Mr. Deeds Goes to Town

 
	FADE IN
 
1.	EXTERIOR - MONTAGE
	Quick shots of a car speeding around curves in a mountainous
	region. The car jumps a bridge, hurtles into space, crashes in a
 	fireball. Followed by newsboys hawking special editions, people on 
	streetcorners buying and reading newspapers with a succession of
	banner headlines:

	"MARTIN W. SEMPLE, FINANCIER, DIES IN ITALY," 
	"CIVIC LEADER KILLED IN AUTO ACCIDENT," 
	"DISCLOSURE OF BANKER'S WILL AWAITED" and finally 
	"SEMPLE HEIR AS YET UNKNOWN"
 
						DISSOLVE TO:

2.	INTERIOR - EDITOR'S OFFICE, DAILY MAIL
	CLOSE SHOT
	of Mac, the editor, at his desk, barking into the telephone.
 
				MAC 
		Say listen, Corny, who do you think you're 
		talking to? If the Semple attorneys don't know 
		who the heir is, who does? 
			(listens)
		Aw, come on, Corny.  I've done you a lot of 
		favors. What do you say - who's getting the 
		Semple dough?
 
						CUT TO:
 
3.	INTERIOR - CEDAR'S PRIVATE OFFICE
	CLOSE SHOT 
	Of Cornelius Cobb - a hardened ex-newspaperman, customarily 
	impatient, grouchy and nervous - victim of the New York tempo. His 
	friends call him "Corny."
 
				COBB 
			(on the phone)
		You're asking the wrong guy, Mac. I'm only a 
		press agent.
 
	THE CAMERA PULLS BACK GRADUALLY TO REVEAL a plush law office, 
	leather chairs and shelves of books. Arthur Cedar, attorney,
	briskly enters scene and seats himself at his desk. Cedar is in the
	neighborhood of fifty - grey-templed - dignified - sharp. Cobb is
	using the phone on his desk. Cedar glances at him.
 
				CEDAR 
		Newspaperman?
 
				COBB 
			(covering mouthpiece - confidentially) 
		Wants to know who the heir is.
 
				CEDAR 
			(firmly) 
		Hang up.
 
				COBB 
			(returning to the phone) 
		Sorry, Mac, I can't. Yeah, Mac. Sure, but I 
		ain't the attorney --
 
				CEDAR 
			(more firmly)
		Hang up.
 
	THE CAMERA PULLS BACK FURTHER TO REVEAL another attorney at one end 
	of the desk, reviewing a pile of papers.
 
				COBB 
			(continuing)
		Mr. Cedar is, and I haven't seen him in two 
		days.
         		(hangs up the phone) 
		Listen, Cedar, we've got to do something about
		the newspapers.
 
				CEDAR 
			(barely glancing up) 
		I'm not interested in the newspapers.
 
				COBB 
		But it's a great story. Somewhere in this 
		country a guy is walking into twenty million 
		bucks.
 
				CEDAR 
		Yes, I know. My first concern is to locate the 
		lucky man. When I do, it's your job to keep the
		newspapers away from him.
 
				COBB 
		 	(resignedly)
 		It's okay with me as long as my weekly stipend 
		keeps coming in.
 
	THE CAMERA PULLS BACK TO A FULL SHOT as two men rush in with a 
	flurry of excitement. One of them is Anderson, an obsequious employee 
	of Cedar's. With him is another lawyer, one of the Cedar brothers.
 
				ANDERSON 
		We located him, Mr. Cedar! We found out where 
		he is.
 
				CEDAR 
		Good!

				FIRST BROTHER
		Yes, John, we got him.
 
				ANDERSON
		Here's the report: Longfellow Deeds, single, 28, 
		lives in Mandrake Falls, Vermont.
 
				CEDAR 
			(glancing at the report)
		Thank heaven.
 
				FIRST BROTHER
		Better wire him right away, John.
 
				CEDAR 
		I'll do no such thing. I'm going there myself. 
		You're going with me too, Anderson - and you 
		too, Cobb.

	He pushes a button on the intercom.
 
				VOICE
		Yes?
 
				CEDAR 
		Make three reservations on the first train out to 
		Mandrake Falls, Vermont.
 
				VOICE 
			(skeptically)
		Where?
 
				CEDAR 
		Mandrake Falls.
			(begins to spell as scene fades)
		M-A-N--
 
						CUT TO:
 
	EXT. A STATION
4.	MEDIUM SHOT 
	It is a pleasantly rural scene - with just a handful of local 
	characters scattered about. At one end of the platform - some mail -
	newspapers - and a few pieces of freight are being loaded. Cedar, 
	Cobb and Anderson stand in front of a welcome sign. The three 
	obviously are out of their element here - obviously "City folks."
 
	Over their shoulders. We hear Cobb's voice as he reads:
 
				COBB'S VOICE 
		Welcome to Mandrake Falls 
		Where the scenery enthralls 
		Where no hardship e'er befalls 
		Welcome to Mandrake Falls
 
5.	MEDIUM SHOT 
	Cobb and Cedar exchange glances.

				COBB 
		That's pretty.

				CEDAR 
		Are you sure this is the town he lives in?
 
				ANDERSON 
		Yes sir, Mr. Cedar. This is the town all right.
 
				CEDAR 
		Well, I dropped everything at the office - I hope
		it's not a wild goose chase.
 
				ANDERSON 
		No, sir. We checked it thoroughly. He lives here 
		all right.
 
				COBB 
		Ah! I spy a native. Let's ask him.
 
	CAMERA MOVES WITH THEM as they cross to a small, one-story old 
	brick building, covered with ivy. This is the ticket and freight 
	office combined. In front of it is a very old man, a stoop-
	shouldered rail agent with a face of a million wrinkles - puttering
	around some packages.
 
				CEDAR
 			(as they approach)
		Good morning.
 
				AGENT 
			(glances up) 
		Morning, neighbors. Morning.
  
 	He picks up a package and disappears into the building. Cedar and 
	Cobb look at each other.
 
				COBB 
		That's an excellent start. At least we've broken 
		the ice.
 
	The old man returns to his pile of packages.
 
				CEDAR
		I say, my friend, do you know a fellow by the 
		name of Longfellow Deeds?
 
				AGENT 
		Deeds?

				CEDAR
		Yes.

				AGENT 
		Yes, sir. Yes, indeedy. Everyone knows Deeds.
 
				CEDAR
		Yes, I--

	He again disappears.
 
				COBB 
		Must be a game he's playing.
 
	The old man shows up again.
 
				CEDAR 
		We'd like to get in touch with him. It's very 
		important.
 
				AGENT 
		Who's that?
 
				CEDAR 
		Deeds! Who do you think I'm talking about?
 
				AGENT 
		Oh, yes - Deeds. Fine fellow. Very democratic. 
		You won't have no trouble at all. Talk to 
		anybody.
 
	Whereupon the old man carries another package inside. Cobb is properly 
	exasperated now.
 
				CEDAR 
		I guess we'd better try somebody else.
 
				COBB 
		No, we won't! The next time that jumping jack 
		comes out, I'll straddle him while you ask him 
		your questions.
 
	The old man emerges from the building and looks up at them as if 
	he's never seen them before.
 
 				AGENT
		Morning, neighbors.
 
6.	TWO SHOT - COBB AND AGENT (FEATURING COBB)
	Cobb grabs the old man as he turns to head back into the building.
 
				COBB 
		Remember us? We're the fellows who were here a 
		minute ago.
 
				AGENT 
		Oh, yes. Yes, indeedy. I never forget a face.
 
	He turns again but Cobb holds him by the arm and sets him down on 
	a small packing case.
 
				COBB 
		Listen, Pop, we've come all the way from New 
		York to look up a fellow by the name of Deeds. 
		It's important - very important!
 
				AGENT 
			(releasing his arm)
		You don't have to get rough, neighbor. All you 
		got to do is ask.
 
				COBB 
		Then please pretend, for just one fleeting moment, 
		that I'm asking. Where does he reside?
 
				AGENT 
		Who?
  
 	Cobb turns away in disgust. Anderson steps forward.
 
7.	CLOSE SHOT - THE THREE
 
				ANDERSON 
		Longfellow Deeds - where does he live?
 
				AGENT 
		Oh, that's what you want! Well, why didn't you 
		say so in the first place instead of beating 
		around the bush? Those other fellows don't know 
		what they're talking about.
			(as he exits scene) 
		Come on, I'll take you there in my car. If 
		they'd only explained to me what they wanted, 
		there would be no trouble.
 
	He leaves Cobb and Cedar staring after him killingly.
 
						DISSOLVE TO:
 
8.	INT. LONGFELLOW'S LIVING ROOM 
	MEDIUM SHOT 
	A little old lady, Mrs. Meredith, answers a knock at the door. 
	Cedar, Cobb and Anderson stand there, with the old man at their 
	heels. Mrs. Meredith is a sweet, soft-voiced, timid and fluttery 
	little creature.
 
				MRS. MEREDITH
		Oh, will you come in please, gentlemen?
 
				CEDAR 
		Is Mr. Deeds in?
 
				MRS. MEREDITH 
		No - he's over to the park arranging for the 
		bazaar, so's to raise money for the fire engine. 
			(to old man) 
		Mal, you shoulda knowed he was in the park.
 
				AGENT 
		Knew it all the time. But these men said they 
		wanted to see the house.
			(mumbling as he exits) 
		Can't read their minds if they don't say what 
		they want.
 
9.	GROUP SHOT
	Cobb glares after him exasperatedly. Mrs  Meredith turns to Cobb
	and Cedar.
 
				MRS. MEREDITH 
		Come in, please. Come in. Can I get you a cup 
		of tea?
 
				CEDAR 
		No, thanks.
 
				MRS. MEREDITH 
		Sit down. Sure I couldn't get you a glass of 
		lemonade or something?
 
				CEDAR 
		That's very kind of you. Are you related to him?
 
				MRS. MEREDITH
		No, I'm his housekeeper.
 
				CEDAR 
		Well, we'd like to find out something about him. 
		What does he do for a living?
 
				MRS. MEREDITH 
		He and Jim Mason own the Tallow Works. But 
		that's not where he makes his money. He makes 
		most of it from his poetry.
 
10.	CLOSE SHOT - THE THREE
	Featuring Cobb.
 
				COBB 
			(skeptically)
 		He writes poetry?

				MRS. MEREDITH 
		Oh, my goodness, yes. Longfellow's famous. He 
		writes all those things on postcards. You know, 
		for Christmas - and Easter - and birthdays. Sit 
		down, please.
 
	She reaches over to a desk and picks one up.

				MRS. MEREDITH 
		Here's one - he got $25 for this one.
 
11.	CLOSEUP - MRS. MEREDITH
	As she reads - with feeling: 

				MRS. MEREDITH 
		"When you've nowhere to turn - and you're filled 
			with doubt 
		Don't stand in midstream, hesitating, 
		For you know that your mother's heart cries out -
		'I'm waiting, my boy, I'm waiting.'" 
			(she looks up) 
		Isn't that beautiful?
 
12.	CLOSEUP - COBB 
	His eyes open unbelievingly.
 
				MRS. MEREDITH'S VOICE
		Isn't it a lovely sentiment?
 
				COBB
			(flatly) 
		Yeah.
 
	A dog enters, racing toward the door, scratching at it and whining.
 
				MRS. MEREDITH 
			(as she heads toward the door)
		Here he is now.
 
	She opens the door and goes out, with the dog racing ahead.
 
				COBB
			(to Cedar - sotto voce)
 		I suggest you break it to him gently. He's liable 
		to keel over from the shock.
 
	Mrs. Meredith re-appears. We hear her voice as she comes through 
	the doorway.
 
				MRS. MEREDITH 
		They've been waiting a long while.
 
	Longfellow Deeds trails behind her.
 
				LONGFELLOW 
		Who are they?
 
				MRS. MEREDITH
		I don't know.

 				CEDAR
			(standing - formally) 
		Mr. Longfellow Deeds?
 
				LONGFELLOW 
		Yes.
 
 				CEDAR
		How do you do.
 
				LONGFELLOW 
			(shaking hands)
		How do you do.                            

				CEDAR 
			(extending card)
		I'm John Cedar - of the New York firm of Cedar, 
		Cedar, Cedar and Budington.
 
13.	CLOSE SHOT - GROUP
	Featuring Cobb. He watches Longfellow who is glancing at the card.
 
				LONGFELLOW 
			(reads to himself) 
		Cedar, Cedar, Cedar and Budington. 
			(looks up; smiles) 
		Budington must feel like an awful stranger, 
		hmm?
 
	Cobb's eyes pop at the nifty.
 
				CEDAR 
		Mr. Cornelius Cobb and Mr. Anderson.
 
	They exchange greetings. Longfellow gestures to chairs.
 
				LONGFELLOW 
		You gentlemen make yourselves comfortable.
 
				COBB AND ANDERSON 
		Thanks.
 
14. 	MEDIUM SHOT 
	Longfellow crosses to his tuba near a chair. He takes a mouthpiece 
	out of his pocket.
 
				LONGFELLOW 
		New mouthpiece. Been waiting two weeks for this. 
		Kids keep swiping them all the time. They use 
		'em for bean shooters. 
			(he blows a note) 
		What can I do for you gentlemen?
 
				MRS. MEREDITH 
		You gentlemen going to stay for lunch?
 
				CEDAR 
			(right to the point; ignoring her) 
		I'd like to ask you a few questions.
 
				LONGFELLOW 
		All right.

	Longfellow looks at them strangely and sits down beside his tuba.
 
				CEDAR
		Mr. Deeds, are you the son of Dr. Joseph and 
		Mary Deeds?
 
				LONGFELLOW 
		Yes.

				CEDAR 
		Are your parents living?

				LONGFELLOW 
		Why, no.

				CEDAR 
		Mr. Deeds, does the name of Martin W. Semple 
		mean anything to you?
 
				LONGFELLOW 
		Not much. He's an uncle of mine, I think. I
		never saw him, but my mother's name was Semple, 
		you know.
 
				CEDAR
		Well, he passed on. He was killed in a motor 
		accident in Italy.
 
				LONGFELLOW 
		He was? Gee, that's too bad. If there's anything 
		I can do to--
 
	While he speaks, he has been adjusting the tuba between his legs 
	and now sucks on the mouthpiece, preparatory to playing.
 
				CEDAR 
		I have good news for you, sir. Mr. Semple left a 
		large fortune when he died. He left it all to 
		you, Mr. Deeds. Deducting the taxes, it amounts 
		to something in the neighborhood of $20,000,000.
 
15.	CLOSEUP - LONGFELLOW 
	His lips are over the mouthpiece of the tuba. His only reaction to 
	the startling news is to lift his eyes in Cedar's direction.
 
16.	GROUP SHOT
 
				MRS. MEREDITH 
		How about lunch? Are the gentlemen going to 
		stay - or not?
 
				LONGFELLOW 
		Of course they're going to stay. 
			(to the gentlemen) 
		She's got some fresh orange layer cake. You 
		know, with the thick stuff on the top? 
			(to Mrs. Meredith) 
		Sure, they don't want to go to the hotel.
 
	Mrs. Meredith leaves. Cobb and Cedar have watched this by-play, 
	open-mouthed, and are now even more astounded to see Longfellow 
	blow into his tuba.

17.	CLOSER SHOT - THE THREE
 
				CEDAR 
			(over the noise of the tuba) 
		Perhaps you didn't hear what I said, Mr. Deeds! 
		The whole Semple fortune goes to you! 
		$20,000,000!
 
				LONGFELLOW 
		Oh, yes, I heard you all right. $20,000,000. 
		That's quite a lot, isn't it?
 
				COBB 
		Oh, it'll do in a pinch.
 
				LONGFELLOW 
			(impressed)
		Yes, indeed. I wonder why he left me all that 
		money? I don't need it.
 
	He resumes his 'Oompahs.'
 
18.	CLOSE SHOT - CEDAR AND COBB
	Staring, unbelievingly.
 
						DISSOLVE TO:

	INT. AN ALCOVE
19.	FULL SHOT
	The three men sit around a table, having lunch. By Longfellow's 
	side is, as expected, the tuba.
 
				CEDAR 
		Mr. Cobb here is an ex-newspaperman associated 
		with your uncle for many years - as a sort of 
		buffer.
 
				LONGFELLOW 
		Buffer?
 
				COBB 
		Yeah. A glorified doormat.
 
				CEDAR 
		Yes, you see, rich people need someone to keep 
		the crowds away. The world's full of pests. Then 
		there's the newspapers to handle. One must know 
		when to seek publicity - and when to avoid it.
 
	During Cedar's speech, Longfellow seems to have been lost in his 
	own thoughts.
 
20.	CLOSE SHOT - LONGFELLOW AND COBB
	Favoring Longfellow.
 
				LONGFELLOW 
		Cedar, Cedar, Cedar and Budington. Funny, I 
		can't think of a rhyme for Budington.
 
				COBB 
		Why should you?
 
				LONGFELLOW
		Well, whenever I run across a funny name, I 
		always like to poke around for a rhyme. Don't 
		you?
 
				COBB 
		Nah.
 
				LONGFELLOW
 		I've got one for Cobb--
 
21.	CLOSE SHOT - THE GROUP
 
				LONGFELLOW
		"There once was a man named Cobb, 
		Who kept Semple away from the mob 
		Came the turn of the tide 
		And Semple - he died 
		And now poor Cobb's out of a job!"
 
				COBB 
		Sounds like a two weeks' notice to me.

				LONGFELLOW
		Huh?

				COBB
		I've gotten the 'sackaroo' in many ways - but 
		never in rhyme.
 
				LONGFELLOW
		Oh, I don't mean that. I'm sure I'm going to 
		need your help.
 
				COBB 
 		Oh, that's different if it's just poetry.
 
22.	WIDE ANGLE
	As Mrs. Meredith enters with coffee which she pours.
 
				CEDAR 
		Are you a married man, Mr. Deeds?
 
				LONGFELLOW
		Who - me? No.
 
				MRS. MEREDITH
		No, he's too fussy for that. That's what's the 
		matter with him. There are lots of nice girls 
		right here in Mandrake Falls who're dying to be 
		married--
 
				LONGFELLOW
		Don't pay any attention to her.
 
				MRS. MEREDITH
		He's got a lot of foolish notions about saving 
		a lady in distress.
 
				LONGFELLOW
  		Now you keep out of this!
   
				CEDAR 
			(diplomatically)
		Saving a lady in distress, eh? Well, I suppose 
		we all have dreams like that when we are young. 
			(rising) 
		Incidentally, we'd better get started. You'll 
		have to pack.
 
				LONGFELLOW 
		What for?
 
				CEDAR 
		You're going to New York with us.
 
				LONGFELLOW
		When?
 
				COBB  
		This afternoon - at four o'clock.
 
				LONGFELLOW
		I don't think we've got any suitcases.
 
				MRS. MEREDITH 
		Well, we could borrow a couple from Mrs. 
		Simpson. You know, she went to Niagara Falls 
		last year.
 
				LONGFELLOW 
		I'm kind of nervous. I've never been away from 
		Mandrake Falls in my life. Kind of like to see 
		Grant's Tomb, though.
 
				CEDAR 
			(all business) 
		I can understand that. 
			(rises to go) 
		We'll take a walk around town, meet you at the 
		train at four o'clock. 
			(shakes his hand) 
		Congratulations, Mr. Deeds. You're one of the 
		richest men in the country. We'll see you later. 
			(to Mrs. Meredith) 
		Goodbye and thank you.
 
				COBB
		See you later, kid.
 
				ANDERSON'S VOICE
			(as he too exits)
		Good day, sir.
 
	They exit.
 
23.	TWO SHOT - LONGFELLOW AND MRS. MEREDITH
 
				LONGFELLOW 
		Hear what he said? You know how much twenty 
		million is?
 
				MRS. MEREDITH 
		I don't care how much it is. You sit right there 
		and eat your lunch. You haven't touched a thing.
 
	Longfellow nibbles at some food, staring into space thoughtfully.
 
						DISSOLVE TO:
 
24.	EXT. STATION 
	LONG SHOT 
	The whole town is out. The band is playing "He's a Jolly Good Fellow"
	- the crowd sings. It's a festive occasion. A large, awkwardly painted 
	sign looms over everyone's head. It reads:
 
				FAREWELL 
			LONGFELLOW DEEDS 
		THE PRIDE OF MANDRAKE FALLS
 
25.	MEDIUM SHOT - CEDAR AND ANDERSON 
	They peer anxiously around, looking for someone, when Cobb dashes in.
 
				COBB 
			(breathlessly)
		I can't find him.
 
 				CEDAR
		You can't?

				COBB 
		I looked everywhere. I even went to his house. 
		It's locked up.
 
				ANDERSON 
		He probably had a change of heart.
 
				CEDAR 
		He wasn't very anxious to come in the first 
		place.
 
				COBB 
			(looking on) 
		Here comes the train.
 
	Cedar glances off.
 
26.	LONG SHOT (STOCK)
	Of train approaching.
 
27.	CLOSE SHOT - CEDAR AND COBB 
	The band has already begun and is now in the midst of "For He's A 
	Jolly Good Fellow."
 
	At this moment, as he looks off, a startled expression comes into 
	Cobb's eyes. He grabs Cedar by the arm - who glances in the direction 
	he points.
 
				COBB 
		Look!
 
				CEDAR  
		What?  

				COBB
		That tuba player!

28. 	MEDIUM SHOT - THE BAND
	With Longfellow, in his customary position, blowing on his tuba.
 
	CONTINUATION SCENE 27 
	Cedar and Cobb stare, wide-eyed, as the song is finished.
 
				COBB 
		Well, now I've seen everything.
 
						DISSOLVE TO:
 
	EXT. STATION 
29.	LONG SHOT
	In the b.g. is the train with Longfellow standing on the observation 
	platform, clutching his tuba. On either side of him is Cedar and Cobb. 
	In the f.g. the crowd yells its farewell.  Several of them stuff 
	baskets of fruit into his hands. The band plays "Auld Lang Syne."
 
30.	CLOSE SHOT
	Over Longfellow and Cobb's shoulders. As the train begins pulling out,  
	Longfellow smiles wanly and waves.
 
				LONGFELLOW 
		Goodbye, Mrs. Meredith! Goodbye, Jim! Bye, 
		Buddy!  Goodbye, everybody! 
			(a pause) 
		Gosh. I've got a lot of friends.

	Cobb looks up into Longfellow's face - affected by the scene.
 
						DISSOLVE TO:
 
	INT. TRAIN DRAWING ROOM 
31.	FULL SHOT Longfellow is slumped in his seat, his legs sprawled out, his 
	eyes ceilingward - in deep thought. Cobb sits across from him. Cedar 
	enters, hangs up his coat, hat and cane.
 
				COBB 
			(opening a snifter - generously)
		Have a drink?
 
				LONGFELLOW 
			(distractedly)
		No, thanks.
 
	Cobb and Cedar exchange a look.
 
				CEDAR 
		Will you have a cigar?

				LONGFELLOW 
		No, thank you.
 
	Cedar sits down.
 
				CEDAR 
 			(breaking the silence)
		I wouldn't worry if I were you. Of course, a 
		large fortune like this entails a great 
		responsibility - but you'll have a good deal of 
		help. So don't worry. Leave everything to me.
 
				LONGFELLOW 
		Oh, I wasn't worried about that.
 
				CEDAR 
		No?

				LONGFELLOW 
		I was wondering where they're going to get 
		another tuba player for the band.
 
	Cobb has just finished taking a drink and can't help but nearly spit 
	it out.
 
						FADE OUT: 


	FADE IN

32.	LONG SHOT (STOCK) 
	The 20th Century crossing the Harlem River.
 
						DISSOLVE TO:
 
33.	ANOTHER STOCK SHOT 
	Of the 20th Century going under the street level on Park Avenue.
 
 						DISSOLVE TO:
 
34. 	CLOSE SHOT OF OFFICE DOOR 
	Upon which we read: "CEDAR, CEDAR, CEDAR & BUDINGTON - ENTRANCE." 
	CAMERA PULLS BACK to take in Cedar, who opens the door and walks 
	through.
 
	INT. GENERAL OFFICE 
35.	CLOSE TRUCKING SHOT 
	With Cedar as he strides across the room - in business-like fashion. 
	He comes to a door marked "PRIVATE OFFICES." He pushes this door 
	open and disappears.
 
				MAN'S VOICE 
			(as Cedar passes by) 
		Hello, John. Where have you been?
 
				CEDAR 
			(as he walks briskly)
		I've been fishing.
 
	In the background is typical office hub-bub.
 
				CEDAR 
			(to a secretary as he passes)
		Good morning, Celia.
 
				SECRETARY
		Good morning, Mr. Cedar.
 
	A chorus of "Good Morning, Mr. Cedar!" issues from the clerks. A 
	secretary looks up.
 
	INT. PRIVATE OFFICES 
36.  	CLOSE TRUCKING SHOT
	With Cedar - as he passes through the room - arriving at a door 
	marked "JOHN CEDAR, PRIVATE." He goes through the door.
 
	INT. CEDAR'S PRIVATE OFFICES - ANTEROOM
37.	FULL SHOT 
	Cedar breezes in and speaks to a secretary.
  
				CEDAR 
		Good morning. Where are they?
 
				SECRETARY 
		Waiting for you in the other office.
 
	He strides across the room to still another door marked "PRIVATE" and 
	he disappears.
 
						DISSOLVE TO:
 
	INT. CEDAR'S PRIVATE OFFICE 
38.	FULL SHOT
	A group of associates sit around in large leather chairs, as Cedar
	barges in.
 
				CEDAR 
			(beaming) 
		Good morning. Hello, boys.
 
	The men come to life. Some rise - others lean forward. Two of them are 
	brothers of Cedar - tall and athletic. The third is a small, frightened-
	looking man. He is Budington.
 
				MEN
			(ad-lib) 
		Hello, John. 
		What happened?
		Well, what's he like? 
 
				CEDAR 
		We've got nothing to worry about. He's as naive 
		as a child.
 
				BUDINGTON 
		John--
 
				CEDAR 
		Close that door.
			(into dictograph) 
		Will you get Mrs. Cedar on the phone, please?
 
				FIRST BROTHER 
		Come on, John. What happened?
 
				CEDAR 
			(to associates)
		The smartest thing I ever did was to make that 
		trip.
 
				BUDINGTON 
			(anxiously) 
		John, did you get the - uh--
 
39.	MED. SHOT - GROUP 
	Favoring Cedar.
  
				CEDAR 
			(interrupting)
		No, Budington, I didn't get the Power of 
		Attorney. But don't worry, I will. 
			(beaming to his brothers) 
		I asked him last night what he was going to do 
		with the money, and what do you suppose he 
		said?
 
				THE TWO BROTHERS 
			(gathering around him)
		What?
		I can't imagine.
 
				CEDAR 
		He said he guessed he'd give it away.
 
				THE TWO BROTHERS
			(laughing) 
		Give it away!?
		The boy must be a nit-wit!
 
	Budington hasn't enjoyed the joke - his mind still on their problem.
 
				ONE OF THE BROTHERS 
		Well, John, you had the right hunch!
 
				BUDINGTON 
		John, if you don't mind my saying so - we can't 
		afford to--
 
				CEDAR 
			(irascibly) 
		I know, Budington. We can't afford to have the 
		books investigated right now. You must have said 
		that a thousand times already.
 
				BUDINGTON 
		But what if they fall into somebody else's hands, 
		why - uh--
 
				CEDAR 
		Well, it hasn't happened yet - has it?
 
				BUDINGTON 
			(wailing) 
		But a half million dollars! My goodness, where 
		are we going to get--
 
				CEDAR 
			(exploding) 
		Will you stop worrying! It was I who got old 
		man Semple to turn everything over to us, 
		wasn't it? And who got the Power of Attorney 
		from him! All right, and I'll get it 
		again! 
			(pause - change of tone) 
		I'll take it easy. Those books'll never leave 
		this office.
 
 
						DISSOLVE TO: 

	INT. AN APARTMENT
40.	MEDIUM SHOT 
	George Semple, a ne'er-do-well, prominent for the pouches under his 
	eyes and a perpetual nose twitch, is sprawled out in a chair reading a 
	newspaper. A nagging wife walks around him.
 
				WIFE 
		A yokel! Nothing but a yokel! Your uncle must 
		have been mad to leave all that money to him! 
		You're as closely related to him as he is, and 
		what did you get?
 
	She storms around the room. George merely twitches his nose but says 
	nothing.
 
				WIFE 
			(slaps the paper George is reading)
		I say, what did you get?
 
				GEORGE 
		Stop yelling. Can I help it if my uncle didn't 
		like me?
 
				WIFE 
		I told you to be nice to him. Ten years we've 
		been waiting for that old man to kick off. And 
		then we were going to be on Easy Street. Yeah - 
		on Easy Street!
 
				GEORGE 
		Oh, shut up! It's too late now, and you're a
		nuisance!
 
				WIFE 
		That's just what I'm going to be - a nuisance. 
		I'm going to be a nuisance until I get hold of 
		some of that money!
 
						DISSOLVE TO:
 
	INT. EDITOR'S OFFICE, DAILY MAIL 
42.	FULL SHOT 
	The editor stands in front of his desk. Four or five reporters in 
	front of him - several photographers. In the b.g., leaning against 
	the wall near the door, apparently indifferent, is Babe Bennett. The 
	editor, Mac, is haranguing them.
 
				MAC 
			(as he blows his nose)
		He's news! Every time he blows his nose, it's 
		news. A cornfed bohunk like that falling into 
		the Semple fortune is hot copy... But it's got 
		to be personal. It's got to have an angle. What 
		does he think about? How does it feel to be a 
		millionaire! Is he going to get married! What 
		does he think of New York! Is he smart? Is he 
		dumb? ... A million angles!
 
42. 	CLOSE SHOT - BABE 
	She has a string in her hand which she keeps flicking, trying to get 
	a knot into it - in the manner of cowboys with a rope. Mac's voice 
	continues over scene:
 
43.	MEDIUM SHOT
	Of them all, as Mac continues:
 
				MAC 
		He's been here three days, and what have you 
		numbskulls brought in! Any halfwit novice could 
		have done better!
 
 				REPORTER'S VOICE
		Yeah, we tried too--
 
				MAC 
		Am I talking too loud? Or annoying anybody?
 
				REPORTER 
		You know Corny Cobb. He's keeping him under 
		lock and key.
 
				MAC 
		Cobb, Cobb! Never mind about Cobb. Use what 
		little brains you've got! Find out something 
		yourselves, you imbecilic stupes! Now get out 
		of here before I really tell you what I think 
		of you. Come on, get out!
 
	They scramble to their feet. One of the reporters mumbles something 
	as he passes Mac on the way to the door.

				REPORTER
			(Mumbles.)
 
				MAC
			(alert) 
		What was that?
 
 				REPORTER
			(thinking fast - covering up) 
		Huh? I said you had dirty plaster.
 
44.	MED. CLOSE SHOT AT DOOR 
	As Babe is still flicking her string, trying to get a knot. The 
	reporters file past her on their way out. Just as the last one is 
	approaching, she succeeds in doing the trick.
 
45.	MEDIUM SHOT
	As Mac turns to Babe.
 
				MAC 
		You too! Thought I could depend on you, but 
		you're getting as bad as the rest of them.
 
	He grabs up a handful of papers and starts out.
 
				BABE 
			(flicking the string)
		Look, I can do it!
 
				MAC 
		What's gotten into you, Babe? I remember the 
		time when you'd blast this town wide open 
		before you'd let Cobb get away with a thing 
		like this.

46.	CLOSE TWO SHOT
 
				BABE 
		Oh, he's not getting away with anything.
 
				MAC
			(excited)
		Listen, Babe - get me some stuff on this guy,
		and you can have--
 
				BABE 
		Can I have a month's vacation?
 
				MAC
		With pay! 

				BABE 
		With pay! 

				MAC
		Uh-huh.
  
				BABE 
			(casually, as she starts away) 
		Leave four columns open on the front page 
		tomorrow.
 
47.	MEDIUM SHOT
	As Babe crosses to door.
 
				MAC 
		Now you're talking, Babe. I'll keep the whole 
		front page open. What are you going to do?
 
				BABE
			(at door)
		Have lunch.
 
	She exits. Mac's face lights up happily.
 
						DISSOLVE TO:

	EXT. RESIDENCE
48.	LONG SHOT
	Of a large, imposing-looking residence.

	INT. LONGFELLOW'S BEDROOM
49.	MEDIUM SHOT
	Longfellow stands awkwardly between two tailors who chalk and pin a 
	suit on him. After a few seconds of silence:
 
				LONGFELLOW 
		It's the first time I ever had a suit made on 
		purpose.
 
	The tailors smile accommodatingly as CAMERA PULLS BACK and we discover
 	that both Cedar and Cobb are present. Cobb is slumped in a chair, and 
	Cedar is carefully putting some papers away in a portfolio.
 
				CEDAR 
		It's merely a suggestion. I don't wish to press 
		the point, Mr. Deeds, but if you'll give me 
		your Power of Attorney we'll take care of 
		everything. It'll save you a lot of petty 
		annoyances. Every shark in town will be trying 
		to sell you something.
 
				LONGFELLOW 
		Oh, yes, there've been a lot of them around 
		here already. Strangest kind of people. 
		Salesmen - politicians - moochers - all want 
		something. I haven't had a minute to myself. 
		Haven't seen Grant's Tomb yet.
 
				CEDAR 
		Well, you see, your uncle didn't bother with 
		that sort of thing. He left everything to us. 
		He traveled most of the time, and enjoyed 
		himself. You should do the same thing, Mr. 
		Deeds.
 
				LONGFELLOW 
		Besides wanting to be my lawyer, you also want 
		to handle my investments too?
 
				CEDAR
		Yes. That is to say--
 
				LONGFELLOW 
		Well, outside of your regular fee, how much 
		extra will it cost?
 
				CEDAR 
			(too quickly)
 		Oh - nothing. No extra charge.
 
				LONGFELLOW 
		That involves a lot of extra work, doesn't it?
 
				CEDAR 
			(generously) 
		Yes, but that's an added service a firm like 
		Cedar, Cedar, Cedar and Budington usually 
		donates.
 
				LONGFELLOW 
		Budington. Funny, I can't think of a rhyme for 
		Budington yet.
 
50.	WIDER ANGLE
	As a butler stands in the doorway.
 
				BUTLER 
		The gentlemen from the opera are still waiting 
		in the board room, sir. They're getting a 
		trifle impatient, sir.
 
				LONGFELLOW 
		They are? I forgot all about them. 
			(to Cedar) 
		What do you think they want?
  
				CEDAR 
		Well, your uncle was Chairman of the Board of
 		Directors. They probably expect you to carry 
		on.
 
				COBB 
			(rising) 
		I'll tell those mugs to keep their shirts on, 
		that you'll be right down.
 
				LONGFELLOW 
		Thanks. 
			(suddenly) 
		Oh, did you send that telegram to Jim Mason?
 
				COBB 
		Jim Mason? Oh, yeah. Yeah. No, I didn't send it. 
		I've got it written out, though. Here it is. 
			(reaches into his pocket and reads) 
		"Arthur's been with the Tallow Works too long. 
		STOP. Don't think we should fire him. 
		Longfellow."
 
				LONGFELLOW 
		Fine. Send it right away. I don't want him to 
		fire Arthur.
 
				COBB 
		Oh, sure. Sure. We don't want to fire Arthur.
 
				LONGFELLOW 
		He was the last baby my father delivered, 
		Arthur was.
 
				CEDAR 
		I think you ought to give this matter some 
		thought, Mr. Deeds.
 
				LONGFELLOW 
		Huh?
 
				CEDAR 
		I mean, about the Power of Attorney.
 
				LONGFELLOW
		Oh, yes. Yes, I will.
 
	Cobb has stalled long enough to hear Longfellow's decision before 
	he goes out of the room.
 
				LONGFELLOW 
		I'll give it a lot of thought. There was a 
		fellow named Winslow here a little while ago, 
		wanted to handle my affairs for nothing too. 
		It puzzles me why these people all want to work 
		for nothing. It isn't natural. So I guess I'd 
		better think about it some more.
 
51.	MEDIUM SHOT 
	Longfellow, Cedar and the two tailors.
 
				TAILOR
		That's that.
 
				LONGFELLOW 
		You go to an awful lot of work to keep a fellow 
		warm, don't you?
 
				TAILOR
		Yes, sir.
 
	A butler enters again.
 
				BUTLER 
		A Mr. Hallor to see you, sir.
 
				CEDAR
			(quickly) 
		Did you say Hallor?
 
				BUTLER 
		Yes, sir.

				CEDAR 
		Well, don't let him in.
 
				LONGFELLOW
		Why not? Who is he?
 
				CEDAR 
		A lawyer representing some woman with a claim 
		against the estate. 
			(to butler) 
		Tell him to see me at the office.
 
				LONGFELLOW 
		Well, if he has a claim, we'd better see him. 
			(to butler) 
		Send him in.
 
	The butler disappears.
 
				CEDAR 
		He's capable of causing you a lot of trouble, 
		Mr. Deeds.
 
				LONGFELLOW 
		How can he make any trouble for me? I haven't 
		done anything.
 
	The butler reappears, followed by Hallor. The minute he appears, 
	Cedar speaks up belligerently.
 
				CEDAR 
		I thought I told you to take up this matter 
		with me, Hallor.
 
52.	MED. CLOSE GROUP SHOT
 
				HALLOR 
		I'm a little tired of being pushed around by 
		you, Mr. Cedar - I don't care how important 
		you are.
			(to Longfellow) 
		Mr. Deeds, I represent Mrs. Semple.
 
				LONGFELLOW
			(eyebrows raised)
		Mrs. Semple?
 
				HALLOR 
		Yes. Your uncle's common-law wife. She has a 
		legal claim on the estate.
 
				CEDAR 
		We'll let the courts decide what her legal 
		position is.
 
				HALLOR 
		You wouldn't dare go into court with a case 
		like this - and you know it!
 
	He turns to Longfellow, who has listened to them studyingly.
 
				HALLOR 
		I leave it to you. Mr. Deeds. Can you conceive 
		of any court not being in sympathy with any 
		woman who gave up the best years of her life 
		for an old man like your uncle?
 
				LONGFELLOW 
		What kind of wife did you say she was?
 
				HALLOR 
		Common-law wife. On top of that, there's a 
		child.
 
				LONGFELLOW
		A child? My uncle's?
 
				HALLOR 
		Yes, sir.
 
				LONGFELLOW 
		That's awful. The poor woman should be taken 
		care of immediately.
 
				HALLOR 
			(pleased) 
		I'm glad to see you're willing to be reasonable, 
		Mr. Deeds.
 
				LONGFELLOW 
		If she was his wife, she should have all the 
		money. That's only fair. I don't want a penny 
		of it.
 
	He yanks his trousers off and hands them to the tailor.
 
				CEDAR
		Don't make any rash promises--
 
	As the tailors exit, Cobb returns.
 
				COBB 
		You'd better get right down there. That opera 
		mob is about to break into the Mad Song from 
		"Lucia."
  
				LONGFELLOW 
			(to Hallor) 
		Oh, I don't want to keep them waiting any longer. 
		They're important people. 
			(to Cobb) 
		I wish you'd go along with me, Cobb. They're 
		all strangers to me.
 
				HALLOR 
		Well, what about it, Mr. Deeds?
 
				LONGFELLOW 
			(getting into robe - to Hallor) 
		You'll excuse me, won't you? I'll be right back.
 
	He exits with Cobb.
 
	INT. CORRIDOR 
53.	MED. TRUCKING SHOT
	As Longfellow and Cobb come out and start down corridor.
 
				LONGFELLOW 
		Gee, I'm busy. Did the opera people always come 
		here for their meetings?
 
				COBB 
		Uh-huh.
 
				LONGFELLOW 
		That's funny. Why is that?
 
				COBB 
			(wisely) 
		Why do mice go where there's cheese?
 
	INT. BOARD ROOM 
54.	FULL SHOT 
	A group of eight distinguished-looking men sit around a long table, 
	awaiting Longfellow's arrival. At the head of the table is a Mr.
	Douglas.
 
				DOUGLAS 
		From what I'm led to believe, the young man's 
		quite childish. I don't think we'll have any 
		difficulty in getting him to put up the entire 
		amount. After all, it's only a matter of 
		$180,000.
 
				CHORUS OF VOICES
		A drop in the bucket for him. 
		An excellent idea! 
		Why not? ...
 
				DOUGLAS 
			(slyly) 
		You know, gentlemen, we're really very fortunate 
		the young man is so sympathetic toward music. 
			(winking) 
		He plays the tuba in the town band.
 
				MAN 
			(who has been watching at door)
		Here he comes.
  
				DOUGLAS 
		Good. 
 
	There is a shuffle of preparation.

						DISSOLVE TO:
 
	INT. DIRECTOR'S ROOM 
55.	SAME SCENE 
	With Longfellow and Cobb present. Longfellow looks around, completely 
	awed.
 
				DOUGLAS 
		Now, gentlemen, the first order of business 
		will be the election of a new Chairman of the 
		Board.
 
				A MAN 
			(rising) 
		As a sentimental gesture toward the best friend 
		opera ever had, the late Mr. Semple, I think it 
		only fitting that his nephew, Mr. Longfellow 
		Deeds, should be made our next Chairman. I 
		therefore nominate him.
 
				A VOICE 
		Second.
 
				DOUGLAS 
		All those in favor ...
 
				EVERYBODY 
		Aye.
 
				DOUGLAS 
		Carried. 
			(rises) 
		My congratulations, Mr. Deeds.
 
56.	CLOSER SHOT 
	Featuring Longfellow.
 
				LONGFELLOW 
			(self-consciously)
		I'm Chairman?
 
				DOUGLAS 
			(humoring a child)
 		Oh yes, of course - you've just been elected. 
 
				LONGFELLOW
 			(to Cobb)
		I'm Chairman.
 
				COBB 
			(dryly)
		Happy voyage.
 
 				DOUGLAS
 		Right here. Mr. Deeds.
 
57.	WIDER ANGLE 
	As Longfellow is led to the president's chair. Douglas sits next 
	to him.
 
				DOUGLAS 
		Now, the next order of business is the reading 
		of the Secretary's minutes ...
 
				A VOICE 
		Move we dispense with it.
 
				ANOTHER VOICE
		Second.

				DOUGLAS 
		All in favor? 

 				CHORUS OF VOICES
		Aye!
 
	Longfellow looks his surprise.
 
				DOUGLAS 
		I think they can be dispensed with. We're ready 
		now for the reading of the Treasurer's report.
 
				A VOICE 
		Move we dispense with it.
 
				ANOTHER VOICE
		Second.

				DOUGLAS 
		All in favor? 

 				CHORUS OF VOICES
		Aye!
 
				DOUGLAS 
		Quite right! Now, gentlemen, the next business 
		will be--
 
58.	MED. CLOSE SHOT 
	Featuring Longfellow, as he interrupts:
 
				LONGFELLOW 
		Wait a minute. What does the Chairman do?
 
				DOUGLAS 
		Why, the Chairman presides at the meetings.
 
				LONGFELLOW 
		That's what I thought. If you don't mind, I'm 
		rather interested in the Treasurer's report. 
		I'd like to hear it.
 
	There is an uncomfortable shuffle. For a few minutes, no one speaks. 
	From the rear, a tall man rises.
 
59.	CLOSE SHOT 
	Featuring treasurer.
 
				TREASURER 
		The treasurer reports a deficit of $180,000 for 
		the current year.
 
60.	CLOSE SHOT - LONGFELLOW
	He is stunned.
 
				LONGFELLOW 
		A deficit! You mean we've lost that much?
 
61. 	WIDER ANGLE 
	To include all at table.
 
				DOUGLAS 
		You see, Mr. Deeds, the opera is not conducted 
		for profit.
 
				LONGFELLOW 
		It isn't? What is it conducted for?
 
				DOUGLAS 
		Why, it's an artistic institution--
 
				LONGFELLOW 
		We own an opera house, don't we?
 
				A VOICE 
		We do.
 
				LONGFELLOW
		And we give shows?
 
				DOUGLAS
		We provide opera.
 
				LONGFELLOW 
		But you charge. I mean, you sell tickets?
 
				VOICE 
		Of course.
 
				LONGFELLOW
		And it doesn't pay?
 
62. 	MED. CLOSE SHOT 
	Featuring Douglas and Longfellow.

				DOUGLAS 
		That's impossible. The opera has never paid.
 
				LONGFELLOW 
			(conclusively) 
		Well, then, we must give the wrong kind of 
		shows.
 
	Cobb smiles. The directors are stumped.
 
				DOUGLAS 
		The wrong kind! There isn't any wrong or right 
		kind. Opera is opera!
 
				LONGFELLOW 
		I guess it is. But I personally wouldn't care to 
		be head of a business that kept losing money. 
		That wouldn't be common sense. Incidentally, 
		where is the $180,000 coming from?
 
				DOUGLAS 
		Well, we were rather expecting it to come from 
		you.
 
 				LONGFELLOW 
		Me?!
 
				DOUGLAS 
		Naturally.
 
				LONGFELLOW
		Excuse me, gentlemen, there's nothing natural 
		about that.

	He is suddenly startled. His ears prick up.
 
63.	SHOT OF DIRECTORS 
	They all stare at Longfellow. Over scene comes the low wailing cry of 
	a siren, which increases in volume as it gets closer to the building.
 
64.	MEDIUM SHOT 
	Longfellow jumps up.
 
 				LONGFELLOW
		Hey, a fire engine!
 
 	He rushes to the window and peers out. The others stare unbelievably. 
	The shriek of the siren finally dies down. Longfellow turns back.
 
				LONGFELLOW
			(admiringly) 
		Gee, that was a pip! 
			(as he goes back to his seat) 
		We expect we're going to have one like that in
		Mandrake Falls pretty soon - with a siren, too.
 
	There is a pause while he gets seated.
 
				LONGFELLOW
		Now, where were we?
 
65.	MED. CLOSE SHOT AT TABLE
 
				DOUGLAS 
		You see, Mr. Deeds, the opera is not conducted 
		like any ordinary business.
 
				LONGFELLOW 
		Why not?
 
				DOUGLAS 
		Because it just isn't a business, that's all!
  
				LONGFELLOW 
		Well, maybe it isn't to you, but it certainly is 
		a business to me, if I have to make up a loss of 
		$180,000. If it's losing that much money, there 
		must be something wrong. Maybe you charge too 
		much. Maybe you're selling bad merchandise. Maybe 
		lots of things. I don't know. You see, I expect 
		to do a lot of good with that money. And I can't 
		afford to put it into anything that I don't look 
		into. That's my decision for the time being, 
		gentlemen. Goodbye, and thank you for making me 
		Chairman.
 
66.	MED. SHOT - DIFFERENT ANGLE
	He exits, followed by Cobb, whose eyes shriek his admiration. The 
	directors watch them leave, flabbergasted. Cobb's head reappears in 
	the doorway.
 
				COBB 
		Gentlemen, you'll find the smelling salts in 
		the medicine chest.
 
	He disappears. The Board of Directors stare in dumb stupefaction at 
	the door.
 
						WIPE OFF TO:

	INT. LONGFELLOW'S BEDROOM 
67.	MED. SHOT
	As Longfellow enters. Hallor and Cedar rise.
 
				LONGFELLOW 
		Sorry to keep you waiting so long. Those opera
		people are funny. They wanted me to put up 
		$180,000.
 
				HALLOR 
		What about it, Mr. Deeds?
 
				LONGFELLOW 
		Why, I turned them down, naturally.
 
				HALLOR 
		No, I mean about my client.
 
				LONGFELLOW 
		Oh -  we'll have to do something about the 
		common wife.
 
 	Longfellow's valet, Walter, enters and holds up a full dress suit.
 
				WALTER
		Tails tonight, sir?
 
				LONGFELLOW
		What - tails?
          		(turns and sees it) 
		Why, that's a monkey suit! Do you want people 
		to laugh at me? I never wore one of those things 
		in my life.

				WALTER 
		Yes, sir.

	The tailors are leaving.
 
				TAILOR 
			(shaking hands with Longfellow) 
		Goodbye, and thank you sir.
 
				LONGFELLOW 
		Goodbye.
			(turning to the others) 
		Wants me to wear a monkey suit.
 
	Cedar and Hallor smile accommodatingly. Walter hands him a pair of 
	trousers.
 
68.	CLOSER SHOT OF GROUP 
	As Longfellow starts getting into the trousers.
 
				HALLOR 
		Of course, we don't want to appear greedy, Mr. 
		Deeds.
 
				LONGFELLOW 
		Huh?
 
				HALLOR 
		I say we don't want to appear greedy.
 
				LONGFELLOW
		Oh. That.
 
	Walter has gotten down on his knees and holds the ends of the pants.
 
				LONGFELLOW
		What do you think you're doing?
 
				WALTER 
		Why, I'm assisting you, sir.
 
				LONGFELLOW 
		Get up from there. I don't want anybody holding 
		the ends of my pants. Get up from there!
 
				WALTER
			(rising)
		Yes, sir.
 
				LONGFELLOW
			(to others)
		Imagine that - holding the ends of my pants! 
 
	Hallor smiles feebly - his impatience growing.
 
				HALLOR 
		Mrs. Semple is entitled by law to one-third of 
		the estate.
 
				LONGFELLOW 
			(to Walter) 
		And don't ever get down on your knees again, 
		understand?
 
				WALTER
		No, sir.
 
				LONGFELLOW 
			(to Hallor)
		Excuse me. What did you say?
 
				HALLOR 
		Mrs. Semple is entitled to one-third of the 
		estate.
 
				LONGFELLOW 
		One-third? That's about $7,000,000, isn't it?
 
				HALLOR 
			(quietly) 
		Well, we didn't expect that much. I'm sure I 
		can get her to settle quietly for one million.
 
				CEDAR 
		If there's any talk of settlement, Hallor, take 
		it up with me at the office.
 
				HALLOR 
		I'll do no such thing--
 
				LONGFELLOW 
		That's right. Don't you go to his office. 
		There's only one place you're going, and that's 
		out the door.
 
	Hallor looks up, surprised.
 
				HALLOR 
		You're making a mistake, Mr. Deeds.
 
				LONGFELLOW 
		Oh no. I'm not. I don't like your face.  
		Besides, there's something fishy about a person 
		who would settle for a million dollars when they 
		can get seven million.  I'm surprised that Mr. 
		Cedar, who's supposed to be a smart man, 
		couldn't see through that.
 
				HALLOR 
		Now wait a minute, buddy.
 
69.	MED. SHOT 
	Longfellow crosses to bell cord and pulls it.
 
				LONGFELLOW 
		There's one nice thing about being rich - you 
		ring a bell and things happen. When the servant 
		comes in, Mr. Hallor, I'm going to ask him to 
		show you to the door. Many people don't know 
		where it is.
 
				HALLOR 
		No use in getting tough. That'll get you nowhere, 
		Mr. Deeds. 
			(strongly) 
		You know, we've got letters.
 
	As a butler enters, Longfellow turns to him.
 
				LONGFELLOW 
		Will you show Mr. Hallor to the front door?
 
				BUTLER 
		Yes, sir.
 
70.	CLOSE SHOT AT DOOR
	As Hallor gets to it. Longfellow grabs him by the shirt front and half 
	lifts him off the floor.
 
				LONGFELLOW 
		And listen, there isn't any wife - there aren't 
		any letters - and I think you're a crook. So you 
		better watch your step.
 
	He shoves Hallor violently and he stumbles out of scene. Cobb enters 
	to Longfellow, his hand extended.
 
				COBB 
		I can't hold out on you any longer. Lamb bites 
		wolf.
			(shakes his head) 
		Beautiful.
 
				LONGFELLOW
		Only common sense.
 
71.	MED. SHOT 
	Cedar has been most uncomfortable through the scene, but now suavely 
	assumes an admiring attitude.
 
				CEDAR 
			(a forced smile)
		I can't hold out any longer either, Mr. Deeds. 
			(holds out his hand) 
		Being an attorney for you will be a very simple 
		affair.
 
				LONGFELLOW 
		You're not my attorney yet, Mr. Cedar. Not till 
		I find out what's on your mind. Suppose you get 
		the books straightened out quick so I can have 
		a look at them.
 
				CEDAR 
		Yes, of course, if you wish. But you must be 
		prepared. This sort of thing will be daily 
		routine.
			(picks up his hat) 
		If it becomes annoying, you let me know. Goodbye, 
		Mr. Deeds. Goodbye, sir.
 
	Longfellow shakes his hand. Cedar exits. Longfellow stares after him 
	disgustedly, wiping his hands with his handkerchief.
 
				LONGFELLOW
		Even his hands are oily.
 
	Walter has entered and holds up a coat for Longfellow.

				COBB 
		Well, how about tonight? What would you like in 
		the way of entertainment?
 
				LONGFELLOW
		Entertainment?
 
72.	CLOSE TWO SHOT
 
				COBB 
		Your uncle had a weakness for dark ones, tall 
		and stately. How would you like yours? Dark or 
		fair, tall or short, fat or thin, tough or 
		tender?
 
				LONGFELLOW 
		What're you talking about?
 
				COBB 
		Women! Ever heard of 'em? Name your poison and 
		I'll supply it.
 
				LONGFELLOW 
		Some other time, Cobb. Some other time.
 
				COBB 
		Okay, you're the boss.
			(as he goes) 
		When your blood begins to boil, yell out. I'll 
		be seeing you!
 
73.	MED. SHOT 
	As Cobb exits. Longfellow turns to Walter, the valet.
 
				LONGFELLOW 
		He talks about women as if they were cattle.
 
				WALTER 
		Every man to his taste, sir.
 
				LONGFELLOW 
		Tell me, Walter, are all those stories I hear 
		about my uncle true?
 
				WALTER 
		Well, sir, he sometimes had as many as twenty 
		in the house at the same time.
 
				LONGFELLOW 
		Twenty! What did he do with them?
 
				WALTER 
		That was something I was never able to find 
		out, sir.
 
						WIPE OFF TO:

	EXT. CORRIDOR
74.	MED. SHOT 
	Longfellow, exiting his bedroom, wearing a coat and hat. He comes to 
	the top of a grand staircase, looks around slyly and sees that no one 
	is watching. He slides down the bannister and touches the statue at 
	the bottom for good luck.
 
	He starts for the door. When he gets there he finds his way barred by 
	two husky-looking mugs. He looks up surprised.
 
				FIRST BODYGUARD
		Hey, you going out?
 
				LONGFELLOW 
		Why, yes. Isn't that all right?
 
				2ND BODYGUARD 
		No. Don't ever want to go out without telling 
		us.

				LONGFELLOW
		Who are you?
 
				BODYGUARDS
		We're your bodyguards.

				LONGFELLOW
		Oh, yeah.
 
				2ND BODYGUARD 
		Yeah, Mr. Cobb said stick to your tail no 
		matter what.
 
				LONGFELLOW 
		That's very nice of Mr. Cobb - but I don't want 
		anybody sticking to my tail no matter what.
 
				FIRST BODYGUARD 
		Sorry, mister. Orders is orders.

				LONGFELLOW 
 		Is that so?
  
				2ND BODYGUARD 
		Yes, sir. We gotta get you up in the morning 
		and we gotta put you to bed at night.
 
				FIRST BODYGUARD 
		Only it's all right. No matter what we see -
		we don't see nuttin', see?
 
				LONGFELLOW
 			(smiling) 
		That's going to be fun.
 
				2ND BODYGUARD
		Some people like it.
 
	Longfellow glances around the room thoughtfully, then continues:
 
				LONGFELLOW
		Uh, will you do something for me before we go 
		out?
 
				FIRST BODYGUARD 
		Sure!
 
	The first bodyguard eagerly takes out a pistol. The second bodyguard 
	slaps it away.
 
				2ND BODYGUARD 
			(to first bodyguard) 
		Put that away, slug! 
			(to Longfellow) 
		At your service!
 
				LONGFELLOW 
		I got a trunk in that room. Will you get it 
		out for me?
 
				2ND BODYGUARD
		Certainly.

				FIRST BODYGUARD 
		With pleasure.
  
 	The two bodyguards accommodatingly enter a closet. The moment they are 
	gone, Longfellow closes the door calmly and turns the key.
 
				BODYGUARDS 
			(ad-lib) 
		Hey, hey! We're your bodyguards. You can't do 
		this!

	Longfellow whistles as he exits.
 
 						DISSOLVE TO:
 
	EXT. FRONT OF HOUSE 
75.	MED. CLOSE SHOT 
	Longfellow comes out, glances over the horizon. The air is filled 
	with a slight drizzle and he sighs happily.
 
						CUT TO:
 
	INT. TAXI CAB 
76.	CLOSE SHOT 
	Babe and two photographers, Bob and Frank, are huddled conspiratorially 
	in the back seat of a taxi cab.
 
				BABE 
			(pointing) 
		There he is. Yep, that's him.
 
				BOB
		That's who?
 
				BABE 
		Get the cameras ready and follow me.
 
				FRANK 
		What are you going to do?
 
				BABE 
		Never mind. Follow me and grab whatever you can 
		get.
 
				BOB 
		I suppose it's going to be the same old thing.
 
				FRANK 
		I tell you that dame's nuts.
 
				BOB
		Right.
 
 						CUT TO:

	EXT. FRONT OF HOUSE 
77.	MED. CLOSE SHOT 
	Longfellow is exiting front gate.
 
78.	MED. SHOT
	From his angle. Out of the shadows a girl comes into view and staggers 
	forward. She reaches a tree and clutches it weakly. Then her strength 
	failing, she crumples to the ground.
 
79.	MED. CLOSE SHOT
	Longfellow's eyes widen in apprehension as he starts forward -
	CAMERA FOLLOWING HIM. He reaches the girl and bending down, lifts
 	her head. We see it is Babe Bennett. Her eyes are closed, apparently 
	in a dead faint.
 
80.	CLOSE SHOT - LONGFELLOW AND BABE - LOW ANGLE 
	Longfellow studies her face for a moment, then starts to lift her. 
	As he does so, her eyes open and she looks up at him, feigning
	bewilderment.

				LONGFELLOW
 		You fainted.

				BABE 
			(feebly) 
		Oh, did I? I'm sorry...
 
 	She struggles to get to her feet.
 
81.	WIDER ANGLE
	Longfellow tries to assist her.
 
				LONGFELLOW 
 		Can I help you?
 
				BABE 
		No, thank you. I'll be all right.
 
				LONGFELLOW 
		Look, this is my house. I'd like to--
 
				BABE 
		Oh, no, really - I'll be all right.
 
 				LONGFELLOW
		What happened?
 
				BABE 
		Well, I guess I walked too much. I've been 
		looking for a job all day. I found one, too. 
		I start tomorrow.
			(backing away)
		You've been awfully kind. Thank you very much.
 
	As she leaves him, Longfellow watches her, full of sympathy. She 
	takes a few steps and, again feigning weakness, falls against the 
	iron fence, clutching it. Longfellow rushes to her assistance.
 
82.	CLOSE TWO SHOT
 
				LONGFELLOW
			(looking around)
		Hey, taxi!
 
						CUT TO:

	INT. TAXI CAB 
83.	CLOSE SHOT
 
				BOB 
			(to driver)
		Hey, stupe! Follow that cab they just got into, 
		will you? Hurry up! Step on it!
 
 				FRANK
		Come on, come on!
 
				BOB
		Hurry up!

						DISSOLVE TO:
 
	INSERT: AN ELECTRIC SIGN:

		"TULLIO'S -- EAT WITH THE LITERATI"
 
						DISSOLVE TO:
 
	INT. TULLIO'S 
84.	MED. CLOSE SHOT 
	A corner table, surrounded by ferns, at which Longfellow and Babe sit. 
	She's still eating.
 
				LONGFELLOW 
		Feel better now?
 
				BABE 
		Mmm, it tastes so good. Mr. Deeds, I don't know 
		how I can ever thank you.
 
				LONGFELLOW 
		Tell me more about yourself.
 
				BABE 
		Well, I guess I've told you almost everything 
		there is to tell. My folks live in a small town 
		near Hartford. I'm down here alone trying to 
		make a living.
				(hanging her head) 
		Oh, I'm really just a nobody.
 
	Longfellow spots a strolling violinist. He furtively beckons the 
	fellow over. The musician leans into them with romantic strains.
 
				BABE 
			(as the musician finishes and strolls away) 
		Oh, that was so lovely. Thank you.
 
				LONGFELLOW 
		You were a lady in distress, weren't you?

				BABE 
			(looks up)
  		What?

				LONGFELLOW
		Oh - uh - nothing.

85.	WIDER ANGLE
	As a waiter enters the scene and begins removing dishes.
 
				LONGFELLOW 
		Waiter! Has anybody come in yet?
 
				WAITER 
		Huh? Oh, no. Nobody important.
 
				LONGFELLOW 
		Be sure and point 'em out to me, won't you?
 
				WAITER  
		Uh-huh.
 
				LONGFELLOW 
		I'm a writer myself, you know.
 
	The waiter throws Longfellow a sidelong glance of complete boredom.
 
				WAITER  
		Uh-huh.

				LONGFELLOW 
		I write poetry. 

				WAITER  
		Uh-huh.

	He exits.
 
86.	CLOSE TWO SHOT - BABE AND LONGFELLOW
 
				BABE 
		You've been having quite an exciting time here, 
		haven't you? All those meetings and business 
		deals and society people - haven't you been 
		having fun?
 
				LONGFELLOW
		No. That is, I didn't --
			(pause - while he looks at her) 
		Until I met you. I like talking to you, though-- 
			(moodily) 
		Imagine my finding you right on my doorstep.
 
87.	WIDER ANGLE
	The waiter enters again.
 
				WAITER 
		Brookfield just came in.
 
				LONGFELLOW
 		Oh, the poet? Where?
 
				WAITER 
		Over at that big round table. The one that 
		looks like a poodle.
 
	Longfellow stares off scene - his eyes full of worship.
 
				LONGFELLOW 
			(to Babe) 
		Look - there's Brookfield, the poet. 

    				BABE 
			(looks also)
		Really?

88.	MED. SHOT
	From their angle, to show people at a table, engaged in conversation.
 
89.	MED. CLOSE SHOT
	At Longfellow's table. He stares off at them, awed. Babe watches his 
	face.
 
90.	MED. SHOT - AUTHOR'S TABLE 
	A group of five men, drinking - as the waiter enters.
 
				WAITER 
			(confidentially - indicating Longfellow) 
		Pardon. Longfellow Deeds, who just inherited the 
		Semple fortune, wants to meet you.
 
				BROOKFIELD 
		Oh, yes. I read about him. He writes poetry on 
		postcards.
 
				HENABERRY 
		Let's invite him over. Might get a couple of 
		laughs. Getting rather dull around here.
 
				MORROW
		It's always dull here.
 
				BROOKFIELD 
			(rising)
		I'll get him.

				HENABERRY 
		Good.
 
 						DISSOLVE TO:
 
91.	MED. SHOT - ROUND TABLE 
	At which they are all seated now. Babe sits next to Longfellow, who is 
	the center of attraction. Brookfield is just finishing introductions.
 
				BROOKFIELD 
		Henaberry, Mr. Morrow, Bill - this is Mr. Deeds 
		and his fiancee from Mandrake Falls.
 
92.	MED. CLOSE SHOT
 
				THE GROUP
			(ad-lib) 
		How do! 
		Hello!
 		Nice to meet you!
 
				LONGFELLOW 
		Nice of you to ask us to come and sit with you. 
		Back home we never get a chance to meet famous 
		people.
 
				BILL 
			(calling waiter)
		Waiter! A little service here.
 
				THE GROUP 
			(ad-lib) 
		Yes!
		Mr. Deeds is a distinguished poet. 
		A drink for Mr. Deeds!
 
				HENABERRY 
		He's a poet. Have a drink.
 
				LONGFELLOW 
		I don't want it, thank you.
 
				HENABERRY 
		Why, you must drink! All poets drink!
 
92. 	MED. CLOSE SHOT - THE GROUP
 
				BILL 
		Tell us, Mr. Deeds. How do you go about writing 
		your poems? We craftsmen are very interested in 
		one another's methods.
 
				HENABERRY 
		Yes. Do you have to wait for an inspiration, or 
		do you just dash it off?
 
				LONGFELLOW 
			(self-consciously)
		Well, I don't know. I--
 
				HENABERRY 
		Mr. Morrow, over there, for instance, just 
		dashes them off.
 
				MORROW 
		Yes. That's what my publishers have been 
		complaining about.
 
	They all laugh superficially.
 
 
93.	CLOSE SHOT GROUP - BABE AND LONGFELLOW 
	Babe glances up at Longfellow, to see if he's aware that he is being
	laughed at. But he apparently isn't.
 
				LONGFELLOW 
			(laughing feebly) 
		Your readers don't complain, Mr. Morrow.
 
				MORROW'S VOICE
		Oh, thanks. Thanks.
 
				BROOKFIELD
		How about you, Mr. Deeds?
 
				LONGFELLOW 
		Well, I write mine on order. The people I work 
		for just tell me what they want and then I go 
		to work and write it.
 
				BROOKFIELD 
		Amazing! Why, that's true genius!
 
				HENABERRY 
		Yes. Have you any peculiar characteristics when 
		you are creating?
 
				LONGFELLOW 
		Well, I play the tuba.
 
	They all laugh.
 
				MORROW 
		I've been playing the harmonica for forty years - 
		didn't do me a bit of good.
 
94.	CLOSE SHOT - GROUP

				BROOKFIELD 
		You wouldn't have one in your pocket, would you, 
		Mr. Deeds?

				LONGFELLOW
			(smiling)
		What? A tuba?
 
	They all laugh.
 
				BROOKFIELD 
		No, a postcard - with one of your poems on it.
 
	Longfellow is beginning to sense he is being kidded.
 
				LONGFELLOW
			(his face sober)
		No.
 
				HENABERRY 
		You mean to tell me you don't carry a pocketful 
		around with you?
 
				BROOKFIELD 
		Too bad! I was hoping you'd autograph one for 
		me.
 
				HENABERRY 
		I was too.
 
				BILL
		Quite right.
 
95. 	MED. GROUP SHOT 
	As they keep on. Longfellow has his eyes leveled on each speaker in 
	turn, obviously cognizant of their ill-concealed jibes.
 
				HENABERRY 
		Wait a minute, boys. Perhaps Mr. Deeds would 
		recite one for us.
 
				THE OTHER'S VOICES  
			(ad-lib) 
		Yes!
 
				BROOKFIELD 
		That's a very good idea. Nothing like a poet 
		reciting his own stuff.
 
				ONE OF THE OTHERS 
		How about a Mother's Day poem, Mr. Deeds?
 
				HENABERRY 
		Exactly! Give us one that wrings the great 
		American heart.
 
				THE GROUP 
			(ad-lib)
		Yes.

	Babe has been watching Longfellow, interested. Now, when their voices 
	die down - and they wait expectantly - he speaks quietly.
 
				LONGFELLOW
			(deeply hurt) 
		I guess I get the idea. I guess I know why I 
		was invited here. To make fun of me.
 
96.	MED. SHOT - GROUP
 
				SEVERAL VOICES
			(ad-lib) 
		Oh, come now.
		I wouldn't say that.
 
				HENABERRY
		Look, he's temperamental.
 
				LONGFELLOW 
			(leveling off at him) 
		Yeah, what if I am? What about it?
 
	Henaberry's face sobers.
 
				LONGFELLOW 
			(simply) 
		It's easy to make fun of somebody if you don't 
		care how much you hurt 'em. 
			(to Brookfield) 
		I think your poems are swell, Mr. Brookfield, 
		but I'm disappointed in you. I know I must look 
		funny to you, but maybe if you went to Mandrake 
		Falls you'd look just as funny to us. Only 
		nobody would laugh at you and make you feel 
		ridiculous - 'cause that wouldn't be good 
		manners.
 
97.	CLOSE SHOT - LONGFELLOW 
	As he rises, continuing:
 
				LONGFELLOW 
		I guess maybe it is comical to write poems for
		postcards, but a lot of people think they're 
		good. Anyway, it's the best I can do. So if 
		you'll excuse me, we'll be leaving. I guess I 
		found out that all famous people - aren't big 
		people.
 
98.	MED. SHOT 
	The group watches him silently as he leaves the table accompanied by 
	Babe. For a moment they are nonplussed - then they break into raucous 
	laughter - all but Morrow.
 
99.	CLOSE TRUCKING SHOT 
	With Longfellow and Babe as they take several steps. Then he abruptly 
	stops.
 
				LONGFELLOW 
			(turning to them) 
		There's just one thing more. If it weren't for 
		Miss Dawson being here with me, I'd probably 
		bump your heads together.
 
				BABE
			(quickly)
		Oh, I don't mind.
 
	Longfellow stares at her for a moment.
 
				LONGFELLOW 
		Then I guess maybe I will.
 
	He starts back toward the table.
 
100.	MED. SHOT AT TABLE
	Protectively, Brookfield and Henaberry rise from their chairs. But 
	they are too late, for Longfellow clips Brookfield on the chin first 
	with his left fist - and with his right catches Henaberry on the jaw. 
	The punches are almost simultaneous. The surprise attack catches the 
	men off-guard and they fall backward. A waiter rushes forward to 
	escort Longfellow and Babe out.
 
 				WAITER  
 			(calling out)
		Manager!
 
	Morrow, who never budged from his chair, and who has watched 
	Longfellow with great admiration, now rises to catch up to him.
 
				MORROW 
			(an outcry) 
		Eureka!

	INT. FOYER OF TULLIO'S
101.	MED. SHOT
	As Morrow catches up to Longfellow and Babe, who are on their way 
	out. The waiter is shooing people away.
 
				WAITER 
		Step aside, step aside!
 
	Morrow barges forward. Longfellow and Babe turn.
 
				MORROW 
			(obviously groggy with drink)
		Say fellow, you neglected me - and I feel very 
		put out.
			(points to his chin) 
		Look, sock it right there, will you? Lay one 
		right on the button, but sock it hard.
 
102.	CLOSE SHOT - THE THREE
 
				LONGFELLOW 
		That's all right. I got it off my chest.
 
				MORROW 
		The difference between them and me is I know 
		when I've been a skunk. You take me to the 
		nearest news-stand and I'll eat a pack of your 
		postcards raw. Raw!
 
	Longfellow and Babe smile. As Morrow continues to speak, he sways 
	drunkenly and would fall over backwards a couple of times in 
	midsentence if the alert Longfellow didn't have a clutch on his 
	collar.
 
				MORROW 
		Oh, what a magnificent deflation of smugness. 
		Pal, you've added ten years to my life! A poet 
		with a straight left and a right hook - 
		delicious! Delicious! You're my guest from now 
		on - forever and a day - even unto eternity.
 
				LONGFELLOW 
		Thanks, but Miss Dawson and I are going out to 
		see the sights.
 
				MORROW 
		Fine, fine. Swell. You just showed me a sight 
		lovely to behold, and I'd like to reciprocate. 
		Listen, you hop aboard my magic carpet--
			(Longfellow catches him before he falls backward 
			in his enthusiasm)  
		--thanks - and I'll show you sights that you've
		never seen before.
 
				LONGFELLOW 
		I'd kind of like to see Grant's Tomb - and the 
		Statue of Liberty.
 
103.	CLOSE SHOT - GROUP
	Favoring Morrow.
 
				MORROW 
		Well, you'll not only see those, but before the 
		evening's half through, you'll be leaning 
		against the Leaning Tower of Pisa - you'll mount 
		Mt. Everest. I'll show you the Pyramids and all
 		the little Pyramiddes, leaping from sphinx to
 		sphinx. Pal, how would you like to go on a real, 
		old fashioned binge?
 
				LONGFELLOW 
			(puzzled) 
		Binge?
 
				MORROW
		Yes. I mean the real McCoy. Listen, you play 
		saloon with me, and I'll introduce you to every 
		wit, every nitwit, and every half-wit in New 
		York. We'll go on a twister that'll make Omar 
		the soused philosopher of Persia look like an 
		anemic on a goat's milk diet.
 
	Longfellow saves him - once again - from crashing over.
 
104.	CLOSE SHOT - GROUP 
	Featuring Longfellow.
 
				LONGFELLOW 
			(vaguely) 
		That ought to be fun.
 
				MORROW 
		Fun? Say, listen, I'll take you on a bender that 
		will live in your memory as a thing of beauty 
		and joy forever.
			(to someone off) 
		Boy! Boy! My headpiece!
 
	He exits from the scene.  CAMERA FOLLOWING HIM.
 
				MORROW 
			(to the world in general) 
		Oh, Tempora! Oh, Moeraes! Oh, Bacchus!
 
	He bumps into a woman, who glares at him.
 
				WOMAN
		Oh, you're drunk.
 
				MORROW
			(unmindful) 
		Oh, you're right.

105.	CLOSEUP - BABE AND LONGFELLOW
 
				LONGFELLOW 
			(to Babe) 
		I guess if we go with him, we'll see things, 
		huh?
  
	She looks up at his face, amazed at his innocence.
 
				BABE 
		Yes, I guess we will.
 
						FADE OUT:
 
	INT. MAC'S OFFICE 
106.	MED. SHOT 
	Mac is reading the story, eyes sparkling. Babe is sprawled in a chair, 
	doing tricks with a coin.
 
				MAC 
			(reads)
		"I play the tuba to help me think.' This is one 
		of the many startling statements made by 
		Longfellow Deeds - New York's new Cinderella 
		Man - who went out last night to prove that his 
		uncle, the late M.W. Semple - from whom he 
		inherited $20,000,000 - was a rank amateur in 
		the art of 'standing the town on its cauliflower 
		ear' ..."
 
	He looks up.
 
				MAC 
		Cinderella Man! That's sensational, Babe! 
		Sensational!
 
				BABE 
		It took some high-powered acting, believe me.
 
				MAC 
		Did it?
 
				BABE 
		I was the world's sweetest ingenue.
 
				MAC 
		Is he really that big a sap?
 
107.	CLOSE SHOT - THE TWO 
	Favoring Babe.
 
				BABE 
		He's the original. There are no carbon copies 
		of that one.
 
				MAC 
		Cinderella Man! Babe, you stuck a tag on that 
		hick that'll stick to him the rest of his life. 
		Can you imagine Cobb's face when he reads this?
 
				BABE 
		If we could sell tickets, we'd make a fortune.
 
	She covers the coin with palm of other hand, and the coin disappears. 
	But Mac is too excited to pay any attention.
 
				MAC
		How'd you get the picture?
 
				BABE 
		Had the boys follow us.
 
				MAC 
		Marvelous!
			(reads again)
		"At two o'clock this morning, Mr. Deeds tied up 
		traffic while he fed a bagful of doughnuts to a 
		horse. When asked why he was doing it, he 
		replied: 'I just wanted to see how many 
		doughnuts this horse would eat before he'd ask 
		for a cup of coffee." 
			(laughs) 
		Beautiful! What happened after that?
 
				BABE 
		I don't know. I had to duck to get the story 
		out. He was so far along he never even missed 
		me.
 
				MAC 
		When're you going to see him again?
 
				BABE 
		Tonight, maybe.
			(looks at her watch) 
		I'll phone him at noon. 
			(explaining)
		Oh, my lunch hour. I'm a stenographer, you 
		know. Mary Dawson.
 
108. 	MED. SHOT - THE TWO 
	Favoring Mac.
 
				MAC 
			(laughing) 
		You're a genius, Babe - a genius!
 
				BABE 
		I even moved into Mabel Dawson's apartment - in 
		case old snoopy Cobb might start looking around.
 
				MAC 
			(all excited)
		Good! Good! Stay there. Don't show your face 
		down here. I'll tell everybody you're on your 
		vacation. They'll never know where the stories 
		are coming from. Stick close to him, Babe - you 
		can get an exclusive story out of him every day 
		for a month. We'll have the other papers crazy. 
			(starts for her) 
		Babe, I could kiss you!
 
109.	WIDER ANGLE
 
				BABE 
			(sidestepping)
		Oh, no. No. Our deal was for a month's vacation 
		with pay.
 
 				MAC
		Sure.

     				BABE
		With pay! 

	She is out the door.
 
				MAC 
			(yelling after her) 
		You'll get it, Babe. You'll get it.
 
						DISSOLVE TO:

	INT. LONGFELLOW'S BEDROOM
110.	CLOSE SHOT
	Walter leans over the bed violently, shaking Longfellow, who is lost 
	in drunken sleep.
 
				WALTER 
		Mr. Deeds - Mr. Deeds, sir - you really must 
		get up. It's late!
 
				LONGFELLOW 
			(without budging - without opening his eyes)
		You're Walter, aren't you?
 
				WALTER 
		Yes, sir.
 
 				LONGFELLOW 
		I just wanted to make sure.
 

111.	CLOSE SHOT - WALTER
	He smiles. 

				WALTER
		If you'll permit me to say so, sir, you were 
		out on quite a bender last night, sir.
 
112.	CLOSE SHOT - LONGFELLOW
	Longfellow opens one eye - and then the other, blinking. As 
	consciousness returns to him, he glances around the room as if to 
	get his bearings.
 
				LONGFELLOW 
		Bender? You're wrong, Walter. We started out to 
		a binge but we never got to it.
 
113.	MED. CLOSE SHOT - THE TWO 
	Walter offers him a drink on a tray.
 
				WALTER 
			(humoring him) 
		Yes, sir.
 
				LONGFELLOW 
		What's that?
 
				WALTER 
		A Prairie Oyster, sir.
 
				LONGFELLOW 
			(slow to comprehend anything)
		Prairie? Oysters?
 
				WALTER 
		Yes, sir. It makes the head feel smaller.
 
	Longfellow takes it and downs it in one swig.
 
				LONGFELLOW 
			(his face finally reacting) 
		Oh. Oh!
			(remembering) 
		Has Miss Dawson called yet?
 
				WALTER 
		Miss Dawson, sir? No, sir. No Miss Dawson has 
		called, sir.
 
				LONGFELLOW 
		She was a lady in distress. She wouldn't let me 
		help her. Got a lot of pride. I like that.
 
				WALTER
		Oh, I do too, sir.
 
				LONGFELLOW 
		I'd better call her up and apologize. I don't 
		remember taking her home last night.
 
				WALTER 
		I'd venture to say, sir, you don't remember much 
		of anything that happened last night, sir.
 
114.	CLOSE SHOT - THE TWO 
	Favoring Longfellow.
 
				LONGFELLOW 
		What do you mean? I remember everything! Hand 
		me my pants - I wrote her phone number on a 
		piece of paper.
 
				WALTER 
		You have no pants, sir.
 
 	Longfellow looks up slowly. Walter goes on:
 
				WALTER 
		You came home last night - without them.
 
				LONGFELLOW 
			(after a double take)
		I did what!
 
				WALTER 
		As a matter of fact, you came home without any 
		clothes. You were in your - uh - shorts. Yes,
		sir.
 
				LONGFELLOW 
		Oh, don't be silly, Walter. I couldn't walk 
		around in the streets without any clothes. I'd 
		be arrested.
 
				WALTER 
		That's what the two policemen said, sir.
  
				LONGFELLOW
		What two policemen?
 
				WAITER 
		The ones who brought you home, sir. They said 
		you and another gentleman kept walking up and 
		down the streets, shouting: "Back to nature! 
		Clothes are a blight on civilization! Back to
		nature!"
 
	Longfellow watches his face, fascinated. Slowly it is all coming back 
	to him.
 
				LONGFELLOW 
		Listen, Walter, if a man named Morrow calls up, 
		tell him I'm not in. He may be a great author, 
		but I think he's crazy. The man's crazy, Walter.
 
115.	REVERSE ANGLE 
	Favoring Walter.
 
				WALTER 
		Yes, sir. By the way, did you--
 
	Longfellow slowly swings out of bed into a sitting position. Walter 
	kneels to put on Longfellow's slippers. Longfellow balks, points, 
	silently reminding Walter that he has broken his promise not to kneel 
	down in front of him.
 
				LONGFELLOW 
			(pointing) 
		Please!
 
				WALTER 
		But how'll I put on the slipper, sir?
 
	Longfellow's expression begs no disagreement. Walter stands, fumbling 
	with the shoes from a stooped posture.
 
				WALTER 
			(continuing) 
		Yes, sir. I beg pardon, sir, but did you ever 
		find what you were looking for, sir?
 
				LONGFELLOW 
		Looking for?
 
				WALTER 
		You kept searching me last night, sir. Going 
		through my pockets. You said you were looking 
		for a rhyme for Budington.
 
				LONGFELLOW 
			(flatly) 
		Better bring me some coffee, Walter.
 
				WALTER
		Very good, sir.
			(remembering) 
		Oh, I beg pardon. A telegram came for you, sir. 
			(he hands the telegram to Longfellow) 
		I'll get you some black coffee, sir.
  
116.	MEDIUM SHOT 
	Following Walter's exit. Longfellow quickly opens the telegram. His
 	face clouds. At this moment, Cobb comes bursting into the room - a
 	newspaper in his hand.
 
				COBB 
			(wildly) 
		Did you see all this stuff in the papers?
 
				LONGFELLOW 
			(holding out telegram) 
		Arthur wants to quit!
 
				COBB 
		Arthur! Who's Arthur?
 
				LONGFELLOW 
		He's the shipping clerk at the Tallow Works. 
		Wants a $2 raise - or he'll quit.
 
				COBB 
			(he goes crazy)
		What do I care about Arthur! Did you see this 
		stuff in the paper? How'd it get in there? 
		What'd you do last night? Who were you talking 
		to?
 
	He flings the paper on the bed. Longfellow glances at it, and his 
	face clouds.
 
				COBB 
			(while Longfellow reads)
		And what'd you do to those bodyguards? They quit 
		this morning. Said you locked them up.
 
				LONGFELLOW 
		Oh, they insisted on following me.
 
117.	TWO SHOT
 
				COBB 
			(wildly) 
		What do you think bodyguards are for?
 
				LONGFELLOW
			(glances up) 
		What do they mean by this - "Cinderella Man!"

				COBB 
		Are those stories true?
 
118.	CLOSE SHOT - LONGFELLOW AND COBB 
	Longfellow has his eyes glued on the paper.
 
				LONGFELLOW 
		I don't remember. "Cinderella Man!"  What do 
		they mean by that?
 
				COBB 
		They'd call you anything if you gave them half 
		a chance. They've got you down as a sap.
 
				LONGFELLOW 
			(calmly) 
		I think I'll go down and punch this editor on 
		the nose.
 
				COBB 
			(quickly) 
		No, you don't! Get this clear: Socking people is 
		no solution for anything.
 
119.	TWO SHOT
 
				LONGFELLOW 
		Sometimes it's the only solution.
 
				COBB 
		Not editors. Take my word for it. Not editors!
 
				LONGFELLOW 
		If they're going to poke fun at me, I'm going 
		to--
 
				COBB 
			(bends over, earnestly)
		Listen. Listen, Longfellow. You've got brains, 
		kid. You'll get along swell if you'll only curb 
		your homicidal instincts - and keep your trap 
		shut. Don't talk to anybody! These newshounds 
		are out gunning for you.
 
				LONGFELLOW 
			(referring to paper) 
		But what about this "Cinderella Man"?
 
				COBB 
		That's my job. I'll take care of that. I'll 
		keep that stuff out of the papers - if you'll 
		help me. But I can't do anything if you go 
		around talking to people. Will you promise me 
		to be careful from now on?
 
				LONGFELLOW 
		Yes, I guess I'll have to.
 
				COBB 
			(mopping his brow)
		Thank you.
			(as he goes) 
		If you feel the building rock, it'll be me 
		blasting into this editor.

120.	MED. SHOT
	He exits. During the scene Walter has entered with a tray, which he 
	has adjusted on Longfellow's knee.
 
				LONGFELLOW 
		Cobb's right. I mustn't talk to anybody.
 
				BUTLER 
			(entering) 
		Miss Dawson on the phone, sir.
  
				LONGFELLOW
			(alertly) 
		Who? Miss  Dawson?
 
				BUTLER 
		Yes, sir.
 
				LONGFELLOW 
		Fine. I'll talk to her. Give me the phone, 
		quick. She's the only one I'm going to talk to
 		from now on.

	As the butler scurries around for the phone,
 
 						DISSOLVE TO:
 
	EXT. TOP OF FIFTH AVENUE BUS - NIGHT - (PROCESS) 
121.	CLOSE SHOT - BABE AND LONGFELLOW 
	Longfellow looks around, absorbed. Babe watches him.
 
				LONGFELLOW 
		It's awfully nice of you to show me around like 
		this.
 
				BABE 
		I enjoy it.
 
				LONGFELLOW 
		The Aquarium was swell. If I lived in New York,
		I'd go there every day. I'll bet you do.
 
				BABE 
		Well, I'd like to - but I have a job to think 
		of.
 
	EXT. STREET 
122.	MED. CLOSE SHOT - A TAXI
	Directly behind the bus. A man's head is stuck out of taxi window. We 
	recognize it as one of the photographers, Bob.
 
				BOB 
			(to driver)
		Hey, flap-ears! You better keep following that 
		bus!
 
				DRIVER'S VOICE
		Keep your shirt on!
 
	INT. THE TAXI - PROCESS 
123.	CLOSE SHOT - BOB AND FRANK 
	Two photographers, with their equipment. They keep their eyes glued
	on the bus in front. They return to their seats.
 
				BOB
		It don't look as though we're gonna get any 
		pictures tonight.
 
				FRANK 
		Babe ought to get him drunk again.
 
	EXT. TOP OF BUS
124.	CLOSE SHOT - BABE AND LONGFELLOW 
 
				BABE 
		Got any news--
			(catches herself) 
		I mean, has anything exciting been happening 
		lately?
 
				LONGFELLOW
		Sure. I met you.
 
				BABE 
			(laughs)
		Oh. What's happening about the opera?
 
				LONGFELLOW 
		Oh, that - well, we had another meeting. I told 
		them I'd go on being Chairman if--
			(explaining) 
		I'm Chairman, you know.
 
				BABE 
		Yes, I know.
 
				LONGFELLOW 
		I told 'em I'd play along with them if they 
		lowered their prices - and cut down expenses - 
		and broadcast.
 
				BABE
		What did they say?
 
				LONGFELLOW 
		Gosh, you look pretty tonight.
 
				BABE
		What did they say?
 
				LONGFELLOW 
		Huh? Oh. They said I was crazy. Said I wanted to 
		run it like a grocery store.
 
				BABE 
		What are they going to do?
 
				LONGFELLOW 
			(leans over close to her) 
		Do you always wear your hair like that?
 
125.	WIDER SHOT 
	At this point, two girls pass by, chattering. One girl has a paper 
	open. 
 
				FIRST GIRL 
		Isn't it a scream - "Cinderella Man!" The dope! 
 
				2ND GIRL 
		I'd like to get my hooks into that guy.
 
				FIRST GIRL 
		Don't worry. Somebody's probably taking him 
		for plenty.
 
	They are gone. Longfellow glares after them. Babe is afraid to look 
	up.
 
				LONGFELLOW 
			(quietly) 
		If they were men, I'd knock their heads together.
 
	Babe is silent. Longfellow watches her for a moment.
 
126.	CLOSE SHOT - THE TWO 
	Favoring Longfellow.
 
				LONGFELLOW
		Have you seen the papers?
 
				BABE 
		Uh-huh.
 
				LONGFELLOW 
		That's what I like about you. You think about a 
		man's feelings. I'd like to go down to that 
		newspaper and punch the fellow in the nose 
		that's writing that stuff--
 
127.	MED. CLOSE SHOT - THE TWO
	She looks up, startled.
 
				LONGFELLOW 
		--"Cinderella Man!" I guess pretty soon 
		everybody will be calling me "Cinderella Man."
 
	Babe has had an uncomfortable time of it and quickly changes the 
	subject.

				BABE 
		Would you like to walk the rest of the way? It's 
		so nice out.
 
				LONGFELLOW 
		Yes.
 
				BABE 
		Yeah, let's.

	She jumps up from her seat, and Longfellow follows.
 
	INT. THE TAXI 
128.	MED. CLOSE SHOT 
	Favoring the taxi driver.
 
				DRIVER 
		Hey, wise guys. He's getting off.
 
	This sets off a mad scramble.
 
				BOB AND FRANK
			(ad-lib)
		Hey, come on!
		Pull over to the curb!
 
						DISSOLVE TO:
 
	EXT. RIVERSIDE DRIVE - GRANT'S TOMB 
129.	MED. CLOSE SHOT - LONGFELLOW AND BABE 
	He stands across the street from Grant's Tomb, looking solemn. His 
	eyes moist. She is unaware of his emotion.
 
				BABE 
		Come on, don't you want to see it?
 
	INT. THE TAXI 
130.	MED. SHOT - BOB AND FRANK 
 
				FRANK 
		Feast your eyes. Grant's Tomb!
 
				BOB 
		Is that it?
          		(to driver) 
		Hey, beetle-puss! The Tomb!
 
131.	MED. CLOSE SHOT - LONGFELLOW AND BABE 
	As they approach the monument.
 
				BABE 
		There you are. Grant's Tomb. I hope you're not 
		disappointed.
 
				LONGFELLOW
			(throatily)
		It's wonderful.
 
				BABE 
		To most people, it's an awful letdown.
 
				LONGFELLOW
			(in awe)
		Huh?
 
				BABE 
		I say, to most people it's a washout.
 
				LONGFELLOW 
		That depends on what they see.
 
				BABE 
			(looks up at him) 
		Now, what do you see?
 
132.	CLOSEUP - LONGFELLOW
 
				LONGFELLOW 
		Me? Oh, I see a small Ohio farm boy becoming a 
		great soldier. I see thousands of marching men. 
		I see General Lee with a broken heart, 
		surrendering, and I can see the beginning of a 
		new nation, like Abraham Lincoln said. And I 
		can see that Ohio boy being inaugurated as 
		President--
			(dreamily) 
		Things like that can only happen in a country 
		like America.
 
133.	CLOSEUP - BABE 
	To intercut with above speech. During his recital, she watches his 
	face, fascinated. Her impulse is to laugh, but she finds that she 
	can't.
 
				LONGFELLOW
			(overcome -  he almost chokes on his final words)
		Excuse me!
 
						FADE OUT:
 
	INT. PRIVATE OFFICES 
134.	MED. CLOSE SHOT 
	A switchboard operator fielding calls.
 
				SWITCHBOARD OPERATOR 
		Sorry, Mr. Hopper. Mr. Cedar won't answer his 
		phone. Sorry.
 
				OFFICE CLERK 
			(passing by) 
		Say, what's going on in the boss's office?
 
				SWITCHBOARD OPERATOR 
		Search me. The three 'Cs' and little 'B' have been 
		in there for over an hour.
 
	INT. CEDAR'S PRIVATE OFFICE
135.	FULL SHOT
	Cedar paces the floor. His brothers look worried. Budington is 
	enthroned at Cedar's desk.
 
				BUDINGTON 
		I don't want to be critical, John, but here it 
		is--
 
				CEDAR 
			(pouncing on him)
		Yes, I know. A week's gone by and we haven't got 
		the Power of Attorney yet!
 
				BUDINGTON
		Yes, but you said--
 
				CEDAR 
			(walking way from him)
		I don't care what I said. I can't strangle him, 
		can I?
 
				FIRST BROTHER 
		It's ridiculous for us to have to worry about a 
		boy like that.
			(crosses to desk) 
		Look at these articles about him! "Cinderella 
		Man!" Why, he's carrying on like an idiot.
 
				BUDINGTON 
		Exactly what I was saying to my wife when 
		this--
 
				FIRST BROTHER 
		Who cares what you were saying to your wife?
 
	There is a moment's awkward silence. The silence is broken by the 
	buzzing of the dictograph. Cedar crosses to it and snaps the
	button.
 
136.	CLOSE SHOT AT DESK 
	As secretary's voice comes over dictograph:
 
				CEDAR 
		Yes?

				SECRETARY'S VOICE 
		Mr. and Mrs. Semple are still waiting.
 
				CEDAR 
			(irritated) 
		I can't help it. Let them wait!
 
	He snaps the dictograph off.
 
137.	MED. SHOT GROUP
 
				FIRST BROTHER 
		Those people have been in to see me every day 
		this week.
 
				2ND BROTHER
		Who are they?
 
				CEDAR 
			(dismissing it)
		Relatives of old man Semple.
 
				FIRST BROTHER 
		They keep insisting they should have some 
		nuisance value.
 
				CEDAR 
		Nuisance value?
 
				FIRST BROTHER
		They say if it hadn't been for Deeds, they'd 
		have gotten all the money.
 
				CEDAR 
			(suddenly) 
		Nuisance value.
			(thinks a minute - crosses to door) 
		Maybe they have! Maybe they have! Maybe they 
		have!
			(opens door) 
		Mr. and Mrs. Semple, please. How do you do?
 
	The others all stand around - as the Semples enter.
 
				MRS. SEMPLE
		We've been trying to--
 
138.	MED. CLOSE SHOT - CEDAR AND THE SEMPLES 
 
				CEDAR 
			(smoothly cutting her off) 
		I'm so sorry to have kept you waiting. How are 
		you, sir? I don't know what my secretary could
		have been thinking to keep you waiting this 
		long.
			(to one of his brothers) 
		Will you bring the chairs? Quickly. Will you 
		have a cigar, Mr. Semple?
 
				MR. SEMPLE 
		Thanks.
 
	Semple takes the cigar - rather flabbergasted at all the sudden 
	attention showered upon him.
 
						DISSOLVE TO:
 
	EXT. ROOF OF TALL BUILDING - NIGHT 
139.	MED. SHOT - LONGFELLOW AND BABE
	From over their shoulders, looking down on the lights and teeming 
	activity of Times Square.
 
				BABE 
		There's Times Square.
 
				LONGFELLOW 
		You can almost spit on it, can't you?
  
				BABE
		Why don't you try?
 
	He does try. The wind blows it back on him. She laughs, takes out a 
	handkerchief and wipes it off his coat.
 
				BABE 
			(as she wipes)
		Oh! It's breezy up here. 

	He doesn't say anything right away.
 
				BABE
		You're worried about those articles they're 
		writing about you, aren't you?
 
				LONGFELLOW 
		I'm not worrying any more. I suppose they'll go
		on writing them till they get tired. You don't
		believe all that stuff, do you?
 
	A guilty look spreads over Babe's face.
 
				BABE 
		Oh, they just do it to sell the newspapers, you 
		know.
 
				LONGFELLOW 
		Yeah, I guess so. What puzzles me is why people
		seem to get so much pleasure out of hurting 
		each other. Why don't they try liking each 
		other once in a while?
 
	An awkward pause.
 
				BABE 
		Shall we go?

						DISSOLVE TO:

	EXT. CENTRAL PARK - NIGHT 
140.	MED TRUCKING SHOT 
	As Babe and Longfellow walk.
 
				BABE 
			(spotting a park bench)
		Here's a nice place.
 
				LONGFELLOW 
		Yeah. Anyway, there aren't any photographers 
		around.
 
	EXT. PARK - BEHIND SOME BUSHES
141.	MEDIUM SHOT
	Bob and Frank, sneaking around in the bushes.
 
142.	CLOSE SHOT - LONGFELLOW AND BABE
 
				BABE 
		You know, you said something to me when you 
		first met me that I've thought about a great 
		deal.
 
				LONGFELLOW 
		What's that?
 
				BABE 
		You said I was a lady in distress.
 
				LONGFELLOW
		Oh, that--
 
				BABE 
		What did you mean by that?
 
				LONGFELLOW
		Nothing--
 
	There is a pause.
 
				LONGFELLOW
		Have you got a - are you - uh - engaged or
		anything? 
 
143.	CLOSEUP 
	The corners of her mouth go up in sympathetic amusement.
 
				BABE
		No. Are you?
 
				LONGFELLOW'S VOICE
		No.
 
				BABE
		You don't go out with girls very much, do you? 

				LONGFELLOW'S VOICE
		I haven't.
 
				BABE
		Why not?
 
144.	CLOSE SHOT - THE TWO 
	Favoring Longfellow.
 
				LONGFELLOW
		Oh,  I don't know.
 
				BABE 
		You must have met a lot of swell society girls 
		since you've been here. Don't you like them?
 
				LONGFELLOW 
		I haven't met anybody here that I like, 
		particularly. They all seem to have the St. 
		Vitus Dance.
			(awkwardly) 
		Except you, of course. 
			(a pause) 
		People here are funny. They work so hard at 
		living - they forget how to live. 
			(thoughtfully; leans back) 
		Last night, after I left you, I was walking 
		along and looking at the tall buildings and I 
		got to thinking about what Thoreau said. They 
		created a lot of grand palaces here - but they 
		forgot to create the noblemen to put in them.
 
145.	REVERSE ANGLE 
	Favoring Babe. She stares at him curiously.
 
				LONGFELLOW 
		I'd rather have Mandrake Falls.
 
				BABE 
		I'm from a small town too, you know.
 
				LONGFELLOW 
			(interested)
		Really?

				BABE 
		Probably as small as Mandrake Falls.
 
				LONGFELLOW 
			(finding a kindred soul)
		Gosh! What do you know about that!
 
	Babe leans her head back in a reminiscent mood. We get a feeling that, 
	for the moment, she has forgotten she is Babe Bennett, out on a story.
 
				BABE 
		Ah, it's a beautiful little town, too. A row of 
		poplar trees right along Main Street. Always 
		smelled as if it just had a bath.
 
146.	MED. CLOSE SHOT - THE TWO
	Longfellow watches her face intently.
 
				BABE 
		I've often thought about going back.
  
				LONGFELLOW 
		You have?

				BABE 
		Oh, yes. I used to have a lot of fun there when
		I was a little girl. I used to love to go 
		fishing with my father. That's funny. He was a 
		lot like you, my father was. Talked like you, 
		too. Sometimes he'd let me hold the line while 
		he smoked - and we'd just sit there for hours. 
		And after awhile, for no reason, I'd go over 
		and kiss him and sit in his lap. He never said 
		very much but once I remember him saying: "No 
		matter what happens, honey, don't complain."
 
				LONGFELLOW 
		He sounds like a person worth while knowing.
 
	There is a pause while Longfellow watches her, and she is lost in 
	thought.
 
				BABE 
			(continuing) 
		He played in the town band, too.
 
				LONGFELLOW 
		He did? I play the tuba--
 
				BABE 
		Yeah, I know.
 
				LONGFELLOW 
		What did he play?

				BABE 
		The drums. He taught me to play some.
 
				LONGFELLOW
		He did?
 
				BABE 
		Yes. I can do "Swanee River." Would you like to 
		hear me?
 
				LONGFELLOW 
			(enthusiastically)
		Sure!
 
147.	MEDIUM SHOT 
	She picks up a couple of branches. With the two sticks she drums on
	the bench seat- and sings "Swanee River."
 
	When she is finished, though clearly delighted, he shows her a long 
	face of mock-disappointment.
 
				BABE 
		Oh, I suppose you could do better.
 
				LONGFELLOW 
		Sure. I can sing "Humoresque."
 
				BABE 
		"Humoresque"? I'll bet you don't even know how 
		it goes.
 
				LONGFELLOW 
		Sure. Look! You sing it over again, and I'll do 
		"Humoresque" with you.
 
				BABE 
		It had better be good.
 
	She starts again and he sings "Humoresque" in counterpoint to her 
	drumming.
 
 						CUT TO:
 
	EXT. PARK - BEHIND SOME BUSHES 
148.	CLOSE SHOT - BOB AND FRANK
	They wait with their camera. When they hear the singing, they look
	up, and then at each other in surprise.
 
				BOB 
		I wonder if they'd want to make it a quartet.
 
				FRANK 
		Shhh!
 
149.	MEDIUM SHOT
	Longfellow and Babe. They are having a grand time with their singing. 
	A policeman saunters into the scene and stands watching them for a 
	few seconds, without their being conscious of his presence. He smiles,  
	shakes his head and passes on out of scene. Over the shot we hear the 
	low moan of a siren in the distance.
 
150.	CLOSE SHOT - THE TWO 
	They reach the climax of their song - and laugh joyously. At this
 	moment, the shrieking of the siren is nearer and louder. Longfellow 
	looks up quickly. Excited, he jumps up and runs toward street. Babe 
	looks up, surprised.
 
				LONGFELLOW
 			(as he runs off) 
		Fire engine! Fire engine! I want to see how they 
		do it. Wait for me, will you?
 
151. 	CLOSE SHOT - BOB AND FRANK BEHIND BUSHES 
	Frank grabs the camera.

				FRANK 
		Looks like the evening is not going to be 
		wasted!
 
152.	MEDIUM SHOT 
	They dash by the policeman, who looks up, startled.
 
153.	LONG SHOT
	As the fire engine slows down - and people are beginning to gather. 
	We see Longfellow running toward the truck and hopping aboard.
 
154.	MED. SHOT AT FIRE TRUCK 
	As Longfellow jumps on.
 
				FIREMAN 
		Hello - what do you want?
 
				LONGFELLOW
			(short salute) 
		Captain Deeds - fire volunteer - Mandrake Falls.
 
				FIREMAN 
			(amused) 
		Hi, Cap! Boys, meet the Captain!

155.	LONG SHOT - REVERSE ANGLE
	Bob and Frank running with their cameras toward Longfellow.
 
						DISSOLVE TO:

	INT. LIVING ROOM OF MABEL DAWSON'S STUDIO
156.	CLOSEUP 
 	Of typewriter carriage.  It contains a paper upon which the following 
	is typed:
 
			"CINDERELLA MAN FIRE-EATING DEMON" 
		"Longfellow Deeds, 'The Cinderella Man,' last night 
		threw a 'defy' into the teeth of the New York Fire 
		Department, that when it comes to extinguishing 
		conflagrations - they had better look to their 
		laurels--"
 
	CAMERA PULLS BACK and we find Babe, staring at the sheet of paper in 
	front of her. Her eyes have a distant look.
 
157.	FULL SHOT
	Several feet away from her Mabel Dawson stands in front of an easel, 
	working silently on a painting. She dabs at it and turning, pauses a 
	moment to watch Babe, who at the moment rests her forehead on the 
	typewriter carriage.
 
				MABEL 
			(softly) 
		What's the matter, hon?
 
        			BABE 
			(quickly) 
		Nothing.
 
 	Babe is too much absorbed to hear this. Getting no response, Mabel 
	turns and studies her for a few seconds.
 
				MABEL 
		What's up, Babe? Something's eating you.
 
				BABE
		No. It's nothing.
 
				MABEL 
		My unfailing instinct tells me something's gone 
		wrong with the stew.
 
				BABE 
			(murmuring) 
		Don't be ridiculous.

	She again resumes her typing. Mabel crosses to her and looks over her 
	shoulder.
 
				MABEL 
		You haven't gotten very far, have you? That's
 		where you were an hour ago. Come on, let's 
		knock off and go down to Joe's. The gang's 
		waiting for us.
 
				BABE 
			(jumping up)
		I can't write it, Mabel! I don't know what's 
		the matter with me.
 
	Babe lights a cigarette. Mabel studies her.
 
				MABEL 
			(quietly) 
		Uh-huh. I think I can tell you.
 
	The phone bell rings. Mabel picks it up.
 
158.	CLOSE SHOT AT PHONE
 
				MABEL 
			(into phone) 
		Hello ... 
			(listens) 
		Yes, she's here. Who wants her? 
			(listens) 
		Who?
			(listens) 
		Oh, yes. Yes, just a moment.
			(her hand over the mouthpiece) 
		It's him - whatcha-ma-call-him - the 
		"Cinderella Man." The "Cinderella Man"!
 
	Babe grabs the phone.
 
				BABE 
		Hello.
 
	INT. LONGFELLOW'S BEDROOM 
159.	CLOSE SHOT - LONGFELLOW 
	Who lies dressed in bed, phone in hand.
 
				LONGFELLOW 
			(into phone) 
		Couldn't sleep. Kinda wanted to talk to you. Do 
		you mind?
 
	INT. MABEL'S LIVING ROOM 
160.	CLOSE SHOT - BABE AT PHONE
 
				BABE
			(sincerely) 
		No - not at all. I couldn't sleep either.


	INT. LONGFELLOW'S BEDROOM 
161.	CLOSE SHOT - LONGFELLOW
	At phone.
 
				LONGFELLOW 
		I wanted to thank you again for going out with 
		me.
			(listens)
		Huh? Well, I don't know what I'd do without you. 
		You've made up for all the fakes that I've met.
 
	CONTINUATION SCENE 160
 
				BABE 
		Well, that's very nice. Thank you.
 
	CONTINUATION SCENE 161
 
				LONGFELLOW 
		You know what I've been doing since I got home? 
		Been working on a poem. 
			(listens) 
		It's about you. 
			(listens) 
		Sometimes it's kinda hard for me to say things 
		so I write 'em.
 
	CONTINUATION SCENE 160
 
				BABE 
			(touched)
		I'd like to read it some time.
 
	She listens for a moment, apparently moved by his sweetness.
 
	CONTINUATION SCENE 161
 
				LONGFELLOW 
		Maybe I'll have it finished next time I see you. 
			(listens) 
		Will I see you soon? 
			(listens) 
		Gosh, that's swell, Mary. 
			(listens) 
		Good night.
 
	He hangs up, and lies back - enthralled. 

	CONTINUATION SCENE 160
 
				BABE 
		Good night. 

	INT. APT. LIVING ROOM
162.	MED. CLOSE SHOT - AT PHONE
 
				BABE 
		Mabel, that guy's either the dumbest, the 
		stupidest, the most imbecilic idiot in the 
		world or he's the grandest thing alive. I can't 
		make him out.
 
163.  MED. CLOSE SHOT - THE TWO
	
				MABEL
			(knowingly)
		Uh-huh. 

				BABE
		I'm crucifying him.
 
				MABEL 
		People have been crucified before.
 
				BABE 
		Why? Why do we have to do it?
 
				MABEL 
		You started out to be a successful newspaper
		woman, didn't you?
 
				BABE 
		Yeah, then what?
 
				MABEL 
			(shrugging)  
		Search me. Ask the Gypsies.
 
				BABE 
		Here's a guy that's wholesome and fresh. To us 
		he looks like a freak. You know what he told me 
		tonight? He said when he gets married he wants 
		to carry his bride over the threshold in his 
		arms.
 
				MABEL 
		The guy's balmy.
 
				BABE 
		Is he? Yeah, I thought so, too. I tried to 
		laugh, but I couldn't. It stuck in my throat.

 				MABEL
		Aw, cut it out, will you? You'll get me 
		thinking about Charlie again.
 
				BABE
		He's got goodness,  Mabel.  Do you know what
		that is?
 
 				MABEL
		Huh?
 
				BABE 
		No - of course you don't. We've forgotten. 
		We're too busy being smart-alecks. 
			(sits at her typewriter)
		Too busy in a crazy competition for nothing.
 
						FADE OUT:

	FADE IN

	SERIES OF INSERTS:
 
		"Cinderella Man Fire-Eating Demon --
		Punches Photographer."
 
						DISSOLVE TO:
 
		"Cinderella Man to Reform Opera-
		Must be put on paying basis - or else -
		says post-card poet."

						DISSOLVE TO:
 
		"Madame Pomponi, Famous Opera Singer, 
		To Launch Deeds on Social Career"
 
						DISSOLVE TO:
 
	INT. LONGFELLOW'S BEDROOM 
164.	MEDIUM SHOT 
	Longfellow is in bed in his pajamas, playing the tuba. Walter enters.
 
				WALTER 
		I beg pardon, sir. I beg pardon, sir.
 
	Longfellow stops, looking daggers at him.
 
				WALTER 
		Madame Pomponi is on the telephone, sir.
 
				LONGFELLOW 
		Who?
 
				WALTER 
		Madame Pomponi. She says everything is all set 
		for the reception.
 
				LONGFELLOW 
		What do you mean by coming in here when I'm 
		playing?
 
				WALTER 
		But she's on the telephone--
 
				LONGFELLOW
		Get out.
			(pointing) 
		The evil finger's on you. Get out!
 
	Walter hurries out. Longfellow jumps up and chases him down the grand
 	staircase. Longfellow stops at the top of the stairs, struck by an 
	idea.
 
	INT. GRAND STAIRCASE 
165.	WIDE ANGLE 
	Showing Walter at the bottom of the stairs and Longfellow at the top.
 
				LONGFELLOW 
		Stop!
 
	Walter halts. Longfellow gives a shout from the top of the stairs.
	There is a discernible echo.
 
				LONGFELLOW
		Hey, did you hear that?
 
				WALTER
		What, sir?
 
 	Longfellow gives another shout.  There is another echo. He tries it
	again - louder. Another echo. It is all very satisfactory.
 
				WALTER
			(pleased) 
		Why, that's an echo, sir!
 
				LONGFELLOW
		You try it.
 
				WALTER
			(timidly) 
		Me, sir?
 
				LONGFELLOW
			(an order)
		Yeah.
  
	Walter gives a bird-like hoot. There is an echo.

				LONGFELLOW
			(firmly)
		Louder.
 
	Walter gives a louder hoot. And louder. Each time, an echo.

	A butler in a bathrobe emerges to see what all the hullabaloo is 
	about. Longfellow spots him.
 
				LONGFELLOW
			(to butler) 
		You try it.
 
				BUTLER
		Me, sir?
 
	But the butler clearly relishes the opportunity. He gives a little
	high-pitched squeak.
 
				LONGFELLOW
		Louder!
 
 	The butler tries it again - much better.  Another man-servant has 
	emerged. Longfellow points to him.
 
				LONGFELLOW
		You try it!

	The manservant tries it - very raspy, another tone altogether.

				LONGFELLOW 
			(waving like a conductor)
		All together!
 
 	A symphony of hoots, shrieks, barks and echoes.
 
				LONGFELLOW 
		Again !
 
	The household staff do it again.
 
				LONGFELLOW 
			(surveying the scene - then, dramatically)
		Let that be a lesson to you.
 
	With that, Longfellow spins on his heel and returns to his bedroom. 
	There is a pause. The butler takes command of the other two. 

				BUTLER 
			(gesturing imperiously)
		Go back to your room, both of you!
 
	Walter and the man-servant hasten to exit.
 
	The butler waits until nobody is looking, then gives one, final hoot. 
	He murmurs to himself with satisfaction as he exits.

						DISSOLVE TO:

	EXT. LONGFELLOW'S HOME - NIGHT 
166.	LONG SHOT
	Limousines arriving - from which guests emerge - in full evening
	dress.
 
	INT. DRAWING ROOM - NIGHT 
167.	MED. SHOT AT DOOR
	Madame Pomponi greets a group of guests. Ad-lib chatter is heard.
 	From inside music emanates.
 
				AD-LIB CHATTER
		Oh, hello darling.
		So good of you to come.
		Sweet of you to ask me. 
		Where is he? 
		I'm just dying to see the "Cinderella Man."
 
	CAMERA MOVES SWIFTLY among groups of people picking out vignettes of 
	conversation. Longfellow is the hot topic.
 
	A husband and a wife whispering:
 
				A HUSBAND 
		Shh! - he may hear you.
 
 				A WIFE
		Even if he heard you, he wouldn't understand.

	A man and a woman gossiping:
 
				A MAN 
		I hear he still believes in Santa Claus.
 
				A WOMAN 
		Will he be Santa Claus? That's what I want to 
		know.
 
	Another man holding forth to two elegantly-dressed women:
 
				ANOTHER MAN 
		Have you all got your slippers ready for the 
		"Cinderella Man"?
 
 				WOMEN 
			(ad-lib)
 		Yes, I have.

	Everybody laughs.
  
				FIRST WOMAN 
		With $20,000,000, he doesn't have to have 
		looks!
 
				2ND WOMAN 
		He won't have it long with that Pomponi woman 
		hanging around him.
 
	Two women in evening dress twittering like birds:
 
				FIRST WOMAN 
			(to other woman) 
		My dear, I hear he can't think unless he plays 
		his tuba!
 
 						DISSOLVE TO:

	INT. MABEL'S BEDROOM
168.	FULL SHOT
	Babe is listlessly packing her few things in a small handbag. She
 	slowly and meticulously folds a silken undergarment, wrapping it in
	tissue.  Her eyes have a distant look. Mabel watches her, concerned. 
	There is a long pause before either of them speaks.
 
				MABEL 
			(breaking the silence)
		You're a fool, Babe.
 
				BABE 
		I just couldn't stand seeing him again.
 
				MABEL 
		Running away is no solution.
 
169.	MED. CLOSE SHOT - THE TWO
	Babe is unresponsive.
  
				MABEL 
			(after a pause) 
		What'll I tell him if he calls up?
 
				BABE 
		Tell him I had to leave suddenly. I got a job in
		China - some place.
 
				MABEL 
		You're acting like a school girl.
 
				BABE 
			(suddenly - tensely)
		What else can I do? Keeping this up is no good. 
		He's bound to find out sometime. 
			(softly) 
		At least I can save him that.
 
	They are suddenly startled by the boisterous entrance of Bob and 
	Frank, whose voices are heard as they barge in.
 
170.	MEDIUM SHOT 
	Babe, not wishing to explain to them, hides her bag - and follows
 	Mabel to greet them in the living room.
 
	INT. LIVING ROOM 
171.	MED. FULL SHOT
 	The boys cross to a table and drop their cameras.

				BOB AND FRANK 
		Say, where is everybody? Come on, Babe - the 
		artillery's ready.
 
 	Mabel enters. Babe stands in doorway.
 
				MABEL 
			(by way of greeting) 
		It's those two sore spots again.
 
172.	CLOSE SHOT
 
				BOB 
		You shoulda been down to the office today, Babe.
 
				FRANK 
		Yeah. Mac threw Cobb out again.
 
				BOB 
		Boy, was he burning.
 
				FRANK 
			(reaching for a bottle)
 		Just one little drink - and then we're ready to 
		shoot.
 
				MABEL 
			(grabbing it away) 
		Just a minute. No, you don't.
 
				BABE 
		We're not going out tonight.
 
				BOB 
		Thought you had a date with him.
 
				BABE 
		It's off. He's having a party at his house.
 
173.	MED. CLOSE SHOT 
	Frank, Bob and Mabel.
 
				FRANK 
		Say, what's the matter with her now!
 
				MABEL 
		You wouldn't know if I drew you a diagram. Now, 
		run along and peddle your little tin-types.
 
				BOB 
		What is this? Throwing us out of here's getting 
		to be a regular habit.

	There is a knock on the door. They all look up.
 
174.	CLOSE SHOT AT DOOR
	As Mabel opens the door slightly. We see Longfellow. Mabel's eyes open 
	in surprise.

				LONGFELLOW
		Is Mary Dawson here? I'm Longfellow Deeds. 

175.	CLOSE SHOT - BOB AND FRANK 
	They stand -  stupefied.
 
176.	CLOSE SHOT - MABEL
	She waves her hand back of her, for them to hide.
 
				MABEL
			(loud - for the boys)
		Oh! Oh, yes, of course. Longfellow Deeds. Come 
		in. Step in, please.
 
177.	CLOSE SHOT - BOB AND FRANK
	They duck behind the sofa, CAMERA PANNING WITH THEM.

178.	FULL SHOT
	Longfellow enters. Mabel closes the door behind him, watching him 
	speculatively. Longfellow turns to Mabel.
 
				LONGFELLOW
		You're Mabel - her sister - aren't you?
 
				MABEL 
			(flustered)
		Huh? Oh, yes - yes, of course. Her sister. Yes,
		I've been her sister for a long time.
 
				LONGFELLOW
		Is she home? 

				MABEL 
		Yeah. What? 

				LONGFELLOW
		Is Mary home?
 
	They look at each other stupidly - smiling feebly.

179.	CLOSE SHOT ON TABLE 
	Featuring the camera. A hand comes in from behind the sofa and yanks 
	the camera out of sight.

180.	MEDIUM SHOT 
	Mabel and Longfellow still standing, looking at each other.
 
				MABEL 
		Oh, Mary? Yes, of course. Well, I don't know 
		whether she's home or not. I'll see.
 
	As she turns, Babe appears in doorway.
 
				MABEL 
		Why there she is!  Of course she's home. 
			(feebly) 
		Stupid of me ...
 
				BABE 
		Hello.
 
				LONGFELLOW 
		Hello, Mary. I waited in the park for you over 
		an hour. I thought maybe you'd forgotten.
 
181.	MED. CLOSE SHOT - LONGFELLOW AND BABE
	Mabel in b.g.
 
				BABE 
		I didn't think you could come with the party and 
		everything.
 
				LONGFELLOW 
		Oh, I wouldn't let them stop me from seeing you. 
		So I threw them out!

				BABE 
		You threw them out!
 
182.	CLOSER SHOT

				MABEL
		You mean--
			 (gesturing with hands) 
		--by the neck or something?
 
				LONGFELLOW 
		Sure. They got on my nerves, so I threw 'em out.
 
	Mabel raises her eyebrows.
 
				LONGFELLOW 
		I guess that'll be in the papers tomorrow. It 
		will give 'em something else to laugh at.
 
183.	CLOSEUP - BABE  
	Her face clouds - miserably.
 
				LONGFELLOW'S VOICE
			(lightly) 
		I don't mind though. I had a lot of fun
		doing it.

				BABE 
			(quickly) 
		Would you like to go for a walk?
 
184.	MED. CLOSE SHOT
 
				LONGFELLOW
		Yes, if it isn't too late.
 
				BABE 
			(going to bedroom)
		I'll get my hat.
 
	She disappears, leaving Mabel and Longfellow again staring at each 
	other, self-consciously. Mabel smiles, ill-at-ease.
 
				LONGFELLOW
		Nice day out - er, nice night - wasn't it? -
		isn't it?
 
				MABEL 
			(tremulously)
		Yes, lovely. We've had a lot of nice weather 
		lately.
 
				LONGFELLOW 
			(after a pause) 
		It would be a nice night to go for a walk, don't 
		you think?
 
				MABEL 
		Oh yes, I think it'd be a swell night to go for 
		a walk. A nice long one.

185.	CLOSE SHOT - BEHIND SOFA
	Bob and Frank, holding their breaths.
 
 
186.	MEDIUM SHOT 
	Babe comes out of bedroom.
 
				BABE 
		Ready?
 
				LONGFELLOW
		Gosh, she looks better every time I see her. 
 
				BABE
			(vaguely)
		Thank you.
 
 	She crosses to the door.
 
				LONGFELLOW 
			(to Mabel) 
		Goodnight. Don't worry. I won't keep her out 
		late.
 
				MABEL 
		Thank you so much. Good night.
 
	They exit. Mabel sighs relievedly. The boys jump from their crouching 
	positions.
 
				FRANK 
			(wobbling forward) 
		Ow! My foot's asleep!
 
				BOB 
			(grabbing camera) 
		Come on - let's go!
 
 	Frank grabs his camera and both bolt toward the door. Mabel gets there 
	one step ahead of them, and blocks their path.
 
				MABEL 
		No, you don't. Just a minute. No more 
		photographs.

						DISSOLVE TO:

	EXT. FRONT OF BABE'S HOME 
187.	CLOSE TRUCKING SHOT 
	As they walk slowly down the front steps.
 
				LONGFELLOW 
		The reason why I wanted to take a walk, Mary, is 
		'cause I wanted to talk to you.
 
				BABE 
		Let's just walk, okay?
 
				LONGFELLOW 
		All right.
 
188.	CLOSE TRUCKING SHOT 
	As they walk along a foggy street, on their faces.
 
				LONGFELLOW
		Mary, I'm going home
 
				BABE 
		Are you? When?
 
				LONGFELLOW
		In a day or so, I think.
 
				BABE
		I don't blame you.
 
189.	CLOSE TWO SHOT 
	Continuing on them, as they slowly walk around the block.
 
				LONGFELLOW 
		A man ought to know where he fits in. I just 
		don't fit in around here. I once had an idea I 
		could do something with the money, but they 
		kept me so busy here, I haven't had time to 
		figure it out. I guess I'll wait till I get 
		back home.
 
 	There is a long pause. Both lost in their own thoughts.
 
				LONGFELLOW 
		Do you mind if I talk to you, Mary? You don't 
		have to pay any attention to me.
 
 				BABE
		No. I don't mind.
 
				LONGFELLOW 
		All my life, I've wanted somebody to talk to. 
		Back in Mandrake Falls, I always used to talk to 
		a girl.
 
 				BABE
		A girl?

				LONGFELLOW 
		Oh, an imaginary one. I used to hike a lot 
		through the woods and I'd always take this 
		girl with me so I could talk to her. I'd show 
		her my pet trees and things. Sounds kind of 
		silly but we had a lot of fun doing it. 
			(smiling) 
		She was beautiful.
         		(then moodily) 
		I haven't married 'cause I've been kinda 
		waiting. You know, my mother and father were a 
		great couple. I thought I might have the same 
		kind of luck. I've always hoped that some day 
		that imaginary girl would turn out to be real.
 
	They have arrived back at the front steps of Babe's home.
 
				LONGFELLOW 
		Well, here we are again.
 
				BABE 
		Yes, here we are again. 
			(after a pause) 
		Good night.
				LONGFELLOW 
			(then, quickly - his voice faltering) 
		Mary - I - excuse me--
 
190.	CLOSE TWO SHOT 
	Favoring Babe. She cuts him off, her voice shaking.
 
				BABE 
		Goodbye, darling. Don't let anybody hurt you 
		again - ever. They can't anyway. You're much 
		too real. You go back to Mandrake Falls. That's 
		where you belong - goodbye!
 
191.	WIDER ANGLE
	She runs up the steps.
 
				LONGFELLOW 
		Mary--

	She stops and turns.  He walks up close to her.
 
192.	CLOSER SHOT - THE TWO
 
				LONGFELLOW 
		You know the poem I told you about? It's 
		finished.
 
	His hand goes to his breast pocket - and then slowly is withdrawn - 
	without bringing out the poem.
 
				LONGFELLOW 
		Would you like to read it? It's to you.
 
				BABE 
			(scarcely audible)
		Yes, of course.
 
	He now takes the poem out. The paper is folded. He hands it to her and 
	she slowly unfolds it. Just as she is about to read Longfellow lays a 
	hand on her arm.
 
				LONGFELLOW 
			(a little frightened)
		You don't have to say anything, Mary. You can 
		tell me tomorrow what you think.
 
	She looks into his eyes, but does not respond. Then she holds the 
	paper up and begins reading. Longfellow watches her anxiously.
 
193.	CLOSEUP - BABE 
	Reading softly:
 
				BABE 
		"I tramped the earth with hopeless beat -
		Searching in vain for a glimpse of you. 
		Then heaven thrust you at my very feet, 
		A lovely angel - too lovely to woo."
 
	The last words come with difficulty. Babe's eyes are slowly welling up.
 
194.	CLOSE SHOT - THE TWO 
	Babe continues reading:
 
				BABE 
		"My dream has been answered, but my life's just 
			as bleak, 
		I'm handcuffed and speechless in your presence 
			divine -
		For my heart longs to cry out, if it only would 
			speak, 
		'I love you, my angel - be mine, be mine.'"
 
	Her voice is choked when she finishes. She does not look up until she 
	refolds the paper. He stands close to her, waiting expectantly. 
	Finally, she glances up. Her cheeks are moist, and her face clouded. 
	Impulsively, she throws her arms around his neck, kissing him.
 
				BABE 
		Oh, darling!

	Longfellow's arms encircle her and for a few moments they remain in 
	an emotional embrace.
 
				LONGFELLOW 
			(huskily) 
		You don't have to say anything now. I'll wait 
		till tomorrow - till I hear from you.
 
195.	CLOSEUP - BABE 
	Her eyes are beset with fears. She loves him - but knows how hopeless 
	it all is. She slowly starts freeing herself from his embrace.
 
196.	MED. CLOSE SHOT - THE TWO
	As Babe, weeping softly, frees herself from his embrace.
 
	Longfellow gives a yelp of joy and leaps down the steps. He trips over 
	a garbage pail and bumps into passersby, making a racket as he zig-zags 
	down the street and out of scene.
 
				A VOICE 
			(shouting) 
		Hey, what's the big idea?
 
						FADE OUT:

	FADE IN
	INT. NEWSPAPER OFFICE - DAY 
197.	CLOSE SHOT - MAC 
	Behind his desk.
 
				MAC 
		Stop it. Babe! Stop it! What do you mean, 
		you're quitting! You might as well tell me I'm 
		quitting.

	As he speaks, CAMERA DRAWS BACK to reveal Babe near a window, peering 
	out moodily. Mac crosses over to her side.
 
				MAC 
		What's bothering you, huh?
 
				BABE 
			(after a pause) 
		Last night he proposed to me.
 
				MAC 
		Proposed to you! You mean he asked you to marry 
		him?
 
				BABE 
		Yes. 

				MAC 
			(alert) 
		Why, Babe - that's terrific! 
			(sees it in print) 
		"Cinderella Man Woos Mystery Girl! 
		Who is the Mysterious Girl That--"
 
				BABE 
		Print one line of that, and I'll blow your 
		place up!
 
198.	MED. CLOSE SHOT - THE TWO
 
				MAC 
		Sorry, Babe. Sorry. It would have made a swell 
		story. I just got carried away. That's too bad. 
		So he proposed to you, huh? 
			(intrigued) 
		What a twist! You set out to nail him - and 
		he--
 
				BABE 
			(bitterly) 
		Yeah. Funny twist, isn't it?
 
				MAC 
			(suddenly)
		Say, you haven't gone and fallen for that mug, 
		have you? 
 
	Babe's silence is eloquent.

				MAC 
		Well, I'll be--
 
	He places an arm tenderly around her shoulder.
 
				MAC 
		That's tough, Babe.
 
	Babe smiles wryly.
 
				MAC 
			(interested)
  	What're you going to do?
 
				BABE 
			(walking away) 
		I'm going to tell him the truth.
 
				MAC 
		Tell him you're Babe Bennett? Tell him you've 
		been making a stooge out of him?
 
				BABE 
		I'm having lunch with him today. He expects an 
		answer. It's going to be pretty.
 
				MAC 
		You're crazy! You can't do that!
 
199.	MED. CLOSE SHOT - THE TWO
	Over their shoulders, from behind, as Mac comforts her.
 
				BABE 
		He'll probably kick me right down the stairs. I 
		only hope he does.
 
				MAC 
		I'll put you on another job. You need never see 
		him again, eh?
 
				BABE
		That's the rub.
 
				MAC 
		Oh, as bad as that, huh?
 
				BABE 
			(far-away) 
		Telling him is the long shot - I'm going to 
		take it.
 
	He watches her sympathetically. Babe sighs resignedly.
 
				BABE 
			(looking around)
		Well, it was fun while it lasted, Mac. I'll 
		clean out my desk.
 
	She leaves him. Mac is deeply moved by her problem.
 
						DISSOLVE TO: 

	INT. GRAND STAIRCASE
200.	WIDE SHOT
	As Longfellow, in a buoyant mood, emerges from his room and slides 
	down the bannister of the grand staircase.
 
	INT. INTIMATE DINING ROOM
201.	MEDIUM SHOT
	Table is set for two. Two butlers putter around. Longfellow enters 
	full of expectant enthusiasm. He is in his shirt sleeves. He hovers 
	over them, checking their preparations.
 
				LONGFELLOW
		How's it going? Okay?
 
				BUTLER 
		Yes, quite all right. Thank you, sir.
 
				LONGFELLOW 
			(picking up a salt shaker and examining it) 
		Gold, eh?
 
				BUTLER 
			(as he continues his puttering)
		Yes, sir.

				LONGFELLOW 
		Fourteen carat? 

				BUTLER 
		Yes, sir.
 
				LONGFELLOW 
		Is that the best you've got?
 
				BUTLER 
		Oh, yes sir.

				LONGFELLOW 
			(seizing on another detail) 
		Those flowers are too high. Won't be able to 
		see her.
			(lifts a bowl of flowers off) 
		Get a smaller bowl, will you?
 
				BUTLER 
			(repeating his command as he hands the bowl to the
			other butler)
		A smaller bowl of flowers.
 
				2ND BUTLER 
			(exiting with flowers) 
		Yes, sir. A smaller bowl of flowers.
 
				LONGFELLOW 
			(to butler) 
		Did you get that stuff I was telling you about?
 
				BUTLER
		Stuff, sir?
 
				LONGFELLOW 
		That goo. That stuff that tastes like soap.
 
				BUTLER 
		Oh, yes, sir. Here it is, sir. The pate de fois 
		gras, sir.
 
				LONGFELLOW 
		Yeah, that's fine. Have a lot of it because she 
		likes it.
 
				BUTLER 
		Yes, sir.
 
	The other butler returns with a small bowl of flowers which he places 
	in the center of the table.
 
				LONGFELLOW 
		Now you got the idea. Fine.
 
	He sits in one of the chairs and leans forward in an imaginary 
	conversation with Babe - his lips move but we hear nothing.
 
				LONGFELLOW 
			(motions to butler) 
		Sit over there, will you?
 
				BUTLER 
		Me sir? 

				LONGFELLOW 
		Yes.

	The butler sits.
 
				LONGFELLOW
		Yes. You're too tall. Slink lower, will you?
 
	The butler does it.

				LONGFELLOW
		More. Now forward.
 
 	They are practically nose to nose over the flowers.
 
 				BUTLER
			(seriously)
		How is this, sir?
 
 				LONGFELLOW
			(rising) 
		Perfect! Perfect!
 
				BUTLER
		I wish you luck, sir.
  
				LONGFELLOW
		Thank you. Now don't touch a thing. Leave 
		everything as it is.
 
	He hurries toward his bedroom.

						DISSOLVE TO:
 
	INT. BEDROOM 
202.	FULL SHOT 
	Longfellow enters.
 
				LONGFELLOW 
			(yelling) 
		Walter! Walter! Walter, where are you?
 
	Walter enters, panic-stricken.
 
				WALTER 
		Yes, sir. What is it, sir? Anything happened?
 
203.	MED. CLOSE SHOT
 
				LONGFELLOW 
		Anything happened? I've got to get dressed! I 
		can't meet her like this!
 
				WALTER 
		But she isn't due for an hour, sir.
 
				LONGFELLOW 
		An hour? What's an hour! You know how time 
		flies, Walter. My tie? Get it.
 
				WALTER
		Yes, sir. Very good, sir. Here it is right here, 
		sir. There, sir. 

	While putting it on, he sings "Humoresque" loudly and gaily.
 
204.	MEDIUM SHOT 
	At this moment, Cobb bursts in - his face grim:
 
				COBB 
		Just as I suspected, wise guy! I don't mind you 
		making a sap out of yourself - but you made one 
		out of me, too.
 
				LONGFELLOW 
			(to Walter - merrily) 
		Will you tell the gentleman I'm not in?
 
				COBB 
		Mary Dawson, huh? Mary Dawson, my eye. That dame 
		took you for a sleigh ride that New York will 
		laugh about for years. She's the slickest, 
		two-timing, double-crossing--
 
	At the mention of the name, Longfellow turns for the first time.
 
205.	CLOSEUP - LONGFELLOW
	His face goes livid, as Cobb's voice continues:
 
				LONGFELLOW 
			(between clenched teeth) 
		What are you talking about?
 
206.	MEDIUM SHOT
	Longfellow has started out toward him. In two long strides, Longfellow 
	has grabbed Cobb by the shirt-front, ready to strangle him.
 
				COBB 
		All right. Go ahead. Sock away, and then try to 
		laugh this off.
 
	With his free hand, he reaches into his coat pocket. He unrolls a 
	newspaper. Longfellow shifts his glance over to the photograph in the 
	newspaper Cobb holds up, and slowly his grip on Cobb relaxes. He takes 
	the newspaper.
 
207.	CLOSEUP - LONGFELLOW 
	As he looks at the picture.
 
	INSERT: PICTURE OF BABE BENNETT 
	Under which is the following:
 
		"Louise (Babe) Bennett - wins Pulitzer Prize 
		for reportorial job on Macklyn love triangle."
 
	BACK TO SCENE 
	Longfellow stares long and unbelievingly at the picture.

208.	MED. CLOSE SHOT - COBB AND LONGFELLOW
 
				COBB 
			(adjusting his clothes)
		She's the star reporter on The Mail. Every 
		time you opened your kisser, you gave her 
		another story. She's the dame who slapped that 
		monicker on you - "Cinderella Man." You've been 
		making love to a double dose of cyanide!
 
				LONGFELLOW
			(an outcry) 
		Shut up!
 
	Longfellow, stunned, crosses to the bed - CAMERA PANNING WITH HIM. 
	He slumps down and continues staring at picture.
 
209.	MEDIUM SHOT 
	Cobb crosses to phone and picks up receiver.

						CUT TO:

	INT. NEWSPAPER OUTER OFFICE 
210.	MED. CLOSE SHOT
	Babe is at her desk. She has just finished rummaging through her desk. 
	Many articles are on top. Mac is by her side. Babe flicks the pages 
	of a small loose-leaf book, and hands it to Mac.
 
				BABE 
		This is for you, Mac. The names of all 
		the headwaiters in town. You can always buy a 
		bit of choice scandal from them at reasonable 
		prices.
 
				MAC 
		Aw, listen Babe, I can't let you quit now.
		You're not going through with this thing, are 
		you?
 
	Babe shakes her head with finality, as the phone bell rings.
 
				MAC 
			(picking up receiver) 
		I've seen 'em get in a rut like you before - 
		but they always come back. 
			(into phone) 
		Hello ... Yes. Just a minute
 
	He holds the receiver out to her.
 
				MAC 
		It's for you. In a couple weeks you'll get the 
		itch so bad, you'll be working for nothing.
 
				BABE 
			(into phone)
		Hello ...
 
	INT. LONGFELLOW'S BEDROOM
211.	MEDIUM SHOT 
	Cobb is at the phone.
 
				COBB 
		Babe Bennett? Just a minute.
 
	He listens and hands phone to Longfellow.
 
				LONGFELLOW
			(into phone)
		Hello, Mary?
 
	INT. NEWSPAPER OUTER OFFICE 
212.	CLOSE SHOT - BABE
 
				BABE
			(at phone)
		Oh, hello darling.
 
	Her face goes dead as she realizes she is speaking to Longfellow.
 
	INT. LONGFELLOW'S BEDROOM 
213.	CLOSE SHOT - LONGFELLOW
 
				LONGFELLOW 
			(at phone; strained)
		Is it you who's been writing those articles 
		about me?
 
	INT. NEWSPAPER OUTER OFFICE
214.	CLOSE SHOT At phone.
 
				BABE
		Why - uh - I was just leaving - I'll be up there 
		in a minute--
			(listens)
		Look - uh, yes, I did - but I was just coming up 
		to explain--
 
	The words die in her throat. She looks dully at the receiver.
 
	INT. LONGFELLOW'S BEDROOM 
215.	CLOSEUP - LONGFELLOW
 
				BABE'S VOICE 
			(coming over phone)
		Oh listen, darling, wait a minute! Please! 
		Listen--
 
	He hangs up. His face is a dead mask, every illusion shattered. 
	Slowly, a wry smile appears on his face and, rising, he wanders around 
	the room in deep abstraction. Cobb and Walter watch him 
	sympathetically.
 
 	Longfellow is silent a long time.
 
216.	MEDIUM SHOT 
	As a butler enters.
 
				BUTLER 
		I beg pardon, sir. Shall I serve the wine with 
		the squab, sir?
 
	Longfellow doesn't hear him.
 
				BUTLER
			(tries again)
		I beg pardon, sir.

217. 	CLOSEUP - COBB
	His face softens.
 
				COBB
		If I knew you were going to take it so hard, I
		woulda kept my mouth shut. Sorry.
 
218.	MEDIUM SHOT 
	As finally Longfellow speaks, without turning.
 
				LONGFELLOW 
			(quietly) 
		Pack my things, Walter. I'm going home.
 
				WALTER
		Yes, sir.

	He immediately busies himself.
 
						DISSOLVE TO:

	INT. CORRIDOR 
219.	WIDE SHOT
	Longfellow emerges from his bedroom, walking briskly toward the 
	staircase, immediately followed by Cobb and Walter. Walter is loaded 
	down with suitcases. Longfellow is wearing coat and hat.
 
				COBB 
			(trying to keep up with Longfellow) 
		You shouldn't be running away like this. What's 
		going to happen to the Estate?
 
				LONGFELLOW
		They can have the Estate. 

	As they approach the staircase, a commotion is heard from stairs. 
	Cobb hurries ahead to see what is going on.
 
	INT. GRAND FOYER 
220.	MEDIUM SHOT 
	Two butlers are struggling with a wild eyed man of middle age. They 
	shout in unison.
 
		BUTLERS					FARMER
				(simultaneously)
	You can't come up here!			Let me go! I wanna see him! 	
	He's not home, I tell you!		I wanna see that guy!	
	We'll send for the police!		Let me go!
 
	They continue to struggle as Cobb reaches them.
 
				COBB 
		What's going on here?
 
	The man yanks himself free.
 
				FARMER 
		There he is! I just wanted to get a look at him.
 
	He sees Longfellow over Cobb's shoulder
 
				FARMER 
		There you are! I just wanted to see what kind 
		of a man you were!
 
	He struggles to thrust Cobb aside.
 
221.	FULL SHOT
	Favoring Longfellow, who has reached the bottom of the staircase and 
	watches the man warily.
 
				FARMER 
			(wildly) 
		I just wanted to see what a man looks like that 
		can spend thousands of dollars on a party -
		while people around him are hungry! The 
		"Cinderella Man," huh? Did you ever stop to 
		think how many families could have been fed on 
		the money you pay out to get on the front 
		pages?
 
	Cobb forcibly restrains the man.
 
				COBB 
		Come on! Take him out of here!
 
				FARMER 
		Let me go!
 
				LONGFELLOW
			(an order)
		Let him alone.
 
				FARMER 
		Let me alone!
			(threateningly) 
		If you know what's good for you - you'll let me 
		get this off my chest!
			(to Longfellow) 
		How did you feel feeding doughnuts to a horse? 
		Get a kick out of it, huh? Got a big laugh? 
			(sarcastically) 
		Did you ever think of feeding doughnuts to 
		human beings! No!
 
	Longfellow stares at him.
 
				WALTER 
			(quietly) 
		Shall I call the police, sir?
 
				LONGFELLOW
		No!
			(to man) 
		What do you want!!
 
				FARMER 
		Yeah - that's all that's worrying you. What do 
		I want? A chance to feed a wife and kids! I'm a 
		farmer. A job! That's what I want!
 
				LONGFELLOW 
		A farmer, eh! You're a moocher, that's what you 
		are! I wouldn't believe you or anybody else on a 
		stack of bibles! You're a moocher like all the 
		rest of them around here, so get out of here!
 
				FARMER 
		Sure - everybody's a moocher to you. A mongrel 
		dog eating out of a garbage pail is a moocher to
		you!
 
				COBB 
			(starting to push him towards the door)
		This won't do you any good--
 
	The man shoves him away, suddenly whips out a gun and levels it at him.
 
				FARMER 
		Stay where you are, young feller. Get over 
		there.
 
	Cobb backs away and the man points the gun at Longfellow, who remains 
	staring at him, immobilely.
 
				FARMER 
			(tensely) 
		You're about to get some more publicity, Mr. 
		Deeds! You're about to get on the front page 
		again! See how you're going to like it this 
		time!
			(voice rises) 
		See what good your money's going to do when 
		you're six feet under ground. You never thought 
		of that, did you? No! All you ever thought of 
		was pinching pennies - you money-grabbing hick! 
		You never gave a thought to all of those starving 
		people--
 			(his voice wavers) 
		--standing in the bread lines--
			(huskily) 
		--not knowing where their next meal was coming 
		from! Not able to feed their wife and kids. 
			(voice breaks) 
		Not able to--
 
	He can't go on. A sob escapes. He reaches up and brushes away a tear 
	with a rough hand. It seems to bring him to his senses. He glances 
	down and seeing the gun in his hand - stares at it in surprise. He 
	realizes what he was about to do.
 
				FARMER 
			(scarcely audible)
		Oh!
 
222.  MED. SHOT - THE GROUP 
	The man slumps into a chair and the gun drops to the floor. Cobb bends 
	quickly and picks it up. Longfellow never moves.
 
				FARMER 
			(dead voice - staring into space)
		I'm glad I didn't hurt nobody. Excuse me.
 
	He turns his head slowly and peers at them with non-seeing eyes, then 
	suddenly he hides his face in his hands and sobs.
 
				FARMER 
			(muffled) 
		Crazy. You get all kinds of crazy ideas.
 
	Longfellow watches him pityingly.
 
				FARMER 
		Sorry. I didn't know what I was doing.
 
	The rest of it seems to come out of him effortfully - his voice
 	breaking.
 
				FARMER 
		Losing your farm after twenty years' work - 
		seeing your kids go hungry - a game little wife 
		saying "Everything's going to be all right." 
			(stridently)
 		Standing there in the bread lines. It killed me
		to take a handout.
          		(pathetically) 
		I ain't used to it. 
			(resigned) 
		Go ahead and do what you want with me, mister. 
			(scarcely audible) 
		I guess I'm at the end of my rope.
 
	He sobs openly. While he was speaking, Longfellow was peering into the 
	man's face intently. As the man finishes
 
						DISSOLVE TO:
 
	EXT. INTIMATE DINING ROOM
223.	CLOSE SHOT
	At the table that was all set for Babe. The man sits, eating. He
	seriously bends over his food. Longfellow sits opposite him - his
	eyes glued on the man, absorbed in profound thought.
 
				MAN [FARMER]
			(tentatively)
		Can I take some of this home with me?
 
	Longfellow nods.

						DISSOLVE TO:

	INSERT: NEWSPAPER HEADLINES
 
		"LONGFELLOW DEEDS TO GIVE FORTUNE AWAY 
		Huge farming district to be divided into ten 
		acre farms - fully equipped - at a cost of 
		eighteen million dollars."
 
						WIPE OFF TO:
 
	INSERT: SECOND NEWSPAPER HEADLINE
 
		"DEEDS' PLAN STARTLES FINANCIAL WORLD"
 
						WIPE OFF TO:
 
	INSERT: THIRD NEWSPAPER HEADLINE
 
		"STAFF OF WORKERS INVESTIGATE APPLICANTS"
 
						WIPE OFF TO:
 
	INSERT: FOURTH NEWSPAPER HEADLINE
 
		"THOUSANDS OF UNEMPLOYED STORM DEEDS HOME FOR 
		FARM DONATIONS"
 
						WIPE OFF TO:
 
	EXT. LONGFELLOW DEEDS' HOME
224.	LONG SHOT
	A mob of shouting men and women clamor at the gates, being jostled 
	around by the police.
 
	INT. LONGFELLOW'S DRAWING ROOM
225.	FULL SHOT
	It has been transformed into an office. Longfellow sits at one end of 
	the room. Clerks are at several desks. On one side and leading out 
	into the hall, is a long line of men waiting to be interviewed.
 
226.	MED. SHOT
 
				VOICE
		Go on. Step lively.
 
	At Longfellow's desk. He has a two days' growth of beard and looks 
	worn. Next to him is a clerk. In front of him is an applicant.
 
				LONGFELLOW 
			(as the camera moves in on him)
		Are you married? 

				APPLICANT
		Yes, sir.

				LONGFELLOW 
		Any children?
 
				APPLICANT
		No, no children.
 
				LONGFELLOW 
		All right, Mr. Dodsworth. I think you'll qualify.
			(he hands him a form) 
		Take this to that desk over there for further 
		instructions.
 
				APPLICANT
			(gratefully - exiting)
		Thank you very much.
 
				LONGFELLOW 
		Next, please.

	A man steps forward and stands in front of his desk.
 
227.	MED. CLOSE SHOT AT DESK
	Longfellow, clerk and applicant.
 
				LONGFELLOW
			(to clerk) 
		How many does that make?

				CLERK 
		You've okayed 819.

				LONGFELLOW
			(wearily)
		Is that all?
 
				CLERK 
		That's all.
 
				LONGFELLOW
		It's going awfully slow. We need 1100 more.
			(phone rings)
		Hello ...  oh, yes. Yes. The water development
		seems okay - but I don't like the road layout
		yet. Come up tonight about ten and bring the
		maps. Right. 

	He hangs up.

228.	WIDER ANGLE 
	As the farmer in previous sequence approaches.
 
				FARMER 
		Here's the order for the plows. We got a good 
		price on them.
 
				LONGFELLOW 
		That's fine. Thanks. I'll look 'em over later.
 
				FARMER 
		Oh. Mr. Deeds--
 
	Longfellow looks up. Farmer goes on:
 
				FARMER 
		--my wife wanted me to tell you she--
			(hesitates) 
		--she prays for you every night.
 
				LONGFELLOW 
			(embarrassed) 
		Well, thanks, I - uh--
			(to applicant in front of him) 
		How do you do? What is your name?
 
				RANKIN
		George Rankin, sir.
 
 	While Longfellow writes--
 
229.	CLOSE SHOT AT A DESK 
	Cobb is on the phone.
 
				COBB 
			(into phone)
		No! No! We're not buying any bulls. What's that? 
		Listen, fellow, bull's what I've been selling
		all my life! 

	He slams down the receiver.

	INT. CEDAR'S OFFICE
230.	MEDIUM SHOT
	Cedar behind his desk. In front of him is Henry Semple and his nagging 
	wife. Cedar shoves a paper in front of Semple.
 
				CEDAR 
		We have very little time. He's ordered me to 
		turn everything over to him immediately. We 
		have to work fast before he disposes of every 
		penny.
 
				WIFE 
		See! I told you something could be done. I knew 
		it all the time. Sign it, dear.
 
				SEMPLE 
			(hesitating) 
		We may get into trouble.
 
				WIFE 
		Oh, don't be so squeamish.
 
				CEDAR 
		There are millions involved. After all, you 
		have your legal rights. You're his only living 
		relatives.
 
231.	CLOSE SHOT AT DESK 
	As Semple picks up the paper.
 
				SEMPLE 
		What's it say?
 
				WIFE 
		That's your agreement with Mr. Cedar, if we win. 
 
				CEDAR 
		You see, my end is going to be rather expensive. 
		I have a lot of important people to take care 
		of. I have the legal machinery all set and 
		ready to go. I've been working on nothing else 
		for the last week. You say the word, and we'll 
		stop this yokel dead in his tracks.
 
				WIFE 
		Sign it!
 
				SEMPLE 
		Oh, all right.
 
	With the perturbed expression still on his face, Semple reaches over 
	to sign the document. Simultaneously, Cedar flicks a button on his 
	dictagraph.
 
				CEDAR 
			(into dictagraph) 
		Charlie, we're off! Papers all set?
 
				VOICE 
		All set.
 
				CEDAR 
		Okay, then. Go to it. 
			(afterthought) 
		And, Charlie--
 
				VOICE 
		Yeah?
 
				CEDAR
		Find out who wrote those newspaper articles and 
		subpoena them right away.
 
				VOICE 
		Okay.
 
						DISSOLVE TO:
 
	INT. LONGFELLOW'S DRAWING ROOM
232.	MEDIUM SHOT 
	A large, raw-boned Swede stands before Longfellow.
 
				LONGFELLOW
		What is your name?
 
				SVENSON
		Christian Svenson.
 
				LONGFELLOW
		Farmer?
 
				SVENSON
		Yes, ma'am.  

				LONGFELLOW
		Where is your farm?
 
 				SVENSON
		South Dakota north.

				LONGFELLOW
 		South Dakota - north?
 
				SVENSON
		South Dakota - but on the top.
 
				LONGFELLOW
		Oh. Oh!

233.	WIDER ANGLE 
	Cobb enters - very businesslike.
 
				COBB 
		What about your knocking off for lunch?
 
				LONGFELLOW 
		Not hungry. I want to get through this work in a 
		hurry, and then I want to go home. What price 
		did you get on those trucks?
 
				COBB 
		Come on, come on. What are you trying to do, 
		kid? Keel over? You haven't been out of this 
		house in two weeks.
 
				LONGFELLOW 
			(tired) 
		Well, maybe I will have a sandwich. 
			(to Swede) 
		Do you mind waiting a few minutes?
 
				SVENSON 
			(undoing paper package)
		Oh, sure, sure. If you like to have a sandwich, 
		I can give you one, please.
 
	He brings out two huge sandwiches, and hands one to Longfellow.
 
				LONGFELLOW 
			(smiling) 
		Thanks. Thank you. Never mind, Cobb.
 
	He takes it, and he and the Swede silently eat. Longfellow looks up.
 
				LONGFELLOW 
		Good.

	The Swede smiles. Longfellow nibbles his sandwich, then glances around 
	the room. His gaze rests on:
 
234.	LONG SHOT
	Of the long line of applicants waiting for an audience
 
235.	MEDIUM SHOT
 
				LONGFELLOW 
			(calls to Cobb) 
		Cobb! Get lunch for the rest of them.
 
				COBB 
			(entering) 
		What? There must be 2000 of them out there.
 
				LONGFELLOW 
		Well, that doesn't make 'em any less hungry.
 
				COBB 
		Okay, Santa Claus. 2000 lunches.
 
	He exits. Longfellow glances over at the line, smiling.
 
236.	FULL SHOT
	In front of the line there is a slight scuffle, as a man is being 
	pushed forward by some others. He mumbles a protest, tries to get back 
	into position, but the men push him forward again.
 
				GROUP 
			(ad-lib) 
		Go on, say something. Say something!
 
237.	CLOSEUP - LONGFELLOW 
	He looks up inquiringly.
 
238.	MED. CLOSE SHOT - MEN IN LINE
	The man finally is resigned, and stands shifting, ill-at-ease, his head 
	hanging bashfully.
 
				MAN 
		Mr. Deeds, the boys here wanted me to say a 
		little something. They just wanted me to say 
		that--
			(clears his throat) 
		Well, they wanted me to say that--
			(quickly gets it out) 
		We think you're swell - and that's no baloney.
 
				MAN'S VOICE
		Say something more!

239.	CLOSE SHOT - LONGFELLOW 
	He smiles self-consciously.
 
240.	MED. CLOSE SHOT OF MEN 
	The spokesman apparently has not finished yet. Directly behind the 
	line, three officious looking men have made their appearance and wait 
	for him to conclude.
 
				MAN
		Give me a chance, fellas. We're all down and 
		out but when a fellow like you comes along, 
		kinda gives us a little hope - and they just 
		wanted me to say--
 
	It's as far as he gets - as the three strangers break their way
	through the line and approach Longfellow's desk.
 
				ONE OF THE SHERIFFS
			(ad-lib)
		Break it up.
 
241.	MED. SHOT AT DESK
 
				FIRST DEPUTY SHERIFF 
			(pointing to Longfellow)
		That's him.

				2ND DEPUTY SHERIFF
		Are you Longfellow Deeds?
 
				LONGFELLOW
			(looks up)
		Yes?
 
				FIRST DEPUTY SHERIFF 
		Sheriff's office.
			(shows paper)
		 We've got a warrant to take you into custody.
 
				LONGFELLOW
			(without moving)
		A what?
 
				FIRST DEPUTY SHERIFF 
		A warrant for your arrest. You'll have to come 
		along with us.
 
	Cobb enters.

				COBB 
		What's up? What do you mugs want?
 
				FIRST DEPUTY SHERIFF 
		I don't know nothing, buddy. All I know is the 
		Sheriff gives me an insanity warrant to execute.
 
				COBB 
		Insanity! Who's says he's insane?
 
	They all turn to Charlie, who comes forward.
 
				CHARLIE 
		The complainant is a relative of the late 
		Martin Semple. The charges are that Mr. Deeds 
		is insane and incapable of handling the Estate.
 
				COBB 
		Oh, somebody got panic-stricken about his 
		giving his dough away, eh? 
			(to sheriff) 
		Where do you think you're going to take him?
 
				FIRST DEPUTY SHERIFF
		To the County Hospital.
 
				CHARLIE 
		Of course, that's only temporary. A hearing 
		will follow immediately.
 
242.	CLOSEUP - LONGFELLOW 
	As he speaks quietly.
 
				LONGFELLOW 
		That's fine. Just because I want to give this 
		money to people who need it, they think I'm
		crazy.
			(cynically) 
		That's marvelous. That makes everything 
		complete.
 
243.	WIDER ANGLE 
	To include group.
 
				FIRST DEPUTY SHERIFF 
		Let's get going!
 
				COBB 
		Wait a minute! Not so fast. We're going to get 
		a lawyer. I'll call Cedar.
 
				LONGFELLOW
			(thoroughly disillusioned)
		No, don't bother.
 
				CHARLIE 
		As a matter of fact, I'm from Mr. Cedar's 
		office. He represents the complainant.
 
				COBB
		Oh.

	Longfellow glances up at him and smiles bitterly.
 
				FIRST DEPUTY SHERIFF 
		Well, let's go. We're wasting a lot of time.
 
	He goes to one side of Longfellow, and his partner to the other.
	They take Longfellow by the arms. He glances down casually and, 
	suddenly, violently pushes the deputies away from him. They are thrown 
	backward; their eyes widen in surprise.
 
				LONGFELLOW 
			(calmly rising) 
		All right, I'll go. But get your hands off me!
 
244.	MEDIUM SHOT
	Longfellow starts to walk forward, accompanied by Cobb - and the two 
	deputies and Charlie falls in behind them.
 
				THE SHERIFFS
			(ad-lib) 
		Make way! Make way!
 
245.	CLOSE SHOTS OF CLERKS 
	To be intercut with above scene. They stare, petrified, and mumble to 
	each other.
 
246.	MEDIUM SHOT 
	Of the farmers and other applicants. The line has fallen out and they 
	stand in a bunch, staring pathetically and hopelessly at the departing 
	group.
 
247.	CLOSEUP OF THE FARMER 
	Who stands in f.g. of bunch. What is taking place has slowly 
	penetrated his befuddled brain. The disappointment he feared is here. 
	His body imperceptibly sags, his eyes dim - all hope having gone out 
	of them.
 
 						FADE OUT:
 
	FADE IN 

	INSERT: SIGN reading: "COUNTY HOSPITAL"
  
						DISSOLVE THRU TO:
 
	INT. CORRIDOR OF HOSPITAL 
248.	MEDIUM SHOT 
	A guard sits at a desk near a door, talking on the telephone.
 
				GUARD 
			(on phone)
		Yes, most everybody in town has been here to see 
		him. Yes, sir. I won't. Goodbye--
 
	Babe rounds the corner quickly, heading for the door. The guard 
	hurriedly hangs up and stands to block her.
 
				GUARD 
		Sorry, lady--
			(recognizes her) 
		Oh, it's you again.
 
				BABE 
		Oh, please! I've got to see him.
 
				GUARD 
		Now listen, sister, for the fourteenth and last 
		time he don't want to see nobody.
 
				BABE 
			(pleading)
		Will you just give him my name?
 
				GUARD 
			(confidentially)
		Listen, toots, just between us, there ain't a 
		thing in the world the matter with that guy till I 
		mention your name, then he goes haywire!
 
	Babe winces under the blow.
 
	INT. HOSPITAL ROOM 
249.	MEDIUM SHOT
	Longfellow is seated by the far wall, peering moodily out the window. 
	Cobb paces about. Suddenly, he wheels on Longfellow.
 
				COBB
		What are you going to do - just sit back and let
		them railroad you? It's as pretty a frameup as 
		ever hit this rotten town! If you'd just let me 
		get you a lawyer!
 
	Longfellow pays no attention to him.
 
250.	MED. CLOSE SHOT
	As Cobb continues.
 
				COBB 
			(raises his voice)
		You can't walk into that courtroom without 
		being ready to protect yourself in the clinches. 
		Cedar's too smart. With the array of talent 
		he's got lined up against you - you're cooked!
 
	Longfellow is still unresponsive. Cobb thinks a moment, watching him 
	studiously; then pleading tenderly:
 
				COBB 
		Listen, pal - I know just how you feel. A 
		blonde in Syracuse put me through the same 
		paces. I came out with a sour puss - but full 
		of fight. Come on, you don't want to lay down 
		now.
 
	Longfellow is still unresponsive.
 
				COBB 
		Do you realize what's happening? They're trying 
		to prove that you're nuts! If they win the case, 
		they'll shove you in the bughouse. The moment 
		they accuse you of it, they have you half 
		licked. You've got to fight!
 
	Longfellow disregards him and Cobb sighs, resignedly.
 
	INT. CORRIDOR OUTSIDE DOOR 
251.	MED. CLOSE SHOT
	The guard is reading his paper. Babe is still waiting, pacing.
 
				GUARD 
		Go on, sit down, won't you?
 
252. 	MED. CLOSE SHOT AT DOOR
	As Cobb comes out. The guard gets up to check the door is locked.
 
				GUARD
		So long, Mr. Cobb.
 
	Cobb, in a troubled frame of mind, doesn't respond and starts down
	corridor - CAMERA TRUCKS WITH HIM. Babe catches up with him.
 
				BABE 
		Corny!
 
	Cobb doesn't stop. Babe grabs his arm:
 
				BABE 
		Corny!
 
	Cobb stops. 

253.	CLOSE TWO SHOT
	Cobb glares at Babe belligerently.
 
				BABE 
		I've got to see him! I've got to talk to him!
 
				COBB 
		Haven't you done enough damage already?
 
				BABE 
			(ignoring his attack)
		Somebody's got to help him! He hasn't got a 
		chance against Cedar. Look, I've been all over 
		town talking to everybody. I've got Mac all 
		lined up - and the paper's behind him. And I 
		can get him Livingston, too. With a lawyer like 
		Livingston, he's got a fighting chance.
 
				COBB 
			(coldly) 
		You're wasting your time. He doesn't want any 
		lawyers. He's sunk so low, he doesn't want help 
		from anybody.
			(bitterly) 
		You can take a bow for that. 
			(huskily) 
		As swell a guy as ever hit this town, and you 
		crucified him! For a couple of stinking 
		headlines! You've done your bit - now stay out 
		of his way!
 
	He exits abruptly, leaving Babe staring despairingly at his 
	disappearing back, his brutal diatribe ringing harshly in her ears.
 
						FADE OUT: 

	FADE IN 

	INSERT: NEWSPAPER HEADLINES
 
			"DEEDS SANITY HEARING TODAY!
			Semple Heir Charged With Incompetency! 
			'Should Be Confined To An Institution,' 
			Declares Cedar.
 
			"Longfellow Deeds Refuses Counsel; Remains 
			Incommunicado."
 
			"Farmers Aroused At Efforts to Balk Their 
			Benefactor."
 
			"Police Surround Courthouse In Anticipation 
			Of Outbreak."
 
						DISSOLVE TO:
 
	EXT. COURTHOUSE 
254.	LONG SHOT
	Of an unruly mob - being jostled by the police.
 
	INT. CORRIDOR OF COURTHOUSE
255.	LONG SHOT
	The corridor is jammed with curious public endeavoring to gain 
	entrance. Perspiring police fight to keep them back.

	INT. COURTROOM 
256.	FULL SHOT
	It is practically full. The few empty seats are being quickly filled.
	People stumble over each other to find a seat. The judge is not yet at 
	his bench. There is a general chatter of excitement and anticipation.
 
257.	MED. SHOT - FRONT OF COURTROOM 
	Among the spectators Babe sits beside Mac. She stares, expressionless. 
	Mac glances at her sympathetically.
 
258.	MED. SHOT
	Featuring the farmer who broke into Longfellow's house. Near him is 
	the Swede we saw - and others.
 
259.	SHOT INSIDE RAILING 
	Cedar and his assistants arrange their papers. Two dignified gentlemen, 
	psychiatrists, await action, arms folded. Near them is Henry Semple,  
	the complainant, his nose twitching nervously. By his side is his 
	wife, sparkling expectantly.
 
260.	SHOT AT LONG TABLE 
	At which sit a dozen newspaper reporters.
 
261.	MED. CLOSE SHOT 
	From a side door Longfellow enters, accompanied by his guard. 
	Immediately the place is astir. As he advances to a chair in front of 
	a table--
  
262.	MED. FULL SHOT - COURTROOM
	Necks crane for a glimpse. Whispered conversations take place.

263.	CLOSE SHOT - HENRY SEMPLE 
	He looks guilty, nose twitching more violently than ever.

				SEMPLE
			(to Cedar)
		Here he is!

264.	CLOSE SHOT - BABE AND MAC
	Babe sits up, her eyes riveted on Longfellow. Impulsively she starts 
	to rise, but Mac puts a restraining hand on her.

265.	MED. CLOSE SHOT
	Longfellow turns neither to left nor right. He is slumped low in his 
	chair, staring solemnly into space. Cobb breaks into scene and sits 
	down beside him.
 
				COBB 
			(full of excitement)
		Cedar just sent for me. Wants to make a 
		settlement. Here's your chance to get out of 
		the whole mess. What do you say?
 
	He gets no response from Longfellow.

 	There is a stir in the courtroom.

266.	MED. LONG SHOT
	The bailiff calls out as the judge proceeds to his bench.
 
				BAILIFF 
		Quiet, please! The Supreme Court of the State of 
		New York, County of New York, is now in session, 
		the Honorable John May, Judge, presiding. Be 
		seated.
 
267.	MED. CLOSE SHOT
	To include Judge and Longfellow.
 
				JUDGE 
		The court wishes to warn those present that it 
		will tolerate no disturbances. 
			(to Longfellow) 
		Regarding the sanity hearing of Longfellow 
		Deeds, are you represented by counsel, Mr. 
		Deeds?
 
	Almost imperceptibly, Longfellow shakes his head no. The Judge looks 
	troubled. There is a stir in the courtroom.
 
				JUDGE 
		I understand that you have no counsel, Mr. 
		Deeds. In fact, that you have no intention of 
		defending any of these charges. Now, if you 
		wish to change your mind, the hearing can be 
		postponed.
 
	Getting no response from Longfellow, the Judge shrugs his shoulders.
 
				JUDGE 
		Proceed.  
         
						DISSOLVE TO:
 
	INT. COURTROOM 
268.	MEDIUM SHOT 
	Cedar is on his feet.
 
				CEDAR 
			(addressing the court)
		--and in the interests of my client, the only 
		other living relative of the late Martin W. 
		Semple, we cannot permit a fortune so huge to 
		be dissipated by a person whose incompetency 
		and abnormality we shall prove beyond any 
		reasonable doubt.
 
269.	PANNING SHOT OF SPECTATORS
 
				CEDAR'S VOICE 
		I have before me a series of articles written 
		by a newspaper woman who was an eyewitness to 
		his conduct ever since he came to New York.
 
	CAMERA STOPS on Babe and Mac. Cedar's voice goes on:
 
				CEDAR 
		She tells how, in the midst of a normal 
		conversation, he would suddenly begin playing 
		his tuba. She tells of his attacks upon several 
		of our eminent writers - for no apparent reason. 
		In fact, there are many instances not recorded 
		in these articles in which Mr. Deeds satisfied 
		an unnatural desire to smash people up without 
		provocation.
 
270.	MED. SHOT - FRONT OF COURTROOM 
 
				CEDAR 
		I, myself, unable to keep pace with his mental 
		quirks, and constantly fearful of assault, 
		turned down an opportunity to represent him as 
		his attorney. This newspaper woman, whom we 
		have subpoenaed to testify, tells how he tied 
		up traffic for an hour feeding doughnuts to a 
		poor horse. And by his own statement, waiting 
		for that horse to ask for a cup of coffee.
 
	There is laughter in the courtroom - which quickly subsides when the 
	Judge pounds his gavel
 
				CEDAR 
		We have photographs to substantiate this little 
		episode, and other photographs showing Mr.
		Deeds jumping upon a fire engine. This scarcely 
		sounds like the action of a man in whom the 
		disposition of twenty million dollars may safely 
		be entrusted. This writer of these articles - 
		a woman whose intelligence and integrity in the 
		newspaper world is unquestioned - held him in 
		such contempt that she quite aptly named him 
		"The Cinderella Man."
 
271.	CLOSEUP - LONGFELLOW 
 
				CEDAR'S VOICE 
		We have witnesses here from Mandrake Falls, his 
		own home town, who will tell of his conduct 
		throughout his lifetime, proving that his 
		derangement is neither recent nor a temporary 
		one.
 
	Longfellow's interest is only slightly aroused. He lifts his eyes in 
	a casual glance around him.
 
272.	MED. CLOSE SHOT 
	Featuring Cedar.
 
				CEDAR 
		We have others who will tell of his unusual 
		behavior when he invited the great leaders of 
		the musical world to his home, and then 
		proceeded to forcibly eject them. Only recently 
		when he was in the County Hospital for 
		observation, he not only refused to be examined 
		by these gentlemen, the state psychiatrists, but 
		he actually made a violent attack upon them.
 
273.	CLOSE SHOT - THE JUDGE
	As Cedar continues talking, CAMERA PULLS BACK to WIDER SHOT.
 
				CEDAR 
		In these times, with the country incapacitated 
		by economic ailments, and endangered with an 
		undercurrent of social unrest, the promulgation 
		of such a weird, fantastic and impractical plan 
		as contemplated by the defendant, is capable of 
		fomenting a disturbance from which the country 
		may not soon recover. It is our duty to stop it! 
		Our government is fully aware of its 
		difficulties and can pull itself out of its 
		economic rut without the assistance of Mr. 
		Deeds, or any other crackpot.
 
274.	MED. PANNING SHOT
	Of farmers, the Swede and others.
 
				CEDAR'S VOICE 
		His attempted action must therefore be 
		attributed to a diseased mind afflicted with 
		hallucinations of grandeur, and obsessed with 
		an insane desire to become a public benefactor.
 
275.	CLOSE SHOT AT FRONT OF COURTROOM 
	Featuring Cedar.
 
				CEDAR 
			(suddenly) 
		Your Honor, at this time, we would like to call
		our first witness: Miss Louise - Babe - Bennett.
 
276.	FULL SHOT
	There is a mild stir, and all wait expectantly for Babe to appear.
 
				CLERK 
		Miss Bennett, please.
 
	Babe, eyes on Longfellow, slowly walks to the stand.
 
277.	CLOSEUP - LONGFELLOW
	He has his face averted and doesn't look at her.
 
278.	MEDIUM SHOT 
	Babe continues to rivet her eyes on Longfellow, as she is sworn in.
 
				CLERK 
		Raise your right hand, please.
 
	She does so.
 
				CLERK 
		Do you solemnly swear the testimony you may 
		give before this court to be the truth, the 
		whole truth and nothing but the truth, so help 
		you God?
 
				BABE 
		I do.
 
				CLERK 
		State your right name, please.
 
				BABE 
		Louise Bennett.
 
				CLERK 
		Take the stand.
 
279.	MED. CLOSE SHOT AT WITNESS STAND 
	As Cedar steps up to question Babe. Judge in f.g.
 
				CEDAR 
		Miss Bennett, are you employed by the Morning 
		Mail?
 
	There is no answer. Babe continues to stare off at Longfellow, hoping 
	he will look up. Cedar speaks to her again:
 
				CEDAR 
		I must ask you to direct your attention to me.
 
	But Babe's attention remains focused on Longfellow.
 
				BABE 
			(appealing to Judge) 
		Your Honor, this is ridiculous!
  
				JUDGE 
		Please answer the questions.

				BABE 
			(wildly) 
		The whole hearing's ridiculous! That man's no 
		more insane than you are.
 
	The suddenness of her outbreak is startling. The Judge pounds his 
	gavel.
 
280.	WIDER ANGLE - FRONT OF COURTROOM 
	The judge pounding his gavel.
  
				JUDGE
		Miss Bennett, please!
 
				CEDAR
		This is outrageous!
 
				BABE 
			(rising to stand)
		It's obviously a frameup. They're trying to 
		railroad this man for the money they can get 
		out of him!
 
				CEDAR 
		Your Honor!
 
	The Judge pounds his gavel throughout her speech.
 
				JUDGE 
			(highly) 
		Young lady, another outburst like that and I 
		shall hold you in contempt! We're not interested 
		in your opinion of the merits of this case. 
		You're here to testify. Sit down and answer the 
		questions. Proceed.
 
	Cedar beams victoriously.
 
				CEDAR 
		Thank you, Your Honor. Are you employed by the 
		Morning Mail?
 
				BABE
			(sharply)
		No!
 
	Cedar's eyes widen in surprise. There is a light stir.
 
				CEDAR 
			(threateningly)
		You are under oath, Miss Bennett. I ask you 
		again - are you employed by the Morning Mail?
 
				BABE 
			(irritably) 
		No! I resigned last week!
 
281.	CLOSE SHOT - LONGFELLOW 
	As Cedar proceeds without interruption.
 
 				CEDAR'S VOICE
		Well, prior to that time were you employed by 
		the Morning Mail?
 
 				BABE'S VOICE
			(laconically) 
		Yes.
 
282.	CLOSE SHOT AT WITNESS STAND - BABE AND CEDAR
 
				CEDAR 
		Were you given an assignment to follow the 
		activities of Longfellow Deeds?
 
				BABE
		Yes.

				CEDAR 
		Did you subsequently write a series of articles 
		about him?
 
				BABE 
		Yes!
 
				CEDAR 
			(holding them up) 
		Are these the articles?
 
				BABE 
		Yes!

 
				CEDAR 
		Were you present when all these things took 
		place?
  
				BABE 
		Yes!

				CEDAR 
		Are they true! 

				BABE 
		NO!

				CEDAR 
		But they did take place?

				BABE 
		They're colored! Just to make him look silly!
 
				CEDAR 
		And you saw them happen?

				BABE
		Yes, but I--
 
				CEDAR 
			(preemptorily)
		That's all, Miss Bennett.
 
				BABE 
			(half shrieking) 
		It isn't all! I'd like to explain--
 
				CEDAR 
			(brusquely) 
		That's all, Miss Bennett. That's all.
 
283.	MEDIUM SHOT
	A bailiff takes Babe by the arm.
 
				BAILIFF 
		Come on, miss - come on!
 
				CEDAR 
			(simultaneously, to Judge)
		Your Honor, I'd like to submit these articles 
		as evidence.
 
	Babe struggles away from the bailiff.
 
				BABE 
			(frantically)
		Let go of me!
			(steps up to Judge; wildly) 
		What kind of hearing is this? What are you 
		trying to do - persecute the man? He's not 
		defending himself. Somebody's got to do it!
 
	Throughout her tirade, the Judge has been angrily pounding his gavel.
 
				JUDGE 
		Miss Bennett, please!
 
284.	CLOSER SHOT
	Featuring Babe and Judge.
 
				BABE 
		I've got a right to be heard! I've attended 
		dozens of cases like this. They're usually 
		conducted without any formality at all. 
		Anybody can be heard! My opinion is as good as 
		these quack psychiatrists. I know him better 
		than they do.
 
				JUDGE 
		Miss Bennett, if you have quite finished, I 
		should like to inform you that one more 
		utterance from you and I shall place you under 
		arrest.
			(leans back) 
		I'm willing to hear anything anyone has to say 
		but I insist on it being done in an orderly 
		fashion. When you have learned to show some 
		respect for this court, you may return. 
			(dismissing her) 
		Until then, you'd better go back to your seat 
		and calm down.
 
				BAILIFF 
		This way, miss.
 
285.	WIDER ANGLE 
	As Babe is led away, there is another courtroom stir.
 
				BAILIFF'S VOICE
		Order in the court!
 
	When Babe is out of sight, the Judge turns to Longfellow.
 
				JUDGE 
		Mr. Deeds, have you anything to say in defense 
		of these articles?
 
286.	CLOSE SHOT - LONGFELLOW AND COBB  
	Longfellow shakes his head. Cobb glances to him helplessly.
 
287.	CLOSE SHOT - JUDGE
	He shrugs.
 
288.	CLOSE SHOT - BABE
	As she sits down beside Mac - who places an affectionate arm around
	her shoulders.

				JUDGE 
		Mr. Deeds?
			(again no reply) 
		Mark these Exhibit A for the plaintiff.
 
				CLERK 
		Yes, Your Honor.
 
				JUDGE 
		Proceed.   

						DISSOLVE TO:
 
289.	MED. SHOT - FRONT OF COURTROOM
	Two old ladies are being led to the witness stand. Their eyelids 
	flutter excitedly as they go.
 
290.	CLOSE SHOT - LONGFELLOW 
	He looks up, sees the old ladies and smiles at them friendily.
 
291.	MED. CLOSE SHOT AT JUDGE'S BENCH
	Against the drone of the clerk, who swears witnesses in:
 
				CEDAR 
		The Falkner sisters are rather timid, Your Honor, 
		and wish to be together. If the court pleases, I 
		will only have one of them testify.
 
				JUDGE 
			(impatiently) 
		Yes! Yes! Let's get on with it.
 
	Cedar turns to them.
 
292.	MED. CLOSE SHOT AT WITNESS STAND 
	As Cedar addresses one of the old ladies.
 
				CEDAR 
		What is your name, please?
 
				JANE 
		Jane Falkner. This is my sister, Amy.
 
				AMY
			(agreeing)
		Amy. Yes.
 
				CEDAR 
		I'll direct my questions to you, Miss Jane. 
		You can answer for both. Do you know the 
		defendant, Mr. Longfellow Deeds?
 
	The two old ladies look at each other, then in the direction in which 
	Cedar points.
 
				JANE 
		Oh yes, yes - of course we know him.
 
				CEDAR 
			(a little nervously) 
		How long have you known him?
 
	Jane turns to her sister, and they whisper to each other.
 
				JANE 
			(turns to Cedar)
		Since he was born.
 
				AMY 
		Yes. Elsie Taggart was the midwife.
 
				JANE 
		He was a seven-months baby.
 
				CEDAR 
		Thank you, that's fine. Do you see him very often?
 
	The two old ladies have their whispered conference again. 

				JANE 
 		Most every day.
 
 				AMY
		Sometimes twice.
 
				JUDGE
			(irascibly)
		Must we have the echo?
 
				CEDAR 
		Suppose you just answer, Miss Jane. Now, will you 
		tell the Court what everybody at home thinks of 
		Longfellow Deeds?
 
	The two old ladies consult each other once more.
 
				JANE 
		They think he's pixilated.
 
				AMY
		Oh yes, pixilated.
 
				JUDGE 
			(leaning forward)
		He's what?
 
				CEDAR 
			(concerned) 
		What was that you said he was?
 
				JANE
		Pixilated.
 
				AMY
		Uh-huh.
 
				CEDAR
			(patiently)
		Now, that's a rather strange word to use, Miss
		Jane. Can you tell the court exactly what it
		means?

	While the two ladies go into a huddle:
 
293.	CLOSE SHOT - PSYCHIATRISTS 
	As one of them speaks up.
 
				PSYCHIATRIST 
		Perhaps I can explain, Your Honor. The word 
		pixilated is an early American expression - 
		derived from the word 'pixies,' meaning elves. 
		They would say, 'The pixies had got him,' as 
		we nowadays would say a man is 'balmy.'
 
294.	MEDIUM SHOT 
	The Judge nods his understanding. The Falkner sisters nod in pleasant 
	agreement. Cedar sighs victoriously.
 
				CEDAR
		Is that correct? 

				JANE
		Uh-huh. 

 				AMY 
		Uh-huh.
 
				JUDGE 
		Now tell me, why does everyone think he's - uh -
		pixilated? Does he do peculiar things?
 
295.	MED. SHOT TOWARD WITNESS STAND
 
				JANE 
			(after conferring with Amy) 
		He walks in the rain, without his hat, and 
		talks to himself.
 
				AMY 
		Sometimes he whistles.
 
				JANE
		And sings.
 
				CEDAR 
		Anything else?
 
				JANE
		Recently he gave Chuck Dillon a thumping. 
 
				AMY 
		Blacked his eye.
  
				CEDAR 
		And why?

				JANE
		For no reason, I guess. He always does it.  We
		always run into the house when we see him 
		coming.
 
				AMY 
		Never can tell what he's going to do.
 
				JANE 
		He sure is pixilated.
 
				AMY
 		Oh, yes - he's pixilated all right
 
				CEDAR 
		Thank you, ladies. That's all.
 
	Cedar beams. The old ladies leave to resume their seats.

						DISSOLVE TO:

296.	CLOSE SHOT IN WITNESS STAND 
	A Policeman in uniform.
 
				POLICEMAN 
		They kept hollering: "Back to Nature! Back to 
		Nature!" I thought they looked harmless enough 
		so I took them home. I never thought he was 
		cracked.
 
						WIPE OFF TO: 

297.	CLOSE SHOT IN WITNESS STAND 
	The waiter at "Tullio's."
 
				WAITER 
		I'm a waiter. He kept pressing me to point out 
		the celebrities, and so help me Hannah I'm 
		coming out of the kitchen a coupla minutes 
		later and there he is moppin' up the floors 
		with them. I never figured he was a guy 
		looking for trouble.
 
						WIPE OFF TO:

298.	CLOSE SHOT IN WITNESS STAND 
	Mme. Pomponi.
 
				MME. POMPONI 
			(expostulating) 
		He threw us out bodily! But bodily!
 
						WIPE OFF TO:
 
299.	MED. CLOSE SHOT IN WITNESS STAND
	Of one of the bodyguards on witness stand.
 
				BODYGUARD
		We was hired as his bodyguard, see? Well, the
		first crack out of the box, he throws us in a 
		room and locks the door, see? Now, if a thing 
		like that gets around in our profession, we'd 
		get the bird - see? So I says to my partner, 
		"Let's quit this guy, he's nuts!"
 
 						WIPE OFF TO:
 
300.	CLOSE SHOT IN WITNESS STAND 
	A Cockney cabman.
 
				CABMAN 
		I'm very fond of Clara, sir. She's a nice 'orse. 
		And when this bloke 'ere started feedin' 'er 
		doughnuts, I yelled down to him, "Mind what 
		you're doin' down there! Mind what you're 
		doing!" Of course I wouldn't mind, sir, but 
		Clara won't eat nothin' but doughnuts, now.
 
						WIPE OFF TO:
 
301.	WIDE SHOT
	Of one of the photographers (Bob) and enlarged photographs of 
	Longfellow's antics.
 
				BAILIFF'S VOICE 
		Come to order.
 
				CEDAR 
		Your Honor, I wish to call your attention to 
		these exhibits. Mr. Davis, do you recognize 
		these reproductions?
 
				BOB 
		Sure, they're good enlargements. Where'd you 
		have them made?
 
				CEDAR 
		Did you make the originals of them?
 
				BOB 
		Sure. I took the originals. Taking pictures is 
		my business. I photograph a lot of nuts.
 
						WIPE OFF TO:

	As Cedar speaks.

				CEDAR 
		And now, Your Honor, if the court pleases, I 
		shall call upon Dr. Emil Von Holler, if he will 
		be good enough to give us his opinion. Dr. Von 
		Holler, as you know, is the eminent Austrian 
		psychiatrist - probably the greatest authority 
		on the subject in the world. At present he is 
		in this country on a lecture tour, and has 
		graciously volunteered his services. Dr. Von 
		Holler?
 
	While he is still speaking,
 
				VOICE OF BAILIFF 
		Dr. Von Holler!
 
						DISSOLVE TO:

302.	WIDER ANGLE
	As the clerk finishes swearing Dr. Von Holler in.
 
				CLERK 
		Do you solemnly swear the testimony you are 
		about to give in the case now pending before 
		this court shall be the truth, the whole truth 
		and nothing but the truth, so help you God? 
		State your right name, please.
 
				VON HOLLER 
			(a slight Austrian accent)
		Emil Von Holler.
 
				CLERK 
		Take the stand.
 
303.	MED. CLOSE SHOT AT WITNESS STAND
	On Von Holler and Cedar.
 
				CEDAR
		Now Dr. Von Holler  will you kindly tell the
		court what your opinion is on this case?
 
				VON HOLLER 
		This is purely a case of manic depression. In 
		cases of this kind, patients sometimes go on 
		for years before being detected.
 
	He turns to one of the psychiatrists, sitting with the Judge.
 
				VON HOLLER 
		You remember, Dr. Fosdick, in my last book there 
		are some very fine examples.
 
				DR. FOSDICK 
			(nodding)
		Uh-huh.

				VON HOLLER 
		Especially, the one of the young nobleman, you 
		remember?
 
				DR. FOSDICK 
		Oh, yes. Yes, of course Dr. Von Holler. Very 
		interesting.
 
				VON HOLLER 
		It reminds me very much of this one. Nicht wahr?
 
				DR. FOSDICK
		Ja.
 
				VON HOLLER 
		It takes so long to detect them--
			(to Judge) 
		--because their mood changes so often and so 
		quickly. Now, Your Honor, may I show you? May I 
		use the chart?
 
				JUDGE 
		By all means. 
 
	He moves to a blackboard. There are chalk marks on it. A straight line 
	runs diagonally across the center. Other lines run zig-zag over and 
	below this center line.
 
				VON HOLLER 
			(indicating chart)
		Below here, they are extremely depressed, 
		melancholy, impossible to live with, and 
		often become violent.
			(running a line up) 
		From this mood the manic depressive might 
		gradually change until they reach this state. 
			(he reaches the center line) 
		Here is lucidity. Here they are perfectly 
		normal. As normal as you or I--
			(smiling) 
		--assuming, of course, that we are normal. 
			(he starts up with chalk) 
		Then, the mood changes again until--
			(chalk reaches top) 
		--they reach this state, a state of highest 
		exaltation. Here everything is fine. Here the 
		world is beautiful. Here they are so elated - 
		how do you express it?
			(quickly, as it comes to him) 
		--they would give you the shirt off their 
		backs!
 
				CEDAR 
		Dr. Von Holler, how would you say that applied 
		to Mr. Deeds's case?
 
				VON HOLLER 
		The symptoms are obvious. 
			(points to top line) 
		When he was here, on top of the wave, he felt 
		nothing but kindliness and warmth toward his 
		fellow-men. He wanted them around him. So he 
		decided he would give a big reception. But in 
		the meantime, his mood has changed. 
			(chalk goes down) 
		He is now at the bottom of the wave - depressed
		- melancholy. So, when his guests arrive, he 
		throws them out. They are now his imaginary 
		enemies.
 
304.	CLOSE SHOT - LONGFELLOW 
	As Von Holler's voice continues:
 
				VON HOLLER'S VOICE 
		Other instances of high elation are when he 
		plays his tuba, when he writes his poetry, when 
		he chases fire engines in his desire to help 
		humanity. This is contrasted with his present 
		mood, which is so low that even the instinct 
		for self-preservation is lacking.
 
305.	MED. SHOT FRONT OF COURTROOM 
	Von Holler still continues:
 
				VON HOLLER 
		Oh, the man is verrukt. Your Honor, this is 
		decidedly a case of a manic depressive.

				CEDAR 
		Thank you, Dr. Von Holler.
 
	Dr. Von Holler returns to his seat.
 
306.	FULL SHOT - COURTROOM
 
				CEDAR
		Your Honor, we rest.
 
	There is a shifting of bodies, and a renewed interest, as they wait 
	for the next move. The Judge and his own two experts go into an 
	inaudible huddle.
 
307.	CLOSE SHOT - COBB AND LONGFELLOW 
	Longfellow is slumped in his seat, head down.
 
				COBB 
		Come on, what're you going to do? Let them get 
		away with it? They got you cooked.
 
	Longfellow does not budge.
 
	There is an expectant stir in the courtroom among the spectators and 
	rows of reporters.
 
308.	MED. CLOSE SHOT - THE JUDGE AND HIS EXPERTS
	Judge comes out of his huddle and glances at Longfellow.
 
				JUDGE 
			(leaning forward)
		Mr. Deeds, before the court arrives at a 
		decision, isn't there anything you wish to say?
 
309.	CLOSE SHOT - LONGFELLOW AND COBB 
	Longfellow shakes his head slightly.
 
				COBB 
			(whispering) 
		Come on - don't be a sap!
 
	CONTINUATION SCENE 308 
	The Judge watches him a few moments, hesitatingly, and then turns to 
	his experts.
 
310.	MED. SHOT - NEWSPAPER REPORTERS 

				A REPORTER  
		He's sunk.
 
311.	CLOSE SHOT - CEDAR AND HIS CLIENTS, ASSISTANTS ETC.
	They smirk confidently.
 
312.	CLOSE SHOT - BABE AND MAC 
	She stares, panic-stricken.
 
313.	MED. SHOT
	Of the Swede, the farmer, and others. Their faces show their 
	resentment.
 
314.	MED. SHOT FRONT OF COURTROOM

				JUDGE 
			(to the two experts)
		You both concur?
 
				EXPERTS
			(ad-lib) 
		Oh, positively.
 
	The Judge emerges from his consultation with his experts and 
	addresses Longfellow.
 
				JUDGE 
		Mr. Deeds, in view of the extensive testimony 
		and your continued silence and upon 
		recommendation of the doctors, the Court 
		considers it advisable for your own safety that 
		you be committed to an institution as prescribed 
		by law. You need medical attention, Mr. Deeds. 
			(shrugs) 
		Perhaps in a little while--
 
	Suddenly the air is rent with the shrill voice of Babe.
 
				BABE 
		No! No! No! Wait a minute!
 
	All are startled and look up. Babe runs right to the judge.
 
				BABE 
		You can't do it! You've got to make him talk.
 
				CEDAR'S VOICE
		Your Honor, I object!
 
	She turns directly to Longfellow - leaning over close to him.
 
315.	CLOSE SHOT - BABE AND LONGFELLOW 
 
				BABE 
			(pleading softly)
		Oh, darling, please. I know everything I've 
		done. I know how horrible I've been. No matter 
		what happens, if you never see me again, do 
		this for me.
 
				JUDGE'S VOICE
		Miss Bennett, please!
 
				BABE 
			(frantically)
		You said I could speak! You said I could have 
		my say if I were rational. I'm rational. Please, 
		let me take the witness chair.
 
316.	WIDER ANGLE
 
				BABE 
		He must be made to defend himself before you 
		arrive at a decision.
 
				JUDGE 
		Very well. Take the stand.
 
	Babe goes up to the witness stand and sits down.
 
				BABE 
		Oh, thank you!
 
				CEDAR 
			(shouting) 
		Your Honor, what she is saying has no bearing 
		on the case. I object.
 
				JUDGE 
		Let her speak.
 
				BABE 
		I know why he won't defend himself! That 
		has a bearing on the case, hasn't it? He's been 
		hurt! He's been hurt by everybody's he met 
		since he came here, principally by me. He's 
		been the victim of every conniving crook in 
		town. The newspapers pounced on him - made him 
		a target for their feeble humor.

317.	CLOSE SHOT - BABE
 
				BABE 
		I was smarter than the rest of them! I got 
		closer to him so I could laugh louder. Why 
		shouldn't he keep quiet? Every time he said 
		anything it was twisted around to sound 
		imbecilic.
 
318.	CLOSEUP BABE
	As she continues
 
				BABE 
		He can thank me for it! I handed the gang a 
		grand laugh. This is a fitting climax to my 
		sense of humor.
 
319.	WIDER ANGLE
	As Cedar protests.
 
				CEDAR 
		But Your Honor - this is preposterous!
 
	The judge waves him down with a dismissing gesture of his hand.
 
				BABE 
		Certainly I wrote those articles. I was going 
		to get a raise - and a month's vacation! But I
		stopped writing them when I found out what he 
		was all about! When I realized how real he was.
 
320.	CLOSE SHOT - LONGFELLOW 
	As Babe's voice continues:
 
				BABE'S VOICE 
		He could never fit in with our distorted 
		viewpoint because he's honest and sincere - and 
		good. If that man is crazy, Your Honor, the 
		rest of us belong in straight-jackets.

321.	MED. SHOT 
	Cedar jumps up.

				CEDAR 
		Your Honor, this is absurd. The woman's 
		obviously in love with him.

				BABE 
		What's that got to do with it?
 
				CEDAR 
			(shouting) 
		Well, you are in love with him, aren't you?
 
				BABE 
			(shouting back) 
		What's that got to do with it?
 
				CEDAR 
			(louder) 
		You are, aren't you?
 
				BABE 
			(just as loud) 
		Yes!!!
 
322.	CLOSEUP - LONGFELLOW
	To be intercut during her speech. At first he merely glances up at 
	her speculatively. Finally, he begins to show some interest.
 
323.	MED. SHOT FRONT OF COURTROOM 
	Cedar turns to the Judge.
 
				CEDAR 
		Your Honor, her testimony is of no value. Why 
		shouldn't she defend him? It's a tribute to 
		American womanhood - the instinct to protect 
		the weak. I'm not saying that nobody likes the 
		boy. I cherish a fond affection for him myself. 
		But that doesn't mean to say--
 
	In the middle of his speech, Mac - the editor - appears at his elbow. 

				MAC 
		When the windbag here gets through, Your Honor, 
		I'd like to verify what Miss Bennett said. I'm 
		her editor. When she quit her job, she told me 
		what a swell fellow this man was. And anything 
		Babe Bennett says is okay with me.
 
				JUDGE 
		If you have anything to say, you will take the 
		stand.
 
				MAC 
		I've already said it, Your Honor. I just 
		thought I'd like to get my two cents in.
 
	As he starts to go, CAMERA PANNING WITH HIM, he passes Longfellow. He 
	nudges him.
 
				MAC 
		Don't be a sucker, pal. Stand up and speak your 
		piece.
 
	He disappears to his seat.
 
				COBB 
		Your Honor. I've got a couple of cents I'd like 
		to put in--
  
				JUDGE 
		Sit down!
 
				COBB 
		I've been with this man ever since he came to 
		New York--
 
324.	MED. SHOT
	Shooting toward the judge. He pounds his gavel, interrupting Cobb.
 
				JUDGE 
		Sit down! There will be no further 
		interruptions.
 
	Almost simultaneously with the Judge's speech, the farmer, somewhere 
	in the audience, rises to his feet.
 
				FARMER 
		How about us, Mr. Deeds!
 
325.	MED. SHOT
	Shooting toward audience. As the farmer finishes, a dozen others are 
	on their feet.
 
				CROWD 
			(ad-lib) 
		Yes! What about us, Mr. Deeds!
		You're not going to leave us out in the cold! 
		They're trying to frame you, Mr. Deeds!
 
	The turmoil is general, with bailiffs running to quiet them. The Judge 
	pounding his gavel, incensed.
 
				BAILIFF'S VOICE
		Order! Order!
 
				JUDGE 
			(when quiet reigns)
		In the interest of Mr. Deeds, I have tolerated 
		a great deal of informality. But if there is 
		one more outburst, I shall have the courtroom 
		cleared.
 
				LONGFELLOW
		Your Honor--

				JUDGE 
			(surprised) 
		Yes?
		
 				LONGFELLOW 
		I'd like to get in my two cents' worth.
 
				JUDGE 
		Take the stand!

	There is a general stir of excitement - and whispering.
 
326.	CLOSE SHOT - BABE 
	Her eyes sparkle happily.
 
327.	CLOSE SHOT - CEDAR AND CLIENTS
	The clients look up at Cedar, concerned. Cedar comforts them with a 
	confident grimace.
 
328 	MED. SHOT
	To include Longfellow, Judge, and others around them. Longfellow 
	hesitates.
 
				JUDGE 
		Proceed.
 
				LONGFELLOW 
		Well, I don't know where to begin. There's been 
		so many things said about me that I--
 
329.	CLOSE SHOT AT WITNESS STAND 
	Longfellow continues:
 
				LONGFELLOW 
		About my playing the tuba. Seems like a lot of 
		fuss has been made about that. If a man's 
		crazy just 'cause he plays the tuba, then 
		somebody better look into it, 'cause there are 
		a lot of tuba players running around loose. Of 
		course, I don't see any harm in it. I play mine 
		whenever I want to concentrate. That may sound 
		funny to some people - but everybody does 
		something silly when they're thinking. For 
		instance, the Judge here is an O-filler ...
 
330.	WIDER ANGLE
	Front of courtroom.
 
				JUDGE 
		A what?
 
				LONGFELLOW
		An O-filler. You fill in all the spaces in the
		O's, with your pencil.
			(points to desk)
		I was watching you.

	The Judge looks down at a paper in front of him.
 
	INSERT: OF A PRINTED DOCUMENT 
	Of some sort. All the O's and P's and R's have the white spaces 
	pencilled in.
 
331.	CLOSEUP - JUDGE 
	As he looks up from the document. He is a trifle self-conscious. 
	Laughter comes from the courtroom.
 
				LONGFELLOW'S VOICE 
		That may make you look a little crazy, Your 
		Honor, just sitting around filling in O's - but 
		I don't see anything wrong 'cause that helps 
		you to think. Other people are doodlers.
 
				JUDGE
		Doodlers?

332.	MED. SHOT - FRONT OF COURTROOM
 
				LONGFELLOW 
		That's a name we made up back home for people 
		who make foolish designs on paper when they're 
		thinking. It's called doodling. Almost 
		everybody's a doodler. Did you ever see a 
		scratch pad in a telephone booth? People draw 
		the most idiotic pictures when they're thinking. 
		Dr. Von Holler, here, could probably think up a 
		long name for it, because he doodles all the 
		time.
 
	Dr. Von Holler, who is in the middle of some doodling, flinches. A 
	roar of laughter comes from the spectators. Longfellow reaches over 
	to where Dr. Von Holler sits and picks up a piece of paper.
 
				LONGFELLOW 
			(to Dr. Von Holler)
		Thank you.
          		(returning to the stand) 
		This is a piece of paper he was scribbling on. 
			(scrutinizes it) 
		I can't figure it out. One minute it looks like 
		a chimpanzee - and the next minute it looks 
		like a picture of Mr. Cedar.
			(hands it to him) 
		You look at it, Judge.
 
	The Judge, with a serious mien, takes the paper.
 
	INSERT: OF PAPER 
	It is a doodle face.
 
	BACK TO SCENE:
	Dr. Von Holler is somewhat uncomfortable.
 
				LONGFELLOW 
		Exhibit A - for the defense. 
			(after a pause) 
		Looks kind of stupid, doesn't it, Your Honor? 
		But I guess that's all right if Dr. Von Holler 
		has to doodle to help him think. That's his 
		business. Everybody does something different. 
		Some people are--
			(demonstrates) 
		ear-pullers - some are nail-biters--
			(pointing) 
		That Mr. Semple over there is a nose-twitcher.
 
333.	CLOSE SHOT - SEMPLE AND HIS WIFE 
	He looks up, startled, his nose twitching more violently than ever.
	The courtroom rocks with laughter.

	His wife, in her nervousness, pulls at her fingers.

				LONGFELLOW'S VOICE 
		And the lady next to him is a knuckle-cracker.
 
	Mrs. Semple quickly drops her hands in her lap, as the courtroom 
	again fills with laughter.
 
334. 	CLOSE SHOT - COBB 
	He swings a key-ring around his forefinger. Suddenly he realizes 
	Longfellow might get to him, and he hastily palms the keys and shoves 
	them in his pocket.
 
335.	MED. CLOSE SHOT - NEWSPAPER REPORTERS
	One is leaning forward, listening intently - biting the end of his 
	pencil. The one next to him nudges him and silently points to the 
	pencil in his mouth. The reporter gets the idea and, smiling 
	sheepishly, yanks it out of his mouth.
 
336.	MED. CLOSE SHOT - FRONT OF COURTROOM
 
				LONGFELLOW 
		So you see, everybody does silly things to help 
		them think.
			(in conclusion)  
		Well, I play the tuba.

337.	CLOSE SHOT - MAC 
	As he bursts forth.
 
				MAC 
		Nice work, toots!
 
	The crowd echoes him with shouts and laughter.
 
338.	CLOSE SHOT - JUDGE 
	He glares off scene at Mac, reprimandingly.
 
339.	CLOSE SHOT - BABE
	She is amused at the embarrassment Longfellow has caused them all.
 
340.	CLOSE SHOT - CEDAR AND HIS CLIENTS 
	They squirm uncomfortably.
 
341.	MED. CLOSE SHOT AT WITNESS STAND 
	Longfellow in chair - Judge at bench, b.g. 
 
				JUDGE  
		Mr. Deeds, do you recall forcibly ejecting 
		people from your home?
 
				LONGFELLOW 
		Oh, yes. Yes. About my throwing those people out 
		of my house. Mrs. Pomponi told the truth. I did 
		throw them out because I didn't want the party 
		in the first place. I didn't invite anybody. Mrs. 
		Pomponi did all that. They just came to see what 
		kind of a freak the "Cinderella Man" was. I 
		don't know how people like that are supposed to 
		act, Your Honor, but if that Pomponi woman is an 
		example, I'll stick to simple folks. She just 
		came in, talked my ear off, and took charge of 
		everything. If I were a friend of hers, I'd have 
		her examined.
 
342.	MED. SHOT OF COURTROOM 
	Featuring Longfellow. Cedar, who cannot stand it any longer, jumps 
	to his feet.
                 
				CEDAR 
		Your Honor, this is becoming farcical. I demand
		that Mr. Deeds dispense with side remarks and 
		confine himself to facts! Let him explain his 
		wanderings around the streets in underclothes, 
		his feeding doughnuts to horses!
 
				JUDGE'S VOICE
		Proceed.
 
				LONGFELLOW 
		Mr. Cedar's right. Those things do look kind of 
		bad, don't they? But to tell the truth, Your 
		Honor, I don't remember them. I guess they
		happened, all right, because I don't think a 
		policeman would lie about a thing like that, 
		but I was drunk. It was the first time I was 
		ever drunk in my life. It's probably happened 
		to you, some time. I mean, when you were 
		younger, of course.
 
	The Judge clears his throat in embarrassment. Several women giggle. 
	The Judge sternly pounds his gavel.
 
343.	CLOSE SHOT - LONGFELLOW 
 
				LONGFELLOW 
		It's likely to happen to anybody. Just the 
		other morning I read in the paper about Mr. 
		Cedar's own son - about how he got drunk and 
		insisted on driving a taxi-cab, while the 
		driver sat inside. Isn't that so, Mr. Cedar?
		Isn't that so, Mr. Cedar?
 
344.	MED. SHOT OF COURTROOM 
	All eyes have turned to Cedar.
 
345.	CLOSE SHOT - CEDAR
	His eyes are beginning to blaze angrily.
 
				CEDAR 
		Your Honor, I object.
 
				JUDGE 
		Proceed.

346.	MEDIUM SHOT
 
				LONGFELLOW 
		Now about the Falkner sisters. That's kind of 
		funny. I mean about Mr. Cedar going all the way 
		to Mandrake Falls to bring them here. Do you 
		mind if I talk to them?
 
				JUDGE 
		Not at all.
 
	Longfellow turns. Everybody stretches to get a better look at them.
 
				LONGFELLOW 
		Jane, who owns the house you live in?
  
347.	CLOSE SHOT - THE SISTERS 
	The girls consult with each other.
 
				JANE 
		Why, you own it, Longfellow.
 
				AMY 
		Yes, you own it.
 
				LONGFELLOW'S VOICE
		Do you pay any rent?
 
				JANE 
			(after conferring with Amy) 
		No, we don't pay any rent.
 
				AMY 
		Good heavens, no! We never pay rent.
 
348.	WIDER ANGLE 
	As Longfellow continues questioning:
 
				LONGFELLOW
		Are you happy there?
 
				JANE
		Oh, yes.
 
				AMY 
		Yes, indeed.
 
				LONGFELLOW
		Now, Jane, a little while ago you said I was
		pixilated. Do you still think so? 

				JANE 
			(after the usual conference)
		Why, you've always been pixilated, Longfellow.
 
				AMY 
		Always.
 
				LONGFELLOW 
			(smiling) 
		That's fine. I guess maybe I am. 
			(seriously) 
		Now tell me something, Jane. Who else in 
		Mandrake Falls is pixilated?
 
	Jane turns to her sister and this time they go into a prolonged 
	huddle. It is apparently a difficult thing to figure out. Finally they 
	come out of it.
 
				JANE 
		Why, everybody in Mandrake Falls is 
		pixilated - except us.
 
				AMY 
		Uh-huh.

349.	MED. SHOT OF SPECTATORS 
	There is an outburst of laughter which the Judge quickly quells with 
	his gavel.

350.	MED. SHOT - DIFFERENT ANGLE
 
				LONGFELLOW 
		Now, just one more question. Do you see the 
		Judge here? He's a nice man, isn't he?
 
				JANE & AMY 
		Uh-huh.
 
				LONGFELLOW 
		Do you think he's pixilated?
 
				JANE 
			(quickly)
		Oh, yes.
 
				AMY 
		Yes, indeedy.

	There is more laughter. More pounding of the judiciary gavel.
 
351.	CLOSE SHOT - CEDAR
	He feels his case slowly crumbling.
 
352.	CLOSE SHOT - BABE 
	She can scarcely conceal her elation.
 
353.	MED. SHOT - FRONT OF COURTROOM
 
				JUDGE 
		Mr. Deeds, you haven't yet touched upon a most 
		important thing. This rather fantastic idea of 
		yours to want to give away your entire fortune. 
		It is, to say the least, most uncommon.
 
				LONGFELLOW 
		Oh yes, I was getting to that, Your Honor.
 
	CAMERA MOVES TO CLOSER SHOT, featuring Longfellow and judge, as 
	former continues:
 
				LONGFELLOW 
		Suppose you were living in a small town and 
		getting along fine, and suddenly somebody 
		dropped $20,000,000 in your lap. Supposing you 
		discovered that all that money was messing up 
		your life, was bringing a lot of vultures around 
		your neck, and making you lose faith in 
		everybody. You'd be a little worried, wouldn't 
		you? You'd feel that you had a hot potato in 
		your hand, and you'd want to drop it. I guess 
		Dr. Von Holler would say you were riding on--
			(points to chart) 
		--those bottom waves, 'cause you wanted to drop 
		something that was burning your fingers.
 
354.	MEDIUM SHOT 
	Cedar springs to his feet.
 
				CEDAR 
			(shouting) 
		If this man is permitted to carry out his plan, 
		repercussions will be felt that will rock the 
		foundations of our entire governmental system!
 
	The Judge has pounded him into silence.
 
				JUDGE
		Please, Mr. Cedar!
			(to Longfellow)
		Proceed.
 
355.	MED. CLOSE SHOT AT WITNESS STAND
 
				LONGFELLOW 
		Personally, I don't know what Mr. Cedar's 
		raving about. From what I can see, no matter 
		what system of government we have, there will 
		always be leaders and always be followers.
 
356.	MED. CLOSE SHOT 
	Farmers in audience, as Longfellow's voice continues:
 
				LONGFELLOW'S VOICE 
		It's like the road out in front of my house. 
		It's on a steep hill. Every day I watch the 
		cars climbing up. Some go lickety-split up that 
		hill on high--
 
357.	FULL SHOT
 
				LONGFELLOW 
		--some have to shift into second - and some 
		sputter and shake and slip back to the bottom 
		again. Same cars - same gasoline - yet some 
		make it and some don't. And I say the fellows 
		who can make the hill on high should stop once 
		in a while and help those who can't.
 
358.	MEDIUM SHOT
 
				LONGFELLOW 
			(making his point)
		That's all I'm trying to do with this money. 
		Help the fellows who can't make the hill on 
		high.
 
359.	CLOSE SHOT LONGFELLOW
 
				LONGFELLOW 
			(hotly) 
		What does Mr. Cedar expect me to do with it? 
		Give it to him - and a lot of other people who 
		don't need it?
			(rising; sarcastically) 
		If you don't mind, Your Honor, I'll ride on 
		those top waves for a minute. 
			(calls out) 
		Hey, all you fellows out there! All those who 
		applied for a farm, stand up!
 
360.	REVERSE ANGLE 
	Showing most of the audience struggling to their feet.
  
361.	MED. CLOSE SHOT - WITNESS CHAIR
 
				LONGFELLOW 
		See all those fellows? They're the ones I'm 
		trying to help. They need it! 
			(pointing) 
		Mr. Cedar and that Mr. Semple don't need 
		anything. They've got plenty! It's like I'm out 
		in a big boat and I see one fellow in a rowboat 
		who's tired of rowing and wants a free ride and 
		another fellow who's drowning. Who would you 
		expect me to rescue? Mr. Cedar, who just got 
		tired of rowing and wants a free ride? Or those 
		men out there who are drowning? Any ten-year 
		old child will give you the answer to that. 
			(to farmers, etc. - in courtroom)
		All right, fellows. Thank you. Sit down.
 
362.	MEDIUM SHOT - FRONT OF COURTROOM 
 
				LONGFELLOW 
		Now, my plan is very simple. I was going to 
		give each family ten acres - a horse, a cow and 
		some seed. And if they work the farm for three 
		years, it's theirs. Now, if that's crazy, maybe 
		I ought to be sent to an institution. But I 
		don't think it is. And what's more, Mr. Cedar 
		doesn't either.
			(vehemently) 
		Just before the hearing started, he offered to 
		call the whole thing off if I made a settlement 
		with him. So you see, he wouldn't think I was 
		crazy if he got paid off.
 
363.	CLOSE SHOT - CEDAR  
	He jumps to his feet, highly incensed.
 
				CEDAR
		It's a lie!
 
				JUDGE 
		Mr. Cedar!
 
				CEDAR
		Mr. Deeds is drawing on his warped imagination! 
 
364.	CLOSE SHOT - LONGFELLOW
	As he listens to Cedar, watching him antagonistically.
 
				CEDAR'S VOICE 
		I've never heard anything so colossally stupid 
		in my life!
 
	Longfellow's eyes narrow resentfully.
 
365.	WIDER ANGLE 
	To include Longfellow, Cedar and Judge.
 
				CEDAR 
		It's an insult to our intelligence to sit here 
		and listen to his childish ravings.
 
	Throughout his speech the judge has been pounding his gavel. 
	Longfellow has his eyes leveled off on Cedar.
 
				JUDGE
			(when quiet reigns)
		You will please permit Mr. Deeds to finish.
 
				CEDAR 
		But Your Honor--
 
				JUDGE
		Mr. Cedar!

	Cedar, grumblingly, remains standing. Judge asks Longfellow:
 
				JUDGE 
		Anything else, Mr. Deeds?
 
				LONGFELLOW 
			(eye still on Cedar)
 		No.
			(changes his mind; turns to Judge) 
		Yes. There's just one more thing I'd like to 
		get off my chest before I finish.
 
				JUDGE 
		Proceed.
 
				LONGFELLOW 
		Thank you, Your Honor.
 
	He rises to his feet, takes one step forward, and clouts Cedar flush 
	on the jaw. As Cedar falls into the arms of an associate, pandemonium 
	breaks loose.
 
				BAILIFF'S VOICE 
		Order! Order! Order in the court!
 
366.	FULL SHOT OF COURTROOM 
	The judge pounds his gavel. There are cries of approval from the 
	spectators. In the midst of the commotion--
 
							DISSOLVE TO:

	INT. COURTROOM 
367.	MED. PANNING SHOT
	Showing spectators, waiting breathlessly for a decision. All eyes are 
	on the Judge.
 
368.	CLOSE SHOT AT BENCH 
	The Judge holds a whispered conversation with his experts.
 
369.	CLOSE SHOT - BABE 
	She is apprehensive.
 
370.	CLOSE SHOT - LONGFELLOW
	He glances furtively at Babe, off scene.
 
371.	MED. SHOT OF FARMERS 
	Leaning forward. Their entire future hangs in the balance.
 
372.	MED. CLOSE SHOT AT BENCH 
	The Judge comes out of the huddle; his face is very stern.
 
373.	QUICK FLASHES 
	Of Babe - Cobb - Longfellow - Mac - the farmers.

				BAILIFF'S VOICE 
		Remain seated and come to order. The Court is 
		again in session.
 
				JUDGE 
		Before the Court announces its decision, I want 
		to warn all who are here that the police have 
		orders to arrest anyone creating a disturbance.
 
374.	INSERT: CLOSE SHOT - JUDGE 
	The Judge's preface augurs ill.
 
375.	CLOSEUP - CEDAR 
	His mouth curls up in a contented grimace.
 
376.	FULL SHOT - COURTROOM 
	All eyes are upon the Judge, who clears his throat.
 
				JUDGE 
			(serious mien)
		Mr. Deeds, there has been a great deal of 
		damaging testimony against you. Your behavior, 
		to say the least, has been most strange.
 
	An audible gasp is heard from audience. The Judge goes on:
 
				JUDGE 
		But in the opinion of the Court, you are not 
		only sane, but you are the sanest man that ever 
		walked into this courtroom. Case dismissed!
 
	The shout that greets this is tumultuous. The Judge smiles warmly,
	and clasps Longfellow's hand. Immediately, Longfellow is surrounded 
	by a crowd of people who come running down the aisles.
 
377.	CLOSE SHOT - CEDAR AND GROUP
	They sit, stunned, disappointed. Mrs. Semple turns to her husband and 
	slaps him.
 
				MRS. SEMPLE
		You nose-twitcher!
 
	Budington rises to confront Cedar.
 
				BUDINGTON 
		Oh, I knew it! I knew it! You, you--
 
	Cedar disgustedly pushes him in the face, aside.
 
378.	CLOSE SHOT - BABE 
	She smiles ecstatically, too excited to move. Suddenly she rises.
 
379.	MEDIUM SHOT 
	As Babe tries to get to Longfellow, but finds herself on the fringe 
	of a jubilant crowd in the center of which is Longfellow. She tries
	to break through, but finds it impossible.  Desperately, she jumps on
	a chair and tries frantically to get a glimpse of him. At that moment, 
	several farmers have lifted Longfellow on their shoulders.
 
380.	FULL SHOT - COURTROOM  
	As jubilantly, Longfellow is carried out on the shoulders of the 
	excited crowd.
 
381.	MEDIUM CLOSE SHOT 
	As Babe frantically tries to reach Longfellow, but is jostled aside. 
	The parade envelops her.
 
382.	LONG SHOT FROM REAR 
	The shouting mob is heading for the door at end of courtroom. Everyone 
	crowds forward.
 
383.	CLOSE SHOT IN REAR 
	Babe is left helplessly out.
 
						DISSOLVE TO:
 
384.	FULL SHOT OF COURTROOM 
	Empty - except for the Falkner sisters, still whispering to each 
	other, and Babe, sitting helpless and forlorn.
 
385.	CLOSE SHOT - BABE 
	Her eyes are filled. Dismally she starts forward. We hear a rising 
	commotion from the outside, at this moment.
 
386.	WIDER ANGLE 
	Longfellow running toward camera with the mob, shouting, back of him. 
	He reaches courtroom, slams the doors shut behind him. Babe, attracted 
	by the noise, looks up. He runs toward her, and swoops her up in his 
	arms.
 
387.	CLOSE SHOT - JANE & AMY
 
				JANE 
		He's still pixilated.
 
				AMY 
		He sure is.

388.	CLOSE SHOT - BABE AND LONGFELLOW 
	She kisses him over and over again. He looks around and over his 
	shoulder at the mob, a little dazed. Finally, he notices her effort, 
	and gives her one passionately back.
 
	All that is heard is the cheering of the crowd outside and the 
	Columbia music.
 
						FADE OUT.


				THE END
 





Screenplay by Robert Riskin


1