAN
I hear he still believes in Santa
Claus.
A WOMAN
Will he be Santa Claus? That's
what I want to know.
Another man holding forth to two elegantly-dressed women:
ANOTHER MAN
Have you all got your slippers
ready for the "Cinderella Man"?
WOMEN
(ad-lib)
Yes, I have.
Everybody laughs.
FIRST WOMAN
With $20,000,000, he doesn't have
to have looks!
2ND WOMAN
He won't have it long with that
Pomponi woman hanging around him.
Two women in evening dress twittering like birds:
FIRST WOMAN
(to other woman)
My dear, I hear he can't think
unless he plays his tuba!
DISSOLVE TO:
INT. MABEL'S BEDROOM
168. FULL SHOT
Babe is listlessly packing her few things in a small
handbag. She slowly and meticulously folds a silken
undergarment, wrapping it in tissue. Her eyes have a distant
look. Mabel watches her, concerned. There is a long pause
before either of them speaks.
MABEL
(breaking the silence)
You're a fool, Babe.
BABE
I just couldn't stand seeing him
again.
MABEL
Running away is no solution.
MED. CLOSE SHOT - THE TWO
Babe is unresponsive.
MABEL
(after a pause)
What'll I tell him if he calls up?
BABE
Tell him I had to leave suddenly.
I got a job in China - some place.
MABEL
You're acting like a school girl.
BABE
(suddenly - tensely)
What else can I do? Keeping this
up is no good. He's bound to find
out sometime.
(softly)
At least I can save him that .
They are suddenly startled by the boisterous entrance of
Bob and Frank, whose voices are heard as they barge in.
170. MEDIUM SHOT
Babe, not wishing to explain to them, hides her bag - and
follows Mabel to greet them in the living room.
INT. LIVING ROOM
MED. FULL SHOT
The boys cross to a table and drop their cameras.
BOB AND FRANK
Say, where is everybody? Come on,
Babe - the artillery's ready.
Mabel enters. Babe stands in doorway.
MABEL
(by way of greeting)
It's those two sore spots again.
BOB
You shoulda been down to the office
today, Babe.
FRANK
Yeah. Mac threw Cobb out again.
BOB
Boy, was he burning.
FRANK
(reaching for a
bottle)
Just one little drink - and then
we're ready to shoot.
MABEL
(grabbing it away)
Just a minute. No, you don't.
BABE
We're not going out tonight.
BOB
Thought you had a date with him.
CLOSE SHOT - BABE
BABE
It's off. He's having a party at
his house.
MED. CLOSE SHOT
Frank, Bob and Mabel.
FRANK
Say, what's the matter with her
now !
MABEL
You wouldn't know if I drew you a
diagram. Now, run along and peddle
your little tin-types.
BOB
What is this? Throwing us out of
here's getting to be a regular
habit.
There is a knock on the door. They all look up.
CLOSE SHOT AT DOOR
As Mabel opens the door slightly. We see Longfellow. Mabel's
eyes open in surprise.
LONGFELLOW
Is Mary Dawson here? I'm Longfellow
Deeds.
175. CLOSE SHOT - BOB AND FRANK
They stand - stupefied.
CLOSE SHOT - MABEL
She waves her hand back of her, for them to hide.
MABEL
(loud - for the
boys)
Oh! Oh, yes, of course. Longfellow
Deeds. Come in. Step in, please.
177. CLOSE SHOT - BOB AND FRANK
They duck behind the sofa, CAMERA PANNING WITH THEM.
178. FULL SHOT
Longfellow enters. Mabel closes the door behind him,
watching him speculatively. Longfellow turns to Mabel.
LONGFELLOW
You're Mabel - her sister - aren't
you?
MABEL
(flustered)
Huh? Oh, yes - yes, of course. Her
sister. Yes, I've been her sister
for a long time.
LONGFELLOW
Is she home?
MABEL
Yeah. What?
LONGFELLOW
Is Mary home?
They look at each other stupidly - smiling feebly.
CLOSE SHOT ON TABLE
Featuring the camera. A hand comes in from behind the sofa
and yanks the camera out of sight.
180. MEDIUM SHOT
Mabel and Longfellow still standing, looking at each other.
MABEL
Oh, Mary? Yes, of course. Well, I
don't know whether she's home or
not. I'll see.
As she turns, Babe appears in doorway.
MABEL
Why there she is! Of course she's
home.
(feebly)
Stupid of me . . .
BABE
Hello.
LONGFELLOW
Hello, Mary. I waited in the park
for you over an hour. I thought
maybe you'd forgotten.
181. MED. CLOSE SHOT - LONGFELLOW AND BABE
Mabel in b.g.
BABE
I didn't think you could come with
the party and everything.
LONGFELLOW
Oh, I wouldn't let them stop me
from seeing you. So I threw them
out!
BABE
You threw them out!
182. CLOSER SHOT
MABEL
You mean—
(gesturing with
hands)
—by the neck or something?
LONGFELLOW
Sure. They got on my nerves, so I
threw 'em out.
Mabel raises her eyebrows.
LONGFELLOW
I guess that'll be in the papers
tomorrow. It will give 'em something
else to laugh at.
CLOSEUP - BABE
Her face clouds - miserably.
LONGFELLOW'S VOICE
(lightly)
I don't mind though. I had a lot
of fun doing it.
BABE
(quickly)
Would you like to go for a walk?
MED. CLOSE SHOT
LONGFELLOW
Yes, if it isn't too late.
BABE
(going to bedroom)
I'll get my hat.
She disappears, leaving Mabel and Longfellow again staring
at each other, self-consciously. Mabel smiles, ill-at-ease.
LONGFELLOW
Nice day out - er, nice night -
wasn't it? - isn't it?
MABEL
(tremulously)
Yes, lovely. We've had a lot of
nice weather lately.
LONGFELLOW
(after a pause)
It would be a nice night to go for
a walk, don't you think?
MABEL
Oh yes, I think it'd be a swell
night to go for a walk. A nice
long one.
CLOSE SHOT - BEHIND SOFA
Bob and Frank, holding their breaths.
186. MEDIUM SHOT
Babe comes out of bedroom.
BABE
Ready?
LONGFELLOW
Gosh, she looks better every time
I see her.
BABE
(vaguely)
Thank you.
She crosses to the door.
LONGFELLOW
(to Mabel)
Goodnight. Don't worry. I won't
keep her out late.
MABEL
Thank you so much. Good night.
They exit. Mabel sighs relievedly. The boys jump from their
crouching positions.
FRANK
(wobbling forward)
Ow! My foot's asleep!
BOB
(grabbing camera)
Come on - let's go!
Frank grabs his camera and both bolt toward the door. Mabel
gets there one step ahead of them, and blocks their path.
MABEL
No, you don't. Just a minute. No
more photographs.
DISSOLVE TO:
EXT. FRONT OF BABE'S HOME
CLOSE TRUCKING SHOT
As they walk slowly down the front steps.
LONGFELLOW
The reason why I wanted to take a
walk, Mary, is 'cause I wanted to
talk to you.
BABE
Let's just walk, okay?
LONGFELLOW
All right.
CLOSE TRUCKING SHOT
As they walk along a foggy street, on their faces.
LONGFELLOW
Mary, I'm going home.
BABE
Are you? When?
LONGFELLOW
In a day or so, I think.
BABE
I don't blame you.
CLOSE TWO SHOT
Continuing on them, as they slowly walk around the block.
LONGFELLOW
A man ought to know where he fits
in. I just don't fit in around
here. I once had an idea I could
do something with the money, but
they kept me so busy here, I haven't
had time to figure it out. I guess
I'll wait till I get back home.
There is a long pause. Both lost in their own thoughts.
LONGFELLOW
Do you mind if I talk to you, Mary?
You don't have to pay any attention
to me.
BABE
No, I don't mind.
LONGFELLOW
All my life, I've wanted somebody
to talk to. Back in Mandrake Falls,
I always used to talk to a girl.
BABE
A girl?
LONGFELLOW
Oh, an imaginary one. I used to
hike a lot through the woods and
I'd always take this girl with me
so I could talk to her. I'd show
her my pet trees and things. Sounds
kind of silly but we had a lot of
fun doing it.
(SMILING)
She was beautiful.
(then moodily)
I haven't married 'cause I've been
kinda waiting. You know, my mother
and father were a great couple. I
thought I might have the same kind
of luck. I've always hoped that
some day that imaginary girl would
turn out to be real.
They have arrived back at the front steps of Babe's home.
LONGFELLOW
Well, here we are again.
BABE
Yes, here we are again.
(after a pause)
Good night.
LONGFELLOW
(then, quickly -
his voice faltering)
Mary - I - excuse me—
CLOSE TWO SHOT
Favoring Babe. She cuts him off, her voice shaking.
BABE
Goodbye, darling. Don't let anybody
hurt you again - ever. They can't
anyway. You're much too real. You
go back to Mandrake Falls. That's
where you belong - goodbye!
191. WIDER ANGLE
She runs up the steps.
LONGFELLOW
Mary—
She stops and turns. He walks up close to her.
CLOSER SHOT - THE TWO
LONGFELLOW
You know the poem I told you about?
It's finished.
His hand goes to his breast pocket - and then slowly is
withdrawn - without bringing out the poem.
LONGFELLOW
Would you like to read it? It's to
you.
BABE
(scarcely audible)
Yes, of course.
He now takes the poem out. The paper is folded. He hands
it to her and she slowly unfolds it. Just as she is about
to read Longfellow lays a hand on her arm.
LONGFELLOW
(a little frightened)
You don't have to say anything,
Mary. You can tell me tomorrow
what you think.
She looks into his eyes, but does not respond. Then she
holds the paper up and begins reading. Longfellow watches
her anxiously.
CLOSEUP - BABE
READING SOFTLY:
BABE
"I tramped the earth with hopeless
beat - Searching in vain for a
glimpse of you. Then heaven thrust
you at my very feet, A lovely angel -
too lovely to woo."
The last words come with difficulty. Babe's eyes are slowly
welling up.
CLOSE SHOT - THE TWO
BABE CONTINUES READING:
BABE
"My dream has been answered, but
my life's just as bleak, I'm
handcuffed and speechless in your
presence divine - for my heart
longs to cry out, if it only would
speak, 'I love you, my angel - be
mine, be mine.' "
Her voice is choked when she finishes. She does not look
up until she refolds the paper. He stands close to her,
waiting expectantly. Finally, she glances up. Her cheeks
are moist, and her face clouded. Impulsively, she throws
her arms around his neck, kissing him.
BABE
Oh, darling!
Longfellow's arms encircle her and for a few moments they
remain in an emotional embrace.
LONGFELLOW
(huskily)
You don't have to say anything
now. I'll wait till tomorrow -
till I hear from you.
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.
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.
A VOICE
(shouting)
Hey, what's the big idea?
FADE OUT:
FADE IN:
INT. NEWSPAPER OFFICE - DAY
CLOSE SHOT - MAC
Behind his desk.
MAC
Stop it, Babe! Stop it! What do
you mean, you're quitting! You
might as well tell me I'm quitting.
As he speaks, CAMERA DRAWS BACK to reveal Babe near a
window, peering out moodily. Mac crosses over to her side.
MAC
What's bothering you, huh?
BABE
(after a pause)
Last night he proposed to me.
MAC
Proposed to you! You mean he asked
you to marry him?
BABE
Yes.
MAC
(alert)
Why, Babe - that's terrific!
(sees it in print)
"Cinderella Man Woos Mystery Girl!
Who is the Mysterious Girl That—"
BABE
Print one line of that, and I'll
blow your place up!
MED. CLOSE SHOT - THE TWO
MAC
Sorry, Babe. Sorry. It would have
made a swell story. I just got
carried away. That's too bad. So
he proposed to you, huh?
(intrigued)
What a twist! You set out to nail
him - and he—
BABE
(bitterly)
Yeah. Funny twist, isn't it?
MAC
(suddenly)
Say, you haven't gone and fallen
for that mug, have you?
Babe's silence is eloquent.
MAC
Well, I'll be—
He places an arm tenderly around her shoulder.
MAC
That's tough, Babe.
Babe smiles wryly.
MAC
(interested)
What're you going to do?
BABE
(walking away)
I'm going to tell him the truth.
MAC
Tell him you're Babe Bennett?
Tell him you've been making a stooge
out of him?
BABE
I'm having lunch with him today.
He expects an answer. It's going
to be pretty.
MAC
You're crazy! You can't do that!
MED. CLOSE SHOT - THE TWO
Over their shoulders, from behind, as Mac comforts her.
BABE
He'll probably kick me right down
the stairs. I only hope he does.
MAC
I'll put you on another job. You
need never see him again, eh?
BABE
That's the rub.
MAC
Oh, as bad as that, huh?
BABE
(far-away)
Telling him is the long shot - I'm
going to take it.
He watches her sympathetically. Babe sighs resignedly.
BABE
(looking around)
Well, it was fun while it lasted,
Mac. I'll clean out my desk.
She leaves him. Mac is deeply moved by her problem.
DISSOLVE TO:
INT. GRAND STAIRCASE
200. WIDE SHOT
As Longfellow, in a buoyant mood, emerges from his room
and slides down the bannister of the grand staircase.
INT. INTIMATE DINING ROOM
201. MEDIUM SHOT
Table is set for two. Two butlers putter around. Longfellow
enters full of expectant enthusiasm. He is in his shirt
sleeves. He hovers over them, checking their preparations.
LONGFELLOW
How's it going? Okay?
BUTLER
Yes, quite all right. Thank you,
sir.
LONGFELLOW
(picking up a salt
shaker and examining
it)
Gold, eh?
BUTLER
(as he continues
his puttering)
Yes, sir.
LONGFELLOW
Fourteen carat?
BUTLER
Yes, sir.
LONGFELLOW
Is that the best you've got?
BUTLER
Oh, yes sir.
LONGFELLOW
(seizing on another
detail)
Those flowers are too high. Won't
be able to see her.
(lifts a bowl of
flowers off)
Get a smaller bowl, will you?
BUTLER
(repeating his
command as he hands
the bowl to the
other butler)
A smaller bowl of flowers.
2ND BUTLER
(exiting with flowers)
Yes, sir. A smaller bowl of flowers.
LONGFELLOW
(to butler)
Did you get that stuff I was telling
you about?
BUTLER
Stuff, sir?
LONGFELLOW
That goo. That stuff that tastes
like soap.
BUTLER
Oh, yes, sir. Here it is, sir. The
pate de fois gras, sir.
LONGFELLOW
Yeah, that's fine. Have a lot of
it because she likes it.
BUTLER
Yes, sir.
The other butler returns with a small bowl of flowers which
he places in the center of the table.
LONGFELLOW
Now you got the idea. Fine.
He sits in one of the chairs and leans forward in an
imaginary conversation with Babe - his lips move but we
hear nothing.
LONGFELLOW
(motions to butler)
Sit over there, will you?
BUTLER
Me sir?
LONGFELLOW
Yes.
The butler sits.
LONGFELLOW
Yes. You're too tall. Slink lower,
will you?
The butler does it.
LONGFELLOW
More. Now forward.
They are practically nose to nose over the flowers.
BUTLER
(seriously)
How is this, sir?
LONGFELLOW
(rising)
Perfect! Perfect!
BUTLER
I wish you luck, sir.
LONGFELLOW
Thank you. Now don't touch a thing.
Leave everything as it is.
He hurries toward his bedroom.
DISSOLVE TO:
INT. BEDROOM
202. FULL SHOT
Longfellow enters.
LONGFELLOW
(yelling)
Walter! Walter! Walter, where are
you?
Walter enters, panic-stricken.
WALTER
Yes, sir. What is it, sir? Anything
happened3
MED. CLOSE SHOT
LONGFELLOW
Anything happened? I've got to get
dressed! I can't meet her like
this!
WALTER
But she isn't due for an hour,
sir.
LONGFELLOW
An hour? What's an hour! You know
how time flies, Walter. My tie?
Get it.
WALTER
Yes, sir. Very good, sir. Here it
is right here, sir. There, sir.
While putting it on, he sings "Humoresque" loudly and gaily.
204. MEDIUM SHOT
At this moment, Cobb bursts in - his face grim:
COBB
Just as I suspected, wise guy! I
don't mind you making a sap out of
yourself - but you made one out of
me, too.
LONGFELLOW
(to Walter - merrily)
Will you tell the gentleman I'm
not in?
COBB
Mary Dawson, huh? Mary Dawson, my
eye. That dame took you for a sleigh
ride that New York will laugh about
for years. She's the slickest, two-
timing, double-crossing—
At the mention of the name, Longfellow turns for the first
time.
CLOSEUP - LONGFELLOW
His face goes livid, as Cobb's voice continues:
LONGFELLOW
(between clenched
teeth)
What are you talking about?
206. MEDIUM SHOT
Longfellow has started out toward him. In two long strides,
Longfellow has grabbed Cobb by the shirt-front, ready to
strangle him.
COBB
All right. Go ahead. Sock away,
and then try to laugh this off.
With his free hand, he reaches into his coat pocket. He
unrolls a newspaper. Longfellow shifts his glance over to
the photograph in the newspaper Cobb holds up, and slowly
his grip on Cobb relaxes. He takes the newspaper.
CLOSEUP - LONGFELLOW
As he looks at the picture.
INSERT: PICTURE OF BABE BENNETT
UNDER WHICH IS THE FOLLOWING:
"Louise (Babe) Bennett - wins Pulitzer Prize for reportorial
job on Macklyn love triange."
BACK TO SCENE
Longfellow stares long and unbelievingly at the picture.
208. MED. CLOSE SHOT - COBB AND LONGFELLOW
COBB
(adjusting his
clothes)
She's the star reporter on The
Mail. Every time you opened your
kisser, you gave her another story.
She's the dame who slapped that
monicker on you - "Cinderella Man."
You've been making love to a double
dose of cyanide!
LONGFELLOW
(an outcry)
Shut up!
Longfellow, stunned, crosses to the bed - CAMERA PANNING
WITH HIM. He slumps down and continues staring at picture.
209. MEDIUM SHOT
Cobb crosses to phone and picks up receiver.
CUT TO:
INT. NEWSPAPER OUTER OFFICE
MED. CLOSE SHOT
Babe is at her desk. She has just finished rummaging through
her desk. Many articles are on top. Mac is by her side.
Babe flicks the pages of a small loose-leaf book, and hands
it to Mac.
BABE
This is for you , Mac. The names
of all the headwaiters in town.
You can always buy a bit of choice
scandal from them at reasonable
prices.
MAC
Aw, listen Babe, I can't let you
quit now. You're not going through
with this thing, are you?
Babe shakes her head with finality, as the phone bell rings.
MAC
(picking up receiver)
I've seen 'em get in a rut like
you before - but they always come
back.
(into phone)
Hello . . . Yes. Just a minute.
He holds the receiver out to her.
MAC
It's for you. In a couple weeks
you'll get the itch so bad, you'll
be working for nothing.
BABE
(into phone)
Hello . . .
INT. LONGFELLOW'S BEDROOM
211. MEDIUM SHOT
Cobb is at the phone.
COBB
Babe Bennett? Just a minute.
He listens and hands phone to Longfellow.
LONGFELLOW
(into phone)
Hello, Mary?
INT. NEWSPAPER OUTER OFFICE
CLOSE SHOT - BABE
BABE
(at phone)
Oh, hello darling.
Her face goes dead as she realizes she is speaking to
Longfellow.
INT. LONGFELLOW'S BEDROOM
CLOSE SHOT - LONGFELLOW
LONGFELLOW
(at phone; strained)
Is it you who's been writing those
articles about me?
INT. NEWSPAPER OUTER OFFICE
CLOSE SHOT - BABE
At phone.
BABE
Why - uh - I was just leaving -
I'll be up there in a minute—
(listens)
Look - uh, yes, I did - but I was
just coming up to explain—
The words die in her throat. She looks dully at the
receiver.
INT. LONGFELLOW'S BEDROOM
CLOSEUP - LONGFELLOW
BABE'S VOICE
(coming over phone)
Oh listen, darling, wait a minute!
Please! Listen—
He hangs up. His face is a dead mask, every illusion
shattered. Slowly, a wry smile appears on his face and,
rising, he wanders around the room in deep abstraction.
Cobb and Walter watch him sympathetically.
Longfellow is silent a long time.
216. MEDIUM SHOT
As a butler enters.
BUTLER
I beg pardon, sir. Shall I serve
the wine with the squab, sir?
Longfellow doesn't hear him.
BUTLER
(tries again)
I beg pardon, sir.
CLOSEUP - COBB
His face softens.
COBB
If I knew you were going to take
it so hard, I woulda kept my mouth
shut. Sorry.
218. MEDIUM SHOT
As finally Longfellow speaks,
without turning.
LONGFELLOW
(quietly)
Pack my things, Walter. I'm going
home.
WALTER
Yes, sir.
He immediately busies himself.
DISSOLVE TO:
INT. CORRIDOR
219. WIDE SHOT
Longfellow emerges from his bedroom, walking briskly toward
the staircase, immediately followed by Cobb and Walter.
Walter is loaded down with suitcases. Longfellow is wearing
coat and hat.
COBB
(trying to keep up
with Longfellow)
You shouldn't be running away like
this. What's going to happen to
the Estate?
LONGFELLOW
They can have the Estate.
As they approach the staircase, a commotion is heard from
stairs. Cobb hurries ahead to see what is going on.
INT. GRAND FOYER
220. MEDIUM SHOT
Two butlers are struggling with a wild-eyed man of middle
age. They shout in unison.
BUTLERS
(simultaneously)
You can't come up here!
FARMER
Let me go! I wanna see him!
BUTLERS
He's not home, I tell you!
FARMER
I wanna see that guy!
BUTLERS
We'll send for the police!
FARMER
Let me go!
They continue to struggle as Cobb reaches them.
COBB
What's going on here?
The man yanks himself free.
FARMER
There he is! I just wanted to get
a look at him.
He sees Longfellow over Cobb's shoulder.
FARMER
There you are! I just wanted to
see what kind of a man you were!
He struggles to thrust Cobb aside.
221. FULL SHOT
Favoring Longfellow, who has reached the bottom of the
staircase and watches the man warily.
FARMER
(wildly)
I just wanted to see what a man
looks like that can spend thousands
of dollars on a party - while people
around him are hungry! The
"Cinderella Man," huh? Did you
ever stop to think how many families
could have been fed on the money
you pay out to get on the front
pages?
Cobb forcibly restrains the man.
COBB
Come on! Take him out of here!
FARMER
Let me go!
LONGFELLOW
(an order)
Let him alone.
FARMER
Let me alone!
(threateningly)
If you know what's good for you -
you'll let me get this off my chest!
(to Longfellow)
How did you feel feeding doughnuts
to a horse? Get a kick out of it,
huh? Got a big laugh?
(sarcastically)
Did you ever think of feeding
doughnuts to human beings! No!
Longfellow stares at him.
WALTER
(quietly)
Shall I call the police, sir?
LONGFELLOW
No!
(to man)
What do you want!!
FARMER
Yeah - that's all that's worrying
you. What do I want? A chance to
feed a wife and kids! I'm a farmer.
A job! That's what I want!
LONGFELLOW
A farmer, eh! You're a moocher,
that's what you are! I wouldn't
believe you or anybody else on a
stack of bibles! You're a moocher
like all the rest of them around
here, so get out of here!
FARMER
Sure - everybody's a moocher to
you. A mongrel dog eating out of a
garbage pail is a moocher to you!
COBB
(starting to push
him towards the
door)
This won't do you any good—
The man shoves him away, suddenly whips out a gun and levels
it at him.
FARMER
Stay where you are, young feller.
Get over there.
Cobb backs away and the man points the gun at Longfellow,
who remains staring at him, immobilely.
FARMER
(tensely)
You're about to get some more
publicity, Mr. Deeds! You're about
to get on the front page again!
See how you're going to like it
this time!
(voice rises)
See what good your money's going
to do when you're six feet under
ground. You never thought of that,
did you? No! All you ever thought
of was pinching pennies - you money-
grabbing hick! You never gave a
thought to all of those starving
people—
(his voice wavers)
—standing in the bread lines—
(huskily)
—not knowing where their next meal
was coming from! Not able to feed
their wife and kids.
(voice breaks)
Not able to—
He can't go on. A sob escapes. He reaches up and brushes
away a tear with a rough hand. It seems to bring him to
his senses. He glances down and seeing the gun in his hand -
stares at it in surprise. He realizes what he was about to
do.
FARMER
(scarcely audible)
Oh!
MED. SHOT - THE GROUP
The man slumps into a chair and the gun drops to the floor.
Cobb bends quickly and picks it up. Longfellow never moves.
FARMER
(dead voice - staring
into space)
I'm glad I didn't hurt nobody.
Excuse me.
He turns his head slowly and peers at them with non-seeing
eyes, then suddenly he hides his face in his hands and
sobs.
FARMER
(muffled)
Crazy. You get all kinds of crazy
ideas.
Longfellow watches him pityingly.
FARMER
Sorry. I didn't know what I was
doing.
The rest of it seems to come out of him effortfully - his
voice breaking.
FARMER
Losing your farm after twenty years'
work - seeing your kids go hungry -
a game little wife saying
"Everything's going to be all
right."
(stridently)
Standing there in the bread lines.
It killed me to take a handout.
(pathetically)
I ain't used to it.
(resigned)
Go ahead and do what you want with
me, mister.
(scarcely audible)
I guess I'm at the end of my rope.
He sobs openly. While he was speaking, Longfellow was
peering into the man's face intently. As the man finishes
DISSOLVE TO:
EXT. INTIMATE DINING ROOM
223. CLOSE SHOT
At the table that was all set for Babe. The man sits,
eating. He seriously bends over his food. Longfellow sits
opposite him - his eyes glued on the man, absorbed in
profound thought.
MAN
(tentatively)
Can I take some of this home with
me?
Longfellow nods.
DISSOLVE TO:
INSERT: NEWSPAPER HEADLINES
"LONGFELLOW DEEDS TO GIVE FORTUNE AWAY Huge farming district
to be divided into ten acre farms - fully equipped - at a
cost of eighteen million dollars."
WIPE OFF TO:
INSERT: SECOND NEWSPAPER HEADLINE "DEEDS' PLAN STARTLES
FINANCIAL WORLD"
WIPE OFF TO:
INSERT: THIRD NEWSPAPER HEADLINE "STAFF OF WORKERS
INVESTIGATE APPLICANTS"
WIPE OFF TO:
INSERT: FOURTH NEWSPAPER HEADLINE "THOUSANDS OF UNEMPLOYED
STORM DEEDS HOME FOR FARM DONATIONS"
WIPE OFF TO:
EXT. LONGFELLOW DEEDS' HOME
224. LONG SHOT
A mob of shouting men and women clamor at the gates, being
jostled around by the police.
INT. LONGFELLOW'S DRAWING ROOM
225. FULL SHOT
It has been transformed into an office. Longfellow sits at
one end of the room. Clerks are at several desks. On one
side and leading out into the hall, is a long line of men
waiting to be interviewed.
VOICE
Go on. Step lively.
226. MED. SHOT
At Longfellow's desk. He has a two days' growth of beard
and looks worn. Next to him is a clerk. In front of him is
an applicant.
LONGFELLOW
(as the camera moves
in on him)
Are you married?
APPLICANT
Yes, sir.
LONGFELLOW
Any children?
APPLICANT
No, no children.
LONGFELLOW
All right, Mr. Dodsworth. I think
you'll qualify.
(he hands him a
form)
Take this to that desk over there
for further instructions.
APPLICANT
(gratefully - exiting)
Thank you very much.
LONGFELLOW
Next, please.
A man steps forward and stands in front of his desk.
MED. CLOSE SHOT AT DESK
Longfellow, clerk and applicant.
LONGFELLOW
(to clerk)
How many does that make?
CLERK
You've okayed 819.
LONGFELLOW
(wearily)
Is that all?
CLERK
That's all.
LONGFELLOW
It's going awfully slow. We need
1100 more.
(phone rings)
Hello . . . oh, yes. Yes. The water
development seems okay - but I
don't like the road layout yet.
Come up tonight about ten and bring
the maps. Right.
He hangs up.
228. WIDER ANGLE
As the farmer in previous sequence approaches.
FARMER
Here's the order for the plows. We
got a good price on them.
LONGFELLOW
That's fine. Thanks. I'll look 'em
over later.
FARMER
Oh, Mr. Deeds—
Longfellow looks up. Farmer goes on:
FARMER
—my wife wanted me to tell you
she—
(hesitates)
—she prays for you every night.
LONGFELLOW
(embarrassed)
Well, thanks, I - uh—
(to applicant in
front of him)
How do you do? What is your name?
RANKIN
George Rankin, sir.
WHILE LONGFELLOW WRITES—
CLOSE SHOT AT A DESK
Cobb is on the phone.
COBB
(into phone)
No! No! We're not buying any bulls.
What's that?
Listen, fellow, bull's what I've been selling all my life!
He slams down the receiver.
INT. CEDAR'S OFFICE
230. MEDIUM SHOT
Cedar behind his desk. In front of him is Henry Semple and
his nagging wife. Cedar shoves a paper in front of Semple.
CEDAR
We have very little time. He's
ordered me to turn everything over
to him immediately. We have to
work fast before he disposes of
every penny.
WIFE
See! I told you something could
be done. I knew it all the time.
Sign it, dear.
SEMPLE
(hesitating)
We may get into trouble.
WIFE
Oh, don't be so squeamish.
CEDAR
There are millions involved. After
all, you have your legal rights.
You're his only living relatives.
CLOSE SHOT AT DESK
As Semple picks up the paper.
SEMPLE
What's it say?
WIFE
That's your agreement with Mr.
Cedar, if we win.
CEDAR
You see, my end is going to be
rather expensive. I have a lot of
important people to take care of.
I have the legal machinery all set
and ready to go. I've been working
on nothing else for the last week.
You say the word, and we'll stop
this yokel dead in his tracks.
WIFE
Sign it!
SEMPLE
Oh, all right.
With the perturbed expression still on his face, Semple
reaches over to sign the document. Simultaneously, Cedar
flicks a button on his dictagraph.
CEDAR
(into dictagraph)
Charlie, we're off! Papers all
set?
VOICE
All set.
CEDAR
Okay, then. Go to it.
(afterthought)
And, Charlie—
VOICE
Yeah?
CEDAR
Find out who wrote those newspaper
articles and subpoena them right
away.
VOICE
Okay.
DISSOLVE TO:
INT. LONGFELLOW'S DRAWING ROOM
232. MEDIUM SHOT
A large, raw-boned Swede stands before Longfellow.
LONGFELLOW
What is your name?
SVENSON
Christian Svenson.
LONGFELLOW
Farmer?
SVENSON
Yes, ma'am.
LONGFELLOW
Where is your farm?
SVENSON
South Dakota north.
LONGFELLOW
South Dakota - north?
SVENSON
South Dakota - but on the top.
LONGFELLOW
Oh. Oh!
233. WIDER ANGLE
Cobb enters, very businesslike.
COBB
What about your knocking off for
lunch?
LONGFELLOW
Not hungry. I want to get through
this work in a hurry, and then I
want to go home. What price did
you get on those trucks?
COBB
Come on, come on. What are you
trying to do, kid? Keel over? You
haven't been out of this house in
two weeks.
LONGFELLOW
(tired)
Well, maybe I will have a sandwich.
(to Swede)
Do you mind waiting a few minutes?
SVENSON
(undoing paper
package)
Oh, sure, sure. If you like to
have a sandwich, I can give you
one, please.
He brings out two huge sandwiches, and hands one to
Longfellow.
LONGFELLOW
(smiling)
Thanks. Thank you. Never mind,
Cobb.
He takes it, and he and the Swede silently eat. Longfellow
looks up.
LONGFELLOW
Good.
The Swede smiles. Longfellow nibbles his sandwich, then
glances around the room. His gaze rests on:
234. LONG SHOT
Of the long line of applicants waiting for an audience.
235. MEDIUM SHOT
LONGFELLOW
(calls to Cobb)
Cobb! Get lunch for the rest of
them.
COBB
(entering)
What? There must be 2000 of them
out there.
LONGFELLOW
Well, that doesn't make 'em any
less hungry.
COBB
Okay, Santa Claus. 2000 lunches.
He exits. Longfellow glances over at the line, smiling.
236. FULL SHOT
In front of the line there is a slight scuffle, as a man
is being pushed forward by some others. He mumbles a
protest, tries to get back into position, but the men push
him forward again.
GROUP
(ad-lib)
Go on, say something. Say something!
CLOSEUP - LONGFELLOW
He looks up inquiringly.
238. MED. CLOSE SHOT - MEN IN LINE
The man finally is resigned, and stands shifting, ill-at-
ease, his head hanging bashfully.
MAN
Mr. Deeds, the boys here wanted me
to say a little something. They
just wanted me to say that—
(clears his throat)
Well, they wanted me to say that—
(quickly gets it
out)
We think you're swell - and that's
no baloney.
MAN'S VOICE
Say something more!
CLOSE SHOT - LONGFELLOW
He smiles self-consciously.
MED. CLOSE SHOT OF MEN
The spokesman apparently has not finished yet. Directly
behind the line, three officious-looking men have made
their appearance and wait for him to conclude.
MAN
Give me a chance, fellas. We're
all down and out - but when a fellow
like you comes along, kinda gives
us a little hope - and they just
wanted me to say—
It's as far as he gets - as the three strangers break their
way through the line and approach Longfellow's desk.
ONE OF THE SHERIFFS
(ad-lib)
Break it up.
MED. SHOT AT DESK
FIRST DEPUTY SHERIFF
(pointing to
Longfellow)
That's him.
2ND DEPUTY SHERIFF
Are you Longfellow Deeds?
LONGFELLOW
(looks up)
Yes?
FIRST DEPUTY SHERIFF
Sheriff's office.
(shows paper)
We've got a warrant to take you
into custody.
LONGFELLOW
(without moving)
A what?
FIRST DEPUTY SHERIFF
A warrant for your arrest. You'll
have to come along with us.
Cobb enters.
COBB
What's up? What do you mugs want?
FIRST DEPUTY SHERIFF
I don't know nothing, buddy. All I
know is the Sheriff gives me an
insanity warrant to execute.
COBB
Insanity! Who's says he's insane?
They all turn to Charlie, who comes forward.
CHARLIE
The complainant is a relative of
the late Martin Semple. The charges
are that Mr. Deeds is insane and
incapable of handling the Estate.
COBB
Oh, somebody got panic-stricken
about his giving his dough away,
eh?
(to sheriff)
Where do you think you're going to
take him?
FIRST DEPUTY SHERIFF
To the County Hospital.
CHARLIE
Of course, that's only temporary.
A hearing will follow immediately.
CLOSEUP - LONGFELLOW
As he speaks quietly.
LONGFELLOW
That's fine. Just because I want
to give this money to people who
need it, they think I'm crazy.
(cynically)
That's marvelous. That makes
everything complete.
243. WIDER ANGLE
To include group.
FIRST DEPUTY SHERIFF
Let's get going!
COBB
Wait a minute! Not so fast. We're
going to get a lawyer. I'll call
Cedar.
LONGFELLOW
(thoroughly
disillusioned)
No, don't bother.
CHARLIE
As a matter of fact, I'm from Mr.
Cedar's office. He represents the
complainant.
COBB
Oh.
Longfellow glances up at him and smiles bitterly.
FIRST DEPUTY SHERIFF
Well, let's go. We're wasting a
lot of time.
He goes to one side of Longfellow, and his partner to the
other. They take Longfellow by the arms. He glances down
casually and, suddenly, violently pushes the deputies away
from him. They are thrown backward; their eyes widen in
surprise.
LONGFELLOW
(calmly rising)
All right, I'll go. But get your
hands off me!
244. MEDIUM SHOT
Longfellow starts to walk forward, accompanied by Cobb -
and the two deputies and Charlie fall in behind them.
THE SHERIFFS
(ad-lib)
Make way! Make way!
CLOSE SHOTS OF CLERKS
To be intercut with above scene. They stare, petrified,
and mumble to each other.
246. MEDIUM SHOT
Of the farmers and other applicants. The line has fallen
out and they stand in a bunch, staring pathetically and
hopelessly at the departing group.
CLOSEUP OF THE FARMER
Who stands in f.g. of bunch. What is taking place has slowly
penetrated his befuddled brain. The disappointment he feared
is here. His body imperceptibly sags, his eyes dim - all
hope having gone out of them.
FADE OUT:
FADE IN:
INSERT: SIGN READING: "COUNTY HOSPITAL"
DISSOLVE THRU TO:
INT. CORRIDOR OF HOSPITAL
248. MEDIUM SHOT
A guard sits at a desk near a door, talking on the
telephone.
GUARD
(on phone)
Yes, most everybody in town has
been here to see him. Yes, sir. I
won't. Goodbye—
Babe rounds the corner quickly, heading for the door. The
guard hurriedly hangs up and stands to block her.
GUARD
Sorry, lady—
(RECOGNIZES HER)
Oh, it's you again.
BABE
Oh, please! I've got to see him.
GUARD
Now listen, sister, for the
fourteenth and last time he don't
want to see nobody.
BABE
(pleading)
Will you just give him my name?
GUARD
(confidentially)
Listen, toots, just between us,
there ain't a thing in the world
the matter with that guy till I
mention your name, then he goes
haywire!
Babe winces under the blow.
INT. HOSPITAL ROOM
249. MEDIUM SHOT
Longfellow is seated by the far wall, peering moodily out
the window. Cobb paces about. Suddenly, he wheels on
Longfellow.
COBB
What are you going to do - just
sit back and let them railroad
you? It's as pretty a frameup as
ever hit this rotten town! If you'd
just let me get you a lawyer!
Longfellow pays no attention to him.
MED. CLOSE SHOT
As Cobb continues.
COBB
(raises his voice)
You can't walk into that courtroom
without being ready to protect
yourself in the clinches. Cedar's
too smart. With the array of talent
he's got lined up against you -
you're cooked!
Longfellow is still unresponsive. Cobb thinks a moment,
watching him studiously; then pleading tenderly:
COBB
Listen, pal - I know just how you
feel. A blonde in Syracuse put me
through the same paces. I came out
with a sour puss - but full of
fight. Come on, you don't want to
lay down now.
Longfellow is still unresponsive.
COBB
Do you realize what's happening?
They're trying to prove that you're
nuts! If they win the case, they'll
shove you in the bughouse. The
moment they accuse you of it, they
have you half licked. You've got
to fight!
Longfellow disregards him and Cobb sighs, resignedly.
INT. CORRIDOR OUTSIDE DOOR
MED. CLOSE SHOT
The guard is reading his paper. Babe is still waiting,
pacing.
GUARD
Go on, sit down, won't you?
MED. CLOSE SHOT AT DOOR
As Cobb comes out. The guard gets up to check the door is
locked.
GUARD
So long, Mr. Cobb.
Cobb, in a troubled frame of mind, doesn't respond and
starts down corridor - CAMERA TRUCKS WITH HIM. Babe catches
up with him.
BABE
Corny!
Cobb doesn't stop. Babe grabs his arm:
BABE
Corny!
Cobb stops.
CLOSE TWO SHOT
Cobb glares at Babe belligerently.
BABE
I've got to see him! I've got to
talk to him!
COBB
Haven't you done enough damage
already?
BABE
(ignoring his attack)
Somebody's got to help him! He
hasn't got a chance against Cedar.
Look, I've been all over town
talking to everybody. I've got Mac
all lined up - and the paper's
behind him. And I can get him
Livingston, too. With a lawyer
like Livingston, he's got a fighting
chance.
COBB
(coldly)
You're wasting your time. He doesn't
want any lawyers. He's sunk so
low, he doesn't want help from
anybody.
(bitterly)
You can take a bow for that.
(huskily)
As swell a guy as ever hit this
town, and you crucified him! For
a couple of stinking headlines!
You've done your bit - now stay
out of his way!
He exits abruptly, leaving Babe staring despairingly at
his disappearing back, his brutal diatribe ringing harshly
in her ears.
FADE OUT:
FADE IN:
INSERT: NEWSPAPER HEADLINES "DEEDS SANITY HEARING TODAY!
Semple Heir Charged With Incompetency! 'Should Be Confined
To An Institution,' Declares Cedar.
"Longfellow Deeds Refuses Counsel; Remains Incommunicado."
"Farmers Aroused At Efforts to Balk Their Benefactor."
"Police Surround Courthouse In Anticipation Of Outbreak."
DISSOLVE TO:
EXT. COURTHOUSE
254. LONG SHOT
Of an unruly mob - being jostled by the police.
INT. CORRIDOR OF COURTHOUSE
255. LONG SHOT
The corridor is jammed with curious public endeavoring to
gain entrance. Perspiring police fight to keep them back.
INT. COURTROOM
256. FULL SHOT
It is practically full. The few empty seats are being
quickly filled. People stumble over each other to find a
seat. The judge is not yet at his bench. There is a general
chatter of excitement and anticipation.
257. MED. SHOT - FRONT OF COURTROOM
Among the spectators Babe sits beside Mac. She stares,
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.
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.
SHOT AT LONG TABLE
At which sit a dozen newspaper reporters.
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.
CLOSE SHOT - HENRY SEMPLE
He looks guilty, nose twitching more violently than ever.
SEMPLE
(to Cedar)
Here he is!
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.
MED. CLOSE SHOT
Longfellow turns neither to left nor right. He is slumped
low in his chair, staring solemnly into space. Cobb breaks
into scene and sits down beside him.
COBB
(full of excitement)
Cedar just sent for me. Wants to
make a settlement. Here's your
chance to get out of the whole
mess. What do you say?
He gets no response from Longfellow.
There is a stir in the courtroom.
MED. LONG SHOT
The bailiff calls out as the Judge proceeds to his bench.
BAILIFF
Quiet, please! The Supreme Court
of the State of New York, County
of New York, is now in session,
the Honorable John May, Judge,
presiding. Be seated.
MED. CLOSE SHOT
To include Judge and Longfellow.
JUDGE
The court wishes to warn those
present that it will tolerate no
disturbances.
(to Longfellow)
Regarding the sanity hearing of
Longfellow Deeds, are you
represented by counsel, Mr. Deeds?
Almost imperceptibly, Longfellow shakes his head no. The
Judge looks troubled. There is a stir in the courtroom.
JUDGE
I understand that you have no
counsel, Mr. Deeds. In fact, that
you have no intention of defending
any of these charges. Now, if you
wish to change your mind, the
hearing can be postponed.
Getting no response from Longfellow, the Judge shrugs his
shoulders.
JUDGE
Proceed.
DISSOLVE TO:
INT. COURTROOM
268. MEDIUM SHOT
Cedar is on his feet.
CEDAR
(addressing the
court)
—and in the interests of my client,
the only other living relative of
the late Martin W. Semple, we cannot
permit a fortune so huge to be
dissipated by a person whose
incompetency and abnormality we
shall prove beyond any reasonable
doubt.
269. PANNING SHOT OF SPECTATORS
CEDAR'S VOICE
I have before me a series of
articles written by a newspaper
woman who was an eye-witness to
his conduct ever since he came to
New York.
CAMERA STOPS on Babe and Mac. Cedar's voice goes on:
CEDAR
She tells how, in the midst of a
normal conversation, he would
suddenly begin playing his tuba.
She tells of his attacks upon
several of our eminent writers -
for no apparent reason. In fact,
there are many instances not
recorded in these articles in which
Mr. Deeds satisfied an unnatural
desire to smash people up without
provocation.
270. MED. SHOT - FRONT OF COURTROOM
CEDAR
I, myself, unable to keep pace
with his mental quirks, and
constantly fearful of assault,
turned down an opportunity to
represent him as his attorney.
This newspaper woman, whom we have
subpoenaed to testify, tells how
he tied up traffic for an hour
feeding doughnuts to a poor horse.
And by his own statement, waiting
for that horse to ask for a cup of
coffee.
There is laughter in the courtroom - which quickly subsides
when the Judge pounds his gavel.
CEDAR
We have photographs to substantiate
this little episode, and other
photographs showing Mr. Deeds
jumping upon a fire engine. This
scarcely sounds like the action of
a man in whom the disposition of
twenty million dollars may safely
be entrusted. This writer of these
articles - a woman whose
intelligence and integrity in the
newspaper world is unquestioned -
held him in such contempt that she
quite aptly named him "The
Cinderella Man."
CLOSEUP - LONGFELLOW
CEDAR'S VOICE
We have witnesses here from Mandrake
Falls, his own home town, who will
tell of his conduct throughout his
lifetime, proving that his
derangement is neither recent nor
a temporary one.
Longfellow's interest is only slightly aroused. He lifts
his eyes in a casual glance around him.
MED. CLOSE SHOT
Featuring Cedar.
CEDAR
We have others who will tell of
his unusual behavior when he invited
the great leaders of the musical
world to his home, and then
proceeded to forcibly eject them.
Only recently when he was in the
County Hospital for observation,
he not only refused to be examined
by these gentlemen, the state
psychiatrists, but he actually
made a violent attack upon them.
CLOSE SHOT - THE JUDGE
As Cedar continues talking, CAMERA PULLS BACK to WIDER
SHOT.
CEDAR
In these times, with the country
incapacitated by economic ailments,
and endangered with an undercurrent
of social unrest, the promulgation
of such a weird, fantastic and
impractical plan as contemplated
by the defendant, is capable of
fomenting a disturbance from which
the country may not soon recover.
It is our duty to stop it! Our
government is fully aware of its
difficulties and can pull itself
out of its economic rut without
the assistance of Mr. Deeds, or
any other crackpot.
MED. PANNING SHOT
Of farmers, the Swede and others.
CEDAR'S VOICE
His attempted action must therefore
be attributed to a diseased mind
afflicted with hallucinations of
grandeur, and obsessed with an
insane desire to become a public
benefactor.
275. CLOSE SHOT AT FRONT OF COURTROOM
Featuring Cedar.
CEDAR
(suddenly)
Your Honor, at this time, we would
like to call our first witness:
Miss Louise - Babe - Bennett.
276. FULL SHOT
There is a mild stir, and all wait
expectantly for Babe to appear.
CLERK
Miss Bennett, please.
Babe, eyes on Longfellow, slowly walks to the stand.
CLOSEUP - LONGFELLOW
He has his face averted and doesn't look at her.
278. MEDIUM SHOT
Babe continues to rivet her eyes on Longfellow, as she is
sworn in.
CLERK
Raise your right hand, please.
She does so.
CLERK
Do you solemnly swear the testimony
you may give before this court to
be the truth, the whole truth and
nothing but the truth, so help you
God?
BABE
I do.
CLERK
State your right name, please.
BABE
Louise Bennett.
CLERK
Take the stand.
279. MED. CLOSE SHOT AT WITNESS STAND
As Cedar steps up to question Babe. Judge in f.g.
CEDAR
Miss Bennett, are you employed by
the Morning Mail?
There is no answer. Babe continues to stare off at
Longfellow, hoping he will look up. Cedar speaks to her
again:
CEDAR
I must ask you to direct your
attention to me.
But Babe's attention remains focused on Longfellow.
BABE
(appealing to Judge)
Your Honor, this is ridiculous!
JUDGE
Please answer the questions.
BABE
(wildly)
The whole hearing's ridiculous!
That man's no more insane than you
are.
The suddenness of her outbreak is startling. The Judge
pounds his gavel.
280. WIDER ANGLE - FRONT OF COURTROOM
The Judge pounding his gavel.
JUDGE
Miss Bennett please!
CEDAR
This is outrageous!
BABE
(rising to stand)
It's obviously a frameup! They're
trying to railroad this man for
the money they can get out of him!
CEDAR
Your Honor!
The Judge pounds his gavel throughout her speech.
JUDGE
(highly)
Young lady, another outburst like
that and I shall hold you in
contempt! We're not interested in
your opinion of the merits of this
case. You're here to testify. Sit
down and answer the questions.
Proceed.
Cedar beams victoriously.
CEDAR
Thank you, Your Honor. Are you
employed by the Morning Mail?
BABE
(sharply)
No!
Cedar's eyes widen in surprise. There is a light stir.
CEDAR
(threateningly)
You are under oath, Miss Bennett.
I ask you again - are you employed
by the Morning Mail?
BABE
(irritably)
No! I resigned last week!
CLOSE SHOT - LONGFELLOW
As Cedar proceeds without interruption.
CEDAR'S VOICE
Well, prior to that time - were
you employed by the Morning Mail?
BABE'S VOICE
(laconically)
Yes.
282. CLOSE SHOT AT WITNESS STAND - BABE AND CEDAR
CEDAR
Were you given an assignment to
follow the activities of Longfellow
Deeds?
BABE
Yes.
CEDAR
Did you subsequently write a series
of articles about him?
BABE
Yes!
CEDAR
(holding them up)
Are these the articles?
BABE
Yes!
CEDAR
Were you present when all these
things took place?
BABE
Yes!
CEDAR
Are they true!
BABE
NO!!
CEDAR
But they did take place?
BABE
They're colored! Just to make him
look silly!
CEDAR
And you saw them happen?
BABE
Yes, but I—
CEDAR
(preemptorily)
That's all, Miss Bennett.
BABE
(half shrieking)
It isn't all! I'd like to explain—
CEDAR
(brusquely)
That's all, Miss Bennett. That's
all.
283. MEDIUM SHOT
A bailiff takes Babe by the arm.
BAILIFF
Come on, miss - come on!
CEDAR
(simultaneously, to
Judge)
Your Honor, I'd like to submit
these articles as evidence.
Babe struggles away from the bailiff.
BABE
(frantically)
Let go of me!
(steps up to Judge;
wildly)
What kind of hearing is this? What
are you trying to do - persecute
the man? He's not defending himself.
Somebody's got to do it!
Throughout her tirade, the Judge has been angrily pounding
his gavel.
JUDGE
Miss Bennett, please!
284. CLOSER SHOT
Featuring Babe and Judge.
BABE
I've got a right to be heard!
I've attended dozens of cases like
this. They're usually conducted
without any formality at all.
Anybody can be heard! My opinion
is as good as these quack
psychiatrists. I know him better
than they do.
JUDGE
Miss Bennett, if you have quite
finished, I should like to inform
you that one more utterance from
you and I shall place you under
arrest.
(leans back)
I'm willing to hear anything anyone
has to say - but I insist on it
being done in an orderly fashion.
When you have learned to show some
respect for this court, you may
return.
(dismissing her)
Until then, you'd better go back
to your seat and calm down.
BAILIFF
This way, miss.
285. WIDER ANGLE
As Babe is led away, there is another courtroom stir.
BAILIFF'S VOICE
Order in the court!
When Babe is out of sight, the Judge turns to Longfellow.
JUDGE
Mr. Deeds, have you anything to
say in defense of these articles?
286. CLOSE SHOT - LONGFELLOW AND COBB
Longfellow shakes his head. Cobb glances to him helplessly.
CLOSE SHOT - JUDGE
He shrugs.
JUDGE
Mr. Deeds?
(again no reply)
Mark these Exhibit A for the
plaintiff.
CLERK
Yes, Your Honor.
JUDGE
Proceed.
CLOSE SHOT - BABE
As she sits down beside Mac - who places an affectionate
arm around her shoulders.
DISSOLVE TO:
289. MED. SHOT - FRONT OF COURTROOM
Two old ladies are being led to the witness stand. Their
eyelids flutter excitedly as they go.
CLOSE SHOT - LONGFELLOW
He looks up, sees the old ladies and smiles at them
friendily.
291. MED. CLOSE SHOT AT JUDGE'S BENCH
Against the drone of the clerk, who swears witnesses in:
CEDAR
The Falkner sisters are rather
timid, Your Honor, and wish to be
together. If the court pleases, I
will only have one of them testify.
JUDGE
(impatiently)
Yes! Yes! Let's get on with it.
Cedar turns to them.
292. MED. CLOSE SHOT AT WITNESS STAND
As Cedar addresses one of the old ladies.
CEDAR
What is your name, please?
JANE
Jane Falkner. This is my sister,
Amy.
AMY
(agreeing)
Yes - Amy.
CEDAR
I'll direct my questions to you,
Miss Jane. You can answer for both.
Do you know the defendant, Mr.
Longfellow Deeds?
The two old ladies look at each other, then in the direction
in which Cedar points.
JANE
Oh yes, yes - of course we know
him.
CEDAR
(a little nervously)
How long have you known him?
Jane turns to her sister, and they whisper to each other.
JANE
(turns to Cedar)
Since he was born.
AMY
Yes. Elsie Taggart was the midwife.
JANE
He was a seven-months baby.
CEDAR
Thank you, that's fine. Do you see
him very often?
The two old ladies have their whispered conference again.
JANE
Most every day.
AMY
Sometimes twice.
JUDGE
(irascibly)
Must we have the echo?
CEDAR
Suppose you just answer, Miss Jane.
Now, will you tell the Court what
everybody at home thinks of
Longfellow Deeds?
The two old ladies consult each other once more.
JANE
They think he's pixilated.
AMY
Oh yes, pixilated.
JUDGE
(leaning forward)
He's what?
CEDAR
(concerned)
What was that you said he was?
JANE
Pixilated.
AMY
Uh-huh.
CEDAR
(patiently)
Now, that's a rather strange word
to use, Miss Jane. Can you tell
the court exactly what it means?
While the two ladies go into a huddle:
293. CLOSE SHOT - PSYCHIATRISTS
As one of them speaks up.
PSYCHIATRIST
Perhaps I can explain, Your Honor.
The word pixilated is an early
American expression - derived from
the word 'pixies,' meaning elves.
They would say, 'The pixies had
got him,' as we nowadays would say
a man is 'balmy.'
294. MEDIUM SHOT
The Judge nods his understanding. The Falkner sisters nod
in pleasant agreement. Cedar sighs victoriously.
CEDAR
Is that correct?
JANE
Uh-huh.
AMY
Uh-huh.
JUDGE
Now tell me, why does everyone
think he's - uh - pixilated? Does
he do peculiar things?
295. MED. SHOT TOWARD WITNESS STAND
JANE
(after conferring
with Amy)
He walks in the rain, without his
hat, and talks to himself.
AMY
Sometimes he whistles.
JANE
And sings.
CEDAR
Anything else?
JANE
Recently he gave Chuck Dillon a
thumping.
AMY
Blacked his eye.
CEDAR
And why?
JANE
For no reason, I guess. He always
does it. We always run into the
house when we see him coming.
AMY
Never can tell what he's going to
do.
JANE
He sure is pixilated.
AMY
Oh, yes - he's pixilated all right.
CEDAR
Thank you, ladies. That's all.
Cedar beams. The old ladies leave to resume their seats.
DISSOLVE TO:
296. CLOSE SHOT IN WITNESS STAND
A policeman in uniform.
POLICEMAN
They kept hollering: "Back to
Nature! Back to Nature!" I thought
they looked harmless enough so I
took them home. I never thought he
was cracked.
WIPE OFF TO:
297. CLOSE SHOT IN WITNESS STAND
The waiter at "Tullio's."
WAITER
I'm a waiter. He kept pressing me
to point out the celebrities, and
so help me Hannah I'm coming out
of the kitchen a coupla minutes
later and there he is moppin' up
the floors with them. I never
figured he was a guy looking for
trouble.
WIPE OFF TO:
298. CLOSE SHOT IN WITNESS STAND
Mme. Pomponi.
MME. POMPONI
(expostulating)
He threw us out bodily! But bodily!
WIPE OFF TO:
299. MED. CLOSE SHOT IN WITNESS STAND
Of one of the bodyguards on witness stand.
BODYGUARD
We was hired as his bodyguard,
see? Well, the first crack out of
the box, he throws us in a room
and locks the door, see? Now, if a
thing like that gets around in our
profession, we'd get the bird -
see? So I says to my partner, "Let's
quit this guy, he's nuts!"
WIPE OFF TO:
300. CLOSE SHOT IN WITNESS STAND
A Cockney cabman.
CABMAN
I'm very fond of Clara, sir. She's
a nice 'orse. And when this bloke
'ere started feedin' 'er doughnuts,
I yelled down to him, "Mind what
you're doin' down there! Mind what
you're doing'!" Of course I wouldn't
mind, sir, but Clara won't eat
nothin' but doughnuts, now.
WIPE OFF TO:
301. WIDE SHOT[13]
Of one of the photographers (Bob) and enlarged photographs
of Longfellow's antics.
BAILIFF'S VOICE
Come to order.
CEDAR
Your Honor, I wish to call your
attention to these exhibits. Mr.
Davis, do you recognize these
reproductions?
BOB
Sure, they're good enlargements.
Where'd you have them made?
CEDAR
Did you make the originals of them?
BOB
Sure. I took the originals. Taking
pictures is my business. I
photograph a lot of nuts.
WIPE OFF TO:
As Cedar speaks.
CEDAR
And now, Your Honor, if the court
pleases, I shall call upon Dr.
Emil Von Holler, if he will be
good enough to give us his opinion.
Dr. Von Holler, as you know, is
the eminent Austrian psychiatrist -
probably the greatest authority on
the subject in the world. At present
he is in this country on a lecture
tour, and has graciously volunteered
his services. Dr. Von Holler?
While he is still speaking,
VOICE OF BAILIFF
Dr. Von Holler!
DISSOLVE TO:
302. WIDER ANGLE
As the clerk finishes swearing Dr. Von Holler in.
CLERK
Do you solemnly swear the testimony
you are about to give in the cause
now pending before this court shall
be the truth, the whole truth and
nothing but the truth, so help you
God? State your right name, please.
VON HOLLER
(a slight Austrian
accent)
Emil Von Holler.
CLERK
Take the stand.
303. MED. CLOSE SHOT AT WITNESS STAND
On Von Holler and Cedar.
CEDAR
Now Dr. Von Holler, will you kindly
tell the court what your opinion
is on this case?
VON HOLLER
This is purely a case of manic
depression. In cases of this kind,
patients sometimes go on for years
before being detected.
He turns to one of the psychiatrists, sitting with the
Judge.
VON HOLLER
You remember, Dr. Fosdick, in my
last book there are some very fine
examples.
DR. FOSDICK
(nodding)
Uh-huh.
VON HOLLER
Especially, the one of the young
nobleman, you remember?
DR. FOSDICK
Oh, yes. Yes, of course Dr. Von
Holler. Very interesting.
VON HOLLER
It reminds me very much of this
one. Nicht wahr?
DR. FOSDICK
Ja.
VON HOLLER
It takes so long to detect them—
(to Judge)
—because their mood changes so
often and so quickly. Now, Your
Honor, may I show you? May I use
the chart?
JUDGE
By all means.
He moves to a blackboard. There are chalk marks on it. A
straight line runs diagonally across the center. Other
lines run zig-zag over and below this center line.
VON HOLLER
(indicating chart)
Below here, they are extremely
depressed, melancholy, impossible
to live with, and often become
violent.
(running a line up)
From this mood the manic depressive
might gradually change until they
reach this state.
(he reaches the
center line)
Here is lucidity. Here they are
perfectly normal. As normal as you
or I—
(smiling)
—assuming, of course, that we are
normal.
(he starts up with
chalk)
Then, the mood changes again until—
(chalk reaches top)
—they reach this state, a state of
highest exaltation. Here everything
is fine. Here the world is
beautiful. Here they are so elated -
how do you express it?
(quickly, as it
comes to him)
—they would give you the shirt off
their backs!
CEDAR
Dr. Von Holler, how would you say
that applied to Mr. Deeds's case?
VON HOLLER
The symptoms are obvious.
(points to top line)
When he was here, on top of the
wave, he felt nothing but kindliness
and warmth toward his fellow-men.
He wanted them around him. So he
decided he would give a big
reception. But in the meantime,
his mood has changed.
(chalk goes down)
He is now at the bottom of the
wave - depressed - melancholy. So,
when his guests arrive, he throws
them out. They are now his imaginary
enemies.
CLOSE SHOT - LONGFELLOW
As Von Holler's voice continues:
VON HOLLER'S VOICE
Other instances of high elation
are when he plays his tuba, when
he writes his poetry, when he chases
fire engines in his desire to help
humanity. This is contrasted with
his present mood, which is so low
that even the instinct for self-
preservation is lacking.
305. MED. SHOT FRONT OF COURTROOM
VON HOLLER STILL CONTINUES:
VON HOLLER
Oh, the man is verrukt. Your Honor,
this is decidedly a case of a manic
depressive.
CEDAR
Thank you, Dr. Von Holler.
Dr. Von Holler returns to his seat.
CEDAR
Your Honor, we rest.
FULL SHOT - COURTROOM
There is a shifting of bodies, and a renewed interest, as
they wait for the next move. The Judge and his own two
experts go into an inaudible huddle.
307. CLOSE SHOT - COBB AND LONGFELLOW
Longfellow is slumped in his seat, head down.
COBB
Come on, what're you going to do?
Let them get away with it? They
got you cooked.
Longfellow does not budge.
There is an expectant stir in the courtroom among the
spectators and rows of reporters.
308. MED. CLOSE SHOT - THE JUDGE AND HIS EXHIBITS
Judge comes out of his huddle and glances at Longfellow.
JUDGE
(leaning forward)
Mr. Deeds, before the court arrives
at a decision, isn't there anything
you wish to say?
309. CLOSE SHOT - LONGFELLOW AND COBB
Longfellow shakes his head slightly.
COBB
(whispering)
Come on - don't be a sap!
CONTINUATION SCENE 308
The Judge watches him a few moments, hesitatingly, and
then turns to his experts.
310. MED. SHOT - NEWSPAPER REPORTERS
A REPORTER
He's sunk.
311. CLOSE SHOT - CEDAR AND HIS CLIENTS, ASSISTANTS ETC.
They smirk confidently.
CLOSE SHOT - BABE AND MAC
She stares, panic-stricken.
313. MED. SHOT
Of the Swede, the farmer, and others. Their faces show
their resentment.
314. MED. SHOT FRONT OF COURTROOM
JUDGE
(to the two experts)
You both concur?
EXPERTS
(ad-lib)
Oh, positively.
The Judge emerges from his consultation with his experts
and addresses Longfellow.
JUDGE
Mr. Deeds, in view of the extensive
testimony and your continued silence
and upon recommendation of the
doctors, the Court considers it
advisable for your own safety that
you be committed to an institution
as prescribed by law. You need
medical attention, Mr. Deeds.
(shrugs)
Perhaps in a little while—
Suddenly the air is rent with the shrill voice of Babe.
BABE
No! No! No! Wait a minute!
All are startled and look up. Babe runs right to the Judge.
BABE
You can't do it! You've got to
make him talk.
CEDAR'S VOICE
Your Honor, I object!
She turns directly to Longfellow - leaning over close to
him.
315. CLOSE SHOT - BABE AND LONGFELLOW
BABE
(pleading softly)
Oh, darling, please. I know
everything I've done. I know how
horrible I've been. No matter what
happens, if you never see me again,
do this for me.
JUDGE'S VOICE
Miss Bennett, please!
BABE
(frantically)
You said I could speak! You said I
could have my say if I were
rational. I'm rational. Please,
let me take the witness chair.
316. WIDER ANGLE
BABE
He must be made to defend himself
before you arrive at a decision.
JUDGE
Very well. Take the stand.
Babe goes up to the witness stand and sits down.
BABE
Oh, thank you!
CEDAR
(shouting)
Your Honor, what she is saying has
no bearing on the case. I object.
JUDGE
Let her speak.
BABE
I know why he won't defend himself!
That has a bearing on the case,
hasn't it? He's been hurt! He's
been hurt by everybody's he met
since he came here, principally by
me. He's been the victim of every
conniving crook in town. The
newspapers pounced on him - made
him a target for their feeble humor.
CLOSE SHOT - BABE
BABE
I was smarter than the rest of
them! I got closer to him so I
could laugh louder. Why shouldn't
he keep quiet? Every time he said
anything it was twisted around to
sound imbecilic.
CLOSEUP - BABE
As she continues.
BABE
He can thank me for it! I handed
the gang a grand laugh. This is a
fitting climax to my sense of humor.
319. WIDER ANGLE
As Cedar protests.
CEDAR
But Your Honor - this is
preposterous!
The Judge waves him down with a dismissing gesture of his
hand.
BABE
Certainly I wrote those articles.
I was going to get a raise - and a
month's vacation! But I stopped
writing them when I found out what
he was all about! When I realized
how real he was.
CLOSE SHOT - LONGFELLOW
As Babe's voice continues:
BABE'S VOICE
He could never fit in with our
distorted viewpoint because he's
honest and sincere - and good. If
that man is crazy, Your Honor, the
rest of us belong in straight-
jackets.
321. MED. SHOT
Cedar jumps up.
CEDAR
Your Honor, this is absurd. The
woman's obviously in love with
him.
BABE
What's that got to do with it?
CEDAR
(shouting)
Well, you are in love with him,
aren't you?
BABE
(shouting back)
What's that got to do with it?
CEDAR
(louder)
You are , aren't you?
BABE
(just as loud)
Yes!!!
CLOSEUP - LONGFELLOW
To be intercut during her speech. At first he merely glances
up at her speculatively. Finally, he begins to show some
interest.
323. MED. SHOT FRONT OF COURTROOM
Cedar turns to the Judge.
CEDAR
Your Honor, her testimony is of no
value. Why shouldn't she defend
him? It's a tribute to American
womanhood - the instinct to protect
the weak. I'm not saying that nobody
likes the boy. I cherish a fond
affection for him myself. But that
doesn't mean to say—In the middle
of his speech, Mac - the editor -
appears at his elbow.
MAC
When the windbag here gets through,
Your Honor, I'd like to verify
what Miss Bennett said. I'm her
editor. When she quit her job, she
told me what a swell fellow this
man was. And anything Babe Bennett
says is okay with me.
JUDGE
If you have anything to say, you
will take the stand.
MAC
I've already said it, Your Honor.
I just thought I'd like to get my
two cents in.
As he starts to go, CAMERA PANNING WITH HIM, he passes
Longfellow. He nudges him.
MAC
Don't be a sucker, pal. Stand up
and speak your piece.
He disappears to his seat.
COBB
Your Honor, I've got a couple of
cents I'd like to put in—
JUDGE
Sit down!
COBB
I've been with this man ever since
he came to New York—
324. MED. SHOT
Shooting toward the Judge. He pounds his gavel, interrupting
Cobb.
JUDGE
Sit down! There will be no further
interruptions.
Almost simultaneously with the Judge's speech, the farmer,
somewhere in the audience, rises to his feet.
FARMER
How about us, Mr. Deeds!
325. MED. SHOT
Shooting toward audience. As the farmer finishes, a dozen
others are on their feet.
CROWD
(ad-lib)
Yes! What about us, Mr. Deeds!
You're not going to leave us out
in the cold!
They're trying to frame you, Mr.
Deeds!
The turmoil is general, with bailiffs running to quiet
them. The Judge pounding his gavel, incensed.
BAILIFF'S VOICE
Order! Order!
JUDGE
(when quiet reigns)
In the interest of Mr. Deeds, I
have tolerated a great deal of
informality. But if there is one
more outburst, I shall have the
courtroom cleared.
LONGFELLOW
Your Honor—
JUDGE
(surprised)
Yes?
LONGFELLOW
I'd like to get in my two cents'
worth.
JUDGE
Take the stand!
There is a general stir of excitement - and whispering.
CLOSE SHOT - BABE
Her eyes sparkle happily.
327. CLOSE SHOT - CEDAR AND CLIENTS
The clients look up at Cedar, concerned. Cedar comforts
them with a confident grimace.
328. MED. SHOT
To include Longfellow, Judge, and others around them.
Longfellow hesitates.
JUDGE
Proceed.
LONGFELLOW
Well, I don't know where to begin.
There's been so many things said
about me that I—
329. CLOSE SHOT AT WITNESS STAND
LONGFELLOW CONTINUES:
LONGFELLOW
About my playing the tuba. Seems
like a lot of fuss has been made
about that. If a man's crazy just
'cause he plays the tuba, then
somebody better look into it, 'cause
there are a lot of tuba players
running around loose. Of course, I
don't see any harm in it. I play
mine whenever I want to concentrate.
That may sound funny to some people -
but everybody does something silly
when they're thinking. For instance,
the Judge here is an O-filler. . .
330. WIDER ANGLE
Front of courtroom.
JUDGE
A what?
LONGFELLOW
An O-filler. You fill in all the
spaces in the O's, with your pencil.
(points to desk)
I was watching you.
The Judge looks down at a paper in front of him.
INSERT: OF A PRINTED DOCUMENT
Of some sort. All the O's and P's and R's have the white
spaces pencilled in.
CLOSEUP - JUDGE
As he looks up from the document. He is a trifle self-
conscious. Laughter comes from the courtroom.
LONGFELLOW'S VOICE
That may make you look a little
crazy, Your Honor, just sitting
around filling in O's - but I don't
see anything wrong 'cause that
helps you to think. Other people
are doodlers.
JUDGE
Doodlers?
332. MED. SHOT - FRONT OF COURTROOM
LONGFELLOW
That's a name we made up back home
for people who make foolish designs
on paper when they're thinking.
It's called doodling. Almost
everybody's a doodler. Did you
ever see a scratch pad in a
telephone booth? People draw the
most idiotic pictures when they're
thinking. Dr. Von Holler, here,
could probably think up a long
name for it, because he doodles
all the time.
Dr. Von Holler, who is in the middle of some doodling,
flinches. A roar of laughter comes from the spectators.
Longfellow reaches over to where Dr. Von Holler sits and
picks up a piece of paper.
LONGFELLOW
(to Dr. Von Holler)
Thank you.
(returning to the
stand)
This is a piece of paper he was
scribbling on.
(scrutinizes it)
I can't figure it out. One minute
it looks like a chimpanzee - and
the next minute it looks like a
picture of Mr. Cedar.
(hands it to him)
You look at it, Judge.
The Judge, with a serious mien, takes the paper.
INSERT: OF PAPER
It is a doodle face.
BACK TO SCENE:
Dr. Von Holler is somewhat uncomfortable.
LONGFELLOW
Exhibit A - for the defense.
(after a pause)
Looks kind of stupid, doesn't it,
Your Honor? But I guess that's all
right if Dr. Von Holler has to
doodle to help him think. That's
his business. Everybody does
something different. Some people
are—
(demonstrates)
ear-pullers - some are nail-biters—
(pointing)
That Mr. Semple over there is a
nose-twitcher.
333. CLOSE SHOT - SEMPLE AND HIS WIFE
He looks up, startled, his nose twitching more violently
than ever. The courtroom rocks with laughter.
His wife, in her nervousness, pulls at her fingers.
LONGFELLOW'S VOICE
And the lady next to him is a
knuckle-cracker.
Mrs. Semple quickly drops her hands in her lap, as the
courtroom again fills with laughter.
CLOSE SHOT - COBB
He swings a key-ring around his forefinger. Suddenly he
realizes Longfellow might get to him, and he hastily palms
the keys and shoves them in his pocket.
335. MED. CLOSE SHOT - NEWSPAPER REPORTERS
One is leaning forward, listening intently - biting the
end of his pencil. The one next to him nudges him and
silently points to the pencil in his mouth. The reporter
gets the idea and, smiling sheepishly, yanks it out of his
mouth.
336. MED. CLOSE SHOT - FRONT OF COURTROOM
LONGFELLOW
So you see, everybody does silly
things to help them think.
(in conclusion)
Well, I play the tuba.
CLOSE SHOT - MAC
As he bursts forth.
MAC
Nice work, toots!
The crowd echoes him with shouts and laughter.
CLOSE SHOT - JUDGE
He glares off scene at Mac, reprimandingly.
CLOSE SHOT - BABE
She is amused at the embarassment Longfellow has caused
them all.
340. CLOSE SHOT - CEDAR AND HIS CLIENTS
They squirm uncomfortably.
341. MED. CLOSE SHOT AT WITNESS STAND
Longfellow in chair - Judge at bench, b.g.
JUDGE
Mr. Deeds, do you recall forcibly
ejecting people from your home?
LONGFELLOW
Oh, yes. Yes. About my throwing
those people out of my house. Mrs.
Pomponi told the truth. I did throw
them out because I didn't want the
party in the first place. I didn't
invite anybody. Mrs. Pomponi did
all that. They just came to see
what kind of a freak the "Cinderella
Man" was. I don't know how people
like that are supposed to act,
Your Honor, but if that Pomponi
woman is an example, I'll stick to
simple folks. She just came in,
talked my ear off, and took charge
of everything. If I were a friend
of hers, I'd have her examined.
MED. SHOT OF COURTROOM
Featuring Longfellow. Cedar, who cannot stand it any longer,
jumps to his feet.
CEDAR
Your Honor, this is becoming
farcical. I demand that Mr. Deeds
dispense with side remarks and
confine himself to facts! Let him
explain his wanderings around the
streets in underclothes, his feeding
doughnuts to horses!
JUDGE'S VOICE
Proceed.
LONGFELLOW
Mr. Cedar's right. Those things do
look kind of bad, don't they? But
to tell the truth, Your Honor, I
don't remember them. I guess they
happened, all right, because I
don't think a policeman would lie
about a thing like that, but I was
drunk. It was the first time I was
ever drunk in my life. It's probably
happened to you, some time. I mean,
when you were younger, of course.
The Judge clears his throat in embarrassment. Several women
giggle. The Judge sternly pounds his gavel.
CLOSE SHOT - LONGFELLOW
LONGFELLOW
It's likely to happen to anybody.
Just the other morning I read in
the paper about Mr. Cedar's own
son - about how he got drunk and
insisted on driving a taxi-cab,
while the driver sat inside. Isn't
that so, Mr. Cedar? Isn't that so
, Mr. Cedar?
MED. SHOT OF COURTROOM
All eyes have turned to Cedar.
CLOSE SHOT - CEDAR
His eyes are beginning to blaze angrily.
CEDAR
Your Honor, I object.
JUDGE
Proceed.
346. MEDIUM SHOT
LONGFELLOW
Now about the Falkner sisters.
That's kind of funny. I mean about
Mr. Cedar going all the way to
Mandrake Falls to bring them here.
Do you mind if I talk to them?
JUDGE
Not at all.
Longfellow turns. Everybody stretches to get a better look
at them.
LONGFELLOW
Jane, who owns the house you live
in?
CLOSE SHOT - THE SISTERS
The girls consult with each other.
JANE
Why, you own it, Longfellow.
AMY
Yes, you own it.
LONGFELLOW'S VOICE
Do you pay any rent?
JANE
(after conferring
with Amy)
No, we don't pay any rent.
AMY
Good heavens, no! We never pay
rent.
348. WIDER ANGLE
As Longfellow continues questioning:
LONGFELLOW
Are you happy there?
JANE
Oh, yes.
AMY
Yes, indeed.
LONGFELLOW
Now, Jane, a little while ago you
said I was pixilated. Do you still
think so?
JANE
(after the usual
conference)
Why, you've always been pixilated,
Longfellow.
AMY
Always.
LONGFELLOW
(smiling)
That's fine. I guess maybe I am.
(seriously)
Now tell me something, Jane. Who
else in Mandrake Falls is pixilated?
Jane turns to her sister and this time they go into a
prolonged huddle. It is apparently a difficult thing to
figure out. Finally they come out of it.
JANE
Why, everybody in Mandrake Falls
in pixilated - except us.
AMY
Uh-huh.
MED. SHOT OF SPECTATORS
There is an outburst of laughter which the Judge quickly
quells with his gavel.
350. MED. SHOT - DIFFERENT ANGLE
LONGFELLOW
Now, just one more question. Do
you see the Judge here? He's a
nice man, isn't he?
JANE & AMY
Uh-huh.
LONGFELLOW
Do you think he's pixilated?
JANE
(quickly)
Oh, yes.
AMY
Yes, indeedy.
There is more laughter. More pounding of the judiciary
gavel.
CLOSE SHOT - CEDAR
He feels his case slowly crumbling.
CLOSE SHOT - BABE
She can scarcely conceal her elation.
353. MED. SHOT - FRONT OF COURTROOM
JUDGE
Mr. Deeds, you haven't yet touched
upon a most important thing. This
rather fantastic idea of yours to
want to give away your entire
fortune. It is, to say the least,
most uncommon.
LONGFELLOW
Oh yes, I was getting to that,
Your Honor.
CAMERA MOVES TO CLOSER SHOT, featuring Longfellow and Judge,
as former continues:
LONGFELLOW
Suppose you were living in a small
town and getting along fine, and
suddenly somebody dropped
$20,000,000 in your lap. Supposing
you discovered that all that money
was messing up your life, was
bringing a lot of vultures around
your neck, and making you lose
faith in everybody. You'd be a
little worried, wouldn't you? You'd
feel that you had a hot potato in
your hand, and you'd want to drop
it. I guess Dr. Von Holler would
say you were riding on—
(points to chart)
—those bottom waves, 'cause you
wanted to drop something that was
burning your fingers.
354. MEDIUM SHOT
Cedar springs to his feet.
CEDAR
(shouting)
If this man is permitted to carry
out his plan, repercussions will
be felt that will rock the
foundations of our entire
governmental system!
The Judge has pounded him into silence.
JUDGE
Please, Mr. Cedar!
(to Longfellow)
Proceed.
355. MED. CLOSE SHOT AT WITNESS STAND
LONGFELLOW
Personally, I don't know what Mr.
Cedar's raving about. From what I
can see, no matter what system of
government we have, there will
always be leaders and always be
followers.
MED. CLOSE SHOT
Farmers in audience, as Longfellow's voice continues:
LONGFELLOW'S VOICE
It's like the road out in front of
my house. It's on a steep hill.
Every day I watch the cars climbing
up. Some go lickety-split up that
hill on high—
357. FULL SHOT
LONGFELLOW
—some have to shift into second -
and some sputter and shake and
slip back to the bottom again.
Same cars - same gasoline - yet
some make it and some don't. And I
say the fellows who can make the
hill on high should stop once in a
while and help those who can't.
358. MEDIUM SHOT
LONGFELLOW
(making his point)
That's all I'm trying to do with
this money. Help the fellows who
can't make the hill on high.
CLOSE SHOT - LONGFELLOW
LONGFELLOW
(hotly)
What does Mr. Cedar expect me to
do with it? Give it to him - and a
lot of other people who don't need
it?
(rising;
sarcastically)
If you don't mind, Your Honor,
I'll ride on those top waves for a
minute.
(calls out)
Hey, all you fellows out there!
All those who applied for a farm,
stand up!
360. REVERSE ANGLE
Showing most of the audience struggling to their feet.
361. MED. CLOSE SHOT - WITNESS CHAIR
LONGFELLOW
See all those fellows? They're
the ones I'm trying to help. They
need it!
(pointing)
Mr. Cedar and that Mr. Semple don't
need anything. They've got plenty!
It's like I'm out in a big boat
and I see one fellow in a rowboat
who's tired of rowing and wants a
free ride - and another fellow
who's drowning. Who would you expect
me to rescue? Mr. Cedar, who just
got tired of rowing and wants a
free ride? Or those men out there
who are drowning? Any ten-year-
old child will give you the answer
to that.
(to farmers etc. in
courtroom)
All right, fellows. Thank you. Sit
down.
362. MEDIUM SHOT - FRONT OF COURTROOM
LONGFELLOW
Now, my plan is very simple. I was
going to give each family ten acres -
a horse, a cow and some seed. And
if they work the farm for three
years, it's theirs. Now, if that's
crazy, maybe I ought to be sent to
an institution. But I don't think
it is. And what's more, Mr. Cedar
doesn't either.
(vehemently)
Just before the hearing started,
he offered to call the whole thing
off if I made a settlement with
him. So you see, he wouldn't think
I was crazy if he got paid off.
CLOSE SHOT - CEDAR
He jumps to his feet, highly incensed.
CEDAR
It's a lie!
JUDGE
Mr. Cedar!
CEDAR
Mr. Deeds is drawing on his warped
imagination!
CLOSE SHOT - LONGFELLOW
As he listens to Cedar, watching him antagonistically.
CEDAR'S VOICE
I've never heard anything so
colossally stupid in my life!
Longfellow's eyes narrow resentfully.
365. WIDER ANGLE
To include Longfellow, Cedar and Judge.
CEDAR
It's an insult to our intelligence
to sit here and listen to his
childish ravings.
Throughout his speech the Judge has been pounding his gavel.
Longfellow has his eyes levelled off on Cedar.
JUDGE
(when quiet reigns)
You will please permit Mr. Deeds
to finish.
CEDAR
But your honor—
JUDGE
Mr. Cedar!
Cedar, grumblingly, remains standing. Judge asks Longfellow:
JUDGE
Anything else, Mr. Deeds?
LONGFELLOW
(eyes still on Cedar)
No.
(changes his mind;
turns to Judge)
Yes. There's just one more thing
I'd like to get off my chest before
I finish.
JUDGE
Proceed.
LONGFELLOW
Thank you, Your Honor.
He rises to his feet, takes one step forward, and clouts
Cedar flush on the jaw. As Cedar falls into the arms of an
associate, pandemonium breaks loose.
BAILIFF'S VOICE
Order! Order! Order in the court!
FULL SHOT OF COURTROOM
THE JUDGE POUNDS HIS GAVEL. THERE ARE CRIES OF APPROVAL
FROM THE SPECTATORS. IN THE MIDST OF THE COMMOTION—
DISSOLVE TO:
INT. COURTROOM
MED. PANNING SHOT
Showing spectators, waiting breathlessly for a decision.
All eyes are on the Judge.
CLOSE SHOT AT BENCH
The Judge holds a whispered conversation with his experts.
CLOSE SHOT - BABE
She is apprehensive.
CLOSE SHOT - LONGFELLOW
He glances furtively at Babe, off scene.
MED. SHOT OF FARMERS
Leaning forward. Their entire future hangs in the balance.
MED. CLOSE SHOT AT BENCH
The Judge comes out of the huddle; his face is very stern.
BAILIFF'S VOICE
Remain seated and come to order.
The Court is again in session.
JUDGE
Before the Court announces its
decision, I want to warn all who
are here that the police have orders
to arrest anyone creating a
disturbance.
373. QUICK FLASHES
Of Babe - Cobb - Longfellow - Mac - the farmers.
374. INSERT: CLOSE SHOT - JUDGE
The Judge's preface augurs ill.
CLOSEUP - CEDAR
His mouth curls up in a contented grimace.
FULL SHOT - COURTROOM
All eyes are upon the Judge, who clears his throat.
JUDGE
(serious mien)
Mr. Deeds, there has been a great
deal of damaging testimony against
you. Your behavior, to say the
least, has been most strange.
An audible gasp is heard from audience. Judge goes on:
JUDGE
But in the opinion of the Court,
you are not only sane, but you are
the sanest man that ever walked
into this courtroom. Case dismissed!
The shout that greets this is tumultuous. The Judge smiles
warmly, and clasps Longfellow's hand. Immediately,
Longfellow is surrounded by a crowd of people who come
running down the aisles.
377. CLOSE SHOT - CEDAR AND GROUP
They sit, stunned, disappointed. Mrs. Semple turns to her
husband and slaps him.
MRS. SEMPLE
You nose-twitcher!
Budington rises to confront Cedar.
BUDINGTON
Oh, I knew it! I knew it! You,
you—
Cedar disgustedly pushes him in the face, aside.
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.
FULL SHOT - COURTROOM
As jubilantly, Longfellow is carried out on the shoulders
of the excited crowd.
MEDIUM CLOSE SHOT
As Babe frantically tries to reach Longfellow, but is
jostled aside. The parade envelops her.
LONG SHOT FROM REAR
The shouting mob is heading for the door at end of
courtroom. Everyone crowds forward.
CLOSE SHOT IN REAR
Babe is left helplessly out.
DISSOLVE TO:
FULL SHOT OF COURTROOM
Empty - except for the Falkner sisters, still whispering
to each other, and Babe, sitting helpless and forlorn.
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.
CLOSE SHOT - JANE & AMY
JANE
He's still pixilated.
AMY
He sure is.
388. CLOSE SHOT - BABE AND LONGFELLOW
She kisses him over and over again. He looks around and
over his shoulder at the mob, a little dazed. Finally, he
notices her effort, and gives her one passionately back.
All that is heard is the cheering of the crowd outside and
the Columbia music.
FADE OUT:
THE END